Monday, May 13, 2013

underpainting methods, once again

watercolor underpainting with pastel on top
 I have been playing with my underpainting methods as part of my quest for luminescence. I find that certain methods suit different ideas or moods. Not surprisingly the color underneath is the biggest factor with a close second comes the tactile nature of the surface that allows for a different stroke and blending. The sanded paper (Uart 400) has a bouncy layer for the last stroke to rise on top and vibrate with the others. The pastel toned paper is nice to the touch- soft and velvety, but the risk of mud is greater. I may like it better in the studio where my thought and planning is greater. Plein air is more about feeling and responding quickly.

That reminds me of a wonderful quote by one of my young students. We were out on the field plein air painting. He asked me, "Is it OK if I just sit and feel and smell the air, look and paint?" Now there is a young painter who gets it!
pastel underpainting on hand toned pastel paper


Donna T said...

You really know how to make those colors glow, Loriann. I love how the light is just coming over the hill and touching the trees on the island.

loriann signori said...

Hi Donna,
I just keep trying...there is no secret formula it is just an elusive searching...sort of like the holy grail.