Best Tips for Making Painting Panels

In oil painting, the support you use must be protected from the deterioration caused by the linseed oil and pigments found in paint. Traditionally, we use stretched canvas or gessoed panels. But you can also use 100% rag paper if properly sealed and protected. By using bristol or paper, you can afford ably create the substrates you need for daily painting and plein air studies. But don't stop there - I have also used this process to produce large gallery work.

Materials:
bristol, or 300lb CP watercolor paper
GAC100
acrylic gesso
blue painters tape
3" foam trim roller

Step 1.

Coat both sides of your bristol or WC paper with GAC100. Allow to dry.

Step 2.

Carefully measure out the size of the image you want - 5 x 7, 8 x 10, etc. Use the blue painters tape to mask off this image area. I tape just to the line, and then completely cover the rest of my paper to protect it from unwanted paint.

Step 3.

Double check that your tape is adhering to your paper, particularly any paper with texture. Using the 3" trim roller and the acrylic gesso, apply several thin coats, alternating the direction of your strokes with each subsequent coat. Allow to dry thoroughly between coats.

Check to see that the edge of the tape - where it meets the paper - is sealed. You do not want to leave gaps for the paint to ooze beneath and ruin your clean image edge.

Note: when I am preparing paper for a large piece (full sheet) I will apply a thin layer of gesso to both sides of the paper before adding layers to my working surface. This is because I often have paint on my fingers when I'm moving the paper and I want to be sure the fibers are sealed.

Step 4.

When you are ready to paint, tape or clip the prepared sheets to a larger board and set this on your easel.

If you are doing plein air work, these prepared papers will save space and weight in your painting kit. They're useful for warming up before you start a serious painting on panels or canvas.

When bringing back several wet paintings, a sheet of glassine paper between your painted work will help keep the sheets from sticking to each other. I've also used rough mi-tiens paper between wet paintings - the rough texture seems to minimize contact and reduce smudging.

As an artist, I am always interested in the "craft" behind the craft. I enjoy the entire process of deciding on a substrate, choosing the materials, and making the product which will eventually support my painting.

Materials

hardboard or birch commercially available panels
GAC100
rabbit skin glue or acrylic gel medium
oil priming white ground OR acrylic gesso
cotton or linen canvas
3" foam trim roller, gesso brush, step-down knife, brayer

I purchased commercially available hardboard panels. You can also find Birch cradled panels ready to finish. You may want to buy your own wood and cut it to size, but for convenience I use the ready-to-finish products. I also use the oil priming white ground from Utrecht because I prefer the finish over acrylic gesso.

Step 1.

Coat both sides of your panel with GAC100, paying attention to the edges.

Step 2.

Cut your linen or cotton canvas large enough to cover your panel, allowing at least 2-3 inches overlap all around. Lay face down on a clean surface.

Prepare the rabbit skin glue according to package directions. OR - you can use Golden acrylic gel medium, thinned slightly with water. Brush the glue or gel medium on your panel, paying attention to the corners. Carefully lay the glue side down, centered on your linen canvas. Flip over and use the brayer to work out air bubbles and increase adhesion of the linen to the board surface.

Step 3.

Let dry under consistent weight. Flip board over and apply glue or gel medium to the back edge. Fold over excess linen, making neat "hospital" corners. Allow to dry.

Step 4.

I applied two thin coats of rabbit skin glue to the linen, alternating directions. I sanded lightly between coats. When the glue was dry, I applied 2 - 3 thin coats of the white oil primer. I used a gesso brush to apply the primer, and the step-down knife to scrape and smooth the surface. The finished panels are allowed to cry and cure for three weeks and then are ready to use.