Code #
Description |
Compostion |
Features & Use |
600 
ODOURLESS THINNER
For oil painting
Flammable
Harmful |
Refined petroleum
distillate, aroma-free |
Almost completely odourless and colourless
fluid. It has a moderate solvent power.
Suitable for indoor use or for people
sensitive to the odour of normal solvents |
604  
PETROLEUM ESSENCE
For oil painting
Highly flammable
Harmful |
Refined petroleum distillate |
Light thinner, fast evaporation.
Good solvent power.
Ideal for cleaning brushes |
606 
TURPENTINE ESSENCE
For oil painting
Flammable
Harmful |
Essential oil extracted from conifer buds |
Vegetable solvent of antique origins.
Medium-slow evaporation. Sensitive to light and air, when mixed with colours it tends to give a mat effect. Suitable also for cleaning brushes |
607 
RECTIFIED TURPENTINE ESSENCE
For oil painting
Flammable
Harmful |
Essential oil extracted from conifer buds |
It has the same features of Turpentine essence, but it is further processed and distilled, till is free of impurities |
616
OIL PAINTING PRIMER
For oil painting
Flammable |
Thixotropic alkyd resin
White spirit
Excipients
Titanium dioxide |
Oil based primer, with little absorbency.
It does not need thinning.
More coats are to be applied 24 hours apart, for a smoother surface.
Ideal base for oil colours, but suitable for other mediums as well |
626 
DRYING MEDIUM
For oil painting
Flammable
Harmful |
Linseed oil
Petroleum essence
White spirit
Drying agents |
Medium to reduce the drying time of oil colours, decreasing their consistency.
Use sparingly, checking the drying time reduction |
628
DRYING GEL MEDIUM
For oil painting
Flammable |
Thixotropic alkyd resin
White spirit
Drying agents
ITEM DISCONTINUED
|
Gel to reduce the drying time of oil colours, leaving their viscosity unchanged.
Use sparingly, checking the drying time reduction. Shake the bottle well before using |
632
IMPASTO MEDIUM
For oil painting |
Safflower oil
Drying agents
Fillers |
Pigment-free oil colour: its consistency and body make it suitable for painting heavy coats. Mixed with colours very rich in pigments, it reduces costs without altering their consistency. It dries quickly and does not yellow |
634 
RETARDING MEDIUM
For oil painting
Flammable
Harm |
Poppy seed oil
White spirit |
Medium to increase the drying time of oil colours, decreasing their consistency. When used, it is advisable to wait at least 1 month to apply fixative varnishes |
638
MAT MEDIUM
For oil painting
Flammable |
Thixotropic alkyd resin
Silica
White spirit |
Medium to reduce the shine of oil colours, leaving their consistency unchanged.
It dries quickly |
646 
OILY THINNER
For oil painting
Flammable
Harmful |
White spirit
Linseed oil |
Medium to reduce the oil colours consistency, without loosing their richness, as solvents do.
It tends to yellow |
648
SAFFLOWER OIL
For oil painting |
Safflower seed extract (saffranon) |
Drying oil recently introduced, with similar features to poppy seed oil. It does not yellow and dries quickly.
It helps to soften and make more fluid oil colours. Particularly suitable for white and light colours |
650
LINSEED OIL
For oil painting |
Refined linen seed extract |
Drying oil, it has the tendency to yellow.
Good drying quality. Used as medium, increases the brightness and glossiness of the colour, spreads the brush stroke, so reducing its marks |
652
STAND LINSEED OIL
For oil painting |
Refined linseed oil,
polymerised through heating |
High viscosity oil, with tendency to yellow. It imparts a very glossy texture and spreads the brush stroke. It is advisable to wait about 1 month before varnishing the painting with a finish product |
654
WALNUT OIL
For oil painting |
|
Refined walnut kernel extract. |
Similar properties to linseed oil, but it does not yellow. Good drying power, increases the brightness of colours |
656
POPPY OIL
For oil painting |
Refined poppy seed extract |
Valuable oil of extreme purity and lightfastness.
It does not yellow and dries slowly.
Similar to safflower oil, it is particularly suited for white and very light colours |
660 
WHITE SPIRIT
For oil painting
Flammable
Harmful |
Refined petroleum distillate
Aromatic content lower than 20% |
Thinner with good solvent power for oil colours and varnishes.
Very slow evaporation. Suitable also for cleaning brushes and palettes |
664 
DAMMAR VARNISH
For oil painting
Flammable
Harmful |
Dammar resin (40%)
Turpentine essence
Alcohols |
Traditional final natural varnish.
It tends to yellow. Its normal amber colour and any sediment do not compromise the final result. It imparts greater brightness and shine to colours |
666 
PAINTING VARNISH
For oil painting
Flammable
Harmful |
Ketonic and acrylic resin (25%)
White spirit
Poppy seed oil |
Fatty varnish that, mixed with oil colours, prevents uneven drying, and produces bright tones. Increases the adhesion to the surface and the flexibility of colours. Use sparingly |
670  
GLOSS PICTURE VARNISH
For oil painting
Highly flammable |
Ketonic and acrylic resin (45%)
White spirit
UV filter |
Glossy, non yellowing varnish. Wait till the painting is fully dry before varnishing.
Particularly protective thanks to its UV filter. Reversible product |
674
MAT PICTURE VARNISH
For oil painting
Flammable |
Acrylic resin (30%)
White spirit
Silica |
Iridescent solution that produces a mat, very resistant film. Shake well before using. Do not apply on very absorbent surfaces, if not previously treated with insulating varnish.
It can be mixed with Gloss picture varmish to obtain different degrees of glossy or mat effects. Reversible product |
682 
MASTIC VARNISH
For oil painting
Flammable
Harmful |
Natural mastic resin from Chios (31%)
Turpentine essence |
Very valuable natural varnish of antique tradition. It is very flexible and elastic, giving to the painting a particular brightness.
It tends to yellow in time. Reversible product |
