//Building and Preparing and Aluminum Composite Panel for Oil Painting

Building and Preparing and Aluminum Composite Panel for Oil Painting

Several years ago I posted a step by step guide to stretching, sizing and priming a linen canvas for oil painting. Around the beginning of 2014, I switched from painting on linen canvas to painting on aluminum composite panel. The following is a step-by-step process for archivally preparing an aluminum composite panel (ACP) for oil painting.

Why the Switch?

Linen stretched on a wooden frame, sized with rabbit skin glue, and primed with white lead in oil is a traditional painting support that is about as archivally sound as a stretched canvas can be. But it has a few drawbacks. First, it is relatively fragile and can easily be punctured or dented. Second, it is flexible, and as it flexes, the paint layers adhered to it flex as well leading to cracking over time. Third, it is dimensionally unstable and can change size, and therefore tension, dramatically with changes in temperature and humidity which, again, subjects the paint layers to mechanical stresses that eventually lead to cracking. This can also lead to wrinkles in the corners of the painting which necessitate adjusting the wooden frame, a process which also applies a mechanical stress to the paint layers. Finally, even a very well prepared linen canvas will eventually deteriorate and, assuming the painting is valued enough and the paint layers are intact enough, have to be carefully removed and replaced. This is an incredibly delicate and expensive procedure.

Painting on wooden panels solves or limits the puncture problem, but wooden panels have their own set of issues with warping, cracking, and dimensional stability. They also can rot or deteriorate, but unlike canvas, they cannot be removed from the paint layers and replaced.

Aluminum composite panels solve all of these problems. ACP is essentially two extremely thin layers of aluminum sheeting with a core of ABS plastic sandwiched between them. The panels are perfectly flat, dimensionally stable, and very tough. They don’t warp or crack with exposure to moisture or changes in temperature. They don’t rot or corrode over time necessitating removal and replacement.

Incidentally, it turns out that ACPs are actually cheaper to build than a traditional, stretched linen canvas. For example, based on one cut list, I can get two 24 inch by 40 inch panels, four 18 inch by 30 inch panels, and one 18 inch by 24 inch panel out of one 48 inch by 96 inch sheet of aluminum composite (85 per full sheet). That’s seven panels! The aluminum frame for the back of these seven panels (see below) requires eight 96 inch lengths of ¾ inch aluminum L-channel bar stock ($16.50 each). Assembling the panels will use roughly four packages of epoxy (again, see below/$5 each).  The total cost for all the materials to build these seven panels comes to roughly $250.00 after UT sales tax. Just for fun, I decided to price just the wooden stretcher bars to build seven linen panels in these sizes. At $7.20 for each 18 inch bar, $9.35 for each 24 inch bar, $12.45 for each 30 inch bar and $17.80 for each 40 inch bar, the cost for the stretcher bars comes in at $298.90 before tax. Considering the linen would add at least another $100 (that would be a screaming deal), that makes building these seven panels roughly 70% as expensive to build as seven similarly sized, stretched linen canvasses.

The type of ACP I am using is manufactured by 3M and is branded DiBond or e-panel. It is roughly 1/8 of an inch thick with a 3 mil sheet of aluminum on both the front and the back. On one side, the aluminum is lightly coated with a clear coat to prevent oxidation and on the business side, a baked on polyester coating has been applied both locking out moisture and smoothing the panel. It comes in 4 x 8 foot, 4 x 10 foot and 5 x 10 foot sizes and, where I live, I can get a 4 x 8 foot sheet for roughly $85 (sounds expensive, but it’s cheaper than linen). It can be cut to size on a table saw, and the supplier I use will cut it for me if I supply a cut list. Depending on the dimensions, I can get 2-3 large (32 x 40-ish) painting panels and 6-10 small (9 x 12-ish) painting panels, or 7 medium sized panels (24 x 30-ish) out of one sheet.



Step 1)  Building the Panel

So what do you need to build an ACP worthy of your best artwork? Well, obviously, you need some Dibond or e-panel cut to the size you want your painting to be. Sweet! But hey: if you’re painting 18 x 30 inches or bigger, your panel is going to be a bit wobbly. Really wobbly if you’re pushing 30 x 50 inches or larger. You’re going to need to add a frame to the back to add rigidity. As a bonus, I like to take advantage of that frame to add a hanging wire to the back of the panel so I can keep it up off the floor until it’s in a frame.

You could use wood, but then you’re back dealing with the dimensional instability/warping issues again. I like to use aluminum. Consistency! You can get extruded aluminum bars in a variety of shapes from most hardware stores these days. For the big 35 x 60 inch panel I built for ‘Terra Incognita’ (the first ACP I ever put together) I used one inch square aluminum tubing and even added a crossbar in the middle. This was probably overkill, but since the painting was a commission, I wanted to make sure the panel was as good as indestructible. For most moderately sized panels (the ones shown here are 36 x 40 inches, 40 x 32 inches and 48 x 24 inches) I use ¾ inch L-channel. It’s about an eighth of an inch thick, reasonable strong and light, and costs around $16.50 per 8 foot length. Again, this may sound expensive, but it’s cheaper than a good wooden stretcher bar.  A chop saw with a general-purpose blade can cut these aluminum bars easily enough. Just go slow, and wear eye protection. Seriously, you’re an artist. Wear eye protection.


Here is my method. I cut the frame material to size with my trusty chop saw. I don’t miter the corners. Instead, I cut the pieces for the sides of the painting full length, and then cut the top and bottom pieces to fit in between. This works really well since in almost every situation you are only going to see the sides of the painting. And, of course, if you put a frame on it, you won’t see the edges at all. So, for example, for the 36 x 40 inch panel, I cut the sides 40 inches long (I really cut them 39-15/16 inches long because that is the actual size of the panel…) and the top and bottom pieces 34-1/2 inches long (add the ¾ inch thickness of the sides and you get the 36 inch width of the panel).

Once the pieces are cut, I use a rasp to clean off the burrs and sharp bits left by the saw.  I almost never cut myself.


Then I get all the parts together and make sure they fit.  Shiny.


The first few panels I built were great, but they had one drawback. Until they were framed, they were really hard to hang on a wall. I came up with a neat little system for building a hanging wire into the panel that not only works great, but when the L-channel is used for the frame, also looks pretty cool when the panel is hanging on the wall (it looks like the panel is floating ¾ of an inch in front of the wall).

Before building the panel, I make two marks a half inch apart and centered on the inside of the L-channel pieces that will be the left and right sides of the frame. I measure down about as far as I would if I were installing a hanging wire on a framed painting; in this case, about 8 inches. Notice I’ve marked the left and right side pieces so they are mirror images of each other! That’s important. Then I use a 3/16 inch drill bit make two holes. Aluminum is pretty soft, and my regular drill bits work just fine. The shavings are razor sharp though, so I’m careful brushing them off my work area. Then I put a ½ inch drill bit in the drill and with just a little pressure put a bevel on both sides of each hole so the hanging wire doesn’t get cut by the sharp edges.


Now I’ve got my panel and I’ve got my frame pieces. The panel goes face down (white printed side down, shiny aluminum side up) on the work surface. I  leave the protective, white plastic in place at this point and make sure I’m not setting the panel on top of anything that might scratch what will eventually be the working surface of my painting (like…ummm…aluminum shavings from drilling holes…for example).


To fasten the frame to the back of the panel, I use a steel epoxy rated for aluminum called J-B Weld. I’ll get to that in a minute. In order for the epoxy to bond as permanently as possible, both the back of the panel and the side of the frame that butts up to it need to be sanded well with a rough grit (80-100 grit works great) sand paper. For the panel, the clear coat that protects the metal surface has to be sanded all the way through. You can tell when you’re down to the metal, because you’ll start making aluminum dust (black) and the paper will stop gumming up. I’ve done this by hand, but it takes a lot of work. I prefer to use a power sander. With the frame pieces, the top layer of the aluminum has to be completely removed. Aluminum oxidizes just like iron. Unlike iron, instead of flaking off, the aluminum oxide stays on the surface and protects the metal underneath from further oxidation. This is why aluminum doesn’t ‘rust’ like iron does. This is a nice feature for corrosion prevention, but the aluminum oxide layer won’t bond as well to the epoxy, so it’s got to go. I sand the side of the frame piece that will go against the back of the panel. I like to set all the pieces in place and on the frame and then label the size I’m going to sand just to be sure I get it right. I always sure I position the holes for the hanging wire correctly! Again, this can be done by hand, but a power sander is much easier. I’m not sure how bad for the lungs to breathe aluminum dust, but rather than find out the hard way, I just wear a dust mask. I do all this sanding immediately before I do the epoxy work. I don’t wait a day in between or a new layer of aluminum oxide will have started forming.


Now I make sure I’ve got all my supplies at arm’s reach. Acetone to clean any oils from my hands that might interfere with the bonding off of the aluminum pieces, plenty of J-B Weld (it’s a two part epoxy…so I need both tubes!), paper towels for clean-up, sturdy rubber gloves both to keep the epoxy off my hands (it’s hard to get off later) and to keep oils and sweat from my skin off the aluminum, a good, flat, sturdy putty knife for mixing and applying the epoxy, and a whole bunch of 1 inch spring clamps. Hooray for spring clamps!


I put on my gloves and wipe down all the aluminum parts with acetone. I use a small scrap piece of DiBond as a mixing surface for the epoxy. The instructions for mixing the epoxy are on the package and the tube, but it’s really simple. I squeeze out equal parts epoxy and hardener. For a panel this size (36 x 40 inches) I have found it’s easiest to use the whole package of epoxy rather than trying to be a miser… so I squeeze out about ¼ of each tube. Why not mix the whole thing at one, you ask? Well, this stuff tacks up pretty fast. In fact, I have to move quickly to get it mixed and applied to just one frame piece before it gets too tacky to spread easily. So I do one edge of the frame at a time.  I use the putty knife to mix the epoxy components together thoroughly. It’s just like mixing paint. Spread it out… scrape it up and flip it over…repeat. Then I spread a nice even coat over the entire surface of the frame piece that will be up against the panel. This is the side I sanded (hopefully). I start with one of the side pieces! The top and bottom pieces will butt up against it next. I move fast, but not so fast that I’m sloppy or get an uneven, patchy coat of epoxy.  (Incidentally, this stuff will not come out of your clothes/carpet/concrete/etc. if it sets up there. Ever. Take the necessary precautions.)


I gently set the frame piece (one of the side pieces, yes?)  on the panel so that the flange that sticks up is toward the inside and the other edge is flush with the edge of the panel. I get it as perfectly flush as I can all along the edge and at both ends. Then I clamp it down one clamp at a time starting at the ends, then the middle, then the middle of each remaining section, etc. I have to carefully adjust the clamps as I place them because the frame piece has a tendency to drift in or out under the force of the clamp as it settles into position. I keep adjusting the clamp until the frame stays put flush with the edge of the panel, and come back to check the clamps I’ve already placed as I’m placing the new ones. Once I’ve got all the clamps in place and am sure the frame piece is not moving, I use the putty knife to clean up the area where the top and bottom frame sections are going to butt up against the piece I just placed. I clean the putty knife immediately, and check to make sure I haven’t gotten epoxy anywhere I don’t want it.

The epoxy tacks up fast. 5-10 minutes depending on the temperature. It will dry to the touch in a couple of hours and be hard enough to remove the clamps in 5-6 hours. I try not to put the joint under any serious stress for 24 hours.

If you only have a few clamps, you’ll have to wait until the epoxy has set for a few hours before you can move on to the next piece of the frame. I have a lot of clamps, so I move on to the top and bottom pieces right away. They go on just like the first piece, except they butt up against it instead of being flush with the panel edge at the ends. I like to put a little epoxy in the joint. If I measured correctly, there should be exactly enough room left at the remaining edge of the panel for the other side piece.

Once I get the last piece of the frame in place, I let the whole thing set for at least five hours before removing the clamps (I usually give it overnight) and then let it harden completely for 24 hours before moving on to the next step.

Once the epoxy is fully set and the clamps are off, I clean up the edges of the panel and the joints on the back of the frame with rough-grit sandpaper.


Before I get around to preparing the painting surface, it’s time to install the hanging wire.  This way, in theory, the painting should never have to be set face down again.



Step 2) Priming the panel

Ok.  The panel is built, now its surface just needs to be prepared for oil paint. This is a good time to peel away the protective plastic from the business side.

The first step is a very light scuff sanding to increase the adhesion of the primer. I use fine grit sandpaper (at least 320). The first few times I did this, I just went right at the panel with the sand paper, but ended up getting super-fine white dust everywhere which was a real pain to clean up. Then I had to wipe the panel down with a wet paper towel to get all the remaining dust off before priming. I’ve found it’s actually much easier to wet-sand the panel, so I use paper that is made for it. The sanding goes faster, the paper doesn’t clog up, and there is no dust. Sweet.

A word of caution:  It’s really easy to sand all the way through the polyester coating. This is a bad thing. Don’t do it. Just lightly scuff up the surface (it should be just a little more matte than it was when it was new, but it will still feel as smooth as silk) but do not expose the aluminum.

Once the sanding is done and the panel is clean (I try not to touch it with my hands) and dry, it’s primer time. I should mention that I have been told that it is safe at this point to jump straight to an oil paint primer coat. However, the company that manufactures the panels (3M) recommends a thin coat of DTM primer first. It is formulated to bond to the polyester coating on the panel and provide a surface that will take the oil primer better. This DTM primer is not cheap. This one gallon can cost around $120. But, it should prime a lot of panels. A lot. Again, if you compare it to the cost of sizing a bunch of linen canvases with rabbit skin glue, it’s as cheap if not cheaper in the long run… and it’s far easier to work with. One light coat is sufficient.


When I apply my primer coats to panels, I like to finish with light brush strokes in random directions so there isn’t an obvious vertical or horizontal pattern that might be distracting if it shows through in the final painting. With a canvas support, the texture of the fabric conceals the brush strokes of the primer coats, but everything shows up on these super-smooth aluminum panels. The upper, left-hand image below shows the brush stroke texture of the panel after the light coat of DTM primer has dried for 24 hours.

The final step in getting the panel ready to paint on is a few coats of a good oil primer. I cannot recommend Rublev Lead Oil Ground (manufactured and sold by Natural Pigments in California) highly enough. It is an absolute pleasure to paint on whether you are using panels or canvas. It’s as archival and traditional as it gets, dries to a hard, flexible film, and takes paint like a dream. Yes, it has lead in it. A lot of lead. So don’t drink it, don’t lick your freshly primed panel, and wear gloves when you apply it and clean your brushes. Not a big deal.

I apply two thin coats straight out of the can allowing the primer to dry completely between coats. Then I finish with a coat I have tinted slightly with Ivory Black and Raw Umber so I don’t end up painting on a blinding white surface.  The bottom, right-hand image below shows the texture of the fully primed panel.

Note:  I am currently experimenting to find out if my use of Raw Umber in tinting that final coat is increasing the problem of darker colors ‘sinking in’ when they dry. If you are an oil painter, you are familiar with this problem. If I find the Raw Umber is the culprit, I will update this post with a better practice.

Update: My current experiments seem to indicate that the base ground used has more to do with the sinking in effect than any tinting pigment added to it, and that sinking in is mostly correlated with the pigments applied to the ground, not to the nature of the ground itself. So go ahead and use that burnt umber to tint your ground.


Step 3) Paint something awesome the panel!

The panel is finished! Well, almost. It’s a good idea to let the panels sit around for a few weeks to fully cure. I don’t always have the patience to do this, but if I’m planning my projects far enough in advance, I try to prime several panels at once for upcoming paintings while I’m still working on whatever is on the easel.

The only step left is to put the beautiful, new, archivally sound panel to good use! The 36 x 40 inch panel shown in this post ended up as the support for ‘Saturn and Dione’.


After a couple of years of working on Aluminum Composite Panels, I am a big fan. They end up costing less to prepare than a traditional linen canvas. They are only the slightest bit heavier, and if the time is taken to incorporate a hanging wire, they are as easy to move around and hang. They are vastly superior archivally to their canvas alternatives. I do, occasionally, miss the springiness of a nice, tightly stretched canvas, and the subtle linen texture, but I’m very glad not to have to worry about punctures, tears, dents, wrinkles and stress cracks.

A Note on Logistical Considerations:

Stretched canvas is often thought of as the most traditional support for oil painting, but this is not exactly true. Painting on panel, even metal panels such as copper and gold, is a very traditional practice that predates the use of stretched canvas. Some of the oldest paintings that have survived with the least amount of damage were done on metal panel. However, if you want to paint big, panels become a more difficult proposal. Hiding seams and joints was historically and is today extremely difficult if not impossible. Transportation of large paintings done on panel is also an issue. Size and transportation considerations were leading factors in the rise of canvas as the most popular painting support.

As I mentioned at the beginning of this post, Dibond, e-panel, and all the other brands of Aluminum Composite Panel of which I am aware are limited in size to 5 x 10 feet at the very biggest.

I recently completed a commission painting designed to fit a specific space that ended up measuring 194 x 92 inches (roughly 16×8 feet). The clients were very interested in Aluminum Composite Panel as the support for the painting.  I ended up collaborating with a local metal fabrication shop and frame maker and an expert on archival painting practices and materials to design and build a custom aluminum panel for the project. Logistics were a huge factor that had to be taken into consideration, including the fact that the painting would not fit through a standard door or make a turn in any standard hallway. The panel also weighed in at around 500 pounds which meant I couldn’t move it without help and it required some seriously beefy easels to support it while I painted on it.  If you’re interested in the full story, you can find it here.

By |2018-09-06T21:41:45+00:00August 16th, 2016|Conservation & Best Practices|23 Comments


  1. […] As you can see in the above image, I ended up opting to extend the aspect ratio of the composition to accommodate the background. The drawing is 20×12 inches, so I’ll have to blow it up 150% in order to transfer it to the waiting 30×18 inch, aluminum composite panel. […]

  2. Amanda Teicher December 31, 2017 at 6:09 pm - Reply

    Hi Bryan,

    Thank you for this post. The information is excellent. I also paint on aluminum composite material. For panels larger than 30×40, I use AlumaLite, a 6mm thick panel with a corrugated core. It’s very lightweight, very rigid, and only a little more expensive than Dibond. It’s about twice the price of e-panel in the Seattle area. If you can find a supplier in your area, you may want to try it. In my opinion, cradling isn’t necessary with this product. But I don’t paint as large as you do. I also use a table saw to cut my panels, but I *can* use a utility knife in a pinch. (I use a table saw at a local tool library, but when I need to cut a panel at home with a utility knife, it does work.)


    • Bryan January 3, 2018 at 3:09 pm - Reply

      Thanks for the recommendation, Amanda! I’ll look into AlumaLite.

      • Bryan January 3, 2018 at 3:14 pm - Reply

        Update: It turns out I can get AlumaLite from Regional Supply, the same distributor I use for DiBond here in Salt Lake City, UT. I’ll have to give it a test drive.

  3. […] These days I paint on Aluminum Composite panels instead of linen canvas. If you’re curious why I decided to make the change, I wrote at length about that and about how I prepare the panels for oil paint here. […]

  4. Patty May 30, 2018 at 6:34 pm - Reply

    Hi Bryan, I used your method of attaching the L Channel to the back. It worked great! What do you do about the edges of the painting? I’m painting in acrylic and I primed the edges of the ACM and then painted them white, but the paint is chipping off.

    • Bryan June 1, 2018 at 11:26 pm - Reply

      Hi, Patty.

      Most of the time I don’t worry about the edges as I’m anticipating the painting being framed. I have finished the edges of the panels braced with L-channel by sanding them flush and then painting with oil paint. I haven’t had any issues with it peeling.
      On two of my largest commission paintings, the clients wanted finished edges in the gallery wrap style instead of framing. Those large panels were braced with 1×2 inch rectangular aluminum bars. I finished the edges by filling all the imperfections with Bondo auto-body putty, then applied a skim coat of Bondo to the entire edge. Once that dried completely, I sanded it flat and smoothed it with 320 grit sand paper. Then I primed it with the face of the panel, starting with a coat of DTM Bonding primer and then two light coats of Rublev Lead Oil Primer. They finished just as smooth as the face of the panel, and I have had no problems with peeling. I hope that helps.

    • Bryan June 1, 2018 at 11:29 pm - Reply

      I have never tried priming aluminum panels with Acrylic. You should check the forums on Natural Pigments website for proper acrylic priming methods. https://www.naturalpigments.com/forum/

  5. Matthew Durante July 24, 2018 at 8:47 pm - Reply

    Thanks so much for the great post! I’ve gotten a lot of tips from this!

    Do you ever smooth your edges to make the panels easier to handle? I find I have to file them down a bit to make the panels safer to the touch. But this exposes a tiny bit of raw aluminum, which I read everywhere is a problem. I can cover this with the DTM Primer but I’m not sure if that’s sufficient…

    • Bryan August 23, 2018 at 3:26 pm - Reply

      Hi, Mathew. I always knock down or “break” the edges with 220 grit sand paper or a fine metal file first thing to avoid cuts. a little exposed aluminum just on the corner of the panel won’t hurt anything. Just don’t sand through the polyester coating on the face of the panel.
      Happy painting!

  6. Roy October 11, 2018 at 10:01 pm - Reply

    Hi Bryan, great post! I had a quick question. I was wanting to know how you go about cutting down the larger panels to a specific size. I have access to 4’ x 8’, 4’ x 10’, and 5’ x 10’ panels from a local supplier. I’ve gotta check with them to see if they’d mind cutting the larger panels into smaller sizes, but wanted to get your advise/opinion if you’ve dealt with cutting the panels yourself.


    • Bryan October 12, 2018 at 12:58 am - Reply

      Hi, Roy.
      Actually, I don’t cut the panels myself. When I order a panel from my local supplier, I include a cut-list for the panel sizes I’d like the larger panel cut into. They charge a very small cutting fee, but it’s definitely worth it. To cut the panels yourself, you would need a table saw with a nice sharp blade. I’d be willing to bet your local supplier offers the same service.

  7. Roy October 25, 2018 at 8:28 pm - Reply

    Thanks for the info! I also wanted to ask, when working on very large panels, do you find it necessary to add additional cross bars in the middle of the frame? Or do you find that the framing around the edges is enough?

    • Bryan October 25, 2018 at 10:13 pm - Reply

      Good question.
      I do place cross bars when designing the support for larger panels. For example, with a 30×60 inch panel, I would place a center support at the 30 inch mark. With the large 120×60 inch panel I just prepared, I placed structural supports around the outside perimeter, and two additional vertical supports such th at the 120 inches was decided into three equal sections. Hopefully that makes sense. I try to keep the open space between supports to the rough equivalent of 60×40 at the largest. This is a off-the -cuff calculation, based on my own experience with the rigidity of panels, and not a professional, engineering recommendation.

  8. Roy October 29, 2018 at 6:45 pm - Reply

    Thanks for the info Bryan! I just built a 60″ x 103″ ACM panel for a future painting and used this post as a guide. Looking forward to future posts!

    • Bryan October 29, 2018 at 7:39 pm - Reply

      That’s a nice big panel, Roy! Very exciting! Best of luck with this epic project!

  9. Raspberry Ketone December 20, 2018 at 12:10 pm - Reply

    Great read. Thanks mate

  10. Demeri January 8, 2019 at 6:16 pm - Reply

    Thank you for sharing this! Really helpful description. I was wondering what shipping service you opt for, when sending a largish piece done on dibond. I see USPS won’t send a package as large as 50 x 38 x4 inches. Assuming/hoping UPS or Fedex will, but at a pretty penny . . . It kind of makes me wonder if precluding the option of rolling up a larger canvas to ship is actually cheaper, if you count in potential cost of shipping a piece. (I want the rigid surface to deal with the weight of pouring fluid acrylics for a background of a larger painting, so that’s also why I’m interested in the aluminum.)

    • Bryan January 12, 2019 at 8:40 pm - Reply

      I would never use USPS for artwork. I exclusively use UPS or UPS Freight for shipments to the lower 48 states, and I crate the paintings really well: plywood, 1×4’s and 1″ insulation foam. Shipping rates are reasonable, but insurance on originals is sketchy at best and quite expensive. Often paintings will only be covered for the cost of materials, so a good crate is essential. I aim for a crate that will survive being run over by the delivery truck. 😉 For the really big paintings, (the four large commissions in the 10×5 foot range and up) I have found it’s cheaper for me to rent a 16 foot moving truck and deliver them myself. Of course, these were only going from Salt Lake City, UT to Laguna Beach, CA which is a relatively short 10, hour drive, and a cheap flight home.

  11. Elaine January 31, 2019 at 11:22 pm - Reply

    For shipping oversize art I use Pilot Freight which will fully insure the art if tou tell them it is replaceable (meaning if destroyed i could do another) So far largest i have shipoed with Pilot was 48×72” canvas stretched and boxed and fully insured for $4000. Cost from TX to FL under $300 including insurance, Also Uship is not bad either Fedex insurance for artnot available ver $1000 value

    • Bryan January 31, 2019 at 11:29 pm - Reply

      I will definitely look into that, Elaine. Thanks for the information!

  12. Andrew Grant February 6, 2019 at 5:07 pm - Reply

    Again, thank you for your generous posts. I’ve learned a few things. I finished my first painting on aluminum panel about a month ago, 48″x48″. The wobble was minimal and I knew framing would secure it later. I’m moving up to a 72″x 48″ next and need to brace it. The panels I buy have the polyester coating on both sides. Do you think the epoxy will stick to that coating if lightly sanded first?

    Take care,


    • Bryan February 6, 2019 at 8:35 pm - Reply

      Hi, Andrew. My really big panels (120×60 inches) are usually two sided polyester as well. I suppose that scuff sanding would be sufficient for the epoxy to stick, but I always sand down to the aluminum just to be sure. I think it’s worth taking the time for such a big project. Good luck, and happy painting!

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