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My fine art panels are made using traditional, archival techniques whenever possible. As such, they will age, wear, antique, and mellow at a rate comparable to most gallery purchased watercolor or ink artwork. When considering how and where to install the work, it’s best to think of hand painted art panels as fine art more than home decor. The safest installation is always behind UV-protected glass, out of direct sunlight.
For larger installations and irregular shaped pieces, it may be impractical to frame the art panels behind glass. In addition, some clients welcome installations which embrace natural antiquing in situ. Without the protection of glass, these works will develop a patina of use over the years.
Consideration should be given to concerns regarding both durability and aesthetics of the work. Please reference my tailored guide for installation and finishing techniques.
Substrates
Traditionally produced, Chinese Silk Wallpaper
This material has a refined surface texture with a visible weave and subtle sheen. It’s traditionally produced with natural material glues that adhere the woven silk to a sturdy paper backing. The backing provides torsional rigidity and protects the work from adhesives used in framing, mounting, and hanging as wallpaper. Conservationists can use steam to remove antique hand painted silk for remounting on fresh, stable paper when the panels are repaired or relocated. This substrate’s unique surface allows the painter to produce very smooth gradients of color. It highlights the textural differences between the paint and the silk, producing the contrast of shimmer and matte characteristic of chinoiserie wallpaper.
Pigment and Technique Compatibility: Gouache is the most conducive to smooth, gradient shading typical of chinoiserie. Traditionally produced silk can vary from roll to roll. Some visibly identical pieces may absorb paint differently. Because of this, some silks are well suited to smooth watercolor gradients as well, and some are more likely to produce more organic or textured gradients with watercolor. It also provides a unique and excellent substrate for graphite.
Coating: Traditionally produced Chinese Silk Wallpaper accepts several types of coating. The industry standard options are to leave the silk uncoated, or for added protection, to apply an acrylic varnish. I offer the standard acrylic varnishes in matte, satin, and gloss. I also offer two paraben-free varnishes. For a natural varnish without the plastic finish, I recommend a low-gloss, plant-based varnish which is made in a solar powered factory. For an almost invisible layer of protection I recommend the natural matte varnish which uses casein and beeswax.
Care for uncoated artwork: If the artwork is applied directly to the walls, it must be hung by an appropriate wallpaper hanger with experience hanging uncoated wallcoverings. It should be hung over blank stock. Once installed, water, including steam, will delaminate this material. The artwork should only be placed in locations protected from moisture and debris. Regular dusting will help to reduce particle build-up between the woven fibers.
Care for coated artwork: If the artwork is applied directly to the walls, it must be hung by an experienced wallpaper hanger. It should be hung over blank stock. Once installed, water, including steam, may delaminate this material. Varnishing increases the resilience of the material. However, the coated art panels should not be considered durable home furnishing. Regular dusting will help to reduce particle build-up between the woven fibers.
Cleaning stains and other damage: If uncoated artwork is soiled, you will require professional restoration services for repair. If coated artwork is soiled you may be able to clean the stain yourself. You will need clean water and several clean, white clothes. Begin by blotting off whatever caused the stain with a dry cloth followed by gentle blotting with a slightly damp cloth. Continue until you’ve removed as much of the stain as possible. Blow dry on cool, occasionally blotting with a clean, dry cloth to ensure delamination does not occur. If, at any time, the paint begins to bleed, stop and consult a professional art restorer or myself.
Considerations: This is a delicate handmade substrate. Texture, paint absorption, and the silk’s shimmer can vary between rolls. It’s not always possible to have an exact match between multiple panels. The contrast between matte paint and shimmering silk present in the uncoated work is diminished by any coating option. The least obtrusive coating is the natural matte varnish, followed by the low-gloss plant-based varnish, and finally the acrylic varnishes. Though all of these varnishes dry clear, the surface texture is permanently altered. In the case of acrylic varnish application, the degree of protection directly correlates to the loss of nuance visible in the artwork.
Watercolor Paper
This material can have a smooth or textured surface. I work with Arches Watercolor Paper, which is archival. It comes in sheet and roll forms and is extremely reliable, making it perfect for large projects and any installation that may require future patch repair.
Pigment and Technique Compatibility: Watercolor paper tolerates very wet painting techniques which are optimal with granulating paints such as Daniel Smith Watercolors. Chinoiserie shading techniques in gouache and watercolor are produced with almost as smooth a finish as with traditional silk. The smooth (hot press) paper is excellent for ink and graphite and the rough (cold press) is very good for acrylic paint marker line work.
Coating: Arches Watercolor Paper can be left uncoated, or for added protection, it can be coated in a varnish. The most protective varnish I offer is acrylic varnish in matte, satin, and gloss. For a natural varnish without the plastic finish, I recommend a low-gloss, plant-based varnish which is made in a solar powered factory. For an almost invisible layer of protection I recommend the natural matte varnish which uses casein and beeswax.
Care for uncoated artwork: If the artwork is applied directly to the walls, it must be hung by an appropriate wallpaper hanger with experience hanging uncoated wallcoverings. It should be hung over blank stock. The artwork should only be placed in locations protected from moisture and debris. Dust regularly to reduce particle build-up.
Care for coated artwork: If the artwork is applied directly to the walls, it must be hung by an experienced wallpaper hanger. It should be hung over blank stock. Once installed, water, including steam, may damage this material. Varnishing increases the resilience of the material. However, the coated art panels should not be considered durable home furnishing. Regular dusting will help to reduce particle build-up, especially if the surface is roughly textured.
Cleaning stains and other damage: If uncoated material is soiled, you will require professional restoration services to repair the area. If coated material is soiled you may be able to clean the stain yourself. You will need clean water and several clean, white clothes. Begin by blotting off whatever caused the stain with a dry cloth followed by gentle blotting with a slightly damp cloth. Continue until you’ve removed as much stain as possible. Blow dry on cool, occasionally blotting with a clean, dry cloth to ensure the material dries flat. If, at any time, the paint begins to bleed, stop and consult a professional art restorer or myself.
Considerations: If the work includes contrasting textural finishes such as watercolor vs gouache or gouache vs gold leaf, any coating will diminish the contrast provided by these mediums. The least obtrusive coating is the beeswax and casein matte varnish, followed by the plant-based varnish, and finally the acrylic varnishes. Though all of these varnishes dry clear, the surface texture is permanently altered. In the case of acrylic varnish, the surface is plasticized. The degree of protection a varnish provides directly correlates to the loss of nuance visible in the artwork.
Butcher Paper
This material has a smooth surface and natural kraft/brown color. I work with a fine art paper that mimics the look of butcher paper but is pH neutral and of archival quality. It comes in rolls and is extremely reliable, making it perfect for large projects and any installation that may require future patch repair. It provides an intriguing high-low look that can benefit from natural wear. When coated it can appear similar to brown wax paper, changing but not diminishing the aesthetic value of the piece. It is ideal for large scale line art.
Pigment and Technique Compatibility: Butcher Paper works best with acrylic line work, colored pencil, china marker, graphite, and ink. It also accepts small details in gouache but does not tolerate wet painting techniques.
Coating: Butcher Paper can be left uncoated, or for added protection, it can be coated in a varnish. The most protective varnish I offer is acrylic varnish in matte, satin, and gloss. For a
natural varnish without the plastic finish, I recommend a low-gloss plant-based varnish which is made in a solar powered factory. For an almost invisible layer of protection I recommend the natural matte varnish which uses casein and beeswax.
Care for uncoated artwork: The work may be framed with or without glass or hung loose from a bar or roll without framing. It is not suitable for being used as wallpaper. The artwork should only be placed in locations protected from moisture and debris. Regular dusting will help to reduce particle build-up.
Care for coated artwork: Water, including steam, will damage this material. Varnishing increases the resilience of the material. However, coated art panels should not be considered durable home furnishing. Regular dusting will help to reduce particle build-up.
Cleaning stains and other damage: If uncoated material is soiled, you will require professional restoration services to repair the area. It is possible the design will need to be reworked to cover the stain, or a patch can be applied over the stain. While the patch will remain visible, it can meaningfully add to the patina of use. If coated material is soiled you may be able to clean the stain yourself. You will need clean water and several clean, white cloths. Begin by blotting off whatever caused the stain with a dry cloth followed by gentle blotting with a slightly damp cloth. Continue until you’ve removed as much stain as possible. Blow dry on cool, occasionally blotting with a clean, dry cloth to ensure the material dries flat. If, at any time, the paint begins to bleed, stop and consult a professional restorer or myself.
Considerations: The least obtrusive coating is the beeswax and casein matte varnish, followed by the plant-based varnish, and finally the acrylic varnishes. Though all of these varnishes dry clear, the surface texture is permanently altered. In the case of acrylic varnish, the surface is plasticized. While this substrate will have a noticeably different appearance after varnishing, it does not aesthetically suffer from varnishing. Varnishes can add depth and character to this paper, which appeals to many clients.
Thermally Bonded Silk Wallpapers
These materials are a recent development. Testing is still being done to assess their durability, pigment compatibility, and stock reliability. Thermally activated adhesive is used to laminate woven silk to a latex-impregnated paper backing. The backing provides torsional rigidity and protects the work from adhesives used in framing, mounting, and hanging as wallpaper. The latex-impregnated backing is designed for use with wallpaper paste. The addition of latex allows the composite substrate to be thinner and easier to hang. It resists moisture in the wallpaper paste from wicking through to the silk/painting. The thermal bonding prevents moisture activated delamination, making this substrate fairly unique. It combines certain aesthetic qualities of traditional silk wallpaper with contemporary advancements that increase durability.
I’m currently testing a number of Thermally Bonded Silk Wallpaper substrates which use 100% natural silk fabric bonded to paper with heat activated synthetic adhesive. The silk is prepared with a special gesso for watercolor and gouache painting. Varnishing is currently in the testing phase.
Test Material #1 – Patina Habotai
This material has a smooth-to-the-touch finish with a very fine weave. The way it’s produced creates a complex and rich patina that is truly unique to this combination of the base materials. From a distance it appears delicate and luminescent. A few feet away from the panel you can see a fine web of texture similar to the cracks of an antique oil painting or the crazing of porcelain. It takes very well to aging effects. It provides an excellent surface for smooth gradient shading and delicate painting techniques in watercolor and gouache.
Test Material #2 – Matte Noil
This material has a warm, vivid, woven surface reminiscent of canvas. Unlike the smooth silk substrates I work with, this silk is immediately recognisable at a distance as woven fabric. It enhances the richness of colors and is best used for motifs with clearly defined edges.
Test Material #3 – Calligraphy Silk
This material has an extremely fine, smooth, woven finish. It’s sourced from a Korean Calligraphy supplier, then thermally bonded to a paper backing. It comes in 24” width and can be backed with any suitable paper, including but not limited to latex impregnated wallpaper. It works very well with watercolor and gouache techniques that use smooth gradient shading and fine detail.
In summation, it’s worth noting that water-based paint applied to any cloth or paper medium is naturally susceptible to water damage. These materials should not be considered waterproof or durable by any means. Overall, though varnishes can, to a degree, improve the durability of these fine art panels, the largest factor in their preservation is your lifestyle and the characteristics of your home.
Mark Making
Acrylic paint can be loaded into paint markers and used for large scale line work and blocks of color. Watercolor functions as a stain that seeps in, reflecting light from just under the surface of the substrate. Gouache sits on top of the substrate, appearing matte and slightly reflective when lit from an angle. Gouache can be watered down to appear almost like watercolor. Gold or silver leaf can be applied to any surface and is generally the most successful on smooth surfaces. Graphite is extremely adaptable but is the most susceptible to smudging if left exposed and uncoated. Ink works well alone or in combination with any of the above.
Toxic Materials, PFAS, Plastics
When a non-toxic, archival, high performing art material is available and known to me, I choose that option regardless of cost. Because I use as many “old world” materials and techniques as possible, there are some pigments in my work which are considered toxic, especially if consumed. I rely on the manufacturers to test, and report the safety and archival quality of the materials I use. Manufacturer supplied safety information can be made available to you for any of the products we use in your project.
Unless specifically requested, I avoid PFAS which are often used to coat furnishings. I avoid acrylic/emulsion paint when painting chinoiserie motifs, as gouache and watercolor are superior in their workability. A small amount of acrylic ground may be used to consolidate the silk surface and reduce performance variation between different batches of silk. This small amount of acrylic increases the lamination bond and is especially helpful in maintaining adhesion when the silk is very wet and vulnerable to delamination, such as during the application of background color washes where the entire piece is fully wetted. Unlike acrylic varnish, the thickness of acrylic ground is not dense enough to create a solid film. The result of this addition is a substrate almost indistinguishable from silk that has no ground. The only visible difference is a slight mattifying effect.
In the industry at large, when contemporary hand painting silk wallpaper is coated, the coating used is generally acrylic varnish. For people looking to avoid plastic in their homes, those with breathable walls made from lime plaster, and those looking for traditional materials, plastic is undesirable. It is my aim to work with you to develop the right combination of materials to achieve your desired outcome. For those who want protection beyond what traditional materials can yield, I am happy to apply acrylic coatings which will increase the durability of the surface, and use synthetic adhesives to strengthen the lamination bond. I want to work with you to produce something bespoke in both design and material.
K.P. Singh January 2024 Materials Information