"Ask John" - The Power of Negative Painting

Marilyn from Nelson, B.C. Canada asks about the March 29th Pryce Studios newsletter regarding mixing the underpainting colors with subsequent layers of paint.

"Does this work with acrylic paint, as it dries so quickly and therefore doesn't blend like oils."

Thank you for a good question Marilyn.
As we all know, acrylics are much quicker drying than oils and  do not blend with the underpainting as readily. However,  there is a way to obtain some blending and soft edges with the use of acrylic retarder. I am showing in these photos how I obtain some soft areas in the background with the use of retarder.

When the retarder is used it also gives you the chance to "pick up", or "remove" some pigment before it dries. I have shown how I apply the underpainting, remove some pigment and then apply the heavier layers of paint. I call this "The power of Negative Painting" because I am working a lot of negative painting into the soft neutral areas of the background, and the higher value and higher chroma areas in the foreground.

The orange and Burnt Sienna underpainting gives a color harmony, as well as setting up a good background for the higher value and heavier pigment at the last part of the painting.

I hope that this example answers your question and is helpful to you.
Best Regards,

John

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"Ask John" - Red Underpainting

Artist Gerry from Sayward B.C. writes:

Hi John

"I have tried underpainting quite a few times, and I find that I paint over the color completely as I go!  How do you choose which "red" to leave and which to color over?
Thanks. Gerry" 

Hi Gerry;

In regards to which underpainting should be left and which should be covered, there is no absolute or correct method. The one thing that I have noticed is that oils are able to pick up some of the underpainting and creates, in some cases, neutrals.  I say this because I use relatively dark purples and reds behind my dark greens. e.g. a clump of evergreens. They are somewhat complimentary in the colour sequence hence they mix to make nice nuetrals and a great background for higher value and higher chroma greens.

 

As far as what to leave and what to cover, there are no real guidelines.  It always comes down to: "If it looks right, it is right". Remember,  in oils we are working from dark to light. In my video called "Transitions" you can see at least one example of how the deep red underpainting works with dark green trees.  

I hope that this helps clarify a rather complex part of a painting.

Best Regards.  
John.

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