The Secret of Black in Old Masters paintings

In this video, I'm going to share with you the secret of black in old masters' paintings. This mysterious color is used to add depth and atmosphere to paintings, and you can learn how to use it to your advantage in your paintings too.
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#oilpaints #blackpaint #oldmasters

[@Wunderhof]

Thank you for sharing all your knowledge so generously!

[@Painter_ferhad]

❤️

[@PanShakely]

Hi Luis. I have been recently using a similar palette. Recently though I have been checking out the palette of Daniel E Greene. It has made me reconfigure my palette as: white; ivory black; Prussian blue; raw sienna; yellow ochre; cadmium scarlet; Alizarin Crimson; burnt sienna; raw umber; burnt umber. I like the sweep from cold to warm. 🍺

[@christopherfarrell-artist3557]

So good, after over 30 years of painting, I have just started to think about the grisaille technique, it really does make a dramatic difference.

[@daveemerson]

Well done Luis! Very informative. Thank you!

[@Painter_ferhad]

❤️

[@gracieladosantos7806]

Gracias , gracias Maestro !!! . Excelencia y precisión . Gracias por su enorme generosidad en transmitir conocimiento .

[@Painter_ferhad]

❤️

[@jjhrkel]

Deport the painting

[@teom3711]

thank you very interesting study!!

[@jimqartworks]

awesome, wow, thanks

[@ginabadeaux9319]

i love your channel ,thank you

[@nephillim.1994]

thank you من در ایران هستم و امیدوارم در اینده بتوانم استاد خوبی مثل شما داشته باشم

[@erxfav3197]

Luis, I believe this is my first comment ever in your channel. I am glad for your passion for the old masters and particularly Rembrandt and his techniques. I share in this passion. I’ve made my own “stack” lead white and other paints, traditionally sized many canvases etc. I am wondering though, how or where you get those brushes I see you’re using. Which look just like the ones in Rembrandts studio recreations. (That of what appears to be a quill on a wooden dowel wrapped around natural hair by string..)? @luisborrerovisualartist

[@bradysbradys]

I'm looking for a particular painter. Maybe he already died, I don't know, he was not young when he made the videos; but they were the best analyzes of color matching and the specific use of black, overturning the theory that black should not be used. Specifically, he talked about black and its historical importance in paintings. I need help finding it.

[@user-rw6mw6xl5x]

❤❤❤

[@tangents6299]

So much for idea they didn't use black

[@edwardgaray9134]

Genial

[@user-rw6mw6xl5x]

❤❤❤❤

[@user-rw6mw6xl5x]

🎉🎉🎉🎉

[@arturopeluffo1705]

Hola Veo que fábricas el blanco de plomo Podrías indicar el procedimiento Un abrazo desde colombia

[@nickdaring]

❤

[@bluesque9687]

Thanks again! I am subscriber and love your content ❤ Where can i get an English translation of this book that you keep mentioning, arte de la pintura by Francisco Pacheco?

[@ozymandiascakehole3586]

I was always taught that you never use black to mix and darken other colors, they lied.

[@phillipmurphy842]

Luis, is ivory black and black made from antlers practically the same material in regard to how the pigment behaves and appears in oil paint ?

[@eduardoventura1704]

Excelente como siempre, maestro. Tengo una duda: leí que en alguna pintura, Rubens usó negro de marte puro para pintar una capa, mezclando con blanco en los reflejos. En mi experiencia, el negro usado de gorma pura se ve muerta, no tiene la profundidad hermosa que se observa en los personajes de Rubens. Será posible que la información que leí sea inexacta? Gracias por su video, se lo echaba de menos. Sería genial si pudiera hacer demistración de cómo pintar drapeados rojos. Leí que era el color más difícil de pintar, si en algún momento usted decidiese hablar al respecto estaría genial. Muchas gracias nuevamente y feliz año nuevo, por si no se lo escribí antes! 😊🙌

[@LuisBorreroVisualArtist]

Saludos Eduardo: En múltiples fuentes el negro Marte es descrito como un pigmento del siglo 20. en.m.wikipedia.org/wiki/Mars_Black_(pigment).

[@eduardoventura1704]

@@LuisBorreroVisualArtist Muchas gracias maestro, ya veo que lo que leí era información defectuosa. ¡Muy amable por su atención! 🙌

[@jojosusu8035]

Hola, tengo una pregunta muy importante y difícil de entender para mí. Quiero pintar haciendo muchas veladuras 5, 6 o hasta 10 veladuras. Yo Pinto con stand oil. Comienzo pintando con 6 partes gamsol y 1 parte stand, cuando empiezo a hacer veladuras comienzo con 5 partes gamsol 1 parte aceite. ¿Puedo seguir velando con ese mismo medium todas las veladuras que quiera hacer ?¿ O debo necesariamente añadir más aceite por obligación?; el problema de hacerlo sería que llega el punto que tengo mitad gamsol mitad stand y en esta proporcion se hace muy espeso y no fluye como debería. ¿Puedo usar el mismo medium para 5 partes gamsol 1 parte stand para hacer todas las veladuras que quiera sin añadir más aceite?

[@Barbarion_]

Its a bit complicated with black paint as i see it, If you use black paint while mixing, you are setting you darkest value as dark as your black pigment will allow to do, but you can use burnt umber instead, that is much more lighter as lamp or bone black, but it will shift values a bit away from pure black, then layering burnt umbra with glazing will give that thin and precious toning and transition from lightest to darkest parts. You wont use plain white paint to make highlights, you always give it a touch of pigment, or you will use raw bright color to prevent chalking out pigment itself. Thats why in some lessons or information from painters its often possible to read about prohibition of using pure black or white, or even prohibition of mixtures of black.

[@LyubomirIko]

Didn't you meant Raw umber, that is kinda neutral? Burn umber can be rather too strong. Anyway, if you use Zorn pallet for instance you use black to create your own raw/burn umber hues, so it is totally possible to use black and achieve any kind of tonal key.

[@LyubomirIko]

Still waiting to hear about the actual secrets... In the past all masters were using some type of Apelles palette (Zorn palette) out of necessity. Having blue in your palette then was pricey obviously. So the modern impressionist idea of warm light vs colder shadow was not so straight forward. But still, it's pretty apparent how Rembrandt was applying impressionistic techniques of broken warm/cold colour - all over his painting, especially in the flesh. Gray tones putted along warmer tones looks cold, even blue-is. Gray and subdue passages is the best compliment to any colour, many artist don't know that because impressionism skew their perception. It's not that impressionism is bad, but it's silly how much artist even in art schools are taught to hate and avoid using black because of impressionist and expressionist ideas. Usually what were the masters doing - 80% of the painting, especially the background were very subdued colours and grays and blacks, and only the important parts were bumped with colors. Thin down black in glaze actually appears warm. Thin down white is colder in glaze. Transparency and thickness is key to many effect, usually it is a cannon that the shadow layers are thin, while the light can be impasto.

[@LuisBorreroVisualArtist]

Well said! Unfortunately, this knowledge is not well understood by most contemporary artists.

[@AFAskygoddess]

Why do you add "music" (noise) in the background? I've never attended a class or lecture with distracting noise that masks the dialog.

[@user-kn7nl8dk8w]

لايوجد ترجمة عربية 😢🙁

[@LuisBorreroVisualArtist]

Arabic subtitles are now included. Thank you for visiting my channel.

[@user-kn7nl8dk8w]

@@LuisBorreroVisualArtist Thank you very much 😍 I love your channel so much and I learned a lot

[@tubekulose]

"Vermeer" is pronounced [vərˈmeːr], not "Wörmier", and "van Gogh" is pronounced [vɑŋ‿ˈɣɔx] instead of "wen Go". 🙂