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Summerland, 2012, Acrylic on Canvas, 75 1/2" x 46 1/4"
© Kikuo Saito

Kikuo Saito Color and Drawing

Fortune is said to favor the bold. If so, when Kikuo Saito left Japan in 1966, at age twenty-seven, to take up residence in New York City, his bold and uncertain decision enjoyed Fortune’s broad and generous smile, and continued to do so for five decades of engagement, experimentation and development. Saito’s background in painting […]

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The aluminum apex (9” x 5”) from the Washington Monument was cast by William Frishmuth of Philadelphia, the only domestic producer of the ore.  At that time, it was a rare metal more valuable than silver.

Painting on Metal: An Introduction

Question: How often do they repaint the steel on the iconic Golden Gate Bridge? Answer: Every day, non-stop, repainting areas of corrosion (28 painters). Painting metal, especially metals exposed to variable environmental conditions is not something even our most advanced coating systems can stand up to over time, measured not in decades but in just […]

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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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From Mark Golden

From Mark Golden This past year I am reminded how quickly time is passing by. For over 25 years we’ve been publishing Just Paint. For 36 years Barbara and I have been graciously allowed to participate in the creative lives of so many talented artists. And to be able to call them our friends, has […]

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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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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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