Underpainting on plein-air

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Set-up, Linen on aluminium panel
Set-up, Linen on aluminium panel
Wipe Out the light of the sky
Wipe Out the light of the sky
Begin adding the drawing and darker tones using Raw Umber and Solvent
Begin adding the drawing and darker tones using Raw Umber and Solvent
Texture of the trees
Texture of the trees
Using White and Raw Umber, I made a lighter value for the Sky.
Using White and Raw Umber, I made a lighter value for the Sky.
Now I move to paint the mountains from back to front, using only my value with Raw Umber and White and Solvent
Now I move to paint the mountains from back to front, using only my value with Raw Umber and White and Solvent
Always comparing each value with the sky. Nothing can go lighter than the sky
Always comparing each value with the sky. Nothing can go lighter than the sky
Underpainting on plein-air - Painting
Here I use the back of the Bruch to scratch the tree trunks
Here I use the back of the Bruch to scratch the tree trunks
Then, I add paint to the branches
Then, I add paint to the branches
Underpainting on plein-air - Painting
Using a Fan Brush is helpful to add foliage
Using a Fan Brush is helpful to add foliage
Here is how it looks after one session.
Here is how it looks after one session.

Here is another project I would like to share. This underpainting inspired the work in the studio that I developed at Domestika. Look at the process of this big underpainting. I use only Raw Umber and White, Mineral Spirits and Oil. It looks like a tonal drawing (but with paint) that is ready to add color. I often start my studio paintings like this. I develop the composition, the block-in and the values until the under-painting stage. Then, I do smaller thumbnail color sketches and I take everything to my studio and begin adding the color.

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