Mural Painting Most Rewarding Aspects of Mural Painting

JUST PAINT

Published by Golden Artist Colors, Inc. / Issue 10

for months of planning time in the project schedule. Climate will greatly affect outdoor mural work. Climate changes can affect the drying rate of materials as well as the mural’s exposure to certain types of weather and extreme temperatures. An understanding of the specific climatic conditions of each individual project will help artists choose the right time to work and the right materials © Eric Grohe, “Liberty Remembers”, Bucyrus, OH. Eric paints the fabricated metal cornices he had made and attached to the side to work with. of the building in order to continue the illusion of the painted ledge. Creating artwork for an environ- Research Focus: ment where many people have the opportunity to see it is one of the Mural Painting most rewarding aspects of mural painting. This should also suggest The many considerations an where there is a lot of exposure to the great responsibility of the mural artist will face when embarking on a light. Some colors are known to artist. A mural is intended to mural project may be imperceptible fade rapidly and may only be suit- enhance an environment, not clash to a casual viewer of these large, able for indoor applications. Artist- with it or degrade it. If improperly often public, artworks. There are quality varnishes may offer the best done, the “work of art” can quickly many different types of murals and protection for any mural; however, become an eyesore. Many mural mural applications, and each type alternative solutions may need to be sponsors are now requesting that presents its own set of challenges. explored in indoor settings such as artists guarantee their murals for a The muralist will want to ensure hospitals or schools. certain period (usually 10-20 years). the mural’s integrity by practicing a Because of the large scale of These agreements can be legally sound methodology, accounting for most mural projects, expenses can binding, which means artists will be manifold factors that will influence quickly add up. Knowing how to held liable for problems occurring the project’s success. get the most out of money spent, or with the mural during this time. Whether the mural will be learning some ways to cut costs Careful planning, thoughtful prepa- indoor or outdoor is a major factor without jeopardizing the integrity ration, and use of quality materials that will affect the artist’s methodol- of the mural is important. Also, it is will help finished murals to have an ogy. For an outdoor mural, an artist important to be realistic about the impact that matches the artist’s will need to consider the mural’s quantity of materials needed so that good intentions. potential exposure to light or unexpected expenses won’t add up weather and prepare and protect the late into the project. Using Acrylic Products substrate accordingly. For an indoor Time is an additional considera- for Mural Application mural, exposure to chemicals, tion. To an artist working sponta- Golden Artist Colors, Inc. has humidity, contact or abrasion needs neously or in a limited amount of conducted testing and research on to be considered and accounted for. time, adequate preparation will be using acrylic products for mural The art materials used might extremely important so he or she application. The following para- also change based on whether the can move quickly. Another artist, graphs contain our specific recom- mural is interior or exterior. Certain whose project requires extensive mendations for preparing substrates, colors are more lightfast and are research, preparation, and approval selecting materials and giving pro- more appropriate for outdoor work by many parties, needs to account tective finishes to murals made ©2002 Golden Artist Colors, Inc. Just Paint / Issue 10 2 using GOLDEN Acrylics. For more CAUTION: Never add ammonia or allow an artist to work in his or her information about using acrylics on ammonia-based cleaners to bleach! studio. Painting on panels is a good mural projects, visit our website at: Wear goggles and protective equip- alternative for someone who doesn’t www.goldenpaints.com/murals.htm ment while cleaning. After scrubbing have access to scaffolding or other with a brush, allow the solution to sit equipment. It can be much easier Substrates on the surface for 10 minutes before than painting off a ladder all day. Substrate selection is often defined thoroughly Panels can also be a safer, cleaner by a mural’s location. When work- rinsing off with clean water. way to work with groups of chil- ing on the exterior of a building, If there are cracks and grooves dren or other large groups of peo- (whether it be made of wood, in the substrate, the method for fill- ple. If artists choose to work on cement, masonry, metal, etc.), and ing and smoothing these gaps will panels, they will want to make sure on interior surfaces as well, it is depend on the nature of the sub- they choose the right kind of panel important to know how to prepare strate itself. Artists should consult for the right situation. Preparation the substrate before beginning to an area architectural coatings store of panel substrates will also depend apply paint. Different substrates for recommendations on the best upon the chosen material. may require specific techniques and product available. (See Mural Quick Reference Guide, page 11.) materials. If not done correctly, the Once the surface has been life span of the mural may be cut cleaned, a primer coat will give bet- Paint Selection short. ter adhesion for the paint. One key Acrylics are some of the most Generally, it is always a good feature to look for in a primer is durable and accessible paints for idea to take a substrate down to its whether or not it can be painted exterior application, used by many original surface. Trusting the over by latex paints. This should artists for painting murals due to integrity of previous coatings can ensure that the primer will be a their lightfastness and weather put mural work in jeopardy. It is compatible surface for the adhesion resistance. They also form an excel- also difficult to determine if these of waterborne acrylics. lent bond to masonry or cementous coatings will be compatible with To determine the best primer surfaces. Oil paints are a poor other products that are being used. for a specific surface, we suggest choice for painting on these surfaces If an artist chooses to overpaint artists contact their local supplier of since the alkalinity of concrete can a surface that is already painted, he architectural coatings. Such compa- destroy alkyd or oil products. Ethyl- or she should consider the type of nies have extensive experience with silicate paints form an excellent and the existing paint and its physical priming the broad spectrum of permanent bond with brick or con- condition. If the paint is a water- building supplies, and typically have crete; however this system can be based polymer (commonly referred specific primers for the surface the time-consuming and costly, and a to as latex), chances are good that mural is to be painted on. Their good working knowledge of the the acrylic paints will adhere suffi- recommendations will also take the materials is required as well. ciently. If it is a high gloss oil paint environmental concerns of the area Solvent-based enamels are a good (or of unknown materials), then it into account. Architectural and choice for durability, but manufac- must be abraded (or removed) for maintenance paints are competitive- turer’s pigment considerations are good adhesion. If the existing paint ly priced, meaning that a product usually not the same as with a high- film is deteriorating, then it is best that costs more than a similar prod- quality artist’s acrylic paint. to have it removed (sand-blasted, uct will typically perform better as Golden Artist Colors, Inc. pro- power-washed, scraped, etc.). It is well. duces several lines of paints that can critical to wash any painted surface, When painting on brick, con- be used for mural work. Selecting even a newly painted surface, with crete, or other masonry surfaces, we which type of paint to use is soap and water to remove dirt and recommend use of a masonry con- dependent on each artist’s style and grime prior to application of acrylic ditioner that can be purchased from the surface to be painted. GOLD- products. a commercial coatings supplier. EN Heavy Body, Matte, MSA, Previously painted high gloss In some cases, muralists will Fluid and Airbrush Colors (see surfaces can be cleaned and dulled want to consider painting on panels below) can all be used for mural in one step by using a household (wood, aluminum, fiberglass, etc.) work. The artist must determine if abrasive cleaner. Cleaner must be rather than directly onto a wall. the texture will influence the way he washed off completely with clean There are various reasons an artist or she paints. For example, if paint- water. may choose to work on panels. ing on brick, it will be tough to get Mold and mildew must be Sometimes the existing substrate is a smooth line on such a textured removed by hand-scrubbing with a too difficult to work on. It could surface with the Heavy Body Colors mixture of 1 part household bleach also be a matter of convenience as is. They need to be thinned with to 3 parts water. since painting on panels will usually GAC 200 (which also increases film ©2002 Golden Artist Colors, Inc. Just Paint / Issue 10 3

Quick Reference Chart for Choosing GOLDEN Acrylic Paints for Mural Use Another choice for protecting the mural is to use some of the vari- GOLDEN product Indoor Use Outdoor Use ous graffiti-resistant finishes that are (not modified) commercially available. These range Heavy Body Acrylics from protective wax coatings that Matte (Heavy Body) Acrylics are removed with hot water to the Fluid Acrylics 2-component solvent-based Airbrush Acrylics VB VB MSA (Mineral Spirit Acrylic) polyurethane coatings. They tend to Golden Glaze V have excellent chemical resistance, Golden Paste Paint B so that graffiti can be fairly easily stripped off without harming the Recommended Choice V Must be varnished coating. They also have excellent B Should be reduced with additional binder weatherability, and thus require less maintenance than some of the other choices. Please note: we have not hardness and potential durability) more binder-rich, which extends thoroughly evaluated these systems. or the artist may consider switching exterior lifetime. This is especially As the coatings are not removable to the Fluid Colors. The thinner important if the artist chooses not should they fail, we suggest artists consistency will allow the paint to to topcoat with a varnish. We sug- get all available information from flow into the crevices of the brick. gest blending 1 part GOLDEN manufacturers or consult mural Mixing Fluids and Heavy Body GAC 200 for every 2 to 4 parts groups having previous experience Acrylics together will produce a paint. using these products to determine consistency similar to house paint, For exterior spray application, the best choice for each specific ideal for covering larger areas on using GOLDEN Fluid Acrylics application. most surfaces. (Refer to the chart above thinned with Airbrush Medium will Listed below are the application for assistance in selecting a suitable paint line.) be the most durable option. recommendations for using Color selection is especially GOLDEN Airbrush Colors can also GOLDEN MSA Varnish w/ UVLS: important to minimize fading of be used, but they should be blended We recommend a 2-step system, acrylic paints. The GOLDEN with GOLDEN Airbrush the first being a permanent isolation Pigment Identification Chart Transparent Extender and given a coat, followed by GOLDEN MSA (www.goldenpaints.com/pigment.htm) lists protective varnish to increase dura- Varnish, a removable varnish. The the relative lightfastness and perma- bility. In spray application, the function of the isolation coat is to nency ratings of all our colors. For GAC 200 is not practical to use as physically isolate the paint from the maximum longevity, we recom- it will thicken the paint and inter- removable varnish (which makes mend using only colors with a fere with sprayability. Another varnish removal much easier and lightfastness rating of I and a per- approach would be to top-coat the safer to the paint surface). An isola- manency rating of Excellent. Airbrush Colors with a sprayable tion coat also develops a thicker (See chart page 11 for best recommendations.) isolation coat using a 2:1 mixture of layer of acrylic, which will give bet- Please note: Cadmium pig- GAC 500:GOLDEN Airbrush ter protection and durability and ments should not be used outdoors Transparent Extender. serves to unify the acrylic paint as premature fading will occur. layer. Ultramarine Blue and Cobalt Blue Final Coats should not be used at full strength A final topcoat will give a mural Isolation Coat Application for outdoor projects. Mixing with more durability when exposed to Choice of isolation coat should other colors or diluting with environmental factors. The mural depend upon the artist’s application GOLDEN Gels or Mediums will artist has a few choices on how to method. Another consideration is improve exterior durability. provide additional protection to the the surface texture, as brush-apply- Although GOLDEN Acrylics finished mural. One option is to ing the isolation coat and varnish are optomized for traditional easel apply an artist-quality varnish that over a highly textured surface can painting, the acrylic resin is some- is removable with various solvents, generate foam in the isolation coat. what soft for mural work, and allowing for graffiti removal and For spray application, we recom- should be modified with a harder general maintenance. GOLDEN mend a 2:1 mixture of GAC 500 to acrylic medium to maximize dura- MSA Varnish w/ UVLS is such a Transparent Airbrush Extender. For bility. Adding GAC-200 also product, and more complete appli- brush application, we recommend a reduces the pigment load of the cation information is provided 2:1 mixture of Soft Gel Gloss to paint mixture, making the paint below. water. Just Paint / Issue 10 4

Guest Muralists: Experts in the Field

As part of our process of conducting mural research, we corre- sponded with a handful of professional muralists to gain technical insight from their experiences. We asked each artist a series of questions regarding the nature of their substrates, materials, and processes, as well as their opinions on the community impact of mural painting. The information printed here is contributed by a diverse population: they work in varying styles, in various climates, with different materials. Collectively they give an impression of the many possibilities available © C. Webster, Barnstormers, “A Hand up for Cameron,” to the muralist. Whether they brush or spray, sculpt or carve, paint on 140” x 220”, 2000 buildings or panels, work alone or with groups, their work all falls under the scope of what is known as mural painting. We are extremely grateful to these artists for sharing this information. The combinations of materials and techniques described below reflect the choices made by the artists to satisfy the unique blend of cri- teria of each project. Golden Artist Colors does not intend this article to necessarily endorse each material or technique presented as the best for a particular application.

© C. Webster, Barnstormers, “Cameron,” 104” x 90”, coats of MSA Varnish. This will When Eric Grohe undertakes a Woodcut print from barn, 2000 allow interior condensation and mural project, the process is usually evaporating solvents and out- long and very elaborate. His Varnish Application. gassings to escape (some artists rec- Trompe L’Oeil effects are extremely After the isolation coat is ommend leaving an uncoated detailed and take a considerable applied and has thoroughly dried breathing space near the edge of the amount of time to complete. He (1-2 days, but no more than 1 week mural as well). If this is not done, it has worked on large-scale projects for maximum performance), may lead to premature adhesion for major corporations and govern- GOLDEN Mineral Spirit Acrylic failure between the coatings and the ment entities. Due to the nature of (MSA) Varnish can be applied. The substrate. his clients, he often uses costly MSA Varnish w/ UVLS is an excel- GOLDEN only recommends its materials and extensive planning lent choice as a protective finish. MSA Varnishes for exterior work, time is included in his fee. This product provides a tough, NOT the Polymer Varnish. Polymer Eric usually paints alone, but on durable surface that increases resist- Varnish does not have the same very large projects he will employ as ance to moisture and pollutants. exterior durability as the MSA. many as 8 people to assist him. In The UV stabilizing system will the past he hired art students serve to reduce the destructive Eric Alan Grohe attending colleges near the mural potential of ultraviolet radiation Eric Grohe Murals & Design site who displayed exceptional artis- from the sun, thus enhancing the During his 40 year career as a profes- tic abilities. life of the system. This varnish is Eric is currently working on an removable in mineral spirits, tur- sional artist, Eric Grohe has received pentine and various aromatic sol- national recognition for painting large indoor mural for Miller Brewing scale figurative and architectural murals Co. The painting, to be installed in vents, which is a useful property for for clients across America. In 1994 and either graffiti removal or mainte- an active fermenting room, will again in 1998 he won Design Awards portray an operating brewery at the nance purposes. Spray application is from the American Institute of Architects. th recommended (1-3 separate coats). He won first place awards two years in a turn of the 20 century and will Note: Breathability is important row in the national Signs of the Times give the illusion that the room to the successful adhesion of acrylic mural competition. Clients include The expands into other rooms. For this State of Ohio, The American Hop project he chose to work on 16’ x products. If a mural encompasses an Museum, Miller Brewing Co., Sierra entire wall made of a masonry Nevada Brewing Co., and Nordstrom Inc. 10’ aluminum panels. He reached product, it is advisable to apply thin (cover photo) this decision after considering what substrate could best resist a hot and The information contained in this article is based on research and testing done by Golden Artist Colors, Inc., and is provided as a basis for understanding the potential uses of the products mentioned. Due to the humid brewery environment. The numerous variables in methods, materials and conditions of producing art, Golden Artist Colors, Inc. cannot existing walls had also been previ- be sure the product will be right for you. Therefore, we urge product users to test each application to ensure all individual project requirements are met. While we believe the above information is accurate, WE MAKE ously coated with an epoxy-based NO EXPRESS OR IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, and we shall in no event be liable for any damages (indirect, consequential, or otherwise) that material. Rather than grinding the may occur as a result of a product application. ©2002 Golden Artist Colors, Inc. Just Paint / Issue 10 5 surface down to something he felt offer.” form release agent still attached to comfortable working with, he chose When painting on north facing the building. Finally, when Eric to put the same time and money walls, walls not in direct sunlight, pulled up some tape used to protect into design and purchase of the alu- or when Keim use is inappropriate, an area of the mural, some of the minum panels. Eric uses acrylic paints on his exte- paint came off. On the back of To prepare the aluminum pan- rior murals. Although he has used a these paint chips was evidence of els, Eric washes them with soap and mixture of artist paints and house the form release agent, meant to water. Then he etches the surfaces paints in the past, Eric plans to use gradually separate from the building to give the panels some “tooth” for GOLDEN Artist Acrylics exclusive- over time. Eric had to go back and painting. There are two ways that ly for future projects. “At this stage repair the mural, and he warns that aluminum can be etched: it can be it is not worth the risk of using less if artists use a contractor it can be physically etched by running an expensive and more doubtful mate- more difficult to ascertain if the job orbital sander over the surface (a rials,” he says. was done correctly. protective respirator should be For his protective coatings, Eric When working on a previously worn) or chemically etched by has adapted a two-step process that coated wall, says Eric, it is always a applying a mixture of Pre-etch Acid he learned from GOLDEN’s tech- good idea to take it back down to and Yellow Resin, both made by nical support team. He wanted to the original surface. He remembers Triangle Coatings. Finally, the pan- achieve a flat effect with his varnish- a problem he had on his very first els are primed with Triangle’s es, and through experimentation he outdoor mural, painted on a wood- Multiblock Vinyl Primer Gesso, cre- developed the following method. en building that was freshly paint- ating a white surface on which to First he applies a layer of GOLD- ed.Three years later the entire mural paint. EN Soft Gel Medium Semigloss as was reduced to “potato chips,” as Eric is working in oil paints on a “shield” coat. Then he applies a Eric describes them, because the this project, although he occasional- coat of GOLDEN MSA Varnish paint the mural was painted over ly works indoors with acrylic. He Matte diluted with Stoddards had failed. He also suggests that will also use artist’s enamels when a Mineral Spirits. Eric found the artists should be wary of unin- mural might be exposed to a lot of Stoddards to be the best mixing formed people who may overcoat abuse. He appreciates the decal-like mineral spirits. No final coating is their murals after they leave. In effect he can create with enamels as applied to the “breathing” Keim some cases the coatings may not be well. surfaces. (Note: GOLDEN recom- compatible, and that can be a big On outdoor projects, Eric has mends using only Soft Gel Gloss problem. had a lot of experience working on and MSA Varnish Gloss for similar About 10% of Eric’s time and freshly cast concrete. To prepare this applications). budget is dedicated to planning and surface he also performs a three step Eric reports one problem he had preparation. He consults techni- process of washing, etching, and working with concrete. The con- cians and contractors to help deter- priming. He usually hires a contrac- tractor he hired to clean the surface mine how long a work of art, or the tor to power wash the surface, was supposed to make sure all of building it will be painted on, can cleaning and removing any attached the form release agent applied to last. Eric also cooperates with archi- objects. The concrete is then etched the concrete was removed (form tects and park designers so his with a muriatic acid which gives a release agent is meant to aid the murals will work with existing or nice tooth to the surface. Then it is concrete in separating from the forthcoming architectural elements. primed and ready to be painted. casting forms). A small area in one Projects involving community plan- Eric often uses Keim mineral corner of the building was not ning usually take longer to plan and paints on masonry or cementous cleaned sufficiently. A background gain approval. surfaces. These coatings actually color was applied by another con- If Eric is working on a mural penetrate, or “silicify” with, the sur- tractor who failed to notice the project for a community, he will face of the substrate, making them incredibly durable. “Although they are more expensive,” says Eric, “the cost of materials is often an insignif- icant part of the overhead for my clients. If they are not willing to pay the extra money for longer lasting paints, they usually aren’t interested in the type of service we have to Typical mural cross section - more than is visible on the surface Just Paint / Issue 10 6 conduct extensive research on the however, and it is in this way they strate. On a 17’ X 14’ barn made of town’s history or simply visit for a intend to preserve the imaginative dried poplar wood, Chuck made a while before he starts painting. He murals created by members of the woodcut by carving into the barn feels very strongly that murals group. siding. Although he used house- should “belong” in their environ- Because the barn-painting proj- paint to prime the substrate on this ment. He cites the negative example ect is conceptually oriented, sub- project, he recommends preparing of murals that may be nice images strates are generally defined for the substrates for woodcuts by sealing but are completely disproportionate artists rather than chosen. Ellis says the wood with a 50:50 mixture of to their surroundings. “These that they have encountered barns shellac and alcohol. murals can be a great disappoint- made of wood, metal, and cin- To get the basic image on the ment,” says Eric, “and this is bad derblock, although the barns are barn, Chuck used an overhead pro- for everyone involved. A successful usually made of wood. Many of the jector to enlarge a sketch that he mural can be a source of renewal or wooden barns were covered in made (this had to be done at night). inspiration for a community, and is tarpaper, similar to asphalt roofing Then he traced the projection in great for the mural business in gen- shingles, that served as a layer of paint on the substrate. Chuck only eral. A poorly executed or dispro- insulation for barns used to dry had six days to complete the proj- portionate mural by any artist is not tobacco. Some farmers ripped this ect, so the projection really helped only disappointing but can discour- paper off to prepare the surface for him to speed up the process of get- age potential clients from commis- the artists, but Ellis discovered that ting a scaled image to work with. sioning murals of their own.” the tarpaper actually made for an Chuck used traditional carving excellent substrate. It completely tools as well as a small, lightweight protected the surface from moisture chainsaw for carving out the surface Chuck Webster & that could seep through the back of (protective equipment is recom- David Ellis Barnstormers the mural, was non-absorbent, and mended). When the carving was had a nice tooth to hold paint. The done he rolled out a few gallons of Barnstormers is a collective of New York wood underneath the tarpaper, red paint on a portion of the mural City artists who create large-scale collab- orative murals. The group has produced however, was extremely dry since it that was to be the printing surface. two time-lapse films capturing a con- had been protected from moisture With the help of some other stantly changing mural painting created for so many years. When the first Barnstormers, Chuck successfully by many different artists. Barnstormers coat of paint was applied to these printed his mural onto a 9’ by 7.5’ continue to experiment with performance barns, so much was absorbed that sheet of paper. and collaboration by painting murals to live music with DJs and bands in New the paint no longer could be seen. To protect the mural, Chuck York, Japan, and Cuba. For a 20’ X 20’ barn surface, five to roller-applied a glossy exterior ten gallons of house paint were polyurethane topcoat. This worked The Barnstormers are very inter- needed just to build up an adequate well since there was minimal paint ested in collaboration, spontaneous base coat. coverage, and Chuck also really creativity and the public aspect of Cost is a major factor for the appreciated the finished quality the mural painting. Every year since Barnstormers since they don’t glossy coat gave to the bare wood. 1999, Barnstormer founder David receive paid commissions for their Rain has plagued a couple of the Ellis and about 20 other artists have projects. They mostly use materials Barnstormer trips, making the made a trip to Cameron, North donated from paint companies and painting process more difficult and Carolina where the group painted a retailers. For this reason, materials a lot messier. Since the trips usually multitude of dilapidated barns, vary widely depending on what is lasted only 1 – 2 weeks, the remnants of a faltering tobacco available. A lot of house paint is Barnstormers persevered and paint- industry. There are about 45 used, but artists bring their own ed anyway, setting up tarps or plas- Barnstormers altogether, although GOLDEN Artist Colors and other tic tents to work under when neces- only about 20 at a time make the artist paints for crucial details or sary. In rainy situations, muralists trip to Cameron. key colors. In the past, for a protec- using oil-based paints were more Mural longevity is not as great a tive finish, the Barnstormers spray- successful. Acrylic or latex paints concern for the Barnstormers since applied a clear, oil-based varnish had a tendency to wash off or run the barns they paint on may fall that was also donated. together. apart before the murals will. Photo Chuck Webster, a member of Humidity in the North Carolina and film documentation are very the Barnstormers, adds a twist to climate also affected the methodolo- important to the Barnstormers, making murals on a wooden sub- gy of the mural painters. Because it

©2002 Golden Artist Colors, Inc. Just Paint / Issue 10 7 was so humid, acrylic and oil-based Lenna Weinstein’s murals, which niques together. The three-dimen- products took longer than usual to often cater to the home decorating sional objects are eventually primed dry. Since the Barnstormers were market, are more than just paint- with gesso or household primer, and working on a tight schedule, it was ings on a wall. Her murals are then Lenna paints them with metal- important that the paint should dry unique because she forms three- lic paints or paints them to look quickly. Acrylic paint proved to be dimensional surfaces, building up like stone. more advantageous in this regard, layers of texture or carving bas- Generally, when working on but they also mixed their oil-based relief. Creating realistic walls of large murals, Lenna will mix her products with Japan Drier to speed stones, bricks, marble, logs, wood color choices with GOLDEN Artist up the drying process. In some grain and tile on drywall or wood Colors, then have these colors cases, mixing Japan Drier with the surfaces, Lenna works to shape a matched with house paint. Most of various paints produced cracking whole environment. In addition to her surfaces will be painted with the and other random effects. Since the her murals she offers a line of house paint, but she uses GOLD- Barnstormers enjoy spontaneity this sculpted or faux finished products EN Acrylics to enhance certain was apparently no problem for including switch plates, medallions, areas when it is appropriate. Lenna them, but an artist looking for more picture frames and furniture. has used up to 35 cans of paint plus controlled results should use cau- Lenna specializes in giving a artist colors on large projects. She tion when attempting this kind of classical or antique effect to con- uses a lot of AGL as well since she application. temporary building materials. She mixes it with most of her colors. The Barnstormers plan on con- often works directly on drywall, dis- Lenna also uses the AGL as a tinuing their annual trips to guising the substrate with her artis- final finish on interior walls. She Cameron, North Carolina, and they tic finishes. Lenna tells us that no applies it to the painted surface also plan to continue filmmaking preparation is necessary on drywall with a roller and then pats it down and performing internationally. that is painted with a flat or with a sponge. Working indoors The group is currently seeking more eggshell finish. On a gloss surface, most of the time, Lenna tries to stay towns, neighborhoods, or individual however, she gives a light sanding away from solvent-based protective barn-owners interested in hosting and applies a layer of GOLDEN coatings, especially those with Barnstormer mural projects. Acrylic Glazing Liquid (AGL) strong smells. before she begins painting. Living in Colorado, says Lenna, Lenna Kay Weinstein If Lenna is building up one of the air is very dry and that can Mural Masters Of Colorado her textured surfaces, such as brick make working difficult. Plaster and or stone, she will begin applying other sculpted work can crack if it Mural Masters Of Colorado is an art layers of plaster or GOLDEN dries too rapidly, and paint needs to design production company specializing Molding Paste to the primed sur- stay wet for some time to create cer- in murals and wall sculpting including face. She stresses that the layers of tain effects. Lenna finds ways of frescoes and bas-relief. Clients include plaster should not be too thick as compensating for the dryness, such theater and television producers, restau- rants and showrooms, and many private that can increase the risk of crack- as using AGL with her colors to homes. Lenna’s work has been featured ing. Often, after building the tex- extend the drying time. Still, she in Better Homes and Gardens, Colorado ture up with plaster, she applies has to be careful how she applies Homes and Lifestyles Magazine, and Molding Paste as a finishing layer to her materials to avoid problems Denver Living Magazine. paint on. She does not suggest mix- with the dry environment. ing the two materials together. Job preparation in any home or For added ornamentation, business, large or small, is extensive, Lenna uses sculpting techniques to says Lenna, so as not to cause any create three-dimensional fruits, damage. She usually videotapes the leaves, and flowers on her murals. area she will be working in to pro- In many cases she does this by coat- tect herself from responsibility for ing artificial flowers, leaves and existing problems. When doing fruits with Molding Paste, building plaster work, Lenna uses a lot of up layers until the objects appear to masking tape and brown paper. She be sculpted. Occasionally she will always puts a sheet of plastic down sculpt these objects directly from on the floor first, and then covers the surface she is working on, or the plastic with heavy drop cloths. © Lenna Kay Weinstein, “Textured and sculpted arch” combine the two different tech- Currently, Lenna is in the plan- Just Paint / Issue 10 8 ning stages of setting up co-op ilar small particles of paint to obtain Mark says that all industrial mural programs for independent coverage, creating more realistic acrylic paints can be easily sprayed, living facilities, nursing homes, art results.” but the paint to be sprayed must be stores, YMCAs, and more. Mark uses brushes to blend thinned with an appropriate thin- paint since a brush-like tool can ner. Mediums can also be mixed Mark Switlik Switlik Murals leave behind a visual texture. with the paint to produce a Sometimes this texture is desired. sprayable glaze. With the addition Mark Switlik has designed and painted Mark believes that the juxtaposition of a medium as well as the necessary Trompe L’Oeil murals across the United States for thirty years and recently he of a smooth airbrush technique and amount of thinner, the paint is for- has gained international commissions as a visual brush texture makes for the tified, extending the life of the well. Mark’s work is highlighted by maximum contrast necessary for color. bright, clean colors and depth percep- illusion painting. For his final coats, Mark builds tion, achieved through use of airbrush Usually, Mark paints on con- up several intermediate layers of and brush combinations. Clients have included the Arizona Diamondbacks, the crete or brick. To prepare the sub- paint with glazes. The final protec- Arizona Science Center, the Phoenix strate, Mark hires a contractor to tive varnish is always GOLDEN Arts Commission, and the Phoenix Suns. sandblast the surface as a cleaning MSA Varnish with UVLS, applied by spray. Mark considers the environment he is working in and how that will affect his projects. Because it is extremely hot in Arizona, he often begins working as early as 5:00 a.m. or else he tries to work in the shade. When the weather gets cold, he cannot use his water-based products when the temperature dips below 40 degrees. He warns that if a project is started too late in the summer it might have to be finished in the spring. This can end up costing the artist money. Humidity and wind are two environmental factors that are very © Mark Switlik, work in progress circa 1992, Mural for the Phoenix Suns important for the mural artist work- Mark Switlik, a mural painter measure. Then the surface is washed ing with spray equipment to con- based in Phoenix, Arizona, has cre- and primed. Mark does all the sider. Humidity does not affect ated murals for large corporations washing and priming himself to water-based products but can affect and private businesses throughout ensure that it is done correctly. A solvent-based products as moisture his thirty-year career in addition to most important detail, says Mark, can be trapped under the paint seeking commissions for public necessary for walls with minor layer. This moisture will have to exit work. Since his projects are often cracks (not structural problems), is sometime, and it usually exits in the quite large he will hire two to eight to use an elastomeric caulking that form of blistered paint. Blisters people to assist him, depending on can be purchased from paint suppli- occur when the sun’s rays are hot the size of the mural. ers. enough to turn the trapped mois- Mark uses a lot of spray-applied Mark uses 100% acrylic house ture into steam, expanding until it paint because he believes that spray- paints for large areas of color and breaks through to the surface. ing is the most efficient method to artist acrylics for more detailed Wind is a major factor that produce what he calls aerial per- areas. He uses GOLDEN Airbrush needs to be addressed, says Mark. spective. “The atmosphere, says Colors, which are ready prepared Wind can affect the spray tool pat- Mark, “is made up of small particles for spraying, and he also uses tern making it difficult to control. that interact with light. Clouds are GOLDEN Fluid Acrylics which are It also makes it difficult to use also water droplets collected and very easy to make sprayable by masking materials. Wind can carry suspended in the sky. Both airbrush diluting. He uses up to 200 gallons the spray paint particles a long dis- and larger spray equipment use sim- of paint for large projects. tance outdoors, and indoor heating

©2002 Golden Artist Colors, Inc. Just Paint / Issue 10 9 and cooling ventilation systems can will use on different portions of the schools, community sites, and hos- scatter paint overspray throughout a mural (i.e. brush or spray). If he pitals. Susan faces special concerns building. This is a minor annoyance uses an airbrush on the maquette he about substrates and materials if the paint particles dry fast, but will use a large spray gun on the because of the types of groups she when they stay wet a long time the mural. The larger spray guns are works with and the sensitive loca- paint can stick to cars and furni- HVLP (High Volume Low Pressure) tions where her murals appear. ture. This happens mostly with sol- technology. Their turbine motors Substrate choice is greatly influ- vent-based alkyds and urethanes. overspray less, draw less amps, and enced by the groups that Susan However, in areas like Phoenix, an they are lighter than the air com- works with. When working on exte- automobile surface can reach over pressor which powers the airbrush. rior or interior walls, Susan prefers 150 degrees and water-based acrylic Getting projects funded, says to work on wooden panels rather can stick even if the paint is dry Mark, is the hardest aspect of the than on the walls themselves. There when it lands. Most auto paints mural business. Depending on the are a couple of reasons that she these days are acrylic or acrylic ure- funding source, completing a proj- gives for her selection. When work- thane and the high temperature ect can be more or less complicated. ing on an indoor mural in a school, Many art commissions now realize for example, it is messy and difficult that a project funded by tax money to have the children working on the needs to have neighborhood input walls directly. Many of them won’t before design begins. Community be able to reach the higher portions likes and dislikes must be taken into of the mural, and it is too danger- consideration for the project to be ous to have them standing on lad- accepted. Corporately sponsored ders. Having a lot of children and murals also need to address com- materials in the narrow hallways at munity interests but the situation is one time can interfere with school usually not as critical. traffic. Currently, Mark is working on Susan also prefers the wood pan- several murals for Hilltop Hotel in els because she finds that they can Phuket, Thailand. He is rushing to help control the chaos factor of get all of the exterior work finished working with large groups of people before the rainy season starts. Once (she has had up to 500 people Mark completes this project he has working on a single mural). By two murals scheduled, one in the assigning smaller groups a specific Phoenix, Arizona area and one in theme and area, it helps them to Paso Robles, California. Also in the focus their energies and fine tuning works is a historical mural for a uni- the work becomes a lot more man- versity. ageable. For indoor murals, Susan has © Susan Togut, “Healing Arbor”, 22’ x 12’, 2000 Susan Togut used fourteen 4’ X 8’ panels of Children’s Murals MDO plywood, ½’’ thick. For exte- allows the molecules to crosslink. rior murals, she has used up to Susan Togut’s mural work with intergen- To get the paint spatters off usually erational groups is a natural develop- twenty-four 4’ X 8’ panels of ¾” requires rubbing out the car paint. ment of her own work exploring trans- MDO. Susan primes the panels To avoid this, the best idea is to parency and layering, changing light and with Sherwin Williams Heavy Duty plan well and carry liability insur- changing seasons. Susan has worked Latex paint. Indoor panels are ance. on volunteer and commissioned projects primed with 2 coats on the front for schools, hospitals, and community For Mark, planning time for a groups. She resides in the Hudson side. On outdoor panels, she primes mural ranges from two weeks to Valley region of New York State. both the front and the back with 2 four months. Once he receives a coats, and uses additional coats on contract, he begins the design. Susan Togut is a public artist the edges where the panels are most Once the design is approved the who has become involved working vulnerable. She also says that build- project is scheduled in the order it on murals with children, the elderly, ing a frame around the edges can is received. and those touched by serious illness. increase longevity. Mark designs his maquettes She has created mural projects Susan uses GOLDEN Heavy using the same techniques that he involving large groups of people for Body Acrylics on the wooden pan- Just Paint / Issue 10 10

Golden Artist Colors, Inc. Announces the New “Samuel Golden Fellowship”

for Research into Modern Painting Materials at the National Gallery of Art, Washington, D.C.

The conservation division of the National Gallery of Art is offering a new fellowship in its scientific research department. This fellowship, dedicated to the memory of Samuel Golden and supported by Golden Artist Colors, is directed toward research into modern painting materials, specifically the study of the effects that cleaning may have on acrylic emulsion paintings. To this end, components of acrylic emulsion paints that are extractable in various solvents or aqueous cleaning agents will be determined. Changes in the composition and properties of the paints as a result of aging and cleaning will also be investigated. els, and she draws from a wide No preparation is needed for the project usually has a unifying theme gamut of colors including metallic, Lexan since transparency is key to and she needs to consider how to iridescent, and interference colors. achieving the proper effect. Susan engage diverse age groups (she For a protective finish on out- mixes GOLDEN Fluid Acrylics works with 3 to 100 year olds). “It door murals, Susan uses a two-step with GAC 200 to make the paint is always a challenge,” says Susan, process prescribed by GOLDEN adhere better to the plastic and “figuring out how to engage every- Artist Colors. She applies an isola- GAC 500 to make the paint layer one in the project without total tion coat of GOLDEN Soft Gel less tacky and more durable. For a chaos. Planning is an important Gloss. Then she puts on two coats topcoat she uses a minimum of 2 part of that.” of MSA Varnish, Gloss or Satin. coats of MSA Varnish Gloss which Many of Susan’s projects are site Indoors she doesn’t use any topcoat increases the glass-like quality of the specific, especially the “stained unless the mural is in an extremely Lexan. glass” installations which interact high traffic area or directly exposed Susan experimented with a vari- with the position of the sun and to natural light. ety of products before deciding to changes in seasons. She says that Susan warns about one problem use the Fluids to paint the Lexan. each time she has a new project she that can come up when working on She didn’t want to use toxic materi- consults GOLDEN’s Technical wooden panels. Scale is very impor- als when working with children or Support department for any specific tant to the success of a mural, and cancer patients. This eliminated advice related to the site. She feels when artists are not working right some products that produced excel- this has greatly contributed to the on the wall or working away from lent results but were so toxic she longevity of her projects and she the site, creating an appropriate wouldn’t even use them herself. She encourages other artists to do thor- scale can be more of a challenge. also worked with a dye paint that ough research before they begin Artists should consider issues related looked beautiful, but it was not pig- painting. to scale carefully before they start ment based, not good for outdoors, working. and faded quickly. GOLDEN Lexan, a polycarbonate with Fluids, however, were safe, perma- GOLDEN is continuing research on using excellent impact strength, is another nent, and were able to produce the acrylics for outdoor mural application. substrate that Susan enjoys working effects that she wanted. Please contact us to report your personal on outdoors. She creates simulated Planning a mural project can experiences or to contribute any information stained glass installations and envi- take anywhere from one month to to this ongoing study. www.goldenpaints.com ronments using mural components six months, says Susan, depending such as her “Healing Arbor” in on the project and how many peo- Kingston, NY. Susan says the trans- ple are involved. When working parency of the Lexan is very effec- with school or community groups tive, and it can successfully resist she meets with everyone involved, most outdoor conditions. and this can take a while. Each

©2002 Golden Artist Colors, Inc. Just Paint / Issue 10 1 Mural Procedure Quick Reference Guide GOLDEN Suggested Color List for Exterior Murals MURAL SURFACE: Although GOLDEN uses only the Bare Wood most permanent pigments available Cleaning - none within each chemical classification, Priming - Knots and pitch streaks should be sanded and spot-primed. we have compiled this list of the best Apply primer coat (suitable for latex). pigment choices for use on an exteri- Painting - Apply GOLDEN Acrylic Paints to surface. or mural. Application of isolation Isolation & Varnish Coatings - coats and MSA Varnish layers is Apply isolation coat. Let dry thoroughly (at least 48 hours). highly recommended. Apply GOLDEN MSA Varnish* or suitable alternative. BEST PIGMENTS - The most stable Previously Painted Wood Cleaning - Remove any loose material, power-wash clean. GOLDEN colors for exterior use. Abrade non-waterbased coatings. Priming - Inspect knots for staining, sand and spot-prime as needed. Burnt Sienna Apply primer coat (suitable for latex). Burnt Umber Light Painting - Apply GOLDEN Acrylic Paints to surface. Carbon Black Isolation & Varnish Coatings - Apply isolation coat. Let dry thoroughly (at least 48 hours). Cobalt Blue Apply GOLDEN MSA Varnish* or suitable alternative. Cobalt Green Cobalt Teal Bare Masonry Cobalt Titanate Green Cleaning - none Cobalt Turquois Priming - Apply Masonry Conditioner. Apply water-based latex primer. Painting - Apply GOLDEN Acrylic Paints to surface. Graphite Gray Isolation & Varnish Coatings - Mars Black Apply isolation coat. Mars Yellow Let dry thoroughly (at least 48 hours). Orange Oxide Apply Golden MSA Varnish* or suitable alternative. Phthalo Blue GS Previously Painted Masonry Phthalo Blue RS Cleaning - Remove any loose material, power-wash clean. Phthalo Green BS Abrade non-waterbased coatings. Phthalo Green YS Priming - Apply Masonry Conditioner. Apply water-based latex primer. Pyrrole Orange Painting - Apply GOLDEN Acrylic Paints to surface. Pyrrole Red Isolation & Varnish Coatings - Apply isolation coat. Let dry thoroughly (at least 48 hours). Pyrrole Red Light Apply GOLDEN MSA Varnish* or suitable alternative. Raw Sienna Raw Umber Bare Metal Red Oxide Cleaning - Remove any grease, dirt, solvents. Abrade surface. Titan Buff Priming - Apply alkyd or latex-based primer. Painting - Apply GOLDEN Acrylic Paints to surface. Titanate Yellow Isolation & Varnish Coatings - Transparent Red Iron Oxide Apply isolation coat. Let dry thoroughly (at least 48 hours). Transparent Yellow Iron Oxide Apply GOLDEN MSA Varnish* or suitable alternative. Titanium White Violet Oxide Previously Painted Metal Cleaning - Remove any loose material, rust, grease, dirt. Abrade surface. Yellow Ochre Priming - Apply alkyd or latex-based primer. Yellow Oxide Painting - Apply GOLDEN Acrylic Paints to surface. Zinc White Isolation & Varnish Coatings - Apply isolation coat. Let dry thoroughly (at least 48 hours). GOOD PIGMENTS - Stable colors, Apply GOLDEN MSA Varnish* or suitable alternative. but avoid thin layers or glazes for Fiberglass minimal color shift. Cleaning - none Priming - 3 parts GOLDEN Acrylic Gesso to 1 part GAC 200 Cerulean Blue Painting - Apply GOLDEN Acrylic Paints to surface. Cerulean Blue Deep Isolation & Varnish Coatings - Apply isolation coat. Let dry thoroughly (at least 48 hours). Turquois (Phthalo) Apply GOLDEN MSA Varnish* or suitable alternative. Diarylide Yellow (Use Hard MSA Varnish for exterior applications.) Hansa Yellow Opaque Quinacridone Red * For complete varnish procedures, refer to the GOLDEN Varnish information sheets. www.goldenpaints.com/varns.htm Just Paint / Issue 10 12 Technical Forum Your Acrylic Materials questions meet technical expertise

The dialogue continues. Here Q: I have applied an isolation work for another day or two to are some topics covered in Golden coat to an acrylic painting using make sure the Soft Gel Semi-gloss Artist Colors ongoing technical sup- GOLDEN Soft Gel Semi-gloss. This layer is completely cured. port program. We hope you find time it didn’t dry clear (possibly not Finally, if you didn’t mix at least the information useful, and remem- thinned enough and/or over-brushed?) a 2:1 gel to water ratio, the gel is ber, when acrylic quandaries arise and has retained a milky white much more susceptible to holding we are available and interested. appearance in some areas. Is this foam when brushed out, especially 1-800-959-6543 material indeed non-removable, or is if the gel is overworked or applied www.goldenpaints.com there something I can do short of over a textural surface. The added painting over these areas? water allows the foam bubbles to Q: I use GOLDEN Fluid rise and pop instead of being Acrylics and like to mix custom colors trapped in the that I use often and store in my empty film. Fluid Acrylic bottles. Does mixing You’re cor- the paint diminish the shelf life of the rect with your paint in any way? (I don’t add any thoughts mediums or additives to the paint). about the per- manency. A: Most paint mixtures should Regretfully, keep well on the shelf. However, there is noth- the earliest sign of a negative change ing you can is to notice the mixture thickening. apply to This doesn’t necessarily mean the remove only paint is unusable, but it’s an indica- the isolation tion to try to use up the paint fairly coat that will soon. not alter the Also, some colors simply have underlying better shelf stability than others do. artwork. Whites, Blacks, Phthalos, Pyrroles, Depending on Hansas all come to mind for great Settling and separation due to accelerated testing the nature of long-term fluid stability. Some the piece, you Quinacridones, like Magenta and A: First of all, you should be may be able to carefully sand down Red, do much better than using the Soft Gel Gloss instead of through the Soft Gel, but beyond Quinacridone Gold and Violet. Semi-gloss, as it has much better that, painting over may be much Earth colors commonly thicken up clarity. This may be part of the easier and faster. I’m sure this is not faster than other colors. cloudiness you are seeing. An isola- the news you wanted to hear, but As you can see, this variation of tion coat is: one or more acrylic this is an invaluable lesson to learn pigment keeps us very busy in the medium layers applied after the art- so that you do not repeat the effect lab, and we are constantly trying to work is complete. A gloss product unless desired. improve shelf life. Our goal for is going to have much better overall each product is about ten years or clarity and regardless of the desired Q: Can you clarify how more of shelf life when stored in final sheen, if applied correctly, it GOLDEN’s GAC 200 is best used in normal room environments. can be undetectable to the viewer. hard-edged painting? Blending colors does add anoth- Secondly, sometimes the final er dimension to all of this; however, clarity can take a while to develop A: The best use of GAC 200 - a as long as the containers are sealed depending on the temperature and hard, low-tack acrylic medium - for and kept well, they should remain humidity conditions of the studio, hard-edge painting is to blend it usable for many years. so you may wish to observe the with acrylic paints and mediums.

By adding this product to the regu- pare the bath by carefully following a surfactant: its job is to reduce sur- lar paints and other acrylic prod- the supplier’s directions. face tension in the paint to allow it ucts, you reduce the stretchy, elastic Methylcellulose and Carageenan are to flow. The bath has a high sur- nature of a fresh acrylic film and the preferred thickeners used by face tension so the colors don’t want this in turn means your hard edges most professional marblers. Once to sink into it. This is the key to will be cleaner. mixed, the bath should sit for a balancing the colors. We do put Even a 15% addition of GAC couple of hours to make sure it is some surfactants into the paints 200 into a paint mixture will begin uniform and free of air bubbles. already, but sometimes it’s not to lower the elasticity. It is also use- Fresh bath is critical because once it enough to allow heavier pigments ful to blend with another medium, starts to become contaminated with to stay suspended. That’s why each like Polymer Medium Gloss or paint, the surface tension is equal- color needs to be tested and mixed GAC 100, and paint this over the ized between the paint and the bath individually. If too much AFR is inseam of a taped line. The medi- and thus the paint cannot remain added, another problem will occur. um will seek any crevices and fill suspended on the surface. That color will be a fast spreading them. When the intended paint Fluid Acrylics are generally too mix, and it will force the other col- films are applied over the dried thick to use straight from the bottle, ors to sink. medium, it cannot seep under the and will need to be thinned with Using an eyedropper or pipette, tape and when the tape is removed water. It is important not to over- place one drop of each color onto the paint line will be smooth. thin the paints if you want strong fresh bath and examine how it Ratios will depend on how color, and it’s important to “bal- spreads. Note the rate of spread much trouble you are currently hav- ance” the colors before beginning to and size of the spread circle and try ing with achieving hard edge lines. attempt creating patterns. Each to adjust each color to create a simi- A studio’s environmental conditions color will behave differently at any lar look. Once the colors are fairly change daily. If you have problems given time, and this is something balanced, then the focus becomes that seem to crop up for no appar- that each marbler comes to realize one of sequence. Some colors, usu- ent reason in a technique you com- and anticipate each time they mar- ally the faster spreading colors, are monly do, take note of temperature ble. good to apply first, and then slower and humidity in the area where you Since each color is unique, some spreading colors can be applied and work. Certain colors and products paints will automatically work fine, so forth. This is something that can be softer than others as well, so and others will be more stubborn. will become apparent the more keep this in mind while working. It The more stubborn colors will need marbling one does, so be patient will require some experimentation, to be modified with GOLDEN and do plenty of experimenting. but in the end, you should notice Acrylic Flow Release (AFR). AFR is an improved line.

Q: I tried to “marble” (create intricate patterns by floating color onto a bath of thickened water) with GOLDEN Fluid Acrylics, but most colors just sank down into the medium. What am I doing wrong? Can I use the Fluid Acrylics for Marbling?

A: Most GOLDEN paints - including GOLDEN Fluid Acrylics - can be used for marbling. The key to marbling is controlling the surface tension between the bath and the paints. First, correctly pre-

“Threaded Rod” applied Carbon Black with isolation coat brushed to assess texture-generated foam Just Paint / Issue 10 14

The Sam and Adele Golden Schnurr, Lynda Ray, Andrew housing development or the aban- Foundation for the Arts, Inc., in its duPont, and Neil Berger. These doned shopping center, lies in his continuing effort to become “a artists were chosen from over several perception of them as “modern meaningful resource for the profes- hundred applicants by an independ- ruins,” sometimes possessed of a sional visual artist and a significant ent Selection Committee consisting quiet, if alienating, beauty. contributor to the artist’s support of Mary Murray, Curator of Lynda Ray, who lives and works system,” broadened the scope of its Contemporary Art at Munson in New York, has traveled extensive- programming in 2001. Much need- Williams Procter Art Institute, Bill ly throughout the Southwest. She ed financial assistance was provided Warmus, an art consultant, and uses lush, luminous color to explore to five contemporary artists working John Griefen, a distinguished artist perspective and space in paint. in paint, and emergency funding working in paint. Lynda is “fascinated by the shapes, was also presented to the New York Andrew duPont is an American- volumes, and facets of mesas, Foundation for the Arts. born painter now living in canyons, and skyscrapers and the In response to the devastating Copenhagen, Denmark. He strong- ways they reflect light.” The land- events of September 11, The ly believes that “painting has a new scapes of both the industrial Golden Foundation joined the place in the art world of today and Northeast and the desert Southwest efforts of many key New York serv- needs to be represented.” His work have greatly influenced her work. ice organizations by contributing to often incorporates experimental Lynda has exhibited throughout the the New York Arts Recovery Fund. techniques although he uses tradi- United States in places such as the The Recovery Fund, spearheaded by tional techniques to “inform his AIR and OK Harris galleries in the New York Foundation for the work in an expanding way.” He New York City. She has received Arts (NYFA), will address the feels that new and exciting paint- critical attention from a number of immediate, short-term, and long- ings are being created now not due publications, including the New term challenges specifically facing to a trend or a pure need to create York Times. New York’s artists most affected by something never seen before but “My work is a continuation of the tragedy. The Fund’s four-part rather “as a reflection of the artist’s the figurative traditions in painting initiative will provide information intent and concentration towards within the context of late 20th cen- resources, advocacy, emergency his or her ideas expressed through funding, and public programming painting.” Andrew has been show- for approximately 200 arts organiza- ing in group and solo exhibitions in tions and several thousand artists Denmark since 1997. He has been below 14th street. accepted into both of the country’s The Golden Foundation recent- juried exhibitions. In 2001, some of ly announced the recipients of the his work was purchased by the individual artist awards for the past Danish State Art Foundation year. In accordance with the growth (Statens Kunstfond). of the Foundation, funding was Frank Webster’s work deals provided to a wider circle of artists with images of contemporary than in previous years. Five artists America, the world of sprawl and working in paint were awarded highways. “I’m interested in the grants in 2001. Previously, only fringe areas of this new landscape, three artists had received funding. the margins of the cities, the world This past year also marks the first of tract houses and mini-malls,” time an international artist has says Frank, a New York City based received a grant from the Golden painter who has shown in many Foundation. group and solo exhibitions over the Individual artist awards were past 5 years. His fascination in presented to Frank Webster, Elinore everyday architecture, the failed © Andrew duPont, “Pleased to Meet Me,” oil, enamel and paper on paper, 2001 ©2002 Golden Artist Colors, Inc. Just Paint / Issue 10 15 tury experience,” says Elinore images, or simply by bring- Schnurr, who resides in New York ing natural light into a cool City. “The paintings are of and architectural landscape. As a about people in dark bars and cafes. young man, Neil was named The artificiality of the lighting sets a U.S. Presidential Scholar up a mood in the interior space in the Arts, and exhibited at within which the figures interact.” the Smithsonian Institute in Schnurr has been exploring the conjunction with that meanings inherent in such spaces: honor. After working ten she feels that cave-like spaces are years without official notice synonymous with our individual he began to show his work beginnings and that by dissolving again, seeking and receiving © Elinore Schnurr, “Vodka Bar II,” oil on canvas, 2000 into the darkness we enter into a recognition. Since 1999 he dream world that promises extrasen- has shown in numerous sory possibilities. Elinore’s paintings exhibits, and in 2001 he are in many museum collections received a grant from the such as the Cleveland Museum of Elizabeth Greenshields Art and the Smithsonian Museum Foundation. of American Art in Washington, The Golden Foundation D.C. She has work in more than 50 was created as an enduring corporate collections and many gesture to the memory of important private collections in this Sam and Adele Golden and country and abroad. their intricate relationship to Glowing light, rich color, and the community of artists © Neil Berger, “Laundromat,” oil on board, 2001 broad brushstrokes characterize the who skirt the boundaries of sensuous cityscapes of Neil Berger. contemporary painting. For more (607) 847-8158 or visit the website Fleeting moments of ironic beauty information, please contact Lucy at www.goldenfoundation.org. are captured by pairing incongruous Funke, Foundation Director, at

Barbara J. Schindler agement resources corresponding to global stature. Additionally, Appointed President of corporate growth in revenues and Barbara has reinforced the legacy Golden Artist Colors, Inc. company structure. Mrs. Schindler that we have created over the last 21 joined the organization in 1997 as years as a company that is devoted Controller and recently served as to contributing positively to our Chief Financial Officer. community and maintaining a con- stant vigil for opportunities to be a Mark Golden, founder and CEO of more socially responsible business,” Golden Artist Colors, Inc., said of continued Golden. Mrs. Schindler’s appointment: “Barbara has brought to our Barbara Schindler moved with her Company not only an extremely family to the New Berlin area from sound management style but an Baltimore, MD, where she was the uncompromising leadership that has Controller for Niro, Inc. This taken Golden Artist Colors to the international firm with headquar- next level of performance. We are in ters in Denmark brought her both a very unique business, working international experience as well as with the most talented visual artists the responsibility of managing the Golden Artist Colors, Inc., proudly in the world. Barbara understands accounting and financing for 8 announces that Barbara J. the complexities of this business, wholly owned subsidiaries of the Schindler, of Hamilton, NY, has she understands the profoundly per- Company. been appointed President and Chief sonal nature of our customer rela- Operating Officer (COO) of the tionships, but she balances this with company. This is a new position, insightful fiscal management that reflecting strategies to deepen man- has guided our small business to Just Paint PRSRT STD Golden Artist Colors, Inc. U.S. Postage 188 Bell Road PAID New Berlin, NY 13411-9527 USA Ithaca, NY Permit #780 Return Service Requested

Just Paint

Issue 10/ April 2002 Articles: Mark Golden, Mike Townsend, Aaron Zeidman Editors: Mark Golden, Jim Hayes, Ben Gavett Design: Dianne Hodack Publisher: Golden Artist Colors, Inc. 188 Bell Road New Berlin, NY 13411-9527 Phone: 607-847-6154 800-959-6543 Fax: 607-847-6767 Email: [email protected] Web: www.goldenpaints.com