For printing canvas from sunup to sundown, the requirement is simple. You need a canvas that is easy to profile, print, and process. The canvas should have a good weight (hand), an even finish and a smooth, consistent coating from the beginning of the roll to the end.
There is canvas and then there is CANVAS! Inkjet printable canvas doesn’t have to have the same flat finish, natural color, and irregular structure as a painter’s canvas. It can have a bright white, semi-gloss finish with a high performance coating that will deliver super rich black, the most vivid colors and crisp, sharp lines and details.
Whether your canvas is being displayed in your home, a local café or a high-end New York City gallery, the requirements are all the same. Start with a topcoated canvas with a premium weave. This will help prevent cockling and waves in the frame due to ambient moisture. Next, select a canvas that is easy to profile, has stable color and excellent print performance.
If you are going to stretch your canvas, a 2:1 structure is more flexible and won’t crack on the corners. Stretching inkjet printed canvas around stretcher bars, also known as a “gallery wrap”, can seem like a daunting process. Once you have selected the right canvas, follow the easy tutorial from Sihl to walk you through each step of the process, providing key tips along the way.
You can easily mount canvas to a variety of thin and thick mounting boards and non-traditional surfaces for décor and art installations. If you have a laminating machine, apply an adhesive film to the back of the canvas or to the board directly and apply firm pressure when marrying the two together. If you are applying a spray adhesive, be sure to protect the printed image from overspray. Spray the adhesive in a uniform thin coat to make sure you cover the entire surface area of the canvas and to prevent excess adhesive from seeping through the pores to the front side.
There are more myths than truths floating around the industry about optical brighteners and their impact on archivability. OBA’s are not inherently bad. The presence or lack of OBA’s does not make something archival or not. OBA’s do create the appearance of higher whiteness and richer printed colors. If unprotected, this will dissipate (fade) over a long period of time. In the case of canvas,the “faded” result will be similar to the original color of the base canvas. Use of a liquid overcoat will protect the enhanced whiteness and significantly minimize the fading over time.
Not all canvas will end up in museums, galleries and art collections, but the target is still great color. You want a canvas that is easy to profile, print, and process and will deliver consistent quality every time.
When pennies count, finding a lower cost canvas that still has the color gamut and density of its more expensive cousins is not always easy. By reducing the weight and thickness of the canvas, you can save some pennies without sacrificing the print quality.
The term 1:1 describes the thread pattern of the canvas material; one thread in one direction, one in the other direction. The 1:1 weave pattern creates a strong, more uniform and smoother surface structure which is perfect for crisp lines and small details.
The term 2:1 describes the thread pattern of the canvas material; two threads in one direction, one in the other direction. A 2:1 weave creates a strong, yet flexible, base which can stretch without “tearing” or stressing the coating, and ultimately prevents edge cracking. This structure also creates a more textured, non-uniform surface and appearance.