How to Make a Canvas Floorcloth
By Barb Kowalik
Barb Kowali k Studi o Box 33 Mi dway, BC, V0H 1 M0 Phone/Fax (780) 449-2896 Emai l: kowali k@sunshi necable. com
Barb Kowalik
kowalik@sunshinecable.com
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Barb Kowalik
Digitally signed by Barb Kowalik DN: cn=Barb Kowalik, c=CA Date: 2002.11.25 10:04:51 -08'00'
Barb Kowali k Studi o Copyright © 2002 This booklet was originally created as an addendum to my business plan to explain the process of my work. However, many people have wanted to know how to create their own floorcloths. I am providing this document as “as is” for informational purposes only and make no representation or warrantees of any kind with regard to the completeness and accuracy of the content and I do not accept liabilities of any kind including but not limited to merchantability, fitness for any particular purpose, or any losses or damages of any kind cause or alleged to be caused directly or indirectly from this booklet. Photographs come from the author herself and are copyrighted and can be reproduced with the written permission of the author. So, if you want to use the information, contact me kowalik@sunshinecable.com
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The History of Floorcloths Since ancient times, human beings have embellished their surroundings with the materials they have available to them. Neolithic cave dwellers painted on cave walls. The Egyptians painted on pyramids. The Myceaneans painted on their floors. To bring beauty into their teepees, Native Americans painted their animal-hide tents. For just as long, people have covered the floors of their dwellings with different materials. Oriental rugs from around 500 BC have been discovered in Middle Eastern burial places. Twenty two thousand carpets covered the floor of the palace of Baghdad of Islamic leader Harun alRashid in the 700s. However, rugs were not commonly used, even by the wealthy, until the 1700s. Painted canvases are thought to have originated in France in the 1400s in the form of tapestries, wall hangings and table runners. From these beginnings, it wasn't long before the English and Americans adopted the art form and extended its application to rolled canvases as floor coverings. Up until the 1700s, both in England and America, flooring generally consisted of unfinished wood or earth, tamped hard by walking. Since most Americans were poor, and very few could afford woven floor coverings (carpeting) from England or France, or more expensive flooring, such as parquet, marble, brick, stone or ceramic tile, they decorated their floors with rushes (stiff marsh plants), ferns, straw or sand. Throughout early colonial America, women made small hooked, braided, rag, patchwork, crocheted, knitted, embroidered and cross-stitched rugs, using home-dyed fabrics, in primitive geometric, mosaic, pictorial and floral patterns. Some Americans, particularly New Englanders, painted their pine floors with a combination of lead, pigments and linseed oil, generally in a freehand pattern, often with quite creative results. Canvases painted for use on the floor was both decorative and utilitarian. The best came from England. Their inclusion in estate inventories and public auctions attest to the value of these floorcloths. George Washington's handwritten documents confirm that he bought a floorcloth for his estate, Mount Vernon, from Roberts and Company for $14.28 (a considerable sum at the time). Thomas Jefferson bought green floorcloths from England, one for the small south dining room of the White House, at a cost of $3 per square yard, and another for the Great Hall entrance. Jefferson also used floorcloths in his Monticello home. And an inventory listing at the time John Adams departed the White House contained a notation for one floorcloth. Many of the early floor canvases were a solid color, usually green. If there was a design, it was generally "repetitive geometric", often the basic 1' by 1' alternating black and white squares, or other combination of colors, known as a diamond pattern, which was meant to imitate expensive marble. Some patterns imitated tile or Turkish carpets, and others had borders or all over figure designs. The majority of these decorative
The History of Floorcloths
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floorcloths were created by using stencils—in a manner similar to wall stenciling. Some were also decorated by block printing. The folk artists that first created American floorcloths were generally not trained as fine artists. They created their floorcloths out of necessity, decorating them to express their own individuality and style. As a folk art form, the original floorcloth artists concentrated on emphasizing color and simplicity of line. They used simple, bold forms, with much repetition and texture. These folk artists had many of the same problems with their floorcloths as we have today: cracking, compatibility of materials, insufficient drying time, durability and frayed edges. By 1840, with the advent of the American Industrial Revolution, early American stenciling became old-fashioned, as "real" wallpaper was more readily available, although other types of wall stenciling were done during the Victorian era. American floorcloths, which became immensely popular after an American tariff act in 1816 imposed a 30 percent duty on imported "painted floor cloths," gave way in the 1860s to the more durable and less expensive linoleum, which was manufactured with infinite printed or inlaid patterns. Traditional methods, materials and designs are still used today. However, many floorcloth artists have absorbed and reconfigured the traditional painted canvases and have gone their own way in creating contemporary works of art. They create floorcloths and wallcloths that make a strong decorating statement and represent a major color and design influence in a room. Today, floorcloths are often are designed as a focal point, taking the place of an area rug. They are, once again, popular for use in an entry hall and in a dining area, and a great many are used in front of the kitchen sink. The qualities that originally made them popular are the same today. They are made of readily available heavy cotton, and are easy to maintain. What has changed dramatically, however, is the choice of materials. Floorcloths used to be made by applying four to seven coats of oil-based paint to both sides of a canvas, sailcloth, or other solid cloth. Some people who could not afford the canvas to make a floorcloth even made them from a printed felt paper, which had the consistency of heavyweight cardboard. These were known as the "poor man's floorcloth" or "poor people's rugs." Today’s floorcloths are made either on canvas or the backside of vinyl flooring. The material is treated, painted, and then treated again with a polyurethane varnish. These rugs are extremely durable and water and stain resistant. They can be crafted to fit any area. Non-toxic materials are used and they are a unique way to add art to your floors. They add beauty to any room, cover high traffic areas, and are wonderful conversation pieces.
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The History of Floorcloths
Barb Kowalik
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The Process A canvas floorcloth is a very durable, distinctive, versatile, and easy-tomaintain floorcovering. It is durable because it is constructed to endure. They are made of non-toxic materials and unlike many broadloom and vinyl products, will not release any harmful vapors after they are placed in a room. They can be customized as to size and painted to match any décor. Following is how a floorcloth comes to be.
The Design 1. A floorcloth begins life with a design geared to create a rug (or wall hanging) that will meet the purchaser’s needs and aesthetic tastes. 2. The concept is drawn on paper (to a scale) and the colors are roughed in. 3. If the design is successful, a model of the final piece is created. This provides a better idea of what the colors of the finished piece will look like and if the design needs modification. These models can also be used as samples for retailers, and for juried shows. 4. Once the sample piece is completed, it can be enlarged to create the initial full sized floorcloth. When it is determined that all of the design elements work, the floorcloth can be used to create a stencil. The stencil can be used to create multiples. A design “family” can then be produced using the same elements with different colors, or on decorative pieces.
The Process
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The Creation A floorcloth physically begins as raw, heavy canvas. 1. The canvas is rough cut and stapled it to a Gesso Board. (My gesso board is a 4’x4’ piece of chipboard, edged with molding and varnished).
Figure 1-Canvas stapled to gesso board
2. The canvas is then stretched, and primed with 2 coats of Gesso (primer).
Figure 2-1st coat of gesso
Gesso is an artist’s primer. The canvas, alone, is not a consistent, absorbent surface for paint application. Canvas materials and other organic fabrics tend to yellow with age. This yellowing will change the appearance of the completed work, unless treated. So, before paint is applied to canvas, a coat of gesso is applied to assure the controlled application of paint, an even background color, and a barrier (and added support) for the paint. It also protects the canvas from water, 6
The Process
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mold and dirt. For the best results, gesso should dry for no less than 6 hours between coats. The time range depends on the temperature and humidity. 3. Once the gesso coats have dried, the canvas is flipped over.
Figure 3 - Canvas is turned to gesso the back
4. It is again stapled down and primed on the back. You should wait 48 hours before proceeding to give the gesso a chance to cure. 5. The canvas is marked for the floorcloth adding an inch to each side for the hem. For example: for a 24”x36” floorcloth, you mark the primed canvas for 26”x38”.
Figure 4 - Measuring the primed canvas for the floorcloth
The Process
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6. The canvas is then cut to the size for the floorcloth. To ensure my floorcloth is square—I use a T-square or a drafting triangle when marking the sides. I measure in 1” from the first edge, then make the measurement for the size of the floorcloth and mark for the second inch. For example: measure 1”, then 24”, and then 1” across the canvas. I scribe the line using a pencil and I use that line for cutting. Do the same for the other measurements. I cut out the floorcloth using the pencil lines.
Figure 5 - Cutting the canvas to size for the floorcloth
7. For hemming, a line is scribed 1” from the edge of the cloth. (My floorcloth is now 24”x 36”) I cut across the corner to create a flat corner when I glue down the hem.
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The Process
Barb Kowalik
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Figure 6 - Hemline and cut corner
8. To fold the hem, I run a kitchen knife along the pencil line, fold over the canvas and finger press to create a crease. I then apply white glue to the hem using a paintbrush.
Figure 7 - Applying the glue to the hem
9. The glued hem is folded into place and clamped until dry. This can take from 30 minutes to 2 hours depending on the heat and humidity. I use 2 1x2s and weights (or clamps) to hold the hem in place while the glue sets.
The Process
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Figure 8 - Hem weighted while glue dries
10. Once the hem is complete, I base coat the floorcloth. For an extra smooth surface for intricate designs, I sand the gessoed surface before base coating.
Figure 9 Pencil Drawing Inked
11. A design can then be transfed, by a number of different means or directly drawn on the floorcloth surface. Hand-painting, faux finishing, stenciling, and stamping—all using original patterns to avoid any copyright problems—may be used. In the illustrations, the design has been drawn on in pencil, and 10
The Process
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then inked with a fine point permanent marker. The pencil lines are erased, as they will bleed up through the acrylic paint.
Figure 10 - Floorcloth Inked Completely
12. The floorcloth surface and is painted, using water-based paints and glazes.
Figure 11 - First Color Laid Down
13. Frequently many coats of paint are laid down in the painting process, each needing to dry before the next.
The Process
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Figure 12 - Ready for Protective Coatings
14. Finally, the paint must thoroughly cure—generally for at least 1 week—before receiving the protective coatings of polyurethane. 15. Each floorcloth is treated with 4-7 coats of the highest quality, floor-grade, and polyurethane to create a surface that is 3 times more durable than that of a hardwood floor. It also receives 1 coat of polyurethane on the back. Each coat must dry and cure for at least 24 hours before the next coat is applied. 16. All told, a floorcloth receives many coats of surface treatment and protection before it reaches a floor. The finished product is very substantial and has heft and presence, similar to that of leather.
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The Process
Barb Kowalik
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Care and Feeding of Your Floorcloth Your floorcloth is easy to care for. Follow these tips to get the longest wear and enjoyment from your investment: • The finish on your floorcloth is water and stain resistant. Simply damp mop to clean. Occasionally, you can scrub your floorcloth with a stiff but non-scratching bristle brush along with white vinegar and water. This will help remove any ground in dirt. A thin coat of paste wax applied and rubbed with a soft cloth following a good cleaning will give added protection and enhance the colors. A mild abrasive cleaner can be used for stubborn stains. • A thin, rubber mat can be applied to the back of your floorcloths to prevent slipping and to hold your floorcloth firmly in place. It is not necessary to remove the floorcloth and mat from the floor while cleaning. The rubber mats applied to canvas floorcloths are put on with double-sided carpet tape and spray adhesive. This can easily be removed by peeling off the backing and using mineral spirits to remove the glue. • Floorcloths are to be used on hard even floors. It is not recommended they be used on carpeting, as crazing and cracking of the surface will result. Cracks and crazing will not affect the wear of your floorcloth and minor cracks are expected (particularly if your floorcloth is bigger than 24”x24”) or long cloths. Use a floor wax to ensure the cracks do not fill with dirt. Sharp objects can tear or scratch your floorcloth. For use under a kitchen or dining table, protect your floorcloth with felt or glide caps on the feet of chairs. • Your floorcloth is designed for interior use. Some of the colors may fade with exposure to the elements and bright sunlight. However, the water/stain resistant sealant will protect your floorcloth for use on a covered patio or screened porch. • Walk on your floorcloths—they love the attention.
Storage and Transportation • • •
ALWAYS ROLL, NEVER FOLD OR BEND your floorcloth. DO NOT place your floorcloth in the washing machine. TAKE CARE when leaving your floorcloth outdoors. Always bring it in during damp or rainy weather.
Care and Feeding of Your Floorcloth
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Glossary of Terms Base Coat The bottom, considered as its support, the foundation for the other paint.
Cure The canvas absorbs the gesso. The fibers become stronger and are less affected by dirt, temperature, water, etc. If paint is applied too soon, the painted surface may not adhere properly.
Stretched The canvas is stapled carefully to ensure the warp and weft of the fabric is taut and stays square.
Canvas A heavy, coarse, closely woven fabric of cotton, hemp, or flax, used for tents and sails. A piece of such fabric on which a painting is executed.
Gesso Gesso is a painting medium that contains chalk, glue and plaster to prepare a smooth and consistent surface for fine art painting.
Glossary of Terms
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