Golden Fluid Mediums - Wyndham Art Supplies

Golden Fluid Mediums

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GOLDEN Mediums & Additives provide infinite control with acrylic colors. Mediums control transparency, viscosity and surface sheen, while additives control paint’s working properties. 

Gloss Medium

Gloss Medium [formerly Polymer Medium (Gloss)] is useful for creating glazes, extending colors, enhancing gloss and translucency. It has an oil-like feel and resinous nature that promotes flow and leveling. It is the best product for blocking Support Induced Discoloration (SID). 

Matte Mediums

Product Descriptions

Matte Medium is a viscous, pourable acrylic medium useful for extending colors , increasing translucency and decreasing gloss. It is also useful as a translucent ground.

Fluid Matte Medium is a liquid, pourable acrylic medium useful for extending colors, increasing translucency and decreasing gloss. This product is particularly useful with GOLDEN Fluid Acrylics to decrease gloss without altering viscosity. It is also useful as a translucent ground.

Super Matte Medium is a pourable medium useful for reducing gloss. Because of its high level of matting agents, it will lower sheen of another product with a minimal addition, thereby changing other paint attributes the least, such as color strength and viscosity. Super Matte Medium should always be blended with other acrylic paints or mediums; as this product is not intended to be used by itself.

Product Application

Lowering Sheen

To lower the sheen of a paint color or another medium, begin by adding one of the matte mediums in increments of about 10% of the total volume. It is helpful to brush out each mixture, and let dry on a piece of paper to note the difference in sheen. With some experimenting, it will become easier to know how much of the matte medium is required to achieve the desired gloss.

If it seems that additions of the Fluid Matte Medium or Matte Medium are too great to achieve the desired result, and that other attributes of the mix, such as color intensity, opacity, or thickness, are affected, switch to the Super Matte Medium, which should achieve the desired matte-ness with about a third of the addition of the other matte mediums.

Use as a Translucent Ground

Both Matte Medium and Fluid Matte Medium can be used as translucent grounds, sometimes referred to as "clear" gessoes. They are thin enough to penetrate canvas and other porous substrates easily, and the matting solids provide an adequate "tooth" for additional paint layers. In thin applications both products can appear quite translucent, while darkening the canvas to a small degree. The darkening effect, similar to a "wet look”, is somewhat more pronounced with the Matte Medium. Bear in mind that GOLDEN Gessoes will have excellent tooth, and are typically suggested for alkyd and oil paintings.

Apply the Matte Medium and Fluid Matte Medium in much the same manner as recommended for the application of a gesso layer. Apply one or more coats, keeping in mind that additional layers will gradually make a more opaque overall film. For more information about painting grounds, please refer to our Preparing a Painting Support Application Sheet.

Note: Applying a matte product over an absorbent surface may cause a "frosted" appearance. As the acrylic medium penetrates, the matting solids are left behind on the surface. Over highly absorbent dark passages, such as on top of canvas coated with GOLDEN Black Gesso, severe whitening may occur. This can be corrected by applying a coat of GOLDEN GAC 100 or Gloss Medium over the frosted area, which will once again encapsulate the matting solids, returning the transparent look. The frosting can be avoided by applying a coat of GAC 100 or Gloss Medium before a matte medium is applied. Liquid and low viscosity Matte Mediums should be gently stirred or shaken before use, as settling of matting solids can occur.

Blending With Paints and Other Mediums

It is acceptable to add any amount of a matte medium to GOLDEN Heavy Body, Fluid, or High Load Acrylics. They can also be added to GOLDEN Decorative Glazes and GOLDEN Gels and Mediums. Some caution is required with the Super Matte Medium: too much of an addition may dramatically lighten a color, or if used alone, it may crack in thick applications. Super Matte Medium blended with GOLDEN Fluid Acrylics allows artists to make their own color gessoes. Some experimenting will allow an artist to understand the limitations for their manner of application.

Additional Information

Use as a Decoupage Glue

GOLDEN Matte Medium has been used successfully as a decoupage glue by many collage artists. The fact that it has a very low sheen makes it ideal, as it does not impart a "plastic" gloss to the work. If the whiteness of multiple coats does become troublesome, blend in Polymer Medium (Gloss) to decrease the matting solid level.

Multiple Layers of Matte Mediums

The application of several layers of a matte medium will become increasingly opaque and begin to lighten the colors underneath. Multiple layers can also impart a grayish cast due to the natural color of the matting solids if built up to an extreme. If an artist is using a matte medium as a glazing base for multiple glazes, they should consider using Polymer Medium (Gloss) instead for the best clarity. After the artwork is completed, a matte varnish can be applied to give a flat finish to the work. This will result in better film clarity because there is only one layer of matting solids to look through.

Use as a Temporary Varnish

GOLDEN Artist Colors does not recommend using any insoluble acrylic as a final varnish. However, we do realize that artists may need to view an entire work in one sheen, before completion. The Polymer Medium (Gloss) or the Soft Gel (Gloss) thinned 2:1 with water works well to establish an even coat, or a temporary varnish. Instead of applying a matte medium over the piece, the artist can use a sheet of matte Mylar to apply it over to allow them to temporarily view it in the matte state, or create a test piece.

The artist runs a risk when they apply layers of matte products over their artwork to lower the overall sheen. If they apply a matte medium over the work and it is not to their liking because of the whiteness or opacity of the matte medium, there is little they can do to counteract it. Being insoluble when dry, they can potentially ruin the work. If a matte varnish is applied, such as GOLDEN Polymer Varnish (Matte) or MSA Varnish (Matte), given they have followed all application instructions and have applied an isolation coat, then the artist can remove the varnish and apply a satin or gloss varnish instead. Another reason to use a removable varnish instead of just an acrylic medium is that being removable, one can remove years of dirt and grime from a varnished piece, while it would take many hours of careful removal to clean an unvarnished work. 

Airbrush Medium

GOLDEN Airbrush Medium blends easily with other GOLDEN acrylics to yield a paint mixture with the proper viscosity for airbrushing. Airbrush Medium also effectively decreases clogging and tip-buildup during spraying, eliminating the largest drawback to airbrushing with acrylics.

PRODUCT DESCRIPTION

GOLDEN Airbrush Medium is a 100% acrylic binder system designed for modifying the GOLDEN Fluid Acrylics and other GOLDEN Acrylic products for airbrush/spray application. While designed with the Fluid Acrylics in mind, GOLDEN Airbrush Medium will also reduce the Heavy Body, Matte, High Load, Iridescent/Interference and Fluorescent Acrylics for spray applications. GOLDEN Mediums and Gessoes can also be blended with Airbrush Medium for spraying.

This product should not be used alone, and must be mixed with other GOLDEN Acrylic paints, mediums or grounds in the recommended ratios to create a useable material. Very thick or highly textured materials thinned with GOLDEN Airbrush Medium may still be difficult to reduce for conventional spraying and alternative methods of spraying may be required.

PRODUCT APPLICATION

Because it is inherently unhealthy to inhale spray mists of any kind, we recommend, at minimum, the use of a NIOSH approved disposable dust and mist respirator. For additional information, please see our saftey section on spaying safely:

https://www.goldenpaints.com/spraying-safely

Mixing Directions:

Generally, mix equal amounts (by volume) of Airbrush Medium and Fluid Acrylic to result in a useful spraying consistency. More Airbrush Medium or water additions may be used if the mixture does not flow properly (Refer to the Quick Reference Chart below for more complete recommendations).

Blending Suggestions:

Gently stir or shake Airbrush Medium to insure homogeneity before blending with GOLDEN Acrylics.

For thinner paint lines, the Airbrush Medium can be added in equal amounts to the paint, and then stirred until well mixed. If using paints thicker than Fluid Acrylics (such as Matte Fluid Acrylics or High Load Acrylics), continue adding more Airbrush Medium up to a 1 part paint to 2 parts Airbrush Medium. Beyond this 1:2 ratio, it is best to add water for more thinning.

Although water can be used with the Airbrush Medium to help thin the paint, it also begins to forfeit some of the spray-ability that this medium enhances, and also creates a weaker paint film. High water additions will cause the paint to become fairly weak, both in pigment load and film strength. Top coating may be necessary depending on the nature of the artwork.

Thicker paints such as Heavy Body Acrylics should be first thinned with water until they reach a pourable consistency. Once the required paint and water mixture is well stirred, begin adding the Airbrush Medium at a ratio of 1 part paint/water to 1 part Airbrush Medium.

Prior to spraying, it may be necessary to strain the diluted mixture (using cheese cloth, nylon pantyhose, or #8 mesh or finer screening fabrics) to remove any large particulate materials and ensure homogeneity and smoothness. In most cases though, Golden Acrylic products are smooth and pigments ground to a uniform particle size.

Mixing products with GOLDEN Airbrush Medium will generate foam. Pre-mix colors at least 5 minutes before use. This will allow time for the foam generated by vigorous shaking to dissipate before spraying. Micro-foam can result in an irregular film.

Add a Mixing Ball:

Add a mixing ball to aid in blending. In GOLDEN High Flow Acrylics, a barundum (a barrel-shaped, ceramic piece used in pigment dispersion) is added to facilitate faster and more homogenous mixing. Reuse barundums from old High Flow Acrylics bottles, or use a smooth stone, marble, stainless steel nut, etc. to perform this function. This is especially valuable when storing mixtures for future use.

Extend Paints:

Airbrush Medium also functions as an extender for applications requiring greater transparency and longer open time.We generally do not recommend using the Airbrush Medium with the pre-made GOLDEN High Flow Acrylics because this creates a very slow drying, potentially weaker paint film, with poor frisket performance (color sticking to frisket or masking films) until the film sufficiently dries. When frisketing is of critical importance, use GOLDEN High Flow Medium to blend with the High Flow Acrylics or other acrylics. High Flow Medium is recommended whenever a mixture requires Airbrush Medium additions greater than 2 parts medium to 1 part paint. This will yield a paint system that dries quickly, friskets well, and has excellent sprayability.

Additional Tips:

  • Paint on any non-oily surface. Remove oils, grease, or other contaminants before application.
  • Non-absorbent surfaces should be abraded for increased adhesion.
  • Keep tools wet during use.
  • Do not allow product to dry in airbrush.
  • Clean tools with soap and water.
  • Clean airbrush with water, ammonia/water, alcohol or miscellaneous household cleaners (however, consider effect of cleaner on airbrush parts, such as rings and seals).

FABRIC APPLICATION

GOLDEN Airbrush Medium can be mixed with GOLDEN Fluid Acrylics to create an excellent fabric paint that does not require heat-setting. A blending ratio of at least 1:1 is recommended. Other GOLDEN Acrylics such as the Heavy Body Acrylics, Iridescent/Interference Colors and Fluorescent Colors can be used as well.

GOLDEN High Flow Acrylics are not recommended for fabric use. However, if using these colors is desired, blend with GAC 900, a thin heat-settable medium expressly designed for fabric applications. This mixture will not perform as well as the Airbrush Medium/Fluid Acrylics mix.

For more complete information on using GOLDEN Acrylics on fabric, refer to the GOLDEN Acrylics on Fabric Application Information Sheet.

QUICK REFERENCE CHART

Use the table below to determine ratios of Airbrush Medium to paint for GOLDEN"s wide variety of paint systems:

Paint Type
(1 Part Paint addition in all mixtures)
Water
(Addsmall amountsto the paint before addingAirbrush Medium)
Airbrush Medium
(Add after the addition of water, if applicable)
Fluid Acrylics N/A 1 part
Heavy Body Acrylics 3 Parts 4 parts
Matte Acrylics 3 Parts 4 parts
High Load Acrylics 1 Part 2 parts
Iridescent/Interference Acrylics
(Heavy Body)
1 Part 2 parts
Fluorescent Acrylics 1 Part 2 parts
Mediums (GACs, Gloss Mediums, Matte Mediums) 0-2 parts, depending on product consistency 1-3 parts, depending on product consistency
Gessoes 1 Part 2 parts

The above ratios are intended as starting points for use at air pressures of 40 p.s.i. or greater. A greater or lesser amount of Airbrush Medium may be required for your particular equipment and/or application, especially if lower air pressures are used.

Suggested Color Choices for Fluid Acrylics

While every Golden Fluid Acrylic Paint may be used for spray application when blended with the Airbrush Medium, some colors perform better because of their pigment size and structure. Larger pigments, such as Raw Umber and Ultramarine Blue, do not spray well through smaller detail airbrushes. Dense, coarse pigments also tend to settle quickly when thinned to sprayable consistency, so mix small amounts and avoid long term mixture storage.

Below is a listing of Fluid Acrylics with their rating of sprayability next to them.

Suitable for all tip sizes

Alizarin Crimson Hue Naphthol Red Medium Quinacridone Magenta
Anthraquinone Blue Naples Yellow Hue Quinacridone/Nickel Azo Gold
Cadmium Red Medium Hue Nickel Azo Yellow Quinacridone Red
Cadmium Yellow Medium Hue Permanent Green Light Quinacridone Violet
Carbon Black Permanent Violet Dark Sap Green Hue
Cobalt Teal Phthalo Blue (Green Shade) Titan Buff
Diarylide Yellow Phthalo Blue (Red Shade) Titanium White
Dioxazine Purple Phthalo Green (Blue Shade) Transparent Pyrrole Orange
Green Gold Phthalo Green (Yellow Shade) Transparent Red Iron Oxide
Hansa Yellow Light Prussian Blue Hue Transparent Yellow Iron Oxide
Hansa Yellow Medium Pyrrole Orange Turquois (Phthalo)
Hansa Yellow Opaque Pyrrole Red VanDyke Brown Hue
Indian Yellow Hue Pyrrole Red Light Vat Orange
Jenkins Green Quinacridone Burnt Orange  
Naphthol Red Light Quinacridone Crimson  

Suitable for tip sizes of .30mm or larger

Bone Black Interference Green Micaceous Iron Oxide
Burnt Sienna Interference Orange Paynes Gray
Burnt Umber Light Interference Red Primary Cyan
C.T. Interference Green-Blue Interference Violet Primary Magenta
C.T. Interference Green-Orange Iridescent Bright Gold Primary Yellow
C.T. Interference Violet-Green Iridescent Bronze Raw Sienna
Cerulean Blue Deep Iridescent Copper Raw Umber
Cerulean Blue, Chromium Iridescent Copper Light Red Oxide
Chromium Oxide Green Iridescent Gold Ultramarine Blue
Cobalt Blue Iridescent Gold Deep Ultramarine Violet
Cobalt Turquois Iridescent Pearl Violet Oxide
Interference Blue Iridescent Silver Yellow Ochre
Interference Gold Iridescent Stainless Steel Yellow Oxide
DO NOT SPRAY-APPLY genuine cadmium pigments or any colors containing zinc white as these have trace amounts of cadmium as well. Cadmium is listed as a chemical known to the State of California to cause cancer.
The following Fluid Acrylics contain Zinc White and should never be sprayed:
Manganese Blue Hue Viridian Green Hue Zinc White


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.

Silkscreen Medium

GOLDEN Silkscreen Medium can be blended with the GOLDEN Acrylic Paint lines to produce a silk-screen ink for fine art applications.

PRODUCT DESCRIPTION

GOLDEN Silkscreen Medium is a water-borne system designed to blend with acrylic paints for silk-screen application onto paper, wood and other suitable fine art materials. This product is designed to increase working time and prevent paint from drying in the screen too quickly.

NOTE: GOLDEN Silkscreen Medium is NOT intended for use on fabrics to be laundered. Use GOLDEN Silkscreen Fabric Gel for such purposes.

PRODUCT APPLICATION

Mixing Information

Although any addition of GOLDEN Silkscreen Medium will increase the open time1 of a paint, a good starting point is to blend even parts of paint and medium. Higher levels of the medium will increasingly affect the transparency, but also will increase the open time. Lower levels of Silkscreen Medium produce mixes with the greatest opacity2, but that are more likely to clog in the screen.

Mixing With Other GOLDEN Products

GOLDEN Silkscreen Medium can be blended with any of the GOLDEN Acrylic paint lines, Gels and Mediums to lengthen the working (open) time for silk-screening. It is a pourable blend of acrylic, retarder & water that, unlike retarder alone, will form a film, thereby increasing durability and thinning the paint while retarding the drying time.

Transparency/Opacity

Silkscreen Medium is not designed to impart opacity. The opacity of the mixture will be determined by the nature of the color being used and the ratio of paint to medium used. Higher levels of the Silkscreen Medium will be increasingly more transparent.

Adding GOLDEN Titanium White to a mixture will increase opacity. Any addition of white will lower a color's chroma and value.

Additionally, transparent colors, including Iridescent and Interference Colors, can be made to appear more opaque when a "base coat"3 is screened first. For example, GOLDEN Iridescent Gold will appear to have greater opacity over a buff-colored base coat. Refer to screen-printer's books and other reference material for further suggestions.

(Consult GOLDEN Pigment Identification Chart to determine the opacity ratings for the various colors).

General Product Information

Do not mix with oils. Paint on any non-oily surface. Abrade non-absorbent surfaces for increased adhesion. Minimum film formation temperature is 49oF/9oC. Avoid freezing. Clean screens/tools with soap and water. Safe to use with minimal odor.

ADDITIONAL INFORMATION

Thickness Considerations

Thickness, also termed "viscosity," can greatly influence how a printing ink performs. Thinner inks have a greater risk of "bleeding" into the paper or other porous substrates, but perform well on tighter mesh screens and dry quickly on absorbent substrates like paper. Thick, pasty mixes have a higher tendency to clog tighter mesh screens, but can offer increased opacity (due to a thicker film) and are less likely to bleed when screened onto fabrics. These considerations should be addressed before beginning large printing runs.

Choosing a line of GOLDEN Acrylic Paints to use with the Silkscreen Medium depends on the thickness needed for a particular job. GOLDEN Heavy Body Acrylics have a buttery viscosity and will therefore make thicker screening inks. GOLDEN Fluid Acrylics have the same pigment load as our Heavy Body Paints, but are the consistency of heavy cream, and are quite pourable. Mixtures with Silkscreen Medium will remain thin and pourable.

Improving Working Time

While Silkscreen Medium dramatically helps to prevent paint from drying in the screen, it does not eliminate the possibility. As soon as a clog becomes apparent, it should be removed with a damp cloth. If the clog is allowed to dry in the screen, it will be extremely difficult to remove. For multiple clogs that develop, stop printing and thoroughly clean screen with water, using a non-abrasive sponge or cloth to remove the clogs. Pat the screen dry and continue printing.

Work quickly, with minimal time between prints. Have screening inks pre-made in sufficient quantities before beginning screening.

To maximize open time, add 5 - 15% GOLDEN Retarder to the GOLDEN Silkscreen Medium/Paint mixture. This will increase the open time, but not dramatically alter the opacity.

It is beneficial to pre-wet the screen with a water/Retarder mixture (1:1) before screening. Keep a plant mister bottle filled with this mixture at hand, and lightly spray the screen periodically to prevent paint from drying. Avoid excessive misting, as this can cause bleeding on the paper.

DEFINITIONS

  1. Open Time - the length of time that paint is wet enough to remain workable.
  2. Opacity - the degree to which a material obscures a substrate or underlying paint layers.
  3. Base Coat - the first coat applied to a surface as paint or a prime coat.

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.


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