Golden Artist Heavy Bodied Acrylic Paint

Golden Acrylics Heavy Bodied Pigments

Heavy Body History

GOLDEN Heavy Body Acrylics were the first products introduced by Golden Artist Colors, Inc. in 1980. Initially, the Heavy Body line was sold directly to artists in Manhattan in quart and gallon containers. Pints, 8 oz. and 4 oz. jars soon followed as the products gained more and more popularity with professional artists. Tubes of GOLDEN Heavy Body Acrylics finally appeared on the market in 1990.

In 1980, it was considered unusual to contain a heavy body, high viscosity paint in a jar. Almost all of the literature written about acrylic at that time implied that jar colors were thin and tube colors were thicker. Actually, the first water-borne acrylic paint was thin - similar in consistency to house paint. Only after technological improvements allowed for thicker formulations could artist acrylics be put in tubes. Since GOLDEN began by directly supplying professional artists requesting quantities of paint, larger sized containers were preferred. As GOLDEN products became widely accessible, jars and tubes provided more size and packaging options for a growing group of artists with a variety of needs.

Pigment Selection:

The HB line is divided among inorganic and organic pigments.

Inorganic Pigments:
Some inorganic pigments have been around for centuries and some for millennia. They are produced either with naturally mined pigments (sienna, umber, ochre) or with synthetically manufactured pigments, (iron oxide, carbon black, etc). Inorganic pigments may also be produced using a combination of these two processes. Pigments that are both mined and manufactured include the Cadmiums, Cobalts, and Titaniums.

Organic Pigments:
The organic pigments are a group of colors that are synthetically produced through complex carbon-containing chemistry involving various materials including petroleum, coal tar and natural gas. Many of these pigments have their roots in the chemistry of the 1800's, although widespread production didn't really begin until the 1930's. Even though they have only been available for several decades, organic pigments have demonstrated remarkable abilities to withstand the impact of light and weather.

Pigment Families:

The Quinacridone Family:
There are more Quinacridones in the GOLDEN HB line than in any other acrylic line of paint. Quinacridone pigments produce seven intense colors ranging from deep yellow to vibrant violet. All of the Quinacridones, because of their vibrant undertones and high transparencies, tend to be excellent mixing colors. They tend not to muddy or gray, retaining their brightness.

Perhaps the most important GOLDEN Quinacridone color is Quinacridone Crimson, a color with excellent lightfastness and similar working qualities to the more fugitive Alizarin Crimson. GOLDEN Quinacridone Crimson possesses the deep burgundy mass tone as well as the bright, rosy undertone of traditional Alizarin. GOLDEN's Quinacridone Crimson has been used by conservation professionals to replace the fugitive Alizarin when restoring paintings. Like all of GOLDEN's Quinacridones, Quinacridone Crimson is exceptionally transparent and works particularly well as a mixing color. Mixing Quinacridone Crimson with Phthalo Green B/S will almost magically produce one of the deepest blacks imaginable.

Unique to GOLDEN's product line are the standout colors Quinacridone/Nickel Azo Gold and Quinacridone Burnt Orange. These Quinacridones have a luminosity that rivals the richest oil colors. Their mass tones tend to be quite dark, yet their undertones are incredibly vibrant. Quinacridone/Nickel Azo Gold looks very close to a Burnt Sienna in its mass tone, yet its undertone has a yellow fire not found in any Sienna. Similarly, Quinacridone Burnt Orange has a brown-red mass tone that reveals a brilliant red-orange underneath.

Quinacridone Red is GOLDEN's recommendation when a very intense mixing magenta primary is requested. It is very close in hue to the color gels produced by Kodak for primary magenta at 5500 Kelvin. Quinacridone Magenta and Violet tend to be excellent choices for mixing colors in the lavender through purple range, with the addition of various transparent blues. Quinacridone Red, Red Light, Magenta and Violet produce high intensity pinks through lavenders when mixed with white. GOLDEN recommends using these colors when a punch of a fuchsia or fluorescent color is needed, yet permanency is also required, for a particular work of art.

The Cadmium Family:
The second largest pigment family within GOLDEN's HB line is the Cadmium family. GOLDEN was the first company to introduce concentrated Cadmiums within an acrylic line. Before this occurred, other acrylic paint companies were using less expensive Cadmiums co-precipitated with Barium Sulfate.

The Cadmiums range in hue from the glowingly bright Cadmium Yellow Primrose to Cadmium Red Dark. As a class of pigments, the Cadmiums are some of the most opaque of all colorants. Additionally, within their hue range they provide some of the most intensely vibrant mass tones. Because of their opacity, when mixed with other colorants they tend to produce rather dull hues. Cadmiums do mix with other Cadmiums quite well, however. Mixing a Cadmium Orange with a Cadmium Yellow will produce a deep yellow or light orange and the mixtures will retain the brightness of a pure Cadmium color.

GOLDEN is one of the only acrylic manufacturers to include a yellow hue that is lighter than the typical Cadmium Yellow Light. This unique pigment called Cadmium Yellow Primrose is as bright as some fluorescent colors, yet offers the same stability as the other Cadmiums in the GOLDEN line.

Cadmiums have been considered somewhat controversial as a pigment class because of the claims of toxicity of the pigment. We do know that soluble Cadmium can be quite dangerous and produce heavy metal poisoning. All of the Cadmiums used within our product line have gone through extensive testing to assure that they have extremely low soluble Cadmium content. This is not the end of the controversy though, since more recent theories have suggested that even non-soluble Cadmium pigments could potentially be toxic. OSHA has created strict requirements for work environments where Cadmium pigments are being used. This is of extreme importance legally for artists, schools or any business that hires other employees or is responsible for public safety. If you are using Cadmium dry pigments within your work process, you are not, according to the new OSHA regulations, within allowable limits of exposure for yourself and those within your care.

The Phthalocyanine Family:
The Phthalocyanines are known as the oldest organic pigments. The GOLDEN HB line contains 5 Phthalocyanine colors, including Phthalo Green (Yellow Shade) and Phthalo Green (Blue Shade), Turquois (Phthalo), and two Phthalo Blues, (Green Shade) and (Red Shade). These different Phthalocyanine colors actually contain the various pigment forms of the Phthalocyanine group.

The Cobalt Family:
The Cobalt pigments are unique within the HB line. This range of 7 colors includes Cerulean Blue and Blue Deep (these contain both Cobalt and Chromium), Cobalt Blue, Cobalt Green, Cobalt Titanate Green, Cobalt Turquois, and the newest addition, Cobalt Teal. Cobalt Teal is an unusually clean and high chroma shade that possesses excellent lightfastness and opacity.

The Pyrrole Family:
The Pyrrole family is one of the newer pigment families to be developed. The Pyrroles are almost as opaque and, in fact, brighter than our Cadmium colors. Pyrrole Orange, Pyrrole Red Light, and Pyrrole Red exhibit excellent opacity and lightfastness. They also offer clean mixing with other organics, unlike their Cadmium counterparts, which produce muddier blends.

To view the full range, click HERE


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