Hi!! New subbie here. Hoepfully I'm not just asking for myself, but I'd also be interested in the use of a brush in these demos. Particularly, I'm interested in how well these paints hold their peaks and troughs in an actual brush stroke. Many thanks
Hello, thank you very much for these wonderful products and for such an illustrative video. Could you tell me if there is any documented evidence before the 18th century of the use of fillers and extenders for an aesthetic purpose, beyond reducing costs? In Mayerne's letters ceruse is mentioned as 50% calcite and 50% lead but I do not find any mention of its use as a resource to achieve a specific behavior of texture or transparency in any treatise that I know of. Thank you so much!
A lot of painters, including Velázquez and Caravaggio used calcium carbonate to improve grip of the next layer or to add transparency to glazes. Rembrant is known to add quartz to his paint. They were not called fillers but it's a very well documented practice. Look for CaCO3 in paint layer analysis.
While there may not be any literary or direct evidence of the adulteration of lead white, it was a common practice to add various amounts of chalk or other fillers to lead white. This was true of lead white used for all purposes, but may have beeb true for the lead white used by artists. it wold be difficult to detect this in paint films since the lead white present is already mixed with other pigments.
@@RublevColours Thank you very much for the reply. To me the use of these fillers strategically in all these great masters is evident. But in order to justify scientifically in an investigation into the technical and material processes, I found this documentation useful. Thanks again
@@El_papa_de_Rambo para mí es claro a la vista q es así. En las estratigrafías siempre se observan este tipo de materiales junto con el resto de pigmentos. En mi propia experiencia resultan muy útiles, como dices, tanto para el agarre de la siguiente capa como para controlar lo “magra” que queda, así como para alterar el carácter reológico,la transparencia o el secado. El tema es q tengo q demostrar a un equipo de laboratorio con “evidencia científica” que esto es así y que las cargas que encuentran en las estratigrafías se deben entre otras cosas a motivos como los que aquí estamos hablando.
just awesome that you guys offer these variations on lead white. unique.
There are more, too. We will publish part two of whites.
@@RublevColours can you make a video of what colors and pigments did old masters used with historic avidence
@@bijelimedved2983 we have already. Please visit our channel to see more videos we have produced on historical colors.
Such helpful information.as always. Thank you! I only use Rublev whites these days
Hi!! New subbie here. Hoepfully I'm not just asking for myself, but I'd also be interested in the use of a brush in these demos. Particularly, I'm interested in how well these paints hold their peaks and troughs in an actual brush stroke. Many thanks
We will consider adding brush strokes to future videos. However, you can see much of the behavior of these paints with the palette knife.
Too bad we don't have the usual comments during the paint demo
This video is from the first Artist Materials Advisor video: Paler Shade of White Part 1. Look it up.
Hello, thank you very much for these wonderful products and for such an illustrative video. Could you tell me if there is any documented evidence before the 18th century of the use of fillers and extenders for an aesthetic purpose, beyond reducing costs? In Mayerne's letters ceruse is mentioned as 50% calcite and 50% lead but I do not find any mention of its use as a resource to achieve a specific behavior of texture or transparency in any treatise that I know of. Thank you so much!
A lot of painters, including Velázquez and Caravaggio used calcium carbonate to improve grip of the next layer or to add transparency to glazes. Rembrant is known to add quartz to his paint. They were not called fillers but it's a very well documented practice. Look for CaCO3 in paint layer analysis.
While there may not be any literary or direct evidence of the adulteration of lead white, it was a common practice to add various amounts of chalk or other fillers to lead white. This was true of lead white used for all purposes, but may have beeb true for the lead white used by artists. it wold be difficult to detect this in paint films since the lead white present is already mixed with other pigments.
@@RublevColours Thank you very much for the reply. To me the use of these fillers strategically in all these great masters is evident. But in order to justify scientifically in an investigation into the technical and material processes, I found this documentation useful. Thanks again
@@El_papa_de_Rambo para mí es claro a la vista q es así. En las estratigrafías siempre se observan este tipo de materiales junto con el resto de pigmentos. En mi propia experiencia resultan muy útiles, como dices, tanto para el agarre de la siguiente capa como para controlar lo “magra” que queda, así como para alterar el carácter reológico,la transparencia o el secado. El tema es q tengo q demostrar a un equipo de laboratorio con “evidencia científica” que esto es así y que las cargas que encuentran en las estratigrafías se deben entre otras cosas a motivos como los que aquí estamos hablando.
@@jacoboalcaldegibert1977 You are welcome.