Visual Artist Luis Borrero shares his knowledge of historical drawing and painting techniques used by artists from the Renaissance through the 19th century. The channel includes live demos and instructions that are useful to viewers that are interested in developing their artistic skills.
Is a ‘drying oil’ suitable to use as a medium? Does a drying oil simply mean that it is faster drying? I am thinking of ordering the black oil with litharge from rublev to try out
@@rs_cruze Black oil is a suitable medium to use for top layers. Use it sparingly with the tip of the brush. I usually dilute this type of oil with spike oil of lavender.
@@LuisBorreroVisualArtist thank you for your reply Luis. Forgive me for asking another question that may have an obvious answer - but, why would black oil be only suitable for top layers and not bottom layers?
I've just seen that documentary about the camera obscura, Tim's Vermeer just amazing and illuminating I don't know if vermeer used the camera always the same way as shown in the documentary and might maybe have employed many other very secret clever techniques to bring about his art works and it being still his secret as he doesn't leave many real solid clues so was he a visual draftsman scientist+research engineer and then also a very talented genius painter as his work is phenomenal in blurry detailing a true representation of the things around him near photographic his paintings are real seem to have atmosphere, must have blown peoples minds when they were first shown. but seeing how long it took, when Tim was finally ready to start his vermeer experimental copying I wonder if vermeer did all those paintings, looking how very long it took Tim to do just a single canvass
Hola, eres muy talentoso. Es prudente preguntarte que marca de óleos usas? Por favor. Hi, you are very talented. Is prudence ask you what label of oils you use? Please.
¡Gracias por tu comentario! Hago mis propias pinturas utilizando pigmentos secos mezclados con aceite de linaza o de nuez. Mira este video para más detalles👉🏼ru-vid.comjK5Zp77I3jk?si=csvbxcw46F1ecf4X
@@squirrel8161 I make my own stack lead. It’s a dangerous chore. I recommend RGH paints if you’re interested in commercial paints. Their Cremnitz white is excellent . 👉🏼rghartistoilpaint.com/blacks-and-whites.php
23:12 I worked 8yr in a Granit & Marble factory, made everything except gravestones. It was often people came and ask for cut-out pieces from countertops. The Granit pieces was between 400-450mm x 500-700mm square. Some time we toke 10-30$ for the scrap piece's, mostly gave it away if it was Granit that was common. We also made countertops to a luxury chocolate factory, (handmade chocolate ). They made the chocolate on the Granite 'Nero Assoluto' Its a plain black granite, Its a very compact and heavy granite. Even a piece like this can cost some money, if in full price. Could be 50-140$ for the Granite and cut-out work. Ask if they have any scrap piece's for free instead, that they gonna throw away. Dont ask price on specific a measure, prob gonna cost regular price then. hehe, Price we had was between 350-1200$ square meter 30mm thick Granite or Marble, price was just for cut out nothing more. All handwork was paid extra by hour, countertop was often paid in length with paid extra for holes and stuff.
Lois ! I just discovered you and i am very interested in everything you that you are very interested in and I feel like i am listening to you MYSelf speak as a master painter ! you have taught me so much in only a few videos and you just get it and i will be purchasing SOMETHING from you . i want to try and compensate you for the invaluable knowledge that you are imparting on me . you really get it and i really want you to know that there are people watching that are just so happy to be able to be taught by someone like youirself that CARES about the history and the materials and the passion. thank you so much and please DO NOT STOP MAKING THESE VIDEOS ! you are making artists when you speak and your own personal work , your paintings are just fucking GREAT. THANKYOU , IM A VIEWER FOR LIFE AND THAnkyou
I was just wondering the correct procedure of applying a glaze of yellow ochre and a velatura of yellow ochre and white mixed together. One being a warming transparent technique, the other in cooling semi-transparent technique. Would it be best to first glaze first before applying a velatura? In other words create a warm skin tone to correct an overpainting then apply a cooler velatura over the glaze? Or the other way around? Is this what Rubens or Rembrandt did? I am new to oil painting, being an acrylic painter for many years, and enjoy watching your videos.
Amazing. I would like to see more of your paintings. Youve captured the Renaissance effect / feeling. Looking forward to more of your tutorials. Thankyou for sharing.
Saw this work at the Royal Ontario Museum here in Canada when it was on tour. I remember how translucent green it was. As a child I did not realize the heavy controversy about what is essentially propaganda art from the Year of Terror. I always found Louis David the fulcrum that made oil paint artists persona non grata by those in power. From the French Revolution to painting Napoleon Bonaparte the warlord of Europe, and shaping people's perception of these men by employing a mastery in the fine arts; I can see their trepidation.
Eros estupendo que los vídeos en inglés los titulen en inglés, así podrías seleccionar más fácilmente los vídeos en español ya que leerlos me cansa mucho la vista. Gracias
Ver sus videos se siente como una clase inmersiva en la época del renacimiento. Nos lleva a tiempos pasados y se puede soñar. Gracias por todo el esfuerzo que invierte en compartir sus conocimientos. 🎉
