A 100% ARCHIVAL PAINTING PANEL FOR ARTISTS.
AN ARTICLE BY DAVID BURTON N.A.P.A
-------------------------------------------------------------------------------

As an Artist, I believe in the freedom of expression to paint what you want how you want. I also believe that Archival issues are very important. What can be done with poor materials can also be done just as true to the Artists vision in materials that will stand the test of time. An Artist should use, as the Old Masters did 500 years ago, the best materials available for the job in hand. The preparation of a given Support is also of paramount importance as an Archival product will not be Archival if prepared in a poor way. So, the two work hand in hand.

It was my growing interest in the Archival properties of materials that led me to contact, via email, the National Gallery of Art in Washington DC, USA, for some information. I received an email in reply from Mr Ross Merrill, Head of Conservation at the Gallery. Over the past few months Ross Merrill has given me the most valuable information regarding Archival materials and how to use them. I had an interest in using a rigid Panel as my chosen Painting Support but could not find one that was not either far too heavy, unstable, unsuitable or just far too expensive to consider buying.
Ross Merrill advised me to use DIBOND, a Composite Aluminium Panel with a Thermoplastic Core. It comes in large sheets but can easily be cut to size. Often used by Sign Manufacturers, it is gradually becoming popular as a Fine Art Painting Support. It will not warp, oxidise or deteriorate and will produce no ' out gassing ' that can harm the painted surface. It is designed to stand the test of extreme weather conditions. It is a 100% Archival Panel. The best way to prepare it for Painting is to laminate a good quality Linen to the face. The Panel needs no preparation, except for a light sanding if required, as it is coated with a Stove Laquered finish. The Adhesive for laminating the Linen should be of Archival quality and strong enough to hold the Linen in place. My personal preference is for BEVA FILM, which is heat set but can also be reversed by heat if ever needed. Of course, many Archival Adhesives will do the same job, it is up to the individual Artist to find a product that suits them. Here is how it is all done...

MATERIALS NEEDED
--------------------------------
1 - DIBOND Panel cut to size.
2 - BEVA Film Adhesive.
3 - Artist Linen, Primed or Unprimed.
4 - An Iron, heat set to just over medium heat.

PREPARATION
-----------------------
1 - Lightly sand DIBOND face.
2 - Peel off White Mylar Film from BEVA.
3 - Lay down BEVA, Film side down, onto DIBOND Panel.
This is the side that faces into the Mylar.
4 - Using a Cloth between the Iron and Film, Iron the BEVA
until enough heat is achieved so as to be able to peel off
the Film, leaving a layer of Adhesive on the Panel. Do
not be too timid, the Panel has to get quite hot, but not
excessively so.
5 - Lay the Linen down onto the Adhesive. Again using a
Cloth, Iron the Linen until it is well bonded. The Iron will
also stop any air bubbles from forming under the Linen.
6 - After a short ' cooling ' period the Linen can either be cut
flush or wrapped around the back of the DIBOND and
adhered in the same way.

Paper is NOT recommended to be laminated to DIBOND
using BEVA Film.

DIBOND is available from ALCAN UK in Leeds. Contact Mr Simon Philpott at

My sincere gratitude goes to Mr Ross Merrill at the National Gallery of Art, Washington DC, for kindly taking the time to give me his expert advice on all issues concerned.

I myself would be pleased to answer any questions regarding this Archival Painting Panel