This is Part II of a three part article on oil painting using the glazed painting method.
Part I
provided an introduction to glazed painting. In Part II, we discuss the drawing and the underpainting.
The drawing is optional; however, if the artist is using a board and chooses to do a drawing, it should be done with a soft graphite pencil. If the artist is using a canvas, the drawing should be done in charcoal and sprayed with a fixative upon completion.
Once the drawing is completed, the artist begins by creating a monochrome underpainting. An underpainting is somewhat akin to a black-and-white photograph, because all visual elements exist as a series of tones; no color variation is introduced. This is why an underpainting is often referred to as a tone painting.
In creating the underpainting, the artist uses white and one other neutral color, such as burnt umber. When beginning the underpainting, the artist should use a transparent white so that the drawing can still show through the paint. As the underpainting progresses, the artist can go thicker on the white and cover the drawing.
While creating the underpainting, the tones should be rendered one to two shades lighter than would normally be correct. This is because the layers of colored glaze will darken the tones of the painting, bringing them to their correct levels. The underpainting may be as loose or as detailed as the artist desires. However, it is generally true that the more detailed the underpainting, the easier the glazing process. A lot of this depends, of course, on the level of detail in the painting. If the artist is creating a portrait or similarly refined work, a detailed underpainting is recommended.
Once the underpainting is completed, it must be allowed to thoroughly dry. Use that time to review your work closely and ensure the underpainting is fully completed. If additional work or corrections are required, do them at this time and then allow the new paint to dry. While it is possible to correct a painting during the glazing process, this is not recommended. Correcting a painting requires using opaque white, which diminishes the luminosity of the colored glazes.
In Part III of this article, we discuss the process of applying the colored glazes and finishing the painting.
Julinya Vidigal de Vince offers a variety of art workshops in Westlake Village California.
The drawing is optional; however, if the artist is using a board and chooses to do a drawing, it should be done with a soft graphite pencil. If the artist is using a canvas, the drawing should be done in charcoal and sprayed with a fixative upon completion.
Once the drawing is completed, the artist begins by creating a monochrome underpainting. An underpainting is somewhat akin to a black-and-white photograph, because all visual elements exist as a series of tones; no color variation is introduced. This is why an underpainting is often referred to as a tone painting.
In creating the underpainting, the artist uses white and one other neutral color, such as burnt umber. When beginning the underpainting, the artist should use a transparent white so that the drawing can still show through the paint. As the underpainting progresses, the artist can go thicker on the white and cover the drawing.
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| Rubens Portrait - Reproduction Oil on Canvas Glazed Painting |
While creating the underpainting, the tones should be rendered one to two shades lighter than would normally be correct. This is because the layers of colored glaze will darken the tones of the painting, bringing them to their correct levels. The underpainting may be as loose or as detailed as the artist desires. However, it is generally true that the more detailed the underpainting, the easier the glazing process. A lot of this depends, of course, on the level of detail in the painting. If the artist is creating a portrait or similarly refined work, a detailed underpainting is recommended.
Once the underpainting is completed, it must be allowed to thoroughly dry. Use that time to review your work closely and ensure the underpainting is fully completed. If additional work or corrections are required, do them at this time and then allow the new paint to dry. While it is possible to correct a painting during the glazing process, this is not recommended. Correcting a painting requires using opaque white, which diminishes the luminosity of the colored glazes.
In Part III of this article, we discuss the process of applying the colored glazes and finishing the painting.
Julinya Vidigal de Vince offers a variety of art workshops in Westlake Village California.
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| Julinya's Art Classes - Westlake Village, CA |
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