Polyflax

[Peter J. Fasi]

Any experience with a canvas called Polyflax? I believe it's by W & N.

[Marvin Mattelson]

Fredrix makes a canvas called Fredrix

[Tom Edgerton]

I've used the Fredrix Ultrasmooth also with fine results, but I agree with Marvin that I wouldn't use it for commissioned work. Great to practice on. Also has the advantage of being less subject to variance in tightness with changes in humidity, due to the poly content I guess. Might be easier thus for students to learn stretching with. Here in the humid South, our canvases go from banjo tight to fairly slack, depending on the season, which can be frustrating.

The poly content balances the shorter cotton fiber length, compared to linen, so has good strength for a cotton canvas.

[William Whitaker]

Peter,

Fredrix makes an acrylic primed poly canvas called Red Lion Polyflax. It has a uniform weave and won't expand or contract from humidity.

I've used it, but I've always added one or two more coats of acrylic gesso applied with a knife to fill the weave.

I'm back to using linen again.

Tom,

I apply a coat or two of either Gamblin's PVA size or a good quality acrylic gloss medium to the BACK of a new linen canvas and then stretch it even tighter after it is dry.

I staple a piece of foam core board on the back of the canvas, covering the entire canvas. My linen canvases no longer move with the humidity.

Bill

[Peter J. Fasi]

Thanks for the info!

[Peter J. Fasi]

Why not use it for commissioned work?

[Timothy C. Tyler]

I know some serious pros have used Poyflax from time to time. It has no interesting soulful tooth or variety. I simply don't like how it feels. It may last longer, not be as absorbent with humidity changes, and may not rot nearly as fast as linen, but I don't like the way it takes paint. Maybe one just needs to get used to it. It feels wimpy.

I still have some that I try to use for small panels and studies. Everytime I do, it causes me some regrets.