The archive
Journal
Everything published on materials, colour, technique, art history, exhibitions, and conservation — newest first.
February 2026
Why Gouache Reactivates With Water While Acrylic Doesn't
Dried gouache turns back into workable paint when water touches it, because its gum arabic binder never cross-links; acrylic cures into a plastic film that won't budge. The chemistry, plus how to layer or seal gouache so it stops lifting.
How Pointillism Exploits Optical Mixing vs Pigment Mixing
The science behind pointillism's optical color mixing. Why Seurat's dots work at distance but fail up close, and what retinal mixing actually achieves versus theory.
Varnishing Oil Paintings Without Yellowing or Blooming
Deep dive into varnish chemistry, resin oxidation, blooming physics, and curing timelines. Learn conservation-grade techniques for permanent protection without yellowing or haze.
Why Some Pastels Smudge More Than Others
Why some pastels smudge more than others through pigment-to-binder ratios, particle hardness, and paper tooth interaction. The materials science behind pastel adhesion.
How Bioluminescent Bacteria Create Living Paintings
How bioluminescent bacteria create living paintings through luciferin-luciferase reactions. The microbiology, growth requirements, and why most bio art fails.
Why Gold Leaf Adheres to Surfaces Without Glue in Gilding
Why gold leaf sticks to surfaces without glue through van der Waals forces and static electricity. The physics and chemistry of traditional water gilding techniques.
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More from the journal
- Why Your Paintings Look Muddy and How to Fix Color Mixing ProblemsWhy paintings look muddy and how to fix color mixing problems. The science of chromatic neutralization, pigment transparency, and value control in mixing.
- How Pointillism Exploits Optical Mixing vs Pigment MixingThe science behind pointillism's optical color mixing. Why Seurat's dots work at distance but fail up close, and what retinal mixing actually achieves versus theory.
- Why Titanium White Behaves Differently Than Lead WhiteThe chemistry behind titanium white vs lead white in oil painting. Why particle size, opacity mechanisms, and drying chemistry create fundamentally different paint behavior.
How Rust Behaves in Richard Serra's Weathering Steel Sculptures
How rust behaves in Richard Serra's Cor-Ten steel sculptures. The chemistry of controlled oxidation, protective patina formation, and why some weathering steel fails.
Why Some Glaze Recipes Fail at Different Kiln Temperatures
Why ceramic glazes fail at wrong temperatures. The chemistry of eutectic melting, flux behavior, and how cone 6 glazes can't work at cone 10 or vice versa.
Artist-Run Galleries in Newcastle Worth Visiting Beyond London
Newcastle's artist-run galleries operate in post-industrial spaces along the Quayside and Ouseburn Valley. Northern art scene worth the journey from London.
How Calder's Mobiles Work: Kinetic Sculpture and Angular Momentum
How Calder's mobiles work through angular momentum, balance points, and air currents. The physics and engineering behind kinetic sculpture that actually moves.
Why Your Paintings Look Muddy and How to Fix Color Mixing Problems
Why paintings look muddy and how to fix color mixing problems. The science of chromatic neutralization, pigment transparency, and value control in mixing.
Small Galleries in Glasgow's Southside You've Never Heard Of
Glasgow's Southside galleries operate in converted warehouses and tenement flats beyond the city center tourist circuit. Artist-run spaces worth the journey.
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More from the journal
- Why Your Paintings Look Muddy and How to Fix Color Mixing ProblemsWhy paintings look muddy and how to fix color mixing problems. The science of chromatic neutralization, pigment transparency, and value control in mixing.
- How Pointillism Exploits Optical Mixing vs Pigment MixingThe science behind pointillism's optical color mixing. Why Seurat's dots work at distance but fail up close, and what retinal mixing actually achieves versus theory.
- Why Titanium White Behaves Differently Than Lead WhiteThe chemistry behind titanium white vs lead white in oil painting. Why particle size, opacity mechanisms, and drying chemistry create fundamentally different paint behavior.