What to do to prevent the canvas from sagging. Causes of damage to easel paintings

The stretcher serves as the basis for stretching the canvas. There are 2 types of stretchers: modular(prefabricated, wedge) and deaf.
Modular (prefabricated, wedge) stretchers can be bought in almost all art stores. They are sold in slats of 2 pieces (in increments of 5 cm in length) and are slightly more expensive than blind stretchers.
Modular subframes have a huge advantage - their corners are not rigidly fastened and if they sag, the problem can be easily and quickly corrected at home - you just need to knock out the wedges (Figure No. 6). This must be done very carefully so as not to damage the canvas with a hammer or overtighten it.
In blind stretchers, the corners are rigidly connected and if the canvas sag, it will have to be re-stretched. Canvas reupholstery should only be done by a specialist!
As a rule, for a medium-sized painting, a stretcher with a thickness of 1.8 cm is used, and for a gallery stretch - 3 cm.

Subframe and preservation of the painting

A low-quality subframe negatively affects safety. Paintings by modern painters very often have bad stretchers. Unfortunately, not all artists give great importance quality of the subframe.
Defects in the stretcher do not allow the canvas to be properly stretched over it, which ultimately leads to the destruction of the soil and the painting layer of the painting.
A high-quality stretcher is the basis for the long-term preservation of paintings.

Let's look at the main defects of the subframe

• A blind connection of corners, which does not make it possible to regulate the tension of the canvas, causing deformation of the canvas and its sagging.
• Artists nail plywood triangles to the “blind” corners of the stretcher, which make the stretcher even more rigid and motionless.
• No cross or crossbar - for paintings big size. A subframe with a cross or crossbar will not warp and the corners will remain straight.
• No bevels on internal sides stretcher, causing creases and screes of the paint layer to occur.
• It is better to choose a stretcher that has all points of possible contact with the canvas rounded (all sides on the front of the stretcher), so you will avoid serious damage to the canvas during transportation.
• A fragile stretcher that distorts when stretching the canvas.
• Step-like, loose connection of planks at the corners and on the cross. With this defect, the canvas is deformed, creases and screes of the paint layer appear, and it is impossible to tightly connect the painting to the frame.
• The subframe is made carelessly, from raw wood, as a result of which, after a fairly short period of time, the subframe will “lead” and will have to be replaced (in some cases, the frame will also have to be replaced).
• The subframe is made of wood with knots. Even a well-made subframe that has knots will eventually “lead” and will have to be replaced.
• Subframe with a grinder beetle. Thanks to the activity of these insects, the tree disintegrates, turning into dust.
• The subframe is contaminated with mold.

Tools

To stretch the canvas you will need a stapler with staples (Figure No. 1), a special tool for stretching paintings (Figure No. 2), a tape measure and a hammer.

Canvas Tension Strength

Untreated canvas is not stretched too much, because... It will stretch considerably during priming. The final touch will be stretching the primed canvas by tapping wedges in the corners. For a blind stretcher, it is advisable to use primed canvas. It must be pulled tightly, like a drum.

It is strictly not recommended to stretch canvas when wet., since the threads of such a canvas are irrevocably deformed. Cotton canvases or canvases with a mixture of cotton suffer from wet stretching many times more. Wetting the canvas has Soviet roots, when our artist was dealing with hard and brittle canvases. Such canvases were so inconvenient to use preparatory work, that they were invented to “wet” them to facilitate tension on the subframe. At the same time, such a practice has never existed in Europe.

Stretching canvas on a modular stretcher

• Measure the diagonals of the subframe, they should be the same!!! Secure the corners with a stapler (2 staples per corner).
• You need to stretch the canvas with a tool to stretch the paintings evenly with the same force.
• When stretching, do not wet the canvas on the unprimed side, this may lead to peeling of the primer.
• Pull out the brackets holding the corners of the subframe.
• Fold and staple the excess canvas (Figure No. 6).
• Insert two wooden wedges into the grooves at the corners of the subframe and carefully tap them with a hammer (Figure No. 6).

Stretching canvas on a blind stretcher

• If possible, it is better not to use such a subframe at all!!!
• Check the diagonals, they must be the same!!!
• Place the painting on the stretcher exactly horizontally. If you simply have unprimed canvas, it is important to position it so that the direction of the canvas threads is parallel to the edges of the stretcher.
• Using a stretching tool, staple the canvas on 4 sides, as shown in Figure 3.
• Secure the canvas with a stapler every 2-3 cm around the entire perimeter of the stretcher, moving from the center to the edge, as shown in Figure No. 4.
• You need to stretch the canvas with a tool for stretching paintings evenly with the same force and quite strongly, because if the canvas sag, you will need to re-stretch it.
• Continue stretching the canvas onto the stretcher as shown in Figure 3. At the corners, the canvas is carefully tucked and stapled.
• Fold and staple the excess canvas (Figure No. 6); you will also need it when reupholstering the painting.

Gallery stretched canvas

Gallery-stretched canvas is usually used for frameless painting. At gallery stretch the canvas is fixed with reverse side subframe and neatly wrapped at the corners.
At home, it is quite difficult to stretch canvas in this way, so it is better to contact a framing workshop that has professional equipment - a gallery stretching machine.

How to buy ready-made canvas on a stretcher

• Do not buy ready-made canvas on a solid stretcher.
• Carefully inspect the subframe for defects.
• Check the softness of the stretcher material; if the wood is too soft, then do not buy such a canvas. Such a subframe is easy to identify - it is two times lighter than a regular subframe.
• Do not buy ready-made canvas on a stretcher "Sonnet" from the manufacturer "Nevskaya Palitra". If you have canvases with a stretcher from this manufacturer, we strongly recommend replacing the stretcher immediately.
  The stretcher is modular but made from very soft wood that is softer than pressed paper. If you want to tighten the canvas, then nothing will work - the wedges fit into this tree like in butter room temperature.

	drawing No. 1 A stapler for attaching canvas to a stretcher. If you often stretch pictures, we recommend buying a professional stapler Rapid R153 or Rapid R353. This stapler is suitable for any type 53 staples, even the cheapest ones, and it is very reliable - our stapler is 20 years old and still works.
	drawing No. 2 Canvas stretching pliers
	drawing No. 3

Probably, artists will understand me if I say that painting the same sketch is much more pleasant on a canvas that you yourself stretched on a stretcher, primed yourself to suit your specific tasks. After all, when you buy ready-made primed canvas in a store and then stretch it onto the canvas, the tension is not always good. And the soil itself, unfortunately, is often of poor quality. Once I bought such a canvas in a salon for a lot of money. And when I started writing, the paint layer began to dry out. This is when the paint darkens, ceases to be saturated in color, and when it loses its gloss. The ideal canvas should be stretched so that a slight drum effect is created (this is after priming). If the canvas sags, then this is already bad. The soil should not crack. It must hold the paint so that it does not peel off over time. Well, the paint layer should not dry out, i.e. the soil should not excessively absorb oil from the paint layer. All these problems can be solved at home, with your own hands. Next, I will consider the first part of the tasks: how to properly stretch the canvas onto a stretcher? (I wrote about subframe designs).

So, how to properly stretch canvas onto a stretcher? The canvas should be stretched using special tongs with wide lips. But, I must say, I rarely use them. Basically, I do everything by hand. The canvas is attached to the stretcher either with small nails or a stapler. The hats may not hold the fabric, so the nails should not be driven completely into the wood of the stretcher. Hammer it halfway. And bend the rest of the part with a hammer.

You need to start from the middle of the subframe rail. Drive the first nail into the middle. Then, with your fingers, pull the fabric from this nail to the edge, to the corner of the stretcher - now drive in a second nail, next to the first. The distance between the nails should be on average 5 cm. Next, drive in the third nail in the same way. When three nails are driven in, you can move to the opposite side of the subframe. To the side opposite the first. The first nail is also driven in here in the middle. Just before driving it in, you should try to stretch the fabric well. When the canvas is stretched and the nail is driven in, you can proceed to the neighboring nails from this trio. But under them, the canvas needs to be pulled not only towards itself, but also to the sides.

When we have stretched the canvas between the first pair of opposite sides of the stretcher, we can proceed to the remaining two. As a result, we will get a cross-shaped tension in the fabric.
So, we have made the basis. Now we continue to stretch the canvas from each three nails to the corners of the stretcher. It is better to do this first on the left, then on the right. Again on the left, then on the right. This will result in a more even tension. The canvas, now, needs to be pulled not only towards you, but also towards the corners of the stretcher.

The point of the whole procedure is to evenly tension the threads of the canvas. And so that the tension is sufficient. After sizing and priming, the canvas should not sag.
So, if everything worked out and you achieved your goals, then all I can do is congratulate you on your successful first experience in preparing canvas for painting!

Alexey Epishin.

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Probably, the artists will understand me when I say that writing the same essay, much nicer on the canvas, which you yourself pulled on a stretcher, he primed for their specific tasks. After all, when you buy ready-primed canvas in the store and then pulls it onto the canvas, the tension is not that always good. Yes, and the ground is unfortunately often come across poor quality. Once I bought the canvas in the cabin for a lot of money. And when I began to write, the paint layer became dry up. This is when the paint darkens ceases to be saturated in color, and when it loses its luster. Perfect canvas to be stretched so as to create a small effect of the drum (this is after priming). If the canvas is slack, then it is bad. The soil should not crack. He should keep the paint so that it does not flake over time. Oh, and a layer of paint must not dry up, t. E. The soil should not unduly absorb the oil from the paint layer All of these problems can be solved at home, with his own hands. Next, I will discuss the first part of the tasks: it is — how to pull the canvas on a frame?
So, how to stretch canvas on a frame? Pull the canvas should be special forces with wide “lips.” But I must say, I rarely use them. Basically, do everything by hand. Canvas is attached to the subframe or small nails or staples. The cap can not hold the fabric, so cloves should not be driven into wood stretcher completely. Drive a half. And the rest of the bend hammer.

Should start from the middle rack of the subframe. Hammer the first nail in the middle. Then, pull the finger tissue from this stud to the edge, to the corner of the subframe - now the second drive in the nail, near the first one. The distance between nails should be an average of 5 cm. Further, the hammer in the same manner, the third nail. When the three nails are hammered, you can move to the opposite side of the subframe. To the side opposite the first. There are also hammered the first nail in the middle. Just before he should try to drive well to pull the fabric. When the canvas is stretched and hammered a nail, you can begin to adjacent studs of the trio. But for them, you need to pull the canvas not only to themselves but also to the sides.
When we pulled the canvas between the first pair of opposite sides of the subframe, you can proceed to the remaining two. As a result, we get a cross-shaped tension fabric.
So, we made the foundation. Now continue to pull the canvas from each triple nails to the corners of the stretcher. Better to do it at first left, then right. Again the left, then right. So get a more even tension. Canvas, now need to pull not only to themselves but also to the corners of the stretcher.

The meaning of the whole procedure is uniform yarn tension of the canvas. And so the stress is sufficient. After sizing and priming the canvas should not sag.
So, if everything worked out and you have achieved the objectives, then I can only congratulate you on the successful first experience in training canvas for painting!

Buying canvas in a roll is good opportunity save on the cost of the product itself and on its shipping. From us you can purchase paintings both in rolls and on a stretcher. In the first case, even the shipping itself is much cheaper.

But the canvas cannot be hung on the wall just like that, without a stretcher. It is the stretcher that holds the canvas in a well-stretched state. To ensure that the canvas does not sag and the painting retains its attractive appearance, we suggest using the following instructions.

How to stretch fabric onto a stretcher

The following materials will be required:

• subframe made of slats;
• crosses needed to eliminate distortions and deflections of the main bars, as well as increase the strength of the structure;
• set of staples for stapler.

You will also need the following tools:

• regular roulette;
• hammer (especially if you plan to use nails);
• wood stapler
• special tool for tensioning.

In general, there are two types of stretching and it depends on you which one you have to give preference to: gallery or classic. The first involves frameless design, when the canvas is stretched so that the image continues on the sides. I must say that if it is fixed on the back side of the stretcher and neatly wrapped in the corners, then everything looks great even without a frame. Therefore, today this method is considered very stylish and modern. This kind of design can be found quite often.

There are also classic look stretching, when the ends remain white, and the picture itself is prepared under baguette frame. Like everything classic, this method will always be popular. In any case, it is important that the frame is made exactly to the size of the canvas, and that the timber is dry, without cracks or knots. The fibers should be directed lengthwise.

Size matters

In modular versions of the subframe, the slats are moved apart using wedges, which are made from dry hardwood. There are main slats that have external chamfers, and their internal bevel is approximately five degrees, which protects the image from damage.

The stretchers are strengthened with crosses, and then, so that the canvas does not come into contact with them, the picture is fastened to the main slats at a distance of 5 mm from the plane of the canvas. The ratio of the thickness and width of the stretcher slats can be different - it depends on the size of the larger side of the picture.

Almost 200 years ago, standard sizes for paintings appeared, thanks to which they can be classified. All formats are divided into three groups. For example, the most elongated format is called “marina”, a rectangle that approaches a square is called a “figure”, and a “landscape” is medium view format.

There are also markings that depend on the length of the longer side. For example, sizes 16x54 are called 15F, sizes 65x50 are called 15P, and 65x46 is a format numbered 15M. There are a total of 50 international sizes that fall within the listed standards. The standard row of paintings also corresponds to the standard dimensions of the stretcher frames.

Steps to success

Step-by-step instructions depend on which subframe you are using. If it is modular, then you will need to follow several steps described below.

1. Measure the diagonals of the subframe. If they are the same, then you can staple the corners using two staples for each corner. In order for the staples to be driven in well, the stapler must be pressed well and then driven in. It may happen that the staple is not driven in - then you need to twist the round knob on top and thus adjust the stapler. Nails can be used instead of staples. Only they cannot be hammered in completely. You need to hit it obliquely to bend the head to one side, and then the canvas will not fly off the nails in the future. To make sure everything is done symmetrically, after the first staple or nail, turn the canvas upside down, pull it a little and hammer it right in the middle of the opposite side.
2. Place the design evenly on the stretcher so that the threads of the canvas are parallel to the edges of the stretcher.
3. Using a special tool, staple the canvas on all sides. There is also a faster option: wrap the stretcher in canvas and, stretching it quite tightly, drive a staple in the center.
4. Secure the canvas with a stapler every two to three centimeters, moving from the center to the edge. It is necessary that the tool is tensioned with the same force. After this, continue to stretch the canvas, carefully tucking it at the corners and shooting it with a stapler.
5. Pull out the brackets that hold the corners of the subframe together. Fold and staple the remaining excess canvas.
6. Insert two wooden wedges each into the slots at the corners of the subframe and tap them with a hammer, but carefully.

If you stretch the canvas onto a blind stretcher, then you need to do everything as indicated in the first paragraphs for modular subframe. It is important that the canvas is stretched by the tool with the same force and quite strongly. This is necessary, because if the canvas sags, you will have to re-tighten it again. The canvas is also folded at the corners and the stapler is adjusted. Then the excess canvas that you will still need is folded and secured.

The subframe can be secured to the frame using metal corners 13 mm wide and 10 mm high. The corners can be mounted on a subframe or on a frame (depending on whose height is greater - the subframe or the frame). If the subframe protrudes above the level of the baguette, then you can use D-shaped plates to secure it. You can also use Z-shaped brackets (for example, to fasten double frames), which are attached to the frame with screws.

You can watch the process of stretching canvas onto a stretcher using the gallery method in the following video:

Primary requirements

1. Uniformity. The main requirement is not to distort the picture, so as not to distort its position. You also need to distribute it as evenly as possible across width and height;
2. The frame frame should not sit tightly on the subframe. Otherwise, due to changes in temperature and humidity, the dimensions of the baguette will change, and it will begin to put pressure on the stretcher, which is why the canvas will then sag unsightly.

There is another way

The stretcher is a very important part of the painting, but stretching the canvas onto the stretcher yourself is an option for the handy and economical. If you don’t want to waste time or you doubt your abilities, then you can purchase the painting already on a stretcher. The masters will do this for you and their level of professionalism will ensure the tension of the required quality, and you will be able to immediately hang the purchased picture on the wall.

Today we will tell you something that will be interesting and useful for all art lovers to know about the components of a painting on canvas, which is made in oil, acrylic or tempera. I will also share information that mainly only the artists or restorers themselves know. So, the main parts of the painting are the canvas itself, on which the painting is applied, a stretcher and a frame.

It is important to know the difference between a frame and a subframe. The fact is that the frame plays a decorative function, so, in principle, in some cases it may not exist, in some special cases the painting looks self-sufficient without a frame. The stretcher is a frame for stretching the canvas.

But what is this information for, you ask, and what to do with it? Since we are also for the practicality of knowledge, we come to the main thing.

The canvas must have sufficient tension. None good picture cannot be painted on a sagging canvas. If over time the tension of the canvas has become too weak, or small folds have appeared on the canvas in the corners, in some cases you can solve this problem yourself.

Having an idea of ​​what a subframe is, you can easily find the right element. Turning the picture towards you back side, You can determine what type of subframe it is, it’s very simple, there are only two of them: sliding and blind. By the presence of grooves in the corners of the subframe, you can determine whether the subframe is moving apart or not.

As a rule, wedges can already be found in these grooves. If there are grooves, but no wedges, don’t worry, you can buy them at any art store for little money.

Now you need to break the picture on wedges; to do this, you just need to tap the end of the wedge with a hammer, and the stretcher will begin to move apart. Try to ensure that all sides are broken equally so that the tension of the canvas remains uniform, which will prevent later

In addition, it should be noted. After reading this article and encountering a description of this problem, you begin to understand one important thing - the picture frame should not be flush with the dimensions of the stretcher, otherwise there will be nowhere to break it. Unfortunately, any painting painted on canvas will sooner or later reach this stage. Therefore, you should not buy a ready-made frame for a painting on canvas; you will have to order it again from a framing workshop, specifying that the size of the baguette is not 40x50, but 40.6x50.6. Good employee When accepting an order, the framing workshop will add a sufficient number of millimeters if you specify that the picture needs to be divided into wedges.

Thus, you can save time and money if you are sure that everything will work out for you, because in fact there is nothing complicated in this operation. But you need to understand that when the canvas already has serious deformations, you need to contact a restorer.

In the case when coattails have appeared on the surface of a painting that pleases your eye, it is better not to delay resolving the issue - this can cause even greater complications. And if the stretcher turns out to be fixed, there is only one way out - change the stretcher and re-stretch the canvas, in which case you will need a specialist.