Vermeer's Painting Technique Demo Pt 1 

Yes! The three-layer process of the scarf (underpainting, work-up, finishing) also coincides with "Color Formulas" found in multiple 16th-17th century European Art Manuscripts ~

Thank you Paul! I really appreciate your feedback. Best regards!

Thank you for commenting and supporting my channel. 🙏🙏

I appreciate your comments Monte 49. Thank you!

I really appreciate your comments LB B! Thank you for visiting my channel. 🙏🏻

Thank you for commenting Amanda!! 🙏🏻🙏🏻🙏🏻

Thank you! I appreciate your feedback. 🙏

I appreciate you:p

Hello Ramon: I appreciate your comments and support. Muchas gracias y cordiales saludos desde Puerto Rico. 🙏🏻🙏🏻

Thank you for commenting Todd! Vermeer’s chalk/lead ground is perfect for a very refined technique.

Thank you for commenting and visiting my channel. 🙏🏻

Hello Jon: The Information published by scientists about this painting is so helpful in understanding Vermeer’s technique. If you publish an image of the master copy , you’re welcome to share a link with us to your social media page. Thanks for writing!

@@LuisBorreroVisualArtist oh fantastic, I shall do so! I'm combing through all the information I can find about Vermeer in general and this piece in particular. This particular painting seems to be extremely well studied, and the information available on it is really impressive (and useful).

We’re so lucky to have this information today. 20 years ago this type of research was very hard to find.

@@LuisBorreroVisualArtist I was incredibly impressed with the level of detail available, it's a truly amazing resource to have available.

Jon Roads. Glazing is only used AFTER completing the painting. Hence NOT after the grisaille on underpainting!. I myself prefer not using black paint, it kills the brilliance of color.

Thank you for commenting Daniel: I appreciate your comment.

Thank you Sweaty Palms!!!

Thank you for your feedback! 🙏🏻

Thank you very much Ron! I appreciate your support. 🙏🏻

Hola Yeiko: Gracias por tus comentarios. Creo que es importante mencionar que estos materiales no son perfectos a largo plazo. El gesso acrílico es un material impresionante con mucha durabilidad. La razón que los utilizo es para investigar cómo los maestros pudieron crear tan increíbles efectos con materiales sencillos. El aceite que utilizó es purificado con agua. La pasta contiene un poco de aceite secante de plomo.

Hello Henri: Thank you for commenting. You can find it on Amazon 👉🏻amzn.to/2N1vgkW

@@LuisBorreroVisualArtist Thank you Luis for the info 👍👍👍 Congrats for your 1k and I wish your channel to grow even bigger 😊😁👍

I appreciate your support Henri!! Best regards.

Manganese colors are excellent driers. I love brown ochre in particular. Awesome color!

@@LuisBorreroVisualArtist oh yes, I love to use Oxide Brown and manganese violet for shadows. also read that adding some yellow ochre to manganese violet create a wine cool red color, add titanium white to your wine color to create rose.

@@jimqartworks Nothing like a lovely rose color for the flesh tints. Thank you for the tip!

Hello Matthew: Thank you for coming by my channel and commenting. In terms of emulsion grounds, and to try to answer your question from a historical perspective. Emulsion grounds are hardly mentioned by the best known manuscripts of the past. I’ve tried a number of formulas documented by past artists and my experience has been that the best solutions are, oil grounds composed of chalk/lead for canvas. Chalk and glue grounds are best for panel. The glue has to be half strength, otherwise it can crack very easily. I have tried the oil/glue ground and it’s brittle after a few years. The only advantage to this ground is that it can dry very fast. I am pretty conservative when it comes to emulsions. I don’t like to mix two materials that seemingly don’t want to be with each other. I know that there are a lot of artists that use these types of grounds, but there’s not much evidence of their use in European painting. I can’t see any advantage for wanting to use this type of ground. Best regards!

Hello Alex: Thank you for commenting! I have seen the “temperone” medium advertised on the Kremer website. For me the most important part of the research is the media analysis from the scientific journals. Sometimes recipes are mentioned by manuscripts, but not necessarily found on the paintings themselves. It’s a great question though, and I will search for evidence of its use by Tintoretto. In the meanwhile you can start by using this book to search for possible sources from an array of Italian manuscripts 👉🏻books.google.com.pr/books?id=3ywTAAAAYAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

@@LuisBorreroVisualArtist Thank you!

does anyone know the exact recipe "Temperone" from kremer pigmente?

@@janzawadzki132 Exact, no. But it's an emulsion of rye paste (there are recipes for this) and oil and some larch turpentine, I guess. A sort of tempera grassa but not with egg but rye paste. Kremer found the receip in a XVIth century manuscript, they don't own it. But will they tell you if you ask the source? You could try...

@@bodeaalex1142 Many restorers have mentioned something similar. Have you tried making this medium?

Hello Henri: I get my linen from here👉🏻 sohoartmaterials.com/raw-linen/9620-belgian-linen. They have two widths available. Best regards!

@@LuisBorreroVisualArtist Thank you for quick answer 😊👍👍👍🎆

@@LuisBorreroVisualArtist thanks

Hello Simle Pi: I appreciate your feedback. I will be releasing my Vermeer video around late July early August. Best regards!!

It seems that the Ceruse Natural pigments sells on their website is basic lead carbonate mixed with chalk. The Cerrusite used by Vermeer on the top flesh layer of the Girl with the Pearl Earring is described as mainly composed of lead carbonate with a lesser amount of basic lead carbonate. I am going to set up a few experiments and I will report the info. Best regards!

@@LuisBorreroVisualArtist Thank you Luis! Fabulous project - I am learning a lot from your researches!

Hello Brian: Not sure what your question is but the paste that I employed for my Vermeer reconstruction is an oil ground composed of lead white, chalk and earth pigments. This a flexible ground applied to a sized linen canvas.

Hello: You can use both powdered Marble and Flake white to create a similar ground to Vermeer. You can find the materials through my kit links👉🏻kit.co/borreroart/reputable-oil-paints

@@LuisBorreroVisualArtist thank you!！！！！！ and add some Linseed Oil？What formula did you use for ground?(if I use Gypsum powder or chalk)

@@陳彥廷-o4f 75% chalk to 25% lead white. I mulled the paint first with washed linseed oil.

@@LuisBorreroVisualArtist thank you very much!

Hello Noel: Thank you for commenting. I appreciate your feedback. 🙏🏻

Sorry don't understand. what you really mean?

Hello Matthias: Thank you for commenting. I appreciate your feedback. To answer your question, I used spike oil of lavender for the very first brown layer. For the grisaille stage I used no medium.

@@LuisBorreroVisualArtist Thank you so much. I really appreciate your work.