Pinholes in Claessens?
 

This has happened twice now:

the first time, I bought canvas from Utrecht that was supposed to be a store brand made in collaboration with Claessens. I had read on the forum about checking to make sure no pinholes of light could be seen, so I checked, and sure enough, I could see light shining through tiny holes in the fabric. I was a wuss, and didn't want to return it, so I gesso'd over another layer to solve the problem.

Then a few months ago, I ordered a roll of Claessens from a different supplier. Same problem! This time, I returned it to the sender.

Has anyone else noticed this? Am I being too picky?

I'm getting paranoid about ordering any canvas by mail order.

A pinhole is a hole. A "support" for a painting should, well, "support" it. Holes don't support much.

However, It's not the end of the world, and "holes" so fine they require careful inspection to be seen really aren't much of a problem, although the product certainly weighs in as less than "top tier" material. Applying a second layer of primer is a reasonable "fix".

If the canvas was oil primed, it's inadvisable to coat it over with an acrylic gesso, which is what I presume you used. "Real" gesso (RSG and gypsum) is too brittle to use on canvas stretched on a frame, and also will not adhere to an oil ground, although it can be applied to canvas glued to a panel successfully.

Many old master paintings are on canvas that was far less than perfect, but the grounds were adequately applied to make up for irregularities.

Thanks for the response, Richard.

Once again I used wrong terminology - it wasn't "gesso" really - I used a commercial oil ground, which fixed the problem. The thing is, when you're paying top dollar for a good quality canvas, you don't expect to have to fix anything.

-Whew!! - That's good, Julie! (ya had me worried for a minute).

Unfortunately, more and more we have to run our own "QC Department" for the sources we buy from. Much of the built-in dependability we've come to expect from "name brands" just isn't there anymore, or is "subject to change without prior notice".

I've never experienced such problem with fredrix.

Several years ago I ordered some Yarka portrait canvases. If I plunked the surface it resonated. Tight as the proverbial drum. I painted what I hoped would be a good portrait, but after some time - I'd say less than 6 months, I noticed pinprick holes. Hundreds.

I removed the stretcher bars and the whole thing was strung so tightly ( originally the canvas was 24 x 18) that the image had to shrink, and would no longer fit the 24 x 18 format.I glued the canvas to a panel, but it has always been a disaster. Fortunately this was an experimental piece of my daughter, but here is what I'd say:

NEVER experiment on a commission canvas.

Thanks for the feedback, Richard, Bonfim and Chris.

What concerns me right now, is that I'm about to order a prepared canvas (panel) from a commercial supplier, for a commissioned oil portrait. If I order Claessens linen already adhered to the panel, how will I know it doesn't have this problem?I won't be able to hold it up to the light.....and I don't want to do my own canvas prep, because I'm still learning how to do it well.

I've been using Claessens, too.

What does everyone else use?

I love the surface of the L600 portrait linen from New Traditions. . . but I've been getting the Di-bond panels. . . so couldn't say if there might be pinholes in the canvas? I may wind up ordering a roll of their L600 linen to stretch myself for an oversize portrait. . . if that happens, will let you know what it looks like in the light. . .

I prepare my own canvases and panels, and I've been quite satisfied with linen from Robert Doak.

Linen
 

I use linen primed by Fredrix.

I guess if you order a specially made panel from New Traditions, you could ask them to double check before adhering it to the panel.

Am using Claessens #15 DP (double-primed) and have no issues on a mural-sized old master copy in progress.

In fact, it offers better absorbency and adhesion than a recent piece I primed from raw linen with out-of-the-can Williamsburg Lead white ground. After that experience, I reground the Williamsburg lead ground with additional calcium carbonate to improve absorbency.

Without having to turn into mad scientists, I think we always have to be very wary of artist-supply manufacturers - especially with regards to consistency year-to-year. Formulas change.

Along the same lines - but not anything to do with a respected linen - I've had tremendous difficulty sourcing out various flake white tubed oil colors since Windsor Newton changed the formula of their Flake White #2. All commercial flake white tube oil paint is now predominantly zinc white - and zinc has very different qualities than lead. The heft of the tube is about the only similarity. Zinc is a poor drier and when exposed to air turns "gritty" - it "pils" under your brush. I like to think the manufacturers only include enough lead to make the stuff poisonous.

As for grounds: you might want to be sure your linen is at the very least double-primed.

We can look to sculptors as our models - the ones I know seem naturally open to the idea that everything we do is a dialog - between the model - the artist - the materials - the light - the weather - the casting process - and the best, especially those casting in bronze, understand the importance of problem-solving, engineering skills, agility, and stoicism in the face of imminent disaster.