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Underpainting - Part 2

In part 2 of Underpainting we have chosen a painting that is very different that the classical style we covered in part 1. The idea is to present the underpainting of a more impressionist painting. The process is almost the same. The only difference is the wider use of color when you do contemporary paintings.

This painting is from romantic Venice, Italy. For this painting we have chosen a Split Complementary Color Scheme , with blue as the dominant color and since its complementary is orange, to have split complementary colors, we chose the two colors on both sides of the color wheel: Yellow-orange and red-orange.

Also, keep in mind, from the previous lesson what Underpainting is, and what is not.

In the three previous pictures we see the transition from the drawing on a toned canvas, to the application of blue hues to represent the water. It is a good idea to apply similar colors throughout the painting, thus saving time and paint. Observe how we are not too concerned with details at this stage, but more with forms and general color. The beauty of oil painting is that is can always be changed. So don't try to make it look perfect yet.

In the lat 3 pictures we show the final steps of the underpainting, which consist of applications of similar colors over the entire canvas, until most of the canvas is covered. Because the canvas was toned (see Toning,) it is good to leave small areas of unpainted canvas showing in between strokes. The fact that the yellow ochre of the canvas shows throughout, gives the painting more unity and color balance.

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