The tacky, thick stage the paint goes through before drying is your signal to rehydrate and replace the water which is evaporating. This can be done by using a water sprayer. By spraying as often as needed, you maintain a good wet-in-wet working consistency for as long as you require. If you do not spray, your painting will not interact.

Use your fingertips to judge whether the painting needs water. When you have used sufficient water, your fingers will glide over the wet paint surface. Atelier Interactive dries at the same rate as any other acrylic, it just dries differently.

Atelier Interactive is manufactured by Chroma Australia and is Australian Made.

Interactive Unique Benefits

• Can be adjusted and blended longer than conventional acrylics
• 75 beautiful colours that are intense without a plastic look or feel
• Smooth, buttery consistency that dries satin
• Loses moisture gradually, allowing the artist to control the drying process
• Wet-in-wet painting that can be altered, considered or developed in the artists’ own time rather than dictated by fast drying paint
• Wet-over-dry painting that can be easily integrated
• Exceptional colour shift as paint dries
• Available in 80ml, 250ml and selected one litre jars

Matisse Structure Formula is rich impasto paint. Matisse Structure Formula paint is ideal for application with a brush or palette knife for striking textured effects, or combined with the range of Matisse Mediums for exceptional flexibility of application and finish.

The intense, vibrant colours of the Structure Formula paints cover the full colour spectrum, including several uniquely Australian colours.

Matisse Structure is produced by Derivan and is proudly Australian made.

Jo Sonja Benefits

• Made from the finest quality pure pigments, colours will remain vibrant and true for generations
• They are safe, water based and clean up easily with soap and water
• Suitable for all surfaces including paper, papier mache’, card, canvas, wood, fabric, tin, terracotta, glass and tile
• Choose from 80 exceptional colours including metallics

Drying time may be accelerated with a hair dryer and warm/cool air blowing over the surface however 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.

Jo Sonja is a Chroma Australia product and is proudly made in Australia.

There are no fillers, extenders, opacifiers, toners, or dyes added.

Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colors that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colors contain no matting agents, the gloss of each color will be different.

Golden Heavy Body is made in the United States of America.

PRIMAcryl has a high solids content, high flow resistance with excellent painting properties. The Titanium White has the highest pigmentation, opacity and high spreading rate for brilliant mixtures with almost no colour shift after drying. It’s a new dimension in brilliance!

This acrylic guarantees best applicability with high flow resistance. Due to the extremely high solid content, elastic and contour stable drying is guaranteed. There is practically no colour shift between the wet and dry states. The usual highest light fastness level for Schmincke colours of either 4 or 5 stars indicates the quality of these premium acrylic paints. PRIMAcryl has a pleasant odour and colours do not yellow and the dried paint layers are durable, flexible and water resistant. Paint can be used directly from the tube, either undiluted or diluted with water.

PRIMAcryl is a European product, manufactured in Germany.

Atelier Free Flow is ideal for creating ink, gouache or watercolour effects and can be used as an effective substitute for these products. It is lightfast and dries quickly to a waterproof, velvet matte finish with rich and vibrant colour. Very little (if any) dilution is required, ensuring the pigment strength is retained and makes painting light colours over dark easier. The surface finish is smooth, even and neutral – perfect for works on paper and canvas.

Matisse Flow is ideal for creating ink, gouache or watercolour effects and can be used as an effective substitute for these products. It is lightfast and dries quickly to a waterproof, velvet matte finish with rich and vibrant colour. Very little (if any) dilution is required, ensuring the pigment strength is retained and makes painting light colours over dark easier. The surface finish is smooth, even and glossy.

Chroma A2 Benefits

• The same high pigment loading as Atelier, but using student grade pigments
• The same acrylic binder as Atelier
• The same body and consistency as Atelier, with excellent brush mark and retention like oil paint
• Dries to an attractive, low gloss finish that emphasises colour saturation and luminosity
• Chromacryl Mediums can be used with A2
• Available in 120ml tubes and 250ml jars

Chroma A2 is a Chroma Australia product and is proudly made in Australia.

We carry the full range of Art Spectrum Watercolours.

Winsor and Newton Watercolours are available in a range of 108 colours in both 5ml & 15ml tubes from Arthouse Northside.  We also stock a range of Winsor & Newton watercolour mediums to complement your painting practice.

Winsor & Newton Professional Artist Watercolours are manufactured in England.

Schmincke Horadam Aquarell offers an assortment of 110 colours – 69 of these colours are formulated with one pigment only – an ideal for professional painting and colour mixing. 

We stock the full range in the 5ml tubes and 15ml tubes and a select range of 1/2 pans.

Schmincke is a European product with all paints manufactured in Germany.

The full range of Daniel Smith Watercolours in 5ml & 15ml tubes are available at Arthouse Northside, along with a range of watercolour mediums including masking fluid and watercolour grounds.

Daniel Smith Watercolours are made in the United States of America.

The full range 108 colours of Maimeri Blu paints are available at Arthouse Northside, along with a range of their watercolour mediums.

This also Maimeri Blu is a European product with all paints manufactured in Italy.

The range consists of 40 colours in tubes and pans which possess good transparency, excellent tinting strength and good working properties.  There are also a number of excellent water colour sets available in the Cotman range.

We carry the full range of Art Spectrum Gouache including the full range of 22.5ml paints plus a limited selection of the 40ml & 150ml tubes.

Sunflower oil is used in whites to enhance their brilliance and in clear oil for greater transparency. All colours are triple-milled to ensure that every pigment particle is completely coated with the vehicle, and evenly dispersed. This results in a stable paint film which has even surface tensions. 

Improved permanency information and new pigments have enabled Art Spectrum to replace the toxic and fugitive colours with non-toxic and cleaner colours of superior lightfastness.

Pigments are chosen for purity and clarity and Art Spectrum oil colours give lasting brilliance and luminosity to paintings. The finest pigments are used in the maximum working strength to impart the best colour quality.

All colours are available in 40ml tubes. Series 1 colours are also available in 150ml tubes.

Product Range – unfortunately we do not at present stock the full range. Below is a list of the colours that we do stock.

The best of both traditional and modern pigments are used in the highest possible concentrations – this guarantees the maximum efficiency and an extraordinary degree of luminosity and brilliance with all colours.

Georgian Oil Colour is fully intermixable and has a high pigment content, yet is much more affordable than Artists’ Oil Colour. Daler-Rowney have identified high quality substitutes for some of the more expensive pigments used in the manufacture of Artists Oil Colour (indicated by the use of “Hue” in the colour name). 

Precision and care goes into the manufacture of Georgian Oils. Each colour is milled and tested to produce brilliant colours, which will match in tint and texture from batch to batch. Samples from every batch made are subjected to heat/freeze cycles over a two week period to give assurance on the stability of colours, wherever they may be sold in the world.

We stock the full range in 38ml and 225ml tubes.

The range of colours is chosen according to mass tone (colour from the tube), undertone (bias of colour when in a thin film), strength and relative opacity. The resultant colour spectrum ensures the maximum number of colours can be mixed from the range. Winton colours may be safely intermixed with other Winsor & Newton Oil ranges with the exception of (a) thin alkyd films over thick oil films and (b) thick Oilbar films under oil films.

Clear Painting Medium

Clear painting medium is a mid viscosity medium that allows paint to be diluted smoothly for glazing and blending techniques without altering sheen level. It has a high water content and will allow Atelier Interactive to remain workable for longer and absorbs sprayed water or Unlocking Formula.

Painting Medium No.1 (The Leanest)

Medium No 1 represents the first link in progressive system of painting mediums, described above. Ready to use, straight from the container. Dries overnight depending on climate. This is the safe way to achieve thin colour washes without destroying the binder of the paint. It is especially suitable for “watercolour effects”. Cit can also be used as a sealer for canvas or used for mixing tints for canvas grounds.

Painting Medium No.2 (Medium Fat)

Formulated with more Oil that No.1 and is used as the next “fastest” medium.

Painting Medium No.3 (Fattest Medium)

Thickest and oiliest, slowest drying medium. This is used as the final medium in the (progressive) sequence of No 1, 2 & 3, when paintings are completed over many successive days. Mediums No 1,2 & 3 can also be intermixed to create traditional steps in “fat over lean” sequence.

Lean Medium (Reduced Odour)

The leanest medium you should use. The same application as Art Spectrum Medium No.1, but made with Odourless Solvent instead of turpentine.

Fat Medium (Reduced Odour)

Thicker, oilier and slower drying. To be mixed with oil paint and applied as the final medium in the “fat over lean” sequence.

Liquol Painting Medium

A quick drying transparent painting and glazing medium which mixes easily with oil colour. Excellent for smooth brush work, fine detail and multiple glazes. Very adaptable, it can be used for many-layered glazing where it will give great depth and subtlety of colour. Liquol can be painted wet on wet, or left to dry before painting the next layer. Clean up with mineral or artists’ turps.

Wax Medium

Mixture of oil and wax. Add oil colour to wax medium to achieve a translucent effect. This imparts a lustrous, satin finish. Not suitable for impasto.

Art Spectrum Glazing Gel

Quick drying, reducing the drying time of oil colours. Thixotropic painting gel, which becomes liquid when worked, can be used for moderate impasto or glazing techniques. Dries with a soft sheen. 

Add colour to gel and mix well with palette knife to achieve the degree of transparency required. Cleans up with mineral or artists’ turps.

Refined Linseed Oil

Pure refined Australian linseed oil has been used for the finest artists’ oil colour for centuries.  Use with artists’ oil colours and mediums.

Stand Linseed Oil

Heat thickened linseed oil. For use with artists’ colours to reduce consistency and enhance flow, and also in the preparation of oil painting mediums. Dries to a tough elastic film.

Spectrum Clear Oil Paint

Spectrum Clear Oil Paint is a product well worth exploring. It is formulated as an oil paint, but without coloured pigments. With Clear Oil the integrity of each brushstroke is retained, which is not the case with most mediums which tend to level or smooth out brush strokes. It can, however, be considered a medium because of the effects it helps create. Clear Oil Paint can reduce colours to pale tints without the use of whites or mediums.

• Tremendous depth of colour is possible by painting wet into wet or thin glazes
• Oil colours can be extended without loss of brilliance or structure
• Opaque colours can be made transparent
• As many Art Spectrum colours are transparent, try making use of this quality using Clear Oil Paint instead of white

Matt Wax Varnish

A satin-matt varnish for paintings. This varnish can be rubbed on straight from the tin, or brushed on if heated first by placing tin in a container of very hot water. It can also be buffed-up to a sheen with a lint free cloth. Removable with gum turpentine if necessary. Impasto medium for oil colours.

Damar Varnish

For use as a final varnish for oil paintings, Damar Varnish is also used as a basis for making some painting and glazing mediums. For varnishing egg tempera, dilute with an equal amount of gum turpentine.

Gloss Varnish (Formally Paraloid Varnish)

High-gloss, non-yellowing acrylic varnish. Removable with mineral turpentine. The gloss finish can be modified by diluting with mineral turpentine.

Pure Gum Turpentine

A natural solvent for oils, used in most painting mediums. Double distilled from pine derosion, it dissolves Damar Crystals.

Atrists’ Turpentine

Gum turpentine alternative containing white spirit. Solvent for oils, ideal for preparation of painting mediums. It has slightly less odour than gum turpentine.

Citrus Turpentine

Double distilled for artists’ use. Citrus aroma for those allergic to other turpentines. Made from orange zest.

Art Clean

A pleasant, citrus scented cleaning solution. Ideal for cleaning brushes, studio equipment, hands, as well as a variety of household uses. This is an all-natural product which is completely biodegradable.

Smooth Gel

Smooth Gel will stabilise this impasto. It has a paint-like consistency and can be used to spread paint easily without losing the crisp texture of knife or brushstrokes. 

Available in 40ml, 120ml & 300ml tubes.

Texture Gel

Texture gel is a new variation of the Smooth Gel with a gritty textural content made from ceramic beads, to give a crusty mineral look.

Note: both of the above mediums should be mixed 1:1 with paint whenever a thick impasto is used with the intention of overpainting it. Overpainting can then proceed when the stabilised impasto is touch dry, instead of waiting 6 months. If a gel medium is not used, thick impasto can take years to dry through. The underlayer remains like a soft centre chocolate and moves around, resulting in distortion of the surface and loss of the sharp definition of the paint application. 

Available in 40ml, 120ml And 300ml tubes.

Flow Gel

Most oil paint is applied in the mid viscosity range, usually by carefully diluting pasty tube colours with a liquid medium until it moves more easily. This new medium will become the favourite of most oil painters because of the control it gives over the painting process.

When your brush moves, the gel moves. When you stop, the gel stops. It allows control of thinned down applications of paint and is the perfect medium for ‘laying in’. It can also be tactile or smooth according to how it is used. Flow Gel replaces the old method of using smelly turps or turps-based mediums for laying in. It spreads easily and holds when over-painting. 

Available in 40ml, 120ml and 300ml tubes.

Odourless Lean Medium

Odourless Lean Medium is a liquid medium for diluting Archival Oils for glazing or other thin paint applications. Lean medium is also used to paint on top of Flow Gel paint to loosen it up.

Odourless Fat Medium

Odourless Fat Medium has a luminous gloss finish for “Flemish” style painting. It is fast drying, but does not tack up, remaining workable for a day. It can be added to Leam Medium to increase its sheen.

Odourless Classic Medium

Odourless Classic Medium is made from flexible modified Stand Oil and takes about 5 days to dry. It suits the method of day-to-day wet-in-wet blending, with alterations made of scraping off instead of overpainting. It can also be used as a final slow layer of glaze or paint on top of fast medium layers. 

Note: do not use fast layers over slow ones and remember that white also influences drying time. Most artists use four times as much white as any other colour. Some oil painters prefer Flake White because of its fast drying time. Standard Titanium White takes around 5 days, Archival Oils Fast Drying Titanium White dries faster in 1-2 days. Your choice of white can combine with your choice of mediums to influence overall drying speed.