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GOLDEN - Gloss Medium (237ml)

Acrylic painting medium Great for glazes and extending colours Enhances gloss and translucency Promotes flow and levelling Made in the USA Golden Gloss Medium is useful for creating glazes, extending colours, enhancing gloss and translucency. It has an oil-like feel and resinous nature that promotes flow and levelling. It is the best product for blocking Support Induced Discoloration (SID). About Golden Mediums Golden offer the widest range of mediums for acrylic painting. Their range includes gels, additives and effect pastes, which allows you to choose whatever qualities you desire for your acrylic painting: luminous glazes, gritty opaque structures, string effects, glassy areas or variable drying times. This expansive range gives rise to inspiring possibilities that allow you to do very unusual things. Whatever your needs, our Golden range has you covered.

GBP 17.99

1

GOLDEN - GAC 500 Gloss Extender for Fluid Acrylic Colours (237ml)

Acrylic painting medium Fast-drying isolation coat Increases mar resistance Decreases dry film tack Made in the USA GAC 500: Gloss Extender For Fluid Acrylic Colours provides a unique balance of film hardness and flexibility. Mix 2 parts GAC 500 to 1 part High Flow Medium to produce a good spraying, fast-drying isolation coat. It is beneficial as an additive for acrylic paints for increasing mar resistance and decreasing dry film tack, without disturbing the balance between hardness and flexibility. Its also useful when working on flexible or rigid supports and offers a self-levelling working quality. GAC 500 dries to a high gloss film with good clarity and transparency. It's useful to hard-edge painters to seal masking tape for cleaner edges. Apply over masking tape. Let dry before applying an additional paint layer. About GAC Acrylic Polymers GACs can be blended with Golden Acrylic Paints to extend the paint, regulate transparency, create glazes, increase gloss, reduce viscosity or improve adhesion and film integrity. The GAC polymers can also be used for binding pigment solids for various effects and surfaces. Unlike the other Golden Mediums and Gels, GAC Acrylic Polymers have only a minimum amount of thickeners, levellers, defoamers and surfactants to ensure good film formation. The consistency of the GAC polymers is very fluid, and thinner than other Golden Mediums. Each GAC product represents a unique polymer that offers certain specific attributes. Therefore, each GAC will have its own unique benefits and applications. Mixing GAC polymers should be gently stirred or rocked back and forth prior to use, but should never be shaken, as this will incorporate significant amounts of foam which will be very difficult to eliminate. Foam can severely affect the transparency of the film causing an apparent foggy or hazy quality. When applying with a brush, use minimal agitation and force, and do not overwork, as this too will result in foaming. Spraying If spray application is desired, blend with Golden Airbrush Medium. Start at 2 parts GAC Medium to 1 part Airbrush Medium. When faster drying is required, replace the Airbrush Medium with Golden High Flow Medium. Varnishing The GAC polymers are intended for use as binders, modifiers or additives for acrylic paints. They are not intended for use as a final varnish. Golden Artist Colours manufactures two different varnish systems, Polymer Varnish and Mineral Spirit Acrylic (MSA) Varnish. About Golden Mediums Golden offer the widest range of mediums for acrylic painting. Their range includes gels, additives and effect pastes, which allows you to choose whatever qualities you desire for your acrylic painting: luminous glazes, gritty opaque structures, string effects, glassy areas or variable drying times. This expansive range gives rise to inspiring possibilities that allow you to do very unusual things. Whatever your needs, our Golden range has you covered.

GBP 15.60

1

GOLDEN - Clear Tar Gel (237ml)

Acrylic painting medium Creates fine detailed lines Extremely resinous Dries to a flexible, high-gloss finish Made in the USA Video: Golden Artist Colours - Clear Tar Gel Golden Clear Tar Gel is a 100% acrylic polymer dispersion colourless gel with an extremely resinous, syrupy , stringy, and tar-like consistency. It is a unique product with a long rheology; conceivably it could be poured from a three-story building as one long strand! Clear Tar Gel can be used to generate fine detailed lines by "dripping" it over painting surfaces. It can be blended with all Golden Acrylic paints, offering a full range of colours with which to work. It blends with acrylics to produce a flow of colour that can be manipulated with a palette knife to create a drizzle effect. Golden Clear Tar Gel dries to a flexible film with a high-gloss finish. About Golden Mediums Golden offer the widest range of mediums for acrylic painting. Their range includes gels, additives and effect pastes, which allows you to choose whatever qualities you desire for your acrylic painting: luminous glazes, gritty opaque structures, string effects, glassy areas or variable drying times. This expansive range gives rise to inspiring possibilities that allow you to do very unusual things. Whatever your needs, our Golden range has you covered.

GBP 19.99

1

GOLDEN - GAC 100 Acrylic Primer & Extender (237ml)

Acrylic painting medium Moderate tack and gloss Dilutes and extends colours Pigment surfaces well Made in the USA This polymer is one of the most universal used in paint manufacturing. Artists who had used "Rhoplex" (a registered trade name) will find that this GAC most closely reflects the properties to which they were accustomed. This is the most flexible in the series with a moderate level of tack and gloss. It is useful for diluting and extending colours, especially when film flexibility and integrity are important characteristics. It wets pigment surfaces well and is the most ideal for artists formulating their own paints. About GAC Acrylic Polymers GACs can be blended with Golden Acrylic Paints to extend the paint, regulate transparency, create glazes, increase gloss, reduce viscosity or improve adhesion and film integrity. The GAC polymers can also be used for binding pigment solids for various effects and surfaces. Unlike the other Golden Mediums and Gels, GAC Acrylic Polymers have only a minimum amount of thickeners, levellers, defoamers and surfactants to ensure good film formation. The consistency of the GAC polymers is very fluid, and thinner than other Golden Mediums. Each GAC product represents a unique polymer that offers certain specific attributes. Therefore, each GAC will have its own unique benefits and applications. Mixing GAC polymers should be gently stirred or rocked back and forth prior to use, but should never be shaken, as this will incorporate significant amounts of foam which will be very difficult to eliminate. Foam can severely affect the transparency of the film causing an apparent foggy or hazy quality. When applying with a brush, use minimal agitation and force, and do not overwork, as this too will result in foaming. Spraying If spray application is desired, blend with Golden Airbrush Medium. Start at 2 parts GAC Medium to 1 part Airbrush Medium. When faster drying is required, replace the Airbrush Medium with Golden High Flow Medium. Varnishing The GAC polymers are intended for use as binders, modifiers or additives for acrylic paints. They are not intended for use as a final varnish. Golden Artist Colours manufactures two different varnish systems, Polymer Varnish and Mineral Spirit Acrylic (MSA) Varnish. About Golden Mediums Golden offer the widest range of mediums for acrylic painting. Their range includes gels, additives and effect pastes, which allows you to choose whatever qualities you desire for your acrylic painting: luminous glazes, gritty opaque structures, string effects, glassy areas or variable drying times. This expansive range gives rise to inspiring possibilities that allow you to do very unusual things. Whatever your needs, our Golden range has you covered.

GBP 16.99

1

GOLDEN - GAC 900 Heat-Set Fabric Medium (237ml)

Acrylic painting medium Modifies acrylics for painting on fabric Soft, pliable feel Excellent laundering stability Made in the USA GAC 900: Heat-Set Fabric Painting Medium is designed to be used as a modifier for acrylic paints for painting on clothing. It offers a soft, pliable feel and when properly heat-set, providing excellent laundering stability. Blend with Golden Heavy Body Acrylics for brush or screen applications.The heat-setting process will release low levels of formaldehyde; therefore it is recommended that adequate ventilation be provided when using this medium. About GAC Acrylic Polymers GACs can be blended with Golden Acrylic Paints to extend the paint, regulate transparency, create glazes, increase gloss, reduce viscosity or improve adhesion and film integrity. The GAC polymers can also be used for binding pigment solids for various effects and surfaces. Unlike the other Golden Mediums and Gels, GAC Acrylic Polymers have only a minimum amount of thickeners, levellers, defoamers and surfactants to ensure good film formation. The consistency of the GAC polymers is very fluid, and thinner than other Golden Mediums. Each GAC product represents a unique polymer that offers certain specific attributes. Therefore, each GAC will have its own unique benefits and applications. Mixing GAC polymers should be gently stirred or rocked back and forth prior to use, but should never be shaken, as this will incorporate significant amounts of foam which will be very difficult to eliminate. Foam can severely affect the transparency of the film causing an apparent foggy or hazy quality. When applying with a brush, use minimal agitation and force, and do not overwork, as this too will result in foaming. Spraying If spray application is desired, blend with Golden Airbrush Medium. Start at 2 parts GAC Medium to 1 part Airbrush Medium. When faster drying is required, replace the Airbrush Medium with Golden High Flow Medium. Varnishing The GAC polymers are intended for use as binders, modifiers or additives for acrylic paints. They are not intended for use as a final varnish. Golden Artist Colours manufactures two different varnish systems, Polymer Varnish and Mineral Spirit Acrylic (MSA) Varnish. About Golden Mediums Golden offer the widest range of mediums for acrylic painting. Their range includes gels, additives and effect pastes, which allows you to choose whatever qualities you desire for your acrylic painting: luminous glazes, gritty opaque structures, string effects, glassy areas or variable drying times. This expansive range gives rise to inspiring possibilities that allow you to do very unusual things. Whatever your needs, our Golden range has you covered.

GBP 17.99

1

GOLDEN - GAC 400 Acrylic Polymer Fabric Stiffener (237ml)

Acrylic painting medium Dries to a very hard and stiff film Most useful for priming fabrics An alternative to rabbit skin glue Made in the USA GAC 400: Acrylic Polymer Fabric Stiffener dries to a very hard and stiff film. It is most useful for priming fabrics (cotton, linen, silk, etc.) when stiffness is desired. It can also be used as a rabbit skin glue alternative when applied directly to raw canvas or linen. GAC 400 also allows for the sculpting and shaping of draped fabrics. Optional heat setting will decrease water sensitivity but also releases low levels of formaldehyde; therefore if choosing to heat set GAC 400 it is recommended that adequate ventilation be provided. About GAC Acrylic Polymers GACs can be blended with Golden Acrylic Paints to extend the paint, regulate transparency, create glazes, increase gloss, reduce viscosity or improve adhesion and film integrity. The GAC polymers can also be used for binding pigment solids for various effects and surfaces. Unlike the other Golden Mediums and Gels, GAC Acrylic Polymers have only a minimum amount of thickeners, levellers, defoamers and surfactants to ensure good film formation. The consistency of the GAC polymers is very fluid, and thinner than other Golden Mediums. Each GAC product represents a unique polymer that offers certain specific attributes. Therefore, each GAC will have its own unique benefits and applications. Mixing GAC polymers should be gently stirred or rocked back and forth prior to use, but should never be shaken, as this will incorporate significant amounts of foam which will be very difficult to eliminate. Foam can severely affect the transparency of the film causing an apparent foggy or hazy quality. When applying with a brush, use minimal agitation and force, and do not overwork, as this too will result in foaming. Spraying If spray application is desired, blend with Golden Airbrush Medium. Start at 2 parts GAC Medium to 1 part Airbrush Medium. When faster drying is required, replace the Airbrush Medium with Golden High Flow Medium. Varnishing The GAC polymers are intended for use as binders, modifiers or additives for acrylic paints. They are not intended for use as a final varnish. Golden Artist Colours manufactures two different varnish systems, Polymer Varnish and Mineral Spirit Acrylic (MSA) Varnish. About Golden Mediums Golden offer the widest range of mediums for acrylic painting. Their range includes gels, additives and effect pastes, which allows you to choose whatever qualities you desire for your acrylic painting: luminous glazes, gritty opaque structures, string effects, glassy areas or variable drying times. This expansive range gives rise to inspiring possibilities that allow you to do very unusual things. Whatever your needs, our Golden range has you covered.

GBP 17.99

1

GOLDEN - GAC 200 Hard Acrylic Extender for Non-Porous Surfaces (237ml)

Acrylic painting medium Increases film hardness Reduces dry film tack Improves adhesion to non-porous surfaces Made in the USA GAC 200: Hard Acrylic Extender For Non-Porous Surfaces is ideal as an additive to acrylic paints to increase film hardness and reduce dry film tack. It improves adhesion to non-porous surfaces. However, some surfaces - such as glass and glazed tile - will not allow for a permanent bond. It dries with high gloss and excellent film clarity, and promotes cleaner edges of hard-edge techniques. The harder paint film has less "pull" as the masking tape is removed. This is the hardest and least flexible of any Golden Acrylic product. Caution is advised when using this product alone. Used in its pure form, it is limited to applications on rigid supports, as its lack of flexibility may lead to cracking when flexed. When used alone it needs to be applied and left to dry at a minimum temperature of 70F / 21°C. About GAC Acrylic Polymers GACs can be blended with Golden Acrylic Paints to extend the paint, regulate transparency, create glazes, increase gloss, reduce viscosity or improve adhesion and film integrity. The GAC polymers can also be used for binding pigment solids for various effects and surfaces. Unlike the other Golden Mediums and Gels, GAC Acrylic Polymers have only a minimum amount of thickeners, levellers, defoamers and surfactants to ensure good film formation. The consistency of the GAC polymers is very fluid, and thinner than other Golden Mediums. Each GAC product represents a unique polymer that offers certain specific attributes. Therefore, each GAC will have its own unique benefits and applications. Mixing GAC polymers should be gently stirred or rocked back and forth prior to use, but should never be shaken, as this will incorporate significant amounts of foam which will be very difficult to eliminate. Foam can severely affect the transparency of the film causing an apparent foggy or hazy quality. When applying with a brush, use minimal agitation and force, and do not overwork, as this too will result in foaming. Spraying If spray application is desired, blend with Golden Airbrush Medium. Start at 2 parts GAC Medium to 1 part Airbrush Medium. When faster drying is required, replace the Airbrush Medium with Golden High Flow Medium. Varnishing The GAC polymers are intended for use as binders, modifiers or additives for acrylic paints. They are not intended for use as a final varnish. Golden Artist Colours manufactures two different varnish systems, Polymer Varnish and Mineral Spirit Acrylic (MSA) Varnish. About Golden Mediums Golden offer the widest range of mediums for acrylic painting. Their range includes gels, additives and effect pastes, which allows you to choose whatever qualities you desire for your acrylic painting: luminous glazes, gritty opaque structures, string effects, glassy areas or variable drying times. This expansive range gives rise to inspiring possibilities that allow you to do very unusual things. Whatever your needs, our Golden range has you covered.

GBP 16.99

1

GOLDEN - Crackle Paste (237ml)

Acrylic painting medium Designed to develop deep fissure-like cracks Water-based Cleans up with soap and water Made in the USA Video: Golden Artist Colours - Exploring Crackle Paste Golden Crackle Paste is a thick, opaque cracking material, designed to develop deep fissure-like cracks as it cures. The size and extent of the crackle pattern is dependent on many factors, including the thickness of application, and the environmental conditions (temperature, relative humidity and air flow) during drying. This product utilises defects in the film formation process, and controlled failure is problematic. This results in the cracking performance being variable and to some extent unpredictable. Golden has provided the most current and comprehensive knowledge of what may be expected while using this product, but artist-conducted testing will ultimately assure more reproducible and sound applications. Crackle Paste is a water-based product formulated with styrene-acrylic copolymer emulsions, and may have a tendency to yellow. This product has white, low-density solids that replace traditional fillers. Its unique ratio of specific solids and binders allows for a "controlled failure" to occur and the result is its tendency to crack. It has a consistency similar to cake icing, easily manipulated by a palette knife. Peaks will maintain their height and appearance. It is a harder film than the GOLDEN Light Moulding Paste, yet still retains an absorbent surface. Films dry to an opaque, matte finish to which subsequent layers of acrylic paint and mediums can be applied. Crackle Paste can be easily tinted with Golden Heavy Body, Matte, High Load and Fluid Acrylic Paints. It is imperative to test all aspects when working with Golden Crackle Paste. This is a highly variable product, and it should NOT be assumed that it will perform exactly the same each time the product is used. Review this information carefully and conduct testing before using this product on artwork or decorative finishes. Drying times greatly depend upon film thickness. Very thin films will dry to the touch in several hours but may not develop much cracking. Increasing film thickness will increase the tendency to crack and also the size of the cracks and platelets. Cracks can take several days to fully develop. Do not force dry Crackle Paste, nor try to slow the drying by adding Retarder or other additives, as both conditions may interfere with the products ability to crack. Product should be allowed to cure between 65oF and 75oF, and under 75% Relative Humidity. Crackle Paste cleans up with soap and water. Do not let products dry on tools. Keep tools wet while in use. Soak tools in soapy water to remove dried films. About Golden Mediums Golden offer the widest range of mediums for acrylic painting. Their range includes gels, additives and effect pastes, which allows you to choose whatever qualities you desire for your acrylic painting: luminous glazes, gritty opaque structures, string effects, glassy areas or variable drying times. This expansive range gives rise to inspiring possibilities that allow you to do very unusual things. Whatever your needs, our Golden range has you covered.

GBP 17.99

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Indian Yellow Hue (S4)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 12.70

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Permanent Green Light (S4)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 12.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Teal (S3)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 11.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Naphthol Red Light (S5)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 13.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) CP Cad Yellow Primrose (S7)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 18.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Quinacridone Violet (S6)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 16.50

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Alizarin Crimson Hue (S7)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 18.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Cad Yellow Medium Hue (S4)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 12.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Cobalt Turquoise (S8)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 19.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Hookers Green Hue (S7)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 18.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Interference Green Fine (S7)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 18.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Ultramarine Blue (S2)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 10.50

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Vat Orange (S8)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 19.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Phthalo Green (yellow shade) (S4)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 12.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Transparent Red Iron Oxide (S3)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 11.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Yellow Ochre (S1)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 8.95

1

GOLDEN - Heavy Body Acrylic Colour (59ml) Azurite Hue (S1)

Available in up to 136 shades Exceptionally smooth, buttery consistency Largest selection of unique pure pigments Excellent permanency and lightfastness Noted for their thickness Great flexibility when dry Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colours, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different. Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the Heavy Body line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 8.95

1

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Merchant

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GOLDEN - Gloss Medium (237ml)

GOLDEN - GAC 500 Gloss Extender for Fluid Acrylic Colours (237ml)

GOLDEN - Clear Tar Gel (237ml)

GOLDEN - GAC 100 Acrylic Primer & Extender (237ml)

GOLDEN - GAC 900 Heat-Set Fabric Medium (237ml)

GOLDEN - GAC 400 Acrylic Polymer Fabric Stiffener (237ml)

GOLDEN - GAC 200 Hard Acrylic Extender for Non-Porous Surfaces (237ml)

GOLDEN - Crackle Paste (237ml)

GOLDEN - Heavy Body Acrylic Colour (59ml) Indian Yellow Hue (S4)

GOLDEN - Heavy Body Acrylic Colour (59ml) Permanent Green Light (S4)

GOLDEN - Heavy Body Acrylic Colour (59ml) Teal (S3)

GOLDEN - Heavy Body Acrylic Colour (59ml) Naphthol Red Light (S5)

GOLDEN - Heavy Body Acrylic Colour (59ml) CP Cad Yellow Primrose (S7)

GOLDEN - Heavy Body Acrylic Colour (59ml) Quinacridone Violet (S6)

GOLDEN - Heavy Body Acrylic Colour (59ml) Alizarin Crimson Hue (S7)

GOLDEN - Heavy Body Acrylic Colour (59ml) Cad Yellow Medium Hue (S4)

GOLDEN - Heavy Body Acrylic Colour (59ml) Cobalt Turquoise (S8)

GOLDEN - Heavy Body Acrylic Colour (59ml) Hookers Green Hue (S7)

GOLDEN - Heavy Body Acrylic Colour (59ml) Interference Green Fine (S7)

GOLDEN - Heavy Body Acrylic Colour (59ml) Ultramarine Blue (S2)

GOLDEN - Heavy Body Acrylic Colour (59ml) Vat Orange (S8)

GOLDEN - Heavy Body Acrylic Colour (59ml) Phthalo Green (yellow shade) (S4)

GOLDEN - Heavy Body Acrylic Colour (59ml) Transparent Red Iron Oxide (S3)

GOLDEN - Heavy Body Acrylic Colour (59ml) Yellow Ochre (S1)

GOLDEN - Heavy Body Acrylic Colour (59ml) Azurite Hue (S1)

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