We stock the following brands
Archival Oil Mediums
ARCHIVAL OIL MEDIUMS
It is essential to use Archival Oil Mediums with Archival Oils to maintain uniform flexibility.
Archival Oil mediums are designed to work as a system, giving artists easy control of paint consistency, handling and drying properties. The mediums can be used in any combination to produce exactly what the artist desires. When mixed with Archival Oils they also promote fast drying (Note paint on the palette does not dry fast until after a medium is added)
HEALTH AND SAFETY
Archival Oil Mediums are all made with odourless solvents to minimise health hazards. For most people they are comfortable and safe to use and should be considered for Art Schools or any Group situation where air space is shared.
Smooth Gel will stabilise this impasto. It has a paint like consistency and can be used to spread paint easily without losing the crisp texture of knife or brushstrokes. Available in 40ml, 120ml & 300ml tubes.
Texture gel is a new variation of the Smooth Gel with a gritty textural content made from ceramic beads, to give a crusty mineral look.
Note both of the above mediums should be mixed 1:1 with paint whenever a thick impasto is used with the intention of overpainting it. Overpainting can then proceed when the stabilised impasto is touch dry, instead of waiting 6 months. If a gel medium is not used, thick impasto can take years to dry through; the underlayer remains like a soft centre chocolates and moves around, resulting in distortion of the surface and loss of the sharp definition of the paint application. Available in 40ml, 120ml and 300ml tubes.
Most oil paint is applied in the mid viscosity range, usually by carefully diluting pasty tube colours with a liquid medium until it moves more easily. This new medium will become the favourite of most oil painters because of the control it gives over the painting process.
When your brush moves, the gel moves. When you stop, the gel stops. It allows control of thinned down applications of paint and is the perfect medium for ‘laying in’. It can also be tactile or smooth according to how it is used. Flow Gel replaces the old method of using smelly turps or turps based mediums for laying in. It spreads easily and hold when overpainting. Available in 40ml, 120ml and 300ml tubes.
ODOURLESS LEAN MEDIUM
Odourless lean medium is a liquid medium for diluting Archival Oils for glazing or other thin paint applications. Lean medium is also used to paint on top of Flow Gel paint to loosen it up.
ODOURLESS FAT MEDIUM
Odourless fat medium has a luminous gloss finish for “Flemish” style painting. It is fast drying, but does not tack up, remaining workable for a day. It can be added to leam medium to increase its sheen.
ODOURLESS CLASSIC MEDIUM
Odourless Classic Medium is made from flexible modified Stand Oil and takes about 5 days to dry. It suits the method of day-to-day wet-in-wet blending, with alterations made of scraping off instead of overpainting. It can also be used as a final slow layer of glaze or paint on top of fast medium layers. (NB: do not use fast layers over slow ones)
WHITE ALSO INFLUENCES DRYING TIME
Most artists use four times as much white as any other colour. Some oil painters prefer Flake White because of its fast drying time. Standard Titanium White takes around 5 days. Archival Oils Fast Drying Titanium White dries faster: in one to two days. Therefore your choice of white can combine with your choice of mediums to influence overall drying speed.
Art Spectrum Oil Mediums
Art Spectrum Mediums
Art Spectrum painting mediums are based on sound painting principles. Art Spectrum mediums are easy to use and accurately labelled to assist the artist. They are available in a wide range of sizes for convenience and economy. Always allow adequate ventilation when using solvents and mediums.
Why artists should use painting mediums. Today’s advanced testing indicates that the use of turpentine alone as a dilutent for paints is to be avoided. It is too easy to destroy the binder and benefits of carefully milled paint.
Sound painting principles involve painting from “Lean” mixtures to “Fat” mixtures of paint. (This prevents cracking in the paint film during drying.)
With traditional mediums this is achieved by starting with painting medium No.1, and progresively “fattening” the successive layers of paint as you work with mediums No.2 and 3 as required. (If using our reduced odour range. begin with Lean Medium and then progress to “Fat”. This technique is essential when paintings are completed over a period of time.
PAINTING MEDIUM NO.1 (The Leanest)
Medium No 1 represents the first link in progressive system of painting mediums, described above. Ready to use, straight from the container. Dries overnight depending on climate.The safe way to achieve thin colour washes without destroying the binder of the paint. Especially suitable for “watercolour effects”. Can be used a sealer for canvasor used for mixing tints for canvas grounds,
PAINTING MEDIUM NO.2 (Medium Fat)
Formulated with more Oil that No.1 and is used as the next “fastest” medium
PAINTING MEDIUM NO.3 (Fattest Medium)
Thickest an oiliest, slowest drying medium. Used as the final medium in the (progressive) sequence of No 1, 2,& 3 when paintings are completed over many successive days. Mediums No 1,2,& 3 can also be intermixedto create traditional steps in “fat over lean” sequence.
LEAN MEDIUM (Reduced Odour)
The leanest medium you should use. The same application as Art Spectrum Medium No.1, but made with Odourless Solvent instead of Turpentine.
FAT MEDIUM(Reduced Odour)
Thicker, oilier and slower drying. To be mixed with oil paint and appliedas the final mediumin the “fat over lean” sequence.
LIQUOL PAINTING MEDIUM
A quick drying transparent painting and glazing medium which mixes easily with oil colour. Excellent for smooth brush work, fine detail and multiple glazes. Very adaptable, it can be used for many-layered glazing where it will give great depth and subtltey of colour. Liquol can be painted wet on wet, or left to dry before painting the next layer. Clean up with mineral or artists turps
Mixture of oil and wax. Add oil colour to wax medium to achieve a translucent effect. Imparts a lustrous, satin finish. Not suitable for impasto.
ART SPECTRUM GLAZING GEL
Quick drying – reduces drying time of oilcolours. Thixotropic painting gel which becomes liquid when worked. Can be used for moderate impasto or glazing techniques. Dries wiht a soft sheen. Add colour to gel and mix well with palette knife to achieve the degree of transparency required. Cleans up with mineralor artists’ turps.
REFINED LINSEED OIL
Pure refined linseed oil has been used for the finest artists’ oil colour for centuries. Australian linseed oil is one of the finest in the world. For use with artists’ oil colours and mediums.
STAND LINSEED OIL
Heat thickened linseed oil. For use with artists’ colours to reduce consistency and enhance flow, and also in the preparationof oil painting mediums. Dries to a tough elastic film.
Ideal for anyone sensitive to the odour of Turpentine or working in a poorly ventilated area. Odourless Solvent in a poorly ventilated area. Odourless Solvent can be used to make traditional mediums as well as for clean up purposes
PURE GUM TURPENTINE
A natural solvent for oils, used in most painting mediums. Double distilled from pine derosin. Dissolves Damar Crystals
Gum turpentine alternative containing white spirit. Solvent for oils. Ideal for preparation of painting mediums. Has slightly less odour than gum turpentine.
Double distilled for artists’ use. Citrus aroma for those allergic to other turpentines. Made from orange zest.
A pleasant, citrus scented cleaning solution. Ideal for cleaning brushes, studio equipment, hands, as well as a variety of household uses. This is an all-natural product which is completely bio-degradable.
A temporary picture varnish. A thin coat restores luminosity to dull areas to aid colour matching. Sealer for painting grounds if the surface is porous
MATT WAX VARNISH
A satin-matt varnish for paintings. Can be rubbed on straight from the tin, or brushed on if heated first by placing tin in a container of very hot water. Can be buffed-up to a sheen with a lint free cloth. Removable with gum turpentine if necessary. Impasto medium for oil colours.
For use as a final varnish for oil paintings, Damar Varnish is also used as a basis for making some painting and glazing mediums. For varnishing egg tempera, dilute with an equal amount of gum turpentine.
GLOSS VARNISH (Formally Paraloid Varnish)
High-gloss, non-yellowing acrylic varnish. Removable with mineral turpentine. Glossfinish can be modified by diluting with mineral turpentine.
GESSO’S AND PRIMERS
ART SPECTRUM ARTISTS’ GESSO
Gesso can be applied toa wide range of textural substrates such as fine or coarse linens, cottonduck canvas, harboard,paper or panels. Two or three thin coats of gesso provides the right degree of absorbency and creates a fine surface to paint onto. Art Spectrum Artist’s Gesso is fast drying, finely balanced acrylic compound and requires only water for clean up.
For the artist who desires the superior qualities of an oil based primer, which crosslinks and provides excellent adhesion between the substrate and subsequent layers of paint. Art Spectrum Artists’ Oil Prime should be used. This pattented product contains 40% linseed oil, yet thins and cleans up with water. It is applied directly to the canvas or other substrate in the same way as gesso-no glue sizing is rrequired with either gesso. Allow adequate ventilation when applying primers.
SPECTRUM CLEAR OIL PAINT
Spectrum Clear Oil Paint is a product well worth exploring. It is formulated as an oil paint, but without coloured pigments. With Clear Oil the integrity of each brush stroke is retained, which is not the case with most mediums which tend to level or smooth out brush strokes. It can, however, be considered a medium because of the effects it helps create. Clear Oil Paint can reduce colours to pale tints without the use of whites or mediums.
- Tremendous depth of colour is possible by painting wet into wet or thin glazes.
- Oil colours can be extended without loss of brilliance or structure.
- Opaque colours can be made transparent.
- As many Art Spectrum colours are transparent, try making use of this quality using Clear Oil Paint instead of white.