Glossy medium based on high quality natural products. Prolongs drying time. Glossy finish. Compatible with matt medium to give a satin finish. Can be used as a varnish to protect the surface.

Sennelier oil colour gel medium. Ideal for preserving the consistency of the paint, making colour overlaps without diluting the undercoats, creating textures and speeding up the drying of the paint.

Gamblin Cold Wax Medium for oil paints. Add directly to oil colours to achieve thicker, denser and more matt colours. Handmade in a natural way from pure white beeswax. Can also be used as a varnish.

Fast drying enamel medium. Ideal for adding depth, glazing, enhancing colours, accelerating the drying properties of oil paints. Solvent-free and sustainably produced. Vegan product.

Solvent-free, odourless, vegan and vegetable-based medium. Perfect for thinning oil paints and facilitating their application. Ideal for thin layers, creating glazes and transparencies. Can be used to clean and recover your brushes with dry paint.

Mixing medium for oil paints. Specially designed for R&F Oil Pigment Stick. Increases transparency, gives body to the paint and helps to mix and spread the colour.

Water-based biopolymer varnish and colour medium made from milk casein and beeswax. Very flexible and resistant. Fast drying. Semi-glossy surface. For all techniques except oil pastel. Non-toxic. Suitable for interiors.

Medium for mixing with Pebeo Vitrea glass stains to obtain iridescent or pearlescent reflections.

The Lifting preparation makes it easier to lift dry layers from the paper with a wet brush or sponge. It is a preparation that beginners can use to prepare the paper and make corrections to their painting.

Water mixable paint medium. Slow drying. Reduces the consistency and increases the flexibility of water-based oil colours. Greases and enriches opaque areas. Non-yellowing.

Medium to improve the flowability of the paint and to delay drying when working with an airbrush gun. We recommend 1-2 drops of Flow Improver per 10 drops of paint in the airbrush cup.

Liquitex glass acrylic medium. Transforms acrylic colours into durable glass paint. Adheres to smooth, non-porous surfaces such as glass, ceramics or porcelain. When heated, it creates a permanently glossy surface.

Liquitex Acrylic Metallic Medium. Creates silver effects when mixed with acrylic colours. For all surfaces that are suitable for acrylic paints. Does not affect the stability of acrylic colours.

Smoothing, liquid medium for an iridescent finish or to add reflections to the surface. Lightfast. Does not yellow. The medium is flexible and water-resistant after drying. Does not crack.

Liquitex medium for acrylic paints. Increases the fluidity of the paint and the transparency of the colours. Gives a satin finish. Flexible and waterproof after drying.

Gives acrylic colours a metallic/pearl sheen effect. When dry, it is translucent and does not oxidise. It can add highlights or shimmer to a painting, even in small quantities.

Use it when maximum transparency is required to add luminosity and depth to your colours. This liquid medium can be used in conjunction with transparent colours for brilliant glazes.

Improves the mixability, workability and adhesion of acrylic colours for direct painting on fabrics or canvases without primer. Reduces the stiffness of the dried paint. No heat setting required.

Golden Airbrush Medium made of 100% acrylic to change the viscosity of flowable acrylic colours and other Golden acrylic products, to increase the flowability and to prevent nozzle blockages during airbrushing and/or spraying.

Oil-based painting paste that prevents the formation of wrinkles when applying thick layers. Increases the transparency of the oil paint and maintains its viscosity, the durability and does not yellow. Can be diluted with turpentine or white spirit.

Colourless drying retarder for Schmincke airbrush paint. Reduces possible colour residues on the needle and increases the service life of the needle. Is used in a maximum ratio of 1:1. Can be used with all airbrush nozzles.

Chelsea Lean Medium consists of extra-clear linseed oil and lavender oil solvent. Perfect for the first layers of colour. Dries very quickly and does not yellow. Improves the adhesion and durability of the colour. Prevents craquelure.

With Schmincke Medium W, any traditional oil colour can be mixed with water without using turpentine or other solvents. It increases the gloss and transparency and is waterproof after drying. Code no. 50043.

Gamblin Laropal A-81 is a synthetic aldehyde resin used as a painting medium. Ideal for restoration. Low viscosity, high lightfastness and minimal polarity. Soluble in most polar solvents. Insoluble in water.

Titan matt acrylic gel that serves as a medium for mixing with acrylic colours, maintains their consistency and reduces gloss. High adhesion and binding power. Suitable for porous surfaces. Once dry, it is transparent, waterproof and elastic.

Thick, matt Titan acrylic gel that serves as a medium for mixing with acrylic colours, increasing their consistency and reducing their gloss. High adhesion and binding power. For porous surfaces. Once dry, it is transparent, waterproof and elastic.

Matt thinning medium for acrylic paints by Titan Arts. Ideal for transparencies, glazes etc. Can be mixed with additives to obtain textures. Gives volume, improves colour flow, facilitates application and reduces the gloss of the paint.

Winsor & Newton Medium for cleaning darkened or soiled paintings and oxidation residues from linseed oil. The cleaning of valuable works of art should be carried out by specialists.

Lefranc Bourgeois egg painting medium for oil painting. Glossy or matt surface depending on use. Improves adhesion, accelerates drying and increases the oiliness of oil colours. Ensures perfect preservation without yellowing.

Lefranc Bourgeois medium for oil paints that does not alter the transparency and opacity of the colours and facilitates their application. Can be used mixed with turpentine. Matt, even and velvety finish.

Lefranc Bourgeois for impasto technique in oil painting. Solid structural medium. Allows the realisation of thick layers of paint as it hardens in the absence of air.

Lefranc Bourgeois mastic resin medium for oil painting, which enables quick adhesion and fast and progressive drying.

White Courtrai siccative for oil paints with a mild effect from Lefranc Bourgeois. Accelerates the complete drying of the colour (not just the surface).

Maimeri Oilyn painting medium for oil paints.

Maimeri drying medium for oil paints.

Lefranc Bourgeois Flemish drying medium for oil paints. Facilitates the adhesion of colours, protects them, makes them more vivid and improves their durability. Contains copal resin, linseed oil and turpentine essence.

Gel for mixing with acrylic colours. Increases transparency, depth and drying time. Does not yellow and has a glossy, matt or glow-in-the-dark finish after drying (depending on whether you apply one or the other).

Titan thinning medium for acrylic paints. Gives the colours luminosity, brilliance and depth and makes them more fluid.

Semi-fat thinner for oil paints. Increases the transparency and gloss of the colour layer without yellowing.

Thins acrylic paints and at the same time preserves the durability of the colour film.

Increases the transparency and reduces the gloss of the acrylic paint while maintaining its viscosity.

Pasty medium. Increases the transparency and viscosity of the acrylic paint. Reduces the gloss.

Very pasty medium. Increases the transparency and viscosity of the acrylic paint. Reduces the gloss.

Delays the drying of acrylic paints so that the colours can be mixed longer when wet.

Semi-glossy alkyd-based impasto medium for fresh textures and brushstrokes. Stretches colours and gives volume.

A dense mortar that is mainly used for textures. Ideal for murals. Can be mixed with acrylic colours or other auxiliary products.

High-density, transparent, gel-like, water-based acrylic medium for water and ice textures. In Atlantic blue.

High-density, transparent, gel-like, water-based acrylic medium for water and ice textures. In pacific blue.

Thinner based on vegetable oils, synthetic resins and siccatives dissolved in white spirit. Increases transparency and gloss. Does not yellow. Refines the brushstroke and improves adhesion.

Thins the oil paint and increases colour flow. Reduces the gloss. The brushstroke remains visible. Consists of a mixture of linseed oil and turpentine oil. Contains no resins or siccatives.

Volatile thinner for oil paints. Makes the colour less greasy and cleans the material. Obtained by petroleum distillation.

Liquid medium to extend the colour, regulate the transparency, create glazes, increase the gloss, reduce the viscosity or improve the adhesion without affecting the durability of the acrylic.

This medium improves the colour flow and is therefore ideal for blending or fine details. It provides an even, matt finish and increases the water resistance of the colour after drying. It does not cause any loss of colour depth.

Additive that slows down the drying time of acrylic paint in order to obtain more working time for more extensive processing and mixing. A volume ratio of 1:1 doubles the drying time. Maintains colour fastness.

Reduces colour gloss. Contains a transparent binder and matting agent which, when used with Winsor & Newton Artists´ Acrylics, cause no loss of colour depth. Gel consistency, thicker than matt medium.

Additive that increases the colour flow of acrylic paints by breaking the surface tension of water. Ideal for use in areas with uniform and flat colours without changing the colour strength. Maintains colour stability

Developed by Old Holland for thick, solid layers of colour. After drying, it has a transparent finish.

Developed by Old Holland for thick, solid layers of colour. After drying, it has a transparent finish.

This gel is much thicker than acrylic and allows thick layers of colour to be applied. The high build gel has a semi-opaque surface.

Gel with a higher viscosity than New Masters Acrylics.

Gel with a higher viscosity than New Masters Acrylics.

Increases the transparency of the colour. The gels are thicker than the mediums and keep the density of the Old Holland acrylic unchanged and are indispensable in the impasto process.

It has a lower viscosity than Old Holland New Masters Acrylic and transforms the colour into a flowing acrylic.

It has a lower viscosity than Old Holland New Masters Acrylic and transforms the colour into a flowing acrylic.

Glazing medium that is particularly suitable for the glacis painting technique.

Contains no thickeners. Can be mixed with Old Holland New Masters Acrylics in the desired ratio. Dries to a matt, durable film.

Universal gel for achieving pearlescent effects or iridescent effects with normal colours. The best results are achieved with a ratio of 80% gel and 20% acrylic colour.

Breaks the tension of water by improving the flow, absorbency and blending of all water-based paints, inks or dyes and minimises brush strokes. Ideal for creating very liquid washes without hard edges.

Innovative liquid acrylic resin that extends the drying time of colours. It is sprayed onto the palette or directly onto the surface of a colour. Prevents the paint from forming a film on its surface.