Saturday, September 11, 2010

Realist landscape in-progress, CT farm, oil on mounted linen. Paul Baldassini

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Hay Tedder underpainting in Quinacridone Magenta

Since I won't be starting my "official" posting of work-in-progress until I begin my next painting, I thought that I would post my previous painting in-progress. Helps me better understand how to blog and its also the painting in my header image.

I first prepared a panel (you can read about my panel preparation in my website here):

Next I transferred the drawing onto my panel (also described in my website Studio notes) but I did not photograph that step so sorry, no image for that.

Above is the completed underpainting executed in Quinacridone Magenta (Williamsburg). I used to use Burnt Sienna Dark (Sennelier) but liked the look of the glazed and scumbled colors over Quin Magenta. Especially the greens and shadow tones , which I usually apply very thinly and transparently over the underpainting.

My underpainting proceeds much as watercolor -- a white-primed panel replaces cold-press watercolor paper, and OMS and diluted oil paint replace water and diluted watercolor paint.

Using mostly flats, some small filberts for details, lots of OMS and rag at the ready for wiping out, I block in the entire composition. The oil paint stays fluid on the panel for hours and can be easily be wiped off without disturbing the graphic drawing and repainted, if I’m not satisifed with something. This combination of wiping out with a rag and controlled loose painting with a brush is a great way to establish a tonal underpainting.

When done, you have a toned panel in which not only the composition has been fully realized in monochrome, but all shadow, highlight and value issues have been worked out. With the composition and value study completed, all thats left to do is apply color, using a combination of glazing, scumbling and direct painting.

That's it until my next post.