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Universal Medium / 75ml / 250ml
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 and glossy appearance. Reinforces the mechanical properties of the finish and can be mixed with colors in any proportion. It can be diluted in petroleum spirit, turpentine and odor free spirits.
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Turner Painting Medium / 75ml / 250ml / 1000ml
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 medium that can be used throughout the production of a painting.
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Van Eyck Medium / 40ml Tube
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 increases gloss, transparency and depth of color. Allows oil colors to be superimposed rapidly, even when paint is fresh, without diluting the underlying coats. For rough sketches, thin the medium with turpentine or petroleum spirits. Enrich as the work proceeds. Provides rapid setting followed by progressive drying. Van Eyck medium gives the brushstrokes (even when using impasto techniques) a varnished, enamel finish. Also suitable for glazing and modeling.
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Flow ’n Dry (Alkyd Medium) / 75ml / 250ml / 500ml
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 finish, resists yellowing, very suitable for glazing and mixes in any proportion with oil colors. Good for general use and Plein Air studies.
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Fluid ’n Dry (Fluid Alkyd Medium) / 75ml
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.
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Gel ’n Dry (Gel Alkyd Medium) / 40ml Tube
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 as well as the gloss. Suitable for impasto techniques it can be mixed in any proportion with oil colors.
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Veronese Medium / 40ml Tube
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 out superimpositions, its flexibility of use and its rapid drying characteristics. Veronese medium covers quickly and the pastes are richer. At times, it must be thinned. Vary fluidity and setting time with liquids such as essential petroleum/mineral oil or Aspic oil (adding several drops per knob of color). This medium melds adjacent brushstrokes.
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Refined Safflower Oil / 75ml / 250ml
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 is recommended to grind with white and clear tones. Mixed with oil colors to accentuate their fluidity, transparency and gloss without altering the hue’s brilliance during drying. It dries more slowly than linseed oil, but may be safely mixed with it. Add 25% maximum to total paint mixture.
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Clarified Poppy Seed Oil / 75ml / 250ml
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 oil. The drying speed may be balanced by adding the correct amount of Sennelier Courtrai drier. Avoid excess.
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Boiled Linseed Oil / 75ml / 250ml
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 to make their own paints using oil, it is recommended to grind pigments to 50% with clarified linseed oil. It is also used in recipes of mediums and paint.
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Stand Oil / 75ml / 250ml
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 high viscosity, it is preferable to thin with spirits. Excellent medium for glazing and detail work. Reduces possible appearance of cracking. Slows drying. Slightly yellowing. Favors gloss.
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Cobalt Drier / 75ml
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 excess may cause difficulties during drying. Provides well-balanced drying of the oil color, both on the surface and in depth. No effect on hue or gloss.
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Courtrai Drier / 75ml / 250ml
In brief, the Courtrai drier makes the oil hyperventilate and demand more oxygen, accelerating 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 drying nature of most colours and the slow drying tendency of certain other colours. May be mixed directly with the oil colour (2% maximum) or thinner, adding several drops
(5 maximum) per 5 ml. Excess drier adversely affects the final quality of the paint film.
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White Drier / 75ml / 250ml
Clear drier.
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.
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Odor Free Mineral Spirits / 75ml
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 odor, it is perfectly suited to artists who are sensitive to the smell of solvents.
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Rectified Turpentine Spirits / 75ml / 250ml / 500ml / 1liter
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 for oil paint. Mixed with colors, it produces a very agreeable paste. Particularly suitable for the abbozzo or draft phase and for general work on the painting. When you want to paint longer with fresh paint, a less volatile spirit such as Aspic oil or essential mineral oil is substituted.
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Venice Turpentine / 1oz / 120ml
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 thinner: turpentine (up to 20%).
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Barrier Painting Varnish (Alcohol-based) / 250ml
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 great care.
Intermediate varnish used to isolate oil based paint layers. Particularly useful for the double varnishing technique. Only apply to fully dried paint layers (minimum 6 months). Reduces the risk of sinkage, and allows repainting by isolating the previous coats. May be over-coated with any final painting varnish without risk of distempering the paint coats. 40% solids content. Gives a clear, gloss film.
Thinner: alcohol.
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Extra Fine Painting Varnish / 250ml / 1000ml
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.
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Touch Up Varnish (Alcohol Based) / 75ml
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.
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Turner Touch Up Varnish / 75ml / 250ml / 1000ml / Spray
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 correct sinkage, brighten the tones or restart oil work on a dry base. It provides a good anchore between layers of paint and can also be used as a temporary painting varnish.
Thinners: Petroleum spirits or turpentine.
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Pur Mastic Gum Varnish / 75ml
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 time. Easily reversible. Only apply on completely dry paint. Thinner: Rectified Turpentine spirit.
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