The session was supposed to be recorded and at the last minute there was no videographer. I set up my iPhone on a tripod to get what I could from the session. I edited clips into the presentation to give some close ups from previous clips. So all in all, I was glad to have captured as much as I could. Sorry you couldn’t pick up everything.
How critical is the choice of black pigment. ie a blueish black will give different results from a bronzy one.. I have tried adding a bit of blue to the black i the past but this is cheating.
I use several blacks, including spinel, which is one of the blackest blacks, and various dark brownish earths, ivory black, etc. But I don’t have any difficulty with the temperature as most of my applications are either broken touches or glazes. In oils, however, since I use a very limited palette of just vermilion and yellow ochre, with black and white, the blueness of the black is necessary for producing bluish greys and greens. For that I prefer to make oil paint my spinel pigment, as it seems to produce the bluest greys.
This was an outstanding, entertaining and illuminating presentation, absolutely top-notch. BRAVO
Wonderful speaker and fantastic information, many thanks!
Oh thank you! This was just recorded in my phone as a planned videographer wasn’t available.
Interesting information and beautiful art. Really useful to know about gesso. Thank you! ❤
Thank you Susan. As a replacement for true gesso there is a product called Rublev’s Tempera Ground, available from Natural Pigments (.com or .eu)
Well done Fergus!
Most entertaining!
I wish the sound quality was better I could not understand much of what he said because of background and echo in the room :(
The session was supposed to be recorded and at the last minute there was no videographer. I set up my iPhone on a tripod to get what I could from the session. I edited clips into the presentation to give some close ups from previous clips. So all in all, I was glad to have captured as much as I could. Sorry you couldn’t pick up everything.
@@FERGUSARYANI could hear every word 😊
How critical is the choice of black pigment. ie a blueish black will give different results from a bronzy one.. I have tried adding a bit of blue to the black i the past but this is cheating.
I use several blacks, including spinel, which is one of the blackest blacks, and various dark brownish earths, ivory black, etc. But I don’t have any difficulty with the temperature as most of my applications are either broken touches or glazes. In oils, however, since I use a very limited palette of just vermilion and yellow ochre, with black and white, the blueness of the black is necessary for producing bluish greys and greens. For that I prefer to make oil paint my spinel pigment, as it seems to produce the bluest greys.
@@fergusryan3395 Thanks for taking the time to reply