Documente Academic
Documente Profesional
Documente Cultură
/ Issue 26
1 “Draw-down” refers to a test card where a pre-mixed paint film of a specific thickness – GOLDEN uses .01” - is applied for the purposes of examining color consistency,
opacity and other qualities. Detailed color information at goldenpaints.com includes a scan of a draw-down.
2 Gamut used here in reference to color indicates the extent of the range, either all that can be represented as in printing, or all that can be perceived, as in the visible spectrum.
Issue 26 page 4 ©2012 Golden Artist Colors, Inc.
to representing the full spectrum of So, we set out to explore exactly and yellow for *b. The numbers for *a
colors available to artists. what the paints would look like by and *b run from negative 128 to 127 –
mixing each color precisely into five with magenta and blue at the negative
With CMYK the “subtleties of tints and four glazes, and then drawing end of the spectrum, green and yellow
color” are bound to be lost. Orange, them out onto test cards. The next step at the positive end of the spectrum.
most greens and deep blues suffer was to translate colors into data using
the most because these colors fall a spectrophotometer, a scientifically While this all may seem academic,
between the three primary colors calibrated digital device that measured the reason for addressing color
(cyan, magenta and yellow) into each color as it appeared over white systems in the effort to create a Tint
areas of compromise and mingling and black. Numerous color indexes & Glaze Poster was very practical:
that never satisfies the true nature of were applied to the readings, like RGB None of the software available to
these colors. For this reason a more (broadly, how color is reported on us for creating the poster had a six-
advanced “hexachrome”3 color system a computer, mobile or TV screen), color process capability. The colors
inserts an orange between yellow and sRGB, and L*a*b. created in our lab would have to pass
magenta and a green between cyan through software that was technically
and yellow. You might refer to this L*a*b readings are considered incapable of describing them, or the
as “CMOYGK” color, or more easily the most effective standard because final six-color output. The computer
remember it as SIX color process. they are based on how the human monitors used for manipulating colors
eye works, rather than how color is throughout this process have a smaller
This six-color process solves some projected as with RGB or reflected gamut than that which is possible
of the problems normally experienced CMYK. Developed in 1931 by from six-color process printing. The
when reproducing the orange and the International Commission on one bright spot among the technical
green spectrum in print. Even a casual Illumination [CIE], “L” spectrum challenges was the L*a*b capability of
observer would notice a significant indicates the brightness value from our layout software.
difference in a color represented by 0-100, with 0 being totally dark
CMYK compared to one represented (black) and 100 being totally bright To get an idea of what you can
in six colors. While typically 50% (white). “a” and “b” are a bit more and can’t see with each system, please
more expensive to print than CMYK, complex as they represent curves in refer to the figure below. This graphic
we hoped this six-color process would perception between magenta and green representation of the visible spectrum
deliver an acceptable representation of for *a, and perception between blue shows the boundaries for the color
the colors coming out of the draw-
down research.
y CIE 1931 Chromaticity Diagram
Unfortunately the challenge of
faithfully representing colors from
Adobe RGB 98
paint on a printed page is not solved
with a single technology. The process 520
of developing the Tint & Glaze Poster 0.8 sRGB
exposed some gaps in the perception
540
of color and how it is reported on
computer screens and in print. 500
Lori Wilson
more closely connected to your arts
glass artist came and started sculpting background and supporting our
applications group. Tell me about that
Up Close
with glass on a punty rod. Instead of
blowing air, it’s an additive process, change and how meaningful that was
which really got me excited. for you.
Mark: After college you continued art Lori: In ‘94 when I first started, I was
Mark Golden: Lori, when did you in the Gallery while Diane Rich was
studies.
know you wanted to be an artist? reviewing some paint techniques.
Lori: Yes. While I was working, I I sat down to look at the applications
Lori Wilson: I was 4. I was at home
got accepted to the University of with her and told her she had the
watching my brother. He was helping
Manchester for a master’s degree coolest job.
me in a coloring book, and I knew I
in the history of art, focusing on glass,
wanted to color as good as he did. At that time, I had no idea that the
but I needed to work for a little bit
Mark: How was that nurtured in and won a Rotary Ambassadorial decorative painting industry existed.
school? You’ve grown up right here in Scholarship, then completed my one- More college students, particularly
the New Berlin area, right? year master’s program. painting students, should be aware of
privately owned painting businesses
Lori: Yes. From seventh grade forward, Mark: Your career at GOLDEN and scenic shops as places they could
I got some special attention and a lot started pretty early. Could you describe be creatively employed and maintain
of encouragement. My high school how it began? their own studio practices. There are
art teacher, Carl Houghton, went many more options than getting your
Lori: I was hired part-time in 1994 to
to Syracuse University and started MFA and teaching. I’ve interviewed
paint color charts and fill containers.
teaching me about composition and painters from the heads of major scenic
I couldn’t believe that it was so much
color theory in eighth grade. He shops, to a third generation European
fun working in a factory, though I
introduced me to encaustics, oil paint decorative craftsmen, to exhibiting
really was terrible at painting color
and then of course we had acrylic as fine artists making their livings in
charts. I couldn’t get into the swing
Golden Artist Colors was just up the decorative painting in NYC — it’s
fast enough, so I was left in filling,
road and so we would get Seconds all the same creative challenge. It’s
which was fine. In the fall of ’95, I was
paint! The only acrylic I’ve ever problem solving with materials or
hired full-time. I left the following
painted with is GOLDEN. lighting (a room) to create some form
summer to complete my master’s and
Mark: When I see your work and how when I came back, several managers of expression.
very sophisticated it is, it really shows gave me the choice of working in As an Applications Specialist, I’ve
you’ve had great mentors. I know your their departments. gained the opportunity to work with
primary medium for many years has the technical group here. Some of my
Mark: While you were working at
been glass. What was your attraction? favorite time each week is spent at our
GOLDEN in various capacities, were
Lori: I was a junior in college and you able to maintain your art career weekly Technical Forum meeting. It’s
my best friend needed a glassblowing and/or studies? inspiring to participate and watch in
partner so I agreed to take the class. I amazement, the brain power around
Lori: At the beginning, yes, I was only the table and how much energy we put
didn’t enjoy it the first couple of weeks
part-time here and working two other into looking at paint on a level that
because all we tried to do, was blow
part-time jobs so I had time in the I think probably most of the world
a bubble and turn that into a cup.
glass studio that year. After I got hired doesn’t even realize.
It was so frustrating. Soon a visiting
full-time I didn’t maintain it as well as
Issue 26 page 12 ©2012 Golden Artist Colors, Inc.
Mark: It is an inspiring group. Lori, Lori: Yes. That came after working and it’s really fun. Obviously, they’re
share a bit about the projects you’ve with Pierre and it was because of my interested people at the age of 12 to
been involved with at GOLDEN since experience with him that I saw how give up a Saturday to get on a bus and
joining the Applications group. to set up an onsite studio. I replicated go to a local college and meet with
Lori: One of my favorite weeks of that in China. When I was in Shanghai these strangers. I think if I had that
the year is when I get to work on the I worked with a company to create a opportunity when I was 12, I would
Color Trends presentation. It’s the decorative painting market in China have made different choices.
“Olympics of the Mind” in paint. because they don’t have it. What they Mark: Lori, you’ve also made it an
It’s thinking beyond yourself, your have in their tradition is very, very objective of yours to conduct classes
knowledge of the materials, and different than Western culture. and workshops for staff to understand
discovering what future capabilities The Chinese are looking to the West some of the things that excite you
may be possible. for inspiration. about decorative painting materials.
Mark: It’s an exhausting time for you. They want it now, but need Can you talk about that?
training, so we started with color Lori: I think it’s important for the rest
Lori: It is. I have to close the doors, mixing, understanding the tools and
cocoon myself. I need to get lost in of the staff, and they’ve said this, to
basic materials and then moved into know what these materials they make
thought without interruption. more technical questions about higher – actually do. I’ve organized hands-
Mark: One of the things you’ve done quality materials. They actually got a on events so people could touch the
in being able to support artists calling job while I was there and needed me paint. Some of the most enjoyable
up for either fine arts or decorative arts, to stay an extra week. It was great! conversations were with paint makers.
is you’ve actually gone out into the My career has built itself one block of They had never seen Crackle Paste
field and provided assistance or worked experience after another. cracking – they only see it in the wet
alongside some of these incredible Mark: I know that folks who call you state. They never understood why it’s
artists. Can you share some of those? are so appreciative that not only do so cool and they shared with me how
Lori: Those experiences are when I you have technical knowledge of the it’s different from the formula side. It
also appreciate what I’ve gained and materials, but also real experience was a great exchange of information.
what GOLDEN is about, putting into working professionally with the Mark: Lori, you’ve almost always been
practice how we help painters. Each materials. I also didn’t want to miss an teaching art in various capacities.
of those projects was career and life opportunity to talk about your support You support professional artists and
altering, for example, being on Pierre of the community. I want to give decorative artists. You’re an application
Finkelstein’s team. you a chance to talk about your other specialist now for GOLDEN, but
passion, about giving back. beyond teaching art, you’ve also
Mark: Where was that?
Lori: There are many, many great personally made it your goal to teach
Lori: Pierre had a job in London, organizations from Relay for Life to about the work environment. In 2009,
England painting a palace down the the American Red Cross. I think I have you were selected as ESOP Employee
street from Kensington Palace. It connected most significantly with the Owner of the Year for all of New York
sounds glamorous, but it was painter’s United Way. It’s a great organization and Pennsylvania.
boot camp. It was like a Marine Corps that supports a broad spectrum of
class for decorative painters, and for You’ve also been involved in
individuals who are our neighbors. many community groups, serving
me, it was another production job.
We met at 7:15 am and were on the Mark: Lori, you’ve also been involved on boards and participating in
job at 7:30. You had a ten-minute in seminars instructing both college volunteer functions both here, in
break and a half-hour lunch, and students and young women looking the local community and for the arts
then you worked until you had to to careers in the future, Can you talk community. Just reading about these
stop. We painted and prepped and about some of those initiatives that activities, I’m exhausted, but for you it
sanded and taped and cleaned and you’ve been a part of? all seems to be incredibly invigorating.
repaired. The third wealthiest family Lori: I participated in an event, With all that you are doing, knowing
in the world had just purchased it. Women Helping Girls Make that your art career has had to be put
Pierre designed some techniques like Decisions, where local schools offer to the side, how do all these things
dragging (striae) and French patina, 12-year-olds the chance to visit seem to be so uplifting to you?
and it was actually part of the project someone locally in a career they’re Lori: I think it’s about energy and I get
where we were finalizing formulas for interested in (bankers, artists, vets) to charged by it. It’s doing good things.
our new Proceed line. It was on-the- participate in a hands-on activity and I get to interact with people in really
job application testing. talk about the different areas that they fun ways, gaining knowledge and
Mark: So a lot of that has been will have to study. experience. I have a creative career and
incredibly meaningful in your ability Math is always emphasized. I’ve I get to have my own studio practice.
to then support other artists in the given exercises to demonstrate a day in Everything feeds into everything else,
field. One of these jobs had you going the life of Tech Support at GOLDEN I feel blessed!
to China.
Issue 26 page 13 ©2012 Golden Artist Colors, Inc.
Experimental
paint, stone, aluminum, and Plexiglas.
Once dry, Gold Leaf Size has a very
low surface tack that readily accepts
Products all forms of metal leaf. GOLDEN
Gold Leaf Size can be applied over
a large area for traditional gilding
By Ulysses Jackson effects or with a small brush to create
As part of the Custom Lab’s minute details or patterns. Since metal
continued efforts to increase leaf only adheres to the area which
experimentation with new materials, is sized, it allows the artist a great
we are pleased to share with you some deal of control for where the leaf is
of the products we have recently applied. Another unique feature of
developed. As these are experimental this product is that it is not time or
products, availability may require humidity sensitive and has had leaf
longer lead times. As part of the applied weeks after the initial size
GOLDEN Technical Support Services application. If an area is sized then
team, I have reviewed these new partially painted over with a medium
products to give visual descriptions and such as GOLDEN Polymer Medium,
starting point suggestions for possible once dry, only the unpainted Gold
uses. However, keep in mind these Carvable Paste - Designed for use on Leaf Size would still accept gilding; a
are only starting points, as we usually rigid supports, it offers the ability to feature that could assist in creation of
learn from artists that the products build up a low relief textural surface more elaborate techniques or if an area
have many more uses than we initially using a palette knife application, and of a piece gets accidentally sized.
envision. The GOLDEN Technical dries to a slightly rough cement-like
Support team look forward to your surface. Once dry, this product can be
feedback regarding these materials. readily carved with any sharp object
(wood carving or linoleum tools) to
develop a wide array of effects. It holds
fine detail and scratch marks with a
crisp edge, making it suitable for chip
carving or low bas-relief. Being a light
grey color, Carvable Paste is readily
tintable and due to absorbent qualities,
also accepts paint and stains easily.
13626
Golden Artist Colors, Inc. Golden Artist Colors is an Employee Owned Company.
© 2012 Golden Artist Colors, Inc. All rights reserved. The contents of this publication may not be reproduced either in whole, or in part, without the consent of
WilliamsburgOils.com
Web: goldenpaints.com
Email: goldenart@goldenpaints.com
Fax: 607-847-6767
607-847-6154 800-959-6543
188 Bell Road, New Berlin, NY 13411-3616
Golden Artist Colors, Inc. Publisher:
Jodi O’Dell Editor:
Ulysses Jackson, Sarah Sands, Jodi O’Dell
Mark Golden, Patti Brady, Christopher Farrell, Amy McKinnon, Articles:
January 2012 Issue 26