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This method of stretching and preparing a canvas allows for a frame-less presentation of the finished painting. In contrast, a non-gallery wrap canvas is usually intended to be framed before presentation. The stretcher bars are often thinner, and the canvas can be secured at the sides with staples or tacks as the frame will hide them.
This allows the canvas to be re-tensioned later, as it has a natural tendency to stretch and sag over time. In contrast, strainer bars stretch canvas in a fixed (non-adjustable) way. The keys became popular in the 19th century. [2] A simpler form of stretcher employs butt joints to adhere the corners. The joint is pinned and glued into place ...
The back of a stretched canvas, with keys inserted at the corner, and additional keys off to the side. A tightening key is a small wedge or shim used in the construction of a canvas stretcher frame with expandable joints. The key is inserted into the slotted inside the stretcher bars at the mitered corners of the frame to prevent or adjust sagging.
Canvas on stretcher bar. Canvas has become the most common support medium for oil painting, replacing wooden panels. It was used from the 14th century in Italy, but only rarely. One of the earliest surviving oils on canvas is a French Madonna with angels from around 1410 in the Gemäldegalerie, Berlin.
Strip linings strengthen the edges of the canvas so that they can withstand re-stretching. Both strip lining and patching are less invasive than lining. Another method used in place of lining is loose-lining. Loose-lining is accomplished by stretching a painted image over polyester sailcloth without adhesive between the fabrics. [2]
Strainer bar frames are usually in the shape of a rectangle, although shaped canvases are also possible. [1] A stretcher frame constructed from strainer bars should not be confused with one constructed from stretcher bars. Strainer bars are fixed to one another with wood glue, nails or staples, often in conjunction.