| In a previous article, I promised a few tips on how to | | | | and trust the artist to know what's best for the |
| stretch your canvas ground. Here they are: | | | | painting. |
| TIP. For any size larger than 18 inches on the long | | | | Finally, why paint on linen? |
| side, I recommend that you use heavy-duty | | | | The immediate answer lies in the gorgeous, 'live' look |
| stretcher bars. This timber is strong enough to make | | | | of linen and its substantial 'feel' as you work on it. |
| the traditional 'cradle' support unnecessary. However, | | | | Most artists who work in a finely detailed, realistic |
| you will still need to set-in an upright centre bar in the | | | | style prefer the smooth and tightly-woven version |
| slots provided. It's a good idea to reinforce each end | | | | called Portrait. I happen to enjoy a heavier, rougher |
| of these with a small piece of timber nailed to both | | | | grade of linen. It does mean some wastage when |
| upright and stretcher bar. | | | | cutting the roll, to avoid any areas where defects are |
| TIP. Keys - those little wooden wedges designed to | | | | too obvious. Also, it requires thought when choosing |
| be inserted in slots at the corners of the finished | | | | which side is 'up' so as to avoid having a troublesome |
| stretcher - are best not used at all. You can tack | | | | slub just where a face or some other delicate |
| them, in a small plastic sandwich bag, to the back of | | | | element is to appear. But I think it's worth it to gain |
| the stretcher so they're handy if you do feel a need | | | | that subtle 'richness' that only a heavy grade of good |
| to tighten the canvas later. | | | | linen can impart. |
| TIP. Use stainless steel staples only; ordinary steel will | | | | The 'How To' books on painting are legion. No doubt, |
| rust and may rot the canvas. Invest in a good, | | | | like me, you've helped enrich the authors of many. |
| heavy-duty staple gun; your hands will really | | | | Frankly, the years have taught me that is their main |
| appreciate it. Always cut your piece of canvas from | | | | purpose in being; nearly all are too personal to the |
| the roll 4 inches longer each side than the stretcher. | | | | author/artist's style to be of much help to the artist |
| Don't trim it off at the sides. It won't look so neat, | | | | trying to find her/his own Way. Of far greater help |
| but if ever the painting needs to be de-mounted or | | | | to you is a good, clear, and comprehensive book on |
| re-stretched, the framer or conservator will bless | | | | materials and techniques - something that will give |
| you. | | | | you the tools of craft to make your own kind of art. |
| The day will come when nothing else but linen will | | | | Here is one I recommend unreservedly: |
| satisfy you, and you'll be glad you're already familiar | | | | The Painter's Craft - An Introduction to Artists' |
| with the techniques for stretching and painting on | | | | Methods and Materials by Ralph Mayer 226 pages |
| canvas. As an organic fabric, any canvas absorbs | | | | limp cover illustrated in black and white. First published |
| moisture, swelling as it does so, and stretches or | | | | in 1948 by D Van Nostrand Company Inc, New York, |
| sags with the pressure you apply while working on it. | | | | the book has no ISBN since the International |
| Not a worry; that's just natural. When the work is | | | | Standard Book Number system was adopted only in |
| finished and the paint layers begin to dry out, the | | | | 1969. I have a treasured copy of the 1966 edition |
| canvas will return to its original state. There's no need | | | | published by Viking Press of New York, from whom I |
| for you to tighten the keys at the stretcher's | | | | understand the title is still obtainable. If you're a |
| corners; it's far better that you leave them alone. | | | | painter, and can have only one book on techniques |
| TIP. Sometimes, collectors are tempted to tighten | | | | and materials - this is the one! |
| the keys when they notice a painting getting 'floppy' | | | | The long-term benefit of using linen is simply that: |
| during a spell of wet weather. The risk of physical | | | | Longevity of your work. None of us can predict what |
| damage from that busy little hammer on the keys, | | | | verdict History will make on what we produce. But |
| and possible compromise of the paint layers from the | | | | after all, why not proceed as if our paintings, or |
| stressing of the canvas, are thoughts that haunt me. | | | | some of them, may one day be as treasured as the |
| So I've developed a way of deterring them. Over | | | | work of the Old Masters? They were trained to |
| each mitre at the back of the stretcher I apply a | | | | have respect for craftsmanship in every aspect of |
| galvanised steel bracket, held with galvanised screws | | | | making a work of art. As a result, many of their |
| - not nails. And I briefly explain why they should not | | | | paintings survive to delight us, five hundred years |
| be interfered with. Clients appreciate the extra care | | | | later. We may as well follow their lead. |