Acrylic paint
Acrylic colours are a quick-drying paint based on 100% acrylic resin (a synthetic dispersion). When applying acrylic colours thinly and/or thinned with water, a watercolour effect can be obtained. Usually, however, acrylic colours are applied thickly and the result appears like that of oil colours. Many artists prefer acrylic colours because acrylic colours dry much more quickly than oil colours and are practically odourless.
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Inspiration with acrylics
FAQs about acrylic paint
The technical properties of acrylic paint
For more texture and visible 3D effects, Talens supplies Gel medium, Heavy gel medium and Extra heavy gel medium, each in both glossy and matt. Adding Gel medium to the paint enables a clearer brush stroke/structure. Heavy gel medium allows even more brush stroke. Using Extra Heavy gel medium, very sharp structures and extremely thick layers can be applied. Furthermore, all gels, pure or mixed with paint, are ideally suited for incorporating materials such as sand, sawdust, paper, wood, stone, etc. into the paint due to their great adhesive strength.
Acrylic retarder 070 may be added to the paint up to a maximum of 5% and extends the drying time up to 20%. If you want it to dry even slower, it is better to use Amsterdam Slow drying medium 071.
The binder of both acrylic paint and acrylic mediums consists of a dispersion (distribution) of acrylic resin particles in water. As long as the binder contains water, the binder is white. When after drying all the water has evaporated, the acrylic resin particles present in the binder form a continuous colourless transparent film, and the white disappears. This explains why acrylic paint colours darken during drying (this effect is often called ""colourshift""). When mixed with a medium, the wet paint will therefore also lighten slightly, after drying the colour will be the same as that of pure dried paint.
The binder of acrylic paint consists of a dispersion of acrylic resin particles in water. During drying the water evaporates and the volume of the paint layer decreases.
If the cap is completely stuck, the tube can be held under hot water. The heat makes the paint more flexible. This works for acrylics as well as oil paint, water colours, gouache, etc.
Varnish can bead on application if the paint layer is too closed. As soon as this is noticed, the still wet varnish should be wiped off immediately with white spirit. To prevent recurrence, the paint layer should be made more open by first wiping the painting with white spirit.
One of the few limitations of acrylic paint is that this type of paint does not adhere to a greasy ground, including oil pastels. Oil pastel on acrylic paint, on the other hand, does not cause any problems.
Using acrylic paint on various surfaces
Acrylic paint adheres to all possible grounds such as paper, cardboard, universally prepared artists' canvas and canvas board, unprepared artists' canvas, stone, wood, concrete and unglazed ceramics. Prerequisite for good adhesion is a surface free of grease and dust and slightly absorbent. For good adhesion preparation is not necessary, but of course possible. Amsterdam Gesso transparent, white or black is a good ground for Amsterdam acrylics.
If a plastic surface is related in molecular composition to the paint's binder, adhesion is possible. Nevertheless, it is advisable to first treat non-absorbent grounds with an adhesive primer suitable for that material (industrial product) and then prepare the paint with Amsterdam gesso for good adhesion.
Technically, acrylic paint can be used to paint directly on a wall. However, due to the absorption of, for example, stone, plaster and stucco, a good preparation will give a better result because, with the paint, the intensity of the colour will also be absorbed, as it were, by the wall. If the colour of the wall is to be part of the artwork, suction can be reduced with Amsterdam Acrylic Binder 005 (Acrylic Binder is a pure unpigmented acrylic dispersion that dries colourless and transparent). If a white surface is desired, the wall can be prepared as follows: brush with thinned Amsterdam Acrylic Binder ± 20% water is sufficient dilution, for strongly absorbent surfaces apply pure. Apply two layers of pure Amsterdam Gesso, let dry for 24 hours in between.
The preparation of oil-prepared canvas contains grease and is therefore not suitable for the adhesion of acrylic paint.
Water colour paper is an excellent ground for both acrylic and gouache, and acrylic and gouache can be mixed without any problems. Mixing different types of paint always results in a combination of the various properties. For example, acrylic paint dry water-resistant, gouache does not. The more gouache is added, the less waterproof the mixture will be.
The preparation of oil-prepared canvas contains grease and is therefore not suitable for the adhesion of acrylic paint.
Water colour paper is an excellent ground for both acrylic and gouache, and acrylic and gouache can be mixed without any problems. Mixing different types of paint always results in a combination of the various properties. For example, acrylic paint dry water-resistant, gouache does not. The more gouache is added, the less waterproof the mixture will be.
Use of acrylic paint auxiliaries
Acrylic binder produces a more closed paint layer. That is why you get an even better result with Amsterdam Gesso. Amsterdam Gesso is available in three colours: transparent, white and black.
Amsterdam Acrylic Varnishes are specially formulated for a durable finish on acrylic paintings.The varnish consists of a solution of acrylic resin in turpentine and turpentine oil, is available in both glossy and matt, and once dry forms a flexible film. Amsterdam Acrylic Varnish matt is matted with silicas (pulverised glass) and must be shaken well before use. For good adhesion, it is recommended to wipe an acrylic painting with white spirit before varnishing.
Mediums are used to change the properties of paint. These include thickness, gloss, flow, drying time, transparency and durability. Many painters apply only water with acrylic, which does not always give the best results. With mediums, you can achieve better, more durable results with less paint. Adding too much water can loosen the pigment in the paint from the binder; the pigment then lies unprotected on the painting.
Acrylic medium, Gel medium, Heavy gel medium and Extra heavy gel medium can be added to the paint without limit. Only the Amsterdam Acrylic retarder and thickening medium must be added in very small quantities.
As a ground for acrylic paint, gesso can be coloured with acrylic paint in any proportion.
Both Gesso and acrylic paint are made on the basis of an acrylic, the big difference is in the recipe. Gesso is formulated so that the it always retains an open structure that is ideal for the adhesion of both oil and acrylic paints.
Other acrylic paint questions
On tubes, labels and colour cards the lightfastness of Royal Talens products is indicated by the following symbols: +++ = at least 100 years lightfast under museum conditions ++ = at least 25 - 100 years lightfast under museum conditions + = at least 10 - 25 years lightfast under museum conditions º = at least 0 - 10 years lightfast under museum conditions These lightfastnesses have been tested under museum conditions.
If a colour with a poor lightfastness is mixed with a colour that has a very good lightfastness, what is the lightfastness of the mixed colour? When mixing, the lightfastness of each individual colour plays its own role. If, for example, a violet is mixed from the poor lightfast traditional madder (+ = 10 to 25 years lightfast under museum conditions) and the excellent lightfast ultramarine (+++ = at least 100 years lightfast under museum conditions), the red colour of the madder will fade within the set lightfastness period. In contrast, the very lightfast ultramarine will not change. So the red will slowly fade from the violet, meaning that the violet will change in the same time that the red disappears. The violet will become progressively bluer. The lightfastness of the mixed colour is thus the same as the lightfastness of the madder.
Oil paint forms an oily layer and is therefore not suitable as a ground for acrylic paint.
For airbrushing, we recommend Amsterdam acrylic ink. These inks are already diluted and can be used directly. Amsterdam inks have been tested with a 0.2 mm needle. For the colours white and metallics, the pigment particles are larger and we recommend a 0.4 mm needle to prevent jamming.
Due to the high adhesive strength of the binder, acrylic paint and the various gel mediums are ideally suited for working with different materials. A prerequisite for good adhesion is that the surfaces of the materials to be glued are grease-free and somewhat absorbent. The most durable result is achieved if the materials are completely encapsulated by the paint or gel, especially in connection with adhesion when it concerns less porous materials such as sand, pebbles, glass, etc., but also more porous materials such as paper and cardboard are then protected against harmful external influences. If the natural colour of the material must remain visible, use one of the gel mediums.
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