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

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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One of three new test fences recently erected on the south facing lawn at GOLDEN Artist Colors, Inc. in New Berlin, New York.

GOLDEN Begins Extensive On-Site Exterior Mural Testing

Direct, exterior exposure is highly demanding on coatings, with the test fences set at a 45º angle to maximize the effect of sun, rain, snow and ice. In 1993 and again in 2009, long-term exterior tests of the acrylic colors lasting 4 and 3 years respectively were conducted in South Florida. From these results and in […]

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Color Circle Split Primary

Defining Warm and Cool Colors: It’s All Relative

The concept of warm and cool colors has been written about for hundreds of years. Most theories start with the classic six point color wheel (three primary colors and three secondary colors). A dividing line splits the wheel into warm and cool. The line location varies based upon the reasoning of the theorist. Regardless, the […]

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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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