Had just enough time to get the grandkids out…no shoes even.
Note: Page may be subject to updates.
My Directional Force — Indirct Painting With Glaze layers
Sfumato indirect painting technique, here I come! I expect to do inital layers of a painting in acrylic and some glazing layers in water soluble oil paints (Winsor & Newton Artisan), for starters. That’s why my previous entry was about water soluble oils.
I also want to try to do the indirect method from start to finish with artist grade acrylic paints. And some wild and crazy experimental Alla Prima.
I’ve only completed 5 paintings thus far, you see a B&W of my fourth, above. These are my notes in preparation of pushing harder and farther, way out of my comfort zone, if I have a comfort zone. I don’t know where my zone is. Yet. But I’ve dug for years now, into paint pigments, direct vs. indirect, sfumato techniques, and many artist materials … in preparation. And I liked it. I am a digger and I tend to over-prepare anyway; it’s very much deeply in my nature.
Note on Paint Brands Used Until They Are Gone
Overall, I am using mainly artist grade paint with the occasional use of some hues or somewhat informed alternative color mixes, wet and layered. Acrylic mediums will help with the sfumato technique. The brands I have include:
- Golden Acrylics (artist colors heavy body, Open, or Fluid)
- Liquitex ( heavy body, soft body, spray paint, acrylic ink)
- Da Vinci Fluid Acrylics. I have a lot of da Vinci fluid acrylics because they were cheaper, but they are in some cases made of combined pigments instead of using pure pigment … so this should be interesting. It’ll mess up value ( how light or dark things are in grayscale) a bit and may make me cringe sometimes especially with the yellows.
I will just have to be aware of that, for instance, Cadmium Yellow Light Da Vinci Fluid Acrylics, specifically, might have a lighter value because it includes titanium dioxide. I’ll just have to deal with that because I have mostly, by volume, 16 ounce bottles of Da Vinci Fluid acrylics, as far as the fluid acrylics I have are concerned. (I have the paints I do because I got them after my mom died. I miss her so much!)
A Happy Medium: Making Golden Acrylics Have More Open Time and Act Kind of Like Oils
This happy medium is one suggestion that appeals to me. Not sure if it’ll work as well with regular heavy body colors or fluid acrylics, but it’s worth a try in the upper layer(s) of an indirect method acrylic painting. Do studies first. Read the bottles and manufacturer’s information online. The Golden Paint Company has an absolute wealth of product and technical information on their website. And as always, remember you can always add more of something but once it’s mixed in then it’s in there.
- Open Flow Release — a bit
- Open Open Thinner — a bit
- Open Gloss Gel — mostly
Paint Palettes: Color Theory, Sfumato, My Own Extended One
In the future, I probably will gravitate towards more Golden Open artist color acrylics?
6 Color Golden Acrylic Artist colors (not including the whites), the palette would include:
- Phthalo Blue (Green Shade)
- Phthalo Green (Blue Shade)
- Anthraquinone Blue (PB 60)
- Hansa Yellow Medium
- Quinacridone Magenta
- Napthol Red Light
The 6 main colors in bold can yield an amazing array of colors. See https://www.goldenpaints.com/technicalinfo_mixguide and https://www.goldenpaints.com/technicalinfo_faq_xv_colorwheel
Studying color theory with Golden Open paints in these colors in a rapid Alla Prima style, I’d put down the basic colors and then create tints of about 5 shades, laid out in rows, using Titanium White and/or Mixing White, and begin to paint. Or so the theory goes.
Additions to the 6 Color Paint Palette (above)
In practice, I’d probably end up slipping in a little:
7. Quinacridone Red
8. Yellow Ochre
9. Mixing White
10. Titanium White
My Main Sfumato Color Palette
This palette would be assisted by the above 6-color mixing palette. The color choices between the two palettes are are my amalgam of pigments traditional and modern — influenced by what Leonardo da Vinci reported using and by my own research on making/using modern equivalents. (Colors are some form of Golden Acrylics artist grade paint unless otherwise noted.)
- Primrose Yellow (preferred, expensive, pigment PY35, Golden Acrylics, value 9, chroma 16, tint strength 96.49) or Hansa Yellow Light (what I have now, will use first, value 8.25, chroma 13.8, tint strength 96.31, tint strength is low in practice, pigment is PY3 AKA historical “Flanders Yellow” that Leonardo da Vinci mentioned); both lean toward blue on the color wheel
- Cadmium Yellow Medium (Golden Artist Color PY35, value 8, chroma 16.1, tint strength 92.5); or Cadmium Yellow Medium Hue (Da Vinci Fluid Acrylic, semi-opaque, ASTM lightfastness is 1 excellent, uses a combination of PY 73, PY 65, and PW6, not sure of chroma and tinting strength yet); both toward red on the color wheel
- Quinacridone Red (preferred, a cleaner red, semi-transparent, PB 209, value 3.25, chroma 12, tint strength 76.49), Quinacridone Magenta (value 2.5, chroma 10, tint strength 73.51) , and/or Quinacridone Crimson (value 2, chroma 6, tint strength 72.39)
- C.P. Cadmium Red — Because sometimes you need an opaque that plays well with complementary colors. (Pr 108, value 4.25, chroma 16, tinting strength 73.92, opacity/transparency 2, leans toward orange on the color wheel. May become a permanent addition to my indirect paint palette
- Phthalo Blue (PB 15 Phthalocyanine Blue. Intense deep blue in mass tone reddish to greenish bright blue in shades. Semi-transparent. Extremely powerful tint strength, usually extended to some degree. Staining.)
- French Ultramarine (Da Vinci Fluid Acrylic PB 29, value 2, semi-transparent, chroma 4.5, tint strength 79.94) or Ultramarine (Golden, also PB29)
- Burnt Umber
- Yellow Ochre (mixed bias, co
- Carbon Black (has a blue bias)
- Titanium White (slight blue bias)
Note: The reds in #3 may be switched out or combined in certain works?
The Sfumato Technique
In case you’re curious, the technique started even before canvas or panel was touched and continued on to the last glaze layer. It went something like this:
- Do numerous studies from real life; don’t copy other artists
- Perfect a drawing the size of the final work — on paper
- Stretch the canvas or prepare the wooden paint panel
- Apply rabit glue and gesso in the traditional manner; and somehow he got this surface to feel glossy, almost like ceramic
- Apply underdrawing in outline using charcoal
- Veil it, not obscure it, with a mix of Flanders Yellow and White — this will be the basis for light areas and the yellow tones of warm sunlight or skin tone
- “Draw” painting with tone using silk brushes placing shadows while paint still wet or use hard (dry, like hard pastel pencils)
- Do retouches in thicker laquer (they used to boil turpentine that perhaps had some resin in it until it was thick, is that what he meant?) that remains matte
- To darken shadows, use laquer plus ink and maybe add some azurite in a transparent mix
- Highlights in mediums and tints
- Light veil of cinnabar for portrait
- Change your mind — be experimental
- I’m really glossing things over in this description. Colors were layered and the effects of light and shade were glazed. For a blue robe, he might first lay down red and then blue over that. Was that a correction or use of complements, and he did mention using complement colors.
- He attended to reflective colors a lot, colors from objects close by might appear on the skin and light clothing, and he did suggest models wear light clothing or even a white.
- Final highlights in judicious smidgens were in white? I know highlights were made like this by many painters, I sm not sure that Leonardo did this though.
For translating this into acrylics, I might use that Golden Open “happy medium” mixture instead of the thick lacquer da Vinci used.
Temperature Underpaintings (Mostly Golden Open Acrylics)
- Titanium White — Also used for final highlights in upper layer, used judiciously
- Mixing White (Zinc) — Also for use in some final effects in upper layer. May or may not mix it with other paints, as opposed to optical blends and effects
- Burnt Umber/Burnt Umber Light — To be used alone and/or with the Ultramarine Blue
- Red Oxide — Because I have to try out aux quatre crayon type of temperature “underdrawing” … in paint! I will try it in dry pastel pencils too. These works may remain at that stage as finished paintings, rather than all being just the under painting of an sfumato work. I may be intuitively good at colors without trying, up to a point, but I am just now teaching myself to paint in my later 50s, regarding value (that grayscale light to dark). I have a lot of catching up to do. I accomplished value rather well in my (my fourth finished painting) anthropomorphic painting of the sun, but I recognize that I have so much farther to go!
My Golden Acrylics Extended Palette
(for Wet Color Mixing or Additional Sfumato Indirect Painting Effects)
Colors in bold text would be more of a priority in this palette.
- Phthalo Blue (Green Shade)
- Phthalo Green (Blue Shade)
- Hansa Yellow Light
- Hansa Yellow Medium
- Quinacridone Magenta
- Quinacridone Red
- Quinacridone Crimson
- Napthol Red Light
- Pyrrole Red
- Quinacridone Burnt Orange
- Transparent Pyrrole Orange
- Phthalo Green (Yellow Shade)
- Phthalo Blue (Red Shade)
- Ultramarine Blue/Anthraquinone Blue (PB 60)
- Burnt Umber
- Black (used judiciously now and then in small touches)
- Yellow Ochre
- Titanium White
- Mixing White
Additional Colors On Occasion or just for Fun (Optional)
- Quinacridone Gold (Nickel Azo) — Because it’s fun for color mixing and glazing.
- Turner’s Yellow — Fuuuun!
Note: Since I’m autodidactic, I may pull in more readymade colors at any time when experimenting more wildly. Oh, and if you want to see where your colors lay on a color wheel, go here. I can’t resist paint colors, as much as I love limited palettes and minding my values in painting! Because I must experiment. Life is short. And I bought paint colors before painting anything or learning about limited palettes.
This entry will cover:
- a smattering of beginner questions perhaps not answered elsewhere
- variables in drying time
- drying times of Winsor & Newton Artisan Water Mixable Oil Paints and mediums
- a focus on the alkyd Fast Drying Medium — fat or lean?
- how to make these paints feel and act more like oil paints (differing preferences and variables)
- practical tips to pull it all together into painting practice
Before We Jump Into Drying Times…Some Beginner Points or Questions
Key: It is better to use as much and no more painting medium than necessary to get the job done and in keeping with oil painting rules. Many artists painting with Artisan oil paints use water only for cleanup or plein air (outside) painting studies.
No, you can’t use cooking oils in oil painting! Also, read this link about drying oils. something just as applicable to water-soluble oil paints.
Know that water-soluble oil paints, which is what W&N Artisan paints are, are indeed oil-based and are not water-based. They are real oil paints. They’ve monkeyed with the oil in the paints and mediums so that the oils in them mix with water, mostly for cleanup considerations so that you don’t have to use toxic solvents (oderless thinners are still toxic!). Water soluble oil paints are still basically pigment powder + oil.
But since they clean up with water, use synthetic and not animal hair brushes.
Vocabulary Note: Other terms used are water-miscible and water-mixable. Sometimes people and manufacturers use hyphens, sometimes they don’t. It’s proper to use hyphens. I drop them when doing web searches.
Student or artist Grade? The Windor & Newton Artisan Water Mixable Oil Paints are, in practical terms, in a gray area somewhere between student and artist grade “Purely based on the high grade of raw materials Artisan could be considered an artists’ grade, however, the inclusions of hues and the shorter palette [colors available] means that Artisan can in fact be considered somewhere between an artists’ and students’ grade and is therefore priced accordingly.”
Questions On Mixing Brands and Types of Paint: Between water-soluble oil brands, can I mix paints and/or mediums from one brand with mediums and/or paints from another? In the 2001 book, “Painting With Water Soluble Oils,” the author Sean Dye says “the mediums offered by one company are completely compatible with paints from another.” Things change, new products appear. Winsor & Newton say don’t (2017) — “…different brands of water mixable oils are not necessarily compatible. We only recommend the use of Artisan mediums with Artisan colours.” Can you combine the Artisan paints and mediums with acrylic anything? No!
Some variables in drying times:
- the Artisan painting mediums (thinner, fast drying medium, linseed oil, painting medium, stand oil, safflower oil, impasto medium)
- ambient temperature
- thickness of paint layer
Drying Times of Water and of W&N Artisan Water Mixable Mediums
From fastest to slowest.
- Water (Lean) — Dries 2x faster than if you add thinner. E.g. Imprimatura “stain” layer may dry in 15 minutes. Water causes cloudiness which clears up when dry.
- Thinner (Lean) — Dries 1x faster than paint alone. (Paints alone may take 2 to 5 days to dry.) Yellows less than adding just water.
- Fast Drying Medium (Fatter or Leaner? It’s Complicated, Possibly Leaner, More Below) — Dries 50% faster than paint alone. Is an alkyd based medium so you would use this instead of Liquin.
- Should have enough time to blend.
- Thins colors and increases transparency.
- Can use without linseed oil and in combination with water and/or thinner. (Most seem to have a better painting experience if they use water only for cleanup.)
- Smooths brushwork.
- Resists yellowing.
- Note: In the spirit of K.I.S.S., add either thinner or or oil to Artisan fast drying medium in order to follow fat over lean rule. (More on that below.)
- Impasto (Thicker) — Thickens and speeds drying time 50% faster than paint alone. Build up a thicker impasto layer, letting each layer of impasto dry in between, rather than putting it all down at once or it will collapse in on itself .
- Linseed Oil (Fat) — Slows drying time, the more of it you use, the more it slows drying time. Not as slow drying as painting medium, standing oil, or safflower oil. Is a drying oil.
- Painting Medium (Fat) — Slows drying time more than linseed oil, is stand oil based, and stand oil is a drying oil.
- Stand Oil (Fat) — More durable type of linseed oil, slower drying time then linseed oil. Is a drying oil. Good as a painting medium or oiling out.
- Safflower Oil (Fat) — Used with lighter colors in the upper layer(s) to maintain brightness. Even slower drying time then stand or oil or other oils in this brand’s water mixable oil line. Do not use safflower oil is under linseed oil. Is a semidrying oil.
Is Fast Drying Medium Leaner Than Paint Alone?
According to Winsor & Newton, fat over lean is another way of saying ‘more flexible over less flexible’. Answering the fat versus lean question in regards to the fast drying medium is tricky. Different colors may contain different amounts of oil due to the different natures of the pigments, meaning some pigments have more oils added to them during paint manufacturing. That and other contributing information is proprietary (secret, trademarked, nunya). In conclusion, add either oil or thinner to your quick during medium in order to follow the fact over lean rule.
Add Oil To Fast Drying Medium — The safest way to keep the fat over lean rule is to increase the amount of oil in the form of a drawing or oil or medium added to each subsequent paint later.
Add Thinner to Fast Drying Medium — Adding thinner to artisan quick dry medium will make paint leaner than only quick dry medium added to paint will.
On Combining Mediums, Getting the Paint to Feel and Act More Like Traditional Oil Paints, and Layers
You can combine mediums. First, mix or shake individual mediums according to manufacture’s directions. Then mix the mediums together well. After thise two steps, mix your medium mixture and your paint well.
I see that thoughts on the use of Artisan paintings mediums range from not using any to using a variety, some mixtures, and varying amounts throughout layers of indirect painting (underdrawing, imprimatura, blocking in colors, adding more paint, then glaze layers and perhaps even some impasto).
Some forego all use of mediums and paint with straight paint and are happy with Artisan. They’re probably doing direct painting (like alla prima).
Some use mediums among the layers of indirect painting and mix a combination of painting medium, oil, and alkyd (fast drying medium), and then they mix that into their paint in a one to one ratio. That to them feels and act more like oil paints.
Some will say to use no more than 20% to medium to 80% paint.
Others will tell you that they mix one medium and paint 1:1 (one to one, meaning equal amounts).
Others say just a drop or two of oil added to paints makes them feel like oil paints.
Let’s Get Practical
So many differing opinions out there, so let’s simplify.
- Add water (imprimatura) and/or a thinner and/or quick drying medium only to lower layer(s). Many use water only for clean up, others will use water to clean up and only the imprimatura layer (the staining layer that goes over the underdrawing; it’s thinner and more transparent than toning your canvas with a layer of paint). If you use thinner and/or quick drink mediums in more than one layer, use less with each layer. Because fat over lean and thicker over thinner.
- Thicker over thinner — Keep lower layers thinner; apply thicker paint only in the uppermost layer. Judiciously. Thicker impasto layers have to be built up with multiple applications that are dried in between. Use impasto only in the upper layer.
- Slower Over Faster Drying –– Add alkyd resin medium only to the lowest layer(s). Avoid adding thinner or fast drying medium to upper layers.
- Fat over lean — Add progressively more oil in upper layers. Pay attention to how fast your oils dry. See above.
- Nature over nurture — use slower drying pigments only in upper layer(s) rather than under faster during pigments. Refer to manufactures pigment information. http://www.winsornewton.com/na/discover/tips-and-techniques/oil-colour/understanding-the-drying-times-for-oil-colour-us
Indirect painting method uses mulptiple layers, often from four to 30 or more layers. Each layer dries before adding more paint, unless you’re painting wet-into-wet. Of all the indirect painting method layers, many artists will only start adding mediums to their paints after blocking in their colors. Other might add a combination of thinner and/or alkyd quick drying medium to their paint in the lower layers.
That Feel! Adaptability!
Using a combination of Artisan water mixable mediums with your Artisan paint can yield a more viscous mix so you can adapt techniques closer to traditional methods… and your paints may feel more like traditional oils! So, in an earlier layer, you might mix equal parts Artisan thinner and Artisan oil paint.
Since you can’t use Liquin (alkyd medium) with the Artisan paints without having to switch over to traditional oil paint solvents, you might do something like mix equal parts Artisan fast drying medium and Artisan oil paint.
You can also use combinations of Artisan thinner, fast drying medium and oil paint.
E.g. Use a 1:1 Artisan medium mixture to paint; adjust as you go according to painting rules and your painting needs.
When you get to the stage of adding oil, you can use a dropper or paint brush to add just enough oil or medium to make it feel and act more like traditional oil paints.
Loading a bit more paint on the brush might also help.
Another option? Some artists complete the painting up to the point of blocking in colors with acrylics (underdrawing, imprimatura, underpainting with tonal range), and proceed with the Artisan water mixable paints and mediums thereafter.
This Artist Has Been Working With Winsor & Newton Artisan Water Mixable Oils and Uses Mediums, Explains a Bunch (Not a Painting Demo)
Winsor & Newton ArtisanPainting Demo, No Tips or Explanation
Disclaimer: I do not work for Winsor & Newton nor am I their associate. I do not sell paint products. I am a tenacious digger and beginner, am self-taught, took a liking to Artisan paints, and gather notes because it’s deep in my nature to do so.
Better results with a newfound inclusion.
Why Trial Runs Using Magic-Glos Resin?
Lisa Pavelka’s Magic-Glos UV Resin allows me to work fast (layers cure in 15 minutes), build a focal bead in layers, and experiment. I’m using this resin to try out some new products, techniques, combinations, and sequences as I learn my preferences in resin faux opal making.
Sure, it’s more expensive per ounce, but ruining a whole batch or three of a dozen or more beads at a time is even more disheartening. If I didn’t allow for a leaning curve like this first, I probably would have given up on resin. It can take months or years to really master the medium. (Things seem ridiculously easy in the mind’s eye if our imagination isn’t informed by experience and tried and trusted knowledge base, I’ve found.)
So, here are some of my best results so far, note the slight amber tone at this depth with this resin, and I’m about to Faux Opals in Ice Resin and ArtResin. (See How to Ice Resin, How to ArtResin.) At this thickness, I expect almost no amber tone with Ice Resin and no detectable amber tone with ArtResin.
Magic-Glos Resin Tips
1. Don’t seal paper or cardstock inclusions with Mod Podge or PVC (white craft) glues if you’re using them with Magic-Glos — reactions between water-activated mediums, inks, and Magic-Glos can occur over time.
2. Bubbles can be prevented almost all the time. Read resouces given here. Bubbles can be removed by letting cured item sit one hour, drilling a hole into the bubble, cleaning up drilling debris, adding just enough Magic-Glos, and curing again.
Things Magic-Glos Doesn’t Work Well With
- PVC glues – your white craft, nearly all decoupage mediums/glues, and school glues are PVC glues — https://thebluebottletree.com/what-is-the-difference-between-mod-podge-and-acrylic-medium
- Air–dry glues — air-dry glues get trapped under things, don’t cure 100%, then release air bubbles into your curing resin. Use two-part epoxy glue instead!
- Ice Resin, whether or not each resin is cured or wet (insured) — chemical reaction between the two resins causes cloudiness
- Water-based sealants – any sealants that are not waterproof after drying (water resistant is not waterproof)
- Alcohol inks
- Unsealed inkjet prints
- Anything that may run or bleed if wet
- Sharpie markers
If in doubt, test first, often weeks ahead to make doubly sure.
Don’t. Don’t bake Magic-Glos. Avoid temperatures over 100 degrees F. See MSDS.
Warning: Baking Magic-Glos with polymer clay will cause the resin to amber (brown). See MSDS sheet (link given above) for further info.
Doming, Pulling Away, and Self-Leveling Properties and What They Mean to the User — The same properties that allow Magic-Glos to dome causes the resin to pull away from edges/periphery in first layer or two, hence a good dome is built up in layers, each of which are cured before the next is added. The last layers are minimal amounts and it may help to spread the resin nearly to the edge (with a toothpick or small ballpoint stylus) and then let Magic-Glos self-leveling finish the job, finally fully covering evenly and doming. Let it sit 10 minutes to 1/2 hour out of UV light to let it finish self-leveling and to let air bubbles make themselves evident. The self-leveling properties mean that you might think you only added enough, the self-doming is a bit of a delayed reaction, and then suddenly you have Magic-Glos running over the sides. If still uncured, it can be cleaned up with cotton swabs and wet wipes but prevention is better than damage control. Prevention involves adding thinner, multiple layers that are each cured before the next is added and curing your item while on a pedestal — a bit of polymer clay or poster-tx on a craft mirror a bit larger than your piece but small enough to fit in the UV lamp oven.
If the overfill cured, it can be pried off with your hands and/or chipped off with a craft knife.
Minimum Number Of Layers — usually 2 layers, less is more, meaning it’s better to add thin/incomplete layers than to overfill. Thinner layers allows the air bubble popping method of passing a butane mini torch or windproof lighter over the surface of the Magic-Glos for one and only one second.
What this page is and isn’t about — It’s about fine art air-dry and polymer clays. It’s not about ceramic, cold porcelain, resin clay, epoxy clays, or any kiln-cured products.
This page was written after reading https://www.reviewstream.com/reviews/?p=155083#thoughts-box, which was about Premier clay, which is an artist grade air-dry clay, and the beginner’s needs and understandable confusion.
For jewelry making, Premo!, Fimo Classic, Kato, and Cernit are some of your better choices of oven-cured polymer clays –they’re durable enough and do not have to be sealed unless certain surface treatments (mica powders like Pearl Ex or Perfect Pearls…) require it. See: https://thebluebottletree.com/seal-polymer-clay/
Durability… While people making charms often use various air-dry clays, they usually don’t construct bracelets or rings out of air-dry clays. Jewelry may take much more wear and tear.
Seal it or not? As a rule, air-dry clays generally have to be sealed once dry and finished but oven-cured polymer clays don’t. (Two-part epoxy clays don’t have to be sealed but although they’re often called air-dry, they actually cure by chemical reaction and may even be able to cure under water. They’re not true air-dry clays.)
Cracks in Premier clay.… Cracks don’t mean your air-dry clay is weak. Premier is one of the strongest air-dry clays. Nearly all air-dry clays have some shrinkage and Premier is no exception, although it shrinks less than some air-dry clays. Having a good armature, if armature is necessary, and using minimal amounts of water while sculpting with Premier can decrease the likelihood or severity of cracks. Sometimes cracks happen but they’re easily be repaired with Premier, even if your item dried. See the below video. Cracks may occur if you added too much water while sculpting, used a cardboard armature, used thin clay over a rigid armature (Ostrich legs, for example), let your item dry too quickly, or didn’t support sculpture parts subject to gravity. Don’t dry your Premier clay items under a fan, for example. Do remember to keep unused clay in an air-tight bag and/or container.
For figurative works, Premix, an air-dry clay made by the same company as Premier, is easier to sculpt and blend than Premier. Doll artist Hannie Sarris loved Premix clay. Premier clay may take some different sculpting techniques than what one would be used to with polymer clay and one uses minimal (!) amounts of water are used while sculpting Premier. People working with these air-dry clays might lightly dab their fingers across a wet sponge to keep clay moist enough while sculpting. They may use a mister type of water bottle. Do not use Sculpey Clay Softener or any type of oil to soften, smooth, and blend these air-dry clays — they are hybrid clays and have their own characteristics, sculpting techniques, storage and compatibility considerations. They’re not like the majority of polymer clays that are oven-cured (e.g., Fimo Classic, Fimo Soft, Cernit, Fimo Doll, Premo!). They’re not like most air-dry clays on the market. They are used by a number of very famous art doll artists and others.
So yes, there are indeed air-dry polymer clays — Activa Lumina Translucent Polymer Clay, Staedtler Fimo Air Basic Modeling Clay, and Activa LaDoll Premier clay are examples of air-dry polymer clays. Activa, the company that makes laDoll Premier clay, describes Premier clay as a type of polymer clay on their site. Lumina has long been known to the polymer clay community. Fimo Air Basic is weaker than either of those.
Polymer clays have their own issues — Dirt, lint, hair, compatibility issues, and baking considerations (always monitor your oven with two oven thermometers, not counting the oven’s own temperature reading). If you look at it that way, a few easily repaired cracks in Premier clay items isn’ts a bad deal.
Sculpey Diluent, AKA liquid Sculpey Clay Softener, works with oven-cured polymer clays, specifically, and not with air-dry polymer clays. Here’s the Sculpey Clay Softener Material Safety Data Sheet: https://www.sculpey.com/wp-content/uploads/2015/12/Clay-Softener-SDS-10282015.pdf
In contrast, Makin’s, Hearty, Das, “cold porcelain” clays, Creative Paperclay, Celluclay, and epoxy putties are not polymer clays no matter who describes them as such.
For a whole lot of information on all things polymer and air-dry clay, see:
- http://www.glassattic.com/ — About polymer clay … it’s like an encyclopedia
- http://www.garieinternational.com.sg/clay/shop/tension_test.htm — Which polymer clay is strongest?
https://thebluebottletree.com/ — Lots of definitive polymer clay articles and fantastic tutorials
- http://www.polymerclayweb.com/ — About polymer clay, has some tutorials
- http://www.garieinternational.com.sg/clay/clay.htm — Polymer clay 101 for beginners, the quick run through of brands
http://www.jaedworks.com/clayspot/polyclay-faq/basics.html — Information page about clays, written a while ago I think but still very relevant
Individual Dick Blick clay description pages —
- https://cdn.shopify.com/s/files/1/0276/9565/files/air_dry_clay_differences.pdf?1927224553175816568 — Specific to the differences between Activa’s Premier, Premix, and Satin Smooth clays
- https://youtu.be/JrIGZZXiPpo — a video about air dry clays, cardboard armature, drying too quickly, cracking, and how to fix the crack(s)
- https://karenascofield.wordpress.com/2015/08/31/strongest-air-dry-clay-for-sculpting-art-dolls/ — My other page on Premier Clay
- http://airdryclay.blogspot.com/p/adc-brands.html — a nice list of air-dry clays, just to give you an idea about such things
…Or go to clay manufacturers’ sites and hit their FAQs and MSDS pages. I wish there were sculpting, storage, compatibility, MSDS and other information (to seal or not to seal) with each clay package that one takes home, but that’s sadly not the case.
My Results From the Levo app regarding thinking talents.
As you can see, it picks up on my autism-related deficiencies/differences/advantages. My relational quadrant is empty (not in real life), but then the underlying social constructs de rigueur these days overwhelmingly favor charming extroverts, the more gregarious a la neurotypical fashion they are the better. I see it offers are some pointers about things “relational” but ultimately for someone like me, this test may not pick up on social and communication alternatives. Here’s a TED talk that challenges Introverts with a capital “I” being placed at the top of whatever constructs we can devise without more penetrating examination.
- I tend to do my best thinking alone. That is core the body of any Venn diagram about myself).
- I don’t do well with snap decisions, often go through a vigorous fact checking process, may research a topic north south east and west, and need time to think through pros and cons.
- I prefer advanced notice about events or needed decisions.
- I need a good amount of alone time to do my best thinking, stay true to myself, and stay on track.
- As much as possible, I need to let people know I will get back to them on the topic or decision rather than keep them hanging.
What do I need to work on: I need to devise purposely nurture relationships with “big thinkers.” Spending time with them will nourish and inspire my thinking processes.
Since my relational skills are peculiar or lacking, I do best with other like people, meaning they are rather direct communicators who are or do well with those on the autism range.
It seems I should partner with someone who excels in people, feeling skills and bringing things to action. That sounds like a neurotypical rather than someone who is on the autism range too. Neurotypicals usually shun people like me with a vengeance. What to do? I don’t want a relationship of unequals, so rather than some sort of setup that involves being mentored, I probably would do best in a co-mentoring relationship in which each recognizes the strengths and weaknesses of themselves and each other, without the ego trips or superiority complexes and other such baggage. Ideally. If I can’t get that, I can at least use a certified accountant and other specialists to help me get an art career off the ground.
Keeping the above in mind, the below from my about me page may make more sense!
I design and make figurative bead or art dolls, whip together spirit dolls, art journal, do fine art paintings, create mixed media mosaics, and get into some fabric arts!
My blog pages reflect my intense, playful nature that leads me to intermittently research art mediums/techniques N, S, E, W, and outside the box for years on end so that I can readily dip my hands into multiple art mediums and play, sometimes exactingly and sometimes experimentally. To the core, it’s my nature to take things art further and I have no qualms about expanding and correcting my pages as new products or information comes along. Making art stirs up a deep-seated sense of awe, a child’s sense of wonder, a well-seasoned intellectual curiosity, and the sense that creation is a spiritual experience. Ideas for art constantly fly into my head and I keep notes. Days are never long enough.
A little background... Some of my polymer clay beads appear in the book Polymer Artists Showcase, by tejae floyde. My 1st two art dolls were in Kenosha Wisconsin’s Lemon Street Art Gallery, where I was a member from 2005 to 2007. Lovely place. (I had no idea I could sculpt until I was in my mid to late 40s. It turns out that my dominant dominant intelligence is spatial, helpful in more 3D arts.)
Sculpting figurative beads of polymer or earthenware ceramic clay, resin, making my own prototypes and molds, art dolls, spirit dolls, mixed media mosaics, art journaling, water-based painting, and bouts of fabric arts (cotton, Kraft-tex, paper cloth AKA fabric paper).
I’m socially awkward (autistic) and do best with kind but exquisitely forward people who don’t infer or beat around the bush so if you talk with me, just say what you mean/feel yet remain respectful. (Hint: I love pluralism, eclecticism, constructive criticism and civil rights. I’m incredibly tolerant up to the point of intolerance, brainwashing, purposefully burdensome learned helplessness/ignorance, and other stupid toxic people tricks.)
Watermedia Warning: I’m an unabashed Cretacolor, Liquitex, Golden, and Da vinci fluid acrylics fan.
Ceramic — Earthenware, Raku
Polymer Clay — Cernit, Fimo Doll/Professional, Kato, Pardo, Premo, Sculpey UltraLight for under structures/armature
Air Dry Clay — La doll Premier, Creative PaperClay, Professional Cold Porcelain
Favorite Artist Paints:
Winsor & Newton Watercolors
Golden Acrylics — Fluid Acrylics, Heavy Body
Da Vinci Fluid Acrylics
Liquitex — Soft Body, Heavy Body, Spray can), Basics
Favorite Acrylic Craft Paints (Art Journaling):
Favorite Watermedia Pencils and Water-Soluble Oil Pastels, in Order of Preference:
Cretacolor (artist grade) — AquaMonoliths, AquaStics, AquaBricks
Albrecht Dürer Watercolor Pencils
Caran d’Ache Neocolor II Artists’ Crayons (not as lightfast as Cretacolor, across the board)
Inktense Pencils (the more lightfast shades)
Note: In any fine art, I only use water-soluble oil products on top of acrylics or watercolors, for final finishing touches, if I use them at all.
Favorite Opaque Markers and Pens for Art Journaling:
Uni Posca Paint Pens (remain water-soluble — judiciously seal with 3 layers spray sealant)
Sakura Gelly Roll Pens (no sealant
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Sakura Pigma Micron Pens (permanent, can watercolor and paint over them!)
Favorite Sketching Pencils and Powders:
Cretacolor — Artist sketching pastel pencils, carre hard pastels, sketching leads and holders, sketching powders.
Pitt Pastel pencils
Prismscolor sketching pencils
Unison Soft Pastel Red Earth 10
Canson, Strathmore 400 or 500 series, Canva-Paper, Stonehenge, Fabriano Soft Watercolor Paper, Yupo
Favorite Art Board:
Ampersand (especially their Aquabord)
Fredix Archival Watercolor panels
Favorite Illustration Boards:
Fredrix — Watercolor Canvas and their canvas for acrylics
Favorite Canvas Pads:
Fredrix — Regular and Watercolor
Favorite Mixed Media Pads:
Canson XL Mix Media (for art journaling)
Stathmore 400 or 500
Liquitex (not Basics!)
Winsor & Newton
Martin F. Weber Prima (art journaling and DIY art boards, has a lovely matte eggshell smooth texture)
Krylon — Matte Finish, Workable Fixatif, or UV Resistant Clear Matte
Lascaux UV Protect 2 or 3
Blair Very Low Odor Spray Fix
Plaid Patricia Nimrocks Clear Acrylic Sealer Matte (for crafts only)
Favorite Colored Pencils:
I can’t afford those! Nevermind. Sigh.
I did unwittingly get Prismacolor pencils from after their factories moved to Mexico and too many leads fall out of the pencils or break. Grrr.
I’m not so much in love with colored pencils, presently.
Strong quality cotton threads
English, Estonian, French, German, Swedish, Dutch, Norwegian, Punjabi, Spanish, and Italian.
Favorite Cuisines in Order of General Preference:
Punjabi, Chinese, Mexican, Greek, Estonian, French, American.
Note that all my work is copyrighted and you may not use it without explicit written permission.