Underpainting is an important part of the painting process. Technically it is not necessary, and there are some artists who skip this part of the process. But the value of underpainting for those who employ it, cannot be overstated. I would like to bring attention to several practices that I have used through the years and how I believe they are beneficial.
I remember my introduction to this practice of underpainting when, as a young man of 16 or so, I drove every Saturday morning to Allendale, SC, to study oil painting under Ms. Zita Mellon, a New York artist who had semi-retired and relocated to the Deep South. Her small group classes introduced me to a new world as oil painting quickly became my favorite medium and her traditional approach formed a foundation that would serve me well from then on. Though I would experiment with other methods, her demonstration of underpainting was foundational.
Here are ways to approach underpainting which are worth trying out for yourself:
- Layout your painting first in a single monochrome thin wash of any of the following colors: Burnt Umber, Burnt Sienna, Yellow Ochre – These are traditionally favored colors for underpainting. Although I work in various ways, depending upon my subject matter an my vision for my final painting, I am grateful that Ms. Mellon taught me not to put pencil to canvas, but to draw loosely with oil paint thinned with mineral spirits. Generally I would tone the entire canvas with a wash of burn umber, then wipe it with a cloth or paper towel, leaving a mid-range value tone on the canvas. I would then draw with the paint only slightly thinned so that the lines are darker than the toned canvas. So sketch out your rough shapes and block them in: darkest values first, then you can even lift tone from the canvas with a rag or paper towel (or a brush) so that the white of the canvas forms the lighter areas of your underpainting. You can then begin to layer your actual colors on top of this underpainting, keeping with the values (light or darkness) of the underpainting. You an find this demonstrated in my beginners’ video instruction modules.
- Following this same principles here is a variation. It is also one taught to me by my first teacher. Instead of toning the canvas and/or using a single neutral monochrome wash and underpainting, just begin by drawing your initial shapes with a little bit of any thinned color directly on the white canvas. Keep the drawing simple, leaving details for the last. Then begin blocking in the areas of the painting with a thin wash of the actual color that you see (whether you are painting from a photograph or from life). So with this underpainting you are actually painting all of your large objects or masses…just thinly and loosely in order to get the canvas covered and be able to see your painting begin to take form. From this point your simply go back into each of these areas and overpaint…this time with more attention to nuances of color and gradually adding detail.
- A newer technique for me has been the use of more intensely colored monochrome underpaintings, especially for more impressionistic work, where the bits of color can show through and add a vibrancy to the painting that can’t be achieved any other way. I have done paintings using alizarin crimson or a mix of alizarin and cadmium red, to form a brilliant deep red underpainting…this has been exciting to experiment with and rewarding in the end.
BE SURE TO CHECK OUT THE SHORT VIDEO CLIP BELOW TO SEE AN EXAMPLE OF THIS RED UNDERPAINTING!
- Lastly, though I don’t always do this, I sometimes create my underpainting (or even more than that) using acrylics, so that it dries quickly and I can then begin to build up layers of oil over the acrylic. In case anyone says “that’s not a good practice…you can’t mix acrylics and oils”, understanding that I am not mixing them. It is true that YOU MUST NOT EVER PAINT ACRYLICS OVER OIL…they will not adhere permanently and it will be a disaster. YOU CAN, however paint OILS over Acrylics. Once the acrylic is dry, oil paint will adhere well over the paint. Especially if you only use yBEour acrylics thinned with a littler water (and not acrylic medium). Use it like you would bold watercolor. This has worked beautifully for me on many paintings.
I hope this article sparks your interest. If you need to see how an underpainting is done, step by step, be sure to check out my video section which includes a demonstration of underpainting.
Underpainting is an unseen element that can cause the rest of a painting to sing with clarity. It can become the foundation on which a good painting is formed. It can add vibrancy and life to that which is seen on the surface. It’s like the inward work of the Holy Spirit in our lives…This work is unseen by other people. But the Spirit gives understanding to the Word of God and forms an indestructible foundation inside of us…And that work of the Holy Spirit causes us to sing with clarity. It adds luster and brilliance to our lives. When you stand back and look at a painting that makes you go WOW!…and you sense the glory of the Beauty that God has given us, let it cause you to ask: Does my life cause people around me to stand back and say WOW! Do they see the light and sparkle of the life of Christ that shines from within? It truly is a hidden work…He is creating the underpainting that is hidden but causes all else to shine.
Blessings,
Mark
Old Migrant Camp After the Rain