Paint canvas sizes7/1/2023 The greater the ratio of amorphous regions of a fiber compared to its crystalline regions, the more easily the fiber is degraded. The amorphous areas allow for flexibility of the fiber, but are more prone to chemical and biological degradation as well as greater absorption of water. The crystalline regions are tightly packed, reducing the penetration of water and other chemicals making the fibers stronger and more resistant to chemical and biological attack. The natural cotton fiber is the purest made up of cellulose.Ĭotton fibers are made up of areas constructed of well-ordered crystalline segments and less ordered segments or amorphous areas. The quality and strength of the cotton fiber come from the large cellulose polymer made with upwards of 6,000 repeating glucose molecules. The cotton fiber is made up of over 90% cellulose (and hemicellulose), water, pectins, wax, glucose and mineral salts (potassium malate). The series will begin with the most common supports and continue through the range of materials recommended for professional artists to begin the construction of their work. The next several issues of Just Paint will feature articles detailing various supports and their preparation for painting. Having too many choices can leave one feeling overly exposed and fearful of choosing the wrong material for their particular need, leading to potential disappointment, buyer’s remorse and worse… failure. Artists can choose grounds for their specific medium as well as for adjusting the parameters of surface texture, absorbency, gloss, color, hardness and transparency.īeing given all these choices for some artists creates incredible expressive freedom, but in other ways, can be absolutely paralyzing. This gives them the opportunity for application on everything from 4th century BC encaustics and 14th century silver point to grounds for digital printing on just about any surface imaginable. More than ever before, artists have access to an amazing assortment of both traditional, modern and cutting edge sizes and grounds. Added to this wide range of options are even larger categories of fine art papers, paper supports and now, prepared canvases and surfaces available to the artist. There has also been a resurgence of new manufacturers launching a variety of traditional wooden panel supports including wood fiber processed boards. New solid supports gaining some significance include aluminum surfaced panels. More recent plastic supports include Mylar® (PET) and solid supports include expanded PVC (Sintra®). There are so many different viable supports for artists to work with now, including traditional cotton and linen canvases in a range of sizes, thicknesses and finish as well as newer synthetic polyester fabrics. The support not only sets up the working properties of the chosen media but it also has a significant role in its relative permanency, method of display and most importantly, in the final visual aesthetic of the work. Whether painting in oils, acrylics or other traditional or non-traditional painting media, the quality and physical make-up of the support and its preparation is a critical determinant of the final outcome of a work of art.
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