Any Surface, Any Design

Transcription

1 ARTISTS MATTE FLUID ACRYLIC Any Surface, Any Design Artists Companion Booklet & Product Guide w w w. c h r o m a o n l i n e. c o m

2 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 Glass and Tile Medium 19 Textile Medium 19 Flow Medium 20 Stroke & Blend Medium 21 Retarder Medium 21 Gel Retarder 22 Magic Mix 23 Products for Special Effects Texture Paste 24 Kleister Medium 24 Opal Dust 26 Gold Dust 26 Crackle Medium 27 Décor Crackle 28 Products for Finishing Polyurethane Varnishes 29 Decoupage Varnish 30 Brush Soap and Conditioner 31 Miscellaneous Sets 32 Chroma Link 33 Usage Chart 34 Any Surface Any Design! Originally developed as a result of the collaboration between an innovative paint company, Chroma Pty. Ltd., and Jo Sonja Jansen, a world renowned folk and decorative artist, the Jo Sonja s Artists Painting System meets the needs of all acrylic artists who demand superior, versatile products and results that stand the test of time. Jo Sonja s Artists Colours are created from the finest quality pigments and have superb lightfastness. With the addition of Jo Sonja s Mediums, the same brilliant colours may be applied to virtually any surface including wood, glass, paper or canvas, using a wide variety of exciting techniques. This makes them more cost effective than single-use, lower quality paints. All Jo Sonja s products carry the Approved Product seal of the ACMI with the exception of Glass & Tile Primer which carries a Cautionary seal of the ACMI. Most products are water based for simple soap and water clean up. Note: Unless specifically indicated, all products within the range are compatible however we do not guarantee compatibility with other brands. Product sizes may vary from country to country. Please check availability with your local distributor. This guide includes full instructions for all products in the range. As many have several uses in different techniques, they have been listed under their main usage for convenience but additional directions are provided in the text. Symbol Legend Conforms to ASTM D 4236 and is Non Toxic. Safe to dry with a hair dryer. Water based, can be cleaned up with mild soap and cool water.

3 Artists Colours Jo Sonja s Artists Colours are flow formula acrylics offering the opacity of colour and the beautiful, velvet matte finish associated with traditional gouache plus superb handling and brushing characteristics. Unlike gouache, they are water-resistant and will not chip or crack when cured. Made from the finest quality pure pigments, the colours will remain vibrant and true for generations. They are safe, water based and clean up easily with soap and water. Choose from 80 exceptional colours including metallics (see below). Suitable for all surfaces including paper, papier maché, card, canvas, wood, fabric, tin, terracotta, glass and tile. Directions Drying time may be accelerated with a hair dryer and warm/cool air blowing over the surface however the colours have the added advantage of drying through each other, so additional layers can be applied within minutes, without lifting the colour underneath. The colours dry a little darker than they appear when wet, approximately one value difference. They will brighten with the application of varnish. TITANIUM WHITE PW.6 Series 1 ASTM 1 N WARM WHITE PW.6, PY.42 Series 1 ASTM 1 N NAPLES YELLOW HUE PW.6, PY.42, PY.74LF Series 1 ASTM 1 Y CADMIUM YELLOW LIGHT PY.35 SERIES 3 ASTM 1 Y YELLOW LIGHT PY.74LF, PW.6 SERIES 1 ASTM 1 Y INDIAN YELLOW PY.139 SERIES 1 ASTM 1 Y TURNERS YELLOW PY.74LF, PY.42, PW.6 SERIES 1 ASTM 1 Y YELLOW OXIDE PY.42 SERIES 1 ASTM 1 Y RAW SIENNA PBr.7 SERIES 1 ASTM 1 O GOLD OXIDE PY.42 SERIES 1 ASTM 1 O Approximate coverage: 1ml = 157 sq cm 1 oz = 5 sq ft 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. CADMIUM YELLOW MID PY.35 SERIES 3 ASTM 1 Y RED EARTH PR.101 SERIES 1 ASTM 1 RO Jo Sonja s Metallic Colours Jo Sonja s brilliant Metallic Colours are formulated using Mica pigments - high quality, heavy bodied pigments that will not tarnish over time. Compatible with all Jo Sonja s Mediums, they may be used to achieve dramatic and beautiful effects in stencilling, colour bands, highlighting, line work, bronzing and Faux Finishes. Apply alone or mix directly into other colours to achieve iridescent effects. * Note: Pearl White may be used alone (requires two to three coats) or mixed with any other colour to impart a pearlescent look. Approximate coverage: 1ml = 157 sq cm 1 oz = 5 sq ft Available in: 75ml / 2.5 US fl oz tubes and a 20ml / 0.65 US fl oz tube set. Select colours also available in 250ml / 8.4 US fl oz bottles. YELLOW DEEP PY.65, PW.6 SERIES 1 ASTM 1 Y YELLOW ORANGE PW.6, PY.74LF, PO.73 SERIES 1 ASTM 1 Yo Colour Characteristics Colours are shown as accurately as printing allows. A lightfastness rating and pigment specification is provided for each colour as your warranty of quality. Pigment Description PY = Pigment Yellow PO = Pigment Orange PW = Pigment White PBr = Pigment Brown PB = Pigment Blue PV = Pigment Violet PG = Pigment Green PBk = Pigment Black NORWEGIAN ORANGE PR.112, PY.42, PY.74LF, PW.6 SERIES 1 ASTM 2 O JAUNE BRILLANT PY.74LF, PR.9, PW.6 SERIES 1 ASTM 1 O PR = Pigment Red LF = Light Fast

4 Artists Colours CADMIUM ORANGE PO.20 PERMANENT ALIZARINE PR.122, PR.175 AMETHYST PV.19, PW.6 COBALT BLUE HUE 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 PO.73 BURGUNDY PR.170, PB.29 BRILLIANT VIOLET PV.23RS, PW.6 ULTRAMARINE BLUE 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 PR.9, PY.74LF, PW.6 INDIAN RED OXIDE PR.101 DIOXAZINE PURPLE PV.23RS ULTRAMARINE BLUE DEEP PB.29 SERIES 1 ASTM 1 O SERIES 1 ASTM 1 RV SERIES 3 ASTM 2 V SERIES 1 ASTM 1 B ROSE PINK PR.112, PY.42, PW.6 PLUM PINK PR.112, PB.15.3, PW.6 PACIFIC BLUE PV.23RS, PB.15.3, PW.6 PTHALO BLUE 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 PR.108 PURPLE MADDER PR.175, PV.23RS BLUE VIOLET PB.15.3, PV.23RS PRUSSIAN BLUE HUE 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 PR.9, PY.74LF, PW.6 RED VIOLET PV.19 STORM BLUE PB.15.3, PBk.7, PW.6 PAYNES GREY 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 PR.175 BRILLIANT MAGENTA PR.122, PW.6 FRENCH BLUE PB.15.3, PR.101, PW.6 COLONY BLUE 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 PR.170 TRANSPARENT MAGENTA PR.122 SAPPHIRE PB.29, PB.15.3, PW.6, PBk.7 AQUA 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.

5 Artists Colours CELADON PG.7, PB.15.3, PY.42, PW.6 YELLOW GREEN PW.6,PY.74LF,PG.7 BROWN EARTH PBr.7 NIMBUS GREY 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 PG.17, PW.6 SAP GREEN PG.7, PY.139 BURNT SIENNA PBr.7 CARBON BLACK PBk.7 SERIES 1 ASTM 1 G SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 RO SERIES 1 ASTM 1 N ANTIQUE GREEN PG.17, PBk.7, PY.42, PW.6 PINE GREEN PG.7,PBr.7,PY.74LF PROVINCIAL BEIGE PY.42,PBk.7, PW.6 Pearl White Micaceous SERIES 1 ASTM 1 BG SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 N SERIES 2 ASTM nt N GREEN OXIDE PG.17 HOOKERS GREEN PG.7, PR.101 FAWN PY.42,PBk.7, PW.6 SILVER Micaceous SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 G SERIES 1 ASTM 1 YO SERIES 2 ASTM nt N TEAL GREEN PB.15.3, PY.42 MOSS GREEN PG.7, PB.15.3, PY.42, PW.6 SKIN TONE BASE PW.6, PY.42, PBr.7 Pale Gold Micaceous SERIES 1 ASTM 1 BG SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 YO/N SERIES 2 ASTM nt Y PTHALO GREEN PG.7 OLIVE GREEN PG.7, PBr.7, PY.65 UNBLEACHED TITANIUM PW.6, PBr.7 rich Gold Micaceous SERIES 1 ASTM 1 BG SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 YO/N SERIES 2 ASTM nt Y BRILLIANT GREEN PG.7, PY.74LF RAW UMBER PBr.7 OPAL PW.6, PBr.7 burnished copper Micaceous SERIES 1 ASTM 1 G SERIES 1 ASTM 1 YG SERIES 1 ASTM 1 RV SERIES 2 ASTM nt O GREEN LIGHT PG.7, PY.74LF BURNT UMBER PBr.7 SMOKED PEARL PW.6, PY.42, PBr.7 rose Gold 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 ASTM 1 = Pigments of excellent lightfastness ASTM 2 = Pigments of very good lightfastness ASTM NT = No rating available N = Neutral Y = Yellow YO = Yellow Orange O = Orange RO = Red Orange R = Red RV = Red Violet V = Violet BV = Blue Violet B = Blue BG = Blue Green G = Green YG = Yellow Green

6 Background Colours Jo Sonja s Background Colours are specially formulated to provide one coat coverage on most surfaces. The formulation varies slightly from the 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 For one step basecoat, mix and apply paint and All Purpose Sealer 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 addition of All Purpose Sealer. 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. Jo Sonja s Background Colours may be applied using an airbrush 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. Background Colours can also be mixed from Jo Sonja s Artists Colours. Colour Mixes are provided in the Media Library section of the Chroma website at Background Colours are not suitable as a topcoat over Decor Crackle. Approximate Coverage: 1ml = 188 sq cm 1 oz = 6 sq ft Potting Shed Collection A relaxed, mellow palette MOUSE PW.6, PY.43, PR.101, PBr.7 MUSTARD SEED PBr.7, PW.6, PY.42, PY.74 MARIGOLD PW.6, PY.42, PY.65 GERANIUM PR.170, PV.19, PW.6, PY.42 CLARET ROSE PV.19, PY.42, PB.15.3 VINES PW.6, PY.42, PG.7 CORNFLOWER PB.29, PW.6, PY.74, PV.19 RAINDROP PW.6, PY.42, PB.15.3, PY.74 STILLWATER PW.6, PY.42, PB.15.3, PY.74 WILD GRAPE PW.6, PR.101, PV.19, PB.15.3 Available in 12 x 60ml / 2 US fl oz boxed Nature s Palette Collections. Also available individually in 177ml / 6 US fl oz bottles. SEEDLING PW.6, PG.17, PY.74, PG.7, PV.19 BLACKBERRY PW.6, PB.29, PV.19, PY.42, PB

7 Background Colours Clear Colour Collection A vivid, rich palette Classic Colour Collection A toned, timeless palette ISLAND SAND PW.6, P Br.7, PY.65, PY.74LF WOOD VIOLET PW.6, PBr.7, PV.23, PY.74LF SOFT WHITE PW.6, PY.42 SKY BLUE PW.6, PB.15.3, PR.101 SUNFLOWER PW.6, PY.42, PY.74LF, PY.65 AZURE PW.6, PR.170, PB.29 LINEN PW.6, PY.42, PBr.7 CHESTNUT PW.6, PBr.7, PY.42, PY.65 TIGER LILY PW.6, PBr.7, PO.5 HARBOUR BLUE PW.6, PB.29, PR.101, PV.19, PB.15.3 PRIMROSE PW.6, PY.42 WILD ROSE PW.6, PBr.7, PR.9, PBk.7 CASHMERE PW.6, PR.101, PY.42 DEEP PLUM PR.101, PB.15.3 POPPY PW. 6, PR.9, PY.74LF, P.Br.7 BLUE LAGOON PW.6, PBr.7, PG.7, PB.15.3 VELLUM PW.6, PY.42, PBk.7 FOREST GREEN PB.15.3, PY.42 DESERT DAWN PW.6, PBr.7, PV.19, PR.9 SHAMROCK PW. 6, PBr.7, PY.74LF, PG.7, PV.23 OAKMOSS PW.6, PY.42, PB.15.3 GALAXY BLUE PW.6, PB.15.3, PBk.7 LILAC PW.6, PV.19, PY.74LF, PBk.7 TREE FROG GREEN PW.6, PBr.7, PG.7, PY.74LF WILLOW PW.6, PBr.7, PY. 74LF, PBk.7 CHARCOAL PBr.7, PBk.7 *Note: Soft White and Charcoal are not included in the Nature s Palette Classic Set

8 Iridescent Colours Preparation Translucent colours for highlighting, overall iridescent effects and Faux Finishes. Iridescent Colours reflect off the background. Over dark backgrounds, the colours are quite vivid. Over a light background, the colour appears soft and subtle. Blue Over White Over Black Violet Over White Over Black gold Over White Over Black green Over White Over Black red Over White Over Black turquoise Over White Over Black Gesso Primer This primer for wood, canvas and metal provides a smooth fine-grit finish with maximum tooth. Available in black and white. 1. Apply directly to surface using a clean dry brush, roller or air brush. (For airbrushing, thin Gesso with Flow Medium starting at 1:1 ratio, adding Flow Medium until desired viscosity is reached.) 2. Apply undiluted to stretched unprimed canvas. Apply subsequent coats as soon as previous coats are dry to the touch. May be sanded when dry for a smoother surface. 3. Colours may be altered using Jo Sonja s Artists or Background Colours. Add in small amounts to tint as desired. 4. Do not mix with oil based products. 1. Iridescent Colours appear milky white until dried. Label palette to avoid confusion. 2. Apply to prepared surface full strength or thinned with medium, depending on desired effect. 3. Use a variety of techniques (e.g. sponging, stroking, dry brushing, splattering or overglazing) to apply Iridescent Colours. Colour will be more intense if undiluted. Apply undiluted to accent details using a dry brush technique. 4. Thin using a small amount of Retarder Medium or apply to a surface moistened with Retarder for a soft effect. Apply with a sponge or brush. Use thinned colour for a glaze over a painted surface. Brush a medium coat of thinned colour over prepared surface. Create various effects and patterns by removing the overglaze with a sponge, plastic wrap or cloth for a ragging off technique. 5. Use Magic Mix to thin colours for strokework, floated colour or to apply small amounts of iridescent colour. Add to final highlight colour for a unique effect. Layering will deepen colour. 6. For spattering, thin as needed using small amounts of Flow Medium or water for consistency desired. The more Flow Medium used, the more transparent the colour becomes. Spatter by pulling thumb over the end of a firm bristle brush filled with thinned colour to create desired effect. May be applied over a barrier coat of Clear Glaze Medium so that excess spattering can be easily removed. Approximate coverage: 1ml = 125 sq cm 1 oz = 4 sq ft Available in 60ml / 2 US fl oz bottles & a 6 x 20ml / 0.65 US fl oz tube set. Jo Sonja s Wood Filler The unique features of Jo Sonja s Wood Filler make this product a necessity for surface preparation on any wood or MDF surface. Neutral in colour, it dries quickly with minimal shrinkage. Rapid drying time allows layering to fill large holes or imperfections. Takes paint or stain. Fill cracks, rough edges and other blemishes with Wood Filler using a plastic palette or putty knife. Fill deep holes or imperfections by applying Wood Filler in multiple thin to medium layers. For large areas or missing details on carved design elements, use a cake decorating tip and pipe Wood Filler into the area to be repaired. Smooth with a water dampened brush. Apply in layers for best results. May be carved to refine details. Allow to dry, then sand as needed to smooth and remove excess. Water based colour or stain may be mixed directly into Wood Filler. Colour may vary slightly when dry. Seal and continue with preparation for technique, following directions for painting or stain application. If contents harden, place closed jar in hot water to soften. May be thinned with up to 10% water before adhesive properties are affected. Approximate coverage: 1 ml = 62 sq cm / 1 oz = 2 sq ft Before After Visit for tips and 14 techniques on using Iridescent Colours 15

9 Preparation All Purpose Sealer All Purpose Sealer is a pure acrylic medium with remarkable adhesive powers. It is a durable and versatile surface sealer that can be used to seal most surfaces in preparation for painting. Included are wood, tin & other metals, glass, unglazed bisque, terracotta, cards, paper and fibreboard. Mix with colour for a one step basecoat. All Purpose Sealer will assist paint adhesion to unusual surfaces such as soaps and candles. A light sanding is recommended to promote adhesion of paint to any surface. Apply full strength to clean, dry, sanded wood or dilute 1:1 with Clear Glaze Medium or Flow Medium. (Undiluted All Purpose Sealer may create a surface too slick to paint on some surfaces.) When dry, sand as needed before painting. In preparation for staining a surface, do not use All Purpose Sealer, which leaves the wood with an almost impenetrable seal. A coat of Clear Glaze Medium is recommended for surfaces to be stained. For one step basecoat, mix and apply paint and All Purpose Sealer beginning with approximate proportions of 2 parts colour to 1 part All Purpose Sealer. The amount of All Purpose Sealer may be increased up to equal parts. Sand when dry and apply a second coat of paint with or without the addition of sealer, depending on your technique. Do not use All Purpose Sealer in topcoat of base colour when using regular Crackle Medium to crackle background colour. Metal Preparation All Purpose Sealer does not inhibit rust. Metal or tin should be clean, rust free and well sanded. Matte finished water based metal primers may be applied prior to All Purpose Sealer to prevent rust and promote better adhesion. A slick metal surface needs to be scuffed with fine grit sandpaper or scouring cleanser before applying sealer. Apply two coats of undiluted All Purpose Sealer. Prepare following instructions for one step basecoat. The addition of sealer increases the adhesion of the paint to the surface. The more time the basecoat is allowed to cure, the stronger the adhesion of the paint to the surface. Maximum adhesion develops slowly under normal conditions. For metal preparation, a minimum of 2 weeks cure time is necessary for maximum adhesion and varies depending on climate and humidity. Under normal conditions, the product is cured 80% in 24 hours and 100% cured in two weeks. Approximate Coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft T a n n i n S e a l e r & G o l d L e a f S i z e Tannin Sealer has excellent adhesive and sealing properties. Use on wood or masonite surfaces where tannin, oil or pitch may bleed through paint. Also use to adhere gold leaf. Wood Knots: Apply undiluted to clean, dry surface directly over and at least 5cm (2 ) beyond knots front and back. Do not use hair dryer to promote drying. Allow to cure a minimum of 14 days depending on climate and humidity before proceeding to paint or decorate. When staining wood, stain surface first, then apply Tannin Sealer as directed. Tannin Sealer remains tacky when dry and cured. Seal if desired with coat of Clear Glaze Medium or All Purpose Sealer before proceeding with basecoat. 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 the area with a second coat of stain or a coat of Gesso. Gold Leafing: Mix Retarder 1:2 with Tannin Sealer and apply a smooth coat. Allow to dry to tack. When dry, fingerprint does not remain when surface is touched. Repeat to apply 3 coats. Press gold leaf onto surface. Rub gently with cotton ball to press into place. Heat set gold leaf using a hair dryer and warm air. Allow to dry overnight before buffing to remove excess leaf. Buff the surface gently using a soft cloth or brush. Seal with a coat of All Purpose Sealer to prevent tarnishing and increase adhesion prior to decorating or antiquing with Jo Sonja s Artists Colours. Approximate coverage: 1 ml = 251 sq cm / 1 oz = 8 sq ft Clear Glaze Medium Clear Glaze Medium is a matte transparent acrylic glazing medium with several different uses. Use alone or in conjunction with Jo Sonja s Artists and Background Colours. Apply as a light sealer prior to painting, staining or varnishing or as a barrier coat between layers. Mix with base colour to seal as you basecoat. Use as a general painting medium for staining, glazing and other transparent effects. As a sealer or barrier coat, apply a medium coat of Clear Glaze Medium to the surface using a clean brush suitable to surface size

10 Preparation Painting Apply undiluted as a light sealer on raw wood and throughout painting. For pickling or staining wood, seal with 1 coat of Clear Glaze Medium over raw wood to ensure an even application of stain. Mix desired Jo Sonja s Artists Colour with Clear Glaze Medium to create glazes or wood stains. Begin with 3 parts Clear Glaze Medium and 1 part Retarder or colour. Ratio is determined by strength of colour desired. Apply paint and medium in direction of the wood grain, wiping with a soft lint free cloth to remove excess. Allow to dry before repeating layers. May be used as a general painting medium where transparent colour is desired. For glazing or floated colour, dress the brush in Clear Glaze Medium or the above Clear Glaze Medium & Retarder mix. Blend on the palette before side loading with colour. Blend to soften colour and apply to deepen values or enhance colours. Apply Clear Glaze Medium undiluted throughout the painting and prior to varnishing as a protective barrier coat. Application of Clear Glaze Medium over the design area will lock down painting and allows ease of correction without disturbing previous layer. A maximum of three coats may be applied within 24 hours. A hair dryer may be used to speed surface drying. Approximate Coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft Glass & Tile Primer (Part A) Glass and Tile Primer prepares glass, glazed ceramics and enamel for painting, providing additional bonding for the paint. It is essential for use on painted items which are too large or otherwise unsuitable for heat setting in an oven and should be used in conjunction with Glass & Tile Medium. Using a clean brush, apply a generous amount of Jo Sonja s Glass & Tile Primer to a clean dry surface to prepare it. Allow to dry. A blooming or cloudiness may be evident on glass after application. This is normal and can be buffed off when your designs have cured. If preparing the inside surface of a glass container (e.g. a decorative Christmas ball), the Glass & Tile Primer may be poured in and swirled around to coat the interior surface. Drain thoroughly and allow to dry. Paint as per instructions under Glass and Tile Medium. Note: Glass and Tile Primer is flammable and appropriate safety measures should be followed. Not recommended for use on plastics. Approximate coverage: 1 ml = 62 sq cm / 1 oz = 2 sq ft Glass & Tile Medium (Part B) Glass and Tile Medium can be added to Jo Sonja s Artists Colours to make them suitable for painting on glass, glazed ceramics and enamel. It should be used in conjunction with Glass and Tile Primer (see page 18) if items cannot be cured in the oven. Instructions for oven curing are in the Media Library section of the Chroma website at Apply a liberal coat of Jo Sonja s Glass & Tile Medium to the area to be painted and allow it to dry. (This step is optional, however it will promote better adhesion of the painted design to the surface.) For maximum adhesion, there must be adequate Glass & Tile Medium in contact with the surface. Thoroughly mix colour with Glass & Tile Medium beginning with a ratio of 1 part Jo Sonja s Artists Colours to 3 parts medium. Use Glass & Tile Medium in the brush for floated colour and glazing. Do not dilute with water or other mediums. The addition of other 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 & 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 coats of Glass & Tile Medium over painted area when complete. Dry well between each layer. For maximum durability, finish with 1 to 3 coats of Jo Sonja s Polyurethane Water Based Gloss, Satin or Matte Varnish. Allow painted items to cure for a minimum of two weeks before use. While remarkably durable, this system is for decorative purposes only. Carefully hand wash and avoid harsh abrasives or chemicals. Caution: Not intended for use in food contact applications. Avoid using Cadmium colours on food related items. Approximate coverage: 1 ml = 62 sq cm / 1 oz = 2 sq ft Textile Medium Textile Medium allows permanent non-fading painting on natural and non-synthetic fabric. It is only necessary if the fabric to be decorated is to be laundered or dry cleaned. Fabric containing a minimum of 50% cotton is recommended for best adhesion. Pre-wash fabric to remove sizing. Do not use fabric softener. Mix a minimum of 2 parts Jo Sonja s Artists Colours with 1 part Textile Medium. Painting a test strip is recommended

11 Painting The addition of Textile Medium may stiffen painted area. This will soften with washing. Apply to fabric ensuring paint penetration of fibres. Allow to dry a minimum of 24 hours. All Purpose Sealer may be applied to the edges of your cut fabric to prevent fraying. Seal 1/4 (1/2 cm) beyond cut edges. Heat Setting Instructions: Excessive temperature can cause colour change; pre-testing is recommended as follows: Using your dry test strip, cover painted area with a cloth or brown paper. Start with low heat setting, gradually increasing temperature until colour begins to shift. Then lower the temperature slightly and make note of your iron setting. Iron decorated area for a minimum of 2 minutes on this setting. Note: Launder articles with mild detergent and delicate heat. Caution: Some cleaning chemicals may affect colours. Approximate coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft Flow Medium Flow Medium is added to Jo Sonja s Artists and Background Colours and other Jo Sonja s Mediums for thinning as needed for paint application or various techniques such as fine detail or linework and airbrushing. Add to colours when a smooth basecoat is required. Flow Medium will extend the drying time of the paint. Note: The addition of water to thin Jo Sonja s Artists Colours or Jo Sonja s Background Colours may over-dilute the paint causing poor coverage and adhesion to some surfaces. Mix small amounts of Flow Medium with paint using a brush or palette knife, beginning with an approximate ratio of 2 parts paint to 1 part Flow Medium until desired consistency is achieved. Water has a diluting effect on the pigment and adhesive qualities of acrylic. Its use should be kept to a minimum. Flow Medium may be used to thin colours for basecoating on any surface that a smooth coat is desired including metal surfaces. Dry thoroughly. The addition of Flow Medium may delay drying time. A hair dryer may be used to speed surface drying. Dry a minimum of 48 hours before varnishing. Allow additional time depending on climate and humidity or if excessive medium is used. Airbrush artists may use Flow Medium to dilute Jo Sonja s Artists or Background Colours beginning with a ratio of 1:1. A small amount of water may also be necessary for an even flow. Approximate Coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft Stroke and Blend Medium Stroke & Blend may be used in various techniques such as stencilling, stippling, blending, staining, floating and blending. It allows the smooth control of brushstrokes and will delay the drying time of paint. Lightly moisten brush with Stroke & Blend and blend well on the palette for floated colour and blending techniques. For wet over dry blending, use Stroke & Blend mixed with colour to soften dry brush edges by blending wet paint over the dry layer beneath. A small amount of Stroke & Blend may be added directly into palette colours. A few drops mixed in will keep paint moist longer. As a medium for stencilling, dress the brush with a small amount of Stroke & Blend. Pick up colour and blend together with medium on palette. For even colour application, use a paper towel to remove excess colour by rubbing in a circular motion. With stencil in place, begin brushing the colour as if you were using it as a blush, working from the outside of the stencil to the centre. Deepen colour to create form with additional layers, allowing each layer to dry completely before repeating colour application. Use Stroke & Blend with Jo Sonja s Metallic Colours for stencilling to replace bronzing powders in traditional techniques. Allow a minimum 48 hours drying before varnishing. Drying time will vary depending on climate/humidity or if excessive medium is used. A hair dryer may be used to speed surface drying. A coat of Clear Glaze Medium is recommended prior to varnish application. Any lifting or moving of colour or medium indicates the presence of uncured Stroke & Blend. Immediately stop application and dry completely before proceeding. Approximate coverage: 1 ml = 94 sq cm / 1 oz = 3 sq ft Retarder Medium Retarder is an additive to extend the open or drying time of Jo Sonja s Artists Colours or Mediums. It may be used as both a painting medium and for various techniques such as antiquing. To use Retarder as a painting medium, lightly moisten the brush with Retarder before picking up paint. To further extend working or open time, Retarder may also be applied directly to a prepared surface. A mop brush may be used to ensure an even application. Mix Retarder directly into palette colours beginning with a ratio of approximately 1 part Retarder to 3 parts of colour to delay the drying time of the paint. Adjust ratio as required for technique. The more Retarder that is added, the more transparent the colour becomes

12 Painting Antiquing A barrier coat of Clear Glaze Medium is recommended before antiquing, then thin paint with Retarder using a ratio determined by the strength of colour desired. Begin with 1 part paint to 1 part Retarder. Apply over painted surfaces and then wipe off to produce an aged effect. For additional open time, apply a light coat of Retarder directly to the surface. Use a small amount of Retarder on cloth to remove excess. Allow 48 hours drying time before varnishing. An extended dry and cure time should be allowed which varies due to humidity and climatic conditions or if an excessive amount of Retarder has been used. A hair dryer may be used to speed surface drying. A coat of Clear Glaze Medium is recommended prior to application of varnish. Approximate coverage: 1 ml = 251 sq cm / 1 oz = 8 sq ft Gel Retarder Gel Retarder delays the drying time of Jo Sonja s Artists Colours without reducing the viscosity of the paint. It can be used in various ways allowing an extended working or open time for blending and antiquing plus a thicker application of colour in painting techniques. Practice techniques using this medium before committing to a project. As a painting medium, moisten the brush with Gel Retarder and blend well with colour. If paint drags during painting, refresh by picking up additional Gel Retarder in the brush and repeat palette blending. Apply a thin coat of Gel Retarder directly to the surface for an extended working time. Retarder Medium may be used to thin Gel Retarder and decrease the open time as needed for your area. Begin with a ratio of 1 part Gel Retarder to 1 part Retarder. Gel Retarder may be mixed directly into palette colours beginning with an approximate ratio of 1 part Gel Retarder to 3 parts paint. For antiquing, thin colour with Gel Retarder. Ratio is determined by strength of colour desired. Begin with 2 parts paint to 1 part Gel Retarder. Apply over the painted surface and wipe to create desired effect. Use Gel Retarder on a cloth to remove excess. When using Gel Retarder, drying time is greatly delayed. Surface may feel dry and still be holding moisture. A hair dryer may be used to speed surface drying. An extended dry and cure time should be allowed and varies due to humidity and climatic conditions. A coat of Flow Medium, Magic Mix or Clear Glaze Medium is recommended prior to application of varnish. Any seizing or curdling of these products indicates the presence of uncured Gel Retarder. Immediately stop application and dry completely before proceeding. Do not apply Gel Retarder over Clear Glaze Medium or Magic Mix. Gel Retarder will dissolve Clear Glaze Medium or Magic Mix in patches. Clear Glaze Medium may be applied over DRIED and CURED Gel Retarder. Approximate Coverage: 1 ml = 94 sq cm / 1 oz = 3 sq ft Magic Mix This light sealer is similar to Clear Glaze Medium but contains an extender for a longer open or blending time. Magic Mix dries matte, lightly sealing each layer to prevent lifting with application of additional layers. Magic Mix is recommended for various techniques and as a substitute for water. Applications include floated and side loaded colour, colour glazing and stipple blending. An excellent medium to thin paint for linework and detail painting or when a smooth even coat is desired. Magic Mix is an excellent medium for side loaded and floated colour that does not allow the paint to travel too far across the brush. For additional open time, Retarder may be applied directly to the surface or picked up in the brush. Dress the brush in a small amount of Magic Mix. Side load the brush with colour and blend well on palette. Lay colour where desired. Colour may be softened with the clean edge of the brush or stipple blended as needed. A barrier coat of Clear Glaze Medium is recommended prior to glazing. Use Magic Mix and floated colour for layering of colour glazes to create depth in a painting that mixing colours together cannot achieve. With medium and colour in the brush, blend on the palette until colour is transparent. Touch on design where desired to adjust temperature, colour depth or apply a tinting colour. Soften with the clean edge of the brush. An overall transparent glaze of Magic Mix combined with colour will brighten or completely change the colour of the design elements. Transparent or semi transparent colours are recommended for glazing techniques. (Refer page 5 for pigment characteristics.) Blend Magic Mix with colour for strokework, linework and detail painting in designs. Dress the brush in Magic Mix and blend well on the palette to achieve colour transparency or proper paint consistency. The addition of Magic Mix increases the transparency and flow of the paint with the ease of quick correction. Allow to dry before application of additional layers. A hair dryer may be used to speed surface drying. Magic Mix may be used as a very light sealer. For added protection, apply a coat of undiluted Clear Glaze Medium between layers as needed and prior to varnishing. Approximate Coverage: 1 ml = 125 sq cm / 1 oz = 4 sq ft

13 Special Effects Texture Paste Texture Paste may be used to create texture before or during painting and may be mixed directly into palette colours or used alone. Ideal for various special effects or Faux Finishes, it remains flexible when dry. Available in tubes in both white and black and in jars in white only. Apply with dry brush, rubber spatula or palette knife to create textured background effects. Texture Paste may be tinted and piped through a cake decorating tube or bottle for textured decoration. Apply to the surface or palette paper and allow to dry. When completely dry, remove from the paper. Apply to the surface by brushing All Purpose Sealer on the back to adhere to the surface. Use Texture Paste with a stencil and a palette knife to create textured designs on projects or walls. The thickness of the stencil will determine the thickness of the design. For textured brushstrokes, mix Jo Sonja s Artists Colours beginning with a ratio of 1:1 and paint as desired. For strokes with less texture and more transparency, mix with Kleister Medium 1:1 before mixing into colour. Use Jo Sonja s Artists Colours to lightly pigment for a coloured ground similar to Gesso. Use Texture Paste for basecoating to smooth coarse wood grain or imperfections in the surface. Drying time of Texture Paste will vary depending on climate, humidity and thickness of application. Allow a minimum of 24 hours for thick applications of the medium. When dry, Texture Paste may be sanded to smooth and will accept paint. Crackle Medium may be applied over the painted surface for added textural effects. Antiquing or colour glazing using colour mixed with Gel Retarder or Retarder Medium will emphasize textural effects. Approximate coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft Kleister Medium This semi-transparent medium is added to paint to provide extra body for textural patterns for Faux Finishes such as Faux Bois or Wood Graining techniques. It provides transparency to the paint and extends its drying time. Use Kleister Medium as an overglaze to create transparent and textural patterns for techniques such as wood graining and ragging. Kleister Medium may be tinted with colour of choice beginning with a ratio of approximately 1 part paint to 3 parts Kleister Medium. Apply evenly over dry basecoated item. Create texture or patterns using tools of choice, i.e. brush, rag, plastic, sponge, graining tool, etc. Use as a general painting medium to assist with strokework. Kleister Medium may be used to prepare a smoked background for various painting techniques. Retarder Medium may be applied to the surface or added with Kleister Medium for an extended working time. Kleister Medium will delay drying and curing time. Dry thoroughly before decorating or varnishing. A hair dryer may be used to speed surface drying. Cure time is 2 weeks under normal conditions. An extended dry and cure time should be allowed which varies due to humidity and climatic conditions or if an excessive amount of Kleister Medium has been used. A coat of Clear Glaze Medium is recommended prior to application of varnish, depending on humidity and climatic conditions. Approximate Coverage: 1 ml = 125 sq cm / 1 oz = 4 sq ft Use Kleister Medium and a Heartgrainer Tool to create this fantastic wood grain effect

14 Special Effects Opal Dust This clear gel containing tiny light reflecting, holographic particles creates an interplay of colours reminiscent of rare gems. Use alone or with Jo Sonja s Artists Colours to create glitter effects on most surfaces without yellowing. Shake bottle well before use. Opal Dust may be used alone or applied to a dry, pre-painted surface. Suitable for a variety of surfaces including paper, card, glass, transparency film, plastic, canvas, wood, terracotta, tin, fabric, silk or dried flowers. Not suitable for fabric surfaces which will be washed. Effects will be more dramatic when painted over darker colours. Mix with paint before application for a more subtle effect. Apply over Jo Sonja s Texture Paste to create the appearance of snow. Drying time depends upon thickness of application. Brushstrokes are evident when wet but disappear when fully dry. A coat of Jo Sonja s Polyurethane Water Based Varnish is recommended to protect the finish on decorative items. Clean up with mild soap and cool water. Gold Dust A clear gel containing tiny light reflecting particles with the brilliance of rich gold. Use alone or with Jo Sonja s Artists Colours to create glitter effects on most surfaces. Shake bottle well before use. Gold Dust may be used alone or applied to a dry, pre-painted surface. Suitable for a variety of surfaces including paper, card, glass, transparency film, plastic, canvas, wood, terracotta, tin, fabric, silk or dried flowers. Not suitable for fabric surfaces which will be washed. Effects will be more dramatic when painted over darker colours. Mix with paint before application for a more subtle effect. Drying time depends upon thickness of application. Brushstrokes are evident when wet but disappear when fully dry. A coat of Jo Sonja s Polyurethane Water Based Varnish is recommended to protect the finish on decorative items. Clean up with mild soap and cool water. Crackle Medium Jo Sonja s Crackle Medium is a transparent medium, which causes Jo Sonja s Artists & Background Colours to separate into fine crazed or crackled patterns in a one step process. Use to simulate the effects of aging. Recommended for use with Jo Sonja s Artists & Background Colours only. We suggest you test your technique before committing to a project. Apply a thin coat of medium for fine cracks, moderate coat of medium for medium cracks, thick coat of medium for large cracks. Background Crackle: Prepare surface by sealing and applying basecoat. For one step preparation, mix All Purpose Sealer and the basecoat colour beginning with a ratio of up to 1:1 for the first coat only. Allow to air dry and lightly sand. Apply additional coats without the addition of All Purpose Sealer. When final basecoat is dried to touch, apply Crackle Medium working a small area at a time with brush suitable to surface size. Work quickly using a criss-cross motion to apply Crackle Medium. Slightly blend out the brushstrokes as you apply the medium. The crackle pattern will follow the direction of the brushstrokes. Do not brush back over previously applied medium that has started to dry as doing so may cause the Crackle Medium to lift. Crackle Medium will level out slightly as it dries and will dry clear. Allow to air dry undisturbed. Crackle Medium is formulated to separate into a crazed or crackle pattern as it dries. Paint layers that have dried but not cured may also separate. The thicker and fresher the paint, the deeper and cleaner the crackle pattern will be. DO NOT USE HAIR DRYER between coats of base colour. Warm air will cure the paint and prevent the Crackle Medium from working properly. The base colour will show through the crackle pattern if an uncured contrasting colour is applied before the application of the Crackle Medium. After crackled surface is completely dry, gently sand surface using #400 to #600 grit sandpaper until desired smoothness is attained. Wipe to remove dust. Any that remains in the crackle pattern will disappear with antiquing or glazing. Crackle Medium will leave surface slick. Pattern application may need to be modified. Light sanding should decrease slickness of the surface. Antiquing may be applied to the surface to accentuate the crackle pattern. If painting is applied over the crackled background, 1-2 coats of Clear Glaze Medium may be applied as a barrier coat. Thin contrasting colour with Retarder Medium and brush into cracks. Remove the excess with soft cloth moistened with Retarder

15 Special Effects Allow to dry completely before varnishing. A coat of Clear Glaze Medium is recommended prior to varnish application. Variations: Crackle Medium can also be applied after painting the design or over photocopies or prints, which will produce fine crazing for an aged effect. A coat of Clear Glaze Medium is recommended prior to crackle application. You may choose to antique the surface to accentuate the crackle pattern. A light sanding before antiquing is recommended. Approximate Coverage: 1 ml = 62 sq cm / 1 oz = 2 sq ft Décor Crackle Jo Sonja s Décor Crackle is a sandwich crackle medium for application between layers of paint. The top colour separates to reveal base colour giving the appearance of aged paint. Décor Crackle is suitable for furniture or other large surfaces. Seal and basecoat surface with colour desired to show through the crackle pattern. Surface must be sealed to allow Décor Crackle to work properly. For best results, one step preparation is recommended. Apply basecoat colour mixed with All Purpose Sealer 1:1 to the surface. Allow to dry and lightly sand. Brush on an even, generous coat of Décor Crackle. Allow to air dry to touch. Using a brush suitable to surface size, apply a contrasting layer of Jo Sonja s Artists Colours when Décor Crackle is dry to the touch or within a maximum of 6 hours. As topcoat dries, it separates to create the crackle pattern. The thicker the top layer of paint, the bolder the effect. Crackle pattern will follow the direction of brushstrokes in topcoat application. Use a slip slap motion and smooth as much as possible. Do not over brush or lifting may occur. Topcoat may be applied using a variety of tools for varied effects such as a sponge, cloth, etc. Allow to air dry. Do not use hair dryer to promote drying. After drying, sand using fine sandpaper if desired. A coat of Clear Glaze Medium applied before varnishing will help to avoid further crackling. Note: Jo Sonja s Metallic, Iridescent and Background Colours are not recommended as a topcoat unless the Combination Crackle technique is used (see page 28). Approximate Coverage: 1 ml = 94 sq cm / 1 oz = 3 sq ft C o m b i n a t i o n C r a c k l e T e c h n i q u e Combination Crackle uses both Jo Sonja s Crackle Medium and Décor Crackle for a no fail crackle technique to achieve a time worn and aged effect. The surface must be sealed to ensure Décor Crackle will work properly. Over a porous surface, mix All Purpose Sealer to the basecoat colour 1:1. Prepare the surface using a coat of colour or stain and allow to dry. Sand if needed. Apply a coat of Décor Crackle. Dry to touch. Surface should have an even, shiny layer of Décor Crackle. The quicker and heavier the topcoat is applied to the surface, the larger the crackle pattern will be. Apply topcoat within 6 hours of application of the Décor Crackle. For topcoat, mix Crackle Medium with colour up to 1:1 and apply following directions for Crackle Medium. Topcoat can be applied using a variety of tools for varied effects such as a sponge, cloth, etc. Allow to dry naturally. Sand with fine sandpaper if desired. The above technique may be used to provide a successful technique to crackle Jo Sonja s Metallic and Iridescent Colours. The ratio for Metallic Colours should begin with a minimum of 1 part Crackle Medium to 1½ parts paint. For a weathered wood effect, apply basecoat colour and allow to dry. Apply a coat of Décor Crackle to the surface randomly using a toothbrush or a stiff bristle brush. Avoid creating a pattern. Allow to dry. Apply topcoat of colour and Crackle Medium following directions for Combination Crackle. As the crackle process begins, a palette knife may be used to slide or remove some of the topcoat to achieve a weathered finish that looks as though the paint has begun to lift and crawl. Allow to dry. A coat of Clear Glaze Medium is recommended prior to varnishing. For best results, store in a cool, dry place out of direct sunlight. Polyurethane Water Based Varnishes Available in Gloss, Satin and Matte, these clear, non-yellowing varnishes are fast drying and their durable formula makes them suitable for indoor and outdoor use. Matte and Satin Varnish should be shaken gently before use to disperse matting agent. Overshaking will cause bubbles. A coat of Clear Glaze Medium is recommended as a barrier coat prior to varnishing depending on climate and humidity. Use Varnish full strength. If thinning is necessary, add drops of Flow Medium or Retarder. Do not over dilute

16 Finishing Apply thin layers in a criss-cross motion using a soft but firm bristle brush suitable to surface size. Smooth coat with final brushstrokes in the direction of the wood grain. Allow to air dry a minimum of an hour before applying additional coats. Drying time varies depending on climate and humidity. Apply three coats before sanding. Sand lightly if 24 hours have lapsed between coats to ensure proper adhesion. For alcohol resistant finish or for outdoor use, apply a minimum of 4 to 5 coats of varnish. Allow varnished item to cure a minimum of 2 weeks before use. If using a hair dryer for surface drying, hold away from the surface and avoid excessive heat which could cause crazing. Not recommended for use over oil based paint or oil based antiquing finishes. Approximate coverage: 1 ml = 251 sq cm /1 oz = 8 sq ft Decoupage Varnish Decoupage Varnish is a heavy-bodied version of Gloss Varnish for artists who wish to finish their projects with a thick, lacquer-like coating. It has been specially formulated for decoupage artists to hide the cut edges of paper. Applying 8 to 10 coats of Decoupage Varnish is equivalent to 35 to 40 coats of other, thinner varnishes. Decoupage Varnish dries to a thick, glossy finish that does not yellow over time. It may be used both indoors and outdoors to provide maximum long-term protection and when cured is corrosion, chemical, scratch and wear resistant. For Decoupage: All Purpose Sealer or Clear Glaze Medium may be used for adhesion of decoupage paper to the surface. For large areas, a coat of All Purpose Sealer applied to the back of the paper and allowed to dry may decrease bubbles during application. Repeat on paper front. Allow to dry. Bubbles may be avoided if paper is brushed lightly with water to moisten prior to application. Apply All Purpose Sealer thinned with Flow Medium 1:1 or Clear Glaze Medium to the surface and the back of the paper. Begin to press the paper against the surface from the centre out to work out air bubbles. A soft cloth and a circular motion are recommended. Lock down by gently using a brayer or wallpaper roller. Varnishing Tip: If painting on canvas, it is recommended that you use a strippable solvent varnish such as the Chroma Solvent Finishing Varnishes. Available in 200ml / 6.7 US fl oz bottles in Gloss, Invisible and Satin sheens. A coat of Clear Glaze Medium is recommended as a barrier coat prior to varnishing. Gently shake the varnish and apply undiluted to the surface. If thinning is necessary for the first coats, add a few drops of Flow Medium, Retarder or Distilled Water to thin slightly. Do not over-dilute. Apply Decoupage Varnish in a criss-cross motion using a soft but firm brush suitable to surface size. Smooth by brushing final strokes in the direction of the wood grain. Avoid overlaps or drips along the edges. Allow to air dry a minimum of an hour before applying additional coats. Drying time depends on the number of coats applied, climate and humidity. A hair dryer may be used to speed surface drying. Avoid excessive heat which could cause crazing. A minimum of 8 to 10 coats will be required to hide the edges of the paper. Allow varnished item to cure a minimum of two weeks before use. Cure time varies due to climate and humidity. Not recommended for use over oil based paint or oil based antiquing finishes. Approximate Coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft Brush Soap and Conditioner Brush Soap & Conditioner cleans and preserves by returning essential oils to the hair and bristle of natural or synthetic brushes so elasticity is maintained. Removes acrylic, oil, water or lacquer paints. Remove excess paint from brushes using appropriate procedure. Wipe gently with a cloth to remove excess if using oil or lacquer, rinse with cool water if using acrylic. Use Brush Soap & Conditioner undiluted in the palm of your hand or container that will allow you to see when colour is no longer being removed from the brush. Gently stroke the brush backward and forward, working the soap well into the bristles. Fingertips may be used to work the soap into the bristles against the ferrule of the brush. DO NOT USE FINGERNAILS as this could damage bristles! Rinse well in tepid water to ensure all the Brush Soap & Conditioner has been completely removed from bristles and water runs clear. Reshape and allow brush to dry completely lying flat, before using again. Never force dry a brush. Water-soluble colours should be washed from the brush with cool water and brush soap. (Remove any dried acrylic paint with products made for that purpose.) When paint and soap have been completely removed from the brush, dress in Retarder Medium for storage

17 Sets Chroma Link Oil colours should be wiped off gently but thoroughly with a clean cloth. The hair or bristle should be washed and treated with brush soap and warm water until a pure white lather is produced. Rub the body of the brush carefully to dissolve and remove the remains of pigment, which sticks to the edge of the ferrule. Rinse and dress for storage. Never use strong fat dissolving soaps or detergents. Keep out of reach of children. First Aid: For eye contact, immediately wash with warm water for 15 minutes. Call a physician if irritation develops. If swallowed, drink water, induce vomiting and call a physician immediately. 10 Tube Palette Sampler 10 x 20 ml (2/3 US fl oz) tubes of Jo Sonja s Artists Colours: Titanium White, Warm White, Napthol Red Light, Yellow Light, Ultramarine Blue Deep, Pine Green, Brown Earth, Carbon Black, Burgundy, Rich Gold. (See Colour Chart pages 5 thru 9). Creative Possibilities Colour Sampler 12 x 20 ml (2/3 US fl oz) tubes of Jo Sonja s Artists Colours providing a complete colour wheel of pure intense colours: Titanium White, Yellow Light, Yellow Orange, Napthol Red Light, Napthol Crimson, Amethyst, Dioxazine Purple, Blue Violet, Aqua, Pine Green, Yellow Green, Carbon Black. (See Colour Chart pages 5 thru 9). Iridescent Colour Collection 6 x 20 ml (2/3 US fl oz) tubes of Jo Sonja s Iridescent Colours: Blue Iridescent, Green Iridescent, Gold Iridescent, Red Iridescent, Turquoise Iridescent, Violet Iridescent (See Colour Chart page 14). Metallic Colour Collection 6 x 20 ml (2/3 US fl oz) tubes of Jo Sonja s Metallic Colours: Burnished Copper, Pale Gold, Pearl White, Rich Gold, Rose Gold, Silver (See Colour Chart page 9). Mediums Starter Kit Six of the most popular Decorative Art products to assist with your painting from preparation to clean up. 6 x 60 ml (2 US fl oz) bottles: Retarder Medium, All Purpose Sealer, Jo Sonja s Brush Soap and Conditioner, Magic Mix, Polyurethane Water Based Satin Varnish, Clear Glaze Medium. Information is the Key! SIGN UP to Chroma Link & UNLOCK Jo Sonja s FULL POTENTIAL Jo Sonja s is a very high quality and versatile artists acrylic. When used in conjunction with Jo Sonja s mediums this paint can be applied to almost any surface - fabric, wood, glass, metal, and of course paper and canvas. The best way to discover how to use this highly versatile paint is to sign up to Chroma s monthly newsletter Chroma Link. Download How To painting guides and fact sheets. Watch video demonstrations. Keep up to date with discussions on Chroma s blog - Paint Talk. Be inspired by the artwork in the gallery. And much more! Register now at

18 Usage Chart Surfaces Techniques Candles * Canvas Fabric Glass/Tile Leather MDF Paper/Card Soap Terracotta Tin Wood Adhesion Airbrushing Antiquing Clean Up Decoupage Eggshell Crackle Faux Finishes Finishing Floating/Blending Frottage Glazing Gold Leafing Image Transfer Photo Tinting Resist Sealing Shabby Chic Crackle Special Effects Stencilling Strokework/Linework Surface Preparation Textural Effects Paint Artists Colours Background Colours Iridescent Colours Metallic Colours Mediums & Ancillary Products All Purpose Sealer Brush Soap and Conditioner Clear Glaze Medium Crackle Medium Décor Crackle Decoupage Varnish Flow Medium Gel Retarder Gesso Glass and Tile Medium Glass and Tile Primer Gold Dust Kleister Medium Magic Mix Opal Dust Polyurethane Water Based Varnish Retarder Stroke and Blend Tannin Sealer Textile Medium Texture Paste Wood Filler * Use painted candles for decorative purposes only Not intended for use in food contact applications Not as topcoat Surface should be sealed with APS first Prime surface with Gesso first Use with Textile Medium for permanency Use with Glass & Tile Primer/Medium for permanency Not washable Dilute with Flow Medium For specific techniques only Mix with Texture product or overpaint Not suitable for multiple coats

19 Available from: Want To Learn To Paint? Start from scratch or develop existing skills with Chroma s network of experienced and professional teachers. Visit to find out more. CHROMA AUSTRALIA PTY. LTD. 17 MUNDOWI ROAD MT KURING-GAI, NSW 2080, AUSTRALIA TEL: FREE CALL: CHROMA INC. USA 205 BUCKY DRIVE LITITZ, PA 17543, USA TEL: TOLL FREE: Chroma Europe Ltd. 12 Hamill House 112a Chorley New Road Bolton, Lancashire BL1 4DH Tel: JUNE V1.12 AU