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.
Refined linen seed extract
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.
Refined linseed oil, polymerised through heating
High viscosity oil, with tendency to yellow. It imparts a very glossy texture and spreads the brush stroke. It is advisable to wait about 1 month before varnishing the painting with a finish product.
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.
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.
Similar properties to linseed oil, but it does not yellow. Good drying power, increases the brightness of colours.
Valuable oil of extreme purity and lightfastness. It does not yellow and dries slowly. Similar to safflower oil, it is particularly suited for white and very light colours.
Thinner with good solvent power for oil colours and varnishes. Very slow evaporation. Suitable also for cleaning brushes and palettes.
An alternative to traditional solvent varnish. Easy to apply, it enhances the colour brightness. It does not yellow with time.
Glossy, non yellowing varnish. Wait till the painting is fully dry before varnishing. Particularly protective thanks to its UV filter. Reversible product.
Finishing varnish based on non yellowing solvent, easy to apply. The UV filter makes this finish very suitable for outdoor painting.
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.
For oil painting. Final varnish combining the flexibility and hardness qualities of its components. It can also be used for other mediums.
Clear and transparent solution, it does not yellow. It fixes and protects the painting or any other object. Suitable for any application. Clear and colourless, it is slightly mat if applied in a thin coat, while it acquires a glossy look in thicker coats.
Fatty amber finish, giving the painting an antique look. It is used as undercoat for the Picture cracking finish. It yellows in time.
Very valuable natural varnish of antique tradition. It is very flexible and elastic, giving to the painting a particular brightness. It tends to yellow in time. Reversible product.
Clear and transparent solution that increases the gloss of gouaches. An undercoat of Insulating varnish is recommended. It must be reminded that, using this finish, gouaches loose their mat look and covering power, changing tones and making the brush strokes obvious. It protects the painting from damage caused by natural elements.
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.
Acrylic resin 3% Mixture of solvents 71% Mixture of siccatives from 0,5% to 1% Butan, Isobutan, Propan 25% UV filter Varnish based on desiccative additives. It reduces notably the drying time and it doesn't modify the shades. Suitable exclusively for oil colors.
Colourless varnish to use sparingly to fix and protect drawings, paste gouaches. Keep the can in a vertical position, spraying in quick movements, at a distance of about 30 cm from the drawing.
Tradition 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. Spray on with a rapid movement, holding can upright at a distance of about 30 cm from the work.
Colourless varnish, producing a very resistant mat film. It contains an opaque texturing agent, which tends to settle at the bottom, it is therefore advisable to shake the can well before using. Keep the can in a vertical position, when spraying, at a distance of about 30 cm from the painting. It dries fast.
Colourless light varnish, to be used also while painting, to eliminate opaque spots that may appear on unfinished areas. It dries fast and is moderately glossy. Keep the can in a vertical position, when spraying, at a distance of about 30 cm from the painting.
Universal, colourless protective varnish. Invisible when sprayed in a thin coat. It is used to fix and protect documents, drawings, watercolours, prints, gouache and oil paintings. It dries fast. Keep the can in a vertical position, when spraying, at a distance of about 30 cm from the painting.
Colourless varnish producing a very resistant film. It is used to varnish thoroughly dry oil paintings, acrylics, etc. Shake before using. Keep the can in a vertical position, when spraying, at a distance of about 30 cm from the painting. It dries fast.
Ketonic resin 16% Petroleum distillates 49% LPG propellant 35% UV filter