My pleasure.

Wow, thank you!

It's called serendipity. 😊

Thanks.

You're very welcome!

My pleasure. Thanks for watching.

Great to hear! Keep enjoying the journey.

Be careful with adding too much Liquin. It's purpose is to facilitate drying, but too much of it can yellow your passages of paint.

Have you tried Liquin Glazes in conjunction with layers of Retouch Varnish?

My pleasure. Thanks so much for watching.

You're very welcome! Thanks for watching.

Thanks for watching.

As always, it's a pleasure.

Thanks for watching.

Thanks, fb.

FB, may I ask what type of paint you are adding you mixture to?

The paints I generally use are Winsor and Newton, and M Harding, other brands too. This mixes of turps / oils (one or two drops at most) only to attain a certain buttery consistency and overall homogeneity of paint texture and drying time. The quintessential aspect of academic oil painting is gradually build up fat (linseed oil %) over lean (turpentine %) layers. Some paints, like titanium white are rather thick and stiff and require more. Sometimes one wants precisely thickness and stiffness, for example for dry brush techniques. Other times, runny and almost watery, for an initial staining. This does not apply to alla prima: with this overall paint consistency, no turps, no dessicants, perhaps retardants, only linseed oil or no extra oil. All in one go, two to three working days, and let it dry. Good fun and better luck 🤞

fb pliegorrivero FB ...I am new to the ratio part. What exactly are you referring to with these. And are you adding liquin to each..if so how much. For us new painters in oil I would be very appreciative for a more thorough explanation. Thank you for sharing.

The medium is not necessarily the message, as Marshall McCluen claimed decades ago. Transitioning from one medium to another can expand your horizons in painting. It's just learning a new technique, but the principles of composing (mixing color, placing shapes, balancing, etc.) are universal.

Wow, thank you!

Great.

You bet.

Thanks. Welcome aboard.

I use it sparingly, too, Kevin--only when I need areas to dry more quickly.

Thanks for this input.

Have you tried using Liquin glazes with added layers of Retouch Varnish?

My pleasure 😊

Thanks for watching.

That's good to know. Thanks for watching.

Great. Have fun with this.

You are so welcome

I'm delighted my teaching is helping dispel your doubts. All it takes to dispel doubts is knowledge and that's what I'm hoping to give with these Tips.

@@IntheStudioArtInstruction thank you so much teacher, greetings from Paraguay. I would like to show you my artwork when I finish, with glazing technique using liquin, may I send you a pic by email? If you want, of course

You bet!

Mehdi, I will put your request on our schedule.

My pleasure.

Viewer's questions make this Quick Tip adventure work. My pleasure to do them.

So glad!

You're very welcome!

Thanks for adding this information, Chris.

Dinese, I will throw this out to our team.

Glad it was helpful!

😊

My pleasure.

My pleasure. Thanks for watching.

My pleasure.

Good ventilation is necessary.

You're welcome!

Thanks for that.

You’re welcome!

My pleasure.

Dan, I've seen lots of discussion about that. Whether we follow the fat over lean rule does depend upon the drying speed of layers, so I'd say what you watch for is consistency in how much Liquin is added. Since oil oxidizes rather than evaporates, and Liquin is a catalyst, that should be easy to guage. About the varnishing, that too has to do with not sealing oxygen away from the paint before underneath layers are dry. If your paint layers are not thick, then yes, Liquin will cut down on the drying time.

My pleasure.

Happy painting.

Great. Thanks for watching.

Thanks.

As long as folks find these helpful, I'll keep doing them.

My pleasure.

You bet!

I do that in Quick Tip 172

Thanks for watching.

And now you do. 😊

My pleasure.

You're so welcome!

You're so welcome!

Thanks.

You're welcome 😊

This dude knows what he is saying!

Glad it was helpful!

That's the nature of Liquin. Best to buy small bottles rather than one big bottle.

Welcome 😊 And thanks.

You’re welcome 😊

That sounds okay. I've never thought of using liquin for glazing over acrylics, but I can't think of any reason why it wouldn't work as long as the paint is thoroughly dry. (Fortunately, Charley was napping during this one.)

Wonderful!

Thanks

You are welcome! Thanks for watching.

My pleasure.

You’re welcome 😊

My pleasure. Thanks for watching.

My pleasure.

Those lids are usually the child-proof kinds. Try pliers, pushing down as you twist. If you have adjustable locking pliers, that will work best.

You're welcome!

Paul, Liquin cannot be reconsituted. Best, I think, to discard that bottle and get a fresh one.

My pleasure.

You bet!

Oil based mediums do add fat to the paint. The jury is still out as to whether Liquin adds fat. The whole principle of fat over lean is to facilitate under layers drying before or at a similar rate as subsequent layers on top.

So, then if I mainly used linseed oil to thin my paint, and when I'm done painting, can I now after a few days, start to glaze using liquin? Wouldn't the faster drying liquin seal off my painting underneath from drying further at slower rate? This is what still confuses me. Thank you for your video's!

@@mrjanssen3856 I see that no one answered your question. I am no expert but it seems that your initial paint was thinned with oil and now it is very fat. You cannot add glazing layer with liquin in it. You need to wait until it is fully dry, perhaps months. She answered above with another question that if one uses liquin, it should be used in all layers.

Thank you, Fabrizio, but I must add that "scumble" also includes overlaying any semi-opaque or opaque color. Just didn't want to misled folks into thinking scumble is restricted to your definition. Let's also keep in mind that definitions keep expanding and evolving. That is true especially of the term "scumble".

Hi Dianne. That's absolutely right. I meant to say that if one dilutes a colour with medium, it will be a glaze if the paint is transparent, and a scumble if the paint is opaque, semi-opaque or semi-transparent. Scumbles were very much used by painters such as Titian to achieve atmospheric perspective. Indeed, Titian was famous for doing multiple scumbles (in certain stages of the painting, when it was dry, he would cover the entire canvas, or portions of it, with a mixture of lead white and medium - observing the fat over lean rule - and then with a big sponge he would remove the excess to achieve the desired effect... let it dry and continue with more glazes and scumbles - an English forger made a television show demonstrating these various ancient techniques on a programme titled "Tom Keating on Painters", some episodes of which you can find on KZfaq). There is also a technique called "dry brush", where you use purely paint, with no medium, to achieve some atmospheric perspective, as well. All the best.

Thanks for adding the historical perspective, Fabrizio. It's important for painters to know that our techniques have a history. I've seen entirely too many half-cocked labels put on techniques.

Kiko, the jury is still out on Liquin as to how it figures in to the fat over lean principle. For over lean came into the oil painting process because of the time it takes oil to dry, actually to oxidize into drying. It is mainly a concern for painters using the traditional classical layering technique. If layer on top dries before a layer underneath, it can cause surface cracking in time.

@@IntheStudioArtInstruction Thanks a lot!

And what if, after a month resting, I apply retouch varnish on the painting, does this still have any effect on dry liquin layers? Can linseed oil thinned paint, still receive more time to dry thoroughly? Thank you!

You're welcome!

Daniel, fat over lean refers to the traditional use of oil paint and does not take driers into consideration. It also applies to the practice of painting in layers rather than alla prima or direct painting. The purpose of the principle is to prevent cracking of the paint as it dries. Liquin is a drier meaning chemically it speeds up the oxidation of the oil binder in the paint. So, the consideration when using Liquin is that if you are doing indirect painting, you use it throughout in proportions so that a layer on top does not dry prior to one underneath it.

Sorry about the delay in answering this. I've been recovering from knee replacement surgery. The conservators tell us it is not wise to use Liquin as a varnish which is what this person advised you to do. Paintings you see in museums most likely have been varnished with a high gloss final picture varnish. This should be a professional high quality such as the final varnishes made by Gamblin or Winsor Newton.

@@IntheStudioArtInstruction I had a feeling you were going to answer me eventually, so I held off on using anything. Thank you for the help! I'll be looking for a varnish soon.

The jury is still out on that question. Fat over lean refers primarily to paying in layers rather than direct painting. Also, if the paint applications are thicker, linseed oil slightly thinned with an artist grad solvent is the safest bet.

My pleasure.

My pleasure.

I'm not really sure about that, John. There is a risk that, since Liquin dries so fast, it could cause cracking of not-quite-cured layers underneath. But don't take that one to the bank.

Lee, I suggest using no medium at all, especially in plein air. It is not necessary unless your paint is too stiff or if you need an area to dry more quickly.

My pleasure.

If you use Liquin throughout the painting, it should be dry enough to varnish within 4 or 5 weeks.

Liquin is an alkyd based medium designed for use with oil paints. It is not water soluble. You use it like any other painting medium, but its advantage is that it enables fast drying. Never pour it down the drain. Please Google "Liquin" for a complete discourse.

I don't favor adding medium to my paint provided it is a good consistency out of the tube. If coming out of the tube, the paint is too thick, I put in a drop at a time totally blended for the entire batch that goes on the palette prior to painting. I use Liquin only when I need a passage to dry more quickly. As far as fat over lean goes, yes, any oil is fat.

@@IntheStudioArtInstruction got it, thank you!

You bet!

Paul, oil paint oxidizes rather than evaporates. Add to that--various tube colors dry at different rates. Linseed oil is the preferred binder in oil paint, so adding more doesn't speed up the drying. But Liquin is catalyst that speeds up the oxidation. Colbalt dryer will do this, too.

Not at all

Please see Quick Tip 115 where I explain that, along with how I set up my palette. Thanks.

@@IntheStudioArtInstruction thank you! Love your channel

Great.

😊