Have Questions About Interactive?

[jennifervs]

Hi there!

I'm the Resident Artist for Chroma and I want to thank everyone for checking out our partner forum. I've been painting with Interactive Professional Artists' Acrylics for about 18 months, and if anyone has any questions about Interactive, I encourage you to visit Chroma's website at www.chromaonline.com (http://www.chromaonline.com/) and sign up for Chroma Link. Chroma Link is our free monthly e-newsletter filled with tips and techniques and loads of good info! You can sign up at www.chromalink.net (http://www.chromalink.net/).

During the past year that I've been traveling, teaching and talking with artists on WC, I've gotten lots of questions about Interactive, its dry time, its mediums, etc. I hope this post will answer some questions and clear up some of the misconceptions.


First and foremost, Atelier Interactive is not a slow drying acrylic. It is a normal fast drying acrylic, which you can control for long blending sessions when you choose to. You simply need to use the water spray when you feel your paint start to tack up if you want to continue to blend and work wet –in-wet. If you want to use “fast” traditional acrylic painting techniques, just withhold the water spray. It’s that simple.

The mediums that go with the line – such as our Liquid Slow Medium, Thick Slow Medium, Fast Medium, Binder Medium or Unlocking Formula – simply add to the painting experience but are not necessary. Of course, every artist works differently (thank heavens for that!) so some may find them helpful and others not. Obviously, environmental conditions, chosen surface and how thickly one paints will influence how any paint performs. In my paintings, I find myself using paint straight from the tube and my Water Sprayer, and I use the Unlocking Formula during the next session when I want to work wet-in-wet and soften edges. I truly like the freedom Interactive gives me to the paint the way I want, when I want.

Another thing - Atelier Interactive will mix happily with conventional acrylics, but the mixtures will be fast drying. You can only do Interactive techniques with Interactive used alone and with its own Interactive “slow” mediums. Artists can get more info at Chroma Link, www.chromalink.net (http://www.chromalink.net/), and download information about how to take advantage of longer wet techniques.

Now a bit about Chroma & Interactive -
Chroma was founded by Jim Cobb in Australia in 1965, and in Australia it has long been the best-known maker of artists’ paints. Atelier Interactive is not new either. It was invented by Jim in 2003, and after 2 years of testing (which means time in the lab as well as even more time personally painting with it, having other artists paint with it and modifying it to be as useful as possible) Chroma decided to launch Atelier Interactive in 2005, not as a new product, but as an important improvement to artists’ acrylics since they first appeared in the 1960’s.

Atelier Interactive replaced our “old” style or traditional fast drying acrylic, which had been Australia’s leading brand. To enable us to do this without upsetting our established users, Jim had to be very certain that artists could, without difficulty, continue to use all their “traditional” fast drying techniques. When Jim first designed Interactive back in 2003, he wanted to be able to extend the wet blending time, in a way that could be controlled by the artists, but at the same time he wanted to retain the fast drying option, which is a much loved property of acrylic paint and distinguishes it from oil paint. He wanted to give the option of painting fast or slow, with the artist in control, because he recognized that there are many acrylic artists that would not want to use a separate slow drying paint.

There are lots of ways to use Interactive for "traditional" acrylic painting, plus now artists can explore styles like plein air and portraiture - styles that tend to make use of wet-in-wet blending. Interactive has opened up a whole new world for artists, and I can't wait to see what artists create with this truly revolutionary paint!

[bravio]

Not really a question at this time. But a comment if you will. In June 07 I bought a set of Chroma's Atelier Acrylics at Cheap Joes trade show. I was hesitant to get into it and try it. But on November 23, 2007 I attended a trade workshop featuring this new acrylic at Jerry's in Knoxville. I have painted in watercolor since 1989. I had always hated the feel and tacky way other brands of acrylic felt. I hated what I called a "resistance to load the brush" - but now I am excited. Chroma's acrylic is different. I have painted several pictures since then. One was recently accepted into our local juried art show. Do you know, there is a bit of paint left over from the workshop on a plastic plate which I covered with plastic wrap after spraying with water and put it in the refrigerator. IT IS STILL USEFUL. That is now over 7 months ago.

[jennifervs]

That's great to hear that you are enjoying Interactive! Can you post any of your paintings? We always love to hear - and see - what artists are doing!

[artistoftheyear]

Chroma, Inc.'s eNews is now available. To sign up just go to http://www.chromaonline.com/chroma/chroma_link to receive a wealth of art-related information in an easy to access format. Here you will find product reviews, tips and techniques, gallery artwork, teacher and event information, and so much more.



Spend sometime looking around, I promise you will learn a lot!

[Nilesh]

Hi Jennifer,

Glad to have found this Partner Forum. When I first heard about the forum, I didn't know where it was -- I don't look through the list at the top of the page anymore, when I go to Acrylics here on wetcanvas.com.

I think people who expect Interactives to be "like oils" out of the tube are often not so happy with what they find. It's probably better if their expectations are different, and they know what you have said in your first post above.

As far as I can tell, even though they are different in significant ways -- and even though they can do other things in addition -- Interactives *can* perform very much like Opens when some Slow Medium is added. Please let me know if this is correct.

I see little difference between Opens out of the tube and Interactives with the appropriate amount of Slow Medium(s) added.

If you matched the viscosity (by using the appropriate amounts of thick and thin Slow Mediums) and matched the drying time, would there be any differences?

(Other than pigment concentration.)

[awerth]

Hi Jennifer,

I have a question about the use of Interactive... Do you have a recommendation for what kind of palette to use? Sometimes, say for a portrait, I'll need to mix up a bunch of colors ahead of time and keep them workable for several days (or more) while I work on the painting. When I first tried Interactive paints about a year ago, without knowing any better, I just used my normal "Sta-Wet" palette with the sponge, water, and paper (this is what I normally use while painting with traditional acrylics). However, I found that the Interactive paints would absorb quite a bit of water over night so that they lost their nice creamy texture ("melting"). Is there a better system that you've found works well with these paints for keeping the palette workable for a longer period of time? Thanks much.

-Andrew

[jennifervs]

As far as I can tell, even though they are different in significant ways -- and even though they can do other things in addition -- Interactives *can* perform very much like Opens when some Slow Medium is added. Please let me know if this is correct.

I see little difference between Opens out of the tube and Interactives with the appropriate amount of Slow Medium(s) added.



Hi Nilesh,

I had a chance to work with the Opens this week, and I'd answer that Interactive can perform very much like Open, regardless of whether or not Slow Medium is added. When Interactive starts to feel tacky, just use the water sprayer to bring your paint on the surface back to a "blendable" state.



If you matched the viscosity (by using the appropriate amounts of thick and thin Slow Mediums) and matched the drying time, would there be any differences?

(Other than pigment concentration.)

All things being equal, Interactive has a unique formulation that offers artists access to both traditional wet-over-dry, classic acrylic painting techniques, as well as these new wet-in-wet painting techniques. For me, that’s a huge advantage, because I can work the way I want, when I want.

[jennifervs]

Hi Jennifer,

I have a question about the use of Interactive... Do you have a recommendation for what kind of palette to use? Sometimes, say for a portrait, I'll need to mix up a bunch of colors ahead of time and keep them workable for several days (or more) while I work on the painting. When I first tried Interactive paints about a year ago, without knowing any better, I just used my normal "Sta-Wet" palette with the sponge, water, and paper (this is what I normally use while painting with traditional acrylics). However, I found that the Interactive paints would absorb quite a bit of water over night so that they lost their nice creamy texture ("melting"). Is there a better system that you've found works well with these paints for keeping the palette workable for a longer period of time? Thanks much.

-Andrew

Hi Andrew,

I work with a sta-wet palette when I paint plein air and paint large. The"melting" issue can occur if the sponge is wet. However, if you wring the sponge out so it's merely damp, your paint should hold up - mine do!
Let me know how that works for you...

[awerth]

I work with a sta-wet palette when I paint plein air and paint large. The"melting" issue can occur if the sponge is wet. However, if you wring the sponge out so it's merely damp, your paint should hold up - mine do!
Let me know how that works for you...

Thanks Jennifer -- I'll give that a try...

[HarvestMoon]

Hi Jennifer ! Thanks very much for the samples! I have started to use them. I come to the paint from having used watercolors, gouache, and fluid acrylics.

I love the way the paint dries to a matt finish, and also love the fact that you can re-wet the paint in your palette (which does not dry to peel off like a small plastic blob). I also like the fact that it still dries quickly. The colors are very beautiful as well.

However, I have really gotten addicted to gouache- in particular the way it seems to go on very velvet smooth- without a lot of brush marks and such. I can't seem to get the interactive acrylics to go on quite as smoothly- that is, I still see the brush marks most of the time. I am thinning it down quite a bit so it is very liquid. Any suggestions? I noticed that Chroma makes some new kind of paint that is not quite gouache and not quite acrylic...but can't find it at either dickblick or jerrysartarama.

Also, for artists often paint with the acrylic layer very thin and want it to NOT interact with subsequent washes of water colors. I would think the matt finish instead of a plasticey finish would be a plus for this type of work. Can this be done with the interactive acrylics, or will it interact with a wet wash because the water re-activates it?

Thanks very much- this is very exciting new paint! I can't wait until I have time to take it out to the gallery I am a member of and let the oil painters try it- I suspect they will be instantly converted!

[jennifervs]

I can't seem to get the interactive acrylics to go on quite as smoothly- that is, I still see the brush marks most of the time. I am thinning it down quite a bit so it is very liquid. Any suggestions?

Also, for artists often paint with the acrylic layer very thin and want it to NOT interact with subsequent washes of water colors. I would think the matt finish instead of a plasticey finish would be a plus for this type of work. Can this be done with the interactive acrylics, or will it interact with a wet wash because the water re-activates it?




Hi Harvest Moon!

Glad Interactive is working well for you! Interactive has a good body and will retain brush marks when used out of the tube. You may want to try using the Slow Medium or Clear Painting Medium to cut the viscosity of the paint. These mediums create a more fluid paint and your brush strokes won't be as evident. You may also want to use soft brushes.

Washes of color don't necessarily reactivate a touch-dry layer; a lot depends on your surface, the environment and you own ways of painting. But If you are applying a wet wash of color on a touch-dry layer and want to ensure the wash doesn't reactivate the touch-dry layer, you can isolate that bottom layer with a coat of Binder Medium. You can also incorporate some Fast Medium with that underlayer.

[marybe]

I just invested in a set of these acrylics, and can't wait to try them.
I have one question, when you have completted a picture on canvas, how much time does it take to be "completely dry" and ready to frame?

[jennifervs]

I have one question, when you have completted a picture on canvas, how much time does it take to be "completely dry" and ready to frame?

Hi Marybeth!

Great paintings on your site! Interactive cures over time, and how long until the painting is completely cured will depend on how thickly you painted, what surface you used, what mediums you've added and your environment. I'm based in US Northeast (humid in the summer, dry in the winter) and generally, I find my Interactive paintings cure in 10-14 days.

[marybe]

thanks for getting back quickly with the answer about drying time.
I got into my paints and did my first work with them.... THEY ARE GREAT!
(going to post painting under the picture topic)
I did find one danger...it is hard to stop, I now need someone to pull the brush from hand :)
these are the perfect point between acrylic and oils.

[samosghost]

Hello, my name is Ed, I do have a question. I see your distributor page on the Chroma website and it's very nice, but I have never bought online before and was wandering what people think is a good, lowest-price, reliable, online retailer for Atelier Interactive paints. I am interested in the 7 tube set. Thank You.

[jennifervs]

Interactive is available in many catalogs and online - just google to find a retailer near you! Some of the big ones are:

Art Supply Warehouse www.aswexpress.com (http://www.aswexpress.com)
Artist and Craftsman www.artistcraftsman.com (http://www.artistcraftsman.com)
Blick Art Materials www.dickblick.com (http://www.dickblick.com)
Cheap Joe's www.cheapjoes.com (http://www.cheapjoes.com)
Jerry's Artarama www.jerrysartarama.com (http://www.jerrysartarama.com)
Plaza Artist Materials www.plazaart.com (http://www.plazaart.com)
Utrecht Art supplies www.utrecht.com (http://www.utrecht.com)

[bertschikon]

I recently used Chroma's Fast Medium to overpaint an initial umber sketch before applying the final colours. The painting was on gesso primed board and after using the fast medium the whole surface was sticky until I had got it covered with paint. Should I have used the Binder Medium rather than Fast Medium and which of these two, if any, would you recommend as an isolation coat before the application of varnish to a painting?

[jennifervs]

Hi Doug!

You can use Fast Medium or Binder Medium as a way to seal your under layers prior to overpainting. Both can remain tacky for a bit, but that helps Interactive adhere better. How long was the Fast Medium sitting on your underpainting, and did you do anything like use a hair dryer or expose to it the sun to speed the drying?

Regarding what to use as an isolation coat prior to varnishing, I suggest the Binder Medium, or even using one of the water-based mediums/varnishes before moving onto a solvent varnish. Chroma produces three water-based mediums/varnishes - Matte, Satin and Gloss - as well as solvent varnishes - Invisible, Satin and Gloss.

BTW, nice gallery! I love the work of Froud, too!

[bertschikon]

Thanks Jennifer, I've noted the points you have made.

[Zirngibism]

Hi there!

After doing some reading on very informative threads here (big thanks WC!), I've decided to purchase Atelier Interactives and use them like watercolors. (I'm a layer person who loves the effects of a built-up wash).

I'm aware that the Interactives have such thing as an unlocking medium for stubborn, dry paint, in the case that water doesn't loosen it up. Does this mean that I can use these types of acrylics with my nice sable watercolor brushes without the fear of dried Interactive permanently gathering at my filament? In theory, I'd guess it would be safe to use my nice watercolor brushes with it, provided that the unlocking medium wouldn't also unlock the glue that holds the hairs in place.

Even if I did have the paints with me, I'm afraid that experimenting might not work, because maybe damage to brushes would happen over time, with many uses. So I was wondering if anyone had personal experiments with long-term use.

(I realize the ideal would to buy a set of brushes for each medium, but I'm a college student who, while trying to do professional quality work, is also trying to save a buck!)

[Charlie's Mum]

I wouldn't use my good w/c brushes with any acrylic - though I'm sure some others do!
I have some good acrylic brushes too but mainly I use cheap soft handled brushes made by Royal - I'm sure they're available in the US ...... they sell in the UK for under £2GB - and probably a couple of dollars for you :)

[jennifervs]

Hi there!

I know some artists who have used sable brushes with Interactive, but it is important to clean the brush well. Personally, I have separate brushes for my watercolors - a round and a flat sable that I've had since college, saved only for watercolor.

Even when I work with Interactive in a watercolor style, I end up scrubbing and scumbling as well as making washes, so my brushes take a beating. And of course, different brushes make different marks. Squirrel brushes are a nice option. I have a big mop from Utrecht that I LOVE! You might want to check out Princeton Brushes, too - a solid brush for a good price. They make brushes for oils, watercolors and acrylics, synthetic and blends, soft and stiff.

And nice portfolio!!! Like "Im Going to Miss It."

[claydesigner2156]

Hi Jen,
I just posted The Parrots in this forum. The colors are gorgeous! So bright! This was painted on watercolor paper. Getting ready to start a portrait but have to add a few colors first.

Will be in touch this week.

Yvonne
The happiest people don't always have everything. They just make the most of everything they have.

[HwyStar]

My wife and I started painting using the Bob Ross Oil technique and we don't like the oils and the clean up. My questions are:

1) We live in a very dry environment with humidity that is around 20% in the home (Reno Nevada). If I add a humidifier to the room will this help keep the painting wet enough for a one hour to one and a half hour window of painting without having to spray the canvas every fifteen minutes?

2) The Bob Ross technique uses a "liquid white prep" to the canvas before you start to paint your painting. This allows the painter to mix the colors he is painting on top of a white, wet medium. Does any of the Atelier mediums support this technique? I had the thought of taking the white titanium and mixing it with the Atelier Slow Medium and painting that over the entire canvas. This way the canvas would help the painting stay wet through out the entire process without my having to mix mediums or spray water. Just a thought!

3) If I do the above process should I use the color titanium? I have read that titanium ages and discolors faster than other whites... I am a Noob so please forgive my ignorance...

[samosghost]

HwyStar:
You want to mix oils and acrylics? I would not this cannot work out well unless you are looking for experimental techniques. In my experience Atelier Interactive (acrylics) are just good acrylics, the 'stays wet longer' thing is true for like 5 minutes with this paint, which is just a tad longer than most acrylics, hope this helps...

[HwyStar]

Sorry my post didn't make sense samosghost.

I will not be using oils at all. I am just trying to understand the drying process of Atelier compared to an oil product. I am also trying to extend the time with which to work the acrylics.

If the drying time stays longer than standard acrylics by 5 minutes then that helps me understand how long we have to accomplish our paintings. I have watched the "oil painting" example on Chroma's website and I noticed he never once used the spray bottle while he painted his landscape. We are wanting to have our arcylic paintings emulate oil as much as possible without the oil! I hope that better explains my request. Thanks Man! :thumbsup:

[samosghost]

okay I understand, the atelier paint itself stays wet like five minutes longer in my experience, but have never used the slow medium...

[jennifervs]

Hi there!
Interactive is like "regular" acrylics in that they dry fairly quickly, but they much than regular acrylics, because all you need to do is spray them with water during a session to keep working wet-in-wet, like Bob Ross and other oil painters do. Using the water spray is second nature to me now; when I want to blend, if my paint feels tacky under the brush or if its touch dry, I juts spray enough to make my paint feel slick and my fingers glide in the surface.

Since you don't want to spray often, I have a few suggestions -
1. Use Atelier Binder Medium to seal your surface. Painting on a well sealed, non-absorbent surface will give you a much better blending experience

2. Try incorporating Thick Slow Medium. That will keep the paint workable longer, reducing the time in between sprayings.

And don't worry about using Titanium White - ours is archival and lightfast!

[HwyStar]

Thanks for the follow up people! You have both answered my questions perfectly.

Thanks for all the tips Jennifer! I will try them all out. By the way, I noticed you replied early this morning so that means you are not out shoveling snow this morning... I used to live in Nazareth and I heard PA got slammed yesterday. Sorry to hear that. But it looks pretty doesn't it? Take a picture and paint it later when you come back inside! The countryside is so pretty there.

Thanks again!

[maryhysong]

Hi, I've been playng with my interactives for a few weeks and have a problem that is actually getting worse now that it is warming up. I live in the desert and have a real problem keeping the paint workable. Even adding slow medium does not seem to help. The water spray helps, but tend to get water spots. I've worked on canvas and on board coated with binder medium. I normally paint in thin layers and think this is the problem. Should I coat the area with slow medium first instead of mixing it with the paint? That is probably the only thing I haven't tried yet. Any help appreciated.

[claydesigner2156]

I have been using the Interactives since last year. Obviously sinceIi live in North Carolina...and nowhere near a desert, I can only guess on a solution. I think your next idea may work but I also was thinking that maybe a drop or two of the Unlocking solution will keep the paint open. That IS what it is designed to do. In fact, in their videos that is how Jen opens up an area to re-paint it. Worth a try at any rate. I love their colors for vibrancy and the toning colors for all sorts of reasons.

Hope you solve the probles. That can be a bummer!
Yvonne

[jennifervs]

Hi, I've been playng with my interactives for a few weeks and have a problem that is actually getting worse now that it is warming up. I live in the desert and have a real problem keeping the paint workable. Even adding slow medium does not seem to help. The water spray helps, but tend to get water spots. I've worked on canvas and on board coated with binder medium. I normally paint in thin layers and think this is the problem. Should I coat the area with slow medium first instead of mixing it with the paint? That is probably the only thing I haven't tried yet. Any help appreciated.

Hi there! Painting in the desert is challenging with any acrylic, but I have a few suggestions:

Instead of the Slow Medium, try the Thick Slow Medium. This mediums is more of a gel, and keeps Interactive more workable, and responsive to the water sprayer, longer. Add some to your paint, and try applying some to your surface too so you are painting into a couch of medium.

It's fine to paint thin layers when you are laying in. But when it comes time to blend, use more paint. A thin paint layer, especially in harsh conditions, will definitely set up quickly. More paint=more working time.

Like Yvonne mentioned, bring some Unlocking Formula with you. This will reactivate paint layers when water doesn't work. I take some with me (along with water and Thick Slow Medium) whenever I paint plein air.

You can also add up to 10% Retarder to your water sprayer (not your paint) for extremely dry conditions.

There's an artist that posts frequently on Wet Canvas called "Aspenman," who is from Santa Fe. He paints in the studio and plein air very successfully with Interactive. He might have some tips for you too!

[maryhysong]

Thanks for the suggestions and yes Aspenman sent me a message also, thank you. i will keep fooling around with it and see what happens [tho usually I am painting in the house and not outside] I have a cool mist humidifier that I'm going to get out and try putting it to blow like right in front of the canvas [not on it] and see if that doesn't help too

[maryhysong]

Since we have been using the swamp cooler [AKA evaporative cooler, adds water to the air] the paint has been a little better. Also fooling around with things; If I mix some of the painting medium into each pile of paint on the palette to begin with, then add some of the thin slow medium to my mixes for the layers, it is much better, after 2 or 3 layers like that then it will blend with just wet paint or a damp brush. I tend to use thin layers all the way through the painting and this is helping. I didn't really want thicker paint so haven't tried the Thick Slow Medium. I have ordered some retarder and some more colors, so they should be here next week.

[maryhysong]

Why wouldn't you want to add the retarder to your paint?

[catman07]

Wondering how light fast these acrylics are? painting on wood panels, should the finished piece be sprayed with a UV fixative product of some kind? If so can you recommend a product that you have successfully used.

Thanks for your time,

[maryhysong]

As far as I know they are as light fast as any other artists acrylic, but you could probably find ratings for the individual colors at the chroma site; they also have some videos and some PDF files you can down load to watch/read.

Will your panels be exposed to direct sunlight or be placed outdoors? Or will they be indoors? that would make a difference in how you might want to treat them.

[catman07]

They will be placed indoors. Based on info at their site that the majority have a good light fast rating.

[jennifervs]

All the colors in Interactive are indeed lightfast!

[stevenbg]

Hi Jennifer,
I have a quick question for you. I've been watching the Mitch Waite painting demos on Chroma's web site, and I was wondering what sort of paper and ground he's using. It doesn't seem to buckle at all, and takes the Interactive wonderfully well. I would love to try it.
Thanks in advance.
Steve.

[jennifervs]

Hi Steve!

I asked Mitch, and he replied that he uses "Hahnemühle Acrylic Painting Board 450 gsm 50x65cm. I use the rough side unprimed – just as it comes out of the packet."

Hope this helps!

[mjgrump]

I am thinking of trying the atelier interactive paints, but have a few questions before I invest. I am an oil painter who has a reaction to solvents and am looking for a water-based alternative. I like the idea of being able to work wet into wet AND layer quickly (seems too good to be true). If I were to use the slow drying medium to develop a highly blended underpainting, do I have to wait a couple of days for it to dry and then apply an isolation layer, or can I apply it carefully when the paint becomes tacky (and how long would that take?). I gather the pigment load is much greater than the OPEN acrylics, which I did not like mainly because they are so transparent.

Also, can I glaze over an interactive painting in oils? And how long would I have to wait before I could do so?

I paint in a very realistic, traditional, layered technique. The main reason I want the wet-into-wet aspect is that I want a very smooth underpainting to glaze over. You can check out my web-site if you are interested in what I do (janewillistaylor.com)

Thank you.

[jennifervs]

Hi Jane - your work is beautiful! I like "The Kitchen Drawer" and "Closet" a lot - did you clean them before you painted them? If you'd prefer a more "compositionally challenged" setting (i.e. cluttered) do I have some drawers and closets for you!!!!

But onto your questions. In a nut shell, how quickly Interactive dries enough before you can overpaint with multiple glazes depends on the surface, humidity, how much medium and which one, and your own personal hand as an artist. In the situation that you described, yes, wait a few days until it was touch dry, isolate, and then glaze. But can you glaze if the paint is tacky or just reasonably touch dry? Of course you can, just like you can when oils become tacky. I personally love that stage when you can layer on top, or push into it and blend. It's a more challenging way, and takes a light hand, but if you are already working that way with oils, I can see no reason why you couldn't quickly adapt to Interactive. Depending on your surface, humidity, how much medium you used and how much paint, you can do this within the hour, but waiting a day or so certainly gives the paint more time to cure.

I live in South Central Pennsylvania, and in a nice, temperature controlled indoor studio, I find that I can overpaint within 30 minutes or so. On hot days, it dries on even quicker. You can always use a hairdryer to set your paint even faster.

You may want to check out the new Acrylic Glazing Liquid for those final glazes. This is a traditional glazing medium, and will not reopen once dry. I like to use this medium a lot for final glazes.

You can overpaint with oils once touch dry, but I usually wait about 48 hours.

There are a few artists that immediately come to mind that create very beautiful realistic paintings, and use Interactive in their process.

Mikel Wintermantel (http://www.mikelwintermantel.com/)
LJ Lindhurst (http://www.ljlindhurst.com/)
Lory Lockwood (http://www.lorylockwood.com/default.htm)

[mjgrump]

Hi Jennifer - Yes, I arrange the drawers. I mean to paint them as they are, but can't resist controlling the composition. I'm working on it--I have plenty of source material for messes!

Thank you for your swift reply. I'll give the interactives a try.

Where in South Central PA are you from? My dad's family is from Shade Gap, which is south of Mount Union. The Shade Gap cemetery is more or less the total genealogy of that side of my family.

I'll let you know how the acrylic experiment goes.

Thanks again,
Jane

[jennifervs]

Chroma's US office is in Lititz, PA, and I live in Marietta, right on the Susquehanna.

Feel free to contact me if you have any questions as you start your experiments!

[siberart]

Good morning Jennifer,

I am ready to buy more Interactives, but at this time want a very limited palette. Which yellow, red, blue would you recommend? I will also add purple, burnt siena and white.

Thanks for your help in this.

[jennifervs]

Hi Pat - not sure why I didn't reply sooner, but I apologize!
My go-to primaries are:
Crimson
French Ultramarine Blue
Cadmium Yellow Medium

I like these for their color mixing properties, as well as the fact that the red & blue are semi transparent, so they work well fro glazes. I prefer opaque yellows, since they are such a light value.

Other primary combinations are:
Pyrrole Red - a beautiful, rich, "lipstick" red with a cool undertone, great as a Cad Red alternative
Arylamide Yellow (Light or Deep)
Pthalo Blue or Cobalt Blue

I've also been playing around with Prussian Blue - a great, Van Gogh deep Blue.

Don't know if I helped - there are just so many great colors!

[siberart]

Hi Pat - not sure why I didn't reply sooner, but I apologize!
My go-to primaries are:
Crimson
French Ultramarine Blue
Cadmium Yellow Medium

I like these for their color mixing properties, as well as the fact that the red & blue are semi transparent, so they work well fro glazes. I prefer opaque yellows, since they are such a light value.

Other primary combinations are:
Pyrrole Red - a beautiful, rich, "lipstick" red with a cool undertone, great as a Cad Red alternative
Arylamide Yellow (Light or Deep)
Pthalo Blue or Cobalt Blue

I've also been playing around with Prussian Blue - a great, Van Gogh deep Blue.

Don't know if I helped - there are just so many great colors!

Hi Jennifer,

I needed the Satin Varnish, so went ahead and bought my colors, which happily arrived just minutes ago. Mostly what you recommended except for the Yellow. I got the transparent after reading all the specs about each color. Going to varnish the attached which is now a finished painting using Interactive and entered in a local exhibition: Thanks again for all your help.

[jennifervs]

looks great - love the reflection in the water!

[Prismaguy]

I have a question about your smooth gel oil medium. Would this work well in spreading a thin layer onto the canvas and painting into it?
Thanks, greg

[Moyer]

I am a first time user of acrylics and interactive. What can I do to prevent the paint from drying darker than originally applied..Is there a video worth watching or ??? I am trying to lighten values but in doing so the colors are appearing chalky.

Thank you in advance.
Jim

[siberart]

I am a first time user of acrylics and interactive. What can I do to prevent the paint from drying darker than originally applied..Is there a video worth watching or ??? I am trying to lighten values but in doing so the colors are appearing chalky.

Thank you in advance.
Jim
Was hoping you would have an answer to this. I amhaving exact same problem.

[Moyer]

I guess there is no answer, I think I will switch to the ShinHan acrylics, I have heard nothing but RAVE reviews and good support.

[jennifervs]

Hi there! I'm not sure why my 1st reply didn't post - so sorry!
Acrylics darken when they dry because the binder/emulsion that holds the pigments is milky white, but dries clear when it dries. So there is already a wee bit of white in wet paint, so they naturally look darker when dry. In a professional acrylic paint like Interactive, it's been formulated to have minimal shift. I barely notce a shift in my own paintings. Evn paints that have been made witha sol called clear binder have a shift whe you test all of them.

But matching color does become much, much easier with Interactive because you can always rehydrate Interactive to bring color back to its wet state, and you can mix wet color on yoru palette to match the wet color on the painting. And even if they dry slightly darker, they will still be the same. Overpainting is actually easy.

If you want to lighten values but think yo are getting a chalky color, try using Tinting White (Pearl Titanium.) This white is a bit warmer, and not as opaque as Titanium. Tinting White has minute mica particles that bounce light back, so colors don't look as dull.

In the attached paintings, I used Tinting White for my white, and note see the transparancy on the veil. I also used Tinting White as my white in the landscape, too.

[jennifervs]

I have a question about your smooth gel oil medium. Would this work well in spreading a thin layer onto the canvas and painting into it?
Thanks, greg

Hi greg,

Using Smooth Gel and painting into it is actually a great way to work with this medium. It helps get some lovely smooth transitions, and is just yummy to use. It also adds nice body when you use a bit more with your paint for crisper marks. I used Smooth Gel in my attached sheep study.

NOTE: Smooth Gel is an Oil Painting medium in Chroma's Archival Oil's line, and is to be used with oil paints only, not acrylics. If you are looking for a similar medium to use with interactive, try Thick Slow Medium.

[siberart]

Thanks Jennifer for the info re darkening. I am posting a finished portrait of 2 girls using Interactive. I wish I had known more about tinting white.

One of the girls' face is much darker than the other and as much as I tried to lighten it, it would darken up again. The underpainting maybe?

There is definitely a learning curve with your product, but I am a fan. Please have a look in acrylics for the finished portrait (rather poor photo unfortunately), titled Chroma Interactive Portrait - 2 girls

Thanks,

[IrmaH322]

I have used watercolors and Liquitex acrylics. About 3 years ago I bought about 15 tubes of Atelier acrylics but never use them. Now I want to try them because I am doing a lot of blending and I am getting frustrated with traditional acrylics. So far I have two questions:
1) When I opened several tubes (after so many years!) the first thing it came out was an oily liquid, I guess it is the binder, one I remember is Cadmium red light. I couldn't put it back in the tube. Is the paint still good or should I buy a new one?

2) I have 2 unfinished paintings that I started with Liquitex acrylics. Can I use Atelier to finish them?
I took 6 photos of Irises that I want to do with a lot of blending and want to try Atelier before I have to resort to Water Mixable oils.
I will have more questions later, I am sure. Thank you.

[IrmaH322]

Is this forum still active?

[jennifervs]

Is this forum still active?
Hi Irma!

Due to the upgrades to Wet Canvas, I was locked out for a few days But to answer your questions, it sounds like your paint has seperated, which can happen after a few years. You can try using it, but it won't have the same consistency as the other Atelier Interactive paints. If it works for you, great, if not, I would buy another tube.

Regarding using Atelier Interactive on top of Liquitex, you shouldn't have any problems, but test in a small place place first. We do not test our products with other brands, so it's always better to be fe than sorry! I know I persoally use other brands of acrylics in my underpaintings and have never had any issues, but as every artist has a different style, we always recommend testing first.

If you have more questions, feel free to call us at 800-257-8866. I am not in the office today (due to the "monster" storm) but will be in Tuesday - Thursday, 8-4, EST.

Thanks!!!

[IrmaH322]

Jennifer thank you for your answer, sorry I didn't reply sooner. I tested all my Interactive and found 5 tubes with separation of what I think is the filler, it was the titanium white, phthalo green 2 reds and cad. orange.
I ordered the replacements, 5 more colors, the unlocking formula, the binder and a medium.
The order will be delivered in a couple of days. Can't wait to start, I will probably have more questions in the future.

[jennifervs]

Please let me know if anything pops up!!! Happy Painting in the meantime!

[crazymixn]

Hi, I need help (never taken classes on art, ancient history student), but love acrylic abstract painting.

I really am trying to understand all uses of crackling textures.First off, I paint a lot but never taken classes and been teaching myself about techniques. I have Crackle medium and last night I played around with the basic use of it. I did the base layer of acrylic (let it dry), did the later of crackle medium (let dry), then added 2nd layer of acrylic. So, I am working with canvas and acrylic paints just so yo know.


Today I purchased an array of objects(due to money and availability of actual art supplies at the store I went to):
-Elmer's Craft Bond, all purpose glue.
-"Mod Podge" Puzzle saver (water base sealer, glue, and finish).
-Acrylic gesso (wasn't sure if I needed it, b/c all my canvases I purchase are already primed).
-Spacking Paste (from hardware area.... I didn't have time to go to art store, I know I should...) -Patching Plaster (from hardware section.)
-Mod Podge Matte waterbase sealer, glue and finish (forgot to buy gloss one!, but I have the matte and gloss acrylic sealer)


I know elmers glue can be used in place of crackle medium, but looking to find deeper way to apply crackled art textures

**Is it possible to apply crackle medium to any of these object? What happens when I use glue and medium? Also I'm more interested in how I can apply it to the paste/plaster for use in acrylic art on canvas.

[jennifervs]

Hi! Crackling is a very fun technique. I can tell you how the Jo Sonja Crackle Medium & Decor Medium work, but we do not test our products with other brands, so I would encourage you to test and experiment with those other products - let me know how they work!

How these mediums work depends on which one it is.

Jo Sonja Crackle Medium is designed to be applied on top of dry, but uncured layer of Jo Sonja Artists' Colors. It will crackle the paint layer it touches. The thicker and fresher the paint, the better.

Jo Sonja Decor Crackle Medium is designed to be used as a sandwich layer between layers of paint; the top layer will crackle to reveal what is underneath. Apply a layer of Jo Sonja Artists' Colors and let dry, apply a generous layer of Decor Crackle and let dry, and then apply another layer of Jo Sonja Artists' Colors within 6 hours. The thicker the top layer of paint, the more dramatic the effect.

Always allow layers of paint and medium to air dry, so don't use a hair dryer. A light sanding can help achieve smoothness.

I've attached an image by a wonderful artist, Carrie Martinez, of one of her birds, a Stellar Jay. Her blog is http://caramiabella.com/ She uses Jo Sonja Crackle Medium.

http://www.wetcanvas.com/Community/images/17-Dec-2012/94402-jay-4.jpg

Hope this info helps!

[RebeccaJFleming]

Hi! Crackling is a very fun technique. I can tell you how the Jo Sonja Crackle Medium & Decor Medium work, but we do not test our products with other brands, so I would encourage you to test and experiment with those other products - let me know how they work!

How these mediums work depends on which one it is.

Jo Sonja Crackle Medium is designed to be applied on top of dry, but uncured layer of Jo Sonja Artists' Colors. It will crackle the paint layer it touches. The thicker and fresher the paint, the better.

Jo Sonja Decor Crackle Medium is designed to be used as a sandwich layer between layers of paint; the top layer will crackle to reveal what is underneath. Apply a layer of Jo Sonja Artists' Colors and let dry, apply a generous layer of Decor Crackle and let dry, and then apply another layer of Jo Sonja Artists' Colors within 6 hours. The thicker the top layer of paint, the more dramatic the effect.
Hi Jennifer :wave: Just wondering if you know whether the Jo Sonja Decor Crackle Medium would work with Atelier Interactive paints as well? All of my paints are Atelier as I love the ability to be able to keep blending (I'm still learning acrylics so sometimes it takes me longer to get the effect I want, which means the paint dries before I want it to if I don't keep spraying it), and since it's thicker than the Jo Sonja paint, I don't know if it would work as well (or at all). But I have a few ideas for paintings where the crackle effect would be very interesting to try. I am guessing if I did use it with Atelier, I would have to use the paint in a fairly thinned and fluid manner.

Cheers, from Rebecca :)

[jennifervs]

I've used the Crackle Medium with Atelier Interactive on a project and the effects were interesting. I'll post a picture later this week. I liked it well enough to want to do it again!

I haven't tried using Decor Crackle with Atelier Interactive, but in theory it should work fine, since it cracks the top layer. I would just expiriment before commiting to a masterpiece!