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Norrette Moore

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That's a good question!
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Robert Jones, NAPA

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The principal difference is that it's applied thinly, and contains different ingredients - but now you're going to ask what those differences are, aren't you? Damn.... I'll endeavour to find out.  
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Jim Morris

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Love you Swan painting Collette. That's classy. 
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Robert Jones, NAPA

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https://www.jacksonsart.com/blog/2021/08/23/size-primer-gesso-and-ground-explained/ This is about the most useful explanation I could find, amid a plethora of under-informative waffle on sites like Quora.  A shorter answer is that yes, acrylic "gesso" (real gesso is something else entirely) consists of acrylic resin, but unlike acrylic paint, it will include an acrylic hardening agent, and may also contain chalk and marble dust.   Every manufacturer has their own recipe: it is generally taken as superior to traditional gesso, rabbit-skin glue etc, particularly on flexible surfaces.  Some artists, notably Will Kemp, use an isolating medium as well - available from Golden Paints.  I never have - but perhaps I should. 
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Collette Hughes

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I've just ordered some isolating medium. It is designed to separate acrylic from varnish, allowing the varnish to be removed with isopropyl alcohol (which would also remove the acrylic). I'm going to use it to separate two layers of acrylic so I can remove some of the top layer. I've checked on Golden's website and it's fine to paint on top of it. Fingers crossed it works as I hope.  Thank you Jim for your comment about the swan. 
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Tony Auffret

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Thank you Robert.  That is quite a comprehensive article and the subject is more complex than I had imagined.  It is also curious that it implies artists could not move fromm wooden panels to canvas until casein gesso was developed to replace animal glue based gesso.
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Collette Hughes

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Darren: I came across this article https://www.jacksonsart.com/blog/2018/02/21/acrylic-pour-painting-with-schmincke-medium-and-inks/ I've never tried doing a pour with acrylic ink I thought it was interesting. I do have some Golden high flow so I might try it. 
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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https://www.youtube.com/watch?v=E2A8-5yviRc&ab_channel=VizoliArt Found this, for those interested in the pouring technique - it seems to cover several different approaches, but though I watched the first and part of the second, I rapidly, frankly, lost interest.  That's no criticism of the technique, for those who are interested in applying it - it's just that I'm not one of those with such an interest: give me my brushes, or painting knives, or give me death, basically!   No need to give me death immediately, obviously; wait a while...  another thirty years would suit me quite nicely.   You'd obviously need quite a soupy flow formula paint to do this: it is interesting, the way the paint forms cells - there's a fascination in watching the process: it's the end results that do very little for me.  But there we are: I have visions of getting the panel stuck to the ground sheet, pulling away at it, and getting a face-full of acrylic pour - fairly confindent that's exactly what would happen to me if I tried it: a combination of clumsiness and impatience; one has to know one's failings...
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