I was asked a few days ago about my underpainting and what I do to get those little red areas in my painting to show through. I have three progression images of a painting I did this last weekend. I have an idea what I do is similar to what my friend does but not to as great an extent.
In this piece I used Winsor Newton Bright Red thinned way down as my underpainting. I used it to block in the area of the painting I knew would be my darker values. This was a “hurry up ” painting so I chose to stop there instead of taking the time to do a more complete drawing on the canvas as I sometimes do. The darker value sienna (actually a mixture of burnt sienna and sap green) was laid on over the red using no thinner but mixed with a Gamblin medium called Neo Megilp. Neo Megilp (I can’t say it either) gives my paint a smooth “hot butter” kind of feel, makes the paint dry quicker, and leaves a nice shine even after the paint dries.
After I got the dark area of the painting laid in with the burnt sienna/sap green mix I painted in the sky and what appears to be a distant tree line. I mixed a green using ultramarine blue, cadmium yellow pale and white. I warmed that mixture with a touch of cadmium orange and put in the lighter values on the near foreground trees.
My finished painting ready for auction. This last stage was just finishing the trees and brushing in the foreground and foreground rocks. The figures were painted in last. There was a gazillion people around and I stuck a couple of them in to add that last bit of interest. There is a lot of red showing through. Some of the red areas have become a nice warm brown and some of the red area showing through are the original underpainting. The warm area in the lower left and to the bottom right edge of the pine tree is mostly cadmium orange.