BOOK

THE
ACRYLIC
A COMPREHENSI VE RESOURCE FOR ARTI STS
AcrylicBookCover.qxd 12/5/06 1:40 PM Page 1

!HE A0RY|I0 B00K
A comprehensive resource for Artists
t A b l e o f c o n t e n t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Z
Chapter 1 IntroduCtIon & hIstory 5
Chapter 2 essentIal InformatIon 7
WhatIsAcrylicPaint? 7
ComponentsofAcrylicPaint 7
HowAcrylicsWork 8
CharacteristicsofAcrylicPaints 9
TechnicalInformation 10
MixingColor:MineralandModernPigments 13
LiquitexColorPalettes 14
Chapter 3 lIquItex
®
produCts 16
ColorRanges 16
ProfessionalArtistsAcrylicColor 16
9EssentialThingstoKnowAboutAcrylicColors 17
SoftBodyProfessionalArtistAcrylicColor 18
HeavyBodyProfessionalArtistAcrylicColor 19
SuperHeavyBodyProfessionalArtistAcrylicColor 20
DecorativeSeries 21
Liquitex
®
InterferenceColors 21
IridescentColors 22
LuorescentColors 22
Liquigems™AcrylicGlitterPaint 23
Glossies™AcrylicEnamelPaint 23
BasicsValueSeries 25
Basics 25
BasicsMatt 26
ChoosingtheRightColor:Artists’ColorvsValueSeries 27
AcrylicMediums 29
prep 31
SurfacePrep 31
paint 34
FluidMediums 34
GelMediums 40
Effects 48
finish 57
Varnish 57
Chapter 4 applICatIons 62
AcrylicSheets 62
Airbrushing 64
Brushwork 68
t A b l e o f c o n t e n t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
1
Chapter 4 applICatIons (cont)
Collaging 69
Floorcloths 71
CanvasPreparation 71
Glazing 73
Glossies™onGlass,Tile&CeramicSurfaces 74
MuralPainting 77
PaintingonFabricandLeather 82
Pouring 87
Silk-screen 89
SurfacePreparation 90
Transfers 97
WatercolorWithAcrylic 100
Chapter 5 frequently asked questIons 102
Chapter 6 health & safety 106
HealthLabeling 106
TCLPProductAnalysisFindingsSummary 110
SafeStudioTips 110
Chapter 7 referenCe 112
q u i c k r e f e r e n c e p r o d u c t g u i d e
professIonal Color
SoftBodyAcrylicColor 18
HeavyBodyAcrylicColor 19
SuperHeavyBodyAcrylicColor 20
Value serIes Color
BASICSAcrylicColor 25
BASICSMattAcrylicColor 26
professIonal medIums
surface prep 31
Gesso 31
ClearGesso 32
SuperHeavyGesso 33
ColoredGesso 33
fluid mediums 34
PaletteWettingSpray 34
GlossMedium&Varnish 35
GlazingMedium 36
MatteMedium 36
UltraMatteMedium 37
Slow-Dri
®
BlendingMedium 38
Gel mediums 40
GlossGel 41
GlossHeavyGel 41
GlossSuperHeavyGel 42
MatteGel 43
MatteSuperHeavyGel 44
UltraMatteGel 44
Slow-Dri
®
BlendingGel 45
ModelingPaste 46
LightModelingPaste 47
FlexibleModelingPaste 47
effects 48
FabricMedium 48
IridescentMedium 48
AirbrushMedium 49
PouringMedium 50
StringGel 50
effects (cont)
CeramicStucco 51
WhiteOpaqueFlakes 51
GlassBeads 52
BlendedFibers 52
ResinSand 52
NaturalSand 52
BlackLava 53
Slow-Dri
®
GelRetarder 54
Slow-Dri
®
FluidRetarder 54
FlowAid™ 55
Liquithick™ThickeningGel 56
Varnish
HighGlossVarnish 57
GlossVarnish 57
SatinVarnish 57
MatteVarnish 57
SoluvarGlossVarnish 58
SoluvarGlossVarnishAerosol 58
SoluvarMatteVarnish 58
SoluvarMatteVarnishAerosol 58
teChnIques & applICatIons
AcrylicSheets 62
Airbrushing 64
Brushwork 68
Floorcloths 71
Glazing 73
Glossies™OnGlass,Tile&CeramicSurfaces 74
MuralPainting 77
PaintingOnFabricAndLeather 82
Pouring 87
Silk-Screen 89
SurfacePreparation 90
Transfers 97
WatercolorwithAcrylic 100
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
1
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
5
Knowledge is power.TheLiquitex
®
AcrylicBookisforartists,educators
andstudentsofalllevelsTheinformationinthisbookwillhelpyoubetter
understandacrylicartmaterialsandwillexposeyoutoinnovativetechniques
andapplicationsTheLiquitex
®
AcrylicBookiswrittenbythepeoplewhohave
madeprofessionalwater-basedacrylicslongerthananyothermanufacturer
Thisbookistheresultofmanylifetimesofexperienceandexpertise
Thiseasy-accessLiquitex
®
AcrylicBookhassixmainchapters:
1 EssentialInformation
2 LiquitexAcrylicProducts
3 Applications
4 FrequentlyAskedQuestions
5 HealthandSafety
6 Reference

The“FrequentlyAskedQuestions”willhelpyousolvecommonacrylic
problems,whilethe“Applications”sectionoffersfnearttechniquesand
manyideasforprojectsandapplications
Ifyouhaveanyspecifcortechnicalquestionsthatarenotansweredinthisbook:
• Visitwww.liquitex.com forcomprehensivetechnicalinformationonall
Liquitex
®
products
• Emailqueriestoinfo@liquitex.com
• Callusat1.888.4ACRYLIC (North America Only).
It’sourjobtomakesurethatyouhavetheinformationthatyouneedtobesuccessful
a BrIef hIstory
Inthelonghistoryofartmaterials,acrylicsarefairlynewOilcolorsdatebacktotheffteenth
centuryTemperaandencaustichavepedigreesthatarecountedinthethousandsofyears
Andwatercolorwastheresultwhenprehistoricvisionariesdevelopedthebasicmodelfor
paintthatstillservestoday:acombinationofpigment(earthcolorant),vehicle(forthe
earliestartists,saliva),andbinder(prehistoricanimalfat)
Acrylicswerefrstdevelopedasasolvent-basedartists’colorintheearlypartofthetwentieth
centuryThefrstwater-borneacrylic(thekindweusetoday)wasdevelopedandlaunchedin
1955Inthatyear,acompanyinCincinnati,OhiocalledPermanentPigmentsthathadbeen
millingoilcolorssince1933(andrunbyamannamedHenryLevison,wholived,drank,
IN!R00U0!I0N & HIS!0RY
01
c
h
A
p
t
e
r
c h A p t e r 1 : i n t r o d u c t i o n & h i s t o r y
c h A p t e r 1 : i n t r o d u c t i o n & h i s t o r y
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
slept,andbreathedartist’scolors)launchedanewproductThisnewartists’colorwas
formulatedwithanacrylicpolymerresinthatwasemulsifedwithwaterThenewcolorcould
gofromthicktothinandeverywhereinbetween;itwouldadheretojustaboutanything—
fromcanvastopapertometaltowoodtoplastic–anditdriedquicklyforeasyre-working,
layering,andmaskingMostimportant,itcouldbethinnedandcleanedupwithwater
Levisontriedtocomeupwithanamethatwouldcapturetheessenceofthemediumand
thefactthatitcouldgofromfuidliquiditytoheavytextureHecalledhisnewproduct“liquid
texture,”orliquitex
®
.
Levisonwasabletoencourageanumberofartiststotrytheproduct,butacceptancewas
slowAcrylicsdidn’tgainfullacceptanceintheartistcommunityuntilLevisonfguredouta
principlethatisstillinplacetoday:greatinformationisasimportantasgreatmaterialsBased
uponthatprinciple,Levisonlaunchedalecturedemonstrationprograminwhichartistsoffered
workshopsandlecturesontheuseofacrylicstocollegestudentsandprofessorsWithinafew
years,acrylicswerebeingusedconsistentlyincollegesanduniversitiesacrossthecountry
Anditwasn’tlongbeforeLiquitex
®
wasbeingusedbysomeofthemostimportantartistsofthe
late20thcentury:DavidHockney,HelenFrankenthaler,AndyWarholandothersBecauseof
itsdurabilityandversatility,Liquitex
®
alsobecamethemediumofchoiceforlarge-scalepublic
muralsbyartistssuchasGaroAntreasianandThomasHartBentonInfact,it’sfairtosaythat,
withoutLiquitex
®
andtheworkingpropertiesofwater-basedacrylics,20thcenturyartwould
havebeencompletelydifferent
Bythe1980’s,acrylicshadbecomethemostpopularandwidelyusedofallpainting
mediums,surpassingbothwatercolorandoilbyawidemarginThereason?Theinfnite
varietyofapplicationsofacrylicscoupledwiththespiritofinnovationfrstshownbyLiquitex
®

Withoutquestion,thereisnomoreversatilecolorsystemintheworldWhilebothoilsand
watercolorrequirecarefulselectionofsurfacesandtechniquestoensuresuccessand
stability,acrylicscanbeusedwithsomesimpleguidelinesonvirtuallyanything,toachieve
virtuallyanyvisualorsculpturalresultTheycanbeusedoncanvas,onpaper,onfabric,
onleather,onmetal,andonwoodAcrylicscanbebrushed,troweled,sprayed,poured,
splattered,scrapedorcarvedInshort,withalittlecareandtherightadditiveormedium,
acrylicscandojustaboutanythingyoucanimagine
Acrylicsoffersuchgreatversatilitybecausetheydothreegreatthings:
1. They stick.ToalmostanythingAcrylicsoffergreatadhesiontoawidevarietyofsurfaces
2. They fex.Astheydryandage,acrylicstendtoremainfarmorefexiblethanoils,allowing
themtobeusedwithoutcrackingonawiderarrayofsurfaces
3. They adjust.Throughthewondersofmodernchemistry,theworkingpropertiesofacrylics
canbeadjusted,altered,andmanagedinaninfnitevarietyofways
Totakeadvantageofthisversatilityithelpstounderstandthebasicchemistryofhow
Acrylicswork
! ê
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
What Is aCrylIC paInt?
Waterbasedacrylicpaintiscomposedofpigmentparticlesdispersedinanacrylic
polymeremulsion
Components of aCrylIC paInt
• pigment
Adry,powderymaterialthatdoesnotdissolveandremainssuspendedwhen
mixedwithacrylicpolymeremulsionPigmentscanbeorganic,inorganic,
naturalandsyntheticTheyhavelittleornoaffnityforthesurfacetowhich
theyareapplied
• Vehicle
Acombinationofwaterandacrylicpolymerwhichcreateapolymeremulsion
Oncethewaterleavesthesystemviaevaporationorabsorptionthepaintdries
creatingastableflmtrappingthepigmentparticles
• Binder
AcrylicpolymerwithoutthewaterBindergivesthepaintitshandlinganddurability
characteristics
defInItIons
• polymer
A“polymer”isalongchemicalchainmadeupofsmaller,oftenidentical
moleculesWhenfullyassembled,ithasthepotentialforaddedstrengthand
stabilityasitlocksintoatightlyorderedstructureThefnalacrylicpaintflmis
madeofastablepolymericstructurethatlocksthepigmentintoplace
• emulsion
AmixtureofwaterandacrylicpolymerAnemulsionisastablemixtureof
componentsthatdonotnormallymixwelltogether(Oilandwater,forexample,
canbemixedtogetherbutwillstillsettleoutandseparate)Chemicalemulsifers
areaddedtoforcethewaterandacrylicpolymerintoastablemixtureuntilthe
watereitherevaporatesorisabsorbed
ESSEN!IA| IN|0RMA!I0N
02
c
h
A
p
t
e
r
c h A p t e r 2 : e s s e n t i A l i n f o r m A t i o n
! ê
c h A p t e r 2 : e s s e n t i A l i n f o r m A t i o n / A c r y l i c s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
hoW aCrylICs Work
AcryliccolorsdryasaresultofwaterevaporationHere’swhatoccursaspigment,water,and
acrylicaretransformedintoalast-for-agespaintflm:
step 1 Squeezedfromthetube,orscoopedfromthejar,acrylicpaintisafnelybalanced
dispersionofpigmentinanemulsionofacrylicpolymerandwaterThewaterserves
tokeeptheemulsionliquid,andactsasakindofchemical‘chaperone’preventing
theacrylicpolymerparticlesfromgettingcloseandpersonalandlockingupbefore
theartistisready
step 2 Whenexposedtotheatmosphere,waterintheemulsionevaporates,orisabsorbed
intothepaintingsupportThat’swhentheacrylicpolymerparticlescomeintodirect
contactandfusewitheachother
step 3 Thepolymerparticlesorganizethemselvesintoastable,hexagonalstructure,
trappingthepigmentinplaceBingo!Thestablepaintflm!
Itisimportanttonotethatacrylicsshouldneverbethinnedwithmorethan25%water
Toomuchwaterwillspreadtheacrylicresinthinly,andinterferewiththeformationofthe
stableflmAddinganAcrylicMedium,ratherthanwater,helpsmaintaincolorbrillianceand
ensuresthatthepaintflmwillremainstable
Theacrylic/wateremulsionhasaslightlymilkycolorwhenwetthatclarifiesasthe
paintdriesThismilkyappearancelightens(toaslightdegree)thevalueofthecolor
Aswaterleavestheemulsion,andthebinderclarifies,thevalueofthecolordarkens
Thiscolorchangeiscommonlycalledthewet-to-drycolorshiftandismostnoticeable
withdarktransparentpigments(suchasAlizarin)andlessnoticeablewithlight
opaquepigments(suchasCadmiumYellow)Asacrylicchemistryadvances,Liquitex
®

continuouslymakesuseofnewacrylicresinsfromaroundtheworldthatofferfarbetter
wetclaritythaneverbefore
S ! E P J S ! E P Z S ! E P 1
9 &
c h A p t e r 2 : e s s e n t i A l i n f o r m A t i o n / A c r y l i c s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
CharaCterIstICs of aCrylIC paInts
BasIC CharaCterIstICs
• Water-solublecolorswhilewet
• Permanent,waterinsoluble,fexiblecolorswhendryBuiltupsurfaceswillremain
freeofcracksandchipsLessfexibleincoldweatherSofterinwarmweather
• ShouldbethinnedwithaminimumofwaterTomaintainthestabilityofthefnal
flm,useacrylicmediumsoradditivestoadjustthefowandworkingproperties
• Donotmixwithsolvents,turpentineoroilsMixonlywithotheracrylicemulsion
paintsormediums
• KeepbrusheswetCleanupbrushes,handsandpalettewithsoapandwater
• Littleodor,nofumes,nonfammableUsesnon-toxicthinnersandmediums
• NOTEonfexibility:WhileLiquitex
®
Acryliccolorsandmediumswillremainfexible
overtime,allacrylicpaintflmsbecomeincreasinglybrittleincoldweatherDonot
fex,roll,orunrollacrylicpaintingsintemperaturesbelow45ºF
dryInG CharaCterIstICs
• AcrylicpaintdriesbyevaporationofitswatercomponentThinpaintflmswill
dryin10–20minuteswhilethickpaintflmsmaytakefromanhouruptoseveral
days
• Onporoussurfacesthewaterevaporatesfromboththepaintaswellasthe
undersideofthesupport
• ResinparticlescoalesceandtrappigmentsasthewaterevaporatesThepolymer
resinbondsandfallsintoroughlyhexagonalpatternsThecompletedprocess
yieldsawaterinsoluble,fexible,non-yellowingpaintflm
CleanInG up aCrylIC paInts
• from hands:Wetordriedacrylicpaintcleanswithsoapandwater
• from brushes:Cleanwetbrusheswithsoap&waterCleandriedacrylicbrushes
withacetone,denaturedalcoholorequivalentproductThesecleaningsolutions
aretoxicCareshouldbetakenduringuse
• from clothing:Whilepaintiswet,cleanwithwaterand/orwindowcleanerDried
acrylicpaintispermanentonfabric
• from painting surface:Whilepaintiswet,wipewithdamprag,cleanwithwater
Whenpaintisdry,simplypaintoversurfacewithdesiredcolorsandmotifThe
surfaceofadryacrylicpaintingcanbecleanedbygentlywashingwithsoap
andwater
9 &
c h A p t e r 2 : e s s e n t i A l i n f o r m A t i o n / A c r y l i c s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Thetransparency,translucencyandopacityofcolorsarebasedonthe
characteristicsofthepigmentsusedAllLiquitex
®
colorsarelabeled
Transparent(TP),Translucent(TL),orOpaque(O)onthelabelofeach
product
• opaque Opaquecolorsdonotallowlighttopassthrough
thecolorlayerBest“hidingpower”orcoverage
Duplicatesgouacheeffects
• translucent InbetweentransparentandopaqueAllows
somelighttopassthroughthecolorlayer
• transparent Transparentcolorsallowlighttopassthrough
theircolorlayerLeast“hidingpower”Allows
underneathcolortoshowthroughBestsuited
forglazingandwatercolortechniques

hue, Value, Chroma
Hue,ValueandChromapositionsforeachcoloraredisplayedoneachlabel,forevery
Liquitex
®
colorThesedesignationsarebasedontheinternationallyrecognizedMunsell
ColorSystem
teChnICal InformatIon
AllLiquitex
®
PaintsandMediumsaremanufacturedtohighqualityandperformance
standards
attrIButes
Liquitex
®
AcrylicColorsandMediumsaremadeusingthehighestqualityacrylicresinto
produceacrylicpolymeremulsioncolorsandmediumsAllcolorscontainpurepigments,
ina100%acrylicpolymeremulsionLiquitex
®
AcrylicColorscontainnofllers,opacifers,
toners,dyes,emulsifersoradditivesthatincreasevolumewithoutimpartingapositive
attributetothepaintLiquitex
®
AcrylicColorshavethegreatestpermanenceand
lightfastnesspossible
Allcolorsdrytothetightestsheenrangeofanyacrylic,ensuringlessshinyanddull
spotsinthefnishedpainting
Allcolorscontainthehighestpurepigmentload,withhightinting“power”and
maximumpermanenceofanyacrylic
laBel InformatIon
ThefollowinginformationisprovidedonlabelsofallLiquitex
®
AcrylicColors
transparency/opacity
JJ J0
c h A p t e r 2 : e s s e n t i A l i n f o r m A t i o n / m u n s e l l c o l o r s y s .
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
munsell Color system
Thereareavarietyofopticalsystemsthatcanbeusedtomeasuretherefractiveand
physicalpropertiesofcolorOneofthemostcommonlyusedinhelpingartistsandscientists
betteridentifytheopticalcharacteristicsofcoloristheMunsellsystemLiquitex
®
labels
includeMunsellnotationsforeachcolorThecolorsystemisbrokendownwiththe
followingidentifyingcategories:

hue
ColorcanbeorganizedtofollowthefowofhuesorspectralfamilynamesAsorganized
withinacolorwheel,12huesareRedPurple,Red,RedOrange,Orange,YellowOrange,
Yellow,YellowGreen,Green,BlueGreen,Blue,BluePurple,andPurpleWithinthe
spectrum,thethreeprimarycolorsareRed,Yellow,andBlueAhueistheprecise
identifcationofeachcolorwithinaHuePositionBandThespecifchueofacolormay
beatcenterorleantowardonespectralneighbororanotherForexample,CadmiumRed
MediumcarriesaMunsellNotationof63R,andisindicatedasleaningtowardtheRed
Orangehuecolumn
Complementary colorsstronglyenhancethecharacteroftheprimariesForexample,
placinggreennexttoredwillmakebothcolorsappearmoreintenseandvividGreen
occupiesthepointdirectlyoppositeredonacolorwheel,andisconsideredtobethe
complementofredOrangeisthecomplementforblue,andvioletisthecomplement
foryellow
split-complementarycolorsarethosethatresidedirectlytoeithersideofthe
complementarycolorWorkingwithsplit-complementsallowstheartisttoexplore
relationshipsinwhichthetargetcolorcanbeenhancedbybeingplacednexttoor
nearasplit-complementarybutnotwiththesamedegreeofintensitythatcomeswith
beingpairedwithitsstraightcomplementarycolorInaddition,themixingofasplit-
complementwiththeoriginaltargetcolorwillyieldawell-balancedgray
triadiccolorselectionsallowtheartisttoselectcolorsthatserveasunique‘primaries’,
eachofwhichareevenlyspacedinthirdsaroundthecolorwheel
tetradiccolorselectionsallowtheartisttoselectcolorsthatarebalancedand
harmoniousbyvirtueoftheirequalspacinginquartersaroundthecolorwheelMore
complexrelationshipswithbothtriadicandtetradicsystemscanbeexploredthrough
defninguniquecomplementariesandsplitcomplementarieswithintheuser’suniquely
defnedpalette
Value
Allcolorsvaryinvalue(therangefromlighttodark)Valuenumbersonthelabelgivethe
lightanddarkmeasureofacolorThereare,infact,10theoreticalvaluestepsrangingfrom
pureblack(level0)topurewhite(level10)Thehigherthenumber,thelighterthecolor
JJ J0
c h A p t e r 2 : e s s e n t i A l i n f o r m A t i o n / m u n s e l l c o l o r s y s .
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Chroma
Bytheirverynature,somecolorsarequitebright(likecrimson)whileothersarenaturally
dull(likeyellowochre)Therelativebrightnessorintensityofcolorscanbeidentifed
systematicallyChroma,orcolorintensity,isidentifedbyanumberthatrangesfrom0to20
Neutralgrayisrated0,havingnotraceofchromaorhueThisiscalled,“zerochroma,zero
hue”Thebrighterthecolor,thehigherthenumberCadmiumRedLightHue,forexample,
hasachromanotationof13,whileBurntSiennahasachromanotationof4
permanenCy
LightfastnessI,II,IIIidentifytheratingofacoloranditsabilitytowithstandanycolorshifting
orfadingwhenexposedtoultravioletlight(iesunlight)ThelightfastnessofallLiquitex®
colorsarelistedaccordingtostandardsestablishedbytheAmericanSocietyforTestingand
Materials(ASTM)
CategoryI ExcellentlightfastnessThecolorwillexhibitnoappreciablecolorchange
aftertheequivalentof100yearsofindoormuseumexposureBestsuited
foroutdoorinstallations(murals)
CategoryII VerygoodlightfastnessColorsaresuitedforallindoorapplications,butnot
exteriorpaintingthatmayreceiveheavyexposuretoultravioletlight
CategoryIII Marginalpermanence“Fugitive”colorsthatmayfallbelowthelevelof
permanencyforartist’scolorsNotrecommendedforpermanentwork
pIGment desIGnatIons
PigmentandColorIndexNamesarelistedforallLiquitex
®
colorsForspecifccolorinformation,
pleaseseethereferencesectiononpage112
J1 JZ
c h A p t e r 2 : e s s e n t i A l i n f o r m A t i o n / m i x i n g c o l o r
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
mIxInG Color: mIneral and modern pIGments
Inordertomixcolorwell,itisessentialtounderstandthepropertiesofthepigments
usedtomakeeachcolorEverypigmenthasdifferentcharacteristics,whichultimately
infuencehowtheyinteractwitheachotherTheuniqueopticalpropertiesofeachcolor
canrangefromtransparencytocompleteopacitySomepigmentshavestrongtinting
strengthwhichcreatescolormixesthatarecrispandbright,whileotherstendtogray
downwhenmixed

Knowingthedifferencebetweenmineralandmodern(organic)pigmentsisthekeyto
choosingcolorsthatwillblendtogethertocreatethedesiredresultsThreegeneralrules
governthedifferencesbetweentheirworkingproperties:
• Whenmixed,mineralcolorstendtomorecloselyreplicatethetonalitiesofthe
naturalworldBecauseofthenatureofrefectedlightandshadow,weliveina
worldofpurecolorsthatcombineintorichshadesofgrayThephysicalandoptical
propertiesofinorganiccolors,quiteoften,morecloselycapturethosequalitiesof
naturallightandshadowedcolor
• Moderncolorsarebrighter,andtendtomakebrightermixesBecauseoftheir
purity,naturaltranslucencyandtintingstrength,organicpigmentsproduce
mixedcolorsthattendtoremainclosertothehighchromaoftheir“parent”
primaries
• ThetwocanbeusedtogetherwithgoodresultsForexample:addingasmall
amountofamoderncolortoamixtureofmineralpigmentthathasgottenmuddy
willhelprestorelostchroma,withoutlosingthenaturalcharacterofthemix
RemembertheaboveareonlygeneralguidelinesTheuniquenessofeachpigment
sometimescauses“modern”qualitiestoshowupin“mineral”colorsandviceversa
Historicallymineralpigmentssuchasyellowochreandrawumberhavebeenusedsince
pre-historictimesDuringthenineteenthcenturyawidearrayofothermineralpigments
becameavailablewhentheindustrialrevolutionanddevelopmentsinchemistrymadeit
possibletocombinemetalslikecadmium,orcobaltwithothercompoundsTheresults
werehighlystable,farlesspronetofading,andcouldbegroundintoasuspensionwithina
vehicleforoilpaintMorerecently,pigmentchemistrywasrevolutionizedasmodernorganic
colorswereborninthelaboratoryThishasgivenrisetopigmentslikeanthraquinones,
dioxazines,pyrroles,phthalocyanines,andbenzimidazalones,whichmakepossiblethe
widevarietyofcolorsavailabletoartiststoday
J1 JZ
c h A p t e r 2 : e s s e n t i A l i n f o r m A t i o n / c o l o r p A l e t t e s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
lIquItex
®
professIonal artIst aCrylIC Colors
3 Color primary palette:
QuinacridoneCrimson(PrimaryRed)
YellowMediumAzo(PrimaryYellow)
PhthalocyanineBlue(PrimaryBlue)
6 Color palette:
hue Based pigment Cadmium Based pigment
QuinacridoneMagenta single QuinacridoneMagenta single
CadmiumRedLightHue mixed CadmiumRedLight single
CadmiumYellowMediumHue mixed CadmiumYellowMedium single
PhthalocyanineBlue(GreenShade) single PhthalocyanineBlue(GreenShade) single
IvoryBlack single IvoryBlack single
TitaniumWhite single TitaniumWhite single
12 Color palette:
hue Based pigment Cadmium Based pigment
QuinacridoneMagenta single QuinacridoneMagenta single
CadmiumRedMediumHue mixed CadmiumRedMedium single
CadmiumRedLightHue mixed CadmiumRedLight single
CadmiumYellowMediumHue mixed CadmiumYellowMedium single
BurntUmber single BurntUmber single
PermanentGreenLight mixed LightGreenPermanent mixed
PhthalocyanineGreen single PhthalocyanineGreen single
PhthalocyanineBlue(GreenShade) single PhthalocyanineBlue(GreenShade) single
UltramarineBlue(GreenShade) single UltramarineBlue(GreenShade) single
DioxazinePurple single DioxazinePurple single
TitaniumWhite single TitaniumWhite single
IvoryBlack single IvoryBlack single
note:
• “Hues” are used as replacements for cadmium, cobalt and other colors, when they are either unavailable, too expensive, or fugitive. Liquitex
®
"Hue" colors generally yield
higher intensities than the color they imitate.
• The “Hue Based Systems,” because they are based upon modern organic colors, will tend to mix with greater brightness and clarity.
• The “Cadmium Based systems” will tend to yield mixes that more closely approximate natural light, and that may be considered more suitable for traditional landscape,
portrait, or still life representations.
lIquItex
®
Color palettes
Below are suggested color palettes for use with all liquitex acrylic color ranges
J5 J1
c h A p t e r 2 : e s s e n t i A l i n f o r m A t i o n / c o l o r p A l e t t e s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
lIquItex
®
BasICs Value serIes aCrylIC Colors
3 Color primary palette:
PrimaryRed
PrimaryYellow
PrimaryBlue
12 Color palette:
hue Based pigment
QuinacridoneMagenta single
BurntUmber single
CadmiumOrangeHue single
NaphtholCrimson single
PrimaryYellow single
PhthalocyanineBlue single
PhthalocyanineGreen single
UltramarineBlue single
DioxazinePurple single
IvoryBlack single
TitaniumWhite single

J5 J1
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Color ranGes
single pigment Colors
Offersartiststhepurestcolor,tobeusedaloneorincolormixing
IncludesCadmiums,Cobalts,Quinacridone,Phthalocyanine(Phthalo)
andothercolors
• CadmiumColors
TraditionalsinglepigmentcolorsExpensive,opaque,permanent
Non-toxiconskinorifingestedToxicinspraymist
mixed pigment Colors
• Givesartiststhebeneftofpre-mixed,“custom”colorsColorsare
brighterthancanbemixedinstudio,cutsdownoncolormixing
andprovidescostsavings
• NeutralGray5enablesartiststoadjustthevalueandchromaofa
colorwithoutalteringthehue
hue Colors
Colorsthatcontaintheword“Hue”attheendofthecolorname
• Singlepigmentormixtureofpigmentsthatlookandperformsimilartothecolor
theyreplace
• Huesareusedasreplacementsforcadmium,cobaltandotherpigments,when
theyareeitherunavailable,tooexpensive,orfugitiveLiquitex
®
“Hue”colors
generallyyieldhigherintensitiesthanthecolortheyimitate
professIonal artIst aCrylIC Color
Sincedevelopingthefrstwaterbasedartistacrylicproductsin1955,Liquitex
®
hasalwaysbeen
concernedwiththeneedsoftheprofessionalartistAllLiquitex
®
productsareformulatedbya
uniqueteamofchemistsandartists:chemistswithawidearrayofskillsinresintechnologies
andartistswhohelpustostayfocusedontheworkingpropertiesThiscombinationallowsusto
makethemostversatilerangesofintense,highlyloaded,permanentcolorspossibleLiquitex
®

istheonlyacrylicbrandtoofferthreeuniquelydifferentrangesofprofessionalpainttosuitthe
needsoftheartist:SoftBody,HeavyBody,andSuperHeavyBodyWiththatinmind,range-
specifchandlingcharacteristicsareestablishedsothateveryLiquitex
®
paintfeelsjustright
–nevertoostickyorslipperyThelow-odoracrylicresinbaserepresentsthelatestinacrylic
resintechnology,offeringincreasedopentimeandproducingcolorsofgreatclaritywithverylow
wet-to-dryvalueshiftThepaintflmsarehighlyfexible,durable,non-yellowing,UVresistant,
water-resistantandpHneutralwhendryAllLiquitex
®
ProfessionalColorscanbeintermixedwith
eachotherandaswellaswithallLiquitex
®
Mediums
|I0UI!EX
®
PR00U0!S
03
c
h
A
p
t
e
r
J! Jê J! Jê
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / p r o f e s s i o n A l c o l o r
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
attributes for all liquitex
®
professional Colors
• Littletonoperceptiblewet-to-drycolorshift
• Widerangeofintense,permanentpigments
• Eachcolorisuniquelyformulatedtobringoutthemaximumbrillianceandclarity
ofeachindividualpigment
• Allcolorsareformulatedtodrywithinatightsatinsheenrange
• Suitableforindoorandoutdoorapplications
• Watersolublewhenwet,driesquicklytoawater-resistantsurface
• Nochemicaldryingactiontoprolongpaintingandvarnishingprocedure
• Excellentadhesiontomostpaintingsurfaces;wood,leather,canvas,silk,plastic,
muralapplications,metal,paper,etc
• Chemicallyalkalinewhenwetandthereforecompatiblewithcommonmuralgrounds
suchasconcrete,plaster,cement,concreteblockoranymasonrysurface
• Notoxicsolventsorcleanersnecessary
• Resistanttoultravioletlight,willnotyelloworgetbrittleovertime
• Outstandingcolorclarityandbrillianceforsuperbcolormixing
1 GoodproductshelpyousucceedThefnestqualitypaints
andcolorsmixbrilliantly,offerthepurestcolor,andprovide
theartistwithalltheessentialsforcreative,artisticsuccess
2Water-borneAcryliccolorsforartistswereinventedby
Liquitex
®
in1955Liquitex
®
continuestobetheleader
inproducinghighquality,innovativeacrylicproducts
forartists
3 Artists’paintiscostlyNonews,thereThereasonthey
costmorethanhousepaintsormodelpaintsorsomecraft
paintsisbecauseofthecostofpigmentThereisatruly
amazingconcentrationofpigmentinartists’qualitycolor
4Artists’qualitycolorsareofferedandpricedin‘series’
Thecostofeachseriesnumberrefectstherelativecostof
theuniquepigmentincludedineachformulation
5Acryliccolorscanbeproducedindifferentthicknesses(or
bodies)Liquitex
®
istheonlyacrylicbrandtoofferthree
distinctlydifferentranges:SoftBodyforfuidapplications,
HeavyBodyforthickapplications,andSuperHeavyBody
forimpasto,superthickapplications

6AllLiquitex
®
ProfessionalAcryliccolorscontainthesame
concentrationofpigmentpervolumeThecolorismade
more(orless)fuidbyalteringthechemistryoftheacrylic
vehicleNOTbyaddingwater,orbydilutingthepigment
strength
7Acrylicsareidealforcontemporaryandexperimental
applicationsThecolorsdryveryrapidly(remaining
workablefor10–40minutes)makingthemwell-suited
forapplicationsthatrequiremasking,rapidlayering,and
texturalapplicationThey’reidealformurals,fabrics,tiles,
andstructuraltechniques
8Acrylicscanbeusedfortraditionalpainting,tooMediums
canbeusedtomakethecolorsuitableforglazing,
impasto,watercolor,andotherapplications
9Acrylicscanbeusedonalmostanysurface,frompaper,
tocanvas,tobrick,towood—theexceptionsareoilyor
shinysurfacesPlasticsurfacesshouldbesandedbefore
painting;leathersurfacesshouldbedegreasedwith
rubbingalcoholAlwaysconductanadhesiontestwhen
workingonmore‘unusual’surfaces
9 essentIal thInGs to knoW aBout aCrylIC Colors
J! Jê J! Jê
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / s o f t b o d y
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
J9 J&
soft Body professional artist acrylic Color
SoftBodyArtistColor,previouslyreferredtoasMediumViscosity,wastheoriginal
Liquitex
®
acrylicformulationfrstmadein1956Itisanextremelyversatileartistpaint,
creamyandsmoothwithaconcentratedpigmentloadproducingintense,purecolor
Thecreamysmooth,pre-flteredconsistencyensuresgoodcoverage,even-leveling
andsuperbresultsinavarietyofapplicationsandtechniques
• 94ProfessionalColors
•Heavycreamconsistency
• Evenleveling
•Extremelyversatileformulationformostfneartanddecorativearttechniques
•Retainslittleornobrushmarks
•Idealforfat,largeareacoverageandfnelinedetail
•Professionalgradecolorsfordecorativepaintersarealsoavailable
•Availableintubesandjars
•IntermixablewithallLiquitex
®
products
t e C hnI que s a nd a p p l I C at I ons
›Traditionalpaintingoncanvasorpanel
›FabricPainting
›DecorativePainting
›FauxFinishing
›Glazing
›Underpainting
›Murals
›Calligraphy
›Unfredceramics
›Sculpture
›Photoretouching
›Watercolor
›IllustrationandDesign
›Airbrush*
›Printmaking:ScreenPrinting,Mono
Prints,BlockPrints
›CollageandMixedMedia
›Scrapbooking/AlteredBooks
*ThinwithLiquitex®AirbrushMedium
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / h e A v y b o d y
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
heavy Body professional artist acrylic Color
HeavyBodyProfessionalArtistColor,previouslyreferredtoasHighViscosity,
hasathickconsistency(similartooilpaint)fortraditionalarttechniques
usingbrushesorknives,aswellasforexperimental,mixedmedia,collage
andprintmakingapplicationsImpastoapplicationsretaincrispbrushstroke
andknifemarksGoodsurfacedragprovidesexcellenthandlingandblending
characteristicswithincreasedopen/workingtimeHighpigmentloadproduces
rich,brilliant,permanentcolor
• 100ProfessionalColors
• Exceptionallysmooth,thickbutteryconsistency
• Retainsbrushstrokesandpaletteknifemarks
• Greatforthick/impastoapplicationsandpaintingtechniques
• Flexiblewhendry;thickflmsremainfreeofcracksandchips
• IntermixablewithallLiquitex
®
products
t e C hnI que s a nd a p p l I C at I ons
›Impasto:Thickapplicationswithbrushstrokeandknifemarks
›TraditionalPaintingoncanvasorpanel
›ExperimentalPainting
›CollageandMixedMedia
›Printmaking:ScreenPrinting,Monoprints,BlockPrints
J9 J&
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / s u p e r h e A v y b o d y
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
ZJ Z0
super heavy Body professional artist acrylic Color
SuperHeavyBodyisalineofhighlypigmented,clean,brilliantcolorswith
superiorshaperetentionandunique“gutsy”handlingItisaninnovativeproduct
introducedtotheLiquitex
®
rangeinearly2004,andisexcellentfor‘textural’and
‘sculptural’applicationsSuperHeavyBodyhasverylowshrinkagefromwet-to-
dryandproducescleancolormixeswithoutstandingclarityandbrillianceItis
formulatedtodrywithinauniformsatinsheenrange,enhancingthevisualclarity
ofthefnishedpainting,providinganon-plasticlookandeliminatingglareLittle
ornowet-to-dryvalueshiftallowsformoreaccuratecolormixingIncreasedopen
timeforeasierblending
• 27ProfessionalColors
• Extrathickbodywithhighsurfacedrag(rheology),comparabletofneoils
• Superiorshaperetention:holdssuperhighpeaks,knifemarksandbrushstrokes
• Flexiblewhendry,allowingbuilt-upsurfacestoremainfreeofcracksandchips
• Excellentforimpasto(thick),‘textural’and‘sculptural’paintingtechniques
• Satinfnish,no“plasticlook”
• Verylowshrinkage
• Vibrantcolorsstraightoutofthecontainer
• Slowdryingtime,allowsmoreworking(open)time
• IntermixablewithallLiquitex
®
products
t e C hnI que s a nd a p p l I C at I ons
›Impastoapplicationswithstrongbrushstrokeandhighknifemarks
›TraditionalThickPaintingoncanvasorpanel
›ThickApplicationExperimentalPainting
›CollageandSculpturalMixedMedia
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / i n t e r f e r e n c e c o l o r s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
deCoratIVe serIes
InterferenCe Colors
Liquitex
®
InterferenceColorsarecolorless,transparentcolorsmade
fromtitaniumcoatedmicafakesratherthantraditionalpigments
Theyarealsoknownas“OpalescentColors”Theychangetheir
color(exhibitingametalliclookandcolorshift)dependinguponthe
viewingangleAsthelighthitsthemicafakesiteitherbouncesoff
directly,refectingthelabeledcolororpassesthroughtoanotherlayerandbouncesoutata
differentrefractiveindexdisplayingthelabeledcolor’scomplementTheeffectisvisuallysimilar
toathincoatofoilfoatingonwater

t I p s & t e C hnI que s
›Useinanytechniqueorsurfacesuitableforanyacrylicpaintormedium
›Applystraightfromcontainer,thinnedwithwaterormixedwithanyLiquitex
®

AcrylicColor,IridescentColor,FluidorGelMediumtoproduceanendlessvariety
ofcolorsandeffects
›Applyinseveralthinlayersratherthanonethicklayer
›Thinapplicationsinawashorglazeincreasethevisualinterferenceeffects
›Toachieveavisuallyopaquecoat,applyabasecolorthatmatchesthe“fip”or
complementoftheinterferencecolor,beforeapplyingtheinterferencecolor(ie
NaphtholCrimsonunderneathInterferenceGreen)
›Toincreaseinterferencecoloreffect,add1%MarsBlacktointerferencecolor
›Tocreateiridescentgrays,add2–5%MarsBlacktointerferencecolor
›Appliedoverwhitesurfacesorlightcolors,theyaretranslucent
›Appliedoverblackordarksurfacestheyareseenasbrilliantpastelcolors
›Appliedontransparentandtranslucentsurfacestheycreateunusualvisualeffects
›MixwithLiquitex
®
Mediumstocreateluminescentfuidglazes
liquitex
®
Interference Glaze mixing Guide
thick Interference Glaze
85–90% GelMediumorHeavyGelMedium
10–15% InterferenceColor
1% Liquitex
®
SoftBodyArtistAcrylicColor*
fluid Interference Glaze
85–90% GlossMedium&Varnish
10–15% InterferenceColor
1% Liquitex
®
SoftBodyArtistAcrylicColor*
*=Useatransparentcolor
ZJ Z0
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / i r i d e s c e n t – f l u o r e s c e n t
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Z1 ZZ
IrIdesCent Colors
Iridescentpaintsarealsoknownas“metallic“paintsthat
donottarnishTheymimictheeffectofbronzingpowders
Bronzingpowderscannotbeusedwithacrylicemulsions
astheytarnishduetothealkalinityofthebinder
Characteristics
•Liquitex
®
IridescentColorsproduceavarietyofnon-
tarnishingiridescentor
metalliceffects
•Madefromtitaniumcoatedmicafakeswithanouterlayerofatransparentlight
absorbingcolorant,ratherthantraditionalpigments
•Lightabsorbingcolorantlayersdeterminetheobservedcolor
• Iridescentpigmentsare“opticallyopaque”andtheyrelyonrefectedlightonlyfor
theireffectNoInterference“fip”colorisobserved
•Colorswillnotoxidize
t I p s & t e C hnI que s
›TheycanbeusedaloneormixedwithotherLiquitex
®
ColorsandMediumsfora
varietyofiridescent,metalliceffects
›Avoidmixingwithopaquecolors
›MixwithsmallamountsofLiquitex
®
AcrylicColorsforavarietyof“metallic”
colors,iecopperwithgreen=antiquecopper
›MixwithLiquitex
®
FluidMediumsfor“metallic”glazes
›MixwithLiquitex
®
TextureGelMediumsfor“metallic”textures
›AddIridescentWhitetoothercolorstoattainpearlescentqualities
fluoresCent Colors
Liquitex
®
FluorescentAcrylicsColorsareintense,brilliantcolors,producedfromdyes
surroundedbyapolymercoatingThedyesabsorbinvisibleultravioletlightandemit
visiblelightofalongerwavelength,refectingmorelightthantheyreceiveAsaresult,they
fuoresceorglowandwillvisiblyoverpowerpaintsmadefromtraditionalpigments
CharaCterIstICs
•Thefuorescenteffect,aswellasthecolor,fadesratherrapidlybecausethedyesare
notstable;aswithalltraditionalfuorescentcolors,thesecolorsareratedLightfastness
IIIandshouldnotbeusedforworkthatismeanttobepermanent
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / l i q u i g e m s – g l o s s i e s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
fluoresCent Colors (Cont)
t I p s & t e C hnI que s
›Fluorescentcolorsaretranslucentandgreaterintensitycanbeachievedbyworking
overabrightwhitesurface
›Ifagreaterpermanencyisdesired,atopcoatofLiquitex
®
Soluvar
®
Gloss
VarnishorSoluvar
®
MatteVarnish(whichcontainUltravioletLightStabilizers)is
recommended,althoughitwilleliminatethefuorescent“glow”underblacklight
lIquIGems
tm
aCrylIC GlItter paInt
Aheavybody100%acrylicpolymeremulsionpaintthatcontainsaheavyconcentrationof
micafakes
CharaCterIstICs
•Glittercolorsdrytoathick,three-dimensionalconsistency
•Appearmilkywhenwet
t I p s & t e C hnI que s
›Brushonorusewithapplicatortipfordimensionallinework
›Notrecommendedforairbrushormarblingtechniques
›Notrecommendedforpermanentwork
GlossIes
tm
aCrylIC enamel
Liquitex
®
Glossies
TM
arewaterbasedacrylicenamelsthatarespeciallyformulatedtoadhere
toslick,nonporousmaterialssuchas:glass,tiles,glazedceramics,stoneware,china,
enamelware,primedmetal,woodandothernon-oilysurfaces
t I p s & t e C hnI que s
›Air-driedcolorsdrytoadurable,highglossfnish
›Heat-setcolorsdrytoascratchresistant,highglossfnish
›AllcolorsarelightfastSuitableforindoorandoutdoorapplications(whenheatset)
›AllGlossies
TM
colorsareintermixableandcanbeeasilyblendedtoachieveanycolor
›Non-ToxicandcontainnosolventsCleanupwithsoapandwater
Z1 ZZ
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / g l o s s i e s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Z5 Z1
GlossIes
tm
aCrylIC enamel (Cont)
use and Care
•Heat-setGlossies
TM
willsoftenwhensoakedinhotwaterorexposedtoheatand
returntoproperhardnessuponcoolingAllowtocoolpriortorubbing,cleaning
orwettingsurfaceHeatsetat325˚F/163˚Cfor45mins
•Handwashinwarmwaterwithmilddishwashingdetergent
•Donotplaceextremelyhotpans,etconbakedGlossies
TM

• NotrecommendedforshowerstalltileinstallationRepeatedexposuretohot
waterwilladverselyaffectadhesion
• Notrecommendedfor“heavyuse”applications,suchaskitchencountertops,
foors,etc
• DonotcleanGlossies™(heatsetorair-dried)withscouringcleaners,asthey
willabradesurface
• Careshouldbetakenifusinggroutin-betweenheatsetGlossies
TM
tiles
GroutisabrasiveandcanscratchsurfaceAnon-abrasiveacrylictilegroutis
recommended
•Donotuseonfexiblesurfaces
•Donotuseinfoodcontactsurfaceapplications
•Maybeusedonoutsideofmugs,bowls,etcDonotpaintwithinthetop¾”
(20mm)ofdrinkingvesselMaybepaintedonundersideofclearglassdishes
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / b A s i c s
®
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
BasICs
®
Value serIes
Developedforstudentsandartiststhatneeddependable
qualityataneconomicalpriceEachcolorisuniquely
formulatedtobringoutthemaximumbrillianceandclarity
oftheindividualpigmentAvailableintwoformulations,
BASICS
®
andBASICS
®
Matt,toftavarietyofapplications
andtechniques
attrIButes for all BasICs
®
Value serIes Colors
•36Colors
•ValuePriced
• Colorsareuniquelyformulatedtobringoutthe
maximumbrillianceandclarityof
eachindividualpigment
•ColorsareintermixablewithallLiquitex
®
ProfessionalGradeColorsandMediums
•Allcolorsarenon-toxicandholdtheAPsealfromACMIforsafeeducationaluse
•Flip-topcapforquickandeasydispensingandclosing
•ContainsthesamebinderasLiquitex
®
ProfessionalGradeAcrylics
•ContainsalowerpigmentloadthanLiquitex
®
ProfessionalGradeAcrylics
BasICs
®

BASICS
®
isaheavybodyacrylicwitha“buttery”consistencyforeasyblendingItretains
peaksandbrushmarksandcolorsdrytoasatinfnish,eliminatingsurfaceglare
•Greatcoverage
•Heavybodyconsistencyallowsforthickoil-likepainting,retainingpeaksandbrushmarks
•Colorsdrytoasatinfnish
t e C hnI que s a nd a p p l I C at I ons
›Impasto:Thickapplicationswithbrushstrokeandknifemarks
›TraditionalPaintingoncanvasorpanel,easyblending
›ExperimentalPainting
›CollageandMixedMedia
›Printmaking:ScreenPrinting,MonoPrints,BlockPrints
›ColorTheory/Mixing
Z5 Z1
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / b A s i c s
®
m A t t
Z! Zê
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Z! Zê
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
BasICs
®
matt
BASICS
®
Mattisasoftbodyacrylicwithasmoothconsistencyforeasyapplicationandblending
ItsfreefowformulaensuresasmoothapplicationandevenlevelingBASICS
®
Matt’srich
saturatedcolorsdrytoafatmattesheenandhavegouache-likepropertiesofexcellentopacity
•Flatmattefnish,‘gouache-like’properties
•Creamy,softbodyconsistencyallowsforeasybrushoutandthinningwithwateror
Liquitex
®
mediums
•Highopacityforgreatcoverage
•Deep,richsaturatedcolor
•Evenleveling,freefowingformula
•Waterresistantwhendry(allowsevendaystofullydry)
t e C hnI que s a nd a p p l I C at I ons
›ExperimentalPainting
›DecorativePainting
›FauxFinishing
›IllustrationandDesign
›Printmaking:ScreenPrinting,Mono
›Prints,BlockPrints
›CollageandMixedMedia
›ColorTheory
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / c h o o s i n g t h e r i g h t c o l o r
Z! Zê
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Z! Zê
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
ChoosInG the rIGht Color:
artIsts’ Color Vs Value serIes
the difference between artists’ and value series color is simple:
Artists’colorsareformulatedtoprovidethebestpossibleperformance,independentofcost
AtLiquitex
®
,thebenchmarksforselectingpigments,rawmaterials,andmillingforourartist
gradecolorsareclear:chooseandusethebestMakingthefnestpossiblecolorcomesfrst
Costissecondary
four reasons that artIst qualIty Colors are Worth the Cost:
1 Finepigmentis,byfar,thegreatestcontributortothecostoffnecolor Asingle
tubeofartists’qualitycolorcontainsasmuchormorehighlyrefnedpigmentthan
muchlargerbucketsofhousehold-qualitypaint
2 Everysinglepigmentisunique,andeverysinglecolorisformulateddifferently
Inarangeof100colors(likeLiquitex
®
HeavyBodyArtistAcrylicColors),
thereare100differentformulationstotakefulladvantageofthedistinct
characteristicsofeachpigment
3Everycolorisformulatedtoprovidethemoststableandpermanentflm
possibleHousepaints,bycontrast,areformulatedtolastadecadeortwo,
atmostWithproperapplication,fneartistcolorsareformulatedtolast
generationsorcenturies
4Rawmaterialscomefromallovertheplanet,includingsomeveryobscure
locationsTheverybestmaterialscanbemorecostlytoobtainQualityraw
materialsproducequalityproductsthatenhancetheexperienceofpainting;that
qualitywillbeapparentintheworkproduced
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / c h o o s i n g t h e r i g h t c o l o r
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Z9 Z&
artists’ Colors Value series Colors
pigment load formulated with as much pigment
as is necessary, (usually regardless
of cost) to achieve the ideal mixing
and working properties.
formulated with suffcient pigment
to offer dependable, if not ideal,
working properties.
milling milled to achieve thorough and
complete dispersion of pigment
within the vehicle, regardless of
resources required.
milled quickly (where possible),
using pigments requiring minimal
resources, to offer dependable
stability and working properties.
price priced in series, according to
pigment. quality of color is more
important than cost.
often priced at a single level;
sometimes with a second series for
genuine cadmiums and cobalts.
true pigment Character formulated to offer ideal qualities
of opacity/transparency, color bias,
and tinting strength for every color
in the range
formulated to offer dependable
qualities of opacity/transparency,
color bias, tinting strength for a
more limited range. “hue” colors
usually offered as an alternative to
genuine cadmiums or cobalts.
fillers or extenders minimal use of additives, and only
for the purpose of improving viscosity
and working properties. extenders
used only to bring down excessive
tinting strength of colors like those
made with phthalocyanine.
fillers or extenders used only when
necessary to moderate price. because
lower cost pigments are used, good
quality student colors required a
minimum of fllers.
permanence formulated to offer the best possible
lightfastness (depending upon the
color) and stability of flm.
permanence of many value series
colors, when used appropriately,
is often quite good. many of the
pigments used in the formulation,
even though of lower cost, offer
superior lightfastness.
spectrum broad and complete spectrum of
colors, sometimes in excess of a
hundred within a given range. the
ideal spectrum is well balanced,
and allows the artist an almost
infnite array of mixing options.
good value series ranges offer
a balanced, while more limited,
spectrum.
(Reprinted with Permission from “What Every Artist Needs to Know About Paints and Colors,” by David Pyle, Krause Publications, ©2000)
ValueSeriesColors(likeLiquitex
®
BASICS
®
)areformulatedtoofferdependablestandards
ofperformanceatamoreaffordablecostBelowisatableoutliningthekeydifferences
betweenartists’andValueSeriesColors:
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / A c r y l i c m e d i u m s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Z9 Z&
aCrylIC medIums
InadditiontothewidestarrayofProfessionalandStudentcolors,Liquitex
®
offers
thebroadestpossiblerangeofacrylicmediumstoinspirecreativityateverystageofthe
paintingprocessWeunderstandthatmediumsareoftenadiffcultconcepttograspuntil
youactuallydiveintothem,sowe’vetriedtosimplifyusagebyclassifyingproductsin
threedistinctcategories:Prep,Paint,andFinish
prep
Surfacepreparationssetthefoundationforstableandpermanentcolorapplicationsby
sealingandaddingtoothtoalmostanypaintingsurfaceWeofferfvedifferenttypesof
acrylicgessoestoaccommodatealltypesofwork
paint
Withinthepaintingcategory,thereareseveraldifferenttypesofproductsyouwouldusein
additiontothecoloritselfTheyareFluidMediums,GelMediums,Additives,andTexture
GelsEachoftheseproductsareexplainedfurtherwithinthisbookThesepaintingmediums
allowanartisttoadjusttheworkingandopticalpropertiesofthepaintflmtoaccomplishan
astonishingvarietyoftechniquesandapplications
fnish
Varnishesareappliedoveracompletedpieceofworktochangeorunifythesurfacesheen
andprotectthepaintedsurfacefromtheenvironmentandultravioletlight
WhetheryouarePREPingthesurface,PAINTingthemasterpiece,oraddingthecrucial
FINISHingtouch,Liquitex
®
offersthepropermediumtoachieveanydesiredresultExplore
yourpossibilitiesevenfurtherbymixingLiquitex
®
acryliccolorwithanyofourmediums
all liquitex
®
medIums are
•Permanent
•Phneutralwhendry
•Non-yellowing
•Waterresistantwhendry
•Flexible,non-cracking
1

•Idealforimprovingadhesion
•Formulatedforlong-termdurability
•APLabeled
2
•Manufacturedwiththebestqualityresinsavailable
•Developedbyspecializedchemists,withcombined50+yearsofexperience
1 – Except Modeling Paste
2 – Except Soluvar®

c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / A c r y l i c m e d i u m s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
essentIal InformatIon aBout usInG aCrylIC medIums
• Forbestresults,alwaystestbeforeusing
• MixLiquitex
®
Mediumsintoacryliccolortoaddfexibility,adhesion,and
long-termstability
• Liquitex
®
mediumsextendthevolume,whilemostalsoincreasethetransparency
ofacryliccolor
• Athinflm(1/16”)ofLiquitex
®
mediummaytakebetween1⁄2hourto24hoursto
initiallydry,whileathickerflm(1/4”)maytakebetween2–5daystoinitiallydry
(alwaysdependantonrelativehumidity)
• TheuseofPalletteWettingSprayoranair-misterandhumidiferwillslowthedryingtime
ofallLiquitex
®
Mediums
• Avoidanyoily,oilpainted,greasyorwaxysurfaces
• Toimproveadhesionwhenpaintingonanyhardorslicksurfacesuchasglass,
metal,enamelorhardboard,sandsurfacespriortoapplyinganymedium
• Vigorousbrushworkovertexturedareasmaycausebubblestoformwithinthepaintflm
• DonotoverworkduringapplicationIfmediumsarebrushedheavilyduringdrying,
itmaycausecloudingOncetheflmiscloudedanddry,itcannotbeclarifedor
removedIfanareaismissed,allowthesurfacetodryandthencoverwithanother
coatofmedium
General defInItIon
• Liquitex
®
AcrylicMediumsaremadefrom100%acrylicpolymeremulsionthat
whendryformdurableflmsTheycanbethoughtofascolorlesspaintTheyare
thebinder(glue)ofacrylicpaintandhaveexcellentfexibilityandchemical,water
andultravioletradiationresistance
• Theyareaddedtoacrylicpainttoalterthepainthandlingcharacteristics,
appearanceorvolume,producinganinfnitevarietyofeffects
• Liquitex
®
Mediumsareavailableindifferentviscositiesandsheens(glossand
matte)Theyareallintermixable
• TheycanfunctioninavarietyofapplicationsandtechniquesAcombinationof
severalmediumsmaybenecessarytoachieveadesiredeffectorseveralmediums
maybeusedbythemselvestoachievesimilareffects
the dIfferenCe BetWeen addItIVes and medIums
Anadditiveissomethingthatchangesthechemical“innerworkings”ofthepaintflm
Additivesshouldbeusedsparingly,inonlytheamountneededtogeneratethedesired
effectIngeneral,Liquitex
®
recommendsaddingnomorethan25percentofanyadditive
toyouracrylicpaint
Amediumchangestheworkingpropertiesofthepaint,anditincludesresinbinderfor
additionalstabilityBecausemediumsmaintainorenhancethestabilityofthepaintflm,they
canbeusedinanyamountyoulike
1J 10 1J 10
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / p r e p
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
1J 10 1J 10
prep

surfaCe prep
SurfacePreparationsareusedtoseal,primeand
addtooth(forcoloradhesion)toallsurfacessuch
ascanvas,wood,paperandmetalThissame
preparationisusedforbothacrylicandoilpaintLiquitex
®

professionalgessoesusuallytakejustonecoat
all surfaCe preps
•Flexible/non-cracking
•Donotyellowovertime
• Ifusingmorethanonecoat,sandingbetweencoatsis
recommended
•AddingLiquitex
®
SoftBodycolortoanygessocreates
customizedtintsandprimers
•Providetheperfect“tooth”andadhesiontoawidevarietyofsupportssuchascanvas,
paperandwood
•UseonetotwocoatsforacrylicapplicationsUsetwotofourcoatsforoilapplications
Gesso
Theclassicwhitesealerandgroundforabsorbentsurfaces,suchascanvas,paper,or
woodProvidesthepropersurfacesizing,toothandabsorbencyforacrylicandoilpaints
OnecoatisusuallyenoughTraditionalgessoismeanttobeopaquetitaniumwhitefor
goodcoverage
attributes
• Traditionalwhitesizeandground
• Excellentgroundforacrylicandoilpaint
• Canbemixedwithacryliccolortocreateatintedground
• Veryopaque
• Flexible,non-crackingandnon-yellowingwhendry
• Providestheperfect“tooth”andadhesiontoawidevariety
ofsupportssuchascanvas,paperandwood
• Excellentbasecoatandprimerformanytechniquesand
applications
S
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / p r e p
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Gesso (Cont)
application
• Forcanvas,paper,wood,oranyclean,porous,non-oilysurface
• Sizesandprimes,creatingagoodsurfacetoestablishapreliminarydrawingin
charcoalorpencil
• Useundilutedorthinupto25%withwater
• Whenthinningmorethan25%useanequalmixtureofwaterandLiquitex
®
Matte
Mediumtothingesso
• TintcolorwithLiquitex
®
SoftBodyProfessionalArtistColors
note:
At Liquitex
®
, we strongly recommend against the use of any house paint as a ground. House paint is formulated to last only a decade or so.
Additionally, a low-cost ground that fakes and separates from the painting support will obviously take the artists’ expressive image with it.
On the other hand, fne artists’ gesso will—with proper application and under the right conditions—last generations.
In addition, house paint is far more absorbent than artists’ gesso. Too absorbent, in fact, and can seriously undermine the paint flm,
particularly when painting with oil colors. Artist’s gesso is formulated to offer the ideal degree of absorbency.
Clear Gesso
AveryclearsizeandgroundthatkeepstheworkingsurfacevisibleClearGessoprovides
anidealdegreeoftoothforpastel,oilpastel,graphite,andcharcoalaswellasanexcellent
groundforacrylicandoilpaintsThisgessoisidealforpaintingovercoloredorpatterned
surfacesoroveranunderdrawingMixwithacryliccolortoestablishatintedtransparent/
translucentgroundDriescleartotranslucentdependingonthickness
attributes
• Averyclearsizeandgroundthatkeepsyourworkingsurfacevisible
• Idealhightoothforpastel,oilpastel,graphite,andcharcoal
• Excellentgroundforacrylicandoilpaint
• Mixwithacryliccolortohaveatintedground
• Driescleartotranslucentdependingonthickness
• Flexible,non-crackingandnon-yellowingwhendry
• Providestheperfect“tooth”andadhesiontoawidevarietyofsupportssuchas
canvas,paperandwood
• Excellentbasecoatandprimerformanytechniquesandapplications
application
• Forcanvas,paper,wood,oranyclean,porous,non-oilysurface
• Sizesandprimeswhilemaintainingtheoriginalappearanceofthesupport
• Providespaperwithgoodtoothforchalkandoilpasteltechniques
• Mixwithaverysmallamountoftransparentortranslucentacryliccolortotintthe
groundwhilemaintainingtransparency
• Donottooverbrush
11 1Z
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / p r e p
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
11 1Z
super heaVy Gesso
Aninnovative,impasto,titaniumwhitegessohavingtheabilitytoholdsculpturalshape
ProvidesalltheattributesoftraditionalacrylicgessoIdealforthickandsculptural
applicationwithaknifeorbrush
attributes
• Aninnovative,impastoacrylicgessousedtopreparepaintingsurfacesforacrylic
andoilpaint
• Createthicksculpturalapplications
• Mixwithacryliccolortohaveatintedground
• Flexible,non-crackingandnon-yellowingwhendry
• Providestheperfect“tooth”andadhesiontoawidevarietyofsupportssuchas
canvas,paperandwood
application
• Forcanvas,paper,wood,oranyclean,porous,non-oilysurface
• TintcolorwithLiquitex
®
SoftBodyArtistAcrylicColors
• Usewithknifeorbrush
• Donotsand
Colored Gesso
EstablishesacolorgroundwhileprovidingalltheattributesoftraditionalacrylicgessoSome
artistsliketostarttheirworkonacoloredgroundtorefectthepaintingprocessinadifferent
wayOnecoatisusuallyenoughAswithtraditionalgesso,coloredgessoesalsogiveopaque
surfacecoverageAvailableinBlackandNeutralGray
attributes
• Excellentgroundforacrylicandoilpaint
• Non-yellowing
• Flexibleandnon-cracking
• Providestheperfect“tooth”andadhesiontoawidevarietyofsupportssuchas
canvas,paperandwood
• Excellentbasecoatprimerformanyapplicationssuchasmurals
application
• Useundilutedorthinupto25%withwater
• Whenthinningmorethan25%useanequalmixtureofwaterandLiquitex
®
Matte
Mediumtothingesso
• TintcolorwithLiquitex
®
SoftorHeavyBodyProfessionalArtistColors
• Liquitex
®
ColoredGessoishuebalancedandallcolorsareintermixabletoprovide
awidevarietyofcoloredgrounds
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / f l u i d
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
paint
Duringthepaintingprocess,thereareseveraldifferenttypesofmediumsyouwouldusein
additiontothecoloritselfFluidMediums,GelMediums,Additives,andTextureGelsallow
anartisttoadjusttheworkingandopticalpropertiesofthepaintflmtoaccomplish
anastonishingvarietyoftechniquesandapplications
fluId medIums
FluidMediumsreduceviscosityofheavierpaintsandgels,tendtoself-leveland
donotretainbrushstrokesFluidMediumsmodifyacrylicpaintsinavarietyof
waysandcontainacrylicresinstomaintainorenhanceadhesionanddurability
all fluId medIums
•IncreaseFlow
•Drytransparentortranslucent
•Extendthevolumeofthinpaint
•Makeanexcellentarchivaladhesiveforcollage
key attrIButes
• Self-leveling,resultingineasierbrushfreesurfaces
• MixwithSoftBodyProfessionalArtistColortomaintainpaintviscosity
• MixintoHeavyBodyProfessionalArtistColortoreducepaintviscosity
Donotshake,asthiswillcreatefoamFoamcanseverelyaffectthetransparencyoftheflm
bycreatingavisualfoggyorhazyquality
palette WettInG spray
AninnovativefuidacrylicresindesignedtoslowthedryingofcolorsSprayontoyourpaletteor
directlyontothesurfaceofapaintingThismediumimprovescolorblendingandcanbeusedto
thincolorwhilemaintainingflmintegrityUserepeatedlytopreventpaintfrom“skinningover”
attributes
• Aninnovative,fuidacrylicresindesignedtoslowthedryingofacryliccolors
• Allowsyoutokeepyourpalettecolorsfreshlonger,preventingthepaintfrom
“skinningover”
• Improvescolorblending
• Canbeusedtothincolorwhilemaintainingflmintegrity
• Formulatedwithananti-microbialagenttopreventmold
application
• Userepeatedlytore-wetpalette
15 11
F
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / f l u i d
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
15 11
Gloss medIum & VarnIsh
TheworkhorseoftheLiquitex
®
fuidmediumsrangeGlossMedium&Varnishisanall-purpose
mediumthatperformstwofunctionsItcanbeusedasafnal,clearglossvarnishcoatand/ora
fuidglossmediumItimprovesadhesionofpaintflmandincreasescolordepth,intensity,and
glossExcellentfortransferringprintedimages
attributes
• Allpurposemedium,formulatedtobemixedintoallLiquitex
®
acrylicpaints
andmediums
• Mixintoanyacrylicpainttoenhancethedepthofcolorintensity,increase
transparency,gloss,easefowofpaintandaddfexibilityandadhesionofpaint
flm
• Useasanon-removablevarnishtoprotectpaintingandestablishglosssheensurface
• Translucentwhenwet,transparent(clear)whendry
application
• AsAnExtender:
› MixwithSoftBodyProfessionalArtistColortoextendvolumeandincrease
transparency,whilemaintainingpaintviscosity
› MixwithHeavyBodyProfessionalArtistColortoextendvolumeandincrease
transparency,whiledecreasingpaintviscosity
• AsAFixative:
› Useasafxativeoverartwork(acrylicpaint,pastel,graphite,chalk)to
increaseglossorshineMix1partGlossMedium&Varnishto1partdistilled
waterApplywithatomizerorairbrush
• AsAGround:
› UseastransparentgroundforacrylicpaintinsteadofgessoAllowssubstrate
tobeseenTopreventSubstrateInducedDiscoloration(SID)washcottonor
linencanvasbeforeuse
sId defnition: Whenusedasasizeovercotton,linenandhardboard,acrylic
mediumsdrawsubstancesoutofthesupportastheydryandcontinueover
timeDiscolorationcanoccurinareasthatareleftunpainted
• WithPowderedPigments:
› Useasabinderwithpowderedpigmentstomakeaninexpensivestudent
grade(softbody)glosspaintPigmentsmustbecompatiblewithacrylic
emulsion
• AsAGlue:
› Usewhencollagingwithnewspapersandlightweightmaterials
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / f l u i d
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
GlaZInG medIum
UsewhenmaximumtransparencyisrequiredtoaddluminosityanddepthtoyourpaintingsThis
fuidmediumcanbeusedtocreatebrilliantglazeswhenmixedwithtransparentcolorGlazing
MediumdriesquicklyforrapidlayeringandtendstominimizeoreliminatebrushstrokesMix
withSlow-Dri
®
BlendingMediumorSlow-Dri
®
FluidRetardertoextendtheworkingtime
attributes
• Forcreatingbrilliantjewellikeglazeswithacrylicartistcolors
• Excellentbrushingandlevelingqualities
• Driesquicklyforrapidlayering
• Smallquantitiesofcolorprovidethemosttransparency
• Worksbestwithtransparentortranslucentcolors
• Flexible,non-yellowingandwaterresistantwhendry
applications
• Mixwithanyamountofacryliccolor
• Applytodry,paintedareastochangecolorationwithoutlosingestablisheddetail
• Underlayermustbethoroughlydrybeforeapplyingthenextcoat
• Thoroughlymixasmallamountofcolorintothemediumandthecolorwill
lightenAsthemediumdriesitwillbecometransparentandthecolorwilldarken,
appearingasathin,transparentversionoftheoriginalcolor
matte medIum
Aclassicmediumusedtogivefuiditytodelicatebrushworkortoactasalowsheen
adhesiveforcollageThismediumhasacreamyconsistencyandisgreatwithopaque
colorsMixwithGlossMedium&Varnishtocreateacustomizedsatineffect
attributes
• Createsamatteordull,non-refectingfnishwhenaddedtoacryliccolors
• Mixintoanyacrylicpainttoincreasetransparencyandextendcolor,increasematte,
increaseflmintegrity,easefowofpaintandaddfexibilityandadhesionofpaintflm
• MixwithGlossMedium&Varnishtoproduceasemi-glossorsatinmedium
• Opaquewhenwet,translucentwhendry
application
• AsAnExtender:
› MixwithSoftBodyProfessionalArtistColortoextendvolumeandincrease
translucency,whilemaintainingcolorviscosityMixwithHeavyBody
ProfessionalArtistColortoextendvolumeandincreasetranslucency,while
decreasingcolorviscosity
1! 1ê
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / f l u i d
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
1! 1ê
matte medIum (cont)
application
• AsAFixative:
› Useasafxativeoverartwork(acrylicpaint,pastel,graphite,chalk)to
decreaseglossorshineMix1partMatteMediumto1partdistilledwater
andapplywithatomizerorairbrush
• AsAGround:
› Recommendedfuidmediumtouseasatransparentground(size)foracrylic
paint,withexcellenttoothandadhesionThiswillallowthecolorandtexture
ofthesupporttoshowthroughCanbeusedasasubstituteforthehideglue
sizetraditionallyusedforoilpaintings
› TopreventSubstrateInducedDiscoloration(SID),washcottonorlinen
canvasbeforeuse
sId defnition: Whenusedasasizeovercotton,linenandhardboard,acrylic
mediumsdrawsubstancesoutofthesupportastheydryandcontinueover
timeDiscolorationcanoccurinareasthatareleftunpainted
› ExteriorMurals:Ifthesupportorwallissomewhatsmooth,acoatofMatte
Mediumshouldbebrushedortwocoatssprayedontothesurfaceontothe
surfacepriortoapplyinggesso
• AsAGlue:
› Usewhencollagingwithnewspapersandlightweightmaterials
ultra matte medIum
Anextremelymatte,fuidmediumUltraMatteMediumcanbeusedtomaintainopacity
andwillextendanopaquecolortodoubleamountswithoutchangingthenatureofthecolor
IdealforlargeprojectswheretransparencyisnotdesiredDriestoadeadmattefnishwith
absolutelynolevelofsheen
attributes
• ColorsmixedwithUltraMatteMediumdrytoadeadmattefnish
• Increasesthevolumeofpaint,whilemaintainingtheopacityofthecoloritismixedinto
• EconomicallydoublesthevolumeofSoftBodyProfessionalArtistColorwithlittleor
nonoticeablelossincolorintensity,opacityorchangeinhue
• OpacityofcolorsmixedwithUltraMatteMediumwillbehigherthanifthecolorhad
beenthinnedtothesamedegreewithanyothermediumexceptModelingPaste
• Thedegreetowhichthecolorcanbeextendedwillvaryamongthedifferentpigments
• Whenover50%isadded,UltraMatteMediumcanactasaweaktintingwhite,
increasingthevalueoftheoriginalcolorapproximatelyonelevelLightcolorswill
beaffectedlessthandarkcolors
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / f l u i d
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
ultra matte medIum (cont)
application
• Gouache:
› MixwithopaqueSoftBodyProfessionalArtistColorforamattefnishand
gouache(opaquewatercolor)look
› These“gouache”colorsarewaterresistant,fexible,lightfastandpermanent
whendryTraditionalgouachecolorsarenotandaresusceptibleto
accidentalre-wettingandmustbewellprotectedwhenfnished
• Murals:
› MixintoSoftBodyProfessionalArtistColorforunderpaintingofmuralsto
economicallydoublethevolumeofpaintFortoplayersuseLightfastnessI
colorswithoutUltraMatteMedium
• Runningoutofcolorduringpainting:
› UsewhenrunningoutofaSoftBodyProfessionalArtistColormixturewhile
paintingWhenyouhavereachedthehalfwaypointofpaintingaspecifc
area,determineifyouhaveenoughpainttofnishIfnot,addanequal
amountofUltraMatteMediumtothecolorThecolorandopacitywillbe
unchanged,butthevolumewillbedoubledenablingyoutofnishpainting
withoutre-mixing
• Underpainting:
› MixintoSoftBodyProfessionalArtistColorduringinitialunderpainting,to
doubleamountofcolorSoftBodyProfessionalArtistColorhasthreetimes
thecoverageofHeavyBodyProfessionalArtistColor
sloW-drI
®
BlendInG medIum
AnessentialmediumforcreatingsofteredgesandmodeledformsThismediumisusedto
extendthe“open”timeofacrylicsbymorethan40%,givingyouanopportunitytoreally
workthepainttoenhancecolorblendingYoucanaddanyamountofthismedium,asit
containsbindertoretaintheintegrityofthepaintflm,unliketheadditivesversion
attributes
• Auniqueformulationthatextendsdryingtimeupto40%forsuperiorsurface
blendingwithacrylics
• AddsfowtoHeavyBodyProfessionalArtistColorandissimilarinbodytoSoft
BodyProfessionalArtistColor
• Mixanyamountintocolortoenhancethedepthofcolorintensity,increase
transparency,gloss,easefowofpaint,andaddfexibilityandadhesionto
paintflm
• Driescleartorevealfull,richcolor
19 1&
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / f l u i d
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
19 1&
sloW-drI
®
BlendInG medIum (cont)
attributes
• Unlikeretardingadditives,anyamountmaybeaddedtocolorwithoutjeopardizing
thestrengthofthepaintflm
• Translucentwhenwet,transparentwhendry
• Flexible,non-yellowingandwaterresistantwhendry
application
• Formulaisdesignedtobeusedintechniqueswhereslowerdryingcharacteristics
aredesiredMayalsobeusedinmanyoftheconventionaltechniquesforaGloss
Mediumsuchas:airbrushing,brushwork,glazing,collage,andmurals
application possibilities as a medium
• AsanExtender
› MixwithSoftBodyProfessionalArtistColortolengthendryingtime,extend
volume,andincreasetransparencywhilemaintainingpaintviscosityandfow
› MixwithHeavyBodyProfessionalArtistColortoslowdryingtime,extend
volume,andincreasetransparencywhilethinningthepaint
• AsaFixative
› Useasafxativeoverartwork(acrylicpaint,pastels,graphite,chalk)to
increaseglossorshineIncreaseddryingtimeallowsforworkingthemedia
onthesurfacepriortofnalfxingUseanatomizerorairbrushflledwitha
mixtureofonepartmedium,onepartwater
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / g e l
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Gel medIums
OntheoppositeendofthespectrumfromFluidMediums,GelMediumsadd
bodytothinnerpaintforimpastotechniquesaswellasextendingcolorvolume
andaddingtransparencyGelsmediumscanalsoadd“opentime”astheytend
todryslowerthanthinnerpaintflmsIngeneral,thethickerthelayerofacrylicpaint,the
longerthepaintflmtakestodryThesemediumsalsomodifyacrylicpaintsinavarietyof
waysand,sincetheycontainacrylicresins,tendtoimproveadhesion
anddurability
all Gel medIums
•AddBody
•Increase“open”time
•Drytransparentortranslucent
•Extendthevolumeofpaint
•Holdbrushorknifemarks
•Makeanexcellentarchivaladhesiveforcollage
General attributes
• Heavy-bodiedmediums,formulatedtomaintainthree
dimensionalpeaksandmarks,buildsurfaces,extendpaint
volume,extenddryingtimeandachievevariousdegreesof
transparencyandsheen
• MixintoSoftBodyProfessionalArtistColortoincrease
paintthickness
• MixintoHeavyBodyProfessionalArtistColor,tomaintainorincreasepaintthickness
• Produceflmsofvaryingthickness,sheensandvisualeffects
• Inthewetstate,mediumsappearmilky,butdrytransparenttotranslucent(unless
noted)Awetmedium/paintmixturewillbelighterincolorthanthedriedmedium/
paintmixture
• Thethickertheapplicationthemoreopaquethefnalflmwillbe
• AllGelscanbeusedasabinderforpowderedpigments,additivessuchassand,
sawdust,etcOverloadingmediumswithtexturingmaterialscancausebrittleness
• AllGelsareexcellentgluesforattachingheavyobjectstoasurface
• Mixanygelsintoacrylicpainttoincreaseworking(open)time
1J 10
G
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / g e l
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
1J 10
Gloss Gel
Excellentforretainingbrushmarkswhileslowingthedryingtimeandaddingbodytothe
paintMixwithtransparentcolorsforimpastoglazesofgreatdepthandbrillianceExcellent
fortransferringprintedimages
attributes
• Driestoaglossfnish
• ViscosityandbodysimilartoHeavyBodyProfessionalArtistColor
• Translucentwhenwet,transparent(clear)totranslucentwhendryThicker
applicationsresultinlesstransparentdrymediumflms
• IdealmediumtomixwithHeavyBodyProfessionalArtistColortoextendpaint,increase
thebrillianceandtransparencyofcolor,withoutchangingthethicknessofthepaint
• MixwithHeavyBodyProfessionalArtistColortoobtainpaintsimilarincolordepth
tooilpaint
application
• AsAnExtender:
› MixwithHeavyBodyProfessionalArtistColortoextendvolumeandincrease
transparency,whilemaintainingpaintviscosity
› MixwithSoftBodyProfessionalArtistColortoextendvolumeandincrease
transparency,whileincreasingpaintviscosity
• AsAGround:
› Useastransparentgroundforacrylicpaint,insteadofgessoAllowssubstrate
tobeseenTopreventSubstrateInducedDiscoloration(SID)washcottonor
linencanvasbeforeuse
sId defnition: Whenusedasasizeovercotton,linenandhardboard,acrylic
mediumsdrawsubstancesoutofthesupportastheydryandcontinueover
timeDiscolorationcanoccurinareasthatareleftunpainted
› WhenapplyingGlossGelMediumtocanvas,useadequatepressuretoforce
themediumintothecanvasweavetoinsureproperbondingbetweenthegel
andcanvas
• PowderedPigments:
› Useasthebinderforpowderedpigmentstomakeaninexpensive“studentgrade”
heavybody(thick)glosspaintPigmentsmustbecompatiblewithacrylicemulsion
Gloss heaVy Gel
Averythickgelmediumthatextendsworkingtimeandincreasesbrillianceandtransparency
Mixwithacrylicpainttoincreasebodyandattainoilpaintlikeconsistencythatholdsbrushor
paletteknifemarks
attributes
• Extraheavybodymediumofgreatdensitywhichdriestotranslucentglossfnish
• Mixwithacrylicpainttoincreasebody,density,viscosityandattainoilpaintlike
consistencywithbrushorpaletteknifemarks
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / g e l
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Gloss heaVy Gel (cont)
attributes
• Extendspaintwhileincreasingbrillianceandtransparency
• Keepspaintworkablelongerthanothergelmediums
application
• AsAnExtender:
› MixwithSoftBodyProfessionalArtistColorandHeavyBodyProfessionalArtist
Colortoextendvolume,increasetransparencyandincreasecolorviscosity
• AsAGround:
› RefertoGlossGelformoredetailedinformation
• WithPowderedPigments:
› Useasthebinderforpowderedpigmentstomakeaninexpensive“student
grade”extraheavybody(thick)glosspaintPigmentsmustbecompatiblewith
acrylicemulsion
Gloss super heaVy Gel
Asuperthickgelwithhighsurfacedragusedtocreateastiff“oil-like”feelIdealforcreating
highpeaksandsculpturalapplicationsthatholdshapewhendry,withminimalshrinkage
Thismediumkeepspaintworkablelongerthanmostothergelmediums
attributes
• Extremelythick,extraheavybodyThethickest“clear”gel
• Driescleartotranslucentdependingonthicknessoftheapplication
• Verylittleshrinkageduringdryingtime
• Excellentadhesionforcollageandmixedmedia
• Extendspaint,increasesbrillianceandtransparency
• Flexible,non-yellowingandwaterresistantwhendry
application
•AsaHeavyBodiedExtender
› MixwithSoftBodyProfessionalArtistColororHeavyBodyProfessionalArtist
Colortoincreasecolorviscosity,body,extendvolume,increasetransparency
andcolorbrilliance
•AsAGround
› Whencreatingasculpturalground,besuretouseadequatepressuretoforce
thegelintotherawcanvastoinsureproperbondingApplypaintoverthegel
afterthegelisdry
•Collage:
› Makesanexcellentglueforcollageanddecoupage
11 1Z 11 1Z
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / g e l
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
11 1Z 11 1Z
Gloss super heaVy Gel (cont)
application
•WithPowderedPigmentsandotherAggregates
› Becarefulnottoincludesomanyforeignmaterialsastojeopardizethestrength
ofthepaintflmBesuretheyarecompatiblewithacrylicemulsion
› Useasthebinderforpowderedpigmentstomakeaninexpensive“student
grade”superheavybody(thick)glosspaintPigmentsmustbecompatiblewith
acrylicemulsion
matte Gel
AthickgelthatimpartsatranslucentmattesheenwhendryIdealforcreatingcollageswith
heavierobjectsCombinewithGlossGeltocreateacustomizedsatinfnish
attributes
• SamequalitiesasGlossGelMedium,exceptdriestomattefnish
• ViscosityandbodysimilartoHeavyBodyProfessionalArtistColor
• MatteGelMediumhasgreateradhesionthanGlossGelMediumandGloss
HeavyGelMedium
application
•AsAnExtender
› MixwithHeavyBodyProfessionalArtistColortoextendvolumeandincrease
translucency,whilemaintainingpaintviscosity
› MixwithSoftBodyProfessionalArtistColortoextendvolumeandincrease
translucency,whileincreasingpaintviscosity
•AsAGround
› Recommendedthickmediumtouseasatranslucentground(size)foracrylicpaint,with
excellenttoothandadhesionWillallowsomecolorandtextureofthesupporttoshow
throughUseasasubstituteforthehidegluesizetraditionallyusedforoilpaintings
› TopreventSubstrateInducedDiscoloration(SID),washcottonorlinencanvas
beforeuse
sId defnition: Whenusedasasizeovercotton,linenandhardboard,acrylic
mediumsdrawsubstancesoutofthesupportastheydryandcontinueover
timeDiscolorationcanoccurinareasthatareleftunpainted
› ExteriorMurals:Ifthesupportorwallisveryrough,acoatofMatteGelMedium
shouldbebrushedortroweledontothesurfacepriortogessoapplication
•ForImpastoEffects
› MixwithLiquitex
®
HeavyBodyProfessionalArtistColorforimpastoeffectsthat
drytoamattesheen
•WithPowderedPigments
› Useasthebinderforpowderedpigmentstomakeaninexpensive“student
grade”heavybody(thick)mattepaintPigmentsmustbecompatiblewith
acrylicemulsion
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / g e l
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
matte super heaVy Gel
Asuperthickgelwhichretainshigh-peaksandcrispbrushandknifestrokeswithverylittle
shrinkageThismediumkeepspaintworkablelongerthanmostothergelmediumsanddries
toatranslucentmattefnish
attributes
• Extremelythick,extraHeavyBody
• Heavybodied,verydense,withhighsurfacedragforastiff“oil-like”feel
• Driestoatranslucentmattefnishdependingonthicknessoftheapplication
• Verylittleshrinkageduringdryingtime
• Excellentadhesionforcollageandmixedmedia
• Extendspaint
• Flexible,non-yellowingandwaterresistantwhendry
application
•AsAGround
› Whencreatingasculpturalground,besuretouseadequatepressuretoforce
thegelintotherawcanvastoinsureproperbondingApplypaintoverthegel
afterthegelisdry
•Collage
› Makesanexcellentglueforcollageanddecoupage
•WithAggregates
› Becarefulnottoincludesomanyforeignmaterialsastojeopardizethestrength
ofthepaintflmBesuretheyarecompatiblewithacrylicemulsion
ultra matte Gel
Agelwithhighresinsolidsthatmaintainscoloropacityandextendspainttodoubleamounts
withoutchangingcolorpositionThisproductismeanttobeusedwithopaquecolorswhere
transparencyisnotdesiredDriestoadeadmattefnishwithabsolutelynolevelofsheen
attributes
• Atranslucentwhitegelofhighdensityandhighsolids,thateconomicallyextends
thevolumeofHeavyBodyProfessionalArtistColorwithoutchangingitsthickness
• Addupto50%byvolume,todoubleamountofpaintandretaincolorposition
• Ifmorethan50%isadded,itactsasaveryweaktintingwhite
• Maintainstheopacityofthecolorbetterthanusingacleargelmedium
• Driestoadeadmattefnish,givingcolorsagouachelook
15 11
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / g e l
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
15 11
ultra matte Gel (cont)
application
•Runningoutofcolorduringpainting:
› UsewhenrunningoutofamixedHeavyBodyProfessionalArtistColorwhile
paintingWhenyouhavereachedthehalfwaypointofpaintingthespecifc
area,determineifyouhaveenoughpainttofnishIfnot,addanequalamount
ofUltraMatteGeltothecolorThecolorandopacitywillbeunchanged,butthe
volumewillbedoubledenablingyoutofnishpaintingwithoutre-mixing
• Underpainting:
› MixintoHeavyBodyProfessionalArtistColorduringinitialunderpainting,to
doubleamountofcolor
sloW-drI
®
BlendInG Gel
Aheavybodygelusedtoextendthe“open”timeofacrylicsbymorethan40%foreasier
blendingAddanyamountwithoutjeopardizingthestrengthofthepaintflmtoachieve
excellentimpastotechniques
attributes
• Auniqueformulationforsuperiorsurfaceblendingwithacrylics
• Extendsdryingtimeupto40%forsuperiorsurfaceblendingwithacrylics
• IssimilarinbodytoHeavyBodyProfessionalArtistColor
• Mixanyamountintocolortoenhancethedepthofcolorintensity,increase
transparency,gloss,andaddfexibilityandadhesiontopaintflm
• Unlikeretardingadditives,anyquantitymaybeaddedtocolorwithoutjeopardizing
thestrengthofthepaintflm
• Driescleartorevealfull,richcolor
• Translucentwhenwet,transparentwhendry
• Flexible,non-yellowingandwaterresistantwhendry
application
• Formulaisdesignedforuseintechniqueswhereslowerdryingcharacteristicsare
desiredMayalsobeusedinmanyoftheconventionaltechniquesforaGlossGel
Mediumsuchas:brushwork,thickglazes,collage,andmurals
•AsanExtender
› MixwithHeavyBodyProfessionalArtistColortolengthendryingtime,extend
volumeandincreasetransparencywhilemaintainingpaintviscosity
› MixwithSoftBodyProfessionalArtistColortoslowdryingtime,extendvolume
andincreasetransparencywhilemakingpaintthicker
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / g e l
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
modelInG paste
Averythick,matte,opaquepreparationofmarbledustandpolymeremulsionusedtobuild
heavytexturesonrigidsurfacesThisproducthandleslikeclayanddriestoaveryhard
stone-likesurfaceCanbemixedwithacryliccolororover-paintedwhendryMakesan
excellentsubstrateforacrylicpaint,watercolor,graphite,ordrypastelGreatforsculptural
applicationsandmaybesanded,carved,ordrilledwhendryForuseonrigidsupportsonly
attributes
• Amarble“putty”madeofmarbledustand100%polymeremulsion
• Usedtobuildheavytexturesonrigidsupportsandcreatethree-dimensionalforms
• DriestothehardnessofstoneItcanbesandedorcarvedwhenthoroughlydry
• Canbehandledlikeclayifthetopofthecontainerisremovedandsomeofthe
waterisallowedtoslowlyevaporateuntilitreachesaclay-likeconsistency
• Adherestoanynon-oily,absorbentsurface
• Dryingtooquicklycausesmudcrackingthatiscosmetic,notstructural
• Whenmixedwithacryliccolorswillactasaweaktintingwhite,whileincreasing
thicknessandrigidity
• Excellentsubstrateforacrylicpaint,oilpaint,oilpastel,oilbars,watercolor,graphite
ordrypastel
directions
• Applywithknife,brush,cakedecoratingtools,etc
• Topreventshrinkagecracks(mudcracking),dryslowlybycoveringlooselywith
plasticwrapApplylessthan¼”thick
• Mixwithacryliccolorstoproduceacoloredtintedpaste
• Whendry,ModelingPastemaybepaintedwithacrylicoroilcolors
application
• Sculptural
› ApplyinthinlayersallowingeachlayertodrybeforeapplyingnextlayerIfcracks
appear,allowtodryandfllinwithanadditionalthinlayerofModelingPaste
• Rigidsupport
› Usestraightfromcontainer
• Flexiblesupport
› UseFlexibleModelingPasteorMixModelingPaste50/50withGlossGel
Medium,MatteGelMediumorGlossHeavyGelMedium
• Ground
› ApplyathinlayerofAcrylicModelingPastetorigidsurface(iewood),usinga
paletteknife,trowelorrollerLetdry,thensandsmoothRepeatifnecessary
1! 1ê
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / g e l
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
1! 1ê
modelInG paste (cont)
application
• Absorbentground
› Mix¼ModelingPastewith¾Liquitex
®
GessoApplywithtrowelorrollerLet
dry,thensandsmoothRepeatifnecessary
• Paper-Maché
› MixAcrylicModelingPaste50/50withLiquitex
®
GlossGelMedium,MatteGel
MediumorGlossHeavyGelMediumSoakpaperinthismixture
lIGht modelInG paste
Alightweightandairypreparationofmarbledustandpolymeremulsionspecifcally
formulatedtobeusedinapplicationswhereweightisafactorCanbeusedtoaddbodyto
paintandcreatepasteltintsDriestoamatteopaquewhiteandcanbemixedwithacrylic
colororover-paintedRecommendedforuseonrigidsupportstoavoidcracking
attributes
• Alightweight,airy,fexible,thick,sculpturalgelspecifcallyformulatedtobeused
inapplicationswhereweightisafactor
•Willnotexhibit“mudcracking”
› Usedalone,willdrytoamatteopaquewhitethatreadilyacceptsstaining
ifdesired

flexIBle modelInG paste
Amatte,opaquepreparationofmarbledustandpolymeremulsionDriesmoreslowlythan
othermodelingpastestoahard,yetfexiblesurfaceUsetobuildheavytexturesandthree-
dimensionalformsRecommendedforuseonsupportswithoccasionalfexing
attributes
• ExtraHeavyBodyandveryopaque
• Amarblepastemadeofmarbledustand100%polymeremulsion
• Driesmoreslowlythanothermodelingpastestoahardyetfexiblesurface
• Usedtobuildthree-dimensionalformsandheavytexturesonsupportsthatmaybe
subjecttofexingormovement
• Adherestoanynon-oily,absorbentsurface
• Whenmixedwithacryliccolorswillactasaweaktintingwhite,whileincreasing
thicknessandrigidity
• Excellentsubstrateforacrylicpaint,oilpaint,oilpastel,oilbars,watercolor,
graphiteordrypastel
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / e f f e c t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
effeCts
Liquitex
®
offersavarietyofspecialtyproductsincluding
FluidMediums,Gelmediums,TextureGelsandAdditives
whichhavebeenspecifcallydesignedtoachievevarious
techniques,applications,andspecialeffects
fluid medium effects
faBrIC medIum
Enhancesblending,workability,andadhesionofacryliccolorsfor
paintingdirectlyonfabricorunprimedcanvasReducesdrypaint
stiffnessNoheatsettingrequired
attributes
• Enhancestheworkabilityofacrylicpaintonfabric
• Controlsbleedingofcolorswhenthinnedwithwater
• Providesasmooth,consistentfowtoSoftBodyProfessional
ArtistColor
• Preventsunevenapplicationofpainttoroughtexturedfabrics
• Reducesstiffnessofdriedacrylicpaintonfabric
• Reducestheneedtoscruborabraderoughtexturedfabricsinorderforpaintto
adheretoorpenetrateintosurface
• Doesnotrequireheatsetting
application
• Beginbyaddingmedium1:1withLiquitex
®
SoftBodyProfessionalArtistColor
Color Blending on fabric
• Mixintoacryliccolorstoimprovewet-on-wetblendingtechniques
• Mediumcanbeaddeddirectlyontofabrictoblendcolor
Watercolor on fabric
• UseFabricMedium5:1withLiquitex
®
SoftBodyProfessionalArtistColortocontrol
colorbleeding
IrIdesCent medIum
Addsrichnesstoacryliccolorsbycreatingametallic/pearlescenteffectDriestranslucent
andwillnotoxidizeCanaddshimmerorsparkletoapictureeveninthesmallestamount
AchievethemostdramaticeffectswhenmixingwithtransparentcolorsTrypaintingontop
ofanydrycolorforuniqueeffects
attributes
• Producesarangeofiridescentormetalliccolorswhenmixedintoacryliccolors
• Opaquewhenwet,transparenttotranslucentwhendry
• Willnotoxidize
19 1&
E
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / e f f e c t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
19 1&
IrIdesCent medIum (cont)
directions
• Mixwithsmallamountsofcolor,graduallyaddingmorecoloruntildesired
iridescentqualityandtransparencyisachieved
• TransparentandtranslucentcolorsworkbestOpaquecolorscanalsobeused
• Colorwillbecomemoretransparentaspercentageofmediumincreases
• Colorsincreaseintheiriridescentqualityandbecomemuchmorerefective
upondrying
• ForMotherofPearlcolor,usedirectlyfromcontainer
• Foruseonfabric,thin50%withdistilledwater
aIrBrush medIum
Apre-fltered,ready-to-usemediumthateasilythinsanyacrylictotherightconsistencyfor
sprayapplicationAnexcellentchoiceforcolorwashesandwatercolortechniqueswhenused
withacryliccolorsMixeswellwithothermediumstoadjustthebodyandhandlingproperties
Maintainsintegrityofacrylicsevenathighdilutions,anddecreasesairbrushcloggingandpaint
buildupUsewithLiquitex
®
SoftBodyColorforbestresults
attributes
• Pre-mixedblendofacrylicpolymeremulsion,distilledwater,retarderandLiquitex
®

Flow-Aid
TM

• Readytousepre-flteredandpre-reducedtotheproperconsistencyforairbrush
techniqueAddasmuchoraslittleasdesired
• Easilythinsacrylictoasprayableconsistency
• Decreasesairbrushcloggingandpaintbuilduparoundtipduringspraying
• Allowsthinnedacrylicpainttobesprayedeffcientlyandretainpaintflmintegrity
directions
• MixAirbrushMediumintoSoftBodyProfessionalArtistColorNoneedtostrain
• MixAirbrushMediumintoHeavyBodyProfessionalArtistColorStraintoremove
anyparticlesofundissolvedcolor
• Startbymixing50%AirbrushMediumtocolorMixthoroughlyAddmoreAirbrush
MediumasnecessarytofacilitatefowthroughtheairbrushEachcolormay
requireadifferentpercentageofAirbrushMediumtocolor,duetovariationincolor
pigmentsizeandconcentrationofpigment
• Airbrushnozzlesizeandsprayingpressure(PSI)willdetermineAirbrushMedium/
paintmixtureLargernozzlesallowforgreateramountsofpaintinthemixture
• KeepairbrushwetduringuseDonotallowpainttodryinairbrush
• Cleanairbrushwithwater,water/ammoniamixture,airbrushcleaneroralcohol
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / e f f e c t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
pourInG medIum
Designedtoeliminatecrazinginpouredapplications,resultingineven,pouredpuddlesand
acrylicsheetsCanbemixedwithanyacryliccolortocreatesmooth,evencoloredflms
attributes
• Createseven“puddles,”pouredsheets,andfowingapplicationsofcolor
• Doesnotcraze,crack,orholdbubblesinthepaintflmupondrying
• Retainshighglossandwetappearancewhendry
• Willnotaddtransparencywhenmixedwithcolor
• Flexible,non-yellowingandwaterresistantwhendry
application
• MixwithSoftBodyAcrylicColortopromotedryingwithasmooth,evenlycoloredflm
Gel medium effects
strInG Gel
StringGelhasahoney-likeconsistency,andcanbemixedwithsoftorheavybodiedcolors
tocreateawidevarietyofeffectsStringGellendsitselftocreatinglongropeystrandsof
paintwhenappliedbygentlydrippingitfromtheendofabrushorknifeThismethod
ofapplicationgivestheartistmuchmoreprecisecontrolofthedrippedorpouredmark,
allowinggreaterdetailthanwouldhavebeenpreviouslyavailablebyanyothermeansWhen
appliedtraditionallywithabrushitiscapableofproducinglongfuidmarksinwhichcolor
followsthebrushproducingastreakingeffectItstransparencyandself–levelingqualities
furtherenhancetheuniquepropertiesofthisgelmedium
attributes
• Aself-levelinggelwithasyrupy,honey-likeconsistency
• Enhancesdepthofcolorandincreasestransparencyandfow
• Driesglossyandtransparent
• Permanent,non-yellowing,fexibleandwaterresistantwhendry
applications
• Abstractpainting,wherecontrolleddrips,poursandsplashesgiveabroader
expressiverangetoartists
• Contemporary/Imaginarylandscapepaintingwheregesturalfowingmarkscould
functionwelltodescribeforalelementsfoundinnaturesuchastrees,shrubsorgrass
• Illustration—wheretheuniquepropertiesofthismediummayaddthetextureand
stylisticimpacttohelpcommunicatetheartist’svision
5J 50
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / e f f e c t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
5J 50
texture Gels
Liquitex
®
TextureGelscontainparticlesthatproduceavarietyofuniquetexturalanddimensional
effectsTheymaybemixedwithacryliccolors,othermediums,orusedontheirownAdry
TextureGellayercanbeutilizedasatexturedunderpaintingforacrylicpaint,coloredpencil
orpastelMixanytexturegelstogethertoachieveuniquesurfaces
all texture Gels
• Dryfexible
• Donotyellow
• Drywaterresistant
General attributes
• Containspecifcaggregates,whichproduceavarietyofuniquetextural,
dimensionalandrefectiveeffects,whenmixedwithacrylicpaint
• AllsevenTextureGelsmaybeintermixedtoincreasethevarietyofpossibletextures
• FormulatedformaximumfexibilityandadhesionWillnotchiporcrackoncanvas
• Canbeappliedtoanymaterialorsurfacethatwillaccepttraditionalacrylicmedia,
suchascanvas,paper,wood,etc
• TextureGelsarelightweight,non-toxicanddrytoawaterresistant,non-
yellowingsurface
CeramIC stuCCo
AfavoriteofmanyartistsThisthick,fne-texturedgelcanbeappliedwithapaletteknife
togivethesurfacefnishofanItalianfrescoItdriestoalightgraymattestuccofnishand
isagreatabsorbentgroundforwashesandglazingTrypaintingoverthedrysurfacewith
AirbrushMediumordrawingwithpastelorcharcoal
• Athick,lowluster,fnetexturegel,thatdriestoalightgraymattestuccofnish
• Excellentforproducingthick3-Deffects,aswellasthinlycoatingsurface
• Excellentgroundforacrylic,pastelsandgraphite
• SomewhatsusceptibletoabrasionCoatwithLiquitex
®
Varnishforadded
protectionApplyvarnishcarefullytoavoidfoamingandclouding
• Workswellwithbrushapplication
WhIte opaque flakes
Aheavy,coarsegelcontainingirregularsizedandshapedwhiteopaquefakesMaybeused
tocreatefoliageeffectsinlandscapesbymixingwithopaquecolororglazingoverwhendry
Hasasimilareffectofsnowfakesorcoconutfakes
• AHeavybody,coarsegel,thatcontainsirregularsizedandshapedopaquefakes
• Whitefaketextureismostapparentwhenmixedwithtransparentortranslucent
colorsorsmallamountsofopaquecolor
• Ifpurewhiteisdesired,addasmallamountofLiquitex
®
TitaniumWhite
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / e f f e c t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Glass Beads
Amediumbodygelthatcontainsclearroundplasticbeadsanddriestoasemi-glosssurface
Perfectforcreatinga“bubbly”butsmoothtexturethatcanbedramaticwhenmixedwith
colorWhenpoureditcreatesafexibleshimmeringflmforawidevarietyofapplications
WorkswellasasurfacetopaintoverwithcolorCanbeusedunderoiloracrylic
• Amediumbodygelthatcontainsclear,roundaggregatesthatdrytoasemi-gloss,
refective(“bubbly”)surface
• Formostdramaticrefectiveeffects,mixwithtransparentortranslucentcolorsor
applystraightfromcontaineroverdriedpaint
• Forrefectivetexturalglazes,mixwithLiquitex
®
GlossMedium&Varnishandsmall
amountsofLiquitex
®
SoftBodyProfessionalArtistColor
• SuitableasagroundforacrylicandoilpaintWorkswellwithbrushapplication
Blended fIBers
GreatforaddingtextureandbodytopaintedformsThisthickopaquegel,whendry,willgive
theeffectoffexiblefberswithamattsheenItholdsunusualpeaksandknifestrokeswhen
mixedwithcolorCantendtohavetheeffectofpiecesoftornfabric
• Athick,stringy,fbrousgelthatwhendrygivetheeffectoffexiblefbers
• AddLiquitex
®
GlossGelMediumorGlossHeavyGelMediumforeasierapplication
andtoincreaseadhesionwhilewet
• Worksbestwhenappliedwithpaletteknifeortrowel
resIn sand
Athick,coarsegelthatdriestoasemi-glosstexturesimilartoroughcementMixwithBlack
LavaandCeramicStuccotocreateanabsorbent,granitelikesurfacethatisveryreceptiveto
SoftBodycolors
• Athick,coarse,texturegelthatcontainsaggregatesofvarioussizes
• Driestoa“roughcement”lookandwillretainitsuniquetexturewellwhenmixed
withpaint
• Excellentgroundforacrylicpaint,whendramaticeffectsaredesired
natural sand
Afne-texturedgelthatdriestotheappearanceofglossybeachsandMixwithothergelsto
createcustomizedsurfacesAnexcellentchoicetoaddabitof“tooth”toanunder-painting
Trycombingthenaturalsandwitharidgedtrowelforuniformpeaksandvalleys
• Afnelytexturedgelthatdriestoasurfacesimilartoglossy“beachsand”
• MixwithLiquitex
®
acryliccolorstoimproveblendingandimpartthe“feel”ofoilpaint
• Veryeffectivegroundforacrylics,pastelandgraphitewhendelicatemarksand
blendingarenecessaryWorkswellwithbrushapplication
51 5Z
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / e f f e c t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
51 5Z
BlaCk laVa
Acleargelspeckledwithsmallblackparticlesthataddsaninnovativedimensiontopaint
surfacesGivesdramaticeffectswhenmixedwithtransparent,translucent,orinterference
colorsandcanbeusedtodarkenvaluesinapictureTryoverpaintingwhendrywithacrylic
colorforadditionaleffects
• Ablackspeckledgelthatcontainssmall,fat,hexagonalshapeddarkaggregates
• Whenwet,looksspeckledgraybutwhendry,givetheeffectofground,dry,
blacklava
• Mixedwithtransparentandtranslucentcolors,blackspeckledqualityismost
apparent
• MixwithLiquitex
®
InterferenceColorsfordramaticcoloreffects
application
• Applywithpaletteknife,trowel,paintbrush,etcDifferenttoolsproducedifferenteffects
• MixacryliccolorintoTextureGelorletgeldryandpaintontop
• MixwithGlossMedium&Varnishtoproducetexturedglazes
• VerysmallamountsofcolorareneededsincemostLiquitex
®
TextureGels
aretranslucent
• AddLiquitex
®
GlossGelorGlossHeavyGelwhenusingadditionalaggregates
(suchassand)toavoidbrittleness
• TextureGelscanbethinnedwithsmallamountsofdistilledwaterifnecessary
• VarnishwithcaretoavoidfoamingorcloudingIfafnalvarnishlayerisdesired,
sprayapplicationofvarnishisadvised
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / e f f e c t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
55 51
additives
Additivesallowtheartisttoadjustthechemistry(andasaresulttheworkingproperties)of
acrylicpaintTheycanbeusedtoincreasethefow,theopacity,orthethickness,andmore
Whiletheydocontainacrylicpolymerforcompatibility,theydonotcontainsuffcientacrylic
resintoactasabinderwithinthepaintIngeneral,Liquitex
®
recommendsthatnomorethan
25%ofanadditivebeaddedtothepaintAdditionally,mixingmorethanoneadditiveata
timeintoyourpaintisnotrecommended
all addItIVes
• Shouldbeusedsparinglyandonlyintheamountneededto
achievethedesiredeffect
• Donotaddtransparencytothepaintflm
• Availableinbothfuidandgelviscosities
sloW-drI
®
Gel retarder
Anexcellentchoicewhenworkinginlowhumidity,orwheneverincreasedworkabilityand
blendingtimeofacrylicpaintsandmediumsisdesiredWillretainbrushstrokesandadd
bodytoloweriscositycolorsShouldnotaddmorethan25%asthereisnobinderanditcan
weakenthestabilityofthepaintflmwhentoomuchisadded
attributes
• SimilartoSlow-Dri
®
FluidRetarder,exceptingel(heavybody)thickness
• Gelconsistency,designedtobeusedwithLiquitex
®
HeavyBodyProfessional
ArtistColor
• MayalsobeusedwithLiquitex
®
SoftBodyProfessionalArtistColorandallLiquitex
®

Mediums,howeverthicknessofpaintsormediumswillbeincreased
directions
• Donotmixmorethan25%pervolumeintopaintandmediumsorpaintmaynot
fullydryandmayhavepooradhesionandexcessiveshrinking
sloW-drI
®
fluId retarder
Afuidthatslowsthedryingtimeofacrylicpaintsandmediumsbyupto40%An
absolutelyessentialadditiveifworkingindrierclimatesMixintothepaintwhenonthe
palettetoslowtheskinning-overofpaintandincreaseblendingtimeShouldnotadd
morethan25%asthereisnobinderanditcanweakenthestabilityofthepaintflm
whentoomuchisadded
attributes
• Increases“open”timeofacrylicpaintReducespaintskinningoveronpalette
• Increasesblendingtime,makingblendingofcolorsanddetailbrushworkeasier
• MixwithLiquitex
®
AcrylicColorsandMediumstoretarddryingtimeupto50%
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / e f f e c t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
55 51
sloW-drI
®
fluId retarder (cont)
attributes
• Fluidconsistency,madetobeusedwithLiquitex
®
SoftBodyProfessional
ArtistColor
• MayalsobeusedwithLiquitex
®
HeavyBodyProfessionalArtistColorandall
Liquitex
®
Mediums,howeverthicknessofpaintsandmediumswillbereduced
directions
• Donotmixmorethan25%pervolumeintopaintandmediumsorpaintmaynotfullydry
floW aId™
Breakswatertensiontoimprovefow,absorbencyandblendingofanywaterbasedpaint,inkor
dyeandminimizesbrushstrokesUsewithLiquitex
®
SoftBodycolortocreateveryfuidwashes
withouthardedgesGreatforstainingeffectsonrawcanvasShouldnotaddmorethan25%as
thereisnobinderanditcanweakenthestabilityofthepaintflmwhentoomuchisadded
attributes
• Useinconjunctionwithanyacrylicmediumorcolorwhenincreasedfowand
absorptionanddecreasedflmtensionandfrictionareimportant
• Afowenhancerthatimprovesthefow,absorptionandblendingofanywater-
solublepaint(ieacrylicpaint),medium,inkordye
• Minimizesbrushmarks,byreducingfrictionofpaintapplication
• DoesnotcontainbinderOverthinningofacrylicpaintwithFlow-Aid
TM
and
applyingtoanon-absorbentsurface(iegessoedcanvas)mayresultinpoor
adhesionAlwaysmakeatestpieceforyourparticularapplicationandsurface
• Onnon-absorbentsurfaces,willincreasethefuidityandopen(drying)time
ofthepaint
• Onabsorbentsurfaces,willactasastain,dyeorwatercolor
directions
• Flow-Aid
TM
isaconcentrateDilutewithwaterbeforemixingintopaintDistilled
waterisbest,sincequalityoftapwatervaries
• Minimumdilution:1partFlow-Aid
TM
to10partsdistilledwatertoachieve
Flow-Aid
TM
Water
• Normaldilution:1partFlow-Aid
TM
to20partsdistilledwatertoachieve
Flow-Aid™Water
• DonotuseundilutedUsingundilutedmayresultinpoorpaintadhesion,cause
painttocrack,remaintackyandbecomewatersensitive
• DonotshakeorrapidlystirThiswillincreasefoamingofFlow-Aid
TM
Waituntil
foaminghassubsidedbeforeusing
• Absorbentsurfaces:UseasmuchFlow-Aid
TM
asnecessaryTheFlow-Aid
TM
Water/
paintmixturewillbeabsorbedbythesupport
c h A p t e r 3 : l i q u i t e x p r o d u c t s / m e d i u m s / e f f e c t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
floW aId (cont)
directions
• MixFlow-Aid
TM
WaterintowaterbasedpaintDonotmixFlow-Aid
TM
withturpentine
oroilpaint
• DonotuseFlow-Aid
TM
inmarbling,asthistechniquerequiresthatthesurface
tensionofthewaterflmbemaintained
lIquIthICk™ thICkenInG Gel
ExcellentforsculpturaleffectswhenamattfnishisdesiredGivesthehandlingcharacteristics
ofoilorencausticpaintwhenaddedtowater-basedacrylicpaintsandmediumsWorksgreat
withopaquecolorsasitdoesnotincreasetransparencyorchangethepositionofcolors
Shouldnotaddmorethan25%asthereisnobinderanditcanweakenthestabilityofthe
paintflmwhentoomuchisadded
attributes
• Athickeninggelforwatersolubleacrylicpaintandmediums
• Usedinsmallamounts,produceshandlingcharacteristicsveryclosetothatofoil
orencausticpaint
• Athigherconcentrationscanthickenpaintormediumsto“cake”orsculptural
consistency
• Dryingtimewillbebetween24hoursto7daysdependinguponamountof
Liquithick
TM
addedtopaintormedium
• Liquithick
TM
doesnotincreasetransparency
• Liquithick
TM
producesamattesurfacesheentodriedpaintflm
• PaintandmediumshrinkagewilloccurinproportiontotheamountofLiquithick
TM
added
directions
• StartbyaddingaverysmallamountofLiquithick
TM
topaintormediumandmixwell
withapaletteknifeTheproperproportionwillvarywithcoloranddesiredeffect
• Proportionsof20or25partscolorto1partLiquithick
TM
willchangethehandling
characteristics
• ContinueaddingLiquithick
TM
slowlyuntilthedesiredviscosityisachieved
• Addonlyenoughfordesiredeffectanddonotexceed1to4ratioasexcessive
shrinkageandcrackingmayoccur
5! 5ê
c h A p t e r 3 : l i q u i t e x p r o d u c t s / m e d i u m s / v A r n i s h
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
fnish
VarnIsh
Therearemanymisconceptionsaboutwhetherornotitisnecessary
tovarnishanacrylicpaintingAsageneralrule,youshouldalways
varnishyouracrylicworkwhenpossibleVarnishesareappliedover
drypaintflmsandserveseveralpurposesTheirfrstandmostimportantfunction
istoprotectthepaintingsurfacefromtheenvironmentandprotectthepigments
fromultravioletlightSecondly,varnishescanbeusedtosaturateandreveala
painting’ssurface,therebyunifyingtheoverallsheenLiquitex
®
varnishescomein
severaldifferentsheens,whichcanallbeintermixedforacustomizedsheen
Ourvarnishesareeitherpermanentorremovableandcanbeappliedtoboth
fexibleandrigidsupports
BenefIts of VarnIshInG:
1 Minimizetheattractionandmigrationofatmosphericpollutantsintothepaintflm
2 Protectagainstsurfaceabrasionduringshippingorexhibition
3 Boostthebrightnessandcolorsaturation
4 Adjustandunifythesurfacesheen
5 ProtectcolorsfromultravioletlightAnyvarnishwillaffordsomeprotectionbut
thosewithUVinhibitorsofferextendedprotectionfromcolorfading
6Allowsforeasycleaningwithoutfearofremovingordamagingthepaintflm
arChIVal permanent VarnIsh
attributes
• 100%acrylicpolymervarnishWatersolublewhenwetGoodchemicalandwater
resistance
• Forinteriorandexterioruse
• Excellentlevelingproperties
• Translucentwhenwet—driescleartoanon-tacky,hard,fexiblesurfacethatis
resistanttoretentionofdirt
• Resistdiscoloring(non-yellowing,non-fogging)duetohumidity,heatand
ultravioletlight
• Dependinguponsubstrate,allowsmoisturetopassthrough(breathable)
• Notforuseoveroilpaint
available sheens
• HighGlossVarnish
• GlossVarnish
• SatinVarnish
• MatteVarnish
5! 5ê
V
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / v A r n i s h
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
59 5&
reCommended applICatIon – permanent Varnishes
ChooseadesiredsheenPermanentvarnishesarenon-removableandshould
alwaysbetestedbeforeapplyingtoyourworkMakesurethatyourpainted
surfaceiscompletelydry(between72hours–2weeksdependingonthickness)
beforeapplyinganyvarnishOnlyapplyvarnishesinaworkenvironmentthatis
cleanandfreeofdirtanddust
arChIVal remoVaBle VarnIsh – soluvar
®
• Permanent,removable,mineralspiritbasedfnalvarnishforacrylicandoil
paintingsthatprotectspaintingsurfaceandallowsforremovalofsurfacedirt,
withoutdamagingpaintingunderneathOncesurfaceisclean,anewcoatof
Soluvar
®
maybereappliedtosurface
• Forinteriorandexterioruse
• Excellentlevelingproperties—willnotholdbrushstrokes
• Resistsdiscoloring(non-yellowing,non-fogging)duetohumidity,heatand
ultravioletlight
• Clearinthewetstate
• Canbeusedonoil&acrylicpaintings
• Removewithmineralspiritsorturpentine
• FlexibleWillnotcrackassurfaceexpandsandcontractsduringtemperatureand
humiditychanges
• ContainultravioletlightinhibitorsthatresistcolorfadingbydiffusingUVradiation
beforeitcomesincontactwithpaintedsurfaceThethickerthevarnishflm,the
greatertheprotection
• Donotuseonpaintovervinyl
available sheens
• SoluvarGlossVarnish
• SoluvarGlossVarnishAerosol
• SoluvarMatteVarnish
• SoluvarMatteVarnishAerosol
reCommended applICatIon – soluvar
®
1Apply1–2layersofGlossMedium&Varnishasanisolationbarrierbefore
applyingLetdry1–3hoursbetweencoatsAllowtodry48hoursafterfnalcoat
2Cleanthesurfacewithalintfreeragdampenedwithmineralspirits
3 Apply1–2layersofSoluvarVarnishIfusingSoluvarMattestirthoroughly(donot
shake,thiswillcausetheformationofbubble)beforeapplyingAllow24hours
dryingtimebetweenvarnishcoats
4 ForOils—wait6–12monthsbeforeapplyingvarnish
5 Useonly“true”mineralsprits(notodorless)tothinSoluvarifneeded
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / v A r n i s h
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
VarnIshInG tIps
1 DonotshakethevarnishShakingcanintroducebubblesthatwillformanddry
onyourpaintedsurface
2 Applyin1–3thincoats,ratherthan1thickcoatAthickcoatwilltakelongerto
dry,maydrycloudy,driporsagduringapplicationandhasagreaterchanceof
showingbrushstrokeswhendry
3 Placetheworktobevarnishedfatonatable—donotvarnishvertically
4 ThinnedvarnishismoresusceptibletoproducingbubblesDonotbevigorousin
yourapplication
5 Applyinlongevenstrokestocoverthesurfacetoptobottomwhilemovingfrom
onesidetotheotherWhileworking,inspectthevarnishlayeratallanglesfor
bubblesEventhemoutimmediately
6Onceyouleaveanarea,donotgobackoverareasthatyouhavedoneIfyou
do,youriskdraggingpartiallydryresinintowet,whichwilldrycloudyoverdark
colorsIfanyareasweremissed,allowtodrycompletelyandre-varnish
7 WhenapplyingLiquitex
®
MatteorSatinVarnish,applynomorethan1–2thin
coatsasthickapplicationsmayresultincloudinesswhendryIfmorethan2
coatsaredesired,frstvarnishwithGlossVarnishtothedesiredthicknessand
applyMatteorSatinVarnishasthefnalcoat
8Airbrushapplicationsofvarnisharerecommendedforheavilytexturedworkor
verticalapplications(suchasmurals)
9Applicationofavarnishwitharolleroraspongebrushisnotrecommended
thInnInG – all VarnIshes
• Thinningincreasespenetrationandcanmakeiteasiertoapplyvarnish
• Overthinningmayresultinweakvarnishflm,pooradhesion,runningandsoaking
intosubstrate
VarnIsh remoVal
all liquitex
®
Varnishes (except for soluvar
®
)
• NotremovableDonotattempttoremovethesevarnisheswithharshsolvents
soluvar® Gloss and matte Varnish
• Removevarnishinclean,well-ventilatedarea
• Wearadualflterrespirator(NIOSHapproved)andneopreneglovesDampen
asmallpieceoflintfree,soft,whiteclothwithmineralspirits(not“odorless”)or
turpentine—nothingstrongerDonotuseketonesorpaintremovers
• WorkhorizontallyApplymineralspiritsgenerouslyandallowittolayonsurface
for15–30minutesCheckperiodicallyLongertimemaybenecessary,depending
uponageofartworkandstrengthofmineralspiritsIfvarnishisnotdissolvingor
dissolvingslowly,useahigherstrengthmineralspiritsorturpentine(coverwith
plastictoslowdownevaporationofmineralspirits)Strongermineralspiritsarenot
labeledassuch,buthaveastrongerodor
• Rubclothgentlyoverasmallarea1–2squareinchesuntilvarnishstartstodissolve
59 5&
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / v A r n i s h
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
êJ ê0
VarnIsh remoVal (cont)
soluvar
®
Gloss and matte Varnish
• Usingacleanclothandcleansolvent,rubtheareaagaintoremoveresidueRepeat
thisprocedurefortheentireareatobecleanedIfanypaintcolorshowsonthe
cloth,stopimmediatelyandallowthesurfacetodry
• AllowpaintingtodrybeforereapplyingafreshcoatofSoluvar
®
FinalPictureVarnish
VarnIshInG GIClee prInts
MostgicleeprintsaremadeusingwaterbasedpigmentedinksInthiscase,directbrush
applicationofwaterbasedacrylicemulsionvarnishesisnotpossible,asitwouldbeginto
dissolvetheinksYoucanhowever,sprayapplyLiquitex
®
GlossVarnishYoucanusean
airbrush,spraygunorplantmisterTheapplicationshouldbedoneinseveralcoatsstarting
outwithjustafnemistandworkingtoathickerapplicationThevarnishcanbebrush
appliedoncetheairbrushedlayersaredryifathickercoatisdesiredLiquitex
®
AcrylicColor
orGlossGelcanthenbeappliedtoaddadditionalcolororabrushstrokelookYoumay
applyLiquitex
®
Soluvar
®
ifdesiredasitcontainsUVinhibitorstohelpprotectcolorsfrom
fading,howevercolorpermanencyisdependentonthepigmentsandthesubstrateused
Liquitex
®
Soluvar
®
issolventbasedandcontainsnowatersoitcanalsobeapplieddirectlyto
gicleeprintswithoutdisturbingtheinks
teChnIques & applICatIons
Liquitex
®
offersanassortmentofmediumstoachieveavarietyoftechniquesandapplications
Usethechartbelowtoidentifywhichproductwilldeliverthebestdesiredresults
technique medium to use
AcrylicSheets • GlossMedium&Varnish
• MatteMedium
• AnyGlossorMatteGel
• GlazingMedium
• PouringMedium
Airbrush • AirbrushMedium
Collage(Light) • MatteMedium
• GlossMedium&Varnish
Collage(heavy) • AnyGlossorMatteGel
ColorBlending • Slow-Dri
®
BlendingMediumorGel
• Slow-Dri
®
FluidorGelRetarder
• GlossMedium&Varnish
• MatteMedium
• AnyGlossorMatteGel
• GlazingMedium
ColorThinning • GlossMedium&Varnish
• GlazingMedium
• MatteMedium
• AirbrushMedium
c h A p t e r 3 : l i q u i t e x
®
p r o d u c t s / m e d i u m s / v A r n i s h
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
teChnIques & applICatIons (cont)
technique medium to use
Dyeing • Flow-Aid
TM

Extender(transparent) • GlossMedium&Varnish
• MatteMedium
• Slow-Dri
®
BlendingMediumorGel
• AnyGlossorMatteGel
• GlazingMedium
Extender(opaque) • UltraMatteMedium
• UltraMatteGel
FabricPainting • FabricMedium
FineDetail • Flow-Aid
TM

• Slow-Dri
®
BlendingMedium
• Slow-Dri
®
FluidRetarder
• AirbrushMedium*
Fixative • GlossMedium&Varnish
• MatteMedium
• AirbrushMedium
Glazing • GlazingMedium
• GlossMedium&Varnish
• Slow-Dri
®
BlendingMediumorGel
Ground(transparent) • ClearGesso
• MatteMedium
• AnyGlossorMatteGels
Impasto • AnyGlossorMatteGels
TransferringPrintedImages • GlossMedium&Varnish
• AnyGlossorMatteGel
• AnyTextureGels
• IridescentMedium
• GlazingMedium
Monoprint • Slow-Dri
®
BlendingMediumorGel
• AnyGlossorMatteGel
• Slow-Dri
®
GelRetarder
Pouring • PouringMedium
Silk-screenBlockOut • GlossMedium&Varnish
• MatteMedium
Staining • Flow-Aid
TM

Stencils • AnyGlossorMatteGel
Textures • AnyGlossorMatteGel
• AnyTextureGels
Watercolor • Flow-Aid
TM

• Slow-Dri
®
BlendingMedium
• AirbrushMedium
êJ ê0
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
ê1 êZ
aCrylIC sheets
Thisprocessallowsartiststocreatefexibleacrylicsheetsofvaryingthickness,sheen,color,
textureandsizeItcanbedonewithawidevarietyofLiquitex
®
Mediumsandtexturegels,in
combinationwithacrylicpainttoachievenumerousdesiredeffectsEachmediumwillimpart
adifferentqualitytotheAcrylicsheet
uses
• Self-SupportingPaintings
› Acrylicsheetscanbehungdirectlyonawall(nocanvasorstretcherbars),as
onemighthangaquilt
• Collage
› Acrylicsheetsmaybeadheredtopaintingsurfacesandpaintedoverascollage
elementsinapicture
• Sculpture
› Acrylicsheetsmaybeadheredtosculpturalformsandpainted
dIreCtIons
• Putmaskingtapeonasmoothsheetofglassinthedesiredshapeandsizeofthe
acrylicsheettobecreated
applICatIon
• Brush
› Usea1/2”to2”wide,softbrushtoapplydesiredLiquitex
®
FluidMediumor
AcrylicMedium/colormixture
› Add5–10%Liquitex
®
Flow-Aid™(1partLiquitex
®
Flow-Aid
TM
to20parts
distilledwater)forsmoothapplication
› Allowtofullydry,(1–12hoursdependingonenvironment)
› Repeatstepsuntilsheetisthickenoughsothatyoucanpeelitoffglass
withouttearing
› 5–12coatswillgiveyouathicknessof1/16”to1/8”
› Thicknessshouldvaryaccordingtodesiredeffect
› Thinlayersmaybedifficulttohandle
› Coatsuccessivelayersinalternatingdirections
• Roller
› Useamediumnaprollertoapplyfluidmediumorpaint/mediummixture
› Thiswillgivethinnestapplicationofacrylic(Airbubblesmaydryinsheets)
04
c h A p t e r 4 : A p p l i c A t i o n s
APP|I0A!I0NS
c
h
A
p
t
e
r
ê1 êZ
c h A p t e r 4 : A p p l i c A t i o n s / A c r y l i c s h e e t s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
applICatIon (cont)
• Trowel
› Usea2–6”troweltoapplya1/8”thickapplicationofLiquitex
®
GelMedium
orheavybodypaint/mediummixtureMayresultinanunevenapplication
• Pouring
› Onsmoothsheetofglass,createdesiredshape/imagewithmaskingtapein
4–5successivelayerssothataridgeordamisbuiltup
› Usealeveltoensuresurfaceisflat(Ifsurfaceisnotlevel,pouredmedium
willdrythickerattheloweredge)
› PourFluidMediumorpaint/mediummixtureoversurfaceSpreadaround
withsoftbrushifneededwhilewet
› Allowallmethodstodrycompletely:48–72hours
› Toremovesheets:useablade,andscorealongtapededgestoseparate
sheetPeeloffglass(Ifnecessarydampenentiresurfacewithawetsponge
toreleaseacrylicsheetfromglasssurface)
reCommended produCts:
• Liquitex
®
PouringMedium
› Driesglossyandclear
› Mixwith5–10%Liquitex
®
SoftBodyProfessionalArtistColorforauniquepour
• Liquitex
®
GlossMedium&Varnish
› Driesglossyandclear
› Mixwith5–20%Liquitex
®
SoftBodyProfessionalArtistColorfortransparent-
opaquesheet(varieswiththicknessandcolor)
• Liquitex
®
GlazingMedium
› Driesglossyandclear
› MixwithasmallamountofatransparentortranslucentLiquitex
®
SoftBody
ArtistColorforastainedglasseffect
• Liquitex
®
MatteMedium,MatteGel,andMatteSuperHeavyGel
› Driesmatteandopaque
› Mixwith5–20%Liquitex
®
SoftBodyArtistColor
• Liquitex
®
IridescentMedium
› Driesopalescentandtranslucent-opaque
› Mixwith5–20%Liquitex
®
SoftBodyProfessionalArtistColorforcolored
opalescentsheet(Opacityvarieswiththicknessandcolor)
• Liquitex
®
GlossGel,GlossHeavyGelandGlossSuperHeavyGel
› Driesglossandtranslucent-opaque(dependinguponthickness)
› Mixwith5–20%Liquitex
®
SoftBodyProfessionalArtistColorforcolored
glosssheet(Transparencywillvarywiththickness)
ê1 êZ ê1 êZ
c h A p t e r 4 : A p p l i c A t i o n s / A c r y l i c s h e e t s – A i r b r u s h i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
ê5 ê1
reCommended produCts (cont):
• Liquitex
®
TextureGelMediums
› Mixwith5–20%Liquitex
®
SoftBodyProfessionalArtistColor
› Driedsheetswillvaryinsheen,opacityandtexture
• Liquitex
®
TextureGelMediums
› Mix10–50%TextureGelMediumsintoanyLiquitex
®
FluidorGelMediumFor
example,Liquitex
®
BlackLavaTextureGelmixedwithLiquitex
®
GlossMedium&
Varnishwillresultinasheetthatistransparentwithblackspeckles
• Liquitex
®
InterferenceColors
› Mix5–10%Liquitex
®
SoftBodyInterferenceColorintoanyoftheLiquitex
®

FluidorGelMediumfamilytocreateanopalescentcoloredsheet
› Mix5–10%Liquitex
®
SoftBodyInterferenceColorintoBlackLavaTextureGel
tocreateaniridescentmetallicSheet
adherInG aCrylIC sheets to a support
• Canvas,wood,Masonite
TM
andfabricareallgreatsurfacesforacrylicsheets
• CoatthebackofthesheetwitheitherGlossMedium&Varnish,GlossGel,Gloss
HeavyGel,orGlossSuperHeavyGel
• Quicklypositionthesheetontothesupportwiththewetsidedownandpress
• ToinsureproperadhesionletthetransferredsheetdryunderweightCoveracrylic
sheetwithwaxpaperbeforeaddingweighttopreventsticking
• IfadheringtowoodorMasonite
TM
,sheetsmaybestapledtosupport(inadditionto
orinsteadofgluingwithmediums)
aIrBrushInG
Liquitex
®
ProfessionalArtistColorsofferthemostpermanent,brilliant,lightfastandversatile
airbrushcoloravailableAllcolorsarelowtonoodorandareeasytothinandcleanupwith
waterTheyarenon-yellowing,waterresistantwhendry,fullypigmented,fexibleandnon-toxic
• liquitex
®
soft Body professional artist Color
› Liquitex
®
SoftBodyisrecommendedforbestresults
› FluidconsistencymixeseasilywithLiquitex
®
AirbrushMediumtomake
airbrushcolors
› OnlysmallamountofLiquitex
®
AirbrushMediumisnecessaryforproper
consistency
› Pre-filtered,nostrainingnecessaryafteraddingLiquitex
®
AirbrushMedium
• liquitex
®
heavy Body professional artist Color
› Liquitex
®
HeavyBodytakeslongertothinandrequiresgreateramountof
AirbrushMediumtoreachairbrushconsistencyThisyieldslessintense
airbrushcolorandstrainingmaybenecessary
c h A p t e r 4 : A p p l i c A t i o n s / A i r b r u s h i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
ChoosInG speCIfIC aIrBrush Colors
• Everycolorhasaspecifcopacity,hue,valueandchroma
• AllLiquitex
®
AcrylicColorsarelabeledwiththisinformation
• Thisinformationisimportantinairbrushtechnique,sincecolorblendsareoptically
created(Ratherthanphysicallymixedonapaletteasintraditionalpainting)
aIrBrush applICatIon
• Theproperthinningprocedureisdeterminedbythetypeofsurfacetobe
airbrushedandbythedurabilitydesiredforthefnalpaintflm
absorbent surfaces:
• Hardwoods,paper,fabric,plaster,Liquitex
®
ModelingPaste,andprimedcanvas
• ThinpaintwithLiquitex
®
AirbrushMedium,distilledwaterorFlow-Aid
TM
(1part
Flow-Aid
TM
to20partsdistilledwater)
• UseLiquitex
®
Flow-Aid
TM
toincreaseabsorptiononabsorbentsurfacesandpaint
fowthroughairbrush(Itwillalsoreduceclogging)
• Fabric:WashpriortoairbrushingtoremovesizingColorsmustpermeateclothand
beseenasghostimageonreversesidetobepermanentAllowtocurefor3days
beforewashingordrycleaning
• Resultingcolorsarepermanent
• Surfacesabsorbpaintdifferently—Alwaysperformatestifyouareuncertain
non-absorbent surfaces:
• Plastic,metal,masonry
• ThinpaintwithLiquitex
®
AirbrushMedium,Liquitex
®
FluidMediums&distilled
waterorLiquitex
®
FluidMediumsandFlow-Aid
TM

• Over-thinningwithwateronlymaycausepooradhesion,cracking,fakingor
peelingAbradesurfaceforincreasedadhesion
techniques
• ThinningwithWaterorFlow-Aid
TM

› Firstadd50%distilledwaterorFlow-Aid
TM
(upto80%ifneeded)tothepaint
andmixthoroughly
› AmountmayvaryduetoindividualpigmentcharacteristicsDilutingreduces
pigmentcolorstrength
› Straintoensureproperflowthroughairbrush
› Absorbencywilldiminishwithsuccessiveairbrushlayers
• ThinningwithLiquitex
®
AirbrushMedium
› MixingcolorswithLiquitex
®
AirbrushMediumwillensurethatthecolorsdo
notlosetheirflexibility,durabilityandadhesion
› Liquitex
®
AirbrushMediumcontainsspecificadditivestoslowdrying,improve
flow,anddecreaseclogging
ê5 ê1
c h A p t e r 4 : A p p l i c A t i o n s / A i r b r u s h i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
aIrBrush applICatIon (cont)
Directions
• MixLiquitex
®
AirbrushMediumintoLiquitex
®
SoftBodyProfessionalArtistColor
thoroughlyataratioof1:1,addingmoreLiquitex
®
AirbrushMediumasneeded
• Properconsistencyisthatoflightcream—Dilutingcolorincreasestransparency
• Ifmixtureistoothickeitherincreaseairpressureoradddistilledwaterto
thinairbrushpaintmixtureDonotexceed1:1ratioLiquitex
®
Airbrush
Mediumtowater
• Theproperviscosity,willdependontheairpressure,typeofairbrushand
proximitytotheworkingsurface
• Asthepaintisthinned,airpressurecanbeloweredandtheairbrushheld
closertotheworkingsurfaceforgreaterdetailAstheairpressureisincreased
theairbrushisheldfurtherfromtheworkingsurface
• Note: Liquitex®IridescentandInterferencecolorscontainmicafakesthatmay
requirealargerairbrushnozzleandgreaterairpressureforconsistentspraying)
maskInG teChnIques
• MaskscoverandprotectareasnottobepaintedStencilsandFrisketsare2types
ofmasksMaskingpapercanbetapedoverlargerareas
stencil
• Athinsheetofmaterialinwhichashapeorpatterniscut,throughwhichpaint
canbeappliedtothesurfacebelow
• PositiveStencil—spraythroughholes
• NegativeStencil—holdpiecesonsurfaceandspray
frisket or masking fluid
• Athinvinylflmwithalowtackadhesiveononeside,toprotectcoveredareas
fromoverspray
• Ifanareahasbeenpainted,allowtocompletelydrybeforeapplyingfrisket
• Burnishfriskettomakesureit’sfat,withnoairbubbles
• Toimproveadhesionoffrisketflmtocanvas,useafneweavecanvasandapply
1-2coatsofLiquitex
®
GlossMedium&Varnishoverareathatistobecovered
• Usingasharprazorknifeandlightpressure,carefullycutfriskettodesiredshape
Removeunwantedfrisketandapplynextcolor
• Donotallowfrisketortapetoremainonthesurfaceforperiodslongerthanaday
tape
• ToachievestraightlinesorattachmaskingmaterialsuseDraftingorScotch
TM
tape
inamannersimilartofrisketIthasalowadhesivetack,whichwillnotdamage
paintedareaswhenremoved
ê! êê
Positive Stencil
Negative Stencil
c h A p t e r 4 : A p p l i c A t i o n s / A i r b r u s h i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
maskInG teChnIques (cont)
protecting delicate airbrush areas on Canvas for masking procedures
• Allowsprayedareatodryfully
• Useaclean,softbrushorsprayapplicationandcarefullycoatareawithLiquitex
®

GlossMedium&VarnishAllowtodry
• Continueairbrushapplicationoverpaintingsurfaceasneeded
• Repeatasnecessary
aIrBrush CleanInG
• Water-solublepaintcanbeeasilycleanedfromtheairbrushwhilewetDonotallow
acrylicpaintormediumstodryintheairbrush
While working
• Backfushcleanwaterthroughtheairbrushperiodically
• Paintbuild-uponthetipoftheairbrushneedleandinthespraycapshouldbe
removedregularly
• Occasionallyremovetheneedleforamorethoroughcleaning
• Airbrushshouldbestoredinacontainerofwater(withtipsubmerged)whennot
beingused
• Donotimmersetheentireairbrushinwater
final Clean up
• BackFlushAirbrushusingwater,anammoniabasedwindowcleanerorairbrush
cleaner
• Allowsomecleanertoremainintheairbrushforabout15minutestoloosenany
stubborndeposits
• Followthisbysprayingwaterthroughthebrushuntilclean
• Cleantheoutsideoftheairbrushwithdenaturedalcohol
•Note:Donotsoakplasticwashers,sealsorhandlesinalcohol
health WarnInGs
• Whenspraying,useaneffectivedustorparticlemask,approvedbyNIOSH
• Airbrushenclosureshouldhaveadequateventilation,withventforincomingair
andfanexhaust
• ReadpaintlabelCadmiumandCobaltpigmentsaretoxicinmist(spray)formand
maybecancercausingifinhaled
• Theyshouldbeavoidedinspraytechnique
• Liquitex
®
“Hue”colorsarenon-toxicinmistandshouldbeusedinplaceof
CadmiumandCobaltcolorsforsafesprayapplications
• Alwayskeeptheworkareascleanofairbrushoverspray
• Donoteatorsmokeinthestudio
ê! êê
c h A p t e r 4 : A p p l i c A t i o n s / b r u s h w o r k
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
BrushWork
Washes
• TocreatecolorpassagesthatcoverbroadareasbeginwithLiquitex
®
SoftBody
AcrylicColor
• Waterandmediumcanbeaddeduntildesiredfuidityisachieved
Note:avoidover-thinningwithwaterbyaddingmediumtomaintainintegrityof
paintflmandproperadhesion(50%water/paintrequiresanequalamountof
medium)
• Liquitex
®
Airbrushmediumisidealforthisapplicationasitisveryfuid,yet
supportsthepaintflm
• Sheencanbeadjustedwitheitherglossormattmediumandopentimecanbe
extendedwithLiquitex
®
Slow-Dri
®
BlendingMediumorSlow-Dri
®
FluidRetarder
fIne lIne detaIl
• Liquitex
®
SoftBodyAcrylicColorwillyieldthebestresults
• Waterandmediumcanbeaddeduntildesiredfuidityisachieved
Note:avoidover-thinningwithwaterbyaddingmediumtomaintainintegrityof
paintflmandproperadhesion(50%water/paintrequiresanequalamountof
medium)
• Asoft,smallroundbrushwillgivemaximumcontrolofmark
• Asmoothsurfaceisidealforthisapplication
• UseAdditivesthatincrease“open”timetodecreasesurfacefrictionand
increasefow
• Recommendedproducts:
› Liquitex
®
Slow-Dri
®
FluidRetarder:
› Liquitex
®
Flow-Aid
TM

› Liquitex
®
Slow-Dri
®
BlendingMedium
› Liquitex
®
AirbrushMedium
dry Brush, sCumBlInG, stIpplInG
• Usepaintthatisnottoofuidandlightlydragastiffbrushacrossthesurface
• Aroughersurfaceworksbetterforthistechnique
• MaybedonewithLiquitex
®
SoftBody,HeavyBody,orSuperHeavyBody
• Nomediumsoradditivesarenecessaryforthistechnique
ê9 ê&
c h A p t e r 4 : A p p l i c A t i o n s / b r u s h w o r k – c o l l A g i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Impasto
• Apaintingtechniquethatusesabrushorknifeloadedwithpainttocreatebold
texturesthatstandoutinreliefWellknownexamplesincludepaintingsbyartists
suchasVincentVanGoghandFrankAuerbach
• RecommendedProducts:
› Liquitex
®
SuperHeavyBodypaintoffersbrilliantpigmentationandisideal
forsculpturalapplicationsItisthethickestprofessionalqualityArtistacrylic
colorcommerciallyavailable
› HeavyBodyArtistsColorisexcellentforcreatingtextureandrevealingbrushwork
› Liquithick
TM
ThickeningGelwillincreaseimpastotoanyviscositywithout
changingcolororopacity(Note:highconcentrationsofthisgelwillcause
shrinkage)
› GlossGel,GlossHeavyGelandGlossSuperHeavyGelwillincrease
transparencyandflexibilitywhileenhancingimpastosurfaces
› MatteGelorMatteSuperHeavyGelthickenpaintandofferamattesheen
› ModelingPasteandLightModelingPastewillthickenpaintwhiledecreasing
flexibilityandincreasingopacityItshouldbeusedonfirmsubstratesuchas
boardorpanelUselightModelingPastwhenweightisaconsideration
› FlexibleModelingPastedriesmoreslowlythanothermodelingpastestoahard
yetflexiblesurfaceDesignedtobeusedonflexiblesurfacessuchascanvas
CollaGInG
Collageisatechniquewherematerialsofdifferentsizesandweightsaregluedtoabacking
surfaceThecollagematerialsandbackingsurfacedeterminethetypeofgluetobeused
Liquitex
®
AcrylicMediumsareexcellentgluesforcollagetechniquesTheyprovideeasy,
permanent,non-toxicadheringofmostmaterialstoanysurfacesuitableforacrylicpaint
preparatIon
• Allsurfacesshouldbefreeofdirtandgrease
• Forsmoothsurfaces,suchasplastic,metalandglass,sandfrsttoinsure
properadhesion
• Absorbentsurfaces,suchaspaper,canvasandwoodusuallyneednopreparation
applICatIon
• ApplyappropriateLiquitex
®
Mediumtocollagematerial,substrateorboth
• Whileacrylicmediumisstillwet,applycollagematerialtosurface
• Ifacrylicmediumisabsorbedintocollagesurface(somepapersarevery
absorbent),allowmediumtodryThenre-applyasecondcoatThesecondcoat
willnotbeabsorbedbycollagesurface
• Ifacrylicmediumisdryingtoofast,keepenvironmentcoolandhumid
• AllowacrylicmediumtofullydryFluidMediums(1–4hours)GelMediums
(24–72hours),dependinguponthicknessofapplication
ê9 ê&
c h A p t e r 4 : A p p l i c A t i o n s – c o l l A g i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
types of CollaGe adhesIVes
Liquitex
®
Mediumsareavailableinseveralformulationsthatvaryinthicknessandsheen
Whileeachmediumcanbeusedwithavarietyofmaterials,specifcmaterialsmayrequire
aspecifcmedium
for lightweight and fat materials (suchaspaper,canvas,etc),useLiquitex
®
Fluid
MediumoranyGelMedium
for heavyweight and 3-d materials (suchasbeads,rocks,etc),useanyLiquitex
®
GelMediums
lIquItex
®
fluId medIums
GlossMedium&Varnish
• Driesclear,glossfinish
MatteMedium
• BestadhesivequalitiesofanyFluidMedium
• Driesfromtranslucenttoopaque,mattefilmfinish
lIquItex
®
Gel medIums
GlossGel
•Driestoclear-translucent,glossflmfnish
MatteGel
•BestadhesivequalitiesofanyGelMedium
•Driestranslucenttoopaque,withamatteflmfnish
GlossHeavyGel
•Driestoclear,translucent,glossflmfnish
GlossSuperHeavyGel
•Driescleartotranslucent,glossfnish
MatteSuperHeavyGel
•Driestranslucenttoopaque,withamatteflmfnish
T I P S & T E C H N I Q U E S
›Itisoftenhelpfultocoattheobjectwhichisbeingcollaged,inadditiontoapplying
themediumtothesurfaceofthecollage
›DoconsiderthesterilityofobjectswhicharebeingintroducedWildbeachsand
maycontainchemicalimpuritiesthatcouldreactwiththechemistryofthepaint
AgoodalternativewouldbeLiquitex
®
NaturalSandTextureGel
›Planyourcollageinadvance,asyouwouldplanapaintingWhatdesignare
youintendingoncreating?Whatcolorsareinyourpalette?Organizetheobjects
accordinglyMakesketchesandlayoutyourdesignItisalwaysagoodideato
startwithanunderpainting
›VarnishingisrecommendedThiscanbetrickywithcollageandfoundobjectart
Wait3–7daysaftercompletingthework(dependinguponthethicknessofthe
paintfilm)Ifthesurfaceisheavilytextured,itisrecommendedthatyouapplythe
varnishwithaspraygun
!J !0
c h A p t e r 4 : A p p l i c A t i o n s / f l o o r c l o t h s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
floorCloths
Floorclothsarepaintedcanvases(unstretched)thatlieonthefoorinsteadofhangingonthe
wallThisofcoursesubjectsthemtoabrasionanddirt,sotheymustbeprepareddifferently
duraBIlIty
• Liquitex
®
ProfessionalArtistColorsarethemostdurableacrylicpaintforthisapplication
• Placementandtheamountoffoottraffcwilldeterminelongevity;walkingonthe
surfacedepositsdirtandcausesdamageovertime
• Abrasivecleanerswillalsodamagethesurfaceofthepainting

materIals needed
• Heavyweight#8CottonDuckorFloorClothisrecommendedfordurability
Lightweightcanvasislessdurable
• Canvasshouldbe4–6”largerineachdirectionthantheplannedfnished
dimensions

CanVas preparatIon
• WashingCanvasminimizesshrinkageandwarpingofthefnishedfoorcloth,
whichcanbeexaggeratedwhentheedgesareturnedunderlater
• Usestandardwashingmachinewithasmallamountofdetergent
• Air-dryandironoutwrinkles
• BrushononecoatofLiquitex
®
MatteMediumtobacksideofcanvasLetDryFlip
canvasoverandrepeat
prImInG CanVas
ItiseasiertoprimeandpaintcanvaswhileitisattachedtoarigidsurfaceEither
staplecanvasdirectlyontostudiopaintingwalloronto1–2”thickplywoodthatis
largerthancanvas
directions
• MarkdesireddimensionsonfrontofcanvasThereshouldbea2–3”borderon
eachside
• Maskoffborderswithmaskingtape(Thiswillmakeiteasiertoturn
themunderlater)
• Apply2coatsofLiquitex
®
Gesso(Clear,TitaniumWhiteorColored)
• Allowgessotodrybetweencoats—sandeachcoatifdesired
• Foraddedfexibility,add25%MatteMediumtoGesso
!J !0
c h A p t e r 4 : A p p l i c A t i o n s / f l o o r c l o t h s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
paIntInG
• UseLiquitex
®
ProfessionalSoftBodyArtistColorsorHeavyBodyArtistColors
• SoftBodycolorswilldrytoasmoothersurfaceandbelesssubjectabrasionand
retentionofdirt
• AddanyLiquitex
®
MediumorAdditivetoadjustworkabilityorcreatespecial
effects
some possible choices include:
•Liquitex
®
PouringMediumcanbeusedformarbleizingtechniquesandtocreate
seamlesssurface
•Liquitex
®
StringGelhasahoneylikeconsistencyandusedtocreatelongfowing
marks
•Liquitex
®
GlazingMediumoffersunparalleledclarityanddepthtothelayeringof
transparentcolor
• Liquitex
®
IridescentMediumimpartsashimmeringmetallicqualitywhenmixed
withcolors
fInal proteCtIVe VarnIshInG
• Firstapplyanisolationvarnish,likeLiquitex
®
GlossMediumandVarnishwhich
isnon-removableThiswillprotecttheimageandisolateitfromthefnallayerof
Soluvar,whichcanberemovedforcleaning
• Allowfoorclothbefullydryfor48hours,thenapplySoluvar
®
Varnish
• Thiswillextendthelifeofthefoorclothbyprotectingitfrom,pollutionanddirt
Thisvarnishisremovable
• Whenthesurfacegetsdirtyorscuffed,itcanberestoredbyremovingand
recoatingwithSoluvar
®
Varnish
edGInG the sIdes
• AfterSoluvar
®
hascompletelydried(1–2weeks),removethefoorcloth
fromthewallorplywood
• TurncanvasoverandgessotheentirebackLetdry
• Removemaskingtapefromborder
• Trimunpaintedcanvasedges(“hem”)toapproximately1”
• Cutawayeachcornerbymeasuring11/8”inbothdirectionsandcut
theun-paintedcanvasedgestotheexactcornerpointofthepainted
canvas
• Foldoverthefourunpaintededges(2vertical,2horizontal)Createa
creasebypressingwherethepaintedcanvasendsandtheunpainted
canvasbegins
• ApplyMatteGelMediumtothebackofeachedgeandpressfrmlyPutunder
evenweightandletdry24–48hoursDonotliftweightoffuntilcompletelydry
• ApplyMatteMediumtotheoutersurfaceoftheedgestoseal
!1 !Z
c h A p t e r 4 : A p p l i c A t i o n s / f l o o r c l o t h s – g l A z i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
shIppInG
• Useasturdytube8–12”indiameter
• Laypaintingfacedownandroll
• Avoidrollingpaintingiftemperatureisbelow50°

CleanInG
• Warmsoapandwateronsurfacewithasoftmop
• Donotuseammoniaorammoniabasedproducts
GlaZInG
ImagineholdinguparedlensNowholdabluelensinfrontofit,andlookatthepurple
colorthatresultsfromthefrsttwoYou’vejustmadeuseofthebasicpaintingconceptof
glazing,ormixingcolorbyusingtransparentlayersGlazingproducesrichsurfaceswith
greatcolordepthandjewel-likefnishes
GlazingwasthesignaturemethodusedbyartistslikeLeonardodaVinci,Rembrandt,and
VermeerTheyglazedbecausethepigmentsintheirpalettewouldturnblackiftheymixed
themtogetherdirectlyIftheywantedapurple,theyhadtolaydownalayeroftransparent
red,letitdry,thenputdownalayeroftransparentbluetovisuallyblendthecolors,rather
thanphysicallymixingthemonthepaletteThelightpassingthroughthetransparentlayers
givesthepaintingaspecialglow,whichcanshiftandshimmer,dependinguponthelightIn
thisway,averyrealdepthofthepaintingcanbeachieved
t I p s & t e C hnI que s
1Liquitex
®
SoftBodyAcrylicColorsareidealforglazing
2 ChoosetransparentcolorsTransparentpigmentswilldeliverthebestresults
producingclear,cleanglazesMostmodernpigmentshaveverypowerfultinting
strength,soitonlytakesalittletotonethemedium
3Usethefollowingratiofortheidealdegreeoffowandbrushability:
›TransparentColor,SoftBody(1part)
›GlazingMedium(10parts)
›Note:Formore“opentime”addasmallamountofLiquitex®Fluidretarder
tothemixturetoslowdryingorlightlymisttheworkingsurfacewith
Liquitex®PaletteWettingSpray
teChnIques
• MixtheglazewithyourpalettekniferatherthanyourbrushIftheglazeisstilltoo
thick,addsomeAirbrushMediumandstirthemixcompletely
• Chooseanareayouarecomfortableyoucancoverinabout15–20minutestime
Dosomepracticestripstogetafeelforthemedia
• BrushyourglazecolorusingasoftbristlebrushBrushinginasingle,uniform
directionwillcreateasmootherglazeLetthislayerdryforapproximately
30–40minutes
!1 !Z
c h A p t e r 4 : A p p l i c A t i o n s / g l A z i n g – g l o s s i e s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
GlaZInG (cont)
teChnIques
• Youcannowaddasecondglazebyrepeatingtheprocess,
withadifferentcolorYou’llfndthat,bybuildinglayers
ofcolor,glazinghelpsyoubringadeep,burnishedglow
toyourimages
• Inordertocreatethickreliefglazesusingpaintsandgel
mediums,itisadvisabletoapplyseveralsuccessivelayersTo
achievethehighestdegreeoftranslucency,alloweachlayer
tofullydrybeforeapplyingthenextOvertimethecolorswill
becomebrighteranddeeperasthegelclarifes
• Themoreglazelayers,themorevisualdepththeimage
willhave
• GlossMedium&VarnishandSlow-Dri
®
BlendingMediumcan
alsobeusedforglazing
GlossIes
tm
on Glass, tIle
& CeramIC surfaCes
Liquitex
®
Glossies™arewaterbasedacrylicenamelsformulatedtoadheretoslick,non-
porousmaterialssuchasglass,tile,glazedceramics,stoneware,china,enamelware,primed
metal,woodandothernon-oilysurfaces
surfaCe preparatIon
• Surfacesmustbeclean(freeofalldirt,oilsorsoapflms)anddrypriortopaint
application
• Aftercleaning,avoidtouchingsurfaceasoilfromfngersreducestheadhesion
• Cleanwithalcohol(rubbingordenatured)or50/50mixtureofwaterandvinegar
applICatIon
• StirLiquitex
®
Glossies
TM
for30-60secondsbeforeusingLiquitex
®
Metallic
Glossies
TM
willrequirethoroughmixing,aswell
• PigmentsandmicafakestendtosettletobottomofjarDonotshake
• Letpaintdryatroomtemperaturefor24hours,thenheatset
• ChalkorgraphitepencilsmaybeusedforunderdrawingDonotusewaxypencils
ormarkingpens
• KeeppaintedsurfacehorizontaluntildryPaintmay“slide”ifnotthoroughlyair-
driedpriortoheatsetting
• Cleanupwithsoapandwater
!5 !1
c h A p t e r 4 : A p p l i c A t i o n s / g l o s s i e s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
paIntInG teChnIques
• PaintThinning
› Upto25%distilledwatermaybeaddedtoachievevaryingconsistenciesand
degreesofopacity
› Over-thinningwilladverselyaffectadhesion
• PaintMixing
› AllLiquitex
®
Glossies™andLiquitex
®
MetallicGlossies
TM
areintermixable
› DonotmixwithotherLiquitex
®
AcrylicPaints
› IridescenteffectsofLiquitex
®
MetallicGlossies
TM
willbemoredramaticon
darksurfaces
• PaintThickness
› MultiplethinlayersarebetterthanonethicklayerSingleheavylayers
maybubblewhenbaked
› Thickerapplicationincreasesthepossibilityofincompletedryingand
pooradhesion
› Alloweachlayerofpainttoair-dry(1hourminimum,24hoursbest)before
applyingnextlayer
› Hairdryerwillspeeddryingandreducethepossibilityofliftingbottomlayer,
duringtoplayerapplication
› Liquitex
®
Glossies
TM
canberepaintedafterheatsettingwithoutaffectingcolor
oradhesion
• Brushes
› AcrylicorwatercolorbrushesarebestDon’tuseSableDon’tletpaintdry
onbrushes
› SoftbrushesarebestforsmoothapplicationUsestifferbrushesforstippling
• GlazingandStainedGlassEffects
› Useupto25%withdistilledwatertocreateglazesDonotover-thin
› Allowpainttofullydrybeforeapplyingthenextlayer
› ForthinpaintlinesapplyLiquitex
®
Glossies
TM
throughaplasticsyringe
• Stenciling&Masking
› Usemaskingtapetoblockofareaswherepaintshouldnotgo
› Usepreparedstencilsorcreatefromacetate
› Usespongeorstencilbrushtoapplypaint
• SpongingandDabbing
› Naturalspongesworkbestandcanbeusedforavarietyofdecorative
techniquesandtocreatetexture
!5 !1
c h A p t e r 4 : A p p l i c A t i o n s / g l o s s i e s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
GlossIes
tm
on Glass, tIle
& CeramIC surfaCes (Cont)
heat settInG
• Oven
› Bakeforadurable,scratchresistant,glossfinish
› Suitablesurfacesincludeanynon-poroussurfacethatisovensafe,(ieglass,tiles,
glazedceramic,etc)
directions
•Bakeonlyinawell-ventilatedspaceDonotinhalefumes
•Placeair-driedGlossies
TM
incoldoven,settemperatureat325°F(163°C)
•Turnonovenfor45minutesTurnoffoven,openovendoorandletcoolto
touch
•Bakingatalowertemperatureorforlesstimemayadverselyaffectscratch
resistance
• Testsurfacebybaking,priortopaintapplicationtoinsureitcanwithstand
oventemperature
•Measureoventemperatureaccuracypriortobaking
•Donotheatsetintoasterovenormicrowaveoven
• ThickpaintofmaynotsetfullyLongerdryingandbakingtimesmayimprove
fnaladhesion
• Testbakedsurfacebyallowingtocoolandlightlyscratchingsurfacewith
fngernailPaintshouldadhere
• HeatGun
› Useheatgunfordurable,scratchresistant,glossfinish
› Suitablesurfacesincludeanyapplicablesurfacethatistoolargefor
ovenheatsetting
directions
• Blowwithheatgundirectlyonsurfaceforabout30minutesLesstimemay
notfullysetthepaint
• Makesurespaceiswell-ventilatedDonotinhalefumes
• AirDrying
› Fordurable,highglossfinish
› Recommendedforporoussurfacesthatdonotrequirescratchresistance
directions
•AllowpaintedsurfacetofullyairdryDonotheatset
!! !ê
c h A p t e r 4 : A p p l i c A t i o n s / g l o s s i e s – m u r A l p A i n t i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
use and Care
• HandwashBakedGlossies
TM
inwarmwaterwithmilddishwashingsoap
• BakedGlossies
TM
willsoftenwhenexposedtoheat,andreturntoproperhardness
uponcooling
• Allowsurfacetocoolpriortorubbing,cleaningorwettingsurface
• Donotplaceextremelyhotitemsonpaintedsurface
• Notrecommendedforshowerinstallation(regularexposuretohotwaterwill
adverselyaffectadhesion)
• Notrecommendedfor“heavyuse”applications,suchaskitchencountertops,
foors,etc
• DonotcleanGlossies
TM
withscouringcleaners
• Anon-abrasiveacrylictilegroutisrecommendedforusewithGlossies
TM
paintedtiles
• Donotuseonfexiblesurfaces
• Donotuseinfoodcontactsurfaceapplications
• Maybeusedonoutsideofmugs,bowls,etcDonotpaintwithinthetop20mmof
drinkingvessel
• Maybepaintedonundersideofclearglassdishes
mural paIntInG
Muralsincludeavarietyoftechniquesincludingfresco,encaustic,mosaic,stainedglass
andphotographyMostcontemporaryartistswilleitherpaintoncanvasandattachittoawall
orpaintdirectlyonthewallitselfThewordmuralisactuallyderivedfromtheFrenchword
“mur”meaningwallAcrylicpaintshaveproventhemselvestobeoneofthemostdurable
paintsavailableforexterioraswellasinteriormuralpainting
• liquitex
®
soft Body professional artist Color
› HasaconsistencysimilartoheavycreamCanbesprayapplied
› Driestoasmooth,evensurfacewithgoodlevelingthatshowslittlebrush
marks
› PigmentloadisequaltoLiquitex
®
HeavyBodyColorsandoffersfargreater
coverage
› Flatpaintfilmrequireslesscleaningovertime
• liquitex
®
heavy Body professional artist Color
› Theseheavy-bodiedpaintshaveasmooththickbutteryconsistencysimilarto
oilpaint
› Usetocreatesurfacetexturesandshowbrushwork
• liquitex
®
super heavy Body professional artist Colors
› Useforathickermoreviscousimpastosurfacewhileretainingbrilliantcolor
› Addssculpturaldimensiontomural
!! !ê
c h A p t e r 4 : A p p l i c A t i o n s / m u r A l p A i n t i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
CoVeraGe
• Liquitex
®
SoftBodyProfessionalArtistColorwillcoverapproximately
400sqft/gallon
• Liquitex
®
HeavyBodyProfessionalArtistColorwillcoverapproximately
130sqft/gallonRoughsurfaceswillreducecoverage;Sprayapplicationwill
increaseit
• DoublepaintcoverageofeitherSoftorHeavyBodyAcrylic,byusingLiquitex
®

UltraMatteMediumorUltraMatteGelina1:1ratiowithpaintBestfor
underpainting
• ToplayersofthemuralshouldbepaintedusingLightfastnessIratedcolorswithno
extendermediumsaddedforbestpermanence
mural surfaCes
• FalseandSeparateWalls
› FalseandSeparateWallsprovidethebestsupportbyeliminatingdangersof
expansionandcontractionofplasterandmasonry
› Theyprotectagainstcracking,peelingandwaterdamage
› Theyallowsforeasyremovalofthemuralifnecessary
› Muralcanbeacanvasthathasbeenstretchedoradheredtoapaneland
theninstalled(Thiswaymuralispaintedinstudio,ratherthanonlocation)
• ExistingWalls
› Propersurfacepreparationisessentialforlongevityofthemural
› Previouslypaintedsurfaceswillnotbeaspermanentasunpaintedora
strippedsurfaces
› SurfacesmustbefreeofanypaintorsubstancesthatmaypeelUseof
propersolventsorsandblastingisrecommendedifnecessary

surfaCe preparatIon
• Thelongevityofamuralisdirectlyrelatedtothesurfacepreparation
seleCtInG a surfaCe
• Moisturewillreduceadhesion(Itmaytake2–3monthsafterdryingfornew
concretetoberidofallwater)
• Besurenomoisturewillbeabsorbedfrombehindthemural(fromoutsideleaks,
orpipes),whichcancausepainttopeelfromthesurface

CleanInG the surfaCe
• Cleansurfacewithadegreasertoremovegreasewaxandoil;useTSP(Trisodium
Phosphate)oracitrusbased(moreenvironmentallyfriendly)productmixedwith
warmwater
!9 !&
c h A p t e r 4 : A p p l i c A t i o n s / m u r A l p A i n t i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
CleanInG the surfaCe (cont)
• Surfacemustbestructurallysoundandfreeoflooseparticles
• Ifthewallhasbeenpaintedwithoilpaintorispeeling,stripallexistingpaint
• Ifthesurfacehasbeenpaintedwithacrylicpaint,sandtheentiresurface
• Removemoldormildewwithstiffbrushandamixtureof1partbleachto3parts
water(oracommerciallyavailableproduct)Rinsetwicewithwarmwaterand
allowtofullydry
fIxInG CraCks and uneVen surfaCes
• Smoothsurfaces:BrushononecoatorspraytwocoatsofLiquitex
®

MatteMedium
• Roughsurfaces:TrowelononetotwocoatsofLiquitex
®
MatteGel
• Allowtofullydry
prImInG the surfaCe
• ApplyanyLiquitex
®
AcrylicGessoproduct(TitaniumWhite,Clear,Colored,or
SuperHeavyGesso)
• Thingessowithupto50%MatteMediumifdesiredBrushorsprayapply
• Forsprayapplication,thingessowithamixtureof50%MatteMediumand50%
distilledwaterDonotover-thinwithwater;thiswillcausepooradhesion
• Wetsandingwillproduceasmoothgroundbutwillmakefexiblesurfacesbrittle
• SuperHeavyGessocanbeusedtocreateamoretexturedsurface
VarIous mural surfaCe preparatIons
• NewWood
› SandandSealwith1coatofMatteMedium
› Apply1–2coatsofanyLiquitex
®
Gesso
• PaintedWood
› RemoveloosematerialbySandingorStriping
› Sealwith1coatofMatteMedium
› Apply1–2coatsofanyLiquitex
®
Gesso
• NewMasonry
› Mustbedryandcured
› ApplyMatteMediumforsmoothsurfaces,MatteGelforroughsurfaces
› Apply1–2coatsofanyLiquitex
®
Gesso
• PaintedMasonry
› Removeloosematerial—Clean,SandorStrip
› Mustbedryandcured
› ApplyMatteMediumforsmoothsurfaces,MatteGelforroughsurfaces
› Apply1–2coatsofanyLiquitex
®
Gesso
!9 !&
c h A p t e r 4 : A p p l i c A t i o n s / m u r A l p A i n t i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
VarIous mural surfaCe preparatIons (cont)
• NewSheetrock
› ApplyanacrylicemulsioncompatibleindustrialsealersuchasAqualock
TM

• Unprimed&PaintedMetal
› Removegrease,dirtandsolvents
› Sandsurface
› Washwithaprepsolutionforthepaintedmetalbeingused
› ApplyanacrylicemulsioncompatibleprimersuchasAqualock
TM

› ApplyMatteMediumforsmoothsurfacesandMatteGelforroughsurfaces
› Apply1-2coatsofanyLiquitex
®
Gesso

ChoosInG Colors
• Outsidemuralsaresubjecttotheharshestenvironmentalconditions;Only
Lightfastnesspigmentsarerecommendedforoutdoormuralpainting
paInt applICatIon
• Drawingscanbeprojectedwithadigital,slide,overhead,oropaqueprojectorand
tracedontothemuralsurfaceTheyalsocanbescaledandtransferredusinga
gridsystemortransferredtothesurfaceusingcartoons
• Drawingsshouldbe“fxed”withaspraycoatingof50%MatteMediumand
distilledwater

thInnInG Colors durInG paIntInG
• UseLiquitex
®
mediumstoadjustpaintconsistency,textureandsheen
• DonotuseonlywaterforthinningOutsidemuralsexposedtoweatherneed
maximumflmintegrityToomuchwaterwillweakenthepaintflm
temperature, moIsture and humIdIty durInG exterIor paIntInG
• Idealtemperature:65°–75°F;Lowesttemperature:50°F
• DonotVarnishduringrain;itmaytrapmoisture,hinderadhesionandcause
clouding

adhesIon test
• Toensureproperadhesion,atestshouldbedoneonasurfacesimilartotheactual
muralsurfacebeforepainting
directions
•ApplythepaintormediumtopreparedsurfaceandletdrythoroughlyWait
72hoursforacrylicpainttocurebeforecontinuing(longerinmorehumid
conditions)
&J &0
c h A p t e r 4 : A p p l i c A t i o n s / m u r A l p A i n t i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
adhesIon test (cont)
directions
•Whencompletelydry,scoresurfaceinacrosshatchpatternusingasharpknife
•Applymaskingtapefrmlytoscratchedsurfaceandfrmlyburnish
•RemovemaskingtapeslowlyIfanypaintcomesoffwiththetape,goodsurface
adhesionhasnotbeenachievedEitheradifferentsurfacepreparationis
necessaryortheparticularsupportisnotsuitableforthepaintormediumtested
fInal proteCtIVe VarnIshes
• Afterthemuraliscomplete,afnalprotectivevarnishshouldbeappliedtoprotect
itfromweathering,pollutionanddirtThevarnishshouldberemovable,suchas
Liquitex
®
Soluvar
®
,toallowcleaning
mural varnishing occurs in two steps:
1 Isolationvarnishlayer
2 Removablevarnishlayer
soluVar
®
Gloss and matte VarnIsh applICatIon
• Apply1–2layersofGlossVarnishorGlossMedium&Varnishasanisolation
barrier
• ThisbarrierphysicallyseparatesthepaintingfromtheSoluvar
®
Varnishandseals
thesurface
• ThisallowsamoreevenapplicationofSoluvar
®
Varnishandprotectsthepainting
surfacewhentheSoluvar
®
Varnishneedstoberemoved
• Toinsureproperadhesion,cleansurfacewithalintfreeragdampenedwith
mineralspirits
• Apply1–2layersofSoluvar
®
VarnishLetdry24hoursbetweencoats
• IntermixGlossandMatteSoluvar
®
Varnishforavarietyofsheens
• Soluvar
®
MatteVarnishcontainsmattingagentsthatsettleduringstorage
Beforeusinggentlystirwithawoodendowelorbrushhandleuntilcompletely
re-dissolvedDonotshake
remoVInG soluVar
®
VarnIsh
• Ifthemuralbecomesdirtyorabused,removingthevarnishcanrestoreitCleaning
willnotaffecttheunderlyingpaintingifthevarnishwasproperlyapplied
• Removevarnishinclean,well-ventilatedarea
• Wearaduelflterrespirator(NIOSHapproved)andneopreneglovesDampen
asmallpieceoflintfree,soft,whiteclothwithmineralspirits(not“odorless”)or
turpentine—nothingstrongerDonotuseketones(ieacetoneorsimilarsolvents)
orpaintremovers
• WorkhorizontallyApplymineralspiritsgenerouslyandallowittolayonsurface
for15–30minutesCheckperiodicallyCoversurfacewithplastictoslowdown
evaporationofmineralspirits
&J &0
c h A p t e r 4 : A p p l i c A t i o n s / m u r A l – p A i n t i n g o n f A b r i c
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
remoVInG soluVar
®
VarnIsh (cont)
• Longertimesmaybenecessary,dependinguponageofartworkandstrengthof
mineralspiritsIfvarnishisnotdissolvingordissolvingslowly,useahigherstrength
mineralspiritsorturpentine
• Strongermineralspiritsarenotlabeledassuch,buthaveastrongerodor
• Rubclothgentlyovera1squarefootareauntilvarnishstartstodissolve
• Usingacleanclothandcleansolvent,rubtheareaagaintoremoveresidue
RepeatthisprocedurefortheentireareatobecleanedIfanypaintcolorshowson
thecloth,stopimmediatelyandallowthesurfacetodry
• AllowpaintingtodrybeforereapplyingafreshcoatofSoluvar
®
Varnish
paIntInG on faBrIC and leather
Liquitex
®
ProfessionalArtistAcrylicColorsarethemostpermanentpaintsforfabricandare
availableinthreedistinctbodiesTheyofferexceptionalquality,durability,adhesionandthe
largestassortmentofpurepigmentsofanyprofessionalqualityacrylicpaint
• Heatsetting,steamingorchemicalfxingisnotrequired
• Avarietyofapplicationsarepossible
• Liquitex
®
AcrylicColorscanbeusedoncotton,cotton-polyblends,woven,
knitted,felt,terrycloth,silk,velvet,velveteen,corduroy,fannel,suede,leather
andmostsynthetics
• liquitex
®
soft Body professional artist Color
› Idealformostfabricpaintingtechniques,especiallylightweightortexturedfabrics
› Driessmoothandevenwithgoodlevelingwithfewbrushmarks
› Useforflatlargeareacoverage,finelinedetail,airbrush,stencil,watercolor,
staining,dying,silkscreen,calligraphyandmarbling
› Easymixingwithwaterandmediums
• liquitex
®
heavy Body professional artist Color
• Exceptionallysmooth,thickbutteryconsistency
• RetainsbrushstrokesandknifemarksExcellentforimpasto
• Flexiblewhendry,allowingbuilt-upsurfacestoremainfreeofcracksandchips
• liquitex
®
super heavy Body professional artist Color
› Superiorshaperetentionandunique“gutsy”handling
› Excellentfor‘textural’and‘sculptural’applicationswithverylowshrinkage
fromwet-to-dry
&1 &Z
c h A p t e r 4 : A p p l i c A t i o n s / p A i n t i n g o n f A b r i c & l e A t h e r
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
General InstruCtIons
• Pre-washnewfabrictoremovesizing,whichinterfereswithadhesionLetdry
• AdjustpainttodesiredconsistencyusingLiquitex
®
Mediums
• note: ForExcellentresultsuseLiquitex
®
FabricMedium,adddistilledwaterif
necessary—donotover-thin
• TesttechniqueonaseparatepieceEachfabrichasadifferentabsorbencyandwill
affectpainthandling
• PlaceprotectivelayeronworksurfacetopreventstickingStretchsweatshirtswith
cardboardforbestpaintapplication)
• Applyingthickpainttolargeareaswilltendtostiffenfabric
• IrononlowsyntheticheatsettingUseapressingclothorirononreversesideoffabric
• note: Loosefabricweaveallowsmoreofthecolortopenetratethefbers
dryInG tIme
• Variesdependingonsurface,applicationandhumidityPaintwilldrytotouchin5
minutesto2hours,
WashInG faBrIC
• Afterpaintfullydries,waitatleast4daysbeforewashing
• HandwashandhangdryisbestDonotpresoakorusehotwaterWashitems
insideout
• MachinewashfabricinwarmwaterUsepermanentpress/gentlecycle
• Drycleaningmachinesthatspin-dryfabricatroomtemperaturearerecom-
mendedDrycleaningsuedeisacceptableSpotcleaningsolutionsshouldbe
avoidedorusedsparingly
faBrIC paIntInG teChnIques
airbrush and spray application
› Liquitex
®
SoftBodyandLiquitex
®
AirbrushMediumarerecommendedfor
thistechnique
-Mix1partSoftBodyColorswith1partAirbrushMedium
-AddmoreAirbrushMediumasneededtoachievedesiredconsistency
› Colorsmustpermeateclothandbeseenasghostimageonreversesidetobe
permanent
Block printing
› Liquitex
®
HeavyBodyColorsandLiquitex
®
Slow-Dri
®
GelRetarderare
recommendedforthistechnique
› Coatalinoleumorwoodblockwithwaterproofvarnish
&1 &Z
c h A p t e r 4 : A p p l i c A t i o n s / p A i n t i n g o n f A b r i c & l e A t h e r
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
faBrIC paIntInG teChnIques (cont)
Block printing
› Whilevarnishiswet,siftfinelyshreddedfabric(flocking)ontothevarnish
Whendrythisabsorbentsurfacewillholdpaintforapplication
› MixLiquitex
®
HeavyBodyArtistColorwithupto25%Slow-Dri
®
Gel
Retarderandspreadontotheblockwithasoftfoamroller
› Wetthefabricandplacetheblockfacedownontotheclothpressingfirmly
andevenly
› Stretchthefabriconapaddedsurfacetohelpfacilitateprinting
› Useabsorbent,medium-to-heavyweightfabricswithoutdeeptexturefor
bestresults
Brushwork
recommended products:
•Liquitex
®
SoftBodyColorsand/orLiquitex
®
HeavyBodyColors
•Liquitex
®
Slow-Dri
®
FluidRetarder,Liquitex
®
GelRetarder,andLiquitex
®

FabricMedium
› MixLiquitex
®
SoftBodycolorswithFabricMediumforasofterfeelto
finishedpainting

drawing
recommended products:
• Liquitex
®
HeavyBodyorSuperHeavyBodyArtistColors
• Liquitex
®
GlossGel,Liquitex
®
GlossHeavyGelorLiquitex
®
MatteGelMedium
› ScrewaplasticcakedecoratortipontoatubeofHeavyBodyArtistColor
andsqueezeapply
› SuperHeavyBodyColorscanbeappliedwithcakedecoratorthrougha
varietyofdifferenttips
› MixpaintwithLiquitex®GelMediumstoadjustconsistency;applywith
cakedecoratortoproducethicklines
› UseabsorbentfabricHandwashandHangDry
dyeing and staining
recommended products:
• Liquitex
®
SoftBodyProfessionalArtistColor
• Liquitex
®
Flow-Aid
TM

› Washfabrictoremoveanystarchorsizing
› MixFlow-Aid™water(1partFlow-Aid™to20partsdistilledwater)with
SoftBodyProfessionalArtistColor
› Mix1partcolorand3partsFlow-Aid™watertoincreasetransparencyand
decreasecolorintensity
&5 &1
c h A p t e r 4 : A p p l i c A t i o n s / p A i n t i n g o n f A b r i c & l e A t h e r
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
dyeing and staining (cont)
recommended products:
› Transparentandtranslucentcolorsworkbestanddrywithasofterfinish
› Forsoftedges,pre-wetfabricwithFlow-Aid™water;forhardedgesleavedry
› Tightlywovencottonandsilkwillachieverichestcolors
› AhotwaxresistmaybeusedforhardedgesRemovewaxresistbydry
cleaning
› Allcolorsarepermanent;noheatsettingrequired
› Wetcolorswilldrylighter
› TitaniumWhiteandallIridescentandInterferencecolorsmaystiffenfabric
silk-screen
recommended products:
• Liquitex
®
SoftorHeavyBodyColors
• Liquitex
®
Slow-Dri
®
FluidRetarder,
•Liquitex
®
GlossMedium&Varnish
› Mixupto25%Liquitex
®
Slow-Dri
®
FluidRetarderintopainttoslowdrying
› ForheavyweightfabricuseLiquitex
®
SoftBodycolors;lightweightfabricuse
Liquitex
®
HeavyBodycolors
› SqueegeepaintthroughscreenWashscreenwithwaterimmediatelyafteruse
› GlossMedium&Varnishcanbeusedasapermanentscreenblock
solutionApplydirectlytoscreen
• Stamping
› PaintstampwitheitherLiquitex
®
SoftorHeavyBodyColors
› Presspaintedsideontosurfaceusingevenpressure;allowingabsorption
intofabric
• Stenciling
› Useeitherreadymadestencilsorcutfromheavypaper,oaktag,acetateor
frisketfilmsUsespraystenciladhesivesifnecessary
› Applypaintwithpolyurethanefoamdauber,ragorstencilbrush
› Thinningpaintmaycauseittobleed
› Donotforcepaintundertheedgeofstencil
• Watercolor
› UseSoftBodyProfessionalArtistColor,thinnedwithdistilledwaterto
desiredconsistency
› Multipleapplicationscanbepaintedoveroncedrywithoutpickingup
underlyingcolors
› Lightweightfabricsallowpainttospreadquickly
&5 &1
c h A p t e r 4 : A p p l i c A t i o n s / p A i n t i n g o n f A b r i c & l e A t h e r
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
leather
• Long-termpaintadhesioncanbeaproblemduetovariationsinsurface,
thickness,fberstructure,oilcontent,dyetypeandtendencytostretchAlways
doatestsample
preparation
•Formaximumadhesionandlongevity,thepaintshouldpenetrateintothe
leather
•Deeperpenetrationwillachievegreateradhesion
•Removeanysurfacecoating,shine,orsmoothnessbysandingwithfne
sandpaperoremerycloth
•Removesurfaceoilsbywipingwithalcohol(denaturedorrubbing)oracetone
onlyinareastobepainted
painting techniques
•Beforeapplyingpaint,flattenandadhereleathertoastablesurface
• ForlightorbrightcolorsondarkleatherfirstapplyLiquitex
®
SoftBody
TitaniumWhitethinnedwith25%distilledwatertothepaintingarea
•FollowanyofthealreadydiscussedFabricPaintingTechniques

Cleaning
•Wipewithdampclothormildsoapandwater

Care
• Paintmaycrackifleatherisstretchedbeyondthebindingcapability
• Avoidwearingpaintedleatherbelow45°F(Acrylicpaintcancrackifbent
belowthistemperature)
&! &ê
c h A p t e r 4 : A p p l i c A t i o n s / p o u r i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
pourInG
Liquitex
®
PouringMediumcanbeusedincombinationwithLiquitex
®
SoftBodyAcrylic
ColorstocreateseamlesssurfacesandpuddlesofcolorLiquitex
®
PouringMediumis
formulatedtocreateasmooth,seamless,andstrongbodyofpaintwhenpouredordripped
ontoasurfaceSuspendLiquitex
®
AcrylicColorsinLiquitex
®
PouringMediumforsculptural
effectsandsurfacetreatments
usInG pourInG medIum
1 MixonetablespoonormoreofLiquitex
®
SoftBodyAcrylicColorwithonecupof
Liquitex
®
PouringMediuminalargebucketorbowlIthelpstomixcustomcolors
beforeaddingtothemedium,toensureauniformityofcolorinthepour
2 MixthecolorandthepouringmediumbyhandwithapaletteknifeInorder
topreventbubbles,blendgentlyandallowthemixturetositfor10minutes
followingagitation
3 Usingafunnel,takethemixtureandpouritintoasqueezebottleorapplicatorof
choiceAdditionalapplicatorssuchaspitchersortubescanbeusedforavariety
ofeffectsThepaintisnowreadytobepoured
4 Mixturecanbepoureddirectlyoncanvasorboardsupports,glass,orevenpaper
AgoodplacetoworkwithpouredmediaisonalevelworktableIfthesurfaceis
notlevel,youmayproduceunevenresultswithverythinpiecesthatmaytear
5 PourevenlyoverthesurfaceandallowatleastonedayofdrytimeIfthepaint
flmisthickerallowuptotwodaysofdrytime
&! &ê
c h A p t e r 4 : A p p l i c A t i o n s / p o u r i n g
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
pourInG (Cont)
materIals needed
• Liquitex®PouringMedium
• Liquitex®SoftBodyAcrylicColor
• MeasuringCupandSpoon
• LargeMixingContainer
• PaletteKnife
• SqueezeBottles
• StretchedCanvas,Board,Paper,orGlass
T I P S & T E C H N I Q U E S
›Paintwetinwet!Multicoloredcompositionscanbecreatedinonesittingifseveral
colorsarepreparedatatimeApplythenextcolordirectlyafterthefirstpourfor
spotsorcrispconcentriccircles(Note:Gravitycanbeusedtomanipulatecolors
whenwetbyliftingthepouredsurfaceandgentlytiltingtoallowthepoolsofcolor
tobleedintoeachother)
›Marbledsurfacescanbecreatedusingmultiplecolorsappliedsidebysideand
thenblendedusingapaletteknifeorbydraggingaforkorpointedtoolthrough
thesurface
›TurnthesupportonitssidetocreatethindripsAllowthepainttorundownthe
supportsurfaceatavarietyofspeeds
›PoursandpoolscanbelayeredApplyanothercoatafterthefirsthasdriedfor
layersofcolor
›Forsculpturalapplications,directlypourmediumandpaintmixtureontoaglass
surfacetocreateamoveable,flexiblepaintslickTomakeremovablepours,treat
theglasssurfacewithamoldreleaseorquickreleasesprayforeasyremovalof
thepaintafteritdriesWhendrythepouredpaintcanbesewn,glued,orrolledfor
differentsculpturaleffects
›Inordertoensurethecontinuedstrengthofthepaintfilm,donotmixwaterwith
theLiquitex
®
PouringMedium
›DustcangetcaughtinthepaintfilmifleftopentotheairCoverthepainted
canvas,glass,orboardwithalargercardboardboxtoensureacleanpour
&9 &&
c h A p t e r 4 : A p p l i c A t i o n s / s i l k - s c r e e n
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
sIlk-sCreen
Liquitex
®
ProfessionalArtistAcrylicColorsofferartistsanon-toxicapproachforsilk-
screentechniques
• liquitex
®
soft Body artist Colors
› Consistencyofextraheavycream
› Easiertosilk-screenthroughtightmeshscreens
› Driesquicklyonabsorbentsurfaces,suchaspaper
› Mayspreador“bleed”intoabsorbentsurfaces,suchaspaper
• liquitex
®
heavy Body artist Colors
› Consistencysimilartooilpaint
› Lesslikelytospreador“bleed”whenscreenprintingontofabric
› Generallyprintsmoreopaquebecauseofthickerpaintapplication
› Mayclogintightmeshscreen
extendInG dryInG tIme
• MixanyamountofLiquitex
®
Slow-Dri
®
BlendingMediumorGelMediumwith
Liquitex
®
SoftorHeavyBodyArtistColorstoslowdryingtimeTransparencyof
colorwillincreaseproportionallywiththeamountofmediumadded
• MixLiquitex
®
Slow-Dri
®
BlendingFluidandGelMediumstoattainanintermediate
consistency
• Mixupto25%Liquitex
®
Slow-Dri
®
FluidorGelRetarderwithLiquitex
®
Softor
HeavyBodyArtistColorstoslowdryingtime50%andallowforbettertransferof
painttopaperduringprinting,withoutsignifcantlyaffectingopacity
• MixLiquitex
®
Slow-Dri
®
FluidandGelRetardertoattainintermediateconsistency
helpful hInts durInG prIntInG
• Prepareallpaintnecessaryforprintingbeforebeginning
• WorkquicklyDonotstopduringprinting
• Pre-wetscreenwith1partLiquitex
®
SlowDri
®
FluidRetarderand1partdistilledwater
• Topreventpaintfromdryingonscreenduringprinting,periodicallysprayscreen
duringprintingwith1partLiquitex
®
SlowDri
®
FluidRetarderand1partdistilled
waterToomuchsprayingmaycausepainttospread(“bleed”)onpaper
• Forspotcleaningduringsilk-screenprinting,removepaintfromscreenwitha
dampclothassoonasscreenclogs
• Tocleanmajorpaintclogsonscreen,stopprintingimmediatelyandcleanscreen
withwarmwaterandnon-abrasivespongeorclothBlotwithpapertoweland
continueprinting
&9 &&
c h A p t e r 4 : A p p l i c A t i o n s / s i l k - s c r e e n - s u r f A c e p r e p
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
lIquItex
®
medIums as permanent sIlk-sCreen BloCkouts
• Theyareresistanttooilbasedscreeninksandsolvents
• Fordetailblockouts:UseGlazingMedium,GlossMedium&Varnishor
MatteMedium
• Forlargeareaandexpressiveblockouts:UseGlossGel,MatteGel,GlossHeavy
Gel,GlossSuperHeavyGel,orMatteSuperHeavyGel
surfaCe preparatIon
JustaboutanythingcanbepaintedwithAcrylics,butitisimportanttounderstandafew
basicprinciplestoensuremaximumstabilityThesurface(supportorsubstrate)isthe
basicsubstructureofapainting,andshouldbeappropriateforthetypeofworktobe
executedThechoiceofsurfaceandgroundhasalargeeffectonhowthepainthandles
duringthepaintingprocessandtheoveralllongevityofaworkofartPaintwilltendto
drymoreslowlyandmovemorefreelyonasmoothersurfacewhileamoreporousand
absorbentsurfacewillhavetheoppositeaffect
the surface chosen will depend on several factors:
• Paintingstyleoftheartist
• Thedesiredvisualeffect
• Thepurposeofthework
• Requiredlongevity
• ThetypeofMediaused
Basic rules for choosing and preparing surfaces
• Avoidoily,waxyandhard,shinysurfaces(Note:Somehardshinysurfacescanbe
preparedbyroughingthesurfaceuptoprovidetooth,usuallywithsandpaper)
• Neverapplyacrylicsoveroilpaint
• AlwaysdoanAdhesionTestonasamplefrstifyouareunsure
adhesIon test
• ApplythepaintormediumtopreparedsurfaceandletdrythoroughlyWait72
hoursforacrylicpainttocurebeforecontinuing(longerinmorehumidconditions)
• Whencompletelydry,scoresurfaceinacrosshatchpatternusingasharpknife
• Applymaskingtapefrmlytoscratchedsurfaceandfrmlyburnish
• Removemaskingtapeslowly
• Ifanypaintcomesoffwiththetape,goodsurfaceadhesionhasnotbeenachieved
Eitheradifferentsurfacepreparationisnecessaryortheparticularsupportisnot
suitableforthepaintormediumtested
9J 90
c h A p t e r 4 : A p p l i c A t i o n s / s u r f A c e p r e p
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
flexIBle surfaCes
paper
• Mostpapersaremadeandlabeledforparticularmediaandrequirelittle
ornopreparation
types
› BristolBoardisdesignedspecificallyforacrylicpainting
› HotPressedPaperandBoardshaveasmoothsurface
› ColdPressedPaperandBoardshaveroughtextureandarebestfor
watercolorandairbrushtechnique
preparation
› Paperscanbesealedpriortopaintingtopreventabsorptionintothe
paperfibers
› Heavierpaperisrecommendedformostapplicationstopreventwarping
(Note:Tapeedgesofpapertobackingsurfacewhilesealinganddonot
removetapeuntilpaperhasdriedtomaintainflatness)
› Liquitex
®
ClearGessoandLiquitex
®
MatteMediumallowscolorofpaperto
showthrough
› note: ClearGessocontainsfineaggregategivingthesurface“tooth”making
itanexcellentgroundforpastels)
fabric
•Liquitex
®
AcrylicColorscanbeapplieddirectlyonbothnaturalandsynthetic
fibersThetightertheweaveoffabricthebrighterthecolorswillbewhendry
types
› Liquitex
®
Acryliccolorsaresuitableforcotton,cotton/polyblends,woven
fabric,knits,felt,suede,leather,terrycloth,silk,velvet,velveteen,corduroy
andflannel
preparation
› Washfirsttoremovethesizingorstarch(ifapplicable)
› Alwaysdoatestpiecetoensurecompatibility
› RecommendedProducts:Liquitex
®
FabricMediumandLiquitex
®
Flow-Aid
TM

Canvas
• Canvascomesinmanyvarietiesincludingcotton,linen,juteandnaturalorsynthetic
fibersItisavailableraw,pre-primedandpre-stretchedonbarsorboards
raw
› CottonDuck:Themostcommonandpopularstyleofcanvasused
› Linen:Superiorstrengthandlongevitythoughnotnecessarilyidealfor
acrylicsduetoitsoilcontent
› Jute:Notconsideredapermanentsurface(usedforit’stextureaswell
aslowerprice)
› Synthetic:Mostuniformintexture,exceptionallystrongandlonglasting
9J 90
c h A p t e r 4 : A p p l i c A t i o n s / s u r f A c e p r e p
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
flexIBle surfaCes (cont)
Canvas
pre-primed
› Commerciallypreparedwithacrylicgessooroilgroundinavarietyofstyles
› Availableinavarietyofnaturalandsyntheticmaterialsandweights,weave
patternsandtextures
› Therearesingleanddoubleprimedversions,whichcanbefurthersmoothed
withmorelayersofgessoandsanding
› Primedcanvasismoredifficulttostretchthanrawcanvasandrequires
canvasplierstostretch
preparation
acrylic medium
› Liquitex
®
ClearGesso,MatteMediumorMatteGelcanbeusedasasealer
(size)forcanvas,paperorboard,allowingnaturalsurfacecolortobeseen
aftersealing
› SubstrateInducedDiscoloration(SID)
• Whenacrylicmediumsareusedasasizeforprimedorunprimed
cotton,linen,woodorhardboard,thewatercontentmaydraw
impuritiesoutofthesupportasitdries
• Ayelloworbrowndiscolorationinthemediummayoccurovertime
ItwillbenoticeableonlyinareasthatareleftunpaintedItisnota
problemifthemediumsaremixedwithpaintorpaintedover
• Itoccurswithallacrylicmediumscurrentlyusedbymajorfineartpaint
manufacturers
•WashingthecanvasbeforeusecangreatlydecreaseoreliminateSID
• Theamountofdiscolorationintheacrylicmediumwillvarydepending
upon:
1QualityoftheacrylicmediumTheuniqueresinformulationusedin
allLiquitex®PaintsandMediumsisclear,fexibleandnon-yellowing
2ThicknessofthemediumapplicationGelmediumsaremore
susceptibletoSIDthanfuidmediumsTheyarethicker,containmore
waterandtakelongertodry
3SubstrateusedDifferentsurfacescontaindifferentcolorantsand
contaminants
acrylic Gesso
› Liquitex
®
AcrylicGessoisthehighestqualitygessoandprovidesaflexible,
non-yellowinggroundwithexcellenttoothforproperpaintadhesion
› Sealsandprotectsthesubstrate(iecanvas)andreadilyaccept
theapplicationofpaint(Note:suitableforbothoilandacrylicpaint
applications)
› Liquitex
®
GessoisavailableinClear,TitaniumWhite,Black,NeutralGray,and
SuperHeavyformulations
91 9Z
c h A p t e r 4 : A p p l i c A t i o n s / s u r f A c e p r e p
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
flexIBle surfaCes (cont)
application
• ApplyLiquitex
®
Gessotorawcanvasafterithasbeenstretchedandstapled
ontostretcherbarsThisensuresatightsurface(Note:don’tstretchcanvastoo
tightasthiscancausethestretchertowarpDryingpaintwillcauseshrinking)
• Allowtofullydryforaminimumof24hoursbeforeuse
• MultipleCoatsarerecommendedespeciallyifitistobeusedasaground
foroilpaint
• Asecondlayerwillproduceasmoothersurfaceandofferbetterprotection
andadhesion(Note:Lightlysandbetweenapplicationsforasmoother
paintingsurface;useLiquitex
®
SuperHeavyGessoformoretexture)
• FormosteconomicalmultiplecoatsurfaceuseLiquitex
®
MatteMedium
asfirstcoat,followedbyonecoatofLiquitex
®
Gessoafteritsdry
thinning
•Liquitex
®
Gessomaybethinnedwithupto25%distilledwaterandfunction
withoutadverselyaffectingadhesionorcausinggessoedsurfacetocrack
•Forincreasedadhesionandflexibility,itisrecommendtothingessowithequal
partsdistilledwaterandLiquitex
®
MatteMedium
application
• Liquitex
®
Gessocanbebrushed,troweled,orsprayeddirectlyontocanvas
• Forasmoothsurface(withoutbrushstrokes),applywithalargepainting
knifeorsqueegee(inhalf-circularmotions)oruseahousepaintpad
(Note:Workthegessointotheweaveifusingcanvas)Letdry,lightly
sandwithfine-gritsandpaperApplysecondlayer
• WhensprayingitmaybenecessarytothingessowithLiquitex
®
Airbrush
Mediumapproximately1:1,addmoreAirbrushMediumasneeded
eGGshell CanVas surfaCe
• Thispreparationwillcreateapapersmoothsurfacethatisexcellentforportraitand
airbrushtechniques
• Wetsandgessosurfaceincircularmotionuntilareadriesandbecomessmooth
using400gritwet-drysandpaperandaspraymister(Note:Surfacewillbebrittle
andmaycrackifsurfaceispushedorstressed)
surface tooth and absorbency
› DiluteLiquitex
®
GessowithLiquitex
®
MatteMediumtogetlessabsorbency
andtooth
› AnyLiquitex
®
TextureGelmaybemixedintogessoalongwithmarbledustor
sandfortexturaleffects(Note:Toomanyaggregatesmaymakegessobrittle)
› Amixtureof75%Liquitex
®
Gessoand25%Liquitex
®
ModelingPastewill
makeanAbsorbentGesso,suitableforuseasagroundforpastel,charcoal
andgraphitedrawings
91 9Z
c h A p t e r 4 : A p p l i c A t i o n s / s u r f A c e p r e p
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
rIGId surfaCes
• Providesmoothortexturedsurfacesfordimensionalpaintingandcollage
• Mostboardscanbeusedassupportstowhichcanvas,paperorothermaterialcan
begluedUseLiquitex
®
MatteGeltoadherecanvastoboard
• Surfacesshouldbetestedforproperadhesion
Canvas panel Boards
• Notrecommendedforpermanentwork,astheymaywarpandmaterialsmaynotlast
• Preparedcommerciallyandavailableinawidevarietyofsizes
• Generallymadeofcottoncanvaswrappedandgluedontoheavycardboard
Compressed hardboards
• CompressedhardboardssuchasMasonite
TM
arenotrecommendedasa
permanentsupport
• UntemperedMasoniteissubjecttowarpingandisnotverystable
• TemperedMasonitecontainsoilysubstancesthatmayaffectpaintadhesionovertime
› Ifpermanenceisnotrequired,untemperedMasonitemaybeusedbut
shouldbesealedalloverwithabarriervarnishsuchasLiquitex
®
Soluvar
®

Varnishandthenpreparedasfollows:
-Sandthetop(shiny)surface
-CoverwithatleasttwocoatsofLiquitex
®
Gesso
-Sandbetweencoatsandapplythesecondcoatatrightanglestothefirst
plywood
• MDO(MediumDensityOverlay)boardsarevarietiesofplywoodthatarebonded
withpaperononesideorbothsides
• Theyofferaverysmoothsurfacequalitythatishardtoachievewithstandard
plywood(Note:Theycanbeheavy)
• GoodexteriorgradeboardscanprovideanexcellentpaintingsupportTheyare
availablein1/8”thicknessofmahogany,birch,mapleandoakTheymaybe
adheredtowoodenstretcherstopreventwarping
• Allformsofplywoodwillrequirebetween2–5coatsofgesso(Harderwoodsare
lessporousandwillrequirelesstoseal)
foamboard
• Notrecommendedforlong-termapplications—vulnerabletowarpinganddamage
• LightlysandandusetwocoatsofLiquitex
®
Gesso(sandingbetweencoats)
• Letdryovernight
95 91
c h A p t e r 4 : A p p l i c A t i o n s / s u r f A c e p r e p
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
rIGId surfaCes (cont)
fiberglass
• Canbepaintedwithacrylicsoroilsifthesurfaceispreparedproperly
• SandorsandblastthesurfaceRemoveresidualdust
• Coatwithanindustrialsolventbased,primer-sealersuchasKILZ(forwater-basedmedia)
• Allowtocurefor3days—Testforproperadhesion(seeAdhesionTest)
• Lightlysand
• ApplyLiquitex
®
Gesso(sprayorbrush)—Letdryovernightandre-testadhesion
• PaintSurfaceandapplySoluvar®Varnishasafnishcoat
metal and Glass
• Sandwith400-gritpaperorsandblastforproperpaintflmadhesion
• EtchAluminumwith5%lyesolutionfor4to5minutes
• Glasscanbeacid-etchedorsandblasted
• Degreasesurfaceandcoatwithindustrialprimer(forwater-basedmedia)
• Letdryfullyandtestadhesion(seeAdhesionTest)
• ApplyLiquitex
®
Gesso(sprayorbrush)Letdry3daysandtestforadhesion
plastic panels (plexiglastm™)
• Surfacepreparationwilldependonthetypeofplastic
• Plasticmustbechemicallyinertsothatitwillnotreactwiththepaintflmovertime
• Aslighttoothisrequiredforpaintadhesion—ifnoneexiststhesurfacemustbe
sandedwithafneormediumgradesandpaper(dustmaskshouldbeworn)
wherepaintistobeapplied
• Aftersanding,useLiquitex
®
MatteMediumorMatteGelandoneortwocoatsof
Liquitex
®
GessoorClearGessoforanopaqueortransparentground
• Bothsidesofthesheetcanbepaintedtoyielddimensionalqualities
• ApplySoluvar
®
Varnishtoprotectandsealfnishedwork
acetate
• Acetateisatransparent,somewhatbrittleplasticavailableinvaryingthicknessand
surfacetextures
• Matte-surfaceacetate,texturedacetateandwet-mediaacetate(alsocalled
“preparedacetate”)aresuitableforacrylicmaterials
• Smoothacetateisnotrecommendedforacrylicmaterials,asitistooslick
mylar
• Mylarisaflmthathasallthepropertiesandusesofacetatewithadditional
fexibilityandstrength
• Muchhigherinpricethanacetate
• Itdoesnotstretch,crackoryellow
95 91
c h A p t e r 4 : A p p l i c A t i o n s / s u r f A c e p r e p
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
rIGId surfaCes (cont)
mylar
• Availablewithaphotosensitivesurfaceforthereproductionoflinedrawings
• Availableinawet-mediaformthatneedsnosurfacepreparation
masonry and Concrete
• Masonryandconcretemustbethoroughlydryandcured(maytake8–12weeks)
• Allmoisturemustbegoneandtheremustbenowaterproofng,cementpaintorsilicones
(oftenusedduringconstruction)onsurfaceoracrylicpaintadhesionwillnotbepermanent
• Liquitex
®
Acrylicscanbeapplieddirectlytoamasonrywall
› For best results:applyLiquitex
®
MatteGelMediumwithatrowel(Anexcellentground
thatwillsealthewallandreducestheamountofpaintneededtocoverthesurface)
› LetMatteGelMediumfullydry;thenapplyoneortwocoatsofgesso
› Letdryovernight
murals
• Encompassesawidevarietyoftechniquesincluding:fresco,encaustic,mosaic,
stainedglassandphotography
• Mostcommontechniques;paintingoncanvasandthenattachingtoawallor
paintingdirectlyonthewall
• Surfacesmustbefreeofgrease,wax,andoil—structurallysoundandfreeof
looseparticles
plasterboard
• Useonlyifnotpreviouslypaintedwithoiloralkydpaint
• SealfrstwithabarriervarnishlikeSoluvar
®
oranindustrialproduct(like
Aqualock
TM
forusewithwaterbasepaints)Letdrycompletely
• Applytwocoatsofgessowithabrush,sprayorpaintpad
unusual surfaces
• Testforcompatibilitywiththeacrylicpaint(SeeAdhesionTest)
• Certainsurfacesmayhaveadversereactionswithpaints,eitherimmediatelyorovertime
adhesIon test
• ApplythepaintormediumtopreparedsurfaceandletdrythoroughlyWait72
hoursforacrylicpainttocurebeforecontinuing(longerinmorehumidconditions)
• Whencompletelydry,scoresurfaceinacrosshatchpatternusingasharpknife
• Applymaskingtapefrmlytoscratchedsurfaceandfrmlyburnish
• Removemaskingtapeslowly
• Ifanypaintcomesoffwiththetape,goodsurfaceadhesionhasnotbeenachieved
Eitheradifferentsurfacepreparationisnecessaryortheparticularsupportisnot
suitableforthepaintormediumtested
9! 9ê
c h A p t e r 4 : A p p l i c A t i o n s / t r A n s f e r s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
transfers
Acrylictransfersallowartiststotransferimagesgeneratedfrommagazines,
newspapers,photographsandlaserprintersontoanysurfacethatwill
acceptacrylicpaintItcanbedonewithawidevarietyofLiquitex
®
Mediums
dependinguponyourdesiredeffectThistechniquetransfersblack&white
andcoloredimagesThemediumisbrushed,pouredortroweledoverthe
imagetobetransferredAfterthemediumhasdried,itissoakedinwater
andthepaperisremovedfromthebackoftheimageYouareleftwitha
transparenttotranslucentimagethatisimbeddedwithinacrylicmedium
seleCtInG ImaGe
1 Selectimageofyourchoice:newspaper,magazine,photographor
computerlaser(notinkjet)printSomeimagessuchasnewspaper,
laserprint,uncoatedmagazinewilltransferdirectlywithoutthe
needofaphotocopySomeimagessuchasphotographsand
coatedmagazineimageswillnottransfer
2 Obtainaphotocopyofyourselectedimageeitherinblack&whiteorcolorSince
itcanbeunclearbeforehandwhichimagewillandwillnottransfer,aXeroxofthe
originalimageisrecommended
preparInG ImaGe for transfer
1 Placephotocopy,imagesidedownontoscrappaperandspraybackofimage
withalightcoatofasprayadhesiveUseproperventilationandfacemask
2 Positionphotocopy,imagesideupontoglasspaletteandpressfatImagemaybe
tapedtoglasspaletteinsteadofusingsprayadhesive,howeveratapedimagewill
notlayfatoncecoatingisbegun
CoatInG ImaGe
Brushing method:
1 Usinga1/2”–2”wide,softbrush,coatimagewithLiquitex
®
GlossMedium&
VarnishForminimalbrushmarks,useLiquitex
®
GlossVarnishorthinGloss
Medium&Varnishwith5–10%Liquitex
®
Flow-Aid™/Watermixture(1part
Flow-Aid™to20partsdistilledwater)
2 Allowtodry20minutestoonehour,dependinguponenvironmentWhilewet,
mediumwillappearslightlycloudyWhendry,mediumwillbecompletelyclear
3 Repeatsteps1and2untilthemediumcoatingisthickenoughsothatyoucan
peelitofftheglasswithouttearing;5–12coatswillgiveyouathicknessof1/16”–
1/8”Coatsuccessivelayersindifferentdirections,horizontalthenverticalthen
horizontal,etcThethicknessofthecoatingcanvaryaccordingtoyourdesired
effectThinlayersbetween1/32to1/16maybediffculttohandle
9! 9ê
c h A p t e r 4 : A p p l i c A t i o n s / t r A n s f e r s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
CoatInG ImaGe (cont)
pouring method:
1 UseacarpentersleveltomakesuretheglasspalettesurfaceislevelIfsurfaceis
notlevelpouredacrylicmediumwillruntowardloweredgeandwhendrywillbe
thickeratthatedge
2 Tapearoundimagewithmaskingtapein4–5successivelayerssothataridgeisbuilt
uparoundimageYouarebuildingadamtocontainthepouredacrylicmedium
3 PourLiquitex
®
GlossMedium&VarnishoverimagePouronlyenoughtocover
imageYoumayneedseveralpourstobuildenoughthicknessSpreadaround
withsoftbrush,ifneedbe,whilewetPouringthicklayersmayresultincloudy
transfersandshrinkagemarks
4 Allowtodrycompletely:48–72hoursWhenmediumiscompletelyclearitisdry
soakInG transfer
1 RazorcutaroundtapeandremoveimagefromglasspaletteSubmergeinlukewarm
waterandsoak10–15minutesThelongertheimageissubmergedinwaterthe
easieritwillbetoremovethepaperfromthebackofimageDonotsoakpaperlonger
than20minutesWhensubmergedinwatertheclearmediummayturnslightlymilky
2 Removeimagefromwaterandusingyourfngers,gentlyruboffpaperfromback
ofimageRubofftoplayerofpaperonlyandsubmergeimageintocontainerof
warmwaterRepeatstepsuntilonlytheimageremains
dryInG transferred ImaGe
1 BlotwithpaperorclothtowelPlacefatbetweenlayersofwaxpaper,then
papertowel
2 Weighttopandallowtodry,insuringthatimagedriesfat
adherInG transfer to support
1 Removewhendry(24–48hours)Selectsupportthattransferistobeadheredto
2 Coatthesideofthetransferthatistobeaffxedtothesupportwitheither
Liquitex
®
GlossMedium&VarnishorLiquitex
®
GlossGelQuicklypositionthe
transferontothesupport(iecanvas)andpress
3 Toinsureuniformcontact,drytransferunderweightCovertransferwithasheet
ofwaxtopreventtransferfromstickingtoweightLetdry24hours
dIreCtIons: usInG lIquItex
®
InterferenCe Colors
1 Followdirectionsfor“SelectingImage”and“PreparingImageforTransfer”
2 Mix5-10%Liquitex
®
InterferenceColorofyourchoiceintoGlossMedium&
Varnishtoproduceaninterferenceflm
3 Followdirectionsfor“CoatingImage”
4 Followdirectionsfor“SoakingImage”,“DryingTransferredImage”and“Adhering
TransfertoSupport”
5 InterferenceColorTransferwillbeopalescent
99 9&
c h A p t e r 4 : A p p l i c A t i o n s / t r A n s f e r s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
dIreCtIons: usInG lIquItex
®
Gel medIums
1 Followdirectionsfor“SelectingImage”and“PreparingImageforTransfer”
2 CoatingImage:Usingapaletteknife,apply1–2coatsofLiquitex
®
GlossGelor
GlossHeavyGel
3 Applyeachcoat1/16”–1/8”thickIfapplyingtwocoats,allowfrstcoattothoroughly
drybeforeapplyingsecondcoat(approximately24–48hours)ThethickertheGelor
HeavyGelMediumcoatingthemoreopaquethefnaltransferflmwillbe
4 Followdirectionsfor“SoakingImage”,“DryingTransferredImage”and“Adhering
TransfertoSupport”
5 Atranslucenttotranslucent/opaqueflmtransferwillresult
dIreCtIons: usInG lIquItex
®
texture Gels
1 Followdirectionsfor“SelectingImage”and“PreparingImageforTransfer”
2 CoatingImage:Usingapaletteknife,apply1–2coatsofLiquitex
®
NaturalSand,
ResinSandorGlassBeadsTextureGelApplyeachcoat1/16”–1/8”thickIf
applyingtwocoats,allowfrstcoattothoroughlydrybeforeapplyingsecondcoat
(approximately24–48hours)ThethickertheTextureGelMediumcoatingthe
moreopaquethefnaltransferflmwillbe
3 Followdirectionsfor“SoakingImage”,“DryingTransferredImage”and“Adhering
TransfertoSupport”
4 Asemi-transparent,texturedflmtransferwillresult
dIreCtIons: usInG lIquItex
®
fluId medIums and texture Gels
1 Followdirectionsfor“SelectingImage”and“PreparingImageforTransfer”
2 Usingasoftbrushorpaletteknifemix5–50%NaturalSand,ResinSand,Glass
BeadsorBlackLavaTextureGelMediumsintoLiquitex
®
GlossMedium&
VarnishThegreaterthepercentageofMedium,themoretransparentandless
texturedthefnaltransferflmwillbeForexample,aBlackLavaTextureGel/
Mediummixturewillresultinatransferthatistransparentwithblackspeckles
Theamountoftransparencyandblackspeckleswillbeinfuencedbytheratioof
MediumtoBlackLavaMoreMedium,lessBlackLava=moretransparency/less
blackspeckles
3 Followdirectionsfor“CoatingImage:brushingorpouringmethods”
4 Followdirectionsfor“SoakingImage”,“DryingTransferredImage”and“Adhering
TransfertoSupport”
5 Atransparent-translucenttexturedflmtransferwillresult
addItIonal Ideas
Anunlimitednumberofcreativeapplicationsexist,inadditiontofneartTryplacingacrylic
transfersontoclothing(suchashats,T-shirts,sweatshirts,andshoes),decoratehousehold
orcraftitems(ceramictiles,furniture,lampshades,cups,boxes,pillows,quilts),oreven
applytomirrors,windows,orframedglassforstainedglasseffects
99 9&
c h A p t e r 4 : A p p l i c A t i o n s / wA t e r c o l o r w i t h A c r l i c
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
WaterColor WIth aCrylIC
Liquitex
®
Acryliccolorcanbeusedinthemannerofwatercolorsimplybythinningwithwater
andapplyingtoanabsorbentsurfaceTheamountofwateruseddependsonthedesired
consistency;themorewaterusedthemorefuidthepaintLiquitex
®
SoftBodyArtistAcrylic
Colorshouldalwaysbeusedforacrylicwatercolortechniquessinceit’sfuidconsistency
dissolveseasilyinwaterColorvaluesaretraditionallybuiltfromlighttodarkwhenworkingin
thistechnique
adVantaGes of aCrylIC WaterColor
Themainadvantageofusingacrylicforwatercoloristhatwashesmaybelayeredwithout
dissolvingoneanotherThisisbecauseacrylicpaintcontainsbinderanddriestoawater
resistantflmWhenworking,allowwashestosoakintothepaperanddry;thiswaythepaper
alsoactsasabinderLayersofwasheswilleventuallysealthepaperfbersandthuslimitthe
amountoflayeringthatispossible
note:Watercolorpaintwhendryisstillwater-solubleandeachlayerofpaintcandissolvethe
underneathlayer
WaterColor papers
• Paperchoiceisimportantandwillbesignifcantfactorinthefnalwork
› Highquality/heavierpapersmadefrom100%CottonRagareidealforthis
applicationandwillyieldbetterresults(Theyholdmorewater,warplessand
allowmoreLayersofwashes)
› ColdPresspaperisroughandabsorbent
› HotPresspaperissmooth(notasporous)andlessabsorbentWhenworking
withHotPresspaperitmaybeusefultomixcolorswithFlow-Aid
TM
Water
(1partLiquitex
®
Flow-Aid
TM
:20partsdistilledwater)tohelpachievedeeper
stainsandamoreevenapplication
› note: Toachievewatercoloreffectsonanon-absorbentsurfacesuchas
primedcanvas,Liquitex®AirbrushMediumcanbeusedtothincolorsand
willprovideadequatebindertocreateastablepaintfilm
applICatIons and teChnIques
• TransparentWashes
› Transparent/translucentcolorsarethemostvibrant
› Themorewaterused,themoretransparentthewashbecomes
• ForHardEdgeBrushmarks
› Usedrypaper
• ForSoftEdge(“bleed”)Brushmarks
› DampenpaperwithdistilledwaterorSlow-Dri
®
FluidRetarder(seebelow)
thenapplyacrylicwatercolor
› CreateacrylicwatercolorusingFlow-Aid
TM
Water(1partLiquitex
®
Flow-Aid
TM
:
20partsdistilledwater)Liquitex
®
Flow-Aid
TM
reducessurfacetension,
therebysofteningedges
J0J J00
c h A p t e r 4 : A p p l i c A t i o n s / wA t e r c o l o r w i t h A c r l i c
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
J0J J00
applICatIons and teChnIques (cont)
• ForUltra-SoftEdge(“bleed”)Brushmarks
› DampenpaperwithFlow-Aid
TM
Waterthenapplywashesfordeeper
saturationofcolorWorking“wetintowet”inthismannerishelpfulfor
creatingmoreatmosphericpassages
• ToSlowingDryingTime
› MixLiquitex
®
Slow-Dri
®
FluidRetarderintodistilledwater(4partsdistilled
waterto1partLiquitex
®
Slow-Dri
®
)Usethismixturetocreateacrylic
watercolor
reCommended produCts
• Liquitex
®
Slow-Dri
®
FluidRetardergivesmore“opentime”,allowingpainttobe
manipulatedforlonger
• Liquitex
®
Flow-Aid
TM
reducessurfacetension,therebysofteningedgestohelpto
achievedeeperstainsandamoreevenapplication
• Liquitex
®
AirbrushMediumisveryfuidandcontainsbindermakingwatercolor
techniquespossibleonnon-absorbentsurfaces
maskInG
• Protectsthedrypaintflmfromnewpaintapplicationbycoveringpassageswith
maskingtapesand/orfuids
• Maybedonebeforepaintingtoprotectwhitepaper
• Maybedoneaftereachcolorapplication,tosavespecifccolormarksanddetails
maskInG tape
• ToachievestraightlinesuseDraftingorScotch
TM
811tapeIthasalowadhesive
tack,whichwillnotdamagepaintedareaswhenremoved
frIsket or maskInG fluId
• Applywithbrushorpen
• MaskingFluidmayberemovedatanytime,byrubbingwithfngerorrubber
cementeraser
c h A p t e r 3 : l i q u i t e x p r o d u c t s
|RE0UEN!|Y ASKE0 0UES!I0NS
05
c
h
A
p
t
e
r
c h A p t e r 5 : f r e q u e n t l y A s k e d q u e s t i o n s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
Why are different colors priced differently?
Thebiggestfactorinthecostoftheartists’coloristhepigmentDifferentpigmentscome
fromavarietyofdifferentsources,andcostfromalittletoalottorefne,process,andmill
intoartists’paint
I want that “oil color look” What can I do?
UseLiquitex
®
Slow-DriBlendingFluidorGeltoslowthedryingandtohelpyouwithblending
uponthepaintingsurfaceExperimentwithGlazingtechniques
my paint dries too fast What can I do?
Minimizetheuseofwater,andminimizeheatandairflowinthepaintingenvironment
Makeuseofacrylicmediumstoextendthecolor,especiallySlow-DriBlendingFluid
orGel,AirbrushMedium,orSlow-DriFluidorGelRetardernote:onlyoneadditive/
retardershouldbeusedwithinacolormixCombiningadditivescancompromisethe
paintfilmstability
my colors are too bright how do I make them look more natural?
UseaLiquitex
®
colorcharttoidentifythemineralbasedcolors(cadmiums,cobalt,
ultramarine)Thesecolorsmixtothesofter,moregrayopticaltonethatweassociatewith
naturallightGenerally,thesecolorstendtobemoreopaque
my colors look dull and chalky how do I brighten them?
Itmaybethatyou’readdingtoomuchwater,andspreading(underbinding)thepaintflm
TryaddingGlossMedium&Varnishinsteadofwater
how do I make the color fow like water, but stay brilliant?
ChooseLiquitex
®
SoftBodyProfessioanlAcrylicColorsThesecolorshavethesame
pigmentloadastheHeavybodycolors,butareformulatedtoamorefuidconsistency
Somewatermaybeaddedforfow,butoneofthefollowingmaybeaddedaswellto
increasefow,whilemaintainingthestabilityofthepaintflm:GlossMedium&Varnishor
MatteMedium
Is water the best additive for thinning acrylic color?
Wateris,infact,thesolventfortheacrylic/wateremulsionYou’llfndthatyougetthebest
performance—nottomentionthemostfun—outofacrylicsifyoumakeuseofacrylic
mediumstoadjusttheworkingpropertiesofthecolorSavethewaterforcleanup
J01 J0Z J01 J0Z
c h A p t e r 5 : f r e q u e n t l y A s k e d q u e s t i o n s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
J01 J0Z
I’m on a really tight budget What can I do to cut corners?
Artists’colorsaren’tcheapBut,aswithanyhighlyrefnedproduct,yougetwhatyoupayfor
Thatsaid,therearesomestrategiesthatcanhelpstretchtheartist’sbudget:
• Usemediumstostretchandeconomizeoncolor
• UseUltraMatteMediumIt'sformulatedtoincreasethevolumeofpaintwithout
signifcantlycuttingintensityofcolor
• CompleteyourunderpaintingwithBASICSValueSeriesAcrylicColors,andusethe
Liquitex
®
ProfessionalAcrylicsColorsforthefnishinglayers
What is the best surface for acrylic paint?
Acryliccolorsareunbelievablyversatile,andcanbeusedonanalmostinfnitevarietyof
surfaces:canvas,paper,leather,andglass(amongothers)Alwaysconductanadhesiontest
whenworkingonmore‘unusual’surfaces
What’s the best way to prime a canvas for painting?
SizethecanvaswithonelayerofMatteMedium,andthencoatwithoneortwolayersof
AcrylicGessoWithLiquitex
®
Gessoes,youcanchoosebetweentraditionalwhite,neutral
grayorblackcoloredGesso,ClearGesso,orSuperHeavyGesso
Why is my fnished acrylic paint surface powdery, faking, or cracking?
Ifyourgessoorpaintlayerispowderyorunstable,youhave,mostlikely,addedtoomuch
waterduringpaintingWaterspreadstheacrylicbinder,leavingitlessabletofrmlylockthe
pigmentintoplaceonthepaintingsurfaceYou’llfndthatyougetthebestperformance—
nottomentionthemostfun—outofacrylicsifyoumakeuseofacrylicmediumstoadjustthe
workingpropertiesofthecolor
Why are some acrylic mediums milky, some translucent, and some clear when wet?
SomeacrylicmediumsaremilkybecauseofthewatercontentwithintheemulsionOthers
includemattingagentsthatmakethemappearmilkyOthermediumsareformulatedwitha
clearresin,givingthemgreaterclaritybothwetanddry
Why do some acrylic colors seem to dry darker?
Ingeneral,theacrylic/wateremulsionhasadistinctmilkycolorwhenwetAndthatmilky
appearancelightensthecolorofthepaintAswaterleavestheemulsion,andthebinder
clarifes,thecolorofthepaintdarkens
Asacrylicchemistryhasadvanced,neweracrylicresinshavebecomeavailablethatoffer
betterandbetterclarityAsaresult,colorshiftinmodernacrylicsisoflesserconsequence
thaninearlypaintproductsItstillplaysaslightrolewithsomecolors,butnottothedegree
thatitoncedidThisphenomenonismostnoticeablewithtransparentdarkpigmentssuch
asAlizarinandlesssowithlightopaquepigmentssuchasCadmiumYellow
J01 J0Z
c h A p t e r 5 : f r e q u e n t l y A s k e d q u e s t i o n s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
how does the weather affect acrylic paints?
HumidconditionsslowdownthedryingHot,dryconditionswillspeedthedrying
considerably
how do I store acrylic paintings?
Protectthesurfacewithglassinepaper,oranothernon-stickysheetCovertheglassinewith
anadditionallayer,suchasrawcanvasStandupright,andprotectfromtemperaturesbelow
45°F(thetemperatureatwhichacrylicsbecomebrittleandaremorepronetocracking)
Neverstoreacrylicsfacetoface,astheycansticktooneanotherAlwayscrateforshipping
how long will acrylic paintings last?
Followsoundpaintingtechniques,workonastablesupport,useartists’qualityprimer,and
withpropercareandstorage,anacrylicpaintingshouldremainstableforgenerations
What’s the advantage of making my own paint?
Untiltwocenturiesago,artistshadtomilltheirowncolorsAndtoday,it’snotuncommon
forartiststoexperimentwithpaintmakingtodevelopamoreintimateunderstandingof
themechanicsoftheirchosenmediumThatsaid,anexperiencedmanufacturerisable
toproducecolors,withoutrisktothepainter,withmuchhigherpigmentloadandmore
uniformlybalancedworkingpropertiesthanispossiblefortheindividual
do I need to varnish acrylic paintings?
YesAcrylicsdrywithaslightlytackyandporoussurface,exactlythekindofsurfacetowhich
dirt,dustand,atmosphericgrimearepronetostickingAfnalvarnishwillbringamuch
neededlayerofprotectiontothepaintingAndaconservationqualityvarnish,likeLiquitex
®

Soluvar
®
GlossorMatteVarnishwillremainfexible,andcanberemovedforpurposesof
cleaningthepaintingatalaterdate
Can I use acrylic mediums to varnish my acrylic paintings?
Mediumsaredesignedtobemixedwithacryliccolorunlessotherwiselabeledthattheyserve
bothfunctionsForexample,Liquitex®GlossMedium&Varnishcanbeusedasbothagloss
mediumaswellasafnalvarnishVarnishesaremeanttobeappliedoveracryliccoloras
theyarespecifcallyformulatedtobethinner,fowonsmooth,andself-levelInthecaseof
matteorsatinsheenproducts,varnisheshavelessordifferentkindsofmattingagentsto
allowtruecolorstoshowthrough
Can I paint in oils over my acrylic paint layer?
ItisgenerallynotagoodideatoapplyoilpaintsoversolidlayersofacrylicpaintOilflmsdry
toalessfexibleflmthanacrylics,andtheirapplicationoverthemorefexibleacrylicpaint
layercanbeproblematicOilapplicationsoveracrylicscanbecomparedtoapplyingPlaster
ofParisonarubberband–ifyoustretchtherubberbandafterthePlasterofParishas
dried,theplasterwillcrackandfakeoffOvertime,anoillayerthathasbeenpaintedontop
ofanacryliclayermayexperiencethesameresults,astheunderlayerofacrylicpaintshifts
andmovesduetoatmosphericchanges

J05 J01
c h A p t e r 5 : f r e q u e n t l y A s k e d q u e s t i o n s
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
I’m interested in creating multi-media work using acrylics Is there anything I should not
combine or layer with my acrylic paint?
AcrylicsarerestrictedprimarilybycompatibilitywithothertypesofpaintsAcrylicsshould
notforinstancebecombinedwithpaintsthataremadewithdifferentresinsandbinders
Forexample,acrylicsshouldonlybecombinedwithacrylicpolymerbasedpaintsandnotbe
mixedforexamplewithoil,latexorgumbasedwatercolorpaints…orlayeredwithwax

Thefexibilityofdryacrylicflmsalongwiththepaintsabilitytoadjustitsworkingproperties
whenwet,makeitatotallyuniqueandpowerfulartistmaterialInsomeways,itcanbe
thoughtofasthe“goanywhere,doanything”paintItishardtocoverallthebaseswhen
itcomestocombiningacrylicswiththeamazingvarietyofsubstancesthatcanbeusedto
createaworkofartThebestadvicethatcanbegiveninrelationtomulti-mediaworkisthat
youshouldalwaysconducttestingwiththematerialsyouplantouse,priortobeginningyour
piece,andyoushouldbeawarethatguaranteesconcerningpermanencyorlongevityofthe
artworkmaynotexistAgoodplacetostartwouldbetomakesureyouhaveaworking
understandingoftheacrylicpaintflmandhowitdries
J05 J01
HEA|!H & SA|E!Y
06
c
h
A
p
t
e
r
c h A p t e r 6 : h e A l t h & s A f e t y
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
health laBelInG
TheuseofartmaterialsissaferthaneverbeforeInbothEuropeandNorthAmerica,art
productsarelabeledwithinstructionsforsafeuse,andthevastmajorityrequiresnowarning
orcautionThoseproductsthatdo,includedetailedinformationabouthowtheycanbeused
withoutrisk
alWays read the produCt laBels
ThelabelingstandardforChronicHealthHazardsinArtmaterials(ASTMD-4236)hasbeen
codifedintoUSlawaspartoftheFederalHazardousSubstancesAct15USCS1277In
cooperationwiththeArt&CreativeMaterialsInstitute(ACMI),allartandcreativeproducts
marketedintheUSAincludelabelingthatdetailsanycurrentlyidentifedprecautionsthat
shouldbetakenSo,ifthere’saconcern,youwillseeitonthelabel
Inaddition,theAmericanSocietyforTestingandMaterials(ASTM)haspreparedstandards
forthesafeuseofartist’smaterialsThesehavebeenpublishedasabookletentitled,“ASTM
StandardsforthePerformance,Quality,andHealthLabelingofArtists’PaintsandRelated
Materials”ISBN0-8031-1838-4
TheaddressforASTMis:
ASTM
100BarrHarborDrive
WestConshohocken,PA19428-2959
Liquitex
®
ArtistMaterialslabelsallproductsforsafeuseLiquitex
®
wasoneofthefrst
companiestolisthealthandsafetyinformationonpaintlabelsandtoidentifycolorsby
chemicalnameaswellasbyinternationalcolorstandards

UnitedStatesFederallawrequiresthatallLiquitex
®
productsmeetAmericanSocietyfor
TestingandMaterials(ASTM)D4236,thestandardforhealthandsafetyAllproductsare
evaluatedbyanindependenttoxicologistinthecertifcationprogramofACMI(TheArtand
CreativeMaterialsInstitute)AllLiquitex
®
productsarelabeledincompliancewithapplicable
FederallawandcarryACMIcertifcationseals
ProductsbearingtheAPApprovedProductSealoftheArtandCreativeMaterialsInstitute,
Incarecertifedinaprogramoftoxicologicalevaluationbyamedicalexperttocontain
nomaterialsinsuffcientquantitiestoposeahealthriskortobedeemedinjuriousin
accordancewithcurrentmedicalknowledgeandaslongasthematerialsareusedinthe
J0! J0ê
c h A p t e r 6 : h e A l t h & s A f e t y
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
mannerintendedThisprogramisreviewedbytheInstitute’sToxicologicalAdvisoryBoard
TheseproductsarecertifedbytheInstitutetobelabeledinaccordancewiththechronic
hazardlabelingstandardASTMD4236,andtheUSLabelingofHazardousArtMaterials
Act(LHAMA)

TheCLSealidentifesproductsthatarecertifedtobeproperlylabeledinaprogramof
toxicologicalevaluationbyamedicalexpertforanyknownhealthrisksandwithinformation
onthesafeandproperuseofthesematerialsThissealiscurrentlyreplacingtheHLHealth
Label(CautionsRequired)SealTheseproductsarealsocertifedbyACMItobelabeledin
accordancewiththechronichazardlabelingstandard,ASTMD4236,andtheUSLabeling
ofHazardousArtMaterialsAct(LHAMA)
SafetyDataSheetsareavailableonrequestorontheLiquitex
®
websiteatwwwliquitexcom
Forfurtherhealthinformationcontactalocalpoisoncontrolcenterorcall800-445-7067
eu leGIslatIon
Theseregulations,introducedinthe1960’s,coverallproductsavailabletoindustryor
thegeneralpublicwithintheEUThissystemclassifesdangeroussubstancesintoone
ofthefollowingclassifcations:TOXIC,HARMFUL,CORROSIVE,IRRITANT,OXIDISING,
EXPLOSIVE,FLAMMABLEorDANGEROUSFORTHEENVIRONMENT
Therecanbevariouslevelswithinaclassifcation,forexample,VeryToxicorExtremely
FlammableMostlevelsofclassifcationhaveaccompanyingsymbolsand“RiskPhrases”
and/or“SafetyPhrases”
Anyartists’material,whichfallsintooneoftheaboveclassifcations,mustbelabeled
accordinglyThetwomostcommonclassifcationsinartists’materialsareHarmfuland
FlammableTheriskand/orsafetyphraseswillvaryaccordingtoeachproduct
Note:ThereisnodirectrelationshipbetweentheEUandUSAsystemsofhealthlabeling
asthecategoriesusedhavedifferentlevelsandlimits,eg,FlammableintheUSAisnot
automaticallyconsideredasFlammableintheEU
USA ONLY labels may appear on products in the EU as Liquitex
®
products are sold
internationally. However, artists in the EU are advised to follow EU labeling.
laBelInG for CalIfornIa: proposItIon 65
Beginningin2000,awiderangeofLiquitex
®
productsbeganshippinginNorthAmerica
withnewhealthandsafetylabelsasaresultofactionsurroundingCalifornia’sSafeDrinking
WaterandToxicEnforcementActof1986(commonlyknownasProposition65)Theact
wasintendedtopreventanyonefromdischargingmaterialsthatareknowntocausecancer
orreproductivetoxicity,andthatcouldcontaminatedrinkingwaterEnforcementisachieved
throughlitigation,withaprovisionthatallowsforanyonetosueacompanythatmightin
somewayviolatetheact
J0! J0ê
c h A p t e r 6 : h e A l t h & s A f e t y
J09 J0&
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
J09 J0&
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
In1998,anumberofartmaterialmanufacturersreceiveda“Sixty-DayNoticeofIntent
toSue”forviolationsofProposition65Theproductscitedwerematerialsthathavebeen
evaluatedanddeemedsafebyaboardcertifedtoxicologist,andthataresubjecttoreview
undertheFederalLabelingofHazardousArtMaterialsAct(LHAMA),anactthatis,infact,
morethoroughthanProposition65AfterconsultingwiththeArtandCreativeMaterials
Institute(ACMI),allpartieswereassuredthatanyexposurelevelsintheseproductswere
belowthelevelsofriskasdefnedbyProposition65However,itwasdeterminedthatit
wouldbefarlesscostlyandlessdamagingtoenterintoasettlementofthesuitratherthanto
engageinprotractedlitigation
Aprovisionofthesettlementstatesthatanyproductsthatincludeelementsconsidered
hazardousunderProposition65mustbelabeledaccordinglyAsaresult,artists’colors
containingcadmiumandleadarerequiredtohavespeciallabelingForexample,thelabels
forcadmium-containingproductsread:
DONOTSPRAYAPPLYThisproductcontainscadmium,achemicalknowtotheStateof
Californiatocausecancerbymeansofinhalation
ZInC oxIde
ZincOxide(ZnO)isthepigmentusedintheproductionofZincWhiteThispigmentcontains
asatraceelement,atinyamountofleadconsistingof1partleadpermillionotherparts
(1ppm)
In1978,theUSConsumerProductSafetyCommission(CPSC)bannedpaint(aswellastoys
paintedwithpaint)thatcontainleadinexcess006%byweightBycomparison,a1ppm
traceamountofleadintheZincOxideusedinLiquitex
®
pigmentstranslatesto00001%
TheCPSCrecognizesthatleadshowsupintinyamountsinmanycompounds,andthat
underaverysmallthreshold,itspresenceisconsideredinconsequentialForthepigments
usedbyLiquitex
®
toapproachtheleveldeemedhazardousbytheCPSC,theywouldrequire
atleast500timesmoreleadthantheydoInfact,Liquitex
®
usesZincOxidewithlowerlead
contentthanthepharmaceuticalZincapprovedbytheFDAforeverydayuseinmakeupThe
fnalproduct,atwellunder1ppmlead,fallsbelowwhatisconsideredtobethedetectable
threshold(5ppm)byamajorhealthcenter(Kirby)
hoW safe are the produCts?
UsingartandcraftproductsissaferthaneverbeforeOverthelastdecades,new
generationsofpigments,vehicles,adhesives,andotherrawmaterialshavebeenselected,
notonlyfortheirpotentialtoimprovetheperformanceoffnishedproduct,butalsofortheir
non-toxicityAnd,intheinterestofconsumersafety,wehavealwaysbeenfullycommitted
toopendisclosureregardingthesafeuseofourproductsOurpriorityissafetyYoucan
useandenjoyLiquitex
®
productswithfullconfdencethatweselectourrawmaterials,and
formulateourproductstorepresentaslittlehazardaspossibleAndfortheproductsthat
containapotentialhazard,ourliteratureandlabelsofferthemostup-to-datehealthand
safetyinformationpossible
c h A p t e r 6 : h e A l t h & s A f e t y
J09 J0&
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
J09 J0&
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
dIsposal InformatIon: us enVIronmental proteCtIon aGenCy (epa)
soluBIlIty testInG data
Whilethevastmajorityofproductsusedinyourstudioareinertandinnocuous—there
aresomethatrequirespecialattentionAndallmaterialsshouldbeusedwithrespect
Beginningin1999,theUnitedStatesEnvironmentalProtectionAgency(EPA)began
reviewingthedisposalproceduresusedbyuniversitiesandcollegesBecauseofthe
pigmentsandsolventscommonlyused,artdepartmentswereincludedinthereview
Herearesomeissues,broughttolightbytheEPA’sinterestinschoolenvirons,that
areworthreporting:
• TheEnvironmentalProtectionAgency(EPA)hasidentifedeightmetals,orelements,
thathavethepotentialtobeahealthconcernThoseare:arsenic,barium,cadmium,
chromium,lead,mercury,selenium,andsilverTheseelements,the“RCRA8,”are
closelymonitoredbytheagencyAndsomeofthemarefoundinpigmentsusedin
themanufactureofartmaterials
• Onceproductscontainingthosemetalshavebeenidentifed,thesolubilityofthemetals
withintheseproductshastobemeasuredTheseelementsposeagreaterriskifitcan
beabsorbedintothehumansystem,ortheenvironmentIfit’slargelyinsoluble,thenit
posesfarlessconcernAsaresult,theEPAhasidentifedcertainsolubilitylevels,below
whichthepigmentorproductisnotconsideredtobehazardouswasteHowever,above
thislevel,theproductrequiresspecialdisposalprovisions
• Solubilityistestedthroughthe“ToxicityCharacteristicLeachingProcedure”
(TCLP)TCLPtestingdetermineshowmuchofagivenmetalgoesintosolution
withinacarefullymonitoredacidicenvironmentThelimitsforleadandchromium
are5mg/lIfthesolubilityoftheelementislessthantheEPAlimit,theproductis
notconsideredtorequirespecialtreatment
•Inresponsetotherequestfromamajoruniversity,solubilitytestingwasperformed
onallLiquitex
®
productsthatcontainanyoftheRCRA8metalsAsaresult,colleges
anduniversitiescanbebetterpreparedtoselectandmanagethematerialsbeing
usedinstudios
•ThevastmajorityofLiquitex
®
productshavebeenshowntoincludenoneofthe
RCRA8metalsOfthefewthatdid,thesolubilitylevelsofalmostallofthosewere
wellbelowtheEPAlimitsAstatementofTCLPproductanalysisfollows
Ifspecifcsolubilityfndingsandnumericresultsarerequired,pleasecontact:
DirectorofCommunications
Liquitex
®
,POBox246,Piscataway,NJ08855
c h A p t e r 6 : h e A l t h & s A f e t y
JJJ JJ0
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
JJJ JJ0
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
tClp produCt analysIs fIndInGs summary
SamplesofallLiquitex
®
colorscontaining“RCRA8”metalsweresubmittedtoQC
Laboratories(Southhampton,PA)forextractionanalysisTheresultsareasfollows:
Allcolorscontaining“RCRA8”metalsintheLiquitex
®
HeavyBodyandSofyBody
ProfessionalArtistColorsweretestedWiththeexceptionofthetwocolorslistedbelow,
allcolorswereproventoshowTCLPsolubilitywithinthelimitsrequiredbytheEPA
forclassifcationasanon-hazardouswaste
ThecolorsthatexceededtheEPAsolubilitylimitsforChromium(50mg/l)areasfollows:
• Liquitex
®
CobaltGreen(HeavyBodyandSoftBodyProfessionalArtistColors)
Containschromium
• Liquitex
®
CobaltTurquoise(HeavyBodyandSoftBodyProfessionalArtistColors)
Containschromium
Certifcationstatementsareavailableregardingthetestresultsforcadmiumpigmentsused
inthemanufactureofSoftBodyandHeavyBodyArtistColorrangesThestatementsconfrm
thatallcadmiumsusedinLiquitex
®
ProfessionalArtistcolorrangesexhibitsolubilitywell
belowtheEPAlimits
safe studIo tIps
(adaptedfrom“WhatEveryArtistNeedstoKnowAboutPaintsandColors,”byDavidPyle,
KrausePublications,©2000,withpermissionfromtheauthor)
Whenworking:
• Alwaysmakesurethatthere'splentyoffreshairandventilation,particularlywhen
workingwithsolvents
• Ifsprayapplyinganyproducts,wearanapprovedmaskAspraybooth,or,even
better,anextractionsystem,ventedtotheoutsideisrecommended
• Ifworkingwithpowderedpigment,theaboveprovisionsforventilationare
equallyimportant
• Alwayskeepallmaterials,especiallysolvents,tightlysealedThismeanskeeping
thethreadsonlidsandjarswipedclean,toensureabettersealwhenclosed
• Artmaterialsshouldneverbeexposedtoheatsourcesortonakedfame
• Donoteat,drinkorsmokewhenworkingYouneverknowwhatmayendupon
yourfngers,yourfood,oryourcigarette,andthengetswallowedinadvertently
• Avoidskincontact,particularlywithsolventsDon'tpaintdirectlywithyourfngers
• Don'twashorrinsebrushesinthepalmofyourhandDoingso,particularlyif
ladenwithsolvent,isaparticularlyeffcientmethodfordrivingpigmentintoand
throughyourskin
c h A p t e r 6 : h e A l t h & s A f e t y
JJJ JJ0
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
JJJ JJ0
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
safe studIo tIps (cont)
• WhenwashingbrushesorpalettesorothertoolsFirst,wipethemfreeofcolor
withapapertowelIfusingstiffbrusheswiththickcolor,likeoilsoracrylics,anold
toothbrushworkswellforscrapingfreeexcesscolorAllowtheproductonthetowel
todrycompletelybeforedisposal
• Ifworkinginwatercolororacrylic,rinsewithwater
• Washthebrushwithaconditioningsoap
• Neverstorebrushesrestinginacontainer,head,ortuft,down
• DonotpointyourbrushesinyourmouthSwirlthebrushinacupofwater,or
solvent,tocheckthepoint
• Excesssolventscanbedisposedofatyourlocalrecyclingcenter
• Asasafeguardforgroundwater,donotdisposeofexcessoiloracryliccoloror
solventdownthesinkInstead,usethefollowingguidelines:
› Whenfinishedpaintingwithacryliccolors,allowwastepaintandpapertowels
tofullydrybeforedisposalWhy?Becausethedriedpolymervehiclewill
providesomecontainmentfortheincludedpigment,minimizingtheriskof
solubilityinlandfillsandwastewater
› Lead-basedcolors,oranysolventsusedwithlead-basedcolors,shouldnever
bedisposedofinhouseholdtrashordownthedrain
› Fordisposalrecommendationsandregulationspertainingtoallartmaterials,
aswellasmoretoxicsolvents,aerosolcans,andhighlytoxicpigments(like
lead-basedcolors),visitthewebsitefortheCenterforSafetyintheArtsat
NYFA,at:wwwartswireorg:70/1/csa/
StreetAddress:
155AvenueoftheAmericas,14thFloor,
NewYork,NY,10013
• Ifpaintorsolventissomehowsplashedinyoureyes,fushimmediatelyand
thoroughlywithcoldwater
• Cleanupallspillsimmediately
• Unlessspecifcallylabeledassafeforchildren'suse,keepartists'materialsaway
fromchildrenBecauseoflessersizeandbodyweight,youngstersaresubjectto
greaterriskwiththeseproductsthanadults
Washyourhandswhenyou'redoneWipeanycolororexcessmaterialsfromyour
handswithapapertowelAgoodsoaporhandcleanershouldbeperfectlyadequate
forathoroughcleansing
RE|EREN0E
07
c
h
A
p
t
e
r
c h A p t e r 7 : r e f e r e n c e
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
# Color name series # hue Value Chroma lightfastness “I” opacity pigment* pigment name
116 Alizarin crimson hue permanent 2 3.30r 2.86 3.94 i tp m quinacridone (pr 206),
quinacridone (pr 202)
660 bright Aqua green 1 4.88bg 6.03 9.04 i o m chlorinated copper
phthalocyanine (pg 7), copper
phthalocyanine (pb 15),
titanium dioxide (pw 6)
570 brilliant blue 1A 7.91b 5.08 9.61 i o m copper phthalocyanine (pb
15:3), chlorinated copper
phthalocyanine (pg 7),
titanium dioxide (pw 6)
590 brilliant purple 1 1.73p 5.01 11.15 ii o m carbazole dioxozine (pv 23 rs),
titanium dioxide (pw 6)
840 brilliant yellow green 1 6.22gy 8.07 10.07 ii tl m phthalocyanine green (pg 7),
titanium dioxide (pw 6), Arylide
yellow 10g (py 3), Arylide
yellow fgl (py 97)
530 bronze yellow 1 1.77 y 5.26 4.9 i o m synthetic iron oxide yellow (py
42), synthetic iron oxide red
(pr 101), synthetic iron oxide
black (pblk11)
127 burnt sienna 1 0.2yr 3.43 4.16 i o s calcined natural iron oxide
(pbr 7)
128 burnt umber 1 4.22yr 2.63 0.92 i o s calcined natural iron oxide
containing manganese (pbr 7)
150 cadmium orange 4 3.06yr 6.86 14.99 i o s cadmium orange (po 20)
720 cadmium orange hue 2 3.98yr 6.98 13.01 i tl m perninone orange (po 43
dl), titanium white (pw 6),
diarylide yellow hr70 (py 83)
311 cadmium red deep hue 2 5.00r 3.29 8.25 i o m naphthol carbamide (pr 170
f3rk), quinacridone violet b
(pv 19)
152 cadmium red light 5 7.67r 4.96 14.11 i o s cadmium red (pr 108)
510 cadmium red light hue 2 7.50r 5.01 13.4 i tl m naphthol As-ol (pr 9), Arylide
yellow 5gx (py 74 lf), titanium
dioxide (pw 6)
154 cadmium red medium 5 6.28r 4.48 13.82 i o s cadmium red (pr 108)
151 cadmium red medium hue 2 6.25r 4.3 13.59 i o m naphthol crimson (pr 170
f3rk), Arylide yellow fgl
(py 97)
163 cadmium yellow deep hue 2 8.98yr 7.43 12.46 i o m diarylide yellow (py 83 hr 70),
Arylide yellow 5gx (py 74 lf),
titanium dioxide (pw 6)
*s= single pigment m=mixed pigment
ComposItIon and permanenCe Chart
JJ1 JJZ JJ1 JJZ
c h A p t e r 7 : r e f e r e n c e
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
*s= single pigment m=mixed pigment
# Color name series # hue Value Chroma lightfastness “I” opacity pigment* pigment name
160 cadmium yellow light 3 7.63y 8.81 12.94 i o s cadmium yellow (py 35)
159 cadmium yellow light hue 3 6.85y 8.73 11.9 i o s bismuth vanadate (py 184)
161 cadmium yellow medium 3 2.39y 8.27 14.21 i o s cadmium yellow (py 35)
830 cadmium yellow medium hue 1A 2.11y 8.01 12.78 i tl m Arylide yellow fgl (py 97),
diarylide yellow (py 83 hr 70),
titanium dioxide (pw 6)
164 cerulean blue 3 3.29pb 3.96 9.25 i o s cobalt chromite (pb 36)
470 cerulean blue hue 2 3.01pb 4.05 9.52 i o m complex silicate of sodium
and Aluminum with sulfur
(pb 29), chlorinated copper
phthalocyanine (pg 7),
titanium dioxide (pw 6), copper
phthalocyanine (pb 15:3)
166 chromium oxide green 2 9.49gy 4.19 4.25 i o s Anhydrous chromium
sesquioxide (pg 17)
170 cobalt blue 4 6.94pb 3.33 11.43 i o s oxides of cobalt and Aluminum
(pb 28)
381 cobalt blue hue 1A 7.48pb 3.09 12.9 i o m complex silicate of sodium and
Aluminum with sulfur (pb 29),
titanium dioxide (pw 6)
171 cobalt green 4 4.93bg 3.72 4.56 i o s light green oxide (pg 50)
172 cobalt teal 4 8.31bg 5.89 9.16 i o s light green oxide (pg 50)
169 cobalt turquoise 4 8.26bg 4.16 5.79 i o s cobalt chromite (pb 36)
300 deep magenta 3 6.54rp 3.02 5.59 i tl m quinacridone magenta (pr
122), quinacridone violet (pv
19 dl), titanium dioxide (pw 6)
115 deep violet 3 1.33r 2.56 2.76 i tl m quinacridone magenta (pr
122), quinacridone violet (pv
19 dl)
186 dioxazine purple 2 9.44r 2.42 0.49 ii tp s carbazole dioxozine (pv 23 rs)
450 emerald green 2 3.79g 4.24 7.98 i o m chlorinated copper
phthalocyanine (pg 7), Arylide
yellow fgl (py 97), titanium
dioxide (pw 6)
350 green deep permanent 2 6.81g 3.07 3.4 i o m phthalocyanine green (pg 7),
titanium dioxide (pw 6), Arylide
yellow fgl (py 97)
325 green gold 4 7.93 y 3.87 3.26 nr tl s Azo methine copper complex
(py 129)
225 hooker’s green 1A 7.73bg 2.47 0.38 i tl m carbon black (pbk 7),
phthalocyanine green (pg 7),
deep hue permanent Arylide
yellow 5gx (py 74)
224 hooker’s green hue permanent 1A 7.40 gy 2.95 2.27 i tl m chlorinated copper
phthalocyanine (pg 7),
tetrachloroisoindolanone (py
110)
322 indanthrene blue 3 6.44 p 2.37 1.55 i tp s Anthraquinone blue (pb 60)
324 indian yellow 2 8.24 yr 6.34 11.21 i tl s isoindolanone (py 139)
237 iridescent Antique gold 2A — — — nr o m mica coated with titanium
dioxide and iron oxide
234 iridescent bright gold 2A — — — nr tl m mica coated with titanium
dioxide and iron oxide
JJ1 JJZ JJ1 JJZ
c h A p t e r 7 : r e f e r e n c e
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
*s= single pigment m=mixed pigment
# Color name series # hue Value Chroma lightfastness “I” opacity pigment* pigment name
236 iridescent bright silver 2A — — — nr tl m mica coated with titanium
dioxide and iron oxide,
stainless steel
229 iridescent rich bronze 2A — — — nr o m mica coated with titanium
dioxide and iron oxide
230 iridescent rich copper 2A — — — nr o m mica coated with titanium
dioxide and iron oxide
235 iridescent rich gold 2A — — — nr o m mica coated with titanium
dioxide and iron oxide
239 iridescent rich silver 2A — — — nr o m bismuth oxychloride (pw 14),
synthetic iron oxide black (pbk
11)
238 iridescent white 2A — — — nr tp s mica coated with titanium
dioxide
244 ivory black 1 1.58pb 2.28 0.09 i o s bone black (pbk 9)
770 light blue permanent 1 4.84b 6.99 7.78 i o m copper phthalocyanine (pb
15), chlorinated copper
phthalocyanine (pg 7),
titanium dioxide (pw 6)
680 light blue violet 1A 6.54pb 6.03 10.68 i o m complex silicate of sodium and
Aluminum with sulfur (pb 29),
titanium dioxide (pw 6)
650 light emerald green 3 0.90g 6.25 10.07 i o m chlorinated phthalocyanine
(pg 7), Arylide yellow fgl (py
97), titanium dioxide (pw 6)
312 light green permanent 2 1.42g 5.09 10.24 i o m chlorinated copper
phthalocyanine (pg 7), Arylide
yellow fgl (py 97), titanium
dioxide (pw 6)
810 light portrait pink 1A 6.42r 8.04 5.67 i o m naphthol As (pr 188),
benzimidazolone (po 36),
titanium dioxide (pw 6)
275 manganese blue hue 3 3.86 pb 3.88 9.46 i o m copper phthalocyanine (pb
15), chlorinated copper
phthalocyanine (pg 7),
titanium dioxide (pw 6)
276 mars black 1 4.79rp 2.44 0.04 i o s synthetic black iron oxide
(pbk 11)
500 medium magenta 1A 2.84rp 4.95 12.59 i o m quinacridone magenta (pr
122), titanium dioxide (pw 6)
292 naphthol crimson 2 5.64r 3.85 11.72 ii tp s naphthol carbamide (pr 170
f5rk)
294 naphthol red light 2 7.36r 4.56 13.56 i tp s naphthol As-ol (pr 9)
601 naples yellow hue 2 9.90 yr 7.58 8.16 nr o m chrome titanium yellow (pbr
24), titanium white (pw 6)
599 neutral gray value 5 1 9.97bg 5.03 0.15 i o m bone black (pbk 9), raw umber
(pbr 7), titanium/mixing gray
dioxide (pw 6)
436 parchment 1 7.22y 8.32 1.68 i o m carbon black (pbk 7),
phthalocyanine green (pg 7),
titanium dioxide (pw 6), iron
oxide yellow (py 42)
JJ5 JJ1
c h A p t e r 7 : r e f e r e n c e
l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k l i q u i t e x
®
/ t h e A c r y l i c b o o k
*s= single pigment m=mixed pigment
# Color name series # hue Value Chroma lightfastness “I” opacity pigment* pigment name
310 payne’s gray 1 3.62pb 2.36 0.31 i o m ultramarine blue (pb 29), bone
black (pbk 9), ultramarine
violet (pv 15)
316 phthalocyanine blue 1A 0.14p 2.37 4.6 i tp s copper phthalocyanine (pb 15)
(green shade)
314 phthalocyanine blue 2 9.03 bp 2.27 4.09 i tp s phthalocyanine blue epsilon
(pb15:6) (red shade)
317 phthalocyanine green 1A 9.88bg 2.57 2.23 i tp s chlorinated copper
phthalocyanine (pg 7) (blue
shade)
319 phthalocyanine green 1A 0.43bg 2.74 3.36 i tp s chlorinated and brominated
copper phthalocyanine (pg 36)
(yellow shade)
391 prism violet 2 9.77 p 2.5 1.35 ii tp m dioxazine carbazol (pv 23),
quinacridone magenta (pr 122)
320 prussian blue hue 2 9.10bp 2.29 1.05 ii tl m copper phthalocyanine (pb
15:3), carbazole dioxozine (pv
23), synthetic black iron oxide
(pbk 11)
326 pyrrole crimson 4 3.53 r 3.04 7.36 nr o s pyrrol crimson (pr 264)
323 pyrrole orange 4 9.06r 5.41 14.62 nr tl s pyrrol orange (po 73)
321 pyrrole red 4 6.16r 4.23 13.86 i o s pyrrol red (pr 254)
118 quinacridone blue violet 3 8.66rp 2.47 1.71 i tp s quinacridone violet b (pv 19)
108 quinacridone burnt orange 3 5.93r 2.91 2.48 i tl s quinacridone (pr 206)
110 quinacridone crimson 3 3.98r 3.58 9.28 i tp s gamma quinacridone red
(pv 19)
114 quinacridone magenta 3 9.25rp 3.02 5.82 i tp s quinacridone magenta (pr 122)
112 quinacridone red 3 5.43r 4.11 10.77 i tp s quinacridone red gamma
(pr 209)
109 quinacridone red-orange 3 5.48r 3.18 6.88 i tp s quinacridone/pyrrolopyrrol
330 raw sienna 1 4.98yr 4.48 5.44 i o s natural iron oxide (pbr 7)
331 raw umber 1 9.38yr 2.91 1.11 i o s natural iron oxide containing
manganese (pbr 7)
335 red oxide 1A 9.01r 4 7.47 i o s synthetic red iron oxide
(pr 101)
315 sap green permanent 2 8.48 gy 2.9 2.06 i tl m isoindolinone (py 139),
phthalocyanine blue (pb 15:3),
synthetic iron oxide black
(pbk 11)
432 titanium white 1 — — — i o s titanium dioxide (pw 6)
129 transparent burnt sienna 3 7.33 r 3.12 2.75 i tp s synthetic iron oxide red
(pr 101)
130 transparent burnt umber 2 6.35 yr 2.72 0.19 i tp m synthetic iron oxide yellow
(py 42), synthetic iron oxide
red (pr 101), synthetic iron
oxide black (pbk 11)
430 transparent mixing white 1 2.52pb 9 0.71 i tp s zinc white (pw 4)
332 transparent raw sienna 3 6.70 yr 4.68 5.49 i tp s synthetic iron oxide yellow
(py 42)
JJ5 JJ1
c h A p t e r 7 : r e f e r e n c e
*s= single pigment m=mixed pigment
# Color name series # hue Value Chroma lightfastness “I” opacity pigment* pigment name
333 transparent raw umber 2 4.28 yr 2.81 0.17 i tp m synthetic iron oxide yellow (py
42), synthetic iron oxide red
(pr 101), synthetic iron oxide
black (pbk 11)
327 transparent viridian hue 2 6.78 bg 2.72 2.72 i tl s chlorinated copper
phthalocyanine (pg 7)
730 turner’s yellow 2 2.08y 7.04 9.89 ii tl m Arylide yellow 10g (py 3), iron
oxide yellow (py 42)
561 turquoise deep 2 6.66pb 2.38 2.2 i tl m copper phthalocyanine (pb
15:3), chlorinated copper
phthalocyanine (pg 7)
380 ultramarine blue (green shade) 1A 9.32 pb 2.28 7.29 i tl s complex silicate of sodium and
Aluminum with sulfur (pb 29)
382 ultramarine blue (red shade) 1A 9.4bp 2 8 i o s complex silicate of sodium and
Aluminum with sulfur (pb 29)
434 unbleached titanium 1 0.93 y 8.03 2.73 i o m titanium white (pw 6),
synthetic iron oxide yellow (py
42), synthetic iron oxide red
(pr 101), synthetic iron oxide
black (pbk 11)
392 van dyke red 2 1.97yr 2.69 1.38 nr tl s benzimidazolone (pbr 25)
398 viridian hue permanent 1A 3.69bg 2.6 0.98 i o m raw umber (pbr 7),
phthalocyanine green (pg 7)
740 vivid lime green 1A 7.73gy 7.1 10.38 i o m Arylide yellow fgl (py
97), chlorinated copper
phthalocyanine (pg 7) ,
titanium dioxide (pw 6)
620 vivid red orange 3 0.78yr 5.45 12.74 nr tp m pyrrol orange (po 73),
isoindolanone (py 139)
411 yellow light hansa 1A 0.48gy 8.6 10.97 ii tp s Arylide yellow 10g (py 3)
412 yellow medium Azo 2 6.55y 7.98 11.69 i tp s Arylide yellow 5gx (py 74 lf)
414 yellow orange Azo 2 8.58yr 7.12 13.04 i tp s diarylide yellow (py 83 hr 70)
416 yellow oxide 1 0.39y 6.18 7.5 i o s synthetic hydrated iron oxide
(py 42)
JJê JJê
l i q u i t e x
®
/ t h e A c r y l i c b o o k
n o t e s
n o t e s
n o t e s
AdditionalinformationonallLiquitex
®
productsisavailablefromwwwliquitexcom,the
LiquitexProductCatalog,yourlocalretailer,orbycontacting:
Liquitex
®
ArtistMaterials
POBox246,Piscataway,NJ08855USA
FormoreinformationandtechnicalsupportinNorthAmerica,pleasecall1-888-4-ACRYLIC
Liquitex
®
,Slow-Dri
®
andSoluvar
®
areregisteredtrademarksofLiquitex
®
ArtistMaterials
Glossies™,Flow-Aid™,Liquithick™andLiquigems™aretrademarksofLiquitex
®
Artist
MaterialsAllLiquitex
®
productsmeetthehigheststandardofqualityandperformance
ItistheresponsibilityoftheusertoensurethattheLiquitex
®
productselectedissuitable
forthespecifcworkbeingexecutedLiquitex
®
ArtistMaterialscannotberesponsiblefor
anydamageswhichresultinwholeorinpartfromartisttechnique,foranyconsequential
damagesorforanydamagesinexcessofthepurchasepriceoftheproduct
Liquitex
®
ArtistMaterialsauthorizesthereproductionofthecopyrightedinformationincluded
withintheLiquitexAcrylicBook,astheinformationspecifcallyappearsinthepublication
ExcerptsandsectionstakenfromtheAcrylicBookmaynotbereformattedoreditedina
waythatcompromisestheintegrityandaccuracyofthepublicationInformationreproduced
fromtheAcrylicBookandusedininstructions,printedmaterialsoronaWebsitemustbe
creditedtoLiquitex
®
ArtistMaterials
©LiquitexArtistMaterials2007Allrightsreserved
Liquitex Artist MAteriALs
P.O. Box 246
Piscataway, NJ 08855
1.888.4.ACRYLIC
www.liquitex.com
MsrP $4.95 us
0
9 4 3 7 6 9 3 3 8 9
5
o. L97400
n
AcrylicBookBackCover3.indd 1 12/5/06 1:32:13 PM

The Acrylic book

A comprehensive resource for Artists

tAble of contents

Chapter 1 Chapter 2 Chapter 3 Chapter 4

IntroduCtIon & hIstory

5

essentIal InformatIon 7 What Is Acrylic Paint? 7 Components of Acrylic Paint 7 How Acrylics Work 8 Characteristics of Acrylic Paints 9 Technical Information 10 Mixing Color: Mineral and Modern Pigments 13 Liquitex Color Palettes 14 lIquItex® produCts 16 Color Ranges 16 Professional Artists Acrylic Color 16 9 Essential Things to Know About Acrylic Colors 17 Soft Body Professional Artist Acrylic Color 18 Heavy Body Professional Artist Acrylic Color 19 Super Heavy Body Professional Artist Acrylic Color 20 Decorative Series 21 Liquitex® Interference Colors 21 Iridescent Colors 22 Luorescent Colors 22 Liquigems™ Acrylic Glitter Paint 23 Glossies™ Acrylic Enamel Paint 23 Basics Value Series Basics Basics Matt Choosing the Right Color: Artists’ Color vs Value Series Acrylic Mediums prep Surface Prep paint Fluid Mediums Gel Mediums Effects finish Varnish applICatIons Acrylic Sheets Airbrushing Brushwork 25 25 26 27 29 31 31 34 34 40 48 57 57 62 62 64 68 

liquitex® / the Acrylic book

Tile & Ceramic Surfaces 74 Mural Painting 77 Painting on Fabric and Leather 82 Pouring 87 Silk-screen 89 Surface Preparation 90 Transfers 97 Watercolor With Acrylic 100 frequently asked questIons 102 health & safety 106 Health Labeling 106 TCLP Product Analysis Findings Summary 110 Safe Studio Tips 110 referenCe 112 liquitex® / the Acrylic book  .tAble of contents Chapter 4 Chapter 5 Chapter 6 Chapter 7 applICatIons (cont ) Collaging 69 Floorcloths 71 Canvas Preparation 71 Glazing 73 Glossies™ on Glass.

quick reference product guide professIonal Color Soft Body Acrylic Color 18 Heavy Body Acrylic Color 19 Super Heavy Body Acrylic Color 20 Value serIes Color BASICS Acrylic Color 25 BASICS Matt Acrylic Color 26 professIonal medIums surface prep 31 Gesso 31 Clear Gesso 32 Super Heavy Gesso 33 Colored Gesso 33 fluid mediums 34 effects (cont ) Ceramic Stucco 51 White Opaque Flakes 51 Glass Beads 52 Blended Fibers 52 Resin Sand 52 Natural Sand 52 Black Lava 53 Slow-Dri® Gel Retarder 54 Slow-Dri® Fluid Retarder 54 Flow Aid™ 55 Liquithick™ Thickening Gel 56 Varnish High Gloss Varnish 57 Gloss Varnish 57 Satin Varnish 57 Matte Varnish 57 Soluvar Gloss Varnish 58 Soluvar Gloss Varnish Aerosol 58 Soluvar Matte Varnish 58 Soluvar Matte Varnish Aerosol 58 teChnIques & applICatIons Palette Wetting Spray 34 Gloss Medium & Varnish 35 Glazing Medium 36 Matte Medium 36 Ultra Matte Medium 37 Slow-Dri Blending Medium 38 ® Gel mediums 40 Acrylic Sheets 62 Airbrushing 64 Brushwork 68 Floorcloths 71 Glazing 73 Glossies™ On Glass. Tile & Ceramic Surfaces 74 Mural Painting 77 Painting On Fabric And Leather 82 Pouring 87 Silk-Screen 89 Surface Preparation 90 Transfers 97 Watercolor with Acrylic 100 Gloss Gel 41 Gloss Heavy Gel 41 Gloss Super Heavy Gel 42 Matte Gel 43 Matte Super Heavy Gel 44 Ultra Matte Gel 44 Slow-Dri® Blending Gel 45 Modeling Paste 46 Light Modeling Paste 47 Flexible Modeling Paste 47 effects 48 Fabric Medium 48 Iridescent Medium 48 Airbrush Medium 49 Pouring Medium 50 String Gel 50  liquitex® / the Acrylic book .

vehicle (for the earliest artists. a company in Cincinnati. liquitex® / the Acrylic book  . Ohio called Permanent Pigments that had been milling oil colors since 1933 (and run by a man named Henry Levison. The Liquitex® Acrylic Book is for artists.liquitex. educators and students of all levels The information in this book will help you better understand acrylic art materials and will expose you to innovative techniques and applications The Liquitex® Acrylic Book is written by the people who have made professional water-based acrylics longer than any other manufacturer This book is the result of many lifetimes of experience and expertise This easy-access Liquitex® Acrylic Book has six main chapters: 1 Essential Information 2 Liquitex Acrylic Products 3 Applications 4 Frequently Asked Questions 5 Health and Safety 6 Reference The “Frequently Asked Questions” will help you solve common acrylic problems.888. acrylics are fairly new Oil colors date back to the fifteenth century Tempera and encaustic have pedigrees that are counted in the thousands of years And watercolor was the result when prehistoric visionaries developed the basic model for paint that still serves today: a combination of pigment (earth colorant). saliva). while the “Applications” section offers fine art techniques and many ideas for projects and applications If you have any specific or technical questions that are not answered in this book: • isit www.com • Call us at 1. drank. who lived.com for comprehensive technical information on all V Liquitex® products • Email queries to info@liquitex.4ACRYLIC (North America Only).chApter chApter 1: introduction & history 01 inTroducTion & hisTory Knowledge is power. and binder (prehistoric animal fat) Acrylics were first developed as a solvent-based artists’ color in the early part of the twentieth century The first water-borne acrylic (the kind we use today) was developed and launched in 1955 In that year. It’s our job to make sure that you have the information that you need to be successful a BrIef hIstory In the long history of art materials.

20th century art would have been completely different By the 1980’s. acrylics can do just about anything you can imagine Acrylics offer such great versatility because they do three great things: 1. it could be thinned and cleaned up with water Levison tried to come up with a name that would capture the essence of the medium and the fact that it could go from fluid liquidity to heavy texture He called his new product “liquid texture. allowing them to be used without cracking on a wider array of surfaces 3. Andy Warhol and others Because of its durability and versatility. on metal. poured. without Liquitex® and the working properties of water-based acrylics. Levison launched a lecture demonstration program in which artists offered workshops and lectures on the use of acrylics to college students and professors Within a few years. They adjust. splattered. on fabric. sprayed. it would adhere to just about anything— from canvas to paper to metal to wood to plastic– and it dried quickly for easy re-working. acrylics can be used with some simple guidelines on virtually anything. troweled. the working properties of acrylics can be adjusted. and masking Most important. To almost anything Acrylics offer great adhesion to a wide variety of surfaces 2. acrylics tend to remain far more flexible than oils. As they dry and age. altered. on paper.chApter 1: introduction & history slept.” or liquitex®. and breathed artist’s colors) launched a new product This new artists’ color was formulated with an acrylic polymer resin that was emulsified with water The new color could go from thick to thin and everywhere in between. They flex. Levison was able to encourage a number of artists to try the product. They stick. surpassing both watercolor and oil by a wide margin The reason? The infinite variety of applications of acrylics coupled with the spirit of innovation first shown by Liquitex® Without question. on leather. to achieve virtually any visual or sculptural result They can be used on canvas. with a little care and the right additive or medium. but acceptance was slow Acrylics didn’t gain full acceptance in the artist community until Levison figured out a principle that is still in place today: great information is as important as great materials Based upon that principle. Through the wonders of modern chemistry. Liquitex® also became the medium of choice for large-scale public murals by artists such as Garo Antreasian and Thomas Hart Benton In fact. scraped or carved In short. acrylics had become the most popular and widely used of all painting mediums. it’s fair to say that. and on wood Acrylics can be brushed. acrylics were being used consistently in colleges and universities across the country And it wasn’t long before Liquitex® was being used by some of the most important artists of the late 20th century: David Hockney. and managed in an infinite variety of ways To take advantage of this versatility it helps to understand the basic chemistry of how Acrylics work  liquitex® / the Acrylic book . there is no more versatile color system in the world While both oils and watercolor require careful selection of surfaces and techniques to ensure success and stability. Helen Frankenthaler. layering.

inorganic. natural and synthetic They have little or no affinity for the surface to which they are applied • Vehicle combination of water and acrylic polymer which create a polymer emulsion A Once the water leaves the system via evaporation or absorption the paint dries creating a stable film trapping the pigment particles • Binder crylic polymer without the water Binder gives the paint its handling and durability A characteristics defInItIons • polymer “polymer” is a long chemical chain made up of smaller. can be mixed together but will still settle out and separate ) Chemical emulsifiers are added to force the water and acrylic polymer into a stable mixture until the water either evaporates or is absorbed liquitex® / the Acrylic book  . for example. it has the potential for added strength and stability as it locks into a tightly ordered structure The final acrylic paint film is made of a stable polymeric structure that locks the pigment into place • emulsion mixture of water and acrylic polymer An emulsion is a stable mixture of A components that do not normally mix well together (Oil and water. powdery material that does not dissolve and remains suspended when A mixed with acrylic polymer emulsion Pigments can be organic. often identical A molecules When fully assembled.chApter chApter 2: essentiAl informAtion 02 essenTiAl informATion What Is aCrylIC paInt? Water based acrylic paint is composed of pigment particles dispersed in an acrylic polymer emulsion Components of aCrylIC paInt • pigment dry.

hexagonal structure. water in the emulsion evaporates. acrylic paint is a finely balanced dispersion of pigment in an emulsion of acrylic polymer and water The water serves to keep the emulsion liquid. trapping the pigment in place Bingo! The stable paint film! sTep 1 sTep  sTep  It is important to note that acrylics should never be thinned with more than 25% water Too much water will spread the acrylic resin thinly. rather than water. and acts as a kind of chemical ‘chaperone’ preventing the acrylic polymer particles from getting close and personal and locking up before the artist is ready step 2 When exposed to the atmosphere. Liquitex® continuously makes use of new acrylic resins from around the world that offer far better wet clarity than ever before  liquitex® / the Acrylic book . and acrylic are transformed into a last-for-ages paint film: step 1 Squeezed from the tube. or is absorbed into the painting support That’s when the acrylic polymer particles come into direct contact and fuse with each other step 3 The polymer particles organize themselves into a stable.chApter 2: essentiAl informAtion / Acrylics hoW aCrylICs Work Acrylic colors dry as a result of water evaporation Here’s what occurs as pigment. the value of the color darkens This color change is commonly called the wet-to-dry color shift and is most noticeable with dark transparent pigments (such as Alizarin) and less noticeable with light opaque pigments (such as Cadmium Yellow) As acrylic chemistry advances. or scooped from the jar. water. and the binder clarifies. and interfere with the formation of the stable film Adding an Acrylic Medium. helps maintain color brilliance and ensures that the paint film will remain stable The acrylic/water emulsion has a slightly milky color when wet that clarifies as the paint dries This milky appearance lightens (to a slight degree) the value of the color As water leaves the emulsion.

clean with water and/or window cleaner Dried acrylic paint is permanent on fabric • from painting surface:While paint is wet. nonflammable Uses non-toxic thinners and mediums • OTE on flexibility: While Liquitex® Acrylic colors and mediums will remain flexible N over time. wipe with damp rag. roll. no fumes. or unroll acrylic paintings in temperatures below 45º F dryInG CharaCterIstICs • crylic paint dries by evaporation of its water component Thin paint films will A dry in 10– 20 minutes while thick paint films may take from an hour up to several days • On porous surfaces the water evaporates from both the paint as well as the underside of the support • Resin particles coalesce and trap pigments as the water evaporates The polymer resin bonds and falls into roughly hexagonal patterns The completed process yields a water insoluble. flexible. non-yellowing paint film CleanInG up aCrylIC paInts • from hands:Wet or dried acrylic paint cleans with soap and water • from brushes:Clean wet brushes with soap & water Clean dried acrylic brushes with acetone. clean with water When paint is dry. all acrylic paint films become increasingly brittle in cold weather Do not flex. hands and palette with soap and water • Little odor. denatured alcohol or equivalent product These cleaning solutions are toxic Care should be taken during use • from clothing:While paint is wet. turpentine or oils Mix only with other acrylic emulsion D paints or mediums • Keep brushes wet Clean up brushes. simply paint over surface with desired colors and motif The surface of a dry acrylic painting can be cleaned by gently washing with soap and water liquitex® / the Acrylic book  . use acrylic mediums or additives to adjust the flow and working properties • o not mix with solvents.chApter 2: essentiAl informAtion / Acrylics CharaCterIstICs of aCrylIC paInts BasIC CharaCterIstICs • Water-soluble colors while wet • ermanent. water insoluble. flexible colors when dry Built up surfaces will remain P free of cracks and chips Less flexible in cold weather Softer in warm weather • hould be thinned with a minimum of water To maintain the stability of the final S film.

emulsifiers or additives that increase volume without imparting a positive attribute to the paint Liquitex® Acrylic Colors have the greatest permanence and lightfastness possible All colors dry to the tightest sheen range of any acrylic. for every Liquitex® color These designations are based on the internationally recognized Munsell Color System 10 liquitex® / the Acrylic book . Chroma Hue. or Opaque (O) on the label of each product • opaque O paque colors do not allow light to pass through the color layer Best “hiding power” or coverage Duplicates gouache effects I n between transparent and opaque Allows some light to pass through the color layer T ransparent colors allow light to pass through their color layer Least “hiding power ” Allows underneath color to show through Best suited for glazing and watercolor techniques • translucent • transparent hue. Translucent (TL). toners. with high tinting “power” and maximum permanence of any acrylic laBel InformatIon The following information is provided on labels of all Liquitex® Acrylic Colors transparency/opacity The transparency. Value.chApter 2: essentiAl informAtion / Acrylics teChnICal InformatIon All Liquitex® Paints and Mediums are manufactured to high quality and performance standards attrIButes Liquitex® Acrylic Colors and Mediums are made using the highest quality acrylic resin to produce acrylic polymer emulsion colors and mediums All colors contain pure pigments. ensuring less shiny and dull spots in the finished painting All colors contain the highest pure pigment load. dyes. in a 100% acrylic polymer emulsion Liquitex® Acrylic Colors contain no fillers. translucency and opacity of colors are based on the characteristics of the pigments used All Liquitex® colors are labeled Transparent (TP). Value and Chroma positions for each color are displayed on each label. opacifiers.

placing green next to red will make both colors appear more intense and vivid Green occupies the point directly opposite red on a color wheel. and Blue A hue is the precise identification of each color within a Hue Position Band The specific hue of a color may be at center or lean toward one spectral neighbor or another For example. Red. Blue Purple. and is considered to be the complement of red Orange is the complement for blue. Yellow Orange.chApter 2: essentiAl informAtion / munsell color sys. the three primary colors are Red. Yellow. the mixing of a splitcomplement with the original target color will yield a well-balanced gray triadic color selections allow the artist to select colors that serve as unique ‘primaries’. in fact. 12 hues are Red Purple. Orange. and violet is the complement for yellow split-complementary colors are those that reside directly to either side of the complementary color Working with split-complements allows the artist to explore relationships in which the target color can be enhanced by being placed next to or near a split-complementary but not with the same degree of intensity that comes with being paired with its straight complementary color In addition. Red Orange. Yellow Green. munsell Color system There are a variety of optical systems that can be used to measure the refractive and physical properties of color One of the most commonly used in helping artists and scientists better identify the optical characteristics of color is the Munsell system Liquitex® labels include Munsell notations for each color The color system is broken down with the following identifying categories: hue Color can be organized to follow the flow of hues or spectral family names As organized within a color wheel. each of which are evenly spaced in thirds around the color wheel tetradic color selections allow the artist to select colors that are balanced and harmonious by virtue of their equal spacing in quarters around the color wheel More complex relationships with both triadic and tetradic systems can be explored through defining unique complementaries and split complementaries within the user’s uniquely defined palette Value All colors vary in value (the range from light to dark) Value numbers on the label give the light and dark measure of a color There are. Blue Green. Green. and is indicated as leaning toward the Red Orange hue column Complementary colors strongly enhance the character of the primaries For example. and Purple Within the spectrum. Blue. Cadmium Red Medium carries a Munsell Notation of 6 3R. 10 theoretical value steps ranging from pure black (level 0) to pure white (level 10) The higher the number. Yellow. the lighter the color liquitex® / the Acrylic book 11 .

having no trace of chroma or hue This is called. please see the reference section on page 112 1 liquitex® / the Acrylic book . is identified by a number that ranges from 0 to 20 Neutral gray is rated 0. while Burnt Sienna has a chroma notation of 4 permanenCy Lightfastness I. the higher the number Cadmium Red Light Hue. has a chroma notation of 13. Chroma By their very nature. or color intensity. III identify the rating of a color and its ability to withstand any color shifting or fading when exposed to ultraviolet light (i e sunlight) The lightfastness of all Liquitex® colors are listed according to standards established by the American Society for Testing and Materials (ASTM) Category I E xcellent lightfastness The color will exhibit no appreciable color change after the equivalent of 100 years of indoor museum exposure Best suited for outdoor installations (murals) V ery good lightfastness Colors are suited for all indoor applications. for example. but not exterior painting that may receive heavy exposure to ultraviolet light Category II Category III arginal permanence “Fugitive” colors that may fall below the level of M permanency for artist’s colors Not recommended for permanent work pIGment desIGnatIons Pigment and Color Index Names are listed for all Liquitex® colors For specific color information.chApter 2: essentiAl informAtion / munsell color sys. some colors are quite bright (like crimson) while others are naturally dull (like yellow ochre) The relative brightness or intensity of colors can be identified systematically Chroma. zero hue ” The brighter the color. II. “zero chroma.

chApter 2: essentiAl informAtion / mixing color

mIxInG Color: mIneral and modern pIGments
In order to mix color well, it is essential to understand the properties of the pigments used to make each color Every pigment has different characteristics, which ultimately influence how they interact with each other The unique optical properties of each color can range from transparency to complete opacity Some pigments have strong tinting strength which creates color mixes that are crisp and bright, while others tend to gray down when mixed Knowing the difference between mineral and modern (organic) pigments is the key to choosing colors that will blend together to create the desired results Three general rules govern the differences between their working properties: • hen mixed, mineral colors tend to more closely replicate the tonalities of the W natural world Because of the nature of reflected light and shadow, we live in a world of pure colors that combine into rich shades of gray The physical and optical properties of inorganic colors, quite often, more closely capture those qualities of natural light and shadowed color • Modern colors are brighter, and tend to make brighter mixes Because of their purity, natural translucency and tinting strength, organic pigments produce mixed colors that tend to remain closer to the high chroma of their “parent” primaries • he two can be used together with good results For example: adding a small T amount of a modern color to a mixture of mineral pigment that has gotten muddy will help restore lost chroma, without losing the natural character of the mix Remember the above are only general guidelines The uniqueness of each pigment sometimes causes “modern” qualities to show up in “mineral” colors and vice versa Historically mineral pigments such as yellow ochre and raw umber have been used since pre-historic times During the nineteenth century a wide array of other mineral pigments became available when the industrial revolution and developments in chemistry made it possible to combine metals like cadmium, or cobalt with other compounds The results were highly stable, far less prone to fading, and could be ground into a suspension within a vehicle for oil paint More recently, pigment chemistry was revolutionized as modern organic colors were born in the laboratory This has given rise to pigments like anthraquinones, dioxazines, pyrroles, phthalocyanines, and benzimidazalones, which make possible the wide variety of colors available to artists today

liquitex® / the Acrylic book

1

chApter 2: essentiAl informAtion / color pAlettes

lIquItex® Color palettes
Below are suggested color palettes for use with all liquitex acrylic color ranges

lIquItex® professIonal artIst aCrylIC Colors
3 Color primary palette: Quinacridone Crimson (Primary Red) Yellow Medium Azo (Primary Yellow) Phthalocyanine Blue (Primary Blue) 6 Color palette: hue Based Quinacridone Magenta Cadmium Red Light Hue Cadmium Yellow Medium Hue Phthalocyanine Blue (Green Shade) Ivory Black Titanium White 12 Color palette: hue Based Quinacridone Magenta Cadmium Red Medium Hue Cadmium Red Light Hue Cadmium Yellow Medium Hue Burnt Umber Permanent Green Light Phthalocyanine Green Phthalocyanine Blue (Green Shade) Ultramarine Blue (Green Shade) Dioxazine Purple Titanium White Ivory Black note:
• “Hues” are used as replacements for cadmium, cobalt and other colors, when they are either unavailable, too expensive, or fugitive. Liquitex® "Hue" colors generally yield higher intensities than the color they imitate. • The “Hue Based Systems,” because they are based upon modern organic colors, will tend to mix with greater brightness and clarity. • The “Cadmium Based systems” will tend to yield mixes that more closely approximate natural light, and that may be considered more suitable for traditional landscape, portrait, or still life representations.

pigment single mixed mixed single single single

Cadmium Based Quinacridone Magenta Cadmium Red Light Cadmium Yellow Medium Phthalocyanine Blue (Green Shade) Ivory Black Titanium White

pigment single single single single single single

pigment single mixed mixed mixed single mixed single single single single single single

Cadmium Based Quinacridone Magenta Cadmium Red Medium Cadmium Red Light Cadmium Yellow Medium Burnt Umber Light Green Permanent Phthalocyanine Green Phthalocyanine Blue (Green Shade) Ultramarine Blue (Green Shade) Dioxazine Purple Titanium White Ivory Black

pigment single single single single single mixed single single single single single single

1

liquitex® / the Acrylic book

chApter 2: essentiAl informAtion / color pAlettes

lIquItex® BasICs Value serIes aCrylIC Colors
3 Color primary palette: Primary Red Primary Yellow Primary Blue 12 Color palette: hue Based Quinacridone Magenta Burnt Umber Cadmium Orange Hue Naphthol Crimson Primary Yellow Phthalocyanine Blue Phthalocyanine Green Ultramarine Blue Dioxazine Purple Ivory Black Titanium White

pigment single single single single single single single single single single single

liquitex® / the Acrylic book

1

too expensive. Quinacridone. durable. or fugitive Liquitex® “Hue” colors generally yield higher intensities than the color they imitate professIonal artIst aCrylIC Color Since developing the first water based artist acrylic products in 1955. offering increased open time and producing colors of great clarity with very low wet-to-dry value shift The paint films are highly flexible. “custom” colors Colors are G brighter than can be mixed in studio. Liquitex® has always been concerned with the needs of the professional artist All Liquitex® products are formulated by a unique team of chemists and artists: chemists with a wide array of skills in resin technologies and artists who help us to stay focused on the working properties This combination allows us to make the most versatile ranges of intense. highly loaded. water-resistant and pH neutral when dry All Liquitex® Professional Colors can be intermixed with each other and as well as with all Liquitex® Mediums 1 liquitex® / the Acrylic book . UV resistant. Heavy Body. to be used alone or in color mixing Includes Cadmiums. cuts down on color mixing and provides cost savings • eutral Gray 5 enables artists to adjust the value and chroma of a N color without altering the hue hue Colors Colors that contain the word “Hue” at the end of the color name • ingle pigment or mixture of pigments that look and perform similar to the color S they replace • ues are used as replacements for cadmium. opaque. Phthalocyanine (Phthalo) and other colors • Cadmium Colors Traditional single pigment colors Expensive. Cobalts. when H they are either unavailable. permanent Non-toxic on skin or if ingested Toxic in spray mist mixed pigment Colors • ives artists the benefit of pre-mixed. cobalt and other pigments. non-yellowing. and Super Heavy Body With that in mind. rangespecific handling characteristics are established so that every Liquitex® paint feels just right – never too sticky or slippery The low-odor acrylic resin base represents the latest in acrylic resin technology. permanent colors possible Liquitex® is the only acrylic brand to offer three uniquely different ranges of professional paint to suit the needs of the artist: Soft Body.chApter chApter 3: liquitex® products 03 liQuiTeX® producTs Color ranGes single pigment Colors Offers artists the purest color.

there The reason they A for applications that require masking.chApter 3: liquitex® products / professionAl color attributes for all liquitex® professional Colors • Little to no perceptible wet-to-dry color shift • Wide range of intense. to wood—the exceptions are oily or shiny surfaces Plastic surfaces should be sanded before painting. too Mediums A 4 rtists’ quality colors are offered and priced in ‘series ’ A can be used to make the color suitable for glazing. tiles. paper. rapid layering. cement. to brick. silk. plaster. Heavy Body for thick applications. watercolor. or by diluting the pigment strength 7 crylics are ideal for contemporary and experimental A applications The colors dry very rapidly (remaining workable for 10–40 minutes) making them well-suited 3 rtists’ paint is costly No news. plastic. super thick applications 9 crylics can be used on almost any surface. A to canvas. offer the purest color. metal. concrete block or any masonry surface • No toxic solvents or cleaners necessary • Resistant to ultraviolet light. fabrics. canvas. dries quickly to a water-resistant surface • No chemical drying action to prolong painting and varnishing procedure • xcellent adhesion to most painting surfaces. artistic success W 2 ater-borne Acrylic colors for artists were invented by Liquitex® in 1955 Liquitex® continues to be the leader in producing high quality. leather. innovative acrylic products for artists 6 ll Liquitex® Professional Acrylic colors contain the same A concentration of pigment per volume The color is made more (or less) fluid by altering the chemistry of the acrylic vehicle NOT by adding water. leather surfaces should be degreased with rubbing alcohol Always conduct an adhesion test when working on more ‘unusual’ surfaces liquitex® / the Acrylic book 1 . and other applications the unique pigment included in each formulation 5 crylic colors can be produced in different thicknesses (or A bodies) Liquitex® is the only acrylic brand to offer three distinctly different ranges: Soft Body for fluid applications. permanent pigments • Each color is uniquely formulated to bring out the maximum brilliance and clarity of each individual pigment • All colors are formulated to dry within a tight satin sheen range • Suitable for indoor and outdoor applications • Water soluble when wet. and cost more than house paints or model paints or some craft textural application They’re ideal for murals. E mural applications. and Super Heavy Body for impasto. and provide the artist with all the essentials for creative. etc • hemically alkaline when wet and therefore compatible with common mural grounds C such as concrete. paints is because of the cost of pigment There is a truly and structural techniques amazing concentration of pigment in artists’ quality color 8 crylics can be used for traditional painting. will not yellow or get brittle over time • Outstanding color clarity and brilliance for superb color mixing 9 essentIal thInGs to knoW aBout aCrylIC Colors 1 Good products help you succeed The finest quality paints and colors mix brilliantly. from paper. wood. The cost of each series number reflects the relative cost of impasto.

pre-filtered consistency ensures good coverage. previously referred to as Medium Viscosity. even-leveling and superb results in a variety of applications and techniques • 94 Professional Colors • Heavy cream consistency • Even leveling • Extremely versatile formulation for most fine art and decorative art techniques • Retains little or no brush marks • Ideal for flat. Mono Prints.chApter 3: liquitex® products / soft body soft Body professional artist acrylic Color Soft Body Artist Color. creamy and smooth with a concentrated pigment load producing intense. was the original Liquitex® acrylic formulation first made in 1956 It is an extremely versatile artist paint. large area coverage and fine line detail • Professional grade colors for decorative painters are also available • Available in tubes and jars • Intermixable with all Liquitex® products t e C h n I q u e s a n d a p p l I C at I o n s › Traditional painting on canvas or panel › Fabric Painting › Decorative Painting › Faux Finishing › Glazing › Underpainting › Murals › Calligraphy › Unfired ceramics › Sculpture › Photo retouching › Watercolor › Illustration and Design › Airbrush* › Printmaking: Screen Printing. pure color The creamy smooth. Block Prints › Collage and Mixed Media › Scrapbooking/Altered Books *Thin with Liquitex® Airbrush Medium 1 liquitex® / the Acrylic book .

Block Prints liquitex® / the Acrylic book 1 . thick films remain free of cracks and chips • Intermixable with all Liquitex® products t e C h n I q u e s a n d a p p l I C at I o n s › Impasto: Thick applications with brush stroke and knife marks › Traditional Painting on canvas or panel › Experimental Painting › Collage and Mixed Media › Printmaking: Screen Printing. Monoprints. collage and printmaking applications Impasto applications retain crisp brush stroke and knife marks Good surface drag provides excellent handling and blending characteristics with increased open/working time High pigment load produces rich.chApter 3: liquitex® products / heAvy body heavy Body professional artist acrylic Color Heavy Body Professional Artist Color. brilliant. has a thick consistency (similar to oil paint) for traditional art techniques using brushes or knives. permanent color • 100 Professional Colors • Exceptionally smooth. mixed media. previously referred to as High Viscosity. as well as for experimental. thick buttery consistency • Retains brush strokes and palette knife marks • Great for thick/impasto applications and painting techniques • Flexible when dry.

allows more working (open) time • Intermixable with all Liquitex® products t e C h n I q u e s a n d a p p l I C at I o n s › Impasto applications with strong brush stroke and high knife marks › Traditional Thick Painting on canvas or panel › Thick Application Experimental Painting › Collage and Sculptural Mixed Media 0 liquitex® / the Acrylic book . no “plastic look” • Very low shrinkage • Vibrant colors straight out of the container • Slow drying time. clean. knife marks and brush strokes • Flexible when dry. comparable to fine oils • Superior shape retention: holds super high peaks.chApter 3: liquitex® products / super heAvy body super heavy Body professional artist acrylic Color Super Heavy Body is a line of highly pigmented. allowing built-up surfaces to remain free of cracks and chips • Excellent for impasto (thick). ‘textural’ and ‘sculptural’ painting techniques • Satin finish. and is excellent for ‘textural’ and ‘sculptural’ applications Super Heavy Body has very low shrinkage from wet-todry and produces clean color mixes with outstanding clarity and brilliance It is formulated to dry within a uniform satin sheen range. enhancing the visual clarity of the finished painting. providing a non-plastic look and eliminating glare Little or no wet-to-dry value shift allows for more accurate color mixing Increased open time for easier blending • 27 Professional Colors • Extra thick body with high surface drag (rheology). brilliant colors with superior shape retention and unique “gutsy” handling It is an innovative product introduced to the Liquitex® range in early 2004.

thinned with water or mixed with any Liquitex® Acrylic Color.chApter 3: liquitex® products / interference colors deCoratIVe serIes InterferenCe Colors Liquitex® Interference Colors are colorless. add 2–5% Mars Black to interference color › Applied over white surfaces or light colors. add 1% Mars Black to interference color › To create iridescent grays. before applying the interference color (i e Naphthol Crimson underneath Interference Green) › To increase interference color effect. they are translucent › Applied over black or dark surfaces they are seen as brilliant pastel colors › Applied on transparent and translucent surfaces they create unusual visual effects › Mix with Liquitex® Mediums to create luminescent fluid glazes liquitex® Interference Glaze mixing Guide thick Interference Glaze 85–90% Gel Medium or Heavy Gel Medium 10–15% Interference Color 1% Liquitex® Soft Body Artist Acrylic Color* fluid Interference Glaze 85–90% Gloss Medium & Varnish 10–15% Interference Color ® 1% Liquitex Soft Body Artist Acrylic Color* * = Use a transparent color liquitex® / the Acrylic book 1 . reflecting the labeled color or passes through to another layer and bounces out at a different refractive index displaying the labeled color’s complement The effect is visually similar to a thin coat of oil floating on water tIps & teChnIques › Use in any technique or surface suitable for any acrylic paint or medium › Apply straight from container. transparent colors made from titanium coated mica flakes rather than traditional pigments They are also known as “Opalescent Colors” They change their color (exhibiting a metallic look and color shift) depending upon the viewing angle As the light hits the mica flakes it either bounces off directly. Iridescent Color. apply a base color that matches the “flip” or complement of the interference color. Fluid or Gel Medium to produce an endless variety of colors and effects › Apply in several thin layers rather than one thick layer › Thin applications in a wash or glaze increase the visual interference effects › To achieve a visually opaque coat.

as well as the color. reflecting more light than they receive As a result. produced from dyes surrounded by a polymer coating The dyes absorb invisible ultraviolet light and emit visible light of a longer wavelength. fades rather rapidly because the dyes are T not stable. brilliant colors. these colors are rated Lightfastness III and should not be used for work that is meant to be permanent  liquitex® / the Acrylic book . rather than traditional pigments • Light absorbing colorant layers determine the observed color • ridescent pigments are “optically opaque” and they rely on reflected light only for I their effect No Interference “flip” color is observed • Colors will not oxidize tIps & teChnIques › They can be used alone or mixed with other Liquitex® Colors and Mediums for a variety of iridescent. they fluoresce or glow and will visibly overpower paints made from traditional pigments CharaCterIstICs • he fluorescent effect. as with all traditional fluorescent colors. metallic effects › Avoid mixing with opaque colors › Mix with small amounts of Liquitex® Acrylic Colors for a variety of “metallic” colors.chApter 3: liquitex® products / iridescent – fluorescent IrIdesCent Colors Iridescent paints are also known as “metallic“ paints that do not tarnish They mimic the effect of bronzing powders Bronzing powders can not be used with acrylic emulsions as they tarnish due to the alkalinity of the binder Characteristics • iquitex® Iridescent Colors produce a variety of nonL tarnishing iridescent or metallic effects • ade from titanium coated mica flakes with an outer layer of a transparent light M absorbing colorant. i e copper with green = antique copper › Mix with Liquitex® Fluid Mediums for “metallic” glazes › Mix with Liquitex® Texture Gel Mediums for “metallic” textures › Add Iridescent White to other colors to attain pearlescent qualities fluoresCent Colors Liquitex® Fluorescent Acrylics Colors are intense.

high gloss finish › Heat-set colors dry to a scratch resistant. primed metal. enamelware.chApter 3: liquitex® products / liquigems – glossies fluoresCent Colors (Cont ) tIps & teChnIques › Fluorescent colors are translucent and greater intensity can be achieved by working over a bright white surface › If a greater permanency is desired. stoneware. a topcoat of Liquitex® Soluvar® Gloss Varnish or Soluvar® Matte Varnish (which contain Ultraviolet Light Stabilizers) is recommended. wood and other non-oily surfaces tIps & teChnIques › Air-dried colors dry to a durable. glazed ceramics. three-dimensional consistency • Appear milky when wet tIps & teChnIques › Brush on or use with applicator tip for dimensional line work › Not recommended for airbrush or marbling techniques › Not recommended for permanent work GlossIestm aCrylIC enamel Liquitex® GlossiesTM are water based acrylic enamels that are specially formulated to adhere to slick. high gloss finish › All colors are lightfast Suitable for indoor and outdoor applications (when heat set) › All GlossiesTM colors are intermixable and can be easily blended to achieve any color › Non-Toxic and contain no solvents Clean up with soap and water liquitex® / the Acrylic book  . tiles. although it will eliminate the fluorescent “glow” under black light lIquIGemstm aCrylIC GlItter paInt A heavy body 100% acrylic polymer emulsion paint that contains a heavy concentration of mica flakes CharaCterIstICs • Glitter colors dry to a thick. non porous materials such as: glass. china.

as they D will abrade surface • are should be taken if using grout in-between heat set GlossiesTM tiles C Grout is abrasive and can scratch surface A non-abrasive acrylic tile grout is recommended • Do not use on flexible surfaces • Do not use in food contact surface applications • ay be used on outside of mugs. cleaning or wetting surface Heat set at 325˚F/163˚C for 45 mins • Hand wash in warm water with mild dishwashing detergent • Do not place extremely hot pans. such as kitchen countertops. N floors. etc Do not paint within the top ¾” M (20mm) of drinking vessel May be painted on underside of clear glass dishes  liquitex® / the Acrylic book . bowls. etc • o not clean Glossies™ (heat set or air-dried) with scouring cleaners. etc on baked GlossiesTM • ot recommended for shower stall tile installation Repeated exposure to hot N water will adversely affect adhesion • ot recommended for “heavy use” applications.chApter 3: liquitex® products / glossies GlossIestm aCrylIC enamel use and Care (Cont ) • eat-set GlossiesTM will soften when soaked in hot water or exposed to heat and H return to proper hardness upon cooling Allow to cool prior to rubbing.

BASICS® and BASICS® Matt.chApter 3: liquitex® products / bAsics® BasICs® Value serIes Developed for students and artists that need dependable quality at an economical price Each color is uniquely formulated to bring out the maximum brilliance and clarity of the individual pigment Available in two formulations. eliminating surface glare • Great coverage • Heavy body consistency allows for thick oil-like painting. easy blending › Experimental Painting › Collage and Mixed Media › Printmaking: Screen Printing. Mono Prints. retaining peaks and brush marks • Colors dry to a satin finish t e C h n I q u e s a n d a p p l I C at I o n s › Impasto: Thick applications with brush stroke and knife marks › Traditional Painting on canvas or panel. Block Prints › Color Theory/Mixing liquitex® / the Acrylic book  . to fit a variety of applications and techniques attrIButes for all BasICs® Value serIes Colors • 36 Colors • Value Priced • olors are uniquely formulated to bring out the C maximum brilliance and clarity of each individual pigment • Colors are intermixable with all Liquitex® Professional Grade Colors and Mediums • All colors are non-toxic and hold the AP seal from ACMI for safe educational use • Flip-top cap for quick and easy dispensing and closing • Contains the same binder as Liquitex® Professional Grade Acrylics • Contains a lower pigment load than Liquitex® Professional Grade Acrylics BasICs® BASICS® is a heavy body acrylic with a “buttery” consistency for easy blending It retains peaks and brush marks and colors dry to a satin finish.

‘gouache-like’ properties • reamy.chApter 3: liquitex® products / bAsics® mAtt BasICs® matt BASICS® Matt is a soft body acrylic with a smooth consistency for easy application and blending Its free flow formula ensures a smooth application and even leveling BASICS® Matt’s rich saturated colors dry to a flat matte sheen and have gouache-like properties of excellent opacity • Flat matte finish. Block Prints › Collage and Mixed Media › Color Theory  liquitex® / the Acrylic book . soft body consistency allows for easy brush out and thinning with water or C Liquitex® mediums • High opacity for great coverage • Deep. free flowing formula • Water resistant when dry (allow seven days to fully dry) t e C h n I q u e s a n d a p p l I C at I o n s › Experimental Painting › Decorative Painting › Faux Finishing › Illustration and Design › Printmaking: Screen Printing. rich saturated color • Even leveling. Mono › Prints.

that quality will be apparent in the work produced liquitex® / the Acrylic book  . at most With proper application. including some very obscure R locations The very best materials can be more costly to obtain Quality raw materials produce quality products that enhance the experience of painting. independent of cost At Liquitex®.chApter 3: liquitex® products / choosing the right color ChoosInG the rIGht Color: artIsts’ Color Vs Value serIes the difference between artists’ and value series color is simple: Artists’ colors are formulated to provide the best possible performance. by contrast. and every single color is formulated differently In a range of 100 colors (like Liquitex® Heavy Body Artist Acrylic Colors). the greatest contributor to the cost of fine color A single tube of artists’ quality color contains as much or more highly refined pigment than much larger buckets of household-quality paint 2 Every single pigment is unique. raw materials. fine artist colors are formulated to last generations or centuries 4 aw materials come from all over the planet. and milling for our artist grade colors are clear: choose and use the best Making the finest possible color comes first Cost is secondary four reasons that artIst qualIty Colors are Worth the Cost: 1 Fine pigment is. there are 100 different formulations to take full advantage of the distinct characteristics of each pigment 3 very color is formulated to provide the most stable and permanent film E possible House paints. the benchmarks for selecting pigments. are formulated to last a decade or two. by far.

©2000)  liquitex® / the Acrylic book . while more limited. milled to achieve thorough and complete dispersion of pigment within the vehicle. broad and complete spectrum of colors. (usually regardless of cost) to achieve the ideal mixing and working properties. sometimes with a second series for genuine cadmiums and cobalts. because lower cost pigments are used. Krause Publications. to offer dependable stability and working properties. good quality student colors required a minimum of fillers. regardless of resources required. many of the pigments used in the formulation. using pigments requiring minimal resources. “hue” colors usually offered as an alternative to genuine cadmiums or cobalts. sometimes in excess of a hundred within a given range. permanence formulated to offer the best possible permanence of many value series lightfastness (depending upon the colors. often priced at a single level. formulated to offer ideal qualities of opacity/transparency. color) and stability of film. color bias. priced in series. color bias.chApter 3: liquitex® products / choosing the right color Value Series Colors (like Liquitex® BASICS®) are formulated to offer dependable standards of performance at a more affordable cost Below is a table outlining the key differences between artists’ and Value Series Colors: artists’ Colors formulated with as much pigment as is necessary. offer superior lightfastness. spectrum. and only for the purpose of improving viscosity and working properties. good value series ranges offer a balanced. pigment load milling price true pigment Character fillers or extenders minimal use of additives. the ideal spectrum is well balanced. working properties. tinting strength for a more limited range.” by David Pyle. formulated to offer dependable qualities of opacity/transparency. extenders used only to bring down excessive tinting strength of colors like those made with phthalocyanine. quality of color is more important than cost. if not ideal. according to pigment. and allows the artist an almost infinite array of mixing options. is often quite good. and tinting strength for every color in the range Value series Colors formulated with sufficient pigment to offer dependable. spectrum (Reprinted with Permission from “What Every Artist Needs to Know About Paints and Colors. milled quickly (where possible). fillers or extenders used only when necessary to moderate price. when used appropriately. even though of lower cost.

chApter 3: liquitex® products / Acrylic mediums

aCrylIC medIums
In addition to the widest array of Professional and Student colors, Liquitex® offers the broadest possible range of acrylic mediums to inspire creativity at every stage of the painting process We understand that mediums are often a difficult concept to grasp until you actually dive into them, so we’ve tried to simplify usage by classifying products in three distinct categories: Prep, Paint, and Finish

prep
Surface preparations set the foundation for stable and permanent color applications by sealing and adding tooth to almost any painting surface We offer five different types of acrylic gessoes to accommodate all types of work

paint
Within the painting category, there are several different types of products you would use in addition to the color itself They are Fluid Mediums, Gel Mediums, Additives, and Texture Gels Each of these products are explained further within this book These painting mediums allow an artist to adjust the working and optical properties of the paint film to accomplish an astonishing variety of techniques and applications

finish
Varnishes are applied over a completed piece of work to change or unify the surface sheen and protect the painted surface from the environment and ultraviolet light Whether you are PREPing the surface, PAINTing the masterpiece, or adding the crucial FINISHing touch, Liquitex® offers the proper medium to achieve any desired result Explore your possibilities even further by mixing Liquitex® acrylic color with any of our mediums all liquitex® medIums are • Permanent • Ph neutral when dry • Non-yellowing • Water resistant when dry • Flexible, non-cracking1 • Ideal for improving adhesion • Formulated for long-term durability • AP Labeled2 • Manufactured with the best quality resins available • Developed by specialized chemists, with combined 50+ years of experience 1 – Except Modeling Paste 2 – Except Soluvar®

liquitex® / the Acrylic book 

chApter 3: liquitex® products / Acrylic mediums

essentIal InformatIon aBout usInG aCrylIC medIums • For best results, always test before using • ix Liquitex® Mediums into acrylic color to add flexibility, adhesion, and M long-term stability • Liquitex® mediums extend the volume, while most also increase the transparency of acrylic color • A thin film (1/16”) of Liquitex® medium may take between 1⁄2 hour to 24 hours to initially dry, while a thicker film (1/4”) may take between 2–5 days to initially dry (always dependant on relative humidity) • he use of Pallette Wetting Spray or an air-mister and humidifier will slow the drying time T of all Liquitex® Mediums • Avoid any oily, oil painted, greasy or waxy surfaces • o improve adhesion when painting on any hard or slick surface such as glass, T metal, enamel or hardboard, sand surfaces prior to applying any medium • Vigorous brushwork over textured areas may cause bubbles to form within the paint film • o not overwork during application If mediums are brushed heavily during drying, D it may cause clouding Once the film is clouded and dry, it can not be clarified or removed If an area is missed, allow the surface to dry and then cover with another coat of medium General defInItIon • iquitex® Acrylic Mediums are made from 100% acrylic polymer emulsion that L when dry form durable films They can be thought of as colorless paint They are the binder (glue) of acrylic paint and have excellent flexibility and chemical, water and ultraviolet radiation resistance • hey are added to acrylic paint to alter the paint handling characteristics, T appearance or volume, producing an infinite variety of effects L • iquitex® Mediums are available in different viscosities and sheens (gloss and matte) They are all intermixable • hey can function in a variety of applications and techniques A combination of T several mediums may be necessary to achieve a desired effect or several mediums may be used by themselves to achieve similar effects the dIfferenCe BetWeen addItIVes and medIums An additive is something that changes the chemical “inner workings” of the paint film Additives should be used sparingly, in only the amount needed to generate the desired effect In general, Liquitex® recommends adding no more than 25 percent of any additive to your acrylic paint A medium changes the working properties of the paint, and it includes resin binder for additional stability Because mediums maintain or enhance the stability of the paint film, they can be used in any amount you like 

0

liquitex® / the Acrylic book

chApter 3: liquitex® products / mediums / prep

prep
Surface Preparations are used to seal, prime and add tooth (for color adhesion) to all surfaces such as canvas, wood, paper and metal This same preparation is used for both acrylic and oil paint Liquitex® professional gessoes usually take just one coat all surfaCe preps • Flexible/non-cracking • Do not yellow over time • f using more than one coat, sanding between coats is I recommended • dding Liquitex® Soft Body color to any gesso creates A customized tints and primers • rovide the perfect “tooth” and adhesion to a wide variety of supports such as canvas, P paper and wood • Use one to two coats for acrylic applications Use two to four coats for oil applications Gesso The classic white sealer and ground for absorbent surfaces, such as canvas, paper, or wood Provides the proper surface sizing, tooth and absorbency for acrylic and oil paints One coat is usually enough Traditional gesso is meant to be opaque titanium white for good coverage attributes • Traditional white size and ground • Excellent ground for acrylic and oil paint • Can be mixed with acrylic color to create a tinted ground • Very opaque • Flexible, non-cracking and non-yellowing when dry • rovides the perfect “tooth” and adhesion to a wide variety P of supports such as canvas, paper and wood • Excellent base coat and primer for many techniques and applications

S

surfaCe prep

liquitex® / the Acrylic book 

1

and can seriously undermine the paint film. porous. particularly when painting with oil colors. Clear Gesso A very clear size and ground that keeps the working surface visible Clear Gesso provides an ideal degree of tooth for pastel. paper. fine artists’ gesso will—with proper application and under the right conditions—last generations. Additionally. Artist’s gesso is formulated to offer the ideal degree of absorbency. paper and wood • Excellent base coat and primer for many techniques and applications application • For canvas. we strongly recommend against the use of any house paint as a ground. graphite. wood. paper. a low-cost ground that flakes and separates from the painting support will obviously take the artists’ expressive image with it. and charcoal • Excellent ground for acrylic and oil paint • Mix with acrylic color to have a tinted ground • Dries clear to translucent depending on thickness • Flexible. On the other hand. Too absorbent. house paint is far more absorbent than artists’ gesso. non-oily surface • Sizes and primes while maintaining the original appearance of the support • Provides paper with good tooth for chalk and oil pastel techniques • ix with a very small amount of transparent or translucent acrylic color to tint the M ground while maintaining transparency • Do not to over brush  liquitex® / the Acrylic book . non-oily surface • izes and primes. graphite. or any clean. in fact. and charcoal as well as an excellent ground for acrylic and oil paints This gesso is ideal for painting over colored or patterned surfaces or over an under drawing Mix with acrylic color to establish a tinted transparent/ translucent ground Dries clear to translucent depending on thickness attributes • A very clear size and ground that keeps your working surface visible • Ideal high tooth for pastel. porous. In addition. House paint is formulated to last only a decade or so. oil pastel. or any clean. oil pastel. wood.chApter 3: liquitex® products / mediums / prep Gesso (Cont ) application • For canvas. creating a good surface to establish a preliminary drawing in S charcoal or pencil • Use undiluted or thin up to 25% with water • When thinning more than 25% use an equal mixture of water and Liquitex® Matte Medium to thin gesso • Tint color with Liquitex® Soft Body Professional Artist Colors note: At Liquitex®. non-cracking and non-yellowing when dry • rovides the perfect “tooth” and adhesion to a wide variety of supports such as P canvas.

colored gessoes also give opaque surface coverage Available in Black and Neutral Gray attributes • Excellent ground for acrylic and oil paint • Non-yellowing • Flexible and non-cracking • rovides the perfect “tooth” and adhesion to a wide variety of supports such as P canvas. paper and wood • Excellent base coat primer for many applications such as murals application • Use undiluted or thin up to 25% with water • hen thinning more than 25% use an equal mixture of water and Liquitex® Matte W Medium to thin gesso • Tint color with Liquitex® Soft or Heavy Body Professional Artist Colors • iquitex® Colored Gesso is hue balanced and all colors are intermixable to provide L a wide variety of colored grounds liquitex® / the Acrylic book  . titanium white gesso having the ability to hold sculptural shape Provides all the attributes of traditional acrylic gesso Ideal for thick and sculptural application with a knife or brush attributes • n innovative. paper. porous. non-oily surface • Tint color with Liquitex® Soft Body Artist Acrylic Colors • Use with knife or brush • Do not sand Colored Gesso Establishes a color ground while providing all the attributes of traditional acrylic gesso Some artists like to start their work on a colored ground to reflect the painting process in a different way One coat is usually enough As with traditional gesso. paper and wood application • For canvas. or any clean. wood.chApter 3: liquitex® products / mediums / prep super heaVy Gesso An innovative. non-cracking and non-yellowing when dry • rovides the perfect “tooth” and adhesion to a wide variety of supports such as P canvas. impasto. impasto acrylic gesso used to prepare painting surfaces for acrylic A and oil paint • Create thick sculptural applications • Mix with acrylic color to have a tinted ground • Flexible.

chApter 3: liquitex® products / mediums / fluid paint During the painting process. as this will create foam Foam can severely affect the transparency of the film by creating a visual foggy or hazy quality palette WettInG spray An innovative fluid acrylic resin designed to slow the drying of colors Spray onto your palette or directly onto the surface of a painting This medium improves color blending and can be used to thin color while maintaining film integrity Use repeatedly to prevent paint from “skinning over ” attributes • An innovative. Gel Mediums. Additives. fluid acrylic resin designed to slow the drying of acrylic colors • llows you to keep your palette colors fresh longer. tend to self-level and do not retain brushstrokes Fluid Mediums modify acrylic paints in a variety of ways and contain acrylic resins to maintain or enhance adhesion and durability all fluId medIums • Increase Flow • Dry transparent or translucent • Extend the volume of thin paint • Make an excellent archival adhesive for collage key attrIButes • Self-leveling. preventing the paint from A “skinning over ” • Improves color blending • Can be used to thin color while maintaining film integrity • Formulated with an anti-microbial agent to prevent mold application • Use repeatedly to re-wet palette  liquitex® / the Acrylic book . resulting in easier brush free surfaces • Mix with Soft Body Professional Artist Color to maintain paint viscosity • Mix into Heavy Body Professional Artist Color to reduce paint viscosity Do not shake. there are several different types of mediums you would use in addition to the color itself Fluid Mediums. and Texture Gels allow an artist to adjust the working and optical properties of the paint film to accomplish an astonishing variety of techniques and applications F fluId medIums Fluid Mediums reduce viscosity of heavier paints and gels.

chalk) to U increase gloss or shine Mix 1 part Gloss Medium & Varnish to 1 part distilled water Apply with atomizer or airbrush • As A Ground: › se as transparent ground for acrylic paint instead of gesso Allows substrate U to be seen To prevent Substrate Induced Discoloration (SID) wash cotton or linen canvas before use sId definition: When used as a size over cotton. graphite.chApter 3: liquitex® products / mediums / fluid Gloss medIum & VarnIsh The workhorse of the Liquitex® fluid mediums range Gloss Medium & Varnish is an all-purpose medium that performs two functions It can be used as a final. and gloss Excellent for transferring printed images attributes • ll purpose medium. pastel. while decreasing paint viscosity • As A Fixative: › se as a fixative over artwork (acrylic paint. formulated to be mixed into all Liquitex® acrylic paints A and mediums • Mix into any acrylic paint to enhance the depth of color intensity. intensity. gloss. clear gloss varnish coat and/or a fluid gloss medium It improves adhesion of paint film and increases color depth. increase transparency. acrylic mediums draw substances out of the support as they dry and continue over time Discoloration can occur in areas that are left unpainted • With Powdered Pigments: › se as a binder with powdered pigments to make an inexpensive student U grade (soft body) gloss paint Pigments must be compatible with acrylic emulsion • As A Glue: › Use when collaging with newspapers and lightweight materials liquitex® / the Acrylic book  . linen and hardboard. ease flow of paint and add flexibility and adhesion of paint film • Use as a non-removable varnish to protect painting and establish gloss sheen surface • Translucent when wet. transparent (clear) when dry application • As An Extender: › ix with Soft Body Professional Artist Color to extend volume and increase M transparency. while maintaining paint viscosity › ix with Heavy Body Professional Artist Color to extend volume and increase M transparency.

chApter 3: liquitex® products / mediums / fluid GlaZInG medIum Use when maximum transparency is required to add luminosity and depth to your paintings This fluid medium can be used to create brilliant glazes when mixed with transparent color Glazing Medium dries quickly for rapid layering and tends to minimize or eliminate brush strokes Mix with Slow-Dri® Blending Medium or Slow-Dri® Fluid Retarder to extend the working time attributes • For creating brilliant jewel like glazes with acrylic artist colors • Excellent brushing and leveling qualities • Dries quickly for rapid layering • Small quantities of color provide the most transparency • Works best with transparent or translucent colors • Flexible. increase film integrity. while maintaining color viscosity Mix with Heavy Body Professional Artist Color to extend volume and increase translucency. non-yellowing and water resistant when dry applications • Mix with any amount of acrylic color • Apply to dry. increase matte. translucent when dry application • As An Extender: › ix with Soft Body Professional Artist Color to extend volume and increase M translucency. appearing as a thin. painted areas to change coloration without losing established detail • Underlayer must be thoroughly dry before applying the next coat • horoughly mix a small amount of color into the medium and the color will T lighten As the medium dries it will become transparent and the color will darken. non-reflecting finish when added to acrylic colors • Mix into any acrylic paint to increase transparency and extend color. while decreasing color viscosity  liquitex® / the Acrylic book . transparent version of the original color matte medIum A classic medium used to give fluidity to delicate brushwork or to act as a low sheen adhesive for collage This medium has a creamy consistency and is great with opaque colors Mix with Gloss Medium & Varnish to create a customized satin effect attributes • Creates a matte or dull. ease flow of paint and add flexibility and adhesion of paint film • Mix with Gloss Medium & Varnish to produce a semi-gloss or satin medium • Opaque when wet.

opacity or change in hue O • pacity of colors mixed with Ultra Matte Medium will be higher than if the color had been thinned to the same degree with any other medium except Modeling Paste • The degree to which the color can be extended will vary among the different pigments • hen over 50% is added. wash cotton or linen T canvas before use sId definition: When used as a size over cotton. pastel. W increasing the value of the original color approximately one level Light colors will be affected less than dark colors liquitex® / the Acrylic book  . while maintaining the opacity of the color it is mixed into • conomically doubles the volume of Soft Body Professional Artist Color with little or E no noticeable loss in color intensity. acrylic mediums draw substances out of the support as they dry and continue over time Discoloration can occur in areas that are left unpainted › xterior Murals: If the support or wall is somewhat smooth. linen and hardboard. a coat of Matte E Medium should be brushed or two coats sprayed onto the surface onto the surface prior to applying gesso • As A Glue: › Use when collaging with newspapers and lightweight materials ultra matte medIum An extremely matte.chApter 3: liquitex® products / mediums / fluid matte medIum (cont ) application • As A Fixative: › se as a fixative over artwork (acrylic paint. graphite. fluid medium Ultra Matte Medium can be used to maintain opacity and will extend an opaque color to double amounts without changing the nature of the color Ideal for large projects where transparency is not desired Dries to a dead matte finish with absolutely no level of sheen attributes • Colors mixed with Ultra Matte Medium dry to a dead matte finish • Increases the volume of paint. with excellent tooth and adhesion This will allow the color and texture of the support to show through Can be used as a substitute for the hide glue size traditionally used for oil paintings › o prevent Substrate Induced Discoloration (SID). Ultra Matte Medium can act as a weak tinting white. chalk) to U decrease gloss or shine Mix 1 part Matte Medium to 1 part distilled water and apply with atomizer or airbrush • As A Ground: › ecommended fluid medium to use as a transparent ground (size) for acrylic R paint.

unlike the additives version attributes • unique formulation that extends drying time up to 40% for superior surface A blending with acrylics • dds flow to Heavy Body Professional Artist Color and is similar in body to Soft A Body Professional Artist Color • ix any amount into color to enhance the depth of color intensity.chApter 3: liquitex® products / mediums / fluid ultra matte medIum (cont ) application • Gouache: › ix with opaque Soft Body Professional Artist Color for a matte finish and M gouache (opaque watercolor) look › hese “gouache” colors are water resistant. and add flexibility and adhesion to paint film • Dries clear to reveal full. giving you an opportunity to really work the paint to enhance color blending You can add any amount of this medium. rich color  liquitex® / the Acrylic book . ease flow of paint. flexible. as it contains binder to retain the integrity of the paint film. to M double amount of color Soft Body Professional Artist Color has three times the coverage of Heavy Body Professional Artist Color sloW-drI® BlendInG medIum An essential medium for creating softer edges and modeled forms This medium is used to extend the “open” time of acrylics by more than 40%. lightfast and permanent T when dry Traditional gouache colors are not and are susceptible to accidental re-wetting and must be well protected when finished • Murals: › ix into Soft Body Professional Artist Color for underpainting of murals to M economically double the volume of paint For top layers use Lightfastness I colors without Ultra Matte Medium • Running out of color during painting: › se when running out of a Soft Body Professional Artist Color mixture while U painting When you have reached the half way point of painting a specific area. increase M transparency. add an equal amount of Ultra Matte Medium to the color The color and opacity will be unchanged. determine if you have enough paint to finish If not. gloss. but the volume will be doubled enabling you to finish painting without re-mixing • Underpainting: › ix into Soft Body Professional Artist Color during initial underpainting.

and increase transparency while thinning the paint • As a Fixative › se as a fixative over artwork (acrylic paint. non-yellowing and water resistant when dry application • ormula is designed to be used in techniques where slower drying characteristics F are desired May also be used in many of the conventional techniques for a Gloss Medium such as: airbrushing. glazing. chalk) to U increase gloss or shine Increased drying time allows for working the media on the surface prior to final fixing Use an atomizer or airbrush filled with a mixture of one part medium. transparent when dry • Flexible. and increase transparency while maintaining paint viscosity and flow › ix with Heavy Body Professional Artist Color to slow drying time. extend M volume. brushwork. extend M volume. one part water liquitex® / the Acrylic book  . collage. pastels.chApter 3: liquitex® products / mediums / fluid sloW-drI® BlendInG medIum (cont ) attributes • nlike retarding additives. and murals application possibilities as a medium • As an Extender › ix with Soft Body Professional Artist Color to lengthen drying time. any amount may be added to color without jeopardizing U the strength of the paint film • Translucent when wet. graphite.

extend drying time and achieve various degrees of transparency and sheen • ix into Soft Body Professional Artist Color to increase M paint thickness • Mix into Heavy Body Professional Artist Color. but dry transparent to translucent (unless noted) A wet medium/paint mixture will be lighter in color than the dried medium/ paint mixture • The thicker the application the more opaque the final film will be • All Gels can be used as a binder for powdered pigments. Gel Mediums add body to thinner paint for impasto techniques as well as extending color volume and adding transparency Gels mediums can also add “open time” as they tend to dry slower than thinner paint films In general. the longer the paint film takes to dry These mediums also modify acrylic paints in a variety of ways and. the thicker the layer of acrylic paint. formulated to maintain three H dimensional peaks and marks. etc Overloading mediums with texturing materials can cause brittleness • All Gels are excellent glues for attaching heavy objects to a surface • Mix any gels into acrylic paint to increase working (open) time G Gel medIums 0 liquitex® / the Acrylic book . since they contain acrylic resins. extend paint volume. to maintain or increase paint thickness • Produce films of varying thickness. build surfaces. sheens and visual effects • In the wet state. mediums appear milky. additives such as sand. tend to improve adhesion and durability all Gel medIums • Add Body • Increase “open” time • Dry transparent or translucent • Extend the volume of paint • Hold brush or knife marks • Make an excellent archival adhesive for collage General attributes • eavy-bodied mediums.chApter 3: liquitex® products / mediums / gel On the opposite end of the spectrum from Fluid Mediums. sawdust.

without changing the thickness of the paint • ix with Heavy Body Professional Artist Color to obtain paint similar in color depth M to oil paint application • As An Extender: › ix with Heavy Body Professional Artist Color to extend volume and increase M transparency. linen and hardboard. transparent (clear) to translucent when dry Thicker T applications result in less transparent dry medium films • deal medium to mix with Heavy Body Professional Artist Color to extend paint.chApter 3: liquitex® products / mediums / gel Gloss Gel Excellent for retaining brush marks while slowing the drying time and adding body to the paint Mix with transparent colors for impasto glazes of great depth and brilliance Excellent for transferring printed images attributes • Dries to a gloss finish • Viscosity and body similar to Heavy Body Professional Artist Color • ranslucent when wet. density. instead of gesso Allows substrate U to be seen To prevent Substrate Induced Discoloration (SID) wash cotton or linen canvas before use sId definition: When used as a size over cotton. while maintaining paint viscosity › ix with Soft Body Professional Artist Color to extend volume and increase M transparency. viscosity and attain oil paint like M consistency with brush or palette knife marks liquitex® / the Acrylic book 1 . acrylic mediums draw substances out of the support as they dry and continue over time Discoloration can occur in areas that are left unpainted › hen applying Gloss Gel Medium to canvas. use adequate pressure to force W the medium into the canvas weave to insure proper bonding between the gel and canvas • Powdered Pigments: › se as the binder for powdered pigments to make an inexpensive “student grade” U heavy body (thick) gloss paint Pigments must be compatible with acrylic emulsion Gloss heaVy Gel A very thick gel medium that extends working time and increases brilliance and transparency Mix with acrylic paint to increase body and attain oil paint like consistency that holds brush or palette knife marks attributes • Extra heavy body medium of great density which dries to translucent gloss finish • ix with acrylic paint to increase body. while increasing paint viscosity • As A Ground: › se as transparent ground for acrylic paint. increase I the brilliance and transparency of color.

increases brilliance and transparency • Flexible. with minimal shrinkage This medium keeps paint workable longer than most other gel mediums attributes • Extremely thick. extra heavy body The thickest “clear” gel • Dries clear to translucent depending on thickness of the application • Very little shrinkage during drying time • Excellent adhesion for collage and mixed media • Extends paint. non-yellowing and water resistant when dry application • As a Heavy Bodied Extender › ix with Soft Body Professional Artist Color or Heavy Body Professional Artist M Color to increase color viscosity. increase transparency and color brilliance • As A Ground › hen creating a sculptural ground.chApter 3: liquitex® products / mediums / gel Gloss heaVy Gel (cont ) attributes • Extends paint while increasing brilliance and transparency • Keeps paint workable longer than other gel mediums application • As An Extender: › ix with Soft Body Professional Artist Color and Heavy Body Professional Artist M Color to extend volume. extend volume. be sure to use adequate pressure to force W the gel into the raw canvas to insure proper bonding Apply paint over the gel after the gel is dry • Collage: › Makes an excellent glue for collage and decoupage  liquitex® / the Acrylic book . body. increase transparency and increase color viscosity • As A Ground: › Refer to Gloss Gel for more detailed information • With Powdered Pigments: › se as the binder for powdered pigments to make an inexpensive “student U grade” extra heavy body (thick) gloss paint Pigments must be compatible with acrylic emulsion Gloss super heaVy Gel A super thick gel with high surface drag used to create a stiff “oil-like” feel Ideal for creating high peaks and sculptural applications that hold shape when dry.

a coat of Matte Gel Medium E should be brushed or troweled onto the surface prior to gesso application • For Impasto Effects › ix with Liquitex® Heavy Body Professional Artist Color for impasto effects that M dry to a matte sheen • With Powdered Pigments › se as the binder for powdered pigments to make an inexpensive “student U grade” heavy body (thick) matte paint Pigments must be compatible with acrylic emulsion liquitex® / the Acrylic book  . with R excellent tooth and adhesion Will allow some color and texture of the support to show through Use as a substitute for the hide glue size traditionally used for oil paintings › o prevent Substrate Induced Discoloration (SID).chApter 3: liquitex® products / mediums / gel Gloss super heaVy Gel (cont ) application • With Powdered Pigments and other Aggregates › e careful not to include so many foreign materials as to jeopardize the strength B of the paint film Be sure they are compatible with acrylic emulsion › se as the binder for powdered pigments to make an inexpensive “student U grade” super heavy body (thick) gloss paint Pigments must be compatible with acrylic emulsion matte Gel A thick gel that imparts a translucent matte sheen when dry Ideal for creating collages with heavier objects Combine with Gloss Gel to create a customized satin finish attributes • Same qualities as Gloss Gel Medium. acrylic mediums draw substances out of the support as they dry and continue over time Discoloration can occur in areas that are left unpainted › xterior Murals: If the support or wall is very rough. linen and hardboard. while increasing paint viscosity • As A Ground › ecommended thick medium to use as a translucent ground (size) for acrylic paint. except dries to matte finish • Viscosity and body similar to Heavy Body Professional Artist Color • atte Gel Medium has greater adhesion than Gloss Gel Medium and Gloss M Heavy Gel Medium application • As An Extender › ix with Heavy Body Professional Artist Color to extend volume and increase M translucency. wash cotton or linen canvas T before use sId definition: When used as a size over cotton. while maintaining paint viscosity › ix with Soft Body Professional Artist Color to extend volume and increase M translucency.

to double amount of paint and retain color position • If more than 50% is added. be sure to use adequate pressure to force W the gel into the raw canvas to insure proper bonding Apply paint over the gel after the gel is dry • Collage › Makes an excellent glue for collage and decoupage • With Aggregates › e careful not to include so many foreign materials as to jeopardize the strength B of the paint film Be sure they are compatible with acrylic emulsion ultra matte Gel A gel with high resin solids that maintains color opacity and extends paint to double amounts without changing color position This product is meant to be used with opaque colors where transparency is not desired Dries to a dead matte finish with absolutely no level of sheen attributes • translucent white gel of high density and high solids.chApter 3: liquitex® products / mediums / gel matte super heaVy Gel A super thick gel which retains high-peaks and crisp brush and knife strokes with very little shrinkage This medium keeps paint workable longer than most other gel mediums and dries to a translucent matte finish attributes • Extremely thick. with high surface drag for a stiff “oil-like” feel • Dries to a translucent matte finish depending on thickness of the application • Very little shrinkage during drying time • Excellent adhesion for collage and mixed media • Extends paint • Flexible. extra Heavy Body • Heavy bodied. non-yellowing and water resistant when dry application • As A Ground › hen creating a sculptural ground. it acts as a very weak tinting white • Maintains the opacity of the color better than using a clear gel medium • Dries to a dead matte finish. that economically extends A the volume of Heavy Body Professional Artist Color without changing its thickness • Add up to 50% by volume. very dense. giving colors a gouache look  liquitex® / the Acrylic book .

thick glazes. rich color • Translucent when wet.chApter 3: liquitex® products / mediums / gel ultra matte Gel (cont ) application • Running out of color during painting: › se when running out of a mixed Heavy Body Professional Artist Color while U painting When you have reached the half way point of painting the specific area. determine if you have enough paint to finish If not. extend volume M and increase transparency while making paint thicker liquitex® / the Acrylic book  . and add flexibility and adhesion to paint film • nlike retarding additives. increase transparency. transparent when dry • Flexible. collage. add an equal amount of Ultra Matte Gel to the color The color and opacity will be unchanged. gloss. non-yellowing and water resistant when dry application • ormula is designed for use in techniques where slower drying characteristics are F desired May also be used in many of the conventional techniques for a Gloss Gel Medium such as: brushwork. and murals • As an Extender › ix with Heavy Body Professional Artist Color to lengthen drying time. extend M volume and increase transparency while maintaining paint viscosity › ix with Soft Body Professional Artist Color to slow drying time. any quantity may be added to color without jeopardizing U the strength of the paint film • Dries clear to reveal full. but the volume will be doubled enabling you to finish painting without re-mixing • Underpainting: › ix into Heavy Body Professional Artist Color during initial underpainting. to M double amount of color sloW-drI® BlendInG Gel A heavy body gel used to extend the “open” time of acrylics by more than 40% for easier blending Add any amount without jeopardizing the strength of the paint film to achieve excellent impasto techniques attributes • A unique formulation for superior surface blending with acrylics • Extends drying time up to 40% for superior surface blending with acrylics • Is similar in body to Heavy Body Professional Artist Color M • ix any amount into color to enhance the depth of color intensity.

then sand smooth Repeat if necessary  liquitex® / the Acrylic book . or drilled when dry For use on rigid supports only attributes • A marble “putty” made of marble dust and 100% polymer emulsion • Used to build heavy textures on rigid supports and create three-dimensional forms • Dries to the hardness of stone It can be sanded or carved when thoroughly dry • an be handled like clay if the top of the container is removed and some of the C water is allowed to slowly evaporate until it reaches a clay-like consistency • Adheres to any non-oily. brush. oil paint. not structural • When mixed with acrylic colors will act as a weak tinting white.chApter 3: liquitex® products / mediums / gel modelInG paste A very thick. while increasing thickness and rigidity • xcellent substrate for acrylic paint. matte. carved. absorbent surface • Drying too quickly causes mud cracking that is cosmetic. trowel or roller Let dry. using a A palette knife. or dry pastel Great for sculptural applications and may be sanded. Modeling Paste may be painted with acrylic or oil colors application • Sculptural › pply in thin layers allowing each layer to dry before applying next layer If cracks A appear. Matte Gel Medium or Gloss Heavy Gel Medium • Ground › pply a thin layer of Acrylic Modeling Paste to rigid surface (i e wood). etc • o prevent shrinkage cracks (mud cracking). opaque preparation of marble dust and polymer emulsion used to build heavy textures on rigid surfaces This product handles like clay and dries to a very hard stone-like surface Can be mixed with acrylic color or over-painted when dry Makes an excellent substrate for acrylic paint. graphite E or dry pastel directions • Apply with knife. allow to dry and fill in with an additional thin layer of Modeling Paste • Rigid support › Use straight from container • Flexible support › se Flexible Modeling Paste or Mix Modeling Paste 50/50 with Gloss Gel U Medium. watercolor. dry slowly by covering loosely with T plastic wrap Apply less than ¼” thick • Mix with acrylic colors to produce a colored tinted paste • When dry. cake decorating tools. oil pastel. watercolor. graphite. oil bars.

sculptural gel specifically formulated to be used in applications where weight is a factor • Will not exhibit “mud cracking” › sed alone. E graphite or dry pastel liquitex® / the Acrylic book  . opaque preparation of marble dust and polymer emulsion Dries more slowly than other modeling pastes to a hard. airy. oil pastel.chApter 3: liquitex® products / mediums / gel modelInG paste (cont ) application • Absorbent ground › ix ¼ Modeling Paste with ¾ Liquitex® Gesso Apply with trowel or roller Let M dry. Matte Gel M Medium or Gloss Heavy Gel Medium Soak paper in this mixture lIGht modelInG paste A lightweight and airy preparation of marble dust and polymer emulsion specifically formulated to be used in applications where weight is a factor Can be used to add body to paint and create pastel tints Dries to a matte opaque white and can be mixed with acrylic color or over-painted Recommended for use on rigid supports to avoid cracking attributes • A lightweight. flexible. oil bars. absorbent surface • hen mixed with acrylic colors will act as a weak tinting white. will dry to a matte opaque white that readily accepts staining U if desired flexIBle modelInG paste A matte. watercolor. thick. yet flexible surface Use to build heavy textures and threedimensional forms Recommended for use on supports with occasional flexing attributes • Extra Heavy Body and very opaque • A marble paste made of marble dust and 100% polymer emulsion • Dries more slowly than other modeling pastes to a hard yet flexible surface • sed to build three-dimensional forms and heavy textures on supports that may be U subject to flexing or movement • Adheres to any non-oily. then sand smooth Repeat if necessary • Paper-Maché › ix Acrylic Modeling Paste 50/50 with Liquitex® Gloss Gel Medium. oil paint. while increasing W thickness and rigidity • xcellent substrate for acrylic paint.

and adhesion of acrylic colors for painting directly on fabric or unprimed canvas Reduces dry paint stiffness No heat setting required attributes • Enhances the workability of acrylic paint on fabric • Controls bleeding of colors when thinned with water • rovides a smooth.chApter 3: liquitex® products / mediums / effects Liquitex® offers a variety of specialty products including Fluid Mediums. and special effects E effeCts fluid medium effects faBrIC medIum Enhances blending. Gel mediums. workability. Texture Gels and Additives which have been specifically designed to achieve various techniques. transparent to translucent when dry • Will not oxidize  liquitex® / the Acrylic book . consistent flow to Soft Body Professional P Artist Color • Prevents uneven application of paint to rough textured fabrics • Reduces stiffness of dried acrylic paint on fabric • educes the need to scrub or abrade rough textured fabrics in order for paint to R adhere to or penetrate into surface • Does not require heat setting application • egin by adding medium 1:1 with Liquitex® Soft Body Professional Artist Color B Color Blending on fabric • Mix into acrylic colors to improve wet-on-wet blending techniques • Medium can be added directly onto fabric to blend color Watercolor on fabric • Use Fabric Medium 5:1 with Liquitex® Soft Body Professional Artist Color to control color bleeding IrIdesCent medIum Adds richness to acrylic colors by creating a metallic/pearlescent effect Dries translucent and will not oxidize Can add shimmer or sparkle to a picture even in the smallest amount Achieve the most dramatic effects when mixing with transparent colors Try painting on top of any dry color for unique effects attributes • Produces a range of iridescent or metallic colors when mixed into acrylic colors • Opaque when wet. applications.

ready-to-use medium that easily thins any acrylic to the right consistency for spray application An excellent choice for color washes and watercolor techniques when used with acrylic colors Mixes well with other mediums to adjust the body and handling properties Maintains integrity of acrylics even at high dilutions. distilled water. use directly from container • For use on fabric. retarder and Liquitex® P Flow-AidTM • eady to use pre-filtered and pre-reduced to the proper consistency for airbrush R technique Add as much or as little as desired • Easily thins acrylic to a sprayable consistency • Decreases airbrush clogging and paint build up around tip during spraying • Allows thinned acrylic paint to be sprayed efficiently and retain paint film integrity directions • Mix Airbrush Medium into Soft Body Professional Artist Color No need to strain • ix Airbrush Medium into Heavy Body Professional Artist Color Strain to remove M any particles of undissolved color • tart by mixing 50% Airbrush Medium to color Mix thoroughly Add more Airbrush S Medium as necessary to facilitate flow through the airbrush Each color may require a different percentage of Airbrush Medium to color. gradually adding more color until desired M iridescent quality and transparency is achieved • Transparent and translucent colors work best Opaque colors can also be used • Color will become more transparent as percentage of medium increases • olors increase in their iridescent quality and become much more reflective C upon drying • For Mother of Pearl color. due to variation in color pigment size and concentration of pigment • irbrush nozzle size and spraying pressure (PSI) will determine Airbrush Medium/ A paint mixture Larger nozzles allow for greater amounts of paint in the mixture • Keep airbrush wet during use Do not allow paint to dry in airbrush • Clean airbrush with water. airbrush cleaner or alcohol liquitex® / the Acrylic book  . and decreases airbrush clogging and paint buildup Use with Liquitex® Soft Body Color for best results attributes • re-mixed blend of acrylic polymer emulsion. water/ammonia mixture.chApter 3: liquitex® products / mediums / effects IrIdesCent medIum (cont ) directions • ix with small amounts of color. thin 50% with distilled water aIrBrush medIum A pre-filtered.

non-yellowing. flexible and water resistant when dry applications • bstract painting. non-yellowing and water resistant when dry application • Mix with Soft Body Acrylic Color to promote drying with a smooth. or hold bubbles in the paint film upon drying • Retains high gloss and wet appearance when dry • Will not add transparency when mixed with color • Flexible. honey-like consistency • Enhances depth of color and increases transparency and flow • Dries glossy and transparent • Permanent.” poured sheets. and flowing applications of color • Does not craze. allowing greater detail than would have been previously available by any other means When applied traditionally with a brush it is capable of producing long fluid marks in which color follows the brush producing a streaking effect Its transparency and self–leveling qualities further enhance the unique properties of this gel medium attributes • A self-leveling gel with a syrupy. where controlled drips. even colored films attributes • Creates even “puddles. crack. evenly colored film Gel medium effects strInG Gel String Gel has a honey-like consistency. shrubs or grass • llustration—where the unique properties of this medium may add the texture and I stylistic impact to help communicate the artist’s vision 0 liquitex® / the Acrylic book . resulting in even.chApter 3: liquitex® products / mediums / effects pourInG medIum Designed to eliminate crazing in poured applications. poured puddles and acrylic sheets Can be mixed with any acrylic color to create smooth. pours and splashes give a broader A expressive range to artists • ontemporary/Imaginary landscape painting where gestural flowing marks could C function well to describe floral elements found in nature such as trees. and can be mixed with soft or heavy bodied colors to create a wide variety of effects String Gel lends itself to creating long ropey strands of paint when applied by gently dripping it from the end of a brush or knife This method of application gives the artist much more precise control of the dripped or poured mark.

or used on their own A dry Texture Gel layer can be utilized as a textured underpainting for acrylic paint. which produce a variety of unique textural. C dimensional and reflective effects. wood. non- T yellowing surface CeramIC stuCCo A favorite of many artists This thick. colored pencil or pastel Mix any texture gels together to achieve unique surfaces all texture Gels • Dry flexible • Do not yellow • Dry water resistant General attributes • ontain specific aggregates. other mediums. add a small amount of Liquitex® Titanium White liquitex® / the Acrylic book 1 . C such as canvas. as well as thinly coating surface • Excellent ground for acrylic. that contains irregular sized and shaped opaque flakes • hite flake texture is most apparent when mixed with transparent or translucent W colors or small amounts of opaque color • If pure white is desired. that dries to a light gray matte stucco finish • Excellent for producing thick 3-D effects. pastels and graphite • Somewhat susceptible to abrasion Coat with Liquitex® Varnish for added protection Apply varnish carefully to avoid foaming and clouding • Works well with brush application WhIte opaque flakes A heavy. coarse gel containing irregular sized and shaped white opaque flakes May be used to create foliage effects in landscapes by mixing with opaque color or glazing over when dry Has a similar effect of snow flakes or coconut flakes • A Heavy body. non-toxic and dry to a water resistant. fine-textured gel can be applied with a palette knife to give the surface finish of an Italian fresco It dries to a light gray matte stucco finish and is a great absorbent ground for washes and glazing Try painting over the dry surface with Airbrush Medium or drawing with pastel or charcoal • A thick. paper. coarse gel. low luster.chApter 3: liquitex® products / mediums / effects texture Gels Liquitex® Texture Gels contain particles that produce a variety of unique textural and dimensional effects They may be mixed with acrylic colors. when mixed with acrylic paint • ll seven Texture Gels may be intermixed to increase the variety of possible textures A • Formulated for maximum flexibility and adhesion Will not chip or crack on canvas • an be applied to any material or surface that will accept traditional acrylic media. fine texture gel. etc • exture Gels are lightweight.

stringy. when dramatic effects are desired natural sand A fine-textured gel that dries to the appearance of glossy beach sand Mix with other gels to create customized surfaces An excellent choice to add a bit of “tooth” to an under-painting Try combing the natural sand with a ridged trowel for uniform peaks and valleys • A finely textured gel that dries to a surface similar to glossy “beach sand” • Mix with Liquitex® acrylic colors to improve blending and impart the “feel” of oil paint • ery effective ground for acrylics. will give the effect of flexible fibers with a matt sheen It holds unusual peaks and knife strokes when mixed with color Can tend to have the effect of pieces of torn fabric • A thick. pastel and graphite when delicate marks and V blending are necessary Works well with brush application  liquitex® / the Acrylic book . coarse. granite like surface that is very receptive to Soft Body colors • A thick. coarse gel that dries to a semi-gloss texture similar to rough cement Mix with Black Lava and Ceramic Stucco to create an absorbent. reflective (“bubbly”) surface • For most dramatic reflective effects. round aggregates that dry to a semi-gloss. fibrous gel that when dry give the effect of flexible fibers • dd Liquitex® Gloss Gel Medium or Gloss Heavy Gel Medium for easier application A and to increase adhesion while wet • Works best when applied with palette knife or trowel resIn sand A thick. when dry. mix with Liquitex® Gloss Medium & Varnish and small amounts of Liquitex® Soft Body Professional Artist Color • Suitable as a ground for acrylic and oil paint Works well with brush application Blended fIBers Great for adding texture and body to painted forms This thick opaque gel.chApter 3: liquitex® products / mediums / effects Glass Beads A medium body gel that contains clear round plastic beads and dries to a semi-gloss surface Perfect for creating a “bubbly” but smooth texture that can be dramatic when mixed with color When poured it creates a flexible shimmering film for a wide variety of applications Works well as a surface to paint over with color Can be used under oil or acrylic • A medium body gel that contains clear. mix with transparent or translucent colors or apply straight from container over dried paint • For reflective textural glazes. texture gel that contains aggregates of various sizes • ries to a “rough cement” look and will retain its unique texture well when mixed D with paint • Excellent ground for acrylic paint.

hexagonal shaped dark aggregates • hen wet. looks speckled gray but when dry. W black lava • ixed with transparent and translucent colors. dry. paint brush. translucent. black speckled quality is most M apparent • Mix with Liquitex® Interference Colors for dramatic color effects application • Apply with palette knife. etc Different tools produce different effects • Mix acrylic color into Texture Gel or let gel dry and paint on top • Mix with Gloss Medium & Varnish to produce textured glazes • ery small amounts of color are needed since most Liquitex® Texture Gels V are translucent • Add Liquitex® Gloss Gel or Gloss Heavy Gel when using additional aggregates (such as sand) to avoid brittleness • Texture Gels can be thinned with small amounts of distilled water if necessary • arnish with care to avoid foaming or clouding If a final varnish layer is desired. give the effect of ground. V spray application of varnish is advised liquitex® / the Acrylic book  . trowel. flat.chApter 3: liquitex® products / mediums / effects BlaCk laVa A clear gel speckled with small black particles that adds an innovative dimension to paint surfaces Gives dramatic effects when mixed with transparent. or interference colors and can be used to darken values in a picture Try over painting when dry with acrylic color for additional effects • A black speckled gel that contains small.

Liquitex® recommends that no more than 25% of an additive be added to the paint Additionally. except in gel (heavy body) thickness • el consistency.chApter 3: liquitex® products / mediums / effects additives Additives allow the artist to adjust the chemistry (and as a result the working properties) of acrylic paint They can be used to increase the flow. or the thickness. the opacity. making blending of colors and detail brushwork easier • Mix with Liquitex® Acrylic Colors and Mediums to retard drying time up to 50%  liquitex® / the Acrylic book . they do not contain sufficient acrylic resin to act as a binder within the paint In general. however thickness of paints or mediums will be increased directions • Do not mix more than 25% per volume into paint and mediums or paint may not fully dry and may have poor adhesion and excessive shrinking sloW-drI® fluId retarder A fluid that slows the drying time of acrylic paints and mediums by up to 40% An absolutely essential additive if working in drier climates Mix into the paint when on the palette to slow the skinning-over of paint and increase blending time Should not add more than 25% as there is no binder and it can weaken the stability of the paint film when too much is added attributes • Increases “open” time of acrylic paint Reduces paint skinning over on palette • Increases blending time. or whenever increased workability and blending time of acrylic paints and mediums is desired Will retain brushstrokes and add body to lower iscosity colors Should not add more than 25% as there is no binder and it can weaken the stability of the paint film when too much is added attributes • Similar to Slow-Dri® Fluid Retarder. designed to be used with Liquitex® Heavy Body Professional G Artist Color • May also be used with Liquitex® Soft Body Professional Artist Color and all Liquitex® Mediums. mixing more than one additive at a time into your paint is not recommended all addItIVes • Should be used sparingly and only in the amount needed to achieve the desired effect • Do not add transparency to the paint film • Available in both fluid and gel viscosities sloW-drI® Gel retarder An excellent choice when working in low humidity. and more While they do contain acrylic polymer for compatibility.

by reducing friction of paint application • Does not contain binder Over thinning of acrylic paint with Flow-AidTM and applying to a non-absorbent surface (i e gessoed canvas) may result in poor adhesion Always make a test piece for your particular application and surface • On non-absorbent surfaces. since quality of tap water varies • inimum dilution: 1 part Flow-AidTM to 10 parts distilled water to achieve M Flow-AidTM Water • ormal dilution: 1 part Flow-AidTM to 20 parts distilled water to achieve N Flow-Aid™ Water • Do not use undiluted Using undiluted may result in poor paint adhesion. absorption and blending of any water soluble paint (i e acrylic paint). will act as a stain. ink or dye • Minimizes brush marks.chApter 3: liquitex® products / mediums / effects sloW-drI® fluId retarder (cont ) attributes • luid consistency. however thickness of paints and mediums will be reduced directions • o not mix more than 25% per volume into paint and mediums or paint may not fully dry D floW aId™ Breaks water tension to improve flow. made to be used with Liquitex® Soft Body Professional F Artist Color • May also be used with Liquitex® Heavy Body Professional Artist Color and all Liquitex® Mediums. cause paint to crack. remain tacky and become water sensitive • Do not shake or rapidly stir This will increase foaming of Flow-AidTM Wait until foaming has subsided before using • Absorbent surfaces: Use as much Flow-AidTM as necessary The Flow-AidTM Water/ paint mixture will be absorbed by the support liquitex® / the Acrylic book  . will increase the fluidity and open (drying) time of the paint • On absorbent surfaces. dye or watercolor directions • Flow-AidTM is a concentrate Dilute with water before mixing into paint Distilled water is best. absorbency and blending of any water based paint. medium. ink or dye and minimizes brush strokes Use with Liquitex® Soft Body color to create very fluid washes without hard edges Great for staining effects on raw canvas Should not add more than 25% as there is no binder and it can weaken the stability of the paint film when too much is added attributes • Use in conjunction with any acrylic medium or color when increased flow and absorption and decreased film tension and friction are important • A flow enhancer that improves the flow.

chApter 3: liquitex products / mediums / effects floW aId (cont ) directions • ix Flow-AidTM Water into water based paint Do not mix Flow-AidTM with turpentine M or oil paint • Do not use Flow-AidTM in marbling. produces handling characteristics very close to that of oil U or encaustic paint • t higher concentrations can thicken paint or mediums to “cake” or sculptural A consistency • rying time will be between 24 hours to 7 days depending upon amount of D LiquithickTM added to paint or medium • LiquithickTM does not increase transparency • LiquithickTM produces a matte surface sheen to dried paint film • aint and medium shrinkage will occur in proportion to the amount of LiquithickTM added P directions • Start by adding a very small amount of LiquithickTM to paint or medium and mix well with a palette knife The proper proportion will vary with color and desired effect • Proportions of 20 or 25 parts color to 1 part LiquithickTM will change the handling characteristics • Continue adding LiquithickTM slowly until the desired viscosity is achieved • dd only enough for desired effect and do not exceed 1 to 4 ratio as excessive A shrinkage and cracking may occur  liquitex® / the Acrylic book . as this technique requires that the surface tension of the water film be maintained lIquIthICk™ thICkenInG Gel Excellent for sculptural effects when a matt finish is desired Gives the handling characteristics of oil or encaustic paint when added to water-based acrylic paints and mediums Works great with opaque colors as it does not increase transparency or change the position of colors Should not add more than 25% as there is no binder and it can weaken the stability of the paint film when too much is added attributes • A thickening gel for water soluble acrylic paint and mediums • sed in small amounts.

thereby unifying the overall sheen Liquitex® varnishes come in several different sheens. non-fogging) due to humidity.chApter 3: liquitex products / mediums / vArnish finish There are many misconceptions about whether or not it is necessary to varnish an acrylic painting As a general rule. hard. varnishes can be used to saturate and reveal a painting’s surface. which can all be intermixed for a customized sheen Our varnishes are either permanent or removable and can be applied to both flexible and rigid supports BenefIts of VarnIshInG: 1 Minimize the attraction and migration of atmospheric pollutants into the paint film 2 Protect against surface abrasion during shipping or exhibition 3 Boost the brightness and color saturation 4 Adjust and unify the surface sheen 5 rotect colors from ultraviolet light Any varnish will afford some protection but P those with UV inhibitors offer extended protection from color fading 6 Allows for easy cleaning without fear of removing or damaging the paint film arChIVal permanent VarnIsh attributes • 100% acrylic polymer varnish Water soluble when wet Good chemical and water resistance • For interior and exterior use • Excellent leveling properties • Translucent when wet—dries clear to a non-tacky. flexible surface that is resistant to retention of dirt • Resist discoloring (non-yellowing. you should always varnish your acrylic work when possible Varnishes are applied over dry paint films and serve several purposes Their first and most important function is to protect the painting surface from the environment and protect the pigments from ultraviolet light Secondly. allows moisture to pass through (breathable) • Not for use over oil paint available sheens • High Gloss Varnish • Gloss Varnish • Satin Varnish • Matte Varnish liquitex® / the Acrylic book V VarnIsh  . heat and ultraviolet light • Depending upon substrate.

heat and ultraviolet light • Clear in the wet state • Can be used on oil & acrylic paintings • Remove with mineral spirits or turpentine • lexible Will not crack as surface expands and contracts during temperature and F humidity changes • ontain ultraviolet light inhibitors that resist color fading by diffusing UV radiation C before it comes in contact with painted surface The thicker the varnish film. mineral spirit based final varnish for acrylic and oil P paintings that protects painting surface and allows for removal of surface dirt. this will cause the formation of bubble) before applying Allow 24 hours drying time between varnish coats 4 For Oils—wait 6–12 months before applying varnish 5 Use only “true” mineral sprits (not odorless) to thin Soluvar if needed  liquitex® / the Acrylic book . non-fogging) due to humidity. without damaging painting underneath Once surface is clean.chApter 3: liquitex® products / mediums / vArnish reCommended applICatIon – permanent Varnishes Choose a desired sheen Permanent varnishes are non-removable and should always be tested before applying to your work Make sure that your painted surface is completely dry (between 72 hours–2 weeks depending on thickness) before applying any varnish Only apply varnishes in a work environment that is clean and free of dirt and dust arChIVal remoVaBle VarnIsh – soluvar® • ermanent. the greater the protection • Do not use on paint over vinyl available sheens • Soluvar Gloss Varnish • Soluvar Gloss Varnish Aerosol • Soluvar Matte Varnish • Soluvar Matte Varnish Aerosol reCommended applICatIon – soluvar® 1 pply 1–2 layers of Gloss Medium & Varnish as an isolation barrier before A applying Let dry 1–3 hours between coats Allow to dry 48 hours after final coat 2 Clean the surface with a lint free rag dampened with mineral spirits 3 pply 1–2 layers of Soluvar Varnish If using Soluvar Matte stir thoroughly (do not A shake. a new coat of Soluvar® may be reapplied to surface • For interior and exterior use • Excellent leveling properties—will not hold brushstrokes • Resists discoloring (non-yellowing. removable.

inspect the varnish layer at all angles for bubbles Even them out immediately 6 nce you leave an area. may dry cloudy. but have a stronger odor • Rub cloth gently over a small area 1–2 square inches until varnish starts to dissolve liquitex® / the Acrylic book  . allow to dry completely and re-varnish 7 hen applying Liquitex® Matte or Satin Varnish. which will dry cloudy over dark colors If any areas were missed. drip or sag during application and has a greater chance of showing brush strokes when dry 3 lace the work to be varnished flat on a table—do not varnish vertically P 4 hinned varnish is more susceptible to producing bubbles Do not be vigorous in T your application 5 Apply in long even strokes to cover the surface top to bottom while moving from one side to the other While working. apply no more than 1–2 thin W coats as thick applications may result in cloudiness when dry If more than 2 coats are desired. you risk dragging partially dry resin into wet. rather than 1 thick coat A thick coat will take longer to A dry. soft.chApter 3: liquitex® products / mediums / vArnish VarnIshInG tIps 1 o not shake the varnish Shaking can introduce bubbles that will form and dry D on your painted surface 2 pply in 1–3 thin coats. running and soaking O into substrate VarnIsh remoVal all liquitex® Varnishes (except for soluvar®) • Not removable Do not attempt to remove these varnishes with harsh solvents soluvar® Gloss and matte Varnish • Remove varnish in clean. use a higher strength mineral spirits or turpentine (cover with plastic to slow down evaporation of mineral spirits) Stronger mineral spirits are not labeled as such. first varnish with Gloss Varnish to the desired thickness and apply Matte or Satin Varnish as the final coat 8 irbrush applications of varnish are recommended for heavily textured work or A vertical applications (such as murals) 9 Application of a varnish with a roller or a sponge brush is not recommended thInnInG – all VarnIshes • Thinning increases penetration and can make it easier to apply varnish • ver thinning may result in weak varnish film. do not go back over areas that you have done If you O do. depending upon age of artwork and strength of mineral spirits If varnish is not dissolving or dissolving slowly. well-ventilated area • Wear a dual filter respirator (NIOSH approved) and neoprene gloves Dampen a small piece of lint free. white cloth with mineral spirits (not “odorless”) or turpentine—nothing stronger Do not use ketones or paint removers • Work horizontally Apply mineral spirits generously and allow it to lay on surface for 15–30 minutes Check periodically Longer time may be necessary. poor adhesion.

however color permanency is dependent on the pigments and the substrate used Liquitex® Soluvar® is solvent based and contains no water so it can also be applied directly to giclee prints without disturbing the inks teChnIques & applICatIons Liquitex® offers an assortment of mediums to achieve a variety of techniques and applications Use the chart below to identify which product will deliver the best desired results technique Acrylic Sheets Airbrush Collage (Light) Collage (heavy) Color Blending Color Thinning medium to use • Gloss Medium & Varnish • Matte Medium • Any Gloss or Matte Gel • Glazing Medium • Pouring Medium • Airbrush Medium • Matte Medium • Gloss Medium & Varnish • Any Gloss or Matte Gel • Slow-Dri® Blending Medium or Gel • Slow-Dri® Fluid or Gel Retarder • Gloss Medium & Varnish • Matte Medium • Any Gloss or Matte Gel • Glazing Medium • Gloss Medium & Varnish • Glazing Medium • Matte Medium • Airbrush Medium 0 liquitex® / the Acrylic book . spray gun or plant mister The application should be done in several coats starting out with just a fine mist and working to a thicker application The varnish can be brush applied once the airbrushed layers are dry if a thicker coat is desired Liquitex® Acrylic Color or Gloss Gel can then be applied to add additional color or a brush stroke look You may apply Liquitex® Soluvar® if desired as it contains UV inhibitors to help protect colors from fading. direct brush application of water based acrylic emulsion varnishes is not possible. stop immediately and allow the surface to dry • llow painting to dry before reapplying a fresh coat of Soluvar® Final Picture Varnish A VarnIshInG GIClee prInts Most giclee prints are made using water based pigmented inks In this case. as it would begin to dissolve the inks You can however. spray apply Liquitex® Gloss Varnish You can use an airbrush.chApter 3: liquitex® products / mediums / vArnish VarnIsh remoVal (cont ) soluvar® Gloss and matte Varnish • sing a clean cloth and clean solvent. rub the area again to remove residue Repeat U this procedure for the entire area to be cleaned If any paint color shows on the cloth.

chApter 3: liquitex® products / mediums / vArnish teChnIques & applICatIons (cont ) technique Dyeing Extender (transparent) Extender (opaque) Fabric Painting Fine Detail Fixative Glazing Ground (transparent) Impasto Transferring Printed Images Monoprint Pouring Silk-screen Block Out Staining Stencils Textures Watercolor medium to use • Flow-AidTM • Gloss Medium & Varnish • Matte Medium • Slow-Dri® Blending Medium or Gel • Any Gloss or Matte Gel • Glazing Medium • Ultra Matte Medium • Ultra Matte Gel • Fabric Medium • Flow-AidTM • Slow-Dri® Blending Medium • Slow-Dri® Fluid Retarder • Airbrush Medium* • Gloss Medium & Varnish • Matte Medium • Airbrush Medium • Glazing Medium • Gloss Medium & Varnish • Slow-Dri® Blending Medium or Gel • Clear Gesso • Matte Medium • Any Gloss or Matte Gels • Any Gloss or Matte Gels • Gloss Medium & Varnish • Any Gloss or Matte Gel • Any Texture Gels • Iridescent Medium • Glazing Medium • Slow-Dri® Blending Medium or Gel • Any Gloss or Matte Gel • Slow-Dri® Gel Retarder • Pouring Medium • Gloss Medium & Varnish • Matte Medium • Flow-AidTM • Any Gloss or Matte Gel • Any Gloss or Matte Gel • Any Texture Gels • Flow-AidTM • Slow-Dri® Blending Medium • Airbrush Medium liquitex® / the Acrylic book 1 .

as A one might hang a quilt • Collage › crylic sheets may be adhered to painting surfaces and painted over as collage A elements in a picture • Sculpture › crylic sheets may be adhered to sculptural forms and painted A dIreCtIons • ut masking tape on a smooth sheet of glass in the desired shape and size of the P acrylic sheet to be created applICatIon • Brush › se a 1/2” to 2” wide.chApter chApter 4: ApplicAtions 04 ApplicATions aCrylIC sheets This process allows artists to create flexible acrylic sheets of varying thickness. texture and size It can be done with a wide variety of Liquitex® Mediums and texture gels. in combination with acrylic paint to achieve numerous desired effects Each medium will impart a different quality to the Acrylic sheet uses • Self-Supporting Paintings › crylic sheets can be hung directly on a wall (no canvas or stretcher bars). (1–12 hours depending on environment) › epeat steps until sheet is thick enough so that you can peel it off glass R without tearing › 5–12 coats will give you a thickness of 1/16” to 1/8” › Thickness should vary according to desired effect › Thin layers may be difficult to handle › Coat successive layers in alternating directions • Roller › Use a medium nap roller to apply fluid medium or paint/medium mixture › This will give thinnest application of acrylic (Air bubbles may dry in sheets )  liquitex® / the Acrylic book . sheen. soft brush to apply desired Liquitex® Fluid Medium or U Acrylic Medium/color mixture › dd 5–10% Liquitex® Flow-Aid™ (1 part Liquitex® Flow-AidTM to 20 parts A distilled water) for smooth application › Allow to fully dry. color.

poured medium U will dry thicker at the lower edge ) › our Fluid Medium or paint/medium mixture over surface Spread around P with soft brush if needed while wet › Allow all methods to dry completely: 48–72 hours › o remove sheets: use a blade. and Matte Super Heavy Gel › Dries matte and opaque › Mix with 5–20% Liquitex® Soft Body Artist Color • Liquitex® Iridescent Medium › Dries opalescent and translucent-opaque › ix with 5–20% Liquitex® Soft Body Professional Artist Color for colored M opalescent sheet (Opacity varies with thickness and color) • iquitex® Gloss Gel. Gloss Heavy Gel and Gloss Super Heavy Gel L › Dries gloss and translucent-opaque (depending upon thickness) › ix with 5–20% Liquitex® Soft Body Professional Artist Color for colored M gloss sheet (Transparency will vary with thickness) liquitex® / the Acrylic book  . create desired shape/image with masking tape in O 4–5 successive layers so that a ridge or dam is built up › se a level to ensure surface is flat (If surface is not level. and score along taped edges to separate T sheet Peel off glass (If necessary dampen entire surface with a wet sponge to release acrylic sheet from glass surface ) reCommended produCts: • Liquitex® Pouring Medium › Dries glossy and clear › ix with 5–10% Liquitex® Soft Body Professional Artist Color for a unique pour M • Liquitex® Gloss Medium & Varnish › Dries glossy and clear › ix with 5–20% Liquitex® Soft Body Professional Artist Color for transparentM opaque sheet (varies with thickness and color) • Liquitex® Glazing Medium › Dries glossy and clear › ix with a small amount of a transparent or translucent Liquitex® Soft Body M Artist Color for a stained glass effect • Liquitex® Matte Medium. Matte Gel.chApter 4: ApplicAtions / Acrylic sheets applICatIon (cont ) • Trowel › se a 2–6” trowel to apply a 1/8” thick application of Liquitex® Gel Medium U or heavy body paint/ medium mixture May result in an uneven application • Pouring › n smooth sheet of glass.

brilliant.chApter 4: ApplicAtions / Acrylic sheets – Airbrushing reCommended produCts (cont ): • Liquitex® Texture Gel Mediums › Mix with 5–20% Liquitex® Soft Body Professional Artist Color › Dried sheets will vary in sheen. no straining necessary after adding Liquitex® Airbrush Medium P • liquitex® heavy Body professional artist Color › iquitex® Heavy Body takes longer to thin and requires greater amount of L Airbrush Medium to reach airbrush consistency This yields less intense airbrush color and straining may be necessary  liquitex® / the Acrylic book . wood. sheets may be stapled to support (in addition to I or instead of gluing with mediums) aIrBrushInG Liquitex® Professional Artist Colors offer the most permanent. flexible and non-toxic • liquitex® soft Body professional artist Color › iquitex® Soft Body is recommended for best results L › luid consistency mixes easily with Liquitex® Airbrush Medium to make F airbrush colors › nly small amount of Liquitex® Airbrush Medium is necessary for proper O consistency › re-filtered. or Gloss Super Heavy Gel • Quickly position the sheet onto the support with the wet side down and press • o insure proper adhesion let the transferred sheet dry under weight Cover acrylic T sheet with wax paper before adding weight to prevent sticking • f adhering to wood or MasoniteTM. MasoniteTM and fabric are all great surfaces for acrylic sheets • oat the back of the sheet with either Gloss Medium & Varnish. opacity and texture • Liquitex® Texture Gel Mediums › ix 10–50% Texture Gel Mediums into any Liquitex® Fluid or Gel Medium For M example. Gloss Gel. water resistant when dry. Gloss C Heavy Gel. lightfast and versatile airbrush color available All colors are low to no odor and are easy to thin and clean up with water They are non-yellowing. Liquitex® Black Lava Texture Gel mixed with Liquitex® Gloss Medium & Varnish will result in a sheet that is transparent with black speckles • Liquitex® Interference Colors › ix 5–10% Liquitex® Soft Body Interference Color into any of the Liquitex® M Fluid or Gel Medium family to create an opalescent colored sheet › ix 5–10% Liquitex® Soft Body Interference Color into Black Lava Texture Gel M to create an iridescent metallic Sheet adherInG aCrylIC sheets to a support • Canvas. fully pigmented.

distilled water or Flow-AidTM (1 part Flow-AidTM to 20 parts distilled water) • se Liquitex® Flow-AidTM to increase absorption on absorbent surfaces and paint U flow through airbrush (It will also reduce clogging ) • abric: Wash prior to airbrushing to remove sizing Colors must permeate cloth and F be seen as ghost image on reverse side to be permanent Allow to cure for 3 days before washing or dry cleaning • Resulting colors are permanent • urfaces absorb paint differently—Always perform a test if you are uncertain S non-absorbent surfaces: • Plastic. paper. and primed canvas • Thin paint with Liquitex® Airbrush Medium. improve L flow. value and chroma • All Liquitex® Acrylic Colors are labeled with this information • his information is important in airbrush technique. hue. flaking or peeling Abrade surface for increased adhesion techniques • Thinning with Water or Flow-AidTM › irst add 50% distilled water or Flow-AidTM (up to 80% if needed) to the paint F and mix thoroughly › mount may vary due to individual pigment characteristics Diluting reduces A pigment color strength › Strain to ensure proper flow through airbrush › Absorbency will diminish with successive airbrush layers • Thinning with Liquitex® Airbrush Medium › ixing colors with Liquitex® Airbrush Medium will ensure that the colors do M not lose their flexibility.chApter 4: ApplicAtions / Airbrushing ChoosInG speCIfIC aIrBrush Colors • Every color has a specific opacity. metal. durability and adhesion › iquitex® Airbrush Medium contains specific additives to slow drying. plaster. and decrease clogging liquitex® / the Acrylic book  . fabric. masonry • hin paint with Liquitex® Airbrush Medium. cracking. Liquitex® Modeling Paste. Liquitex® Fluid Mediums & distilled T water or Liquitex® Fluid Mediums and Flow-AidTM • Over-thinning with water only may cause poor adhesion. since color blends are optically T created (Rather than physically mixed on a palette as in traditional painting ) aIrBrush applICatIon • he proper thinning procedure is determined by the type of surface to be T airbrushed and by the durability desired for the final paint film absorbent surfaces: • Hardwoods.

adding more Liquitex® Airbrush Medium as needed • Proper consistency is that of light cream—Diluting color increases transparency • If mixture is too thick either increase air pressure or add distilled water to thin airbrush paint mixture Do not exceed 1:1 ratio Liquitex® Airbrush Medium to water • The proper viscosity. air pressure can be lowered and the airbrush held closer to the working surface for greater detail As the air pressure is increased the airbrush is held further from the working surface N • ote: Liquitex® Iridescent and Interference colors contain mica flakes that may require a larger airbrush nozzle and greater air pressure for consistent spraying ) maskInG teChnIques • asks cover and protect areas not to be painted Stencils and Friskets are 2 types M of masks Masking paper can be taped over larger areas stencil • thin sheet of material in which a shape or pattern is cut.chApter 4: ApplicAtions / Airbrushing aIrBrush applICatIon (cont ) Directions • ix Liquitex® Airbrush Medium into Liquitex® Soft Body Professional Artist Color M thoroughly at a ratio of 1:1. use a fine weave canvas and apply T 1-2 coats of Liquitex® Gloss Medium & Varnish over area that is to be covered • sing a sharp razor knife and light pressure. will depend on the air pressure. allow to completely dry before applying frisket • Burnish frisket to make sure it’s flat. with no air bubbles • o improve adhesion of frisket film to canvas. which will not damage painted areas when removed Negative Stencil Positive Stencil  liquitex® / the Acrylic book . through which paint A can be applied to the surface below • Positive Stencil—spray through holes • Negative Stencil—hold pieces on surface and spray frisket or masking fluid • thin vinyl film with a low tack adhesive on one side. to protect covered areas A from overspray • If an area has been painted. carefully cut frisket to desired shape U Remove unwanted frisket and apply next color • Do not allow frisket or tape to remain on the surface for periods longer than a day tape • o achieve straight lines or attach masking materials use Drafting or ScotchTM tape T in a manner similar to frisket It has a low adhesive tack. type of airbrush and proximity to the working surface • As the paint is thinned.

with vent for incoming air and fan exhaust • Read paint label Cadmium and Cobalt pigments are toxic in mist (spray) form and may be cancer causing if inhaled • They should be avoided in spray technique • Liquitex® “Hue” colors are non-toxic in mist and should be used in place of Cadmium and Cobalt colors for safe spray applications • Always keep the work areas clean of airbrush overspray • Do not eat or smoke in the studio liquitex® / the Acrylic book  . an ammonia based window cleaner or airbrush B cleaner • llow some cleaner to remain in the airbrush for about 15 minutes to loosen any A stubborn deposits • Follow this by spraying water through the brush until clean • Clean the outside of the airbrush with denatured alcohol • Note: Do not soak plastic washers. seals or handles in alcohol health WarnInGs • When spraying.chApter 4: ApplicAtions / Airbrushing maskInG teChnIques (cont ) protecting delicate airbrush areas on Canvas for masking procedures • Allow sprayed area to dry fully • se a clean. approved by NIOSH • Airbrush enclosure should have adequate ventilation. use an effective dust or particle mask. soft brush or spray application and carefully coat area with Liquitex® U Gloss Medium & Varnish Allow to dry • Continue airbrush application over painting surface as needed • Repeat as necessary aIrBrush CleanInG • Water-soluble paint can be easily cleaned from the airbrush while wet Do not allow acrylic paint or mediums to dry in the airbrush While working • Back flush clean water through the airbrush periodically • Paint build-up on the tip of the airbrush needle and in the spray cap should be removed regularly • Occasionally remove the needle for a more thorough cleaning • Airbrush should be stored in a container of water (with tip submerged) when not being used • Do not immerse the entire airbrush in water final Clean up • ack Flush Airbrush using water.

stIpplInG • Use paint that is not too fluid and lightly drag a stiff brush across the surface • A rougher surface works better for this technique • May be done with Liquitex® Soft Body. sCumBlInG. small round brush will give maximum control of mark • A smooth surface is ideal for this application • se Additives that increase “open” time to decrease surface friction and U increase flow • Recommended products: › iquitex® Slow-Dri® Fluid Retarder: L › iquitex® Flow-AidTM L › iquitex® Slow-Dri® Blending Medium L › iquitex® Airbrush Medium L dry Brush. yet L supports the paint film • heen can be adjusted with either gloss or matt medium and open time can be S extended with Liquitex® Slow-Dri® Blending Medium or Slow-Dri® Fluid Retarder fIne lIne detaIl • Liquitex® Soft Body Acrylic Color will yield the best results • Water and medium can be added until desired fluidity is achieved Note: avoid over-thinning with water by adding medium to maintain integrity of paint film and proper adhesion (50% water/paint requires an equal amount of medium) • A soft.chApter 4: ApplicAtions / brushwork BrushWork Washes • o create color passages that cover broad areas begin with Liquitex® Soft Body T Acrylic Color • Water and medium can be added until desired fluidity is achieved Note: avoid over-thinning with water by adding medium to maintain integrity of paint film and proper adhesion (50% water/paint requires an equal amount of medium) • iquitex® Airbrush medium is ideal for this application as it is very fluid. Heavy Body. or Super Heavy Body • No mediums or additives are necessary for this technique  liquitex® / the Acrylic book .

permanent. allow medium to dry Then re-apply a second coat The second coat will not be absorbed by collage surface • If acrylic medium is drying too fast. keep environment cool and humid • llow acrylic medium to fully dry Fluid Mediums (1–4 hours) Gel Mediums A (24–72 hours). sand first to insure F proper adhesion • Absorbent surfaces. metal and glass. canvas and wood usually need no preparation applICatIon • Apply appropriate Liquitex® Medium to collage material. such as paper. such as plastic. non-toxic adhering of most materials to any surface suitable for acrylic paint preparatIon • All surfaces should be free of dirt and grease • or smooth surfaces.chApter 4: ApplicAtions / brushwork – collAging Impasto • painting technique that uses a brush or knife loaded with paint to create bold A textures that stand out in relief Well known examples include paintings by artists such as Vincent Van Gogh and Frank Auerbach • Recommended Products: › iquitex® Super Heavy Body paint offers brilliant pigmentation and is ideal L for sculptural applications It is the thickest professional quality Artist acrylic color commercially available › eavy Body Artists Color is excellent for creating texture and revealing brushwork H › iquithickTM Thickening Gel will increase impasto to any viscosity without L changing color or opacity (Note: high concentrations of this gel will cause shrinkage ) › loss Gel. Gloss Heavy Gel and Gloss Super Heavy Gel will increase G transparency and flexibility while enhancing impasto surfaces › atte Gel or Matte Super Heavy Gel thicken paint and offer a matte sheen M › odeling Paste and Light Modeling Paste will thicken paint while decreasing M flexibility and increasing opacity It should be used on firm substrate such as board or panel Use light Modeling Past when weight is a consideration › lexible Modeling Paste dries more slowly than other modeling pastes to a hard F yet flexible surface Designed to be used on flexible surfaces such as canvas CollaGInG Collage is a technique where materials of different sizes and weights are glued to a backing surface The collage materials and backing surface determine the type of glue to be used Liquitex® Acrylic Mediums are excellent glues for collage techniques They provide easy. depending upon thickness of application liquitex® / the Acrylic book  . substrate or both • While acrylic medium is still wet. apply collage material to surface • f acrylic medium is absorbed into collage surface (some papers are very I absorbent).

as you would plan a painting What design are you intending on creating? What colors are in your palette? Organize the objects accordingly Make sketches and lay out your design It is always a good idea to start with an underpainting › Varnishing is recommended This can be tricky with collage and found object art Wait 3–7 days after completing the work (depending upon the thickness of the paint film) If the surface is heavily textured.chApter 4: ApplicAtions – collAging types of CollaGe adhesIVes Liquitex® Mediums are available in several formulations that vary in thickness and sheen While each medium can be used with a variety of materials. with a matte film finish Gloss Heavy Gel • Dries to clear. it is recommended that you apply the varnish with a spray gun 0 liquitex® / the Acrylic book . translucent. gloss film finish Matte Gel • Best adhesive qualities of any Gel Medium • Dries translucent to opaque. rocks. canvas. gloss film finish Gloss Super Heavy Gel • Dries clear to translucent. gloss finish Matte Medium • Best adhesive qualities of any Fluid Medium • Dries from translucent to opaque. matte film finish lIquItex® Gel medIums Gloss Gel • Dries to clear-translucent. use any Liquitex® Gel Mediums lIquItex® fluId medIums Gloss Medium & Varnish • Dries clear. with a matte film finish TIPS & TECHNIQUES › It is often helpful to coat the object which is being collaged. etc ). use Liquitex® Fluid Medium or any Gel Medium for heavyweight and 3-d materials (such as beads. in addition to applying the medium to the surface of the collage › Do consider the sterility of objects which are being introduced Wild beach sand may contain chemical impurities that could react with the chemistry of the paint A good alternative would be Liquitex® Natural Sand Texture Gel › Plan your collage in advance. etc ). specific materials may require a specific medium for lightweight and flat materials (such as paper. gloss finish Matte Super Heavy Gel • Dries translucent to opaque.

add 25% Matte Medium to Gesso liquitex® / the Acrylic book 1 . Titanium White or Colored) • Allow gesso to dry between coats—sand each coat if desired • For added flexibility. walking on the P surface deposits dirt and causes damage over time • Abrasive cleaners will also damage the surface of the painting materIals needed • eavy weight #8 Cotton Duck or Floor Cloth is recommended for durability H Lightweight canvas is less durable • anvas should be 4–6” larger in each direction than the planned finished C dimensions CanVas preparatIon • ashing Canvas minimizes shrinkage and warping of the finished floor cloth. so they must be prepared differently duraBIlIty • iquitex® Professional Artist Colors are the most durable acrylic paint for this application L • lacement and the amount of foot traffic will determine longevity.chApter 4: ApplicAtions / floorcloths floorCloths Floorcloths are painted canvases (unstretched) that lie on the floor instead of hanging on the wall This of course subjects them to abrasion and dirt. W which can be exaggerated when the edges are turned under later • Use standard washing machine with a small amount of detergent • Air-dry and iron out wrinkles • Brush on one coat of Liquitex® Matte Medium to backside of canvas Let Dry Flip canvas over and repeat prImInG CanVas It is easier to prime and paint canvas while it is attached to a rigid surface Either staple canvas directly onto studio painting wall or onto 1–2” thick plywood that is larger than canvas directions • ark desired dimensions on front of canvas There should be a 2–3” border on M each side • ask off borders with masking tape (This will make it easier to turn M them under later ) • Apply 2 coats of Liquitex® Gesso (Clear.

remove the floorcloth A from the wall or plywood • Turn canvas over and gesso the entire back Let dry • Remove masking tape from border • Trim unpainted canvas edges (“hem”) to approximately 1” • ut away each corner by measuring 1 1/8” in both directions and cut C the un-painted canvas edges to the exact corner point of the painted canvas • old over the four unpainted edges (2 vertical. pollution and dirt This varnish is removable • When the surface gets dirty or scuffed. it can be restored by removing and recoating with Soluvar® Varnish edGInG the sIdes • fter Soluvar® has completely dried (1–2 weeks). which can be removed for cleaning • Allow floorcloth be fully dry for 48 hours.chApter 4: ApplicAtions / floorcloths paIntInG • se Liquitex® Professional Soft Body Artist Colors or Heavy Body Artist Colors U • oft Body colors will dry to a smoother surface and be less subject abrasion and S retention of dirt • dd any Liquitex® Medium or Additive to adjust workability or create special A effects some possible choices include: • iquitex® Pouring Medium can be used for marbleizing techniques and to create L seamless surface • iquitex® String Gel has a honey like consistency and used to create long flowing L marks • iquitex® Glazing Medium offers unparalleled clarity and depth to the layering of L transparent color • iquitex® Iridescent Medium imparts a shimmering metallic quality when mixed L with colors fInal proteCtIVe VarnIshInG • irst apply an isolation varnish. like Liquitex® Gloss Medium and Varnish which F is non-removable This will protect the image and isolate it from the final layer of Soluvar. then apply Soluvar® Varnish • This will extend the life of the floorcloth by protecting it from. 2 horizontal) Create a F crease by pressing where the painted canvas ends and the unpainted canvas begins • pply Matte Gel Medium to the back of each edge and press firmly Put under A even weight and let dry 24–48 hours Do not lift weight off until completely dry • Apply Matte Medium to the outer surface of the edges to seal  liquitex® / the Acrylic book .

rather than physically mixing them on the palette The light passing through the transparent layers gives the painting a special glow.chApter 4: ApplicAtions / floorcloths – glAzing shIppInG • Use a sturdy tube 8–12” in diameter • Lay painting face down and roll • Avoid rolling painting if temperature is below 50° CleanInG • Warm soap and water on surface with a soft mop • Do not use ammonia or ammonia based products GlaZInG Imagine holding up a red lens Now hold a blue lens in front of it. depending upon the light In this way. then put down a layer of transparent blue to visually blend the colors. and look at the purple color that results from the first two You’ve just made use of the basic painting concept of glazing. or mixing color by using transparent layers Glazing produces rich surfaces with great color depth and jewel-like finishes Glazing was the signature method used by artists like Leonardo da Vinci. clean glazes Most modern pigments have very powerful tinting strength. which can shift and shimmer. let it dry. Rembrandt. add some Airbrush Medium and stir the mix completely • hoose an area you are comfortable you can cover in about 15–20 minutes time C Do some practice strips to get a feel for the media • rush your glaze color using a soft bristle brush Brushing in a single. a very real depth of the painting can be achieved tIps & teChnIques 1 Liquitex® Soft Body Acrylic Colors are ideal for glazing 2 hoose transparent colors Transparent pigments will deliver the best results C producing clear. they had to lay down a layer of transparent red. and Vermeer They glazed because the pigments in their palette would turn black if they mixed them together directly If they wanted a purple. so it only takes a little to tone the medium 3 Use the following ratio for the ideal degree of flow and brushability: › ransparent Color. Soft Body (1 part) T › lazing Medium (10 parts) G › ote: For more “open time” add a small amount of Liquitex® Fluid retarder N to the mixture to slow drying or lightly mist the working surface with Liquitex® Palette Wetting Spray teChnIques • ix the glaze with your palette knife rather than your brush If the glaze is still too M thick. uniform B direction will create a smoother glaze Let this layer dry for approximately 30–40 minutes liquitex® / the Acrylic book  .

enamelware. glazed ceramics. allow each layer to fully dry before applying the next Over time the colors will become brighter and deeper as the gel clarifies • The more glaze layers. avoid touching surface as oil from fingers reduces the adhesion • Clean with alcohol (rubbing or denatured) or 50/50 mixture of water and vinegar applICatIon • Stir Liquitex® GlossiesTM for 30-60 seconds before using Liquitex® Metallic GlossiesTM will require thorough mixing. it is advisable to apply several successive layers To achieve the highest degree of translucency. by building layers of color. primed metal. then heat set • halk or graphite pencils may be used for under drawing Do not use waxy pencils C or marking pens • eep painted surface horizontal until dry Paint may “slide” if not thoroughly airK dried prior to heat setting • Clean up with soap and water  liquitex® / the Acrylic book . wood and other non-oily surfaces surfaCe preparatIon • urfaces must be clean (free of all dirt. as well • igments and mica flakes tend to settle to bottom of jar Do not shake P • Let paint dry at room temperature for 24 hours. tile. the more visual depth the image will have • Gloss Medium & Varnish and Slow-Dri® Blending Medium can also be used for glazing GlossIestm on Glass. china. Y with a different color You’ll find that. stoneware. tIle & CeramIC surfaCes Liquitex® Glossies™ are water based acrylic enamels formulated to adhere to slick. glazing helps you bring a deep.chApter 4: ApplicAtions / glAzing – glossies GlaZInG (cont ) teChnIques • ou can now add a second glaze by repeating the process. burnished glow to your images • In order to create thick relief glazes using paints and gel mediums. nonporous materials such as glass. oils or soap films) and dry prior to paint S application • After cleaning.

chApter 4: ApplicAtions / glossies paIntInG teChnIques • Paint Thinning › p to 25% distilled water may be added to achieve varying consistencies and U degrees of opacity › ver-thinning will adversely affect adhesion O • Paint Mixing › ll Liquitex® Glossies™ and Liquitex® Metallic GlossiesTM are intermixable A › o not mix with other Liquitex® Acrylic Paints D › ridescent effects of Liquitex® Metallic GlossiesTM will be more dramatic on I dark surfaces • Paint Thickness › ultiple thin layers are better than one thick layer Single heavy layers M may bubble when baked › hicker application increases the possibility of incomplete drying and T poor adhesion › llow each layer of paint to air-dry (1 hour minimum. 24 hours best) before A applying next layer › air dryer will speed drying and reduce the possibility of lifting bottom layer. H during top layer application › iquitex® GlossiesTM can be repainted after heat setting without affecting color L or adhesion • Brushes › crylic or watercolor brushes are best Don’t use Sable Don’t let paint dry A on brushes › oft brushes are best for smooth application Use stiffer brushes for stippling S • Glazing and Stained Glass Effects › se up to 25% with distilled water to create glazes Do not over-thin U › llow paint to fully dry before applying the next layer A › or thin paint lines apply Liquitex® GlossiesTM through a plastic syringe F • Stenciling & Masking › se masking tape to block of areas where paint should not go U › se prepared stencils or create from acetate U › se sponge or stencil brush to apply paint U • Sponging and Dabbing › atural sponges work best and can be used for a variety of decorative N techniques and to create texture liquitex® / the Acrylic book  .

scratch resistant. gloss finish B › uitable surfaces include any non-porous surface that is oven safe. S glazed ceramic. scratch resistant. etc) directions • ake only in a well-ventilated space Do not inhale fumes B • Place air-dried GlossiesTM in cold oven. gloss finish U › uitable surfaces include any applicable surface that is too large for S oven heat setting directions • low with heat gun directly on surface for about 30 minutes Less time may B not fully set the paint • ake sure space is well-ventilated Do not inhale fumes M • Air Drying › or durable. tiles. (ie glass.chApter 4: ApplicAtions / glossies GlossIestm on Glass. high gloss finish F › ecommended for porous surfaces that do not require scratch resistance R directions • llow painted surface to fully air dry Do not heat set A  liquitex® / the Acrylic book . tIle & CeramIC surfaCes (Cont ) heat settInG • Oven › ake for a durable. open oven door and let cool to T touch • aking at a lower temperature or for less time may adversely affect scratch B resistance • est surface by baking. set temperature at 325° F (163° C) • urn on oven for 45 minutes Turn off oven. prior to paint application to insure it can withstand T oven temperature • Measure oven temperature accuracy prior to baking • Do not heat set in toaster oven or microwave oven • hick paint of may not set fully Longer drying and baking times may improve T final adhesion • est baked surface by allowing to cool and lightly scratching surface with T fingernail Paint should adhere • Heat Gun › se heat gun for durable.

and return to proper hardness B upon cooling • Allow surface to cool prior to rubbing. cleaning or wetting surface • Do not place extremely hot items on painted surface • ot recommended for shower installation (regular exposure to hot water will N adversely affect adhesion) • ot recommended for “heavy use” applications. bowls. such as kitchen countertops. N floors. mosaic. etc Do not paint within the top 20mm of drinking vessel • May be painted on underside of clear glass dishes mural paIntInG Murals include a variety of techniques including fresco. encaustic. even surface with good leveling that shows little brush D marks › igment load is equal to Liquitex® Heavy Body Colors and offers far greater P coverage › lat paint film requires less cleaning overtime F • liquitex® heavy Body professional artist Color › hese heavy-bodied paints have a smooth thick buttery consistency similar to T oil paint › se to create surface textures and show brushwork U • liquitex® super heavy Body professional artist Colors › se for a thicker more viscous impasto surface while retaining brilliant color U › dds sculptural dimension to mural A liquitex® / the Acrylic book  . stained glass and photography Most contemporary artists will either paint on canvas and attach it to a wall or paint directly on the wall itself The word mural is actually derived from the French word “mur” meaning wall Acrylic paints have proven themselves to be one of the most durable paints available for exterior as well as interior mural painting • liquitex® soft Body professional artist Color › as a consistency similar to heavy cream Can be spray applied H › ries to a smooth. etc • Do not clean GlossiesTM with scouring cleaners • non-abrasive acrylic tile grout is recommended for use with GlossiesTM painted tiles A • Do not use on flexible surfaces • Do not use in food contact surface applications • May be used on outside of mugs.chApter 4: ApplicAtions / glossies – murAl pAinting use and Care • Hand wash Baked GlossiesTM in warm water with mild dishwashing soap • aked GlossiesTM will soften when exposed to heat.

use TSP (Trisodium C Phosphate) or a citrus based (more environmentally friendly) product mixed with warm water  liquitex® / the Acrylic book . peeling and water damage T › hey allows for easy removal of the mural if necessary T › ural can be a canvas that has been stretched or adhered to a panel and M then installed (This way mural is painted in studio. B or pipes). rather than on location ) • Existing Walls › roper surface preparation is essential for longevity of the mural P › reviously painted surfaces will not be as permanent as unpainted or a P stripped surfaces › urfaces must be free of any paint or substances that may peel Use of S proper solvents or sand blasting is recommended if necessary surfaCe preparatIon • The longevity of a mural is directly related to the surface preparation seleCtInG a surfaCe • oisture will reduce adhesion (It may take 2–3 months after drying for new M concrete to be rid of all water ) • e sure no moisture will be absorbed from behind the mural (from outside leaks. which can cause paint to peel from the surface CleanInG the surfaCe • lean surface with a degreaser to remove grease wax and oil. Spray application will increase it • Double paint coverage of either Soft or Heavy Body Acrylic.chApter 4: ApplicAtions / murAl pAinting CoVeraGe • iquitex® Soft Body Professional Artist Color will cover approximately L 400 sq ft/gallon • Liquitex® Heavy Body Professional Artist Color will cover approximately 130 sq ft/gallon Rough surfaces will reduce coverage. by using Liquitex® Ultra Matte Medium or Ultra Matte Gel in a 1:1 ratio with paint Best for under painting • Top layers of the mural should be painted using Lightfastness I rated colors with no extender mediums added for best permanence mural surfaCes • False and Separate Walls › alse and Separate Walls provide the best support by eliminating dangers of F expansion and contraction of plaster and masonry › hey protect against cracking.

Matte Gel for rough surfaces A › pply 1–2 coats of any Liquitex® Gesso A liquitex® / the Acrylic book  . Sand or Strip R › ust be dry and cured M › pply Matte Medium for smooth surfaces. Clear.chApter 4: ApplicAtions / murAl pAinting CleanInG the surfaCe (cont ) • Surface must be structurally sound and free of loose particles • If the wall has been painted with oil paint or is peeling. sand the entire surface • emove mold or mildew with stiff brush and a mixture of 1 part bleach to 3 parts R water (or a commercially available product) Rinse twice with warm water and allow to fully dry fIxInG CraCks and uneVen surfaCes • mooth surfaces: Brush on one coat or spray two coats of Liquitex® S Matte Medium • Rough surfaces: Trowel on one to two coats of Liquitex® Matte Gel • Allow to fully dry prImInG the surfaCe • Apply any Liquitex® Acrylic Gesso product (Titanium White. thin gesso with a mixture of 50% Matte Medium and 50% F distilled water Do not over-thin with water. Colored. strip all existing paint • If the surface has been painted with acrylic paint. Matte Gel for rough surfaces A › pply 1–2 coats of any Liquitex® Gesso A • Painted Masonry › emove loose material—Clean. this will cause poor adhesion • Wet sanding will produce a smooth ground but will make flexible surfaces brittle • Super Heavy Gesso can be used to create a more textured surface VarIous mural surfaCe preparatIons • New Wood › and and Seal with 1 coat of Matte Medium S › pply 1–2 coats of any Liquitex® Gesso A • Painted Wood › emove loose material by Sanding or Striping R › eal with 1 coat of Matte Medium S › pply 1–2 coats of any Liquitex® Gesso A • New Masonry › ust be dry and cured M › pply Matte Medium for smooth surfaces. or Super Heavy Gesso) • Thin gesso with up to 50% Matte Medium if desired Brush or spray apply • or spray application.

hinder adhesion and cause clouding adhesIon test • o ensure proper adhesion.chApter 4: ApplicAtions / murAl pAinting VarIous mural surfaCe preparatIons (cont ) • New Sheetrock › pply an acrylic emulsion compatible industrial sealer such as AqualockTM A • Unprimed & Painted Metal › emove grease. or opaque projector and D traced on to the mural surface They also can be scaled and transferred using a grid system or transferred to the surface using cartoons • rawings should be “fixed” with a spray coating of 50% Matte Medium and D distilled water thInnInG Colors durInG paIntInG • Use Liquitex® mediums to adjust paint consistency. Lowest temperature: 50°F • Do not Varnish during rain. a test should be done on a surface similar to the actual T mural surface before painting directions • pply the paint or medium to prepared surface and let dry thoroughly Wait A 72 hours for acrylic paint to cure before continuing (longer in more humid conditions) 0 liquitex® / the Acrylic book . overhead. Only O Lightfastness pigments are recommended for outdoor mural painting paInt applICatIon • rawings can be projected with a digital. slide. dirt and solvents R › and surface S › ash with a prep solution for the painted metal being used W › pply an acrylic emulsion compatible primer such as AqualockTM A › pply Matte Medium for smooth surfaces and Matte Gel for rough surfaces A › pply 1-2 coats of any Liquitex® Gesso A ChoosInG Colors • utside murals are subject to the harshest environmental conditions. it may trap moisture. texture and sheen • o not use only water for thinning Outside murals exposed to weather need D maximum film integrity Too much water will weaken the paint film temperature. moIsture and humIdIty durInG exterIor paIntInG • Ideal temperature: 65°–75° F.

well-ventilated area • ear a duel filter respirator (NIOSH approved) and neoprene gloves Dampen W a small piece of lint free. such as Liquitex® Soluvar®. pollution and dirt The varnish should be removable. white cloth with mineral spirits (not “odorless”) or turpentine—nothing stronger Do not use ketones (i e acetone or similar solvents) or paint removers • ork horizontally Apply mineral spirits generously and allow it to lay on surface W for 15–30 minutes Check periodically Cover surface with plastic to slow down evaporation of mineral spirits liquitex® / the Acrylic book 1 . removing the varnish can restore it Cleaning I will not affect the underlying painting if the varnish was properly applied • Remove varnish in clean. soft. to allow cleaning mural varnishing occurs in two steps: 1 Isolation varnish layer 2 Removable varnish layer soluVar® Gloss and matte VarnIsh applICatIon • pply 1–2 layers of Gloss Varnish or Gloss Medium & Varnish as an isolation A barrier • This barrier physically separates the painting from the Soluvar® Varnish and seals the surface ® • This allows a more even application of Soluvar Varnish and protects the painting surface when the Soluvar® Varnish needs to be removed • o insure proper adhesion. good surface R adhesion has not been achieved Either a different surface preparation is necessary or the particular support is not suitable for the paint or medium tested fInal proteCtIVe VarnIshes • fter the mural is complete. a final protective varnish should be applied to protect A it from weathering. score surface in a crosshatch pattern using a sharp knife W • pply masking tape firmly to scratched surface and firmly burnish A • emove masking tape slowly If any paint comes off with the tape. clean surface with a lint free rag dampened with T mineral spirits • Apply 1–2 layers of Soluvar® Varnish Let dry 24 hours between coats • Intermix Gloss and Matte Soluvar® Varnish for a variety of sheens • oluvar® Matte Varnish contains matting agents that settle during storage S Before using gently stir with a wooden dowel or brush handle until completely re-dissolved Do not shake remoVInG soluVar® VarnIsh • f the mural becomes dirty or abused.chApter 4: ApplicAtions / murAl pAinting adhesIon test (cont ) directions • hen completely dry.

U staining. flannel. depending upon age of artwork and strength of L mineral spirits If varnish is not dissolving or dissolving slowly. fine line detail. velveteen. suede. felt. dying. leather and most synthetics • liquitex® soft Body professional artist Color › deal for most fabric painting techniques. silk. use a higher strength mineral spirits or turpentine • Stronger mineral spirits are not labeled as such. but have a stronger odor • Rub cloth gently over a 1 square foot area until varnish starts to dissolve • sing a clean cloth and clean solvent. steaming or chemical fixing is not required • A variety of applications are possible • iquitex® Acrylic Colors can be used on cotton. rub the area again to remove residue U Repeat this procedure for the entire area to be cleaned If any paint color shows on the cloth. L knitted. thick buttery consistency • Retains brush strokes and knife marks Excellent for impasto • Flexible when dry. velvet. terry cloth. stop immediately and allow the surface to dry • Allow painting to dry before reapplying a fresh coat of Soluvar® Varnish paIntInG on faBrIC and leather Liquitex® Professional Artist Acrylic Colors are the most permanent paints for fabric and are available in three distinct bodies They offer exceptional quality. corduroy. cotton-poly blends. allowing built-up surfaces to remain free of cracks and chips • liquitex® super heavy Body professional artist Color › uperior shape retention and unique “gutsy” handling S › xcellent for ‘textural’ and ‘sculptural’ applications with very low shrinkage E from wet-to-dry  liquitex® / the Acrylic book . durability. stencil. calligraphy and marbling › asy mixing with water and mediums E • liquitex® heavy Body professional artist Color • Exceptionally smooth. woven. adhesion and the largest assortment of pure pigments of any professional quality acrylic paint • Heat setting. watercolor. silk screen. especially lightweight or textured fabrics I › ries smooth and even with good leveling with few brush marks D › se for flat large area coverage. airbrush.chApter 4: ApplicAtions/ murAl – pAinting on fAbric remoVInG soluVar® VarnIsh (cont ) • onger times may be necessary.

application and humidity Paint will dry to touch in 5 V minutes to 2 hours.chApter 4: ApplicAtions / pAinting on fAbric & leAther General InstruCtIons • Pre-wash new fabric to remove sizing. wait at least 4 days before washing • and wash and hang dry is best Do not presoak or use hot water Wash items H inside out • Machine wash fabric in warm water Use permanent press/gentle cycle • ry cleaning machines that spin-dry fabric at room temperature are recom- D mended Dry cleaning suede is acceptable Spot cleaning solutions should be avoided or used sparingly faBrIC paIntInG teChnIques airbrush and spray application › iquitex® Soft Body and Liquitex® Airbrush Medium are recommended for L this technique - Mix 1 part Soft Body Colors with 1 part Airbrush Medium - Add more Airbrush Medium as needed to achieve desired consistency › olors must permeate cloth and be seen as ghost image on reverse side to be C permanent Block printing › iquitex® Heavy Body Colors and Liquitex® Slow-Dri® Gel Retarder are L recommended for this technique › oat a linoleum or wood block with waterproof varnish C liquitex® / the Acrylic book  . which interferes with adhesion Let dry • djust paint to desired consistency using Liquitex® Mediums A • note: For Excellent results use Liquitex® Fabric Medium. add distilled water if necessary—do not over-thin • Test technique on a separate piece Each fabric has a different absorbency and will affect paint handling • Place protective layer on work surface to prevent sticking Stretch sweatshirts with cardboard for best paint application ) • Applying thick paint to large areas will tend to stiffen fabric • Iron on low synthetic heat setting Use a pressing cloth or iron on reverse side of fabric • note: Loose fabric weave allows more of the color to penetrate the fibers dryInG tIme • aries depending on surface. WashInG faBrIC • After paint fully dries.

Liquitex® Gloss Heavy Gel or Liquitex® Matte Gel Medium L › crew a plastic cake decorator tip onto a tube of Heavy Body Artist Color S and squeeze apply › uper Heavy Body Colors can be applied with cake decorator through a S variety of different tips › ix paint with Liquitex® Gel Mediums to adjust consistency. sift finely shredded fabric (flocking) onto the varnish W When dry this absorbent surface will hold paint for application › ix Liquitex® Heavy Body Artist Color with up to 25% Slow-Dri® Gel M Retarder and spread onto the block with a soft foam roller › et the fabric and place the block face down onto the cloth pressing firmly W and evenly › tretch the fabric on a padded surface to help facilitate printing S › se absorbent. and Liquitex® L Fabric Medium › ix Liquitex® Soft Body colors with Fabric Medium for a softer feel to M finished painting drawing recommended products: • iquitex® Heavy Body or Super Heavy Body Artist Colors L • iquitex® Gloss Gel. medium-to-heavy weight fabrics without deep texture for U best results Brushwork recommended products: • Liquitex® Soft Body Colors and/or Liquitex® Heavy Body Colors • iquitex® Slow-Dri® Fluid Retarder.chApter 4: ApplicAtions / pAinting on fAbric & leAther faBrIC paIntInG teChnIques (cont ) Block printing › hile varnish is wet. apply with M cake decorator to produce thick lines › Use absorbent fabric Hand wash and Hang Dry dyeing and staining recommended products: • iquitex® Soft Body Professional Artist Color L • iquitex® Flow-AidTM L › Wash fabric to remove any starch or sizing › ix Flow-Aid™ water (1 part Flow-Aid™ to 20 parts distilled water) with M Soft Body Professional Artist Color › ix 1 part color and 3 parts Flow-Aid™ water to increase transparency and M decrease color intensity  liquitex® / the Acrylic book . Liquitex® Gel Retarder.

chApter 4: ApplicAtions / pAinting on fAbric & leAther dyeing and staining (cont ) recommended products: › Transparent and translucent colors work best and dry with a softer finish › or soft edges. L • iquitex® Gloss Medium & Varnish L › ix up to 25% Liquitex® Slow-Dri® Fluid Retarder into paint to slow drying M › or heavyweight fabric use Liquitex® Soft Body colors. thinned with distilled water to U desired consistency › ultiple applications can be painted over once dry without picking up M underlying colors › Lightweight fabrics allow paint to spread quickly liquitex® / the Acrylic book  . no heat setting required A › Wet colors will dry lighter › Titanium White and all Iridescent and Interference colors may stiffen fabric silk-screen recommended products: • iquitex® Soft or Heavy Body Colors L • iquitex® Slow-Dri® Fluid Retarder. acetate or U frisket films Use spray stencil adhesives if necessary › Apply paint with polyurethane foam dauber. for hard edges leave dry F › ightly woven cotton and silk will achieve richest colors T › hot wax resist may be used for hard edges Remove wax resist by dry A cleaning › ll colors are permanent. pre-wet fabric with Flow-Aid™ water. rag or stencil brush › Thinning paint may cause it to bleed › Do not force paint under the edge of stencil • Watercolor › se Soft Body Professional Artist Color. lightweight fabric use F Liquitex® Heavy Body colors › queegee paint through screen Wash screen with water immediately after use S › loss Medium & Varnish can be used as a permanent screen block G solution Apply directly to screen • Stamping › Paint stamp with either Liquitex® Soft or Heavy Body Colors › ress painted side onto surface using even pressure. allowing absorption P into fabric • Stenciling › se either ready made stencils or cut from heavy paper. oak tag.

fiber structure. flatten and adhere leather to a stable surface B • or light or bright colors on dark leather first apply Liquitex® Soft Body F Titanium White thinned with 25% distilled water to the painting area • ollow any of the already discussed Fabric Painting Techniques F Cleaning • ipe with damp cloth or mild soap and water W Care • aint may crack if leather is stretched beyond the binding capability P • void wearing painted leather below 45° F (Acrylic paint can crack if bent A below this temperature )  liquitex® / the Acrylic book . dye type and tendency to stretch Always do a test sample preparation • or maxi mum adhesion and longevity. the paint should penetrate into the F leather • eeper penetration will achieve greater adhesion D • emove any surface coating. L thickness.chApter 4: ApplicAtions / pAinting on fAbric & leAther leather • ong-term paint adhesion can be a problem due to variations in surface. or smoothness by sanding with fine R sandpaper or emery cloth • emove surface oils by wiping with alcohol (denatured or rubbing) or acetone R only in areas to be painted painting techniques • efore applying paint. oil content. shine.

or even paper M A good place to work with poured media is on a level work table If the surface is not level. you may produce uneven results with very thin pieces that may tear 5 our evenly over the surface and allow at least one day of dry time If the paint P film is thicker allow up to two days of dry time liquitex® / the Acrylic book  . blend gently and allow the mixture to sit for 10 minutes following agitation 3 sing a funnel. and strong body of paint when poured or dripped onto a surface Suspend Liquitex® Acrylic Colors in Liquitex® Pouring Medium for sculptural effects and surface treatments usInG pourInG medIum 1 Mix one tablespoon or more of Liquitex® Soft Body Acrylic Color with one cup of Liquitex® Pouring Medium in a large bucket or bowl It helps to mix custom colors before adding to the medium. glass.chApter 4: ApplicAtions / pouring pourInG Liquitex® Pouring Medium can be used in combination with Liquitex® Soft Body Acrylic Colors to create seamless surfaces and puddles of color Liquitex® Pouring Medium is formulated to create a smooth. to ensure a uniformity of color in the pour 2 ix the color and the pouring medium by hand with a palette knife In order M to prevent bubbles. seamless. take the mixture and pour it into a squeeze bottle or applicator of U choice Additional applicators such as pitchers or tubes can be used for a variety of effects The paint is now ready to be poured 4 ixture can be poured directly on canvas or board supports.

glued. Paper. or board with a larger cardboard box to ensure a clean pour  liquitex® / the Acrylic book . or Glass TIPS & TECHNIQUES › Paint wet in wet! Multicolored compositions can be created in one sitting if several colors are prepared at a time Apply the next color directly after the first pour for spots or crisp concentric circles (Note: Gravity can be used to manipulate colors when wet by lifting the poured surface and gently tilting to allow the pools of color to bleed into each other ) › Marbled surfaces can be created using multiple colors applied side by side and then blended using a palette knife or by dragging a fork or pointed tool through the surface › Turn the support on its side to create thin drips Allow the paint to run down the support surface at a variety of speeds › Pours and pools can be layered Apply another coat after the first has dried for layers of color › For sculptural applications. glass. do not mix water with the Liquitex® Pouring Medium › Dust can get caught in the paint film if left open to the air Cover the painted canvas. treat the glass surface with a mold release or quick release spray for easy removal of the paint after it dries When dry the poured paint can be sewn.chApter 4: ApplicAtions / pouring pourInG (Cont ) materIals needed • Liquitex® Pouring Medium • Liquitex® Soft Body Acrylic Color • Measuring Cup and Spoon • Large Mixing Container • Palette Knife • Squeeze Bottles • Stretched Canvas. or rolled for different sculptural effects › In order to ensure the continued strength of the paint film. flexible paint slick To make removable pours. directly pour medium and paint mixture onto a glass surface to create a moveable. Board.

such as paper D › ay spread or “bleed” into absorbent surfaces. stop printing immediately and clean screen with warm water and non-abrasive sponge or cloth Blot with paper towel and continue printing liquitex® / the Acrylic book  . remove paint from screen with a damp cloth as soon as screen clogs • To clean major paint clogs on screen. such as paper M • liquitex® heavy Body artist Colors › onsistency similar to oil paint C › ess likely to spread or “bleed” when screen printing onto fabric L › enerally prints more opaque because of thicker paint application G › ay clog in tight mesh screen M extendInG dryInG tIme • ix any amount of Liquitex® Slow-Dri® Blending Medium or Gel Medium with M Liquitex® Soft or Heavy Body Artist Colors to slow drying time Transparency of color will increase proportionally with the amount of medium added • ix Liquitex® Slow-Dri® Blending Fluid and Gel Mediums to attain an intermediate M consistency • ix up to 25% Liquitex® Slow-Dri® Fluid or Gel Retarder with Liquitex® Soft or M Heavy Body Artist Colors to slow drying time 50% and allow for better transfer of paint to paper during printing.chApter 4: ApplicAtions / silk-screen sIlk-sCreen Liquitex® Professional Artist Acrylic Colors offer artists a non-toxic approach for silkscreen techniques • liquitex® soft Body artist Colors › onsistency of extra heavy cream C › asier to silk-screen through tight mesh screens E › ries quickly on absorbent surfaces. periodically spray screen during printing with 1 part Liquitex® SlowDri ®Fluid Retarder and 1 part distilled water Too much spraying may cause paint to spread (“bleed”) on paper • For spot cleaning during silk-screen printing. without significantly affecting opacity • Mix Liquitex® Slow-Dri® Fluid and Gel Retarder to attain intermediate consistency helpful hInts durInG prIntInG • Prepare all paint necessary for printing before beginning • Work quickly Do not stop during printing • re-wet screen with 1 part Liquitex® SlowDri ®Fluid Retarder and 1 part distilled water P • To prevent paint from drying on screen during printing.

Gloss Heavy Gel. Gloss Super Heavy Gel. good surface adhesion has not been achieved I Either a different surface preparation is necessary or the particular support is not suitable for the paint or medium tested 0 liquitex® / the Acrylic book . waxy and hard. Gloss Medium & Varnish or F Matte Medium • For large area and expressive blockouts: Use Gloss Gel.surfAce prep lIquItex® medIums as permanent sIlk-sCreen BloCkouts • They are resistant to oil based screen inks and solvents • or detail blockouts: Use Glazing Medium.chApter 4: ApplicAtions / silk-screen . score surface in a crosshatch pattern using a sharp knife • Apply masking tape firmly to scratched surface and firmly burnish • Remove masking tape slowly • f any paint comes off with the tape. usually with sandpaper ) • Never apply acrylics over oil paint • Always do an Adhesion Test on a sample first if you are unsure adhesIon test • pply the paint or medium to prepared surface and let dry thoroughly Wait 72 A hours for acrylic paint to cure before continuing (longer in more humid conditions) • When completely dry. or Matte Super Heavy Gel surfaCe preparatIon Just about anything can be painted with Acrylics. shiny surfaces (Note: Some hard shiny surfaces can be A prepared by roughing the surface up to provide tooth. Matte Gel. but it is important to understand a few basic principles to ensure maximum stability The surface (support or substrate) is the basic substructure of a painting. and should be appropriate for the type of work to be executed The choice of surface and ground has a large effect on how the paint handles during the painting process and the overall longevity of a work of art Paint will tend to dry more slowly and move more freely on a smoother surface while a more porous and absorbent surface will have the opposite affect the surface chosen will depend on several factors: • Painting style of the artist • The desired visual effect • he purpose of the work T • equired longevity R • The type of Media used Basic rules for choosing and preparing surfaces • void oily.

velvet. jute and natural or synthetic C fibers It is available raw. exceptionally strong and long lasting S liquitex® / the Acrylic book 1 . suede. knits.chApter 4: ApplicAtions / surfAce prep flexIBle surfaCes paper • ost papers are made and labeled for particular media and require little M or no preparation types › ristol Board is designed specifically for acrylic painting B › ot Pressed Paper and Boards have a smooth surface H › old Pressed Paper and Boards have rough texture and are best for C watercolor and airbrush technique preparation › apers can be sealed prior to painting to prevent absorption into the P paper fibers › eavier paper is recommended for most applications to prevent warping H (Note: Tape edges of paper to backing surface while sealing and do not remove tape until paper has dried to maintain flatness ) › iquitex® Clear Gesso and Liquitex® Matte Medium allows color of paper to L show through › note: Clear Gesso contains fine aggregate giving the surface “tooth” making it an excellent ground for pastels ) fabric • iquitex® Acrylic Colors can be applied directly on both natural and synthetic L fibers The tighter the weave of fabric the brighter the colors will be when dry types › iquitex® Acrylic colors are suitable for cotton. silk. woven L fabric. felt. pre-primed and pre-stretched on bars or boards raw › otton Duck: The most common and popular style of canvas used C › inen: Superior strength and longevity though not necessarily ideal for L acrylics due to its oil content › ute: Not considered a permanent surface (used for it’s texture as well J as lower price ) › ynthetic: Most uniform in texture. cotton/poly blends. velveteen. leather. terry cloth. corduroy and flannel preparation › ash first to remove the sizing or starch (if applicable) W › lways do a test piece to ensure compatibility A › ecommended Products: Liquitex® Fabric Medium and Liquitex® Flow-AidTM R Canvas • anvas comes in many varieties including cotton. linen.

Black.chApter 4: ApplicAtions / surfAce prep flexIBle surfaCes (cont ) Canvas pre-primed › ommercially prepared with acrylic gesso or oil ground in a variety of styles C › vailable in a variety of natural and synthetic materials and weights. and L Super Heavy formulations  liquitex® / the Acrylic book . flexible and non-yellowing T 2 hickness of the medium application Gel mediums are more susceptible to SID than fluid mediums They are thicker. contain more water and take longer to dry 3 ubstrate used Different surfaces contain different colorants and S contaminants acrylic Gesso › iquitex® Acrylic Gesso is the highest quality gesso and provides a flexible. which can be further smoothed T with more layers of gesso and sanding › rimed canvas is more difficult to stretch than raw canvas and requires P canvas pliers to stretch preparation acrylic medium › iquitex® Clear Gesso. wood or hardboard. Matte Medium or Matte Gel can be used as a sealer L (size) for canvas. paper or board. Neutral Gray. the water content may draw impurities out of the support as it dries • yellow or brown discoloration in the medium may occur over time A It will be noticeable only in areas that are left unpainted It is not a problem if the mediums are mixed with paint or painted over • t occurs with all acrylic mediums currently used by major fine art paint I manufacturers • Washing the canvas before use can greatly decrease or eliminate SID • he amount of discoloration in the acrylic medium will vary depending T upon: 1 uality of the acrylic medium The unique resin formulation used in Q all Liquitex® Paints and Mediums is clear. L non-yellowing ground with excellent tooth for proper paint adhesion › eals and protects the substrate (i e canvas) and readily accept S the application of paint (Note: suitable for both oil and acrylic paint applications ) › iquitex® Gesso is available in Clear. weave A patterns and textures › here are single and double primed versions. allowing natural surface color to be seen after sealing › ubstrate Induced Discoloration (SID) S • hen acrylic mediums are used as a size for primed or unprimed W cotton. Titanium White. linen.

use Liquitex® Super Heavy Gesso for more texture ) • For most economical multiple coat surface use Liquitex® Matte Medium as first coat. followed by one coat of Liquitex® Gesso after its dry thinning • iquitex® Gesso may be thinned with up to 25% distilled water and function L without adversely affecting adhesion or causing gessoed surface to crack • or increased adhesion and flexibility. lightly sand with fine-grit sandpaper Apply second layer • hen spraying it may be necessary to thin gesso with Liquitex® Airbrush W Medium approximately 1:1. charcoal and graphite drawings liquitex® / the Acrylic book  . apply with a large painting F knife or squeegee (in half-circular motions) or use a house paint pad (Note: Work the gesso into the weave if using canvas ) Let dry. troweled. add more Airbrush Medium as needed eGGshell CanVas surfaCe • his preparation will create a paper smooth surface that is excellent for portrait and T airbrush techniques • et sand gesso surface in circular motion until area dries and becomes smooth W using 400 grit wet-dry sandpaper and a spray mister (Note: Surface will be brittle and may crack if surface is pushed or stressed ) surface tooth and absorbency › ilute Liquitex® Gesso with Liquitex® Matte Medium to get less absorbency D and tooth › ny Liquitex® Texture Gel may be mixed into gesso along with marble dust or A sand for textural effects (Note: Too many aggregates may make gesso brittle ) › mixture of 75% Liquitex® Gesso and 25% Liquitex® Modeling Paste will A make an Absorbent Gesso.chApter 4: ApplicAtions / surfAce prep flexIBle surfaCes (cont ) application • pply Liquitex® Gesso to raw canvas after it has been stretched and stapled A onto stretcher bars This ensures a tight surface (Note: don’t stretch canvas too tight as this can cause the stretcher to warp Drying paint will cause shrinking ) • Allow to fully dry for a minimum of 24 hours before use • ultiple Coats are recommended especially if it is to be used as a ground M for oil paint • A second layer will produce a smoother surface and offer better protection and adhesion (Note: Lightly sand between applications for a smoother painting surface. suitable for use as a ground for pastel. it is recommend to thin gesso with equal F parts distilled water and Liquitex® Matte Medium application • Liquitex® Gesso can be brushed. or sprayed directly onto canvas • or a smooth surface (without brushstrokes).

paper or other material can M be glued Use Liquitex® Matte Gel to adhere canvas to board • Surfaces should be tested for proper adhesion Canvas panel Boards • ot recommended for permanent work.chApter 4: ApplicAtions / surfAce prep rIGId surfaCes • Provide smooth or textured surfaces for dimensional painting and collage • ost boards can be used as supports to which canvas. maple and oak They may be adhered to wooden stretchers to prevent warping • All forms of plywood will require between 2–5 coats of gesso (Harder woods are less porous and will require less to seal ) foamboard • Not recommended for long-term applications—vulnerable to warping and damage • Lightly sand and use two coats of Liquitex® Gesso (sanding between coats) • Let dry overnight  liquitex® / the Acrylic book . as they may warp and materials may not last N • Prepared commercially and available in a wide variety of sizes • Generally made of cotton canvas wrapped and glued onto heavy cardboard Compressed hardboards • ompressed hardboards such as MasoniteTM are not recommended as a C permanent support • Untempered Masonite is subject to warping and is not very stable • Tempered Masonite contains oily substances that may affect paint adhesion over time › f permanence is not required. untempered Masonite may be used but I should be sealed all over with a barrier varnish such as Liquitex® Soluvar® Varnish and then prepared as follows: - Sand the top (shiny) surface - Cover with at least two coats of Liquitex® Gesso - Sand between coats and apply the second coat at right angles to the first plywood • MDO (Medium Density Overlay) boards are varieties of plywood that are bonded with paper on one side or both sides • They offer a very smooth surface quality that is hard to achieve with standard plywood (Note: They can be heavy ) • Good exterior grade boards can provide an excellent painting support They are available in 1/8” thickness of mahogany. birch.

chApter 4: ApplicAtions / surfAce prep rIGId surfaCes (cont ) fiberglass • Can be painted with acrylics or oils if the surface is prepared properly • Sand or sandblast the surface Remove residual dust • oat with an industrial solvent based. primer-sealer such as KILZ (for water-based media) C • Allow to cure for 3 days—Test for proper adhesion (see Adhesion Test) • Lightly sand • Apply Liquitex® Gesso (spray or brush)—Let dry overnight and re-test adhesion • Paint Surface and apply Soluvar® Varnish as a finish coat metal and Glass • Sand with 400-grit paper or sandblast for proper paint film adhesion • Etch Aluminum with 5% lye solution for 4 to 5 minutes • Glass can be acid-etched or sand blasted • Degrease surface and coat with industrial primer (for water-based media) • Let dry fully and test adhesion (see Adhesion Test) • Apply Liquitex® Gesso (spray or brush) Let dry 3 days and test for adhesion plastic panels (plexiglastm™) • urface preparation will depend on the type of plastic S • lastic must be chemically inert so that it will not react with the paint film over time P • slight tooth is required for paint adhesion—if none exists the surface must be A sanded with a fine or medium grade sand paper (dust mask should be worn) where paint is to be applied • fter sanding. as it is too slick mylar • Mylar is a film that has all the properties and uses of acetate with additional flexibility and strength • Much higher in price than acetate • It does not stretch. textured acetate and wet-media acetate (also called M “prepared acetate”) are suitable for acrylic materials • Smooth acetate is not recommended for acrylic materials. somewhat brittle plastic available in varying thickness and A surface textures • atte-surface acetate. use Liquitex® Matte Medium or Matte Gel and one or two coats of A Liquitex® Gesso or Clear Gesso for an opaque or transparent ground • Both sides of the sheet can be painted to yield dimensional qualities • Apply Soluvar® Varnish to protect and seal finished work acetate • cetate is a transparent. crack or yellow liquitex® / the Acrylic book  .

E stained glass and photography • ost common techniques. and oil—structurally sound and free of S loose particles plasterboard • Use only if not previously painted with oil or alkyd paint • eal first with a barrier varnish like Soluvar® or an industrial product (like S AqualockTM for use with water base paints) Let dry completely • Apply two coats of gesso with a brush. good surface adhesion has not been achieved I Either a different surface preparation is necessary or the particular support is not suitable for the paint or medium tested  liquitex® / the Acrylic book .chApter 4: ApplicAtions / surfAce prep rIGId surfaCes (cont ) mylar • Available with a photosensitive surface for the reproduction of line drawings • Available in a wet-media form that needs no surface preparation masonry and Concrete • Masonry and concrete must be thoroughly dry and cured (may take 8–12 weeks) • ll moisture must be gone and there must be no waterproofing. either immediately or over time C adhesIon test • pply the paint or medium to prepared surface and let dry thoroughly Wait 72 A hours for acrylic paint to cure before continuing (longer in more humid conditions) • When completely dry. painting on canvas and then attaching to a wall or M painting directly on the wall • urfaces must be free of grease. cement paint or silicones A (often used during construction) on surface or acrylic paint adhesion will not be permanent • Liquitex® Acrylics can be applied directly to a masonry wall › or best results: apply Liquitex® Matte Gel Medium with a trowel (An excellent ground F that will seal the wall and reduces the amount of paint needed to cover the surface ) › Let Matte Gel Medium fully dry. then apply one or two coats of gesso › Let dry overnight murals • ncompasses a wide variety of techniques including: fresco. mosaic. encaustic. score surface in a crosshatch pattern using a sharp knife • Apply masking tape firmly to scratched surface and firmly burnish • Remove masking tape slowly • f any paint comes off with the tape. spray or paint pad unusual surfaces • est for compatibility with the acrylic paint (See Adhesion Test ) T • ertain surfaces may have adverse reactions with paints. wax.

5–12 coats will give you a thickness of 1/16”– 1/8” Coat successive layers in different directions. image side up onto glass palette and press flat Image may be P taped to glass palette instead of using spray adhesive. laser print. image side down onto scrap paper and spray back of image with a light coat of a spray adhesive Use proper ventilation and facemask 2 osition photocopy. uncoated magazine will transfer directly without the need of a photocopy Some images such as photographs and coated magazine images will not transfer 2 btain a photocopy of your selected image either in black & white or color Since O it can be unclear beforehand which image will and will not transfer. magazine. soft brush.chApter 4: ApplicAtions / trAnsfers transfers Acrylic transfers allow artists to transfer images generated from magazines. newspapers. medium will be completely clear 3 Repeat steps 1 and 2 until the medium coating is thick enough so that you can peel it off the glass without tearing. however a taped image will not lay flat once coating is begun CoatInG ImaGe Brushing method: 1 sing a 1/2”–2” wide. photograph or computer laser (not ink jet) print Some images such as newspaper. it is soaked in water and the paper is removed from the back of the image You are left with a transparent to translucent image that is imbedded within acrylic medium seleCtInG ImaGe 1 Select image of your choice: newspaper. photographs and laser printers onto any surface that will accept acrylic paint It can be done with a wide variety of Liquitex® Mediums depending upon your desired effect This technique transfers black & white and colored images The medium is brushed. poured or troweled over the image to be transferred After the medium has dried. horizontal then vertical then horizontal. A medium will appear slightly cloudy When dry. a Xerox of the original image is recommended preparInG ImaGe for transfer 1 Place photocopy. coat image with Liquitex® Gloss Medium & U Varnish For minimal brush marks. etc The thickness of the coating can vary according to your desired effect Thin layers between 1/32 to 1/16 may be difficult to handle liquitex® / the Acrylic book  . depending upon environment While wet. use Liquitex® Gloss Varnish or thin Gloss Medium & Varnish with 5–10% Liquitex® Flow-Aid™/Water mixture (1 part Flow-Aid™ to 20 parts distilled water) 2 llow to dry 20 minutes to one hour.

chApter 4: ApplicAtions / trAnsfers CoatInG ImaGe (cont ) pouring method: 1 se a carpenters level to make sure the glass palette surface is level If surface is U not level poured acrylic medium will run toward lower edge and when dry will be thicker at that edge 2 ape around image with masking tape in 4–5 successive layers so that a ridge is built T up around image You are building a dam to contain the poured acrylic medium 3 our Liquitex® Gloss Medium & Varnish over image Pour only enough to cover P image You may need several pours to build enough thickness Spread around with soft brush. gently rub off paper from back of image Rub off top layer of paper only and submerge image into container of warm water Repeat steps until only the image remains dryInG transferred ImaGe 1 Blot with paper or cloth towel Place flat between layers of wax paper. if need be. insuring that image dries flat adherInG transfer to support 1 emove when dry (24–48 hours) Select support that transfer is to be adhered to R 2 oat the side of the transfer that is to be affixed to the support with either C Liquitex® Gloss Medium & Varnish or Liquitex® Gloss Gel Quickly position the transfer onto the support (i e canvas) and press 3 o insure uniform contact. “Drying Transferred Image” and “Adhering F Transfer to Support” 5 Interference Color Transfer will be opalescent  liquitex® / the Acrylic book . dry transfer under weight Cover transfer with a sheet T of wax to prevent transfer from sticking to weight Let dry 24 hours dIreCtIons: usInG lIquItex® InterferenCe Colors 1 ollow directions for “Selecting Image” and “Preparing Image for Transfer” F 2 ix 5-10% Liquitex® Interference Color of your choice into Gloss Medium & M Varnish to produce an interference film 3 Follow directions for “Coating Image” 4 ollow directions for “Soaking Image”. then paper towel 2 Weight top and allow to dry. while wet Pouring thick layers may result in cloudy transfers and shrinkage marks 4 Allow to dry completely: 48–72 hours When medium is completely clear it is dry soakInG transfer 1 azor cut around tape and remove image from glass palette Submerge in lukewarm R water and soak 10–15 minutes The longer the image is submerged in water the easier it will be to remove the paper from the back of image Do not soak paper longer than 20 minutes When submerged in water the clear medium may turn slightly milky 2 Remove image from water and using your fingers.

furniture. or framed glass for stained glass effects liquitex® / the Acrylic book  .chApter 4: ApplicAtions / trAnsfers dIreCtIons: usInG lIquItex® Gel medIums 1 Follow directions for “Selecting Image” and “Preparing Image for Transfer” 2 oating Image: Using a palette knife. apply 1–2 coats of Liquitex® Gloss Gel or C Gloss Heavy Gel 3 pply each coat 1/16”–1/8” thick If applying two coats. decorate household or craft items (ceramic tiles. cups. lampshades. or even apply to mirrors. allow first coat to thoroughly dry before applying second coat (approximately 24–48 hours) The thicker the Texture Gel Medium coating the more opaque the final transfer film will be 3 ollow directions for “Soaking Image”. C Resin Sand or Glass Beads Texture Gel Apply each coat 1/16”–1/8” thick If applying two coats. and shoes). less Black Lava = more transparency/less black speckles 3 ollow directions for “Coating Image: brushing or pouring methods” F 4 ollow directions for “Soaking Image”. Glass U Beads or Black Lava Texture Gel Mediums into Liquitex® Gloss Medium & Varnish The greater the percentage of Medium. “Drying Transferred Image” and “Adhering F Transfer to Support” 4 semi-transparent. pillows. a Black Lava Texture Gel/ Medium mixture will result in a transfer that is transparent with black speckles The amount of transparency and black speckles will be influenced by the ratio of Medium to Black Lava More Medium. in addition to fine art Try placing acrylic transfers onto clothing (such as hats. “Drying Transferred Image” and “Adhering F Transfer to Support” 5 translucent to translucent/opaque film transfer will result A dIreCtIons: usInG lIquItex® texture Gels 1 Follow directions for “Selecting Image” and “Preparing Image for Transfer” 2 oating Image: Using a palette knife. windows. sweatshirts. quilts). Resin Sand. textured film transfer will result A dIreCtIons: usInG lIquItex® fluId medIums and texture Gels 1 ollow directions for “Selecting Image” and “Preparing Image for Transfer” F 2 sing a soft brush or palette knife mix 5–50% Natural Sand. allow first coat to thoroughly A dry before applying second coat (approximately 24–48 hours) The thicker the Gel or Heavy Gel Medium coating the more opaque the final transfer film will be 4 ollow directions for “Soaking Image”. apply 1–2 coats of Liquitex® Natural Sand. boxes. “Drying Transferred Image” and “Adhering F Transfer to Support” 5 transparent-translucent textured film transfer will result A addItIonal Ideas An unlimited number of creative applications exist. the more transparent and less textured the final transfer film will be For example. T-shirts.

chApter 4: ApplicAtions / wAtercolor with Acrlic WaterColor WIth aCrylIC Liquitex® Acrylic color can be used in the manner of watercolor simply by thinning with water and applying to an absorbent surface The amount of water used depends on the desired consistency. thereby softening edges . allow washes to soak into the paper and dry. Liquitex® Airbrush Medium can be used to thin colors and will provide adequate binder to create a stable paint film applICatIons and teChnIques • Transparent Washes › ransparent/translucent colors are the most vibrant T › he more water used. the more water used the more fluid the paint Liquitex® Soft Body Artist Acrylic Color should always be used for acrylic watercolor techniques since it’s fluid consistency dissolves easily in water Color values are traditionally built from light to dark when working in this technique adVantaGes of aCrylIC WaterColor The main advantage of using acrylic for watercolor is that washes may be layered without dissolving one another This is because acrylic paint contains binder and dries to a water resistant film When working. this way the paper also acts as a binder Layers of washes will eventually seal the paper fibers and thus limit the amount of layering that is possible note: Watercolor paint when dry is still water-soluble and each layer of paint can dissolve the underneath layer WaterColor papers • Paper choice is important and will be significant factor in the final work › igh quality/heavier papers made from 100% Cotton Rag are ideal for this H application and will yield better results (They hold more water. the more transparent the wash becomes T • For Hard Edge Brushmarks › se dry paper U • For Soft Edge (“bleed”) Brushmarks › ampen paper with distilled water or Slow-Dri® Fluid Retarder (see below) D then apply acrylic watercolor › reate acrylic watercolor using Flow-AidTM Water (1 part Liquitex® Flow-AidTM: C 100 liquitex® / the Acrylic book 20 parts distilled water) Liquitex® Flow-AidTM reduces surface tension. warp less and allow more Layers of washes) › Cold Press paper is rough and absorbent › ot Press paper is smooth (not as porous) and less absorbent When working H with Hot Press paper it may be useful to mix colors with Flow-AidTM Water (1 part Liquitex® Flow-AidTM: 20 parts distilled water) to help achieve deeper stains and a more even application › note: To achieve watercolor effects on a non-absorbent surface such as primed canvas.

which will not damage painted areas when removed frIsket or maskInG fluId • Apply with brush or pen • Masking Fluid may be removed at any time. thereby softening edges to help to L achieve deeper stains and a more even application • iquitex® Airbrush Medium is very fluid and contains binder making watercolor L techniques possible on non-absorbent surfaces maskInG • rotects the dry paint film from new paint application by covering passages with P masking tapes and/or fluids • ay be done before painting to protect white paper M • May be done after each color application. allowing paint to be manipulated for longer • iquitex® Flow-AidTM reduces surface tension. by rubbing with finger or rubber cement eraser liquitex® / the Acrylic book 101 . to save specific color marks and details maskInG tape • o achieve straight lines use Drafting or ScotchTM 811 tape It has a low adhesive T tack.chApter 4: ApplicAtions / wAtercolor with Acrlic applICatIons and teChnIques (cont ) • For Ultra-Soft Edge (“bleed”) Brushmarks › ampen paper with Flow-AidTM Water then apply washes for deeper D saturation of color Working “wet into wet” in this manner is helpful for creating more atmospheric passages • To Slowing Drying Time › ix Liquitex® Slow-Dri® Fluid Retarder into distilled water (4 parts distilled M water to 1 part Liquitex® Slow-Dri®) Use this mixture to create acrylic watercolor reCommended produCts • Liquitex® Slow-Dri® Fluid Retarder gives more “open time”.

or Slow-Dri Fluid or Gel Retarder note: only one additive/ retarder should be used within a color mix Combining additives can compromise the paint film stability my colors are too bright how do I make them look more natural? Use a Liquitex® color chart to identify the mineral based colors (cadmiums. more gray optical tone that we associate with natural light Generally. the solvent for the acrylic/water emulsion You’ll find that you get the best performance—not to mention the most fun—out of acrylics if you make use of acrylic mediums to adjust the working properties of the color Save the water for clean up 10 liquitex® / the Acrylic book . process. and spreading (underbinding) the paint film Try adding Gloss Medium & Varnish instead of water how do I make the color flow like water. but stay brilliant? Choose Liquitex® Soft Body Professioanl Acrylic Colors These colors have the same pigment load as the Heavy body colors. Airbrush Medium. in fact. ultramarine) These colors mix to the softer. and cost from a little to a lot to refine. especially Slow-Dri Blending Fluid or Gel. and minimize heat and air flow in the painting environment Make use of acrylic mediums to extend the color. while maintaining the stability of the paint film: Gloss Medium & Varnish or Matte Medium Is water the best additive for thinning acrylic color? Water is. but one of the following may be added as well to increase flow. but are formulated to a more fluid consistency Some water may be added for flow.chApter c h A p t e r 3 : l i q u iu e n t p r oAdsu c t s q u e s t i o n s 5 f r e q t x ly ked 05 freQuenTly Asked QuesTions Why are different colors priced differently? The biggest factor in the cost of the artists’ color is the pigment Different pigments come from a variety of different sources. cobalt. and mill into artists’ paint I want that “oil color look ” What can I do? Use Liquitex® Slow-Dri Blending Fluid or Gel to slow the drying and to help you with blending upon the painting surface Experiment with Glazing techniques my paint dries too fast What can I do? Minimize the use of water. these colors tend to be more opaque my colors look dull and chalky how do I brighten them? It may be that you’re adding too much water.

color shift in modern acrylics is of lesser consequence than in early paint products It still plays a slight role with some colors. but not to the degree that it once did This phenomenon is most noticeable with transparent dark pigments such as Alizarin and less so with light opaque pigments such as Cadmium Yellow liquitex® / the Acrylic book 10 . most likely. Clear Gesso. you have. you get what you pay for That said. paper. as with any highly refined product. flaking. and use the C Liquitex® Professional Acrylics Colors for the finishing layers What is the best surface for acrylic paint? Acrylic colors are unbelievably versatile.c h A p t e r 5 : f r e q u e n t ly A s k e d q u e s t i o n s I’m on a really tight budget What can I do to cut corners? Artists’ colors aren’t cheap But. and glass (among others) Always conduct an adhesion test when working on more ‘unusual’ surfaces What’s the best way to prime a canvas for painting? Size the canvas with one layer of Matte Medium. giving them greater clarity both wet and dry Why do some acrylic colors seem to dry darker? In general. or cracking? If your gesso or paint layer is powdery or unstable. and the binder clarifies. leaving it less able to firmly lock the pigment into place on the painting surface You’ll find that you get the best performance— not to mention the most fun—out of acrylics if you make use of acrylic mediums to adjust the working properties of the color Why are some acrylic mediums milky. and can be used on an almost infinite variety of surfaces: canvas. or Super Heavy Gesso Why is my finished acrylic paint surface powdery. the color of the paint darkens As acrylic chemistry has advanced. neutral gray or black colored Gesso. newer acrylic resins have become available that offer better and better clarity As a result. and then coat with one or two layers of Acrylic Gesso With Liquitex® Gessoes. and some clear when wet? Some acrylic mediums are milky because of the water content within the emulsion Others include matting agents that make them appear milky Other mediums are formulated with a clear resin. leather. you can choose between traditional white. some translucent. added too much water during painting Water spreads the acrylic binder. the acrylic/water emulsion has a distinct milky color when wet And that milky appearance lightens the color of the paint As water leaves the emulsion. there are some strategies that can help stretch the artist’s budget: • Use mediums to stretch and economize on color • se Ultra Matte Medium It's formulated to increase the volume of paint without U significantly cutting intensity of color • omplete your underpainting with BASICS Value Series Acrylic Colors.

as the under layer of acrylic paint shifts and moves due to atmospheric changes 10 liquitex® / the Acrylic book . and with proper care and storage. and their application over the more flexible acrylic paint layer can be problematic Oil applications over acrylics can be compared to applying Plaster of Paris on a rubber band – if you stretch the rubber band after the Plaster of Paris has dried. exactly the kind of surface to which dirt. atmospheric grime are prone to sticking A final varnish will bring a much needed layer of protection to the painting And a conservation quality varnish. an oil layer that has been painted on top of an acrylic layer may experience the same results. without risk to the painter. the plaster will crack and flake off Over time. or another non-sticky sheet Cover the glassine with an additional layer. dry conditions will speed the drying considerably how do I store acrylic paintings? Protect the surface with glassine paper. such as raw canvas Stand upright. with much higher pigment load and more uniformly balanced working properties than is possible for the individual do I need to varnish acrylic paintings? Yes Acrylics dry with a slightly tacky and porous surface. use artists’ quality primer. varnishes have less or different kinds of matting agents to allow true colors to show through Can I paint in oils over my acrylic paint layer? It is generally not a good idea to apply oil paints over solid layers of acrylic paint Oil films dry to a less flexible film than acrylics. and self-level In the case of matte or satin sheen products. flow on smooth. like Liquitex® Soluvar® Gloss or Matte Varnish will remain flexible. an acrylic painting should remain stable for generations What’s the advantage of making my own paint? Until two centuries ago. it’s not uncommon for artists to experiment with paint making to develop a more intimate understanding of the mechanics of their chosen medium That said. Liquitex® Gloss Medium & Varnish can be used as both a gloss medium as well as a final varnish Varnishes are meant to be applied over acrylic color as they are specifically formulated to be thinner. an experienced manufacturer is able to produce colors. as they can stick to one another Always crate for shipping how long will acrylic paintings last? Follow sound painting techniques.c h A p t e r 5 : f r e q u e n t ly A s k e d q u e s t i o n s how does the weather affect acrylic paints? Humid conditions slow down the drying Hot. and can be removed for purposes of cleaning the painting at a later date Can I use acrylic mediums to varnish my acrylic paintings? Mediums are designed to be mixed with acrylic color unless otherwise labeled that they serve both functions For example. and protect from temperatures below 45°F (the temperature at which acrylics become brittle and are more prone to cracking) Never store acrylics face to face. work on a stable support. artists had to mill their own colors And today. dust and.

it can be thought of as the “go anywhere. and you should be aware that guarantees concerning permanency or longevity of the art work may not exist A good place to start would be to make sure you have a working understanding of the acrylic paint film and how it dries liquitex® / the Acrylic book 10 . make it a totally unique and powerful artist material In some ways. latex or gum based watercolor paints…or layered with wax The flexibility of dry acrylic films along with the paints ability to adjust its working properties when wet.c h A p t e r 5 : f r e q u e n t ly A s k e d q u e s t i o n s I’m interested in creating multi-media work using acrylics Is there anything I should not combine or layer with my acrylic paint? Acrylics are restricted primarily by compatibility with other types of paints Acrylics should not for instance be combined with paints that are made with different resins and binders For example. acrylics should only be combined with acrylic polymer based paints and not be mixed for example with oil. prior to beginning your piece. do anything” paint It is hard to cover all the bases when it comes to combining acrylics with the amazing variety of substances that can be used to create a work of art The best advice that can be given in relation to multi-media work is that you should always conduct testing with the materials you plan to use.

the standard for health and safety All products are evaluated by an independent toxicologist in the certification program of ACMI (The Art and Creative Materials Institute) All Liquitex® products are labeled in compliance with applicable Federal law and carry ACMI certification seals Products bearing the AP Approved Product Seal of the Art and Creative Materials Institute. include detailed information about how they can be used without risk alWays read the produCt laBels The labeling standard for Chronic Health Hazards in Art materials (ASTM D-4236) has been codified into US law as part of the Federal Hazardous Substances Act 15 USC S 1277 In cooperation with the Art & Creative Materials Institute (ACMI). the American Society for Testing and Materials (ASTM) has prepared standards for the safe use of artist’s materials These have been published as a booklet entitled. all art and creative products marketed in the USA include labeling that details any currently identified precautions that should be taken So. Inc are certified in a program of toxicological evaluation by a medical expert to contain no materials in sufficient quantities to pose a health risk or to be deemed injurious in accordance with current medical knowledge and as long as the materials are used in the 10 liquitex® / the Acrylic book . and Health Labeling of Artists’ Paints and Related Materials” ISBN 0-8031-1838-4 The address for ASTM is: ASTM 100 Barr Harbor Drive West Conshohocken. Quality. and the vast majority requires no warning or caution Those products that do. if there’s a concern. PA 19428-2959 Liquitex® Artist Materials labels all products for safe use Liquitex® was one of the first companies to list health and safety information on paint labels and to identify colors by chemical name as well as by international color standards United States Federal law requires that all Liquitex® products meet American Society for Testing and Materials (ASTM) D4236. “ASTM Standards for the Performance.chApter c h A p t e r 6 : h e A lt h & s A f e t y 06 heAlTh & sAfeTy health laBelInG The use of art materials is safer than ever before In both Europe and North America. art products are labeled with instructions for safe use. you will see it on the label In addition.

c h A p t e r 6 : h e A lt h & s A f e t y manner intended This program is reviewed by the Institute’s Toxicological Advisory Board These products are certified by the Institute to be labeled in accordance with the chronic hazard labeling standard ASTM D4236. must be labeled accordingly The two most common classifications in artists’ materials are Harmful and Flammable The risk and/or safety phrases will vary according to each product Note: There is no direct relationship between the EU and USA systems of health labeling as the categories used have different levels and limits. CORROSIVE. Flammable in the USA is not automatically considered as Flammable in the EU USA ONLY labels may appear on products in the EU as Liquitex® products are sold internationally. Very Toxic or Extremely Flammable Most levels of classification have accompanying symbols and “Risk Phrases” and/or “Safety Phrases” Any artists’ material. IRRITANT. FLAMMABLE or DANGEROUS FOR THE ENVIRONMENT There can be various levels within a classification. OXIDISING. a wide range of Liquitex® products began shipping in North America with new health and safety labels as a result of action surrounding California’s Safe Drinking Water and Toxic Enforcement Act of 1986 (commonly known as Proposition 65) The act was intended to prevent anyone from discharging materials that are known to cause cancer or reproductive toxicity. introduced in the 1960’s. laBelInG for CalIfornIa: proposItIon 65 Beginning in 2000. and the U S Labeling of Hazardous Art Materials Act (LHAMA) The CL Seal identifies products that are certified to be properly labeled in a program of toxicological evaluation by a medical expert for any known health risks and with information on the safe and proper use of these materials This seal is currently replacing the HL Health Label (Cautions Required) Seal These products are also certified by ACMI to be labeled in accordance with the chronic hazard labeling standard. EXPLOSIVE. with a provision that allows for anyone to sue a company that might in some way violate the act liquitex® / the Acrylic book 10 . HARMFUL. and that could contaminate drinking water Enforcement is achieved through litigation. However. for example. and the U S Labeling of Hazardous Art Materials Act (LHAMA) Safety Data Sheets are available on request or on the Liquitex® website at www liquitex com For further health information contact a local poison control center or call 800-445-7067 eu leGIslatIon These regulations. artists in the EU are advised to follow EU labeling. which falls into one of the above classifications. ASTM D4236. cover all products available to industry or the general public within the EU This system classifies dangerous substances into one of the following classifications: TOXIC. eg .

the US Consumer Product Safety Commission (CPSC) banned paint (as well as toys painted with paint) that contain lead in excess 0 06% by weight By comparison. its presence is considered inconsequential For the pigments used by Liquitex® to approach the level deemed hazardous by the CPSC. not only for their potential to improve the performance of finished product. it was determined that it would be far less costly and less damaging to enter into a settlement of the suit rather than to engage in protracted litigation A provision of the settlement states that any products that include elements considered hazardous under Proposition 65 must be labeled accordingly As a result. an act that is. falls below what is considered to be the detectable threshold (5ppm) by a major health center (Kirby) hoW safe are the produCts? Using art and craft products is safer than ever before Over the last decades. but also for their non-toxicity And. Liquitex® uses Zinc Oxide with lower lead content than the pharmaceutical Zinc approved by the FDA for everyday use in makeup The final product. they would require at least 500 times more lead than they do In fact. we have always been fully committed to open disclosure regarding the safe use of our products Our priority is safety You can use and enjoy Liquitex® products with full confidence that we select our raw materials. artists’ colors containing cadmium and lead are required to have special labeling For example.c h A p t e r 6 : h e A lt h & s A f e t y In 1998. the labels for cadmium-containing products read: DO NOT SPRAY APPLY This product contains cadmium. vehicles. all parties were assured that any exposure levels in these products were below the levels of risk as defined by Proposition 65 However. at well under 1ppm lead. and that are subject to review under the Federal Labeling of Hazardous Art Materials Act (LHAMA). a chemical know to the State of California to cause cancer by means of inhalation ZInC oxIde Zinc Oxide (ZnO) is the pigment used in the production of Zinc White This pigment contains as a trace element. and other raw materials have been selected. and that under a very small threshold. adhesives. more thorough than Proposition 65 After consulting with the Art and Creative Materials Institute (ACMI). a tiny amount of lead consisting of 1 part lead per million other parts (1 ppm) In 1978. a 1ppm trace amount of lead in the Zinc Oxide used in Liquitex® pigments translates to 0 0001% The CPSC recognizes that lead shows up in tiny amounts in many compounds. and formulate our products to represent as little hazard as possible And for the products that contain a potential hazard. a number of art material manufacturers received a “Sixty-Day Notice of Intent to Sue” for violations of Proposition 65 The products cited were materials that have been evaluated and deemed safe by a board certified toxicologist. in fact. in the interest of consumer safety. new generations of pigments. our literature and labels offer the most up-to-date health and safety information possible 10 liquitex® / the Acrylic book .

the solubility of the metals O within these products has to be measured These elements pose a greater risk if it can be absorbed into the human system. barium. the product requires special disposal provisions • olubility is tested through the “Toxicity Characteristic Leaching Procedure” S (TCLP) TCLP testing determines how much of a given metal goes into solution within a carefully monitored acidic environment The limits for lead and chromium are 5 mg/l If the solubility of the element is less than the EPA limit. above this level. chromium. below which the pigment or product is not considered to be hazardous waste However. art departments were included in the review Here are some issues. cadmium. lead.” are closely monitored by the agency And some of them are found in pigments used in the manufacture of art materials • nce products containing those metals have been identified. solubility testing was performed I on all Liquitex® products that contain any of the RCRA 8 metals As a result. that are worth reporting: • he Environmental Protection Agency (EPA) has identified eight metals. or elements. NJ 08855 liquitex® / the Acrylic book 10 . the solubility levels of almost all of those were well below the EPA limits A statement of TCLP product analysis follows If specific solubility findings and numeric results are required. Piscataway. please contact: Director of Communications Liquitex®. mercury. the EPA has identified certain solubility levels. the United States Environmental Protection Agency (EPA) began reviewing the disposal procedures used by universities and colleges Because of the pigments and solvents commonly used. T that have the potential to be a health concern Those are: arsenic. colleges and universities can be better prepared to select and manage the materials being used in studios • he vast majority of Liquitex® products have been shown to include none of the T RCRA 8 metals Of the few that did. selenium. PO Box 246. or the environment If it’s largely insoluble. then it poses far less concern As a result.c h A p t e r 6 : h e A lt h & s A f e t y dIsposal InformatIon: us enVIronmental proteCtIon aGenCy (epa) soluBIlIty testInG data While the vast majority of products used in your studio are inert and innocuous—there are some that require special attention And all materials should be used with respect Beginning in 1999. the product is not considered to require special treatment • n response to the request from a major university. and silver These elements. the “RCRA 8. brought to light by the EPA’s interest in school environs.

with permission from the author) When working: • lways make sure that there's plenty of fresh air and ventilation. © 2000. particularly with solvents Don't paint directly with your fingers • Don't wash or rinse brushes in the palm of your hand Doing so. vented to the outside is recommended • f working with powdered pigment. drink or smoke when working You never know what may end up on your fingers. tightly sealed This means keeping the threads on lids and jars wiped clean.c h A p t e r 6 : h e A lt h & s A f e t y tClp produCt analysIs fIndInGs summary Samples of all Liquitex® colors containing “RCRA 8” metals were submitted to QC Laboratories (Southhampton. especially solvents. particularly when A working with solvents • f spray applying any products. is a particularly efficient method for driving pigment into and through your skin 110 liquitex® / the Acrylic book . to ensure a better seal when closed • Art materials should never be exposed to heat sources or to naked flame • Do not eat. wear an approved mask A spray booth. particularly if laden with solvent.” by David Pyle. an extraction system. the above provisions for ventilation are I equally important • Always keep all materials. even I better. or your cigarette. or. all colors were proven to show TCLP solubility within the limits required by the EPA for classification as a non-hazardous waste The colors that exceeded the EPA solubility limits for Chromium (5 0 mg/l) are as follows: • Liquitex® Cobalt Green (Heavy Body and Soft Body Professional Artist Colors) Contains chromium • Liquitex® Cobalt Turquoise (Heavy Body and Soft Body Professional Artist Colors) Contains chromium Certification statements are available regarding the test results for cadmium pigments used in the manufacture of Soft Body and Heavy Body Artist Color ranges The statements confirm that all cadmiums used in Liquitex® Professional Artist color ranges exhibit solubility well below the EPA limits safe studIo tIps (adapted from “What Every Artist Needs to Know About Paints and Colors. your food. and then get swallowed inadvertently • Avoid skin contact. Krause Publications. PA) for extraction analysis The results are as follows: All colors containing “RCRA 8” metals in the Liquitex® Heavy Body and Sofy Body Professional Artist Colors were tested With the exception of the two colors listed below.

10013 • f paint or solvent is somehow splashed in your eyes. NY. at: www artswire org:70/1/csa/ Street Address: 155 Avenue of the Americas. wipe them free of color W with a paper towel If using stiff brushes with thick color. to check the point • Excess solvents can be disposed of at your local recycling center • s a safeguard for groundwater. head. or D solvent. should never L be disposed of in household trash or down the drain › or disposal recommendations and regulations pertaining to all art materials. do not dispose of excess oil or acrylic color or A solvent down the sink Instead. like oils or acrylics. an old toothbrush works well for scraping free excess color Allow the product on the towel to dry completely before disposal • f working in watercolor or acrylic. or tuft. or any solvents used with lead-based colors. rinse with water I • Wash the brush with a conditioning soap • Never store brushes resting in a container. visit the website for the Center for Safety in the Arts at NYFA. New York. down • o not point your brushes in your mouth Swirl the brush in a cup of water. use the following guidelines: › hen finished painting with acrylic colors. youngsters are subject to greater risk with these products than adults Wash your hands when you're done Wipe any color or excess materials from your hands with a paper towel A good soap or hand cleaner should be perfectly adequate for a thorough cleansing liquitex® / the Acrylic book 111 .c h A p t e r 6 : h e A lt h & s A f e t y safe studIo tIps (cont ) • hen washing brushes or palettes or other tools First. flush immediately and I thoroughly with cold water • Clean up all spills immediately • nless specifically labeled as safe for children's use. minimizing the risk of solubility in landfills and wastewater › ead-based colors. 14th Floor. keep artists' materials away U from children Because of lesser size and body weight. F as well as more toxic solvents. and highly toxic pigments (like lead-based colors). aerosol cans. allow waste paint and paper towels W to fully dry before disposal Why? Because the dried polymer vehicle will provide some containment for the included pigment.

86 Chroma 3.16 0.91b 5.98yr 6. synthetic iron oxide red (pr 101).67r 7.98 311 cadmium red deep hue 2 5.chApter chApter 7: reference 07 reference ComposItIon and permanenCe Chart # 116 660 Color name Alizarin crimson hue permanent bright Aqua green series # 2 1 hue 3. Arylide yellow 5gx (py 74 lf). titanium dioxide (pw 6) phthalocyanine green (pg 7). titanium dioxide (pw 6) cadmium red (pr 108) naphthol crimson (pr 170 f3rk). titanium dioxide (pw 6). Arylide yellow 5gx (py 74 lf).96 5.07 530 bronze yellow 1 1.07 ii ii o tl m m 6. quinacridone (pr 202) chlorinated copper phthalocyanine (pg 7).9 i o m 127 128 150 720 burnt sienna burnt umber cadmium orange cadmium orange hue 1 1 4 2 0.01 i i i i o o o tl s s s m 4.50r 4.2yr 3. diarylide yellow hr70 (py 83) naphthol carbamide (pr 170 f3rk).29 8.43 12.43 4. Arylide yellow fgl (py 97) diarylide yellow (py 83 hr 70).61 i o m 590 840 brilliant purple brilliant yellow green 1 1 1. copper phthalocyanine (pb 15).00r 3.86 3.48 4.22yr 2.11 13.94 9.15 10.46 i o m *s= single pigment m=mixed pigment 11 liquitex® / the Acrylic book .59 i i o o s m 163 cadmium yellow deep hue 2 8. titanium dioxide (pw 6) carbazole dioxozine (pv 23 rs).3 13.01 11.88bg 6.82 13. quinacridone violet b (pv 19) cadmium red (pr 108) naphthol As-ol (pr 9).4 i i o tl s m 154 151 cadmium red medium cadmium red medium hue 5 2 6. Arylide yellow 10g (py 3). synthetic iron oxide black (pblk11) calcined natural iron oxide (pbr 7) calcined natural iron oxide containing manganese (pbr 7) cadmium orange (po 20) perninone orange (po 43 dl).92 14. Arylide yellow fgl (py 97) synthetic iron oxide yellow (py 42).06yr 6.04 lightfastness “I” i i opacity pigment* pigment name tp o m m quinacridone (pr 206).25 i o m 152 510 cadmium red light cadmium red light hue 5 2 7.99 13.63 3.26 4. titanium dioxide (pw 6) 4. titanium white (pw 6).08 9.98yr 7. chlorinated copper phthalocyanine (pg 7). titanium dioxide (pw 6) copper phthalocyanine (pb 15:3).77 y 5.01 14.28r 6.22gy 8.30r Value 2.03 570 brilliant blue 1A 7.73p 5.25r 4.

78 lightfastness “I” i i i i opacity pigment* pigment name o o o tl s s s m cadmium yellow (py 35) bismuth vanadate (py 184) cadmium yellow (py 35) Arylide yellow fgl (py 97).94 11.79 5.33r 2.93 y 3.01 Chroma 12.63y 6.25 11.49 7. phthalocyanine green (pg 7).39y 2.79g 2.49gy 4.05 9.96 3. diarylide yellow (py 83 hr 70).24 0. titanium dioxide (pw 6) light green oxide (pg 50) light green oxide (pg 50) cobalt chromite (pb 36) quinacridone magenta (pr 122). Arylide yellow fgl (py 97) Azo methine copper complex (py 129) carbon black (pbk 7).56 9.21 12.44r 3. chlorinated copper phthalocyanine (pg 7).72 8. titanium dioxide (pw 6).01pb 4. Arylide yellow fgl (py 97). titanium dioxide (pw 6) quinacridone magenta (pr 122).27 i tl m 322 324 237 234 indanthrene blue indian yellow iridescent Antique gold iridescent bright gold 3 2 2A 2A 6.29pb 3.34 *s= single pigment m=mixed pigment liquitex® / the Acrylic book 11 .19 6.16 6. tetrachloroisoindolanone (py 110) Anthraquinone blue (pb 60) isoindolanone (py 139) mica coated with titanium dioxide and iron oxide mica coated with titanium dioxide and iron oxide 164 470 cerulean blue cerulean blue hue 3 2 3.56 2.47 224 hooker’s green hue permanent 1A 7.11y Value 8.07 3.73bg 2.33 7.59 i i i i o o o tl s s s m 115 deep violet 3 1. quinacridone violet (pv 19 dl).37 — — 1.81 8.55 11.95 2. titanium dioxide (pw 6) phthalocyanine green (pg 7).chApter 7: reference # 160 159 161 830 Color name cadmium yellow light cadmium yellow light hue cadmium yellow medium cadmium yellow medium hue series # 3 3 3 1A hue 7.02 4.09 4.73 8. quinacridone violet (pv 19 dl) carbazole dioxozine (pv 23 rs) chlorinated copper phthalocyanine (pg 7).27 8.4 i o m 325 225 green gold hooker’s green 4 1A 7. titanium dioxide (pw 6).85y 2.9 14.48pb 3.81g 3.43 12.38 nr i tl tl s m 7.93bg 3.24 yr 6.31bg 5.52 i i o o s m 166 170 381 chromium oxide green cobalt blue cobalt blue hue 2 4 1A 9.16 5.44 p — — 2.89 8.21 — — i i nr nr tp tl o tl s s m m 8.25 9. copper phthalocyanine (pb 15:3) Anhydrous chromium sesquioxide (pg 17) oxides of cobalt and Aluminum (pb 28) complex silicate of sodium and Aluminum with sulfur (pb 29).9 i i i o o o s s m 171 172 169 300 cobalt green cobalt teal cobalt turquoise deep magenta 4 4 4 3 4.26bg 4.94pb 3.42 4. deep hue permanent Arylide yellow 5gx (py 74) chlorinated copper phthalocyanine (pg 7).76 i tl m 186 450 dioxazine purple emerald green 2 2 9.87 3.40 gy 2.26 0. titanium dioxide (pw 6) cobalt chromite (pb 36) complex silicate of sodium and Aluminum with sulfur (pb 29).98 ii i tp o s m 350 green deep permanent 2 6.54rp 3.

chApter 7: reference

# 236

Color name iridescent bright silver

series # 2A

hue —

Value —

Chroma —

lightfastness “I” nr

opacity pigment* pigment name tl m mica coated with titanium dioxide and iron oxide, stainless steel mica coated with titanium dioxide and iron oxide mica coated with titanium dioxide and iron oxide mica coated with titanium dioxide and iron oxide bismuth oxychloride (pw 14), synthetic iron oxide black (pbk 11) mica coated with titanium dioxide bone black (pbk 9) copper phthalocyanine (pb 15), chlorinated copper phthalocyanine (pg 7), titanium dioxide (pw 6) complex silicate of sodium and Aluminum with sulfur (pb 29), titanium dioxide (pw 6) chlorinated phthalocyanine (pg 7), Arylide yellow fgl (py 97), titanium dioxide (pw 6) chlorinated copper phthalocyanine (pg 7), Arylide yellow fgl (py 97), titanium dioxide (pw 6) naphthol As (pr 188), benzimidazolone (po 36), titanium dioxide (pw 6) copper phthalocyanine (pb 15), chlorinated copper phthalocyanine (pg 7), titanium dioxide (pw 6) synthetic black iron oxide (pbk 11) quinacridone magenta (pr 122), titanium dioxide (pw 6) naphthol carbamide (pr 170 f5rk) naphthol As-ol (pr 9) chrome titanium yellow (pbr 24), titanium white (pw 6) bone black (pbk 9), raw umber (pbr 7), titanium/mixing gray dioxide (pw 6) carbon black (pbk 7), phthalocyanine green (pg 7), titanium dioxide (pw 6), iron oxide yellow (py 42)

229 230 235 239

iridescent rich bronze iridescent rich copper iridescent rich gold iridescent rich silver

2A 2A 2A 2A

— — — —

— — — —

— — — —

nr nr nr nr

o o o o

m m m m

238 244 770

iridescent white ivory black light blue permanent

2A 1 1

— 0.09 7.78

nr i i

tp o o

s s m

1.58pb 2.28 4.84b 6.99

680

light blue violet

1A

6.54pb 6.03

10.68

i

o

m

650

light emerald green

3

0.90g

6.25

10.07

i

o

m

312

light green permanent

2

1.42g

5.09

10.24

i

o

m

810

light portrait pink

1A

6.42r

8.04

5.67

i

o

m

275

manganese blue hue

3

3.86 pb 3.88

9.46

i

o

m

276 500 292 294 601 599

mars black medium magenta naphthol crimson naphthol red light naples yellow hue neutral gray value 5

1 1A 2 2 2 1

4.79rp 2.44 2.84rp 4.95 5.64r 7.36r 3.85 4.56

0.04 12.59 11.72 13.56 8.16 0.15

i i ii i nr i

o o tp tp o o

s m s s m m

9.90 yr 7.58 9.97bg 5.03

436

parchment

1

7.22y

8.32

1.68

i

o

m

*s= single pigment m=mixed pigment

11

liquitex® / the Acrylic book

chApter 7: reference

# 310

Color name payne’s gray

series # 1

hue

Value

Chroma 0.31

lightfastness “I” i

opacity pigment* pigment name o m ultramarine blue (pb 29), bone black (pbk 9), ultramarine violet (pv 15) copper phthalocyanine (pb 15) (green shade) phthalocyanine blue epsilon (pb15:6) (red shade) chlorinated copper phthalocyanine (pg 7) (blue shade) chlorinated and brominated copper phthalocyanine (pg 36) (yellow shade) dioxazine carbazol (pv 23), quinacridone magenta (pr 122) copper phthalocyanine (pb 15:3), carbazole dioxozine (pv 23), synthetic black iron oxide (pbk 11) pyrrol crimson (pr 264) pyrrol orange (po 73) pyrrol red (pr 254) quinacridone violet b (pv 19) quinacridone (pr 206) gamma quinacridone red (pv 19) quinacridone magenta (pr 122) quinacridone red gamma (pr 209) quinacridone/pyrrolopyrrol natural iron oxide (pbr 7) natural iron oxide containing manganese (pbr 7) synthetic red iron oxide (pr 101) isoindolinone (py 139), phthalocyanine blue (pb 15:3), synthetic iron oxide black (pbk 11) titanium dioxide (pw 6) synthetic iron oxide red (pr 101) synthetic iron oxide yellow (py 42), synthetic iron oxide red (pr 101), synthetic iron oxide black (pbk 11) zinc white (pw 4) synthetic iron oxide yellow (py 42)

3.62pb 2.36

316 314 317

phthalocyanine blue phthalocyanine blue phthalocyanine green

1A 2 1A

0.14p

2.37

4.6 4.09 2.23

i i i

tp tp tp

s s s

9.03 bp 2.27 9.88bg 2.57

319

phthalocyanine green

1A

0.43bg 2.74

3.36

i

tp

s

391 320

prism violet prussian blue hue

2 2

9.77 p

2.5

1.35 1.05

ii ii

tp tl

m m

9.10bp 2.29

326 323 321 118 108 110 114 112 109 330 331 335 315

pyrrole crimson pyrrole orange pyrrole red quinacridone blue violet quinacridone burnt orange quinacridone crimson quinacridone magenta quinacridone red quinacridone red-orange raw sienna raw umber red oxide sap green permanent

4 4 4 3 3 3 3 3 3 1 1 1A 2

3.53 r 9.06r 6.16r 5.93r 3.98r

3.04 5.41 4.23 2.91 3.58

7.36 14.62 13.86 1.71 2.48 9.28 5.82 10.77 6.88 5.44 1.11 7.47 2.06

nr nr i i i i i i i i i i i

o tl o tp tl tp tp tp tp o o o tl

s s s s s s s s s s s s m

8.66rp 2.47

9.25rp 3.02 5.43r 5.48r 4.11 3.18

4.98yr 4.48 9.38yr 2.91 9.01r 4

8.48 gy 2.9

432 129 130

titanium white transparent burnt sienna transparent burnt umber

1 3 2

— 7.33 r

— 3.12

— 2.75 0.19

i i i

o tp tp

s s m

6.35 yr 2.72

430 332

transparent mixing white transparent raw sienna

1 3

2.52pb 9 6.70 yr 4.68

0.71 5.49

i i

tp tp

s s

*s= single pigment m=mixed pigment

liquitex® / the Acrylic book

11

chApter 7: reference

# 333

Color name transparent raw umber

series # 2

hue

Value

Chroma 0.17

lightfastness “I” i

opacity pigment* pigment name tp m synthetic iron oxide yellow (py 42), synthetic iron oxide red (pr 101), synthetic iron oxide black (pbk 11) chlorinated copper phthalocyanine (pg 7) Arylide yellow 10g (py 3), iron oxide yellow (py 42) copper phthalocyanine (pb 15:3), chlorinated copper phthalocyanine (pg 7) complex silicate of sodium and Aluminum with sulfur (pb 29) complex silicate of sodium and Aluminum with sulfur (pb 29) titanium white (pw 6), synthetic iron oxide yellow (py 42), synthetic iron oxide red (pr 101), synthetic iron oxide black (pbk 11) benzimidazolone (pbr 25) raw umber (pbr 7), phthalocyanine green (pg 7) Arylide yellow fgl (py 97), chlorinated copper phthalocyanine (pg 7) , titanium dioxide (pw 6) pyrrol orange (po 73), isoindolanone (py 139) Arylide yellow 10g (py 3) Arylide yellow 5gx (py 74 lf) diarylide yellow (py 83 hr 70) synthetic hydrated iron oxide (py 42)

4.28 yr 2.81

327 730 561

transparent viridian hue turner’s yellow turquoise deep

2 2 2

6.78 bg 2.72 2.08y 7.04

2.72 9.89 2.2

i ii i

tl tl tl

s m m

6.66pb 2.38

380 382 434

ultramarine blue (green shade) ultramarine blue (red shade) unbleached titanium

1A 1A 1

9.32 pb 2.28 9.4bp 0.93 y 2 8.03

7.29 8 2.73

i i i

tl o o

s s m

392 398 740

van dyke red viridian hue permanent vivid lime green

2 1A 1A

1.97yr 2.69 3.69bg 2.6 7.73gy 7.1

1.38 0.98 10.38

nr i i

tl o o

s m m

620 411 412 414 416

vivid red orange yellow light hansa yellow medium Azo yellow orange Azo yellow oxide

3 1A 2 2 1

0.78yr 5.45 0.48gy 8.6 6.55y 0.39y 7.98 6.18 8.58yr 7.12

12.74 10.97 11.69 13.04 7.5

nr ii i i i

tp tp tp tp o

m s s s s

*s= single pigment m=mixed pigment

11

liquitex® / the Acrylic book

notes .

notes .

notes .

for any consequential damages or for any damages in excess of the purchase price of the product Liquitex® Artist Materials authorizes the reproduction of the copyrighted information included within the Liquitex Acrylic Book. Slow-Dri® and Soluvar® are registered trademarks of Liquitex® Artist Materials Glossies™. NJ 08855 U S A For more information and technical support in North America. or by contacting: Liquitex® Artist Materials PO Box 246. Flow-Aid™. your local retailer. printed materials or on a Web site must be credited to Liquitex® Artist Materials © Liquitex Artist Materials 2007 All rights reserved . please call 1-888-4-ACRYLIC Liquitex®. Piscataway. the Liquitex Product Catalog.Additional information on all Liquitex® products is available from www liquitex com. as the information specifically appears in the publication Excerpts and sections taken from the Acrylic Book may not be reformatted or edited in a way that compromises the integrity and accuracy of the publication Information reproduced from the Acrylic Book and used in instructions. Liquithick™ and Liquigems™ are trademarks of Liquitex® Artist Materials All Liquitex® products meet the highest standard of quality and performance It is the responsibility of the user to ensure that the Liquitex® product selected is suitable for the specific work being executed Liquitex® Artist Materials can not be responsible for any damages which result in whole or in part from artist technique.

95 us Liquitex Artist MAteriALs P.888.O.MsrP $4. Box 246 Piscataway.4.liquitex.com 0 9 4 3 7 6 9 3 3 8 9 5 n o. L97400 .ACRYLIC www. NJ 08855 1.

Master your semester with Scribd & The New York Times

Special offer for students: Only $4.99/month.

Master your semester with Scribd & The New York Times

Cancel anytime.