Paper - For Acrylics

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]