Michael Harding Miracle Medium Resin Oil Wax is a solvent-free, plant-based alternative to traditional resin oil wax mediums. This medium is a blend of pure beeswax (bleached), dammar resin and viscous linseed stand oil which produces a rich, satin sheen and subtle impasto effect within paint layers. Add between 5 to 10% of medium to colours as required.

This solvent-free paint medium eliminates exposure to harmful fumes commonly associated with traditional mediums for a safer working environment without compromising on quality and performance.

Michael Harding's Oleo Impasto Medium (PM7) is a gel made from fumed silica and linseed oil which imparts great luminosity, particularly with transparent colours. 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 colours. Pigment can be added and ground to make your own oil paints. It has a pleasant linseed oil smell and is available in 3 sizes: 100ml, 250ml and 1000ml. This is a 100ml container of Michael Harding's Oleo Impasto Medium.

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.

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

Composition: Vegetable oils, synthetic resins and water.  Purpose: Increasing the flow and/or transparency, makes the paint fatter.Qualities:• Makes the brush stroke run slightly • Increases the gloss and transparency • No influence on drying time of the paint• Increases the durability of the paint film• Can be thinned with water•Yellows slightly A great video from Cobra that explains the different uses for the three painting mediums and how they can help you maintain the 'fat-over-lean' principle: youtube=pMz5vuG0FhIpdf=CobraGlazingMediumSDS.pdf Safety Data Sheet for Cobra Glazing Medium.

Walnut Oil is used by M. Graham in the manufacture of their oil paints. When used as a painting medium, it makes paints more transparent, increases flow and makes paints more 'fat'. In these characteristics it is similar to Linseed Oil, which is widely used as a painting medium, though Walnut Oil dries more slowly than Linseed Oil and has less of a tendency to yellow or streak.

Artists who wish to use a faster drying Walnut Oil medium might prefer to try M. Graham Walnut Alkyd Oil Medium.

M. Graham Walnut Alkyd Oil Medium makes paints more transparent and increases flow. This Alkyd Oil will dry much faster than the non-alkyd alternative, M. Graham Walnut Oil Medium.

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.

Alkali refined linseed oil of pale colour increases gloss, reduces consistency and slows drying time.

Composition: Vegetable oils, synthetic resins and water. Purpose: Increasing the flow and/or transparency, makes the paint fatter.Qualities:• Increases the gloss and transparency• Makes the brush stroke run slightly• No influence on drying time of the paint• Increases the durability of the paint film• Can be thinned with water• Yellows slightlyA great video from Cobra that explains the different uses for the three painting mediums and how they can help you maintain the 'fat-over-lean' principle: youtube=pMz5vuG0FhI

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.

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

Gamblin Solvent-Free Gel Oil Painting Mediums offer you a range of possibilities without draw backs, it increases the flow of your paint and its transparency. Fast drying time Increased gloss Use in moderation with oil colours, at a ratio of no more than 25% of medium to oil Completely non-toxic, containing no gamsol or petroleum distillates Increased flow and transparency but also holds brush marks Made from safflower oil and alkyd resin.

Diluted with distilled water, PVA size is a contemporary size for fabric support. Conservation scientists recommend painters use neutral pH PVA size on linen and canvas instead of rabbit skin glue. PVA provides a good size layer that seals the fabric but does not re-absorb atmospheric moisture, swell and shrink like rabbit skin glue does. There are hundreds of different formulae of PVA. We acknowledge and appreciate the research of the Canadian Conservation Institute that helps painters and conservators identify the best PVA to use. Gamblin PVA Size is made from PVA that has a neutral pH and does not yellow. It also retains its flexibility and does not emit harmful volatiles.

pdf=Gamblin PVA Glue Data Sheet.pdf Gamblin PVA Glue Size 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

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, while Titanium dioxide gives Gamblin Ground its opacity.

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.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.

The first, thin coat should be touch-dry before the second coat is applied; this should normally occur overnight. After the second coat, it is best to wait five days for the primer to dry properly before commencing with your painting. Additional coats can be added for smoother painting surfaces.Please remember that any absorbent substrate such as canvas or paper should be sized before the application of Gamblin Oil Painting Ground. This will seal the surface so that the oil does not leech into it or cause it to rot.

You can use acrylic size, rabbit skin glue, or acrylic primer for this purpose; Gamblin recommend you use the Gamblin PVA size. Wooden supports do not need to be sized before the application of Gamblin Oil Painting Ground.
Please note, Gamsol Odourless Mineral Spirit can be added to thin to the desired consistency.

Vacuum bodied linseed oil

pdf=Gamblin Traditional Oils Data Sheet.pdf Gamblin Traditional Oils Data Sheet

Gamblin Solvent-Free Fluid Safflower-Alkyd Painting Medium offers you a range of possibilities without draw backs, it increases the flow of your paint and their transparency. Increases flow of oil colours Non-toxic Fast drying time Increased gloss Use in moderation with oil colours, at a ratio of no more than 25% of medium to oil Completely non-toxic, containing no gamsol or petroleum distillates Increased flow and transparency but also holds brush marks.

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.

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.

Increases gloss, reduces consistency and slows drying time.

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

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

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.