The Foundation Stretching A Big Canvas

Stretching a large canvas is a real project. I like doing it because nobody makes a canvas that has all the distinctions I have about making a canvas. Mine are solid and durable, resistant to mildew and water damage, and finished in such a way so that they do not need a frame.

I get stretchers from Craigslist, or from the common area in my studio complex in Sunset Park in Brooklyn. I use heavy duty stretchers that are (1-5/8) Inches thick. Anything up  to 48 inches does not require additional bracing. For the brace a simple glued butt joint is sufficent. Assemble and glue the frame at the corners with wood glue. Let dry(about 2 hours)  then glue in the brace and staple the brace to hold it in place. After wards remove the staples.

Then I seal the stretchers with black gesso, for two reasons.  The coolness factor so it looks nice, and for moisture protection and mildew protection for the wood. Cover The wood on all sides. Let it dry for a day before continuing.

I cut a piece of canvas that is 2 1/2 inches bigger than the dimensions of the stretchers. I buy canvas in a roll these days so i do not have to iron it. I have a pair of canvas pliers, and a power stapler, Stanley, and 3/8 inch staples and a staple lifter also Stanley.

Only staple on the back side of the stretchers not the sides. I start at the centers of each side pull tight and tack down. these staples will be lifted out and adjusted later. then pick a corner. and pull it tight and put in one staple.  Then staple down one half of one side staple by staple working from the center towards the corner. Make it tight, but not as tight as it can possibly be. The first starting center staples usually need to be removed, and pull it as tight as the others and re-staple.  Staple diagonally 45 degrees each staple and put them parallel about 2-3 inches apart. When you get to the corner from the second side  fold the corner like a hospital corner on a bed, pull it tight and tack it down. The stapling is a tricky part to master. Get someone who has done this before to help you get the hang of it.

Then I prime the canvas with Utrect's professional grade gesso.  Thin down with water until it glides well, about 20% water. I use a 5 inch fine haired wood bound brush. stroke horizontally and vertically. Long smooth straight strokes. Gesso the sides as well. One coat is sufficient with the pro grade gesso, but if you like a smoother surface  put on a second coat. Let dry 4 hours.

Then I apply a modern sizing to the rear canvas to keep the canvas tight. I get it from Jerry's Art-o-Rama. I spray with water lightly, then spray on the sizing, let dry. The traditional sizing is rabbit skin glue. This is also good to use. It comes as granules and must be heated in water until they dissolve. make only as much as you need  because it will spoil in a jar if left for a few months.

Finally finish the back with black gesso.

A canvas should boom like a drum when flicked with your finger, but should not be so tight that it warps the wood it is stretched on.

The Journey

I have loved Painting for more than twenty years now.  My current method of production I have been doing now for 4 years. I paint from Photoshop files I create myself using a rules based plugin environment called Filter Forge. I do about 1200 pictures a year digitally. I do about 9  large paintings a year.

here is a link to some of my paintings.
https://picasaweb.google.com/sirfenhong/Paintings4bk

I have three axises of sensibilities that roughly map where my work goes. One direction is color. Its' dynamic use and using chroma in place of value to get results for visual impact and emotional weight. Another direction is Patterning and Structure and Coincidence in terms of composition. Finally I also investigate the fine line where structure and rules turn to chaos. It is not as intuitive as you may think.
Some complicated constructions are at first busy and stressful to look at, but with perseverance yeild up congruences and march along visually to some kind of beat.  Other simpler pictures are dissonant and refuse to have harmony. I find this fascinating. My work has a kaleidoscopic quality because of the  tessellation transforms I use, and sometimes a sense of place because I base the work on pictures of real things.

I also letter a poem around the edges of each large painting I do. At first the letters were writing. Just sharing a bit of prose. It is a way of displaying my poetry as a value added, and the difficulty of the lettering keeps me sharp. Now they are more like little paintings in and of themselves.

My pictures expose the degree to which we habitually impose order on what we look at.

I love above all making beautiful pictures. I love the sensual quality of oil paint, and the luxury of working time because oil paint takes days to dry. I love the little surprises and discoveries that happen while a painting is in the making.

I am a champion of delerium.

I also have a brand new body of figurative work that I will post about separately.

I think this is a good introduction of what I am trying for in a macro sort of way.
This Blog is a continuing conversation about not just the ideas but also of the methods of painting, what brushes I like, how I go about canvas framework construction, and what I understand about the paint film, sealer coats and on and on and on......

Namese.
Doug Angleton
"harness craziness"