Botticelli's Technique - Egg Tempera

Hello my name is Antonis and I am the photographer of this video Today I want to share with you my plan for this incredible photograph from Sandro Botticelli a photograph of a new man And I want to share with you step by step how I took the photo I have a previous video about the photo of Venus From Sandro Botticelli the painting of Venus by Sandro Botticelli She filmed this video almost a year later and I decided to finish these works by Sandro Botticell Above this beautiful photograph As you can see I have already started The photo of Sandro Botticell Above this beautiful photograp And now I am doing this signing Sandro Botticelli painted this image using Tempera According to the borders he didn't write with any olive oil It was the best example to use the Tempra So you can create an Eastern photo studio If you are interested in this technique Watch this video with me And I will try to be as explanatory as possible I hope you are well and in good health I hope you have a good journalistic period in your life And I hope we will get through this difficult period in history As easy and likely as it may seem So here as you can see After I have converted the photo into a frame I am signing this document I have this frame prepared with a glue stick There is another video where I show you how I prepare the frame This frame is really one of the frames I prepared in this video Here you see me doing this signature Only using a little gesso and a little black I prepare this as if it were a watercolor After this video I'll be wearing less black This signature helps me understand the framework better To read the framework better I want to understand the relationships of light in fire What are your thoughts What are the transformations between light and thought Usually the office understands me And he understands for the next video It is not a characteristic time Even if you see that the greater one of these will understand Under a canopy a prelude For those who are known through illustrations They will all understand but something will still be fantastic from beneath the veranda Something from this first black and white feature And it's not a characteristic time Because as I said He understands me and prepares me For the next feature I'm trying to be Yes my traits here are very hard Very essential let's say but I'm still trying to be as hard as I can with such forms And understand the characteristics of the regions Now I characterize this kingdom here It's something very simple A very simple black feature And now you will see me labeling these keys I am describing a veracity that I believe is appropriate It is a black and red feature that will cover the entire area and in this red characteristic I will first describe the thoughts The thoughts of the keys I characterize these thoughts and at the same time I loosen the laces with the bow With loose-fitting garments that look suitable for Botticelli's style And after I've had these thoughts about the keys Now I will proceed by characterizing the light Describing the first lights in these keys I have noticed that Botticelli uses a loose An incomplete characterization This is the characteristic of the characterization With Tempera of course His thoughts are very beautiful Very refugee-like and good I want to keep this rating Also in this job I will make this first light designation for these keys And I will try to keep this label It appeared briefly Of course I'll do some mixing later With a better characterization I think this is the way Botticelli did it It must have also characterized these incredible keys So first I will do the Vertacio then I will do the lights And then I will proceed with the light This is the process And of course Botticelli was an artist Of the ancient East His character is very well defined his activities which were Characteristics very well known in the Byzantine style And all of this happened As an evolution of the Byzantine style of the Greek style in many ways where the standard method of designation is It was exactly that characterizing a Vertacio After a Proplosmos as we call it After that we characterize the hard regions And after the light After that with the discovery say of the royal of the kingdom of the middle kingdom This technical change was a change We had the Grisaille We had some other various technical characteristics to be categorized But Botezela surely It followed this Greek technology and of course It was used for this Now I proceed to characterize The light and the hands This new man and of course I will move aga With the closing of my kingdom Verdacio A different Verdacio for the light and Different for the hands I'm trying to imagine how the production tha I study which is hard how would it be without it light light and all these and I'm trying to understand What would be the color of Verdacio So I decided to make a Verdacio here with a color that would not be so hars as Verdacio say of the Byzantine Aikou bu Less white and More kingdom For this reaso I have added a bit of Yellow Walker some Cadmium Yellow Some Titanium White and a little Red Cadmium Yellow gives to every color tha I see something related to the color of my constructio I'm trying to use it with someone The color with which Zeus is depicted in his statues And For Verdacio of the hand I have used of course something about the color Black and maybe some oysters and again a little bit of caviar I'm not really in a position to use exactly the same colors that these journalists use I use colors that did not exist in their time For me this is not very important and is not part of my interests to do A piece of these photographs even at the level of their materials I'm not really interested in this I am interested in photography working with their photographs and trying to take photos As if I could learn something from their photos and learn the way they make them They message and photograph their photos For these drawings let's say I'm photographing the hard ones now in Veratci Characteristic photos the areas I see that should be a bit hars from Bertacchi I will spend some time here because this is a very very important photo In the photo these are the important parts of the photo these hard-edged photographs Okay I will try to observe my example and focus on my photograph In my mind the pictures to remove the pictures something that might be less than Verdi To remove it from my mind and try to think about how the example of Vortucel would have happened Without the photos and also try to imagine the same in my mind The program for example when we do work really needs to be used e photo of us and somehow try to understand how it would have happened like the example of Vortušel At various stops of the example Here I will take some time to try to demonstrate these features These hard facts trying to speak about them as much as possible Even with my example I'll speak these as I see characteristics and then proceed When I am ready and feel that I am okay with this step I will proceed to add the photos to my mind But first I will make sure that this is the best I can do that this seems Ready for the next step That's why I will use it as needed Here of course you see this video in a continuous problem I wanted to keep this video under one hour You can find the full version of this video on Patreon I will calculate a A small app where I use less and you will also be able to better understand the photos But it would be impossible here to keep the right way in the video It would have taken more than 5 hours so you get the idea but I don't think that's necessary This fast doesn't allow you to understand what I'm doing and what is happening I do You know cleaning and mixing cleaning and mixing until I feel like this Easy to proceed now with the photo of the lights Now for this I have used A color where I have combined Titanium White some Bone White and some Cadmium Red I want a color that's much rosier than Proplasm and of course much whiter in number So here I am following only the activities of Bottecelli my teacher here and I will place these white relations in the photo My photographic characteristics The harsh photographic characteristics really help a lot but I'm also trying To be safe let's say and I'm trying to transform these white relationships in my photograph This program is I would say very satisfying It's very nice to characterize with tempera It is very tall here and the color is almost self-evident On the side of the floating and it's really very very satisfying to do for myself Try to understand where these relationships need to speak with the vernacular And in these areas try to use your character in a linen very subtle way This is the way he has characterized Botticelli in this photograph Don't worry about the presence if it's acting like a photograph today Don't worry if the camera captures characteristics little by little you will fix it That photo there would look nice Of course you see me labeling it here I have an experience that characterizes me more than I don't know 30 years I started using the name Tempra in 1992 when I was 14 years old And as you can imagine I'm very easygoing when it comes to using this medium It's something that feels very natural to me I know how mediation is handled and you see a result here that was Ready let's say who had been ready for many many years now I say this because it might seem negative to some of you If you are trying to get the same photo you might be disappointed or realize How difficult it is I'll tell you that if I give you my photos when I started They are just terrifying They weren't prepared they couldn't see well and As I see it now I say the same about myself that if I had a student who played So terrifying I might perhaps be able to rate him or proceed with the excellent photography They saw my first photos with Tempera and they were really bad so I want to tell you to watch out If you enjoy it keep watching and you'll be fine I remember that once one of my students was really very difficult with me He really gave a very tough critique saying that his eyes I made Christ and he said his eyes were like the eyes of the Saint He said that the eyes of Christ were like the frames of the Decade It was very difficult but I remember that this critique this very difficult critique It didn't really affect me Also at that time as you know I was young I was young but it didn't really affect me I would like to say that if someone told me this now I would like to be more vulnerable But then somehow a year passed into another year This review Because since I was so determined that this was something I wanted to do in my life That I was sure it was wrong I was sure his criticism was wrong I didn't let it affect me Thank you thank you I'm happy tha I didn't leave a review from a teacher before to change My love for photography So definitely here back in this little room Here you see me talking about This first light I have created a mid-tone and made the first speech And a midtone is a color that is between the underpainting and the Verdaccio And the first light So I'll take some of these two colors And I will talk about them I will add a little bit of saffron egg just to enhance that color A little while and I will do this first speech Now I am doing a second popular speech With a color that is closer to the first light So what I do here generally It's about the first folk song I did with my fiddle which is blue-green This is a process that has its own technique That is I use my knife's mind In a very subtle way First I make a mid-tone to create a very basic sketch Then I will mix some colors More between colors that are neither hard nor less To conclude a very delicate very beautiful speech So don't forget that you are using a very nice one a very delicate approach that addresses the way we want to deal with it and Also something very important and please use this speech As carefully as you can use these fine lines try to The minutes will be visible this is something we want we don't want the minutes to be hidden It appears as if you take it by the minute no the minutes must be visible But try to make these things as delicate as possible as delicate as possible as delicate as you can This will create a wonderful one Adjust the tones in your photo and it will make it really really good It's amazing for the viewer to see it So you watch carefully very carefully And other things that must be very which is very important here is that you mus Always pay attention to the tone you use what is in your photo and What are you where are you in your photo Don't use only a few colors from your photo You know okay now I'm doing a first color between To speak with Verdacio and my first light Now I will make a second color in between That will help me to talk with the first among the colors and the pre-mix To speak let's watch the first among the colors and Verdacio Now I'm making a second color in between that will help me speak with the first color in between And the first light of mine I know these are scars maybe but if you clean this underwater Your mind then it will be so easy for you to create this photograph Try to understand what comes first what comes second and what these color codes are And you will do it wonderfully It's not that hard it's very simple And another thing I want to encourage here is that in this channel I have give Here are some videos on how to build using you know a photo album Of your example You build a grid and then use the grid method or a method with some values A compass and some plans you can build a very precise very precise Your actual example plan But I want to say that for many of you this is very difficult very difficult and It simply creates the happiness of playing with colors or moving with colors So I'll just say play the pattern or the pattern you want to build just play it And transfer your plan from this plan It's not that bad we don't all have to be so strict about the plan some people They just want a simpler plan so don't leave this to many people Progress on the design will build and let you not play with colors It's okay play your card and proceed with the photo Now let me explain a bit what I'm doing here Now I do the same but with a second light So I have added a second light to the first photo which means I have added a second light Some white titanium in my first photographic mix I have created a color that is close to white Titan white candied green and a little okra Taste the darkness and I have moved forward with the light taking a little this photo and again w Between colors I will do the mixing After mixing this I want to mix this second light into the first photo Now I want you to understand I will also give you something else here A very important part of the progress in this photo is the applied colors I use In my palette of course as you can see here this color is a very hard color But then when I mix it I will add a little bit of strong tempera solution I will make things clearer and more transparent in my palette This is the power of the tempera You can greatly dilute the solutio And it will keep her temperaments the qualities of the temper In a way that allows you to create these very delicate very beautiful slides These slides will help you speak better and give more interesting talks And of course it will achieve a result that is very very different from the photo And very very wonderful and beautiful I hope you understand what I'm talking about that this is It is understandable for you and it would be good for me if Have you drawn some inspiration from this video and are you making something Great or if you really learned something from these videos He was a friend of mine who was taking into account how hard it is to find a good teacher o study all these past techniques how do the teachers constitute this information and Even if one of their students pays they still constitute this information And it's just hard to not be able to We make this information available to the students It is really difficult I'm trying to be very specific in these videos and I'm really trying to I make it easier for you what I do Of course you need to understand that Even if you have the best teacher in the world and no Make it easy for yourself don't stay in your shell Then your predecessor will not be so good We are happy to have so much information at these moments But at the same time I see that it's hard for me to be in the spotlig And make it easier and easier Well let me just say that I'm now doing a third light piece As you saw and if you didn't examine it go a little A minute or two before and just after you examine how it abandons This third light in the second light I have used very few very few colors And this created a beautiful beautiful light Well what I'm doing here is just going back and forth Trying to create a blender Result that is very similar to that of Botticell and at the same time I try to keep things very interesting lively Colorful to be alive Maybe it's not visible here but this blending has Some life in the blending and I'm trying to place the orders and make sure things are okay As white as you see them in your modern times and as hard as you see them in your modern times I'm trying to keep the relationships right and Little by little feel free go back and forth as you see here I said we offer a little bit of mental support to this fluid which will help The live mixing going back and forth realize it very muc Supporting your basic materiality Carefully are you sure the details below have been cleared before proceeding with the Next minute The extract may take in may take in many details but you must be sure that each one is properly placed A second is clean and correct before it becomes the next second This is very very important And of course yes the extempore can take many details but I would say okay hold on I think my mind can't really take many more After a certain point even if you add these details at the correct moment beforehand after a certain point I think the autumn will start to take details So yes As you can see it really takes a lot of time to do this mix a very detailed mix It really takes a lot of time and here the video is complete at this point you can't Really understand what I'm doing It's just that I keep going back and forth trying to get things and mix them up I add lights and mix them together Then I can add some very at this point I add some very detailed information and mix them It's a step forward that only experience will teach you how to do I don't think I can explain at this point what portrait I am doing It's just about playing with my enthusiasm just about playing without any step any progress in my mind And I'm only following my inner teacher say who tells me to do this or to do that Add this and add this so that I make this portrait more like a Botticelli After what I have done of course everything I told you before about progress is essential I am following the progress Finally though and when I'm almost ready to add these lights to my mind I'll take a general exam I will go back and forth and try to come up with some things or add some colors Even with my enthusiasm I will always do so but I am certainly going to handle the progress very well very carefully Here I form the mind of this new man and again try to imagine how Botticelli must have formed this beautiful mind What colors could have been used I know it's a more rose-colored mind For me the exact color of the mind isn't very important But more the plans to keep the plans The plan for example which is at the center of the mind To keep this and the character the same To understand where a shape exists in the mind and where the light is And I'm trying to get it into my mind And now that I'm ready let's say with this with my mind I will proceed of course with the color of the mind The first thing is simply to observe the mind and see How white is the white part of the mind Where is the plan in this area If there is a little light in the mind How strong is this light If there are plans such things I will try to make some observations first Private observations and I will also try to see If the mind how incredible the transformation Between the brain and the white part of the brain It's usually not a very incredible transformation There is some conversion between them So I will try to make these observations And then I will start taking the mind Of course the mind is very important And we must take a very careful approach Here I see that Voutsis akes these unbelievable incredible heroes In his new photo shoot And I want to keep this photograph So close as the same So I take the white part I see that there is a strong transformation Between the white part and the white Let's see brain Try really try to observe When you take it try to see If there are any black plans Between the white part and the white Either there is only one difference color Are there any plans what's happening How black is the white All these observations that I made before Here I also see that the Botticelli painting as a very small say bloused White appearance in the eyes It's a bit vague but very specific And that's very good in this portfolio And I really want to try and cut it Usually because the eyes are spherical One part the small part of these eyes is designed Don't forget this I'm adding a little blue dress And these appearances are very specific and beautiful As you can see the eyes really come to life It's something magical something fantastic for me Only with a little blue dress We can give life to a handbag Very beautiful Also you can always feel free And you can forget some steps do some applications This really looks nice in my opinion And I'm always impressed by these old eyes They were just eyes Magical Yes I think this looks nice Usually try to be specific Try adding colors For example if you want to make the blouses less yes do it But really don't overfeed them It's better if we are as I say More specific and more Details with the photo Instead of more let's say well-fed and very Try to be more specific and you will see how Everything would look good And now I will add a little bit In some cases such as these White eyes for eyes And maybe also a photo At the same time Photos I have to say are very very important In the photo We are trying to believe that The more lights we use the better But for there to be lig o see and discover we must have Photos This is something very very important That you need to understand The hard area we have and the hard elements that we have The best companion we will build And it will be completely better So don't shut everything off with light Do not try to develop Your light areas Try to observe carefully Where are the lights at your job and keep them But still you know some of us They are trying to develop these lights I think it's good that you understand The light area and the hard area And keep them in order Try always to ask yourself What is my hardest part And how hard is this element Usually in the photos we have The peas must be very hard And of course many many lights We need to find these hard areas And keep them tight So now this is the final photo Before I play the hands Now I will start playing the hands And I will follow I will follow the technical approach more broadly of the Byzantine icon Thus in this first The best one we have in our hands The first base color I have used for the hand I have added a little lig If you're noticing at first while I was using The royal color at the same time I have added some details and now I have created a color that is The first light in the hand It is a color what happens from white volume A little black maybe some enhanced color It is a color like a volume and Now I will use this to receive e center of this new man Of course I observe my example I see where Bocicelli is Uses the first light in a natural way Only to give e laying on of hands and Feel like making some changes and then I will proceed with a second light lig In this light I would like to thank you I hope you were here a lot that this video He showed you something Thank you oo much At the same time you can find In my global world on Patreon I will have a list a l down You can find A later application of this photo and you can observe The way I handle light less Thank you very muc As I said it's really Good Your approach to this is great The channel is really fantastic If you are interested in my financial situatio Work watch the link below and click on it Please send me your work to my channel It is really nice to see What are you photographing It's real Nice As you can see with the approach of the vowels of the vowels In this photo it becomes even more beautiful Even more like Botticell and I hope you agree with me that this is A beautiful photograph that Botticelli played And I played here So thank you very much Stay creative stay healthy And I will show you in the next tutorial video Goodbye