Académique Documents
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/ Issue 24
what the requirements might be for
making artwork that has a firmer
footing and a more stable structure.
to break.
In the first diagram on page 1
(Figure 1) the curved line represents Figure 2: An example of a simple Free Swelling Strain graph.
the typical behavior of many materials
when being stretched. At first the line
rises steeply as a build-up of force A second and more basic graph part paintings done on these materials
is required to overcome its initial (Figure 2) shows the percentage have survived in far better condition
resistance and begin to elongate. of swelling or shrinkage a free, than others. An inflexible support will
Think about the effort one might unrestrained film of material essentially help restrain the potential
need to initially lengthen a plastic experiences when responding to movements of the materials in response
grocery bag by pulling at it with changes in either temperature (°F) to environmental changes or physical
both hands. At first there is a sense or relative humidity (RH%). By handling. Even today, this remains the
of resistance but eventually, once a ‘unrestrained’ it is understood that single most important piece of advice
person is pulling hard enough, the the material is not inhibited in any anyone can offer for creating a durable
bag will begin to stretch for a ways way from growing or contracting in oil painting with the least risk of
until eventually it reaches a breaking size. For example, imagine a piece of cracking or delamination. This is true
point. If instead of a grocery bag one loose fabric or wood that swells and whether the painting is done solely
grabbed hold of an older, 12” long shrinks as the relative humidity in with oils or on top of acrylic grounds
film of oil paint, one might be able to a room varies. By measuring these and paints.
stretch it just a 1/16”-1/8” before it dimensional changes we can quantify Complications arise the moment
broke, while many acrylic paint films just how responsive the material is. If we turn our attention to paintings
can elongate to twice their length or we now imagine this same material as done on stretched cotton or linen
more in ambient conditions, so quite restrained in some way, say as a piece since these materials are not simply
a difference. The amount of force of stretched canvas, we can sense how more flexible but generally far more
one needed in order to elongate the the amount of tension will rise and fall responsive to environmental changes.
material is called the ‘stress’, while the as the canvas tightens and slackens, Traditionally, as a way to stabilize the
percentage the material stretches is swells and shrinks, even though its fabric and protect its fibers from the
known as the ‘strain’. A final concept outermost dimensions stay the same. harmful effects of oils, a size of hide
that is important to know is called the In this way the measurement of free glue would be applied, followed by an
‘yield point’. This is the point when swelling strains are directly related to oil ground and finally, the actual paint
a material is stretched so far it can the amount of stress generated in a itself. However, this seemingly simple
no longer return to its original shape painting whenever there are changes sandwich of materials (canvas, glue,
and so is permanently deformed or in the environmental conditions. ground, paint) also generates highly
damaged. For a wide range of artist An Ideal Substrate complex interactions and divergent
materials and supports this is set at the For oil painting, an ideal substrate forces as they age and respond to the
extremely low level of just one half of should be more rigid than any of the world around them. This area has
one percent (.5%) and represents not subsequent grounds or paints that lay been the focus of a wealth of
only a practical limit but shows just on top. Traditionally wooden panels contemporary research and those
how little an amount of strain is and sometimes even copper plates were findings can help us look at the
ever acceptable. used for this purpose, and for the most viability of acrylics as a component of
an oil painting’s structure.
Issue 24 page 2©2011 Golden Artist Colors, Inc.
Responsiveness to Environmental
"
Conditions !
It is often thought that a critical
danger of using oils on top of acrylics
is the potential for acrylics to swell
or contract at rates so significantly
#
different from oil paints and mediums
that it would cause the overlying
films to crack. This “fact” has been
repeated so often and gone unqualified
for so long that it has emerged as an
unchallenged and generally accepted
!
$
commonplace. In the process many
people forget to ask if acrylics actually
do, in fact, have such a different Figure 4: Degree of swelling in response to temperature changes for Oil Paints, Acrylics, and Hide Glue.
Data adapted and simplified from Marion Mecklenburg (2007a, 2007b)
dimensional response? And if they did,
Issue 24 page 3©2011 Golden Artist Colors, Inc.
are the various whites in oil paints, cracking at both moderate and lower Adhesion
such as the illustrated Lead White, temperatures. One recent investigation
The second major concern for
which typically stays well within a that focused primarily on alkyd and
most artists is simply whether oils can
very tight range of .5% or less. Along acrylic-based grounds, went so far
develop good adhesion to a range of
these lines, it is interesting to note as stating fairly unequivocally that
acrylic grounds, paints and mediums.
that a recent study (Hagen, 2006) “alkyd-based oil primers present
This is an area GOLDEN began to
has shown matte latex housepaints the most vulnerable type of primer
look into more than 15 years ago, and
containing high levels of solids for contemporary flexible supports”
what follows is a review of those results
respond far less to moisture than even (Young, Hagen, 2008). Even at such
as well as a look at some conservation
this, to the point of being essentially moderate temperatures as 68°F (20°C)
studies that focused on the adhesion of
inert to even extreme changes in the study found that a linseed oil-
oil paints containing zinc oxide.
humidity. If nothing else, this has based lead carbonate ground fractured
reinforced our belief that matte when stretched as little as 1.6%, The first round of testing GOLDEN
acrylic paints and gessoes, which while the most flexible of the alkyd- conducted was in the mid 1990s and
share many of these traits, could based grounds was able to sustain involved creating 10 mil drawdowns
provide very stable surfaces for oils to 9% elongation. However, by 50°F of five oil paints (Indanthrone Blue,
adhere to and further investigations (10°C) those levels had dropped to Ultramarine Blue, Mauve Blue Shade,
along these lines should be pursued. .8% and 2.1% respectively. At 32°F Cobalt Turquoise, and Cobalt Blue
(0°C), the lead white ground showed Deep) over three distinct types of
Temperature acrylic films: GOLDEN Gesso, Heavy
failure with just .4% strain, a level that
In contrast to humidity, can easily be expected with normal Body Titanium White, and a mixture
dimensional changes brought about handling and movement. By contrast, of two parts Self Leveling Clear Gel
by fluctuations in temperature are GOLDEN Acrylic Gesso recorded a to one part Fluid Titanium White.
extremely minimal and would pose failure strain of 1% even at the much This provided examples of a matte
almost no threat by themselves, lower temperature 14°F (-10°C), while and toothy ground, a standard acrylic
which is not surprising given how few at 32°F it could still stretch 2.3% paint, and a very smooth and glossy
of these materials would be expected before fracturing, and by 50°F it had layer of a tinted acrylic medium. There
to appreciably swell or contract due a strain-to-failure of 7.3%. This type were 75 samples created, with 25
to temperature alone. In general of dramatic embrittlement of oil- on top of each of the three different
oils, acrylics, and hide glue can be modified alkyds was also noted in both coatings. The samples were done on
expected to remain within a narrow past and current research (Erlebacher, lacquered cards and kept in moderate,
.5% range. The graph on page 3 1992, Ploeger, 2009, Alba, 2010), ambient conditions within the Lab
(Figure 4) shows a simplified view where acrylics have consistently been facilities. Adhesion tests were carried
of free swelling data that would be shown to have a greater ability to out in accordance to ASTM 3559
considered typical over a range elongate at low temperatures. and a few representative samples were
of temperatures. aggressively flexed to the point of
To make the sense of concern more
What is far more problematic is causing substantial cracking to see if
concrete, and as a way to visualize
the increased embrittlement shared the paint could then be cleaved off
the degree of strains we are talking
by oils, alkyds, and acrylics when with the use of a scalpel. So far there
about, a 25”x30” painting would only
subjected to low temperatures. has not been even one recorded case of
need to be keyed out a scant 1/16”
Unlike the minor degrees of swelling failure, even when the oil paints were
to sustain a 1% or higher diagonal
or contraction we just saw, extreme applied over very smooth and high
strain in the corners and a .5% strain
embrittlement can put a painting at gloss films.
when measured across the short side.
very high risk of fracture due to the This means that even at the moderate A second and much broader round
build up of internal stresses alone, temperature of 50°F, some of the oil of testing was started in 2006 and
not to mention the mechanical primers included in the above study included 99 samples, each consisting
stresses experienced during any would be at risk of cracking. of a 10 mil drawdown of oil paint
amount of stretching, handling over an equal thickness of GOLDEN
and transportation. What has been While follow-up studies will
Gesso. The oil paints included three
surprising, however, is just how ultimately be needed, for now at least
colors (Yellow Ochre, Burnt Umber
well acrylics have performed given it appears that some acrylic primers,
and Ivory Black) from three different
how they generally begin to stiffen such as GOLDEN Acrylic Gesso,
professional brands applied straight
dramatically below 50°F (10°C). In could provide a foundation that is less
from the tube, mixed 3:1 and 1:3 with
fact, several studies comparing acrylic prone to fracture when temperatures
an alkyd medium, blended 4:1 with
primers to current oil-based grounds, are 50°F or lower. That said, we still
bleached beeswax, and finally, thinned
including ones based on oil-modified believe low temperatures present
1:4 with odorless mineral spirits
alkyds, have shown that the acrylic extremely high risks for all the paint
and applied by brush as a thin wash.
primers provided distinct advantages systems covered and great caution is
Following these applications, final or
when looking at how much they urged before subjecting any artwork to
retouch varnishes made from damar or
could be flexed or stretched before these conditions.
GOLDEN MSA Varnish were applied
Issue 24 page 4©2011 Golden Artist Colors, Inc.
at different intervals. Crosshatch problem that went beyond the specific risks imposed on the structure are
adhesion tests have subsequently been issues tied to zinc oxide itself, we from the forces generated by the
conducted and found no case was a would expect to see multiple failures traditional hide glue sizing in
failure ever found. As in the prior test, occurring in these other samples as response to humidity and the equally
all the samples will continue to be well. The conclusions in these studies dangerous enbrittlement caused by
monitored and retested over time. were further amplified by a study low temperature.
While our tests should begin to on the cracking and delamination
found in works by various Abstract
Sizing
provide some confidence in the
Expressionists where zinc oxide oil While hide glue continues to attract
ability of oils to adhere to a wide
grounds were used (Dawn et al, 2010). a lot of devotion from those working
range of acrylic films, concerns have
The fact that these issues were found with traditional materials, the evidence
also been raised recently about some
in numerous examples completely pointing to its weaknesses and role in
well-publicized studies focusing on
unrelated to acrylic grounds further the cracking and delamination of paint
the delamination of oil paints from
emphasizes that the problem resides in films is substantial and convincing. Its
a variety of acrylic grounds (Maor,
a structural weakness tied to zinc-rich one feature of merit, the exceptional
Murray 2007, Maor et al 2008,
oil paints independent of other factors. strength it provides when kept
Maor 2008, Mecklenburg 2007b).
within precise humidity ranges, is
The investigations have primarily Flexibility quickly overshadowed by its extreme
been based on test samples created in
As was mentioned, the simple hydroscopic nature and the fact that it
1999 by Marion Mecklenburg at the
fact of painting on stretched fabric quickly loses all strength above 75%
Smithsonian Institute to specifically
presents a problem for the oil painter RH and is no longer able to carry
explore this issue, as well as two actual
who knows their paints will grow the amount of tension inherent in a
paintings where cases of delamination
increasingly brittle with age while stretched canvas.
had occurred. In looking at the
the cotton or linen continues to Given these problems, it is natural
results, it is critical to remember that
flex and strain, tighten and sag, just to want to find a viable substitute for
ultimately the studies concluded that
a few millimeters underfoot. The hide glues altogether. GOLDEN GAC
the presence of significant levels of
movements and stresses of a fabric 400, an acrylic product, has long been
zinc oxide was the root cause of the
support have been well charted by such recommended since it helps to stiffen
delamination and not the fact that the
researchers as Gustave Berger, Gerry canvas. More work definitely needs
grounds were acrylic based. As Yonah
Hedley, and Marion Mecklenburg. to be done before one can claim to
Maor states, when summarizing her
What has developed from much of have formulated an ideal substitute,
results: “The determining factor is
these investigations is the fact that, as especially when providing a sufficient
the metals present in the oil paint and
counterintuitive as it is, it is not the degree of stiffness for even the
not the type of ground.”(Maor, 2008)
canvas but the more rigid sizing that oldest, most brittle films of oil paint.
The actual mechanisms of how various
supports the overlying ground and However, when we look at the amount
metallic soaps which formed in the
paints, and that by far, the greatest of stiffening it does accomplish, one
affected paints, and specifically those
from zinc, caused embrittlement and
delamination are still being worked
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out, although it appears that build-up #'&
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of the soaps at the interface between !(+!!
the paint and the ground was a
consistent factor. It was also noted that
rougher grounds appeared to provide
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thickness of 12.5 mil. (# )" ( ! #(
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The main drawbacks of GAC 400
is that it still falls short of the stiffness
found in very old oil paint films, or
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even younger ones made with brittle
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pigments like zinc oxide, and in order
to be fully water resistant at higher
humidities it needs to be heat set by *"& ! #(
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passing a hair drier set on high over the
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surface for several minutes. However,
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products. In the last year, the work has hardness and tooth provides
taken shape under the leadership of Task 6DQJXLQH3HQFLO a surface that on much closer
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confident the team is in a good position *UDSKLWH% that rough terrain.
to build on the accomplishments that
&RPSUHVVHG&KDUFRDO The textures of the hard
have culminated in the ASTM Standard
for Acrylic Dispersion Grounds. And and toothy surfaces range
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Figure 2a: Fiber Paste exhibits a broken line when drawn upon. Figure 2b: Fine Pumice Gel allows for a continuous line when drawn upon.
Figure 3:Wet Media on Regular Gel (Gloss). Figure 4: Glass Bead Gel tended to hold wet media within its crevasses while
allowing the tops of the glass beads to be wiped clean.
handmade paper when drawn upon, sometimes proved to be a fugitive glass bead and granules to be wiped
will exhibit a broken line due to marriage. The glossy and hard surfaces clean (Fig. 4). Glossy and soft surfaces
a rough texture as opposed to a accepted most media applied to it but provided enough tack to have
continuous line achieved with Fine when rubbed or wetted much of the slightly better adhesion than a glossy
Pumice Gel (Fig. 2b). The thicker and media could be removed. The surface hard surface.
softer films have a greater susceptibility was too slick to provide adhesion. It When looking at the media used for
to damage from harder media. For did however, support the hardest of drawing, the possibilities are almost
example, Light Molding Paste and the graphite pencils, which etched endless. We chose to look at some
Crackle Paste, which both lend and marred many of the softer acrylic of the more common options that
themselves to thicker application, will films. The texture of hard, glossy artists may use. We tested vine and
provide a fine, soft surface for vine surfaces sometimes provided a unique compressed charcoal, 5H, 2B and 9B
charcoals and dry pastels but media tooth that allowed for interesting graphite pencils, Conté® crayons,
like graphite and Conté® crayons manipulation with the wetter and sanguine pencil, wax crayon, pastel
will etch the acrylic surface without softer media. An example of surfaces pencil, water soluble oil pastels, water
imparting any actual media. like this would be Glass Bead Gel or soluble colored pencils, dry pastels,
Smoother and glossier acrylic Clear Granular Gel which seems to oil pastels, markers, and inks. Each
surfaces held wetter media better than simultaneously provide a non-porous was applied in a series of short strokes
that of dry (Fig. 3). Markers, inks surface with a toothy texture, which over 24 acrylic surfaces. The nature
and oil based media were applied held media within the crevasses of the of how each behaved when applied
easier but manipulation of that mark film but allowed the glossy tops of the and adhered to the acrylic surface was
Issue 24 page 9©2011 Golden Artist Colors, Inc.
Figure 5: Coarse Molding Paste washed with water (left) and alcohol (right). Figure 6: Absorbent Ground received all media and allowed for easy manipulation.
noted. Each piece of drawing media textures and surfaces, hardness and The drier and more friable media,
was applied in a series of small strokes softness but all contained opacity and a like charcoal and pastels, were able to
to each of the 24 acrylic surfaces and fair amount of porosity and tooth. be blended and smudged evenly and
then manipulated by rubbing, washing The drawing media could be maintained adhesion to the Absorbent
with water or washing with alcohol. grouped based on a number of Ground. The sponge-like absorbency
The initial drawn marks were observed different criteria: hardness and softness, without the flexibility afforded by the
for how they lay on the surface, how the base or pigment, the vehicle or Absorbent Ground allowed for the
they responded to the texture of the lack thereof or how it responded to the water and alcohol to disperse some of
acrylic and how they held to that paper. It presents itself as being most the marks into a wash without entirely
surface. The rubbed area served two logical to group the drawing media on obliterating the original mark.
main purposes: to see if the media its hardness and softness followed by In the case of the waterproof inks,
could be removed by mechanical its vehicle. Utilizing grouping by the the alcohol was the most effective in
rubbing or if it would adhere and how vehicle or its solvent is only applicable creating a wash, as the water left the
it responded to blending or smudging? if the vehicle/solvent is presumed to mark unaffected.
Did it blend seamlessly? Did it leave a be the catalyst when manipulated. The
trace of the mark made? Or, did it not charcoal (vine and compressed) and
do anything? The area washed with the sanguine pencil made up the first
water showed how the media reacted group. The second group was the 5H,
to water, how it dispersed, and how the 2B and 9B graphite pencils and the
wet media was accepted to the acrylic Conté® crayons and wax crayon, the
surface. The area washed with alcohol third. The fourth group was the oil
showed the solubility of the media and crayons and oil pastels, while the fifth Figure 7 Coarse Molding Paste Washed with Water
how it reacted with the acrylic surface, group was made up of the water based (left)nd Alcohol (right).
how it dispersed and if it changed the or water soluble colored pencils, chalk
nature of the media (Fig. 5). pastels and pastel pencils. The sixth
We applied the drawing media to group contained all the wet media, Figure 7:The harder, less porous surface of burnished
24 different acrylic surfaces. Those including markers and inks. Sandable Hard Gesso allowed for sharp, crisp lines.
surfaces can be roughly grouped into The GOLDEN Acrylic Grounds The Gesso, Sandable Hard Gesso
six different categories based on their used for this testing were Gesso, and synthetic chalk ground reacted
characteristics. The first is a group of Sandable Hard Gesso, Absorbent similarly with only slight variations
grounds, which are surfaces that are Ground, Silverpoint / Drawing to one another. The Sandable Hard
typically absorbent and toothy and Ground, and a mixture of one-third Gesso was wet sanded to a burnished
formulated to accept a wide variety of Gesso, one-third Light Molding finish before the media was applied.
materials. The next group is acrylic Paste and one-third Hard Molding The harder, less porous surface allowed
paint in which we chose Fluid Acrylics Paste (synthetic chalk ground). These for sharper and crisper drawn lines
as well as Matte Fluid Acrylics. The grounds accepted all of the drawing (Fig. 7). When those drawn lines
third group included liquid mediums media applied to them with no adverse were blended, the product was less
that dry glossy with a fair degree of results. The more porous grounds likely to produce a soft edge and had a
hardness to their finish. The fourth provided better blending. Absorbent better chance of removing the original
group consisted of very matte and Ground, being the most absorbent mark. Being an absorbent and spongy
toothy surfaces. The fifth group was without too much flexibility, allowed surface, the synthetic chalk ground
made up of soft and flexible films and for not only a well received mark by all accepted more of the media than the
the final group was the pastes, which media but also permitted the media other two, leaving a softer and wider
tended to offer the largest range of to be easily manipulated (Fig. 6). mark. Blending the media on synthetic
Issue 24 page 10©2011 Golden Artist Colors, Inc.
chalk ground left a very soft and well
blended area, especially with softer
media such as charcoal and pastel
(Fig. 8). When the media was scrubbed
with water and alcohol on the three
surfaces, Sandable Hard Gesso had
the least amount of bleed to the area
around the application, while the
synthetic chalk ground had the most. Figure 10: Fluid Cerulean Blue Deep (left) as compared to Matte Fluid Cerulean Blue, Chromium (right).
In the case of these mixtures, the
harder the surface, the more responsive matte surface, allow for good adhesion Matte surfaces are the best
it was to harder media. The softer throughout, regardless of the natural candidates for an adhesive drawing
the surface, the more likely it was to sheen of the pigment (Fig. 10). The surface. The matting solids contained
be etched by hard media, such as the glossier of the paints were less likely in these polymers helps contribute to
graphite pencils. The Silverpoint / to receive the softer and more friable a toothy surface that will physically
Drawing Ground in all cases similarly drawing media such as charcoal, pastel hold the drawing media and allow for
accepted drawing media in comparison and sanguine charcoal pencil, thus more controlled blending and greater
to Gesso. When scrubbed with alcohol, making them more easily removed in permanence due to greater adhesion.
Silverpoint / Drawing Ground had both blending and wetting with either All of the matte surfaces tested in
an inclination to resolubilize small the water or alcohol. So, regarding the this group have a different level of
amounts of Titanium White within results for drawing media over paints, translucency. While none are clear,
the ground, resulting in a tint of the we see that they all accept the drawing Matte Medium, Fluid Matte Medium
drawing media used (Fig. 9). Other media, although they are more fragile and Acrylic Ground for Pastels offer a
than this anomaly, the Silverpoint / on glossier surfaces and may need to considerable amount of transparency
Drawing Ground was one of the best be protected. and can be used in addition to or on
receptive surfaces for drawing media. The third group consisted of harder, top of the colors if drawing media is
The next group contained products glossier and less porous surfaces. We to be applied. Fluid Matte Medium
not commonly thought of as grounds,
including GOLDEN Heavy Body
and Fluid Acrylics. These paints allow
each individual pigment to retain its
natural sheen. The glossier paints are
less likely to hold drawing media in
the same manner that the matte paints
do. The Matte Heavy Body and Matte
Fluid Acrylics, formulated for a more Figure 11: Harder, glossier and less porous surfaces like Polymer Medium (left) and GAC 200 (right)
did not facilitate blending well.
included Polymer Medium and GAC did not hold graphite and wax crayon
200 in this group. Polymer Medium is very well and what did remain on
softer and more flexible than GAC 200 the surface was easily wiped away.
and although both accepted the media, Acrylic Ground for Pastels functioned
neither facilitated blending with the beautifully in application as well as in
harder media (Fig. 11). The Polymer manipulation, followed by the Fine
Medium did not accept the wax Pumice Gel and Super Loaded Matte
crayon and very little of the graphite Medium (Fig. 12).
Figure 8:The absorbent, spongy surface of synthetic pencil, while the GAC 200 accepted The fifth group, made up of softer
chalk ground allowed for great blending, especially most. The wet media faired well on and more flexible gels, has the least
with softer media such as charcoal and pastels. these surfaces, although the marks tendency to hold drawing media.
seemed to wash away easily with The acrylics used for this group were
isopropyl alcohol.
Regular Gel (Gloss), Regular Gel but harder media such as graphite others. This again showed that harder
(Semi-Gloss), Regular Gel (Matte) and pencils, wax crayons and Conté® and less porous surfaces had
Glass Bead Gel. As with the fourth crayons etched the surface, holding less adhesion when scrubbed with
group, Regular Gel (Matte) provided no trace of the drawing implement water or solvent.
the best drawing surface of these four applied (Fig. 15). Fiber Paste with its In conclusion there are a vast
gels although because of its flexibility, handmade paper texture did not hold amount of outcomes one can achieve
the harder media such as the graphite the crisp line delivered by the graphite depending on what you want to draw
pencils, did not adhere well (Fig. 13). pencil but did allow for soft blending with, what you want to draw on and
Regular Gel (Gloss and Semi-Gloss) of what was drawn (Fig. 16). The top the desired results. The ease of using
exhibited poor adhesion with several of most points of the texture held most acrylics in order to create a suitable
the drawing mediums. Glass Bead Gel of the media, emphasizing the bumpy drawing surface onto paintings,
acted like no other surface and each texture even more when drawn upon. sculptures or any surface an acrylic
different media delivered varied results. The Molding Pastes: Light, Regular, film can be applied to, allows an
The glossiness of the gel and the Hard and Coarse all provided good artist to expand their language of
non-porous nature of the glass beads adhesion for the media. The Light and communication that is not always
seemed to resist any media while the Regular Molding Pastes allowed for afforded by utilizing the substrate
texture allowed it to hold on to friable/
dry, and wet media although would
not exhibit any mark from the graphite
pencils until blended. When the media
was blended over Glass Bead Gel, the
color or pigment would remain in the
grooves of the film while the tallest
points of the beads could be wiped
clean providing an interesting result
(Fig. 14). With the gels, removal by Figure 15: Soft and spongy surfaces like Light Molding Paste (left) and Crackle Paste (right) accepted most
blending was very possible, especially media while still providing their own unique texture.
with the glossier varieties. Wet media controlled and even blending while or available surface alone. To some
did best on these surfaces, although the Coarse Molding Paste surface artists, the use of drawing to express
manipulation was either unachievable allowed for very diffused and softer immediacy, intimacy and identity is
or resulted in complete removal. blended edges. Hard Molding Paste imperative – as essential to the work as
did not facilitate blending as well as is the permanency and archival nature
The final group was made up of a
the other Molding Pastes and retained of the materials used and methods
wide variety of textured pastes. The
much of the original drawn mark. used to apply those materials. As with
pastes are opaque and each has its own
Scrubbing the Molding Pastes with any material or method that is not
unique texture, degree of hardness
water and isopropyl alcohol did allow clearly documented, experimentation
and porosity. The softer and spongier
for even blending except with the and testing can provide better
surfaces, such as Light Molding Paste
Hard Molding Paste, in which the results, less surprises and amazing
and Crackle Paste accepted the softer
water beaded up in some areas and discoveries. Understanding the nature
and more friable media as well as the
completely removed the product in of the materials you are using is a
markers and water soluble oil pastels
valuable tool that is more often than
not instinctual. Not knowing is an
opportunity to learn and grow and
understand your materials beyond
what you thought or could anticipate.
To see the complete study of media
that underwent testing, go to http://
www.goldenpaints.com/justpaint/
index.php
Figure 14: Glass Bead Gel acted like no other media. Figure 16: Fiber Paste did not hold sharp lines due
Color remained in grooves after being wiped. to its bumpy texture.
Issue 24 page 12©2011 Golden Artist Colors, Inc.
By Mark Golden
Bringing the Williamsburg brand
under our care has brought a high
level of excitement throughout our
GOLDEN community. One would
think that after 600 years of history,
study, trial, and error, all that needs
to be known about the oil media
is already known – no space for
discovery, argument or conjecture
as to its technical requirements or
manufacture. Yet it may be possible What’s Your
Favorite Color?
this time honored media may hold
even more discoveries than the much
more complex formula of the modern
acrylic media. As we fill in many of the
By Jodi O’Dell
gaps with our research, it is incredibly
energizing to see there are still so many With thousands of hours of paint 10:1 to 1:10 paint to white ratio and
areas of study and investigation for us research all on one page and almost four glazes from 1:1 to 1:50 paint
to pursue. We are determined to begin one thousand swatches of color, it’s to medium ratio. That’s 900 paint
sharing this research and even more now easier than ever to see the full mixtures that were then drawn out to
importantly, to begin to peel back range of GOLDEN colors. Having a precise thickness on test cards. From
some of the mythology that surrounds comparative information for each one there, spectrophotometer readings
the requirements for the highest level as they transform through tint and were taken over white, and for glazes,
of expression of an oil paint. glaze mixing on a 26” tall by 39” wide masstone black. Now the 900 mixtures
Carl Plansky developed a line of poster, makes this an impressive color plus the original 100 colors become
color in which each pigment has its tool for every painter. 1,500 unique color readings.
own characteristic and sensibility, so “We’re pleased to be able to offer Those readings have been translated
with Williamsburg Handmade Oil this kind of resource to artists,” into a poster that includes the color
Colors, we don’t have one line of said Golden Artist Colors’ Creative names in English, French, German
oil paint, we have over140 different Director, Christopher Farrell. “We and Spanish. It also includes the
oil paints. We have had so many used a special six-color printing pigment ID numbers and ASTM
wonderful responses from dedicated process, elevating the richness of the lightfastness ratings, along with the
Williamsburg customers – artists printed spectrum in the orange, red range of tints and glazes that were
devoted to Carl’s paint – all with the and green range, allowing this printed created. Also added were the Neutral
concern that we maintain the quality version to get closer to the real color Gray masstones over white and black,
and essence of the brand. That we than we had imagined a printed color making this a complete reference
continue to honor the context in which chart could ever get.” of the standard colors available in
each of these colors was developed. The GOLDEN Lab wanted a GOLDEN Heavy Body colors.
Our commitment to all our customers systematic representation of paints Get your Tint & Glaze Poster now
is that we will continue to maintain drawn out to consistent tints and from the GOLDEN Web site http://
that clear voice that Carl expressed in glazes. This exploration started www.goldenpaints.com/products/
his colors. To that we will add the very with research on a few dozen colors promotional/tintAndGlazePoster
significant resources of this company, conducted for the Subtleties of Color or check with your local art supply
to make sure that this promise doesn’t article in Just Paint 21. A few dozen retailer to see if they are stocking the
drift and that every artist can have the colors turned into several dozen and poster, which will save you shipping
confidence that these will continue to finally one hundred colors, each mixed and handling costs.
be amongst the best oil paints made. precisely to create five tints from
Issue 24 page 13©2011 Golden Artist Colors, Inc.
Mark: Wow! I guess I imagined some Mark: Finding this community of
predating the others. In high school other artists after graduation was really
you continued to focus on art? important to defining your next path?
Scott: Yes, and I had a really Scott: Definitely. That’s why I came
formative experience in 9th grade that back. I needed other eyes on my work,
relates to acrylic. people whose eyes I trusted and who
My art teacher was an ambitious I felt I could grow with and share
painter and had knowledge about what ideas with.
were still very new, acrylic paints Mark: At some point, you had people
and mediums. outside of this community seeing
He had us using acrylic mediums your work.
with paper – collaging the paper –
to make textured surfaces and this Scott: In 1980, I was introduced
experience carried over. It was my first to the art critic and writer Clement
Technical experience with what acrylic paints and
mediums could do.
Greenberg, and started showing him
my work. My friend Mark Raush and
Support Mark: Did you go right from high
I would visit him in Norwich with
rolls of paintings in the truck and sit
Close Up: school to Syracuse University? and talk and show paintings. It was
13624
Golden Artist Colors, Inc. Golden Artist Colors is an Employee Owned Company.
© 2011 Golden Artist Colors, Inc. All rights reserved. The contents of this publication may not be reproduced either in whole, or in part, without the consent of
WilliamsburgOils.com
Web: goldenpaints.com
Email: goldenart@goldenpaints.com
Fax: 607-847-6767
607-847-6154 800-959-6543
188 Bell Road, New Berlin, NY 13411-3616
Golden Artist Colors, Inc. Publisher:
Jodi O’Dell Editor:
Amy McKinnon
Mark Golden, Jodi O’Dell, Sarah Sands, Articles:
February 2011 Issue 24