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Author: BillF, Contributing Editor
| Gesso application is completed. This is the time to clean up the edges and remove any gesso that seeped around to the back side. When the panels are stacked in the press any gesso that is excess may cause the panels to stick together or to the separating sheets. |  |
| As soon as any clean-up is completed lay the precut Wallis sheets on the panels. Lay the paper onto the gesso lightly at first. Align the edges and then press down with your palms from the center out. No need to rub you hands across the surface. Just begin pressing in the center. If some gesso oozes out at the edge make sure to wipe your hands clean before touching the paper again. Recheck for alignment then set on solid flat surface. Place glassine, ordinary wax paper, or solid cardboard panels(not corrugated) between each panel in the stack. |  |
| I stacked 3 - 9x12 panels. The fourth panel I had done previously as a trial run.
I placed a heavy piece of 3/4" MDF (Medium Density Fiberboard) on top of the stack and then used what I had at hand for the weight. 35lbs on the scale. I waited 24 hours for the gesso to set up. |  |
| The next day I removed the panels from the press. At this point one acn use a sharp blade to trim off paper that may hang over the edge of the panel. Once this is done use a small brush to coat the edge of the panel with the sealing paint. I did not paint the edges when I painted the backs because I wanted to make sure the gesso had a clean surface to adhere to. There are several approaches to painting the edges just make sure what you do does not interfere with other steps.
Next, I took one of the completely dry panels and wet it down like one would wet down a sheet of watercolor paper to stretch it. This was done because I do water color underpaintings sometimes and because I wanted to see if the composite paper/panel would hold up to humid conditions in the field. I let it air dry. Here's what the completed panel looked when it was dry. Minimal or no warpage, even though I had not yet sealed the edges of this panel as you can see. |  |
| When the surface was dry from the water-test step I tested a harder pastel and a softer pastel on the surface to look for any evidence the surface had been changed.
Starting from the left: First I laid a Unison stick flat on the paper and just nudged it across the surface. The next mark was the same stick with more pressure. Then I used a Rembrandt stick with light and heavy pressure. In between the Unison and Rembrandt strokes I made a light-pressure mark with the sharp edge of the Unison. There was no evidence of the surface being made uneven by the adhesion process. The variations seen are from the pastels themselves. |  |
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