Published by Golden Artist Colors, Inc. / Issue 30

From Mark Golden Dear Just Paint readers, We’ve just reached our 30th edition of Just Paint and with it, just a moment of reflection on what we have tried to create with our newsletter. First, a huge thank you to our Editor for the last 20 issues of Just Paint, Jodi O’Dell. Without her dedication to this process, I’d still be on issue #11. The focus of Just Paint has always been to provide artists, material specialists, colleagues and friends with the most updated research, information and GOLDEN High Flow Acrylic navigates easily from brush to refillable marker or from pen to airbrush. happenings here at GOLDEN. Many of our articles have become significant additions for the advancement of research Markers, Mops, Daubers in modern materials. Some are just to inform you of the exciting things and GOLDEN High Flow happening at the facility and with the Golden Foundation. We’ve done our best By Scott Bennett consistency to work with all these new to keep the promotional content at bay, Drawing with pens and ink in tools and more. GOLDEN High Flow but sometimes we just need to shout with artwork is not new. Artists have always Acrylic navigates easily from brush to excitement as we bring on-board new combined drawing with painting, refillable marker or from fountain pen products to share with you. Such is the to airbrush and more. case in this issue as Sarah Sands shares the and the very act of painting itself introduction of the New Williamsburg incorporates drawing as line whenever The unique feature of High Flow Safflower Oil colors as well as Scott one color or value is placed beside Acrylics is that artists can mix and Bennett’s article on using refillable markers another, a thicker passage shows its blend them to make an infinite range with our GOLDEN High Flow Acrylics. edge against a thinner passage, or wet of colors. The translucency of the color We have also used Just Paint to present paint is scored by the end of a brush, can also be adjusted by adding any topics that resonate with our customers in palette knife or other tool. The use amount of our Airbrush Transparent conversations with our Technical Team. of drawing media such as pencils, Extender while still maintaining the The questions around mural painting charcoal, pastel or crayons of various same liquid, flowing quality of the have steadily increased. To this end we are sorts has often been used as part of the paint. Additionally, adding Titanium delighted that Jenny Wiley Arena from Heritage Preservation agreed to provide an underpainting or as surface accents. It White to any color is a valuable tool in introduction to their new website, which is common to see pencil lines showing both increasing opacity and creating has been years in the making and is the through translucent passages in an infinite range of pastel tints. This most complete resource for ‘best practices’ works by Matisse or Cézanne, and in means that artists have the ability to for creating public murals. Mike Townsend watercolor paintings in general. create an entire range of markers and has added an additional resource by What is unique is the current range drawing tools with their own custom sharing insights into best practices for of different marking tools for artists. colors that fit perfectly with their choosing colors for murals. personal palette or precisely with the Another topic receiving more attention is Some of this has been around for quite a while now, yet the proliferation painting they are working on. The new the resurgence of artists using Fluorescent addition of High Flow Acrylics to the colors in artwork. Amy McKinnon shares of new drawing tools manufactured her research on the materials that literally for artists has been exploding. Add GOLDEN line of products expands cry out for attention. Finally, we update to that the ingenuity of urban artists the capabilities of acrylic paints and the you on the activities at Golden Artist experimenting with their own designs. audience of artists who might not have Colors where we get to share with you our The options are enormous and considered acrylics before. Kids Day event and the next “Made In continue to grow. Markers and Pens in Fine Art: Paint” show of the 2013 Artist Residents at the Golden Foundation. We hope you With the introduction of GOLDEN Artists have continued to search for enjoy our 30th as I get to enjoy my 60th! High Flow Acrylics, artists now have a truly artist grade permanent marking Warmest regards, Mark the ability to draw with a professional tool. Many have become resigned to acrylic paint made in an ink-like simply using office supply or craft

Issue 30 page 1 ©2014 Golden Artist Colors, Inc. There are a wide variety of markers with varying tips and nibs available. The nib sizes range from .7mm up to 60mm with many sizes in between. We tested tips and nibs in the following sizes: 2mm, 3mm, 5mm, 10mm, 15mm and then 60mm. type markers or pens in their work surfaces, and does not necessarily refer are typically soft as squeezing them is with the subsequent issues of bleeding to the lightfastness of the color. often part of the delivery system. There or fading of the inks, or some kind GOLDEN High Flow Acrylics, used are many different brands and types to of incompatibility with the other art in these drawing and mark making choose from. My experience is limited materials they are using. With any tools, will enable a new level of fine art to about 4 or 5 different brands, the mixed media work, the potential most common being Molotow™ and grade drawing potential with the widest ®. for mismatch of some sort increases range of color possibilities for use with Montana Check out your local art greatly with the number of different acrylic painting and a variety of mixed supply store to see what’s available brands and types of materials used. media applications. With this system, or go online to check out the range To reduce incompatibility issues and the terms “Permanent”, “Lightfast” and of YouTube videos describing how help increase the long term life of an “Fine Art Grade” can be applied with to make your own mops. You’ll have artwork, it is always best to stay with confidence, as the High Flow colors plenty to choose from! quality brands, use only fine art grade have the same durability and stable I have divided the discussion between materials whenever possible, and keep film qualities as all our other regular “Markers” and “Mops and Daubers”, the number of different materials to paint lines, along with compatibility in as these are different enough tools to a minimum. When in doubt, always mixing and layering. warrant separate discussions. test your materials first. (See our JP13 article, “Testing for Your Application.”) The Tools - Markers, Mops Markers - and Daubers: “Permanent” Markers: What are typically called paint These are the common names of a markers or paint pens are most often There is a plethora of pens and large variety of refillable paint and ink hard bodied, with harder, micro porous markers at the local office supply store drawing tools. All of these empty and nibs that are replaceable. Some of the but most are not made with fine art refillable paint and ink drawing systems nibs can be inverted when they begin use in mind. Most pens and markers incorporate plastic containers with a tip to wear out, and while others do not are not tested in the same way as fine or “nib.” The nibs on most high end have the same chisel tip or shape on the art grade paints or other fine art grade markers are “spring loaded” so they can opposite end, they can be inverted if materials. The term “permanent” is be pumped (pressing the tip to a surface desired. This type of drawing tool will often used as part of the description repeatedly up and down) to prime tend to suit artists who need to make with many markers and pens but them and they tend to be fairly stiff or more controlled lines. this typically refers to the paint or hard and micro porous while the Mop ink’s ability to be water resistant or All of the markers that I tested were and Dauber tips are soft with a very spring loaded. While most have mixing waterproof to some degree, and perhaps open porosity like a sponge or a piece to its ability to adhere to certain balls or barundums, some do not. If of felt. The Mop and Dauber bodies they don’t, we advise adding them,

Many markers are spring loaded with glass balls or barundums for mixing. Some marker brands conveniently offer replaceable nibs and tips. Issue 30 page 2 ©2014 Golden Artist Colors, Inc. as this will help greatly in keeping and move quickly and get some very Fluid Matte Medium, Absorbent the High Flow pigments thoroughly painterly marks. Expect them to be Ground, Acrylic Ground for Pastels, homogenized. You can use ball bearings, messier and have some replacement Light Molding Paste, a variety of Gloss small marbles, or even stainless steel tops on hand. Do not store these Gels and Mediums, and raw canvas nuts and bolts, as long as they fit and upside down as they tend to leak. are just a few we’ve examined. As one move freely when shaken. Guidelines for Using Refillable would expect, the rougher surfaces Mops and Daubers - Markers, Mops and Daubers: such as Gesso on canvas, Absorbent Ground, and raw canvas caused drag These very simple liquid paint or • Never store larger markers, mops or and created broken lines whereas ink drawing tools are usually more daubers tip side down. smooth surfaces, such as gloss mediums painterly in use than the pump tip • You can store 2mm and 3mm paint and gels or any other smooth painting paint markers. This means they can markers tip side down. ground or surface allowed for a slick be messier, but also more desirable for and fast drawing ability. It is relatively painterly applications. They are often • Be careful squeezing mops and easy to get the kind of line quality and soft bodied with either sponge tips or daubers and always make sure the “feel” that you want with these drawing synthetic sponge and fiber tips. They applicator tips are firmly secured. tools by matching the marker, mop or come with all sorts of names, including This is to avoid messy situations; use dauber with the right painting ground. Paint Mops, NYC Mop™, Bingo your imagination and some caution. As with any new painting technique or Daubers, Sponge Daubers. • While you can use our Fluorescent material, testing and experimenting will Some tips will have longer synthetic or Iridescent colors in most of these be necessary to find the matches that fiber “hairs” coming out of a domed markers, mops and daubers, these work best. spongy fibrous pad, and are often called pigments will not last as long without There are certainly other paint “mohair tips” or “padded nibs”, while clogging. Fluorescents will last about application tools available that many others have very short fuzzy hairs on a a month before seeing some clogging of you may already be using that are spongy fiber dome. I should point out and Iridescent colors will go for about not markers or mops, such as sponge that the term “nib” does not apply to a week before needing increased rollers, fiber rollers, oversize brushes, mops and daubers, as a “nib” generally priming of the tip. Eventually, the paint pads, etc., that can make large refers to a harder pen tip, such as the tips will begin to trap too many of scale drawing marks. There are other classical pointed metal tip of a quill the larger mica pigments and the flow delivery systems such as pens and pen. Sponge markers or paint daubers will decrease. If using these colors, airbrush that can also be used with are commonly used in Bingo halls for make sure to have replacement nibs High Flow to create lines. Expressive quickly putting down a blot of color, or tips on hand. Adding a few drops calligraphy and brush painting in and are called “Bingo Markers” or of Acrylic Flow Release mixed with the Eastern tradition is possible with “Bingo Daubers”. All are very simple water will greatly improve the flow of the High Flow Acrylics, allowing a systems where the ink or liquid paint these larger pigment particle colors. wonderful density, sensitivity and flows into the most often fairly wide • Use on rough surfaces will degrade flow off the brush. But not until now, porous tip and allows for a delivery the tips faster, and the marks will has it been possible to create your where the flow is controlled via gravity, have gaps or a more broken line own infinite array of colors for use in some capillary action in the tip, and quality. drawing tools that hold a consistent pressure from lightly squeezing the • Use on smoother surfaces will allow reservoir of acrylic paint. Although container body. What is often called all these tools tend to make mark a NYC Mop, due to the invention for faster mark making with less broken line quality. making easier by holding a consistent by graffiti artists in New York City, reservoir of paint, painting is about is a larger and typically homemade Substrate Surface: mark making and above all, these variety that uses a fairly soft bodied It is clear that there are some tools simply provide artists an ever container (think roll on deodorant) commonalities when using various expanding resource for realizing new stuffed with a thick piece of felt or a grounds as drawing surfaces. Gesso, marks and new discoveries. folded piece of felt around a longer piece that acts as a wick. These are the RAW CANVAS GESSO SOFT GEL REG. GEL EX. HEAVY GEL/ FLUID MATTE most painterly types as they are larger, (GLOSS) (MATTE) MOLDING PASTE MEDIUM softer, squishier and the flow can be increased dramatically by squeezing the container. Graffiti artists prize these for how well you can get them to drip and splatter in use. Drawing with these tools can be a joy for painters who like a more free flowing system, as the High Flow Acrylics will flow very nicely from this kind of large and very porous tip. If you are using one of the larger sponge or felt tops, then you can squeeze

Issue 30 page 3 ©2014 Golden Artist Colors, Inc. Williamsburg’s New Safflower Colors By Sarah Sands The evidence was undeniable as our eyes swung slowly across the drawdowns that spread out before us. The handful of initial colors ground in every possible combination of oil all pointed to a similar conclusion: there was something here that simply could not be ignored. The clarity of the colors was exceptional and in some cases, the difference in the results was almost shocking. But there was also caution. As enticing as the results were, they represented just a beginning, a first tentative evaluation. The bulk of the research and trials still lay ahead. The thirteen new Safflower colors feature a light blue ‘SF’ as a watermark on their label to clearly distinguish Those initial thoughts took shape them as colors made with a differnet binder. over two years ago, and only now can we finally share that spark of ‘SF’ as a prefix in front of their name Blues (Ultramarine Blue, excitement and offer the fruit of all the when being referenced in color charts, Ultramarine Blue French, endless testing: a selection of thirteen price lists, and on the website. Below Cerulean Blue French) we touch on each group separately. Williamsburg Handmade Oil Colors Of all the colors impacted by the ground in expeller pressed, refined Traditional Whites (Flake, Silver, yellowing of linseed oil, translucent safflower oil. Titanium, Titanium-Zinc) and delicate blues are some of the We will go through some of the The well-known, essential whites that hardest hit. Traditionally these blues research and address many of the almost every painter relies on. The use are among the colors most frequently questions about safflower and its of safflower will assure that passages mentioned for grinding in alternative possible role on a painter’s palette, but and tints made with these will retain oil. The impact of the yellowing is seen in the end here is what matters most: their clarity with little if any noticeable most when creating light tints or in it allows certain colors to hold onto color shifts. glazes. Using the new safflower versions of these blues should provide more a luminosity that would otherwise be Porcelain White lost. It helps preserve a blush of azure stability and glow in this important area. blue as it spreads across the sky, the Porcelain White is based on a new Violets (Ultramarine Violet, final crisp flickerings of white, the pigment for Williamsburg, PW 5, Ultramarine Pink, Cobalt translucent violet held within a skin of a complex co-precipitate of barium Violet Light) glaze, or the palest notes of gossamer sulfate and zinc sulfide more commonly greys and cool green earths. Each of known as Lithopone. Created in the These transparent violets are these are moments of nuance, gauged 1870s and for a while a rival to both particularly sensitive to any color and held in balance until “just so”. lead and zinc, it captured some 60% shifts when used alone or in glazes. Without those reasons, there would of the market for white pigments in With age, or after prolonged storage be little cause to give safflower or any 1928 before declining to 15% by 1945 in the dark, the linseed version of other alternative oils a second glance. in the face of a growing dominance Ultramarine Violet can take on a grayish pallor, while the similar A Dozen Plus One by titanium dioxide (Alphen 1998). It holds a renewed interest for us as Ultramarine Pink and the prismatically The first twelve colors we chose for an alternative to Zinc White, which pure Cobalt Violet Light develop the new line were ones that would forms a brittle film and has been linked a muted orangish patina. The new clearly gain by being made in a less to issues of cracking and potential safflower versions should preserve the yellowing version, while the thirteenth delamination when used extensively. beauty of these subtle tones. is a unique color we are offering for the Historically known as Enamel, Orr’s, Transparent Earths (Italian Terre first time. Each of these will have a light or Charleston White, we chose the Verte, French Ardoise Grey) blue ‘SF’ displayed as a watermark on one we felt was the most descriptive: its label to clearly show that it is made Porcelain White. Unlike other transparent earths with with a different binder, and will use a strong warmish cast to them, such as our Italian and Brown Pinks, these two Issue 30 page 4 ©2014 Golden Artist Colors, Inc. colors are extremely weak tinters and understanding of more impacted by any hint of a yellow safflower oil. cast that might develop. Overview of The Continued Role of Linseed Drying Oils It should be stressed that none of To understand these colors will replace the current safflower and how linseed-based versions. Williamsburg it differs from other has always believed that linseed oils, we need to provided the strongest and most pull back a touch durable film possible, despite its and take a look at tendency to yellow – and we still do. drying oils That core commitment remains and in general. will continue intact. In addition, All natural oils both materials and conservation are composed of science have amassed a solid body of triglycerides (Fig. evidence justifying linseed’s central A), a combination role. There is simply no way around of three fatty Table I - Fatty Acid profiles of drying oils. Data from Mills, White, that. However, it is also important to 2003; Serpico, White, 2000; Baily’s Industrial Oil and Fat Products, acids attached to a th acknowledge that other oils appear glycerin backbone. 6 ed. quite frequently throughout the It is those fatty historical record and play important acids that we are most concerned about urated, while those with two or more parts. In particular, both poppy and because which ones are attached, and are called polyunsaturated. These walnut have long traditions associated in what proportion, is what decides if are the same terms found in the with them, and were constantly sought a particular oil is suitable for making descriptions of everyday cooking oils out by artists wanting to find a less paint, how much it will yellow, its and margarines, so they might already yellowing alternative for their whites, durability, and even when and how you sound familiar. The unsaturated blues, and pale tints. There are even use it in your painting. fatty acids that make up the largest brief periods and regions when one or component of drying oils include oleic, For an oil to function as a binder it the other enjoyed broad popularity. with one double bond, linoleic with needs to be classified as a drying oil, Starting about 75 years ago, safflower two, and linolenic with three. While meaning that if spread in a thin layer slowly began to emerge as an addition all of these are usually reported when it will eventually form a film. This to the list, and eventually became the describing a drying oil, it is really just happens through a highly complex most common alternative to linseed, the linoleic and linolenic acids that play process called autoxidation, where especially for whites. any true role in the drying process. oxygen is absorbed from the air, When we began this study in 2011 forms unstable compounds called There are two other terms one will it was natural to include all three of hydroperoxides that decompose and frequently come across in discussions these oils in the initial trials. However, trigger the creation of cross-links with of drying oils: Iodine Value and Drying both poppy and walnut were dropped other fatty acid chains. As this process Index. Both are simply ways to measure fairly early on as not representing continues, a dense, tangled network of the reactivity of an oil, which in turn strong directions to move in: walnut linkages is created, causing the oil to provides a rough assessment of how fast because it did not show enough of an continuously thicken until it forms a it will dry and how durable it will be. improvement in terms of yellowing, rubbery solid. Iodine Value is a basic test where one while poppy created softer, less durable measures how much iodine is absorbed This ability to react with oxygen is films. Because of that, the vast majority by the available double bonds in a only found in unsaturated fatty acids, of the work quickly focused on known volume of the oil. The higher which are ones that have a number optimizing our use and deepening our the number, the more double bonds are of reactive sites present. The Drying Index is an equally called double simple calculation where one adds the bonds (Fig. A). percentage of linoleic acid to twice the The more double percentage of linolenic acid. bonds, the more oxygen they A Tangled Mesh can react with, It can be helpful to pause here and and the more move away from the purer chemical potential locations descriptions for a moment and form for creating a looser visual analogy of the process. links to other Essentially the fluid and free flowing chains. Fatty fatty acids are being braided and acids with just knitted into a three-dimensional mesh. one double bond In place of the long linkages of carbon are monounsat- Figure A – Triglyceride with unsaturated fatty acids and hydrogen that make up a fatty

Issue 30 page 5 ©2014 Golden Artist Colors, Inc. Cobalt Violet White Yellowing so it could undergo ‘dark aging’. As odd as it might seem, given the amount If the only thing 2.5 Years Dark Aging of concern that yellowing generates, that mattered the exact mechanism that causes it about drying to happen is still very much debated oils was just how and a topic of research. The majority durable or flexible of theories link it to chromophores their films were, created as by-products of oxidation, there would be which would certainly explain its little need or even correlation with higher levels of much temptation linolenic acid, while some investigators to look beyond have pointed to possible impurities or linseed oil. But environmental conditions as at least yellowing has contributing factors. What seems always been irrefutable is that whatever the process something happens to be, it is much more strongly painters have tied to linseed-based paints than to acknowledged, safflower ones. Image 1 – 3 mil drawdowns of Cobalt Violet Light in Linseed and worried about, Safflower after 2.5 years of dark aging. and looked for Drying Time ways to minimize. Drytime is never as straightforward acid, think strands of metal chains or Part of that search has been exploring segments of ropes, with the restriction as one would hope, especially when ways to extract and process linseed oils exhibit such a long period between that some can only be tied or linked to that might reduce its yellowing: from others in one, two, or three places. feeling ‘touch dry’ and being ‘fully sun bleached to water washed, from cured’. To make matters worse, oil As one can imagine, the more spots cold pressed to alkali refined, and any films remain dynamic, undergoing where you can hook them together, the number of other methods for further chemical processes that continually tighter and stronger the mesh becomes, filtering and purifying. However, while transform and degrade the paint and the better it can hold together as some differences can result from these, throughout its life. Indeed, there is inevitably links and layers begin to the range is narrow at best. Indeed, in never a substantial period of time when fray and break over time. How tight several studies it has been shown that the paint remains stable and relatively or loose the network becomes will also highly purified, laboratory forms of inert. Add in the complexity introduced decide how porous the structure is - linolenic acid (methyl linolenate and by different pigments, additives, or how easily the outside air can make its trilinolenin) yellowed considerably simply the environment, and one way in, and just as importantly, how (Rakoff, 1976, Privett, 1961), so even is quickly limited to fairly broad easily the many small, volatile materials with improvements elsewhere, there generalizations. One way to study the that start off trapped in the tangle of is a core degree of yellowing that drying of various oils is to look at the strands can eventually make their way appears intrinsic to drying oils having changes in weight as the paint absorbs up and out. appreciable percentages of linolenic oxygen, increases in density, and then Comparing Oils: The Strong, acid. Because of that, the only viable begins a slow descent brought on by the Fast, and the Yellow way past the yellowing issue is to look the loss of volatile materials. In the first beyond linseed as the primary binder. graph (Chart 1) we show the weight It can be helpful to compare the fatty acid profiles of the major drying From the start, oils, correlating those percentages with Safflower’s singular Flake White claim to fame as what we know about their speed of 1.5 Years Dark Aging drying, tendency to yellow, and ability a drying oil was to produce durable films. In Table 1, as its ability to resist you move from poppy on the far right, yellowing and through safflower, walnut and finally produce cleaner, linseed, the films are get stronger, brighter whites, drying faster, have higher Drying along with some Index and Iodine Values, and – the blues and other inevitable trade-off in all this – getting translucent tones. progressively and unavoidably yellower. To get a sense of comparative It is also no coincidence that as yellowing we cast you move along in this direction, the drawdowns and percentage of Linolenic Acid increases allowed them to age and Linoleic gets less. Oleic Acid only in the ambient light plays a very peripheral role in terms of of the laboratories, oxidative cross-linking, so its impact on as well as covering Image 3 – 3 mil. Drawdowns of Flake White with half of each card film formation and yellowing is much half of each sample being covered after drying. more negligible. Issue 30 page 6 ©2014 Golden Artist Colors, Inc. appear to be leveling off and stabilizing, Titanium Dioxide in Linseed and Safflower Oils the safflower has already started to lose 10 mil weight quite rapidly from the loss of volatile components escaping through its looser, more open crosslinking. Chart 2 looks at the same paints, but now cast in much thicker 1/16” disks and followed over the course of a year. The first impression again presents us with something of a quandary. Based on this graph, safflower clearly appears to be the more reactive oil, gaining the greatest amount of weight at the fastest pace for the first couple of months, and only then starting to decline in mass while the two linseed oils continue their slower, more plodding march upwards. This relates to a dynamic that was noted very early on in commercial studies looking at the drying rates of safflower vs. linseed. Because linseed is Chart 1 – Drying curves for 10 mil drawdowns of titanium dioxide in much more reactive, it tends to form a safflower, cold pressed linseed and refined linseed oils. Weight gain tighter skin relatively quickly. While in is for the oil only. very thin films this has little impact, in thicker ones the skin acts as a diffusion barrier slowing down the absorption gained by simply the oil in three fairly that the cold-pressed linseed took of oxygen into the underlying paint. thin films of titanium dioxide ground just as long. Most likely this points to Safflower, on the other hand, stays in safflower, cold-pressed linseed, and the presence of natural antioxidants wet on the surface for a longer period, alkali refined linseed. As can be seen, found in minimally processed oils, allowing oxygen to continue to the paint made with refined linseed which are known to inhibit the curing propagate more freely into the interior peaked and felt touch dry in the 4-5 process. It also illustrates one of the of the paint. Even after safflower forms day range, while both the safflower and complications when trying to predict an initial skin, it is much more porous cold-pressed versions did not reach this dry times purely on the basis of fatty and presents far less of an obstacle to level until the 8-10 day range. While acid profiles as these other components oxygen. But that same permeability this extended period is common for can be glossed over. Also, it is worth works in both directions, allowing safflower, it is somewhat surprising noting that while the two linseed oils volatiles to easily escape and causing the rapid decline in weight later on. Titanium Dioxide in Linseed and Safflower Oils So, while safflower might exhibit better through drying in some situations, any 60 mil (Approx. 1/16”) initial gains in density is quickly lost. Conversely, heavily applied linseed- based paints can often hide softer, uncured layers beneath a skin that might feel dry to the touch. As we will see in the next section, it is ultimately these swings in density and loss of mass and volume that are the main issues surrounding safflower. Durability The most common concern about the use of safflower, or indeed any of the alternative oils, is that they form weaker, more brittle films, and so carry a greater risk of cracking later on. These issues are ultimately related to how porous and flexible the paint is, Chart 2 – Drying curves for 1/16” disks of titanium dioxide in and how much it changes in volume and density over time. And as we safflower, cold pressed linseed and refined linseed oils. Weight gain is for the oil only. Continued on page 13

Issue 30 page 7 ©2014 Golden Artist Colors, Inc. Heritage Preservation: Rescue Public Murals By Jenny Wiley Arena In 1986, amidst the bustle of West Harlem, a rich, jewel-tone mural could be seen rising 30 feet above the lush oasis of Hope Stevens Garden. Homage to Seurat: La Grande Jatte in Harlem, the last remaining work in New York City by the artist Eva Cockcroft, repurposed Seurat’s pointillist style to depict the beauty and diverse community of Harlem. Sadly, by 2007 the treasured community mural was in dramatic disrepair. Portions of the mural had been covered by new stucco to repair cracks and leaks. The once vibrant colors had faded to pastels. The mural was truly at risk of being lost forever. Heritage Preservation’s Rescue Public Murals initiative was founded to address and raise awareness of the immediate needs of murals like Homage to Seurat by confronting Before and after restoration of “Homage to Seurat: La Grande Jatte in Harlem,” by artist Eva Cockcroft. Photos by Camille Perrottet the risks that community murals face by being located in outdoor, public When performing their assessment, questions and raise issues that should spaces. Rescue Public Murals seeks to Harriet and Janet discovered that the be considered at each stage of creating bring public attention to U.S. murals, wall had not been primed before it a mural: planning, wall selection, wall document their unique artistic and was painted and it likely had never and surface preparation, painting, historic contributions, and secure the been sealed. These factors contributed coating, and maintenance. Below is a expertise and support to save them. greatly to the mural’s degradation over snapshot of those recommendations at the years. each stage. Founded in 2006, Rescue Public Murals has been responsible for Findings such as this, and on Planning bringing conservators and artists countless murals like it, inspired Rescue Community murals that are expected together to evaluate the condition of Public Murals’ most recent initiative, to last require deliberate planning. endangered murals. By using both Mural Creation Best Practices. While Each party − the commissioning a conservator and a muralist for working to ensure the protection and organization, artist(s), building assessments, Rescue Public Murals preservation of existing murals, Rescue owners, community members, and brings the best technical and artistic Public Murals recognized that many other partners − should establish knowledge together to document a common challenges murals face could what rights and responsibilities they mural’s condition and determine the be mitigated with careful planning and have in the process of creating and most appropriate way to preserve it. preparation. Rescue Public Murals has maintaining the mural. This should held conversations and brainstorming To date, Rescue Public Murals has include defining the scope and lifespan sessions with muralists, conservators, of a mural, determining ownership, provided assessments for 16 murals art historians, arts administrators, of national significance, including and responsibility for long-term materials scientists, and engineers to maintenance. Homage to Seurat. Harriet Irgang of document best practices for mural Rustin Levenson Art Conservation creation. These recommendations are Wall Selection Associates and Brooklyn muralist detailed at www.heritagepreservation. Often the decision to paint a Janet Braun-Reinitz were responsible org/RPM/MuralBestPractices. mural comes from a desire to fill a for performing an assessment of Recommendations are not meant specific blank wall. Murals can serve Homage to Seurat in 2006 and to brighten a park or schoolyard, recommended a plan for its restoration. to be prescriptive but instead pose

Issue 30 page 8 ©2014 Golden Artist Colors, Inc. mark and photograph this area. This area will make it easier to observe in the future if the coating is clouding, yellowing, or failing. Maintenance It is far more cost effective at the start of a project to select materials that are designed to withstand the environment and to begin a schedule of regular maintenance than to restore a mural completely. In addition, a well-maintained mural is less likely to be a target for vandalism. Regular inspections should be assigned to one or more parties. Guidelines about who may make repairs or repainting should be defined. More detailed recommendations can be found on the Mural Creation Best Practices website, a project made possible by an Access to Artistic Excellence grant from the National Endowment for the Arts. These recommendations assume that a mural painted with careful planning and consideration of technique, materials and receiving regular maintenance could have a significant lifespan. For the West Harlem community, that is certainly the hope for Homage to Seurat. In 2009, thanks in large part Before and after restoration of “Homage to Seurat: La Grande Jatte in Harlem,” by artist Eva Cockcroft. Photos by Camille Perrottet to the work of Rescue Public Murals assessors, the mural was finally restored create interest for a local business, or Painting with materials donated by Golden commemorate a relevant person or The long-term appearance of a mural Artist Colors to its former glory and historical event. While these are all depends on careful paint selection. once again provides a colorful backdrop valid reasons for selecting the location Consider using the same manufacturer to the community. The artists, of a mural, it’s important to make for primer, paint, and coating. Colors conservator, and neighbors that were sure the chosen wall has the physical that conform to “ASTM I” are ideal, involved in the restoration have met qualities necessary to limit factors of but “ASTM II” are also acceptable. annually to inspect the mural and, to degradation. Some factors to consider If using acrylic dispersion paints, the date, remains in good condition. include the security of a specific statement “conforms to D5098” is Public murals inform citizens, location, the wall’s exposure to direct an indication of colorfastness. Some sunlight, how water flows through enliven neighborhoods, and comment research has indicated that colors mixed on events, aspirations, and challenges or away from the wall, and structural with titanium oxide (white) have a stability. in communities. Unfortunately, greater tendency to fade unless the the very qualities that make murals Wall and Surface Preparation coating of the mural is well maintained. so distinctive also lead to their In addition to taking care in selecting Likewise, cadmium reds, yellows, and disintegration. Rescue Public Murals a physically stable and secure wall, it ultramarine blue tend to fade outdoors. hopes through its endeavors, like is important to prepare the wall for Coating assessments and best practices, to raise awareness of these issues and promote paint and other materials that may Coatings are most often used to aid be used. Efforts should be made to the long-term preservation of this very in graffiti removal, although some prominent art form. properly clean the wall, select a primer topcoats also provide protection from that is compatible with other materials ultraviolet fading and may provide ©2014 Heritage Preservation being used, and the process should be protection to the paint layer from For more information: documented carefully. Primer and paint deterioration. However, some muralists should be applied when temperatures Heritage Preservation have experienced issues with clear 1012 14th Street, NW, Suite 1200 are warmer than 50 degrees Fahrenheit coatings − they can become cloudy, Washington, DC 20005 and only in dry weather. yellow, or chip and flake. Leave a small Phone: 202-233-0800 portion of the mural uncoated and [email protected] Issue 30 page 9 ©2014 Golden Artist Colors, Inc. Selecting the Best Exterior Mural Pigments

By Michael Townsend An exterior mural is likely the most extreme test for lightfastness and weatherability of a paint system. One of our most popular Application Information Sheets, “Painting Exterior Murals” is the culmination of decades of experience and research. If you have never read it, please do. You will soon realize a mural is only as durable as its components and preparation is vital for long term success. Naturally, a key to this success comes from selecting paints best able to withstand the worst environmental conditions. Fluorescent Magenta.10 mil. Uncoated, with Cadmium Red Light. 10 mil. Masstone and 10:1 tint. Isolation Coat, and with 2 coats MSA Varnish. GOLDEN’s acrylic paint lines are Unvarnished. Left is unexposed, right after 1 year exposure. Left is unexposed, right after 3 year exposure. well suited for use as an exterior mural paint. They have an exceptional exterior binder coupled with pigments chosen can paint using the same paints for the Nickel Azo Gold). Hansa Yellow Light for their durability. However, just being mural as we use for easel painting. is also a comparatively less lightfast artist grade paint isn’t enough when it Don’t Go Changing pigment amongst the other yellow arylide pigments. comes to an exterior mural. Color fading comes to mind first “Fine”, you say, “I’ll stick to just when we think about sunlight exposure. Cadmiums are pigments associated using ASTM Rated Lightfastness I Fugitive colors literally can disappear with many strong opinions. Yes, they pigments.” That’s a great start, but the from view, which has been an issue for are heavy metal pigments and should ASTM LF-I pigment rating system is centuries. But along with vanishing, be handled with care. Yes, they are an intended for interior use applications there might also be color change. We artist staple with rock solid stability for without any direct sunlight. Outdoor measure this change with an instrument interior use - but therein lies the rub. murals have to be durable against called a spectrophotometer, which When Cadmium Yellows come into UV, heat, moisture, alkaline surfaces specifically gives us readings of color contact with UV, heat and moisture at and acid rain. Some pigments only change in ‘delta units’. The amount the same time, they can change from reveal their true durability under a of color drift from the initial starting brilliant yellows to pastels. Cadmium combination of factors; certain paint point is how we determine if a color Reds, while a good deal more resilient, systems such as oils don’t perform well is “lightfast” or not. A color may fade, are vulnerable to color shift under the on many of the brick and block alkaline darken or otherwise change its hue. same conditions and should therefore surfaces typical of murals. This is why Fluorescent pigments (actually a dye also be avoided for outdoor use. we do not solely rely upon ASTM LF encapsulated in acrylic binder) are Ultramarine. You didn’t want to testing as the only indicator of success. notorious for their poor lightfastness. see Ultramarine Blue on this list. We Artist paints also differ from house Not only will they eventually fade get it. We love it too. However, as paints and other commercial coatings. severely, but they go through a very Ultramarine pigments are exposed to In artist paints there tends to be a drastic change along the way. The mild acids, a chemical reaction causes much wider range of pigments used once vibrant optically bright color and typically, they have higher pigment can quickly become muddy brown. loads as well as some larger pigment Fluorescents therefore are an obvious particles, making them more likely to be exclusion for the exterior muralist exposed to the elements. We regularly palette, but there are others that may Acid suggest adding additional acrylic binder, come as a surprise. MURAL Rain such as GAC 200, into paints. This Pigments rated ASTM Lightfastness WALL adds a harder binder to aid in physical II are completely suitable as artist grade toughness and promotes better adhesion paints, but should be avoided for any as well. It also yields more paint to use Ultramarine Blue exterior use. They include Dioxazine Chalky Residue on your mural. Overall though, once Purple and Nickel Azo Yellow (a key the initial concerns are addressed, we component of our Quinacridone/ Exposure to mild acids can turn Ultramarine Blue chalky white, making it inappropriate for outdoors.

Issue 30 page 10 ©2014 Golden Artist Colors, Inc. Ultramarine Blue. 10 mil. Masstone and 10:1 tint. Diarylide Yellow. 10 mil. Masstone and 10:1 tint. Burnt Sienna. 10 mil. Masstone and 10:1 tint. Unvarnished. Unvarnished. Unvarnished. Left is unexposed, right after 3 year exposure. Left is unexposed, right after 3 year exposure. Left is unexposed, right after 3 year exposure. the bright blue pigment to “chalk” • Diarylide Yellow • Burnt Sienna and turn white. We saturated a test • Hansa Yellow Opaque • Raw Umber card with a vinegar based household • Naples Yellow Hue • Burnt Umber cleaning solution to simulate acid rain • Turquois (Phthalo) • Burnt Umber Light and upon drying, the surface pigment • Cerulean Blue changed to white. • Cerulean Blue Deep Man-Made Oxides The Crossroads Blues • Quinacridone Red Rather than rely upon veins of The Painting Exterior Murals naturally occurring sources for specific Best Recommendations earth colors, pigment manufacturers Application Information on our for Mural Colors website provides a list of “good” colors. combine the base ingredients at certain It is best to think of these paints as “on When it comes to the most stable percentages to create synthetic versions. the fence” for mural use. The colors pigments available, iron oxides reign We know them as “Oxides” or “Mars” between “Best Pigments” and the “do supreme. This is why it makes sense pigments. A wonderful range of not use list,” typically includes colors to incorporate them into a mural. pigment choices have come from this that can be used for murals but only We may not realize how widespread process and they are as reliable as their opaquely because pigments on the these pigments are used by artists, as natural inspiration. More recently, a surface may change, but as long as there their common names may or may not new variation of these pigments has is more of the same color underneath, reflect their actual base ingredients. been given to the artist, where it’s been the change goes relatively unnoticed. When developing the mural concept - transformed from an opaque pigment For best results we always suggest with the aid of prototypical maquette into a transparent version. These creating your mural with dense, opaque (perhaps the best planning tool a transparent pigments are every bit as paint layers regardless of color. muralist can utilize) – try to see if you stable, and produce very clean and can work within a group of paints vibrant colors. Use these colors with a heavy hand made from mostly Oxides. and add Titanium White to lighten the • Yellow Oxide color instead of as a glaze or wash: Earth Colors • Mars Yellow Earthy Inorganics often have a • Red Oxide Transparent Opaquely painted & romantic name, evoking images • Violet Oxide Quinacridone Red mixed with underlying • Transparent Yellow Iron Oxide glaze layer paint layer of rolling Tuscan hillsides with mandolins playing in the background • Transparent Brown Iron Oxide as Renaissance-era workers carefully fill • Transparent Red Iron Oxide a sack of the finest ochre destined for Vasari’s workshop. But wherever a vein The Bright Side Of Oxides

BEFORE SUNLIGHT BEFORE SUNLIGHT EXPOSURE of Limonite is found on the planet, it We tend to think of oxides as being can be named PY-43, Yellow Ochre or just a range of browns, but there are Raw Sienna as we know it today. Take actually many bright, vibrant colors that iron oxide clay and heat it and you ranging from yellow, to green and into have Hematite, or what we know it as, blues. When iron is swapped out with Burnt Sienna. Regardless of their name, chromium and/or cobalt, the results are Color has faded to the Exposed layer of paint these are extremely stable and reliable stable and stunning. point where image is has faded but image pigments for mural use. unrecognizable has less visual change • Chromium Oxide Green AFTER DIRECT EXPOSURE SUNLIGHT • Yellow Ochre • Chromium Oxide Green Dark Use dense, opaque, paint layers regardless of color for best results. • Raw Sienna • Titanate Yellow

Issue 30 page 11 ©2014 Golden Artist Colors, Inc. • Cerulean Blue, Chromium be measured for ASTM Lightfastness • Cerulean Blue Deep rankings. Why? Because the color • Cobalt Green spectrophotometer can’t read a • Cobalt Turquois reflective paint the way it does with regular pigments. Fortunately, we have Ain’t Nobody’s Bismuth some equipment that can accurately Bismuth Vanadate Yellow, an scan for color change, and it’s called the opaque greenish-yellow, is one of the human eye. It’s the best device for this more recent color entries into the task, and we always have more than one GOLDEN lineup. As was previously pair of eyes take a look at the exposed mentioned, Cadmium Yellows are not test cards to see how they fare. After recommended for use on an exterior assessing accelerated weather testing mural. Hansa Yellow Opaque can still – both UVA and Xenon Arc methods be too transparent for some artists, – and multiple long term South Florida and Titanate Yellow is quite pale, real time exposures, we feel confident Pyrrole Red. 10 mil. Masstone and 10:1 tint. in their ability to hold up when used in eliminating it as a viable option for Unvarnished. many color mixtures. Enter Bismuth Left is unexposed, right after 3 year exposure. an exterior mural system. The only Iridescent color to avoid is Vanadate Yellow, which fits nicely large amounts of black in a mural, you Iridescent Bright Gold because it is a between Cadmium Yellow Light and can create hot spots on the wall. The blend of mica and LF II Quinacridone Cadmium Yellow Primrose, yet has the impact to longevity of the mural is / Nickel Azo Gold, not a pure mica permanence of Yellow Oxide. unclear but any build-up of heat adds pigment. Colors to use: • Bismuth Vanadate Yellow additional stress to paint. The Royal Family White Light/White Heat Interference Colors: In the case of an exterior mural, • Blue (Fine) Pyrrole pigments have been on the many times it begins with a white • Gold (Fine) art market since the early 90’s, as an basecoat (White Gesso with additional • Green (Fine) excellent alternative to the heavy metal acrylic medium or an all acrylic exterior • Orange (Fine) Cadmiums. Not only are they similar house paint). Titanium Dioxide has • Red (Fine) in opacity but they are vibrant and been the darling of the house paint • Violet (Fine) clean mixers with a history of being world for many decades and for solid when used outdoors. No other Iridescent Colors: good reason. family of bright oranges and reds can • Bronze (Fine) even compare. While there are actually many • Copper (Fine) & (Coarse) kinds of TiO2 pigments available, • Copper Lt (Fine) & (Coarse) • Transparent Pyrrole Orange the ones used by GOLDEN have a • Pyrrole Orange • Gold (Fine) & (Coarse) proven record for exterior applications. • Gold Deep (Fine) • Pyrrole Red Light Many commercial grades of Titanium • Pyrrole Red • Pearl (Fine) & (Coarse) Dioxide pigments are prone to a • Silver (Fine) • Pyrrole Red Dark reaction with UV light, which can create free radical formation and lead Paint It Black? Actual Metals: to chalking of the paint film. Our • Micaceous Iron Oxide While all of the black pigments used pigment was specifically chosen for its • Stainless Steel (Fine) & (Coarse) by GOLDEN are perfectly suitable for protective coating which reduces, but exterior use, their dark value can result not eliminate, the UV degradation. It’s Natural Micas: in something that catches new exterior an extremely durable pigment so use • Black Mica Flake (Small) muralists off guard when exposed to it and its warmer cousin Titan Buff • Gold Mica Flake (Small) & (Large) large amounts of south facing light. (unbleached Titanium White). • Pearl Mica Flake (Small) This leads neatly into a discussion Zinc White can be used in a mural about color choice for murals. Studies but its highly transparent nature can If we pair the colors detailed in this conducted by the Lawrence Berkeley be an issue when coupled with Phthalo article with appropriate priming and National Laboratory show that, and Quinacridone, so use with caution. subsequent sealing with a protective on a 55° day in Los Angeles, black varnish, your murals should remain acrylic paint got up to 142° F versus • Titanium White looking great for a long time to come. white paint, which peaked at 74° F1. • Titan Buff Granted, these were on roofs exposed • Zinc White Resources to the overhead sun, but it still gives 1) spinoff.nasa.gov/spinoff2003/er_4.html a dramatic example of just how much Shine On You, Crazy Diamond 2) pcimag.com/articles/a-comprehensive- the absorption and conversion of solar The longevity of Iridescent understanding-of-tio2-pigment-durability 1 energy into heat increases the surface and Interference pigments can be lbl.gov/Science-Articles/Archive/heat- temperature. confusing. Although they are listed islands-and-roof-color.html accessed 1/6/14 What does that mean? If you use as “permanent” they are not able to

Issue 30 page 12 ©2014 Golden Artist Colors, Inc. any of the structural complications Drying Curves of Various Oils that come with the more traditional approach of layering. We also recommend, as we do with all oil paintings, to paint on an inflexible support whenever possible or to consider mounting the canvas to a panel once it is finished. Everything we know points to this as the number one thing anyone can do to minimize risks of cracking. How much slower drying are they? By itself safflower is considered a fairly slow drying oil so you might find that some adjustment is needed. However, drying is also a complicated issue, especially when you add in the impact of pigments, driers, mediums, Chart 3 – Data adapted and simplified from Tumosa, Mecklenberg 2013 and the environment. That said, thin layers of the safflower colors will likely take just 2-3 days longer than their linseed-based versions. Just keep in Continued from page 7 The implication is that linseed, mind that being touch dry does not with its high levels of linolenic acid, mean the paint is no longer going will see, all of these areas are tightly is able to retain its uptick in density through dynamic changes. If layering interwoven. while holding onto the free fatty on top, provide additional time for the acids and other materials that can act film to cure more completely. The main vulnerability of safflower is as plasticizers. All the other oils will caused by its inability to create a dense Can I mix them with my unfortunately, and inevitably, go on to other paints? network of cross-links; it simply lacks form thinner, less flexible films. While the degree of unsaturated double bonds safflower narrowly does better than the Yes, absolutely. In the process, that would be required. As a result its other alternatives, one still needs to you will be creating layers that have surface is more porous and volatile approach its use with a good deal properties in-between the two. components can easily leave the film. of caution. Not a bad thing, just something to be Many of these mobile materials, which Limitations and Guidelines aware of. include both unreacted free fatty acids What Mediums can I use and smaller components created by Cautionary notes come with the use with them? internal processes or from hydrolysis, of any safflower-based paint. As good of act as plasticizers that ultimately a job as it does warding off yellowing, All the same mediums one uses with help a film remain flexible. As these it does produce a more fragile film, and regular linseed-based paints can be used are lost through evaporation and in the process of drying it shrinks in with these. Using mediums based on solvent extraction, the film becomes mass and loses density. Because of that Stand Oil will increase durability while increasingly thin and more rigid. we strongly encourage you to follow preserving the resistance to yellowing, This process can be seen quite these guidelines: although it will not speed up drying. dramatically in Chart 3, adapted from When can these be used? The Bibliography for this article can be found at goldenpaints.com/justpaint. research done at the Smithsonian Moderation is the key here. Safflower Institute (Tumosa 2013) and showing oil will not create the same type of the drying curves of various oils tracked robust durable film as linseed, and for over three years. What is most we do not recommend using them striking is the fact that every one, with for underpaintings or thick passages the exception of linseed, ends up losing of impasto. They should also not be more weight than what they had at used for a ground. Use them when the start. It is also instructive to note the benefit of their clarity is most exactly when each oil dips below the valuable - in the upper areas and when base line, the final amount of weight glazing towards the end of a painting. lost, and the ordering of the oils from It is also considered safe to use in alla the lowest on up. As one can see, these prima techniques where the painting three things all correlate nicely to the is developed in a single sitting as one relative amount of saturation that each continuous wet-in-wet layer, without oil has.

Issue 30 page 13 ©2014 Golden Artist Colors, Inc. is emitted and the specific color has Fluorescent the ability to absorb that particular color of light. The ability they have to Colors - Bottling fluoresce under a black light creates a controllable and alternative avenue a Shooting Star otherwise unrealized by the viewer and can act as a hidden secret. By Amy McKinnon The ASTM rates pigments for It’s dead quiet, the cello, with a low lightfastness so there exists a standard and constant hum, emerges in the based on the chemical makeup of space followed by a violin entering a pigment. We do conform to that with the same subtlety and delicateness. Artist, Professor Clarence Morgan testing and in addition, we perform The instruments gently ride the our own extensive research and nuanced waves of a slow and lazy river testing of all of the pigments we Spring 2014 hypnotically guiding listeners to a carry regardless of whether or not place of calmness and refinement and the ASTM has rated the pigment. Made In Paint then… a toddler, naked and newly In compliance with their testing we walking, quickly totters across the room By Emma Golden know that all of our pigments can half running, half catching himself stand up to the lightfastness testing While the trees are still draped with with every new step, shrieking as his done through the ASTM and falls into snow we are preparing for the 2nd mother, red faced and quick, chases one of two categories: Lightfastness annual Made In Paint exhibition, here him, knowing the drill. In the world of I (excellent) or Lightfastness II (very in New Berlin, NY. On April 12th pigments there is history, consistency good). Fluorescents, in general, do not we will open our doors at the Sam and refinement, and in this world perform well in regards to lightfastness. and Adele Golden Gallery for the fluorescent colors are the toddler. They Foremost, fluorescents are not Exhibition of the 18 selected artists exist and while they are not always on pigments. The fluorescent colors we from this past year’s Residency season the program, when they show up they make are organic dye based fluorescents and two of our invited Visiting Artists. make waves, they make themselves that are dissolved in a transparent solid These extraordinary artists from around known and while they can be jarring polymer carrier. In general, pigments the world spent one month painting and upsetting to some, they make the are solid particles while dyes are and experimenting with materials. rest of us appreciate deviation. fluids and overall, due to the physical It was a tremendously exciting year Fluorescent colors are valued for a structure the solid pigment has greater at the Residency. The roster of artists brightness that standard pigments don’t durability and less surface area exposed, selected for residencies was a diverse possess. While, as their name suggests, resulting in greater lighfastness. international group with an impressive they do fluoresce under a black light This may lead someone to ask why exhibition history. Each session of it is often their high chroma that we carry colors that do not fall within three artists was an opportunity to both entices artists to utilize them as tools to our high standards of longevity. The share and learn from these talented emphasize, contradict and compare the simple answer is because artists have professionals. The artists who had been other elements within the work without asked for it. One of our philosophies accepted to the Residency all shared the use of specialized lighting. These is to delight the customer. We have a common passion and interest in high chroma colors are often referred built our reputation on creating what increasing their working knowledge to as neon or dayglow and are typically the artist needs and base that on actual of their chosen mediums as well as a seen on running and safety gear. requests. What we offer despite poor willingness to expand into mediums They are head turners and attention lightfastness, is a product that is the that might not be so familiar. grabbers and have somehow managed best within its class. We also offer an We are thrilled that we are able to to simultaneously suggest safety and accurate assessment of performance so present works that truly highlight the excitement at the same time. that artists can make their own choices talent of these artists. Some works The suggestion of excitement is as to whether a particular material suits completed or started during the an actual phenomenon, an effect their needs. Residency, but not exclusively so. This ultraviolet light has on fluorescent When choosing colors to make into past year we were also joined by two color. When ultraviolet light hits paint we examine all of the options invited Visiting Artists, Mary Frank the color it raises the energy of the available and look at the color in and Arlene Burke-Morgan who both electrons of the molecules to what is regards to its masstone, tint, opacity, spent valuable time at the Residency called an excited state. Once in this durability, sensitivity, lightfastness and experimenting with new materials. excited state it does lose some energy in this case, its ability to fluoresce. This For a list of 2013 Artist in Residence to vibrations but the rest of the energy gives us the knowledge to choose the websites go to goldenfoundation.org. is emitted in longer visible glowing best of what is available and although The virtual gallery will be available at wavelengths. It is possible for these the color does not have the greatest theSAGG.org following the Opening. pigments to glow under light other permanency in comparison to our Email [email protected] than ultraviolet as long as the absorbed other pigments, it is the best of what for a catalog. light has a higher energy than what is available.

Issue 30 page 14 ©2014 Golden Artist Colors, Inc. Fluorescents Under Black Light Fluorescents In Daylight it under the fluorescent color will allow for far Fluorescent Fluorescent Orange Orange greater opacity without losing the chroma or intensity. They Fluorescent Fluorescent can also be mixed Magenta Magenta together, although the fluorescent color can get lost within the strength Fluorescent Fluorescent of an artist’s Blue Blue pigmented paint color. Stippling techniques used by decorative painters Fluorescent Fluorescent can also help break Green Green down the brush marks so that an even application can be achieved. Fluorescent Fluorescent Varnishing can Chartreuse Chartreuse save your intensely high chromatic colors from fading Archival Varnish w/UVLS Polymer Varnish Archival Varnish w/UVLS Polymer Varnish and dulling to 3 Coats / 2 Coats / 1 Coat 1 Coat / 2 Coats / 3 Coats 3 Coats / 2 Coats / 1 Coat 1 Coat / 2 Coats / 3 Coats a color that is unrecognizable to When fluorescents fade they not only significant difference. They will behave its younger self. When MSA Varnish lose their power to fluoresce but they differently over each color. Over and Polymer Varnish were applied also lose their high chroma. They do matte black (Black Gesso) the color to the fluorescent paints in one, two not all fade similarly nor do they fade will almost be imperceptible due to and three brush coats we saw minimal to the same degree. When exposed to its transparency with a single coat but change in their exposure but they no UV, Yellow goes green, orange goes as the amount of coats are increased, longer fluoresced. They did fluoresce more yellow and dull, pink goes to a the color will emerge. When placed slightly at one coat of the varnish and light earthy orange color, green goes under a black light the background just slightly under two coats of Polymer very blue and dull, and blue goes much will completely disappear making Varnish. At two coats of MSA Varnish darker. They all get duller and either the fluorescing color the only visible there was absolutely no fluorescing. fade or shift. element. When the fluorescent color The reason varnish works to not only In addition to a less than acceptable is painted over white, its initial color save but hinder the fluorescent colors lightfastness, fluorescent colors possess is very bright as the white behind the is because the varnish contains UVLS traits that can require some getting transparent color is helping by allowing (Ultra Violet Light Stabilizers) which used to or manipulation to make them more light to bounce off of the surface. block UV light from entering through work exactly as the artist intends. However, as the coats increase and to the paint film. While varnish will Fluorescent colors have a tendency to the opacity increases, less of the white save a painting from fading it will also be more transparent than a fair amount shows through actually leading to a prevent it from passing light from the of other artist paints. This can be diminished glow in comparison to one source back to your eye. bothersome if one is trying to achieve coat over white. If an intensely bright Like the toddler cutting through an opaque application but conversely fluorescing color is desired over a matte the silence, fluorescence will always can be advantageous if the colors black surface, it would be achieved command attention but there are ways are being used for their fluorescing best by starting with a matte black to compose what could otherwise be properties. There are some practical background and painting the areas to considered a cacophony. The most measures that can be utilized when fluoresce in white prior to applying the exciting thing is when the energy, working with fluorescent colors. fluorescent color. the fire and excitement of something If the fluorescent colors are used for Transparency of fluorescent colors uncontrollable is not controlled but their fluorescing properties, then the will require some finessing if an opaque understood, manipulated and utilized thickness of the paint applied and what passage is desired. Often choosing a for the very quality that first excited it is applied over top of will make a similar opaque color and applying your eyes.

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Issue 30 February 2014 Articles: Mark Golden, Scott Bennett, Sarah Sands, Jenny Wiley Arena, Mike Townsend, Amy McKinnon, Emma Golden, Jodi O’Dell Editor: Jodi O’Dell Publisher: Golden Artist Colors, Inc. 188 Bell Road, New Berlin, NY 13411-3616 607-847-6154 800-959-6543 Fax: 607-847-6767 Email: [email protected] www.goldenpaints.com www.WilliamsburgOils.com www.thesagg.org

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animals and learning about animals animals about learning and animals GOLDEN.”

and Gallery, along with spending time time spending with along Gallery, and

other’s company creating balloon balloon creating company other’s of the special things we do here at at here do we things special the of

In addition to touring the facility facility the touring to addition In

There was also time just to enjoy each each enjoy to just time also was There down the mystery for our children children our for mystery the down

artists all over the world. world. the over all artists boxed up and shipped out the door! door! the out shipped and up boxed to learn together and try to break break to try and together learn to

market and sell GOLDEN paints for for paints GOLDEN sell and market containers and finally, how it gets gets it how finally, and containers a wonderful opportunity for families families for opportunity wonderful a

uncle do all day long as they produce, produce, they as long day all do uncle how it gets dispensed into different different into dispensed gets it how in Manhattan with my Dad. This is is This Dad. my with Manhattan in

dad, grandmother, grandfather, aunt or or aunt grandfather, grandmother, dad, children learned how paint is made, made, is paint how learned children to spend time at the Bocour factory factory Bocour the at time spend to

a day learning about what their mom, mom, their what about learning day a Shipping. During these sessions, sessions, these During Shipping. “I was always so excited when I got got I when excited so always was “I

(about 70 children attended) to spend spend to attended) children 70 (about their families,” said Mark Golden. Golden. Mark said families,” their and Filling Production, including

opened its doors to employees’ families families employees’ to doors its opened share what they do at GOLDEN with with GOLDEN at do they what share departments, several in sessions

In October, Golden Artist Colors Colors Artist Golden October, In “Kids Day is a way for employees to to employees for way a is Day “Kids included and day the throughout

getting all your questions answered? questions your all getting

just spend one day with them at work work at them with day one spend just

night? Didn’t you wish you could could you wish you Didn’t night?

talked about at the dinner table every every table dinner the at about talked

were these people and projects they they projects and people these were

do for 8 hours every single day? Who Who day? single every hours 8 for do

morning and what could they possibly possibly they could what and morning

Where exactly were they going each each going they were exactly Where

your parents did every day at work? work? at day every did parents your

As a child, did you ever wonder what what wonder ever you did child, a As

By Jodi O’Dell Jodi By

to Factory for Kids Day Kids for Factory to

Families Employees’ GOLDEN Invites Invites GOLDEN