Since the year 2000 I have been producing my oil paintings according to a systematic process. This process includes everything from the building of the stretcher/support to applying the paint and finally to framing. Following is a break-down of the steps involved and a description of the materials used.
Stretcher/Support
There are three types of painting supports that I use. At least in a general manner their different constructions can be categorized by size:
| Size | Support |
| 16” x 20” or less | 1/8” Composite Board, Unsupported |
1/8” Composite board (masonite) is cut into panels. Each panel is sanded down to create a stronger tooth for binding to the Oil Based Primer. I use Gamblin Oil Painting Ground and apply one coat to the panel. It is then left for approximately one week before the oil painting begins. |
|
16” x 20” to 48” x 96” |
1/8” Plywood with pine 1” x 2” Stretcher, Canvas |
| A 1/8“ piece of plywood is cut to match a 1” x 2” clear pine stretcher. They are then glued and laminated together with clamps on overnight. A piece of canvas is then primed on one side using Gamblin PVA Size. That dries overnight as well and is subsequently stretched over the support (sized side down). The stretched canvas is then sized again and left overnight. The following day I apply the first coat of Gamblin Oil Painting Ground followed by a second coat the next day. The canvas is then left to dry for one week before beginning painting. ** I use a solid support underneath the canvas in order to prevent the paint surface from being stressed either from the front or the back. ** This solid support is not used, however when the canvas is larger than a sheet of plywood (48” x 96”). Primarily this is because the weight of the support becomes to great and is thereby somewhat impractical. |
|
| 48” x 96” or more | 1” x 2” Stretcher with 1/4 Round, Canvas |
| A 1” x 2” Clear Pine Stretcher is built and 1/4 Round is added to the outside edge in order to lift the canvas surface. A piece of canvas is then given a coat of Gamblin PVA Size and left to dry overnight. The canvas is then stretched (sized side down) over the support and a second coat of the size is applied. On the following day the canvas is painted with Gamblin Oil Painting Ground and then left to dry overnight. The second coat of ground is applied on the next day and the canvas is then left for one week to dry before the painting is begun. |
The Painting Process
The painting process is usually conducted over the period of a few months and proceeds according to the rule of working fat over lean. Fat over lean refers to the amount of oil content in each layer that is applied to the painting surface. In order for a painting to be structurally sound the initial layers must have less oil in the paint film than the following layers.
I work exclusively with Royal Talens Rembrandt Paints in order to mitigate any possible chemical reactions with the mixing of the various colours.
The paint surface is slowly built up, initially using washes and later using brushes, palette knives and also a fork to create varying degrees of texture. As the painting surface usually has a significant amount of texture by the end of the process I do not use any finishing varnishes.
Framing
As I produce paintings on three different supports I also use different types of frames. In this case there are two basic styles and again they can be categorized by size.
| Size | Support |
| 16” x 20” or less | Paintings that are produced on unsupported composite board are mounted using pH neutral glue onto a piece of foamcore with an acid-free matboard framing the image with a ½” float |
| A maple frame measuring 1 ½” deep and ¾” on the face is finished with a water-based eurathane and the matted image is then framed under glass in a box-frame arrangement. | |
| 16” x 20” or more | Supports that are built with a 1” x 2” Pine Stretcher are framed with a Maple frame that measures either 1 ¾” x ¾” or 1 7/8” x ¾” depending on the depth of the stretcher. The frame is attached to the back of the canvas stretcher leaving a ¼” spacer around the image. The spacer is painted out with a mat black acrylic paint and the exterior surface of the frame is sealed with a water-based eurathane. |
Please note that the process as described above serves as a guideline. There are variations to these rules but as a general guideline they are as described. If you have any specific questions regarding this summary or if you are looking for information about a specific painting please feel free to contact me.
