The essential auxiliaries

With its solvents and thinners, binding agents, drying agents, varnishes and cleaners, the Pebeo range of oil paint auxiliaries covers all the essential needs for painting in oils. This includes: diluting, thinning, creating relief, accelerating drying, varnishing and cleaning painted surfaces and tools. 

Products
Refined Linseed Oil

Extracted from linseed seeds, this oil is an excellent binder. It makes the paints pleasant to work with. It hardens them faster and gives a resistant finish of depth and great beauty.

Médium à peindre incolore

Composed of acrylic resin and carthame oil, this medium makes the colour more fluid without diluting it. It is non-yellowing, while increasing brilliance, transparency and depth.

Médium siccatif

Medium composed of Chinese wood oil and formophenolic resin. It allows for very interesting possibilities. It speeds up the formation of films and improves their resistance.

Siccatif de Courtrai

This siccative based on octate of zirconium and calcium, works on the surface and the depth, while it accelerates drying time and allows for thick coats to harden evenly.

Vernis à retoucher

A very fine and discreet varnish composed of acrylic resin and plastified polymeric. Used in smaller areas, during painting, to repair coats which produce an unneeded matt sheen.

Vernis à tableau satiné

Fast drying varnish, it gives a uniform, satin finish, between a gloss and a matt finish. Composed of acrylic resin and polythene wax, it is very easy to apply.  It is transparent and discreet.

Vernis à tableau surfin

A supple and responsive finishing varnish, very transparent, it holds well to the brush and adds a strong brilliance and durability to less durable works.  It makes the colors brilliant and rich.

Vernis à tableau mat

Matt varnish based on acrylic resin and polyethylene wax. It is easy to apply and performs well, resulting in an even matt finish.

Vernis dammar

Dammat varnish is a light amber finishing varnish based on natural resin. Bright and responsive, it needs to be applied rigorously. Rich and very covering it holds well and gives very brilliant films.

Nettoyant pinceaux

This cleaner is suitable for use with all painting ustensils. It dissolves oil and varnish even after dry, while retaining the suppleness and form of the brushes. 

Gel de structure

This translucid gel based on alkyd resin, siccative oil and silico aluminate of sodium extends the colour for economy of use. It gives a light satin finish.

Médium d'empâtement

This thick opaque paste allows for works of heavier thickness and relief creations. This thick opaque paste is made of polyurethane resin, silicate of aluminum hydrate and beeswax.

Essences and Diluents for oil colours

Obtained by the distillation of certain varieties of pine, it gives a matt aspect. It is used to thin the first coats of colour.

Huile essentielle de pétrole

An excellent diluant, Essence of Oil of Petroleum evaporates much faster than turpentine and allows for a longer open time with the paint. It also makes the matt finish more significant. 

Clarified poppy seed oil

Refined linseed oil is an excellent binder while Clarified poppy seed oil is particularly suitable for grinding light colours.

mediums XL

Makes the colour more fluid without diluting it, and increases its transparency and satin finish. Good resistance to yellowing.

Cobalt Siccative

It is used on the top surface of a work and performs best with fast and efficient strokes. It is to be used only with fine coats.

Crystal varnish

Very clear, transparent, and easy to work with, it covers well. Finish is very brilliant.

Universal Paint Remover

Used to strip off any dried-on oil, acrylic and other material from all painting tools. It works in 15-30 minutes and can be rinsed off with water.

One Coat Gesso

A very solid, covering white finish for preparing surfaces to be painted. It dries rapidly and leaves a light matt finish.

Properties

Rectified turpentine

  • Origin: Obtained from the distilled resin from certain varieties of pine
  • Matt look less pronounced than essential oil of petroleum

Odourless mineral spirit

  • Origin: From the distillation of petroleum
  • Matt look less pronounced than essential oil of petroleum

Essence of Oil of Petroleum

  • Origin: From the distillation of petroleum
  • It makes colours more matt

Refined linseed oil

  • Origin: Extracted from linseeds
  • Clear, low acid, with a tendency to yellow in the dark
  • Cleaning: Mineral spirits or turpentine

Clarified poppy seed oil

  • Origin: Extracted from black poppy seeds
  • It is more luminous than linseed oil and less siccative and hardly yellows at all
  • Cleaning: Mineral spirits or turpentine

Colourless painting medium

  • Composed of acrylic resin and poppy seed oil
  • It is non-yellowing and it dries by evaporation of the solvent
  • Cleaning: Mineral spirits or turpentine

Fragonard gel medium

  • It is made from a base of alkyd and acrylic resins and polyamide wax
  • Brilliant and transparent
  • Cleaning: Mineral spirits or turpentine

XL colourless painting medium

  • Alkyd-resin based
  • Good resistance to yellowing
  • Cleaning: Mineral spirits or turpentine

Florentine medium

  • Composed of alkyd and acrylic resin and colloidal wax
  • Satin and transparent
  • Cleaning: Mineral spirits or turpentine

Dutch medium

  • It is made from a base of alkyd and acrylic resins
  • Brilliant and transparent
  • It is a semi paste, it dries by oxidation and practically never yellows
  • Cleaning: Mineral spirits or turpentine

Heavy gel

  • Composed of alkyd resin, siccative oil and aluminium silicate hydrate 
  • Translucent
  • Cleaning: Mineral spirits or turpentine

Coating medium

  • Composed of polyurethane resin, aluminium silicate hydrate and beeswax
  • Thick and opaque paste
  • Fast drying
  • Cleaning: Mineral spirits or turpentine

Siccative medium

  • Composed of acrylic resin and metal salts
  • It speeds the formation of films
  • Cleaning: Mineral spirits or turpentine

Cobalt Siccative

  • Made from a base of cobalt octoate and zirconium 
  • It speeds up the formation of films above all on the surface
  • Cleaning: Mineral spirits or turpentine

Courtrai siccative

  • Composed of zirconium octoate and calcium
  • It speeds up the formation of deep films and those on the surface
  • Cleaning: Mineral spirits or turpentine

Crystal varnish

  • Composed of acrylic resin
  • Very covering with a brilliant finish
  • Cleaning: Mineral spirits or turpentine

Surfine picture varnish solvent phase

  • Composed of acrylic resin
  • Brilliant finish
  • Drying: Away from dust, about 2 to 3 hours depending on the thickness and the temperature
  • Cleaning: Mineral spirits or turpentine

Satin picture varnish solvent phase 

  • Composed of acrylic resin and polyethylene wax
  • Satin finish
  • Drying: Away from dust, about 2 to 3 hours depending on the thickness and the temperature
  • Cleaning: Mineral spirits or turpentine

Matt picture varnish solvent phase

  • Composed of acrylic resin and polyethylene wax
  • Matt finish
  • Drying: Away from dust, about 2 to 3 hours depending on the thickness and the temperature
  • Cleaning: Mineral spirits or turpentine

Dammar picture varnish

  • Made from a base of natural resin: Dammar resin 
  • Bright and slightly amber finish
  • Cleaning: Mineral spirits or turpentine

Retouching varnish solvent phase 

  • Composed of acrylic resin
  • Fast drying: Away from dust, about 15 minutes depending on the thickness and the temperature
  • Cleaning: Mineral spirits or turpentine

Brush cleaner

  • It works in 20 minutes
  • Rinse with soap and water

Universal paint remover

  • Works in 15 to 30 minutes
  • Rinse with water
Applications

Rectified turpentine

This volatile oil is used to dissolve the top layers of colours. The bottle should be kept closed, protected from light, avoiding long storage periods.

Odourless mineral spirit

This essence, which offers a solution near turpentine, has the advantage of being nearly odourless.

Essence of Oil of Petroleum

An excellent thinner, essence of oil of petroleum evaporates much slower than turpentine and allows a longer working time with the paints.

Refined linseed oil

This excellent binder provides pastes that are very pleasant to work with, hardens them faster and thoroughly, and gives a resistant finish of depth and great beauty. It allows for diluting the colour and increases its brightness.

Clarified poppy seed oil

This oil is particularly suitable for grinding light colours. This excellent binder gives brilliance without using a siccative.

Colourless painting medium

This medium makes the colour more fluid without thinning it whilst increasing its brilliance, transparency and depth. It is used progressively to obtain deep and luminous glazes. It reinforces the adherence of layers.

Fragonard gel medium

It stands out from the colourless medium by having more body. It makes the colour more fluid without losing its reactivity. Having great brilliance and transparency it enables glazes of exceptional glow. It enhances the adhesion of paint layers and accelerates the drying time of the colour. It is used primarily in the surface coats.

XL colourless painting medium

More consistent than the colourless painting medium, it makes the colour more fluid without thinning it, whilst giving a transparent and satin finish. The colour and viscosity of the medium can evolve slightly in time prior to being used without changing its characteristics.

Florentine medium

This satin medium enables greater transparency of the paste in high concentrations. It enables glazes that are perfectly rounded off in order to obtain pleasant satin surfaces.

Dutch medium

This brilliant, transparent medium gives exceptional possibilities. Used in small amounts it makes the paints richer and gives them stiffness for precise work. In strong concentration it gives brilliance and depths of great beauty as well as glazes that possess a flowing roundness.

Heavy gel

This translucent gel extends the colour for economy of use and gives a light satin finish. If used in high proportions it enables working swiftly with a paste which responds to all solicitations. It can be added up to 50% for obtaining an economical paste without losing consistency.

Coating medium

Often used alone, this paste enables working in strong thicknesses and creating reliefs which can then be simply painted over. Mixed in over 50% with the colour, it makes it more matte and white. Its suppleness can be increased with the addition of Florentine medium.

Siccative medium

It improves their resistance and allows in depth drying. It also brings a very light amber colouration.

Cobalt Siccative

This siccative favours fast and efficient strokes. It should be reserved for thin layers. Before application it appears to be dark and it must be used with care, since excessive use will curl the colour.

Courtrai siccative

It allows thick coats to harden evenly. It is very powerful and must be controlled with care. Being colourless it will not alter light colours and is very efficient for blacks and lacquers.

Crystal varnish

Very limpid, easy to apply and particularly covering, this varnish composed of acrylic resin has a stronger viscosity than Superfine varnish. The subtlety of the film, its discreet sheen make it a valuable varnish to highlight the more subtle forms and the finest nuances in an artwork.

Surfine picture varnish solvent phase

A very transparent, supple and responsive finishing varnish, it adds a strong and durable brilliance to even poorer works. It makes the colours brilliant, resonant and saturated. This varnish dries rapidly and must only be applied to completely dry paint. The thermoplastic film ensures the possibility to restore.

Satin picture varnish solvent phase

Fast drying varnish, it gives a uniform satin aspect, in between gloss and matt. It is very easy to apply, and is transparent and discreet. Shake before use and apply once and in one direction. The thermoplastic film ensures the possibility to restore.

Matt picture varnish solvent phase

Non-yellowing and opalescent, after application its gives a garnishing film, fully extended, flexible and indelible, as well as a very uniform matt effect. The thermoplastic film ensures the possibility to restore.

Dammar picture varnish

Bright and responsive, it needs to be applied rigorously. It is rich and very covering, and it holds well and gives generous and very brilliant films which overcome the most pronounced mattes. Its lightly gilded colouration gives a pleasing patina to works.

Retouching varnish solvent phase 

A very fine and discreet varnish, it is used in smaller areas, during painting, to correct coats which sometimes accidentally produce an unwanted matt sheen. It unifies the brilliance and corrects the problem. It is always used in fine coats and gives temporary protection. The thermoplastic film ensures the possibility to restore.

Brush cleaner

This cleaner is suitable for use with all painting utensils and it retains the suppleness and form of brushes. It dissolves oil and varnish even when dry. 

Universal paint remover

This highly efficient strong solvent strips dried-on oil, acrylic and other material from all painting tools.