This bundle includes both of Jeremy's videos; Alla Prima potrait & Waterfall in the High Sierras. You can purchase them individually, or get them together as a special bundle at an affordable price. Purchase both videos in this bundle and get £15 off.
JEREMY LIPKING: ALLA PRIMA PORTRAIT
Join Jeremy from the comfort of your own home for this online exclusive. This bundle includes both Alla Prima Portrait and painting the Waterfall in the High Sierras.
Medium: Oils
Skill Level: All Levels
Duration: 3 Hours
For this online painting demonstration, Jeremy will paint the portrait in a 3 hour demonstration and talk. This is a pre-recorded demonstration; this is not live. You can re-watch as many times as you wish.
This video will be available to re-watch at your leisure until 21st October 2027.
Included in this purchase is:
Jeremy Lipking’s 3 hour recorded demonstration
Jeremy Lipking’s materials list
Jeremy Lipking’s reference image
Jeremy Lipking’s Finished Palette
Jeremy Lipking’s Finished Painting
This video is available along side Jeremy’s Painting the the Waterfall in the High Sierras.
JEREMY LIPKING: WATERFALLS IN THE HIGH SIERRAS
Medium: Oils
Skill Level: All Levels
Duration: 2 Hours 5 mins
Join Jeremy, from the comfort of your own home whilst we explore the creation of a Plein Air Painting. Jeremy answers so many questions from the audience throughout making this an educational conversation and painting demonstration.
This video will be available to re-watch at your leisure until 21st October 2027.
Included in this purchase is:
Jeremy Lipking’s 2 hour recorded demonstration
Jeremy Lipking’s materials list
Jeremy Lipking’s reference image
Jeremy Lipking’s Finished Palette
Jeremy Lipking’s Finished Painting
*Worldwide shipping is available, please email us if your country is not available at the checkout.
Jeremy Lipking’s materials, available from our online store…
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Michael Harding’s Warm White is my solution for the UK and EU artists who want a lead-like paint without the lead content, which is banned unless you are a certified restorer in the UK and EU. This warm white is opaque, has outstanding brushing qualities, and mixes well with every colour on the artist’s palette. Warm White is available worldwide.
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Inorganic – This is a strong, deep orange with high tint power and opacity, yielding surprisingly pinky hues in mixes with Titanium Whites.
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Inorganic – No. 113 is an obviously beautiful mid-blue. The discovery in the 1820s of a Sodium Sulphosilicate compound, which had appeared as a mysterious blue deposit on soda-ash furnaces, was a liberating moment for financially challenged artists everywhere. Up to then the only available version of this compound was the often-unobtainable Lapis Lazuli ore, mined in Afghanistan. Ultramarine has a high tint power, and our chosen shade produces strong green shade blue hues and makes wonderful violets with Magenta and the red Lake colours. It is also useful in greens and greys. The only chemical weakness is a recorded sensitivity to atmospherically borne acids, which can bleach it out. Ultramarine Blue is one of the more difficult paints to make, as it forms an intractable runny syrup when first ground into oil, which must then be stabilized with a small amount of wax.
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Titanium White No. 1 is the most brilliant white in my range, suitable for crisp, cool, opaque, light shades. If you want a powerful mixer that lightens , then this is it. Although not subtle, this white is the most suitable for a bright, fresh palette. It forms a strong and durable film when cured. PW6 is an inorganic pigment.
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Inorganic – My Cadmium Red is a powerful, orange shade red with the usual cadmium characteristics of high tint power and opacity. This red presents warm, almost fiery hues when mixed with a more transparent white.
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Inorganic – This Iron Oxide has been used as a wood dye, and I realised that its capacity to enrich the grain of hardwood made it a wonderful candidate for paint making. Michael’s Transparent Red Oxide is an Iron Oxide manufactured to such a small pigment particle size that like its yellow counterpart, it possesses Lake-like characteristics. No. 220 has terrific tint power that produces wonderful results in mixes with yellows and brings gravity to mid-red tones. Mix it with phthalocyanine blue for an interesting surprise!
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Inorganic – This name was given by English manufacturers to smalt, a cobalt-based pigment that was used in the sixteenth and seventeenth centuries as a less expensive alternative to Lapis Lazuli. Unfortunately, smalt tends to fade into a light grey, as some Veronese skies demonstrate. But the introduction of Ultramarine Blue made the original smalt formula obsolete, and so I offer a completely reliable substitute blend that evokes the aerial effects of the great Venetian decorators.
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Organic – Alizarin Crimson is the oldest synthetic, organic lake introduced in 1868, and the only lake of the coal-tar lake range to have survived in use until the present. Before the end of the 19th-century, other Lakes were found too impermanent, and some Amerian authorities frown on Alizarin because its lightfastness (II-III on the ASTM scale) doesn’t match that of more recent organic red pigments. But its clarity and subtly beautiful bluish undertones are unique; since its introduction, portraitists have prized its range of cool, rather smoky hues, which are well suited for Caucasian tones. If you have concerns about using Alizarin Crimson, try mixing transparent oxide red with magenta for “look-alike” oil paint, or use Alizarin Claret.
Organic, Natural Earth – An impure, amorphous Carbon in Calcium Phosphate, Ivory Black is no longer made from burnt ivory scraps but from charred animal bones. It is denser in shade and cooler than Lamp Black, with stronger tint power. Ivory Black, the blackest of the blacks, is the most frequently used black in the range.
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Inorganic – Cadmium Sulphide is a dense, lean, mid-shade warm yellow, indispensable as a foundation colour for warm mixes of all kinds.
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Inorganic – Viridian is about the fastest curing colour in my entire range, along with Stack Lead White. This hydrated variant of Chromium Hydroxide, introduced in the mid-19th century, is a valued support colour used for influencing greys in underpainting. The vivid blue undertones apparent in thin layers are soon eclipsed in thicker applications. Landscapists and some portraitists still prefer it to the more brutal power of the Phthalo Greens. When combined with reds, an interesting range of blue-greys results. Placing it as local colour in the proximity of vermilion can also produce some interesting complementary effects.
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Inorganic – First made from the rare ore of Cobalt Phosphate in the mid-19th century, it’s now a synthetic, inorganic pigment. This lighter shade is closest to the original, natural version. Cobalt Violet Light has a delicate shade of violet that appears opaque in mass-tone but that quickly becomes transparent when applied thinly and glazed over a white ground, creating an intriguing range of bluish pinks. The hues are equally restrained. Always allow Cobalt Violet Light to cure in a good light for the cleanest results.
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Inorganic – Introduced at about the same time as Ultramarine, Cobalt Aluminate is a synthetic, inorganic pigment. It is more greenish-blue, with a heavier, more mineral appearance when seen as a dry pigment. The hues formed from it are correspondingly heavier and greyer. But it has a certain shade that the less expensive ultramarine cannot quite match. The paint film, when cured, is quite soft.
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Organic Pigment – Green Gold is a pigment Michael has admired for many years, although it’s essentially a modern colour. As a standalone pigment it brings your painting a unique green that has its own elegance. However, when mixed, it’s ‘weird’! When you first look at it as a single colour, it’s interesting. But when Green Gold is mixed with other transparent colours, such as Alizarin Claret or Magenta, it does extraordinary things. You’ll wonder where the ‘third’ colour came from because it will seem so magical. Green Gold’s bewitching qualities give it a high tint power, and because it has only a single organic pigment, it’s both lightfast and transparent. And because it’s transparent, it possesses wonderful glazing properties and power.
Jeremy Lipking Prints
Officially Signed by Jeremy Lipking
Silence & Sagebrush by Jeremy Lipking is a contemporary western painting in the permanent collection of the National Cowboy and Western Heritage Museum in Oklahoma City. The museum's visitors chose this piece as one of the top 10 favorite pieces in the museum. The painting was the winner of the prestigious Prix de West Award. We're excited to offer a limited edition archival print on heavy 290gsm Cotton Rag fine art paper with a smooth matte finish. We worked with the artist and one of the best fine art printers in California to accurately reproduce the color, value, and detail of the original brushwork in this edition. This print is sold unframed.
Sheet Size: 32x20 inches with a 1-inch border.
Edition size: 300
Each print is signed & numbered in pencil by the artist.
Officially Signed by Jeremy Lipking
Twilight Trail is a contemporary western painting by Jeremy Lipking. We're excited to offer a limited edition archival print on heavy 290gsm Cotton Rag fine art paper with a smooth matte finish. We worked with the artist and one of the best fine art printers in California to accurately reproduce the color, value, and detail of the original brushwork in this edition. This print is sold unframed.
Sheet Size: 32x20 inches with a 1-inch border.
Edition size: 300
Each print is signed & numbered in pencil by the artist.