Self Portrait Using Old Masters Techniques
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- Опубликовано: 20 июл 2024
- Join me as I share a self portrait painting demo inspired by Jusepe de Ribera's technique. Learn about the palette and grounds commonly used by artists from the 17th century working on a Tenebrist style.
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Развлечения
Tristemente ni los materiales ni las formas de los antiguos pintores se pueden recuperar, pero sin ese detalle sus obras no tendrían brillo 😊, de cualquier forma jugar a pintar como los grandes siempre es gratificante.
Amazing, I love Tenebrist style of paintings. The limited palette is like "Apelles".
Thank you Sweaty palms!! The Apelles palette is very useful. 🙏🏻
Thank you for your tutorial lesson it is very much appreciated!
Qué espectacular trabajo, Maestro Borrero. Como siempre, gracias por compartir. 👌
Hello again. I loved your demonstration indeed. However I feel it is missig probably the most important phases of the painting, on the stand point of viewer: The basics, the initial preparation of the suport, and the first and following layers until you reached this point now. Do you have any plans to show us those phases? I would appreciate it very much. Thank you.
Thankyou for your amazing lessons and old masters secrets.. you are great..❤
your comments are gold, congrats. i enjoy seeing tjis channel.
Subtitles are now available in many languages. Thank you for visiting my channel. If you would like a particular language, please feel free to write me and I will include the RUclips native subtitles.
I just found your channel. Invaluable! Thank you for sharing your knowledge.
Thank you for commenting Michael. Welcome to my channel. 🙏🏻
Ithaca NY! That’s where I live, and yeah, drying times are long even with a heat-bodied oil
Hermoso trabajo Luis !!
Otro magnífico video. ¿Ha contemplado la posibilidad de tener cursos ya grabados en su página, al cual uno pueda acceder en cualquier momento, por supuesto, bajo el pago de una tarifa? Sucede que no pude inscribirme a su curso, ya que no logré reunir el monto, pero he visto en otros artistas que en sus páginas web, ofrecen cursos de teoría y práctica al cual uno accede en cuanto haya pagado. Sucede que me encantaron sus reproducciones de Flora (de Tiziano) y La virgen y el Niño, de Murillo, y me hubiese encantado ver el proceso completo. Es una idea, pero no sé si se ajuste a su modo de trabajo. Gracias infinitas por sus lecciones, son oro puro.
Nicely done. I have never thought to use a squirrel mop for anything but ink and watercolour. I guess it delivers a lot of paint with sensitive application.
I thought the painting looked finished at the beginning of the video. I like the effect of soft light. The strong brighter light will show every wrinkle, scar, you name it, as in Riveira's painting and emphasizes his character. I don't think I would use Riveira's lighting technique on my own self-portrait.
What colour was added for the ground ? Amazing as always
Another very good video Luis. I loved what you said and demonstrate about luminosity in the shadows without using white. Also, after your courses on Udemy I replaced completely the use of Titanium by Lead White, actually Cremenitz White since lead is banned in Portugal. Trying to apply these techniques is a huge challenge for me but I am doing it. My doubts now are about the use of faster dry oils in the Nortern countries as you referred. No problem in using STLO or BO, but when should I use Waknut oil, I mean what for is it good to apply - replacing refined LO? Muchas gracias!!
Excellent demonstration.
Do you have a video that lays out side by side comparisons of the various whites available for choice, and the blacks as well. Why a painter would choose the inherit qualities and cautions of one over the other. For example, the temperature difference between lead, titanium, or zinc whites. Mars black, ivory black, vine black comparison.
A worded description falls short of visual presentation.
I appreciate your comment in this video regarding differences between cadmium red and vermillion.
Hello! Do you oiling out when you return to painting after it's dry.
Thank you,
Excellent channel!!
Any chance you could do a video on making oil paints from pigments?
Have you ever used clove oil to slow down drying time ?
What do you think of Sargent’s method?
Super vidéo !!! Quelle patience !! Dommages que le sous titrage n’ait pas fonctionné jusqu’à la fin . Un immense Merci
Beautiful
Thank you Leila!! 🙏🏻
Great lesson
Thank you for visiting and commenting! 🙏🏻🙏🏻
Hi Luis! Thank you for your videos and great information. If I remember correctly, you use small quantities of larch turpentine with your heat bodied linseed oil. What is your proportion of larch turpentine compared to heat bodied oil when you use them together and do you vary that ratio during the painting process or do you keep it the same? Thank you for your amazing knowledge and answers!
Hello Henri: Thank you for commenting. My preferred medium is heat bodied linseed oil or walnut oil thinned with a few drop of spike oil of lavender. I hardly use larch turpentine at all. If I use at all it may be in a red madder or cochineal glaze in the very top layer, only in a tiny amount mixed with the aforementioned materials.
amazing work! taking notes of all your knowledge and techniques
I have a question what't the brand of your essential oils of lavender?
I didn't get any reply:(
This is brilliant! Thank you so much for these videos. I have a question. Do you think modern synthetic Iron Red Oxides (which are a bit higher chroma than their natural versions) have enough chroma for all flesh colours (including lips) or do you need something like Vermillion / Cadmium Red as well?
Hello Richard: Thank you for commenting. I think that is always a good idea to include a high chroma red on your palette. These reds are important when painting accents. Both vermilion and cadmium red will yield different types of pink tones for flesh tones. You can certainly use a high chroma modern iron oxide and get amazing results as well.
@@LuisBorreroVisualArtist Thank you for that! I guess I was trying to see if it would work with a limited zorn style palette :)
Heat bodied oil ? Can someone explain
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Excellent , how do you set up your work area …
What is the best light room for painting? I think I have problem with painting at night.
Hello Nava: North light is best. Thanks for visiting my channel.
@@LuisBorreroVisualArtist thank you so much. And at night?
do you mull vermillion without 1% aluminium stearate? How do you prevent such a heavy pigment to separate in the tube?
Hello AMS: I don’t ever tube Vermillion. I make it fresh as needed. I only use small amounts at a time.