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JUST PAINT Published by Golden Artist Colors, Inc.

/ Issue 26

From Mark Golden


Twenty-six issues of this technical
newsletter and I am delighted to share
we are still continuing the dialogue on
color! After the success of Sarah Sands’
article on the ‘Subtleties of Color’ (JP 21),
we recognized the value of continuing to
provide more color resources for artists.
The Tint & Glaze Poster was the first
significant new tool for artists to come from
this research. Following up on this work
to create a printed color chart trying to
represent real paint colors, Chris Farrell, our
Creative Director and person in charge of
putting together this chart, is our principle
advocate that printing, no matter how
carefully it’s done, cannot be a substitute Color
Mixing…
for paint. In this issue, Chris shares the
significant differences in ranges possible with
commercial printing processes and
real paint.
Our Director of the GOLDEN Certified You can’t get it unless you do it!
Working Artist Program and author, Patti
Brady, shares her painterly insights into a By Patti Brady promote them. However, each of
new Modern Theory Color Mixing Set for I had been given what to me seemed these concepts, whether historical,
artists, which takes just the opposite tact like the daunting task of writing contemporary or genre specific, create
from Chris, in working with a limited set an article on color mixing and to a starting point that is extremely
of colors to produce an enormous range of introduce the new Modern Theory helpful for the artist beginning to
mixing colors. Color Mixing Set. I was more than assemble their own aesthetic approach
Continuing the color theme, Amy slightly astonished that I was the to painting. The concept around the
McKinnon, from our Technical Support designated writer! We have an amazing new Modern Theory Color Mixing
team, uncovers the 18 new colors being Set is to provide just one of those
added to the Williamsburg Handmade Oils
number of wonderful painters working
line. It’s exciting to be able to share that the for Golden Artist Colors, many vantage points. This singular position
legacy of Carl’s paints are being expanded to in highly technical capacities, and is to create within a reasonably small
even more options for artists working with several who taught color at prestigious selection of colors, the potential
the materials. Universities. Coupled with that, these to mix the widest range of unique
Ulysses Jackson, from our Technical artists work with pigments using colors. A more classical approach
Support and Research & Development scales (for precision mixing ratios), would attempt to create a palette with
groups describes the new experimental acrylic spectrophotometers (for measuring historically significant colors. While
products which have always been an exciting color), special lighting, light boxes, this will produce a color gamut quite
jumping off point for artists to test and play. and some truly amazing computer comfortable to many artists, the range
Finally, we get to meet yet another programs! My approach to color as an of hues and chroma (color intensity) is
colleague from our Technical Support team, significantly reduced. The modern mix
Lori Wilson. Lori is a home grown talent
artist has always been to just play and
who has taken her skills to artists around the you’ll discover. No theory substitutes of pigments in this new set will create
world. There are few people who meet Lori for actually using the paint, but I’ve very high chroma, bright mixtures that
who don’t find themselves wishing they could taught long enough to know that a historical palette cannot achieve.
spend more time with her. knowledge, even at a basic level, will The Modern Theory Color Mixing
As we greet yet another new year, we reverse a lot of wasted effort and a Set includes just seven colors plus
welcome you to our “Just Paint 26”. Thank good deal of wasted paint! Titanium White. Not only does this
you for your support and we look forward to There are probably as many theories allow the artist to produce the widest
your comments. of the correct color mixing palette color range with the fewest number
for artists as there are artists that of colors, it also provides mixtures of
Issue 26 page 1 ©2012 Golden Artist Colors, Inc.
remarkably clean, intense color blends mixed metal colors, such as cobalts, this set an opportunity to play with
that retain their brilliance even in the cadmiums, zinc and a wide range some new pigments; you might be
thinnest wash or glaze. For this set of manufactured oxide pigments. surprised to find a few colors that you
we chose only organic colors (plus These pigments are typically more didn’t even realize were missing from
Titanium White), providing a warm opaque and when mixed together, your palette.
and cool selection of pigments for each yield a lower chroma mixture.
hue space other than green. The Modern (organic) pigments Mixing Within the Colors for the
(Quinacridrones, Phthalos and Modern Set
■ Hansa Yellow Light Hansas) are more transparent, have There is no better way to understand
The cool yellow higher chroma and most importantly, the vast potential of possibilities than
■ Hansa Yellow Medium when mixed together create incredibly by simply playing around. I do not
The warm yellow clean mixtures. This is probably personally have the temperament for
■ Naphthol Red Light the greatest difference between this the scientific way of looking at color
The bright, warm red Modern Theory Color Mixing Set mixing. Over the years of attempting
■ Quinacridone Magenta and a classical set. Although a range to find “fun” and “compelling” ways to
The cool red for pinks and violets of Cadmiums in the yellows, oranges teach color mixing, I have developed a
■ Anthraquinone Blue and reds will get you incredibly intense very loose color wheel exercise.
The warm blue and brilliant opaque colors, they tend Before jumping into using the
■ Phthalo Blue (Green Shade) to mix towards much more muted Modern Color Mixing Guide
The cool blue tones and continued mixing with these (included in the set), I wanted to begin
■ Phthalo Green (Blue Shade) colors tends to go towards mud very with some basic color comparisons.
The cool green quickly.1 A classical set, while muted in To do this, I work only with mixtures
■ Titanium White its range and reach, allows an artist to from two colors before I begin the
The tinter mix a wheel of colors typically found more complex mixtures. I fall back on
in nature. my simple color mixing test, creating
The choice of all Modern organic a color wheel using three primaries
Why Only Organic Pigments in the pigments allows us to create a wide that fall somewhere in the red, yellow
Modern Theory Color Mixing Set? range of colors that fill a much broader and blue range. This continuing study
Let’s go back a minute to a quick area of color space. This set provides allows me to approach the mixing of
review of the organic and inorganic one of the most complete resources to color simply to explore. I don’t hold to
properties of pigments. We typically begin to understand the uniqueness of exact mixtures, as long as they fit into
use nicknames: Modern (organic pigments and their mixtures. the color wheel progression. I found
pigments) and Mineral (inorganic Although there are many ways this to be an easy way to contrast the
pigments). The broad generalization is to slice and dice how to go about differences between the cool and warm
that Mineral pigments (inorganic) are describing this set, I will be looking at yellows, blues and reds.
typically mined from the earth such the selection from my vantage point,
as the umbers, siennas and ochres. outside the lab! I, like all of you, am Three Primary Color Mixing
These pigments were augmented at the very particular and exclusive about why In my workshops I teach many
beginning of the industrial age with I like certain pigments. We tend to artists, from novices to experienced
the advent of industrially produced keep to our typical choices. So consider painters who have never taken a color
theory class and are simply afraid
of the rigor and discipline that is
associated with it. Rather than focusing
on theories, my approach is simply
all about mixing and discovery. To
accomplish this, I very loosely use the
MINERAL MODERN idea of the three primaries. I needed
Cadmium Yellow Light Hansa Yellow Medium this rather simple approach because I
Cadmium Red Light Quinacridone Magenta wanted to know more about two or
Ultramarine Blue Phthalo Blue (GS)
three of the basic pigments that the
kit contains since I don’t typically use
Hansa Yellow Light, Phthalo Blue
(Green Shade) or Anthraquinone Blue
on my own palette.
By utilizing the color wheel form for
this exercise I began to compare duo
mixtures from colors included in the
Modern Theory Color Mixing Set.
1 Some of these very clear pigment distinctions have changed over the years with modern chemistry. For an in-depth study please see Sarah Sands’ article,
“The Subtleties of Color” in Just Paint #21. http://www.goldenpaints.com/justpaint/jp21.pdf
Issue 26 page 2 ©2012 Golden Artist Colors, Inc.
has almost a blackish tint, beautiful
for glazes, shadows and stormy skies.
It creates a certain earthiness when
compared to the same mixtures with
Phthalo Blue (Green Shade). The
Anthraquinone fills the same color
YELLOWS YELLOWS space as the much more well known
Hansa Yellow Light Hansa Yellow Medium Ultramarine Blue, yet is deeper in
Quinacridone Magenta Quinacridone Magenta
Phthalo Blue (GS) Phthalo Blue (GS) value and more transparent with
higher chroma. It allows not only for
cleaner mixing, but a greater extension
in the red / blue range, giving the artist
the ability to discover a secondary color
and tertiary color as well. All by itself,
it is an incredibly intense and clean
glazing color. Phthalo Blue (Green
Shade) is the cool blue; the pigment
essential for greens, violets and an
The Yellows: Hansa Yellow Light / Identification Chart; http://www. amazing range of blues.
Hansa Yellow Medium goldenpaints.com/technicaldata/pigment. Anthraquinone or Phthalo Blue
Hansa Yellow Light is often php. You can learn about Pigment mixed with Naphthol Red Light
described as acidic, almost ID names, if a pigment is organic creates very dense and earthy (muddy)
fluorescence, with a slight greenish or inorganic, if a color is a blend of violets. The Phthalo mixtures are
cast. It is the coolest yellow. It creates pigments, and its lightfastness rating brighter. These violet mixtures are
brighter and cooler leaning colors as and opacity or transparency as well. quite dark, and to get a better feel for
it’s mixed to the greens with Phthalo the richness of these mixtures, use
Blue (Green Shade) or Anthraquinone The Reds: Naphthol Red Light / Titanium White to tint. You can also
Blue. To my eye, it almost looks like Quinacridone Magenta scrape away a bit of the paint to reveal
a bit of white has been added, giving Naphthol Red Light is bright, what we call an “undertone,” which
a visually perceived opacity. (I believe opaque fire engine red, much warmer reveals what the mixture would look
this is due to its high reflectivity.) and earthier than Quinacridone like in a glaze. Naphthol Red Light
Switching these mixtures to Hansa Magenta. Quinacridone Magenta is for the violet mixtures, whether with
Yellow Medium provides a warmer bright, cool and almost fluorescent. At Anthraquinone Blue or Phthalo Blue
mixture with a higher saturation. first glance, it seems an unlikely choice (Green Shade), will create some very
When used with Phthalo Green for mixing any color that needs a red. dark earthy, moody colors (near a
(Blue Shade), Hansa Yellow Light You can’t beat Quinacridone Red Oxide).
adds a “minty coolness”, especially Magenta (mixed with either of the When each blue is mixed with
noticeable when tinted with the Hansa Yellows) for creating clear, Quinacridone Magenta, you
Titanium White. clean, bright oranges, with a beautiful immediately arrive at a range of
When mixed with Quinacridone transparency perfect for glazing. For stunningly deep, rich, brilliant violets
Magenta, the Hansa Yellow Light your coolest orange, use Quinacridone that you might expect are only
adds an underlying luminosity, almost Magenta and Hansa Yellow Light. available with Dioxazine Purple. (You
fluorescence to the oranges. Quinacridone Magenta is actually one will find that Anthraquinone Blue is
When Hansa Yellow Light is mixed of the most versatile and cleanest reds used for more of the blue mixtures and
with the Naphthol Red Light the for color mixing. Naphthol Red Light violets on the Guide.)
difference is a more subtle warmth as it yields more opaque, dark, dense and Clearly the Phthalo Blues are
appears to “flatten” the color. warm oranges. incredibly intense tinting colors.
Switching to Hansa Yellow Medium, This intensity can become unwieldy,
the differences are fairly subtle; The Blues: Anthraquinone Blue / especially in their pure state. But even
visually, a slight warmness is added Phthalo Blue (Green Shade) as cool as this blue is, when it is mixed
with a bright translucency. Anthraquinone Blue (Indanthrone) with Quinacridone Magenta, it still
When working with the Hansa was added to the kit to balance out the produces a wide swath of beautiful violets.
Yellows, you may have immediately cool arctic coldness of the Phthalo Blue Anthraquinone when mixed
noticed that they have a “low (Green Shade). When used directly with Hansa Yellow Light adds the
tinting strength” or that it takes out of the tube, this pigment is almost possibility for a wide range of earthy
proportionately more of the Hansas black. You can see how very different greens, which gives a lovely warmth
to create a change in the mixed color. this pigment is from all other blues by compared to crisp cool spring greens
A great resource for discovering more mixing it with Titanium White. This from the Phthalo Blue (Green Shade).
properties of a particular pigment is the only blue pigment that gives you
is to use the GOLDEN Pigment the classic “Navy Blue Suit” color. It Continued on page 7

Issue 26 page 3 ©2012 Golden Artist Colors, Inc.


Running the Color Gamut
By Christopher Farrell
Although it will be my intention to
present a stand-alone essay relating to
the perception, use and technology
of color and color reproduction, it
is inevitable that references will be
made to the Just Paint 22 article “The
Subtleties of Color” as it serves as not
only the conceptual starting point
for this article, but as the catalyst
for an odyssey of color exploration
that continues to this day. It should
not be required reading for the
comprehension of what I am about to
share, but I believe it will be helpful to
read this article as well.

Sarah Sands’ article set off a series


of events that led to the printing of
the Tint & Glaze Poster that was
first made available to GOLDEN
customers in February of 2010. The
second edition of this poster began
appearing in stores late in the summer
of 2010. Beyond the Tint & Glaze
Poster, other ideas and applications of
the color exploration that started with
this article have been in the works.

The genesis of the poster was the


color studies with tints and glazes
created by GOLDEN Technical
Support Services as research for the
article in the spring and summer of
2009. In the fall of 2009 the few
colors explored for the article inspired
exploration through the entire palette
of GOLDEN Heavy Body Colors.
The painters in Technical Support
found the idea of a huge hand-made
swatch library of tints and glazes quite A plethora of draw-downs displayed as part of a College Art Association (CAA) tradeshow booth.
desirable. As quickly as we recognized
It is at this point that we hit If you are reading this article in
the desirability of such an item, we also
a crossroad of culture, idealism, the printed newsletter, all the colors
recognized the impracticality of it. The
practicality and technology. This is the you see are built from a palette of
draw-downs1 represented hundreds
very busy intersection in which we ran cyan, magenta, yellow and black.
of hours of work, cutting them into
the gamut2 only to find it as perilous as Commonly referred to as CMYK,
pieces and then applying each of
this tortured little analogy suggests: 99% of all the color you see in print is
them in a logical order to some sort
To reproduce the fantastic array based on these four colors and likely
of binding or notebook page would
of colors that the tint and glaze include the printer attached to your
multiply the hours and expense. Still,
exploration produced we needed computer. As ubiquitous and generally
we were anxious to bring this concept
something more than typical reliable as CMYK has become, it is also
to painters.
commercial printing technology. notoriously inadequate when it comes

1 “Draw-down” refers to a test card where a pre-mixed paint film of a specific thickness – GOLDEN uses .01” - is applied for the purposes of examining color consistency,
opacity and other qualities. Detailed color information at goldenpaints.com includes a scan of a draw-down.
2 Gamut used here in reference to color indicates the extent of the range, either all that can be represented as in printing, or all that can be perceived, as in the visible spectrum.
Issue 26 page 4 ©2012 Golden Artist Colors, Inc.
to representing the full spectrum of So, we set out to explore exactly and yellow for *b. The numbers for *a
colors available to artists. what the paints would look like by and *b run from negative 128 to 127 –
mixing each color precisely into five with magenta and blue at the negative
With CMYK the “subtleties of tints and four glazes, and then drawing end of the spectrum, green and yellow
color” are bound to be lost. Orange, them out onto test cards. The next step at the positive end of the spectrum.
most greens and deep blues suffer was to translate colors into data using
the most because these colors fall a spectrophotometer, a scientifically While this all may seem academic,
between the three primary colors calibrated digital device that measured the reason for addressing color
(cyan, magenta and yellow) into each color as it appeared over white systems in the effort to create a Tint
areas of compromise and mingling and black. Numerous color indexes & Glaze Poster was very practical:
that never satisfies the true nature of were applied to the readings, like RGB None of the software available to
these colors. For this reason a more (broadly, how color is reported on us for creating the poster had a six-
advanced “hexachrome”3 color system a computer, mobile or TV screen), color process capability. The colors
inserts an orange between yellow and sRGB, and L*a*b. created in our lab would have to pass
magenta and a green between cyan through software that was technically
and yellow. You might refer to this L*a*b readings are considered incapable of describing them, or the
as “CMOYGK” color, or more easily the most effective standard because final six-color output. The computer
remember it as SIX color process. they are based on how the human monitors used for manipulating colors
eye works, rather than how color is throughout this process have a smaller
This six-color process solves some projected as with RGB or reflected gamut than that which is possible
of the problems normally experienced CMYK. Developed in 1931 by from six-color process printing. The
when reproducing the orange and the International Commission on one bright spot among the technical
green spectrum in print. Even a casual Illumination [CIE], “L” spectrum challenges was the L*a*b capability of
observer would notice a significant indicates the brightness value from our layout software.
difference in a color represented by 0-100, with 0 being totally dark
CMYK compared to one represented (black) and 100 being totally bright To get an idea of what you can
in six colors. While typically 50% (white). “a” and “b” are a bit more and can’t see with each system, please
more expensive to print than CMYK, complex as they represent curves in refer to the figure below. This graphic
we hoped this six-color process would perception between magenta and green representation of the visible spectrum
deliver an acceptable representation of for *a, and perception between blue shows the boundaries for the color
the colors coming out of the draw-
down research.
y CIE 1931 Chromaticity Diagram
Unfortunately the challenge of
faithfully representing colors from
Adobe RGB 98
paint on a printed page is not solved
with a single technology. The process 520
of developing the Tint & Glaze Poster 0.8 sRGB
exposed some gaps in the perception
540
of color and how it is reported on
computer screens and in print. 500

Before going into a few technical 0.6 560


details, we should make it clear
that there is no way to sufficiently
imitate all the colors on a painter’s 580
CM
palette. There is much more to a YK
pigment than where it falls within the 0.4 600
visible spectrum and even the best 620
color measurement tools available 640
only capture certain dimensions or 750
M E
characteristics of paint. The bottom RO
0.2
480
ACH
line is: to see what a specific pigment X
HE
looks like in paint, one must look
at the paint. Similarly, looking at
a lithograph or a jpeg image of a
painting is not the same as seeing a z 460
440 380
x
painting in person. 0.2 0.4 0.6 0.8
3 Hexachrome is a proprietary color printing system
owned by the Pantone™corporation. Diagram showing visible spectrum and boundaries for each color system mentioned in the article.
Issue 26 page 5 ©2012 Golden Artist Colors, Inc.
systems referenced so far in this article. on the first pass. Most of the work brought forth by artists with our paint.
The L*a*b system covers the entire involved preserving the nuance of the
visible spectrum, it is not dependent colors through minor adjustments. Ultimately, the Tint & Glaze Poster
on any device. However, as this Colors were proofed, nudged, proofed is an experiment in reference materials.
chart shows, CMYK and RGB have and nudged again. The blue colors The Technical Support Services Team
limitations that force the exclusion of presented the greatest challenge, and and others within GOLDEN found
portions of the visible spectrum. Six we attribute this to the fact that the the methodical extension of colors into
color process, or Hexachrome, has augmentation of CMYK with a process a system of tints and glazes fascinating
a range that exceeds RGB in some orange and green is less helpful within as each color demonstrated unique
places. the blue space as most of the colors rely qualities and attributes.
on cyan, magenta and black. A red that tints to a soft pink
This meant that we had to produced fiery glazes. Colors that
manipulate colors beyond the color Very light and very dark colors appear nearly black from the tube, like
range of the computer monitor. had their challenges as seemingly Dioxazine Purple, reveal exceptional
Because of that, we depended on six- minute shifts in color made dramatic color range and strength. Colors one
color proofs created using a specialized differences. One has to develop a feel might never consider using based
digital proofing system for each step for the sort of “curve” of influence on a simple swatch, show surprising
of the process. Color was manipulated created by the various colors within versatility or unique qualities when
as data within the layout software, the process. As with paint, dark colors presented this way.
then processed by the imaging systems more quickly influence mixtures than
at the printing company. Each light colors, so adjustments in yellow As a company that produces
adjustment of color had to be validated and orange required a heavier hand thousands of hand-painted color charts
with a digital proof to see how the than adjustments in cyan or black. every year, our heart is certainly on the
color would be represented in the six side of showing you just how exciting
process colors on press. This probably Even with the best color system we this exercise is with the actual tints
sounds very time consuming and could find, compromises are inevitable. and glazes. For now, the Tint & Glaze
expensive, because it is. The luminosity and brilliance that Poster is the most practical vehicle we
define pigments like Cobalt Blue or could find to convey the idea. But,
One benefit of working with a Cadmium Red defy even the best should you ever find yourself within
commercial printer is the color- printing processes, so you must accept reach of New Berlin, visit our factory
controlled environment. Booths, the best approximation and find the and we’ll gladly show you the paint.
more like large desks, with specialized best place for these colors relative to
lighting ensured that the six-color colors for which six-color process has If you are interested in learning
proofs and the original draw-downs a better approximation. The highest more about the Tint & Glaze Poster
were viewed in a consistent, balanced, hope for the process we engaged in, or would like one for your school or
neutral-color light. The walls of the and the tool produced, is to have a studio, go to http://www.goldenpaints.
booth are a photo gray and there are useful two-dimensional guide, a map com/products/promotional/
no windows to the viewing area, so to the luscious terrain of actual color tintAndGlazePoster/.
comparisons could be made accurately.

Most people assume that “daylight”


is somehow consistent, but as any
artist knows, the color of daylight
changes according to the conditions
of the weather, atmosphere and
time of day and year. Add to all
those inconsistencies the influence
of the colors reflected off the walls,
floors, and ceiling, and any tinting in
windows through which sunlight is
passing, and you can see the need for
the consistency created with
these color-balanced lights and
viewing booths.

With all of these tools and processes


in place, we chipped away at the
translation of colors to the Tint &
Glaze Poster. Very few were accurate

Issue 26 page 6 ©2012 Golden Artist Colors, Inc.


can be created using only these
eight pigments, with an easy visual
to demonstrate proportions. The
numerical ratios are there for you
number oriented painters too!
This mixing guide is designed
BLUES BLUES visually to work in conjunction with
Hansa Yellow Light Hansa Yellow Medium
Naphthol Red Light Naphthol Red Light the Tint & Glaze Poster. The focus
Anthraquinone Blue Phthalo Blue (GS) of the set is to review mixtures of
pigments, but if used alongside the
Tint & Glaze Poster as an addition
tool, the two together provide a guide
for delving more deeply into the
expanding possibilities of glazes and
tints. To learn more about the Tint
& Glaze Poster, go to http://www.
Continued from page 3
goldenpaints.com/products/promotional/
a beautiful black on the chart and quite tintandglazeposter/.
Anthraquinone Blue with Hansa surprisingly, rich violets. This pigment
Yellow Medium is my favorite range is so strong, that the cautionary, “a MIXING NICKEL AZO GOLD
of classic greens. little dab will do you” is eminently true.
100 Parts Hansa Yellow Medium
A green with more Anthraquinone Phthalo Green (Blue Shade) mixes
Blue and less Hansa Yellow Light has a with Hansa Yellow Light and Hansa 3 Parts Quinacridone Magenta
grimier turquoise undertone, and when Yellow Medium, for a range of greens,
1 Part Anthraquinone Blue
tinted with Titanium White, you will which are all bright spring green, but
see how the Anthraquinone Blue grays you’ll notice that the Hansa Yellow
down the mixed green. Anthraquinone Light mixtures have that characteristic
Blue is definitely the choice for the “chalky” tint to them.
earthy green mixtures that are closer Mixing the Phthalo Green with
to the Hookers Green Hue on the the Naphthol Red will produce some
Modern Color Mixing Guide. very mineral like browns, colors close
Any of the yellows mixed with the to Red Oxides. When the proportion
Phthalo Blue (Green Shade) will moves to more Phthalo, less red, you
produce incredibly intense greens. get a deep dark earth violet.
Mix the Phthalo Green with the
The Green: Phthalo Green bright Quinacridone Magenta and
(Blue Shade) it produces very clean, high chroma
In its glaze capacity, Phthalo Green violets, similar to the mixtures with Using the Modern Color
(Blue Shade) is like the greens of Phthalo Blue (Green Shade), but when Mixing Guide
early spring, where all the new shoots the proportion of Phthalo Blue (Green When using this reference tool
of color are practically fluorescent. Shade) is higher, it yields a beautiful for mixing color, think of it as an
Phthalo Green (Blue Shade) straight turquoise mixture. Phthalo Green adventure or a time to discover. In
out of the tube is almost an unusable (Blue Shade) mixed with Phthalo Blue my experience, attempting to match
color at full strength. As a base for (Green Shade) creates our standard a color exactly is tricky and time
mixing a beautiful range of greens, it is Turquois (Phthalo). consuming. For example, we have a
indispensable. It is needed for mixing After I spent a great deal of time mixture on the guide that is named
rich earth colors, olive greens, systematically comparing duo mixtures Nickel Azo Gold indicating that if you
from all the pigments in the kit, I mix the three pigments shown in the
began to create mixtures using the correct proportion, you will achieve
PHTHALO GREEN (BS) Modern Color Mixing Guide. something close to our Quinacridone /
Hansa Yellow Light Hansa Yellow Medium If you are new to color mixing, I Nickel Azo Gold. While you will get a
would recommend following the valuable approximation to this color, it
same process. certainly will not have all the attributes
of the true Quinacridone / Nickel
Modern Color Mixing Guide Azo Gold in its undertone and glow.
The new mixing set is accompanied So, rather than getting obsessed about
by a robust mixing guide, offering a the perfect copy, I would recommend
broad range of mixing suggestions. simply playing with the proportions.
This is a great resource showing My first mixtures were wildly off
the wide range of mixtures that proportionately, but through that
Issue 26 page 7 ©2012 Golden Artist Colors, Inc.
effort, I discovered a range of beautiful unique single pigments will behave,
olive hues. (I’m keeping my slightly and have need for that.
“off” formula for the future with too
much Anthraquinone Blue and too Modern Color Mixing Cobalt Blue
much Hansa Yellow Medium.) Guide Mixes
When mixing from this guide, I While I was
actually dispensed the paint in long exploring several
horizontal strips, making it easier to other mixtures
see the ratios. One other tip: for any on the guide,
Alizarin Yellow Ochre
Phthalo, start with a smaller portion more discoveries Crimson
than you think you see! You can always evolved. Take a Hue Van Dyke Brown Hue
add more, but once you have a mixture look at the
obliterated by a powerful Phthalo, you second yellow-
generally need to start over! orange on the
Another interesting experiment guide (next to Cadmium Red
Medium Hue
is to mix the color designated as Indian Yellow Hue).
Quinacridone Red Light (one of my It contains 30 parts
favorite pigments) by using Hansa Hansa Yellow Naples Yellow
Yellow Light and Quinacridone Medium and 3 parts Hue
Magenta. When placed next to the Naphthol Red Light.
original Quinacridone Red Light, Find the next yellow-orange,
you can definitely see a difference. which is made of Hansa Yellow
The Hansa Yellow Light adds a slight Light and 1 part Quinacridone
salmon undertone to the mixture. I Magenta. When each of these
tested the mixed Quinacridone Red mixtures is tinted with Titanium
Light against the “real” Quinacridone White, you can see obvious warmth
Red Light (PR 207), by mixing both in the mixture that comes from the Ultramarine Blue
with Titanium White. The mixed Hansa Yellow Medium. You can also
Quinacridone Red Light does not have detect that cool salmon tint from OVERLAPPED COLOR WHEEL
the ability to mix to the incredibly the Hansa Yellow Light. Observing
bright pink that the single pigment the same comparison in a glaze or Blue. For each mixture, I also added
will give you. This example doesn’t undertone reveals that a brighter, Titanium White. I created 32 mixtures
detract from the guide, but helps us richer tone comes with the Hansa and this, of course, is only the
to appreciate all the nuances of a pure Yellow Medium. beginning of the possibilities.
pigment, and the range of color that Without a single inorganic (mineral)
can be achieved by subtle mixtures of Range of Skin Tones pigment, (except white) an artist can
numerous pigments. Many painters The new Modern Theory Color create a complete and complex range
come to know intimately how these Mixing Set was developed as a starting of flesh tones. Then, just for fun, I
point for creating a range of color for used the same format but switched
MIXING all types of painters, including more placement of certain mixed colors and
QUINACRIDONE RED LIGHT traditional painting styles, such as changed out Van Dyke Brown Hue
portraiture and landscape. Portraiture for Burnt Umber, Cobalt Blue for
in particular demands a wide range of Paynes Gray, and Naples Yellow Hue
color to create the gamut needed to for Nickel Azo Yellow. Yes, there are
Hansa Yellow Light
achieve an international range of flesh endless possibilities!
tones and shadows. If you research The Modern Color Mixing Guide is
Quinacrdione Magenta “achieving flesh tones,” you will find a definitely a great roadmap to allow you
plethora of ideas, but generally artists to begin finding the unique properties
work with a palette of yellow, blue, of these individual pigments. As I’ve
red, umber and white. demonstrated, there’s no substitute
for playing and discovery, but this
Overlapped Color Wheels guide will be your salvation if you find
To demonstrate the range of more that you have run out of a particular
traditional colors possible, I expanded color that you need right now! Using
my color wheel to overlapped wheels. I this tool, you will be able to create a
premixed a basic set of colors using the reasonable substitute and if you are on
guide: Cobalt Blue, Alizarin Crimson a budget, this grouping of pigments
Mixed Real Hue, Yellow Ochre, Van Dyke Brown will allow you to create a very complete
Hue, Cadmium Red Medium Hue, palette of colors to work with and
Naples Yellow Hue, and Ultramarine explore the possibilities of color.
Issue 26 page 8 ©2012 Golden Artist Colors, Inc.
18 New Williamsburg Oil Colors
By Amy McKinnon to both maintain the high standards Indanthrone Blue, PB60, is a very
Carl Plansky’s excitement around of quality of the Williamsburg brand dark, semi-opaque, highly staining
the discovery of unique colors had as well as to continue its tradition color that was discovered in 1901.
expressed itself in the incredibly of actively searching for new and Sometimes
wide range of pigments within unique pigments. The mission of referred to as
the Williamsburg Handmade Oil Williamsburg is to provide painters Anthraquinone
Colors line. Included are many of with the best quality pigments that Blue, it has
the standard colors, interesting and serve as a connection to the past while an ASTM
unique blends and families of pigments continually expanding the depth and Lighfastness rating
like Cadmium and Cobalt that excel scope of the colors painters depend on. of I, making it a
far beyond most manufacturer’s In keeping with that tradition we are good alternative
ranges. The Williamsburg Oils also very proud to introduce 18 new colors. to the fade prone
include significant historical colors Two of the 18 are old favorites that natural Indigo
that are becoming more scarce and had been discontinued in the past, 3 which it was
rare, iridescents, interference colors, are additions to families of pigments originally meant
and some of the most exciting and that help round out their spectrum of to replace. Both have a deep blue violet
interesting earth colors that our hues and the remaining 13 are earth hue that is not overly-saturated and
natural geology across our planet could colors from the oldest operating mine lends itself as a component for making
produce. For us, once that pigment and pigment supplier in France. a ‘blackless’ black. Indanthrone is
or color space has been selected, a strong mixing color that does not
our dedication lies in achieving an A Homecoming overpower the way Phthalo Blue
expression of that paint that is unique The two colors we want to can. The tint it produces is strong in
to each color. While first formulating reintroduce back to Williamsburg saturation of color but is muted in
to obtain the highest pigment load, are Green Gold and Indanthrone brightness lending itself to an
and a consistency that tunes the Blue. These are great colors that help earthier feel.
working property of the color, our to expand the color choices, offer
attention is given to achieving the properties that are unique, are useful Expanding Families
specific grind for each pigment. in glazing and mixing and were greatly The next 3 colors are additions to
Pigment grind has much more to do missed as awesome colors. currently strong families of pigments.
with thresholds and undertones than Green Gold, PY129, is a semi- While these familiar families are
texture and grit. Texture and grit may transparent Copper Azomethine Green already expansive in their spectral
at first seem like quirky traits that give pigment. The color of this green out range, the opportunity to widen that
the brand a much more handmade of the tube is that space is always invited, especially when
quality but once the paint is brushed of a picholine the pigment occupies a void not yet
out and more specifically mixed and olive. It is a dark filled or able to be achieved by its
glazed with, these colors reveal that the yellow-green color familial members. Our concentrated
texture and grit are the bearers of the that we associate Cadmiums have extremely high
paint’s individuality and eloquence. with the fruit pigment loads and possess a brilliance
Pigment grind informs undertones, but is less pale that travels from a pale but bright
what lies beneath, it is what draws than most olives. Cadmium Lemon through the oranges
you closer and imparts a veil of color Green Gold and reds, and currently comes to a rest
removed from the opacity that comes retains a satiny with Cadmium Red Purple. We now
out of the tube and onto your palette. sheen which helps lengthen that line
Every pigment excels at its own certain it retain a dark with Cadmium
grind and each pigment has its own masstone. The beauty of Green Gold Purple, whose
limit or sweet spot. Go too far, grind is in its undertone and tint. At first the masstone is like
too hard or too fine and one gets a undertone appears as a very transparent an opaque bing
plain and good pigment but that is virgin olive oil color but then it cherry, existing
all. It can even exhibit itself as dull imparts an amber glow within that somewhere
when the particles are too small and almost contradicts its masstone and in between
too close together. Grind the pigments stuns the viewer. The tint of Green Cadmium Red
to their own individual threshold and Gold is clean and such a departure Purple and
one introduces its secret and allows it from its parent color that it is hard to Quinacridone
to reveal its true nature in the spaces in believe it is from the same paint and Violet. Its color
between the particles. if pressed to compare, the tint color is does exhibit an opaque richness that is
It has been an exciting journey similar to Nickel Yellow. unapologetic and determined while its

Issue 26 page 9 ©2012 Golden Artist Colors, Inc.


tint shows its inorganic nature in the Historical Pigments When one thinks of the Provence
form of a dusty lavender. Made Present region, one thinks of fine herbs,
The next family of pigments As an oil painter I take great lavender and fields of color but
receiving a new addition is our comfort in the seduction of history and Provence is home to great ochres as
Cobalts. Long a point of pride, tradition. In countries like Italy, Spain well. Ochres are beautiful rich matte
we offer these in one of the widest and France there is a deep connection colors whose pigment grind offers a
selections available anywhere, grinding between painting and the mining for depth that is atypical of pigments with
them to create a velvety matte quality pigments. Countries that are steeped similar opacity. Most mixes and tints
that imparts a true glow and brilliance. in a tradition of painting have taken made from these ochres tend to deliver
Cobalt Green, great pains and pride in mining and a subtle and clean reliability. These
PG26, is a dark producing colors that while ubiquitous ochres would be a wonderful addition
valued opaque throughout the world, impart a subtle to a portrait palette.
blue green. At or particular shade that is specific French Yellow Ochre Deep,
first sight Cobalt and inherent to that region and PY43, is deeper than our other Yellow
Green and its subsequently prized by artists for their Ochres. It has
accompanying tint uniqueness. Natural earth pigments that earthy yellow
are reminiscent are becoming more scarce and rare ochre color but it
of a pine forest all the time. Often mines are shut seems to be trying
of silvery needles. down and colors are discontinued and to disguise itself
This color makes replaced by more generic, synthetic as Raw Sienna
a useful dark middle green addition versions. Williamsburg has a line of by putting on a
to a landscape palette especially when Native Italian Earth Colors that are more orange hue.
painting pine or oak tree foliage. indicative of a range of pigments found Its color is like
Cobalt Green was the first modern in Italy. While many of their common caramel while
cobalt paint made in 1780 by Swedish names can be found in our regular its tint is cream.
chemist Sven Rinman. The varieties of earth colors, what they offer is a slight French Yellow Ochre Deep is not a
Cobalt pigments are made by calcining departure from that norm. Italian strong staining color and tints very
a mixture of cobalt oxide with an Burnt Sienna has a pinkish glow and lightly but cleanly.
alkaline carbonate and other metals to greater transparency than the regular French Ochre Havane, PY43/
make the varying shades. Burnt Sienna while the Italian Raw PR102, is a special blend of natural
The third major group to welcome Umber is more matte and yellow than earths and like
a new member is the synthetic iron its domestic counterpart. Building the other ochres
oxides. Often off of this grouping of earth colors has a matte, full
referred to as from countries rich with paint history, richness that feels
Mars, these we looked to France and found a and looks like
colors offer pigment supplier that has been mining, tanned leather. Its
unique properties cooking, processing and importing color is similar to,
by remaining pigments for over a hundred years. but brighter than
clean and crisp To understand the earth pigments Italian Orange
and can mix to it helps to know that most are Iron Ochre. The semi-
bright pastels Oxides. The source from which the transparent nature
while providing iron oxide derives is iron ore. Iron of French Ochre Havane provides it
excellent opacity, oxides can be brown, red, yellow with greater depth giving it permission
coverage and or green and when modified by a to be a glaze when it wants to be and
high tinting strength. The latest secondary material such as manganese acting like a matte ochre otherwise.
addition falls somewhere in the middle oxide, calcium, limestone or silica, Like the French Yellow Ochre Deep,
of Mars Orange and Mars Red Light. can produce an even wider range of French Ochre Havane is not a strong
Mars Orange Deep, PR101, is a colors. This already large combination or dominating mixing color and its tint
velvety matte color when its masstone of variables can be further expanded is warm and expected for its masstone.
is viewed straight on. View the color by calcining or cooking the pigment at French Brown Ochre, PY43, is
at an angle and it has a bronze like high temperatures, producing two very a warm brown
shimmer that speckles the entire different colors from the same source, somewhere in
surface. Like the other Mars colors, one raw and one burnt. Just as in fine between milk
Mars Orange Deep is opaque, bright wines, the terroir defines the specific chocolate and
and clean with a natural tooth. It mixes soils, geology, minerals and climate dark chocolate.
very cleanly and its tint is strong and that create the unique qualities of Like the others,
brilliant like the color of raw salmon. each wine, so do the various minerals it has a similar
The straight color of Mars Orange in these very unique soils of oxides matte sheen and
Deep is rust, autumn leaves and wet produce a very specific note of color, softness due to the
terra cotta. undertone and transparency. pigment grind.
Issue 26 page 10 ©2012 Golden Artist Colors, Inc.
Its tint is a mushroom color and like Raw Sienna and in different palettes. It does lend
the other ochres, mixes well without in masstone is itself to a landscape palette but more
overpowering. similar to Italian importantly, due to its transparent
French Burnt Ochre, PBr7, is the Raw Sienna but nature is very useful in imparting
color of dark chocolate and unlike with a slightly less subtle tones to a portrait palette.
the other ochres, warm and slightly French Ardoise Grey, PBlk19,
has an extremely more gold/green powdered slate is another beautifully
dry matte finish. characteristic. Its transparent
While the texture tint is pale but pigment. Its tint
of these paints is warm and exhibits is extremely light
usually described much of the same and manages to
as velvety, French gold yellow quality found in give the white just
Burnt Ochre is the masstone. a slightly cooler
suede; dry and French Light Sienna, PY43, and greener tone.
soft. It is difficult natural hydrated iron oxide, is a satiny In comparing
to not touch greenish sienna. In French Ardoise
it or stroke the dried paint, as its comparing French Grey to our other
surface beckons fingers. French Burnt Light Sienna to slate gray with
Ochre has similar mixing and tinting the Williamsburg the same pigment designation, Davy’s
strengths to the other ochres. palette of earth Grey Deep, the French variety is much
The latest umbers that we are colors it shows lighter, much more transparent and
introducing are French Burnt Umber itself as very has a satiny sheen which is unique next
unique. It fits to the very matte quality of Davy’s
nicely in between Grey Deep. Both the French Ardoise
the earthy greens Grey and Davy’s Grey are warm grays
and the warmer and offer unique properties useful
earth colors that have a greenish tint in glazing and also offer a smooth
although it is a far departure from the quality that is difficult to achieve when
colors most similar to it. It appears to diluting black pigments to similar
occupy a space somewhere between transparency.
Bohemian Green Earth and Brown French Cassel Earth, NB8,
Ochre. Its burnt olive color is straight bituminous earth also goes by the
out of the garment racks of a second names Cologne
and French Raw Umber. While hand army navy surplus store and its Earth or Van
these are being introduced alongside tint is the color of cool sand untouched Dyke Brown. In
the other French Earth Colors, they by the light of the sun. comparison to
also serve to extend a growing and French Terre Verte, PG23, natural our Van Dyke
interesting family of umbers. ferrous silicate containing magnesium Brown, our French
French Burnt Umber, PBr7, is a and aluminum Cassel Earth is
slightly darker, warmer and less matte potassium silicates much less a violet
version of our regular Burnt Umber. is a transparent warm brown
It mixes well and like its masstone, bluish green that and has a unique
imparts a warmer/redder tone than the exhibits a slate cool quality that
regular Burnt Umber. It has a strong like grit. When brings it closer to black than brown.
tint and like the ochres would fare well comparing the It does appear similar to asphaltum
in a portrait palette. French Terre or bitumen in that it appears black
French Raw Umber, PBr7, seems Verte to the Italian with brown undertones. The texture
to contain a little more depth than Terre Verte, the and sheen of French Cassel Earth is
our regular raw umber. The French first difference is both dry and tarlike at the same time.
version has a green tone to it that gives that the Italian version is much more Cassel Earth is a naturally slow drier
a little kick to its color. Its color is that yellow and overall warmer. In locating and tints to a warm and subtle gray. It
of discarded tea leaves, mostly brown a comparable color, French Terre is not a strong mixer but does impart
but once green. Moderate in mixing Verte has an unexpected similarity a warm glow when used in place of
strength it produces a subtle tint much to Cobalt Green. Its transparency, black. Only moderate in lightfastness,
like the color of parchment. matte quality and subdued strength we recommend a final, UV protective
French Raw Sienna, PY43, natural is a guarantee that this comparison varnish for maximum durability.
hydrated iron oxide has the same dry only be made in hue. They both have The last two colors we are
and soft suede like quality of French similar pine tree color qualities. The introducing to the French Earths are
Burnt Ochre. In color it is a deeper transparency of Terre Verte in general French Rouge Indien and French Noir
and richer tone than our regular is what makes this color so valuable
Continued on page 15
Issue 26 page 11 ©2012 Golden Artist Colors, Inc.
I would have liked, but I’ve balanced
that out now.
Mark: When you finished school, you
moved back to New Berlin. Living
in a small community, how easy
was it to find a community of artists
after graduation?
Lori: It was impossible at first. As
GOLDEN has grown, we’ve employed
more artists which has added value to
my life. In my job, I get to meet very
interesting, engaging painters and that
is also personally fulfilling.
Mark: Your career changed
dramatically in 2000 – from the
Assistant for Operations to something

Lori Wilson
more closely connected to your arts
glass artist came and started sculpting background and supporting our
applications group. Tell me about that
Up Close
with glass on a punty rod. Instead of
blowing air, it’s an additive process, change and how meaningful that was
which really got me excited. for you.
Mark: After college you continued art Lori: In ‘94 when I first started, I was
Mark Golden: Lori, when did you in the Gallery while Diane Rich was
studies.
know you wanted to be an artist? reviewing some paint techniques.
Lori: Yes. While I was working, I I sat down to look at the applications
Lori Wilson: I was 4. I was at home
got accepted to the University of with her and told her she had the
watching my brother. He was helping
Manchester for a master’s degree coolest job.
me in a coloring book, and I knew I
in the history of art, focusing on glass,
wanted to color as good as he did. At that time, I had no idea that the
but I needed to work for a little bit
Mark: How was that nurtured in and won a Rotary Ambassadorial decorative painting industry existed.
school? You’ve grown up right here in Scholarship, then completed my one- More college students, particularly
the New Berlin area, right? year master’s program. painting students, should be aware of
privately owned painting businesses
Lori: Yes. From seventh grade forward, Mark: Your career at GOLDEN and scenic shops as places they could
I got some special attention and a lot started pretty early. Could you describe be creatively employed and maintain
of encouragement. My high school how it began? their own studio practices. There are
art teacher, Carl Houghton, went many more options than getting your
Lori: I was hired part-time in 1994 to
to Syracuse University and started MFA and teaching. I’ve interviewed
paint color charts and fill containers.
teaching me about composition and painters from the heads of major scenic
I couldn’t believe that it was so much
color theory in eighth grade. He shops, to a third generation European
fun working in a factory, though I
introduced me to encaustics, oil paint decorative craftsmen, to exhibiting
really was terrible at painting color
and then of course we had acrylic as fine artists making their livings in
charts. I couldn’t get into the swing
Golden Artist Colors was just up the decorative painting in NYC — it’s
fast enough, so I was left in filling,
road and so we would get Seconds all the same creative challenge. It’s
which was fine. In the fall of ’95, I was
paint! The only acrylic I’ve ever problem solving with materials or
hired full-time. I left the following
painted with is GOLDEN. lighting (a room) to create some form
summer to complete my master’s and
Mark: When I see your work and how when I came back, several managers of expression.
very sophisticated it is, it really shows gave me the choice of working in As an Applications Specialist, I’ve
you’ve had great mentors. I know your their departments. gained the opportunity to work with
primary medium for many years has the technical group here. Some of my
Mark: While you were working at
been glass. What was your attraction? favorite time each week is spent at our
GOLDEN in various capacities, were
Lori: I was a junior in college and you able to maintain your art career weekly Technical Forum meeting. It’s
my best friend needed a glassblowing and/or studies? inspiring to participate and watch in
partner so I agreed to take the class. I amazement, the brain power around
Lori: At the beginning, yes, I was only the table and how much energy we put
didn’t enjoy it the first couple of weeks
part-time here and working two other into looking at paint on a level that
because all we tried to do, was blow
part-time jobs so I had time in the I think probably most of the world
a bubble and turn that into a cup.
glass studio that year. After I got hired doesn’t even realize.
It was so frustrating. Soon a visiting
full-time I didn’t maintain it as well as
Issue 26 page 12 ©2012 Golden Artist Colors, Inc.
Mark: It is an inspiring group. Lori, Lori: Yes. That came after working and it’s really fun. Obviously, they’re
share a bit about the projects you’ve with Pierre and it was because of my interested people at the age of 12 to
been involved with at GOLDEN since experience with him that I saw how give up a Saturday to get on a bus and
joining the Applications group. to set up an onsite studio. I replicated go to a local college and meet with
Lori: One of my favorite weeks of that in China. When I was in Shanghai these strangers. I think if I had that
the year is when I get to work on the I worked with a company to create a opportunity when I was 12, I would
Color Trends presentation. It’s the decorative painting market in China have made different choices.
“Olympics of the Mind” in paint. because they don’t have it. What they Mark: Lori, you’ve also made it an
It’s thinking beyond yourself, your have in their tradition is very, very objective of yours to conduct classes
knowledge of the materials, and different than Western culture. and workshops for staff to understand
discovering what future capabilities The Chinese are looking to the West some of the things that excite you
may be possible. for inspiration. about decorative painting materials.
Mark: It’s an exhausting time for you. They want it now, but need Can you talk about that?
training, so we started with color Lori: I think it’s important for the rest
Lori: It is. I have to close the doors, mixing, understanding the tools and
cocoon myself. I need to get lost in of the staff, and they’ve said this, to
basic materials and then moved into know what these materials they make
thought without interruption. more technical questions about higher – actually do. I’ve organized hands-
Mark: One of the things you’ve done quality materials. They actually got a on events so people could touch the
in being able to support artists calling job while I was there and needed me paint. Some of the most enjoyable
up for either fine arts or decorative arts, to stay an extra week. It was great! conversations were with paint makers.
is you’ve actually gone out into the My career has built itself one block of They had never seen Crackle Paste
field and provided assistance or worked experience after another. cracking – they only see it in the wet
alongside some of these incredible Mark: I know that folks who call you state. They never understood why it’s
artists. Can you share some of those? are so appreciative that not only do so cool and they shared with me how
Lori: Those experiences are when I you have technical knowledge of the it’s different from the formula side. It
also appreciate what I’ve gained and materials, but also real experience was a great exchange of information.
what GOLDEN is about, putting into working professionally with the Mark: Lori, you’ve almost always been
practice how we help painters. Each materials. I also didn’t want to miss an teaching art in various capacities.
of those projects was career and life opportunity to talk about your support You support professional artists and
altering, for example, being on Pierre of the community. I want to give decorative artists. You’re an application
Finkelstein’s team. you a chance to talk about your other specialist now for GOLDEN, but
passion, about giving back. beyond teaching art, you’ve also
Mark: Where was that?
Lori: There are many, many great personally made it your goal to teach
Lori: Pierre had a job in London, organizations from Relay for Life to about the work environment. In 2009,
England painting a palace down the the American Red Cross. I think I have you were selected as ESOP Employee
street from Kensington Palace. It connected most significantly with the Owner of the Year for all of New York
sounds glamorous, but it was painter’s United Way. It’s a great organization and Pennsylvania.
boot camp. It was like a Marine Corps that supports a broad spectrum of
class for decorative painters, and for You’ve also been involved in
individuals who are our neighbors. many community groups, serving
me, it was another production job.
We met at 7:15 am and were on the Mark: Lori, you’ve also been involved on boards and participating in
job at 7:30. You had a ten-minute in seminars instructing both college volunteer functions both here, in
break and a half-hour lunch, and students and young women looking the local community and for the arts
then you worked until you had to to careers in the future, Can you talk community. Just reading about these
stop. We painted and prepped and about some of those initiatives that activities, I’m exhausted, but for you it
sanded and taped and cleaned and you’ve been a part of? all seems to be incredibly invigorating.
repaired. The third wealthiest family Lori: I participated in an event, With all that you are doing, knowing
in the world had just purchased it. Women Helping Girls Make that your art career has had to be put
Pierre designed some techniques like Decisions, where local schools offer to the side, how do all these things
dragging (striae) and French patina, 12-year-olds the chance to visit seem to be so uplifting to you?
and it was actually part of the project someone locally in a career they’re Lori: I think it’s about energy and I get
where we were finalizing formulas for interested in (bankers, artists, vets) to charged by it. It’s doing good things.
our new Proceed line. It was on-the- participate in a hands-on activity and I get to interact with people in really
job application testing. talk about the different areas that they fun ways, gaining knowledge and
Mark: So a lot of that has been will have to study. experience. I have a creative career and
incredibly meaningful in your ability Math is always emphasized. I’ve I get to have my own studio practice.
to then support other artists in the given exercises to demonstrate a day in Everything feeds into everything else,
field. One of these jobs had you going the life of Tech Support at GOLDEN I feel blessed!
to China.
Issue 26 page 13 ©2012 Golden Artist Colors, Inc.
Experimental
paint, stone, aluminum, and Plexiglas.
Once dry, Gold Leaf Size has a very
low surface tack that readily accepts
Products all forms of metal leaf. GOLDEN
Gold Leaf Size can be applied over
a large area for traditional gilding
By Ulysses Jackson effects or with a small brush to create
As part of the Custom Lab’s minute details or patterns. Since metal
continued efforts to increase leaf only adheres to the area which
experimentation with new materials, is sized, it allows the artist a great
we are pleased to share with you some deal of control for where the leaf is
of the products we have recently applied. Another unique feature of
developed. As these are experimental this product is that it is not time or
products, availability may require humidity sensitive and has had leaf
longer lead times. As part of the applied weeks after the initial size
GOLDEN Technical Support Services application. If an area is sized then
team, I have reviewed these new partially painted over with a medium
products to give visual descriptions and such as GOLDEN Polymer Medium,
starting point suggestions for possible once dry, only the unpainted Gold
uses. However, keep in mind these Carvable Paste - Designed for use on Leaf Size would still accept gilding; a
are only starting points, as we usually rigid supports, it offers the ability to feature that could assist in creation of
learn from artists that the products build up a low relief textural surface more elaborate techniques or if an area
have many more uses than we initially using a palette knife application, and of a piece gets accidentally sized.
envision. The GOLDEN Technical dries to a slightly rough cement-like
Support team look forward to your surface. Once dry, this product can be
feedback regarding these materials. readily carved with any sharp object
(wood carving or linoleum tools) to
develop a wide array of effects. It holds
fine detail and scratch marks with a
crisp edge, making it suitable for chip
carving or low bas-relief. Being a light
grey color, Carvable Paste is readily
tintable and due to absorbent qualities,
also accepts paint and stains easily.

Silicon Carbide - A moderately coarse


black material that can be applied with Thick Gesso - Produced in a thick
a palette knife to create textural effects, paste like consistency with a balanced
but also is easily smoothed down to formula for flexibility and tooth. This
an even layer. The angular nature of product is designed to be applied
the carbide material creates facets that with a trowel, allowing an artist to
shimmer and glint as the angle view to quickly build up a surface getting away
the surface changes. Silicon Carbide from the underlying substrate texture
is a very hard material that is often rapidly. Due to its flexibility it can be
used in the abrasive and tool industry, used to create thick textured grounds
making it very hard to scrape or mar or applied smoothly then wet sanded
this material once it is dry. While the to a velum like surface. The high level
material itself is not readily absorbent, Gold Leaf Size - A thin liquid size of functional solids in the Thick Gesso
the rough surface allows paint to that is milky in the wet state but dries offer a level of absorbency that allows
appear to soak into it, creating similar clear. It flows and levels very well off color stains to retain a crisp edge while
effects as if it was a coarse version of the brush onto a wide array of low to simultaneously looking embedded
Micaceous Iron Oxide. moderately absorbent surfaces, such as slightly below the surface.

Issue 26 page 14 ©2012 Golden Artist Colors, Inc.


Continued from page 11 natural red iron paintings and pigments from countries
oxide that falls in and regions each as unique as the next.
Indien. Both are natural iron oxides between Mars Red At Williamsburg, attention is paid to
containing no synthetic pigments. It Light and Italian source, color, strength, sheen, opacity,
is less and less typical today to find Rosso Veneto. transparency, durability and grind. It is
natural iron oxides, definitely making The rarity of a these qualities that determine whether
these rare and unique. natural indian red or not paint will be made but it is also
French Noir Indien, PBlk11, makes it unique these qualities that remind one of a
natural black iron oxide is a very in comparison painting of the side of a stone building
opaque black to synthetic bathed in sunlight or that conjure
paint with a warm counterparts a nostalgia for a skin tone seen in a
quality to it. In made elsewhere. The attractiveness portrait years ago or that live in the
comparison to our of utilizing natural pigments is the brushstrokes of a branch on a tree in
other blacks it has individuality and uniqueness that only a forest in a landscape that beckoned
a slightly more that color can possess because it is as the viewer to paint themselves. These
satiny sheen and authentic as the region that it is a part same pigments that were made into
grittier texture. of. It has a satin sheen with a fine to paints that graced the palettes of the
In color, French medium grind and is very opaque. It very artists whose slides were studied
Noir Indien exists does not create a strong or a weak tint in art history class and whose paintings
between Slate but falls in the middle in strength. Its we learned from, gives the painter an
Black and Lamp Black. Its masstone as tint is a dusty orange pink but not opportunity to exist in a historically
well as its tint is holding back a violet dull or dirty. French Rouge Indien rich trade. It also opens the door to
streak that keeps whispering from its mixes clean and is a very bright and find new pigments in new regions;
surface but never fully declares itself. It full ruddy color. Like many of the in countries steeped in a classical art
creates a gray that is in the middle of other earth colors, it lends itself well to history, areas rich in folk and tribal art,
warm and cool. portrait and landscape palettes. lands west and east, north and south
French Rouge Indien, PR102, is History has handed us painters, and ones under our feet.

Issue 26 page 15 ©2012 Golden Artist Colors, Inc.


The Launching of
www.WilliamsburgOils.com/blog
By Sarah Sands
From the beginning Williamsburg factory and eventually to the thousands
was always known as a ‘painter’s paint.’ of emails and other contacts with artists
Partly it was because the founder that Williamsburg has had over
of the company, Carl Plansky, was the years.
first and foremost a painter by both The launching of this blog is
temperament and training. Everything another step in that ongoing tradition
he made was infused with a painter’s - an invitation to a dialog and
sense of touch and passion for color. discussion about the deep traditions
The hours spent over a mill or mixer and new discoveries that inform our
were in constant dialog with the hours craft and underlie our shared love
spent in the studio. As any painter for the materials of painting. Let us GOLDEN Introduces
knows, at the end of the day the paint know what you think and what you Uncommon Blues
always has to ‘work’, the color has to are thinking about. And if you are Available for this winter season only,
be beautiful, the overall sense.....well, ever in upstate New York, please visit this set of three fantastic blues is sure to
sensuous. And those criteria never our factory where the same mills and pique your curiosity, especially if you’re
came from cold concepts or rigid mixers that made Carl’s paints many looking for the fundamentals of blue,
recipes, but from the lived experience decades ago are still in operation. We with a slight twist. Included in the set:
of the paint being pushed and attended are always eager to hear your thoughts • Anthraquinone Blue
to in the studio. As the company over a cup of coffee or, better yet, while • Smalt Hue
grew, the dialog continued to expand pushing around some paint in our • Cerulean Blue Deep
far beyond Carl’s own paintings applications area. In the meantime, Available at your favorite art supply
and practice to include the constant however, we want to invite you into retailer. For more information about
conversations and feedback painters this new space as well and to let those the Uncommon Blues in this set, go to:
provided when calling or visiting the conversations begin to take shape. www.goldenpaints.com/trycolor

13626
Golden Artist Colors, Inc. Golden Artist Colors is an Employee Owned Company.
© 2012 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:
Ulysses Jackson, Sarah Sands, Jodi O’Dell
Mark Golden, Patti Brady, Christopher Farrell, Amy McKinnon, Articles:
January 2012 Issue 26

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