I’ve been painting since I was a child, and my work has been featured in a number of local galleries. My primary focus is creating vibrant works of art that explore the relationship between color and form. I’m also passionate about sharing my love for painting with others, which is why I started this blog.
Can I use white paint instead of gesso?
When it comes to painting, there are many decisions to make, from the type of paint to the surface you’ll be painting on. One of the most important decisions is what material to use as a primer. Many artists opt for gesso, which is a white paint mixture made of a binder mixed with chalk, pigment, and white powder. But there are alternatives, such as white paint. In this blog post, we’ll explore the pros and cons of gesso and white paint, to help you make the best decision for your project. Let’s dive in and examine the benefits of both materials, as well as the downsides.
Overview of Gesso
Gesso is a paint-like product used as a primer for many art surfaces. It is usually made from a combination of an acrylic polymer emulsion, chalk, gypsum, pigment, and other additives. Gesso is used to provide a smooth, even surface on which to paint, and it serves as a barrier between the painting surface and the paint itself. It can also be used to create texture and add depth to a painting.
Gesso has a number of advantages over other primers. It is highly durable, so it won’t crack or flake off over time. The acrylic polymer in gesso helps to make the paint adhere better. It also helps to create a smoother surface for the paint to adhere to. Furthermore, gesso can be tinted or colored to give a desired effect.
Using gesso as a primer is a popular choice for many artists because of its versatility and convenience. It is easy to apply with a brush, sponge, or even your fingers. It is also easy to clean up, making it ideal for use in classrooms or other high-traffic areas.
However, some artists may wonder if it is possible to use white paint instead of gesso. While it is possible to use white paint as a primer, there are some drawbacks to this approach. White paint is not as durable as gesso, and it will not provide the same level of protection against cracking and flaking. In addition, white paint can be difficult to work with and may not adhere to the painting surface as well as gesso. For these reasons, it is generally recommended that gesso be used as a primer in order to ensure the best results.
Advantages and Disadvantages of Gesso
Gesso is a white, paint-like substance that is used as a primer for painting. It’s commonly used as a base for acrylics and oils, but it can also be used for other materials, such as wood, canvas, and paper. The primary advantage of gesso is that it provides a uniform, non-porous surface for paint to adhere to. It also improves the texture and color of the painting surface.
READ MORE How Many Coats of Gesso do I Need to Apply on a Canvas?
The most common type of gesso is made from a combination of plaster of Paris and white pigment. This combination gives the gesso a thick and creamy consistency, which makes it ideal for creating a smooth and even surface for painting. Gesso also provides an absorbent base that helps to keep the paint from cracking and peeling.
However, there are some disadvantages to using gesso. For example, it is a bit more expensive than other primers, and it can be difficult to apply evenly. If the gesso is applied too thickly, it can cause the painting surface to appear lumpy. Additionally, gesso can be difficult to remove once it has been applied, so it’s important to take care when using it.
Using white paint instead of gesso is an option, but it’s important to understand that it may not provide the same benefits as gesso. White paint is generally less expensive and easier to apply, but it may not provide an even and absorbent surface for the paint to adhere to. Additionally, it may not provide the same texture or color enhancement that gesso does.
Ultimately, the choice between gesso and white paint will depend on the type of painting you are doing and your budget. Gesso offers a more reliable and consistent surface for painting, but it may be more expensive than white paint. White paint is less expensive and easier to apply, but it may not provide the same benefits as gesso.
GESSO (BLACK & WHITE)
GOLDEN Gesso is a flexible, ready-to-use ground that prepares the surface of a substrate to accept paints and provides tooth to promote paint adhesion.
GOLDEN Gesso is a flexible liquid ground that seals, protects, and gives “tooth” to substrates, which promotes paint adhesion. It is formulated to accept a wide variety of media on many commonly used painting surfaces. It comes ready-to-use, but can be mixed with water for thinner applications. When applied in thin layers, GOLDEN Gesso will conform to a variety of textured surfaces.
GOLDEN Gesso is available in Black or White, and can be mixed with GOLDEN Acrylics to produce a range of colored grounds (see below).
PRODUCT APPLICATION
Mixing With Other GOLDEN Products
GOLDEN Gesso can be brush, roller, trowel or spray-applied. Dilution of the Gesso is only necessary for spray application, but may be desired for brush or roller applications as well. When diluting with water, we recommend a maximum dilution of 25%. Any mixture within this range offers little risk of cracking or other adverse effects.
Mixing With Other GOLDEN Products
GOLDEN Gesso can be tinted with GOLDEN Heavy Body Acrylics, Fluid Acrylics, Matte Fluid Acrylics, or High Load Acrylics. The High Loads most closely resemble the Gesso since they both possess a high pigment load, a velvety, low-gloss sheen and a similar viscosity. Matte Fluid Acrylics are the best option after the High Loads. Tinting with High Loads is recommended since they will alter the attributes of the Gesso the least. Due to the high pigment/solid concentration, High Load Acrylics and Gesso should only be applied in thin layers. Thick, single-applications of these products may crack.
Flexibility
Generally, canvas coated with GOLDEN Gesso may be rolled up without cracking. Cracking may occur if a canvas is overly flexed or stretched, especially at colder temperatures. For more information about handling and transporting paintings, please refer to the Just Paint Newsletter, Issue 11, article Safe Handling and Transportation of Acrylic Paintings
Multiple Coats
Although one coat of Gesso will provide good adhesion, it may sometimes leave pinholes or uncovered areas. It is recommended to apply at least two coats of Gesso to any surface, but especially when painting on canvas or linen. The first coat will penetrate the support and reduce the likelihood of paint de-lamination. The second coat bonds with the first layer and begins to even out the surface. Subsequent layers of Gesso will produce an even smoother surface. For spray-application, you may have to apply more than 2 coats to achieve a film similar to a brush application.
Spray Application Dilutions
The degree to which the GOLDEN Gesso needs thinning depends on what type of spray equipment is being used. No dilution of the Gesso may be required when using equipment with relatively large orifices and substantial pressure. Thin Gesso for spraying by blending with GOLDEN Airbrush Medium, which reduces viscosity, improves flow and tip-dry, and promotes leveling. Start with a mixture of 1 part Airbrush Medium to 1 part Gesso and test spray quality. Additional reduction with the Airbrush Medium may be required, especially with smaller nozzle equipment and lower air pressures.
Sanding
While sanding GOLDEN Gesso is possible, the heat generated in the process will “gum up†the sandpaper rather quickly. Wet sanding will give very good results while reducing dust production. For optimal sanding results on inflexible supports please refer to our Product Information Sheet for GOLDEN Sandable Hard Gesso: https://education.goldenpaints.com/technicalinfo_sandable
ADDITIONAL INFORMATION
Use With Oil Paints
Oil Paints can be applied over acrylic Gesso. There is adequate adhesion due to the porosity of the acrylic. To control the penetration of linseed oil into support fibers, a two coat-application of GAC 100 is recommended before applying Gesso. This seals the substrate and greatly lessens the amount of oil penetration.
GAC 400 can be applied to canvas to stiffen the support before Gesso application. The GAC 400 will provide a stiffness similar to rabbit-skin glue while remaining insoluble in water. (Refer to the Information Sheet: GAC Specialty Acrylic Polymers for further information on these products).
Lowering Absorbency/Tooth
By adding a gel or medium to gesso, one can increase flexibility and lower tooth and absorbency. GOLDEN Gesso can be modified with most GOLDEN Gels & Mediums. However, GOLDEN Soft Gels will least affect the feel and thickness of GOLDEN Gesso. Test mixtures to achieve the desired tooth and/or absorbency for each application. Adding GOLDEN GAC 100 (a thin, multi-purpose specialty acrylic medium) will reduce viscosity (product thickness). This results in a film that is thinner, stronger and more flexible. Additions of more than 10% GOLDEN GAC 100 will lower tooth and opacity of the gesso.
Increasing Tooth or Altering Texture
Tooth can be increased without affecting flexibility or crack resistance by adding GOLDEN Coarse Molding Paste, Coarse and Extra Coarse Pumice Gels, and other mediums and paints that may contain coarse solids. These additions will often create a much thicker product and different application techniques will be required, such as spreading with a palette knife or similar tool. Textural gels and pastes produce unique surfaces on which to work, and along with other grounds, such as GOLDEN Acrylic Ground for Pastels, can also be applied over the Gesso, or used alone as alternative grounds.
TECHNICAL INFORMATION
Resin: Methylmethacrylate/butylacrylate copolymer dispersion polymer
Vehicle: Water
Pigment Identification: PW6 (White Gesso); PBk7 & PBk11 (Black Gesso)
Lightfastness: Lightfastness rated I (per ASTM D 5098)
Permanency: Excellent
Opacity: 1 (1=most opaque and 8=most transparent)
Viscosity: 3,000 – 4,000 cPs (as measured on a Brookfield RV viscometer)
pH: 8. 4-9. 0 (slightly alkaline)
Gloss: White: 5. 0-10. 0; Black: 1. 5-5. 0 (using a 75° Glossmeter)
Flexibility: ASTM D522, Test Method B-Cylindrical Mandrel Test at 70°F, 6 mil thick film passes at 1/4″ diameter mandrel. Adequate flexibility to withstand loose rolling and re-stretching at room temperature. Paint films become more brittle below 50°F, and should not be bent, stretched or flexed under such conditions. Withstands expansion and contraction caused by changes in temperature and humidity.
Drying/Curing Time: A 10 mil wet film will dry to touch within 2 hours when temperature is above 65°F and humidity is below 70%. Thicker films cure much more slowly. Lower temperatures and/or higher humidity slow the drying process considerably.
