Gallery Wrap vs Museum/Studio wrap

Chase Morgan

Grumbler in Training
Joined
Sep 13, 2024
Posts
9
Loc
Stevensville, MD
Business
Photographer
Hello everyone,

This being my first post I would like to offer some of my background. I'm a long time lurker of the Grumble and greatly appreciate this amazing resource from those who take the time to offer their insight and experience. I'm not a professional framer, but rather a photographer. I participate in local art shows and decided I wanted to try my hand at making my own frames - nothing fancy, just standard black and white moulding to get my feet wet. I enjoy working with my hands and seeing the finished result of my hard work. During that process, this forum has been invaluable to me when it comes to all things framing, and has answered many questions for me that I otherwise wouldn't be able to answer. I do my own printing for my photography and find myself starting to print on canvas. Previously, I've always printed on fine art paper and would mat and frame my prints. Now, with learning canvas, I have a question I haven't been able to get a definitive answer to regarding stretching canvas.

My question has to do with stretching a canvas that is going to be framed in a traditional frame - not a float frame. My understanding is float frames are typically used for gallery wrapped canvases, where the image wraps around rather thick stretcher bars, usually 1 1/2 inches. What I would like to do is use 1/2 or 3/4 stretcher bars that can sit inside the rabbet of a traditional frame. In doing so, is it standard practice to staple on the back, or do you staple on the side of the stretcher? I'm having an issue with my canvas pliers, in that they have a small tang to hook on the inside of a gallery stretcher to introduce a good stretch, but don't have enough canvas to do that with the thinner 1/2 or 3/4 stretcher bars. Most other pairs I see, I honestly don't understand how you can stretch a canvas with little margin to do so, as they just seem to pull the canvas up and away from the stretcher bars. This is fine if you staple on the side, but if you want to staple on the back, the canvas is now lifted away from the bars. It's kind of hard to explain, but I hope that makes sense. I've been researching canvas pliers and eventually found John Annesley's. I see three pairs that he offers - two that are "wraparound" and one that is "traditional sidetack". The wraparound pliers are very similar to the ones I have, and can only assume the "wraparound" name would be associated with gallery wraps. Whereas the "sidetack" pair is likely what I'm looking for. They appear to have a considerable curve, where you would grab the canvas from the back, pull tight utilizing the curve in the pliers, and staple on the side. Link to these pliers: https://www.johnannesley.com/canvas-pliers Canvas Pliers

Ultimately, I don't think stapling on the side is really that big a deal, considering I'm going to be framing it and you won't see the staples. Also, since I do my own printing, I can always print with larger margins to utilize the pliers I have and staple on the back. However, even though I'm not a professional framer, I always try to do the best job I possibly can and am curious as to what the real professionals do, or would suggest.

Thank you for your time!
Chase
 
I can't often use pliers when back stapling, but I default to a back staple any time I can pull the canvas around far enough since that offers customers more freedom whether to use a traditional frame or a canvas float(which is absolutely still possible with a 1/2" to 3/4" deep stretcher. I stretch by hand, but like many framers, we develop some pretty strong finger muscles working with our hands every day. Feel free to just stretch and side staple. Back stapling is a common upcharge, just be sure to print your photos with lots of excess canvas to play with when doing so and it will be easier.
 
In my lurking and research, I’ve seen a lot of framers say they still stretch by hand. I’ll have to give that a try and see how it goes. After all, it doesn’t cost me anything extra lol. If not, I’ll likely take your advice and just side staple. It’ll save me some cost on canvas. Thank you for the quick reply, Mary Beth!
 
I also staple canvas on the back almost every time, regardless of whether the intent is for gallery wrapped, float framed visible edges, or "frame over edge".
Side stapling is not my preference, I think I've only done it that way a couple of times in my whole framing career.
I find it easier to back staple.
I have used basic stretcher pliers like this for 13 years.
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The only time it is difficult is (as has been mentioned) when there isn't sufficient excess canvas to get a good grip.

Since you are producing your own prints, adding an extra inch of material to your borders to make your finishing work easier and more presentable might be worth the small extra cost.
Do you know how many times a framer has cursed when a customer brings in a digital canvas they bought online, and it comes with barely enough excess border material to properly stretch? Gah!😝

If you side staple, that limits the options for framing.
If you back staple, the canvas can be displayed in any way, with no unsightly staples showing.

While we are on the topic of someone new to canvas print and stretching.
Are you aware of the difference between canvas strainer and canvas stretcher materials?
Which are you using? They are not the same.
There are plenty of threads here on the Grumble discussing the pros and cons of these two canvas stretching techniques.

Also...
What kind of canvas are you printing on?
What inks?
Do you do a finishing coat?
What sizes are your canvas prints?
What kind of frame moudling are you using?
How do you attach the canvas into the frame?
Do you put a barrier on the back?
 
Hey Nikodeumus!

I felt like back stapling was the best way to go, no matter the framing situation, for the very reason you gave - versatility. Being that I’m doing the printing, it isn’t a big deal to add some margin to adequately stretch the canvas and back staple. Research has been somewhat difficult on this particular topic, as most people seem to want gallery wraps these days. Obviously that’s not my opinion from a framing standpoint, as much as it is from the photography and being asked my a lot of people for gallery wraps lol. I can only imagine how many framers have been frustrated by the lack of foresight from an artist or printer on the margins 😆.

The bars I’m using I’m rather certain are stretcher bars. They have the raised/rounded profile on the edge to help prevent cracking when stretching. The ones my supplier has are all basswood. Please correct me if that’s wrong, as I believed strainer to be flat square lumber to either brace frames or create a sturdier subframe to take the weight of a heavier frame.

The canvas I’m currently using is Breathing Color’s Lyve Canvas. It’s a matte archival grade poly/cotton blend canvas designed for inkjet printing. Again, I’m new to canvas and am still learning. I’ve had some learning curves but feel like I’m starting to get the hang of it.

I’m printing on a Canon Pro-2100 and Pro-4100 - basically the same printer just different sizes.

I’m using Canon’s ink - the pigment based Lucia Pro ink set.

I’m using Breathing colors Glamour II varnish and spray coating for better protection and longevity.

Since in new to canvas, I don’t have a designated size yet. It all depends on the aspect ratio of the image I want to print - which is typically a 2:3 format. The first canvases I framed, which was actually today, were 20” x 30”. Being that I can pretty much print whatever size I want, up to what my printer can handle, it depends on how big I want to go lol.

So far, I’ve stuck to very basic moulding all around, typically offering black and white variations of the same moulding. Which is a 1” flat square profile - extremely basic and minimal. I believe the material is some type of wood composite, if that makes sense? It looks like wood but doesn’t cut like it or have a grain pattern like traditional wood does. I do occasionally use a maple moulding, same dimensions as the other two, and that is very clearly real maple wood 😂.

How I attached the two I’ve done so far, and I might get scolded for this, was to put the canvas in the frame, cover with acid free mat board, and secure it with points - just like a traditional frame. I have canvas offset clips, but liked the idea of keeping the back of the frame flush so I could put a paper cover over the entire thing and not have the offset clip interfere with it. Honestly, I’m uncertain about putting a cover over the back of canvas, as I’ve read mixed opinions on it trapping moisture. In the end, I liked having a more “finished” looking product and decided to paper it.

Thank you for the response and questions!
 
Stretchers have adjustable corners so the size of the bars can be made slightly larger once the piece is stretched. Strainers have fixed corners so the size can't be changed.
 
Over 25 years I’ve broken too many of those cheap chrome-plated pliers. I use these now, and they are a beast. Lee Valley.

For regular stretches that are to be framed, side-stapling. I detest gallery stretches. Can’t get a uniform tension.
 

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Hey Ted!

I read a few threads where several people recommended those exact pliers. I’ll have to pick up a pair. Thanks for the feedback!
 
They bite more sharply, they’re way heavier, and for these two reasons, you get a very uniform tension.
 
I would definitely appreciate a sharper bite. The ones I have, though they do the job, are prone to slipping from time to time and don’t get an even bite on the canvas.
 
For the sake of conversation: You as the artist, would not have to stretch your canvases when you are choosing to use "regular frames." Your printed canvases can be mounted to a foam board vs stretched, eliminating the need for stretching. Use a foam board (such as mountcore), gatorboard, aluminum composite material (AMC), sintra, or such and directly adhere your print on canvas. As you haven't mentioned the size of your work, there might be a suggested better substrate than another depending on the size.
 
For the sake of conversation: You as the artist, would not have to stretch your canvases when you are choosing to use "regular frames." Your printed canvases can be mounted to a foam board vs stretched, eliminating the need for stretching. Use a foam board (such as mountcore), gatorboard, aluminum composite material (AMC), sintra, or such and directly adhere your print on canvas. As you haven't mentioned the size of your work, there might be a suggested better substrate than another depending on the size.
This is an option some of my customers choose when they bring in digital canvas prints.
It is more affordable than frame stretching, and allows for more variety in choosing shallow frame profiles.

It's also a good technique when someone wants to frame a canvas print in a "traditional" paper art print manner, with a mat and glazing.
 
For the sake of conversation: You as the artist, would not have to stretch your canvases when you are choosing to use "regular frames." Your printed canvases can be mounted to a foam board vs stretched, eliminating the need for stretching. Use a foam board (such as mountcore), gatorboard, aluminum composite material (AMC), sintra, or such and directly adhere your print on canvas. As you haven't mentioned the size of your work, there might be a suggested better substrate than another depending on the size.
I’ve considered that route, but wasn’t sure how archival that process is. I’ve done my best to keep the medium I print on, as well as framing, as archival as I possibly could. I’d love to hear your thoughts on that. I would love not having to worry about canvas sagging over time with it being mounted 😆
 
This is an option some of my customers choose when they bring in digital canvas prints.
It is more affordable than frame stretching, and allows for more variety in choosing shallow frame profiles.

It's also a good technique when someone wants to frame a canvas print in a "traditional" paper art print manner, with a mat and glazing.
I’ve heard of mounting being preferred when someone wants to frame canvas in a more traditional way with mat/glass. I’ll have to look into it and see what my supplier carries in the way of mounting boards.
 
I use the same pilers as Ted. I only staple on the back. If you are not careful it can be easy to shoot a staple through the front of the canvas. Even with short canvas you can pull it straight up with the pilers and then use your thumb to wrap it around the back.
Eric
 
In reading through this thread, a couple of things occurred to me that are worth consideration. The fabric of the canvas comes into contact with the wood of the stretcher bars and eventually the acids in the wood will deteriorate the fabric. Consider sealing the wood or using a fabric less susceptible to acid attacks. Another thought is that staples will eventually develop rust which interacts with the wood and the fabric. Copper tacks, though expensive will avoid this problem. Other solutions may be using a ribbed spline cord pressing the fabric down into a receiving groove on the back side.

My 2 cents.
Horizon Line
 
In reading through this thread, a couple of things occurred to me that are worth consideration. The fabric of the canvas comes into contact with the wood of the stretcher bars and eventually the acids in the wood will deteriorate the fabric. Consider sealing the wood or using a fabric less susceptible to acid attacks. Another thought is that staples will eventually develop rust which interacts with the wood and the fabric. Copper tacks, though expensive will avoid this problem. Other solutions may be using a ribbed spline cord pressing the fabric down into a receiving groove on the back side.

My 2 cents.
Horizon Line
Thanks for the input! After some research and much consideration, I think I’m going to actually try mounting the canvas to gatorboard. This method will allow me to use framing profiles that don’t have a lot of rabbet depth to them, will eliminate the sagging of canvas entirely, and will allow me to use the full width of my printer, should I need/desire to do so. Most, if not all, of the shows I exhibit at are all outside and vary in temperature and humidity greatly throughout the day and spring - fall seasons. Unfortunately, the only way I’ll be able to do this is by wet mounting. I have a bottle of Miracle Muck on its way and I can source the gatorboard locally - another plus as my framing supplier only delivers once every other week. If it ends up not working for me, I’ll revisit this and change tactics. But I figured it is worth a shot and does eliminate a lot of my current problems with canvas.
 
Can we assume that you know nothing about the boating industry? Stainless steel staples have been available for decades. My shop was stocked with only SS staples.
Monel is even better. I feel like stainless is rust resistant but not rust proof. Monel alloy staples are truly rustproof
 
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