Here's One Way to Stop that Dratted Trampoline Effect

Where I live, I need to keep an eye on temperature and humidity changes. Linen canvas will get very baggy and saggy in the dry wintertime.


A baggy canvas causes the "trampoline effect" - a pronounced elasticity in the center which can drive you nuts when you're painting.

In order to create a stable substrate, I used to put cardboard behind my canvas when I painted. And sometimes it sorta worked.

I even had a 24" stretcher* snap when a linen canvas suddenly tightened up in humid weather. Of course it wrecked the painting. And believe me, re-stretching a painting is no picnic.



The aren't cheap. But if you sell your work, it must be archival. Since I began using Art-Boards, it has solved a thorny long-term problem with those large linen stretched canvases.

The linen is mounted with a reversible archival conservator's adhesive that creates a barrier between the panel and the canvas. This means that a painting can be removed from the canvas panel at any time in the future.

The panels I like have an untempered solid core construction with a solid surface of oil primed #13 Claessens Belgium linen.


This panel is 3/8" thick. It also comes with acrylic primed cotton canvas.

These panels have recessed hanging slots and that makes it easy to hang a wet painting on my studio wall to dry.


Custom size linen panels can be ordered to any exact size and made as large as 54" x 120".
They can can be made cradled or uncradled.

They also attach a high quality watercolor paper to their boards.

* Because of that (lightweight) stretcher accident, I only use heavy-duty stretchers for any painting 20" x 24" and larger.

3 comments:

L said...

Does the Claessens Belgium linen have an extra fine grain? Do you have any issues with unwanted texture?

My Painting Studio said...

Classens has a lovely portrait linen that is very smooth.

But if you like a REALLY smooth surface, you'll need to paint on a gessoed board.

I personally like the way "texture" grabs the paint off my brush.

A rule of thumb is the larger the painting, the rougher the texture.

If you're painting a large portrait - make sure that there will be no unwanted "slubs" in the area of the face.

marilene sawaf said...

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