What can you stretch the canvas onto other than a stretcher? Inexpensive stretching of canvas on a stretcher

Subframes are divided into two types: modular and ready-made. You can buy ready-made ones right away in the store, but the modular one will still have to be assembled. It is better to use ready-made ones for small paintings (30x40 cm).

pros modular subframe– if the canvas sag, wedges (which can also be bought at an art store) are driven into the grooves of the stretcher and the canvas is stretched. More often this need arises for large format paintings.

The side of the stretcher with a notch or bevel is called the front side, it is made so that the canvas does not stick to the frame.

The canvas is stretched onto the front side. If you decide to assemble a modular subframe, it is better to secure it with brackets at the joints.

To stretch the canvas onto a stretcher we need:

1. canvas,
2. stretcher,
3. furniture stapler,
4. tongs (optional),
5. hammer.

The canvas should be stretched to an elastic state, without wrinkles or sagging.

The corners of the finished stretcher need to be slightly softened so that the canvas does not tear on them; to do this, we knock a little with the side of the hammer on all four corners.
Then we cut out the canvas a few centimeters larger than the stretcher so that we can bend the canvas afterwards.


The figure below schematically shows a rectangular subframe, and the points are indicated and numbered in what order to hammer in the staples.

We start from the longer side - find the middle and attach one of the sides of the canvas with two staples.

Next, you need to hammer the bracket into the second point, i.e. stretch the canvas to the left, holding the edges of the fabric with all fingers (so that it does not tear and stretches evenly).

In general, stretching canvas requires strength and patience. Try doing this together - one pulls, the other hammers in the staples with a stapler. The fabric should be tightly stretched, but at the same time, do not over-shade, otherwise it may tear.

Point 3 – we also tighten and drive in two staples.

Then we move to the other side of the canvas and hammer in the 4th and 5th points, while stretching the canvas vertically. I use tongs for pulling - it’s convenient and my fingers don’t hurt afterwards.

Point 6 does not require any effort - just pull a little.

But 7 – you need to pull it very hard!

Next – 8 and 9 – we also pull with all fingers, but not too much, because Points 11 and 12 have not yet been scored. The direction of tension is vertical.

This is followed by 11 and 12.

Then we return to the short side with point 6, drive in extreme points without much tension, turn it over and, already pulling it tightly, drive the staples along the edges. Next, hammer in the staples evenly, with tension. The interval between staples is 4-6 cm. We do this on all sides of the stretcher.
Long side:


short:


We secure the corners with an overlap using two staples.

If you pat the finished stretched canvas with your palm, it will feel like a drum.
Ready product.

When viewed through light, the fibers must be perpendicular. It’s not quite perfect for me)), but it’s advisable to strive for it.

After the canvas has been stretched, it should be prepared for priming. For this we need gelatin. We dilute it in a ratio of 1:6 (gelatin: water). The water should be hot (boiling water), but before that you can pour a little into the gelatin cold water for 10 minutes. Then stir the mixture and cool. The consistency will be almost jelly or a little thinner. You need to cover the canvas with this twice. It is better to take a large brush (painting brush). The interval between coatings is 12 hours. After the second coating has dried, you need to lightly walk over the canvas with sandpaper (without fanaticism). Then you can cover it with primer. The soil is bought in a store and diluted with cold water until it becomes sour cream. They also need to be coated twice, only with an interval of 30-40 minutes.

After these procedures, the canvas is ready for use.

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 a modular stretcher. 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.

Stretcher- this is one of the integral parts of the picture in general. Its purpose is to hold the canvas taut so that the paint spreads evenly onto the fibers.

If the stretcher is made well, then the quality of the painting will be higher.

Imagine that the stretcher is not made firmly, then some problems may arise, for example, the painting being skewed. This can ruin the whole impression, even of a well-drawn picture; it will look, at a minimum, sloppy.

Let's figure out what the main mistakes are when making subframes.

First, connecting the corners. Many unscrupulous companies make the corner joints immovable. This is where the problem arises - it is impossible to regulate the tension of the canvas. Deformation and sagging occurs. This canvas looks ugly.

Secondly, the subframe may lack a cross. This also contributes to sagging and even tearing of the canvas. Therefore, a cross must be required!

Subframe with cross (diagram)

Thirdly, there are no bevels on internal sides strips, as a result of which the paint may crumble or “break”. Your painting will look old and worn out.

Types of subframes

You need to understand that there are two types of subframes: modular and ready-made.

Ready subframe you can purchase at any art salon or art store. But the modular one still needs to be assembled.

What is the difference?

Use a ready-made stretcher for small paintings measuring 30 by 40. But a modular one is better used for large masterpieces. The most important advantage of a modular subframe is that it can be tensioned and in case of sagging, wedges can be driven in to secure this structure. This operation is performed with large paintings.

All about the subframe

First you need to determine where the "face" or face of the subframe is.

In order to determine this side, you need to find a special notch. The side with the notch will be called the front side. It is very convenient, since the fabric does not stick to it. Once you have the right side figured out, you can stretch the canvas properly. Then secure it with staples.

What you need to stretch canvas

But how can you determine whether the canvas is stretched well?

The canvas should be stretched fairly tightly, without wrinkles or sagging.

If there are wrinkles and sagging, then you should re-stretch the canvas

So, a few tips on stretching canvas onto a stretcher.

In this figure, the points in which the staples must be secured are numbered.

First, we soften the corners of the subframe. Otherwise, the stretcher may tear through the corners of the canvas.

To prevent the stretcher from breaking through the canvas, we knock reverse side hammer on all 4 corners of the subframe

The second step is cutting out the canvas. You should cut a few centimeters more around the entire perimeter to bend the ends.

So, you need to start pinning the canvas from the longer side. Find the middle and lead to the corner. Then secure with staples.

Ask someone close to you to help you - hold the canvas.

The fabric should be stretched tightly, but at the same time do not overtighten it, it may tear

Further according to the plan, point 3 - pull it and hammer it with staples.

Move to the short side of the canvas. Score the 4th and 5th point. Stretch the canvas vertically.

But point 6 will not require any special effort. Pull gently and that's it.

Points 8 and 9 also do not require much effort; pull carefully while holding them with your fingers.

This is followed by 11 and 12.

Fasten the paper clips at a distance of 4-6 cm, secure the corners with an overlap, using two staples

Now your canvas is ready! You can start priming.

In order to stretch the canvas, it will take a lot of effort and patience, but in the end you will get a high-quality field for the flight of your imagination. Believe me, it's worth it.

Please note that all paintings in our store are checked before sale, including for correct canvas stretching. And if any defect is discovered, it must be eliminated. However, the article may be useful for those who have encountered such a problem after purchasing a painting elsewhere. The article will also be of interest to those who bought a painting without a stretcher and are now interested in how to smooth out a canvas that has been wrinkled during transportation - correct stretching will in most cases solve this problem.

First you need to remove the canvas from the stretcher. To do this, place the painting face down on a flat surface. Please note that the surface must be clean so as not to stain the front side of the painting. However, if you do get the canvas dirty, don’t worry, it can be easily washed off with a damp cloth.

The canvas is held on a stretcher using paper clips that are secured around the entire perimeter. You need to carefully remove the paper clips.

ATTENTION!

Under no circumstances use a knife for this! Is it dangerous! The knife may fall off and hurt you!

A flathead screwdriver works well to remove staples. You need to proceed as follows. You push the screwdriver under the canvas.

You grab the paperclip and lift it up. Here you need to act carefully, as you can damage the canvas.

After the paper clip comes out of the subframe a little, you can remove it with a screwdriver.

Soft wood is used to make the stretchers, so the paper clips can be removed without any effort.

Note that you should not try to remove the paper clip by trying to insert a screwdriver between it and the canvas. You will damage the canvas and may injure yourself as the screwdriver may come off.

After all the paper clips have been removed, you need to remove the frame and rotate it 180 degrees. If you don't do this, the paper clips will fall into the old holes and you won't be able to stretch the canvas.

If you unfold the subframe, then the probability of the holes matching is extremely low.

Now you can proceed directly to the stretching. The figure below shows how to do this correctly. You need to fasten the canvas one staple at a time on opposite sides of the stretcher, moving from the center to the corners. This way you will be able to avoid distortions.

You can hammer the paper clips in with a small hammer, or you can use pliers for this. When everything is done, there will be no trace left of the fact that the painting was dismantled and stretched.

And in this video you can see the whole process from start to finish.

The ability to stretch canvas onto a stretcher is an important skill for every artist. A properly prepared base guarantees convenient and high-quality work, as well as the safety of the work for years. This process is simple, but there are many requirements and nuances. By following the basic rules, you will quickly master this skill.

Why is it important to properly prepare the foundation?

A well-stretched canvas does not sag, and the threads are positioned without distortions. The tension on it is distributed evenly, creating a slight drum effect. On this basis, the primer and layer of paint will be invulnerable to fluctuations in temperature and humidity, and will withstand the natural shrinkage and stretching of the fabric without consequences.

Insufficient tension, distortion in the form of folds, distortions or waviness of the threads are typical defects of an improperly prepared base. They lead to premature peeling of the primer layer and cracking of paints. Moreover, it is weak stretched fabric does not hold the primer correctly, causing it to excessively absorb oil from the paints. This leads to darkening of colors, loss of saturation and gloss.

Tools and materials

The canvas is attached to the stretcher in one of two ways: using nails or a stapler. In the first case they use nails cone-shaped with a wide cap. Their length is 1-2 cm depending on the size of the subframe. When using this method, additionally use a small hammer And forceps for removing incorrectly driven nails.

The second method is fixation stapler(with a construction stapler). This is a simpler and no less reliable method. The staples should be driven in at an angle of 45°. This way they will ensure better fixation of the canvas and prevent the formation of folds and slipping of the edges.

The second method is fixation with a stapler

Regardless of which method the canvas is attached to, special forceps. This is a tool with wide rubberized jaws, comfortable handles and a rounded stop. With its help, you will achieve uniform tension on the canvas without any extra effort, avoiding distortions of the threads, torn canvas and dents on the wooden stretcher.

Also useful during work scissors And pencil.

The canvas is stretched in a dust-free room, having previously covered the work table with cloth, paper or covered with polyethylene.

Preparing the pattern

The size of the canvas is measured taking into account the bend of the canvas at back side subframe Narrow edges make it difficult to stretch the base and re-tighten the painting in the future. The optimal width of the edges is from 5 to 10 cm, based on the size of the subframe and the thickness of its slats.

Correct tension technique

The front side of the stretcher has bevels or chamfers, thanks to which the canvas does not come into contact with the entire surface of the frame. Before starting work, it is important to make sure that the canvas is stretched on the side with the bevels.

Drive the first staple or nail into the middle of the stretcher bar, the second - from the opposite side, pulling the canvas with your fingers.

Do the same on opposite sides, controlling the tension force so that the transverse and longitudinal threads of the fabric remain without distortion.

Canvas stretching

Drive in three staples one at a time on each side of the subframe. The result is a basic cross-shaped tension of the web.

Carry out further tightening with tongs, pulling the fabric without much effort or jerking. Drive the staples sequentially, making sure there are no distortions.

The optimal distance between fasteners is 4 cm. Staples or nails must be driven strictly opposite each other on each side. This will ensure stable tension without warping or other defects.

Fold and secure the corners of the canvas, making sure that the folds are even and do not protrude beyond the edge of the stretcher.

The edges of the stretched canvas can be left uncut, trimmed to fit the width of the stretcher slats, or neatly folded in half and secured with staples.

The ultimate goal is to achieve a tight and stable tension. The warp and weft threads must be free of distortions and wavy curvatures. Otherwise, cracks in the primer layer and damage to the paint will occur in this place over time.

Two types of tension

There are two standards for stretching canvas on a stretcher - classic and gallery. In both cases, the canvas is fixed using standard technology, but with minor differences.

In classic tensioning, the staples are driven into the end of the subframe. It is assumed that the work will be framed, which will hide its edges.

Gallery stretching is designed for frameless painting. The image continues on the sides, so the canvas is secured with staples at the back.

Stretching canvas on different types of stretchers

There are two types of subframes - with fixed corner connections and prefabricated ones with wedges.

Blind structures. They are offered ready-made. Before starting work, such a subframe does not need to be knocked down and checked for distortions. But if the painting sag over time, it will have to be re-tightened.

You might also be interested in: It is important to know how:

Prefabricated subframe with wedges- This classic version. The structure is assembled independently. There are additional grooves for wedges in the corners of the subframe. With their help you can control the tension of the canvas. If the painting sag, there will be no need to retighten it; to tighten it, just move the wedges a little. The design of such a stretcher is optimal for long-term storage of paintings.