Ampersand: The Power of the Panel
Artist Eleanor McGough pays homage to the monumental display of Ampersand panels at Wet Paint.
Why do artists want to work on rigid panels rather than paper or canvas? Some just like the difference in feel. The sturdier board is less likely to be damaged, particularly when working outside. There are many materials that need a rigid substrate or they will crack.
The rigidity allows the artist to be more aggressive in their media application. The strength & depth of these substrates may minimize the artist’s framing needs, too.
Wet Paint has offered Ampersand artist panels since they were first introduced over 13 years ago. Claybord, the first product, started as an alternative surface for pen & ink. Claybord’s substrate being hardboard (aka Masonite), the product quickly developed into a painting surface, particularly for plein air painters.
As Ampersand expanded the line for different media, they presented a real challenge for Wet Paint to find the right location for their product. Working with their new display system, we found 16 running feet to show all the Ampersand products together, right in the middle of the store. Our existing panel customers love it & we have many limners, printmakers, collagists, to name a few, discovering Ampersand surfaces for the first time.
The Museum Series starts with the original Claybord surface on hardboard. This smooth absorbent clay ground is a wonderful surface for drawing, acrylic, gouache & egg tempera.
Gessobord has a ready to paint surface for oils, acrylics & alkyds. Hardbord is available for the artist who wants to prepare their own surface. All three of these surfaces are made of museum quality raw materials & are available in flat boards or cradled in ¾” & 2” depths. The Museum Series is rounded out with Aquabord, Pastelbord & Scratchbord for these other media. They are available in flat sheets. Manufactured in Austin, Texas, under strict quality control for serious artists, all Museum Series panels are archival & remain dimensionally stable.
Ampersand has now developed the Artist Series for the artist beginning or on a budget. This is a gessoed medium density board with a canvas like texture. It is a great product to make the transition from stretched canvas to rigid panel. To keep this board dimensionally stable, it is actually thicker. The Artist Panel is also available cradled in ¾” & 1-1/2” depths. These boards are produced in China to Ampersand's specifications with cost saving raw materials that result in a well made board at a price comparable to that of a stretched canvas.
Both the Museum Series & Artist Series Panels are available in a full range of sizes (including squares). Start the New Year experimenting with your medium on a new surface.
Ampersand Store Page
Ampersand Museum Series Panel Chart
Amperside Artist Series Panel Chart
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A New Approach to Canvas Stretching
The September 2007 issue of JUST PAINT, a publication from Golden Artist Colors, contained an article by James Bernstein that caught our eye. It described an alternate way to stretch canvas.
The most common method for stretching has been to tack the canvas centers (top, bottom, left & right) to the stretcher bar, & then to proceed stretching, working from the centers outward. This can create a tight corner tension to the point that little stretching can be done at all. Artists who experience sagging in the center often key the corners, which creates additional tension that can cause crack patterns traversing from the corners.
The alternate method is to reverse the procedure & perform the stretching from the corners inward.
Unroll the canvas, lay the stretcher on top of the fabric & assess the amount of margin that will be needed beyond the stretcher dimensions. Next, draw weave indication lines on the canvas with a well sharpened pencil to assist stretching accuracy. Place the fabric on the stretcher & line up the parallel pencil lines with the outer wood bead.
Now set the corners of the fabric, placing push pins along the outsides of the stretcher to the immediate left & right of each corner. Starting from the corners, use canvas pliers to gradually coax & stretch the fabric, advancing two or three pins at a time. Pay attention to the pencil guidelines throughout the stretching process; they should align straight & parallel to the outer edge. As stretching continues, the center is gradually pulled up. The canvas now exhibits an unrivalled suspension, uniform in tension, on the order of a trampoline.
Once completed, it is recommended to set the stretched canvas aside a day or so before setting with staples or tacks. This will give a truer indication of how even the stretching is & allow you to adjust tension should any slack appear.
This new technique has been implemented with great success by Wet Paint framer Dan Gremillion for our custom stretching service.
This article has been excerpted with permission of Golden Artist Colors & can be viewed in its entirety at:
http://www.goldenpaints.com/ justpaint/jp17article1.php
And for more information on James Bernstein, visit:
http://www.jamesbernstein.com/
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“Alabama” Light Weight Canvas Roll!
Fredrix 100% cotton canvases are made from the finest, select greige
cottons woven to rigid specifications & primed with non-acidic PH sizings. This roll (Alabama, Style 583) is a very popular & economical lightweight cotton duck with a pronounced texture. Double acrylic primed to accept oil, acrylic, alkyds & more. Acid free. 3yds x 52”. SKU: 10801
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Art Alternatives
Linen Artist Canvas
For a truly unique painting experience, these Linen Artist Canvases are triple-primed with clear acrylic gesso. Medium-weight, archival quality. 100% linen with staple-free edges. Suitable for acrylic & oil. Choose from four sizes!
6X6”
AA5805
8X10”
AA5810
11X14”
AA5818
16X20”
AA5831
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Strathmore 500
Bristol Full Sheets
Created in 1893, Strathmore’s 500 Series Bristol is the 100% cotton bristol that sets the industry standard for professional bristol. The plate surface has an ultra-smooth finish that is unsurpassed for detailed work with technical pen, airbrush & marker, while the vellum surface has a toothy finish that is excellent for pencil, charcoal, pastel & oil pastel as well as pen, airbrush, & light washes. 100% Cotton. Acid Free.
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Best Heavy Duty
Stretcher Bars
Jack Richeson’s Heavy Duty stretcher bars are made from lumber that is finger-jointed for the strength & straightness you require to make professional-grade supports for your artwork. For even greater stability, use the wood & aluminum combination of the Pro Bar, the bar most favored by museums.
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iAMart Elegant H Easel
This is a special edition of the Best Elegant H Easel, customized by Jack Richeson exclusively for members of iAMart, a consortium of independent art supply stores, of which Wet Paint is a member. This version has a special 9x30” canvas tray & glass palette, unique to this easel. SKU: 880065
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Dulce Easel &
Studio Stool by
Jack Richeson
A Great Easel/Stool Combination! Choose either a Dulce #880200 or O’Connell #IAM202
Studio Stool (Choose from 4 colors):
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ALL
SALE PRICES ON THIS PAGE VALID JANUARY 2ND THROUGH FEBRUARY 29TH, 2008
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