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.
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One thing they mentioned that confuses me is that Vermeer only glazed certain parts of the painting to allow the underpainting to show through.
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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.
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One other thing, when are you coming out with your first book?
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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.
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