Testing for Your Application

just paint Published by Golden Artist Colors, Inc. / Issue 13 Testing for Your Application Sarah Sands the initial starting condition of a surface, “Test for your application.” So runs or even a desired result you can judge the common coda that ends many of our other trials against. emails and closes our conversations. At A second feature is record keeping. the most fundamental level, it simply Keeping accurate records is essential so means trying out a new material or tech- tests can be repeated, solutions recreated, nique in a way that closely mimics how or to help us understand your procedures you hope to use it. Other times it requires should you need to contact us. being something of sleuth and a forensic Common items might include: scientist of the fine arts. In the pages that ■ A timeline and accurate description follow we will examine some of the basic of each step in an application concepts behind testing and explain how ■ Precise list of materials, including any it can help plan your procedures, solve relevant batch codes (see illustration on Batch codes are located either on the bottom problems, and increase your knowledge. right) or purchase dates of a container or printed along the side of Perhaps the first question is why we ■ Ratios used in mixtures the product’s bar code. would ask you to test in the first place. ■ Environmental conditions at the need to be extremely focused with a great After all, don’t we already generate Tech time of testing deal of precision? ■ Sheets for almost everything we make? Size of the pieces ■ What are the known variables or And doesn’t our crack Tech Support team ■ Personal observations properties you intend to test? stand ready to answer any question you All too often the essential variable Make sure to write these out, being as might have? The truth is, no matter how will be a small detail the artist has over- exhaustive and thorough as possible. thoroughly GOLDEN’s Technical looked or dismissed, so be as thorough as Conversely, are there ones that need to be Support and Labs put materials through possible. Along with written notes, other minimized or ruled out? For example, you their paces and develop best practices, documentation such as photographs, might find you need to control the unique situations inevitably arise and retained wet samples of the products, and temperature or have a surface be perfectly possible combinations of materials and physical examples of any problems or test level. These and other questions are techniques constantly expand beyond the results, can all be crucial. And of course, essential to setting the limits and scope of horizon of what we safely know. In those make sure to label everything accurately the test. A common mistake is to rush instances it is important to have the ability and keep all these materials together and through this stage. Don’t. Taking time at to examine choices and weigh stored safely for future reference. By this level will save significant effort later consequences. There is also an element of which point you must be thinking we are on and your results will only be useful if education and ownership at play here. simply out of our minds. “We want you to the tests leading up to them have been By becoming involved with your materials do what?” Even remembering to floss well thought out and planned. Still unsure at this level you gain more control over one’s teeth might be an easier task. But of the best way to proceed? Feeling your processes and a greater command don’t give up yet! Doing even a small absolutely convinced your original hunch of your materials. amount of the above will still put you well that we were completely bonkers is con- Certain basic features run throughout ahead of the curve. firmed? Contact us – we would be more any type of testing and it is important to The third task is to design the actual than happy to help you with your plans. establish these at the outset. One of the tests themselves. Before starting, decide Inevitably the moment will come most essential is the concept of a on your goal and parameters: when you will need to create some ‘control.’ Put simply, a control is a stan- ■ What do you hope to achieve surfaces to paint on. Fortunately they do dard or primary condition used for meas- by the end? not have to be fancy or elaborate and urements and comparisons; for example, ■ Is the undertaking meant to be usually simple, well-prepared panels or an unmodified state of a material, open-ended and exploratory or does it canvases will do (see our Tech Sheet on

Issue 13 page 1 © 2005 Golden Artist Colors, Inc. “Preparing Painting Supports”). However, dependable solutions. However, they will Or perhaps your questions are simply there are times when these will also need still play an invaluable role in uncovering about the materials themselves. What is to reproduce the qualities or procedures problems, narrowing down possible the difference between these two medi- you are testing as accurately as possible. In solutions, and providing new insights. ums? How long will it take for a ½" layer either case, before starting, create a check- of Molding Paste to dry? Regardless of list of materials and each step you will Some Basic Tests the type of question, whenever trying a need to take. And plan ahead for any In our contact with artists certain new process or product it is important to supplies. It is often critical to use the same topics are constantly repeated. What familiarize yourself with the properties of materials and follow the same procedures follows are some of the most common the materials. And taking the time to cre- for each piece in order to limit any and useful tests for tackling these issues, ate practice panels will not only allow you variables as much as possible. In addition, grouped under the following broad to uncover unforeseen problems or unex- having access to the exact products used headings: General Materials and pected results, it will help make sure in a problem area – ideally from the same Applications, Adhesion, Varnishing, everything meets your expectations before container or batch – can be invaluable for New Media, and Troubleshooting. launching into an often irreversible troubleshooting. Scale is another factor process. They will also form an invaluable not to overlook. Can you get the informa- General Materials and Applications reference for future use. tion you need at the scale you are work- Wondering if you can roller-apply a gel on These panels can take many forms, ing? Testing something on a 12" square top of a finished mural? Curious how a depending on the materials and panel, for example, might not give you the texture will look on a piece of furniture? applications you are exploring. A useful information you need for planning a Ready to apply an isolation coat for the starting point might be creating a board mural. Lastly, when tests get complicated first time to a painting? displaying the basic qualities for each or take a lot of time it is easy to lose track Stop for a minute and ask yourself: medium and gel you use; or what us lab of the process, so remember to check off How important is this piece to me? folks have officially dubbed a ‘Product each item only after it is completed. Do I know what can go wrong? Do I Review Board.’ To do this, start with a In the end, keep in mind the very real need to be confident about the results properly prepared substrate painted with limits of reliability. Unless willing to or do I thrive on the unexpected and alternating black and white bands, placing undertake extremely controlled and experimental? Deciding on the level of a sample of each gel or medium you use thorough testing, over a long period and risk you are comfortable with is crucial so it extends over both the black and under various conditions, the tests will not at these moments. white areas (see picture). This will allow always guarantee perfect results or you to better gauge the degree of

A portion of a Product Review Board showing the alternating black and white bands with samples of GOLDEN Mediums and Gels, both by themselves and mixed with color.

Issue 13 page 2 © 2005 Golden Artist Colors, Inc. transparency once it’s dry. Take note of its thickness, rheology, leveling, and hardness when fully cured, etc. Next to this, place a sample of the same product mixed 10:1 with a color. Remember to label each pair carefully. As you acquire new products you can add to this board or start a new b c a one. In the end you will have a useful, quick reference for the basic properties of each material. Another simple and practical guide is Cross Hatch Adhesion Test showing GOLDEN White Gesso mixed 3:1 with GAC 200 on an automotive primer. Area on right (a) was tested after 24 hrs, the left (b) after 48 hrs, and the middle (c) after 72 hrs. to create a card for each color you use. Results show greatly improved adhesion over time and why you need to take this into account. Using a palette knife, apply the color full-strength to show its mass tone, and done with a very straightforward and into five equal sections and in the first then scrape the paint over the surface to simple procedure called the Cross Hatch section apply the paint ‘as-is.’ This will be reveal the undertone. Next, mix one part Adhesion Test. This method is adapted our control. In the other sections apply color to ten parts Titanium White and from the ASTM Standard D3359 and the paint mixed with additions of 10%, apply this to another section of the card. requires a minimum amount of prepara- 25%, 50%, and 75% GAC 200. Let dry Not only will this show how the color tion and tools. You will need a single edge for at least 72 hrs, since we know acrylics looks in a tint but will indicate its relative razor or X-Acto™ knife, masking tape, only reach maximum adhesion over time. tinting-strength as well. Lastly, mix one and a test piece or representative surface. Afterwards conduct the Cross Hatch part of the color to ten parts of a Gel or Prepare your support and apply the mate- Adhesion Test to each section and record Medium, placing this on the card as well rials in the same manner they will be used. the results. Did any of them have to show how the color appears when If applying layers that might prove visual- sufficient adhesion for your needs? If so, made more transparent. ly indistinguishable, such as white paint does this solution need to be tested for Beyond these sample boards and over a white primer or gloss varnish over additional factors, such as the ability of color cards there are many occasions a glossy layer of gel, you should also light- the adhesion to survive changes in when creating practice panels will help ly tint one of the products so you can tell temperature or exposure to chemicals? If avoid disappointment or even disaster. them apart. Let dry for a minimum of 72 not, try the test again using similar glass Too many large murals, extensive faux hrs. In a space of approximately 2 square that has been etched, sandblasted, or finishing projects, or important paintings inches, score a series of parallel lines coated with a specialty primer made for are irrevocably ruined because the artist about 1/8" apart. Then score another slick, non-porous surfaces. did not take the time to understand a new series (perpendicular) across the first ones, Common cases where failure to test material, tool, or procedure beforehand. creating a crosshatch pattern of little has led to problems include working on When generating these panels it will be squares. By far the most difficult and criti- surfaces that have been previously coated important to create the same conditions cal part is making sure you only cut with an unknown primer or varnish, you will be confronted with. Working on through the topmost layer of material. working on an unfamiliar material, or not a smooth absorbent surface, for example, Finally, take a piece of ordinary masking taking into account environmental, might not provide the information you tape, place it over the section and burnish chemical, or other conditions that could need for a sealed rough texture. Doing it well with a fingernail or the back of a adversely affect an initial bond. For exam- small pours on a stretched canvas will not spoon, then peel the tape straight back ple, simple adhesion to glass is one thing; be the same as large ones on wood. upon itself at a 180 degree angle (see adhesion that is dishwasher safe is above image). If no squares lift off, you something else. Paint that sticks quite well Adhesion have excellent adhesion between all layers. to stone might fail if this is part of a ‘Will this stick to that?’ is one of the If a few squares come off but the majori- fountain that will be submerged in water. most frequently asked questions, and ty remains, you may have sufficient adhe- almost always involves points of sion. However, you might want to retest Varnishing transition, places where different materials with a longer period for drying or look to Varnishing is by far the most com- come together. These areas can include other means to increase adhesion. If most mon subject we are asked about – either the adhesion of the primer to the or all of the squares come off, this sug- with inquiries about procedures or when substrate, the paint to the primer, and gests adhesion failure and significant steps there is a need to troubleshoot or fix. ultimately the varnish or topcoat to the are needed to remedy this. While GOLDEN continues to conduct paint. It can also concern the adhesion of As an example of how this might be testing around this subject, there are many various materials being used in the used, let’s focus on the adhesion of things you can do to increase success. artwork itself, especially in collages and acrylics to a non-porous surface like glass An often overlooked area for testing multimedia pieces where disparate when varying percentages of GAC 200 are the visual changes caused by the materials are often brought together. All of are added to the paints, which is one of application of an Isolation Coat or these represent junctions where pieces are the more common questions. Start with a Varnish, especially in regard to the surface at their most vulnerable to delamination. thoroughly cleaned piece of glass similar texture, sheen, and the resulting value and Most testing for adhesion can be to the one you will work on. Divide this saturation of the colors. All of these will

Issue 13 page 3 © 2005 Golden Artist Colors, Inc. unvarnished. Over the other three areas have dried examine the print for any apply either a layer of Gloss Varnish or evidence of bleeding, blurring, or an Isolation coat, as discussed in our discoloration. Also note any changes to Varnishing Guidelines. This will assure the value, particularly of darker colors that the surfaces are fully sealed and no where a gloss or matte coating can create longer absorbent. Let dry for 24 hrs. significant shifts in appearance. Now apply a Gloss, Satin, and Matte A related test involves seeing how Varnish respectively to each of these many layers of a particular coating is areas. After these fully dry divide each needed to seal the print so one can work section in half and carefully apply a on top of it without fear of disturbing the second coat of each varnish. You now underlying image. In that case, you would have a useful guide showing a range of first generate your test print as before. sheens created by 1 or 2 coats of each Mask off one area for your control and varnish. Similar test and practice panels then apply one coat of the varnish or Test panel with rows of various colors and textures. can easily be set up that focus on isolation protective coating to the rest of the print. One section was left untouched as a control. Other coats, varnish removal, comparing spray After this is fully dry, mask off an areas show affect of MSA Gloss, Satin, and Matte to brush applications, etc. additional section and apply a second coat Varnishes applied over an isolation coat. to the remaining areas, repeating this inevitably be altered when using either or New Media and Techniques process for however many layers you both of these materials, so understanding In the ever expanding world of wish. Once everything is dry you can the degree and manner of change will digital prints, book arts, collage, and apply whatever materials you hoped to use help you decide which process and multimedia work, materials are often on top and gauge which number of product is right for you and what level of employed that have unexpected or coatings provided adequate protection. change is aesthetically acceptable. Another unknown properties. Compatibility Other mediums besides digital prints major area is the method of application. becomes an ongoing concern as these also need testing, such as watercolors, There are a variety of techniques and newer processes and products are drawings, collages, traditional photo- tools to work with, so figuring out which combined with traditional mediums. graphs, oil pastels, and fabrics. Each of ones are best can take time and practice. Very often, because little or no previous these might require you to adapt the It is critical these questions are explored testing has been done, you are forced to above procedure differently, although the and answered before varnishing anything deal with many unknowns. principles will always be the same: create a of importance. One popular medium many artists test piece, save or mask an area to act as a To understand how the appearance are using now is digital inkjet and Giclee control, then create a series of precise of your artwork will be affected, create prints. An area often in need of testing is variations involving one variable or several test panels composed of parallel the sensitivity of the ink or substrate to material. Some of these tests will be bands of typical colors and surfaces various products, in particular water or simply to see how applying a new found in your work (see image above). solvents like Turpentine and Mineral or technique or material affects the look and Eventually you will be applying a second White Spirits. To accomplish this, create a nature of the medium. This is especially set of rows perpendicular to these that test print using the same substrate and true with something like watercolors or can explore whatever variable or method inks as the finished work. To standardize pastels, where application of a varnish or you want to test. Of course, make sure to your test and make examining changes other materials is non-removable and can always leave one area untouched and easier, we recommend making a print significantly alter the traditional appear- clearly mark each section for later using bands of the individual inks your (Continued on page 8) reference. It is also essential to try and printer utilizes. For example, most limit any variation to the one variable you common inkjets use a minimum of four want to test. For example, when exploring colors – Cyan, Magenta, Yellow, and Black the effect of different sheens, don’t vary – while a Giclee usually has up to seven your method of application. That way you distinct inks. If space allows, you can also will feel more confident the changes you include rows of blends and mixtures that see are caused solely by the sheen and might be more representative of your nothing else. The same would hold true if palette. It is also important to create crisp testing application methods. If wanting to sharp edges between each of these areas see which type of brush works best, or so you can judge if any bleeding or how varying the dilution of the varnish blurring of the inks occur. Once this has might effect open time and leveling, keep suitably dried, apply the materials you are other variables at a minimum. anticipating using, prepared and applied in Let’s start by testing how different a representative manner, again in distinct sheens might affect your work. Take one rows but this time working perpendicular of the panels you created and divide it to the first ones – always remembering to into four equal areas. Remember, one area leave one section blank for your control Digital print on inkjet canvas cloth showing the rows of Cyan, Magenta,Yellow, and Black along with should be marked as the control and left (see image on right). After these layers various mixtures.

Issue 13 page 4 © 2005 Golden Artist Colors, Inc. GOLDEN Custom Lab As part of the Custom Lab’s efforts Twenty-five Years to increase visibility of and experimentation with new materials, we are pleased to of Collaboration share with you some of the products we have recently developed. As these are experimental products, availabilty may In our first issue of Just Paint in their vision into reality.” require longer lead times. Mike Townsend 1987, I shared the following story: This company is the sum total of of GOLDEN Technical Support has A new employee was hired on a con- so many people through the years who, reviewed these new products to give start- struction crew to paint the yellow line in the with their talent, drive and heart have ing point suggestions for possible applica- center of the road. On the first day, with taken this mission to be their own. tions and uses. However, keep in mind great zeal, he painted 10 miles of line. They are people who truly delight in these are only starting points, as we usually making art materials that have con- learn from artists that the products have On the second day he managed to paint only many more uses than we initially envision. 6 miles of line. And by the time the third tributed in some small measure to the The GOLDEN Technical Support day was over, only two additional miles of history of painting in our times. They Department looks forward to your feed- line were painted. enjoy making this a company they can back regarding these materials. The Foreman, noticeably upset, came be proud of. This company is the over and demanded, “What’s going on, you product of so many talented artists Experimental Product Review by started off with such great drive and energy, who have become friends and mentors Mike Townsend: what happened to you?” The painter for us and have been willing to speak replied, “Oh, I still have the same enthusi- out and continue to guide us during all GELS AND FIBER PASTES asm - even more - but, every day, the run got the twists and turns in this journey. longer back to that can of paint!” To this point, I have not yet Glass Bead Gel – This I wrote in our first newsletter learned to carry the pail with me as I translucent textural about the struggle to continue to paint the line; I am as eager and excited product blends glass grow Golden Artist Colors, Inc. and as ever about the future. Thankfully, bead solids into in my belief that we could be “one of for me, the road I’ve been painting is a acrylic medium. The those special businesses that gets bet- circular one; a road that takes me back reflective quality of ter as it gets bigger” — that we could to a very familiar role in this company. the inert barium titi- provide even greater access to I remain as committed as ever to guid- nate glass generates Technical Support and education and ing the vision of this company, but I a luminous effect to continue to improve and develop will also be taking on a new responsi- through the film. new materials for the professional bility in leading the GOLDEN Custom Underlying colors artist — that we could be a resource Lab — our company making and will affect the of truly meaningful support to artists. designing unique products to meet the reflectance and look of this product. Well, it has not been easy, but needs of individual artists, artisans and Iridescent Pearl and Silver create more conservators. Nothing is more exciting light play with the Glass Bead Gel, through the work of an incredibly especially when the gel is applied thinly, as dedicated staff, who are now owners to me than to get back to the origins of when trying to achieve a uniform mono- of Golden Artist Colors, Inc., we this company and to share in that layer of the beads. have made every effort to remain true incredibly unique collaboration that is to that commitment to grow a better our Custom Lab. Natural Fiber Paste – business — a business committed to During the next few months we Containing a fibrous all the employee owners, one commit- are creating new processes to be able silica/aluminum ted to our local community and envi- to meet the custom requests of cus- compound which ronment and one significantly com- tomers. We hope to be in full operation imparts a greenish mitted to artists around the world. by late fall of 2005. I look forward to brown hue, Natural Our mission statement shares the this new twist in our journey together. Fiber Paste feels like desire to provide tools and support lightly pressed hand- and to be the assistants for those Sincerely, made paper pulp. It visual artists that have inspired us for is easy to apply and 25 years now. upon drying, devel- “To grow a sustainable company ops into a highly dedicated to creating and sharing the most textural surface not unlike a cold pressed imaginative and innovative tools of color, watercolor paper. The textural organic sur- line and texture for inspiring those who turn Mark Golden face accepts color washes and glazes readily.

Issue 13 page 5 © 2005 Golden Artist Colors, Inc. Opaque Fiber Paste – manner than adding a white paint. Fluid Iridescent White fibers add The roughness is similar to the feel of Translucent Pearl – strength, absorben- GOLDEN Coarse Pumice Gel, but This new sparkly cy, texture and a without the light gray quality. pearl has a visible unique woven feel particle size with a to this product. Translucent Long natural pearlescent Opacifying solids Fiber Gel – This quality, pigmented increase hiding product’s clarity with coated glass power. It is readily allows it to be read- flakes. Mix this tintable and can be ily tinted with paint unique pearl with a spread on with a or used over paint- gloss gel medium to palette knife. The ed surfaces. It be able to disperse dried paper-like surface accepts drawing offersa hazy, wax- it sporadically or use as a base layer for media and color washes for some interest- like look unlike any translucent glaze colors. ing multi-media effects. Temporarily other texural gel. applied onto polyethylene plastic sheeting, Tiny “hairs” pro- HEAVY BODY Opaque Fiber Paste can be used to create trude from the COLORS paper-like “skins” to be used in mixed dried surface, imparting media and sculptural applications. an organic aspect. Slate Gray (PBlk 19 – CI# Ceramic Micro Sphere SPECIAL EFFECT 77017) – Crushed Gel – Unique warm COLORS slate powder pro- gray micro spheres duces a translucent give this opaque gel Interference Fluid gray color, of less a grainy, stone look. Colors – The next green and a darker Dapples of its var- generation of value than tradition- ied valued solids Interference pig- al Davy’s Gray can be mixed with ments have quarried in paint to yield inter- arrived, and this England. It can be esting effects. The time the multiple used to slightly dull film hardness is not tone color travel is a high chroma paint mixture or as a great as solid as the even more dramat- underpainting color. Its weak nature GOLDEN Molding Paste, but is not as ic. The Turquois- tends to work well with transparent paints spongy as GOLDEN Light Molding Paste. Violet, Gold- as it doesn’t overpower them like the Green, and Violet- more opaque Neutral Grays can. Granite Micro Green single pig- Granular Gel – ment colors can be Lapis Lazuli Visually similar to applied to give a (PB 29 – CI# the Ceramic Micro soft transition over 77007) – Before Sphere Gel, the lighter colors and Ultramarine Blue darker Granite whites, or a more (chemically the Micro Granular Gel intense color travel same pigment) was Top to bottom: feels grittier and by mixing with a Turquois-Violet, ever synthesized, more cement-like. dark color or Gold-Green and colormen would applied over a dark Violet-Green scour the earth to Its strong textural Interference Pigments film has a variety of background. available in find clean veins of multi-colored grays, Fluid & Gel forms precious Lapis to producing a strikingly similar look to grind into a granite rock. Interference Gels – The new Interference permanent blue pigment for artists. Fluid Colors have been used to create Some artists believe there was something White Micro some pre-blended gels in a GOLDEN lost in translation, making Ultramarine Granular Gel – This Regular Gel (Gloss) consistency, at a Blue inferior to Lapis Lazuli. white version cre- very low pigment load. This GOLDEN’s Lapis Lazuli – a deep ates a surface which concentration allows more light waves to translucent blue pigment – comes from is bright, white, tex- surround each pigment particle, enhancing a recently discovered vein in South tural and somewhat the color travel aspect while retaining a America. Try it full strength for a translucent. It translucent quality. Intermixed or texturally satin paint layer, or mix it accepts color underlying colors affect the intensity of with a favorite acrylic medium and additions readily in the gel applied over them. create deep glazes. a much different

Issue 13 page 6 © 2005 Golden Artist Colors, Inc. Chromium Oxide Mars Brown Disclaimer: The above information is based on Dark (PBr 6 – CI# research and testing done by Golden Artist (PG 17 – CI# 77492) – This dark Colors, Inc., and is provided as a basis for 77288) – Creating chocolate brown understanding the potential uses of the prod- middle greens nor- pigment is deeper ucts mentioned. Due to the numerous vari- mally requires either in value than either ables in methods, materials and conditions of the manufacturer or Raw or Burnt producing art, Golden Artist Colors, Inc. can- the artist to create a Umber. Like most not be sure the product will be right for you. blend. This single Mars pigments, it pigment provides has excellent opaci- Therefore, we urge product users to test each an earthy, yet fairly ty and the near application to ensure all individual project clean opaque green black aspect makes requirements are met. While we believe the to the artist. Landscape artists may find it Mars Brown a worthy color to use instead above information is accurate, WE MAKE particularly useful. of a true black to lower value and chroma NO EXPRESS OR IMPLIED WAR- while mixing paints. RANTIES OF MERCHANTABILITY OR Brown Ochre If you are interested in purchasing FITNESS FOR A PARTICULAR PURPOSE, (PY 43 – CI# one or more of the products described and we shall in no event be liable for any dam- 77492) – One of a above, please call GOLDEN Customer ages (indirect, consequential, or otherwise) that select few natural Service at 607-847-6154. may occur as a result of a product application. pigments (goethite is a naturally occurring inorganic iron oxide) available. This Mark Golden Receives muted, medium dark brown earth Two Prestigious Awards color is in the Umber family. It has excellent Mark Golden, CEO of Golden Artist Colors, Inc., was recently recognized permanency and opacity. by the Manufacturers Association of Central New York (MACNY) with a 2005 Wall of Fame Award. MACNY represents the interests of hundreds of Transparent Brown employers, mostly manufacturers, in Central New York. Mark accepted the Iron Oxide award at the 92nd Annual Dinner & Awards Ceremony, which was held at the (PBr 6 – CI# Convention Center at Oncenter in Syracuse, N.Y. The award recognized Mark 77492) – This color Golden’s commitment over the last 25 years to grow a better business — a most closely resem- bles a dark Burnt business committed to all the employee owners, one committed to its local Sienna, but breaks community and environment and one significantly committed to artists around the rules of how an the world. Also receiving awards were the late Jacob Steigerwald, founder of Earth Color is sup- Cathedral Candle in Syracuse, N.Y. and John Vensel, recently retired from posed to look and Crucible Steel, also in Syracuse. act. For artists who Mark also received an award from the New York Foundation for the Arts already embrace the Transparent Yellow and Red Iron Oxide (NYFA). NYFA helps artists turn inspiration into art by giving more money and colors, this is a must have. For those who support to individual artists and arts organizations than any other comparable have always found browns to be boring, institution in the U.S. NYFA recognized Mark with the first annual Arts Patron this color should change that opinion. Inspiration Award. The Inspiration Awards recognize individuals and organizations that have made significant achievements as artists or in support of Mars Orange artists. Over the last 25 years Mark has worked with hundreds of artists and art (PR 101 – CI# organizations, inspiring them to share their dreams about the tools they needed 77491) – to paint and encouraging them to push the boundaries of their art. Coloristically, this Mark has always found a way to give back to the community of artists, whether opaque yellowish- it is through The Sam and Adele Golden Foundation for the Arts, through red pigment marries efforts of his company or personally. In addition to Mark’s award, 2 others were Mars Yellow and given by NYFA. The corporate Inspiration Award was presented to Nokia for Red Oxide. It has a decisively Venetian its outstanding “Connect to Art” program that commissions leading and Red aspect about it. emerging international artists to bring art to mobile devices. Brian Alfred For a mars (iron received the artist Inspiration Award in recognition of his innovative oxide) pigment, this multi-disciplinary artworks. Mars Orange has a very high chroma.

Issue 13 page 7 © 2005 Golden Artist Colors, Inc. (Continued from page 4) seems to happen mostly in the winter. undertake extensive original research and Could this be caused by changes in the create guidelines for best practices. But ance and nature of these media. Fabric temperature or humidity? there will always be an equally critical role might need to be tested to see if the dyes ■ You notice some underlying colors lift for you to play in testing your own appli- are prone to bleeding or how a medium whenever applying washes on top. Would cations, where success and failure is often might change its texture. While oil pastels waiting longer or adding additional about aesthetic issues as much as technical will need testing for compatibility, medium to these colors help? ones. And of course, new techniques and adhesion, and whether materials like All of these are very real situations materials will present the artist with their varnishes can ever be safely removed you might have experienced at one time own learning curves and skill-sets to mas- without affecting the wax content. or another. When they happen you will ter. In addition, even when the testing of need to try and reproduce the problem as our own products has been very thor- Troubleshooting closely as possible. This can be a challenge ough, other materials are constantly Troubleshooting has special require- in itself and recalling whatever you can changing. The primer that worked won- ments that can differ from the examples about the procedures, environmental derfully under our paints last year might we have seen so far. In those cases you conditions, and the materials you used will have been reformulated since then and is generated test panels to explore a material frequently be the first step. Afterwards no longer suitable. Our hope is by giving or process beforehand and to avoid try to mimic the troubled area as faithfully you the resources and support to conduct unforeseen problems. Here, however, the as you can, creating several copies when- your own testing we can allow you to have problem has already occurred and you ever possible so you can begin to isolate more control and be more involved with need to discover a possible solution or variables, compare different solutions, or the choices you confront. Finally, if you understand the root cause so an perfect a particular remedy before have decided none of this is for you, that alternative procedure can be worked out. implementing it. Most importantly, have this issue of Just Paint is destined for the Some common examples might be: patience; these tasks can be demanding, dustbin, still keep our Technical Support ■ You have applied a matte varnish and difficult, and time consuming to execute. number handy. It will serve as a reminder are unhappy with how the picture looks. that, no matter what, we will always keep Would applying a layer of gloss solve the Conclusion “testing for your application” and be problem by returning the painting to its happy to help in any way we can. original state? As a manufacturer committed to the ■ You sometimes get hazy areas when lasting legacy of art we continually applying a clear coat of a medium, but it Web Resources for Artists

We are proud at Golden Artist publishes a Web site: www.handprint.com. International, founded a dot com research compa- Colors, Inc. to be toolmakers for some of Elizabeth Jablonski is a www.practicing fine arts ny, Personify, and was a director of research at the most talented visual artists in the conservator and has also been a significant Yahoo! for three years. He then decided to retire world. We have worked hard to produce researcher in the field of acrylic in August 2000 to Sonoma County, California, innovative and imaginative tools for artists conservation. Monona Rossol has an where he practices painting and drawing full time. dedicated to preserving the legacy of our eclectic background in art and chemistry Detailed below are resources on the Web that times. Our goal has been that by simply and for decades has been a prolific author, MacEvoy uses in his career (in his own words): listening to artists and providing tools to activist and advocate who has defined Color is usually discussed from three dif- meet their needs we will remain a valuable safety standards in the arts. Not ferent perspectives: as (1) the perceptual resource to the artist community. Our surprisingly, these three generous person- psychology that shapes color sensations; mission statement shares the desire to alities offer a wealth of information for (2) the material sources of color in pig- provide tools and support and to be the artists, couched in varying attitudes toward ments and paints; and (3) the color com- assistants for those visual artists that have the usefulness of the Internet for their binations that are useful for design pur- inspired us for 25 years now. We under- respective interests and disciplines. poses (“color theory”). stand the importance of being able to bring members of our arts community Bruce MacEvoy 1. COLOR PERCEPTION. together in order to share valuable obtained his Color perception is a significantly under- information with one another. doctorate in estimated aspect of an artist’s training. Just Paint editors asked experts from Psychology at Cornell Many of the great painters, from three different areas of interest to University and then Leonardo to Turner to Seurat, studied contribute (in their own words) their picks went on to teach at color science in order to understand the for Web sites and Internet resources that the University of effects of light and representation on the would be useful for artists. Bruce California Irvine. eye. The most accurate and in depth MacEvoy is an artist who is widely knowl- After that, he worked source I know of is my own Web site: edgeable about color — color theories and for a decade as an http://www.handprint.com/HP/WCL/w the material aspects of color — and who International Business Consultant at SRI color.html. Much of the discussion is

Issue 13 page 8 © 2005 Golden Artist Colors, Inc. specific to watercolor media. However, example, Daniel Smith munity Web sites. The best of these is color perception is universal, despite (http://www.danielsmith.com) allows the perhaps www.wetcanvas.com. It is a the media. purchaser to display or hide pigment community discussion site boasting a The Web and the computers that information during purchasing. contributing membership of more than connect to the Web have a tremendous In acrylics, the GOLDEN Web site 10,000 artists. Participants include potential for color education and (http://www.goldenpaints.com) provides nationally recognized curators and many experimentation. Some of this potential a generous technical description of each experienced artists, with a large number of lies in the generic programming language acrylic paint, including color index name amateurs. The benefits of a community Java, which can create color tutorials on and index number, Pantone, Munsell and site are collegial encouragement and any computer display. In color perception, CIELAB color descriptions, drawdown advice in what is often a lonely activity, as there are educational applets at Brown samples of tinting and hiding, pH range, well as stimulating, often insightful University, collected at tinting strength and gloss. The GOLDEN answers to practical painting questions. http://www.cs.brown.edu/exploratories/ site also offers a technical section that The trick to using these sites is to refrain freeSoftware/catalogs/color_theory.html. addresses many practical issues in from abusing them as idle chat forums Another instructive and very entertaining conservation and painting technique. and to learn to recognize the trustworthy set of color vision demonstrations is Many artists rely on simple “color members through the kind of answers available at the Dale Purves site, wheels” to anticipate or understand color they offer and the justifications they offer http://www.purveslab.net. mixtures. I present a simple comparison for their advice (personal experience is Even if the artist leaves color of the different color circles in common most valuable). A request for information perception as an unexplained black box, use at http://www.handprint.com/HP/ may take a few days or weeks to draw use- color still has a structure or perceptual WCL/vismixmap.html, primarily to ful answers, but the unfolding discussion form that various color models try to display the variety in color representations is usually illuminating. describe. These are fairly well represented and emphasize that there is no one right on the Web. My favorite physical model or best model of color, though visual Elizabeth Jablonski is the color cube complementary colors provide the best earned her graduate (http://www.colorcube.com). The color framework for color design problems. degree at the Master cube Web site has a pretty good collection Aside from these sources there is of Art Conservation of color “articles” (Web pages) little reliable information on the Web Program at Queen’s http://www.colorcube.com/articles/ regarding the actual manipulation of University, Kingston, articles.htm, including an overview of paints, or the importance and measure- Ontario, Can. She color terminology, color theory and a ment of pigment lightfastness, or the completed internships menagerie of historical color models effect of pigment particle chemistry, at numerous institu- (http://www.colorcube.com/articles/ particle size, refraction index, laking tions and was an models/model.htm). My favorite source process, tinting strength, oil index and Andrew Mellon Fellow in Paintings for color models is http://www.colorsys- other attributes on the color characteris- Conservation at The Menil Collection, Houston, tem.com, which attempts to narrate the tics of paints and their uses in painting. Texas. She is currently an assistant conservator historical progression of models and link I am especially disappointed that none of in the Paintings Conservation Department at the them all to the underlying problems of the art schools or institutes in the United Museum of Fine Arts, Boston. Below are color representation. States has seen the need to be filled here. resources that Jablonski turns to in her field (in her own words): 2. COLOR MATERIALS. 3. COLOR DESIGN. The American Institute for Information on pigments and their color Computers also have a tremendous poten- Conservation of Historic and Artistic properties in paints is still sparse on the tial to teach color design. As one example, Works (AIC): http://aic.stanford.edu/ net, although there are some interesting consider the nifty Java applet at AIC is the national organization for art exhibits at http://webexhibits.org/pig- http://www.mundidesign.com/webct/we conservators. This Web site can answer ments, showing for example, the step-by- bct.html, which allows users to drag and basic questions about art conservation, step method for extracting natural drop color samples from a palette array such as its goals, ethics and the training Alizarin from the Madder plant. into color design swatches or into the paths for conservators. See the About Unfortunately, Web sites of this type text, background and image elements of AIC link: AIC Core Documents on the emphasize antiquated color lore and a generic Web page. home page. There are also free down- sometimes-erroneous pigment informa- There are a large number of sites loadable brochures on the care of art tion. (At one site, Alizarin is described as that offer the rudiments of “color theory” objects. And, if you have specific con- having “outstanding lightfastness.”) (which is merely a kind of color design cerns and need to consult an art conserva- Paint manufacturers are now more dogma), and this is perhaps the most tor, this Web site can guide you through forthcoming about their product ingredi- widely reproduced content for artists on the process of selecting a conservator. ents: Winsor & Newton, GOLDEN, the Web. Perhaps the best overview is at On the home page, choose Public Daniel Smith, M. Graham & Co., and http://www.wetcanvas.com/ArtSchool/ Info (http://aic.stanford.edu/public/ Maimeri Fine Arts now post online the Color/ColorTheory/). index.html) to find the downloadable pigment recipes for their watercolor, The most useful design guidelines brochures. Look under the headings, acrylic or oil paints. In watercolors, for emerge through the discussions at com- Caring for Your Treasures (including

Issue 13 page 9 © 2005 Golden Artist Colors, Inc. paintings), Outreach Materials and 2/7 Fabricating Secure Hangers for Framed and bibliographical references. Selecting a Conservator. Works of Art: http://www.cr.nps.gov/ Canadian Conservation Institute museum/publications/conserveogram/ Monona Rossol is a (CCI): http://www.cci-icc.gc.ca/html/ 02-07.pdf chemist, artist, and The Canadian Conservation Institute is 3. Agents of Deterioration: industrial hygienist. located in Ottawa, Ontario, Canada. CCI 3/4 Mold and Mildew: Prevention of She was born into a engages in the treatment, research and sci- Microorganism Growth in Museum Collections: theatrical family and entific analysis of art materials. There are http://www.cr.nps.gov/museum/publica- worked as a profes- many links on the home page. Start at the tions/conserveogram/03-04.pdf sional entertainer top left with About CCI: Who We Are. 12. Paintings: 12/1 Storage Screens for from age 3 to 17. Back on the home page, further down the Paintings: http://www.cr.nps.gov/muse- She enrolled in the left side, you will find Resources with um/publications/conserveogram/12- University of links to a variety of technical conservation 01.pdf Wisconsin where she earned a BS in Chemistry information. Also, at the right on the 14. Photographs: 14/1 Making with a minor in Math, an MS majoring in home page, under Spotlights, there is a Mounting Corners for Photographs and Paper Ceramics and Sculpture, and an MFA with link to Protect Your Outdoor Murals, Objects: http://www.cr.nps.gov/museum/ majors in Ceramics and Glassblowing and a which includes a sample condition report publications/conserveogram/14-01.pdf minor in Music. While in school she worked as a for keeping records of the condition of 14/2 Storage Enclosures for Photographic Prints chemist, taught and exhibited artwork, performed your murals from year to year: and Negatives: http://www.cr.nps.gov/ with University music and theater groups, and http://www.cci-icc.gc.ca/headlines/ museum/publications/conserveogram/ worked yearly in summer stock. Rossol is cur- murals/index_e.aspx. Finally, check out 14-02.pdf rently President and Founder of Arts, Crafts & the link at the lower right to Preserving 17. Packing and Shipping Museum Theater Safety, Inc., a not-for-profit corporation My Heritage, a fun, interactive Web site. Objects: 17/1 Checklist for Planning the dedicated to providing health and safety services It includes a section on how to care for a Shipment of Museum Objects to the arts. She also is the Health and Safety variety of art objects: http://www.preser- http://www.cr.nps.gov/museum/publica- Director for Local 829 of the United Scenic vation.gc.ca/index_e.asp. tions/conserveogram/17-01.pdf Artists, International Alliance of Theatrical Conservation Distribution List 17/2 Packing Museum Objects for Shipment Stage Employees (IATSE). She has lectured (Cons DistList) and Archives: http://www.cr.nps.gov/museum/publica- and consulted in the US, Canada, Australia, This is an online information exchange tions/conserveogram/17-02.pdf England, Mexico and Portugal. Below are for practicing conservators regarding 17/3 Crating Museum Objects for Shipment Rossol’s thoughts toward the usefulness of the conservation treatments and research on http://www.cr.nps.gov/museum/publica- Internet for her discipline (in her own words): art materials and techniques. Questions tions/conserveogram/17-03.pdf Back a while ago I did a search for and comments from artists interested in 17/4 Retrofitting a Moving Van to Transport health and safety in the arts and looked at materials are always welcome. The list is Museum Collections all kinds of sites other than my own just moderated and is issued approximately http://www.cr.nps.gov/museum/publica- to see what else was available. A few sites once a week. It is free to join and to tions/conserveogram/17-04.pdf had useful materials, but most of the search the archive of past entries. 8. Museum Exhibits: information was very old, some was not This link will tell you about the 18/2 Safe Plastics and Fabrics for Exhibit and very good, and some was outright wrong. Conservation DistList and give specific Storage: http://www.cr.nps.gov/museum/ Therefore, I prefer hard copy and am instructions for joining: publications/conserveogram/18-02.pdf willing to pay for it. My favorite two http://palimpsest.stanford.edu/byform/ 21. Disaster Response and Recovery: resources are the Federal Register mailing-lists/cdl/aboutcdl.shtml 21/1 Health and Safety Hazards Arising From (www.gpoaccess.gov), which costs This link will take you to the archive Floods: http://www.cr.nps.gov/museum/ $700/year and the Bureau of National of past postings: http://palimpsest. publications/conserveogram/21-01.pdf Affairs, which is $975/year. There is also stanford.edu/byform/mailing-lists/cdl/ The Conservation and Art Materials a variety of other technical industrial National Park Service: Conserve-O- Encyclopedia Online (CAMEO): hygiene and health publications such as Grams: http://www.cr.nps.gov/museum/ http://www.mfa.org/_cameo/frontend/ the Morbidity and Mortality Weekly publications/conserveogram/conserv.html This growing encyclopedic database is a Report ([email protected]/mmwr/), This site, though geared toward museum catalog of art materials and is a resource which I find useful. professionals, can also help artists, partic- for museum professionals and the public. On rare occasions, I use the electron- ularly with the packing, storage, transport The database is continually expanded and ic versions – e.g., when I’ve lost a clipped and display of their artwork and health updated. CAMEO was developed at the article. But I’d rather have the whole and safety issues. There are many Museum of Fine Arts, Boston, by the Federal Register with information from Conserve-O-Grams and here are some Conservation and Collections ALL the government agencies in my hand specific files that could be useful to artists: Management Department with a 1998 because once in a while, something really 2. Security, Fire, and Curatorial grant from the National Center for interesting happens in the Department of Safety: 2/1 Hazardous Materials Health and Preservation Technology and Training Alcohol, Tobacco & Firearms, the Coast Safety Update: http://www.cr.nps.gov (NCPTT). As an example, try a search for Guard, the General Services /museum/publications/conserveogram/ “acrylic paint.” There are descriptions of Administration, the National Park Service, 02-01.pdf the materials, illustrative images or even the US Mint. There are over 50

Issue 13 page 10 © 2005 Golden Artist Colors, Inc. different agencies. The Internet is great me abreast of anything else I should couple of Web sites that I visit regularly for ferreting out specific information, but know. The information comes by snail for information in the field. They are it is not really friendly to broad general mail and e-mail. www.epa.gov and www.osha.gov. I do this browsing. Having a hard copy encourages Hard copy is also how people have to when there is a regulation I don’t have in me to read more of the publication — order our data sheets, the newsletter, and hard copy in my office, a new ruling, or to even in areas that are not strictly my con- other publications. I have about 80 data check on who’s getting cited and fined. cern. This way I learn about other areas. sheets that are constantly being updated This old fashioned way of working I also have 5 researchers who watch and changed. It would be difficult putting seems effective and we are doing very technical literature in adjacent fields and them on a Web site and changing them well. Clients really seem to find us. As two who watch the popular press; one in every time I add information. long as this is true, it is unlikely we’ll the US, the other in Canada. They keep That being said, however, there are a change our practices.

Is an Artist Without a Computer like a Fish Without a Binary File? or Why Some Artists Avoid Computers

As we all those who believe things should be done the foolishest thing ever done,” but these know, there are two by hand. While a machine may be quick- people would agree with him. sides to every story, er, they say, its results lack spirit, contem- Such artists tend to be past middle and Benny Shaboy plation and a direct connection to a age and set in their ways or they have — a painter and human. Such people would rather walk their hands full with what they are sculptor who is the in the woods than speed down the high- already doing. When I interviewed founding editor/ way. Or even stop for a while and just William T. Wiley publisher of look, as Ralph Henry Davies admon- (www.crownpoint.com/artists/wiley) a studioNOTES — ished us to do. “What is this life if full of couple of years ago, he said he didn’t explains why some artists choose to avoid com- care/We have no time to stand and need a computer, although his work is puters as their primary resource for information. stare,” he wrote one hundred years ago, about the world situation. Instead, he In the early days of personal com- by hand. prefers to get his material from a pro- puters, I decided I didn’t want to get A few artists have a moral or philo- gressive radio station — which he calls involved with them. I liked the idea of sophical objection to computers. I once his landscape — and paints while listen- computers fine. In fact, I had some sci- had a discussion with an artist who ing to it. Other artists, both emerging ence background and as a kid built a wouldn’t use one at all because of what and established, admit to seeing some rudimentary version. But I had my art- he perceived as their evil. He cited their advantage in using computers, but work to do — mainly assemblage — and use as instruments of war — heat seek- believe the learning curve makes it not I thought computers might distract me. ing computer guided missiles that could worth the time and trouble. One day my neighbor brought me a cou- sense where a human being was and Finally, there are the technophobes ple of older systems he was getting rid blow him to smithereens, for instance — — or at least self-defined technofum- of, suggesting I could use some of the and their facility for tracking people’s blers — who believe themselves, rightly parts in my sculptures. I never got every movement. “I don’t want to be on or wrongly, unable to cope in a strange around to it because several months a computer,” he said, “or in one.” land where the customs involve booting, later, I plugged one in — just to see. Occasionally I hear from artists who crashing, burning, ripping, cookies, spam, mice, Alas, it turned out that my guess about don’t have computers only because they phishing, illegal operations, forbidden access and their attraction was right and I spent the don’t have the money. They may, howev- fatal errors, just to name a few. next couple of years ignoring just about er, have free email accounts such as Come to think of it, perhaps they are everything else, but I learned a lot and Yahoo and use computers at public right. Why would any self-respecting don’t regret it. I now spend virtually all libraries, mainly to send and receive artist want to be involved with some- of my time using a computer in my self- email. They are not opposed to using thing like that? created day job as the editor and publish- computers per se, but may have philoso- er of informational periodicals and phies that bind them to life styles rela- Benny Shaboy is the author of: books for artists. tively free of possessions or income. (www.studionotes.org/ejournal.html), In that job, which has involved inter- I also know several artists who do Art Opportunities Monthly viewing and dealing with hundreds of have the funds and the time and are not (www.ArtOpportunitiesMonthly.com) artists, I have discovered some that are concerned about being distracted, but and The Art Opportunities Book: not as weak willed or unlucky as I. These simply see no need. I guess you could Finding and Winning few have been able to avoid the infernal say they are philosophically opposed at (www.ArtOpportunitiesBook.com). machine through sheer will, strength of some level. Lord Melbourne wasn’t talk- He lives in Benicia, CA, and can be con- character, good sense, technophobia or ing about computer use when he said, tacted at [email protected]. simple lack of funds. Among them are “If it was not absolutely necessary, it was

Issue 13 page 11 © 2005 Golden Artist Colors, Inc. JUST PAINT PRSRT STD U.S. Postage PAID Ithaca, NY Golden Artist Colors, Inc. Permit #780 188 Bell Road New Berlin, NY 13411-9527 USA Return Service Requested

JUST PAINT Contents: Issue 13 July 2005 Testing for Your Application

Articles: Mark Golden, Sarah Sands, Custom Lab Mike Townsend, Benny Shaboy, Experimental Product Bruce MacEvoy, Elizabeth Jablonski, Review Monona Rossol

Editors: Mark Golden, Jim Hayes, Is an Artist Without a Ben Gavett, Jodi O’Dell Computer like a Fish Design: Tina David Without a Binary File? or Why Some Artists Avoid Computers Publisher: Golden Artist Colors, Inc. 188 Bell Road New Berlin, NY 13411-9527 Web Resources 607-847-6154 for Artists 800-959-6543 Fax: 607-847-6767 Email: [email protected] Mark Golden Receives Web: www.goldenpaints.com Two Prestigious Awards