The paintings Paul creates are based on a composite of many images. Like much great art, they are a combination of fact and fiction. As a digital image editor for most of his professional career of more than 40 years, Paul now uses digital technology to examine and edit, larger than life, the flowers he photographs. Whereas a still life painter seeks to capture an impression of a fleeting moment of light and time, Paul methodically seeks to reveal the intricacy and elegance of their design. He spends hours exploring the design possibilities before putting brush to canvas. Throughout the process, and especially when photographing his reference images, Paul appreciates moments of inspiration, and later, seeing his works hung on the gallery wall - the actual painting being mostly just hard work and technical competence.
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Why trim the edges? Better to fold over and tack down. Next, why not make your own ground? It is just whiting and linseed oil. Will take the same time to dry. Lastly, use a palette knife to scrape the ground on and scrape it smooth. Hold at 45 degree and all good to go. Apply 2nd coat at a different 45 degrees adding a little ochre to the mix to give base colour. Sand between coats. Then ready to go.
Everyone does what works best for them Angus. I have been preparing linen panels this way for more than 35 years and it works just fine for me. btw, I no longer paint on mounted linen at all, linen is just too damn expensive and the whole process takes too long. for the past 14 months I have been on panels only, primed with two coats of Utrecht Professional Acrylic Gesso. It's quite expensive but of superior quality, a gallon lasts a long time and the panels are ready to paint on in less than 3 hours, just minutes if baked outside in full sun. -P
I'm curious how large you can make these type if panels? I haven't seen anyone doing these with paintings around 3'x4' , do you feel that this is an acceptable application to use at that size? I am also wondering if you would recommend doing this on oversize pieces that are already finished, painted on gessoed linen?
Hello IronOxide (great red pigment btw!). Anything over 30 x 30 inches needs to be braced. I use 1.5 inch x 2 inch wide poplar which I glue to the back of the panel before affixing the linen. I also add cross bracing and small mitered diagonals in the corners. It's a lot of work and real pain the ass to make a large panel properly. I only do it if I know I have a collector who has agreed to purchase the completed work beforehand. -P
Do you need to wait for the glue to dry before weighing it down over night? I'm concerned the weighted surface will get stuck to the linen as it cures. Wax paper in between the linen and weighted surface perhaps?
Hello Lydia. You do not have to wait and DO NOT use wax paper. I use large clear plastic storage bags (the ones framers use to wrap large paintings for shipping). I cut them in half, open them up and place them on top of the freshly glued and mounted linen, then add my weights. Just use any large sheets of regular plastic, it will not stick the glued surface. -P
You can prime the MDF board without any linen and save tones of money, that's what they use to do in the Renaissance times. The entire purpose of using linen stretched on a frame is is to loos all the weight, it's a great idea for really large pieces.
You are absolutely right about that Yoherff988. In fact that's exactly what I paint on these days. I prime with two coats of Utrecht Professional Gesso (highest quality gesso beats all others hands down, IMO), no sanding. Stopped mounting linen to panels over 18 months now -- savings is considerable. And, I can manipulate the oil paint in ways I could not using the mounted linen. -P
Don't think they painted on mdf back then
@@mark94993 There was no MDF back then, of course. The masters painted on wooden panels, usually poplar or oak joined together with dowel pins and glue. They were primed with several coats of chalk and glue mixture over which an additional coat of lead white might be painted on as a ground. -P
Thanks for the video. Why would you not wrap the canvas edges around to the back of the panel instead of cutting it flush?
Hello Victorpablo thanks for checking in. Panels do not need to be treated like stretcher bars. This is the reply I gave to the same question about 4 months ago: "There is no need at all to wrap the linen around the sides and back. Complete waste of time and unnecessary, IMO." -P
Amazing.
Thank you very much KSokol. -P
So glad to see another artist who uses small brushes! Beautiful work. Regards from New Zealand - Dawn
Thank you Dawn. For the past year or so I've changed what I paint and how I paint. Now I only use large brushes and a restricted palette. -P
@@baldassinifineart8068 thats hard to stick to? I change my medium and subject all the time as I thrive on a challenge. But I love realism so finish each work with small strokes. At present Im painting a Spanish bull - large canvas (water based oils) and also a small portrait with Gamblin oils.
ive been doing this for a few years oddly with almost the same products, only i size the linen after gluing with 2-3 coats of size before applying the ground after the size dries. it just takes so long to dry to be ready to paint, 3-6 months per panel,
Sparky, something is not right your process there's no way it should take 3-6 months for the ground to dry. Firstly, what do you mean "almost the same products". I need to know exactly what you're using to help sort this out for you. Second, there is absolutely no reason to apply 3 coats of size -- that would be like trying to apply ground to a panel covered in dried glue. You would obliterate the weave texture of the linen. Gamblin Oil Ground, which contains an alkyd binder, dries in less than five days. If you bake the panels outside in direct sunlight they dry in 5 hours or less. I have been doing this for more than 35 years and never had a problem like what you are describing. -P
What is your medium?
Connie, please visit this link for info: baldassinifineart.com/faq/
What is the name of the glue?
Connie, that info is right in the video -- click this link for more info: baldassinifineart.com/faq/
Is this oils??
Yes Beth, all of my work is in oils. -P
Good video, I learned a lot and I want to move towards using boards vs straight canvases. Thank you, this was very helpful.
Appreciate the comments Deborah, glad you listened and learned. -P
@@baldassinifineart8068 yes, and I want to go and try this now. :) Thank you so much.
I'm surprise this doesn't shrink by a couple inches or so
There is no shrinkage whatsoever. -P
Great video, thank you. Curious if you need to add the linen to the MDF - could you simply paint on the MDF (after it was gessoed)?
Funny you should ask that question Carol. I ONLY paint on the Trupan MDF these days, no linen. The price of quality linen (and art supplies in general) has gotten so out of control I'm back to painting on panels only, no linen. You have a couple of options here: 1. Same process, just skip glueing the linen and simply prime with Gamblin's Alkyd Oil Ground. It's a really a great surface to paint on but takes a couple of weeks to dry unless you bake it the hot sun during the summer months, then two days or so. 2. However, these days I prefer gesso but only one kind is worth using, IMO - Utrecht Professional Acrylic Gesso. It's by far the best artist gesso out there and not at all absorbent (for my tastes anyway). It's pricey though at about $65 a gallon, but it's super dense, dries in a couple of hours and two coats is all you need. A gallon lasts a long time. -P
Would it be worth the time to glue the excess around to the back? I see this done with canvas panels.
Thanks for checking in Matthew. There is no need at all to wrap the linen around the sides and back. Complete waste of time and unnecessary, IMO. -P
Can you attach after linen is painted with art ?
Very good video I now feel confident to prepare my own panels. Bravo !
I like to paint on smooth portrait grade linen so I bought the 9620 linen from SoHo and found it to be totally bumpy once glued down on the MDF and primed. It is almost as if it were textured. Gonna take me forever to sand it down. Very disappointed
philipvalende3411 - I am not sure what you did or did not do to get your disappointing results. I have been preparing panels using this technique for more than 25 years and have NEVER experienced what you describe. That linen is so fine its line almost like muslin, barely any texture at all and after glueing, mounting and priming and sanding lightly after mounting and then again after applying two slightly thinned prime coats with light sanding in between as shown in my demonstration video, the panel is very smooth with just enough tooth to hold the paint with a slight drag. The surface is sublime -- wonderful to paint on. It seems to me that perhaps SOHO sent you the wrong linen, I don't know. Not sure what to say, but sanding it down seems extreme and not even worth the time, effort and expense of mounting fine linen. If you desire a smooth surface then skip mounting the linen and just apply three prime coats instead sanding lightly in between coats. -P
Thank you for taking the time to reply...Please know that my experience is not meant to be a reflexion on you. I actually was looking for a way to get away from gallery wraps and think your technique of making panels is an excellent solution for many reasons. I followed your instructions to the T. I bought Trupan 1/2 inch MDF and SoHo assured me they sent 9620...I even cleaned the back of the linen with one of those sticky lint rollers to make sure there was no dirt that would cause a bump. I agree that 9620 has very little texture, looks and feels great, but for some reason when I glued it down it appeared as if the weave wasn't consistent and there appeared to be tiny knots here and there. I gave it a light sanding with 220 then primed it with one coat. That's when I realized I had problems. I should have taken a picture of it. Perhaps I didn't use enough Lineco glue, I am not sure. At any rate I've only made one 12X16 panel so far. I have enough linen to make 9 18X24 panels. I will let you know how the next one goes...hopefully it will be better.@@baldassinifineart8068
OK then sounds like a plan. Please send me an update after you've you've mounted another panel and let me know how it went, I'd like to hear about it. -P@@philipvalende3411
Thanks for making this video. I like seeing what other artists are doing. A whole lot better than the cheap canvas from Michael's or Hobby Lobby.
Appreciate you reaching out Ricky. I would stay away from just about any "art" supplies from Michael's or Hobby Lobby. -P
Have you considered using hardwood plywood, like maple, instead of MDF? I'm a cabinetmaker and woodworker who is very familiar with both materials. I'm always skeptical of MDF because I know how vulnerable it is to moisture and humidity. No matter which material to use it's very important to completely seal it front, back and sides to protect it. I use maple plywood 1/2" and 1/4" thick and I use Zinnzer Cover Stain Oil Primer to completely seal the panel. I can then oil paint directly or apply a linen canvas if I prefer a more textured surface. I use oil paint so I like to use only oil primers not the acrylic "gesso". Is any of this stuff archival? I don't know, but I believe in using materials that hopefully give the artwork a better chance of surviving long term.
Ricky, I am also an experienced cabinet maker and woodworker and am quite familiar with the hardwood plywoods. I have been using the cabinet-grade MDF for more than 40 years and the Ultralight MDF for more than 15 years now with no issues whatsoever. I don't seal anything -- protect it from what? No collector who has ever purchased one of my paintings has ever contacted me to complain about moisture or humidity affecting the painting they purchased. Nor has any of the other many artists I know who routinely use cabinet-grade MDF ever had any issue of any kind using MDF. If hardwood ply and all the labor and odors that go along with using Zinnzer products works you then go for it. -P
@@baldassinifineart8068 Maybe I'm overthinking this. I know a lot of artists do use MDF panels. I'm also sure the MDF you use is a better grade. Again, maybe I'm overthinking it. I'm pretty sure alll of the materials today are far better than the options in the past.
Hello, is this technique ok to do if you are going to prime the linen with gesso and paint with acrylics? Will the qgesso be able to bond with the linen properly after some of the lineco has seeped through?
Hello Justin - I've never done this so I can't really answer your question with any authority. Artists I know who paint with acrylics paint on gesso primed cotton canvas or panels, not linen. Every artist I know that paints on linen will ALWAYS prime with an oil ground, either lead- or alkyd-based and then paint in oils. Hope that helps. -P
I have a question that you may be able to help. I have painted on a piece of primed linen. There is a border around the perimeter where I taped the linen to a piece of plywood. I did this for support while I painted the picture. Now that the painting is complete I have removed it from the panel Do you think I would be OK to use the technique you've described here for gluing the piece to a panel?
Thanks for reaching out Curt. Yes, definitely no problem -- you can do it the same way. However, if the dimensions of the final cropped work conform to standard stretcher bar sizes I think it would better and easier to stretch it, if t you have the tools. Stretching pliers are a must and an electric stapler is most handy but not a necessity. -P
Thanks for the video. I've been working my way through some KZread videos to see various techniques for gluing canvas to wood, not so much for paintings but for collages. When looking at your prep the one thing that kept coming to mind is why go through this process of gluing a canvas to a board when one can just use a stretcher. I'm just wondering what you see as the benefits of working on a canvas that has been glued directly to a board as opposed to a canvas that has been stretched. I realize that isn't the intent of this video, but I'd be interested in your thoughts.
Thanks for reaching out Bruce. The short answer is quite simple: painting on a rigid surface is infinitely more satisfying - at least for me, maybe not others - than painting on stretched linen. Long answer: if you want to paint on stretched linen canvas then there is also a process, if you want to do it right. Assemble a stretcher frame, cut, position and staple the linen taking care to get no wrinkles as you approach the edges. boil water and mix up some rabbit skin glue size, sand and repeat, then prime with ground of choice. Now that's a lot of work. Or you can spend an outrageous amount of money on quality pre-primed linen canvas and good luck trying to stretch it tight as a drum. Even then you'll still experience some "bounce back" as you paint on stretched linen canvas, why I do not like, and it is always subject to fluctuations in humidity in that it may loosen (also, I really dislike cotton duck canvas). Nothing beats oil painting on a panel done right, it's a sublime experience. Hope that helps. -P
@@baldassinifineart8068 I've always worked in acrylics so it's possible that the prep work for a canvas is a bit less than for oil paint and I'm usually working in dimensions smaller than 24"x30" so I personally haven't really noticed any issues with the tightness of the canvas surface. I have practiced on smaller commercial canvas panels which have their own built in limitations since many are nothing more than canvas on a stiff cardboard backing. For the sake of experimentation, I'll have to try out the process you've described in your video. Thanks again.
Thanks!
Fantastic tutorial but that Lineco PVA is some of the most overpriced stuff I've ever seen. You can probably modify the PH level using basic safe chemicals.
Thanks for your comment John and glad you found the demo helpful. I've been using Lineco adhesive for more than 30 years with no issues whatsoever. Like everything in life, you get what you pay for. The cost does not matter, the quality does. Even if the cost tripled I would continue to use it. -P
I am so happy using your method. It worked out great-no shrinkage. I used hardboard panel from the art supply. the brayer was essential. This is quality and economy for very little effort. Thanks for your instruction.
Krentz - Glad to hear it worked out! I’ll be updating/replacing this video soon showing an even better way to mount linen and prepare panels for oil painting. Instead of applying the LINECO glue with a brush, after pouring I now use a roller, the same 6-inch foam roller I use for applying the ground. It lays down a nice even coat very quickly. Then mount the linen same as before, and using with the rubber brayer to firmly flatten out, then lightly folding over the edges. This way there is no seepage coming up through the linen and the linen appears flat and smooth with no streaking. This way it’s not necessary to pick the loose brush hairs that always fall into the glue. Let it dry overnight or in the sun for a couple of hours. Next pour some glue into a shallow pan or even better, use the plastic tray and liners designed especially for the 6-inch foam roller. Thin the glue a bit with water, load up the roller and go over the linen taking to care to saturate and cover the whole surface. Let it dry over night to bake in the sun for a couple or more hours. The surface will be too “gritty” to prime so go over the surface (don’t use too much pressure) using 120-grit sandpaper. Run your palm over to feel - should be smooth with a perfect amount of tooth to accept the ground coat. -P
Thanks, Paul, for making this straight forward as there is nothing quite like the joy of painting on linen on board. I had trouble with shrinkage, as an earlier comment mentioned, so I will try the linco with your method.
Thanks for reaching out Krentz. I've been using LIneco Archival bookbinders glue to mount lienen to my panels for more than 35 years. Never, not one time ever has there been an issue with shrinkage. None. So, go for it! - P
So glad I found your vid while researching attaching linen to wood. I didn't know about the PH neutral PVA, and I've now ordered some by the same manufacturer. On a side note, as a native Connecticut Yankee that moved to Virginia 30+ years ago, as soon as you started talking I yelled out in joy! lol
Love this comment Cynthia! I'm originally from Boston so I guess you noticed my Boston 'twang". You'll love painting on panels, I gave up stretchers more than 40 years ago. -P
Why is lineco so expensive at 30 pounds for 1 litre
Hello see mains. I pay $20.93 US for a 1 quart bottle. The cost has remained constant for over a decade. Perhaps it cost more outside of the United States, I don't really know. -P
How can I safely remove a big dent from an old oil painting? The linen canvas isn't cut, but very pushed in.
Hello Tonya -- Since your work has a dent, I am presuming that you canvas is stretched and not mounted. Unfortunately, I'm not sure how to deal with a dent in a stretched canvas. I used to paint on them many years ago but I found out that they dented so easily I stopped painting on them and switched to mounting my linen onto 1/2-inch panels instead, and I've never looked back. That said, you might want consider un-stretching your painting and mounting it directly onto a panel cut to the appropriate size using the glue and method I discuss in my video demo. That way you can easily burnish the dent back down onto the panel, where it will not be noticed at all after the glue dries and sets up over night. Hope that helps. -P
What is the purpose of applying the linen to the wood instead of just applying the ground. Thanks
So interesting, thank you Paul.
Thank you very much. -P
This was very informative and interesting. And all in 9 min. Packed end to end with valuable info. Thanks!
You're very welcome. -P
HI Paul! question for you, would like to do this with a linen sheet that already has an acrylic transfer on it, would the glue you use ruin the information already on the sheet? Was wondering if i put matte medium on back of it before if that would workout?
Hello Valentina. Good question, I've never attempted this before so I can't give you a concrete answer. I will tell you that the LINECO glue seeps through to the top of the linen as its supposed to because its acting as a "size' to protect the linen from the qualities of the oil paint that will be eventually be applied on top. I don't know what to say about your coating the underside with polymer medium and then glueing it down, but it is probably not a good idea for the long term integrity of the work. Sorry I can't provide you with a better answer. If you do try and an all goes well I would be interested in hearing back from you. -P
@@baldassinifineart8068 of course! thanks for your help!
👍 well explained Thank you.
Very welcome Jim. -P
Hi Paul! I have a question about Mdf. Some people say it isn't archival. I'm confused because I want something that I can cut into my own size and I heard that mdf is good and can become even more resistant to moisture if you seal it with shellac or something like GAC-100. Do you do this for mdf panels? Also, I heard that Aluminum composite panels are great. Have you ever used them or recommend them more than mdf or are they pretty much equal and par to each other?
Ethan, do not worry about what "some people say". MDF is perfectly acceptable to paint on. It needs no prep whatsoever, no shellacs, no GACs -- just whatever ground you wish to apply or linen or canvas you wish to mount onto it. MDF has been in use as an artist's painting support for a very long time with no issues. Where is this "moisture" that will ruin your artwork going to come from -- rainstorms, the ocean, swimming pools, tropical humidity, a flood in your basement? I don't think so. Just don't use the stuff that comes from Home Depot or Lowes. It's way too heavy. Seek out and purchase full sheets of Trupan Ultralight MDF (Medium Density Fiberboard). It's 1/3 the weight of consumer MDF. Use the 1/2-inch for larger size works or 1/4-inch for smaller works like plein air studies or such. You can cut it yourself, as I do, to any size with a tablesaw, hand-powered circular- or jig-saw. It's great stuff, don't worry about it and enjoy your painting time. -P
@Baldassini Fine Art thanks for the reply! I'll probably have to stick with Lowes mdf board they provide so they can cut the sizes I need. I'm a college student in a small apartment and don't have the tools to cut my own boards.
I tried using Gamblin PVA size to glue medium weight portrait linen to a birch panel, and the linen shrank enough I had to remove it before the PVA set,. Even though the linen was about an Inch over on each side of a 36 x 60 panel, it shrank to less than the width of the panel. Should I have used PVA glue instead? Gamblin PVA is watery. Otherwise, the linen was unsized.
Steve, I have been using Lineco PVA glue forever to affix linen to panels. Have never ever had an issue with shrinkage, no shrinkage whatsoever and it's lay-flat properties are excellent also. Have never used Gamblin's product so I can't speak for it's differences or similarities. But if you're having issues with radical shrinkage I would stay away from it and get some Lineco PVA glue instead. It will work for you, I'm sure of it. -P
@@UncleJunior52 Steve, you can mount pre-primed linen or canvas same way. -P
@@UncleJunior52 It's Claessens linen. I think it's the water content: too much. PVA sizing is watery. Whereas PVA glue is relatively thick and would have significantly less water.
@@UncleJunior52 There you go Uncle60, just I as described in the video and these posts. Lineco -- great stuff! -P
Thanks for the great video Paul. My question is, would you use any different materials or do anything differently if you were mounting the linen to plywood? Appreciate your help and clear demonstration.
Thanks for viewing and reaching out Elizabeth. Exactly the same procedure on plywood. Go for it! -P
@@baldassinifineart8068 Thank you!
If you switched to a 4 inch "weenie-roller" you could spread the glue faster, and more uniformly. Also, if you apply glue to the back of the linen, you double the insurance for a good bond, and you get better protection for the linen being saturated by the glue. This is pretty much how the Masters did it using rabbitskin glue. I do an additional coat over the top too, before the primer layer for extra protection.
Thanks for the feedback Chris. I've been preparing my panels pretty much the same way for more than 30 years with no problems. However, I do appreciate your advice and will try what you suggest on my next panel. Be well. -P
Love your videos. Pl upload more thanks
Amazing
Thank you Fiona. -P
While for most purposes it really doesn't much matter, since very few paintings will still be around in 200 years or so, I still prefer to size linen from direct oil contact if possible.
It’s beautiful A very useful video Sir can I use neon pink for underpainting
Hi. I've watched all your videos. Your work is amazing! As an artist, I appreciate your videos and hope you make more. The instructions and demonstrations, though brief, were some of the most practical and helpful I've seen on KZread. Thank you for sharing your knowledge and skills.
Thank you very much Molly. I'm so glad to hear you watched and learned something. Right now I am taking a sabbatical from painting to concentrate on my photo restoration and image editing business (pbphotorestore.com). I expect to be back at the easel sometime late fall. And yes, I am planning to make more demonstration videos. -P
Thank you very much, but before I paint (egg tempera) much better to stick very fine linen on plywood, and make gesso on the canvas when stuck on the plywood? Which linen is the best I need by weight or thickness?
I like portrait grade Belgian linen, No. 9620 which I purchase from Soho Artist Materials, NYC. Please DO NOT use gesso on this very high quality linen. You should use either a lead white ground, or if you don't want to use hazardous materials, try Gamblin Oil Painting Ground, a titanium white/alkyd mixture. It's great stuff, I've been using for years. -P
@@baldassinifineart8068 Thank you very much.
Why my pencil lines smudges when I start painting can you help please
Try applying a light spray coating of workable fixative and let it dry for 10 minutes or so before you start painting. I use Krylon Workable Fixatif. -P
Wonderful art 💕👌👌
Love your videos
Thank you for showing this process. Thanks to your videos, I am getting a whole new perspective of oil painting! Brilliant!
Appreciate that Nina. If you haven't already done so please visit my website for more info: www.baldassinifineart.com/
Your channel is amazing and your art simply stunning! Thank you for these videos, I think they are some of the best I've ever seen! I am very new to oil painting and have a lot to learn. Thank you so much for sharing your talent and wisdom!