FAQ

One-coat Gesso and transparent Gesso are surface preparers and can be applied to all paint substrates.

The application of Gesso, whether transparent or white, is essential for the proper preparation of the surface to be painted. Its application ensures that the layers of paint adhere well to the surface.

The choice of Gesso depends on the colour of the surface you want to achieve. If you prefer a white surface, use a coat of Gesso. If, on the other hand, you prefer to retain the original colour of your paint surface, choose transparent Gesso.

Phosphorescent gels are transparent. Their colour during the day and their phosphorescence at night will be more visible if they are applied to a white or light-coloured surface.

Yes, fluorescent colours can be mixed with colours from the rest of the range. This applies to all colours and auxiliaries in the range.

For an average application, the drying time is approximately 6 to 12 hours.

Most commercially available canvases are ready to use. For uncoated canvas: first apply a very diluted coat of gesso, leave to dry, then apply a second undiluted coat. For other surfaces such as wood or metal... a specific primer is not necessary, but always be sure to degrease the surface to be painted.

Simply dilute with water.

Use a medium.

Yes, absolutely. For outdoor use, you'll need to varnish them properly.

Yes, although acrylic is less restrictive than oil, it's better to go from diluted to undiluted coats rather than the other way round to avoid surface defects (cracks, crevices).

Absolutely. A complete range of gels, mortars, etc. has been created for this purpose.

These are interference colours, meaning that they change colour according to the angle of refraction of the light.

The difference is minimal. Extra Fine Acrylic is specifically formulated to reduce this colour difference, which is characteristic of acrylic paints in general.

Yes, but if the work is to be displayed outdoors, a varnish is necessary.

To do this, use a medium.

To do this, use a painting product.

Absolutely, a range of auxiliaries has been specially created for this purpose. Studio Acrylic gels are specially designed to be mixed with the colour in any proportion without reducing its performance. They are available in gloss or matt versions.

Most commercially available canvases are ready to use. For uncoated canvas: first apply a very diluted coat of gesso, leave to dry, then apply a second undiluted coat. For other surfaces such as wood or metal... a specific primer is not necessary, but always be sure to degrease the surface to be painted.

No, acrylic is less restrictive than oil. Successive coats can be applied without any specific rules.

One-coat Gesso and Transparent Gesso are surface preparations that can be applied to all paint substrates.

The application of gesso, whether transparent or white, is essential for the proper preparation of the surface to be painted. Its application ensures that the layers of paint adhere well to the surface.

The choice of gesso depends on the colour of the surface you choose. If you prefer a white surface, use a coat of Gesso. If you prefer to retain the original colour of the surface to be painted, use a transparent Gesso.

Phosphorescent gels are transparent. Their colour during the day and their phosphorescence at night will be more visible if they are applied to a white or light-coloured surface.

Yes, fluorescent colours can be mixed with the rest of the colours in the range, including all the colours and auxiliaries in the range.

For an average application, drying time is approximately 6-12 hours.

Although lightfast, an anti-UV protective varnish improves the conservation of works of art.

These are colours that cannot be obtained by mixing other colours. They are a specific blue, Cyan blue, a red/pink called Magenta and a specific yellow. These three colours, known as primaries, can be mixed to produce all the other shades. The primaries in the Fine Watercolour range are Primary Lemon Yellow, Primary Phthalo Blue and Primary Cadmium Red. They are perfectly balanced in terms of colour, to guarantee the best possible learning experience from these mixtures.

Heavyweight paper is recommended. Below 180g, the paper soaks very easily and curls.

Apply a sufficiently wide barrier of Drawing Gum around the area to be filled. Once the Drawing Gum is dry, apply the colour without fear of overflowing. When the colour is completely dry, peel off the Drawing Gum.

To make moist cups, the paste is kneaded, crushed and poured into half-cups, which are then steamed. Depending on the pigments used, the water evaporates in different ways, creating an irregular and sometimes slightly indented surface that in no way alters the qualities of the colour.

‘If the Drawing Gum is applied for too long, it becomes almost impossible to remove; the only solution is to cool it down very strongly so that it can be sanded off.

The adhesion of Drawing Gum is increased by high temperature and humidity.’

Yes, but be careful, depending on the surface, there is a risk of irreversible discolouration of the surface.

Simply heat it with a hairdryer.

Here's a simple tip: soak the tip of your brush in soap before use. Clean it immediately after use. However, it's best to reserve one brush for the specific use of Drawing Gum.

An anti-UV protective varnish improves the conservation of the works.

Use gouaches to combine transparent and opaque effects. Indelible Indian ink can be used for outlining and colouring with Colorex.

No, not at all, except for the 3 primaries and trichrome black. In fact, even once they've been applied and dried, the colours re-dilute with water. Think about this if you want to cross and overlay colours: - If you don't want to ‘drag’ the colour from the first layer, apply the next layer with a light hand, in one quick stroke without repeating. - On the other hand, you can deliberately work on a previously wet surface or soak the first layer of colour, to create fading and blending effects: that's what makes inks so charming!

These are colours that cannot be obtained by mixing other colours. They are a specific blue, Cyan blue, a red/pink called Magenta and a specific yellow. These three colours, known as primaries, can be mixed to produce all the other shades. The primaries in the Colorex range are perfectly balanced in terms of colour, to guarantee the best possible learning experience from these mixtures.

This makes it possible to superimpose a second layer without ‘dragging’ the first too much. The clear superimpositions of these transparent inks make it easier to understand and master the mixing of primary colours.

Heavyweight paper is recommended. Below 180g, the paper soaks very easily and curls.

Apply a sufficiently wide barrier of Drawing Gum around the area to be filled. Once the Drawing Gum is dry, apply the colour without fear of overflowing. When the colour is completely dry, peel off the Drawing Gum.

Colorex inks are ideal for comic strip illustrations, calligraphy and ink or watercolour work.

Colorex inks can only be diluted with water.

Colorex inks are formulated with dyes and therefore have poor lightfastness. Works produced with Colorex should be protected from light. As with any work of art, a varnish is always recommended to protect it from dust and UV rays.

Whether smooth, grainy, white or coloured, choose heavyweight paper (over 180g). Papers that are too light are easily soaked and curl.

It all depends on the effect you want to achieve. The more you dilute it, the more opaque the gouache will become. Very diluted, you'll get watercolour effects.

No, absolutely not, colours are re-diluted with water: think about this when crossing or superimposing colours. If you don't want to ‘carry over’ the colour from the first coat, apply the next coat with a steady, even stroke.

In fact, given the pigments traditionally used, pink colours (especially lacquers) tend to ‘rise’. In the extra-fine T7 range, you'll find a covering white specially formulated to avoid this phenomenon.

Both can be diluted with water, however : - once dry, acrylic is indelible whereas gouache is removable, - acrylic allows you to work with matter and volume (particularly with gels and mortars), gouache does not, - the appearance of gouache is incomparable: extreme depth and vibrancy of colour, a very matt, velvety finish.

Apply a sufficiently large barrier of Drawing Gum around the area to be filled. Once the Drawing Gum is dry, apply your solid colour without fear of overflowing. When the T7 gouache is dry, apply the Drawing Gum.

Whether smooth, grainy, white or coloured, choose heavyweight paper (over 180g). Papers that are too light are easily soaked and will curl.

No, absolutely not, colours can be re-diluted with water: bear this in mind when crossing or superimposing colours. If you don't want to ‘carry over’ the colour from the first coat, apply the next coat with a steady, even stroke.

These are pure colours that cannot be obtained by mixing other colours. There are three of them: primary yellow, Magenta red and Cyan blue. These three colours can be mixed to produce all the other shades. The primary colours in Studio Gouache are perfectly balanced in terms of chromaticity, to ensure the best possible learning experience from these mixtures.

It all depends on the effect you want to achieve. The more you dilute it, the more opaque the gouache will become. Very diluted gouache will produce watercolour effects.

Apply a sufficiently large barrier of Drawing Gum around the area to be filled. Once the Drawing Gum is dry, apply your solid colour without fear of overflowing. When the Studio Gouache is dry, film over the Drawing Gum.

Not at all. It is recommended for children because it can be diluted and washed off with water. It is, however, a highly technical product with an incomparable appearance (brilliant, velvety colours), traditionally used for illustrations, comic strips, etc.

Here's a simple tip: soap the tip of your brush first. Clean it immediately after use. However, it's best to reserve a brush for the specific use of Drawing Gum.

No. Children are sometimes disappointed by the matt appearance of gouache: a suitable varnish will give them the shiny look they like. Generally speaking, varnishes waterproof and protect the work, but they also tone down the velvety mattness that is so characteristic of gouache.

This means that you start by painting the base with thin coats and build up with successive coats, taking care to let them dry thoroughly between coats. This prevents cracking and delamination: simple, direct impasto is always unstable in the long term.

You can paint on canvas, of course, whether linen, cotton or polyester, but also on cardboard, wood, Isorel or chipboard. Whatever the quality of the surface you choose, the way you prepare it before you start painting is crucial to the longevity of the work!

Most commercially available canvases are ready to use. For canvas or other uncoated surfaces: apply a first coat of very diluted gesso, leave to dry and then apply a second undiluted coat.

Glazing consists of applying a light veil of transparent, very fluid colour to a dry layer of opaque or transparent colour. This allows you to modify the colouring or reduce the intensity of the original colour.

Oil paint does not dry very quickly. When it is thick, you can remove some of it with the back of a knife. You can also use turpentine to remove it, or simply cover it with a layer of opaque paint.

Gasolines and solvents help to liquefy the colours by thinning the paste. They are also used to clean tools.

There are many mediums, each with its own specific function. When added to the colour, they modify its texture, brilliance and transparency; they play an essential role in glazing.

Drying agents are added sparingly to the colour to speed up drying time. They activate the oxidation reaction and should be used sparingly to avoid surface defects.

Varnishes do not, however, unify the final appearance of the work and give it lasting protection. Allow a drying period of 6 months, or even a year for thick work, before varnishing.

To prevent your work from peeling, remember to prepare your surface well by applying Gesso. And don't forget the rule of fat on lean, which is essential to avoid the inevitable colour fade.

Yes, Arti'stick colours stand the test of time. They form a tight film and can be repositioned at will.

It's not necessary to clean them, but you can wipe them with a damp cloth to remove dust if you wish.

No, finger paints do not take long to dry as they are formulated with water, which evaporates quickly.

No, Tactilcolor paint must not be ingested. However, swallowing it would not be dangerous as the paint is formulated to be non-toxic. You should also be aware that bittering agents have been incorporated into the formulation of Tactilcolor colours to prevent possible ingestion.

Yes, Tactilcolor colours can be used on all paint substrates.

Yes, decorated textiles can be washed by hand or soaked if the temperature does not exceed 40°C. However, avoid soaking them for too long.

Of course, you can apply Tactilcolor Textile colours with brushes, rollers, sponges, etc.

Yes, Primacolor Liquid colours can be mixed together.

Yes, all Primacolor colours can be mixed together.

No, this gouache takes no longer to dry than any other.

No, glitter gel does not take long to dry.

No, the glitter does not come off once the gel is dry.

Glitter gel cannot be used to replace gold glitter gouache varnish. Glitter gel does not spread evenly and easily over large surfaces, whereas gouache varnish is more fluid and leaves no trace when applied to the work.

Yes, gouache varnishes can be applied to all surfaces used for children's products.

They don't need a protective varnish because they're not gouache but acrylic paint. You can, however, apply a finishing varnish if you wish.

Once dry, gouache can be re-diluted, whereas acrylic is indelible.

No, gouache tubes do not contain bittering agents. Keep an eye on young children when they use them, even if the gouaches are not toxic.

No, they do not take longer to dry than other types of gouache that are less diluted.

Allow 1 to 2 hours for water-based Vitrail colours to dry.

Like paint, the ‘paint’ marker is made up of pigments and film-forming substances (which involves the ball to help re-homogenise the paint). The pump mechanism is used to charge the wick with paint to a greater or lesser extent.

Oil-based paint is composed of solvent base + film-forming substances + pigments. It is formulated with a synthetic mineral oil.

The advantage of an oil-based marker is that it retains some of the properties of oil paint: it is possible to rework the colour using odourless mineral spirits, recreating gradations and fades, even days or weeks after the colour has been applied. The marker also retains its properties as a highly graphic tool.

4ARTIST MARKER and Studio XL oil paints are different products. The 4ARTIST MARKER is formulated with a synthetic mineral oil, whereas the XL oil paints are formulated with vegetable oils. The properties of the binders are therefore not the same.

The result is a glossy finish, whereas acrylic markers generally have a matt or satin finish. Thanks to the solvents, the colours are more vivid and the drying time is shorter, depending on the surface. What's more, the oil properties of this marker mean that the colour can be reworked after drying, which is impossible with an acrylic marker.

The marker's paint is permanent. It has excellent lightfastness and durability, and is water and alcohol resistant for 48 hours after application. On the other hand, it's important to remember that the marker can be erased and used to create shading and glazing effects thanks to the odourless 4ARTIST MARKER medium, which is impossible with acrylic paint, which is indelible after drying.

Lightfastness is given by the difference between the part exposed to UV light and the hidden part. The greater the difference, the poorer the resistance. The test method is given in ASTM D 5067, which is common to all the products tested. The lightfastness of 4ARTIST MARKER is very good and uniform throughout the colour chart.

It dries quickly: 2 to 7 minutes depending on the substrate and the thickness of the application.

Performance on canvas is 209 metres for the 2 mm marker, 156 metres for the 4 mm marker, 181 metres for the 8 mm marker and 126 metres for the 15 mm marker. On a smooth surface, performance will be higher.

The marker is glossy and opaque on all smooth, non-porous surfaces. On porous surfaces such as untreated wood or uninsulated or ‘unprepared’ paper, the colour will lose its gloss and/or opacity because the binder will be absorbed by the substrate. On the other hand, thanks to their high concentration of mother-of-pearl, metallic colours retain their brilliance on all surfaces.

The glossy finish tends to make it easier to apply the colour evenly. The result is much more visible with thick highlights. For uniform, streak-free colour, 8mm and 15mm wicks are ideal.

The 4ARTIST MARKER is a paint marker with a valve system. So, to start using the marker: 1: Actively shake the marker with the cap closed, until you hear the sound of the ball so that the colour mixes. 2: Prime the wick on a support. 3: Carry out a test on an auxiliary support. 4: Once you have the desired flow of paint, start applying to the desired surface.

To prime the marker, press several times on the wick until it is soaked in colour.

It is advisable to do a test before using the marker to control the amount of paint on the wick. A large flow of paint is preferable for splashes and drips, and a smaller flow for details and precise lines.

The special formulation of the marker means you can rework the colours even after they have dried. So you can mix colours with wet or dry paint.

You can also superimpose colours. To do this, you need to ‘surf’ on the colour underneath. On the other hand, because they are formulated in solvent, there is a risk that the colours will mix again if they are applied too hard and/or the colour underneath is not completely dry.

The colours can be diluted with the odourless medium in the 4ARTIST MARKER range of auxiliaries to give glazing or blending effects.

Thanks to its oil-based formulation and gloss finish, there is little or no difference between wet and dry colour.

Thanks to its formulation, which includes film-forming substances, it is possible to achieve this ‘textured’ appearance with a generous application (splashes, drips, etc.) on a smooth surface.

Splashes and drips are easier to achieve with 8mm and 15mm wicks. To do this, soak the wick ‘excessively’ in paint, then shake. Be careful not to let the paint come into contact with your eyes, and before closing the marker, wipe the wick holder clean and control the flow of paint.

You can use 4ARTIST MARKER's odourless medium to obtain dilutions, blends and glazes with a brush.

Yes, the formulation of 4ARTIST MARKER allows you to come back to a colour even after it has dried.

4ARTIST MARKER can be used to finish many fine art paints, such as acrylics and oils. In addition, the 4ARTIST MARKER nourishes and completes the Mixed Media by Pébéo concept. It's the finishing tool par excellence! It can be used to finish a base created with reactive paints such as Prisme or Moon, on Vitrail and Ceramic Speciality paints and on/under Pebeo resins, to make your work more graphic. Finally, the odourless 4ARTIST MARKER medium allows you to completely erase the marker from dry smooth surfaces such as resins and solvent paints.

You can apply 4ARTIST MARKER to canvas, paper, wood, metal, minerals and plastic. On porous surfaces, the binder in the marker will be absorbed and the finish will be satin. It is therefore advisable to apply an undercoat of bindex or water-based varnish from the 4ARTIST MARKER range to insulate the surface.

The odourless 4ARTIST MARKER medium can be used to dilute the colour and create fading or glazing effects. It also removes all traces of 4ARTIST MARKER from smooth, non-porous surfaces and from dry Pebeo Mixed Media paints.

The 4ARTIST MARKER is not refillable.

Yes, it is possible to change the wicks.

On solvent-based products, this risk is limited by the very nature of the paint, which is capable of resolubilising itself.

Re-prime and apply the colour to a backing until the wick is fully coloured.

Re-prime and apply the colour to a backing until the wick is clean.

Once the colour is opaque, you can apply the desired colour again, or if you have a smooth, non-porous surface, you can use the odourless 4ARTIST MARKER medium.

You need a water-based varnish to avoid diluting the colour. Varnishes in bottles from the ARTIST ACRYLICS range are suitable.

The marker can be removed using 4ARTIST MARKER odourless medium. This is particularly easy on smooth, non-porous surfaces.

The main difference lies in their texture. Oil pastels can be used alone or diluted, while hard pastels do not dissolve. Pastels, oil or hard, allow for great spontaneity of strokes.

Yes, hard pastels can be applied to other surfaces; however they are preferably used on paper.

Oil pastel can be applied on all paint surfaces.

Oil pastels are diluted with turpentine.

It is preferable to ‘fix” the pastel colours because they never completely dry. Use a spray to preserve the artwork over time.

The pastels never completely dry because they are made of wax and oil. To avoid that pastel colours from staining to the touch, you can apply a fixative on the artwork.

Yes, if you stain your clothes with oil pastel colours, wash them in hot water and the stains will disappear without difficulty.

To remove the excess powder, you can simply blow on the artwork or gently tap the surface.

Yes; to preserve your artwork, you must use a spray fixative.

Yes. Degrease smooth surfaces with soapy water or alcohol. Smooth slightly rough surfaces by sanding lightly. Apply filler undercoat to porous surfaces 24 hours before applying the colour.

If the colour is fresh, use a cotton bud soaked in Ceramic/Vitrail thinner. If the colour is dry, gently scrape it off with a razor blade.

No, don't! Ceramic colours do not cook. Once dry, they form a very hard film and the decorations resist scratching and light washing without soaking.

Use the colourless coating to lighten your colours without thinning them or reducing their quality.

No, only surfaces not intended to come into contact with food should be decorated.

Add a little Ceramic/Vitrail thinner and stir carefully.

Play up the contrast between transparency and opacity by using Vitrail and Cernes Relief colours alongside the Ceramic colours.

Use the vat technique to create marbling effects. Pour a few drops of different colours into a bowl full of water and refine the effects with a wooden stick. Dip your object in this bath: the colours will then transfer to the object.

No, only surfaces not intended to come into contact with food should be decorated.

This product is particularly well-suited to painting on porcelain, earthenware and ceramics, but you'll get some really interesting effects with other materials that can withstand a temperature of 150°C, such as metal, glass, etc.

All you need to do is degrease the surface to be decorated with alcohol or soapy water.

Slightly porous surfaces can be painted. After lightly sanding, apply the pore filler undercoat. Leave to dry for 24 hours, then paint as normal.

As long as the decor is not cooked, correcting a small mistake is very simple. Simply use water or alcohol: soak a cotton bud for small mistakes or a cloth if you want to be more radical.

The cooking time has probably been exceeded or the temperature of your oven was too high: use a special thermometer to measure the temperature of your oven precisely.

Mix them with the gloss medium, but not more than 1/3 medium to 2/3 colour.

To obtain a matt appearance, simply mix it with the colour, but not more than 1/3 medium to 2/3 colour.

Use Porcelaine 150 thinner. Be careful not to use water, as this will reduce the product's properties, particularly its resistance to washing.

You probably didn't let it dry long enough before firing. The substrate you chose may have been too porous.

There are several possible reasons for this: the substrate was not properly degreased, or the colours were diluted with water. Or the temperature and baking time instructions have not been followed.

Shake briskly then count 30 to 60 seconds, pressing regularly on the tip to prime the felt.

We generally recommend firing our Porcelaine 150 product only once. Multiple firings can cause the colours to brown. For many colours, a 2nd firing has no significant impact, but if you have used light colours such as opaline blue, the colour may turn green.

As the colours do not contain any metallic particles, they can be used in microwave ovens, after baking for 35 minutes at 150°C.

If you have mixed the 2 products P150 and V160 on the same project, bake them together at the highest temperature and for the longest time (i.e. 160°C for 40min), to get the optimum properties.

Yes, a glass mirror can withstand 150°C for 35 minutes.

P150 felts must be baked for excellent dishwasher resistance.

15 linear metres.

150 linear metres.

‘The pore-filling undercoat depends on the porosity of the substrate. Apply a thin or generous coat depending on the substrate, but in general a single coat is sufficient. After application,

wait 30 minutes for the undercoat to dry before applying colours.’

No, it's even advisable to put it in the oven while it's still cold, to avoid thermal shock. Conversely, at the end of the firing, leave the kiln to cool before taking the object out.

It is important to allow the paint to dry for 24 hours before firing. If the paint film is not completely dry, the water contained in the film will boil during firing and create defects such as bubbles or blisters on the surface.

Mix with gloss medium, but do not exceed 1/3 medium to 2/3 colour.

A few drops of thinner are generally sufficient. It all depends on the desired texture. The brilliance of the colours will not be altered in any way by diluting Porcelaine 150 colours, but the higher the proportion of medium, the more transparent your colour will be. We advise you not to exceed a 50/50 mix.

This is a product to be mixed with the colours to give certain effects.

Before being worked, the silk must either be stretched over a wooden frame or laid on a fleece and fixed with adhesive. It is also advisable to wash the fabric to remove any primer.

Gutta is a paste that penetrates the silk and acts as a colour barrier.

Apply it directly from the tube, sealing each area well. The trace of gutta should be even and continuous. To perfect the seal, you can iron the gutta before applying the colours.

Setasilk colours fuse on silk, so place them in the centre of each set area. Be careful not to overload the brush to avoid the risk of spillage.

Apply the different shades one after the other, without giving them time to dry.

Yes, absolutely, just wait 48 hours after fixing. Only the colourless water-based gutta is specially formulated to wash out, allowing you to recover your natural silk.

Mix with Setasilk thinner until the desired shade is achieved. Avoid water, which alters the resistance properties.

‘To prevent the paint from cracking, gutta must be used (except colourless).

Setasilk colours do not thicken, so if you need a thicker product, use the Setacolor light fabrics range.

To prevent the paint from cracking, you must use gutta (except colourless).

Yes, of course. After application, allow the solvent guttas to air dry for 30 minutes, then colour with Setasilk. Be careful, solvent guttas do not dry clean!

Apply Setasilk with a foam brush, filling in the entire area quickly, without giving the colour time to dry to avoid streaks. If you dilute the colour, don't use water but Setasilk thinner.

Yes, these very fluid, luminous colours produce very interesting effects on these types of fabric.

Sprinkle coarse or fine grains of salt over the still damp paint. In the areas in contact with the grains, the colour will shrink. Leave to dry, then remove the salt.

On top of the still wet colours, place the masks of your choice (leaves, branches, masks cut from opaque plastic, etc.). Lay flat in the sun or under infra-red lights. Once the fabric is dry, remove the covers: the hidden parts are less intense. Proceed with fixing.

With permanent glue, you can stick all sorts of small objects made of cardboard, wood, fabric, etc. to your previously painted surfaces. The glue is machine-washable at 40°C.

Expandable relief paste is usually applied pure or mixed with Setacolor colour. Note that the colour will be slightly altered, so we recommend you carry out tests beforehand. Apply the expanding paste in a thick layer with a spatula (or knife) using a 3D stencil or directly with a spatula. Leave to dry, then iron on the reverse side to give the paste volume.

The protective varnish covering the leather or imitation leather can be removed and degreased. This will clean the surface thoroughly to ensure optimum adhesion of the colours afterwards. To apply, simply soak an absorbent paper or cloth in the degreaser and rub the surface to be prepared. It is advisable to work outdoors or in a well-ventilated area.

This allows the product to be homogenised to obtain a more uniform shade or finish.

Allow to dry for at least 15 minutes between coats to avoid re-diluting the lower coat (you can speed up drying with a hairdryer). It is advisable to wait 24 hours before varnishing.

‘All matte-satin colours, Metal, Duochrome and Fluorescent effect colours and the 2 matte-satin and gloss varnishes are airbrush compatible.

Glitter and Phosphorescent effect colours are not airbrush compatible. The sequins risk clogging the airbrush nozzle, and the phosphorescent needs to be applied thickly to reveal its effect.’

‘Matte-satin colours, metal-effect colours, duochrome and fluorescent colours should be mixed 1:1 with the lightening auxiliary thinner to obtain optimum viscosity for better passage through the airbrush. The proportion of thinning auxiliary can be increased to obtain more transparent colours.

The matt-satin and gloss varnishes can be airbrushed without prior dilution.’

‘The duochrome effect is revealed on dark substrates, which bring out the nuances more. If you need to work on a light surface, you can apply a black or dark undercoat.

The fluorescent effect is more visible on a white substrate. If you need to work on a dark substrate, you can apply a white undercoat.’

You can obtain the desired finish by mixing the 2 varnishes, matt-satin and gloss, in the desired proportions.

Use Vitrail lightening medium: it lightens the colours without diminishing their qualities or making them more fluid.

The object should preferably be kept dust-free and in a dry environment for the 6 to 8 hours required for drying.

Play up the contrast between transparency and opacity by using the Ceramic and Vitrail opal colours alongside the Vitrail and Cernes Relief colours.

This simple and fun technique allows you to create marbling effects. Pour a few drops of different Vitrail colours into a bowl full of water. The drops fuse on contact with the water, producing amazing effects. Then transfer the colour by applying a sheet of acetate or the object of your choice to the coloured surface. As soon as the colour settles on the surface, remove it immediately.

No, don't! Vitrail colours do not cook. Once dry, they are hard enough to withstand a light wash in cold water without soaking, as well as window cleaners.

No, only surfaces not intended to come into contact with food should be decorated.

Add a little odourless mineral spirits and stir thoroughly.

To apply our Vitrail product, we recommend a horizontal surface. This is because the product is very fluid and horizontal application means that a thicker layer can be applied, giving greater depth of colour and eliminating the risk of drips. Vertical application is also possible. The best way is to have Plexiglas cut to the size of your windows and work with the stained glass colours horizontally on your table. Once dry, place the Plexiglas against the inside of your window and seal it against the jamb of your window. It's best to put the decoration between the glass and the plexiglass - the effect is superb. If you have worked with the relief ring, it will crush a little and give a beautiful effect (imitation lead ribbon).

We do not recommend using our Vitrail paint in damp rooms such as bathrooms. We can't guarantee great durability in this case, as the film may gradually lose its shine.

Strip everything and start again. Wait until Vitrail is dry before varnishing with the Lightening Medium (2.4.1.1.4.3)

No, Vitrea 160 stain must be baked.

The optimum effect is obtained with a 50/50 mix, but the tint will be less concentrated.

2 x 3 mm wide, 10 m long.

Yes: the lead and adhesive are resistant to baking for 40 minutes at 160°C, and to at least 2 dishwasher cycles.

Do not use household alcohol to clean surfaces decorated with Vitrail colours. The colours are resistant to conventional window cleaners and to light washing without soaking.

Add a little odourless mineral spirits and stir carefully.

Carefully degrease the surface to be painted with soapy water or alcohol.

It's best to allow the Cerne Relief to dry for at least 30 minutes before applying the Vitrail colours.

For rounded objects, work on the most horizontal part. Leave to dry for a few minutes, turn the object over and start again.

If the colour is fresh, use a cotton bud soaked in odourless mineral spirits to remove the Vitrail colours and simply water to erase the Relief rings.

Before starting, always wipe off any excess paint that comes out of the tube. When applying, use the tube like a pencil and make sure you apply even pressure.

Do not use household alcohol to clean surfaces decorated with Vitrail colours. The colours are resistant to conventional window cleaners and to light washing without soaking.

Use this simple and fun technique to create marbling. Pour a few drops of different Vitrail colours into a bowl full of water. The drops fuse on contact with the water, producing amazing effects. Then transfer the colour by applying a sheet of acetate or the object of your choice to the coloured surface. As soon as the colour settles on the surface, remove it immediately.

No, don't! Vitrail colours do not cook. Once dry, they are hard enough to withstand a light wash in cold water without soaking, as well as window cleaners.

No, only surfaces not intended to come into contact with food should be decorated.

Add a little odourless mineral spirits and stir thoroughly.

It's best to allow the Cerne Relief to dry for at least 30 minutes before applying the Vitrail colours.

In the case of a rounded object, work on the most horizontal part. Leave to dry for a few minutes, turn the object over and start again.

If the colour is fresh, use a cotton bud soaked in odourless mineral spirits to remove the Vitrail colours and simply water to erase the Relief rings.

Before starting, always wipe off any excess paint that comes out of the tube. When applying, use the tube like a pencil and make sure you apply even pressure.

Use Vitrail lightening medium: it lightens the colours without diminishing their qualities or making them more fluid.

The object should preferably be kept dust-free and in a dry place for the 6 to 8 hours needed for drying.

Play up the contrast between transparency and opacity by using Ceramic colours in conjunction with the Vitrail and Cernes Relief colours.

Carefully degrease the surface to be painted with soapy water or alcohol.

To apply our Vitrail product, we recommend a horizontal surface. This is because the product is very fluid and horizontal application means that a thicker layer can be applied, giving greater depth of colour and eliminating the risk of drips. Vertical application is also possible. The best way is to have Plexiglas cut to the size of your windows and work with the stained glass colours horizontally on your table. Once dry, place the Plexiglas against the inside of your window and seal it against the jamb of your window. It's best to put the decoration between the glass and the plexiglass - the effect is superb. If you have worked with the relief ring, it will crush a little and give a beautiful effect (imitation lead ribbon).

We do not recommend using our Vitrail paint in damp rooms such as bathrooms. We can't guarantee great durability in this case, as the film may gradually lose its shine.

Strip everything and start again. Wait until Vitrail is dry before varnishing with the Lightening Medium (2.4.1.1.4.3)

Yes

No, Vitrea 160 stain must be baked.

The optimum effect is obtained with a 50/50 mix, but the tint will be less concentrated.

2 x 3 mm wide, 10 m long.

Yes: the lead and adhesive are resistant to baking for 40 minutes at 160°C, and to at least 2 dishwasher cycles.

No, only surfaces not intended to come into contact with food should be decorated.

Simply degrease the surface to be decorated with alcohol or soapy water.

Yes, these colours only take on their frosted appearance when dry. Make sure you always stir the colours in the bottle and shake the markers well before applying.

Before firing, Vitrea 160 colours can be removed with water or alcohol: use a cotton bud to rectify a detail or soak your object for a few minutes to remove everything.

Yes, there are two ways of doing this. Apply the second coat directly, without waiting for the first to dry. You can also apply the first coat, cook it and then apply the second.

This product is particularly well suited to painting glass or crystal. However, you can achieve interesting effects with other types of surface that can withstand a temperature of 160°C.

Shake briskly, then wait 30 to 60 seconds, pressing the tip regularly to prime it.

You can use P150 gloss medium, which has been formulated so that it can also be used with V160 colours.

Thin the Vitrea 160 colours with Vitrea 160 thinner to the desired consistency. Do not use water as this will reduce the resistance properties of the colours.

The glossy medium, which is almost invisible once fired, is ideal for making inclusions. The frosted medium produces effects remarkably similar to etched glass.

You probably didn't let it dry long enough before firing.

There are several possible reasons: the surface was badly degreased before application, the colours were diluted with water or the temperature and baking time instructions were not followed.

No, it is even advisable to put it in the oven while it is still cold, to avoid thermal shock. Conversely, at the end of the cooking process, leave the oven to cool before removing the item.

Place the item to be baked in the cold oven when the oven temperature is 160°C (325°F) for 40 minutes, then leave the item to cool in the oven. This limits any thermal shock that could cause the glass to break.

It is important to allow the paint to dry thoroughly for 24 hours before firing. If the paint film is not completely dry, the water contained in the film will boil during firing and create defects such as bubbles or blisters on the surface.

Vitrea 160 paints can be airbrushed. To do this, you need to thin the colours with Vitrea 160 thinner ref 113050 until you obtain the desired consistency. Do not use water as this will reduce the washfastness of the colours.

If you have mixed the 2 products P150 and V160 in the same batch, bake them together at the highest temperature and for the longest time (i.e. 160°C for 40min), to obtain the optimum properties.

15 linear metres.

15 linear metres.

You probably didn't let it dry long enough before baking.

Place the piece to be baked in the cold oven when the oven temperature is 160°C (325°F) for 40 minutes, then leave the piece to cool in the oven. This limits any thermal shock that could cause the glass to break.

It is important to allow the paint to dry thoroughly for 24 hours before firing. If the paint film is not completely dry, the water contained in the film will boil during firing and create defects such as bubbles or blisters on the surface.

Vitrea 160 paints can be airbrushed. To do this, you need to thin the colours with Vitrea 160 thinner ref 113050 until you obtain the desired consistency. Do not use water as this will reduce the washfastness of the colours.

If you have mixed the 2 products P150 and V160 in the same batch, bake them together at the highest temperature and for the longest time (i.e. 160°C for 40min), to obtain the optimum properties.

15 linear metres.

15 linear metres.

No, only surfaces not intended to come into contact with food need to be decorated.

Simply degrease the surface to be decorated with alcohol or soapy water.

Yes, these colours only take on their frosted appearance when dry. Make sure you always stir the colours in the bottle and shake the markers well before applying.

Before firing, Vitrea 160 colours can be removed with water or alcohol: use a cotton bud to rectify a detail or soak your object for a few minutes to remove everything.

This product is particularly well suited to painting on glass or crystal. However, you can achieve interesting effects with other types of surface that can withstand a temperature of 160°C.

Shake briskly, then wait 30 to 60 seconds, pressing the tip regularly to prime it.

There are several possible reasons for this: the surface has not been properly degreased before application, the colours have been diluted with water or the temperature and baking time instructions have not been followed.

No, it is even advisable to insert the object into the oven while it is still cold, to avoid thermal shock. Conversely, at the end of the firing process, allow the kiln to cool before removing the object.

Mix the gloss or matt mediums with the colours you want to lighten.

Fluidify the Vitrea 160 colours with Vitrea 160 thinner until you obtain the desired consistency. Do not use water as this will reduce the resistance of the colours.

Yes, the gloss medium, which is almost invisible once fired, is ideal for making inclusions. Frosted medium produces effects remarkably similar to etched glass.

You probably didn't let it dry long enough before firing.

Yes, but you need to work in a well-ventilated area.

Yes, but dilute with water to achieve the correct viscosity. Do not exceed 5% water, otherwise the technical properties of the paint will be reduced.

Yes, you can clean P.BO Deco Ardoise colours with a damp sponge once they are completely dry, i.e. after 72 hours of drying. The slate colours react like a real chalkboard, so you can use them in the same way, including maintenance.

Yes, you can repaint over the Ardoise and Magnet' colours if you wish. To bring out the desired effect, simply apply an extra coat. For a definitive change of scene, prepare your surface by sanding the colour, in particular to hide the + Magnet' effect, which has a slightly grainy surface.

Yes, but you'll need to apply 3 thick coats of Deco Magnet.

No, but it can be covered with paints from the Deco ranges.

No, our products are not certified << Food contact >>.

2 possible reasons : - incorrect mixing of the 2 components (double mixing is recommended: mix in one container, transfer to another container, scraping the edges well, then finish mixing in container no. 2) - incorrect dosage of the 2 components: dosage is by volume.

- For a transparent look: add a few drops of Vitrail. - For an opaque appearance: add a few drops of Ceramic. Do not add too much or there will be hardening problems.

Add a little Ultramarine Blue Vitrail to the mixture.

A second coat can be applied.

With a powerful paint stripper.

Possible depending on the type of wood. No problems with pine, but precautions should be taken with oily woods (oak, chestnut) or acidic woods → carry out tests beforehand.

5 years in unopened original packaging and 6 months after opening.

Mixing has not been done correctly, refer to the recommendations on the Product Data Sheet.

No, because there is still too much moisture with which the resin will react.

Crystal Resin is not recommended for casting large parts. This can happen because of the difference in expansion between the glass and the resin.

Use pharmacy syringes.

Possible depending on the type of wood. No problems with pine, but precautions should be taken with oily woods (oak, chestnut) or acidic woods → carry out tests beforehand.

Pour a new coat of well-mixed resin.

If the mixture has not been mixed correctly, refer to the recommendations on the Product Data Sheet.

The product will yellow slightly and lose its gloss.

2 possible reasons : - incorrect mixing of the 2 components (double mixing is recommended: mix in one container, transfer to another container, scraping the edges well, then finish mixing in container no. 2) - incorrect dosage of the 2 components: dosage is by volume.

- For a transparent appearance: add a few drops of Vitrail. - For an opaque appearance: add a few drops of Ceramic. Do not add too much or there will be hardening problems.

Add a little Ultramarine Blue Vitrail to the mixture.

A second coat can be applied.

With a powerful paint stripper.

Depending on the type of wood. No problems with pine, but precautions should be taken with oily woods (oak, chestnut) or acidic woods → carry out tests beforehand.

Pour a new coat of well-mixed resin.

5 years in closed original packaging and 6 months after opening.

The mixture has not been mixed correctly, refer to the recommendations on the Product Data Sheet.

No, because there is still too much humidity with which the resin will react.

Crystal resin is not recommended for casting large parts. This phenomenon can occur due to the difference in expansion between the glass and the resin.

Use pharmacy syringes.

Possible depending on the type of wood. No worries with pine, precautions to be taken with oily woods (oak, chestnut) or acidic woods → carry out tests beforehand.

Pour a new layer of well-mixed resin.

The choice of knife will depend on whether you use a short or long stroke, and on the precision you are looking for. Knives come in rounded or straight-edged shapes in a range of formats.