Golden

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...

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 masstone and reveals more blue in its undertone and glazes.

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...

Golden - Retarder Available in 119ml, 236ml, 473ml and 946ml GOLDEN Retarder is an additive used to increase the open (drying) time of acrylic paints. Useful for "wet in wet" techniques and...

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

Fluid Acrylics are highly intense, permanent acrylic colors with a consistency similar to heavy cream. Produced with only lightfast pigment, not dyes, they offer very strong colors with a...

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

Available in 119ml and 236ml Previously known as Acrylic Flow Release, Wetting Agent is an additive used to reduce surface tension of the water in the acrylic emulsion, therefore increasing the...

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

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

Transparent colour originally made from ground cobalt glass and used in 16th and 17th century European paintings in place of Ultramarine.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...

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

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

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

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...

Fluid Acrylics are highly intense, permanent acrylic colors with a consistency similar to heavy cream. Produced with only lightfast pigment, not dyes, they offer very strong colors with a...

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

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...

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

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...

Fluid Acrylics are highly intense, permanent acrylic colors with a consistency similar to heavy cream. Produced with only lightfast pigment, not dyes, they offer very strong colors with a...

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...

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

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...

The transparent nature of this pigment give it a beautiful glazing quality that is unique among earth tones.

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

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

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

One of our GOLDEN's popular glazing colors, the brown masstone belies the rich amber-red colors that come through in tints and glazes.

 Genuine Cobalt Teal, excellent lightfastness and permanence. 

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

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...

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

A reddish iron-oxide pigment is the basis for this brown that has a naturally light brown mass-tone that appears more red as it becomes extended in tints and glazes.

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

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

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

This is the lighter of GOLDEN's two Burnt Umber paints, with good opacity it extends and tints to a warm to neutral beige color. 

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

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. 

Fluid Acrylics are highly intense, permanent acrylic colors with a consistency similar to heavy cream. Produced with only lightfast pigment, not dyes, they offer very strong colors with a...

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...

Named after British painter William Payne (1760-1830), early formulas contained indigo, alizarin lake, and ivory black. Today more commonly a mixture of ultramarine blue and black, it is...

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 Iridescent Acrylic Colors used alone or with other colors, gels and mediums, develop nonfading, nontarnishing metallic finishes.

The same pigment originally used in the green of US currency, it is a very durable, lightfast and opaque colour. 

More of a reddish appearance for a very convincing copper look.

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

This is an iridescent gold that has green added to give the dark bronze look, it also creates a verdigris effect when used as a wash.

GOLDEN Iridescent Acrylic Colors used alone or with other colors, gels and mediums, develop nonfading, nontarnishing metallic finishes.

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...

GOLDEN Iridescent Acrylic Colors used alone or with other colors, gels and mediums, develop nonfading, nontarnishing metallic finishes.

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

Closest match to what people think of as 14k gold, but the one Iridescent we caution against outdoor use without UV protection due to light  the Nickel/Azo light sensitivity.

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

GOLDEN Iridescent Acrylic Colors used alone or with other colors, gels and mediums, develop nonfading, nontarnishing metallic finishes. Iridescent Pearl is extremely useful for mixing with...

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 classic metallic silver made with mica particles and a hint of black to produce the grey-silver sheen.

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

GOLDEN Iridescent Acrylic Colors used alone or with other colors, gels and mediums, develop nonfading, nontarnishing metallic finishes. All GOLDEN Mica Flake products offer larger particles for...

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

GOLDEN Iridescent Acrylic Colors used alone or with other colors, gels and mediums, develop nonfading, nontarnishing metallic finishes. All GOLDEN Mica Flake products offer larger particles for more...

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...

The transparent nature of this pigment give it a beautiful glazing quality that is unique among earth tones.

'The "Azo" (aye - zoe) is short for Azomethine, Nickel Azo pigment produces a transparent, brownish yellow at full strength but with enormous range. Excellent for creating rich amber glazes or...

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...

The higher iron content in this single pigment paint gives it more of a reddish brown quality, clearly on the fringe it retains just enough of the amber tone to be included in the yellow family.

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...

A reddish iron-oxide pigment is the basis for this brown that has a naturally light brown mass-tone that appears more red as it becomes extended in tints and glazes. 

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

One of GOLDEN's most popular glazing colours, the brown mass tone belies the rich amber-red colours that come through in tints and glazes.

A mixture of Violet Oxide and Carbon black, this transparent colour has a very dark mass tone that tints and glazes to a rich gold-brown.

This is the lighter of GOLDEN's two Burnt Umber paints, with good opacity it extends and tints to a warm to neutral beige colour. 

Van Dyke Brown dates back to the 17th century from the Cologne and Kassel regions of Germany, GOLDEN has captured its rich peat undertone by using Transparent Red Iron Oxide and adding just enough...

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.

A classic umber colour, GOLDEN's Burnt Umber provides the deep brown earth tone that painters have used for centuries.

Named after British painter William Payne (1760-1830), early formulas contained indigo, alizarin lake, and ivory black. Today more commonly a mixture of ultramarine blue and black, it is considered...

Actual Graphite pigment gives this fairly neutral, single pigment gray a slightly metallic sheen.

N2: The darkest of GOLDEN's Neutral Grays, precisely matched to Munsell Gray for artists exploring values The Neutral Grays in this line are a series of achromatic grays. Achromatic grays...

N3: A very dark Neutral Gray, precisely matched to Munsell Gray for artists exploring values. The Neutral Grays in this line are a series of achromatic grays. Achromatic grays allow artists...

N4: A darker than middle value Neutral Gray, precisely matched to Munsell Gray for artists exploring values. The Neutral Grays in this line are a series of achromatic grays. Achromatic...

N5: The middle value of GOLDEN Neutral Grays, precisely matched to Munsell Gray for artists exploring values. The Neutral Grays in this line are a series of achromatic grays. Achromatic...

N6: Lighter than middle value Gray, precisely matched to Munsell Gray for artists exploring values. The Neutral Grays in this line are a series of achromatic grays. Achromatic grays allow...

N7: A very light Neutral Gray, precisely matched to Munsell Gray for artists exploring values. The Neutral Grays in this line are a series of achromatic grays. Achromatic grays allow...

N8: The lightest of GOLDEN'S Neutral Grays, precisely matched to Munsell Gray for artists exploring values. The Neutral Grays in this line are a series of achromatic grays. Achromatic grays...

A natural buff Titanium Dioxide pigment, offering very opaque coverage and warm tinting.

Pale green mixture based on Titanium White.