#Robert liberace pen and ink how to#
#Robert liberace pen and ink skin#
#Robert liberace pen and ink plus#

he told me at the end that I was the only one that got it, well everyone else must have been really bad, because I left going - well it's that motion you make with your index finger rubing it over you lips while humming. I have said repeatedly that Liberace's palette is so damn hard that it takes a long time 'to get'.

#Robert liberace pen and ink skin#

I think it gives skin a glow when mixed and love the exaggeration it adds. Neal, I love the turquoise, I have it in a medium and light, and would use it no matter - it's an incredibly beautiful color and worth it to me, I am not well versed in what all is out there, but it's the cat's meow for me. I do have strings of Marvin's palette pre-tubed, only because it takes hours for anyone but Marvin to mix. The higher chroma local color would be close to a 5 YR 9/4, the lighter with viridian would be close to a 5 YR 11 or 10/2 (my book only goes to 8, so these value numbers may be wrong) The Hues are certainly off. the transitional color would be close too a 5 RP 5/4. Using my little Student book, so hue doesn't really match, (The chips in the big book must have much longer strings). I guess they would start pretty light and go lighter.

#Robert liberace pen and ink how to#

Honestly I don't know if I could figure out how to do the stings without sitting with you. But just out of lazyness I have pre-tubed a basic dark, a basic transitional and for the locals, I did one with a stronger chroma and darker value, then two with an addtion of ochre and one with a touch of veridian. Graydon, I haven't done strings of pre tubed 'Local's' (Liberace hates that word - don't know why). Neal most teachers ask you to bring colors in a certain paint for their workshop - granted this gets pretty expensive, but Joy Thomas once told me - 'you wouldn't want to attend a piano workshop and have every one with different keys'. However, the down side is that the hues may be too difficult to handle, never quite subtle enough or unified-especially if one isn't as skilled as Liberace, Shanks or Beth. That is, by breaking the hues up so that they are not exact, one may achieve a sort of vibration.some call this broken color. However, one has to model the form anyway, so how does one maintain consisten hue, value chroma relationships? At first consideration, the advantages might come in the broken nature of the paint.

Its not because I know one cannot mix each step, one at a time. Beth, do you mix each value on the fly, or do you make some mixtures ahead of time? You see, its hard for me to conceive a palette without pre-mixed values.

#Robert liberace pen and ink plus#

To make this work better, perhaps, or at least how I might set it up-take the Aliz Crimson plus Pthalo and make a string of values. But then, you have only one value and one hue, instead of the range.

This would neutralize a mixture of Aliz Crim. you get a neutral, likely a low chroma purple-blue. So, what are the advantages here? If you mix Pthalo Green plus Aliz. What I am trying to point out is that this palette works, but one still has to mix it so that it is in flesh range.