Now that I’m full time at this and painting a lot more, I have more opportunity to try things out and develop my painting process as I go.
I’m going to try to post a bit more here about how my process is changing currently, and how I put my paintings together, since it might give you some ideas for things you can try in your own work.
One of things that’s changed a lot about my process lately is how I prepare the panels before starting a painting.
Sometimes it’s just a base colour, painted on roughly to give it some texture. Sometimes it’s bit closer to what you’d call an underpainting.
Setting up
Starting with the set up, often I’ll have a rough idea for a subject and an arrangement. Then I’ll spend ages trying out different arrangements till I arrive at something completely different than my original idea!
But once I have that, once the set up is in place and I know the general feel I’m after, I can prepare the panel.
Some Examples – the start and the finish
Usually, the underpainting will be deliberately left to show through in places.
Although your brain will still create the perception of three dimensional space and the objects in it (if the rest of the painting is done well enough of course) the base colour – brown, red, magenta, whatever – is still obvious.
But even when it isn’t, it still affects everything that comes after it in some subtle way I think. Parts of the painting will be semi-transparent or little more than scumbles, and the base colour is still there, although much less obvious.
Red Onion
The start:
For this one I used a pretty simple panel preparation, just burnt sienna (I think it was, maybe transparent red oxide) thinned with turps and brushed on roughly.
The texture of the brush strokes helps to break blank canvas syndrome for me! But I’ve deliberately used a colour on the orange side of the spectrum, because the colours in the set up are tending more cool. Yes, okay, I said “cool”.
The finish:
I thought this next pic would be a good shot to show you because you can see that although I’ve tried as much as I can to paint the colour of the onion accurately, and to get the values right, the underpainting still shows through on the background.
The painting feels warmer, overall, than the subject I think.
Two lemons
The start:
I went a bit mad with this one and I wasn’t at all sure it was going to work. The underpainting is very high chroma, and in places I put the highest chroma red I have in my paint box on it – Michael Harding Naphthol red.
By then end, most of it was covered. I’ve tried to paint the lemons as accurately as I can, in terms of colour at least. But that underpainting is still obvious in the background in the top left.
And also, you can see it here in the cloth – right through the painting, tiny patches of high chroma reddish-brown poke through.
Lemons and bowl
Unfortunately for this one, I didn’t take any progress shots. But here’s the finished painting as it would appear from a distance, as you’d normally view it:
And here it is really close up. You can see here the little patches of low chroma magenta poking through. The whole panel was covered in this colour at the start:
Peaches and silver
I really wanted a kind of warm glow to emanate from this painting, so I let the underpainting influence the final effect a lot.
The start:
Half way:
A bit further through:
The finish:
Coalport jug and peaches
The start:
Now this one was painted right after the Peaches and Silver Cup painting.
I really wanted a more reserved effect so that the colour of the pattern on the jug would be the most interesting thing in the picture, and provide a contrast to the oranges and reds of the peaches. So I started this one with a raw umber wash.
The subject is similar to the previous painting, but the effect is entirely different I think.
Modelling the form:
The finish:
Unfortunately, most of the stuff I’m talking about here doesn’t really come out on the photos I take of the paintings before I post them. Perhaps I’ll try to take some more photos of close ups that show it more.
The only way to really get the effect is to see the piece in person. It’s subtle, but unmissable.
I think the idea for preparing painting like this comes from the traditional method of making a warm, umber underpainting and then painting the cooler lights into it.
And yes, I did just say warm and cool. Again. But I think that’s how those traditional painters approached it and thought about it – it was a habit, a process, a working method, rather than trying to paint solely their perception.
I’ll never forget the fascination with which I pored over Hammershoi’s paintings when I saw them in real life for the first time. He often painted interiors in this way, with a warm underpainting over which he directly painted – sometimes scumbled – the cooler lights.
That process is so obvious in his paintings, the construction of them is so clear to see, and the paintings are so beautiful that the process stuck in my head.
It seems to be coming out now, albeit in a slightly changed form. I intend to play with this a little more and see what effects can be achieved with a careful preparation of the panel.
I hope this has given you an idea or two to use yourself when you’re at the easel.
But I should emphasise one thing: Once I’ve got that underpainting done, I’m very concerned with judging and then painting the colours over it accurately. Obsessive, even.
I think that’s why it works. I guess it’s a kind of a marriage between a traditional technique and an approach to colour that owes more to the naturalists. Somewhere in the juxtaposition of those approaches lies some possibility for beauty, I think.
Do let me know in the comments if this kind of post interests you and you’d like to see more of my evolving process here. I’ll do what I can 🙂
Best wishes and thanks for reading.
Paul
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Paul, having done some training in the Florence stream of tradition, I’ll say that this is one of the clearest explanations of this issue/process I’ve come across. I’ve pieced it together the way you’re describing it as I’ve gone along, but few have been able to lay down a description of the what and why. He marriage between traditional and naturalist approaches is right on. Thanks.
Oh that’s really good to hear! Thanks B.J. 🙂
Yes I agree, really good clear explanation. No need to apologize for the photos! Sometimes I think it is harder to get a good photo than to make the piece in the first place!
Hah! Very true 🙂
Great post! More please
Message received and understood!
Paul . . . My comment takes a slightly oblique turn . . . your photos of your work. They are very good. I also photograph my finished work (sometimes in-progress shots, too). But I find that I almost always have to run them through Photoshop to bring back any semblance of their real appearance. Even then, they often lack the “look” they have as paintings. My question is how do you do it? I can’t imagine you would hire a professional and go through all that, especially the cost of it. I’m always impressed with the photos you publish, and I was wondering if you would consider as a subject for a post how you go about doing this part of your work? Really enjoyed your progress shots.
Yes…I wonder the same thing.
To be honest it’s mostly just down to the camera, and using natural light. I use a canon EOS 760D, a mid range but good quality camera. I usually take the pictures with the window to the right of the paintings. The camera is placed a little to the right too, to avoid reflection from the surface of the painting. I then use a free graphics program called Gimp to straighten the perspective of the photo – that’s usually about it. Sometimes I have to adjust the levels a bit but rarely. It’s mostly down to having a decent camera and decent light I think.
More of this? Yes, please! Your work and teachings are an inspiration. Thank you for sharing…
Ok, I’ll do my best 🙂
This is really helpful, Paul; thanks for posting it. The underpainting has such a subtle but powerful influence; it really gives the paintings depth and glow, and makes them more mysterious. Great to see the process unfolding. Incidentally, I love your brushstrokes. Just wondering if you have used Michael Harding Stack Lead on the drapery in the picture of two lemons? It has a lot of texture. And also thought I saw MH lead tin yellow on your palette….
Actually no I’m afraid! I use titanium white exclusively, because it has a higher value than lead white. I paint on panels so I’m not worried about the cracking – I wouldn’t be so confident about using it on stretched canvas.
I use a fairly limited range of paints that give me the widest gamut of colours I can get without breaking the bank. I only use Michael Harding cad yellow and very occasionally cadmium lemon yellow if I need a high chroma, high value yellow a little more on the green side. I get that out maybe once a year!
I don’t think it’s necessary to have a lot of different colours like naples yellow, tim yellow etc on the palette. As long as you can comfortably get higher chroma than the colour you’re after, you can easily mix it.
there are questions of durability, sinking and handling that might encourage artists to choose some other pigments, but from a point of view of colour, you just need a reasonable gamut and sound mixing skills I think 🙂
Thanks, Paul.
Yes , Paul, your underpaintings and progress photos are very interesting and helpful. And of course your dialogue about what you are doing too. I agree about the success of your cold and warm complementary colors for underpaintings, but they can be done the other way around too, did you know? Thanks much!
Estimado Paul, por ahora puedo dedicarme muy poco a la pintura, lo hago de vez en cuando, pero bajo todos sus trabajos a mi computadora para cuando puedo hacerlo y seguir sus indicaciones. Es un placer para mi recibir sus correos tan didácticos. le agradezco no sólo por su técnica sino más por su generosidad.
Tiene usted algún trabajo sobre movimiento??
More yes please !!
Will do 🙂
Yes, I have to say I prefer this style of painting to that of purely realist. While I admire the skill of photo-realist artists I am almost always left feeling that “something” is missing…. the soul of the artist, perhaps?
Difficult territory! But yes, something of the personality of the artist perhaps. There’s a well known quote, I forget from whom but perhaps Zola, that art is nature filtered through a temperament. Perhaps that’s apt here.
Perhaps it is because photo-realistic looks like photos, not like life. Too much data is missing, and there is no movement represented. A trained eye can always tell the difference.
Being able to watch your process is very helpful, Paul. I am a faithful follower…a recent one, but now you have me forever.
🙂
Paul you are such a blessing! I love your posts and have been following your work for quite a while now. Your paintings are beautiful and I look forward to each new post…but this one was simply incredible!!
Thank you so much for sharing it with us!
❤️
Anita
That’s really good to hear Anita, thanks!
Thank you Paul for being so generous in sharing your knowledge.
You’re very welcome Catherine.
Hi Paul
I’ve been receiving your emails for a while and one in particularly hit me, the one that you said you don’t always have worked as an artist and the struggle to do it. I’m in that point and don’t know how to do it either.
Anyway, your works are great keep it up.
Greetings
Thanks Luzardo. If you get it figured out, let me know!
Really like the natural lighting setup, are you using a shadow box to control the light from the window, maybe a post on the setup?
Great post as usual , thanks Paul
Thanks so much Paul, this is very helpful, the setup and getting started is hardest and I really enjoy your methodical approach!
Definitely do more of these. Underpainting has a way of creating a rich effect on the final image. You accomplish this and explain it well. Thank you for the post and the inspiration!
Great article and inspiration. I’ve played with other odd colors underneath, such as a dusty purple and sage green. Even palette scraping toner (everything left on the palette mixed together: a rather non-descript grey).
I’d love to hear other colors people use.
Love your work and how you go about experimenting, the best thing is that you constantly evolve. You’re curious, inquisitive, always exploring and discovering new ways and that is what makes your blog so riveting. We feel that we grow with you.
Question about the 1rst layer, do you let it dry before applying the next layer or do you paint alla prima or wet into wet ?
Thank you so very much for your insight.
Best
Loved the post and would like to see more. It’s as though I could feel the fuzz on the peaches. How do you get that effect? It’s pretty fun to paint over a turquoise panel too.
Thanks Paul, I’ve been thinking about under painting ,and wondered if there was a formular for colours used. Very helpful.keep up the good work. Thankyou Joy
Great post, as always, Paul. I, too, wondered what Phil asks in comment #27- how do you light your subjects?
Additionally, I’m thinking of how to apply this concept to a portrait I’m about to start and I wonder if the complexity of human skin affects what color you would choose for the underpainting.
Thanks as always for your time and generosity.
This is one of the best blogs I’ve followed because you are generous and clear with the information and coupling it with photographs is really helpful. I always feel inspired after visiting this space. Thanks for all you do.
Wow, Elizabeth, thanks! I really appreciate that. And, you’re very welcome 🙂
Great post Paul, as always!
I would like to know how long you let the underpainting dry before working on the next layer. Especially the high chroma Michael Harding Naphthol red which, if I am not mistaken, is not a quick drying earth colour.
In general, how many sittings do you need to complete these paintings?
Last week, my friend in all things Art showed me a reprint of a piece featured in a collection done by The Group of Seven. The page had been removed from the calendar itself. So unfortunately, neither one of us knew which artist had painted it nor its title. Its focal point was a group of orange daylilies with a few white daisies to keep them company in a rather dense and dark garden. My friend thought that she might try to replicate the piece using acrylics. We found ourselves discussing ‘underpainting’ as a first step after we had looked at the print for a while. It appeared that the artist had perhaps used a crimson hue to prepare the canvas. Much like in your description of the “warmed-up” effect you so nicely achieved in your beautiful examples, the Group of Seven garden seemed to glow with what could have been the sun’s warmth that the artist was actually feeling as he/she painted en plein air.
In any case, your recent posting re. underpainting is very timely indeed… Thank you immensely for giving us a closer look into putting this method into practice.
You’re very welcome Marjory – more to come soon 🙂
Beautiful, all of them. Thank you!
Thanks Rachel 🙂
Thank you Paul! I am new here a la Graydon Parrish’s Munsell group. This is a wonderful post and would love to see you expand on it. Most, if not all of my teaching said to just do it, without explanation, so I am pleased to see the reasoning and the effect of underpainting.
Hi Linda, great to meet you! I am planning to post more about my process, I have one in the pipeline about how I set up my subjects and also how I (sometimes) use glazing and scumbling. I hope those will be useful to you too. I do tend to be quite a methodical worker I think!
Hello Paul, thanks for the great blog posts. I took a workshop with Marc Dalessio who was trained in Florence, where the practice of reddish under paintings was seemingly developed when painters there started painting on scraps of red wood left over from local carpenters. He said he does not personally tone his canvases because he is concerned that as oil paint becomes more transparent over time, the undercolor will show through and ruin both the colors and values of his finished work. I have since stopped using a wash of reddish tone across the whole panel as a result, and in Florentine fashion, make sure to at least leave my highlights the white of the support so that they will bounce the most light through and remain untainted. What are your thoughts on this topic? Have you heard this concern before? I am curious to know. Thank you!
So glad I found this post. I’ve even looking for information on how to decide what colors to use on an underpainting