Questions with 2nd Workshop
qwer
« on: 18. Jun 2002 at 13:40 »Dear Mr.Antonov,
I recently bought your second video workshop and I think that it was well done. It is just as good as yur first video. Howeve, I have a few questions.
First, why do you use ivory black instead of lamp black in the dead layer? You only used lamp black in the imprimatura.
Second, when placing a painting in the sun how long should be out there?
Third, why didn't you use transparent oxide red and indian yellow?
Finally, why are the proportions of the mediums different compared to the first video?
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« Reply #1 on: 18. Jun 2002 at 19:52 »
Alexei Antonov
Administrator
Dear qwer:
The first and the most important, I am only 45, this oil painting technique is 600 years old, it is obvious that I cannot know everything, even Rubens and Van Eyk did not know it. I hope it is clear why. To reveal the forgotten secrets of classical panting technique - it is an ojective of a whole life not of one person, it is not an inspiration but meticlous and permanent task. More we are talking here about the details of it, easier it will be tomorrow for the young artists. That's why I want to thank you for your doubts and good questions.
Quote:
I recently bought your second video workshop and I think that it was well done. It is just as
good as yur first video. Howeve, I have a few questions.
First, why do you use ivory black instead of lamp black in the dead layer?
You can read here about it.
on 07. Jun 2002 at 02:36, Valentino Radman wrote:Mr. Antonov,
I am not an art conservator, just a graduate on Academy of Fine Arts who try to acquire as much
knowledge about painting technology as possible.
As for Ivory Black in underpainting layer(s) all experts agree in following:
Ivory Black serves well as an all-around black and tinting color.
But, since it takes up considerable oil in the grinding process, it dries slowly, creating a
soft, brittle film. That makes I.B. less suitable for underpainting. It is better to use Mars Black for that purpose and Ivory black for glazing mixed with a fat medium to add flexibility. A painter, as you know, must always follow fat-over-lean rule (more flexible coats over less flexible ones, and slower drying paints over faster drying ones), iif he/she wants to prevent cracking and other damage that might inflict a painting over at a later date.
I didn't want to sound impolite or something like that, I just thought this to be very important
thing.
Valentino
on 12. Jun 2002 at 22:14, Alexei Antonov wrote:Dear Valentino:
Sorry for the delay. I understand very well what do you mean and a while ago I used to use Lamp Black in a Dead Underlayer and Ivory in the color layers. But later I found out that the mixtures with Lamp black are changing in tone and color unpredictably with time. In the contrary Ivory saves tone and color much better in spite of longer drying time. But Prussian Blue and Umber really accelerate drying process.
Regarding Mars Black, it sounds to me too contemporary.
Alexei Antonov
Quote:You only used lamp black in the imprimatura.
Because Lamp is more thin pigment with colder hue, which in a mixture with Ochre Yellow gives the greenish hue, and not big amount and even spreadibility in inprimature gave me the right to ignore the characteristic of Lamp Black to change with time.
Quote:Second, when placing a painting in the sun how long should be out there?
As long as it shines, put back inside during the night time in order to prevent it from becoming wet. How many days? Til all oils will harden. How to know? Bring inside and wipe with white cloth damped in oil, if the cloth will become not white, it means you need to continue drying the painting under the sun.
Quote:Third, why didn't you use transparent oxide red and indian yellow? .
Portrait palette has less colors .
Quote:Finally, why are the proportions of the mediums different compared to the first video?
Read the beginning of the letter. But I already mentioned the the degree of the consentraion of the mediums could vary. The only rule is that this medium is becoming heavier towards the finishing layers.
Alexei
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Re: Questions with 2nd Workshop
« Reply #2 on: Today at 22:46 »
Zeke
Dear Alexei,
I have just purchased your 2nd video workshop (Anna) and am very pleased. I am a beginner in modern oil painting (5 years) and an absolute beginner with the classical technique (your tape is my first introduction).
I would like to make some comments on the technical and pedogogical aspects of the tape. I offer these comments in the spirit that future tapes may be more understandable to your audience.
-First the sound quality needs to be improved. Breath emanating from the narrators 'p' and 'b' sounds, especially, are exagerrated, possible because he is too close to the microphone.
-Next, I would suggest an introduction to each stage of the painting, especially introducing the colors to be used at each stage and an explanation.
-Thirdly, I would have liked to have seen Anna or her photo from time to time to compare with the painting.
-Finally, and most generally, the speed of the presentation is a bit quick. There is a lot of info in the video and I found I had to stop the tape many times and rewind to catch all of the info.
Overall, it is a very good work. As I mentioned earlier, I submit these comments in the spirit of improving an already high quality product.
Sincerely,
Zeke
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