Completely agree. Not an error - but seems like one at first glance!

Glad you enjoy it!

Close!

I couldn't agree more.

Come again soon!

I could - and probably will - make dozens of shorts just about this painting

In this process I am describing preparing a panel for painting in egg tempera. You cannot use a canvas support for egg tempera because of the nature of the paint and the tendency of it to crack with movement inherent to canvas. Egg tempera also brushes on more like a heavy cream rather than an oil paint so you need an absolutely smooth surface for the strokes to lay down right. I use aluminum composite material rather than wood because wood is susceptible to all forms of moisture and will eventually crack, even if it is sealed. Many traditional egg tempera painters will prime the surface with a ground made from rabbit skin glue and chalk applied to a wood surface but that form of ground does not adhere to aluminum. In this video I describe a modern primer made to bond to nearly any surface and accept egg tempera paint.

Thanks for sharing your process. I’ve been using their Easy Gesso on birch plywood panels for small egg tempera pairings and have enjoyed the soft and smooth surface it has. I would like to start painting on ACM instead for longevity. Do you have any videos showing the panel after this ground is applied? Cheers!

Thank you Oscar. I appreciate that even more coming from you.

Thank you for watching. Are you interested in more instructional videos on egg tempera techniques?

@jasondrake55 I am. I just recently started with egg tempera, and your video is among the best I've seen on KZbin.

I agree. If you are ever in New York City, you really should go to the Museum of Modern Art (MOMA) and ask them where it is on display. They will even allow you to take pictures of it. You will be fascinated, especially if you understand the process of painting in egg tempera.

I have tried acrylics, Golden Open line, and found them interesting, but not the same as egg tempera. I'll stick with the eggs.

Nidal, As in my previous comments regarding supports for egg tempera (ET), I have found that surfaces susceptible to expansion or contraction from moisture to be most suspect and I have personally stopped using them. I used to paint on birch plywood. I would purchase high quality pieces, seal them with some quality version of polyurethane or rabbit skin glue (RSG) and then apply generous coats of traditional gesso (made of RSG and whiting compound). But I would also make sure that I applied the gesso in equal amounts to both sides in order to prevent natural warping. Then I encountered micro cracking on the surface of those plywood panels well after I started my painting. I have to admit, I was prone to use more water in my paint mixture at that stage and apply more thinned washes with ET to block in my composition. But the micro-cracking drove me nuts. I would look very closely at the surface and see this hairline cracks all the way up and through the gesso ALL OVER the surface. From that point on I abandoned wood supports no matter what form. I then moved to Masonite or hardboard, which, I freely admit, is a wood based material but because of the adhesives that are used in the production process, it is much less susceptible to damage from absorption of water. Now I use only aluminum composite material (ACM) with the Tempera Ground from Natural Pigments as my primer. I rough up the ACM surface (the enameled paint that coats the surface) with sandpaper, then brush on the Tempera Ground (5 coats) and let it dry between coats. I am ready to paint. If you get my course (Learning to Paint in Egg Tempera - video.jasondrakestudio.com) you can learn more about how I apply the ET paint in order to make sure I get good adhesion. The ACM surface is superb and will last many lifetimes. You only need to brace it from behind if you paint larger than 48 inches (122 cm) in height or width. But even at 48 inches wide, it is light enough to easily carry and frame. While some artists use MDF and believe it is less problematic than plywood, it can get heavy when painting very large. I have not used it for that reason.

@@jasondrake55 Thank you very much.

Nidal, Egg tempera is a very fragile paint when dry and subject to cracking if the surface is not completely stable. Any surface with susceptibility to moisture, such as solid wood, or a surface subject to expanding and contracting (such as stretched canvas) will not work well and the paint will crack in a relatively short time. You must paint on a solid surface prepared with a traditional gesso, a gesso created with pure hide glue (such as rabbit skin glue) mixed with a whiting substance such as marble dust or chalk. Modern egg tempera painters most often use a plywood or masonite surface primed with a traditional gesso like that I just described. I have found, however, that there is a new primer that has been formulated by Natural Pigments that can be applied to either masonite, wood, or aluminum composite material and will give you an excellent support for this type of paint. Go to my online egg tempera course, Learning to Paint in Egg Tempera, to learn about these kinds of details as well as see complete instructional videos showing step-by-step how to get started. video.jasondrakestudio.com/

@@jasondrake55thank you very very much for the helpful gold information. But if I painted on plywood ( because plywood has on one side white color) with egg tempera, need I make rabbit skin glue or not?

Need I to coated with gesso or rabbit skin glue if I painted on plywood with egg tempera ( because plywood has on one side white color)? I am waiting for answering, thank you very much.

@@nidaljabarin4743 Nidal, When you prepare a surface, a support, for painting in egg tempera, the substrate material needs to be sealed in order for the paint to not be absorbed into it. When you have sealed the support material (plywood or MDF or hardboard, like Masonite), you can then apply the ground onto the surface. It is the ground upon which the egg tempera paint sits and is absorbed. Another reason for sealing the surface of the substrate is so that any chemical reaction from the surface over time does not seep into your paint layers and ruin your artwork. Plywood, as well as solid wood, has a tendency to discolor a painting through the resins that can seep into paint layers and be visible, thus ruining a finished work.