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Golden Acrylics (Read 3620 times)
Nov 2nd, 2006 at 11:27am

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Color is Everything!
Makawao,  Maui, USA, HI

Posts: 1196
Don Jusko (2009)
Lahaina Giclee
840 Wainee St. E-8

To: Golden Acrylics

Dear Sir,

I am looking for a champion paint company making a transparent yellow. This new Quinacridone/Nickel Azo Gold may be the acrylic of choice. If it is I will promote it.

<from your page>

First the bad news: We have been forced to discontinue our most venerable color, a color we introduced to the marketplace, and one that soon became our signature color – Quinacridone Gold. The pigment manufacturer will no longer support the required pigment, and despite an exhaustive search, there is simply no other source to be found.

Now the good news: Through a vigilant effort, the Golden Lab, led by fearless director Jim Hayes, has created a well-matched solution to the original Quinacridone Gold. By blending a Quinacridone Gold Red Shade with Nickel Azo, the new blend called Quinacridone/Nickel Azo Gold achieves the wonderful characteristics of the original Quinacridone Gold, including a warm yellow-gold quality in the undertone as well as a tight tint.. Golden Artist Colors, Inc. is excited about the new formula and we hope you too will delight in its rich qualities. Watch for Quinacridone/Nickel Azo Gold in stores later this fall. Samples of the new color are available upon request through Customer Service.
For questions or assistance on specific projects, please contact Tech Support at techsupport@goldenpaints.com or 800-959-6543 / 607-847-6154 Mon. – Fri. 8:30 a.m. - 5:00 p.m. EST.

<from my page>

1911, COLOR, Azo Yellow, the second coal tar dye was a failure, it turned brown, but not before the big ban. England, under a puritan guise, banned the best transparent dual-tone Indian Yellow. Kicking the pins out from under the Realist and disgracing the name. So much for the worst year in color history.

The problems have always been with pigment color transparencies, the scaling dark of yellow and cyan, and the fact that Magenta could not be distinguished in the projected prism light spectrum.

Colored crystals in minerals and elements prove the theory that the triadic pigment and light spectrum are the same, both darken or lighten to a neutral center color by mixing the complementary pigments. That Yellow goes to Brown, a combination possible in both pigment and light palettes. However, warm brown and cool brown must be distinguished for the pigment artist. Yellow darkens warm or cool, to either red's dark or green's dark for the artist. In the light color wheel there is no distinction and the color goes to black by decreasing the intensity, this perceptually takes Yellow to the Green side instead of the artists warm side. In pigment, warm Brown is dark yellow, like the orpiment crystal, mix it with Ultramarine Blue to reach a neutral dark. In light, Yellow and Ultramarine Blue mix to white. This should prove that the two color wheels are the same. Another change is necessary to bring the color Cyan into line for the artist, cyan darkens through Ult. Blue. This keeps it cool by adding magenta instead of the green-gray-black achieved by subtracting light. It's like the sky and the Iceland Spar crystal. 

The golden Indian Yellow would make reds, the brown Indian Yellow would make the rest of the colors and is often used for glazes, it also makes a decent red.

My original "Real Color Wheel" 1996, compensates the color change for the pure rim color Yellow scaling down to Brown, (Raw/Burnt Umber). And from Yellow-green to Brown, (Raw Green Umber) on the cool side. Yellow darkens with Red's dark instead of Black or dark Green. Twelve colors in the thirty six color wheel have yellow in them. How yellow and cyan get dark is important to the artist.

One more thing.. I hope this post isn't too long.
About your Fluid Indian Yellow Hue. Is it the same pigments as the Quinacridone/Nickel Azo Gold? If not Is it transparent or translucent? A. Closer to transparent.


from Golden

The Fluid Acrylic line extension will feature the following six colors and will be available in all six Fluid Acrylic sizes: 1 oz., 4 oz., 8 oz., 16 oz., 32 oz., and 128 oz.
* Fluid Naples Yellow Hue
* Fluid Manganese Blue Hue
* Fluid Indian Yellow Hue
* Fluid Prussian Blue Hue
* Fluid Alizarin Crimson Hue
* Fluid Sap Green Hue

A tremendous amount of research was conducted in order to ensure GOLDEN Historical Fluid Colors shared the working properties of their predecessors.  The professional expertise of art historians, museum curators and its own technicians was utilized during this process.  Considerations for masstone, undertone and tint were included in the matching process in an attempt to match the overall color qualities as much as possible.  As a result, contemporary artists can now explore the profoundly distinct qualities of historically significant colors while enjoying the advantages brought about by modern chemistry: lightfastness, safe use and permanence.

About Golden Artist Colors, Inc.
Founded in 1980 by the Golden family, Golden Artist Colors, Inc. began producing acrylic paint as a result of conversations with artists who needed new materials to help them explore more innovative ways of working with acrylic. The products that Sam Golden developed as the result of collaborations with these painters became his inspiration and central motif that he carried forward in the creation of GOLDEN. GOLDEN takes pride in the fact that its Custom Lab is the only facility of its kind, dedicated to designing products to the specifications of individual artists. Developing paints to meet exacting criteria is the specialty of GOLDEN’s custom operations.

For more information about Golden Artist Colors, Inc., which is an ESOP company, and its comprehensive product offering, call 1-800-959-6543 or visit the company’s Web site at www.goldenpaints.com.  Mark Golden, CEO of Golden Artist Colors, can be reached through his blog, Mark Golden on Paint at www.goldenpaints.com/blog.  The purpose of his blog is to engage the citizens of the arts community - whether they are artists, manufacturers, retailers, collectors or other interested parties - on a wide variety of arts-related topics such as the evolution and use of the acrylic paint medium, industry issues, artist resources, studio safety, and other personal reflections.

to Golden

Thank you for your samples and inclosed chip chart, sent 6-6-6.

I'm looking forward to your transparent ultramarine blue sample. It seems your Prussian Blue Hue is closer to ultramarine blue transparent than to cyan which the original Prussian Blue (Blue Boy) was used as. It was the cleanest artificial cyan up to that time.

Your Indian Yellow Golden compound is excellent in my opinion.
Indian Yellow Golden Hue, Arylide Yellow PY7, Nickel Complex Azo PY150 or PY153 and Quinacridone PR206, Transparent

Similar hue to Old Holland's copy of the original Indian yellow Oil Paint. Their legacy, our good fortune.
Indian Yellow-Orange Lake Extra, Dioxine Nickel Complex, Isoindoline, PY153, PR260, Transparent.

Both are excellent and so is your cool brown/side Indian yellow hue called Nickel Azo Yellow PY150.

That the smear/streak of your Indian Yellow Hue does not show the Cad yellow hue tint that is possible with this very important dual-toned color. A stroke of a slightly wet brush over part of the streak will smear and bleed the dual-toned tint of cadmium yellow light. this isn't possible with just a smear.

This sample color Green Gold is not the original green/gold color.
Green Gold, Nickel Azo Yellow PY150, Pthalo Green PG36, Hansa Yellow Lt. PY3
Does not have advantages of having a dual-toned medium dark green to a cool yellow, that makes it a useful color. Like these.
Indian Yellow-Green Extra, Dioxine Nickel Complex, Methin Copper Complex, PY153, PY129, Transparent.
Green Gold, Nickel Chelated Azo, PG10, Translucent.
Green Gold, Azomethine Copper Complex, PY129, Transparent  

The Transparent Yellow Iron Oxide is not transparent, it's colloidal or translucent. The pigment never dissolves, the pigment particles are is so small they are colloidal and suspended.
An opaque pigment is a dense solid, like small rocks. A transparent pigment you can see through, like glass, water, dye or stain. A "Tyndall" beam of light will pass through a transparent solution unseen.

Golden Primaries,
Nickel Complex Azo PY150, good Indian yellow Brown/side
Indian yellow hue, Arylide yellow PY73, Nickel Complex PY150, Quinacridone PR206, good Indian yellow Orange/side.
(Watch for Quinacridone/Nickel Azo Gold in stores later this fall 2006. Samples of the new color are available upon request through Customer Service. For questions or assistance on specific projects, please contact Tech Support at techsupport@goldenpaints.com or 800-959-6543 / 607-847-6154 Mon. – Fri. 8:30 a.m. - 5:00 p.m. EST.)

Compare Golden, Liquitex and D.S. Magenta, PR122. All the same, all good.

Compare Golden Phthalo blue PB15.4, and Liquitex PB15 (they look the same) and..
Hyplar Manganese Blue PB15 made of phthalocyanine and phthalocyanine chlorinated copper. The manganese blue is very handy as the green/side to the pure cyan color. The RGB image doesn't show a difference, the CMYK image does.
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