Mediums

Urethane oil and Alkyd resin (56%); White spirit; Drying agents - Fatty amber varnish, gives the painting an antique look. - It is used as a base for the Picture cracking finish. - It yellows in time.

Clear binder medium ideal for mixing with metallic powders to create custom bronze or metal effect paints.

Acrylic resin in water emulsion (80%); Stabilisers - An alternative to traditional solvent based varnishes. - Easy to apply. - Increases uniformly brightness of colours. - It enhances the colour brightness. - It does not yellow with time.

Venetian turpentine (91%); White spirit - Amber solution, also called “Fatty essence”. - It is used as medium for oven ceramic pigments. - Suitable as medium in oil painting. - It increases the gloss and flexibility of the painting.

Acrylic resin (30%); White spirit; Matting silica - Opalescent solution. - Produces a matt, very resistant film. - Shake well before using. - Do not apply on very absorbent surfaces, can cause appearance of silica matting. - First apply a layer of an insulating...

Natural mastic resin from Chios (40%); Turpentine essence - Highly priced natural varnish of traditional use. - Very flexible. - It can be add to restoration colours.

Ketonic resin (22%); White spirit Light varnish for retouching and restoration; Medium fast drying; It gives a slightly glossy finish; It does not yellow.

Natural mastic resin from Chios Pistacia; Lentiscus (31%); Turpentine essence - Very valuable natural varnish of antique tradition. - It is very flexible and elastic, giving to the painting a particular brightness. - It tends to yellow. - Reversible product with Turpentine Essence.

Enhances flow and luminosity of watercolour paints. Improves adhesion to paper and helps prevent uneven washes.

Natural gum arabic solution A small amount added to paint enhances shine Increases the strength of the paint Does not affect the colour tone

Refined petroleum distillate; Aromatic content lower than 20% - Thinner for oil colours and varnishes. - Good solvent power. - Very slow evaporation. - Suitable also for cleaning brushes and palettes.

Ketonic resin (25%); White spirit; Petroleum essence - Light final varnish. - Suitable to remove mat spots formed on unfinished areas, while painting. - Medium fast drying time. - It is also used as final varnish, when little gloss is required.

White spirit Linseed oil - Medium to reduce the oil colours consistency, without losing their richness, as solvents do. - Alternative to the traditional solvents. - It tends to yellow.

Adding a small amount improves the flow of the paint on the paper and gives shine and brightness. - Use to prepare for wet-on-wet techniques.- Does not affect the surface colour tone.

Essential oil extracted from conifer buds - Vegetable solvent of antique origins. - Medium-slow evaporation. - Sensitive to light and air. - It tends to yellow. - Suitable also for cleaning brushes and palettes.

Jelly-like additive for acrylic colours designed to reduce gloss. Depending on the amount added, it creates a semi-matt to matt finish. Ideal for adjusting the gloss level of acrylic colours. Maximum mixing ratio: 1:1. Do not use in pure form. Size: 60ml

The Schmincke auxiliaries form a very comprehensive and professional range of auxiliaries for all painting techniques and all types of paint, from priming to finishing.

The Schmincke auxiliaries form a very comprehensive and professional range of auxiliaries for all painting techniques and all types of paint, from priming to finishing.

The Schmincke auxiliaries form a very comprehensive and professional range of auxiliaries for all painting techniques and all types of paint, from priming to finishing.

The Schmincke auxiliaries form a very comprehensive and professional range of auxiliaries for all painting techniques and all types of paint, from priming to finishing.