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Articles concerning color, color mixing, color space, and related issues.

Here is the same sample board with a different light angle showing the full interference and iridescent effects.

Layering and Mixing with Iridescent and Interference Acrylic Paints

We’ve all seen Iridescent and Interference effects when viewing soap bubbles, oil slicks, flower petals, bird feathers, and more. They are fairly common in the natural world. If they are somewhat less common in artwork, it might simply be that they still represent new and unexplored possibilities for most people, even after being part of […]

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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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(Left) Iridescent Pale Gold (Right) Iridescent Pale Gold thinned with Odorless Mineral Spirits

Not All That Glitters Is Gold – Williamsburg Iridescent and Interference Oil Colors

Gold leaf has been used to beautify and evoke meaning in painting throughout history, functioning as a luminous counterpoint to the flesh, fabric and nature painted with pigmented media. Artists today still use gold leaf, but have also added other metal foils, glitters, iridescent and interference paints to their palettes to activate and enliven their […]

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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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Color Wheel

Just Six Paints: the (almost) double primary approach to a QoR color wheel

The March 2016 article “Painting on Location with QoR Modern Watercolors” included a suggested palette of six QoR paints selected for their own attributes and for their ability to create a spectrum of beautiful saturated colors. This article will first discuss the selection process, and then demonstrate the paints’ mixing potential when organized around an […]

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Fluid-Acrylics-blended-with-GAC-800-and-poured.Image3

Making “Skins” with Fluid Acrylics

Overview: An acrylic “skin” is a dry acrylic film that can be made of paint, medium or a combination of paint and medium, that is not attached to any substrate. While acrylic skins can be made with just about any GOLDEN Acrylic Medium, Gel, Paste or Paint, our Fluid Acrylics work particularly well since the […]

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