Pinholes in Claessens?

Chris Saper · 06-01-2006, 11:19 PM

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.

Julie Deane · 06-02-2006, 08:37 PM

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.

Michele Rushworth · 06-02-2006, 10:53 PM

I've been using Claessens, too.

What does everyone else use?

Terri Ficenec · 06-03-2006, 02:10 AM

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. . .

Richard Bingham · 06-03-2006, 12:59 PM

Quote:

Originally Posted by Michele Rushworth

I've been using Claessens, too.

What does everyone else use?

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

Claudemir Bonfim · 06-03-2006, 01:05 PM

I use linen primed by Fredrix.

Julie Deane · 06-03-2006, 01:17 PM

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.

Mari DeRuntz · 06-08-2006, 11:58 PM

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.