We have a variety of acrylic paints ranging from creamy heavy-body consistency to a lower viscosity paint which can be used through a variety of tools such as airbrush, paint markers and dip pens.
Unlike oils, but just like watercolours, acrylic paints dry quickly and can be thinned and cleaned up with water and soap. Unlike watercolours, but just like oils, once dry an acrylic paint will stay dry.
Acrylic mediums are in essence, colourless paints. Even if you can add water into your acrylics, you shouldn't rely on it to dilute paints since it can compromise the adhesion and the properties of your acrylics
Made from a water-based acrylic polymer binder, without the pigment that make up paint. Mediums for acrylics, including gels, additives and effect pastes are available in a variety of textures and consistencies that can be combined with your paint to switch up the results you get.
This means you can have whatever qualities you desire for your acrylic painting: luminous glazes, gritty opaque structures, string effects, glassy areas and also, variable drying times. This expansive range gives rise to inspiring possibilities, that will allow you to do very unusual things.
You can use mediums in all manners of paintings, whether it's abstraction, realism or even collage. They have excellent adhesion properties, so you can even use it as a type of glue to adhere paper, canvas, fabric and different objects onto your paintings.
Golden Artist Colorsoffers a comprehensive range of professional acrylic mediums, gels, and pastes designed to alter the working properties, texture, finish, and transparency of acrylic paints.
Acrilex offers a range of student-grade acrylic mediumsdesigned to modify the properties of acrylic paint, such as sheen, consistency, and transparency. These non-toxic, water-based mediums are made from a 100% acrylic polymer emulsion and can be cleaned up with soap and water.
Matte vs Gloss Finish
Most acrylic binders are clear and glossy by nature, so in order to make semi-gloss, satin or matte mediums, matting solids are added to the formulation to make the binder more matte. Matting solids tend to add a hazy or whitish appearance and will dry translucent, not clear. Only gloss mediums have the ability to dry clear.
Fluid Mediums - Adding medium to acrylic paint not only extends the paint, but it also results in a fluid like consistency and it's useful for creating glazes. A glaze is a binder rich mixture typically having a very small amount of paint blended with a much larger amount of medium.
Gel Mediums - When a product is called a “Gel”, it is a thicker or more viscous product. Gels range from syrupy to very thick and from smooth to heavy texture. Gels are generally used as textures or to build texture or body into the acrylic paints. They can be translucent, opaque or somewhere between.
Pastes - When a product is called a “Paste”, it is normally a thick, textural material and more opaque when dry. It can be helpful to think of them as opaque gels. Pastes can build high textures and are often used as painting grounds.
Retarder - If you need a little bit more working time, a retarder is a substance that is used to slow the drying time of acrylic paints, giving more time for blending or layering highlights. The addition of Retarder should not exceed 15% of the total mixture. If too much Retarder is added, the film may never dry properly and remain sticky.
The advantages of oil for painting include greater flexibility, richer and denser colours. But the process is slower, especially when one layer of paint needs to be allowed to dry before another is applied. Oil paint is usually mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying.The most common way to clean up your tools & brushes after painting with oils will be solvents or turpentine. However, there are alternatives if you're trying to eliminate the use of solvents : https://justpaint.org/cleaning-brushes-without-solvents/
Oil paint can be one of the most natural and safe materials used in the making of paintings but have, through misconception, been labeled as dangerous. Oil paint is made by grinding dry powdered pigment with linseed oil. Sometimes stabilizers, additives or driers will be used in small amounts so the paint dries in a reasonable amount of time, doesn’t separate in the tube and handles in a creamy, brushable manner. A basic rule of oil paint application is "fat over lean", meaning that each additional layer of paint should contain more oil than the layer below to allow proper drying.
Linseed Oil- The more oil binder is added to the tube color, the “fatter” that layer becomes. Subsequently, due to the potential of oils and mediums to yellow, wrinkle and dry more slowly, applications with oil added to the paint should be applied more thinly and in the upper layers of the work
Other Oils- Safflower oil, walnut or poppyseed oil are sometimes used in formulating lighter colours like white because they "yellow" less than linseed oil, but they have the slight drawback of drying more slowly and may not provide the strongest paint film. Linseed oil tends to dry yellow and can change the hue of the colour.
Solvents - Used in oil painting for various reasons including cleanup. In the first layers they are frequently meant to make the paint washier; often a necessary step in the painting process for some artists. With thinner and more fluid paint, one is able to sketch or conjure the gesture that breathes life into a blank canvas and informs the subsequent layers.
Painting Mediums - A convenient mixture that gives oil colours more flow and transparency.They are composed from multiple oil resins and solvents and each of these ingredient play a role in the balance. traditional painting medium contained damar varnish, turpentine and stand oil.
Newer mediums such as the Gamblin Solvent-Free Fluid are made from safflower oil and alkyd resin, it is non-toxic and contains no petroleum distillates. It has a moderately fast drying rate and increases gloss.
Cold Wax Medium- is made from naturally white, pure beeswax. Formulated to knife consistency, it makes oil colours thicker and more matte. It can be also applied alone as a matte varnish.
Stand Oil - Thicker than linseed oil. It creates a tough paint film without the yellowing tendencies of refined linseed oil. Stand oil causes oil colours to flow out as they dry.
Watercolour painting is the process of painting with pigments suspended in a water-based solution. They are mixed with water and almost exclusively applied on paper surfaces. Of all the painting processes, watercolour painting is known for its softer, delicate and subtle looks because it's all about thin washes and transparent colours.
Watercolour paper is often made entirely or partially with cotton.This gives the surface the appropriate texture and minimizes distortion when wet. Watercolour papers are usually cold-pressed papers that provide better texture and appearance with a weight/thickness of at least 140lbs/300 gsm.
Gum Arabic- When added to your mixed paint, it will act as an extender; it makes the paint more viscous, so it behaves like a glaze. The paint sits on the surface of the paper instead of soaking in and takes longer to dry, allowing more time to blend and manipulate your colours.
Masking Fluid- A liquid latex-based product that is very effective at keeping small areas and thin lines white when painting on watercolour paper. The rubber prevents the paint from reaching the paper and is peeled off to expose the white paper left untouched. Be careful not to apply with a bristle brush, since it may be extremely difficult to clean.
Iridescent Medium- Achieve pearlescent or glitter effects in watercolours.It's particularly effective when mixed with transparent colours especially over dark backgrounds. Mix with transparent watercolour or apply over a dried wash.
Granulation Medium- Basically separates the pigment from the water in watercolour paints.It gives a mottled appearance to colours that normally have a smooth wash, or it can enhance the effect of granulating colours.
Grounds and varnishes are crucial art supplies for preparing a painting surface and protecting the finished work. Grounds (or primers) are applied to the support (like canvas or wood) to create a uniform, properly absorbent surface for paint, enhance adhesion, and provide a colored base. Varnishes are applied to the finished painting to protect it from dust, dirt, and UV rays, while also providing a desired finish, such as glossy or matte, that can enhance colors and unify the artwork.
Gesso - If you plan to use oil or acrylic paints on any absorbent surface, you should apply gesso before doing so. Gesso gives tooth and an appropriate level of absorbency to all types painting surface, whether be canvas, wood, paper, board.
PVA Sizes- Can be used on its own as your ground without the use of a white or coloured primer over the size. This can be used when a painter wants to allow the natural colour and look of the canvas or paper to show through in parts of their oil painting.
Acrylic Varnish - The varnish will protect the painting from dust, UV rays and yellowing. When you choose a Gloss finish, it adds a layer of shine, bringing out the vibrancy of the colours.
Oil Varnish - Same as above, it protects your artwork and keeps away dust and dirt. Applying varnish to an oil painting helps to combat the uneven drying of paint layers. Because some oil paint pigments contain more oil than others, they may dry more glossy in some area more than others. Darker colour specifically tend to dry and lose their original luster.
Spray Varnish- Protects and fixes paint or drawing mediums on surfaces like canvas, paper, wood and board.Spray varnishes work well for fragile surfaces that could be disrupted by a brush or for paintings with a rough or impasto texture where brushes could cause foam or bubbles to form.
Gouache is a water-soluble paint often described as an "opaque watercolor" because it has the water-based properties of watercolor but is designed to be opaque, meaning it covers what's underneath.It dries quickly to a matte finish and is composed of pigment, a binder like gum arabic, and water.Its opacity and ability to be reactivated with water make it popular for illustration and design work.
Talens Studio Gouache tube We have chosen to stock white and black tubes of gouache in our shop because they can be extremely helpful for watercolorists as well. Though it will drastically change the effect of you watercolours, gouache can be mixed into your paints to add opaque highlights and details. It can be used as a final layer of opaque paint for details like highlights on water or even to cover up mistakes by layering it directly over dry watercolor.
Talens Designer Gouache set is a highly pigmented, opaque watercolor paint with a vibrant, matte finish, favored by designers and illustrators for its ability to create solid color blocks and fine details
Talens Art Creation set.Student quality paint for a fraction of the price, if you're just getting into it and not sure if this medium is for you, this is a good place to start. Talens Art Creation gouache is an opaque, water-based paint that dries to a matte finish and is known for its high color intensity.
Once you have settled which type of paint might be best for you, you'll also need a few indispensable tools such as brushes, painting knives and a surface to mix your colours. However, you might've seen an artist using something specific be wondering if there are other things that
Paint Brushes ; Choose from a range of natural and synthetic brushes. Whether you need paint brushes for oil, acrylic, watercolour painting or mixed media, you should find something suitable for your preferred technique and application. Synthetic brushes are typically made from nylon or polyester and are durable, water-resistant, and best for smooth finishes, while natural bristle brushes are made from animal hair and are better for creating texture and working with oil-based paints. Synthetic brushes are easier to clean, hold their shape well, and offer more precision, whereas natural brushes can be less predictable, hold more paint, and provide a more textured, unpredictable application.
Mixing Palettes The most significant factor that makes one palette different from another is the material. Plastic palettes are lightweight, affordable, and easy to clean, but can be less durable. Wooden palettes are a classic choice, durable with proper care, and offer a natural, warm tone, but can absorb paint, be heavy, and are harder to clean.If you’re still not sure what type of palette to get, I suggest thinking about how you paint. Are you someone who likes to be constantly on the move or paint outdoors? Or do you prefer staying inside most of the time? Of course, this doesn’t mean you can’t get more than one palette.
Painting Knifes ; Use a palette knife to mix paint efficiently: simply scoop it up and smush it down into the mixture. Unlike brushes, palette knives offer unparalleled control over texture and depth. They allow you to build layers, create bold strokes, and achieve effects that aren't possible with traditional brushes. Plus, there's something incredibly satisfying about sculpting paint directly onto the canvas.
Colour Mixing References A color wheel is a reference tool that illustrates the relationships between colors, showing the science of mixing and their behavior. It organizes colors into primary, secondary, and tertiary categories, and can be used to create harmonies and understand variations like tint (color + white), tone (color + gray), and shade (color + black).
Brush Cleaners effectively clean and condition all types of artist brushes, removing various paints, inks, and stains while preserving the bristles' shape and flexibility. It is used for routine cleaning after every session, for preserving brushes for future use, and even for restoring hardened brushes that have dried-on paint.
Solvent Cups are small, dripless containers used by artists for holding solvents like turpentine or mediums, and are often made from metal or high-quality resin that won't break down.
Tube Wringer is a tool used to squeeze every last drop of paint, or other paste-like products, from a tube. It efficiently presses the paint out, reducing waste and saving money.
The all around go-to choice for most painters will often be canvas. Whether cotton or linen, canvas possesses numerous advantages compared to traditional painting supports, it permits larger formats than wooden panels, it is less costly, it is lighter and can be rolled up, making it easier to transport. Most store-bought surfaces are pre-primed with gesso, ready to apply paint from the moment you get in the studio. We sell both primed and unprimed canvas in pre-stretched formats and by the yard as well.
Gotrick Cotton Canvases- Stretched canvases- pre-primed for you convenience. Built with a 7 oz 100% cotton canvas - Double-primed with gesso for a finished weight of 15 oz - Suitable for oil, acrylic paints and mixed media applications - Back Stapled.
Cotton Canvas Rolls (sold by the inch) in both raw and primed surfaces. Available in different widths and weights for all your different painting applications
Wood is stronger and more durable than the fabric of canvas or linen. Contemporary painting techniques such as pouring paint and gluing collage-style are much easier with a sturdy level surface such as wood. The panels that we carry are, for the most part, unprimed, so we recommend applying gesso to help seal the wood and promote adhesion to the substrate.
Canvas boards, pads or canvas paper, have a texture resembling linen or cotton canvas and are treated with gesso or another barrier material to help it absorb paints evenly. A great material for beginners and for professional artists creating studies or paint sketches.
With so many different watercolor papers available today, it’s difficult to find a paper that works for you. As watercolor paints are semi-translucent, papers play a key role in the finished work of art. The paper’s brightness and texture are just as critical as the choice in pigments. Papers most suitable to this water-based medium accept a watercolor wash evenly with reproducible results. We always recommend testing different papers to discover what works and doesn’t work for you. Look out for some of these key factors.
Sizing
The key ingredient that that makes a high-quality watercolor paper stand out as exceptional is the sizing - the invisible material used in the paper-making process to make the paper more resistant to water. The sizing enables the washing out of color and reworking the same area, which is key for a watercolor paper. Substantial sizing also prevents the fibers from buckling.
Surface
There are a variety of surfaces for different watercolor applications, but for the most part watercolor papers are classified as:
Hot Press (HP) exhibiting a smooth surface, which is perfect for fine detailed images.
Cold Press (CP) having a more textured surface.
Rough (R), as the name implies, a highly textured surface.
Weight
Most watercolor papers come in three different weights- 90lb., 140lb., and 300lb.
90lb sheet is better for drawing techniques but not ideal for heavy watercolor.
140lb is most commonly used, but may buckle without stretching.
300lb could withstand more water and is better when using a heavy wash or soaking the sheet. This paper will be more expensive.
Washi is the Japanese word for traditional papers made from a variety of renewable plant fibres. Wa means Japan, and shi means paper.
Its sturdy, absorbent texture made it ideal for calligraphy and other ink-based art. Because of the way washi filters light and its strength from intertwining fibers, it was used for paper screens in windows and doors, as well as for lanterns and lamps.
The inner barks of three renewable shrubs indigenous to Japan — kozo, mitsumata and gampi — are the primary fibres used in making washi.
Kozo (paper mulberry) is the most widely used, has the longest fibre, and makes the strongest paper. It is grown as a farm crop, and the branches are cut annually. The plants will regenerate continually for about 40 years.
Mitsumata is a softer, shorter fibre, with a warm tone. While it is also grown as a crop, mitsumata takes 3-5 years to regenerate and thus makes a more expensive paper.
Gampi was the earliest plant used and is considered to be the noble fibre, noted for its richness, dignity and longevity. It has an exquisite natural sheen, and is often made into very thin tissues. Gampi has a natural 'sized' finish which does not bleed when written or painted on. Gampi resists cultivation and is mainly harvested in the wild. It is increasingly difficult for papermakers to acquire Japanese-grown gampi.
Other fibres such as hemp, abaca, wood pulp and rayon are sometimes used for paper or mixed in with the other fibres.
I really hope you enjoyed this brief and semi comprehensive guide on painting tools and materials that may lend themselves to your practice and art endeavours. Please let us know if you have any thoughts or questions about the information contained within the document. Shoot us an email and we'll be sure to get back to you!
