Art Supplies Online Golden Acrylics Mediums, Gesso & Varnishes

Golden Polymer Varnishes with UVLS 236ml - �0.00

rss@phpbasket.com — Wed, 22 May 2013 12:13:33 +0100

Polymer Varnish with UVLS (UltraViolet Light Stabilizers) is a waterborne acrylic polymer varnish that dries to a protective, flexible, dust resistant surface over acrylic paint. Removable with ammonia. Available in Gloss, Satin and Matte. Health Labeled (HL) Product. Not for use by children. Recommended for interior use only.

PRODUCT DESCRIPTION

GOLDEN Polymer Varnish with UVLS (Ultra Violet Light Stabilizers) is a water-based acrylic polymer varnish formulated to provide additional protection from ultraviolet radiation. This helps delay the inevitable fading that occurs in materials that may be fugitive in nature.

Polymer Varnish is designed as a topcoat for acrylic paints and offers a removable protective surface to the relatively soft acrylic paint layer. It has a harder film than most acrylic paints, which diminishes the susceptibility of the surface to dust and dirt, and provides increased protection from scratching, marring and moisture. It has adequate flexibility to withstand normal handling conditions, including loose rolling. For interior use only. The product is not recommended for use on furniture or other surfaces subject to physical contact during use.

Polymer Varnish remains soluble in alkaline solvents, such as ammonia. This means the varnish can be easily removed; taking with it any accumulated surface contamination without damaging the painting surface. The use of such a removable varnish provides a valuable tool to anyone trying to restore or clean a painting.

Polymer Varnish (Gloss) dries to a highly reflective finish. Polymer Varnish (Satin) offers moderate reflection, similar to most matte varnishes. The Matte is exceptionally flat. The different finishes can be intermixed, or used sequentially, to achieve the desired sheen. Note: Polymer Varnish (Satin) and (Matte) will lighten dark value colors, which is typical of non-gloss varnishes.

TEST FOR YOUR APPLICATION

Prior to actual use, it is very important to experiment with Golden varnishes on test pieces to become aware of how they perform and how they alter the surface appearance of paintings. For best results, apply to a test piece that is similar in composition as the artwork to be varnished. This will help ensure that all variables are accounted for, and a successful varnish application will be achieved.

ISOLATION COAT

Only intended for acrylic paintings, do not use on oil paintings.

For future conservation and varnish removal purposes we recommend the use of an isolation coat prior to varnishing. An isolation coat is a permanent, non-removable coating that serves to physically separate the paint surface from the removable varnish. This will help protect the surface if the varnish is ever removed and make future cleaning and conservation easier to avoid working directly on top of the pigmented part of the work. Therefore, even if painted with delicate washes or large areas of colors that could potentially bleed, a clear barrier would safely cover the painted surface. It will also seal absorbent areas, which will result in a more even application of the varnish. In the event that no varnish gets applied, the isolation coat serves to decrease the water sensitivity of the paint surface, affording protection during routine cleaning/dusting.

Given the current state of conservation science, we feel the use of an isolation coat provides the most protection. However, isolation coats are also significant and permanent additions to a painting and inevitably will cause changes in the painting's surface qualities. Whether these changes are acceptable is an aesthetic decision that each artist needs to make after sufficient testing. In addition, since it is non-removable, any mistakes or problems during this procedure cannot be easily corrected and there is always an element of risk that needs to be considered. We strongly encourage the artist to practice these procedures thoroughly so they feel confident and become familiar with any unforeseen problems.

For brush application, the appropriate isolating medium can be made by diluting Golden Soft Gel Gloss with water (2 parts by volume Soft Gel Gloss to 1 part water). The absorbency of the surface will dictate the number of isolation layers required. For relatively non-absorbent surfaces, as is the case with a uniform paint layer, one coat is recommended. For more absorbent surfaces, which tend to be very matte, it is recommended to apply sufficient isolation coats to achieve a satin sheen on the surface. This may require two or more brush applied coats.

PRODUCT APPLICATION

POLYMER VARNISHES MUST BE THINNED BEFORE USE. They have been formulated thicker than the traditional application viscosity to maintain an even suspension of matting agents in the Satin and Matte finishes, which ensures more consistency in surface reflectance as the varnish is used. It also allows the varnish to be applied with minimal foam generation. Foaming can be a major problem with most water-borne acrylics, but when properly thinned, the Polymer Varnish is able to release all foam before drying.

It is preferable to brush apply Golden varnishes. Other methods, such as sponging or rolling, are not recommended, as they may result in problems such as: foaming, loss of film clarity, non-uniform coverage, excessive film build, sagging, or deposition of materials from the application tool.

Brush Application

Use a stiff, white hair, Chinese bristle brush with split ends. The split ends and memory of this type of brush will result in a smooth, even coat of varnish. The size of the piece to be varnished will determine the size of the varnish brush. Work from a shallow container to help control brush loading. The varnish solution should wet only the lower 25-30% of the length of the bristles. It is always best to apply the varnish on a horizontal surface in order to minimize running or sagging. If vertical application cannot be avoided, as with a mural, it is extremely important that the varnish be thinly applied. In either case, it is better to apply two or three thin coats with sufficient drying time in between, rather than one thick coat of varnish. The latter will take longer to cure, staying soft for some time, and could result in drips or a cloudy film. Apply the varnish in a manner that allows it to be brushed out to the most uniform, thinnest film possible. Mentally divide the work into regions to be covered by each loading of the brush. These may be based on a systematic grid-like sequence or may follow natural boundaries of the piece. Maintain an even application by working from the center of each region outward. Lightly overlap into still wet, adjacent sections. When applying a satin or matte varnish, never apply more than two coats. If multiple coats are desired, start with the gloss varnish to build up and establish the multiple layers, then finish with one or two coats of the satin or matte finish. A thick film of these reduced sheen varnishes will result in film cloudiness, and loss of clarity.

Cleanup

Clean all equipment immediately following application. If tools are wet, Golden Polymer Varnish can be removed with water. Ammoniated glass cleaner or a 1:1 solution of household ammonia to water may be use if the varnish has set.

Drying Time

The isolation coat should cure for 1 day before varnishing. When building up multiple coats, allow for 3 - 6 hours in between coats. Gently inspect the surface for tack, which may signify that the coat is not sufficiently dry. Let varnish cure several days before packing or transporting art. During transportation and storage, avoid contact of the surface with packing materials, including glassine, bubble wrap or any other plastic. NEVER STACK PAINTINGS, whether varnished or not.

Care and Storage

As Golden Varnishes are removable, it is important that they not be painted over. Paint applied over the varnish would also be potentially removable, and would pose a difficult problem in conservation or restoration attempts. Another negative about painting over the varnish is that it does not bond sufficiently, which may result in adhesion failure over time.

236ml Bottle

Golden Gesso 236ml - �11.00

rss@phpbasket.com — Wed, 22 May 2013 12:13:33 +0100

GOLDEN Gesso is a flexible liquid ground that seals, protects, and gives "tooth" to substrates, which promotes paint adhesion. It is formulated to accept a wide variety of media on many commonly used painting surfaces. It comes ready-to-use, but can be mixed with water for thinner applications. When applied in thin layers, GOLDEN Gesso will conform to a variety of textured surfaces.

GOLDEN Gesso is available in Black or White, and can be mixed with GOLDEN Acrylics to produce a range of colored grounds (see below).

PRODUCT APPLICATION

Application Methods
GOLDEN Gesso can be brush, roller, trowel or spray-applied. Dilution of the Gesso is only necessary for spray application, but may be desired for brush or roller applications as well. When diluting with water, we recommend a maximum dilution of 25%. Any mixture within this range offers little risk of cracking or other adverse effects.
Mixing With Other GOLDEN Products
GOLDEN Gesso can be tinted with GOLDEN Heavy Body Acrylics, Fluid Acrylics, Matte Fluid Acrylics, or High Load Acrylics. The High Loads most closely resemble the Gesso since they both possess a high pigment load, a velvety, low-gloss sheen and a similar viscosity. Matte Fluid Acrylics are the best option after the High Loads. Tinting with High Loads is recommended since they will alter the attributes of the Gesso the least. Due to the high pigment/solid concentration, High Load Acrylics and Gesso should only be applied in thin layers. Thick, single-applications of these products may crack.

Flexibility
Generally, canvas coated with GOLDEN Gesso may be rolled up without cracking. Cracking may occur if a canvas is overly flexed or stretched, especially at colder temperatures.

Multiple Coats
Although one coat of Gesso will provide good adhesion, it may sometimes leave pinholes or uncovered areas. It is recommended to apply at least two coats of Gesso to any surface, but especially when painting on canvas or linen. The first coat will penetrate the support and reduce the likelihood of paint de-lamination. The second coat bonds with the first layer and begins to even out the surface. Subsequent layers of Gesso will produce an even smoother surface. For spray-application, you may have to apply more than 2 coats to achieve a film similar to a brush application.
Spray Application Dilutions
The degree to which the GOLDEN Gesso needs thinning depends on what type of spray equipment is being used. No dilution of the Gesso may be required when using equipment with relatively large orifices and substantial pressure. Thin Gesso for spraying by blending with GOLDEN Airbrush Medium, which reduces viscosity, improves flow and tip-dry, and promotes leveling. Start with a mixture of 1 part Airbrush Medium to 1 part Gesso and test spray quality. Additional reduction with the Airbrush Medium may be required, especially with smaller nozzle equipment and lower air pressures.
Sanding
While sanding GOLDEN Gesso is possible, the heat generated in the process will “gum up” the sandpaper rather quickly. Wet sanding will give very good results while reducing dust production.

ADDITIONAL INFORMATION

Use With Oil Paints
Oil Paints can be applied over acrylic Gesso. There is adequate adhesion due to the porosity of the acrylic. To control the penetration of linseed oil into support fibers, a two coat-application of GAC 100 or GAC 700 is recommended before applying Gesso. This seals the substrate and greatly lessens the amount of oil penetration.

GAC 400 can be applied to canvas to stiffen the support before Gesso application. The GAC 400 will provide a stiffness similar to rabbit-skin glue while remaining insoluble in water. (Refer to the Information Sheet: GAC Specialty Acrylic Polymers for further information on these products).

Lowering Absorbency/Tooth
By adding a gel or medium to gesso, one can increase flexibility and lower tooth and absorbency. GOLDEN Gesso can be modified with most GOLDEN Gels & Mediums. However, GOLDEN Soft Gels will least affect the feel and thickness of GOLDEN Gesso. Test mixtures to achieve the desired tooth and/or absorbency for each application. Adding GOLDEN GAC 100 (a thin, multi-purpose specialty acrylic medium) will reduce viscosity (product thickness). This results in a film that is thinner, stronger and more flexible. Additions of more than 10% GOLDEN GAC 100 will lower tooth and opacity of the gesso.

Increasing Tooth or Altering Texture
Tooth can be increased without affecting flexibility or crack resistance by adding GOLDEN Coarse Molding Paste, Coarse and Extra Coarse Pumice Gels, and other mediums and paints that may contain coarse solids. These additions will often create a much thicker product and different application techniques will be required, such as spreading with a palette knife or similar tool. Textural gels and pastes produce unique surfaces on which to work, and along with other grounds, such as GOLDEN Acrylic Ground for Pastels, can also be applied over the Gesso, or used alone as alternative grounds.

TECHNICAL INFORMATION
Resin: Methylmethacrylate/butylacrylate copolymer dispersion polymer
Vehicle: Water
Pigment Identification: PW6 (White Gesso); PBk7 & PBk11 (Black Gesso)
Lightfastness: Lightfastness rated I (per ASTM D 5098)
Permanency: Excellent
Opacity: 1 (1=most opaque and 8=most transparent)
Viscosity: 3,000 - 4,000 cPs (as measured on a Brookfield RV viscometer)
pH: 8.4-9.0 (slightly alkaline)
Gloss: White: 5.0-10.0; Black: 1.5-5.0 (using a 75° Glossmeter)
Flexibility: ASTM D522, Test Method B-Cylindrical Mandrel Test at 70°F, 6 mil thick film passes at 1/4" diameter mandrel. Adequate flexibility to withstand loose rolling and re-stretching at room temperature. Paint films become more brittle below 50°F, and should not be bent, stretched or flexed under such conditions. Withstands expansion and contraction caused by changes in temperature and humidity.
Drying/Curing Time: A 10 mil wet film will dry to touch within 2 hours when temperature is above 65°F and humidity is below 70%. Thicker films cure much more slowly. Lower temperatures and/or higher humidity slow the drying process considerably.

Golden Black Gesso 236ml - �11.85

rss@phpbasket.com — Wed, 22 May 2013 12:13:33 +0100

GOLDEN Gesso is available in Black or White, and can be mixed with GOLDEN Acrylics to produce a range of colored grounds (see below).

PRODUCT APPLICATION

Application Methods
GOLDEN Gesso can be brush, roller, trowel or spray-applied. Dilution of the Gesso is only necessary for spray application, but may be desired for brush or roller applications as well. When diluting with water, we recommend a maximum dilution of 25%. Any mixture within this range offers little risk of cracking or other adverse effects.
Mixing With Other GOLDEN Products
GOLDEN Gesso can be tinted with GOLDEN Heavy Body Acrylics, Fluid Acrylics, Matte Fluid Acrylics, or High Load Acrylics. The High Loads most closely resemble the Gesso since they both possess a high pigment load, a velvety, low-gloss sheen and a similar viscosity. Matte Fluid Acrylics are the best option after the High Loads. Tinting with High Loads is recommended since they will alter the attributes of the Gesso the least. Due to the high pigment/solid concentration, High Load Acrylics and Gesso should only be applied in thin layers. Thick, single-applications of these products may crack.

Flexibility
Generally, canvas coated with GOLDEN Gesso may be rolled up without cracking. Cracking may occur if a canvas is overly flexed or stretched, especially at colder temperatures.

Multiple Coats
Although one coat of Gesso will provide good adhesion, it may sometimes leave pinholes or uncovered areas. It is recommended to apply at least two coats of Gesso to any surface, but especially when painting on canvas or linen. The first coat will penetrate the support and reduce the likelihood of paint de-lamination. The second coat bonds with the first layer and begins to even out the surface. Subsequent layers of Gesso will produce an even smoother surface. For spray-application, you may have to apply more than 2 coats to achieve a film similar to a brush application.
Spray Application Dilutions
The degree to which the GOLDEN Gesso needs thinning depends on what type of spray equipment is being used. No dilution of the Gesso may be required when using equipment with relatively large orifices and substantial pressure. Thin Gesso for spraying by blending with GOLDEN Airbrush Medium, which reduces viscosity, improves flow and tip-dry, and promotes leveling. Start with a mixture of 1 part Airbrush Medium to 1 part Gesso and test spray quality. Additional reduction with the Airbrush Medium may be required, especially with smaller nozzle equipment and lower air pressures.
Sanding
While sanding GOLDEN Gesso is possible, the heat generated in the process will “gum up” the sandpaper rather quickly. Wet sanding will give very good results while reducing dust production.

ADDITIONAL INFORMATION

Golden Sandable Hard Gesso 236ml - �11.85

rss@phpbasket.com — Wed, 22 May 2013 12:13:33 +0100

PRODUCT DESCRIPTION

GOLDEN Sandable Hard Gesso is formulated with 100% acrylic polymer emulsion. It contains high levels of titanium dioxide, calcium carbonate and talc to produce an easily sanded surface.

NOTE: This product is designed for rigid substrates only and is NOT to be used on flexible materials, as cracking may occur.

PRODUCT APPLICATION

NOTE: Only apply GOLDEN Sandable Hard Gesso onto surfaces prepared with one or more coats of regular GOLDEN Gesso. Do not apply directly onto substrates, acrylic paints, or other primers as cracking may occur. Potential for cracking and film failure can occur if used on highly absorbent surfaces, like canvas, even when adhered to a rigid surface beforehand. To minimize this risk, GOLDEN Sandable Hard Gesso should only be used on inflexible substrates, such as hardboard, wood or metal panels, that have been initially primed with GOLDEN regular gesso. Any other use of this product might result in product failure. Apply in multiple thin layers, gradually building up to the desired thickness. A single thick layer tends to crack upon drying.

Sanding:

When sanding, follow these general guidelines:

Allow Sandable Hard Gesso to dry completely before sanding. Cured acrylic films are easier to sand.
Start with coarser grit sandpapers, followed by subsequently finer grits until desired smoothness is achieved.
Both wet and dry sandpapers may be used.
Wet sanding generates less airborne dust and tends to produce a smoother surface than dry sanding.
Sanding to a glossy (polished) surface can reduce mechanical adhesion of paint films. As always, test for your application.
Upon completion of sanding, use a damp, soft cloth to remove sanding dust particles from the surface. Failure to do so can cause poor adhesion.

Dilution:

Brushing: This product may be diluted with up to 20% water for ease of brush application.
Spraying: Dilute Sandable Hard Gesso with GOLDEN Airbrush Medium. Begin at a 2:1 ratio (Gesso:Medium) and test spray quality, as various spray equipment may require additional thinning. Further reduce viscosity by adding up to 20% water.

Acrylic Painting S.I.D. Protection

To reduce yellowing caused by Support Induced Discoloration (S.I.D.) of acrylic gel medium layers and glazes, first apply two coats of GAC 100 – allowing them to dry thoroughly- then apply one or more coats of regular GOLDEN Gesso, also allowing them sufficient time to dry thoroughly. Then apply the desired number of coats of Sandable Hard Gesso.

Oil Painting Substrate Protection

To protect natural substrates from linseed oil acids, follow the above instructions for S.I.D. protection. Allow the acrylic products sufficient time to cure before applying oil paints in order to maximize mechanical adhesion.

Mixing With Other GOLDEN Products:

GOLDEN Sandable Hard Gesso may be tinted up to 10% with GOLDEN Acrylic colors. Higher levels of paints reduce the sandability and absorbency of the product.

Golden Absorbent Ground (White) 236ml - �11.85

rss@phpbasket.com — Wed, 22 May 2013 12:13:33 +0100

GOLDEN Absorbent Ground can be used to create a porous, paper-like surface on many different substrates. It is uniquely formulated for a high level of absorbency when dry. Applied over gessoed canvas, Absorbent Ground allows for wash and staining effects on a stable acrylic film as an alternative to staining raw canvas. Watercolors may also be used, although they will retain their water sensitivity.

PLEASE NOTE: This product was recently reformulated to be ready to use without thinning. Because we anticipate customers will continue to purchase or use both formulations for a period, please consult the directions on your container to see which directions apply.

PRODUCT DESCRIPTION

GOLDEN Absorbent Ground, designed for stain and watercolor-type applications, is light stable, permanent and flexible. While it has a gesso-like consistency, it is not intended as a gesso alternative. It must be applied over a porous and “toothy” surface, such as GOLDEN Gesso to ensure adequate adhesion due to the type and level of solids in the product. Once properly sealed, it is a permanent acrylic film that does not need to be kept under glass, however, the surface is quite delicate and additional protection is recommended. A properly applied isolation coat and GOLDEN Varnishes (Polymer & MSA) will protect the artwork from environmental factors such as sunlight and dust.

Painting in an impasto style over GOLDEN Absorbent Ground is not recommended, unless the surface is properly sealed (see sealing surface section).

PRODUCT APPLICATION

Surface Preparation
Apply onto gessoed canvas, hardboard, wood or other surface. Prime surfaces with 2 coats of GOLDEN Gesso applied directly to the support. DO NOT apply any initial sizing of GAC 100, GAC 400, or other acrylic mediums. Doing so may result in cracking of the subsequent layers of Absorbent Ground.

Absorbent Ground Application [Current ‘Ready to Use’ Formulation]
Absorbent Ground can be applied with a brush, roller or squeegee. No thinning is necessary, although for increased leveling or ease of application, up to 20% water may be added. Apply in thin layers, since thicker applications may crack as the film dries. Use multiple coats for increased absorbency (5-6 coats gives a highly absorbent surface). If a thicker single application is desired, or if applying to a highly textured surface, blending any amount of GOLDEN Light Molding Paste into the Absorbent Ground will decrease the chance of cracking while maintaining considerable absorbency. The greater the percentage of addition, the more flexibility the film will have and the thicker it will become. Testing for your application is always recommended. If a very thick and textured absorbent surface is desired, consider using Light Molding Paste alone. Allow Absorbent Ground to dry thoroughly before paint application.

Absorbent Ground Application [Previous Formulation – Directions Recommend Thinning]
Absorbent Ground can be applied with a brush, roller or squeegee. For a uniform film and greater ease of application, thin with up to 20% water. Apply in thin layers, since thicker applications may crack as the film dries. Use multiple coats for increased absorbency (5-6 coats gives a highly absorbent surface). If a thicker single application is desired, or if applying to a highly textured surface, blending any amount of GOLDEN Light Molding Paste into the Absorbent Ground will decrease the chance of cracking while maintaining considerable absorbency. The greater the percentage of addition, the more flexibility the film will have and the thicker it will become. Testing for your application is always recommended. If a very thick and textured, absorbent surface is desired, consider using Light Molding Paste alone. Allow Absorbent Ground to dry thoroughly before paint application.

Acrylic Stains
Almost all GOLDEN Acrylic paints can be used for staining and wash techniques on Absorbent Ground. GOLDEN Airbrush Colors are the proper viscosity for staining and therefore, offer the most intense stains. Heavy Body, Matte, High Load, and Fluid Acrylics will all need to be thinned with water to make washes suitable to stain with. Fluid Acrylics are the best choice out of this group, since they are the thinnest to start with and require less water to thin to a wash consistency. Stains must be thin enough to be readily absorbed by the surface. For additional staining effects, dampening the surface with water before applying paint will increase absorbency. Very small amounts of GOLDEN Acrylic Flow Release may be added to the stain or water to create additional effects. If doing so, carefully follow the directions for Acrylic Flow Release, as overuse can cause problems with water sensitivity. Clean tools with soap and water.

Experimental
The following applications and techniques have not been fully tested and should be considered experimental. GOLDEN offers them for artists exploring these materials in innovative ways and for those who are interested in new possibilities and unique effects. Some of these ideas come from successful applications done by artists and GOLDEN welcomes any additions artists might have. To contact GOLDEN with your suggestions please email Technical Support at or techsupport@goldenpaints.com.

Because they are experimental, artists should fully test any procedure before using on anything important in order to work through any unforeseen problems and to make sure it meets their needs and expectations.

Watercolors
Watercolor paints work well when applied over GOLDEN Absorbent Ground and will retain all of their attributes, such as water solubility. The completed artwork can be mounted behind glass like traditional watercolor artwork, or sealed with an acrylic isolation coat and varnished. Care must be taken when applying the isolation coat as brushing over the watercolors will produce streaking. For best results the isolation coat should be lightly spray-applied and gradually built up until a non-porous film has been developed. An indication that this has been achieved is uniform gloss throughout the artwork.

GOLDEN Absorbent Ground can also be used on watercolor paper to block out unwanted marks or mistakes. Apply the properly diluted ground evenly to the desired area in thin layers until the area is sufficiently covered. Allow the coats to completely dry, and paint over in desired manner.

Oil Paint
While we do not recommend applying full-bodied oil paint directly onto GOLDEN Absorbent Ground, application of thin washes or glazes of oil paint is possible. When doing so, make sure to protect the substrate from oil penetration by applying a minimum of 4 coats of GOLDEN Acrylic Gesso directly to the support. DO NOT apply any initial sizing of GAC 100, GAC 400, or other acrylic mediums. Doing so may result in cracking of the subsequent layers of Absorbent Ground.

Always allow oil paints to fully cure before varnishing. Most authorities will recommend waiting 6 to 12 months, although check with the manufacturer of your paints for specific guidelines. Once cured, DO NOT apply an acrylic isolation coat. Instead, apply GOLDEN MSA Varnish w/UVLS or its aerosol version, GOLDEN Archival Varnish, directly to the painting. Always use at least one coat of Gloss varnish to completely seal the surface before switching to a Satin or Matte sheen if desired. Failure to do so may cause the final varnish to have a cloudy or frosted effect. NOTE: Due to the absorbent nature of the ground, complete removal of the varnish will be difficult.

Different Media Applications
Application of products such as inks, pastels, chalks, etc. is acceptable on Absorbent Ground. However, when attempting to seal the work, changes in the colors and surface qualities can occur and may constitute unacceptable changes for many artists. ALWAYS TEST ON TRIAL PIECES OR INCONSPICUOUS AREAS BEFORE FINAL USE ON ARTWORK. Water sensitive materials can also streak if an isolation coat is brushed over them. For this reason, GOLDEN recommends spraying very light layers of Airbrush Transparent Extender to initially seal the surface, working with low pressure, and then switching to a GAC 500/Airbrush Transparent Extender mix to progressively build up a thicker film.

ADDITIONAL INFORMATION

Sealing the Absorbent Ground Surface
The absorbent nature of Absorbent Ground mandates the need to properly seal the surface. After staining is complete, the surface must be sealed with a water-based acrylic polymer to prevent dirt, dust, oils or grease from becoming permanently embedded in the surface. This sealing coat is also recommended before applying thicker paints. Sealing the surface first will insure that subsequent paint layers form strong films with adequate adhesion.
To seal the surface, apply 2-3 coats of GOLDEN GAC 500 mixed 2:1 with GOLDEN Airbrush Transparent Extender for spray application, or GOLDEN Soft Gel (Gloss) thinned 2:1 with water for brushing. A final application of GOLDEN MSA Varnish w/UVLS, its aerosol version GOLDEN Archival Varnish, or GOLDEN Polymer Varnish w/UVLS (refer to GOLDEN Varnish Information Sheets for detailed varnishing instructions) is recommended for further protection.

Golden Acrylic Ground For Pastels 236ml - �11.85

rss@phpbasket.com — Wed, 22 May 2013 12:13:33 +0100

Acrylic Ground for Pastels can be used as a toothy, gritty ground for many different media, including:

Dry Media	Water-based Media	Oil-based Media
Soft Pastels	Water-Soluble Pastels	Oil Pastels
Graphite Pencils	Colored Pencils	Oil Sticks
Colored Chalks	Pastel Pencils	Paint Sticks
Charcoal	Wax Crayons	Ink Sticks
Powdered Charcoal	Watercolor Pencils	Pigment Sticks
	Acrylic Paints	Oil Paints

PRODUCT DESCRIPTION

GOLDEN Acrylic Ground for Pastels is a 100% acrylic medium designed to prepare surfaces for the application of pastels, charcoal and other art media where a coarse tooth is desired. It contains finely ground sand (silica) in a pure acrylic emulsion. Acrylic Ground for Pastels can be applied to paper, canvas, wood or any primed support. This allows almost limitless applications for media typically confined to standard papers.

PRODUCT APPLICATION

Thinning

Due to the weight of the solids in Acrylic Ground for Pastels, it is produced very thick, and does not come ready to brush-apply. Thin 20-40% with water to desired consistency. Application Apply with brush, paint-roller, spray equipment, squeegee or palette knife. Mix up only as much as is needed for one day's work, as the solids will settle rapidly and be extremely difficult to mix back into suspension.

Surface Preparation

* Non-absorbent surfaces should be abraded for increased adhesion. Prime with GOLDEN Gesso or other suitable primer (depending on substrate).

* Apply one or more coats of GOLDEN Acrylic Ground for Pastels to achieve desired tooth.

* On paper, use heavier weight stock to avoid buckling.

* Allow ground to fully dry before applying media.

INFORMATION

Use as a Ground For best surface adhesion, apply GOLDEN Acrylic Ground for Pastels over GOLDEN Gesso. It may also be applied over other GOLDEN acrylic mediums, gels, and paints for multi-media work. Note: When used in conjunction with oil-based media, prepare support (canvas, linen, masonite, etc.) with GAC 100 to block the oil from penetrating into the support, which can weaken or rot natural fibers. See GAC Specialty Acrylic Polymer Medium Information Sheet.

Use as a Transparent Gesso Like GOLDEN Matte Medium, Acrylic Ground for Pastels can be used as a transparent gesso. Both can be applied directly to substrates. The "toothy" quality helps media to adhere, yet allows the underlying layers to remain visible. Note: both products dry with a whitish translucency, and multiple applications respectively increase visibility. Test all applications prior to use.

Use as a Medium The textural quality of Acrylic Ground for Pastels is similar to other GOLDEN Gels including the Pumice Gels. The grit size lies somewhere between GOLDEN Fine and Coarse Pumice Gels.

Color Additions Acrylic Ground for Pastels can be blended with GOLDEN Acrylic Paints to achieve colored grounds. However, add minimal amounts of color since all additions of paint to Acrylic Ground will decrease the tooth. GOLDEN Airbrush Colors and Fluid Acrylics blend easily into the ground without thickening the product. High Load Acrylics have the highest pigment load and therefore provide the most color in the least amount of paint. Unless transparency is desired, select paints that are inherently opaque, such as the Pyrroles or earth colors. This will allow lower additions as well. Airbrushing thin layers of color after the ground has dried will give the strongest saturation of color to the ground without affecting the gritty surface.

Gel/Medium Additions Adding GOLDEN Fine Pumice Gel will lower the tooth; GOLDEN Coarse Pumice Gel will increase the tooth. Experiment for varied techniques. For unusual effects, also experiment with additions of GOLDEN Micaceous Iron Oxide, Black Mica Flake, Coarse Alumina Gel and other products.

Golden Acrylic Flow Release 236ml - �7.85

rss@phpbasket.com — Wed, 22 May 2013 12:13:33 +0100

Acrylic Flow Release GOLDEN Acrylic Flow Release is an additive used to reduce surface tension of the water in the acrylic emulsion, therefore increasing the slickness and flow of the paint. It is effective for achieving rich stains on a porous surface

PRODUCT DESCRIPTION

GOLDEN Acrylic Flow Release is a surfactant. A surfactant is a concentrated surface-active liquid which reduces surface tension, thus improving wetting and increasing the flow of acrylic waterborne paints.

A surfactant is used several ways in acrylic paint making. Surfactants are used to "wet out" pigments to ease their introduction into an acrylic resin, medium or gel. They can also be added to thinner paint mixtures, such as stains, to help reduce surface tension.

Acrylic Flow Release is very useful for staining techniques, as it dramatically reduces the surface tension between the stain (paint/water) and the support. Certain supports, especially raw canvas, are inherently water repelling in nature and require the use of such a surface-active agent to allow the stain to wet and penetrate into the support.

PRODUCT APPLICATION

Adding Acrylic Flow Release to Paint Mixtures

Always pre-dilute Acrylic Flow Release before adding to a paint mixture. This product is a very strong surfactant, and we recommend adding minimum amounts to a mixture and increasing levels gradually.

Minimum Dilution

Mix 1 part Acrylic Flow Release to 10-20 parts water. Use this mixture whenever adding the Flow Release into a paint system.
When painting on non-absorbent surfaces (not staining), do not exceed the level of 3% Acrylic Flow Release/water mix in the paint to minimize water sensitivity.
For staining applications on absorbent surfaces, higher levels of Flow Release may be used as it will be absorbed by the support.
Use Flow Release to pre-wet canvas or paper to increase the staining or spreading capabilities of the paint.

Staining

For stains¹, add 1 to 2 caps full of the 10:1/20:1 mixture per quart of paint/water mixture (stain).
Pre-wetting the canvas with water or a water/Acrylic Flow Release mixture will facilitate the penetration of the stain into the weave of the canvas.
For hardedge stains, incorporate the Acrylic Flow Release into the stain, but work on dry supports that have not been pre-wet.

Marbleizing² Additive
Acrylic Flow Release can be used to "balance" acrylic paints for marbleizing techniques. For a full description of this process, refer to the Marbleizing with GOLDEN Products Information Sheet.

ADDITIONAL INFORMATION

Foam Generation:

Shaking or rapid stirring will increase foaming of material and paint mixtures. To minimize foam, handle carefully.

Excessive Additions:

Excessive use of Acrylic Flow Release can cause water sensitivity of the paint film, result in film tackiness, or increase foaming tendency.

DEFINITIONS

¹Stain - Transparent or semitransparent solution of pigments in a liquid composed of thinner and binder.
²Marbleizing - Floating paints on thickened medium to produce intricate patterns.

Golden Retarder 236ml - �11.85

rss@phpbasket.com — Wed, 22 May 2013 12:13:33 +0100

GOLDEN Retarder is used to increase the drying time of acrylic paints, allowing more 'open' time to work. It is extremely useful for artists when working on areas of fine detail and for "wet in wet" artistic techniques. It also helps to avoid paint skinning over on the palette as you work.

Golden Acrylic Glazing Liquid (Satin) 236ml - �8.30

rss@phpbasket.com — Wed, 22 May 2013 12:13:33 +0100

Acrylic Glazing Liquid is a specially formulated liquid medium designed to have longer working time than typical acrylic mediums. Very useful for fine art applications where subtle blending, subtractive techniques and similar methods are desired. Also ideal for decorative painting techniques.

GOLDEN Acrylic Glazing Liquid is a slow-drying acrylic medium originally designed for interior decorative finishes. Because it is made with 100% pure acrylic water-based polymer emulsions, it can has many uses for fine artists. Glazing Liquid can be blended with housepaints and artist acrylic paints to create an incredible variety of color glazes

PRODUCT DESCRIPTION

GOLDEN Acrylic Glazing Liquid (AGL) is a 100% Acrylic, water-based emulsion, developed to be used with waterborne paint systems for interior glazing applications. Acrylic Glazing Liquid can be used for a wide variety of techniques, which require longer open times, including:

Wood Graining
Marbling
Trompe L'Oeil
Additive and Subtractive Techniques
Glazing

Fine Art Applications
Acrylic Glazing Liquid also proves useful in fine art glazing applications, such as mural and easel painting. Use this product in the same manner as an oil painter uses linseed oil and turpentine. Below is a list of possible uses of Acrylic Glazing Liquid techniques:

Slow drying color glazes.
Thinning medium for better brushability.
Pre-glazing before paint application.
Smoother wet-in-wet blending.

It is imperative that this product be used for thin layer applications. Thick layers of the Glazing Liquid, in excess of 1/16", will not dry properly, remaining tacky for extended periods of time.

PRODUCT APPLICATION

Mixing with Acrylic or Latex Paints:

This product can be mixed with any waterborne paint color to achieve the desired glaze. It has an open time of 30 to 45 minutes, depending on environmental conditions, and dries with excellent film clarity (see Recommendations below on how to maximize open times). Acrylic Glazing Liquid offers a safe alternative to solvent-based paint systems without forfeiting the working time that is required for creating intricate patterns. It is available in Gloss and Satin finishes.

Acrylic Glazing Liquid can be blended with paints in any desired amount. Adding small amounts (approx. 25%) to paints will increase brushability. Adding 1 part paint to 10 parts Acrylic Glazing Liquid produces transparent glazes with excellent open times.

Working Properties:

Open Time
Working Time is typically 30 to 45 minutes, depending on a number of factors. The nature of the technique used, whether additive (sponging, ragging on, etc.) or subtractive (stippling, ragging off, etc.), will vary the working time considerably. Environmental factors such as humidity, temperature, absorbency of surface and air circulation will all impact the amount of open time.

For decorative applications, work on walls with at least two coats of Semi-gloss house-paint for maximum working time (see increasing open time section below). This is vital when working on new wallboard, as the layers of semigloss paint will dramatically reduce the absorption of water and retarder in the Acrylic Glazing Liquid, resulting in a greater working time.

Coverage
AGL will cover 400-2,000 square feet per gallon for typical wall glazes, depending on techniques from brushing on to sponging.

Thinning
Brush or roller-applications should not require thinning, but Acrylic Glazing Liquid may be thinned with up to 20% water.

Film Formation Parameters
Minimum film formation temperature is 49oF/9oC. Avoid freezing. Do not mix with oils. Paint on any non-oily surface. Abrade nonabsorbent surfaces (metals, glass, plastics, oil-based paints, etc.) for increased adhesion.

Appearance
The product is milky white when wet, but dries with very good film clarity. In the wet state, colors will appear weaker and lighter. When mixing glazes, test the color strength by applying on paper to find out how opaque or transparent a mixture will appear when dry.

Clean-up
Clean tools with soap and water. Keep tools wet while working.

ADDITIONAL INFORMATION

Increasing Working (Open) Times:

Seal surface to be painted using a Satin or Gloss base paint. Matte paints, such as a flat house paint or artist's gesso, soak up the acrylic glazes too quickly, thus reducing working time. Sealing the surface, ideally with a gloss base, allows for maximum working time.
Any breeze flowing over the glazing surface will make acrylic glazes dry more quickly. To maximize the working time, cover or close vents or windows, which blow air directly across the surface. Once the technique has been completed, open windows and allow proper airflow.
Weather conditions greatly influence working times. Hot dry climates and direct sun exposure will reduce working time. Ideal conditions are cool, rainy, high humidity climates.
Applying a layer of the Acrylic Glazing Liquid to the surface before applying the colored glaze will increase the amount of working time.
A spritz of water to cool down and moisten the surface will increase open time. Also try lightly misting surface while working. This is especially useful for maintaining a wet edge. Use a horse or plant mister for best misting application.
Have paints and tools ready before starting. Keep them wet, out of direct sunlight and cool.
On large areas, apply the acrylic glaze in a jagged, "puzzle-piece" manner. Work towards the wet edge, leaving 3 to 6 inches unworked. Stipple, rag, etc. up to this unworked wet edge. To continue, work across the area by adding more wet glaze to fit into the wet edge "puzzle". This technique helps to break up the design so that it appears more natural.
Only apply glazes as far as you can reach. Try to work with another person when painting a large surface, such as a wall.
Upon completion, utilize conditions that speed up the drying process, such as breeze, higher temperatures and lower humidity.

Golden Polymer Medium (Gloss) 236ml - �11.00

rss@phpbasket.com — Wed, 22 May 2013 12:13:33 +0100

Polymer Medium (Gloss) - A general purpose liquid medium useful for creating glazes, extending colors, enhancing gloss and translucency and increasing film integrity. Has a unique feel that is much more oil-like or resinous in nature and that promotes flow and leveling.

Golden Matte Medium 236ml - �11.00

rss@phpbasket.com — Wed, 22 May 2013 12:13:33 +0100

GOLDEN Matte Mediums are pourable, 100% pure acrylic polymer mediums that have matting solids added to lower sheen. They can be used to extend paints, increase translucency, and decrease gloss. GOLDEN Fluid Matte Medium and regular Matte Medium can be used to lower the sheen of a high gloss product, but the blend will not result in a completely matte finish. To achieve a matte finish from a high gloss product, Super-Loaded Matte Medium should be added. Fluid Matte Medium and regular Matte Medium can also be used as translucent gesso

PRODUCT DESCRIPTIONS

GOLDEN Matte Medium
GOLDEN Matte Medium is a viscous, pourable acrylic medium useful for extending colors , increasing translucency and decreasing gloss. It is also useful as a translucent ground.

PRODUCT APPLICATION

Lowering Sheen
To lower the sheen of a paint color or another medium, begin by adding one of the matte mediums in increments of about 10% of the total volume. It is helpful to brush out each mixture, and let dry on a piece of paper to note the difference in sheen. With some experimenting, it will become easier to know how much of the matte medium is required to achieve the desired gloss.

If it seems that additions of the Fluid Matte Medium or Matte Medium are too great to achieve the desired result, and that other attributes of the mix, such as color intensity, opacity, or thickness, are affected, switch to the Super-Loaded Matte Medium, which should achieve the desired matte-ness with about a third of the addition of the other matte mediums.

Use as a Translucent Ground
Both Matte Medium and Fluid Matte Medium can be used as translucent grounds, sometimes referred to as "clear" gessoes. They are thin enough to penetrate canvas and other porous substrates easily, and the matting solids provide an adequate "tooth" for additional paint layers. In thin applications both products can appear quite translucent, while darkening the canvas to a small degree. The darkening effect, similar to a “wet look”, is somewhat more pronounced with the Matte Medium. Bear in mind that GOLDEN Gessoes will have excellent tooth, and are typically suggested for alkyd and oil paintings.

Apply the Matte Medium and Fluid Matte Medium in much the same manner as recommended for the application of a gesso layer. Apply one or more coats, keeping in mind that additional layers will gradually make a more opaque overall film.

Note: Applying a matte product over an absorbent surface may cause a "frosted" appearance. As the acrylic medium penetrates, the matting solids are left behind on the surface. Over highly absorbent dark passages, such as on top of canvas coated with GOLDEN Black Gesso, severe whitening may occur. This can be corrected by applying a coat of GOLDEN GAC 100 or Polymer Medium (Gloss) over the frosted area, which will once again encapsulate the matting solids, returning the transparent look. The frosting can be avoided by applying a coat of GAC 100 or Polymer Medium (Gloss) before a matte medium is applied. Liquid and low viscosity Matte Mediums should be gently stirred or shaken before use, as settling of matting solids can occur.

Blending With Paints and Other Mediums
It is acceptable to add any amount of a matte medium to GOLDEN Heavy Body, Fluid, or High Load Acrylics. They can also be added to GOLDEN Decorative Glazes and GOLDEN Gels and Mediums. Some caution is required with the Super-Loaded Matte Medium: too much of an addition may dramatically lighten a color, or if used alone, it may crack in thick applications. Super-Loaded Matte Medium blended with GOLDEN Fluid Acrylics allows artists to make their own color gessoes. Some experimenting will allow an artist to understand the limitations for their manner of application.

ADDITIONAL INFORMATION

Use as a Decoupage Glue:
GOLDEN Matte Medium has been used successfully as a decoupage glue by many collage artists. The fact that it has a very low sheen makes it ideal, as it does not impart a "plastic" gloss to the work. If the whiteness of multiple coats does become troublesome, blend in Polymer Medium (Gloss) to decrease the matting solid level.

Multiple Layers of Matte Mediums:
The application of several layers of a matte medium will become increasingly opaque and begin to lighten the colors underneath. Multiple layers can also impart a grayish cast due to the natural color of the matting solids if built up to an extreme. If an artist is using a matte medium as a glazing base for multiple glazes, they should consider using Polymer Medium (Gloss) instead for the best clarity. After the artwork is completed, a matte varnish can be applied to give a flat finish to the work. This will result in better film clarity because there is only one layer of matting solids to look through.

Use as a Temporary Varnish:
GOLDEN Artist Colors does not recommend using any insoluble acrylic as a final varnish. However, we do realize that artists may need to view an entire work in one sheen, before completion. The Polymer Medium (Gloss) or the Soft Gel (Gloss) thinned 2:1 with water works well to establish an even coat, or a temporary varnish. Instead of applying a matte medium over the piece, the artist can use a sheet of matte Mylar to apply it over to allow them to temporarily view it in the matte state, or create a test piece.

The artist runs a risk when they apply layers of matte products over their artwork to lower the overall sheen. If they apply a matte medium over the work and it is not to their liking because of the whiteness or opacity of the matte medium, there is little they can do to counteract it. Being insoluble when dry, they can potentially ruin the work. If a matte varnish is applied, such as GOLDEN Polymer Varnish (Matte) or MSA Varnish (Matte), given they have followed all application instructions and have applied an isolation coat, then the artist can remove the varnish and apply a satin or gloss varnish instead. Another reason to use a removable varnish instead of just an acrylic medium is that being removable, one can remove years of dirt and grime from a varnished piece, while it would take many hours of careful removal to clean an unvarnished work.

Golden Self Leveling Clear Gel 236ml - �11.00

rss@phpbasket.com — Wed, 22 May 2013 12:13:33 +0100

Golden Self Leveling Clear Gel - Designed to produce an even film with excellent clarity. The gel has a unique resinous, stringy consistency resulting from the leveling property. This product dries to a flexible, high gloss film, which can increase the transparency and sheen, while imparting a leveling quality to other GOLDEN Acrylic products. Blends with GOLDEN Acrylic colors to produce glazes.

PRODUCT DESCRIPTION

Self Leveling Gel is formulated with a 100% acrylic polymer emulsion. It has a unique resinous and stringy consistency which dries to a flexible, high gloss film. Milky white when wet, the Gel becomes transparent when dry.

Self-Leveling Clear Gel can be used to increase transparency and sheen of acrylic paints while imparting a leveling quality to other GOLDEN Acrylic products. It produces a film with excellent chemical, water, and ultraviolet resistance.

PRODUCT APPLICATION

Mix any quantity of Gel with GOLDEN Acrylic colors, gels or mediums. To thin, add water or GOLDEN Mediums. For slower drying, add GOLDEN Retarder.

Do not mix with oils. Paint on any non-oily surface. Non-absorbent surfaces should be abraded for increased adhesion. GOLDEN Acrylics dry quickly and may be painted over immediately, yet complete drying will take longer. Avoid freezing of the acrylics. Minimum film formation temperature is 48°F/9°C. Clean tools with soap and water. Keep tools wet during use.

Note: Supports commonly used by professional artists, including cotton canvas, linen and masonite, contain varying amounts of water-extractable materials. If the support is not properly sealed, these materials can cause noticeable discoloration in gels, glazes and transparent colors. This effect increases with film thickness.

236ml Pot