By Digital Atelier® Artists, Karin Schminke, Dorothy Simpson Krause, Bonny Pierce Lhotka As computers are becoming commonplace in homes and studios, artists are integrating digital processes into their work at an ever-increasing rate. Superior digital editing capabilities encourage creative exploration and give the artist more precise control over the production
By Sarah Sands “I’m not particularly worried about lightfastness,” the customer said with confidence as we discussed the merits of using a UV protective varnish. “The ink system I’m using is rated as permanent for more than 100 years.” I glance at the time, and take a deep breath. “Here
Over the last several years, I have been given the opportunity to be personally involved with an international conference of decorative painters, known as The Salon. It is an invitation-only gathering of dedicated decorative painters from around the world coming together to exhibit their work and discuss old and
As we all know, there are two sides to every story, and Benny Shaboy — a painter and sculptor who is the founding editor/publisher of studioNOTES — explains why some artists choose to avoid computers as their primary resource for information. In the early days of personal computers, I decided
As part of the Custom Lab’s efforts to increase visibility of and experimentation with new materials, we are pleased to share with you some of the products we have recently developed. As these are experimental products, availability may require longer lead times. Mike Townsend of GOLDEN Technical Support has reviewed
We are proud at Golden Artist Colors, Inc. to be toolmakers for some of the most talented visual artists in the world. We have worked hard to produce innovative and imaginative tools for artists dedicated to preserving the legacy of our times. Our goal has been that by simply listening
“Test for your application.” So runs the common coda that ends many of our emails and closes our conversations. At the most fundamental level, it simply means trying out a new material or technique in a way that closely mimics how you hope to use it. Other times it requires
In our first issue of Just Paint in 1987, I shared the following story: A new employee was hired on a construction crew to paint the yellow line in the center of the road. On the first day, with great zeal, he painted 10 miles of line. On the second
Mark Golden, CEO of Golden Artist Colors, Inc., was recently recognized by the Manufacturers Association of Central New York (MACNY) with a 2005 Wall of Fame Award. MACNY represents the interests of hundreds of employers, mostly manufacturers, in Central New York. Mark accepted the award at the 92nd Annual Dinner
By Sarah Sands This article examines the technical aspects of creating “luminous effects” in acrylic painting. By “luminous effects” we primarily refer to the use of transparent layers, called glazes, to create a sense of luminous, glowing color and depth. We will not touch upon Fluorescent or Phosphorescent pigments, which
