Ideal primer for Maimeri Acrilico colours. It dries in about 30 minutes.
Ideal primer for Maimeri Acrilico colours. It dries in about 30 minutes.
Ideal primer for Maimeri Acrilico colours. It dries in about 30 minutes.
Dense acrylic varnish, it protects the painting and increases the brilliance of colours. Apply when the colour is dry, slightly diluting.
Acrylic white iridescent paste, containing large mica flakes. It can be applied with knife or brush. Mixed with colours it increases their volume and pearlescent effect.
Very light white paste, can be mixed with acrylic colors, it tends to whiten, soften the tone of colours. Ideal for thick painting techniques. It can be modelled with knife or brush.
Thick white paste, can be mixed with acrylic colors, it tends to whiten, soften the tone of colours. Ideal for thick painting techniques. It can be modelled with knife or brush.
Very gloss and hard gel for acrylic colours. Added to colours it makes them harder and more resistant.
Acrylic transparent gel. It extends the drying time of acrylic colours and increases brilliance of colours.
Acrylic matt heavy gel. Ideal for thick painting techniques, it increases viscosity and transparency of colours and provides a matt finish.
Acrylic mat gel. It provides a mat finish and increases transparency of colours.
Acrylic transparent gel. It increases brilliance and transparency of colours.
Acrylic transparent heavy gel. Ideal for thick painting techniques, it increases viscosity, brilliance and transparency of colours.
Final varnish combining the flexibility and hardness qualities of its components. It can also be used for other mediums.
Ketonic resin (50%) Isoparaffin hydrocarbons
Delicately applied, this varnish avoids the removal of Varnish colours for restoration. Thin with the Thinner for restoration.
Highly priced natural varnish of traditional use. Very flexible. To use as addition to restoration colours.
Urethane oil and Alkyd resin (56%) White spirit Drying agents
Fatty amber finish, giving the painting an antique look. It is used as undercoat for the Picture cracking finish. It yellows in time.
Very fast drying, light varnish for retouching and restoration. Moderately shiny, it does not yellow.
Amber solution, ready to use. Brush over the surface treated with the Patina varnish. Once the cracks are formed and blackened, apply another coat of Patina varnish. Temperature and humidity of the environment affect the size of the cracks.
Drying oil, it has the tendency to yellow. Good drying quality. Used as medium, increases the brightness and glossiness of the colour, spreads the brush stroke, so reducing its marks.
Light final varnish. Suitable to remove mat areas formed on unfinished areas, while painting. Medium drying time. It is also used as final varnish, when little gloss is required.
Amyl acetate Aromatic hydrocarbons Ethyl acetate Isopropyl alcohol
Similar to aromatic solvents, this powerful solvent is definitely less toxic. Particularly indicated for removing natural resin varnishes.
Essential oil extracted from conifer buds
It has the same features of Turpentine essence, but it is further processed and distilled, till is free of impurities.
Similar properties to linseed oil, but it does not yellow. Good drying power, increases the brightness of colours.
Thinner with good solvent power for oil colours and varnishes. Very slow evaporation. Suitable also for cleaning brushes and palettes.