Painting Techniques
utilizing Old Dutch Masters' Methods 

In order for art patrons to appreciate the aspects of superior quality fine art and the preservation of its investment asset, they must be, at least, generally informed as to what constitutes a completed painting. Fred Lucas understands product permanency and makes it a fundamental consideration in his works. He states it as such... "I think as the creative arts emerge from an artist's mind, he is entrusted with the ethical responsibility of proper materials selection and their correct technical manipulation to assure a finished product of highest quality and maximum longevity .The time expended in achieving this objective is secondary to results."

Fred achieves a skillful blend of the Romanticist's treatment of colored light with the strength and form of the Classicist's realism. He confidently executes broad versatility in subjects such as sweeping landscapes, robust western Americana and contemporary life, historical events, wildlife, and portraits. He has devoted years to study and enthusiastic application of the Old Dutch Masters painting techniques.

The Old Masters assumed the position that no degree of perfection should be overlooked in preparation and choice of materials. Fred maintains this pursuit in his efforts beginning with the selection of finely woven Belgian Linen canvas support which he stretches over heavy duty aged wood bars. Linen made from cultivated and processed flax is the oldest fabric known to man and has been used for painting supports since the Flemish in 1500.

Preparation of his canvas begins with impregnation of the linen weave with a diluted solution of flexible rabbitskin glue to isolate the fiber from direct contact with the subsequent priming. The first priming is a smooth paste of white lead carbonate in linseed oil and mercury fungicide to prevent bacterial function. The initial priming is followed by two heavier coats of white lead carbonate, each being carefully sanded. The result is a highly durable, flexible, absorbent ground to which the oil colors permanently adhere.

Upon completion of drawing layouts, Fred transfers figure compositions to the ground surface and brushes in with thin oils. His choice of oil colors is Rembrandt of Holland. These colors are produced by extensive research on pigment and binders supported by techniques and raw materials used by the Dutch Masters. Composition, color tone, purity , brilliance and the highest possible degree of permanence is achieved through manufacturer controlled laboratory tests. His system of coloring is termed "body color", and includes ad-mixtures of flake white for hue saturation. He also uses a disciplined transparent coloring in which the white of the ground is utilized for color brilliance. Application proceeds with an initial thin oil underpainting to delineate overall color structure. After drying, the final oil layers are added, beginning with a less flexible layer below those of fattier oils which are mixed with appropriate medium on a white marble pallet and applied with a variety of sable brushes. This procedure is in keeping with the permanence practice of laminated and graduated oil layers, always having a less flexible layer below those of greater flexibility .

Once the painting is thoroughly dry, a final Damar varnish is applied, forming a hard, clear surface finish that isolates the oil color from atmospheric changes and impurities. In certain cases, beeswax (a flattening agent) is mixed with Damar to reduce gloss and soften the finish. Application of either variety is by spraying preheated Damar onto the painting. This method compliments adhesion and insures a uniform durable surface. Protection of canvas from the rear is also a necessary precaution against decay. Fred secures heavy cardboard to the back of the canvas stretcher bars, leaving air circulation, but adequately insulating and protecting against temperature change, humidity, dust accumulation and accidental puncture.