How to prepare WOOD PANELS for OIL PAINTING using GAC 100 and MICHAEL HARDING’S non absorbent PRIMER
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- čas přidán 1. 01. 2021
- In this week’s video you will learn how to size and prime wood panels for oil painting using GAC 100 and Michael Harding’s non absorbent acrylic primer. You will learn how to prevent support induced discoloration and keep your wood panels from deteriorating. Properly preparing your supports can help make your paintings last for generations.
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🎨 MATERIALS LIST
PRIMER
Michael Harding non absorbent acrylic primer
SIZING
GAC 100 from Golden
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Thank you for sharing! This was a simple and informative video.
You’re quite welcome. :) glad it was helpful.
I think it would be advisable for those who have issues with humidity in their homes to seal from both sides. I had four paintings ruined because of warping. Another idea I’m playing with is mounting canvas on panels but using reversible and archival glue.
Those are good suggestions!! Thanks for sharing. What glue do you plan to use?
@@GalleryBry I have seen that there are artists who use Lineco, Golden soft medium, and even Mod Podge since it is acid free, I have to try it with Mod podge (the classic one) which is the one I currently have in my house (but not for copper hehe I mean to stick my paintings on paper on wood or MDF)
@@Maria-ue2nb I think those options would work well.
Thank you for the advice on using wood panel for impasto. Here for the priming wood panel.
Definitely sub!
You’re quite welcome. :) Hope you are having a great day!!
I use PVA size or the GAC-100, though I generally prefer Gamblin Oil Ground on panels and canvas.
The oil ground is great. I’m a fan too.
Great video! I know on the Michael Harding description it says sizes and gessos are unnecessary under this primer, but I'm just about to start an oil piece on a wood panel for the first time and want to feel confident I'm preparing it well. Would I be right to assume the gac is just an extra layer of protection and won't interfere with the primer and oil paint? Thank you!
The GAC acts as a barrier between the wood and primer. It keeps the wood from being rotted by the oils and protects the paint from chemicals in the wood. I like to take this extra step to ensure the painting lasts as long as possible.
Thanks so much; this was very helpful! I was having problems with getting bubbles in my GAC 100 layer but I think perhaps I wasn't working it enough and I was also using a damp foam brush. I do have a question (if you are still reading comments): do you seal the edges of your board as well? Thanks!
Thanks for the great feedback. I believe I failed to mention it but to ensure that a panel lasts as long as possible it’s best to seal the edges. I don’t always do it for studies but if I have a Comission I always seal the edges. :) Anything else I can help with right now?
It's the damp foam brush that's the culprit. I've had the same problem, use a dry bristle brush and wash it out immediately after applying it so the hair doesn't get glued together!
I use GAC 200
Cool. Thanks for sharing. What do you like best about GAC 200?
Hi! How long do i have to wait for the gac 100 to dry before i can apply oil ground primer? Thanks in advance🙂
I typically prepare panels at night. So I let them dry over night and prime them the next day. But the acrylic polymer dries really quickly so you could likely prime after they are touch dry. I’d give them an hour or two just to be safe. It also depends on how thick you apply the polymer.
Very nice my man! Soo, I've used acrylic matte medium for adhesive and sizing, and it had worked fantastically. I've also used pva glue, and rublev conservation mounting adhesive...which obviously works great! But I'm not sure the difference between pva, acrylic gel medium, and GAC 100...and gac is the ONLY thing I haven't tried, simply because I haven't felt a need to spend yet another $15-$20 on something I felt I already had. BUT if you think GAC has something to offer(in terms of sizing) that acrylic matte medium doesn't, then let me know. Might just have to try it. I also mainly use Rublev Lead Oil, and Lead alkyd primer. I've used oil and acrylic primers as well but my favorite is the lead alkyd(benefits of acrylic drying, AND Lead oil durability/texture) thanks!
Thanks for the great response!! Sounds like you have lots of experience. The main differences (aside from chemical compounds) among PVA size, gel medium, and GAC 100 is really just viscosity. PVA size is very watery. Gel is naturally very thick. And GAC 100 is about the same viscosity as log cabin maple syrup. I believe they are all ph neutral and will be archival. And each should provide a good barrier between the oil ground and support. And I’m with you: I like the alkyd oil grounds. They are such a joy to paint on. If you want to learn more about all the Golden mediums and various GAC numbers, there are some good videos out there. I don’t fully understand all the differences among the GAC options. I think they all have the very same acrylic base. So as far as I can tell the main differences are viscosity and finish. Hope that helps a little. You should be good with the gel as a size. Some people like a very smooth ground so they might prefer brushing on thin layers with PVA or GAC. How to yo apply the gel-palette knife. Do you keep it textured?
@@GalleryBry man lol you too had a great response! Yes I have used pallette knife to apply(but don't prefer the edges left, and have to smoothe them down with either brush or rubber print brayer) which is probably why I've tried the liquid acrylic medium version, shellac sealer(only for wood, masonite seems to only respond well to the medium/acrylic primer, and pva) liquid/gel medium, AND polyurethane. Lol boy, when ya say it out loud, sounds like ALOT of experimenting. I guess I prefer doing things "correctly" even when it comes to art, and I keep hearing new inventive ways to skin the cat called "archival art". So I saw a response that said GAC 100(to seal OR adhere) or shellac is best for wood, pva/gel(adhesive/sealer) or acrylic primer works best for masonite. And MDF would fall under wood. And of course, my favorite, ACM, doesn't require ANYTHING 😀 to seal, and archival PVA OR medium have yielded great results adhering linen. I think tho....as long as you are care enough to try your best with what you have, and strive to make better art everyday, then your art will be JUST FINE! ;) oh, and yes, I mainly use a brush for ANY sealer I use. Beat of luck and happy painting!
@@DCweldingAndArt keep up all the great work and learning. Where do you get your ACM? I’ve been wanting to try it.
If using PVA do you use it neat or water it down?
I haven’t used it myself, but I would assume the manufacturers would make it ready to use straight from the bottle. Anytime I’ve seen it used it has been right from the bottle.
So far I have used gac-100 for over 6 years, it is a good product. Though it did not help with sealing masonite. The oil just goes through it, especially after glazing.
But on wood, it seems to do a good job of protecting. Either way, I have stopped using masonite due to that issue. It just looks like the painting peed itself on the back :)
Thanks for sharing!! I appreciate it. :) I haven’t noticed an issue yet with it sealing masonite? How many coats did you apply to the masonite? Do you use gesso or oil primer over the sizing?
@@GalleryBry I must have done one or two coats of gac-100, with two coats of acrylic gesso. I was surprised myself
@@zs-art7141 very interesting. How long was it until you noticed the oil come through the back of the panel? I’ll have to keep an eye on my panels.
@@GalleryBry I think something like a month maybe. I'm using another gesso now, gonna observe how it reacts with it. I did use a very heavy oil glaze at the last stage, but I always did that and never had any issues before. It is a mystery for me as well.
@@GalleryBry I also noticed that glazing with Stand Oil - Turpentine medium doesn't permeate through the wood surface, before I would glaze with linseed oil which I guess at this point is not the best choice. I moved to another country last year, so I have to use different brands than I was used to. Anyway, so far the glazing medium that I made holds well.
The wood panels you started with look like masonite (which is what I use all the time). True or false? Follow up question. I do mixed medium art - mostly paper and glue collage. If I size the masonite with the gac100, should that be sufficient to stop acid bleed forward from the panel to the art? And will my glue stick to the gac100 as it does directly to the surface of the wood? Thanks.
They are high density fiberboards, also known as hardboard or Masonite. :) What do you like best about them?
@@GalleryBry I use them all the time because a) They're thin and yet fairly rigid and have a profile that will fit into most frames that I use b) They are light weight c) I can cut them with a utility knife in the studio without needing to go outside to set up a power saw.
Oh cool. I never tried the utility knife before. Do you just score it then apply force to snap the panel?
@@GalleryBry "Scoring" is a bit of an understatement. But yes, that's the idea. You can get a sense of it here: czcams.com/video/ct5Laoq6DrU/video.html
@@Karch.Dah-Veed oh cool. Thanks for sharing. I see you make many cuts. Great video. Keep up the great work‼️:)
Can it be used as a varnish
Are you referring to the GAC 100 acrylic? If so it says not to use it as a varnish. A varnish is usually used as a removable protective layer. Acrylic can’t be removed.
Michael hardings website says you dont need to size wood first when using his promer..why do you use the gac100?? Thank you
Thanks for the question. It really is just a matter of personal preference. Sometimes I use the GAC 100 when I use thin layers of gesso. For me I like the smoother surface it creates with less gesso, rather than using multiple layers of gesso, which creates a more porous painting surface, even with Michael Harding’s primer. If you apply several layers of gesso you probably can do without the GAC sizing. I also do it just to be safe, to protect the paint from the board and the board from the paint. It just depends how thickly you apply your gesso. You can run your own test. Gesso some paper, paint on it, and if oil still seeps through, adding the GAC 100 will block it completely. Was that helpful at all?
If a wood panel is covered with 3 coats of Michael Harding's Non-absorbent acrylic primer only (without being sized first), will that be enough to protect the oil paint?
Three coats should be sufficient. But It depends on the type of wood and how thick the coats are. There should be less issues with unprocessed wood like birch panels vs a compressed wood like MDF, which contains harsh chemicals. Thicker coats will add more protection. I use really thin coats of primer or gesso just to add pigment and I rely on the sizing as my non absorbent layer. To be sure, you can run this test: coat a piece of paper (say a 4x6 piece of watercolor paper) with your desired level of primer. Make a small oil painting on the surface. If no oil seeps into the paper, then you should be okay. To put this into context, The Scream by munch was painted on cardboard, and it’s still in okay shape. Did that help at all?
@@GalleryBry Yes, thank you. Because I'm so paranoid regarding these issues, I think that I am just going to sand off the primer, apply GAC and then re-apply the non-absorbent acrylic primer. That way I know I'll be safe. I'm new to wood, so hence the mistake.
@@ignaciohernandez8901 hope it goes well!! Thanks for your questions. :)
Does it matter whether it is tempered, standard, or un tempered hardboard?
Excellent question. If you want your painting to stand the test of time, tempered hardboard is the best option. MDF and untempered hardboard are okay for studies and practice but I wouldn’t recommend them for work you plan to sell because they can flake and deteriorate easily. I still like to seal tempered hardboard with GAC 100 just to add an extra barrier, especially with oil primers. The oil from the primer can still get into the fibers and rot the panel over time. And moisture from acrylic primers can also get into the wood fibers. Was that helpful?
@@GalleryBry You are right, tempered was the choice to make since the 70s (i'm dating myself here)... as tempered was known to be manufactured without oily binders. It should be noted that although most masonite is tempered these days, there is still cheap masonite-like stuff out there, like used in furniture, that is likely not tempered. Rule of thumb from the old days was to avoid using "found" masonite because it is likely the oily variety and not "safe"for paint work. I think the artist in the prior comments who found the masonite bleeding through the GAC 100 may have chosen the untempered masonite variety. There was also a concern that the "sealant" (GAC 100 or whatever) should be fully cured before working on it, say about 24 hours after the last coat, as touch-dry doesnt necessarily mean the film is cured, only congealed... I myself wait until the odor of ammonia and gycol ethers have evaporated and ceased before going for gesso, and maybe it's overkill but it's a precaution I take anyway... any thoughts on curing of primer?
@@timmilk7875 thanks for this great reply. You are quite right about the differences in fiberboards. From what I have read, hardboard is the one that doesn’t use chemical binders. It’s former brand name was masonite. And you can tell by the smell. The dark brown hardboard found in paint shops and hardware stores has little odor. But MDF or medium density fiberboard uses chemicals as a binder and is a lower quality fiber board. You can tell because it is a light color and will make your studio smell quite a bit. And it degrades easily. It’s often used in cheap furniture. As far as curing, I definitely wait at least 24 hours to be safe. I usually have about four layers-GAC 100 to size and seal the wood panel. Acrylic gesso to add opaque white. Acrylic ink to tone the ground. And then finally gel matte medium to create a textured, non absorbent ground over all the layers. This is my most recent priming method and it works quite well.
@@GalleryBry, yes, waiting for the sealant to cure is also necessary when using undercoat on walls (like with zinsser sealants) if you want to kill a rust stain. I have been tempted to paint on panels but as I've had to relocate on 2 occasions in the last 12 years I've found it best to do canvas which can be rolled (I paint in acrylic) and on set sizes, such as 18 x 24. so when packing up for a move (or for a show) they all stack up in the same size(s) of box. I realize this kills the romance of being inspired by an odd dimension of substrate, but boy it sure makes moving them a whole lot easier!
@@timmilk7875 I love sticking to a few sizes. It makes shipping and packing much easier. Thanks for the info.
If I want to buy a round slab of wood and the seller says they put on a food safe finish, should I keep that or tell them not to put it on?
I would be cautious about painting on an unfamiliar surface. Without knowing what chemicals are in the finish and whether it is gloss or matte, there is no way to determine how well paint or a sizing will interact and adhere to the surface. If you plan to size and prime the wood yourself anyway then the finish likely wouldn’t be required. Did that help?
@@GalleryBry yes that was very helpful. Thank you very much for responding
Can I use Golden gac 100 on copper?
Great question. I have not tried it. But You probably can if you want to seal the copper so it does not oxidize in any unpainted areas. Most of what I have read says it’s okay to paint directly onto copper without sealing it, which is what painters did hundreds of years ago before acrylics. I just received my first Cooper panels today so maybe I will try it. Did that help at all?
@@GalleryBry Thanks for your answer, I'll buy a copper sheet and try it, my idea was to give it 1 layer of golden gac 100 on the front and back, including edges, the other day I read a conversation on Instagram from an artist who paints oil on copper, another artist told him that if he didn't seal the back the oxide would destroy the paint from back to front, so I came to that conclusion, would it be crazy to apply clear gesso after golden gac 100? It's what I do when I paint on wood
@@Maria-ue2nb sealing the copper certainly couldn’t hurt. If it works for wood it should work for copper. :) let me know how it goes. :)
@@Maria-ue2nb love that idea. did you try it? Id love to give that a go
Can you put an Arabic translation?
How do I do that?
@@GalleryBry At the top of a section is [cc] a translation that adds the language you want to create
@@user-uy3ft2zx7n thanks. I’ll try it.