All Amsterdam acrylics are intermixable, and King's Blue behaves predictably in mixes given it is opaque. Start by mixing it with titanium white for tints and with a small amount of its complementary colour to knock back the intensity rather than reaching for black, which tends to deaden a mix. Keep a swatch card of your mixes with the ratios written on it, because you will want to repeat one later.

King's Blue is rated +++ on Royal Talens' scale. Three pluses means the colour is rated to last at least 100 years under museum conditions, two pluses at least 25 years. Museum conditions means indoors and out of direct sunlight. That rating is why work painted in Amsterdam Standard Series is safe to sell, provided the buyer is not hanging it in a north-facing window.

The Amsterdam Standard Series runs in 20ml, 120ml, 250ml, 500ml and 1 litre, though not every colour is made in every size. We carry the sizes that move, and the 500ml jar is the one to choose when you are painting large, teaching, mixing in volume or working on murals and props. If you want a size you cannot see on the site, ask us and we will check what Royal Talens produces in that colour.

Royal Talens states that Amsterdam acrylics contain no animal-derived ingredients and are not tested on animals. Pigments and binders are synthetic or mineral. If this matters for a specific colour or for a school or institutional purchase, ask us and we will get the current safety data sheet and manufacturer statement for that exact product code rather than giving you a general answer.

If you are in Melbourne, our Moorabbin store carries the Amsterdam range on the shelf, and you can use Click and Collect to reserve online and pick up, usually ready in 1 to 3 business days. If you are in Brisbane, our West End store stocks it too. Everywhere else in Australia, we ship direct from our warehouses with tracking on every order, and Express Post reaches most metro areas in 1 to 2 business days after dispatch.

Yes, mixed with a pouring medium. Do not try to thin acrylic to pouring consistency with water alone, because you will break the binder and get a weak, crazed film. A pouring medium keeps the resin content intact while dropping the viscosity, and a few drops of silicone oil will open cells if that is the look you want. The 500ml size is the sensible one for pouring, because a pour uses far more paint than you think it will.

Yes, with a fabric medium mixed in. Straight acrylic on fabric dries into a stiff plastic patch that cracks when the cloth flexes. A textile or fabric medium keeps the binder flexible so the paint moves with the weave. Prewash the fabric to remove sizing, paint with a board inside so it does not bleed through, let it cure fully, then heat set with an iron on the reverse per the medium's instructions.

Barely. Amsterdam is water based and Royal Talens describes it as odourless, which is the main reason acrylic suits home studios, apartments and classrooms where solvent-based oils are impractical. There is no turpentine or mineral spirit involved in painting or cleaning up. Some mediums and varnishes, particularly solvent-based varnishes, do have a smell, so read the label on those and use them with ventilation.

Thin layers can dry within half an hour. Thick, impasto applications take considerably longer, sometimes overnight, and a heavy texture can stay soft underneath for days even when the surface feels dry. Heat and airflow speed it up, humidity slows it down, which matters in a Brisbane summer. Touch dry is not cured. Allow a good few days before varnishing, and longer over heavy texture.