Sep. 02, 2024
Chemicals
There's a lot to learn about art supplies! Through this series of articles, our aim is to provide fundamental information to help you find the art supplies that best fit your goals.
With competitive price and timely delivery, HAOZE sincerely hope to be your supplier and partner.
In this edition, we'll be covering how to choose acrylic paints.
Acrylic paints were developed in the &#;s as a painting medium that combined the properties of watermedia and oil painting.
They are a versatile medium that can be painted on virtually any non-greasy surface like paper, primed or unprimed canvas, and masonite board.
Acrylics can be used with wet techniques, can be applied thickly without cracking, and are great for applying multiple layers quickly. They are water-soluble, flexible, permanent and will not yellow with age.
Acrylic paint consists of pigments suspended in an acrylic polymer emulsion. They are a quick-drying paint, depending on the thickness of their application. The viscosity of the paint varies depending upon the manufacturer and the forms they are produced in.
There are a few common forms of acrylic paints. The name for each form may vary per brand, but they tend to fall in similar categories across the board.
Opus Essential Heavy Body Acrylics
Heavy body acrylics are high viscosity paints that provide a thick and buttery consistency. Great for multiple layers of application.
Liquitex Soft Body Acrylics
Fluid acrylics are low viscosity acrylics that have the consistency of heavy cream. They can be washed on, brushed, poured, applied as a stain, or sprayed. They are self-levelling which enables them to dry flat with minimal brush marks.
Liquitex Acrylic Inks
Liquid acrylics are ultra-low viscosity paints that provides full colour intensity while remaining transparent. These are often also called acrylic inks. They can be applied with a brush or directly out of the bottle. These liquid acrylics are suited for fine detail work when added to refillable markers and pens, and are also perfect for airbrushing.
The viscosity of any acrylic paint can be altered with the use of acrylic mediums and glazing liquids. It is ideal to start with the viscosity of paint closest to what you are looking for. Fluid or liquid acrylics when you need a lower viscosity paint, Heavy Body paints for a higher viscosity.
When thinning heavy body acrylics with water, they should not be thinned down more than 50 percent as, once diluted, the paint&#;s adhesive properties are weakened.
That said, adding water to thin down heavy-bodied acrylics is generally not advised. Instead, acrylic mediums and glazing liquids can be used to ensure that the adhesive properties of the polymer remain intact.
Golden Molding Paste can help create heavy textures.
Professional (Artist) and Economy (Student) grade acrylic paints use the same binder or acrylic emulsion to suspend the pigment. What differs between these grades of paints are the pigment load and use of fillers.
Professional acrylic colours contain both synthetic and genuine pigments of the best quality to ensure rich colours and permanency. They also contain a much higher load of pigment than economy paints which results in better coverage and density of colour. Some professional grade colours will tolerate a higher pigment load than others due to the size of the pigment molecules. As a result, these colours tend to dry more opaque and with a matte finish. The artist grade colours that have a slightly lower pigment load dry to a glossy finish and tend to be more transparent.
Economy paints are formulated to keep the price low for the beginning artist. The most effective way to do this is by reducing the amount of pigment that you would find in a professional paint by about half, and/or using a synthetic hue instead of a genuine colour. With less pigment overall, the bulk of the paint is made up by additives such as fillers or stabilizers, meaning the colours strength will be lessened and the use of more paint will be needed.
The most noticeable differences between the two are the drying times and appearance of colour.
Oil paints dry much slower than acrylics and although retardants and atomizers can be used to slow down their drying time, acrylics have their own distinct working properties. Golden OPEN Acrylics are unique paints that eliminate some of the working differences between the two, primarily drying time.
In terms of colour, linseed oil molecules are much smaller than acrylic polymers, enabling oil paints to carry a heavier concentration of pigment. This results in a noticeable difference in the way colour appears when dry. Linseed oil is transparent, both when wet and dry, which means that the appearance of the colour when first applied will be the same when it dries.
Acrylic colour, on the other hand, appears lighter when wet because the polymer which carries the pigment is milky and translucent. When the paint dries the emulsion becomes clear and thus the pigment is seen more clearly and appears to be darker.
These differences do not indicate that one medium is better than the other, instead they just illustrate that oil and acrylics behave differently.
Although acrylic paint formulas are generally the same, they do contain different additives. Since acrylics contain water, they need a preservative such as ammonia or formaldehyde to prevent mould. Thus, these paints are not considered non-toxic and should still be used in a well-ventilated area. Economy paints like Chromacryl and LIQUITEX Basics are considered non-toxic as they do not contain the same toxic preservatives.
Related links:If you are looking for more details, kindly visit Acrylic Polymer Emulsion for Cotton Fabrics.
Acrylics also include surfactants that enables them to disperse in water, defoaming agents to reduce the foam the surfactants produce, and wetting agents to increase pigment flow. Consequently, some qualities of paints may not work well with others. Acrylic painting is a comparatively new medium and the long term effects of combining different brands is unknown. If you are going to mix different paints be sure to test them first and to use brands of comparable quality.
Liquid acrylics have a smooth consistency and high pigment load which makes them ideal for use with airbrushing. They offer a wide colour selection, are permanent and flexible, and are easy to thin with either water or air brush mediums for a sprayable consistency.
When airbrushing onto a porous surface such as absorbent paper or unsized cloth it is best to thin acrylics with water. A porous surface will absorb the thinned acrylic and allow it to permanently surround and thus stain the fibres of the support. Add up to 50% water and mix thoroughly, to facilitate the flow through the airbrush.
Different colours will require more or less water depending upon the pigment load or concentration. When air brushing onto a non-porous surface or primed canvas it is better to thin with an air brush medium to ensure with an air brush medium to ensure that the paint adheres to the painting surface.
Acrylics can be used on virtually any fabric including cotton, cotton/poly blends, woven, felt, terry cloth, silk, velvet, corduroy and flannel. The wide variety of colours and availability of opaque to translucent paints allows the artist to achieve varied results. Acrylics dry as a result of the evaporation of moisture, so no heat setting, steaming or chemical fixing is needed for permanency.
We strongly recommend testing fabric to ensure the compatibility of the fabric and your technique. It is important to pre-wash new fabrics to remove all sizing which might otherwise interfere with the adhesion of the paint and to take care of any initial shrinkage of the fabric. Also, remember to protect the surface under your fabric by placing cardboard, plastic or wax paper on the surface or against the back of the fabric. This will help to ensure that the fabric does not stick to your working surface or to another piece of the fabric, as in the case of t-shirts.
Fluid acrylic colours are great for lightweight or textured fabrics, while heavy-bodied paints are excellent for heavier fabrics or for thicker impasto techniques. If fluid acrylics are unavailable, thinning the heavy-bodied paint with a medium will reduce its stiffness and increase flexibility so that it works with the fabric like a fluid paint. If you wish to use acrylic paints for silk screening techniques on fabric be sure to mix your paints with a silk screening medium so that the paint does not dry permanently on the screen.
Professional quality acrylics are one of the most durable watersoluble paints available. These paints have been proven to last for many years under a variety of conditions when applied properly. Acrylics are chemically alkaline and are compatible with such common mural grounds as concrete, plaster, cement and concrete block. As well, acrylics contain no toxic solvents, nor require toxic cleaners, and they mix with water. They dry quickly to a permanent waterinsoluble finish.
Economy quality acrylics are not recommended for mural painting as their colours are less permanent and the paint film is not as durable. All mural painting surfaces must be prepared and clean of any dirt or grease before painting.
Marbling with acrylic colours is one of our staff and customer favourites. By using a marbling medium, acrylic paints and a bath of kelgin and water, you can marble objects such as paper and fabric. See our handout &#;Marbling on Paper with Opus&#; for further information on this application of acrylic paints.
When using ready-made or personalized stencils, acrylic paint can be applied with a foam dabber, rag or stencil brush. To keep your lines clean use the paint straight from the tube or jar. Do not thin the paint as it may to spread and bleed under the stencil.
Applications. Use the information below to select the proper paint system for your desired application method.
The four lines of GOLDEN Acrylics of interest to fabric artists include: High Flow, Fluid Acrylics, Heavy Body, and Matte Colors. The main difference between each of these lines of acrylic colors is viscosity (thickness) or consistency. High Flow Acrylic Colors are the thinnest and are ready to spray. Fluid Colors are similar in consistency to a heavy cream. Heavy Body and Matte Acrylics are thick, with a buttery consistency. These various acrylic paint lines, each using the same lightfast pigments, allow the artist to combine the effects of spraying, staining, brushing and other application techniques.
GOLDEN Heavy Body (including Iridescent and Interference Colors), Matte, Fluorescent, and Fluid Acrylics are appropriate for hand brushing techniques and heat-setting is not required. To provide a softer hand1, which also prevents cracking in thicker passages, blend 1:1 with GAC 900 or GOLDEN Silk-screen Fabric Gel (for thicker paint applications). The GAC 900 and the Silk-screen Fabric Gel contain a special polymer additive that is designed to impart a softer hand, while offering excellent launderability 2 when properly heat-set (see directions below)
For best results, blend GOLDEN Fluid Acrylics with GOLDEN Airbrush Medium. Start with a 1:1 mixing ratio, and increase amount of GOLDEN Airbrush Medium as desired to increase sprayability and/or transparency. When artwork is complete, spray a thin coat of GAC 900 for least color loss. Airbrush Medium can also be substituted with GAC 900 if a softer hand is desired (follow heat-set directions below). GAC 900 is thin enough to help with making the Fluid Acrylics sprayable much like the Airbrush Medium. For durability and washability in a spray application, these are the recommended systems, and will perform significantly better than GOLDEN High Flow Acrylics alone.
GOLDEN Fluids blended with GOLDEN Airbrush Medium do not require heat-setting for launderability, yet equal the performance of fabric paints that do. If an artist already possesses Fluid Acrylics for canvas painting, it is not necessary to purchase fabric paints in order to do fabric painting; they just need to get GAC 900. Allow for garments to cure for at least 4 days prior to washing (Note: heat-setting will speed the curing time required and should increase the launderability).
GOLDEN Heavy Body, Matte, Iridescent, Interference and Fluorescent Colors can also be sprayed onto fabric; however, their thicker viscosities warrant more dilution with GOLDEN Airbrush Medium which yields weak, transparent coverage.
Although not recommended for fabric use, GOLDEN High Flow Acrylics may be blended 1:1 or more with the GAC900 to aid in washfastness (properly heat-set according to directions listed below). This blend, although better than GOLDEN High Flow Acrylics alone, is still not equal to the launderability performance of the Fluid Acrylics/Airbrush Medium mixture.
Areas containing soft spray applications such as gradated areas, shading, and any skylines should be sprayed with a light coat of GAC 900 to increase launderability.
The viscosity of GOLDEN High Flow Acrylics is ideal for tie-dye and staining applications. Pre-wetting the fabric with water and using the GOLDEN High Flow Acrylics in place of fiber-reactive dyes creates brilliant patterns. Adding GOLDEN Acrylic Flow Release can also help the paint penetrate into the fabric (follow directions on label). To increase the launderability, blend the GOLDEN High Flow Acrylics 1:1 with GAC 900. After applying the paint to the fabric, wait for it to be completely dry before heat-setting or washing. This will maximize the amount of color that "sets" 3 into the fabric. If GAC900 is blended with the acrylic paints, follow the directions for heat-setting below. GOLDEN Fluid Acrylics may also be used for this technique, but will require the addition of water to thin to the proper viscosity, along with the GAC900 to increase the launderability.
GOLDEN Heavy Body, Matte, Fluorescent, or Fluid Colors blended 1:1 with GAC900 or Silk-Screen Fabric Gel produce silk-screen inks with excellent durability on fabric. The mixture used is dependent on two factors: the material to be printed and personal preference of paint consistency. (Refer to GOLDEN Information Sheet on the Silk-Screen Fabric Gel for the most complete information on this technique).
If screening onto heavy, cotton material, a thinner mixture of Fluid Colors and GAC900 may be desired, as its thin consistency helps to penetrate into material. If printing on a polyester or synthetic material, a pastier mixture of Heavy Body Acrylics and Silk-Screen Fabric Gel will work better due to a lower tendency of the ink to "bleed" 4 into the material. Some experimentation is needed to find the system that is best suited for your work.
Both GAC900 and Silk-Screen Fabric Gel impart softness of hand, while offering excellent launderability. Proper heat-setting is required for both products (see below for heat-setting instructions).
Proper product selection, heat-setting, and care ensure long garment life.
Filling in large areas with thick paint will produce a very stiff, uncomfortable garment. Blend color with GAC 900/Silk-Screen Fabric Gel to reduce the stiffness of the acrylic paint. If painting in a thick manner, short strokes of paint will hold better than long lines. The longer the line, the greater the chance of cracking when washed. A washing machine"s agitator may stretch the garment beyond its limit and thus cause cracking.
Test materials thoroughly before large production runs or when using a unique fabric.
The looser the weave of the fabric (cotton/poly blends), the better the penetration and hold the paint will have on the material.
Thicker fabrics (sweatshirt-type weaves) should be slightly stretched with a backer-board to allow for better penetration of the paint into the material.
To increase the adhesion onto any fabric a very light misting of water (e.g.-with a plant-mister) will increase the penetration into the material. Care should be taken with this technique, as over applying the water could result in bleeding of the color.
The heat-setting process will release low levels of formaldehyde; therefore adequate ventilation is recommended when heat setting.
Fabrics treated with GAC 900/Silk-Screen Fabric Gel-modified paints must be heat set if maximum launderability is necessary. Products conform to ASTM D. All GOLDEN products should be used in accordance with safe handling practices. Read product labels prior to use. The polymer must first air dry to the touch to form the initial bond with the fabric, followed by one of the heat-set methods listed below:
GOLDEN Artist Colors Acrylics are professional artist paints.
If properly prepared and cared for, GOLDEN Artist Colors Acrylics will produce a fabric artwork with good durability. GOLDEN Artist Colors Acrylics are produced with 100% Acrylic Polymer Emulsion. This produces a film with excellent flexibility, and chemical, water, and ultraviolet resistance. The milky emulsion dries transparent, allowing pigments to show their full color. All pigments in GOLDEN Acrylics are chosen for the greatest clarity and permanency within each chemical class. GOLDEN Acrylics dry quickly and may be painted over immediately yet complete drying/curing will take longer. Avoid freezing. Minimum film formation temperature is 48oF/9oC.
To thin, use water or GOLDEN Mediums. For slower drying, use GOLDEN Retarder. Do not mix with oils. Paint on any non-oily surface. Non-absorbent surfaces should be abraded for increased adhesion. Clean tools with soap and water. Keep tools wet during use.
1Soft Hand - decrease in the hardness of the paint when dry, leaving a comfortable and breathable feel to the fabric.
2 Launderability - the ability for the fabric to be washed.
3Sets - after washing, it is the remaining color left in the fabric.
4Bleed - a halo effect around the brushstroke.
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.
Contact us to discuss your requirements of Wall Coatings Styrene Acrylic Emulsion. Our experienced sales team can help you identify the options that best suit your needs.
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