Because this topic is lengthy, I’ll be posting Part One now and Part Two next week…
Whether creating artwork for exhibitions, competitions, or sale, consider using high-quality materials. Don’t compromise your foundation, your paints, your brushes, your mats, your frames, etc. You want your artwork to stand the test of time. Give your collectors something that will last.
Over the next few posts, I’ll be talking about these materials. Since the majority of my work is done in watercolor and acrylic, I’ll place the emphasis on these two media.
Let’s start with your foundation…
Many materials can be painted upon. Common foundations are canvas (stretched and panels), linen (stretched and panels), board (tempered Masonite is an example), Plexiglas®, wood, glass, and paper. The foundation you choose should be based upon your ultimate goal.
When working on paper, it’s best to ensure the paper you’re using is acid-free, typically made of cotton fiber. If you choose to work on an acidic paper, it’s best to prime the surface prior to painting in order to protect the painting from being impacted by the acids in the paper. You may do so by applying a base of gesso or an acrylic medium. There are also watercolor mediums which can be applied to paper.
Most watercolor paper brands sold today have some sort of primer on them, this aids in preventing the paint from absorbing too much into the paper. If the sizing in the paper you are using is excessive, you may soak the paper to remove some of the sizing prior to painting.
If canvas is your preference, prime the canvas with gesso to prevent the paint from absorbing into the fibers of the canvas. This is particularly true when painting with oils. Remember that canvas, typically cotton or linen, can deteriorate or rot with age if not treated properly. Priming the surface not only aids in protecting the canvas but also protects the paint from suffering the aging of the canvas.
There are clear gessoes and mediums you may use if you like the look of raw canvas or linen. You may also go the traditional route of using white or tinted gesso on the canvas. Personally, I paint on white gessoed stretched canvas and have begun working with tinted gesso as my base.
The same goes for board or panel bases. These bases are typically made of wood, which is, by nature, acidic. Without priming, the acids in the wood could eventually yellow your paintings. With oil paintings, the primer also acts as a shield, preventing the oils and mediums in the paint from absorbing into the base.
Another consideration when working on board is the thickness of the board. If working on plywood, for example, anything less than ½ inch risks warping. There are means to reduce this warping such as gluing a support framework on the back of the panel.
In next week’s post, I’ll discuss points to consider when deciding whether to use canvas or board. I’ll also discuss protecting the finished artwork depending on the surface and media used.