Скачать или смотреть Unlock the Leonardo DaVinci painting technique of evolving your drawing into a painting.

How to use multiple layers in underpainting.

Watch over four hours of painting condensed into three and a half minutes.

Here I take a study portrait from drawing all the way to an earth-tone underpainting, ready for overpainting.

First, I use a sepia pastel pencil for the drawing. Then I seal it with polymerized linseed oil (that’s my medium) as the imprimatura layer. After it dries, I cover the surface with a thin layer of raw sienna mixed with a touch of the medium. With the brush, I wipe out some of the paint in the highlights. Then I add white to those highlights and blend it out into the transparent raw sienna.

At some point the modeling hits a good resting point, so I let it cure and dry fully.
Next comes a dark transparent brown layer (I call it asphaltum—made from a transparent earth red like burnt sienna, plus ivory black and a touch of olive green). I work it the same way as the raw sienna: apply the layer, wipe out highlights, add white. Let it dry.

After the asphaltum layer is fully cured, I apply a layer of medium over everything. Then I go in with asphaltum again—apply, wipe out, and model the form with wipe-outs and dry-brush blending. I use the rag directly on the surface too, wiping out as needed.

In this layer, I work vermilion (that orange-ish red) into the asphaltum, especially to highlight the cheeks.
While this asphaltum + vermilion layer is still wet but has tacked up a little, I add white into the highlights with just a touch of medium. (Too much medium and it’ll wipe out the red and brown underneath.) The white goes on thinly and blends into the two transparent colors.

Then I blend and model as the paint tacks up—it shifts from smooth and silky on the brush to that sensation like dragging the brush over masking tape. The silky feel is great for broad, quick modeling; the tacky stage is perfect for finer details.

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