Відео

Why would you use lead white for restoring paintings? Is that what you referred to when you wrote "conservation practice?" The decision is not about toxicity but what is reversible and safe for the painting.

@@RublevColours The reversibility factor is not about the pigment but the vehicle. As long as the vehicle is reversible then it's OK to use in conservation. So to answer my own question, I use other toxic pigments, all the cadmiums, so I suppose there's nothing in principle why I couldn't use lead white as well.

@@chicagofineart9546@chicagofineart9546 While it is true that reversibility is about the binder, there is some chemical interaction between the binder and pigment, and this is particularly true with lead white, so the choice should also be made with that in mind.

The reversibility factor is not about the pigment but the vehicle. As long as the vehicle is reversible then it's OK to use in conservation. So to answer my own question, I use other toxic pigments, all the cadmiums, so I suppose there's nothing in principle why I couldn't use lead white as well.

@@RublevColours So, that's absolutely true. And my aversion to any use of white lead pigment was informed by. having to remove overpaint of white lead and let me tell you, it's virtually impossible. There overpaintings were of course not conservation standard but just plain out of the tube white lead, so some kind of oxidized stand oil was doubtless used as the vehicle. When I saw that lovely warm white lead tone I was momentarily seduced to see if I can use it but now the glow is gone and I've talked my way out of it but I'll ask someone higher up on the conservation ladder what they think. Using an acrylic non-crosslink vehicle is standard but why take the chance.

Shiny?

Hay subtítulos en español!

It is good for long brushstrokes, creating lines and texture. Since it is similar to paint in that it has solid particles like pigments, it is "lean."

Glad you like them!

Both.

This is the focus of this video.

Natural red iron oxides include yellow and red ochers, hematite, goethite, limonite, and other natural iron oxides.

Start with Lead White #1.

Lead-tin yellow was used in many paintings before the 18th century, so we have a record of its permanence in paintings that are around today.

The link on the will direct you.

@@RublevColours very colourful and the most accurate black I mean Rublev black is so nutral that tone the color with aout shifting color fantastic job 👍

Follow the links to the website for more explanations.

For this reason, better painting practices will help to increase the longevity of the work.

Varnish is a protective coating, mooslty from abrasion and dust, but it will not mitigate cracking.

@@RublevColours thank you .is there any thing to stop it ,or i guess enjoy the process of seeing my work

And how the paint reacts over time.

@@josephsnyder9186 If the painting is on canvas, you should remount the canvas on a rigid support.

For fsater drying do not use walnut oil. Use our aged, refined linseed oil for best overall results.

Some pigments do not disperse well in pint mediums, such as oil (this is not the same as miscibility) due to poor wetting. This can be mitigated by using additives.

We offer lege amounts of pigment through our website, such as 500 grams, 1 kilogram and 5 kilograms.

@@RublevColours Yes I was interested in your Lithopone and only seen it in small tubes. I understand, do to the drying out time, why you don't offer it in 150ml tubes. I did the math and It worked out that I was able to order a Kg of pigment in a couple of whites from Kremer and some greens from Natural Earth. Except I realize your high quality and expertise and likely will be making purchases in the future. Thank You very much for educating us on art supplies and your extensive research for possible new pigments. You make a difference!

@@ltwig476 Lithophone in 150 ml tubes is out of stock at this time.

Of course, there is! You can order lead white from our European store: www.naturalpigments.eu

@@RublevColours Really? That's great, thanks!

Two layers of varnish can be applied instead of a single layer. If you decide to apply two varnish coats, it is advantageous to apply two different varnishes. For example, you can apply an acrylic varnish as the first layer and then a Regalrez varnish as a second layer or final varnish.

@@RublevColours thank you!

Hi again, I've got a few follow-up questions: on your site, your Conservar Isolating/Finishing Varnish "can be used both as an isolating varnish and a final varnish." Would it be OK to do 2 layers of Conservar Isolating/Finishing Varnish? Or would you recommend doing a layer of Conservar Isolating/Finishing Varnish first then a layer of Conservar Finishing Varnish as the final varnish? Why is it advantageous to apply two different varnishes, and are any of your varnishes incompatible with each other?

@@NikitaCoulombe Two layers of Isolating / Finishing Varnish is fine. Or two different varnishes in two layers. There are no incompatibilities. For more questions please read our blog or call.

Have you tried Rublev Colours Artists Oils-the only oil paints without additives and fillers?

The ingredients of transparent iron oxides are not considered toxic because the only ingredients in these paints are iron oxide and linseed oil.

@@RublevColours thx so much!

The company founders wanted to pay homage to the great Russian artist Andrei Rublev. Основатели компании хотели отдать дань уважения великому русскому художнику Андрею Рублёву.

Alabaster, which is a form of gypsum (calcium sulfate hydrate), has very similar opacity as chalk or barite. However, it has different working properties in oil paint.

Please subscribe and like us!

Not in oil paint, because the pigment is not very lightfast.

@@RublevColours Ah okay, thank you.

It's not bone black, but we are considering making genuine ivory black, in which case we can make a wider particle size range.

@@RublevColours Awesome, thanks for the reply.

We will consider adding brush strokes to future videos. However, you can see much of the behavior of these paints with the palette knife.

This video is from the first Artist Materials Advisor video: Paler Shade of White Part 1. Look it up.

There are more, too. We will publish part two of whites.

​@@RublevColours can you make a video of what colors and pigments did old masters used with historic avidence

@@bijelimedved2983 we have already. Please visit our channel to see more videos we have produced on historical colors.

A lot of painters, including Velázquez and Caravaggio used calcium carbonate to improve grip of the next layer or to add transparency to glazes. Rembrant is known to add quartz to his paint. They were not called fillers but it's a very well documented practice. Look for CaCO3 in paint layer analysis.

While there may not be any literary or direct evidence of the adulteration of lead white, it was a common practice to add various amounts of chalk or other fillers to lead white. This was true of lead white used for all purposes, but may have beeb true for the lead white used by artists. it wold be difficult to detect this in paint films since the lead white present is already mixed with other pigments.

@@RublevColours Thank you very much for the reply. To me the use of these fillers strategically in all these great masters is evident. But in order to justify scientifically in an investigation into the technical and material processes, I found this documentation useful. Thanks again

@@El_papa_de_Rambo para mí es claro a la vista q es así. En las estratigrafías siempre se observan este tipo de materiales junto con el resto de pigmentos. En mi propia experiencia resultan muy útiles, como dices, tanto para el agarre de la siguiente capa como para controlar lo “magra” que queda, así como para alterar el carácter reológico,la transparencia o el secado. El tema es q tengo q demostrar a un equipo de laboratorio con “evidencia científica” que esto es así y que las cargas que encuentran en las estratigrafías se deben entre otras cosas a motivos como los que aquí estamos hablando.

@@jacoboalcaldegibert1977 You are welcome.

The are very similar; the difference is the particle structure of each mineral.

You will experience less yellowing with lead white if you use lead white in linseed oil to accelerate drying time and apply the pant in thin layers.

In some brands it may be!

Cadmium is toxic, but cadmium sulfide and cadmium pigments have been classified as a Class 1B Carcinogen, but this is being disputed by many.

It should last indefinitely if the tube is kept closed while not in use.

You are so welcome!

The best practice is too apply Prussian blue as a glazing layer over another color, and not to mix it directly with white.

@@RublevColours hm interesting. thank you for the advice. do you only apply prussian blue as a glaze once the color below is close to drying?

@@ayan4697 Yes, only apply a glaze after the underlying paint is hard dry-not dry to the touch.

Thanks for sharing!