who put the dent in the canvas

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maur

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exton pa usa
would like someone advice on how to get the imprint out of a canvas. Someone put a framed print against a stretched canvas painting, not expensive but still worthy of framing. There is an indent from the framed art on the canvas. Need some tips on removing this.
 
I'll probably get trounced for saying this, but I have always had luck removing or lessening these problems with a bit of moisture on the back of the canvas. Like wipe the back with a wrung-out sponge, and overshoot the area by a few inches. Should tighten up the canvas if left to dry slowly (not over a heat vent). IMHO.
 
Hello maur

May I suggest that you provide all pertinent information concerning the project? e.g. linen? cotton? keyed? strainer? oil? giclee? acrylic? alkyd house paint? old? new? etc.

It is impossible for forum readers to help you out when they find themselves shooting in the dark.
 
You need to ask the customer if the canvas is a giclee. Giclee's are made with water soluble inks. Those inks travel when exposed to moisture. I am sure there are other mediums also that moisture will affect, as suggested by Orton above.

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Timberwoman
AL
I cut the mat, I pet the =^..^= cat.
Dahl Fine Art & Frame Design
Shapahl Fine Art

[This message has been edited by ArtLady (edited November 18, 2001).]
 
Pardon my obvious ignorance on this subject, but when a framer refers to a "stretched canvas PAINTING" wouldn't that automatically rule out giclees? Aren't giclees simply PRINTS on canvas? Wouldn't they have slightly different edges (ie, straight lines) than real artwork? Or are new printing techniques available that would fool one into thinking that one had an actual real painting by a human being? Not many artists that I am familiar with have the patience and foresight to tape off edges on stretched canvases, there are invariably blots, fingerprints and smudges of paint. Wouldn't a framer know the difference?
 
This could be interesting. Terminology is everything. If I have the technique right, wouldn't giclees be considered real art? If the artist controls the "spray" regarding where, when, and how much, would it matter that he/she was using an intermediary medium--the Iris printer, perhaps--as the delivery system? We've framed some giclees on raggy old canvas that were absolutely stunning, and I would certainly accord them the term of real art. I hope I'm not seeming pugnacious: it's not the intent. I would love to be sure of the intricate details of the so-called "print" giclees, and the so-called "real ones." Any help from this esteemed and erudite bunch of Grumblers? We know Orton does them: perhaps he'll weigh in.
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Why wet it at all? Am I missing something here or isnt the obvious answer to restretch the area? I have removed several "dents" from stretched canvas by removing a few of the staples near the affected area and then using my canvas pliers to restretch the area and remove the dent. You might have to do this on 2 sides to fully remove it. Sometimes if the dent is deep or a large area, I will lay the canvas with the front down on a hard surface and place a heavy flat weight on the back of the canvas for a day or two and then restretch the area. I would think that if this doesnt work, restretching the entire canvas should solve the problem.
 
When asking for an expert opinion whether it is dealing with art, computers or framing, it is best to give as many details as possible about the subject or problem in question. You are more apt to get a timely answer on a forum if all the facts are stated in the beginning.

Just a helpful hint for newbies really wanting answers. MM, you pugnacious! There you go sending us to the dictionary again. lol.
 
I guess "real art" is in the eye of the beholder, and I don't mean to insult anyone's taste in art, perhaps I should have said "real paint" like oil or acrylic, which has been traditionally applied to stretched canvas with a paint brush with hair, bristle or synthetic brushes. By paint stained artists, not expensive machines (and here I sit, wrestling with my new scanner and printer, trying to make some "art").
smile.gif
 
maur

If it is an acrylic painting on cotton canvas, follow Framars advice. Or you could mist the back of the canvas with distilled water. Keep it cool though, as acrylic polymer stretches and loosens with heat especially if the paint layer is thick. I think restretching it may not be helpful and possibly overdoing it.

framar, MerpsMom:

Giclee's are reproductions not prints. If the art is computer generated and on a disk or hard drive it would be classified as an original reproduction. If it is a digital copy of an original done in another medium it can only be a reproduction. The term print is and should be used for work produced directly by one of the printmaking techniques.
 
I would not restreach it, as it might crack the paint. Wetting the back surface might be just the ticket.

Now that you have brought up this subject, I will have to ty it myself. I have a few paintings at our store that are old, and have a few dings. They were in storage, and leaning against eachother. I am going to have to see if I can fix them.

Sue
 
This from an old framer: Use a light spray of water (distilled) with alcohol ( which makes it dry faster.) when it dries, your canvas should be tight.

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Welcome Framer009. Artist claims to be the oldest framer on the Grumble. Are you going to challenge him for the crown?

Crown of gray hair, that is.

Kit
 
Applying moisture to any art presents its own sets of hazards as recently discussed in the thread on cockling of paper. (Although alcohol does speed up the evaporation of water, it is also a solvent: test first.)

Why complicate your life? Try keying-up if it is a stretcher frame, re-stretch if it is a strainer - in fact, if it is on a strainer, consider stretching over a replacement stretcher frame.

Mitch is right on re; giclees. "Print" implies a plate-to-paper contact which is absent in the giclee process. The verb I prefer is "imaging," and the noun phrase "giclee image" when describing my work.
 
Museums often attach a backing board to the
back of the stretcher to avoid this kind of
accident. Plastic double-wall boards such
as Coroplast, Cor-x, or Corrulite can be
carefully screwed to the back of the stretcher bars to afford protection for the
canvas in and out of the frame. This does not seal the canvas back in an environmental sense, but it should slow the infusion of atmospheric pollution. It also damps out vibration while the canvas is in transit. Owners of acrylic paintings on canvas must be warned about movement in cold weather or long plane flights, because when the acrylic paint apporches freezing, it becomes brittle and can easily crack.
 
. . . and adding an addendum to what preservator has just posted, CCI recommends not only a protective "backer" but glazing as well.
 
I sprayed the back of the canvas with a light mist of water (sparklets if anyone is interested in our brand of water) It worked perfectly. Thank you for your suggestions.
Happy Thanksgiving!
 
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