Underpainting - Trying it out

[Cynthia Daniel]

Clive,

Sometimes those who are really qualified to respond to this type of post are simply busy painting at their easels and meeting deadlines. Also, sometimes they travel on short or extended trips. Please sit tight.

[Cynthia Daniel]

Due to a number of member emails expressing disagreement with the direction this topic has just taken, it has been closed.

[Karin Wells]

In the underpainting, you need to make the transitions from light to shadow very smoothly and with thick paint. This is not to say that the transitions can't be quick - just smooth. It is hard to tell exactly what I am seeing here, but the face looks "uneven" and appears to have choppy brushstrokes.

The background areas and clothing that have uneven brushstrokes don't matter at this stage if you don't ever intend them to be smooth. But when things have "texture" in the underpainting, you cannot compensate in the upper layers.

Texture belongs in the top layers...not in an underpainting.

As I see it, the major reason to underpaint is to resolve all the halftone transitions from light to shadow.

Here are the secrets to underpainting...easy to say, tough to do. When you completely understand that an underpainting is not meant to be a complete painting it is easier. If you really do the following things, you can critique yourself:

Highlights do NOT belong in an underpainting. (Add them in the top layers).

Dark accents within shadows do NOT belong in an underpainting. (Add them in the top layers).

Keep your shadows flat. This gives you the opportunity to mass your shadows together and will help with your composition. i.e., If you don't see the eye clearly because it is in shadow - don't put it in the underpainting.

Keep your light flat.

Do not add reflected light in an underpainting because it breaks up your flat shadow. Reflected light belongs in the upper layers.

[Karin Wells]

...my misunderstanding that the next step should consist of thin glazes that allow the value range to show through.

Actually, the value range will show through the thin glazes, but it is only the halftone that counts here. As you glaze and scumble on the upper layers, the halftone will show through as cool and delicate.

When you finally add a dark accent within a shadow area, you should keep the paint very thin (transparent) and warm. By doing this in the upper layers, you will avoid "mud-like" shadows.

When you have a darker area within a lighted area, you allow the halftone (underpainting) to show through by painting light on either side. By doing this, you will avoid "black holes" or harsh shadows.

I see an underpainting as beginning with the middle {halftone} and painting in two directions...toward light and toward shadow. If you look at my example again, you will not see white, nor will you see black - even though the subject is a black dog on a white cloth. I chose this extreme on purpose in order to depict the correct narrow range of value in an underpainting.

As to the texture of "imperfect" skin, I like to handle this in the very top layer with a cool tone detail (of a similar value) on top of an area where the warm light is strong. You only need a "suggestion" and not a full rendering to give the illusion that it is reality.

[Karin Wells]

All of this stems from my original underpainting demo that you can see at: http://forum.portraitartist.com/show...ighlight=Sarge

Here is how I would approach the value range:

#5 Value. Use this for the light on the face. The skin is the lightest value and should be the lightest paint.

#4 Value. Use this for the shadow on the face. Don't put eyeglasses in on the underpainting as it is too tough to paint around them in the upper layers. Smoothly paint what is underneath and it will take a flick of the brush to add them later.

#3 Value for the light on top of the hat...since the hat appears to be the next darkest object.

#2 Value for the shadow side of the hat (the area under the brim). You will need to pay attention to the edge where this shadow meets the forehead and lose that edge rather quickly.

#2 Value for the light on the jacket and the shirt.

#1 Value for the shadows on the jacket.

Note: Do not get confused by the photograph! This is one of those where the shadow on the upper forehead appears to be as dark as the jacket...but it is not. The shadow on a light object cannot equal the shadow on a dark object.

You must paint from what you know to be a logical truth and not necessarily what you see.

Further Note: When you paint the hat, for example, only use the value extremes of #3 and #2. You can make any halftone range between these two values. Don't be tempted to paint outside of this range.

[Karin Wells]

There are MANY ways to do an underpainting and I am (hopefully) trying to teach the easiest one that I know. Although each technique has different rules I believe that the principles are the same in all of them. First of all, try to grasp the principles and then you will find what easily works for you.

My main concern is that, if I don't (lighten the value}, the underpainting will dominate the later layers, especially the shadows, and prevent me from putting life into them.

Yes, this is exactly the reason an underpainting must be kept light.

I take your point about adding the half-tones in the later layers.

Wrong. If I conveyed this, I am sorry.

The whole point of an underpainting is to establish the areas of general light and general shadow. And resolve the halftone...that area between light and shadow.

When your underpainting is complete, you will have to build areas of light and highlight within the underpainting's defined areas of general light. The underpainting's general light is darker than the light built in the upper layers when the painting is finished.

Also, when your underpainting is complete, you will have to build areas of warm thin shadow and dark hotter cast shadows within the underpainting's defined general shadow. The underpainting's general shadow will be lighter than the shadows when the painting is finished.

Between these areas of light and shadow in the underpainting lies the halftone. This halftone is what will show through into the top layers. i.e., The halftone is painted once - in the underpainting. The light has many layers of opaque paint in the upper layers on top of your underpainting . Your shadows are oftentimes only thin glazes on top of the original underpainting.

I hope that this is getting somewhat clearer. I do plan to write a book or CD showing and explaining this technique step by step - it is so darn easy when you can see it.

[Karin Wells]

You're close but no cigar.

Bite the bullet, lose the reflected light and the glasses and eyes.

Hat brim: top right and wherever you can on the left - lose the edges. Don't outline at this stage.

Hat band: Lose the highlight.

Where the light meets the shadow on the left side of the face (as I view it) is way off. You need a LOT more work on the transition between light and shadow. i.e., the chin structure and the shadow from the eyeglasses is not correct. Even though the object is to lose the "details" the goal is to achieve a "dead on" likeness at this stage.

Jacket. Think form. Define true shadow from halftone. i.e., take another look at the collar. Make your light flat - even though you do not see it this way. Make your shadow flat. Make the transistion between the two extrememly accurate.

Successfull underpainting is in the accurate depiction of the transition between light and shadow.

Light can transition quickly into shadow.

And light can transition slowly into shadow.

And the quality with which you depict this transition is the foundation of your entire painting. Mastering a halftone can elevate you into the "pro" category and is worth the effort.

[Karin Wells]

For starters, you would not believe how many times I repainted the same darn painting -- over and over -- until I finally got it right. Then typically I would goof up and fail to apply what I learned to the next one.

However, as you learn this, you can look forward to not having to repaint the next one as many times. I think that you can only learn from mistakes, so don't be afraid to make lots of them. I can hang in here as long as you can and I really appreciate your willingness to not give up just because it is getting tough.

I hope that "starting over" means beginning on a fresh canvas. I think it will really help you in the long run to document your progress in order to see how you resolved each problem.

As far as talent goes, I think you have a sufficient amount of it to become a really good painter. What you and most of the others lack (to varying degrees) is knowledge.

[Karin Wells]

Deladier,

There are many ways to do an underpainting and you have described one that I am unfamiliar with. And all that you say may be true for some methods including the alla prima approach to painting.

Shadows are indeed a compositional element. And with the particular approach that I am trying to explain, the cast shadows within those shadows are subcompositional elements to be added into the upper layers.

Also, a narrow range of tones clearly defined in an underpainting will unify a composition. A broad range of value will oftentimes fragment a composition.

Underpainting is the most basic foundation for a painting, and as a foundation, it will not have all of the value range of a finished piece.

Underpainting is not supposed to deal with hue, chroma, or color, but is meant to be a solid foundation that forms the bed for it to lie on.

Oil paint is translucent -- not opaque as most imagine. The underpainting shows through the upper layers and will make a painting sing.

Have you been using an underpainting method in your work, Deladier? If so, I would love to see some of it in a new thread.

[Karin Wells]

Underpainting does indeed require one to think ahead and it resolves your composition early on. I feel that this is an advantage, but there are those who may find the method limits them. All points of view are certainly OK, as long as the result is a good painting.

I look forward to seeing your work, Deladier. Please send me a note when it is up, in case I miss it.

Thanks.