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.

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.

The GOLDEN line of Opaque Airbrush Colors are engineered to meet the highest standards of professionals, for use in airbrush, brush and technical pen. These offer the ability to create opaque, high intensity colors for illustration and fine art purposes.

GOLDEN Opaque Airbrush Colors are formulated from a 100% water-based acrylic emulsion, incorporating only the most lightfast pigments available. This results in exceptional permanency and performance. The acrylic binder system allows for excellent chemical resistance, yielding a durable film that will not be damaged by water or ammonia.

Key Properties:

• Viscosity - ready to use, no dilution required
• Permanency - only the most lightfast, durable pigments used
• Color Saturation - rich, intense colors, allows the artist more control
• Minimal clogging/tip-buildup - results in more time painting and less time cleaning
• Non-removable film - durable, non-water soluble, non-alkaline soluble
• Compatibility with other GOLDEN Acrylic products (Fluids, Heavy Body, Matte, High Loads)

GOLDEN Airbrush Titanium White is formulated to maximize opacity and maintain spray quality and film integrity. This results in the most opaque white imaginable. The other colors are formulated to achieve maximum color strength. This leads to a color line with varying levels of opacity which is a result of the nature of the individual pigment(s), with certain pigments inherently more opaque than others. GOLDEN Airbrush Transparent Extender can be added to the Airbrush colors to yield more transparent colors without jeopardizing the film integrity and permanency. In fact, lowering the pgment load by adding the Extender will actually increase the film's durability and frisket performance.

GOLDEN also produces other full lines of acrylic paints, including Heavy Body, Matte, Fluid and High Load Acrylics, that are compatible with the Airbrush Colors. These products can be used in conjunction with the Airbrush Colors to combine the effects of spraying with those of other application techniques, while working with the same color. When mixed with Golden Airbrush Medium, the Fluid Acrylics perform very well for airbrushing, offering the artist still further choices in color selection.

Note: that these products are not for use on garments. For Applying GOLDEN Acrylics to Fabric, GOLDEN Fluid Acrylics blended with GOLDEN Airbrush Medium yields a paint system that is very durable in normal laundering, and that does not require heat-setting (however, ironing will increase performance).

• This polymer is one of the most universal used in paint manufacturing. Artists who had used "Rhoplex" (a registered trade name) will find that this GAC most closely reflects the properties to which they were accustomed.
• The GAC 100 is a useful polymer for protecting against Support Induced Discoloration (S.I.D.).
• The most flexible with a moderate level of tack and gloss.
• Useful for diluting and extending colors, especially when film flexibility and integrity are important characteristics.
• Wets pigment surfaces well. The most ideal for artists formulating their own 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.

PRODUCT APPLICATION

Mixing:
GAC polymers should be gently stirred or rocked back and forth prior to use, but should never be shaken, as this will incorporate significant amounts of foam which will be very difficult to eliminate. Foam can severely affect the transparency of the film causing an apparent foggy or hazy quality. When applying with a brush, use minimal agitation and force, and do not overwork, as this too will result in foaming.

Spraying:
If spray application is desired, blend with GOLDEN Airbrush Medium. Start at 2 parts GAC Medium to 1 part GOLDEN Airbrush Medium. When faster drying is required, replace the Airbrush Medium with GOLDEN Airbrush Transparent Extender.

Drying Considerations:
The GAC polymers are milky-white and relatively opaque while in the wet state, but when completely dry they will become transparent/translucent.

The amount of time that an acrylic takes to dry completely is dependent on several variables, including film thickness, ambient temperature and humidity, air flow patterns and the absorbency of the support. A relatively thin film (approx.1/16 inch) may take from 10 hours to 4 days to lose the milky quality, while a film 1/4 inch thick may take 2 to 10 days or more. It is important to note that film clarity occurs before the film has completely dried, or cured. The thin film mentioned above will take 2 to 3 weeks to achieve complete dryness, while the 1/4 inch thick film will take 2 to 4 months. This is very important to consider when determining how artwork is to be stored. When film transparency is critical, artwork should never be stacked or subjected to high humidity conditions (For a more complete picture about the acrylic drying process, refer to GOLDEN Information Sheet: Technical Notes on Drying).

Varnishing:
The GAC polymers are intended for use as binders, modifiers or additives for acrylic paints. They are not intended for use as a final varnish. Golden Artist Colors manufactures two different varnish systems, Polymer Varnish and Mineral Spirit Acrylic (MSA) Varnish.

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.

GAC 400 is a Fabric Stiffener / Rabbitskin Glue Alternative.

• Dries to a very hard and stiff film.
• Most useful for priming fabrics (cotton, linen, silk, etc.) when stiffness is desired.
• Used as a rabbitskin glue alternative when applied directly to raw canvas or linen.
• Allows sculpting and shaping of draped fabrics.
• Can be heat-set if launderability is important. *Note: The heat-setting process will release low levels of formaldehyde; therefore it is imperative that adequate ventilation be provided.

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.

GAC 900 Increases Launderability of Acrylic Paint.

• Designed to be used as a modifier for acrylic paints for painting on clothing.
• Offers a soft, pliable feel and when properly heat-set, provides excellent laundering stability.
• Blend with GOLDEN Heavy Body, Matte or Fluid Acrylics for brush or screen application.
• Mix with GOLDEN Airbrush Colors for "Tie-Dye" effects.
• Note: The heat-setting process will release low levels of formaldehyde; therefore it is imperative that adequate ventilation be provided.