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HISTORICALJUST MATERIALS ISSUE PAINT

Published by GOLDEN Artist , Inc. / Issue 6

Historical GOLDEN Molding The Ever-changing Artist's Palette Pastes Offer Many is the very essence of permanence. If a painting’s charac- paint. Regardless of the vehicle that teristics are to remain consistent Textural Options! is used to adhere it to the substrate, for generations to come, we can- pigment selection is based on one not remain indifferent to the fact simple criterion. The colorant must that certain pigments are going to be the right . Once that factor fade. Such pigments should not is met, the artist can compare it to be incorporated into a palette other available pigments of a like based on decisions made by artists hue, and determine the one that is centuries ago. Old choices should best suited for the project at hand. be continuously compared to new The final selection may be based on alternatives, with selections based opacity, cleanliness, vibrancy, and on current information. Similar of course, permanence. reasoning can be applied with Ever since the first prehistoric regard to the characteristic of artist picked up a smoldering chunk pigment toxicity. of charcoal from the fireplace to There are pigments that have draw on the cave wall, survived for centuries as reliable mankind has striven to produce and safe colorants. Some of the better art. Each artist from inorganic pigments used that point on has faced since prehistoric times, Artists are often asking why our the same question: such as the and product is called “Molding Paste” “What materials will Bone , are still while everyone else’s is called work the best for what in use today. Along “Modeling Paste”, and is there any I am trying to do?” with these, we long difference? First, I have no idea why In the case of early ago made room the product was called Molding man, the answer on the palette Paste. It can be placed in a mold, was found in plants, for their refined but it wasn’t particularly developed dirt and other avail- counterparts, for that purpose. Molding Paste is able materials of synthetics such as what Sam Golden called a similar the right that Mars colors (Iron product at Bocour and he simply could be crushed, Oxides) and Carbon carried the name forward to his ground or squeezed, Black. We also have new company. GOLDEN Molding and applied to the replaced many pigments Paste is made similarly to other painting. In today’s on the palette, brands of acrylic modeling pastes. world we have at Modern technology affects materials both naturally Basically, they are all a medium of our disposal an and tools alike. This muller was occurring and acrylic polymer that is filled with incredible number used by Sam Golden for hand synthetic, with grinding pigments. hard solids. of materials in a newer inventions. Molding Pastes are probably vast array of . These additions and changes have one of the more commonly used From these, for use in artwork collectively yielded improvements in products when working with intended to last, we can choose color consistency, durability, safety, acrylics or providing a base for colorants with an emphasis on and range. other media. They can easily be Continued page 8... Continued page 4... Just Paint / Issue 6 2

Historical Pigments Some Historical Pigments and their Replacements called , which was an records indicate that the sale of In- Asian gum used until the dian Yellow was prohibited as an 19th century. was first act of preventing cruelty to ani- introduced in 1851. Aureolin mals, as mango leaves do not have (chemically known as Potassium the proper nutrients for cattle. Baltintrite) was popular until the Malachite late 19th century, when less Also known as Mineral expensive, cleaner and more light- or Verdeazzuro, Malachite is a fast pigments like the Cadmiums pigment that was used by many were introduced. Although true early civilizations. Derived from Alizarin Cobalt Yellow can be found, it is native carbonate of , it is (PR 83:1) generally not in use. perhaps the oldest known bright Alizarin Crimson was created green pigment. Azurite is its in 1868 by the German chemists, Cobalt Violet counterpart. The synthetic variety is Grabe and Lieberman, as a more (PV 14) called Bremen Green. Malachite fell lightfast substitute to Genuine Rose In 1860, Cobalt Violet was out of use in the 18th century. The Madder. This was accomplished by introduced and gradually devel- pigment is not permanent, and has isolating part of the madder root oped, refined, and later created a gritty texture. colorant,1,2 dihydroxyanthraquino- synthetically. Two costly versions, ne (Alizarin), from the more fugi- anhydrous cobalt phosphate or Manganese Blue cobalt ammonium phosphate, tive 1,2,4 trihydrozyanthraquinone (PB 33) (Purpurin). This is historically (sometimes combined) were used. Manganese Blue, or Barium significant as it represents the first Cobalt Violet is toxic and costly to Manganate, has been produced synthetic duplication of a pigment. produce, and the weak pigment since the 19th century. The Madder dates back to before the quickly was replaced by the cleaner, synthetic variation was patented time of the ancient Greeks. Pliny stronger Manganese Violet. in 1935, but neither variety is the Elder termed it “Rubia”, and it Hooker’s Green commonly produced anymore, as has been found in Egyptian tombs. (PY 24/PB 27) the coarse, weak pigment was Madder came to Europe during the The earliest Hooker’s were a replaced by more intense . time of the Crusades. The use of blend of Gamboge and Prussian Manganese Violet Genuine Madder practically ceased Blue. More lightfast varieties were after the introduction of Alizarin. (PV 16) later created with Aureolin. Modern Also known as Permanent Violet, Lightfastness III, Alizarin Crimson Hooker’s Green is usually a blend Nuremberg Violet or Mineral was replaced 90 years later by the of Phthalo Blue and Cadmium Violet, Manganese Violet replaced Lightfastness I Quinacridones, de- Yellow. There is a pigment, (PG 8) Cobalt Violet in 1890. It is veloped by Struve in 1958. that is sometimes called Hooker’s understood to have been first Green, but this pigment does not offer made by E. Leykauf in 1868. It Asphaltum any significant improvement over Also known as Bitumen, was a cleaner alternative to the blends, as it is (ASTM III) fugitive. Asphaltum is a solution of asphalt Cobalt Violet and was less toxic. in oil or turpentine, used since Indian Yellow It also had better opacity. prehistoric times as a protective Also known as Puree, Peoli, or coating. Although Rembrandt used Gaugoli, True Indian Yellow (eux- (PY 41) Asphaltum with good success, there anthic acid) was produced by heat- Also known as Antimony is much evidence that other paint- ing the urine of cattle fed mango Yellow and Juane Brilliant, Naples ers’ work did not fare as well, and leaves. The process was introduced Yellow is a lead-based pigment severe darkening was the result. to India by the Persians as early as made from Lead Antimoniate. the 15th century. Bengal, India was It was produced as early as the Aureolin the chief exporter to Europe from the (PY 40) 15th century, although it is said Also known as Cobalt Yellow, Aure- early 19th century until 1908. Local to have been found on tiles of olin replaced an earlier pigment ancient Babylonia. The first

Historical Materials Issue Just Paint / Issue 6 3 formulae date from 1758. Cobaltite and Smaltite were Replacing (a made produced from these mines. Smalt Naphthamide from boiled wood soot) in the 18th was abandoned as Cobalt Blue and (PR 171) century, true Sepia Ink is made Ultramarine became available in Also known as Benzimadazolone from the ink sacs of animals such the 19th century. Maroon, Naphthamide Maroon as the cuttlefish. It is said that the was first produced in 1960, secretions of just one cuttlefish Terre Verte along with other Benzimadazolone can turn a thousand gallons of (PG 23) pigments. Recently discontinued water opaque in seconds. Like most Green Earth is known by an assort- from the GOLDEN ment of names such as Stone Green, palette because Verdetta, and the pigment Celadonite. Other manufacturer halted names refer to production as the source of the cheaper alternatives native iron / mag- became more nesium colored common place. clay, such as Promising new Bohemian, a high alternatives should quality grade of be available in the pure green hue. It near future. has been popular for centuries with Prussian Blue many cultures. (PB 27) Native Americans Prussian Blue is also were fond of of significant using Green Earth importance in the as a colorant. Since art world as it is Medieval times it known to be the has been used as first man-made an underpainting pigment. It was color for flesh invented accidental- tones in portraits. ly by the Berliner Diesbach in 1704, when he was naturally derived organic colorants, trying to create a Florentine Lake. it is not lightfast. Modern oil paints (NBr 8) Also known as Chinese Blue, Berlin under this name are typically hues Also known as Cassel Earth, Blue, Paris Blue, Steel Blue, Iron made from Burnt , Van Rubins Brown, and Cologne Blue, Blue, Paste Blue, Dyke Brown and Carbon Black. Brown, this pigment dates from and Milori Blue. The Milori Blue around the 17th century and is a variety is typically what makes Smalt blend of clay, iron oxide, humus The earliest of the Cobalt pigments, up today’s Prussian Blues. The and bitumen. Due to the humus Smalt was artificially made from pigment is alkali sensitive, and and bitumen (Asphaltum), true Van coarsely ground Cobalt Blue Glass therefore cannot be made in an Dyke Brown turns dark and/or as it becomes very transparent when acrylic emulsion. fades. The transparency of Van finely ground. The earliest use was Dyke Brown made it ideal for glaz- by the ancient Egyptians. It was Sap Green ing, rather than and ochres. Sap Green is made from the unripe also used as a glass colorant by berries of the Buckthorn. It is high- Venetian glassblowers until the Venetian ly fugitive, as is another Sap Green, 17th century when Ultramarine , , Venice Red, or Iris Green, made from the juice and Azurite became scarce. The Turkey Red, , Spanish of the Iris Flower. In medieval times name Cobalt comes to us from the Red, Pompeian Red, and Persian it was reduced to a heavy syrup and Bohemian Miners who had troubles Red (or Persian Gulf Red, still sold in bladders, not dry pigment obtaining the mineral and named it considered the best grade for the form. Modern Oil paints under this “kobolds”, which was their word natural pigment) are names used to name are actually coal tar lakes. for spirits or ghosts, which they describe locations where the natural believed inhabited the pigment. red iron was extracted from the Continued page 10...

Historical Materials Issue Just Paint / Issue 6 4

From Cover Purple. It is also possible to get to make a material that would have brilliant , especially when the support capability of Molding Molding Pastes mixing with Cadmiums, because Paste, but at a reduced weight. worked with a brush or pallete of their incredible opacity. If a Even though the resulting product knife and readily mixed with acrylic red is desired, the most promising is only 1/3 the weight of its heavier colors. GOLDEN Molding Paste route is with the Pyrrole , cousins, it will hold peaks that are is often used to build texture and because they have the greatest much higher and more detailed depth before subsequent application tinting strength. than either the Molding Paste or of additional colors. It is the “auto Molding Paste may be applied Hard Molding Paste. It has a body filler” of acrylic paints. Sam as a separate layer and subsequently consistency between cake frosting once actually used it for filling a gap painted. The Molding Pastes accept and shaving and can be in the back fender of his beat-up such application of color with great shaped quite readily. As with the station wagon. He said the stuff ease. They have excellent tooth and other Molding Pastes, shrinkage is lasted for years. great absorbency, which can be minimal due to its high solid load. Currently, three products exploited with a wide range of Light Molding Paste dries to an make up the range of GOLDEN techniques. GOLDEN Molding extremely flexible film, which can Molding Pastes. They all have a Pastes are quite thick. be rolled without cracking. It is thick consistency derived from the Preparing Substrates for also very absorbent and works high levels of added solids. For exceptionally well as a ground, to Molding Paste and Hard Molding Molding Pastes create stain effects using thinned Paste, these solids include marble When using these materials, it acrylic colors. dust, a large particle-size calcium is important that the support be GOLDEN Molding Paste dries carbonate. Calcium carbonate properly prepared. A ground of a great deal harder than Light imparts significant whitening and is gesso or size of thin acrylic medium Molding Paste. It will dramatically also often used to create the tooth should be applied. Alternatively, the increase the stiffness of a flexible in acrylic gesso. The solids in Light Molding Paste may be thinned with support and provides a harder Molding Paste include hollow a fluid acrylic medium or an surface to work against. Unlike spheres which provide even greater acrylic/water mixture and applied as Molding Pastes from most other whitening. All of these products dry a ground. This will assure good manufacturers, it can be rolled to a fairly opaque white or light bonding with the support. If it is without cracking. It dries to a light -gray. It is this opacity that necessary to use Molding Paste gray finish and is not as opaque as makes them quite different to work without thinning or prior sizing as a the Light Molding Paste, so less with than other mediums, especially ground, it is essential that the color is required to overcome its product be forcefully brushed or when adding color. tinting ability. The surface of otherwise pressed into the substrate. Molding Paste has a fair degree of The Molding Paste Choice: Like other acrylic paints and absorbency which will allow for the Mix Color With It or Apply mediums, the Molding Pastes will application of stains of thinned Color Over It. adhere best to absorbent surfaces down color. It also provides great like canvas or wood. They will not GOLDEN Molding Pastes tend adhesion for subsequent coats of adhere to greasy or oily surfaces. It to tint colors that are added to acrylic colors. Molding Paste will is also best to roughen up slick them. This can be overcome by not hold high peaks unless puddled surfaces to increase the tooth, adding a large amount of color, but in large quantities. making the surface profile rougher in doing so, many of the attributes GOLDEN Hard Molding Paste for which the artist might have for additional bonding. was developed for artists who chosen the Molding Pastes may be From Light to Hard; wanted to sand down the acrylic diluted. This tinting property is 3 Molding Pastes Provide paints. Anyone who has ever put most noticeable when mixing with Options for Artists sandpaper to acrylic paint knows reds. When adding a small amount GOLDEN Light Molding Paste the frustration of trying this. The of any red to any Molding Paste, was originally developed for an paint film begins to heat and soften the resulting tint is always . artist who needed to support because of the friction, quickly This is not as great a problem in the sculpted canvas forms arising from gumming up the sandpaper. Hard other hue ranges. It is quite possible the surface of her paintings. Using Molding Paste can be used to to get a deep blue, green or purple normal Molding Paste to fill the modify acrylic colors, making them using Anthraquinone Blue, Phthalo large voids resulted in incredibly more readily sanded. When used by Blue, Phthalo Green, or Dioxazine heavy paintings. We were requested Continued next page...

Historical Materials Issue Just Paint / Issue 6 5 itself, Hard Molding Paste can be will potentially develop if used on film. sanded to an incredibly smooth, an unsupported flexible substrate. Gel/Molding Paste Hybrid almost glass-like surface. Among Hard Molding Paste has self- A final product to consider is a other things, this allows an artist leveling qualities not found in other hybrid material called GOLDEN to prepare a variety of surfaces for Molding Pastes. High peaks formed Extra Heavy Gel/Molding Paste. This drawing techniques. In addition in application will settle out before product was produced for an artist it can be shaped with a knife, it is completely dry. who wanted the greater translu- carving tools, electric sanding cency that a gel offers as well as the equipment and drills. This allows Molding Paste Maintenance ability to build up higher, more for subtractive techniques when Care should be taken when accurate peaks. GOLDEN Extra working with the dried paint. using any of the GOLDEN Heavy Gel/Molding Paste provides Typical acrylics are much too Molding Paste products without that bridge between a Gel Medium flexible for carving and tend to a protective final coat. Because of and a Molding Paste. Although still bind even the sharpest razor blades their absorbency, it is quite possible drying to a light gray color, it allows and knives. Hard Molding Paste that dirt, pollution or finger marks the artist to achieve greater depth of dries to a light gray color. It is will leave stains. It is best to con- color than that achievable with the quite absorbent like the Molding sider using a sealing coat and a standard Molding Pastes. Paste and will accept overpainting final varnish if these materials are So whether you mold with readily. However, it forms a more exposed on the surface of the Molding Pastes or model with it, brittle film and, unlike the other painting. Also, as with all acrylics, each one has versatility and options Molding Pastes, if this product is avoid rolling, hitting or banging worth exploring! applied to a flexible support, it them in cold weather, as it is very should not be rolled. Cracking possible to crack the cold acrylic

Light Molding Paste: Light weight, high peaks, dries Molding Paste: Good peaks, dries to an opaque film, carvable. to a very absorbent opaque white surface.

Hard Molding Paste: Self leveling for smooth surfaces, dries Extra Heavy Gel/Molding Paste: Good peaks, dries to an opaque smooth film. Carvable and sandable. to a flexible semi-opaque film.

Historical Materials Issue Just Paint / Issue 6 6 Frequently Asked Questions Why aren’t ASTM Lightfastness ratings provided for your Interference and Iridescent colors? The labels describe their Lightfastness as “Excellent” while your other colors are labeled with ASTM Lightfastness ratings of I or II. Are these different systems? ASTM (American retained sample, rather Society for Testing and than by using a spectro- Materials) bases photometer. Lightfastness categories We use the term on the measured amount “Excellent” to describe The paint sample on the left shows the degradation of some of color change (typically that after the ASTM pigments after laboratory exposure to damaging ultraviolet (UV) fading) that occurs as a prescribed exposure, these light. The Red Oxide sample on the right shows no color shift result of standard levels of pigments reveal no color after the same UV exposure testing. accelerated or long-term shift upon close visual ultraviolet light exposure. inspection. ASTM ments perform as well as particles coated with a Although remarkably Lightfastness category I any type we’ve ever tested. transparent layer of lightfast, Interference and is also described as The inherent durability Titanium Dioxide and/or Iridescent pigments “Excellent”. Although of these pigments results Iron Oxide. They are cannot be instrumentally we cannot spectrophoto- from the stability of their entirely inorganic and measured in the manner metrically measure the components. Iridescent resist degradation not specified by the present difference and assign and Interference pigments only from ultraviolet ASTM Test Methods. an official ASTM rating share common building radiation, but also from Therefore, they must be of category I, we can blocks with the most water, heat and acidic or evaluated following attest to the fact that lightfast class of pigments, basic compounds. exposure by visual under the same test metal oxides. They are comparison with a conditions, these pig- comprised of mica Table 2: Historical Color Titanium To Match White Historical Color Matches 1. Alizarin Crimson 2. Asphaltum Historically Significant Colors 3. Aureolin 4. Cobalt Violet 5. Cobalt Violet Deep Recreated with GOLDEN Acrylics 6. Hooker’s Green 7. Indian Yellow To the right are mixing ratios masstone, undertone, etc. Also note 8. Malachite 40 for historically important colors and that some historical pigments are 9. Manganese Blue some recently discontinued much grittier than their refined 10. Manganese Violet 3 11. Naples Yellow 30 GOLDEN colors. We have tried to counterparts. If this 12. Green Deep duplicate each hue as closely as is significant to your work, a 13. Prussian Blue possible, however, pigments often textural medium can be added, 14. Sap Green have unique attributes which make such as GOLDEN Acrylic Ground 15. Sepia exact color matching impossible. for Pastels, to mimic the roughness. 16. Smalt 17. Terra Rosa 16 When using this guide bear in mind Transparency also can greatly 18. Terre Verte which characteristics are important vary depending on the source of 19. Van Dyke Brown for your application, such as the pigment and the strength of 20. Venetian Red 10 chroma, opacity/translucency, each mixture. 21. Viridian Green 1 22. Vermillion 7

Historical Materials Issue Just Paint / Issue 5 7

Table 1: Color Matches Using GOLDEN Heavy Body Acrylics Historical Color Part Part Part Part Part To Match 1 2 3 4 5 1. Alizarin Crimson Quinacridone Crimson 2. Alizarin Crimson Quinacridone Quinacridone (Alternative Match) Violet (10) Burnt (12) 3. Hooker’s Green (1) Jenkin's Green 4. Hooker’s Green (2) Anthraquinone Blue (1) Nickle Azo Yellow (3) 5. Indian Yellow Nickle Azo Yellow (15) Transparent Pyrrole Orange (1) Regular Gel (Gloss) (50) 6. Malachite Titanium White (8) Phthalo Green (BS) (3) Cobalt Titanate Green (4) 7. Naples Yellow Titan Buff (20) Yellow Oxide (2) Diarylide Yellow (1) 8. Naphthamide Maroon Quinacridone Quinacridone Dioxazine Carbon Black (Masstone) Violet (11) Burnt Orange (11) Purple (2) (0.7) 9. Naphthamide Maroon Quinacridone Quinacridone Dioxazine (Undertone) Violet (11) Burnt Orange (12) Purple (2) 10. Sap Green Quinacridone (30) Phthalo Green (YS) (10) Quinacridone Magenta (1) 11. Sepia Raw Umber (20) Burnt (3) Carbon Black (0.7) 12. Smalt Ultramarine Blue (5) Naphthol Red Light (0.4) Red Oxide (0.15) Regular Gel Acrylic Ground (Gloss) (10) for Pastels (6) 13. Terra Rosa Red Oxide (10) Yellow (1) 14. Terre Verte Cobalt Green (1) Cobalt Titanate Green (8) Regular Gel (Gloss) (40) 15. Van Dyke Brown Burnt Umber (20) Quinacridone Bt. Orange (0.5) Carbon Black (0.3) 16. Venetian Red Red Oxide 17. Viridian Green Cobalt Green (2) Phthalo Blue (GS) (1) Phthalo Green (BS) (6) Zinc White (14) Regular Gel Gloss) (20) 18. Vermillion Quinacridone Red

Color Matches Using Just the GOLDEN Color Mixing Guide Set of Colors Zinc White Quinacridone Naphthol Red Hansa Yellow Phthalo Phthalo Yellow Regular Gel Magenta Light Medium Green (BS) Blue (GS) Ochre (Gloss) 100 25 3 25 50 3 5309 15 40 2 15 50 10 30 18 28 98 230.1 11 30 12 70 .5 15 50 38 3 .2 12 20 30 20 40 18 30 15 20 15 60 20 40 5 25 15 40 5 10 100 50 41 .8 23 10 12 7 50 40 30 8 40 26 1 3201015 27 20 5 .3

Historical Materials Issue Just Paint / Issue 6 8

From Cover accelerated if it filled a previously issue of durability much more vacant color space, regardless of assured, they are at greater liberty The Ever-changing other criteria. to pursue a new material based Artist's Palette This procedure of evaluating solely upon its representation However, change does not pigments formerly required of their vision. come without skepticism and generations, as time was the most New does not always mean reluctance. Max Doerner reliable indicator of lightfastness. better, but the discovery of cer- reflected on this issue in his The careful artists of each time tain pigments were monumental. circa 1921 book, period used past experience to True Ultramarine Blue, or Lapis The Materials of the Artist: create the most permanent Lazuli was extremely expensive, paintings of their day. However, but other than the translucent ‘It is often heard said among Smalt, there wasn’t an alternative artists that the old masters had with modern test methods, this no longer is the case. It is now for centuries. Prussian Blue was no “chemical” pigments, and synthesized from ferric- for that reason their pictures ferrocyanide in 1704, and are so well preserved. This, marks the first truly man-made however, is a misconception, pigment. It was accidentally for the old masters had lead made by the Berliner white, Naples Yellow, Vermil- Diesbach 7, and was hailed as ion, copper and sulphur colors, a great achievement by the etc. The reason for the greater artists and colourmen of the permanency of many of the old day. In retrospect, we can pictures lies in the fact that recognize that Prussian Blue they were built up in a correct, was indeed a great replace- craftsman like manner.’ ment pigment, as it offered a The acceptance of new durable, but much more pigments for use in painting economical intense blue. In has always been subject to contrast, the synthetic “coal differing opinions. Then and tar” colors, although break- now, as each new colorant throughs in color chemistry, appears, it ranges from rapid were used too hastily. In embracement to disdainful- 1856, 18 year-old William ness. A pigment may be Henry Perkin was awarded a readily used by some based patent for discovering that solely on hue, while the coal tar bases could produce more cautious will inquire as intense bright bluish purples. to its permanence. Histori- the pigment and artists’ material Although these dyes proved cally, the latter group gained this manufacturer’s role to provide not to be lightfast, the chemistry information from the fate of the this information concurrent with involved paved the way for future former. Innovators, at their own the introduction of the colorant. successful organics. Shortly after risk, proved or disproved the As new pigments are this discovery, other chemists archival merit of materials. were stimulated by the methods Followers could then couple this discovered, or as known ones are refined, todays artist can used to produce them and information with the aesthetic carried out similar experiments, and working attributes of the much more readily assess whether colors they currently which soon led to dramatic new pigment to see if it met their discoveries. 8 criteria. However, the rate at are using, which have been so which a new pigment gained familiar to them, are still the GOLDEN Pigment Selection acceptance was often greatly best possible choice. With the for Acrylic Paints

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Historical Materials Issue Just Paint / Issue 6 9

As a paint manufacturer, the most valid argument for known as Alizarin. The process GOLDEN has always made incorporating fugitive material created a much more lightfast products with the professional into artwork, and comes at pigment 2. While some artists artist in mind. The pigments a known cost. Conversely, argued that the genuine Madder are carefully selected for clarity, failure to embrace better replace- pigment was brighter, Alizarin’s consistency and permanence. ments, when merited, may cost permanency was so much greater In fact, every lot of pigment posterity that work which could that it immediately became the we receive is pre-tested before otherwise have endured. preference of most artists of use in our paints to ensure This argument is nothing the time. While the lightfastness consistent color. new to the art world. Take for was a great improvement, it is From time to time, artists example the use of Madder. still only an ASTM category III will ask us why we don’t make This plant’s root has been used pigment (Fair) by today’s standards. historically produced colors. for centuries as an artist In 1958, Struve discovered The choice not to make certain methods of preparing linear- colors is based on one of several transquinacridones in a form reasons. Sometimes the particular useful for pigments3, which pigment is no longer commer- paved the way for development cially available. It is also true of the family of pigments we that certain pigments, such as call Quinacridone. Just as the Prussian Blue and Viridian coaltar derivative Alizarin Green, are not stable in acrylic Crimson set a new standard for emulsion paints. Other pigments synthetic organic pigments, the may have an unacceptable level development of Quinacridones of toxicity. Often, as is the case made it possible to achieve the with true Alizarin Crimson or same desirable characteristics Sap Green, our response is that of the original Madder, but in we do not want to use pigments a Lightfastness I (Excellent) that do not have an ASTM pigment. As a result, GOLDEN Lightfastness rating of I or II. is able to offer Quinacridone Crim- It is a very easy decision to son as a modern, and dramati- Use of the fugitive Madder pigment, cally more permanent alternative. eschew such colorants if lightfast derived from this plant, gave way to alternatives exist in the same Alizarin Crimson (Lightfastness III) after its discovery in 1868. The modern Why Some Pigments are color space. Quinacridone Crimson shares the same No Longer Available When alternatives do not desirable characteristics, but with the most Many of the historical colors permanent ASTM rating (Lightfastness I). exist, the most important have become obsolete for a attribute of a color, still may be... variety of reasons. Today’s color. That is why GOLDEN pigment. The brilliant rose pigments are not made with sells fugitive Fluorescent paints madder was extracted and the artist in mind, but for the and Phosphorescent Medium. processed into a “lake” (a lake production of industrial coatings, They are truly unique. We also pigment is made by using a such as house paints, appliances, make it well known that these substratum, typically a clay, as an and automotive paints. For this materials will not stand the test inert base to absorb an ink-like reason when a color is out of of time. One day there may in colorant, so that it may be 1 favor, or replaced by a cleaner, fact be fluorescent pigments that applied as a pigment ). In 1868, more lightfast pigment, produc- are lightfast. If and when that the German chemists, Grabe and tion of the older pigment can day comes, today’s pigments Lieberman, first synthesized 1, 2 be halted almost immediately. will be replaced. The attribute dihydroxyanthraquinone, This was recently the case of being irreplaceable is likely or the color material in Madder, with GOLDEN Naphthamide

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Historical Materials Issue Just Paint / Issue 6 10

From Page Nine adverse effects on the animal as toxic than lead and mercury, it is The Ever-changing they didn’t contain sufficient still a heavy metal with an uncer- nutrients. In 1908, production tain future due to continued Artist's Palette of Indian Yellow was terminated regulatory concern. As part of (Benzimidazalone) Maroon. as an act of the Indian Govern- GOLDEN Artist Colors’ ongoing As new pigments of similar hue ment, which prohibited the efforts to provide safe products, became available, that were either manufacturing as prevention of we have introduced several cheaper or easier to process, the cruelty of animals 5. organic colors as replacements most industries stopped using Toxicity may also cause a to the Cadmiums. These include Naphthamide. Hence, demand pigment to fall into disfavor. Pyrrole Red, Pyrrole Red Light, fell sharply, and it is no longer Pigments made from lead or Pyrrole Orange, and Hansa profitable for the pigment manu- mercury, such as Naples Yellow Yellow Opaque. In addition facturer to produce. or Vermilion, can be poisonous to being similar in hue and Ethics caused the disappear- and may have inadvertently chroma, these colors have ance of Indian Yellow. This killed many early artists. It is greater exterior durability than pigment was commercially believed that Vincent Van cadmium pigments. produced in Bengal, India by Gogh’s mental illness and suicide References: may have been due, in part, to 1. Doerner, Max, The Materials of the feeding the leaves of mango trees Artist. p. 47. to cattle and collecting their his frequent use of true Naples 2. Gettens & Stout, Painting Materials. p. 126. 6 urine. The dried product (chemi- Yellow . Many of these very 3. Zollinger, Heinrich, Color Chemistry. p. 193. toxic pigments were replaced 4. Gettens & Stout, Painting Materials. p. 119. cally known as euxanthic acid) 5. Feller, Robert L. Artist’s Pigments. p. 19-20. produced an intense, vibrant by the Cadmium family of 6. Moss, Matthew. Caring for Old Masters yellow that was used for years as pigments, which in turn are Paintings. p. 78. 4 yielding to better choices in the 7. Gettens & Stout, Painting Materials. a dye and an artist’s pigment . p. 149-150. The process of feeding only evolution of pigment selection. 8. Zollinger, Heinrich. Color Chemistry. p. 4. mango leaves to cattle had Although Cadmium is less

From Page Three Emerald Green, but was called and Chinese created Cinnibar Historical Emerald Green, Vert Emeraude, artificially for centuries, as early as Celedon Green, Pannetier’s Green, 6th century B.C., but it wasn’t until Pigments and their Guignet’s Green, and even Trans- the 15th century that it was termed parent Oxide of Chromium until it Vermilion. Direct sunlight causes Replacements became widely known as Viridian. it to darken substantially, and it was earth. Today, Red Iron Oxide is Hydrated Chromium Hydroxide quickly replaced by the Cadmi- synthetically manufactured resulting is a difficult pigment to formulate um Reds upon their arrival. in better consistency. Oxides have in acrylic emulsions, and although been used since pre-historic times GOLDEN has made many attempts References: 1. Doerner, Max. The Materials of the Artist. and are still important pigments to do so, it appears unlikely that 2. Gettens & Stout. Painting Materials. today. Venetian Red usually refers true Viridian will remain part 3. Zollinger, Heinrich. Color Chemistry. to a specific bluish hue of Red Ox- of our palette. 4. Feller, Robert L. Artist’s Pigments: Volume 1. ide, but variations range from violet 5. Roy, Ashok. Artist’s Pigments: Volume 2. 6. Moss, Matthew. Caring for Old Masters reds to yellowish ones. Vermilion (PR 106) Paintings. Vermilion is a toxic pigment made 7. Zollinger, Heinrich. Color Chemistry. Viridian Green 8. W. Herbst & K. Hunger. Industrial Organic (PG 18) from Mercuric Sulfide. This natu- Pigments. Viridian Green was discovered in rally occurring ore is the source for 9. Levison, Henry W. Artists’ Pigments: 1797 by Vauquelin, but wasn’t de- Mercury, and was ground up Lightfastness Tests and Ratings. as a pigment for centuries and 10. Wilcox, Michael. The Wilcox Guide to the veloped into the modern color until Best Watercolor Paints. 1838 in Paris. It immediately re- termed Cinnibar or Zinnober. Early placed a fugitive color known as cultures of the Greeks, Romans

Historical Materials Issue Just Paint / Issue 6 11

Book Review

and distinguish between By Mike Townsend differences in each. The eye, although reading hue, value, Silvestrini/Fischer and chroma, cannot perceive Cataloque I: differences of amounts of the primary colors in a particular Color Systems in Art mixture, and in turn renames the and Science mixture as “orange” or some other A cultural commitment by blend. This is somewhat related to Caran d’Ache Switzerland what impressionists attempted, with small dabs of pure color next Copyright, 1996 to each other to make the eye read Regenbogen Verlag Klaus Stromer them as a different color altogether. One of the chapters is Color Systems in Art and dedicated to perhaps the most in- Science is a collection of 60 fluential color theorist of all time, different color theories Albert Henry Munsell. His color originally assembled for an tree, first published in his Color exhibition on color theory at Atlas (1915), was based on a Hunter College. The essence “perceptually measured equidis- of this book is the same question tant” space between each color. every artist and scientist trying Incredibly, he spun multicolor, to develop their own color painted tops to determine these system asks: How many primary spaces, not wishing to depend colors are needed to produce the on physically blending colors. infinite variety of colors that The final chapter concludes exist? Although most theories are with the latest computerized based on three and four primary system: Italy’s CMN-86 (1986 colors, it is interesting to follow version). Ironically, this most the progression (and regression) recent and highly technical throughout history. What is also arrangement is based on a tetrahe- equally absorbing is the vast dron, similar to Plato’s ancient number of major artists, physicists, color sphere (white and black at the color theory design (circa 400 B.C.). physiologists, mathematicians and poles, red, yellow, green and blue Color Systems in Art and Science others who have devoted so much on the equator) from Leonardo Da has been written in a way that the effort to grasping a working knowl- Vinci’s linear six color system. The artist, as well as the scientist, can edge of the color spectrum. If you book also reveals that for many years appreciate. Its glossary of terms is have ever wondered how today’s col- it was Francis Glissen, not Forsius, comprehensive and the text aptly or systems evolved, this book is a who was mistakenly credited with the follows the illustrations of varying must. Each chapter gives the reader creation of the color solid (sphere) color lines, wheels, spheres, cubes, good detail of surrounding factors, and the neutral gray scale. trees, and graphs. Any student of preliminary theories and other influ- As its title infers, this book does physics or art who has concerned ences that shaped each conception of not only focus on color theory for the themselves with color theory should the absolute color system. benefit of the artist; a good number of take a look at this publication, as it The chapters are broken down the systems involve the perception of will give an immediate insight into by each individual’s or organization’s light as interpreted by the human eye. their world of color. theory and begin with Aron Sigfried A good analogy is to relate what we Forsius’s 1611 color configuration. view to what we hear. In music we Forsius developed the first known can perceive tone, pitch, and volume,

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Just Paint what’s new! Issue 6 / December 1998

Writers: Mark Golden P.O.P. Brochures Jim Hayes New color printed materials are Michael Townsend now available through GOLDEN Ben Gavett retailers. They provide clear and Publisher: GOLDEN Artist Colors, Inc. useful information about selecting 188 Bell Road and using GOLDEN Gels, Fluids New Berlin, NY 13411-9527 USA and Heavy Body paints. Phone: 607-847-6154 FAX: 607-847-6767 E-Mail: [email protected] WEB: www.goldenpaints.com www.goldenpaints.com Check out the GOLDEN web Copyright 1998 GOLDEN Artist Colors, Inc., site. You will find helpful visual All Rights Reserved. The contents of this publication examples of techniques using may not be reproduced either in whole, or in part, GOLDEN products, along with without the consent of GOLDEN Artist Colors, Inc. For inquiries or comments, please contact information that has always been Ben Gavett at the above address. available from GOLDEN. Web Master: Mark Sherwood E-mail: [email protected]