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{"id":4471613915254,"title":"GAC 100 Universal Acrylic Polymer","handle":"gac-100-universal-acrylic-polymer","description":"GAC 100 is a Universal Acrylic Polymer and a S.I.D. Blocker and the Most Flexible GAC Polymer.\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eThis polymer is one of the most universal used in paint manufacturing. Artists who had used \"Rhoplex\" (a registered trade name) will find that this GAC most closely reflects the properties to which they were accustomed.\u003c\/li\u003e\n\u003cli\u003eThe most flexible with a moderate level of tack and gloss.\u003c\/li\u003e\n\u003cli\u003eUseful for diluting and extending colors, especially when film flexibility and integrity are important characteristics.\u003c\/li\u003e\n\u003cli\u003eWets pigment surfaces well. The most ideal for artists formulating their own paints.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003ePRODUCT APPLICATION\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003eMixing\u003c\/span\u003e\u003cbr\u003eGAC polymers should be gently stirred or rocked back and forth prior to use, but should never be shaken, as this will incorporate significant amounts of foam which will be very difficult to eliminate. Foam can severely affect the transparency of the film causing an apparent foggy or hazy quality. When applying with a brush, use minimal agitation and force, and do not overwork, as this too will result in foaming.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003eSpraying\u003c\/span\u003e\u003cbr\u003eIf spray application is desired, blend with GOLDEN Airbrush Medium. Start at 2 parts GAC Medium to 1 part GOLDEN Airbrush Medium. When faster drying is required, replace the Airbrush Medium with GOLDEN High Flow Medium.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003eVarnishing\u003c\/span\u003e\u003cbr\u003eThe GAC polymers are intended for use as binders, modifiers or additives for acrylic paints. They are not intended for use as a final varnish. Golden Artist Colors manufactures two different varnish systems, Polymer Varnish and Mineral Spirit Acrylic (MSA) Varnish.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003eADDITIONAL INFORMATION\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSupport Induced Discoloration:\u003c\/strong\u003e\u003cbr\u003eCommon supports (e.g. cotton canvas, linen, masonite) contain water-extractable materials that can cause discoloration in transparent glazes. To minimize Support Induced Discoloration (S.I.D.), prime support with 2 coats of GOLDEN GAC 100.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReplacing Rabbitskin Glue:\u003c\/strong\u003e\u003cbr\u003eTraditionally, rabbitskin glue (also known as hide glue) was used to reduce the flexibility of canvas before painting. Although the rabbitskin glue does reduce flexibility, it is extremely brittle. It is hygroscopic, which means that it will always be water-soluble. Even when the glue is completely dry, high humidity will re-introduce water into the film, causing it to soften or swell up. Over time, this constant swelling and drying of the film can cause severe paint-film cracking and delamination.\u003cbr\u003e\u003cbr\u003eGAC 400 can be used in a similar fashion for stiffening canvas. Apply directly to the front of the raw canvas for maximum stiffness. It is imperative that it be applied directly to the raw canvas. It is ineffective over any other medium, and most likely will flake off and cause delamination of subsequent paint layers. Since GAC 400 is not effective against oil penetration, the use of GAC 100 over GAC 400 is recommended for oil painters\u003cbr\u003e\u003cbr\u003eNote: Since GAC 400 is brittle, it is important that it not be rolled tightly, or bent back upon itself. This will cause cracking of the polymer film and may transfer cracks into additional paint layers. This is especially a risk with cured oil paints.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eLinseed Oil Blocker:\u003c\/strong\u003e\u003cbr\u003eTwo coats of GAC 100 before gessoing will substantially reduce linseed oil penetration into the canvas fibers. If stiffness and oil-blocking are desired, apply a coat of GAC 400 to the front, directly into the raw canvas, followed by one coat of GAC 100 onto the front of the canvas. Follow this by the desired number of gesso coats.\u003c\/p\u003e","published_at":"2020-04-29T15:48:33-03:00","created_at":"2020-04-26T17:10:06-03:00","vendor":"MAC","type":"ACRYLIC MEDIUM","tags":["Brands_Golden","Category_Acrylic Mediums","Price_$15 to $25","Price_$25 to $50"],"price":2195,"price_min":2195,"price_max":3750,"available":true,"price_varies":true,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":31633458626678,"title":"8OZ","option1":"8OZ","option2":null,"option3":null,"sku":"612811","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"GAC 100 Universal Acrylic Polymer - 8OZ","public_title":"8OZ","options":["8OZ"],"price":2195,"weight":0,"compare_at_price":null,"inventory_management":"shopify","barcode":"738797391055"},{"id":31633458659446,"title":"16OZ","option1":"16OZ","option2":null,"option3":null,"sku":"026043","requires_shipping":true,"taxable":false,"featured_image":null,"available":true,"name":"GAC 100 Universal Acrylic Polymer - 16OZ","public_title":"16OZ","options":["16OZ"],"price":3750,"weight":0,"compare_at_price":null,"inventory_management":"shopify","barcode":"738797391062"}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0271\/6883\/3654\/products\/gac100.jpg?v=1588185975"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0271\/6883\/3654\/products\/gac100.jpg?v=1588185975","options":["Size"],"media":[{"alt":null,"id":6444900188278,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0271\/6883\/3654\/products\/gac100.jpg?v=1588185975"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0271\/6883\/3654\/products\/gac100.jpg?v=1588185975","width":700}],"content":"GAC 100 is a Universal Acrylic Polymer and a S.I.D. Blocker and the Most Flexible GAC Polymer.\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eThis polymer is one of the most universal used in paint manufacturing. Artists who had used \"Rhoplex\" (a registered trade name) will find that this GAC most closely reflects the properties to which they were accustomed.\u003c\/li\u003e\n\u003cli\u003eThe most flexible with a moderate level of tack and gloss.\u003c\/li\u003e\n\u003cli\u003eUseful for diluting and extending colors, especially when film flexibility and integrity are important characteristics.\u003c\/li\u003e\n\u003cli\u003eWets pigment surfaces well. The most ideal for artists formulating their own paints.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003ePRODUCT APPLICATION\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003eMixing\u003c\/span\u003e\u003cbr\u003eGAC polymers should be gently stirred or rocked back and forth prior to use, but should never be shaken, as this will incorporate significant amounts of foam which will be very difficult to eliminate. Foam can severely affect the transparency of the film causing an apparent foggy or hazy quality. When applying with a brush, use minimal agitation and force, and do not overwork, as this too will result in foaming.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003eSpraying\u003c\/span\u003e\u003cbr\u003eIf spray application is desired, blend with GOLDEN Airbrush Medium. Start at 2 parts GAC Medium to 1 part GOLDEN Airbrush Medium. When faster drying is required, replace the Airbrush Medium with GOLDEN High Flow Medium.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003eVarnishing\u003c\/span\u003e\u003cbr\u003eThe GAC polymers are intended for use as binders, modifiers or additives for acrylic paints. They are not intended for use as a final varnish. Golden Artist Colors manufactures two different varnish systems, Polymer Varnish and Mineral Spirit Acrylic (MSA) Varnish.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003eADDITIONAL INFORMATION\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSupport Induced Discoloration:\u003c\/strong\u003e\u003cbr\u003eCommon supports (e.g. cotton canvas, linen, masonite) contain water-extractable materials that can cause discoloration in transparent glazes. To minimize Support Induced Discoloration (S.I.D.), prime support with 2 coats of GOLDEN GAC 100.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReplacing Rabbitskin Glue:\u003c\/strong\u003e\u003cbr\u003eTraditionally, rabbitskin glue (also known as hide glue) was used to reduce the flexibility of canvas before painting. Although the rabbitskin glue does reduce flexibility, it is extremely brittle. It is hygroscopic, which means that it will always be water-soluble. Even when the glue is completely dry, high humidity will re-introduce water into the film, causing it to soften or swell up. Over time, this constant swelling and drying of the film can cause severe paint-film cracking and delamination.\u003cbr\u003e\u003cbr\u003eGAC 400 can be used in a similar fashion for stiffening canvas. Apply directly to the front of the raw canvas for maximum stiffness. It is imperative that it be applied directly to the raw canvas. It is ineffective over any other medium, and most likely will flake off and cause delamination of subsequent paint layers. Since GAC 400 is not effective against oil penetration, the use of GAC 100 over GAC 400 is recommended for oil painters\u003cbr\u003e\u003cbr\u003eNote: Since GAC 400 is brittle, it is important that it not be rolled tightly, or bent back upon itself. This will cause cracking of the polymer film and may transfer cracks into additional paint layers. This is especially a risk with cured oil paints.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eLinseed Oil Blocker:\u003c\/strong\u003e\u003cbr\u003eTwo coats of GAC 100 before gessoing will substantially reduce linseed oil penetration into the canvas fibers. If stiffness and oil-blocking are desired, apply a coat of GAC 400 to the front, directly into the raw canvas, followed by one coat of GAC 100 onto the front of the canvas. Follow this by the desired number of gesso coats.\u003c\/p\u003e"}

GAC 100 Universal Acrylic Polymer

Product Description
GAC 100 is a Universal Acrylic Polymer and a S.I.D. Blocker and the Most Flexible GAC Polymer.
  • This polymer is one of the most universal used in paint manufacturing. Artists who had used "Rhoplex" (a registered trade name) will find that this GAC most closely reflects the properties to which they were accustomed.
  • The most flexible with a moderate level of tack and gloss.
  • Useful for diluting and extending colors, especially when film flexibility and integrity are important characteristics.
  • Wets pigment surfaces well. The most ideal for artists formulating their own paints.

PRODUCT APPLICATION
Mixing
GAC polymers should be gently stirred or rocked back and forth prior to use, but should never be shaken, as this will incorporate significant amounts of foam which will be very difficult to eliminate. Foam can severely affect the transparency of the film causing an apparent foggy or hazy quality. When applying with a brush, use minimal agitation and force, and do not overwork, as this too will result in foaming.

Spraying
If spray application is desired, blend with GOLDEN Airbrush Medium. Start at 2 parts GAC Medium to 1 part GOLDEN Airbrush Medium. When faster drying is required, replace the Airbrush Medium with GOLDEN High Flow Medium.

Varnishing
The GAC polymers are intended for use as binders, modifiers or additives for acrylic paints. They are not intended for use as a final varnish. Golden Artist Colors manufactures two different varnish systems, Polymer Varnish and Mineral Spirit Acrylic (MSA) Varnish.

ADDITIONAL INFORMATION
Support Induced Discoloration:
Common supports (e.g. cotton canvas, linen, masonite) contain water-extractable materials that can cause discoloration in transparent glazes. To minimize Support Induced Discoloration (S.I.D.), prime support with 2 coats of GOLDEN GAC 100.

Replacing Rabbitskin Glue:
Traditionally, rabbitskin glue (also known as hide glue) was used to reduce the flexibility of canvas before painting. Although the rabbitskin glue does reduce flexibility, it is extremely brittle. It is hygroscopic, which means that it will always be water-soluble. Even when the glue is completely dry, high humidity will re-introduce water into the film, causing it to soften or swell up. Over time, this constant swelling and drying of the film can cause severe paint-film cracking and delamination.

GAC 400 can be used in a similar fashion for stiffening canvas. Apply directly to the front of the raw canvas for maximum stiffness. It is imperative that it be applied directly to the raw canvas. It is ineffective over any other medium, and most likely will flake off and cause delamination of subsequent paint layers. Since GAC 400 is not effective against oil penetration, the use of GAC 100 over GAC 400 is recommended for oil painters

Note: Since GAC 400 is brittle, it is important that it not be rolled tightly, or bent back upon itself. This will cause cracking of the polymer film and may transfer cracks into additional paint layers. This is especially a risk with cured oil paints.

Linseed Oil Blocker:
Two coats of GAC 100 before gessoing will substantially reduce linseed oil penetration into the canvas fibers. If stiffness and oil-blocking are desired, apply a coat of GAC 400 to the front, directly into the raw canvas, followed by one coat of GAC 100 onto the front of the canvas. Follow this by the desired number of gesso coats.

Size
$21.95
Maximum quantity available reached.

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