Canvas For Painting – Custom Size

When you’re about to start a painting–whether you’re an amateur exploring new techniques or a pro refreshing your workflow–adding an initial toned layer called Imprimatura can make a big difference.

What is an Imprimatura?

Imprimatura is an Italian term meaning “first paint layer.” It refers to a thin, transparent wash of color applied over the primed surface (canvas, wood panel, etc). Typically, it uses earth-colors like raw umber or burnt sienna diluted with solvent so you get a toned ground rather than full opaque paint.

Why bother? What does it give you?

• Value control from the start. The white of a canvas can trick your eye into making colors too light or bright. By starting with a mid-tone imprimatura you automatically work from a more realistic value range.
• Color harmony and depth. That under-tone subtly influences all layers on top, helping unify mood and making shadows or glazes richer.
• Reduced glare/distraction. A pure white ground can feel harsh and high-key. A toned ground is gentler and lets you focus on composition, form and value rather than being dazzled by white.
• Historical tradition + reliably stable process. Many old-master painters used it as standard in indirect painting approaches.

How do you apply it (in simple terms)?

1. Choose a neutral or slightly warm earth tone (raw umber is a popular choice) and thin it with a solvent (turpentine or odorless mineral spirits) to make a transparent wash.
2. Apply it evenly over your primed surface so the white still shows faintly through. You’re aiming for a stain, not a full opaque coat.
3. Allow it to dry thoroughly before continuing with drawing, underpainting or compositions on top. Skipping or rushing this step can lead to issues.
4. Consider the tone of your imprimatura in relation to the subject. A warm tone under a cool palette can enhance depth; a cooler tone under warm subject matter can balance it. For example: a reddish-brown imprimatura for greens/landscapes; or a cooler grey for a scene dominated by warm.

Things to watch out for

• Make sure the layer is thin and transparent; if it’s too thick you risk cracking or losing the benefits of seeing through it.
• Be mindful of that “fat over lean” rule if you’re working in oils. Your imprimatura should be relatively lean (less oil) compared to the layers above.
• Don’t feel you must use an imprimatura. Some painting styles skip it but if you want better control of mood, value and unity, it’s a very helpful tool.

Whether you’re prepping for a large studio work, teaching students the fundamentals, or just doing a side-study, using an imprimatura gives you a grounded starting point. It helps you see values more clearly, build depth from the get-go, and avoid the “struggling with white canvas” trap. Give it a try in your next piece. You might discover your workflow feels more confident, your mid-tones behave better, and your final layers hold together more harmoniously.