I’m a junk journalist and I was wondering if I cover a surface with gesso would I be able to wrote on the gesso with a pen or pencil?
Gesso
gesso
Michael Clarke
(Italian, ‘gypsum’)A brilliant white preparation of glue and burned *gypsum (plaster of Paris) used as a *ground. .
Gesso Is a Traditional Primer for Artists’ Canvases
LWA/Larry Williams Getty Images
Fine Arts & Crafts .
Gesso – Gesso is a powdered form of calcium carbonate and is commonly used in art . more info
Gicl�e – The art term gicl�e is used to describe the process of making fine art prints from a digital source using ink-jet printing . more info .
Why Use ?
One of the most frequently asked questions I receive from workshop participants and readers of my book, Abstract Explorations in Acrylic Painting, is, “Why do you use ?” Often there are a few words tacked on to the end of that question: “Why do you use instead of white acrylic paint?
HumanitiesWeb.org – Glossary definition:
A plaster mixture used as a ground for painting.
In the broad sense it is a mixture of a plaster or like substance and a glue. Its purpose was to present the painter with a smooth, hard, white ground on which to paint. Owing to its hard brittle nature it could not be applied successfully to canvas or metal sheets.
From the Italian for gypsum or plaster. This is used in the making of grounds for painting. The traditional is made from a combination of hide glue and whiting, sometimes with pigment added. It makes a smooth, hard non-yellowing surface that is very absorbent.
(1)”” is the Italian word for chalk, and is a powdered form of the mineral calcium carbonate. Historically, was mixed with animal glue, usually rabbit-skin glue to use as an absorbent primer coat for panel painting with tempera paints.
: Traditionally, was made from a base of white pigment and the addition of chalk and a binder. The was used to prepare the base on wood panels or canvas before the artist applied paint.
A material used to prime a canvas or linen surface, allowing it to accept the paint more readily and not be absorbed into the surface. can also be applied to wood and sanded to create a fine and smooth painting surface.
Gilding .
– An under-painting medium consisting of glue, plaster of Paris or chalk and water. is used to size the canvas and prepare the surface for painting.
Glaze – Colour that is thinned to a transparent state and applied over previously painted areas to modify the original color.
: Traditionally a lean layer of size and chalk to form a ground on which to paint.
glair: Egg white. It is used in egg tempera painting and as a coating material.
A mixture of chalk, or plaster, or glue, used for painting.
Glaze
A transparent layer of paint applied over another. Also, a vitreous layer applied to pottery.
: Ground plaster, chalk or marble mixed with glue or acrylic medium, generally white. It provides an absorbent ground for oil, acrylic, and tempera painting.
: A combination of calcium carbonate and a pigment, usually white, used to prime canvases for acrylic or tempura paint.
Traditional is a mixture of chalk and animal glue and is used as a base for Water Gilding. It tends to be brittle, so does not make a strong substrate, but it does produce a very smooth surface. It can also be used as a traditional ground when painting onto rigid panels.
. A primer, usually containing gypsum or pumice, used to prepare a the SUPPORT to receive paint .
A white ground material for preparing rigid supports for painting. made of a mixture of chalk, white pigment, and glue. Same name applied to acrylic bound chalk and pigment used on flexible supports as well as rigid.
GLAZE .
– An undercoating medium used on the canvas or other painting surface before painting, to prime the canvas; usually a white, chalky, thick liquid. In the mid-20th century, became available already commercially prepared; before this time, artists often mixed their own mixture.
A primer used as a surface preparation for painting. Liquitex� is the premium acrylic used to prepare painting surfaces for acrylic and oil
paint.
Gouache Opaque watercolor. Remains rewettable when dry. The dry film is matte and somewhat brittle.
. A form of plaster used as a ground for modelling or painting; it has a brilliantly white, smooth-textured surface. Frequently used on furniture in low relief, and gilded.
: is made from glue, gypsum and/or chalk forming the ground layer of wood paneling or the priming layer of canvas.
Acrylic – an alternative to traditional Oil , using modern materials. It is a combination of chalk (Calcium Carbonate) and an acrylic polymer medium latex. The Calcium Carbonate increases the absorbency of the primer coat so watery washes of paint can ‘grab’ to the surface.
– Plaster or a fine plaster-like material made of gypsum, which is also called whiting, used for sculptures. An especially versatile medium in reliefs, can be either a material cast in a mold or a material of a mold, a material to be modeled, or carved, or attached to something else.
:
A combination of calcium carbonate and glue used over an object’s surface and as a preparation layer for gilding or painting.
Gilt:
Gold applied to a substrate.
A ground made of gypsum ( in Italian) or chalk mixed with water or glue to provide a dense, brilliantly white absorbent surface for tempera and some types of oil painting, it is usually applied to a panel in several coats before painting begins.
, Acrylic
Italian for board chalk or gypsum; A combination of calcium carbonate with an acrylic polymer or latex, a pigment, and other chemicals to ensure longevity and elasticity.
, True .
Acrylic
Acrylic primed Plywood, approximately 11inches by 7.5inches
Toning the Wood .
A mixture of plaster, chalk, or gypsum bound together with a glue which is applied as a ground or coating to surfaces in order to give them the correct properties to receive paint. can also be built up or molded into relief designs, or carved. Click for more information about .
A paste prepared with size or glue and spread upon a surface to fit it for painting or gilding. Gilding Decorating with thin gold overlay. Glass A solid usually containing silica.
Canvas is usually stretched across a wooden frame called a stretcher, and may be coated with before it is to be used, though is rather brittle and susceptible to cracking. Various alternative and more-flexible canvas primers are commercially available.
It is thinned with water and applied to a ground (plaster mixed with a binding) on a panel. It was also used on parchment or paper to illustrate or embellish books in the era before the 15th century development of the printing press. This type of painting dries very quickly and produces an opaque, matte surface.
In this 1912 artwork, Braque was the first to use sand which he mixed with , a white paint mixture. Also, here, he was the first to use papier coll� (pasted paper), a form of collage, where he added cutouts of faux bois (fake wooden) wallpaper. The viewer could see a fruit bowl, grapes, and pears.
Over this, coats of were applied. , a mixture of powdered calcium sulfate (commonly called gypsum) and animal glue, provided the ground for preliminary drawings. Although canvas had become more popular, Dutch painters continued to employ panels as well.
The wooden panel was prepared with a coat of and then painted in tempera, after tracing in the outlines of the design with a punch. The good condition of much of this work, which is particularly abundant in Catalonia, is due both to the thoroughness of the technique and the quality of the pigments.
The ground is of white (a chalk mixed with size, or glue), but it was common practice to cover this with a thin under-painting of terra verde (green earth) or verdaccio, a mixture of greenish-brown or yellow pigments on top of which flesh colors are thinly superimposed using a red lake (dye).
Margaret Macdonald Mackintosh, The white rose and the red rose, 1902, painted over hessian, with glass beads, 381 in. x 391 in. (97.8 cm. x 100.3 cm.), Courtesy Sotheby’s.
3. Hilma af Klint- The first abstract Swedish theosophist .
Leonardo da Vinci (1452-1519)
‘The Last Supper’, 1495-98 (tempera on )
The Italian Renaissance was the ‘rebirth’ of Classical values in art that influenced artistic thought for the next five hundred years.
canvas
1) A heavy woven fabric usually of cotton or linen, used as a support for a painting. The surface is prepared for painting by applying or rabbit skin glue. 2) Interlocked or woven fibers used as the ground material for needle art.
.
After sanding the wood and priming it with several coats of , she would apply several coats of acrylic paint to create a mesmerizing visual intensity. Her most important works were created in the early 1960s anticipating in many respects the work of minimalists like Donald Judd.
It is a smaller sculpture of the Virgin and Child, which is in wood which was covered with and then thin gold sheet.
Many of his altarpieces still employ gold backgrounds and incorporate areas of raised gilded for haloes, costume ornaments, etc. all practices which had been out of fashion in the more advanced centres for many years (e.g. The Demidoff Altarpiece, 1476, London, National Gallery).
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A Quick History of Gesso
Although the exact origins are unknown, what is certain is that Gesso has been used by artists and craftsmen for centuries to prepare panels, canvas, or other surfaces for painting or gilding. It is believed to have first been developed in Italy because the word Gesso is an Italian word that means ‘chalk’, plus the fact that art has always been such an integral part of Italian culture. And if you are wondering how it’s pronounced it sounds like Jesso.
Gesso was originally made using chalk dust and a powdered white pigment mixed with animal-skin glue (often called size in recipes). Other options were zinc mixed with the dust and glue or a compound of plaster of Paris or whiting and glue. The paramount benefit was, and still is, the use of Gesso as a primer to allow paint to adhere permanently to the surface of the painting. In the early days of its use, the surface (or substrate) for Gothic and Renaissance art was wood panels. Before the use of Gesso, paint would tend to slide off of the wood. In modern times, it has been beneficial in the prevention of paint soaking into the weave of the canvas. I feel it noteworthy to mention that Gesso has also been used for generations in sculpting; it can be cast into a mold and/or used to actually make the mold and gilding: it preps surfaces like molding for gold leafing.
Modern Gesso
In 1955, an acrylic paint company called Liquitex developed the first water-based Acrylic Gesso, using a mixture of calcium carbonate, pigment, and an acrylic polymer medium. The pigment was (and still most commonly is) titanium white or titanium dioxide.
Modern Gesso is primarily used on canvas and comes in a variety of colors other than white, including black and clear. Artists today often create their own colored versions of the medium to quickly deepen the hue, (watercolors for example). It is available in squeeze bottles or sprays as a ‘liquid’ form or in jars and tubs as a standard medium that a paintbrush is dipped into.
What is Gesso?
People often refer to it as Gesso paint. But actually it is a thin, white paint mixture consisting of a binder mixed with chalk, gypsum, pigment, or a combination of these substances. It can be described in as a protective prep coating or ground, which provides a smooth, slightly textured surface, making it ready to add acrylic paint, ink, watercolor, etc. It also provides some ‘tooth’ that allows the paint to stick to the surface similar to primer that is used before painting walls and furniture.
There are two different grades of Gesso that are available. The two different types of Gesso are student grade and artist grade. The difference between these two is based on the ratio of filler to pigment. Student grade uses more filler than pigment and is less expensive, while artist grade uses a larger amount of pigment than filler. The artist grade is thicker and more opaque (less see through).
For the record, the top five sellers of these Gesso on Amazon.com are:
- Art Basics Clear
- Dina Wakley Media Gesso
- Golden Acrylic Gesso
- Liquitex (the original) Professional White Gesso
- Handy Art Student Acrylic Gesso
My personal favorite is the Golden brand, which I have used with great results (along with their acrylic paints) for many years. On that note, I will quote Golden on their synopsis of the uses and benefits of Gesso products. “Golden Gesso offers artists a variety of ways to prepare substrates for acrylic paintings or other art media such as oil, charcoal, alkyds, pastels, and watercolor. It is water-based, permanent, flexible, and can be easily sanded if necessary.” Golden also notes that for oil paintings it is recommended that a minimum of three layers of Gesso be used for sufficient opaque quality and substrate protection.
The newest form of Gesso is actually made with recycled soy products. This was developed in the year 2008, and it is becoming more popular as an alternative source. It is the first ‘bio’ or ‘environmentally safe ‘ (from living or prior-living organisms) developed Gesso, which is very easy to use and is completely free of toxins and petroleum. Which personally is a huge plus for me and something that I look for when purchasing craft supplies.
I should point out that Gesso pre-primed canvases are now widely available for purchase commercially from brick and mortar and online art supply stores and providers. It saves a lot of time.
What is Gesso used for
As collage, Altered Art, Mixed Media, Journaling, etc. became more popular Gesso moved beyond just a ground or primer coating. It is a staple in most arts and crafts studios today. TIP: I always clean off my Gesso brush and palette knife in a journal to get the last bit of goodness.
I love working on ‘gessoed’ surfaces for my mixed media, books, fine and altered art. It makes the work easier and the paints, pencils, and inks love it. Gesso adds strength to paper and journal pages and keeps the paints and potions from soaking through. It also allows me to cover an Oops or change my creative mind as a piece evolves. Black Gesso can be used to unify a work before adding color. Gesso can also add texture to the surface that shows through if you don’t sand it. Clear Gesso preserves a previous layer.
Experiment and play with gesso. Try using a dry brush to apply it and then try using a wet brush as well. Try different brands out … because some are more smooth, some are more gritty, and some have a dry feeling like plastic. You will find what works best for your art and your particular project.
Here are some tips for use:
- Stir or shake Gesso before use to make sure all of the ingredients are properly mixed.
- Have a dedicated Gesso brush or roller. This medium can be pretty hard on your brushes. I use an inexpensive, natural hair chip brush to apply it. If you use one of your good artist brushes, I recommend putting a bit of brush conditioner on your brush after cleaning.
- Krylon Gesso Spray is a quick way to prepare a smooth, hard, ready-to-paint surface. It dries bright white. Apply in thin coats, 30 seconds apart.
- Apply at least thin two coats of Gesso. I apply one horizontally and one vertically waiting about an hour between coats.
- Allow Gesso to cure naturally. I usually coat several surfaces at once and allow them to dry overnight. A heat gun can be used if you must, but it can ‘cook’ gesso and become a messy nightmare.
- Sand Gesso with fine sandpaper for a smooth, matte surface like eggshells.
- Gesso can be tinted to any color with acrylics.
How to Apply it to a Surface
Gesso priming takes a little time and patience. If done well, it gives you a lovely surface for your artwork. Here is how to apply it to canvas, wood, paper, board, etc.:
Step 1: Protect your tabletop or easel as it does not come off easily. Ensure your surface is clean and free from dirt or oils. A quick wipe with a dry brush or a little rubbing alcohol is good.
Step 2: Dip brush into the gesso. Most products are ready to use straight from the container after shaking or stirring.
Step 3: Apply the gesso in a thin, even coat to the surface, working all in one direction (horizontal or vertical).
Step 4: Allow the first coat to dry 1 hour. (Be patient.)
Step 5: Lightly sand the dried gesso with fine sandpaper. This smooths any brush ridges and allows for a slight tooth for good adhesion of paints. If you lie the ridges, leave them.
Step 6: Apply a second layer of gesso, working the brush in the opposite direction from the first layer (horizontal or vertical).
Step 7: Allow to dry again, sand, and repeat steps 3 through 5 as many times as you like!
You can see the texture from a chip brush application to a journal page below. To sand or not to sand?
I hope that you have enjoyed learning all about Gesso as much as I have! I encourage you to go for it when playing with gesso…the possibilities are truly endless. Let me know if you find a new way to use Gesso please!!
