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Golden Open Acrylics (Read 509 times)
Reply #10 - Mar 14th, 2009 at 7:54pm

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Color is Everything!
Makawao,  Maui, USA, HI

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Sealing the panel.
 
Five sides are sealed before the cloth is glued on the face. I use lacquer as the back and side sealer because it's permanent and when finished they slide in and out of my box better.  

Before applying the sealer, sand all the corners slightly round.  Paint the sides first with each coat of sealer then the face.

The face gets a pre sealer coat of thinned water based PVA with a sponge brush before the final glue coat to attach the cloth.  
     
Cutting the cloth

Many would say that this step is not necessary and that painting on primed wood is perfect just as hard pressed Masonite is perfect, and I agree.  I just like the idea of cloth and board making a strong support. Also by using a thin polyester, linen or cotton bed sheet as the cloth it actually makes a thicker coat of gesso because the first coat of gesso bonds through the cloth to the glue underneath. I'm betting this could add extra years to the life of the painting.

Iron the cloth. Cut the non shrinking polyester cloth 1/2 inch extra all the way around. Old bed sheets are best because all the size has been washed out and they are soft without creases. Iron the sheet first anyway.

Diane, your masonite question is answered here; Hot Pressed ampersand masonite is the only way to go. Most stores don't use the word ampersand. I like it smooth on both sides. I saw on your Canvas page that that is what you use also, I bought a table saw to cut them myself.

What is a Painters Library? Is this a common term? I don't get off my own site often to learn these things. It sounds like an index of terms with links. What I do is a Google search of my site like on my sitetree or index page. Search for "canvas boards". I do have a problem in that I don't tell the searcher what words to search for Sad
http://www.realcolorwheel.com/

I just finished reading your canvas blog. My my, you're are an impressive lady.
I have one alternative way I do it. One sheet of 1/2" soft Homeasote board of the largest canvas size and push pins. This is good for all my sizes and I don't have to do any stretching to paint. Anthony Casay the oil seascape painter taught me that.

It may be hard to get a sample piece of sponge and it's my pleasure to send you a piece, it's a great tool.
Give me your address by email.

 
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Reply #9 - Mar 14th, 2009 at 7:38pm

L_Diane_Johnson   Offline
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Raleigh, USA, usa, 472, 183, NC, North_Carolina

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Yikes, thanks Don.

Even as a veteran Webbie/Mackie, we make mistakes. Thanks for fixing. If ever I make an error I never take offense at a correction...makes for a good student Smiley

Huge info here. I hope you post this abroad to others, even in your oil painting section.

The only thing you left out of the "formula" above is how you apply the glue type as it is important to many folks. Perhaps you already posted...may be a good place to start a "Painters Library".

Also, please what type of masonite you use; do you cut your own or ask the store to do it...love the minimal rounded corners...great for fitting.

The "nubs" are a downer for everyone except those who need them.

Thanks for your reply.
 
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Reply #8 - Mar 14th, 2009 at 7:25pm

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Makawao,  Maui, USA, HI

Posts: 1196
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I corrected the code error for your index Canvas Road Show, you can also by just "Modifying" it. For URL's it's automatic, you don't even need the tags.
It's amazing how we get to the same place two different ways.
http://www.realcolorwheel.com/gettingstarted.htm

I take the 1/8" masonite or 1/8" plywood (lighter) and glue on a linen bed-sheet and gesso it 3 times, thin, thickest, thin. When it's dry I cut the edges at an inside angle so the linen can't catch anything. Oh, and I round off the corners a little. I painted in my van studio for thirty years so I know weight is very important. Nubs I don't need..

 
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Reply #7 - Mar 14th, 2009 at 6:52pm

L_Diane_Johnson   Offline
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Raleigh, USA, usa, 472, 183, NC, North_Carolina

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Don,

How can I obtain a piece of the Temprapedic? We have a shop here that sells the mattresses. Do you think they would give me a sample if I explained my trade? That would be easier than asking you to send something. Just love this idea and will explore.

Bob, I have tried and used many surfaces for plein air painting using acrylics. Depending on where I am going this is my routine:

- Traveling overseas or with weight as an issue:
I do what is written in my article that follows. It is about precutting pre-primed canvas/linen then stretching when I get back...best use is for acrylics. I can take tons of materials with just a fews stretchers to hold while painting; then come home with a huge number of finished paintings/painted sketches:
http://www.ldianejohnson.com/articles/canvas/index.html
Roadshow

- Traveling in driving distance to home:
I use either pre-stretched linen, or, for longer trips by car, such as the one I'll take in two weeks to Florida: lightweight boxes from Artmate that carry 2 linen stretched canvas' or even better, four to eight boards. The boards I use range between Raymar panels (not recommended from me in large sizes, unless with thick 1/4in+ backing; but for up to 16x20 in are extremely lightweight for travel), or my own prepped masonite boards. I absolutely make my own boxes for 5x7 to 8x10 and sometimes 10x12.... as that may be an odd size to many it is a standard size for some, but no I know makes a box for this sized board.

Or, if traveling alone, I have made many simple boxes using strips of 1/4 in. balsa wood to make separators inside a box cut to size of my boards. Need to take a pic of these to really show you. Easy to do.

Even Handy Porter boxes work the same way:
Putnam Graphics

- Traveling in anywhere:
Since acrylics dry fast...and especially if they do not, you can do a simple thing between boards or canvas' using push pins. Just apply a pushpin on the outside-most corners of your wetter pieces and layer them. This works fine for oils as well.

So may ways, so many tips...these are just a few of mine among many.

Bob you asked about the make or manufacturer...I use Clausens pre-primed linen for stretched pieces for landscapes. I love the nubby surface when doing impressionistic or textured pieces. However, as a classical portratist, I also like to use the smoothest surface possible at times. That calls for anything you like best.

I sometimes sand, regesso, then sand again to gain a smooth surface for the most detailed of works. I am a "mutt" - which is a dog analogy. Don't know if you know what that means where you are, but here for painters, it means I paint according to what is needed for what I wish to paint. For instance. For a smooth portrait, I use smooth or create a smooth canvas. For rugged terrain, I may use a more rugged textured canvas.

Want to learn from you also. Appreciate you asking my opinion. Yet, you two and others reading are invited to respond and input their way of working.

Happy to be with you two guys here!

Diane


 
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Reply #6 - Mar 14th, 2009 at 12:09am

Bob_Abrahams   Offline
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I LOVE TO PAINT OUTDOORS
Perth, Australia, australia, 307, 303

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Hi Diane
what size and make of support do you use for plein air paintings?   Smiley
 

Warm regards &&Bob &&Australia
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Reply #5 - Mar 13th, 2009 at 8:12pm

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Makawao,  Maui, USA, HI

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Hi Diane,
I cut the sponge out of a twin size Temprapedic mattress. If that's not an option I'll send you one of the 2x2x4 size I use.
djusko@realcolorwheel.com
 
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Reply #4 - Mar 13th, 2009 at 3:45pm

L_Diane_Johnson   Offline
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Raleigh, USA, usa, 472, 183, NC, North_Carolina

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Delighted to meet you Bob!

Yes, if you're using something you like just stick with it Smiley Love acrylics, and up to my eyeballs in Liquitex, Goldens and just a couple other brands that may have a particular richness to the pigments.

I just like to experiment once in awhile to see what's out there, especially when students inquire to me about products. Otherwise, I sound like I don't know anything. Even though I learn so much from them as well.

Excellent point Don about the medium...paint does not breakup but keeps it's integrity even though thin.

Know about that "crawling dirt." Love the sponge you're talking about. Would like to know how to obtain one if possible. I generally spray the paintings but hate to use anything that will break down on the surface, i.e. paper towels...yikes.

Thanks guys,
D.

 
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Reply #3 - Mar 13th, 2009 at 9:48am

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Makawao,  Maui, USA, HI

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Diane, I'd like you to meet a location painter friend of mine from Australia, Bob. Hi Bob.

The only additive I ever use is Liquitex Gloss Blending Medium, it's clear and water thin. It's good because like when I want a thin wash to be very strong. Strong enough so when I draw in the starting outlines with a long haired pointed sable I can wash off all the charcoal sketch lines without effecting my light colored outlines.

I have a new sponge and I love it. Dry it holds all dust just like a tack rag. Wet it holds more water without dripping then I have ever held before. I can wipe down a 22x30 with one dip. The sponge secret? It's made of the new bedding NASA Temprapedic close pore memory foam. I just cut off a 2" thick x3x4 piece and am lovin' it. Don't forget to wash down your acrylic each night before the next days work, if your like me you pick up a lot of dirt crawling all over the painting like I do.

Don
 
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Reply #2 - Mar 13th, 2009 at 8:20am

Bob_Abrahams   Offline
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I LOVE TO PAINT OUTDOORS
Perth, Australia, australia, 307, 303

Posts: 60
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I use standard Golden acrylics, mainly for large studio paintings because of their fast drying qualities. I am quite satisfied with them and see no need to change to Open Golden.  When I need slower drying paint qualities which is most of the time and  especially when painting in the field during summer  I use M Graham oil paints which are walnut oil based.
 

Warm regards &&Bob &&Australia
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Reply #1 - Mar 13th, 2009 at 3:17am

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Makawao,  Maui, USA, HI

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Hi Diane,

Personally I like my Liquitex acrylic paints and if it's not broke don't change it.

Golden's Open Acrylics sounds Ok to me even though it has been modified. Basically I don't trust changing the luster with any additive, it can only weaken the paint. What's slowing down the drying time? I don't trust it.

I know some beginners find slower drying handy but in time they will use the hair drier too.

The reason I use a final finish on each acrylic is I stack them and if they don't have a hard poly-urethane finish they will stick together. That goes for all acrylics I have found.
 
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Mar 12th, 2009 at 11:54pm

L_Diane_Johnson   Offline
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Raleigh, USA, usa, 472, 183, NC, North_Carolina

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Hi All,

I've been using Golden's Open Acrylics since they came out last Summer (2008.) Find them to be wonderful! The tinting strength is superb, the dry time perfect, and "open" long enough to minimize the need for retarder. They move like a combo of regular acrylics and fine oils, but nothing matches the feel of oil.

Anyway, having spent years and years using this media, I never used mediums unless absolutely necessary and only retarder mixed with water as a spray to keep the paint flowing. That is, unless I want the piece to dry before moving on.

I use a limited palette most of the time anyway and no black...just don't need it.

Wondering your thoughts on this new paint. For me, the jury is still out on longevity, and more additives in the paint. Nevertheless, it seems very promising to me.

All the Best,
Diane

BTY: If used thickly enough, these paints have a beautiful lustre rather than a matte/shiny look. I did not varnish one piece since it was wonderful on it's own. However, since I still mostly use standard acrylics, use varnish on most of those.
 
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