Close-up of a person's hand wearing a white and gray astronaut glove, holding a small square black object with a white frame against a black background.

What‍ ‍Why‍ ‍When‍‍ ‍Where
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View fullsize Testing units going out this week right on schedule! We have decided to prioritize the oil paint for the initial launch and are going full steam ahead for a January lift off. For those special artists who have/are getting testing units, be sure to
View fullsize Graduation day for the prototype! Every quality check came back pristine, so our focus now pivots to optimization and fabricating the initial external testing units. #regolithpigments #isru #moonart #oilpaint #spaceart
View fullsize Deconstructing the lunar mare down to its five raw constituent phases: ​Basalt: Fine-grained volcanic silicate matrix replicating ancient mare lava flows and impact melt. ​Anorthosite: Calcium-rich plagioclase feldspar transported from highland cru
View fullsize We formulate all our oil paints with age-refined linseed oil. Purified using only gravity and time, this traditional method yields a pale, impurity-free medium without chemical bleaching. #regolithpigments #spaceart #moonpainting #oilpaint #artistma
View fullsize ​We have finalized the formula and production method for the first artist-grade oil and watercolor paints made from lunar regolith simulant. ​Particle sizes are now refined to under 30 microns (averaging 6 microns), producing an exceptionally smooth
View fullsize Testing out painting with lunar dust simulant. I ground this batch intentionally coarse to push the physical texture; it resists manipulation far more than the sub-30-micron paint I’m currently testing, but the friction makes the material have
View fullsize Testing full and half-pan watercolor formulations. ​The key is dialing in particle size: too coarse, and the pigment turns gritty and separates on the paper; too fine, and it loses opacity and chromatic strength. ​This batch is milled to <44 &mic