In the first of a two-part ar­ti­cle, Anand Rad­hakris hnan ex­am­ines un­der­paint­ing us­ing burnt um­ber and white, and dis­cusses the mer­its of paint­ing in lay­ers

ImagineFX - - Issue 137 August 2016 -

Anand Rad­hakr­ish­nan’s tips.

The un­der­paint­ing sits un­der a num­ber of mostly trans­par­ent lay­ers of paint. It’s gen­er­ally a mono­chrome ver­sion of the fin­ished paint­ing, and would usu­ally be worked upon in a sys­tem of thin lay­ers of colour called glazes.

There are many rea­sons why the mul­ti­ple-step process of un­der­paint­ing and glazing is pre­ferred by some artists. First, un­der­paint­ing es­tab­lishes the com­po­si­tion, and makes it pos­si­ble to ap­ply changes and corrections at an early stage with­out in­volv­ing colour. It also fixes the value scheme that will most prob­a­bly re­main the same un­til the paint­ing’s fin­ished. Sec­ond, it makes it eas­ier to model form with­out the added com­plex­ity of mix­ing colours. The glazes of colour will add to the un­der­paint­ing with­out run­ning the risk of blend­ing or mud­dy­ing.

The most pop­u­lar ways of cre­at­ing an un­der­paint­ing are: bistre, where the un­der­paint­ing is warm and trans­par­ent us­ing the wipe-out method; gri­saille, which in­volves neu­tral greys; and ver­dac­cio, the process that uses a green­ish-grey un­der­paint­ing.

For this ar­ti­cle, I’ve cho­sen to paint a com­po­si­tion where I can ren­der and paint three dif­fer­ent ma­te­ri­als: skin, vel­vet cloth and glass us­ing burnt um­ber and ti­ta­nium white. Al­though the fi­nal re­sult of this month’s in­stal­ment is still a workin-progress, I can pro­ceed to add colour to it once dry us­ing glazes, then work on the sub­tleties and de­tails at a later stage – find out more next is­sue!

Anand is a free­lance il­lus­tra­tor who lives and works in Mum­bai. See more of his art at www.be­hance.net/anan­drk

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