Hello! The Acrylic 65 is already slightly thickened, making it more suitable for painting on vertical surfaces. The Acrylic 60 has not had any thickener added yet, making it a more fluid medium. The two binders have the same binding power and acrylic solids content. Either binder can be thickened to the same degree with our chemical thickener, Thickener #1. Both of the acrylic binders dry clear, but our clearest binders are Urethane 32 and Urethane 40, which have self leveling properties that create a glassier clarity.
What's the difference between the Urethane and Acrylic 60/65 binders? I like and prefer the matte pastel look you achieved with less binder. If I use a fixative between coats do you think I could use these as liquid pastels?
Urethane and Acrylic are like apples and oranges- they're both fruit, but that's about all they have in common. In practice, urethane will be self leveling (over a minimum paint film thickness) and will have a longer 3 part curing process. Acrylic will highlight your brush marks and have a shorter 2 part curing process. The lower the resin content, the faster the curing time. Urethanes are also more sensitive to cold temperatures than acrylics are. Our acrylics are extremely concentrated, and can also be diluted further than the urethanes from the concentration that we sell them in. Dilution of acrylic tends to reduce gloss. That could mean dilution with water, (up to 8 parts water to 1 part binder), but also dilution with dry fill or dry pigment as shown in this video. That means that acrylic is an ideal choice for this technique. If you prepare the paint so that it is able to pass a rub test, then you shouldn't have to use a fixative. If you chose to under-bind the pigment so that it is not able to pass a rub test, then a fixative would be important, but also would coat the pigment a little bit, giving a more wet-out look than if you didn't use the fixative. Covering the piece with glass is probably your best option to protect the work in that case. Alternately, you might try making watercolors of opaque pigment, or gouache of the transparent pigments with calcium carbonate. The gum arabic binder in those paints is closer in kind to the gum tragacanth in pastels, and may behave more like a "liquid pastel". The most important consideration is that gum arabic would be rewettable- definitely use acrylic as your binder if you are looking for paint that won't lift when exposed to water.
I read that the binder that YK used was basically the polymer that is the same as wood glue. I see from your video that the greater amount of binder creates the glossiest finish yet YK finishes were very matte. Does this mean that his product had very little binder and will rub off easily or is he using this magic binder I mentioned or something else? I suppose the real question is how to get superior binding and still maintain matte finish. There are other question concerns longevity of BLUE and the color crashing and turning gray at some point decades later and how to prevent that.
Hi! While there is variation between pigment manufacturers in the cleanness and lack of grey in an ultramarine, we use the highest quality ultramarines from Holliday (formerly Reckitt’s, the same company Yves Klein used). Our ultramarines have the highest lightfastness ratings, and so should not grey if properly stored. However, they are not weatherfast- that may be the cause of graying that occurs over time if kept in improper conditions. I've heard that Yves Klein was using PVA glue, but it was thinned with solvents. I am not sure why you believe that he used a higher concentration of binder- the solvents don’t contribute to the total amount of binder that remains in the cured paint. In order to get a paint that has the look of dry pigment rather than the depth and range of “wetted out” pigment, you need to use a minimal amount of binder. It is entirely possible to find a ratio that gives a dry pigment look while still passing a rub test, which is a reasonable baseline standard for binders. We are obviously making an “IKB style paint” rather than reproducing the original recipe. But Yves Klein didn’t have access to modern high concentration acrylic emulsions; he had to work with the technologies available at the time. PVA glue yellows over time, and solvents are neurotoxins. I’m sure his live models would have appreciated it if he had used water based paint. ;)
@@guerrapaintpigmentnyc2501 Great response. Thanks for that. So the idea of the amount of binder being proportional to the glossiness of the product is in your video and therefore the least amount being proportional to less glossy (more toward matte) is what made me make the statement about rubbing off easily due to smaller amount of binder. THAT SAID....do you make a product that accomplishes this similar if not superior to IKB without me having to worry about mixing all this stuff up? If so, WOW.
Great and informative upload. If you're going to home brew IKB, it has to be a two-part formula. Anything else is just overpriced ultramarine paint. I'm going to see what other materials you offer. No - thank you! 😁
@@reichhopprivatwatch1406 A two-part formula - which includes a VERY small bottle of of 95% alcohol. The alcohol is optional and used to thin the formula - if you want to do that. The original medium Klein used was toxic and extremely flammable. Because of this, he had to change the formula when creating his murals for the Gelsenkirchen Opera House in 1958. Have a great week! :)
@@TheStockwell shot in the dark, could you share the IKB recipe? I'm looking to mix up some for myself. Nothing commercial, or money related. Just trying to have some incredible color for a painting.
Are the same principles at work when making an oil paint from your dry pigments? Will Disperse Water work in making oil paint, or is something else needed?
No, many pigments disperse pretty well in linseed oil and other oils. Walnut oil is quite thin and runny. You should use that as a dispersant and then add cheaper linseed oil for the rest.
No, this is a pigment dispersion in water, and used in water-based paints like acrylic, gouache and watercolor. Oil paint is made from oil, linseed or walnut or other oils. You need to use dry pigment and mull it with the carrier oil to make oil paints. water and oil doesn't mix.
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Sadly, Mr. Guerra passed away on May 28th at the age of 81. RIP...You'll be missed. Wish I could have learned so much more from you.🥰
I love your products, and especially Disperse Water. So many different things I can do! I’d love to see more videos from you all.
Bought much from Art especially in first years of Guerra Paint & owabout to again with all your exotic new products :) :) Fine,helpful video :) :):)
You're shop is an inspiration to me! Makes me want to think about my materials more!
Thankyou - for explaining it all. I’m thinking about painting white lines on the sides of my driveway so folks See there’s a driveway there(at night)
Thank You! and yes you can do that!
What is the main difference between Acrylic 65 and Acrylic 60? Does 60 dry clearer than 65?
Hello! The Acrylic 65 is already slightly thickened, making it more suitable for painting on vertical surfaces. The Acrylic 60 has not had any thickener added yet, making it a more fluid medium. The two binders have the same binding power and acrylic solids content. Either binder can be thickened to the same degree with our chemical thickener, Thickener #1. Both of the acrylic binders dry clear, but our clearest binders are Urethane 32 and Urethane 40, which have self leveling properties that create a glassier clarity.
Thank you!
What's the difference between the Urethane and Acrylic 60/65 binders? I like and prefer the matte pastel look you achieved with less binder. If I use a fixative between coats do you think I could use these as liquid pastels?
Urethane and Acrylic are like apples and oranges- they're both fruit, but that's about all they have in common. In practice, urethane will be self leveling (over a minimum paint film thickness) and will have a longer 3 part curing process. Acrylic will highlight your brush marks and have a shorter 2 part curing process. The lower the resin content, the faster the curing time. Urethanes are also more sensitive to cold temperatures than acrylics are. Our acrylics are extremely concentrated, and can also be diluted further than the urethanes from the concentration that we sell them in. Dilution of acrylic tends to reduce gloss. That could mean dilution with water, (up to 8 parts water to 1 part binder), but also dilution with dry fill or dry pigment as shown in this video. That means that acrylic is an ideal choice for this technique.
If you prepare the paint so that it is able to pass a rub test, then you shouldn't have to use a fixative. If you chose to under-bind the pigment so that it is not able to pass a rub test, then a fixative would be important, but also would coat the pigment a little bit, giving a more wet-out look than if you didn't use the fixative. Covering the piece with glass is probably your best option to protect the work in that case. Alternately, you might try making watercolors of opaque pigment, or gouache of the transparent pigments with calcium carbonate. The gum arabic binder in those paints is closer in kind to the gum tragacanth in pastels, and may behave more like a "liquid pastel". The most important consideration is that gum arabic would be rewettable- definitely use acrylic as your binder if you are looking for paint that won't lift when exposed to water.
@@guerrapaint4249 pp}.
Can watercolors be made with your pigments?
Yes, you can absolutely make watercolors using our pigments and gum arabic.
I read that the binder that YK used was basically the polymer that is the same as wood glue. I see from your video that the greater amount of binder creates the glossiest finish yet YK finishes were very matte. Does this mean that his product had very little binder and will rub off easily or is he using this magic binder I mentioned or something else? I suppose the real question is how to get superior binding and still maintain matte finish. There are other question concerns longevity of BLUE and the color crashing and turning gray at some point decades later and how to prevent that.
Good question
Hi! While there is variation between pigment manufacturers in the cleanness and lack of grey in an ultramarine, we use the highest quality ultramarines from Holliday (formerly Reckitt’s, the same company Yves Klein used). Our ultramarines have the highest lightfastness ratings, and so should not grey if properly stored. However, they are not weatherfast- that may be the cause of graying that occurs over time if kept in improper conditions.
I've heard that Yves Klein was using PVA glue, but it was thinned with solvents. I am not sure why you believe that he used a higher concentration of binder- the solvents don’t contribute to the total amount of binder that remains in the cured paint. In order to get a paint that has the look of dry pigment rather than the depth and range of “wetted out” pigment, you need to use a minimal amount of binder. It is entirely possible to find a ratio that gives a dry pigment look while still passing a rub test, which is a reasonable baseline standard for binders.
We are obviously making an “IKB style paint” rather than reproducing the original recipe. But Yves Klein didn’t have access to modern high concentration acrylic emulsions; he had to work with the technologies available at the time. PVA glue yellows over time, and solvents are neurotoxins. I’m sure his live models would have appreciated it if he had used water based paint. ;)
@@guerrapaintpigmentnyc2501 Great response. Thanks for that. So the idea of the amount of binder being proportional to the glossiness of the product is in your video and therefore the least amount being proportional to less glossy (more toward matte) is what made me make the statement about rubbing off easily due to smaller amount of binder. THAT SAID....do you make a product that accomplishes this similar if not superior to IKB without me having to worry about mixing all this stuff up? If so, WOW.
Great and informative upload. If you're going to home brew IKB, it has to be a two-part formula. Anything else is just overpriced ultramarine paint. I'm going to see what other materials you offer. No - thank you! 😁
The original IKB is a three part formula. The Adam25 medium, pigment and some alcohol.
@@reichhopprivatwatch1406 A two-part formula - which includes a VERY small bottle of of 95% alcohol. The alcohol is optional and used to thin the formula - if you want to do that. The original medium Klein used was toxic and extremely flammable. Because of this, he had to change the formula when creating his murals for the Gelsenkirchen Opera House in 1958. Have a great week! :)
@@TheStockwell shot in the dark, could you share the IKB recipe? I'm looking to mix up some for myself. Nothing commercial, or money related. Just trying to have some incredible color for a painting.
Ha! My step dad is also Art Guerra. Artemio
Are the same principles at work when making an oil paint from your dry pigments? Will Disperse Water work in making oil paint, or is something else needed?
No, many pigments disperse pretty well in linseed oil and other oils. Walnut oil is quite thin and runny. You should use that as a dispersant and then add cheaper linseed oil for the rest.
No, this is a pigment dispersion in water, and used in water-based paints like acrylic, gouache and watercolor. Oil paint is made from oil, linseed or walnut or other oils. You need to use dry pigment and mull it with the carrier oil to make oil paints. water and oil doesn't mix.