![the figure in motion robert liberace the figure in motion robert liberace](https://1.bp.blogspot.com/-EvJ_FBdCuvI/VWnWrqFM4EI/AAAAAAAEfV4/amuMEpGSO6E/s1600/Robert%2BLiberace%2BTutt%27Art%40%2B%2868%29.jpg)
One of his later self-portraits executed after his stay at the sanatorium, sought to reinstate himself as an artist, who is self-aware. 57) This image of Van Gogh the artist was repeated throughout his life in varying artistic styles and color schemes. 57) By portraying himself in the manner of Rembrandt, he is connecting himself with the masters found in the Louvre, and setting the stage for his “new sense of identity grounded in his profession and the new belief in his real potential” to be productive and recognized as an artist. Van Gogh’s self-portrait, Self-Portrait with Dark Felt Hat at the Easel, spring 1886, shows him in a “somewhat formal jacket, tie, and dark felt hat… (bearing) little resemblance to the stained worker’s clothes and general dishevelment that had made him an object of ridicule and criticism in the past.” (Douglas W. I find the fact that Vincent Van Gogh represented himself in exactly the same pose as Rembrandt’s Self-Portrait in Front of the Easel, 1660, rather interesting. Rembrandt’s Self-Portrait in Front of the Easel, 1660 I also added some purple into the red in the jacket to give it a different hue. On completion, I decided to show the shadows of the room, and showed where the light was streaming through window behind me. This time around, I roughly shaded in an ochre color for my hair. I gradually worked across the face and then commencing at the left-hand side, started to work the hair. Once again, I had light coming through the curtain on my right-hand side. I then started to work in the shapes of the tonal planes of the faces around these areas.
![the figure in motion robert liberace the figure in motion robert liberace](https://i.redd.it/sp00w8r6sifz.jpg)
I commenced by using the eraser to pull of areas of highlights around the nose, eyes, and mouth. I followed the directions for “Gestural Tone” found in Drawing Projects (Mick Maslen and Jack Southern, 2014) focussing on the negative space and the tonal quality of the light and dark areas. 4) I chose red as my sweatshirt is a burgundy red tone and many of my features have a red undertone. I then used an eraser to lift out the highlights, and worked the mid to dark tones in varying pencils and charcoals. I practiced in my sketchbook laying down charcoal and red conté dust on the page. I also wanted to use charcoals, contés, and pencils, instead of just pencils.
![the figure in motion robert liberace the figure in motion robert liberace](https://art.famsf.org/sites/default/files/styles/artwork_view/public/artwork/liberace/0321200815270019.jpg)
Apart from the distortion created by working flat, I think that I have been able to focus on the shapes, contours, textures, and tonal variations, in a manner which ultimately created a fair likeness of me.įor my second A3-size sketch, I wanted to bring in some color. I tried to keep the pencil work in the jersey, where it is being highlighted, loose, and gestural. So, it will be interesting to try to counteract this distortion when attempting my second drawing.Īfter completing the majority of the hair, I went back with my 8B watercolor pencil and touched up the eyes, shadows around the eyes and the shadows on the hand, making these areas darker.
![the figure in motion robert liberace the figure in motion robert liberace](https://cgtools.ir/uploads/posts/1416858379_robert-liberace-drawing-the-figure-in-motion-3.jpg)
Obviously, this is why you would normally work on an easel when working on this scale drawing. I showed it to the rest of my family members and they all observed the same proportional change. To my surprise, what had appeared to be well proportioned, when working flat on the table in front of me, was actually elongated when looking at my face flat on. Once I had finished the top of the head, I held it upright. I then worked around the top of the head. As this area was in the shadow, I did not leave many highlights. I tried to hatch in the general dark zones in the hair and on the sweater with the watercolor pencil then worked this area with a broad watercolor brush. I gradually worked the main shading on the face before commencing the hair and arm on the left-hand side of the drawing. I started with the nose and eyes using a 2B pencil, quickly discovering that I was once again making my nose too long. By this time, it was getting dark in the room, so I positioned a lamp next to my right shoulder causing the bottom left-hand corner to be considerably darker than the right-hand side.
#The figure in motion robert liberace how to#
When considering how to draw my initial main sketch, I decided to try to use fine lines in building up the shadows of the face, and then watercolor dissolvable 8B pencil to create less detailed broader strokes in the hair and the cabled jersey.