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Originally Posted by willpaintforever
Thankyou for more feedback on my question
I have been carrying on with this conversation in the following link in the oil painting forum ( not sure if this link will work) if anyone is interested. I have added a few more images to that conversation.
 Painting on board as opposed to canvas
William, upon reading your comment I went to your web page. I am impressed. Your works are superb!
The glazing technique that you show on that website is exactly what I have been doing for over thirty years. It is fantastic to come to a website such as Wet Canvas to meet others of similar ilk. My technique is not widely known or practiced here in rural Australia.
I love glazing, dont you. When I get to that point and start adding the layers it is as if the painting comes to life. I have not painted 'direct' for many years as it leaves me unsatisfied with the result.
This brings me to the question. What do surface do you paint on? I would love to know.
As I stated earlier in this thread, I have only just run out of my hoard of board to paint on and it's driving me crasy (lol) |
For years I painted on acrylic-primed, cotton canvas. Upon opening the wrapper, I sand it with 150-grit sandpaper. Then I apply Grumbacher 525 Acrylic Gesso, thinned with water until it runs off the stirring stick like cream.
I apply this to the sanded, acrylic canvas by brushing it on with an interior sash brush. I continue sanding and applying further acrylic primer, until I have nearly obliterated the weave of the canvas. This is relatively archival, because I have not built up a thickness of acrylic pirmer, because I sand it quite thoroughly after every 2 coats of acrylic primer, thereby keeping the total thickness at a minimum.
Then, when dry, I cover the surface with a coat of oil paint--Old Holland Raw Umber with Old Holland Cremnitz White. I mix enouigh medium with it to be juicy, but not runny or drippy. My medium is 1 part Stand Oil to 5 parts Turpentine. I apply this with the canvas face up, lying flat on a table.
When that has dried, I apply a second coat. When this is dry, the surface is as good as an oil primed surface, but without the required curing time for an oil primer. After all, it is just paint, and it has been applied as "paint".
I have painted on Masonite, as well, but as yet, I have not gone for the do-it-yourself method of cutting it from commercial sheets. Instead I simply buy it, already acrylic primed, at the art store. I, too, appreciate the smoothness of such a surface. That's one reason I prepare my canvas the way I have been doing. I have no idea whether the Masonite that I buy in the art stores is tempered, or untempered. So far, I've rather assumed that the manufacturers are using the appropriate material. But, I've also learned not to trust anyone, when it comes to art supplies, so that is one reason that I've painted primarily on canvas. Until the "tempered/untempered" controversy has been setted, to MY satisfaction, I will continue to paint, primarily on canvas.
Lately, I have been working with acrylic-primed LINEN, and I
really appreciate it. I give it about the same treatment with coats of acrylic primer as I would with a cotton canvas, although I leave a little more canvas weave, than with cotton. I have found it to be a dream for glazing.
And, yes, I certainly DO love glazing. Once learned, and practiced, my work seemed to have improved quite noticably. Thank you for your comments and compliments.
Linear Mode
