JUST PAINTPublished by , Inc. / Issue 28

The Dangers of Curiosity SUPPORTS: Each time we discuss the planning of our next Just , the entire Technical group waits in anticipation of having their By Mark Golden projects accepted for inclusion. We try to plan at least a year in advance because Whether painting in oils, acrylics a good deal of watching paint dry often or other traditional or non-traditional accompanies the work. painting media, the quality and physical make-up of the support and its In writing about cotton fabric supports I preparation is a critical determinant of began by assembling the research in the field and soon curiosity took over and created the final outcome of a work of art. The the veritable rabbit hole of information. support not only sets up the working So after assembling our own work and properties of the chosen media but it the work of many different authors, and also has a significant role in its relative revisiting the work on preparing canvas in permanency, method of display and our Just Paint Issue 23 by the very talented most importantly, in the final visual Conservator, James Bernstein, aesthetic of the work. curiosity got the better of me. There are so many different viable ® Comparing #10 canvas (top) to For example, did you know that Duck supports for artists to work with now, #12 Cotton duck canvas (bottom). Lengthwise Tape got its name because it was originally including traditional cotton and is warp while fill yarn is weft. constructed with a cotton fabric to which in a range of sizes, thicknesses an adhesive was applied, and duck came Being given all these choices from the Dutch word ‘doek’, which means and finish as well as newer synthetic for some artists creates incredible linen canvas? And that the word ‘canvas’ fabrics. More recent plastic expressive freedom, but in other ways, ® was derived from the Latin cannapaceus, supports include Mylar (PET) and can be absolutely paralyzing. Having the Latin word for cannabis and solid supports include expanded PVC too many choices can leave one subsequently, the old French ‘canevas’, or (Sintra®). New solid supports gaining ® feeling overly exposed and fearful of fabric. And that Duck Tape became some significance include aluminum choosing the wrong material for their Duct Tape when it was painted silver and surfaced panels. There has also been particular need, leading to potential used to seal metal heating ducts. a resurgence of new manufacturers disappointment, buyer’s remorse and Thankfully, you were all saved by Sarah launching a variety of traditional worse…failure. Sands who graciously wrote our section on wooden panel supports including wood “Preparing Canvas for Oils”. And as our processed boards. Added to this The next several issues of Just Paint usual fair, both Scott Bennett and Sarah wide range of options are even larger will feature articles detailing various have shared some of the new GOLDEN categories of fine art papers, paper supports and their preparation for Experimental Acrylic products and our new supports and now, prepared canvases painting. The series will begin with the Special Edition Williamsburg Handmade and surfaces available to the artist. most common supports and continue Oil Colors. through the range of materials Finally, we are also delighted to More than ever before, artists have recommended for professional artists to include a brief introduction by Joyce access to an amazing assortment of begin the construction of their work. Hill Stoner to the newly published both traditional, modern and cutting book, “CONSERVATION OF EASEL edge sizes and grounds. This gives Construction of the Cotton Fiber PAINTINGS”. After 7 years and with them the opportunity for application The cotton fiber is made up of over contributions from 79 authors, Joyce on everything from 4th century BC 90% cellulose (and hemicellulose), Hill Stoner and Rebecca Rushfield have encaustics and 14th century silver water, pectins, wax, glucose and pulled together what is to date the most point to grounds for digital printing mineral salts (potassium malate). The complete compendium of the practice of art on just about any surface imaginable. quality and strength of the cotton fiber conservation. So if you’re as curious as us, I Artists can choose grounds for their come from the large cellulose polymer am sure that this book will be a ‘must have’ specific medium as well as for adjusting addition to your studio practice. made with upwards of 6,000 repeating the parameters of surface texture, glucose molecules. The natural cotton Warmest regards, absorbency, gloss, color, hardness fiber is the purest made up of cellulose. Mark and transparency. Issue 28 page 1 ©2013 Golden Artist Colors, Inc. Cotton are made up of areas exposed to high levels of moisture too brittle. The size composition for constructed of well-ordered crystalline or humidity or from paintings cotton typically contains corn starch, segments and less ordered segments exposed to flooding. The enzymes but may also be blended with other or amorphous areas. The crystalline produced by these organisms break starches, including potato, wheat, rice, regions are tightly packed, reducing down the cellulose and more easily sago (from a variety of palm tree) or the penetration of water and other reproduce in highly moist conditions. tapioca. The starches are heated with chemicals making the fibers stronger They preferentially attack starches, water to reduce their viscosity and and more resistant to chemical and potentially added to fibers either in the make them more active. Additionally, biological attack. The amorphous or processes. All of softeners need to be added to this size areas allow for flexibility of the fiber, these conditions affecting the cotton to increase the pliability of the yarn but are more prone to chemical and fiber are exacerbated when the fibers and allow it a bit more lubricity for biological degradation as well as greater are under the stresses of the woven and the weaving. Normal sizing is done to absorption of water. The greater the stretched cloth. We’ll cover the effects improve the properties of the weave. ratio of amorphous regions of a fiber of mechanical stress later in this paper. At the end of the slashing process, the compared to its crystalline regions, Cotton is capable of absorbing up fibers are dried. After the weaving, the the more easily the fiber is degraded. to 25 times its weight in water. This size is typically removed. Raw cotton Cotton fibers contain approximately water-loving (hydrophilic) nature canvas contains significant quantities 70% crystalline regions versus linen is based on the strong attraction of of impurities, many of which have which has up to 90% crystalline the OH portion of the cellulose and been shown to be responsible for makeup of its fiber. especially the hemicellulose polymer Support Induced Discoloration (SID) Cotton can be degraded by several to the water molecule. This is also the which causes significant yellowing of forces including photochemical (UV reason that unrestrained cotton fabric, waterborne polymers when applied in and visible light), chemical attack, when wet, will shrink dramatically thick layers to these fabrics. mechanical stress and biological as the fibers swell. Cotton canvas (See Just Paint Issue 17 http://www. attack. Effects of light will increase which is under strain, stretched, reacts goldenpaints.com/justpaint/jp17article2. with increasing moisture and other slightly different. In this case the fibers php and Issue 23 http://www.goldenpaints. photo-reactive materials in the cotton. also swell, but water also lubricates com/justpaint/jp23article2.php) The degradation caused by light in the fibers (in the amorphous region) It is becoming more common for combination with other environmental allowing them to past one another artists to use single filled (single ply) factors produces a loss of tensile thereby reducing some of the stress cotton for their work. The heavier strength, increased yellowing and loss and first loosening the fabric, before single filled canvases weighing over of elongation percentage, creating a dramatically retightening. 10 oz. will often contain a double plied more brittle . For artists, most Weaving the Cotton Canvas yarn in the warp with a single ply weft canvas is protected from significant or fill yarn. Canvas 7 oz. or less will UV damage by the filtering of window The weaving process for most often be single ply for both warp glass. Damage to cotton canvas is more requires first, a setting of lengthwise and weft. Cotton numbered duck for often the result of chemical attack from that are held in tension by a artists contains plied fibers in both acids, enzymes from mold and mildew loom. The word for these fibers, the warp and weave, meaning two or and most importantly, the effects of warp, is derived from the old English more yarns twisted together to form a mechanical stress. Weakened canvas is word weorpan (or Dutch werpen), stronger, thicker plied yarn. more easily degraded as the damaged meaning ‘that which is thrown across like a ’. The fill yarn that is actually Cotton canvas or numbered duck sites create greater permeability and are is usually woven in a ; one more easily degraded by these enzymes. woven in and out of the warp fibers is called the weave or weft (old English yarn under and over each yarn of the Cotton is highly degraded by acids or ‘wefen’ meaning to weave). To achieve . There are examples of acid salts. The large cellulose polymer the speed necessary in the weaving artists’ canvas being woven in or is broken apart and is oxidized to process, the use of a size, specifically pattern, meaning two or three oxycellulose. It has long been a practice in single plied yarn, is required. The fibers in the warp over two or three for artists to protect the cotton fabric size is simply a coating of material that fibers in the weft. The warp threads are before painting with oils with a sizing when dry, increases the fibers’ strength held at tension yet the fill or weaving to prevent the acids in the oil and the and binds the surface of the fiber to threads run much straighter, making drying catalysts from reaching the fiber reduce fraying and friction during the warp yarns much more crimped surfaces. The alkaline chemistry is weaving. The process of applying size than the weft yarns. much less destructive to the cellulose to the surface of the cotton fibers is Multiple ply cotton duck is measured molecule and requires much higher called ‘cotton slashing’. It was typical by weight per square yard of material. concentration than that found in the of traditional weaving processes to These weights are commonly referred acrylic medium. apply a starch to the warp fibers, to as number ducks to differentiate One of the most common destructive which stiffens the fiber, making it less them from other cotton canvas or processes affecting cotton comes from flexible. The weft fiber is not sized as it single filled canvas. mold and mildew growing on fabric had the potential of making the fiber Issue 28 page 2 ©2013 Golden Artist Colors, Inc. strength to A++ grades with the fewest amount of defects and strongest goods. Cotton canvas for artists is typically A grade goods with some at the lowest AB grades. It is therefore important for artists using unprimed cotton duck to the fabric, especially if a very smooth, continuous surface is desired. Cotton warp fibers Cotton weft fibers If the canvas is pre-primed it’s more difficult to recognize flaws, but most CANVAS TYPES time especially when tightened over a stretcher, given the stresses on the quality manufacturers of pre-primed #8 Duck: ...... 18.00 oz./sq. yd. material to keep it taut and in-plane. canvas have inspected their goods for #10 Duck: ...... 14.73 oz./sq. yd. The lighter canvas does have a less missing weave and slubs, which will #12 Duck: ...... 11.73 oz./sq. yd. pronounced weave, which may be show up on visual inspection of the Single Fill Duck: ...... 14.9 oz./sq. yd. attractive to some artists. It is often canvas even with pre-priming. Single Fill Duck: ...... 12 oz./sq. yd. sold as ‘portrait canvas’. Stretching Cotton Canvas Single Fill Duck: ...... 10 oz./sq. yd. Single Fill Duck: ...... 7 oz./sq. yd. The tear strength and tensile strength Most artists using unprimed cotton Single Fill Duck: ...... 5 oz./sq. yd. of the numbered cotton duck is canvas will do their priming after the typically stronger than a similar weight canvas is stretched. Whether sizing The lower number ducks increase single filled duck of the same quality with acrylic primers, rabbit skin glues in weight by increasing the number fibers. It is possible to gain significantly or PVA size or going directly to acrylic of plied fibers, as well as increasing greater strength of the fabric by using gesso (acrylic dispersion grounds), these the weight (or thickness) of the yarn, better quality cotton fibers and a materials all contain water. Water will therefore containing more cotton per thicker yarn in both the single and dramatically swell the cotton threads, yard. A #8 duck contains 3 ply warp double filled canvas. In single filled causing the total length of the fibers and 3 ply weft fibers. It is the thickest cotton duck, the weight gets lighter to shorten, and therefore increase the of typical artists’ canvases, making as the yarn width gets thinner, yet tension of the stretched fabric. In some it a bit more difficult to stretch. It is it is also typical that the yarn count cases, the tension created can splinter commonly used for floor cloths and will increase slightly to maintain the or warp the wood stretchers. Even if has a very pronounced texture. The structure. Both the tensile strength the stretchers are able to withstand #12 cotton duck is the most common and the tear strength are greater in the forces created, the differential numbered duck for artists’ use and the warp yarns than the fill yarns. in stretching will show itself in the consists of two ply yarns in both Not only are the warp and weft fibers variability of the tension next to the directions. A #10 cotton duck, a coarser potentially different in their width and staples in a scalloped patterning. In canvas using thicker plied yarns is also number of plied yarns, but they will James Bernstein’s technical paper in a common artist canvas and is often also differ in the number of twists of Just Paint 17, http://www.goldenpaints. used for larger canvases above 4 feet. It the yarn, with the warp usually having com/justpaint/JamesBernstein/ is simply a much sturdier fabric. The more twists, reducing the number of NumberThree.pdf, he shares the benefits yarns in number duck run between hairs protruding from the threads. It is of pre-stretching your canvas before 7 count (coarse) to 11 count1. It is therefore easy to understand that the final attachment to your support. By very common that some inexpensive fabric will have different properties of sizing (pre-wetting) and pre-stretching, canvases use fabric that is as light as stretch and strain in the warp and weft. the cotton is both allowed to come 5 oz. per square yd. using a 16 count The final cotton fabric is graded to a greater equilibrium as well as yarn and thinner. When the prepared according to several factors; its lightness cementing or locking the fibers into canvas is already filled with a priming of color, the amount of trash (plant a more protected composite material. coat of a synthetic gesso it feels much material not cleaned in the ginning Also demonstrated in the Just Paint 17 more substantial. Some manufacturers or spinning process), the number of article “A Remarkable Way to Stretch of prepared canvas provide the weight broken yarns, misweaves, oil staining, Canvases” at http://www.goldenpaints. of the canvas including the size and/ other colored yarns, slubs or neps com/justpaint/jp17article1.php is or ground, making it difficult to know (bumps in the canvas often caused Bernstein’s technique for stretching the the actual weight of the raw cotton by immature fibers, or smaller fibers perfect canvas, creating an even tension fabric. As the cotton canvas gets lighter, getting through the yarn making across the entire surface of a canvas. it tends to be a more open weave and process) or broken yarns. The grades For a description of the differences is usually made with single filled (or of woven cotton fabrics range from AB between stretchers and strainers, non-plied yarns called single ply). for the poorest goods with the most see the Just Paint article, “Stretchers and Thinner fabrics may be less stable over amount of defects and the weakest Cont. on page 14 1 Yarn thickness is measured by a long standing tradition determined by the yield length of one pound of cotton. A 1 count or size 1 yarn is one pound of cotton, creating 840 yards of thread. A size 100 yarn would yield 84,000 (extremely thin) yards of fibers. In the decimal system the constant is the gram weight of 1000 meters of cotton. Called the Tex system a 1000 meter thread tex 10 would weigh 10 grams and be very fine. A tex 100 would be a coarse fiber. Issue 28 page 3 ©2013 Golden Artist Colors, Inc. Preparing a Canvas for By Sarah Sands with Amy McKinnon What follows is mainly about the materials needed to prepare a canvas for oil painting. Many important elements have been left out completely: stretcher bars, cross bracing, how to stretch a canvas or mount it to panel, instructions on applying the products, use of backer boards, pre-washing, etc. Some of those issues are covered in the article on cotton canvas within this issue, or can be found easily in other references. Instead we try to answer a much more fundamental and simple question: which products do you need, and how many coats should you apply? TESTING, TESTING… As in all things, we began with testing. In the fall of 2010, we Testing for strikethrough of oil ground on top of a size. Dark areas on back of canvas show where embarked on a large scale project to oil from the ground has penetrated through. examine common recommendations for preparing canvases for oil painting, SIZING conservation scientists have increasingly pointed to hide glue as a primary with a particular focus on the use of oil In the world of paper and fabrics, cause of cracking since it easily absorbs grounds. All samples were prepared on sizing refers to a wide range of materials and releases moisture from the air; a 12 oz. cotton duck canvas following used to seal and stiffen. While an property known as being hygroscopic. manufacturer’s recommendations. unusual word for most, it ultimately This in turn causes the entire canvas For sizing we tested our Williamsburg comes from the Old French, sise, to tighten and slacken as the Relative Rabbit Skin Glue, a PVA size made for which meant to regulate or limit. While Humidity (RH) rises and falls. For artists, as well as various combinations many artists continue to use hide glue example, when the air becomes dry of GOLDEN Polymer Medium, for this purpose, both polyvinyl acetate and sinks below 30% RH, the hide Matte Medium, Fluid Matte Medium, (PVA) and acrylic resins have grown glue will contract with considerable GAC 100, 200 and 400. There was increasingly popular and are considered force, while above 70% RH, the hide no sanding between coats. We then far more stable and less problematic glue will soften and lose strength, and primed the canvas with Williamsburg by conservators. Lead or Titanium Oil Ground, as by 80% will quite literally become Ideally a size should soak into the gelatinous and fail completely. To well as traditional oil and alkyd-based fabric, lessening its absorbency and grounds from other manufacturers. complicate things even further, in flexibility by coating and locking these high humidity situations the Our acrylic-based GOLDEN Gesso together the individual fibers and was also included, with and without underlying canvas is actually moving threads. It is typically not meant to in the opposite direction, shrinking sizing, since acrylic gessoes remain act as a ground to paint on, or to by far the most common and widely and developing such high levels of form a substantial film on top of the stress that it can cause the ground and used grounds today. We conducted canvas. Sizes also play a critical role in adhesion tests (ASTM 3559) of the oil paint, no longer bound to a rigid layer protecting natural fibers from direct of glue, to actually delaminate. It is grounds to the various sizes after six contact with drying oils, where the months and then one year. No failures the impact of these forces moving in process of oxidization can attack the opposite directions, with tensions being have been recorded and adhesion cellulose and make it brittle. appears to be excellent across the board. constantly transferred from one layer Oil penetration, often called strike- Hide Glue to the next, that ultimately causes the through, was determined by inspecting extensive cracking and damage we see Painters wanting to use historical in so many older paintings that have the back of the canvases for any signs materials tend to prefer rabbit skin of discoloration. Currently all test grown increasingly brittle over time. and other hide glues, which generally (Mecklenburg, 2007a, 2007b) samples remain very pliable and no create a drum tight, very stiff surface. embrittlement or cracking was noted The main downside, of course, is that For many painters and authorities, when either flexed or folded. Issue 28 page 4 ©2013 Golden Artist Colors, Inc. these issues spell out a death sentence Acrylic Size combinations also did quite well. That for ever using this material. Yet, truth said, everything we know from research Acrylic dispersion mediums have be told, as long as the relative humidity in this area, tells us that the stiffer we provided some of the most durable can be kept between 30-60%, rabbit can make the canvas, the more stable options when it comes to sizing a skin glue continues to represent the and secure the oil painting will be canvas, and for a very long time our gold standard for stiffness and strength in the long run. And in that regard, recommendations have remained fairly that other sizes are compared against. GAC 200 was clearly the best choice. stable: apply a coat of GAC 400 to The one caution is that is has a higher PolyVinyl Acetate (PVA) the front in order to stiffen the fabric, minimum film forming temperature followed by an additional 2 coats of While pH-neutral PVA adhesives than our other mediums and must be GAC 100 to act as an oil blocker. have long been used in conservation applied when the temperature is at least Many artists saw this two-step process and the book arts, some manufacturers 70ºF / 21ºC. now provide PVA-based sizes for use as cumbersome, especially since GAC in preparing canvases. These should 400 should ideally be heat set to lessen GROUNDS adequately protect fibers from the its water sensitivity; a step most would For stretched canvas the three most oxidizing effect of drying oils and find impractical on any larger scale. common options artists will encounter prevent strikethrough. In our own Luckily the testing we did allowed us are traditional oil grounds, faster drying testing, the number of required coats to to reexamine this issue and ultimately alkyd ones, and of course, acrylic achieve this was varied, with one coat modify our advice. gessoes. Each will have its advocates clearly sufficient for a faster drying, In terms of oil blocking, two coats and devotees, and all represent alkyd-based ground we tested, while a of GAC 100, GAC 200 and Polymer viable options. minimum of two coats were required Medium can be equally effective, as Traditional Oil Grounds for all the slower drying, oil-based well as one coat followed by a second of products. Always consult with the either Matte Medium or Fluid Matte These are usually a simple blend of manufacturer and check for your own Medium. Adhesion of different oil white pigment with marble dust and/ application to see what is optimal. grounds to a wide assortment of these or barium sulfate ground in linseed oil.

COATING #1 COATING #2 COATING #3 GROUND STRIKETHROUGH STIFFNESS

GAC 200 GAC 200 Linseed Oil Grounds None Stiff GAC 400 GAC 100 GAC 100 Linseed Oil Grounds None Moderate Acrylic Gesso Acrylic Gesso Acrylic Gesso Linseed Oil Grounds None Moderate GAC 100 Fluid Matte Medium Linseed Oil Grounds None Flexible GAC 100 Matte Medium Linseed Oil Grounds None Flexible Polymer Medium Polymer Medium Linseed Oil Grounds None Flexible GAC 100 GAC 100 Linseed Oil Grounds None Flexible Rabbit Skin Glue Rabbit Skin Glue Linseed Oil Grounds None/Very Slight Stiff GAC 400 GAC 100 Linseed Oil Grounds Very Slight Moderate GAC 200 Linseed Oil Grounds Very Slight Moderate GAC 100 Acrylic Gesso Linseed Oil Grounds Very Slight Flexible PVA Size PVA Size Linseed Oil Grounds Very Slight Flexible Polymer Medium Linseed Oil Grounds Very Slight Flexible GAC 100 Linseed Oil Grounds Very Slight Flexible Rabbit Skin Glue Linseed Oil Grounds Slight/Moderate Moderate Acrylic Gesso Acrylic Gesso Linseed Oil Grounds Slight/Moderate Flexible GAC 400 Linseed Oil Grounds Moderate/Severe Moderate Acrylic Gesso Linseed Oil Grounds Severe Flexible PVA Size Linseed Oil Grounds Severe Flexible Table 1 – Various sizes for protecting and stiffening canvas.

Issue 28 page 5 ©2013 Golden Artist Colors, Inc. SIZE GROUND NOTES

x3-5 GOLDEN Gesso 3 coats will block oil, while additional layers increase stiffness. Basic --- Wait minimum of 3 days after last layer is dry before using.

Standard x2 GAC 200 Acrylic Minimum application x2 GOLDEN Gesso Excellent oil blocking and good stiffness. Wait minimum of 3 days after last layer is dry before using. Ground temp. 70º F/ 21º C

x2 GAC 200 Standard Minimum application x2 Williamsburg Lead Excellent oil blocking and good stiffness. Wait minimum of 2 Oil Ground temp. 70º F/ 21º C or Titanium Oil Ground weeks after last layer is touch dry before using.

Excellent oil blocking and good stiffness, but unstable in very x2 Williamsburg Lead Traditional x2 Rabbit Skin Glue dry or humid environments. Keep relative humidity between or Titanium Oil Ground 30-60% to lessen risk. Wait a minimum of 2 weeks after last layer is touch dry before using.

x2 GAC 200 Clear x2 GOLDEN Excellent oil blocking and good stiffness. Wait minimum of 3 Minimum application Fluid Matte Medium temp. 70º F/ 21º C days after last layer is dry before using.

Table 2 – Recommendations on preparing a canvas for oil painting. The marble dust and barium sulfate Dark yellowing is a well-known the back of the canvas. Increasing serve to provide tooth and modify the phenomenon but can be very the number of layers acts to stiffen absorbency and sheen of the surface. In disconcerting if you are not familiar the surface even further, and it is terms of pigments, Titanium White has with it. It occurs when a canvas is not uncommon to apply 4-5 layers become the most common; its opacity stored in the dark or turned against the to create a fairly stiff surface. For a and high tint strength helping to mask wall for a prolonged period. During fuller explanation of this, as well as an the natural tendency of linseed oil to this time there is a build up of unstable extensive look at the research showing yellow with age. Lead White, however, chromophores that create a yellow caste acrylic grounds can be safely used is by far the most flexible and durable but are easily bleached by light. If this under oils, see our article in Just Paint option, and there is reason to believe happens, allow the primed canvas to Issue 24, “Using Oils with Acrylics”. it has beneficial effects on the painting be exposed to sunlight or other light Clear Grounds as a whole. Lead does come with source and the yellowing should lessen significant health warnings, however, considerably or disappear altogether. Never truly transparent, a so called ‘clear gesso’ allows for the natural and should be handled with great care. Alkyd-based Oil Grounds One should never sand a lead ground as color of the substrate to show through. the resulting dust and airborne particles Generally thought of and marketed While some products are marketed present a significant health hazard. Zinc as a type of oil ground, these are specifically for this purpose, artists oxide is not frequently found in oil actually oil-modified alkyd resins that can actually use any number of matte grounds since it will form a particularly dry quickly and can often be painted mediums to achieve the same aim. In brittle film and current research shows on in a matter of days. Like all oil fact, our Molding Paste will be quite a strong correlation between its use grounds, there are concerns about translucent if applied in thinner layers, and increased risk of cracking and long-term flexibility and brittleness, and our Acrylic Ground for Pastels, delamination later on. Because of this, especially in colder temperatures. while having a more pronounced tooth, we believe one should err on the (Young, Hagen 2008) can also be adapted to these needs. For side of caution and avoid its use in Acrylic Gesso general needs, we recommend using grounds altogether. Fluid Matte Medium since it is easily By far the most common product applied and more resistant to long term For Williamsburg Oil Grounds one currently used, acrylic gesso provides color shifts. If you plan to leave areas should wait a minimum of two weeks an alternative to the oil-based of the substrate and ground exposed, after the last layer is fully touch dry products reviewed above. Fast drying, we highly recommend adding a UV before using. This will give time for the permanently flexible, and with an protective varnish at the end to limit ground to pass through the most active optimal level of tooth and absorbency. the risk of yellowing even further. period of the drying process, when the Not to be confused with traditional oil is still absorbing oxygen and gaining hide glue gessoes that can only be PUTTING IT ALL TOGETHER in mass. For a fuller explanation, please applied to rigid supports. A minimum The above grid summarizes our see our article in Just Paint Issue 25, of three layers should be applied to best recommendations when priming “Weighing in on the Drying of Oils”. prevent oil from striking through to canvas for oil painting based on Issue 28 page 6 ©2013 Golden Artist Colors, Inc. current testing. However, it is ideal system will continue far into the Mecklenburg, Marion F., 2007b absolutely critical that GAC 200 foreseeable future, and that for now, at Determining the Acceptable Ranges of be applied and allowed to dry in least, painting on an inflexible support Relative Humidity and Temperature in temperatures at or above 70ºF / still trumps all of these in terms Museums and Galleries, Part 2, Structural 21ºC. If you cannot maintain this of stability. Response to Temperature, http://eprints. temperature during that time, replace sparaochbevara.se/165/., 1-29. (http://si- pddr.si.edu/dspace/handle/10088/7055) GAC 200 with the standard one coat Bibliography of GAC 400 followed by two coats Young, Christina, and Eric Hagan. of GAC 100, which will provide Mecklenburg, Marion F., 2007a, 2008. Cold Temperatures Effects good oil blocking and still moderate Determining the Acceptable Ranges of on Modern used for Priming stiffness. We have also included a Relative Humidity and Temperature Flexible Supports. In Preparation for way to create clear grounds, as these in Museums and Galleries, Part 1, Painting: The Artist’s Choice and Its Structural Response to Relative Humidity, Consequences, ed. Joyce H. Townsend, have become increasingly popular, as http://eprints.sparaochbevara.se/165/., well as acknowledge the continuing Tiarna Doherty, Gunnar Heydenreich, 1-57. (http://si=pddr.si.edu/dspace/ and Jacqueline Ridge, 172-179. importance of historical materials like handle/10088/7056) rabbit skin glue. Finally, we want to London: Archetype acknowledge that the search for a truly

challenging procedure carried out by of the Getty Conservation Institute, a conservator. discusses the new paints that have The book, almost 900 pages long, appeared since 1940 and cleaning provides a thorough history of Western concerns for acrylic emulsion paints. easel painting materials, from wooden He describes how the binding media or canvas supports to varnishes; of new paints helped to make possible techniques used to examine paintings the results achieved by Jackson Pollock, (including x-radiography, infra-red , Mark Rothko, Bridget reflectography, optical microscopy, Riley, and many others. Mark Golden and cross-section analysis); methods has provided an essay on varnishing of and approaches for treatment, acrylic paintings by artists. including consolidation, tear mending, Dr. Joyce Hill Stoner credits her lining, cleaning, retouching, and co-editor, Rebecca Rushfield, with varnishing; and improved methods the extraordinary work compiling a for transporting, storing, lighting, and comprehensive 100-page bibliography. framing paintings. Special sections Dr. Stoner herself has been teaching address sustainable conservation paintings conservation and collaborating Conservation of management of exhibitions, emergency with living artists for over thirty-five preparedness and recovery, attack by years. She identified and recruited key Easel Paintings insect pests, and health and safety experts who have carried out significant Edited by Joyce Hill Stoner and concerns in the studio. research in artists’ interviews; historical Rebecca Rushfield Practicing artists may enjoy reading gesso, grounds, and pigments; causes After seven years of work and “Recommending Materials to of deterioration of Old Master paint including essays by seventy-nine Artists,” by Mark Gottsegen, author media; current sophisticated methods of international author-experts, of the excellent up-to-date “bible” examination and instrumental analysis; Conservation of Easel Paintings is now on artists’ materials: The Painter’s and new approaches and materials available from Taylor and Francis, Handbook. Conservators have been for the cleaning and retouching of amazon.com and barnesandnoble.com, working internationally to establish paintings, etc. etc. David Bomford, formerly Acting dialogues with living artists so that This is a truly comprehensive book Director at the Getty Museum and both the materials and the spiritual that presents a range of up-to-date currently Director of Conservation at values of their works can be more information and can now form the basis the Museum of Fine Arts, Houston, sensitively preserved in the future. for further development and discussion. writes in the foreword, “For the first The International Network for the It is now a crucial resource for training time, we are looking at a coherent Conservation of Contemporary Art conservation students and will provide account of the entire history, (INCCA or http://www.incca.org/ ) is generations of interested artists, dealers, philosophy, theory, and practice of the described in a section on “Collecting students of art and art history, curators, discipline [of painting conservation].” and Archiving Information from directors, collectors, and practicing Bomford himself wrote the key Living Artists.” Respected expert on paintings conservators with valuable chapter about history and philosophy the composition and longevity of information and guidance. of the cleaning of paintings, the most modern paints, Dr. Tom Learner

Issue 28 page 7 ©2013 Golden Artist Colors, Inc. Our first snowfall of the season. Lynette Stephenson’s Studio during Open Studios at the Golden Foundation Residency Barn.

within each 4-week residency. My After the artists got settled in, The Barn parents and I are delighted to be the we continued the shock and awe By Emma Golden next generation recipients of Sam’s of a new environment by walking legacy, the gift of being in the presence down the road with them to Golden Ring Ring. “Golden Foundation, this is of artists. Artist Colors for the first of many Emma, may I help you?” What did this year’s 4-week technical meetings. Technicians “Yeah, I’m calling about the barn...” residency look like at the barn? Mike Townsend or Ulysses Jackson “Do you mean the Golden Residency?” Very little rest and much time for began with an exploration overview of waterborne materials. “An overview” “That’s right, the barn..., experimentation and exploration of is an understatement, as this process and where are you again?” ideas and materials. Thankful for the elevator and borrowed luggage of materials exploration is continuous The barn. Artists have defined it for tram, I assisted artists on the day of throughout the residency program, us, even though we keep calling it The arrival with unpacking their supplies, and often leads to more customized Residency. And what a first year it’s choosing their apartment and studio comprehensive technical sessions, been at the barn! Artists from around space, and sharing a first of many based on the needs of the artists. For the world joined us in celebrating what meals together. example, this year’s additional requests seemed like only a dream 30 years focused on Grounds Development and I’m grateful to these extraordinary Surface Preparation for both Acrylics ago, when my grandparents imagined artists, who have inspired me to realize small barns among the rolling hills and Oils, Airbrush Techniques, and Sam and Adele’s vision, and to build Varnishing! of Chenango County, where artists better programming based on their could live and have studio space. What experiences and feedback. The staff in the Labs of Golden my grandfather Sam really wanted, Artist Colors are continuously though, was to enjoy the company of Mel Prest: “I loved the soft wood innovating new materials, and Artist artists, as he made materials for them floor and the light of my studio. I Residents gained insights into new in a similar, somewhat larger, barn. would look outside and see all the product development, including local fauna: red fox, wild turkey flock, many products that haven’t yet I’m beginning to understand the hawks, deer, tiny frogs, butterflies.” excitement and passion that Sam hit the shelves of the art stores. shared in his lifelong journey of Erin Treacy: “My mornings at the This is an insider’s look into paint engaging with artists, listening to their Golden Residency were spent waking manufacturing, and the innovative requests for custom materials, and up with coffee and a book on my process of materials development. transforming pigments and binders private little sitting area outside the Although the residency program for into concoctions to meet their needs. sliding glass doors of my bedroom. 2012 was confined to working with In many ways, developing this first I would then use the huge waterborne materials, this did not year’s residency program was just like table in my room to do some light negate the scheduling of a technical Sam’s journey. With the help of first sketching before heading to the studio. review of Williamsburg Oils with year resident artists Jennifer Anne The studio was more than I could Technical Support Services Supervisor, Norman, Erin Treacy, Elizabeth Blau, have imagined – tons of space, light Sarah Sands. (This year, we’re happy Karima Klasen, Mel Prest, Lynette and materials! Coming from NYC to announce that the barn will be Stephenson and Kevin M. Witzke, where space is extremely limited, the equipped for artists to work safely with I am learning to retune my listening sprawling interior and exterior space oils too). skills, develop targeted schedules inspired me to produce a lot of work, for technical assistance, and above as well as afforded me the opportunity Applications Specialist Lori Wilson all, be flexible in providing as many to work larger and really become part reviewed the latest in both commercial opportunities and resources as possible of the space.” and fine art tools of the trade in the specialty finishes industry. Her work Issue 28 page 8 ©2013 Golden Artist Colors, Inc. Mel Prest speaking with Justin Hodge during Open Studios. Jennifer Anne Norman’s Studio. with world renowned decorative enlightening to visit the factory and The Golden Foundation’s painters lends itself to insights in meet the people who work so hard application process consists of an generating surfaces and layers that can to make the paints and then go back online application to be submitted be chiseled, carved, knocked down, to the studio to work them in a by the announced deadlines. The built up, removed and revealed. different way….” deadline for applications for the 2013 Technician Amy McKinnon Have I mentioned that artists receive Residency was extended one more shared the latest techniques in Digital all the paint materials they need during week, due to Hurricane Sandy. We’re Grounds development on surfaces their residency? Since the technical thrilled to announce that the program ranging from aluminum foil to meetings included hands-on materials has doubled for this year, enabling plastics to fabric and acrylic skins. experimentation and exploration of up to 18 artists to attend. Artists Amy also shared further information dried films and surfaces, the artists from around the world have applied, in the process of Acrylic Transfers, were then asked to check off product and were chosen by an independent continuing the research to improve on their wish list and those materials selection committee based on the and expedite the process. were delivered to their studios within quality of their work. The selection committee members, as well as the And for those resident artists who 24 hours. I loved delivering the boxes to them, seeing their delight! 2013 artists in residence, can be viewed were really interested in understanding soon at www.goldenfoundation.org. the chemistry side of materials, Ulysses Karima Klasen: “The Golden Jackson offered an intense technical Foundation gave me all the support I As we grow the program and the session in the inherent properties of could have hoped for. It was really about Golden Foundation endowment, our acrylics and oils, where they succeed, the work and to create a place where goal is to be even more generous in and where they fail. the artist can just work. I never had our services to resident artists. This to worry about things because I knew includes financial support toward the Mel Prest: “Meeting the technicians cost of a residency. was especially exciting because they there are many helping hands and brains are paint geeks as I’d like to be. Their around. I never like my questions As I reflect back on last year’s knowledge and experience were and concerns weren’t important. There journey, I’m thinking we too, will be super important to my residency was always an open ear…” calling it “the barn”. experience.” “It was really amazing Elizabeth Blau: “Working with to have such knowledgeable people the materials was a gift beyond to work with….” I feel I learned measure. My work was able to come EIGHT YEARS worth of information; to life without the worry of paint like I just gained eight more years consumption.” of my painting life. I can’t think of Since the residency is about the anything that allowed me to grow exploration of materials and the in the painting realm more than the ability to play with the products with time at the Golden Foundation…even no limits, artists are not required including graduate school.” to have finished work by the end Elizabeth Blau: “I really liked the of their residency. Each group of structure of the tutorials, yet the artists offered Open Studios night flexibility of the programming. There at the end of their residency, and was this low-pressure mentality, our upstate arts community of local which lent itself to liberating studio individuals, businesses, galleries and production….” nearby residencies, has been incredibly Artist Kevin M. Witzke’s new piece developed supportive. through an apparatus made with the help of Jennifer Anne Norman: “It was Golden Artist Colors’ Engineers. Issue 28 page 9 ©2013 Golden Artist Colors, Inc. NEUTRAL NEUTRAL NEUTRAL NEUTRAL Williamsburg’s Special GRAY N2 GRAY N4 GRAY N6 GRAY N8 PW6 / PBk6 / PBr7 / PY43 ITEM 6001912-3 PW6 / PBk6 / PY43 / PR102 ITEM 6001914-3 PW6 / PBk6 / PY43 / PR102 ITEM 6001916-3 PW6 / PBk6 / PY43 / PR102 ITEM 6001918-3 Titanium Dioxide Rutile / Nearly Pure Amorphous Titanium Dioxide Rutile / Nearly Pure Amorphous Titanium Dioxide Rutile / Nearly Pure Amorphous Titanium Dioxide Rutile / Nearly Pure Amorphous Carbon / Calcined Natural Iron Oxide containing Carbon / Natural Hydrated Iron Oxide / Calcined Carbon / Natural Hydrated Iron Oxide / Calcined Carbon / Natural Hydrated Iron Oxide / Calcined Edition Neutral Grays Manganese / Natural Hydrated Iron Oxide Natural Iron Oxide Natural Iron Oxide Natural Iron Oxide By Sarah Sands It started innocently enough, the email slipping silently into the queue of our Inbox: “I was just wondering,” wrote the customer, “if there has been any thought of making a range of Munsell Neutral Grays in oil paints, similar to the ones in GOLDEN acrylics? I’m not holding my breath but this would be fantastic.” So the observer, the standard that was used Grays are meant to form an objective back and forth began, and by the time when defining the original Munsell and known scale that any other color the emails died down a couple months swatches? Could they use Mars Black? can be measured against. Incorporated later, more than 80 tubes of various Or perhaps Lamp? Ship to the UK, as a part of one’s palette, or system of Munsell Grays were being shipped Germany, Australia? Who should mixing, they can allow a painter to to five different countries. But we are sign off on the samples before going adjust a color’s chroma in a repeatable getting ahead of ourselves... forward? And so it went, the questions and precise way that is simply not There are several things that at once helping to define the project attainable otherwise. Williamsburg Handmade Oils is while also expanding its reach. In the In the distant past many of the known for: its range of colors, the end the group settled on four Munsell unique colors that were born from differences in grind, an attention to values (N2, N4, N6, N8) ground in similar dialogs or discoveries would detail and emphasis on small batch alkali-refined linseed oil and using be taken down to Williamsburg’s own production or simply, the sheer a combination of Titanium White, store in Manhattan and placed in boxes sensuousness of the paint. But there Lamp Black, and small touches of near the front, where painters could is another aspect that takes place various iron oxides (Burnt Umber, pick through the various odds and largely under the radar, and out of Burnt Sienna, Raw Sienna) to pull ends. After the store closed, in the late public view, which are the constant the otherwise too-cool mixtures back 90’s, they could still be found for many dialogs with artists searching for things towards neutral. It was a balancing act years on the Web site. Today, after a they cannot find elsewhere, or with that required great finesse on the part long hiatus, Williamsburg is excited to materials that possess some unique of the Lab, with the goal to always revive this tradition and to introduce presence. Sometimes it is as simple track as tightly as possible the spectral these four Neutral Grays (N2, N4, N6, as a variation on a current recipe; curves generated from an official, newly and N8) as our first Special Edition perhaps substituting a different oil minted set of Munsell Grays. colors. Available only in 150 ml tubes, or an alternate pigment, or simply As one can see below, the matches they can be purchased through the formulating the color with a thicker between the Munsell and Williamsburg Williamsburg online store, as well as at or softer feel. Other times it means Grays are nearly flawless as they stretch select retailers. For further information creating something wholly new, from out across the spectrum, the slightest please call Customer Service the bottom up, inspired by the needs undulations animating the otherwise 800-293-9399 / 607-847-8843, of an artist, or a fortuitous find of some flat uneventful lines. The fact that or visit williamsburgoils.com. scarce material. Each opportunity is a any attempt chance to learn as well as connect. at Munsell So there was nothing unusual equivalents about a request to formulate a few are constantly Munsell Grays, and we immediately compared offered to make them on a custom to such an basis, with the attendant lead time exacting, and mixing fees. But the project universal model quickly grew as the request made is one of the its way to Rational Painting (http:// things that sets rationalpainting.org), a well-regarded these colors forum dedicated, among other things, apart. There is to a Munsell-based approach to color. absolutely no Could they order as a group? How wiggle room or precisely could we match the colors? poetic license Could the spectrophotometer be here. Rather, set to Illuminant C with a 2 degree the Munsell

Issue 28 page 10 ©2013 Golden Artist Colors, Inc. Four New Experimental Products By Scott Bennett All painters soon discover that black is not black. Black is, like any color, a general term used to describe a large range of colors. We have three blacks in our Heavy Body, Fluid and OPEN Acrylics: Carbon Black, Mars Black and Bone Black. While all three of these are nominally black, they are formed in different ways, are chemically different, and have quite different undertones. Carbon Black pigment is usually formed from partial combustion of natural gas and is a nearly pure form of carbon. It is the strongest of our blacks and has a slightly cool undertone. Bone Black, on the other hand, is formed from the burning of animal bones, CBB CBY CBG CBR where impurities provide a slightly Four Chromatic Blacks showing undertones via thin film, washes and glazes from bottom to the top. warmer undertone. It is also the most translucent of the blacks. Mars Black, a Chromatic Black Red (CBR) and coolest. Paynes Gray can be thought synthetic iron oxide and the warmest, Chromatic Black Yellow (CBY) of as a kind of chromatic black, since has a slightly brownish undertone. it is made with Carbon Black and These two warm toned Chromatic Ultramarine Blue, but the ratio of There are many instances in painting Blacks appear ever so slightly lighter in when a dark color is needed or when pigments leans much more heavily value than our Carbon Black, which is with the blue component, giving the we might see a surface or space that the comparison standard I am using. our brains are telling us is “black”. color a very distinct blue undertone, But, it is the color or hue difference along with a clearly perceivable blue Of course, we could reach for one that creates most, if not all, of the of the three black colors described in the masstone. The CBB, which visible difference when placed side by is also Carbon Black blended with above, or we could mix a black with side. CBR and CBY both appear very compliments, such as Quinacridone a blue pigment has a much less similar in mass tone, looking subtly pronounced blue undertone, is more Magenta and Phthalo Green (Blue warm, and even a little brownish. It Shade), which will give us a type of neutral in color and darker in the is only when you spread the paint out masstone, appearing as a very cool, chromatic black, that we can then thinly and add water to make a , adjust to lean toward the magenta or dark, rich black. The blue pigment or medium to create a glaze, that you used is Anthraquinone Blue, a very the green. Our 4 new ‘Experimental’ see the more obvious color lurking Chromatic Blacks were created to dark and red leaning blue. Chromatic in the dark. The CBR is the warmest Black Green is second in line to the provide just that type of adjustment. looking in the undertone, while the These experimental colors all start CBB in darkness of value, appearing CBY takes on a bit of a Sap Green somewhat warmer in the masstone. with Carbon Black to which we add tone and feels cooler. The CBR uses small amounts of translucent organic Phthalo Green (Yellow Shade) is added Naphthol Red Light and the CBY to create the green coloration, and is pigments to give them a subtle tilt contains Nickel Azo Yellow. toward a certain hue. As with most of cooled down quite a bit from the very our regular colors, there are no fillers Chromatic Black Blue (CBB) and cool carbon black. or matting agents added, so the dry Chromatic Black Green (CBG) These Chromatic Blacks can be very surface sheens have a natural variation The CBB and CBG are both darker useful when you need to paint a dark due to pigment load. The Chromatic in value than the red and yellow blacks, passage that needs to read as a color, Black Blue and Chromatic Black with the CBB being the darkest value rather than a cold black. Of course, Green are both a bit glossier than the of them all. It is actually darker in you can also mix with white to make other three Blacks, which tend to have value than the Carbon Black. Both an infinite array of chromatic grays, or a more or semi-gloss surface. are quite cool, with the blue being the blend in mediums for translucent Issue 28 page 11 ©2013 Golden Artist Colors, Inc. chromatic gray glazes. Try adding just a touch of any Iridescent color to that glaze and watch to see what happens. Sure, Manet could make dense Bone Black work as a color, but in most cases a specific chromatic black is needed. Here they are, waiting for you. Don’t be afraid of the dark. Clear Pouring Medium (Thin) Clear Pouring Medium (Thick) Over the last decade or so we have been fielding regular questions in Technical Support Services about how to achieve what has very loosely been described as the “resin look” on the surface of acrylic paintings. It started with artists using industrial grade two part epoxy resins on their paintings, which were typically on rigid panels, since this type of epoxy resin is usually pretty hard and inflexible. In tests we have seen them yellow from exposure to UV light, and the compounds are Left to right: Clear Pouring Medium (Thick) and Clear Pouring Medium (Thin). known to be fairly toxic. Our new Clear Pouring Mediums have broken translucent in the wet state and dry to and retained much of their clarity. The tradition with the inflexibility and very clear, flexible films. This is very dry films have about the same level of toxicity of epoxy resin and with all different from the catalytic curing flexibility as our standard paints and pouring mediums made with acrylic process of two part epoxies, which mediums, but in testing they were that have come before them. They are harden and cure due to chemical more block resistant. They will still truly clear in the wet state. interactions, rather than evaporation imprint and ferrotype if left pressed At present we offer two types: Thin of water, so they are compatible with against another surface, but less so than and Thick. Both are long rheology in our whole range of waterborne acrylic our standard acrylics. These attributes consistency, and level out very nicely. paints and mediums. make them better as a topcoat for What this means is that they have a We conducted the same level of fine art. One possible use that we very syrupy consistency like molasses or UV light testing that we put all of our are excited about is for floor cloths, honey, so tool marks will tend to melt products through, and these Mediums where the combination of physical away as the product settles out. At first came through with flying colors. They durability and flexibility is important. look, they might seem very close to the had fewer changes as compared to most It is important to note that they will same consistency, but if you poured of our Mediums and Gel Mediums, not have the physical hardness of out a puddle of each and then tilted the panel, the Thin one would run down the panel twice as fast as the Thick version. The Thick one can be used to create what we often call “pancake” pours, while the Thin type will tend to flow out and create a thinner film that would probably be better for applications where a relatively thin, clear, smooth and glossy coating is required over the entire surface of the work. Both are good at releasing air bubbles, and the Thin type is virtually bubble free when poured directly from the container with minimal manipulation. At this time, these mediums come in gloss sheen. These Clear Pouring Mediums are waterborne acrylic urethanes, very Puddles of pouring medium run down panel Fluid Acrylics dripped onto Clear Pouring when tilted, showing viscosity differences. Mediums, demonstrating clarity of material. Issue 28 page 12 ©2013 Golden Artist Colors, Inc. polyurethane and should not be used for a topcoat on functional objects. Any instance where a fine art grade, clear, glossy, less tacky and very smooth coating is desired on an acrylic painting, these Clear Pouring Mediums can work well. They can also be used as painting mediums, blended with our Fluid or Heavy Body colors, and their high translucency in the wet state enables techniques not possible with a standard acrylic medium, since you can see the different layers of color moving inside the liquid medium as you work with it. For many artists this may be the most exciting attribute. Be on the lookout for these products at select retail locations beginning in June. We would still advocate packing, storing and shipping any acrylic painting with nothing touching the Thick Self Leveling Gel agitated with a palette knife, relaxes after several minutes, surface. For more information about losing all tool marks. proper handling of acrylic paintings, here are previous articles from our Just like it could be a very liquid material, be very hard to get with any other Paint Newsletters and the Canadian as the surface is very smooth, but you medium or paint. Conservation Institute: can completely invert the container Unlike our Clear Pouring Mediums, n Safe Handling and Transportation of and the Gel will barely move. With this Gel is quite white and opaque Acrylic Paintings some movement of the container, the when wet, similar to most other http://goldenpaints.com/justpaint/ Gel can be poured very slowly, but waterborne acrylic mediums, but will jp11article1.php it will do so in a thick and very long, dry glossy and translucent. It will n The Canadian Conservation Institute - stringy mass. These characteristics have the same potential for changes in How to Wrap a Painting for Shipping can make it a little challenging to use color over time that all standard Gels http://www.cci-icc.gc.ca/crc/notes/ initially, but they also open up a world and Mediums have, as outlined in the html/10-16-eng.aspx of possibilities. ‘Acrylic Patina’ article listed above. For more information about changes When you dip a palette knife or As with all Experimental Products we that typical acrylic mediums can incur other tool into the smooth surface develop, we welcome your feedback. over time, refer to these Just Paint and move it around, it stiffens up Just call Technical Support Services at articles: immediately and takes on a rougher, 607-847-6154. n The Acrylic Patina “cottage cheese” like texture due to http://www.goldenpaints.com/justpaint/ the sudden viscosity change. It will jp23article2.php hold tool marks initially for a very n Guidelines for Clear or Lightly Tinted short period, but just as quickly, those Textures, Layers, and Glazes tool marks begin to melt away as the http://goldenpaints.com/technicaldata/ Gel begins to level out. After several clear_layers.php minutes, most texture or tool marks will have completely disappeared. Thick Self Leveling Gel (TSLG) One interesting technique involves Another name for this Gel Medium brushing out a blend of TSLG and could have been “the incredible a little Fluid Acrylic or Heavy Body melting gel”. The easiest way to Acrylic. As you move the mixture on a describe its consistency and working surface, it thickens and you can easily properties is to compare it to how corn create grainy looking, dry brush effects starch and water react as a mixture, or and sgraffito marks. When you stop ® to the way Silly Putty can flow when and allow the mixture to relax, the at rest, but will break when suddenly thicker areas will settle out, adopting shocked or pulled apart. Materials a very smooth and rounded texture, that behave like this are called shear but the dry brushy and sgraffito marks Both dry brush and sgraffito techniques are thickening fluids. When at rest, it looks will remain. It’s an effect that would possible to achieve with Thick Self Leveling Gel.

Issue 28 page 13 ©2013 Golden Artist Colors, Inc. Cont. from page 3 unprimed canvas without a size coat. the effects of SID from cotton canvas, Strainers: Secrets of the Trade” by David This can also effectively lock in the even when multiple coats are applied. Headley at http://www.goldenpaints.com/ fibers of the cotton, reducing the Acrylic gesso is typically filled with justpaint/jp17article3.php, and by James elongation of the fabric. It creates a pigment and functional solids (calcium Bernstein at http://www.goldenpaints. relatively hard, absorbent and toothy carbonate, silica) as well as other com/justpaint/JamesBernstein/ surface for subsequent adhesion of the additives. These coatings are quite NumberFour.pdf. acrylic paints. Multiple coats of the porous and allow those impurities in acrylic gesso will increase the hardness the cotton duck to migrate through the Sizing Canvas for Acrylic Painting and increase the tensile strength of the gesso and into the acrylic paints on the Applying a very fluid acrylic polymer composite fabric and acrylic ground. surface. The high solids of an acrylic to the cotton canvas either in the The whiteness of the gesso also gives gesso create an even more porous film process of pre-stretching the duck or a beautiful reflective surface that will allowing for significant infiltration of applying over an already stretched increase the luminosity of colors above. moisture to the cotton fibers. unprimed canvas will both lock the Acrylic gesso is typically produced with Applying Size and Grounds fibers in place, reducing the movement titanium dioxide to improve the overall and vibration of the canvas. Not all whiteness of the surface. Titanium With the advent of acrylic, artists acrylic sizes are equivalent in their dioxide pigment is well known as a UV have been freed from so many of the ability to reduce the dirt, trash and blocker, reducing the damage caused restrictions required to create a stable water soluble components of the cotton from this spectrum of radiation from and relatively permanent painting using fabric from penetrating back into the bombarding the cellulose structure of other traditional painting media. But painting and potentially discoloring the cotton fibers. there is still an opportunity to share best practice as we currently understand acrylic films. Other than washing Whether using first, a size, or directly your canvas, which is in many cases it for artists working with acrylic on applying the acrylic gesso to the canvas, cotton duck. impractical, using an appropriate size the canvas can still be stretched with will reduce the potential for SID. significantly less concern over cracking When applying a size to cotton duck We have recommended using a the priming layers. Acrylic gessoes do we have recommended an application specialty acrylic polymer, GAC 100, vary significantly in a number of ways, of a thin medium. Our Polymer to block the bleed through from the including their flexibility, but a new Medium thinned with up to 20% canvas additives. Additionally, our standard (ASTM D-7733) has been water will easily soak into the cotton Polymer Medium (Gloss) is also a very developed that requires manufacturers fibers and lock them in place. Brushing effective size capable of reducing the conforming to the standard, to produce the size layer on with a stiff brush effects of SID in your acrylic painting. a relatively flexible film allowing the will tend to force the acrylic binder Both GAC 100 and Polymer Medium cotton canvas to at least fold over a into the fabric. Some artists will use (Gloss) are very flexible under normal 90° angle without cracking. It is hoped a broad painter’s blade to both size as indoor temperatures above 50° F. that this new standard will be adapted well as apply the gesso ground. This allows for an even application, further Sizing the cotton canvas with an by the many manufacturers of artists’ acrylic gesso. forcing the medium into the canvas. acrylic polymer or medium that is We have recommended two coats of allowed to soak through or is forced All acrylic artist paints become less our Polymer Medium or GAC 100 to into the canvas fibers creates a flexible in lower temperatures and act as a sealer for the canvas. On top composite of cotton threads and acrylic quite stiff in freezing temperatures. of this size coat, there are a wide range binder that dramatically reduces the These films are prone to cracking if hit of grounds that can then be applied. overall stretch of the support, making it or stretched, rolled or unrolled while The grid to the right shares the types of much more rugged, stiff and capable of frozen. Stretching or re-stretching applications and grounds that can be reducing a great deal of the floppiness already acrylic primed canvases should possible within the acrylic medium. of the stretched canvas. be done above 65° F. Cotton Canvas Without Most artists will go directly to We have found that the acrylic Size or Ground applying an acrylic gesso on the gessoes by themselves do not reduce This process dates back to the early stain painting of Morris Louis, Ken Noland and Helen Frankenthaler. There is currently no coating or size that will completely mimic the way paint lays down on raw cotton duck, yet to achieve this aesthetic, the artist is sacrificing the benefits that a substantial size and ground will provide. Most artists have learned not to work with oil directly on raw cotton duck, yet even Regular Gel (Gloss) on unwashed #10 Cotton Regular Gel (Gloss) on washed #10 Cotton for artists working with acrylic, there Canvas with 2 coats of Gesso Canvas with 2 coats of Gesso Issue 28 page 14 ©2013 Golden Artist Colors, Inc. is still concern that the unprotected of Absorbent Ground or our Light has provided a very practical approach cotton fibers lacking the restraint of Molding Paste. These are very opaque to backing your stretched canvas a binder will be more easily abraded, coatings and will cover all of the canvas http://www.goldenpaints.com/justpaint/ degraded, collect dirt, and move. color below. JamesBernstein/NumberSeven.pdf. In Retaining the Look or Feel Protecting the Back of the Canvas addition, the new AIC Conservation of Raw Duck Wiki http://www.conservation-wiki.com/ There are some suggestions that wiki/Main_Page provides one of the Although it is possible to achieve applying a coat of gesso or an acrylic most complete and up to date resources a very similar likeness of raw cotton size to the back of the canvas before for best practices in conservation. duck, it is difficult to achieve both the stretching it may be a way to protect This site is open to the public and is look of the cotton fabric and its level of the canvas. This will certainly stiffen an invaluable contribution to artists absorbency with the same approach. the canvas and assist in locking fibers wanting to understand current thinking It is possible to retain the look of the in place, yet the jury is still out as to in art conservation. Protecting the cotton by applying the two coats of whether applying a porous coating on back of the fabric from large shifts in Polymer Medium and then finishing the back is the best process. It does humidity, dirt, bugs and the typical with a coat of Fluid Matte Medium provide some barrier protection, for damage caused by unaware helpers can which will provide some of the matte example, from the leaching of acids be the most significant aid in protecting quality of the fabric surface while also from wooden stretcher bars into the your work. Cotton canvas remains one protecting the fibers. This will not cotton fabric as well as slowing down of the most versatile, lightweight, and dramatically cover the creamy color or the movement of the cotton threads aesthetically appealing surfaces to work fill in the texture of the canvas cloth. caused by changes in temperature and on. There are multiple ways to prepare humidity. Too thick a coating or an fabric for a wide range of techniques If you wish to have some of the uneven coating on the back of the and applications providing considerable same absorbency as the raw cotton canvas will potentially reflect itself onto longevity to your finished work. fibers, again it is necessary to first size the surface of the canvas. with two layers of Polymer Medium References available on the web at: or GAC 100 and then multiple coats In Just Paint 17, James Bernstein www.goldenpaints.com/justpaint/jp28article2.php

ACRYLIC PAINTING ON COTTON CANVAS Surface Desired Size Application Ground Application Notes Gesso Surface Preparation 2 - 5 coats Thin first coat with up to 20% ater.w Gesso without size will not block

Standard Practice Acrylic Gesso Support Induced Discoloration.

Gesso Surface Preparation 2 coats GAC 100 or 2 - 3 coats If smoother surface desired, wet sanding will reduce dust and speed Best Practice 2 coats Polymer Medium Acrylic Gesso sanding process.

Clear Ground Preparation 2 coats GAC 100 or 2 coats Matte surface will provide some increase in absorbency. Best Practice 2 coats Polymer Medium Fluid Matte Medium

Absorbent Ground Preparation 2 coats GAC 100 or 2 - 5 coats Absorbent Allow 24 hours between coats of Absorbent Ground. For smoothest (1) Best Practice 2 coats Polymer Medium Ground (no sanding) finish, knife apply. Can be tinted with acrylic color.

Absorbent Ground Preparation 2 coats GAC 100 or 1 - 2 coats If smoother surface desired, wet sanding will reduce dust and speed (2) Best Practice 2 coats Polymer Medium Light Molding Paste sanding process. Knife apply. Can be tinted with acrylic color.

Apply 1 - 2 coats of the following: Soft These grounds assist the slower drying of acrylic paints by reducing Non-Absorbent Ground Clear 2 coats GAC 100 or Gel (Gloss); Regular Gel (Gloss); Self water being drawn into the canvas. Brush application for thinner Preparation Best Practice 2 coats Polymer Medium Leveling Clear Gel; GAC 200; GAC products. 500; GAC 800

2 - 3 coats of any of the products Non-Absorbent Ground White 2 coats GAC 100 or listed above These grounds assist the slower drying of acrylic paints by reducing Preparation Best Practice 2 coats Polymer Medium with at least 20% water being drawn into the canvas. Fluid Titanium White

Hiding Canvas Texture (weave) 2 coats GAC 100 or 2 (or more) coats Hard Molding Paste Knife application will improve smoothness of finished coat. Wet sand. Best Practice (1) 2 coats Polymer Medium or 2 (or more) coats Molding Paste Add up to 20% Gesso for whiter surface.

Hiding Canvas Texture (weave) 2 coats GAC 100 or 2 - 3 coats Experimental Knife application will improve smoothness of finished coat. Wet sand. Best Practice (2) 2 coats Polymer Medium Thick Gesso 1-3 coats of any of the following: Fine Ground Texture 2 coats GAC 100 or Acrylic Ground for Pastels; Fine Brush or knife application. Can be tinted with acrylic colors. Best Practice 2 coats Polymer Medium Pumice Gel

1-3 coats of any of the following: Coarse Ground Texture 2 coats GAC 100 or Coarse Pumice Gel; Extra Coarse Knife for easier application. Can be tinted with acrylic colors. Best Practice 2 coats Polymer Medium Pumice Gel; Clear Granular Gel; Micaceous Iron Oxide

1 to 2 coats of either Acrylic Ground 2 coats GAC 100 or Surface for both paint and drawing. Brush or knife application. Multi-media Ground Best Practice for Pastels or 2 coats Polymer Medium Can be tinted with acrylic colors. Fine Pumice Gel Issue 28 page 15 ©2013 Golden Artist Colors, Inc. PRSRT STD JUST PAINT U.S. Postage Golden Artist Colors, Inc. PAID 188 Bell Road Ithaca, NY New Berlin, NY 13411-3616 USA Permit #780

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Issue 28 February 2013 Articles: Mark Golden, Sarah Sands, Amy McKinnon, Emma Golden, Scott Bennett, Jodi O’Dell 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] www.goldenpaints.com www.WilliamsburgOils.com www.thesagg.org

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Eesha, 2012, Acrylic on Linen, 80” x 65” x 80” Linen, on Acrylic 2012, Eesha,

www.thesagg.org.

Medal. This award is given for the the for given is award This Medal.

to go “SHE,” and Martin Knox

West Clinedinst Memorial Memorial Clinedinst West

details. For more information about about information more For details.

Fellowship, Inc. with the Benjamin Benjamin the with Inc. Fellowship,

[email protected] for further further for [email protected]

was recognized by the Artists’ Artists’ the by recognized was

email or 607-847-6154 at phone

This past October Knox Martin Martin Knox October past This

Please contact Jodi O’Dell by by O’Dell Jodi contact Please

New York. New

Friday from 8:30 am to 5:00 pm. pm. 5:00 to am 8:30 from Friday

classes at the Art Students League of of League Students Art the at classes

you! The SAGG is open Monday - - Monday open is SAGG The you!

Knox continues to teach Master Master teach to continues Knox

Upstate New York, we’d love to have have to love we’d York, New Upstate

International School of Art in . Italy. in Art of School International

have the opportunity to take a trip to to trip a take to opportunity the have

University of Minnesota, and The The and Minnesota, of University

Gallery until April 6, 2013, so if you you if so 2013, 6, April until Gallery

University, New York University, University, York New University,

“SHE” will be displayed in our our in displayed be will “SHE”

Knox Martin has taught at Yale Yale at taught has Martin Knox

incredibly breathtaking show!” show!” breathtaking incredibly

Corcoran.

reaction has been universal, “what an an “what universal, been has reaction

Albright-Knox, Hirshhorn and the the and Hirshhorn Albright-Knox,

seeing the show for the first time, the the time, first the for show the seeing

including the Whitney, MOMA, MOMA, Whitney, the including

student of Knox’s or a college art class class art college a or Knox’s of student

of major museums around the world, world, the around museums major of

show. Whether it’s been an artist, a a artist, an been it’s Whether show.

work is in the permanent collections collections permanent the in is work

spending several hours viewing the the viewing hours several spending

paintings of Woman. Knox Martin’s Martin’s Knox Woman. of paintings

coming to the shop, with some some with shop, the to coming

use of metaphor applied to these these to applied metaphor of use

to share the artwork with visitors visitors with artwork the share to

Martin. Knox continues his powerful powerful his continues Knox Martin.

It’s been incredibly rewarding rewarding incredibly been It’s

recent large scale works by Knox Knox by works scale large recent

Fellowship. “SHE” presents over a dozen dozen a over presents “SHE”

fellow artists and his devotion to the the to devotion his and artists fellow

SAGG) in our facility. our in SAGG)

principles of art, his interest in his his in interest his art, of principles

Sam & Adele Golden Gallery (The (The Gallery Golden Adele & Sam

at The SAGG The at

the fundamental and traditional traditional and fundamental the

Knox Martin, entitled “SHE” at the the at “SHE” entitled Martin, Knox

West Clinedinst’s dedication to to dedication Clinedinst’s West

opening of an exhibition of works by by works of exhibition an of opening

1947 to commemorate Benjamin Benjamin commemorate to 1947

Knox Martin Knox

Last August we celebrated the the celebrated we August Last

merit. The medal was established in in established was medal The merit.

By Jodi O’Dell O’Dell Jodi By achievement of exceptional artistic artistic exceptional of achievement