Notebook, 1993-

MATERIALS & METHODS - Painting - Sythetic Resin Paints

Acrylic Resins - Alkyd Resins - Cellulose Acetate - Cellulose Nitrate - Synthetics in Artists' Materials - Vinyl Resins

Prepared Artists' Materials - Polyvinyl Acetate Emulsion [PVA, Vinyl Polymer Tempera] - Acrylic Emulsion Paints [Acrylic Polymer Tempera] - Acrylic Solution Paints - Alkyd Resin Medium

[From: Kay, Reed. The Painters Guide to Studio Methods and Materials. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1983.]

Acrylic Emulsion Paints

[Acrylic Polymer Tempera] - Supports and Grounds

Acrylic Emulsion Paints - Studio Manufacture of Acrylic Emulsion Paints - Color Lists - Tools and Equipment - Thinners, Painting Mediums, and Additives - Supports and Grounds - Painting Methods - Collage - Care and Display

The acrylic polymer tempera paints can be used on both rigid and flexible supports. The strong adhesive quality of these paints and the pliability of the dried films they form make it possible to use them on paper, linen and cotton textiles, Masonite Presdwood, wood panels, cardboards, and indoor masonry and plaster surfaces.

The support material should be prepared with an acrylic emulsion priming by the method described on page 110. This acrylic priming, sold as acrylic gesso, serves to reduce the absorbency of the support material and provides an even surface on which the colors can be easily manipulated. If the acrylic priming is used, no preliminary sizing is needed on textiles, paper, wood, or Masonite panels. On rigid supports such as Masonite or wood panels, the traditional glue gesso described on page 115 in the book can be used as a ground [p. 194] for acrylic painting. However, using the acrylic priming would seem a sounder practice since all layers in the picture would then contain the same binder.

Although the acrylic polymer paints will adhere to surfaces that have been painted with oil colors or oil primings, there is always the risk that an oilier section of the surface may be sufficiently slick to prevent the acrylic colors from forming a good bond with it. Therefore it is safest to avoid using acrylic tempera over oil paint surfaces. If such an oil primed surface must be used, the surface should be as matte as possible and should be thoroughly roughened with sandpaper to provide as much tooth and absorbency as possible.

Linen and cotton canvas, prepared with an acrylic emulsion priming, is now sold in art supply shops. Such commercially preprimed canvas offers an appropriate surface for acrylic painting to the artist who does not wish to be involved in the preparation of the support material. [pp. 194-195]

[ Kay, Reed. The Painters Guide to Studio Methods and Materials. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1983.]



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