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HV’ART Advanced Gesso Style Primer/Undercoat (GSP) is a soft, flexible, adhesion-promoting water-based primer and undercoat for all relevant surfaces,, available in White, and two tintable bases (Pastel & Bold).
HV'ART Advanced Gesso Style Primer (GSP) is a foundational product within the Advanced HV'ART system, tintable to a shade below your desired topcoat, acting as an adhesion-promoting primer. It is the essential first layer that ensures subsequent paints and plasters adhere beautifully and evenly.
It is incredibly versatile, providing excellent adhesion on a wide range of interior surfaces such as Plaster, Drywall, Previously Painted Surfaces, Ceilings, Woodwork, Doors, Trim, Cabinetry, Glass, Metal ensuring a durable base for decorative finishes.
GSP's adaptability makes it an essential tool for HV'ART artisans, allowing them to confidently apply their unique finishes to virtually any interior surface with guaranteed adhesion and longevity.
For Use underneath HV'Art Decorative Canvas Basecoat or Lacquer Paint
- Waterborne Acrylic Primer
- Matte Finish
- Powder Sandable
- Available in 3 colors: White, Pastel, & Bold
- For Spray or Hand Application
Advantages
- Adheres to diverse surfaces, ensuring effective layer adhesion.
- Can be used with adhesion additives.
- Flexible primer/undercoat prevents cracking, moving with surfaces, avoiding peeling.
- High opacity (coverage).
- Sands down (powders down) to a uniform glass-like surface.
- Available in Gilder’s bespoke colours to create a contemporary gesso-style base.
- Maximises mediums, enhances finish quality, seamless integration.
- Ensures proper adhesion of top paint/plaster layers.
This product is recommended as a sealer as part of an Interior Coatings System.
SYSTEM
Decorative Designs / Finishes:
|
Primer / Undercoat* Additives (optional) |
HV’ART Advanced Gesso Style Factory Primer (GSF) / HV’ART Advanced Gesso Style Primer/Undercoat (GSP) |
| Mid coat | HV’ART Advanced Decorative Canvas |
| Decorative Coat | HV’ART Advanced Glaze |
|
Topcoat Additives (optional) |
HV’ART Advanced Crystal Lacquer |
Standard Finishes:
|
Primer / Undercoat* Additives (optional) |
HV’ART Advanced Gesso Style Factory Primer (GSF) / HV’ART Advanced Gesso Style Primer (GSP) |
| Topcoat
Additives |
HV’ART Advanced Furnitura / HV’ART Advanced Architura |
Gilders Base:
| Primer / Undercoat* | HV’ART Advanced Gesso Style Factory Primer (GSF) / HV’ART Advanced Gesso Style Primer (GSP) |
|
Topcoat (Sand smooth ready to receive gold size & leaf) |
HV’ART Advanced Gesso Style Factory Primer (GSF) / HV’ART Advanced Gesso Style Primer (GSP) |
The mentioned coating system is just one example; other systems are available. Please refer to the relevant Technical Data Sheets and consult the HV’ART Contact Us Page for advice on suitable coating systems. Some wood species may exhibit discoloration due to natural extractives, which can be prevented by using an isolating sealer and mid-coat. Ensure all external materials in contact with the coating system, such as putty, adhesive tapes, sealants, and cleaners, are tested for compatibility by the user to avoid any adverse reactions.
More Info
HV’ART Advanced Gesso Style Primer/Undercoat (GSP) is a foundational product within the HV’ART Advanced system, tinted to a shade below your desired topcoat, acting as an adhesion-promoting primer and undercoat. It is the essential first layer that ensures subsequent paints and plasters adhere beautifully and evenly.
This primer/undercoat is incredibly versatile, providing excellent adhesion on a wide range of interior surfaces such as plaster, drywall, previously painted surfaces, ceilings, woodwork, doors, trim, cabinetry, glass, metal and plastic ensuring a durable base for decorative finishes.
In addition, HV’ART GSP excels at creating a contemporary gilders gesso style base. This high-opacity, adhesion-promoting primer/undercoat is specifically designed to sand and powder down, resulting in an ultra-smooth finish. GSP will be custom-mixed to the required colour, ensuring a solid, smooth base in the preferred colourway. This tailored base enhances the final gilded effect.
GSP’s adaptability makes it an essential tool for HV’ART artisans, allowing them to confidently apply their unique finishes to virtually any interior surface with guaranteed adhesion and longevity.
This product can be crosslinked with HV’ART Advanced Adhesion Crosslinker for surfaces such as glass, metals, metal alloys, polyethylene (PE), polypropylene (PP), vinyl and leather.
PLEASE NOTE: This product is for professional use only and is to be applied by approved HV'ART applicators. It is sold by weight (kg) and not by volume (litres), and that 1 kg is equivalent to approximately 900 ml.
Why We Measure in Kilograms (kg):
Unlike many paints sold by volume (Liters), our HV’ART advanced range is measured by weight (KG). We use higher-quality, denser materials and a greater concentration of solid pigments and binders. This means you are getting more of the “good stuff” that stays on the wall, and less of the liquid that evaporates. Consequently, 1 kg of our dense, high-quality paint has a volume of approximately 900 ml.
Areas of Use
HV’ART Advanced Gesso Style Primer/Undercoat (GSP)’s ability to adhere to such a broad range of materials empowers HV’ART artisans to confidently execute their creative visions on virtually any interior surface. Its application guarantees a long-lasting, sealed foundation, critical for the longevity and quality of the finished piece. By providing a consistent base, it eliminates concerns about adhesion failures, allowing for the uninhibited expression of artistic techniques. Whether working on freshly plastered walls or intricate wooden details, this gesso style primer/undercoat provides the reliable, high-quality foundation necessary for exceptional results.
Prep & Application
Preparation
To effectively utilise HV’ART Advanced Gesso Style Primer/Undercoat, meticulous preparation is key:
- Begin by ensuring all surfaces, whether plaster, drywall, previously painted, ceilings, architraves, woodwork, doors, or cabinetry, are clean, dry, sanded smooth and free of contaminants.
- For previously painted surfaces and woodwork, light sanding with 240 grit or courser is crucial to enhance adhesion.
Application
- Brush & Roller Application: For optimal results, apply two to three coats of GSP using a brush/roller, roller & tip off with glider (soft brush). Allow each coat to dry thoroughly before applying the next.
- Spray Application: Apply thin, even coats, avoiding excessive product build-up in a single application or wet-on-wet coating systems. For optimal results, use the product undiluted. Focus on achieving ideal application conditions that maximise product atomisation. See the technical data sheet for general guidelines for spray application.
Regardless of the application method, maintain adequate ventilation throughout the process, and diligently observe the recommended drying times to achieve a flawless, durable finish.
Drying
Drying time for HV’ART Advanced GSP varies depending on film thickness and environmental conditions. Substrates with high extractive content or application in damp/cold weather may extend drying.Ensure adequate temperature and ventilation throughout the process. Insufficient drying conditions can lead to coating damage.
| Drying: | Standard atmosphere: 20°C |
| Touch dry: | 30 minutes |
| Overcoatable | 4 Hours |
| Stackable | 4 Hours |
Technical Information
| Colour: | Bespoke |
| Binder: | Water-based Acrylic |
| Gravity: | 1.30 ± 0.03 |
| Activation: | Ready for use or can be crosslinked with HV’ART ADV Adhesion Crosslinker |
| Thinning: | N/A |
| VOC: | 39 g/l VOC |
Click for Data Sheets
Please Note: This product is designed exclusively for professional use as part of the HV’ART Advanced system. It must be applied by approved HV’ART applicators only.
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About the Product
The HV'Art Paint & Lacquer System can be made in any color, has a hard crystal quality, a soft silky-smooth finish and in formulation is equivalent to the paints & lacquers used by premium furniture makers. Included in the system are: adhesion promoting primers & undercoats, tinted lacquer paint for furniture painting & a ‘Decorative Canvas’ as a base for decorative glazes. There are four different setting ‘Lacquer Glazes’ for all decorative finishes & a range of crystal lacquers with 9 sheens available starting from ‘Mineral 00’ Deep Flat working their way incrementally to the ‘Ceramic 90’ Ultimate Gloss. These lacquers can be used in conjunction with the HV’Art additives for ultimate durability.
Formulated in the United Kingdom by the HV'Art team for Henry Van Der Vijver Decorative Artworks.
Achieve Ultra High-Gloss
A luxurious ultra high-gloss mirror finish can be achieved through the process of application, followed by sanding with a high quality low variable speed handheld sander, and then reapplication. Each lacquer sheen can have a natural finish with fine brush strokes or can be sanded to a mirror like effect.
Our Eco-Friendly Stand
Water-based solvent free: We have been instrumental in the environmentally friendly water borne paint movement in the UK and although est. in 1988 the business has been trading as a ‘Green’ business since 1996 believing in looking after the planet, ourselves & our clients. It is our policy to use as few if any solvents as possible. We combine traditional skills with the continual improvement in modern waterborne technology so that our designs and finishes create minimal environmental impact. Unlike traditional oil-based paint systems our finishes are multi layered & quick drying making their conservation more cost effective. We use our own HV’ART Lacquer Paint™ system for basecoats, furniture painting, decorative glaze finishes & lacquering & other than any specialist primers and stoppers this system is relatively odorless, solvent free, colour-fast & non-yellowing which ensures that there will be minimal if any discoloration even in direct sunlight or behind furniture & paintings etc.
Developed in the U.K.
The HV'Art product range has been developed by the team of craftsmen at Henry van der Vijver in London. It is a unique waterborne, environmentally friendly paint and lacquer system for specialist surface designs and finishes.
Distribution in North America
FauxBrushes.com is proud to be the exclusive North American distributor of HV'Art Paint & Lacquer System.
- Badger hair
- Natural hair extracted from the water-dwelling badger. The hair is traditionally used to smooth and soften water glaze.
- Bathing
- The action of applying thin transparent wash within fragments in order to give dimension.
- Bordeaux synthetic fiber
- Used with water mediums, this increasingly popular deep purple fiber has excellent medium retention and strength to keep its shape and add SPRING.
- Both oil/water when dedicated
- Many brushes can be used in both oil or water mediums, however, once a brush is used for oil, it should only be used for oil- and visa versa (primary reason for this relates to the usage of LARD which has to be removed with paint thinner which makes in incompatible to water).
- Breaking up the glaze
- The action of distorting glaze streaks and other application marks with the intention of quickly blending and/or unifying the value for even coverage. 'Breaking' allows randomly consistent texture, which is desired for many faux painting projects. This technique is primarily used with a GLAZING BRUSH, CODTAIL, or STIPPLER to remove application marks.
- Breche (breccia) marble
- A marble in which angular fragments of various sizes and colors are embedded. The greatly random gaps between the fragments are the breche. Marble breching is the action of painting the 'filled gaps' surrounding the fragments.
- Bristle hair
- The standard hair for oil painting made of select hog bristles.
- Bristle/nylon blend
- Our manufacturers have recently combined synthetic fibers with bristle hair to add to their versatility in water mediums. This blend combines the MEDIUM RETENTION of bristle and the SPRING of nylon.
- Butterflies
- Sap that accumulates below and around knots and other wood stress points. They often take the shape of butterflies. This look is obtained with a softener like our OIL BADGER or a SPALTER.
- Chiqueteuring
- The act of using a CHIQUETEUR for decorative painting techniques such as FAUX MARBLE, stone work, and most marble backgrounds. The brush is used wet with medium and stippled on the surface lightly with a twist of the wrist and an upright position.
- Controlled randomness
- Pierre uses this term often when describing his approach for painting BRECHE marble. He believes nature creates the fragments of breche marble with randomness, but also with a sense of composition. Find your composition and create incredible visual interest.
- Crystallization
- The fine crystal-like tiny fragments that give most marble their shimmering and translucent appearance.
- Dentils
- A series of rectangular projecting blocks, spaced on regular intervals that form a molding (found mostly on crown molding). They resemble gap teeth.
- Dispersion
- The amount of MEDIUM that is released from a brush. Ultimate medium dispersion refers to a high amount of medium/paint/varnish the brush can hold. A brush with a ROUND shape, disperses from all sides making it the ultimate design for a charged load.
- Faux marble (marbleizing, marbling)
- Advanced decorative painting technique for replicating the look of marble on all surfaces.
- Fine (tertiary) marble veins
- The finest, smallest veins found in FAUX MARBLE. See our VEINING brushes for best results.
- Fissures
- The 'cracks' that occur a few thousand years after the marble is formed. These veins can run in a different direction than the marble and are often white.
- Flaming
- Technique of adding transparent 'flames' or 'fringes' running across (generally) main veins and BRECHE. This technique is performed with a CHIQUETEUR or a SINGLE HEAD BRECHER usually after a final overglaze and fragments have been applied.
- Flogging
- Technique used to simulate the pores that are created when the cells of hardwoods are cut. This look is best created with a FLOGGER or a GRAINING WHEEL.
- Fluting
- Closely spaced parallel grooves used to embellish moldings, columns, and pilasters.
- Fly-specking
- Typically for spattering in dark colors to resemble fly debris or general aging, the act of spattering color sporadically on a surface. This is achieved with a SPATTERING brush.
- Fragmenting
- The action of creating fragments mostly in BRECHE marble. Fragments are developed by painting the veins that map out the fragment by thinking in terms of NEGATIVE SPACE. Secondly, by adding fragments within deep areas, mini-fragments are created in a positive technique.
- French patina
- Back in the 18th century, walls were painted with a mixture of rabbit skin glue, whiting , and pigment. Because of its quick drying properties, walls were left with visible brushstrokes, which ran with the grain of the wood. The result is a 'ropey' look with a chalky appearance. The French patina faux application mimics this classic style.
- Glaze
- The transparent film of color used over a basecoat for various treatments (not varnish). The transparency allows the light to go through and reflect back on to the basecoat creating additional depth. The intention is to alter the look of the basecoat.
- Glazing
- The act of applying a glaze. See our GLAZERS.
- Grisaille
- Tone-on-tone trompe l'oeil techniques executed in shades of gray, at its French name implies. Grisaille is often used for the imitation of bas-relief, which involves creating 3-dimensional, TROMPE L'OEIL techniques.
- Grotesca
- A style of decorative painting and ornamental work in which fantastic human and animal figures are combined with leaf and flower forms interlaced in ornate curvilinear arabesques. The work grotesca comes from this style of art found in the Italian grotto (grottoes), the name given to underground chambers created by the excavation of ancient Roman times.
- Gum arabic
- A gum obtained from various trees and used primarily as the binder in gouache & watercolors. Gum arabic is reversible and soluble in warm water. Use it diluted to reshape water brushes and preserve for travel.
- Half tone
- The medium value of the shadow in TROMPE L'OEIL.
- Hooking (knitting)
- The connecting of fine veins to create small fragments for FAUX MARBLE. The pattern is irregular and used sparingly.
- Lard
- Animal fat that is used to "grease up" small oil brushes in between use. By covering fine brushes, one can shape the brush into a resting position and takes the place of continually soaping up your most delicate brushes. Lard is sold in sticks like butter and should be left in the refrigerator. Use generously to cover thinned brush. When ready to use, thoroughly wash in paint thinner to dissolve lard.
- Lettering brush
- A long, flat or round brush with a square tip, used to paint letters. It has the ability to stop and start with the same thickness of stroke.
- Liner (lining)
- A preferably long and often pointed brush used to make an even stroke to outline, scroll, or accent a painted ORNAMENTATION.
- Mahlstick
- A light, inflexible wooden or metal rod, 2.5-3 feet long, which the painter uses as a support to rest the brush holding hand while executing particularly detailed and exacting work. The typical mahlstick has a non-slip ball at one end.
- Medium
- A liquid, formed by mixing a blender and a solvent, that may be added to a paint to increase its manipulability without decreasing its adhesive, binding, or film-forming properties. 'SAUCE' is Pierre's term for most everything liquid.
- Moire
- Satin-like semi-transparent 'ripples' represent the accumulations of sap that occur wherever the path of the wood's growth that has been restricted (knots, branches, growth). Moire & #8730's are always added on the final overglaze and is a NEGATIVE brush technique. Use a size 100 SPALTER or SKUNK brush for best results.
- Mullions
- Small molding that divides windows into individual panes.
- Negative brushwork
- Where glaze is removed or displaced with different tools. Strie, stippling, moire & #8730's are all examples of negative glazing brush techniques. Positive glazing is where medium is applied with the brush.
- Network veining
- Using a PENCIL VEINER, create fine, intricate, multi-directional veins that criss-cross each other in a congested network. Use on a FAUX MARBLE background technique.
- Orange-peel effect
- An undesirable surface texture that some coating materials exhibit when they dry due to the method of application with a roller-leaving roller marks resembling orange peel.
- Ornamentation
- Style of design based on enhancing with architectural detail often with 3-dimensional effects. i.e., egg & dart, floral patterns, grisailles
- Overglazing
- The second glazing step on many decorative painting techniques. This step is to create visual depth by adding a transparent layer where previous layers show through.
- Pet comb
- Standard metal comb with rounded teeth used to help separate brush hairs in order to create a STRIATION or graining technique. Also used to comb the family dog. Use with out VIENETTE and WOOD 2-HEADERS for woodgraining.
- Pietra Dura
- Intricate inlaid work in which pieces of hard, polished stone and marble are set into a puzzle-like pattern to represent ornamentation. The style is a specialty of the 18th century in Florence, Italy.
- Polychrome
- A technique of decorating utilizing several distinct colors in order to enhance an ornamentation (wood or stone carving). This technique is also used on flat surfaces to create multi-colored ornamentation. See GROTESCA.
- Primary veins
- The first, thickest, darkest, heaviest veins that determine the general direction and structure of the FAUX MARBLE. See SECONDARY & TERTIARY veins.
- Quill
- Used traditionally in brush making instead of the metal ferrule to clasp fine decorative painting brushes. They are preferred because quill does not break the hairs, as the edge of a metal ferrule sometimes does. Quill tied with wire is a labor-intensive process used since the antiquity.
- Reversible medium
- A medium (binder + vehicle) that can be reverted to a liquid solution and "reversed" completely. i.e.: gouache, beer medium, watercolors, shellac.
- Sable hair
- The finest brush for oil and thin water mediums partly because it sharpens itself with use, making it increasingly accurate. The hair is valued for its unsurpassed combination of firmness and resiliency, for its fine points, and for its shape. Each hair has a bulge, or belly, between its root end and its tapering point. Sable brushes are used to achieve smooth and precise strokes. Kolinsky sable is the best and most expensive.
- Sable/synthetic blend
- More economical alternative to a pure SABLE brush. Toray is a Japanese synthetic that is found to be the most like pure sable. The blends are showing success with today"s water mediums.
- Samina synthetic fiber
- Soft and SPRINGY fiber made to simulate SABLE hair in performance. It keeps its shape and sharpens the more it is used. Used for water mediums only.
- Scrolls
- Curved patterns to be mastered as they are prevalent in ornamentation, Grotesque-style painting, and lettering. Arabesques, swirly designs used throughout the time of antiquities to the 19th century.
- Secondary veins
- The second set of medium sized veins that are painted to compliment the PRIMARY veins. See our VEINING brushes.
- Size
- A wet material that is applied to a surface. At some point, it becomes a sticky surface ready to apply metal leaf. Size can be water-based or oil-based.
- Skewer metal leaf
- The act of removing the lap mark of excess leaf. Use a soft brush like a Gilder’s Mop or Chiqueteur to remove the leaf. A soft brush is crucial, as metal leaf will scratch easily.
- Softening (smoothing)
- The act of blending tones of GLAZE or making slight brush marks disappear with a softening brush. Great for FAUX MARBLE , WOODGRAINING, painting clouds, and many more techniques.
- Spattering
- The action of 'flicking' specks of paints in a controlled random pattern of fine dots. Mostly a positive technique, but spattering spirits would be a negative technique.
- Spring (verb)
- The quality or characteristic of certain types of hair (i.e. SABLE, BORDEAUX, SAMINA and BRISTLE) to have pliable properties to create a stroke that 'snaps back' with desired control and variance of the brush print.
- Squirrel hair
- Extracted from a black squirrel, it is soft and resilient (without too much spring), perfect for specialty decorative painting brushes. Traditionally, for oil mediums, fine for today's water MEDIUMS.
- The difference between stiffness and spring
- When it comes to brushes, a stiff brush refers to stronger, thicker hair that will stop excess movement. A “springy” brush refers to the pliable behaviors of certain hairs – the brush will bend easier while springing back to it’s resting position.
- Stiles/rails
- The verticals and horizontals that frame all panels in mill work, doors, wainscot, paneling. Usually 3 inches wide, the verticals are stiles, and horizontals are called rails.
- Stipple
- Creating a fine texture of extremely fine, dot-like pattern by dabbing a brush repeatedly over a surface. Rectangular stippling brush is the best tool for this NEGATIVE technique.
- Straight grain (side grain)
- Occurs where the rings of the heartgrain extend out toward the sapwood, creating a series of straighter, parallel lines that show a slight movement (never perfectly straight). Use often for smaller areas in WOODGRAINING like STILES/RAILS, baseboard, crown, etc).
- Stretch glaze
- After first application of GLAZE, it is often necessary to even out, remove heavy pockets, and generally to evenly disperse the MEDIUM. Generally, this is best done with a SPALTER.
- Strie or striation
- A surface marking consisting of closely parallel lines or grooves done by dragging a flat wide short hair brush steadily across the surface in parallel lines (done best with a TOOTH SPALTER). This is a NEGATIVE technique.
- Synthetic fiber
- Man-made fibers created to mimic natural hair for brushes. Acrylic and nylon brushes are not affected by prolonged soaking in water. They hold a heavy charge of paint and are easily cleaned with a little soap and warm water.
- Talc/whiting
- Talc is native magnesium silicate of common occurrence. Used as a matting agent and to ready tacky walls for painting (talc has no color). whiting is native calcium carbonate mined in various parts of the world and used in most industrial paint as a filler. Whiting adds weight but no color. Used to thicken paint but also as a matting agent.Applied with COD TAIL, STAINER, or VARNISH brush..
- Tonal layering
- Getting to a desired tone by adding layers of compatible tones wet-on-wet without disturbing the underonality. Use a CAT'S TONGUE or the SYNTHETIC SPALTER for best results. See WET-ON-WET.
- Toray synthetic fiber
- Man-made fiber to mostly mimic sable hair, but slightly stiffer and golden in color. It very SPRINGY and is used in our ONYX BRUSH.
- Trompe l'oeil
- From the French expression, 'trick the eye' is the technique in decorative painting utilizing the interplay between light and shadow to create an illusion of dimension and depth over a flat surface.
- Veiner (veining)
- The action of reproducing the linear pattern that characterizes most marble veins and woodgrains. Veining extends from thick, PRIMARY veins, to fine, TERTIARY veins. See our VEINING brushes.
- Water Gilding
- The oldest form of gilding. Prior to the 19th century, this was the only method used. Water size is made of water and melted gelatin. This mixture is brushed over a soft, clay, gesso base. This method allows for the longest lasting and greatest shine. Used mostly in furniture, frames and restoration.
- Watermark patina
- An interpretation of the marks that water could make on old wallpapers and by creating discolored spots on the background.
- Wet-on-wet application
- Toning with the intension of either blending or softly layering colors to reach a desired hue and design. See TONAL LAYERING.
- Window casing
- The trim around the window. Including the windowsill.
- Wood glazing
- A combination of WOODGRAINING and GLAZING. Think of how you would try to make a surface look like painted wood in one step. With FLOGGING techniques and simple graining, faux woodgraining can be sold without a WOOD HEARTGRAIN. Essential for window casing, mullions, stiles/rails, and other small areas.
- Wood heartgrain
- The center part of a tree. It is composed of rounded, elongated, more or less concentric diamond shapes. It is often a darker or more vivid color than the sides. The heartgrain is the 'signature' of the species of wood, it defines design, and it is used in a manner to showcase its beauty.
- Wood pores
- Fine dents made when wood is sliced lengthwise. Pores are tiny channels that sap runs through. This look is easily achieved with a FLOGGER or a GRAINING WHEEL.
- Woodgrain
- Advanced technique for imitating different wood species with paint, brushes, and a range of tools. The high times for this technique were in the 19th century, Europe.
