Proceed Line:
What can the ‘Proceed’ line do for me?
Finish Questions:
What are the differences between the ‘Slow Dry Fluid Acrylics’ and the ‘Dispersions’ colorants?
What can each product in the ‘Textures’ line do, individually?
Can we mix any colorant into any of the ‘Metallic Paint Mediums’ to produce a custom color?
Can I mix any colorant or UTC into any of these products?
Support:
I would rather talk to someone in person, how do I do that?
What if I don’t see an answer to my question here?
How do I know my purchase is secure?
Textures:
What can each product in the ‘Textures’ line do, individually?
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Proceed Line:
What can the ‘Proceed’ line do for me?
Simply put, the Proceed line is designed to simplify your business as a painter, give you greater control of your mediums, and save you money. Because the products were designed from their inception to function as a system, they can be used individually or mixed to give the decorative painter as much control as possible over color, sheen and texture, but with the fewest number of products.
As the faux finishing industry has grown, many products have come to market. There is now a completely bewildering array of materials, and a number of them were designed to produce a single finish or effect. Many painters continue to invest in training as new products come to market because they feel the need to “learn” multiple systems. As they incorporate new materials into their portfolio of finishes, their investment in studio materials increases, and locating materials when those finishes are sold can become more complex.
The most successful professional decorative painters have learned by trial and error that they need to “keep it simple” and refine their own system of materials and mediums – often from multiple sources- that suits the types of finishes they do and their painting style. The objective of the Proceed line of decorative products is to build this refinement into the design of a product system so that the painter doesn’t have to figure this out on their own.
The Proceed product line consists three categories:
Pigment Dispersions:
These consist of 13 industrial strength aqueous dispersions of artist’s pigments, plus a concentrated dispersion of a matting additive. The pigment selection contains both opaque and transparent primaries in order to efficiently tint large quantities of glaze and metallic finishes without “killing” the iridescent sparkle. The Matting Additive is a transparent matting agent that will quickly lower the gloss of glazes, paints, Metallic Mediums and the Trowelable glaze without affecting open time.
Decorative Paints consist of:
23 Slow-Drying Fluid Acrylic paints
2 long open time glazes (Full Bodied and Low Viscosity)
4 Iridescent mica “Metallic Mediums”
A self-priming low absorbency basepaint (soon to be commercialized)
Textures:
A set of 7 textures
A crackle size (soon to be commercialized)
A cracking additive to control cracking in the textures (soon to be commercialized)
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Proceed Line:
What are the differences between the ‘Slow Dry Fluid Acrylics’ and the ‘Dispersions’ colorants?
Dry pigments tend to clump tightly together and before they can be incorporated into paints, they must be “ground” or “dispersed” into very fine particles that are evenly wet out by the painting medium. These fine particles must also be stabilized so that they do not settle out and form a hard sediment that is difficult to mix back into the paint.
Paintmakers typically grind pigments in a separate processing step and then add them to resinous mediums. The result of this grinding process is a pigment “dispersion.” A “dispersion,” then, is a pigment that has been ground or dispersed in a specialized medium that is designed to thoroughly wet out and stabilize the pigment. Dispersions do not contain film forming resins, and thus are not paints. It is simply a very concentrated preparation of a pigment.
The most common dispersions, known as universal tint concentrates (UTC’s) are used to tint architectural paints and share several common characteristics:
• They are formulated for maximum opacity
• They often contain filler material, such as calcium carbonate, to dilute or control the pigment strength for cost reasons or for consistency in automated tint systems
• They can be mixtures of several pigments to tightly control color space for computerized color matching
These characteristics are desirable for tinting and controlling color of the typical architectural coating (i.e. “house paint”), but they can hinder the job of the decorative painter.
The Proceed dispersions are prepared from single pigments without the use of fillers. Thus, they will mix to produce clean secondary and tertiary colors. A range of artists pigments with varying transparency have been selected so that it is possible to mix both opaque and transparent colors.
Transparent pigments are desirable in decorative applications because the use of opaque UTC’s often results in “muddy” glaze colors and kills the metallic luster when tinting metallic paints and textures. Because they do not contain film-forming resins, the Proceed dispersions are highly concentrated color, and should never be used on their own. Their sole purpose is to tint paints, glazes and textures. If painted onto a surface, they will dry to a fragile, powdery film that can be wiped away with water.
The Slow-Drying Fluids are fully formulated acrylic paints that can be used straight from the container. Because they contain film forming resins, they dry durable films that adhere well to the substrate. Unless the color name contains the word “hue,” the paint is made with a single pigment with no fillers and is named for that pigment. This is so the painters know exactly what they are using and are able to reference the properties of specific pigments in a variety of information resources that deal with art materials. Golden uses the word “hue” to designate paints that achieve their color space by blending two or more pigments. Golden identifies these as such because mixing color with them can produce unpredictable results.
The same pigments are used to formulate both the Dispersions and the Slow Drying Fluid paints. To a close approximation, the paints contain 1/5 (20%) of the pigment load of the Dispersions. Thus, the paints can be employed as a dilute version of the Dispersions when coloring glazes, paints and textures. This is useful when trying to add small amounts of strong colorants, such as Carbon Black. For example, one could choose to add 5 grams of the Slow Drying Fluid instead of 1 gram of the corresponding dispersion.
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What can each product in the ‘Textures’ line do, individually?
Textures possess a number of properties, but those which define the basic visual characteristics are:
• Opacity - is the medium opaque, transparent, or somewhere in between.
• Roughness – is the surface of the texture rough or smooth.
• Aggregate consistency – are the aggregate particles (and therefore the surface pattern) uniform in size, or a mixture of different sizes.
Other properties include application properties such as viscosity, density, and absorbency; appearance attributes that are the result of movement and patterns imparted by tools; and secondary appearance properties such as color and sheen. However, the basic properties provide the fundamental structure of the texture, and are critical to our emotional reaction to the finish. For example, the color of a finish may be warm or cool, but the color cannot overwhelm the emotional response to the difference between a rough and smooth surface.
As synthetic materials were developed to mimic natural finishes, the names of the traditional materials were applied at first, for example “Venetian Plaster: was used to describe synthetic products that would mimic the look of a Veneziano finish. Then, as the market became more competitive and sophisticated, the product names became more fanciful and less descriptive of the actual surfaces produced. Over time, this resulted in instruction becoming recipe-driven. Learning became easier and more efficient, but schools and painters alike lost an opportunity to better understand their finishes and mediums. Many talented students and professional finishers are now at a loss when challenged to produce a standard finish in their portfolio with alternate, but essentially similar, products.
The Proceed textures are engineered to systematically cover as much of a theoretical design space as possible with the fewest number of products. The textures are formulated to have similar consistency and application characteristics from product to product and may be blended with one another as you create finishes. Because of this approach, this system of textures will allow the decorative painter to replicate almost any surface appearance through the use of a concise and consistent set of mediums. Designed to be tinted with Proceed Dispersions and/or Slow Drying Fluids, color control for the textures comes from within the same toolkit of decorative materials.
• Rough Irregular Texture - incorporates a coarse and irregular crushable aggregate to create worn stucco plaster surfaces.
• Rough Regular Texture - incorporates a coarse and uniform aggregate to create rough cut stone surfaces.
• Smooth Absorbent Texture – incorporates a finer, uniform aggregate to create smooth to somewhat finely textured plaster effects. Highly absorbent and makes a nice painting/glazing ground for faux fresco techniques.
• Smooth Translucent Texture – a very smooth and highly translucent texture for Venetian plaster and layered color finishes.
• Transparent Trowelable Glaze – a transparent and hard polymer that can be tinted opaque, transparent or with metallic mediums. Can be used to create “waxed” finishes, or to overglaze Venetian plaster type finishes. Formulated at full gloss, but can be adjusted with the Matting Additive or blended with Smooth Translucent to create a more “burnishable” waxy look.
• Metallic Texture – a highly pigmented Pearl mica plaster base. Intended to be tinted with the transparent pigment assortment in the Dispersion line. One can also blend in ~10% of the Copper, Gold, or Bronze metallic mediums to alter the metallic luster.
• Smooth Light-Bodied Texture a smooth, soft texture useful for creating tactile or supple finishes.
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Can we mix any colorant into any of the ‘Metallic Paint Mediums’ to produce a custom color?
Both the Dispersions and Slow Drying Fluids can be used to tint the Metallic Mediums and Texture.
However, one should not add more than 10% by volume of either to a mixture as a change in application properties may result.
Tinting metallic products with transparent pigments produces a finish with the maximum amount of metallic luster and “flash.” Tinting with opaque pigments will mute the metallic luster and can completely kill it if used to excess.
Thus, the decorative painter can control the precise amount of metallic effect in a finish by a careful choice of the pigments used to tint the product.
The Proceed line requires only one tinting base for the Metallic Texture because it is possible to tint colors of very saturated, dark values by using less than 10% by volume of dispersions.
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Can I mix any colorant or UTC into any of these products?
Golden has not tested every available colorant and UTC in their products. As a general rule, waterborne products from various manufacturers can be blended with no adverse effects.
However, incompatibilities can and do occur between surfactants and other paint additives used by various paint manufacturers and that can cause some mixtures to become unstable and unuseable.
Again, most commercial UTC’s do not utilize transparent pigments, which can be problematic if you are trying to tint metallic products.
Because the Proceed product line was designed as a system, we recommend staying within that system for optimum results.
It’s fine if you want to experiment, but do a sample board and don’t blame us or Golden if you get yourself into trouble.
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Support:
I would rather talk to someone in person, how do I do that?
Call us for questions regarding application techniques.
Golden has a staff of tech service personnel that can be reached by calling 800-959-6543 or you can call us 888-330-3061.
These folks are fine artists and can answer most questions regarding the product properties.
See Proceedsystem.com for downloadable Tech sheets on the products and MSDS information.
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What if I don’t see an answer to my question here?
Please feel free to contact us anytime.
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How do I know my purchase is secure?
Our order forms are designed to warn you if you are using an insecure connection. The top of the order page will tell you if the form you are using is secure or not. We use 128bit encrypted SSL security.
Here are other ways to tell if a page is secure:
For Microsoft Internet Explorer:
- You will see a yellow lock in the lower right hand corner of the browser.
- If you right click on the page and select properties, the dialogue box will display 'HyperText Transfer Protocol with Privacy' under protocol.
- The page URL will begin with https:// and not http://
For Netscape Navigator:
- You will see a closed blue lock with a yellow highlight in the lower left hand corner of the browser.
- If you double click on the lock your browser will tell you more information about the server certificate and security.
- The page URL will begin with https:// and not http://
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Textures:
What can each product in the ‘Textures’ line do, individually?
Textures possess a number of properties, but those which define the basic visual characteristics are:
• Opacity - is the medium opaque, transparent, or somewhere in between.
• Roughness – is the surface of the texture rough or smooth.
• Aggregate consistency – are the aggregate particles (and therefore the surface pattern) uniform in size, or a mixture of different sizes.
Other properties include application properties such as viscosity, density, and absorbency; appearance attributes that are the result of movement and patterns imparted by tools; and secondary appearance properties such as color and sheen.
However, the basic properties provide the fundamental structure of the texture, and are critical to our emotional reaction to the finish.
For example, the color of a finish may be warm or cool, but the color cannot overwhelm the emotional response to the difference between a rough and smooth surface.
As synthetic materials were developed to mimic natural finishes, the names of the traditional materials were applied at first, for example “Venetian Plaster: was used to describe synthetic products that would mimic the look of a Veneziano finish.
Then, as the market became more competitive and sophisticated, the product names became more fanciful and less descriptive of the actual surfaces produced. Over time, this resulted in instruction becoming recipe-driven.
Learning became easier and more efficient, but schools and painters alike lost an opportunity to better understand their finishes and mediums. Many talented students and professional finishers are now at a loss when challenged to produce a standard finish in their portfolio with alternate, but essentially similar, products.
The Proceed textures are engineered to systematically cover as much of a theoretical design space as possible with the fewest number of products.
The textures are formulated to have similar consistency and application characteristics from product to product and may be blended with one another as you create finishes.
Because of this approach, this system of textures will allow the decorative painter to replicate almost any surface appearance through the use of a concise and consistent set of mediums.
Designed to be tinted with Proceed Dispersions and/or Slow Drying Fluids, color control for the textures comes from within the same toolkit of decorative materials.
• Rough Irregular Texture - incorporates a coarse and irregular crushable aggregate to create worn stucco plaster surfaces.
• Rough Regular Texture - incorporates a coarse and uniform aggregate to create rough cut stone surfaces.
• Smooth Absorbent Texture – incorporates a finer, uniform aggregate to create smooth to somewhat finely textured plaster effects. Highly absorbent and makes a nice painting/glazing ground for faux fresco techniques.
• Smooth Translucent Texture – a very smooth and highly translucent texture for Venetian plaster and layered color finishes.
• Transparent Trowelable Glaze – a transparent and hard polymer that can be tinted opaque, transparent or with metallic mediums. Can be used to create “waxed” finishes, or to overglaze Venetian plaster type finishes.
Formulated at full gloss, but can be adjusted with the Matting Additive or blended with Smooth Translucent to create a more “burnishable” waxy look.
• Metallic Texture – a highly pigmented Pearl mica plaster base. Intended to be tinted with the transparent pigment assortment in the Dispersion line.
One can also blend in ~10% of the Copper, Gold, or Bronze metallic mediums to alter the metallic luster.
• Smooth Light-Bodied Texture a smooth, soft texture useful for creating tactile or supple finishes. Essentially, a tougher, more durable version of Golden’s Light Molding Paste.
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