JUST PAINT

Published by GOLDEN Artist Colors, Inc. / Issue 4

Taming the Foam Monster in Acrylic Paint! One of the most critical problems in the manufacture and use of acrylic paint is the development of foam. It can cause structural problems in the dry paint film by weakening it and can create a more perme- able paint surface capable of imbibing dirt and other discoloring pollutants. But the primary problem with foam is that it can cause a clouding or fogging in an otherwise transparent acrylic surface. Understanding how foam is created leads to an understanding of how to deal with and potentially avoid it. While it is easy to suggest not to create foam in the first place, this is sometimes difficult to achieve with waterborne acrylics. No matter how careful one is with their working tech- nique, the simple movement of a paint filled brush rising with high points on the work and slapping down into valleys is INSET: Detail of foam generated from enough to create a dried cloud of foam. inappropriate use of acrylic polymer as a topcoat. This is usually only a problem when work- ing in transparent layers or applying a transparent coat of varnish. quires different levels and types or combina- The Source of Foam tions of surfactants to make a stable paint. of heavy bodied acrylics. Thinner bodied Foam generation in waterborne While it is sometimes possible to substitute paints, like Golden Fluid Acrylics, require a acrylic paints and mediums comes from a lower foaming product, it is important much more delicate defoamer to avoid several sources. Yet, all of these have, as not to sacrifice overall paint other film defects that too much or too their primary basis, the use of chemical performance. strong a defoamer can cause. Shaking or wetting agents called surfactants. From the Creating foam is usually an unavoid- strong agitation of these colors during mix- same family of chemicals as detergents, sur- able consequence of the high speed mixing ing may cause a froth of foam like the head factants tend to be extraordinar- and shearing processes required of a beer. ily good at creating foam. How- ▲ to disperse pigments and make Foaming in Varnish ever, they are indispensable. By paints. Chemical defoamers, It has been the practice of many SURFACTANTS which act to both reduce foam reducing the surface tension of TEND TO BE artists and paint companies to recommend water, they serve to stabilize the EXTRAORDINARILY generation as well as break foam using polymer medium as a varnish for acrylic polymer, and are also re- GOOD AT structure once it occurs, are part acrylic paintings. We have seen many cases quired for dispersing pigments CREATING FOAM. of every waterborne paint for- where this has caused irreparable foam into the acrylic. HOWEVER, mulation. Thicker paints allow damage to the surface of the painting. It is Optimizing surfactant use THEY ARE for the incorporation of stronger nearly impossible to apply a layer of poly- INDISPENSABLE. defoamers, yet the thicker the is the most complex and critical ▼ mer medium without creating foam, which part of paint formulation. Their paint, the more resistant the will not dissipate and is not removable. For high propensity for foam genera- foam is to dissipating. It may this reason we recommend using Golden tion requires tight controls. Each take up to several weeks or Soft Gel (Gloss) if an isolating coat is pigment, each system, each material, re- months for foam that is stirred in to rise out needed or when strong defoaming is Continued back page... Just Paint / Issue 4 2 WILL CADMIUM ALWAYS BE ON THE PALETTE? ALTERNATIVE PIGMENTS ARE BECOMING AVAILABLE! Environmental and health concerns Cadmium pigments excel in high heat In the industrial setting of the paint have spurred increasingly stringent regula- applications, as encountered in the glass and manufacturer, where inhalation of dry pig- tory requirements for the use and disposal injection plastics industries. Although the ment is much more likely, the Occupa- of Cadmium based pigments. As a result, performance of cadmium pigments in the tional Safety and Health Administration many industries have decreased or entirely glass industry may be (OSHA) regulates eliminated the utilization of these unequaled, their use all cadmium com- colorants. If these trends continue, formu- is prohibited to a pounds and has set lating cadmium pigment into artist paints large extent due to stringent workplace will become increasingly difficult, and ulti- the “Toxics in Pack- exposure limits and mately, may be impossible due to lack of aging” laws of many hygiene require- availability. However, the introduction of states, which limit ments. OSHA’s newer organic pigments has made finding the intentional addi- permissible exposure suitable alternatives easier than ever. While tions of heavy metals limit for cadmium not identical to cadmium based pigments, to packaging materi- exposure through their properties are similar enough in some als. Glass is manufac- inhalation is 5 mi- respects, and superior enough in others, to tured primarily as a crograms per cubic warrant consideration. Golden Artist Col- packaging material. Cadmium Pigment Usage in North meter of air ors has recently introduced three such col- These restrictions breathed. In an 8 ors; Hansa Yellow Opaque, Pyrrole Red have also impacted plastic packaging, but hour workshift, approximately 9 cubic Light, and Pyrrole Orange. Also in this not applications known as “engineered res- meters of air are breathed. Workers ex- group is Pyrrole Red, which was first made ins” which encompass such uses as injection posed to cadmium approaching this level available by Golden in 1990. molded handles and housings for lawn and are required to have periodic testing to Cadmium pigments were discovered power tools. These are high heat applica- determine their blood levels of the ele- around 1820 and first commercialized for tions where the cadmium pigments continue ment. artists’ use by the mid 1840’s. Although to outperform organics due to their heat There are also concerns regarding Claude Monet used them extensively in the stability. the long term environmental impact of 1840’s and 50’s, the scarcity of the metal Another industry which has declined cadmium in landfills. These are largely the kept their use relatively limited in artists drastically in cadmium pigment use is auto- result of the use of soluble cadmium com- materials until the 1920’s. Their introduc- motive manufacturing. Whether it is a mat- pounds in battery manufacture and the tion provided unequaled hues in the yellow ter of color fashion, with earth tones favored proliferation of spent batteries in the waste to deep red range, in terms of brightness over a bright red interior, or a response to stream. However, for the purposes of re- and lightfastness. increased regulation, industry sources report ducing the potential for cadmium com- While cadmium pigments are con- that cadmium pigment use has been all but pounds leaching out of landfills, cadmium sidered extremely lightfast under conditions eliminated. from all sources is of concern to the agen- of indoor use and exposure, they fade a Toxicity and Environmental Impact cies regulating waste disposal. Any cad- great deal when used outdoors in acrylic Animal studies have shown that cad- mium-containing waste that leaches levels paints. For this reason, they should not be mium pigments are potential carcinogens of the metal greater than 1 mg/liter in the used in exterior mural painting. The differ- when inhaled, which is why they carry the Environmental Protection Agency (EPA) ence between indoor and outdoor perfor- warning, “do not spray apply”. They are not Toxicity Characteristic Leaching Proce- mance is thought to be due to the combi- believed to be toxic by ingestion if they are dure test method is considered hazardous nation of environmental factors encoun- of low solubility as determined by laboratory waste. This is a rigorous acid solubility tered outside; moisture, ultraviolet radia- testing. Over the years, pigment manufac- test which some cadmium pigmented art- tion and air. These cause bleaching induced turers have produced cadmium pigments of ists paints will not pass. In recent years, by oxidation of the cadmium sulfide to progressively lower solubility of both the numerous states have passed additional cadmium sulfate. That is why the water cadmium and selenium in efforts to increase regulations designed to reduce cadmium permeable acrylic vehicle is prone to this safety. The solubility tests are designed to entering the waste stream from the pack- effect, while cadmium pigments used in mimic the pH, temperature and agitation aging and printing industries, regardless of impermeable binders, such as rigid plastics, that would be experienced in the stomach. solubility. are not. However, detractors from this theory cor- Periodically, bills are introduced in Industrial Use rectly point out that there are other mecha- state legislation that would prohibit uses Only 5-7% of total cadmium pig- nisms at work in the body and that these of cadmium in consumer products. In ment production is used in the manufacture analyses should not be considered entirely Minnesota, a bill to this effect was passed of artist materials. Since most is used else- conclusive. Therefore, while use of low for ink, paint and dye products, but did where, clues to future availability may be solubility cadmium pigments diminishes contain an exemption for art materials. found by looking at what is happening with their toxicity, there is still reason to treat Similarly, in Europe, art materials enjoy an the higher use industries. paints made with cadmium pigments with exemption from prohibitions of cadmium extra care and to seek alternatives. use in consumer products.

Continued page 5 Just Paint / Issue 4 3 Product Review: glossy. Each color’s sheen and degree of opacity Acrylics. Being closer in viscosity, the two are GOLDEN Fluid Acrylics depend upon the unique nature of the pigment more physically compatible and less work is used. Like oil paints, where lean colors tend to be required to achieve a homogenous mixture. Offer Great Versatility very matte and fat colors tend to be quite glossy, This results in less foam generation and a more Golden Heavy Body Acrylics were the the colors have what many artists describe and uniform mixture. Remember, the more water first line of paints produced by Golden Artist appreciate as “the organic look”. added to the acrylics, the greater the subsequent Colors, Inc. in 1980. Formulated to have an By maintaining purity, the colors retain their shrinking of the paint layer. Also, too much exceptionally smooth, thick texture, these paints clearest and cleanest quality, especially when water reduces the binding capability of acrylic were regarded as the best quality available; used in brilliant washes or glazes. paints and tends to flatten their sheen. however, they did not meet the needs of all Generally, when used for applications other users. Many artists were thinning the Heavy than staining and washes, the maximum Body paints with water. They wanted a paint recommended dilution is a 1:1 mixture of that flowed from the brush more easily; that Fluid Acrylic to water. When using the they could pour, puddle and drip, stain with, or Fluids specifically for staining or watercolor use as an alternative to watercolors. Others techniques, there is no limit to the amount of wanted to spray apply the acrylic paints. water that can be added, as film integrity is Simply adding water or medium to the Heavy less important. Instead, the integrity of the Body Acrylic paints was sufficient to meet system results from the substrate absorbing some of these needs. However, this was not the paint mixture. always satisfactory due to the difficulty of Applications of Fluid Acrylics mixing in water and the loss of tinting strength As a result of their low viscosity and coverage. range, the Fluids brush out smoothly and Taking all these needs into account, evenly. They load a brush better than thicker Golden Artist Colors started creating Fluid paints, and flow consistently, allowing for Colors on a custom basis for artists requiring longer, more uniform strokes. Thin, highly a thinner, yet fully pigmented paint. The pigmented passages may be laid down, first development was for an artist wanting which are not possible when using a thicker to achieve the color saturation Morris paint that has been diluted. Louis obtained from the Magna products. The Fluid Colors can be mixed with Eventually, the popularity of these Custom all other Golden paint lines, including Heavy Fluids reached the point where Golden was Body Acrylics, Airbrush colors, High Load able to introduce them as a standard product line. There are options for artists requiring a Colors, Iridescent Colors, Paste Paints, The main difference between Golden uniform sheen from the paints. These include and Matte Acrylics. This allows artists to Fluid Acrylics and Heavy Body Acrylics is their blending the colors that are relatively glossy or create any consistency paint desired, whether viscosity or consistency. Formulating the Fluid matte with an offsetting matte or gloss gel or extremely thick or thin, without color loss. Acrylics is a more difficult process, as there is medium. If it is important to maintain a thin Mixing with Golden Mediums and Gels is also an a tendency for highly loaded paints at a low consistency, Fluid Matte Medium or Polymer effective method of changing the consistency of viscosity to thicken over time. They are produced Medium is the best choice. While these will adjust the paint, if the subsequent loss in color strength with the same pigments at the same load as the the sheen of the resulting mixture, color strength is acceptable. For example, when a heavier Heavy Body paints, yielding similar tinting will be reduced as well. If high color strength is stroke is required, blending in Golden Soft, strength. However, many artists believe they are important, then the best option is to apply a matte, Regular, Heavy or Extra-Heavy Gel will work to actually stronger than the Heavy Body colors due satin or gloss varnish once the artwork is complete. thicken the paint to the extent required. to their greater leveling. This will unify the sheen of the entire surface. Although the Fluid Acrylic line is less The Fluid colors retain excellent flexibility Glazing Applications extensive than the Golden Heavy Body line, it when dry, greatly diminishing the possibility of When highly transparent glazes are offers a broad range of pigment options. Missing the type of cracking that can occur in natural desired, the Fluids are the best colorants to use. are some of the heavier metal pigments which do and other synthetic polymer systems. Acrylics They mix very easily into any of the gels or not remain stable in the thinner Fluid consistency. withstand the constant stress and strain of the mediums, especially the thinner products. This They tend to settle to the bottom of the container, canvas as it moves with changes in humidity, reduces the chance of incorporating foam into packing densely enough to prevent easy restirring. temperature and during shipping. However, it is the mixture, which reduces transparency. As Properties of Fluid Acrylics important to note that acrylic will begin to harden the Fluids are highly pigmented, to achieve a transparent film, add less than 2% Fluid color Fillers are frequently added to acrylics to at 15 degrees Centigrade or 59 degrees Fahren- into a gloss Gel or Polymer Medium. give all colors in a line a uniform finish and heit, and will become quite hard and brittle at opacity. As with Golden Heavy Body Acrylics, temperatures near and below freezing. This is Pouring and Other Applications flattening agents and opacifiers are not formulated especially important when considering handling a The Fluids are excellent for pouring, into the Golden Fluid Acrylics. Subsequently, painting under such conditions. Extreme care puddling, dripping and dragging to yield unique there are large variations in gloss within the should be exercised. It is important to allow effects. One can control the size and shape of a line, as is quite evident when looking at the hand- the painting to warm sufficiently before rolling, pour or drip by altering the speed, distance from painted color chart. For example, Ultramarine unrolling or any other handling occurs. the surface or container nozzle size. Try Golden Blue and Burnt Sienna are quite matte, while Reducing Golden Fluid Acrylics with water Clear Tar Gel in mixes with the Fluids for Quinacridone Gold and Vat Orange are extremely is much easier than the thicker Heavy Body dripping purposes, and making - Over 4 Just Paint / Issue 4

Fluid Acrylic Review (Continued) themselves to such techniques due to their soft hand. Another advantage is that it is not brittle and delicate nature in thick applications. necessary to heat-set the paints to get good lines ranging in thickness from spider- laundering fastness. Simply allowing them to air web fine to relatively thick. Pouring applications Spray Applications dry for a week or more is sufficient. If this is result in relatively thick films that can be af- Diluting the Fluids with an equal part of not possible, run the garment through a clothes fected by the shrinkage acrylic paints experi- Golden Airbrush Medium generally yields a mix- dryer for 40 minutes on high setting to acceler- ence upon drying (approximately 25-40%). This, ture with excellent sprayability. This allows the ate curing. coupled with their thin consistency, may yield paint to flow smoothly through the spray unit, surface defects called crazes. Crazes may while minimizing tip build-up and clogging. Al- Hard Edge Work appear as rips, tears or valleys, and result from though the Fluids can also be diluted with water, When using the Fluids for hard edge the tremendous force exerted on the surface of they typically will not spray as smoothly. Gener- taping techniques, there are some specific tech- the paint film as it shrinks while drying. Adding ally, the Fluids spray well through spray assem- niques that will help yield the cleanest line pos- up to 5% of Fluids to Golden GAC-800 can blies ranging from fine airbrushes to industrial sible. First, the selection of tape is an important reduce the crazing that occurs in thick pours. spray guns. The spray unit should have a consideration. Tapes that have elasticity (such Achieving Watercolor Effects nozzle size of 0.3 mm or greater. Smaller nozzle as electrical tape) make it more difficult to sizes will work, but will require further dilution achieve a perfectly straight line. Tapes with high When mixed with water, or water with with Golden Airbrush Medium. Typical air pres- tack may cause lifting of lower layers of paint. Golden Acrylic Flow Release to reduce surface sure required is 30 - 60 psi. Lower tack masking tapes used in household tension, the Fluids are very useful for staining or When using the Fluids for commercial and automotive painting are quite useful. It may watercolor techniques. In addition to paper, suit- illustration purposes, thinning with Airbrush Me- be beneficial to condition tape to reduce the tack able surfaces include raw or gessoed canvas. dium may lead to frisketting problems. In by adhering it to and removing it from a clean They also work well in conjunction with Golden heavier applications, the slow drying Airbrush surface prior to use. Absorbent Ground which can be applied onto Medium causes the paint film to stay soft for as A problem often encountered while doing any gessoed support to create the absorbent long as a few days. During this time, the paint hard edge techniques is that the paint will bleed qualities of a watercolor paper. may stick to the frisket, causing lifting problems. under the tape, resulting in a jagged edge. A The main differences between Fluid To avoid this, the Fluids should be thinned with way to avoid this and to maintain a true hard Acrylics and watercolors is that the Fluids dry the faster drying Golden Airbrush Transparent edge, is to apply a clear sealant over the tape quicker and are not water-soluble when dry. Extender. before applying color. After the tape is in place, While this will limit the ability to remove color, it apply Golden GAC-200 over the edges that are results in background washes that stay in place Application on Apparel to be painted. If spraying, thin it with Golden when overpainting. It also allows for much more A 1:1 mixture of the Fluids and Airbrush Airbrush Transparent Extender. After the GAC- distinct, sharp edges when painting over dried Medium creates a paint that works very well for 200 dries, apply the paint. Whenever possible, colors, compared to watercolors which airbrushing artwork on clothing. The spray con- pull the tape up while the paint is still wet. resolubilize and bleed together. Because a stain sistency allows for creating very fine detail. The Golden Fluid Acrylics are highly versatile created with the Fluids is not resoluble, it may colors are durable enough to withstand multiple paints that work well in many applications. If be painted over or varnished with any other wash/dry cycles with minimal loss of color inten- you are interested in trying them, call 1-800-959- waterborne system without concern. This lack sity. Even after spraying on several layers, the 6543 for a color chart and other information. of water resolubility of the Fluid Acrylics does garment does not get stiff, offering a relatively require that tools and brushes be cleaned with water before the paint has a chance to dry. A single application of a Fluid Acrylic stain will create an intense color, while watercol- Paint and Coating ABSTRACT ors typically take several layers to get the same intensity. This may be an economical advan- Testing Manual tage, as the Fluid colors can be diluted further Artists’ Paints by Ben Gavett than watercolors while yielding similar color The Paint and Coating Testing Manual is a one intensities. Golden Fluid Acrylics and watercol- volume, nearly 900 page, summation of test methods ors can also be used together to take advantage employed by manufacturers to evaluate the integrity of their various attributes. An example is to use of coatings. It is an encyclopedic reference of Fluids for background stains or areas that re- information relating to paint raw materials and quire a distinct edge, while using watercolors for finished product applications. The Manual has been overpainting and softer edges. Another tech- published for decades, but it wasn’t until the fourteenth edition, published in 1995, nique is to apply undiluted Fluids as a perma- that Artists’ Paints were included. nent resist. After allowing them to dry on the Similar to the artist being responsible for the surface, watercolors or Fluid stains can be ap- compositional soundness of a painting, it is up to the plied, and they will only be absorbed into areas manufacturer to ensure archival and other properties that are not already painted with the Fluids. of the paint. In his chapter on Artists’ Paints, Another attribute of using Fluid Acrylic Gavett describes the role of manufacturer testing in for watercolor effects is that when thicker, more supplying products that meet established criteria intense areas are desired, the Fluid can be used and expectations for Working Properties, Film Properties, Stability, and Safety. at a lesser or no reduction in order for it to re- Single reprints of the chapter are available by calling main on the surface. Watercolors do not lend Golden Artist Colors or completing the reply card. 5 Just Paint / Issue 4

From Page 2 tion, excessive skin contact, and if spraying stead, we found that a member of the or sanding, use a NIOSH approved respira- arylide family of pigments seems to offer Alternative Pigments tor. Maintain a moderate level of general the best choice for the artist eschewing Replace Cadmiums? dilution ventilation. These are considered cadmium pigment. This pigment, PY 74, is good chemical hygiene practices. In follow- the colorant in Golden Hansa Yellow The result of increased regulation ing them, unknown potential toxicity mat- Opaque. It is of a hue between Cadmium and concern over toxicity is that cadmium ters less, because if materials don’t enter the Yellow Light and Cadmium Yellow Me- pigment use in the United States has de- body, they can not be harmful. dium. Its relatively high opacity and excel- clined about 75%, from approximately Alternatives to Cadmium lent interior lightfastness are characteristics 2375 tons in 1987 to 550 tons in 1995. Of not normally encountered in this class of this, an industry representative estimated Pigments pigment. Exteriorly, its lightfastness is far that approximately 5% to 7% is used for It is apparent that we should not superior to cadmium yellow and should artists paint. The number of manufacturers count on cadmium pigments being available also exceed the performance of Hansa Yel- of these pigments has also decreased signifi- forever. Golden Artist Colors has under- low Medium (PY 73) and Hansa Yellow cantly. While industry representatives be- taken years of research in an effort to iden- Light (PY 3), the other members of this lieve the trend may be leveling somewhat, tify and market suitable alternative pig- pigment family offered by Golden. There one cannot help but wonder if regulatory ments. Important characteristics include are currently no environmental or toxicity pressure will ultimately hue or color position, issues associated with PY 74. The tinting prevent the use of cad- chroma or color satu- strength of Hansa Yellow Opaque is also mium in artists paints, ration, opacity, indoor significantly higher than what might be or otherwise result in lightfastness, and tint- expected from an arylide and is closer to supply problems due ing strength. Alterna- that characteristic of a cadmium pigment. to the downsizing of tives should also The arylide yellows are entirely organic in the industry. present distinct advan- composition, containing no metals. While There is another tages over cadmium one pigment doesn’t provide a range of perspective to the issue pigments in the areas choice equal to that available in the cur- of the relative safety of of potential toxicity, rent range of cadmium yellows, it is a start- cadmium pigments environmental impact ing point. Using it as the primary compo- compared to organics. and exterior nent of a mixing color will extend its at- Due to the OSHA lightfastness. This is tributes to other hue positions. regulations, industrial quite a list of objec- Although the properties of these exposure to cadmium tives, and presents a new organic pigments are in many ways pigments is extremely difficult task, particu- similar to cadmium colors, they are not low. Cadmium enter- larly in the yellow identical in every respect. The biggest ing the wastestream is range. variation is how the colors mix to create much more closely However, with new colors. Organics typically produce controlled. Mean- o = Cadmium o = S or Se the introduction of the cleaner, less muddy mixtures. Other colors, while, organic pigment Pyrrole family of pig- such as the iron oxides, can be added if use is treated much Cadmium Yellow is composed primarily of ments in 1988, there muddier colors are needed. more casually with less Cadmium Sulfide, with the lighter yellows appear to be good off- Once established, a pigment is including some zinc in solid solution. The stringent worker pro- sets, in terms of these rarely deemed entirely superfluous. Cad- tection in terms of orange to red range is achieved by identified criteria, for incorporating varying amounts of mium pigments will always have devotees, personal protective selenium. The redness increases as the the orange to medium regardless of any disadvantages. An ex- equipment and indus- amount of selenium is increased. red range. Additional ample of this persistence is the continued trial hygiene. Those products utilizing this demand for true Alizarin Crimson, a pig- who play devil’s advocate wonder if these chemistry, currently under development by ment that fades badly, long after the intro- new organic pigments, which have been the industry, will extend this range into the duction of the highly stable quinacridone evaluated for toxicity less thoroughly by darker reds. The pyrrole family of pigments family, from which a nearly identical match virtue of their newness and lack of long is currently represented on the Golden pal- may be made. Another example is the con- term epidemiological data, will remain un- ette by three colors, Pyrrole Orange, Pyr- tinued demand for lead white, despite its tarnished as they come under closer scru- role Red Light, and Pyrrole Red. These are toxicity, concerns about environmental tiny in the years to come. strong tinting, high chroma colors with ex- impact and suitability of Titanium and Golden Artist Colors will continue cellent lightfastness. Zinc White blends. to try to make the best choices based on Identifying suitable alternatives for Long term availability of cadmium current knowledge, such as selecting cad- the cadmium yellows has been a somewhat pigments may be determined by regulatory mium pigments of the lowest solubility and more difficult task. The Bismuth Vanadate pressure or by reduced demand resulting searching for what are believed will be saf- family offers many of the attributes being from the increased use of new pigments. est alternatives. Even so, we urge users to sought, but concerns over the toxicity of the It may likely be both. control their exposure to any artist mate- constituent heavy metals (bismuth and va- rial. Treat every material as if it could be nadium), seem to indicate they may offer chronically toxic. In all cases avoid inges- little benefit over cadmium pigments. In- Survey on Artist’s Gesso There are a variety of materials used to prepare supports for paint- __ Stretched ing. The American Society for Testing and Materials (ASTM) subcom- __ Yardage mittee on artists’ materials is gathering information to help guide the development of a quality standard for acrylic gesso. It is hoped that 8 Please rate the following practicing artists will help by completing and returning this survey, in attributes of a primer in importance: order to help determine what is most important to (Very important is 1. Least important is 5.) the customer. Opacity ...... 1 2 3 4 5 Transparency...... 1 2 3 4 5 1 Do you paint in: __other ______Brightness ...... 1 2 3 4 5 __ Oils Absorbency ...... 1 2 3 4 5 __ Acrylics 5 A “primer”, “gesso” or “ground” is a __ Watercolors coat of paint applied to prepare a Flexibility ...... 1 2 3 4 5 __ Gouache surface for painting. Ease of application ...... 1 2 3 4 5 __ Other ______Do you prime? Surface texture __ No __ Yes Toothy ...... 1 2 3 4 5 2 Do you stretch and/or prepare __ with lead based primer your own: __ acrylic gesso Smooth ...... 1 2 3 4 5 __ Canvas __ glue gesso Lightfastness ...... 1 2 3 4 5 __ Paper __ other Resistance to changes in __ Rigid Supports heat and humidity ..... 1 2 3 4 5 ______Other______Price ...... 1 2 3 4 5 How many coats?______3 Do you underpaint an oil painting? 9 Have you ever noticed delamination Sand between coats? __ No __ Yes __ Occasionally between: __ Yes __ No __ with acrylics (Check all that apply. Describe types of materials used) __ watercolors 6 If you use acrylic gesso, do you __ Support and primer __ other also size before applying gesso? ______No __ Yes __ Size and primer

Please Detach and Mail. ______4 “Size” is a dilute solution of material 7 Do you use commercially __ Layers of primer applied to porous supports to prevent pre-primed canvas? ______absorption of paints. __ No __ Yes __ Occasionally Do you size? __ Primer and paint __ No __ Yes ______with rabbit skin glue __ polymer medium

Use the lines below for any additional comments you would like to make. ______

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