Issue #2, Second Edition
JUST PAINT
A Personal NoteBeyond Plastic Paint The curious history of acrylic paintsIridescent Mediums Understanding their unique qualitiesMSA Varnish Protection against UV radiationNew Product Review
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otted with farms on gentle slopes, New Berlin offers the quiet charm of an enchanted landscape. The air is filled with thesmell of the growing season. This is the place where I learned my craft from my father, Sam. It certainly wasn't a plannedthing. At Bocour they used to let me stuff letters or fill paint tubes into sets. So you can imagine that wasn't part of the plan.What happened? I got caught up in Sam's dreams, and they became my own. I marvelled at his creativity, and it struck inme the desire to create. At the early age of 67, Sam decided to return to his love - making paint - and with the
return came me. Sam did not come to this place easily. He learned his trade at the infancy of an industry. Testing the new synthetic materials asthey were developed, traversing the technology of these materials with his own brand of trial and error, he persisted. "Don't tell me it can't be done.Just let me be ignorant and believe that it can... Now leave me alone and let me do it." At Bocour, Sam enjoyed countless successes, as well asthe true experimenter's share of failures. After Sam left the partnership at Bocour, he tried the retired life. Thankfully, there was my mom,Adele. I think she knew all along that he'd go back into business and that there were a lot ot things Sam had left to do. If it really be known, Adelewas the motivator who endowed us all with the incredible confidence that we would succeed. So instead of living off their retirement income (asI would have done) they sold their paintings and started off on a new venture with the vitality of newlyweds. It has been almost eight yearssince our start. This letter does not mark any anniversary or landmark of Golden Artist Colors. It is my thank you to my mother and father and acelebration of life. Adele just went through successful open heart surgery. She knew the dangers of the situation, but let it be known to everyonethat it was her decision and no one else's. It was the kind of courage that allowed us to begin this venture and the kind I hope will allow us to meetall the challenges of the future. Just six weeks ago we brought my mom home. Both Sam and Adele are quite tired over the ordeal, butassure me they will be back to pace soon. As families have tended to move further apart, not often are we fortunate enough to get to know thejoys of being family. I have been fortunate enough to know the joys and fortunate to be able to say so.
D
Editors's Note:The original edition of this issue was published in the summer of 1987.Adele passed way in December, 1989.
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This comparison has made it diffi-cult to understand acrylic paints intheir own right as a useful andversatile tool for the artist. Oils havea traditional prestige, but in manyways acrylics prove to offer theartist better versatility, flexibilityand ease of use. At Golden Artist Colors we feelthat we are in a unique position todiscuss acrylic paints. We knowthe clear advantages acrylics offer,and we understand the full rangeof their technical properties. Wealso recognize that acrylics, likeany paint or artist material, havetheir limitations and become use-ful only when an artist exercisescontrol over the material. In this short history we hope toprovide information that will helpartists discover, understand andgain control over a material webelieve offers endless possibilities.
Suspended Polymersand Trapped PigmentsUnderstanding acrylic artist paintbegins with a look at the paint'sbinder, which is usually an emul-sion polymer. Acrylic polymer isan organic material. The namederives from acrylic acid, which isthe backbone of the polymer. Although Redtenbacher discov-ered acrylics in 1859, it was OttoRohm who conducted the majorwork beginning in the early 1900’s.Dr. Rohm produced the first com-mercial acrylic in 1928. In artists’ acrylic paint the poly-mer is emulsified by surface actinggroups - surfactants - in water. Theacrylic is often mistakenly referredto as water soluble, when in fact
ince their introduction tothe artist’s palette in the1940’s, artists' acrylics haveinvariably been comparedto oil paints.
water does not solubilize the acryl-ic at all. Surfactants permit disper-sion of spherical acrylic solids inwater. Without surfactants, thepolymer would not disperse.Freezing vividly illustrates whatoccurs when water and polymersolids separate. A frozen, unpro-tected acrylic polymer takes on acheesy appearance. As water evaporates from a paintfilm during the drying process, thepolymer spheres are drawn closerand tighter together. As the spacebetween spheres decreases, incred-ible pressures arise. The effect ofcapillary forces results in the colli-sion of acrylic polymer spheres.When the collision occurs, waterand other volatiles are eliminated.The result is a honeycomb patternof tightly compacted spheres. Sol-ids, such as pigments, are trappedand bound in this honeycomb sys-tem.We can thankfully continue our dis-cussion of acrylics without reach-ing a complete understanding ofthe complexities of the mechanismof film formation. (Many of you areprobably relieved at this point!)Suffice it to say, that the complexnature of the material posed manychallenges to the early pioneers ofacrylic paints.
Although Redtenbacher
discovered acrylics
in 1859, it was
Otto Rohm
who conducted the
major work beginning
in the early 1900's.
Dr. Rohm
produced the first
commercial acrylics
in 1928.
SBeyond Plastic
PaintDr. Otto Rohm
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The list goes on and on.Acrylics are ready to use - immedi-ately. This ease of use has enabledartists to extend the range of artis-tic effects; from thin stains to tre-mendous impasto, from watercolorto oil, from super gloss to deadmatte. Without a doubt, all mediawork differently. But acrylics canbe the most versatile and easy touse of all painting media.
The old shop in Manhattan in 1939,(left to right) Leonard Bocour, Irwin Lefcourt,
Sam Golden, Alice Provenson, "Pigeon," Jack Wallace
meant that the early acrylics werenot an immediate replacement foroils, there was no denying the ben-efits; drying time, ease of clean-up.Ease of use, among all the acrylicadvantages, is the most apparent.Acrylics do not require the detailedand quite formidable techniquesthat are necessary with other me-dia for preparing surfaces, layingcolors over colors, estimating pig-ment drying times and using bind-er level.
Sam Golden began experiment-ing with acrylics in the early 1940’s.A pioneer in the artist paint indus-try, Sam had teamed up with Le-onard Bocour in 1939. This was theperiod when polyvinyl and phe-nolic resins, the “ ideal varnishes “of the 1940’s had just made theirdisappointing showing. It was nota propitious time to launch a newline of acrylic paints, and predicta-bly the materials were greeted withconsiderable skepticism. Despite the widespread doubt,Sam began working with mineralspirits-soluble acrylic and devel-oped the first acrylics for artists’use. This original paint was Magna,which Sam produced while atBocour. Although Magna repre-sented a breakthrough, it requiredcontinual experimentation. Eventually Magna made it to themarket and found uses in both con-servation and in artist studios. Al-though improvements continued,the early acrylics did not gain awide audience.
Beyond "Plastic Paint"With the advent of acrylic water-borne coating1 in the 1950’s, sev-eral commercial artist paint manu-facturers started testing and pro-duction of the latest “plastic paint.” Vestiges of that term still cling toartists’ attitudes toward acrylics -particularly at a time when naturalmaterials are held in esteem. Ironi-cally, the durability and tendencynot to degrade, as natural materi-als will, represent one of acrylicpaint’s greatest benefits. Indeed, if the first experimentalacrylics sometimes fell short of ex-pectations, they also demonstratedconsiderable advantages which intime would prove very appealing.Although inconsistency, color sat-uration, and limited color selection
Widespread Doubt at First
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Greater Artistic ControlThe nature of acrylic paints is suchthat virtually every element of usecan be readily controlled - gloss,texture, transparency, opacity, vis-cosity, flexibility, and drying time.A look at the unique character ofacrylics can enhance that control. A range of matting agents existsto flatten the finish of the acrylicfrom a chalky look to a fine satin
sheen. These agents can be incor-porated into the paints to producean even tonal quality in a work. Each Golden Acrylic has its ownspecific level of gloss. That’s im-portant to note, especially when aneven matte or gloss surface on anentire painting is required. GoldenAcrylics contain no mattingagents2, fillers, opacifiers, or ex-tenders. Colors that tolerate larger
pigment load will appear fairlymatte; others, more reactive to suchloads, appear fairly glossy. In ev-ery case, the colors are all pigment. The artist should be the one withthe option to add filler of any type.After all, it’s a simple process toadd a filler of any kind, but quiteanother matter to remove what’salready been included! In response to artists who haverequested an even matte tone overan entire surface, we are now pro-ducing a full line of colors thatcontain a matting agent - GoldenMatte Acrylics. We produce 8 dif-ferent matting products to meet avariety of finishing needs. We also supply several types ofpolymers for increasing gloss. Thiscan be achieved by incorporatingone of our gloss gels or polymermediums. Acrylics allow an artist greatercontrol of texture. Acrylics can besmooth as cream or as gritty assand; they can seem like silk, orpull like taffy. The artist can achievemany of these textures in the stu-dio by adding marble dust, pum-ice, or other materials into the mix. Golden has produced many mix-es as custom items for artists whoneed a certain alteration, either inthe surface or the working abilityof the paints. We produce 12 differ-ent types of gels and molding pastesthat offer a broad range of viscosi-ties.
Adjusting for Drying TimeControlling drying time is the con-cern most frequently raised by art-ist. With acrylics, drying time isrelated to the evaporation rate ofwater which is affected by tem-perature/humidity, and the rate ofair current over the surface. Add-ing glycols to paints slows downdrying time considerably. In mod-erate amounts, glycols will evapo-
The new shop in New Berlin in 1991,(left to right) Mark Golden, Jim Hayes,
Ben Gavett, and Chuck Kelly.
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rate completely from the paint film,but at a rate slower than water.Retarders containing glycols areeffective when applying a fairlythick coat, or when keeping paintswet on a palette over an extendedperiod of time. Applying thinner layers, by na-ture, increases the rate of evapora-tion - thereby speeding drying.Consequently, using any “wet onwet “ technique can be difficultwith acrylics. Under those circum-stances, the artist can adjust in anumber of ways. One adjustment may be to usean atomizer to increase moisture atthe surface of the paint ( the firstlayer to dry). Another is to paintinto a thick, wet gel coat. A thirdwould be to add retarder. Thechoice is up to the artist. Usingacrylics eliminates at least one com-promising technique - blending byglazes. The paints dry so rapidly
that no time is lost waiting for lay-ers to dry. NOTE: If rapid dryingpresents a real dilemma to an artistwho needs open time to work andgo back into the paints - and whocannot develop a technique to al-low for rapid drying - acrylics maynot be the choice.
A Final Note on DryingAcrylics appear to dry darker thanwhen they are applied. Actually,the pigment remains unchanged.On drying the binder clears. Thatis, polymer medium or gel mediumappears white before use and there-fore tints the colors when wet. Themilky white appearance is typicalof all acrylic emulsions. The me-dium clears upon drying, so thecolors will seem darker when dry.It is most evident on the darkertransparent colors such as theQuinacridones. We suggest the artist should lookat this attribute before painting.
Rick Ashton grinds pigment during the milling process.
Enviable DurabilityAcrylics may be among the mostdurable materials available. Afterone-quarter of a century, many stillask if acrylics will endure with time.Obviously it’s still too soon to com-pare the durability of this newmedium with more traditionalpaints under gallery-lit conditionsover hundreds of years! Yet theaccumulated data from many testsfor aging conducted in the lab sug-gest acrylics will demonstrate aremarkable durability.In identical laboratory controlledexposures to heat and light, acryl-ics do not exhibit many of the reac-tions of oils, which will turn brown- or take on what is somewhat ele-gantly referred to as “ gold tone.”Oils become brittle and crack, ex-hibiting “craquelure,” and losetheir flexibility and cohesion. Thesereac-tions, of course, are similar tothose exhibited by the oils undernormal
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Footnotes1. Frequently called water-based2. Except for matte colors
Still ExperimentingSince Sam Golden’s first experi-ments, many new questions aboutacrylic paints have arisen. Not onlyare we diligently addressing newquestions, but we’re constantly re-viewing, reconsidering and re-searching the old, unansweredquestions. In 1982, for instance,Golden Artist Colors created a per-manent replacement for the fair-lyfugitive Alizarin Crimson - ourQuinacridone Crimson. Recentwork on a new UV (ultraviolet)stabilizing system will increaseeven further the ability of acrylicsto last through the centuries.
Acrylics can be made as
“ juicy” as oils or as flat
and opaque as a goache.
They can be built up and
remain flexible, or thinned
down in washes or glazes
for beautiful transparencies.
And acrylics are forgiving!
What other paint allows the
artist to paint over mistakes
so rapidly!
We’d like to hear from you, too -both your successes and your diffi-culties with acrylics. Perhapsthere’s a way we can help. Ourgoal is to offer the artist the free-dom to concentrate on painting,not paint.
Step OneWater begins to evaporate intoatmosphere and absorbant surface.
Step TwoCapillary action forces waterout as polymers collide whileforming bonds.
Step ThreePolymers bond and fall intohexagonal patterns. Clear, dry filmtraps pigment particles.
Further ReadingAcrylic ResinsHorn, Micheal B.NewYork: Reinhold, 1960
Polymer: The Origins Of A ScienceMoravetz, HerbertNew York: Wiley, 1985See Chapter 1 for a discussion of thediscovery and earliest work withpolymers. Also information onorigin of term “polymer.”
Applied Polymer Science.Tess, Roy W., editor.,and Gary W. Poehlin.Washington D.C.:American Chemical Society,1985See Chapter 54 for a brief generalintroduction to the application ofpolymer science in paint making.
conditions over time. Under thesame levels of exposure, acrylicsretain much more of their originalcharacteristics and do not exhibitthe many problems affecting oils.
How Polymer Emulsion Traps Pigments
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Golden's Iridescent
Mediums offer the
artist an exciting
range of colors and
effects. To take full
advantage of
Iridescents and to
realize the subtle
differences in effect
which can be produced,
it’s helpful to have a
general understanding
of their unique
properties.
ridescents are most famil-iar for their lustre quality.All of Golden’s IridescentColors produce a lustrequality by themselves, withother colors, or mixed withmediums. Our line of Iri-descents can be separatedinto three groups based onchemical composition.
IridescentMediums
All Interference Colors, Irides-cent Pearl and Silver are in the firstgroup. These colors are derivedfrom mica plateletes1 which arecoated with an extremely thin lay-er of titanium dioxide. Refraction2
and reflection of light at the tita-nium dioxide layers produce vari-ous colors and pearlescent effects. Iridescent Gold, Copper andCopper Light make up the secondgroup. These colors are derivedfrom mica plateletes, but an ironoxide coating is present either inplace of, or in combination with, atitanium dioxide coating. The ironoxide coating results in pigmentswhich possess hues as well as pearl-escent qualities. A third group consists of colorsderived from highly reflective me-tallic pigments. This includesStainless Steel (Coarse & Fine), aswell as, Micaceous Iron Oxide.
Lustre Arisesfrom Layers of PigmentsThe pigments in the first two groups(non-metallics) are composed ofvery thin, highly reflective andtransparent plateletes. The plate-like shape allows the pigments tobe easily oriented into parallel lay-ers within the transparent medium.When viewed, a portion of the inci-dent light will be reflected by theuppermost layer of pigments, whilethe remainder of the light will betransmitted and subsequently re-
flected by lower layers. It is thismultiple reflection of light frommany microscopic layers that pro-duces the observed shimmeringlustre or pearlescent effect.
Light InterferenceA second property is at work in theInterference mediums. The phe-nomenom is light interference,which is most familiar to us in therainbow effect created by a thinlayer of oil on the surface of water.This phenomenon was identifiedby Thomas Young in 1801 in a se-ries of investigations that wereeventually instrumental in advanc-ing the theory for the wave-likenature of light. Whenever light strikes a bound-ary between two materials of dif-ferent densities, the light will beeither reflected or refracted (hence,transmitted). If the refracted lightencounters another boundary be-tween materials of different densi-ties, this light will again either bereflected or refracted. This processcontinues everytime a new phaseis encountered. Light interference results fromthese concurrent multiple reflec-tions and refractions of light. If theinterference is constructive in na-ture, the light waves reflected fromthe different layers will be “inphase” and a strong color stimulusresults. With Intereference colors, aspecific thickness of the titaniumdioxide layer (TiO2) layer allowsonly a narrow band of wavelengthsof light (representing a certain col-or) to be reflected in phase, whileall other reflected wavelengths oflight (colors) undergo destructiveinterference and are not observed.As these pigments are transparent,a portion of the light will be trans-mitted and the resulting color willappear as the compliment to thereflected color.
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Continued next page...
mediums, and matte gels will alsoreduce iridescent qualities by scat-tering the light that hits the surface. With Interference Mediums it’shelpful to keep in mind that thephenomenon of light interferenceproduces a unique color “ flip” inthese paints. An Interference paintreflects one color and transmits itscomplement. For example, inintense direct light, InterferenceBlue will reflect a lustrous brightblue color. In indirect light, thesame paint will transmit its comple-ment - in this case, a buff. Thiscolor “flip” is unique and variesaccording to the surface on whichit’s applied. Thus, on a darkersurface, Interference Colors tendto be much stronger. To producethe brightest colors with the Inter-ference line, add a small amountof black - 1:100 or less. The blackwill strengthen the reflected color.Add more black if darker colorsare required.
ExcellentWeathering ResistanceThe mica used is quite insoluble infairly strong acids or bases, and isnot affected by water. Therefore,in combination with an exteriorgrade titanium dioxide and/oriron oxide, the paint is very stableand offers excellent permanency. This resistant property distin-guishes the Iridescent Mediumsfrom other metal products, such ascoppers, bronzes and even alumi-num flakes. Because the metal ox-ide has already reached its moststable state of oxidation, there islittle possibility for change resultingfrom further oxidizing reactions. Some of our metals demonstrateremarkable durability. Our Stain-less Steel (Coarse & Fine), whichconsists of extremely durable 316Lgrade stainless, is very resistant tosalt spray and acid spotting, aswell as alkaline cleaners or deter-gents. Other metals are less stable.-
Maintaining BrightSurfaces: The OptionsThe highly reflective surfaces of theflake pigments used to produce Iri-descent Mediums are extremelythin. Flake pigments range from 1to 2 microns in thickness, and up to80 microns in diameter. Considerthat the surface of an average flakeof Iridescent Pearl could carry over50,000 Carbon Black pigment par-ticles placed side by side. With thislarger particle size inevitably comesa certain weakness in color strength. Although no rule is absolute,some procedures for maintainingbright surfaces have proven theireffectiveness. What follows is abrief review of some of the moresuccessful approaches. To maintain the brightest pos-sible effects with Iridescent Col-ors, avoid mixing them withopaque colors. Similarly, matte
How Interference Color Pigments Work
In the manufacturing of the Interference pigments, the TiO2 layer thickness is carefully selected and controlled to produce the desiredcolor. In the case of Iridescent Pearl, the TiO2 is sufficiently thin, such that all wavelengths are reflected "in -phase", yielding a whitereflectance. For Interference Gold, the thickness of the TiO2 layer results in the wavelengths representing yellow to be reflected "inphase", yielding a bright gold at specular angles, while those wavelengths representing blue are transmittedand are seen by the observer at diffuse angles. The same principles pertain to Interference Green.
Iridescent PearlAll Light Waves (White)
In Phase
Interference GoldYellow Light Waves
In Phase
Interference GreenGreen Light Waves
In Phase
Reflected Light(Green)
Reflected Light(Yellow)
Reflected Light(White) White
LightWhiteLight
WhiteLight
TiO2TiO2
TiO2TiO2
Mica Mica
TiO2
TiO2
Mica
Transmitted Light (White) Transmitted Light (Blue) Transmitted Light (Red)
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The center block is the UV- exposed test area.TEST RESULTS
LEFT: Magic marker, various colors and brands shown with MSA Varnish with UVLS applied.
RIGHT: Same products shown without MSA Varnish with UVLS.
MSA VarnishProtection AgainstUltraviolet RadiationOther Application Notes
As matte materials tend to reducethe lustre of Interference mediums,adding gloss materials, such asclear gloss gel or gloss medium,increase interference qualities. Overall, thicker applications willcloud the paint and weaken theintensity of the Interference Col-ors. Thinner applications increasethe interference qualities. As thelevel of dilution increases, the pastylook disappears. Applying thin lay-ers, whether by wash or glaze, ef-fectively forces particles to lay flatwith the large broad side facing theviewer. As more particle surfacesare exposed, the shimmer or lustreincreases. To avoid streaking or to achievean opaque coat, it’s best to lay downa base coat that matches the non-reflective color of the InterferenceColor. For example, when usingInterference Blue use a very palebuff color as a base coat. Or, if com-bining another color with an Inter-ference Blue, use that color (prefer-ably mixed with white) as a basecoat. This information should provideinitial understanding of Iridescentand Interference Mediums. The im-portant point is not to stop at facevalue. They can be as useful to apalette as white and can provide arange of colors and effects neverbefore available.Footnotes1. The mica consists of an aluminumsilicate, which has a crystalline structurethat permits easy cleavage into very thinplateletes.2. Refraction is the change in direction ofa light ray passing from one medium toanother of different density.
While Golden’s custom work in-cludes mixing most any metalflakes as requested by customers,we do not recommend metal flakessuch as bronze, for example, if anon-tarnishing film is desired.
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Thickness of application, ofcourse, can affect drying time. Tem-perature, humidity, solvent leveland surface absorbency also candetermine the time required fordrying. Thus, one coat may requireanywhere from one to six hours todry.
Improved CleanupCleanup can be made easier, too,by using mineral spirits. The MSAvarnish is soluble in most hydro-carbons - toluene, xylene, VMTnaptha, and mineral spirits.3 It isalso a reversible product4, and min-eral spirits is clearly the solvent ofchoice. Remember, although mineralspirits is one of the safer solvents,proper ventilation should alwaysbe maintained when working withsolvents of any kind. MSA Varnish with UVLS offersnew capabilities to the professionalartist. At Golden Artist Colors,we’re constantly putting MSA Var-nish to the test on many differentsurfaces under varying conditionsto gauge the results. We welcomeall comments on the effectiveness -and limitations - of the varnish.
Golden’s MSA Varnish with UVLSwas developed in 1984 and hasalready proven itself in a variety ofuses - sometimes under extraordi-nary circumstances. It has beenused on an exterior wall of marblein the Middle East and on a wall ofoverlaid plywood in Alberta, Can-ada. It’s been applied to surfacesranging from paper to magnesium.
Less of Sun's UV EffectsThe MSA Varnish is produced fromacrylic thermoplastic resins ( isobu-tyl methacrylate and butyl meth-acrylate.) Instead of the usual emul-sion polymer, which produces amilky color, a solution polymer isused. The result is a clear appear-ance when wet. The MSA Varnishalso contains a system of UV lightfilters which reduces the harmfuleffects of the sun’s ultraviolet ra-diation, as well as UV radiationfrom other sources.1 This is the firsttime such a feature is available in avarnish for the professional artist.The varnish forms a tough filmwhich is less permeable than typi-cal emulsion varnishes. This tough-er surface significantly reduces dirtpenetration and increases mar re-sistance. As a solvent borne system, thevarnish suffers less from foam pro-duction and pin holes that can de-tract from the finish. The reducedsurface tension of mineral spiritsalso allows the varnish to producean extremely level film.
F
Footnotes:1. The varnish is most effective in thewavelength range above 300nm. Belowthis, the protection drops off fairlyrapidly. The atmosphere's ozone layerblocks most radiation below 300nm, yetsome artificial sources of ultravioletradiation do fall below this range.2. Mark Grottsegen’s book, Manual ofPainting Materials and Techniques,provides an excellent description ofvarnishing techniques. It is the mostcomplete and up to date text of artistmethods and materials we have seen.3. MSA Varnish is also soluble in esterssuch as ethyl acetate; cellosolve acetate;and some chlorinated hydrocarbons.4. The varnish releases solvent for about3 months until completely cured.During this time the film can be removedfairly easily. After this cured time periodwhen the film is completely coalescedremoval will be more difficult.
Thin Applications are BestMSA Varnish is being used suc-cessfully on a variety of surfaces.The photograph illustrates the var-nish’s effectiveness as a UV filterwhen applied over both color pen-cil and magic marker. Although asa UV filter the varnish tends toreduce the initial brightness of flu-orescent colors, it has been shownto successfully slow down the deg-radation of fluorescent pigments.It’s also been used with very goodresults over acrylic films and oilpaints. The varnish is supplied with33.5% solids, which makes it suit-able for brushing. To lessen brushdrag, thin the varnish with up toequal parts of mineral spirits. Ifspraying, reduce varnish withequal part mineral spirits. As thevarnish is thinned, more coats maybe required to achieve sufficientprotection. Apply the varnish onlyon a completely dry surface, usinga clean bristle brush.2 Work in smallareas at a time, brushing first in onedirection , then in a direction per-pendicular to the first. When ap-plying multiple coats, it’s helpfulto avoid overworking the varnish.Allow for extended drying timesbefore applying additional coats,especially when the varnish isthinned with mineral spirits.
A tougher surface, a greater
ability to slow degradation of
fugitive materials, and
removability distinguish the
MSA Varnish from earlier
formulations.
or its versatility and excep-tional filtering properties,the Mineral Spirit Acrylic,
(MSA)Varnish with UltraVioletabsorbers and hindered amine LightStabilizers (UVLS), promises to bethe prototype for varnishes of thefuture.
