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Golden Product Information

GOLDEN ARTIST COLORS PRODUCT INFORMATION

To view short video's on golden products click here: www.youtube.com/GoldenPaints or www.goldenpaints.com/videos

Golden Artist Colors are American products of the highest quality. If you can't find the information you want below,  please contact me artist@alicewestart.com.au or visit www.goldenpaints.comwww.facebook.com/pages/Golden-Artist-Colors/143033784064, or www.langridgecolours.com.

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GOLDEN FLUIDS

  • Fluid Acrylic Colors
  • 85 Colors; Many Unique Pigments
  • No Matting Agents that Hinder Colour Brilliance
  • High Pigment Levels for Intense Colour Application
  • Lightfast; Permanent; Flexible Water-Based; Conforms to ASTM D 4236

Golden Fluid Acrylics offer the same color intensity as Heavy Body Acrylics but with an even, flowing characteristic useful for a variety of fine art techniques. They are highly intense, permanent acrylic colors with a consistency similar to heavy cream. Produced from lightfast pigments, not dyes, they offer very strong colors with very thin consistencies. No fillers or extenders are added. Unlike mixtures of heavy-bodied paints and water which produce weak color and films by dilution, Fluid Acrylics contain high pigment levels suspended in an acrylic polymer vehicle. The result offers fine dispersion, high tinting strength, durability, flexibility and good adhesion.

Golden Fluid Acrylics mix with extreme ease into Golden Gel Mediums & Molding Pastes, Mediums and Gessoes and have the most versatility of all the Golden paint ranges. When mixed with water, or Acrylic Flow Release, the Fluids are extremely effective for staining or watercolor techniques. Many artists enjoy the brilliance of colour with permanent film qualities for watercolour painting. The Fluids also are far more economical than traditional watercolours. Fluid Acrylics are ideal for spraying, brushing, staining, and can be mixed with virtually all other Golden Products. Blend with Airbrush Medium for spray application. Excellent for fabric application. For permanent laundering application, mix with GAC 400 or GAC900.

Fluid Acrylic Iridescent & Interference Colours Equivalent to the Heavy Body range of Iridescent & Interference colours. They offer highly reflective metallic variations when mixed with Golden colors. The Golden Iridescent colours achieve their reflective properties by synthetically reproducing natural phenomena of metals and minerals. Golden Interference Acrylic colors offer a unique "interference flip." When viewed from difference perspectives, Interference colors flip between a bright opalescent color and its complement. When applied over white or lighter surfaces, the Interference color is less obvious. When applied over black or darker surfaces, the Interference color is more obvious. Most Golden Interference colors are available in two varieties: Coarse and Fine. They offer artists a range of reflective properties and interplay with light. Interference colors are relatively transparent, allowing artists the ability to glaze with unique effects.

Golden Principal 10 Professional Fluid Acrylic Set Ten x 30 ml bottles This set o ffers a selection of 10 Golden Professional Fluid Acrylic Colors that are fundamental to the serious artist working with fluid viscosity acrylics. The Golden Principal Fluid set provides artists with a cost effective means to setting up a basic palette, capable of mixing a full range of hues, tints, and shades, that can later be supplemented with the wide selection of Fluid color offerings. Includes: Titanium White, Hansa Yellow Medium, Yellow Oxide, Pyrrole Red, Quinacridone Magenta, Ultramarine Blue, Phthalo Blue (Green Shade), Phthalo Green (Blue Shade), Burnt Sienna, Carbon Black, Fluid Application Guide.

GOLDE HEAVY BODY

  • No Matting Agents that hinder colour brilliance
  • High Pigment Levels for intense colour application
  • Lightfast; Permanent; Flexible Water-Based; Conforms to ASTM D 4236

Heavy Body colors contain no additives, such as matting agents, therefore the gloss of each color will be different. Golden decided not to add the flattening agents typically added to acrylic paints to unify the product's finish. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. Golden also decided not to add opacifiers to the colors (use of opacifiers is critical for coverage of house paints, yet it is also the reason that house colors tend to be quite subdued compared to professional artist colors). These decisions allowed the colors to retain their clearest and cleanest quality, especially when used in washes or glazes. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The HB line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of our pigments.

All Heavy Body acrylic tubes and tubs have hand-painted packaging. Actual hand-painted swatches on product packaging show artists the true visual qualities of the Golden paint including color brilliance, level of transparency or opacity and degree of surface reflectance: gloss, satin or matte. It is quite evident when looking at the handpainted color chart that colors in the HB line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers Golden can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing.

Heavy Body Acrylic Neutral Grays - N2 through N8. A series of achromatic grays that follow the Munsell Value Scale. They allow artists to adjust value and chroma without altering hue. Bone Black is recommended for neutral black (N1) and Titanium for neutral white (N10).

Heavy Body Acrylic Historical Colours - Golden Historical Colors are authentic recreations of paint colors that have been in use for hundreds of years and were considered essential to the working palettes of past masters. As the pigments originally used to produce these colors were found to be unsafe or vulnerable to the effects of light and weather, they had not been offered in a Golden line of pure pigment colors. Recognizing the popularity of these colors within some palettes, Golden has recreated these in a safe, reliable form, meeting the conservation requirements of fine artists. Great pains were taken to ensure the Golden Historical Colors shared the working properties of their predecessors.

Heavy Body Acrylic Iridescent & Interference Colors - The Golden Iridescent colours achieve their reflective properties by synthetically reproducing natural phenomena. Golden Interference Acrylic colors offer a unique "interference flip." When viewed from difference perspectives, Interference colors flip between a bright opalescent color and its complement. When applied over white or lighter surfaces, the Interference color is less obvious and the "flip" effect is more obvious. When applied over black or darker surfaces, the Interference color is more obvious and the "flip" effect is less obvious. Most Golden Interference colors are available in two varieties: Coarse and Fine. They offer artists a range of reflective properties and interplay with light. Interference colors are relatively transparent, allowing artists the ability to glaze with unique effects.

Golden Heavy Body Acrylic Introductory Set - Six x 22 ml tubes - This set of 6 Professional Golden Heavy Body Acrylics provides an excellent introduction into the working properties of a professional quality, purely pigmented, Heavy Body acrylic paint. Set includes: Napthol Red Light, Hansa Yellow Medium, Titanium White, Mars Black, Permanent Green Light, Ultramarine Blue.

 

HIGH FLOW ACRYLICS

A free-flowing acrylic paint line for use with drawing tools, airbrush and spraying, and pen & ink applications. The thin consistency allows for both highly detailed applications and large area gestural painting.

PRODUCT DESCRIPTION

GOLDEN High Flow Acrylics are:
  • A set of 49 colors, including Fluorescent and Iridescent Colors made with the same ingredients of other GOLDEN Artist Colors paint lines.
  • Formulated with 100% acrylic polymer dispersion, resulting in a durable paint layer with excellent water and chemical resistance.
  • Made with finely ground pigments to reduce clogging issues in small tips and nozzles.
  • Additives such as flow improvers, film levelers and retarders create a very thin and free-flowing paint.
  • Application use ranges from fine line-work to large passages on a variety of surfaces, such as paper, canvas, panel and other artist supports.

PRE-USE MIXING INSTRUCTIONS

  • Remove the safety seal
    1. Unscrew the cap
    2. Carefully peel off and discard the seal
    3. Securely re-attach the twist-top cap
  • Assure the paint is well-mixed prior to use
    NOTE: High Flow Acrylics are likely to have a degree of separation and soft settling when they are not being used. Before using, follow this procedure to assure a homogenous paint
    1. Assure the twist top cap is closed and secure prior to shaking the container
    2. If necessary, free up the mixing ball inside the container by carefully tapping the bottom edge against a hard surface
    3. Shake the container for 30 seconds or until the product is evenly mixed
    4. Some colors may require a longer mixing time than others due to pigment density
    5. Re-shake the bottle after long periods of time or whenever there are signs of settling

APPLICATION

GOLDEN High Flow Acrylics (HFAs) are professional artist grade acrylic paints. HFAs may be used whenever a thin paint is required. This Product Information Sheet provides some general suggestions and starting points for specific applications, but each artist will develop their own methods and processes as needed

  • General Thinning Instructions: Thinning is readily accomplished by simply adding water. Adding over 20% water begins to change other properties. Using a blend of Airbrush Transparent Extender and water can thin the paint and maintain the paint’s integrity. Adding only Airbrush Transparent Extender increases transparency and lowering the pigment amount but does not think the High Flow Acrylics.
  • Blends with other GOLDEN Products:
    NOTE: HFAs contain retarders which alter the drying times of a mixture; thicker paint layers may remain tacky for long periods of time.
    GOLDEN HFAs are compatible with most GOLDEN Artist Colors" paints and mediums. They can be added to GOLDEN Heavy Body Acrylics or GOLDEN Fluid Acrylics to thin the paint without a loss of pigment or film strength. Extend HFAs with GOLDEN Airbrush Transparent Extender as needed. Adding high levels of water are acceptable 
    • when doing color stains on absorbent surfaces but additional layers of acrylic medium applied afterword may be required for long term durability.
    • Use as colorant/tint: As with any GOLDEN paint, HFAs may be used to add color to gels, mediums and pastes. They blend readily with thinner mediums, such as GOLDEN Acrylic Glazing Liquid, or GOLDEN Polymer Medium (Gloss).

    Paint Sensitivity Timelines: The HFAs may require additional time to dry before applying other paints or mediums over them, especially if those materials contain retarders. Allow for HFAs to dry sufficiently to avoid sensitivity issues. In most applications the waiting period is several minutes.

    Isolation Coats and Varnishing: Allow 12-24 hours for the HFA layers to dry before applying isolation coats or varnish layers. Some colors, such as the Fluorescent Colors, can take longer to fully cure than others. Test the process to identify the amount of time to wait for drying or which mediums can be more problematic than others.

    SUBSTRATES

    HFAs absorb readily and spread freely. They are influenced by gravity, much like working with watercolors. In some cases, switching or modifying the surface before painting can greatly alter how the paints behave.

    • Absorbent Substrates: When working on absorbent surfaces like watercolor paper, thin layers of HFAs lose their paint sensitivity very quickly and may be painted over within several minutes without concern of lifting.
    • Non-Porous Substrates: When working on non-absorbent surfaces such as acrylic sheeting (PlexiGlass®, Acrylite®, etc.), Mylar®, and Duralar®, the HFAs may be applied without a primer. It is important to remove contaminants like fingerprint oils and release agents, and test each substrate prior to use. Because HFAs and other paints take longer to dry on non-porous substrates, some thin mediums and paint layers may crawland not lay evenly on recently applied paint layers.

    GENERAL PAINTING SUGGESTIONS

    Brushes: Both natural and synthetic brushes may be used with HFAs. Fine detail brushes work exceptionally well with these paints and can produce long consistent lines. Color wash brushes intended for watermedia applications or watercolor techniques are suitable as well. Coarse bristle brushes generate more foam bubbles due to their rougher feel especially on textural surfaces.

    • Glazing: When it is important to maintain the consistency of HFAs use GOLDEN Airbrush Transparent Extender. Other GOLDEN Mediums may be used to extend the HFAs but they will change the consistency of the paint.
    • Water Media Techniques: HFAs produce intense color washes due to their high pigment load. They can be modified as needed with water when working on paper and other absorbent surfaces. Over thinning with water can create sensitive paint layers, especially when used on non-absorbent surfaces.
    • Canvas Stains: Large areas of color can be created without any need for additional thinning with water or additives. Adding high levels of water increases the surface tension, reducing the ability of the color to absorb into the raw canvas. Add GOLDEN Acrylic Flow Release (as directed) to improve the staining ability.
    • Pours: HFAs are well suited for use on large areas, where the thin consistency allows for free flowing color layers. The pigment size and intensity varies between each color. Denser, larger pigment particles settle more rapidly than smaller particles.
    • Wet into Wet: The thin feel and slow drying nature allows HFAs to readily spread across wet surfaces or paint layers. Different kinds of acrylic gels and mediums can alter the behavior, as well as different paint colors will produce different patterns and spread rates.

    AIRBRUSH & SPRAYING

    HFAs spray very well through airbrushes with minimal clogging. Some pigments are not well suited for use in airbrushes with small nozzles and fine tips, so refer to the reference chart. Due to pigment particle differences, some colors will spray better than others (see table below.) If thinning is required, add small amounts of water into the paint. When a high degree of extending is required, use the GOLDEN Airbrush Transparent Extender.

Preval sprayers, pump sprayers or other spray equipment not designed for good atomization are likely to produce uneven, slower drying results. Mouth Atomizers are NOT recommended.

  • Spray Equipment: The thin viscosity allows for spraying straight out of the container without the need for mediums or modifiers. Smaller airbrushes can be sprayed at 25-50 p.s.i. Larger spray equipment should be sprayed in the lower end of the equipment"s recommendations to reduce overspray. HVLP Systems may be used with this paint line, although the nozzle sizes should be smaller, such as 1.4mm to avoid over atomizationof spray which can result in a rougher, chalky paint surface.
  • Masking & Frisket Use: HFAs have excellent resistance to pull-upwhen removing frisket or tape. When masking, allow underlying paint layers to dry at least 5 minutes or longer depending on paint thickness and drying conditions. Force-drying when masking should be done very cautiously as it can cause the masking films to bubble, warp, or the adhesives to increase their grab to the paint surface. Use hair driers with low air speed and cool temperature settings.

    Some low-tack masking films will not adhere sufficiently to the surface of the HFAs. Due to the variety of brands and versions, it is important to test the performance of each frisket and tape to reduce the chance of improper adhesion. Low tack films are prone to lifting during spraying, and high tack films and tapes may pull paint up during removal or repositioning.

  • HFAs Replace the Discontinued GOLDEN Airbrush Colors: The GOLDEN Airbrush Color Paint line wasdiscontinued in2013. The HFAs offer a larger range of color choice, but there are some differences between the two paint lines regarding spraying.
    • 49 colors offered in HFA.
    • No Opaquenaming convention in the HFAs. There will be Transparentcolors but in HFA"s the full strength colors of the same name will have the same coverage as their Airbrush Color counterpart.
    • Harder, more durable paint film. HFA"s are less sensitive after dry than Airbrush Colors.
    • Slightly thicker paint formula. Add small amounts of water to thin as needed.

    The HFAs are a larger range of color choices compared to the GOLDEN Airbrush Colors paints, but some previous colors are not carried over into the new paint line.

PEN & INK APPLICATIONS

The low viscosity of HFAs allow for use in a large variety of pens. However, because of the range of pigments used in this paint line, some paint colors may perform better than others in different style nibs and tips.

  • Pen Size Selection for Cartridge Pens: Although colors will behave differently depending on their colorant size and shape, very fine line nozzles (.35mm or smaller) are highly prone to clogging and should be avoided. Fluorescent and Iridescent particles are especially likely to clog fountain and technical pens. It is not recommended to leave HFA"s in pens after use.
  • Thinning HFAs for use in Calligraphy and Dip Pens: Many High Flow Acrylics work well in dip pens straight from the bottle but if a color needs thinning, start by simply adding small amounts of water.If adding water doesn’t satisfactorily improve the flow, premix a blend of water and GOLDEN Airbrush Medium (3 parts water to 2 parts Airbrush Medium) and add into the paint as needed.

  • IMPORTANT: ALWAYS FOLLOW TOOL MANUFACTURER"S INSTRUCTIONS FOR PROPER CARE AND CLEANING OF PENS AND NIBS. Using HFAs or any paint/ink not recommended may void a manufacturer"s warranty.

TOOL SELECTION QUICK REFERENCE CHART

NOTE: All High Flow Acrylics NOT listed below worked well for both airbrush and technical pens of all sizes.

ADDITIONAL USES

  • Automotive: HFAs can be used for custom automotive painting with proper surface preparation and top-coating. The underlying paint layers and topcoat should be intended for automotive applications. The surface should be clean of finger oils and dust, and scuffed sufficiently to allow for proper adhesion. The acrylic paint layers do not need additional sanding in order for the topcoat to adhere. However, allow enough time for the water, retarders and other additives to leave the film prior to clear-coating.
  • Exterior Signage/Murals: Any paint color listed in the GOLDEN Application sheet Painting Exterior Muralsmay be used for outdoor applications. Guidelines for preparation and varnishing are similar to when using other GOLDEN paint lines.
  • Wood Staining: The HFAs are suitable for staining wood used for fine art and decorative applications. The pigments offer a wide range of color stain possibilities as well as more opaque layers. Review the GOLDEN Application sheet Woodstaining Objects with GOLDEN Acrylicsfor more information on this application.
  • Fabric/Textile: When blended with GOLDEN GAC 900 or GOLDEN Silkscreen Fabric Gel (heat-settable mediums designed to improve launderability and softness of hand. Start with 1:1 ratios of paint to GAC 900/Silkscreen Fabric Gel, and adjust as needed. Follow the GOLDEN Application Sheet GOLDEN Acrylics on Fabricsfor further guidance.

STORAGE and CLEANUP INSTRUCTIONS

  • Always close the caps when the paint is not in use. Store acrylic paints in an area where excessive heat and freezing temperatures are minimized.
  • Clean tools with soapy water immediately after use and avoid allowing paint to dry in brushes or other tools. Dried paint films on tools may require the use of paint cleaners designed for use with acrylics.
  • Some pen and airbrush manufactures specify specific cleaners and methods for proper care of their tools. ALWAYS FOLLOW TOOL MANUFACTURER"S INSTRUCTIONS FOR PROPER CARE AND CLEANING OF PENS AND NIBS. The use of any paint other than the recommended inks may void a manufacturer"s warranty.

Disclaimer

The above information is based on research and testing done by Golden Artist Colors, Inc., and is provided as a basis for understanding the potential uses of the products mentioned. Due to the numerous variables in methods, materials and conditions of producing art, Golden Artist Colors, Inc. cannot be sure the product will be right for you. Therefore, we urge product users to test each application to ensure all individual project requirements are met. While we believe the above information is accurate, WE MAKE NO EXPRESS OR IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, and we shall in no event be liable for any damages (indirect, consequential, or otherwise) that may occur as a result of a product application.

GOLDEN OPEN ACRYLICS

  • 40 Colours; Many Unique Pigments
  • No Matting Agents that hinder colour brilliance
  • High Pigment Levels for intense colour application
  • Lightfast; Permanent; Flexible
  • Water-Based; Conforms to ASTM D 4236

OPEN Acrylics is a new line of colours for professional artists designed with a unique set of working properties that represent a true departure from all other acrylics on the market and that dramatically expand the range of techniques that are available to artists. 

OPEN Acrylic Colours are formulated with an optimum balance of pigment load and 100% acrylic polymer dispersion to produce a paint with a uniquely relaxed set of working characteristics and a versatility that allows artists to explore a wider range of techniques such as portraiture and landscape painting that rely on softening, shading, glazing, and creating fine detail.

OPEN Acrylics remain wet on the palette for prolonged periods without skinning over and can be blended with most GOLDEN Acrylics, Mediums and Gels, with the open time of the resulting mixtures being proportionately reduced. To maintain the maximum working time of OPEN Acrylics, use OPEN Gel, Medium and Thinner. Using With GOLDEN Acrylic Colours, Gels and Mediums OPEN Gel and Medium may be mixed in any ratio with nearly the full range of GOLDEN Acrylic Colours, Gels, Pastes, and Mediums. Resulting drying time will be dependent on the ratio.

Mixtures with standard acrylic products should follow the same guidelines as OPEN Acrylics and Mediums, including keeping applications thin. See our Product Information Sheet on OPEN Acrylic Colours for more information. There are also major advantages to be gained by using these two systems together. GOLDEN Acrylics, Gels, Pastes and Mediums are perfect for creating faster drying underpaintings and textures, which can then be overpainted with OPEN Acrylics, taking advantage of their optimal working time to achieve smoother blended passages, glazes, nuanced edges, and a host of other effects.

Rewetting OPEN Acrylic Colours - OPEN Acrylics can be reactivated for many hours after initial application, allowing for extended periods when multiple layers can be worked and blended into each other. To reopen films before they have fully ‘locked down’ apply OPEN Gel or Medium directly to the paint film, brushing back and forth until the paint has been reconstituted. Even after OPEN paint films have initially set up and become tacky, they can still be reactivated, although more extended or vigorous brushing might be required. Using OPEN Gel or Medium for this process will help maintain film integrity and provide maximum working time. While water and OPEN Thinner are also usable, they are very aggressive at reactivating OPEN paint films and should be used sparingly to prevent partially dried films from lifting altogether.

To avoid reactivating underlying paint films, use a light touch when painting over recently worked areas. If one’s methods require more substantial protection, wait for these layers to lock down, which can take several hours or even days depending on application thickness and environmental conditions. To more quickly isolate layers from potential reactivation by subsequent applications, apply a thin, faster drying coating such as GAC 500, Fluid Matte Medium, or our standard isolation coat recipe of Soft Gel (Gloss) thinned 2 parts gel to 1 part water. However, as mentioned earlier, this will potentially slow the timeline for the development of full inter-coat adhesion.

The “Sweet Spot” - Unlike traditional acrylics, OPEN Acrylics undergo an extended period without skinning over that allows its tactile qualities to pass through distinct stages, the initial ‘slippery’ and oily feel becoming gradually more pully and stiff. Along this gradient many painters will find what is often termed a ‘sweet spot’ that suites their particular technique. Indeed, once this sweet spot is located, one can eventually control and maintain those qualities both on the palette and on the surface of the painting itself. While this is something that oil painters have long enjoyed, acrylic painters will find this a unique and wonderful opportunity to further control the textures and effects one can employ.

GOLDEN MEDIUMS

Golden Artist Colors have a huge range of innovative mediums that help you think outside the square! Golden Mediums and additives offer artists infinate control of changing acrylic colours. Use Mediums to control transperancy, viscosity, and surface sheen. Use additives to control the paints working properties. Because there are so many mediums to choose from, an artist first needs to determine which characteristics they are wanting to change. Polymer Medium is a liquid useful for creating glazes, extending colours, enhancing gloss and transluscency and increasing film integrity. Matte Medium offers similar attributes as Polymer Medium but decreases the gloss. It is also useful as a clear ground on canvas, as an alternative to gesso. Fluid Matte Medium is speciffically formulated to work with Golden Fluid Acrylics. Acrylic Glazing Liquid extends working time, allowing decorative artists the ability to create faux finishes normally associated with oil colours. Fine artists use it for creating slow drying glazes and blending colour. Silkscreen medium is designed to mix with acrylic colours for silkscreen application. It increases the working time and retards paint from drying in the screen. Not recommended for fabric that will be laundered. However GAC 900 is suitable for clothing artists.

GOLDEN VARNISHES

Polymer Varnish w/UVLS (Gloss, Satin, Matte) Golden Polymer Varnish with UVLS (Ultra Violet Light Stabilizers) is a water-based acrylic polymer varnish formulated to provide additional protection from ultraviolet radiation. 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. 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.

MSA Varnish w/UVLS (Gloss, Satin, Matte) Golden Mineral Spirit Acrylic Varnishes with UVLS (Ultra Violet Light stabilizers) dry to a tough, yet flexible protective finish. The UVLS system provides increased resistance to the harmful effects of ultraviolet radiation, making the product suitable for exterior as well as interior application. For restoration purposes, the varnish may be removed with mineral spirits or turpentine. MSA Varnish can be used over a wide variety of paints, including acrylic, oil, alkyd, egg tempera, watercolour, and casein. As a topcoat for acrylics, it provides a harder, lower tack surface that is much less susceptible to dirt and is mar resistant.

*NOTE - MSA Varnishes are available by special order only as they are a flammable liquid and cost more to post. Please contact us for a quote.

GOLDEN GELS AND GROUNDS

Golden Gel Mediums & Molding Pastes offer artists many ways to build texture. They range in consistency from pourable to mouldable with varying degrees of sheen and transparency. Use them to create glazes, extend paints, build texture, and change finishes. Many are excellent glues for collage work. Even though acrylic colours are offered in various different consistencies and finishes, the use of gels and molding pastes in conjunction with such colours will broaden the working properties and expand on the possible results.

Gels can be thought of as colourless paints, as they are composed of similar polymers as are the acrylic paints. They may be considered the "glue" or binder that dry to form continuous, durable films. They are made of 100% acrylic polymers, which have proven to have excellent flexibility and chemical, water and ultraviolet radiation resistance. Pastes contain Marble Dust or Diatomatious Earth, clays or other fillers resulting in a white or clay-tone finish. Different pastes have been formulated to contain specific properties. See each description for further information.

Gesso & Black Gesso is a flexible, ready-to-use ground that prepares the surface of a substrate to accept paints and provides tooth to promote paint adhesion. It comes ready-to-use, but can be mixed with water for thinner application.

GOLDEN VARNISHES

Polymer Varnish w/UVLS (Gloss, Satin, Matte) Golden Polymer Varnish with UVLS (Ultra Violet Light Stabilizers) is a water-based acrylic polymer varnish formulated to provide additional protection from ultraviolet radiation. 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. 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.

MSA Varnish w/UVLS (Gloss, Satin, Matte) Golden Mineral Spirit Acrylic Varnishes with UVLS (Ultra Violet Light stabilizers) dry to a tough, yet flexible protective finish. The UVLS system provides increased resistance to the harmful effects of ultraviolet radiation, making the product suitable for exterior as well as interior application. For restoration purposes, the varnish may be removed with mineral spirits or turpentine. MSA Varnish can be used over a wide variety of paints, including acrylic, oil, alkyd, egg tempera, watercolour, and casein. As a topcoat for acrylics, it provides a harder, lower tack surface that is much less susceptible to dirt and is mar resistant.

*NOTE - MSA Varnishes are available by special order only as they are a flammable liquid and cost more to post. Please contact us for a quote.

Golden Artist Colors are American products of the highest quality. For more information on Golden products please contact me artist@alicewestart.com.au or visit www.goldenpaints.com, www.facebook.com/pages/Golden-Artist-Colors/143033784064, or www.langridgecolours.com.