Isoparaffin hydrocarbons aromatic
Odourless thinner, scent-free. It is used to dilute the Final varnish for restauration Particularly indicated for an even application of varnish coats.
Glossy, non yellowing varnish. Wait till the painting is fully dry before varnishing. Particularly protective thanks to its UV filter. Reversible product.
For oil and acrylic painting. Alternative product to conventional solvent varnishes. Easy to apply, it imparts a mat finish. It does not yellow in time.
Almost completely odourless and colourless fluid. It has a moderate solvent power. Suitable for indoor use or for people sensitive to the odour of normal solvents. It is advisable not to overdo the amount used.
Almost completely odourless and colourless fluid. It has a moderate solvent power. Suitable for indoor use or for people sensitive to the odour of normal solvents. It is advisable not to overdo the amount used.
Light thinner, fast evaporation. Good solvent power. Ideal for cleaning brushes.
Traditional final natural varnish. It tends to yellow. Its normal amber colour and any sediment do not compromise the final result. It imparts greater brightness and shine to colours.
Vegetable solvent of antique origins. Medium-slow evaporation. Sensitive to light and air, when mixed with colours it tends to give a mat effect. Suitable also for cleaning brushes.
Medium to reduce the drying time of oil colours, decreasing their consistency. Use sparingly, checking the drying time reduction.
Chios mastic resin and ketonic (10%) Plasticiser Alcohols Ethyl acetate
Clear fluid to protect drawings and increasing the medium adhesion to the surface. Spray with quick movements. Keep the container well closed.
Unpleasantly scented fluid with tensioactive properties that improve the adhesion on paper and power of watercolours and gouaches. It prevents colour changes and blotches.
Venetian turpentine (91%) White spirit
Golden solution, called also "Fatty essence", it is used as medium for Terzo Fuoco ceramic pigments. It is used as medium in oil painting, to increase the shine and flexibility of the colour surface.
Gum arabic Glycerine Water
Opalescent solution that increases watercolour transparency and colour brightness. It improves the adhesion to the surface and spreads the brush stroke.
Medium to reduce the drying time of oil colours, decreasing their consistency. Use sparingly, checking the drying time reduction.
Gel to reduce the drying time of oil colours, leaving their viscosity unchanged. Use sparingly, checking the drying time reduction. Shake the bottle well before using.
Cement. Apply the gold leaf 12 hour after coating with the product. Once dry, rub forcefully the gold leaf with a wool rug.
Cement. Apply the gold leaf 12 hour after coating with the product. Once dry, rub forcefully the gold leaf with a wool rug.
Alternative product to conventional solvent varnishes. Easy to apply, it imparts a mat finish. It does not yellow in time.
For oil and acrylic painting. An alternative to traditional solvent varnish. Easy to apply, it enhances the colour brightness. It does not yellow with time.
Iridescent solution that produces a mat, very resistant film. Shake well before using. Do not apply on very absorbent surfaces, if not previously treated with insulating varnish. It can be mixed with Gloss picture varmish to obtain different degrees of glossy or mat effects. Reversible product.
This is a semi-shiny amber-colored medium that improves fluidity and transparency and softens brushstrokes. It is easy to mix, using brush or palette-knife and can be used instead of oil. When coating or overlapping colors nothing else is needed to increase the flexibility of subsequent layers: just increase the amount of Oilyn, gradually adding it as work proceeds.
Iridescent solution that produces a mat, very resistant film. Shake well before using. Do not apply on very absorbent surfaces, if not previously treated with insulating varnish. It can be mixed with Gloss picture varmish to obtain different degrees of glossy or mat effects. Reversible product.
Medium to reduce the oil colours consistency, without loosing their richness, as solvents do. It tends to yellow.
This is a semi-shiny amber-colored medium that improves fluidity and transparency and softens brushstrokes. It is easy to mix, using brush or palette-knife and can be used instead of oil. When coating or overlapping colors nothing else is needed to increase the flexibility of subsequent layers: just increase the amount of Oilyn, gradually adding it as work proceeds.
Drying oil recently introduced, with similar features to poppy seed oil. It does not yellow and dries quickly. It helps to soften and make more fluid oil colours. Particularly suitable for white and light colours.