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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.
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!!
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.
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.
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.
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.
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.
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.
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.
