Painting Manual :: 2007 acrylic book

BOOKTHE ACRYLIC

A COMPREHENSIVE RESOURCE FOR ARTISTS

AcrylicBookCover.qxd 12/5/06 1:40 PM

The Acrylic bookA 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 kl i q u i t e x ® / t h e A c r y l i c b o o k l i q u i t e x ® / t h e A c r y l i c b o o k�

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’Colorvs ValueSeries 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 kl i q u i t e x ® / t h e A c r y l i c b o o k l i q u i t e x ® / t h e A c r y l i c b o o k �

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 kl i q u i t e x ® / t h e A c r y l i c b o 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 kl i q u i t e x ® / t h e A c r y l i c b o o k l i q u i t e x ® / t h e A c r y l i c b o o k �

Knowledge is power.TheLiquitex®AcrylicBookisforartists,educatorsandstudentsofalllevels Theinformationinthisbookwillhelpyoubetterunderstandacrylicartmaterialsandwillexposeyoutoinnovativetechniquesandapplications TheLiquitex®AcrylicBookiswrittenbythepeoplewhohavemadeprofessionalwater-basedacrylicslongerthananyothermanufacturer Thisbookistheresultofmanylifetimesofexperienceandexpertise

Thiseasy-accessLiquitex®AcrylicBookhassixmainchapters:1 EssentialInformation2 LiquitexAcrylicProducts3 Applications4 FrequentlyAskedQuestions5 HealthandSafety6 ReferenceThe“FrequentlyAskedQuestions”willhelpyousolvecommonacrylicproblems,whilethe“Applications”sectionoffersfinearttechniquesandmanyideasforprojectsandapplications

Ifyouhaveanyspecificortechnicalquestionsthatarenotansweredinthisbook:• Visitwww.liquitex.com forcomprehensivetechnicalinformationonall

Liquitex®products

•[email protected]

•Callusat1.888.4ACRYLIC (North America Only).

It’sourjobtomakesurethatyouhavetheinformationthatyouneedtobesuccessful

a BrIef hIstory Inthelonghistoryofartmaterials,acrylicsarefairlynew Oilcolorsdatebacktothefifteenthcentury Temperaandencaustichavepedigreesthatarecountedinthethousandsofyears Andwatercolorwastheresultwhenprehistoricvisionariesdevelopedthebasicmodelforpaintthatstillservestoday:acombinationofpigment(earthcolorant),vehicle(fortheearliestartists,saliva),andbinder(prehistoricanimalfat)

Acrylicswerefirstdevelopedasasolvent-basedartists’colorintheearlypartofthetwentiethcentury Thefirstwater-borneacrylic(thekindweusetoday)wasdevelopedandlaunchedin1955 Inthatyear,acompanyinCincinnati,OhiocalledPermanentPigmentsthathadbeenmillingoilcolorssince1933(andrunbyamannamedHenryLevison,wholived,drank,

inTroducTion & hisTory

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slept,andbreathedartist’scolors)launchedanewproduct Thisnewartists’colorwasformulatedwithanacrylicpolymerresinthatwasemulsifiedwithwater Thenewcolorcouldgofromthicktothinandeverywhereinbetween;itwouldadheretojustaboutanything—fromcanvastopapertometaltowoodtoplastic–anditdriedquicklyforeasyre-working,layering,andmasking Mostimportant,itcouldbethinnedandcleanedupwithwater

Levisontriedtocomeupwithanamethatwouldcapturetheessenceofthemediumandthefactthatitcouldgofromfluidliquiditytoheavytexture Hecalledhisnewproduct“liquidtexture,”orliquitex®.

Levisonwasabletoencourageanumberofartiststotrytheproduct,butacceptancewasslow Acrylicsdidn’tgainfullacceptanceintheartistcommunityuntilLevisonfiguredoutaprinciplethatisstillinplacetoday:greatinformationisasimportantasgreatmaterials Baseduponthatprinciple,Levisonlaunchedalecturedemonstrationprograminwhichartistsofferedworkshopsandlecturesontheuseofacrylicstocollegestudentsandprofessors Withinafewyears,acrylicswerebeingusedconsistentlyincollegesanduniversitiesacrossthecountry Anditwasn’tlongbeforeLiquitex®wasbeingusedbysomeofthemostimportantartistsofthelate20thcentury:DavidHockney,HelenFrankenthaler,AndyWarholandothers Becauseofitsdurabilityandversatility,Liquitex®alsobecamethemediumofchoiceforlarge-scalepublicmuralsbyartistssuchasGaroAntreasianandThomasHartBenton Infact,it’sfairtosaythat,withoutLiquitex®andtheworkingpropertiesofwater-basedacrylics,20thcenturyartwouldhavebeencompletelydifferent

Bythe1980’s,acrylicshadbecomethemostpopularandwidelyusedofallpaintingmediums,surpassingbothwatercolorandoilbyawidemargin Thereason?TheinfinitevarietyofapplicationsofacrylicscoupledwiththespiritofinnovationfirstshownbyLiquitex®

Withoutquestion,thereisnomoreversatilecolorsystemintheworld Whilebothoilsandwatercolorrequirecarefulselectionofsurfacesandtechniquestoensuresuccessandstability,acrylicscanbeusedwithsomesimpleguidelinesonvirtuallyanything,toachievevirtuallyanyvisualorsculpturalresult Theycanbeusedoncanvas,onpaper,onfabric,onleather,onmetal,andonwood Acrylicscanbebrushed,troweled,sprayed,poured,splattered,scrapedorcarved Inshort,withalittlecareandtherightadditiveormedium,acrylicscandojustaboutanythingyoucanimagine

Acrylicsoffersuchgreatversatilitybecausetheydothreegreatthings:1. They stick.Toalmostanything Acrylicsoffergreatadhesiontoawidevarietyofsurfaces 2. They flex.Astheydryandage,acrylicstendtoremainfarmoreflexiblethanoils,allowing

themtobeusedwithoutcrackingonawiderarrayofsurfaces 3. They adjust.Throughthewondersofmodernchemistry,theworkingpropertiesofacrylics

canbeadjusted,altered,andmanagedinaninfinitevarietyofways

TotakeadvantageofthisversatilityithelpstounderstandthebasicchemistryofhowAcrylicswork

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What Is aCrylIC paInt?Waterbasedacrylicpaintiscomposedofpigmentparticlesdispersedinanacrylicpolymeremulsion

Components of aCrylIC paInt•pigment

Adry,powderymaterialthatdoesnotdissolveandremainssuspendedwhenmixedwithacrylicpolymeremulsion Pigmentscanbeorganic,inorganic,naturalandsynthetic Theyhavelittleornoaffinityforthesurfacetowhichtheyareapplied

•Vehicle

Acombinationofwaterandacrylicpolymerwhichcreateapolymeremulsion Oncethewaterleavesthesystemviaevaporationorabsorptionthepaintdriescreatingastablefilmtrappingthepigmentparticles

•Binder

Acrylicpolymerwithoutthewater Bindergivesthepaintitshandlinganddurabilitycharacteristics

defInItIons•polymer

A“polymer”isalongchemicalchainmadeupofsmaller,oftenidenticalmolecules Whenfullyassembled,ithasthepotentialforaddedstrengthandstabilityasitlocksintoatightlyorderedstructure Thefinalacrylicpaintfilmismadeofastablepolymericstructurethatlocksthepigmentintoplace

•emulsion

Amixtureofwaterandacrylicpolymer Anemulsionisastablemixtureofcomponentsthatdonotnormallymixwelltogether (Oilandwater,forexample,canbemixedtogetherbutwillstillsettleoutandseparate )Chemicalemulsifiersareaddedtoforcethewaterandacrylicpolymerintoastablemixtureuntilthewatereitherevaporatesorisabsorbed

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hoW aCrylICs WorkAcryliccolorsdryasaresultofwaterevaporation Here’swhatoccursaspigment,water,andacrylicaretransformedintoalast-for-agespaintfilm:

step 1 Squeezedfromthetube,orscoopedfromthejar,acrylicpaintisafinelybalanceddispersionofpigmentinanemulsionofacrylicpolymerandwater Thewaterservestokeeptheemulsionliquid,andactsasakindofchemical‘chaperone’preventingtheacrylicpolymerparticlesfromgettingcloseandpersonalandlockingupbeforetheartistisready

step 2 Whenexposedtotheatmosphere,waterintheemulsionevaporates,orisabsorbedintothepaintingsupport That’swhentheacrylicpolymerparticlescomeintodirectcontactandfusewitheachother

step 3 Thepolymerparticlesorganizethemselvesintoastable,hexagonalstructure,trappingthepigmentinplace Bingo!Thestablepaintfilm!

Itisimportanttonotethatacrylicsshouldneverbethinnedwithmorethan25%water Toomuchwaterwillspreadtheacrylicresinthinly,andinterferewiththeformationofthestablefilm AddinganAcrylicMedium,ratherthanwater,helpsmaintaincolorbrillianceandensuresthatthepaintfilmwillremainstable

Theacrylic/wateremulsionhasaslightlymilkycolorwhenwetthatclarifiesasthepaintdries Thismilkyappearancelightens(toaslightdegree)thevalueofthecolor Aswaterleavestheemulsion,andthebinderclarifies,thevalueofthecolordarkens Thiscolorchangeiscommonlycalledthewet-to-drycolorshiftandismostnoticeablewithdarktransparentpigments(suchasAlizarin)andlessnoticeablewithlightopaquepigments(suchasCadmiumYellow) Asacrylicchemistryadvances,Liquitex®continuouslymakesuseofnewacrylicresinsfromaroundtheworldthatofferfarbetterwetclaritythaneverbefore

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CharaCterIstICs of aCrylIC paIntsBasIC CharaCterIstICs

•Water-solublecolorswhilewet

• Permanent,waterinsoluble,flexiblecolorswhendry Builtupsurfaceswillremainfreeofcracksandchips Lessflexibleincoldweather Softerinwarmweather

• Shouldbethinnedwithaminimumofwater Tomaintainthestabilityofthefinalfilm,useacrylicmediumsoradditivestoadjusttheflowandworkingproperties

• Donotmixwithsolvents,turpentineoroils Mixonlywithotheracrylicemulsionpaintsormediums

•Keepbrusheswet Cleanupbrushes,handsandpalettewithsoapandwater

•Littleodor,nofumes,nonflammable Usesnon-toxicthinnersandmediums

• NOTEonflexibility:WhileLiquitex®Acryliccolorsandmediumswillremainflexibleovertime,allacrylicpaintfilmsbecomeincreasinglybrittleincoldweather Donotflex,roll,orunrollacrylicpaintingsintemperaturesbelow45ºF

dryInG CharaCterIstICs• Acrylicpaintdriesbyevaporationofitswatercomponent Thinpaintfilmswill

dryin10–20minuteswhilethickpaintfilmsmaytakefromanhouruptoseveraldays

• Onporoussurfacesthewaterevaporatesfromboththepaintaswellastheundersideofthesupport

• Resinparticlescoalesceandtrappigmentsasthewaterevaporates Thepolymerresinbondsandfallsintoroughlyhexagonalpatterns Thecompletedprocessyieldsawaterinsoluble,flexible,non-yellowingpaintfilm

CleanInG up aCrylIC paInts• from hands:Wetordriedacrylicpaintcleanswithsoapandwater

• from brushes:Cleanwetbrusheswithsoap&water Cleandriedacrylicbrusheswithacetone,denaturedalcoholorequivalentproduct Thesecleaningsolutionsaretoxic Careshouldbetakenduringuse

• from clothing:Whilepaintiswet,cleanwithwaterand/orwindowcleaner Driedacrylicpaintispermanentonfabric

• from painting surface:Whilepaintiswet,wipewithdamprag,cleanwithwater Whenpaintisdry,simplypaintoversurfacewithdesiredcolorsandmotif Thesurfaceofadryacrylicpaintingcanbecleanedbygentlywashingwithsoapandwater

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Thetransparency,translucencyandopacityofcolorsarebasedonthecharacteristicsofthepigmentsused AllLiquitex®colorsarelabeledTransparent(TP),Translucent(TL),orOpaque(O)onthelabelofeachproduct

•opaque Opaquecolorsdonotallowlighttopassthroughthecolorlayer Best“hidingpower”orcoverage Duplicatesgouacheeffects

•translucent Inbetweentransparentandopaque Allowssomelighttopassthroughthecolorlayer

•transparent Transparentcolorsallowlighttopassthroughtheircolorlayer Least“hidingpower ”Allowsunderneathcolortoshowthrough Bestsuitedforglazingandwatercolortechniques

hue, Value, Chroma

Hue,ValueandChromapositionsforeachcoloraredisplayedoneachlabel,foreveryLiquitex®color ThesedesignationsarebasedontheinternationallyrecognizedMunsellColorSystem

teChnICal InformatIonAllLiquitex®PaintsandMediumsaremanufacturedtohighqualityandperformancestandards

attrIButesLiquitex®AcrylicColorsandMediumsaremadeusingthehighestqualityacrylicresintoproduceacrylicpolymeremulsioncolorsandmediums Allcolorscontainpurepigments,ina100%acrylicpolymeremulsion Liquitex®AcrylicColorscontainnofillers,opacifiers,toners,dyes,emulsifiersoradditivesthatincreasevolumewithoutimpartingapositiveattributetothepaint Liquitex®AcrylicColorshavethegreatestpermanenceandlightfastnesspossible

Allcolorsdrytothetightestsheenrangeofanyacrylic,ensuringlessshinyanddullspotsinthefinishedpainting

Allcolorscontainthehighestpurepigmentload,withhightinting“power”andmaximumpermanenceofanyacrylic

laBel InformatIonThefollowinginformationisprovidedonlabelsofallLiquitex®AcrylicColors

transparency/opacity

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munsell Color systemThereareavarietyofopticalsystemsthatcanbeusedtomeasuretherefractiveandphysicalpropertiesofcolor OneofthemostcommonlyusedinhelpingartistsandscientistsbetteridentifytheopticalcharacteristicsofcoloristheMunsellsystem Liquitex®labelsincludeMunsellnotationsforeachcolor Thecolorsystemisbrokendownwiththefollowingidentifyingcategories:hueColorcanbeorganizedtofollowtheflowofhuesorspectralfamilynames Asorganizedwithinacolorwheel,12huesareRedPurple,Red,RedOrange,Orange,YellowOrange,Yellow,YellowGreen,Green,BlueGreen,Blue,BluePurple,andPurple Withinthespectrum,thethreeprimarycolorsareRed,Yellow,andBlue AhueisthepreciseidentificationofeachcolorwithinaHuePositionBand Thespecifichueofacolormaybeatcenterorleantowardonespectralneighbororanother Forexample,CadmiumRedMediumcarriesaMunsellNotationof6 3R,andisindicatedasleaningtowardtheRedOrangehuecolumn

Complementary colorsstronglyenhancethecharacteroftheprimaries Forexample,placinggreennexttoredwillmakebothcolorsappearmoreintenseandvivid Greenoccupiesthepointdirectlyoppositeredonacolorwheel,andisconsideredtobethecomplementofred Orangeisthecomplementforblue,andvioletisthecomplementforyellow

split-complementarycolorsarethosethatresidedirectlytoeithersideofthecomplementarycolor Workingwithsplit-complementsallowstheartisttoexplorerelationshipsinwhichthetargetcolorcanbeenhancedbybeingplacednexttoornearasplit-complementarybutnotwiththesamedegreeofintensitythatcomeswithbeingpairedwithitsstraightcomplementarycolor Inaddition,themixingofasplit-complementwiththeoriginaltargetcolorwillyieldawell-balancedgray

triadiccolorselectionsallowtheartisttoselectcolorsthatserveasunique‘primaries’,eachofwhichareevenlyspacedinthirdsaroundthecolorwheel

tetradiccolorselectionsallowtheartisttoselectcolorsthatarebalancedandharmoniousbyvirtueoftheirequalspacinginquartersaroundthecolorwheel Morecomplexrelationshipswithbothtriadicandtetradicsystemscanbeexploredthroughdefininguniquecomplementariesandsplitcomplementarieswithintheuser’suniquelydefinedpalette

ValueAllcolorsvaryinvalue(therangefromlighttodark) Valuenumbersonthelabelgivethelightanddarkmeasureofacolor Thereare,infact,10theoreticalvaluestepsrangingfrompureblack(level0)topurewhite(level10) Thehigherthenumber,thelighterthecolor

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ChromaBytheirverynature,somecolorsarequitebright(likecrimson)whileothersarenaturallydull(likeyellowochre) Therelativebrightnessorintensityofcolorscanbeidentifiedsystematically Chroma,orcolorintensity,isidentifiedbyanumberthatrangesfrom0to20 Neutralgrayisrated0,havingnotraceofchromaorhue Thisiscalled,“zerochroma,zerohue ”Thebrighterthecolor,thehigherthenumber CadmiumRedLightHue,forexample,hasachromanotationof13,whileBurntSiennahasachromanotationof4

permanenCy

LightfastnessI,II,IIIidentifytheratingofacoloranditsabilitytowithstandanycolorshiftingorfadingwhenexposedtoultravioletlight(i e sunlight) ThelightfastnessofallLiquitex®colorsarelistedaccordingtostandardsestablishedbytheAmericanSocietyforTestingandMaterials(ASTM)

CategoryI Excellentlightfastness Thecolorwillexhibitnoappreciablecolorchangeaftertheequivalentof100yearsofindoormuseumexposure Bestsuitedforoutdoorinstallations(murals)

CategoryII Verygoodlightfastness Colorsaresuitedforallindoorapplications,butnotexteriorpaintingthatmayreceiveheavyexposuretoultravioletlight

CategoryIII Marginalpermanence “Fugitive”colorsthatmayfallbelowthelevelofpermanencyforartist’scolors Notrecommendedforpermanentwork

pIGment desIGnatIons

PigmentandColorIndexNamesarelistedforallLiquitex®colors Forspecificcolorinformation,pleaseseethereferencesectiononpage112

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mIxInG Color: mIneral and modern pIGments Inordertomixcolorwell,itisessentialtounderstandthepropertiesofthepigmentsusedtomakeeachcolor Everypigmenthasdifferentcharacteristics,whichultimatelyinfluencehowtheyinteractwitheachother Theuniqueopticalpropertiesofeachcolorcanrangefromtransparencytocompleteopacity Somepigmentshavestrongtintingstrengthwhichcreatescolormixesthatarecrispandbright,whileotherstendtograydownwhenmixed Knowingthedifferencebetweenmineralandmodern(organic)pigmentsisthekeytochoosingcolorsthatwillblendtogethertocreatethedesiredresults Threegeneralrulesgovernthedifferencesbetweentheirworkingproperties:

• Whenmixed,mineralcolorstendtomorecloselyreplicatethetonalitiesofthenaturalworld Becauseofthenatureofreflectedlightandshadow,weliveinaworldofpurecolorsthatcombineintorichshadesofgray Thephysicalandopticalpropertiesofinorganiccolors,quiteoften,morecloselycapturethosequalitiesofnaturallightandshadowedcolor

• Moderncolorsarebrighter,andtendtomakebrightermixes Becauseoftheirpurity,naturaltranslucencyandtintingstrength,organicpigmentsproducemixedcolorsthattendtoremainclosertothehighchromaoftheir“parent”primaries

• Thetwocanbeusedtogetherwithgoodresults Forexample:addingasmallamountofamoderncolortoamixtureofmineralpigmentthathasgottenmuddywillhelprestorelostchroma,withoutlosingthenaturalcharacterofthemix

Remembertheaboveareonlygeneralguidelines Theuniquenessofeachpigmentsometimescauses“modern”qualitiestoshowupin“mineral”colorsandviceversa

Historicallymineralpigmentssuchasyellowochreandrawumberhavebeenusedsincepre-historictimes Duringthenineteenthcenturyawidearrayofothermineralpigmentsbecameavailablewhentheindustrialrevolutionanddevelopmentsinchemistrymadeitpossibletocombinemetalslikecadmium,orcobaltwithothercompounds Theresultswerehighlystable,farlesspronetofading,andcouldbegroundintoasuspensionwithinavehicleforoilpaint Morerecently,pigmentchemistrywasrevolutionizedasmodernorganiccolorswereborninthelaboratory Thishasgivenrisetopigmentslikeanthraquinones,dioxazines,pyrroles,phthalocyanines,andbenzimidazalones,whichmakepossiblethewidevarietyofcolorsavailabletoartiststoday

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lIquItex® professIonal artIst aCrylIC Colors

3 Color primary palette:QuinacridoneCrimson(PrimaryRed)YellowMediumAzo(PrimaryYellow)PhthalocyanineBlue(PrimaryBlue)

6 Color palette:hue Based pigment Cadmium Based pigmentQuinacridoneMagenta single QuinacridoneMagenta singleCadmiumRedLightHue mixed CadmiumRedLight singleCadmiumYellowMediumHue mixed CadmiumYellowMedium singlePhthalocyanineBlue(GreenShade) single PhthalocyanineBlue(GreenShade) singleIvoryBlack single IvoryBlack singleTitaniumWhite single TitaniumWhite single

12 Color palette:hue Based pigment Cadmium Based pigmentQuinacridoneMagenta single QuinacridoneMagenta singleCadmiumRedMediumHue mixed CadmiumRedMedium singleCadmiumRedLightHue mixed CadmiumRedLight singleCadmiumYellowMediumHue mixed CadmiumYellowMedium singleBurntUmber single BurntUmber singlePermanentGreenLight mixed LightGreenPermanent mixedPhthalocyanineGreen single PhthalocyanineGreen singlePhthalocyanineBlue(GreenShade) single PhthalocyanineBlue(GreenShade) singleUltramarineBlue(GreenShade) single UltramarineBlue(GreenShade) singleDioxazinePurple single DioxazinePurple singleTitaniumWhite single TitaniumWhite singleIvoryBlack 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 palettesBelow are suggested color palettes for use with all liquitex acrylic color ranges

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lIquItex® BasICs Value serIes aCrylIC Colors

3 Color primary palette:PrimaryRedPrimaryYellowPrimaryBlue

12 Color palette:hue Based pigmentQuinacridoneMagenta singleBurntUmber singleCadmiumOrangeHue singleNaphtholCrimson singlePrimaryYellow singlePhthalocyanineBlue singlePhthalocyanineGreen singleUltramarineBlue singleDioxazinePurple singleIvoryBlack singleTitaniumWhite single

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Color ranGes single pigment Colors

Offersartiststhepurestcolor,tobeusedaloneorincolormixing IncludesCadmiums,Cobalts,Quinacridone,Phthalocyanine(Phthalo)andothercolors

•CadmiumColorsTraditionalsinglepigmentcolors Expensive,opaque,permanent Non-toxiconskinorifingested Toxicinspraymist

mixed pigment Colors

• Givesartiststhebenefitofpre-mixed,“custom”colors Colorsarebrighterthancanbemixedinstudio,cutsdownoncolormixingandprovidescostsavings

• NeutralGray5enablesartiststoadjustthevalueandchromaofacolorwithoutalteringthehue

hue ColorsColorsthatcontaintheword“Hue”attheendofthecolorname

• Singlepigmentormixtureofpigmentsthatlookandperformsimilartothecolortheyreplace

• Huesareusedasreplacementsforcadmium,cobaltandotherpigments,whentheyareeitherunavailable,tooexpensive,orfugitive Liquitex®“Hue”colorsgenerallyyieldhigherintensitiesthanthecolortheyimitate

professIonal artIst aCrylIC ColorSincedevelopingthefirstwaterbasedartistacrylicproductsin1955,Liquitex®hasalwaysbeenconcernedwiththeneedsoftheprofessionalartist AllLiquitex®productsareformulatedbyauniqueteamofchemistsandartists:chemistswithawidearrayofskillsinresintechnologiesandartistswhohelpustostayfocusedontheworkingproperties Thiscombinationallowsustomakethemostversatilerangesofintense,highlyloaded,permanentcolorspossible Liquitex®istheonlyacrylicbrandtoofferthreeuniquelydifferentrangesofprofessionalpainttosuittheneedsoftheartist:SoftBody,HeavyBody,andSuperHeavyBody Withthatinmind,range-specifichandlingcharacteristicsareestablishedsothateveryLiquitex®paintfeelsjustright–nevertoostickyorslippery Thelow-odoracrylicresinbaserepresentsthelatestinacrylicresintechnology,offeringincreasedopentimeandproducingcolorsofgreatclaritywithverylowwet-to-dryvalueshift Thepaintfilmsarehighlyflexible,durable,non-yellowing,UVresistant,water-resistantandpHneutralwhendry AllLiquitex®ProfessionalColorscanbeintermixedwitheachotherandaswellaswithallLiquitex®Mediums

liQuiTeX® producTs

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attributes for all liquitex® professional Colors• Littletonoperceptiblewet-to-drycolorshift

• Widerangeofintense,permanentpigments

• Eachcolorisuniquelyformulatedtobringoutthemaximumbrillianceandclarityofeachindividualpigment

• Allcolorsareformulatedtodrywithinatightsatinsheenrange

• Suitableforindoorandoutdoorapplications

• Watersolublewhenwet,driesquicklytoawater-resistantsurface

• Nochemicaldryingactiontoprolongpaintingandvarnishingprocedure

• Excellentadhesiontomostpaintingsurfaces;wood,leather,canvas,silk,plastic,muralapplications,metal,paper,etc

• Chemicallyalkalinewhenwetandthereforecompatiblewithcommonmuralgroundssuchasconcrete,plaster,cement,concreteblockoranymasonrysurface

• Notoxicsolventsorcleanersnecessary

• Resistanttoultravioletlight,willnotyelloworgetbrittleovertime

• Outstandingcolorclarityandbrillianceforsuperbcolormixing

1 Goodproductshelpyousucceed Thefinestqualitypaintsandcolorsmixbrilliantly,offerthepurestcolor,andprovidetheartistwithalltheessentialsforcreative,artisticsuccess

2 Water-borneAcryliccolorsforartistswereinventedbyLiquitex®in1955 Liquitex®continuestobetheleaderinproducinghighquality,innovativeacrylicproductsforartists

3 Artists’paintiscostly Nonews,there Thereasontheycostmorethanhousepaintsormodelpaintsorsomecraftpaintsisbecauseofthecostofpigment Thereisatrulyamazingconcentrationofpigmentinartists’qualitycolor

4 Artists’qualitycolorsareofferedandpricedin‘series ’Thecostofeachseriesnumberreflectstherelativecostoftheuniquepigmentincludedineachformulation

5 Acryliccolorscanbeproducedindifferentthicknesses(orbodies) Liquitex®istheonlyacrylicbrandtoofferthreedistinctlydifferentranges:SoftBodyforfluidapplications,HeavyBodyforthickapplications,andSuperHeavyBodyforimpasto,superthickapplications

6 AllLiquitex®ProfessionalAcryliccolorscontainthesameconcentrationofpigmentpervolume Thecolorismademore(orless)fluidbyalteringthechemistryoftheacrylicvehicle NOTbyaddingwater,orbydilutingthepigmentstrength

7 Acrylicsareidealforcontemporaryandexperimentalapplications Thecolorsdryveryrapidly(remainingworkablefor10–40minutes)makingthemwell-suitedforapplicationsthatrequiremasking,rapidlayering,andtexturalapplication They’reidealformurals,fabrics,tiles,andstructuraltechniques

8 Acrylicscanbeusedfortraditionalpainting,too Mediumscanbeusedtomakethecolorsuitableforglazing,impasto,watercolor,andotherapplications

9 Acrylicscanbeusedonalmostanysurface,frompaper,tocanvas,tobrick,towood—theexceptionsareoilyorshinysurfaces Plasticsurfacesshouldbesandedbeforepainting;leathersurfacesshouldbedegreasedwithrubbingalcohol Alwaysconductanadhesiontestwhenworkingonmore‘unusual’surfaces

9 essentIal thInGs to knoW aBout aCrylIC Colors

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soft Body professional artist acrylic ColorSoftBodyArtistColor,previouslyreferredtoasMediumViscosity,wastheoriginalLiquitex®acrylicformulationfirstmadein1956 Itisanextremelyversatileartistpaint,creamyandsmoothwithaconcentratedpigmentloadproducingintense,purecolor Thecreamysmooth,pre-filteredconsistencyensuresgoodcoverage,even-levelingandsuperbresultsinavarietyofapplicationsandtechniques

•94ProfessionalColors

•Heavycreamconsistency

•Evenleveling

•Extremelyversatileformulationformostfineartanddecorativearttechniques

•Retainslittleornobrushmarks

•Idealforflat,largeareacoverageandfinelinedetail

•Professionalgradecolorsfordecorativepaintersarealsoavailable

•Availableintubesandjars

•IntermixablewithallLiquitex®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

›Traditionalpaintingoncanvasorpanel

›FabricPainting

›DecorativePainting

›FauxFinishing

›Glazing

›Underpainting

›Murals

›Calligraphy

›Unfiredceramics

›Sculpture

›Photoretouching

›Watercolor

›IllustrationandDesign

›Airbrush*

›Printmaking:ScreenPrinting,MonoPrints,BlockPrints

›CollageandMixedMedia

›Scrapbooking/AlteredBooks

*ThinwithLiquitex®AirbrushMedium

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heavy Body professional artist acrylic Color HeavyBodyProfessionalArtistColor,previouslyreferredtoasHighViscosity,hasathickconsistency(similartooilpaint)fortraditionalarttechniquesusingbrushesorknives,aswellasforexperimental,mixedmedia,collageandprintmakingapplications Impastoapplicationsretaincrispbrushstrokeandknifemarks Goodsurfacedragprovidesexcellenthandlingandblendingcharacteristicswithincreasedopen/workingtime Highpigmentloadproducesrich,brilliant,permanentcolor


•Exceptionallysmooth,thickbutteryconsistency

•Retainsbrushstrokesandpaletteknifemarks

•Greatforthick/impastoapplicationsandpaintingtechniques

•Flexiblewhendry;thickfilmsremainfreeofcracksandchips

• IntermixablewithallLiquitex®products


›Impasto:Thickapplicationswithbrushstrokeandknifemarks

›TraditionalPaintingoncanvasorpanel

›ExperimentalPainting


›Printmaking:ScreenPrinting,Monoprints,BlockPrints

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super heavy Body professional artist acrylic Color SuperHeavyBodyisalineofhighlypigmented,clean,brilliantcolorswithsuperiorshaperetentionandunique“gutsy”handling ItisaninnovativeproductintroducedtotheLiquitex®rangeinearly2004,andisexcellentfor‘textural’and‘sculptural’applications SuperHeavyBodyhasverylowshrinkagefromwet-to-dryandproducescleancolormixeswithoutstandingclarityandbrilliance Itisformulatedtodrywithinauniformsatinsheenrange,enhancingthevisualclarityofthefinishedpainting,providinganon-plasticlookandeliminatingglare Littleornowet-to-dryvalueshiftallowsformoreaccuratecolormixing Increasedopentimeforeasierblending


•Extrathickbodywithhighsurfacedrag(rheology),comparabletofineoils

• Superiorshaperetention:holdssuperhighpeaks,knifemarksandbrushstrokes

•Flexiblewhendry,allowingbuilt-upsurfacestoremainfreeofcracksandchips

•Excellentforimpasto(thick),‘textural’and‘sculptural’paintingtechniques

•Satinfinish,no“plasticlook”

•Verylowshrinkage

•Vibrantcolorsstraightoutofthecontainer

•Slowdryingtime,allowsmoreworking(open)time

• IntermixablewithallLiquitex®products


›Impastoapplicationswithstrongbrushstrokeandhighknifemarks

›TraditionalThickPaintingoncanvasorpanel

›ThickApplicationExperimentalPainting

›CollageandSculpturalMixedMedia

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deCoratIVe serIesInterferenCe Colors Liquitex®InterferenceColorsarecolorless,transparentcolorsmadefromtitaniumcoatedmicaflakesratherthantraditionalpigments Theyarealsoknownas“OpalescentColors” Theychangetheircolor(exhibitingametalliclookandcolorshift)dependingupontheviewingangle Asthelighthitsthemicaflakesiteitherbouncesoffdirectly,reflectingthelabeledcolororpassesthroughtoanotherlayerandbouncesoutatadifferentrefractiveindexdisplayingthelabeledcolor’scomplement Theeffectisvisuallysimilartoathincoatofoilfloatingonwater

t I p s & t e C h n I q u e s

›Useinanytechniqueorsurfacesuitableforanyacrylicpaintormedium

›Applystraightfromcontainer,thinnedwithwaterormixedwithanyLiquitex®AcrylicColor,IridescentColor,FluidorGelMediumtoproduceanendlessvarietyofcolorsandeffects

›Applyinseveralthinlayersratherthanonethicklayer

›Thinapplicationsinawashorglazeincreasethevisualinterferenceeffects

›Toachieveavisuallyopaquecoat,applyabasecolorthatmatchesthe“flip”orcomplementoftheinterferencecolor,beforeapplyingtheinterferencecolor (i e NaphtholCrimsonunderneathInterferenceGreen)

›Toincreaseinterferencecoloreffect,add1%MarsBlacktointerferencecolor

›Tocreateiridescentgrays,add2–5%MarsBlacktointerferencecolor

›Appliedoverwhitesurfacesorlightcolors,theyaretranslucent

›Appliedoverblackordarksurfacestheyareseenasbrilliantpastelcolors

›Appliedontransparentandtranslucentsurfacestheycreateunusualvisualeffects

›MixwithLiquitex®Mediumstocreateluminescentfluidglazes

liquitex® Interference Glaze mixing Guide

thick Interference Glaze85–90% GelMediumorHeavyGelMedium10–15% InterferenceColor1% Liquitex®SoftBodyArtistAcrylicColor*

fluid Interference Glaze85–90% GlossMedium&Varnish10–15% InterferenceColor1% Liquitex®SoftBodyArtistAcrylicColor**=Useatransparentcolor

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IrIdesCent Colors Iridescentpaintsarealsoknownas“metallic“paintsthatdonottarnish Theymimictheeffectofbronzingpowders Bronzingpowderscannotbeusedwithacrylicemulsionsastheytarnishduetothealkalinityofthebinder

Characteristics•Liquitex®IridescentColorsproduceavarietyofnon-

tarnishingiridescentormetalliceffects

•Madefromtitaniumcoatedmicaflakeswithanouterlayerofatransparentlightabsorbingcolorant,ratherthantraditionalpigments

•Lightabsorbingcolorantlayersdeterminetheobservedcolor

•Iridescentpigmentsare“opticallyopaque”andtheyrelyonreflectedlightonlyfortheireffect NoInterference“flip”colorisobserved

•Colorswillnotoxidize


›TheycanbeusedaloneormixedwithotherLiquitex®ColorsandMediumsforavarietyofiridescent,metalliceffects

›Avoidmixingwithopaquecolors

›MixwithsmallamountsofLiquitex®AcrylicColorsforavarietyof“metallic”colors,i e copperwithgreen=antiquecopper

›MixwithLiquitex®FluidMediumsfor“metallic”glazes

›MixwithLiquitex®TextureGelMediumsfor“metallic”textures

›AddIridescentWhitetoothercolorstoattainpearlescentqualities

fluoresCent ColorsLiquitex®FluorescentAcrylicsColorsareintense,brilliantcolors,producedfromdyessurroundedbyapolymercoating Thedyesabsorbinvisibleultravioletlightandemitvisiblelightofalongerwavelength,reflectingmorelightthantheyreceive Asaresult,theyfluoresceorglowandwillvisiblyoverpowerpaintsmadefromtraditionalpigments

CharaCterIstICs•Thefluorescenteffect,aswellasthecolor,fadesratherrapidlybecausethedyesare

notstable;aswithalltraditionalfluorescentcolors,thesecolorsareratedLightfastnessIIIandshouldnotbeusedforworkthatismeanttobepermanent

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fluoresCent Colors (Cont )


›Fluorescentcolorsaretranslucentandgreaterintensitycanbeachievedbyworkingoverabrightwhitesurface

›Ifagreaterpermanencyisdesired,atopcoatofLiquitex®Soluvar®GlossVarnishorSoluvar®MatteVarnish(whichcontainUltravioletLightStabilizers)isrecommended,althoughitwilleliminatethefluorescent“glow”underblacklight

lIquIGemstm aCrylIC GlItter paIntAheavybody100%acrylicpolymeremulsionpaintthatcontainsaheavyconcentrationofmicaflakes

CharaCterIstICs•Glittercolorsdrytoathick,three-dimensionalconsistency

•Appearmilkywhenwet


›Brushonorusewithapplicatortipfordimensionallinework

›Notrecommendedforairbrushormarblingtechniques

›Notrecommendedforpermanentwork

GlossIestm aCrylIC enamelLiquitex®GlossiesTMarewaterbasedacrylicenamelsthatarespeciallyformulatedtoadheretoslick,nonporousmaterialssuchas:glass,tiles,glazedceramics,stoneware,china,enamelware,primedmetal,woodandothernon-oilysurfaces


›Air-driedcolorsdrytoadurable,highglossfinish

›Heat-setcolorsdrytoascratchresistant,highglossfinish

›Allcolorsarelightfast Suitableforindoorandoutdoorapplications(whenheatset)

›AllGlossiesTMcolorsareintermixableandcanbeeasilyblendedtoachieveanycolor

›Non-Toxicandcontainnosolvents Cleanupwithsoapandwater

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GlossIestm aCrylIC enamel (Cont )

use and Care

•Heat-setGlossiesTMwillsoftenwhensoakedinhotwaterorexposedtoheatandreturntoproperhardnessuponcooling Allowtocoolpriortorubbing,cleaningorwettingsurface Heatsetat325˚F/163˚Cfor45mins

•Handwashinwarmwaterwithmilddishwashingdetergent

•Donotplaceextremelyhotpans,etc onbakedGlossiesTM

•Notrecommendedforshowerstalltileinstallation Repeatedexposuretohotwaterwilladverselyaffectadhesion

•Notrecommendedfor“heavyuse”applications,suchaskitchencountertops,floors,etc

•DonotcleanGlossies™(heatsetorair-dried)withscouringcleaners,astheywillabradesurface

•Careshouldbetakenifusinggroutin-betweenheatsetGlossiesTMtiles Groutisabrasiveandcanscratchsurface Anon-abrasiveacrylictilegroutisrecommended

•Donotuseonflexiblesurfaces

•Donotuseinfoodcontactsurfaceapplications

•Maybeusedonoutsideofmugs,bowls,etc Donotpaintwithinthetop¾”(20mm)ofdrinkingvessel Maybepaintedonundersideofclearglassdishes

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BasICs® Value serIesDevelopedforstudentsandartiststhatneeddependablequalityataneconomicalprice Eachcolorisuniquelyformulatedtobringoutthemaximumbrillianceandclarityoftheindividualpigment Availableintwoformulations,BASICS®andBASICS®Matt,tofitavarietyofapplicationsandtechniques

attrIButes for all BasICs® Value serIes Colors•36Colors

•ValuePriced

•Colorsareuniquelyformulatedtobringoutthemaximumbrillianceandclarityofeachindividualpigment

•ColorsareintermixablewithallLiquitex®ProfessionalGradeColorsandMediums

•Allcolorsarenon-toxicandholdtheAPsealfromACMIforsafeeducationaluse

•Flip-topcapforquickandeasydispensingandclosing

•ContainsthesamebinderasLiquitex®ProfessionalGradeAcrylics

•ContainsalowerpigmentloadthanLiquitex®ProfessionalGradeAcrylics

BasICs® BASICS®isaheavybodyacrylicwitha“buttery”consistencyforeasyblending Itretainspeaksandbrushmarksandcolorsdrytoasatinfinish,eliminatingsurfaceglare

•Greatcoverage

•Heavybodyconsistencyallowsforthickoil-likepainting,retainingpeaksandbrushmarks

•Colorsdrytoasatinfinish


›Impasto:Thickapplicationswithbrushstrokeandknifemarks

›TraditionalPaintingoncanvasorpanel,easyblending



›Printmaking:ScreenPrinting,MonoPrints,BlockPrints

›ColorTheory/Mixing

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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

�� l i q u i t e x ® / t h e A c r y l i c b o 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® mattBASICS®Mattisasoftbodyacrylicwithasmoothconsistencyforeasyapplicationandblending Itsfreeflowformulaensuresasmoothapplicationandevenleveling BASICS®Matt’srichsaturatedcolorsdrytoaflatmattesheenandhavegouache-likepropertiesofexcellentopacity

•Flatmattefinish,‘gouache-like’properties

•Creamy,softbodyconsistencyallowsforeasybrushoutandthinningwithwaterorLiquitex®mediums

•Highopacityforgreatcoverage

•Deep,richsaturatedcolor

•Evenleveling,freeflowingformula

•Waterresistantwhendry(allowsevendaystofullydry)



›DecorativePainting

›FauxFinishing

›IllustrationandDesign

›Printmaking:ScreenPrinting,Mono

›Prints,BlockPrints


›ColorTheory

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�� l i q u i t e x ® / t h e A c r y l i c b o 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 the rIGht Color: artIsts’ Color Vs Value serIesthe difference between artists’ and value series color is simple: Artists’colorsareformulatedtoprovidethebestpossibleperformance,independentofcost AtLiquitex®,thebenchmarksforselectingpigments,rawmaterials,andmillingforourartistgradecolorsareclear:chooseandusethebest Makingthefinestpossiblecolorcomesfirst Costissecondary

four reasons that artIst qualIty Colors are Worth the Cost:

1 Finepigmentis,byfar,thegreatestcontributortothecostoffinecolor Asingletubeofartists’qualitycolorcontainsasmuchormorehighlyrefinedpigmentthanmuchlargerbucketsofhousehold-qualitypaint

2 Everysinglepigmentisunique,andeverysinglecolorisformulateddifferently Inarangeof100colors(likeLiquitex®HeavyBodyArtistAcrylicColors),thereare100differentformulationstotakefulladvantageofthedistinctcharacteristicsofeachpigment

3 Everycolorisformulatedtoprovidethemoststableandpermanentfilmpossible Housepaints,bycontrast,areformulatedtolastadecadeortwo,atmost Withproperapplication,fineartistcolorsareformulatedtolastgenerationsorcenturies

4 Rawmaterialscomefromallovertheplanet,includingsomeveryobscurelocations Theverybestmaterialscanbemorecostlytoobtain Qualityrawmaterialsproducequalityproductsthatenhancetheexperienceofpainting;thatqualitywillbeapparentintheworkproduced

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artists’ Colors Value series Colorspigment load formulated with as much pigment

as is necessary, (usually regardless of cost) to achieve the ideal mixing and working properties.

formulated with sufficient 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 fillers.

permanence formulated to offer the best possible lightfastness (depending upon the color) and stability of film.

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 infinite 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®)areformulatedtoofferdependablestandardsofperformanceatamoreaffordablecost Belowisatableoutliningthekeydifferencesbetweenartists’andValueSeriesColors:

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aCrylIC medIumsInadditiontothewidestarrayofProfessionalandStudentcolors,Liquitex®offersthebroadestpossiblerangeofacrylicmediumstoinspirecreativityateverystageofthepaintingprocess Weunderstandthatmediumsareoftenadifficultconcepttograspuntilyouactuallydiveintothem,sowe’vetriedtosimplifyusagebyclassifyingproductsinthreedistinctcategories:Prep,Paint,andFinish

prep Surfacepreparationssetthefoundationforstableandpermanentcolorapplicationsbysealingandaddingtoothtoalmostanypaintingsurface Weofferfivedifferenttypesofacrylicgessoestoaccommodatealltypesofwork

paint Withinthepaintingcategory,thereareseveraldifferenttypesofproductsyouwoulduseinadditiontothecoloritself TheyareFluidMediums,GelMediums,Additives,andTextureGels Eachoftheseproductsareexplainedfurtherwithinthisbook Thesepaintingmediumsallowanartisttoadjusttheworkingandopticalpropertiesofthepaintfilmtoaccomplishanastonishingvarietyoftechniquesandapplications

finish Varnishesareappliedoveracompletedpieceofworktochangeorunifythesurfacesheenandprotectthepaintedsurfacefromtheenvironmentandultravioletlight

WhetheryouarePREPingthesurface,PAINTingthemasterpiece,oraddingthecrucialFINISHingtouch,Liquitex®offersthepropermediumtoachieveanydesiredresult ExploreyourpossibilitiesevenfurtherbymixingLiquitex®acryliccolorwithanyofourmediums

all liquitex® medIums are

•Permanent

•Phneutralwhendry

•Non-yellowing

•Waterresistantwhendry

•Flexible,non-cracking1

•Idealforimprovingadhesion

•Formulatedforlong-termdurability

•APLabeled2

•Manufacturedwiththebestqualityresinsavailable

•Developedbyspecializedchemists,withcombined50+yearsofexperience

1 – Except Modeling Paste2 – Except Soluvar®

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essentIal InformatIon aBout usInG aCrylIC medIums

•Forbestresults,alwaystestbeforeusing

• MixLiquitex®Mediumsintoacryliccolortoaddflexibility,adhesion,andlong-termstability

• Liquitex®mediumsextendthevolume,whilemostalsoincreasethetransparencyofacryliccolor

• Athinfilm(1/16”)ofLiquitex®mediummaytakebetween1⁄2hourto24hourstoinitiallydry,whileathickerfilm(1/4”)maytakebetween2–5daystoinitiallydry(alwaysdependantonrelativehumidity)

• TheuseofPalletteWettingSprayoranair-misterandhumidifierwillslowthedryingtimeofallLiquitex®Mediums

•Avoidanyoily,oilpainted,greasyorwaxysurfaces

• Toimproveadhesionwhenpaintingonanyhardorslicksurfacesuchasglass,metal,enamelorhardboard,sandsurfacespriortoapplyinganymedium

• Vigorousbrushworkovertexturedareasmaycausebubblestoformwithinthepaintfilm

• Donotoverworkduringapplication Ifmediumsarebrushedheavilyduringdrying,itmaycauseclouding Oncethefilmiscloudedanddry,itcannotbeclarifiedorremoved Ifanareaismissed,allowthesurfacetodryandthencoverwithanothercoatofmedium

General defInItIon

• Liquitex®AcrylicMediumsaremadefrom100%acrylicpolymeremulsionthatwhendryformdurablefilms Theycanbethoughtofascolorlesspaint Theyarethebinder(glue)ofacrylicpaintandhaveexcellentflexibilityandchemical,waterandultravioletradiationresistance

• Theyareaddedtoacrylicpainttoalterthepainthandlingcharacteristics,appearanceorvolume,producinganinfinitevarietyofeffects

• Liquitex®Mediumsareavailableindifferentviscositiesandsheens(glossandmatte) Theyareallintermixable

• Theycanfunctioninavarietyofapplicationsandtechniques Acombinationofseveralmediumsmaybenecessarytoachieveadesiredeffectorseveralmediumsmaybeusedbythemselvestoachievesimilareffects

the dIfferenCe BetWeen addItIVes and medIumsAnadditiveissomethingthatchangesthechemical“innerworkings”ofthepaintfilm Additivesshouldbeusedsparingly,inonlytheamountneededtogeneratethedesiredeffect Ingeneral,Liquitex®recommendsaddingnomorethan25percentofanyadditivetoyouracrylicpaint

Amediumchangestheworkingpropertiesofthepaint,anditincludesresinbinderforadditionalstability Becausemediumsmaintainorenhancethestabilityofthepaintfilm,theycanbeusedinanyamountyoulike

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l i q u i t e x ® / t h e A c r y l i c b o o k l i q u i t e x ® / t h e A c r y l i c b o o kl i q u i t e x ® / t h e A c r y l i c b o 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�0 �1�0

prep surfaCe prepSurfacePreparationsareusedtoseal,primeandaddtooth(forcoloradhesion)toallsurfacessuchascanvas,wood,paperandmetal Thissame

preparationisusedforbothacrylicandoilpaint Liquitex®professionalgessoesusuallytakejustonecoat

all surfaCe preps•Flexible/non-cracking

•Donotyellowovertime

•Ifusingmorethanonecoat,sandingbetweencoatsisrecommended

•AddingLiquitex®SoftBodycolortoanygessocreatescustomizedtintsandprimers

•Providetheperfect“tooth”andadhesiontoawidevarietyofsupportssuchascanvas,paperandwood

•Useonetotwocoatsforacrylicapplications Usetwotofourcoatsforoilapplications

Gesso Theclassicwhitesealerandgroundforabsorbentsurfaces,suchascanvas,paper,orwood Providesthepropersurfacesizing,toothandabsorbencyforacrylicandoilpaints Onecoatisusuallyenough Traditionalgessoismeanttobeopaquetitaniumwhiteforgoodcoverage

attributes

•Traditionalwhitesizeandground

•Excellentgroundforacrylicandoilpaint

•Canbemixedwithacryliccolortocreateatintedground

•Veryopaque

•Flexible,non-crackingandnon-yellowingwhendry

• Providestheperfect“tooth”andadhesiontoawidevarietyofsupportssuchascanvas,paperandwood

• Excellentbasecoatandprimerformanytechniquesandapplications

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Gesso (Cont ) application

•Forcanvas,paper,wood,oranyclean,porous,non-oilysurface

• Sizesandprimes,creatingagoodsurfacetoestablishapreliminarydrawingincharcoalorpencil

•Useundilutedorthinupto25%withwater

• Whenthinningmorethan25%useanequalmixtureofwaterandLiquitex®MatteMediumtothingesso

•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 flakes and separates from the painting support will obviously take the artists’ expressive image with it. On the other hand, fine 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 film, particularly when painting with oil colors. Artist’s gesso is formulated to offer the ideal degree of absorbency.

Clear Gesso Averyclearsizeandgroundthatkeepstheworkingsurfacevisible ClearGessoprovidesanidealdegreeoftoothforpastel,oilpastel,graphite,andcharcoalaswellasanexcellentgroundforacrylicandoilpaints Thisgessoisidealforpaintingovercoloredorpatternedsurfacesoroveranunderdrawing Mixwithacryliccolortoestablishatintedtransparent/translucentground Driescleartotranslucentdependingonthickness

attributes

•Averyclearsizeandgroundthatkeepsyourworkingsurfacevisible

• Idealhightoothforpastel,oilpastel,graphite,andcharcoal


•Mixwithacryliccolortohaveatintedground

•Driescleartotranslucentdependingonthickness



•Excellentbasecoatandprimerformanytechniquesandapplications

application


•Sizesandprimeswhilemaintainingtheoriginalappearanceofthesupport

•Providespaperwithgoodtoothforchalkandoilpasteltechniques

• Mixwithaverysmallamountoftransparentortranslucentacryliccolortotintthegroundwhilemaintainingtransparency

•Donottooverbrush

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super heaVy Gesso Aninnovative,impasto,titaniumwhitegessohavingtheabilitytoholdsculpturalshape Providesalltheattributesoftraditionalacrylicgesso Idealforthickandsculpturalapplicationwithaknifeorbrush

attributes

• Aninnovative,impastoacrylicgessousedtopreparepaintingsurfacesforacrylicandoilpaint

•Createthicksculpturalapplications

•Mixwithacryliccolortohaveatintedground



application


•TintcolorwithLiquitex®SoftBodyArtistAcrylicColors

•Usewithknifeorbrush

•Donotsand

Colored Gesso Establishesacolorgroundwhileprovidingalltheattributesoftraditionalacrylicgesso Someartistsliketostarttheirworkonacoloredgroundtoreflectthepaintingprocessinadifferentway Onecoatisusuallyenough Aswithtraditionalgesso,coloredgessoesalsogiveopaquesurfacecoverage AvailableinBlackandNeutralGray

attributes


•Non-yellowing

•Flexibleandnon-cracking


•Excellentbasecoatprimerformanyapplicationssuchasmurals

application

•Useundilutedorthinupto25%withwater

• Whenthinningmorethan25%useanequalmixtureofwaterandLiquitex®MatteMediumtothingesso

•TintcolorwithLiquitex®SoftorHeavyBodyProfessionalArtistColors

• Liquitex®ColoredGessoishuebalancedandallcolorsareintermixabletoprovideawidevarietyofcoloredgrounds

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


paintDuringthepaintingprocess,thereareseveraldifferenttypesofmediumsyouwoulduseinadditiontothecoloritself FluidMediums,GelMediums,Additives,andTextureGelsallowanartisttoadjusttheworkingandopticalpropertiesofthepaintfilmtoaccomplishanastonishingvarietyoftechniquesandapplications

fluId medIumsFluidMediumsreduceviscosityofheavierpaintsandgels,tendtoself-levelanddonotretainbrushstrokes FluidMediumsmodifyacrylicpaintsinavarietyofwaysandcontainacrylicresinstomaintainorenhanceadhesionanddurability

all fluId medIums

•IncreaseFlow

•Drytransparentortranslucent

•Extendthevolumeofthinpaint

•Makeanexcellentarchivaladhesiveforcollage

key attrIButes

•Self-leveling,resultingineasierbrushfreesurfaces

•MixwithSoftBodyProfessionalArtistColortomaintainpaintviscosity

•MixintoHeavyBodyProfessionalArtistColortoreducepaintviscosity

Donotshake,asthiswillcreatefoam Foamcanseverelyaffectthetransparencyofthefilmbycreatingavisualfoggyorhazyquality

palette WettInG sprayAninnovativefluidacrylicresindesignedtoslowthedryingofcolors Sprayontoyourpaletteordirectlyontothesurfaceofapainting Thismediumimprovescolorblendingandcanbeusedtothincolorwhilemaintainingfilmintegrity Userepeatedlytopreventpaintfrom“skinningover ”

attributes

•Aninnovative,fluidacrylicresindesignedtoslowthedryingofacryliccolors

• Allowsyoutokeepyourpalettecolorsfreshlonger,preventingthepaintfrom“skinningover ”

• Improvescolorblending

•Canbeusedtothincolorwhilemaintainingfilmintegrity

•Formulatedwithananti-microbialagenttopreventmold

application

•Userepeatedlytore-wetpalette

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Gloss medIum & VarnIsh TheworkhorseoftheLiquitex®fluidmediumsrange GlossMedium&Varnishisanall-purposemediumthatperformstwofunctions Itcanbeusedasafinal,clearglossvarnishcoatand/orafluidglossmedium Itimprovesadhesionofpaintfilmandincreasescolordepth,intensity,andgloss Excellentfortransferringprintedimages

attributes

• Allpurposemedium,formulatedtobemixedintoallLiquitex®acrylicpaintsandmediums

• Mixintoanyacrylicpainttoenhancethedepthofcolorintensity,increasetransparency,gloss,easeflowofpaintandaddflexibilityandadhesionofpaintfilm

•Useasanon-removablevarnishtoprotectpaintingandestablishglosssheensurface

•Translucentwhenwet,transparent(clear)whendry

application

•AsAnExtender:

› MixwithSoftBodyProfessionalArtistColortoextendvolumeandincreasetransparency,whilemaintainingpaintviscosity

› MixwithHeavyBodyProfessionalArtistColortoextendvolumeandincreasetransparency,whiledecreasingpaintviscosity

•AsAFixative:

› Useasafixativeoverartwork(acrylicpaint,pastel,graphite,chalk)toincreaseglossorshine Mix1partGlossMedium&Varnishto1partdistilledwater Applywithatomizerorairbrush

•AsAGround:

› Useastransparentgroundforacrylicpaintinsteadofgesso Allowssubstratetobeseen TopreventSubstrateInducedDiscoloration(SID)washcottonorlinencanvasbeforeuse

sId definition: Whenusedasasizeovercotton,linenandhardboard,acrylicmediumsdrawsubstancesoutofthesupportastheydryandcontinueovertime Discolorationcanoccurinareasthatareleftunpainted

•WithPowderedPigments:

› Useasabinderwithpowderedpigmentstomakeaninexpensivestudentgrade(softbody)glosspaint Pigmentsmustbecompatiblewithacrylicemulsion

•AsAGlue:

› Usewhencollagingwithnewspapersandlightweightmaterials



GlaZInG medIum Usewhenmaximumtransparencyisrequiredtoaddluminosityanddepthtoyourpaintings Thisfluidmediumcanbeusedtocreatebrilliantglazeswhenmixedwithtransparentcolor GlazingMediumdriesquicklyforrapidlayeringandtendstominimizeoreliminatebrushstrokes MixwithSlow-Dri®BlendingMediumorSlow-Dri®FluidRetardertoextendtheworkingtime

attributes

•Forcreatingbrilliantjewellikeglazeswithacrylicartistcolors

•Excellentbrushingandlevelingqualities

•Driesquicklyforrapidlayering

•Smallquantitiesofcolorprovidethemosttransparency

•Worksbestwithtransparentortranslucentcolors

•Flexible,non-yellowingandwaterresistantwhendry

applications

•Mixwithanyamountofacryliccolor

•Applytodry,paintedareastochangecolorationwithoutlosingestablisheddetail

•Underlayermustbethoroughlydrybeforeapplyingthenextcoat

• Thoroughlymixasmallamountofcolorintothemediumandthecolorwilllighten Asthemediumdriesitwillbecometransparentandthecolorwilldarken,appearingasathin,transparentversionoftheoriginalcolor

matte medIum Aclassicmediumusedtogivefluiditytodelicatebrushworkortoactasalowsheenadhesiveforcollage Thismediumhasacreamyconsistencyandisgreatwithopaquecolors MixwithGlossMedium&Varnishtocreateacustomizedsatineffect

attributes

•Createsamatteordull,non-reflectingfinishwhenaddedtoacryliccolors

• Mixintoanyacrylicpainttoincreasetransparencyandextendcolor,increasematte,increasefilmintegrity,easeflowofpaintandaddflexibilityandadhesionofpaintfilm

•MixwithGlossMedium&Varnishtoproduceasemi-glossorsatinmedium

•Opaquewhenwet,translucentwhendry

application

•AsAnExtender:

› MixwithSoftBodyProfessionalArtistColortoextendvolumeandincreasetranslucency,whilemaintainingcolorviscosity MixwithHeavyBodyProfessionalArtistColortoextendvolumeandincreasetranslucency,whiledecreasingcolorviscosity

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matte medIum (cont )

application

•AsAFixative:

› Useasafixativeoverartwork(acrylicpaint,pastel,graphite,chalk)todecreaseglossorshine Mix1partMatteMediumto1partdistilledwaterandapplywithatomizerorairbrush

•AsAGround:

› Recommendedfluidmediumtouseasatransparentground(size)foracrylicpaint,withexcellenttoothandadhesion Thiswillallowthecolorandtextureofthesupporttoshowthrough Canbeusedasasubstituteforthehidegluesizetraditionallyusedforoilpaintings

› TopreventSubstrateInducedDiscoloration(SID),washcottonorlinencanvasbeforeuse


› ExteriorMurals:Ifthesupportorwallissomewhatsmooth,acoatofMatteMediumshouldbebrushedortwocoatssprayedontothesurfaceontothesurfacepriortoapplyinggesso

•AsAGlue:

› Usewhencollagingwithnewspapersandlightweightmaterials

ultra matte medIum Anextremelymatte,fluidmedium UltraMatteMediumcanbeusedtomaintainopacityandwillextendanopaquecolortodoubleamountswithoutchangingthenatureofthecolor Idealforlargeprojectswheretransparencyisnotdesired Driestoadeadmattefinishwithabsolutelynolevelofsheen

attributes

•ColorsmixedwithUltraMatteMediumdrytoadeadmattefinish

• Increasesthevolumeofpaint,whilemaintainingtheopacityofthecoloritismixedinto

• EconomicallydoublesthevolumeofSoftBodyProfessionalArtistColorwithlittleornonoticeablelossincolorintensity,opacityorchangeinhue

• OpacityofcolorsmixedwithUltraMatteMediumwillbehigherthanifthecolorhadbeenthinnedtothesamedegreewithanyothermediumexceptModelingPaste

•Thedegreetowhichthecolorcanbeextendedwillvaryamongthedifferentpigments

• Whenover50%isadded,UltraMatteMediumcanactasaweaktintingwhite,increasingthevalueoftheoriginalcolorapproximatelyonelevel Lightcolorswillbeaffectedlessthandarkcolors



ultra matte medIum (cont )

application

•Gouache:

› MixwithopaqueSoftBodyProfessionalArtistColorforamattefinishandgouache(opaquewatercolor)look

› These“gouache”colorsarewaterresistant,flexible,lightfastandpermanentwhendry Traditionalgouachecolorsarenotandaresusceptibletoaccidentalre-wettingandmustbewellprotectedwhenfinished

•Murals:

› MixintoSoftBodyProfessionalArtistColorforunderpaintingofmuralstoeconomicallydoublethevolumeofpaint FortoplayersuseLightfastnessIcolorswithoutUltraMatteMedium

•Runningoutofcolorduringpainting:

› UsewhenrunningoutofaSoftBodyProfessionalArtistColormixturewhilepainting Whenyouhavereachedthehalfwaypointofpaintingaspecificarea,determineifyouhaveenoughpainttofinish Ifnot,addanequalamountofUltraMatteMediumtothecolor Thecolorandopacitywillbeunchanged,butthevolumewillbedoubledenablingyoutofinishpaintingwithoutre-mixing

•Underpainting:

› MixintoSoftBodyProfessionalArtistColorduringinitialunderpainting,todoubleamountofcolor SoftBodyProfessionalArtistColorhasthreetimesthecoverageofHeavyBodyProfessionalArtistColor

sloW-drI® BlendInG medIum Anessentialmediumforcreatingsofteredgesandmodeledforms Thismediumisusedtoextendthe“open”timeofacrylicsbymorethan40%,givingyouanopportunitytoreallyworkthepainttoenhancecolorblending Youcanaddanyamountofthismedium,asitcontainsbindertoretaintheintegrityofthepaintfilm,unliketheadditivesversion

attributes

• Auniqueformulationthatextendsdryingtimeupto40%forsuperiorsurfaceblendingwithacrylics

• AddsflowtoHeavyBodyProfessionalArtistColorandissimilarinbodytoSoftBodyProfessionalArtistColor

• Mixanyamountintocolortoenhancethedepthofcolorintensity,increasetransparency,gloss,easeflowofpaint,andaddflexibilityandadhesiontopaintfilm

•Driescleartorevealfull,richcolor

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sloW-drI® BlendInG medIum (cont )

attributes

• Unlikeretardingadditives,anyamountmaybeaddedtocolorwithoutjeopardizingthestrengthofthepaintfilm

•Translucentwhenwet,transparentwhendry


application

• Formulaisdesignedtobeusedintechniqueswhereslowerdryingcharacteristicsaredesired MayalsobeusedinmanyoftheconventionaltechniquesforaGlossMediumsuchas:airbrushing,brushwork,glazing,collage,andmurals

application possibilities as a medium

•AsanExtender

› MixwithSoftBodyProfessionalArtistColortolengthendryingtime,extendvolume,andincreasetransparencywhilemaintainingpaintviscosityandflow

› MixwithHeavyBodyProfessionalArtistColortoslowdryingtime,extendvolume,andincreasetransparencywhilethinningthepaint

•AsaFixative

› Useasafixativeoverartwork(acrylicpaint,pastels,graphite,chalk)toincreaseglossorshine Increaseddryingtimeallowsforworkingthemediaonthesurfacepriortofinalfixing Useanatomizerorairbrushfilledwithamixtureofonepartmedium,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


Gel medIumsOntheoppositeendofthespectrumfromFluidMediums,GelMediumsaddbodytothinnerpaintforimpastotechniquesaswellasextendingcolorvolumeandaddingtransparency Gelsmediumscanalsoadd“opentime”astheytend

todryslowerthanthinnerpaintfilms Ingeneral,thethickerthelayerofacrylicpaint,thelongerthepaintfilmtakestodry Thesemediumsalsomodifyacrylicpaintsinavarietyofwaysand,sincetheycontainacrylicresins,tendtoimproveadhesionanddurability

all Gel medIums

•AddBody

•Increase“open”time

•Drytransparentortranslucent

•Extendthevolumeofpaint

•Holdbrushorknifemarks

•Makeanexcellentarchivaladhesiveforcollage

General attributes

• Heavy-bodiedmediums,formulatedtomaintainthreedimensionalpeaksandmarks,buildsurfaces,extendpaintvolume,extenddryingtimeandachievevariousdegreesoftransparencyandsheen

• MixintoSoftBodyProfessionalArtistColortoincreasepaintthickness

•MixintoHeavyBodyProfessionalArtistColor,tomaintainorincreasepaintthickness

•Producefilmsofvaryingthickness,sheensandvisualeffects

• Inthewetstate,mediumsappearmilky,butdrytransparenttotranslucent(unlessnoted) Awetmedium/paintmixturewillbelighterincolorthanthedriedmedium/paintmixture

•Thethickertheapplicationthemoreopaquethefinalfilmwillbe

• AllGelscanbeusedasabinderforpowderedpigments,additivessuchassand,sawdust,etc Overloadingmediumswithtexturingmaterialscancausebrittleness

•AllGelsareexcellentgluesforattachingheavyobjectstoasurface

•Mixanygelsintoacrylicpainttoincreaseworking(open)time

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Gloss Gel Excellentforretainingbrushmarkswhileslowingthedryingtimeandaddingbodytothepaint Mixwithtransparentcolorsforimpastoglazesofgreatdepthandbrilliance Excellentfortransferringprintedimages

attributes

•Driestoaglossfinish

•ViscosityandbodysimilartoHeavyBodyProfessionalArtistColor

• Translucentwhenwet,transparent(clear)totranslucentwhendry Thickerapplicationsresultinlesstransparentdrymediumfilms

• IdealmediumtomixwithHeavyBodyProfessionalArtistColortoextendpaint,increasethebrillianceandtransparencyofcolor,withoutchangingthethicknessofthepaint

• MixwithHeavyBodyProfessionalArtistColortoobtainpaintsimilarincolordepthtooilpaint

application

•AsAnExtender:

› MixwithHeavyBodyProfessionalArtistColortoextendvolumeandincreasetransparency,whilemaintainingpaintviscosity

› MixwithSoftBodyProfessionalArtistColortoextendvolumeandincreasetransparency,whileincreasingpaintviscosity

•AsAGround:

› Useastransparentgroundforacrylicpaint,insteadofgesso Allowssubstratetobeseen TopreventSubstrateInducedDiscoloration(SID)washcottonorlinencanvasbeforeuse


› WhenapplyingGlossGelMediumtocanvas,useadequatepressuretoforcethemediumintothecanvasweavetoinsureproperbondingbetweenthegelandcanvas

•PowderedPigments:

› Useasthebinderforpowderedpigmentstomakeaninexpensive“studentgrade”heavybody(thick)glosspaint Pigmentsmustbecompatiblewithacrylicemulsion

Gloss heaVy Gel Averythickgelmediumthatextendsworkingtimeandincreasesbrillianceandtransparency Mixwithacrylicpainttoincreasebodyandattainoilpaintlikeconsistencythatholdsbrushorpaletteknifemarks

attributes

•Extraheavybodymediumofgreatdensitywhichdriestotranslucentglossfinish

• Mixwithacrylicpainttoincreasebody,density,viscosityandattainoilpaintlikeconsistencywithbrushorpaletteknifemarks



Gloss heaVy Gel (cont )

attributes

•Extendspaintwhileincreasingbrillianceandtransparency

•Keepspaintworkablelongerthanothergelmediums

application

•AsAnExtender:

› MixwithSoftBodyProfessionalArtistColorandHeavyBodyProfessionalArtistColortoextendvolume,increasetransparencyandincreasecolorviscosity

•AsAGround:

› RefertoGlossGelformoredetailedinformation

•WithPowderedPigments:

› Useasthebinderforpowderedpigmentstomakeaninexpensive“studentgrade”extraheavybody(thick)glosspaint Pigmentsmustbecompatiblewithacrylicemulsion

Gloss super heaVy Gel Asuperthickgelwithhighsurfacedragusedtocreateastiff“oil-like”feel Idealforcreatinghighpeaksandsculpturalapplicationsthatholdshapewhendry,withminimalshrinkage Thismediumkeepspaintworkablelongerthanmostothergelmediums

attributes

•Extremelythick,extraheavybody Thethickest“clear”gel

•Driescleartotranslucentdependingonthicknessoftheapplication

•Verylittleshrinkageduringdryingtime

•Excellentadhesionforcollageandmixedmedia

•Extendspaint,increasesbrillianceandtransparency


application

•AsaHeavyBodiedExtender

› MixwithSoftBodyProfessionalArtistColororHeavyBodyProfessionalArtistColortoincreasecolorviscosity,body,extendvolume,increasetransparencyandcolorbrilliance

•AsAGround

› Whencreatingasculpturalground,besuretouseadequatepressuretoforcethegelintotherawcanvastoinsureproperbonding Applypaintoverthegelafterthegelisdry

•Collage:

› Makesanexcellentglueforcollageanddecoupage

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Gloss super heaVy Gel (cont )

application

•WithPowderedPigmentsandotherAggregates

› Becarefulnottoincludesomanyforeignmaterialsastojeopardizethestrengthofthepaintfilm Besuretheyarecompatiblewithacrylicemulsion

› Useasthebinderforpowderedpigmentstomakeaninexpensive“studentgrade”superheavybody(thick)glosspaint Pigmentsmustbecompatiblewithacrylicemulsion

matte Gel Athickgelthatimpartsatranslucentmattesheenwhendry Idealforcreatingcollageswithheavierobjects CombinewithGlossGeltocreateacustomizedsatinfinish

attributes

•SamequalitiesasGlossGelMedium,exceptdriestomattefinish

•ViscosityandbodysimilartoHeavyBodyProfessionalArtistColor

• MatteGelMediumhasgreateradhesionthanGlossGelMediumandGlossHeavyGelMedium

application

•AsAnExtender

› MixwithHeavyBodyProfessionalArtistColortoextendvolumeandincreasetranslucency,whilemaintainingpaintviscosity

› MixwithSoftBodyProfessionalArtistColortoextendvolumeandincreasetranslucency,whileincreasingpaintviscosity

•AsAGround

› Recommendedthickmediumtouseasatranslucentground(size)foracrylicpaint,withexcellenttoothandadhesion Willallowsomecolorandtextureofthesupporttoshowthrough Useasasubstituteforthehidegluesizetraditionallyusedforoilpaintings

› TopreventSubstrateInducedDiscoloration(SID),washcottonorlinencanvasbeforeuse


› ExteriorMurals:Ifthesupportorwallisveryrough,acoatofMatteGelMediumshouldbebrushedortroweledontothesurfacepriortogessoapplication

•ForImpastoEffects

› MixwithLiquitex®HeavyBodyProfessionalArtistColorforimpastoeffectsthatdrytoamattesheen

•WithPowderedPigments

› Useasthebinderforpowderedpigmentstomakeaninexpensive“studentgrade”heavybody(thick)mattepaint Pigmentsmustbecompatiblewithacrylicemulsion



matte super heaVy Gel Asuperthickgelwhichretainshigh-peaksandcrispbrushandknifestrokeswithverylittleshrinkage Thismediumkeepspaintworkablelongerthanmostothergelmediumsanddriestoatranslucentmattefinish

attributes

•Extremelythick,extraHeavyBody

•Heavybodied,verydense,withhighsurfacedragforastiff“oil-like”feel

•Driestoatranslucentmattefinishdependingonthicknessoftheapplication

•Verylittleshrinkageduringdryingtime

•Excellentadhesionforcollageandmixedmedia

•Extendspaint


application

•AsAGround

› Whencreatingasculpturalground,besuretouseadequatepressuretoforcethegelintotherawcanvastoinsureproperbonding Applypaintoverthegelafterthegelisdry

•Collage

› Makesanexcellentglueforcollageanddecoupage

•WithAggregates

› Becarefulnottoincludesomanyforeignmaterialsastojeopardizethestrengthofthepaintfilm Besuretheyarecompatiblewithacrylicemulsion

ultra matte Gel Agelwithhighresinsolidsthatmaintainscoloropacityandextendspainttodoubleamountswithoutchangingcolorposition Thisproductismeanttobeusedwithopaquecolorswheretransparencyisnotdesired Driestoadeadmattefinishwithabsolutelynolevelofsheen

attributes

• Atranslucentwhitegelofhighdensityandhighsolids,thateconomicallyextendsthevolumeofHeavyBodyProfessionalArtistColorwithoutchangingitsthickness

•Addupto50%byvolume,todoubleamountofpaintandretaincolorposition

• Ifmorethan50%isadded,itactsasaveryweaktintingwhite

•Maintainstheopacityofthecolorbetterthanusingacleargelmedium

•Driestoadeadmattefinish,givingcolorsagouachelook

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ultra matte Gel (cont )

application

•Runningoutofcolorduringpainting:

› UsewhenrunningoutofamixedHeavyBodyProfessionalArtistColorwhilepainting Whenyouhavereachedthehalfwaypointofpaintingthespecificarea,determineifyouhaveenoughpainttofinish Ifnot,addanequalamountofUltraMatteGeltothecolor Thecolorandopacitywillbeunchanged,butthevolumewillbedoubledenablingyoutofinishpaintingwithoutre-mixing

•Underpainting:

› MixintoHeavyBodyProfessionalArtistColorduringinitialunderpainting,todoubleamountofcolor

sloW-drI® BlendInG Gel Aheavybodygelusedtoextendthe“open”timeofacrylicsbymorethan40%foreasierblending Addanyamountwithoutjeopardizingthestrengthofthepaintfilmtoachieveexcellentimpastotechniques

attributes

•Auniqueformulationforsuperiorsurfaceblendingwithacrylics

•Extendsdryingtimeupto40%forsuperiorsurfaceblendingwithacrylics

• IssimilarinbodytoHeavyBodyProfessionalArtistColor

• Mixanyamountintocolortoenhancethedepthofcolorintensity,increasetransparency,gloss,andaddflexibilityandadhesiontopaintfilm

• Unlikeretardingadditives,anyquantitymaybeaddedtocolorwithoutjeopardizingthestrengthofthepaintfilm

•Driescleartorevealfull,richcolor

•Translucentwhenwet,transparentwhendry


application

• Formulaisdesignedforuseintechniqueswhereslowerdryingcharacteristicsaredesired MayalsobeusedinmanyoftheconventionaltechniquesforaGlossGelMediumsuchas:brushwork,thickglazes,collage,andmurals

•AsanExtender

› MixwithHeavyBodyProfessionalArtistColortolengthendryingtime,extendvolumeandincreasetransparencywhilemaintainingpaintviscosity

› MixwithSoftBodyProfessionalArtistColortoslowdryingtime,extendvolumeandincreasetransparencywhilemakingpaintthicker



modelInG paste Averythick,matte,opaquepreparationofmarbledustandpolymeremulsionusedtobuildheavytexturesonrigidsurfaces Thisproducthandleslikeclayanddriestoaveryhardstone-likesurface Canbemixedwithacryliccolororover-paintedwhendry Makesanexcellentsubstrateforacrylicpaint,watercolor,graphite,ordrypastel Greatforsculpturalapplicationsandmaybesanded,carved,ordrilledwhendry Foruseonrigidsupportsonly

attributes

•Amarble“putty”madeofmarbledustand100%polymeremulsion

•Usedtobuildheavytexturesonrigidsupportsandcreatethree-dimensionalforms

•Driestothehardnessofstone Itcanbesandedorcarvedwhenthoroughlydry

• Canbehandledlikeclayifthetopofthecontainerisremovedandsomeofthewaterisallowedtoslowlyevaporateuntilitreachesaclay-likeconsistency

•Adherestoanynon-oily,absorbentsurface

•Dryingtooquicklycausesmudcrackingthatiscosmetic,notstructural

• Whenmixedwithacryliccolorswillactasaweaktintingwhite,whileincreasingthicknessandrigidity

• Excellentsubstrateforacrylicpaint,oilpaint,oilpastel,oilbars,watercolor,graphiteordrypastel

directions

•Applywithknife,brush,cakedecoratingtools,etc

• Topreventshrinkagecracks(mudcracking),dryslowlybycoveringlooselywithplasticwrap Applylessthan¼”thick

•Mixwithacryliccolorstoproduceacoloredtintedpaste

•Whendry,ModelingPastemaybepaintedwithacrylicoroilcolors

application

•Sculptural

› Applyinthinlayersallowingeachlayertodrybeforeapplyingnextlayer Ifcracksappear,allowtodryandfillinwithanadditionalthinlayerofModelingPaste

•Rigidsupport

› Usestraightfromcontainer

•Flexiblesupport

› UseFlexibleModelingPasteorMixModelingPaste50/50withGlossGelMedium,MatteGelMediumorGlossHeavyGelMedium

•Ground

› ApplyathinlayerofAcrylicModelingPastetorigidsurface(i e wood),usingapaletteknife,trowelorroller Letdry,thensandsmooth Repeatifnecessary

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modelInG paste (cont )

application

•Absorbentground

› Mix¼ModelingPastewith¾Liquitex®Gesso Applywithtrowelorroller Letdry,thensandsmooth Repeatifnecessary

•Paper-Maché

› MixAcrylicModelingPaste50/50withLiquitex®GlossGelMedium,MatteGelMediumorGlossHeavyGelMedium Soakpaperinthismixture

lIGht modelInG paste Alightweightandairypreparationofmarbledustandpolymeremulsionspecificallyformulatedtobeusedinapplicationswhereweightisafactor Canbeusedtoaddbodytopaintandcreatepasteltints Driestoamatteopaquewhiteandcanbemixedwithacryliccolororover-painted Recommendedforuseonrigidsupportstoavoidcracking

attributes

• Alightweight,airy,flexible,thick,sculpturalgelspecificallyformulatedtobeusedinapplicationswhereweightisafactor

•Willnotexhibit“mudcracking”

› Usedalone,willdrytoamatteopaquewhitethatreadilyacceptsstainingifdesired

flexIBle modelInG paste Amatte,opaquepreparationofmarbledustandpolymeremulsion Driesmoreslowlythanothermodelingpastestoahard,yetflexiblesurface Usetobuildheavytexturesandthree-dimensionalforms Recommendedforuseonsupportswithoccasionalflexing

attributes

•ExtraHeavyBodyandveryopaque

•Amarblepastemadeofmarbledustand100%polymeremulsion

•Driesmoreslowlythanothermodelingpastestoahardyetflexiblesurface

• Usedtobuildthree-dimensionalformsandheavytexturesonsupportsthatmaybesubjecttoflexingormovement

•Adherestoanynon-oily,absorbentsurface

• Whenmixedwithacryliccolorswillactasaweaktintingwhite,whileincreasingthicknessandrigidity

• 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


effeCtsLiquitex®offersavarietyofspecialtyproductsincludingFluidMediums,Gelmediums,TextureGelsandAdditiveswhichhavebeenspecificallydesignedtoachievevarious

techniques,applications,andspecialeffects

fluid medium effectsfaBrIC medIum Enhancesblending,workability,andadhesionofacryliccolorsforpaintingdirectlyonfabricorunprimedcanvas Reducesdrypaintstiffness Noheatsettingrequired

attributes

•Enhancestheworkabilityofacrylicpaintonfabric

•Controlsbleedingofcolorswhenthinnedwithwater

• Providesasmooth,consistentflowtoSoftBodyProfessionalArtistColor

•Preventsunevenapplicationofpainttoroughtexturedfabrics

•Reducesstiffnessofdriedacrylicpaintonfabric

• Reducestheneedtoscruborabraderoughtexturedfabricsinorderforpainttoadheretoorpenetrateintosurface

•Doesnotrequireheatsetting

application

• Beginbyaddingmedium1:1withLiquitex®SoftBodyProfessionalArtistColor

Color Blending on fabric

•Mixintoacryliccolorstoimprovewet-on-wetblendingtechniques

•Mediumcanbeaddeddirectlyontofabrictoblendcolor

Watercolor on fabric

• UseFabricMedium5:1withLiquitex®SoftBodyProfessionalArtistColortocontrolcolorbleeding

IrIdesCent medIumAddsrichnesstoacryliccolorsbycreatingametallic/pearlescenteffect Driestranslucentandwillnotoxidize Canaddshimmerorsparkletoapictureeveninthesmallestamount Achievethemostdramaticeffectswhenmixingwithtransparentcolors Trypaintingontopofanydrycolorforuniqueeffects

attributes

•Producesarangeofiridescentormetalliccolorswhenmixedintoacryliccolors

•Opaquewhenwet,transparenttotranslucentwhendry

•Willnotoxidize

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E



IrIdesCent medIum (cont )

directions

• Mixwithsmallamountsofcolor,graduallyaddingmorecoloruntildesirediridescentqualityandtransparencyisachieved

•Transparentandtranslucentcolorsworkbest Opaquecolorscanalsobeused

•Colorwillbecomemoretransparentaspercentageofmediumincreases

• Colorsincreaseintheiriridescentqualityandbecomemuchmorereflectiveupondrying

•ForMotherofPearlcolor,usedirectlyfromcontainer

•Foruseonfabric,thin50%withdistilledwater

aIrBrush medIum Apre-filtered,ready-to-usemediumthateasilythinsanyacrylictotherightconsistencyforsprayapplication Anexcellentchoiceforcolorwashesandwatercolortechniqueswhenusedwithacryliccolors Mixeswellwithothermediumstoadjustthebodyandhandlingproperties Maintainsintegrityofacrylicsevenathighdilutions,anddecreasesairbrushcloggingandpaintbuildup UsewithLiquitex®SoftBodyColorforbestresults

attributes

• Pre-mixedblendofacrylicpolymeremulsion,distilledwater,retarderandLiquitex®Flow-AidTM

• Readytousepre-filteredandpre-reducedtotheproperconsistencyforairbrushtechnique Addasmuchoraslittleasdesired

•Easilythinsacrylictoasprayableconsistency

•Decreasesairbrushcloggingandpaintbuilduparoundtipduringspraying

•Allowsthinnedacrylicpainttobesprayedefficientlyandretainpaintfilmintegrity

directions

•MixAirbrushMediumintoSoftBodyProfessionalArtistColor Noneedtostrain

• MixAirbrushMediumintoHeavyBodyProfessionalArtistColor Straintoremoveanyparticlesofundissolvedcolor

• Startbymixing50%AirbrushMediumtocolor Mixthoroughly AddmoreAirbrushMediumasnecessarytofacilitateflowthroughtheairbrush EachcolormayrequireadifferentpercentageofAirbrushMediumtocolor,duetovariationincolorpigmentsizeandconcentrationofpigment

• Airbrushnozzlesizeandsprayingpressure(PSI)willdetermineAirbrushMedium/paintmixture Largernozzlesallowforgreateramountsofpaintinthemixture

•Keepairbrushwetduringuse Donotallowpainttodryinairbrush

•Cleanairbrushwithwater,water/ammoniamixture,airbrushcleaneroralcohol



pourInG medIum Designedtoeliminatecrazinginpouredapplications,resultingineven,pouredpuddlesandacrylicsheets Canbemixedwithanyacryliccolortocreatesmooth,evencoloredfilms

attributes

•Createseven“puddles,”pouredsheets,andflowingapplicationsofcolor

•Doesnotcraze,crack,orholdbubblesinthepaintfilmupondrying

•Retainshighglossandwetappearancewhendry

•Willnotaddtransparencywhenmixedwithcolor


application

•MixwithSoftBodyAcrylicColortopromotedryingwithasmooth,evenlycoloredfilm

Gel medium effectsstrInG Gel StringGelhasahoney-likeconsistency,andcanbemixedwithsoftorheavybodiedcolorstocreateawidevarietyofeffects StringGellendsitselftocreatinglongropeystrandsofpaintwhenappliedbygentlydrippingitfromtheendofabrushorknife Thismethodofapplicationgivestheartistmuchmoreprecisecontrolofthedrippedorpouredmark,allowinggreaterdetailthanwouldhavebeenpreviouslyavailablebyanyothermeans Whenappliedtraditionallywithabrushitiscapableofproducinglongfluidmarksinwhichcolorfollowsthebrushproducingastreakingeffect Itstransparencyandself–levelingqualitiesfurtherenhancetheuniquepropertiesofthisgelmedium

attributes

•Aself-levelinggelwithasyrupy,honey-likeconsistency

•Enhancesdepthofcolorandincreasestransparencyandflow

•Driesglossyandtransparent

•Permanent,non-yellowing,flexibleandwaterresistantwhendry

applications

• Abstractpainting,wherecontrolleddrips,poursandsplashesgiveabroaderexpressiverangetoartists

• Contemporary/Imaginarylandscapepaintingwheregesturalflowingmarkscouldfunctionwelltodescribefloralelementsfoundinnaturesuchastrees,shrubsorgrass

• Illustration—wheretheuniquepropertiesofthismediummayaddthetextureandstylisticimpacttohelpcommunicatetheartist’svision

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texture GelsLiquitex®TextureGelscontainparticlesthatproduceavarietyofuniquetexturalanddimensionaleffects Theymaybemixedwithacryliccolors,othermediums,orusedontheirown AdryTextureGellayercanbeutilizedasatexturedunderpaintingforacrylicpaint,coloredpencilorpastel Mixanytexturegelstogethertoachieveuniquesurfaces

all texture Gels

•Dryflexible

•Donotyellow

•Drywaterresistant

General attributes

• Containspecificaggregates,whichproduceavarietyofuniquetextural,dimensionalandreflectiveeffects,whenmixedwithacrylicpaint

• AllsevenTextureGelsmaybeintermixedtoincreasethevarietyofpossibletextures

•Formulatedformaximumflexibilityandadhesion Willnotchiporcrackoncanvas

• Canbeappliedtoanymaterialorsurfacethatwillaccepttraditionalacrylicmedia,suchascanvas,paper,wood,etc

• TextureGelsarelightweight,non-toxicanddrytoawaterresistant,non-yellowingsurface

CeramIC stuCCo Afavoriteofmanyartists Thisthick,fine-texturedgelcanbeappliedwithapaletteknifetogivethesurfacefinishofanItalianfresco Itdriestoalightgraymattestuccofinishandisagreatabsorbentgroundforwashesandglazing TrypaintingoverthedrysurfacewithAirbrushMediumordrawingwithpastelorcharcoal

•Athick,lowluster,finetexturegel,thatdriestoalightgraymattestuccofinish

•Excellentforproducingthick3-Deffects,aswellasthinlycoatingsurface

•Excellentgroundforacrylic,pastelsandgraphite

• Somewhatsusceptibletoabrasion CoatwithLiquitex®Varnishforaddedprotection Applyvarnishcarefullytoavoidfoamingandclouding

•Workswellwithbrushapplication

WhIte opaque flakesAheavy,coarsegelcontainingirregularsizedandshapedwhiteopaqueflakes Maybeusedtocreatefoliageeffectsinlandscapesbymixingwithopaquecolororglazingoverwhendry Hasasimilareffectofsnowflakesorcoconutflakes

•AHeavybody,coarsegel,thatcontainsirregularsizedandshapedopaqueflakes

• Whiteflaketextureismostapparentwhenmixedwithtransparentortranslucentcolorsorsmallamountsofopaquecolor

• Ifpurewhiteisdesired,addasmallamountofLiquitex®TitaniumWhite



Glass BeadsAmediumbodygelthatcontainsclearroundplasticbeadsanddriestoasemi-glosssurface Perfectforcreatinga“bubbly”butsmoothtexturethatcanbedramaticwhenmixedwithcolor Whenpoureditcreatesaflexibleshimmeringfilmforawidevarietyofapplications Workswellasasurfacetopaintoverwithcolor Canbeusedunderoiloracrylic

• Amediumbodygelthatcontainsclear,roundaggregatesthatdrytoasemi-gloss,reflective(“bubbly”)surface

• Formostdramaticreflectiveeffects,mixwithtransparentortranslucentcolorsorapplystraightfromcontaineroverdriedpaint

• Forreflectivetexturalglazes,mixwithLiquitex®GlossMedium&VarnishandsmallamountsofLiquitex®SoftBodyProfessionalArtistColor

•Suitableasagroundforacrylicandoilpaint Workswellwithbrushapplication

Blended fIBers Greatforaddingtextureandbodytopaintedforms Thisthickopaquegel,whendry,willgivetheeffectofflexiblefiberswithamattsheen Itholdsunusualpeaksandknifestrokeswhenmixedwithcolor Cantendtohavetheeffectofpiecesoftornfabric

•Athick,stringy,fibrousgelthatwhendrygivetheeffectofflexiblefibers

• AddLiquitex®GlossGelMediumorGlossHeavyGelMediumforeasierapplicationandtoincreaseadhesionwhilewet

•Worksbestwhenappliedwithpaletteknifeortrowel

resIn sandAthick,coarsegelthatdriestoasemi-glosstexturesimilartoroughcement MixwithBlackLavaandCeramicStuccotocreateanabsorbent,granitelikesurfacethatisveryreceptivetoSoftBodycolors

•Athick,coarse,texturegelthatcontainsaggregatesofvarioussizes

• Driestoa“roughcement”lookandwillretainitsuniquetexturewellwhenmixedwithpaint

•Excellentgroundforacrylicpaint,whendramaticeffectsaredesired

natural sandAfine-texturedgelthatdriestotheappearanceofglossybeachsand Mixwithothergelstocreatecustomizedsurfaces Anexcellentchoicetoaddabitof“tooth”toanunder-painting Trycombingthenaturalsandwitharidgedtrowelforuniformpeaksandvalleys

•Afinelytexturedgelthatdriestoasurfacesimilartoglossy“beachsand”

•MixwithLiquitex®acryliccolorstoimproveblendingandimpartthe“feel”ofoilpaint

• Veryeffectivegroundforacrylics,pastelandgraphitewhendelicatemarksandblendingarenecessary Workswellwithbrushapplication

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BlaCk laVaAcleargelspeckledwithsmallblackparticlesthataddsaninnovativedimensiontopaintsurfaces Givesdramaticeffectswhenmixedwithtransparent,translucent,orinterferencecolorsandcanbeusedtodarkenvaluesinapicture Tryoverpaintingwhendrywithacryliccolorforadditionaleffects

•Ablackspeckledgelthatcontainssmall,flat,hexagonalshapeddarkaggregates

• Whenwet,looksspeckledgraybutwhendry,givetheeffectofground,dry,blacklava

• Mixedwithtransparentandtranslucentcolors,blackspeckledqualityismostapparent

•MixwithLiquitex®InterferenceColorsfordramaticcoloreffects

application

• Applywithpaletteknife,trowel,paintbrush,etc Differenttoolsproducedifferenteffects

•MixacryliccolorintoTextureGelorletgeldryandpaintontop

•MixwithGlossMedium&Varnishtoproducetexturedglazes

• VerysmallamountsofcolorareneededsincemostLiquitex®TextureGelsaretranslucent

• AddLiquitex®GlossGelorGlossHeavyGelwhenusingadditionalaggregates(suchassand)toavoidbrittleness

•TextureGelscanbethinnedwithsmallamountsofdistilledwaterifnecessary

• Varnishwithcaretoavoidfoamingorclouding Ifafinalvarnishlayerisdesired,sprayapplicationofvarnishisadvised



additivesAdditivesallowtheartisttoadjustthechemistry(andasaresulttheworkingproperties)ofacrylicpaint Theycanbeusedtoincreasetheflow,theopacity,orthethickness,andmore Whiletheydocontainacrylicpolymerforcompatibility,theydonotcontainsufficientacrylicresintoactasabinderwithinthepaint Ingeneral,Liquitex®recommendsthatnomorethan25%ofanadditivebeaddedtothepaint Additionally,mixingmorethanoneadditiveatatimeintoyourpaintisnotrecommended

all addItIVes

• Shouldbeusedsparinglyandonlyintheamountneededtoachievethedesiredeffect

•Donotaddtransparencytothepaintfilm

•Availableinbothfluidandgelviscosities

sloW-drI® Gel retarderAnexcellentchoicewhenworkinginlowhumidity,orwheneverincreasedworkabilityandblendingtimeofacrylicpaintsandmediumsisdesired Willretainbrushstrokesandaddbodytoloweriscositycolors Shouldnotaddmorethan25%asthereisnobinderanditcanweakenthestabilityofthepaintfilmwhentoomuchisadded

attributes

•SimilartoSlow-Dri®FluidRetarder,exceptingel(heavybody)thickness

• Gelconsistency,designedtobeusedwithLiquitex®HeavyBodyProfessionalArtistColor

• MayalsobeusedwithLiquitex®SoftBodyProfessionalArtistColorandallLiquitex®Mediums,howeverthicknessofpaintsormediumswillbeincreased

directions

• Donotmixmorethan25%pervolumeintopaintandmediumsorpaintmaynotfullydryandmayhavepooradhesionandexcessiveshrinking

sloW-drI® fluId retarderAfluidthatslowsthedryingtimeofacrylicpaintsandmediumsbyupto40% Anabsolutelyessentialadditiveifworkingindrierclimates Mixintothepaintwhenonthepalettetoslowtheskinning-overofpaintandincreaseblendingtime Shouldnotaddmorethan25%asthereisnobinderanditcanweakenthestabilityofthepaintfilmwhentoomuchisadded

attributes

• Increases“open”timeofacrylicpaint Reducespaintskinningoveronpalette

• Increasesblendingtime,makingblendingofcolorsanddetailbrushworkeasier

•MixwithLiquitex®AcrylicColorsandMediumstoretarddryingtimeupto50%



sloW-drI® fluId retarder (cont )

attributes

• Fluidconsistency,madetobeusedwithLiquitex®SoftBodyProfessionalArtistColor

• MayalsobeusedwithLiquitex®HeavyBodyProfessionalArtistColorandallLiquitex®Mediums,howeverthicknessofpaintsandmediumswillbereduced

directions

• Donotmixmorethan25%pervolumeintopaintandmediumsorpaintmaynotfullydry

floW aId™Breakswatertensiontoimproveflow,absorbencyandblendingofanywaterbasedpaint,inkordyeandminimizesbrushstrokes UsewithLiquitex®SoftBodycolortocreateveryfluidwasheswithouthardedges Greatforstainingeffectsonrawcanvas Shouldnotaddmorethan25%asthereisnobinderanditcanweakenthestabilityofthepaintfilmwhentoomuchisadded

attributes

• Useinconjunctionwithanyacrylicmediumorcolorwhenincreasedflowandabsorptionanddecreasedfilmtensionandfrictionareimportant

• Aflowenhancerthatimprovestheflow,absorptionandblendingofanywater-solublepaint(i e acrylicpaint),medium,inkordye

•Minimizesbrushmarks,byreducingfrictionofpaintapplication

• Doesnotcontainbinder OverthinningofacrylicpaintwithFlow-AidTMandapplyingtoanon-absorbentsurface(i e gessoedcanvas)mayresultinpooradhesion Alwaysmakeatestpieceforyourparticularapplicationandsurface

• Onnon-absorbentsurfaces,willincreasethefluidityandopen(drying)timeofthepaint

•Onabsorbentsurfaces,willactasastain,dyeorwatercolor

directions

• Flow-AidTMisaconcentrate Dilutewithwaterbeforemixingintopaint Distilledwaterisbest,sincequalityoftapwatervaries

• Minimumdilution:1partFlow-AidTMto10partsdistilledwatertoachieveFlow-AidTMWater

• Normaldilution:1partFlow-AidTMto20partsdistilledwatertoachieveFlow-Aid™Water

• Donotuseundiluted Usingundilutedmayresultinpoorpaintadhesion,causepainttocrack,remaintackyandbecomewatersensitive

• Donotshakeorrapidlystir ThiswillincreasefoamingofFlow-AidTM Waituntilfoaminghassubsidedbeforeusing

• Absorbentsurfaces:UseasmuchFlow-AidTMasnecessary TheFlow-AidTMWater/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


floW aId (cont )

directions

• MixFlow-AidTMWaterintowaterbasedpaint DonotmixFlow-AidTMwithturpentineoroilpaint

• DonotuseFlow-AidTMinmarbling,asthistechniquerequiresthatthesurfacetensionofthewaterfilmbemaintained

lIquIthICk™ thICkenInG GelExcellentforsculpturaleffectswhenamattfinishisdesired Givesthehandlingcharacteristicsofoilorencausticpaintwhenaddedtowater-basedacrylicpaintsandmediums Worksgreatwithopaquecolorsasitdoesnotincreasetransparencyorchangethepositionofcolors Shouldnotaddmorethan25%asthereisnobinderanditcanweakenthestabilityofthepaintfilmwhentoomuchisadded

attributes

•Athickeninggelforwatersolubleacrylicpaintandmediums

• Usedinsmallamounts,produceshandlingcharacteristicsveryclosetothatofoilorencausticpaint

• Athigherconcentrationscanthickenpaintormediumsto“cake”orsculpturalconsistency

• Dryingtimewillbebetween24hoursto7daysdependinguponamountofLiquithickTMaddedtopaintormedium

•LiquithickTMdoesnotincreasetransparency

•LiquithickTMproducesamattesurfacesheentodriedpaintfilm

• PaintandmediumshrinkagewilloccurinproportiontotheamountofLiquithickTMadded

directions

• StartbyaddingaverysmallamountofLiquithickTMtopaintormediumandmixwellwithapaletteknife Theproperproportionwillvarywithcoloranddesiredeffect

• Proportionsof20or25partscolorto1partLiquithickTMwillchangethehandlingcharacteristics

•ContinueaddingLiquithickTMslowlyuntilthedesiredviscosityisachieved

• Addonlyenoughfordesiredeffectanddonotexceed1to4ratioasexcessiveshrinkageandcrackingmayoccur

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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


finishVarnIshTherearemanymisconceptionsaboutwhetherornotitisnecessarytovarnishanacrylicpainting Asageneralrule,youshouldalwaysvarnishyouracrylicworkwhenpossible Varnishesareappliedover

drypaintfilmsandserveseveralpurposes Theirfirstandmostimportantfunctionistoprotectthepaintingsurfacefromtheenvironmentandprotectthepigmentsfromultravioletlight Secondly,varnishescanbeusedtosaturateandrevealapainting’ssurface,therebyunifyingtheoverallsheen Liquitex®varnishescomeinseveraldifferentsheens,whichcanallbeintermixedforacustomizedsheen

Ourvarnishesareeitherpermanentorremovableandcanbeappliedtobothflexibleandrigidsupports

BenefIts of VarnIshInG:

1 Minimizetheattractionandmigrationofatmosphericpollutantsintothepaintfilm

2 Protectagainstsurfaceabrasionduringshippingorexhibition

3 Boostthebrightnessandcolorsaturation

4 Adjustandunifythesurfacesheen

5 Protectcolorsfromultravioletlight AnyvarnishwillaffordsomeprotectionbutthosewithUVinhibitorsofferextendedprotectionfromcolorfading

6 Allowsforeasycleaningwithoutfearofremovingordamagingthepaintfilm

arChIVal permanent VarnIsh

attributes

• 100%acrylicpolymervarnish Watersolublewhenwet Goodchemicalandwaterresistance

•Forinteriorandexterioruse

•Excellentlevelingproperties

• Translucentwhenwet—driescleartoanon-tacky,hard,flexiblesurfacethatisresistanttoretentionofdirt

• Resistdiscoloring(non-yellowing,non-fogging)duetohumidity,heatandultravioletlight

•Dependinguponsubstrate,allowsmoisturetopassthrough(breathable)

•Notforuseoveroilpaint

available sheens

•HighGlossVarnish

•GlossVarnish

•SatinVarnish

•MatteVarnish��

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


reCommended applICatIon – permanent Varnishes

Chooseadesiredsheen Permanentvarnishesarenon-removableandshouldalwaysbetestedbeforeapplyingtoyourwork Makesurethatyourpaintedsurfaceiscompletelydry(between72hours–2weeksdependingonthickness)beforeapplyinganyvarnish Onlyapplyvarnishesinaworkenvironmentthatiscleanandfreeofdirtanddust

arChIVal remoVaBle VarnIsh – soluvar®

• Permanent,removable,mineralspiritbasedfinalvarnishforacrylicandoilpaintingsthatprotectspaintingsurfaceandallowsforremovalofsurfacedirt,withoutdamagingpaintingunderneath Oncesurfaceisclean,anewcoatofSoluvar®maybereappliedtosurface

•Forinteriorandexterioruse

•Excellentlevelingproperties—willnotholdbrushstrokes

• Resistsdiscoloring(non-yellowing,non-fogging)duetohumidity,heatandultravioletlight

•Clearinthewetstate

•Canbeusedonoil&acrylicpaintings

•Removewithmineralspiritsorturpentine

• Flexible Willnotcrackassurfaceexpandsandcontractsduringtemperatureandhumiditychanges

• ContainultravioletlightinhibitorsthatresistcolorfadingbydiffusingUVradiationbeforeitcomesincontactwithpaintedsurface Thethickerthevarnishfilm,thegreatertheprotection

•Donotuseonpaintovervinyl

available sheens

•SoluvarGlossVarnish

•SoluvarGlossVarnishAerosol

•SoluvarMatteVarnish

•SoluvarMatteVarnishAerosol

reCommended applICatIon – soluvar®

1 Apply1–2layersofGlossMedium&Varnishasanisolationbarrierbeforeapplying Letdry1–3hoursbetweencoats Allowtodry48hoursafterfinalcoat

2 Cleanthesurfacewithalintfreeragdampenedwithmineralspirits

3 Apply1–2layersofSoluvarVarnish IfusingSoluvarMattestirthoroughly(donotshake,thiswillcausetheformationofbubble)beforeapplying Allow24hoursdryingtimebetweenvarnishcoats

4 ForOils—wait6–12monthsbeforeapplyingvarnish

5 Useonly“true”mineralsprits(notodorless)tothinSoluvarifneeded



VarnIshInG tIps1 Donotshakethevarnish Shakingcanintroducebubblesthatwillformanddry

onyourpaintedsurface

2 Applyin1–3thincoats,ratherthan1thickcoat Athickcoatwilltakelongertodry,maydrycloudy,driporsagduringapplicationandhasagreaterchanceofshowingbrushstrokeswhendry

3 Placetheworktobevarnishedflatonatable—donotvarnishvertically

4 Thinnedvarnishismoresusceptibletoproducingbubbles Donotbevigorousinyourapplication

5 Applyinlongevenstrokestocoverthesurfacetoptobottomwhilemovingfromonesidetotheother Whileworking,inspectthevarnishlayeratallanglesforbubbles Eventhemoutimmediately

6 Onceyouleaveanarea,donotgobackoverareasthatyouhavedone Ifyoudo,youriskdraggingpartiallydryresinintowet,whichwilldrycloudyoverdarkcolors Ifanyareasweremissed,allowtodrycompletelyandre-varnish

7 WhenapplyingLiquitex®MatteorSatinVarnish,applynomorethan1–2thincoatsasthickapplicationsmayresultincloudinesswhendry Ifmorethan2coatsaredesired,firstvarnishwithGlossVarnishtothedesiredthicknessandapplyMatteorSatinVarnishasthefinalcoat

8 Airbrushapplicationsofvarnisharerecommendedforheavilytexturedworkorverticalapplications(suchasmurals)

9 Applicationofavarnishwitharolleroraspongebrushisnotrecommended

thInnInG – all VarnIshes•Thinningincreasespenetrationandcanmakeiteasiertoapplyvarnish

• Overthinningmayresultinweakvarnishfilm,pooradhesion,runningandsoakingintosubstrate

VarnIsh remoVal

all liquitex® Varnishes (except for soluvar®)

•Notremovable Donotattempttoremovethesevarnisheswithharshsolvents

soluvar® Gloss and matte Varnish

•Removevarnishinclean,well-ventilatedarea

• Wearadualfilterrespirator(NIOSHapproved)andneoprenegloves Dampenasmallpieceoflintfree,soft,whiteclothwithmineralspirits(not“odorless”)orturpentine—nothingstronger Donotuseketonesorpaintremovers

• Workhorizontally Applymineralspiritsgenerouslyandallowittolayonsurfacefor15–30minutes Checkperiodically Longertimemaybenecessary,dependinguponageofartworkandstrengthofmineralspirits Ifvarnishisnotdissolvingordissolvingslowly,useahigherstrengthmineralspiritsorturpentine(coverwithplastictoslowdownevaporationofmineralspirits) Strongermineralspiritsarenotlabeledassuch,buthaveastrongerodor

• Rubclothgentlyoverasmallarea1–2squareinchesuntilvarnishstartstodissolve ��



VarnIsh remoVal (cont )

soluvar® Gloss and matte Varnish

• Usingacleanclothandcleansolvent,rubtheareaagaintoremoveresidue Repeatthisprocedurefortheentireareatobecleaned Ifanypaintcolorshowsonthecloth,stopimmediatelyandallowthesurfacetodry

• AllowpaintingtodrybeforereapplyingafreshcoatofSoluvar®FinalPictureVarnish

VarnIshInG GIClee prIntsMostgicleeprintsaremadeusingwaterbasedpigmentedinks Inthiscase,directbrushapplicationofwaterbasedacrylicemulsionvarnishesisnotpossible,asitwouldbegintodissolvetheinks Youcanhowever,sprayapplyLiquitex®GlossVarnish Youcanuseanairbrush,spraygunorplantmister Theapplicationshouldbedoneinseveralcoatsstartingoutwithjustafinemistandworkingtoathickerapplication Thevarnishcanbebrushappliedoncetheairbrushedlayersaredryifathickercoatisdesired Liquitex®AcrylicColororGlossGelcanthenbeappliedtoaddadditionalcolororabrushstrokelook YoumayapplyLiquitex®Soluvar®ifdesiredasitcontainsUVinhibitorstohelpprotectcolorsfromfading,howevercolorpermanencyisdependentonthepigmentsandthesubstrateused Liquitex®Soluvar®issolventbasedandcontainsnowatersoitcanalsobeapplieddirectlytogicleeprintswithoutdisturbingtheinks

teChnIques & applICatIonsLiquitex®offersanassortmentofmediumstoachieveavarietyoftechniquesandapplications Usethechartbelowtoidentifywhichproductwilldeliverthebestdesiredresults

technique medium to useAcrylicSheets • 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



teChnIques & applICatIons (cont )

technique medium to useDyeing • Flow-AidTM

Extender(transparent) • GlossMedium&Varnish • MatteMedium • Slow-Dri®BlendingMediumorGel • AnyGlossorMatteGel • GlazingMedium

Extender(opaque) • UltraMatteMedium • UltraMatteGel

FabricPainting • FabricMedium

FineDetail • Flow-AidTM • 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-AidTM

Stencils • AnyGlossorMatteGel

Textures • AnyGlossorMatteGel • AnyTextureGels

Watercolor • Flow-AidTM • Slow-Dri®BlendingMedium • AirbrushMedium

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l i q u i t e x ® / t h e A c r y l i c b o o k l i q u i t e x ® / t h e A c r y l i c b o o k ��

aCrylIC sheetsThisprocessallowsartiststocreateflexibleacrylicsheetsofvaryingthickness,sheen,color,textureandsize ItcanbedonewithawidevarietyofLiquitex®Mediumsandtexturegels,incombinationwithacrylicpainttoachievenumerousdesiredeffects EachmediumwillimpartadifferentqualitytotheAcrylicsheet

uses•Self-SupportingPaintings

› Acrylicsheetscanbehungdirectlyonawall(nocanvasorstretcherbars),asonemighthangaquilt

•Collage› Acrylicsheetsmaybeadheredtopaintingsurfacesandpaintedoverascollage

elementsinapicture •Sculpture

› Acrylicsheetsmaybeadheredtosculpturalformsandpainted

dIreCtIons

• Putmaskingtapeonasmoothsheetofglassinthedesiredshapeandsizeoftheacrylicsheettobecreated

applICatIon

•Brush

› Usea1/2”to2”wide,softbrushtoapplydesiredLiquitex®FluidMediumorAcrylicMedium/colormixture

› Add5–10%Liquitex®Flow-Aid™(1partLiquitex®Flow-AidTMto20partsdistilledwater)forsmoothapplication

› Allowtofullydry,(1–12hoursdependingonenvironment)

› Repeatstepsuntilsheetisthickenoughsothatyoucanpeelitoffglasswithouttearing

› 5–12coatswillgiveyouathicknessof1/16”to1/8”

› Thicknessshouldvaryaccordingtodesiredeffect

› Thinlayersmaybedifficulttohandle

› Coatsuccessivelayersinalternatingdirections

•Roller

› Useamediumnaprollertoapplyfluidmediumorpaint/mediummixture

› Thiswillgivethinnestapplicationofacrylic (Airbubblesmaydryinsheets )

04c h A p t e r 4 : A p p l i c A t i o n s

ApplicATionsc

hA

pt

er

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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®GelMediumorheavybodypaint/mediummixture Mayresultinanunevenapplication

•Pouring

› Onsmoothsheetofglass,createdesiredshape/imagewithmaskingtapein4–5successivelayerssothataridgeordamisbuiltup

› Usealeveltoensuresurfaceisflat (Ifsurfaceisnotlevel,pouredmediumwilldrythickerattheloweredge )

› PourFluidMediumorpaint/mediummixtureoversurface Spreadaroundwithsoftbrushifneededwhilewet

› Allowallmethodstodrycompletely:48–72hours

› Toremovesheets:useablade,andscorealongtapededgestoseparatesheet Peeloffglass (Ifnecessarydampenentiresurfacewithawetspongetoreleaseacrylicsheetfromglasssurface )

reCommended produCts:

•Liquitex®PouringMedium

› Driesglossyandclear

› Mixwith5–10%Liquitex®SoftBodyProfessionalArtistColorforauniquepour

•Liquitex®GlossMedium&Varnish


› Mixwith5–20%Liquitex®SoftBodyProfessionalArtistColorfortransparent-opaquesheet(varieswiththicknessandcolor)

•Liquitex®GlazingMedium


› MixwithasmallamountofatransparentortranslucentLiquitex®SoftBodyArtistColorforastainedglasseffect

•Liquitex®MatteMedium,MatteGel,andMatteSuperHeavyGel

› Driesmatteandopaque

› Mixwith5–20%Liquitex®SoftBodyArtistColor

•Liquitex®IridescentMedium

› Driesopalescentandtranslucent-opaque

› Mixwith5–20%Liquitex®SoftBodyProfessionalArtistColorforcoloredopalescentsheet(Opacityvarieswiththicknessandcolor)

• Liquitex®GlossGel,GlossHeavyGelandGlossSuperHeavyGel

› Driesglossandtranslucent-opaque(dependinguponthickness)

› Mixwith5–20%Liquitex®SoftBodyProfessionalArtistColorforcoloredglosssheet(Transparencywillvarywiththickness)

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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


reCommended produCts (cont ):

•Liquitex®TextureGelMediums

› Mixwith5–20%Liquitex®SoftBodyProfessionalArtistColor

› Driedsheetswillvaryinsheen,opacityandtexture

•Liquitex®TextureGelMediums

› Mix10–50%TextureGelMediumsintoanyLiquitex®FluidorGelMedium Forexample,Liquitex®BlackLavaTextureGelmixedwithLiquitex®GlossMedium&Varnishwillresultinasheetthatistransparentwithblackspeckles

•Liquitex®InterferenceColors

› Mix5–10%Liquitex®SoftBodyInterferenceColorintoanyoftheLiquitex®FluidorGelMediumfamilytocreateanopalescentcoloredsheet

› Mix5–10%Liquitex®SoftBodyInterferenceColorintoBlackLavaTextureGeltocreateaniridescentmetallicSheet

adherInG aCrylIC sheets to a support

•Canvas,wood,MasoniteTMandfabricareallgreatsurfacesforacrylicsheets

• CoatthebackofthesheetwitheitherGlossMedium&Varnish,GlossGel,GlossHeavyGel,orGlossSuperHeavyGel

•Quicklypositionthesheetontothesupportwiththewetsidedownandpress

• Toinsureproperadhesionletthetransferredsheetdryunderweight Coveracrylicsheetwithwaxpaperbeforeaddingweighttopreventsticking

• IfadheringtowoodorMasoniteTM,sheetsmaybestapledtosupport(inadditiontoorinsteadofgluingwithmediums)

aIrBrushInGLiquitex®ProfessionalArtistColorsofferthemostpermanent,brilliant,lightfastandversatileairbrushcoloravailable Allcolorsarelowtonoodorandareeasytothinandcleanupwithwater Theyarenon-yellowing,waterresistantwhendry,fullypigmented,flexibleandnon-toxic

•liquitex® soft Body professional artist Color

› Liquitex®SoftBodyisrecommendedforbestresults

› FluidconsistencymixeseasilywithLiquitex®AirbrushMediumtomakeairbrushcolors

› OnlysmallamountofLiquitex®AirbrushMediumisnecessaryforproperconsistency

› Pre-filtered,nostrainingnecessaryafteraddingLiquitex®AirbrushMedium

•liquitex® heavy Body professional artist Color

› Liquitex®HeavyBodytakeslongertothinandrequiresgreateramountofAirbrushMediumtoreachairbrushconsistency Thisyieldslessintenseairbrushcolorandstrainingmaybenecessary

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


ChoosInG speCIfIC aIrBrush Colors

•Everycolorhasaspecificopacity,hue,valueandchroma

•AllLiquitex®AcrylicColorsarelabeledwiththisinformation

• Thisinformationisimportantinairbrushtechnique,sincecolorblendsareopticallycreated (Ratherthanphysicallymixedonapaletteasintraditionalpainting )

aIrBrush applICatIon

• Theproperthinningprocedureisdeterminedbythetypeofsurfacetobeairbrushedandbythedurabilitydesiredforthefinalpaintfilm

absorbent surfaces:

•Hardwoods,paper,fabric,plaster,Liquitex®ModelingPaste,andprimedcanvas

• ThinpaintwithLiquitex®AirbrushMedium,distilledwaterorFlow-AidTM(1partFlow-AidTMto20partsdistilledwater)

• UseLiquitex®Flow-AidTMtoincreaseabsorptiononabsorbentsurfacesandpaintflowthroughairbrush (Itwillalsoreduceclogging )

• Fabric:Washpriortoairbrushingtoremovesizing Colorsmustpermeateclothandbeseenasghostimageonreversesidetobepermanent Allowtocurefor3daysbeforewashingordrycleaning

•Resultingcolorsarepermanent

• Surfacesabsorbpaintdifferently—Alwaysperformatestifyouareuncertain

non-absorbent surfaces:

•Plastic,metal,masonry

• ThinpaintwithLiquitex®AirbrushMedium,Liquitex®FluidMediums&distilledwaterorLiquitex®FluidMediumsandFlow-AidTM

• Over-thinningwithwateronlymaycausepooradhesion,cracking,flakingorpeeling Abradesurfaceforincreasedadhesion

techniques

•ThinningwithWaterorFlow-AidTM

› Firstadd50%distilledwaterorFlow-AidTM(upto80%ifneeded)tothepaintandmixthoroughly

› Amountmayvaryduetoindividualpigmentcharacteristics Dilutingreducespigmentcolorstrength

› Straintoensureproperflowthroughairbrush

› Absorbencywilldiminishwithsuccessiveairbrushlayers

•ThinningwithLiquitex®AirbrushMedium

› MixingcolorswithLiquitex®AirbrushMediumwillensurethatthecolorsdonotlosetheirflexibility,durabilityandadhesion

› Liquitex®AirbrushMediumcontainsspecificadditivestoslowdrying,improveflow,anddecreaseclogging

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aIrBrush applICatIon (cont )

Directions• MixLiquitex®AirbrushMediumintoLiquitex®SoftBodyProfessionalArtistColor

thoroughlyataratioof1:1,addingmoreLiquitex®AirbrushMediumasneeded

•Properconsistencyisthatoflightcream—Dilutingcolorincreasestransparency

• Ifmixtureistoothickeitherincreaseairpressureoradddistilledwatertothinairbrushpaintmixture Donotexceed1:1ratioLiquitex®AirbrushMediumtowater

• Theproperviscosity,willdependontheairpressure,typeofairbrushandproximitytotheworkingsurface

• Asthepaintisthinned,airpressurecanbeloweredandtheairbrushheldclosertotheworkingsurfaceforgreaterdetail Astheairpressureisincreasedtheairbrushisheldfurtherfromtheworkingsurface

•Note: Liquitex®IridescentandInterferencecolorscontainmicaflakesthatmayrequirealargerairbrushnozzleandgreaterairpressureforconsistentspraying )

maskInG teChnIques• Maskscoverandprotectareasnottobepainted StencilsandFrisketsare2types

ofmasks Maskingpapercanbetapedoverlargerareas

stencil

• Athinsheetofmaterialinwhichashapeorpatterniscut,throughwhichpaintcanbeappliedtothesurfacebelow

•PositiveStencil—spraythroughholes

•NegativeStencil—holdpiecesonsurfaceandspray

frisket or masking fluid

• Athinvinylfilmwithalowtackadhesiveononeside,toprotectcoveredareasfromoverspray

• Ifanareahasbeenpainted,allowtocompletelydrybeforeapplyingfrisket

•Burnishfriskettomakesureit’sflat,withnoairbubbles

• Toimproveadhesionoffrisketfilmtocanvas,useafineweavecanvasandapply1-2coatsofLiquitex®GlossMedium&Varnishoverareathatistobecovered

• Usingasharprazorknifeandlightpressure,carefullycutfriskettodesiredshape Removeunwantedfrisketandapplynextcolor

•Donotallowfrisketortapetoremainonthesurfaceforperiodslongerthanaday

tape

• ToachievestraightlinesorattachmaskingmaterialsuseDraftingorScotchTMtapeinamannersimilartofrisket Ithasalowadhesivetack,whichwillnotdamagepaintedareaswhenremoved

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Positive Stencil

Negative Stencil



maskInG teChnIques (cont )

protecting delicate airbrush areas on Canvas for masking procedures

•Allowsprayedareatodryfully

• Useaclean,softbrushorsprayapplicationandcarefullycoatareawithLiquitex®GlossMedium&Varnish Allowtodry

•Continueairbrushapplicationoverpaintingsurfaceasneeded

•Repeatasnecessary

aIrBrush CleanInG• Water-solublepaintcanbeeasilycleanedfromtheairbrushwhilewet Donotallow

acrylicpaintormediumstodryintheairbrush

While working

•Backflushcleanwaterthroughtheairbrushperiodically

• Paintbuild-uponthetipoftheairbrushneedleandinthespraycapshouldberemovedregularly

•Occasionallyremovetheneedleforamorethoroughcleaning

• Airbrushshouldbestoredinacontainerofwater(withtipsubmerged)whennotbeingused

•Donotimmersetheentireairbrushinwater

final Clean up

• BackFlushAirbrushusingwater,anammoniabasedwindowcleanerorairbrushcleaner

• Allowsomecleanertoremainintheairbrushforabout15minutestoloosenanystubborndeposits

•Followthisbysprayingwaterthroughthebrushuntilclean

•Cleantheoutsideoftheairbrushwithdenaturedalcohol •Note:Donotsoakplasticwashers,sealsorhandlesinalcohol

health WarnInGs•Whenspraying,useaneffectivedustorparticlemask,approvedbyNIOSH

• Airbrushenclosureshouldhaveadequateventilation,withventforincomingairandfanexhaust

• Readpaintlabel CadmiumandCobaltpigmentsaretoxicinmist(spray)formandmaybecancercausingifinhaled

•Theyshouldbeavoidedinspraytechnique

• Liquitex®“Hue”colorsarenon-toxicinmistandshouldbeusedinplaceofCadmiumandCobaltcolorsforsafesprayapplications

•Alwayskeeptheworkareascleanofairbrushoverspray

•Donoteatorsmokeinthestudio

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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


BrushWorkWashes

• TocreatecolorpassagesthatcoverbroadareasbeginwithLiquitex®SoftBodyAcrylicColor

•Waterandmediumcanbeaddeduntildesiredfluidityisachieved

Note:avoidover-thinningwithwaterbyaddingmediumtomaintainintegrityofpaintfilmandproperadhesion(50%water/paintrequiresanequalamountofmedium)

• Liquitex®Airbrushmediumisidealforthisapplicationasitisveryfluid,yetsupportsthepaintfilm

• SheencanbeadjustedwitheitherglossormattmediumandopentimecanbeextendedwithLiquitex®Slow-Dri®BlendingMediumorSlow-Dri®FluidRetarder

fIne lIne detaIl•Liquitex®SoftBodyAcrylicColorwillyieldthebestresults

•Waterandmediumcanbeaddeduntildesiredfluidityisachieved

Note:avoidover-thinningwithwaterbyaddingmediumtomaintainintegrityofpaintfilmandproperadhesion(50%water/paintrequiresanequalamountofmedium)

•Asoft,smallroundbrushwillgivemaximumcontrolofmark

•Asmoothsurfaceisidealforthisapplication

• UseAdditivesthatincrease“open”timetodecreasesurfacefrictionandincreaseflow

•Recommendedproducts:

› Liquitex®Slow-Dri®FluidRetarder:

› Liquitex®Flow-AidTM

› Liquitex®Slow-Dri®BlendingMedium

› Liquitex®AirbrushMedium

dry Brush, sCumBlInG, stIpplInG•Usepaintthatisnottoofluidandlightlydragastiffbrushacrossthesurface

•Aroughersurfaceworksbetterforthistechnique

•MaybedonewithLiquitex®SoftBody,HeavyBody,orSuperHeavyBody

•Nomediumsoradditivesarenecessaryforthistechnique

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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


Impasto• Apaintingtechniquethatusesabrushorknifeloadedwithpainttocreatebold

texturesthatstandoutinrelief WellknownexamplesincludepaintingsbyartistssuchasVincentVanGoghandFrankAuerbach

•RecommendedProducts:

› Liquitex®SuperHeavyBodypaintoffersbrilliantpigmentationandisidealforsculpturalapplications ItisthethickestprofessionalqualityArtistacryliccolorcommerciallyavailable

› HeavyBodyArtistsColorisexcellentforcreatingtextureandrevealingbrushwork

› LiquithickTMThickeningGelwillincreaseimpastotoanyviscositywithoutchangingcolororopacity (Note:highconcentrationsofthisgelwillcauseshrinkage )

› GlossGel,GlossHeavyGelandGlossSuperHeavyGelwillincreasetransparencyandflexibilitywhileenhancingimpastosurfaces

› MatteGelorMatteSuperHeavyGelthickenpaintandofferamattesheen

› ModelingPasteandLightModelingPastewillthickenpaintwhiledecreasingflexibilityandincreasingopacity Itshouldbeusedonfirmsubstratesuchasboardorpanel UselightModelingPastwhenweightisaconsideration

› FlexibleModelingPastedriesmoreslowlythanothermodelingpastestoahardyetflexiblesurface Designedtobeusedonflexiblesurfacessuchascanvas

CollaGInGCollageisatechniquewherematerialsofdifferentsizesandweightsaregluedtoabackingsurface Thecollagematerialsandbackingsurfacedeterminethetypeofgluetobeused Liquitex®AcrylicMediumsareexcellentgluesforcollagetechniques Theyprovideeasy,permanent,non-toxicadheringofmostmaterialstoanysurfacesuitableforacrylicpaint

preparatIon•Allsurfacesshouldbefreeofdirtandgrease

• Forsmoothsurfaces,suchasplastic,metalandglass,sandfirsttoinsureproperadhesion

•Absorbentsurfaces,suchaspaper,canvasandwoodusuallyneednopreparation

applICatIon•ApplyappropriateLiquitex®Mediumtocollagematerial,substrateorboth

•Whileacrylicmediumisstillwet,applycollagematerialtosurface

• Ifacrylicmediumisabsorbedintocollagesurface(somepapersareveryabsorbent),allowmediumtodry Thenre-applyasecondcoat Thesecondcoatwillnotbeabsorbedbycollagesurface

• Ifacrylicmediumisdryingtoofast,keepenvironmentcoolandhumid

• Allowacrylicmediumtofullydry FluidMediums(1–4hours) GelMediums(24–72hours),dependinguponthicknessofapplication

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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


types of CollaGe adhesIVesLiquitex®Mediumsareavailableinseveralformulationsthatvaryinthicknessandsheen Whileeachmediumcanbeusedwithavarietyofmaterials,specificmaterialsmayrequireaspecificmedium

for lightweight and flat materials (suchaspaper,canvas,etc ),useLiquitex®FluidMediumoranyGelMedium

for heavyweight and 3-d materials (suchasbeads,rocks,etc ),useanyLiquitex®GelMediums

lIquItex® fluId medIumsGlossMedium&Varnish

•Driesclear,glossfinish

MatteMedium

•BestadhesivequalitiesofanyFluidMedium

•Driesfromtranslucenttoopaque,mattefilmfinish

lIquItex® Gel medIumsGlossGel

•Driestoclear-translucent,glossfilmfinish

MatteGel•BestadhesivequalitiesofanyGelMedium

•Driestranslucenttoopaque,withamattefilmfinish

GlossHeavyGel•Driestoclear,translucent,glossfilmfinish

GlossSuperHeavyGel•Driescleartotranslucent,glossfinish

MatteSuperHeavyGel•Driestranslucenttoopaque,withamattefilmfinish

T I P S & T E C H N I Q U E S

›Itisoftenhelpfultocoattheobjectwhichisbeingcollaged,inadditiontoapplyingthemediumtothesurfaceofthecollage

›Doconsiderthesterilityofobjectswhicharebeingintroduced Wildbeachsandmaycontainchemicalimpuritiesthatcouldreactwiththechemistryofthepaint AgoodalternativewouldbeLiquitex®NaturalSandTextureGel

›Planyourcollageinadvance,asyouwouldplanapainting Whatdesignareyouintendingoncreating?Whatcolorsareinyourpalette?Organizetheobjectsaccordingly Makesketchesandlayoutyourdesign Itisalwaysagoodideatostartwithanunderpainting

›Varnishingisrecommended Thiscanbetrickywithcollageandfoundobjectart Wait3–7daysaftercompletingthework(dependinguponthethicknessofthepaintfilm) Ifthesurfaceisheavilytextured,itisrecommendedthatyouapplythevarnishwithaspraygun

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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


floorClothsFloorclothsarepaintedcanvases(unstretched)thatlieonthefloorinsteadofhangingonthewall Thisofcoursesubjectsthemtoabrasionanddirt,sotheymustbeprepareddifferently

duraBIlIty• Liquitex®ProfessionalArtistColorsarethemostdurableacrylicpaintforthisapplication

• Placementandtheamountoffoottrafficwilldeterminelongevity;walkingonthesurfacedepositsdirtandcausesdamageovertime

•Abrasivecleanerswillalsodamagethesurfaceofthepainting

materIals needed• Heavyweight#8CottonDuckorFloorClothisrecommendedfordurability

Lightweightcanvasislessdurable

• Canvasshouldbe4–6”largerineachdirectionthantheplannedfinisheddimensions

CanVas preparatIon

• WashingCanvasminimizesshrinkageandwarpingofthefinishedfloorcloth,whichcanbeexaggeratedwhentheedgesareturnedunderlater

•Usestandardwashingmachinewithasmallamountofdetergent

•Air-dryandironoutwrinkles

• BrushononecoatofLiquitex®MatteMediumtobacksideofcanvas LetDry Flipcanvasoverandrepeat

prImInG CanVasItiseasiertoprimeandpaintcanvaswhileitisattachedtoarigidsurface Eitherstaplecanvasdirectlyontostudiopaintingwalloronto1–2”thickplywoodthatislargerthancanvas

directions• Markdesireddimensionsonfrontofcanvas Thereshouldbea2–3”borderon

eachside

• Maskoffborderswithmaskingtape (Thiswillmakeiteasiertoturnthemunderlater )

•Apply2coatsofLiquitex®Gesso(Clear,TitaniumWhiteorColored)

•Allowgessotodrybetweencoats—sandeachcoatifdesired

•Foraddedflexibility,add25%MatteMediumtoGesso

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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


paIntInG• UseLiquitex®ProfessionalSoftBodyArtistColorsorHeavyBodyArtistColors

• SoftBodycolorswilldrytoasmoothersurfaceandbelesssubjectabrasionandretentionofdirt

• AddanyLiquitex®MediumorAdditivetoadjustworkabilityorcreatespecialeffects

some possible choices include:

•Liquitex®PouringMediumcanbeusedformarbleizingtechniquesandtocreateseamlesssurface

•Liquitex®StringGelhasahoneylikeconsistencyandusedtocreatelongflowingmarks

•Liquitex®GlazingMediumoffersunparalleledclarityanddepthtothelayeringoftransparentcolor

•Liquitex®IridescentMediumimpartsashimmeringmetallicqualitywhenmixedwithcolors

fInal proteCtIVe VarnIshInG • Firstapplyanisolationvarnish,likeLiquitex®GlossMediumandVarnishwhich

isnon-removable ThiswillprotecttheimageandisolateitfromthefinallayerofSoluvar,whichcanberemovedforcleaning

• Allowfloorclothbefullydryfor48hours,thenapplySoluvar®Varnish

• Thiswillextendthelifeofthefloorclothbyprotectingitfrom,pollutionanddirt Thisvarnishisremovable

• Whenthesurfacegetsdirtyorscuffed,itcanberestoredbyremovingandrecoatingwithSoluvar®Varnish

edGInG the sIdes • AfterSoluvar®hascompletelydried(1–2weeks),removethefloorcloth

fromthewallorplywood

•Turncanvasoverandgessotheentireback Letdry

•Removemaskingtapefromborder

•Trimunpaintedcanvasedges(“hem”)toapproximately1”

• Cutawayeachcornerbymeasuring11/8”inbothdirectionsandcuttheun-paintedcanvasedgestotheexactcornerpointofthepaintedcanvas

• Foldoverthefourunpaintededges(2vertical,2horizontal) Createacreasebypressingwherethepaintedcanvasendsandtheunpaintedcanvasbegins

• ApplyMatteGelMediumtothebackofeachedgeandpressfirmly Putunderevenweightandletdry24–48hours Donotliftweightoffuntilcompletelydry

•ApplyMatteMediumtotheoutersurfaceoftheedgestoseal

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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


shIppInG•Useasturdytube8–12”indiameter

•Laypaintingfacedownandroll

•Avoidrollingpaintingiftemperatureisbelow50°

CleanInG

•Warmsoapandwateronsurfacewithasoftmop

•Donotuseammoniaorammoniabasedproducts

GlaZInGImagineholdinguparedlens Nowholdabluelensinfrontofit,andlookatthepurplecolorthatresultsfromthefirsttwo You’vejustmadeuseofthebasicpaintingconceptofglazing,ormixingcolorbyusingtransparentlayers Glazingproducesrichsurfaceswithgreatcolordepthandjewel-likefinishes

GlazingwasthesignaturemethodusedbyartistslikeLeonardodaVinci,Rembrandt,andVermeer Theyglazedbecausethepigmentsintheirpalettewouldturnblackiftheymixedthemtogetherdirectly Iftheywantedapurple,theyhadtolaydownalayeroftransparentred,letitdry,thenputdownalayeroftransparentbluetovisuallyblendthecolors,ratherthanphysicallymixingthemonthepalette Thelightpassingthroughthetransparentlayersgivesthepaintingaspecialglow,whichcanshiftandshimmer,dependinguponthelight Inthisway,averyrealdepthofthepaintingcanbeachieved


1 Liquitex®SoftBodyAcrylicColorsareidealforglazing

2 Choosetransparentcolors Transparentpigmentswilldeliverthebestresultsproducingclear,cleanglazes Mostmodernpigmentshaveverypowerfultintingstrength,soitonlytakesalittletotonethemedium

3 Usethefollowingratiofortheidealdegreeofflowandbrushability:

›TransparentColor,SoftBody(1part)

›GlazingMedium(10parts)

›Note:Formore“opentime”addasmallamountofLiquitex®FluidretardertothemixturetoslowdryingorlightlymisttheworkingsurfacewithLiquitex®PaletteWettingSpray

teChnIques• Mixtheglazewithyourpalettekniferatherthanyourbrush Iftheglazeisstilltoo

thick,addsomeAirbrushMediumandstirthemixcompletely

• Chooseanareayouarecomfortableyoucancoverinabout15–20minutestime Dosomepracticestripstogetafeelforthemedia

• Brushyourglazecolorusingasoftbristlebrush Brushinginasingle,uniformdirectionwillcreateasmootherglaze Letthislayerdryforapproximately30–40minutes

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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


GlaZInG (cont )

teChnIques

• Youcannowaddasecondglazebyrepeatingtheprocess,withadifferentcolor You’llfindthat,bybuildinglayersofcolor,glazinghelpsyoubringadeep,burnishedglowtoyourimages

• Inordertocreatethickreliefglazesusingpaintsandgelmediums,itisadvisabletoapplyseveralsuccessivelayers Toachievethehighestdegreeoftranslucency,alloweachlayertofullydrybeforeapplyingthenext Overtimethecolorswillbecomebrighteranddeeperasthegelclarifies

• Themoreglazelayers,themorevisualdepththeimagewillhave

• GlossMedium&VarnishandSlow-Dri®BlendingMediumcanalsobeusedforglazing

GlossIestm on Glass, tIle & CeramIC surfaCesLiquitex®Glossies™arewaterbasedacrylicenamelsformulatedtoadheretoslick,non-porousmaterialssuchasglass,tile,glazedceramics,stoneware,china,enamelware,primedmetal,woodandothernon-oilysurfaces

surfaCe preparatIon

• Surfacesmustbeclean(freeofalldirt,oilsorsoapfilms)anddrypriortopaintapplication

•Aftercleaning,avoidtouchingsurfaceasoilfromfingersreducestheadhesion

•Cleanwithalcohol(rubbingordenatured)or50/50mixtureofwaterandvinegar

applICatIon

• StirLiquitex®GlossiesTMfor30-60secondsbeforeusing Liquitex®MetallicGlossiesTMwillrequirethoroughmixing,aswell

• Pigmentsandmicaflakestendtosettletobottomofjar Donotshake

•Letpaintdryatroomtemperaturefor24hours,thenheatset

• Chalkorgraphitepencilsmaybeusedforunderdrawing Donotusewaxypencilsormarkingpens

• Keeppaintedsurfacehorizontaluntildry Paintmay“slide”ifnotthoroughlyair-driedpriortoheatsetting

•Cleanupwithsoapandwater

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paIntInG teChnIques

•PaintThinning

› Upto25%distilledwatermaybeaddedtoachievevaryingconsistenciesanddegreesofopacity

› Over-thinningwilladverselyaffectadhesion

•PaintMixing

› AllLiquitex®Glossies™andLiquitex®MetallicGlossiesTMareintermixable

› DonotmixwithotherLiquitex®AcrylicPaints

› IridescenteffectsofLiquitex®MetallicGlossiesTMwillbemoredramaticondarksurfaces

•PaintThickness

› Multiplethinlayersarebetterthanonethicklayer Singleheavylayersmaybubblewhenbaked

› Thickerapplicationincreasesthepossibilityofincompletedryingandpooradhesion

› Alloweachlayerofpainttoair-dry(1hourminimum,24hoursbest)beforeapplyingnextlayer

› Hairdryerwillspeeddryingandreducethepossibilityofliftingbottomlayer,duringtoplayerapplication

› Liquitex®GlossiesTMcanberepaintedafterheatsettingwithoutaffectingcolororadhesion

•Brushes

› Acrylicorwatercolorbrushesarebest Don’tuseSable Don’tletpaintdryonbrushes

› Softbrushesarebestforsmoothapplication Usestifferbrushesforstippling

•GlazingandStainedGlassEffects

› Useupto25%withdistilledwatertocreateglazes Donotover-thin

› Allowpainttofullydrybeforeapplyingthenextlayer

› ForthinpaintlinesapplyLiquitex®GlossiesTMthroughaplasticsyringe

•Stenciling&Masking

› Usemaskingtapetoblockofareaswherepaintshouldnotgo

› Usepreparedstencilsorcreatefromacetate

› Usespongeorstencilbrushtoapplypaint

•SpongingandDabbing

› Naturalspongesworkbestandcanbeusedforavarietyofdecorativetechniquesandtocreatetexture

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GlossIestm on Glass, tIle & CeramIC surfaCes (Cont )

heat settInG

•Oven

› Bakeforadurable,scratchresistant,glossfinish

› Suitablesurfacesincludeanynon-poroussurfacethatisovensafe,(ieglass,tiles,glazedceramic,etc)

directions•Bakeonlyinawell-ventilatedspace Donotinhalefumes

•Placeair-driedGlossiesTMincoldoven,settemperatureat325°F(163°C)

•Turnonovenfor45minutes Turnoffoven,openovendoorandletcooltotouch

•Bakingatalowertemperatureorforlesstimemayadverselyaffectscratchresistance

•Testsurfacebybaking,priortopaintapplicationtoinsureitcanwithstandoventemperature

•Measureoventemperatureaccuracypriortobaking

•Donotheatsetintoasterovenormicrowaveoven

•Thickpaintofmaynotsetfully Longerdryingandbakingtimesmayimprovefinaladhesion

•Testbakedsurfacebyallowingtocoolandlightlyscratchingsurfacewithfingernail Paintshouldadhere

•HeatGun

› Useheatgunfordurable,scratchresistant,glossfinish

› Suitablesurfacesincludeanyapplicablesurfacethatistoolargeforovenheatsetting

directions•Blowwithheatgundirectlyonsurfaceforabout30minutes Lesstimemay

notfullysetthepaint

•Makesurespaceiswell-ventilated Donotinhalefumes

•AirDrying

› Fordurable,highglossfinish

› Recommendedforporoussurfacesthatdonotrequirescratchresistance

directions•Allowpaintedsurfacetofullyairdry Donotheatset

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use and Care

•HandwashBakedGlossiesTMinwarmwaterwithmilddishwashingsoap

• BakedGlossiesTMwillsoftenwhenexposedtoheat,andreturntoproperhardnessuponcooling

•Allowsurfacetocoolpriortorubbing,cleaningorwettingsurface

•Donotplaceextremelyhotitemsonpaintedsurface

• Notrecommendedforshowerinstallation(regularexposuretohotwaterwilladverselyaffectadhesion)

• Notrecommendedfor“heavyuse”applications,suchaskitchencountertops,floors,etc

•DonotcleanGlossiesTMwithscouringcleaners

• Anon-abrasiveacrylictilegroutisrecommendedforusewithGlossiesTMpaintedtiles

•Donotuseonflexiblesurfaces

•Donotuseinfoodcontactsurfaceapplications

• Maybeusedonoutsideofmugs,bowls,etc Donotpaintwithinthetop20mmofdrinkingvessel

•Maybepaintedonundersideofclearglassdishes

mural paIntInGMuralsincludeavarietyoftechniquesincludingfresco,encaustic,mosaic,stainedglassandphotography Mostcontemporaryartistswilleitherpaintoncanvasandattachittoawallorpaintdirectlyonthewallitself ThewordmuralisactuallyderivedfromtheFrenchword“mur”meaningwall Acrylicpaintshaveproventhemselvestobeoneofthemostdurablepaintsavailableforexterioraswellasinteriormuralpainting


› Hasaconsistencysimilartoheavycream Canbesprayapplied

› Driestoasmooth,evensurfacewithgoodlevelingthatshowslittlebrushmarks

› PigmentloadisequaltoLiquitex®HeavyBodyColorsandoffersfargreatercoverage

› Flatpaintfilmrequireslesscleaningovertime


› Theseheavy-bodiedpaintshaveasmooththickbutteryconsistencysimilartooilpaint

› Usetocreatesurfacetexturesandshowbrushwork

•liquitex® super heavy Body professional artist Colors

› Useforathickermoreviscousimpastosurfacewhileretainingbrilliantcolor

› Addssculpturaldimensiontomural

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CoVeraGe

• Liquitex®SoftBodyProfessionalArtistColorwillcoverapproximately400sq ft/gallon

• Liquitex®HeavyBodyProfessionalArtistColorwillcoverapproximately130sq ft/gallon Roughsurfaceswillreducecoverage;Sprayapplicationwillincreaseit

• DoublepaintcoverageofeitherSoftorHeavyBodyAcrylic,byusingLiquitex®UltraMatteMediumorUltraMatteGelina1:1ratiowithpaint Bestforunderpainting

• ToplayersofthemuralshouldbepaintedusingLightfastnessIratedcolorswithnoextendermediumsaddedforbestpermanence

mural surfaCes

•FalseandSeparateWalls

› FalseandSeparateWallsprovidethebestsupportbyeliminatingdangersofexpansionandcontractionofplasterandmasonry

› Theyprotectagainstcracking,peelingandwaterdamage

› Theyallowsforeasyremovalofthemuralifnecessary

› Muralcanbeacanvasthathasbeenstretchedoradheredtoapanelandtheninstalled(Thiswaymuralispaintedinstudio,ratherthanonlocation )

•ExistingWalls

› Propersurfacepreparationisessentialforlongevityofthemural

› Previouslypaintedsurfaceswillnotbeaspermanentasunpaintedorastrippedsurfaces

› Surfacesmustbefreeofanypaintorsubstancesthatmaypeel Useofpropersolventsorsandblastingisrecommendedifnecessary

surfaCe preparatIon

•Thelongevityofamuralisdirectlyrelatedtothesurfacepreparation

seleCtInG a surfaCe

• Moisturewillreduceadhesion (Itmaytake2–3monthsafterdryingfornewconcretetoberidofallwater )

• Besurenomoisturewillbeabsorbedfrombehindthemural(fromoutsideleaks,orpipes),whichcancausepainttopeelfromthesurface

CleanInG the surfaCe

• Cleansurfacewithadegreasertoremovegreasewaxandoil;useTSP(TrisodiumPhosphate)oracitrusbased(moreenvironmentallyfriendly)productmixedwithwarmwater

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CleanInG the surfaCe (cont )

•Surfacemustbestructurallysoundandfreeoflooseparticles

• Ifthewallhasbeenpaintedwithoilpaintorispeeling,stripallexistingpaint

• Ifthesurfacehasbeenpaintedwithacrylicpaint,sandtheentiresurface

• Removemoldormildewwithstiffbrushandamixtureof1partbleachto3partswater(oracommerciallyavailableproduct) Rinsetwicewithwarmwaterandallowtofullydry

fIxInG CraCks and uneVen surfaCes

• Smoothsurfaces:BrushononecoatorspraytwocoatsofLiquitex®MatteMedium

•Roughsurfaces:TrowelononetotwocoatsofLiquitex®MatteGel

•Allowtofullydry

prImInG the surfaCe

• ApplyanyLiquitex®AcrylicGessoproduct(TitaniumWhite,Clear,Colored,orSuperHeavyGesso)

•Thingessowithupto50%MatteMediumifdesired Brushorsprayapply

• Forsprayapplication,thingessowithamixtureof50%MatteMediumand50%distilledwater Donotover-thinwithwater;thiswillcausepooradhesion

•Wetsandingwillproduceasmoothgroundbutwillmakeflexiblesurfacesbrittle

•SuperHeavyGessocanbeusedtocreateamoretexturedsurface

VarIous mural surfaCe preparatIons

•NewWood

› SandandSealwith1coatofMatteMedium

› Apply1–2coatsofanyLiquitex®Gesso

•PaintedWood

› RemoveloosematerialbySandingorStriping

› Sealwith1coatofMatteMedium


•NewMasonry

› Mustbedryandcured

› ApplyMatteMediumforsmoothsurfaces,MatteGelforroughsurfaces


•PaintedMasonry

› Removeloosematerial—Clean,SandorStrip

› Mustbedryandcured

› ApplyMatteMediumforsmoothsurfaces,MatteGelforroughsurfaces


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VarIous mural surfaCe preparatIons (cont )

•NewSheetrock

› ApplyanacrylicemulsioncompatibleindustrialsealersuchasAqualockTM

•Unprimed&PaintedMetal

› Removegrease,dirtandsolvents

› Sandsurface

› Washwithaprepsolutionforthepaintedmetalbeingused

› ApplyanacrylicemulsioncompatibleprimersuchasAqualockTM

› ApplyMatteMediumforsmoothsurfacesandMatteGelforroughsurfaces

› Apply1-2coatsofanyLiquitex®Gesso

ChoosInG Colors

• Outsidemuralsaresubjecttotheharshestenvironmentalconditions;OnlyLightfastnesspigmentsarerecommendedforoutdoormuralpainting

paInt applICatIon

• Drawingscanbeprojectedwithadigital,slide,overhead,oropaqueprojectorandtracedontothemuralsurface Theyalsocanbescaledandtransferredusingagridsystemortransferredtothesurfaceusingcartoons

• Drawingsshouldbe“fixed”withaspraycoatingof50%MatteMediumanddistilledwater

thInnInG Colors durInG paIntInG

•UseLiquitex®mediumstoadjustpaintconsistency,textureandsheen

• Donotuseonlywaterforthinning Outsidemuralsexposedtoweatherneedmaximumfilmintegrity Toomuchwaterwillweakenthepaintfilm

temperature, moIsture and humIdIty durInG exterIor paIntInG • Idealtemperature:65°–75°F;Lowesttemperature:50°F

• DonotVarnishduringrain;itmaytrapmoisture,hinderadhesionandcauseclouding

adhesIon test

• Toensureproperadhesion,atestshouldbedoneonasurfacesimilartotheactualmuralsurfacebeforepainting

directions•Applythepaintormediumtopreparedsurfaceandletdrythoroughly Wait

72hoursforacrylicpainttocurebeforecontinuing(longerinmorehumidconditions)

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adhesIon test (cont )

directions•Whencompletelydry,scoresurfaceinacrosshatchpatternusingasharpknife

•Applymaskingtapefirmlytoscratchedsurfaceandfirmlyburnish

•Removemaskingtapeslowly Ifanypaintcomesoffwiththetape,goodsurfaceadhesionhasnotbeenachieved Eitheradifferentsurfacepreparationisnecessaryortheparticularsupportisnotsuitableforthepaintormediumtested

fInal proteCtIVe VarnIshes

• Afterthemuraliscomplete,afinalprotectivevarnishshouldbeappliedtoprotectitfromweathering,pollutionanddirt Thevarnishshouldberemovable,suchasLiquitex®Soluvar®,toallowcleaning

mural varnishing occurs in two steps: 1 Isolationvarnishlayer2 Removablevarnishlayer

soluVar® Gloss and matte VarnIsh applICatIon• Apply1–2layersofGlossVarnishorGlossMedium&Varnishasanisolation

barrier

• ThisbarrierphysicallyseparatesthepaintingfromtheSoluvar®Varnishandsealsthesurface

• ThisallowsamoreevenapplicationofSoluvar®VarnishandprotectsthepaintingsurfacewhentheSoluvar®Varnishneedstoberemoved

• Toinsureproperadhesion,cleansurfacewithalintfreeragdampenedwithmineralspirits

•Apply1–2layersofSoluvar®Varnish Letdry24hoursbetweencoats

• IntermixGlossandMatteSoluvar®Varnishforavarietyofsheens

• Soluvar®MatteVarnishcontainsmattingagentsthatsettleduringstorage Beforeusinggentlystirwithawoodendowelorbrushhandleuntilcompletelyre-dissolved Donotshake

remoVInG soluVar® VarnIsh• Ifthemuralbecomesdirtyorabused,removingthevarnishcanrestoreit Cleaning

willnotaffecttheunderlyingpaintingifthevarnishwasproperlyapplied

•Removevarnishinclean,well-ventilatedarea

• Wearaduelfilterrespirator(NIOSHapproved)andneoprenegloves Dampenasmallpieceoflintfree,soft,whiteclothwithmineralspirits(not“odorless”)orturpentine—nothingstronger Donotuseketones(i e acetoneorsimilarsolvents)orpaintremovers

• Workhorizontally Applymineralspiritsgenerouslyandallowittolayonsurfacefor15–30minutes Checkperiodically Coversurfacewithplastictoslowdownevaporationofmineralspirits

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remoVInG soluVar® VarnIsh (cont )• Longertimesmaybenecessary,dependinguponageofartworkandstrengthof

mineralspirits Ifvarnishisnotdissolvingordissolvingslowly,useahigherstrengthmineralspiritsorturpentine

•Strongermineralspiritsarenotlabeledassuch,buthaveastrongerodor

•Rubclothgentlyovera1squarefootareauntilvarnishstartstodissolve

• Usingacleanclothandcleansolvent,rubtheareaagaintoremoveresidue Repeatthisprocedurefortheentireareatobecleaned Ifanypaintcolorshowsonthecloth,stopimmediatelyandallowthesurfacetodry

•AllowpaintingtodrybeforereapplyingafreshcoatofSoluvar®Varnish

paIntInG on faBrIC and leatherLiquitex®ProfessionalArtistAcrylicColorsarethemostpermanentpaintsforfabricandareavailableinthreedistinctbodies Theyofferexceptionalquality,durability,adhesionandthelargestassortmentofpurepigmentsofanyprofessionalqualityacrylicpaint

•Heatsetting,steamingorchemicalfixingisnotrequired

•Avarietyofapplicationsarepossible

• Liquitex®AcrylicColorscanbeusedoncotton,cotton-polyblends,woven,knitted,felt,terrycloth,silk,velvet,velveteen,corduroy,flannel,suede,leatherandmostsynthetics


› Idealformostfabricpaintingtechniques,especiallylightweightortexturedfabrics

› Driessmoothandevenwithgoodlevelingwithfewbrushmarks

› Useforflatlargeareacoverage,finelinedetail,airbrush,stencil,watercolor,staining,dying,silkscreen,calligraphyandmarbling

› Easymixingwithwaterandmediums


•Exceptionallysmooth,thickbutteryconsistency

•Retainsbrushstrokesandknifemarks Excellentforimpasto

• Flexiblewhendry,allowingbuilt-upsurfacestoremainfreeofcracksandchips

•liquitex® super heavy Body professional artist Color

› Superiorshaperetentionandunique“gutsy”handling

› Excellentfor‘textural’and‘sculptural’applicationswithverylowshrinkagefromwet-to-dry

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General InstruCtIons •Pre-washnewfabrictoremovesizing,whichinterfereswithadhesion Letdry

• AdjustpainttodesiredconsistencyusingLiquitex®Mediums

• note: ForExcellentresultsuseLiquitex®FabricMedium,adddistilledwaterifnecessary—donotover-thin

• Testtechniqueonaseparatepiece Eachfabrichasadifferentabsorbencyandwillaffectpainthandling

• Placeprotectivelayeronworksurfacetopreventsticking Stretchsweatshirtswithcardboardforbestpaintapplication )

•Applyingthickpainttolargeareaswilltendtostiffenfabric

• Irononlowsyntheticheatsetting Useapressingclothorirononreversesideoffabric

• note: Loosefabricweaveallowsmoreofthecolortopenetratethefibers

dryInG tIme• Variesdependingonsurface,applicationandhumidity Paintwilldrytotouchin5

minutesto2hours,

WashInG faBrIC•Afterpaintfullydries,waitatleast4daysbeforewashing

• Handwashandhangdryisbest Donotpresoakorusehotwater Washitemsinsideout

•Machinewashfabricinwarmwater Usepermanentpress/gentlecycle

• Drycleaningmachinesthatspin-dryfabricatroomtemperaturearerecom-mended Drycleaningsuedeisacceptable Spotcleaningsolutionsshouldbeavoidedorusedsparingly

faBrIC paIntInG teChnIquesairbrush and spray application

› Liquitex®SoftBodyandLiquitex®AirbrushMediumarerecommendedforthistechnique

-Mix1partSoftBodyColorswith1partAirbrushMedium

-AddmoreAirbrushMediumasneededtoachievedesiredconsistency

› Colorsmustpermeateclothandbeseenasghostimageonreversesidetobepermanent

Block printing

› Liquitex®HeavyBodyColorsandLiquitex®Slow-Dri®GelRetarderarerecommendedforthistechnique

› Coatalinoleumorwoodblockwithwaterproofvarnish

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faBrIC paIntInG teChnIques (cont )

Block printing

› Whilevarnishiswet,siftfinelyshreddedfabric(flocking)ontothevarnish Whendrythisabsorbentsurfacewillholdpaintforapplication

› MixLiquitex®HeavyBodyArtistColorwithupto25%Slow-Dri®GelRetarderandspreadontotheblockwithasoftfoamroller

› Wetthefabricandplacetheblockfacedownontotheclothpressingfirmlyandevenly

› Stretchthefabriconapaddedsurfacetohelpfacilitateprinting

› Useabsorbent,medium-to-heavyweightfabricswithoutdeeptextureforbestresults

Brushwork

recommended products:•Liquitex®SoftBodyColorsand/orLiquitex®HeavyBodyColors

•Liquitex®Slow-Dri®FluidRetarder,Liquitex®GelRetarder,andLiquitex®FabricMedium

› MixLiquitex®SoftBodycolorswithFabricMediumforasofterfeeltofinishedpainting

drawing

recommended products:•Liquitex®HeavyBodyorSuperHeavyBodyArtistColors

•Liquitex®GlossGel,Liquitex®GlossHeavyGelorLiquitex®MatteGelMedium

› ScrewaplasticcakedecoratortipontoatubeofHeavyBodyArtistColorandsqueezeapply

› SuperHeavyBodyColorscanbeappliedwithcakedecoratorthroughavarietyofdifferenttips

› MixpaintwithLiquitex®GelMediumstoadjustconsistency;applywithcakedecoratortoproducethicklines

› Useabsorbentfabric HandwashandHangDry

dyeing and staining

recommended products:•Liquitex®SoftBodyProfessionalArtistColor

•Liquitex®Flow-AidTM

› Washfabrictoremoveanystarchorsizing

› MixFlow-Aid™water(1partFlow-Aid™to20partsdistilledwater)withSoftBodyProfessionalArtistColor

› Mix1partcolorand3partsFlow-Aid™watertoincreasetransparencyanddecreasecolorintensity

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dyeing and staining (cont )

recommended products:

› Transparentandtranslucentcolorsworkbestanddrywithasofterfinish

› Forsoftedges,pre-wetfabricwithFlow-Aid™water;forhardedgesleavedry

› Tightlywovencottonandsilkwillachieverichestcolors

› Ahotwaxresistmaybeusedforhardedges Removewaxresistbydrycleaning

› Allcolorsarepermanent;noheatsettingrequired

› Wetcolorswilldrylighter

› TitaniumWhiteandallIridescentandInterferencecolorsmaystiffenfabric

silk-screen

recommended products:•Liquitex®SoftorHeavyBodyColors

•Liquitex®Slow-Dri®FluidRetarder,

•Liquitex®GlossMedium&Varnish

› Mixupto25%Liquitex®Slow-Dri®FluidRetarderintopainttoslowdrying

› ForheavyweightfabricuseLiquitex®SoftBodycolors;lightweightfabricuseLiquitex®HeavyBodycolors

› Squeegeepaintthroughscreen Washscreenwithwaterimmediatelyafteruse

› GlossMedium&Varnishcanbeusedasapermanentscreenblocksolution Applydirectlytoscreen

•Stamping

› PaintstampwitheitherLiquitex®SoftorHeavyBodyColors

› Presspaintedsideontosurfaceusingevenpressure;allowingabsorptionintofabric

•Stenciling

› Useeitherreadymadestencilsorcutfromheavypaper,oaktag,acetateorfrisketfilms Usespraystenciladhesivesifnecessary

› Applypaintwithpolyurethanefoamdauber,ragorstencilbrush

› Thinningpaintmaycauseittobleed

› Donotforcepaintundertheedgeofstencil

•Watercolor

› UseSoftBodyProfessionalArtistColor,thinnedwithdistilledwatertodesiredconsistency

› Multipleapplicationscanbepaintedoveroncedrywithoutpickingupunderlyingcolors

› Lightweightfabricsallowpainttospreadquickly

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leather • Long-termpaintadhesioncanbeaproblemduetovariationsinsurface,

thickness,fiberstructure,oilcontent,dyetypeandtendencytostretch Alwaysdoatestsample

preparation•Formaximumadhesionandlongevity,thepaintshouldpenetrateintothe

leather

•Deeperpenetrationwillachievegreateradhesion

•Removeanysurfacecoating,shine,orsmoothnessbysandingwithfinesandpaperoremerycloth

•Removesurfaceoilsbywipingwithalcohol(denaturedorrubbing)oracetoneonlyinareastobepainted

painting techniques•Beforeapplyingpaint,flattenandadhereleathertoastablesurface

•ForlightorbrightcolorsondarkleatherfirstapplyLiquitex®SoftBodyTitaniumWhitethinnedwith25%distilledwatertothepaintingarea

•FollowanyofthealreadydiscussedFabricPaintingTechniques

Cleaning •Wipewithdampclothormildsoapandwater

Care•Paintmaycrackifleatherisstretchedbeyondthebindingcapability

•Avoidwearingpaintedleatherbelow45°F (Acrylicpaintcancrackifbentbelowthistemperature )

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pourInG Liquitex®PouringMediumcanbeusedincombinationwithLiquitex®SoftBodyAcrylicColorstocreateseamlesssurfacesandpuddlesofcolor Liquitex®PouringMediumisformulatedtocreateasmooth,seamless,andstrongbodyofpaintwhenpouredordrippedontoasurface SuspendLiquitex®AcrylicColorsinLiquitex®PouringMediumforsculpturaleffectsandsurfacetreatments

usInG pourInG medIum

1 MixonetablespoonormoreofLiquitex®SoftBodyAcrylicColorwithonecupofLiquitex®PouringMediuminalargebucketorbowl Ithelpstomixcustomcolorsbeforeaddingtothemedium,toensureauniformityofcolorinthepour

2 Mixthecolorandthepouringmediumbyhandwithapaletteknife Inordertopreventbubbles,blendgentlyandallowthemixturetositfor10minutesfollowingagitation

3 Usingafunnel,takethemixtureandpouritintoasqueezebottleorapplicatorofchoice Additionalapplicatorssuchaspitchersortubescanbeusedforavarietyofeffects Thepaintisnowreadytobepoured

4 Mixturecanbepoureddirectlyoncanvasorboardsupports,glass,orevenpaper Agoodplacetoworkwithpouredmediaisonalevelworktable Ifthesurfaceisnotlevel,youmayproduceunevenresultswithverythinpiecesthatmaytear

5 Pourevenlyoverthesurfaceandallowatleastonedayofdrytime Ifthepaintfilmisthickerallowuptotwodaysofdrytime

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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!Multicoloredcompositionscanbecreatedinonesittingifseveralcolorsarepreparedatatime Applythenextcolordirectlyafterthefirstpourforspotsorcrispconcentriccircles (Note:Gravitycanbeusedtomanipulatecolorswhenwetbyliftingthepouredsurfaceandgentlytiltingtoallowthepoolsofcolortobleedintoeachother )

›Marbledsurfacescanbecreatedusingmultiplecolorsappliedsidebysideandthenblendedusingapaletteknifeorbydraggingaforkorpointedtoolthroughthesurface

›Turnthesupportonitssidetocreatethindrips Allowthepainttorundownthesupportsurfaceatavarietyofspeeds

›Poursandpoolscanbelayered Applyanothercoatafterthefirsthasdriedforlayersofcolor

›Forsculpturalapplications,directlypourmediumandpaintmixtureontoaglasssurfacetocreateamoveable,flexiblepaintslick Tomakeremovablepours,treattheglasssurfacewithamoldreleaseorquickreleasesprayforeasyremovalofthepaintafteritdries Whendrythepouredpaintcanbesewn,glued,orrolledfordifferentsculpturaleffects

›Inordertoensurethecontinuedstrengthofthepaintfilm,donotmixwaterwiththeLiquitex®PouringMedium

›Dustcangetcaughtinthepaintfilmifleftopentotheair Coverthepaintedcanvas,glass,orboardwithalargercardboardboxtoensureacleanpour

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sIlk-sCreenLiquitex®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®SoftorHeavyBodyArtistColorstoslowdryingtime Transparencyofcolorwillincreaseproportionallywiththeamountofmediumadded

• MixLiquitex®Slow-Dri®BlendingFluidandGelMediumstoattainanintermediateconsistency

• Mixupto25%Liquitex®Slow-Dri®FluidorGelRetarderwithLiquitex®SoftorHeavyBodyArtistColorstoslowdryingtime50%andallowforbettertransferofpainttopaperduringprinting,withoutsignificantlyaffectingopacity

• MixLiquitex®Slow-Dri®FluidandGelRetardertoattainintermediateconsistency

helpful hInts durInG prIntInG•Prepareallpaintnecessaryforprintingbeforebeginning

•Workquickly Donotstopduringprinting

• Pre-wetscreenwith1partLiquitex®SlowDri®FluidRetarderand1partdistilledwater

• Topreventpaintfromdryingonscreenduringprinting,periodicallysprayscreenduringprintingwith1partLiquitex®SlowDri®FluidRetarderand1partdistilledwater Toomuchsprayingmaycausepainttospread(“bleed”)onpaper

• Forspotcleaningduringsilk-screenprinting,removepaintfromscreenwithadampclothassoonasscreenclogs

• Tocleanmajorpaintclogsonscreen,stopprintingimmediatelyandcleanscreenwithwarmwaterandnon-abrasivespongeorcloth Blotwithpapertowelandcontinueprinting

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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


lIquItex® medIums as permanent sIlk-sCreen BloCkouts •Theyareresistanttooilbasedscreeninksandsolvents

• Fordetailblockouts:UseGlazingMedium,GlossMedium&VarnishorMatteMedium

• Forlargeareaandexpressiveblockouts:UseGlossGel,MatteGel,GlossHeavyGel,GlossSuperHeavyGel,orMatteSuperHeavyGel

surfaCe preparatIonJustaboutanythingcanbepaintedwithAcrylics,butitisimportanttounderstandafewbasicprinciplestoensuremaximumstability Thesurface(supportorsubstrate)isthebasicsubstructureofapainting,andshouldbeappropriateforthetypeofworktobeexecuted Thechoiceofsurfaceandgroundhasalargeeffectonhowthepainthandlesduringthepaintingprocessandtheoveralllongevityofaworkofart Paintwilltendtodrymoreslowlyandmovemorefreelyonasmoothersurfacewhileamoreporousandabsorbentsurfacewillhavetheoppositeaffect

the surface chosen will depend on several factors:

•Paintingstyleoftheartist

•Thedesiredvisualeffect

• Thepurposeofthework

• Requiredlongevity

•ThetypeofMediaused

Basic rules for choosing and preparing surfaces

• Avoidoily,waxyandhard,shinysurfaces (Note:Somehardshinysurfacescanbepreparedbyroughingthesurfaceuptoprovidetooth,usuallywithsandpaper )

•Neverapplyacrylicsoveroilpaint

•AlwaysdoanAdhesionTestonasamplefirstifyouareunsure

adhesIon test• Applythepaintormediumtopreparedsurfaceandletdrythoroughly Wait72

hoursforacrylicpainttocurebeforecontinuing(longerinmorehumidconditions)

•Whencompletelydry,scoresurfaceinacrosshatchpatternusingasharpknife


•Removemaskingtapeslowly

• Ifanypaintcomesoffwiththetape,goodsurfaceadhesionhasnotbeenachieved Eitheradifferentsurfacepreparationisnecessaryortheparticularsupportisnotsuitableforthepaintormediumtested

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flexIBle surfaCespaper

•Mostpapersaremadeandlabeledforparticularmediaandrequirelittleornopreparation

types› BristolBoardisdesignedspecificallyforacrylicpainting

› HotPressedPaperandBoardshaveasmoothsurface

› ColdPressedPaperandBoardshaveroughtextureandarebestforwatercolorandairbrushtechnique

preparation› Paperscanbesealedpriortopaintingtopreventabsorptionintothe

paperfibers

› Heavierpaperisrecommendedformostapplicationstopreventwarping (Note:Tapeedgesofpapertobackingsurfacewhilesealinganddonotremovetapeuntilpaperhasdriedtomaintainflatness )

› Liquitex®ClearGessoandLiquitex®MatteMediumallowscolorofpapertoshowthrough

› note: ClearGessocontainsfineaggregategivingthesurface“tooth”makingitanexcellentgroundforpastels )

fabric

•Liquitex®AcrylicColorscanbeapplieddirectlyonbothnaturalandsyntheticfibers Thetightertheweaveoffabricthebrighterthecolorswillbewhendry

types› Liquitex®Acryliccolorsaresuitableforcotton,cotton/polyblends,woven

fabric,knits,felt,suede,leather,terrycloth,silk,velvet,velveteen,corduroyandflannel

preparation› Washfirsttoremovethesizingorstarch (ifapplicable)

› Alwaysdoatestpiecetoensurecompatibility

› RecommendedProducts:Liquitex®FabricMediumandLiquitex®Flow-AidTM

Canvas

•Canvascomesinmanyvarietiesincludingcotton,linen,juteandnaturalorsyntheticfibers Itisavailableraw,pre-primedandpre-stretchedonbarsorboards

raw › CottonDuck:Themostcommonandpopularstyleofcanvasused

› Linen:Superiorstrengthandlongevitythoughnotnecessarilyidealforacrylicsduetoitsoilcontent

› Jute:Notconsideredapermanentsurface(usedforit’stextureaswellaslowerprice )

› Synthetic:Mostuniformintexture,exceptionallystrongandlonglasting �1�0



flexIBle surfaCes (cont )

Canvas

pre-primed › Commerciallypreparedwithacrylicgessooroilgroundinavarietyofstyles

› Availableinavarietyofnaturalandsyntheticmaterialsandweights,weavepatternsandtextures

› Therearesingleanddoubleprimedversions,whichcanbefurthersmoothedwithmorelayersofgessoandsanding

› Primedcanvasismoredifficulttostretchthanrawcanvasandrequirescanvasplierstostretch

preparation

acrylic medium › Liquitex®ClearGesso,MatteMediumorMatteGelcanbeusedasasealer

(size)forcanvas,paperorboard,allowingnaturalsurfacecolortobeseenaftersealing

› SubstrateInducedDiscoloration(SID)

•Whenacrylicmediumsareusedasasizeforprimedorunprimedcotton,linen,woodorhardboard,thewatercontentmaydrawimpuritiesoutofthesupportasitdries

•Ayelloworbrowndiscolorationinthemediummayoccurovertime Itwillbenoticeableonlyinareasthatareleftunpainted Itisnotaproblemifthemediumsaremixedwithpaintorpaintedover

•Itoccurswithallacrylicmediumscurrentlyusedbymajorfineartpaintmanufacturers

•WashingthecanvasbeforeusecangreatlydecreaseoreliminateSID

•Theamountofdiscolorationintheacrylicmediumwillvarydependingupon:

1 Qualityoftheacrylicmedium TheuniqueresinformulationusedinallLiquitex®PaintsandMediumsisclear,flexibleandnon-yellowing

2 Thicknessofthemediumapplication GelmediumsaremoresusceptibletoSIDthanfluidmediums Theyarethicker,containmorewaterandtakelongertodry

3 Substrateused Differentsurfacescontaindifferentcolorantsandcontaminants

acrylic Gesso › Liquitex®AcrylicGessoisthehighestqualitygessoandprovidesaflexible,

non-yellowinggroundwithexcellenttoothforproperpaintadhesion

› Sealsandprotectsthesubstrate(i e canvas)andreadilyaccepttheapplicationofpaint (Note:suitableforbothoilandacrylicpaintapplications )

› Liquitex®GessoisavailableinClear,TitaniumWhite,Black,NeutralGray,andSuperHeavyformulations

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flexIBle surfaCes (cont )

application

• ApplyLiquitex®Gessotorawcanvasafterithasbeenstretchedandstapledontostretcherbars Thisensuresatightsurface (Note:don’tstretchcanvastootightasthiscancausethestretchertowarp Dryingpaintwillcauseshrinking )

•Allowtofullydryforaminimumof24hoursbeforeuse

• MultipleCoatsarerecommendedespeciallyifitistobeusedasagroundforoilpaint

• Asecondlayerwillproduceasmoothersurfaceandofferbetterprotectionandadhesion (Note:Lightlysandbetweenapplicationsforasmootherpaintingsurface;useLiquitex®SuperHeavyGessoformoretexture )

• FormosteconomicalmultiplecoatsurfaceuseLiquitex®MatteMediumasfirstcoat,followedbyonecoatofLiquitex®Gessoafteritsdry

thinning•Liquitex®Gessomaybethinnedwithupto25%distilledwaterandfunction

withoutadverselyaffectingadhesionorcausinggessoedsurfacetocrack

•Forincreasedadhesionandflexibility,itisrecommendtothingessowithequalpartsdistilledwaterandLiquitex®MatteMedium

application

• Liquitex®Gessocanbebrushed,troweled,orsprayeddirectlyontocanvas

• Forasmoothsurface(withoutbrushstrokes),applywithalargepaintingknifeorsqueegee(inhalf-circularmotions)oruseahousepaintpad (Note:Workthegessointotheweaveifusingcanvas )Letdry,lightlysandwithfine-gritsandpaper Applysecondlayer

• WhensprayingitmaybenecessarytothingessowithLiquitex®AirbrushMediumapproximately1:1,addmoreAirbrushMediumasneeded

eGGshell CanVas surfaCe

•Thispreparationwillcreateapapersmoothsurfacethatisexcellentforportraitandairbrushtechniques

•Wetsandgessosurfaceincircularmotionuntilareadriesandbecomessmoothusing400gritwet-drysandpaperandaspraymister(Note:Surfacewillbebrittleandmaycrackifsurfaceispushedorstressed )

surface tooth and absorbency

› DiluteLiquitex®GessowithLiquitex®MatteMediumtogetlessabsorbencyandtooth

› AnyLiquitex®TextureGelmaybemixedintogessoalongwithmarbledustorsandfortexturaleffects (Note:Toomanyaggregatesmaymakegessobrittle )

› Amixtureof75%Liquitex®Gessoand25%Liquitex®ModelingPastewillmakeanAbsorbentGesso,suitableforuseasagroundforpastel,charcoalandgraphitedrawings

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rIGId surfaCes

•Providesmoothortexturedsurfacesfordimensionalpaintingandcollage

• Mostboardscanbeusedassupportstowhichcanvas,paperorothermaterialcanbeglued UseLiquitex®MatteGeltoadherecanvastoboard

•Surfacesshouldbetestedforproperadhesion

Canvas panel Boards

• Notrecommendedforpermanentwork,astheymaywarpandmaterialsmaynotlast

• Preparedcommerciallyandavailableinawidevarietyofsizes

• Generallymadeofcottoncanvaswrappedandgluedontoheavycardboard

Compressed hardboards• CompressedhardboardssuchasMasoniteTMarenotrecommendedasa

permanentsupport

•UntemperedMasoniteissubjecttowarpingandisnotverystable

• TemperedMasonitecontainsoilysubstancesthatmayaffectpaintadhesionovertime

› Ifpermanenceisnotrequired,untemperedMasonitemaybeusedbutshouldbesealedalloverwithabarriervarnishsuchasLiquitex®Soluvar®Varnishandthenpreparedasfollows:

-Sandthetop(shiny)surface

-CoverwithatleasttwocoatsofLiquitex®Gesso

-Sandbetweencoatsandapplythesecondcoatatrightanglestothefirst

plywood

• MDO(MediumDensityOverlay)boardsarevarietiesofplywoodthatarebondedwithpaperononesideorbothsides

• Theyofferaverysmoothsurfacequalitythatishardtoachievewithstandardplywood (Note:Theycanbeheavy )

• Goodexteriorgradeboardscanprovideanexcellentpaintingsupport Theyareavailablein1/8”thicknessofmahogany,birch,mapleandoak Theymaybeadheredtowoodenstretcherstopreventwarping

• Allformsofplywoodwillrequirebetween2–5coatsofgesso (Harderwoodsarelessporousandwillrequirelesstoseal )

foamboard

•Notrecommendedforlong-termapplications—vulnerabletowarpinganddamage

•LightlysandandusetwocoatsofLiquitex®Gesso(sandingbetweencoats)

•Letdryovernight

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rIGId surfaCes (cont )

fiberglass

•Canbepaintedwithacrylicsoroilsifthesurfaceispreparedproperly

•Sandorsandblastthesurface Removeresidualdust

• Coatwithanindustrialsolventbased,primer-sealersuchasKILZ(forwater-basedmedia)

•Allowtocurefor3days—Testforproperadhesion(seeAdhesionTest)

•Lightlysand

•ApplyLiquitex®Gesso(sprayorbrush)—Letdryovernightandre-testadhesion

•PaintSurfaceandapplySoluvar®Varnishasafinishcoat

metal and Glass

•Sandwith400-gritpaperorsandblastforproperpaintfilmadhesion

•EtchAluminumwith5%lyesolutionfor4to5minutes

•Glasscanbeacid-etchedorsandblasted

•Degreasesurfaceandcoatwithindustrialprimer(forwater-basedmedia)

•Letdryfullyandtestadhesion (seeAdhesionTest)

•ApplyLiquitex®Gesso(sprayorbrush) Letdry3daysandtestforadhesion

plastic panels (plexiglastm™)

• Surfacepreparationwilldependonthetypeofplastic

• Plasticmustbechemicallyinertsothatitwillnotreactwiththepaintfilmovertime

• Aslighttoothisrequiredforpaintadhesion—ifnoneexiststhesurfacemustbesandedwithafineormediumgradesandpaper(dustmaskshouldbeworn)wherepaintistobeapplied

• Aftersanding,useLiquitex®MatteMediumorMatteGelandoneortwocoatsofLiquitex®GessoorClearGessoforanopaqueortransparentground

•Bothsidesofthesheetcanbepaintedtoyielddimensionalqualities

•ApplySoluvar®Varnishtoprotectandsealfinishedwork

acetate

• Acetateisatransparent,somewhatbrittleplasticavailableinvaryingthicknessandsurfacetextures

• Matte-surfaceacetate,texturedacetateandwet-mediaacetate(alsocalled“preparedacetate”)aresuitableforacrylicmaterials

•Smoothacetateisnotrecommendedforacrylicmaterials,asitistooslick

mylar

• Mylarisafilmthathasallthepropertiesandusesofacetatewithadditionalflexibilityandstrength

•Muchhigherinpricethanacetate

• Itdoesnotstretch,crackoryellow ��



rIGId surfaCes (cont )

mylar

•Availablewithaphotosensitivesurfaceforthereproductionoflinedrawings

•Availableinawet-mediaformthatneedsnosurfacepreparation

masonry and Concrete

•Masonryandconcretemustbethoroughlydryandcured (maytake8–12weeks)

• Allmoisturemustbegoneandtheremustbenowaterproofing,cementpaintorsilicones(oftenusedduringconstruction)onsurfaceoracrylicpaintadhesionwillnotbepermanent

•Liquitex®Acrylicscanbeapplieddirectlytoamasonrywall

› For best results:applyLiquitex®MatteGelMediumwithatrowel (Anexcellentgroundthatwillsealthewallandreducestheamountofpaintneededtocoverthesurface )

› LetMatteGelMediumfullydry;thenapplyoneortwocoatsofgesso

› Letdryovernight

murals• Encompassesawidevarietyoftechniquesincluding:fresco,encaustic,mosaic,

stainedglassandphotography

• Mostcommontechniques;paintingoncanvasandthenattachingtoawallorpaintingdirectlyonthewall

• Surfacesmustbefreeofgrease,wax,andoil—structurallysoundandfreeoflooseparticles

plasterboard•Useonlyifnotpreviouslypaintedwithoiloralkydpaint

• SealfirstwithabarriervarnishlikeSoluvar®oranindustrialproduct(likeAqualockTMforusewithwaterbasepaints) Letdrycompletely

•Applytwocoatsofgessowithabrush,sprayorpaintpad

unusual surfaces• Testforcompatibilitywiththeacrylicpaint (SeeAdhesionTest )

• Certainsurfacesmayhaveadversereactionswithpaints,eitherimmediatelyorovertime

adhesIon test

• Applythepaintormediumtopreparedsurfaceandletdrythoroughly Wait72hoursforacrylicpainttocurebeforecontinuing(longerinmorehumidconditions)

•Whencompletelydry,scoresurfaceinacrosshatchpatternusingasharpknife


•Removemaskingtapeslowly

• Ifanypaintcomesoffwiththetape,goodsurfaceadhesionhasnotbeenachieved Eitheradifferentsurfacepreparationisnecessaryortheparticularsupportisnotsuitableforthepaintormediumtested

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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


transfersAcrylictransfersallowartiststotransferimagesgeneratedfrommagazines,newspapers,photographsandlaserprintersontoanysurfacethatwillacceptacrylicpaint ItcanbedonewithawidevarietyofLiquitex®Mediumsdependinguponyourdesiredeffect Thistechniquetransfersblack&whiteandcoloredimages Themediumisbrushed,pouredortroweledovertheimagetobetransferred Afterthemediumhasdried,itissoakedinwaterandthepaperisremovedfromthebackoftheimage Youareleftwithatransparenttotranslucentimagethatisimbeddedwithinacrylicmedium

seleCtInG ImaGe

1 Selectimageofyourchoice:newspaper,magazine,photographorcomputerlaser(notinkjet)print Someimagessuchasnewspaper,laserprint,uncoatedmagazinewilltransferdirectlywithouttheneedofaphotocopy Someimagessuchasphotographsandcoatedmagazineimageswillnottransfer

2 Obtainaphotocopyofyourselectedimageeitherinblack&whiteorcolor Sinceitcanbeunclearbeforehandwhichimagewillandwillnottransfer,aXeroxoftheoriginalimageisrecommended

preparInG ImaGe for transfer

1 Placephotocopy,imagesidedownontoscrappaperandspraybackofimagewithalightcoatofasprayadhesive Useproperventilationandfacemask

2 Positionphotocopy,imagesideupontoglasspaletteandpressflat Imagemaybetapedtoglasspaletteinsteadofusingsprayadhesive,howeveratapedimagewillnotlayflatoncecoatingisbegun

CoatInG ImaGe

Brushing method: 1 Usinga1/2”–2”wide,softbrush,coatimagewithLiquitex®GlossMedium&

Varnish Forminimalbrushmarks,useLiquitex®GlossVarnishorthinGlossMedium&Varnishwith5–10%Liquitex®Flow-Aid™/Watermixture(1partFlow-Aid™to20partsdistilledwater)

2 Allowtodry20minutestoonehour,dependinguponenvironment Whilewet,mediumwillappearslightlycloudy Whendry,mediumwillbecompletelyclear

3 Repeatsteps1and2untilthemediumcoatingisthickenoughsothatyoucanpeelitofftheglasswithouttearing;5–12coatswillgiveyouathicknessof1/16”–1/8” Coatsuccessivelayersindifferentdirections,horizontalthenverticalthenhorizontal,etc Thethicknessofthecoatingcanvaryaccordingtoyourdesiredeffect Thinlayersbetween1/32to1/16maybedifficulttohandle

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CoatInG ImaGe (cont )

pouring method: 1 Useacarpentersleveltomakesuretheglasspalettesurfaceislevel Ifsurfaceis

notlevelpouredacrylicmediumwillruntowardloweredgeandwhendrywillbethickeratthatedge

2 Tapearoundimagewithmaskingtapein4–5successivelayerssothataridgeisbuiltuparoundimage Youarebuildingadamtocontainthepouredacrylicmedium

3 PourLiquitex®GlossMedium&Varnishoverimage Pouronlyenoughtocoverimage Youmayneedseveralpourstobuildenoughthickness Spreadaroundwithsoftbrush,ifneedbe,whilewet Pouringthicklayersmayresultincloudytransfersandshrinkagemarks

4 Allowtodrycompletely:48–72hours Whenmediumiscompletelyclearitisdry

soakInG transfer

1 Razorcutaroundtapeandremoveimagefromglasspalette Submergeinlukewarmwaterandsoak10–15minutes Thelongertheimageissubmergedinwatertheeasieritwillbetoremovethepaperfromthebackofimage Donotsoakpaperlongerthan20minutes Whensubmergedinwatertheclearmediummayturnslightlymilky

2 Removeimagefromwaterandusingyourfingers,gentlyruboffpaperfrombackofimage Rubofftoplayerofpaperonlyandsubmergeimageintocontainerofwarmwater Repeatstepsuntilonlytheimageremains

dryInG transferred ImaGe

1 Blotwithpaperorclothtowel Placeflatbetweenlayersofwaxpaper,thenpapertowel

2 Weighttopandallowtodry,insuringthatimagedriesflat

adherInG transfer to support

1 Removewhendry(24–48hours) Selectsupportthattransferistobeadheredto

2 CoatthesideofthetransferthatistobeaffixedtothesupportwitheitherLiquitex®GlossMedium&VarnishorLiquitex®GlossGel Quicklypositionthetransferontothesupport(i e canvas)andpress

3 Toinsureuniformcontact,drytransferunderweight Covertransferwithasheetofwaxtopreventtransferfromstickingtoweight Letdry24hours

dIreCtIons: usInG lIquItex® InterferenCe Colors

1 Followdirectionsfor“SelectingImage”and“PreparingImageforTransfer”

2 Mix5-10%Liquitex®InterferenceColorofyourchoiceintoGlossMedium&Varnishtoproduceaninterferencefilm

3 Followdirectionsfor“CoatingImage”

4 Followdirectionsfor“SoakingImage”,“DryingTransferredImage”and“AdheringTransfertoSupport”

5 InterferenceColorTransferwillbeopalescent

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dIreCtIons: usInG lIquItex® Gel medIums


2 CoatingImage:Usingapaletteknife,apply1–2coatsofLiquitex®GlossGelorGlossHeavyGel

3 Applyeachcoat1/16”–1/8”thick Ifapplyingtwocoats,allowfirstcoattothoroughlydrybeforeapplyingsecondcoat(approximately24–48hours) ThethickertheGelorHeavyGelMediumcoatingthemoreopaquethefinaltransferfilmwillbe


5 Atranslucenttotranslucent/opaquefilmtransferwillresult

dIreCtIons: usInG lIquItex® texture Gels


2 CoatingImage:Usingapaletteknife,apply1–2coatsofLiquitex®NaturalSand,ResinSandorGlassBeadsTextureGel Applyeachcoat1/16”–1/8”thick Ifapplyingtwocoats,allowfirstcoattothoroughlydrybeforeapplyingsecondcoat(approximately24–48hours) ThethickertheTextureGelMediumcoatingthemoreopaquethefinaltransferfilmwillbe


4 Asemi-transparent,texturedfilmtransferwillresult

dIreCtIons: usInG lIquItex® fluId medIums and texture Gels


2 Usingasoftbrushorpaletteknifemix5–50%NaturalSand,ResinSand,GlassBeadsorBlackLavaTextureGelMediumsintoLiquitex®GlossMedium&Varnish ThegreaterthepercentageofMedium,themoretransparentandlesstexturedthefinaltransferfilmwillbe Forexample,aBlackLavaTextureGel/Mediummixturewillresultinatransferthatistransparentwithblackspeckles TheamountoftransparencyandblackspeckleswillbeinfluencedbytheratioofMediumtoBlackLava MoreMedium,lessBlackLava=moretransparency/lessblackspeckles

3 Followdirectionsfor“CoatingImage:brushingorpouringmethods”


5 Atransparent-translucenttexturedfilmtransferwillresult

addItIonal IdeasAnunlimitednumberofcreativeapplicationsexist,inadditiontofineart Tryplacingacrylictransfersontoclothing(suchashats,T-shirts,sweatshirts,andshoes),decoratehouseholdorcraftitems(ceramictiles,furniture,lampshades,cups,boxes,pillows,quilts),orevenapplytomirrors,windows,orframedglassforstainedglasseffects

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c h A p t e r 4 : A p p l i c A t i o n s / w A t e r c o l o r w i t h A c r l i c


WaterColor WIth aCrylICLiquitex®Acryliccolorcanbeusedinthemannerofwatercolorsimplybythinningwithwaterandapplyingtoanabsorbentsurface Theamountofwateruseddependsonthedesiredconsistency;themorewaterusedthemorefluidthepaint Liquitex®SoftBodyArtistAcrylicColorshouldalwaysbeusedforacrylicwatercolortechniquessinceit’sfluidconsistencydissolveseasilyinwater Colorvaluesaretraditionallybuiltfromlighttodarkwhenworkinginthistechnique

adVantaGes of aCrylIC WaterColorThemainadvantageofusingacrylicforwatercoloristhatwashesmaybelayeredwithoutdissolvingoneanother Thisisbecauseacrylicpaintcontainsbinderanddriestoawaterresistantfilm Whenworking,allowwashestosoakintothepaperanddry;thiswaythepaperalsoactsasabinder Layersofwasheswilleventuallysealthepaperfibersandthuslimittheamountoflayeringthatispossible

note:Watercolorpaintwhendryisstillwater-solubleandeachlayerofpaintcandissolvetheunderneathlayer

WaterColor papers•Paperchoiceisimportantandwillbesignificantfactorinthefinalwork

› Highquality/heavierpapersmadefrom100%CottonRagareidealforthisapplicationandwillyieldbetterresults (Theyholdmorewater,warplessandallowmoreLayersofwashes)

› ColdPresspaperisroughandabsorbent

› HotPresspaperissmooth(notasporous)andlessabsorbent WhenworkingwithHotPresspaperitmaybeusefultomixcolorswithFlow-AidTMWater(1partLiquitex®Flow-AidTM:20partsdistilledwater)tohelpachievedeeperstainsandamoreevenapplication

› note: Toachievewatercoloreffectsonanon-absorbentsurfacesuchasprimedcanvas,Liquitex®AirbrushMediumcanbeusedtothincolorsandwillprovideadequatebindertocreateastablepaintfilm

applICatIons and teChnIques•TransparentWashes

› Transparent/translucentcolorsarethemostvibrant

› Themorewaterused,themoretransparentthewashbecomes

•ForHardEdgeBrushmarks

› Usedrypaper

•ForSoftEdge(“bleed”)Brushmarks

› DampenpaperwithdistilledwaterorSlow-Dri®FluidRetarder(seebelow)thenapplyacrylicwatercolor

› CreateacrylicwatercolorusingFlow-AidTMWater(1partLiquitex®Flow-AidTM:20partsdistilledwater) Liquitex®Flow-AidTMreducessurfacetension,therebysofteningedges

101100

c h A p t e r 4 : A p p l i c A t i o n s / w A 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 kl i q u i t e x ® / t h e A c r y l i c b o o k l i q u i t e x ® / t h e A c r y l i c b o o k 101100

applICatIons and teChnIques (cont )

•ForUltra-SoftEdge(“bleed”)Brushmarks

› DampenpaperwithFlow-AidTMWaterthenapplywashesfordeepersaturationofcolor Working“wetintowet”inthismannerishelpfulforcreatingmoreatmosphericpassages

•ToSlowingDryingTime

› MixLiquitex®Slow-Dri®FluidRetarderintodistilledwater(4partsdistilledwaterto1partLiquitex®Slow-Dri®) Usethismixturetocreateacrylicwatercolor

reCommended produCts

• Liquitex®Slow-Dri®FluidRetardergivesmore“opentime”,allowingpainttobemanipulatedforlonger

• Liquitex®Flow-AidTMreducessurfacetension,therebysofteningedgestohelptoachievedeeperstainsandamoreevenapplication

• Liquitex®AirbrushMediumisveryfluidandcontainsbindermakingwatercolortechniquespossibleonnon-absorbentsurfaces

maskInG

• Protectsthedrypaintfilmfromnewpaintapplicationbycoveringpassageswithmaskingtapesand/orfluids

• Maybedonebeforepaintingtoprotectwhitepaper

•Maybedoneaftereachcolorapplication,tosavespecificcolormarksanddetails

maskInG tape

• ToachievestraightlinesuseDraftingorScotchTM811tape Ithasalowadhesivetack,whichwillnotdamagepaintedareaswhenremoved

frIsket or maskInG fluId

•Applywithbrushorpen

• MaskingFluidmayberemovedatanytime,byrubbingwithfingerorrubbercementeraser

c h A p t e r 3 : l i q u i t e x p r o d u c t s

freQuenTly Asked QuesTions

05c

hA

pt

er

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


Why are different colors priced differently? Thebiggestfactorinthecostoftheartists’coloristhepigment Differentpigmentscomefromavarietyofdifferentsources,andcostfromalittletoalottorefine,process,andmillintoartists’paint

I want that “oil color look ” What can I do? UseLiquitex®Slow-DriBlendingFluidorGeltoslowthedryingandtohelpyouwithblendinguponthepaintingsurface ExperimentwithGlazingtechniques

my paint dries too fast What can I do? Minimizetheuseofwater,andminimizeheatandairflowinthepaintingenvironment Makeuseofacrylicmediumstoextendthecolor,especiallySlow-DriBlendingFluidorGel,AirbrushMedium,orSlow-DriFluidorGelRetarder note:onlyoneadditive/retardershouldbeusedwithinacolormix Combiningadditivescancompromisethepaintfilmstability

my colors are too bright how do I make them look more natural? UseaLiquitex®colorcharttoidentifythemineralbasedcolors(cadmiums,cobalt,ultramarine) Thesecolorsmixtothesofter,moregrayopticaltonethatweassociatewithnaturallight Generally,thesecolorstendtobemoreopaque

my colors look dull and chalky how do I brighten them? Itmaybethatyou’readdingtoomuchwater,andspreading(underbinding)thepaintfilm TryaddingGlossMedium&Varnishinsteadofwater

how do I make the color flow like water, but stay brilliant? ChooseLiquitex®SoftBodyProfessioanlAcrylicColors ThesecolorshavethesamepigmentloadastheHeavybodycolors,butareformulatedtoamorefluidconsistency Somewatermaybeaddedforflow,butoneofthefollowingmaybeaddedaswelltoincreaseflow,whilemaintainingthestabilityofthepaintfilm:GlossMedium&VarnishorMatteMedium

Is water the best additive for thinning acrylic color?Wateris,infact,thesolventfortheacrylic/wateremulsion You’llfindthatyougetthebestperformance—nottomentionthemostfun—outofacrylicsifyoumakeuseofacrylicmediumstoadjusttheworkingpropertiesofthecolor Savethewaterforcleanup

10�10� 10�10�


l i q u i t e x ® / t h e A c r y l i c b o o k l i q u i t e x ® / t h e A c r y l i c b o o kl i q u i t e x ® / t h e A c r y l i c b o o k l i q u i t e x ® / t h e A c r y l i c b o o k 10�10�

I’m on a really tight budget What can I do to cut corners? Artists’colorsaren’tcheap But,aswithanyhighlyrefinedproduct,yougetwhatyoupayfor Thatsaid,therearesomestrategiesthatcanhelpstretchtheartist’sbudget:

•Usemediumstostretchandeconomizeoncolor

• UseUltraMatteMedium It'sformulatedtoincreasethevolumeofpaintwithoutsignificantlycuttingintensityofcolor

• CompleteyourunderpaintingwithBASICSValueSeriesAcrylicColors,andusetheLiquitex®ProfessionalAcrylicsColorsforthefinishinglayers

What is the best surface for acrylic paint? Acryliccolorsareunbelievablyversatile,andcanbeusedonanalmostinfinitevarietyofsurfaces:canvas,paper,leather,andglass(amongothers) Alwaysconductanadhesiontestwhenworkingonmore‘unusual’surfaces

What’s the best way to prime a canvas for painting? SizethecanvaswithonelayerofMatteMedium,andthencoatwithoneortwolayersofAcrylicGesso WithLiquitex®Gessoes,youcanchoosebetweentraditionalwhite,neutralgrayorblackcoloredGesso,ClearGesso,orSuperHeavyGesso

Why is my finished acrylic paint surface powdery, flaking, or cracking? Ifyourgessoorpaintlayerispowderyorunstable,youhave,mostlikely,addedtoomuchwaterduringpainting Waterspreadstheacrylicbinder,leavingitlessabletofirmlylockthepigmentintoplaceonthepaintingsurface You’llfindthatyougetthebestperformance—nottomentionthemostfun—outofacrylicsifyoumakeuseofacrylicmediumstoadjusttheworkingpropertiesofthecolor

Why are some acrylic mediums milky, some translucent, and some clear when wet? Someacrylicmediumsaremilkybecauseofthewatercontentwithintheemulsion Othersincludemattingagentsthatmakethemappearmilky Othermediumsareformulatedwithaclearresin,givingthemgreaterclaritybothwetanddry

Why do some acrylic colors seem to dry darker? Ingeneral,theacrylic/wateremulsionhasadistinctmilkycolorwhenwet Andthatmilkyappearancelightensthecolorofthepaint Aswaterleavestheemulsion,andthebinderclarifies,thecolorofthepaintdarkens

Asacrylicchemistryhasadvanced,neweracrylicresinshavebecomeavailablethatofferbetterandbetterclarity Asaresult,colorshiftinmodernacrylicsisoflesserconsequencethaninearlypaintproducts Itstillplaysaslightrolewithsomecolors,butnottothedegreethatitoncedid ThisphenomenonismostnoticeablewithtransparentdarkpigmentssuchasAlizarinandlesssowithlightopaquepigmentssuchasCadmiumYellow

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how does the weather affect acrylic paints? Humidconditionsslowdownthedrying Hot,dryconditionswillspeedthedryingconsiderably

how do I store acrylic paintings? Protectthesurfacewithglassinepaper,oranothernon-stickysheet Covertheglassinewithanadditionallayer,suchasrawcanvas Standupright,andprotectfromtemperaturesbelow45°F(thetemperatureatwhichacrylicsbecomebrittleandaremorepronetocracking) Neverstoreacrylicsfacetoface,astheycansticktooneanother Alwayscrateforshipping

how long will acrylic paintings last? Followsoundpaintingtechniques,workonastablesupport,useartists’qualityprimer,andwithpropercareandstorage,anacrylicpaintingshouldremainstableforgenerations

What’s the advantage of making my own paint? Untiltwocenturiesago,artistshadtomilltheirowncolors Andtoday,it’snotuncommonforartiststoexperimentwithpaintmakingtodevelopamoreintimateunderstandingofthemechanicsoftheirchosenmedium Thatsaid,anexperiencedmanufacturerisabletoproducecolors,withoutrisktothepainter,withmuchhigherpigmentloadandmoreuniformlybalancedworkingpropertiesthanispossiblefortheindividual

do I need to varnish acrylic paintings? Yes Acrylicsdrywithaslightlytackyandporoussurface,exactlythekindofsurfacetowhichdirt,dustand,atmosphericgrimearepronetosticking Afinalvarnishwillbringamuchneededlayerofprotectiontothepainting Andaconservationqualityvarnish,likeLiquitex®Soluvar®GlossorMatteVarnishwillremainflexible,andcanberemovedforpurposesofcleaningthepaintingatalaterdate

Can I use acrylic mediums to varnish my acrylic paintings?Mediumsaredesignedtobemixedwithacryliccolorunlessotherwiselabeledthattheyservebothfunctions Forexample,Liquitex®GlossMedium&Varnishcanbeusedasbothaglossmediumaswellasafinalvarnish Varnishesaremeanttobeappliedoveracryliccolorastheyarespecificallyformulatedtobethinner,flowonsmooth,andself-level Inthecaseofmatteorsatinsheenproducts,varnisheshavelessordifferentkindsofmattingagentstoallowtruecolorstoshowthrough

Can I paint in oils over my acrylic paint layer?Itisgenerallynotagoodideatoapplyoilpaintsoversolidlayersofacrylicpaint Oilfilmsdrytoalessflexiblefilmthanacrylics,andtheirapplicationoverthemoreflexibleacrylicpaintlayercanbeproblematic OilapplicationsoveracrylicscanbecomparedtoapplyingPlasterofParisonarubberband–ifyoustretchtherubberbandafterthePlasterofParishasdried,theplasterwillcrackandflakeoff Overtime,anoillayerthathasbeenpaintedontopofanacryliclayermayexperiencethesameresults,astheunderlayerofacrylicpaintshiftsandmovesduetoatmosphericchanges

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I’m interested in creating multi-media work using acrylics Is there anything I should not combine or layer with my acrylic paint?Acrylicsarerestrictedprimarilybycompatibilitywithothertypesofpaints Acrylicsshouldnotforinstancebecombinedwithpaintsthataremadewithdifferentresinsandbinders Forexample,acrylicsshouldonlybecombinedwithacrylicpolymerbasedpaintsandnotbemixedforexamplewithoil,latexorgumbasedwatercolorpaints…orlayeredwithwax Theflexibilityofdryacrylicfilmsalongwiththepaintsabilitytoadjustitsworkingpropertieswhenwet,makeitatotallyuniqueandpowerfulartistmaterial Insomeways,itcanbethoughtofasthe“goanywhere,doanything”paint Itishardtocoverallthebaseswhenitcomestocombiningacrylicswiththeamazingvarietyofsubstancesthatcanbeusedtocreateaworkofart Thebestadvicethatcanbegiveninrelationtomulti-mediaworkisthatyoushouldalwaysconducttestingwiththematerialsyouplantouse,priortobeginningyourpiece,andyoushouldbeawarethatguaranteesconcerningpermanencyorlongevityoftheartworkmaynotexist Agoodplacetostartwouldbetomakesureyouhaveaworkingunderstandingoftheacrylicpaintfilmandhowitdries

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health laBelInGTheuseofartmaterialsissaferthaneverbefore InbothEuropeandNorthAmerica,artproductsarelabeledwithinstructionsforsafeuse,andthevastmajorityrequiresnowarningorcaution Thoseproductsthatdo,includedetailedinformationabouthowtheycanbeusedwithoutrisk

alWays read the produCt laBels

ThelabelingstandardforChronicHealthHazardsinArtmaterials(ASTMD-4236)hasbeencodifiedintoUSlawaspartoftheFederalHazardousSubstancesAct15USCS1277 IncooperationwiththeArt&CreativeMaterialsInstitute(ACMI),allartandcreativeproductsmarketedintheUSAincludelabelingthatdetailsanycurrentlyidentifiedprecautionsthatshouldbetaken So,ifthere’saconcern,youwillseeitonthelabel

Inaddition,theAmericanSocietyforTestingandMaterials(ASTM)haspreparedstandardsforthesafeuseofartist’smaterials Thesehavebeenpublishedasabookletentitled,“ASTMStandardsforthePerformance,Quality,andHealthLabelingofArtists’PaintsandRelatedMaterials”ISBN0-8031-1838-4

TheaddressforASTMis:ASTM100BarrHarborDriveWestConshohocken,PA19428-2959

Liquitex®ArtistMaterialslabelsallproductsforsafeuse Liquitex®wasoneofthefirstcompaniestolisthealthandsafetyinformationonpaintlabelsandtoidentifycolorsbychemicalnameaswellasbyinternationalcolorstandards UnitedStatesFederallawrequiresthatallLiquitex®productsmeetAmericanSocietyforTestingandMaterials(ASTM)D4236,thestandardforhealthandsafety AllproductsareevaluatedbyanindependenttoxicologistinthecertificationprogramofACMI(TheArtandCreativeMaterialsInstitute) AllLiquitex®productsarelabeledincompliancewithapplicableFederallawandcarryACMIcertificationseals

ProductsbearingtheAPApprovedProductSealoftheArtandCreativeMaterialsInstitute,Inc arecertifiedinaprogramoftoxicologicalevaluationbyamedicalexperttocontainnomaterialsinsufficientquantitiestoposeahealthriskortobedeemedinjuriousinaccordancewithcurrentmedicalknowledgeandaslongasthematerialsareusedinthe

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mannerintended ThisprogramisreviewedbytheInstitute’sToxicologicalAdvisoryBoard TheseproductsarecertifiedbytheInstitutetobelabeledinaccordancewiththechronichazardlabelingstandardASTMD4236,andtheU S LabelingofHazardousArtMaterialsAct(LHAMA) TheCLSealidentifiesproductsthatarecertifiedtobeproperlylabeledinaprogramoftoxicologicalevaluationbyamedicalexpertforanyknownhealthrisksandwithinformationonthesafeandproperuseofthesematerials ThissealiscurrentlyreplacingtheHLHealthLabel(CautionsRequired)Seal TheseproductsarealsocertifiedbyACMItobelabeledinaccordancewiththechronichazardlabelingstandard,ASTMD4236,andtheU S LabelingofHazardousArtMaterialsAct(LHAMA)

SafetyDataSheetsareavailableonrequestorontheLiquitex®websiteatwww liquitex com Forfurtherhealthinformationcontactalocalpoisoncontrolcenterorcall800-445-7067

eu leGIslatIon

Theseregulations,introducedinthe1960’s,coverallproductsavailabletoindustryorthegeneralpublicwithintheEU Thissystemclassifiesdangeroussubstancesintooneofthefollowingclassifications:TOXIC,HARMFUL,CORROSIVE,IRRITANT,OXIDISING,EXPLOSIVE,FLAMMABLEorDANGEROUSFORTHEENVIRONMENT

Therecanbevariouslevelswithinaclassification,forexample,VeryToxicorExtremelyFlammable Mostlevelsofclassificationhaveaccompanyingsymbolsand“RiskPhrases”and/or“SafetyPhrases”

Anyartists’material,whichfallsintooneoftheaboveclassifications,mustbelabeledaccordingly Thetwomostcommonclassificationsinartists’materialsareHarmfulandFlammable Theriskand/orsafetyphraseswillvaryaccordingtoeachproduct

Note:ThereisnodirectrelationshipbetweentheEUandUSAsystemsofhealthlabelingasthecategoriesusedhavedifferentlevelsandlimits,eg ,FlammableintheUSAisnotautomaticallyconsideredasFlammableintheEU

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®productsbeganshippinginNorthAmericawithnewhealthandsafetylabelsasaresultofactionsurroundingCalifornia’sSafeDrinkingWaterandToxicEnforcementActof1986(commonlyknownasProposition65) Theactwasintendedtopreventanyonefromdischargingmaterialsthatareknowntocausecancerorreproductivetoxicity,andthatcouldcontaminatedrinkingwater Enforcementisachievedthroughlitigation,withaprovisionthatallowsforanyonetosueacompanythatmightinsomewayviolatetheact

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In1998,anumberofartmaterialmanufacturersreceiveda“Sixty-DayNoticeofIntenttoSue”forviolationsofProposition65 Theproductscitedwerematerialsthathavebeenevaluatedanddeemedsafebyaboardcertifiedtoxicologist,andthataresubjecttoreviewundertheFederalLabelingofHazardousArtMaterialsAct(LHAMA),anactthatis,infact,morethoroughthanProposition65 AfterconsultingwiththeArtandCreativeMaterialsInstitute(ACMI),allpartieswereassuredthatanyexposurelevelsintheseproductswerebelowthelevelsofriskasdefinedbyProposition65 However,itwasdeterminedthatitwouldbefarlesscostlyandlessdamagingtoenterintoasettlementofthesuitratherthantoengageinprotractedlitigation

AprovisionofthesettlementstatesthatanyproductsthatincludeelementsconsideredhazardousunderProposition65mustbelabeledaccordingly Asaresult,artists’colorscontainingcadmiumandleadarerequiredtohavespeciallabeling Forexample,thelabelsforcadmium-containingproductsread:

DONOTSPRAYAPPLY Thisproductcontainscadmium,achemicalknowtotheStateofCaliforniatocausecancerbymeansofinhalation

ZInC oxIde

ZincOxide(ZnO)isthepigmentusedintheproductionofZincWhite Thispigmentcontainsasatraceelement,atinyamountofleadconsistingof1partleadpermillionotherparts(1ppm)

In1978,theUSConsumerProductSafetyCommission(CPSC)bannedpaint(aswellastoyspaintedwithpaint)thatcontainleadinexcess0 06%byweight Bycomparison,a1ppmtraceamountofleadintheZincOxideusedinLiquitex®pigmentstranslatesto0 0001% TheCPSCrecognizesthatleadshowsupintinyamountsinmanycompounds,andthatunderaverysmallthreshold,itspresenceisconsideredinconsequential ForthepigmentsusedbyLiquitex®toapproachtheleveldeemedhazardousbytheCPSC,theywouldrequireatleast500timesmoreleadthantheydo Infact,Liquitex®usesZincOxidewithlowerleadcontentthanthepharmaceuticalZincapprovedbytheFDAforeverydayuseinmakeup Thefinalproduct,atwellunder1ppmlead,fallsbelowwhatisconsideredtobethedetectablethreshold(5ppm)byamajorhealthcenter(Kirby)

hoW safe are the produCts?

Usingartandcraftproductsissaferthaneverbefore Overthelastdecades,newgenerationsofpigments,vehicles,adhesives,andotherrawmaterialshavebeenselected,notonlyfortheirpotentialtoimprovetheperformanceoffinishedproduct,butalsofortheirnon-toxicity And,intheinterestofconsumersafety,wehavealwaysbeenfullycommittedtoopendisclosureregardingthesafeuseofourproducts Ourpriorityissafety YoucanuseandenjoyLiquitex®productswithfullconfidencethatweselectourrawmaterials,andformulateourproductstorepresentaslittlehazardaspossible Andfortheproductsthatcontainapotentialhazard,ourliteratureandlabelsofferthemostup-to-datehealthandsafetyinformationpossible


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dIsposal InformatIon: us enVIronmental proteCtIon aGenCy (epa) soluBIlIty testInG data

Whilethevastmajorityofproductsusedinyourstudioareinertandinnocuous—therearesomethatrequirespecialattention Andallmaterialsshouldbeusedwithrespect

Beginningin1999,theUnitedStatesEnvironmentalProtectionAgency(EPA)beganreviewingthedisposalproceduresusedbyuniversitiesandcolleges Becauseofthepigmentsandsolventscommonlyused,artdepartmentswereincludedinthereview

Herearesomeissues,broughttolightbytheEPA’sinterestinschoolenvirons,thatareworthreporting:

•TheEnvironmentalProtectionAgency(EPA)hasidentifiedeightmetals,orelements,thathavethepotentialtobeahealthconcern Thoseare:arsenic,barium,cadmium,chromium,lead,mercury,selenium,andsilver Theseelements,the“RCRA8,”arecloselymonitoredbytheagency Andsomeofthemarefoundinpigmentsusedinthemanufactureofartmaterials

•Onceproductscontainingthosemetalshavebeenidentified,thesolubilityofthemetalswithintheseproductshastobemeasured Theseelementsposeagreaterriskifitcanbeabsorbedintothehumansystem,ortheenvironment Ifit’slargelyinsoluble,thenitposesfarlessconcern Asaresult,theEPAhasidentifiedcertainsolubilitylevels,belowwhichthepigmentorproductisnotconsideredtobehazardouswaste However,abovethislevel,theproductrequiresspecialdisposalprovisions

•Solubilityistestedthroughthe“ToxicityCharacteristicLeachingProcedure”(TCLP) TCLPtestingdetermineshowmuchofagivenmetalgoesintosolutionwithinacarefullymonitoredacidicenvironment Thelimitsforleadandchromiumare5mg/l IfthesolubilityoftheelementislessthantheEPAlimit,theproductisnotconsideredtorequirespecialtreatment

•Inresponsetotherequestfromamajoruniversity,solubilitytestingwasperformedonallLiquitex®productsthatcontainanyoftheRCRA8metals Asaresult,collegesanduniversitiescanbebetterpreparedtoselectandmanagethematerialsbeingusedinstudios

•ThevastmajorityofLiquitex®productshavebeenshowntoincludenoneoftheRCRA8metals Ofthefewthatdid,thesolubilitylevelsofalmostallofthosewerewellbelowtheEPAlimits AstatementofTCLPproductanalysisfollows

Ifspecificsolubilityfindingsandnumericresultsarerequired,pleasecontact:DirectorofCommunicationsLiquitex®,POBox246,Piscataway,NJ08855


111110 l i q u i t e x ® / t h e A c r y l i c b o o k l i q u i t e x ® / t h e A c r y l i c b o o k 111110 l i q u i t e x ® / t h e A c r y l i c b o 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”metalsweresubmittedtoQCLaboratories(Southhampton,PA)forextractionanalysis Theresultsareasfollows:

Allcolorscontaining“RCRA8”metalsintheLiquitex®HeavyBodyandSofyBodyProfessionalArtistColorsweretested Withtheexceptionofthetwocolorslistedbelow,allcolorswereproventoshowTCLPsolubilitywithinthelimitsrequiredbytheEPAforclassificationasanon-hazardouswaste

ThecolorsthatexceededtheEPAsolubilitylimitsforChromium(5 0mg/l)areasfollows:

• Liquitex®CobaltGreen(HeavyBodyandSoftBodyProfessionalArtistColors)Containschromium

• Liquitex®CobaltTurquoise(HeavyBodyandSoftBodyProfessionalArtistColors)Containschromium

CertificationstatementsareavailableregardingthetestresultsforcadmiumpigmentsusedinthemanufactureofSoftBodyandHeavyBodyArtistColorranges ThestatementsconfirmthatallcadmiumsusedinLiquitex®ProfessionalArtistcolorrangesexhibitsolubilitywellbelowtheEPAlimits

safe studIo tIps(adaptedfrom“WhatEveryArtistNeedstoKnowAboutPaintsandColors,”byDavidPyle,

KrausePublications,©2000,withpermissionfromtheauthor)

Whenworking:• Alwaysmakesurethatthere'splentyoffreshairandventilation,particularlywhen

workingwithsolvents

• Ifsprayapplyinganyproducts,wearanapprovedmask Aspraybooth,or,evenbetter,anextractionsystem,ventedtotheoutsideisrecommended

• Ifworkingwithpowderedpigment,theaboveprovisionsforventilationareequallyimportant

• Alwayskeepallmaterials,especiallysolvents,tightlysealed Thismeanskeepingthethreadsonlidsandjarswipedclean,toensureabettersealwhenclosed

•Artmaterialsshouldneverbeexposedtoheatsourcesortonakedflame

• Donoteat,drinkorsmokewhenworking Youneverknowwhatmayenduponyourfingers,yourfood,oryourcigarette,andthengetswallowedinadvertently

•Avoidskincontact,particularlywithsolvents Don'tpaintdirectlywithyourfingers

• Don'twashorrinsebrushesinthepalmofyourhand Doingso,particularlyifladenwithsolvent,isaparticularlyefficientmethodfordrivingpigmentintoandthroughyourskin


111110 l i q u i t e x ® / t h e A c r y l i c b o o k l i q u i t e x ® / t h e A c r y l i c b o o k 111110 l i q u i t e x ® / t h e A c r y l i c b o 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 )

• Whenwashingbrushesorpalettesorothertools First,wipethemfreeofcolorwithapapertowel Ifusingstiffbrusheswiththickcolor,likeoilsoracrylics,anoldtoothbrushworkswellforscrapingfreeexcesscolor Allowtheproductonthetoweltodrycompletelybeforedisposal

• Ifworkinginwatercolororacrylic,rinsewithwater

•Washthebrushwithaconditioningsoap

•Neverstorebrushesrestinginacontainer,head,ortuft,down

• Donotpointyourbrushesinyourmouth Swirlthebrushinacupofwater,orsolvent,tocheckthepoint

•Excesssolventscanbedisposedofatyourlocalrecyclingcenter

• Asasafeguardforgroundwater,donotdisposeofexcessoiloracryliccolororsolventdownthesink Instead,usethefollowingguidelines:

› Whenfinishedpaintingwithacryliccolors,allowwastepaintandpapertowelstofullydrybeforedisposal Why?Becausethedriedpolymervehiclewillprovidesomecontainmentfortheincludedpigment,minimizingtheriskofsolubilityinlandfillsandwastewater

› Lead-basedcolors,oranysolventsusedwithlead-basedcolors,shouldneverbedisposedofinhouseholdtrashordownthedrain

› Fordisposalrecommendationsandregulationspertainingtoallartmaterials,aswellasmoretoxicsolvents,aerosolcans,andhighlytoxicpigments(likelead-basedcolors),visitthewebsitefortheCenterforSafetyintheArtsatNYFA,at:www artswire org:70/1/csa/

StreetAddress:155AvenueoftheAmericas,14thFloor,NewYork,NY,10013

• Ifpaintorsolventissomehowsplashedinyoureyes,flushimmediatelyandthoroughlywithcoldwater

•Cleanupallspillsimmediately

• Unlessspecificallylabeledassafeforchildren'suse,keepartists'materialsawayfromchildren Becauseoflessersizeandbodyweight,youngstersaresubjecttogreaterriskwiththeseproductsthanadults

Washyourhandswhenyou'redone Wipeanycolororexcessmaterialsfromyourhandswithapapertowel Agoodsoaporhandcleanershouldbeperfectlyadequateforathoroughcleansing

reference

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# 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

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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

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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)

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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)

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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)

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n o t e s

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Painting Manual :: 2007 acrylic book

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