MITRA Forum Question Details

ApproveRejectUn-ApproveMy own concern with even bracing - but I admit I need to look into this further, as I am extrapolating from some of the studies on problems underlying cradling - is that a panel, if it is going to warp, will take the most efficient route to dissipate that tension. Thus the slight even bowing one might see is the least resistant means of relieving the stress. Attempting to overcome that by means of bracing simply means that that tension need to be relieved by other, usually less efficient means - thus ripples developing between the braced areas, or upwards towards potentially more brittle paint layers, leading to cracking. The best solution is to use thick enough plywood panels that warping at this primary level is minimized. Of course this leads to a lot of weight - but too many people, in my opinion, are trying to escape that problem by using too thin of panel and hoping that bracing will overcome the deficiency. Aluminum composite panels are likely the best route to avoid at warping as all wood is vulnerable to this. And taking a wider, art historical view, one sees precisely why canvas had such a following, allowing for very large compositions without the terrific weight.....but then, as we all know, that comes with its own host of problems.

Anyway, just some thought to share on the topic.

Sarah Sands

ApproveRejectUn-ApproveI have had considerable success painting quite large (onto 4' x 8' panels) with oil/alkyd glazes onto copper and bronze prepared with a thin layer of alkyd medium. I've also painted with the Golden product formulated for rigid surfaces onto copper first coated with either automotive clear coat or incralac. A painting using the former method has hung outside in Fairbanks, AK for more than 10 years with no discernible degradation.