Mixing acrylic paint into resin opens up creative options, but artists run into a wall fast if the color turns muddy or opaque. The attraction of resin art hinges on that deep, glasslike clarity. So, people want bright swirls or subtle tints—not a milky mess. Over the years, working with resin for jewelry and abstract panels, I've learned that a little knowledge about paint goes a long way toward stunning results.
Typical acrylic paint straight from the tube blocks light like a wall. That’s because pigments, by design, cover whatever surface sits underneath. For resin pours, thick paint clouds the whole thing. The secret is to thin the color to let the light shine through. Some artists go searching for expensive specialty pigments, but most art supply stores already offer a simple answer: acrylic mediums, specifically glazing or transparent mediums.
Acrylic glazing medium turns solid color into a sheer wash. I start by squirting a dose of paint on my palette, then mix glazing medium until it looks almost see-through. For those who want a glass-candy effect, more medium means more light comes through—think two or three parts medium for every dab of color. Some people try water, but water weakens both the resin’s strength and the bond between resin and pigment. Glazing medium keeps colors bright and works with the chemistry of the resin.
Here’s a trick: never dump paint directly into resin. Make a separate cup for blending paint and medium first. Mix until the streaks disappear, so you’re left with a uniform, syrupy color. Only then blend into clear resin. I use no more than 10% of this mixture compared to the entire batch of resin, sticking with the standard advised by resin manufacturers. This keeps the resin’s magic glassiness intact while still adding color.
Artists who only chase bold color sometimes end up with a poured block that shows off every flaw—a hair, an air bubble, even a fingerprint below the surface. Translucent colors hide less, but highlight movement and depth. For anyone after sharp lines or layered shapes, use less color and build up in steps. Sometimes letting a layer cure, then pouring another colored resin batch gives the best dimension.
In my studio tests, paints mixed with professional-grade glazing mediums produced clearer, richer color than those diluted with water. That lines up with published advice in art magazines, as well as practice guides published by brands like Golden and Liquitex. Acrylic ink is another option, already designed to flow and tint resin; still, the same principle applies—low pigment load, total mixing, and patience as each layer sets. Safety matters too: use a respirator in a ventilated area, since resin fumes are no joke.
Once you get used to mixing translucent acrylics with resin, add other twists. Some artists add a hint of metallic powder for shimmer, or finish with clear layers to lock in soft gradients. Experimenting pays off, especially for those willing to document recipes and snap test swatches. In every pour, the balance between pigment, medium, and resin tells its own story—one that can only come from hands-on work and a willingness to adjust on the fly.
