Acrylic medium is the same formulation as acrylic paint, minus the pigment. It can be used as a paint additive, an adhesive, and a texturizer. It also can be used to create image transfers. It comes in three basic weights (medium, gel, and paste) and two finishes (matte and gloss). The different weights and finishes are inter-mixable, so you if ...
Acrylic medium is the same formulation as acrylic paint, minus the pigment. It can be used as a paint additive, an adhesive, and a texturizer. It also can be used to create image transfers. It comes in three basic weights (medium, gel, and paste) and two finishes (matte and gloss). The different weights and finishes are inter-mixable, so you if you cannot find exactly what you need, or you are on a budget, you can create it using two or more products.
Medium is the thinnest of the acrylic mediums. It is easily pourable, with a consistency like that of cream. It works well as an adhesive and for creating image transfers. It can also be added directly to acrylic paints, to extend them or to alter the consistency, transparency, and finish.
Gel is thicker than medium. It is pourable, with a consistency like that of thin yogurt or kiefer. It works well as an adhesive and for creating image transfers. Gel can also be added directly to paint to alter consistency and transparency. It can also be applied to the surface prior to painting, to create texture.
Paste is the thickest of the acrylic mediums. It is too thick to pour, with a consistency like pudding. Depending on the manufacturer, it may be called either molding paste or modeling paste. While mediums and gels dry clear, paste may contain fillers that make it opaque. Paste is a good way to build up surface texture, prior to painting. It can also be mixed with acrylic paints, though be aware that its opacity will alter the look of the paint.
Opaque Medium – Add to colors to increase coverage and create pastel/ lighter colors.
Matte Top Coat - Protective top-coat best used on fabrics and leather. Dries flat. Apply in light coats with a higher PSI setting.
Gloss Top Coat - Protective top-coat best used on fabrics and leather. Dries glossy. Apply in light coats with a higher PSI setting.
Illustration Base – A binder-based reducer with solvent perfect for adding to any Createx Airbrush Colors in any ratio for improved flow, atomization and reduced tip-dry, especially when using small tip-sized airbrushes operated at lower PSI settings. Reduction may be in any ratio; reduce as needed
Wicked Reducer - add to colors to make thinner and more transparent. Allows colors to flow and spray well through smaller tip-size airbrushes and operated at lower PSI. settings. W100 Reducer may be mixed with Wicked Colors in any ratio or amount. does not affect shelf-life of colors after mixing.
Wicked High Performance Reducer is an additive intended for use with Wicked Colors and Auto Air Colors. High Performance Reducer greatly improves flow and reduces tip-dry compared to reducing with Wicked W100 or Auto Air 4011 Flash Reducer. High Performance Reducer enhances flow without surface tension allowing for greater coverage per coat without risk of craters which may occur when reducing with W100 or 4011 Reducers. Colors also dry faster and cure with improved film properties through air drying alone compared to reducing with W100 or 4011 Reducers. When reduced with High Performance Reducer, colors appear matte and level after curing. High Performance Reducer also works well with new Createx Illustration Colors.
Wicked Cleaner - Airbrush Cleaner used to clean your gun between each color changes.
Derivan‘s range of Matisse Painting Mediums are complementary products designed to make acrylic paint more versatile. They can be used with the Matisse Structure and Flow formulas, Matisse Inks and Matisse Background ranges.
Our acrylic paint technology has achieved a much higher level of specialisation in the last decade, resulting in superior quality acrylic paints and mediums that have set the current standards.
Use MM16 Faux Finish & Marbling Gel with Matisse Flow Formula Acrylic colours for a thicker and more transparent consistency. Also can be used for additional painted finishes and various marbling techniques.
For painted finish techniques, mix MM16 Faux Finish & Marbling Gel with acrylic colour and apply with a stiff brush. Very effective patterns can be created by the use of sponges, erasers, combs, squeegees, rags, stencilling brushes, plastic wraps etc.
MM16 Marbling Gel may also be used in marbling processes to keep the colours from mixing together whilst at the same time creating colour effects from opaque to transparent. This medium is also called a scumble glaze or scumble medium.
MM20 Water Based Patina is a glazing medium designed to slow the drying time of the paint but keep the binding and waterfast capacity of the paint intact, no matter how little paint is used. MM20 Water-Based Patina will allow time for the free movement of the paint and contains extra binder so that only small amounts of paint can be used (as little as 5% paint) in a glaze form whilst still remaining waterfast once dry.
A great way to antique without the hassle of oil-based mediums. MM20 Water-Based Patina only takes 4 to 6 hours to dry.
MM26 Transparent Gesso is similar to MM10 Gesso and MM25 Black Gesso only without pigmentation; therefore, giving a transparent (although not altogether clear) flexible primer for canvas, board or even paper with an excellent tooth for easy paint manipulation. If working on canvas, Matisse MM26 Transparent Gesso will tighten the canvas, making a firmer ground to paint on.
MM3 Surface Tension Breaker is a dispersant and is used to break down the surface tension of the acrylic paints.
It acts as a powerful penetrating agent. It is also known as “watercolour medium” or “flow medium”.
Used correctly, it will make Matisse paint more “runny” by increasing its flow properties. Its presence within a water and paint mixture will greatly facilitate colour penetration into absorbent paper or fabric grounds, e.g. raw canvas.
It is a very valuable additive in stain painting techniques and water wash applications when working on hand-pressed watercolour paper or absorbent, bleached but unprimed canvas.
For correct results, MM3 Surface Tension Breaker is always pre-diluted with the quantity of water to be used for thinning the paint. It is wise to prepare a stock jar of water with 5-10% MM3 Surface Tension Breaker and use this water for the overall painting.
The purpose of MM8 Spreader Medium is to spread large volumes of colour over selected areas while maintaining a controlled paint viscosity.
It is customary to add MM8 Spreader Medium to Matisse Colours until the required volume of paint is attained. Inversely, Matisse Colour can be added in small or large increments to the MM8 Spreader Medium but, because of the heavy-bodied consistency of Matisse Structure, lumping could occur and it is advisable to pre-dilute the Matisse Structure with a little water.
MM8 Spreader Medium is a transparent flowing paste. It dries fairly “flat” and, when dry, can hardly be discerned on a painted or unpainted area, i.e. it leaves almost no stain. Its main application is for glazing where it imparts fine flow and controlled spreadability and lubrication to the paint. Used on its own, the medium does not dry waterproof and can therefore be used as an intermediary between two partially dried paint films if some water-sensitivity for wash areas is desired. Applied over a dried paint film, it gives a wet upon wet effect but will recede to an almost invisible film when dry.
Matisse MM34 Brush & Hand Cleaner was created in response to requests for a gentle cleaner that can remove paint from both brushes and hands. By using MM34 you can be safe in the knowledge that you are using a product that is a naturally derived and made from replenishable natural resources and contains no hazardous toxic or polluting ingredients. It is grey water and septic tank safe, and completely biodegradable without effluent treatment processes.
GOLDEN Mediums and Additives offer artists infinite control of changing acrylic colors. They range in consistency from pourable to moldable. They may be used to create glazes, extend paints, build texture, change finishes and work as a gluing agent for collages. Because there are so many to choose from, an artist first needs to determine which characteristic(s) they are looking to change.
GOLDEN Fluid Mediums offer artists infinite control of changing acrylic colors. Use Mediums to control transparency, viscosity and surface sheen. GOLDEN Mediums can be thought of as colorless paints, as they are composed of similar polymers as are the acrylic paints. They are 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.
Admittedly, such a large number of mediums can often seem staggering and can confuse artists. However, with at least a general understanding of the various products available, and an inclination to experiment, artists can create new ways in which to express themselves, and probably apply materials in a way that GOLDEN has not thought about.
GOLDEN GAC Special Purpose Polymers (short for Golden Artist Colors) Specialty Acrylic Polymers are based on 100% acrylic polymer emulsions. The GACs are useful as mediums or modifiers of acrylic paints. GACs can be blended with GOLDEN Acrylic Paints to extend the paint, regulate transparency, create glazes, increase gloss, reduce viscosity or improve adhesion and film integrity. The GAC polymers can also be used for binding pigment solids for various effects and surfaces. Unlike the other GOLDEN Mediums and Gels, GAC Acrylic Polymers have only a minimum amount of thickeners, levelers, defoamers and surfactants to ensure good film formation.
The consistency of the GAC polymers is very fluid and thinner than other GOLDEN Mediums. Since they do not have thickeners added, these polymers will reduce the thickness of most GOLDEN Acrylic Paints. GOLDEN Fluid Acrylics are slightly thicker than the GACs, but will be the color line least changed in viscosity with any addition of a GAC polymer.
Each GAC product represents a unique polymer that offers certain specific attributes. Therefore, each GAC will have its own unique benefits and applications. Refer to the individual product description of each GAC below to find the proper medium to use for a particular application.
GOLDEN Gel Mediums offer artists many ways to build texture. They range in consistency from pourable to moldable with varying degrees of sheen and transparency. They can be used to create glazes, extend paints and change finishes. Some gels incorporate pumice, glass or acrylic granules that impart unique reflective, rough or absorbent surface qualities.
Gels can be thought of as colorless paint, as they are composed of 100% acrylic polymers similar to acrylic paint. They can also act as adhesives in collage and mixed media that dry to form continuous films with excellent flexibility with chemical, water and UV resistance.
GOLDEN Pastes are tools that artists can use to achieve a variety of effects and expressions. Pastes used in conjunction with acrylic colors broaden working properties and expand creative possibilities.
Pastes differ from most gels in that they are opaque and may contain Marble Dust, Diatomaceous Earth, fibers, clays or other fillers resulting in a white or clay-tone finish with a variety of textures and properties. Pastes can also be used to create textured foundations for painting.
GOLDEN Gessos and Groundss offer artists a variety of ways to prepare substrates for acrylic paintings or other art media such as oil, alkyds, charcoal, pastels and watercolor.
Gesso can be thought of as the bridge between the support and the paint. GOLDEN Gesso is designed to penetrate a support and provide a surface for the adherence of paint. Proper preparation of the support with GOLDEN Gesso can increase the life span of the artwork. GOLDEN Gesso is formulated to be flexible and is highly pigmented for opaque coverage.
A Ground is a product that provides a desired surface on which to paint. Grounds can provide a surface to apply pastels, watercolor or other products. GOLDEN makes two specialty grounds: Absorbent Ground and Acrylic Ground for Pastels. Absorbent Ground is applied to any gessoed support and mimics the absorbency of watercolor paper. Acrylic Ground for
Pastels contains a gritty solid to allow pastels and other drawing media to adhere to the surface. Many other GOLDEN products can be used as effective grounds.
GOLDEN Varnishes offer several advantages to artists concerned about the longevity of their artwork. First, they are removable. Problems such as smoke damage, handling blemishes and dust or dirt accumulation on the surface of the painting can be removed along with the varnish. Second, GOLDEN Varnishes offer protection from UltraViolet (UV) rays generated from the sun. Third, varnishing consolidates the artwork with an even sheen. Gloss Varnishes can intensify colors while Matte or Satin Varnishes soften the color and minimize glare.
Brilliant Gloss & Matte Varnish Permanent varnishes for acrylic or vinyl paints that will protect your paintings inside or outdoors (sheltered). Two types of finish: matt or gloss. You can obtain a satin finish by mixing the 2 mediums together (matt and gloss). Before varnishing, wait until the painting is completely dry (1 week per mm of thickness). For a gloss varnish, it is advisable to apply 2 thin coats, the first diluted at 20%, then the second at 10%, respecting the 6 hours drying time between each layer. For a matt finish, apply two coats of varnish: a first layer of gloss varnish (diluted at 10%) then a second coat of pure matt varnish. Advice for applying the product: you can't start again with varnish once you've spread it, as you risk making the varnish "cloudy" and leaving white, clumsy marks. An acrylic varnish dries quickly, so you must apply it rapidly.
Do not apply varnish in the sun, in a ventilated area, or in temperatures greater than 25°C. Acrylic varnishes are non-yellowing, flexible and irreversible once dry.
Retarder medium increases the drying time of acrylic paints, giving you more time to work wet in wet on the tints and blending of colours. For large surfaces, you can create washes while reducing the problem of drying times between the paint touched up. You should not mix more than 20% of the retarding medium with the colours, as too high a concentration could affect the properties of the paint.
Gel Medium give an ideal consistency to impastos and volume effects. You can use them in all proportions with acrylic paints, and increase the transparency of your work. Pure, they can be used to produce collages on all types of material, even the most rigid.
Modeling paste allows you to create low relief and structure before painting begins. You can mix it with acrylics in all proportions, to create impastos and work the paint in thick layers. Flexible, it doesn't crack because it doesn't contain marble powder or silica. Non-yellowing and indelible once dry. Matt, opaque finish.
GESSO Primer for smooth, non-oily supports and a universal primer for porous supports (soft wood, stone, plaster, cardboard), titanium white and acrylic resin base). Impermeable, supple, adheres well (perfect adherence on smooth supports). Also contains calcium carbonate, which makes it rough and opaque, and is used to cover a dark background, onto which you can apply light colours.
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Flow-Aid Fluid Additive Increases the flow, absorbency, and blending of any water-based paint, ink, or dye. Minimizes brushstrokes. Use with Liquitex Soft Body color to create very fluid washes without hard edges; create staining effects on raw canvas and produce a fluid spray when mixed with acrylics in airbrushes or air guns.
Gel Mediums add dimension to paint, extend drying time, create thick transparent glazes, enhance colors and textures and can act as an archival adhesive.
Modeling Paste Extra Heavy Body and very opaque. A marble paste made of marble dust and 100% polymer emulsion. Used to build heavy textures on rigid supports and create three-dimensional forms. Dries to the hardness of stone. It can be sanded or carved when thoroughly dry. Can be handled like clay if the top of the container is removed and some of the water is allowed to slowly evaporate until it reaches a clay-like consistency. Adheres to any non-oily, absorbent surface. Drying too quickly causes mud cracking that is usually cosmetic, not structural. When mixed with acrylic colors will act as a weak tinting white, while increasing thickness and rigidity. Excellent substrate for acrylic paint, oil paint, oil pastel, oil bars, watercolor, graphite or dry pastel.
Matte Varnish is will not crack as surface expands and contracts during temperature and humidity changes. Applicable for any acrylic painted surface (flexible and rigid) on canvas, paper, wood, stone, Plexiglas, etc. Not for use over oil paint. Flexible, archival, non-yellowing and water resistant when dry. For interior use only. This product is an essential for any collection of acrylic painting supplies.
Slow-Dri Gel Retarder retains brushstrokes and adds body when added to to lower-viscosity colors such as Liquitex Soft Body Artist Color and Soft Body Mediums. Add no more than 25% to paint, as the absence of a binder may weaken the stability of the paint film if too much is added.
Basics Acrylic Gesso is formulated to produce an absorbent, smooth, finely-textured ground for painting on most porous surfaces, including canvas, paper, fabric, wood, or plaster. This gesso does not require thinning for proper consistency. It dries in minutes to a non-yellowing, brilliant white. Its suitable for use with Liquitex Basics and other student-grade acrylic paints.
Super Heavy Gesso An innovative, impasto acrylic gesso used to prepare painting surfaces for acrylic and oil paint.Create thick sculptural applicationsExcellent ground for acrylic and oil paint.Mix with acrylic color to have a tinted ground.Flexible, non-cracking and non-yellowing when dry.Provides the perfect "tooth" and adhesion to a wide variety of supports such as canvas, paper and woodExcellent base coat primer for many applications such as muralsOne coat is usually enough.
Liquitex White Gesso The classic white sealer and ground for absorbent surface, such as canvas, paper, or wood. Provides the proper surface sizing, tooth and absorbency for acrylic and oil paints. One coat is usually enough. Traditional gesso is meant to be opaque titanium white for good coverage. Two coats are recommended under oil color.
White Gesso Perfect background preparation for Maimeri Acrylic colors. Dries in about 30 minutes.
Gloss Gel Transparent acrylic gel. Increase the brightness and transparency of colors.
Gloss Heavy Gel Transparent acrylic gel. Ideal for thick techniques. Increase the brightness and transparency of the colors.
Coarse Natural Pumice Dense paste of natural color. Contains coarse-grained pumice. Ideal for thick techniques and special effects.
Fine Natural Pumice Dense paste of natural color. Contains fine-grained pumice. Ideal for thick techniques and special effects
Gloss Final Varnish High viscosity acrylic varnish. Protects the painting. Increase the brightness of the colors. Apply in a dry color, diluting slightly
Iridescent Paste Iridescent white acrylic paste with coarse scales. Applicable with a brush or spatula. Mixed with colors it increases its volume and iridescence.
Coarse White Pumice. Contains coarse-grained pumice. Ideal for thick techniques and special effects
Light Modeling Paste. Mixable with acrylic colors. Tents to whiten, tone down the color. Ideal for thick techniques
Heavy Modeling Paste. Dense white paste mixable with acrylic colors. Curtains to whiten. Attenuates the tone of colors. Ideal for thick techniques
Glassy Gel. Very glossy and hard gel for acrylic colors. Added to colors makes them harder and more resistant
Gel Matte Opal acrylic gel, not glossy. Increase opacity and color transparency
Create a beautiful and functional white painting surface for your encaustic paints with our encaustic grounds.
If you are looking for a quick and easy way to create a white ground for encaustic painting we have great news for you! R&F has produced a ready to use white ground for encaustic painting. This is a modern version of the traditional, but painstakingly laborious, rabbit skin glue/chalk gesso. It is also an alternative to the time-consuming mounting of paper on panel.
GALERIA ACRYLIC GLOSS VARNISH A unique removable gloss varnish for the protection of finished artwork. This product can also be mixed with Galeria Matt Varnish to vary the final finish.
GALERIA IRIDESCENT MEDIUM Suitable for a variety of surfaces and developed to provide pearlescent effects when added to colour. Most effective when used with transparent colours over dark under layers.
GALERIA BLACK LAVA TEXTURE GEL A granular paste containing fine particles of black flint allowing the artist to achieve a heavier and more pronounced effect than can be achieved with Mineral Texture Gel.
GALERIA GLASS BEADS TEXTURE GEL This medium is composed of small, spherical glass beads suspended in a thick, clear acrylic gel. When used with a transparent colour, the effects are arresting and jewel-like.