September 19 – December 11, Sam & Adele Golden Gallery, New Berlin, NY Judith Linhares explores several themes in her paintings. She is most widely recognized for her figural works. Human figures, often naked, whose limbs are vibrantly painted with ribbons of warm and cool colors, are found cooking
Mark Golden: Cathy, how did you get started making art? Cathy Jennings: I don’t remember a time when I wasn’t making images of what I see in the world and that seamlessly grew into drawing and painting. Mark: Who were the mentors in your life that guided you in that
Welcome to Just Paint #32. Several readers have asked for articles less technical in nature. We hear you and recognize our responsibility to our customers. Our online videos attempt to provide artists with clear directions and approaches to working with our materials. We will continue to provide these resources, reducing
“Do you like oil paint?” It’s a seemingly, almost deceptively simple question, and one that I use at the start of almost every Williamsburg lecture and demo. It’s adapted from an anecdote in The Writing Life by Annie Dillard, where a young student, wanting to know if they could become
A foray into printmaking using OPEN Acrylics as the primary printing ink and because the possibilities don’t stop there, a few experiments with High Flow Acrylics and QoR© Watercolors as inks. This foray is by no means comprehensive, but rather a journey of possibilities and experimentation. Our adventure begins with
Williamsburg Handmade Oils announces the release of five Special Edition colors that continue to expand the range and options for oil painters. As mentioned previously in this edition of Just Paint, Williamsburg is proud to have one of the broadest variations of pigment grinds available in artist oil paints. This
Mark Golden: Can you tell me when you knew you wanted to be an artist? Stacy Brock: From birth. I was born a painter. I never wanted to be anything else. Mark: Were there specific mentors or inspiration at home, or at school, in grammar school or high school? Stacy:
Ultramarine Blue stands, and has stood for a while, in fact for years, decades, centuries, as a pillar unbroken, unmovable, not fazed by its position or status. Ultramarine Blue has enjoyed a prominent position in palettes that span from sixth and seventh century A.D. into the contemporary palette of our
Watercolorists are particularly sensitive to issues of lightfastness, and for good reason. Even when framed behind glass, watercolors are still vulnerable to fading because the pigments are very exposed to UV radiation and often used in dilute and delicate washes. Since launching QoR we have received many questions on why
In our original article, which appeared in Just Paint Issue 4 (October 1996), we discussed the changing regulatory landscape concerning cadmium pigments, the potential for restrictions on their use in artist paints, and the suitability of potential alternative pigments. In this article we describe the process and results of an
