The study and creation of portrait oil painting with underpainting technique

Abstract

          The research titled “A Study and Creation of Oil Portrait Painting Using Underpainting Techniques” aims to: 1. study the creative processes of oil portrait painting using underpainting techniques by analyzing the works of European, Chinese, and Thai artists, tracing the evolution from European origins through Chinese development to its practical application in the contemporary Thai context;  2. compare the creative processes of underpainting techniques with direct painting techniques based on color value comparison; and 3. create original oil portrait paintings using techniques tailored to an individual creative style.

The results of the study reveal that the underpainting method comprises three primary underlayering techniques: Grisaille (monochrome or grey tones), Verdaccio (green tones), and Imprimatura (brown tones). The process involves two main stages: the sketching phase (from rough to detailed drawing) and the final coloring phase. It was found that Chinese and Thai painters employ underpainting processes similar to those of classical European masters; however, there has been a significant transition in the choice of media. Traditional materials, such as linseed oil and Damar resin crystals, have been replaced by modern mediums like Liquin Original, Medium 1, and Medium 2. Regarding the comparison between the underpainting technique and the value-comparison technique, three primary differences were identified: 1. Timeframe: Underpainting requires a longer duration due to the creation of the monochromatic underlayer; 2. Materials: A smooth canvas surface is essential for the effective layering of pigments; and 3. Aesthetics: Underpainting produces a result with greater depth, dimension, and color density. These findings have led to the synthesis of a unique creative approach that integrates classical underpainting techniques with modern mediums to achieve the most refined visual elements.