Substrates Stretched Canvas - Many of the paintings in the gallery are created on canvas which is stretched over either a 3/4" or a 1 1/2" deep frame (stretcher bars) and stapled on the sides (side stapled) or the back (gallery wrap). Some of the paintings available on canvas have already been framed*, please see sizes and details in the shop for each individual painting. Unstretched Canvas - Canvas straight from the roll or that has been removed from stretcher bars. Canvas Board - A board with a textured surface often stamped or molded in imitation of canvas to receive an artist's painting. Panel - 1/8" thick MDF board Wood Panel - 1/8" hick high quality birch panels with a pine frame attached on the back for stabilization from twisting or warping. Crossbars are also added to the larger sizes. Paper . *Please note that framing is not offered through Bonavista Fine Art.
Ready to Hang Most of the paintings come already fitted with quality D-Ring hooks and coated wire, which is neatly wound back for a clean finish. For best results hang the artwork on two nails level with each other, each placed approximately 1/4 of the width of the painting off center. This will help keep the painting horizontal by preventing small movements that can cause it to shift.
Care Best results for the longevity of your painting will be achieved when the following recommendations can be met:
Do not hang your painting where it will come in contact with direct sunlight. A thin layer of varnish is applied to most of the canvas paintings for UV protection, but for colour longevity this is best practice.
Avoid handling your piece as much as possible, oils from skin can cause damage to the surface.
Keep your painting at room temperature 65-75°F (18-24°C) . Acrylic paint becomes soft at 140°F (60°C) and subsequently becomes sensitive to damage from pressure or abrasion, possibly resulting in marring of the surface and/or adhesion of unwanted particles. Cracking can occur in temperatures below 40°F (5°C) due to increased brittleness.
Do not display or store your artwork in a high humidity area. Exposure to high humidity can result in the development of mould.
Smoke can leave a thin layer of residue on the surface of your painting which may be difficult to clean, therefore, a non smoking environment would be best if possible.
Clean your painting often by use of a feather/synthetic duster or compressed air. In the case of compressed air, spray on an angle instead of directly into the canvas to avoid embedding any dust particles. Never use a cleaning agent to clean your artwork.
Material Most of the clay used in creating the sculptures is high fire sculpture clay and is fired to cone 6-10, with oxides. Some of them are finished with an acrylic and/or metallic wax patina and a light matte clear coat. Care If the sculpture is going to be kept outside we suggested that it have an extra protective coating applied. To keep them clean they can be wiped down with a damp cloth, or sprayed with a can of compressed air as required.
Material Paverpol has been the leading Arts and Craft hardener for more that 15 years - turning a simple fabric into an amazing outdoor object. It is 100% safe for humans, animals and the environment. Materials hardened or sealed with Paverpol can be placed in the garden or patio throughout the year. Most of the sculptures in the gallery are outdoor safe, unless marked otherwise.
Care - Indoor sculptures can be wiped down with a damp cloth. Sculptures safe for outdoors can be washed thoroughly
Raku Historically, the Raku ceramic firing process was used for traditional Japanese tea ceremonial ware. Western artists became enthralled by Raku firing in the early 1940's, and adapted the smoking process (reduction in burning materials) to the rapid firing and cooling of Raku ware. Through this marriage of firing techniques, artists have experimented freely with clay as an art medium. The results range from formal pottery shapes to free-form sculptural interpretations. The Firing Process Ceramic ware is rapidly fired to the glaze-melting stage (about 1800F). Pots are removed from the kiln with tongs and placed into a can of combustible material such as sawdust, dry weeds, or newspaper. Flames erupt as the hot ceramic ware meets the dry organic matter. Carbon from the burning material is absorbed into the rapidly-cooling clay body and glaze. Unglazed clay areas will change to gray-black in appearance. Metallic oxides in glazes will react with the smoke, producing copper flashing (from copper oxide) and silver flashing (from tin oxide) and so on. A brief scrubbing removes extra carbon and debris, allowing the beauty of the crackled glaze, metallic flashing and smoked clay to show through. Use and Care Raku ware is meant to be used for decorative purposes only due to it's fragility, porosity, and thin, easily flaked glazed surfaces, and is not safe for use as domestic ware. Raku ware created with metallic oxide glazes should be kept out of direct sunlight and cleaned with a feather duster. Glazes for Raku do not contain any lead.
ENHANCE YOUR DÉCOR WITH AN ORIGINAL FROM BONAVISTA FINE ART