The Red That Shows Through

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.



5 Responses to “The Red That Shows Through”

  1. Marcy Silverstein Says:

    HI, Nice Demo. What I cant’t understand is how you get the lighter grren on the tree over the wet Sienna mixture with out getting mid. My only guess is the Sienna mixture is very very thin.. I would probably get mud.

  2. Marcy, thanks . There are three or four things that one can do to lay that wet paint over wet paint. First, you are right, the sienna/sap green mix was pretty thin. Too, the colors on my pallette are pretty much compatable with each other so when I lay one color over another what little mixing takes place doesn’t make mud. Also my brush is loaded heavily with the opaque color that’s going over the lower layer. (treat the paint on your brush like butter on a knife and when you spread the butter on the bread don’t let the knife touch the bread, leave a layer of paint in between your brush and the canvas) and last be sure to place the new color exactly where you want it and then move on to the next stroke. I find when I get into a spot of color and rework it or smoosh it around the colors mix up and I get mud or sometimes just a color that is to dark.

  3. It has been brought to my attention that some of the images in the blog enlarge and some of them don’t. As near as I can tell it is something I’ve done. Debra took a look and we think she has found the problem.
    Seems I have to click on some thing that will make a link of some sort that allows the image to enlarge. Cross your fingers.

  4. HI Eldon,

    You better watch out or you’ll give away all of your
    secrets. Fat chance. I read your description of
    what you do with complete fascination, and
    still realize that there’s no way I could do it!!!
    As for sticking the figures in at the last minute.
    That’s impressive too. Thanks for the generous


  5. Hi Eldon,

    Thinking it over I don’t know if my comment sounded
    positive enough. Your work is amazing, and so is
    your writing. I really like your style in both.


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