Qor® Lightfastness Testing Update Beauty and the Best

JUST PAINTPublished by Golden Artist Colors, Inc. / Issue 33

CONTROL EXPOSED CONTROL EXPOSED From Mark Golden

We’ve just passed several milestones Tint Tint here at GOLDEN. In June we celebrated our 35th year in business and Barbara and I, our 40th wedding anniversary. Both events began on

my folks’ farm and the home of Masstone Masstone Golden Artist Colors. This year also marks some wonderful beginnings. Montserrat Orange Persian Rose ® QoR Watercolor has had an exciting CONTROL EXPOSED CONTROL EXPOSED inaugural year and we’re delighted to share lightfast testing results of these materials. Sarah Sands has summarized Tint Tint the massive undertaking required to assure artists that these materials will stand up to their expectations of a professional watercolor. While completing evaluations for QoR we Masstone Masstone also revisited some Williamsburg colors. Jaune Brilliant Sap Green Again, Sarah shares insights and necessary Test panels showing outdoor exposure results compared to unexposed controls. Jaune Brilliant showed changes to assure artists these materials little change and its formula will remain the same. Other blends will be changing and made with meet the highest quality standards. ASTM 1 rated pigments. Many of you worked with Amy McKinnon, a talented Materials Beauty and the Best: Wrestling with Specialist. Although Amy left GOLDEN to begin a new venture, she Changes in Williamsburg contributed to two articles: the allure of umber pigments and safe use of oils, By Sarah Sands not the sole answer. Before swapping in with and without solvent. new alternatives you have to ask if the For those who wanted a less technical Changes are difficult. As much as you trade-offs are worth the trade. And so entry into the many products and want decisions to be based on facts with all of that in mind, we want to walk resources of GOLDEN, Patti Brady, our and facts alone, there is still a wrestling you through changes that will be taking Working Artist Program Director has that can happen. Paints, and especially place that we hope will make the line provided a quick review of the endless color, escape being easily tied down to more solid, while leaving in place certain creative opportunities offered by our just quantifiable clean choices. Rather, colors that we deemed irreplaceable new A - Z Acrylics set. one can be caught having to choose with any other combination of more We are delighted to announce the between love and lightfastness, between September opening of Judith Linhares, permanent pigments. beauty and the best. Which do you side Continued on next page ‘Flora and Fauna’ at the SAGG. with and when? We want our paintings Judith, an artist “with an uncommon ® vision”, was a longtime friend of the late to last, but also to dazzle and seduce. QoR Lightfastness Carl Plansky. And after all, the choices are often not I am honored to introduce our newest about whether changes in color will Testing Update Materials Specialist, Dr. Cathy Jennings. occur, but at what rate: a long almost She is an amazing watercolorist and imperceptible shift that slowly takes By Sarah Sands teacher, providing the perfect addition place over centuries, or a brighter blaze In the last issue of Just Paint we to our Materials group. that entrances but fades a bit faster or discussed why some QoR Watercolors We are also celebrating our second a bit more? And the choices are even had a Lightfastness rating of NA, or year working with the Alliance for harder when that seductive color is Not Applicable, while most carried the Young Artists & Writers. We have unique; when it comes down to either been supporting the awards program familiar ASTM Lightfastness ratings this or nothing else like it. for the students, which received over of I and II. Essentially this came about 300,000 submissions of art and writing, So that is where we have found because some of the pigments being used as well as recognizing teachers for their ourselves. Stewards of Williamsburg’s at that point were not currently rated outstanding mentorship. This year legacy and responsible for walking that by the American Society for Testing we offered residencies for 3 teachers line, we know that coming at these and Materials (ASTM) although all of advancing their own painting practice. choices with just spectrophotometer Mark them were in the process of finishing up readings and lightfastness test results is Continued on page 5 Issue 33 page 1 ©2015 Golden Artist Colors, Inc. Lightfastness Ratings Based on ASTM D4303 Colors Currently Remaining ‘NA’ ASTM Assigned Units of change GOLDEN Assigned Color Pigment(s) LF Rating Notes (Delta E) after exposure Pigment being tested 2 Cobalt Green PG 26 NA to 1260 MJ/m total solar for first time. Results radiation. expected early 2016. (3 months South Florida / SF Cobalt Violet Light PV 49 NA PV 49 performed well 410 hours Xenon) in linseed oil. Testing of safflower version I 0-4 Excellent to be completed in II 4-8 Good early 2016. French Ardoise Grey PBk 19 NA Other versions of III 8-16 Fair PBk 19 and NBr 8 French Cassel Earth NBr 8, PBr 7 NA Table 1 being used have performed well. Testing of these Origin of the NA’s that are still in particular sources to the process of be completed in early Embedded for seemingly forever within completing even 2016. the Williamsburg line has been a list of these initial tests, All Interference and Mica-Based with NA Nature of pigments some 23 colors that have a lightfastness does not allow for as well as all the Iridescent Colors Titanium White rating of “NA”, or Not Applicable, and/or Iron Oxide lightfastness ratings Iridescent and based on ASTM because one or more pigments in their Coatings Interference D4303. formulation has never gone through colors, (Table 2) Table 2 official lightfastness testing based on where the nature of ASTM D4303, which still remains the the pigment does not allow us to take very stable and we would certainly retest only recognized standard for assessing spectrophotometer readings, nor to should that change. In fact, the French lightfastness for art materials. And that cast them as tints with Titanium White Cassel Earth listed in Table 2, ‘Colors is something we have wanted to remedy without masking them. Currently Remaining NA’, is an example as obviously NA provides you with very of this. Although also designated as little guidance in terms of permanency. Colors Assigned a GOLDEN NBr 8, and so chemically similar, we felt So, almost two years ago, we started Lightfastness Rating it was critical to test it separately because preparing samples to be put through all it originates from a different supplier, the required procedures. As initial results Representing by far the largest group, each of these colors uses one of nine even though ASTM allows you to submit have filtered in, however, it became clear a pigment from one source and have that that we needed to begin making some pigments that are currently unrated by ASTM: Naphthol AS (PR 187), rating used for the pigment in general; an immediate choices and changes while inherent weakness in the current ASTM we still waited for the last rounds of Cobalt Ammonium Phosphate (PV 49), Diketopyrrole-Pyrrole (PO 73), system that we eventually hope testing to start this Fall. Once everything to address. is finished, the final results will be Powdered Slate (PBk 19), Chrome assembled and formally submitted to Antimony Titanate (PBr 24), Diarylide All of which brings us to the last three ASTM sometime early next year. Yellow (PY 83), Quinacridone (PR 206), colors: Alizarin Orange, Alizarin Yellow Bituminous Earth (Natural Brown 8 and Indian Yellow. Unfortunately the A New Lightfastness Rating to [NBr 8]) and PW 5, a complex co- pigment at the center of these, a type Replace Most NA Ratings precipitate of barium sulfate and zinc of Diarylide Yellow, comes in various sulfide. Ten of the colors, from Carl’s While we believe every pigment forms that all share the same Color Index Crimson to Slate Black (Table 3), used in artists’ paints, with a few Name of PY 83. As you can imagine, performed exceptionally well in ASTM exceptions, should carry an official ASTM this can lead to some confusion when D4303 testing, earning a GOLDEN Lightfastness rating based on D4303, the assigning a rating. The opaque version, Lightfastness (LF) rating of Excellent. testing and approval process for newer or which carries the additional designation Please note that a new blend is also unlisted pigments can easily take a couple ‘HR-70’ in its chemical description, being introduced for Quinacridone of years or more. However, during this has excellent lightfastness and is on the Gold Brown using PO 48, an ASTM period we have often completed our own ASTM list of rated pigments. However, rated Quinacridone Gold, in place of the testing ahead of time, following the same our testing showed that the transparent previous PY 83. While both mixtures protocols for exposing prepared tints to 3 version Williamsburg had chosen could earned a GOLDEN LF of Excellent, months outdoors in South Florida, as well only be rated as Fair, or the equivalent to removing PY 83 should further increase as 410 hours of accelerated Xenon, with ASTM III. And here lies the crux of our its durability and allow it to eventually total irradiance in both cases equalling quandary. These three colors have had conform to an official ASTM I rating. the prescribed level of 1260 MJ/m2. exceptionally long and beloved histories Because of this, we felt it was possible Coming after this first block of colors, within the Williamsburg brand, going and important to create an interim our genuine Van Dyke Brown (NBr 8) back to its earliest days. Many painters rating system that was still based on well also did well, achieving a GOLDEN LF who have used Williamsburg throughout understood and available standards. So rating of Good, thus equal to an ASTM these decades are passionately connected we are pleased to introduce the scale seen II. This is better than often assumed to their uniqueness, so a sudden change in Table 1, which you will find replacing for this color, where historical research would be felt as particularly disruptive. nearly all the current NA ratings. points to its performance as dependent And as if to confirm that, when searching on sourcing and composition. Luckily for an alternative pigment we could use, The only exceptions include four colors our supply for this pigment has been we simply could not find anything with Issue 33 page 2 ©2015 Golden Artist Colors, Inc. Colors Assigned a GOLDEN Lightfastness Rating Alizarin Crimson vs Indian Yellow and Blends Color Pigment(s) GOLDEN LF ASTM Equivalent Color Pigment(s) South Florida Xenon Rating Alizarin Crimson PR 83 13.72 12.26 Carl's Crimson PR 187 Excellent I Indian Yellow PY 83 9.92 10.38 Cobalt Violet Light PV 49 Excellent I Alizarin Yellow PY 42, PY 83 8.63 6.92 Cyprus Orange PY 42, PO 73 Excellent I Alizarin Orange PR 177, PY 83 8.09 5.53 Davy's Grey Deep PBk 19 Excellent I Table 4 Jaune Brilliant PW 6, PW 4, PY Excellent I 42, PY 74, PO 73 Colors Changing to ASTM Rated Blends Naples Yellow PW 6, PBr 24, Excellent I Italian PY 35 Color Original GOLDEN LF New Match ASTM LF Naples Yellow PW 6, PW 4, PY Excellent I Permanent PO 73, PY 83 Good PY 154, PR 112 I Orange Reddish 42, PO 73 Persian Rose PW 6, PW 4, Good PW 6, PW 4, I Quinacridone Gold PY 83, PR 206 Excellent I PO 73, PV 19 PR 112, PY Brown (New Blend 154, PV 19 PO 48, Montserrat PW 6, PW 4. Fair PW 6, PW 4, II PR 206) Orange PO 73, PY 83, PO 36, PY 154, SF Porcelain White PW 5 Excellent I PV 19 PV 19 Olive Green PY 83, PG 7, Fair PY 129, PY 42, I Slate Black PBk 19 Excellent I PR 101, PY 42 PG 36 Van Dyke Brown NBr 8, PBr 7 Good II Sap Green PY 42, PG 7, Fair PY 42, PY 129, II Alizarin Orange PR 177, PY 83 Fair III PY 83 PG 7 Alizarin Yellow PY 42, PY 83 Fair III GOLDEN LF: Excellent, Good, Fair / ASTM LF: I, II / RED: Non-ASTM Rated Pigment Indian Yellow PY 83 Fair III Table 5 BLUE = Pigment Awaiting ASTM Rating Table 3

the same brilliance, transparency, and look at the underlying data, comparing comparison can place the risks in a little glow. So a choice needed to be made: these to Alizarin Crimson, can perhaps more context and guide people in how dramatically change the look of these put some of the risks in context (Table and when they are used. And of course, colors, discontinue them, or keep them 4). Keeping in mind that the colors encourage those who do use these as part of our offerings but clearly label are being tested as tints mixed with pigments to keep their paintings away their lighfastness as Fair, a rating similar Titanium White to 40% reflectance,and from direct, bright light and to use a UV to Alizarin Crimson. so ostensibly at their most vulnerable, protective varnish to further mitigate Looking at Image 1 you can see that one can see that Indian Yellow performed and slow down any changes. measurably better than Alizarin Crimson, even the pigments that came closest to Colors Changing to ASTM matching PY 83 still lacked its distinct especially in the outdoor tests, while the qualities and presence, and so after a two colors that contain PY 83 performed Rated Blends long debate we have decided to make just over the ASTM II limit of 8 Delta This last category involves blends an exception in this instance and to Units of change in outdoor testing, where we were able to create a new side with beauty over the best. It’s not and actually below that cut-off in the match using only ASTM rated pigments ideal, but neither was the loss of what is accelerated Xenon. While certainly and in the process, improve the overall admittedly a unique color space. And a still a point of concern, hopefully this lightfastness. We undertook this with the full knowledge of the long histories PY 83 PY 139 PY 181 PY 139 PY 180 PY 151 for some of these blends, but also knowing that at several times in some of their histories, similar and often larger changes happened. Persian Rose and Montserrat Orange, for example, used MASSTONE to be based off of Cadmium Orange at one time, while Permanent Orange, Olive Green and Sap Green, have had to dodge the ever changing world of organic pigments that frequently get TINT discontinued or undergo a shift in Current Alternatives hue. We have done our best to craft Indian Yellow substitutions that should feel very Image 1: Selection of alternative pigments to our current Indian Yellow (PY 83). Even when close to what you currently use while masstones were close, the alternatives were usually much more opaque, or the tints revealed providing much greater lightfastness significant difference in undertone. in the process. What small trade off

Issue 33 page 3 ©2015 Golden Artist Colors, Inc. there might be, we felt, was worth it. At if you have any questions or concerns cherished colors, and the line as a whole, the same time, having test results that around these issues, please contact onto much firmer ground and making show three of the blends (Montserrat a Materials Specialist at 607-847-6154 the information shared on our labels and Orange, Olive Green, and Sap Green) as or via email at [email protected]. in our literature more accurate and in originally having a GOLDEN assigned line with our most current testing. And Lightfastness rating of Fair can be a From Sea Shifts to Firmer Footing the truth is that this work is not done. cause of concern for painters who have The changes we have discussed are The whole landscape of lightfastness used these colors both recently as well sweeping and broad in many respects, testing and ASTM Standards needs as extending much further back in the and none of it taken lightly. Many of revisiting, and a new framework needs past. There is no way to completely them will raise questions about how to be built from the ground up that can dismiss those concerns. Certainly the close particular matches will be, and offer the type of information artists so use of a UV protective varnish will help some will cause deep concerns around deeply want, based in a system they can mitigate or slow down any color shifts, lightfastness as we have mentioned rely on and trust. This is but a start in and we hope to look into that further in above. In the very long run, however, that direction. the coming months. In the meantime, the bigger story is the work of moving

Changes in Williamsburg Colors

OLD NEW OLD NEW OLD NEW

1:1 Tint

Masstone

Glaze

Permanent Orange Olive Green Quinacridone Gold Brown

OLD NEW OLD NEW OLD NEW

1:1 Tint

Masstone

Glaze

Sap Green Montserrat Orange Persian Rose

Color Color Index Name Average Delta ASTM of testing in acrylics and more recently, E of LF Tests Equivalent oils. As can be seen in Table I, the majority (10) of the 17 single pigment Cobalt Green PG 26 1.19 I colors showed excellent durability, Bismuth Vanadate Yellow PY 184 1.39 I achieving the equivalent of an ASTM Pyrrole Red Medium PR 254 1.43 I I rating, while another 5 achieved the equivalent of ASTM II. Two colors Permanent Scarlet PR 168 1.59 I of special note include Quinacridone Cobalt Teal PG 50 1.95 I Magenta (PR 122) and Dioxazine Diarylide Yellow PY 83 2.01 I Purple (PV 23), which ASTM had listed in an appendix to D5067, Standard Pyrrole Red Deep PR 264 2.20 I Specification for Artists’ Watercolor Quinacridone Burnt Orange PR 206 2.97 I Paints, as being Lightfastness III or III/IV respectively. However, all six Quinacridone Red Light PR 277 3.49 I samples of our Dioxazine came in as the Dioxazine Purple PV 23 3.65 I equivalent of ASTM I, while averaged Quinacridone Magenta PR 122 3.76 I results for Quinacridone Magenta were still within current ASTM I standards. Transparent Pyrrole Orange PO 71 4.63 II Because our ASTM D4303 tests differ Cobalt Violet PV 49 5.46 II so sharply with those previously reported Permanent Alizarin Crimson PR 177 5.71 II ratings, we’ve chosen to continue to list these two pigments as NA while Indanthrone Blue PB 60 6.03 II the matter is reviewed by the ASTM Green Gold PY 129 6.64 II Subcommittee. Hansa Yellow Medium PY 73 13.13 III Dioxazine Purple Blends When testing Dioxazine Purple we Olive Green PR 101, PY 184, PG 7 1.87 I included the same number of swatches from two major brands of watercolors, Quinacridone Crimson PR 122, PR 206 2.61 I prepared in the same way and Hookers Green PY 150, PB 60, PR 122 4.55 II undergoing the same procedures. As you Indian Yellow PY 73, PY 150, PR 206 9.56 III can see in Table II, both of those brands tested as the equivalent to ASTM III. Table 1: Averaged Delta E for 3 months outdoor Arizona and 410 hours accelerated Xenon. This sets up something of a quandary, Tested according to ASTM D4303. LF I: 4 or less / LF II: between 4-8 / LF III: between 8-16. which the ASTM Subcommittee will several rounds of tests that would allow want to share is simply the sheer scale need to wrestle with. Currently, as the them to be submitted for approval. We of the testing involved. Each color must system stands, we can submit our results are happy to finally be able to report be diluted with enough water to create and ask for the pigment to be reclassified those initial results with you. a very precisely measured pale wash as having an ASTM I rating. However, representing a 40% reflectance at the this would then allow any manufacturer In sharing this update, there are really to simply claim that higher rating two stories to convey. The bigger, and wavelength of maximum absorption. Nine samples of each color were then without having to ever test their specific in some ways more important one, is the formulation. Instead, they would only hope to expand the list of pigments rated created: three to be placed outdoors in Arizona, three for accelerated Xenon, and be required to look up the pigment on by the ASTM Standard for Watercolors the ASTM pigment table and report for the first time in nearly 20 years. three kept as controls. It should be noted that the Standard currently only requires that. However, the types of variations That process will begin in January 2016, that show up in actual tests, such as when we submit the final test results for two samples be exposed in each manner, but we increased it to three to make the ones with Dioxazine Purple, has 16 new pigments. Alongside that group led many artists to distrust the current we will also show results for two colors, the results as accurate as possible. Each sample was read by a spectrophotometer system. Because of that, we believe the Quinacridone Magenta and Dioxazine subcommittee should consider moving Purple, which were initially rated as in five places before and after exposure, or in the case of the three controls, to a formula-based system where each marginal back in the early to mid-90’s. manufacturer would have to have their However, both of them have proved to prior to being kept in storage. Taken together, the 17 single pigment colors specific formulations tested. This would be much more durable in all the current allow artists to know that an ASTM testing, at least within our own line of plus 4 blends generated a total of 1,575 spectrophotometer readings. Lightfastness rating on a particular QoR Watercolors. Hopefully these two color speaks to that formulation by examples will provide an opportunity Results that manufacturer, and not simply the for the subcommittee to create a system As the first sets of data have come in pigment in the abstract or based on to resolve these types of contradictory we have been incredibly pleased by the testing of one set of swatches from one ratings when they arise. performance of colors that feel central brand at one point in time. This is an The Tests to the palette of many artists, and which uphill road that will take time to achieve, have performed solidly for us in decades but we believe it will ultimately serve Another part of the broad overview we artists better and provide much more Issue 33 page 5 ©2015 Golden Artist Colors, Inc. OLD Hansa Yellow NEW Benzimidazolone OLD Indian Yellow NEW Indian Yellow Looking Ahead Medium (PY 73) Yellow (PY 154) (PY 73, PY 150, (PY 154, PY 150, We are delighted to finally be able to PR 206) PR 206) share these results with you, despite the disappointment around one of the pigments, and excited as well for the chance to ultimately share our results with the ASTM Subcommittee on Artists’ Paints and Other Materials. Working with members of that subcommittee and other partners in

Phthalo Green our industry, we hope to strengthen the standards for all watercolors going forward. However, because the process of getting these pigments officially approved can still take a year or more Ultramarine Blue even after being submitted, we felt it was important to have our labelling reflect as much information as possible during this period. Therefore, starting in January,

Quinacridone Red Light we will implement the same guidelines that will be used by our Williamsburg Handmade Oil Colors, which we share elsewhere in this current issue: namely,

Quinacridone Magenta colors that are currently listed as NA but which tested as the equivalent of Image I: The top row shows the older discontinued colors alongside their new replacements. ASTM Lightfastness I will be given an These were then mixed with the colors on the left to create a few typical blends in order to show some of the differences one might see on the palette. interim rating of Excellent, while those testing as ASTM II will be assigned a confidence in the value and validity of transparent as the Hansa Yellow Medium lightfastness rating of Good. Once the ASTM Lightfastness Tests throughout it replaces, so it will also create clearly ASTM approval process is complete, we our industry. different mixtures when blending. The will then do a final update to reflect the official ASTM Lightfastness ratings. And Hansa Yellow Medium same is also true for Indian Yellow (although to a lesser extent), which finally, while we will be making these The one color that was not in line has been reformulated with the new changes in January, keep in mind that it with our expectations, especially given Benzimidazolone Yellow in place of the can take several months for new labels to its extremely long history as a reliable older Hansa Yellow Medium (Image I). make their way onto store shelves, as well color in both oils and acrylics, was If you have purchased either of these as be reflected in our printed color charts Hansa Yellow Medium (PY 73). In this earlier colors and have questions or and other marketing materials. If you case, both the accelerated Xenon and concerns, please contact one of our have any questions during this period outdoor tests in Arizona clearly showed Materials and Applications Specialists by please go to our website, QoRcolors.com it was an ASTM III. Because of these either phone 607-847-6154 or email at for the most up to date information, or unexpected results, we have decided [email protected]. simply contact us directly and we will be to discontinue this color and replace happy to help. it with Benzimidazolone Yellow, PY 154, which has an excellent reputation QoR Brand A Brand B for lightfastness and carries an ASTM I Dioxazine rating in watercolors. While providing Purple a more durable choice in a similar color PV 23 Unexposed space, it is definitely cooler and not as ASTM Standards for Control Watercolor list Dioxazine Purple (PV 23) Red Shades of PV 23 as Lightfastness III, Fair, Color Index Avg. Delta E ASTM and Blue Shades Name QoR Equivalent as IV, Poor. However, Outdoor QoR 3.60 I QoR’s version, which is Arizona a bluer shade, tested as 3 months Brand A 8.76 III the equivalent Brand B 14.54 III of a very strong ASTM I, Excellent. Table II: Dioxazine Purple. Averaged Delta E for 3 months outdoor Arizona and 410 hours Accelerated accelerated Xenon. Tested according to Xenon ASTM D4303. LF I: 4 or less / LF II: between 410 hours 4 and 8 / LF III: between 8 and 16. Test swatches for different brands of Dioxazine Violet, PV 23.

The name Umber comes from the Like other natural earths, Umbers Italian, Terra d’Ombra. Although it is can inspire a passionate following of In the often suggested that the color derives artists who are true connoisseurs of its name from a mountainous region in all the subtleties that different regions Italy, Umbria, it is more likely derived and locations will provide. Within Shadows from the Italian word for shadow, our lines of paints, we work with eight By Technical Services ombra, in reference to their natural Umbers sourced from Italy, France, From the earliest times, the darkest darkness and depth. Cyprus, and the U.S. Some of the most shades of natural brown earths, known In terms of composition, Umbers valued umbers come from the Troodos as Umbers, have been a part of the contain oxides and hydroxides of iron Mountains in Cyprus, where the deposits artists’ palette. Ranging in tones from the and manganese; the manganese, in were formed by the weathering of greener Raw Umbers, which produce a particular, separating them from other volcanic pillow lavas that contain iron range of neutrals when mixed with white, iron oxides like the Ochres and Siennas. and manganese. The highest levels of to the warmer, dark chocolate notes Umbers tend to be quite variable manganese (up to 12%) are found in the of Burnt Umbers, which create tans in the exact proportions of iron to Cypriot Umber, while lesser amounts (5%-11%) are in the other regions. and tawny beiges in tints. While rarely manganese, which gives rise to all the mentioned in documents on western subtle differences in color and behavior Endnotes painting before the end of the 16th that artists prize and seek. While on century1 , the Umbers decidedly took a microscopic level the two types of 1 The first mention of umber was center stage during the Baroque, where Umbers might be similar, the process of in 16th century Italian treatises. It was they played a major role in paintings by roasting, or calcining, the Raw Umber at unique at the time because the other Caravaggio, Rubens, Rembrandt, and very high temperatures in the presence of browns available were transparent and Van Dyck. Relied on for developing oxygen changes the iron hydroxides into organic (from asphaltum and mummia). deep darks and rich browns, they cluster iron oxides (iron III oxide). The result is In the early 17th century there is near the neutral center of most color a much warmer, reddish brown. Umbers mention of calcining the umber before wheels, the more muted cousins of the are very permanent with excellent use, hence Burnt Umber. Although the prismatic reds and oranges that range stability to light, moisture, and alkali and name did not exist, there are iron oxide above. And while they have a long and dilute acids, making them a good choice and manganese pigments found in the storied history, they continue to be seen for exterior usage. In oil paints, the tomb of Nefertiti, Pompeii, 6th century as essential in every medium, including manganese content of Raw Umber has a Korean Tombs, Japanese tombs, and watercolors, oils, acrylics, and pastels. siccative effect, making the Raw Umber medieval English wall paintings. an effective drier.

Issue 33 page 7 ©2015 Golden Artist Colors, Inc. Mark: That makes a lot of sense – your rather abstract, multi-syllabic explanations writing is wonderful… so I imagined that for what they were doing, and people still there must have been other interests in do that. Sometimes I have a very hard school in addition to the arts as you were time making a connection between the growing up. When you finished high verbiage that is the artist, the art world, school did you go onto college specifically the “art”, and the actual painting that is to pursue an arts program? being presented for contemplation. When Cathy: No, I considered going into an the verbiage is only loosely linked to the arts program, but I have a general love of painting, the words can easily eclipse the learning and a broad interest in learning object in importance. And for me, painting about a variety of things. Art schools tend is at heart visual and any words should only to be a little more focused. I wanted to support, not circumscribe. And so when I attend a liberal arts college where I could say I’m a painter, I’m sort of stepping back major in studio art, but still take history, from all of that and reasserting my interest literature, science, etcetera, as I wished. in the paint and in the processes and craft of painting. I am also very much influenced by my surroundings. As I was looking at schools, Mark: I think that’s what makes you such I fell in love with the campus of Smith a great support here for artists who are College, and that’s where I ended up going struggling just with the craft of making and majoring in Studio Art. a painting. Mark: While there, was there any We’re not in the exercise of having to particular college faculty or mentors that create a verbal dialogue or battle about defending any one way of making a

©Cathy Jennings,1997 ©Cathy greatly influenced you? painting, other than the craft of making a Winter Harbor, Rowboats at Sunset Cathy: Not one in particular. The overall painting and those things that stop people (Series: Maine, Winter Harbor and Schoodic atmosphere and supportive learning from being successful in that – the craft Peninsula), transparent watercolor on cold environment was a wonderful experience in of doing their art. So, I think it’s a great pressed watercolor paper, 26 3/4” x 17 5/8” every way. connection to what we do and why you’re Mark: What was your next step after so good at doing what you do. college? Cathy Jennings: So, let’s switch gears a bit. Is there a way Cathy: I enrolled in the Graduate that you begin your work? Is it by taking Up Close School of Fine Arts at the University of photographs or is it about being out in Mark Golden: Cathy, how did you get Pennsylvania because I knew I wanted nature, doing sketches? Tell me something started making art? to be a landscape painter. At that time, about the creative process of how you Cathy Jennings: I don’t remember a Neil Welliver was in charge of their get started. painting program and he was a landscape time when I wasn’t making images of what Cathy: I’ve been a landscape painter for painter. It was the mid-’80s, and at I see in the world and that seamlessly grew decades and I developed a process where that time, representational painting into drawing and painting. I create a series of works about a certain was not necessarily being encouraged place. I go to that location and spend as Mark: Who were the mentors in your in some academic settings. Finding a much time in it as I can, and while I’m life that guided you in that way – parents, program where I could pursue not just there, I create watercolors, draw, take notes teachers? representational painting, but landscape and fill my sketchbook. I use a camera in a Cathy: My parents were teachers and were painting, without fighting for it, was sense as a second sketchbook. always supportive and encouraged me. My important to me. I studied oil painting Mom taught at a public school working and printmaking. Everything I experience on location then comes back to the studio, and forms with children who had learning disabilities Mark: So was it at the graduate program the environment in which I create studio and my Dad taught religion and ethics at a that you finally felt confident enough to work. It also speaks to my experience at liberal arts college. say, “I’m an artist”? that particular location. I think of it as Mark: What a great combination! During Cathy: I have a love-hate relationship school, did you continue to pursue arts? subjective realism because my paintings with the word, “Artist.” I consider myself tend to be highly representational, but Cathy: I did. I went to a public high a painter primarily and maybe an artist filtered through me and my repeated school that had a very strong arts program. second. And that was certainly true in experience of that particular location. The main teacher was actually a neighbor, graduate school. and I would go in before classes started and Mark: Do you have a special habit / ritual Mark: Could you describe those that you practice to get you ready for stay late. He was a very strong influence differences – of how you divide that? on me, but I knew before I went to high creating in your studio (grabbing a cup of Cathy: school that making paintings and drawings There have been periods of time tea, cranking up the music)? is what I wanted to do. where materials, paint, paper, canvas, Cathy: When I’m on location I don’t like and the craft of making paintings or Mark: Were there other interests that to use earphones or music, anything that drawings, have been not so important. And separates me from the location. Setting up you had in school, or was it always about painting as a created object has been not so creating art? the easel and the paints segues into the act important. It’s been more about words and of painting. Cathy: I’ve always enjoyed learning concepts. When I was in grad school, it When I was painting up in Tule Lake in and while in school, I was in the Gifted was a period when the verbal aspect of the Northern California, I had meadow larks Program. History and literature, in visual arts was really popular. landing on my easel, antelopes coming and particular, were other interests that I People were spouting off all kinds of pursued and still do, to a great extent. standing behind me while I was painting. Issue 33 page 8 ©2015 Golden Artist Colors, Inc. about the aesthetics behind the craft? at watercolor paper. I fell in love with Cathy: Yes, it was a big step. It also it. My love of watercolors came second. changed the environment in which I was With watercolor paper and paints at living. I went from the wooded Northeast hand, I started painting. I’m a self-taught to flat, dusty, arid, surrounded by light all watercolor painter to a great extent. the time West Texas, which was hugely Mark: So, you’ve been working with different. watercolor for quite some time? Then I taught at California State Cathy: Yes, since the mid-’80s and University Chico, so I experienced for about a decade and a half, it was Northern California, and I loved it. After my primary medium. More recently, I I left there, I took a teaching job in eastern returned to oils and most recently, began New Mexico, which was actually fairly painting with acrylics. Watercolor is a close to Lubbock. The environment there love of mine that’s always been there since was not suited for me. graduate school.

©Cathy Jennings, 2013 Jennings, ©Cathy Mark: What brought you to Golden Artist Mark: So, with all the customer calls and Fog on the overlook, after sunrise Colors in the center of upstate New York? emails you’ve handled related to questions in early September (series: in the woods), Cathy: I read the advertisement and I about materials and process, what has been acrylic on gessoed hardboard, 12” x 12” thought, “Oh, they wrote this for me!” It some of your most interesting interactions? was an ideal position. It combined so many Cathy: There have been some interesting In many ways, I feel like I’m connecting to of my interests, so I applied. And now I’m conversations with painters who are the location when I’m painting and using here, and I have to say this is the best job concerned about how to properly prepare earphones or playing music is a barrier to I’ve ever had. a support for oil painting or who are that. However, when I’m in the studio, Mark: interested in the difference between I listen to music. Tea is one of my oldest Can you describe a project that you’ve been involved in here that has been granulating colors and non-granulating rituals. Making a mug of tea and going colors in watercolors. to the studio helps me transition into particularly interesting? the making process. Even if I don’t end Cathy: The one closest to my heart has It’s also been a real joy working with up drinking the tea, simply the ritual of been QoR® Lightfastness testing. Ever the artist residents staying at the Golden making it and carrying it, and having that since I started working with watercolor Foundation. A lot of them have not really warm container with me is part of back in my MFA program, I’ve been very spent time working with transparent my process. interested in the nature of the pigments watercolor. Introducing them to QoR and having them see how vivid and saturated Mark: So let me get back to your career. that I’m using, and careful to have only lightfast paints on my palette. Aware of the paint is, and how much clearer the After graduate school, what was the next individual personalities of the pigments can step in your development? the ASTM lightfastness rating charts for watercolor, I’ve been very sad that they be with transparent watercolor vs. acrylics, Cathy: After I earned my MFA, I hadn’t been updated in so long. To be for example, has been a lot of fun. was living in a cabin in the woods of given the chance to actually be involved in Mark: I know you’ve been on the phones Pennsylvania. I was teaching part-time and that process is just tremendous! answering questions from artists for just working as a designer for an embroidered Mark: a short time, but I can attest to all the emblem company. I was creating designs When did you switch from oil paint to watercolor? thank you letters that you’ve gotten. I’ve and patterns for embroidered jackets also seen the correspondence from artists worn by firemen and Boy Scout jamboree Cathy: When I was in grad school at Penn., Neil Welliver came into my studio who now have greater clarity based on the badges. I was also painting and showing information you’ve been able to provide my work during this time. one day and said, out of the blue, “I think you should try watercolor.” The next to them regarding their studio practice. And remember that artist vs. painter Thanks so much for sharing your story. argument I’d been having? I decided that time I visited my parents, I went into a Dick Blick warehouse store, which was To see more from Cathy visit her web I really didn’t know enough about the page: cjenningsgallery.com. theories behind all of the art speak that was near them at the time, and started looking happening. My MFA program was very firmly studio based. Therefore, I decided I wanted to go back to school. I didn’t want strict art history. I investigated a variety of options. I grew up in Pennsylvania, went to school in Massachusetts and Pennsylvania, so I wanted a chance to see the rest of the country. I discovered a program at Texas Tech University which involved art history, a little bit of theater, a little bit of music, and philosophy – aesthetics, in particular. They accepted me, so I joined their doctoral program and graduated from there with a PhD in interdisciplinary fine arts. Mark: That was a big change from where you were before, willing to challenge 2004 Jennings, ©Cathy yourself to understand a little bit more Afternoon shadows on the Peninsula in October (series: Tulelake / Lava Beds), oil on gessoed hardboard, 12” x 24” Issue 33 page 9 ©2015 Golden Artist Colors, Inc. Limitless Discovery with A-Z Acrylics Sets

By Patti Brady I have been teaching, writing and lecturing on acrylic methods and materials for over 20 years. So, when asked to write about an A-Z Acrylics set that didn’t contain at least 1,000 different colors, mediums and additives, I thought, “well, this can’t really be Acrylics A-Z, but maybe A-B!” In fact, without having to spend 6 months living up at the factory at Golden Artist Colors, I do think that these new sets will offer a valuable introduction to a wide range the endless possibilities. Remember, You may choose to work exclusively of possibilities for artists – those coming sometimes, just the physicality of within acrylics or use them in to acrylics from different mediums as material will spark your creative juices combination with other media and well as those artists that have simply and imaginative ability. materials. Exciting and unexpected been stuck in just one of the ranges of My goal with this project was to effects often result during exploration, acrylic paints. Certainly, none of the create informal and relaxed ideas that which is exactly what this set is intended “ingredients” in the A-Z Acrylics sets are any artist could “play” with. I didn’t for – discovery! foreign to me. I have used all of them for want the exercise to require hours out Things to Keep in the Studio years and developed many teaching tools of your studio day, but instead, give you with every product in that box! I hope that once you’ve had a chance understandable, clear experiences of what to experiment with the box contents I am always suggesting to artists that in each product can do. The best way to you’ll agree that there are a handful order to learn about different products, truly experience the properties, benefits, of products that will forevermore be keep your beginning explorations simple. and unique qualities of these acrylics is standard items in your studio. These Create with a limited choice of products to keep it simple. One way I did this was products have so many uses that you’ll and keep it small and modest. Just by using universal recognizable images, be turning to them time and time again experiment, explore and above all else, iconic landscapes and the ubiquitous to define your artwork. Products I use don’t obsess! I want to make clear that pear! Luckily, for us, there is no perfect continuously include Matte Medium and although the Step-by-Step Application pear in nature, so however wonky your Polymer Medium (Gloss), which control Booklet in the set was directed towards pear is, it’s sure to find its doppelganger transparency, viscosity and surface sheen a painter new to acrylics, this box of in nature! when mixed with colors. I also have goodies is a great starting point to Please remember that all acrylics Heavy Gel (Matte) and Soft Gel (Gloss) explore different products even if you’ve from GOLDEN are part of the Acrylic at the ready in order to add texture, been painting for years. If you haven’t System, which means they can be used in create glazes, extend paints, and change experimented with other viscosities or any number of combinations for endless finishes. Gels are essentially colorless textures of paint during your painting applications. Acrylic colors, mediums paint, as they utilize the same 100% career, this box will provide all the and grounds are the most versatile of all acrylic polymers as acrylic paint. Gels “testers” you need to begin to discover painting media. are also excellent adhesives for collage

Subtractive Pear: OPEN Acrylics Acrylic Skins: Clear Tar Gel Acrylic Skins: Fiber Paste and Transfer Issue 33 page 10 ©2015 Golden Artist Colors, Inc. and mixed media and dry with excellent Heavy Gel, to our pourable Soft Gel. Additive flexibility with chemical, water and UV More unique gels included range from resistance. Acrylic Glazing Liquid is Clear Tar Gel to Glass Bead Gel. Clear An Additive in the kit not yet used for creating glazes. The slow-drying Tar Gel has a pully, tar-like feel and is explained is OPEN Thinner, which formula provides sufficient working time extremely resinous and stringy, making it contains no binders and is used to thin for a wide variety of finishes normally feel very different from other acrylic gels. paint mixes without altering open time, accomplished with oils. It is also an Useful for generating fine detailed lines or to maintain and adjust workability excellent blending medium for painting. by “dripping” it over surfaces is one way on palettes without water mists and moisturizing palettes. Viscosity Differences to capture the rareness of the product. in Acrylic Colors On the opposite end of the spectrum As you can see, the A-Z set provides is Glass Bead Gel, which is made with a wide enough range of materials to Included in the A-Z Sets are colors genuine glass beads roughly the size of truly explore acrylic paint as not a single from four different product lines: High poppy seeds. The visual effect is like medium with a limited range of options, Flow, Fluid, OPEN and Heavy Body. condensation on cold glass as the beads but clearly the opportunity to explore High Flow is one of our most recent create a textured but glossy surface. a wide range of painting applications, product introductions - the thinnest or Having access to this selection gives finishes, surfaces, textures, opacities and lowest in viscosity - similar to an ink and you an opportunity to explore different transparencies. You’ll experience the perfect for washes, stains, filling empty varieties of surfaces and viscosities. range from the subtle transparencies of paint markers and tinting other products. Pastes a watercolor to the juicy applications of Next are Fluid Acrylics, which are the oil-like movements and gestures. consistency of heavy cream and are Pastes can be used to achieve a variety Below I’ve shared some of the pourable. Getting a bit thicker is OPEN, of effects and expressions. When used examples of the exercises working with which is the slowest drying product line in conjunction with acrylic colors they the A-Z set. Artists will experience the in the GOLDEN Acrylic System. And broaden working properties and expand effects of using various grounds with finally, the thickest of our acrylic color creative possibilities. Unlike gels, pastes changes in absorbency and movement of product lines is Heavy Body paints. are opaque because they contain marble colors above, they will underpaint with dust or other fillers that create a white or Pigments faster drying materials, try wet-in-wet clay-tone finish with a variety of textures blending, learn subtractive or reductive A range of colors from opaque to and properties. Molding Paste can processes, work with impasto mediums translucent included in the set are also be used to create foundations for with a range of textures, create acrylic Ultramarine Blue, Hansa Yellow painting either to create texture over a skins and so much more. Medium, Hansa Yellow Light, Titanium smoother surface, or to smooth out a White, Teal, Phthalo Blue / G.S., textured surface. The absorbent qualities The A-Z set will take the fear out of Quinacridone Magenta, Quinacridone / of Molding Paste make it suitable as a working within different subsets of the Nickel Azo Gold, Green Gold, Indigo, ground for nearly every painting and acrylic colors, mediums and grounds; Alizarin Crimson Hue, and Indian drawing media. all of which are interchangeable, Yellow Hue. Also included are Iridescent Grounds intermixable with one another Gold, Silver and a bright Fluorescent delivering constant exploration and Pink. I purposely didn’t specify which Grounds are used as surface experimentation. Working with the viscosity these pigments are offered in. preparations for a number of substrates acrylic as an ink or a paste, with a pen, This is the only way to encourage you in order to perform a variety of marker or palette knife, this material to experience the ease of the perfect applications like creating tooth similar will continue to excite and engage artists mixability of all viscosities. to papers for use with pastels or chalk. working in so many different styles! Other grounds dry to a porous, paper- Gel Mediums Go to www.mixmoremedia.com to see like surface so that when applied over videos showing applications using these Gels offer many ways to build texture. gessoed canvas, they facilitate raw canvas- materials and techniques. We offer four consistencies in this set like staining and watercolor effects. from one of our most viscous, which is

Sgraffito: Crackle Paste Watermedia: Glass Bead Gel and High Flow Impasto: OPEN and Heavy Body Acrylics Issue 33 page 11 ©2015 Golden Artist Colors, Inc. dry time by adding more oil. Solvents are also used in a vast number of mediums, Solving the varnishes and resins. Cleaning up brushes and other surfaces using solvents is a very Solvents common practice in the studio. By Technical Services The stability of a paint film thinned Illustrations by Amy McKinnon only with solvents has been an area of constant concern to many artists. To Oil paint can be one of the most look into this, we conducted some tests natural and safe materials used in to see if a paint film would be rendered the making of paintings but have, under bound by solvent use and if so, through misconception, been labeled as by how much solvent, and did the type dangerous. Oil paint is made by grinding of solvent matter (Image I)? The test dry powdered pigment with linseed oil. involved turpentine, odorless mineral Sometimes stabilizers, additives or driers spirits, spike oil and citrus solvent. will be used in small amounts so the Paint was mixed with each one of these paint dries in a reasonable amount of solvents in three ratios of each: 2:1, 1:1 time, doesn’t separate in the tube and and 1:2. After a full day, a cotton swab handles in a creamy, brushable manner. was wiped in a circular pattern five times The idea that oil paint is more toxic than over all 12 samples and then again every water-based paints has nothing to do day for a week. As one might expect, to, the use of a lighter oil, the use of with the oil itself but with solvents that the samples that contained more solvent either acrylics, egg tempera, or watercolor have been utilized as thinners, extenders than paint experienced more paint lift for initial underpaintings, creating an egg and cleaners. Nearly all of the pigments than the ones with an equal or greater and oil emulsion in order to incorporate used in acrylic and watercolor paints are ratio of paint to solvent. The samples water in the under layers or abstaining the same as those in oil paints. that were 2 parts solvent to 1 part paint from solvent use and painting in only a Solvents are used in oil painting for continued to show the same amount of thicker manner. Eliminating solvents for various reasons. In the first layers they color lift while the mixtures represented cleanup is not only possible but allows are frequently meant to make the paint by the other samples showed less. brushes to be washed in soap and water. washier; often a necessary step in the Some also fared better than others and Painting with lighter bodied oil can painting process for some artists. With although this test was very small, both allow a thinner, more gestural painting thinner and more fluid paint, one is the spike oil and turpentine appeared to be on the canvas in the preliminary able to sketch or conjure the gesture to leave the paint with less overall color stages of a painting. It however does not that breathes life into a blank canvas removal. provide a faster method of drying nor and informs the subsequent layers. Many artists are required or choose not does it offer a matte surface. The oils These layers tend to be very thin, very to use solvents, due to more stringent that typically are thinner and blonder transparent and absorb into the substrate school regulations, allergic reactions in nature are poppy, safflower and relatively easily. Because solvent is or as a proactive decision. Others walnut. There are some reservations in used to thin the paint, a thinner layer simply convert from oils to acrylics or this method as the thinner oils are less is deposited on the surface, which in watercolors, taking on the usual learning flexible and more brittle than linseed oil, turn dries more quickly allowing for a curves of any new medium, such as increasing the chance of cracking in the more substantial and meatier layer of the differences in dry time, color shift, long-term. Having an oil-rich layer in paint to usually be applied the next day. concentration of pigment and rheology. the beginning can also cause concerns Often one wash layer is not enough and While many of these artists prosper as a painting is generally built from layering of washes creates a flat matte in their newfound water-based media, leaner layers, with little to no added oil, surface without the depth of space and a good number still long for oils and through layers that have an increasing high oil content of a traditional glaze. search for alternate ways to use them. amount of medium added. Lastly, the Besides this initial lay-in, solvents are also Possible methods for going solvent free slow-drying nature of these oils can make used to just slightly soften paint, making applying any faster drying layers on top it more spreadable without increasing the in the studio include, but are not limited

Issue 33 page 12 ©2015 Golden Artist Colors, Inc. much more risky as this is a common cause of cracking as well. Color / Solvent 2:1 Color / Solvent 1:1 Color / Solvent 1:2 The use of acrylic under oils is a very widely practiced and compositionally stable method for under painting. Within this method there are parameters that Citrus will aid in adhesion and stability. Matte Solvent acrylics are always preferred over glossy acrylics as there is a greater mechanical adhesion to toothier surfaces. There are three lines of GOLDEN Acrylics that are Spike formulated to be matte – Matte Fluids, Oil Heavy Body Matte and High Load Acrylics. These all have slight varying degrees of a matte sheen similar to that of gouache. These paints will offer opacity Turpentine and richness that is not always desired in a gestural washy layer and can be thinned up to 1:1 with water or in any ratio with Matte Medium or Fluid Matte Medium Odorless Mineral to maintain transparency and fluidity. A Spirits good guide supporting this system can be found in “Using Oils with Acrylics” Image 1: Rows of Williamsburg French Raw Umber thinned to different ratios of solvent. (Just Paint #24, 2011). Round circles show different degrees of color lift when using a cotton swab over the course of several weeks. While the application of oils over a water-based medium can seem like a newer development, especially if using involved ingredients that are unattainable the desire to find less toxic alternatives to acrylics, it actually has deep historical or toxic in their own right. The one turpentine and mineral spirits, we expect roots. As early as the 14th century, for recipe that still seems applicable is an this to be a category that will continue example, the practice of using oils over egg oil emulsion that allows for thinning expanding in the years ahead. egg tempera is mentioned by Cennino with water. That method is to get an While solvent free painting is often the Cennini and was a common practice, egg, separate the white from the yolk and focus of concern, cleanup still represents along with the use of a blended egg-oil pass the yolk back and forth between the area where solvents are used more emulsion referred to as tempera grassa, your hands in order to dry the surface. than anywhere else in the studio. And until oils became the dominant medium Using your fore finger and thumb pinch sadly, almost always in ways that are in the late 15th century. Watercolor is one end of the yolk over a bowl. Using completely unnecessary. Use plenty of another traditional method for under your other hand poke a hole in the yolk brushes so you have enough for different painting. Leslie Carlyle, in The Artist’s so that the contents spill into the bowl mixtures, reserving ones for delicate Assistant (2001), which looks at 19th and the skin is discarded. The egg yolk colors like whites and yellows. This century artist manuals and practices, can then be mixed 1:1 with linseed can help avoid the constant swishing in cites references for this technique starting oil by hand or with a studio blender. solvents you often see between various as early as 1803 and repeated through This should be mixed until there is blends, or the common sight of brushes the rest of the century. Also, since no separation and a thick emulsion is soaking in a cup of solvent through the watercolors are not resoluble when oils formed. This mixture can then be mixed course of the day. Keep containers of are used over them, there is no threat with oil paint directly from the tube. mediums covered except when truly of colors smearing or bleeding when Once the paint and egg oil mixture is needed. And at the end of the day, clean subsequent layers are painted. Widely mixed, then add water one drop at a your brushes by first wiping all of the available and easily thinned with water, time. Once enough water is added you paint on a towel until little or no color QoR® Watercolors as well as more will know because there is a saturation remains. Then, using a non-drying light traditional ones based on gum arabic, can point at which separation begins to occur cooking oil such as canola or safflower be an effective way to create the broad and no more water can be mixed in from the grocery store, dip the brushes washes and fluid lines that oil painters without the addition of more of the egg/ into the oil and continue to work the typically rely on solvents for. Just keep in oil mixture. This method depends on remaining color out onto the towel until mind that absorbent grounds, including continuous balance. the majority of paint has been removed. both traditional and acrylic gesso, are Lastly, Williamsburg’s Wax Medium, At that point you can simply wash the more receptive to watercolors than oil or which we highlighted in Just Paint #31, brush with soap and water. On occasion, alkyd grounds, and one should always contains absolutely no solvents while brushes that feel dry can be treated with test for compatibility prior to use. still being able to give paint a very fluid a hair conditioner. Historical recipes for water miscible and silky feel. At the same time, other For additional discussion see oils are a way to stay within one binder companies offer solvent-free products “Cleaning Brushes Without Solvents” system and still be able to get a thinner, as well, such as M. Graham’s Walnut published on the Williamsburg Blog faster drying paint without the use of Alkyd Medium, or Gamblin’s Solvent- (http://www.williamsburgoils.com/blog). solvents. Many of the older recipes Free Gel and Solvent-Free Fluid. Given Issue 33 page 13 ©2015 Golden Artist Colors, Inc. Judith Linhares in studio June 2015 ©2015 Amanda Marie Mason Photography

©Judith Linhares, 1996 Tree 1996 ©Judith Linhares, 1990 On the Money 1990 42” X 51” 36” X 48”

By James Walsh of the things I like about fairy tales is paintings at the same time so it gives Judith Linhares explores several that they’re like mythology only the me a chance to ‘not’ tell a story, themes in her paintings. She is most circumstances are really domestic. You basically. The process works well for widely recognized for her figural know, the porridge is always boiling me because what has happened is that I works. Human figures, often naked, over and so forth...’. (3) really don’t like to use external sources whose limbs are vibrantly painted with A unifying factor in Linhares’ to draw from – I’ve kind of memorized ribbons of warm and cool colors, are thematic interests is her sense of origin, the structure of all available flowers, found cooking eggs in a pan or roasting ‘...I feel like a real Californian and I which isn’t that difficult. I have flowers marshmallows around a campfire or feel like I am the inheritor of this kind around and I find it inspiring to look stretched out in languorous repose of mythology about one’s relationship at them because I can kind of know, gazing at the night sky. to nature...’. (4) and work with, and invent these flowers as I go along. It allows me to In addition to the figures, Linhares This Californian made her way be spontaneous and more formal in paints flowers and animals. Our from Los Angeles to art school in San the process.’ (6) exhibition at the SAGG entitled ‘Flora Francisco during the Sixties in the and Fauna’ features her flower and midst of much of the countercultural If they exemplify Linhares’ own animal paintings. By rights, to exhibit ferment of that era. Her associations feelings, her flower paintings in turn her work to its fullest would require and influences spanned the milieu elicit our feelings, replacing the aroma the inclusion of her figural paintings. around R. Crumb and to painters and fragrance of real flowers with Linhares kindly has allowed us to shape David Park and Richard Diebenkorn voluptuous paintedness. ‘Flora and Fauna’, devoid of the figure, from whose paintings Linhares In an era when figuration, animal for our own celebratory reasons. absorbed notions of color. In 1978 she and flower painting have but few Although visitors to the SAGG in was a participant in the ‘Bad Painting’ sturdy adherents, Linhares follows New Berlin, NY, will find a gallery show curated by Marcia Tucker at the her inclinations. She clearly relishes space with a polished concrete floor the New Museum in NYC. Visiting the creating an individual capture of light envy of any Chelsea gallery, walls like show she understood that she could be within the paintings, its source, its play any gallery in London, and lighting an artist in New York and moved there on the subjects, its coaxing into near like a Berlin Kunsthalle, the same in 1980. shadow. The outside world has come visitors would also notice the idyllic The animals in her works, often inside and has a life of its own. and verdant surroundings outside of spread end to end within the confines On life and art, Linhares muses, our Central New York state locale. of the painted rectangle, can inspire ‘I think that this was always a challenge Wildlife and vegetation abound. a vague unease, a possible sinister for me: life is awfully interesting – it’s The force of life is in constant intent. As a child walking home from very hard to turn your back on life evidence. These inspirations granted kindergarten, Linhares was startled and stick to the art. I still find it a by the natural environment and its by a monkey that suddenly jumped challenge. You have to have a lot of expressive potentials run deep in out of the bushes. She didn’t know determination.’(7) ‘Flora and Fauna’. what it was, another child? ‘I really Endnotes: As to the themes of Linhares’ take great care to remember certain (1, 3-7) The Vermont Studio Center, (2014, paintings, she has a long interest in experiences throughout my life. These March 21). “Judith Linhares Artist Talk mythology, fairy tales, the writings of moments – I call them moments of at The Vermont Studio Center,” [YouTube sudden knowledge...sort of numinous video file]. Retrieved from https://www. Carl Jung and Claude Lévi-Strauss and youtube.com/watch?v=3iA57eAM8Vw. the notion within folk tales of the ‘... moments...’. (5) pacts and bargains made with animals Linhares takes satisfaction in the (2) Conversation with Judith Linhares, July 2, 2015 or insects...’. (1) ‘I’m using animals ‘oppositional stance’ of painting to carry the narrative and that’s what flowers in a postmodern world. ‘...I For more exhibition information, happens in fairy tales and mythology usually have a flower painting going visit thesagg.org. and in various religions.’ (2) ‘...one at all times and I work on multiple September 19 - December 11, Sam & Adele Golden Gallery, New Berlin, NY

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Issue 33 September 2015 Articles: Mark Golden, Sarah Sands, Technical Services, Jodi O’Dell, Patti Brady, James Walsh, 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 protected] goldenpaints.com WilliamsburgOils.com QoRcolors.com

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unique program provides access to all all to access provides program unique

grades 7-12 from across across from 7-12 grades

from the GOLDEN paint factory. This This factory. paint GOLDEN the from

In 2015 students in in students 2015 In

and is situated right down the road road the down right situated is and

selection process. process. selection and 24/7 access to individual studios, studios, individual to access 24/7 and

180 applications for the the for applications 180 N.Y. The building provides living space space living provides building The N.Y.

task of reviewing over over reviewing of task the Arts Residence Barn in New Berlin, Berlin, New in Barn Residence Arts the

conducted the difficult difficult the conducted Sam & Adele Golden Foundation for for Foundation Golden Adele & Sam

Scholastic and the NAEA NAEA the and Scholastic The teachers were hosted at the the at hosted were teachers The

for this Residency. Residency. this for to attend a 10-day retreat in upstate N.Y. N.Y. upstate in retreat 10-day a attend to

an opportunity to apply apply to opportunity an opportunity for three selected art teachers teachers art selected three for opportunity

visual arts were offered offered were arts visual This year GOLDEN provided a special special a provided GOLDEN year This