Step By Step Guides
Short description: the Beva adhesive was developed to re-mount museum pieces. Mounting pre primed linen is what is offered by most panel makers today. So it will be better to use a canvas that is at least sized on both sides, but better if the face is primed too. In that way the size will prevent the glue from soaking into the canvas, and it will be easier to restore such work.
Preparation: Lightly sand DIBOND face. Peel off White Mylar Film from BEVA. Lay down BEVA glue Film side down onto DIBOND Panel; don't remove the silicone-coated sheet. Using a Cloth between the Iron and Film (with the silicone-coat on top), Iron the BEVA until enough heat is achieved for peeling off the silicon Film, leaving a layer of Beva Adhesive on the Panel. Do not be too timid, the Panel has to get quite hot, but not excessively so. Lay the Canvas with the sized side down, onto the Adhesive. Again using a Cloth, Iron the canvas until it is well bonded. The Iron will also stop from forming any air bubbles under the Linen. After a short cooling period the Canvas can either be cut flush or wrapped around the back of the DIBOND and adhered in the same way. Now you can size the unsized side, and prime it.
Short Description: the best way to adhere the canvas to a nonporous surface is to prepare both, the back of canvas and the painting surface with acrylic medium and allow each to dry. Then use another coating of medium to actually glue the two items together. This allows for the Gel layer used as a glue to not be absorbed into the canvas and therefore you should have less chances of air pockets between the two substrates and generally less issues of the edges not adhering and curling up on you. After the glue dried, the face side of the canvas can be sized and primed.
The surface – lightly sand it, blend the Acrylic Soft Gel Gloss with GAC 200 at a 1:1 mixture. Brush two coats to assure a uniform layer (the second coat is brushed perpendicular to the first). Allow these to dry 12 hours or so to allow the majority of the moisture to leave the film.
The raw canvas - loosely put it over a stretcher and use tacks to hold it in place, or tack it down onto a flat surface to prevent it from buckling as it dries, and then apply a coat of Soft Gel Gloss (but careful don't glue it to that surface). Add some water if desired to make it easier to apply, especially if this is a larger work. One or two coats should suffice. As with the panel, allow these layers to dry well.
Once the two surfaces have been prepared, a final coat of Soft Gel can be applied to one of the prepared surfaces and the second one attached to it. Turn it with the canvas down and put some weight on the painting surface; allow it to dry for at least 24 hours. Now, you may wish to wrap the edges and glue them to the back, or you may intend to cut away the excess material. Flip it over with the canvas up, and give it another day to dry some more before the size and gesso layers.
Size the front side of the canvas with two coats of GAC 100, after the first one lightly sand the surface; the second coat is brushed perpendicular to the first. This size will prevent the penetrating of the oil from the ground or pain to the painting surface. It is for minimizing Support Induced Discoloration (S.I.D) if the gesso is an acrylic/water base. Before priming lightly send the sized surface.