Paint Mediums and Varnishes

Blick Artists' Acrylic Modeling Paste is used to build up textured grounds and model forms. Dries opaque white, hard, and stiff. May be tinted with acrylic colors or overpainted.

For slowing down the drying time of acrylics.

Matte and Gloss Varnish, Extender. Matte Varnish - Provides a protective finish coat of toughness and flexibility. Clear and non-yellowing. Strong enough to resist chemicals, heat and abrasion. Cleans easily with water. 8-oz

Use Blick's Matte Acrylic Varnishes over Blick Matte Acrylic Paint, or any other craft acrylic paints. They provide a tough, non-yellowing protective coat.

Blick's opaque, matte-surface acrylics are water-based, quick-drying, and permanent, yet non-toxic and safe for everyday use. Formulated with the highest quality pigments in an exceptional range of colors. 2 oz plastic bottles.

Atelier Interactive Unlocking Formula is used to reopen touch-dry layers when water no longer reopens the paint. It's sprayed onto touch-dry, but not cured paint, to soften edges, blend colors, and remove paint. Easy to apply using the Atelier Interactive Fine Mist Water Sprayer.

Holding Medium adds body to Chroma Atelier Free Flow Acrylics without altering their matte finish. Chroma Atelier Mediums allow artists to do more with paint. Mix Chroma Atelier Mediums with Chroma Atelier Interactive Artists' Acrylics to help blend and spread the paint.

Create puddles, cells, drips, ribbons, and more with this acrylic pouring medium. Chroma Atelier Pouring Medium makes pouring techniques easy and fun. Simply mix it with Atelier Interactive Acrylic or Free Flow and pour onto a flat painting surface.

Chroma Atelier Mediums allow artists to do more with paint. Mix Chroma Atelier Mediums with Chroma Atelier Interactive Artists' Acrylics to help blend and spread the paint.

Make cell effects in your next acrylic pouring work with this painting medium. Add a few drops of Demco Acrylic Silicone Oil to a mixture of pouring medium and fluid acrylics, then pour the mix onto your painting surface.

Golden Retarder is an additive for slowing the drying (open) time of acrylic paints and mediums. It's useful for "wet-in-wet" techniques and for reducing skinning on the palette. Note: Golden Acrylic Mediums have a new look, but their reliable quality remains unchanged.

Golden Clear Leveling Gel has a unique resinous, stringy consistency resulting from the leveling property. This product dries to a flexible, high gloss film, which can increase the transparency and sheen, while imparting a leveling quality to other Golden acrylic products.

Achieve amazing textures and patterns with Golden Crackle Paste. This thick, white, opaque medium cracks as it dries. Crack size increases with thicker application.

GAC's can be blended with Golden Acrylic Paints to extend the paint, regulate transparency, create glazes, increase gloss, reduce viscosity or improve adhesion and film integrity. The GAC polymers can also be used for binding pigment solids for various effects and surfaces.

A general purpose liquid medium useful for creating glazes, extending colors, enhancing gloss and translucency and increasing film integrity. Has a unique feel that is much more oil-like or resinous in nature and that promotes flow and leveling.

A general purpose, pourable medium useful for extending colors, decreasing gloss and increasing film integrity. Can be used as a ground, instead of gesso.

Golden Acrylic Mediums dry to an extremely hard, opaque film. This product is useful for creating tough, durable finishes for smooth or textured surfaces. The dried film can be carved with hand or power tools.

A slightly softer feel than Regular Gel (Gloss) and the same consistency as OPEN colors. It can be used for glazes and to extend paints while maintaining the working properties of OPEN acrylics.

Used to create fine textured surfaces. Dries to a hard film. To increase its flexibility, mix in other Golden gels or mediums.

A concentrated additive for reducing the surface tension of water. Add Golden Wetting Agent (formerly Acrylic Flow Release) to water to improve the absorption of acrylic colors into porous surfaces and achieve rich stains on surfaces such as watercolor paper and unprimed canvas.

A translucent, white medium with high solids that economically extends the volume of thin paint. Maintains color opacity and extends paint to double amounts without changing color position. Dries to a matte sheen.

Reduces crazing in poured applications. Ideal for pouring puddles and acrylic sheets. Paint film dries without holding bubbles.

Slow-Dri Blending Fluid extends the open time of acrylics by more than 40%. It will give you the opportunity to work the paint longer and achieve soft edged blending. You can add up to 50% of this medium to a paint mixture as it contains a binder to perserve the integrity of the paint film.

Liquitex Texture Gels are a medium body gels that yield their most dramatic effects when mixed with transparent or translucent colors. Contains clear round plastic beads and dries to a semi-gloss, bubbly surface.

A heavy bodied gloss acrylic emulsion used for adding gloss, body, transparency and textureto to acrylic colors. It is also ideal for glazing techniques. When used as a top coat it will create a wet or glass-like finish.

Use this medium bodied, matte, acrylic emulsion to decrease the surface sheen in your acrylic paintings and to decrease transparency when used liberally. Also use this as an extender, adhesive, and transfer medium. Dries to clear matte finish.

Use the Utrecht Illuminating Medium to enhance focal points or to produce a greater effect of light overall. This unique medium can be added in incremental ratios to achieve the level of heightened illumination you are seeking.

A medium bodied acrylic base used to create a smooth, metallic-like effect when mixed into acrylic colors. It works best in semi-transparent and transparent colors. the medium can be applied in multiple layers to create heavier textured surfaces.

A dense, heavy bodied paste used to build thick impasto and extreme textures. This modeling paste can be used as an extender and to add opacity to acrylic colors. It is typically used to create texture prior to paint application.

Use to increase the texture, body and opacity of your acrylic paints. Heavy body retains brush strokes so you can create thick textures and impasto effects. Can be used as adhesive but not as a transfer medium.

Use Utrecht Pumice Stone Gel Medium to create a grainy, sand-like finish to your acrylic paintings. Surfaces can be textured prior to painting in thick stone-like applications or as smooth, sandpaper effects. You can also mix this heavy bodied medium with gesso for pastel painting surfaces.

Use when you want to use oil painting techniques like "wet on wet" with your acrylic paints. This medium extends the working time of your acrylics by slowing the drying process. Great for painting outdoors in dry conditions.

Quick-drying Vallejo Acrylic Fluid Medium dries flexible and waterproof. It comes in plastic bottles. The Satin formula reduces consistency and increases flow and transparency.

Use this medium to reduce consistency and increase transparency. A medium of intermediate viscosity, quick-drying Vallejo Medium is flexible and waterproof when dry. It comes in plastic bottles.

Add an iridescent effect to your work with this pearlescent medium. Vallejo Pearlescent Medium is formulated with mica. Mix it with acrylic colors to create an iridescent luster, or apply the acrylic medium by itself for a silvery iridescent effect.

Self-leveling Vallejo Pouring Medium is ideal for techniques of dripping, pouring, and direct application on large surfaces. The acrylic medium dries to a clear, flexible, glossy finish, which is permanent, non-yellowing, and water-resistant when dry.

Make geometric cell shapes appear in your paint pours. Silicone Oil Cell Medium creates cell shapes when mixed with Vallejo Pouring Medium and Vallejo Acrylic Artist Fluid Colors. Pour the mixture of paints onto any surface and then apply heat with a kitchen blowtorch at a distance of 8" (20 cm).

This medium increases the flow of acrylic colours, allowing the application of areas of flat, even colour without changing colour strength. It is also effective for hard-edge painting techniques. It maintains the stability of the colour and slightly slows drying.

This medium maintains the thickness of the colour keeping good brush stroke retention and dries to give an even matt finish. It causes no loss of colour depth when used with Winsor & Newton Artists' Acrylic.

This modelling paste is lightweight and flexible so it doesn't shrink or crack. It increases opacity, body and structure and is ideal for carving, sanding and building extreme textures.

Use this natural solvent to thin oil painting mediums, resins, and varnishes. Chelsea Classical Studio Lavender Spike Oil Essence can also be used to blend colored pencils. It's not overly abrasive or streaky, and it evaporates at a similar rate as turpentine.

Washed and filtered to remove impurities, Chelsea Classical Studio Linseed Oil darkens less and yellows less than other linseed oils. Use Linseed Oil to brighten up your fine oil paintings. This medium greatly improves the acidity and decreases the drying time of oil colors.

Designed for use with fat-over-lean oil painting techniques, this handcrafted medium makes oil paints fatter, richer, and glossier. Recommended for use in the later stages of painting, Chelsea Classical Studio Fat Medium helps increase paint film adhesion and decreases drying time for oil colors.

Chelsea Classical Studio Lavender Retouch Varnish offers superior, classic protection for your finest oil paintings. Made with pure damar resin and CCS Lavender Spike Oil Essence (giving it a pleasing lavender scene), this varnish allows for both protection and breathability.

Prepared by hand using only the finest ingredients, this archival-quality medium thins oil paints and decreases drying time. The oil in Chelsea Classical Studio Lean Medium is cold-pressed, purified, and de-yellowed by traditional, natural processes. Lavender gives the medium a strong, sweet smell.

This low-odor, non-yellowing, alkyd-based medium speeds drying time of oil colors considerably. Thin layers will dry overnight. The consistency is thinner than oil paint, so this medium is ideal for blending, glazing, and leveling brushstrokes.

Dorland's Wax Medium is a non-yellowing, translucent compound of waxes and resins. Adding this medium to oil paint adds volume, texture, and brightness. It also can create a satin-finish coat on paintings that are completely dry.

Cold wax can be used to make oil colors thicker and more matte. A soft paste formulated to knife consistency, Gamblin Cold Wax Medium is made from naturally white unbleached Beeswax, alkyd resin and odorless mineral spirits.

Galkyd Gel Medium is a gelled alkyd resin painting medium that Robert Gamblin formulated for painters who want to create transparent impasto. Thixotropic Galkyd Gel Medium holds marks and brush strokes. G-gel makes impasto of approximately 1/4 in.

An alkyd resin painting medium that increases the fluidity of oil colors and speeds their drying time (thin layers will dry within 24 hours). Its viscosity is similar to traditional painting mediums made from linseed stand oil. It levels brush strokes, creates a strong flexible paint film, and leaves an enamel-like glossy finish.

Neo-Megilp oil painting medium is a soft, silky gel. It gives body to paint, decreases viscosity, and can produce a luminous Turner-like atmosphere, suspending and supporting paint in a soft gel. Does not contain lead, turpentine or mastic so it will not darken or become brittle.

Poppy oil's slow drying time may be useful for painters using "wet-into-wet" techniques. Adding 10%-by-volume poppy oil slows down the drying time of Gamblin Galkyd painting mediums.

Made from safflower oil and alkyd resin, Gamblin Solvent-Free Gel is completely non-toxic. It lends gloss, flow, and transparency to oil colors with minimal compromise in terms of color, dry time, texture, and mark making. Supports a broad range of painting techniques.

Gamblin's Stand Oil is a vacuum-bodied linseed oil. When mixed with solvents such as Gamsol, it improves flow and reduces the consistency of oil paints. Less yellowing than traditional linseed oils.

Grumbacher Max Oil Painting Mediums are an alkyd-based, semi-gel painting medium for use with MAX Oil Colors and mixtures of MAX with conventional oils. Produces brilliant, lustrous, transparent colors and glazes. MAX Quick Dry becomes more fluid the more it is stirred or shaken.

Use Holbein Duo Aqua Oil Painting Mediums for various applications and enhancements to your works created with Duo Aqua water-mixable oil paint colors.

Free flowing and slow drying, M. Graham's walnut oil formulation enables delicate passages of finely blended color that retain their brilliance over time.

M. Graham Artists' Oil Colors are made with a walnut oil binder, an alternative to traditional linseed oil that's been preferred by artists for centuries. Free flowing and slow drying, M.

Made for hundreds of years following the 16th-century methods, only the purest virgin, cold-pressed, sun-bleached linseed oil is ever used.

R&F Blending Medium is specially designed for use with Pigment Sticks fo blending edges, heightening transparency, and glazing colors.

Schmincke Medium W Gel is a revolutionary, low-odor oil paint additive that transforms traditional oil colors into water mixable oils.

Sennelier truly is the benchmark of quality and innovation in the fine art world. This medium strongly accelerates drying and is very useful for those who like to work quickly.

Sennelier truly is the benchmark of quality and innovation in the fine art world. Gel ‘N Dry is a medium that makes impastos easy, very useful for those who wish to work thickly. Clear, it does not alter the color.

Sennelier Green for Oil Mediums are a safer, eco-friendly alternative to traditional mediums and solvents. Created for artists who want to use heavy paints and build up texture, Green for Oil Gel Medium preserves consistency without making your oils too fluid. It also speeds up drying times.

Sennelier Green for Oil Mediums are a safer, eco-friendly alternative to traditional mediums and solvents. Use Green for Oil Thinner just like a classic thinner. Mix it with your oil paints to make them more fluid and more suitable for underpainting.

Sennelier truly is the benchmark of quality and innovation in the fine art world. Clarified vegetable oil, a good drier with low acidity is characterised by resistance to yellowing and has an excellent compatibility with pigments.

Sennelier truly is the benchmark of quality and innovation in the fine art world. Based on Dammar gum (natural resin). May be mixed with oil colors in all proportions, particularly suited for work with fresh paints.

Sennelier truly is the benchmark of quality and innovation in the fine art world. This is a clear, gloss ketone resin based liquid medium that gives a highbuild finish and allows glazing and "alla prima” paint techniques by accelerating drying.

Sennelier truly is the benchmark of quality and innovation in the fine art world. Medium with a gel-like consistency, based on mastic resin and oil thickened in the presence of metal oxides. Thixotropic.

Utrecht Alkyd Glazing Medium gives fine detail, impasto or glazing effects while also accelerating drying time and adding a glossy surface. Perfect for heavy body oil paints. Dries to a tough, flexible, non-yellowing film.

Use Utrecht Oil Painting Medium for better working consistency, durability, permanence and color brilliance. Prepared from damar gum, linseed oil and gum turpentine.

Utrecht Copal Medium uses natural and synthetic resins for superior glazing, thinning, impasto, and wet-on-wet techniques in oil. Better than using 100% natural copal. Speeds drying, improves flow, and increases gloss.

Speeds the drying of slow drying oil colors. Use very sparingly as overuse may cause darkening and cracking of the painting.

Utrecht's Finest Linseed Oil is an affordable alternative to cold pressed linseed oil. Alkali refined to meet exacting demands of serious artists. Use in making oil mediums or simply add directly to the paint.

Use Utrecht Safflower Oil instead of linseed oil for a non-yellowing medium with white or transparent colors. Dries slower than linseed but faster than poppyseed.

Use Utrecht Stand Oil for better yellowing and darkening prevention, glazing applications or a smooth, enamel-like finish with less brushmarks.

Water mixable painting medium that thins the consistency of Artisan Water Mixable Oils and aids fine detail work. It also improves the flow and wetting of colors. Dries slowly to a flexible film and is good for "oiling out.

Made from the same resinous binder used to make Winsor & Newton acrylics, these painting mediums will improve durability, keep the colours brilliant, extend the colour, bring transparency and depth to the film and improve flow and brush-ability.

Winsor & Newton Artists' Classic Painting Medium is used to thin the consistency of oils and alkyds. This blend of linseed stand oil with petroleum distillates dries to a flexible film with a minimal tendency to yellow, wrinkle, or crack. It can be further thinned with mineral spirits.

This mixture of Damar varnish, linseed oil, and mineral spirits reduces the consistency and slows the drying time of oil and alkyd colors. Use this as an effective glazing, blending and staining medium.

Darker than refined Linseed Oil, this oil promotes the fastest drying rate of all the oils, whilst increasing gloss. Improves flow. Increases gloss and transparency.

A slightly yellow oil that is extracted without the use of heat. Retains all the characteristics of linseed oil, with each slightly accelerated (darker, thicker, slower drying, etc. ).

The most fluid of the Liquin family of products, this gloss medium is ideal for fine detailed work, for producing a smooth surface picture, or in smoothly blended areas where brush marks are not desired. As a modern alternative to traditional copal mediums that were based on natural resins and offered fast-drying properties to artists, Fine Detail approximately halves the drying time of oil color, depending on the proportions added. It is touch-dry in one to five days, depending on the climate, colors used, and film weight. It is not recommended for use as a varnish or final coat.

This is a semi-gloss, quick-drying, non-yellowing impasto medium that retains crisp textures and brush strokes without any visible leveling. It also extends tube color, provides bulk, and allows more blending time. When dry, it forms a flexible, tough film that can be varnished in the normal way. Use it for heavier brush work or palette knives. It is not recommended for use as a varnish or final coat.

This Liquin formulation is a slight gel that breaks down on brushing (thixotropic) and flows out to give a non-drip effect when mixed with color. It is ideal for glazing, and dries to a gloss film that has an increased resistance to yellowing. Liquin Light Gel offers all the handling properties traditionally seen with the historic Meglip mediums but without the tendencies to crack and yellow that are normally associated with mastic mediums. It is not recommended for use as a varnish or final coat.

Liquin is a durable, non-yellowing medium for thinning oil and alkyd colors, and speeding drying time. This reliable favorite is a general-purpose low gloss medium that improves flow and transparency. It mixes easily with the brush or knife, smoothes brushwork, and is also suitable for textured oil techniques.

Experience the outstanding quality of Winsor & Newton Oil Mediums with this special Intro Set. The Set contains 30 ml (1 oz) bottles of Artists' Painting Medium, Liquin Original, Liquin Fine Detail, and Stand Oil, plus an informational leaflet.

Protect your artwork against moisture, stains, and environmental pollutants with a clear, super-hard, permanent barrier. Blair Spray Coating adds a protective matte coating on paper, wood, ceramics, plaster, photographs, leather, and more. *Caution: Follow safety instructions carefully.

A final protective coating for acrylic paintings. Dries to a uniform, non-glare, satin finish. Paintings should be completely dry before application.

Developed in collaboration with the National Gallery of Art, Gamblin Gamvar Gloss Varnish is a nearly odorless, semi-gloss varnish that heightens the depth of your oil colors while providing a protective finish.

Golden Glazing Liquid is a slow-drying extender for acrylic colors. Great for glazing in fine art painting, this acrylic medium dries slowly, allowing the artist extended periods of working time. The medium also improves brushability and is useful for wet-in-wet blending.

Golden's Acrylic Polymer Varnish with ultra violet light stabilizers (UVLS) is a topcoat for your acrylic paintings. It offers a removable protective surface whose UVLS provide additional protection from ultraviolet radiation to help delay fading that happens in some materials.

A translucent acrylic gel with UV protection. Golden Gloss UV Topcoat is an acrylic gel with ultraviolet light filters and stabilizers for protection against fading. In addition, it helps lower overall water-sensitivity, limit air exposure, and provide increased durability to artworks.

A removable MSA (mineral spirit acrylic) varnish with UV protectant. Protect your work from UV damage, dirt, and marring with Golden Satin MSA Varnish with UVLS. This solvent-based acrylic varnish can be used with acrylics, oils, watercolors, inkjet prints, and drawing media.

Grumbacher Damar Retouch Varnish is a spray damar varnish intended for use at the intermediate stages of an oil painting. Bring dry or sunken areas to life for help getting true color comparisons. Will even the gloss of works-in-progress.

A genuine damar varnish for use as a final protective coating on thoroughly dry oil paintings. Transparent and colorless when applied, gives a desirable gloss finish.

Krylon Kamar Varnish is a museum-quality varnish spray that provides total protection for oils, acrylics, or watercolors while providing the flexibility of a retouch varnish.

This medium creates brilliant glazes when mixed with transparent acrylic colors. Excellent brushing and self-leveling qualities. Dries quickly for rapid layering.

Liquitex Acrylic Mediums are all-purpose mediums for acrylics. They improve adhesion of paint film and increases flow, transparency, color depth, intensity, and gloss. Can be used as a non-removable varnish to protect the surface and establish an even gloss sheen.

Liquitex Soluvar Matte Varnish is an archival yet removable varnish For acrylic and oil paintings that uses UV light stabilizers for protecting color. Apply as a final varnish over dry acrylic or dry oil paint. Available in bottle and aerosol spray can.

The original Mod Podge formula that's a glue, sealer and finish all in one! Use this crafting favorite to decoupage almost anything on wood, glass, terra cotta, metal, canvas and more, then seal with a top coat of Mod Podge. Projects dry to a protective gloss finish.

This easy-to-use spray creates a strong, crystal-clear, non-yellowing acrylic seal. Protect your projects and reduce tackiness with Mod Podge Clear Acrylic Sealer. This durable, transparent spray dries quickly and won't drip or run when applied.

Use Utrecht Damar Varnish to add high gloss and extra strong protective coating. The purest Singapore White Damar gum gives a durable yet flexible finish. Can be added to your oil paint while painting or apply final coat when painting is completely dried.

Give works a protective finish with this permanent acrylic varnish. Vallejo Permanent Acrylic Varnish cannot be removed once dry. This quick-drying, UV-resistant varnish can be diluted with water if desired.

Water-based and non-irritating, Vallejo Polyurethane Varnish is formulated with a recently developed resin. This UV-resistant varnish has both the superior resistance of polyurethane and the ease of application of water-based products. Available in Gloss, Matte, and Satin formulas.

This varnish protects your art from airborne pollutants, UV damage and fading. It dries to an even matt finish.

Winsor & Newton Dammar Varnish ("damar" in America) is a traditional, high-gloss, pale yellow liquid varnish that dries quickly. Warm varnish before use. Not to be applied until painting is dry (6 - 12 months).

Gum Arabic improves the flow, gloss and transparency of watercolors. It can be used in wet-on-wet painting to slow drying time and control spread. Use it to protect your brushes when traveling.

Winsor & Newton Artists' Gloss Varnish is a modern, general-use varnish for oil and alkyd paintings. Dries to a clear, removable, high-gloss finish with a non-yellowing film that protects against grease, dirt, UV damage. Vary the gloss finish by mixing with a matte varnish.