Matisse Structure Metallics Fundamental Set 5x75ml

The metallic sheen in Matisse metallic paints comes from flat, plate-like synthetic mica particles suspended in the acrylic medium. While the paint is wet, these particles are distributed randomly throughout the film and point in many different directions, which scatters light and reduces the apparent sheen. As the paint dries and the acrylic film contracts and settles, the mica platelets naturally align parallel to the painted surface. This alignment allows them to reflect light uniformly in the same direction, creating the characteristic metallic sheen. The drier and more fully cured the paint, the more fully the mica aligns, and the stronger the metallic effect appears. This is why Matisse recommends assessing the final colour and sheen only after the paint is fully dry, typically 15 to 30 minutes for thin applications.

You can mix Matisse metallic paints with regular Structure colours, but the metallic sheen will be reduced or eliminated in proportion to how much non-metallic paint you add. This is because regular pigment particles disrupt the alignment of the mica platelets and scatter light rather than reflecting it uniformly. Adding a small amount of colour to a metallic can tint it while retaining most of the sheen; adding equal or greater amounts of regular colour produces a paint that reads more as iridescent than metallic. For adding metallic sheen to any standard colour without mixing, Matisse MM24 Iridescent Medium can be added to regular Structure paints. Mars Black is included in this set because it is itself a pigment that responds well to mixing with metallics, creating the dark patina tones that regular colour mixtures cannot achieve cleanly.

Gel Medium is a clear acrylic gel with the same consistency as Matisse Structure heavy-body paint. It is used to extend paint volume, increase translucency, slow the drying process slightly, and add body to thinner mixes. When used with metallic paints, it serves two main purposes. First, it can be mixed with a metallic colour to create a transparent metallic glaze, which can be laid over a dried painting to give it a shimmering, light-catching quality without obscuring the work beneath. Second, metallic paint thinned with Gel Medium can be worked into dried textured paint by rubbing with a stiff brush or cloth, filling the texture with metallic colour while allowing the underlying layers to read through. Both techniques are particularly effective for decorative, illustrative, and mixed-media work. Gel Medium dries clear and does not affect the lightfastness or permanency of the metallic paints it is mixed with.

Matisse metallic paints can be used on any surface suitable for acrylic paint, including canvas, linen, board, timber, plaster, ceramic (unglazed), terracotta, paper, card, and most sealed surfaces. For best adhesion and metallic effect, surfaces should be properly primed with an appropriate gesso or sealer. On absorbent surfaces such as raw timber or unprimed paper, the paint dries faster and the metallic sheen may be reduced as some of the medium is absorbed into the surface. On very smooth, non-absorbent surfaces such as glass or glazed ceramic, adhesion should be tested first. The metallic paints are fully compatible with all Matisse mediums, including Gel Medium, MM24 Iridescent Medium, and the full range of Matisse varnishes. They can also be used for sponging, stencilling, stamping, and screen printing on paper, fabric, and mixed-media surfaces, though washfast permanency on fabric depends on heat-setting and the base material.

Matisse Structure is priced in series from S1 to S6 based on the relative cost of the pigments used. Series 1 contains the most economical pigments, which include iron oxides (such as Mars Black) and titanium white. Series 4 contains more specialised pigments, including the synthetic mica titanate pigments used in the metallic colours. These mica pigments are more costly than standard organic or inorganic pigments because of the precision required in their manufacture: the metallic effect depends on the mica platelets being ground to a consistent particle size and coated evenly with the appropriate metal oxide. The Series 4 pricing reflects this additional manufacturing complexity, not a difference in quality or permanency. All three metallic colours in this set carry the same ASTM I lightfastness rating as the best-rated Series 1 colours.