painting on plastic film

What is it about a shiny surface that is so appealing? Case in point- my kitty's been attacking the shiny friendship pin on my sweater all day. I tend to be a matte enthusiast myself, particularly regarding photography.  But, I do have a weak spot for glass-like finishes on paintings.  If it weren't for its toxicity, I'd be all over epoxy resin.

So, for the past three years, I've been experimenting with different finishes and products.  I do like the natural matte of wood, but sometimes I'm looking for more of a pop in color and detail.  And that's the advantage of a high gloss finish.   

The last couple of months I've been reading up on a product called Dura-Lar.  It is an archival polyester film, and it comes in a variety of thicknesses and sheens.  Since I use a multitude of mediums in my art, the Dura-Lar Wet Media Film was the best fit.  Both sides of the film are treated, and it accepts any water-based medium.

My painting process usually involves layers of transparent color.  The use of clear film in my art allows me to preserve subtle tonal changes or finer details that may otherwise be muted by the underlayer.  The white lines on the river, for example, would not be as defined and bright if I had painted them on the wood surface.

Here is another piece I created with Dura-Lar on wood panel:

To adhere the plastic film to the wood panel, I use an acrylic gel medium.  Some artists use double-sided tape (sold in sheets).  For added protection, I use the same acrylic gel medium over painted areas on the film.

Now to experiment with the transparent film on a bigger painting . . .