Find out what qualities of watercolor made it the medium of choice for many Renaissance illuminated manuscripts, portrait miniatures and colored drawings Renaissance Watercolours: materials and techniques by Victoria and Albert Museum, London
Before conducting a treatment on these large prints, conservators weighed the long-term risks and rewards. Science and Paper: Conserving a Drypoint by ... by National Gallery of Art, Washington D.C.
Matisse lived with his cut-out pool until his death. See how its conservators are preserving it for future viewers. Henri Matisse: Conserving The Swimming Pool by The Museum of Modern Art
Old master drawings are particularly vulnerable since they are on paper and hundreds of years old. Conserving Old Master Drawings by The J. Paul Getty Museum
These charred wood pieces produce a range of tones. Easily reworked, they’re also easily lost without a fixative. Drawing with Charcoal: Historical Techniques of 19th-Century ... by The J. Paul Getty Museum
From scraping skin and cutting quills to painting and bookbinding, making a manuscript is a long, complex process. Making manuscripts by The J. Paul Getty Museum
Intaglio prints can be etchings, engravings, drypoints, aquatints, or mezzotints. Intaglio process by The Museum of Modern Art
In this printmaking technique, the image is incised into the flat surface of a plate. Introduction to intaglio by The Museum of Modern Art
No press required! Watch as a woodblock and a linoleum sheet are cut, prepared, inked, and printed. Relief process by The Museum of Modern Art
Using a raised image covered in ink, this is the earliest and most accessible form of printmaking. Introduction to relief printmaking by The Museum of Modern Art
What’s the difference between relief and intaglio? How are lithographs made? Introduction to printmaking by The Museum of Modern Art