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Author: Larry_Seiler, Contributing Editor
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| The gluing is completed, and now I set it aside to dry. The convenience of acrylic as a binding substance is that it will be dry in short order and allow for me to go onto the next step...which will require flipping it over. |
 | With the front dry, I place the panel backside up, and apply medium to the board edges and canvas. This will then be folded over tightly and rubbed hard. |
| Here you see me folding over the edges and making tight "square" corners. Sometime, I decide to take a razor and slice the canvas flush with the board's edge. What determines that? The thickness of the canvas adds length and width which can affect its fitting properly into the frame at the painting's finish. So, it depends on my panel size. A good linen or weave that frays less presents no threat of unraveling, but I have a bit more assurance of a maintenance hassle-free board folding corners over. |
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| The panel is now glued, corners tight, everything dry and ready to be gessoed. You can clip the frays at this point if you wish. |  |
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| Everyone has their preference in what they want from a surface. Some apply underpainting tones for various harmonious effects. Others using transparent pigments like the bright white surface to assist in adding brilliance to their color. My preference painting plein airs and alla prima is to see direct and immediate relationships of color with each other, and judge values quickly. I don't want to wait for the board to fill up with paint before my intention of using white or lighter values is realized. Plus, I work quick to capture the effects of light upon nature..and my thick buttery application of paint is more opaque. Thus, I add acrylic black to the gesso for a mid range gray value, and paint this over my panel. |
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