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 medium varnish
Medium made from Canada Balsam, dammar resin and linseed oil. Perfect for thinning the paint and making it easier to apply. For thin layers, to create glazes and transparencies. Can be used for recovering and cleaning brushes with dry paint on them.
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.
Bee oil resin. Smooth paste perfect for creating satin and full-bodied colours. Ideal for creating thickness, working on impasto technique and creating textures to give character to your work.
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.
Beeswax paste made with linseed oil, turpentine and bleached beeswax. Perfect for giving body and consistency to oil paint. Quality product, ideal for use with opaque colours.
Mixing medium for oil colours. Specially designed for R&F Oil Pigment Stick. Increases transparency, gives body to the paint and helps to mix and spread the colour.
Medium for encaustics made of 100% USP beeswax and damar resin. Ideal for creating transparencies and amplifying colours, working with mixed techniques and sculptural applications on the support.
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.
Matt medium for achieving a matt effect on Pebeo Vitrea stained glass colours.
Medium for mixing with Pebeo Vitrea glass stains to obtain iridescent or pearlescent reflections.
Transparent medium that liquefies the colours and increases transparency. Translucent and satin finish. Does not yellow. Ideal for the moulding technique.
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 medium for water based oil colours. Fast drying rigid medium. Retains brush marks when mixed with the medium. Non-yellowing. Can be cleaned with water.
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.
Fast drying water-mixable medium. Softens the brushstroke and increases transparency. Very fast drying. Excellent for fine details.
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 acrylic medium for creating a metallic gold effect on the colour or for adding gold reflections to the surface. Suitable for all surfaces that are suitable for acrylic colours.
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 Crackle Paste. Creates a crackled surface texture after drying. Can be used alone or mixed with acrylic paint to create a structurally stable crackle effect on rigid surfaces.
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.
Starter set with 6 types of Liquitex professional media in 100 ml format. Contains: Slow Dri Blending Medium, Pouring Medium, High Gloss Varnish, Matt Extra Thick Gel Medium, Transparent Acrylic Primer and Flexible Modelling Compound.
Smoothing, liquid medium with a matt finish. Flexible after drying. Resistant to light and cracking. Does not yellow. Developed for 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 set with 4 media in 59 ml format. Contains: ultra matt, matt, glazing and slow dry medium for acrylic colours. They can be used to reduce the viscosity, increase the thickness, delay drying or adjust the gloss.
Liquitex gel medium for acrylic colours. Satiny surface. Increases the thickness of the paint and helps to spread the colour on the surface. Flexible and waterproof after drying.
Liquitex medium for acrylic colours. Increases the fluidity of the paint and the transparency of the colours. Gives a satin finish. Flexible and waterproof after drying.
Ultra-matt medium for techniques such as acrylic or gouache. Provides additional opacity of the colours and an ultra-matt end result. Maintains the colour properties, intensity and hue. Slows down the drying time.
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.
Ready-to-use, pre-filtered medium that easily dilutes all acrylic, watercolour or gouache paints to a sprayable consistency
The most powerful product in the Liquitex media range. The gloss varnish medium is a multi-purpose medium that fulfils two functions. It can be used as a permanent varnish and/or liquid medium.
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.
A classic medium that is used to give delicate brush paintings a fluid consistency or as a slightly glossy glue for collages. This medium has a creamy consistency and works well with opaque colours.
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.
An indispensable medium for creating soft edges and modelled shapes. With this medium, the working time of acrylic colours can be extended by more than 40%.
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.
Sennelier Turner gel medium for glazes and finishes in oil colours. Gives the brushstroke transparency and luminosity. It has no influence on the drying time. Very transparent, completely translucent, vegetable oil-based.
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.
Winsor & Newton Medium for oil colours for mixing and glazing. Increases transparency, fluidity and colour depth and ensures a glossy, long-lasting finish. Slows down the drying time. Useful for mixing, glazing, effects, etc.
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 Fat Medium based on extra light linseed oil and lavender dammar varnish. Developed for the final coats of colour as it makes the oil paint fatter and gives it more gloss, consistency and adhesion. Dries slowly. Does not yellow.
Lean Medium Chelsea consists of extra-clear linseed oil and lavender oil. Perfect for the first layers of colour. Dries very quickly and does not yellow. Improves the adhesion and durability of the colour. Prevents craquelure.
Chelsea Classical Studio Familiarisation Set with 8 painting mediums: Oils, mediums, solvents, varnishes, soaps and brush cleaners. Ideal for testing all the brand´s products and as a gift for artists.
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.
Acrylic resin for consolidating and protecting objects, works of art, marble, stone, metal, etc. Used as a touch-up varnish and adhesive for restoration work. Resistant, hard, glossy and adheres to a wide range of substrates.
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 glossy acrylic gel, serves as a medium for mixing acrylic colours and changes their consistency, transparency, opacity, viscosity and gloss. High adhesion and binding power. After drying, it is transparent, waterproof, glossy and elastic
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, glossy Titan acrylic gel that serves as a medium for mixing with acrylic colours and increases their consistency and gloss. High adhesive and binding power. Suitable for porous surfaces. When 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.
Schmincke Pouring Medium, liquid, transparent and glossy. Ideal for painting with the pouring technique. Waterproof. Does not yellow. This technique makes it possible to paint pictures easily and with a very professional finish.
Matt thinning medium for acrylic colours. 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.
Vallejo medium for mixing, glazing or as a glossy and durable varnish. Can also be used as a protective and insulating layer. Fast drying. Water resistant. Do not use on oily or greasy surfaces. Can be diluted with water.
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.
Winsor & Newton thinning medium for oil paints, which improves the fluidity and moisture of the paint to facilitate the realisation of small details. After drying, it forms a layer that does not crease or crack.
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.
The J.G. Vibert painting medium is a liquid painting medium consisting of ketone, acrylic resin and poppy seed oil. Practically colourless and non-yellowing, it dries quickly and retains a certain flexibility.
Lefranc Bourgeois medium for oil colours 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 medium for oil colours with a glossy surface that allows the paint to adhere quickly.
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.
Alkyd resin-based painting medium that accelerates drying and increases the transparency and fluidity of oil colours.
Lefranc Bourgeois mastic resin medium for oil painting, which enables quick adhesion and fast and progressive drying.
Lefranc Bourgeois medium for oil colours, made from beeswax. Matt finish.
White Courtrai siccative for oil colours with a mild effect from Lefranc Bourgeois. Accelerates the complete drying of the colour (not just the surface).
Maimeri Impasto Medium for oil colours
Maimeri Oilyn painting medium for oil colours.
Maimeri painting butter, drying accelerator in gel form for oil colours.
Maimeri painting butter, drying-accelerating medium for oil colours.
Lefranc Bourgeois drying medium for oil colours. Enables quick layering of brush strokes in fresco and the application of glazes. Shiny, even and velvety finish. Increases transparency and gloss.
Lefranc Bourgeois Flemish drying medium for oil colours. Facilitates the adhesion of colours, protects them, makes them more vivid and improves their durability. Contains copal resin, linseed oil and turpentine essence.
Flowable acrylic binder. Increases adhesion and makes acrylic colours translucent and more fluid. Pebeo Studio Acrylic Medium Bindex Dyna is formulated with pigments that change colour depending on the angle of incidence of light.
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).
Studio acrylic medium glossy. This medium enhances the effect and depth of the colours. After drying, it remains transparent and has a glossy finish. It is ideal for creating glazes.
Titan thinning medium for acrylic colours. Gives the colours luminosity, brilliance and depth and makes them more fluid.
Mixed with acrylic colours, up to a maximum of 5%, it extends the drying time by 5-10 minutes.
Semi-fat thinner for oil colours. Increases the transparency and gloss of the colour layer without yellowing.
Accelerates the drying of oil colours. It is used in small quantities (0.5 to 5%) and mixed well with the colour.
Thins acrylic paints and at the same time preserves the durability of the colour film.
Increases the gloss and transparency of the acrylic paint while maintaining its viscosity.
Increases the transparency and reduces the gloss of the acrylic paint while maintaining its viscosity.
Pasty medium. Increases the gloss, transparency and viscosity of the acrylic paint.
Pasty medium. Increases the transparency and viscosity of the acrylic paint. Reduces the gloss.
Very pasty medium. Increases the viscosity of the acrylic paint, making the brushstroke more pronounced.
Very pasty medium. Increases the transparency and viscosity of the acrylic paint. Reduces the gloss.
Thickening medium. By adding just a small amount, it increases the viscosity and the brush stroke.
Delays the drying of acrylic paints so that the colours can be mixed longer when wet.
Alkyd-based medium that increases flowability and transparency and enables fast drying. General purpose medium with low gloss.
Semi-glossy alkyd-based impasto medium for fresh textures and brushstrokes. Stretches colours and gives volume.
Semi-matt alkyd-based impasto medium for fresh textures and brush strokes. 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.
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 Mediterranean blue.
High-density, transparent, gel-like, water-based acrylic medium for water and ice textures. In pacific blue.
Spreadable and self-levelling liquid. Dries as a hard, transparent film. Ideal for simulating puddles, ponds, etc.
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.
Liquid gloss medium, perfect for fine details. Ideal for surfaces with soft colour gradients without brush marks. Modern alternative to Copal tree resin. Fast drying.
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.
Thins the oil paint and increases colour flow. Reduces the gloss and accelerates the drying time. The brushstroke remains visible. Consists of a mixture of linseed oil and turpentine.
Volatile thinner for oil colours. Makes the colour less greasy and cleans the material. Obtained by petroleum distillation.
Binder-free thinner that reduces the viscosity without changing the drying time of Open Acrylic.
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.
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.
This medium increases the depth, transparency and fluidity of the colour and is therefore ideal for blending or for fine details. It can be used in thicker layers than the glazing medium and ensures an even gloss finish.
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.
This is the best medium for creating glazes as it offers maximum colour transparency and enhances colour brilliance. It enables thin layers of highly transparent colour to be built up to achieve luminous and shimmering effects.
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.
This medium increases the transparency, depth and brilliance of the colour. Its gel consistency is thicker than that of the gloss medium and goes very well with the thick, buttery consistency of the colour. It dries to an even glossy finish.
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
Light and flexible modelling clay that does not shrink or crack. Thickens the consistency of the colour, gives it body and structure and emphasises texture, brush and spatula marks. Increases the opacity of the colour.
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.
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.
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.
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.
Gel with a higher viscosity than New Masters Acrylics.
Increases the transparency of the colour. Gels with a viscosity that corresponds to that of New Masters Classic Acrylics. They keep the density of Old Holland acrylics unchanged and are indispensable for the impasto process.
Increases the transparency of the colour. Gels with a viscosity that corresponds to that of New Masters Classic Acrylics. They keep the density of Old Holland acrylics unchanged and are indispensable for the impasto process.
Increases the transparency of the colour. Gels with a viscosity that corresponds to that of New Masters Classic Acrylics. They keep the density of Old Holland acrylics unchanged and are indispensable for the impasto process.
It has a lower viscosity than Old Holland New Master Acrylic and transforms the colour into a flowing acrylic.
It has a lower viscosity than Old Holland New Master Acrylic and transforms the colour into a flowing acrylic.
It has a lower viscosity than Old Holland New Master Acrylic and transforms the colour into a flowing acrylic.
Extends the drying time without changing the viscosity and density of the colour. Add a maximum of 10% and mix well with the colour.
Glazing agent that is particularly suitable for the glacis painting technique.
It gives the colour a higher gloss than when removed from the tube. Does not contain thickeners. Can be used in the desired ratio.
Contains no thickeners. Can be mixed with New Old Holland Master Acrylics in the desired ratio. Dries to a matt, durable film.
Contains no thickeners. Can be mixed with New Old Holland Master Acrylics in the desired ratio. Dries to a silky 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.
Can be used as a universal screen printing medium.
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 washes without hard edges.
A good choice if you are working with low humidity or want to increase the workability and mixing time of acrylic paints and media.
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.
Medium for delaying the drying of Vallejo Arte Deco acrylic craft colours.