Gamblin Cold Wax Medium for oil paints. Add directly to oil colours to achieve thicker, denser and more matt colours. Handmade with pure white beeswax. Can also be used as a matte varnish.
Medium for oil colours based on alkyd resin which increases the fluidity of the colours and accelerates the drying time. High viscosity. Glossy finish.
Galkyd Gel is an alkyd resin based medium. A stiffer medium with a consistent texture that keeps brush marks thicker and sharper. Dries quickly. Increases the transparency of oil colours and creates impasto. Glossy finish.
Odourless mineral solvent by Gamblin. Perfect in small quantities, for thinning oil colours or cleaning art materials used in this technique. Ideal for oil painting classrooms and workshops.
Odourless, transparent, ready-to-brush gloss varnish. Saturates your paint colours and gives your work a unified, protective surface. Developed in collaboration with the National Gallery of Art.
Odourless matt varnish ready for brush application. Reduces the sheen of your paint colours and gives your work a unified, protective, matt surface. Developed in collaboration with the National Gallery of Art.
Odourless satin varnish ready for brush application. Protects and saturates your paint colours. Gives your work a unified surface and a finish between gloss and matt. Developed in collaboration with the National Gallery of Art.
Refined linseed oil made from American linseed. Ideal for thinning oil colours and slowing down drying times. Light and pure.
Gamblin Solvent-Free Gel oil painting medium. Adds fluidity and transparency while maintaining the shape and texture of the brushstroke. Dries in 48 to 36 hours. Non-toxic.
Medium made from Canada Balsam, dammar resin and linseed oil. Perfect for thinning the paint and making it easier to apply. For thin layers, to create glazes and transparencies. Can be used for restoring and cleaning brushes with dry paint on them.
Solvent-free, odourless and vegetable-based medium. Perfect for thinning oil paints and facilitating their application. Ideal for thin layers, creating glazes and transparencies. Can be used to clean and restore your brushes covered with dry paint.
Beeswax paste made with linseed oil, turpentine and bleached beeswax. Perfect for giving body and consistency to oil paint. Quality product, ideal for use with opaque colours.
Fast drying enamel medium. Ideal for adding depth, glazing, enhancing colours, accelerating the drying properties of oil paints. Solvent-free and sustainably produced. Vegan product.
Bee oil resin. Smooth paste perfect for creating satin and full-bodied colours. Ideal for creating thickness, working on impasto technique and creating textures to give character to your work.
Refined gum turpentine for oil paints. Used both for first coats and for glazes, to accelerate drying time and to give fluidity and flexibility to the paint. Used as a plasticising agent, to give gloss, highlight colours and brushstrokes.
Refined linseed oil medium. Dilutes, homogenises and slows down the drying of oil paints. Honey-like viscosity. Perfect for increasing the flow of the paint. Ideal for top quality artwork.
Standard refined linseed oil for quality oil colours. Ideal for enhancing paint brightness, increasing resistance and fluidity, creating glazes and transparencies. It also slows down colour drying time and provides a professional finish to your work.
Pale refined linseed oil. Clearer than traditional linseed oil. Adds strength, fluidity and slows down the drying of oil paint. Oil that improves the brushstroke and increases the brightness of the colours. Highest quality oil.
Refined poppy seed oil for oil paints. High quality, non-yellowing. Ideal for use with white and light blue colours, to bring out colours and to work wet on wet. Slows down the drying time of the paint.
Quality refined safflower oil. Perfect for diluting and highlighting the colours of your artwork. Light yellow tone perfect for white and light colours. Can be used in the final coats to homogenise the surface and to produce glazes.
Oil with refined walnut extract. Perfect for slowing down the drying of oil paints, thinning paint, giving a glossy finish and highlighting colours. Adds strength, flexibility and quality to the final coats of your work.
Slow-drying oil that does not yellow when drying. Used as a substitute for linseed oil in the production of white and light colours in oil paints.
Reduces the consistency of the colour. Reduces the brush stroke and drying speed. It is used as a binder, thinner, varnish, etc. in various painting processes.
Light, alkaline refined oil that reduces the consistency of oil colours and increases gloss and transparency.
Medium evaporating solvent, which in most cases has a similar dissolving power to pure turpentine.
100% pure turpentine oil obtained from the distillation of pine resin.
White Spirit, odourless turpentine.
Art Creation oil and acrylic varnish spray. Fast drying and satin matt. Provides protection against dust, grease, dirt, etc. Increases the durability and improves the conservation of the painting. Does not yellow after drying.
Winsor & Newton auxiliary products in spray format.
Ready-to-use, amber coloured crackle varnish. Apply with a brush to create crackle effects on your works. Compatible with Ageing Varnish to give an even more antique effect to your works.
Glossy spray varnish based on natural resin. Perfect for oil painting and restoration. In the long term, it tends to yellow slightly to an amber colour which does not alter the colours. Increases the brightness and vividness of the colours.
Solution of dammar resin in turpentine essence. Traditional, glossy final varnish for oil, tempera, alkyd and synthetic dispersion paints.
Solution of dammar resin in turpentine with suspended matting agents. Final varnish for oil, tempera, alkyd and synthetic emulsion paints.
Retouching and restoration spray varnish. Colourless and light. Slightly increases the gloss of the colour. Suitable for removing dull areas that form at paintwork intervals. Fast drying.
Ageing varnish that gives an antique look to the paint. Tends to yellow. Also used as a first coat before applying the Cracking Varnish which adds a crackle effect to your works.
Glossy spray varnish for oil. Perfect for protecting your oil paints and bringing out the intensity of the colours by creating a very resistant and colourless protective film. Fast drying.
Matt spray varnish for oil. Ideal for protecting your oil paints by adding depth to the colours. Generates a very resistant and colourless protective film. Fast drying.
Maimeri drying agent in spray format for oil paints.
Pale yellow, quick-drying varnish. For use on oil and alkyd colours. Traditional, high-gloss varnish that is also used for prints and cards.
It is a patina used in the decoration and imitation of surfaces and has an archaic, aged and noble appearance. It can be diluted with turpentine or petroleum essence.
High-quality linseed oil. Very pure and clean. Does not darken or yellow like other oils. Shortens the drying time, increases the weather resistance and lustre of the oil paint. Free from chemicals.
Extra-clear, very pure walnut oil. Purified using traditional methods. Enhances the richness and luminosity of white and light colours. Dries more slowly than linseed oil. Produced without chemical additives. AP-certified non-toxic.
Protective varnish or thinning medium for colours to shorten the drying time. Contains spikenard oil essence, a solvent used since the Renaissance. No petroleum derivatives, turpentine or hazardous vapours.
The lavender retouching varnish offers excellent, classic protection for oil paints. Made from natural dammar resin dissolved in lavender oil. Enables both protection and transpiration. Free from aggressive chemicals.
Chelsea Classical Studio Sample Set with 8 auxiliary products: oils, mediums, solvents, varnishes, soaps and brush cleaners. Perfect for testing the brand´s full range and as a gift for artists.
Solvent with spikenard oil essence for oil paints, resins and varnishes. It evaporates just as quickly as turpentine, but is a natural solvent that has been used since the Renaissance and contains no chemicals or petroleum derivatives.
Chelsea Fat Medium based on extra pale linseed oil and lavender essence dammar varnish. Designed for the final coats of paint as it fattens the oil paint, giving it more gloss, consistency and adhesion. Slow drying. Non-yellowing.
Chelsea Lean Medium consists of extra-clear linseed oil and lavender oil solvent. Perfect for the first layers of colour. Dries very quickly and does not yellow. Improves the adhesion and durability of the colour. Prevents craquelure.
Provides protection against paint ageing, dust, dirt and more. Gives the paint a uniform finish (glossy, matt or satin). Does not yellow over time and does not crack.
Lefranc Bourgeois lavender spike oil essence gives the colours uniformity and is less volatile than turpentine, which means that the colours set more slowly, and has a high solvent power.
For thinning grease, plastic and special paints where a low odour perception is important.
Broad spectrum solvent mixture suitable for thinning most paints, varnishes, glazes and primers.
Rectified lavender essence. Slow drying medium for oil paints as a substitute for turpentine. Pleasant smelling thinner.
Linseed stand oil. Can be mixed with water. Improves the fluidity and slows down the drying of water-based oil colours.
Synthetic turpentine, odourless, from Productos Express. For use as a cleaner or thinner for paints and varnishes. Volatile, colourless and odourless.
Fast drying water-mixable medium. Softens the brushstroke and increases transparency. Very fast drying. Excellent for fine details.
Semi-matt alkyd-based impasto medium for fresh textures and brush strokes. Stretches colours and gives volume.
Pure pine turpentine obtained by distilling pine resin. For use as a thinner and cleaner for paints and varnishes. Transparent and volatile.
Water mixable paint medium. Slow drying. Reduces the consistency and increases the flexibility of water-based oil colours. Greases and enriches opaque areas. Non-yellowing.
Water mixable impasto medium for water based oil colours. Fast drying rigid medium. Retains brush marks when mixed with the medium. Non-yellowing. Can be cleaned with water.
Water mixable linseed oil for oil paints. Reduces the consistency and improves the fluidity of oil colours. Increases the transparency and gloss of water miscible oil colours.
White wax that gives furniture and objects a white, powdery finish. Leaves a soft and pleasant feeling.
Easy-to-apply, transparent wax that seals and protects the piece, making it soft and pleasant to the touch.
Developed to give furniture and painted surfaces a weathered effect. Leaves a soft feel.
Linseed oil increases the transparency, gloss, fluidity and elasticity of the colour layer. It keeps the colour fresh for longer by creating a greasy texture.
Purified linseed oil is the most resistant and driest of all linseed oils. It is used in colours that take longer to dry. It tends to yellow.
Liquid additive for thinning the paint to significantly slow down the drying process of the work. Does not yellow and can be used with the most transparent light colours. Glossy surface.
Lefranc Bourgeois colourless retouching varnish for paintings that does not yellow over time.
Lefranc Bourgeois varnish, colourless and very resistant to scratches, moisture and abrasion.
Lefranc Bourgeois white spirit is a solvent of purely mineral origin based on petroleum derivatives that evaporates completely without leaving any traces.
Lefranc Bourgeois turpentine essence facilitates the artist´s work when drawing by making the colours flow without altering them.
Ideal for cleaning brushes and paint or varnish residues in oil painting.
Alkyd resin-based painting medium that accelerates drying and increases the transparency and fluidity of oil colours.
Lefranc Bourgeois for impasto technique in oil painting. Solid structural medium. Allows the realisation of thick layers of paint as it hardens in the absence of air.
Winsor & Newton oil medium for mixing and glazing. Increases transparency, fluidity and colour depth and ensures a glossy, long-lasting finish. Slows down the drying time. Useful for mixing, glazing, effects, etc.
Lefranc Bourgeois mastic resin medium for oil painting, which enables quick adhesion and fast and progressive drying.
Winsor & Newton Medium for cleaning darkened or soiled paintings and oxidation residues from linseed oil. The cleaning of valuable works of art should be carried out by specialists.
Lefranc Bourgeois medium for oil paints with a glossy surface that allows the paint to adhere quickly.
Winsor & Newton intermediate or touch-up varnish to protect freshly applied oil colours. Glossy, non-yellowing finish.
Lefranc Bourgeois medium for oil paints that does not alter the transparency and opacity of the colours and facilitates their application. Can be used mixed with turpentine. Matt, even and velvety finish.
Winsor & Newton Artists´ high-quality matt varnish for oil paints. UV-resistant. Fast drying, non-yellowing and non-cracking.
Lefranc Bourgeois medium for oil paints, made from beeswax. Matt finish.
Winsor & Newton transparent, glossy liquid varnish for oil paints. Excellent quality. Does not yellow after drying. UV-resistant. Fast drying.
Modified mineral spirit that makes it possible to offer painters a solvent that has practically no odour and no aggressive vapours for health.
Winsor & Newton thinning medium for oil paint, which improves the fluidity and moisture of the paint to facilitate the realisation of small details. Slow drying; it forms a layer that does not crease or crack.
White Courtrai siccative for oil paints with a mild effect from Lefranc Bourgeois. Accelerates the complete drying of the colour (not just the surface).
Winsor & Newton satin matt varnish in premium quality, UV-resistant, quick-drying, non-yellowing and non-cracking. Can be removed with distilled Winsor & Newton Artists´ Turpentine if required.
White Spirit mineral turpentine. Thinner for oil paints, solvent for thinners and varnishes, and cleaning brushes and painting tools.
Winsor & Newton Artists´ White Spirit is a mineral turpentine that dries somewhat more slowly than turpentine. It is used for thinning oil colours and for cleaning brushes. It can be used with both oil and alkyd colours.
Biodegradable solvent for removing dried acrylic residues from brushes.
Winsor & Newton Artists´ distilled turpentine oil for oil colour is stronger than turpentine. It is a highly refined essential oil used as an oil thinner (solvent), for thinning oils and mediums and for washing brushes.
This liquid was developed for cleaning varnished paints without being a pure solvent. It dissolves the oxidation of linseed oil and old paints and removes surface dirt.
Odourless and colourless thinner with moderate solvent power. Refined petroleum distillate free of aromatic hydrocarbons. Suitable for people sensitive to the smell of solvents. Do not abuse the quantity used in well ventilated places.
Semi-drying poppy seed oil of extreme purity and high light fastness. Based on refined poppy seed extract. Non-yellowing, ideal for whites and very light colours. Slow drying.
Semi-drying safflower oil that softens oil colours and makes them more fluid. Ideal for whites and very light colours. Does not yellow. Made from safflower seed extract (saffranon). Dries slowly.
Oil based on refined linseed extract. Increases the brightness and glossiness of oil colours. Softens brushstrokes. Moderate drying time. Tends to yellow.
Polymerized and refined linseed oil for oil painting. Softens brushstrokes and gives a very shiny finish to the painting. High viscosity. Tends to yellow.
Walnut oil for quick-drying oil painting. Made from refined walnut kernel extract that increases the brightness of colours. Does not yellow.
Thinner for oil paints based on refined petroleum distillate containing less than 20% aromatic hydrocarbons. Good solvent power with moderate evaporation and suitable for cleaning brushes and palettes.
Final varnish with amber tone that increases the shine and vividness of oil colours. Made with Dammar resin (40%), turpentine essence and alcohols. Tends to yellow.
Light final varnish with moderate shine for oil painting and restoration. Made from ketonic resin (25%), white spirit and petroleum essence. Medium fast drying time.
Light varnish for touch-up and restoration based on ketonic resin and mineral spirits. Moderate gloss and drying time. Does not yellow. Can be added to Restauro colours.
Bright varnish for oil based on ketonic resin, petroleum essence and white spirit. Very high protection factor, contains UV filter. Does not yellow. Reversible product with white spirit.
Matte varnish that creates a resistant opaque film. Made from acrylic resin, white spirit and matting silica. Can be mixed with Maimeri Gloss Picture Varnish for different finishes.
Clear and colourless final varnish. Ketone resin (50%), isoparaffinic hydrocarbons. Apply delicately. Prevents the deterioration of Restauro colours. Dilute with thinner for Restauro.
Very flexible varnish highly valued since ancient times. Natural Mastic resin from Chios (40%) turpentine. Can be added to Restauro colours.
Natural varnish for oil paint made from natural mastic resin (31%) and turpentine essence. Very flexible and elastic, greatly increases paint gloss. Tends to yellow. Reversible product with turpentine essence.
Final varnish for oil paint. Based on acrylic resin, acetone and white spirit. Combines the flexibility and hardness of the resin components. Suitable for other painting techniques.
Varnish for oil paint based on ketonic and acrylic resin, white spirit and poppy seed oil. It can be mixed with oil colours to delay drying and increase the brightness, adhesion and elasticity.
Ochre-toned detergent without ammonia. Made from anionic surfactant, sodium polyelectrolyte salt and carboxylic acid. Odourless and water soluble. Cleans oil paint residues from brushes, palette knives, palettes, etc. Non-toxic.
Colourless, organic thinner for oil paints. Softens the viscosity and facilitates the mixing of oil colours. Barely perceptible odour. Ideal alternative to traditional slow evaporating thinners. Miscible with water. Non-hazardous
Thinner that reduces the consistency of the colour without dissolving it. Made from mineral spirits and linseed oil. Alternative to the traditional thinner. Tends to yellow.
Thinner specific for Maimeri Restauro oil paint.
Strong solvent based on amyl acetate, aromatic hydrocarbons, ethyl acetate and isopropyl alcohol. Ideal for restoration and removal of paints based on natural resins. Low degree of harmfulness.
Light solvent based on refined petroleum distillate. Rapid evaporation with good solvent power. Suitable for cleaning brushes and palettes.
Slow evaporating vegetable solvent made from essential oils extracted from conifer buds. Opaque colours. Sensitive to light and air. Suitable for cleaning brushes and palettes.
Traditional vegetable solvent for oil paints made from essential oil extracted from conifer buds. Slow evaporation. Light and air sensitive. Tends to yellow. Suitable for cleaning brushes and palettes.
Impasto medium for oil paints based on safflower oil, desiccant and excipients. Perfect for thickening the paint, maintaining consistency and plasticity. Reduces the concentration of highly pigmented colours. Fast drying. Non-yellowing.
Drying medium based on thixotropic alkyd resin, mineral alcohols and a siccative that accelerates the drying of oil colours while maintaining viscosity.
Drying medium to accelerate the drying of oil paints. Reduces paint consistency. Made from linseed oil, petroleum essence, white spirit and dryers.
Translucent amber coloured medium for oil colours. Made from thixotropic alkyd resins (15%), mineral spirits and thickener. Improves the fluidity of the paint and the brushstroke. Increases the transparency of the colours. Easy to mix.
Lefranc Bourgeois egg painting medium for oil painting. Glossy or matt surface depending on use. Improves adhesion, accelerates drying and increases the oiliness of oil colours. Ensures perfect preservation without yellowing.
The J.G. Vibert painting medium is a liquid painting medium consisting of ketone, acrylic resin and poppy seed oil. Practically colourless and non-yellowing, it dries quickly and retains a certain flexibility.
Liquid gloss medium, perfect for fine details. Ideal for surfaces with soft colour gradients without brush marks. Modern alternative to Copal tree resin. Fast drying.
Semi-glossy alkyd-based impasto medium for fresh textures and brushstrokes. Stretches colours and gives volume.
Alkyd-based medium that increases flowability and transparency and enables fast drying. General purpose medium with low gloss.
Safflower oil for water-based oil colours. Superior quality. Improves the fluidity and increases the gloss transparency of water miscible oil colours.
Winsor & Newton quick-drying linseed oil. Accelerates drying, increases gloss and transparency. Can be mixed with other oils to accelerate their drying. High resistance over time. Does not yellow.
Thinner for watercolour paint. Composed of 100% pure distilled water and ingredients for the pigments to adhere to each other.
Montana PRO acrylic spray varnish to protect and improve the lustre of materials such as wood, cork, wickerwork, porous and non-porous paintable surfaces, etc. Glossy, satin or matt finish. High durability and adhesion. No yellowing.
Montana PRO spray varnish for paintings. Protects and enhances paintings painted with acrylic and oil techniques. It can also be applied to other types of materials. Available in gloss, satin and matt finishes.
Montana PRO synthetic spray varnish for the protection and enhancement of oil paintings and other techniques. Ideal on wood. It dries very quickly and is extremely scratch-resistant. Available in gloss, satin and matt finishes. UV protection.
Obtained from the first pressing of poppy seeds. Retains many of the properties of linseed oil, yellows less and dries more slowly. Suitable for light colours.
Increases the fluidity of oil paint. Makes the brushstrokes disappear. Increases the gloss, but prolongs the drying time. Can be diluted with turpentine.
Cold-pressed and bleached linseed oil. Must be diluted with turpentine or white spirit Increases the colour flow of the oil paint. Disguises the brushstrokes. Enhances the lustre. Shortens the drying time.
Light, non-yellowing, glossy varnish for protecting paintings. Made from ketone resin dissolved in turpentine. Can be used approximately one year after the paint has dried perfectly.
Light, non-yellowing, matt varnish for the protection of paintings. Made from ketone resin dissolved in turpentine with an addition of beeswax to maintain the matt character. To be used approximately one year after the paint has dried.
Made from high-quality dammar resin. Glossy surface. Protects the painting from external influences. Refreshes matt areas. Homogenises the gloss of the entire painting. Dries quickly.
Refreshes dull areas and gives the paint temporary protection. Dries in a few hours. Once the colour has dried well, it will no longer yellow. Made from dammar resin dissolved in turpentine.
Pasty varnish. Very glossy finish. Must be thinned with turpentine. Apply one year after completion of the work.
Removable temporary protection. Increases the gloss on matt surfaces. Based on acetone and white spirit. Fast drying.
Volatile thinner for oil paints. Reduces the greasy consistency of oil colours and cleans utensils.
Volatile thinner for oil paints. Makes the paint less greasy, softens the brushstroke and cleans the material.
Thins the oil paint and increases colour flow. Reduces the gloss and accelerates the drying time. The brushstroke remains visible. Consists of a mixture of linseed oil and turpentine.
Thins the oil paint and increases colour flow. Reduces the gloss. The brushstroke remains visible. Consists of a mixture of linseed oil and turpentine oil. Contains no resins or siccatives.
White siccative medium. Accelerates the drying time of oil colours.
Boiled linseed oil. Improves the colour flow. Dries more slowly and is darker than refined linseed oil.
Mixing medium for oil paints. Specially designed for R&F Oil Pigment Stick. Increases transparency, gives body to the paint and helps to mix and spread the colour.
Natural resin for hardening beeswax and raising its melting temperature. Damar allows the wax to be polished to a higher, translucent surface and helps to prevent bloom.
Soy wax for cleaning brushes. Composed of partially hydrogenated soybean oil. Biodegradable. Non-toxic. Easy to remove.
It is considered one of the best resins for picture varnishes with good reversibility and low sensitivity to moisture.
Odourless solvent. Forms a viscous mixture that evaporates slowly. Does not decompose over time, even during storage. Ideal for artists who prefer to avoid turpentine.
Schmincke Aerospray B72 is a transparent spray that protects works of art made from pencil, charcoal, pastel, watercolour, ink, photographs, etchings, acrylic and oil paints. It is particularly recommended for restoration work.
Schmincke ready-to-use oil binder that is mixed with pure pigments to make your own oil colours. Made from natural vegetable oils and additives. Suitable for making light colours. Good drying of the final colour.
Schmincke spray paint with matt finish. Developed for oil painting, but also suitable for print work. Synthetic resin varnish with UV protection. Colourless, quick-drying and age-resistant.
Schmincke spray paint with neutral finish. Optimised for oil painting and suitable for prints and photographic work. Synthetic resin varnish with UV protection. Colourless, quick-drying and age-resistant.
Schmincke spray paint with a glossy finish. Developed for oil painting, but also suitable for print work. Synthetic resin varnish with UV protection. Colourless, quick-drying and age-resistant.
With Schmincke Medium W, any traditional oil colour can be mixed with water without using turpentine or other solvents. It increases the gloss and transparency and is waterproof after drying. Code no. 50043.
Lefranc Bourgeois drying medium for oil paints. Enables quick layering of brushstrokes in fresco and the application of glazes. Shiny, even and velvety finish. Increases transparency and gloss.
Lefranc Bourgeois Flemish drying medium for oil paints. Facilitates the adhesion of colours, protects them, makes them more vivid and improves their durability. Contains copal resin, linseed oil and turpentine essence.
Sennelier glossy varnish based on synthetic resin. Fast drying. Completely colourless. Forms a resistant and protective layer. Apply on dry paint and dilute with turpentine. Not reversible.
Clear, synthetic, resin based varnish. Apply on very dry backgrounds. Revives colours. Does not yellow. Due to its delicate use, it is ideal for professionals and restorers. Dries in a few minutes. Thin with alcohol.
Temporary varnish based on very diluted and light dammar gum. Ideal for protecting oil paintings from dust or during premature transportation. Does not slow down the oxidation process too much, dries quickly. Fades over time.
Extra fine glossy varnish by Sennelier for oil and acrylic works. Fluid concentrate and easy to apply based on dammar gum. Apply on dry paint. Thin with petroleum/mineral spirits or turpentine.
Glossy, durable and quality varnish to protect and enhance your artworks. Made from 33% mastic gum in turpentine essence. Easily reversible. Dissolves in turpentine. Apply on dry paint.
Sennelier matte varnish based on synthetic resin. Forms a colourless and very resistant layer. Fast drying. Can be combined with Sennelier gloss varnish to obtain satin finishes. To be diluted with turpentine. Not reversible.
Alcohol-based isolating varnish that creates a protective and non-reversible layer. Allows repainting by isolating the previous coats. Perfect for restoration, allows returning to the lower layer in case of error. Dilutes in alcohol.
Sennelier satin varnish based on synthetic resin, intermediate between glossy and matte varnish. Fast drying. Colourless, transparent, does not yellow and is very resistant. Dilute with turpentine. Not reversible.
A highly volatile thinner used to extend oil-based paints or some varnishes. It is less greasy, odorous, and slower evaporating than turpentine. Excessive use will produce a matte finish. It can also be used to clean fresh paint.
Indispensable and traditional thinner which, when mixed with oil colours, produces a very pleasant paste. It´s ideal for both initial layers in the sketching stage and final finishes. Keep it tightly sealed to prevent air exposure.
Sennelier Flow´n Dry Medium that gives a slightly gel like consistency. Accelerates drying significantly, provides fluidity and improves the brightness and richness of the brushstroke. In higher proportions, it is ideal for glazes. Resists yellowing.
Sennelier Fluid´n Dry Medium that shortens drying time, improves fluidity, increases brightness and transparency. Perfect for detail work and glazes. Liquid version of the Flow´n Dry alkyd medium. Does not yellow.
Sennelier Gel´n Dry medium that facilitates impastos and techniques with a high paint load. Accelerates drying and gives fluidity to the brushstroke. It is colourless and does not alter the colour. Gel version of the Flow´n Dry medium.
Sennelier dammar gum in a 33% solution. Natural resin used for making varnishes and mediums. Dilute in turpentine or white spirit up to 30% in relation to the solvent. Creates a shiny, opaque and uniform film.
Sennelier oil paint thinner, toxic free. Perfect to increase the fluidity of the paint, to give smoother strokes, to facilitate the first sketching phase in your works, etc. Made with vegetable chemicals.
Liquid oil paint cleaner perfect for cleaning your brushes, palette knives, paintbrushes, brushes, paint wells, etc. from oil paints. Toxic free. Easy to use.
Sennelier oil colour gel medium. Ideal for preserving the consistency of the paint, making colour overlaps without diluting the undercoats, creating textures and speeding up the drying of the paint.
Sennelier toxic-free liquid medium for oil paints. Perfect to increase the consistency of the paint, to make glazes, to make lighter textures, to accelerate drying and to give more shine to your works. Made with vegetable chemicals.
Sennelier Impasto medium based on vegetable oil and natural resin, allowing for thick coats and reliefs. For thick layers, mix with Van Eyck impasto medium or oil colours to gain flexibility and reduce the risk of cracks.
Medium based on completely translucent vegetable oils. Provides transparency and luminosity to the brushstroke. Ideal for glazes and finishing touches of works. Does not alter drying time. Dilute with turpentine.
Sennelier Turner gel medium for glazes and finishes in oil colours. Gives the brushstroke transparency and luminosity. It has no influence on the drying time. Very transparent, completely translucent, vegetable oil-based.
Sennelier synthetic universal medium for oil colours. Based on clear, glossy ketone resin. It accelerates drying, gives liveliness to the tones and maintains a transparent and thick finish.
Sennelier Veronese medium based on matte beeswax. Provides a satin finish when mixed with paint. Allows working layer by layer, varying the fluidity of the paint, and achieving gradients between neighbouring brushstrokes. Accelerates drying.
Colourless drying agent that accelerates the drying of your oil paints. It does not alter the tones or brushstrokes. Ideal for working in quick layers and reducing waiting times. Use in proportion up to 15%.
Superior drying varnish that accelerates the hardening of paint layers. Contains calcium and zirconium salts. Dries the oil in-depth. Can be mixed directly with oil colours or with thinners, just a few drops are enough.
Natural thinner with a honey-like consistency based on resin extracted from larch. It can be added as a plasticizing and glossy medium in oil colours and varnishes. Use a maximum of 5% in proportion because excess weakens the film.
Water-based biopolymer varnish and colour medium made from milk casein and beeswax. Very flexible and resistant. Fast drying. Semi-glossy surface. For all techniques except oil pastel. Non-toxic. Suitable for interiors.
Oil-based painting paste that prevents the formation of wrinkles when applying thick layers. Increases the transparency of the oil paint and maintains its viscosity, the durability and does not yellow. Can be diluted with turpentine or white spirit.
Fat thinner from Titan for oil paints. Increases transparency, gloss, fluidity and elasticity of the colour layer.
Fatty diluent by Titan for oil paints. It is lighter in colour than linseed oil and is particularly suitable for light colours and blue tones.
Titan auxiliary products in spray format. These include various types of varnishes, fixatives, shellac and bitumen. For coating and protecting surfaces, priming, highlighting, imitating and decorating objects.
Oily varnish. It revives the colours and achieves effects of great transparency.
Titan classic bitumen of Judea, so characteristic of the manufacture of patinas, the imitation of antiques, the finishing of worked metals, the embellishment of frames and mouldings and the decoration of objects.
Volatile, colourless and odourless thinner for oil paints that leaves no residue.
Titan oil thinner, volatile, colourless, colourless, mild odour, leaves no residue.
Oil thinner, volatile, colourless, characteristic odour, leaves no residue.
Semi-fat thinner for oil paints. Increases the transparency and gloss of the colour layer without yellowing.
Thinner based on vegetable oils, synthetic resins and siccatives dissolved in white spirit. Increases transparency and gloss. Does not yellow. Refines the brushstroke and improves adhesion.
Accelerates the drying of oil colours. It is used in small quantities (0.5 to 5%) and mixed well with the colour.
Titan product used by restorers for oil paints.
Amber-coloured solution based on Venetian turpentine (91%) and mineral spirits, which can be used as a medium for oil paints. Increases the elasticity and lustre of the paint. Also used as a medium for powder pigments in ceramic colours.
Easy-to-use trigger that is attached to the top of the spray cans. With push button that precisely controls pressure and paint quantity. Universal fit, fits almost all spray cans and prevents hand fatigue.
The acrylic varnish spray is very useful for quickly protecting your work. It does not contain any harmful substances such as toluene, and the propellant does not damage the ozone layer.
Turpentine oil perfect as solvent and thinner for oil-based paints, varnishes and primers. Gives consistency, elasticity and drying properties. Ideal as a degreaser and as a cleaner for brushes, palette knives, palettes, etc.
Technical acetone with a purity of 99%. Very fast acting ketone solvent, perfect for dissolving resins, adhesives and paints. Ideal for restoration.
Absolute ethanol or ethyl alcohol. 99.8 % purity. Colourless, volatile liquid with a strong odour. Ideal for restoration, antique photography techniques, removal of repainting, cleaning of varnishes and solvent for resins, greases and oils.
Ethanol or ethyl alcohol with a purity of 96%. Volatile liquid with a strong odour. Colourless. Ideal for restoration, photographic techniques, solvent for varnish, paint, resin, grease and oil, etc. Medium for chemical reactions.
Ethanol or ethyl alcohol with a purity of 95-96%. Volatile liquid with a strong odour. Colourless. Ideal for restoration, medium for chemical reactions, photographic techniques and solvent for oils, greases, varnishes, paints, resins, etc.
