It’s all a matter of personal preference. Any color can be used for underpainting. Low-chroma colors are often preferred because it’s easier to concentrate specifically on form and value. Since those are the bedrock of most paintings, many painters find it useful to establish those first.

One advantage of umbers is that they dry very fast. An umber underpainting allows you to move on to the next stage of painting quickly.

I have most recently been introduced to the art of Pietro Annigoni (what a masterful painter).

Are there any books, recipes or videos providing proper instruction on how to apply/use tempera grassa as a painting technique?

Any direction you can provide will be greatly appreciated. Thank you in advance.

~Ajamu

If you use lots of turps, then I’d strongly encourage you to make sure you have very good ventilation.

There are lots of ways to get where you’re trying to go. Lately, my skin tones have been mixes of raw sienna, burnt sienna, raw umber, and white. Not sure what to do with unborn—that would mean very red, I guess. I’d probably base the color on burnt sienna and mix from there.

I’m not sure what to suggest without further details on what exactly you’re trying to accomplish…

I have not worked with PVA size. I generally use hide glue, despite its potential problems. Actually, I usually paint on panels, which don’t need to be sized.

Here’s what Gamblin’s web site says about your problem. It sounds reasonable to me.

Q: I see ground striking through the back of my fabric. Is this a problem?

A: You are probably using a linen with a more open weave. By correctly scrubbing the PVA Size into the fabric before application of your ground, the fabric is sealed. The ground is filling the space between the fabric that is fine. Consider applying PVA size to the back of the canvas too, so that any ground that is touching fabric on the back has been sized.

T. Hoover,

Photoshop RAW can be non-destructive, depending on how it’s used. Camera RAW is entirely non-destructive.