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19th Century Painting Grounds
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- Опубліковано 5 гру 2023
- Artists of the 19th century predominantly relied on commercially prepared grounds for their paintings. Join me in this live presentation where I will delve into recent scientific findings, unveiling the formulas canvas manufacturers employed during the 19th century. Discover the secrets behind the preparation of various types of professional artists' canvas, favored by world-renowned artists like Van Gogh, Gustave Moreau, and many others.
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Hiii, Luis, missed so much your long videos!, I’m so excited cause I knew the channel when you were not very active, just wanted to say that your knowledge has helped me a lot with my own paintings and doing the best I can with the materials that I have available, also bought your course of Rembrandt master copy, I have seen all of your long videos!, you helped so much us and when I’m able gonna help the channel again! :)
I hope I can be part of a live video in the future
Very great video, thanks! And I liked the information in 19:38, I use cotton canvas, now I know that if I choose to use acrylic gesso on the raw cotton, I don't need to use rabbit skin glue or pva to sizing the raw cotton, I can now apply the first coat with acrylic gesso , this will speed up my process.
Amazing talk. Thanks again.
EXCITING!!!!
Excellent video as usual, Maestro Borrero. How I enjoy your presentations. I'm looking forward to being able to paint again. Thank you again for the info, but specially for the motivation.
Gracias por tu apoyo. Muchos saludos!
Thanks Maestro . Yeap apparently acrylic gesso is not recommend beyond canvases that are bigger than 3 squares meters if you are planning to use oil on top. The acrylic is more flexible than oil paint and they say it will cause the layers to separate as the years go by. So , just stick to small canvases , or learn the traditional way for bigger sizes , if your painting on top with acrylic there’s no issue but with oil is problematic .
Excelente video. Respecto a los solventes, me enseñaron que por ser tóxicos debo estar en un lugar muy ventilado, pero que el uso de la trementina es indispensable en la primera capa para que las posteriores que tienen más aceite, puedan adherirse correctamente. Es esto cierto? No entendí bien las alternativas que ud proporciona, porque las vi con subtítulos y en mi país no venden ciertos productos de pintura que sí se vende en otros. Gracias una vez más por toda su generosidad al compartir sus valiosos conocimientos. 🎉🎉🙏🙏🙏
Hi Luis, very informative video as always, is it possible for u to give the link to the research paper by the scientist?
Hello: You can email admin@atelierschoolonline.com for the link.
Olá, thank you for sharing your knowledge and experiences. Do you know an alternative to rabbit skin glue that is similar to the real thing? Thank you
Thank you for commenting. You can use PVA size instead of rabbit skin glue.
hola luis muchas gracias por compartir tanta información de valor ... eh visto la mayoría de tus cursos de Udemy y eh estado muy pendiente de tus presentaciones y videos de tu canal lo único que no me queda claro son los tiempo de secado de los soportes sobre todo los de aceite...en cuanto tiempo recoemiendas comensar a pintar una vez echo el soporte co presencia de blanco de plomo ?
Saludos: Gracias por su apoyo. Usualmente espero uno o dos meses para trabajar en el lienzo preparado con una imprimación de óleo y pigmentos de plomo.
@@LuisBorreroVisualArtist muchas gracias por responder . Esa fue una de mis dudas en el curso de vermer....tambien seria el mismo tiempo de secado de las telas preparadas con gesso tradicional al sellarlas con aceite ?
I absolutely admire what you are doing! I have studied art in University and although how much I tried I found zero information on art materials from teachers. Old books helped a lot though. You fill a giant gap in knowledge of techniques and materials! If you may only answer me a question. I work with egg tempera in the first layers before swifting to oils. Is there any alternative glue for the gesso to Rabbit skin glue? It may sound silly but I find it very hard psychologically to use it because I have grown up with rabbits as pets and I still have. I feel as other people may feel if they used glue made of other pets like feline or canines pets and I just can't. I would be grateful if there is an alternative. Thank you in advance either way and wish you always the best! Keep up the good work and you have my gratitude!
Thank you for sharing your feedback. The best alternative to replace RSG is PVA size.
@@LuisBorreroVisualArtist thank you with al my heart for tour feedback!
🙂🙏
Hi Luis. I have a few questions about linen canvas. I've been painting on cheap cotton canvas for years but have always wanted to use linen. As you know, linen can be pretty expensive and many of us painters can't afford it. I have found some cheaper varieties online that I ordered from China but although it's better than cotton canvas, it's still too smooth for my taste. I've always liked the texture in the old paintings we see in museums which looks rather rough but I'm not sure where one can find it. I have bought rough unprimed linen online but not from art retail stores. One can find fairly large pieces of raw linen canvas online sold by private vendors and save money but, not having much experience, I don't know if it's actually suitable for painting. I ordered a sample of it once and tried to prime it with PVA then applied some white acrylic gesso over it. When it was dry I painted a head study on it but I was not at all satisfied with the results! The texture was much too visible and the body of the paint was way too flat. Imagine painting with oil paints on a cement wall, that's what it looked like! What went wrong? Did the old masters apply many layers of paint when creating their paintings? My head study was painted alla prima and maybe that's why the results were so poor? I'm sure someone out there knows how to get better results than I did. Hoping you can help, thanks!
Thank you for commenting. When using a rough weave linen you should use a double ground for best results. Try to find a high-quality rough Belgian linen to avoid problems.
@@LuisBorreroVisualArtist Thanks for your response. What exactly do you mean by "double ground"? Do you mean two layers of gesso?
Check out this video to learn about double grounds. ua-cam.com/users/livenhJfvyMUgR4?si=XQbpQ1Q-bfznMIKu
Que pena que siendo hispano de los cursos en inglés. Una que se va
Hola Carla: Todos mis videos aquí en UA-cam incluyen subtítulos en español, así como en varios idiomas para satisfacer a una audiencia mundial. Me enorgullezco mucho de la labor que realizo. Mis valiosas investigaciones están disponibles de forma gratuita para todos, independientemente del idioma que hablen. Pronto estaré publicando los subtítulos en español para este video, por si te interesa aprender acerca de las superficies de los maestros del siglo 19.
Hola Luis,
No es nada personal, pero últimamente parece que quieren imponernos el inglés para todo y como hispana empieza a tocarme los huevos la situación. Supongo que estoy quemada con el tema.
No obstante voy a ver si me apaño con los subtítulos en español de UA-cam ya que me interesa la temática de tu canal y desde luego tus clases.
Un cordial saludo
@@Carla48435hiis videos being in English are an incredible source of knowledge for everyone else. Im arab and the information is non existent where I'm from.
@@Carla48435 Puedes encontrar algunos videos pasados en Español en esta pagina facebook.com/atelierschoolonline/videos.