GOLDEN Mediums offer artists infinite control of changing acrylic colors. Use Mediums to control transparency, viscosity and surface sheen. GOLDEN Mediums can be thought of as colorless paints, as they are composed of similar polymers as are the acrylic paints. They are the “glue” or binder that dry to form continuous, durable films. They are made of 100% acrylic polymers, which have proven to have excellent flexibility and chemical, water and ultraviolet radiation resistance.

ADHESIVE: Nearly all gels and mediums can be used as an adhesive in collage and scrapbooking when using materials that are porous and not water-sensitive. Other materials, such as glass, metals and plastics, should be avoided. Because of their greater binding capabilities, Gloss products are preferred for this use; however Matte and Semi-Gloss products will work for most applications.

Gel product names reflect their viscosity while wet, not their dry characteristics. Soft Gels are thinner than Regular Gels, which are thinner than Heavy Gels, which in turn are thinner than Extra Heavy Gels. All Gels have identical density and film quality once they’ve dried.

  Matte Medium – A general purpose, pourable medium useful for extending colors, decreasing gloss and increasing film integrity. Can be used as a ground, instead of gesso.

Acrylic Glazing Liquid ( satin)- is a specially formulated liquid medium designed to have longer working time than typical acrylic mediums. Very useful for fine art applications where subtle blending, subtractive techniques and similar methods are desired. Also ideal for decorative painting techniques. Available in Gloss and Satin.

 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.

    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 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.

    Brush or roller-applications should not require thinning, but Acrylic Glazing Liquid may be thinned with up to 20% water.

    Do not mix with oils. Paint on any non-oily surface. Abrade nonabsorbent surfaces (metals, glass, plastics, oil-based paints, etc.) for increased adhesion.

    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.


    Increasing Working (Open) Times:

    1. Seal surface to be painted using a Satin or Gloss base paint. Matte paints, such as a flat house paint or artist’s gesso, soak up the acrylic glazes too quickly, thus reducing working time. Sealing the surface, ideally with a gloss base, allows for maximum working time.
    2. Any breeze flowing over the glazing surface will make acrylic glazes dry more quickly. To maximize the working time, cover or close vents or windows, which blow air directly across the surface. Once the technique has been completed, open windows and allow proper airflow.
    3. Weather conditions greatly influence working times. Hot dry climates and direct sun exposure will reduce working time. Ideal conditions are cool, rainy, high humidity climates.
    4. Applying a layer of the Acrylic Glazing Liquid to the surface before applying the colored glaze will increase the amount of working time.
    5. A spritz of water to cool down and moisten the surface will increase open time. Also try lightly misting surface while working. This is especially useful for maintaining a wet edge. Use a horse or plant mister for best misting application.
    6. Have paints and tools ready before starting. Keep them wet, out of direct sunlight and cool.
    7. On large areas, apply the acrylic glaze in a jagged, “puzzle-piece” manner. Work towards the wet edge, leaving 3 to 6 inches unworked. Stipple, rag, etc. up to this unworked wet edge. To continue, work across the area by adding more wet glaze to fit into the wet edge “puzzle”. This technique helps to break up the design so that it appears more natural.
    8. Only apply glazes as far as you can reach. Try to work with another person when painting a large surface, such as a wall.
    9. Upon completion, utilize conditions that speed up the drying process, such as breeze, higher temperatures and lower humidity.



 – A general purpose, pourable medium useful for extending colors, decreasing gloss and increasing film integrity. Can be used as a ground, instead of gesso.

GOLDEN Fluid Matte Medium
GOLDEN 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. 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. 

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.

GOLDEN Gels & Molding Pastes

Self-Leveling Clear Gel
Designed to produce an even film with excellent clarity. This gel has similar qualities to the Clear Tar Gel: it has a resinous consistency and offers excellent leveling, yet its viscosity is closer to that of the Soft Gel. This product dries to a flexible, high gloss film, which can increase transparency and sheen while imparting a leveling quality to other GOLDEN Acrylic products. Blends with GOLDEN Acrylic colors to produce glazes without brush-strokes.

 Soft Gel (Gloss, Matte and Semi-Gloss)


Thinner than GOLDEN Heavy Body Acrylic colors, Soft Gels are moderately pourable and hold only slight peaks.

Soft Gel Gloss is ideal for glazing and other techniques where transparency is desired. Also, the recommended acrylic to function as a glue for collaging. Useful as a non-removable isolation coat, applied over the painting before the varnish layer (must be thinned with water – 2 parts Soft Gel Gloss to 1 parts water).

Heavy Gel (Gloss, Matte and Semi-Gloss)

Thicker consistency than GOLDEN Heavy Body Acrylic colors. Blend with colors to increase body. Good for holding peaks. Dries translucent.

 Extra Heavy Gel (Gloss, Matte & Semi-Gloss)
Thicker consistency than GOLDEN Heavy Body Acrylic colors. GOLDEN’s thickest gels, along with the High Solid Gels. Blend with colors to increase body. Excellent for holding peaks and impasto techniques. Dries translucent.

Extra Coarse Pumice Gel

Used to create granular textured surfaces. Dries to a hard film. To increase its flexibility, mix in other GOLDEN Gels or Mediums. Blends with GOLDEN Acrylic colors.


Coarse Pumice Gel
Used to create granular textured surfaces. Dries to a hard film. To increase flexibility, mix in other GOLDEN Gels or Mediums. Blends with GOLDEN Acrylic colors. Useful as a ground for pastels.


Digital Ground for Non Porous Surfaces –A clear gloss ground for coating non-porous surfaces, such as plastic and metal, when clarity is desired.  Like most clear ink-jet receptive coatings, prints done on this ground will dry much more slowly, which can cause tracking problems for desktop printers that have ejection rollers or ‘pizza wheels’.

 Digital Ground White (Matte) – A semi-opaque white ground suitable for printing onto a large variety of porous and non-porous surfaces.  The smooth and absorbent surface allows printing inks to dry rapidly, making it an ideal choice for all ink-jet printers, including desktop models that have ejection rollers or ‘pizza wheels’ that come into contact with the printed surface.  Digital Ground White (Matte) is an ideal starting product for artists exploring digital printing.

more information about technique, check this link for technical suggestion:

the Rules
As implied from the extensive list of uses above, there is not a lot of limitation or restriction on the use of gels and mediums. An artist can mix any quantity of Gel with GOLDEN Acrylic colors, or other Gels and Mediums. However, the following are rules that should be obeyed:

  • To thin, add a thinner GOLDEN Medium or water.
  • When blending thin products into a gel, add in small portions with thorough and careful stirring at each addition.
  • For slower drying, add GOLDEN Retarder, but do not exceed 15%, as it will result in a surface that will not lose its tack. Acrylic Glazing Liquid can be used in place of straight Retarder, and there are no restrictions on amounts.
  • Do not mix with oils.
  • Abrade non-absorbent surfaces for increased adhesion.
  • Minimum film formation temperature is 49oF/9oC. Avoid freezing.
  • Paint on any non-oily surface.
  • Clean tools and brushes with soap and water.


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