Qor® Modern Watercolor

Total Page:16

File Type:pdf, Size:1020Kb

Qor® Modern Watercolor Published by Golden Artist Colors, Inc. / Issue 31 ® Welcome to Just Paint #31. If you regularly read Just Paint, you know our New! QoR Modern Watercolor passion for what we do extends well beyond paintmaking. Our mission is “To grow a sustainable company dedicated to creating and sharing the most imaginative and innovative tools of color, line and texture for inspiring those who turn their vision into reality”. Sustainability for me and this Company is being a valued Corporate Citizen -- valued by our employee owners, local community, arts community, and global community. This concept has so many threads connecting what we do, but most of all it means making sure our products and processes are safe for each of these communities. This responsibility also means ensuring you have the necessary information to use our professional products safely. By Ulysses Jackson are the challenges that formulators This past July, we discovered that 654, 2 ® A tube of paint is opened, pressure is live for – problem solving and fl. oz. bottles of QoR Synthetic Ox Gall constant improvement! were delivered to retailers with an excess applied, material comes out and it just of MIT, a preservative that at this excess works. It is this consistent function of QoR Watercolor – The Beginning level can cause allergic skin reactions in a product that allows artists to focus susceptible people. We immediately recalled on larger issues such as what to paint How exciting that Mark Golden the product from retailers and distributors and how to achieve it. As both an artist brings research from the Art and put an announcement on our websites. and a Formulator, I am still amazed Conservation field regarding a We asked retailers to do the same for artists every time I open a tube of paint and unique raw material and requests the that may have purchased the material. We brush it out. I get caught up in the feel, GOLDEN Research and Development have since made necessary changes in our function, and more importantly how Lab investigate it. At this point our processes to ensure that all future batches could this be improved, or function final use for Aquazol® was not defined would be at the safe and recommended level better? Before I started studying and could have turned many different of preservative. If the product was used in directions as a final target product a painting, there is no other concern for its coatings and their formulation, the performance. mystery of the experience was all I was yet to be determined. In fact, we As of the date of this publication, all knew. After seeing behind the scenes initially had four distinct product ideas bottles recalled are off retailer shelves. But, it is even more exciting and amazing. in process and culled down to the if you have this product, call GOLDEN Now that I have been researching most promising, banking the others Customer Service at (800) 959 6543 coatings for a decade with Golden for later investigation. so that we can expedite the return and Artist Colors, the possibilities appear The first step in understanding replacement of the material. Lot numbers to be endless. any new raw material is to conduct a are: 365254, 366319, 366408, 366626. The development of QoR Watercolor technical literature search. Often there As a leading paint maker in our industry falls under this category, allowing for is little more than a technical data sheet we take the quality and safety of our and an MSDS from a raw material product very seriously and I apologize for an expansion in options for artists, and causing our customers any inconvenience. offering a new field of research and manufacturer. To say that technical In 34 years of making artist colors, we discovery for GOLDEN. With this data sheets offer scant information have never had to recall a product for safety expansion into new territories came is almost always an understatement, reasons. In the future we will continue to significant and nuanced formulation and it is usually up to the Formulator do everything to assure that our products challenges. The types of challenges that to tease additional information out are correctly manufactured and labeled for keeps one scouring technical literature, of the manufacturer with pointed their safe use. walking around with preoccupied lines of questioning and long chains If you have questions, please contact me looks, and staring at the ceiling during of e-mails. This can be daunting as at [email protected]. the night thinking about the next series there are several thousands of raw Mark of trials to be set up. However, these materials created and currently offered Issue 31 page 1 ©2014 Golden Artist Colors, Inc. to the coating industry. Fortunately, Aquazol® Binder Gum Arabic Binder Aquazol® Binder Gum Arabic Binder with Aquazol this was not the case as Conservators have written many papers detailing its working properties and long term aging characteristics. Because Conservators are confident that this material will not crosslink or degrade over time, and are increasingly using it in a wide array of Conservation practices, it afforded GOLDEN some initial sense of a material that would meet the rigors of our in-house testing. Some of the uses of Aquazol included fills for sculpture and pigmented fills in oil paintings. Conservation scientists utilize this material as it allows them to build up a surface before in-painting, and if an error is made, or a later Good Film Poor Film/Cleavage Good Film Poor Film/Cleavage conservation treatment is needed, Binder trial of 10 mil paint film on 2DX cards. Binders contained same pigment load. the Aquazol fill can be removed with water or a wide range of polar organic remarkably accurate as we try to referred to as Critical Pigment Volume solvents. Based on these previous areas foresee as many of the potential Content (CPVC). Pigment loading of research, we gained the confidence performance issues as possible, and below this amount means that there to attempt to pigment the system remove them before an artist ever gets is excess binding potential, while and see where it lined up with other the material in their studio, with hopes being above this amount means that resoluble resins. of furthering the sense of wonder and materials get chalky, bronzed, or Aquazol is offered from the mystery mentioned before. In order to have significant pigment lift once manufacturer at various molecular do this, we rely on scientific research, dry. Due to the controlled molecular weights, each of which has unique constant application testing, feedback weight and high electron density in qualities and benefits. To determine from artists, and previous knowledge of the functional groups of Aquazol we the appropriate version and blend raw material interaction from expected that more pigment could fit we first dissolved a sample of each other projects. in, and were pleasantly surprised as in water to create a clear base. Then Some of the areas that require to how much we could load into this with these clear bases we mixed in attention and balancing in a good material. Each pigment is different pigments of varying chemical classes formula are shelf stability, freeze/thaw and the maximum loading is affected at a few different load points to gain stability, flexibility, drying rates, re- by its pigment chemistry, surface an understanding of the raw material’s solubility rates, pigment chemistry, treatment, morphology (shape), and attributes. At the same time, we pigment interactions, pigment loading, surface area. This means that for each included other resoluble resins as resistance to microbial growth, of the 65 different single pigments in controls. The outcomes were exciting rheology, liveliness on the paper, the QoR line, we had to determine and showed that this resin system had brightness, the ability to mix with other the maximum amount of pigment very good inherent wetting properties watercolor brands, health and safety the binder would allow and then test and good film forming attributes. issues, the ability to layer, the ability to surrounding load amount to find the These results led us to the creation of a lift, as well as many more. tight rope of being bound just enough. full line of Aquazol bound paints, In the development of QoR Each pigment has its own personality. now known as QoR Watercolor. Watercolor, we wanted working Some are very friendly and can be Determining QoR Properties – qualities similar to traditional stabilized easily while others are very stubborn and offer up some form of The Challenges Begin watercolors, while offering the unique attributes of a synthetic binder. If stability issue that must be addressed. If only it was that easy: simply mix we were to make these materials too These attributes vary widely some binder, pigment and water and different, artists who were used to depending on the chemistry of the send it out into the world to sit for traditional watercolor would not be pigment family, and additional surface various durations of time in artists’ able to achieve the techniques they rely treatments applied by manufacturers. studios and remain usable. The fact on. Yet, if it was not different enough, Instability can be exhibited in the that this is rarely the case, leads to it would be just another watercolor. form of significant separation, which job security for us Formulators and Pigment loading was an area we is the notorious thick layer of clear R&D Lab staff. The reality is that that comes out of a tube. Other times there are many aspects to formulating thought that Aquazol would allow some benefits. Every binder has instability can be seen as flocculation a line of colors that one has to take that can occur where pigments have into account.
Recommended publications
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Paint-On-Glass Animation: the Fellowship of Digital Paint and Artisanal Control Tom Van Laerhoven, Fabian Di Fiore, William Van Haevre, Frank Van Reeth
    Paint-on-Glass Animation: The Fellowship of Digital Paint and Artisanal Control Tom van Laerhoven, Fabian Di Fiore, William van Haevre, Frank van Reeth To cite this version: Tom van Laerhoven, Fabian Di Fiore, William van Haevre, Frank van Reeth. Paint-on-Glass Ani- mation: The Fellowship of Digital Paint and Artisanal Control. Computer Animation and Virtual Worlds, Wiley, 2011, 22 (2-3), pp.325. 10.1002/cav.406. hal-00629936 HAL Id: hal-00629936 https://hal.archives-ouvertes.fr/hal-00629936 Submitted on 7 Oct 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Computer Animation and Virtual Worlds Paint-on-Glass Animation: The Fellowship of Digital Paint and Artisanal Control Journal: Computer Animation and Virtual Worlds Manuscript ID: CAVW-11-0018 Wiley - Manuscript type: Special Issue Paper Date Submitted by the 04-Mar-2011 Author: Complete List of Authors: Van Laerhoven, Tom; Hasselt University, Expertise Centre for Digital Media Di Fiore, Fabian; Hasselt University, Expertise Centre for Digital Media Van Haevre, William; Hasselt University, Expertise Centre for Digital Media Van Reeth, Frank; Hasselt University, Expertise Centre for Digital Media animation, 2D animation, painterly animation, paint system, paint- Keywords: on-glass Note: The following files were submitted by the author for peer review, but cannot be converted to PDF.
    [Show full text]
  • Portable Art Collection
    PORTABLE ART COLLECTION Prepared by City of Bellevue Arts & Culture Program 2021 PB 1 CITY OF BELLEVUE PUBLIC ART COLLECTION BELLEVUE ART COLLECTION’S MISSION ABOUT THE PORTABLE ART COLLECTION The City of Bellevue seeks to be a vital In 2020 the Bellevue Arts Commission platform for cultural exchange and creative purchased 21 new works for the Portable inspiration. The City turns to living artists Art Collection. The goal of growing the to enrich the collective experience of collection of portable artworks is to diversify Bellevue’s public places through permanent the collection by adding a range of visual art commissions and a growing collection of mediums and artistic voices. Portable art movable artworks funded through the Public will also increase the number of artworks Art Program. A segment of the collection is accessible in city-owned buildings in devoted to artworks that raise the discourse Bellevue neighborhoods. Prior to this call, on the defining aspects of the City’s Portable Art Collection contained Bellevue’s civic life, exploring the diverse only a handful of artworks, one or two being identities of our residents, converging added every few years. cultures, international connections, technological currents and interplay between nature and the urban experience that make Bellevue’s environment unique. Bellevue’s art collection helps document the dynamic moments and complexities of Bellevue’s cultural life and is an important resource for future generations. Pictured above: Truth by David Middlebrook 2 LIST OF AVAILABLE PORTABLE
    [Show full text]
  • SOCIETY of MARBLING an International Organization 2006 ANNUAL
    SOCIETY OF MARBLING An International Organization 2006 ANNUAL Society of Marbling 2006 Annual Guest Editor: Jake Benson Featured cover artwork by: GÜLZ PAMUKOLU Ebrû with calligraphy, 2005 Water base pigments on paper 40 x 26" Calligraphy: Mehmed Tahir Efendi, d.1845 Thuluth script, in Arabic "God, may His glory be glorified." © 2006 Marie Palowoda ii Table of Contents A Letter from the Editors ........................................................................................................1 Marie Palowoda and Jake Benson Society News ...........................................................................................................................3 Jake Benson In Memoriam: Phoebe Jane Easton (1916-2006) ...................................................................5 Jake Benson Featured Marbled Pattern A Brief History, and Possible Origin of the Schrotel Pattern ...............................................7 Jake Benson Schrotel Marble .....................................................................................................................11 Garrett Dixon Schrotel Pattern.....................................................................................................................14 Iris Nevins Collection Reviews Capturing Color: Decorated Paper in the University of Washington Libraries .................15 Sandra Kroupa and Katie Blake Norma Rubovits and her Collection at the Newberry Library in Chicago..........................21 Paul F. Gehl Marbling in the Frederick Douglas Collection at the
    [Show full text]
  • PRODUCT INFORMATION: Soflat MATTE ACRYLIC COLORS
    PRODUCT INFORMATION: SoFlat MATTE ACRYLIC COLORS SoFlat Matte Acrylics are made with 100% acrylic polymers, using the finest pigments. The unique combination of low viscosity, Golden Artist Colors, Inc. flowing consistency, great leveling and increased opacity results in a silky-smooth paint that dries to a uniform, matte surface. 188 Bell Road The flat matte surface is ideal when minimal reflectance is required, such as graphic design work, photography, and large color New Berlin, NY 13411-9527 USA (US) 800-959-6543 field painting. SoFlat may be used similarly to traditional gouache and acrylic gouache. 604-847-6154 SoFlat PRODUCT DESCRIPTION [email protected] goldenpaints.com ■ Liquid paints formulated to dry uniformly matte. ■ Provide excellent coverage for large areas, while remaining suitable for detail painting. ■ Pigment load comparable to other GOLDEN Acrylic paints. ■ Uniform matte sheen across the product line, with gloss readings (Glossometer GU rating) between 0.4 and 2.8 – compared to a range of 13-100 for our Fluid Acrylics and 8-99 for our Heavy Body Acrylics. ■ Water resistant when dry with excellent adhesion to a variety of surfaces. ■ Most colors are rated opaque or semi-opaque, with the exception of Fluorescent Colors. NOTE: SoFlat Fluorescent Colors are more opaque than their counterparts in other GOLDEN Acrylic paint lines. SUBSTRATE AND SURFACE PREPARATION SoFlat Matte Acrylics may be applied to any surface typically able to accept acrylic paints. Smooth substrates improve the uni- formity. Non-porous painting supports such as glass and metal may require additional preparation to improve overall adhesion. Refer to “Preparing Painting Supports” for more information.
    [Show full text]
  • Colours & Materials for Artists
    18 Colours & Materials Max Sauer s.a.s. 2, rue Lamarck . CS 30204 for Artists 22002 Saint-Brieuc cedex France Tél: +33 (0)2 96 68 20 00 Fax: +33 (0)2 96 61 77 19 www.senneliercolors.com facebook.com/Sennelier twitter.com/Sennelier1887 instagram/sennelier1887 pinterest.com/Sennelier Ref : X20001.02 Ref Sennelier Catalogue. Colours & Materials for Artists English - Ref: X20001.02 for Artists - Ref: English Catalogue. Colours & Materials Sennelier since 1887 CONTENTS Pigments & Application Products Soft Pastels & Application Products Oil Pastels & Application Products Chapter 1. page 6 Chapter 2. page 16 Chapter 3. page 28 Liquids for Oil Colours. Artists' Quality Acrylic Pastes, Mediums, Varnishes Oil Painting Mediums & Varnishes Chapter 8. page 58 for Acrylic Painting Chapter 7. page 50 Chapter 9. page 64 Tempera Gouache & Application Products Sennelier and China inks Chapter 13. page 84 Chapter 14. page 88 Chapter 15. page 92 Numerical index page 109 to 110 Alphabetical index page 111 Oil Colours (Artists’ Quality) Rive Gauche Fine Oil Colours Oil Stick. Solid Oil (Artists’ Quality) Chapter 4. page 36 Chapter 5. page 42 Chapter 6. page 46 Abstract Innovative Acrylic Watercolours & Application Products Student Watercolours Chapter 10. page 70 Chapter 11. page 74 Chapter 12. page 82 Painting and Drawing Material Art Papers Chapter 16. page 96 Chapter 17. page 102 Numerical index page 109 to 110 Please note : “S.U.” refers to “Sales Unit” or “Pack Quantity” - Noncontractual photographs Alphabetical index page 111 Contents of the sets is available on our web site : www.senneliercolors.com 1887 1895 1897 Gustave Sennelier Tempera Artists’Oils established himself as a purveyor of fine-artists’ paints 1893 1904 Watercolour Pastels à l'écu 1949 2012 2017 Oil pastels 2009 2015 Pastels à l'écu Artists' Acrylic Abstract Abstract.
    [Show full text]
  • Mediums and Additives for Painting
    MATERIALS INFORMATION and TECHNICAL RESOURCE for ARTISTS – Paint Mediums and Additives DRYING OILS Oil paints remain one of the most widely used mediums due to their versatility, range of effects, and long open time which allows for extended reworking as well as sophisticated blending. At their most basic, oil paints are composed of pigments ground into a drying oil. These oils dry by oxidation to become a coherent film as opposed to resins and gums that dry by the evaporation of the diluent. Paints made from pigments and drying oil alone will vary greatly in viscosity, handling properties, and brushability depending on the pigment’s chemical and physical characteristics. These qualities also affect how much pigment can be ground into a workable paint. This is often referred to as the “Pigment Volume Concentration” or PVC. Paints that are naturally stiff and buttery are termed “short” while those that tend to flow and are readily brushed out in a long stroke are termed “long.” Adulterants, modifiers, stabilizers, and driers can all affect the brushability and long-term stability of a particular oil paint. While specific oil paints have characteristic surface qualities derived from pigment choice, these can be significantly modified with the incorporation of extra thinner/diluent, binding medium, pigments, and other additives. Generally speaking, oils tend to produce paints that are saturated in color, capable of both opaque and transparent effects, and can be worked and re-worked over an extend period of time due to the long dry time of the oil medium. Oil paints brands were traditionally divided into different categories according to their quality.
    [Show full text]
  • 3-D Computer Animation Production Process On
    Contents 1. What Is Animation 2. Terms in Animation 3. Evolution Of Animation 4. Traditional Animation 5. Computer Animation 6. Five Useful Presentation Techniques 7. Traditional & Computer Animation 8. Computer Assisted traditional animation 9. Career in Animation 10. India's animation industry 11. Prerequisites to start career in animation 12. Future of animation in India 13. Bibliography Meaning Animation is the filming a sequence of drawings or positions of models to create an illusion of movement. It is an optical illusion of motion due to the phenomenon of persistence of vision. History The Earliest form of Animation The first examples of trying to capture motion into a drawing can already be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting to depict a sense of motion. Shadow Puppetry was also an animation ancestor, e.g. the Indonesian animated shadow puppet called Wayang around 900 a.d. Film animation In the early 1890s, Thomas Edison's Kinetoscope was invented. The history of film animation begins with the earliest days of silent films and continues through the present day. The first animated film was created by frenchman Charles-Émile Reynaud, inventor of the praxinoscope, an animation system using loops of 12 pictures. On October 28, 1892 at Musée Grévin in Paris, France he exhibited animations consisting of loops of about 500 frames, using his théatre optique system - similar in principle to a modern film projector. The first animation on standard picture film was Humorous Phases of Funny Faces by J. Stuart Blackton in the year 1906.
    [Show full text]
  • School Sale 2018 Aug
    Wet P int Artists’ Materials &a Framing Est. 1976 BackBack toto SchoolSchool SaleSale 20182018 Amsterdam Lascaux Fixative Ampersand Acrylic Sets Gessobord only $26.16! & Claybord 30% off MSRP! Museum Series 12 Color Set SALE $20.27 35% 40% OFF MSRP! # 17820412 MSRP $28.95 off 24 Color Set SALE $31.47 MSRP! # 17820424 MSRP $44.95 # 301060 MSRP $40.25 Unprimed Basswood Artist Series Lascaux produces the finest fixative available… nearly invisible spray protection with virtually no 50% OFF MSRP! color shift or darkening for pastels, charcoal drawings, watercolors, and more. Even better, it’s 35% off MSRP right now! # 301060 300ml Lascaux Fixative $26.16 (MSRP $40.25) Art Alternatives Gamsol Gallons Gesso Gallons only $35.97! only $34.99! # AA90128 40% MSRP $59.99 off MSRP! All POSCA # 00099 Paint Markers MSRP $59.95 20% off! Includes all styles and colors! 2 Wet Paint Back to School Sale 2018 Aug. 15th thru Sept. 30th Fabriano Artistico Tara Fredrix Watercolor Paper 22x30 Sheets Gallery Canvas 70% OFF MSRP! 50% off Four BIG MSRP! 1-1/2” deep sizes! 90lb: SALE $3.90 MSRP $7.80 Wet Paint #5088T 24x30” $20.44 (MSRP $68.13) #5090 24x36” $23.17 (MSRP $77.22) 140lb: SALE $5.38 MSRP $10.75 stocks #5093 30x40” $28.97 (MSRP $96.58) #5082 36x48” $35.79 (MSRP $119.29) CONTAINERS! 300lb: SALE $12.25 MSRP $24.50 while supplies last! Fabriano SPEEDBALL Studio 11x14 Professional Watercolor Pads Relief Ink only $19.99! 140 lb. cold press or hot press- 30% off! MOLESKINE 50 sheets per pad! HOT PLANNERS Deal! Academic or 2019 10% OFF! MSRP=Manufacturer’s Suggested Retail Price Wet Paint Back to School Sale 2018 Aug.
    [Show full text]
  • The Creation Process of 2D Animated Movies
    THE CREATION PROCESS OF 2D ANIMATED MOVIES by Laura Moreno Course: 2nd Batx. B Tutor: Raquel Mancera Carme Peralta Date: October 30th, 2014 INDEX INTRODUCTION ......................................................................................................... 1 1. ANIMATION, WHAT’S THAT? ............................................................................. 4 2. A LITTLE BIT OF HISTORY ................................................................................. 5 2.1. Beginnings ..................................................................................................... 5 2.2. Early animation devices ................................................................................. 6 2.2.1. The magic lantern .................................................................................... 6 2.2.2. Thaumatrope ........................................................................................... 6 2.2.3. Phenakistoscope ..................................................................................... 6 2.2.4. Zoetrope .................................................................................................. 7 2.2.5. Flipbook ................................................................................................... 7 2.2.6. Praxinoscope ........................................................................................... 7 2.3. A timeline (1887-2014) ................................................................................... 8 3. TYPES OF ANIMATION ....................................................................................
    [Show full text]
  • Art and Craft Materials That Cannot Be Purchased for Use in Kindergarten
    ART AND CRAFT MATERIALS THAT CANNOT BE PURCHASED FOR USE IN KINDERGARTEN THROUGH 6TH GRADE Office of Environmental Health Hazard Assessment – California Environmental Protection Agency October 2014 California Education Code Section 32064 prohibits the purchase of art or craft materials containing a toxic substance for use by students in kindergarten and grades 1-6. The law also requires the Office of Environmental Health Hazard Assessment (OEHHA) to develop a list of products that cannot be purchased for use by students in K-6. This list (attached) is intended to assist schools, school districts, and governing authorities of private schools in complying with the purchasing requirements. Purchasers must ensure that all art and craft materials to be purchased for use by students bear a statement of conformity to ASTM D-4236, as required by federal law. Items to be used by students in grades K-6 must not bear acute or chronic health hazard labels. Although not required by law, avoiding art materials that bear acute or chronic health hazard labels when purchasing for grades 7-12 is a good precautionary measure. Schools are encouraged to inventory existing art and craft supplies and remove materials bearing health hazard labels from K-6th grade classrooms. For further information, please see Art and Craft Materials in Schools: Guidelines for Purchasing and Safe Use, accompanying this list or available online (see below). Due to resource limitations, OEHHA compiled the attached list based on product evaluations conducted by other entities1 according to federal requirements. Any art and craft materials recalled in the past five years2 are also included (no such products are listed at this time), as are products available for sale that have been brought to OEHHA’s attention as bearing health hazard labels.
    [Show full text]
  • LIQUITEX-ACRYLIC-BOOK.Pdf
    AcrylicBookCover.qxd 12/5/06 1:40 PM Page 1 THE ACRYLIC BA COMPREHENSIVEO RESOURCEO FORK ARTISTS THE ACRYLIC BOOK A COMPREHENSIVE RESOURCE FOR ARTISTS T A BLE OF CONTENTS CHAPTER 1 INTRODUCTION & HISTORY 5 CHAPTER 2 ESSENTIAL INFORMATION 7 What Is Acrylic Paint? 7 Components of Acrylic Paint 7 How Acrylics Work 8 Characteristics of Acrylic Paints 9 Technical Information . 10 Mixing Color: Mineral and Modern Pigments 13 Liquitex Color Palettes . 14 CHAPTER 3 LiQUITEX® PRODUCTS 16 Color Ranges 16 Professional Artists Acrylic Color 16 9 Essential Things to Know About Acrylic Colors 17 Soft Body Professional Artist Acrylic Color 18 Heavy Body Professional Artist Acrylic Color . 19 Super Heavy Body Professional Artist Acrylic Color 20 Decorative Series 21 Liquitex® Interference Colors 21 Iridescent Colors 22 Luorescent Colors . 22 Liquigems™ Acrylic Glitter Paint 23 Glossies™ Acrylic Enamel Paint . 23 Basics Value Series 25 Basics . 25 Basics Matt . 26 Choosing the Right Color: Artists’ Color vs Value Series 27 Acrylic Mediums . 29 Prep 31 Surface Prep 31 Paint 34 Fluid Mediums 34 Gel Mediums 40 Effects 48 Finish 57 Varnish 57 CHAPTER 4 APPLICATIONS 62 Acrylic Sheets 62 Airbrushing 64 Brushwork . 68 2 L IQUITEX ® / T H E A CRYLIC BOOK L IQUITEX ® / T H E A CRYLIC BOOK T A BLE OF CONTENTS CHAPTER 4 APPLICATIONS (cont ) Collaging 69 Floorcloths . 71 Canvas Preparation 71 Glazing . 73 Glossies™ on Glass, Tile & Ceramic Surfaces 74 Mural Painting . 77 Painting on Fabric and Leather 82 Pouring . 87 Silk-screen 89 Surface Preparation 90 Transfers 97 Watercolor With Acrylic 100 CHAPTER 5 FREQUENTLY ASKED QUESTIONS 102 CHAPTER 6 HEALTH & SAFETY 106 Health Labeling 106 TCLP Product Analysis Findings Summary .
    [Show full text]