Product Information Sheet
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DECORATIVE PAINTING TERMS & TECHNIQUES
 

Golden Artist Colors, Inc.
188 Bell Road
New Berlin, NY 13411-9527 USA
Toll Free: 800-959-6543
Fax: 607-847-6767
techsupport@goldenpaints.com
www.goldenpaints.com

DECORATIVE TERMS

Brush Conditioning
Brush Conditioning refers to a process that should be done with natural hair brushes every time an artist is done painting. After completing a project, make it a good habit to recondition the brushes. It insures they are always ready to use.

To preserve natural hair brushes from permanent damage, you will need to condition them before painting in the following method:

  1. Apply a small amount of ordinary hair conditioner into bristle tips.
  2. Lightly massage conditioner into tips.
  3. Run your fingers through the bristles to fluff out.
  4. Do not rinse the conditioner out. You are now ready to begin painting.

Water-borne Paints
This term relates to any product which uses water as the primary "solvent". Remember never to leave your brushes immersed in water, or allow paint to dry on them. After your project is completed, wash your brushes with mild soap and rinse using clean water. Let the brush dry and repeat the conditioning process. Reshape your brushes and hang to dry.

Brush Ferrule
The point where the bristles and the handle meet is called the ferrule. Most brushes have the ferrule encased in a metal band. Be sure to rinse your brush thoroughly as the acrylic will accumulate in the ferrule over time and may limit the lifetime of the brush. Hang brushes on hooks or use velcro to attach them to a strip so that they hang upside down. This prevents any residual paint from drying in the ferrule.

Wastewater
Wastewater refers to the water that is used to clean tools. For general, non-commercial household use, you may pour the wastewater down the drain. However, if you wish to be more environmentally conscious, allow the wastewater to evaporate. This will leave a small amount of residue, which can be peeled from the container and thrown in the trash, and will eventually end up in a landfill. For large amounts of wastewater, consider using the treatment method outlined in JUST PAINT ISSUE #3, from March 1996. Reprints are available upon request to Golden Artist Colors.


CLEANING AND MAINTENANCE

Cleaning/Maintaining a Decorative Finish
We recommend a mild detergent, such as a dishwashing liquid, for general cleaning and maintenance of a decorative finish without a protective topcoat. Please, avoid harsh detergents or ammonia-based cleaners.

Topcoating a Decorative Finish
A topcoat can be useful in a number of ways. It can add durability and change the surface to a flat, satin or gloss finish. However, if you are trying to achieve many levels of satin and gloss effects, such as sponging a highly reflective Iridescent Pearl Glaze over a satin Titan Buff Glaze, the addition of a topcoat will cancel the intended effect.

Old World waterborne polyurethane topcoats are now available at lumber yards, hardware or paint stores. They are readily available in various finishes and do not yellow like standard polyurethanes.


GENERAL PREPARATION

Before priming or painting, a surface should be free of dust and grease. If you are painting over old paint, and do not know if it is a water-based paint or oil paint, use an alkyd primer.

Stripping
There are several types of paint strippers on the market. The type of job to be done will determine the right stripper. Apply stripper and wait; let the solvents do the work for you. Then wipe with a cloth.

Scraping
When scraping, be careful to scrape gently and to try to remove only loose, dried paint which is already peeling. Leave the rest to the paint stripper. This method will not damage the surface being scraped.

Stripping Wallpaper
Peel wallpaper by using wallpaper stripper and water solution. Apply with a sponge mop or sponge and remove a section at a time.

Sanding
Sanding after a surface has been stripped is the best way to achieve a smooth surface. The weight of the sandpaper to be used is determined by the job.

Priming
Latex and Alkyd primers are good primers for GOLDEN Decorative Finishes. They can be sprayed, brushed, or rolled.

Caulking
When using caulk, be sure to use sandable and paintable caulk.

Base Coating
Base coats are colors which are applied over primer coats in order to prepare for glazing techniques. Satin finishes work best because they are less absorbent, allowing the glazes to remain workable for longer periods of time.


GENERAL TERMS

Latex Paint
A general description of all water-based house paints. Latex house paint can be formulated with a wide variety of synthetic polymers (binders), with more inexpensive products using vinyl polymers and more expensive products using acrylic polymers. Along with the polymer, latex paints contain pigment, fillers and extenders to purposely yield opaque, pastel color. Typically, latex paints are compatible with artist acrylic paints.

Artist Acrylic Paint
Most artist acrylic paints are formulated with 100% acrylic polymers, which have been proven to be the most durable and permanent of the water-based polymers. Unlike standard latex house paints, GOLDEN Acrylics are formulated with only pigment and binder, containing no fillers or extenders, as the goal is to achieve rich intense color instead of opacity.

Glaze
A glaze is a coat of transparent or translucent color thinly applied to a painted surface for various effects. Several glaze coats can be built up or blended to achieve colors of brilliance and depth.

Glazing Techniques
These techniques manipulate glazes with brushes and tools to accomplish decorative effects. There are two basic types: additive or positive techniques and subtractive or negative techniques. For additive techniques, you add a wet glaze to a dry surface. For subtractive techniques, you apply the glaze and then remove it, or manipulate it, with a tool such as a brush, sponge or rag.

Wet Edge
When a glaze is applied with a brush or roller, it is the area left alone during subtractive glazing techniques such as stippling and ragging-off. When working on larger areas, leaving a "wet edge" will allow the painter to continue applying the wet glaze to avoid drying and overlapping.

Wet Blending
The process of mixing glaze colors together during a glazing technique while the colors are still wet. For example, working with white and blue together while sponging to develop a range of lighter blues.


HOW TO ACHIEVE MAXIMUM WORKING TIME

Tip #1 Seal the surface to be painted using an Eggshell or Semi Gloss Paint. A Flat Paint will soak up acrylic glazes too quickly, thus reducing working time. Base Colors are satin colors, which are formulated to be used over primer coats. They seal the surface allowing for maximum working time.

Tip #2 Any breeze flowing over the glazing surface will make acrylic glazes dry more quickly. Cover or close air vents and open windows that might blow air across the surface to be glazed.

Tip #3 Weather conditions will influence the working time for acrylic glazes. Hot dry climates, and direct exposure to sun will reduce working time. Ideal conditions are cool, rainy, high humidity climates.

Tip #4 A cool spritz of water, to cool down and moisten the surface prior to painting, will increase open time in hot dry climates. While working, you can lightly mist the glaze to increase humidity of the surface area. A horse sprayer or a plant sprayer works best for mist application.

Tip #5 Have paints and tools ready and waiting before you begin your painting project. Keep them cool, if possible.

Tip #6 When applying an acrylic glaze technique onto a large area, leave a "jagged wet edge", similar to the edge of an unfinished puzzle. Stipple, rag, etc. up to the "jagged wet edge". To continue, add more wet glaze as to "fit into" the "jagged wet edge", and continue technique.

Tip #7 Only apply acrylic glaze as far as you can reach. Try to work with another person when glazing a large area, such as a wall.

Tip #8 For any further assistance for using GOLDEN Decorative Finishes, contact your GOLDEN Retailer.

Disclaimer
The above information is based on research and testing done by Golden Artist Colors, Inc., and is provided as a basis for understanding the potential uses of the products mentioned. Due to the numerous variables in methods, materials and conditions of producing art, Golden Artist Colors, Inc. cannot be sure the product will be right for you. Therefore, we urge product users to test each application to ensure all individual project requirements are met. While we believe the above information is accurate, WE MAKE NO EXPRESS OR IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, and we shall in no event be liable for any damages (indirect, consequential, or otherwise) that may occur as a result of a product application.