Slat sizes
Rail 14mm
Rail 15mm
Rail 16mm
Rake 17mm
Rail 18mm
Rail 32mm
The stretcher serves as the basis for stretching the canvas. A modular stretcher is by far the most suitable for these purposes, since the canvas can sag during operation and storage. Modular design allows you to use wedges to level and stretch the canvas as much as needed.
The machine for the production of modular subframe MP-01 was developed and manufactured by our company in order to optimize the production of modules. The machine is semi-automatic, since the cutters are fed by a pneumatic cylinder when you press the pedal, which in turn makes the work fast, efficient and high quality. The module is made in two operations: 1st - a groove is made, 2nd - a bevel is simultaneously milled on both sides at an angle of 45 degrees, which ensures a right angle during assembly.
specifications
You can buy a machine for making a modular subframe MP-01 or ask us questions using the form below or from the section
2018-07-29, 21:24
Hello dear DIYers, as well as artists and restorers.
In this article we will learn how to make a modular stretcher for a painting, and in subsequent ones we will give it ancient look and stretch the canvas over it.
Purpose and functions of a modular subframe
The key feature of a modular stretcher is the floating corner joints, which allow you to stretch the canvas of a painting using wedges, like a drum membrane.
This is especially true on canvases of medium and large sizes, approximately 40 x 50 cm.
When stretching the canvas onto a stretcher of this size and then priming it, unevenness appears on the canvas after exposure to gelatin.
Here, for example, is the canvas before the primer, after it and after tightening it with wedges.
Waviness may appear after further priming with acrylic, and later if the impact is too temperamental with a brush or spatula; in any case, on a modular stretcher, you can always tighten the canvas with special wedges, for which special sockets are provided in the corners.
How to make a modular subframe
We have to make a design like this
The minimum thickness and width of the bar at which the connection will be reliable is 20 x 40 mm, and these dimensions are relevant for frames with a side length of up to 50 cm.
For sizes larger than 50 cm, a more powerful block is needed. Otherwise gusset will not provide the necessary rigidity when tightening with wedges, and the planks will begin to move towards the tightening, forming a screw along the plane.
The corner may even break and all the work will go down the drain.
The connection should be quite tight, because... loosening will again allow the slats to change position when stretched, which will move away from the overall plane of the canvas.
As you can see, the requirements are quite strict, and this means that making a high-quality connection hand tools it will be very difficult.
It’s expensive to buy special equipment; it’s easier to buy the subframe itself, but to make it on a simple woodworking machine (popularly known as a circular saw), it’s quite possible that you’ll only need to make a rigid ruler for it.
I also used a miter saw, but a regular miter box can replace it.
We will make the first frame measuring 40 x 50 cm from a 20 x 45 mm block.
We choose bars preferably without or with small knots. Large knots are completely unacceptable, and even small ones should remain in the middle part of the plank, as far as possible from the ends, since it is in the area of the knot that a crack or even a chip can occur.
We make 4 blanks exactly matching in length in pairs.
Since the thickness of the bar is 20 mm, and we have to make one groove, one ridge and two cuts, that is, only 4 elements, then each element will have 5 mm.
To make a clear groove 5 mm wide. required Circular Saw with a cutting width of 4.5 mm. Taking into account the natural microbe, the cut will be 5 mm minus.
If it is possible to buy a disk of the required thickness, then there are no questions. I didn’t find anything like that, so I paired two disks with a cutting width of 2.5 mm each. every. The result was the required 4.5 mm.
We set the support frame at a distance of 5 mm. from the disk, and measure the distance on both sides of the disk from the bar to the tooth. The overhang of the disk (cut height) is set according to the width of the block, in our case 45 mm, after which we make identical cuts from all ends of the workpieces (in the picture there are two frames of the workpiece).
For now, let's leave the groove in this form and start making oblique cuts.
In order not to make a mistake, we lay out the frame on a flat plane so that in the corners the groove coincides with the future ridge, that is, the thin part above the groove approaches the thick part of the adjacent plank, and mark the direction of the corners of the sample.
Then we set the miter saw to a cutting depth of 5 mm. minus and cut off the thin part of the joint at an angle of 45° and make a cut in the thick one. The angle of inclination of both cuts should be counter.
As a result, all the ends of the workpieces should look like this
You can now return to the groove as long as the reference ruler is set to 5mm. from the disk and we already know exactly which surface of the workpieces will be the inner one from which the wedges will be installed.
If in the resulting state we bring the workpieces closer to each other in the same way as they will later be connected in a frame, then there is no room in the groove for a wedge, which means we need to make one, and make it with a slope.
To do this, we insert the workpiece with a groove onto the disk until it stops, and then at a distance of about a centimeter from the end of the workpiece, we install a stopper.
Now you can remove the workpiece, turn on the machine, and cut the grooves for the wedges, first on one side, then in exactly the same way on the other. In this case, the grooves turn out to be beveled.
For comparison and better understanding - one workpiece with a groove, the other without.
All that remains is to make the last oblique selection and at the same time the ridge.
To do this, we bring the ruler close to the disk and make selections on one side and the other, bringing the workpiece to opposite sides of the disk, respectively. We clean up the remains with a knife or chisel.
Now the connection is ready, but that's not all. There is one more nuance. The artist will not like it very much if the canvas touches the frame, but it is 45 mm wide, so on the front part you need to make a side that will provide a gap between the frame and the canvas.
To make such a side, we first assemble the frame; it must be assembled very tightly, with effort, and admire the clarity of the joints and the absence, or almost absence, of any cracks, and then we note the front plane.
We remove the second disk from the machine, and bring the ruler even closer to the first, you can even bite into the ruler a little, about a millimeter, so that you can select a millimeter and a half or two, no more, raise the table to reduce the overhang of the disk to 40 mm, and pass all the blanks along the front side.
After this, you can assemble the frame and admire the finished product again.
A small modular subframe is ready. A large subframe is made similarly from more powerful slats.
If the size of the subframe reaches a meter or more, then it is made cross bars or crosses.
Acceptable amount is from 10 rubles. up to 15,000 rub.
One of components paintings on canvas - stretcher. The finished painting on a stretcher is usually later (hence the origin of the word "stretcher"). An art stretcher is designed to hold the canvas stretched. If the stretcher is poorly made, the canvas may sag and then it will be difficult for the artist to apply paint to it. A well-made stretcher has a positive effect on the preservation of the painting.
Which rail profile should I choose to make a high-quality subframe? to ensure high tension uniformity? If you make special sides on the front part of the slats, then the canvas will not adhere to the surface of the stretcher, but will be in a working, stretched state. A stretcher for a painting must meet the basic requirements: it must exactly match the size of the painting, be made of dry (without knots) wood, be durable, have a crossbar or crossbar, as well as a special protrusion along the outer perimeter (rounded steps on the edge of the slats). The canvas is pulled tightly onto the stretcher, evenly, without distortions, so that the direction of the canvas threads corresponds to the direction of the stretcher slats.
The wooden stretcher should not fit into the frame too tightly, since under the influence of temperature and humidity conditions the frame can change in volume and put pressure on the stretcher, causing the canvas to sag. It is necessary to leave a free distance between the picture and the grooves of the frame (slightly more or less depending on the size of the picture).
Where to buy subframes
Stretchers for paintings (tapestry, canvas) can be rigid (solid) or modular (with wedges). Modular stretchers can be purchased at any art supply store. Ours produces only rigid subframes that do not allow adjust the degree of canvas tension. Choosing as a basis for - a stretcher with a rigid structure (with a cross in the case of large canvas sizes) can in no way worsen the quality of the stretch, because this procedure in our framing workshop is performed by skilled, experienced craftsmen (professionals in their field).
After some time after stretching (due to a large difference in humidity or temperature), the canvas may “sag”. In this case, it is enough to lightly spray the canvas with water from a spray bottle and place it in a dry (not humid) room for 1 hour for it to straighten.
Making custom stretcher frames for artists
Large stretchers
In our workshop you can order stretchers of any size.
The material we use to make artistic stretchers is high-quality, dried, spliced pine slats with a special step. During assembly, this step (side) appears outside along the perimeter and ensures, with high-quality stretching, that the canvas (tapestry) does not adhere to the surface of the slats. The side of the stretcher is made rounded so that the canvas fabric does not fray. For sizes exceeding 80 cm, we install crossbars (or crosses, if both sizes exceed 80 cm) in the stretcher, which prevents the slats from bending when stretching the canvas (tapestry)
The width of the stretcher slats can be different - 3, 4, 5 and 6 cm. The larger the canvas (tapestry), the wider the slats are required. In our practice, we have encountered orders for the production of large stretcher frames (up to 250x400 cm) and stretching of woven products (canvases, tapestries, banner fabric) of such large sizes. Such orders, as a rule, are made at the customer’s premises due to the inconvenience of transportation and carrying large-sized products through doorways.
Subframe dimensions
Range of standard sizes
There are specific and ordered dimensions that allow works of art to be classified. In the 19th century, France was formed standard sizes For painting(The French Standard Sizes for Oil Paintings). Depending on the genre of painting, formats are divided into three categories and distributed in ascending order: rectangular format approaching a square is called " figure"; maximally extended - " marina"; intermediate - " scenery" Depending on the size greater sides, to each format number is assigned. For example, 15F (65x54), 15P (65x50), 15M (65x46).
There are 52 classic Russian size from " 15 x 20" before " 100 x 120" and 50 No. international sizes standards "Figure", "Scenery", "Marina".
Standard sizes of paintings
(European series, cm):
24x30, 30x40, 35x50, 40x50, 50x60, 50x70, 50x100, 60x70, 60x80, 60x90, 90x120.
Standard formats paintings
(cm):
21x29.7 (A4 format), 29.7x42 (A3 format), 32.9x48.3 (A3+), 42x 59.4 (A2 format).
Standard subframe sizes correspond standard row for paintings.
Replacing old subframes
There is a situation when a customer purchases a painting (oil on canvas) from an artist, stretched on a homemade stretcher. Or the painting was painted a long time ago and the stretcher is already old. A person wants to select a frame for this painting on an old stretcher in a framing workshop. Before framing the picture, you need to decide whether to keep the old stretcher or make a new one. If the stretcher of this painting is old (dilapidated) or crooked, it needs to be replaced.
Replacement of the old subframe is required if it is severely deformed, as well as if it is diamond-shaped (lack of right angles). Depending on the reason, the size of the new subframe is determined. With a "propeller" the size of the new subframe remains the same as the old one. With a “diamond”, in order not to lose part of the image at the edges of the picture, the new stretcher should be slightly larger than the old one. In this case, an unpainted canvas will appear on the front surface of the painting. To cover the unpainted edge of the canvas, you need to frame the picture in a frame with a wide quarter baguette.
A low-quality stretcher negatively affects the safety of the painting. Here are some of the main reasons that require subframe replacement.
Lack of lip on the front of the subframe
There should be special sides on the front part of the subframe. They are needed so that the stretched canvas does not come into contact with the surface of the stretcher slats. If there is no such edge on the stretcher slats, breaks may occur on the paint layer of the painting.
The subframe is made of raw wood
If the subframe is made carelessly or from raw wood, after a fairly short period of time it will “lead”.
Subframe with grinder beetle
Subframe with a grinder beetle. Thanks to the activity of these insects, the tree disintegrates, turning into dust.
The subframe is made of wood with knots
If the subframe is made of wood with knots. Even a well-made subframe that has knots may eventually lose its rigidity (knots fall out) and will have to be replaced.
Gallery stretching method
There are two ways to stretch canvas: gallery wrapped and classic. Gallery stretching is a type of frameless design where the image on the canvas continues onto the sides of the stretcher. In the case of gallery stretching, the canvas is fixed with reverse side subframe The canvas wraps neatly in the corners and looks good without a frame.
Large size paintings
Re-upholstery of customer's canvas
Canvas reupholstery, despite its apparent simplicity, is quite complicated matter, especially when it involves unique paintings or large old paintings. The process of reupholstering paintings includes: carefully removing the painting from the stretcher for storage or restoration, tensioning the painting on a stretcher made specifically for it, correcting the tension with partial or complete tightening. In no case should you entrust the reupholstery of paintings to random persons: carpenters, joiners - it should be carried out by a restorer or experienced master framing workshop.
If you need to remove canvas (oil) from one stretcher and stretch it onto another, you can contact the specialists of our framing workshop. Canvas reupholstery should only be done by a professional specialist (many nuances must be taken into account when reupholstering canvas). The main condition for correct tightening is uniformity of tension, the ability to find the norm of tension and feel its limit. Unskillful tension causes harmful and sometimes irreparable consequences. To reupholster canvases, you must have special pliers with T-shaped lips.
Canvases for paintings
Linen canvas is the most common type of fabric used by artists as a basis for painting. Linen canvas has great strength and resistance to atmospheric influences.
Linen canvases, made from long fiber yarn, have a thread of even thickness. Less quality canvases are made from waste from the primary processing of flax.
Among other natural canvases currently used for painting, cotton canvas can be distinguished. Unlike linen, cotton canvas is less durable, absorbs moisture more, and when stretched is subject to sagging over time. Beading or raw linen is made from waste from the primary processing of flax. The thread of such a canvas is uneven in length and thickness, and the canvas itself is fragile.
If the thickness of the threads is uneven, the reaction to temperature and humidity in different parts of the canvas is not the same, which disrupts adhesion to the ground and can cause destruction of the paint layer of the painting.
Embroidery stretchers
An embroidery stretcher is technically no different. Typically, embroidery is small in size, so the stretcher is made of narrow slats - 3 or 4 cm. When stretching the embroidery, we use our well-established technological techniques so that the staples from the stapler do not cause “tightening”, i.e. The embroidery is stretched evenly, clearly according to the cells.
Batik stretcher
The batik stretcher is also technically no different from others. Just as when stretching embroidery, when stretching batik we use technological techniques to avoid “tightening” from staples. In addition, because The batik is drawn on a thin fabric; before stretching, we place cardboard underneath it to prevent the stretcher from showing through under the batik.
The network of workshops "Art Rama" offers to purchase a stretcher for canvas in Moscow. This product is wooden frame, which is used when decorating a canvas with a baguette. It is on this that the canvas is stretched before installation in the frame.
Ordering the production of a stretcher for canvas is simply necessary if you want to protect the painting from sagging, as well as work on fabric.
Depending on their purpose, such structures are divided into two types:
- Solid artistic stretchers, or blind ones. They are non-demountable structures. The corners of the crossbars in such models are rigidly stitched on a machine. Such designs are best suited for decorating small-sized canvases. In addition, they can be purchased immediately at finished form in framing workshops.
- Modular, custom-made options. They are collapsible structures. The corners of the frame are not fixed too tightly in them. If the painting suddenly sag, pegs are inserted into special grooves and the canvas is stretched again. For large paintings, structures reinforced with a cross are used. This element protects the canvas from diagonal distortions and sagging.
On the basis of stretchers with the addition of a backdrop made of hardboard, plywood or foam board, you can assemble a tablet. The backdrop is attached to front side products using a furniture stapler.
This is the design that specialists from the network of framing workshops “Art-Rama” use to decorate batik, embroidery, tapestries or large-sized works that the customer wants to place in a thin frame.
The price of a structure is influenced by two factors:
- material. You can order a product made from pine or birch from us;
- the size of the canvas and, as a result, the type of construction.
Advantages of ordering the production of a canvas stretcher from us
- You can count on the fastest possible fulfillment of orders. We will frame the painting and make an artistic canvas stretcher within 3-5 days.
- You can use the services of a measurer and designer.
- Pleasant additional bonuses await you.
The following can count on a discount of up to 10% on canvas supports and other products offered:
- members of the Union of Artists and all website visitors who printed out a discount coupon;
- customers who ordered products from us in the amount of 60,000 rubles, as well as owners social cards(discount available in some of our salons).
You can buy an artistic stretcher for canvas cheaply in any of the showrooms of the Art Rama framing workshop in Moscow and St. Petersburg. Their addresses are presented on our official website.
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