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Author Archive | Sarah Sands

Wall of Test Samples That Will Be Shipped in October to Arizona for Accelerated Exterior Lightfastness Testing following ASTM D4303

Lightfastness Testing at Golden Artist Colors

While we often report on results from lightfastness testing, we have rarely paused to actually describe the process we follow. And let’s face it, for most people stating that our tests conform to ASTM D4303, Standard Test Methods for Lightfastness of Colorants Used in Artists’ Materials, does very little to fill in the blanks. In an attempt to solve […]

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Texas National Guard soldiers arrive in Houston to aid residents in heavily flooded areas from the storms of Hurricane Harvey, Aug. 27, 2017. Texas Army National Guard photo by 1st Lt. Zachary West

Emergency and Natural Disaster Recovery Resources for Artists

Obviously in any emergency or natural disaster, such as the devastating flooding caused by Tropical Storm Harvey in the Houston area and Hurricane Irma in Florida, the first priority is the life and safety of yourself and those around you. As the water recedes, however, and people are able to return to their homes and studios, […]

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Titanium White Dark Yellowed for 1.5 Years then Exposed to Sunlight for 8 Hrs

What is Dark Yellowing?

Dark yellowing is the reversible, temporary yellowing that dried oil paint undergoes when stored in the dark or subdued lighting. While noted in many historical writings, most painters remain unaware of it and become surprised or concerned when they discover it happening to their own works. Which makes sense. With no other context to go […]

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SID Testing of Various Sealers on Hardboard where we looked at how effective GAC 100. Polymer Medium, and BIN were when using OPEN and Regular Gel.

OPEN Acrylics, Shellac, and SID

In many ways this article is a continuation from an earlier one,  Waterproof India Inks and Shellac-based Primers, which focused mostly on the alkaline sensitivity of shellac-based india inks when used with acrylics. However, towards the end of the article we briefly looked at  Zinnser’s B-I-N®, a common pigmented shellac primer, to see if it had similar […]

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Image 1: CAA Materials Panel Presentation Board showing Cobalt and Ultramarine Blue in watercolor, casein, 
egg tempera, acrylic, encaustic, and oil.

Pigment Volume Concentration and its Role in Color

Mention a well-known pigment like Ultramarine or Cobalt Blue, and we instantly picture a very particular and unwavering color. And why not – it is easy to think of pigments as having characteristics that remain constant as one moves between different mediums such as acrylics, oils or watercolors. Even if we accept that the handling […]

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Testing Inks on Various Substrates for Sensitivity to GOLDEN Gesso, GAC 100 and QoR Watercolor

Waterproof India Inks and Shellac-based Primers

We all get tripped up and surprised sometimes. Even the simplest description can set in motion assumptions that lead us to expect one thing only to be sitting there, moments later, head slightly tilted, a quizzical glance showing equal parts frustration and fascination. Which is where we found ourselves a few years back when testing a variety of […]

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Comparison of Williamsburg's Cobalt Blue Deep. Cobalt Blue, and a trial batch of YInMn Blue

YInMn Blue

Imagine inventing a color. Not a new shade or tint or blend made from others on the palette, but an entirely new pigment with a novel chemistry. For most artists that thought alone can instill a strong sense of wonder, of something magical and mysterious being coaxed into being from an alchemical mix of ingredients. […]

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Alizarin Crimson

Alizarin Crimson: Now You See It…..

If a single color embodies the dividing line between pigments considered suitable for permanent works of art, and those that are suspect and poor in lightfastness, Alizarin Crimson (PR 83) would be it. And yet it is still used by many artists who are drawn to it in spite of its many problems. Some of […]

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Apple and orange on a white background

Are acrylics as durable as oils?

  If oil paint was just now being invented, and had to sell itself to the marketplace as a new medium, it would probably have an incredibly difficult time – especially if we knew beforehand that its list of problems would include yellowing, cracking, wrinkling, flaking, embrittlement, hydrolysis, fatty acid crystallization, protuberances and delamination caused by […]

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