One special color the artist keeps on his palette is a cool. including several locals who have taken .el sable flats (55$lO}. he likes the smooth surface of Claessens double.. eager participants traveled from around the country for the opportunity to learn the secrets ofhis method.his workshops before and crave every opportunity to study with the young master. The artist prefers two types ofbrushes: filbert bristle brushes. he mentioned that he had brought it for last year's demonstration and had never bothered to pick it up. He knew that it would be waiting for him when he returned for his annual workshop the following year. When Lipking arrived and was asked about it. . viridian.eds-wnic. yellow ochre. He often turns to this premixed color to modulate skin tones and to create the feeling of atmosphere. everyone noticed a distinctive antique Chinese chair already sitting on the model's stand.I I II I I I I I II III 111I1I11111II1 III I! II I1I1 III i 111111111111111 WHEN JEREMY LIPI(ING RETURNED 'TO THE CALIFORNIA ART INSTITUTE (CAl). lipking bas been holding these spring workshops at the CAl since 2002. There was also a small handful of regulars. As enthusias-tic students gathered for the first class. cadmium orange. 13. everyone met for a demonstration at a local park in the Santa Monica 20 workshop Mountains. No. cadmium yellow medium. alizarin crimson. As an artist highly sensitive to the subtle nuances of light.primed Belgian linen. cobalt blue. III i 1111· • 1111 i III II III II I I I I I :1 .h . Lipking began the. arranged from left to right on a glass French Companion as follows: titanium white. Lipking designed the workshop to show students how to approach two different lighting situations. North Carolina. os. Fans of the artist's work immediately recognized it as a prop he has used in some of his best-known paintings. and they always sell out well in advance.A careful 'craftsman. incandescent light. cadmium red. TO TEACH A THREE-DAY WEEI(END WORI(SHOP THIS PAST SP'RING. sizes 8 to 20 for preliminary lay-ins: and Royal Langnick. light purple that he mixes from alizarin crimson. For a medium he employs a standard mixture of I part stand oil and I part dammar varnish to 5 parts mineral spirits. and white. Noticeably absent were the heavy earth tones-the umbers and iron oside r. IN WESTLAKE VILLAGE. burnt sienna. 4 to 12. and ivory black. on the third day. It was especially instructive to observe how he used his basic palette to handle two dissimilar types of light. where Lipking painted the same model posed outdoors in a cool. This year students traveled from as far away as Baltimore and Rale~.. ultramarine blue. ultramarine blue. IT WAS A HOMECOMING OF SORTS. workshop by introducing his materials and palette . he rejects as too weighty . His palette is a simple array of the N bright mineral colors. natural light. As usual. The first two days were spent in the studio painting a female model under wann.

IIIIIIIIHI I 1I11 11111111111 I I 11111 I 1I1II I I II 11II I I II Fall 2001 21 .

" Once he decided on a near-profile seated pose for the model. sizes 8 to 20 • Royal Langnickel sable flats (5590)' Nos. 13 • New Traditions oil·primed linen mounted on birch panel (for outdoor work) BRUSHES • filbert bristles. He then wiped the surface with a paper towel to eliminate excess moisture." While Lip1dng had the model try different positions. Lipking began a demonstration by toning a white canvas with a mixture of burnt sienna and ultramarine blue (his favorite dark). • cadmium red ultramarine blue." he explained. front and back of the head and torso.I '" • I· 1111I II 1111111 I I 1I I III 11111111 I II II 1111111111111111 Bnow RIGHT The instructor's goal dUring his Indoor demonstration was to capbJre the dramatic contrast of the model's warm s~ln tone agamst. Lipking used a No. Rembrandt. a student asked. 8 Iangnickel flat (his main brush throughout the demonstration) and his basic dark (bumt sienna and ultramarine blue) to mark off the large parameters of the silhouette: top and bottom of the head. As he let the surface dry. he turned his attention to posing the model. or Winsor & Newton oils in the following colors: • ultramarine blue • titanium white • cobalt blue • cadmium yellow • viridian medium • ivory black • yellow ochre • a premixed purple • cadmium orange (alizarin crimson. ~What do you look for when posing a model?" ~I look for long lines within the figure and big movements. Lipking's Materials PALETTE Gamblin. which was generously thinned with mineral spirits. No. 4 to 12 Setting Up the Model and Applying Color After discussing his materials. the deep red background and dark black dress. • alizarin crimson and white) • burnt sienna SURFACES • Claessens double-prlmed Belgian linen. it is difficult to make a painting that has energy and life. Drawing was kept to an absolute minimum. "because the pose creates the visual dynamics of the composition. but Upking made sure that the few marks that were drawn were carefully placed and accurate. MEDIUM • 1 part stand oil and 1 part dammar varnish to. "If you don't have energetic pictorial relationships within the figure. "This is a very important step." the instructor responded. and curve of the torso. 5 parts mineral spirits OTHER • Open Box M easel for outdoor painting • French Companion glass palette 22 Workshop .

eots studied the instructor's painting closely and dscussed the deelslons he made in each stage. stud.I 1111II 1111111 I I 1I1I III I II IIII BELOW 80TTOM LEFT BOTTOM RIGHT During each brea~.m Fall 2007 23 . Llpking shared some tips with an advanced student The artist attracted a crowd even when wo~ing on another sludenfs painting.C<J. www .bop.•• WOlk.I I II I II II I I I I II III I I I I I 1II1 I II I[ I .

CloseUp A close-up view of Step 1.' - "" . and drapery._ _ _ __ L'L ~~ =_ • Demonstration: Liz Step 1 After establishing the general placement of ttl efigure using a few long lines. Step 8 Once the trio of colors was established for the skin. Step 2 Before developing the face further... Lipking laid in tll9 general color of the model's face.11 . 24 Worksbop ._~~ - -I - _. dress. using thin washes of color.11111111· • ! 111I11 !I III III I1111 I 1I1I1I 111I1I11111 III 111I II I II II I I II11 I1 I 111 11111111 -. the artist added the general color of the red background and black dress. s'howing how Upking modeled the light on the cheek and shadow around the eye and nose til create a sense 01 scale and volume. Lipking concentrated on modeling Ihe figure's face with small planes of color thai varied slightly in temperabJre and value.

Liz 2007. Ligh! is an important Liz 2007. Step 5 This cl nse-u p shows the delicate bru shwork used to render the figure's face. THE COMPlETED PAINTING: The completed demonstration shows how successfully he captured the general mood of the light. 24 x 18.ETEJl DEMONSTRAnON. USing photographs he took of the model.1111111 III II II 1II1 I 11lllllllllllllllllll 1111111111111111111 II I[ I I111111111111111 Step 4 Upking continued developi ng the figure by modeling volumes using subUe changes in the temperature and value of 3 color. as weU as specific details of the model's appearance. wIIien www. oil. ABOVJ: RIGHT. ColiectlOll Mr.aoWotkshop. Llpklng completed In his studio a few days after the workshop. This is the finished v~rslon of liz. The hair Was painted as large planes of light and dark brown. fAR RJGHT. Kevin McGurty. 24 x is. and Mrs. he resolved the lower section of the figure and refined the legs. THO COMPI. element of Upking's 'lit.= rail 2007 25 . oU.

and a touch of viridian to cool the mixture. cadmium red. "I focus on relationships. mixing.I 1111· • 11 II II 11111111111111 1 II II III III II II II I 1 Lipkmg pointed out how 10 correct problems With tile draWinG of the figure. Rather than blend colors in discrete mixtures on his palette. cadmium yellow. he might wann the mixture with cadmium orange. but the instructor pointed out that this gives him room to go lighter as he models the forms. ~I don't 26 Workshop ." Many of the students thought this flesh color was too dark. This approach allows him to subtly modulate a color between wanner or cooler. Modeling the Form To suggest the volume of the head. the passage acquires a magical inner glow. Lipking turned his attention to laying in color. and matching. the artist places a dab on his canvas." using white. His mastery of these subtle shifts in value and temperature helps give his paintings their powerful illusion of form. he typically begins with a mixture of three or four pigments. lighter or darker variants of a basic hue. To test a color. he prefers to work with large puddles generated from a base mixture. When he adds touches of wanner color against this predominantly cool base. I want to lay in a color area that I can modify later. beginning with the basic flesh tone of the face. mimicking the appearance of living flesh. flesh tones that tend toward greenish grays. Iipking added a few touches of darker flesh tone to model the shadows under the eyebrow and nose. which he continually modifies to meet his desired W color. The artist mixed what he called "a wild guess. If that is too gray. he said. After establishing the placement ofthe figure. Rejecting simple formulas and shortcuts. Lipking finds his color the old-fashioned way-by looking. For example. Lipking is also famous for using. As he proceeds he freely modifies this basic pool by introducing additional pigments at the edges. to lower the intensity of a warm tone he adds a coo1-a blue or viridian (depending on prevailing light). but then abruptly stopped. if it doesn't look right be continues to mix until he achieves what he wants. "I don't try to match what I see in front of me.

people had grasped People assume that since his paintings seem highly realistic. almost as ifhe were trying to to create a sense of volume. to students about their own paintings. pointing Fa1I 2001 27 .. It is the surprising contrast of his irregular initial large color areas. enough of his basic method to begin work themselves. laying in noon. continued refining his own painting throughout the aftersite is true. He tends to work thinly and broadly. red background.1III I 1III II II I II I I I I III I I I I II II I It I II II 1III11 111I1 The model was seated in the cool shade of a large tree. Just the oppo. Upldng's critiques As he proceeds to model form. and the brushwork and subsequent small touches of delicate modelblack dress. "This trio of color notes will provide the basis ing that gives his paintings their uncanny level of illusion. for the entire painting's color harmony. reveal that the underpainting is often little more than a thin. surprising to many. the comments focused on. the teacher took frequent breaks and spent time talking large areas of diluted paint to establish basic relationships. He would stand silent in front of more carefully mixed and precisely placed variations of color the work and study it carefully." Knowing that colors on the canvas highly deliberate and plays an important role in the finished influence one another. After lunch. As he his technique must be precise and meticulous. namely the skin. want to paint too much without adding the background. so they have to read Stressing the Fundamentals well together/ the instructor told the class. Lipking's goal was to relate the three piece. which created challenging lighting etlects because her entire fig~re was in shadow. The thinness of his paint was assess what steps he would take if itwere his own painting. Participants in the workshop were most surprised to see The students in the workshop spent most of the first morning that Lipking's actual brushwork was rather loose and free." he explained. "because the bold red will alter how the flesh runny wash. watching Lipking paint. Photographs of his paintings in progress For most of the beginners. but each subtle shift in tone in the first layer is tones are perceived. he slows his pace and adds were careful and thoughtful.

and the dark hair. He crealed Ihe flesh color between tile ski ntone As Upking modeled the head.I II • -. he used color to help define plan as He divide(!!he mass of hair imto a top plane that had more blue. . a 'Side plane (which was the darkest). Lip~ing toned his canvas with 11 thin wash of burnt sienna and ultramarine blue. Step 2 The instructor's goal in applyil1g the initial spots of CD lor INas to esta blish a relationship Step 3 With a cool mixture of yellow and purple. which he prefers for its stability and Base of tra nsport. and a rear plane that contained brown. Upking's outdoor easel is an Open Box M. III I II II 1111 I I I II 1 11111111111111111111111111111111 Illllli Demonstration: Liz Outdoors 1 28 Workshop step 1 To begin his outdoor demonstration.

step 4 The color 01 the dress was a variant of the basic fles h tene end was applied thinly and loosely. Collecbon the arbst. THE COMPlETED D£IIIOItSTRAnon. The completed demonslratJOn sb Ihad large areas 01 loose brushwork. spontaneous feel of the Iil1lshed painbng. Step 5 lipking developed the volume of the body bV using subtle darker. -- RIGHT. wlllch conlr1buted to the lively. oil.r ~-~-~ . Liz Outdoors 20Q7.'I II I1I11 I I III I I I I I 111111111111I111I1 III I II 1111111111111I I I I I I I III II I I II I I I I I II I I III ----. l4 x 11. shilts (lighter Dr Fall2001 29 . warmer or CQoler) 01 basic color mixtures.

II I· • II 11111111111111111111 111111111111111111111111111111111111111 1II1 IWIIIIIIIIIII 111111111111 30 WOrksbop .

On Saturday. Lioking used a baseball cap to shield his eyes from glal"l!. He took frequent breaks and spent most of the day offering critiques of student work. "If your painting does not look right. On the last day of the workshop. and edges." The instructor advocates that students pay constant attention to the large visual forms of the subject. pointing out that the wood prevents light from bleeding through the weave of the canvas. edge. The par· tidpants in the workshop all appreciated his insights. soft. trying to analyze what they see in the underlying two-dimensional shapes. Lip ·ng chose a spot III the shade of a large tree so the Ught pattem would not change tIlroughout the day. lipking's favorite mantra from his days as a student is "shape. According to Lipking. The majority ofhis work involved making very subtle adjustments to planes and values. Get the dark right and the rest will fall into place .ch-a public park within the Santa Monica Mountains-to paint and to watch Lipking do an outdoor demonstration. lipking first established the dark of the hair. "The rest of the figure comprises a range of grays that are harder to judge. The instructor has an ability to perceive the individual strengths and weaknesses of each studentwhether beginner or advanced-and make the necessary suggestions that will push that student to the next level. "I often Pall2007 31 . To begin this outdoor figure study. the group met at Peter Strauss R:a:n. included a large expanse of flat ground.." he said. the model was bathed in cool light=creating a lighting effect dramatically different from the studio the day before. llpking had the same model pose under a large tree. the composition challenge was to desigT1 the grass into an engaging llisual pattern. "The darkest dark in the subject is easy to define. outdoors. Lipking reached into his paint box and pulled out a new color: Rembrandt permanent lemon yel:low. Edges should also assume four basic types-hard. Upking's demonstration. as he believes they are the key pictorial building blocka of a painting. Lipking recommended using a range of no more than four or five. Lipldng had the mode1assume the same pose while he finished refining his painting. "there are basic problems with your shapes. value. because he only had a day to finish the painting)." He encouraged students to focus on these elements. he said. values. Lipking selected a small. To help the students learn how to control their values. PAGE BELOW 10 wOOl 011 hiS outdoor BOTTOM Because the model was posed close to the ground. II"-X'I4" linen canvas already adhered to a thin wooden panel (he chose the smaller size. Sitting on green grass in the shadow of the tree. and lost-in order to create the simple but striking illusion of forms projecting forward and receding back into space. While working out ways to correct flaws by concentrating on the large shapes and major pattern of light and dark." he told the class. so that the moving sun would not create shifting shadow patterns.[ 1 II [III I !III I II 11111 I I I 1 I III 111111111111111111111 [ I II II1I111 I 111 I 11111I11 I oPPOsm. the second day of the indoor workshop. good drawing lies at the heart of every good painting. To capture the cool skin tones. fum.

ColiectiOfi David Shedlarz: • . Image courtesy 2002. 011 on linen. RIGHT Daniene 2004.I 11111111" . Aleadia Flne Arts. oU 011 linen. 11IIIIIII 11111 1 I I I II III 11111 [ II [ I II IIJIOVE LEfT Reclining P~gure in Kimono 2004. 16 x 20. fAR RIGHT Danielle in Profile 2006. New York. oil on linen.. New York. 50 x 10. Collection David Shedlarz. oil. 32 Worlllibop .48OVE RIGHT In the Doorway Private collection. 46 x 54. Private collectton. 40 x 30.

IIlen. New York. Fal1200'] 33 .ate collec Ion. CoqectJon the ernst. Pnv. Courtesy Arcaqja Fine Arts. 18 x 24. 011on . LEFT Rachel 2006. oil. oil on line~. 9 x 12.FAR LEFT WiDter Contemplation 2003. 40 ~ 24. New Yorl<. BELOW Red Shoes 2007.

ing. lemon. Although the entire class doubted whether these colors could produce a natural-looking skin tone. from 1947 to 1949. visit WNW. "so J want that to be an anchor that will D 311 WOrkshop www. shDp.. Neil Boyle and Max Turner. Current instructors continue to carry on the traditIOns first established by Frank Reilly. once the artist placed his brush on the canvas. he confessed.. and Glen Orbik. an illustrator who studied with Frank J. Lipking's Strengths The success of Llpking's painting style can be attributed to a number of specific skills: • An acute sensitivity to color temperature and value • A sound command of drawing and two-dimensional design • A light but emphatic touch • An ability to create complex color rnixtures (of five to six pigments) while avoiding muddiness • An ability to paint so thinly that he can continuously add refining touches • A tendency to gear his flesh tones toward grayed greens so that warm highlights glow by contrast About the School The California Art Institute. Lipking proceeded to block in this outdoor demonstration in the same manner as his studio paint. he bad established the terms of his color harmony and proceeded to lay in the rest of the composition. Fixler inspired a generation of Southern Californta artists. For more information.. an oak woodland in tile beau1J1ul Santa Monica Mountains Nanonal Recreation Area.IIIII • • IIIII I I II II I IIII III II I I II I I II I I I II I I I I IIII I ! IIB. including Morgan Weistiing. and purple (his premixed ultramarine blue and alizarin crimson). Instructors at the California Art Institute have included David Jonas. he paid more attention to bringing the head to a higher degree of finish during the first stages. he turned his attention to capturing the green of the background grass. was founded in 1983 by Fred Fixler." he explained. use a. the world's larges! urban national park. it was exactly the right choice to capture the light falling on the model's face.aaW . special color if it makes my job easier. With these three color notes in place. Because this painting was so small.com . in Westlake Village. To everyone's surprise he mixed his dominant flesh tone using white. Reilly at the Art Students League of New York. Once he had the dark for the hair and the basic flesh tone.calartinstcom.OW RIGHi The setting for t~e outdoor demonstration was Peter Strauss Ranch. in Manhattan. "People are predisposed to focus on the face. Greg Pro. Mark Westermoe.

Watclring Lipking do two different paintings in two days taught the workshop participants that there is no substitute for fundamentals. an advertising designer. in Simi Valley.. SouthwestArt. the late Victorian painters Frederic Leighton and J. Upking is currently represented by Arcadia Fine Arts. Iipking used the basic structure of her form to dictate the development of'his painting. and by American Legacy Fine Arts. was asked to join the faculty. children's book illustrator. Since his first solo eXhibition. in New York City. side'. California_ About the Artist Jeremy Lipking was born in Santa Monica. California." The model sat on a small stool. in Los Angeles. Lipking's success derives from his simple mastery of the basics. There were no great secrets behind his method.. he is the son of Ronald Upking. visit his website at www_lipking..W. ~EfT As was the case dUring the sludio demonstration. California. He sees himself continuing the tradition of such 19th-century figurative realists as William Bouguereau and Jean-Leon Gerome. despite its modest dimensions. just a steadfaet commitment to careful observation and conscientious rendering-the essence of all great representational art • Michael Zakian is the director rifthe Frederick R. Art & Antiques. Lipking continued to hone his skills as an instructor and at the age of 25 had his first solo exhibition at the Morseburg Galleries. in Malibu. in Pasadena. Fall 200'1 35 . A fourth-generation Californian. and the American Impressionists John Singer Sargent and William McGregor Paxton. ARTnews. mos 01 tile stUdents snent the first hall 01'Ill!! day watching Upkmg work. and tancscace painter. This attention to solid massing imparted a gentle monwnentality to his painting.II 1111I11II I IIIIII I II1II1I II IIII1I I II I I II II I I I I I sao. Lipking's art has appeared in the pages of American ArtIst. Utlivmity. low on the ground and below eye level. modeling parts of the figure as more distinct top..com. Weisman Museum of Art at PtpptnUm. provide a standard of finish for the rest of the composition. and front sections. Despite his artistic background. and many other publications. For more information on Lipking. Waterhouse. Her body appeared as a imple blocklike mass set within an open space. This time he paid far more attention to planes. in 1975 and was raised in Southern Calfomte. after only two years of taking classes. Lipking's first passion was music.e Village and. in 1994 that he contemplated becoming an artist He discovered the Califomia Art Institute in nearby Westlak. He has received both the Gold Medal and the Museum Director's Award at the California Art Club's 91st Annual Gold Medal Juried Exhibition. It was not until after he graduated from Royal High School.

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