Michael Harding's Oleo Impasto Medium (PM7) is a gel made from fumed silica and linseed oil which imparts great luminosity, particularly with transparent colors. You can add it with a brush or knife to achieve extra body.

It has an average drying speed and increases the transparency of oil colors. Pigment can be added and ground to make your own oil paints and has a pleasant linseed oil smell.

Fast drying varnish for metal leaf. May also be used to seal absorbent surfaces prior to sizing. Clean brushes with methylated spirits.

High quality, slightly yellow oil made in the USA. Extracted without the use of heat. Increases gloss and transparency and reduces brushmarks. Highly recommended for grinding pigments.

Rabbit Skin Glue Granules. For sizing canvas prior to priming with an oil based primer. Not suitable for use under acrylic primer.Soak overnight in water. Heat in bain-marie / double boiler (do not boil). Ratio water:size is 13:1. Use while still warm. Can be used for sizing canvas, for making traditional gesso (along with whiting) or as an adhesive.

Gamblin Oil Painting Ground makes a strong, bright, non-absorbent foundation for oil paintings. Formulated from alkyd resin, titanium dioxide, and barium sulfate, Gamblin Ground makes canvas and linen stiffer than acrylic 'gesso' and more flexible than traditional oil primers. Barium sulfate gives Gamblin Ground its tooth. Titanium dioxide gives Gamblin Ground its opacity.

Because the percentage of pigments is so much higher than in acrylic 'gesso', painters need only apply TWO coats of Gamblin Ground instead of the recommended four coats of acrylic. More coats can be added for smoother painting surfaces. Because alkyd resin is used instead of linseed oil as the binder, Gamblin Ground is more flexible and dries more quickly than lead/linseed oil grounds. Lead/linseed oil grounds must dry for six months and Gamblin Ground is ready for paint application within a week

pdf=Gamblin Ground Data Sheet.pdf Gamblin Ground Safety Data Sheet

Roberson’s Fine Grain Marble Dust gives texture when added to acrylic mediums and primers. This product can be used in lime mortar and meets paint pigment specifications in its fine form.

Mesh size: Fine (100)

Colour: Genuine White

Linseed Stand Oil is a viscous, pale oil medium extracted from Linseed. It will level out brushstrokes in oil paint and slow the drying process. It has a honey-like viscosity and should be used sparingly.Please note, this product cannot be sent by air mail. Some European destinations are available by road, but this will incur an additional shipping charge.

More viscous than refined linseed oil. Slows drying time

Cobalt naphtenate/white spirit. Low odour dilutant alternative. Add sparingly to oil colours to accelerate drying.

Schmincke’s Medium W allows oil colours to be mixed with water instead of with turpentine and linseed oil. Brushes and painting tools that have been used with Medium W mixed oils can be cleaned with soap and water. Medium W should be mixed with oil paints in a 1 part medium to 2 parts oil ratio using a palette knife or a spatula. Water can then be added to the mixture to thin the paint and, if necessary, more Medium W.

Medium W increases the gloss and transparency of paints and harmonises drying process. This odourless, low solvent additive will reduce the mess and smell of oil painting. When mixed with oils and water the alkyd resin in Medium W will undergo a shift in colour, however oils will be restored to their original brilliance and vibrancy on drying.

Schmincke’s Medium W allows oil colors to be mixed with water instead of with turpentine and linseed oil. Brushes and painting tools that have been used with Medium W mixed oils can be cleaned with soap and water. Medium W should be mixed with oil paints in a 1 part medium to 2 parts oil ratio using a palette knife or a spatula. Water can then be added to the mixture to thin the paint and, if necessary, more Medium W.

Medium W increases the gloss and transparency of paints and harmonises drying process. This odourless, low solvent additive will reduce the mess and smell of oil painting. When mixed with oils and water the alkyd resin in Medium W will undergo a shift in color, however oils will be restored to their original brilliance and vibrancy on drying.

Reduces consistency of oil paints while increasing gloss and transparency. Will dry slower than linseed oil, though it is paler and less inclined to yellow. Ideal for working wet-on-wet. Because of its slow drying properties, it is not advisable to use this oil when underpainting.

Cobalt naphtenate/white spirit. Low odour dilutant alternative. Add sparingly to oil colours to accelerate drying.

Pale coloured alkali refined oil with little tendency to yellow. Favoured for use with whites and blues. Longer drying time than linseed oil.

Alkali refined linseed oil is a pale oil extracted from the seeds of the flax plant. It is used in many of Michael Harding's paints because it produces the strongest paint film during the drying process and ensures the longevity of each painting.When mixed with oil paint, linseed oil will increase the gloss and transparency of the paint, and will thin the paint so that it flows more easily and does not hold brushmarks. It will also slow the drying time of the paint. Linseed oil is also highly suitable for use with dry ground pigments.Please note soft materials which have absorbed linseed oil should be stored in sealed containers, as the oil will oxidise when exposed to the air. This chemical reaction releases so much heat that the rags may spontaneously combust. Make sure the lid of the container is closed securely and store in a cool place. Brushes and tools used with linseed oil should be cleaned with white spirit.

Schmincke Mussini Oil Medium 3 is a fast drying medium. The volatile solvent and siccatives in this medium cause rapid drying. The resin rich content increases gloss, depth effect and refraction and makes the color layers more resistant.

Use sparingly to prevent excessive gloss. Close immediately after use.

Contains: Ketone and alkyd resin, mineral spirit, siccative.

A high oil content paste, based on linseed stand oil and bleached beeswax. Increases body of oil colour, with satin-matt finish. Especially useful with opaque colours

The natural dammar resin crystals in Sennelier Dammar Gum are source dammar fir trees in Indonesia and Malaysia. Dammar crystals are soaked in gum turpentine to make dammar varnish, a beautiful and transparent removable high-gloss picture varnish. Dammar gum can also used as an ingredient in oil paint glazing mediums and retouching varnish.

Darker than linseed oil. Helps oil to flow and increases brightness. Good drying. May yellow over time.

Rabbit Skin Glue Granules. For sizing canvas prior to priming with an oil based primer. Not suitable for use under acrylic primer.Soak overnight in water. Heat in bain-marie / double boiler (do not boil). Ratio water:size is 13:1. Use while still warm. Can be used for sizing canvas, for making traditional gesso (along with whiting) or as an adhesive.

Fast drying varnish for metal leaf. May also be used to seal absorbent surfaces prior to sizing. Clean brushes with methylated spirits.

Volcanic rock in powdered form. Used to provide tooth to grounds.

A high oil content paste, based on linseed stand oil and bleached beeswax. Increases body of oil colour, with satin-matt finish. Especially useful with opaque colours.

Roberson’s Fine Grain Marble Dust gives texture when added to acrylic mediums and primers. This product can be used in lime mortar and meets paint pigment specifications in its fine form.

Mesh Size: Fine (100)

Colour: Genuine White

Free flowing slightly thixotropic medium with an alkyd based. This medium will not increase gloss when added to oil colours. Fast drying and non-yellowing. Use this medium to thin oil paint. Stir before use.

It is is advised to store Jackson's Oil Medium at a stable temperature. Storage in an overly hot or cold environment will affect the consistency of the product.

Jackson's Alkyd Medium should be quite a fluid medium.

Maintenance of Alkyd Mediums - Like all alkyd-based mediums, the introduction of air space in the bottle allows for solvent evaporation and drying - even with the lid closed. To compensate, add a little solvent of your choice to the bottle immediately after use and shake it well to maintain the desired thickness of the medium. We tested a variety of types of solvent and they all worked.

Rescuing Thickened Alkyd Medium - If your painting medium has thickened but is still fluid, add in a small amount of solvent and shake thoroughly. Continue adding more solvent and shaking until the medium is close to its original consistency. If a fluid alkyd painting medium has thickened to a gelled consistency, it will no longer help to add solvent - unfortunately it cannot be rescued.