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paintings.
BACKING BOARDS FOR CANVAS PAINTINGS With screw washers two boards can be affixed a the same time (Image 3). Image 2: Screw washers prevent the screws from pushing through the foam board. Image 1: A stitching awl is used to make holes in a 4mm foam board before it is attached with screws. Image 3: A screw and screw washer holding two backing boards. MEDIUMS VS. ADDITIVES Adding a medium, gel or water into acrylic paint will add translucency by lowering the pigment load. Most acrylic binders are clear and glossy by nature, so in order to make semi-gloss, satin or matte mediums, we need to add matting solids to the formulation to make thebinder more matte.
UNDERSTANDING THE TECHNIQUES OF POURING ACRYLICS SOME HISTORICAL PIGMENTS AND THEIR REPLACEMENTS Some Historical Pigments and their Replacements. February 11, 2021. December 1, 1998 by Golden Artist Colors, Inc. Alizarin Crimson (PR 83:1, ASTM III) Alizarin Crimson was created in 1868 by the German chemists, Grabe and Lieberman, as a more lightfast substitute to Genuine Rose Madder. This was accomplished by isolating part of themadder
VARNISHING MIXED MEDIA PAINTINGS Varnishing Mixed Media Paintings. If you are working with mixed media, the best display solution is usually behind UV-protective glass. This provides ultimate protection against UV-light, dirt and dust. If you decide against mounting behind glass, then varnishing or top coating can be the next best option, however, that can become tricky when SELECTING EQUIPMENT FOR SPRAYING VARNISH Oil-Free, 20 gallon Air Compressor. The most costly purchase (and potentially the most confusing as well) for your entry level stage is the air compressor. It is important to select an “oil-less” or “oil-free” model with a generous air tank, usually 10 or more gallons. This allows for a clean and smooth pressure while you spray.PIGMENT DENSITY
Hello, Dawn. While I also do not have a degree in Fluid Dynamics, I hope I can assist. If all things were the same, except for the pigment differences, the pigments with a heavier density will want to sink, while lighter, less dense pigments will either remain suspended orrise.
ARE ACRYLICS AS DURABLE AS OILS? Comparing acrylics and oils can often be like the proverbial task of comparing apples and oranges. If oil paint was just now being invented, and had to sell itself to the marketplace as a new medium, it would probably have an incredibly difficult time – especially if we knew beforehand that its list of problems would include yellowing, cracking, wrinkling, flaking, embrittlement, hydrolysis SUGGESTED DRYING TIMES BETWEEN ACRYLIC PRODUCTS According to the GOLDEN Product Application Sheet, Preparing a Painting Support, Gesso should be allowed to dry for a minimum of 3 days for proper mechanical adhesion of the oils. Oil paints and oil painting solvents are hydrophobic (water-resistant). If too much water remains in the acrylic layers, there may not be optimal adhesion. HOME | JUST PAINTARCHIVECONTACT USABOUT JPJP EXPERIENCEACTIVITYAPPLICATION Plein-Air Painting with OPEN Acrylics. Introduction Typical regular drying waterborne acrylic paints tend to dry quickly and when painting outdoors with wind, sun and warm temperatures they will dry even faster. This can make painting outdoors much more challenging with acrylics unless you are working very fast with “one shot”paintings.
BACKING BOARDS FOR CANVAS PAINTINGS With screw washers two boards can be affixed a the same time (Image 3). Image 2: Screw washers prevent the screws from pushing through the foam board. Image 1: A stitching awl is used to make holes in a 4mm foam board before it is attached with screws. Image 3: A screw and screw washer holding two backing boards. MEDIUMS VS. ADDITIVES Adding a medium, gel or water into acrylic paint will add translucency by lowering the pigment load. Most acrylic binders are clear and glossy by nature, so in order to make semi-gloss, satin or matte mediums, we need to add matting solids to the formulation to make thebinder more matte.
UNDERSTANDING THE TECHNIQUES OF POURING ACRYLICS SOME HISTORICAL PIGMENTS AND THEIR REPLACEMENTS Some Historical Pigments and their Replacements. February 11, 2021. December 1, 1998 by Golden Artist Colors, Inc. Alizarin Crimson (PR 83:1, ASTM III) Alizarin Crimson was created in 1868 by the German chemists, Grabe and Lieberman, as a more lightfast substitute to Genuine Rose Madder. This was accomplished by isolating part of themadder
VARNISHING MIXED MEDIA PAINTINGS Varnishing Mixed Media Paintings. If you are working with mixed media, the best display solution is usually behind UV-protective glass. This provides ultimate protection against UV-light, dirt and dust. If you decide against mounting behind glass, then varnishing or top coating can be the next best option, however, that can become tricky when SELECTING EQUIPMENT FOR SPRAYING VARNISH Oil-Free, 20 gallon Air Compressor. The most costly purchase (and potentially the most confusing as well) for your entry level stage is the air compressor. It is important to select an “oil-less” or “oil-free” model with a generous air tank, usually 10 or more gallons. This allows for a clean and smooth pressure while you spray.PIGMENT DENSITY
Hello, Dawn. While I also do not have a degree in Fluid Dynamics, I hope I can assist. If all things were the same, except for the pigment differences, the pigments with a heavier density will want to sink, while lighter, less dense pigments will either remain suspended orrise.
ARE ACRYLICS AS DURABLE AS OILS? Comparing acrylics and oils can often be like the proverbial task of comparing apples and oranges. If oil paint was just now being invented, and had to sell itself to the marketplace as a new medium, it would probably have an incredibly difficult time – especially if we knew beforehand that its list of problems would include yellowing, cracking, wrinkling, flaking, embrittlement, hydrolysis SUGGESTED DRYING TIMES BETWEEN ACRYLIC PRODUCTS According to the GOLDEN Product Application Sheet, Preparing a Painting Support, Gesso should be allowed to dry for a minimum of 3 days for proper mechanical adhesion of the oils. Oil paints and oil painting solvents are hydrophobic (water-resistant). If too much water remains in the acrylic layers, there may not be optimal adhesion.HOME | JUST PAINT
Plein-Air Painting with OPEN Acrylics. Introduction Typical regular drying waterborne acrylic paints tend to dry quickly and when painting outdoors with wind, sun and warm temperatures they will dry even faster. This can make painting outdoors much more challenging with acrylics unless you are working very fast with “one shot”paintings.
PIGMENT DENSITY
Hello, Dawn. While I also do not have a degree in Fluid Dynamics, I hope I can assist. If all things were the same, except for the pigment differences, the pigments with a heavier density will want to sink, while lighter, less dense pigments will either remain suspended orrise.
SOME HISTORICAL PIGMENTS AND THEIR REPLACEMENTS Some Historical Pigments and their Replacements. February 11, 2021. December 1, 1998 by Golden Artist Colors, Inc. Alizarin Crimson (PR 83:1, ASTM III) Alizarin Crimson was created in 1868 by the German chemists, Grabe and Lieberman, as a more lightfast substitute to Genuine Rose Madder. This was accomplished by isolating part of themadder
MURAL PANEL TESTING RESULTS Mural Panel Testing Results. Exterior mural test panels laid upon the applications table awaiting inspection. The foreground panel is M.D.O. Plywood, edges and back sealed with aluminum enamel. There are five key aspects directly influencing the lifespan and overall durability of an exterior mural: the environment in which the mural will beplaced.
ACRYLIC WASHES AND GLAZES: WHAT, WHEN AND HOW? An acrylic wash is made by thinning paint with a lot of water. Thinning reduces both the amount of acrylic and pigment in the mixture. When a wash dries you end up with widely dispersed pigment particles settled down into and on the painting surface, with a very small amount of acrylic binder. With washes, pigment particles canmeander and
DELTA E: A KEY TO UNDERSTANDING LIGHTFASTNESS Put simply, Delta E is a single number that represents the amount of difference between two colors, or if testing a single swatch, the amount of change that particular color has undergone. Sometimes abbreviated as dE or ∆E, it is a combination of the Greek letter delta, used to signify change in mathematics, and E, which comes fromthe German
BLOCKING SUPPORT INDUCED DISCOLORATION Blocking Support Induced Discoloration. Support Induced Discoloration or SID describes a phenomenon that can occur when the acrylic appears to change in color upon drying. It usually takes on a yellow, orange or brown tint, due to impurities in the substrate being drawn up into the acrylic film. The discoloration occurs while the paint or COLOR MIXING...YOU CAN'T GET IT UNLESS YOU DO IT! Quinacridone Magenta is bright, cool and almost fluorescent. At first glance, it seems an unlikely choice for mixing any color that needs a red. You can’t beat Quinacridone Magenta (mixed with either of the Hansa Yellows) for creating clear, clean, bright oranges, with a DEFINING THE DIFFERENCE BETWEEN A "CRACK" AND A "CRAZE Defining the Difference Between a “Crack” and a “Craze”. February 11, 2021. October 21, 2016 by Michael Townsend. Figure 1: Varying the thickness of GOLDEN Crackle Paste results in a wide range of cracked patterns. The Material Specialists here at Golden Artist Colors are often requested by artists to diagnose the reasoning forproblems
OILING OUT AND THE CAUSE OF DEAD SPOTS IN OIL PAINTINGS It’s been a problem for a very long time. At least according to the historical record. Blotchiness. Sinking in. Dead spots. For oil painters these are well known terms, conjuring up images of skin disease as much as painted surfaces, but whatever words are used the implication is clear – it’s an undesirable nuisance; a loathsome interloper in the creative process.PIGMENT DENSITY
Hello, Dawn. While I also do not have a degree in Fluid Dynamics, I hope I can assist. If all things were the same, except for the pigment differences, the pigments with a heavier density will want to sink, while lighter, less dense pigments will either remain suspended orrise.
MURAL PANEL TESTING RESULTS Mural Panel Testing Results. Exterior mural test panels laid upon the applications table awaiting inspection. The foreground panel is M.D.O. Plywood, edges and back sealed with aluminum enamel. There are five key aspects directly influencing the lifespan and overall durability of an exterior mural: the environment in which the mural will beplaced.
QOR PERMANENT SCARLET DISCONTINUED QoR Permanent Scarlet Discontinued. February 11, 2021. October 8, 2020 by Cathy Jennings. We are sad to announce that after October 31, 2020 we will no longer be able to offer QoR Permanent Scarlet watercolor, as the PR 168 pigment used to make this paint has been discontinued and is no longer available. The artist paint industry is often BACKING BOARDS FOR CANVAS PAINTINGS With screw washers two boards can be affixed a the same time (Image 3). Image 2: Screw washers prevent the screws from pushing through the foam board. Image 1: A stitching awl is used to make holes in a 4mm foam board before it is attached with screws. Image 3: A screw and screw washer holding two backing boards. QOR MEDIUMS AND GROUNDS QoR Synthetic Ox Gall is a wetting agent that improves the flow of watercolors. Just a few drops added to water makes the paint easier to blend and really improves washes and wetting on hard sized papers. QoR Lift Aid™ helps with the removability of watercolor paint when applied to the paper before painting or between washes, glazes andlayering.
VARNISHING MIXED MEDIA PAINTINGS Varnishing Mixed Media Paintings. If you are working with mixed media, the best display solution is usually behind UV-protective glass. This provides ultimate protection against UV-light, dirt and dust. If you decide against mounting behind glass, then varnishing or top coating can be the next best option, however, that can become tricky when SELECTING EQUIPMENT FOR SPRAYING VARNISH Oil-Free, 20 gallon Air Compressor. The most costly purchase (and potentially the most confusing as well) for your entry level stage is the air compressor. It is important to select an “oil-less” or “oil-free” model with a generous air tank, usually 10 or more gallons. This allows for a clean and smooth pressure while you spray. PIGMENT SPECIFIC GRAVITY JPECHART1 NOTE: The pigments used for these colors are not considered lightfast. PIGMENT DENSITY Pigments are listed from lowest density at the top left to highest density at the bottom right. Each (single) pigment density is expressed relative to water (1.00) under the pigment name. BLOCKING SUPPORT INDUCED DISCOLORATION Blocking Support Induced Discoloration. Support Induced Discoloration or SID describes a phenomenon that can occur when the acrylic appears to change in color upon drying. It usually takes on a yellow, orange or brown tint, due to impurities in the substrate being drawn up into the acrylic film. The discoloration occurs while the paint or ARE ACRYLICS AS DURABLE AS OILS? Comparing acrylics and oils can often be like the proverbial task of comparing apples and oranges. If oil paint was just now being invented, and had to sell itself to the marketplace as a new medium, it would probably have an incredibly difficult time – especially if we knew beforehand that its list of problems would include yellowing, cracking, wrinkling, flaking, embrittlement, hydrolysisPIGMENT DENSITY
Hello, Dawn. While I also do not have a degree in Fluid Dynamics, I hope I can assist. If all things were the same, except for the pigment differences, the pigments with a heavier density will want to sink, while lighter, less dense pigments will either remain suspended orrise.
MURAL PANEL TESTING RESULTS Mural Panel Testing Results. Exterior mural test panels laid upon the applications table awaiting inspection. The foreground panel is M.D.O. Plywood, edges and back sealed with aluminum enamel. There are five key aspects directly influencing the lifespan and overall durability of an exterior mural: the environment in which the mural will beplaced.
QOR PERMANENT SCARLET DISCONTINUED QoR Permanent Scarlet Discontinued. February 11, 2021. October 8, 2020 by Cathy Jennings. We are sad to announce that after October 31, 2020 we will no longer be able to offer QoR Permanent Scarlet watercolor, as the PR 168 pigment used to make this paint has been discontinued and is no longer available. The artist paint industry is often BACKING BOARDS FOR CANVAS PAINTINGS With screw washers two boards can be affixed a the same time (Image 3). Image 2: Screw washers prevent the screws from pushing through the foam board. Image 1: A stitching awl is used to make holes in a 4mm foam board before it is attached with screws. Image 3: A screw and screw washer holding two backing boards. QOR MEDIUMS AND GROUNDS QoR Synthetic Ox Gall is a wetting agent that improves the flow of watercolors. Just a few drops added to water makes the paint easier to blend and really improves washes and wetting on hard sized papers. QoR Lift Aid™ helps with the removability of watercolor paint when applied to the paper before painting or between washes, glazes andlayering.
VARNISHING MIXED MEDIA PAINTINGS Varnishing Mixed Media Paintings. If you are working with mixed media, the best display solution is usually behind UV-protective glass. This provides ultimate protection against UV-light, dirt and dust. If you decide against mounting behind glass, then varnishing or top coating can be the next best option, however, that can become tricky when SELECTING EQUIPMENT FOR SPRAYING VARNISH Oil-Free, 20 gallon Air Compressor. The most costly purchase (and potentially the most confusing as well) for your entry level stage is the air compressor. It is important to select an “oil-less” or “oil-free” model with a generous air tank, usually 10 or more gallons. This allows for a clean and smooth pressure while you spray. PIGMENT SPECIFIC GRAVITY JPECHART1 NOTE: The pigments used for these colors are not considered lightfast. PIGMENT DENSITY Pigments are listed from lowest density at the top left to highest density at the bottom right. Each (single) pigment density is expressed relative to water (1.00) under the pigment name. BLOCKING SUPPORT INDUCED DISCOLORATION Blocking Support Induced Discoloration. Support Induced Discoloration or SID describes a phenomenon that can occur when the acrylic appears to change in color upon drying. It usually takes on a yellow, orange or brown tint, due to impurities in the substrate being drawn up into the acrylic film. The discoloration occurs while the paint or ARE ACRYLICS AS DURABLE AS OILS? Comparing acrylics and oils can often be like the proverbial task of comparing apples and oranges. If oil paint was just now being invented, and had to sell itself to the marketplace as a new medium, it would probably have an incredibly difficult time – especially if we knew beforehand that its list of problems would include yellowing, cracking, wrinkling, flaking, embrittlement, hydrolysisHOME | JUST PAINT
Plein-Air Painting with OPEN Acrylics. Introduction Typical regular drying waterborne acrylic paints tend to dry quickly and when painting outdoors with wind, sun and warm temperatures they will dry even faster. This can make painting outdoors much more challenging with acrylics unless you are working very fast with “one shot”paintings.
SOFLAT MATTE ACRYLICS Now we are eager to see where and how our customers push this paint, and to see the results in art that will shine with color just not reflectance/gloss. For questions about SoFlat Matte Acrylics or any other product from GOLDEN, please either call 800-959-6543 or email our Materials & Applications Department at help@goldenpaints.com. BACKING BOARDS FOR CANVAS PAINTINGS With screw washers two boards can be affixed a the same time (Image 3). Image 2: Screw washers prevent the screws from pushing through the foam board. Image 1: A stitching awl is used to make holes in a 4mm foam board before it is attached with screws. Image 3: A screw and screw washer holding two backing boards. ARE ACRYLICS AS DURABLE AS OILS? Comparing acrylics and oils can often be like the proverbial task of comparing apples and oranges. If oil paint was just now being invented, and had to sell itself to the marketplace as a new medium, it would probably have an incredibly difficult time – especially if we knew beforehand that its list of problems would include yellowing, cracking, wrinkling, flaking, embrittlement, hydrolysis QOR MEDIUMS AND GROUNDS QoR Synthetic Ox Gall is a wetting agent that improves the flow of watercolors. Just a few drops added to water makes the paint easier to blend and really improves washes and wetting on hard sized papers. QoR Lift Aid™ helps with the removability of watercolor paint when applied to the paper before painting or between washes, glazes andlayering.
PAINTING ALUMINIUM COMPOSITE MATERIAL Aluminum Composite Material (Dibond®, E Panel®, Alucobond®, AlumaComp®, etc.) Aluminum composite material (ACM), popular in the sign painting industry, is comprised of two prepared sheets of aluminum with a solid polyethylene core. It comes in different finishes, with a polyester-based white or clear coating being the most common. Before priming, lightly sand or abrade and degrease VARNISHING MIXED MEDIA PAINTINGS Varnishing Mixed Media Paintings. If you are working with mixed media, the best display solution is usually behind UV-protective glass. This provides ultimate protection against UV-light, dirt and dust. If you decide against mounting behind glass, then varnishing or top coating can be the next best option, however, that can become tricky when DELTA E: A KEY TO UNDERSTANDING LIGHTFASTNESS Put simply, Delta E is a single number that represents the amount of difference between two colors, or if testing a single swatch, the amount of change that particular color has undergone. Sometimes abbreviated as dE or ∆E, it is a combination of the Greek letter delta, used to signify change in mathematics, and E, which comes fromthe German
MARKERS, MOPS, DAUBERS AND GOLDEN HIGH FLOW Issue 30 page 2 ©2014 Golden Artist Colors, Inc. type markers or pens in their work . with the subsequent issues of bleeding or fading of the inks, or some kind CARBON BLACK (PBK 7) / MARS BLACK (PBK 11) Carbon Black (PBk 7) / Mars Black (PBk 11) While their masstone spectra present nearly identical results, when creating tints or glazes the pronounced warm undertone of HOME | JUST PAINTARCHIVECONTACT USABOUT JPJP EXPERIENCEACTIVITYAPPLICATION Balancing Acrylic Paints for Marbling. Michael Townsend What is Marbling? “Marbling” is the time-honored artist technique where thinned paints are placed onto a thickened “bath” usually made from carrageenan or methylcellulose.PIGMENT DENSITY
Hello, Dawn. While I also do not have a degree in Fluid Dynamics, I hope I can assist. If all things were the same, except for the pigment differences, the pigments with a heavier density will want to sink, while lighter, less dense pigments will either remain suspended orrise.
MURAL PANEL TESTING RESULTS Non-woven fabric termed “Parachute Cloth” was primed, painted, then attached to Hardie Board using GOLDEN Regular Gel. Honeycomb Aluminum Panel was the final substrate used in this round of tests. The honeycomb panels (7) are very strong and accepted the “bondingprimers” well.
QOR PERMANENT SCARLET DISCONTINUED We are sad to announce that after October 31, 2020 we will no longer be able to offer QoR Permanent Scarlet watercolor, as the PR 168 pigment used to make this paint has been discontinued and is no longeravailable.
SELECTING EQUIPMENT FOR SPRAYING VARNISH An Air Hose Quick-Release Connector Set. You will also need hoses to connect your spray gun to an air compressor. Longer hoses allow you to run the air line to the studio from another location where the noisy compressor may reside, resulting in a quieter working environment. PIGMENT SPECIFIC GRAVITY JPECHART1 NOTE: The pigments used for these colors are not considered lightfast. PIGMENT DENSITY Pigments are listed from lowest density at the top left to highest density at the bottom right. Each (single) pigment density is expressed relative to water (1.00) under the pigment name.PAINTING ON LEATHER
Leather. Leathers and finishes vary greatly. So, testing an area or similar materials before beginning is highly recommended. Bend and stretch the test mimicking normal wear. ARE ACRYLICS AS DURABLE AS OILS? Comparing acrylics and oils can often be like the proverbial task of comparing apples and oranges. If oil paint was just now being invented, and had to sell itself to the marketplace as a new medium, it would probably have an incredibly difficult time – especially if we knew beforehand that its list of problems would include yellowing, cracking, wrinkling, flaking, embrittlement, hydrolysis BLOCKING SUPPORT INDUCED DISCOLORATION Support Induced Discoloration or SID describes a phenomenon that can occur when the acrylic appears to change in color upon drying. It usually takes on a yellow, orange or brown tint, due to impurities in the substrate being drawn up into the acrylic film. PYRROLE RED (PR 254) / CADMIUM RED MEDIUM (PR 108) Pyrrole Red (PR 254) / Cadmium Red Medium (PR 108) At full strength Cadmium Red Medium and Pyrrole Red have spectra that closely echo each other, with only the slightest differences HOME | JUST PAINTARCHIVECONTACT USABOUT JPJP EXPERIENCEACTIVITYAPPLICATION Balancing Acrylic Paints for Marbling. Michael Townsend What is Marbling? “Marbling” is the time-honored artist technique where thinned paints are placed onto a thickened “bath” usually made from carrageenan or methylcellulose.PIGMENT DENSITY
Hello, Dawn. While I also do not have a degree in Fluid Dynamics, I hope I can assist. If all things were the same, except for the pigment differences, the pigments with a heavier density will want to sink, while lighter, less dense pigments will either remain suspended orrise.
MURAL PANEL TESTING RESULTS Non-woven fabric termed “Parachute Cloth” was primed, painted, then attached to Hardie Board using GOLDEN Regular Gel. Honeycomb Aluminum Panel was the final substrate used in this round of tests. The honeycomb panels (7) are very strong and accepted the “bondingprimers” well.
QOR PERMANENT SCARLET DISCONTINUED We are sad to announce that after October 31, 2020 we will no longer be able to offer QoR Permanent Scarlet watercolor, as the PR 168 pigment used to make this paint has been discontinued and is no longeravailable.
SELECTING EQUIPMENT FOR SPRAYING VARNISH An Air Hose Quick-Release Connector Set. You will also need hoses to connect your spray gun to an air compressor. Longer hoses allow you to run the air line to the studio from another location where the noisy compressor may reside, resulting in a quieter working environment. PIGMENT SPECIFIC GRAVITY JPECHART1 NOTE: The pigments used for these colors are not considered lightfast. PIGMENT DENSITY Pigments are listed from lowest density at the top left to highest density at the bottom right. Each (single) pigment density is expressed relative to water (1.00) under the pigment name.PAINTING ON LEATHER
Leather. Leathers and finishes vary greatly. So, testing an area or similar materials before beginning is highly recommended. Bend and stretch the test mimicking normal wear. ARE ACRYLICS AS DURABLE AS OILS? Comparing acrylics and oils can often be like the proverbial task of comparing apples and oranges. If oil paint was just now being invented, and had to sell itself to the marketplace as a new medium, it would probably have an incredibly difficult time – especially if we knew beforehand that its list of problems would include yellowing, cracking, wrinkling, flaking, embrittlement, hydrolysis BLOCKING SUPPORT INDUCED DISCOLORATION Support Induced Discoloration or SID describes a phenomenon that can occur when the acrylic appears to change in color upon drying. It usually takes on a yellow, orange or brown tint, due to impurities in the substrate being drawn up into the acrylic film. PYRROLE RED (PR 254) / CADMIUM RED MEDIUM (PR 108) Pyrrole Red (PR 254) / Cadmium Red Medium (PR 108) At full strength Cadmium Red Medium and Pyrrole Red have spectra that closely echo each other, with only the slightest differences BACKING BOARDS FOR CANVAS PAINTINGS Image 5: Cross-section of a stretcher with T-Shaped Profile and Backing Board. Humidity and Ventilation. The exact shape and ideal material for backing boards depends mostly on the environmental conditions of the space where the painting will live. DELTA E: A KEY TO UNDERSTANDING LIGHTFASTNESS READINGS Image I: Model of CIE Lab space showing an example of Delta E as the distance between two colors. One calculates Delta E using a spectrophotometer which can ultimately translate a color into three variables plotted along the three axis of a standardized color space known as CIE Lab, or more precisely, CIE L*a*b*. VARNISHING MIXED MEDIA PAINTINGS Image 3: 2 weeks after varnish application– Adhesion tests of GOLDEN Varnishes and Isolation Coat (columns) over pencils of various degrees of hardness (rows), on canvas board that was painted with Fluid Matte Cerulean Blue.The Polymer Varnish, Isolation Coat and MSA Varnish were tinted pink to help interpret test results. Below are the tape pieces used for the adhesion test, showing where MEDIUMS VS. ADDITIVES Adding a medium, gel or water into acrylic paint will add translucency by lowering the pigment load. Most acrylic binders are clear and glossy by nature, so in order to make semi-gloss, satin or matte mediums, we need to add matting solids to the formulation to make thebinder more matte.
QOR MEDIUMS AND GROUNDS The recent introduction of QoR®, our new and original take on watercolors, gave us the opportunity to broaden the range of techniques and applications possible with a companion line of Mediumsand Grounds.
PAINTING ALUMINIUM COMPOSITE MATERIAL Aluminum Composite Material (Dibond®, E Panel®, Alucobond®, AlumaComp®, etc.) Aluminum composite material (ACM), popular in the sign painting industry, is comprised of two prepared sheets of aluminum with a solid polyethylene core. It comes in different finishes, with a polyester-based white or clear coating being the most common. Before priming, lightly sand or abrade and degrease THE SCIENCE BEHIND QOR Although the science behind QoR is incredibly exciting, it will be the evaluation of these properties by watercolor artists who will find it appealing or not, based on how well it performs for their particularneeds and uses.
ARE ACRYLICS AS DURABLE AS OILS? Comparing acrylics and oils can often be like the proverbial task of comparing apples and oranges. If oil paint was just now being invented, and had to sell itself to the marketplace as a new medium, it would probably have an incredibly difficult time – especially if we knew beforehand that its list of problems would include yellowing, cracking, wrinkling, flaking, embrittlement, hydrolysis ACRYLICS ON GOLD LEAF Image 2: Imitation leaf on transfer paper can be handled without touching the metal leaf. Acrylics and Tarnishing. The great advantage of genuine high-karat gold leaf is that it will not tarnish, whereas Imitation Gold is very prone to it. STRETCHERS AND STRAINERS: SECRETS OF THE TRADE This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. This website uses cookies to ensure you have the best user experience.Learn more
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UNIQUE GOLDEN PRODUCTS YOU MAY HAVE OVERLOOKED Golden Artist Colors has created hundreds – if not thousands – of products since the ...*
CLEANING BRUSHES WITHOUT SOLVENTS For oil painters who want to reduce the amount of solvent in theirstudio, we ...
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A PAINT LINE WITH THE MURALIST IN MIND Still Relevant by Ed Trask (@edtrask) courtesy of the Virginia Museum of History & Culture, ...*
BACKING BOARDS FOR CANVAS PAINTINGS Backing boards are simple and wonderfully effective at protecting the condition of paintings. They are ...*
UNIQUE GOLDEN PRODUCTS YOU MAY HAVE OVERLOOKED Golden Artist Colors has created hundreds – if not thousands – of products since the ...*
CLEANING BRUSHES WITHOUT SOLVENTS For oil painters who want to reduce the amount of solvent in theirstudio, we ...
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CLEANING BRUSHES WITHOUT SOLVENTSBy Greg Watson on
September 13, 2019 in Uncategorized For oil painters who want to reduce the amount of solvent in their studio, we would like to share a solvent-free brush cleaning option that can be used during and after painting. All you need for this process are paper towels and a container with 2-3 inches of drying oil such as linseed, safflower, walnutContinue Reading
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A PAINT LINE WITH THE MURALIST IN MIND By Stacy Brock on September 13, 2019 in Uncategorized, Acrylics
, Color
, New Product
Still Relevant by Ed Trask (@edtrask) courtesy of the Virginia Museum of History & Culture, Richmond, VA. Introducing Golden Paintworks Mural Paints Our Art Materials Specialists receive and answer over 10,000 questions a year. One of the most asked about topics is around preparation and materials for Exterior Murals. We have always sharedour best
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BACKING BOARDS FOR CANVAS PAINTINGS By Mirjam Hintz on July 29, 2019 in Uncategorized Backing boards are simple and wonderfully effective at protecting the condition of paintings. They are standard in painting conservation and have proven to significantly reduce visible aging. Installing backing boards can easily be done by artists themselves. Their benefits are many: Protection to impact damage from behind (tear, puncture, deformation). This is not just forContinue Reading
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UNIQUE GOLDEN PRODUCTS YOU MAY HAVE OVERLOOKED By Michael Townsend on July 24, 2019 in Uncategorized, Acrylics
, Application
, Artist
Resources ,
Color , Company
, New Product
, Primers and Grounds, Surface
Preparation
Golden Artist Colors has created hundreds – if not thousands – of products since the initial startup in 1980. We tend to think of our acrylic-based materials as tools. Like most garages, sometimes a few tools go missing. Many times during our search for a specific tool we actually re-discover a long forgotten apparatus along Continue Reading __ 20 VEGAN AND ANIMAL-FREE PAINTS & ART MATERIALS By Mirjam Hintz on June 25, 2019 in Acrylics , Color, Health & Safety
, Oils
, Watercolors
Every now and then we get emails from artists inquiring whether our paints are vegan. We love that and are happy to share information so artists can feel comfortable using our products without compromising on their principles. To start the discussion on the same page, here is a definition of the term ‘vegan’ by TheContinue Reading
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TESTING FOR SENSITIVITY By Scott Fischer on June 25, 2019 in Acrylics ,Ink , Varnish
, Watercolors
Artists enjoy working with many different types of media on a variety of unique surfaces and while we at GOLDEN try our best to test many of the materials available to artists, we are unable to test them all. Being able to test for inherent sensitivities to water or solvents within art materials, for example,Continue Reading
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GLAZING WITH ACRYLICS, OILS AND WATERCOLORS By Stacy Brock on May 29, 2019 in Uncategorized The word “glaze” can have a very slightly different meaning whether you are painting with oils, acrylics or watercolor. In all three media, a glaze is a translucent layer of color applied on top of a base of other colors or an underpainting. This base layer could be a color field or imagery, as inContinue Reading
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ACRYLICS ON GOLD LEAF By Mirjam Hintz on May 29, 2019 in Uncategorized, Acrylics
, Application
, Varnish
Gold leaf can be a wonderful addition to acrylic paintings, as it provides contrast in sheen and reflectance. We are often asked if it is possible to paint on top of gold leaf with acrylic paints and whether it is necessary to seal the gold leaf before doing so. The short answer is: intermediate coatingsContinue Reading
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SURFACE CHECKING AND PLYWOOD, IS IT A CONCERN? By Scott Fischer on April 15, 2019 in Conservation, Primers and
Grounds ,
Surface Preparation
What could be more important to the longevity of a painting than the proper selection and preparation of the substrate you are working on? Having a vested interest in the success of artists using our products, we want to highlight some of the concerns coming from the field of conservation regarding surface checking and theContinue Reading
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BECOMING FAMILIAR WITH COLOR POURING MEDIUM MATTE: IT’S MORE THANJUST FOR POURS!
By Michael Townsend on April 15, 2019 in Acrylics, Application
, Artist
Resources ,
Color , Primers and Grounds, Surface
Preparation
GOLDEN Color Pouring Medium Matte (CPM Matte) is a very new and exciting product for 2019. Unlike most acrylic mediums that develop an initial “skin” when drying, this medium avoids skinning over and therefore is quite resistant to “crazing”. The added benefit is this process allows for air bubbles and tool marks to readilydisappear.
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