Underpainting
 

I am often asked about underpainting - a technique that I use. I know that all of this is easier said than done, but here is classic underpainting in a nutshell.

The purpose of underpainting is to resolve the drawing, composition and value of a painting before going into color. Remember that oil paint is mostly translucent and an underpainting will show through into the top layers of paint. There are many ways to do an underpainting, and here is one of them.

In the small unfinished painting I did below (a copy after Ingres) you can see a "raw" underpainting without any of the top layers of color added. This particular underpainting is done with raw umber and titanium white. The overall color you see is a final coat of raw umber added as a glaze to "warm it up." Making an underpainting is very similar to a detailed charcoal drawing - only with a brush and paint.

When an underpainting is completely dry, thin glazes of translucent color are added...sort of like coloring a photograph. The color of light (something that often approximates Naples yellow) is then painted more thickly into the wet glazes and is left to dry.

Layer after layer, this process is gently repeated...until the painting is "done." In the end, areas of light will be built up to be very thick and opaque, and shadows are left to be very thin and transparent with the underpainting showing through.

Those beautiful cool halftones (where light and shadow meet) are created by the underpainting showing through the upper layers of scumbled paint.

Karin,

Thanks for sharing your underpainting technique, especially since I'm going to start an underpainting within the hour.

The people at the ART RENEWAL CENTER were kind enough to post a little three image demo of mine that starts with an underpainting.
http://www.artrenewal.org/articles/2...painting1.html

Raw umber is my favorite color, but since I've discovered Gamblin's Asphaltum substitute, my faithfulness has been sorely tried.

Doing an underpainting is a wonderful way to solve design and drawing problems, as you say.

Bill

I've been looking for Asphaltum!
 

I assume that the Gamblin Asphaltum is stable or somebody like you wouldn't be using it. Asphaltum has the reputation of being a highly unstable color but it is the best warm brown I have ever seen. Thank you. Thank you.

I like your underpainting demo...I wonder if this method of working will ever get popular again?

Gamblin

I want a tube
 

Bill, I've searched the internet and I can't find anyone who has a tube of Gamblin asphaltum for sale that is in stock. I'm really anxious to get some, is there a way I can order directly from Gamblin?

Asphaltum
 

Karin,

I was doing a search on glazes and reading how you do them. I read you're looking for Gamblin asphaltum and it's in my Blick Studio catalog. 1.25 oz. or 5 oz. tubes available. Their phone number, though I'm sure you have it, is 1-800-828-4548.

Your portraits are amazing!
I had some portrait training in Holland and my instructor there did not teach the glazing process. Can you suggest a way for me to learn it? A book or video?

Thanks,
Joan

Glazes
 

Dear Joan,

Thank you for your kind words and asphaltum info.

A glaze is just a translucent color + a lot of medium (I use Liquin). This is scumbled over a dry surface and it will gently alter the color beneath.

For example, some translucent colors I glaze with are burnt sienna, raw umber, prussian blue, alizarin crimson, (etc.)....as opposed to heavily pigmented and opaque colors like yellow ochre, Indian red and titanium white.

Hope this helps...it is really verrrrry simple!

Thanks Karin
 

Dear Karin,

Hello, THANK YOU for your suggestions, especially with what colors to glaze with. I'll buy some Liquin and start experimenting.

Joan

In case it is useful to you Joan, I've created a list of the colors in my palette in a new topic called Old Master Palette.

Dear Karin,

Hi, I was just reviewing your method for underpainting and was wondering how your Ingres copy is coming along. I would love to see it in another stage where you've put on some of the glazes, if possible. I'm getting ready to attempt my first portrait using this method.

Thanks,
Joan