Under the paint

Priming adds another opportunity for texture

Today I will tone some panels that I have sealed with rabbit skin glue, and coated with white oil primer. I brushed on the primer, and the brush strokes will become a dimensional part of the texture under the final painting. When I apply the umbers to tone this surface, it will add another layer of depth – the paint will be randomly patterned, determined in part by the brush or cloth used. Going further I may blend or layer Burnt and Raw umbers.

Three layers of opposing texture: primer, underpaint, paint.

The texture, when all is done, might be completely covered with the final painting, or I may be persuaded to leave some to show through. The dimensional texture of the primer will still likely be a visible part of the piece.

This works particularly well on solid reinforced surfaces like panels. I love pushing into the wood.

I think the biggest benefit to working on a randomly patterned toned surface is that although the painting may cover this pattern completely, when I start the work, I am not looking at a blank empty void. I am already in a collaboration of color, brushwork and dimension. A welcoming thing to join.