by Jane Sutherland

Working With Mixed Media

Is it acceptable to combine acrylic and watercolor in the same painting?

Many artists work in mixed media, and whether you use both acrylic and watercolor in a painting is a matter of personal preference. If you do choose to work in this manner, however, it’s important to keep in mind that watercolor may not bond to an acrylic surface, and you will therefore have to use a fine coat of acrylic spray varnish or some other fixative. Watercolor performs best on a surface such as sized paper, which allows the paint to move over its surface before being absorbed. It’s also important to note that although you can use acrylic like watercolor—with transparent or opaque layers—once dry, you cannot manipulate acrylic in the same way as watercolor.

Before working in mixed media, some mental preparation will save time and frustration and also make for a more productive experience. You may wish to consider the following aspects of combining media: What kind of support and ground is best suited for both media and techniques? Is there a good reason to combine these media? Is it possible to establish a common ground between the media and integrate them into a visual whole while maintaining the unique features of each? Combining different media presents challenges and opportunities for experimentation and new techniques. Although it is more common to combine gouache, colored pencil, pastel, or collage with watercolor, there is no restriction for combining acrylic with watercolor. 

Stretching Watercolor Paper

Do you have any pointers for stretching watercolor paper on stretcher bars to create a “gallery-wrap” type painting? Is there any type of spray finish that could be applied to a watercolor that won’t be placed under glass?

To stretch watercolor paper on stretcher bars, use a paper that is 140 pounds or lighter and leave a two- or three-inch overlap of the watercolor paper on all sides. When you stretch the paper it does not have to be pulled perfectly tight because it will shrink when dry and become tight as a drum. Be sure that the frame is squared off and braced to prevent warping. (The chances of warping decrease if the paper is blotted of excess water on the surface and at the edges.) With the paper facing you, staple along the edge at about one-inch intervals stopping about two inches from the corner. Continue in the same manner, moving clockwise, until all four sides are stapled, leaving the corners for last. Fold down each corner edge and tuck and staple flat as if wrapping a package or preparing “hospital corners” on a bed.

Because watercolor is considered a relatively fragile medium, it is almost always matted and placed under glass for protection against environmental elements. Still, some artists do not want to frame with glass and choose to use an acrylic spray varnish or MSA archival varnish, which has an ultraviolet filter. Keep in mind, however, that varnishing changes the surface quality of the watercolor and the natural feel of the paper. It is also true that by applying varnish the pigments adhere to the paper better, and that there is a more direct connection to the artwork when glass is not covering the picture.

Framing Under Glass?

Can I put an oil painting done on stretched canvas in a frame under glass?

Frames have a great impact on the visual effect of an artwork, so it is important to choose the right one. There is definitely an art to framing. An oil painting on stretched canvas can be framed under glass as long as the frame is deep enough to enclose the entire painting. The painting should be separated from the glass by the insertion of a small bead called a spacer. Because the use of glass will add weight to the painting, it is important to attach the picture wire to the frame and not to the stretcher bars. Also consider the best type of glass for the painting. Clear glass will of course cause reflection; and although nonglare glass will reduce the glare, it also distorts the image. The ideal glass for framing is invisible glass, which is sold under such names as Den Glass and Image Glass. Conservation glass is invisible and also filters out ultraviolet radiation, which can cause fading.

Experimenting With Dibond

I would like to use Dibond as a surface for my paintings. Is it possible to use gesso that has additional calcium carbonate added on this type of surface? Are there any other concerns that I should be aware of?

Dibond is a lightweight, recyclable, rigid aluminum composite material made of two sheets of aluminum with a solid polyethylene (thermoplastic) core, and it is approved for use by artists. Lighter in weight than aluminum, Dibond is available in 4'-x-8' sheets, and up to 5'-x-10' sheets with thicknesses of two, three, and four millimeters. As with any ground, Dibond should be prepared before applying a sizing. Before coating with gesso, gently abrade the surface with fine sandpaper and then degrease with a bit of rubbing alcohol.

Have a technical question for one of our experts? Send it to us by e-mail: mail@myamericanartist.com
or by mail: American Artist, Attn: Technical Q+A, 770 Broadway, New York, NY 10003.

Like what you read? Become an American Artist subscriber today!