Upload new images. The image library for this site will open in a new window.
Upload new documents. The document library for this site will open in a new window.
Show web part zones on the page. Web parts can be added to display dynamic content such as calendars or photo galleries.
Choose between different arrangements of page sections. Page layouts can be changed even after content has been added.
Open the Navigation Management window, which can be used to view the full current branch of the menu tree, and edit it.
Move this whole section down, swapping places with the section below it.
Check for and fix problems in the body text. Text pasted in from other sources may contain malformed HTML which the code cleaner will remove.
Accordion feature turned off, click to turn on.
Accordion featurd turned on, click to turn off.
Change the way the image is cropped for this page layout.
Cycle through size options for this image or video.
Align the media panel to the right/left in this section.
Open the image pane in this body section. Click in the image pane to select an image from the image library.
Open the video pane in this body section. Click in the video pane to embed a video. Click ? for step-by-step instructions.
Remove the image from the media panel. This does not delete the image from the library.
Remove the video from the media panel.
Are either considered to be more ideal in stretching canvas?
I've used both and find the tacks to be a little more adjustable. That is to say I can more easily remove and reposition them. Though one wonders about the impact shock from hitting them in. On the other hand the staples also seem to go in with quite a "bang". Not much of a concern with a yet to be primed surface, but what about restretching old paintings? Could old paint be loosened from the canvas?
Move this whole section up, swapping places with the section above it.
We have covered most of this question on an earlier thread. Here it is
for your perusal
Additionally, one of our moderators has written a good synopsis of the
various pros and cons of the two methods. The link is here
I will say that as a practicing
painter who primed my own canvases, I vastly preferred staples intelligently
applied on the back of the stretcher (see the link) and as a painting conservator,
I generally use tacks on the sides of the stretcher. Neither are from a worry
about dislodging paint. If a painting is that fragile, it requires additional
conservation procedures. I should add that I stretch unprimed/unpainted
canvases face down and anything with painted imagery face up. The latter is far
more difficult but is necessary for ethical conservation.
Additionally, there is an unspoken (and sometimes spoken) bias that tacks on
the side of the stretcher are better than staples. I believe that much of this
opinion comes from disasters resulting from staples driven too deeply (the
bottom of the staple should not countersink the surface of the canvas) and a
failure to set the staples at a 90 degree angle rather
than parallel to each other. As a painting conservator, I
have also seen innumerable cases where tacks were driven too deep and the canvas has
pulled loose from the stretcher.
I generally go with staples if on the back of the
stretcher and tacks of on the sides.
OK finally, finally. One of the tricks were use in painting conservation is
to use a hole punch to punch out small circles of high quality blotter paper
and push the tack through this before using it to attach the canvas to the
stretcher. This makes it far less likely that the tack will be driven too deep
into the canvas and cause a potential puncture. I know that some conservators
and a couple of painters will staple their canvases through linen twill tape
for the same precaution.
Thank you very much, that's quite helpful.