What is it
The word '"canvas'" does not refer to any specific material in the field of textile fabrics, but is applied to a number of closely woven materials of relatively coarse fiber, such as are used for sails, tents, awnings, etc. In painting, the term "canvas'' generally implies a coated fabric, ready for use; the word is also employed by commentators to mean a finished oil painting. Practically every closely woven textile has been utilized at some time as a support for paintings. Legend tells us that linen canvas stretched on wooden frames was first used for paintings of religious subjects to be carried through the streets in processions, especially in Italy. However, cloth as a support for painting was known to the ancients, and it was a logical material to turn to when artistic oil painting was introduced.
Linen
The best linen in the world comes from Flanders, Belgium, and the Netherlands as well as Eastern European countries. A variety of lesser quality is available from Asia. such as sailcloth and twill, came into occasional use as a flexible support for oil painting after the commercial production of cotton. entirely inferior to linen; they stretch poorly, they tend to give surface, and most of them do not take the size or priming well. the more expensive, closely woven, heavy cotton duck is suitable for the best natural material for painting, however, is a closely woven liñen with the threads of warp and woof equal in weight and strength. men cotton mixtures are not recommended; their unequal absorption and discharge of atmospheric moisture will cause variations in tension. Jute becomes very brittle and lifeless on short aging and should not be used.
Linen canvas is distinguished from cotton by its natural linen color (cotton is white or very pale) and by the irregular character of its weave, which is the result of the round shape of the linen fibers. This characteristic persists through the layers of paint, imparting a sense of depth which is desirable to many painters.
The cheaply prepared or primed cotton canvas presents a flat and flimsy surface; it could really be called an imitation of the original, and its use may possibly be justified only in cases of extreme economy, and shortage of supply. It is not particularly recommended for art school or practice sketches, as works of this nature often become valuable examples of the student's development as an artist. On the wall, and especially in the company of linen canvases, paintings done on this cheap grade of canvas can usually be identified at a glance.
Because of the high cost of pure linen, the canvas maker is encouraged to do the best job possible in priming, and not to lower the canvas's value for the sake of the small difference in cost of the coating. On the other hand, with the cheap cotton canvas and its low competitive selling price, the quality Painting is likely to be skimped; thus the average cotton canvas is usually a lower-quality product than the better grades of primed linen.
What is the Choice
Both linen and heavy cotton duck are available already primed with either Acrylic polymer ground. Ready-made canvas has the advantage of being prepared in shops that are in continuous operation and are well made by skillful workers so that a flawless, even product is better grades, the priming has just the right degree of absorption ability and is well attached to the linen by being forced into the weave.
Using a minimum amount of material. The homemade product also has its ages; the materials can be selected solely on the basis of the artist's permanence, suitability, etc., unhampered by certain considerations.
During the early nineteenth century a smooth canvas with a diagonal or twill weave was in wide favor, especially for portraits. The work of several of our most prominent early American painters can be recognized because they habitually used a canvas of a particular weave. Prior to the introduction of mechanically produced close weaves, a hand loomed square weave of coarse single strands was used; this was sometimes a very open weave and required a filling of thick glue.
Ready-Made Canvas
Prepared oil-primed artists' canvas is sold in two grades, "single-primed and double primed," and the controversy as to which is the more desirable seems to be unending.
Double-primed is more expensive and more rigid and hence to the majority is considered better. Some painters, however, believe that the single-primed has greater longevity because it is more pliable and limber; old canvases with a thin coating of paint are frequently found to be much more supple and less subject to cracking when handled than those on which the coatings are thicker.
How to Stretch a Canvas Properly: A Step-by-Step Guide for Artists
Stretching your own canvas is an essential skill for painters who want full control over the surface, tension, and long-term durability of their artwork. Whether you're preparing a small study or a large gallery piece, a properly stretched canvas ensures stability, prevents sagging, and supports archival-quality painting.
Below is a clear, professional method widely used by painters today.
1. Cutting and Positioning the Canvas
Begin by cutting a piece of canvas 4 inches longer in each dimension than your stretcher frame.
Place the canvas face down on a clean table or floor.
Center the chassis (stretcher bars) on the back of the canvas, making sure the weave of the fabric aligns with the horizontal and vertical directions of the frame. This should leave about 2 inches of canvas on every side.
Wrap the extra canvas around the stretcher so it reaches the back where it will be fastened.
2. Choosing Staples vs. Tacks
Traditionally, artists used copper tacks to secure the fabric. Today, a heavy-duty staple gun is preferred for its speed, strength, and reliability.
To ensure longevity:
Use copper or stainless-steel staples
Choose staples at least ½ inch to 1 inch deep
Avoid ordinary steel staples — they rust and can eventually rot the canvas
3. Start Stapling at the Center
Drive the first staple into the center of the longest stretcher bar.
If the canvas is unprimed, pull it as tightly as possible using stretching pliers before placing the staple.
If the canvas is pre-primed, apply only enough tension to tighten the surface without cracking the primer.
Next, pull and staple the center of the opposite side, then repeat with the remaining two sides.
This sequence creates a controlled, even tension as the canvas takes shape.
You may notice a diamond-shaped wrinkle at this stage—this is normal and will flatten as you continue stretching.
4. Work From the Center Toward the Corners
Continue stapling outward from the center toward each corner, alternating sides.
Place staples about 2 inches apart for consistent tension and durability.
Use stretching pliers firmly but not aggressively—excessive force can cause the canvas to ripple between staples.
Tips for proper tension:
Keep tension slightly lighter at the corners than at the center
This prevents future cracking if the canvas is ever tightened again using keys
Use your free hand to tug horizontally before placing each staple
5. Finishing the Corners
Leave the corners unstapled until all sides have been stretched evenly.
When you’re ready to finish them, tuck the canvas neatly over the right-hand edges (as traditionally shown in “Drawing A”). Avoid folding bulky layers that create uneven buildup.
If the wood at the tongue-and-groove area is thin, consider using longer staples to ensure a secure hold without splitting the stretcher bar.
Frequently Asked Questions
What does the term "canvas" mean in painting?
In painting, the word "canvas" does not refer to a single textile material. It describes any closely woven fabric of relatively coarse fiber that has been coated and prepared for painting. The term is also sometimes used to refer to a finished oil painting itself.
What materials have historically been used as canvas supports?
Throughout history, nearly every closely woven textile has been used as a painting support, including linen, cotton, sailcloth, and twill. Cloth supports were known to ancient painters and became especially important with the development of oil painting.
Why did linen canvas become widely used for painting?
Linen canvas became popular because it is strong, stable, and flexible. Legend suggests it was first used for religious paintings meant to be carried in processions, particularly in Italy, but its durability made it a natural choice as oil painting evolved.
What is the difference between linen and cotton canvas?
Linen is stronger, more stable, and ages better than cotton. Cotton canvas stretches poorly, tends to sag, and often does not accept sizing or priming as well. Heavy cotton duck can be acceptable, but linen remains the superior natural material for painting.
How can linen canvas be visually distinguished from cotton?
Linen has a natural warm, slightly brown color and an irregular weave caused by the round shape of linen fibers. Cotton is usually white or very pale and has a more uniform weave.
Why are linen–cotton blends not recommended?
Linen–cotton mixtures absorb and release atmospheric moisture at different rates. This uneven response can cause fluctuating tension, leading to warping, cracking, or paint failure over time.
Is jute suitable as a painting support?
No. Jute becomes brittle and lifeless with aging and lacks the flexibility and strength required for long-term painting supports.
Why is cheap primed cotton canvas discouraged?
Cheap cotton canvas often has flimsy fabric and poorly applied priming. It presents a flat surface, lacks durability, and ages poorly. Even practice or student works may later become important, making low-quality supports a false economy.
What advantages does linen canvas offer in finished paintings?
The irregular weave of linen remains subtly visible through paint layers, imparting depth and character that many painters find aesthetically desirable, especially when compared to the flat appearance of cheap cotton canvas.
What is the difference between single-primed and double-primed canvas?
Single-primed canvas has one ground layer and is more flexible, while double-primed canvas is more rigid and expensive. Some artists believe single-primed canvas may age better due to its greater pliability.
Are ready-made canvases reliable for professional work?
High-quality ready-made canvases are often well prepared by skilled workers using consistent processes. In better grades, the priming is evenly applied, properly bonded to the fabric, and has suitable absorbency for painting.
Why might an artist choose to prepare their own canvas?
Preparing a canvas by hand allows the artist to select materials based on permanence, absorbency, and personal working preferences without compromise or cost-cutting common in mass-produced canvases.
What canvas weaves were popular historically?
In the early nineteenth century, smooth diagonal or twill weaves were popular, especially for portrait painting. Earlier hand-loomed canvases often had coarse square weaves that required heavy glue filling.
Why is proper canvas stretching important?
Proper stretching ensures even tension, prevents sagging, reduces cracking risk, and supports the long-term durability of the painting surface.
Should staples or tacks be used for stretching canvas?
While copper tacks were traditionally used, modern artists often prefer heavy-duty staple guns. Copper or stainless-steel staples are recommended, as ordinary steel staples can rust and damage the canvas.
Why should stretching begin at the center of the canvas?
Starting at the center and working outward creates balanced tension across the surface, preventing distortion and ensuring the canvas tightens evenly.
How tight should a pre-primed canvas be stretched?
Pre-primed canvas should be stretched just enough to remove slack. Excessive tension can crack the primer layer and weaken the surface.
Why should corners be finished last when stretching a canvas?
Leaving the corners until the end allows tension to be adjusted evenly across all sides, preventing bulky folds and uneven stress at the edges.