STUDIO ELEMENTS

Did you know that in addition to GOLDEN acrylics, Golden Artist Colors also makes Williamsburg Oil Colors and QoR Watercolors?

We are committed to helping artists in every medium realize their creative vision and hope this special section of the Just Paint Experience helps you explore and find new ways to enhance your studio practice. Always feel free to give us a call or send an email if you have questions. 

JUMP TO A SECTION BELOW:
GOLDEN Acrylic Colors
GOLDEN Acrylic Mediums & Grounds
Williamsburg Oils
QoR Watercolors

GOLDEN Acrylic Colors

Titanium or Zinc White?

Titanium is often the “go-to” because of its opacity and brightness, but Zinc provides a subtlety and transparency that many artists prefer for mixing colors or painting blends and highlights.

Tap the images to learn more.

Titanium White

GOLDEN
Titanium White

Our most opaque white, made with Titanium Dioxide. This is an essential white for many painters. Available in GOLDEN Heavy Body, OPEN, SoFlat, Fluid and High Flow color lines.
Zinc White

GOLDEN
Zinc White

Sometimes referred to as "mixing white", Zinc White provides a more transparent white option for mixing and glazing. Available in GOLDEN Heavy Body, Fluid and OPEN.

Which Black?

Why three different blacks? The answer is one of character and working qualities. Carbon Black is bold, dark and fairly neutral, while Bone Black is warmer and a little more transparent. Mars Black comes somewhere between the two. Tap each color to learn more.

Watch our demo exploring GOLDEN blacks and whites below!

Carbon Black

GOLDEN
Carbon Black

Produced with soot from burning gas, the dark and fine particle size makes this our darkest, most neutral black. Available in GOLDEN Heavy Body, OPEN, SoFlat, Fluid and High Flow color lines.
Mars Black

GOLDEN
Mars Black

Somewhat warmer than Carbon Black, made with black iron oxide. Available in GOLDEN Heavy Body.
Bone Black

GOLDEN
Bone Black

A warmer black. Its name comes from the use of charred animal bone as a pigment. Available in GOLDEN Heavy Body, Fluid and OPEN.

VIDEO: Exploring GOLDEN Blacks & Whites

Titanium White and Carbon Black are elemental in many artist’s studios. In this recording of a live demonstration and Q&A on August 4, 2021 we explore GOLDEN blacks and whites, how they might impact color, and why one might choose one over another.

VIDEO: OPEN Slow-Drying Acrylics Titanium White

Adding OPEN Slow-Drying Acrylics Titanium White to your fast-drying acrylic palette will increase the working time of paints, making it easier to create blends and soft gradients with color, or to simply slow down the painting process.

VIDEO SERIES: Color, Shade, Tint - Mineral & Modern Colors

In this 3-part video series, we  create tints and shades of Mineral and Modern colors. Modern (synthetic) pigments tend to be stronger tinters while Mineral (natural) pigments may have a high chroma but a weaker tinting strength. The selected colors in this series are tinted with Titanium White (PW6) and Carbon Black (PBk7) – our most popular white and black.

Mineral & Modern Yellows

Yellows used in this demo: Modern: Benzimidazolone Yellow Light (PY175) Mineral: Cadmium Yellow Medium (PY35)

Mineral & Modern Reds

Reds used in this demo: Modern: Quinacridone Red (PV19) Mineral: Cadmium Red Medium (PR108)

Mineral & Modern Blues

Blues used in this demo: Modern: Phthalo Blue (Red Shade) (PB15:0) Mineral: Ultramarine Blue (PB29)

Click to view the full line of GOLDEN Heavy Body, OPEN, SoFlat, Fluid or High Flow colors.

Back to top

GOLDEN Acrylic Mediums & Grounds

The versatility of acrylic colors and mediums can’t be overstated. By mixing the wide variety of colors, textures and effects available, artists can take their ideas in new directions. Below are just a few of the most versatile products we offer for studio artists.

Tap the images to learn more.

Soft Gel Gloss

GOLDEN
Soft Gel Gloss

An incredibly versatile medium. It holds soft peaks, extends paint, changes sheen and viscosity, creates translucent glazes, and works as an adhesive for collage.
VIDEO: Gels & Mediums as Adhesive
Glazing Liquid

GOLDEN
Glazing Liquid

This slow-drying acrylic medium provides sufficient working time for a variety of finishes. Can be mixed with acrylics to create glazes. Also excellent for soft transitions and color blending.
VIDEO: All About Glazing Liquid
Gesso

GOLDEN
Gesso

Designed to penetrate supports and provide a surface to which paint can adhere. Proper preparation with GOLDEN Gesso increases the lifespan of artwork. Formulated to be flexible and highly pigmented for greater opacity.
VIDEO: Gesso & Grounds
GAC 900

GOLDEN
GAC 900

Heatset fabric painting medium, offering a very soft hand and laundering stability. Mix with High Flow Acrylics to produce "tie-dye" effects, or blend with GOLDEN Heavy Body, Matte or Fluid Acrylics for brush or screen application.
Fabric Painting Application Info
Light Molding Paste

GOLDEN
Light Molding Paste

Over 50% lighter than GOLDEN Molding Paste, making it beneficial in creating large artworks and thick layers of material. Dries to an opaque, matte finish. Designed to hold stiff peaks for textured surfaces and blends easily with colors.
VIDEO: GOLDEN Molding Pastes

VIDEO: Soft Gel Gloss
vs. Light Molding Paste

In this video we look at Soft Gel Gloss and Light Molding Paste. Stacy mixes each with Phthalo Green (Yellow Shade) (PG36) in Fluid Acrylics, shows the difference between the two products, the wet to dry shift of each, and the effects that different combinations and applications of paint and medium can help you achieve.

Additional Resources

Top 10 Uses for Soft Gel Gloss  Read article >>

How to Create a Leveling Gesso Ground  Read article >>

Painting Textiles and Wearables with GAC900  Watch Video >>

Click to view the full line of GOLDEN acrylic mediums, gels, pastes and grounds.

Learn more about GOLDEN Acrylics at goldenpaints.com.

Back to top

Williamsburg Oils

Preserving the unique personality of each pigment is our priority with Williamsburg Oil Colors, even while we consistently study the working and drying properties of our paints and strive to improve their longevity and performance.

Navigating the differences between Williamsburg Whites

Williamsburg has seven whites to choose from, including four linseed oil and three safflower oil-based whites. For an in depth look at each of the colors, watch our video below on Williamsburg Whites, or read our Just Paint article, “The Subtle Differences of Williamsburg Whites“.

Tap the images to learn more.

Titanium
White

Williamsburg
Titanium White

The most opaque white. Very strong covering power.
Zinc
White

Williamsburg
Zinc White

Cooler, slightly more transparent than Titanium. Great for clear, clean pastel mixing. To avoid brittle films, use sparingly.
Titanium-Zinc
White

Williamsburg
Titanium - Zinc White

A mix of Titanium and Zinc White. Combines the hiding power of Titanium and the clean tinting properties of Zinc.
Flake
White

Williamsburg
Flake White

Basic lead carbonate. A warm, buttery white with a beautiful sheen like pearls. Very flexible. The white is least prone to cracking when used thickly.
SF Titanium
White

Williamsburg
SF Titanium White

Colors ground in safflower oil yellow less over time than linseed oil-based colors. SF whites are brighter and slightly cooler than our linseed oil whites. Best used thinly or in upper layers of a painting where its bright white color will be most appreciated.
SF Flake
White

Williamsburg
SF Flake White

SF Flake is slightly whiter from the tube and mixes cooler, less yellow colors than linseed oil-based Flake.
SF Porcelain
White

Williamsburg
SF Porcelain White

A bright, cool white with a dense feel and a slightly stringy rheology. A good alternative for those concerned with the brittleness of Zinc White. Ground in safflower oil.

VIDEO: Williamsburg Whites

Titanium White is elemental in most studios, but when is it the right choice and when should another white be considered? In this recording of a live demonstration and Q&A with our Materials Specialist from August 18, 2021, we discuss the range and utility of the Williamsburg whites.

VIDEO SERIES: Color, Shade, Tint - Mineral & Modern Colors

In this 3-part video series, we  create tints and shades of Mineral and Modern colors. Modern (synthetic) pigments tend to be stronger tinters while Mineral (natural) pigments may have a high chroma but a weaker tinting strength. The selected colors in this series are tinted with Titanium White (PW6) and Ivory Black (PBk9) – our most popular white and black.

Mineral & Modern Yellows

Yellows used in this demo: Modern: Permanent Lemon (PY3, PW6, PG18), Permanent Yellow Deep (PY65) Mineral: Bismuth Vanadate Yellow (PY184), Cadmium Yellow Medium (PY35)

Mineral & Modern Reds

Reds used in this demo: Modern: Quinacridone Red (PV19), Permanent Crimson (PR177), Pyrrole Red (PR254) Mineral: Cadmium Red Medium (PR108) 

Mineral & Modern Blues

Blues used in this demo: Modern: Phthalo Blue (PB15:3) Mineral: Ultramarine Blue (PB29), Cerulean Blue (Genuine) (PB35), Cobalt Blue Deep (PB28)

Additional Resources

The Subtle Differences of Williamsburg Whites Read article >>

Williamsburg Safflower Colors Read article >>

Zinc Oxide: FAQ Read article >>

Learn more about Williamsburg Oils at williamsburgoils.com.

Back to top

QoR Watercolor Grounds

You may think of watercolor as a traditional media done on watercolor paper – and it can be! –  but have you considered using different watercolor grounds to create different textures? On paper, canvas or panels, QoR grounds can take watercolor painting in many new, surprising and exciting directions.

Tap the products below to see what they’re all about.

Light Dimensional
Ground

QoR Light Dimensional Ground

A white, lightweight paste that can be applied thinly or built up for texture. Use on a wide variety of surfaces. Allows washes to spread quickly while obliging fine lines and detail.
Watch Video
Cold Press
Ground

QoR Cold Press Ground

Dries to a rough surface with texture similar to handmade paper. Nooks and crannies catch the watercolor, and allow for interesting lifting effects that you can't get with traditional paper surfaces.
Watch Video
Watercolor
Ground

QoR Watercolor Ground

Creates an absorbent surface that allows for soft edges and flowing wet-in-wet techniques. Watercolor Ground dries to a lightfast, flexible, translucent surface that withstands repeated lifting and scrubbing.
Watch Video
Light Dimensional Ground
with QoR Watercolors
Cold Press Ground
with QoR Watercolors
Watercolor Ground
with QoR Watercolors

NEW VIDEO! Breaking Glass

Let’s talk about why you might want to varnish your watercolor, freeing it from a life behind glass. In this recording of a live demonstration from August 25, 2021, we discuss options, provide resources for further research, and demonstrate the dramatic effect this kind of protection can provide. 

VIDEO SERIES: Painting on Grounds

In this 3-part video series, we demonstrate painting on each of our QoR Grounds – Watercolor Ground, Light Dimensional Ground and Cold Press Ground. Colors used in this series (all from our 24 Color Set): Burnt Umber (Natural) (Pbr7), Ultramarine Blue (PB29), Green Gold (PY129)

Painting on Watercolor Ground

This video shows how to create an absorbent surface that allows for soft edges and flowing wet-in-wet techniques with our Watercolor Ground. The ground dries to a lightfast, flexible surface that withstands repeated lifting and scrubbing.

Painting on Light Dimensional Ground

A white, lightweight paste that spreads like frosting, Light Dimensional Ground can be applied smooth and thinly, or built up to create ridges, peaks and other interesting textures, and can be used on a wide variety of surfaces. The extremely absorbent surface of Light Dimensional Ground allows washes to spread quickly, while accommodating fine lines and detail as well.

Painting on Cold Press Ground

Cold Press Ground dries to a rough surface and looks like handmade paper. The nooks and crannies catch the watercolor, and will allow for interesting lifting effects that you can’t get with traditional paper surfaces. If you apply with a dry palette knife, the texture will be similar to rough handmade paper. If you use a bit of water on your palette knife and run over the wet application, you can eliminate some of the roughness for a surface more like cold press paper.

Additional Resources

Purpose, Prep and Application of QoR Grounds  Read article >>

QoR Mediums and Grounds Read article >>

Learn more about QoR Watercolors at QoRcolors.com. 

Back to top

css.php