TECHNIQUES
SURFACE PREPARATION
Matisse Colors will adhere to most surfaces. However,
it is wise to remember that the paint will only be
as good as the foundation on which it is applied. Most
substrates (the surface to which the paint is to be
applied) used by artists will need little or no pre-treatment.
The following guide will discuss some of the surfaces
used and how they should be treated.
PAPER, BOARD AND CARDBOARD
As a general rule, Matisse Colors may be applied
directly over paper, board and cardboard without priming
the surface. It is advisable to use a good quality
paper or board as, although Matisse Colors are made
to last indefinitely and they will help to protect
the paper they cover, no paint will turn a poor quality
paper into a good one.
Just about any paper may be used; however, paper
lighter than 300gsm will probably need to be fixed
down to avoid curling (see watercolor
techniques with acrylics).
If the artist does not want the paint penetrating
very thin paper, apply two very thin coats of MM7
Polymer Gloss Varnish mixed equal parts with water.
This will bind well with the surface of the paper and
act as a sealer without penetrating the paper. Matisse
Colors are formulated to last indefinitely, whilst
most papers have a rather more finite life. Priming
the surface of paper with the MM7
Polymer Gloss Varnish will provide the way for
restorers to remove the paper once it has deteriorated
and replace it with a fresh substrate.
If a primed surface on paper is desired, the best
surface can be achieved by applying one coat of MM10
Gesso mixed equal parts with water. The absorption
rate of the paper and the desired painting surface
will dictate how much dilution with water the MM10
Gesso requires and how many coats thereafter. It
is best not to build the surface too high with MM10
Gesso (i.e. 5-6mm is getting too thick) to avoid
cracking. If a thick surface is required, use MM2 Impasto
Medium to achieve high relief.
CANVAS/LINEN
Matisse Colors can be readily applied to the vast
majority of fabric supports. These include cotton,
linen, jute, canvas, polyester, polypropylene and fiberglass
fabrics.
Cotton and other natural fiber supports, although
widely used, have the inherent problem of their reaction
to climate. This can affect them in several ways. Natural
fibers tend to absorb moisture from the air; this can
cause swelling in the fibers. Constant swelling and
contraction, potentially causing premature cracking,
will not be as detrimental to acrylics, because of
their elasticity, as may be the case with oils. However,
the constant expansion and contraction may eventually
destroy the canvas itself. The absorption of moisture
may also promote bacterial growth. From a long-term
point of view, synthetic canvases do not exhibit the
same moisture absorption characteristics and are much
more resistant to bacterial or fungal growth.
CANVAS/LINEN STRETCHED
This refers to canvases that have been stretched over
a support, usually a wooden frame made from specially
produced stretcher bars. These stretcher bars have
the side parallel to the canvas tapered down so that
only the outside edge touches the canvas. This avoids
the inside edge of the stretcher bar touching the canvas
and revealing the shape of the stretcher frame against
the canvas.
UNPRIMED/RAW CANVASS
When a non-synthetic canvas is primed, it will shrink.
The amount of shrinkage will depend on the type and
weight of the canvas. Using MM10
Gesso diluted with equal parts water, the first
and second coat will penetrate the raw canvas and bind
well. Ensuing coats may contain 50% or less of water,
dependent on how absorbent the canvas is and the particular
surface required by the artist. The MM10
Gesso may be sanded and recoated to give a very
flat finish almost hiding the weave of the canvas (e.g.
for use with airbrushing).
If a preference for working directly onto the raw
canvas is desired, Matisse Professional Artist Acrylics
can be used straight onto the surface. However, it
is advisable to seal the canvas first with MM12
Clear Sealer or MM7
Polymer Gloss Varnish or MM6
Polymer Matt Varnish. Sealing the raw canvas will
increase its longevity. As canvas is quite porous,
it tends to mark and stain quite easily; sealing will
decrease this tendency. Sealing will help to protect
cotton and linen canvas from mould and bacteria. It
will also prevent the paint staining through the canvas
to the other side when using the paint in a thin liquid
form.
PRE-PRIMED CANVAS
It is prudent to be sure of all substrates an artist
is to employ. Even the most reputable brands sometimes
appear to focus more on the quality of linen and frame
and use a primer that may not always stand up to the
conditions that are required of them.
If the artist wishes to be sure of the ground they
are to work on, lightly sand back the pre-primed surface
(do not sand back all the way to the canvas). Apply
one coat of MM10
Gesso mixed equal parts with water. The next coat
can be straight Gesso or may be diluted depending on
the required surface.
CONCRETE
Rough concrete should be cleaned and free of dirt,
dust, grease or oil. Ensure all loose sand, formwork
particles etc. have been removed. Apply a coat of MM10
Gesso. This may be diluted if required. If the concrete
is new, it would be prudent to apply a coat of MM12
Clear Sealer before the MM10
Gesso to block any potential leaching of alkaline
residue. Alkaline residue has the potential to affect
some acrylic colors if leached in high enough concentrations.
Clean-faced or polished concrete may need to be sandblasted
to give a surface for a primer to adhere to. Following
sandblasting, clean the surface of dust and loose material
and apply a coat of MM10
Gesso. If the surface still feels very smooth,
it would be advisable to lay down a coat of the MM7
Polymer Gloss Varnish & Gloss Medium before
applying the MM10
Gesso.
FIBERGLASS
Surfaces which are non-porous can present a problem
if they are to be employed as a substrate for a work
which may have to stand up to abrasive or mechanical
stress and/or the elements over a long period. The
more substantial a foundation that can be laid for
the paint, the longer it will last. Always test the
substrate before commencing work if you are in any
doubt about its suitability.
The surface of the fiberglass should be lightly scratched
with sandpaper or a wire brush then cleaned down so
it is free of any oil, grease or dust. A bonding coat
of MM7
Polymer Gloss Varnish should be applied, then a
coat of MM10
Gesso. Leave this to dry for 48hrs and test adhesion
by attempting to scratch the surface. A good test is
to cut an "X" about 2cm long into the primer,
stick a piece of masking tape over this and pull it
off. If the paint comes with it, it is not going to
be a long-lasting foundation. After the work is complete,
a further one or two coats of the MM7
Polymer Gloss Varnish is recommended to protect
it. If the work is to be exposed to sun and rain, a
further coat of MM14
Final Varnish Gloss Finish would be recommended.
PLASTERBOARD
It is possible to apply Matisse Colors directly to
plasterboard that has been cleaned of all dust, oil
and grease. MM10
Gesso may be used as a primer, if desired, as it
will give good tooth and a clean bright surface to
work on. If the plasterboard appears to be extremely
porous, the use of MM10
Gesso as a primer is recommended. After the work
is complete, a coat of MM7
Polymer Gloss Varnish is recommended to protect
the work. If the work is to be exposed to sun and rain,
a further coat of MM14
Final Varnish Gloss Finish is recommended.
PLASTER/STUCCO
New plaster should be left to dry for at least 2 weeks
before a coat of MM12
Clear Sealer is applied. MM10
Gesso may then be used or Matisse Colors applied
directly over the MM12 Clear Sealer. After the work
is complete, a coat of MM7
Polymer Gloss Varnish is recommended to protect
the work. If the work is to be exposed to sun and rain,
a further coat of MM14
Final Varnish Gloss Finish is recommended.
GLASS/CERAMIC TILES
It is possible to use Matisse Colors on glass or
tiles for a permanent, although not dishwasherproof,
finish. First, apply a coat of undiluted MM7
Polymer Gloss Varnish. Next, apply the paint as
desired. Finally, finish off with another coat of MM7
Polymer Gloss Varnish.
If a transparent finish is required, dilute the Matisse
Colors with the MM7
Polymer Gloss Varnish instead of water. This will
give more permanence to the work.
If a finish such as frosted
glass is required, use MM4 Gel Medium directly
onto the glass. See section on MM4
Gel Medium.
Although the above instructions will give a very
long lasting finish on decorative items and windows,
this process is not recommended for everyday utility
items, such as glasses or plates. To date, it is not
possible to find a water-based product which will adhere
to glass and ceramic tiles as well as those glazes
which are fired.
WOOD
It is possible to apply Matisse Colors directly to
wood that has been cleaned of all dust, oil and grease.
If the wood appears to be unduly sappy or green, use
of MM12
Clear Sealer is recommended as a tannin blocker
and sealer. MM10
Gesso may be used as a primer, if desired, as it
will give good tooth and a clean bright surface to
work on. If using Matisse Background Colors, a sealer
is not necessary, except on the greenest of woods,
as they have a built-in sealer. A coat of MM7
Polymer Gloss Varnish or MM6
Polymer Matt Varnish is recommended as a finish
coat, to protect the completed work. If the work is
to be exposed to sun or rain or the item is a utility
item which may require a hard and heat-resistant finish,
a coat of MM11
Satin Varnish or MM19
Poly-U-Gloss Varnish is recommended.
CHIPBOARD & MDF
MM10
Gesso may be used as a primer, if desired, as
it will give good tooth and a clean bright surface
to work on. If using Matisse
Background Colors, a sealer is not necessary
except on the most porous of chipboards as these
colors have a built-in sealer. After the work
is complete, a coat of MM7
Polymer Gloss Varnish or MM6
Polymer Matt Varnish is recommended to protect
the work. If the work is to be exposed to sun or
rain or the item is a utility item which may require
a hard and heat- resistant finish, a coat of MM11
Satin Varnish or MM19
Poly-U-Gloss Varnish would be recommended.
If you find that after applying your first coat of
Matisse Background Colors, the routed edges are still
furry, apply a single coat of MM26
Transparent Gesso (pastel primer) over the area
requiring attention, sand and then recoat with desired
background color. Although not originally designed
for this purpose, many folk artists now use MM26
Transparent Gesso (pastel primer) as their preferred
preparation on craftwood routed edges.
If chipboard or MDF is to be exposed to rain, it
is recommended that all sides of the board be covered
with paint and then the varnish to stop the board soaking
up water, warping and disintegrating. Although the
Matisse range of products when applied correctly will
prolong the life of particle boards, alternative substrates
should be sought if the work is to stand up to the
elements over an extended period.
FABRIC
In general, Matisse Colors can be used directly on
most fabrics. If the fabric is to be washed regularly
(for example clothing) or exposed to the elements,
MM13 Fabric Fixative would be recommended (see Fabric
Painting).
METAL
Non-ferrous metals such as copper, aluminium, brass,
zinc (galvanised iron and tin) can be roughened up
using sandpaper or a wire brush, cleaned of all oxidation,
grease and oil, then painted with Matisse Colors.
An undercoat of MM7
Polymer Gloss Varnish can be applied first for
added adhesion.
Ferrous metals such as iron, cast iron, steel and
tin, should be sandblasted or wire brushed to clean
metal, removing all oxidisation and scaling. At this
point, many artists have found a coat of MM7
Polymer Gloss Varnish as an undercoat has worked
well. If the item is to be exposed to a very salty
or humid atmosphere, then a metal primer with a suitable
rust inhibitor that is compatible with water-based
paints, would be recommended in place of the MM7
Polymer Gloss Varnish.
PLASTICS & MELAMINES
Matisse Colors will adhere directly onto most plastics.
Non-porous materials such as perspex, melamine or nylon
should be lightly sanded then a bonding coat applied
of undiluted MM7
Polymer Gloss Varnish or MM12
Clear Sealer. Paint as desired and finish off with
another coat of MM7
Polymer Gloss Varnish.
N.B. Non-porous plastics will accept the paint. However,
painting hard-wearing plastic or melamine objects (such
as kitchen bench tops) should be avoided.
FIBER CEMENT BOARD
It is possible to apply Matisse Colors directly to
fiber cement board that has been cleaned of all dust,
oil and grease. MM10
Gesso may be used as a primer, if desired, as it
will give good tooth and a clean bright surface to
work on. If using Matisse
Background Colors, a sealer is not necessary,
except on the most porous of boards, as they have a
built-in sealer. If the fiber cement board appears
to be extremely porous, the use of MM10
Gesso as a primer is recommended. Use a coat of MM7
Polymer Gloss Varnish to protect the finished work.
If the work is to be exposed to sun and rain, a further
coat of MM14
Final Varnish Gloss Finish is recommended.
STONE The stone should
be cleaned of all oil, grease and loose dust and sand.
Some types of stone are unsuitable
for painting as they will tend to flake and fall apart.
In general, most natural stones should be sealed with
MM12 Clear Sealer or MM7
Polymer Gloss Varnish or MM6
Polymer Matt Varnish. Matisse Colors can now be
used directly over the Sealer or MM10 Gesso may be
used as a ground, if preferred. If the painted stone
is to be left out in the elements, two coats of MM15
Final Varnish Matt Finish or MM14
Final Varnish Gloss Finish is recommended |
