Each time we discuss the planning of our next Just Paint, the entire Technical group waits in anticipation of having their projects accepted for inclusion. We try to plan at least a year in advance because a good deal of watching paint dry often accompanies the work. In writing about
By Mark Golden Whether painting in oils, acrylics or other traditional or non-traditional painting media, the quality and physical make-up of the support and its preparation is a critical determinant of the final outcome of a work of art. The support not only sets up the working properties of the
Edited by Joyce Hill Stoner and Rebecca Rushfield After seven years of work and including essays by seventy-nine international author-experts, Conservation of Easel Paintings is now available from Taylor and Francis, amazon.com and barnesandnoble.com, etc. David Bomford, formerly Acting Director at the Getty Museum and currently Director of Conservation at
Ring Ring. “Golden Foundation, this is Emma, may I help you?” “Yeah, I’m calling about the barn…” “Do you mean the Golden Residency?” “That’s right, the barn…, and where are you again?” The barn. Artists have defined it for us, even though we keep calling it The Residency. And what
It started innocently enough, the email slipping silently into the queue of our Inbox: “I was just wondering,” wrote the customer, “if there has been any thought of making a range of Munsell Neutral Grays in oil paints, similar to the ones in GOLDEN acrylics? I’m not holding my breath
All painters soon discover that black is not black. Black is, like any color, a general term used to describe a large range of colors. We have three blacks in our Heavy Body, Fluid and OPEN Acrylics: Carbon Black, Mars Black and Bone Black. While all three of these are
Last August we celebrated the opening of an exhibition of works by Knox Martin, entitled “SHE” at the Sam & Adele Golden Gallery (The SAGG) in our facility. “SHE” presents over a dozen recent large scale works by Knox Martin. Knox continues his powerful use of metaphor applied to
You would have thought that by now we would have figured out how acrylic paint dries. We’ve taken several stabs at this in our Just Paint #6 and in a paper for the American Institute for Conservation symposium in 2002. Yet we continue to get the pretty obvious question, “So
Drying Rates of Acrylic Polymer Dispersion On most containers of commercial paints, primers and coatings, it is common for the label to provide a specific timeframe for the product to be dry. “Dries in 2-4 hours under ideal conditions.” “Dries to the touch in 30-60 minutes.” “Allow to dry 4
For Just Paint readers with good memories, this article may appear as the third in a series going back to Just Paint #21 and Sarah Sands, Subtleties of Color, followed up by Running the Color Gamut in issue 26. While it’s not necessary to read either of those articles to
