You are the gift that keeps on giving Luis. You are single-handedly making me a better painter, from Vermeer to Goya to Rembrandt. I am becoming a fine art Frankenstein.
Welcome to my channel Jon. Thank you for wonderful feedback. You will find amazing resources in the comments of the videos as well, shared by my subscribers.
Fascinating. Looking forward to your live demo. I too have some of the National Gallery technical bulletins, catalogs and books and it's good to see these techniques live . Thanks !
¡Qué pasión demuestras en la explicación. Voy a seguir la secuencia de videos para comparar con la copia que completé en tu taller hace años atrás. Gracias por los links para buscar más información especialmente los de la National Gallery. Las imágenes 3D son alucinantes.
Thank you, very insightful. In Japanese traditional painting (nihonga), for each pigment they have more than one particle size- you can have from very rough to very fine. They use a very regulated, exact scale of roughness of about 10 steps from rough to fine and the painters master the effects of each roughness type. For each roughness, the particles are of exact the same size (they use special sieves to create these exact sizes). The seller Tokyo Pigments has all these different sizes for their traditional pigments. One question: what is the other blue besides indigo and lapis lazuli?
Los pigmentos de las casas comerciales accesibles en el mercado son buenos para sustituir algunos colores difíciles de conseguir? Por ejemplo sustituir un tin lead yellow por un amarillo Nápoles claro?
La mayoría de los pigmentos modernos son de muy alta calidad. El más cercano al lead tin yellow es Naples yellow. También puedes encontrar los pigmentos históricos a través de shop.kremerpigments.com/us/.
Hi Luis, for this Vermeer you describe the ground preparation with chalk paste and lead white paint. What was the ground prep used by Titian for his Ecce Homo. His painting is on stone (pizarra). Any suggestions for doing the painting on linen?
Hola Javier: Titian often employed Gypsum or Chalk bound with glue on canvas. The Gesso has to be applied very thin, otherwise the ground can crack severely. This type of preparation was replaced by the oil grounds of the 17th century.
Defiantly one of your best videos! for me, Vermeer is really the best of the best because his paintings look so realistic. you have to see the movie Tim's Vermeer (th-cam.com/video/5-_YgOFXQOQ/w-d-xo.html) mind blowing movie. and speaking about Vermeer.. that word came to my mind when i first saw the bedsheet at your painting Reencarnaciones. Bravo
Does anybody know where the button is, to vote for this channel as the best one in the whole world? 🤔
You are the gift that keeps on giving Luis. You are single-handedly making me a better painter, from Vermeer to Goya to Rembrandt. I am becoming a fine art Frankenstein.
Hi Luis, Great videos, some of the best about this subject on the internet that i can find, many thanks.
Hello Shaun: Thank you for your amazing feedback. It’s great to know that you’re enjoying my channel. Best regards.
Thank you very much. I assist this video here and Udemy, like your Rembrandt tutorial.
Just discovered this channel, what an amazing resource! I adore renaissance art, and would love to learn to paint in this style.
Welcome to my channel Jon. Thank you for wonderful feedback. You will find amazing resources in the comments of the videos as well, shared by my subscribers.
@@LuisBorreroVisualArtist combing through your videos and the comments is certainly going to pass some very enjoyable time over the lockdown!
Grande Luis!
Fascinating. Looking forward to your live demo. I too have some of the National Gallery technical bulletins, catalogs and books and it's good to see these techniques live . Thanks !
Thank you for commenting Todd!!! 👍🏼
¡Qué pasión demuestras en la explicación. Voy a seguir la secuencia de videos para comparar con la copia que completé en tu taller hace años atrás. Gracias por los links para buscar más información especialmente los de la National Gallery. Las imágenes 3D son alucinantes.
Gracias por tus comentarios Javier! Muchos Saludos.
Thank you, very insightful. In Japanese traditional painting (nihonga), for each pigment they have more than one particle size- you can have from very rough to very fine. They use a very regulated, exact scale of roughness of about 10 steps from rough to fine and the painters master the effects of each roughness type. For each roughness, the particles are of exact the same size (they use special sieves to create these exact sizes). The seller Tokyo Pigments has all these different sizes for their traditional pigments. One question: what is the other blue besides indigo and lapis lazuli?
Wonderful insights Alex. Thank you for sharing..🙏🏻
Hay un video sobre que Vermmer uso un secante de aceite de linaza con cobre. No entiendo de que manera influye el cobre en el aceite?
Los pigmentos de las casas comerciales accesibles en el mercado son buenos para sustituir algunos colores difíciles de conseguir? Por ejemplo sustituir un tin lead yellow por un amarillo Nápoles claro?
La mayoría de los pigmentos modernos son de muy alta calidad. El más cercano al lead tin yellow es Naples yellow. También puedes encontrar los pigmentos históricos a través de shop.kremerpigments.com/us/.
Hello! Can I recreate this with acylic paint?
Hi Luis, for this Vermeer you describe the ground preparation with chalk paste and lead white paint. What was the ground prep used by Titian for his Ecce Homo. His painting is on stone (pizarra). Any suggestions for doing the painting on linen?
Hola Javier: Titian often employed Gypsum or Chalk bound with glue on canvas. The Gesso has to be applied very thin, otherwise the ground can crack severely. This type of preparation was replaced by the oil grounds of the 17th century.
Such an interesting analysis. Learnt a lot. What kind of walnut oil you are using?
Hello Sushma: Thank you for commenting. I use Kremer pigments Walnut oil. Best regards.
what kind of stone are you mixing paints on?
Hello Mar d: Thank you for commenting. I am using a porphyry stone. This is the traditional stone used by the old masters.
@@LuisBorreroVisualArtist thank you for taking the time to reply. Your vids are wonderful!
yesterday's camera obscura is today's projector.
Yes! Indeed. Thanks for commenting Gilmar.
Defiantly one of your best videos!
for me, Vermeer is really the best of the best because his paintings look so realistic. you have to see the movie Tim's Vermeer
(th-cam.com/video/5-_YgOFXQOQ/w-d-xo.html) mind blowing movie. and speaking about Vermeer.. that word came to my mind
when i first saw the bedsheet at your painting Reencarnaciones. Bravo
Hello Ron: I appreciate your feedback. I have seen the movie you mentioned. I liked the film very much. Thanks again!!