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Blog Category: Artwork

How to Mount Paper on Board

Mounting paper on board using Grafix Double Tack Mounting Film can be challenging at first. This mounting film is permanent and accidents can happen, especially if one doesn't practice ahead.

I've being using this method for years and I'm quite comfortable with it. It takes me about 10 or 15 minutes to mount a piece, depending on the size.

Above is my finished artwork "In Between" which I will mount on a 12" x 24" x 3/4" thick Ampersand Claybord. At this point my piece measures 12.5" x 24.5", half an inch larger than the board, to account for possible misalignment during mounting. I've already trimmed the white paper edge that I normally leave around the drawing.

This is the back of my artwork which I wiped with a clean cotton rag to make sure there are no pencil debris left on the paper. I always use tracing paper to protect my piece from the cutting board.

Grafix Double Tack Mounting Film is acid free and archival. It has a coat of permanent adhesive on both sides of a thin film, sandwiched between two heavy release papers.

The image above shows the double tack mounting film which is cut a bit larger than the original artwork. I'm lifting the top release paper to expose part of the tacky area; this will be a section about an inch wide. It's always better to release more paper than necessary and then let it fall back into place up to the area that will need to be exposed.

Here I folded the top release paper back, exposing only an inch of the tacky film.

After placing my artwork over the double tack mounting sheet, I made sure it was centered inside the perimeter. At this point the artwork can still be moved because it's not making contact with the tacky film.

A close-up of the artwork positioned over the fold.

With a protective sheet of tracing paper over the artwork, I pressed down on the left side to make contact with the exposed tacky sheet. I then secured it onto the cutting board with tape.

Afterwards I lifted the right side of the artwork and slowly began pulling the release paper from underneath. At the same time, with my other hand, I rubbed the surface with a rag, moving back and forth from one side to the other, until all the release paper is out.

At this point I trimmed the edges of the double tack sheet (and tracing paper) with a sharp X-Acto knife.

I turned over the artwork and placed it face down on the cutting board, using the waxy release paper I just pulled from the tacky sheet as a protection layer. Then I rolled a rubber brayer all over the surface to reinforce the adhesion.

Here's my 12" x 24" Ampersand Claybord. I cleaned the surface with a rag and lightly sanded the sides with extra-fine sandpaper.

To pull out the other release paper from the back of the artwork I used the same method as before, exposing a 1.5" area of the tacky sheet.

Then I placed the Claybord over the mounting sheet and centered it. Again, I can still re-position it at this point because the board is not making contact with the tacky film.

Once the board is perfectly centered over my artwork, I pressed down on the left side to make contact with the exposed tacking sheet.

After placing a sheet of tracing paper over the artwork,  I lifted the right side and slowly began pulling the release paper from underneath. At the same time, with my other hand, I rubbed the surface with a rag, moving back and forth from one side to the other, until all the release paper is out.

Here you can see it from the opposite side.

Once the artwork is mounted onto the board, I pressed down first with a rag and then with a rubber brayer.

I turned the Claybord over.

I trimmed the extra with an X-Acto knife.

To achieve perfect cuts I used a fresh blade for each side of the artwork.

Finally I placed the board under heavy books overnight.

My artwork is now ready for varnishing and framing.

Thank you for visiting!

 

“River Pebbles, No. 11”

River Pebbles, No 11

Title: River Pebbles, No. 11

Outline - Cool Zone

The outline was accomplished with Prismacolor Verithin on the cool zone of the Icarus board.

Color Mapping - Warm Zone - Low Temperature

After drawing the outline I proceeded to map the main colors with Neocolor artist crayons on the warm zone of the Icarus board using a low temperature.

For more on color mapping with artist crayons you can view the following videos:

Melting - Warm Zone - High Temperature

With temperature setting at maximum, I melted the artist crayons using clay shapers (also known as color shapers).

For more on melting artist crayons you can view the following videos:

Tools for Melting Artist Crayons

In the picture above you can see the two color shapers I used for melting and the wet sponge for cleaning. For easier cleaning I spray the surface of the wet sponge with a little Simple Green.

Outline - Detail

Color Mapping - Detail

Melting - Detail

Refining - Detail

Refining with Colored Pencil - Medium Temperature

With the temperature set at medium I developed the colors, values and details of the pebbles by layering and blending colored pencils with a variety of tools like tortillions, paper stumps and a Caran d'Ache blender.

Mounted on 2" Thick Clayboard

I finally mounted the canvas on a 2" thick Claybord and painted the sides with acrylic. The artwork is now ready for varnishing.

 

Introducing Oversized Limited Edition Giclees

Oversized Giclee

I'm happy to introduce the oversized limited edition of 30 giclees of Yesterday, Today and Tomorrow.

Each giclee:

  • measures 25" x 52" (more than double the surface of the original)
  • is digitally captured and faithfully reproduced using state-of-the-art technology and archival inks
  • is individually proofed, numbered and signed by myself
  • is printed on UV coated, extra-fine texture canvas, gallery wrapped on 1-1/2 inch deep bars with black edges
  • is hand varnished by myself to mimic the glossy finish of the original
  • comes with a Certificate of Authenticity
  • sells for $950, plus S&H

Two weeks ago I sold giclee #1/30. Next week it will be on its way to San Jose, California.

Edit (10/18/12): read what Katherine Tyrrell wrote about this post on her blog  MAKING A MARK. To find her comment, scroll down to the Artists and Art Blogs section.

 

Back in the Swing of Things

The Laguna Beach Festival of Arts is over. Although I'm incredibly grateful to have taken part in such a renowned art festival, I'm also glad to be back in the swing of things and experience "normal" again, like studio time, my friends, family dinners, and all the stuff that makes life so great.

The most invaluable aspect of being at the festival was the direct contact with the thousands of people who passed by my exhibit space every day for two months. Finding out what they liked, why they liked it, and how my art spoke to them, has reinvigorated my commitment and reshaped my future plans.

Here's what's happening and what's ahead:

  • I'm showing at the Dana Point Ocean Institute with four Laguna Beach Festival artists.
  • Coming up in October is another group exhibition at the Mission Trails Regional Park Gallery in San Diego.
  • Esterroi.com and Icarusart.net are in the process of being restructured. Both will come with their own blog that will focus on separate areas: mine on my art and life as an artist, the other on the Icarus board and its technique.

Below is an image of a small commission that I just finished.

Poppy, No. 5

 

“River Pebbles, No. 10”

River Pebbles, No. 10

 

Title: River Pebbles, No. 10

For techniques used in this artwork, please see blog post River Pebbles, No.3 - Melting Artist Crayons

 

“River Pebbles, No. 9” - Where’s Waldo?

Original Photo Reference

When I look at a reference photo like the one above, the question I always ask myself is: where's Waldo?

Waldo, for an artist like me, is a good composition hidden in the randomness of nature. Even when I'm the one setting up the still life, I try not to interfere in the way pebbles fall into place. I just take many pictures while anticipating the game I will play later on my computer.

Waldo can be elusive at times. I have images taken years ago that never produced a single Waldo. But my ability to "see" is constantly evolving; I know there's a Waldo waiting to be found even in the most hopeless image.

Composition

Meet Waldo! I found him in the center of the image. Now that I have him, I want to show him off but, as you can see, he looks a little drab. Light and color will do magic.

Values

Here's what he looks like in black and white.

Values Adjusted

Much better - Waldo is coming to life. I just lightened the top left quadrant and pushed the overall value contrast.

Colors Adjusted

Now we're talking!

River Pebbles, No. 9

And here is my finished piece - in honor of Waldo of course!

Title: River Pebbles, No. 9

For techniques used in this artwork, please see blog post River Pebbles, No.3 - Melting Artist Crayons