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Liquitex 5321 Professional Matte Gel Medium, 8-oz
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- Dries translucent with a satin/matte finish; Viscosity and body similar to Liquitex Heavy Body Paint
- Lightweight, non-toxic; Translucent when wet, transparent when dry
- Includes 8-oz / 237ml jar of medium
- Intermixable with Liquitex Professional Acrylic Paint Colors and Mediums.
- Conforms to ASTM D4236; Safe for educational use
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Liquitex offers the broadest range of acrylic mediums to inspire creativity at every stage of the painting process. Liquitex Gel Mediums add body to thinner paint for impasto techniques as well as extending color volume and adding transparency. Gels tend to dry slower than thinner paint films, allowing for more workable time. Gel mediums can modify acrylic paints in a variety of ways and since they contain acrylic resins, tend to improve adhesion and durability. Liquitex gel mediums can add texture enhance color and increase transparency within your work Liquitex Matte Gel Painting Medium dries translucent with a satin/matte finish. Viscosity and body similar to Liquitex Heavy Body Artist Color. Translucent when wet, transparent when dry. Thicker applications result in less transparent, dry medium films. Mix with Liquitex Heavy Body Artist Color to obtain paint similar in color depth to oil paint. Color mix will dry to a satin sheen. APPLICATION: AS EXTENDER: Mix with Liquitex Heavy Body Artist Color to extend volume and increase translucency while maintaining paint viscosity. Mix with Liquitex Soft Body Artist Color to extend volume and increase translucency while increasing paint viscosity. AS GROUND: Recommended as a translucent ground (size) for acrylic paint with excellent tooth and adhesion as an alternative to gesso. Will allow some color and texture of the support to show through. Use as a substitute size for the hide glue size traditionally used for oil paintings. To prevent Substrate Induced Discoloration (SID) wash cotton or linen canvas before use. EXTERIOR MURALS: If the support or wall is very rough, a coat of Liquitex Matte Gel Medium should be brushed, or toweled, onto the surface prior to gesso application. FOR IMPASTO EFFECT: Mix with Liquitex Heavy Body Acrylic Color for impasto effects that dry to a matte sheen. Visit our Liquitex Amazon Storefront for full product assortment.
From the manufacturer
Liquitex Acrylic Mediums
In addition to the widest array of Professional and Student colors, Liquitex offers the broadest possible range of acrylic mediums to inspire creativity at every stage of the painting process. We understand that mediums are often a difficult concept to grasp until you actually dive into them, so we’ve tried to simplify usage by classifying products in three distinct categories: Prep, Paint, and Finish.
Liquitex Acrylic Mediums
All Gel Mediums:
- Add Body
- Increase 'open' time
- Dry transparent or translucent
- Extend the volume of paint
- Hold brush or knife marks
- Make an excellent archival adhesive for collage
Gel Mediums add body to thinner paint for impasto techniques as well as extending color volume and adding transparency. Gels also add 'open time' as they tend to dry slower than thinner paint films. These mediums also also modify acrylic paints in a variety of ways and, since they contain acrylic resins, tend to improve adhesion and durability.
Gel Mediums available:
- Gloss Gel
- Gloss Heavy Gel
- Gloss Super Heavy Gel
- Matte Gel
- Matte Super Heavy Gel
- Ultra Matte Gel
- Slow-Dri Blending Gel
- Modeling Paste
- Light Modeling Paste
- Flexible Modeling Paste
A thick gel that imparts a translucent matte sheen when dry. Ideal for creating collages with heavier objects. Combine with Gloss Gel to create a customized satin finish.
|Gloss Gel||Gloss Heavy Gel||Gloss Super Heavy Gel||Matte Super Heavy Gel||Ultra Matte Gel|
|Also available:||Excellent for retaining brush marks while slowing the drying time and adding body to the paint||A very thick gel medium that extends working time and increases brilliance and transparency||A super thick gel with high surface drag used to create a stiff “oil-like” feel||A super thick gel which retains high-peaks and crisp brush and knife strokes with very little shrinkage||A gel with high resin solids that dries to a matte finish|
|Mix with transparent colors for impasto glazes of great depth and brilliance||Mix with acrylic paint to increase body and attain oil paint like consistency that holds brush or palette knife marks||Ideal for creating high peaks and sculptural applications that hold shape when dry, with minimal shrinkage||This medium keeps paint workable longer than most other gel mediums and dries to a translucent matte finish||Maintains color opacity and extends paint to double amounts without changing color position|
|Slow-Dri Blending Gel||Modeling Paste||Light Modeling Paste||Flexible Modeling Paste|
|A heavy body gel used to extend the “open” time of acrylics by more than 40% for easier blending||A very thick, matte, opaque preparation of marble dust and polymer emulsion used to build heavy textures on rigid surfaces||A lightweight and airy preparation of marble dust and polymer emulsion specifically formulated to be used in applications where weight is a factor||A matte, opaque preparation of marble dust and polymer emulsion|
|Add up to 50% without jeopardizing the strength of the paint film to achieve excellent impasto techniques||Makes an excellent substrate for acrylic paint, oil paint, oil pastel, oil bars, watercolor, graphite, or dry pastel||Can be used to add body to paint and create pastel tints||Use to build heavy textures and three-dimensional forms|
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1. Laser print (ink-jet does not work for this method) your graphics onto plain white paper in REVERSE; Staples, Kinkos, etc. can laser print if you don't have one. You want the paper to cover the entire piece of wood so there are no break lines or differences in texture when all of the paper is removed. You can use several blank pieces of paper to stick to areas of the wood where the image isn't, if the wood size exceeds your print size. Remember, printers don't print white... they use the paper for that color, thus any white/lighter areas in your image will show the wood color once the paper is removed.
2. On a flat surface, schlop some Liquitex onto the middle of a large piece of tin foil and evenly load a cheap paint roller (mine was a 3") with the Liquitex. Smoothly apply the medium onto the wood, covering the entire front surface. The thickness is probably 1/64"? Just needs to be a smooth layer and not too thick.
3. Place the print face down onto the now-gel'd wood, working from one edge to another, and smoothing out any bubbles/wrinkles. Let dry for 5 for more hours.
4. Once cured, soak the paper with water and use your hand/fingers to rub all of the paper away--you will see the print appear. When finished, let it dry to get a sense of areas where the paper may not have been completely removed. The Liquitex will dry transparent, but can appear milky when slighty wet (which can make you think you didn't get all of the paper off). Better to let it dry fully before making a second pass at rubbing any areas that appear white-ish. SEE #5 BEFORE RUBBING ANY FURTHER.
5. At this point, you may be done. Or, you may not, depending on your artistic vision and the way it turned out. If the excess paper has been rubbed off and there is a milky/cloudy film over some areas (after drying for 30-60 minutes), spraying the full image with Krylon Clear Sealer with likely make the milkiness disappear and bring the image back to full opacity. It also locks it in to protect from light abrasions, etc.. I ended up rubbing mine with some wax to give it that "handled" matte sheen a lot of vintage wood items have.
This is just my own method, after 2 pieces. No doubt there are better ways to do this, but it worked well for me.
Naturally, I try to not get any on my hands, but it's worth noting that there are no warning labels on the jar. There's also no expiration date on the jar.
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