Golden Acrylic Mediums

Self-Leveling Clear Gel — The thinnest of the gels. Designed to produce an even film with excellent clarity.

Soft Gel — Thinner than Golden Heavy Body Acrylic colors, these gels are moderately pourable, hold only slight peaks, may be brushed on as varnish, and are ideal for glazing and other techniques that require transparency. Soft Gels can also be used to create a non-removable isolation coat over any painting. To do so, gels must be thinned with water at a two-to-one ratio, and applied prior to any coats of varnish. Available in Gloss, Matte, and Semi-Gloss.

Regular Gel — These gels have the same thickness and creamy consistency as Golden Heavy Body Acrylic colors. They extend paint and regulate translucency without affecting consistency, hold moderate peaks and textures, and are ideal for glazing. Available in Gloss, Matte, and Semi-Gloss.

Heavy Gel — Thicker in consistency than Golden Heavy Body Acrylic colors, these gels hold peaks and dry translucent. Blend them with colors to increase body. Available in Gloss, Matte, and Semi-Gloss.

Extra Heavy Gel — These gels have the same characteristics as the Heavy Gel above, but they can hold better peaks and are ideal for impasto techniques. Along with the High Solid Gels, they are the thickest of the Golden Gels. Available in Gloss, Matte, and Semi-Gloss.

Extra Heavy Gel / Molding Paste — A blend of heavy gel and molding paste, dries to a satin, semi-opaque finish. Blends well with colors. Excellent for increasing viscosity and building surfaces.

High Solid Gel — The thickest of the gels. Holds high peaks, useful for simulating oil paint behavior. Contains less water and more acrylic solids, so it shrinks less than other gels.

Clear Granular Gel — Made from clear acrylic granular solids, this gel is designed to add texture without altering color.

Glass Bead Gel — Clear gel with densely packed glass beads. Adds texture and luminous effects.

Fiber Paste — Create rough, flexible, paper-like surfaces on canvas or board. Use as a ground or a texture.

Clear Tar Gel — Designed to produce a stringy, tar-like feel in a colorless gel. The gel is excellent for "dripping" over surfaces. The more it is mixed, the stringier it becomes. Letting the mixture sit before use allows foam bubbles to rise.

Polymer (Gloss) Medium — A general purpose liquid for glazes, extending colors, enhancing glass, and increasing film integrity. It's oil-like and resinous, promoting flow and leveling.

Fluid Matte Medium — a liquid medium for extending colors, decreasing gloss, and increasing film integrity. Works well with Golden Fluid Acrylics.

Matte Medium — This is a general purpose, pourable medium, for extending color, decreasing gloss, and increasing film integrity. It can also be used to create a clear ground, instead of gesso.

Molding Paste — Dries to a hard and durable, yet flexible, semi-gloss opaque film. Its consistency is similar to that of Golden Gels, but is slightly more rigid because of its higher density. Golden's Molding Paste holds stiff peaks to create highly textured surfaces.

Hard Molding Paste — Provides the hardest, opaque, matte finish. Useful for creating tough, durable finishes for smooth or textured surfaces. Can be carved with hand or powered tools when dry.

Coarse Molding Paste — For building surfaces or as a ground for drawing media. Crystalline appearance.

Light Molding Paste — Dramatically reduces the weight traditional molding paste would add, while increasing flexibility. Holds peaks, and dries to an opaque, matte finish, making it a wonderful additive to acrylic paint. Makes an excellent ground for watercolor-like techniques.

Acrylic Flow Release — Breaks the surface tension of water, increasing its ability to soak into porous surfaces. This allows the acrylic painter to achieve rich stains on surfaces such as watercolor paper and unprimed canvas. 4 oz (118 ml) jar.

Silkscreen Medium — A waterborne system designed to blend with Golden Acrylic colors for silkscreen application. It increases the working time and retards paint from drying in the screen.

Acrylic Glazing Liquid — Glazing Liquids are great for creating glazes or faux finishes on interior walls and furniture, or for glazing in fine art painting. Liquids dry slowly, allowing the artist extended periods of working time.

GAC 100:
Universal Acrylic Polymer — useful for diluting and extending colors, as well as increasing flexibility and film integrity. Wets out solids more readily than other polymers, and is useful for artists making their own paints.

GAC 200:
Acrylic Polymer for Increasing Film Harness — The hardest and least flexible polymer. Mix with acrylic paints to increase film hardness and reduce dry film tack. Useful for adhering acrylic paints to nonporous surfaces such as glass or plastic. Dries to a clear, gloss finish.

GAC 400:
Acrylic Polymer for Stiffening Fabrics — Dries to a hard, stiff film. Allows artists to transform lightweight fabrics into freestanding forms.

GAC 500:
Acrylic Polymer for Self-Leveling Applications — Adds a self-leveling working quality, and dries to a high gloss with good transparency. Increases mar resistance, and decreasing dry film tack.

GAC 700:
Acrylic Polymer for Increasing Film Clarity — The polymer of choice when film clarity and transparency is desired. It dries to a high gloss film with moderate hardness.

GAC 800:
Acrylic Polymer for Reducing Craze — Use when puddles must dry with the same evenness and smoothness as when wet. Other GAC polymers will "craze" when drying, developing shrinkage crevices across the surface. GAC 800 dries with good gloss and flexibility but with moderate clarity. Also ideal for priming chalky surfaces.

GAC 900:
Acrylic Polymer for Clothing Artists — Blend with acrylic colors to produce fabric paints. When heat-set properly, it offers a very soft hand and laundering stability.

Caution — provide adequate ventilation when using GAC 900 as the heat-setting releases low levels of formaldehyde.