I am looking for a blank canvass that can be drawn on with oil pastells i live in coventry so where could?

I find a medium sized canvass to go on my wall?I am looking for a blank canvass that can be drawn on with oil pastells i live in coventry so where could?
Dickblick.com if you don't mind buying stuff online. I get a lot of stuff from there.





Do you have a hobby lobby or michaels? I live in the country as well, and there is one 25 minutes away. Or if you know someone who goes there, you can ask them to pick you one up. You could also try making and stretching one yourself.I am looking for a blank canvass that can be drawn on with oil pastells i live in coventry so where could?
Hi try the Ebay or you must have a local hobbycraft shop i know there is one in Coventry as i sent some art pastels %26amp; paints %26amp; canvas to them good luck


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Some Tesco stores are doing art materials, Or have you got a shop called The Works. They do loads of reasonably priced Canvas's. Good Luck
I am an artist and could make up a canvas for you approx.


2ft x 2ft and send it to your address. I would require a payment of 拢25 using paypal.co.uk email address poole_richard@hotmail.com - in the comments box you could put your address for it to be sent to.(In the unlikely event of non-delivery within 3 weeks you could always cancel the send money transaction).


Hope this is of some help.
Why? Canvas's work well with wet mediums, but not so well with heavily applied dry techniques....





Oil pastel is a painting and drawing medium with characteristics similar to pastels and wax crayons. Unlike ';soft'; or ';French'; pastel sticks, which are made with a gum or methyl cellulose binder, oil pastels consist of pigment mixed with a non-drying oil and wax binder. The surface of an oil pastel painting is therefore less powdery, but more difficult to protect with a fixative.





At the end of World War I, Kanae Yamamoto proposed an overhaul of the Japanese education system. Teachers Rinzo Satake and his brother-in-law Shuku Sasaki read Yamamoto's work and became fanatical supporters. They became keen to implement his ideas by replacing the many hours Japanese children had to spend drawing ideograms with black Indian ink with free drawing hours, filled with as much as colour as possible. For this, they decided to produce an improved wax crayon and in 1921 founded the Sakura Cray-Pas Company and began production.





The new product wasn't completely satisfactory, pigment concentration was low and blending or impasto was impossible, so in 1924 they decided to develop a high viscosity crayon: the oil pastel. This used a mixture of mashed paraffin, stearic acid and coconut oil as a binder.





Designed as a relatively cheap, easily applied, colorful medium, oil pastels granted younger artists and students a greater freedom of expression than the expensive chalk-like pastels normally associated with the fine arts. Until the addition of a stabiliser in 1927, oil pastels came in two types: winter pastels with additional oil to prevent hardening and summer pastels with little oil to avoid melting.





State schools simply couldn't afford the medium and, suspicious of the very idea of ';self-expression'; in general, favoured the coloured pencil, a cheaper French invention.





Oil pastels were an immediate commercial success and other manufacturers were quick to take up the idea, such as Dutch company Talens, who began to produce Panda Pastels in 1930. However, none of these were comparable to the professional quality oil pastels produced today.





Sakura managed to persuade some avant-garde artists to acquaint themselves with the technique, among them Pablo Picasso. In 1947 Picasso, who for many years had been unable to procure pastels because of the war conditions, convinced Henri Sennelier, a French manufacturer who specialised in high quality art products, to develop a fine arts version.





In 1949 Sennelier produced the first oil pastels intended for professionals and experienced artists. These were superior in wax viscosity, texture and pigment quality and capable of producing more consistent and attractive work. Caran d'Ache, introduced Neocolor wax crayons onto the market in 1965, using a patented polyethylene wax with superior lubrication; in the nineties these were developed into an oil pastel, Neopastel.





Oil pastels were developed to be used directly in dry form on paper or board; when done lightly, the resulting effects are similar to pastel chalks. Heavy build-ups can create an almost impasto effect. Once applied to a surface, the oil pastel pigment can be manipulated with a brush moistened in white spirit, turpentine, linseed oil, or another type of vegetable oil or solvent. Alternatively, the drawing surface can be oiled before drawing or the pastel itself can be dipped in oil. It should be noted that some of these solvents pose serious health concerns.





Oil pastels are considered a fast medium because they are easy to paint with and convenient to carry; for this reason they are often used for sketching, but can also be used for sustained works. Because oil pastels never dry out completely, they need to be protected somehow, often by applying a special fixative to the painting or placing the painting in a sleeve and then inside a frame.





There are some known durability problems: firstly, as the oil doesn't dry it keeps permeating the paper. This process degrades both the paper and the colour layer as it reduces the flexibility of the latter. A second problem is that the stearic acid makes the paper brittle. Lastly both the stearic acid and the wax will be prone to efflorescence or ';wax bloom';, the building-up of fatty acids and wax on the surface into an opaque white layer. This is easily made transparent again by gentle polishing with a woolen cloth; but the three effects together result in a colour layer consisting mainly of brittle stearic acid on top of brittle paper, a combination that will crumble easily. A long term concern is simple evaporation: palmitic acid is often present and half of it will have evaporated within forty years; within 140 years half of the stearic acid will have disappeared. Impregnation of the entire art work by beeswax has been evaluated as a conservation measure.





A streached canvas will limit the type of mark making you can use, and is a waste of money, if you must use canvas, use a cheap board from Wilkinsons, the works or Sussex bookshops. Its a drawing technique, so the surface has to be rigid for it to work.
I bought a pack of four prepared canvas's 24'; x 24'; for under ten quid, in the big shop next door to Sainsbury's in Stockport.
If there is a Partners stationary shop near you, then they do ready stretched canvas in various sizes (upto A1 I think) at pretty good prices.
I saw blank canvasses in my local Wilkinson's recently. Take a look here, or in your local store. Good luck.





http://www.wilkinsonplus.com/
Many years ago as a poor art student doing a 3year full time course, money was tight. This is what I did.


1) I bought calico canvas on a roll from drapery or upholstery shops it is not expensive.2) 50mm x 25mm wood for the frame. 3) Staple or drawing pins to secure canvas to frame 4). white emulsion paint the canvas. 5)leave to dry. 6)Now paint that masterpiece. Total cost around 拢5