Stretched canvas, Canvas panel,
or
Hardboard?
Which to choose
and Why?
or
Hardboard?
Which to choose
and Why?
So you've got that urge again? You want to create something interesting, beautiful, and lasting. I know just how you feel. From time to time it will happen to me and there is no other remedy but to drag out my paints, brushes, and other supplies and dig into new project. Lately that means I have to decide whether to sort through my selection of pre-cut Masonite panels or use one of the various canvas panels I have on hand. I may even wander over to the closet where I keep a small selection of stretched canvases. Finding what I need for the composition I want to paint is part of a process that begins with the first inkling of an idea and doesn't end until it's properly framed and hanging on my wall.
There are as many different sizes, shapes, and textures, of surfaces to paint on as there are different kinds of paint to brush onto them. There will be at least some variance in the same items from different manufacturers. Stretched canvases come in an unbelievable array of sizes and shapes. You can get a canvas covered in linen or cotton canvas depending on your skill level and budget. Linen is a far more durable substrate for almost any paint and is therefore somewhat more costly. Cotton canvas was once marketed as only suitable for students. I've used both and find that the linen has somewhat finer grain that cotton canvas. A few retailers that I use offer round and oval stretched canvases but the cost and the inevitable framing difficulties have always kept me from going in that direction.
There are differences in how canvases are constructed, the gesso primer can vary, some use thicker stretchers giving your canvas an appearance of greater depth on the wall. There are canvases that are held together with small tacks along the edges, others have utilize staples, a newer method for securing the canvas involves something called Tuck-N-Roll construction leaving all four edges very neat looking and suitable for frameless “Gallery wrap” presentation. The point here is even within the single category of stretched canvases there is tremendous variety.
Or...you can make them yourself. I don't even want to go there do I? Stretchers, cross bars and braces, re-tensioner spray, metal “L” Brackets, corner keys, Gesso by the gallon, canvas pulling pliers and I haven't even mentioned staples or tacks yet!
No I don't want to mess with canvas stretching but perhaps you will want to explore it. Your local art supply house will have everything you will need to get started, I would suggest investigating it on-line to see if the time requirements and expenses are where you want to devote your energy. It's a question of personal preference but I prefer using a surface that requires much less prep time and only the barest of resources.
Canvas-panels or as I have referred to them most of my life canvas boards are another option that I have used extensively and actually prefer over stretched canvas. They are covered with the same canvas as used for a stretched canvas but are affixed to a substrate of acid free medium density compressed cardboard. They are far less fragile than a stretched canvas, tears and accidental piercings almost never occur with a canvas board. They are also remarkably easy to frame because of their uniform 1/4” thickness which makes almost any frame even those designed for photos suitable for these versatile surfaces.
Another characteristic which makes canvas boards a pleasure to use is they have almost none of the “bounce” one experiences while using a stretched canvas. If you tap, tap, tap, while laying in your clouds or a distant tree-line you know just what I'm talking about. Canvas boards also have no need for stiffening braces that can leave those annoying ghost images in your painting.
Canvas boards are available in the same dizzying array of sizes and shapes as stretched canvas. I've used them as large as 24” X 36” and aside from some slight warping from my improper storage they are a superior surface for both oils and acrylics. Both stretched canvas and canvas boards are typically sold pre-primed with acrylic gesso and require almost no additional preparation. Even a raw canvas needs little more than one or two coats of acrylic gesso brushed on before it's ready to use.
Recently I began using a completely different type of paint that I now really enjoy called Gouache. I also started using a surface I had never even considered before. It began when I found a scrap piece of building material “Masonite” waiting to be discarded at work. It came to my notice as part of a shipping container that was destined to find its new home at the bottom of our dumpster. I had a coworker cut it into a few standard canvas sizes that I was interested in using. Then I began a process that transformed it from a useless hunk of junk nobody wanted around, into the realization of my imagination.
The Masonite pieces I've been finding at work have been 1/8” thick and remains nicely stiff up to approximately 30” in size. Anything larger should be a minimum of 1/4” thick to avoid flexibility that could over time have your painting disintegrate before your eyes. If the board you're using is still too flexible for your peace of mind you could reinforce it with a perimeter frame built from inexpensive 1” X 2” pine boards. Cut the pine boards to the size of the panel you're working with. Next notch the four corners to create four " Half lap" or "rabbit" joints at each corner. The only fastening you should need to affix this frame work to the back of your panel is good old Elmer's glue. It will stiffen your Masonite to a remarkable degree. Just be aware that adding this supporting structure will affect the frame you will be able to use once your painting is finished.
When I start on a freshly cut panel the first step I address is to soften the saw-cut edges. They can be uncomfortably sharp to rub unprotected skin over, if left untreated they can also form the beginnings of a chipped edge. A small file or regular 100 grit sandpaper will do this job nicely. I tend to use those sandpaper covered foam blocks, 3M makes a nice selection that you can find at your local home improvement store. After the edge prep I wipe the whole board down with a damp paper towel to remove any remaining Masonite dust. A brief air dry later and I can get going with the gesso and my finest wide brush.
I'm not particularly fussy about the Gesso I use, so long as it dries very white and is not overly thick. It should be a non-toxic Acrylic, acid free, and non-yellowing. Store brand is fine, I've used many name brands Gumbacher, Liquitex, and even Bob Ross's brand and have never found enough benefit to justify their significantly higher cost. My brushes for this job are equally unassuming. They are a set of generic China white nylon brushes @ 1”, 2”, and 3” wide with short but very fine bristles.
I lay on the first coat of gesso keeping my brush strokes going the same direction. After it dries completely I reach again for those sandpaper blocks and gently sand the entire painted surface of the board. Some of the edges may sand through on the first coat. Not to worry though you still have two more coats to go. One advantage to the blocks is they can be rinsed with hot tap water and once fully dried they are completely rejuvenated. For the second coat I apply the brush strokes perpendicular to the previous coat. With a light sanding between and a quick wipe with a dampened paper towel to remove dust. On the third and final coat I'll use a foam block of 150 grit to leave the finished surface completely smooth and perfectly pure white.
There will still be enough microscopic roughness or “tooth” left in the layers of gesso to give the paint plenty to cling onto even though the board feels silky smooth. I Find it an incredibly enjoyable surface to paint on as I do not have to fight with a texture that deflects my brush when I'm trying to paint details. It doesn't give odd lighting characteristics due to a grainy surface. Its very whiteness allows the colors to shine through and presents shadows with the contrast they need to be outstanding.
The paints holds very well onto the surface and a coat or two of varnish makes it very durable indeed. I hope I've given you some things to think about, that's why I came here, how about you?
Bonne Chance!
