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A 100% ARCHIVAL PAINTING PANEL FOR ARTISTS.
AN ARTICLE BY DAVID BURTON N.A.P.A
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As an Artist, I believe in the freedom of expression to paint what
you want how you want. I also believe that Archival issues are very
important. What can be done with poor materials can also be done
just as true to the Artists vision in materials that will stand
the test of time. An Artist should use, as the Old Masters did 500
years ago, the best materials available for the job in hand. The
preparation of a given Support is also of paramount importance as
an Archival product will not be Archival if prepared in a poor way.
So, the two work hand in hand.
It was my growing interest in the Archival properties of materials
that led me to contact, via email, the National Gallery of Art in
Washington DC, USA, for some information. I received an email in
reply from Mr Ross Merrill, Head of Conservation at the Gallery.
Over the past few months Ross Merrill has given me the most valuable
information regarding Archival materials and how to use them. I
had an interest in using a rigid Panel as my chosen Painting Support
but could not find one that was not either far too heavy, unstable,
unsuitable or just far too expensive to consider buying.
Ross Merrill advised me to use DIBOND, a Composite Aluminium Panel
with a Thermoplastic Core. It comes in large sheets but can easily
be cut to size. Often used by Sign Manufacturers, it is gradually
becoming popular as a Fine Art Painting Support. It will not warp,
oxidise or deteriorate and will produce no ' out gassing ' that
can harm the painted surface. It is designed to stand the test of
extreme weather conditions. It is a 100% Archival Panel. The best
way to prepare it for Painting is to laminate a good quality Linen
to the face. The Panel needs no preparation, except for a light
sanding if required, as it is coated with a Stove Laquered finish.
The Adhesive for laminating the Linen should be of Archival quality
and strong enough to hold the Linen in place. My personal preference
is for BEVA FILM, which is heat set but can also be reversed by
heat if ever needed. Of course, many Archival Adhesives will do
the same job, it is up to the individual Artist to find a product
that suits them. Here is how it is all done...
MATERIALS NEEDED
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1 - DIBOND Panel cut to size.
2 - BEVA Film Adhesive.
3 - Artist Linen, Primed or Unprimed.
4 - An Iron, heat set to just over medium heat.
PREPARATION
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1 - Lightly sand DIBOND face.
2 - Peel off White Mylar Film from BEVA.
3 - Lay down BEVA, Film side down, onto DIBOND Panel.
This is the side that faces into the Mylar.
4 - Using a Cloth between the Iron and Film, Iron the BEVA
until enough heat is achieved so as to be able to peel off
the Film, leaving a layer of Adhesive on the Panel. Do
not be too timid, the Panel has to get quite hot, but not
excessively so.
5 - Lay the Linen down onto the Adhesive. Again using a
Cloth, Iron the Linen until it is well bonded. The Iron will
also stop any air bubbles from forming under the Linen.
6 - After a short ' cooling ' period the Linen can either be cut
flush or wrapped around the back of the DIBOND and
adhered in the same way.
Paper
is NOT recommended to be laminated to DIBOND
using BEVA Film.
DIBOND is available from ALCAN UK in Leeds. Contact Mr Simon Philpott
at sphilpott@btconnect.com
My sincere gratitude goes to Mr Ross Merrill at the National Gallery
of Art, Washington DC, for kindly taking the time to give me his
expert advice on all issues concerned.
I myself would be pleased to answer any questions regarding this
Archival Painting Panel david@burton6838.fsworld.co.uk
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