A wood panel is a better painting substrate because it is less susceptible to expansion and contraction than flexible supports, like canvas. The movement of these flexible supports can result in cracks and damage to the artwork created on them.
Ampersand offers several ready to use sealed and primed panels, but for artists that prefer to prime their own painting panels, enjoy working with a natural wood texture, or need strong support for encaustic, collage, or mounting, Ampersand also offers three unprimed wood panel options: Hardbord™, Unprimed Basswood, and Birch Wood Panel.
Commonly, artists ask us if unprimed wood panels need to be sealed. The answer is yes. If wood is not sized or sealed properly before applying gesso, yellowing can occur. This is because water (a solvent) can cause acids that occur naturally in wood to migrate to the surface. In fact, it is extremely important to properly seal all unprimed wood substrates to prevent support-induced discoloration that can cause your paint film to yellow over time.
At Ampersand, we noticed that floater frames available to artists didn’t properly accommodate wooden panels. So, in 2016 we began manufacturing our very own. Ampersand’s Floaterframes offer a complete and easy solution for displaying your artwork on panel.
I’ve spent the last few years in quest of more brilliant reflective color and luminosity in my paintings. About two years ago, I paired the most satisfactory combination of materials to date. Working Ampersand Art Supply’s Aquabord™ with Daniel Smith watercolors, I have achieved the deepest, richest color I have ever painted. Painting on the Aquabord surface in watercolor is a joy since the surface is responsive and cooperative. On the Aquabord surface, the watercolorist can easily accomplish many of the more difficult watercolor effects created on paper. This museum quality panel has the absorbency of the standard cold press paper, without its limitations. Moreover, the surface allows the artist to control washes and color, and when finished, present the painting without glass! There is a smooth surface similar to a hot press paper, but I prefer the textured surface of Aquabord. It works best for watercolors. One of the assets of Aquabord is the bright reflective quality of the white clay and the color that can be achieved on it. Previously, the watercolorist accepted a loss of brilliance in some colors as the pigment was absorbed into the depths of the paper. On Aquabord, the artist can create paintings of deep, radiant colors. This new surface allows the painter to create the softest washes, typical of those possible on cold press papers, as well as vibrant colors and textured patterns that are possible on hot press paper or bristle board. This fine art panel is also pH neutral and acid free. After drawing the design on the Aquabord, begin by painting lush pools of water on the surface. If the value of the color is to be dark, use wet color rather than clear water. It is not necessary to wash the entire surface of the board with water, but rather choose to work in smaller areas. When wet, the natural surface darkens to a light taupe. This value change easily allows the painter to know which areas are wet and which are dry as the work progresses. The bright white color of the clay returns when the board dries completely. Apply the water in thick splashy puddles, adding heavily pigmented color into the water as needed. With Aquabord, you need to work with your brush loaded up with pigment. Try not to go back into the wet area but allow color & water to drop down into the clay surface. Mix the color darker since the additional surface water will lighten the pigment value. A good, natural bristle, soft brush is useful for these applications. To achieve the best effect, keep the brush tip within the water layer rather than dragging it on the board’s surface. This application results in an even, flat, layer of color as the pigment settles on the board. The Aquabord surface has a subtle tooth that is evident in the finished work. The texture, however is finer than that of a rough or cold press paper, creating fewer shadows on the surface and brighter color. My palette consists of many colors. However, because I like working with the character of each pigment as it stays suspended in water, I will choose to use a pigment that will create the effect I want rather than manipulate the pigment, possibly destroying characteristics or color. A good example is created when Quinacridone Coral and Quinacridone Rose are richly mixed together and dropped onto the wet or damp surface. The two colors will move and separate, enhancing each other as the warmer red, Coral floats next to the cool red, Quinacridone Rose. Both pigments are transparent, intense colors of the same value and hue. Yet when mixed together, they create a subtle and sensuous transition that can only be achieved in this manner.
Try the following exercise on a small piece of Aquabord. Draw a couple of leaves onto the board using a hard lead pencil. Wet the board so it is damp as explained earlier. Apply cool green colors to your drawing while the board is damp. Let the water and color absorb in the surface and reach a slow crawl. Then wash Cerulean Blue across the area. After drying for a short time drop Hansa Yellow we into wet, onto the areas that are to be lightened. See how the warm yellow pushes the blue back and brightens the leaf. Now lift wet color with a soft, mostly dry brush in order to regain the whites.
As colors stack and the painting develops, return to areas and lift pigment. This allows altering of glazes, changing of values, and the creation of the desired textures and patterns. The surface of the Aquabord permits the careful lifting of layers of pigment value and hues to those colors below, bringing out sparkling underpainting for emphasis and contrast. Several tools can be used on Aquabord for lifting. A traditional round or flat nylon watercolor brush can be used. The nylon brush offers more resistance against the surface than a mixed bristle brush or a natural bristle brush. When more lift is required, a hog bristle acrylic may be used. Allowing the board to dry between each removal of color will offer a clear, more controlled lifting. You can also use tools such as sgraffito knives to cut into the surface and create sharp highlights such as on the edge of a petal.
When the painting is complete and totally dry, seal the finished artwork with several layers of Krylon® UV Archival varnish or other final spray. Even though the pigments used may carry the highest permanency ratings, all artwork should be protected against the damaging effect of light and the pollutants in the atmosphere. First, spray the painting with two to three layers of varnish in order to seal the pigment and prevent it from moving. This is enough to protect the painting. However, for a more even finish, brush two to four layers of Golden Acrylic UV Filtering varnish on top of the sprayed varnish. This varnish come in a matte, satin or gloss finish and can be used according to individual preference. The complete artwork is framed much like a canvas might be without glass! I use silk liners on my paintings. I find the silk is more compatible with my style with a texture suited to water color. The liner provides the visual space around the painting much like that of a matted watercolor. Have fun experimenting.
Written by Karen Vernon ~Karen Vernon is known for her phenomenal rendering of light and color in her watercolors. Her paintings have been featured in museums and galleries throughout the country and are represented in such notable collections as the Amoco Corporation. A retrospective of Vernon’s work was done for PBS and she has been featured in American Artist Magazine. An exceptional teacher, she has taught watercolors over the last 30 years. One of her students says, “every time I finish my class with Karen not only have I learned a ton of new techniques, I actually can see my skills improve.” www.karenvernon.com Click here to explore the full selection of Ampersand panels and tools.
Texas artist, Sally Maxwell, is known for her exquisite scratchboard drawings. Her enthusiasm for the medium led her to develop techniques for using color with scratchboard over twenty years ago. For more information about the artist, please visit www.sallymaxwellsart.com. Below, I’ve shared an article that Sally wrote explaining her process for coloring Scratchbord.
Scratchbord™ is a smooth clay-coated hardboard panel that is sprayed with a heavy black coat of India Ink. Scratchbord™ was developed as an alternative to scratchboard paper for professional scratchboard artists. Its rigid structure and the quality of ink on the surface allows me to produce super-sized artwork in magnificent full color. Using several grades of steel wool and a fiber brush, I’m able to achieve the smooth value changes in black and white as shown in the exercise below. Try this exercise and see why I’ve chosen Scratchbord™ as my medium of choice for full color scratchboard work. I do my preliminary drawing directly on the Scratchbord™ with pastel chalks. It can also be done the old fashioned way by drawing a study on paper and chalking the back to transfer the drawing to the scratchboard. To start, using the fiber brush, I indicate all the edges, shadows, highlight areas, plus I scratch in directional lines, which give the piece its volume. Following the directional lines, I sculpt the petals using gentle pressure on the fiber brush. I vary the pressure on each stroke, removing more at the top of the stroke and gradually removing less as I’m moving down the stroke. I blend and eliminate the brush stroke look by using the finest grade oil-free steel wool. When the drawing is completed, I clean off the black ink residue with a soft cloth or the clean dry palm of my hand. I prefer using colored india (waterproof) inks to add color. In this case, I applied a wash of (50% scarlet/50% water) following the directional lines. To eliminate brush strokes, I apply an additional coat of ink with a dry brush. An airbrush can also be used to apply very even color. Some inks will leave residue on the black edges of the subject matter and can be difficult to cut if not wiped off quickly. For the final touch up, I apply black ink around the edges of the subject matter which will cover any left over residue and over-painting. Once all my color is in, I remove the highlights where the sunlight is hitting the rose petals. This gives them volume and dimension. In this step I also lighten areas which are going to receive washes of shadow color. For example, a light wash of yellow will make one of the petals appear more transparent. When I finish the removing process, I apply a wash of a shadow color (ultramarine blue+sepia thinned down to 25% ink/75% water) over the lower petal. I used a very pale yellow (10% ink/90% water) to wash over the bottom of the upper petal creating a luminescent glow. Last, I check the piece for any accidental over painting, and any scuffs in the black ink. Then, I clean the piece once more with a soft cloth and spray on 2-3 coats of spray fixative like Krylon® UV Resistant Clear Coating #1309 (Matte) or #1305 (Gloss). The fixative seals and protects the artwork and allows me to frame without glass!
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.
Karen Vernon is an active painter with a four decade resume in watercolors, showing her work around the country and listed in galleries and museums worldwide. Karen works exclusively on Ampersand Aquabord™, teaching several workshops a year for all levels of watercolorists. You might also remember our mention of Karen as the founder of ACT, Artists Changing Tomorrow.
The Secrets to Amazing Watercolor Florals April 20, 21, 22, 2012
9:30 – 3:30
$100 deposit reserves you place
Partial supplies provided for a $25 supply fee.
Beyond the Ordinary Fun, playful, experimental! Go beyond the ordinary. Loosen up. Discover new approaches. June 13 – 15, 2012 $285 $100 deposit reserves you place
For class registrations, contact Karen at ARTtgart@aol.com or call 979-249-4119
Karen will also be teaching other workshops around the country this year. To see more of her work, find out about her workshop schedule, or sign up for her newsletter, check out her website: www.karenvernon.com.