Solvents are used to dissolve the pastes, thus facilitating the use of colours.

Oils, of plant origin, act as agglomerating binders, providing strength to
the stroke. Several oils are used in oil painting or emulsions. Selection of the appropriate oil is performed according to several criteria: required paste consistency, texture, yellowing in the dark, effect upon paint shades, desired drying time and mechanical strength of the film. Painters often have their own recipes involving one or more oils.

Siccatives accelerate the drying of oils, but this phenomenon must be performed in a progressive manner in order to allow drying throughout the thickness of the layer. The choice of siccative and the percentage used are crucial factors of good conservation of the pictorial layer. The colour of the siccative has no impact upon the end result.

Mediums are made from natural (Dammar gum, Mastic gum), or synthetic (acrylic) resins and oils. They provide cohesion to the work and promote drying.
Mediums may alter the consistency and appearance of the stroke by conferring a transparent, matt, satin or gloss aspect.

Varnishes may be temporary (retouching) or final for preserving the work. Varnish is selected according to the type of work, the desired effect and to drying time. It is important that a period of at least 6 months be allowed prior to applying the final varnish to the work in 2 or 3 thin layers.

Fixatives are generally resins in solution in alcohol. They are applied to oil-free materials, never to oil-containing work (with the exception of oil pastel). They promote the adherence of the stroke to the substrate and protect the work from aggression. Each fixative is designed for a specific use. Fixatives should be applied in successive thin coats.

ADDITIVES FOR OIL PAINT

Solvents, oils, siccatives, mediums, varnishes and fixatives are additives that play a critical role in the creation and life of a piece of work.

Allows cleaning of brushes, knives, palettes? coated with dry colours (oil or acrylic), lacquers, and media. Tools cleaned with this product can be rinsed with water. 75ml jar Code : N135541.75
60ml jar Code : N135351 1l jar Code : N135355
Recommended for professionals and art restorers due to its delicate use and opening of the paint layer. Clear, non-yellowing synthetic resin based varnish. Apply on very dry bases. Brightens colors. Dries in several minutes.Thin with alcohol. Use with care. 75 ml Jar Code: N135121.75
This is used as a temporary varnish to protect the canvas from dust or during early transport. Since it has a very diluted base, it does not suffocate the painting and does not slow down the oxidation process very much. Reduces in strength over time. Dammar gum based light varnish, fast drying. To...
By mixing a larger or smaller proportion of gloss varnish with this varnish (which is completely matte), you can obtain the desired satin effect, without losing the brightness of the colors. Synthetic resin based final varnish. Colorless, high resistance film. Rapid drying. Only apply to completely...
Synthetic resin based final varnish, intermediate between the gloss and matte varnishes. Rapid drying (only several hours are needed to obtain the final finish). Colorless, satin finish film, non-yellowing and highly resistant. Transparent and reflection-free finish. Not easily reversible. Only apply...
A classic in the same manner as the matte and satin. Synthetic resin based final varnish. Completely colorless. Rapid drying. Gives a resistant film, but is difficult to reverse. Only apply to completely dry paint. Thinner: Rectified Turpentine spirit. 75 ml Jar Code: N135161.75 250 ml Jar Code:...
High gloss varnish. Concentrated Dammar gum based final painting varnish. Gives an attractive, gloss, high build film. Only apply on completely dry paint. Avoid application in damp weather. Thin with petroleum/mineral spirits or turpentine. 75 ml Jar Code: N135101.75 250 ml Jar Code: N135103...
This is a very attractive varnish with an unbeatable gloss appearance, and it is also one of the most expensive! Used a great deal by past generations of painters. 33% Mastic gum (from Chios) final painting varnish. Resistant film, high gloss and high build, with a tendency to discolor slightly over...
Creates an insulating film between two coats of paint. Because it cannot be reversed using solvents which allow layers of varnish applied over the top to be removed, this varnish is very popular among restorers since it enables them to return to the previous layer in the event of a mistake. Use with...
This drier is so effective that an excess dose can cause the opposite effect. Therefore use sparingly (0.5% approx.). May slightly tint the color. Contains cobalt, zirconium, zinc and calcium salts. Highly concentrated: use in small doses, i.e. a few drops for a knob of color (less than 0.5%). Any...
In brief, the Courtrai drier makes the oil «hyperventilate» to demand more oxygen and accelerate the hardening of the layers of paint. Contains calcium and zirconium salts. Greater drying power than White drier. Dries the oil in-depth. Reduces the difference that naturally exists between the normal...
Colorless drier containing calcium salts (which activate the natural drying characteristics of the pigments). No effect on hue or the quality of the brushstroke. Non-yellowing. Up to 15% may be added. 75 ml Jar Code: N135051.75 250 ml Jar Code: N135053
This medium has the same properties as the Turner paint medium, but it is produced using a synthetic base. Clear, gloss ketone resin based liquid medium, gives a highbuild finish and allows glazing and « àlla prima » paint by accelerating drying. Universal medium improves the tones by adding bright...
Alkyd resin medium that shortens drying time, improves fluidity, and increases gloss and transparency. Liquid version of the alkyd medium Flow ?n Dry and shares the same qualities. 75 ml Jar Code: N135521.75 250 ml Jar Code: N135523
This medium strongly accelerates «drying» and is very useful for those who like to work quickly. Modified alkyd oil medium gives a slightly gel consistency, improves the thickness of the finish, accelerates drying, liquefies the paste when working thanks to its thixotropic qualities. Gives a gloss...
Based on Dammar gum (natural resin). May be mixed with oil colors in all proportions, particularly suited for work with fresh paints. Reinforces the cohesion of the brushstroke and accentuates gloss. Useful for glazing and transparent washes. Thinners: mineral spirits and turpentine. It is a ready-to-use...
With oils, it is impossible to obtain similar impastos to acrylics unless you first work with a pure impasto medium. Wait for it to dry and then apply the color. This is an economic solution for thick work. It is possible to use an acrylic type base impasto medium which will dry much more quickly.
This medium allows you to work finish by finish quickly by avoiding mixing with colors on lower layers. Paste medium, based on beeswax, which provides a uniform matte finish. Ideal for «alla prima» studies, large pieces and exterior work due to the rapid setting of impastos, the ease of carrying
Use when you wish to work transparently using the glazing method. Use preferably with transparent or semi-transparent colors. Medium with a gel-like consistency, based on mastic resin and oil thickened in the presence of metal oxides. Thixotropic. It has an easy application, fixes brushstrokes and...
Gel 'n Dry is a medium which makes impastos easy, very useful for those who wish to work thickly. Clear, it does not alter the color. Gel version (in a tube) of the alkyd medium Flow 'n Dry. It becomes flexible when mixed with the color, which allows for thick work. Accelerates drying, improves fluidity...
Very transparent gel medium. Used for glazing and the finish. Completely clear vegetable oil based medium, gives transparency and lightness to the finish. It does not have a noticeable impact on drying time and retains the color's form and satin finish. Thinner: Rectified Turpentine spirit. 40
Pure natural balsam with the consistency of honey. Resin extracted from larch. Add as a plasticizer and gloss enhancing agent to oil colors, varnishes and mediums. Creates a jewellike quality with a tough enamel-like surface. Use with care (maximum 5%), as excess will make the film more brittle. Recommended...
Allows you to significantly attenuate or smooth thin brush strokes. Linseed oil polymerised in the absence of air. Full bodied, very bright, clear, honey-like viscosity medium made by heating pure linseed. Improves transparency, fluidity and smoothes brushstrokes. Can be used straight but, due to...
Refined Safflower Oil is the oil used to produce colors with Sennelier extra-fine oil. It yellows less than linseed oil. Clarified vegetable oil, a good drier with low acidity is characterised by resistance to yellowing and has an excellent compatibility with pigments. Because of its pale color,...
It liquefies the paint and accelerates hardening and a gloss finish. Boiled linseed oil encourages the finish to dry deeply. Gives texture and roundness to the finish while drying more quickly than normal linseed oil and it adds a brilliant, slightly amber finish. Avoid excess. For artists who wish...
Poppy seed oil dries more slowly than linseed oil. Use in moderation. Add a maximum of 2% drier. Extracted from poppy seeds, it is clearer and has a less yellowing tendency than linseed oils. Recommended for light colors and blues, in particular. Less effective as a drier than linseed and safflower...
Permet de fluidifier la peinture tout en conservant son aspect initial. Huile purifiée, naturellement un peu ambrée, extraite de graines de lin. Plus siccative et plus résistante que la plupart des autres huiles. A tendance à jaunir avec le temps. S'utilise de préférence avec des tons foncés ou peu...
This is less volatile than the Rectified Turpentine spirits and allows you to work the paste while it is fresh for a longer time. Aspic oil comes from the distillation of male lavender. It makes the finish thick. Has a higher solvent power than Turpentine, which encourages a better bond between layers....
A thicker thinner than those mentioned above, this thinner allows you to work the paste for longer periods while it is fresh. Essential mineral oil evaporates more slowly than petroleum spirit. Thick on the brush, it leaves no trace following evaporation. Essential oil acts as a ?delaying agent?
This thinner is used like petroleum spirit, but is strongly appreciated by users put off by the smell of solvent. A new generation of solvent derived from oil for oil paints. This solvent evaporates slowly and does not deteriorate during its change while leaving no trace when dry. With a very low...
A very volatile thinner which does not leave a thick film. It has less odor than Rectified Turpentine spirits. Mineral spirits have an advantage over vegetable-based spirits that it keeps better on contact with air. It is a thinner solvent than vegetable-based spirits and evaporates more slowly than...
«The base product» Indispensable thinner. Very useful during the abbozzo or sketch phase. It is completely possible to produce a painting only using Rectified Turpentine Spirits. Pure Landes pine gum spirits are obtained by distillation. Avoid contact with air. A traditional thinner, recommended...
Natural whitened gum diluted in alcohol (35% dry extract). Provides a glossy film with a transparent amber colour. 250ml Jar Code: N135393
This product contains a non yellowing and water soluble Acrylic Resin. To be brushed on a non greasy support. If too thick, mix with some water. To be applied in thin layers (wait for 2 hours in between). Wait for at least 1 day before painting with Oils, Acrylics, Gouache or Temperas. 200ml Jar
This preparation comes in a powder form. Casein and white powders based. To be mixed with water. Can be brushed on canvases, wood, plywood etc... As a semi absorbent and strong primer. 1Kg Kraft bag Code: N133611
This product contains water soluble Acrylic resin. To be used as under layer of Gesso or Case Alba. To be applied (1 or 2 thins layers) on non greasy support : wood, fibber board, raw canvas, plywood, cardboard, cement, plaster...) To be stored above 0° Centigrade. 1Kg Jar Code: N133509
Pure Dammar gum in a 33% solution of mineral spirits.Should be used as the basis for manufacturing varnishes or mediums. Thinner: mineral spirits. The product should not be used on its own. 250 ml Jar Code: N135413 1 L Jar Code: N135415
Allows cleaning of brushes, knives, palettes? coated with dry colours (oil or acrylic), lacquers, and media. Tools cleaned with this product can be rinsed with water. 75ml jar Code : N135541.75