A Ground To Paint On

It is said that when you can’t support a claim that you make, “You don’t have a ground to stand on.” However, when you prepare your support with gesso, you definitely have a ground to paint on.  It really doesn’t matter what substrate you choose, there is a gesso made especially for it.

Gesso, pronounced “je-so”, has been around for hundreds of years. The traditional formula, also known as Italian gesso or glue gesso, was a necessary tool for master painters all over the world. It is the primary reason we still have masterpieces, painted centuries ago, that is in excellent condition today. Without the use of this basic painting ground, a lot of art in museums would not exist due to deterioration.

Traditional gesso was comprised of two simple ingredients, an animal glue binder (rabbit skin glue) and gypsum, chalk or white pigment. The thinned paste was used to seal and cover any number of surfaces including wood, canvas, and also clay sculptures. As a base or ground for applying paint, the prepared surface provided a barrier to lessen the absorbency of the substrate, extending otherwise expensive and hard to obtain pigments. This basecoat also gave sufficient tooth or texture for the paint to adhere to.

Up until the 1950s, traditional glue gesso was the only logical solution available to provide a lasting surface to paint on. It was Liquitex, in 1955, which developed the first water-based acrylic gesso. The acrylic paint company mixed their polymer-based latex with calcium carbonate, titanium dioxide, and other chemicals to make a flexible yet archival basecoat for use on most any surface, but especially on lightweight stretched canvas and even sturdy papers. This discovery changed the art industry forever. Up until now, the brittle glue-based gesso was only recommended to be used on stiff substrates such as wood panels or heavier weight canvases. This new modern gesso would provide a versatile, consistent and inexpensive primer for both acrylic and oil paintings allowing them to be applied to virtually any surface.

With further developments made in the industry, today’s artists have access to more specialized gessoes than ever that can be used with watercolors, pastels and other experimental mediums like encaustics. Gessoes now come ready to use in basic white and black, and also premixed colors to allow artists to skip excessive and time-consuming steps by combining the sealing process with the base coating. They are also available in clear formulas, such as Liquitex Clear Acrylic Gesso, that allows the natural color of the substrate to be used as a background as well. This product allows you to use alternate fabrics like burlap, printed fabric, and other weaves as a canvas when stretched on a frame.

Basic white and black gessoes, like Joe’s Prime Really Good Gesso or Golden Acrylic Gesso, have many uses beyond sealing. They can be used to the base coat, to add texture, and also to adhere to sand, fabric, and other materials to add dimension to your painting. In his popular DVD, “Abstract Florals From Loose Colorful Splatters”, acrylic artist, Robert Burridge, even prefers to use white gesso as his basic white pigment, especially while practicing his popular technique, subtractive painting.

On the other hand, oil artist, Caroline Jasper, basecoats her canvases with colored gessoes, such as Holbein Acryla Color Gesso. As seen in her DVD, “Landscape Oil Painting on Red Ground,” Caroline demonstrates the importance of these highly pigmented gessoes that are used as a backdrop in her side by side painting technique. She allows the contrasting base color to show between strokes, thus, generating exciting color vibration throughout her work.

Applying gesso to watercolor paper is an also great way to recycle by resurfacing old paintings. There are actually specialized gessoes formulated just for watercolor use, such as American Journey Gesso or Golden Absorbent Ground. Both of these acrylic products are designed to work with the medium and not repel the fluid washes of watercolor as other acrylic products would do. These gessoes can also be applied to standard stretched canvas which converts them to the watercolor canvas. You can prime unconventional surfaces like wood or metal with this product. These are wonderful ways to display watercolors without the use of glass. However, the artwork will need to be fixed in order to keep the painting from being disturbed by moisture.

Pastel Ground by Golden is a unique product that allows you to prepare surfaces for the application of dry media, including pastels, charcoal, Conte’crayons, and even oil pastels. This gesso contains finely ground sand (silica) in a pure acrylic emulsion that provides incredible adhesion of these surface mediums. By applying this product to canvas, wood, paper, or almost any surface, the possibilities are opened up for a media typically confined to standard papers.

The application of gesso is mostly identified with pre-stretched cotton canvases which are advertised as pre-primed. Although most canvases sold today are already coated with acrylic gesso, it is always a good idea to re-apply 1-2 layers by hand. These prepared canvases are usually primed by applying thinned gesso with a machine or roller. The thin layers may not be sufficient to support heavy applications of paint, which may cause the canvas to stretch and pucker over time. Applying the extra gesso will also give your canvas a smoother finish by covering the weave texture. You can apply 2-3 coats, sanding in between to create a perfect surface for portrait work.

There is still some debate among artists about the reliability of acrylic gesso as a base for oil painting. Some believe if applied correctly and thoroughly, acrylic gesso can keep oil paints and solvents from penetrating the cotton canvas and breaking down the fibers, making it archivally acceptable. Others still, contest that the oil paint will, eventually in time, de-laminate from the acrylic gesso surface. They insist that using glue gesso or more modern oil primers is the best way to preserve the future value of a painting. These products ensure that the oil paint establishes a permanent bond with the prepared surface and increases the longevity of the artwork. For most of us, this does not seem to be an issue because we paint for pleasure or as a hobby. As for professionals, I feel it is very important to do anything possible to protect the investment of the collector by using the best materials, as well as, to use the appropriate techniques necessary to give the customer what they are paying for. As a result of similar passed issues, curators in the Smithsonian Museum are not permitted to use acrylic gesso under oil paint, due to the risk of de-lamination. For that reason, there are still many products available for the specific preparation of oil canvases.

Gamblin Oil Painting Ground provides a strong, bright, non- absorbent foundation for oil paintings. It is basically, an alkyd resin product, meaning it is fast drying, stiffer and stronger than acrylic gesso and more flexible than the traditional glue gesso used in the past. It also provides a nice tooth as well as a compatible surface that will permanently bond with the oil paint. It seems to offer the best of both products, giving you a stable and reliable base for which to build a fine painting. Winsor & Newton also makes an alkyd-based primer for an oil painting that is even recommended for base coating metal surfaces. This certainly expands the possibilities of alternate surfaces to paint on.

Gesso, it seems, becomes a very important element in the production of your art. It allows you to make choices in substrates and surfaces and also in the versatility and creativity of a medium. You initially get out of your artwork what you invest, either in longevity and pleasure or in monetary compensation. The preparation of a painting or piece of artwork may be the most important stage in its development. Just as in the construction of a building, solid ground is vital to its ability to withstand hundreds of years of existence. Whether you are painting for pleasure or for profit, the quality of materials you use will determine the life of your artwork. So, it becomes an important issue as to if you will settle for just what a manufacturer will allow you or what you will allow yourself.

Now, since you have all of this great gesso information, if anyone asks “Is that gesso?” You can be more informative than just saying, “I guess, so!”

Have a Happy “I Guess So” Day!

To learn more about Robert Burridge and Caroline Jasper, be sure to check out their websites!
www.robertburridge.com
www.carolinejasper.com