 |
| Swinging a palette knife this weekend painting the lovely Marian Liddel over at Jeremy Lipking's studio. He does a great one day a month workshop. Check it out www.lipking.com There is nothing about Lipking's work I don't like. He is a true young master and I have been lucky to be around him over the last three years or so lending a helping hand in his workshops and 'study abroad' trips when I can in return for some of his inspiration. |
Showing posts with label Jeremy Lipking workshops. Show all posts
Showing posts with label Jeremy Lipking workshops. Show all posts
Monday, June 1, 2015
Swinging a Palette Knife
Sunday, September 28, 2014
Ten Great Things I Learned From Jeremy Lipking
Readers of this blog will know for almost three years now I have been lucky enough to be around master painter Jeremy Lipking, offering a helping hand when he needs it in return for inspiration from this incredibly talented man.
www.lipking.com
Lipking's work moves me. Plain and simple. We paint in different styles for sure, but I love to watch him paint and hear his thoughts on all things to do with his art. I am a big believer in surrounding myself with greatness to learn more about what I do in my own professional working life - and that he is.
It has been quite a journey so far. There was a Lipking workshop visit to Sweden to Anders Zorn's hometown Mora, a workshop to the High Sierras, a huge sold-out solo show in NY that Lipking prepared for over two years, and a ton of weekly Tuesday night classes and weekend workshops. There was also a delightful addition to the young Lipking family during this time period which made everyone's heart sing.
I have seen many enthralled students come through Lipking's eclectic studio, which is full of his paintings and personal art finds and treasures. I've seen many Lipking demos and many of his large scale, prize-winning paintings in progress. Just this year Lipking won The Prix de West and also The Art Renewal Centre Grand Prize. He knows a thing or two and he is not even 40 yet.
I was prompted to come up with the TOP TEN THINGS I have learned from this young master so far after watching him demo yesterday knowing I was in the presence yet again of greatness. And not to mention grateful for it.
1. Take your time: Lipking thinks things through from beginning to end. His first brushstroke is as important as his last.
2. Simplify: Lipking will take a complicated mountain range or ocean view and simply it like no other. Saying less is more.
3. Warm shadows: paint them darker than you think and use cool muted greys for the light with some cadimum 'bright' mixes for the sizzle on top, a.ka. Lipking 'glow'.
4. Design: Lipking is a master here. Using his excellent drawing skills he designs beautiful shapes around a chosen value pattern.
5. Subtle: super subtle half tones in the light, often connecting to each other and kept lighter in value than you would think.
6. Purple: a blue-ish purple mound of color is always on Lipking's palette, think of a Provence Blue shade. He dips into it often to cool his colors.
7. Washes: thin washes are used to optimum effect and an important part of his approach with parts of the wash appearing in the final painting, under clothing or hair, or just about anything.
8. Observe: Lipking's mind is always working on the lookout for his next great painting. Once on a car ride we swerved off the road to catch a herd of sheep at sunset that he had seen in the distance.
9. Go for exquisite: give everything you paint your full attention from a humble single flower to a vast canyon range at sunset.
10. Paint what you love: this is obvious in all of his paintings. He doesn't paint to the crowd. It seems he paints to please himself and the rest follows.
To sign up for Lipking's next studio workshop day Saturday October 18th, go here:
click
 |
| Jeremy Lipking's inspiring demo this weekend at his studio workshop. |
 |
| My 'take' on the lovely model, Julie. |
 |
| Lipking on location 2013 |
 |
| Lipking Malibu beach workshop 2012 |
 |
| Lipking Studio workshop 2012 |
 |
| A quick-sketch of me by Lipking |
 |
| Sweden, 2012. Myself pictured here with Lipking at Anders Zorn's summer house. Amazing times. |
 |
| A palette knife portrait I did of Lipking "Sierra Shades - Jeremy Lipking" |
 |
| Lipking workshop, The Sierras Fall 2013 |
 |
| Lipking Gets Another Cover |
 |
| Lipking Sold-Out Solo Show December 2013 |
Monday, May 12, 2014
Back To The Drawing Board
 |
| "Saturday Sheer" By Johanna Spinks 18 x 24 Available for purchase gohere |
Got some good drawing time in this weekend when I helped out at Jeremy Lipking's one day workshop at his studio. I did this conte and gouache large sketch of lovely Stephanie in about two hours and I loved every minute of the busy and fun day.
Lipking is a generous teacher to his students and seems to hold the room spellbound most of the day, all marveling at the work he can pull off in demo format, yet alone on his cool grey studio walls. Look out for his next one day workshops June 21st.
Order his one day workshop here:http://www.bit.ly/lipking
See his work at www.lipking.com
Order his one day workshop here:http://www.bit.ly/lipking
See his work at www.lipking.com
You can also catch a teaching day with me too here at my Malibu studio. Drop-ins welcome.
Friday, July 19, 2013
Painting in The Sierras With Jeremy Lipking
I recently had the privilege of accompanying my pal, master painter Jeremy Lipking, in an assisting role for his magical "Painting in The Sierras" workshop.
I also had the same gift given to me last summer traveling in the same capacity with Lipking and his workshop gang to Sweden and Zorn-Land for his truely amazing workshop there.
Check out lipking.com
Yes, I consider myself in the fortunate category. But an assisting role is not always a cushy number. You don't want things to go wrong while traveling in large groups and feel responsible if there is a hiccup of any sort. You want everyone to be happy, especially the artist hosting the workshop who is working very hard.
I sometimes think students don't quite appreciate exactly how hard the host artist works.The days were often long for Lipking on both workshops as he might work into the night doing a demo or feature a guest speaker around a casual dinner event after a full day of painting.
Preparation is the assistant's key and double-checking things. A smile on your face helps too, even when you don't feel like it.
This I am good at, having taught for quite a few years myself.
These are the main things I learned during my five days in The Sierras with Lipking painting the most beautiful mountain ranges, lakes, and rocks.
*Gratitude: for an artist of Lipking's mastery, that he has the desire to share his knowledge in the most giving way. Lipking is a patient, kind and thorough teacher. Oh, and did I mention inspiring?
* Love the land you paint: it was obvious Lipking has a keen knowledge of The Sierras accumulated over many years of visiting the area from childhood, personally climbing its' high mountain ranges as a young lad while quietly studying the trees/leaves/plants of the terrain. This remarkable knowledge and views of this land have appeared in many of his paintings.
*Simplify the land you paint: Lipking took a complicated mountain vista and edited it down into some beautiful simpler value shapes. Quickly too.
* Push the color: Lipking is considered by most a tonalist painter but I saw him push the color on this trip, for example he painted the lake water far more turquoise blue in his sketches than I saw it. Similarly a sketch of trees yielded vibrant violets. Delightfully so.
* Push the values: on one mountain sketch Lipking deliberately painted the foreground much darker than it really was to play up the mountain range behind. I hadn't thought to do this.
* Paint the small everyday things too: a stove in a log cabin. The aged green doorway. These have all appeared in Lipking paintings.
*Paint waterfalls like your are painting a staircase: think of water going down stairs with a top plane and a drop plane. Subtle value changes. Cool versus warm depending on the light source. Rocks get this treatment too.
*Paint the air: this is hard and Lipking is magical at this using tonal mixes often keyed into a violet/purple pre-mix to reflect the cool light conditions he favors.
*Paint transparency slowly: Lipking kinda sneaked up on the underwater rocks he was painting. He laid down far less top water reflections from the sky above than one would think saying this would make a sketch look more amateur-ish. He held back on putting these few top reflections until the very end of his two hour sketch.
* Always be vigilant: your next masterpiece could be right in front of your nose. On the drive up pre-workshop suddenly we were amid a huge flock of sheep at sundown. Lipking had seen them in the distance and flew off the main road to capture them while my nose was in a bag of newly purchased BBQ flavored roadkill from Gus's Jerky stand. Well, of course!
*Study Edgar Payne: Lipking brought the book "Edgar Payne; The Scenic Journey" with him. Payne loved the Sierras and painted his heart and soul recording the area just like Lipking is doing. I really love this inspiring book.
purchase here.
* Be patient: even if a sketch doesn't work out, as in my case, you learn something through the observation. No time painting from life is EVER wasted.
* Allow 24 hours to judge your work: I thought my first sketch of the trip terrible. Now, it is one of my favorites. It is honest and my voice.
*Find a good food outlet: this we did at the rocking Whoa Nellie Deli. Best fish tacos ever. I even bought the sweatshirt.
*Get the right gear: mosquito repellent doesn't work amid swarming mosquito attacks. Mosquitoes bite through clothing. Carry a face net. They work. Body net anyone?
*Travel light: get everything in to one backpack especially water.
*Gratitude again for the gift of art and great artists in my life. Thanks to all the traveling artists who made this workshop so special especially maestro Lipking.
All images copyright.
I also had the same gift given to me last summer traveling in the same capacity with Lipking and his workshop gang to Sweden and Zorn-Land for his truely amazing workshop there.
Check out lipking.com
Yes, I consider myself in the fortunate category. But an assisting role is not always a cushy number. You don't want things to go wrong while traveling in large groups and feel responsible if there is a hiccup of any sort. You want everyone to be happy, especially the artist hosting the workshop who is working very hard.
I sometimes think students don't quite appreciate exactly how hard the host artist works.The days were often long for Lipking on both workshops as he might work into the night doing a demo or feature a guest speaker around a casual dinner event after a full day of painting.
Preparation is the assistant's key and double-checking things. A smile on your face helps too, even when you don't feel like it.
This I am good at, having taught for quite a few years myself.
These are the main things I learned during my five days in The Sierras with Lipking painting the most beautiful mountain ranges, lakes, and rocks.
*Gratitude: for an artist of Lipking's mastery, that he has the desire to share his knowledge in the most giving way. Lipking is a patient, kind and thorough teacher. Oh, and did I mention inspiring?
* Love the land you paint: it was obvious Lipking has a keen knowledge of The Sierras accumulated over many years of visiting the area from childhood, personally climbing its' high mountain ranges as a young lad while quietly studying the trees/leaves/plants of the terrain. This remarkable knowledge and views of this land have appeared in many of his paintings.
*Simplify the land you paint: Lipking took a complicated mountain vista and edited it down into some beautiful simpler value shapes. Quickly too.
* Push the color: Lipking is considered by most a tonalist painter but I saw him push the color on this trip, for example he painted the lake water far more turquoise blue in his sketches than I saw it. Similarly a sketch of trees yielded vibrant violets. Delightfully so.
* Push the values: on one mountain sketch Lipking deliberately painted the foreground much darker than it really was to play up the mountain range behind. I hadn't thought to do this.
* Paint the small everyday things too: a stove in a log cabin. The aged green doorway. These have all appeared in Lipking paintings.
*Paint waterfalls like your are painting a staircase: think of water going down stairs with a top plane and a drop plane. Subtle value changes. Cool versus warm depending on the light source. Rocks get this treatment too.
*Paint the air: this is hard and Lipking is magical at this using tonal mixes often keyed into a violet/purple pre-mix to reflect the cool light conditions he favors.
*Paint transparency slowly: Lipking kinda sneaked up on the underwater rocks he was painting. He laid down far less top water reflections from the sky above than one would think saying this would make a sketch look more amateur-ish. He held back on putting these few top reflections until the very end of his two hour sketch.
* Always be vigilant: your next masterpiece could be right in front of your nose. On the drive up pre-workshop suddenly we were amid a huge flock of sheep at sundown. Lipking had seen them in the distance and flew off the main road to capture them while my nose was in a bag of newly purchased BBQ flavored roadkill from Gus's Jerky stand. Well, of course!
*Study Edgar Payne: Lipking brought the book "Edgar Payne; The Scenic Journey" with him. Payne loved the Sierras and painted his heart and soul recording the area just like Lipking is doing. I really love this inspiring book.
purchase here.
* Be patient: even if a sketch doesn't work out, as in my case, you learn something through the observation. No time painting from life is EVER wasted.
* Allow 24 hours to judge your work: I thought my first sketch of the trip terrible. Now, it is one of my favorites. It is honest and my voice.
*Find a good food outlet: this we did at the rocking Whoa Nellie Deli. Best fish tacos ever. I even bought the sweatshirt.
*Get the right gear: mosquito repellent doesn't work amid swarming mosquito attacks. Mosquitoes bite through clothing. Carry a face net. They work. Body net anyone?
*Travel light: get everything in to one backpack especially water.
*Gratitude again for the gift of art and great artists in my life. Thanks to all the traveling artists who made this workshop so special especially maestro Lipking.
All images copyright.
 |
| Jeremy Lipking Wows With a Waterfall |
 |
| The gang at sunset |
 |
| My favorite sketch of the trip by Jeremy Lipking. He made it look effortless. |
 |
| The Mysteries of Painting Explained Patiently - Jeremy Lipking |
 |
| Mosquito net required. Even John Singer Sargent would have worn one -Jeremy Lipking |
 |
| Fellow traveller sketch by Johanna Spinks |
 |
| Sketch By Johanna Spinks |
 |
| Fellow traveller sketch by Johanna Spinks |
 |
| Sketch By Johanna Spinks |
 |
| My painting set-up |
 |
| Sketch by Johanna Spinks |
 |
| Mosquito Net Hat, Johanna Spinks |
 |
| Spectacular Sunday Morning Demo of Bloody Mountain By Jeremy Lipking |
 |
| Jeremy Lipking demos different light affects |
 |
| Jeremy Lipking demos transparent water, note the bugs! |
Subscribe to:
Posts (Atom)