The Uses of Underpaintings (as explained by Ilaekae and Jason Manly)
Join the #1 Art Workshop - LevelUpJoin Premium Art Workshop

Page 1 of 3 1 2 3 LastLast
Results 1 to 30 of 63
  1. #1
    Join Date
    Dec 2004
    Location
    Pennsylvania
    Posts
    963
    Thanks
    6
    Thanked 13 Times in 13 Posts
    Follows
    0
    Following
    0

    The Uses of Underpaintings (as explained by Ilaekae and Jason Manly)

    Ok, so I am working on my acrylic/oil painting skills. Up until now I have been practicing simply apply my paint to the surface. Sometimes all go all wild and crazy and tone the ground first. In class today, we started talking about and doing under paintings. I'm really not sure I understand what the concept of the underpainting is for. I was reading a "Painting like the old Masters" book in Barnes and Noble and I see for example, if the artist is doing a nude painting, he/she would underpaint the flesh tone areas grey with all of the values being applied in values of grey. I have seen portraits that are more reddish when completed started with a green underpainting and the painting of a pheasant that I was doing in class was recommended to be underpainted in purple because the bird was burgandy with golden yellow areas as the dominant colors. I don't understand why. Can someone explain it, or at least answer these questions?

    1. If an underpainting is done in the compliment of the end point color, how does that help?
    2. Doesn't the top layer of paint cover over the underpainting and effectively nullify it?
    3. Why would grey be used as the underpaint instead of the compliment.
    4. Should only the subject and focal points be underpainted with the designated color or should the entire piece be washed with the color as well.

    Help. I'm just not getting it.

    Last edited by MarkHarchar; March 23rd, 2006 at 08:39 AM.
    Whatever you do, don't look at my Sketchbook and Painting Thread!


    "I reject your reality and substitute my own" - Adam Savage, Mythbusters
    Reply With Quote Reply With Quote  

  2. #2
    Join Date
    Feb 2004
    Location
    Edmonton※Alberta※CANADA
    Posts
    1,398
    Thanks
    35
    Thanked 174 Times in 55 Posts
    Follows
    0
    Following
    0
    Underpainting is essentially a technique to organize the painting process or arrive at another technique (luminous lighting via glazing).

    It's like using construction lines when drawing or having a loose sketch before you do a tight overlay drawing. You take care one bit of the painting process at the beginning (values, light-shadow relationships, etc.) so you could worry about other things after that (what paints to use, color mixing, how loose or tight would you stroke details, etc.).

    You don't have to use this technique it if doesn't really benefit what you're trying to paint (i.e., you have a photo ref that already indicates how values relate to each other).

    Reply With Quote Reply With Quote  

  3. #3
    Ilaekae's Avatar
    Ilaekae is offline P.O.W.! Leader, Complete Idiot, Super Moderator Level 17 Gladiator: Spartacus' Dimachaeri
    Join Date
    Jun 2005
    Location
    Southwestern Pennsylvania
    Posts
    7,134
    Thanks
    8,227
    Thanked 5,580 Times in 1,786 Posts
    Follows
    0
    Following
    0
    Underpainting is an extremely complex subject because there are many reasons for it. The results desired determine the why/way it's done.

    If you can give me a day or two, I can get a few samples together as a kind of tutorial to give a better idea of how and why it's done and post 'em here.

    Basically, there are a number of ways an underpainting is done...

    1. A value painting is done in grays or another "neutral" color like umber, bluish violet or whatever. This is extremely accurate except for being in a funny color. Then glazes are layered onto the piece to build up the real and final color. It's not unusual to have 200-300 seperate applications of glazes in a complex piece.

    2. A value painting is done as above, but in the primary complementary color of the piece. For example, if the piece is a sunny city scene with a lot of sun-drenched yellowish buildings, the underpainting would be in deep purple. A greenish outdoor scene would require a red underpainting, and a flaming warthog from hell would require green. The initial glazes would form a luminescent neutral shadow system, and the final strokes would usually be applied more opaquely.

    3. In dry brush, especially on a rough painting surface, the initial sketch is blocked in with fairly bright areas of color that are complementary to the final colors desired. The painting is then done rather opaquely and "roughly"--with lots of underpaint spots showing through. This make the painting "sparkle" a bit because the all the areas have complementary spots throughtout--blue sky has orange spots, grass has red undernearth, sunny people have bright lavendar and purple spots, etc. In this case, the underpainting isn't necessarily as accurate as the drawing under the above two examples.

    4. A much more extreme version of Number 3 above. This is close to the Pointellist and extreme Impressionist methodology. The final paint is applied rather opaguely, or in layers that gradually get more opaque, but the strong complementaries underneath are left highly exposed to interact with the final colors on top. The visual mixing of these spots can be controlled to give a lot of depth to the painting, creating imagined OPTICAL colors rather than true mixed shades of various real colors.

    5. an underpainting can be done as a mid tone, as if you were working on a strongly toned paper with charcoal and white chalk. A layer of paint is put done with the image accurately depicted as a kind of ghosty image. This would approximate the middle tones of the final piece. then darks and lights are applied sparingly to create the final piece. Nice way to do the human figure.

    I could probably come up with anther ten examples if I sat and thought about it. Basically, you're trying to save time or increase visual depth by playing color off color, or building color on color.

    In the early days of illustration (maxfield parrish era), color seperations were so primitive that the artists actuall layered their colors on as glazes of black, cyan, yellow and magenta so they wouldn't accidently create a color that the sep camera couldn't "see." That why these old illustrations look so "old" or saturated.

    At one time, illustrations were actually done as seperations in place on four different registered surfaces. ALL (repeat--ALL) the art was executed in black and shades of gray, one for each of the CMYK seps. The artist had to know mentally where the appropriate black or gray value had to be in order for the final piece to come out right. (It is now time for everybody here under the age of fifty to go "HOLY SHIT!," "HOLY FUCK!," or some other appropriate comment...). To get a real grasp of how this works, take one of your color pieces in photoshop and go to channels. What you see is a stack of four black/gray drawings that make up the final full color art you've done. This is after the fact in photoshop, but imagine having to do what you see in the channels in order TO GET YOUR FINAL PIECE...

    heeheehee

    No position or belief, whether religious, political or social, is valid if one has to lie to support it.--Alj Mary

    Ironically, the concept of SIMPLICITY is most often misunderstood by simple-minded people. --Alj Mary
    Reply With Quote Reply With Quote  

  4. #4
    Join Date
    Aug 2005
    Location
    Stockholm, Sweden
    Posts
    405
    Thanks
    0
    Thanked 0 Times in 0 Posts
    Follows
    0
    Following
    0
    Please do that tutorial Ilaekae! I had been wondering about this too and your explanation clarified alot, but seeing it in pictures would be even better.

    -hal
    Reply With Quote Reply With Quote  

  5. #5
    Join Date
    Dec 2004
    Location
    Pennsylvania
    Posts
    963
    Thanks
    6
    Thanked 13 Times in 13 Posts
    Follows
    0
    Following
    0
    Ilaekae,
    Thank you my friend for the extremely in depth explanation. I will need to read those over a couple more times to really get the grasp, but It is starting to become clear. If you would be so kind, I would appreciate the tutorial that you eluded to and I can wait until you have time to gather and arrange it. I seem to be better at getting the explanation first, processing it and then applying it to an example as opposed to the other way around, which is what is happening in class. The synapses just aren't firing the right way as I'm stand there painting a purple chicken.

    Thanks all for the responses and I (al well as others) eagerly await your tutorial!

    Whatever you do, don't look at my Sketchbook and Painting Thread!


    "I reject your reality and substitute my own" - Adam Savage, Mythbusters
    Reply With Quote Reply With Quote  

  6. #6
    Join Date
    Aug 2002
    Location
    Quito - Ecuador
    Posts
    3,125
    Thanks
    438
    Thanked 333 Times in 223 Posts
    Follows
    0
    Following
    0
    But what's the point of an underpainting with the main complimentary color? i have seen it done... will it make the end result richer?

    "Nihil est in intellectu quod non prius in sensu" | SB | Portfolio | FJGC (blog) | DA (Profile) | EJERCICIOS DE COLOR
    Reply With Quote Reply With Quote  

  7. #7
    Join Date
    Sep 2003
    Location
    Germany
    Posts
    1,405
    Thanks
    19
    Thanked 39 Times in 25 Posts
    Follows
    0
    Following
    0
    I think we should give Ilaekae a medal or something. Thanks for that info.


    Oh, and CMYK steps? HOLY SHIT!

    Reply With Quote Reply With Quote  

  8. #8
    Ilaekae's Avatar
    Ilaekae is offline P.O.W.! Leader, Complete Idiot, Super Moderator Level 17 Gladiator: Spartacus' Dimachaeri
    Join Date
    Jun 2005
    Location
    Southwestern Pennsylvania
    Posts
    7,134
    Thanks
    8,227
    Thanked 5,580 Times in 1,786 Posts
    Follows
    0
    Following
    0
    Gringoloco, the underpainting definitely makes the piece more luminescent. The interaction of the underpainting with the transparent/translucent glazes allows light to penetrate to the base color, so when it reflects back, it's a much more vibrant and exciting mix than just plunking down a solid mechanically mixed color.

    Here's an experiment that anybody can try really fast...

    Rough pencil a bunch of 2" squares on some board. Fill two with a solid bright green, another two with a deeper darker green, and another with a washy slap of a bright green so there are obvious brush strokes showing.

    Make sure everything drys.

    On one of the solid bright greens, wack on some cad red med or something similar (bright red) as if you were doing a water color. Use a lot of med so its fairly transparent in some spots.

    On the second bright green square, make up some OPAQUE bright red and using a small brush, cover about 85-90% of the green with a random pattern of daubs of red. You want to end up with a red square with just touches of exposed green showing through.

    Do exactly the same thing to the two squares with the much darker green in them.

    On the fifth washy-looking green square, take your transparent glaze of red and cover the entire square with red in a washy manner, just as you did to the underpainting.

    When these all dry, take a good look at them. You will see a completely different effect with each, and if you squint, you'll start to see various little bits that surprise you. The fifth square may seem to vibrate a bit in some areas, and you'll notice areas that are more red, areas that are more green, and areas that are just wierd color. When you squint at this one, you should see a lot more luminosity and depth to the colors. This is the primary benefit of underpainting over solid color. It makes your brain work, which makes the viewing of the art more pleasurable.

    No position or belief, whether religious, political or social, is valid if one has to lie to support it.--Alj Mary

    Ironically, the concept of SIMPLICITY is most often misunderstood by simple-minded people. --Alj Mary
    Reply With Quote Reply With Quote  

  9. #9
    Join Date
    Aug 2005
    Location
    Stockholm, Sweden
    Posts
    405
    Thanks
    0
    Thanked 0 Times in 0 Posts
    Follows
    0
    Following
    0
    I did that experiment. Here's the image link. I used gouache cause I didn't wanna have to wait two days for my oils to dry. And maybe that's where I went wrong cause I don't see the effects you said I was going to see... The square that looks best to me is the top left one, but the only difference I see in that one compared to the square with no underpaint at all is that the first one is darker. Maybe I oughta try this in oils instead.

    -hal
    Reply With Quote Reply With Quote  

  10. #10
    Ilaekae's Avatar
    Ilaekae is offline P.O.W.! Leader, Complete Idiot, Super Moderator Level 17 Gladiator: Spartacus' Dimachaeri
    Join Date
    Jun 2005
    Location
    Southwestern Pennsylvania
    Posts
    7,134
    Thanks
    8,227
    Thanked 5,580 Times in 1,786 Posts
    Follows
    0
    Following
    0
    Boogie, gouache is opaque by nature. You need to use something that will allow transparent glazes like acrylics. You can use the gouache for the underpainting but not the overpainting unless you want totally opaque results. I'm right in the middle of something right now, but if you give me two days, I'll get a demonstration together for you and post it in here...sorry to make you wait...but it will be a lot easier to see than to describe it verbally...

    No position or belief, whether religious, political or social, is valid if one has to lie to support it.--Alj Mary

    Ironically, the concept of SIMPLICITY is most often misunderstood by simple-minded people. --Alj Mary
    Reply With Quote Reply With Quote  

  11. #11
    Elwell's Avatar
    Elwell is offline Sticks Like Grim Death Level 17 Gladiator: Spartacus' Dimachaeri
    Join Date
    May 2003
    Location
    Hudson River valley, NY
    Posts
    16,212
    Thanks
    4,879
    Thanked 16,667 Times in 5,020 Posts
    Follows
    0
    Following
    0
    Quote Originally Posted by Boogieman
    I used gouache cause I didn't wanna have to wait two days for my oils to dry. And maybe that's where I went wrong cause I don't see the effects you said I was going to see...Maybe I oughta try this in oils instead.
    Bingo.


    Tristan Elwell
    **Finished Work Thread **Process Thread **Edges Tutorial

    Crash Course for Artists, Illustrators, and Cartoonists, NYC, the 2013 Edition!

    "Work is more fun than fun."
    -John Cale

    "Art is supposed to punch you in the brain, and it's supposed to stay punched."
    -Marc Maron
    Reply With Quote Reply With Quote  

  12. #12
    Ilaekae's Avatar
    Ilaekae is offline P.O.W.! Leader, Complete Idiot, Super Moderator Level 17 Gladiator: Spartacus' Dimachaeri
    Join Date
    Jun 2005
    Location
    Southwestern Pennsylvania
    Posts
    7,134
    Thanks
    8,227
    Thanked 5,580 Times in 1,786 Posts
    Follows
    0
    Following
    0
    N 36...

    No position or belief, whether religious, political or social, is valid if one has to lie to support it.--Alj Mary

    Ironically, the concept of SIMPLICITY is most often misunderstood by simple-minded people. --Alj Mary
    Reply With Quote Reply With Quote  

  13. #13
    Join Date
    Aug 2002
    Location
    Quito - Ecuador
    Posts
    3,125
    Thanks
    438
    Thanked 333 Times in 223 Posts
    Follows
    0
    Following
    0
    you can use the new water oils. they dry in an hour or so.

    "Nihil est in intellectu quod non prius in sensu" | SB | Portfolio | FJGC (blog) | DA (Profile) | EJERCICIOS DE COLOR
    Reply With Quote Reply With Quote  

  14. #14
    Jason Manley's Avatar
    Jason Manley is offline Administrator Level 17 Gladiator: Spartacus' Dimachaeri
    Join Date
    Jul 2002
    Location
    Austin TX
    Posts
    9,124
    Thanks
    1,968
    Thanked 10,606 Times in 2,213 Posts
    Follows
    2
    Following
    1
    Quote Originally Posted by hylandr2
    I'm really not sure I understand what the concept of the underpainting is for. I was reading a "Painting like the old Masters" book in Barnes and Noble and I see for example, if the artist is doing a nude painting, he/she would underpaint the flesh tone areas grey with all of the values being applied in values of grey.

    I have seen portraits that are more reddish when completed started with a green underpainting and the painting of a pheasant that I was doing in class was recommended to be underpainted in purple because the bird was burgandy with golden yellow areas as the dominant colors. I don't understand why. Can someone explain it, or at least answer these questions?

    1. If an underpainting is done in the compliment of the end point color, how does that help?
    2. Doesn't the top layer of paint cover over the underpainting and effectively nullify it?
    3. Why would grey be used as the underpaint instead of the compliment.
    4. Should only the subject and focal points be underpainted with the designated color or should the entire piece be washed with the color as well.

    Help. I'm just not getting it.
    forgive if these have been answered better already...just felt like answering the questions and thinking about this stuff myself. I went back up and read more and think that my thoughts will echo Ilaekae's quite a bit.


    You are very close to getting it. Whoever is talking to you is giving you good information. Prob is finding someone who can show how it is done and why rather than just theory, but it will make you a stronger artist if you figure it out yourself. Asking focused questions like this is always good. Do more research into looking at paintings to find these answers. Look to find these answers in the images in Art History. This is where your teachers find some of that info...finding it yourself will get rid of their "teacher filter". Same goes here.


    1. Underpainting Compliment Base Color: A key to the school of painting you are studying is "contrast". Appropriate choice of value, temperature, and saturation/intensity contrasts will help the image retain vibrancy of color and reflection of natural color/tonal light vibration in the eye of the viewer. You are entering into the area called "color theory".

    Paint and canvas are not as vibrant as light in life. You are studying light and how to create that feeling in the eye that "light actually has" within a painting(which does not because its mud and solvent and not the sun or a candle or a lamp). Your teachers are pointing you down the path of understanding how to "fake" the feeling of natural light in your paintings...and how to use those devices to control your communication and narrative with color composition

    There are ways in which you can get colors to vibrate as light does. Having complimentary undertones is perhaps the easiest way in which you can get your light and shade to dance visually. This has to do with optical color mixing, which happens every day in front of you when your eyes are open. It has to do with the fact that light and shadow are COMPLIMENTS in all ways. Using an "opposite color underpainting technique" assists you in getting "light compliment theory" accomplished in the image. There is technique in the process of getting strokes of mud and oil to mimic what light actually does in life.

    Often, light and shadow are not just to be seen as lighter or darker...but unsaturated and saturated...color compliments...warmer and cooler....LOOK FOR THESE THINGS in life if this is your path of study. You will find true subtlety of these theories and at times will even find ways to prove them wrong. That is what I love about art theory. It is a constant search to prove oneself wrong so we can learn. By having pieces of your underpainting in contrast you can begin to lure they eye around compositionally. You can create focus. You see, your teachers are simply trying to get you to control color...to see. LOOK.

    2. If you paint over the entire underpainting then the compliment color underpainting technique can be used along the way so that you can make color choices. It allows the artist to be aware of colors that are brushed on the canvas as they have colors to compare against. However, there will be places where the underpainting color would be used anyway so at that point the only reason to paint over your underpainting is to gain a particular finish to the paint quality and paint surface. It does not nullify the underpainting if you are using it as a guide for accuracy or perfection of your expression. Some artists believed it to be a waste of time, others swore by it as it allowed them to do things they could not do otherwise with the paint. The underpainting is like the scaffold for which the rest of your painting sits. Some artists wouldnt use it as they believed it took from the freshness of the painting process and the loose qualities they appreciated. Most extremely polished paintings use an underpainting process. But, loose images can also do this. Rembrandts rough paintings are still using the underpainting process and they are far from stiff and clean. It all comes down to what you want to accomplish with your paint.

    Your teachers are teaching a slew of painting theory from different time periods at you. What you are getting is a cross section of art theory from different time (Baroque, 19th century, Impressionist, 20th century illustration). You could study into the bones of the different periods of painting in terms of technique, color, composition, idea, feeling, mood, expression etc. This will allow you to choose which way of working best suits your needs for communication. Now that you are getting into painting 101, dig deeper.

    3. Gray is a cool..or a warm... If you put any other color on it, it will seem to be a color. If you put a green gray stroke down on that gray surface and then put down a violet gray stroke the canvas base would seem like a blue gray..or a yellow gray...depending on what gray you have as your base. If it seems to be a blue in comparison and you put a warmer blue gray down then the painting base will seem like a cooler blue. Do you see where this is going?

    A gray underpainting or "grisaille" was the foundation for most painting happening in the baroque time period. It was explored prior to that but became one of the primary techniques around the time of rembrandt. The easiest way to explain it is that it was used as a base for warm light paintings. There is a technique developed that requires many oil glazes and washes to be used over the gray underpainting to develop deep transparent shadows. Then, the light is painted on opaquely and this helps to reflect the light off the paint surface and back to the viewer..where the transparent glazes in the shadows draw in light and fill the shadow paint with "fill light".

    Typically at that time, if the paintings were of a warm light source, the underpainting was gray. If it was a cool light source the underpainting was based in the burnt sienna range. This allows for easy and immediate seperation of temperature between light and dark as you paint...assuming you are paying attention.

    Another reason to build off middle values (like gray) is that most of the things in your environment when you paint are not pure darks and pure lights. Working from middle values toward light..and toward dark...allow you to save your lightest lights and darkests darks til last more easily in an art school setting. It is simply easier for the eye to judge lights, darks and colors when there is a base down to paint on.

    There many ways to use an underpainting. These are just a couple.

    4. for compositional color unity...i.e. your painting looks like it is all made up of parts from the same color world and atmosphere...you can have your colors sprinkled about throughout the composition. focal areas are where you place all your best contrasts...balanced to work with your color composition. Too many contrasts might make it garish...perhaps...or perhaps not. It all depends on your image and balance of color/tonal composition and light. If your underpainting is the appropriate contrasting color for that area, then you could leave it..or paint over it with the same color if you wanted to hide the underpainting surface...if it is not the right color for that area then you would paint it out or adjust it. It is all relative. You must be the judge of that.



    Best,


    JM

    Last edited by Jason Manley; March 20th, 2006 at 12:52 AM.
    LEVEL UP! - ConceptArt.Org online workshops 25% off registration right now!
    Reply With Quote Reply With Quote  

  15. #15
    Join Date
    Jul 2004
    Location
    UK
    Posts
    1,756
    Thanks
    87
    Thanked 45 Times in 33 Posts
    Follows
    0
    Following
    0
    How's this??

    ^ Acrylic ^

    [EDIT] Wow, great post, Manly.

    Last edited by Quicksilver; March 19th, 2006 at 08:54 PM.
    Website | Blog | Sketchbook

    UK Sketch Group (FaceBook) - Check here for details on upcoming meets!
    Reply With Quote Reply With Quote  

  16. #16
    Join Date
    Dec 2004
    Location
    Alberta, Canada
    Posts
    1,680
    Thanks
    699
    Thanked 596 Times in 283 Posts
    Follows
    0
    Following
    0
    I think that threads like this should end up in the tutorials section when they are done. Maybe edited a bit first, but whatever.

    Any mod/admin feel this would be good/ could do this?

    Reply With Quote Reply With Quote  

  17. #17
    Join Date
    Dec 2004
    Location
    Pennsylvania
    Posts
    963
    Thanks
    6
    Thanked 13 Times in 13 Posts
    Follows
    0
    Following
    0
    I would like to thank you Ilaekae and Jason very much for your thorough and insightful explanations. After reading through them about 10 times, I think I have a grasp of the concept. I feel like I know what questions to ask in class now and which direction to head in my personal studies.

    Thanks again.

    Whatever you do, don't look at my Sketchbook and Painting Thread!


    "I reject your reality and substitute my own" - Adam Savage, Mythbusters
    Reply With Quote Reply With Quote  

  18. #18
    Join Date
    Jun 2004
    Location
    stuttgart, (sindelfingen)
    Posts
    1,211
    Thanks
    61
    Thanked 48 Times in 34 Posts
    Follows
    0
    Following
    0
    Thanks for the information. I already did some digital underpainting studies and tomorrow I will try it with oils. Underpainting was something I always had problems with.

    Reply With Quote Reply With Quote  

  19. #19
    Join Date
    Sep 2003
    Location
    Vancouver.WA.USA
    Posts
    2,515
    Thanks
    42
    Thanked 96 Times in 36 Posts
    Follows
    0
    Following
    0
    Still anxiuosly awaiting Ilaekaes tutorial on this one. Some really great info here, just hoping to see the visuals to match.

    "Every generation sees the past though the lens of its own time." - Thom Hartmann
    Reply With Quote Reply With Quote  

  20. #20
    sve's Avatar
    sve is offline Registered User Level 16 Gladiator: Spartacus' Retiarii
    Join Date
    Aug 2005
    Posts
    4,913
    Thanks
    130
    Thanked 200 Times in 123 Posts
    Follows
    0
    Following
    0
    Reply With Quote Reply With Quote  

  21. #21
    Ilaekae's Avatar
    Ilaekae is offline P.O.W.! Leader, Complete Idiot, Super Moderator Level 17 Gladiator: Spartacus' Dimachaeri
    Join Date
    Jun 2005
    Location
    Southwestern Pennsylvania
    Posts
    7,134
    Thanks
    8,227
    Thanked 5,580 Times in 1,786 Posts
    Follows
    0
    Following
    0
    I'm working on it...had to get wheels for my walker first...

    No position or belief, whether religious, political or social, is valid if one has to lie to support it.--Alj Mary

    Ironically, the concept of SIMPLICITY is most often misunderstood by simple-minded people. --Alj Mary
    Reply With Quote Reply With Quote  

  22. #22
    Join Date
    Jul 2004
    Location
    GA and the world
    Posts
    4,500
    Thanks
    65
    Thanked 122 Times in 63 Posts
    Follows
    0
    Following
    0
    Ilaekae, Jason, superior posts.

    Hylandr, if you could rename this thread, I think a lot of people could use this information if they new what was inside.

    "Threads are like a box of chocolates..."

    Reply With Quote Reply With Quote  

  23. #23
    Join Date
    Dec 2004
    Location
    Pennsylvania
    Posts
    963
    Thanks
    6
    Thanked 13 Times in 13 Posts
    Follows
    0
    Following
    0
    I'm on it Dog...

    Whatever you do, don't look at my Sketchbook and Painting Thread!


    "I reject your reality and substitute my own" - Adam Savage, Mythbusters
    Reply With Quote Reply With Quote  

  24. #24
    Join Date
    Aug 2003
    Location
    NewYork
    Posts
    1,407
    Thanks
    0
    Thanked 2 Times in 2 Posts
    Follows
    0
    Following
    0
    Hmmm... I actually have an underpainting pic along with the final piece for an illustration I did, but can't show it yet. I always mean to record a progress of a painting...maybe this will give me some incentive. I don't always do a complete underpainting..but a lot of times I do. For me, it has several purposes. 1.) it helps you simplify the values and big shapes without having to get into full color 2.) you can achieve very interesting effects in the paint 3.) it's really fun

    So far I have 3 paintings on the easel, and they are all past the underpainting stage - but next one I will take pics of the progress. Promise.

    ******************
    *:*www.scottaltmann.com*:*
    Reply With Quote Reply With Quote  

  25. #25
    Join Date
    Mar 2005
    Location
    UK
    Posts
    767
    Thanks
    7
    Thanked 9 Times in 3 Posts
    Follows
    0
    Following
    0
    That would be great if you could Loomer. I would really like to see the way you paint.

    Have faith, these things should never be easy.

    www.ianjlee.co.uk

    New Artists Seeking Help Come Here - A mutual learning thread for learning the basics of drawing. Everyone's welcome.

    The Sketchlings

    Vigostar
    Bumskee
    Loomer
    Infinitum
    Sve
    Diego
    Reply With Quote Reply With Quote  

  26. #26
    Join Date
    Aug 2003
    Location
    Virginia, USA
    Posts
    2,068
    Thanks
    992
    Thanked 2,156 Times in 752 Posts
    Follows
    1
    Following
    0
    For the beginning of my first painting class, all we did was underpaintings... for a while, we didn't even go to putting color on top of them. Now I think I appreciate it more than I did at the time.

    But I agree, there's some great posts here. Keep it up. Maybe my next painting will use an underpainting again.

    Reply With Quote Reply With Quote  

  27. #27
    Join Date
    Jul 2005
    Posts
    215
    Thanks
    2
    Thanked 4 Times in 3 Posts
    Follows
    0
    Following
    0
    This is probably one of the best processes I have seen with regard to how an underpainting 'works', by Christophe Vacher, see link:

    Vacher Underpainting tut

    Reply With Quote Reply With Quote  

  28. #28
    sve's Avatar
    sve is offline Registered User Level 16 Gladiator: Spartacus' Retiarii
    Join Date
    Aug 2005
    Posts
    4,913
    Thanks
    130
    Thanked 200 Times in 123 Posts
    Follows
    0
    Following
    0
    Oh, so much great, interesting information, thank you so much, Ilaekae, Jason Manley, Silvir, QuickSilver, Boogieman, FlipMcgee, GrinGoLoGo, loomer and Warhead, you are so generous. Link is great, WARHEAD, Thank you many times. hylandr2, thank you for starting the thread.
    Scott and Ilaekae, even more wisdom from you will be very much appreciated.
    Sveta

    Last edited by sve; March 23rd, 2006 at 04:59 PM.
    Reply With Quote Reply With Quote  

  29. #29
    Join Date
    Jan 2006
    Location
    Canada
    Posts
    357
    Thanks
    46
    Thanked 8 Times in 8 Posts
    Follows
    0
    Following
    0
    What medians does this work for? I'm pretty sure it works for oil, and acrylic as quicksilver just showed and apparently layering programs such as photoshop, but could you use it for other paints? Watercolour? Tempra? A little pencil crayon even?

    Maybe a better question would be what can't this be used on?

    Reply With Quote Reply With Quote  

  30. #30
    Join Date
    Jul 2005
    Location
    Berlin, Germany
    Posts
    661
    Thanks
    50
    Thanked 103 Times in 34 Posts
    Follows
    0
    Following
    0
    all I can say is:

    thank you, ilaekae and jason!

    my brother in law once mentioned that topic when we were discussing techniques, but he couldnt really explain it that precisely, since he was used to "just doing it" (he's a self taught artist who bases his knowledge on little tips he got here and there).
    guess i'll bring this topic up again and try it when we have a paint session again.

    Etienne

    P.S.: hope to see those visual examples soon


    "How do you know you're good enough?" "You know." "What if you're wrong?" "You find out."

    *** Help a CA artist! Visit the Critique Center! ***

    MY HOMEPAGE
    Reply With Quote Reply With Quote  

Page 1 of 3 1 2 3 LastLast

Members who have read this thread: 1

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •