Preparing wood panels and canvases for painting

Priming wood panels and canvases - creating a smooth surface and an archival quality product

My preferred material for painting is 5mm thick plywood. As an artist who has undergone a gradual evolution, I have developed a distinctive approach to preparing unfinished plywood into canvases. Occasionally, I also paint on traditional stretched canvas. Treating both painting surfaces identical in the preparation stage, I prioritize a smooth surface which enables me the utmost flexibility in composing a new piece. I refrain from employing underpainting and staining techniques, as I generally prefer to start a new piece of work with a blank canvas.

By preparing my painting surfaces uniformly, I reduce absorbency, enhance paint adhesion, and protect them against natural deterioration. Applying a primer provides a uniform surface, facilitating smoother brushstrokes and minimizing paint consumption.

I utilize a standard acrylic gesso for priming my painting surface. Using a wide synthetic bristle brush or a paint roller I lay down a thin coat of gesso aiming for an even layer across the surface. Then, using a 22” drywall squeegee, I smooth out the layer of gesso. Typically, I find that three coats of gesso yield the desired results. A coat of acrylic gesso dries relatively swiftly, usually within an hour or two. I frequently prime ten or more canvases simultaneously and allow them to dry overnight. The next coats of primer go on the same way and the process gets repeated until I am satisfied with the results.

Complementing this process with a final coat of varnish, after the painting is fully completed and dry, enables the creation of a comprehensive and professional product that meets archival standards.