Chelsea Classical Studios Linseed Oil Pale Cold-Pressed is extracted using the more costly, time-tested method of cold-pressing oils. This method follows historic precedent by using the most natural oil and extraction processes. CCS does not use high-heat extracted oils. High-heat and chemically extracted oils have many more impurities than cold-pressed oils, and that extraction process may alter the oil’s natural properties.
Chelsea Classical Studios Walnut Oil Pale Cold-Pressed is extracted using the more costly, time-tested method of cold-pressing oils. This method follows historic precedent by using the most natural oil and extraction processes. CCS does not use high-heat or chemically extracted oils, which have many more impurities than cold-pressed oils, and because those processes may alter the oil’s natural properties.
Cold Wax Medium can be added to any oil painting material to reduce sheen. It can also be used as a traditional wax varnish. A light coat of wax can be applied over a dried painting then buffed with soft, lint free cloth. Wax varnish gives a painting a soft sheen without the thick resin coating.
Galkyd Lite is different from Galkyd because it is made from an alkyd resin that has a lower viscosity. The viscosity of Galkyd Lite is very similar to that of a traditional damar, refined linseed oil or turpentine painting medium. In addition to pleasing painters who prefer a lighter painting medium, the longer working time of Galkyd Lite (approximately three hours) will delight landscape painters and others who enjoy painting outdoors. Thin layers will be ready to paint over within 24 hours. Galkyd Lite thins with odorless mineral spirits. Because of its lower viscosity, Galkyd Lite will leave brush strokes in thicker layers. Glazes made with Galkyd Lite look slightly less glossy than those made with traditional mediums or Galkyd. However, like Galkyd, Galkyd Lite is formulated to thin oil colors and maintain strong flexible paint films. Galkyd Lite is ready to use and available in glass bottles.
Galkyd is made from alkyd resin, the polymerized oil of the 20th century. The medium adds binder (increases adhesion) and speeds up drying. High viscosity alkyd resin was among the materials Jackson Pollack used to make his drip paintings. To make a similar mixture, use 60% Galkyd and 40% oil color. No more than 50% solvent by volume can be added to Galkyd without compromising its binder.
Neo Megilp oil painting medium is a soft, silky gel. It gives paint body, decreases viscosity, and can produce a luminous Turner-like atmosphere, suspending and supporting paint in a soft gel. Made from contemporary materials so it will not turn yellow or dark, Megilp can replace Maroger Medium for artists who love the working properties but are concerned about Maroger's poor aging properties.
This set contains a sampling of Gamblin painting mediums and is a great introduction to understanding their role in a modern painting studio. Using today’s safer materials, they recreate the properties of traditional mediums and provide a way for painters to expand their knowledge and techniques. This set includes a 2 oz. Gamsol, 2 oz. Refined Linseed Oil, 2 oz. Galkyd Lite, 2 oz. Neo Megilp, 2 oz. Cold Wax Medium and a 37ml tube of Solvent-Free Gel Medium.
Safflower oil works great as a brush cleaner during a painting session and may also be used as a fluid, slow-drying painting medium. After painting, artists can clean brushes further with Gamsol or soap and water. For use as a painting medium, use sparingly or mix with an equal amount Gamsol to create a traditional slow drying, low viscosity painting medium.
This fluid, solvent-free painting medium supports a broad range of painting techniques with minimal compromise across color, dry time, texture and mark-making. It gives colors more flow and transparency. This medium increases gloss and has a moderately fast drying rate. The non-toxic fluid contains no Gamsol or petroleum distillates, and is made from safflower oil and alkyd resin.
This gel-based, solvent-free painting medium supports a broad range of painting techniques with minimal compromise across color, dry time, texture and mark-making. It gives colors more flow and transparency, yet holds the shape of your brush mark. This medium increases gloss and has a moderately fast drying rate. The non-toxic gel contains no Gamsol or petroleum distillates, and is made from safflower oil and alkyd resin.
An aqueous paste medium that dries clear and dramatically accelerates the drying time to as little as 30 minutes when mixed with DUO Aqua Oil in equal parts. The gloss paste will produce a transparent finish while the mat paste will produce a translucent finish. When thinned with water, the mat or gloss effect will be reduced. Creating thick layers may also cause wrinkling.
A clear, semi-soft and smooth gel medium for oil colors. When added to oils, it will shorten drying time, increase the transparency of opaque oil colors, allow for incredible impasto effects and add luminosity and brilliance to oil colors. It holds brush strokes in place and is also is excellent for glazing.
Organic, refined walnut oil is a perfect medium for working with earth pigments. Slow-drying, non-toxic, and all-natural this is a time-tested medium with great workability. Unlike linseed oil, this product doesn’t yellow over time and its unique refractive index produces color that is more naturally alive and vibrant. Use it to mix with pigments, to thin mixed paint, to clean brushes, or to make natural wood stains.
This medium allows for mixing oil colours with water instead of turpentine or turpentine substitute. Increases gloss and transparency; harmonizes drying process; odourless. Shake before use. Mix 2 parts of oil colour and 1 part of medium W on a palette, than add water like you want; if necessary add more medium W. Painting tools can be cleaned with water. There is no change of the product quality based on the color change of the raw material alkyd resin. Dosage: 50%. Thinner: water. Contains: alkyd resin.
This extender medium is used to extend paint without compromising original consistency. It is recommended to be used as an additive, at a maximum blending ratio of 1:1 paint to medium. It consists of marble dust and barium sulfate in linseed oil, so there is an increased tendency to yellow.
This all-in-one blending and glazing medium allows you to blend oil and alkyd colors without making them too transparent or too fluid to cover well. When used in glazing, it does not become tacky quickly, allowing highlights and shadows to be built up slowly. Dries to a durable gloss finish. In 75ml bottles.
A durable non-yellowing semi-gloss medium for thinning the consistency of oil and alkyd paints, reducing brush stroke retention. It halves the drying time of conventional oil colors and is thinned with solvent or turpentine. Excellent for glazing and painting fine detail. Not suitable as a varnish or final coat.
A drying medium containing cobalt, zirconium and calcium octoates, dissolved Eco-House Extra Mild Citrus Thinner without aromatics. This blend is highly effective drying oils and stand oils despite its minimal cobalt content, which also makes it suitable for lighter color shades.
This heavy resin-oil painting medium contains damar resin and linseed stand oil as binders. The main difference from the traditional 1:1:1 formula is the use of the mild Eco-House solvent system instead of turpentine and the addition of lead-free driers (cobalt-zirconium-calcium octoates), which reduce the drying time substantially. The damar resin adds brilliance and luminosity to colors and mechanical hardness to the paint coat. The linseed stand oil adds elasticity and moisture resistance to the paint coat. It improves flow and leveling of paints. It has less of a tendency to yellow than plain linseed oil.
A natural tree resin derived from the viscous sap of the Southeast Asian damar pine. The tree sap is collected, air-dried and separated into the volatile turpentine and the solid damar resin. This damar resin can be used to make various traditional painting preparations, such as damar varnish and mediums. It also is used in encaustic painting.
Speeds drying and gives consistency to alkyd and oil colors. Colors mix easily, while paintings dry to the touch within 24 hours. As a glazing medium, it enhances the transparency or translucency of the paint, resulting in rich and intense colors. Its pleasant odor sets it apart from similar products. In 2.5 oz. bottles.
Used alone or thinned with water, DUO Aqua Oil Painting Medium dries clear and enhances transparency and gloss finish while accelerating drying time. It also aids in brush ability and flow. Add DUO Linseed Oil when you desire to create a stronger surface finish during the final layers of painting. Over time, this medium may become cloudy, but its performance will not be affected.
DUO Aqua Oil Quick Drying Liquid enhances transparency and gloss finish while dramatically accelerating drying time. If mixed with DUO Aqua Oil Color in equal parts (not to exceed 50%), the substrate surface will become tacky in as little as 30 minutes. It can also be thinned with water, however, the overall effect will be reduced. Over time, the medium may become cloudy, but its performance will not be affected. Excellent for impasto techniques and knife painting.
A specially modified linseed oil for use with Holbein Duo Water Soluble Oils, Duo Aqua Linseed Oil has all the characteristics of traditional linseed oil, but is water mixable. Use it to increase gloss and transparency while slowing the drying time of DUO.
This highly viscous, thermal polymerized linseed oil increases the transparency of DUO Aqua Oils and can be thinned using water. When water is added, Stand Linseed Oil appears milky but then turns clear when dry. When mixed with DUO Aqua Oils and/or Painting Oil Medium, the result is a leveled and enamel gloss effect. Over time, this medium may become cloudy but its performance will not be affected.
A mixture of Spirit of Turpentine, Poppy Oil, Siccatif and Resin, this ready-to-use medium speeds drying time and adds luster and smoothness to your painting applications. Recommended for professional artist use rather than beginner or student. In a 55ml bottle.
A non-yellowing mixture of stand oil, resin and refined petroleum oil. This medium, when mixed with oil color, will accelerate drying and harden the painting surface. As a glaze, it will provide a glossy surface which deepens the color. Clean the rim of the jar after use to avoid adhesion with lid. In a 55ml bottle.
Made by exposing it to the sun for prolonged periods, Sun Thickened Linseed Oil has a high degree of viscosity which improves drying, levelling and protective characteristics. Used for oil mediums, varnishes and glazes, it may be diluted with turpentine or petroleum oils. In a 55ml bottle.
Linseed Oil is highly purified white linseed oil of the finest quality. It thins the paint but still acts as a binder for pigments. Mix it with oil and alkyd colors for smoother color application and better blending. Or combine it with turpentine or mineral spirits to create your own custom painting mediums. Use it full strength to remove oil paint from brushes.
Mona Lisa Linseed Oil is a drying oil extracted from the seed of the flax plant, processed and boiled with special additives which shorten its drying time. It is an excellent choice as an extender and fortifier of oil base paints, stains and primers, allowing the artist to use less expensive pigments and maintain rich vibrant colors. It assures a uniformly tough, elastic and glossy film that repels water, resists weather, retards chalking and prolongs paint fill life. In an 8 oz. container.
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 jewel-like 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%).
This is a fast drying medium that improves the flow and speeds the drying of Artisan water-soluble oil colors. It is also useful for smoothing out brushwork and increasing the gloss and transparency of the colors. It is excellent for glazing and producing fine detail and is resistant to yellowing.
This medium thins the consistency of Artisan water-soluble oil colors and aids fine detail work. It also improves the flow and wetting of the colors. It dries slowly to a flexible film and is good for oiling out sunken oils from bottom layers of paintings.
When painting with whites or pale colors, Safflower Oil can be used instead of Linseed Oil to reduce consistency. It's paler color allows for paler pigments maintain their brightness. It also increases gloss and transparency.