published by golden artist colors, inc. / issue 18 ... · together of seemingly divergent media in...

Issue 18 page 1 © 2008 Golden Artist Colors, Inc.

just paintPublished by Golden Artist Colors, Inc. / Issue 18

By Sarah SandsThe intertwining history of paint and

print, of the weightless image and the tactiletouch of brush on canvas, is both a long andcomplicated one. For much of the lastcentury photography and painting developedalong very divergent lines, their uniquematerials and processes keeping them safelysequestered in their respective corners. Thehandmade and the reproduced, it seemed,would need to go their separate ways.However, with the advent of digitalprintmaking, we are standing less at acrossroads than a confluence, a comingtogether of seemingly divergent media inextremely rich and interesting ways. Goingforward, we have a unique opportunity towrite a different history that brings thesetraditions together. And in that endeavor, webelieve, acrylics have a vital role to play. Farfrom being challenged by these changes,acrylics are the only medium able to playhost to such a wide variety of innovationsand creativity. Or at least they are now, asGOLDEN prepares to introduce three newDigital Grounds and two UV protective GelTopcoats. These products literally free digitalimages from the confines of prepared,commercial print media, while also allowingthe virtual brushstrokes of Photoshop® tofinally take on weight and enter into the richmaterial world of acrylic gels, mediums andcolors. In the coming pages we will walkthrough the basics of how these materialswork, the ways they increase the quality ofyour images and methods to use them inyour art.

Ink-jet Receptive CoatingsTake a cursory glance through any catalog

of digital print media and you might quicklythink the world is awash with choices for theartist to use. From glossy photo throughdigital art papers, from transparencies toprintable canvas, what more could an artistwant? But then artists always want more. Not just more choices, but more control andfreedom to create the textures and surfaces

that meet their needs, and at whatever scaleand shape that vision requires – not just theones that come in the standard-issue8.5” x 11”.

While almost any porous surface that isflat enough can be run through an ink-jetprinter, including off-the-shelf papers madefor printmaking and watercolor, results areusually less than satisfactory as the resultingimage is dull, faint or blurry. For the mostpart this is caused by the substrate beingoverly absorbent, with no way to encapsulateor prevent the ink from spreading outward orpenetrating too far into the surface.Conversely, on non-porous materials likeacetate, plastic and metal, the inks readilypool up, run, and are easily smeared by boththe printer mechanism and subsequenthandling. In order to combat these problemsand achieve the desired richness of color anddetail, each droplet of ink somehow needs tobe kept distinct and held in place by thesubstrate. This is perhaps the major functionand benefit of applying an ink-jet receptivecoating. By controlling how the ink resideson the surface, the coating will greatly

Re invent ing the Future :GOLDEN Digital Grounds and Gel Topcoats w/UVLS

Examples of coated and uncoated ink-jetprints on GOLDEN Coarse Molding Pasteon cheesecloth.

InnovationWe’re delighted to share in this Just Paint

some innovative products and processes thathave kept us invigorated and challenged aswe start the New Year. We’re stepping withboth feet into the world of digital art. Thiswas not done without a good deal of livelydebate, understanding what we could trulycontribute to the field. Our new DigitalGrounds and Gel Topcoats allow for anunfettered flow of creativity from the landof the virtual to the real, with significantopportunities for artists to engage in aprocess that previously had been ruled bywhatever software or hardware wasavailable. We hope these products bringback the “hand of the artist” in very unique,profound ways.

We’re also introducing new “ExperimentalProducts” for 2008. One is a blast from thepast…modern Silverpoint Ground, whichprovides for similar feel and look of the“traditional” grounds in a much morepermanent form. We’ve also stepped off theedge with four new “Eccentric Gels”.There’s no other way to describe theseproducts - they do things that any alchemistwould die for.

Departing from new product for amoment, the GOLDEN factory hasundergone some wonderful changes overthe last year. We unveiled our recentaddition to manufacturing, our reverseosmosis water reclamation system, allowingus to significantly reduce our environmentalimpact and maintain our course in makingbetter uses of our natural resources. Andjust this past June, we opened our new2,000 sq. ft. gallery space, celebrating manyfriends who have over the years made thiscompany possible. Finally, we were allhonored when GOLDEN employeesrecently received the 2008 NY/NJ ESOPAssociation Chapter’s Company of the YearAward from the ESOP Association.Congratulations everyone!

Mark Golden


impact dot gain1 and color density. Inaddition, it provides some degree ofprotection of the inks from pollutants thatcan cause air fade2.

Ink-jet receptive coatings can roughly bedivided into two main groupings: porous andswellable. In porous coatings, the film ismade up of millions of solid particles thatquickly draw the ink into the voids betweenthem, coating the particles in the process andspreading the ink over a larger surface area.This allows the print to seemingly dryinstantly, facilitating their use in mostdesktop ink-jet printers, and tend to possessexcellent water resistance. On the downside,they provide less protection from airbornepollutants, which can have an adverse effecton the longevity of the prints if displayedwithout additional protection. Swellablecoatings, on the other hand, are made fromvarious water-sensitive polymers that swellwhen water-based inks come into contactwith their surface. The inks penetrate downinto the polymer coating, essentiallybecoming encapsulated and sealed off fromthe surrounding air. This, in turn, protectsthe ink from pollutants should the print notbe varnished, topcoated or mounted underglass. Finally, swellable coatings possessexcellent transparency, which typically allowsfor more vivid color and deeper blacks. Interms of disadvantages, however, they takeconsiderably longer to dry, making themoften unsuitable for desktop printers withoutfurther modifications.

GOLDEN Digital Grounds Up to now ink-jet receptive coatings have

not been readily available for the artist, norhave they been a part of a broader family ofart material offerings. With GOLDEN’sintroduction of three Digital Grounds,however, that has changed. Not only do thesegrounds have the potential to extend thelanguages of printmaking, photography andpainting in significant ways, but they liberatedigital imagery from the flatland prison ofpre-coated papers.

A Different Set of Archival ConcernsAs with any new art material or process,

questions about longer-term archival issuespress quickly to the fore. Artists naturallywant to know if something will last beforeusing it in artwork meant to survive well intothe future. But when innovative areas emergeit also takes time to formulate appropriatestandards of permanency and performancethrough recognized groups such as theASTM. Unfortunately that consensus hasnot yet happened and many questionsremain unanswered. Certainly, whencompared to acrylics and tested using thesame methods and standards developed forthe acrylic paint industry, these materials

would likely fall short and not be rated aspermanent. However, that is equally true ofall traditional photographic processes as wellas the newest digital ones, yet no one woulddeny the ongoing significance of either ofthese for professional artists. So, whilenothing would please us more than toprovide clear and solid answers to theseconcerns, the truth remains that currentlythere simply are no recognized methods forrating the performance of these materialsover a long period of time under a varied setof circumstances. That said, we stronglybelieve these represent the best that currenttechnologies can make available and areclearly a significant advance in the area ofapplied digital substrates. As we moveforward, we will continue to advocate forrecognized standards and to conduct ourown testing focused on understanding thelonger-term issues that might affect these andsimilar materials.

The Three GroundsDigital Ground White (Matte) is a porous,

opaque, white ground, for use on amultitude of surfaces. Like other porous ink-jet coatings, it allows prints to dry extremelyrapidly, making it the safest choice for usewith unmodified desktop printers that stillhave ‘pizza wheels’ or ejection rollers. It isalso an ideal starting point for the first-timeuser looking for the most trouble freeapplication on a wide range of materials.

Digital Ground Clear (Gloss) is a clearground with a gloss sheen for use on mostabsorbent surfaces, allowing the underlyingmaterial to show through. Similar to otherswellable ink-jet receptive coatings, prints drymuch more slowly, which can sometimespresent problems for desktop printers thathave ejection rollers or ‘pizza wheels’. Whilethere are rarely if any problems when used onvery porous surfaces like paper, we do notrecommend using relatively non-porous

substrates coated with the Digital GroundClear on a desktop printer unless the printer’s‘pizza wheels’ or ejection rollers have beenremoved. However, such modifications of yourprinter are at the users risk and may negativelyaffect printer performance, void printerwarranty, etc.

Digital Ground for Non-Porous Surfaces issimilar to the Clear described above butoptimized for increased adhesion andperformance on non-porous surfaces such asaluminum or plastic. We do not recommendusing the Digital Ground for Non-PorousSurfaces on a desktop printer unless the printer’s‘pizza wheels’ or ejection rollers have beenremoved. As before, such modifications of yourprinter are at the users risk and may negativelyaffect printer performance, void printerwarranty, etc.

SubstratesThe types of substrates that can be used

are nearly limitless. The main factors to noteare the substrate’s absorbency, thickness,fragility, and its size and shape. Each of thesecan affect its performance and impact whichground will perform best. Below are threeprinciple groups of materials with verygeneral use guidelines.

POROUS/ABSORBENT

This group encompasses a wide selectionthat includes watercolor, printmaking,Japanese rice and other specialty papers, aswell as canvas, various fabrics, and evenunusual items like wallpaper, leather, or

GOLDEN Digital Grounds allow you to turn justabout any relatively flat substrate into a printablesurface. Print on acrylic paint skins, metal, specialtypapers and more.

The two clear Digital Grounds provide “invisible”tooth allowing images to be printed on smooth,less absorbent surfaces, such as gel skins, thatwould normally repel ink.


unsealed wood veneer. Either Digital Ground(Clear) or the Digital Ground White (Matte)are good choices. Depending on theabsorbency and techniques being used, aminimum of two coats of a Digital Groundis recommended. In addition, some of thesematerials can occasionally benefit from beinginitially sealed with a clear acrylic medium,like GOLDEN GAC 100 or Gesso.

NON-POROUS/NON-ABSORBENT

This would include such materials asaluminum, copper, metal foil, marble, andplastics such as Mylar®, Lexan®, Plexiglas®,and acetate. Here the Digital Ground forNon-Porous Surfaces or Digital GroundWhite (Matte) can be used. Surfaces shouldbe thoroughly cleaned and free of oils.Usually a minimum of two coats of theDigital Ground will give the best results.

ACRYLIC SKINS AND PAINTED SURFACES

This group of materials spans the length ofone’s imagination. Any surface painted orcreated with acrylic paints, gels, pastes, ormediums, can then be printed on by firstcoating them with one of the three DigitalGrounds. This opens up the possibility ofnot just printing on top of acrylic paintings,but the ability to create prints on an array ofacrylic materials that can then be layered,collaged or further developed forincorporation in other pieces. For a clearcoating, either the Digital Ground Clear(Gloss) or Digital Ground for Non-PorousSurfaces can be used, with a minimum oftwo coats usually producing the best results.The Digital Ground White (Matte) is usefulwhen wanting an opaque, white layer toprint on top of.

GOLDEN Gel Topcoats w/UVLSAlong with the aforementioned Digital

Grounds, GOLDEN is also introducing twocompletely new Gel Topcoats w/UVLSavailable in both Gloss and Semi-Glosssheens. These gels can be used to add texture,create a clear barrier prior to working withpaint or other materials, modify sheen, andprovide a non-removable, water-basedtopcoat while also having the benefit of ultraviolet light filters and stabilizers forprotection against fading. In extensivetesting, a 10 mil film of the Gel Topcoat hasprovided a similar degree of UV protection asGOLDEN MSA Varnishes and was able topreserve even fugitive dye and pigment-basedinks after exposure to 1600 hrs. in a QUVWeatherometer, at 140° F, with ambienthumidity normally below 50%. Theaccumulative UV exposure correlates roughlyto the amount of UV one would expect from100+ years of typical indoor gallery-litconditions. In addition, the Gel Topcoats

will help lower overall water-sensitivity, limitair exposure, and provide increaseddurability. Overall, when used as a final layer,these gels should greatly increase thelongevity and lightfastness of whatever digitalmedia you are working with. However, if exhibiting your pieces without glass, westill strongly recommend applying one of our removable varnishes in addition to the Gel Topcoat to facilitate cleaning and future conservation.

Lastly, while initially developed as atopcoat for digital prints, the new GOLDENGel Topcoats are fully compatible with otherGOLDEN Gels, Mediums, and AcrylicColors and therefore, can be used whenevertheir attributes are needed. For example, theycan be used to create gel skins, image geltransfers, decoupage collage elements, extendpaints or increase their transparency, create awet layer to work into, or simply as a clearground to work on top of. Just keep in mindthat whenever mixing these gels with othermaterials, one is also lowering the degree ofprotection they can provide any underlyinglayers. In addition, maximum protection isonly afforded when the gel sits up on topof the layer it needs to protect. Fugitivematerials mixed into the gel will not fully benefit from its ability to provide UV protection.

Water-sensitivityWhenever working with digital prints,

including those made with our DigitalGrounds, it is critical to be aware of thepotential water-sensitivity of the variousmaterials being used. For example, both ourDigital Ground Clear (Gloss) and DigitalGround for Non-Porous Surfaces are watersensitive and can be easily re-activated withmoisture. Therefore, prior to working on topof these grounds with any water-basedmedia, including any of our Acrylic Colorsand Mediums, we strongly recommendsealing or ‘fixing’ the print with ArchivalVarnish (Gloss). Failure to do so can causethe inks to run or the image to blur. TheDigital Ground White (Matte), however,provides excellent water resistance andshould not present a problem once fully dry.As always, though, test for your application.

Please note:While our Gel Topcoats, if kept undiluted, canoften be applied directly on top of our DigitalGround Clear (Gloss) and Digital Ground forNon-Porous Surfaces without disturbing theprint, there are a lot of variables that canimpact this process: drying time, ink system,thickness of the ground and gel coatings, anddegree of surface agitation, to name a few.Because of that, it is essential to always test forone’s application using a test print beforeapplying to anything of importance.

Pizza Wheels, Pass-throughs, and Head Height

If, for even a moment, you thought wewere discussing the design of a local Italianrestaurant, it’s time to become familiar withwhatever printing equipment you plan touse. In general, wide-format printers madefor printing giclees will have little troublewith most of the techniques and substratesthese new materials can be used with. Eventhen, it’s important to be familiar with thevarious specs and adjustments that higher-end printers are capable of. For a largernumber of artists, the standard home desktopprinter, or perhaps some of the better photoprinters, will still be the primary equipmentthey work with and so it’s important toaddress some of the most basic issues to beaware of. This is especially critical if planningto work with thicker or non-absorbentsubstrates, where the inks are inherentlyslower drying.

PIZZA WHEELS

In most desktop printers one can usuallyfind rollers or ‘pizza wheels’ that come intocontact with the surface of the print as it isbeing ejected. If the ink is still wet, thesemechanisms will cause the image to smear ortracks to be seen running across the print.While the wheels can be fairly easilyremoved, and many sites on the Internet willprovide instructions for doing so, this willalso void any warranty one might have. Ifone chooses not to modify their printer, andto leave these wheels in place, then the safestand easiest solution is to limit themselves tothe Digital Ground White (Matte). Becausethe White (Matte) dries almost instantly thetracking of ink is rarely, if ever, a problem. Inaddition, the Digital Ground Clear (Gloss)and Digital Ground for Non-Porous Surfacescan also work but only when applied to veryabsorbent surfaces like paper.

PASS-THROUGHS

Most of the time, in order to work withcustom substrates, you will need to makesure your printer is able to load print mediavia a straight pass-through. This simplymeans the ability to ‘pass through’ materialsdirectly along a straight path. This iscommonly used when printing envelopes andother thicker products where a straight path


#12 Cotton Duck

2 CoatsGOLDEN Gesso

1 Coat GOLDEN Gesso2 Coats GOLDEN

Digital Ground White(Matte)

GOLDEN Fiber Paste

As Is 2 Coats GOLDENDigital Ground White

(Matte)

Aluminum

As Is 2 Coats GOLDENDigital Ground for

Non-Porous Surfaces

GOLDEN Absorbent Ground

As Is 2 Coats GOLDENDigital Ground White

(Matte)

Ink-jet Prints on Coated and Uncoated SurfacesAll of the above examples are taken from test samples used in recent application testing carried out by GOLDEN’s Technical Services Department.Printing was done using an EPSON 1520 ink-jet printer with standard EPSON ink cartridges. Digital Grounds were applied using a foam brush.The number of coats applied and the substrate used are noted. In the printer properties, paper selection was set to “360 dpi Ink-jet Paper” and printquality to “Normal”. For more information visit goldenpaints.com/mixmoremedia.


allows for better printing. Consult yourprinter’s documentation for additionalinformation.

HEAD HEIGHT

Head height refers to the clearancebetween the print head and the paper, whichin turn limits how thick one’s substrate canbe. Unfortunately, in most desktop printersthere is little one can do to adjust this; if onefinds they can, however, then setting it onthe highest clearance is usually best. In anycase, it is important to know what themaximum clearance is to avoid causing a jamor damage to the print head when workingwith thicker materials. This information isusually contained in the printer’sdocumentation or spec sheet, or consult the manufacturer.

The Proof is in the PrintingUltimately the story of the Digital

Grounds, and the possibilities they open up,is best told in pictures. On the facing pageare a series of images comparing prints onuncoated and coated surfaces. The substratesinclude #12 Cotton Duck Canvas, FiberPaste, Aluminum, Absorbent Ground, andFluid Titan Buff. As you will see, theuntreated surfaces display varying degrees ofloss in detail, color saturation and valuerange. At times the failure can be dramatic,especially on relatively non-absorbentsurfaces like the Clear Tar Gel, where the inkwill literally crawl and pool, rendering theimage unreadable. On naturally absorbentsurfaces like GOLDEN Absorbent Ground,the losses will seem more subtle and muted,

although the image will still appear sunken-in and lackluster.

All of the examples we show are takenfrom test samples used in recent applicationtesting carried out by GOLDEN’s TechnicalServices Department. Printing was doneusing an EPSON 1520 ink-jet printer withstandard EPSON ink cartridges. DigitalGrounds were applied using a foam brush.The number of coats applied and thesubstrate used are noted. In the printerproperties, paper selection was set to “360dpi Ink-jet Paper” and print quality to“Normal”. Obviously one’s results will differdepending on the specific printingequipment, ink system, printer settings, andtype of images.

Image TransfersOne immediate and obvious benefit from

the new Digital Grounds is the completeredefinition of the longtime process knownas Image Gel Transfers. This applicationrelied on coating a toner-based copy with anacrylic medium or gel, letting it dry thensoaking it in water to remove the paper.Because the image had to be toner-based,this severely limited the control and types ofimages an artist could use. Now, however,ink-jet images can be easily printed directlyonto any gel or paint ‘skin’ coated with oneof our Digital Grounds, greatly simplifyingthe process and expanding the effects onecan create. After printing, the skins can easilybe used as collage elements or as a startingpoint for additional layering. In addition, ifusing the Gel Topcoat w/UVLS to make theskin, and printing your image in reverse, one

can then place the skin image-side-down andget the full benefit of the UV protection ofthe gel as well as have a protective layer forthe image all in one step.

Advanced TechniquesBeyond using the Digital Grounds to coat

various substrates, there are many advancedtechniques that involve multiple layers ofprinting, painting, and the incorporation ofvarious other mediums and collage elementsinto the final piece. Digital Atelier® artistsKarin Schminke, Dorothy Simpson Krause,and Bonny Pierce Lhotka have played aninstrumental role in developing theseprocesses, and are recognized as beinginnovators in the use of alternative groundsfor digital printmaking. One can find manyof their techniques outlined in their book,Digital Art Studio3, and the GOLDENDigital Grounds can be easily adapted tomost of their processes. If you have specificquestions along those lines, simply give ourTechnical Support staff a call.

Final ProtectionLike all printmaking and photographic

processes, digital media remain vulnerable towater sensitivity, fading caused by UVexposure and airborne pollutants, surfaceabrasion, dirt, etc. Unless planning to frameand mount the piece behind glass, some formof final protection is strongly recommended.Without it, the print can be easily damagedand its longevity greatly shortened. Toaccomplish this, one has several choices.

Continued on Page10

GOLDEN Clear Tar Gel

As Is 2 Coats GOLDENDigital Ground for

Non-Porous Surfaces

GOLDEN Fluid Titan Buff

As Is 2 Coats GOLDENDigital Ground Clear

(Gloss)


By Ben Gavett

Water, nature’s universal solvent, is themost common and most vital compound onEarth. However, even though water coversthe majority of our planet’s surface, theincreasing scarcity of potable fresh water is ofgrowing concern in many regions of theworld. In addition to nourishment, manyother uses compete for its supply, includingthe manufacture of acrylic paint.

Water is the single most commoncomponent in the paint we make. Water inacrylic paints and mediums carries thepolymer, pigment and additives, maintainingthem in a useful state until application,whereupon it evaporates. Beyond our needfor water as a paint ingredient, we needabout a gallon of it to clean the productionequipment and tools used for each gallon ofpaint we manufacture. Ultimately, both thewater that evaporates from the paint duringdrying and that which we use for cleaningreturns to the ecosystem. It disallows us fromtaking for granted its supply or from beingapathetic to its future; to do so would beirresponsible. It is in this spirit that we longago began pursuit of a goal to constantlyimprove our practices relative to thepreservation and reuse of water in ourproducts and processes.

We have made a significant advancement,just this past summer, in our efforts toachieve greater recycling of our preciouswater resources. We installed a ReverseOsmosis (RO) filtering system that allows usto reuse over two-thirds of our cleaning watereach day. While not the endpoint of the zerodischarge future we envision, it is a giantinnovative step forward. These goals havebeen pursued over years, through research,

testing and financial support from theEnvironmental Services Unit of the New York State Department of EconomicDevelopment.

Our wastewater treatment process stillbegins with a primary step where the murkywash water is flocculated and filtered toremove solids, resulting in a sludgecomprised of acrylic, pigments, anddiatomaceous earth filter media. The filtratefrom this is remarkably clear, but is notclean. High levels of dissolved organicmolecules remain. These are the remnants ofthe complex array of raw materials needed to

produce acrylic paint, and includesurfactants, glycols, and preservatives; allinvisible but measurable in units ofBiological and Chemical Oxygen Demand(BOD/COD). After this primary filtration,the water looks clean enough to reuse forcleaning, but isn’t, because a significantamount of skin contact and inhalation ofwater mist is typical in washing the paint-making equipment. Instead, our practice hasbeen to send all of this water, via tankertruck, to the city treatment works 20 milesdistant, where the BOD/COD is eliminatedthrough aerobic and anaerobic bacterialdegradation.

Using reverse osmosis to further filter thewater allows us to concentrate the impuritiesand recover about 70 percent of the water forreuse, proportionately reducing the fuelneeded for transportation, as well as theresultant diesel exhaust, taking a moderatebite out of our carbon footprint. It alsodirectly decreases our groundwaterwithdrawals by the amount we are able toreuse due to this new filtration step.

Our current level of performance in thisarea has been achieved through a process ofinnovative problem solving. But unlikemaking a new product for delighting ourcustomer, the goal of this effort is torecognize the responsibility of everybusiness…of every person…to view theirimpact in a much larger context and to makea change. We realize that we still have manyopportunities ahead to achieve greaterenvironmental stewardship, but through asteady commitment, focus and innovationwe will continue to make a difference.

New Water Reclamation Process

Left to right: GOLDEN Resource Management Technician Tim Knapp; Commerce Chenango President andCEO Maureen Carpenter; Linda Jacobs, with the Environmental Services Unit of Empire State Develop-ment; and GOLDEN Facility Engineer Fran Reale discuss the benefits of the new Reverse Osmosis System.

Dedicating resources to environmental stewardship has been an important company focus since 1980.


HOW REVERSEOSMOSIS WORKS

A semi-permeable membrane, like themembrane of a cell wall or a bladder, isselective about what it allows to passthrough, and what it prevents frompassing. These membranes in generalpass water very easily because of its smallmolecular size; but also prevent manyother contaminants from passing bytrapping them. Water will typically bepresent on both sides of the membrane,with each side having a differentconcentration of dissolved minerals.Since the water in the less concentratedsolution seeks to dilute the moreconcentrated solution, water will passthrough the membrane from the lowerconcentration side to the greaterconcentration side. Eventually, osmoticpressure (seen in the diagram below asthe pressure created by the difference inwater levels) will counter the diffusionprocess exactly, and equilibrium forms.

The process of reverse osmosis forceswater with a greater concentration ofcontaminants (the source water) into atank containing water with an extremelylow concentration of contaminants (theprocessed water). High water pressureon the source side is used to “reverse”the natural osmotic process, with thesemi-permeable membrane stillpermitting the passage of water whilerejecting most of the othercontaminants. The specific processthrough which this occurs is called ionexclusion, in which a concentration ofions at the membrane surface form abarrier that allows other water moleculesto pass through while excluding othersubstances.

Copyright 2007 by the Water Quality Association – Reprinted with Permission

Event Celebrates 10 Years, HonorsFoundation Director’s Retirement &Raises Thousands for Endowment

On Saturday, October 6, 2007, the Sam& Adele Golden FoundationSM for the Artsheld its second Silent Art Auction Benefit atGolden Artist Colors, Inc. in New Berlin,N.Y. The auction featured artwork frommore than 135 of some of the mostacclaimed artists of our time, raising $62,700in proceeds to benefit the GoldenFoundation Endowment. The evening wasalso dedicated to celebrating the Foundation’sfirst 10 years and the retirement of itsDirector and longtime supporter of the arts,Lucy Tower Funke.

“We are thrilled with the outcome of theevent,” said Mark Golden, GoldenFoundation President and CEO of GoldenArtist Colors, Inc. “The outpouring ofsupport we received from the artistcommunity throughout the last year in orderto make this event possible has beenincredible. It is through our friends’unwavering support that has made reachingour Foundation goals possible.”

During the event, retired FoundationDirector, Lucy Tower Funke, recounted herinvolvement in the organization and itsimportance within the arts community. “As the Golden Foundation charters a newcourse, I am honored to have been part ofthe long history of Sam and Adele and theGolden family,” said Funke. “The GoldenFoundation has been blessed with thegenerous support of the artists who havedonated significant works of art to benefitthe endowment. Their gifts have helpedstrengthen the Golden Foundation’s purposeto become a meaningful resource for visualartists. Their personal investment has helpedto assure that the vision to establish an artist residency program will soon be morethan a dream.”

All of the donated artwork remains listedon the Golden Foundation Web site:www.goldenfoundation.org. View it byselecting the “Benefit Art Auction Gallery”tab at the bottom. Those pieces that havebeen sold are duly noted.

Participating Artists:Stephen Achimore – Giuseppe Albi – ValerieAllen – Dorothy Arnold – Lucy Baker –Walter Darby Bannard – Curt Barnes –Jackie Battenfield – Scott Bennett –Stephanie Bernheim – Garry Berteig –George Bethea – Randy Bloom – Patti Brady

– Mary Alice Braukman – Al Bremmer –Lamar Briggs – Dianne Bugash – HeatherBuggee – Kit Parker Cali – Anthony Caro –Judah Catalan – Edward Chaplin – DaleChihuly – Theresa Chong – Sonia Chusit –Davis Cone – Christine Cozen – CrisCristafaro – Sean J. Crosby – Bonnie Cutts– Jamie Dalglish – Tennant Glenn Davitian– Tony DeBlasi – Nina Deckert – PaulaDeLuccia – Sandra DeVisser – Vera Donefer– Henry Drexler – Ray Dunlap – JamesDwyer – Joey Fauerso – Louis Ferstadt –Stephen Flanagan – Adriana Gallego – KyleGallup – Phil Garrett – Lily Geltman – JonasGerard – Sam Gilliam – Steven Ginsburg –Judy Gittelsohn – Carl Gliko – John Griefen– Rainer Gross – Jamie Williams Grossman –Richard Harden – Edward Hettig – DianneHodack – George Hofmann – Joan Holben– Darryl Hughto – Bob Huot – Frank Hyder– Barbara Jackson – Herb Jackson – UlyssesJackson – Catherine Kehoe – Michael Kessler– Carol Kinne – Roy Kinzer – MichaelKnigin – Eydi Lampasona – RonnieLandfield – Ellen Lanyon – James Lecce –Roy Lerner – Corrine Loomis-Dietz –Sharon Louden – Jim Loveless – DavidMackenzie – Lisa Mackie – David Mann –Susan Manspeizer – Neil Marshall – SteveMcCallum – Bob Melzmuf – CreightonMichael – Marjorie Minkin – Tom Moran –Clarence Morgan – Juri Morioka – LucretiaMoroni – Mary Morrison – Nabil Nahas –Irene Neal – Elias Newman – KennethNoland – Judy North – Lauren Olitski –Graham Peacock – Gina Pierleoni – CarlPlansky – Larry Poons – Mark Raush –Lynda Ray – Tony Robbin – Merle Rosen –Susan Roth – Kikuo Saito – Peter Saul –Elinore Schnurr – Judith Schwab – YolandaSharpe – Bonell Silverman – Terry Slade –Sandi Stone – Teresa Stanley – KathleenStaples – Susanna Starr – Carol Sutton –Kate Timm – Mike Townsend – June Tyler –Reinhard Voigt – Ann Walsh – James Walsh– Chuck Webster – Frank Webster – JeraldWebster – Carolynne Whitefeather – MasonWilliams & Sheri Hoeger – Lori Wilson –Jamie Wyeth – Leigh Yardley – Phil Young –Charles Hossein Zenderoudi

Golden FoundationSilent Art Auction Benefitis a Tremendous Success


Five InnovativeNewExperimentalProductsBy Scott Bennett

What is an “Experimental Product”?

GOLDEN Experimental Products are aseries of limited-production, custommaterials made available to the professionalartist wishing to engage in experimentationand push the technical boundaries of theirwork with developmental materials.Although availability is limited, allGOLDEN Experimental Products havepassed the basic requirements for freeze/thawand shelf stability, permanency, adhesiontesting to standard products, and generalcompatibility with other GOLDEN brandproducts. We believe these products aresuitable for fine art use, however, we considerthem experimental because proof oflong-term performance, lot-to-lotconsistency, and reliable availability still need to be established. Therefore, as with all new materials, testing for your application is highly suggested prior to use in actual artwork.

These five new experimental products areinnovative in that they take paint andmedium characteristics and workingproperties that may have only been hinted atwith existing products, or have not been seenbefore as desirable, or even possible, and witha combination of newly found raw materialsand wizardry in the custom lab…well, ok, alot of trial and error and hard work…thengive them life as innovative products that willpush the boundaries of what is possible withacrylic paints and mediums, and in oneparticular case revive a very ancient markingand drawing medium.

This year we are introducing a newSilverpoint Ground and four new gels that wecould only call“Eccentric Gels” for their veryunusual rheologies, consistencies andhandling properties.

Silverpoint GroundThis ground is putting a new modern spin

on a traditional drawing technique usingvarious metal styli to mark a speciallyprepared surface.

The history of Silverpoint, also calledMetalpoint, dates back to before 1560 AD,when the first pencils, as we know them,were invented. The earliest use of metal styliwas used to record various business

transactions, and this is where silverpoint hasits origins. Initially, the marks were made onwax and clay tablets, then specially preparedanimal skins, and ultimately paper. Theground was often a mixture of burned bones,ash, chalk, and various other solids. Themost common binder was probably spittle.Metalpoint was in frequent use from the late14th to the 17th century, and was used bymany Renaissance artists.

This Silverpoint Ground is provided in avery fluid consistency for easy applicationand leveling. Not only is this ground easy toapply, but it provides for incredible accuracyof line using a very permanent, lightfastpigmentation and acrylic binder.Additionally, this ground will remain much more flexible over time thantraditional preparations.

The easiest way to get started is to dip agood varnish brush (a bristle brush can workas well) into the well-shaken SilverpointGround, and apply a thin coat to a piece ofhot press fine art grade paper. One will seebubbles and foam as it is brushed, whichwill eventually disappear as the product soaksinto the paper, allowing for a thin, even coat.Let it dry thoroughly and start to draw.

Easily make custom metal styli by takingalmost any piece of metal – copper, bronze,nickel, gold, silver, etc. (the harder the metal,the lighter the line, and remember thatmetals that tarnish will ultimately exhibitthat color; copper will turn greenish), andusing various metal working tools, such asgrinding wheels, files and sandpaper, shapethe stylus in various ways.

Silverpoint is still favored today for itspermanence (although different metals willleave marks that will change color as theytarnish, and at that point, will be stable), andunparalleled fineness of line and detail. It ismuch easier to hone a piece of metal into afine point compared to a piece of graphite orother drawing media.

There is quite a lot of interesting historyto mark making, writing and drawingutensils, and for more details, refer to thelinks below: http://silverpointweb.com/groundwork.htmlhttp://en.wikipedia.org/wiki/Silverpoint

Eccentric Gel Mediums(The Long and the Short of it)

What can we say about these gels otherthan you just have to try them? Tounderstand some of their properties we needto begin with some definitions of terms usedin the text (that may be unfamiliar):

Rheology - The study of the deformation andflow of matter under the influence of anapplied stress. The terms “long” and “short”are used to describe two ends of a spectrumof rheologies. For example, water is short andhoney is long.

Dilatant - Describes a material where theviscosity increases with the rate of shear. Adilatant effect can be most commonly seenwith a mixture of cornstarch and water(sometimes called “oobleck”), which acts incounter-intuitive ways when struck orthrown against a surface.

Thixotropic - Describes a material whichundergoes a reduction in viscosity whenshaken, stirred or otherwise mechanically

Top and right:Application of SilverpointGround on hot press fine art paper. Bubblesand foam will disappear as the ground soaksinto the paper.

Above: Shape a metal stylus, creating a custom tool for unparalleled fineness of line and detail.

movement it will tend to thicken somewhatand break apart. Stirring it will cause thisthickening (Dilatant) effect, and pullingsome out very quickly with a palette knifewill cause it to “break” in a way reminiscentof Silly Putty, however the viscosity of thisgel is much thinner, somewhat comparableto Soft Gel. When it exhibits this “short” orDilatant characteristic, there will be, for ashort time, an actual jagged looking breakpattern to the gel. This begins to soften andlevel out very quickly and eventually willcompletely disappear. At the same time, it isstill possible, with slow movements, to makevery long skeins of gel if the tool being usedis held close to the surface. There is a more“gelatinous” feel to this gel compared toClear Tar Gel or Self-Leveling Clear Gel.

Dilatant Gel The multiple viscosity properties found in

both the Long/Short Gel and Dilatant Gelsuggest some very interesting techniques,where a Gel and paint blend could be movedover a surface, using the thicker viscosity thatresults from this action, and then allowing itto “melt” into itself, creating surface andcolor patterns not possible with a singlerheology product. This gel is a somewhatthicker and more dilatant version of theLong/Short Gel. The dilatant quality willbecome quickly apparent as soon as one dipsa palette knife or other tool into the gel andbegins moving it around. The resistanceincreases and the product thickens as it is

disturbed and which readily recovers theoriginal condition upon standing.

Now that we’ve given a number ofwonderful new terms, let’s describe theworking and handling properties of the gels,rather than specific techniques. However, indoing so, various effects, techniques andpotential uses may become apparent. Thegels have several things in common.

Though very different, they are all self-leveling and pourable, so ultimately surfaceswill tend to be smooth and tool markssoftened. All will dry with a range of glosssurface sheens. A number of othercharacteristics distinguish them from oneanother. The gels are listed in specific orderstarting with the Long Strand (Spider Web)Gel (yes, that’s right) and ending with theSlow Leveling Gel. These two are at oppositeends of the spectrum in terms of rheology.One is very long and the other very short.The remaining two gels are more closelyrelated, have unique combinations of longand short rheologies, and therefore are in themiddle of the spectrum. Another thing incommon, that will have to play a part in anytechnique developed with these newproducts, is that with at least three out of thefour gels, the speed in handling them is amajor factor with getting them to manifesttheir multiple working characteristics.

Long Strand (Spider Web) GelThis gel medium is closely related to Clear

Tar Gel in terms of its long rheology,


however it is much longer and stickier, andcan produce longer and finer strands that canbe manipulated and used to “draw” bydrizzling with quick movements. If one triesto move the Clear Tar Gel quickly it willtend to break apart, but the Long Strand Gelwill keep its long strands and seems to getthinner (thixotropic) the faster it moves. It iswhiter and more opaque looking ascompared to Clear Tar Gel, and does not dryas clear. A good method for making lots ofvery fine strands of the gel is to have a smallquantity of the gel on a palette surface and tobegin dipping the flat underside of a paletteknife into the wet gel using a quick up anddown motion, while at the same timemoving one’s arm forward and backward,keeping one’s hand low and close to thesurface. If a painting surface is placed next tothe palette, one can move over it directly asthis motion is performed, causing the gelstrands to fall on the surface. The faster onemoves, the thinner the lines, and at a certainpoint they become like spider web silk.When freshly dried, the film will be gummy,tacky and delicate, but within several daysbecomes much more cohesive and less tacky.

Long/Short GelAt first, this gel medium appears very

similar to our Self-Leveling Clear Gel orClear Tar Gel, especially when pouring itslowly out of a container, or slowly pullingsome out with a palette knife. Very quicklyone will notice that with any quick

Long Strand (Spider Web) Gel Long/Short Gel Dilatant Gel


moved, yet just as quickly, softens and levelsback out when left alone. The same qualitiesdescribed with the Long/Short Gel will bemore extreme with this gel. While workingthe gel with either a brush or a palette knife,it will appear to coagulate and the resultingtextures will tend to be rough, but as soon asit is left alone, it will begin to soften and levelout, as if it is melting.

Slow Leveling Gel This gel seems the most like Soft Gel, as

compared to all the others, except that it has

more leveling properties and a very shortrheology that is immediately apparent whenscooping some out of a container. Thisparticular short rheology does not show itselfin the same way as in the two former gels, inthat it does not “break” in the Silly Puttyfashion. When first applied or handled onewill see marks which will quickly appear to“melt” away. Ultimately, there will only befaint reminders of any painterly marks andthe gel will have the appearance of meltedsoft ice cream. It is reminiscent, inconsistency, of the type of yogurt that has

gelatin added, and is quite opposite from theLong Strand Gel.

If three separate batches of this gel arecolored with some Fluid Acrylic and appliedone on top of another, the three colors willmelt into one another and a low domed massof paint will remain that has an even, gentlycurved surface with very sharp separationlines between the three colors. When mixedwith some Heavy Body paint and appliedwith a brush or palette knife, the mixture willdry with a wonderful surface and appearancereminiscent of melted wax.

Slow Leveling Gel

1600 Hours UV Exposure Unprotected 1600 Hours UV Exposure Gel Topcoat w/UVLS

Continued from Page 5

GOLDEN Gel TopcoatsWhether used as part of a final layer in a

piece, or applied solely for protection at theend, the Gel Topcoats will providesubstantial UV protection while lowering therisk of water and chemical sensitivity as wellas direct exposure to environmentalelements. However, because they are water-based, care must be taken when applyingthem over any water-sensitive materials orsubstrates, including those coated with theDigital Ground Clear (Gloss) or DigitalGround for Non-Porous Surfaces. Oneshould always test for their application and ifany blurring or lifting of color occurs thentake steps to initially seal the surface witheither GOLDEN Archival or MSA Varnish.Also, please note that pieces coated with theGel Topcoat will remain susceptible to dirtcollection over time, not to mention surfacedamage from handling or shipping. For bestpractice and to address longer-term concernsof cleaning and conservation, we would stillrecommend applying one of our removablevarnishes as a final layer.

All of GOLDEN’s varnishes will provideUV protection and lower water sensitivity,along with the advantage of being removablefor cleaning and conservation purposes. Asmentioned above, they can be used in

conjunction with the Gel Topcoats toprovide additional protection. If used inplace of the Topcoats, however, it is best tofirst apply a non-removable isolation coatwhenever possible. If applying a varnishdirectly to the print, we recommend startingwith Gloss to seal the surface then switchingto whatever sheen one desires.

Please visit the Mix More MediaTM sectionof our site for additional information aboutthe new GOLDEN Digital Grounds and Gel Topcoats w/UVLS. There you will findprinting tips, application sheets and

additional resources for reference. Look forthe new Digital Grounds and Gel Topcoatsstarting March 2008.

goldenpaints.com/mixmoremedia1 ‘Dot gain’ is a printing term referring to theincrease in the size of a dot of ink when printed.2 ‘Air fade’ refers to the fading of a paint due toexposure to ozone and other airborne pollutants.3 Schminke, Karin, Dorothy Simpson Krause,Bonny Pierce Lhotka, Digital Art Studio: Techniquesfor Combining Inkjet Printing with Traditional ArtMaterials, Watson-Guptill, 2004

1600 Hour Accelerated Lightfastness Test* on Ink-jet Prints*Exposure of 1600 hours is equal to more than 100 years of typical gallery-lit conditions.Samples were printed on EPSON Stylus® Photo R2400 printer, UltraChromeTM K3 Inks

and Ultra Premium Presentation Matte Paper.


Ever found yourself wanting to walk up toa display of GOLDEN paint and just startsqueezing, drizzling and scooping paint outof each and every container you could getyour hands on? I bet fighting that urge tookall the strength you had, didn’t it? It’s like akid in a candy store — you want to sink yourteeth (your brush in this case) into one ofeach kind you see. Your mind is spinning100 mph with ideas; if only you could justget a chance to spread it, pour it, trowel it,and layer it — until your heart was content.If only you had someone to share your ideaswith while your creative juices were flowing.

Well, up at our facility in Columbus, NewYork, we’ve created our own mix of ice creamshop and western saloon with paint insteadof sundaes or booze with the new GOLDENPaint Bar. After having robbed BarbaraGolden’s antique collection of some less than

prized furniture, we assembled an eclecticassortment of things strange and new to playwith at this one-of-a-kind bar!

Golden Artist Colors, Inc. has alwayswelcomed and embraced the opportunity towork intimately with artists — since thebeginning it’s been about having aconversation. This dialogue, which beganover 27 years ago, created the foundation bywhich the company was built and continuesto inspire us each and every day. We trulyvalue the close, personal relationships thathave grown from these conversations andtherefore, are delighted to share with you ournew Paint Bar. It is one more way tocollaborate with some of the most amazingartists of our times.

The Paint Bar is all about brainstorming,pushing paint around and having fun! Thisunique, innovative space gives artists the

opportunity to explore our products andspend time talking with someone from ourTechnical Support Department. We’reconfident its eye-catching design will inspirecreativity and experimentation, making thepossibilities endless. So, we welcome you totake some time out from the daily grind, visitthe GOLDEN Paint Bar and let theconversation begin!

“I think this bar will continue to expandand eventually become a collage of sorts of allthe wonderful collaborations we’ve had overthe years,” states Mark Golden, co-designerwith Bill Berthel of the bar. The Paint Bar isopen M-F, 8:30 am – 5:00 pm EST. If youare interested in scheduling time in this one-of-a-kind setting, please contact Jodi O’Dellat [email protected].

A Place for Conversation

©2008 Golden Artist Colors, Inc. All rights reserved. The contents of this publication may notbe reproduced either in whole, or in part, without the consent of Golden Artist Colors, Inc.

13618

Issue 18January 2008

Articles: Sarah Sands, Ben Gavett, Scott Bennett, Mark Golden and Jodi O’Dell

Editors: Mark Golden, Jim Hayes, Ben Gavett,Jodi O’Dell

Publisher:Golden Artist Colors, Inc.188 Bell Road, New Berlin, NY 13411-9527607-847-6154 800-959-6543Fax: 607-847-6767Email: [email protected]: goldenpaints.com

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U.S. Postage

PAIDIthaca, NY

Permit #780

JUST PAINTGolden Artist Colors, Inc.188 Bell RoadNew Berlin, NY 13411-9527 USA

Return Service RequestedReinventing the Future:GOLDEN Digital Grounds and

Gel Topcoats w/UVLS

New Water Reclamation Process

Sam & Adele Golden FoundationSM

for the Arts Silent Auction Results

Five Innovative New

Experimental Products

A Place for Conversation

goldenpaints.com

INSIDE

The unique rheology in GOLDEN Experimental Long Strand (Spider Web) Gel allows youto create very fine, thin strands, which can be manipulated and used to “draw” by drizzlingit with very quick movements. See page 9.

published by golden artist colors, inc. / issue 18 ... · together of seemingly divergent media in...

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