Underpainting

An underpainting is the first painted layer of a painting. It establishes the values, shapes, composition, and sometimes the color temperature before the final layers of paint are applied.

1. Underpainting is the initial paint layer applied over a prepared surface to create the structural foundation of a painting. Rather than focusing on fine details or finished color, it establishes the composition, proportions, values, and often the overall lighting, allowing later layers to be applied with greater accuracy and confidence.An underpainting can be created in a neutral color, a limited palette, or even full color, depending on the artist’s technique and the painting medium.A well-executed underpainting typically has the following characteristics:
   • Accurate values: The lightest lights and darkest darks are correctly organized, creating a strong sense of form and depth.
   • Clear drawing: The proportions, perspective, and placement of objects are already resolved before color is added.
   • Simple, not overworked: It captures the essential forms without unnecessary detail, leaving flexibility for later stages.
   • Thin paint application: Especially in oil painting, the paint is usually applied in thin, lean layers to follow the fat over lean principle and ensure long-term stability.
   • Controlled edges: Hard and soft edges are already considered, helping guide the viewer’s attention.
   • Visible brushwork: The brushstrokes should support the forms without creating excessive texture that could interfere with later layers.
   • Fast drying: The layer is generally allowed to dry completely before additional paint is applied.

   Common types of underpainting include:

   • Monochromatic underpainting: Uses a single color (such as burnt umber or raw umber) to establish values.
   • Grisaille: A monochromatic underpainting painted specifically in shades of gray.
   • Verdaccio: A green-gray underpainting traditionally used for flesh tones in Renaissance painting.
   • Imprimatura: A thin transparent stain that tones the entire surface before the actual underpainting begins. It is often considered a preparatory layer rather than an underpainting itself.
   • Color underpainting: Uses local colors or complementary colors early in the process to influence the final appearance.

Underpainting is one of the fundamental techniques in traditional oil painting, acrylic painting, and some forms of tempera. It has been widely used by Renaissance, Baroque, and Academic painters because it separates the problem of drawing and value from the problem of color.

It is especially valuable when painting from life, where the subject is constantly changing. Natural light shifts throughout the day, models move, and the available working time is often limited. By establishing the composition, values, and forms early, the artist can “lock in” the initial impression before these changes occur.

When painting from life, an underpainting helps the artist:

• Establish the main value relationships before the lighting changes.
• Resolve the drawing, proportions, and composition while the subject is still in front of them.
• Separate the challenge of values from the challenge of color.
• Avoid constantly chasing changes in light and shadow during the painting process.

When working from a photograph, an underpainting is generally less essential because the reference remains unchanged. Likewise, if a projector is used, much of the drawing has already been solved. However, many professional artists still use an underpainting because it provides a strong value structure, improves form, and creates a more unified final painting.

Although many contemporary painters work alla prima (completing a painting in one sitting without separate layers), underpainting remains one of the most effective methods for creating realistic paintings with strong structure, convincing values, and greater control throughout the painting process.

• The underpainting establishes the structure of the painting before the final colors are added.
• Its primary purpose is to organize values, not necessarily colors.
• A successful underpainting simplifies the painting process by solving major visual problems early.
• Later transparent or opaque layers build upon the information established in the underpainting.
• The underpainting should support the final image without becoming visually distracting.