Matisse range of Acrylics mediums and ancillary products.

Today’s was not a painting demonstration as such. Instead Renee introduced us to a range of artist products, that had its start in

Sydney in back in 1964, Matisse Derivan -Proudly Australian Owned and Made.

Starting first with something to paint on, Renee pointed out that if you choose to use 185gsm paper or thinner, so as to avoid curling, it needs to be stretched for use with acrylics. But there’s no need to stretch the likes of 640/850gsm, adding too that ‘cold pressed’ is most popular with painters. But for those who prefer working on canvas or linen, Renee showed us and recommended a few of the 26 sizes of CreateART readymade stretched artist canvases, as well-primed and excellent value for money.

Basically the Matisse acrylics range comprises five different groups of products, all acid-free: ­

1.           
Matisse Background Colours with honey-like consistency, offer excellent cover and tooth, used straight from the jar and they cleanup with water.

2.           
Matisse Structure Formula is a thick impasto paint, for great textural effects, ideal for brush or palette knife, for use alone or in combination with any of the Matisse mediums, thereby extending the range, not to mention, saving money.

3.           
Matisse Flow Formula on the other hand is a low viscosity, intensely coloured series, ideally suited to smooth work on canvas and perfect for hard edges and fine detail.

4.           
Matisse Inks are strong bright colours, that are fully compatible with the whole range of Matisse artist colours, especially useful in airbrush and calligraphy, as well as in watercolour techniques.

5.           
Matisse Mediums galore and Renee had a jar of each and every one of them.

Adding one or two drops of the MM1 retarder to the paint, extends the time you can work it before drying.

MM3 Surface Tension medium makes the paint more fluid and penetrating for use on absorbent papers and canvases. However you can add too much water, says Renee “no more than 30%”, she says.

MM9 Acrylic Painting medium is a binder, which when used instead of water to dilute the paint, guards against loss of colour and binder that results from over-thinning with water.

Gesso was next, with Renee stressing that the Matisse range of water-based Gesso primers come in four different colours, the most popular being MM10 with its intense white flexible surface and excellent tooth, and is an excellent permanent flexible primer, for not only canvas and board, but paper as well. All Matisse Gessos result in toothier and more tightly stretched canvas surfaces.

MM26 is a transparent Gesso for extra tooth with Matisse Background range, said tooth being especially suited for use with pastels, including oil pastels.

MM27 Low Viscosity Gesso is another intense white primer with excellent tooth and although it can be thinned with water, it’s designed for use directly from the jar. It can be used as primer for all paints, oils included.

MM25 Black Gesso (i.e., just like MM10 but black) is an intense black surface for use under canvas, board and paper. Use equal parts of water and MM25 with raw canvas and linen.

MM16 Faux Finish & Marbling gel, in combination with Matisse Flow Formula acrylic colours, yield so many interesting textural effects and delightful transparency.

MM20 Water-based Patina Antiquing & Glazing medium slows the drying time, such that you’ll have plenty of time to move the paint around. It has extra binder and you are able to use the tiniest amounts of paint for glazing. And it’s such an excellent material for antiquing as well.

MM24 Iridescent medium, mixable in any proportion with Structure & Flow Formula colours, has no fillers; hence it yields intensely rich colours that work beautifully over dark backgrounds.
Three varnishes; non-yellowing, water-based MM5 Matt medium, although not a ‘finish’ varnish, reduces gloss, i.e. more like gouache. Then there’s an MM6 Polymer Matt and an MM28 Polymer Satin varnish; all of them used as final coats over dried acrylic paintings, especially where turps-based varnish is not applicable. In any event, Renee urged that you’d need to allow 24 hours between Polymer coats and to be mindful, that hot humid days could result in a bloomin’ cloudy finish. At any rate these are just the thing for work that is to be photographed.

MM2 Impasto water-based medium; it’s a modeling compound and great fun for creating thick rich textural effects with knife or brush, as well as for inclusion of all manner of ‘found objects’ into your painting. Compatible with all the Matisse Acrylic paints.

MM4 Gel medium is a thick transparent buttery gel, for use with knife or brush, for coloured glazes as well as for thick 3-dimensional translucent impasto effects.

All up 26 mediums are listed in the colour card but Renee also introduced their exciting new range of 18 Dry Mediums. The brochure Renee handed out tells it all. Plus all of them mix beautifully with the whole Matisse range. They open an exciting new spectrum of textural effects.

One more thing … this little Matisse Technical Guide offers SO MUCH more about it all. It really is such good value.

Renee mentioned so many other things, that Wollongong’s Levers Art Store sell as well. Also that in the not too distant future, she’ll be opening Mondays only, between 3 and 5pm for sales and orders, above the garage at corner of Pacific and Minnamurra Sts, Kiama. Bravo Renee.

-Neal Hicking