Pastel Yellowish Green Light is opaque. That determines how you should use it. An opaque colour covers what is beneath it in one or two coats and is what you want for blocking in and correcting. A semi-transparent or transparent colour lets the layer underneath influence the result, which makes it ideal for glazing and shadow work but frustrating if you are trying to cover something. Check the swatch on the jar against a black bar to see it for yourself.

All Amsterdam acrylics are intermixable, and Pastel Yellowish Green Light 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.

Pastel Yellowish Green Light 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.

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.

It is optional for durability indoors, since acrylic cures water resistant on its own, but it is worth doing for anything that will be handled, sold, displayed in a public space or ever need cleaning. Varnish gives you a sacrificial layer that takes the dust and can be removed and replaced. Wait until the painting is properly cured, which means days not hours, and longer over thick texture. Choose gloss, satin or matte deliberately, because it changes the look.

Yes, it is a common mural choice, and the alkali resistance is the reason. It adheres to stone, plaster, concrete and render without a specialist masonry primer, provided the wall is clean, sound and slightly porous. For an exterior mural, finish with a UV resistant exterior varnish. The paint's lightfastness rating assumes indoor museum conditions, and an Australian north-facing wall is a very different ask.

Act while it is wet if you possibly can, because soap and cold water lifts wet acrylic easily. Once it has cured it is a plastic film bonded into the fibres and there is no reliable removal. People have some success softening it with isopropyl alcohol or a dedicated paint remover and working at it with a brush, but the fabric usually shows the damage. The real answer is an apron and old clothes.

Usually one of three causes. You painted a thick layer over a layer that was not fully cured underneath, so the top skinned and the bottom shrank. You over-thinned with water, which weakened the binder. Or you applied it very thickly in a hot, dry, windy spot so the surface set long before the body did. The fixes are: thinner layers, proper drying time between them, thin with medium rather than water, and keep a heavy application out of direct heat.