The Frugal Artist: Prepping Old Canvas Panels
Posted By Carrie L. Lewis on August 29, 2009
Oil Primed Canvas on Panel
You’ve begun the recycling process by removing a failed painting from its canvas panel support. What do you do next?
That depends on the type of canvas surface with which you are working.
The panel I am using for this demonstration is 20 x 24, 1/4-inch composite panel with oil primed Raphael linen canvas mounted to it.
The two most important words in that paragraph are “oil” and “primed”. The canvas was originally primed and prepared by the manufacturer with an oil based primer. Whatever goes on top of that has to also be oil. In this case, oil paint.
The second purpose of surface preparation is sealing whatever is left of the old painting it doesn’t reappear like an unwanted ghost in the new painting.
With this particular panel, there isn’t much chance of that. There isn’t much of the old painting left. Just a few flecks of color here and there and mostly in the area that used to be sky. I could almost have painted over it just like it was.
Prepping took place in a couple of steps using M. Graham Oils Alkyd Formulation Titanium White. This is also known as ‘rapid dry white’, but that’s not the reason I chose it. I chose this formulation because the alkyd in the formulation has better adhesive qualities than straight walnut oil. Both would do fine for this purpose, but I prefer to err on the side of caution when prepping surfaces.
The first paint was applied with a rag and put on very thinly. The remaining color was muted, but not covered up. That was all right. What I wanted was a layer of paint totally devoid of brush strokes.
The next layer followed after the first layer was completely dry. Most generally two weeks. I used a palette knife to spread the paint across the surface, then brushed it out with a large bristle brush. The first time across, the brush strokes were horizontal. I followed that by brushing the paint out even further, but on a diagonal. Working in two directions creates a more even paint layer and reduces the prominence of the brush strokes.
This application covered almost all of the remaining paint. Only faint ‘ghosts’ of color remained. Once it’s dry, it will be ready to use with a light sanding and a scratch test.
I am a self-taught artist for the most part. Lots of trial and error in the past forty years! Formal art training consists of a couple of years of high school art, a painting class at a community college, one semester in the Fine Arts program at Abilene Christian University and a couple of local workshops.
I am always looking for ways to better my artistic skills, so I am a permanent student in the School of Trial and Error. I love reading and have been known to spend hours online researching materials and techniques. As a result, I've painted in several different styles, including the direct method (which goes straight for the color) and Classical methods (which involves underpaintings, layering and glazing).
I have exhibited paintings in locations such as Lone Star Park Race Track, Grand Prairie, Texas and Remington Park Race Track, Oklahoma City, Oklahoma. Since the early 90s, I've worked with the Michigan Harness Horseman's Association, donating custom portraits to their annual benefit auction.
In the course of maintaining a growing art business, I have taught myself web design (a skill that will no doubt prove to be a continual learning experience).
I also enjoy puttering around the yard, chasing trains with my husband, Neal, travel and, of course, looking at horses whenever they appear on my horizon.
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