Painting

Working Large Scale

Many painters work their entire careers without seeking opportunities to do large-scale works.  For those who accept the challenge, their experience can be very rewarding.  There will always be similarities between small and large paintings since paints, mediums and surface prep remains the same; but it is reasonable to assume there would be differences, too.

One difference that might seem unworthy of mention is the actual physical size of the canvas.  With size come the associated problems of transport, set-up, support (easel/wall, etc.), storage and delivery.  But with a bit of thought and some care, you will have a great time working large.

Canvases larger than 30 inches in any direction need some cross-bracing support to prevent the stretcher strips from warping.  This support is usually attached from side to side on the back of the stretched canvas in the form of a wooden brace.  The brace is attached to the stretchers with tacks or heavy-duty staples and holds the canvas in “square.”

For conventional stretching, purchase canvas that is at least four inches larger all around than you want the finished stretched canvas to be.  That gives you plenty of canvas to grip and pull tautly around the stretchers.  To create a cleaner corner, tuck under the excess at each corner to make a straight fold above the corner.  It is neat and easy to do. 

Since framing larger paintings is very costly, gallery wrap stretching is sometimes worth consideration.  In gallery wrap the canvas is stretched around and stapled to the back side of the stretchers.  The finished work is painted to wrap around the edges, creating a very dimensional look and eliminating the need for a frame.  To do a gallery wrap, allow five inches all around the stretcher bars.

Stretcher bars come in even inch lengths in a huge selection of sizes and are also available in different weights.  The thinner, lighter weights should be used on works of 30 inches or less, but larger sizes should be completed with heavy-duty stretchers.  They also come in a great number of sizes and both are available at art material dealers.

If you like to do works of unusual sizes, you can create your own stretchers with wood stock from building supply stores.  This takes some basic tools to complete, but it gives you unlimited freedom to choose the shape and size of your works.  Look into door casing stock and fence bracing for heavy duty three-inch-wide lengths up to 10 feet long.  The cost is reasonable and the structure so sound that you do not need cross-bracing.

When you start to work really large, you may soon realize that there are not many easels sturdy enough to work on.  That leaves one obvious choice – a wall.  Attach your canvas to a wall and you’ll be able to work; then back away to check your progress.  Hang the canvas by means of a wire stretched from stretcher to stretcher and use wall hooks.  Use plastic sheeting to cover and protect the wall during the painting process.  Another possibility is to paint on the floor.  While this works, it is harder to view the artwork for critical evaluation during the painting process.

Moving/transporting the canvas after stretching may turn out to be the biggest challenge.  Large scale means you’ll need a vehicle large enough to hold the canvas.  But, if necessary, surely there’s a relative, neighbor or friend who will come to your rescue.  If not, remove the canvas from the stretchers, roll and carry. Don’t pass up the opportunity to work large. 

Copyright ARTtalk Vol. 18 No. 1 — November 2007