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 sized. The answer is yes.
All raw wood panels should be sized properly before applying ground applications, regardless of whether you use acrylic polymer dispersion “gesso” or oil painting ground.
Gessobord artist Erin Berrett is a contemporary realism oil painter best known for her still-lifes. Some of our favorites are meaningful commissions that have sweet or fun and quirky backstories. We checked in with Berrett to share with us some of her most memorable commissions and the stories behind the paintings.
Louise LeBourgeois paints waterscapes like no one else, on Claybord, with oil. The water brings her back to the places she found magical as a child, and the paintings she creates are pure magic made from pigments, oil, and Claybord. Very few oil painters gravitate towards Claybord, but for Louise, nothing compares.
In order to try and learn a bit more about what makes Louise tick, we posed a few questions. Continue Reading >>
Moire, oil and graphite on Hardbord, 16″ x 20″, 2013
Rhonda Gates is an abstract landscape artist, explaining her process and inspiration in a recent blog post on her site, she shares that her works evolve in subject and color, as her process evolves in making them.
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.
Claybord™ is an extremely smooth surface, workable for both additive and subtractive art making. Its name comes from the absorbent clay ground that is reminiscent of the clay gesso grounds, made with chalk and animal hide glue, used during the Renaissance. Claybord has an archival finish, suitable for acrylics, casein, gouache, tempera, egg tempera, pen and inks as well as for mixed media techniques, airbrush, and collage.
Since Claybord is so receptive to watermedia, it is recommended for painting when an absorbent ground is needed.
Claybord’s coating is thick enough to use a razor blade or scratch tool to reveal the white clay beneath a layer of painted color to give detail and definition to a painting.
When painting in acrylics, if removal of paint is desired, consider painting in thinner films. Acrylic dries to a more flexible, plastic-like film.
First layers of oil paint will dry rapidly to a matte finish, due to the absorbancy of Claybord. Subsequent layers will dry more slowly and keep their luster. In order to keep the oils from absorbing into the panel’s coating, consider using Gessobord or following these steps to prepare the Claybord for oil paints.
Claybord is ideal for casein and egg tempera, considering the fragility of these ancient mediums. Both are prone to cracking when dry and need the stability and absorbency that only Claybord can provide. Apply these paints in thin layers.
Softer leads with high pigment content work best on Claybord when using pencil or graphite. Claybord tolerates repeated erasing without marring the surface and can be sealed and framed without glass.
Claybord works well with pen and ink as fine lines do not smudge and the ink dries rapidly; however, take heed to prepare the board by dusting and wiping down in order to prevent clogging of pens.
If you are interested in sealing your work in watercolor, ink or scratchbord for glass-free presentation, we recommend using the Krylon® UV Archival line of spray varnishes found on Krylon’s website.