The Good Earth, 1 - A Ground For Your Painting

Farmers and gardeners know that the groundget painting!
they work determines the success of the cropsTIP. Usually, the ground is smoothed with fine
they plant. No matter the quality of the seedsandpaper when perfectly dry but some artists
they sow, no matter their skill and dedication indislike this finish. A fellow student once gave me
raising those plants, the crop will not reach its fullan attractive alternative: Prime two panels at the
potential unless the ground is properly prepared.same time, stick the wet faces together and
So, it is a great pity that many artists neglect theimmediately pull them apart. You're left with a
preparation of the ground for their paintings. Thatnicely random textured surface, which seems to
is the subject I ask you to think about today.have your painting started before you even pick
First, some definitions:up a brush.
1. Ground refers to the primer (size, white lead orNOTE. The above tip applies only to experimental
acrylic) that is laid on a Support (stretched canvasstudies. When you've found your own style and
or panel) for an oil or acrylic painting. This articleare down to serious work, you won't want any
will, I'm sorry, apply only to those who paint withsuch distracting gimmicks.
oils or acrylics. Yet, those who paint withStandard Masonite sheets are 1/4 inch thick. Cut
watercolours, gouache or pastels will also besizes larger than 24 inches will bend or warp of
aware of the need to choose and prepare theirtheir own weight and should be braced at the
papers with care.back. Do this by using a resin or vinyl glue to
If you're just starting out on your own as anattach a frame of well-seasoned wooden strips to
artist, not yet ready to exhibit your work, youthe outer edge. Large panels should also include
won't want to outlay the kind of money neededcrossbars to help prevent warping. Use strong
for expertly prepared canvases. A popularclamps - not just weights - to keep the strips
alternative at this stage is to use panels ofunder pressure until the glue dries. A good coat of
compacted wallboard. Most beginners choose theprimer on the back will also help prevent warping.
one called Masonite. It is important to buy theTIP. Please don't be tempted to use the back side
Standard type rather than the Tempered, whichof the panel as your painting surface. Its texture
is impregnated with an oil that interferes badlyis unpleasantly mechanical and does not compare
with the adhesion of your ground.These panelswith the 'living' weave of a good canvas. It gives
need very careful preparation for even studentyour work an amateur look. There is something
works. They should never be used for paintingseven worse, which I'll illustrate with a true story.
you intend to outlast you. To my mind, they'reMany years ago, I bought a painting by a very
more trouble than they're worth. But manysuccessful artist who used Masonite panels. He
beginners will be more concerned withlater became a friend and invited me to his studio.
cost-savings, as I was myself at the early stages.There, I learned that he primed only one side -
So, here's how to make them as safe as possible.the back - and that this primer was household
After cutting the board to your desired size, rubundercoat. So I understood immediately when,
the smooth surface with fine sandpaper, which willjust a few years later, his lovely work became
give it a 'tooth' so your primer and paint layers willdistorted by a change of colour in all its white
adhere properly. You might also bevel the edgesareas, to a brownish pink. He'd left the then-white
and round off the corners with coarse sandpaperundercoat unpainted in those areas, exposing
to help prevent splitting and chipping of thethem to the inevitable attack by acid in the
ground. Then clean down with a cloth dipped inuntreated board.
white spirits. When this had dried off, you canA surprising number of artists persist with these
apply your ground in a layer not less than 1/16panels even after their careers are established.
inch thick This can be either true gesso (aThe reason often given is that they dislike the
glue-chalk mixture) or an acrylic polymer primer'bounce' of stretched canvas. But what a price to
(often labelled as 'Gesso' although it is nothing ofpay for the lack of a little patience: the
the kind.) I recommend using it on Masonite,destruction, sooner or later, of your work, and of
however, as cooking up your own gesso can leadthe trust of your collectors.
to uneven results even in experienced hands. ItIn my next article, I will be writing about the
also demands a high degree of workmanship andbenefits of painting on canvas or linen.
attention to detail. All this when you just want to