ARTISTS’ MATTE FLUID ACRYLIC - Fine art paint, oil painting

19 Pages·2009·4.06 MB·English

ARTISTS’ MATTE FLUID ACRYLIC
Any Surface, Any Design
Artists’ Companion Booklet
& Product Guide
www.chromaonline.com
Contents Introduction
Colours
Artists’ Colours 4
____________________________________________
Background Colours 10
________________________________
Iridescent Colours 14
______________________________________
Mediums and
Ancillary Products
Products for Preparation
Gesso 15
__________________________________________________________________
Wood Filler 15
______________________________________________________
All Purpose Sealer 16
_______________________________________
Tannin Sealer 17
__________________________________________________
Clear Glaze Medium 17
__________________________________
Glass and Tile Primer 18
________________________________
Products for Painting Any Surface… Any Design!
Glass and Tile Medium 19
_____________________________
Originally developed as a result of the collaboration between an innovative
Textile Medium 19
______________________________________________ paint company, Chroma Pty. Ltd., and Jo Sonja Jansen, a world renowned
Flow Medium___________________________________________________ 20 folk and decorative artist, the Jo Sonja’s Artists’ Painting System meets
Stroke & Blend Medium 21 the needs of all acrylic artists who demand superior, versatile products and
___________________________
results that stand the test of time.
Retarder Medium 21
_________________________________________
Jo Sonja’s Artists’ Colours are created from the finest quality pigments
Gel Retarder 22
____________________________________________________ and have superb lightfastness. With the addition of Jo Sonja’s Mediums,
Magic Mix _________________________________________________________ 23 the same brilliant colours may be applied to virtually any surface including
wood, glass, paper or canvas, using a wide variety of exciting techniques.
Products for Special Effects
This makes them more cost effective than single-use, lower quality paints.
Texture Paste 24
__________________________________________________ All Jo Sonja’s products carry the Approved Product seal of the ACMI with
Kleister Medium ____________________________________________ 24 the exception of Glass & Tile Primer which carries a Cautionary seal of the
Opal Dust 26 ACMI. Most products are water based for simple soap and water clean up.
__________________________________________________________
Gold Dust 26 Note:
__________________________________________________________
• Unless specifically indicated, all products within the range are
Crackle Medium 27
____________________________________________ compatible however we do not guarantee compatibility with
Décor Crackle ________________________________________________ 28 other brands.
• Product sizes may vary from country to country. Please check
Products for Finishing
availability with your local distributor.
Polyurethane Varnishes 29
____________________________ This guide includes full instructions for all products in the range. As many have
Decoupage Varnish ____________________________________ 30 several uses in different techniques, they have been listed under their main usage for
Brush Soap and Conditioner 31 convenience but additional directions are provided in the text.
_________________
Symbol Legend
Miscellaneous
Sets 32 Conforms to ASTM D 4236 and is Non Toxic.
_______________________________________________________________________
Chroma Link ____________________________________________________ 33 Safe to dry with a hair dryer.
Usage Chart 34
____________________________________________________
Water based, can be cleaned up with mild soap and cool water.
 www.chromaonline.com 
Artists’ Colours
Jo Sonja’s Artists’ Colours are flow formula
acrylics offering the opacity of colour and the
TITANIUM WHITE INDIAN YELLOW
beautiful, velvet matte finish associated with PW.6 PY.139
traditional gouache plus superb handling and
brushing characteristics. Unlike gouache, they SERIES 1 ASTM 1 N SERIES 1 ASTM 1 Y
are water-resistant and will not chip or crack
when cured.
WARM WHITE TURNERS YELLOW
Made from the finest quality pure pigments, PW.6, PY.42 PY.74LF, PY.42, PW.6
the colours will remain vibrant and true for
SERIES 1 ASTM 1 N SERIES 1 ASTM 1 Y
generations. They are safe, water based and
clean up easily with soap and water.
NAPLES YELLOW HUE YELLOW OXIDE
• Choose from 80 exceptional colours PW.6, PY.42, PY.74LF PY.42
including metallics (see below).
SERIES 1 ASTM 1 Y SERIES 1 ASTM 1 Y
• Suitable for all surfaces including paper,
papier maché, card, canvas, wood, fabric,
tin, terracotta, glass and tile. CADMIUM YELLOW LIGHT RAW SIENNA
PY.35 PBr.7
Directions
Drying time may be accelerated with a hair dryer and warm/cool air SERIES 3 ASTM 1 Y SERIES 1 ASTM 1 O
blowing over the surface however the colours have the added advantage
of drying through each other, so additional layers can be applied within
YELLOW LIGHT GOLD OXIDE
minutes, without lifting the colour underneath. The colours dry a little
PY.74LF, PW.6 PY.42
darker than they appear when wet, approximately one value difference.
They will brighten with the application of varnish. SERIES 1 ASTM 1 Y SERIES 1 ASTM 1 O
Approximate coverage: 1ml = 157 sq cm 1 oz = 5 sq ft
CADMIUM YELLOW MID RED EARTH
PY.35 PR.101
Available in: 75ml / 2.5 US fl oz tubes. Select colours also available in
250ml / 8.4 US fl oz bottles or in 20ml / 0.65 US fl oz tube sets.
SERIES 3 ASTM 1 Y SERIES 1 ASTM 1 RO
Jo Sonja’s Metallic Colours YELLOW DEEP NORWEGIAN ORANGE
PY.65, PW.6 PR.112, PY.42, PY.74LF, PW.6
Jo Sonja’s brilliant Metallic Colours are formulated using
Mica pigments - high quality, heavy bodied pigments SERIES 1 ASTM 1 Y SERIES 1 ASTM 2 O
that will not tarnish over time. Compatible with all Jo
Sonja’s Mediums, they may be used to achieve dramatic
YELLOW ORANGE JAUNE BRILLANT
and beautiful effects in stencilling, colour bands,
PW.6, PY.74LF, PO.73 PY.74LF, PR.9, PW.6
highlighting, line work, bronzing and Faux Finishes.
Apply alone or mix directly into other colours to SERIES 1 ASTM 1 YO SERIES 1 ASTM 1 O
achieve iridescent effects.
Colour Characteristics
* Note: Pearl White may be used alone (requires two to
three coats) or mixed with any other colour to impart a pearlescent look. Colours are shown as accurately as printing allows. A lightfastness rating and
pigment specification is provided for each colour as your warranty of quality.

Approximate coverage: 1ml = 157 sq cm 1 oz = 5 sq ft
Pigment Description
PY = Pigment Yellow PB = Pigment Blue PR = Pigment Red
Available in: 75ml / 2.5 US fl oz tubes and a 20ml / 0.65 US fl oz tube PO = Pigment Orange PV = Pigment Violet LF = Light Fast
set. Select colours also available in 250ml / 8.4 US fl oz bottles. PW = Pigment White PG = Pigment Green
PBr = Pigment Brown PBk = Pigment Black
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Artists’ Colours
CADMIUM ORANGE PERMANENT ALIZARINE AMETHYST COBALT BLUE HUE
PO.20 PR.122, PR.175 PV.19, PW.6 PB.29, PB.15.3, PW.6
SERIES 3 ASTM 1 O SERIES 2 ASTM 1 R SERIES 1 ASTM 1 RV SERIES 1 ASTM 1 B
ORANGE BURGUNDY BRILLIANT VIOLET ULTRAMARINE BLUE
PO.73 PR.170, PB.29 PV.23RS, PW.6 PB.29, PB.15.3, PW.6
SERIES 2 ASTM 1 O SERIES 1 ASTM 2 RV SERIES 1 ASTM 1 V SERIES 1 ASTM 1 B
VERMILION INDIAN RED OXIDE DIOXAZINE PURPLE ULTRAMARINE BLUE DEEP
PR.9, PY.74LF, PW.6 PR.101 PV.23RS PB.29
SERIES 1 ASTM 1 O SERIES 1 ASTM 1 RV SERIES 3 ASTM 2 V SERIES 1 ASTM 1 B
ROSE PINK PLUM PINK PACIFIC BLUE PTHALO BLUE
PR.112, PY.42, PW.6 PR.112, PB.15.3, PW.6 PV.23RS, PB.15.3, PW.6 PB.15.3
SERIES 1 ASTM 2 RO SERIES 1 ASTM 2 RV SERIES 1 ASTM 1 BV SERIES 1 ASTM 1 B
CADMIUM SCARLET PURPLE MADDER BLUE VIOLET PRUSSIAN BLUE HUE
PR.108 PR.175, PV.23RS PB.15.3, PV.23RS PB.15.3, PBk.7
SERIES 3 ASTM 1 RO SERIES 2 ASTM 1 RV SERIES 1 ASTM 1 BV SERIES 1 ASTM 1 B
NAPTHOL RED LIGHT RED VIOLET STORM BLUE PAYNES GREY
PR.9, PY.74LF, PW.6 PV.19 PB.15.3, PBk.7, PW.6 PB.29, PBk.7
SERIES 1 ASTM 1 RO SERIES 2 ASTM 1 RV SERIES 1 ASTM 1 B SERIES 1 ASTM 1 B
BROWN MADDER BRILLIANT MAGENTA FRENCH BLUE COLONY BLUE
PR.175 PR.122, PW.6 PB.15.3, PR.101, PW.6 PB.15.3, PY.42, PW.6
SERIES 2 ASTM 1 RO SERIES 1 ASTM 1 RV SERIES 1 ASTM 1 BV SERIES 1 ASTM 1 BG
NAPTHOL CRIMSON TRANSPARENT MAGENTA SAPPHIRE AQUA
PR.170 PR.122 PB.29, PB.15.3, PW.6, PBk.7 PG.7, PB.15.3, PW.6
SERIES 1 ASTM 1 R SERIES 3 ASTM 1 RV SERIES 1 ASTM 1 B SERIES 1 ASTM 1 BG
Pigments
Transparent Semi Opaque
Both opaque and transparent pigments are used in the Jo Sonja’s line.
Transparent pigments reflect light differently than opaque pigments, which
do not allow the light to pass through. Colours labelled as transparent permit
the light to pass through the transparent pigment particles, thus allowing the
undercoat to show through. These make wonderful colours for glazing.
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Artists’ Colours
CELADON YELLOW GREEN BROWN EARTH NIMBUS GREY
PG.7, PB.15.3, PY.42, PW.6 PW.6,PY.74LF,PG.7 PBr.7 PBk.7, PBr.7, PY.42, PW.6
SERIES 1 ASTM 1 BG SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 RO SERIES 1 ASTM 1 N
JADE SAP GREEN BURNT SIENNA CARBON BLACK
PG.17, PW.6 PG.7, PY.139 PBr.7 PBk.7
SERIES 1 ASTM 1 G SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 RO SERIES 1 ASTM 1 N
ANTIQUE GREEN PINE GREEN PROVINCIAL BEIGE PEARL WHITE
PG.17, PBk.7, PY.42, PW.6 PG.7,PBr.7,PY.74LF PY.42,PBk.7, PW.6 Micaceous
SERIES 1 ASTM 1 BG SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 N SERIES 2 ASTM nT N
GREEN OXIDE HOOKERS GREEN FAWN SILVER
PG.17 PG.7, PR.101 PY.42,PBk.7, PW.6 Micaceous
SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 G SERIES 1 ASTM 1 YO SERIES 2 ASTM nT N
TEAL GREEN MOSS GREEN SKIN TONE BASE PALE GOLD
PB.15.3, PY.42 PG.7, PB.15.3, PY.42, PW.6 PW.6, PY.42, PBr.7 Micaceous
SERIES 1 ASTM 1 BG SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 YO/N SERIES 2 ASTM nT Y
PTHALO GREEN OLIVE GREEN UNBLEACHED TITANIUM RICH GOLD
PG.7 PG.7, PBr.7, PY.65 PW.6, PBr.7 Micaceous
SERIES 1 ASTM 1 BG SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 YO/N SERIES 2 ASTM nT Y
BRILLIANT GREEN RAW UMBER OPAL BURNISHED COPPER
PG.7, PY.74LF PBr.7 PW.6, PBr.7 Micaceous
SERIES 1 ASTM 1 G SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 RV SERIES 2 ASTM nT O
GREEN LIGHT BURNT UMBER SMOKED PEARL ROSE GOLD
PG.7, PY.74LF PBr.7 PW.6, PY.42, PBr.7 Micaceous
SERIES 1 ASTM 1 G SERIES 1 ASTM 1 N SERIES 1 ASTM 1 N SERIES 2 ASTM nT RO
Temperature
Warm Warm/Cool Cool Family
ASTM Pigment Lightfastness N = Neutral RO = Red Orange B = Blue
Y = Yellow R = Red BG = Blue Green
ASTM 1 = Pigments of excellent lightfastness
YO = Yellow Orange RV = Red Violet G = Green
ASTM 2 = Pigments of very good lightfastness O = Orange V = Violet YG = Yellow Green
ASTM NT = No rating available BV = Blue Violet
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Background Colours
Jo Sonja’s Background Colours are specially Potting Shed Collection
formulated to provide one coat coverage on most
surfaces. The formulation varies slightly from the A relaxed, mellow palette
palette colours as they include fillers to smooth
out imperfections for ease in basecoating. Colours
are independently tested and conform to ASTM
lightfastness standards to ensure they will not fade
over time.
• Use alone or in conjunction with all other Jo
Sonja’s Artists’ and Background Colours.
• Use in conjunction with Jo Sonja’s Mediums for
various techniques and special effects.
• Suitable for most surfaces including wood, paper,
cards, illustration board, canvas, glass
and terracotta.
• Available in three toned collections.
• Each collection provides a range of colours that
may be used alone or in harmony with the other
colours in that collection.
Directions
MOUSE VINES
• For one step basecoat, mix and apply paint and All Purpose Sealer PW.6, PY.43, PR.101, PBr.7 PW.6, PY.42, PG.7
beginning with approximate proportions of 2 parts paint to 1 part All
Purpose Sealer. Amount of All Purpose Sealer may be increased
up to a ratio of 1:1. Basecoat may be applied with a brush, roller or
sponge. Sand when dry and apply a second coat as needed without the
MUSTARD SEED CORNFLOWER
addition of All Purpose Sealer.
PBr.7, PW.6, PY.42, PY.74 PB.29, PW.6, PY.74, PV.19
• To thin, add small amounts of Flow Medium until desired
consistency is reached. Thinning with water may decrease the
adhesion of the paint to the surface.
MARIGOLD RAINDROP
• Jo Sonja’s Background Colours may be applied using an airbrush
PW.6, PY.42, PY.65 PW.6, PY.42, PB.15.3, PY.74
by thinning with Flow Medium approximately 1:1. All Purpose
Sealer may be added for increased adhesion beginning with a ratio of
2 parts paint to 1 part All Purpose Sealer. Thin as needed using small
amounts of distilled water to adjust consistency.
GERANIUM STILLWATER
Background Colours can also be mixed from Jo Sonja’s Artists’ PR.170, PV.19, PW.6, PY.42 PW.6, PY.42, PB.15.3, PY.74
Colours. Colour Mixes are provided in the Media Library section of the
Chroma website at www.chromaonline.com
Background Colours are not suitable as a topcoat over Decor Crackle.
CLARET ROSE WILD GRAPE
PV.19, PY.42, PB.15.3 PW.6, PR.101, PV.19, PB.15.3
Approximate Coverage: 1ml = 188 sq cm 1 oz = 6 sq ft
SEEDLING BLACKBERRY
Available in 12 x 60ml / 2 US fl oz boxed Nature’s Palette Collections. PW.6, PG.17, PY.74, PG.7, PV.19 PW.6, PB.29, PV.19, PY.42, PB.15.3
Also available individually in 177ml / 6 US fl oz bottles.
10 www.chromaonline.com 11
Background Colours
Clear Colour Collection Classic Colour Collection
A vivid, rich palette A toned, timeless palette
ISLAND SAND WOOD VIOLET SOFT WHITE SKY BLUE
PW.6, P Br.7, PY.65, PY.74LF PW.6, PBr.7, PV.23, PY.74LF PW.6, PY.42 PW.6, PB.15.3, PR.101
LINEN CHESTNUT
SUNFLOWER AZURE PW.6, PY.42, PBr.7 PW.6, PBr.7, PY.42, PY.65
PW.6, PY.42, PY.74LF, PY.65 PW.6, PR.170, PB.29
PRIMROSE WILD ROSE
PW.6, PY.42 PW.6, PBr.7, PR.9, PBk.7
TIGER LILY HARBOUR BLUE
PW.6, PBr.7, PO.5 PW.6, PB.29, PR.101, PV.19, PB.15.3
CASHMERE DEEP PLUM
PW.6, PR.101, PY.42 PR.101, PB.15.3
POPPY BLUE LAGOON
PW. 6, PR.9, PY.74LF, P.Br.7 PW.6, PBr.7, PG.7, PB.15.3
VELLUM FOREST GREEN
PW.6, PY.42, PBk.7 PB.15.3, PY.42
DESERT DAWN SHAMROCK
PW.6, PBr.7, PV.19, PR.9 PW. 6, PBr.7, PY.74LF, PG.7, PV.23 OAKMOSS GALAXY BLUE
PW.6, PY.42 , PB.15.3 PW.6, PB.15.3, PBk.7
LILAC TREE FROG GREEN WILLOW CHARCOAL
PW.6, PV.19, PY.74LF, PBk.7 PW.6, PBr.7, PG.7, PY.74LF PW.6, PBr.7, PY. 74LF, PBk.7 PBr.7, PBk.7
*Note: Soft White and Charcoal are not included in the Nature’s Palette Classic Set.
1 www.chromaonline.com 1
Iridescent Colours Preparation
Translucent colours for Gesso Primer
highlighting, overall iridescent
This primer for wood, canvas and metal provides
effects and Faux Finishes.
a smooth fine-grit finish with maximum ‘tooth’.
• Iridescent Colours reflect Available in black and white.
off the background. Over
Directions:
dark backgrounds, the colours
1. Apply directly to surface using a clean dry
are quite vivid. Over a light
brush, roller or air brush. (For airbrushing, thin Gesso with Flow
background, the colour
Medium starting at 1:1 ratio, adding Flow Medium until desired
appears soft and subtle.
viscosity is reached.)
2. Apply undiluted to stretched unprimed canvas. Apply subsequent coats
BLUE VIOLET GOLD GREEN RED TURQUOISE as soon as previous coats are dry to the touch. May be sanded when dry
OvER WhITE OvER WhITE OvER WhITE OvER WhITE OvER WhITE OvER WhITE for a smoother surface.
3. Colours may be altered using Jo Sonja’s Artists’ or Background
OvER BlAck OvER BlAck OvER BlAck OvER BlAck OvER BlAck OvER BlAck
Colours. Add in small amounts to tint as desired.
4. Do not mix with oil based products.
Directions:
1. Iridescent Colours appear milky white until dried. Label palette to Jo Sonja’s Wood Filler
avoid confusion.
The unique features of Jo Sonja’s Wood Filler
2. Apply to prepared surface full strength or thinned with medium,
make this product a necessity for surface preparation
depending on desired effect.
on any wood or MDF surface. Neutral in colour, it
3. Use a variety of techniques (e.g. sponging, stroking, dry brushing,
dries quickly with minimal shrinkage. Rapid drying
splattering or overglazing) to apply Iridescent Colours. Colour will be
more intense if undiluted. Apply undiluted to accent details using a dry time allows layering to fill large holes or
brush technique. imperfections. Takes paint or stain.
4. Thin using a small amount of Retarder Medium or apply to a surface Directions:
moistened with Retarder for a soft effect. Apply with a sponge or • Fill cracks, rough edges and other blemishes with
brush. Use thinned colour for a glaze over a painted surface. Brush a Wood Filler using a plastic palette or putty knife. Fill
medium coat of thinned colour over prepared surface. Create various deep holes or imperfections by applying Wood Filler in
effects and patterns by removing the overglaze with a sponge, plastic multiple thin to medium layers.
wrap or cloth for a ‘ragging off’ technique. Before
• For large areas or missing details on carved design
5. Use Magic Mix to thin colours for strokework, floated elements, use a cake decorating tip and pipe Wood
colour or to apply small amounts of iridescent colour. Filler into the area to be repaired. Smooth with a water
Add to final highlight colour for a unique effect. dampened brush. Apply in layers for best results. May
Layering will deepen colour. be carved to refine details.
After
6. For spattering, thin as needed using small amounts of • Allow to dry, then sand as needed to smooth and
Flow Medium or water for consistency desired. The remove excess.
more Flow Medium used, the more transparent the
• Water based colour or stain may be mixed directly into Wood Filler.
colour becomes. Spatter by pulling thumb over the
Colour may vary slightly when dry.
end of a firm bristle brush filled with thinned colour
to create desired effect. May be applied over a barrier coat of Clear • Seal and continue with preparation for technique, following directions
Glaze Medium so that excess spattering can be easily removed. for painting or stain application.
• If contents harden, place closed jar in hot water to soften.
Approximate coverage: 1ml = 125 sq cm 1 oz = 4 sq ft • May be thinned with up to 10% water before adhesive properties
are affected.
Available in 60ml / 2 US fl oz bottles & a 6 x 20ml / 0.65 US fl oz
tube set. Approximate coverage: 1 ml = 62 sq cm / 1 oz = 2 sq ft
Visit www.chromaonline.com for tips and
1 techniques on using Iridescent Colours www.chromaonline.com 1
Preparation
All Purpose Sealer Tannin Sealer & Gold Leaf Size
All Purpose Sealer is a pure acrylic medium with remarkable Tannin Sealer has excellent adhesive and sealing properties.
adhesive powers. It is a durable and versatile surface sealer that Use on wood or masonite surfaces where tannin, oil or pitch
can be used to seal most surfaces in preparation for painting. may bleed through paint. Also use to adhere gold leaf.
Included are wood, tin & other metals, glass, unglazed bisque,
terracotta, cards, paper and fibreboard. Mix with colour for a Directions:
one step basecoat. Wood Knots:
• Apply undiluted to clean, dry surface directly over and at
All Purpose Sealer will assist paint adhesion to unusual surfaces
least 5cm (2”) beyond knots front and back. Do not use
such as soaps and candles. A light sanding is recommended to
hair dryer to promote drying.
promote adhesion of paint to any surface.
• Allow to cure a minimum of 14 days depending on climate
and humidity before proceeding to paint or decorate.
Directions:
• When staining wood, stain surface first, then apply Tannin
• Apply full strength to clean, dry, sanded wood or dilute 1:1 Sealer as directed.
with Clear Glaze Medium or Flow Medium. (Undiluted • Tannin Sealer remains tacky when dry and cured. Seal
All Purpose Sealer may create a surface too slick to if desired with coat of Clear Glaze Medium or All Purpose
paint on some surfaces.) When dry, sand as needed Sealer before proceeding with basecoat.
before painting. • On light or pickled stains or basecoats, the dark knots or tannin may
show through. To mask this, once the Tannin Sealer has cured, conceal
• In preparation for staining a surface, do not use All Purpose Sealer,
the area with a second coat of stain or a coat of Gesso.
which leaves the wood with an almost impenetrable seal. A coat of
Clear Glaze Medium is recommended for surfaces to be stained.
Gold Leafing: ∅
• For one step basecoat, mix and apply paint and All Purpose Sealer • Mix Retarder 1:2 with Tannin Sealer and apply a
beginning with approximate proportions of 2 parts colour to 1 part All smooth coat.
Purpose Sealer. The amount of All Purpose Sealer may be increased • Allow to dry to tack. When dry, fingerprint does not remain when
up to equal parts. Sand when dry and apply a second coat of paint with surface is touched. Repeat to apply 3 coats.
or without the addition of sealer, depending on your technique. Do not • Press gold leaf onto surface. Rub gently with cotton ball to press
use All Purpose Sealer in topcoat of base colour when using regular into place.
Crackle Medium to crackle background colour. • Heat set gold leaf using a hair dryer and warm air.
• Allow to dry overnight before buffing to remove excess leaf. Buff the
Metal Preparation
surface gently using a soft cloth or brush.
• All Purpose Sealer does not inhibit rust. Metal or tin should be clean, • Seal with a coat of All Purpose Sealer to prevent tarnishing and
rust free and well sanded. Matte finished water based metal primers may increase adhesion prior to decorating or antiquing with Jo Sonja’s
be applied prior to All Purpose Sealer to prevent rust and promote Artists’ Colours.
better adhesion. A slick metal surface needs to be scuffed with fine grit
Approximate coverage: 1 ml = 251 sq cm / 1 oz = 8 sq ft
sandpaper or scouring cleanser before applying sealer. Apply two coats
of undiluted All Purpose Sealer.
Clear Glaze Medium
• Prepare following instructions for one step basecoat. The addition of
Clear Glaze Medium is a matte transparent acrylic
sealer increases the adhesion of the paint to the surface. The more time
glazing medium with several different uses. Use alone or
the basecoat is allowed to ‘cure’, the stronger the adhesion of the paint
in conjunction with Jo Sonja’s Artists’ and Background
to the surface.
Colours. Apply as a light sealer prior to painting, staining
• Maximum adhesion develops slowly under normal conditions. For or varnishing or as a barrier coat between layers. Mix with
metal preparation, a minimum of 2 weeks cure time is necessary for base colour to seal as you basecoat. Use as a general painting
maximum adhesion and varies depending on climate and humidity. medium for staining, glazing and other transparent effects.
Under normal conditions, the product is cured 80% in 24 hours and
Directions:
100% cured in two weeks.
• As a sealer or barrier coat, apply a medium coat of Clear
Glaze Medium to the surface using a clean brush suitable
Approximate Coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft to surface size.
1 www.chromaonline.com 1
Preparation Painting
• Apply undiluted as a light sealer on raw wood and throughout painting. Glass & Tile Medium (Part B)
For pickling or staining wood, seal with 1 coat of Clear Glaze Medium
Glass and Tile Medium can be added to Jo Sonja’s Artists’
over raw wood to ensure an even application of stain.
Colours to make them suitable for painting on glass, glazed
• Mix desired Jo Sonja’s Artists’ Colour with Clear Glaze Medium to ceramics and enamel. It should be used in conjunction with
create glazes or wood stains. Begin with 3 parts Clear Glaze Medium Glass and Tile Primer (see page 18) if items cannot be cured
and 1 part Retarder or colour. Ratio is determined by strength of in the oven.
colour desired. Apply paint and medium in direction of the wood grain, Instructions for oven curing are in the Media Library section
wiping with a soft lint free cloth to remove excess. Allow to dry before of the Chroma website at www.chromaonline.com
repeating layers.
Directions:
• May be used as a general painting medium where transparent colour is
• Apply a liberal coat of Jo Sonja’s Glass & Tile Medium
desired. For glazing or floated colour, dress the brush in Clear Glaze
to the area to be painted and allow it to dry. (This step is
Medium or the above Clear Glaze Medium & Retarder mix. Blend
optional, however it will promote better adhesion of the
on the palette before side loading with colour. Blend to soften colour
painted design to the surface.) For maximum adhesion,
and apply to deepen values or enhance colours.
there must be adequate Glass & Tile Medium in contact
• Apply Clear Glaze Medium undiluted throughout the painting and with the surface.
prior to varnishing as a protective barrier coat. Application of Clear • Thoroughly mix colour with Glass & Tile Medium beginning with a
Glaze Medium over the design area will lock down painting and allows ratio of 1 part Jo Sonja’s Artists’ Colours to 3 parts medium.
ease of correction without disturbing previous layer.
• Use Glass & Tile Medium in the brush for floated colour and glazing.
• A maximum of three coats may be applied within 24 hours. Do not dilute with water or other mediums. The addition of other
• A hair dryer may be used to speed surface drying. mediums may decrease the adhesion of paint to the surface. Rinse brush
when paint begins to drag. Dress brush in a small amount of Glass &
Approximate Coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft Tile Medium and pinch wipe to remove any traces of water.
• To reduce transparency, layer colour or decrease ratio of medium to
colour. If medium is decreased or for increased durability, apply two
Glass & Tile Primer (Part A) coats of Glass & Tile Medium over painted area when complete. Dry
well between each layer.
Glass and Tile Primer prepares glass, glazed ceramics and
• For maximum durability, finish with 1 to 3 coats of Jo Sonja’s
enamel for painting, providing additional bonding for the
Polyurethane Water Based Gloss, Satin or Matte Varnish.
paint. It is essential for use on painted items which are too large
• Allow painted items to cure for a minimum of two weeks before use.
or otherwise unsuitable for heat setting in an oven and should
be used in conjunction with Glass & Tile Medium. • While remarkably durable, this system is for decorative purposes only.
Carefully hand wash and avoid harsh abrasives or chemicals.
Directions: Caution: Not intended for use in food contact applications. Avoid using
• Using a clean brush, apply a generous amount of Jo Sonja’s Cadmium colours on food related items.
Glass & Tile Primer to a clean dry surface to prepare it. ∅
Allow to dry. A blooming or cloudiness may be evident on Approximate coverage: 1 ml = 62 sq cm / 1 oz = 2 sq ft
glass after application. This is normal and can be buffed off
when your designs have cured. Textile Medium
• If preparing the inside surface of a glass container (e.g. a Textile Medium allows permanent non-fading painting
decorative Christmas ball), the Glass & Tile Primer may on natural and non-synthetic fabric. It is only necessary if
be poured in and swirled around to coat the interior surface. Drain the fabric to be decorated is to be laundered or dry cleaned.
thoroughly and allow to dry. Fabric containing a minimum of 50% cotton is recommended
• Paint as per instructions under Glass and Tile Medium. for best adhesion.
Note: Glass and Tile Primer is flammable and appropriate safety measures Directions:
should be followed. • Pre-wash fabric to remove sizing. Do not use
Not recommended for use on plastics. fabric softener.
• Mix a minimum of 2 parts Jo Sonja’s Artists’
Approximate coverage: 1 ml = 62 sq cm / 1 oz = 2 sq ft
Colours with 1 part Textile Medium. Painting a
test strip is recommended.
1 www.chromaonline.com 1