Stretching Canvas
I have been stretching my canvases for over 50 years! Originally, I started in college to save money and to work bigger than the pre-stretched canvases available in the art and hobby stores. My first painting class in college, the instructor taught the class how to build a simple wood frame and the canvas, 72” cotton duck, was provided by the school. I was hooked from then on! It was incredibly cheap back then and I quickly learned about proper bracing, home made gesso and the craftsmanship necessary to build, stretch, and prepare the canvas for painting. In time this task became a big part of my painting process and even today it helps me begin the thought process of painting. Without this thought process or THE BIG IDEA, I feel my paintings have no soul and are meaningless, no matter how well executed! I think I would still build and stretch my own canvases, even if money was not a factor.
Over the years I have developed some techniques that might be a little different from those early basic attempts. Good craftsmanship is essential as it is in almost all aspects of art. So, as I mentioned proper bracing is a necessary component. I learned early that a poorly braced or out of square frame cold lead to disaster. I once saw a student’s stretcher frame break in half from tension of the shrinking canvas once gesso was applied. As a rule of thumb, I think you need a brace every 2-3 feet minimum. For instance, you are building a 48”x48” square, you one horizontal and one vertical brace. If the horizontal length goes beyond 60” in length (48”x60”) you will need one horizontal and two vertical braces. As I mentioned out of square is also a problem that will cause the frame to warp away from the wall. I like to use 45 degree angle cuts to joint the corners and then apply solid plywood triangles to help keep the corners square.
Old flyer that shows the quarter round stretcher profile.
Another issue is how to eliminate brush marks on the edges and center braces. I started making my outside edge pieces out of 1”x2” lumber and turned it on edge so the canvas was 1.5” tall. That reduces the brush marks on the edge and allows the bracing to be done flat on the bottom side with a 3/4” gap between canvas. Then I started laying my 1x2 flat and attaching 3/4” quarter round to the top. This eliminated the brush strokes and strengthen the frame at the same time. I have included a photo at the bottom that shows this method. This is still a favorite method but the quarter round molding has become expensive to buy and somewhat difficult to make. So, now I rip a length of 1x2 down the middle on a table saw with the blade tilted to 30 degrees and attach this to the 1x2. This is the method I am currently using. See the images below.
Once the frame is built the next step is to stretch the canvas. If you don’t know of a source for canvas here is a link to the one I use. https://www.bigduckcanvas.com This process is relatively straight forward. Cut or tear the canvas about 6 inches bigger on both sides than your frame. The extra is to wrap around the sides and onto the back. I know some people that wet the canvas before stretching, but I have never needed to do that. I lay the canvas out flat on a table or the floor and put the frame on top. Center the frame so you have equal amounts of canvas sticking out beyond your frame. You will need a staple gun. I prefer the Arrow brand guns and recently I have been using an Arrow pneumatic stapler. They are not much more than a good manuall stapler and they are sooooo much easier to use. You do have to have a compressor to use one. Start from the center on all sides and pull up and over on the side and place a staple about a 1/4” from the edge of the canvas. Go to the opposite side and and stretch the canvas up and around the frame and place a staple in the center. Now work from the other two sides and do the same thing. Now slowly work your way out from the centers stretching and applying 3 - 5 staple per side and countering the same thing on the opposite side. Try to keep your tension consistent but don’t worry to much about that and slowly work your way to the corners. I like to tuck my corners underneath the fold but it doesn’t really matter. Don’t worry too much about the wrinkles or fold marks. They will be pulled out by the shrinkage when you apply the gesso.
Bevel corner with plywood brace.
Complete stretcher frame including braces and plywood corners.
Now we are ready for the final step. The raw canvas should be sized and sealed with gesso (unless you are working with acrylic and stains). In college we were taught to make gesso out of cheap white houseplant and acrylic medium. At the time that was an economical and good substitute for gesso. I used this method for 40 plus years with no complaints, but a few years ago I finished a painting in preparation for a show. I noticed there was a little peeled place on one corner and pulled on it! The entire painting peeled away from the gesso and canvas! NOT GOOD!!! After a little research, I found out that current house paints are not all made with a true acrylic binder, so read the label to make sure that your paint will work and test it first. I have switched now to prepared gesso. I prefer the Liquitex brand, but any would work. Two good coats are usually good. That’s it, you are ready to paint!
Stretched canvases. The one on the table is raw canvas, the one on the wall has been primed and ready to paint.
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