Sansodor. makes a viscous mixture, evaporates slowly, is the least hazardous, costs approximately the same as turpentine, does not deteriorate on storage and has minimal odour. This is well suited to artists who prefer to avoid exposure to turpentine.
Liquin Oleopasto Medium. A semi-matt, quick drying, non-yellowing impasto medium. It has a soft gel consistency with some brush drag, levels crisp brushmarks, extends tube colour and provides bulk. Allows rapid overpainting. This stiff, translucent gel is specifically for impasto and texture work. It dries to a crack-resistant and virtually non-yellowing film, it retains knife and brush strokes and will not level out.
Artists' Retouching Varnish. A clear liquid varnish, which dries to a non-yellowing, glossy film. Gives temporary protection to recently completed oil paintings.
Artists' Gloss Varnish. A modern general purpose high gloss varnish. It is a clear liquid which dries to a non-yellowing glossy film. It may be mixed with Artists’ Original Matt Varnish to adjust degree of gloss.
Liquin Impasto Medium. A semi-gloss, quick drying, non-yellowing impasto medium. It retains crisp textures and brush strokes without any visible levelling and extends tube colour and provides bulk. It also allows more blending time. When dry, it forms a flexible, tough film that can be varnished in the normal way.
Liquin Impasto and Liquin Oleopasto are the only mediums that safely thicken oil colour. For heavier brush work or palette knife.
Liquin Fine Detail Medium. The most fluid of the Liquin family of products, this gloss medium is ideal for fine detailed work. It is also perfect for use in smoothly blended areas with no brushmarks.It is the modern alternative to the traditional copal mediums that were based on natural resins and offered fast drying properties to the artist. As with all Liquin products, it offers an increased resistance to yellowing.Liquin Fine Detail produces a smooth surface picture, absent of brushmarks, as with a Van eyck or Durer.
Liquin Original. The reliable favourite which continues to be our most popular liquid alkyd medium. A general purpose low gloss medium which improves flow and transparency. It mixes easily with the brush or knife and smooths brushwork.Liquin Original suits a textured oil technique as is seen with Monet or Renoir.
English Distilled Turpentine. The artists' grade solvent with the greatest power is Distilled Turpentine, the only artists' grade solvent capable of easily dissolving Dammar resin. Turpentine makes a viscous mixture, evaporates slowly, is the most hazadous and strongest smelling solvent commonly used by artists.
Thickened Linseed Oil. A pale refined oil of syrupy consistency. This speeds the drying time even more than Bleached Linseed Oil, improves flow and gloss and increases the durability of the film. This oil behaves like Linseed Stand Oil but is dries quicker and darker.
Linseed Stand Oil. A pale viscous oil that can be mixed with Turpentine or White (Mineral) Spirit to improve the flow and levelling of oil colour. Retards drying but imparts a tough, elastic finish. Use in conjunction with Turpentine or Artists’ White Spirit to improve colour flow. It is well suited for glazing and for fine detail and is resistant to yellowing while increasing the durability of the film. It slows drying and is the best oil to choose as an additive medium.
Drying Linseed Oil. This is an oil of darker colour than Refined Linseed Oil, which promotes the fastest drying rate of all the oils whilst increasing gloss.
Dammar Varnish. A pale yellow varnish which dries quickly to a high gloss for use on oil and alkyd paintings. Traditionally also used on prints and maps. It tends to darken with aging. It is the traditional high-gloss varnish.
Artists Picture Varnish Matt. A final clear, non-yellowing varnish with a matt finish for the protection of oil alkyd and acrylic paintings.
Artists Picture Varnish Gloss. A final clear, non-yellowing varnish with a gloss finish for the protection of oil, alkyd and acrylic paintings.