I used Liquin with great ease, and created glazes with clarity and thickness in abstract figurative works, 45 years ago. Stored in the worst places, i.e. storage units that baked all summer and froze in winter, the glazes have stayed unyellowed, uncracked, and flexible. The alkyd resin is truly archival, for most working artists, and I'd never bother messing with any of the Old Masters materials that create all manners of complication, with no actual advantages. I might opt for acrylics in certain applications, but the Liquid type mediums give a sweet spot, of practical ease, workability, but drying within a day or two to where further layers can be added without the laborious tedium of "fat over lean" rules, and literally "waiting for paint to dry."
THANK YOU! This is EXACTLY what I was looking for! I already have the fine detail Liquin and wanted to get acquainted a bit more before I used it for the fine detail on my painting! I am so excited because I am stepping into a new medium (oil) from using acrylics mostly and some watercolor. Thank you again for being so PRECISE and making a quality video!🌹
I'd max the Liquin mediums at 25% to 75% paint. I have seen studies of Liquin OG and Impasto being used to ridiculous levels (8:1) with only slightly yellowing. Stick with the max I listed above and you should be fine. It should be noted that I only use pro-level paints (Rublev, Blue Ridge, Williamsburg, Old Holland, Micheal Harding, etc.)
@@jorriffhdhtrsegg one could argue that reasoning of 1:1, etc.. etc.. as long as one adheres to the fat over lean rule (as well as all the other rules). you could add more Liquin than my suggestion usage. However I would concern myself with paint adhersion in the long term. I instead would glaze as recommended very thinly and even wipe excess with cloth or dry clean blender bush. As we speak, I have began to clean up my studio, so to speak, to stray away from harmful solvents and and such. i'm painting more and more with paint thinned with linseed only. Here, i practice multi masters' methods as i continue to my artistic journey in a more Traditional practice. When I paint outdoors en plein air, more often than not, Liquin is my friend and workhorse. I will paint alla prima. I use Liquin original and Liquin Impasto, again 75% paint, 25 % Liquin. That's my experience but your mileage may vary. Happy Trails..
Interesting video but I’d like to know about layering with these various liquin mediums. For example can we use liquin original as a separate layer over liquin impasto? or for that matter W/N glazing and blending medium? Simply put can Liquin Alkyd Mediums be used interchangeably in different layers?
Our apologies for the late response Jarrod - if each layer is touch dry before you paint the next, you will need to be practising the fat-over-lean principle in order to build a stable structure. The Liquin mediums can all be used interchangeably but each layer will need to use a higher percentage of Liquin or a little oil will need to be added to the mix. Hope this helps.
Providing you don't have young children, I've been given a solution to the childproof caps that jam up with medium. The screwcaps used on new world and antipodean wine bottles. Simply rinse the inside with plain water and allow to absolutely dry for a day. I use the silver inner sealed ones of what seems to be the same type as the inners of the W&N childproofs. Over six months and no strange medium reactions or drying. The width and thread seems to be exactly the same. Not only is it easier to open the bottles, but frankly I think they look better as well.
Does using Liquin light gel change the way I clean my brushes. Something is causing the paint to really stick on the bristles. Normally I use turps or white spirits.
A student here wondering about the paint to liquin ratio- what amount would be ideal for someone just learning about oil paint? I’ve mostly been experimenting, to various results.
Hi Kelly, Thank you for your question and comment - as you've said a lot of it is down to experimentation when it comes to ratios, however after looking at a few artists using it, the most common ratio is between 20/30% liquin to oil paint. So realistically that's around 1 part Liquin to 4 parts paint. We hope this helps answer your question, all the best, the Jackson's team.
You don't need to use that much Liquin. Generally, no more than 20% in a given proportion of paint. I believe you can also taper the amounts to get altered fluidity (and drying times).
If ur gonna do a fluid or thin layer over a heavy layer, let the previous layer dry completely. Generally it should be lean/fluid/thin layers gradually building up to heavy/gel/fat layers so it prevents "sinking in". Visually, there probably won't be a substantial difference besides texture. However, if you continue to put more layers of varying thickness on top you risk the paint cracking and warping over time. Unstable layers may even cause your paint to fall away from the canvas in worst case scenarios. If you're doing ala prima then you can go ham with whatever until you physically can't add anymore.
She's doing a product demonstration of the physical properties and uses of each medium, so She's using like a 1:1 or heavier. You don't actually need that much for painting.
As someone new who just started learning about painting, i can say this is terible and against every recommendation by pro artists. But what can you expect, their job is for you to throw as much product as you can in order to buy more. All about money 😒 That means i will chose different brands, even if i have to pay more, just cuz they lost their integrity. ( Didn't even bother to write about recommend ratio)
You can, although we would not recommend using a lot as it would effect how water mixable the oils are. We stock a variety of water mixable mediums which might be more suitable - www.jacksonsart.com/studio/mediums/mediums---type/watermixible-oil-medium
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I used Liquin with great ease, and created glazes with clarity and thickness in abstract figurative works, 45 years ago. Stored in the worst places, i.e. storage units that baked all summer and froze in winter, the glazes have stayed unyellowed, uncracked, and flexible. The alkyd resin is truly archival, for most working artists, and I'd never bother messing with any of the Old Masters materials that create all manners of complication, with no actual advantages. I might opt for acrylics in certain applications, but the Liquid type mediums give a sweet spot, of practical ease, workability, but drying within a day or two to where further layers can be added without the laborious tedium of "fat over lean" rules, and literally "waiting for paint to dry."
THANK YOU! This is EXACTLY what I was looking for! I already have the fine detail Liquin and wanted to get acquainted a bit more before I used it for the fine detail on my painting! I am so excited because I am stepping into a new medium (oil) from using acrylics mostly and some watercolor. Thank you again for being so PRECISE and making a quality video!🌹
Thanks for watching and we hope you enjoy painting with oils!
U r an idiot
Very effective and refreshing to watch a demo without the usual Baloney.
"WILL HAVE A DRAMATIC INFLUENCE ON YOUR WORK"....
AND YOUR "WALLET" !!!!
Excellent visual. It says more than words.
I'd max the Liquin mediums at 25% to 75% paint. I have seen studies of
Liquin OG and Impasto being used to ridiculous levels (8:1) with only slightly yellowing.
Stick with the max I listed above and you should be fine.
It should be noted that I only use pro-level paints (Rublev, Blue Ridge, Williamsburg, Old Holland, Micheal Harding, etc.)
I have heard this rule. Is yellowing the only risk, and if its 8:1 is almost ok, then why not use say 75% liquin if you chose to glaze ? (3:1)
@@jorriffhdhtrsegg one could argue that reasoning of 1:1, etc.. etc.. as long as one adheres to the fat over lean rule (as well as all the other rules). you could add more Liquin than my suggestion usage. However I would concern myself with paint adhersion in the long term. I instead would glaze as recommended very thinly and even wipe excess with cloth or dry clean blender bush. As we speak, I have began to clean up my studio, so to speak, to stray away from harmful solvents and and such. i'm painting more and more with paint thinned with linseed only. Here, i practice multi masters' methods as i continue to my artistic journey in a more Traditional practice.
When I paint outdoors en plein air, more often than not, Liquin is my friend and workhorse. I will paint alla prima. I use Liquin original and Liquin Impasto, again 75% paint, 25 % Liquin. That's my experience but your mileage may vary. Happy Trails..
I can't believe how much they use!
You use a lot more of the medium than most artists say they use ??
I've just got the fine detail one. I'm hoping it will ease the flow of the paint so I can get some fine lines.
Short and very eficient video.
Interesting video but I’d like to know about layering with these various liquin mediums. For example can we use liquin original as a separate layer over liquin impasto? or for that matter W/N glazing and blending medium?
Simply put can Liquin Alkyd Mediums be used interchangeably in different layers?
Thanks for your question Jarrod, I'm going to put this to the team and will then get back to you with an answer as soon as possible!
Our apologies for the late response Jarrod - if each layer is touch dry before you paint the next, you will need to be practising the fat-over-lean principle in order to build a stable structure. The Liquin mediums can all be used interchangeably but each layer will need to use a higher percentage of Liquin or a little oil will need to be added to the mix. Hope this helps.
Providing you don't have young children, I've been given a solution to the childproof caps that jam up with medium. The screwcaps used on new world and antipodean wine bottles. Simply rinse the inside with plain water and allow to absolutely dry for a day. I use the silver inner sealed ones of what seems to be the same type as the inners of the W&N childproofs. Over six months and no strange medium reactions or drying. The width and thread seems to be exactly the same. Not only is it easier to open the bottles, but frankly I think they look better as well.
Wow. That was amazing!
Can I use liquin oleopasto for my pallet knife painting? Is it good choice? Cause I find its hard for my painting to dry because I use thick paint.
Does using Liquin light gel change the way I clean my brushes. Something is causing the paint to really stick on the bristles. Normally I use turps or white spirits.
Really nice and important video .. Thank you
A student here wondering about the paint to liquin ratio- what amount would be ideal for someone just learning about oil paint? I’ve mostly been experimenting, to various results.
Hi Kelly,
Thank you for your question and comment - as you've said a lot of it is down to experimentation when it comes to ratios, however after looking at a few artists using it, the most common ratio is between 20/30% liquin to oil paint. So realistically that's around 1 part Liquin to 4 parts paint.
We hope this helps answer your question, all the best,
the Jackson's team.
very useful!!
Thanks for sharing , but as beginner I am studying for a medium which does not create at least with less % to become shiny , thanks
which one is preferable linseed oil or liquin?
You don't need to use that much Liquin.
Generally, no more than 20% in a given proportion of paint. I believe you can also taper the amounts to get altered fluidity (and drying times).
Thank u mam it's really very useful
So I can use Liquin Fine Detail over the layer done with Liquin original? or can they overlap each other?
If ur gonna do a fluid or thin layer over a heavy layer, let the previous layer dry completely. Generally it should be lean/fluid/thin layers gradually building up to heavy/gel/fat layers so it prevents "sinking in".
Visually, there probably won't be a substantial difference besides texture. However, if you continue to put more layers of varying thickness on top you risk the paint cracking and warping over time. Unstable layers may even cause your paint to fall away from the canvas in worst case scenarios.
If you're doing ala prima then you can go ham with whatever until you physically can't add anymore.
Very interesting information
I thought you were supposed to use as little medium as possible. Is there an ideal ratio of liquid to oil paint? Thanks
this is what i thought!! im so confused she looks like shes using WAY too much
She's doing a product demonstration of the physical properties and uses of each medium, so She's using like a 1:1 or heavier. You don't actually need that much for painting.
Very insightful
Can you use more than one medium on the same painting
The amount used is confusing as the company says to use less? W&N info is very disappointing
Ohh my god... Soo much medium 😰
As someone new who just started learning about painting, i can say this is terible and against every recommendation by pro artists. But what can you expect, their job is for you to throw as much product as you can in order to buy more. All about money 😒
That means i will chose different brands, even if i have to pay more, just cuz they lost their integrity. ( Didn't even bother to write about recommend ratio)
@@dkepa90 to be honest no medium is a must. Unless you want to fast or slow your process. Its not possible to get and trt everything.
That's only for demonstration.
Well i got lost now which i truly need. 😂
Me too.
Isn’t that way to much liquid to paint ratio
Can you use these with artisan water mixable oils?
You can, although we would not recommend using a lot as it would effect how water mixable the oils are. We stock a variety of water mixable mediums which might be more suitable - www.jacksonsart.com/studio/mediums/mediums---type/watermixible-oil-medium
You guys...
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