Twilight Time, Step 5

The color underpainting

I continue to paint working from top to bottom and from back to front, roughing in approximate colors as a foundation. I'm careful to preserve my drawing and the values of the burnt umber underpainting. These new colors should be a tad darker than were I ultimately one to end up.

At this point, it's all very general and I can make changes at any time. It brings me to the point where I can evaluate if this is where I want to be.    

Twilight Time, Step 4

The burnt umber underpainting

After the line drawing, I then proceeded to do a value painting in burnt umber to use as a basis for my painting.  This helps me a lot because at this point I can see the values and the composition of the painting without investing a whole lot of time. It tells me everything I need to know.  

Then I roughed in the sky following the previous sky photo. I avoided the reflections from the trees and buildings as I will painting them last...after everything else is in it's place and I know what needs reflections and where.  

Twilight Time, Step 3

Transferring the drawing onto the canvas

I am using one of the canvasses that I have prepared using Belgian linen on commercial stretcher bars. After the application of rabbit skin glue and several coats of gesso, I then tone the canvas with a neutral color in a middle value.  Shown here I the canvas gridded every inch with a light touch of soft vine charcoal.  I have numbered the squares 1-24 across top and 1-14 down the left side.

Then using the gridded and edited photograph, I carefully follow the lines to enlarge the drawing to the final size. I try to be as accurate as possible.

Then I carefully wipe off the gridded lines just leaving the lines for the painting.  There is no place for detail at this stage.