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Liquitex Heavy Body Artist Acrylics - Payne's Gray, 4.65 oz Tube

Heavy Body Acrylic

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  • Blick Art Materials
    $15.60 USDShop
    Recorded Oct 22, 2026, 2:08 AM UTC

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Product details
Size
138 ml
Blick SKU
00617-2561
About this product range
  • Professional quality
  • 116 rich, brilliant colors
  • High pigment concentrations
  • 100% acrylic binder—minimal color shift
  • Thick texture retains knife and brush marks
  • Made in France

Liquitex Professional Heavy Body Acrylics are high-viscosity acrylics formulated for bold color and precision handling. Formerly known as High Viscosity, this line features a thick consistency that retains crisp brushstrokes and knife marks—ideal for impasto, layering, and textural work.

High pigment loads deliver rich, permanent color with excellent lightfastness, while a low-odor acrylic resin base offers increased open time and a smooth working experience with minimal wet-to-dry color shift. The paint’s strong surface drag allows for controlled blending and expressive mark-making using brushes or knives. It’s equally suited to traditional painting, mixed media, collage, and printmaking techniques.

When dry, paint films remain flexible, non-yellowing, water-resistant, UV resistant, and pH neutral. Available in a range of versatile sets, Liquitex Heavy Body Acrylics are a great choice for both beginners exploring acrylics and experienced artists seeking professional-quality results.

Pigment information

General reference notes about pigments can describe other media (such as oil). They do not verify this product’s exact formulation or behavior.

Ultramarine Violet

Pigment code
PV15
Type
inorganic
Chemical name
complex silicate of sodium and aluminum with sulfur
Chemical formula
H2Na(4-6)Al6Si6O24S2
Properties
Ultramarine Violet is a semi-transparent, dull purple to pale violet with low tinting strength. As a pigment, it is weak in most oil applications, but it performs better in water-based mediums, pastels, and chalks. It is generally the bluest of the violet pigments, although there can be significant differences in color across brands. It is not suitable for fresco work and does not mix well with yellows. Ultramarine Violet is a variant of Ultramarine Blue, and their pigment properties are identical.
Permanence
Ultramarine Violet has excellent permanence and lightfastness.
Toxicity
Ultramarine Violet has no significant hazards.
History
Unknown.
Description
Mineral Violet, Violet Ultramarine, Ultramarine Red.

Ultramarine [Blue]

Pigment code
PB29
Type
inorganic
Chemical name
complex silicate of sodium and aluminum with sulfur
Chemical formula
Na8-10Al6Si6O24S2-4 or Na6-8Al6Si6O24S2-4
Properties
Ultramarine is the standard warm blue, a brilliant blue pigment that has the most purple and least green in its undertone. It has a moderate to high tinting strength and a beautiful transparency. Synthetic Ultramarine is not as vivid a blue as natural Ultramarine. Ultramarine dries slowly in oil and tends to produce clean, though granular, washes in watercolor. French Ultramarine mixes well with Alizarin colors in oil and watercolor form to create a range of purples and violets. It can dull when mixed with white in acrylic form, but mixes well with other colors. The shade varies based on manufacturer. Considered a great color for glazes, it is not suitable for frescoing.
Permanence
Ultramarine has excellent permanence, although synthetic Ultramarine is not as permanent as natural Ultramarine. It may discolor if exposed to acid because of its sulfuric content.
Toxicity
Ultramarine has no significant hazards.
History
The name for this pigment comes from the Middle Latin ultra, meaning beyond, and mare, meaning sea, because it was imported from Asia to Europe by sea. It is a prominent component of lapis lazuli and was used on Asian temples starting in the 6th century. It was one of the most expensive pigments in 16th century Europe, worth twice its weight in gold, and so was used sparingly and when commissions were larger. Ultramarine is currently imitated by a process invented in France in 1826 by Jean Baptiste Guimet, making blue affordable to artists and extending the range of colors on their palettes.
Description
Artificial Ultramarine, French Blue, French Ultramarine, Gmelin's Blue, Guimet's Blue, Permanent Blue, Royal Blue, Synthetic Ultramarine. New Blue describes particular shades of Ultramarine. Armenian Blue and Lazuline Blue are names for genuine Lapiz Ultramarine. Sky Blue is a pale tone of Ultramarine.

Ivory Black

Pigment code
PBk9
Type
charred animal bone
Chemical name
carbon + calcium phosphate
Chemical formula
C + Ca3(PO4)2 or C x CaPO4
Properties
Ivory Black is a cool, semi-transparent blue-black with a slight brownish undertone and average tinting strength. It mixes well with any color, and creates a range of dull greens when mixed with yellow. It has good properties for use in oil, can be slow to dry in oil form, and should never be used in underpainting or frescoing. Ivory Black is denser than Lamp Black.
Permanence
Ivory Black is very lightfast and has good permanence, though it is considered the least permanent of the major black pigments.
Toxicity
Ivory Black has no significant hazards.
History
Ivory Black is a carbon based black first named as Elephantium, and described in the 4th century BCE as produced by heating ivory scraps in clay pots to reduce the ivory or bone to charcoal. The deviation in names is because the more expensive varieties of this pigment were made by burning ivory, and the less expensive ones by burning animal bone. In the 19th century, the name Ivory Black was finally permitted to be applied to Carbon Black pigments made from bone. True Ivory Black is rare in modern times due to the protection of ivory, and the synthetic variety produced today was discovered in 1929. Bone Black is produced as an industrial pigment.
Description
Animal Black, Blue Black, Bone Black. Paris Black is an inferior grade of Ivory Black. Incorrectly labeled as Frankfort Black.

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