Commencement of underpainting.

Figure scene - sitting #2

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Underpainting - I now begin to thinly glaze varying depths of tonal value still using the Sennelier burnt umber. Regardless of the value of specific areas, I still ensure the paint is transparent enough to see the image beneath.
Unlike a 'grisaille' , black and white, underpainting, I stick with burnt umber -without white - as this is more in keeping with the final image, as it is in a fairly low key, tonally. Plus, I eliminate white since there are no real dramatic highlights either.
I use the tinted board as my highlighted areas.
The brushes I use are - #3 synthetic round, #6 synthetic bright and a 1in long flat badger blender.