Nancy Reyner Custom Artist Panels
Extremely durable, high quality, lightweight painting panels, endorsed by Nancy Reyner, are now available through Artisan as a custom order.
Nancy Reyner Custom Artist Panels are hand constructed using a new extra lightweight poplar wood veneer over an inner core of ¾” high density polystyrene foam, cradled with 1 7/8” solid basswood.
Nancy is known for incorporating unusual painting processes, such as sanding and pouring paint in her work. Rigid supports such as these wood panels are optimal, as canvas can’t hold as much weight, and will droop and stretch during these processes. Unlike other wood panels, Nancy’s panels do not warp and do not need support bracing in the back. These panels offer greatly reduced weight when compared to conventional panels of plywood, particle board or MDF. The light weight, along with the deep cradled sides, makes hanging, handling and transporting much easier! Paint the extra deep sides instead of traditional framing for a contemporary look!
Nancy Reyner Custom Artist Panels come unsealed to allow for the appropriate preparation of your panel for your particular painting needs. Nancy Reyner has written an information sheet to go along with her panels, with full instructions on preparing your panel for overpainting with oil or acrylic. Just like all panels that do not come pre-primed, it is recommended to properly seal wood before painting.
These are priced at:
$0.17 per square inch for 576-1080 square inches
$0.14 per square inch for 1081-1699 square inches
$0.13 per square in for 1700-3168 square inches
(examples: 24″ x 24″ (576 sq. in.) is $96.00, 36″ x 48″ (1728 sq.in.) is $224.64
Minimum size is 24X 24 Largest size is 48X 66
Proper preparation of an artist support is essential for producing long-lasting artwork. For wood panels that are purchased unsealed such as these, it is best to seal the wood prior to priming and painting.
Oil painters must seal the wood to stop the acidic oil from penetrating into the wood support, which can cause the fibers to rot. While acrylic painters do not have this issue, sealing is still an important step to include to eliminate Support Induced Discoloration (SID). SID is a phenomenon that occurs uniquely with acrylic paints. Supports naturally contain impurities that can add an amber yellow discoloring to any light colored or clear acrylic layer unless the support is sealed properly.
Sealing (sometimes called sizing) reduces chances for the wood to warp due to shifts in humidity, and therefore adds an important archival process to your artwork regardless of which painting medium you choose. Sealing also provides an easier surface to apply subsequent paint layers.
Sealers are often confused with primers. A sealer protects the underlying layer or material. It usually needs to be glossy (or non-absorbent) to properly protect by creating a barrier. A primer is a foundation layer that improves paint adhesion onto the support. Generally, a primer refers to a coating that prepares the surface for the acceptance of paint. Gesso is a primer and not a sealer. Gesso is satin or matte and is absorbent in nature, and therefore will not seal the wood unless multiple applications are used.
A general rule is to apply at least two coats of sealer directly onto the wood to protect the wood. Then optionally apply primer to enhance adhesion, return tooth to the surface, and whiten it to optimize paint colors applied over it.
Recommended steps for preparing panels:
(1) Clean off any dust or debris from all faces of the panel including the cradled sides, first using a vacuum or air pressure if very dusty, then wiping clean with a slightly damp (with water) microfiber cloth or other lint free cloth.
(2) Lay the panel flat on a table, propping it up several inches on all four corners with jars, wood props, etc to allow for wiping away any drips, and ease of application.
(3) Apply a glossy acrylic medium over all exposed wood surfaces. Golden’s GAC100 is made especially for this purpose. It’s special thin formulation of polymer acrylic, applied over the wood, soaks in quickly and minimizes brushstrokes and texture.
Tip: Let one surface dry fully before flipping over to seal the reverse side. Drying times can vary. If dry to the touch with no tack, it can be flipped over without sticking to the props.
(4) When all exposed wood areas are sealed and fully dry, the wood will feel very coarse. That is because the wood grain gets raised with this first coat of sealer. Lightly sand all surfaces to smooth them using a 220 grit. There is no need to heavily sand just an easy swipe with the sandpaper will suffice. Sanding blocks with a fine to medium fine grit are convenient for this purpose.
(5) Wipe the surfaces clean after sanding, then apply a second coat of sealer. Usually two coats is sufficient, making the wood appear slightly satin or glossy in sheen. Optionally add more coats if you desire a more saturated seal. It is important to allow sufficient drying time (1 to 3 days) before continuing to prime or paint, so that the size can coalesce into a uniform film (especially important for oil painters).
(6) When fully dry after sealing, it is recommended to apply one or two coats of a primer, such as an acrylic gesso, especially to the front surface to regain surface tooth. Priming your panel, regardless of which paint medium you plan to use, will add a second archival process to your artwork. Opt to prime all surfaces for a clean white professional look.
For acrylic painters, one coat of a better quality gesso, such as Golden’s Gesso, will add adhesion strength between the sealed wood and your first layer of acrylic paint. Lesser quality primers are satisfactory when used with oil paint.
Once the gesso is dry to the touch it is ready for applications of acrylic paint. Wait 1 to 3 days more for applications of oil paint.
This is a demo store for testing purposes — no orders shall be fulfilled. Dismiss