Archival Odourless Mediums and Solvents are based on fast drying alkyd resins which out perform ‘traditional’ mediums and are better for health. They evaporate much more slowly than turpentines so that very little vapour is generated during a painting session.
The leanest of the three painting mediums.
It enables you to get thin colour washes without destroying the paint binder.
Often an excessive amount of gum turpentine is used as a substitute for a ‘lean’ medium.
Too much gum turpentine ‘denatures’ the oil paint in the lean layers.
This leaves an underbound pigment when the paint dries which can be easily brushed off. Medium No. 1
– contains the minimum formulated account of Stand Oil to cross-link the medium and the oil paint, preventing the breakdown of the vehicle and ensuring permanency.
– The use of this Medium No. 1 saves time as no prior mixing is required.
– It can be used to obtain even watercolour effects.
– Two thin coats of oil paint will give a better coverage than one thick layer and will provide a better surface for future work.
– A very important advantage of using Medium No. 1 is that it dries over night.
– More than the recommended amount could effect the quality and permanency of the paint. Another recommended use of Medium No. 1 is as a ‘sealer’ or cushion over acrylic primed canvas.
– Simply coat the acrylic gesso with the medium prior to use and allow it to dry, or work on it wet.
Medium No. 2 is a fat medium.
It contains more oil than Medium No. 1.
It should be mixed with the oil paint as the layers of painting develop.
It has some of the properties of a glazing medium but it is preferable to use Art Spectrum 24-hour Glazing Medium if very thin veils of colour are desired.
Medium No. 3 is a thicker medium than No. 2.
It is for painters who like a heavier, more viscous, medium.
It is ideal for artists who paint in many layers.
The artist begins with Medium No. 1,
then uses Medium No. 2,
then finally Medium No. 3.
A quick drying, transparent, painting and glazing medium. Excellent for multiple glazes, where it will give great depth and subtlety of colour. Can be painted wet on wet, or left to dry before overpainting. Mix thoroughly with oil paint on the palette before applying.
A very low odour alternative to Medium No.1, with similar properties.
The ‘lean to fat’ rule: When one layer of oil paint contains an equal amount of oil as the next layer, the top layer will dry while the bottom layer will be deprived of oxygen and remain wet. This will cause wrinkling and eventually cracking.
To prevent this problem, use lean first and fat for subsequent layers.
This will give an even tension throughout the painting.
Added to oil and alkyd colours to increase the rate of drying. Oils ‘dry’ or harden to a tough, insoluble film by absorbing oxygen. Cobalt Driers are known as ‘surface’ siccatives (driers), accelerating the drying of the oil surface. They are not ‘through-film’ siccatives and do not perform as succesfully with thick films of oil (i.e. impasto technique)
At Gamblin, their mission is to lead oil painting and printmaking into the future. This means crafting materials as they ought to be, not just as they have been. Their contemporary mediums are true to historic working properties, yet safer and more permanent.Gamsol has freed a generation of artists from exposure to strong solvents. In collaboration with the US National Gallery they brought painters Gamvar, the perfect picture varnish…..
Natural drying oil used as a traditional binder for grinding oil colours. Has increased wetting power and imparts flexibility to paint films.
Linseed Oil. Extracted from Flax seed (Linum Usitatissimum) using cold pressing method.
Made by crushing the flax seed under great pressure, iconsidered to be the purest, most desirable form of linseed oil for making oil paints.
Linseed oil is the most widely used oil because when dry it forms the toughest, most resilient paint films.