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- You can apply the size and ground completely over the surface of the paper or you can tape the paper to a board along all four sides, covering only about 5mm of the edge, and then size and prime it. You can then leave it on the board to paint on it because you can then prop it on an easel or easily move it around. The border that is created when you remove the tape will be covered by a mountboard if the work is ever framed. The tape that I find tears the paper least is our Yellow Lining Tape. - Source: Internet
- You can prime your paper with either acrylic or oil based primer. Acrylic primer can be used without sizing the paper but I tested quite a few combinations and found that one coat of matt medium followed by one coat of acrylic primer was better at sealing the paper than two coats of acrylic primer. Sizing your paper is much more important when priming with oil based primer because it is essentially absorbent oil paint, and for this reason we advise applying both of the two coats of acrylic size and/or primer before applying oil primer. The more coats of primer you apply to your paper the more rigid it will become. Acrylic primers vary in their character; some become more absorbent the more layers you apply, and some become less absorbent, while oil primers tend to become smoother, allowing you to more easily wipe paint or move it around on the surface. - Source: Internet
- This first sample (of a scene I saw on the river on Thailand) is painted on Canson Moulin du Roy cold pressed paper. I’ve been frustrated with this stock because it seems to absorb too much paint and the colours dry lighter than they should. In watercolour, you can always expect the paint to dry a little lighter but not this much. Compared with the other papers, the colours came out looking flat and were considerably duller than I had hoped. - Source: Internet
- A finished oil painting on paper should be treated as any oil painting when it comes to varnishing. Oil paintings can be varnished with a retouching varnish as soon as they are touch-dry. This offers some protection while the painting finishes the drying process. When the painting is completely dry – six months for thinly painted work and many years for thick impasto paint – then a final picture varnish should be applied. The varnish does four things: it gives a protective surface to the painting to prevent scratching; it acts as a barrier to dirt and the dirty varnish can be removed at a later date if necessary; it seals the surface so that no more oxygen can be absorbed which prevents the paint from cracking; and it evens out the sheen of the surface (and you can choose the sheen – gloss, satin or matt). - Source: Internet
- Arches is the only oil painting paper that is sized in the traditional way with animal gelatine; all the others are free of animal derived products. Because they have been specially sized for oil painting, oil papers significantly reduce the amount of oil absorbed into the fibres of the paper, compared to other fine art papers that have not been prepared for oil painting. However, none of the oil papers are 100% resistant to having some oil seep through to the back as a result of oil absorption. Those that are externally sized absorb the least amount of oil, but even the papers that are not externally sized will still give the fibres enough protection from the oil because of the internal sizing. But, if you wish to guarantee your finished work will be on a substrate that does not absorb any oil we recommend applying a layer of acrylic gesso or medium to the surface of the oil paper, or sizing your own paper, or using fast drying oil painting mediums which also minimise oil seepage. - Source: Internet
- It usually just takes one coat of matt medium to seal (or size) the paper from oil paint absorption if you are adding a ground layer of acrylic primer or casein gesso primer as well. If you do not wish to add a ground because you want the colour of the paper to be visible or because you like to paint on the matt medium surface (which is smooth and makes it easy to wipe paint away), then it’s advisable to apply a second layer of matt medium. You could think of the first layer of matt medium as the sizing and the second as a transparent ground. - Source: Internet
- Fine art oil painting papers are acid-free, with the majority being made of wood-free cellulose pulp. Arches Huile paper is the exception, being made of 100% cotton. As a result it is considered a professional grade paper, with a longer lifespan than wood pulp paper because it can better withstand changes in humidity and temperature. The long fibres of cotton also give the paper strength and the ability to withstand rough handling and wiping without easily tearing. - Source: Internet
- Oil painting paper is available as sheets, rolls, pads that are glue-bound on one edge only, and blocks which are pads glued on all four sides. A block will hold the paper flat so you can paint vigorously without the paper moving and it keeps it from flapping about in a breeze, making it ideal for painting outdoors. Oil painting papers vary in weight from 187 – 300 gsm. The heavier paper is better able to hold thicker applications of oil paint without folding under the weight when picked up. - Source: Internet
- Oil painting papers have a special coating that prevents the paper from absorbing the oil content of the paint. They usually have an embossed linen texture on their surface, although Arches Huile, which is a specially treated watercolour paper, has a cold-pressed surface. It’s important that paper for oil painting is sealed to prevent the paint from being absorbed by the paper, which would eventually embrittle the natural fibres of the paper and if enough oil is absorbed from the paint, the pigment can become under-bound, making it look matt and crumbly, and can in some cases cause the pigment to come away from the surface. Using properly sealed (sized) paper for oil painting means that your colours remain brighter and more glossy. Additionally, when using un-sealed paper, unsightly oil rings may appear around the paint if there are areas of the paper left unpainted. - Source: Internet
- I’ve been looking for a watercolour paper that is good for drawing on with a fine ink pen and also takes washes well and keeps colours vibrant. It’s become a bit of an obsession for me and I appreciate that every time I write about it, people send me suggestions. In today’s experiment, I thought I’d compare apples to apples by painting the same scene each time on different surfaces. In fact, I was so scientific that I lined up all the sheets of paper next to each other (except for the last one which I did later) and tried to paint each section of the sketch with the same wash from my palette. That’s about as scientific as I can get with paint. - Source: Internet
- If you paint thinly with less oily paint then you may like a more non-absorbent surface. Jackson’s Acrylic Gesso Primer is moderately absorbent so there is moderate brush drag, you can wipe away fairly easily and there is enough absorbency for long-term adhesion. On the other hand you may like an absorbent surface because you paint with juicy, oily paint. If you prefer a more absorbent ground the Lascaux Gesso 2020 is a good choice. - Source: Internet
- Oil painting papers are available in various shades of white, as well as a natural, light linen colour and black. While the lightest colour papers optimise the reflective properties of the paper allowing colours to appear bright and luminous, a black surface can effectively allow you to build up light tones. Opaque or metallic pigments are particularly well suited to painting on black paper. - Source: Internet
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