Standard Liquid Colours for Plastisol

Standard liquid colours for plastisol are the working foundation for most soft-bait colour recipes. They let you create a single-colour body, separate the back from the belly, build a contrasting laminate or fine-tune your own shade in controlled increments. The colour concentrate is mixed into base plastisol and determines its colour character; it is not ready-to-use plastisol, loose glitter, a dry pigment or a surface airbrush colour.

The Standard name describes the role of this range in the palette. It does not automatically define opacity, transparency or one fixed intensity. The result is influenced by dose, the clarity of the plastisol, bait thickness, adjoining layers and lighting. Unless a specific product says otherwise, do not assume that a standard colour is UV active, fluorescent, metallic or non-bleed.

White and black can serve as basic tonal tools, but both should be added carefully. White can lighten or soften a shade, while black can deepen it or create a darker back; the actual shift depends on the proportions and the plastisol being used. The same principle applies to saturated colours: begin with a small amount because concentrate that has already been mixed in cannot be removed.

The colour in the bottle is not an exact swatch of the finished bait. The bottle contains concentrated pigment paste; once dispersed in plastisol, the shade changes with dose and casting thickness. A thin tail may look lighter or more translucent than a solid body made from the same mix. The decisive reference is therefore a cooled sample in the actual thickness of the intended bait.

Standard shades can be used on their own or combined experimentally to build custom colour directions. When mixing two or more colours, work with a small test batch and record every addition. A ratio that looks right in a thin drop may not look the same in a full bait body, so check an actual cast and inspect the colour combination in both daylight and workshop lighting.

Do not judge each colour in a laminated bait in isolation. A light, dark or saturated neighbouring layer changes the contrast of the complete lure and can visually shift an otherwise clean standard shade. Keep both mixes in a comparable working state, make a test laminate and inspect the individual layers as well as their combined appearance.

Pigment components may settle during storage. Before every use, shake the bottle thoroughly or stir its contents until colour and consistency are even. Homogenising can be made easier with clean, completely dry stainless-steel mixing balls: use 2 balls in a 50 g bottle and 2–3 balls in a 250 g bottle. Mixing balls are not included with the colour.

First stir the base plastisol slowly from the bottom and heat it according to the manufacturer’s instructions until it reaches a clear working state. Add the homogenised colour only after the plastisol is hot, then stir calmly and thoroughly after each increment and make a cooled control sample. The true intensity and clarity of a shade are difficult to judge in a cold, milky base.

There is no universal number of drops per 100 g of plastisol. Drop size depends on the dosing tip, while the result also changes with the plastisol, colour, casting thickness and any other additives. For repeatable production, record the weight of plastisol, the amount of every colour, the order of additions and the construction of the layers.

Liquid colour and powder pigment are not two forms with the same dosing. A SaBoFlex standard colour is a liquid-to-paste colouring additive. Powder pigments for plastisol are dry materials with their own weighing, dispersion and safe-handling requirements. Whenever you change material form, prepare a fresh test recipe.

If you want separate particles and points of flash, establish the base shade first and then mix in glitter intended for plastisol working temperatures. For a pearlescent or interference sheen, move to liquid metallic colours; for fluorescent colour, added UV response or afterglow, choose fluo colours and light-effect additives.

When working with hot plastisol, wear safety glasses, heat-resistant gloves, long clothing and closed footwear. Work on a stable, heat-resistant surface with effective ventilation. Keep containers and tools clean and completely dry, avoid overheating the mixture and follow the product label, Safety Data Sheet and manufacturer’s instructions.

Frequently asked questions – standard liquid colours for plastisol

What does Standard mean in this range?

It is the core colour palette for full bodies, individual layers, tonal adjustment and custom mixes. The Standard name alone does not define opacity, transparency, UV activity or another effect; use the individual product description and your own cooled sample as the guide.

Are standard colours opaque or transparent?

There is no single rule for the whole range. The result depends on the individual shade, dose, plastisol clarity and bait thickness. If you need a deliberately translucent recipe, compare a small test batch with one of the dedicated transparent special colours.

Can standard colours be mixed together?

Yes, but build custom shades in a small test batch and record every addition. Always verify the mix on a cooled cast because the colour in the cup or a thin drop may not represent a more solid bait body.

How should I use white and black?

Add them very carefully. White can lighten or soften a recipe, while black can quickly deepen it or create a dark layer. The precise effect depends on the starting colour and dose, so work in small increments.

When and how much standard colour should I add?

Add the homogenised paste in small increments to plastisol that is already hot and clear. There is no universal number of drops. Stir after every addition, allow a sample to cool and record the ratio once it gives the required result.

Why does the finished bait look different from the colour in the bottle?

The bottle contains concentrated pigment paste. Once mixed into plastisol, its appearance is affected by dose, base clarity, casting thickness, neighbouring layers and lighting. A cooled cast is the reliable working reference.

Can standard liquid colour be combined with glitter?

Yes. First mix and verify the base shade, then add a suitable high-temperature glitter. Test every new combination in a small batch because the amount and colour of the glitter may shift the overall appearance.

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