Smoothboard Air With Duo Keygen Download
Laurice Whack
STEP 2: NOW you can go and buy your materials! Have Home Depot/Lowes cut the large backer board, but leave the trim pieces for home with your saw because you will want them to be exact (and every space is slightly different).
STEP 3:Cut the window and outlet holes on your backer board. I measured where the cuts should be, drew it on my board, and then used a circular saw to cut the window holes. For the outlet holes, drill a hole with a drill bit into the corner and then use your jigsaw to cut it out (you can also use jigsaw for window too).
I have been trying to solve this problem, especially for larger surfaces. I believe some artists also use rags and layers. For example, underpainting with acrylic then successive glazes of oil over. My problem is I prefer smooth surfaces -- without a texture below, this task becomes much more challenging. I've made some real messes! :)
Ampersand's Primed Smooth Artist Panel is a smooth, semi-absorbent multimedia panel that is primed and coated with acid-free acrylic gesso. The smooth surface allows for amazing detail work and is great for oil, acrylic, mixed media, paint pouring, graphite, collage, mounting, alcohol ink, heavy impasto, and much more!
-I wanted to know how you like your canvas. Do you prefer a smooth canvas or a canvas with tooth? And why do you prefer it?
-Or do you use both to your advantage? How do you use the surface?
-And how can you make a smooth canvas less smooth?
WB
I prefer the surface upon which I apply oil paint to have a tooth. But this does not mean that I prefer the actual weave of the canvas. I enjoy painting on a smooth surface, such as hardboard, but I also prefer that smooth surface to have a tooth, such as that created by primer sanded with sandpaper.
For me it depends, too.
I usually love painting on a rough surface, and I do love experimenting. I have painted on self prepared surfaces with sand and crushed mussles, and I love painting on different tissues.
One major downside to gessobord, MSD panels, or other hardboards are that the corners are very prone to being dented and damaged if hit and as a result, they can and will chip if you're not careful. Painting on hard panel is still a great option if you find that it works best for you, just keep that in mind and be careful with them. I would highly recommend framing these and never hanging them with exposed corners. If you like painting on panel, but want something more durable and with a bit more texture, I'll talk about that below in a second. First, let's start with texture.
You can add layers of gesso and/or paint to smooth out those grooves, leaving just a touch of texture. I like to apply gesso with a joint knife and scrape it across the canvas tooth rather than using a brush which doesn't necessarily help smooth things out. It really takes some experimenting to figure out which you like best. Finding the sweet spot is a personal endeavor and takes patience and time!
If you like the feel and look of stretched canvas or are working on something large, just be sure that you go with a brand or type that is well constructed with back braces to keep it from warping. Some also come with wedges in the corners of the frame which can be used to maintain the tight pressure which is great. A few brands that I recommend are Masterpiece Pro, Fredrix Red Label, or Masterpiece Elite which is a smooth linen canvas (a bit pricier).
This system works well for me but it takes forever to do anything since my RAM is smallish & have a shared graphics card. Be sure to save often coz it does crash occassionally but has been better with the latest versions.
However although the paint glides on really nicely in both oils (with medium) and acrylics (Golden OPEN) I find that any kind of blending tends to slide the existing paint around a bit too much for my liking and reveals more of the underpainting or toning.
Being a glazer, and layerer such as I am, I just go with it. I just allow my first application of two to appear very ugly with all its see-through areas, knowing full well that with a subsequent layer, or two, it will all become uniform. And, it does!
If you want the glossy finish of the paint with the consistency you are talking about, try oiling out the surface before your initial layers, allow to a few weeks to fully cure and then work on the surface. The grab should be quite good, but it will soak up less of the oil from your paint. Or you could add a touch of oil to each of your paint nuts to prior to working to keep the glossy sheen as well.
It helps to use really soft brushes when painting on smooth panels. I actually prefer canvas for the additional texture, but have painted on smooth panels many times. For the first layer of oil, in particular, paint applies much better with soft brushes on smooth panels. Hog bristle brushes tend to lift off paint as you apply unless the underlayer is completely dry.
The key point to remember when painting on smooth surfaces, is to apply a first layer using a an earth color mixed with a tenacious resin. Let it dry, once this has been accomplished, you can start painting normally, paint will adhere to dried paint, you can even go ahead and use a little more medium containing resin and solvent to prepare once again the surface.
My default glue is Titebond II... but I'm concerned that it may not adhere to the smooth surface of hardboard. I can rough up the hardboard surface first with 60 grit (in the narrow strip of it that I'm gluing to) but is there a better way?
I deal with gluing to 1/8" hardboard on a daily basis. We glue direct printed canvas to Masonite using a water soluble glue. A rotary press is used to get the two materials to bind, then stack with weight (about 10 pounds) until dry. No sanding, no prep other than cutting 4 x 8 panels to size.
@Lew, you asked why I don't use CA. The primary reason is that I don't have any right now. The super fast cure would be an asset here and I was debating recently whether to buy some 3M77 or order FastCap's 2P10. I'm moving slowly on the flammable stuff though as I'm not working in an uninsulated garage which I heat with propane when working. Having never worked before in a shop with flame risk and developed appropriate mental patterns to keep me safe, I'm debating whether I even want the stuff in my shop before winter is over. It would be so easy to make a bad mistake.
If your guide is going to be basically a piece of hardboard with a fence attached to the top surface, I used one similar to that for years and just attached the hardboard to the bottom of the fence with screws only. This allowed me to move the fence on the hardboard a couple of times, when the reference edge got dinged over time and also when I changed to another saw that had a different edge distance. If the construction method requires that the two parts be glued prior to installing the screws, why not just use some double-sided tape?
I made one for another user a little while back. It's a very specific size and spacing, but maybe you can use it. Paint it whatever color you like using "Blend", or take the normal map and use that with any color you like. I can also make you a custom texture if necessary. You can have this one though...
Thanks, Michael! I'm on the lookout for one with a little more apparent depth for the battens. Something a little closer to: -homes.com/home-building-options/siding-crane-premium-pointe-board-batten/ which I just came across.
That depth is kinda limited by the behavior of those normal maps. I think you're unlikely to find any that are "deeper" than the one I attached. In order to get any more depth you end up needing to use an "angled" profile. One of the mapping gurus like @Renerabbitt, @Chiefer, or @gelbuilding can correct me if I'm wrong, but in my experience, it's just a limitation to the way those normal maps work. It's the reason I tend to do that kind of thing with actual 3D geometry.
Normals maps simply don't work well with two adjacent/inversed 90 degree angles. There is no way for it to illustrate that in 2d with some associated UV mapping. Better off creating the geomotry or it just looks like a rolled texture like the one mentioned by Rob..plus it's too difficult to make a bunch of different batten styles through textures
Thanks for the detailed explanation. This works great! I don't seem to be able to get the Polyline Distribution Path to work, though. I save a batten as an object (it is listed as an architectural block) and looks like a tiny rectangular flagpole in the preview. Then I draw a distribution path and select that block. They shows up perfectly in plan, but in 3D (even with all layers turned on)... nothing except the first one. Exploding the path does nothing. Not sure what I'm missing there.
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