Acrylics Paint Information Hints and Tips

Cryla Artists Heavy Body Paint Acrylic colours are characterised by their thick buttery consistency, their uniform eggshell finish across all the colours in the range and their minimal colour shift from wet to dry in the development of Cryla. Daler-Rowney took the industry standards ASTM D5098 set by the American Society for Testing and Materials as their yardstick - and improved on them at every stage of manufacture. Cryla Artists Heavy Body colours are designed to retain the intended stroke when applied with a palette knife or brush, so they are ideal material for highly textured impasto painting techniques and processes.

Cryla Artists Heavy Body Acrylic Colour & Mediums Charts

Daler Rowney System 3 is a high quality versatile water based acrylic paint ideal for art, craft and design projects in colleges and schools. They are also ideal for the amateur and professional painter using colour in large quantities.

Only high quality pigments are used in the manufacture of System 3 Acrylics, with a greater loading than other colours in their class.

It offers an excellent painting experience at a most economical price. System 3 offers all the virtues of light fastness, permanence, covering power and flexibility. Available in a range of 35 colours in sizes from 75ml to 2.25 litres.

Lino Rollers 4" 6" and 8 "

Engraving and printing complete set Ref: 7663
Contents : 1 x plastic handle
4 x assorted lino blades
1 x printing roller
1 x red ink tube
2 x engraving plates
Get ready to leave your mark with the
Adigraf engraving print set!
Technique and creativity for all ages:
drawing, engraving and printing your creations in different colours
and on different mediums has never been this safe and easy.
The set includes a printing roller, a tool tip, an ink tube,
two engraving plates and a complete set of four engraving points.
Made by Adigraph Fila Ref. 1368

SoftCut block printing
150 mm x 100mm x 3 mm and 300 mm x 150mm x 3 mm Ref: 10091

Softcut, the latest innovation in block cutting and printing! Super-smooth surface makes cutting easy, cutters simply glide through with minimum effort. The finished softcut block can be displayed as a work of art in its own right.
Softcut prints well on most papers, card and fabric, and can even print on curved surfaces due to its flexibility

Manufacturer: SoftCut Ref. 10091 3.0/SC2

Daler Rowney System 3 Colour Chart - Click Here

Soluble Matt and Gloss Varnish's Daler Rowney Acrylic available online discounts
Specially developed for the protection of acrylic works from environmental pollutants which can cause surface degradation.
As with all artist varnishes these are removable, so after a year or so the dirt with the varnish can be taken off using White Spirit or Turpentine. The painting is then re-varnished
It dries to a matt finish reducing surface glare while maintaining the same eggshell appearance as acrylic colour itself.
Matt and Gloss varnish can be mixed together to produce intermediate effects.
Ideal for use with System 3, System 3D and Cryla and acrylic colours.

Acrylic paintings may be left unvarnished but dirt will collect in the pores of the dry paint film and be difficult to remove. If the painting is to be displayed in a particularly dirt - ridden environment (especially outdoors) then a varnish is recommended.

For internal paintings use Soluble Gloss or Soluble Matt Varnish. As with all artist varnishes these are removable, so after a year or so the dirt with the varnish can be taken off using White Spirit or Turpentine. The painting is then re-varnished.

The best outdoor exterior varnish for durability is Yacht Varnish, but this will discolour and the varnish is not removable. Check for degree of yellowing of the colours on a separate sheet of paper before varnishing the finished artwork.

Ultimately the choice of varnish is dependant, to a large degree, on the way the painting will be maintained over time.

Mediums are less easy to apply than varnishes and are not removable. For the latter reason these are not recommended for varnishing.

Acrylic mediums are sometimes used for special projects (e.g. screen printing mediums for screen printing) or to impart special effects e.g. to add a pearl lustre to colours (Pearlescent Tinting Medium). The other mediums are used to increase the transparency of the colours and either retain the viscosity (thickness) of the colour (Impasto Glaze Medium Gloss or Matt with Cryla, Glaze Medium Gloss or Matt with System 3) or alter the viscosity if used the other way round. This can be a little confusing, but there are some leaflets that give instruction on use that you can pick up or posted to you from Studio Arts or Daler-Rowney.

Talbot Henry, Daler-Rowney.

Screen printing with Daler-Rowney System 3 Acrylics

and additives is a non-toxic process. As a result, water-based screen printing has become more accessible for education and home printmakers. Screen printing is an ideal medium for all ages and because of the simple technology fabulous imagery can be produced on basic equipment. Daler-Rowney have produced a ‘System 3 Acrylic Screen Printing Kit’ which is now on sale. The kit contains a Screen, Squeegee, Acrylic Inks, Screen Printing and Textile Mediums, Drawing Fluid, Screen Block-out, an Apron and ‘The Art teachers Guide to Water-based Screen Printing’ by Dave Fortune. How to use Drawing Fluid and Screen Block-out. Drawing fluid in conjunction with screen block-out medium gives you excellent detail and a low-tech solution to producing a good stencil on the screen. The stencil will last for many prints and if you want to change colour you just wash the screen with cold water, dry and print again with the new mix of acrylic colour. How to produce a stencil by hand onto a screen without any photographic means. (1) (2) (3) (4) (5) (1) Place a line drawing on a piece of white card or paper under the screen as a guide. (2) You can now trace your image onto the mesh very lightly using a soft, blunt pencil. The screen mesh needs to be slightly above the image, so place a piece of folded card under the front edge of the screen. This will ensure that the mesh will not touch the tracing underneath when using the drawing fluid. (3) Now paint the screen drawing fluid onto the areas of mesh you want to print. The drawing fluid can be easier to use if you dilute it with a small amount of water. Paint the fluid evenly onto the screen, leaving no thick areas as this would prolong the drying times. When you have finished your image, leave to dry for approximately an hour or dry with a fan heater or hair dryer. (4) Lifting the screen slightly and using your squeegee, spread a thin layer of screen block over the image. Be sure that you do not miss any areas of the mesh. Leave to dry for approximately half an hour. Do not use hot air to dry the block-out filler, let it dry naturally. (5) When dry, although it will still feel waxy, wash the screen with a cold water spray on both sides. This will remove the drawing fluid leaving your image in negative on the screen. Once again, leave the screen to dry naturally. When ready to print use low-tack parcel or gum tape around the edges to stop the ink leaking through. Your image is now ready to print. (6) (7) Iron the back of image to cure the ink. (6) Spread a line of acrylic ink , (textile printing medium and acrylic colour 50/50 mix) along the back of the screen. (7) Lift the screen slightly and coat the screen with ink using the squeegee. Let the screen lie flat on the T shirt and by holding the squeegee at the angle shown in image (7) print using even pressure. (8) When you have finished printing wash the screen and squeegee with cold water. To remove screen block use hot water and rub liquid soap into the stencil with a soft brush. You may need to use a power washer. Screen Printing using Daler-Rowney Screen block and Drawing fluid.

http://www.daler-rowney.com/sitefiles/daler-rowney/webform/pdf/Screen%20Printing%20Step-by-Step%20guide.pdf

Frequently Asked Questions Courtesy of Liquitex.com

What is the shelf life of acrylic paint?

You can expect a 5-7 year shelf life from Liquitex acrylic products, provided the materials are stored properly at room temperature, kept tightly capped and kept free of contaminants. High temperatures, freezing and the use of tap water, dirty brushes and painting tools will all adversely effect the shelf life of the paint.

Can I use Liquitex products with other brand name products such as Winsor & Newton?

Liquitex Acrylic Paint should be compatible with most other acrylic products, however the light fastness, flexibility, yellowing and UV protecting capabilities may vary from one product brand to another. Always do an adhesion test when using other products to determine compatibility.

Can Liquitex Acrylic Paint be used on top of latex paint?

Water-based emulsion acrylics belong to a larger group called latex. Most people however are referring to latex house paint when using the term latex. The binder and pigment qualities in these paints are not artists quality. House paint quality latex becomes brittle with age and is therefore not recommended for use under artists acrylics.

What does the word hue â€šÂ¬ Â mean when it is included in the colour name?
Some colours have a hue â€šÂ¬ Â designation at the end of their name as in Cadmium Red Medium Hue. When used in this way, hue is not a colour attribute but rather a replacement or alternate for a target colour. The hue â€šÂ¬ Â colours many times yield higher intensities at a lower cost for pigments that are either unavailable, expensive or fugitive (not lightfast) or pose possible health hazards.

I am painting a sign, which will be placed outside permanently. How should I prepare the surface I am painting on to ensure the sign remains in good shape and can be cleaned?
Begin with a wood product meant for outdoor use such as MDF Board. This is a type of plywood that is bonded with paper on one or both sides, available from sign making supply houses. Apply 2 â‚¬Å“ 5 coats of Liquitex Gesso, sanding between coats. Once the painting is complete, allow 3 days drying/curing time. Coat with Liquitex Gloss Medium & Varnish. Final varnish with Liquitex Soluvar (Matte or Gloss) or polyurethane varnish. Soluvar is a clear, flexible removable varnish and can be removed at any time for cleaning with mineral spirits. Polyurethane is a more durable varnish but is not flexible or removable and will yellow over time. Varnish both sides and edges to seal against moisture.

Why do I need to use two varnishes when using Soluvar Varnish?

Gloss Medium & Varnish provides a buffer coat that protects the paint film against abrasion during future Soluvar removal for cleaning. Soluvar provides final UV varnish protection for the work.

How can I remove varnish from my painting?

All Liquitex water emulsion-based varnishes are permanent and therefore NOT removable. Liquitex Soluvar Final Varnish is removable with mineral spirits. The steps to remove this varnish are:

Remove varnish in clean, well-ventilated area.
Wear a duel filter respirator (NIOSH approved) and neoprene gloves. Dampen a small piece of lint free, soft, white cloth with mineral spirits (not odourless â€šÂ¬ Â) or turpentine â‚¬Å“ nothing stronger. Do not use ketones or paint removers.
Work horizontally. Apply mineral spirits generously and allow it to lay on surface for 15-30 minutes. Check periodically. Longer times may be necessary, depending upon age of artwork and strength of mineral spirits. If varnish is not dissolving or dissolving slowly, use a higher strength mineral spirits or turpentine (cover with plastic to slow down evaporation of mineral spirits). Stronger mineral spirits are not labelled as such, but have a stronger odour.
Rub cloth gently over a small area 1-2 square inches (3-5 cm') until varnish starts to dissolve.
Using a clean cloth and clean solvent, rub the area again to remove residue. Repeat this procedure for the entire area to be cleaned. If any paint colour shows on the cloth, stop immediately and allow the surface to dry.
Allow painting to dry before reapplying a fresh coat of Soluvar Final Picture Varnish.

Can I reuse an acrylic painted canvas?

Yes, it can be painted over with acrylic or oil paint.

How should I store my finished painting?

The best storage is in painting racks, separated from touching other paintings. The tops of the paintings can be covered to keep out dust. This allows for good ventilation to prevent mold growth. Paintings can also be stacked vertically with acid free cardboard separators. If paintings must be covered, use acid free tissue, followed by plastic film. Do not wrap tightly as to seal in moisture. Do not use bubble wrap as the bubbles can imprint into the canvas. Maintain mild temperature and low humidity levels. High and freezing temperatures can adversely effect the painting and painting/plastic interaction.

What is a medium?

Mediums are made with acrylic resin for adjusting how the paint works, feels and looks. They can be used to add texture, adjust the flow, and alter the working properties of the colour. Because they include acrylic resin, mediums maintain or add to the stability of the paint film, and can be used in any amount desired. Fluid mediums are labelled with a large letter M, and gel mediums with a large letter G. Texture Gels are labelled with a T and Varnishes with a V Liquitex mediums come in a huge array of sizes, from 2 oz. Containers to gallon pails.

What is an additive?

Additives are used to adjust the chemistry of acrylic paints, and they don't include a significant proportion of acrylic resin. The last part of that sentence is important because it means that additives should be used only in the amount needed to achieve the desired effect; adding too much can affect the stability of the paint film. They can be used to adjust the flow, or drying time of the colour. Additives are labelled with a large letter A. As with all products, the directions should be read before use.

What do mediums and additives do?

Mediums and additives help you do an almost infinite variety of different things with acrylics. From traditional painting applications on canvas and panel to watercolour on paper, to high-peak impasto, to glazing, to unique textural effects, acrylics can do it all. And there are mediums and additives to enhance usage on fabric, cloth, clothes, clothing, on leather, as a dye, and silkscreen. There is no better colour for contemporary techniques such as image-transfer, for structural applications, and collage.
If acrylic paint colour and certain mediums are used fairly thickly and the item to be stuck isn't too heavy, they will work as a glue in a collage.

Are there any standard guidelines that I can follow when working with acrylic Liquitex mediums and additives ?
For best results, always test before use.
Mix with acrylic paint to economically extend volume and/or control transparency of paint.
Mix into acrylic paint to add flexibility, adhesion, and long-term stability.
Mix gloss mediums into Liquitex acrylic paints to enhance depth of colour intensity, increase transparency, gloss, ease flow of paint and add flexibility and adhesion of paint film.
Mix matte mediums into Liquitex acrylic paints to increase matte sheen of dried paint film.
Liquitex Mediums extend the volume, while increasing the transparency of the colours. The exception is the Matte Opaque Extender Medium, which maintains the opacity of the colour while extending volume.
A thin film (1/16") of Liquitex Mediums may take between 1/2 hour to 24 hours to initially dry. A thicker film (1/4") may take between 2-5 days to initially dry.
The use of a hair drier will speed up the drying time of all Liquitex Mediums.
The use of an air-mister and humidifier will slow the drying time of all Liquitex Mediums.
Some mediums can be pressure sensitive in hot, humid weather and may stick to another surface if pressure is applied. To prevent, use Liquitex Soluvar (Gloss or Matte) as a final protection.
Avoid all oily, oil painted, greasy or waxy surfaces.
When painting on hard (impervious), slick (shiny) surfaces such as glass, Formica â‚¬Å¾ Â¢, metal, enamel or hardboard, sand surfaces prior to applying any medium.
May be applied with a wide variety of tools such as >brushes, palette knives, paint pads, sponges, spray gun or airbrush.
Vigorous brushwork over textured areas may cause bubbles to form within the paint film.
Do not overwork during application. If the medium is brushed heavily during drying, it can cause clouding. Once the film is clouded and dry, it cannot be clarified or removed. If an area is missed, allow surface to dry and then cover with another coat of medium.
Use matte mediums to prime surfaces and prepare supports (i.e. outdoor murals).

Does Liquitex have any written product information on applications and techniques ?

Yes. Liquitex publishes The Acrylic Book a comprehensive resource that details technical and application information about acrylic colours and mediums and the following Resource Guides: Medium & Additives for Acrylics, Liquitex Colour Chart and Basics Colour Chart. They are available at no cost from your local dealer or by calling Liquitex at (888)4acrylic. In addition, the How to Mix & Use Colour book is available for sale at your local Liquitex dealer.

I am concerned about the health and safety issues involved with using artists acrylic paint. How do I know that working with Liquitex products is safe?

Liquitex Acrylic Paints, Mediums and Varnishes are water based (and water clean up). There are no fumes associated with using Liquitex other than a slight ammonia smell. All Liquitex products are labelled "AP Non-Toxic" by The Art and Creative Materials Institute with the exception of the following: Cadmium Colours - Do not spray apply / Liquitex Soluvar Varnish - contains Mineral Spirits.

Toxicologists at the Art and Creative Materials Institute have been certifying safety and quality in art materials since 1940. New Liquitex labels use the AP symbol to indicate Non-Toxic but the phrase "Non-Toxic" has been removed due to European labelling standards. Liquitex products are also labelled for California Prop. 65 which requires that any trace amount (no matter how small) of a toxic substance appear on the label.

For more information you can contact the ACMI directly.
The Art and Creative Materials Institute
1280 Main St., 2nd. Floor
PO Box 479
Hanson, MA 02341
781-293-4100 Fax 781-294-0808

There is no natural latex used in Liquitex products. In fact, the only products ColArt (Liquitex parent company) manufactures containing rubber latex are Art Masking Fluid and Colourless Art Masking Fluid. Both these products are labelled for possible allergic reaction. There is no formaldehyde, peanut oil, dairy products, egg or wheat products used in Liquitex products.

All Liquitex colours have been TCLP analysed for RCRA 8 metals. The colours that exceeded EPA solubility limits for chromium are: Cobalt Green and Cobalt Turquoise.
With the exception of the Cadmium colours (Cadmium Hue â€šÂ¬ Â colours are OK), Cobalt Green and Cobalt Turquoise, the entire line of colours is safe for use by children or in a child's room.

Pebeo Fabric Clothing Paint

Setacolor is a range of concentrated heat fixed colours for decorating all fabrics, fine or heavy: cotton, wool, velvet, non-woven and even leather. Ready to use, intense and concentrated or diluted with water to obtain watercolour effects. they are particularly vivid and bright, Setacolour colours can be used to paint, stain or print natural or synthetic fibres. After fixing with an iron, they are perfectly resistant to washing and dry cleaning and the fabric retains all of its suppleness.

Vivid and bright, the Setacolor Opaque colours have an exceptional covering power to decorate both dark or light coloured fabrics. Their rich texture is especially suited for brush work, stencil work and even silkscreen printing.

The new Setacolour Shimmering Opaque colours are particularly spectacular! Their rich and deep shades are glittering and have a subtle brightness with changing effects depending on the light. It is not recommended to dilute the shimmering colours in order to keep their brightness.

Thin with water. ( shimmer colour are best left undiluted to bring out their best shimmering quality.
Colour tones can be lightened with the special lightener without weakening or thinning the product.

clean the brushes with soapy water.

works on many surfaces: all types of fabrics : fine or thick, natural or synthetic fibres.

It is important to wash material before applying colour to remove any dressing / starch.

Setacolour is suitable for screen printing by adding 2 to 5 % thickener.

air dry for 1 hour.

to fix there are two possibilities : with an iron (cotton position), for 5 minutes, on the reverse side of the fabric; in the oven, for 5 minutes at 150 Â°C (300 Â°F) (stabilized temperature) or a hair dryer.

to care for after fixing, the colours resist machine washing at 40 Â°C (100 Â°F) and dry cleaning.

Mahl Stick Artist's Support

Two piece lightweight robust metal with cork head and suede leather covering.

Provides a stable support for artists hands during prolonged periods of detail work over a canvas or artwork Size Length 895mm Manufacturer: Daler Rowney Ref. 3185 - 802 000 902

> Reeves Introductory Level Acrylic Paints

Entry level inexpensive paints ideal for students

Acrylic Colour Tube Sets
As a painting medium, acrylic colour has been increasingly appreciated for its particular merits: quick drying, use and clean up with water, versatility of technique and ease of use.
Acrylics can be used straight from the tube to create impasto effects and build volume, like oil colour, or be diluted with water to use for water colour or poster colour techniques.
Acrylics are suitable for use on all non-greasy surfaces including canvas, paper, wood, leather, brickwork etc.

Reeves Acrylic Colour Tube Sets

Acrylic surface preparation from Liquitex		Super Heavy Gesso from Liquitex
Click Here for the Liquitex Book in pdf download format		Liquitex Acrylics Instructions Hints and Tips
An innovative, impasto acrylic gesso used to prepare painting surfaces for artists acrylic and oil paint. Create thick sculptural applications on various material and surfaces. Excellent ground for acrylic and oil paint. Mix with acrylic colour to have a tinted ground. Flexible, non-cracking and non-yellowing when dry. Provides the perfect "tooth" and adhesion to a wide variety of supports such as canvas, paper and wood Excellent base coat primer for many applications such as murals One coat is usually enough. Application : For canvas, paper, wood, or any clean, porous, non-oily surface. Tint colour with Liquitex Soft or Heavy Body Artist Colours. Use with knife or brush

Clear Gesso from Liquitex		New improved
		A very clear size and ground that keeps your working surface visible. Ideal high tooth for pastel, oil pastel, graphite, and charcoal Excellent ground for acrylic and oil paint. Mix with acrylic colour to have a tinted ground. Dries clear to translucent depending on thickness. Flexible, non-cracking and non-yellowing when dry. Provides the perfect "tooth" and adhesion to a wide variety of supports such as canvas, paper and wood Excellent base coat primer for many applications such as murals Application Instructions For canvas, paper, wood, or any clean, porous, non-oily surface. Sizes and primes while maintaining the original appearance of the support material or surface. Provides paper with good tooth for chalk and oil pastel techniques. Mix with a very small amount of transparent or translucent acrylic colour to tint the ground while maintaining transparency.
Liquitex Acrylics Hints and Tips
Palette wetting spray for acrylics in a 237 ml spray bottle from Liquitex An innovative, fluid acrylic resin designed to slow the drying of acrylic colours Allows you to keep your palette colours fresh longer, preventing the paint from skinning over. â€š Improves colour blending Can be used to thin colour while maintaining film integrity. Formulated with an anti-microbial agent to prevent mould. Application : Use repeatedly to re-wet palette


		Soft Body. Produces a range of iridescent or metallic colours when mixed into acrylic colours. Opaque when wet, transparent - translucent when dry. Will not oxidize. Mix with small amounts of Color, gradually adding more Color until desired iridescent quality and transparency is achieved. Transparent and translucent colours work best. Opaque colours can also be used. Color will become more transparent as percentage of medium increases. Colours increase in their iridescent quality and become much more reflective upon drying. For Mother of Pearl Color, use directly from container. For use on fabric, thin 50% with water.

Click Here for Cryla Acrylic colour chart		Click Here for System 3 colour chart
		Click Here for Brush information