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Research & Development of Outdoor Paintings
Research & Development of Outdoor Paintings
Over a decade of research (with input and technical help from science) has given us the best combinations of substrates, additives, pigments and techniques to overcome the huge obstacles of enjoying original paintings in the outdoors.
Basically (without giving away hard-earned trade secrets) these are the problems that your average/ traditional artworks suffer when left outside (and why this specially developed combination of materials doesn't):
1. UV exposure - even the top artist-grade pigments don't often have a lightfastness rating suitable for the outdoors (we source and use only 8/8 pigments on the Blue Wool Scale, known mostly by chemists, nerds and pigment fanatics.)
2. CANVAS, PAPER, BOARD - they all rot of course when left in the weather (we have sourced specialised synthetic materials, additives, and preparations and created glazing & staining techniques specifically to prevent delamination, cracking, rotting and peeling which affects regular materials when left in the weather.
3. TIMBER - the stretcher mouldings and frame timbers used for regular art cannot tolerate the outdoor weather, so any stretcher, bracing or frames for our outdoor paintings are made totally from scratch with outdoor treated timbers or composite materials.
4. WIND - Our outdoor paintings are fitted with secure keyhole-type fittings on both sides and outdoor industrial strength velcro along the edge can be used to further securely fix the artwork to the outdoor wall.
5. CLEANING - Each of the substrates we use for our specialised outdoor paintings can be hosed off or wiped over with a damp cloth (frequency depends on just how dusty and windy your outdoor entertaining area is). We do it annually. (unless a bird art critic gives another reason!)
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