Welcome to the Conservation and Best Practices section of the BLFA website.
Since first putting brush to canvas, Bryan has studied and worked to gain an understanding of what makes a painting last and stand the test of time. Cracking, peeling, flaking, discoloration, and separating from a canvas-backing are some of the terrible things that can happen to artwork as it ages or is moved from one location/climate to another. Today’s more contemporary schools and teachers have not always stressed that construction of a piece of art can be integral to its long-term impact and value. (This is why studying with a reputable atelier can be so important.) Some artists have not given much thought to this either. The result is artwork that fades or cracks soon after creation, breaking the hearts of their owners (!!), and a commensurate loss in value. The goal for Bryan, and many other classically-trained atelier students these days, is to create works of art that will look as fresh and new as the day they were painted for hundreds of years. To read up on specific topics related to the craftsmanship of fine art, please see:
- Painting supports
- Priming and drawing transfers
- Underpaintings/Overpaintings
- Varnishing and finishing
- Framing
- Delivery
Also related,
- A list of ateliers that teach in the classical tradition
- Where I buy my paint and other materials
RECENT ARTICLES ON CONSERVATION/BEST PRACTICES
Prometheus: Beginning a New Commission Painting
This is an exciting day for me. Today I’m starting actual easel work on a new, large format, commission painting that has been in the works for nearly a year. Last summer, I submitted a [...]
Painting Color Over a Monochrome Under-painting Part 2: Hair
When making the color pass over a monochrome underpainting of hair, I use a slightly different approach. Rather than using straight, opaque tube colors as I would for the flesh-tones where I need complete control [...]
Painting Color Over a Monochrome Underpainting – Part 1: A Face
As promised, here is a brief overview of how I approach painting flesh tones over a completed monochrome underpainting. This approach uses straight tube colors applied opaquely, as opposed to my approach to painting hair [...]
My Current Flesh Tones Palette
I've had quite a few people ask about my flesh tones palette. There are probably nearly as many ways to mix flesh tones as there are artists to mix them, and none is necessarily better [...]