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
00070

Essence de térébenthine rectifiée : Aspect mat moins accentué qu’avec l’essence de pétrole.Pour délayer les premières couches de couleurs. Existe en 75ml, 245ml, 495 ml et 1L.

10300

Essence minérale inodore : propriétés semblables à l’essence de thérébentine, mais avec faible odeur. Existe en 75ml, 245ml, 495ml et 1L.

650305

Huile essentielle de pétrole : évaporation plus lente que l’essence de thérébentine pour permettre un travail prolongé des pâtes. Rendu des couleurs plus mat. Existe en 75ml.

05432

Huile de lin raffinée : Donne des pâtes agréables à travailler, qui durcissent vite en profondeur. Augmente la brillance de la couleur. Existe en 75ml, 245ml, 495ml et 1L.

650201

Huile œillette clarifiée : Convient particulièrement au broyage des couleurs claires. Plus lumineuse que l’huile de lin, elle ne jaunit pratiquement pas. Elle ne s’utilise que siccativée. Existe en 75ml et 245ml.

650601

Médium à peindre incolore : Fluidifie la couleur sans l’amaigrir, tout en réhaussant l’éclat, la transparence et la profondeur. Idéal pour réaliser des glacis profonds et lumineux. Non jaunissant, il renforce l’adhérence des couches picturales. Existe en 75ml, 245ml et 495ml.

03788

Médium gel XL à peindre incolore : Fluidifie la couleur sans l’amaigrir en lui donnant transparence et finition satinée. Peut faire évoluer la couleur et la viscosité du produit dans le temps sans en modifier la performance. Existe en 200ml.

01558

  Médium gel fragonard : Se distingue du Médium gel XL par plus de corps. Permet d’obtenir des glacis d’un éclat exceptionnel grâce à ses qualités de brillance et de transparence. Accélère le séchage de la couleur, il s’utilise surtout dans les couches supérieures. Existe en 75ml.

05441

Medium florentin : Rend les pâtes plus transparentes à forte concentration. Permet de réaliser des glacis qui s’arrondissent parfaitement pour obtenir des surfaces satinées. Existe en 60ml et 200ml.

01606

  Médium hollandais :  Offre des possibilités de travail exceptionnelles. En faible quantité, il rend les pâtes plus liées et plus riches, conférant une qualité de filé élevée pour une exécution précise. À forte concentration, il donne brillances et profondeurs de toute beauté, et des glacis qui s’arrondissent aisément. Existe en 60ml et 200 ml.

05442

Médium d’empâtement : Pâte épaisse et opaque pour travailler en très fortes épaisseurs et créer des reliefs. Séchage rapide, en rendant plus mate et plus blanche la couleur. Peut être assoupli grâce au médium Florentin. Existe en 60ml et 100ml.

650614

Gel de structure : Gel translucide pour allonger la couleur et la rendre légèrement satinée. Mélangé à 50 %, permet d’obtenir une pâte plus économique de même consistance. Employé en proportion importante,permet le travail vif et enlevé de la pâte. Existe en 60ml.

00082

Siccatif au cobalt : Favorise les prises rapides et efficaces, à réserver aux couches fines. D’aspect foncé, il doit être dosé avec soin sous peine de faire friser la couleur. Existe en 75ml.

05439

Siccatif de courtrai : Permet un durcissement équilibré des couches épaisses. Incolore, il n’apporte aucune altercation aux couleurs et est idéal pour les noirs et les laques. Siccatif très puissant qui doit être contrôlé avec soin. Existe en 75ml.

00072

Vernis crystal : Très limpide, facile à appliquer, avec une viscosité plus soutenue que le vernis à tableau surfin. Rendu précieux de l’oeuvre grâce à la finesse du film et la discrétion de son reflet, idéal pour la mise en valeur de la finesse des formes et nuances. Existe en 75ml, 245ml et 1L.

10627

Vernis à tableau surfin : Finition souple, nerveuse, très transparente, conférant une brillance forte et durable.Les couleurs deviennent éclatantes, sonores et saturées. Ne s’applique que sur des peintures totalement sèches (6 mois à 1 an). Séchage rapide, le film thermoplastique garantit la possibilité de restauration. Existe en 75ml, 245ml, 495ml, 200ml et 400ml.

10597

Vernis à tableau satiné : Finition satinée uniforme, intermédiaire entre le brillant et le mat, pour un rendu transparent et discret. Facile à poser (1 seule couche, 1 seul sens) et séchage rapide, le film thermo plastique garantit la possibilité de restauration. Existe en 75ml, 245ml, 495ml, 200ml et 400ml.

10673

Vernis à tableau mat : Non jaunissant et opalescent, pour un rendu mat et très uniforme.Séchage rapide, le film thermoplastique garantit la possibilité de restauration. Existe en 75ml, 1L, 200ml et 400ml.

05451

Vernis à tableau dammar : Finition légèrement ambrée et très brillante qui vient à bout des matités les plus prononcées en patinant agréablement les œuvres. Vif et nerveux, il demande un travail de pose rigoureux. Existe en 75ml.

07616

Vernis à retoucher : Fin et discret, il offre une protection temporaire et locale en cours de travail.Il unifie les brillances et supprime les embus. Application en fine couche pour un séchage très rapide (env. 15 min), le film thermoplastique garantit la possibilité de restauration. Existe en 75ml, 200ml et 400ml.

05438

  Nettoyant pinceaux :  Convient à tous les ustensiles de peinture, il conserve souplesse et forme des pinceaux. Il dissout l’huile et les vernis même secs. Existe en 75ml et 245ml.

00038

Décapant universel : Solvant fort, très efficace, permettant le décapage rapide des outils et du matériel sur lesquels sont séché huiles et acryliques. Existe en 75ml.

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.