Underpainting
 

This is an underpainting of a portrait I started a few days ago. I plan to complete the painting by adding layers of colored glazes (thanks Karin ;)). It is a combination of two photos, so please look at the light source (back light top left) to make sure I'm consistent. Any comments or suggestions are welcomed.

Detail of underpainting
 

Here is a detail of the face.

There is a large range of "acceptable" in underpainting...and what I see falls into the "acceptable" category.

However (and this is merely my subjective opinion), I think that your darks are much too dark. When you add color glazes to these dark areas, they will get even darker.

Beginning with such dark areas risks losing that "translucent and thin" quality that are so delicious in a finished piece.

Your light areas are perfect in the value that I see and with the addition of thin color glazes this will allow you to build up thick light.

Generally in an underpainting, I like to see a much more narrow range of values...ultimately it will give you more latitude.

So that you can see what I mean by a more narrow range of values, I am attaching an underpainting study that I did a long time ago. It is a detail of Mme. Ingres (I never bothered with the glaze stage.)

Renee, I certainly do not even attempt to critique and cannot touch the suggestions given by Karin.I think the advice given by Karin are some of the most down to earth and most useful of all. Personally though I really like what you have started. Drawing is fantastic. Similar to what I start as far as value but mine is even darker in value than yours.

So Karin, I am trying to see what you are saying. I think that I have a problem identifying all the glazing or transparent colors. Can you give me a test or process of learning these so I do not glaze and get dull color.

Patt :bewildere

A glaze is just a translucent color + a lot of medium (I use Liquin). This is "floated" over a dry surface and it will gently alter the color beneath. Please note that several thin layers are preferable to one thick one.

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.

Here is another post on underpainting: http://forum.portraitartist.com/show...=&threadid=190

Here is a post on the list of colors I often use to glaze with: http://forum.portraitartist.com/show...?&threadid=210

Glazing
 

Here is my big question with glazes that I need help with. After the underpainting let's say I'm going to work on the face. Do I glaze with a flesh color? Then after that is dry, how would I get a pink color into the cheek? I am used to blending it all while it's still wet. How does one get the glazes to look so blended? Same goes for the shadow area, how is that 'blended' into the medium tone?

I hope I am explaining this so my question in understandable. I have painted my daughter and an art teacher (last semester) told me I should add some glazes to change the color.

Perhaps a glaze is ONE layer but consisting of different colors on different areas of the canvas?
I don't have a digital camera to post my painting, if I can get my scanner to work then I'll post the painting of my daughter in it's unfinished stage.

Thank you all for any help,
Joan

Hmmmmm.....this is probably more of a "show" than a "tell", but here's how I do it.

After the raw umber and white underpainting is finished and dry, I glaze with a "flesh" tone (usually burnt umber) and let that dry.

Then I mix paint to EXACTLY match that flesh color.

I scumble this mixture over the face (or whatever). Remember that you can still see through a scumble.

When this is wet, I add pure color in TINY amounts to "pink up" the cheeks. (I usually use Indian red for this).

When this whole thing is dry, you can repeat any or all of the above processes again and again...the more you repeat, the more porcelain-like the skin becomes (good on some children).

Hi Karin,

Can you elaborate on this a little? I sometimes run into a little trouble at this point if I don't get the mix translucent enough. I don't want to obliterate the shadows in the underpainting. Do you lighten the light areas between each layer?

Your posts have been a wealth of information!Thanks for sharing.

Marta

I wish I had a picture of a painting I'm working on now (it's almost finished). This is what I do and I think this is what Karin is talking about. For the exact fleshtone, I decide what the undertone of the skin is. If it is a cool undertone, I add blue, if it is a warm undertone, I use green.

Here is my mixture of fleshtone: flake white, add cadmium red light, then cadmium yellow light, then to warm up the color, I add yellow ochre, and last either prussian blue or phthalo green (very very small amount) to grey the color so it will not be so orange. Flake white and yellow ochre are opaque colors and cannot be used as a glaze because you will lose any shading underneath. If you use a dry brush and add the fleshtone on top of the underpaint (scumble), you will not lose the shading underneath.

I've always used a dry brush and I am pleased with the results. I used to use glazes all the time until I ruined a commission because the paint underneath the glaze disolved. Because of Karin, I am trying glazes again and so far so good. Karin, you're just going to have to make a video! ;)

Hope this helps,
Renee

I mean what I said. Mix the paint to EXACTLY that flesh color seen on the dry surface after the glaze has dried.

I usually make the exact color by mixing some or maybe even all of the following colors; raw umber, white, raw sienna, and burnt umber.

And yes, this pile of paint will be opaque after it is mixed. (If the opacity bothers you, use zinc white instead of any other white).

To make a scumble, you take a TINY amount of this "flesh toned" paint and mix it with a LOT of medium (Liquin)...and you paint this over the skintone. You will be able to see through it. If you can't, you have too much opaque paint and not enough medium. A scumble is thin and "milky."

The beauty of a scumble is that it will automatically cool down your halftones. After the layers of scumble are dry, you will probably need to warm up your deep shadows (I often use a glaze of raw umber + raw sienna for this), but be sure to leave the cool halftones alone.

Wow, Renee, it is tough to speak about something that is purely visual...and I fear that sometimes I may be doing more harm than good....

I seldom, if ever, try to match or directly paint the undertones in skin. Those tones are CREATED (automatically) by cooling a halftone by the use of a scumble. If the scumble containes yellows...you get "greenish" tones...and without yellows, they become "blueish".

A GLAZE is a single layer made up of transparent colors + medium...and is allowed to dry.

A SCUMBLE is a single layer made up of opaque colors + medium...and is allowed to dry.

Also, I am not sure what you mean by the term "dry brush"...

Don't be upset if what I say is confusing to you all, remember that there are soooo many ways to paint, that if the way you do it works for you...it is exactly right.

What I mean by "dry brush" is a noisy brush...a brush that's not loaded with a lot of paint. I know that technically it's a no-no, but in some areas it works. This is the fun of painting! We try new things, use techniques we like, and create artwork that is unique. I'm including a photo of a painting where I used a dry brush for the water. I did the tone ground, and when that was dry, I applied a muted lavendar using a noisy brush for the sea foam. (Sorry for making you turn your heads). And Karin, I still think you need to make a video ;)! Renee

There is absolutely NOTHING wrong with scrubbing paint onto your painting with a noisy brush...I do it a lot too.

;)Using gobs of thick paint in that very FIRST layer in order to completely cover your canvas is what the "quiet brush" suggestion is all about.

BTW, You did a wonderful job on the water in your painting....maybe Cynthia could turn it for us so that we can properly admire it right side up?

Painting rotated:

Thanks Karin,

I think that will help a lot! It's exactly what I was looking for.

Renee,

Looks like you have a really good start on this painting! I can't wait to see it when it's complete! Thanks for sharing your paint "recipe".

Paint recipes and techniques are sort of like getting everyones favorite spaghetti recipe! Yum! I don't paint alla prima much anymore unless I'm doing a portrait "sketch". I really like the glaze method, the pictures come out looking so incredible, more so in person. Were you using Liquin as a medium when paint underneath the glaze disolved? What a nightmare!

Maybe Karin should start workshops! Then she could teach in person, and make some money from all of this great information she gives us. :exclamati

Renee,

I think the painting is great too and can't wait to see it again. I am really happy to hear all about the quiet brush and noisy brush. I did not know about them although I have heard of dry brushing.

Ditto !!! to Karin teaching workshops. How about it Karin? I have thought that since I joined this forum. Rather, wishful thinking that I could be part of the experience of some of you in depth teachings. I just looked at your Web Site again and wow------:thumbsup:. They are just lucious. The one titled Isis (gosh I forgot how spelled) but it was "Isis Draped" I think and the lady had a scarf on her head. May I ask if you sometimes "dress up" a model so to speak in order to take photos and then do your own figure paintings?

I see so many marvelous paintings with the model wearing attire not of today. I have an acquaintance in my area who owns and sews her own "Costumes" for Halloween, parties, galas,etc. I approached her about the possibility of taking photos of her sometime (and her sister) in different period clothing. She said fine but I haven't done that yet. Any suggestions other than use single lighting of which I do now.

Thanks and think about that workshop! Seriously!

Patt :?

At some point in my career, "how to paint" got easy and my biggest problem became "what to paint."

Maybe I never really outgrew playing "dress ups" as a girl. I go out of my way to make my models fun, interesting and challenging to paint. If I weren't a painter, I'd probably be a costume designer in the theatre.

Because I paint in layers with annoyingly long drying times, I honestly don't know how I'd cram all I know into a decent length workshop that didn't eat up an entire month (or more). I'm currently experimenting with Genesis (heat set oils) and maybe that will speed up the process....

Patt, A week or so ago I did a photo session with a lady who wanted to "dress up" in period clothing for her portrait. We went to a costume rental shop and found the right gown for her. I cannot wait to start this painting! The lady is gorgeous, the gown looked better than almost anything seen at the Oscars, and the lighting was wonderful (I love back light). If you have someone who would be perfect for a "dressed up" portrait, suggest renting a costume. And Karin, let us know about the workshop plans-- I think you will have a full audience! Renee

I can relate Karin about the "dress-ups" and I too paint in layers quite similar to you (only similar as for the techniques certainly not talent) therefore, I naturally have several going at once.

As for what to paint, I think that is part of my problem of focusing. I feel as though I get so many things in my head that I want to do---I get overwhelmed and do not focus.

Let us know about the Geneses. I would be most interested in faster drying. Do you feel that Liguin dries quicker than a pre-mixed medium. I mix my own 1/3 dammar 1/3 linseed oil and 1/3 turp. Paint with it very sparingly unless I am glazing. :?

Thanks Renee for the info. I certainly will as the ladies I mentioned would be perfect and the good thing is one sister owns the shop. I thought of offering a print or something of a painting if I use the photos in a figure portrait on my own. What do you suggest as a "thank you". The actual painting? Usually the few I have taken photos of, do not want pay to model as I explain that it is for future paintings but I do tell them if I use it.

I never tried back lighting much. Single light? I will indeed.

Much Appreciated

Liquin as a medium definitely dries much faster than the "Oil+Dammar+Turp" medium.

To date, I have never seen a successful painting with just "back lighting", however I'm open to the idea and curious to see if it will work for you...

Thick first layer
 

Karin, when you say the FIRST layer, which layer do you mean? Isn't the first layer the underpainting and all layers after this one glazes?

I am trying to understand this whole process of glazing and scumbling. I've taken notes from many posts so I can give this a try.

Thank you,
Joan

More on a thick "first layer"...

Sometimes an artist will do a drawing (or sketch) directly on a canvas (white or imprimatura) with a "wash" (thim paint) to determine design, anatomy, etc. This is NOT the "thick first layer of paint" I am referring to...even though it might actually, technically, be the "first."

When you begin making the monochromatic (grisaille) underpainting this is the really thick buttery first layer that I am talking about.

For those who are not working with an underpainting and are working directly (a la prima) THIS is the thick first layer...and it may be over guide lines or a thin drawing on the canvas...

Note that when your first thick layer of paint is dry, the dark areas (deep shadows) will generally be very thin (glazes or scumbles) on top of that....it will give the illusion that the "canvas" shows through. (If you go to a museum and check out an Old Master painting you can observe this....)

When you paint in the classical way with oil paint, the canvas will (early on) be covered with thick paint. In subsequent layers the paint will be even thicker in areas of light....and thin in the deep shadow areas.

I hope this clarifys and not "muddys up" things further for you...