For glazing with acrylic colours the
best results are obtained with Glossy Acrylic Medium.
When thinned with water there will be less binder in the same
area; this makes the colour more matt.
When thinning with a glossy medium we add a binder; this makes the
colour more glossy which strengthens the colour impression.
If an extreme thinning is required, it is always advisable to use
acrylic medium instead of water as the addition of large amounts of
water can release the pigment in the paint from the binder; the
pigment would then lie unprotected on the painting and could rub
Acrylic Medium, Gel Medium, Heavy Gel
Medium and Extra Heavy Gel Medium can be added in unlimited
quantities to the paint.
One of the few limitations of acrylic
paint is that this type of paint cannot adhere onto a greasy
ground, therefore not on oil pastels either. Oil pastel on acrylic
paint in contrast does not pose any problems. However, oil pastel
of course does not produce a film that is resistant to smudging. If
a painting produced in this mixed technique is not framed behind
glass it will therefore be vulnerable. This can be remedied by
varnishing the painting, or those parts where the oil pastel was
applied, with Varnish for Oil Pastels. This varnish is based on
water and has been specially developed for this, and will not
bubble on the oil pastel. The varnish dries resistant to water and
protects the oil pastel against smudging. The adhesion on acrylic
colour is also excellent.
Take care: Varnish for Oil Pastels in this case must not be
regarded as a final varnish. In the event of any later restoration
work this varnish cannot be removed without also damaging the oil
pastel and the acrylic colour. What's more, a final varnish based
on water will eventually form a white film. Once the pastel is
protected well by the varnish, a varnish based on solvent should be
applied as a final varnish.
The binder for both acrylic paint and
acrylic mediums consists of a dispersion of acrylic resin particles
in water. As long as the binder contains water, the binder is
white. When all the water has evaporated after drying, the acrylic
resin particles in the binder form a continuous colourless
transparent film and the white will have disappeared. This explains
why the acrylic paint colours become darker as they dry. When mixed
with a medium the wet paint therefore also becomes a little
lighter; once dry the colour is the same as pure dried paint.
The binder of acrylic paint consists
of a dispersion of acrylic resin particles in water. During the
drying the water evaporates and the volume of the paint layer
Talens supplies Gel Medium, Heavy Gel
Medium and Extra Heavy Gel Medium, all in both glossy and matt
varieties. Gel Medium is as thick as Rembrandt and Van Gogh acrylic
colours and a little thicker than Amsterdam acrylic colours. In
terms of consistency, Gel Medium is shorter than the above types of
paint, the gel does not flow so easily. The addition of Gel Medium
to a paint allows for a clearer brush stroke/structure. Heavy Gel
Medium increases the brush stroke even further. Using Extra Heavy
Gel Medium it is possible to apply very sharp structures and
extremely thick layers.
Furthermore, all gels, pure or
mixed with paint, thanks to their good adhesive strength are ideal
for incorporating materials such as sand, sawdust, paper, wood,
stone, etc. in the paint.
The acrylic colours of Rembrandt, Van
Gogh and Amsterdam can all be used with an airbrush. The paint
does, of course, need to be thinned to a workable viscosity. The
maximum particle size of Rembrandt and Van Gogh is 20 microns and
that of Amsterdam is 25 microns.
Due to the large adhesive strength of
the binder, acrylic colours and the various gel mediums are ideally
suited for a durable application on various materials. A condition
for a good adherence is that the surfaces of the materials to be
glued are free of grease and somewhat porous. The most durable
result is achieved if the materials are fully encased by the paint
or gel, certainly in connection with the adhesion when it concerns
the less porous materials such as sand, pebbles, glass, etc., but
also porous materials such as paper and cartboard are therefore
protected against any damaging external influences. If the natural
colour of the material has to remain visible, use one of the gel
Oil colours form a greasy layer and are therefore not suitable
as a ground for acrylic colours.
layer of acrylic colours is not very porous and therefore not
suitable as an undercoat for oil colours. Oil colours can, however,
be painted over acrylic colours if one of the following methods is
- Thin the acrylic colours with water and make a thin
underpainting on a universally-primed surface. Universally-primed
means that the preparation layer is suitable for the adherence of
both oil colours and water-thinnable paints. Each painted surface
now contains less acrylic resin. Once the water has evaporated, the
paint layer is porous enough to allow the oil colour to adhere into
the layer of acrylic colours. Where the oil penetrates the acrylic
colour, it can adhere into the preparation layer.
- For the underpainting use Gesso instead of white acrylic colour
when mixing the colours. In order to ensure the adherence of the
oil paint, each colour must be mixed with sufficient Gesso. Gesso
is also a pure acrylic, though it is specially developed and
produced according to a particular formula for the adherence of oil
Acrylic retarder may be added to the
paint up to a maximum of 5% and increases the drying time by a
maximum of 20%.