1 (800) 822-1939 USA toll free
+1 (512) 322-0278 outside the US
Did you know that you can customize Ampersand’s Floaterframes? One way is to apply a metal leaf. A gold Floaterframe is a beautiful treatment that can enhance your artwork and truly make it stand out.
My artwork often involves combining several techniques and materials. Ampersand Claybord is great for this kind of work because of its versatility. The strong, rigid panel can take the pressure of an image transfer process without bending or tearing. Its smooth surface allows for a clean transfer and collage materials make a perfectly flush connection. The fact that Claybord is an archival surface is an added bonus.
Recently, we had a question about SID effecting the paint on the panel edges. An artist was concerned about paint on the edges of the untreated panel, not cradle, and how that might effect his work long term. Below, Dana Brown answers the question.
“The condition of SID is one of acrylic paint and acrylic dispersion ground (acrylic gesso). We make broad recommendations to sealing the painting surfaces of wood, as a separate step from priming, primarily due to the common use of acrylic gesso as a primer, but also to maintain a painting surface that is as acid-free as possible. It is also based on an understanding that proper habits can become good practice when using various materials. We know that sometimes artists will pick up a piece of wood to use as a substrate, not knowing its density or acid-level, and sealing the panel will give the painting a ‘fighting chance,’ of lasting.
Click here to explore the full selection of Ampersand panels and tools.
North Carolina artist, Ginger Gehres, was one of our three artists back in the spring that won our “Share your Studio” contest. With such a strong affection for Ampersand panels and a wide range of experience in art, it was an easy choice to support her work here on our blog.
Ginger’s life long affair with art is truly life-long. “I never knew I wasn’t an artist. One of my Grandmothers was a fine artist, the other was an excellent sewer, my Dad built homes and my Mom could paint, but preferred artisanal craft work and she was a professional dancer at one time. Creativity was the norm in our home,” she explains. It isn’t that Ginger hasn’t taken the time to hone her talent with the study from professionals, but she did get a jump start on her learning with an internationally recognized artist grandmother, Twyla Rose.
Ampersand panels came into Ginger’s life relatively recently when she found them at a local Jerry’s Artarama. She liked working on the hard surface with acrylics, and appreciated their durability. “In November of 2011, Susie Willis, a friend and fellow artist, ask me to come with her to Art of the Carolinas sponsored by Jerry’s. I’d never been and was overjoyed when I saw the Ampersand booth,” she explains. Along with other art material manufacturers, Ampersand was there selling panels and demonstrating how to work on them. “I was stocking up on boards when I saw a striking flower on a black background as a display piece. I had no clue it would change my whole perspective on art. I was told that it was “scratchboard” and Dana, one of Ampersand’s very fine folks, explained how it was done. I tried out the giraffe in Sally Maxwell’s book, got hooked and never turned back!”
Ginger primarily works in Scratchbord™ and Claybord™ with acrylic, always doing more than one project at a time. Her studio is laid out so that she can work on tables or an easel, with a dog or two nearby. Her subject matter is simply a matter of what comes to her, what subjects draw her in emotionally. Her new challenges are working on textures in the Scratchbord, fur, skin, scales, metal or rust. “I found a toad in a nursery a few years ago and my husband discovered me on the ground, taking it’s picture. Thankfully, he’s not easily embarrassed and I was able to do a scratchboard piece that had warts,” says Ginger.
Ginger just finished the June show in Vancouver for The International Society of Scratchbord Artists where she had three pieces juried in, and she is the current exhibition director where she’ll be heavily involved in the annual juried show in 2014 in Cary, NC. You can find Ginger online, she is part of the Scratchbord Group on Facebook, has her own page and website where you can see more of her work, graphic design and illustration.
Our fall sales event is starting soon, 20-50% off on Claybord, Gessobord, Hardbord, Encausticbord and The Artist Panel at select dealers.
All things Ampersand,
Karyn Meyer-Berthel
Artist & Social Media Specialist
Ampersand Art Supply
Click here to explore the full selection of Ampersand panels and tools.
Image Transfer and Collage: A Demonstration by Dana Brown using Claybord™
My artwork often involves combining several techniques and materials. Ampersand Claybord™ is great for this kind of work because it is so versatile. The strong, rigid panel can take the pressure of a transfer process without bending or tearing. Its smooth surface allows for a clean transfer and collage materials make a perfectly flush connection. I also really like that Claybord is an archival surface and that the panel is well sealed and primed.
For this demo, I combined a color copy transfer with collage. I began by selecting an image for the transfer. I chose a family photograph in digital format. I resized it and reversed the image left-to-right on my computer with image software. I flipped the image because in the transferring process, it will print in reverse. Once the image was ready, I printed it out on a color copier. Alternatively, you can resize and reverse a printed photograph by using a color copier directly.
Positioning the image
|
Next, I prepared the 9″x12″ Claybord with 3/4″ cradle for the transfer. I used a 3″ foam brush to apply Daniel Smith’s World’s Best White Acrylic Gesso to the surface. This layer should be evenly applied so that it adheres well to the color copy and doesn’t dry too quickly. Daniel Smith’s gesso works great for this step because it is already the perfect viscosity right out of the can.
Apply pressure before flipping over
|
To make sure I positioned the image correctly, I set the color copy face-up on the table and lay the gessoed Claybord face-down onto the image. Then, I applied pressure to the back and flipped the panel over.
Burnish the image with a rubber brayer
|
The next step is to burnish the image to the panel. The purpose of this step is to make sure that the gesso adheres properly to the ink from the copy. You can smooth the back of the image copy with your hands. While this works, it can result in a inconsistent and irregular transfer. Likewise, too much pressure can either tear the paper or squeeze too much gesso out from under the paper causing faint areas or areas with no transfer at all. The method that I find works best is to use a rubber brayer, rolling from the middle out to the sides using medium pressure. This pushes out any air bubbles and achieves a flat, even bond. Make sure to go over the entire image thoroughly with the brayer or it can result in an uneven or poor transfer. For a good bond, it is very important to make sure there is enough gesso on the Claybord, especially on the surrounding and outer edges of the panel.
Rubbing the paper off gently
|
Once the gesso is dry, begin removing the paper from the surface, so that the ink from the copy is left intact in the gesso layer. This is done by dissolving the paper with water. Slowly remove the paper by dipping your fingers into the water and gently rubbing it off the surface. This part of the process generally takes 2-3 passes to remove all of the paper lint. The first pass allows you to remove most of the paper as well as the excess paper hanging over the sides. Be extra careful with the edges of the image so that you do not peel or rub the ink away too. This is the most fragile area of the transfer. For best results, start rubbing from the center of the panel outward and in one direction only or the edges of the image might peel up. Do not be afraid to re-wet the area if the paper is not rubbing away. After the first pass, I allow a few minutes for the surface to dry slightly. This makes it easier to see where the paper lint is still on the image. These areas will look “faded” or “dull”. When finished, the transfer surface will feel consistent and smooth.
Finished work
|
There are many different uses for image transfers. Because the surface is Claybord, you can paint, collage, print on, or even scratch into the transfer with Ampersand Scratchbord™ tools. I decided to collage on top of the transfer. I “drew” shapes by connecting small magazine strips to make lines and curves. I used Lineco neutral pH adhesive to attach the tiny papers to the transfer. To finish, I brushed Golden® soft gel medium over the artwork to seal it. Then, I attached hanging hardware directly to the back of the cradle.
To see more of Dana’s work, follow his blog on Tumblr: danabrownstudio.tumblr.com
All things Ampersand,
Karyn Meyer-Berthel
Artist & Social Media Specialist
Ampersand Art Supply
Click here to explore the full selection of Ampersand panels and tools.