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Although acrylics were virtually unknown until the 1940's, they were discovered in the 1850's. Much refinement was done in the early 1900's, and in l928 a palette of colors was made available for commercial sale. From that moment on, painting was dramatically changed. No longer was the artist restricted by the bounds of oil work. Speed and intricacy could be accomplished with ease. But from the onset, acrylics were not well understood. Few know of their actual composition.

Understanding acrylic paint begins with a look at the paint's binder, which is actually an emulsion polymer. Acrylic polymer is an organic acrylic acid that is emulsified by the surfactants in water, making it both versatile and permanent when dry. This association with water has given some the idea that acrylic is water-soluble, but, in fact, water does not dissolve acrylic at all. It, instead, disperses the pigments with the aid of a surfactant. Without surfactants, the composition would resemble cheese, rather than a smooth, homogenous painting material.

Whether it is the ease of portability and set up, its application versatility, the water cleanup, the rapid drying, the avoidance of all petroleum solvents, the array of premixed colors or perhaps the speed with which one can work, contemporary acrylic painting is more popular now than ever. New colors, metallic components and mineral additions have added to the realm of applicability of acrylic paints, opening even wider the applications to which acrylic paints may be applied.

The two most popular reasons why artists select acrylics are their ease of use and the fact that the drying window is narrow. You can paint an area, and in mere moments paint over or detail that same spot. This speed of working makes it especially appealing to portrait artists. Since sittings are hard to schedule and clients are often unwilling to make repeated trips, acrylics speed the drying process to such an extent that portraits can often be done in just a few sittings.

Colors are very easily combined to create all new tones. Additionally, there are a good variety of premixed hues that make some mixing unnecessary. The purist might still want to create from basic tones, and with acrylic pigments, that mixing is simple. True tones in all shades are easy to find, making palette creation almost effortless. Rich earth tones round out the color selections for the artists as do the wide range of mediums, varnishes and components to be added directly to the paint. Each has specific application, yet each can offer a wide variety of results.

The function of medium is two-fold. It acts as a "conditioner" to help maintain the consistency of any given paint. Used as instructed, mediums also "stretch" the paint without changing the coverage capabilities of the color. Mediums are available in matte and gloss finishes, and those two can be mixed to create a semi-gloss finish as well. Mediums can also be used as a top coat over a finished work done on canvas or paper. It offers a degree of protection from the elements as well as an overall evenness of surface sheen. Avoid clouding by applying varnishes or medium lightly as a final coating.

Lastly, varnishes are available to protect the surface from UV assault and, as with the mediums mentioned above, to even the surface sheen of the completed, dry work. Many brands, available in a range of surface finishes, can be found at your local art materials store.

Brushes used with acrylics can be the same types used for oils, although special man-made fibers of supreme quality offer a good value, very dependable results and compatibility with all acrylic paints, gels, grounds and varnishes. These brushes will last as long as their sable or bristle counterparts. Easy to clean with either water or special brush cleaners, they do not require the conditioning of sable brush tips. Various brands offer different styles and brush hair colors, but their fine texture and superior quality make them an investment for the long haul. Caution: Avoid the use of hot water when cleaning brushes because the heat can mat the bristles.

Substrates that work well with acrylic are more varied than those for oil. Almost any paper of moderate to heavy weight can be used, as can Masonite, wood panels and Claybord, canvas board and stretched or unstretched canvas or other cloth. Because of acrylics' adhesion, they can even be painted on slippery finishes such as Mylar and other plastic-type finishes. Some acrylics are even formulated specifically for use on glass.

Special surface treatments are designed to offer an even wider scope of application. Knife or paint on a smooth, sandy ground for unique portrait work or perhaps for a flat, velvety appearance of any scene. Heavier textures of sand-like material are also available, premixed into mediums to replicate stone or other textures in original work. Heavy gels and texturing compounds (to which color can be added or upon which paint can be brushed after any textural underlayment is dry) offer other design elements. Like modeling pastes, these thick gels hold their shape, stand erect and can be built up for extreme texture without the frequent cracking of the pastes.

Undoubtedly, the cornerstone of acrylics is their versatility. Be it in mixing, application or surface to be painted, there is a way to make it happen with acrylic paints.