This is a stunning painting, Julio. The video itself is a work of art, and I particularly like the verbal description you provided in the show notes. What a gift you have given us to represent such a tender scene you experienced. Thank you!
Thank you Luke, much appreciated! Lucky to get a few photo references of the fox...although I had to invent so much, and relied on memory for the strength of the design. Thanks again for the kind word.
Thank you! - Many egg tempera painters do not varnish, most often due to the fact that varnish is not as simple to remove from the surface as with oil painting...which technically, makes it part of the painting, as opposed to an added protective layer which can be removed by restorers later on, if need be. The other reason is that traditional varnish drastically darkens/changes the appearance of an egg tempera painting, more dramatically than it would an oil painting, due to the "open" and more porous surface of egg tempera. On occasion, I'll use a cold wax, and spread a thin even layer on the surface...which then hardens, and can be buffed to a polish. Most often I allow the painting to harden (ET's are very "green" at the beginning of their life) and then I take a silk cloth and begin to buff the surface of the painting itself. ET, especially when given time to cure/harden will polish to a beautiful satin or eggshell finish that I love. When possible I frame these behind glass.
ET needs a hard substrate (such as solid wood, or aluminum composite panel with cloth glued to it), preferably prepared with a silky smooth traditional chalk ground made from hide glue and chalk/marble dust/calcium carbonate. We often use aluminum composite panels prepared for ET with Rublev Tempground, or work on Artefex Tempanels, as a modern premade surface.
