Linen on panel verses stretched linen
 

I am considering trying some of my large (30x40") figurative work on Raymar linen panels instead of streched linen. Does anybody have any experience with these panels (or any other linen on panel) in larger sizes?? Of course, Im concerned with weight, and I want something gallery/customer friendly.


Any thoughts or shared experiences will be much appreciated.
Thanks,
Mark

Hi Mark

I always work on linen (or canvas) stretched on panel - I've always preferred a firm surface to work on and cant get along with smooth panels of any kind.

I must admit I generally get them made up by a professional canvas maker, especially for larger sizes (it's a job I dont relish and find its much better done by a professional and frankly worth every penny its such a stressful job to get absolutely right I think - let alone having a clean flat surface big enough to produce the large scale versions)

I've used up to 48" x 60" versions with no problems so far and as I'm using approx a 5mm marine ply as the support it doesnt end up too heavy at all. In terms of ease of hanging, I use a heavy frame so it gets additional support there but panels can be cradled if need be to counter warping (theres a thread somewhere in the forum about this...) and can be fitted with wall mountings so as to avoid the need for a frame if preferred.

Recently I have just started to use Dibond aluminium panel (you have a similar product in the states called ABS I think) which I like a lot certainly at up to about 30" x 30" its worked very well I've stretched the linen myself, I use a few layers of acrylic gesso as the adhesive (its stable and I'm told can be removed later if need be - and I have done a few tests to try this without too much trouble) but if you choose to stretch your own and don't fancy gesso you can get hold of some BEVA archival adhesive as used by fine art conservators (the process is detailed here: http://www.welshartsarchive.org.uk/a...els-burton.htm)

Pheww... hope thats a start anyway!

Best wishes
Mary-Jane.

I'd recommend professionally done larger sizes with BEVA. Of course, it could be because I am a klutz, but I tried to use BEVA film inbetween a substrate similar to Dibond and my canvas, and ended up with a lot of bubbles. If I go that route in the future, I will find someone who makes the darn things. We have several companies noted in these archives who do that.

Dibond and resin-core, aluminum overlaid laminates are not suitable for "dry mount" methods requiring heat. The material "bubbles" because applying heat causes the resin cores to off-gas, causing bubbles and delamination.

Beva-gel is a "paste" suitable for maroflage, essentially the problem to be solved in this instance. It's "spendy", and all told, not much different from water-reducible vinyl/acrylic adhesive compounds used in construction for setting tile. I've used these adhesives, have a few samples in full weather (going on two years) and it seems quite suitable.

The using character including the ability to remove a mounted canvas from panel, reversing the adhesive with modest heat is pretty much the same as Beva-gel - price, about 1/5.

Thanks for the info, Richard. I'll need you to translate some terms, though. What does "spendy" mean? And "maroflage"? I'm afraid I'm not up on these terms. Thanks.

My 'plogies, Julie for using local slang. "Spendy" means expensive.

"Maroflage" is the term for attaching canvas to other substrates. An example is the murals Sargent produced for the Boston MFA and Public Library, which were painted in his London studio on stretcher frames, shipped to the site, then attached to the walls of those buildings. In those days, the adhesive was a paste of white lead and varnish; the wall would be "plastered" with the lead mixture and the canvas applied over the wall, using pegs to keep it in place 'til the adhesive set up.