Underpainting - Page 2

Karin Wells · 12-05-2001, 09:51 AM

I never took my (underpainting) copy of the Ingres to the next level. I learned what I needed to and quit on that one.

In order to learn how to paint like the Old Masters, I spent aprox. two years doing nothing but copies of great paintings.

I always started with an underpainting like the Ingres above, but usually finished them. I am sorry now that I did not photograph the stages as it would have been so helpful for others to see the process.

I'm not sure that this would help you, but here is one by Sir Thomas Lawrence (The Calmody Children) that I copied in the exact same underpainting method as the Ingres.

I no longer feel the need (or have the time) to copy the Master paintings, but I recommend this to anyone who really wants to learn to paint in that grand old style.

I still use the underpainting technique in all of my work, but I shortcut the method somewhat because of limited time....but (hopefully) I never shortcut the quality of my work.

Karin Wells · 04-10-2002, 11:37 PM

http://glazing.fws1.com/examples.htm

These are nice clear examples of underpainting and glazing.

Ramon Deslauriers · 06-17-2002, 11:17 PM

Dear Karin,

I know this is an old topic on the site, but it's a new one for me and just had a question I hope you might be kind enough to answer. I'm trying out some samples of Genesis paints and have a sample of their "Glazing Medium" to mix with the paints. Is this how you thin your Genesis paints to glaze over the underpainting?

With sincere thanks,
Ramon Deslauriers

Karin Wells · 06-17-2002, 11:35 PM

I'm still experimenting but the directions say don't add more than 20%-30% (did I get this right?)glazing medium to your paint.

Sometimes, I put the glazing medium directly on the dry surface and then wipe if off. This leaves a thin film...just enough to "juice up" your canvas for painting.

Also, I sometimes mix the Genesis clear (satin) varnish with my paints for scumbles and glazes...the proportions don't matter and you can get some interesting effects that you cannot do with just glazing medium. Genesis is working on a gloss varnish and I hope that they can get it on the market soon.

When I do an underpainting, I do not add anything to the colors...I just use thick paint. I have a post on this where I show the stages of underpainting with Genesis (although it is exactly the same with traditional oils).

Ramon Deslauriers · 06-19-2002, 12:59 AM

Dear Karin,

I checked out your underpainting example and it helped a lot. Though I have a few questions about color choice and the role underpainting plays in the application of color.

First of all, I know that there are no "black and whites'" in art but, I noticed that raw umber and titanium white is a staple mix for the underpainting. Is this used pretty much all the time or are the underpainting color choices picked depending on the overall feel of the painting? For instance, would a cooler color choice give a cooler painting?

Secondly, I looked at the site you suggested on underpainting with a peak at Vermeer's technique. One thing they mentioned that confuses me is that Vermeer only glazed certain parts of the painting to allow the underpainting to show through. What was done with the rest of the underpainting that wasn't glazed? I'm getting ready to work on a copy of a master work and was going to glaze the whole darn thing. Is that what I should be doing?

I know this is a lot to ask and would appreciate any insights you'd be kind enough to offer.

One other thing, when are you coming out with your first book? You've always offered consistently good information in a way that is clear and consise.

Thanks again,
Ramon Deslauriers

Karin Wells · 06-19-2002, 09:55 AM

Underpainting color choices pretty much depend on what the artist likes and wants. I use raw umber and white because it produces a cool halftone that I like when I scumble over it.

I have experimented with other mixtures, but like this one the best. An underpainting tends to unify a painting and I love the look of raw umber.

Quote:

One thing they mentioned that confuses me is that Vermeer only glazed certain parts of the painting to allow the underpainting to show through.

I think that you need to take a lot of what is written with a grain of salt - more is written on this subject than is known...if you get my drift.

I think that Vermeer employed scumbles and glazes in every place that he saw fit. I would suggest that you do likewise...if you do what looks good to your eye, it is probably the correct thing to do.

Quote:

One other thing, when are you coming out with your first book?

I'm working on it - clear and concise isn't as easy for me as it looks.

There are so many "right" ways to paint. I'm trying to boil it all down into some very basic universal principles that apply to both underpainting and ala prima.

Tito Champena · 08-10-2002, 07:54 PM

I've been reading with interest the underpainting techniques used by some members of the Forum. Perhaps one of them could explain to me the underpainting technique of Jacques-Louis David. At the Art Institute of Chicago there is an unfinished portrait by him and the underpainting of the background and of the flesh tones is done in a light value neutral gray (grisaille). Yet the other objects in the painting, a crib and a baby's head, also the sitter's lips, are done in a light value of the body colors, not gray. What is the most common underpainting technique these days?

Tito Champena · 08-20-2002, 08:21 PM

This is a question for Karin Wells, but other answers will be appreciated too. It has to do with the underpainting and glaze technique for doing portraits. Some of the common pigments used to reproduce the basic flesh color are a combination of yellows, reds and white. How are the glazes applied if most of these colors are opaque? Don

Gina Rath · 08-20-2002, 08:48 PM

Tito,

Like Karin, I believe Michael Georges is also very informed about underpainting. You can see a recently posted underpainting in Unveilings for the Seasoned Artist (Chase & Payton), http://forum.portraitartist.com/show...?threadid=1159
just in case you missed it.

There is so much great information in this Forum, I'm sure you will find what you need. I'm learning and being encouraged every day.

Gina

Karin Wells · 08-20-2002, 09:22 PM

Tito,

Can you post the picture by Jacques-Louis David that you describes? Maybe if I see it I can clarify it for you.
[quote]Some of the common pigments used to reproduce the basic flesh color are a combination of yellows, reds and white. How are the glazes applied if most of these colors are opaque? Don