Everything in a painting is there for a reason, even if the painter is not immediately aware. A diptych, for example, is created on two panels for a purpose, and not just for the sake of splitting an image in two. The surface of a painting is also chosen for a reason.
When starting in oils, I primarily painted on unsupported masonite. The initial explanation was cost related; it was simply less expensive than canvas. What I did not realize was the effect the masonite surface had on my brush marks. The rigid panels pushed paint forward, as the applied texture remains intact. In other words, the tool marks are not altered by the surface; as opposed to the flexibility or bounce of stretched canvas. This lead to, or was the cause of, dabs of strong colour throughout the work. Eventually, I decided to tone down the brush marks, and switched to canvas, with it's texture and more subtle effects. The surface used relates to the style of painting created.
When starting in oils, I primarily painted on unsupported masonite. The initial explanation was cost related; it was simply less expensive than canvas. What I did not realize was the effect the masonite surface had on my brush marks. The rigid panels pushed paint forward, as the applied texture remains intact. In other words, the tool marks are not altered by the surface; as opposed to the flexibility or bounce of stretched canvas. This lead to, or was the cause of, dabs of strong colour throughout the work. Eventually, I decided to tone down the brush marks, and switched to canvas, with it's texture and more subtle effects. The surface used relates to the style of painting created.
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