Oil Medium 

For hundreds of years the world has marveled at the works of art the "old masters" created during the Renaissance. Not only did their achievements arise from training and talent, but also from the techniques they used in preparing their materials. It wasn’t until the 20th century that some of these formulas were rediscovered. Grumbacher has continued this tradition in our painting mediums, grounds and accessories. Not only do we excel in producing a vast range of quality oil color mediums, but also in producing modern formulas for acrylic and watercolor paints.

Grumbacher is dedicated to making sure that the original paint attributes are not compromised but enhanced through the use of painting mediums. These mediums thicken or thin without harming the color’s adhesive, binding or film forming qualities. Myriad effects such as increased flow and rapid or slow drying may be achieved and these mediums have been proven to guard against yellowing and cracking over the course of many generations.

Venice Turpentine is used in mixing your own mediums. Its properties include adhesiveness and an enamel—like gloss.

Stand Oil is a very heavy bodied oil. It wets pigments well, producing paint with good flowing qualities that level easily and reduce brush marks.

Light Painting Medium is formulated to provide brilliance and good working consistency to oil paints. After drying, the paint film remains flexible and very durable, with no cracking.

Rectified Turpentine is highly refined and crystal clear. It is used to thin oil paints and for cleaning brushes.

Linseed Oil is highly purified white linseed oil of the finest quality. It thins the paint, but still acts as a binder for pigments.

Damar Varnish is considered to be the best of the natural picture varnishes. It increases the brilliancy of the colors and provides moderately high gloss. Damar Varnish responds readily to ordinary solvents used in painting restoration.

Signa–Turp is a colorless turpentine substitute which possesses the properties of turpentine without its strong odor. It is especially ideal for people who are allergic to turpentine or do not like its strong odor.

Stand Oil is a very heavy bodied oil. It wets pigments well, producing paint with good flowing qualities that level easily and reduce brush marks.

Copal Painting Medium improves the flow of paint from the brush and speeds the drying rate for oil colors. Avoid overloading the paint film with copal as this can cause excessive yellowing.

MEDIUMS Mediums are resin-based thinners that allow the artist to superpose layers of paint more rapidly without the new colours soaking through to the ones underneath. They also ensure that the painting dries better to the core and increase the suppleness of the paint film over time, thus delaying the appearance of cracks. With different combinations, artists can increase or decrease the setting time, change the shading, texture and adjust the brightness and transparency of their work. When using oil paint, be careful never to paint too lean (dilute with solvents instead of mediums): when the varnish is applied, the picture varnish will fusion with the paint layer. The consequences are serious because any future varnish removal and restoration will become impossible.

SICCATIVES Siccatives have two functions: 1)In thick paint, they artificially increase the siccativity of colours with limited drying potential (which remain sticky 10 days after being applied, this is the case for reds with a base of quinacridone pigments and ivory black). Care must be taken because the paint from manufacturers already contains siccative in its formulation. This is why one should never exceed the dose of 1 drop of siccative for 1 thimbleful of colour (approx. 2 cm3). Adding too much siccative can create the opposite effect and cause cracks to appear prematurely on the painting. 2) For those artists that make their own colours, siccatives are essential additives (added to the oil) to control the drying rate of the pigments. With age, the various paint layers will have the same hardness and the picture layer will be more uniform. From 30 July 2002, date at which the European laws onthe labelling and sale of dangerous products changed, the lead siccative was replaced by a zirconium siccative that is much less dangerous and just as efficient.

RETOUCHING VARNISH Retouching varnish is used to eliminate sinking (areas of a painting that become matt owing to the absorption of the resin and/or oil by the underlying layers). It is also essential when retouching old paint that has dried out, to ensure a link between the old layer and the new layer of colour. Finally, it is also used as a temporary varnish while waiting until the final varnish can be applied. Caution: Never apply the final varnish to an oil painting before 6 months to 1 year. The consequences are serious because any future varnish removal and restoration will become impossible.

PICTURE VARNISH The role of picture varnish is to protect paintings efficiently against dust, smoke, scratches, atmospheric pollution, etc. It is also used to give your paintings a smooth glossy or satin finish. Caution: Never apply varnish to an oil painting before 6 months to 1year, so as not to cause the varnish and paint to knit together. Theconsequences are serious because any future varnish removal andrestoration will become impossible.

MATT and SATIN VARNISHES Although remaining true to oil painting and its glossy finishes, a high gloss on the painting may sometimes be dreaded either through individual taste or for reasons of exhibition and lighting. Although it is relatively easy, using retouching varnishes, to counter the formation of undesirable sinking on a painting that one wants to be glossy, it is very difficult to avoid any glossy areas on paint that one requires to be matt. The answer is to use a glossy varnish and then to overlay a matt varnish when dry. Instructions for use: The presence of undissolved material can give matt varnishes a cloudy aspect or create a deposit. In no way is this a sign of deterioration. However, all matt varnishes must be shaken energetically and stirred (e.g. with the handle of a paintbrush). Mixing in this way makes the varnish uniform and fluid.

GLOSS VARNISHES To determine the varnishing degree of the glosses, the percentage of dry extract must be known: The higher the level, the more resin is deposited and therefore the more the varnish appearance is glossy. Some varnishes have a synthetic resin base and can be used for oil and ACRYLIC painting. Others are made from natural resins and are only used for oil painting.

SOLVENTS Solvents are used to dilute the mediums and paint for the first layers of the painting. Next, the quantity of solvent must be reduced so that the “lean to fat” rule is always followed. Caution: When using oil paint, be careful never to paint too lean (diluted with solvents instead of mediums): when the varnish is applied (even after 6 months to 1 year), the final varnish will fusion with the paint layer. The consequences are serious because any future varnish removal and restoration will become impossible.

OILS Oils are part of the composition of the paint. They dilute the paint by making it ollier and slower to dry out, sa as to work wet in wet for longer. However, they should be used for the final picture layers so that the "lean to fat" rule is observed.

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Three in One oil medium
The oil contents damar resin which is a kind of glossy medium. And could be used as a varnish to be applied on the parts of which you want to re-paint can make the parts golssy and keep the adhesive of the layers of the oil paints.

Cold Pressed Walnut Oil
For mixing colors. lessdecoloring ad discoloring. Higher adhersiveness and plasticity. Transparent appliying to light colors such as white.

Maimeri Poppy Oil
Poppy Oil has extreme purity and lightfastness. It will not yellow, and dries slowly. Similar to safflower oil, it is suited for whites and very light colors.

Maimeri Safflower Oil
Use to soften and make oils more fluid. It has similar characteristics to poppy seed oil. It won't yellow, it dries slowly, and it is particularly suitable for white and light colors.

Maimeri Walnut Oil 
Increases the brightness of colors. It has similar properties to linseed oil, but it won't yellow as much. Good drying power.

Old Holland mediums, oils, varnishes, and solvents are produced by a team of dedicated professionals who incorporate decades of experience, technical know-how , and input from artists around the world in their creation.
Designed to complement Old Holland's line of Classic Oil Colors, this selection can be used to finish and protect your paintings, or to bring back lost elements of older pieces.

Linseed Oil Bleached

• Cold-pressed linseed oil, which is then bleached.
• Increases the fluidity.
• Makes it possible to remove the brushstroke.
• Increases the gloss, but lengthens the drying time.
• Can be diluted with turpentine and white spirit.
• Yellows less than linseed oil, but dries slower.

 Stand Oil

• Boiled, polymerised linseed oil.
• Increases fluidity and makes it possible to remove the brushstroke.
• Increases the gloss, is elastic, but lengthens the drying time.
• Can be diluted with turpentine and white spirit.
• Yellows less than linseed oil, but dries slower.
• Can be used in the glacis technique.

 Poppy Oil Refined

• Obtained from the first pressing of poppy oil.
• Increases the fluidity.
• Makes it possible to remove the brushstroke.
• Increases the gloss, but lengthens the drying time.
• Can be diluted with turpentine and white spirit.
• Yellows less than linseed oil, but dries slower.

 Cold Pressed Windmill Linseed Oil

• Oil from linseed cold-pressed in a windmill.
• Increases fluidity and makes it possible to remove the brushstroke.
• Increases the gloss, but lengthens the drying time.
• Can be diluted with turpentine and white spirit.

Finishing Spray Varnish for Oil

Bob Ross’s quick drying Spray Varnish offers temporary protection until oil painting is dry enough for final varnish. Enhances color and dries to an even gloss. 12 oz size.

Archival Copal Medium

Prepared from synthetic and natural resins and refined turpentine, Archival Copal Painting Medium is excellent for glazing, thin or impasto painting, and wet-on-wet techniques. May be thinned with turpenoid® or turpentine.

Artist Pure Gum Turpentine

A very volatile, thin, colorless, refined turpentine derived from pine trees, for use with oil colors, and as a thinner or solvent for varnishes or varnish gums, and for cleaning brushes and tools.

Cleaning Solution for Painting Restoration

Cleaning Solution is used to remove accumulated surface soil and aged varnish from oil paintings. Carefully follow directions for safe, proper, techniques for surface restoration and cleaning. Caution is advised to avoid disturbing the painting during cleaning. Follow with application of Salamander™ restorative.

Damar Varnish

A very durable and flexible varnish prepared from selected true Singapore White Damar Gum. Damar Varnish gives a high gloss and strong protection, greatly increasing the brilliance of colors. Contains no artificial dryers. Responds readily to ordinary solvents. Thin with Turpenoid® or turpentine.

Japan Drier

Speeds the drying of slow drying colors. Only a small amount of Japan Drier should be used, since overuse of the drier tends to cause darkening and cracking of the painting.

Light Drying Oil

An ideal painting medium for oil colors to thin their consistency. Prepared from purified linseed oil and Turpenoid®.

Liquiglaze®

Mix desired amount of Liquiglaze with artist quality oil color. Excellent medium for fine detail, impasto or glaze effects. Dries quickly, resistant to yellowing and provides a long lasting quality paint film. The consistency of Liquiglaze is a soft translucent gel, ideal for mixing with heavy bodied artist oil color. May be thinned with Turpenoid®
or Turpentine.

Matvar 53® Varnish

A matte finish varnish for oil color, watercolor, and tempera painting. This colorless, acrylic resin varnish provides the artist with a non-yellowing, flexible, transparent matte film when dry. When used for an overall matte finish on varnished and unvarnished work, it will not dull tonal values and may be painted over. Quick drying and ready for use, it contains no wax and will not mar or smudge through handling. Resists cracking, peeling, blush and bloom. Thin and clean up with turpentine. This product will not thin with Turpenoid.

Odorless Turpernoid®

An odorless, very volatile, thin, colorless, turpentine substitute, Turpenoid® has the same painting properties and drying time as turpentine but is free from the strong characteristic turpentine odor. Compatible with oil colors as a painting vehicle, either alone or in mediums. Turpenoid® is also excellent as a solvent or paint brush cleaner, and for use in removing paint spots from clothing.

Oil Paint Transparentizing Medium

Use to transparentize oil colors and as a flow medium for stroke work. Great for antiquing and oil rouging. Can be used as a varnish. Prolongs drying time. Brushes can be cleaned with soap and water. Nontoxic.

Oil Painting Medium

Used with oil paints when durability is desired. Prepared from refined linseed oil, gum damar, and turpentine. Imparts brilliance to colors and gives a pleasant consistency.

Process Thickened Linseed Oil

A linseed oil prepared to possess the properties of sun-thickened oil. A pale, heavy bodied oil, employed as an addition to painting mediums. Faster drying than Stand Oil and superior to other heat treated Linseed Oils.

Pure Refined Linseed Oil

Finest quality, purified and refined linseed oil is pressed from flaxseed. Contains no free mineral acids. For use in diluting oil or alkyd colors and making painting mediums or to clean brushes.

RapiDry™ Oil Paint Medium

RapiDry makes oil colors smoothly workable and speeds drying time. Remains wet under normal conditions for about four to five hours. Dries to the touch overnight. It will not yellow or darken and it plasticizes the paint film to prevent cracking.

Res-n-gel ® Oil Painting Medium

Res-n-gel® is a full strength, ready to use, synthetic resin gel. It is a transparent, full bodied medium which extends expensive oil colors. It is ideal for glazing effects. Res-n-gel® gives a buttery brush response, prevents colors from running, retains character of brush strokes, holds sharply defined detail, adds luminosity and brilliance to colors and accelerates drying. An excellent medium for painting with either brush or palette knife to create a full range of impasto, opaque, translucent glazed effects. Nontoxic.

Resin-Oil Medium 789

Synthetic medium for use with dry pigments or tubed colors. Yields a buttery, plastic response for impasto painting, or a free flowing consistency when thinned with turpentine. Can be used to obtain sharply defined detail, working wet-on-wet. Recommended as an oil painting medium in glazing techniques. Drying of the paint is accelerated.

Salamander™ Restorative

A restorative for oil paintings prepared from carefully selected essential oils and balsams. For application to oil paintings to restore color brilliance. After a painting has been treated with Salamander™, an application of Damar or Synvar Varnish® will help protect the restored surface.

Silicone Brush Cleaner

An odorless, economical silicone brush cleaner for cleaning oil color immediately after use. Safe for use in most cleaning devices. Silicone Brush Cleaner is completely non-caustic and will not remove natural oils from sable or bristle brushes. Also good for removing fresh paint from all accessories and clothing.

Sphinx® Retouch Varnish

A quick drying, light bodied, colorless retouching varnish, composed of crystal clear acrylic resin with a very volatile diluent. Retouch Varnish is excellent for use on parts of a painting that have dried flat in order to bring out their full wet appearance. It can also be used on paint not entirely dry, so further painting can be done. Protects paintings until drying is complete, pending final varnish.

Stand Oil

A pale colored, heavy bodied, polymerized linseed oil used in the preparation of painting mediums with less tendency than linseed oil to after-yellowing. It is slower drying than sun thickened linseed oil and produces a durable film.

Synvar® Varnish

An excellent, water clear, acrylic resin picture varnish for oil and acrylic paintings. Synvar® dries to a gloss finish, has excellent durability, good adhesion, no tendency to blush or bloom, good resistance to ordinary acids, alkalies and to moisture. Dries tack-free in less than a half hour under normal conditions. Will not darken with age. When used as a medium to mix with oil colors it will produce a soft chromatic quality. Thins with Odorless Turpenoid® or Turpentine.

Turpenoid® Gel Oil and Alkyd Painting Medium

Fast drying with high cohesion. Turpenoid® Gel increases transparency of oil colors and creates impasto. Turpenoid® Gel is clear, semi-soft and smooth.
Extremely stable and flexible; holds brush strokes in place.

Turpenoid Natural® is an extremely effective nontoxic brush cleaner and gentle brush conditioner which rinses out with plain water. Brushes are reconditioned when cleaned with Turpenoid Natural®. It is non-flammable, does not irritate skin or eyes and does not emit harmful vapors. It is an effective painting medium when used within recommended guidelines. Now, artists seeking safer choices, as well as students, seniors and those unable to enjoy the pleasures of oil painting because of problems with traditional solvents, have a new safe alternative. Not recommended with Damar Varnish or crystals. Use in paint mediums should not exceed 25% to ensure proper drying time. Do not use Turpenoid Natural® to create washes, glazes or to “wet” canvas before painting.

Blue Label® Fixatif

A water clear fixatif prepared expressly for use on pastel and charcoal drawings. Gives maximum durability and protection with the least change in tonal values. Dries to a matte finish which may be reworked.

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 a