Standing in front of those shelves at the art supply store, the selection of emulsions can get overwhelming quickly. For anyone working with acrylic ink, picking the wrong emulsion turns a project into a mess. I’ve learned this lesson the hard way, with chunky textures in prints and ink that never truly bonds.
Acrylic ink stays stubborn about what it likes. Water-based acrylic emulsions handle the job best. I remember starting out and learning that an emulsion isn’t just something to “mix in”—it acts as the backbone of the ink. Artists want an emulsion that dries tough but flexible, keeps colors sharp, and resists water after curing. Typical house paint emulsions don’t fit the bill. They turn flaky and milky under a roller, while a true acrylic emulsion, made for art supplies, won’t fight the pigment.
Manufacturers have spent years perfecting what’s called acrylic polymer emulsion. Think about the stuff you see out of a squeeze bottle, clear and slightly cloudy, but not sticky like glue. This is a blend of acrylic acid and co-polymers suspended in water. What makes it special? It grabs onto the pigment in the ink, dries to a waterproof finish, and doesn’t yellow under sunlight.
Acrylic polymer emulsions rank as the best option for both screen printing and brush application. They stand up to repeated washes, won’t let colors bleed out onto the page, and stay workable long enough to make detailed prints. I’ve seen friends experiment with PVA glue or even Mod Podge, but both of these crack when flexed. For archival prints, I stick with acrylics. Findings published by the Getty Conservation Institute back this up: acrylics have some of the best resistance to environmental stress over time.
Not everyone has access to specialty art stores. Plenty of beginners hope to make their own acrylic ink or want cheaper options. A reliable workhorse comes in the form of medium-bodied acrylic paint medium. These mediums are actually clear acrylic polymer emulsions without added pigment.
Mixing pure pigment powder and water with this clear medium builds a homemade ink that rivals commercial offerings. The key is to keep ratios balanced. Too much water and the ink runs; too little and it gunks up screens or brushes. I usually start with equal parts pigment and medium, thinning with distilled water until the suspension pours smoothly.
Art has shifted toward safer studio environments. Good emulsions avoid ammonia and harsh co-solvents. Most art brands list their ingredients—look for products labeled AP Non-Toxic. Cheaper hardware store alternatives often contain extra preservatives that cause issues with pigment settling or skin irritation after long exposure.
Fact check: A study from the American Institute for Conservation showed that modern acrylic emulsions release fewer volatile organic compounds (VOCs) than older alternatives. This matters for anyone spending long hours in a small studio. For families and teachers, these safer formulations make a big difference in air quality.
Those heavy jars labeled “acrylic medium” might look expensive at first, but their reliability pays off over time. Skipping unknown brands or household glues spares a lot of frustration. I’ve come back to Liquitex and Golden brand polymer emulsions again and again, finding they keep colors strong and paper flat year after year. Mixing your own formulas or sticking to known brands—both paths work if you pay attention to ingredients and consistency.
Acrylic polymer emulsion remains the champion for ink makers seeking stability, longevity, and safety. Whether running a community print shop or painting late into the night at your kitchen table, this foundation keeps the creative process smooth.
