I’m Confused about Alkyd Mediums for Oil Paints. What are They For?
Alkyds are special painting mediums made from an oil‑modified resin treated with alcohol and acid, hence the fusion of both words to create the term “alkyd.” The result is a honey‑coloured substance that dries quickly to a hard enamel. All alkyd mediums dry much faster than the traditional drying oils used with oil paint, enabling the artist to apply a second coat the following day.
How Alkyds Are Used in Oil Painting
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| Types of Liquins for Oil Colours |
Alkyd is the carrier of alkyd paints, which is a painting medium in its own right and different from oil paints. However, alkyd medium can be added to traditional oils to create “alkyd oils.”
Alkyds are designed for glazing techniques as the medium adds translucency and accelerates drying. The drying rate of traditional oils can be sped up by around fifty percent, although thickness of paint and environmental factors play a role. An oil painting that becomes touch‑dry in 5–12 days may become touch‑dry in 2–6 days with alkyd mediums. This may help the artist decide whether to use alkyd medium or oil medium in a painting — or to opt for water‑mixable oils.
Alkyds also leave a semi‑matt finish, in contrast to the glossy finish of traditional oil mediums such as linseed oil. There is a wide array of alkyd mediums on the market — what are they all for?
How to Use Alkyd Mediums
Although alkyd mediums can be added to traditional oil paints that use linseed oil as their carrier, I personally would never use both alkyd medium and an oily medium in the same painting. Their conflicting drying rates — alkyd fast, oil slow — can set up stresses in the paint layer and cause cracking. Another mistake is mixing varnish with alkyd or oil medium. Varnish is designed to be a varnish, not a medium.
Liquin (Liquin Original)
Liquin is a general‑purpose alkyd medium that offers a semi‑gloss finish. It accelerates drying, improves flow and reduces brushstrokes. It is ideal for glazing and detailed work and does not yellow like some oils. Although it dries to a hard enamel, do not use it as a varnish.
Liquin Fine Detail Medium
Also known as alkyd flow medium, this is the most fluid of the alkyds. It is designed for high detail and fine glazes, promoting excellent flow. It is non‑yellowing and dries to a hard, even enamel‑like surface, ideal for smooth effects.
Liquin Light Gel Medium
This alkyd medium is similar to Liquin Fine Detail Medium but leaves a gloss finish, like linseed oil. It is ideal for detail, glazing and adding flow. It is durable and slightly heavier than Liquin Fine Detail Medium.
Liquin Impasto Medium
A quick‑drying alkyd medium that leaves a semi‑gloss finish. It adds body to the paint, making it go further, and is ideal for impasto effects. Oleopasto medium offers a more matt finish. Both impasto mediums have a brownish appearance that does not affect the colour once mixed in. Add about 1 part medium to 4 parts oil colour to thicken the paint. Too much medium will weaken the pigment’s tinting strength.
Liquin Oleopasto Medium
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| Alkyds and Impasto Mediums |
Similar to Liquin Impasto Medium but leaves a more matt finish. Both mediums are excellent for impasto effects such as cutting through paint with a palette knife or creating textured passages. They are non‑yellowing and dry quickly.
What Alkyd Mediums Are For
All alkyd mediums share common characteristics: they are non‑yellowing, fast‑drying and leave a hard, durable finish. Alkyd paints comprise pigments suspended in alkyd, not to be confused with oil paints. However, alkyd medium can be added to oil paints to create “alkyd oils.”
Alkyd paints are designed for glazing techniques, but some alkyd mediums such as Oleopasto will bulk up the paint for impasto work. Alkyds offer less gloss than oily mediums and accelerate drying. Never use alkyd medium and oil medium together in the same painting, as their differing drying rates can cause cracking. Similarly, never mix alkyd medium with varnish — varnish is not a painting medium.
Comments
Thank you for your blog. It is very helpful.
If I had read your post before the first step, I had save a lot of time: I used it with varnish mixed and wondered why painting cracking so badly. I guessed wrong way, that alkyd might attack the underground (another sheet of oil painting). So, I tried this way or this way. A lot of wasting time, really.
Now I read in your post, you ought to use alkyd alone. Wonderful.
Just another question: what happens when I mix alkyd with terpentine?
Best greeting