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Sizes and Grounds

Most canvas supports need special preparation with a sizing material before paint is applied. One reason for this is that the natural absorbency of untreated canvas will interfere with the controlled application of paint. When a sized canvas is allowed to dry naturally, it tightens the canvas and provides a toothy coating for adherence of the ground material or paint.

Sizing is traditionally composed of a weak glue solution that is brushed directly onto the support surface. When properly made and applied, the size mixture will sink into the support surface and create a hard, bonded emulsion. If applied too heavily, a thick glossy film can result that holds poorly and is prone to cracking. A weak size can inversely cause pigment to absorb into the canvas fabric and later crumble from the surface.


The use of sizing is essential if the following grounds or paints are linseed based oil. Since linseed oil dries by oxidizing, it can eventually become brittle or disintegrate an unprotected paper or fabric support. Size (as its name implies) can also cause fabric to shrink tightly o its chassis, so the cloth should not be stretched tautly before size is applied.

One of the most common sizing materials is rabbit skin glue, which is made from the skin and bones of animals. When correctly made and applied, a size of this type will permeate the support surface without coating it. Dried hide glue is very strong, and it absorbs and expels atmospheric moisture as humidity levels vary.

Sizing usually comes in powdered form that is mixed with water and then allowed to soak. Later, the mix is placed in a double boiler until the glue melts. The warm paste is then brushed onto mounted canvas that is not too tightly stretched. From the center, the glue is uniformly brushed toward and around the edges. Always allow sizing to dry naturally, as forced drying may result in a warped chassis or broken brace rails.

Other sizing materials are available for various uses and applications. They include gelatin, starch, methyl cellulose, and acrylic solutions and emulsions. You may want to investigate their uses and attributes to determine if they are suitable for your specific applications.

Sized canvas, alone, is not a consistent, absorbent surface for paint application. Also, canvas material such as cotton duck and other organic fabrics tend to yellow with age. This resultant hue will eventually tint the appearance of the original work, unless first treated. So, before paint is applied to canvas, a finishing ground coat should be applied to assure the controlled application of paint, an even background color, and a barrier (and added support) for the paint.

A ground (sometimes called a primer) is applied to a dried, sized canvas. For oil paints, the traditional ground is called oil ground. The formulas have changed slightly, but the ingredients are still basically lead white pigment and linseed oil. Lead white (basic carbonate of lead) is still one of the primary pigments used because it remains opaque when mixed with oil. Since linseed oil is a durable “drying” oil, it helps produce a tough, flexible surface that dries relatively fast.

Oil ground is toxic when either ingested, absorbed through broken skin, or inhaled, so care must be taken when working with it. It can also turn dark when exposed to sulfide pigments or airborne hydrogen sulfide. There are other ground pigments that are non toxic, such as titanium and zinc white, but they are less durable. By practicing proper care and using protective equipment, the use of oil grounds should pose no problem.

Acrylic emulsion grounds are also available and are often called “gesso.” This is a slight misnomer, since true gesso contains chalk, pigment, and glue hide. Acrylic emulsion grounds, instead, contain a mixture of white pigment (typically a titanium/zinc blend), barium sulfate pigment (or chalk, silica, or marble dust used to help create tooth), and an acrylic resin dispersed in water.

Both types of grounds are brilliant white, tough and flexible, yet very adhesive. Since acrylic grounds remain more flexible, they should generally be used with acrylic paints. Oil tends to become brittle with age, so an oil ground should be used for these pigments. Of course, if the underlying canvas is mounted on a rigid substrate (like a board), these grounds may be used interchangeably.

A material that is a size/ground mixture is gesso, which is Italian for “gypsum” (or plaster). This type of ground is smooth, hard, white, and will not yellow with age. It is suitable for use with a wide variety of oil and water based mediums, as long as its absorbency is adjusted for the type of paint being applied.

Because it is hard and brittle, gesso should be used only on rigid supports, such as hardboards. It can also be applied to fabric or paper that has been mounted on a rigid support. Gesso is also available in various tones and, if selected properly, these can be incorporated in a painting as background color.

The preparation and application of size and ground materials are specific; therefore, more details should be gathered before any work is attempted. With the proper understandng and execution, you should be able to prepare a canvas surface that accepts the controlled application of paint and remains tonally true, while maintaining its physical integrity over time.


Canvas Lesson Written by Arttalk.com

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