To Tone, or Not to Tone...

Artists like Monet, Turner, and Van Gogh often began their works by toning their canvases with hues such as Burnt Umber, Yellow Ochre, or light gray. This technique added depth and atmosphere to their paintings while setting an initial mood. However, they didn’t exclusively tone their canvases—Van Gogh, for example, sometimes painted directly onto white or even unprimed surfaces.

Recently, I’ve been considering the approach of Samuel Earp, a contemporary artist known for his vibrant and luminous landscapes. Earp avoids toned canvases altogether, preferring to paint directly onto a white surface. His method creates a fresh, sunny-day quality in his works, full of life and energy. His process begins with a Burnt Umber sketch, followed by blocking in dark values, then mid-tones, and finally the lightest areas using large brushes. Once the canvas is covered, he adds detailed touches with smaller brushes. His results are painterly and dynamic, often eschewing hyper-detail in favor of a natural, radiant look.

Inspired by this approach, I’m tempted to experiment with skipping the toned canvas for my next piece. If the subject suits a bright, sunny mood, perhaps toning isn’t necessary. I’ll select a larger canvas—since small formats like 11" x 14" don’t feel as satisfying—and work from a strong reference photo to see how this method might evolve my style. Time to give it a try!

Samuel Earp, Copyright, All rights Reserved, https://samuelearpfineart.com/