How does the production of colored base and color base affect the picture effect

The creation of colored painting bases probably dates back to Gothic times. Red canvas made from red basalt soil was popular from the century to the century Courbet era. Some are coated with a color isolation layer containing oil and resin on the colloidal base, and some are coated with a highly absorbent red earth pigment when the latter layer is coated. This can not only weaken the greasy feeling of the oil base, is conducive to the color layer dry quickly, more importantly, is conducive to the painter's grasp of the overall tone of the picture.
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Rubens used a mixture of hard charcoal, white pigment, and a binder (probably glue) that he quickly applied to the base of the white stone paste with a sponge, producing a textured silvery gray layer that made the subsequent colored layer easy, pleasant, and vibrant.
The following describes the production method of two colored bases:
(1) On the chalk base, the acrylic pigment plus turpentine and a small amount of toning oil are applied to the white bottom, the acrylic pigment used is prepared according to the needs of the painter, and the commonly used are white, brown, ochre, earth color and so on.
(2) On the oil or semi-oil base, use the toning oil accelerator to add a little iron red powder (iron oxide) to apply a thin layer or paint it at will, and retain the brush marks will produce unexpected effects.
(3) Apply a thin layer of turpentine oil paint on the base of the sketch, which is opposite to the hue after comparison. For example, if the sky is blue, you can apply a thin layer of earth red first.
The coloured base must be made by thin coat dyeing on a white base. The purpose is to ensure the transparency of the color of the picture. On how thick the subsequent coloring layer is, the background color will have an impact on the picture.
(1) The white base can maximize the richness of the color, and on the white base, the color is clear and certain. Various colors are difficult to properly combine organically on the white background, and can only be adjusted by the gray produced by harmonizing with each other, so painting on the white background requires rich gray. In the use of color, warm and cold contrast should be appropriate, but also to avoid coloring too bright. White background is suitable for transparent painting and translucent painting, the use of this technique can produce a variety of visual gray, this visual gray has been used by the ancient master Rembrandt, Vandyke and other painters. This gray has a much more attractive charm than the gray that comes out.
(2) The gray base has an earthy atmosphere, which is often adopted by many painters, and it has an irreplaceable effect on the human skin color. Gray bottom can make a variety of colors produce harmonious, unified effect. The silver gray base is between white and gray, and has the common characteristics of the two base colors. The gray-green base can weaken the warm color, and the earth red and ochre base can weaken the blue-green tone and make the color more harmonious. The cold and warm contrast between the color and the background color can obtain extremely subtle results. Now many painters use linen primary color light brown, brown as the base color, reducing the trouble of doing the base color, easy to use, but only for fine linen and medium density linen. Coarse grain linens need filling materials (Lide powder, large white powder, etc.) to fill the cloth holes.
(3) Painting on a dark background will produce a dull effect on the picture. Everything light will darken, so take this change into account when using a dark base. The dark bottom is mostly warm colors, such as brown, iron red and so on. Painters generally do not use black substrates, but ivory black and white substrates are often used.
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