Hello,
Does anyone know of or have access to tests of flexible supports that include synthetic canvases? I clearly remember mention of an ongoing test comparing flexible supports on the no longer available AMIEN forums. The thread was a discussion on synthetic canvas and indicated that at least some synthetics greatly out-performed traditional canvas.
I was so impressed that I eventually asked a textile designer for help producing a heavier-weight synthetic canvas that is wider and more affordable than I could find on my own. I’ve been working with this canvas for a few years, and recently interviewed the designer (Scott Bodenner) about the project. Talking to someone with a textile industry point of view was fascinating. There are differences in how testing is done for commercial textiles and also a concern for recycling and sustainability that I don’t encounter much in reading about artist materials. The interview is posted on my own website at:
http://sloweye.net/scott-bodenner-recycled-synthetic-canvas/
But I’d still really like to know how the test I saw mentioned on AMIEN turned out! Fingers crossed someone remembers what that was…
Thanks for the post. Lets hope others are aware of the discussion. Here are a couple of threads on similar subjects.
https://www.artcons.udel.edu/mitra/forums/question?QID=226
https://www.artcons.udel.edu/mitra/forums/question?QID=135
You may also want to track down this paper that is referenced at the end of my reply..
Author: Habgood, Sean Corporate Author: Queen’s University. Department of art Title of Source: Determination of the appropriate support characteristics for the lining of paintings Publisher/Distributor: Queen’s University Publisher/Distributor City: Kingston Publisher/Distributor Country: Canada Date of Publication: 2003 Collation: 39 p. : ill. ; 28 cm. Language Text: English Language Summaries: English References: ca. 60 bibliog. refs. University: Queen’s University University Location: Kingston, Canada Degree Level: Master of art conservation Subject Keywords English: Painting;Lining;Materials;Textile;Canvas painting;Examination;Tensile strength;Stress;Strain;Measurement;Qualitative analysis;Test;Linen;Synthetic fibre;Synthetic resin;Evaluation;Research project Subject Keywords French: Peinture;Doublage;Rentoilage;Produits;Textile;Peinture sur toile;Examen;Résistance à la tension;Contrainte;Déformation;Mesure;Analyse qualitative;Essai;Tissu de lin;Fibre synthétique;Résine synthétique;Evaluation;Projet de recherche Subject Material Test: Dacron monofilament sailcloth;White polyester;Brown Sunbrella;Linen;Cuben fibre cloth;Beva 371 Abstract: This research project examined the requirements for a lining material used to line painting on canvas. A good lining material has high chemical stability, a high Young’s modulus, high strength, non-hygroscopic properties, good chafe resistance, and desirable properties such as a smooth surface, good adherence to lining adhesives, good transparency and isotropic behavior. The testing started with the examination of a painting’s substrate and quantifying what it’s needs were. The lining materials typically used in the past do not meet most of these criteria. Several materials were compared to see which of these materials would best support a painting’s substrate. The materials that were looked at included Cuben fiber, Dacron monofilament sailcloth, white polyester, brown Sunbrella, and linen. The testing looked at the structural needs, the aesthetic concerns and real world applications. Cuben fiber cloth’s properties meet more of the requirements for an ideal lining material then any cloth used today. Originating Institution: ICCROM Location of Document: ICCROM ICCROM Shelf: Kingston Report 288 Literature Type: Monograph:Thesis Bibliographic Level: Monographic BCIN Number: 427905
