Art Hacks: Scanning, Printing and mounting a Drawing on panel.
Tuesday, May 10th, 2022
Howdy folks! Bit of a nuts and bolts post here. I get asked all the time how I go about mounting a drawing I’ve done, to panel. Maybe you’ve done a drawing and you dig it so much you don’t want to paint over it? Maybe you want to have the original drawing available for a collector? Heck, maybe you want to simply paint bigger than your original drawing? I gotcha covered.
Plus, I also go a little deeper and take you into the scanning and printing part of the process too.
Scott M. Fischer graduated with honors from the Savannah College of Art and Design and since that time his brush has steadily been carving a path along the illustration landscape.
Scott is the regular cover artist for Joss Whedon’s ‘Buffy-The Vampire Slayer’, ‘Angel’ as well as the ‘Angel & Faith’ comic books (Dark Horse Comics). He is the silhouette artist behind the #1 NY Times best selling books, ‘Peter Pan in Scarlet’ . (Simon and Schuster) and Jodi Picoult and Samantha Van Leer’s ‘Between the Lines' (Simon and Schuster). He is a notable cover artist for, Simon and Schuster, Tor, Harper Collins, Scholastic, Penguin, Del Rey, Random House, Daw, etc.
Fully illustrated middle grade fiction credits include the New York Times best selling ‘Magesterium’ series by Cassandra Claire and Holly Black (Scholastic), ’The Secrets of Dripping Fang’ series by Dan Greenburg (Harcourt) and the ’Scary School series of books by Derek the Ghost (Harper Collins). And ‘Ghost Prison’ by Joseph Delaney (Sourcebooks Fire).
His Children’s Book credits include ‘Jump!’ (Simon and Schuster) with over 3,000,000 books in print, ‘Twinkle’ (Simon and Schuster) and the ‘Lottie Paris’ series of books written by Angela Johnson (Simon and Schuster).
Scott is well known in fantasy art and gaming art circles, contributing to Magic- The Gathering, Dungeons and Dragons, World of Warcraft, League of Legends, and as a conceptual character designer for companies like Microsoft and Disney, on their TRON franchise.
As an instructor, Scott is a core faculty member at the world famous Illustration Master Class and SmArt School.
Question, so this is not a transferring of art to panel but rather a mounting, if so when one paints on the matte paper doesn’t that jeopardize the lifespan of the finished piece?
Hey Tim, thanks for the question. Not to worry, the lifespan of the piece will be fine and hold up because the top surface is sealed under Gel Medium. So the paint is not absorbing into the paper.
Hey Scott. Thanks for this walkthrough. I’ve done this a few times with watercolor paper, but due to the thickness of the paper I’ve definitely had issues with making sure it’s mounted completely flat. Any suggesstions to replace the brayer for smoothing the paper, since I’ve also joticed it leaves slight indentations and drag marks behind. I also tend not to soak my watercolor paper first, and just mount it dry.
Hi Kit. Thanks for the question. Yeah I mention the brayer issue in the video. I used to use one, but like you, the edge of the roller would leave lines in the thicker paper. This is why I switched to using big brushes to smooth out the air pockets and wrinkles! It has worked out much better. Note I am coating the top with more gel medium, so the paper will no longer absorb. If you want the paper to absorb and are thinking of pretty much a dry mounting, I would try a product like Daige Rollataque adhesive. Great stuff. (I don’t use their machine, just their glue.) Then maybe a stiff DRY brush on the top with a heavy hand to smooth out everything. The nice thing about a dry mount is you can hinge the piece on one side with tape, open it like a book and coat the back of the paper and the panel then close ‘the book’ and smooth!
Thank you for the article! That’s so helpful for me