Do you like the bounce of stretched canvas? Is there anything about panels that’s a negative?
I have used both in the past, but have been using only panels for a while (specifically Ampersand gessobord). I love that they come prepared and I don’t have to stretch or prime anything. I always hated the bounce of stretched canvas, so I love the solidity of panels. They are also great for shipping because they are small and then. But my favorite thing is that there is no canvas texture to compete with the texture of brush strokes.
I’ve been using Ampersand’s Gessoboard for years. They won’t warp, puncture, or mildew and the surface is perfect if brushwork is important in your painting process.
I’ve tried using the flat panels but find I can’t get used to the “slipperyness” of it. Would love to use them for ease of shipping, but found I couldn’t make the switch. Are there any tips for adjusting to the smoothness vs. the canvas tooth I’m used to?
I found them slippery too for a long time but just kept trying every so often since so many successful artists were using them. I think i finally learned how to use them and its true, compare a canvas painting with a panel and the canvas interferes a bit with the beautiful strokes. I havent done a really large painting on a panel yet though. I would feel compelled to finish it to keep the alla prima flow going and it would take a long time. Anyone have any experience there? thanks Carol and David!
try adhering canvas/linen to the hard panels…
i was using Stretched canvas and have switched to canvas panels now.
I use canvas but also MDF, paper, board, and whatever I can get my hands on
Personally I don’t mind the “bounce” but the advantage of panels is you can prepare them really smooth. This gives you control over texture.
Canvas is great for bigger sized work because large panels can be quite heavy.
To smooth out any carrier I use the finest grain sandpaper.
I never paint on a canvas without sanding it first. It will help your brushes to last a lot longer (or ruin thing over just a few painings if you use “rough” canvas)
I like the panelli telati canvas mounted panels the best I think. There is a little texture and they are a very durable hardboard.
I LOVE the bounce of stretched canvas! I miss it! But I found that panels were more durable and sturdy, and so have been gradually switching over to them over the years. I am 100% panels now.
My favorite brands are Gessobord, and for canvas/linen panels, it’s SourceTek and RayMar. I love the oil-primed linen! Sublime to work on! I’m also experimenting with Trekkell brand panels.
I sometimes prime my own panels. I buy unprimed panels from DickBlick or Jerry’s Artarama (Trekkell has them too) and then prime them, often with Holbein’s Foundation colors. The texture is fantastic for oil painting. Wow.
I use Ampersand gessobord for my small and plein air paintings. My large paintings are canvas. Large panels can get very heavy.
I gleaned a tip from Brian Ryder…a Norfolk, England artist…he gets a bit of ‘tooth’ by painting the smooth gessoed board with acrylic house emulsion paint to which he adds a spoonful of powder filler. Here in UK it is called Polyfilla, (for cracks). When dry there is a smooth but non slippery surface. You can mix in a little acrylic colour ( eg. burnt sienna) to it for taking away the whiteness. I sometimes do it and the oil paint doesn’t slide about so much. Hope this helps. Anne
I also dislike a slippery surface. When using prepared panels, I apply an additional layer of gesso (for some brush marks). When that’s dry, I add a layer of Liquitex clear gesso (sometimes mixed with a base color), which has a wonderful, gritty tooth not present in other acrylic gessos.
I like panels a lot, but have also enjoyed stretched canvas in the studio and love that I can just hang it on any wall to look at it until I decide if it needs more work.
I started using panels because I had bought several dozen 4x4x1/8 inch birch plywood pieces (not primed) for a project and then eventually abandoned the project. I didn’t want to just throw the panels away, so I primed them with gesso and started painting on them. I love the “tooth” on primed panels! I also bought a package of gessobords just to try them, but they are pretty smooth, so I’ll continue to prime my panels.
I don’t mix a lot of stand oil with my paint, which helps minimize slipping on the gessobord. When I paint on panels I’ve primed, the paint doesn’t slip at all.
I have always painted on stretched canvas, but have been trying the Gessobords this year and it has been a difficult adjustment. The paint seems so slimy and it feels like it has nowhere to go. I also tried Master’s Touch watercolor canvas panels (any medium can be used supposedly) for plein air work. They have a very fine weave which gives a nice subtle texture. The support (cardboard?) is a bit thin though.
I don’t do a lot of oil painting now, but I have always had a preference for boards and panels; these were the only thing I could afford forty years ago when I first started in local classes. I find that the colours seem to stay brighter on panels (same goes for acrylics, too). In recent times I’ve also painted on MDF panels, prepared with sealant and acrylic gesso…I rather like the smoothness that this panel gives. Haven’t tried the Ampersand gesso boards, they are now available in the UK but a bit pricey.
Also have a pad of Arches Oil paper…that’s quite an interesting surface…still experimenting with that, when not into pastels.
Kathleen, I bought that kind by mistake once. Make sure that you get Ampersand Gessobord. There should be some tooth to the board. I returned the slick ones. They can’t be used unless maybe you gesso the surface first.
I found that to be a problem with some panels I bought at Hobby Lobby. Way too slick. The first panel came out looking like a very watered down oil painting with a lot of white surface showing through. To get past that on the second panel I toned with a light colored acrylic and let it dry. Then painted oils over that and it came out beautifully. But, you’re right. A coat of gesso would achieve the same effect.
Avoid the “Value” Gessobord … it’s like painting on plastic. I had to sand every one of them, use a tack cloth, and then cover with gesso. I thought I was saving a little money, but it cost me my time. The original Ampersand Gessobord is wonderful, but I always give it a quick thin wash with a little color and turp. When it dries, it’s not so slippery and is very convenient for painting and shipping.