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Underpainting/glazing
I would like to hear some thoughts about underpainting and glazing. The two seem to go together.
If I'm asking old stuff, please, someone, direct me to the right place, which will save all that energy trying to answer this.
I have several questions.
For example, I've heard that underpaintings work best when done in black and white; raw umber and white, and/or viridian and white. B&W seems so cold, RU&W seems warm, and viridian/white seems blah.
Furthermore, there is the problem of getting the darks and lights just right. If glazing over your underpainting in a dark color - say, purple the purple can end up looking almost black, too. I've heard that the rule of thumb is for the value of the underpainting to be two or three values lighter than it would be if using paint because, as mentioned, when applying the glazes, they'll turn out darker. (Is this making sense?)
I rather like keeping my backgrounds and shadows thin for the added depth it imparts, something to which glazing lends itself. But. sometimes, I find myself needing (or feeling that I need) to lighten (whiten) a previously underpainted/glazed area, which takes away that "depth" one gets from thin darks.
I don't glaze a lot, so please don't knock yourselves out. This isn't something I do a lot, but I'd like to know more about it.
By the way, if Chris S. happens to stumble onto this note, let me say I read your book and learned something. I don't mean that like it may sound. I've been painting for more than 20 years, and I'm constantly learning something. I think that's one of the nice things about painting (in any medium) -- we're always learning.
You confused me, a little, though, when talking about shadow colors being different colors from "light" side colors. But, I'll hang in there and one of these days, another light will twinkle on in my head.
Dick Budig
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