Breaks water tension to improve flow, absorbancy and blending of any water based paint, ink or dye and minimizes brush strokes. Use with Liquitex Soft Body color to create very fluid washes without hard edges. Great for staining effects on raw canvas.

Attributes

• For all acrylic paints and mediums.
• Use in conjunction with any acrylic medium or color when increased flow and absorption and decreased film tension and friction are important.
• A flow enhancer that improves the flow, absorption and blending of any water-soluble paint (i.e. acrylic paint), medium, ink or dye.
• Minimizes brush marks by reducing friction of paint application.
• Does not contain binder. Over thinning of acrylic paint with Flow-AidTM and applying to a non-absorbent surface (i.e. gessoed canvas) may result in poor adhesion. Always make a test piece for your particular application and surface on non-absorbent surfaces, will increase the fluidity and open (drying) time of the paint.
• On absorbent surfaces, will act as a stain, dye or watercolor.

Directions

• Flow-Aid™ is a concentrate. Dilute with water before mixing into paint. Distilled water is best, since quality of tap water varies.
• Minimum dilution: 1 part Flow-Aid to 10 parts distilled water to achieve Flow-Aid Water.
• Normal dilution: 1 part Flow-Aid to 20 parts distilled water to achieve Flow-Aid Water.
• Do not use undiluted. Using undiluted may result in poor paint adhesion, cause paint to crack, remain tacky and become water sensitive.
• Do not shake or rapidly stir. This will increase foaming of Flow-Aid . Wait until foaming has subsided before using.
• Absorbent surfaces: Use as much Flow-Aid as necessary. The Flow-Aid Water/paint mixture will be absorbed by the support.
• Mix Flow-Aid Water into water based paint. Do not mix Flow-Aid with turpentine or oil paint.
• Do not use Flow-Aid in marbling, as this technique requires that the surface tension of the water film be maintained.

Application

• Refer to the Acrylic Book for the following techniques: Acrylic Sheets: Applications, Acrylic Watercolor - BrushworkAirbrushing, Brushwork: - Blending (Wet into Wet), Fabric Painting: Dying, Fabric Painting and Liquitex Products, Glazing: Mediums, Glazing: Mixing and Thinning and Transferring Printed Images to Artwork
• Liquitex® Paint Additives are similar to acrylic mediums in that they are mixed into acrylic paint and mediums to change consistency, thickness, transparency, sheen, drying time and absorption rate. However, they are different in that they do not contain acrylic polymer emulsion and therefore have no binding qualities inherent in them.
  

Attributes

• Heavy Body
• A translucent white gel of high density and high solids, that economically extends the volume of Heavy Body Artist Color without changing its heavy body.
• Add up to 50% by volume, to double amount of paint and retain color position.
• If more than 50% is added, it acts as a very weak tinting white
• Maintains the opacity of the color better than using a clear gel medium
• Dries to a matte finish, giving colors a matte sheen and gouache look

Application

Running out of color during painting
Use when running out of a mixed Heavy Body Artist Color while painting. When you have reached the halfway point of painting the specific area, determine if you have enough paint to finish. If not, add an equal amount of Ultra Matte Gel to the color enabling you to finish painting without remixing. The color and opacity will be unchanged, but the color may lighten (higher value).

Underpainting
Mix into Heavy Body Artist Color during initial underpainting to double amount of color.

Excellent for retaining brush marks while slowing the drying time and adding body to the paint. Mix with transparent colors for impasto glazes of great depth and brilliance. Excellent for transferring printed images.

Attributes

• Dries to a gloss finish.
• Viscosity and body similar to Heavy Body Artist Color.
• Translucent when wet, transparent (clear) to translucent when dry. Thicker applications result in less transparent dry medium films.
• Ideal medium to mix with Heavy Body Acrylic Color to extend paint, increase the brilliance and transparency of color, without changing the thickness of the paint.
• Mix with Heavy Body Artist Color to obtain paint similar in color depth to oil paint.

Application

• Refer to the Acrylic Book for the following techniques: Acrylic Sheets, Collage, Glazing, Transferring Printed Images, Silk-screen, Brushwork - Blending, Brushwork - Impasto.

As An Extender:

• Mix with Heavy Body Artist Color to extend volume and increase transparency, while maintaining paint viscosity.
• Mix with Soft Body Artist Color to extend volume and increase transparency, while increasing paint viscosity.

As A Ground:

• Use as transparent ground for acrylic paint instead of gesso. Allows substrate to be seen. To prevent Substrate Induced Discoloration, wash cotton or linen canvas before use. Refer to Matte Medium: Application - Ground for SID definition.
• When applying Gloss Gel Medium to raw canvas, use adequate pressure to force the medium into the canvas weave to insure proper bonding between the gel and canvas.

Collage:

• Makes and excellent glue for collage and decoupage.

Powdered Pigments:

• Use as the binder for powdered pigments to make an inexpensive "student grade" Heavy Body (thick) gloss paint or achieve unusual paint films. Pigment must be compatible with acrylic emulsion.

Excellent for retaining brush marks while slowing the drying time and adding body to the paint. Mix with transparent colors for impasto glazes of great depth and brilliance. Excellent for transferring printed images.

Attributes

• Dries to a gloss finish.
• Viscosity and body similar to Heavy Body Artist Color.
• Translucent when wet, transparent (clear) to translucent when dry. Thicker applications result in less transparent dry medium films.
• Ideal medium to mix with Heavy Body Acrylic Color to extend paint, increase the brilliance and transparency of color, without changing the thickness of the paint.
• Mix with Heavy Body Artist Color to obtain paint similar in color depth to oil paint.

Application

• Refer to the Acrylic Book for the following techniques: Acrylic Sheets, Collage, Glazing, Transferring Printed Images, Silk-screen, Brushwork - Blending, Brushwork - Impasto.

As An Extender:

• Mix with Heavy Body Artist Color to extend volume and increase transparency, while maintaining paint viscosity.
• Mix with Soft Body Artist Color to extend volume and increase transparency, while increasing paint viscosity.

As A Ground:

• Use as transparent ground for acrylic paint instead of gesso. Allows substrate to be seen. To prevent Substrate Induced Discoloration, wash cotton or linen canvas before use. Refer to Matte Medium: Application - Ground for SID definition.
• When applying Gloss Gel Medium to raw canvas, use adequate pressure to force the medium into the canvas weave to insure proper bonding between the gel and canvas.

Collage:

• Makes and excellent glue for collage and decoupage.

Powdered Pigments:

• Use as the binder for powdered pigments to make an inexpensive "student grade" Heavy Body (thick) gloss paint or achieve unusual paint films. Pigment must be compatible with acrylic emulsion.

Excellent for retaining brush marks while slowing the drying time and adding body to the paint. Mix with transparent colors for impasto glazes of great depth and brilliance. Excellent for transferring printed images.

Attributes

• Dries to a gloss finish.
• Viscosity and body similar to Heavy Body Artist Color.
• Translucent when wet, transparent (clear) to translucent when dry. Thicker applications result in less transparent dry medium films.
• Ideal medium to mix with Heavy Body Acrylic Color to extend paint, increase the brilliance and transparency of color, without changing the thickness of the paint.
• Mix with Heavy Body Artist Color to obtain paint similar in color depth to oil paint.

Application

• Refer to the Acrylic Book for the following techniques: Acrylic Sheets, Collage, Glazing, Transferring Printed Images, Silk-screen, Brushwork - Blending, Brushwork - Impasto.

As An Extender:

• Mix with Heavy Body Artist Color to extend volume and increase transparency, while maintaining paint viscosity.
• Mix with Soft Body Artist Color to extend volume and increase transparency, while increasing paint viscosity.

As A Ground:

• Use as transparent ground for acrylic paint instead of gesso. Allows substrate to be seen. To prevent Substrate Induced Discoloration, wash cotton or linen canvas before use. Refer to Matte Medium: Application - Ground for SID definition.
• When applying Gloss Gel Medium to raw canvas, use adequate pressure to force the medium into the canvas weave to insure proper bonding between the gel and canvas.

Collage:

• Makes and excellent glue for collage and decoupage.

Powdered Pigments:

• Use as the binder for powdered pigments to make an inexpensive "student grade" Heavy Body (thick) gloss paint or achieve unusual paint films. Pigment must be compatible with acrylic emulsion.

Excellent for retaining brush marks while slowing the drying time and adding body to the paint. Mix with transparent colors for impasto glazes of great depth and brilliance. Excellent for transferring printed images.

Attributes

• Dries to a gloss finish.
• Viscosity and body similar to Heavy Body Artist Color.
• Translucent when wet, transparent (clear) to translucent when dry. Thicker applications result in less transparent dry medium films.
• Ideal medium to mix with Heavy Body Acrylic Color to extend paint, increase the brilliance and transparency of color, without changing the thickness of the paint.
• Mix with Heavy Body Artist Color to obtain paint similar in color depth to oil paint.

Application

• Refer to the Acrylic Book for the following techniques: Acrylic Sheets, Collage, Glazing, Transferring Printed Images, Silk-screen, Brushwork - Blending, Brushwork - Impasto.

As An Extender:

• Mix with Heavy Body Artist Color to extend volume and increase transparency, while maintaining paint viscosity.
• Mix with Soft Body Artist Color to extend volume and increase transparency, while increasing paint viscosity.

As A Ground:

• Use as transparent ground for acrylic paint instead of gesso. Allows substrate to be seen. To prevent Substrate Induced Discoloration, wash cotton or linen canvas before use. Refer to Matte Medium: Application - Ground for SID definition.
• When applying Gloss Gel Medium to raw canvas, use adequate pressure to force the medium into the canvas weave to insure proper bonding between the gel and canvas.

Collage:

• Makes and excellent glue for collage and decoupage.

Powdered Pigments:

• Use as the binder for powdered pigments to make an inexpensive "student grade" Heavy Body (thick) gloss paint or achieve unusual paint films. Pigment must be compatible with acrylic emulsion.

A very thick gel medium that extends working time and increases brilliance and transparency. Mix with acrylic paint to increase body and attain oil paint like consistency that holds brush or palette knife marks.

Attributes

• Extra Heavy Body.
• Extra heavy body medium of great density which dries to a transparent or translucent gloss finish.
• Mix with acrylic paint to increase body, density, viscosity and attain oil paint like consistency with brush or palette knife marks.
• Extends paint while increasing brilliance and transparency.
• Keeps paint workable longer than other gel mediums.

Application

• Refer to the Acrylic Book for the following techniques: Acrylic Sheets, Collage, Glazing, Transferring Printed Images, Silk-screen, Brushwork - Blending, Brushwork - Impasto.

As An Extender:

• Mix with Soft Body Artist Color and Heavy Body Artist Color to extend volume, increase transparency and increase color viscosity.

Collage:

• Makes and excellent glue for collage and decoupage.

As A Ground:

• Use as transparent ground for acrylic paint instead of gesso. Allows substrate to be seen. To prevent Substrate Induced Discoloration, wash cotton or linen canvas before use.

With Powdered Pigments:

• Use as the binder for powdered pigments to make an inexpensive "student grade" extra-heavy viscosity (thick) gloss paint. Pigments must be compatible with acrylic emulsion.

The workhorse of the Liquitex mediums range. Gloss Medium & Varnish in an all-purpose medium that performs two functions. It can be used as a varnish and/or a fluid gloss medium. It improves adhesion of paint film and increases color depth, intensity, and gloss. It can also be used as a non-removable varnish to protect the surface and establish an even gloss sheen.

Attributes

• Soft Body.
• All purpose medium, formulated to be mixed into all Liquitex acrylic paints and mediums.
• Mix into any acrylic paint to enhance the depth of color intensity, increase transparency, gloss, ease flow of paint and add flexibility and adhesion of paint film.
• Use as a non-removable varnish to protect painting and establish gloss sheen surface.
• Translucent when wet, transparent (clear) when dry.
• 100% acrylic polymer varnish. Water soluble when wet. Good chemical and water resistance.
• Dry to a non-tacky, hard, flexible surface that is resistant to retention of dirt.
• Resists discoloring (non-yellowing, non-fogging) due to humidity, heat and ultraviolet light.
• Depending upon substrate, allows moisture to pass through (breathable).
• Will not crack as surface expands and contracts during temperature and humidity changes. Applicable for any surface (flexible and inflexible) suitable for acrylic paint and mediums, such as canvas, paper, wood, Plexiglas, etc.
• Not for use over oil paint.

Application

• Refer to the Acrylic Book for the following techniques: Acrylic Sheets, Airbrushing, Brushwork, Collage, Glazing, Murals and Transferring Printed Images. For best varnishing use Liquitex Gloss Varnish for flexible surfaces.

APPLICATION AS A MEDIUM

As An Extender:

• Mix with Soft Body Concentrated Artist Color to extend volume and increase transparency, while maintaining paint viscosity.
• Mix with Heavy Body Artist Color to extend volume and increase transparency, while decreasing paint viscosity.

As A Fixative:

• Use as a fixative over artwork (acrylic paint, pastel, graphite, chalk) to increase gloss or shine. Mix 1 part Gloss Medium & Varnish to 1 part distilled water. Apply with atomizer or airbrush.

As a Binder / Adhesive:

• Powdered pigments or aggregates may be mixed into Gloss Medium & Varnish, however they must be compatible with acrylics.
• Collage material may be glued using Gloss Medium & Varnish as a liquid glue.

As A Ground:

• Use as transparent ground for acrylic paint instead of gesso. Allows substrate to be seen. To prevent Substrate Induced Discoloration, wash cotton or linen canvas before use.

With Powdered Pigments:

• Use as a binder with powdered pigments to make an inexpensive student grade Soft Body gloss paint.

APPLICATION AS A VARNISH

• Gloss Varnish for flexible surfaces is recommended as the best varnish for acrylic paintings.
• Apply Gloss Medium and Varnish as a final permanent varnish over dry acrylic paint.
• Varnish surface and environment must be clean, dry and dust free.
• Acrylic paintings must be completely dried and cured for: 48-72 hours before varnishing.
• Dilute Gloss Medium and Varnish up to 20% for better brushing and leveling.
• Application may be done by brush or spray. Generally a sprayed application will be thinner, smoother and more even. Rolling or sponging application is not recommended.
• Caution: Acrylic paints and mediums become increasingly brittle in cold weather. Do not apply below 60 degrees.

Brush and Paint Pad Application

1. Use a wide, soft hair brush or paint pad (vacuum pad prior to use to remove lint). Size of area to be varnished will determine the size of the applicator. The smaller the surface area, the narrower the brush. Generally, a 1-4" flat brush is used.
2. Apply varnish in 1-3 thin coats, rather than 1 thick coat. A thick coat will take longer to dry, may dry cloudy, may drip or sag during application and has a greater chance of showing brush strokes when dry.
3. Horizontal surface application is best with less chance of varnish running. After varnishing, the surface should be shielded with a protective "tent". This will prevent any dust or airborne particles from settling into varnish as it dries
4. Apply varnish in slightly overlapping pattern that covers entire artwork. Apply in horizontal and vertical brush strokes, so that entire area is evenly coated.
5. Do not rework areas you might miss, as the brush could pick up partially dried varnish and cause clouding. If areas are missed, wait until the varnish is dry and apply another coat.
6. When applying Liquitex Permanent Matte Varnish or Satin Permanent Varnish, apply no more than 1-2 thin coats. A thick application may result in cloudiness when dry. If more than 2 coats are desired, first varnish with Gloss Medium & Varnish until desired thickness is achieved, then final varnish with matte or satin varnish.

Spray Application

• Refer to Techniques and search on "Airbrushing" for more detailed information.
• Most even application method.
• Use for textured surfaces (thick impasto, thick textures), where brush application may result in foaming and fragile surfaces (watercolor, tempera, graphite, pastel, gouache), where brush application may disrupt drawing or painted surface.

1. Select air pressure (PSI) depending on air gun used and viscosity of varnish. Greater PSI permits thicker varnish to be sprayed, but may affect fragile surfaces.
2. 2-3 light even coats are better than 1 thick coat.
3. Spray a continuous film by moving the spray gun in a smooth motion from one side of the painting to the other. First coat horizontal, second coat, third coat horizontal, etc.
4. During spray application, maintain same distance across the surface of the artwork. Move your body as well as your arm to avoid "arching" motion and uneven application.

Varnish Thinning

• Thinning increases penetration and can make it easier to apply varnish.
• Over thinning may result in weak varnish film, poor adhesion, running and soaking into substrate.
• You may thin Gloss Medium & Varnish with water up to 25% for better flow, leveling and for spray applications.
• Thin with small amount of Flow-AidTM/water to reduce brush marks or spray apply. Refer to Liquitex Paint Additives: Flow-Aid Flow Enhancer.

Varnish Removal

• Not removable. Do not attempt to remove these varnishes with harsh solvents.

The workhorse of the Liquitex mediums range. Gloss Medium & Varnish in an all-purpose medium that performs two functions. It can be used as a varnish and/or a fluid gloss medium. It improves adhesion of paint film and increases color depth, intensity, and gloss. It can also be used as a non-removable varnish to protect the surface and establish an even gloss sheen.

Attributes

• Soft Body.
• All purpose medium, formulated to be mixed into all Liquitex acrylic paints and mediums.
• Mix into any acrylic paint to enhance the depth of color intensity, increase transparency, gloss, ease flow of paint and add flexibility and adhesion of paint film.
• Use as a non-removable varnish to protect painting and establish gloss sheen surface.
• Translucent when wet, transparent (clear) when dry.
• 100% acrylic polymer varnish. Water soluble when wet. Good chemical and water resistance.
• Dry to a non-tacky, hard, flexible surface that is resistant to retention of dirt.
• Resists discoloring (non-yellowing, non-fogging) due to humidity, heat and ultraviolet light.
• Depending upon substrate, allows moisture to pass through (breathable).
• Will not crack as surface expands and contracts during temperature and humidity changes. Applicable for any surface (flexible and inflexible) suitable for acrylic paint and mediums, such as canvas, paper, wood, Plexiglas, etc.
• Not for use over oil paint.

Application

• Refer to the Acrylic Book for the following techniques: Acrylic Sheets, Airbrushing, Brushwork, Collage, Glazing, Murals and Transferring Printed Images. For best varnishing use Liquitex Gloss Varnish for flexible surfaces.

APPLICATION AS A MEDIUM

As An Extender:

• Mix with Soft Body Concentrated Artist Color to extend volume and increase transparency, while maintaining paint viscosity.
• Mix with Heavy Body Artist Color to extend volume and increase transparency, while decreasing paint viscosity.

As A Fixative:

• Use as a fixative over artwork (acrylic paint, pastel, graphite, chalk) to increase gloss or shine. Mix 1 part Gloss Medium & Varnish to 1 part distilled water. Apply with atomizer or airbrush.

As a Binder / Adhesive:

• Powdered pigments or aggregates may be mixed into Gloss Medium & Varnish, however they must be compatible with acrylics.
• Collage material may be glued using Gloss Medium & Varnish as a liquid glue.

As A Ground:

• Use as transparent ground for acrylic paint instead of gesso. Allows substrate to be seen. To prevent Substrate Induced Discoloration, wash cotton or linen canvas before use.

With Powdered Pigments:

• Use as a binder with powdered pigments to make an inexpensive student grade Soft Body gloss paint.

APPLICATION AS A VARNISH

• Gloss Varnish for flexible surfaces is recommended as the best varnish for acrylic paintings.
• Apply Gloss Medium and Varnish as a final permanent varnish over dry acrylic paint.
• Varnish surface and environment must be clean, dry and dust free.
• Acrylic paintings must be completely dried and cured for: 48-72 hours before varnishing.
• Dilute Gloss Medium and Varnish up to 20% for better brushing and leveling.
• Application may be done by brush or spray. Generally a sprayed application will be thinner, smoother and more even. Rolling or sponging application is not recommended.
• Caution: Acrylic paints and mediums become increasingly brittle in cold weather. Do not apply below 60 degrees.

Brush and Paint Pad Application

1. Use a wide, soft hair brush or paint pad (vacuum pad prior to use to remove lint). Size of area to be varnished will determine the size of the applicator. The smaller the surface area, the narrower the brush. Generally, a 1-4" flat brush is used.
2. Apply varnish in 1-3 thin coats, rather than 1 thick coat. A thick coat will take longer to dry, may dry cloudy, may drip or sag during application and has a greater chance of showing brush strokes when dry.
3. Horizontal surface application is best with less chance of varnish running. After varnishing, the surface should be shielded with a protective "tent". This will prevent any dust or airborne particles from settling into varnish as it dries
4. Apply varnish in slightly overlapping pattern that covers entire artwork. Apply in horizontal and vertical brush strokes, so that entire area is evenly coated.
5. Do not rework areas you might miss, as the brush could pick up partially dried varnish and cause clouding. If areas are missed, wait until the varnish is dry and apply another coat.
6. When applying Liquitex Permanent Matte Varnish or Satin Permanent Varnish, apply no more than 1-2 thin coats. A thick application may result in cloudiness when dry. If more than 2 coats are desired, first varnish with Gloss Medium & Varnish until desired thickness is achieved, then final varnish with matte or satin varnish.

Spray Application

• Refer to Techniques and search on "Airbrushing" for more detailed information.
• Most even application method.
• Use for textured surfaces (thick impasto, thick textures), where brush application may result in foaming and fragile surfaces (watercolor, tempera, graphite, pastel, gouache), where brush application may disrupt drawing or painted surface.

1. Select air pressure (PSI) depending on air gun used and viscosity of varnish. Greater PSI permits thicker varnish to be sprayed, but may affect fragile surfaces.
2. 2-3 light even coats are better than 1 thick coat.
3. Spray a continuous film by moving the spray gun in a smooth motion from one side of the painting to the other. First coat horizontal, second coat, third coat horizontal, etc.
4. During spray application, maintain same distance across the surface of the artwork. Move your body as well as your arm to avoid "arching" motion and uneven application.

Varnish Thinning

• Thinning increases penetration and can make it easier to apply varnish.
• Over thinning may result in weak varnish film, poor adhesion, running and soaking into substrate.
• You may thin Gloss Medium & Varnish with water up to 25% for better flow, leveling and for spray applications.
• Thin with small amount of Flow-AidTM/water to reduce brush marks or spray apply. Refer to Liquitex Paint Additives: Flow-Aid Flow Enhancer.

Varnish Removal

• Not removable. Do not attempt to remove these varnishes with harsh solvents.

The workhorse of the Liquitex mediums range. Gloss Medium & Varnish in an all-purpose medium that performs two functions. It can be used as a varnish and/or a fluid gloss medium. It improves adhesion of paint film and increases color depth, intensity, and gloss. It can also be used as a non-removable varnish to protect the surface and establish an even gloss sheen.

Attributes

• Soft Body.
• All purpose medium, formulated to be mixed into all Liquitex acrylic paints and mediums.
• Mix into any acrylic paint to enhance the depth of color intensity, increase transparency, gloss, ease flow of paint and add flexibility and adhesion of paint film.
• Use as a non-removable varnish to protect painting and establish gloss sheen surface.
• Translucent when wet, transparent (clear) when dry.
• 100% acrylic polymer varnish. Water soluble when wet. Good chemical and water resistance.
• Dry to a non-tacky, hard, flexible surface that is resistant to retention of dirt.
• Resists discoloring (non-yellowing, non-fogging) due to humidity, heat and ultraviolet light.
• Depending upon substrate, allows moisture to pass through (breathable).
• Will not crack as surface expands and contracts during temperature and humidity changes. Applicable for any surface (flexible and inflexible) suitable for acrylic paint and mediums, such as canvas, paper, wood, Plexiglas, etc.
• Not for use over oil paint.

Application

• Refer to the Acrylic Book for the following techniques: Acrylic Sheets, Airbrushing, Brushwork, Collage, Glazing, Murals and Transferring Printed Images. For best varnishing use Liquitex Gloss Varnish for flexible surfaces.

APPLICATION AS A MEDIUM

As An Extender:

• Mix with Soft Body Concentrated Artist Color to extend volume and increase transparency, while maintaining paint viscosity.
• Mix with Heavy Body Artist Color to extend volume and increase transparency, while decreasing paint viscosity.

As A Fixative:

• Use as a fixative over artwork (acrylic paint, pastel, graphite, chalk) to increase gloss or shine. Mix 1 part Gloss Medium & Varnish to 1 part distilled water. Apply with atomizer or airbrush.

As a Binder / Adhesive:

• Powdered pigments or aggregates may be mixed into Gloss Medium & Varnish, however they must be compatible with acrylics.
• Collage material may be glued using Gloss Medium & Varnish as a liquid glue.

As A Ground:

• Use as transparent ground for acrylic paint instead of gesso. Allows substrate to be seen. To prevent Substrate Induced Discoloration, wash cotton or linen canvas before use.

With Powdered Pigments:

• Use as a binder with powdered pigments to make an inexpensive student grade Soft Body gloss paint.

APPLICATION AS A VARNISH

• Gloss Varnish for flexible surfaces is recommended as the best varnish for acrylic paintings.
• Apply Gloss Medium and Varnish as a final permanent varnish over dry acrylic paint.
• Varnish surface and environment must be clean, dry and dust free.
• Acrylic paintings must be completely dried and cured for: 48-72 hours before varnishing.
• Dilute Gloss Medium and Varnish up to 20% for better brushing and leveling.
• Application may be done by brush or spray. Generally a sprayed application will be thinner, smoother and more even. Rolling or sponging application is not recommended.
• Caution: Acrylic paints and mediums become increasingly brittle in cold weather. Do not apply below 60 degrees.

Brush and Paint Pad Application

1. Use a wide, soft hair brush or paint pad (vacuum pad prior to use to remove lint). Size of area to be varnished will determine the size of the applicator. The smaller the surface area, the narrower the brush. Generally, a 1-4" flat brush is used.
2. Apply varnish in 1-3 thin coats, rather than 1 thick coat. A thick coat will take longer to dry, may dry cloudy, may drip or sag during application and has a greater chance of showing brush strokes when dry.
3. Horizontal surface application is best with less chance of varnish running. After varnishing, the surface should be shielded with a protective "tent". This will prevent any dust or airborne particles from settling into varnish as it dries
4. Apply varnish in slightly overlapping pattern that covers entire artwork. Apply in horizontal and vertical brush strokes, so that entire area is evenly coated.
5. Do not rework areas you might miss, as the brush could pick up partially dried varnish and cause clouding. If areas are missed, wait until the varnish is dry and apply another coat.
6. When applying Liquitex Permanent Matte Varnish or Satin Permanent Varnish, apply no more than 1-2 thin coats. A thick application may result in cloudiness when dry. If more than 2 coats are desired, first varnish with Gloss Medium & Varnish until desired thickness is achieved, then final varnish with matte or satin varnish.

Spray Application

• Refer to Techniques and search on "Airbrushing" for more detailed information.
• Most even application method.
• Use for textured surfaces (thick impasto, thick textures), where brush application may result in foaming and fragile surfaces (watercolor, tempera, graphite, pastel, gouache), where brush application may disrupt drawing or painted surface.

1. Select air pressure (PSI) depending on air gun used and viscosity of varnish. Greater PSI permits thicker varnish to be sprayed, but may affect fragile surfaces.
2. 2-3 light even coats are better than 1 thick coat.
3. Spray a continuous film by moving the spray gun in a smooth motion from one side of the painting to the other. First coat horizontal, second coat, third coat horizontal, etc.
4. During spray application, maintain same distance across the surface of the artwork. Move your body as well as your arm to avoid "arching" motion and uneven application.

Varnish Thinning

• Thinning increases penetration and can make it easier to apply varnish.
• Over thinning may result in weak varnish film, poor adhesion, running and soaking into substrate.
• You may thin Gloss Medium & Varnish with water up to 25% for better flow, leveling and for spray applications.
• Thin with small amount of Flow-AidTM/water to reduce brush marks or spray apply. Refer to Liquitex Paint Additives: Flow-Aid Flow Enhancer.

Varnish Removal

• Not removable. Do not attempt to remove these varnishes with harsh solvents.

The workhorse of the Liquitex mediums range. Gloss Medium & Varnish in an all-purpose medium that performs two functions. It can be used as a varnish and/or a fluid gloss medium. It improves adhesion of paint film and increases color depth, intensity, and gloss. It can also be used as a non-removable varnish to protect the surface and establish an even gloss sheen.

Attributes

• Soft Body.
• All purpose medium, formulated to be mixed into all Liquitex acrylic paints and mediums.
• Mix into any acrylic paint to enhance the depth of color intensity, increase transparency, gloss, ease flow of paint and add flexibility and adhesion of paint film.
• Use as a non-removable varnish to protect painting and establish gloss sheen surface.
• Translucent when wet, transparent (clear) when dry.
• 100% acrylic polymer varnish. Water soluble when wet. Good chemical and water resistance.
• Dry to a non-tacky, hard, flexible surface that is resistant to retention of dirt.
• Resists discoloring (non-yellowing, non-fogging) due to humidity, heat and ultraviolet light.
• Depending upon substrate, allows moisture to pass through (breathable).
• Will not crack as surface expands and contracts during temperature and humidity changes. Applicable for any surface (flexible and inflexible) suitable for acrylic paint and mediums, such as canvas, paper, wood, Plexiglas, etc.
• Not for use over oil paint.

Application

• Refer to the Acrylic Book for the following techniques: Acrylic Sheets, Airbrushing, Brushwork, Collage, Glazing, Murals and Transferring Printed Images. For best varnishing use Liquitex Gloss Varnish for flexible surfaces.

APPLICATION AS A MEDIUM

As An Extender:

• Mix with Soft Body Concentrated Artist Color to extend volume and increase transparency, while maintaining paint viscosity.
• Mix with Heavy Body Artist Color to extend volume and increase transparency, while decreasing paint viscosity.

As A Fixative:

• Use as a fixative over artwork (acrylic paint, pastel, graphite, chalk) to increase gloss or shine. Mix 1 part Gloss Medium & Varnish to 1 part distilled water. Apply with atomizer or airbrush.

As a Binder / Adhesive:

• Powdered pigments or aggregates may be mixed into Gloss Medium & Varnish, however they must be compatible with acrylics.
• Collage material may be glued using Gloss Medium & Varnish as a liquid glue.

As A Ground:

• Use as transparent ground for acrylic paint instead of gesso. Allows substrate to be seen. To prevent Substrate Induced Discoloration, wash cotton or linen canvas before use.

With Powdered Pigments:

• Use as a binder with powdered pigments to make an inexpensive student grade Soft Body gloss paint.

APPLICATION AS A VARNISH

• Gloss Varnish for flexible surfaces is recommended as the best varnish for acrylic paintings.
• Apply Gloss Medium and Varnish as a final permanent varnish over dry acrylic paint.
• Varnish surface and environment must be clean, dry and dust free.
• Acrylic paintings must be completely dried and cured for: 48-72 hours before varnishing.
• Dilute Gloss Medium and Varnish up to 20% for better brushing and leveling.
• Application may be done by brush or spray. Generally a sprayed application will be thinner, smoother and more even. Rolling or sponging application is not recommended.
• Caution: Acrylic paints and mediums become increasingly brittle in cold weather. Do not apply below 60 degrees.

Brush and Paint Pad Application

1. Use a wide, soft hair brush or paint pad (vacuum pad prior to use to remove lint). Size of area to be varnished will determine the size of the applicator. The smaller the surface area, the narrower the brush. Generally, a 1-4" flat brush is used.
2. Apply varnish in 1-3 thin coats, rather than 1 thick coat. A thick coat will take longer to dry, may dry cloudy, may drip or sag during application and has a greater chance of showing brush strokes when dry.
3. Horizontal surface application is best with less chance of varnish running. After varnishing, the surface should be shielded with a protective "tent". This will prevent any dust or airborne particles from settling into varnish as it dries
4. Apply varnish in slightly overlapping pattern that covers entire artwork. Apply in horizontal and vertical brush strokes, so that entire area is evenly coated.
5. Do not rework areas you might miss, as the brush could pick up partially dried varnish and cause clouding. If areas are missed, wait until the varnish is dry and apply another coat.
6. When applying Liquitex Permanent Matte Varnish or Satin Permanent Varnish, apply no more than 1-2 thin coats. A thick application may result in cloudiness when dry. If more than 2 coats are desired, first varnish with Gloss Medium & Varnish until desired thickness is achieved, then final varnish with matte or satin varnish.

Spray Application

• Refer to Techniques and search on "Airbrushing" for more detailed information.
• Most even application method.
• Use for textured surfaces (thick impasto, thick textures), where brush application may result in foaming and fragile surfaces (watercolor, tempera, graphite, pastel, gouache), where brush application may disrupt drawing or painted surface.

1. Select air pressure (PSI) depending on air gun used and viscosity of varnish. Greater PSI permits thicker varnish to be sprayed, but may affect fragile surfaces.
2. 2-3 light even coats are better than 1 thick coat.
3. Spray a continuous film by moving the spray gun in a smooth motion from one side of the painting to the other. First coat horizontal, second coat, third coat horizontal, etc.
4. During spray application, maintain same distance across the surface of the artwork. Move your body as well as your arm to avoid "arching" motion and uneven application.

Varnish Thinning

• Thinning increases penetration and can make it easier to apply varnish.
• Over thinning may result in weak varnish film, poor adhesion, running and soaking into substrate.
• You may thin Gloss Medium & Varnish with water up to 25% for better flow, leveling and for spray applications.
• Thin with small amount of Flow-AidTM/water to reduce brush marks or spray apply. Refer to Liquitex Paint Additives: Flow-Aid Flow Enhancer.

Varnish Removal

• Not removable. Do not attempt to remove these varnishes with harsh solvents.

Adds richness to acrylic colors by creating a metallic/pearlescent effect. Dries translucent and will not oxidize. Can add shimmer or sparkle to a picture even in the smallest amount. Achieve the most dramatic effects when mixing with transparent colors. Try painting on top of any dry color for unique effects.

Attributes

• Soft Body
• Produces a range of iridescent or metallic colors when mixed into acrylic colors
• Opaque when wet, transparent - translucent when dry
• Will not oxidize.

Application

• Refer to Applications & Techniques Sections: Acrylic Sheets, Collage, Glazing and Transferring Printed Images
• Mix with small amounts of color, gradually adding more color until desired iridescent quality and transparency is achieved
• Transparent and translucent colors work best. Opaque colors can also be used.
• Color will become more transparent as percentage of medium increases
• Colors increase in their iridescent quality and become much more reflective upon drying
• For Mother of Pearl color, use directly from container
• For use on fabric, thin 50% with water.

Attributes

• Soft Body.
• Increases the volume of paint, while maintaining the opacity of the color it is mixed into.
• Economically doubles the volume of Soft Body Concentrated Artist Color by adding up to an equal amount (50%) of medium to color with little or no noticeable loss in opacity or change in hue.
• Opacity of colors mixed with Matte Opaque Extender Medium will be higher than if the color had been thinned to the same degree with any other medium except Modeling Paste.
• The degree to which the color can be extended will vary among the different pigments.
• When over 50% is added, Matte Opaque Extender can act as a weak tinting white, increasing the value of the original color approximately one level. Light colors will be affected less than dark colors.
• Colors mixed with Matte Opaque Extender Medium dry to a matte sheen.

Application

• Refer to the Acrylic Book for the following techniques: Collage and Murals.

Gouache

• Mix with opaque Soft Body Concentrated Artist Color for a matte sheen and gouache (opaque watercolor) look.
• These "gouache" colors are water resistant, flexible, lightfast and permanent when dry. Traditional gouache colors are not permanent and are susceptible to accidental re-wetting and must be well protected when finished.

Murals

• Mix into Soft Body Concentrated Artist Color for underpainting of murals to economically double the volume of paint. For top layers, use Lightfastness I colors without Extender Medium.

Running out of color during painting

• Use when running out of a Soft Body Concentrated Artist Color mixture while painting. When you have reached the halfway point of painting a specific area, determine if you have enough paint to finish. If not, add an equal amount of Matte Opaque Extender Medium to the color enabling you to finish painting without remixing. The color and opacity will be unchanged, but the color may lighten (higher value).

Underpainting

• Mix into Soft Body Concentrated Artist Color during initial underpainting to double amount of color. High pigment load and soft formula gives Soft Body Concentrated Artist Color three times the coverage of Heavy Body Artist Color.
  

A lightweight and airy preparation of marble dust and polymer emulsion specifically formulated to be used in applications where weight is a factor. Can be used to add body to paint and create pastel tints. Dries to a matte opaque white and can be mixed with acrylic color or over-painted. Recommended for used on rigid supports to avoid cracking.

Attributes

• Soft Body.
• A lightweight, airy, flexible, thick, sculptural gel specifically formulated to be used in thick applications where weight is a factor.
• Will not exhibit "mud cracking".
• Used alone, will dry to a matte opaque white that readily accepts staining if desired.

Application

• Apply with palette knife, trowel, paint brush, cake decorating tips, etc. Different tools produce different effects.
• Mix acrylic paint into Light Modeling Paste or let dry and paint on top.
• Mix with Gloss Medium & Varnish to produce textured glazes.
• Add Liquitex Gel Medium or Heavy Gel Medium when using additional aggregates (such as sand) to avoid brittleness.
• Varnish with care to avoid foaming or clouding. Spray apply if possible.

A thick gel that imparts a transulcent matte sheen when dry. Ideal for creating collages with heavier objects. Combine with Gloss Gel to create a customized satin finish.

Attributes

• Heavy Body.
• Same qualities as Gloss Gel Medium, except dries translucent with a satin/matte finish.
• Viscosity and body similar to Heavy Body Artist Color.
• Matte Gel Medium has greater adhesion than Gloss Gel Medium and Gloss Heavy Gel Medium.
• Translucent when wet, transparent when dry. Thicker applications result in less transparent dry medium films.
• Mix with Liquitex Heavy Body Artist Color to obtain paint similar in color depth to oil paint.
• Color mix will dry to a satin sheen.

Application

• Refer to Techniques: Collage, Glazing, Brushwork - Blending.

As An Extender

• Mix with Liquitex Heavy Body Artist Color to extend volume and increase translucency, while maintaining paint viscosity.
• Mix with Liquitex Soft Body Artist Color to extend volume and increase translucency, while increasing paint viscosity.

As A Ground

• Recommended as a translucent ground (size), for acrylic paint with excellent tooth and adhesion, instead of gesso. Will allow some color and texture of the support to show through. Use as a substitute size for the hide glue size traditionally used for oil paintings.
• To prevent Substrate Induced Discoloration (SID), wash cotton or linen canvas before use.
• Exterior Murals: If the support or wall is very rough, a coat of Matte Gel Medium should be brushed or toweled onto the surface prior to gesso application.
• Refer to Gloss Gel Medium: Techniques - Ground for more detailed information.

For Impasto Effects

• Mix with Liquitex Heavy Body Acrylic Color for impasto effects that dry to a matte sheen.

Collage

• Makes and excellent glue for collage and decoupage.

With Powdered Pigments

• Use as the binder for powdered pigments to make an inexpensive "student grade" Heavy Body (thick) matte paint. Pigment must be compatible with acrylic emulsion.

A thick gel that imparts a transulcent matte sheen when dry. Ideal for creating collages with heavier objects. Combine with Gloss Gel to create a customized satin finish.

Attributes

• Heavy Body.
• Same qualities as Gloss Gel Medium, except dries translucent with a satin/matte finish.
• Viscosity and body similar to Heavy Body Artist Color.
• Matte Gel Medium has greater adhesion than Gloss Gel Medium and Gloss Heavy Gel Medium.
• Translucent when wet, transparent when dry. Thicker applications result in less transparent dry medium films.
• Mix with Liquitex Heavy Body Artist Color to obtain paint similar in color depth to oil paint.
• Color mix will dry to a satin sheen.

Application

• Refer to Techniques: Collage, Glazing, Brushwork - Blending.

As An Extender

• Mix with Liquitex Heavy Body Artist Color to extend volume and increase translucency, while maintaining paint viscosity.
• Mix with Liquitex Soft Body Artist Color to extend volume and increase translucency, while increasing paint viscosity.

As A Ground

• Recommended as a translucent ground (size), for acrylic paint with excellent tooth and adhesion, instead of gesso. Will allow some color and texture of the support to show through. Use as a substitute size for the hide glue size traditionally used for oil paintings.
• To prevent Substrate Induced Discoloration (SID), wash cotton or linen canvas before use.
• Exterior Murals: If the support or wall is very rough, a coat of Matte Gel Medium should be brushed or toweled onto the surface prior to gesso application.
• Refer to Gloss Gel Medium: Techniques - Ground for more detailed information.

For Impasto Effects

• Mix with Liquitex Heavy Body Acrylic Color for impasto effects that dry to a matte sheen.

Collage

• Makes and excellent glue for collage and decoupage.

With Powdered Pigments

• Use as the binder for powdered pigments to make an inexpensive "student grade" Heavy Body (thick) matte paint. Pigment must be compatible with acrylic emulsion.

A thick gel that imparts a transulcent matte sheen when dry. Ideal for creating collages with heavier objects. Combine with Gloss Gel to create a customized satin finish.

Attributes

• Heavy Body.
• Same qualities as Gloss Gel Medium, except dries translucent with a satin/matte finish.
• Viscosity and body similar to Heavy Body Artist Color.
• Matte Gel Medium has greater adhesion than Gloss Gel Medium and Gloss Heavy Gel Medium.
• Translucent when wet, transparent when dry. Thicker applications result in less transparent dry medium films.
• Mix with Liquitex Heavy Body Artist Color to obtain paint similar in color depth to oil paint.
• Color mix will dry to a satin sheen.

Application

• Refer to Techniques: Collage, Glazing, Brushwork - Blending.

As An Extender

• Mix with Liquitex Heavy Body Artist Color to extend volume and increase translucency, while maintaining paint viscosity.
• Mix with Liquitex Soft Body Artist Color to extend volume and increase translucency, while increasing paint viscosity.

As A Ground

• Recommended as a translucent ground (size), for acrylic paint with excellent tooth and adhesion, instead of gesso. Will allow some color and texture of the support to show through. Use as a substitute size for the hide glue size traditionally used for oil paintings.
• To prevent Substrate Induced Discoloration (SID), wash cotton or linen canvas before use.
• Exterior Murals: If the support or wall is very rough, a coat of Matte Gel Medium should be brushed or toweled onto the surface prior to gesso application.
• Refer to Gloss Gel Medium: Techniques - Ground for more detailed information.

For Impasto Effects

• Mix with Liquitex Heavy Body Acrylic Color for impasto effects that dry to a matte sheen.

Collage

• Makes and excellent glue for collage and decoupage.

With Powdered Pigments

• Use as the binder for powdered pigments to make an inexpensive "student grade" Heavy Body (thick) matte paint. Pigment must be compatible with acrylic emulsion.

A thick gel that imparts a transulcent matte sheen when dry. Ideal for creating collages with heavier objects. Combine with Gloss Gel to create a customized satin finish.

Attributes

• Heavy Body.
• Same qualities as Gloss Gel Medium, except dries translucent with a satin/matte finish.
• Viscosity and body similar to Heavy Body Artist Color.
• Matte Gel Medium has greater adhesion than Gloss Gel Medium and Gloss Heavy Gel Medium.
• Translucent when wet, transparent when dry. Thicker applications result in less transparent dry medium films.
• Mix with Liquitex Heavy Body Artist Color to obtain paint similar in color depth to oil paint.
• Color mix will dry to a satin sheen.

Application

• Refer to Techniques: Collage, Glazing, Brushwork - Blending.

As An Extender

• Mix with Liquitex Heavy Body Artist Color to extend volume and increase translucency, while maintaining paint viscosity.
• Mix with Liquitex Soft Body Artist Color to extend volume and increase translucency, while increasing paint viscosity.

As A Ground

• Recommended as a translucent ground (size), for acrylic paint with excellent tooth and adhesion, instead of gesso. Will allow some color and texture of the support to show through. Use as a substitute size for the hide glue size traditionally used for oil paintings.
• To prevent Substrate Induced Discoloration (SID), wash cotton or linen canvas before use.
• Exterior Murals: If the support or wall is very rough, a coat of Matte Gel Medium should be brushed or toweled onto the surface prior to gesso application.
• Refer to Gloss Gel Medium: Techniques - Ground for more detailed information.

For Impasto Effects

• Mix with Liquitex Heavy Body Acrylic Color for impasto effects that dry to a matte sheen.

Collage

• Makes and excellent glue for collage and decoupage.

With Powdered Pigments

• Use as the binder for powdered pigments to make an inexpensive "student grade" Heavy Body (thick) matte paint. Pigment must be compatible with acrylic emulsion.

A thick gel that imparts a transulcent matte sheen when dry. Ideal for creating collages with heavier objects. Combine with Gloss Gel to create a customized satin finish.

Attributes

• Heavy Body.
• Same qualities as Gloss Gel Medium, except dries translucent with a satin/matte finish.
• Viscosity and body similar to Heavy Body Artist Color.
• Matte Gel Medium has greater adhesion than Gloss Gel Medium and Gloss Heavy Gel Medium.
• Translucent when wet, transparent when dry. Thicker applications result in less transparent dry medium films.
• Mix with Liquitex Heavy Body Artist Color to obtain paint similar in color depth to oil paint.
• Color mix will dry to a satin sheen.

Application

• Refer to Techniques: Collage, Glazing, Brushwork - Blending.

As An Extender

• Mix with Liquitex Heavy Body Artist Color to extend volume and increase translucency, while maintaining paint viscosity.
• Mix with Liquitex Soft Body Artist Color to extend volume and increase translucency, while increasing paint viscosity.

As A Ground

• Recommended as a translucent ground (size), for acrylic paint with excellent tooth and adhesion, instead of gesso. Will allow some color and texture of the support to show through. Use as a substitute size for the hide glue size traditionally used for oil paintings.
• To prevent Substrate Induced Discoloration (SID), wash cotton or linen canvas before use.
• Exterior Murals: If the support or wall is very rough, a coat of Matte Gel Medium should be brushed or toweled onto the surface prior to gesso application.
• Refer to Gloss Gel Medium: Techniques - Ground for more detailed information.

For Impasto Effects

• Mix with Liquitex Heavy Body Acrylic Color for impasto effects that dry to a matte sheen.

Collage

• Makes and excellent glue for collage and decoupage.

With Powdered Pigments

• Use as the binder for powdered pigments to make an inexpensive "student grade" Heavy Body (thick) matte paint. Pigment must be compatible with acrylic emulsion.

A very thick, matte, opaque preparation of marble dust and polymer emulsion used to build heavy textures on rigid surfaces. This product handles like clay and dries to a very hard stone-like surface. Can be mixed with acrylic color or over-painted when dry. Makes an excellent substrate for acrylic paint, oil paint, oil pastel, oil bars, watercolor, graphite, or dry pastel. Great for sculptural applications and may be sanded, carved, or drilled when dry. For use on rigid supports.

Attributes

• Extra Heavy Body and very opaque.
• A marble paste made of marble dust and 100% polymer emulsion.
• Used to build heavy textures on rigid supports and create three-dimensional forms.
• Dries to the hardness of stone. It can be sanded or carved when thoroughly dry.
• Can be handled like clay if the top of the container is removed and some of the water is allowed to slowly evaporate until it reaches a clay-like consistency.
• Adheres to any non-oily, absorbent surface.
• Drying too quickly causes mud cracking that is usually cosmetic, not structural.
• When mixed with acrylic colors will act as a weak tinting white, while increasing thickness and rigidity.
• Excellent substrate for acrylic paint, oil paint, oil pastel, oil bars, watercolor, graphite or dry pastel.

Directions

• Apply with knife, brush, cake decorating tools, etc.
• To prevent shrinkage cracks (mud cracking), dry slowly by covering loosely with plastic wrap. Apply less than 1/4" thick.
• Mix with acrylic colors to produce a colored tinted paste.
• When dry, Acrylic Modeling Paste may be painted with acrylic or oil colors.

Application

• Sculptural: Apply in thin layers allowing each layer to dry before applying next layer. If cracks appear, allow to dry and fill in with additional thin layer of Acrylic Modeling Paste.
• Rigid support: Use straight from container.
• Flexible support: Mix Acrylic Modeling Paste 50/50 with Gloss Gel Medium, Matte Gel Medium, Gloss Heavy Gel Medium, or Super Heavy Gel Medium.
• Ground: Apply a thin layer of Acrylic Modeling Paste to rigid surface (i.e. wood), using a palette knife, trowel or roller. Let dry, then sand smooth. Repeat if necessary.
• Absorbent ground: Mix 1 part Acrylic Modeling Paste with 3 parts Liquitex® Acrylic Gesso. Apply with trowel or roller. Let dry, then sand smooth. Repeat if necessary.
• Paper-Maché: Mix Acrylic Modeling Paste 50/50 with Liquitex Gloss Gel Medium, Matte Gel Medium or Gloss Heavy Gel Medium. Soak paper in this mixture.

A very thick, matte, opaque preparation of marble dust and polymer emulsion used to build heavy textures on rigid surfaces. This product handles like clay and dries to a very hard stone-like surface. Can be mixed with acrylic color or over-painted when dry. Makes an excellent substrate for acrylic paint, oil paint, oil pastel, oil bars, watercolor, graphite, or dry pastel. Great for sculptural applications and may be sanded, carved, or drilled when dry. For use on rigid supports.

Attributes

• Extra Heavy Body and very opaque.
• A marble paste made of marble dust and 100% polymer emulsion.
• Used to build heavy textures on rigid supports and create three-dimensional forms.
• Dries to the hardness of stone. It can be sanded or carved when thoroughly dry.
• Can be handled like clay if the top of the container is removed and some of the water is allowed to slowly evaporate until it reaches a clay-like consistency.
• Adheres to any non-oily, absorbent surface.
• Drying too quickly causes mud cracking that is usually cosmetic, not structural.
• When mixed with acrylic colors will act as a weak tinting white, while increasing thickness and rigidity.
• Excellent substrate for acrylic paint, oil paint, oil pastel, oil bars, watercolor, graphite or dry pastel.

Directions

• Apply with knife, brush, cake decorating tools, etc.
• To prevent shrinkage cracks (mud cracking), dry slowly by covering loosely with plastic wrap. Apply less than 1/4" thick.
• Mix with acrylic colors to produce a colored tinted paste.
• When dry, Acrylic Modeling Paste may be painted with acrylic or oil colors.

Application

• Sculptural: Apply in thin layers allowing each layer to dry before applying next layer. If cracks appear, allow to dry and fill in with additional thin layer of Acrylic Modeling Paste.
• Rigid support: Use straight from container.
• Flexible support: Mix Acrylic Modeling Paste 50/50 with Gloss Gel Medium, Matte Gel Medium, Gloss Heavy Gel Medium, or Super Heavy Gel Medium.
• Ground: Apply a thin layer of Acrylic Modeling Paste to rigid surface (i.e. wood), using a palette knife, trowel or roller. Let dry, then sand smooth. Repeat if necessary.
• Absorbent ground: Mix 1 part Acrylic Modeling Paste with 3 parts Liquitex® Acrylic Gesso. Apply with trowel or roller. Let dry, then sand smooth. Repeat if necessary.
• Paper-Maché: Mix Acrylic Modeling Paste 50/50 with Liquitex Gloss Gel Medium, Matte Gel Medium or Gloss Heavy Gel Medium. Soak paper in this mixture.

A very thick, matte, opaque preparation of marble dust and polymer emulsion used to build heavy textures on rigid surfaces. This product handles like clay and dries to a very hard stone-like surface. Can be mixed with acrylic color or over-painted when dry. Makes an excellent substrate for acrylic paint, oil paint, oil pastel, oil bars, watercolor, graphite, or dry pastel. Great for sculptural applications and may be sanded, carved, or drilled when dry. For use on rigid supports.

Attributes

• Extra Heavy Body and very opaque.
• A marble paste made of marble dust and 100% polymer emulsion.
• Used to build heavy textures on rigid supports and create three-dimensional forms.
• Dries to the hardness of stone. It can be sanded or carved when thoroughly dry.
• Can be handled like clay if the top of the container is removed and some of the water is allowed to slowly evaporate until it reaches a clay-like consistency.
• Adheres to any non-oily, absorbent surface.
• Drying too quickly causes mud cracking that is usually cosmetic, not structural.
• When mixed with acrylic colors will act as a weak tinting white, while increasing thickness and rigidity.
• Excellent substrate for acrylic paint, oil paint, oil pastel, oil bars, watercolor, graphite or dry pastel.

Directions

• Apply with knife, brush, cake decorating tools, etc.
• To prevent shrinkage cracks (mud cracking), dry slowly by covering loosely with plastic wrap. Apply less than 1/4" thick.
• Mix with acrylic colors to produce a colored tinted paste.
• When dry, Acrylic Modeling Paste may be painted with acrylic or oil colors.

Application

• Sculptural: Apply in thin layers allowing each layer to dry before applying next layer. If cracks appear, allow to dry and fill in with additional thin layer of Acrylic Modeling Paste.
• Rigid support: Use straight from container.
• Flexible support: Mix Acrylic Modeling Paste 50/50 with Gloss Gel Medium, Matte Gel Medium, Gloss Heavy Gel Medium, or Super Heavy Gel Medium.
• Ground: Apply a thin layer of Acrylic Modeling Paste to rigid surface (i.e. wood), using a palette knife, trowel or roller. Let dry, then sand smooth. Repeat if necessary.
• Absorbent ground: Mix 1 part Acrylic Modeling Paste with 3 parts Liquitex® Acrylic Gesso. Apply with trowel or roller. Let dry, then sand smooth. Repeat if necessary.
• Paper-Maché: Mix Acrylic Modeling Paste 50/50 with Liquitex Gloss Gel Medium, Matte Gel Medium or Gloss Heavy Gel Medium. Soak paper in this mixture.

A very thick, matte, opaque preparation of marble dust and polymer emulsion used to build heavy textures on rigid surfaces. This product handles like clay and dries to a very hard stone-like surface. Can be mixed with acrylic color or over-painted when dry. Makes an excellent substrate for acrylic paint, oil paint, oil pastel, oil bars, watercolor, graphite, or dry pastel. Great for sculptural applications and may be sanded, carved, or drilled when dry. For use on rigid supports.

Attributes

• Extra Heavy Body and very opaque.
• A marble paste made of marble dust and 100% polymer emulsion.
• Used to build heavy textures on rigid supports and create three-dimensional forms.
• Dries to the hardness of stone. It can be sanded or carved when thoroughly dry.
• Can be handled like clay if the top of the container is removed and some of the water is allowed to slowly evaporate until it reaches a clay-like consistency.
• Adheres to any non-oily, absorbent surface.
• Drying too quickly causes mud cracking that is usually cosmetic, not structural.
• When mixed with acrylic colors will act as a weak tinting white, while increasing thickness and rigidity.
• Excellent substrate for acrylic paint, oil paint, oil pastel, oil bars, watercolor, graphite or dry pastel.

Directions

• Apply with knife, brush, cake decorating tools, etc.
• To prevent shrinkage cracks (mud cracking), dry slowly by covering loosely with plastic wrap. Apply less than 1/4" thick.
• Mix with acrylic colors to produce a colored tinted paste.
• When dry, Acrylic Modeling Paste may be painted with acrylic or oil colors.

Application

• Sculptural: Apply in thin layers allowing each layer to dry before applying next layer. If cracks appear, allow to dry and fill in with additional thin layer of Acrylic Modeling Paste.
• Rigid support: Use straight from container.
• Flexible support: Mix Acrylic Modeling Paste 50/50 with Gloss Gel Medium, Matte Gel Medium, Gloss Heavy Gel Medium, or Super Heavy Gel Medium.
• Ground: Apply a thin layer of Acrylic Modeling Paste to rigid surface (i.e. wood), using a palette knife, trowel or roller. Let dry, then sand smooth. Repeat if necessary.
• Absorbent ground: Mix 1 part Acrylic Modeling Paste with 3 parts Liquitex® Acrylic Gesso. Apply with trowel or roller. Let dry, then sand smooth. Repeat if necessary.
• Paper-Maché: Mix Acrylic Modeling Paste 50/50 with Liquitex Gloss Gel Medium, Matte Gel Medium or Gloss Heavy Gel Medium. Soak paper in this mixture.

An essential medium for creating softer edges and modeled forms. This medium is used to extend the "open" time of acrylics by more than 40%, giving you an opportunity to really work the paint to enhance color blending. You can add up to 50% of this medium, as it contains binder to maintain the integrity of the paint film, unlike the additives version.

Attributes

Application

Application Possibilities as a Medium

As an Extender

As a Fixative

• Increases the volume of paint, while maintaining the opacity of the color it is mixed into.  
• Economically doubles the volume of paint by adding up to an equal amount (50%) of medium to color with little or no noticeable loss in opacity or change in hue.  
• Opacity of colors mixed with Liquitex Ultra Matte Medium will be higher than if the color had been thinned to the same degree with any other medium except Modeling Paste.  
• The degree to which the color can be extended will vary among the different pigments.  
• When over 50% is added, Liquitex Ultra Matte Medium can act as a weak tinting white, increasing the value of the original color approximately one level. Light colors will be affected less than dark colors.  
• Colors mixed with Liquitex Ultra Matte Medium dry to a matte finish.  

Application as Gouache

• Mix with opaque paint for a matte sheen and gouache (opaque watercolor) look.  
• These "gouache" colors are water resistant, flexible, lightfast and permanent when dry. Traditional gouache colors are not permanent and are susceptible to accidental re-wetting and must be well protected when finished.  

Applications in Murals

• Mix into Liquitex Soft Body Artist Color for underpainting of murals to economically double the volume of paint. For top layers, use color with a lightfastness rating of I.  

Use when running out of color during painting

• Use when running out of a color mixture while painting. When you have reached the halfway point of painting a specific area, determine if you have enough paint to finish. If not, add an equal amount of Liquitex Ultra Matte Medium to the color enabling you to finish painting without remixing. The color and opacity will be unchanged, but the color may lighten  

Underpainting

• Mix into paint during initial underpainting to double amount of color