THEN I sand the edges of the piece and apply the (Gamblin) wax. weight) off my drying pieces for less than a week. Other than that, I have to admit I am a little bit anal about the time frame for the glue to cure and rarely take the pressure (e.g. It is archival, you are able to thin it to a consistency that works for you to achieve a smooth laminating layer and MOST IMPORTANTLY it does not resist watercolor pigment….meaning that if you accidentally get a spot somewhere that it “doesn’t belong” you may touch it up right over the yes! paste and it will absorb into the piece right through the paste. I glue my w/c piece down with Yes! Paste for a number of reasons. I’m not sure who’s process you are querying, but I could add a bit of info to my last post that might help you. I use Gamblin wax, but I think there will be many good brands available. No glass required and a SLIGHTLY damp soft cloth may be used to dust and clean it. To a glowing semi-gloss appearance eliminates the expense of framing and suits the current style as well. It does NOT disturb the watercolor whatsoever and polishes up Let your piece cure well for about a week and then just apply the wax in a circular motion over every bit of the piece with a soft cloth – even the sides. Eleanor Pigeon-Lowden has an excellent video out that demonstrates sealing watercolor with archival art wax. Where I differ from your process a bit is in the sealing. This gives a flawless and smooth edge to the piece. I glue and cut the paper 1/32″ OUTSIDE the edge of the cradle and when it is cured I sand the edges with a fine grit WHITE sandpaper. I size these with white gesso to eliminate any chance of tannin leakage or staining and then pretty well use the method you explain. Just found you! I usually paint in the half-sheet size and have been mounting my pieces on the “cradles” that are made completely from wood – face as well as sides. I sure want people to enjoy my art at least until we have flying cars and are living on Mars! I can’t imagine that, with proper care, my watercolors mounted on canvas won’t last 2-3 times that long. While no one can really say how long acrylic coatings/varnishes will ultimately last, the best information I have is that there should not be any color or surface finish deterioration for 75-100 years. I’ve actually corresponded with Krylon and Liquitex about this. Some folks have asked me about the archival quality of the process I’ve developed. On large pieces, I sometimes spritz the surface with water to help relax the brush strokes. I’ve found my own “formula” achieves the finish I like best – a mixture of about 3/4 Gloss Varnish + 1/4 Matte Medium + a bit of water. Finally, I apply 2-3 coats of Liquitex Gloss Varnish Flexible Surface to the entire piece using a soft brush (I use hake brushes), allowing each coat to dry 2-4 hours. After removing the weights, I clean up any matte medium that has oozed out around the edges of the paper. I use cut plexiglass and weights to compress the back of the canvas for 1-2 hours.ĥ. I then (carefully!) turn my canvas over and press on the back of the canvas to remove air bubbles. I apply the matte medium to both the canvas and paper to help bond them together. Once my canvas is completely dry, I use Liquitex Fluid Matte Medium to glue the watercolor on paper to the canvas. I then add deeper highlights to the canvas edges or corners.Ĥ. Usually I apply 2-4 light, watery washes to the canvas, often using metallic acrylic paints. I use 1.5″ deep “gallery wrapped” canvas so that I can paint the edges and finish my piece without a frame. Meanwhile, I embellish my stretched canvas with acrylic paint.
I let the painting dry over night after the last coat of Krylon spray.ģ. I use light coats and let each dry at least 30 minutes before applying the next coat.Ģ. I don’t like the finish of the MATTE coating (plus, it dulls metallics). After I complete a watercolor painting on paper, I seal it with 3-4 coats of Krylon GLOSS UV-Resistant Acrylic Coating. We were also just plain tired of dealing with glass (and for me, I was tired of the whole framing idea – it was making me a bit clausterphobic to have my watercolors so entombed).Īfter much experimenting, here’s how I seal my watercolors:ġ. Neither of us liked the glass we had to use since it created a such a barrier between the art and the viewer. Many people – collectors and artists alike – have asked me how I seal my watercolor on paper paintings that I then mount on stretched canvas.Īn artist friend of mine, Janet Fons (oil pastels), and I both began experimenting with methods for sealing our artwork about a year ago.
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