Armadillo Art & Craft is a wholesale importer and distributor of premium artists' materials.

Maimeri Oil Mediums

Maimeri Oil Mediums


Maimeri uses only the purest ingredients for the best guarantee of brilliance and vibrancy. Most Maimeri oil mediums are housed in a glass bottle with a twist-off cap.
 
Many mediums, as noted, are highly flammable. Follow directions for use carefully. Use only in a well-ventilated area. Mediums are not suitable for use by children.


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 varnish 
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.






684 

PICTURE VARNISH
For oil painting
Flammable
Harmful





Acrylic and ketonic 
resin (35%)
White spirit




Final varnish combining the 
flexibility and hardness 
qualities of its components. 
It can also be used for 
other mediums.





686 

RETOUCHING 
VARNISH
For oil painting
Highly flammable
Harmful





Ketonic resin
(25%) 
White spirit
Petroleum essence




Light final varnish. Suitable to 
remove mat areas formed on 
unfinished areas, while painting. 
Medium drying time. It is also 
used as final varnish, when 
little gloss is required.




   

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