I too am interested in this. The wood panels, I am feeling, are not really a renewable resource. Even acrylics are, well, plastic, that in one way or another contribute to environmental toxicity.
I’ve been told glass is hard for galleries to get insurance coverage for while shipping. Though I don’t like the reflection, the glass frame is the best protection for paper artworks.
Another factor is potential damage to frames. One little nick and the damaged frame is not saleable. If they don’t sell you have to store them and they are expensive in the first place.
It would be nice if you could frame on demand -showcasing a few in ideal frames and the rest in protective sleeves. But the public is a cash and carry lot and they want the piece ready to go.
The artist needs to make the upfront investment by showing their work in the best possible light.
All good points, Peggy, and around and around we, the artists, go. Right now I’m asking myself, what makes the work look good, and what gets the work into the buyer’s hand. I’m trying glass/frame for a while. I’d love to hear from some collectors - which format do you find most attractive when you consider buying art work on paper?
I've done a lot of adhering the paper to a cradled panel using acrylic medium and then weighting it down with books. I generally leave a little overlap and then trim the excess off once it's dried. Of course it won't highlight the edge of the paper but it is effective. I'd love to see some of these mounted.
I think the largest I've done is 16x16 inches but it should work. I use a Catalyst wedge to smooth the paper down once it's been laid on the glued panel. And I make sure to weight every inch of it.
It's a scraper made of silicone with a curved edge to hold and a straight edge for moving paint around. I got mine at Opus. But you can use and flat edged tool to smooth out the paper and eliminate air bubbles between it and the substrate.
I haven't done any that large Anita but I'm pretty sure it would work. I also use scraper to pull the excess medium off before i weight it with the books.
I too am interested in this. The wood panels, I am feeling, are not really a renewable resource. Even acrylics are, well, plastic, that in one way or another contribute to environmental toxicity.
I’ve been told glass is hard for galleries to get insurance coverage for while shipping. Though I don’t like the reflection, the glass frame is the best protection for paper artworks.
Another factor is potential damage to frames. One little nick and the damaged frame is not saleable. If they don’t sell you have to store them and they are expensive in the first place.
It would be nice if you could frame on demand -showcasing a few in ideal frames and the rest in protective sleeves. But the public is a cash and carry lot and they want the piece ready to go.
The artist needs to make the upfront investment by showing their work in the best possible light.
All good points, Peggy, and around and around we, the artists, go. Right now I’m asking myself, what makes the work look good, and what gets the work into the buyer’s hand. I’m trying glass/frame for a while. I’d love to hear from some collectors - which format do you find most attractive when you consider buying art work on paper?
Hi Anita,
I've done a lot of adhering the paper to a cradled panel using acrylic medium and then weighting it down with books. I generally leave a little overlap and then trim the excess off once it's dried. Of course it won't highlight the edge of the paper but it is effective. I'd love to see some of these mounted.
What about larger pieces like 22x30? Have you tried adhering those to wood panel?
I think the largest I've done is 16x16 inches but it should work. I use a Catalyst wedge to smooth the paper down once it's been laid on the glued panel. And I make sure to weight every inch of it.
Just wondering what is a catalyst wedge.
It's a scraper made of silicone with a curved edge to hold and a straight edge for moving paint around. I got mine at Opus. But you can use and flat edged tool to smooth out the paper and eliminate air bubbles between it and the substrate.
Anita I am no help on mounting but wanted to write and say how wonderful the pieces you posted are. I have so much gratitude for your work!!
Much appreciated, Barbara!
I haven't done any that large Anita but I'm pretty sure it would work. I also use scraper to pull the excess medium off before i weight it with the books.