Art Technical Q&A: Preparing substrates

How do you prepare hardboard for oil painting? What are the advantages of Masonite over canvas? Does one have more value to a collector than the other?

Hardboard is a composite of shredded, compacted, and compressed wood fibers held together by lignin, a natural, sticky wood derivative. Known also as Masonite (the name of the company that first manufactured the wood substitute), hardboard is available in two different surfaces—a tempered, or oily, resin surface, and an untempered and lighter brown, less dense surface. Tempered hardboard requires degreasing, which is simply accomplished by wiping it down with a cloth that has been dampened with alcohol. Whichever type of hardboard you use, it is advisable to prime both sides to prevent it from warping. Acrylic emulsion gesso is the simplest and most efficient way of priming today. It serves as both a size— sealing the surface of the support to prevent subsequent paint layers from penetrating it—and as a ground on which the paint is applied. Two or three coats of gesso are recommended with light sanding between layers. Some art-supply stores carry a gesso that is specifically made for rigid supports such as hardboard and wood panels.

Among artists and collectors, the preference for one or the other type of painting support is largely personal. One artist may choose to work on a rigid support such as hardboard because of the way it feels or behaves with certain techniques or because of an artistic conception, while another with different goals may choose to work on a flexible support such as canvas. Canvas, whether linen or cotton, is available in many different weaves associated with a variety of different painting effects. From a practical standpoint, large paintings on canvas weigh less and are easier to transport and install compared to large paintings on panels. Hardboard panels larger than 24" x 36" require bracing, are heavy and more difficult to handle and transport, and may warp whether or not they are braced. On the other hand, rigid panels support mixed-media techniques and can sustain more physical exertion than flexible supports.

Ultimately, the artist’s preference is as important as the collector’s. It is true, however, that linen has historically been the favorite of collectors not only because of its beautiful character and strength but also because it has been used longer than any other textile for painting. Some people assume that paintings on linen are valued higher than comparable paintings on other materials, but this may not always be true.