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The Decorative Painting System

Imagine how convenient it would be to use just one set of paints to decorate a whole variety of surfaces including wood, fabric and glass. Using Jo Sonja’s Decorative Painting System, you can!

The secret of Jo Sonja’s remarkable versatility lies in the range of mediums, which have been specially developed as a ‘System’ to give you unlimited technique applications on almost any surface.

Mediums make painting easier and give you complete control of the process. From the base coat to the final varnish, there is a Jo Sonja Medium to suit your individual painting style.

We invite you to discover Jo Sonja’s Decorative Painting System

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Below you will find a brief description of all the mediums.  For more in-depth information, please contact us on 01635 860900 and we will send out a detailed brochure.

     All Purpose Sealer 

All Purpose Sealer is a pure acrylic medium with remarkable adhesive powers.  It is a durable and versatile surface sealer that can be used to seal most surfaces in preparation for painting.  Included are wood, tin and other metals, glass, unglazed bisque, terracotta, cards, paper and fibreboard.  Mix with colour for a one-step basecoat.

All Purpose Sealer will assist paint adhesion to unusual surfaces such as soaps and candles.  A light sanding is recommended to promote adhesion of paint to any surface.

Directions:

• Apply full strength to clean, dry, sanded wood or dilute 1:1 with Clear Glaze Medium or Flow Medium.  (Undiluted All Purpose Sealer may create a surface too slick to paint on some surfaces.)  When dry, sand as needed before painting.
• In preparation for staining a surface, do not use All Purpose Sealer, which leaves the wood with an almost impenetrable seal.  A coat of Clear Glaze Medium is recommended for surfaces to be stained.
• For one step basecoat, mix and apply paint and All Purpose Sealer beginning with approximate proportions of 2 parts colour to 1 part All Purpose Sealer. The amount of All Purpose Sealer may be increased up to equal part.  Sand when dry and apply a second coat of paint with or without the addition of sealer, depending on your technique.  Do not use All Purpose Sealer in topcoat of base colour when using regular Crackle Medium to crackle background colour.

Metal Preparation:

• All Purpose Sealer does not inhibit rust.  Metal or tin should be clean, rust free and well sanded.  Matte finished water based metal primers may be applied prior to All Purpose Sealer to prevent rust and promote better adhesion.  A slick metal surface needs to be scuffed with fine grit sandpaper or scouring cleanser before applying sealer.  Apply two coats of undiluted All Purpose Sealer.
• Prepare following instructions for one-step basecoat.  The addition of sealer increases the adhesion of the paint to the surface.  The more time the basecoat is allowed to 'cure', the stronger the adhesion of the paint to the surface.
• Maximum adhesion develops slowly under normal conditions.  For metal preparation, a minimum of 2 weeks cure time is necessary for maximum adhesion and varies depending on climate and humidity.  Under normal conditions, the product is cured 80% in 24 hours and 100% cured in 2 weeks.

Approximate coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft

  Clear Glaze Medium

Clear Glaze Medium is a matte transparent acrylic glazing medium with several different uses.  Use alone or in conjunction with Jo Sonja's  Artists' and Background Colours.  Apply as a light sealer prior to painting, staining or varnishing or as a barrier coat between layers.  Mix with base colour to seal as you basecoat.  Use as a general painting medium for staining, glazing and other transparent effects.

Directions:

• As a sealer or barrier coat, apply a medium coat of Clear Glaze Medium to the surface using a clean brush suitable to surface size.
• Apply undiluted as a light sealer on raw wood and throughout painting.  For pickling or staining wood, seal with 1 coat of Clear Glaze Medium over raw wood to ensure an even application of stain.
• Mix desired Jo Sonja's Artists Colour with Clear Glaze Medium to create glazes or wood stains.  Begin with 3 parts Clear Glaze Medium and 1 part Retarder or colour.  Ratio is determined by strength of colour desired.  Apply paint and medium in direction of the wood grain, wiping with a soft lint free cloth to remove excess.  Allow to dry before repeating layers. 
• May be used as a general painting medium where transparent colour is desired.  For glazing or floated colour, dress the brush in Clear Glaze Medium or the above Clear Glaze Medium and Retarder mix.  Blend on the palette before size loading with colour.  Blend to soften colour and apply to deepen values or enhance colours.
• Apply Clear Glaze Medium undiluted throughout the painting and prior to varnishing as a protective barrier coat.  Application of Clear Glaze Medium over the design area will lock down painting and allows ease of correction without disturbing previous layer.
• A maximum of 3 coats may be applied within 24 hours.
• A hair dryer may be used to speed surface drying.

Approximate coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft.

  Magic Mix Medium

This light sealer is similar to Clear Glaze Medium but contains an extender for a longer 'open' or blending time.  Magic Mix dries matte, lightly sealing each layer to prevent lifting with application of additional layers.

Magic Mix is recommended for various techniques and as a substitute for water.  Applications include floated and side loaded colour, colour glazing and stipple blending.  An excellent medium to thin paint for linework and detail painting or when a smooth even coat is desired.

Directions:

• Magic Mix is an excellent medium for side loaded and flated colour that does not allow the paint to travel too far across the brush.  For additional 'open' time, Retarder may be applied directly to the surface or picked up in the brush.  Dress the brush in a small amount of Magic Mix.  Side load the brush with colour and blend well on palette.  Lay colour where desired.  Colour may be softened with the clean edge of the brush or stipple blended as needed.
• A barrier coat of Clear Glaze Medium is recommended prior to glazing.
• Use Magic Mix and floated colour for layering of colour glazes to create depth in a painting that mixing colours together cannot achieve.  With medium and colour in the brush, blend on the palette until colour is transparent.  Touch on design where desired to adjust temperature, colour depth or apply a tinting colour.  Soften with the clean edge of the brush.
• An overall transparent glaze of Magic Mix combined with colour will brighten or completely change the colour of the design elements.  Transparent or semi-transparent colours are recommended for glazing techniques.
• Blend Magic Mix with colour for strokework, linework and detail painting in designs.  Dress the brush in Magic Mix and blend well on the palette to achieve colour transparency or proper paint consistency.  The addition of Magic Mix increases the transparency and flow of the paint with the ease of quick correction.
• Allow to dry before application of additional layers.  A hair dryer may be used to speed surface drying.  Magic Mix may be used as a very light sealer.  For additional protection, apply a coat of undiluted Clear Glaze Medium between layers as needed and prior to varnishing.

Approximate coverage: 1 ml = 125 sq cm / 1 oz = 4 sq ft

   Crackle Medium

Jo Sonja's Crackle Medium is a transparent medium, which causes Jo Sonja's Artists' and Background Colours to separate into fine crazed or crackled patterns in a one-step process. Use to simulate the effects of aging.  Recommended for use with Jo Sonja's Artists' and Background Colours only.  We suggest you test your technique before committing to a project.

 Directions:

• Prepare surface by sealing and applying basecoat.  For one-step preparation, mix All Purpose Sealer and the basecoat colour beginning with a ratio of up to 1:1 for the first coat only.  Allow to air dry and lightly sand.  Apply additional coats without the addition of All Purpose Sealer.
• When final basecoat is dried to touch, apply Crackle Medium working a small area at a time with brush suitable to surface size.  Work quickly using a criss-cross motion to apply Crackle Medium.  Slightly blend out the brushstrokes as you apply the medium.  The crackle pattern will flow the direction of the brushstrokes.  Do not brush back over previously applied medium that has started to dry as doing so may cause the Crackle Medium to lift.  Crackle Medium will level out slightly as it dries and will dry clear.
• Allow to air dry undisturbed.
• Crackle Medium is formulated to separate into a crazed or crackle pattern as it dries.  Plain layers that have dried but not cured may also separate.  The thicker and fresher the paint, the deeper and cleaner the crackle pattern will be.  DO NOT USE HAIR DRYER between coats of base colour.  Warm air will cure the paint and prevent the Crackle Medium from working properly.  The base colour will show through the crackle pattern if an uncured contrasting colour is applied before the application of the Crackle Medium.
• After crackled surface is completely dry, gently sand surface using #400 to #600 grit sandpaper until desired smoothness is attained.  Wipe to remove dust.  Any that remains in the crackle pattern will disappear with antiquing or glazing.
• Crackle Medium will leave surface slick.  Pattern application may need to be modified.  Light sanding should decrease 'slickness' of the surface.
• Antiquing may be applied to the surface to accentuate the crackle pattern.  If painting is applied over the crackled background, 1-2 coats of Clear Glaze Medium may be applied as a barrier coat.  Thin contrasting colour with Retarder Medium and brush into cracks.  Remove the excess with soft cloth moistened with Retarder.
• Allow to dry completely before varnishing.  A coat of Clear Glaze Medium is recommended prior to varnish application.

Variations:

• Crackle Medium can also be applied after painting the design or over photocopies or prints, which will produce fine crazing for an aged effect.  A coat of Clear Glaze Medium is recommended prior to crackle application.  You may choose to antique the surface to accentuate the crackle pattern.  A light sanding before antiquing is recommended.

Approximate coverage: 1 ml = 62 sq cm / 1 oz = 2 sq ft

    Retarder Medium

Retarder is an additive to extend the 'open' or drying time of Jo Sonja's Artists' Colours or Mediums.  It may be used as both a painting medium and for various techniques such as antiquing.

Directions:

• To use Retarder as a painting medium, lightly moisten the brush with Retarder before picking up paint.
• To further extend working or 'open' time, Retarder may also be applied directly to a prepared surface.  A mop brush may be used to ensure an even application.
• Mix Retarder directly into palette colours beginning with a ratio of approximately 1 part Retarder to 3 parts of colour to delay the drying time of the paint.  Adjust ratio as required for technique.  The more Retarder that is added, the more transparent the colour becomes.

Antiquing:

• A barrier coat of Clear Glaze Medium is recommended before antiquing, then thin paint with Retarder using a ratio determined by the strength of colour desired.  Begin with 1 part paint to 1 part Retarder. 
• Apply over painted surfaces and then wipe off to produce an aged effect.  For additional open time, apply a light coat of Retarder directly to the surface.  Use a small amount of Retarder on cloth to remove excess.
• Allow 48 hours drying time before varnishing.  An extended dry and cure time should be allowed which varies due to humidity and climatic conditions or if an excessive amount of Retarder has been used.  A hair dryer may be used to speed surface drying.
• A coat of Clear Glaze Medium is recommended prior to application of varnish.

Approximate coverage: 1 ml = 251 sq cm / 1 oz = 8 sq ft

  Gel Retarder

Gel Retarder delays the drying time of Jo Sonja's Artists Colours without reducing the viscosity of the paint.  It can be used in various ways allowing an extended working or 'open' time for blending and antiquing plus a thicker application of colour in painting techniques.  Practice techniques using this medium before committing to a project.

Directions:

• As a painting medium, moisten the brush with Gel Retarder and blend well with colour.  If paint drags during painting, refresh by picking up additional Gel Retarder in the brush and repeat palette blending.
• Apply a thin coat of Gel Retarder directly to the surface for an extended working time.
• Retarder Medium may be used to thin Gel Retarder and decrease the 'open' time as needed for your area.  Begin with a ratio of 1 part Gel Retarder to 1 part Retarder.
• Gel Retarder may be mixed directly into palette colours beginning with an approximate ratio of 1 part Gel Retarder to 3 parts paint.
• For antiquing, thin colour with Gel Retarder.  Ratio is determined by strength of colour desired.  Begin with 2 parts paint to 1 part Gel Retarder.  Apply over the patined surface and wipe to create desired effect.  Use Gel Retarder on a cloth to remove excess.
• When using Gel Retarder, drying time is greatly delayed.  Surface may feel dry and still be holding moisture.  A hair dryer may be used to speed surface drying.  An extended dry and cure time should be allowed and varies due to humidity and climatic conditions.
• A coat of Flow Medium, Magic Mix or Clear Glaze Medium is recommended prior to application of varnish.  Any 'seizing' or curdling of these products indicates the presence of uncured Gel Retarder.  Immediately stop application and dry completely before proceeding.
• Do not apply Gel Retarder over Clear Glaze Medium or Magic Mix.  Gel Retarder will dissolve Clear Glaze Medium or Magic Mix in patches.  Clear Glaze Medium may be applied over DRIED and CURED Gel Retarder.

Appoximate coverage: 1 ml = 94 sq cm / 1 oz = 3 sq ft

  Polyurethane Water Based Varnishes

Available in Gloss, Satin and Matte, these clear, non-yellowing varnishes are fast drying and their durable formula makes them suitable for indoor and outdoor use.  Matte and Satin Varnish should be shaken gently before use to disperse matting agent.  Overshaking will cause bubbles.

Directions:

• A coat of Clear Glaze Medium is recommended as a barrier coat prior to varnishing depending on climate and humidity.
• Use Varnish full strength.  If thinning is necessary, add drops of Flow Medium or Retarder.  Do not over dilute.
• Apply thin layers in a criss-cross motion using a soft but firm bristle brush suitable to surface size.
• Smooth coat with final brushstrokes in the direction of the wood grain.
• Allow to air dry a minimum of an hour before applying additional coats.  Drying time varies depending on climate and humidity.
• Apply 3 coats before sanding.  Sand lightly if 24 hours have lapsed between coats to ensure proper adhesion.
• For alcohol resistant finish or for outdoor use, apply a minimum of 4 to 5 coats of varnish.  Allow varnished item to cure a minimum of 2 weeks before use.
• If using a hair dryer for surface drying, hold away from the surface and avoid excessive heat which could cause crazing.

Not recommended for use over oil based paint or oil based antiquing finishes.

Approximate coverage: 1 ml = 251 sq cm / 1 oz = 8 sq ft

  Decoupage Varnish

Decoupage Varnish is a heavy-bodied version of Gloss Varnish for artists who wish to finsih their projects with a thick, lacquer-like coating.  It has been specially formulated for decoupage artists to hide the cut edges of paper.  Applying 8 to 10 coats of Decoupage Varnish is equivalent to 35 to 40 coats of other, thinner varnishes.

Decoupage Varnish dries to a thick, glossy finish that does not yellow over time.  It may be used both indoors and outdoors to provide maximum long-term protection and when cured is corrosion, chemical, scratch and wear resistant.

For Decoupage:

All Purpose Sealer or Clear Glaze Medium may be used for adhesion of decoupage paper to the surface.

• For large areas, a coat of All Purpose Sealer applied to the back of the paper and allowed to dry may decrease bubbles during application.  Repeat on paper front.  Allow to dry.
• Bubbles may be avoided if paper is brushed lightly with water to moisten prior to application.  Apply All Purpose Sealer thinned with Flow Medium 1:1 or Clear Glaze Medium to the surface and the back of the paper.
• Begin to press the paper against the surface from the centre out to work out air bubbles.  A soft cloth and a circular motion are recommended.
• Lock down by gently using a brayer or wallpaper roller.

Directions:

• A coat of Clear Glaze Medium is recommended as a barrier coat prior to varnishing.
• Gently shake the varnish and apply undiluted to the surface.  If thinning is necessary for the first coats, add a few drops of Flow Medium, Retarder or Distilled Water to thin slightly.  Do not over-dilute.
• Apply Decoupage Varnish in a criss-cross motion using a soft but firm brush suitable to surface size.
• Smooth by brushing final strokes in the direction of the wood grain.  Avoid overlaps or drips along the edges.
• Allow to air dry a minimum of an hour before applying additional coats.  Drying time depends on the number of coats applied, climate and humidity.  A hair dryer may be used to speed surface drying.  Avoid excessive heat which could cause crazing.
• A minimum of 8 to 10 coats will be required to hide the edges of the paper.
• Allow varnished item to cure a minimum of 2 weeks before use.  Cure time varies due to climate and humidity.

Not recommended for use over oil based paint or oil based antiquing finishes.

Approximate coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft

  Textile Medium

Textile Medium allows permanent non-fading painting on natural and non-synthetic fabric.  It is only necessary if the fabric to be decorated is to be laundered or dry cleaned.  Fabric containing a minimum of 50% cotton is recommended for best adhesion.

Directions:

• Pre-wash fabric to remove sizing.  Do not use fabric softener.
• Mix a minimum of 2 parts Jo Sonja's Artists' Colours with 1 part Textile Medium.  Painting a test strip is recommended.
• The addition of Textile Medium may stiffen painted area.  This will soften with washing.
• Apply to fabric ensuring paint penetration of fibres.  Allow to dry a minimum of 24 hours.
• All Purpose Sealer may be applied to the edges of your cut fabric to prevent fraying.  Seal 1/4" (1/2 cm) beyond cut edges.

Heat Setting Instructions:

• Excessive temperature can cause colour change; pre-testing is recommended as follows:
• Using your dry test strip, cover painted area with a cloth or brown paper.  Start with low heat setting, gradually increasing temperature until colour begins to 'shift'.  Then lower the temperature slightly and make a note of your iron setting.
• Iron decorated area for a minimum of 2 minutes on this setting.

Note: Launder articles with mild detergent and delicate heat.

Caution: Some cleaning chemicals may affect colours.

Approximate coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft

  Stroke & Blending Medium

Stroke & Blend may be used in various techniques such as stencilling, stippling, blending, staining, floating and blending.  It allows the smooth control of brushstrokes and will delay the drying time of paint.

Directions:

• Lightly moisten brush with Stroke & Blend and blend well on the palette for floated colour and blending techniques.
• For wet over dry blending, use Stroke & Blend mixed with colour to soften dry brush edges by blending wet paint over the dry layer beneath.
• A small amount of Stroke & Blend may be added directly into palette colours.  A few drops mixed in will keep paint moist longer.
• As a medium for stencilling, dress the brush with a small amount of Stroke & Blend.  Pick up colour and blend together with medium on palette.  For even colour application, use a paper towel to remove excess colour by rubbing in a circular motion.  With stencil in place, begin brushing the colour as if you were using it as a blush, working from the outside of the stencil to the centre.  Deepen colour to create form with additional layers, allowing each layer to dry completely before repeating colour application.
• Use Stroke & Blend with Jo Sonja's Metallic Colours for stencilling to replace bronzing powders in traditional techniques.
• Allow a minimum 48 hours drying before varnishing.  Drying time will vary depending on climate/humidity or if excessive medium is used.
• A hair dryer may be used to speed surface drying.  A coat of Clear Glaze Medium is recommended prior to varnish application.
• Any lifting or moving of colour or medium indicates the presence of uncured Stroke & Blend.  Immediately stop application and dry completely before proceeding.

Approximate coverage: 1 ml = 94 sq cm / 1 oz = 3 sq ft

  Texture Paste

 
Texture Paste may be used to create texture before or during painting and may be mixed directly into palette colours or used alone.  Ideal for various special effects or Faux Finishes, it remains flexible when dry.  Available in tubes in both white and black and in jars in white only.

Directions:

• Apply with dry brush, rubber spatula or palette knife to create textured background effects.
• Texture Paste may be tinted and piped through a cake decorating tube or bottle for textured decoration.  Apply to the surface or palette paper and allow to dry.  When completely dry, remove from the paper.  Apply to the surface by brushing All Purpose Sealer on the back to adhere to the surface.
• Use Texture Paste with a stencil and a palette knife to create textured designs on projects for walls.  The thickness of the stencil will determine the thickness of the design.
• For textured brushstrokes, mix Jo Sonja's Artists' Colours beginning with a ratio of 1:1 and paint as desired.  For strokes with less texture and more transparency, mix with Kleister Medium 1:1 before mixing into colour.
• Use Jo Sonja's Artists Colours to lightly pigment for a coloured ground similar to Gesso.  Use Texture Paste for basecoating to smooth coarse wood grain or imperfections in the surface.
• Drying time of Texture Paste will vary depending on climate, humidity and thickness of application.  Allow a minimum of 24 hours for thick applications of the medium.
• When dry, Texture Paste may be sanded to smooth and will accept paint.  Crackle Medium may be applied over the painted surface for added textural effects.
• Antiquing or colour glazing using colour mixed with Gel Retarder or Retarder Medium will emphasize textural effects.

Approximate coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft

  Tannin Blocking Sealer & Gold Leaf Size

Tannin Sealer has excellent adhesive and sealing properties.  Use on wood or masonite surfaces where tannin, oil or pitch may bleed through paint.  Also use to adhere gold leaf.

Directions:

Wood Knots:

• Apply undiluted to clean, dry surface directly over and at least 5 cm (2") beyond knots front and back.  Do not use hair dryer to promote drying.
• Allow to cure a minimum of 14 days depending on climate and humidity before proceeding to paint or decorate.
• When staining wood, stain surface first, then apply Tannin Sealer as directed.
• Tannin Sealer remains tacky when dry and cured.  Seal if desired with coat of Clear Glaze Medium or All Purpose Sealer before proceeding with basecoat.
• On light or pickled stains or basecoats, the dark knots or tannin may show through.  To mask this, once the Tannin Sealer has cured, conceal the area with a second coat of stain or a coat of Gesso.

Gold Leafing:

• Mix Retarder 1:2 with Tannin Sealer and apply a smooth coat.
• Allow to dry to tack.  When dry, fingerprint does not remain when surface is touched.  Repeat to apply 3 coats.
• Press gold leaf onto surface.  Rub gently with cotton ball to press into place.
• Heat set gold leaf using a hair dryer and warm air.
• Allow to dry overnight before buffing to remove excess leaf.  Buff the surface gently using a soft cloth or brush.
• Seal with a coat of All Purpose Sealer to prevent tarnishing and increase adhesion prior to decorating or antiquing with Jo Sonja's Artists' Colours or Wood Stain Gels.

Approximate coverage: 1 ml = 251 sq cm / 1 oz = 8 sq ft

  Flow Medium

Flow Medium is added to Jo Sonja's Artists' and Background Colours and other Jo Sonja's Mediums for thinning as needed for paint application or various techniques such as fine detail or linework and airbrushing.  Add to colours when a smooth basecoat is required.  Flow Medium will extend the drying time of the paint.

Note: The addition of water to thin Jo Sonja's Artists' Colours or Jo Sonja's Background Colours may over-dilute the paint causing poor coverage and adhesion to some surfaces.

Directions:

• Mix small amounts of Flow Medium with paint using a brush or palette knife, beginning with an approximate ratio of 2 parts paint to 1 part Flow Medium until desired consistency is achieved.  Water has a diluting effect on the pigment and adhesive qualities of acrylic.  Its use should be kept to a minimum.
• Flow Medium may be used to thin colours for basecoating on any surface that a smooth coat is desired including metal surfaces.
• Dry thoroughly.  The addition of Flow Medium may delay drying time.  A hair dryer may be used to speed surface drying.
• Dry a minimum of 28 hours before varnishing.  Allow additional time depending on climate and humidity or if excessive medium is used.
• Airbrush artists may use Flow Medium to dilute Jo Sonja's Artists' or Background Colours beginning with a ratio of 1:1.  A small amount of water may also be necessary for an even flow.

Approximate coverage: 1 ml = 188 sq cm / 1 oz = 6 sq ft

  Décor Crackle Medium

Jo Sonja's Decor Crackle is a sandwich crackle medium for application between layers of paint.  The top colour separtes to reveal base colour giving the appearance of aged paint.  Decor Crackle is suitable for furniture or other large surfaces.

Directions:

• Seal and basecoat surface with colour desired to show throught the crackle pattern. Surface must be sealed to allow Decor Crackle to work properly.
• For best results, one step preparation is recommended.
• Apply basecoat mixed with All Purpose Sealer 1:1 to the surface. Allow to dry and lightly sand.
• Brush on an even, generous coat of Decor Crackle and allow to air dry to touch. 
• Top cover and allow to dry - enjoy watching the cracks form. 

Approximate coverage: 1 ml = 94 sq cm / 1 oz = 3 sq ft

  Kleister 'Faux Finish' Medium

This semi-transparent medium is added to paint to provide extra body for textural patterns for Faux Finishes such as Faux Bois or Wood Graining techniques.  It provides transparency to the paint and extends its drying time.

Directions:

• Use Kleister Medium as an overglaze to create transparent and textural patterns for techniques such as wood graining and ragging.
• Kleister Medium may be tinted with colour of choice beginning with a ratio of approximately 1 part paint to 3 parts Kleister Medium.
• Apply evenly over dry basecoated item.  Create texture or patterns using tools of choice, i.e. brush, rag, plastic, sponge, graining tool, etc.
• Use as a general painting medium to assist the strokework.
• Kleister Medium may be used to prepare a smoked background for various painting techniques.
• Retarder Medium may be applied to the surface or added with Kleister Medium for an extended working time.  Kleister Medium will delay drying and curing time.
• Dry thoroughly before decorating or varnishing.  A hair dryer may be used to speed surface drying.  Cure time is 2 weeks under normal conditions.  An extended dry and cure time should be allowed which varies due to humidity and climatic conditions or if an excessive amount of Kleister Medium has been used.
• A coat of Clear Glaze Medium is recommended prior to application of varnish, depending on humidity and climatic conditions.

Approximate coverage: 1 ml = 125 sq cm / 1 oz = 4 sq ft

  Wood Filler

The unique features of Jo Sonja's Wood Filler make this product a necessity for surface preparation on any wood or MDF surface.  Neutral in colour, it dries quickly with minimal shrinkage.  Rapid drying time allows layering to fill large holes or imperfections takes paint or stain.

Directions:

• Fill cracks, rough edges and other blemishes with Wood Filler using a plastic palette or putty knife.  Fill deep holes or imperfections by applying Wood Filler in multiple thin to medium layers.
• For large areas or missing details on carved design elements, use a cake decorating tip and pipe Wood Filler into the area to be repaired.  Smooth with a water dampened brush. Apply in  layers for best results.  May be carved to refine details.
• Allow to dry, then sand as needed to smooth and remove excess.
• Water based colour or stain may be mixed directly into Wood Filler. Colour may vary slightly when dry.
• Seal and continue with preparation for technique, following directions for painting or stain application.
• If contents harden, place closed jar in hot water to seften.
• May be thinned with up to 10% water before adhesive properties are affected.

Approximate coverage: 1 ml = 62 sq cm / 1 oz = 2 st ft

  Glass & Tile Painting System

Glass & Tile Primer (Part A)

Glass and Tile Primer prepares glass, glazed ceramics and enamel for painting, providing additional bonding for the paint.  It is essential for use on painted items which are too large or otherwise unsuitable for heat setting in an oven and should be used in conjunction with Glass & Tile Medium.

Directions:

• Using a clean brush, apply a generous amount of Jo Sonja's Glass & Tile Primer to a clean dry surface to prepare it. Allow to dry. A blooming or cloudiness may be evident on glass after application.  This is normal and can be buffed off when your designs have cured.
• If preparing the inside surface of a glass container (e.g. a decorative Christmas ball), the Glass & Tile Primer may be poured in and swirled around to coat the interior surface. Drain thoroughly and allow to dry.
• Paint as per instructions under Glass & Tile Medium.

Note: Glass & Tile Primer is inflammable and appropriate safety measures should be followed.

Not recommended for use on plastics.

Approximate coverage: 1 ml = 62 sq cm / 1 oz = 2 sq ft

Glass & Tile Medium (Part B)

Glass & Tile Medium can be added to Jo Sonja's Artists' Colours to make them suitable for painting on glass, glazed ceramics and enamel.  It should be used in conjunction with Glass & Tile Primer if item cannot be cured in the oven.

Directions:

• Apply a liberal coat of Jo Sonja's Glass & Tile Medium to the area to be painted and allow it to dry.  (This step is optional, however it will promote better adhesion of the painted design to the surface.)  For maximum adhesion, there must be adequate Glass & Tile Medium in contact with the surface.
• Thoroughly mix colour with Glass & Tile Medium beginning with a ratio of 1 part Jo Sonja's Artists' Colours to 3 parts medium.
• Use Glass & Tile Medium in the brush for floated colour and glazing.  Do not dilute with water or other mediums.  The addition of other mediums may decrease the adhesion of paint to the surface.  Rinse brush when paint begins to drag.  Dress brush in a small amount of Glass & Tile Medium and pinch wipe to remove any traces of water.
• To reduce transparency, layer colour or decrease ratio of medium to colour.  If medium is decreased or for increased durability, apply 2 coats of Glass & Tile Medium over painted area when complete.  Dry well between each layer.
• For maximum durability, finish with 1 to 3 coats of Jo Sonja's Polyurethane Water Based Gloss, Satin or Matte Varnish.
• Allow painted items to cure for a minimum of 2 weeks before use.
• While remarkably durable, this system is for decorative purposes only.  Carefully hand wash and avoid harsh abrasives or chemicals.

Approximate coverage: 1 ml = 62 sq cm / 1 oz = 2 sq ft

  Gesso

This primer for wood, canvas and metal provides a smooth fine-grit finish with maximum 'tooth'.  Available in black and white.

Directions:

• Apply directly to surface using a clean dry brush, roller or air brush.  (For airbrushing, thin Gesso with Flow Medium starting at 1:1 ratio, adding Flow Medium until desired viscosity is reached.)
• Apply undiluted to stretched unprimed canvas.  Apply subsequent coats as soon as previous coats are dry to the touch.  May be sanded when dry for a smoother surface.
• Colours may be altered using Jo Sonja's Artists' or Background Colours.  Add in small amounts to tint as desired.
• Do not mix with oil based products.

  Opal Dust

This clear gel contains tiny light reflecting, holographic particles creating an interplay of colours reminiscent of rare gems.  Use alone, or with Jo Sonja's Artists' Colours to create glitter effects on most surfaces without yellowing.

Directions:

• Shake bottle well before use.
• Opal Dust may be used alone or applied to a dry, pre-painted surface.
• Suitable for a variety of surfaces including paper, card, glass, transparency film, plastic, canvas, wood, terracotta, tin, fabric, silk or dried flowers.
• Not suitable for fabric surfaces which will be washed.
• Effects will be more dramatic when painted over darker colours.
• Mix with paint before application for a more subtle effect.
• Apply over Jo Sonja's Texture Paste to create the appearance of snow.
• Drying time depends upon thickness of application.  Brushstrokes are evident when wet but disappear when fully dry.
• A coat of Jo Sonja's Polyurethane Water Based Varnish is recommended to protect the finish on decorative items.
• Clean up with mild soap and cool water.

  Gold Dust

Tiny shimmering particles of brilliant gold suspended in a paint medium that can be used alone, or with Jo Sonja's Artists' Colours.