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PAINT
Acrylic Paint
Acrylic paint is a fast-drying medium in which pigment is suspended in an acrylic polymer emulsion. When wet it is water-soluble; when dry it forms a flexible, water-resistant, permanent film. Developed in the mid-20th century, acrylics are the newest of the major fine art painting media and the most versatile: they can be diluted to the transparency of watercolour, built to the texture of oil paint, or applied as solid, flat fields of colour. Their fast drying time, low toxicity, and wide range of available mediums made them the defining material of postwar American art and continue to make them the most widely used studio medium in the world.
Properties ▾
Binder: Acrylic polymer emulsion (water-based)
Drying: Evaporation of water — touch-dry in minutes, fully cured in days to weeks
Pigment load: Varies significantly by brand and line; heavy body tends to have higher load
Consistency types available: Heavy body (thick, holds brushstrokes), soft body (creamy, flows), fluid (pourable, even colour), high-flow/ink (very fluid, transparent), open/slow-drying (extended working time)
Lightfastness: Excellent in artist-grade paints; ASTM I or II
Flexibility: Superior to oil when dry — less prone to cracking on flexible supports
Water resistance when dry: Complete; cannot be reactivated with water
Mediums: Gloss/matte/gel mediums (extend paint, alter finish), retarders (slow drying), texture gels (add body and surface), pouring mediums (pour paintings), varnish (final protective layer)
Supports: Canvas, wood panel, paper, metal, glass, fabric — almost any non-greasy surface
Ground: Acrylic gesso (standard); no oil priming required
Mediums ▾
Gel Medium
Extends paint body and transparency without changing colour. Available in Soft, Regular, and Heavy gel — each offering different viscosity and texture. Ideal for glazing, impasto, and collage.
Molding Paste: A thick, opaque medium for building heavy texture and three-dimensional surfaces. Dries hard and can be sanded or carved. Mix with paint or apply first as a ground.
Pouring Medium: Creates a fluid, self-leveling consistency for pour painting. Reduces crazing and improves flow. Mix ratio varies by brand — typically 1:1 to 1:3 paint to medium.
Retarder Medium: Slows drying time significantly, allowing wet-into-wet blending similar to oil paint. Keep below 15–20% of paint volume — exceeding this compromises the paint film.
Matte & Gloss Medium: Controls the final sheen of your surface. Matte reduces natural gloss to a flat finish; Gloss intensifies colour saturation. Mix both for semi-gloss. Works as paint extender and collage adhesive.
Flow Improver: Reduces surface tension for smooth, even coverage. A few drops per mix — essential for fine detail work and watercolour-style washes.
Texture Gels: Add physical texture — sand, glass bead, fiber, pumice, and more. Each creates a unique surface quality. Apply before or mix into paint.
Crackle Medium: Applied between two layers of paint to create a controlled cracking effect. The base coat colour shows through. Use a roller for fine, non-directional crackling.
Resin (Epoxy / UV): Applied as a final topcoat for a thick, glass-like finish. Significantly intensifies colour depth. Epoxy requires 1:1 mix by volume; cures in 24–72 hours.
Explore Gel Medium →
Molding Paste: A thick, opaque medium for building heavy texture and three-dimensional surfaces. Dries hard and can be sanded or carved. Mix with paint or apply first as a ground.
Pouring Medium: Creates a fluid, self-leveling consistency for pour painting. Reduces crazing and improves flow. Mix ratio varies by brand — typically 1:1 to 1:3 paint to medium.
Retarder Medium: Slows drying time significantly, allowing wet-into-wet blending similar to oil paint. Keep below 15–20% of paint volume — exceeding this compromises the paint film.
Matte & Gloss Medium: Controls the final sheen of your surface. Matte reduces natural gloss to a flat finish; Gloss intensifies colour saturation. Mix both for semi-gloss. Works as paint extender and collage adhesive.
Flow Improver: Reduces surface tension for smooth, even coverage. A few drops per mix — essential for fine detail work and watercolour-style washes.
Texture Gels: Add physical texture — sand, glass bead, fiber, pumice, and more. Each creates a unique surface quality. Apply before or mix into paint.
Crackle Medium: Applied between two layers of paint to create a controlled cracking effect. The base coat colour shows through. Use a roller for fine, non-directional crackling.
Resin (Epoxy / UV): Applied as a final topcoat for a thick, glass-like finish. Significantly intensifies colour depth. Epoxy requires 1:1 mix by volume; cures in 24–72 hours.
Techniques ▾
Pouring
Dilute with pouring medium to a honey-like consistency. Layer colours in a cup, then pour onto canvas. Tilt to spread. Produces organic, cellular patterns. Dutch pour and swipe techniques create distinctive marbled effects.
Dry brushing: Load brush lightly, remove most paint on a cloth, then drag across a dry surface. Produces broken, textured strokes — useful for fur, hair, weathered surfaces, atmospheric effects.
Glazing: Thin paint with glazing medium to transparency. Apply over a dry layer. Builds chromatic depth and luminosity similar to oil glazing, though the film characteristics differ. Particularly effective over white grounds.
Impasto: Use heavy body paint straight from the tube or with a palette knife and texture gel. Acrylics hold peaks and ridges indefinitely — more predictably than oil. Modelling paste can extend paint to create very thick sculptural surfaces.
Working wet-in-wet: Acrylics dry fast, making wet-in-wet blending difficult without a retarder. Golden Open acrylics (slow-drying formula) extend working time to hours. A fine mist of water on the palette and surface also helps.
Staining (colour field technique): Thin paint to near-transparency with water or medium and pour or brush it into unprimed canvas. The paint soaks into the fibres, becoming part of the support rather than sitting on top. Used by Morris Louis and Helen Frankenthaler with Magna acrylics.
Dry brushing: Load brush lightly, remove most paint on a cloth, then drag across a dry surface. Produces broken, textured strokes — useful for fur, hair, weathered surfaces, atmospheric effects.
Glazing: Thin paint with glazing medium to transparency. Apply over a dry layer. Builds chromatic depth and luminosity similar to oil glazing, though the film characteristics differ. Particularly effective over white grounds.
Impasto: Use heavy body paint straight from the tube or with a palette knife and texture gel. Acrylics hold peaks and ridges indefinitely — more predictably than oil. Modelling paste can extend paint to create very thick sculptural surfaces.
Working wet-in-wet: Acrylics dry fast, making wet-in-wet blending difficult without a retarder. Golden Open acrylics (slow-drying formula) extend working time to hours. A fine mist of water on the palette and surface also helps.
Staining (colour field technique): Thin paint to near-transparency with water or medium and pour or brush it into unprimed canvas. The paint soaks into the fibres, becoming part of the support rather than sitting on top. Used by Morris Louis and Helen Frankenthaler with Magna acrylics.
Acrylic is the medium that will do anything you ask. The danger is that you never learn to ask the right questions.
History ▾
1934
German chemical company BASF develops the first acrylic resin dispersion. Rohm and Haas patents the technology. These early resins are industrial materials, not yet adapted for fine art.
1936
Sam Golden (1915–1997) joins his uncle Leonard Bocour at Bocour Artist Colors, a paint supply shop at 15th Street, Manhattan. The shop becomes a gathering place for New York artists including Mark Rothko, Jackson Pollock, Willem de Kooning, Barnett Newman, and Helen Frankenthaler. During one visit, an artist gives Sam Golden a honey-like acrylic resin and asks whether it can be made into paint.
1946–1949
After years of experimentation, Leonard Bocour and Sam Golden produce the first artist-grade acrylic paint under the brand name Magna. Unlike modern acrylics, Magna is solvent-based (mineral spirit-miscible), not water-based. It produces a smooth, slightly glossy, fast-drying surface. Roy Lichtenstein later describes its finish as "shiny and plastic-like" and declares he could not have made his signature work without it.
Early 1950s — Morris Louis and Kenneth Noland use Magna acrylics for large-scale colour field staining — pouring thin, transparent paint into unprimed canvas. Helen Frankenthaler's Mountains and Sea (1952) is a pivotal work using this staining technique, directly inspiring Louis and Noland and shaping the Colour Field movement.
1953
Two companies independently produce the first water-based artist acrylic emulsions: José L. Gutiérrez in Mexico (Politec Acrylic Artists' Colours) and Henry Levison of Permanent Pigments Co. in Cincinnati, Ohio. Levison's product is eventually renamed Liquitex — the first widely available water-based acrylic paint for artists.
1955
Henry Levison creates the first water-based acrylic gesso. This transforms canvas preparation: artists no longer need oil-based grounds. The name Liquitex is adopted for the company.
1956
Liquitex introduces fluid acrylics — a more diluted consistency designed for washes and pours. The range of acrylic viscosities begins to expand.
1960s
Andy Warhol adopts acrylics and silkscreen for his Pop Art works. David Hockney paints large swimming pool paintings (A Bigger Splash, 1967) in acrylic — exploiting the flat, even colour application and fast drying. Bridget Riley uses acrylic for her precise Op Art geometric compositions.
1963
Bocour Artist Colors introduces Aquatec, a water-based acrylic paint. Bocour's earlier Magna paints remain available alongside it.
1964
Mark Rothko, long a user of egg tempera and oil, incorporates acrylic in his Harvard Murals series. Rothko's thin, luminous washes of colour demonstrate acrylics' capacity for atmospheric staining effects on large canvases.
1970s
Acrylic manufacturers develop a wide range of mediums: gels, pastes, retarders, glazing liquids. The medium becomes fully competitive with oil for technical range.
1980
Sam Golden, returning from retirement, founds Golden Artist Colors Inc. in New Berlin, New York with his son Mark Golden. The company rapidly becomes the professional standard, particularly for heavy body and fluid acrylics.
1984
Liquitex reformulates its heavy body paints, significantly increasing pigment loads and improving consistency. Artist-grade acrylic quality reaches parity with oil in most respects.
1990s–2000s
Specialty formulations proliferate: open/slow-drying acrylics (Golden Open, Atelier Interactive), high-flow acrylics, acrylic inks, interference and iridescent pigments. Acrylic mediums for pouring become increasingly sophisticated.
2010s–present
Acrylic pouring becomes a major contemporary technique, popularised through social media. UV-resistant, conservation-grade varnishes for acrylic paintings are developed by major conservation institutions. Acrylics are now used in conservation work to restore both historical and contemporary artworks.
Brands ▾
Professional / Artist Grade
Old Holland Classic Oil Colors
Founded 1664. Oldest continuously operating paint manufacturer. Ground on traditional stone mills; highest pigment loads on market. 168 colours. Stiff, buttery consistency. Historical formulations. Best for maximum colour saturation.
Store — coming soon
Golden Heavy Body Acrylic
Founded 1980, New Berlin NY. Industry standard for professional heavy body acrylic. Extremely high pigment load; single-pigment colours. Widest range of mediums and specialty products of any acrylic manufacturer. Best for serious studio practice.
Store — coming soon
Old Holland Classic Oil Colors
Founded 1664. Oldest continuously operating paint manufacturer. Ground on traditional stone mills; highest pigment loads on market. 168 colours. Stiff, buttery consistency. Historical formulations. Best for maximum colour saturation.
Store — coming soon
Golden Heavy Body Acrylic
Founded 1980, New Berlin NY. Industry standard for professional heavy body acrylic. Extremely high pigment load; single-pigment colours. Widest range of mediums and specialty products of any acrylic manufacturer. Best for serious studio practice.
Store — coming soon
Michael Harding Artists Oil Colours
Founded 1982, UK. Hand-made in small batches. Extremely high pigment load; no fillers or extenders. Paint is stiff and very pure. Best for painters who want maximum pigment and handmade quality.
Store — coming soon
Liquitex Professional Heavy Body
Founded 1955 as Permanent Pigments. Historically the first water-based artist acrylic. Modern formulation: high pigment load, stable consistency, excellent lightfastness. Good colour range. Best for all-round professional use.
Store — coming soon
Michael Harding Artists Oil Colours
Founded 1982, UK. Hand-made in small batches. Extremely high pigment load; no fillers or extenders. Paint is stiff and very pure. Best for painters who want maximum pigment and handmade quality.
Store — coming soon
Liquitex Professional Heavy Body
Founded 1955 as Permanent Pigments. Historically the first water-based artist acrylic. Modern formulation: high pigment load, stable consistency, excellent lightfastness. Good colour range. Best for all-round professional use.
Store — coming soon
Williamsburg Handmade Oil Colors
Founded 1986, Brooklyn. Milled in small batches; unique textures vary by colour. 170+ colours including rare earth pigments. Each colour has individual character. Best for painters who value colour personality.
Store — coming soon
Williamsburg Handmade Oil Colors (Acrylic Gouache)
Not standard acrylic — acrylic gouache for flat, matte, opaque surfaces. Exceptional for illustrators and graphic work. Mentioned here for context.
Store — coming soon
Williamsburg Handmade Oil Colors
Founded 1986, Brooklyn. Milled in small batches; unique textures vary by colour. 170+ colours including rare earth pigments. Each colour has individual character. Best for painters who value colour personality.
Store — coming soon
Williamsburg Handmade Oil Colors (Acrylic Gouache)
Not standard acrylic — acrylic gouache for flat, matte, opaque surfaces. Exceptional for illustrators and graphic work. Mentioned here for context.
Store — coming soon
Schmincke Mussini Resin-Oil Colors
German manufacturer. Contains dammar resin in the medium — enhances luminosity and transparency. Exceptionally smooth, self-levelling consistency. Best for glazing, portraiture, subtle blending.
Store — coming soon
Schmincke PRIMAcryl
German manufacturer. High-quality professional acrylic. Rich pigmentation, smooth consistency. Less well-known than Golden or Liquitex but highly regarded by European professionals.
Store — coming soon
Schmincke Mussini Resin-Oil Colors
German manufacturer. Contains dammar resin in the medium — enhances luminosity and transparency. Exceptionally smooth, self-levelling consistency. Best for glazing, portraiture, subtle blending.
Store — coming soon
Schmincke PRIMAcryl
German manufacturer. High-quality professional acrylic. Rich pigmentation, smooth consistency. Less well-known than Golden or Liquitex but highly regarded by European professionals.
Store — coming soon
Vasari Classic Oil Colors
American brand. Ultra-high pigment, fluid consistency. Particularly favoured by portrait painters for skin tone subtlety. Best for fluid, highly pigmented work.
Store — coming soon
Golden Open Acrylic
Slow-drying acrylic formula from Golden. Extends working time from minutes to hours — enables wet-in-wet blending similar to oil paint. Revolutionary for painters transitioning from oil. Best for wet blending and extended working time.
Store — coming soon
Vasari Classic Oil Colors
American brand. Ultra-high pigment, fluid consistency. Particularly favoured by portrait painters for skin tone subtlety. Best for fluid, highly pigmented work.
Store — coming soon
Golden Open Acrylic
Slow-drying acrylic formula from Golden. Extends working time from minutes to hours — enables wet-in-wet blending similar to oil paint. Revolutionary for painters transitioning from oil. Best for wet blending and extended working time.
Store — coming soon
Mid Range
Winsor & Newton Artists Oil Colour
Founded 1832, UK. Most widely available professional grade. Consistent, reliable quality. Broad colour range, excellent lightfastness. Good value for professional grade. Best for accessibility and wide availability.
Store — coming soon
Winsor & Newton Professional Acrylic
High pigment load, smooth consistency. Good all-round professional quality. Reliable lightfastness. Best for painters who want professional quality at accessible pricing.
Store — coming soon
Winsor & Newton Artists Oil Colour
Founded 1832, UK. Most widely available professional grade. Consistent, reliable quality. Broad colour range, excellent lightfastness. Good value for professional grade. Best for accessibility and wide availability.
Store — coming soon
Winsor & Newton Professional Acrylic
High pigment load, smooth consistency. Good all-round professional quality. Reliable lightfastness. Best for painters who want professional quality at accessible pricing.
Store — coming soon
Gamblin Artist Oil Colors
Founded 1980, USA. Eco-conscious formulation; no lead or cadmium in most colours. High pigment load, creamy consistency, moderate drying time. Best for environmentally conscious professionals.
Store — coming soon
Atelier Interactive
Australian brand. Unique 'interactive' formula: stays workable with water even after apparent drying. Allows reactivation of dried paint. Best for painters who want extended working time.
Store — coming soon
Gamblin Artist Oil Colors
Founded 1980, USA. Eco-conscious formulation; no lead or cadmium in most colours. High pigment load, creamy consistency, moderate drying time. Best for environmentally conscious professionals.
Store — coming soon
Atelier Interactive
Australian brand. Unique 'interactive' formula: stays workable with water even after apparent drying. Allows reactivation of dried paint. Best for painters who want extended working time.
Store — coming soon
Sennelier L'Huile
Founded 1887, France. Safflower oil binder for many colours (less yellowing than linseed). Creamy, luxurious consistency. 98 colours. Best for blending, portraiture, pale colour mixes.
Store — coming soon
Sennelier L'Huile
Founded 1887, France. Safflower oil binder for many colours (less yellowing than linseed). Creamy, luxurious consistency. 98 colours. Best for blending, portraiture, pale colour mixes.
Store — coming soon
Rembrandt (Talens)
Netherlands. Consistent quality, slightly lower pigment than top tier. Good lightfastness. Mid-range pricing. Good for serious students and emerging professionals.
Store — coming soon
Rembrandt (Talens)
Netherlands. Consistent quality, slightly lower pigment than top tier. Good lightfastness. Mid-range pricing. Good for serious students and emerging professionals.
Store — coming soon
Student Grade
Liquitex Basics
Student-grade from Liquitex. Good consistency, lower pigment load. Reliable for beginners. Upgrade to Professional line for serious work.
Store — coming soon
Liquitex Basics
Student-grade from Liquitex. Good consistency, lower pigment load. Reliable for beginners. Upgrade to Professional line for serious work.
Store — coming soon
Golden Student Acrylics
Student line from Golden. Maintains many of Golden's quality standards at lower pigment loads. Strong student grade.
Store — coming soon
Golden Student Acrylics
Student line from Golden. Maintains many of Golden's quality standards at lower pigment loads. Strong student grade.
Store — coming soon
Winsor & Newton Winton Oil Colour
Entry-level from W&N. Lower pigment load, some hue substitutions. Useful for practice and colour mixing studies. Upgrade to Artists grade when ready.
Store — coming soon
Daler Rowney System 3
UK student grade. Widely available, good consistency, reliable lightfastness for the price. Good entry-level choice.
Store — coming soon
Winsor & Newton Winton Oil Colour
Entry-level from W&N. Lower pigment load, some hue substitutions. Useful for practice and colour mixing studies. Upgrade to Artists grade when ready.
Store — coming soon
Daler Rowney System 3
UK student grade. Widely available, good consistency, reliable lightfastness for the price. Good entry-level choice.
Store — coming soon
Gamblin 1980 Oil Colors
Gamblin's student line. Higher quality than most student grades — no fillers, good pigment. Recommended for beginners who want reliable handling.
Store — coming soon
Gamblin 1980 Oil Colors
Gamblin's student line. Higher quality than most student grades — no fillers, good pigment. Recommended for beginners who want reliable handling.
Store — coming soon
Van Gogh Oil Colors (Talens)
Strong student grade. Good lightfastness for the price. A solid starting point before moving to artist grade.
Store — coming soon
Van Gogh Oil Colors (Talens)
Strong student grade. Good lightfastness for the price. A solid starting point before moving to artist grade.
Store — coming soon
Works in ekphra ▾
No works found yet — artists using Acrylic Paint will appear here.
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