C. Robertson & Co.
Raphael & Berge
Rotring UK
Royal Sovereign
St Cuthbert’s Paper Mills
Tate Gallery Publications
Tollit & Harvey
Unison
Winsor & Newton
Photographers and picture sources
Studio photography by Paul Chave and Ben Jennings
Other photography by: Acco-Rexel Ltd; John Couzins; Daler-Rowney Ltd; Ikea Ltd; Simon Jennings; Raphael & Berge SA; and Shona Wood
Before starting a painting or drawing, it is worth spending some time choosing and preparing the surface, or support, as this will have a great bearing on which medium you use, and the effects that you are able to achieve with it. Although the range of canvases, panels and papers may seem somewhat bewildering at first glance, finding the right support for your purpose is not very difficult when you understand the properties of each one. A properly prepared support will greatly increase the longevity of a work and, in addition, you can derive a lot of pleasure and satisfaction from this aspect of the artist’s work.
| CANVAS | In painting, canvas is still the most widely used of all supports. Stretched-and-primed canvas is taut but flexible, and has a unique receptiveness to the stroke of the brush. The two most common fibres for making canvas are linen and cotton, although hessian and synthetic fibres are also used. Each of these fibres differs in terms of durability, evenness of grain, ease of stretching and cost. |
Linen is considered the best canvas because it has a fine, even grain that is free of knots and is a pleasure to paint on. Although expensive, it is very durable and, once stretched on a frame, retains its tautness. Good-quality linen has a tight weave of even threads which will persist through several layers of primer and paint; avoid cheap linen, which is loosely woven.
Preparing linen canvas
The weaving process makes raw linen canvas prone to shrinking and warping when it is stretched, and it has a tendency to resist the application of size. However, both these problems can be solved by temporarily stretching the canvas, wetting it and allowing it to dry. Then remove the canvas from the stretcher bars and re-stretch it; this second stretching creates a more even tension across the cloth.
Cotton canvas
A good-quality 410–510gsm (12–15oz) cotton duck is the best alternative to linen, and is much cheaper. Cotton weaves of below 410gsm (12oz) are fine for experimenting with, but they stretch much more than linen and, once stretched, they are susceptible to fluctuations in tension in either humid or dry conditions. The weave of cheap cotton quickly becomes obscured by layers of primer and paint, leaving the surface rather flat and characterless.
Hessian
Hessian is inexpensive, but has a very coarse weave and requires a lot of priming. It is liable to become brittle and lifeless in time.
Synthetic fibres
Synthetic fabrics, such as rayon and polyester, are now used in the manufacture of artists’ canvas. These canvases come ready-prepared with acrylic primer and are worth trying out, as they are exceptionally strong and durable, flexible but stable, and resistant to chemical reaction.
Canvas textures
If you use bold, heavy brushstrokes, canvas with a coarsely woven texture is the most suitable. A smooth, finely woven texture is more suited to fine, detailed brushwork. Another consideration is the scale of your painting. A fine-grained canvas is best for small works, as the texture of coarse-grained canvas may be too insistent and detract from the painting.
Ready-primed canvas
Ready-primed canvas comes prepared with either an oil- or an acrylic-based primer. It is better to use an oil-primed canvas for oil painting and leave acrylic-primed ones for acrylic paintings, but you can use an acrylic-primed canvas for oils if you paint thinly and on a small scale.
Canvas may be single- or double-primed. The latter is more expensive; it has a denser surface, but it is less flexible than single-primed canvas.
Canvas weights
Wet the stretched linen canvas and allow it to dry.
The weight of canvas is measured in grams per square metre (gsm) or ounces per square yard (oz). The higher the number, the greater density of threads. Better-grade cotton canvas, known as cotton duck, comes in 410gsm (12oz) and 510gsm (15oz) grades. Lighterweight canvases of between 268gsm (8oz) and 410gsm (12oz) are recommended for practice only.
Ready-prepared supports
You can buy ready-primed and stretched supports which consist of a piece of canvas mounted on a stretcher. These supports are convenient, but are expensive when compared to the cost of stretching, sizing and priming your own canvas.
Popular artist’s canvases
1 Ready-primed cotton-rayon mix
2 Ready-primed cotton duck
3 Ready-primed artist’s linen
4 Superfine artist’s linen
5 Cotton duck
6 Flax canvas
7 Cotton and jute twill
Buying economically
Before buying lengths of canvas, work out how you will divide up the fabric to make as many pictures as possible with the minimum of wastage (canvas rolls come in several widths). When doing your calculations, don’t forget to allow a 50mm (2in) overlap all round each picture for attaching the canvas to the stretcher.
Acrylic and oil don’t mix
Most of the ready-prepared canvases and boards available in art shops are primed for use with oil or acrylic paint. If you paint in acrylics, take care not to buy supports which are prepared specifically for oils. The linseed oil in the primer repels acrylics, and the paint eventually comes away from the support.
Canvas texture
The formal elegance of this abstract painting is enhanced by the subtle texture of the linen canvas, which appears through the thin layers of oil paint.
Pádraig Macmiadhachain
Blue Morning
Oil on canvas
25 × 30cm (10 × 12in)
Overlap
Remember to add a minimum of 50mm (2in) of canvas all round, for when you attach it to the stretcher.
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