Trying out pink underpainting

I tried pink underpaintings with these four pieces.

Finished paintings

I often see artists laying out pink/magenta underpainting on canvas. They often leave some pink/magenta edges in the following layers. It makes the painting very interesting because you can see through the warm and saturate underneath color. I am curious about this pink/magenta base color method. Since I have tried green underpainting for figurative/portrait pieces, I may also try pink/magenta underpainting as well.

Underpainting

Here are the pink underpaintings for these four piece. At some point, I feel I was in a darkroom and working with negative films.

First color layer

Well, although I wish I can leave some pink edges from the underpainting, I still cover the canvas completely with “normal” color. I guess I need to learn how to “leave a blank spot”.

Summary

In my point of view, pink/magenta base for landscape is essentially the same as green foundation for portraits. It makes easier to spot your work progress. When you are painting flesh tone portraits, you cannot miss a green spot on the face or body. Vice versa, when you are painting greenish landscape, you cannot miss a saturated pink spot on the trees or lakes. Even after I cover the underpainting entirely with different color, it shows up more vivid in the end than starting directly with natural color.

It is an option. 😀

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My paintings are an outlet to express the imagination I have inside my head that I can not put into words. After trying many mediums, I always find myself coming back to paint and brushes. In my current artistic practice, I use oil paint and mainly create portraits of mythical creatures and animals transfixed in the shifting colours of seascapes and landscapes. There is a natural spirit and magic to these creatures and their energy draws me in. Choosing to paint these creatures as real living wildlife rather than abstractions, I use bold and vivid colours to express the imaginary intertwined with reality, finding magic between the seams. Using a saturated colour palette, I create bold and striking imagery, contrasted between foreground and background, subject and landscape, and light and darkness. Weaving their bodies and the surface of the landscape into each other through organic forms and flowing brush strokes, I find beauty, strength and innocence in these creatures that reflect my inner world.