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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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Munsell Color System showing Hue, Value and Chroma

Munsell-Bezeichnungen für GOLDEN und Williamsburg Paints

Es ist Sommer und Munsell liegt in der Luft. Zumindest scheint es so, angesichts der steigenden Anzahl von Anfragen zu verschiedenen Munsell-Bezeichnungen, die uns in letzter Zeit erreicht haben. Und falls Ihnen Munsell, ein seit seinem Debut 1905 häufig verwendeter Standard für die Klassifikation von Farben, noch nicht bekannt sein sollte, keine Sorge – online […]

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Mit Ölfarben auf Papier malen

Ölmaler, die wirklich gerne malen würden, aber nicht zu viel Zeit oder Geld für die Vorbereitung des Untergrunds ausgeben möchten, könnten versuchen, auf Papier zu malen. Papier gibt es zu einem vernünftigen Preis, es ist leicht vorzubereiten und weniger formell als eine Holztafel oder gespannte Leinwand. Wenn es richtig vorbereitet wird und im Hinblick auf […]

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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 flesh, fabric and nature. 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 work. For oil painters looking […]

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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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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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Example of sunken-in areas in an oil painting

Ausölen und die Ursache für matte Stellen in Ölgemälden

Es ist schon seit Langem ein Problem. Das besagen zumindest die historischen Aufzeichnungen. Flecken. Einschlagen. Matte Stellen. Ölmalern sind all diese Begriffe wohl bekannt, die Bilder von Hautkrankheiten ebenso heraufbeschwören wie die bemalter Oberflächen. Doch welche Bezeichnungen man auch wählt, was sie bedeuten, ist klar – ein unerwünschtes Ärgernis, einen widerlichen Eindringling im kreativen Prozess. Was Gegenmaßnahmen […]

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Tubes representing the average volume of oil vs pigment.

Volume, Weight, and Pigment to Oil Ratios

Oil painters concerned with fat over lean will often turn to information about the oil absorption values for particular pigments as a way to compare how oily or lean certain colors might be. However this has led to many misconceptions and outrightly wrong conclusions which seem to persist in various forums and articles. In what follows […]

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EU Decides Not to Ban Cadmium Pigments in Artist Paints

The European Chemicals Agency (ECHA) recently published its final decision that Cadmium pigments will not be restricted in artist paints. You can read the entire document here: In two previous issues of Just Paint we shared information concerning the possibility of Cadmium pigments being banned in artist paints. Just Paint Issue 4 (October 1996) […]

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Natural Brown Earth known as Umbers (left to right): Williamsburg Burnt Umber, Italian Raw Umber, French Burnt Umber, Brown Umber, Turkey Umber

In the Shadows

From the earliest times, the darkest shades of natural brown earths, known as Umbers, have been a part of the artists’ palette. Ranging in tones from the greener Raw Umbers, which produce a range of neutrals when mixed with white, to the warmer, dark chocolate notes of Burnt Umbers, which create tans and tawny beiges […]

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