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