A Palette of Textures Insights on Using OPEN Acrylics for Monoprinting

JUST PAINTPublished by Golden Artist Colors, Inc. / Issue 32

Welcome to Just Paint #32. Several readers have asked for articles less technical in nature. We hear you and recognize our responsibility to our customers. Our online videos attempt to provide artists with clear directions and approaches to working with our materials. We will continue to provide these resources, reducing the complexity of our materials and how to use them. Visuals for visual artists certainly make sense. Just Paint allows our techy side to come out. I hope it continues to be a valuable resource and provides interesting ways for artists to engage with materials. In this issue, Ulysses Jackson VERY FINE FINE MEDIUM COARSE introduces Williamsburg Special Ultramarine Blue Cad. Yellow Extra Deep Sap Green Italian Pink Edition Colors while Sarah Sands shares what continues to make this line so unique. We invited Working Artist Kevin Greeland, to share A Palette of Textures insights on using OPEN Acrylics for monoprinting. The introduction By Sarah Sands We fall in love with those materials © of QoR Watercolor has raised that speak to our sensibilities and questions about their lightfastness. “Do you like oil paint?” It’s a seemingly, almost deceptively simple souls; to being lost within the muddle Sarah Sands shares how ASTM of the mess of it all. standards work and lightfastness question, and one that I use at the studies we are doing to bring some start of almost every Williamsburg At the heart of Williamsburg is a pigments into conformance. Issue 32 lecture and demo. It’s adapted from dialog between a painter and their also gives us a chance to thank many an anecdote in The Writing Life materials which began some thirty Just Paint readers for responding to by Annie Dillard, where a young years ago with Carl Plansky’s first an email survey we sent on the issues student, wanting to know if they batches of paint from Milton Resnick’s of whether Cadmiums will remain could become a writer, is asked: “do three-roll mill that we still use to on the artist’s palette in Europe. Ben Gavett, Regulatory Affairs Director, you like sentences?” The overriding this day. It was a conversation baked updates us on where this issue point is that there are many ways to into the daily feedback loop of piles stands. Continuing the tradition of tell stories – from film to comics, from of freshly made paint being pushed highlighting each of our Materials plays to dance – but what ultimately across wide expanses of canvas. In that Support staff, I share my interview makes a writer a writer is falling in exploration was a love not just of color with Stacy Brock. Debuting a new love with the very stuff of their craft; but of the very physicality of the paint series, Amy McKinnon highlights the mechanics of word following itself; of color embodied, made thick the historical significance of a word, sentence placed after sentence. or stringy, glossy or matte, smooth or specific color in each issue. Finally, Something very similar is true about coarse. It opened up into a palette of with April approaching and a new painters. We become painters at some textures as much as a palette of colors. Artist Residency season, the Golden deep level not out of a love of images – Painting was and will always be as Foundation announces its third ‘Made In Paint’ show. after all, there are many ways to create much a tactile experience as a visual As always, we welcome your feedback those. Instead, at some point, we fall in one, and that connection is important and hope it might just ignite the geeky love with the very stuff of our chosen to hold onto because ultimately it is part of your own curious nature. medium. And if that happens to be one of the essential things that makes oils, then our love is with the silky, Williamsburg special. Warmest regards, dense, slippery, and intractable mud What follows is a brief overview of Mark we spend our lives trying to master. how pigments impact paint, and in Issue 32 page 1 ©2015 Golden Artist Colors, Inc. particular, how they define a range of just a handful of years they would as various inorganic pigments that textures within the Williamsburg line. soon be seen as over milled and far too are manufactured to very small Along the way we will also need to homogenous. As one went from color particle sizes such as Titanium White, touch on history, define terms and take to color the very material basis of the Ultramarines, synthetic iron oxides, a brief glance at some issues. paint seemed to recede as the unique Prussian Blue, and Lamp Black. The Pigment Grinds and History characteristics of particular pigments rheology, or feel, can run the gamut were lost altogether. from the very long and ropey feel of It all started with the chimps. At Williamsburg Mars Red, the soft but still firm body least that is where The History of of Ultramarine or Cobalt Blue, all the Grinding (Lynch, 2005) places the Part of Williamsburg’s legacy is a way to the short, buttery, and dense origin story by which we owe not just reaching back to just that moment feel of things like Permanent Crimson our flour, chocolate, coal, and metal when 19th century artisanal or Titanium White. ores, but of course the very pigments paintmaking gave way to a more FINE: we so lovingly attend to in our studios industrialized process and to reimagine While still as paint. From those first primates it from a much more intimate, studio- experienced who could hold a rock and deliver based perspective. In the right hands as smooth, a crushing blow to crack open nuts, of a painter-turned-paintmaker, such with just a to the industrial crushers that break as Carl Plansky, the three-roll mill touch less apart mined minerals, the production became tied not to efficiencies in gloss, some of fine powders and pastes has always process or standardization across a line, sense of required tremendous amounts of but guided by an open exploration pigment effort and energy. By the time we get into how the various settings and mill starts to be felt even if individual grains to the Renaissance, a general process passes could help push and keep the cannot be seen. Home to all of the for making paint is largely in place range of possible textures and feels at Cadmiums and most of our regular with small amounts of pigments being their maximum. The fact of differing earth colors, like Yellow Ochre, Burnt hand mulled on an as-needed basis sheens and the physical sense of the Sienna, as well as the Umbers, the with a variety of binders, in a process underlying pigment that sometimes organic pigments have dropped out for that could stretch out over many came to the fore were embraced not the most part, with Fanchon Red and hours if not days. With an obvious as distractions from the color, but Indian Yellow being rare exceptions. touch of hyperbole, Cennino Cennini extension and supplements to it. Other core colors in this group include even comments in The Craftsman’s Color and the physical nature of the such well known anchors to the Handbook, about the preparation of underlying pigment were synonymous. traditional palette as Viridian Green vermilion: “If you grind it every day With that legacy firmly in place, the and Cerulean Blue (Genuine). for twenty years, the color would still task we face is not simply maintaining MEDIUM: become finer and more handsome.” those intuitions and dialogs that A clear and During this period artists also formed the line in the first place but definite developed a very intimate and direct to constantly keep opening it up to feel of the relationship to the making of their new ranges, such as the Special Edition underlying products; if not personally, or via an Transparent Iron Oxides featured pigment, assistant or apprentice, then through elsewhere in this issue. in the form a close relationship to the abundance The Williamsburg Range of texture, of small color merchants that sprung starts to up prior to the latter 19th century. Williamsburg paints can be roughly be both felt and seen. While we feel We know from records, as well as divided into four groupings of different ‘gritty’is too strong of a description for conservation studies, that paint textures created by both the inherent these, a sense of grain is definitely part throughout this time was much more grind of the pigments as well as how of the experience. Most of the colors individualized and had a much wider the paints are milled. have a satin or matte appearance. range of textures and feels, running VERY This is where all the imported French from extremely smooth to very coarse. FINE: Silky and Italian Earths will be found, as Probably the watershed moment smooth, well as our particular take on Alizarin when paint manufacturing takes a big glossy, Crimson. Other colors like Sap Green turn is in the mid to late 19th century with little or Quinacridone Gold Brown are here when the rise of larger commercial to no hint mostly as they include these coarser paint companies and mechanical milling of texture. pigments in their mix, giving them a machines moved the production of Home to particularly wonderful play between paint further away from the experience most of grainy and smooth, dark and bright, of the studio. If initial complaints the colors based on organic pigments that can only come from blending were that these newer, machine milled such as our Quinacridones, Phthalos, the smooth organic colors in the first paints were too coarse and crude, in Diarylides, and Dioxazine, as well groupings with these larger iron oxides.

Issue 32 page 2 ©2015 Golden Artist Colors, Inc. COARSE: Rather the sheering action of the their corners and edges, making them An unusual pigment paste being sent through the relatively easy to break apart and and small rolls of the mill, or being compressed disperse. In fact, when talking about group of between the flat surfaces of the muller dispersing a pigment, and reducing colors that and glass, is simply to break apart particle sizes in the process, what one define the loose clumps of pigments, called is really talking about is the breaking coarsest and agglomerates, that are formed during up of agglomerates, which allows for grainiest storage and processing. Referred to as a fuller and more efficient wetting of of our ‘milling’, this process is quite distinct the pigments. And unlike aggregates, paints. You will not find anything from grinding, which really only agglomerates represent an area where approaching this coarseness elsewhere happens at the level of the pigment paintmakers can exert much more and they provide an expression of manufacturer when reducing the raw control over the final feel of the paint, texture that has been a unique aspect pigment to a specific size range. with mill settings and the number of of Williamsburg from its earliest days. Primary Particles, Aggregates and passes deciding just how much they are A mix of small and large particle sizes Agglomerates broken down. give these paints an intriguing interplay The Impact of Particle Size of light, with very bright shimmering As pigments are processed or undertones contrasting simultaneously manufactured they take on different Particle size is one of the single with very dark, gritty, light absorbing groupings: most important physical properties of masstones. If you are drawn to the • Primary particles are singular grains any pigment, impacting almost every smooth undertones in these colors, of crystalline matter but are almost aspect of how paint feels and performs. but need something more suitable for never encountered or seen, not even A large part of what drives that is the smooth glazes and blends, our newest when squinting closely at the thinnest simple fact that the smaller a pigment Special Edition Transparent Iron layer of powder spread out on glass. becomes, the more its surface area Oxides, which are based on the same For the vast majority of pigments they grows exponentially. As a thought pigments, would be a perfect match. occur below the threshold of human experiment, imagine having a one inch cube of some mineral and brushing Coming to Terms sight, at the extreme sub-micron level, and represent the core building blocks a thin layer of oil over the entire Move even slightly into the world of of the pigment’s mass. surface. If we then cut the cube in half, pigments and powders and you quickly additional oil would be needed to coat bump up against a handful of basic • Aggregates are a group or cluster the newly exposed sides. Now imagine terms and concepts, which we want to of primary particles bound together by cutting these halves in half, and half briefly touch on in the sections ahead. powerful chemical and electromagnetic again, repeating this process until we forces and forming a common have a very fine powder. At each step, crystalline structure. For most of us, you would be forced to continuously when we think we are thinking about coat the freshly exposed surfaces with pigment particles, we are actually additional oil. But the total volume of thinking of aggregates. These tightly the pigment - namely the initial one joined particles are incapable of being square inch - has not changed, simply broken apart during the process of the surface area that is exposed and milling paint. To give a dramatic sense the increasing amount of oil needed of the force that would be required, to fully wet it out. The implications particles on the scale of .1 microns, of this are huge, however, since each such as synthetic iron oxides, Prussian division means there is much more Blue and Quinacridones, would opportunity for the particles to interact require 105 times the accelerative with the binder, with each other, and force of gravity (32 ft/s2) to pull them even respond to light in a very different apart. That would equal an astounding way. What follows is a brief look at 3,215,223 ft/s2, well more than four some areas where particle size matters. times the accelerative force of a bullet fired from a typical rifle! Not exactly Oil Absorption Grind vs Mill a doable proposition on a three-roll As the immediate thought It is habitual to talk about mill, or any other equipment a paint experiments proved, as pigments get paintmakers ‘grinding’ pigments, and manufacturer might have laying smaller the amount of oil needed to think that the goal of the muller or around. For all intents and purposes, to make a workable paint grows the mill is to literally crush pigment the particles at this scale are irreversibly dramatically. This means that all particles into ever finer sizes. But this fused together. the possible chemical interactions is not actually the case, and even a • Agglomerates, on the other hand, between the oil and pigments increase powerful mill cannot bring enough are loosely associated groups of primary as well, and that impacts drying time, force to bear to accomplish that. particles and/or aggregates joined at yellowing, and fat over lean issues, to Issue 32 page 3 ©2015 Golden Artist Colors, Inc. name just a few. It is also why the oil which have the exact same chemical with these choices. It has been our absorption rate for a specific pigment makeup but possess a larger particle delight, not only to make these colors is typically reported as a range and can size that is optimized for scattering. It with this diverse palette, but to amplify vary widely. is also why the rougher ground Italian the range and continue to offer artists Tint Strength and French Earths will display more even more options. transparency as well, since they also ______The smaller the particle, the greater move out of this optimized scattering Bibliography the tint strength. This is again linked range, and absorbency can again take to the surface area. The one inch cube on increasing importance. Colors like • Art in the Making: Impressionism, in our thought experiment would not Bomford, David, London: National Gallery, our Stil de Grain and Brown Pink 1990 be particularly effective at tinting a are examples where we use this to our • Color Science in the Examination volume of liquid because the majority advantage. In these cases, we adjust of its mass is below the surface and of Museum Objects: Nondestructive the mill setting and number of passes Procedures, Johnston-Feller, Ruth, Los does not interact with light. As you to prevent breaking down the clumps Angeles: Getty Conservation Institute, 2001 reduce the cube into a powder, one is of pigments too much, keeping the • Colorants: Organic and Inorganic exposing more of its surface to light range of particle size much broader Pigments, A. Lewis, in Color for Science, and so its tint strength, or how much a than normal. While this results in Art and Technology, ed. K. Nassau Editor, specific amount of pigment can color a a much coarser feel, it introduces a Elsevier Science, 1998 material, will naturally increase. wonderful interplay between the bright • Effect of Pigment Particle Size on Opacity/Transparency transparency of the smaller aggregates Application Properties, P. Gunther, Hauser, and the darker masstone of the larger P., Radtke, V., Review of Progress in Opacity arises mostly from a ones. Bear down with a palette knife Coloration and Related Topics, Vol. 19, pp. pigment’s ability to absorb or scatter while working the paint on a hard 41-47, 1989 light (the K/S variables of Kubelka- surface and one can see the undertone • European Coatings Handbook, Brock, Munk Theory) and confusion arises develop and deepen even further as Thomas, Michael Groteklaes, and Peter because we commonly think of those additional agglomerates are broken Mischke, Hannover: Vincentz, 2000 properties as intrinsic to a pigment apart, giving the painter the ability to • Influence of Pigments on the Properties and operating independently from manipulate this to their advantage. of Coatings, in Coatings Formulation, Bodo its particle size. However, as particles Muller, Ulrich Poth, Vincentz Network, 2006 Viscosity and Rheology move up and down in scale, the way • Iron Oxide Pigments (In Two Parts), they interact with light, and even In general as particles get smaller, 1. Fine-Particle Iron Oxides for Pigment, which light waves they can interact the thickness or viscosity of paint Electronic, and Chemical Use, Thomas S. with, changes. As a simple illustration, will increase, which only makes Jones, U.S. Department of the Interior, consider that a large half inch crystal of sense. Increased surface area means Bureau of Mines, 1978 titanium dioxide would actually appear increased friction, not simply with • Light: Its Interactions with Art and completely transparent, but ground to the surrounding medium but because Antiquities, Thomas B. Brill, Springer, 1980 a powder of a certain size it becomes smaller particles will collide and rub • Paint Flow and Pigment Dispersion: A the opaque white pigment we know against each other more often. There Rheological Approach to Coating and Ink so well. To add to the mystery, grind is also an increase in how tightly the Technology, Temple C. Patton, New York: it further still, down to a nanoscale particles can be packed together. Wiley, 1979 range, and the pigment will become However, one must be careful • Painting Materials, a Short Encyclopedia, increasingly transparent again. about applying this too rigidly past Gettens, Rutherford John., and George Leslie a simple, idealized model, as there Stout, New York: D. Van Nostrand, 1947 A detailed explanation of what is • Pigments For Paints, A G Abel, in Paint happening is beyond the scope of are a host of ways to manipulate and control viscosity in an actual paint and Surface Coatings, Woodhead, 1999 this article, but in general, pigment • The History of Grinding, Alban particles scatter light most effectively formulation. In addition, the chemistry itself of each pigment also contributes J. Lynch, Rowland, Chester, Littleton, when their size equals half the size CO: Society for Mining, Metallurgy, and of the dominant wavelength they to the building of both viscosity and Exploration, 2005 rheology of the resulting paint. reflect. Go much below this size, and • The Art of Impressionism: Painting the pigment will scatter less and less, The final measure of these choices of Technique & the Making of Modernity, until finally - if dipping below .2 grind, viscosity, color development is Anthea Callen, New Haven: Yale UP, 2000. microns (half the wavelength of the successful only to the extent by which Print. shortest violet light) - it will slowly they meet each artist’s sensibility. The • The Importance of Particle Sizing to cease to scatter light altogether and will Williamsburg range of colors extends the Coatings industry, Part 1: Particle Size simply absorb or transmit the light it the options for exploration and in the measurement, Alan Rawle, Advances in encounters. This is the “secret” behind simplest of terms, offers the artist an Colour Science and Technology, pp. 1-12, transparent synthetic iron oxides, even wider array of choices. For us as Vol. 5, No.1, Jan, 2002 which have extremely small particle paint manufacturers, this was why we • The Science of Paintings, W. Stanley sizes, and how they differ from their have been so excited by Carl’s paint, Taft, James W. Mayer, Springer, 2000 very opaque cousins, the Mars colors, as artists have shared their enthusiasm Issue 32 page 4 ©2015 Golden Artist Colors, Inc. Textures of Williamsburg Handmade Oil Colors

VERY FINE FINE MEDIUM COARSE Alizarin Orange Permanent Yellow Deep Brown Umber Alizarin Crimson Brown Pink Brilliant Yellow Extra Pale Permanent Yellow Light Burnt Sienna Alizarin Yellow Dutch Brown (Transparent) Brilliant Yellow Pale Permanent Yellow Medium Burnt Umber Bohemian Green Earth Italian Pink Carl’s Crimson Persian Rose Cadmium Green Brown Ochre Olive Green Cerulean Blue French Phthalo Blue Cadmium Green Light Cyprus Orange Stil De Grain Chromium Oxide Phthalo Green Cadmium Lemon Earth Green Van Dyke Brown Cinnabar Green Light Phthalo Green-Yellowish Cadmium Orange French Ardoise Grey Cobalt Blue Phthalo Turquoise Cadmium Purple French Brown Ochre Cobalt Blue Deep Provence Violet Bluish Cadmium Red Deep French Burnt Ochre Cobalt Green Provence Violet Reddish Cadmium Red Light French Burnt Umber Cobalt Teal Prussian Blue Cadmium Red Medium French Cassel Earth Cobalt Teal Deep Quinacridone Magenta Cadmium Red Purple French Light Sienna Cobalt Turquoise Bluish Quinacridone Red Cadmium Red Vermilion French Noir Indien Cobalt Turquoise Greenish Quinacridone Violet Cadmium Yellow Deep French Ochre Havane Cobalt Violet Deep Sevres Blue Cadmium Yellow Extra Deep French Raw Sienna Cobalt Violet Light SF Cerulean Blue French Cadmium Yellow Light French Raw Umber Courbet Green SF Cobalt Violet Light Cadmium Yellow Medium French Rouge Indien Dianthus Pink SF Flake White Canton Rose French Terre Verte Egyptian Violet SF Porcelain White Cerulean Blue (Genuine) French Yellow Ochre Deep Flake White SF Silver White Cobalt Yellow German Earth Green Gold SF Titanium White Cold Black Graphite Grey Jaune Brilliant SF Titanium-Zinc White Davy’s Grey Deep Interference Blue King’s Blue SF Ultramarine Blue Fanchon Red Interference Green Lamp Black SF Ultramarine Blue French Indanthrone Blue Interference Red Manganese Violet SF Ultramarine Pink Indian Yellow Interference Violet Mars Black SF Ultramarine Violet Indigo Iridescent Bronze Mars Red Silver White Ivory Black Iridescent Copper Mars Red Light Spanish Earth Mars Orange Iridescent Pale Gold Mars Violet Titanium - Zinc White Mars Orange Deep Iridescent Pearl White Mars Yellow Deep Titanium White Naples Yellow Italian Iridescent Pewter Mars Yellow Light Turquoise Payne’s Grey Iridescent Silver Montserrat Orange Ultramarine Blue Perylene Crimson Italian Black Roman Earth Naples Yellow Ultramarine Blue French Raw Sienna Italian Burnt Sienna Naples Yellow Reddish Ultramarine Pink Raw Umber Italian Green Ochre Nickel Yellow Ultramarine Violet Red Ochre Italian Lemon Ochre Payne’s Grey (Violet) Unbleached Titanium Red Umber Italian Orange Ochre Permanent Crimson Unbleached Titanium Pale Turkey Umber Italian Pompeii Red Permanent Green Veronese Green Viridian Italian Pozzuoli Earth Permanent Green Light Zinc Buff Yellow Ochre (Domestic) Italian Raw Sienna Permanent Lemon Zinc Buff Yellow Yellow Ochre Burnt Italian Raw Umber Permanent Orange Zinc White Italian Rosso Veneto Permanent Red-Orange Italian Terra Rosa Italian Terra Verte Italian Yellow Ochre Quinacridone Gold Brown Sap Green SF French Ardoise Grey SF Italian Terra Verte Slate Black Issue 32 page 5 ©2015 Golden Artist Colors, Inc. A variety of OPEN Acrylics are used to create an abstract image on a GelliTM Plate by painting directly onto the plate in a painterly fashion. High Flow Turquois (Phthalo) was used to create the circles and spheres in the final image. You can also register your plate and pull a ghost print. With each successive print pulled, more and more paint is removed from the plate. Any number of objects can be used to create patterns and various types of textures. There are also plenty of tutorial videos online, each showing its own unique twist. Monoprinting with OPEN Acrylics – Endless Exploration!

A foray into printmaking using With a longer working time, OPEN The monotype process requires that OPEN Acrylics as the primary Acrylics are a perfect water-based Monotypes can also be created by printing ink and because the option for printmaking and more inking an entire surface and then using possibilities don’t stop there, a few comparable to oils in this application. brushes or rags to remove ink, creating experiments with High Flow Acrylics The ease of soap and water cleanup a subtractive image (i.e. creating and QoR® Watercolors as inks. This eliminates some of the health and lights from a field of opaque color). foray is by no means comprehensive, environmental concerns sometimes GOLDEN OPEN Acrylics are ideal but rather a journey of possibilities associated with oil-based inks for for this subtractive process as the paint and experimentation. printmaking. Available in 80 colors, can stay “wet” for quite some time and OPEN Acrylics can be used with either is therefore, easily manipulated on the synthetic or natural fiber brushes and plate surface, Gelli Plate or otherwise. By Kevin Greeland provides many more options beyond In the past the inks used were oil- GOLDEN Certified Working Artist printing, but since their introduction based and in more recent times, came they have found a unique niche as a the development of water-based inks. Our adventure begins with OPEN Monotype printing ink. With oil-based inks, the paper may be Acrylics as our “ink.” OPEN Acrylics Monotyping is a type of printmaking dry, in which case the image has more are a line of professional artist made by drawing or painting on a contrast, or the paper may be damp, acrylics with a uniquely slow-drying smooth, non-absorbent surface. The in which case the image has roughly formulation. The increased working image created is then transferred onto a 10 percent greater range of tones. time of these colors expands their a sheet of paper by pressing the two range to include more traditional together, sometimes with the aid of a techniques once only possible with oils. printing press. There are a number of While the formulation is water-based, non-absorbent matrices used to make these paints do not act like any acrylic monotypes and they certainly can you may have tried before. Unlike be used with OPEN Acrylics. These standard acrylics, OPEN Acrylics have include glass and/or plastic supports, but our focus here is mostly on the ability to keep moving; they won’t ™ quickly lock up or drag. Best in thin Monotypes using the Gelli Plate. The applications, OPEN Acrylics are ideal gel printing plate is made of a unique for glazing, shading, wet blending and plastic that contains mineral oil. The subtractive techniques. The “stay wet” gel plate will leach a small amount of quality of OPEN makes it a perfect harmless mineral oil when left sitting paint for printing techniques; thin on an absorbent surface; the plate is layers stay wet longer. also latex free. To learn more visit www.gelliarts.com. Detail of a monotype pulled from a Gelli Plate. Issue 32 page 6 ©2015 Golden Artist Colors, Inc. These remain rather true using OPEN Acrylics as well. Dry printing gives the greater contrast. Using an atomizer to dampen the paper before printing with water gives the image a slightly greater range of tones and can vary to a more dreamy quality depending on the amount of water on the surface of the paper. Also for further consideration, try experimenting using OPEN Thinner to dampen the surface of the paper, which has a tendency to “wisp” out the finer lines, giving a certain kind of airy, dreamy quality to the print. While water is a common medium for reducing the viscosity of a standard acrylic paint, water works very aggressively with OPEN paints. Using OPEN Thinner is a better choice when a more fluid viscosity for this painterly approach is desired. Mentioned before, Monotyping produces a unique print, a “monotype”, because most of the ink is removed during the initial pressing. Although subsequent reprints are sometimes possible, they differ greatly from the first print and are generally considered inferior. A second print from the A colored pencil drawing can act as a template under the Gelli plate since it is transparent. original plate is called a “ghost print” or “cognate”. Stencils, watercolors, paper and rub with even, moderate can be achieved by using GOLDEN brushes, and other tools are often used pressure to transfer the paint from Soft Gel or Matte Medium to glue to embellish a monotype. Monotypes plate to paper. There are a number of your image to the paper first and then are often spontaneously executed and options available to both the painter printing on the collage image. There with no preliminary sketch. and printmaker with Gelli Plates. One is also room for experimentation with Furthermore, monotypes are the option is that of collage or faux Chine- GOLDEN High Flow on the Gelli most “painterly” method among collé. Chine-collé is a printmaking Plate because they remain wet a little printmaking techniques, a unique technique where lightweight paper is longer than traditional Fluids Acrylics. print that is essentially a printed adhered to heavier printmaking paper They can be used in conjunction painting. This is what a Gelli as it’s passed through a press with an with OPEN Acrylics. All GOLDEN Plate print truly is. The principal inked plate. The result is a print on products work together as part of an characteristic of this medium is found a collage. With the Gelli Plate this Acrylic System. in its spontaneity and its combination Monoprinting is a form of of printmaking, painting, and drawing printmaking that uses a matrix media. One advantage of the Gelli such as a woodblock, litho stone, or Plate over a traditional copper or zinc copper plate, but produces multiple plate is the transparency; this allows impressions that are unique. Multiple you to place a reproduction or an unique impressions printed from a original drawing under the plate as single matrix are sometimes known as a guide. Just remember that you are a variable edition (i.e. ten prints pulled working in reverse so what’s painted from a zinc plate). There are many on the right side of your plate will techniques used in monoprinting, appear on the left side of your print/ including collographs and hand- paper. You can correct this by selecting painted additions, and a form of ‘mirror image’ on some copiers or tracing by which thick ink (OPEN ‘rotate image’ in Photoshop®. If you’re Acrylics) is laid down on a plate or working abstractly or free form it may table and rolled out. Paper is then not be a concern. Simply use OPEN A Chine-collé, combining the element of collage placed on the ink and the back of the to paint onto the surface of the Gelli with printmaking using GOLDEN Soft Gel and paper is drawn on, transferring the ink Plate, cover your image with suitable OPEN Acrylics. to the paper. Traditional printmaking Issue 32 page 7 ©2015 Golden Artist Colors, Inc. Inking copper and zinc plates with OPEN Acrylics requires a little practice to perfect the wiping technique. On the left side of the image the final print is mounted to a wood panel using Soft Gel and then several thin coats of “acrylic encaustic” were added. techniques such as lithography, approach. Traditional wiping is done Monotypes and Monoprints. There woodcut, and intaglio, can be used to with a tarlatan, a very absorbent cotton are some water-based printmaking make monoprints. cloth, which is slightly too absorbent inks on the market today that use Monoprints can also be made by for OPEN, so it tends to wipe too Gum Arabic as the base binder. With altering the type, color, and viscosity much OPEN off the plate. Wrapping the introduction of GOLDEN QoR® of the ink used to create different the tarlatan in a shell of tulle can solve Modern Watercolor using Aquazol® prints. Again, using OPEN Thinner in this problem. The tulle is nylon netting as a binder, I started to ponder the varying amounts with OPEN Acrylics and less absorbent than cotton tarlatan. new potential of QoR as a printing can change the viscosity of the “inks”. Also the plastic nylon packaging for ink. Think of the possibilities of In general, you will achieve a more potatoes and onions works well as working with OPEN alone on a Gelli ink-like substance if you permit the a shell, and then placing inside this Plate or in combination with QoR OPEN Acrylics to sit out for a full nylon shell, a sheet of Brawny Dine- in any number of combinations of day in the studio before using them. A-Cloth®. Try varying combinations Monotype or Monoprint techniques. I’ve found this stiffening process to to see what works best for you. Using The possibilities for your journey be beneficial in achieving that desired these methods reduces the problem of into printmaking with GOLDEN’s ink-like consistency, but this is not wiping too much OPEN paint from contemporary materials are endless – necessary for Monotyping in the more the plate and this can also be used to take the first step and twist off a cap to painterly technique described in the your advantage by selectively drawing begin your adventure! previous paragraph. into the plate Regarding inking the plates – in using cotton some sense, not as much OPEN paint swabs and needs to be applied as with traditional small daubers inks. The old adage, “a little goes constructed a long way,” applies here. In terms from the of wiping down the plates before Brawny Dine- printing, traditionally this is much like A-Cloth. an intaglio wiping process, however As you can you’ll need to adapt the wiping see, there is a technique. Since OPEN Acrylics are tremendous water-based, they don’t react the same amount of way to wiping as petroleum based experiment- inks. The trick to printing here with ation that a Monoprint style plate and OPEN can take A Collograph print created from a textured bas-relief plate, constructed like a paint is to combine intaglio-wiping place when collage. The plate is “inked” with Open Acrylics and the image is transferred to methods with a more Monoprint creating both paper with the aid of a hand baren. Issue 32 page 8 ©2015 Golden Artist Colors, Inc. New Special Edition Colors from Williamsburg

By Ulysses Jackson consistent drying, we can debut this masstone with a satin finish. This color anew. Intense Black, being a fine material offers rich orange-red glazes Williamsburg Handmade Oils particle size Carbon Black, offers very and slightly yellow biased red tints. announces the release of five Special jet masstones and super strong cool, Transparent Red Iron Oxide Edition colors that continue to expand gray tints. * Temporarily Unavailable (6001922 – PR101) is a finer version the range and options for oil painters. Transparent Yellow Iron Oxide of Brown Pink. It presents a masstone As mentioned previously in this edition (6001920 – PR42) could also have that is a very deep reddish brown, with of Just Paint, Williamsburg is proud been called Stil De Grain (Fine). With a moderate even gloss. When let down to have one of the broadest variations this version, as well as the four other using medium, it offers smooth, red of pigment grinds available in artist oil special edition iron oxide colors, we tones reminiscent of stained cherry paints. This allows artists to determine are utilizing the same pigment from wood. Transparent Red Iron Oxide, what paint qualities work best for their the standard Williamsburg product when mixed with white offers a wide needs. Additionally, control of grind but processing the pigment particles range of bright pink flesh tones. allows us as paintmakers to honor the further, bringing the glazing ability Transparent Brown Iron Oxide unique personalities evident in each of these colors to the forefront. (6001923 – PR101) finds its origins pigment. It was our intention with Williamsburg Transparent Yellow Iron in Williamsburg’s Dutch Brown these new Special Edition colors to Oxide is a color that offers interesting (Transparent). It provides a masstone further develop particular aspects of a qualities as both a body color, or in that is a very deep brown/black with few pigments, focusing on inherently smooth translucent glazes. When a satin finish. Tints created using small particle sizes, deep masstones and extended with Medium, Transparent Transparent Brown Iron Oxide allow rich undertones. Yellow Iron Oxide contains tones for clean brown tones similar to high Intense Black* (6001782 – PBk7, similar to those of light yellow amber. chroma umber and when let down PBr7) is a joy to reintroduce; a very It has a dark yellow brown masstone using Medium, this color offers rich finely ground color which Carl Plansky and the tint is a clean orange, trending translucent brown glazes reminiscent described as, “the absolute blackest toward that of light ochre pigments. of coffee or tanned leather. black, like looking into a black hole.” Transparent Orange Iron Oxide Although these colors are only Some may remember this color, which (6001921 – PY42, PR101) is based on currently available as Special Edition has been absent from the Williamsburg Williamsburg Italian Pink with a fine colors, we look forward to your line for a number of years. However, grind. It is created by blending two feedback. We’re delighted to offer with the incorporation of the smallest separate synthetic iron oxide pigments what we hope are valuable options to amount of an earth color to assure to produce a very deep red-orange the Williamsburg line.

Issue 32 page 9 ©2015 Golden Artist Colors, Inc. wonderful professors and stuck with them through Literature, Poetry and Creative Writing. My favorite subjects were painting and ceramics of course. I had never done Ceramics before and I took to it very quickly. Mark: After graduation what was the next step? Stacy: Well, two weeks after I graduated I moved to Seattle for three years. I really wanted to get away from Connecticut and as much as I loved my school, I wanted to get away from that whole area. I wanted more excitement and to start my own life. I wound up living in very creative cities A Long and Lonely Year, Acrylic on Canvas, 67” x 100” where you didn’t need a car and it was inexpensive to live. I would work school - I was lucky that way. I took for six months and not work for six a great jewelry making class in high months and make art in the time I Stacy Brock school. I had great teachers and there wasn’t working. were a lot of arts and music classes in my school, so I took a lot of both of Mark: And then moved back to New Up Close those. York? Mark: Stacy, was it a special arts high Stacy: No. From there I moved to Mark Golden: Can you tell me when school that you went to that had those Northampton, Massachusetts where you knew you wanted to be an artist? kinds of resources? a bunch of friends from college had a recording studio and I moved back Stacy Brock: From birth. I was born a Stacy: No, I’m proud to say I went there to make music with them. I painter. I never wanted to be anything to public school. It just happened solely made music for the year and a else. to be a good school system and half that I was living there and then I they encouraged arts. Back then…I moved back to New York City. Mark: Were there specific mentors or don’t think they do anymore, but inspiration at home, or at school, in when I went to school there was a Mark: What was your instrument and grammar school or high school? lot of focus on the arts and people do you sing? were encouraged to pursue their art Stacy: Stacy: I play bass and I sing. My father was and still is a Doo- interests. You could pick and choose, it Wop musician and my mother was was your choice. You weren’t forced to Mark: What kind of music was it? always into theater. She taught English do art or music. and Drama and she’s been directing Stacy: Well, I grew up on punk rock so plays for as long as I can remember, Mark: And where was it? I can’t help but be influenced by it. It but I’m the only visual artist in my was in that genre, but also influenced Stacy: family. In Spring Valley, New York in by other types of music I like. There’s Rockland County. Mark: So creativity was encouraged at a heavy metal influence, ’50s garage home? Mark: And did you continue onto and the Doo-Wop that I grew up on. college? It’s a mix of all the things I like in one. Stacy: Absolutely. They completely The influences come out inadvertently. encouraged it. I was never interested Stacy: Yes, I went to Hartford Art They just happen. in any sports or anything. I wanted to School at the University of Hartford take art classes. They always had me in and I majored in painting and I had Mark: That’s great. And so are we able after school art classes or Saturday art extensive study in ceramics as well. to hear any of the music? classes, mostly for painting. Mark: So, what were some of your Stacy: I have records. We put out a Mark: And that continued in high favorite academic subjects? single and I do have it in MP3 form, school? but we recorded analog to vinyl Stacy: My favorite academic classes because I collect records. I still collect Stacy: Yes, I never stopped making art. were English and Math. I took many records. I think they sound better so I had a really good art program in high English classes during college. I had I’m kind of that side of an audiophile.

Issue 32 page 10 ©2015 Golden Artist Colors, Inc. Mark: So then after that time playing Stacy: When I realized the company Stacy: Absolutely. It seems everybody music, tell me what happened next. was here I actively sought out that I’ve spoken to who works at employment and it didn’t matter to this company who is an artist has Stacy: Well, I moved back to New me how I got into the company. I experienced changes in their artwork York and I started to get back into had been using GOLDEN paints since working here and mine already painting. I paint very large so it’s throughout the years. I think they’re has changed. difficult living in a 350-square- amazing and just the fact that I could foot apartment. To paint large it’s get involved with this company was Mark: Could you say in what ways it impossible, so I wound up finding just an amazing thought to me. might have changed? spaces to do it and I also decided to take continuing education classes at Mark: Great. Is there any project work Stacy: The biggest change has been Cooper Union so I could have a place that you helped with when you joined with the addition of Mediums to paint. From there, I also started the technical group that was the most and Additives. As beautiful as the taking pottery classes in Brooklyn so exciting or exhilarating for you? GOLDEN display is in the art store, that I could use their studio to do that when it came to Mediums and as well. Stacy: They’re all exciting. My position Additives, they are white products in Technical Support and Applications in white jars and to me that was Mark: So all during that time in New is amazing because I get to do all of really confusing. Now that I’ve been York you were going back and forth these things I’ve never done before introduced to them and can see between painting and ceramics. and learn the Lab side of it as well what they can do, I’ve started using as the pure artist application side of them in my painting. I’m obsessed Stacy: Yes, I was doing them both at it. I get to experience products that I with Interference Colors and adding the same time. I still do them both may never have used had I just been mediums and textures to my work has at the same time. I switch off now painting on my own, especially all changed it drastically. between the two and it’s nice to take of the Mediums and Additives. I get that physical break from doing one to the opportunity to get my hands in Mark: Thank you Stacy. We’re thrilled the other. all these products and try and learn to be able to introduce you in this every aspect about them, so that I can issue and to share your story with our Mark: And your preferred medium in help other people use them. It’s an customers! painting? incredible opportunity. Stacy: Acrylic. It has been for the past Mark: Stacy, that’s one of the things 20 plus years I have been working in To learn more about I’ve seen with some of the working acrylic paints. Stacy Brock and her artists and the folks working in the artwork, visit her website: Mark: And why? technical group is that in ways that www.stacybrock.com you’d never imagine, your work here Stacy: I like the immediacy of it. I actually influences your painting career. absolutely can’t stand waiting for a mistake to dry for days and having to look at it or having the color get muddy because you can’t just go and paint on top of oils. Acrylics are immediate. Twenty minutes and they’re dry and I can rework a section, I like how fast it is and I like using water as a medium. Mark: And so during that time you were a full-time artist? Stacy: No. I had other full-time jobs, but making art in any spare moment or space is what I focused on. I have to make art. I always have to make art. I don’t care if no one ever sees it. I still have to make it. I’ve always felt that way. Mark: So let me ask you what brought you to Golden Artist Colors in New Berlin, New York?

Issue 32 page 11 ©2015 Golden Artist Colors, Inc. Loneliness, Porcelain, 12” x 1” Somewhere Beyond the Sea By Amy McKinnon is always enrobed in sacré bleu. At the materials used for manufacture include time, Ultramarine Blue was not simply anhydrous sodium sulfate or carbonate, Ultramarine Blue stands, and part of the artists’ palette due to its china clay, fine sand and sulfur. The has stood for a while, in fact for price but was ordered by the patron ingredients must be iron free and pure years, decades, centuries, as a pillar when the painting was commissioned. to facilitate the process and color. The unbroken, unmovable, not fazed by This could account for Mary missing ingredients are heated for hours in its position or status. Ultramarine in some unfinished paintings. crucibles in an air free environment Blue has enjoyed a prominent Ultramarine Blue has been found in producing a green color. It is then position in palettes that span from Chinese paintings, Persian miniatures, ground, washed and reheated to reveal sixth and seventh century A.D. into Indian murals, Italian religious panels its blue color. Different processes for the contemporary palette of our to illuminated manuscripts. production exist that alter time and new QoR® Watercolor line. Such Once extracted from the earth, temperature to yield color with one ubiquity can go unnoticed and can Lapis Lazuli was ground and mixed heating. The ratios and grades of silica feel commonplace when it exists in with molten wax, resins and oils, and sulfur directly affect the reactivity every palette although when eyes are wrapped in a cloth and kneaded under of Ultramarine Blue with acids. cast upon its full watercolor tone lye which released blue particles that Ultramarine Blue particles that are the mind travels to deep seas, the separated themselves from the rest of large in size will yield a deeper blue sky before dawn and ancient tombs. the mixture. Unfortunately, simply color, smaller particles will offer greater Watercolor, due to its dry finish, grinding the mineral yielded a pale, tinting strength. The pigment particles delivers Ultramarine Blue in a way almost colorless pigment. are a round, regular shape and size as that keeps the color as lively as the dry What we use today, what we call opposed to natural Lapis Lazuli which pigment and does not darken or dull Ultramarine Blue is chemically similar is much larger, irregular and more its brilliance. The first known use of to Lapis Lazuli. Initially discovered by transparent. Synthetic Ultramarine Ultramarine Blue was in wall paintings Goethe as blue deposits on the walls of Blue particles appear opaque although in the cave temples at Bamiyan the lime kilns near Palermo, Italy and the refractive index of the natural and in Afghanistan and adorned the again years later by Tassert in the soda synthetic do not differ greatly. backgrounds of the painted buddhas. kilns of a glass factory in Saint Gobin, Ultramarine Blue has excellent These paintings were geographically France, a chemical analysis revealed lightfastness, although exposure very close to Sar-e-sang, the area where great similarities and spawned a to acids (especially sulfur dioxide the blue veins of the mineral, Lapis contest for a synthetic and inexpensive and acidic fumes of urban areas) Lazuli, were extracted. Ultramarine Blue. In 1928 the causes Ultramarine Blue to fade and The color itself, its preciousness, monetary prize was awarded to Guimet therefore, its use in exterior murals rarity and brilliance directly assigned who perfected making the pigment for should be avoided. Its transparency the rank of religious characters in 400 francs per pound as opposed to and matte sheen parade its depth religious themed paintings. During the the 3,000-5,000 francs per pound that of color and richness into palettes Renaissance the colors that were most genuine Lapis Lazuli commanded. the world over. It has on countless difficult to extract, obtain and the Ultramarine Blue is a polysulfide occasions mixed beautifully with others most expensive were at that particular of sodium-alumino-silicate. Its to expand ones palette exponentially, time reserved for the most revered. It ingredients are sodium, aluminum, becoming a necessity in its ubiquity is for this reason that the Virgin Mary sulfur and silicon dioxide and the under and within every sky.

Issue 32 page 12 ©2015 Golden Artist Colors, Inc. QoR ® Watercolor Questions: Labeling and Lightfastness Ratings By Sarah Sands one for watercolors, and vice versa. repeatable. Because of that, these Furthermore, the only way to add private, alternative ratings can mean so Watercolorists are particularly a color to a list is to put it through many things that without knowing the sensitive to issues of lightfastness, all the testing specified by ASTM, specific tests that were done, and the and for good reason. Even when including both prolonged outdoor exact procedures followed, it is hard to framed behind glass, watercolors are and accelerated indoor exposures. say how accurate they are. As tempting still vulnerable to fading because the Once completed, those results are as it is to go that route, we feel that pigments are very exposed to UV submitted to the committee and if working through the more rigorous radiation and often used in dilute approved the color can be included on ASTM methods is a better solution and delicate washes. Since launching the list and its ASTM rating placed and provides the assurance that the QoR we have received many questions on a label. From start to finish this ratings are backed by a scientifically on why some of our colors have a process usually takes several years, and accepted standard that is available to Lighfastness rating of NA, meaning sadly no watercolor manufacturer we anyone to read and verify. Not Applicable, even while the large are aware of has stepped forward to We hope this helps explain the majority have an ASTM Lightfastenss update and expand that list in recent reasons why some of our QoR paints of I and just a handful have a II. There memory. As a result, many pigments currently have no lightfastness rating. have also been questions on why other with long histories in oils and acrylics As always, if you have any concerns or companies might show a Lightfastness are still not included and until that questions about the lightfastness of or Permanency rating for an identical changes, we must list them as unrated any of our colors, contact us at pigment that we mark as NA. We when used in watercolors. That is the 607-847-6154 / 800-959-6543 wanted to be able to address these short term situation. Longer term, we or email [email protected]. concerns directly with you. have started a very large project to have The American Society for Testing all of the colors that we list as NA go and Materials (ASTM) creates through the necessary ASTM testing technical standards that are followed and be submitted to the committee worldwide in all industries and for approval in early 2016. Once that their “Standard Test Methods for work is completed we will finally be Lightfastness of Colorants Used in able to revise our colorcharts and labels Artists’ Materials” (D 4303) is by to reflect those official ASTM ratings. far the most widely accepted and We also want to comment on the scientifically backed testing procedure use of either a separate “permanency” currently in place for evaluating how or lightfastness rating not backed durable a pigment might be. Because by ASTM. While companies will of this, we feel strongly that companies sometimes use these to supplement should adhere to this standard or even substitute for an accepted whenever reporting the lightfastness of ASTM rating, it is important to their materials. realize that only ASTM Standards are ASTM Standards for oil, acrylic, peer reviewed by a broad group of and watercolor each maintains a manufacturers, scientists, and other completely separate list of pigments consultants and experts in the field, rated for that specific medium. So and only approved and published a pigment listed for oils or acrylics after substantial testing can confirm Shown above are lightfastness ratings as they will not necessarily appear on the that the results are reliable and currently appear on product packaging. Issue 32 page 13 ©2015 Golden Artist Colors, Inc. Will Cadmium Colors Always be on the Palette? (PART 2)

By Ben Gavett from use (i.e. banned) or nominated “there are no alternatives that match for authorization for only limited uses. all of the characteristics of cadmium In our original article, which It is ECHA’s mission to then opine to pigments” and expounded on this in appeared in Just Paint Issue 4 the European Commission whether to detail. We also reported that cadmium (October 1996), we discussed the restrict or authorize chemicals upon colors comprise between 5 and 6% changing regulatory landscape careful consideration of their risk of total acrylic sales (slightly higher concerning cadmium pigments, the versus their socio-economic benefit. in oils) and that this proportion has potential for restrictions on their use remained relatively unchanged for in artist paints, and the suitability the past 20 years. In their submitted of potential alternative pigments. In proposal, KEMI concluded that this article we describe the process alternative reds, orange and yellows and results of an attempt to ban exist, but that they could not be considered identical and that, should cadmium in artist colors in Europe, the proposal for a ban succeed, the the reasoning behind it, and the individual user would need to search response from both within the artist for a solution that suits their process. community and by those responsible They acknowledged that a ban would for determining whether the ban be considered technologically feasible would be implemented. by some artists, but not by others. KEMI based its opinion that risks The countries of the European outweigh benefits due to the statistical Union have instituted an impressive Cadmium pigments for use in artist potential for adverse health effects framework of regulations to protect paints came under this scrutiny in resulting from the dietary intake of their citizens from the exposures December 2013 when KEMI, the cadmium released during cleanup presented by the manufacture and Swedish Chemicals Agency, submitted activities associated with painting. use of consumer chemical products. a proposal to ECHA that cadmium Most of the population in Europe is This system is known as REACH, and its compounds should be restricted connected to public sewage treatment. which stands for the “Registration, from artist paints. So long as such a When chemicals are washed down Evaluation, Authorization and proposal meets regulatory standards the drain, they travel to the sewage Restriction of Chemicals”. REACH of completeness, it must be seriously treatment plant and encounter requires that each chemical considered by the Agency. This fates specific to their physical state manufactured within or imported process of consideration involves two and resistance to environmental into the EU above minimum separate committees within ECHA. degradation. Solids, such as cadmium quantities must be registered with It is the task of the Committee for pigments, are collected in sludge, the European Chemicals Agency Risk Assessment (RAC) to summarize which is then commonly spread (ECHA). This requirement applies the risk to human health and the on agricultural land as fertilizer for to individual chemicals, rather environment of the chemical in the growing of crops. In the soil, than to entire “preparations”. For question and make a recommendation cadmium pigments break down and example, the Propylene Glycol in as to whether the proposed restriction the cadmium ion becomes available GOLDEN Acrylics is a chemical, is effective and necessary. The (along with naturally occurring and while GOLDEN Heavy Body Acrylic Committee for Socio-economic Analysis other sources of cadmium) for uptake paint is a preparation. The registration (SEAC) is tasked with evaluating the into the growing crops and food process includes requirements that economic and societal impact. system. KEMI’s proposal estimated the environmental impact and health that 5% of paint used by artists goes effects of the chemical be evaluated. KEMI contacted us during the development of their proposal and down the drain and banning it would If incomplete information for a eliminate 0.0081% of individuals’ particular chemical exists, then the asked for comments regarding the feasibility and availability of organic dietary cadmium intake. They contend manufacturers and importers of that that this modest reduction would chemical are collectively responsible for alternatives to cadmium pigments, artists’ opinions on the acceptability ultimately (after 150 years) result in 60 obtaining the missing data. From this fewer bone fractures and 16 fewer cases basis, chemicals of particular concern of alternatives, and the proportion of the market comprised of cadmium- of breast cancer annually across the can be nominated by member states European Union. (individual countries) for restriction pigmented colors. We replied that

Issue 32 page 14 ©2015 Golden Artist Colors, Inc. brushes prior to washing, evaporating wash water, removal of wash water to household hazardous waste drop- off sites and treating the water in order to remove pigment prior to disposal (see Just Paint Issue 3). Every individual comment was forwarded to ECHA, along with a summary of the survey results. In its written opinion, ECHA’s RAC acknowledged this effort as a contribution of “meaningful information to the public consultation”. After careful consideration, the conclusion of both committees is that “the proposed restriction is not justified” due to the negligible risk it addresses. The final steps in the process are an additional SEAC comment period and report followed with a final decision by European Parliament, which we anticipate will follow the committee recommendations. In our opinion, this attention to the subject of cadmium pigments only serves to underscore, rather than diminish the importance of their safe handling and use by the artist. We continue to advise that cadmium colors are not for use by children, should not be spray applied or sanded, and unless one is properly protected from exposure and in a non-household setting, use of dry cadmium pigment should be avoided. We wish to thank everyone who For a detailed description of how to remove water-based paint solids from rinse water, refer to Just participated in the survey. We Paint Issue 3 at JustPaint.org. were impressed with the number of responses and pleased to offer After KEMI’s proposal was accepted survey responses. While opinions were the data to ECHA which attests to for consideration by ECHA, the mixed regarding the suitability of your collective effort to minimize next step in the process was their other pigments to replace cadmiums, environmental impact. solicitation of comments regarding the the vast majority of those responding proposed ban and the assumptions that commented that cadmium pigments formed its basis. With this came the are unparalleled in their combination opportunity for us to become a conduit of characteristics; notably excellent for artists to provide information and tinting strength, lightfastness, and other feedback to ECHA. A survey opacity, earthy mixing characteristics was created (designed with a neutral and intense chroma. While in the voice) to solicit feedback around two minority, some artists replied they did themes of the restriction proposal: not need cadmiums in their work and whether there are suitable substitutes if a ban made the world a safer place, for cadmium pigments in fine art and they would support it. The survey to what extent artists avoid washing also revealed that the vast majority of cadmium down the drain. The survey artists avoid letting cadmium enter was circulated via direct email (artists the waste water system, which calls were also encouraged to visit the into question the 5% assumption ECHA website and submit comments discussed above. Waste minimization directly). We received over 1,500 practices reported included dry wiping

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Issue 32 February 2015 Articles: Mark Golden, Sarah Sands, Kevin Greeland, Ulysses Jackson, Amy McKinnon, Ben Gavett, Emma Golden Editor: Jodi O’Dell Publisher: Golden Artist Colors, Inc. 188 Bell Road, New Berlin, NY 13411-3616 607-847-6154 800-959-6543 Fax: 607-847-6767 Email: [email protected] Web: goldenpaints.com WilliamsburgOils.com QoRcolors.com

© 2015 Golden Artist Colors, Inc. All rights reserved. The contents of this publication may not be reproduced either in whole, or in part, without the consent of Golden Artist Colors, Inc. Golden Artist Colors is an Employee Owned Company.

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for a catalog. a for Golden Artist Colors, 188 Bell Rd, Rd, Bell 188 Colors, Artist Golden

Email [email protected] [email protected] Email and Adele Golden Gallery (located at at (located Gallery Golden Adele and

on April 11th. 11th. April on we will open our doors at the Sam Sam the at doors our open will we

theSAGG.org following the Opening Opening the following theSAGG.org On April 11th from 4:30-6:30 pm pm 4:30-6:30 from 11th April On

The virtual gallery will be available at at available be will gallery virtual The careers of these gifted painters. painters. gifted these of careers

websites, go to goldenfoundation.org. goldenfoundation.org. to go websites, of materials as well as celebrating the the celebrating as well as materials of

For a list of 2014 Artist in Residence Residence in Artist 2014 of list a For Exhibition focuses on the exploration exploration the on focuses Exhibition

continues to rise. rise. to continues New Berlin, N.Y. The ‘Made In Paint’ Paint’ In ‘Made The N.Y. Berlin, New

year as the number of applications applications of number the as year ‘Made In Paint’ Exhibition here in in here Exhibition Paint’ In ‘Made

process has become more difficult each each difficult more become has process are also preparing for the 3rd annual annual 3rd the for preparing also are

based on their portfolio of work. This This work. of portfolio their on based our first group of artists for 2015, we we 2015, for artists of group first our

artists who were chosen for a residency residency a for chosen were who artists Residency Program. As we welcome welcome we As Program. Residency

highlight the work of these selected selected these of work the highlight 4th year of the Golden Foundation Foundation Golden the of year 4th

The 2015 ‘Made In Paint’ show will will show Paint’ In ‘Made 2015 The This March we will embark on our our on embark will we March This

exploration in materials. materials. in exploration

By Emma Golden Emma By processes, talent and hunger for for hunger and talent processes,

who wowed us with their unique unique their with us wowed who

from Ireland to Canada to the U.S., U.S., the to Canada to Ireland from

2014 flew by with a roster of artists artists of roster a with by flew 2014

manufacturing facility. manufacturing

road from the Golden Artist Colors Colors Artist Golden the from road

at the Barn, located just down the the down just located Barn, the at

and experimenting with materials materials with experimenting and

the world spent one month painting painting month one spent world the

extraordinary artists from around around from artists extraordinary

2014 Residency season. These These season. Residency 2014

of the 18 selected artists from the the from artists selected 18 the of New Berlin, NY) for the exhibition exhibition the for NY) Berlin, New