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 Mediums and Grounds. QoR Grounds greatly expand the breadth of surfaces that can accept watercolor paint and provide the freedom
From the very beginning, oil painters have used mediums to extend, modify, tweak and transform their paint in one way or another. These have run the gamut from the simple use of solvents when creating an initial wash to much more complex concoctions and recipes that involve the blending of
Recently we set about testing a variety of solutions for what has been a constant problem: preventing a can of paint from forming a skin, especially when stored for months or even years at a time. Plastic wrap pressed against the surface definitely worked, but also created a mess when
By the middle of the twentieth century the traditional notion of the artists studio, that of the ‘garret’, gave way to the availability of spacious commercial lofts in downtown New York City that had been abandoned in the post-war period. As manufacturing moved out of New York, artists moved into
The second annual Made in Paint exhibition opening was among the most highly attended events hosted by the Golden Foundation to date. Approximately 300 visitors filled the Sam and Adele Golden Gallery (The SAGG) on April 12, 2014 to view the works of 20 artists from around the world. These
Dear Just Paint readers, We’ve just reached our 30th edition of Just Paint and with it, just a moment of reflection on what we have tried to create with our newsletter. First, a huge thank you to our Editor for the last 20 issues of Just Paint, Jodi O’Dell. Without
Drawing with pens and ink in artwork is not new. Artists have always combined drawing with painting, and the very act of painting itself incorporates drawing as line whenever one color or value is placed beside another, a thicker passage shows its edge against a thinner passage, or wet paint
The evidence was undeniable as our eyes swung slowly across the drawdowns that spread out before us. The handful of initial colors ground in every possible combination of oil all pointed to a similar conclusion: there was something here that simply could not be ignored. The clarity of the colors
In 1986, amidst the bustle of West Harlem, a rich, jewel-tone mural could be seen rising 30 feet above the lush oasis of Hope Stevens Garden. Homage to Seurat: La Grande Jatte in Harlem, the last remaining work in New York City by the artist Eva Cockcroft, repurposed Seurat’s
An exterior mural is likely the most extreme test for lightfastness and weatherability of a paint system. One of our most popular Application Information Sheets, “Painting Exterior Murals” is the culmination of decades of experience and research. If you have never read it, please do. You will soon realize a
