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Derivan Wood Panels.
Traditional wood painting panels for artists.
A classic wood painting panel suitable for a variety of painting and drawing media and techniques. The stable and rigid surface is a great support for mounting prints, photographs, canvas or other mixed-media works.
Derivan Wood Painting Panels feature a high quality 3mm sanded birch surface finished by a solid pine wood frame. The surface and frame have been carefully sanded to achieve a level of smoothness ideal for detailed work.
These panels are excellent for the beginner, hobbyist or the experienced artist looking for an affordable and stable substrate for studies, experiments or final artworks requiring a professional finish.
Classic wood panels are ideal for delicate media like egg tempera, encaustic, frescoes or traditional acrylic, oils, collage, pastels, charcoal, graphite or a combination of these. Their stability and smoothness is perfect for mounting art paper for watercolour painting or for finished watercolour artworks, prints and drawings.
While a primer is not necessary for certain media applications, the panels can be sealed and primed with any suitable ground like acrylic gesso, traditional gesso and rabbit skin glue or any other primer and texture paste.
The smoothness and depth of the wood frame allows your finished artwork to be hung directly on a wall without the need for framing.
Derivan Wood Panels are available in six different sizes: 9x12", 12x12", 12x16", 16x16", 16x20" and 18x24"
Panel painting is not a new painting practice, it is actually very old. Although used extensively in Greece, Egypt and Rome, as early as the 6th century, very few examples of ancient panel painting have survived. Wood has always been considered the normal support for icons of Byzantine art and later Orthodox traditions, which have the oldest panel paintings recorded, until canvas became a popular support medium in the 16th century. The two techniques more often used on wood in antiquity were Encaustic and Tempera.
Changed church practices (mainly the distribution of the congregation and priest on the same side of the altar) towards the 1200 caused a revival of panel painting. This new allocation of lithurgy within the church space, created an opportunity to display and hang icons or similar religious art behind the altar, ie: double-sided wing altar pieces like the Ghent Altarpiece by Jan van Eyck,1432.
The traditional construction and preparation of wood panels was a laborious and lengthy process which involved a carpenter and a specialist that would coat the panel to the desired requirements.
Generally the carpenter would manufacture a panel of the desired dimensions out of one solid piece of timber. It would be planed, sanded or joined to the measurements required by the artist-craftsman.
The wood would then be coated with a mixture of animal skin glues and resins and covered with linen (a very early version of the modern canvas panel).
The size would be left to dry and once cured, it would be covered with layer upon layer of gesso (this refers to the traditional gesso preparation, a mixture of animal glue binder, dissolved in water warmed up over a slow flame, with the addition, by stirring, of chalk and white pigment) allowing each layer to cool down and followed by sanding this one down before another one was applied and the process repeated. The intention was to obtain a smooth hard surface that would mimic ivory, taking sometimes up to 15 layers of sanded gesso.