Featuredirectly to a surface without first
applying a ground, the acrylic binder
from the paint is absorbed too quickly
into the surface being worked on.
The result is a drab and disappointing
painting, with a disagreeably fast
drying speed. Acrylic grounds are
recommended before painting.
Often used in art schools as
grounds, house paints are usually too
brittle and too absorbent – causing
drab paintings and speedy drying.
Atelier Gesso is a flexible acrylic
ground with a high grit content which
provides ‘tooth’ on which to paint. It
is not water absorbent and does not
suck the moisture out of your paint
when you start to work on it. Gesso
can be found in varying colours such
as White, Grey, Black and Brown.
Atelier Modelling Compound
is a heavy, opaque impasto paste
made from calcite grit. It is flexible
and can be applied to canvas
supports. Coloured grounds can be
achieved by using Atelier Modelling
Compound tinted with the Atelier
colour of your choice. Over a white
background, Modelling Compound
produces a creamy white surface.
Atelier Binder Medium is
recommended to prepare and
seal surfaces for painting with
acrylics. This binder promotes
good adhesion of the paint and
prevents loss of moisture into the
substrate. Binder Medium can be
used to: Increase gloss and create
translucent glazes when added
directly to paint; isolate coats
between paint layers; provide ‘tooth’
when Interactive Acrylic Gesso is
applied over the top; and create
adhesion for collage techniques.
Adding Binder Medium directly
to acrylic paints shortens drying
time. To increase working time,
it is recommended to add up to
10 per cent Atelier Slow Medium
which dries clear and glossy.
A cross-sectional diagram of
a painting will show you the
importance of proper preparation of
your work. A painting in cross-sectionis a laminate composed of successive
layers of paint. The ground may in
many cases be thicker than the paint
used in the painting and therefore
may have a strong influence on the
stability and lifespan of the work. The
diagram consists of: 1. The canvas
itself. 2. The layer of ground which
fills the weave of the canvas and
forms a continuous layer of prepared
surface with ‘tooth’ on top of the
canvas (a possible acrylic binder
seal at the back of natural fibres,
like cotton or linen, helps reduce
the effects of humidity changes and
reduces expansion and contraction of
the canvas). 3. Underpainting layers
of acrylic or oil paint. 4. Layers of oil
paint (or further acrylic layers).- Islands of impasto in oil (or acrylic).
- Possible acrylic seal at the back.