The smooth, hard surface of a properly-prepared panel is similar to paper on a desktop. It’s somehow more direct and immediate, without the spring and texture of stretched canvas.

I work in layers and sometimes like to sand them back. Wood panels can withstand this treatment better than paper or canvas.

I also use collage which is easier to adhere to an even, rigid surface.

Most of the panels up to 18 x 24 inches I purchase from art supply stores as pre-made “cradleboards,” wood panel with a supporting frame adhered to the back.

I am in the process of transitioning from basic birch cradleboards to “name brand” basswood boards built with sturdier frames and superior adhesive.

All panels 20 x 20 inches and larger are handmade by my husband, using AA grade marine ply and very strong, waterproof adhesive.

The entire panel, front back and sides, is treated equally from beginning to end to help guard against warping. This is the main reason your panel is painted on the back (although making it a surprise colour is fun).

Panels are sealed with two to three coats of artist-quality clear acrylic sealer. This protects the wood from moisture and stops tannins in the wood from discolouring the paint. Any rough patches are carefully sanded before the last coat of sealer.

Artist-quality white gesso (primer) is applied all over. The back gets at least two coats brushed on, while the front gets at least three coats “screeded” on for a velvety smooth surface ready to hold paint.

An artist-quality, water-based, acrylic resin polymer varnish is used to “lock in” the final work. It is clear, glossy and non-yellowing. A bit harder and more water resistant than acrylic paint. This provides a buffer between the artwork and the final varnish.

Two coats, all over.

Buying original art is a big decision, not something most of us do every day. When we invest in art we expect it to last a long time so we can pass it on, or on-sell it, in the best condition possible.

Although the water-based separation coat is excellent, and superior to unvarnished acrylic paint, it’s not 100% waterproof and still has a slight “grip” that can hang on to dust and dirt.

Artist-quality, turps-based acrylic varnish dries to an even harder surface. It’s easier to dust and clean than water-based varnish, and less likely to succumb to water damage from prolonged exposure (eg. flooding).

It can also be carefully removed by a conservator using turps, without damage to the artwork because the water-based separation coat will not dissolve in turps. A fresh coat would then be applied. This should only be necessary if the varnish is damaged or discoloured; so not for decades!

Firstly, although the sides are painted, your work on cradleboard can certainly be framed. Your framer will probably recommend a “float” frame. They look sleek and will provide extra protection for your painting.

If you purchased your painting from me directly, it will be ready to hang from a wall-hook or gallery rail, with D-rings and picture hanging wire. Good quality “name brand” picture hanging strips are sometimes used by galleries to fix them straight to the wall.

If you purchased your painting from a gallery or exhibition, the fixtures on the back will have been dictated by the host’s requirements to suit their hanging system. This may not suit your requirements. Your framer will be able help you with any alterations that may be required, like changing or moving the hardware. Just make sure they plug or cover any holes to keep moisture, dust and bugs out.

Most of my works on paper are sold either matted and ready to place in a frame, or fully framed and ready to hang.

If your painting is simply matted, you will be able to see that the artwork is only attached to the mat sparingly, using “hinges” of archival tape. This method allows for the paper to naturally expand and contract with changes in temperature and humidity without damaging the artwork.