When we think of oil painting, one immediately thinks of canvas, it must be said that today is the rack as usual, although the carriers were once the oldest wood. They are lighter than most rigid materials. There are however many other media that can be used.
THE STARS CALLED "STARS"
From the sixteenth century, it gradually replaces the wooden support, and from the seventeenth century it became the medium par excellence of the oil painting.
Nowadays, the paintings are sold already stretched on frames and are dressed with keys, sold commercially in standard sizes. The unstretched canvas comes in a roll and it is possible to buy it already coated, or gross, per meter. It is cut to size and then the tender chassis. Or mounted on rigid board.
(The chassis must contain keys that will adjust the tension of the canvas depending on the degree of humidity in the air).
The canvas has the advantage for transport can be rolled.
The quality of the painting depends largely on its weave, a tight weave is preferable to a loose weave, (the fabric is easier to prepare and does not stretch during and after work). Depending on the number of nodes present in the weaving, the fabrics require more or less a primer.
Many references exist stars with different coatings:
-THE LINEN.
Flax is known since ancient Egypt and used in combination with sheets of papyrus as a support to the paintings of mummies.
The linen is of excellent quality, it is often the most used and is available in several grains. The grain of a fabric will be chosen according to how we want to make the subject. (Example: a fine grain preference for a portrait). Its only flaw is its cost. She is very strong, absorbent and insensitive to changes in humidity.
-cotton canvas.
More economical, often has a fine grain, it is less durable than linen and tends to relax, it will be preferable to reserve it for small sizes.
-burlap.
Since hemp cloth, are often used as supports for paintings finer canvases are rather rough and give a dull appearance to the paint, but their particular coloration to diversify the creative process of the artist.
-CANVAS HEMP:
The fibers are relatively coarse in all cases more than those of cotton, but are more resistant, it is well suited to strong impasto.
THEM MIXED FABRICS (cotton linen)
Their default is to react badly to moisture distension can occur.
SYNTHETIC-CANVAS: (often polyester). Economically
ideal, has the disadvantage when shocks to keep track and is impossible to erase unlike linen or cotton, it is sufficient to anchor on the back to catch the shock.
OTHER MEDIA ARE USED:
-PAPER: In
flip, block or roll, the paper designed specifically for oil paint comes in many ways:
More economical than cloth It multiplies the tests at a lower cost, there are now some papers near the texture of the canvas, acid free, they offer excellent retention over time. His weight is thick (260/300g/m2), it can work the diluted paint, as impasto.
-CARTON:
Perfect for practice and explore new textures. But it must be prepared with a coating.
IT canvasboard:
The next painting is of cotton canvas is an ideal medium for a study. Easily transportable it is preferred for use outdoors.
PANEL-WOOD (Mahogany, beech, walnut, poplar or oak).
Appreciated for its smooth surface. It is used completely dry and if possible non-resinous. Mahogany veneers are popular for their good absorption qualities. He is advised to take them quite thick. In the case of a medium drink less thick, it is best to glue the back also to prevent the wood works and keeps its shape. It is necessary to dry the medium before use to avoid any negative reactions can occur (swelling due to moisture).
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