Mark Golden: Can you tell me when you knew you wanted to be an artist? Stacy Brock: From birth. I was born a painter. I never wanted to be anything else. Mark: Were there specific mentors or inspiration at home, or at school, in grammar school or high school? Stacy:
Ultramarine Blue stands, and has stood for a while, in fact for years, decades, centuries, as a pillar unbroken, unmovable, not fazed by its position or status. Ultramarine Blue has enjoyed a prominent position in palettes that span from sixth and seventh century A.D. into the contemporary palette of our
Watercolorists are particularly sensitive to issues of lightfastness, and for good reason. Even when framed behind glass, watercolors are still vulnerable to fading because the pigments are very exposed to UV radiation and often used in dilute and delicate washes. Since launching QoR we have received many questions on why
In our original article, which appeared in Just Paint Issue 4 (October 1996), we discussed the changing regulatory landscape concerning cadmium pigments, the potential for restrictions on their use in artist paints, and the suitability of potential alternative pigments. In this article we describe the process and results of an
This March we will embark on our 4th year of the Golden Foundation Residency Program. As we welcome our first group of artists for 2015, we are also preparing for the 3rd annual ‘Made In Paint’ Exhibition here in New Berlin, N.Y. The ‘Made In Paint’ Exhibition focuses on the
Welcome to Just Paint #31. If you regularly read Just Paint, you know our passion for what we do extends well beyond paintmaking. Our mission is “To grow a sustainable company dedicated to creating and sharing the most imaginative and innovative tools of color, line and texture for inspiring those
A tube of paint is opened, pressure is applied, material comes out and it just works. It is this consistent function of a product that allows artists to focus on larger issues such as what to paint and how to achieve it. As both an artist and a Formulator, I
Watercolor paper is an active part in the creation of a painting, for watercolor artists paint with their paper rather than simply upon it. For this reason, which watercolor paper an artist selects influences both the painting process and the finished painting. Paper choice can be as personal as color
Artists have been using plastics as a substrate for their work since their development as a consumer material. Early plastics were heralded with such acclaim that they were awarded special honors during the London 1862 World’s Fair. These nitrocellulose plastics were used in constructions by artists Naum Gabo and Antoine
By Vaikunt Raghavan, Ph.D. Basics of Wetting and Adhesion When a liquid comes into contact with any solid, new interfaces or boundaries are generated between these dissimilar materials. Although many factors exist which will promote or inhibit adhesion of the acrylic paint onto the solid plastic, the most important element
