LIGHT & LIGHTING
All light, natural and artificial, is damaging to works of art. As a rule of thumb, ultraviolet, infrared or direct and indirect sun light should be kept away from all paintings at all times. Fugitive dyes and colorants used in the paints will eventually discolor under exposure to ultraviolet light and permanently damage it’s brilliance and shorten it’s life.

Direct & Indirect Sunlight, although sunlight is a great light to paint in, a painting in the sun's UV rays is so harmful that it will, over time crack, oxidize, fade the brilliance and colors and speed up the aging process. The key to prolonging the life of this painting is the stabilization of temperature and humidity, and minimiz the exposure to radiant energy or light. Both light and heat will seriously damage this painting.

Fixtures, from track lighting, wall and picture lights, floods to floor lamps there are many fixtures that are suitable for lighting fine art. There are also many bulb types to choose from. These should be selected based on the type of fixture you have selected. Track lights and floods are often the preferred art gallery lighting fixtures. A single track light can be pointed toward a single painting, placing each piece in its own individual light. These fixtures should employ UV Filters due to the bright light and heat emitted by them. Picture lights are accent art lighting fixtures that attach to the top of the frame or directly over the painting on the wall and cast direct lighting downward across the surface of the image. This evenly distributes illumination across the surface of the image, bringing out the details of texture, color, and subtle interplays of light and shadow.  However, due to their close proximity to the painting, these art lighting fixtures can damage sensitive canvas, oils, acrylics and mixed media, used in this painting.  For these paintings, it is either necessary to choose a different light fixture type altogether, or to use over the picture lights fitted with LED lamps.

Art Light Projectors are the safest, most optimal source of illumination for your painting and offers the advantages of UV and Infrared shielding and do not mount to the frame. Projectors produce a spectrum of color and luminosity that rivals natural light with none of its destructive side effects. The “lighted from within” effect is produced by halogen bulbs that focus the light through a series of lenses that make illumination appear as if it is actually radiating from within the art itself..

LED “Light Emitting Diode” lighting has several advantages to traditional incandescent and halogen bulbs. The best types of light bulbs are MR16 and LED. These are used by professionals, are highly efficient, have a long life, but can be quite expensive. LED’s do not emit the damaging UV light spectrum and produce a fraction of the heat. LED light bulbs generate relatively little heat as they glow, instead transferring more of their energy directly into light. These bulbs are available for most lighting fixtures.

Halogens Lights cast the purest white light, making them ideal for illuminating most art. They do generate a lot of heat, however, and must be placed far enough away that the heat doesn't affect the painting. Halogens are among the best lighting solutions if installed properly and have a UV filter. A low watt halogen based bulb has been recently introduced which redirects damaging UV and infrared rays of light.

Fluorescent Lamps emit high ultraviolet light and are not recommended for lighting this art. The painting must be protected from this light by additional glass or transparent acrylic sheets put between the lamps and the painting. Fluorescent lighting distorts the color of art and accelerates fading and if used should have a UV filter and kept at a safe distance from the art. Fluorescent lights do not emit light across the entire spectrum of colors.

Incandescent Light Bulbs are most common in house lamps and general lighting, but they are not recommended to light this painting. These bulbs tend to have very yellow tints and are inadequate in showing off the full spectrum of color in the art. They also emit UV and heat. Incandescent lights will be phased out in California by 2010, and the rest of the nation will no doubt follow.

All Lighting Should Be Filtered To Eliminate Ultraviolet Radiation

HEAT
The best place to hang a painting is on a wall away from any heat source. Heat dries out the material of the painting, speeding up the process of natural aging. Also, as hot air rises it carries dirt with it. Thus, a painting above a heat source will experience far more grime than is normal for the rest of the room. Heat sources can also soften paint where dirt and debris are easily trapped in the softened paint and varnish. It is not advised to hang paintings over fireplaces unless protected. In addition to the damage caused by the radiating heat, soot and smoke damage will permanently darken and alter the tone of this painting.

MOISTURE CONCERNS
Low or high relative humidity, as well as rapid changes in relative humidity, are not good for any painting. Low relative humidity tends to minimize chemical change. However, it also tends to make the paint brittle and prone to mechanical damage. High relative humidity tends to minimize mechanical damage. However, it tends to promote the growth of biological organisms. Mold growth in the form of black spots has been seen in canvas paintings. The Black Dust Cover on the back of this painting will minimize mold growth on the back of the untreated canvas or wood stretchers and help moderate humidity, dust and invasion of insects.

DUSTING
This painting may be safely dusted using a clean, soft, natural or synthetic hair paint brush, 2” to 3” wide.  The painting should be positioned on a clean padded surface and held upright at a forward angle so the dust falls away from the face of the painting.  Brushing is carried out slowly and gently in one direction across or down the painting followed by a second brushing in the opposite direction. Never use a vacuum cleaner, dry or moist dust cloths, solvents, soaps, stiff bristle brushes, or feather dusters to dust or clean a painting. Threads from dust cloths may catch on areas of raised paint, moisture, solvents and soaps may cause subsequent loss of paint and both bristle haired brushes and feather dusters can scratch the surface of a painting.

THE HARDWOOD FRAMEWORK
The importers of the hardwood used in my art pride themselves at setting the standard for legally imported, high quality hardwoods. Their controlled harvesting has guaranteed that these species are replanted for future generations. The framework finish is a linseed oil, varnish mix to seal the beauty and hand rubbed oil and wax finish. Both may dull in time, but can be restored with Watco or Minwax high quality paste wax, a wood preserver oil or other fine furniture wax

CARE NEEDS TO BE TAKEN WHEN MOVING A PAINTING
Only one painting should be handled at a time. Be careful to keep dirt and finger prints from the painting surface. Keep hands clean or wear gloves. Carry the painting with two hands from the sides of the framework or stretched canvas. Seek professional services for storage, crating and shipping.

HANGING
Appropriately sized, sturdy hardware should be used when hanging any painting. Two heavy duty picture hanging hooks should be driven into the wall studs for maximum stability. If studs are not available you should use the proper drywall anchors with screws or two 3 nail gallery picture hangers.  Also consider mounting a bracket under the painting to help bear its weight. My paintings with hardwood framework can weigh up to 25 lbs. those without framework up to 5 lbs. All the metal devices whereby your painting is held in place, should be periodically checked. Hooks come out of plaster, screws come out of wood, wire wears out. Just because it hasn't fallen down yet, doesn't mean that your painting is perfectly safe.

Here”s a few tips you should consider before hanging this painting. Hang at eye level, on average 60” from the floor. The eye perceives harmony if the centers line up, even if the tops and bottoms don’t. Hang your art at 60” on center, which means that the middle of the painting is at 60” on the wall, the hooks will be higher. To do this measure and lightly mark 60” on the wall from the floor, find the center of the canvas, the vertical height divided by two. Measure from the top of your painting to the tightened wire, and subtract this last amount to tell you how far above 60” your hooks should go, allow 2” to 3” less when using 2 hooks spaced 12” or more apart.

BACK OF PAINTING
EXAMPLE:
• Measure from the floor & lightly mark 60" on the wall • If the painting is 40" tall the painting middle is 20" from the top, this should line up at 60" on the wall
• The wire comes 4" below the top so 20" minus 4" equals 16"
• Lightly mark 16" above your first 60" mark on the wall, the height of your hooks is 76" from the floor

PROFESSIONAL SUPPORT
If you are ever in doubt about how to handle your painting or you just want to know more about its care, Paintings or Fine Art Conservators are your best source of information. They can help you with the general upkeep of your paintings such as dust and grime removal, as well as handle any unfortunate mishaps including paintings that fall from their hooks, fire, flood, insect or mold damage, etc.

My Paintings Are Made Of These Materials
Solid 1 1/2" Wood Stretchers
Natural Cotton Gallery Wrap Canvas
Acrylic Latex Modeling Medium
Acrylic Polymer Medium
Gold, Silver & Copper Leaf
High Gloss Enamel
Acrylic & Oil Paint
Refined Linseed Oil
Solid Hardwood Framework
Brass, Copper & Aluminum Tube
Black Tyvek Or Paper Dust Cover
36 lb. Stainless Steel Braided Wire

The Life Of A Painting Depends Upon Its Care & Handling