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(Full Bodied Painting & Glazing Medium)
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*An instructive presentation on the differences between the two glazes and aspects of the Slow Drying Fluid Acrylics compared to other known types of paint, created by our European distributors, Obeeliks, can be viewed here: [[File:Proceed.ppt]]
*An instructive presentation on the differences between the two glazes and aspects of the Slow Drying Fluid Acrylics compared to other known types of paint, created by our European distributors, Obeeliks, can be viewed here: [[File:Proceed.ppt]]
= Full Bodied Painting & Glazing Medium =
*Use this glaze when you want to retain toolmarks. 
*Thicker consistency holds onto marks. 
*Shake before use as this glaze will separate in the jug, this is a normal characteristic that also allows for toolmark retention.
*VOC Content: <700 g/l
This product exceeds VOC limits in some areas. Please verify compliance prior to use.
In 2007, we improved the formula and increased the open time of this glaze.  (check for accuracy)  At 30% humidity and 70 degrees Farhenheit, we were able to have 1 hour and 30 minutes of set time.  Include photos of boards.  See [[Understanding Drying Time of Slow Drying Materials]].
= Low Viscosity Painting & Glazing Medium =
= Low Viscosity Painting & Glazing Medium =

Revision as of 03:33, 27 June 2011

Proceed® Full-Bodied Painting & Glazing Medium and Low Viscosity Painting & Glazing Medium are designed for easy blending and exceptionally long working time.


Glaze Characteristics

  • Use either glaze to thin out thicker products or increase workability, rollability and open time.
  • Both Glazes have a thixotropic characteristic meaning they thicken at rest. This means you'll see separation in the container if the product has been sitting for an extended amount of time. This is normal. Simply shake and the two "phases" will mix back into themselves.
  • These glazes have a lot of open time, adjusting the sheen and absorbency of the paint beneath it will increase your control within different environmental conditions. For example, working in humid South Carolina in July may cause you to basepaint with a Satin or Eggshell sheen instead of the Semi-Gloss that was used the previous winter to have the same open time.
  • Mix with Slow-Drying Fluid Acrylics at any desired ratio or with Pigment Dispersions up to a 5:1 ratio of Glaze to Dispersion. Do not mix with oil paint. Glossy, non-absorbent surfaces should be abraded for increased adhesion. Full cure requires 24-48 hours. Seal with a varnish/topcoat for maximum durability. Clean tools with soap and water.
  • Please review the following link:

  • An instructive presentation on the differences between the two glazes and aspects of the Slow Drying Fluid Acrylics compared to other known types of paint, created by our European distributors, Obeeliks, can be viewed here: File:Proceed.ppt

Low Viscosity Painting & Glazing Medium

  • This glaze levels like oil. Use this glaze for leveling techniques such as marble or woodgrain.
  • Fluid interference colors work beautifully with Low Viscosity Glaze at a ratio of 1:1.

Open Time

How much Open Time does your Glaze have? (Previously published in The Faux Finisher Magazine, Summer 2009)

“How much open time does your glaze have?” is probably the question I hear the most when I attend tradeshows or answer technical phone calls concerning decorative painting materials. Technically, the question refers to the length of time glaze will move over a surface before forming a film. The terms “open time” and “working time” are used interchangeably in the decorative painting industry; however, this is technically inaccurate. What painters really mean to ask is, “how much working time does the glaze have?” Working time refers to the amount of time that the glaze can be manipulated before it begins to “set up.” At this point, while the film may still appear to be wet, it is immobile and can no longer be worked. Open time refers to the total amount of time the glaze is not dry. Most painters know what it’s like to experience the end of working time of a glazed surface. At that point, all that's needed is one more blending touch and the whole section lifts. The surface is still wet and while it may be “open,” it cannot be worked without damaging the finish. A water based glaze will not perform exactly the same in all environments, over any surface and with any combination of colorants. For waterborne products, there is no single answer to the question “how much working time does your glaze have?” The working and open times of a waterborne glaze are determined by many factors, including the glaze formulation and its raw material ingredients, the absorbency of the surface the glaze is applied to, the tools the glaze is manipulated with, the technique, thickness of the application and skill level of the painter applying the glaze and most importantly, the environmental conditions including air temperature, relative humidity, and amount of air flow. Most of the factors in determining working time are completely beyond the control of the glaze manufacturer. Instead, to a degree, many of these factors lie with the painters and their ability to execute the chosen finish.

The raw materials which have the most dramatic effect on working time and open time are glycols and “extenders.”  Some painters will rely on these materials to provide more working time than has been formulated into the product, but these materials fall into the category of volatile organic compounds or VOCs.  VOCs are regulated by the local, state and federal governments because of the role they play in the formation of ground level smog.  Regulations vary by location, and it is the painter’s responsibility to stay up on the local laws wherever he or she is working to make sure that the mixtures they are using are compliant with local regulations.  By law, any container larger than one quart is required by law to have the VOC content printed on the label.  In the US, the VOCs are reported as grams of VOCs per liter of product, less water.  This means that the water content of the product is not considered to be part of the volume of the product, and thus, results in a stricter limit.  If you don’t see this information on the label, you can call the manufacturer and ask.  Keep in mind that other countries calculate VOCs differently (or do not limit them at all), so not all products made outside of the US may be suitable for use in your location.  

Regardless of the terminology, just what are those times on glaze labels and brochures actually referring to? Without knowing how a particular manufacturer tests for open time, it is difficult to say. A commonly used “standard” method in the paint industry is really intended to measure drying time. In this test a non-absorbent test card is coated with a uniform film of the material. The card is then placed in a device that causes a stylus to slowly “draw” a circle in the wet film. When the stylus no longer leaves a mark in the film, the time is recorded as the “drying” or “open” time. Of course, while the test is running, the wet film is not being bagged, brushed, and manipulated – all of which tend to speed up the evaporation of water from the wet film. (include photo of machine) One of the ways we measure the open time in the GOLDEN Laboratory is by coating a non-absorbent test card with the product and then (SEE PHOTOs Here of leneta cards, drawdown bar/card being created and Eric) the technician will use his or her finger at timed intervals to pull through the glaze, observing how long this can be done before the glaze begins to dry, resist smearing cleanly and leaves a dried edge. At the first sign of an edge, the working time has stopped. However, if the glaze can continue to be pulled, the material would still be considered “open.” (MORE PHOTOS) While providing more information than a simple drying test, even this method is not a reliable indication of what might happen on a jobsite. So, the most that can be expected of a manufacturer is to produce a formula that, in a controlled set of conditions, consistently delivers the balance of properties they believe their customers desire. The reality is, of course, that the environmental conditions on any particular jobsite are likely to be different than those in the manufacturing environment. Recognizing this, the savvy painter can determine the working time he is likely to encounter on the job by creating a test similar to the following:

1. Try to recreate the environmental conditions that will be painted in as closely as possible including: room temperature, humidity levels and airflow. 2. Recreate the surface to be painted as closely as possible. For example, if the surface to be glazed is wood, get the same kind of wood and prepare it the same as the site to be painted including primer and base coat. If the surface will be drywall, then get a piece of drywall. Glazing on polystyrene sample boards is common practice at tradeshows and in classroom setting, but is not representative of most people’s homes! 3. Mix up the glaze and apply it to a section of the sample. Wait 15 minutes and then apply an equal amount of glaze next to it. Blend or tool the two glazed sections together. If laplines appear, the glaze combination may not give the adequate working time needed. Wait another 15 minutes, apply more glaze and blend back into the previous sections. By repeating these steps, a painter can get a reliable indication of the working time under the given conditions of substrate and environment. Keep in mind the thickness of the glaze application can alter the results. A thicker application will slow down the water evaporation, whereas a thin coat will allow faster evaporation.

Earlier, we discussed how the use of glycols and extenders can provide additional working time. However, one downside to this approach is that these materials can also dramatically increase the overall drying time, resulting in a prolonged period during which the work remains sticky and fragile with poor “strapdown,” during which time no further work can be done. Alternatively, an understanding of how ambient conditions affect the performance of a glaze, allows painters to put this knowledge to use to influence the open time of a glaze without causing excessive wait times before work can resume. If more working time is desired, increase the humidity level in the room by turning on a humidifier and closing the room up; decrease air flow, and decrease the air temperature. If the glaze needs to dry faster, do the opposite and decrease the humidity, increase air flow and increase the air temperature. Understanding the differences between open time and working time of a waterbased glaze is an important aspect of knowing the materials of a decorative painter. The more a painter understands the materials, the more control one will have in applying them. Happy Glazing!

Speeding up the Drying of Long Open Time Products

  • Adding water actually speeds up the drying but can also reduce the strength and integrity of the paint film.
  • Add GOLDEN Matte Medium to the glazes to speed up the drying, increase film hardness and lock down. Thin the GOLDEN Matte Medium with some water first in the case that the Medium is too thick.

Note to Proceed Team - this is to be uploaded by Lori/lab team: Add Low Abs Deep Tint base????? See: Understanding Drying Time of Slow Drying Materials

Flame Spread Rating

Golden Artist Colors, Inc. has not performed testing to assign a rate of flame spread for Golden water-based acrylic paints and mediums. However, given their formulation, our water-based products would be expected to perform similarly to typical latex house paints in regard to their ability to support combustion.


Coverage will vary depending on your application technique. See Coverage Calculation to determine how you can plan what you'll need on a job site.

What to Avoid

  • "Sticky" or "tacky" glaze surfaces happen when the glaze has not sufficiently absorbed and dried onto the painted surface. Ways to avoid creating a "sticky" situation include being aware of the ambient drying conditions on the day of applying the glaze and over the following days. If its going to be very humid, choose to work with a glaze with "less open time" or use a more absorbent/less sealed base paint beneath the glaze and/or use a dehumidifier in the space and/or use a fan after the glaze application has been applied.
  • Don't allow your product to freeze. Minimum film formation temperature is 49°F/9°C.

Applicator's Experiences & Project Gallery

Unique Uses

Include Tim G's story and pics...


This category has the following 2 subcategories, out of 2 total.



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