Many Paths - The TRUTH about Underpainting
 

There must be many paths to so great a truth.

A lot of talk lately on various underpainting techinques, and some controversy over what is perceived as "right" vs. what is "wrong".

I don't know if you can really define very many ways of painting or underpainting as "wrong".

After all, with the advent of new materials, there are very few hard and fast rules regarding the specific techniques used to properly build a painting that still apply in all situations. As an example, we all hear a lot about Fat Over Lean. Well, if you use a drier in your paint that rule, for the most part, goes right out the window. We won't argue the merits or problems of driers here, ok?

So, while I underpaint rather thin, Karin Wells underpaints rather thickly. Does that mean that one of us is right and the other wrong? No, it does not. It means that we work differently to achieve our aim - a good painting. Karin's way works for her and my way works for me - you have to determine your own way of working too. Heck, some people don't do any underpainting at all!

I have done a lot of underpainting in verdaccio and grisaille. I really like that method, and recently I was introduced to a more direct method by Bill Whitaker which I like too. Bill's way works for him and I found that it worked well for me too - but there are many, many ways of accomplishing a good painting. I really believe that you can underpaint in full color, in monochromes of brown, gray, green, blue, or any color in the rainbow - as long as it helps you to produce a good painting.

The only "truth" about underpainting I know is this:

You underpaint to establish a baseline for your painting which gives you the benefit of removing a series of decisions you don't want to be making in the color stages of the painting.

I can post the progression of my underpainting technique that I learned from Bill Whitaker as another example of the very wide variety of ways of working. It is much harder to say - "here is the underpainting" as the painting sort of progresses.

BTW: This is a studio piece and is from a model, but is not a portrait commission. Also, it's a bit fantastical, so be forewarned. :)

Day 1

Day 2-3

A couple of days later:

And yet more days later - the final:

Thank you for this glimpse of the process, Michael. I was lucky to see three of Whitaker's paintings at the Prix de West show this summer, and I see his lessons here in this painting, in the beautifully subtle modeling of form, and the luminosity of her flesh. I see the soft round sable work also in your "Chase and Peyton".

What's next on your plate? I've been inspired by seeing your work evolve. It's great to see your passion and hard work carry you towards your goals.

Michael it looks like you're off to a good start.

I too use an under painting similar to Bill's in my more involved and complex paintings. I would assume you are referring to a thread in which I was one of the alleged perpetuators of the alleged controversy.

All I was ever trying to say was that there are many approaches to under painting and I guess some took offense in the way I specified what I meant to be options. My point was simply that mixing and matching various techniques can have disastrous effects.

My point was simply that one needs to be careful. Today I was at the National Academy of Design in New York and I saw a number of beautiful paintings by Dagnan-Bouveret. It's unfortunate that many were badly cracked, an unfortunate result of ill-advised layering of paint. He was a student of Gerome and should have known better.

I agree that there are many ways to approach the way a painting is made. That's one of the most fascinating aspects of oil painting.

Michael,

I am so glad to see you post this wonderful piece! In my view it ranks among the strongest on the site. Beautiful work.

Mari,

Thanks for your kind words. Right now, I am beginning a 40" x 60" commission of a lady in a green satin Edwardian gown at the foot of a grand stair. Well, at least that is what it will be. The dress is being made, I have just gotten the linen for the canvas, and we are still in search of the perfect staircase somewhere in Colorado. :) I am also doing a charcoal commission of a lady and her dog Drake, am in negotiations and planning with client for a possible commission of her three children (one of whom just recently passed away suddenly), and am beginning the color stage of the Graces painting that is on my website in verdaccio.

Marvin,

We all come from differing backgrounds and have differing experiences. I for one appreciate that you are very passionate about painting - something which I definately feel myself. You are also a wonderful painter and we all benefit from your experience and learning from your work.

Clearly there are many ways to create a painting and not all of them are equal, but we live and hopefully learn and better our art through reading, time at the easel, personal instruction from better painters than ourselves, and the benefit of forums of learning like this one.

I think it is important that we acknowledge our differing opinions about art and are free to discuss them. It can be difficult to do this without treading on some toes from time to time. I know I have done it countless times. I just trust that people understand that regardless of how pig headed I am being, I have good intent. :)

Michael
 

Seems to me the best and only kind of underpainting. I see few people that actually use transparent color glazes like fellows in the old days. Close color then closer! That grey/green underpainting always seems a aweful waste of time. At some point you have to get the color...I think what you've done is the right way.