First off I want to let you know the $120.00 painting panel experiment was a total bust.
The 2 panels arrived in a box full of packing peanuts and styrofoam(I detest those packing materials) I was depressed just opening the box. On top of that one panel was warped.
The panels were not stamped or identified as archival either, they looked like foam core covered
in craft paper. When I put my level on the warped panel I punched a hole in the panel.
Not very durable! Can’t have that in a gallery setting with art being moved from one wall to another.
I got on the phone immediately after accessing my options and called Elizabeth at Raymar panels and ordered 30 X 30’s. I’ve worked with these panels before they are a bit heavier but I know
the quality is there and the panels are stamped.
Galleries need to know there’s a quality product underneath all that paint.
On another note here’s what I’ve learned so far with my linen panel tests.
In order to get the look I want - paint sitting in the fabric impressions
I cannot thin the oil. I have to apply the asphaltum or burnt sienna with a rag straight
out of the tube. Slather it on and then wipe off the top of the fabric without removing
the color from the crevasses. The panels are drying then I’ll do some more tests.
The idea is to use a palette knife technique leaving some of the linen to show through.
I saw an artist on line who paints palette knife style with old credit cards.
I’ll see if I can find that video to post later.
That’s it for now MB