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Jessica Libor

~ Studio Journal

Jessica Libor

Tag Archives: how to paint like the masters

Florence Memories

15 Friday Nov 2019

Posted by Jessica Libor in art, Inspiration, Journeys, lifestyle

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advice for artists, art, artist, beautiful, beautiful art, classical realism, contemporary art, contemporary realism, creative, creativity, drawing, emerging artist, emerging artists, female artist, Florence, Florence academy of art, how to be an artist, how to paint like the masters, inspiration, inspiration for artists, jessica libor, oil painting, pafa, painter, painting, pennsylvania academy of the fine arts, PHiladelphia

“Everything about Florence seems to be colored with a mild violet, like diluted wine.” —Henry James, 1869 • I was fortunate enough to spend a summer in Florence a few years ago, studying painting with the @florenceacademyofart . It was the first time I experienced a step by step process of building a painting, and was amazed at the results that could be achieved—paintings that looked like old master works—by following the same steps they used carefully. I was instantly hooked in this ultimate fantasyland of classical painting. That summer seems golden and beautiful, in part because of the overwhelming art that filled the city. This photo is from Florence, Italy, at the Villa Medicea de Lillian… I couldn’t find the photographer, but it is representative of the beautiful structures and paintings that are around every corner in the beautiful city. What is a city that has influenced your art?

Into the coppery halls: the end of autumn

13 Wednesday Nov 2019

Posted by Jessica Libor in Inspiration, Journeys, lifestyle

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advice for artists, art, artist, beautiful art, classical realism, contemporary art, contemporary realism, creative, creativity, drawing, emerging artist, emerging artists, female artist, how to paint like the masters, inspiration, jessica libor, oil painting, pafa, painter, painting, pennsylvania academy of the fine arts, social entrepreneurship

Into the coppery halls; of beech and intricate oak; to be close to the trees; as they whisper together; let fall their leaves!

—Whim Wood, by Katherine Towers ✨. The first frost has come and winter is almost upon us. Each season brings its own aesthetic I enjoy for its own reasons. The end of autumn feels very mysterious and elusive to me.

What’s your power color?

31 Thursday Oct 2019

Posted by Jessica Libor in beauty, fashion, Inspiration, lifestyle

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advice for artists, art, artist, beautiful art, classical realism, color, color psychology, color theory, contemporary art, costumes, creative, creativity, drawing, emerging artist, emerging artists, female artist, halloween, how to paint like the masters, inspiration, jessica libor, pafa, painter, painting

Color is powerful, especially to us creatives. Color can determine your mood, and has been proven to effect the way that we feel. I’ve always been drawn to purple and lavender colors. I love this current time of year because it’s socially acceptable to let your personality really shine with unusual costume choices. I was able to break out my lavender wig this week, and it was so much fun! It definitely let out a different part of my personality, something more playful and more creative. Just seeing myself embody this color made me feel differently! So what about you? What’s your power color? Here’s an interesting list of colors, and what some experts think they represent. Red: ambition energy, confidence, bold, passionate. Pink: sensitive, intuitive, loving, caring, respect. Purple: fantasy, creativity, distinguished, modesty, deep. Black: strength, power, professional, accurate. Orange: freedom, social, warmth, motivation, impulsive. Yellow: optimism, energetic, fun, logical, attentive. Gray: balance, neutral, timeless, practical, solid. Green: growth, nature, equilibrium, positivity, stable. Navy: responsible, integrity, trust, peace, order. Blue: ambition, perspective, aware, open. Let me know your power color and what you associate with it in the comments, I’m curious to hear!

Cherry Blossom Painting Time

29 Sunday Apr 2018

Posted by Jessica Libor in art, fashion, In My Studio, Inspiration, lifestyle

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advice for artists, art, art expert, artist, beautiful, beautiful art, cherry blossoms, classical realism, contemporary art, contemporary female artists, contemporary realism, creative, creativity, drawing, emerging artist, emerging artists, Fairmount Park, female artist, female artists, fine art, forever 21, h&m, how to be an artist, how to paint, how to paint like the masters, inspiration, inspiration for artists, jessica libor, Lawrence Alma tadema, Lucy Paris, oil painting, oil paintings, painter, painting, pennsylvania academy of the fine arts, philadelphia artists, social entrepreneurship, spring fashion, technical advice for artists, the roses of heliogabalus

Ohh April! My very favorite time of the year is when the cherry blossoms are out in full bloom, and the great long stretch of summer is out before us in glorious, warm possibility. I spent some time this week painting the cherry blossoms and happily reveling in their heavenly beauty… I was in the park almost every day! Check out my time lapse of the painting done and a few of my other pieces. Send me a message at jlibor@jessicalibor.com if you are interested in collecting any of these oil sketches.

White top and pink skirt: Forever 21. Lavender dress: true vintage. Blue dress: Urban Outfitters. Floral dress: true vintage. Striped top: Lucy Paris. Hats: Forever 21. Sunglasses: Green Street Consignment.

Which is your favorite look? What about favorite cherry blossom painting?

I can’t leave without posting the most epic floral painting ever. “The Roses is Heliogabalus” by Sir Lawrence Alma Tadema. Enjoy! Until next time,

Jessica Libor

Www.jessicalibor.com

Beginning my “Let’s Connect Philly” painting for the Barnes Foundation

23 Monday Apr 2018

Posted by Jessica Libor in Exhibitions, How To, In My Studio

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advice for artists, art, art expert, artist, beautiful, beautiful art, beautiful paintings of women, classical realism, contemporary art, contemporary female artists, contemporary realism, creative, creativity, drawing, emerging artist, emerging artists, female artist, how to be an artist, how to paint like the masters, inspiration, inspiration for artists, jessica libor, Let’s Connect Philly, mural arts, pafa, painter, painting, pennsylvania academy of the fine arts, residency, the Barnes foundation

This month I am lucky enough to be living in a Philadelphia zip code, so am eligible to participate in the Barnes Foundation and Mural Arts competition and exhibition at the Barnes Foundation, called “Let’s Connect Philly.” It’s a really cool idea– artists are to pick one piece that inspires them (I picked Renoir) and do a small piece inspired by it! During the exhibition (in May–June) the public can go and vote on their favorite pieces, with the winning artists getting a residency and stipend at the Barnes! Needless to say I’m very excited to enter! Above is a time lapse for the first 7 hours of painting I’ve done on my piece. It’s not done yet, but when it is, I’ll post a side by side of the piece by Renoir that inspired me and my own.

Jessica Libor

Www.jessicalibor.com

Beginning a new painting: Magical Creatures

12 Thursday Apr 2018

Posted by Jessica Libor in art, In My Studio, Inspiration, Shop

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advice for artists, art, art expert, art school, artist, beautiful, beautiful art, beautiful paintings of women, classical realism, contemporary art, contemporary female artists, contemporary realism, creative, creativity, drawing, emerging artist, emerging artists, female artist, how to be an artist, how to paint like the masters, inspiration, inspiration for artists, jessica libor, MFA, pafa, painter, painting, pennsylvania academy of the fine arts, social entrepreneurship

It’s always the first day that it goes the quickest. After that, it is all about refining the details. Here is a unicorn painting inspired by my visit to the Met Cloisters and seeing “The Hunt of the Unicorn”. Click the video to see the time lapse!

You could spend forever on a painting, but it’s all about the quality and focus of the time you spend on it. Blocking out all other distractions and focusing all your mind and skill on the painting is like a meditation practice. I am always surprised by how much more quickly and better quality work comes out of a painting session when I’m in this state! I read a book once that described this state as “flow.” Perhaps it deserves a post of its own!

This painting I’m currently working on, “Magical Creatures,” is not completed, so be on the lookout for another post about the finished painting.

In the meantime, my recent painting after Fragonard, ” The Chase,” is completed, with a limited edition print run available in my shop. The prints turned out beautifully…every little brushstroke is captured in detail, and each one is on acid free archival quality paper that is velvety and smooth. Hand signed by me! To grab yours, click here.

Copying the Masters: Part 1

07 Wednesday Feb 2018

Posted by Jessica Libor in art, How To, In My Studio, Uncategorized

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art, artist, contemporary realism, copying masterworks, creative process, female artist, figurative artist, fragonard, how to paint like the masters, how to paint realistically

Today I began copying a Fragonard painting.  Copying is a centuries old tradition in that it helps an artist understand composition, color, and form, especially if an artist is trying to learn certain techniques from that master.  I chose this piece to copy because I am interested in the coloring, brushwork and composition that Fragonard uses.

First, I washed the linen with a mix of ultramarine blue and green, using Winsor & Newton Winton Oil Colors, very thinly, diluted with odorless turpenoid.

Next, I began sketching out the forms using burnt umber and a small brush, also diluted with mineral spirits.

From there, I began painting from the back to the front of the painting (from the background to the foreground).

First the darks, then the lights, getting progressively more detailed.

Part 2 to come!

Jessica Libor

www.jessicalibor.com

Peaches and Cream Portrait Study

22 Wednesday Feb 2012

Posted by Jessica Libor in In My Studio

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artist inspiration, beautiful art, emerging artists, how to paint like the masters, how to paint oil, jessica libor, john singer sargent, oil paintings, painting people, painting the portrait, painting with oils

Peaches and Cream Portrait Study, 8x10", oil on canvas, Jessica Libor 2012

At Ellen Cooper’s portrait class last week, we completed the first portrait.  For me, this was two sittings, 3 hours each.  The model had the most wonderful, elegant profile, and flawless skin, the overall effect being that of an English noblewoman painted so frequently by John Singer Sargent.

Although my painting is no Sargent, I tried to capture the loveliness of her glowing skin and the attitude of her profile.

How to Paint Like the Masters: Part 7, Window Shading and Glazing

07 Tuesday Feb 2012

Posted by Jessica Libor in How To, Inspiration, Journeys, Uncategorized

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advice for artists, art expert, Caravaggio, classical realism, drawing, education in new york, emerging artist, emerging artists, french academic painting, glazing and scumbling methods, glazing for artists, grand central academy of art, how to be a skilled artist, how to be an artist, how to draw from the live model, how to draw like a pro, how to draw people, how to draw realistically, how to paint like an artist, how to paint like the masters, how to paint realistic people, how to paint well, jessica libor, Joshua LaRock, new york art education, technical advice for artists, the best places to learn, window shading for artists

Maria (unfinished) by Joshua LaRock, during the window shading stage over top of ebauche

This is the stage in the painting where it all starts to come together.  In part six of this series of posts on how to paint like the masters, we left off when finishing the ebauche, a thin layer of paint and turpinoid with a few drops of oil mixed in, to set the tone of the painting.

Today, we will address layer two, using a thicker coat of paint, mixed with retouch varnish and oil (either poppy, walnut of linseed).  Later, we’ll discuss the glazing.

Start out by scumbling retouch varnish or oil over the ebauche.  The brings the full color to life again.  When choosing how to mix your lights, keep in mind that titanium white is stronger and colder, while flake white is more transparent and warmer.

Window shading is step two of painting in the classical 19th century French academic method.  They call it that because it is like pulling a shade down on a window, working in full detail from the top to the bottom of the canvas.  Finishing the painting is the goal for this stage.  Watch your model carefully for subsurface scattering–when light passes through and reflects inside the skin, like your hand in front of a flashlight.  Places common to seeing subsurface scattering are under the eyelids, the ears, the nose and hands.  Anywhere where your skin is thinner and more blood comes to the surface, you will see this subtle glowing effect.

After the window shading layer dries, you should have a completed painting.  If you would like to deepen the shadows more or add more transparency to the painting, consider a third layer, by glazing and scumbling.  Check out the detail from John Waterhouse’s Flora and the Zephyrs, where he used many layers of glaze to achieve a glowing look to her skin, fabric and roses.

Detail from Flora and the Zephyrs by John Waterhouse

 

Glazing: dark, thinned paint over lighter paint

Scumbling: Light paint, thicker and more opaque, over dark paint

In order to glaze and scumble, the painting must be completely dry, otherwise you risk rubbing out all your hard work.

To make something look glowing like oranges in a still life, glazing is the way to go.  If something looks transparent, paint it with transparent layers.  For the glazing layer, use GamVar, made by Gamblin, with a sponge brush.

Minneolas, by Joshua LaRock, oil on linen, 2009

That’s the final layer.  Congratulations on learning how to paint like the masters!

Image

How to Paint Like the Masters: Part 6, Painting the Ebauche

03 Friday Feb 2012

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advice for artists, art expert, classical realism, ebauche painting, education in new york, emerging artist, grand central academy of art, how to be a skilled artist, how to be an artist, how to draw, how to draw from the live model, how to draw like a pro, how to paint like the masters, how to succeed as an artist, inspiration for artists, jessica libor, technical advice for artists

Almost-completed Ebauche stage by Joshua LaRock 2011

This post will continue our journey we began several posts ago, picking up where we left off at the last stage of rendering the drawing.  We are beginning this post with the assumption that you have in front of you a canvas with the transferred drawing on it, the very correct drawing that you’ve been working so hard on!

These are notes that I am sharing with you again from that particularly helpful workshop led by Joshua LaRock that I took at the Grand Central Academy of Art this past summer.

I remember when this day came at last, it was the beginning of the second week, and a Monday.  I was so excited to begin painting!  However, the teacher lectured for a while before we could begin…which was exactly what most of us needed.  I gained a wealth of information, without which my painting would not have improved.

We began the morning with some basic definitions, and built from there.

The Ebauche: Layer 1 of paint, a thinned down value study with mostly turpenoid and a few drops of oil.

Beginning the Ebauche, by Joshua LaRock 2011

Value: the lightness or darkness

Hue:  Color (red, yellow, green, blue)

Chroma: the intensity relative to neutral (gray)

All skintones are a mixture of yellow and red.

The plane most perpendicular (most facing) the light is the most chromatic (the most color, ignoring the hightlights).  As a form turns away from the light, the color gets darker in value and less in chroma.  The highest chromatic (color intense) colors are straight from the tube.  The hightest chroma paints are the cadmium colors.  When painting shadows, remember that black is actually a very dark blue.  On a one color object, keep the HUE (pure color) at all costs, no matter how light or dark things get.

shapeimage_6

Mandarins, 11″x14″, Joshua LaRock 2009

When setting up the pallete, try to stay organized.  Your pallette is a reflection of your mind.  Start out to the left with the yellows, then go to the reds, then the greens, and lastly blues.  Below is a list of the exact paints we used for the full pallette, in order of how they should be laid out on the pallette.

1. White

2. Lemon Yellow

3. Cadmium Yellow

4. Naples Yellow

5. Yellow Ochre

6. Raw Sienna

7. Raw Umber

8. Cadmium Orange

9. Cadmium Red

10. Venetian Red

11. Alizarin Crimson

12. Burnt Umber

13. White

14. Cadmium Green

15. Sap Green

16. Viridian Green

17. Cerulean Blue

18. Ultramarine Blue

19. Cobalt Blue

20. Violet (Dioxazine Purple)

21. Ivory Black

22. VanDyke Brown

25% Raw umber, 25% burnt sienna, and 50% black make a perfect neutral, that you can make lighter or darker with white.

As far as a medium when you are painting, I personally use Walnut oil, because it’s so environmentally healthy you could theoretically eat it and be fine.  However, the traditional method is to use linseed oil or poppy oil to mix with the paint to make it more buttery.  Poppy oil doesn’t yellow as much as linseed oil, however.

Either way you go, you DO NOT need to use an oil at this point while doing the traditional Ebauche (underpainting).  If you use too much oil with your paint at this point, then in subsequent layers, your paint will bead up.  When doing the Ebauche, use paint thinner to thin the paint, or an odorless turpenoid (natural substitute for turpentine).

When beginning painting the Ebauche, keep in mind that it is to get the overall general effect of the painting, with colors, values and feel of the work.  Don’t lose your drawing at this stage.  You can start correcting your drawing if needed.  When you paint a dark over a light, you get a chromatic rise–this is what happens when you glaze.  So overall, your ebauche should be a little lighter in value than what you want your painting to look like at the end, if you’d like to glaze over it.

Start painting the ebauche with the lights, the highest in chroma and value (for instance, typically the nose and forhead), and go darker in value and lower in chroma in the shadow from there.

Mix up a separate mixture for the shadows, and use a separate brush to keep the painting as clean as possible.

Also, mix up a separate mixture for the hair.

Protect the hight value, high chroma parts of the painting!  Get all the lights and darks established before going into detail.  For example, do a section on the forehead, side of cheek and shadow and hair, then do the rest of the face, using those sections as keys of light or darkness on the form.

Sometimes, when two complementary colors are set next to each other, they both appear brighter.  This is a similar optical effect to simultaneous contrast.  Don’t let your eyes deieve you!

Think again of sculpting, same as the drawing!  You want the picture to leap out of the canvas into life.

The legendary William Adolphe Bouguereau painted in for layers, and this was the first.  Only three more to go!  Below, check out his unfinished painting, where you can clearly see the ebauche stage showing through.

Unfinished painting by Bouguereau

Posted by Jessica Libor | Filed under How To, Inspiration, Journeys

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