Golden

GOLDEN Absorbent Ground is an acrylic liquid surfacing medium that dries to a porous, paper-like surface. Applied over gessoed canvas, it allows for raw canvas like staining and watercolour effects...

Fiber Paste when dry has the appearance of handmade paper. It can be skimmed with a wet palette knife to make a smoother surface. The dry off-white color is absorbent, making it ideal for use...

Golden - Gesso Black Available in 236ml, 473ml, 946ml and 3.78L GOLDEN White and Black Gessos are ready-to-use liquid grounds formulated for the use of acrylics on any commonly used painting...

Golden - Gesso White Available in 236ml, 473ml, 946ml and 3.78L GOLDEN White and Black Gessos are ready-to-use liquid grounds formulated for the use of acrylics on any commonly used painting...

Golden - Sandable Hard Gesso Available in 237ml, 473ml, 946ml and 3.78L GOLDEN Sandable Hard Gesso is formulated with 100% acrylic polymer emulsion and can be sanded to provide surfaces that are...

Golden - Soft Gel (Gloss) Available in 237ml, 473ml, 946ml and 3.78L Soft Gels - Thinner than GOLDEN Heavy Body Acrylic colours, Soft Gels are moderately pourable. Hold only slight peaks. The...

A warmer black, its name comes from the use of charred animal bone, as a pigment.

Produced with soot from burning gas the dark and fine particle size makes this GOLDEN's darkest most neutral black.

Somewhat warmer than Carbon Black, made with black iron oxide.

GOLDEN'S most opaque white, made with Titanium Dioxide, this is an essential white for most painters. 

Sometimes referred to as "mixing white" Zinc White provides a more transparent white option for mixing and glazing.

Inspired by the flower native to Western Europe, this is the palest of four single pigment [PY35] Cadmium Yellows offered by GOLDEN.

An inorganic pigment, sometimes called Nickel Titanate Yellow, it might be the coolest yellow GOLDEN offers, it is very pale and may show a faint greenish cast.

Golden - Soft Gel (Gloss) Available in 236ml, 473ml, 946ml and 3.78L Soft Gels - Thinner than GOLDEN Heavy Body Acrylic colours, Soft Gels are moderately pourable. Hold only slight peaks. The...

On the lighter end of GOLDEN's Cadmium Yellow offering, this yellow is slightly more intense than Primrose with good covering power.

GOLDEN Primary Cyan, Magenta and Yellow in the HB line should be of special interest to artists who want a totally pared down palette or who are in need of a tool for teaching about colour mixing and...

Golden - Heavy Gel (Gloss) Available in 236ml, 473ml, 946ml and 3.78L Heavy Gels - Thicker consistency than GOLDEN Heavy Body Acrylic colours. Blend with colours to increase body. Good for holding...

Like all Cadmium Yellows, this is a bright clean color with good opacity, however the sensitivity to ultra-violet light and moisture prevent us from recommending it for outdoor use.

Golden - Heavy Gel (Matte) Available in 236ml, 473ml, 946ml and 3.78L Heavy Gels - Thicker consistency than GOLDEN Heavy Body Acrylic colours. Blend with colours to increase body. Good for holding...

A mixture of pigments designed to replicate Cadmium Yellow with out the heavy metal or it's expense.

Filling in the deepest, more orange end of GOLDEN's Cadmium Yellow family, this paint offers the opacity and intensity you expect from Cadmium colours.

On the border of GOLDEN's orange colours, Diarylide Yellow is based on dichlorobenzidine pigment, which offers excellent opacity, lightfastness and durability.

Prized by artists for its brilliant and lightfast qualities, the Cadmium pigment requires careful handling for artist health and safety.

Some times referred to as "Perinone" Orange, can be used as substitute for Cadmium, Vat Orange is redder and darker than Cadmium orange.

Used to create textured surfaces. Dries to a hard film. To increase its flexibility, mix in other GOLDEN Gels or mediums. Blends with GOLDEN Acrylic colours. Useful as a ground for pastels.

A deeper orange with Vermillion qualities, Pyrrole has very good lightfast qualities even in tints and glazes.

Golden - Coarse Pumice Gel Available in 236ml, 473ml, 946ml and 3.78L Pumice Gels - Used to create textured surfaces. Dries to a hard film. To increase its flexibility, mix in other GOLDEN Gels or...

The lightest variation of GOLDEN's single-pigment Cadmium Reds, this colour is highly regarded for its opacity and intensity. It is a synthesized colour first used in the early 1900's.

Self Levelling Clear Gel - Designed to produce an even film with excellent clarity. The gel has a unique resinous, stringy consistency resulting from the levelling property. This product dries to a...

An excellent substitute for Cadmium Red Light, Pyrrole Red Light produces a very clean red that is slightly less opaque and more orange than the Cadmium.

Clear Tar Gel - Designed to yield a putty, tar-like feel, but in a colourless gel. This gel has an extremely resinous and stringy consistency, which makes it feel very different than other acrylics...

The pigment in this Pyrrole Red, PR254, is also used in automotive finishes because it is exceptionally lightfast, and a very clean, bright red.

A very bright orangish, semi-transparent red, is a synthetic pigment with good lightfastness. It is a good choice as an alternative to Cadmium Red Light.

Cadmium Red Medium became the most widely used red shortly after it was synthesized in 1907 because it offered greater permanence and intensity than the mostly plant-based reds used up to that time.

Cadmium Red Medium Hue is a more economical and non-toxic alternative to GOLDEN's single pigment paint. It offers brilliant colour but it is slightly more transparent and not as lightfast as actual...

GOLDEN's darkest Cadmium Red, it offers good opacity and clean color that bridges red and maroon, with excellent lightfastness.  

Golden - Hard Molding Paste Available in 236ml, 473ml, 946ml and 3.78L Hard Molding Paste - Dries to an extremely hard, opaque film. This product is useful for creating tough, durable finishes for...

GOLDEN Primary Cyan, Magenta and Yellow in the HB line should be of special interest to artists who want a totally pared down palette or who are in need of a tool for teaching about color mixing and...

Available in 236ml, 473ml, 946ml and 3.78L Light Molding Paste - Offers dramatic weight reductions when building thick layers of acrylic. The density of the wet product is over 50% less than GOLDEN...

This is a darker variation of our Naphthol Red, serving as an affordable single-pigment alternative to Cadmium Red Medium that is less opaque and lightfast.

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...

A modern version of historical Alizarin Crimson, which was a substitute for Rose Madder, a dye use for the British Red Coats. GOLDEN's mix of quinacridone and phthalo make this exceptionally...

People who remember the old Napthalmide maroon, which was very popular in its day, might recognize this as a close approximation to that storied color.

Isolation Coat Isolation Coat is a ready-to-use sealing coat for acrylic paintings. Previously acrylic artists’ only recourse was to dilute Soft Gel Gloss with water (our former and...

A transparent "quin," this single pigment color is a terrific start for brilliant reds and pinks as well as fiery glazes that are exactly what one associates with magenta.

A darker tint, this paint is conveniently mixed where many painters like to start using Quin Magenta, a 1:1 mixture with Titanium White.  

Essentially a lighter tint of Quinacridone Magenta, it is a convenient color for artists who want to mix and paint in the pastel color range.

Golden - GAC 900 Available in 237ml, 473ml, 946ml and 3.78L GAC 900: Increases Launderability of Acrylic Paint. Designed to be used as a modifier for acrylic paints for painting on clothing...

This is a convenience mixture of Dioxazine Purple and Titanium white that delivers a classic purple tint straight from the tube. 

Available in 236ml, 473ml, 946ml and 3.78L Formerly known as Polymer Medium (Gloss). A general purpose liquid medium useful for creating glazes, extending colours, enhancing gloss and translucency...

Cobalt Violet is a name used for several violet colour cobalt pigments. Toxic, costly, and weak, historical Cobalt Violets were replaced by Manganese Violet. GOLDEN's blend of Dioxazine Purple with...

This mixture of violet and red pigment with a touch of Burnt Umber and Titanium white creates a fairly neutral, opaque violet. 

Golden - Matte Medium Available in 236ml, 473ml, 946ml and 3.78L Matte Medium - A general purpose, pourable medium useful for extending colours, decreasing gloss and increasing film integrity. Can...

This mixture of Anthraquinone Blue and Quinacridone Magenta is a very deep reddish violet with the best qualities of these two pigments.

A very deep single-pigment violet that is neutral to slightly red in tone, and moderately transparent colour. 

Prized for its very deep bluish purple, Dioxazine Purple is a single pigment colour with exceptional depth. It is slightly less lightfast and more vulnerable to fading in lighter tints.

Golden - Silk Screen Medium Available in 236ml, 473ml, 946ml and 3.78L Silkscreen Medium - A water-borne system designed to blend with acrylic paints for silkscreen application. Increases working...

One of the first synthesized pigments, this deep, nearly black  colour is alkaline sensitive so not found in acrylic paints. Our modern mixture provides a similar colour with great permanence...

The reddish variation on this very powerful tinting versatile blue. When used thickly it is dark and opaque, but phthalo makes beautiful transparent glazes. 

The greenish variation on this very powerful tinting versatile blue. When used thickly it is dark and opaque, but phthalo extends beautifully for glazes. 

Transparent colour originally made from ground cobalt glass and used in 16th and 17th century European paintings in place of Ultramarine. Historically Smalt loses colour over time, but this modern...

Historical azurite, from copper carbonate minerals, lacks the stability and durability required for modern painting, this mixture affordably approximates azurite's deep greenish blue. 

Historically a very expensive ground lazurite pigment, synthetic pigment has been used since the 1830's making it one of the most popular and affordable blues, Yves Klein blue is mostly Ultramarine...

Golden - MSA Varnish w/UVLS (Gloss) Available in 119ml, 236ml and 946ml  MSA (Mineral Spirit Acrylic) Varnish with UVLS (UltraViolet Light Stabilizers) is a Mineral Spirit Acrylic-borne resin...

An exceptionally durable pigment, and costly, the unique depth and intensity of this blue inspired Van Gogh, Renoir and countless other artists. 

Golden - MSA Varnish w/UVLS (Matte) Available in 119ml, 237ml and 946ml  MSA (Mineral Spirit Acrylic) Varnish with UVLS (UltraViolet Light Stabilizers) is a Mineral Spirit Acrylic-borne resin...

A mixture of ultramarine and phthalo blues with a little titanium white created as an affordable approximation of Cobalt blue at full strength, but with very different mixing properties. 

Golden - MSA Varnish w/UVLS (Satin) Available in 119ml, 236ml and 946ml MSA (Mineral Spirit Acrylic) Varnish with UVLS (UltraViolet Light Stabilizers) is a Mineral Spirit Acrylic-borne resin system...

GOLDEN Primary Cyan, Magenta and Yellow in the HB line should be of special interest to artists who want a totally pared down palette or who are in need of a tool for teaching about colour mixing...

Golden - Acrylic Glazing Liquid (Gloss) Available in 236ml, 473ml and 946ml. Acrylic Glazing Liquid - is a specially formulated liquid medium designed to have longer working time than typical...

Archival Aerosol Varnish MSA with UVLS (Gloss, Satin, Matte) is formulated with 100% solvent-based, reversible acrylic co-polymer resin. It is an easy to use spray varnish made with fast...

From the Cobalt family. Extremely lightfast, traditionally prized for its use in skies and as a part of many landscape palettes. The Cerulean Blue Deep is deeper and greener than the brighter, more...

Golden - Acrylic Glazing Liquid (Satin) Available in 236ml, 473ml and 946ml. Acrylic Glazing Liquid - is a specially formulated liquid medium designed to have longer working time than typical...

With pigment closely related to Cobalt and Cerulean, this chromium variation is a slightly more transparent and more neutral blue well suited for skies in landscape paintings. 

Production of the beautiful barium-based pigment ceased in the early 1990's due to environmental and safety concerns, this modern mixture approximates the richness of manganese safely and...

A mixture of titanium white and ultramarine blue pigments for a very opaque light blue.

A mixture of Phthalo Blue and Green with Titanium White for a strong tinting, opaque, Teal. 

A deep, opaque Cobalt-based turquoise, this paint is very green in the mass tone and reveals more blue in its undertone and glazes. 

A convenient pre-mixed tint of GOLDEN's Turquoise Phthalo.   

A more blue Turquoise that is a very strong tinting colour that reveals cool gem tones in glazing. 

Phthalocyanine is among the strongest tinting pigments available, while semi-opaque in mass tone or full strength, it makes very transparent glazes. 

A rich, warm, green blend created by GOLDEN for painter and abstract phenomenist Paul Jenkins. 

Phthalocyanine is among the strongest tinting pigments available, this green is semi-opaque, with a warmer yellow-green undertone. 

Hookers Green was originally a mixture of Prussian Blue and Gamboge before a single pigment Hookers was developed. GOLDEN have re-created this colour using Anthraquinone Blue, Nickel Azo Yellow and...

Originally made with Buckthorn berries native to western Asia, but cultivated in Europe since Roman times. The ripe berries make a pink dye, while the unripe berries produce a yellow juice or sap...

Green earth is best known as the under painting of flesh in medieval painting. To recreate this colour GOLDEN blends six different colours, then reduces opacity with gel medium to match all of the...

GOLDEN's single-pigment Cobalt Green is deep, slightly bluish green with great opacity and lightfastness. 

Guignet of Paris patented the process for manufacturing Viridian Green in 1859. The popularity of this bright, exceedingly clear blue-green colour led some to believe that it could eventually...

A lighter vein of the pigment best known for its use in US currency, it is very durable, lightfast and opaque. 

A semi-opaque mixture of Hansa Yellow and Phthalo green, this colour is a versatile medium to dark green. 

A mixture of green and yellow prized for its warm jewel tones and glazing. This is among the most popular colours in the GOLDEN palette. 

A mixture of Hansa Yellow, Phthalo Green and white, this is a fairly opaque, cooler, medium value green.

A mixture of Hansa Yellow, Phthalo Green and white, this is a opaque, warmer, medium value green.

A modern mixture designed to replicate historical Naples Yellow without the toxicity of lead. The colour was one of the earliest synthesize pigments dating back to the 1600's and very popular with...

One of the earliest pigments known to man, ochres are mineral oxides used in colours from the reddish brown to, in this case, yellow-brown range. This very opaque and lightfast colour is often...

Natural Iron-Oxide is the basis for this single-pigment colour, named after the region in Italy where it was first mined. Raw Sienna retains more of its yellowish colour because is created prior to...

A modern mixture replacing the pigment originally produced in the early 1800's by collecting urine from oxen fed only mango leaves. GOLDEN's version is more permanent, more lightfast, totally...

One of the first red pigments known to man, this earth tone is a staple on many artists' palettes. It's incomparably opaque and lightfast, sometimes called Venetian Red, it is warmer than Indian or...

Additional heating, or firing of the natural earth pigment creates the darker variation of a classic Sienna earth colour.

Umber is essentially clay, and this variation on the PBr7 pigment is the lighter (un-burnt) version of this classic earth tone that originated in the Umbria region of Italy.