For all of our custom stretched canvas, we utilize our own proprietary T-Bar design based on the concept of opposing forces. Since the T-Bar is made up of two parts, where the grain of one differs and perhaps runs exactly opposite the other, any warping tendencies are either greatly decreased or eliminated. This provides greater stability than bars constructed in one piece. As the outer face bar is perpendicular to the rib, it provides support, and an opposing force against any tendencies for warping.
Our T-Bars are constructed from select kiln-dried Monterey Pine (Pinus Radiata), harvested from renewable sources, and is uncompromised by knots or finger-joints. The ribs of these stretcher bars incorporate tight-fitting double mortise and tenon joints while the face bars are solid corner to corner.
Also, one end of each of our T-Bar faces are notched at just the right angle so that the canvas fold at the corner is allowed to be embedded into the bar which allows for a clean and flush finish. This Clean Corner feature is built into all of our stretched canvases and is also available for free on our stretcher bar sets if desired.
This is the typical depth for gallery-wrapped canvases. It displays rather well on its own with no additional framing, especially when the edge is painted black. However, this size also works very well with float frames for a more sophisticated look.
For larger canvases, the extra depth provided by our T2 profile gives more strength and a beefier look, without adding excessive weight.
Bigger canvases need deeper bars, both for aesthetics and integrity. Measuring 2.5 inches, the T2F is very solid, stretched with a heavy canvas. For even better stability, we fit the T2F with deeper cross-brace members (1.5" by 1.5"). When all bolted up, this makes a superb, rock-solid frame.
Starting at 36", cross-braces are added for better support. But, ours are not the typical "passive" braces. Our cross-braces are "active" in that they completely lap the rib of the T-Bar and are bolted to it making the entire frame one homogeneous unit. The stretcher bars are thereby prevented from twisting inward by the force of the canvas. This counter-force is not available with typical cross bars. Yet, our bars are also key-able. Simply loosen the bolt, use a hammer or a c-clamp to sink the key deeper and re-tighten the bolt.
Note: For easy shopping, our web products are limited to 8' lengths. Beyond that, the stretcher bar frames would be constructed with seams and are available by special quote. Prices are comparable to our web products.
Claessens Belgian Linen, 11.3oz Oil-Primed
This linen roll features a very fine texture, 2 layers of oil primer. The thread configuration is 23warp/23cm weft, and before priming it has weight of 10.50oz. It is the ideal choice for portrait and detail style painting.
Fredrix 574 Cotton, 9oz Acrylic-Primed
Also know as Knickerbocker, this canvas has a smooth, fine texture, perfect for smaller paintings and fine detail work.
#12 Cotton Duck, 15.5oz Triple Acrylic-Primed
This is a popular, general purpose canvas with good strength and smooth surface. It's heavy enough for rather large paintings but fine enough for smaller works as well.
#10 Cotton Duck, 17oz Triple Acrylic-Primed
Heavier than #12, this canvas has the added strength to stand up to very heavy paint applications and for larger works.
Caravaggio Polyester, 7.5oz Double Acrylic-Primed
This synthetic canvas has a smooth consistent weave with good strength and optimum archival qualities.
Stretching (for Stretched Canvas only)
Some aficionados swear by the traditional copper tacks. There are some respected conservators that say they are indeed better. For the rest of us, there's the new-age and entirely satisfactory staple. Now, if you have any old canvases hanging around, you can easily see that they are very susceptible to rust, even if they are zinc-coated. For that reason, we only use stainless-steel staples on our canvas products.
Edge Treatment (for Stretched Canvas only)
Most artists, producing works on gallery-wrapped canvases with the intent of hanging the work unframed, typically paint the edge, most often black. We can save you a lot of time by doing that for you. Keep in mind that for an oil-primed canvas, we will use oil paints (so please allow additional time to dry) and acrylic for the gessoed canvasesm both in a nice gloss black.
Canvas Surface Toning (for Stretched Canvas only)
Nobody likes to paint on a blinding stark white surface, but why go through the trouble of toning the canvas yourself? We offer to perform this tedious task for you. You can choose from the following tones:
- Raw Umber
- Burnt Umber
- Burnt Sienna
- Yellow Ochre
Each of these tones are applied as a light to medium tone.
Note: If you selected an oil-primed canvas, the oil-based toning will require additional time to dry.
This isn't your run-of-the-mill shipping box we're talking about here. Our unique Fat Canvas shipping cases are custom-fitted for your canvas with the intent of providing your art patrons the means to protect their investment while moving, storing or even when loaning fine works out to friends. The painting will be cradled and cushioned within the case and getting it in and out is a snap.
- Standard - Very study and crush resistant, a step above what's normal. (Stretcher Bar Sets are, by default, shipped unassembled in a bundle to save shipping costs.)
- ArtPorter - Reinforced faces for extra protection and shipped stretch-wrapped.
- ArtPorter Plus - 3" of extra space for works that are headed to the framer. If you're going with a huge-ass frame that just won't fit in that, simply let us know, and we can go even larger.