on the 2nd drawing, what were the faint dots that were on your paper for? i'm assuming you're using them to get your proportions if so, how did you get them correct?
First time I hear another artist distinguish between academic drawing and classical sketching. I thought I was the only one knowing this. I think classical artist had to draw from imagination. Their training was very focused to be able to draw from imagination and I do believe they painted from their sketches and not from models, where academic artist spend a lot of time with their models.
@capitalistche Their initial composition sketches was done from imagination. Then they would hire models to do the more detailed drawings of heads, hands, feet, portrait and figure, with the intent in mind that they will have to use only the sketches to paint from later on from imagination. Thus they would focus intently on that drawing to get the form right. Because they already had training from their master and mastercopies on how to mix skin tones and set up a color scheme for skin tones they would paint from imagination. I bet they rarely painted from life models. If they did, it would only be for final detail. Most of the time, they didn't even use the same model for a single figure painting.
Thank you so much for this detailed lesson. I'm a philosopher who works in aesthetics rather than an artist myself, but I found this extremely illuminating.
I really appreciate your videos Luis, and your huge efforts to understand these materials and practices. It’s so helpful to see the demonstrations and then go away and experiment. You’re a disappearing bridge to the past!
Maestro, siempre es un honor ver alguna de sus clases que tienen tanta rigurosidad, para los que no tenemos acceso a educación en las universidades de arte más destacadas, el compartir estas joyas es mejor que el maná. Mil gracias por su erudición. 🤗👏👏👏
It’s really funny because this is like the style i’ve been working in for like the last week just by happen chance only difference really is that I’m using a dip pen instead of a quill and Sumi ink instead of Woodash
another great video, thanks. I have just ordered a book full of Rembrandt's drawings in pen and ink so I am looking forward to trying to imitate his style.
You nailed it once again, with your own brilliant calligraphic style and hand. Pure raw talent! No projectors, or tracing, lovely. Some nineteenth century watercolorists would lay in the drawing similarly, shellac over the drawing and letting the watercolor flow loosely over the drawing.
Fantastic video! I couldn't attend the Live, but I enjoyed the recorded session a lot. Thanks as always for sharing and for motivating us to challenge ourselves. Greetings from Germany.
very nice demonstration ... I think raising this topic is very important as drawing has been rightly understood to be the "father of the three arts, architecture, sculpture and painting" - vasari. nowadays, drawing isn't understood properly, in my view (except maybe with illustrators or graphic novel artists). I remember reading about michelangelo apparently having met titian and saying afterwards, "if this venetian could draw as well as paint, no one could surpass him". mind you, both were still versed in the tradition of inventing something entirely new with their creations, rather than being concerned with accurate depiction. yet, michelangelo couldn't see the exceptional drawing technique that is the core of any of titian's finished work but rather was stuck in a certain thinking that only what he was doing was proper 'drawing'. so what I'm saying is drawing is most directly related to painting and the approach of titian paved the way for the most esteemed masters of western painting. that's probably why artists like leonardo left some work 'unfinished' and some of titian's late work was claimed to be unfinished when in reality what they were saying, in my understanding, is that a work is supposed to be always 'finished' or, vice verse, always a sketch, always unfinished. and this is the essence of drawing ...? most painters have experienced the frustration that as the alla prima gets pasted up over the underpainting, a lot of time, the work loses the 'life' that it had while still a drawing (underpainting / oil sketch). so those painters who can approach their painting as if it were a drawing they are working on until the end result pleases them (even if they work on it, changing and improving, for several decades) have a huge advantage over those painters who merely transfer a cartoon to canvas. if more people understand again that being able to draw means being able to produce a convincing rendition of a complete idea without any templates, then the arts would greatly benefit, returning to a true tradition ...?
Great presentation Luis! I am very much looking forward to the January Rembrandt class. After completing the Drawing Fundamentals semester with you, I know the painting class is going to be an amazing and rewarding experience. 🙏
Such a great video! I have seen it several times, and I like it so much. I love Sepia ink, my favorite ink. This video is so beautiful, a masterpiece in itself. Will you make a video about the lead paints (other than stack lead white which was already honored by a great video)? Lead seems to have very strong siccative capacities and opaque qualities depending on the acidity/alkalinity. Lead tin yellow was also intensively used by Pieter Paul Rubens, if I remember well, who was a master in painting flesh tones and used it in the flesh. Lead tin yellow, minium, Naples yellow of Paris (lead-tin antimonate), and stack lead white are here only available to restorers and professional artists. Lead tin yellow and minium, unlike stack lead white, require heating (in a kiln?), and depending on the temperature and duration shades are manufactured. Anyway...
Hola Luis. Muy interesante y valiosa información. Me pregunto si me podrías dar alguna información sobre dónde conseguir papel similar al empleada Rembrandt. Por la información que he encontrado, tengo entendido que eran de origen japonés, ¿tienes información sobre dónde podría encontrarlos para comprar online?. Y de no ser posible, ¿qué producto comercial sería lo más similar para usar en su lugar? Saludos y muchísimas gracias.
Hello David: Thank you for visiting my channel and commenting. You can purchase ready made genuine Bistre ink from Kremer pigments👉🏻 www.kremer-pigmente.com/en/shop/ready-made-colors/180450-bister-ink.html
@@LuisBorreroVisualArtist Thank you Louis, I’ll check it out! I’m surprised bister isn’t readily available at most art shops, what beautiful color. Thank you!
Subtitles took a while, but they're finally uploaded!!!
on the 2nd drawing, what were the faint dots that were on your paper for? i'm assuming you're using them to get your proportions if so, how did you get them correct?
First time I hear another artist distinguish between academic drawing and classical sketching. I thought I was the only one knowing this. I think classical artist had to draw from imagination. Their training was very focused to be able to draw from imagination and I do believe they painted from their sketches and not from models, where academic artist spend a lot of time with their models.
did they sketch from models or imagination as well?
@capitalistche Their initial composition sketches was done from imagination. Then they would hire models to do the more detailed drawings of heads, hands, feet, portrait and figure, with the intent in mind that they will have to use only the sketches to paint from later on from imagination. Thus they would focus intently on that drawing to get the form right.
Because they already had training from their master and mastercopies on how to mix skin tones and set up a color scheme for skin tones they would paint from imagination. I bet they rarely painted from life models. If they did, it would only be for final detail. Most of the time, they didn't even use the same model for a single figure painting.
What does drawing from imagination mean ?@@sebastiaantheartartist
Thank you so much for this detailed lesson. I'm a philosopher who works in aesthetics rather than an artist myself, but I found this extremely illuminating.
I really appreciate your videos Luis, and your huge efforts to understand these materials and practices. It’s so helpful to see the demonstrations and then go away and experiment. You’re a disappearing bridge to the past!
25:20 - really good question! And interesting answer as well.
Maestro, siempre es un honor ver alguna de sus clases que tienen tanta rigurosidad, para los que no tenemos acceso a educación en las universidades de arte más destacadas, el compartir estas joyas es mejor que el maná. Mil gracias por su erudición. 🤗👏👏👏
Great topics and research
It’s really funny because this is like the style i’ve been working in for like the last week just by happen chance only difference really is that I’m using a dip pen instead of a quill and Sumi ink instead of Woodash
Brilliant love it
another great video, thanks. I have just ordered a book full of Rembrandt's drawings in pen and ink so I am looking forward to trying to imitate his style.
Luis, you did good on this portrait, it's perfecto
I want to talk to you in private, please tell me how
I have info you might want
@@joebrann4612 www.atelierschoolonline.com
You nailed it once again, with your own brilliant calligraphic style and hand. Pure raw talent! No projectors, or tracing, lovely. Some nineteenth century watercolorists would lay in the drawing similarly, shellac over the drawing and letting the watercolor flow loosely over the drawing.
Thank you for visiting my channel and commenting Peter.
Thanks Luis, very informative and thanks for sharing.
Very thanksfull Luis. So interesting and bright speech.
Fantastic video! I couldn't attend the Live, but I enjoyed the recorded session a lot. Thanks as always for sharing and for motivating us to challenge ourselves. Greetings from Germany.
very nice demonstration ... I think raising this topic is very important as drawing has been rightly understood to be the "father of the three arts, architecture, sculpture and painting" - vasari. nowadays, drawing isn't understood properly, in my view (except maybe with illustrators or graphic novel artists).
I remember reading about michelangelo apparently having met titian and saying afterwards, "if this venetian could draw as well as paint, no one could surpass him". mind you, both were still versed in the tradition of inventing something entirely new with their creations, rather than being concerned with accurate depiction. yet, michelangelo couldn't see the exceptional drawing technique that is the core of any of titian's finished work but rather was stuck in a certain thinking that only what he was doing was proper 'drawing'.
so what I'm saying is drawing is most directly related to painting and the approach of titian paved the way for the most esteemed masters of western painting. that's probably why artists like leonardo left some work 'unfinished' and some of titian's late work was claimed to be unfinished when in reality what they were saying, in my understanding, is that a work is supposed to be always 'finished' or, vice verse, always a sketch, always unfinished. and this is the essence of drawing ...?
most painters have experienced the frustration that as the alla prima gets pasted up over the underpainting, a lot of time, the work loses the 'life' that it had while still a drawing (underpainting / oil sketch).
so those painters who can approach their painting as if it were a drawing they are working on until the end result pleases them (even if they work on it, changing and improving, for several decades) have a huge advantage over those painters who merely transfer a cartoon to canvas.
if more people understand again that being able to draw means being able to produce a convincing rendition of a complete idea without any templates, then the arts would greatly benefit, returning to a true tradition ...?
I really enjoyed reading this 👍 I have many books on Venetian drawing, they just had their own approach to it.
So interesting to watch, thank you for sharing 🙏
Great presentation Luis! I am very much looking forward to the January Rembrandt class. After completing the Drawing Fundamentals semester with you, I know the painting class is going to be an amazing and rewarding experience. 🙏
We had an amazing semester Dave! Thanks again for your support and friendship. Happy holidays!!
@@LuisBorreroVisualArtist Happy Holiday Luis! 🎄
Such a great video! I have seen it several times, and I like it so much. I love Sepia ink, my favorite ink. This video is so beautiful, a masterpiece in itself.
Will you make a video about the lead paints (other than stack lead white which was already honored by a great video)? Lead seems to have very strong siccative capacities and opaque qualities depending on the acidity/alkalinity. Lead tin yellow was also intensively used by Pieter Paul Rubens, if I remember well, who was a master in painting flesh tones and used it in the flesh. Lead tin yellow, minium, Naples yellow of Paris (lead-tin antimonate), and stack lead white are here only available to restorers and professional artists. Lead tin yellow and minium, unlike stack lead white, require heating (in a kiln?), and depending on the temperature and duration shades are manufactured. Anyway...
Very nice❤❤
Hi Luis, thank you for the video, what brand of paper did you use in the demonstration? Thanks again.
Hola Luis. Muy interesante y valiosa información. Me pregunto si me podrías dar alguna información sobre dónde conseguir papel similar al empleada Rembrandt. Por la información que he encontrado, tengo entendido que eran de origen japonés, ¿tienes información sobre dónde podría encontrarlos para comprar online?. Y de no ser posible, ¿qué producto comercial sería lo más similar para usar en su lugar? Saludos y muchísimas gracias.
If I ever get a quill it wound be customized , like all my tools.
Seria bueno Mestro, si usted subiera videos en español, millones de personas no sabemos ingles.
Hi Louis, I’m from the US and would like to make this bister ink. What is the ink recipe and where do you recommend I purchase bister? Thanks!!
Hello David: Thank you for visiting my channel and commenting. You can purchase ready made genuine Bistre ink from Kremer pigments👉🏻 www.kremer-pigmente.com/en/shop/ready-made-colors/180450-bister-ink.html
@@LuisBorreroVisualArtist Thank you Louis, I’ll check it out! I’m surprised bister isn’t readily available at most art shops, what beautiful color. Thank you!
Tiepolo. Frigonard....
Hi, do you know of any metal nibs that approach the line quality of a feather quill?
Hello N Smith: A Speedball hunt, Crow quill is pretty close. It’s not as responsive as the natural quill though.
Looks really interesting. Can you send me more infos, such as exact date, price etc etc.
I am awaiting your answer.
Best wishes,
Freddie
Hi Federica, you can find all the information using the link below www.atelierschoolonline.com/shop
Thank you!
You are very handsome
A modern rembrandt probably would be using microns or rapidographs lol..
Look at what Picasso used and u will have yr answer