Support: The support is a medium-weight, relatively open, coarsely spun, basket-weave, 2 x 2 cotton canvas over a butt-joined, expansion-bolt, 6-window stretcher with two vertical crossbars and one horizontal. The warp is oriented vertically, and the painting has been stapled to the stretcher. The canvas wraps around to the back of the stretcher and is tacked down with blued tacks.

Ground or Support Preparation: The artist or her assistant appears to have applied a dilute protein size, such as rabbit-skin glue or gelatin, followed by a priming of alternating layers of lead carbonate (PbCO3) in oil and zinc oxide (ZnO) in oil. The priming appears to be applied in limited coats without sanding.

Design Layers: The work is executed in generally single-layer, thinly applied paints, with the canvas/or support surface occasionally visible. There is linear brushwork at the margins of the forms, with localized wet-in-wet blending, and occasional holidays are present. There are many holidays (skips) in the application of the paint, with low regions of the canvas weave skipped over by the application of the paint, allowing the primer to show through. This imparts a somewhat "pitted" or damaged appearance. This is simply the nature of the artist's original application of the paint. The artist's subtractive scraping or rubbing is evident, particularly in the blue and yellow of the sky. The artist's dry-brush burnishing is also visible. Note that the artist's subtractive removal of paint to provide a modulation of paint thickness and value may appear as abraded damage, but is not.

Surface Coating: There is no varnish on the painting.

Framing, Backing, and Hanging Hardware: The work is installed in a micro-environmentally controlled Georgia O'Keeffe/George Of-designed, "L"-profile, painted aluminum microclimate frame. The frame has a gasketed secondary backing basswood strainer and gasketed Optium glazing and Rhapid gel RH buffering sheets behind corrugated MicroChamber board dust covers to maintain a 45% relative humidity and activated charcoal-zeolite VOC scavenger. Glazed with non-reflective, conductive Optium acrylic glazing.

Due to the extremely matte nature of the paint, scuffs, handprints, and abrasions are easily visible. The work is moderately taut and in-plane. The artist also executed the work with many studio inclusions such as brush hairs, dog hair, and dried paint bits from the palette, all resulting in surfaces in the paint that sometimes appear as scratches, abrasions, and disruptions. Three small flake paint losses, previously noted, are located on the left side near the bottom, one on the left edge nearby, and one on the bottom edge near the viewer's right corner. These all remain stable.

There is a stretcher bar crease with intermittent hairline scratches along the viewer's left edge, and stretcher creases visible on the inside stretcher rail edge in the lower left corner and at the midpoint-horizontal near the right side. There are handling finger smudges dispersed across all edges. Canvas pliers' indentations crease the canvas on the left edge at the margin of the white and yellow background paints. The matte white foreground paint was applied as a stiff, paste-like paint and retains "holidays" or small unpainted skips in the low relief interstices of the canvas texture. These are prominent above the horizontal stretcher bar crack at the viewer's lower left and should not be confused with pinpoint surface losses. Tiny, sand-grain-sized micro-protrusions of carboxylate soaps are generalized throughout most of the painted surface. Aggregated across the blue-green-yellow background, in three broad areas, are many high-relief or prominent threads in the canvas weave that have a tan or brownish appearance. In normal viewing, the appearance suggests soiling. Under magnification, the brown color is a result of pinpoint paint losses at the thinnest paints on high threads in the weave, precipitated by the formation of carboxylate metal soaps.