Raymar Panels
A one-stop source for rigid painting panels in a wide range of fine linens and smooth grounds, the kind of archival surface worth building a finished piece on.
Raymar makes ready-to-paint panels: oil-primed linens and cotton mounted on rigid board, in a range of textures from smooth portrait linen to a toothier weave. The point of a panel over stretched canvas is that it does not flex, so the paint film is more stable and you can scrape, sand, and work the surface without the bounce of a stretched support. Raymar is useful because it carries many surface options in one place, so you can match the linen and the tooth to the kind of painting you are making.
I recommend Raymar alongside Artefex. Raymar carries a wide range of panels and fine linens in one place, which makes it an easy source when you want to match a specific surface to a specific painting. I generally prefer a rigid surface over stretched canvas, with a little tooth but not much.
What it is. Linen or cotton, oil- or acrylic-primed, mounted to a rigid hardboard panel. Sold in standard and custom sizes.
Why it matters. A rigid panel holds the paint film flat and lets you scrape and sand without the give of a stretched canvas. The linen and tooth you choose shape how the brush moves, so a one-stop source that carries the full range makes that choice easy.
The tradeoff. Panels are heavier than stretched canvas and cost more per square inch. For very large work the weight adds up. For finished, archival pieces that tradeoff is usually worth it.
Yes. They are oil-primed linen or cotton on a rigid board, which holds the paint film flat and lets you scrape and sand. The rigid support is more archival than a flexible stretched canvas for a finished piece.
Both are good, and a working painter often uses more than one. Raymar carries a wide range of linens and textures in one place; Artefex is known for archival aluminum panels. Match the surface to the painting rather than staying loyal to one maker.