ABOUT ACRYLIC PAINTS

Price is generally a reliable indicator of the quality of artists’ colors. The more expensive they are the better they are likely to be. The dividing line between them is a little vague, but there are basically three grades: professional, hobbyist, and student.

Professional
Professional paints are made of the finest pigments and binders that are cleansed and refined to the highest standards before they are combined in carefully controlled conditions to make them into paint. Compared to other grades, professional colors (also called “artists’ colors”) have cleaner and more brilliant tone, greater coloring strength, and – in opaque colors – more covering power. Although they are more costly, much less paint is needed with professional paints to do the job than with other grades, and with much more satisfying results.

Hobbyist
Hobbyist paints are normally of good quality and perform well. For the hobby or professional artist who paints regularly, they are a reliable and more affordable alternative to professional colors. They contain less pigment than professional paints, but enough to meet the needs of all but the most demanding painters. Selection of ingredients and production methods are not as rigorous as with professional paints, but nonetheless acceptable for many purposes.

Student
Student paints can be quite inexpensive, but are not recommended for permanent work. For the individual on a tight budget, or the student just starting out and being uncertain whether he or she will continue painting in the long-term, these may be the wisest choice in terms of economics. Unlike hobby or professional paints, little care is taken with the materials chosen and methods used in making student paints. They contain an overabundance of fillers, and often questionable adulterants are added. Many colors are “hues” (see below) or imitations, colors can be dull and pasty with minimal covering power, and they are extremely low in pigment content. The amount of pigment in a student paint can be as little half that in a hobby paint, and 1/5th or less than in a professional paint. Poor pigmentation is obvious with pale colors like the bright yellows and reds, which are easily overpowered by other colors in mixtures. It can take a substantial portion of a tube of bright yellow, for instance, to do what a small dab of a professional yellow can – and still the results will probably be disappointing. For those who must buy student paints, it is strongly recommended that a hobby or professional bright yellow and red be obtained.

A Note About Color Names
The names of some tube colors may be labeled as "hue" or "extra." This indicates the color is not the true pigment names (such as cerulean blue), but is a composed of less expensive pigments intended to mimic the named color (for example: cerulean blue hue). Genuine colors usually perform better than hues, but hues are acceptable for my classes.

ABOUT ACRYLIC PAINTING BRUSHES

Brushes are the primary tool in the painter's arsenal. Poor quality brushes can impede a student's progress, while those of good or excellent quality facilitate it. 

Brush Materials

To prevent paint from drying in their brushes while working, acrylic artists keep them soaking in water. Since prolonged immersion in water swiftly causes natural hairs to rot away, acrylic painters mainly employ synthetic filament brushes.

There is a tremendous range of choices synthetic brush materials, far too many to effectively review here. Some are quite soft, others on the stiff side. There are thicker and thinner filaments, and those that load a reasonable quantity of paint versus those that pick up just a skimpy load. The only advice that can be given is to try different types and brands until you determine which are best for your purposes.

Brush Shapes

There are four basic shapes of acrylic painting brush.

Round
Rounds are cylindrical. The point may be sharp for painting details, or slightly blunted for broader work.

Flat
Being long haired, flats make somewhat soft marks. Its tip is squared off.

Bright
Brights resemble flats, but their shorter hairs make them firmer for producing better defined marks and for working paint more vigorously into the picture.

Filbert
A filbert looks like a flat with a rounded tip to producing marks that are softer than those a flat makes.

Brush Shopping

Manufacturers coat brush with a weak glue to harden and protect them from damage during shipment. To test a brush, first remove the glue with warm water (ask the sales clerk for some). When wet, it should be possible to groom a soft-haired brush to a sharp point or edge. All brushes should assume a defined shape and be free of loose hairs, splits, and other anomalies. Test the brush for responsiveness by bending it in the palm of your hand. When released, the brush should spring back to its original position.

Brush Care

Keep brushes in good condition if they are to perform well for a long time. Before starting to paint, moisten the brush to help prevent acrylic paint from drying in it; while painting, keep soiled brushes soaking in water for the same reason. Protect brush tips by storing and transporting them in an appropriate manner. Rinse and clean brushes thoroughly with soap and warm water when done painting to prevent dried paint from building up in them.

ABOUT SURFACES FOR ACRYLIC PAINTING

It is possible to paint with acrylics on nearly any material.

Canvas Paper
Sold as a stack of sheets bound together into a pad, canvas paper is literally just paper with a canvas-like texture that is thinly coated with cheap acrylic gesso. It should never be used for permanent work. Canvas paper is highly absorbent, making it a real challenge for students to use. The only justification for purchasing canvas paper is its extremely low cost.

Canvas Board
Like canvas paper, canvas board’s absorbent surface is difficult to paint on and it should never be used for serious work. Slightly more expensive than canvas paper and prone to warping, canvas board is constructed of a sheet of cardboard wrapped with thin fabric coated with an inferior grade of acrylic gesso.

Duck Cotton
Cotton canvas is available in several weights, with heavier varieties being more durable. Offered mainly in a medium-coarse surface, it is also available with a rough or smooth texture. Cotton may be purchased by the yard in raw form or coated with acrylic gesso, or coated and “pre-stretched” on a wooden frame.

It is possible to paint directly on raw cotton with acrylics, or it may be prepared before painting on it (see section below). Although pre-stretched canvases can often be obtained at a very reasonable price, most are light in weight and prepared with student grade acrylic gesso. A few companies now offer a premium cotton canvas coated with professional quality acrylic gesso as well.

Linen
Far more expensive than cotton, linen is prized for its durability and for its responsive surface. It is available by the yard in both raw and prepared forms, as well as pre-stretched. Preparation may have been done with a high grade acrylic gesso (for either acrylic or oil painting) or with a traditional oil ground (for oil painting only). Sold as extra-smooth (portrait), smooth, medium, or rough, linen is rated for weight (in ounces) and thread count (per inch). Better quality linen, especially in heavier weights, may be double-weave using double-ply threads. Raw canvas that can be held up to the light with little or no light showing through is superior to linen that allows much light to penetrate.

Hardwood, Plywood, Masonite
Panels of hardwood, plywood, or Masonite provide a reliably stable surface. Being quite smooth and unyielding, these materials are excellent for creating highly detailed pictures. Since they are heavy, paintings done on these surfaces are normally of small or modest size.

Scraps, planks, and sheets can be obtained at reasonable cost at a lumber yard, be cut to the desired size(s), and then be painted on or prepared for acrylic painting (hardwood and plywood should be sanded smooth before painting them or applying gesso; see below for information about how to gesso a panel). Thin sheets and planks should be cradled for support (glued to a frame of wood strips). Cradled and prepared panels of wood and Masonite are available through art supply retailers.

Plywood is less likely to warp than a plank of regular hardwood or Masonite. “Good one-side” is less expensive than plywood labeled “good two-sides.” The best type of plywood for painting on is called “die board.”

Only untempered Masonite at least 1/4" thick should be used.

Choose hardwood planks that are free of knotholes and other surface flaws, and which are not warped.

Watercolor Paper, Museum Board
Many artists paint on these materials because they are highly portable, easy to store, reasonable in cost, and provide a permanent surface. Paper and museum board can be used raw or prepared (see below).

Museum board is an archival type of mat board available it several thicknesses or plies. Select those heavy enough to be fairly rigid. Heavy weights (300 lb. or higher) of watercolor paper are preferred over light weights. Use only acid-free, archival papers for permanent work. Watercolor papers are made with surfaces that are hot-pressed (smooth), cold-pressed (slight tooth), and rough (pronounced texture) that is too craggy for most acrylic painting methods.

PREPARING SURFACES FOR ACRYLIC PAINTING

The majority of surfaces can be painted on directly with acrylic paints, but most artists first apply an acrylic ground to reduce the absorbency of the surface.

Acrylic Gesso
Basically a white paint, acrylic gesso may be applied directly to the surface to be painted on, or the surface may first be treated with an isolating coat of PVA sizing (do not use animal hide glue sizes with acrylic gesso). To obtain an effect similar to that produced by rabbit skin glue, which tightens the canvas but is not safe to use with acrylic products, apply Golden Artist Colors' GAC 400 instead of sizing.

Select professional grade gesso for the best results. With a wide, flat brush, stroke the surface in a back-and-forth or up-and-down motion, but not both. Allow the gesso to dry completely, sand it lightly to remove imperfections, and then apply a second coat crosswise to the first. A third coat is optional. To reduce glare on the finished painting, apply the final coat in a vertical direction.

In addition to their faces, be sure to treat the edges of panels and stretched canvases. An equal number of coatings of gesso should be applied to both the front and bask of paper, museum board, and thin panels to help prevent bowing and warping.

Acrylic Painting Medium
Some artists do not completely cover the surface with paint when executing a picture, intentionally leaving portions of the underlying support material exposed. Of such artists, many prefer that the natural tone and texture of the surface (canvas, wood, paper) be visible rather than the white gesso. Yet, a painter may wish to reduce the absorbency of the painting surface with a coating of some sort of material. Acrylic painting medium dries transparent and can serve the same purpose as gesso. Medium is made with the same ingredients as acrylic gesso, but without the white pigment. Either gloss or matte medium may be applied in the manner described under “Acrylic Gesso” (above). For a tighter canvas, similar to the effect produced by rabbit skin glue (which is not safe to use with acrylic products), first apply Golden Artist Colors' GAC 400. 

Acrylic Molding Paste
Molding paste is a thick substance that can be applied or built up into a highly textured surface appropriate to certain painting styles. When dry, it can be carved or sanded. It can be applied thickly with a spatula or spreader, but the painting surface should first receive two coats of acrylic gesso to ensure that it is completely sealed.

ACRYLIC PAINTING TOOLS AND ACCESSORIES 

CONTENTS

• Brush Brands 
• Thinners & Solvents 
• Painting Medium Brands 
• Canvas & Paper Brands 
• Gesso Brands 
• Easels for
  Landscape Painting

Brush Brands 
Some reliable brands are Utrecht, Princeton, 
and Robert Simmons. For details about brush shapes, materials, and care, see "About Acrylic Painting Brushes" at left. 

Thinners & Solvents  
Water is the solvent for acrylic painting. However, there are several products that delay drying of the paint. These are sold under different names by each company. Retarders may be labeled as "retarder" or as "Slow-Dri" products for instance.

Painting Medium Brands 
Recommended is a basic matte or gloss medium. Matte mediums make the paint more opaque and produce a matte finish. A gloss medium adds transparency to the paint while giving it a sheen.

There are many other types of acrylic painting mediums, including gels, heavy gels, textured, and iridescent.

Makers of good quality acrylic mediums include Golden, Liquitex, and Pebeo.

Canvas & Paper Brands 
Canvas is sold raw, prepared, or pre-stretched on a wooden frame. For more complete information, see "About Acrylic Painting Surfaces" at left. 

Economically priced pre-stretched cotton canvas can be found at A.C. Moore, Michaels, and 
Jo-Ann craft stores. For better quality, but still at reasonable prices, try Utrecht. Utrecht also offers excellent raw, prepared, and pre-stretched linen canvas, and similar products of equal quality are available in the Fredrix brand.

For those who paint on paper, use only archival grades such as Arches or Lanaquarelle watercolor papers in heavy weights. 

Gesso Brands 
Gesso is used to prepare a surface to be painted on (see "Preparing Surfaces for Acrylic Painting"). Avoid student grade gesso and mediums. Artists' quality products are made by Pebeo, Fredrix and Golden.  

Easels
for Landscape Painting 
There are two basic types: telescoping and French. Whichever you choose, be sure it is well constructed and sturdy, and that it elevates your painting to a comfortable height when standing.

Telescoping easels are made of wood or aluminum; aluminum holds up better. These easels are essentially tripods with legs that collapse into themselves for easy carrying. They have a support shelf to hold the painting, and a clamp to grab the top of the canvas.

French easels resemble paint boxes. They have legs and a canvas support that fold out, and the box holds your supplies. A full-box model is about the size of a standard paint box and holds plenty of items; the half-box type is half as wide, holds less, but is considerably lighter in weight. A French easel is sturdier than a telescoping easel, more stable in wind, and holds your painting more securely. They are heavy, however, especially when loaded up with paints, and can cost several times the price of a collapsible easel.

<Return to top> 

ACRYLIC PAINT PRICES AND QUALITY 

Listings are arranged from the least expensive at top to most expensive at bottom. Price ranges are based on the average retail cost per milliliter of a company's paints as of September 2010.

An asterisk (*) indicates that I have little or no experience with a brand.