“How you choose what to paint on when working with oil: canvas, linen or board, and what is the right degree of smoothness?” a reader asks. (I wrote about watercolor paper supports, here.)
The list of options is surprisingly broad
- Cotton canvas is the most economical and common backing. It comes available stretched, in sheets (which can be taped down on a painting board) or by the roll. It has a medium texture that suits a broad range of painting styles. Cotton can sag over time, but in most sizes and applications is perfectly fine.
- Linen is made from flax fibers and also available stretched, in sheets or by the roll. Linen sags less than cotton and is available in a range of weaves ranging from very fine (portrait) to very rough. It’s significantly more expensive than cotton.
- Polyester canvas is a newer player. It doesn’t absorb moisture, and is stable and sag-resistant.
- Canvas or linen boards, mounted on cardboard or fiberboard. These boards are inexpensive and portable, but they are not archivally-sound.
- Canvas or linen boards, adhered to MDF or hardboard are commonly used by professional artists for plein air painting. They’re rigid, lightweight and durable. (There is no advantage to linen once it’s glued to a board; only pay extra if you love the texture.)
- Birch plywood is smooth, rigid and relatively inexpensive. It should be sealed on all sides to minimize warping.
- Baltic birch plywood is a higher-grade plywood that is more stable. It’s my personal favorite substrate, but it requires a lot of preparation.
- Untempered hardboard (Masonite) is extremely smooth when properly primed and is inexpensive and durable. It’s heavier than other boards.
- Commercial gessoed hardwood panels (such as Ampersand boards) have a smooth, consistent surface that’s archivally-sound. They can be more absorbent than gesso over canvas.
- Wood cradled panels have a frame (cradle) on the back. Cradling is not necessary on small boards, but becomes important for larger work where warping can be a problem. It makes for elegant unframed work.
- Oil painting paper is specifically manufactured to resist oil penetration. It is inexpensive, making it great for studies.
- Heavy watercolor paper can be used if properly primed. This is a good solution for studies and experimentation.
- MDF (Medium Density Fiberboard) is smooth and heavy. It is susceptible to moisture problems.
- Aluminum composite material (ACM) is extremely rigid, won’t warp, and is light in weight. It is one of the most stable supports available.
- Copper can produce luminous effects if allowed to show through. It is very expensive and must be degreased, abraded and sealed before painting.
- Wood supports have included oak panels (Northern Renaissance) and poplar panels (Italian renaissance. Most paintings before 1500 were painted on wood rather than on canvas.
What’s the best texture?
- Ultra-smooth surfaces are best for highly detailed work.
- Fine weave is versatile and is often selected for portraiture.
- Medium weave is the most common texture and is useful for a range of brushwork.
- Rough weave is suitable for expressive, broken brushwork.
Why do plein air painters work on panels?
Professionals use archival-quality canvas panels; they’re significantly more expensive than the paper-backed canvas panels sold in most art stores.
These panels are moisture-resistant, easy to transport and fit neatly into wet-panel carriers. They are easier to frame than stretched canvas. They also prevent light infiltration from the back of the canvas. However, after a certain size (in my experience, about 20X24) they are heavy and prone to warpage. Above this size, I switch to stretched canvas.
Here’s the sad truth
I’d prefer you always painted on great supports, but every artist makes do at times.
A wonderful painting on an inexpensive panel is still a wonderful painting. A lousy painting on Belgian linen is still a lousy painting. While conservators can rescue a painting on a bad support, no support cannot rescue weak composition, muddy values or bad ideas.
Registration is now open for workshops in 2026! Reserve your spot:
- Advanced Plein Air Painting | Rockport, ME, July 13-17, 2026
- Sea & Sky | Acadia National Park, ME, August 2–7, 2026
- Find your Authentic Voice in Plein Air | Berkshires, MA, August 10-14, 2026
- New! Color Clinic 2026 | Rockport, ME, October 3-4, 2026
- New! Composition Week 2026 | Rockport, ME, October 5-9, 2026
Can’t commit to a full workshop? Work online at your own pace:
I just bought a big (3’x4’), nice stretched cotton canvas for a commissioned painting. Even though it is primed, I decided to throw another coat of gesso on it to give it a slightly smoother surface.
Excellent plan!
After much experimentation, I think I may have figured out that the way a substrate is prepared can make a bigger difference than the substrate material: the way paint is received and the end result. If you haven’t already, could you talk about the differences between acrylic and oil gessoes, primers and grounds and whether/how they might contribute to issues such as sinking in?
Excellent idea.