Linen canvas versus cotton canvas for oil painting
Canvas for oil paints comes in three different fabrics: linen duck, cotton duck and cotton+synthethic blend duck canvas. All are generally primed with a whiteacrylic gesso which is fine for oil paints since it follows the rule of “fat over lean” –acrylic gesso is lean. (More on this in another post).
If you want to create gallery quality work, linen canvas, per the traditionalists, is the way to go. The most superior quality linen canvas comes out of Belgium where it has been cultivated specifically for the art market. Linen duck canvas is made from the flax plant which has been woven into fabric. These fibers are long in nature and tend to have a stronger tensile strength to them than the shorter cotton fibers. Linen can be twisted into a fine, tight strand and woven into a canvas duck that is extremely durable and fine textured. The finer the linen, the finer the texture of linen canvas and the more expensive. However, linen, with its natural slubs is often sought after for its texture in a painting and a rough fabric texture is often a desirable trait in a canvas.
Linen canvas is somewhat difficult to stretch because it doesn’t yield to the stretcher bars the way canvas does. Nature imbued this fiber with some interesting characteristics: it is more resilient to moisture because of inherent oils –yet primes easily; handles contractions due to hot and cold atmosphere changes; and is resistant to various types of decay. The stiffness of the fabric is what makes it desirable as a painting support and its durability –or longevity over the years excites art collectors.
Linen canvases are often hand oiled or painted with a lead based oil paint as a primer to create a super smooth finish for Realism-style portrait work. This alone can raise the price.
Cotton duck canvas, on the other hand, is made from cotton fibers which are shorter than linen and come from, surprise! the cotton plant. Cotton can be woven to any degree of fineness, but it will always be less expensive than linen due to its availability, ease of growing, harvesting and manufacturing. Also, cotton reaches its limit when it comes to larger paintings: it can’t support the weight of itself and the paint combined. This is where the competition shines. Cotton canvas can be made be just as durable as linen and go the distance, so don’t feel bad if the price of linen makes it a bit more cost prohibitive. Cotton is just fine for all your painting needs until you reach canvas sizes exceeding 6′ in either direction. Heavy cotton duck canvas can be fine for larger size canvases, but consult with the experts to make sure that it won’t fail you on the first day of your art show!
Pre-stretched canvas versus canvas boards
Many of my students ask about using canvas boards and I tell them to avoid them. Canvas boards have their place in oil painting as do pre-stretched canvases. Canvas boards are ideal for testing paints or doing rapid sketch work in paint to check your subject matter or color palette before investing time and energy or materials into artwork on a pre-stretched canvas.
My reasons are simple for avoiding canvas boards in general:
- Canvas boards purchased at general artist supply stores are usually constructed of primed cotton canvas glued to cardboard. Cardboard, which is made from trees has an ingredient called lignans in it which are acidic in nature. Acids will degrade the canvas over time as will the glue which is not guaranteed to be acid free either. Unless it states clearly that it is acid-free, don’t assume anything. Most canvas boards are made very cheaply in China and are not worth working on. Read more
History of Oil Paint
In 1992 I was taught that no one really knows for sure the history of oil paint and how it came to be. I fantasized that back in the days of egg tempera painting, some artist was struggling with the fast drying time of the egg yolk-water-pigment mixture. I further suspected that one morning, while lingering over breakfast, they noticed that egg yolk that had butter in it didn’t dry as fast to the plate. I imagined that there was immediate experimentation following that observation with a little pigment, a little yolk, a little water and a little oil –perhaps walnut, poppy or linseed oil. Since water evaporates quickly and doesn’t mix with oil, I’d bet that the water was ditched first and the artist soon scratched the yolk from the recipe and viola! oOil paint was born. Or something like that. I like my history of oil paint, do you? Sadly, it is far from the truth!
Jan Van Eyck, The Marriage of Arnolfini, 1434, egg tempera painting
Our modern history of oil paint’s popularity can be traced to the egg tempera painters of the late 15th century who switched over to oil.
A quick look at Wikipedia’s take on the history of oil paint gives a nod in the direction of western Afghanistan where oil paints were used for their durability on metal shields and other tournament objects during the 5th through 9th century. (That was something I didn’t know until I went to Wikipedia).
A better history of oil paints can be found in an old document written by a medieval monk named Theophilus who, back in the early 12th century between the years 1100 and 1125, outlined how to create and use oil paints from oil and pigment. This handwritten account in Latin survives in Vienna. It’s possible Theophilus had knowledge of the Middle Eastern methods, but what I find interesting is that he was documenting the high art techniques of the Middle Ages! This suggests that the history of oil paint’s popularity is much older than the beginning of the Renaissance.
Oil Painting Mediums: Taking the psychic guesswork out of mixing the perfect linseed oil medium
I think this blog title just got me that “Dark and Stormy Night Award”…
Storm Over Antigua, W.I., oil on canvas
Joking aside, oil painting mediums are used to thin oil paint, make blending oil paint easier, make them more spreadable on the canvas, slow or speed up the drying time, create a nice liquid like consistency for painting your signature, glaze a canvas and more. “Medium” is really just the vehicle that holds the color or pigment.
Here’s my favorite recipe for mixing a linseed oil medium that will meet your most basic needs with a couple variations: Mix together in a glass jar and keep sealed with an air tight lid when not in use.
Basic traditional formula: 1 part linseed oil to 1 part turpenine.
To dry faster: 1 part linseed to 2 parts turpentine. (Tip: Use in high humidity situations).
To dry slower: 2 parts linseed oil to 1 part turpentine. (Tip: Use in extremely dry climate).
Substitutions:
If you don’t like the smell of turpentine –an extract from an oily, exotic hardwood tree and extremely traditional in the oil painting medium formula, you can use odorless turpenoid or mineral spirits both of which are petroleum distillates. White spirits are not highly recommended since it can degrade the product over time. Read more
What’s it like, painting with oil paints?
There is nothing like painting with oil paints…and it is especially wonderful if you have a love of butter and all things rich and creamy. Now, I just heard a few of you protest because you are water-based painters and have issues with fat. Not me! I have a love affair going on with full-fat products and I guess it shows. If oil paints were foods, I’d eat them! Their texture, color, smell and consistency are so enticing and luscious they just beg to be consumed by the sensuous artist.
Road To Alfonsinas Sea of Cortez, oils on canvas
Painting with oil paints is…indescribable until you try it. Oh, I can go on about how smooth and silky the oil paint feels when too much is used and the brush eagerly slips over the canvas texture in a rush only to offer resistance in the end as dry brush meets dry canvas. Or, I can tell you that the visual pleasure it offers, as colors willingly blend into beautiful tints, tones and shades is akin to watching a spectacular sunset evolve. Even the smell of paint is unique with hints of Greek Retsina wine and pressed linseed oil. Read more
