Underpainting - Trying it out - Page 4

Deladier Almeida · 11-21-2002, 02:05 PM

In dealing with tonal range as a means of modeling the form, we must keep in mind that in the actual painting, transitions are often more powerful when accomplished via hue variations.

In this case, the contrast seems appropriate as the cast shadows DO play a big part in the composition.

My concern is that reaching for a limited tonal range can become harder if one locks the tonal composition early in the game.

Deladier Almeida · 11-21-2002, 08:07 PM

Karin,

I can't say I've arrived at a method yet. I have not used underpainting in the paintings I have done so far. Merely because I am (maybe mistakenly) afraid that if I start learning with the aid of underpainting the work will be constrained by decisions made before I even knew what I was doing.

What I've been doing lately is to create a small scale study of the composition before I start the full size painting. I kept blowing it because I couldn't visualize the composition but would valiantly (foolishly) forge ahead hoping for the best. I will post in a new thread a 2-hour study I have just finished. Your input would be greatly appreciated.

Clive Fullagar · 11-17-2002, 12:08 PM

Well, after looking at Karin Wells' demonstration on underpainting and getting a little more information from you folks I tried it out. I again used a five-value range using raw umber and flake white (those label warnings are creepy!). I would appreciate any feedback that you can give. I will also post the source photograph. This took about four hours of work.

Clive Fullagar · 11-17-2002, 12:13 PM

This is the source photo. Forgive the background doodlings. I often edit the photograph in Photoshop to get an idea of composition and to clean up any "noise" in the background.

Clive Fullagar · 11-17-2002, 12:15 PM

One thing I forgot to mention is the size of the painting. It's 13" x 10".

Clive Fullagar · 11-18-2002, 11:26 AM

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Be really sure you want and are ready for a critique. If you've already decided the work is good or complete as-is and you're really just looking for positive feedback, then the post belongs in the appropriate Unveilings section, not critiques.

I really would like to get some feedback on this one. This is the first 'underpainting' that I have done and I want to build this painting up from the floor. I am open to any suggestions.

Clive Fullagar · 11-18-2002, 05:21 PM

Karin,

I am glad you responded to this post since your demonstration was the inspiration (and I mean that as an artistic compliment).

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It is hard to tell exactly what I am seeing here, but the face looks "uneven" and appears to have choppy brushstrokes.

Your perception is accurate - I have actually scored the underpainting of the skin. Alas, I was not blessed with an unblemished complexion - my intention was to apply the skin tones in thin glazes of color and that these scores would pick up the texture of the skin. I get your point though, that this texture could be applied in the later layers of the painting.

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

Thank you for clarifying this. In this underpainting I used five values plus pure white (for the highlights) and raw umber (for the darkest shadows). I think that what you are saying is leave the pure tones out.

Finally, the most important message that I got from you was to "keep it flat." I think that my shortcomings here are attributable to two things; My impatience to produce a finished form, and my misunderstanding that the next step should consist of thin glazes that allow the value range to show through.

Once again, thank you for your comments.

Clive Fullagar · 11-19-2002, 12:57 AM

O.K., Karin, bear with me - I think I am almost there.

1). It seems that what I have to do is reduce the value range here. Specifically the forehead is too dark. Using the value range in your own demonstration (I've taken the liberty of posting your palette below) I should flatten the forehead to a value of 2, maybe 1 in the darkest shadows. This will help me avoid mudiness in my shadows at a later stage of the picture.

2). Get rid of the "black holes" - especially in the hat and the hair on the right side.

3). Regarding the texture in the skin - I'll try and fudge that one in a later layer.

Clive Fullagar · 11-19-2002, 11:21 AM

Karin,

Thanks for your teaching here. I think I am going to go ahead and and lighten the values as you suggest. My main concern is that, if I don't, the underpainting will dominate the later layers, especially the shadows, and prevent me from putting life into them. I take your point about adding the half-tones in the later layers.

I have been doing a little research on underpainting and there seems to be some variation in the darkness of the values and the extent of detail. Vermeer, for example, used very dark values for shadows but did not take the underpainting into any great detail. Van Eyck, on the other hand, used lighter, far more detailed underpaintings.

I am going to try and reach a compromise. I will post the results of my efforts in the next day or so.

Jeanine, thank you for your kind words. They are always appreciated.

Clive Fullagar · 11-19-2002, 12:18 PM

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I do plan to write a book or CD showing and explaining this technique step by step

You already have your first buyer!