underpaintings

Underpaintings are preliminary paint layers used to establish a painting's composition, tonal values, light, and shadow before the final colors are added. They can be executed in grayscale (grisaille) or in a limited color palette and are common in oil painting, tempera, and some acrylic practices. The underpainting provides a tonal map that guides subsequent glazing and opaque layers, helps correct drawing errors early, and contributes to the overall sense of depth and luminosity.

Historically, underpaintings have been central to Western painting since the Renaissance. The term imprimatura refers to a thin wash laid to block in the general tonal range, while grisaille denotes a monochrome underpainting that models form in light and shadow. Artists such as Velázquez, Rembrandt, and later Dutch and Flemish painters often began with an earth-toned underpainting (bistre, umber) that could inform skin tones and structure when color was added.

Technique: The artist first makes a drawing, then applies the underpainting, typically lean in oil to avoid cracking as the painting dries. After the underpainting sets, glazes or higher-opacity layers are applied to build color and atmosphere. The lean-to-fat layering rule in oil painting helps maintain film strength as the work progresses.

Contemporary practice retains underpainting as a useful planning stage, especially in realism and portraiture. It remains a subject of study in art restoration, where the underpainting can reveal an artist's intentions and technique. In some cases, modern painters adapt the concept using acrylics, digital planning, or alternative media, but the core idea remains establishing light, form, and value before color.