Friday Evening Demo with Rob
Liberace: Figure in Motion ~ The Essence of Movement
We were not allowed to take photos
during Rob’s demo to protect the privacy of the model although I was able to
get some photos when the model was breaking and clothed.
Rob said
that he copies and records the anatomy as the pose will not stay static
He mixes
linseed oil and calcite (a medium) with the paint in the beginning. Gets into
the feeling of the pose, looks for landmarks and exaggerates some angles.
Keep your
strokes lively.
underpainting may remain as your shadow. 
Rob ‘gets in
it’ right away and breaks through lines so that they don’t look too gothic.
To practice
Rob does many pen and ink drawings, fast. 
That practice helps him develop a model.
Rob doesn’t
put a background in his figure paintings
During the demo
and more recently Rob is using Rublev paints made by Natural Pigments. This is
a lower chroma palette than his normal. They are the pigments of the Old
Masters using more minerals. Mixing yellow ochre, madder lake and Antigua green
earth he masses in the light.
He feels the
direction of the form placing brushstrokes in the direction of the muscles.
He uses
Daniel Smiths’ Sleeping Beauty Turquoise (no white added) to indicate cool
landmarks in the anatomy.
Where he
wants to model he uses no thick paint.
The ‘terminator’-
understand that edge where the last edge of light ends.
By knowing
the direction of the muscle and then painting against it you create form.
He puts the
paint down so that it ‘rolls’ into the paint already there-squiggle.
Where bones
come to the surface the shadows get firmer.
A little art history during the demo:
the Venetians knew how to treat an edge but didn’t care much about anatomy. The
Tuscans were the opposite. 
Rob uses
lateral movement across the highlight.