This is not a painting tutorial. In this post, I'm only documenting my new approach to start making paintings. Having struggled with value control for so long, being open to experimenting with monochrome/underpainting techniques feels like the logical thing to do. Underpainting never was important to me until I realized how much it helps reading color in the form of a value scale. This post represents this painting in the first of a three-step process, underpainting, modeling, and detail application.
The reference photo I used for this painting comes from a photoshoot I did with Natasha in late 2020. I like her facial expression in the picture, the way her finger dents her neck reminds me of marble sculptures by Michaelangelo or Bernini. This painting started as a freehand drawing, and most likely, I could have got a better sense of her likeness If I had spent time on a preliminary sketch or if I had worked with a grid.
1. Initial Blocking
I started this painting on a recycled canvas that I covered with raw sienna diluted with linseed oil and mineral spirits. I made the construction lines using flake replacement white mixed with raw sienna and raw umber to make mid-tones. This painting session took me about an hour using a medium-size filbert brush. Painting in ‘a la prima style’ with broad strokes forces me to focus on form and visual balance.
2. Revising Structure
On the second day, I made my first attempt to revise her facial structure. I relied on comparing angles and measuring proportions to attempt some definition. I also started to attempt contrast by establishing highlights even more. Looking back, I realized I should have spent more time comparing angles and proportions. At the end of this hour-long session, I ended feeling confident about my next steps
3. Seeking Volume
By the third day, I wanted to start suggesting volume and greater tonal range without over blending. I began increasing raw umber to my mixtures to suggest detail and separation.
4. Reviewing Angles
Before starting this two-hour session, I realized I needed to adjust the angles on her eyes, nose, and mouth. In this session, I relied more on raw umber to achieve contrast and edge control, and I like how mixing more of that pigment helped cool down the tonal range in the painting.
5. Getting There
When I started working in this session I mixed ultramarine blue with raw umber to make the darkest tones, and that increased its tonal range. Before moving on to the next step, first I want to push back on those dark tones to aim for a smoother transition between light and dark.
6. Refining Edges
Once I completed my previous session, I thought desaturating the mid-tones, bringing more light to the dark values, and making hard edges softer would lead to a more organic expression. At this stage, I’m quite confident about moving on to my next step with this painting. Special thanks to Eddie Niño for his feedback!
So what would I have done differently?
Analyzing my steps with this underpainting helped me identify how much more attention I need to give prep work. Prep work never felt natural to me, but I can see how being patient could help me work more efficiently and anticipate shortcomings. With this in mind, in my next underpainting, I will spend more time drawing, revising, and keeping paint layers more harmonious and thin as possible.