Golden AGL as Retarder?

It seems Golden Acrylic Glazin Liquid (AGL) can be used as Retarder without the fear of losing binding because AGL is contains Binder. This is what Golden says "Don't be fooled by the "glaze" part of the name, blends of 1:1 with most colors can still be very opaque. Adding AGL will increase working time proportionately. Don't worry about adding too much or sticking to an exact ratio, blend as needed."

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Golden Pastes

-Hard Molding Paste has self-leveling qualities not found in other Molding Pastes. High peaks formed in application will settle out before it is completely dry.

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Acrylic Glazing

GLAZE and Refractive index
Acrylic Color = Pigment + Binder
Refractive index of the Binder is 1.4 for every Acrylic color but that of Pigment varies from pigment to pigment, and closer the Refractive Index of Pigment to that of Binder(i,e. 1.7) , more is the transparency/transculency. Example: Refractive Index of TW is 2.7 so it is opaque and that of Utramarine blue is 1.7.
What light manages to pass through or between the particles is ultimately absorbed or reflected by the lighter, underlying ground, gaining a second opportunity to interact with the pigment particles before making its way towards the viewer. This complex interplay of light within the paint film creates the particular sense of glow and luminosity that is one of the prized attributes of glazes.

Why use GEL instead of WATER?
Binder 's refractive index plays a critical role in limiting the scattering of light, and having the particles well bound in a paint film becomes crucial for creating a luminous translucent glaze. For this reason a glaze needs to be made with plenty of medium to insure the pigment is fully suspended. A 10:1 ratio of binder to color is a good place to start your mixtures. A very common mistake is to simply thin the paint with water, which only leaves the pigments more exposed to the air, where the scattering of light is greatest. Rather than a smooth translucent film, the paint will also tend to create a rougher, matte surface that further dissipates the light and leaves the color feeling washed out.

Loss of Light
Lastly, it is important to remember that glazes will always lower the value of the underlying color. Less light, not more, is ultimately reflected back from a glazed surface, so it is important to keep the underpainting or ground at a higher value then you anticipate for the final result.

Mix or GLAZE?
Glazes allow for a unique development of color that cannot be achieved by any other means. A bright yellow, glazed with a transparent red, will result in an orange completely different than if they were mixed together on the palette. There is a sense of luminosity and greater saturation of color caused by the light traveling through one or more translucent films before reaching the viewer.

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Golden Fluid Acrylics

-Fuild Acrylics are produced with the same pigments at the same load as the Heavy Body paints, yielding similar tinting strength. However, many artists believe they are actually stronger than the Heavy Body colors due to their greater leveling. Formulating the Fluid Acrylics is a more difficult process, as there is a tendency for highly loaded paints at a low viscosity to thicken over time.

-Different colors can have different Gloss; one way to tackle this is to mix with appropriate Gel which would reduce the color load and other way is to apply varnish.

-Max Water to Paint ration is 1:1

-Brush strokes get evened out. Fluid colors fills the brush in an uniform way.

-Fluid colors are good for making Gel based Glaze mixtures because foaming can be avoided.
Fluid colors are strong so 2% may be enough for Glaze mixture.

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McCain's random antics

This is an interesting observation on random punchs thrown by John McCain
...that the McCain campaign is obsessed with tactics -- not strategy. The campaign is focused on winning the news cycle -- not having a larger consistent message....

Drying of Acrylic paints

About drying of Acrylic Colors.

Types of Drying
1) Surface drying: This is the first stage of drying, where a skin gets formed over the surface because the moisture, stored in underlying layer, are no longer able to keep the film/surface wet. This is also called as "dry-to-touch". Thin layers attain this stage in seconds while think layers would have to wait little longer.

2) Internal drying: This is the time required for every layer to dry and is more important than Surface drying. Time for this varies and could take hours. I have observed that color mixed with Gels or Pastes takes lot longer to dry, and show different color when dry.

-Does not dry well at temperatures below 48F
-While using Hair-dryer, keep the heat low.

Substrate and drying:-
Substrate is the painting surface and its nature affects the time taken by paint to dry. An unsealed the surface/substrate like paper or canvas could accelarate drying of Acrylic color. By sealing the substrate -with Golden Soft Gel etc...- one can reduce the drying time.

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