Once the underpainting is complete, it’s time to transfer to oils. Thin glazes are applied to build up the color blocking in the overall shape of each ribbon. I mix four values at this point to begin establishing light and shadow. I’m not concerning myself with reflected color or subtle detail. The color will continue to shift. The brightest highlights have not been applied and the shadow work needs refining. This is the beginning to laying in the oil foundation.
Once the sketches are complete, I move onto the underpainting. These are worked in watercolor because of their flexibility on the panel. It helps me to see the painting take form. I become more acquainted with my subject; studying its texture. Here is where I begin to think of color and value; the colors here just a representation of what the actual colors will be. The proceeding work will be done in thin layers of oil paint and the saturation of the colors will shift. While sometimes the underpainting is a value study, a monochromatic painting that simply points the way through the lights and darks. Bear in mind that these particular works are no more than 2”, so the work is done under a magnifying glass with brushes that specialize in miniature painting.
