My paints are made by hand, using techniques which date back to the days of the Old Masters. There is a very simple reason for this painstaking process. As an artist and painter I wanted to create colours that were true and vibrant, and paint which was beautiful and durable.

The greater the pigment content of a paint the greater the resistance it has to fading. Nearly all manufacturers use various fillers to extend the volume of the oil paint. It may increase profits but it compromises on quality. I totally refuse to do this. Why make something exceptional and then dilute it?

I will not claim that my paints will turn you into a great painter, but I can promise they will have a profound effect on your work. Your colours will be stronger and richer, and you will find the texture of the paint incomparable. You will love working with them.

Try them. You will be amazed

-Michael Harding

 *Exclusive to The French Art Shop Auckland

View the full range of colours here.

Dense, yet buttery, Sennelier oils are more highly pigmented and firmer than ever. The reformulated homogeneous consistency is better suited to the diversity of modern techniques and pictorial sensitivities. The slightly heavier body retains its unique creaminess, while offering greater versatility.

Sennelier’s carefully selected pigments are ground longer, to provide the finest, most vivid colouration possible. Sennelier strives to provide the purest, most concentrated stable pigments. With improved lightfastness, the colour intensity will endure for generations.

Safflower oil, a binder with balanced drying power, provides the creamy texture that dries with an attractive satin finish in a uniform manner over the entire range. Unlike linseed oil, safflower oil is non-yellowing.

Also available in 200ml tubes.

View the full range of 144 colours here.

Artisan Water Mixable Oil Colour has been specifically developed to appear and work just like conventional oil colour.   

The key difference between Artisan and conventional oils is its ability to thin and clean up with water.  Hazardous solvents are not necessary for Artisan and artists can enjoy a safer painting environment, making it ideal for artists who share a work space, schools or painting at home. 

View the full range of colours here.

Langridge Low Toxic Solvent is supplied as a low toxicity alternative to traditional artists’ solvents, reducing exposure to the more harmful compounds associated with turpentine, etc.

Associated issues with prolonged contact with traditional artists’ solvents such as dermatitis, skin and respiratory organ irritation, headaches, etc. can be dramatically reduced or removed by using Langridge Low Toxic Solvent.

Because its’ Permisable Exposure Level (PEL) is higher than other solvents the artists exposure will not be as harmful in comparison to traditional solvents. Langridge still recommends the use of good studio ventilation, a minimum of two open windows, preferably a properly installed exhaust system.

It can be used as a diluent when used in small quantities with oil colours. Extreme care should be taken, however, in diluting purely with Low Toxic Solvent as its over-use can easily underbind paint and lead to a dull, dry lifeless film with potential for dusting or flaking off. Artists wishing to create very fluid working qualities should refer to painting mediums constructed for that purpose.

Available in 100ml, 500ml, 1 Litre, 4 Litre

Natural diluent when used in small quantities with oil colours. Unlike petrolleum distillate based solvents (Low Toxic Solvent, Mineral Turpentine, White Spirit, etc.) its function is not solely to break-down oil but aids in dilution, keeping the richness and fatness of the oil with which it is mixed.Care should be taken, however, in diluting purely with Gum Turpentine as its over-use can easily underbind paint and lead to a dull, dry lifeless film with potential for dusting or flaking off. Artists wishing to create very fluid working qualities should refer to painting mediums constructed for that purpose.

Gum Turpentine can be added to artists’ drying oils to add extra fluidity. It is  generally found that Gum Turpentine has greater wetting powers than petrolleum distillates so that much smaller quantities may be added to achieve fluidity of paints and oils.

Available in 100ml, 500ml, 1 Litre, & 4 Litre.

Highly volatile, gives a matt finish, also called White Spirit.
This solvent is purely of mineral origin. Its principal quality is that it evaporates completely, leaving no trace.

Available in 75ml, 250ml, 500ml and 1liter bottles

Turpentine is  obtained by distilling the gum from pine trees. It is then rectified, which makes it colourless and increases its fluiditiy. It is mainly used for thinning oil colours, therby making them easier to use for the basic sketch by fluidifying them without altering their hue.

Less volatile than Quick drying petroleum, it gives less of a matt appearence to the work.

Available in 75ml, 250ml, 500ml and 1liter bottles

Lavender oil comes from the distillation of lavender. Thanks to its slow volatility, it gives body the colours as well as a certain amount of bite, which improves adhesion to the lower layers.

Available in 75ml and 250ml bottles

Ideal for artists who are sensetive to the odor of turpentine. Used for the cleaning of brushes and as a replacement when making up mediums.

Keep away from naked flame and heat. Use in a well ventilated area.

Available in 500ml and 1 litre.

Double distilled for artist’s use. Use in the preparation of painting mediums and for cleaning equipment.

Do not use neat as a diluent for oil paint. Use in a well ventilated area.

Available in 500ml and 1 litre.

Linseed is the most widely used oil because when dry it forms the toughest, most resilient paint films.

Used in small quantities, it adds a soft, slippery quality when added to oil colours. The paint film will stay open and is easily moved or reworked for up to 24 hours.

Because linseed oils yellow or darken with time, some more dramatically than others, it is recommended that the use of linseed oil should be kept to a minimum as a medium to aid fluidity or transparency.

Further information on the use of refined linseed oil is available here.

Available in 100ml, 500ml and 1 litre.

Cold Pressed Linseed Oil has greater wetting power than refined linseed oils and is often recommended for hand milling of oil  paints. When used to mill oil colours or even when mixed with prepared oil colours produces a pronounced stroke to the brushmark, so that strokes of  different directions and application show a marked ‘suede’ effect.

Used even in small quantities, it adds a loose, slippery quality when added to oil colours. The paint film will stay open and is easily moved or reworked for up to 24 hours. Cold Pressed Linseed Oil creates a flexible paint film longer than any other artist’s drying oil.

Further information on the use of Cold Pressed Linseed Oil can be found here.

Available in 100ml, 500ml and 1 litre.

Stand Oil is a virtually non-yellowing drying oil. Thick and honey-like, it cannot be used without the addition of Distilled Gum Turpentine or equivalent solvent. It has pronounced levelling qualities and produces an enamel-like effect when mixed with oil paints.

Stand Oil based mediums will set-up to a tack that grabs any succeeding brush strokes. The wet, but tacky paint surface can be readily painted into without moving freshly applied paint. Excellent for controlled paint manipulation.

For further information on the use of Stand Oil is available here.

Available in 100ml, 500ml and 1 litre.

Used to reduce the consistency and to speed up the drying time of oil colours. Also improves gloss and transparency.

Available in 75ml and 250ml.

Extracted from poppy seeds. Used to reduce the consistency and speed up the drying time of oil colours. Also improves flow and transparency.  Does not yellow with age and as such is traditionally used in more delicate colours. Not siccative.

Available in 75ml and 250ml.

The Oil Stick is a composition of oil paint. A proportion of the oil is substituted with a neutral mineral wax, resulting in the stick appearance.

These colours are of perfect quality: pure pigments are ground into vegetable oils (siccatives), selected for their low degree of yellowing with time. The choice and high concentration of pigments enables excellent light resistance to be achieved. These colours are applied discreetly to conventional oil painting supports (oil-proof or universal) and demand quality background preparation.

Supports: canvas, canvas boards, laminated panels, paper.
Solid oil paint should be applied in a relatively thin film (no more than 1mm). Layers can be overlapped, in the same manner as paste oil paint, and can, if necessary, be thinned with petroleum or turpentine. Before use, the surface film should be removed. This latter will re-form after a few days of non-use. Paint applied dries within 2 to 5 days depending on layer thickness and atmospheric conditions. A clear medium is available allowing transparency and glazing effects
to be achieved.

Solid artists’ quality colours are available in opaque or transparent shades, depending on the shades of the pigments used. The product may be stored for extended periods of time and requires no special attention, apart from avoiding heat sources that may damage it.

Once dry, the paint may be varnished like conventional oil paint, after a minimum drying period of 6 months, using an oil paint finishing varnish.

View the full colour range here.

Markal Artists Paintstiks are real oil paint in stick form.  They are made from highly refined drying oils blended with the finest pigments and molded into sticks. Application of the stick to the painting surface liquifies the Painstick at the point of contact.An effective medium to explore shape, composition and color in the studio or on field trips.

Markal Artists Paintstiks can be used without palettes, mixing cups, brushes or turpentine. They can be applied and blended in nearly infinite color variations with the finger, a paintbrush, or palette knife. The sticks are completely compatible and can be varnished, over painted or worked over with a complete range of varnishes or conventional oil paints.

Pencils are easy and convenient to use, paints a little less so. But there’s a high quality colour pencil that you can paint with as well, so you can enjoy the best of both worlds. Derwent Watercolour can be used wet or dry, on wet or dry paper, to achieve a wide variety of effects. Soft in texture so easy to blend and layer.

Derwent Watercolour Pencils are available in 72 classic colours, which retain their full intensity however you use them. For sheer versatility, Derwent Watercolour is unmatched.

Available individiually, in packs of 12, 24, 36, 72, and in wooden boxes of 48 and 72.

View the full colour chart here.

A pigmented liquid composed of rubber latex and pigment, for masking areas of work needing protection when colour is applied in broad washes.

A traditional linseed oil based oil primer. Produces a high quality white surface with good tooth and flexibility for oil painting.

Constituents: Refined Linseed Oil, Titanium Dioxide Pigment, Calcium Carbonate, Cobalt Octoate.

Langridge Oil Primer needs further dilution for easy brushing out. Add Artists’ White Spirit to Oil Primer in proportions of 1:2 till a thin cream consistency is obtained. Oil Primer is supplied in a form that needs further dilution to prevent dropping out of the pigment whilst in storage. It is important not to use Langridge Oil Primer undiluted as the resulting film will be too fat and lacking proper tooth.

Because of a high titanium white pigment content, Langridge Oil Primer has excellent hiding power. Langridge recommends the application of two coats for a complete prime and for maximum brightness.

Before applying an oil primer the support must be ‘sized’ to reduce absorbancy. If over absorbant, the linseed oil in the primer will soak into the substrate leading to two major defects: The support, especially if canvas, will be acted upon by the oil, which is acidic, leading to embrittlement. The canvas can, in a short period of time, lose its’ flexibilty and start to crack, especially on stress points such as the edge of the stretcher frame. Secondly, the oil, having soaked into the substrate, will leave the primer underbound. There is not enough oil to completely bind the pigment, creating a priming ground that will draw oil from all oil colours applied on top. The primer, whether oil or acrylic, is the foundation of the whole painting. If the foundation is faulty all painting applied on top of it will be compromised.

After applying a sizing agent such as rabbit skin glue, gelatine size or diluted archival EVA the canvas fibres will have swelled due to the sizes’ water content. The swollen fibres will tend to give the surface a rough, abrasive surface. If wanting a smoother surface, lightlysand using a flat faced pumice stone. Pumice is less aggressive than commercial abrasive papers which have the potential to cut and weaken the canvas fibres. Once lightly sanded and wiped down with a dry cloth, proceed with the application of Oil Primer.

Further information about Langridge Oil Primer including application instructions can be found here.

A superior acrylic resin, low chalk content primer with excellent hiding power. High Titanium White loading. Suitable for oils and acrylics. Can be applied to a wide range of surfaces including raw canvas, wood and paper. No prior sizing needed. A permanently flexible and non-yellowing ground.

Constituents: Acrylic Copolymer Emulsion, Titanium Dioxide pigment, Calcium Carbonate, Talc, Wetting Agent, Defoamer.

A fluid primer that does not need further dilution for easy brushing out. Because of a high titanium white pigment content, Langridge Acrylic Primer has excellent hiding power needing only one coat application. A second coat may be needed for extremely absorbant surfaces. When applying to canvas (cotton or linen) the water content will swell the canvas fibres. When the primer dries the swollen fibres, now held in place by the acrylic resin, will tend to give the surface a rough, abrasive surface. If wanting a smoother surface, lightlysand using a pumice stone with a flat face. Pumice is less aggressive than commercial abrasive papers which have the potential to cut and weaken the canvas fibres. Once lightly sanded and wiped down with a dry cloth, a second coat of Acrylic Primer may be applied

Further information on Langridge Acrylic primer including application instructions can be found here.

Liquitex Gesso is a premium acrylic gesso used to prepare painting surfaces for acrylic and oil paint.

• Non-yellowing
• Flexible and non-cracking
• Provides the perfect “tooth” and adhesion to a wide variety of surfaces such as canvas, paper and wood
• Excellent base coat primer for many applications for example murals
• One coat is usually all that is required

Use undiluted or thin up to 25% with water. When thinning more than 25% use an equal mixture of water and Liquitex Matte Medium to thin gesso. Tint with up to 10% Liquitex Soft Body or Heavy Body Artist Colors.

Available in 118ml,237ml, 473ml and 946ml.

A very clear size and ground that keeps the working surface visible.

• Ideal high tooth for pastel, oil pastel, graphite, and charcoal
• Excellent ground for acrylic and oil paint
• Mix with acrylic color to have a tinted ground
• Dries clear to translucent depending on thickness
• Flexible, non-cracking and non-yellowing when dry
• Provides the perfect “tooth” and adhesion to a wide variety of surfaces including canvas, paper and wood
• Excellent base coat primer for many applications for example murals

Application

• For canvas, paper, wood, or any clean, porous, non-oily surface
• Sizes and primes while maintaining the original appearance of the surface
• Provides paper with good tooth for chalk and oil pastel techniques
• Mix with a very small amount of transparent or translucent acrylic color to tint the ground while maintaining transparency

Available in 118ml , 237ml, 473ml, and 946ml.

For preparation of painting surfaces. Dries fast & waterproof for traditional acrylic techniques. Use with Atelier Interactive, other artists’ acrylics or oil paints.

• A heavy, white acrylic ground with a high grit content, designed to provide a stable matte, surface on which to paint either for acrylic or oil painting.
• Can be applied straight from the container for thick textural interest in a painting.
• For a smooth finish, dilute and sand between coats.

Clean up with mild soap & cool water. Water-Based & Non-Toxic.

Available in 250ml, 500ml & 1 litre.

A multi-purpose medium which can be used to thin acrylic paint, increase the open working time, as a sealer, and a clear varnish or to change the sheen levels of acrylic paints.

Sealer: Can be used straight from the bottle as a sizing/sealer on wood, canvas or cotton duck to seal the surface and prevent absorption of paint into the fabric.
Thinning: When added to acrylic paints it dilutes the viscosity and blends colours without losing pigment solids and intensity. This increases the open working time and translucency.

Use generously with acrylic paint or spread liberally over the surface to be worked on for wet-over-wet or wet over dry techniques.

Varnish: Primal can be used as a water based non-toxic over-varnish for acrylic painting. Provides a non-tacky protective coating. It is non-removable, however can be over painted.

Clean up with soap and cool water.

Available in 100ml and 2 litres.

This is the authentic formulation used since the Renaissance. Much of the religious panel painting done between the 12th and 15th century was done in this delicate and subtle medium, which is capable of detailed and complex effects. Sennelier Egg Tempera is famous as the medium used by Marc Chagall in many of his most spectacular works.

Egg tempera is a water soluble and highly archival painting medium, wonderful for fine art painting, restoration, and icon painting. It’s perfect as an underpainting for oil painters, or for artists seeking a highly pigmented, professional alternative to oil paints and solvents.

Sennelier egg tempera has working qualities and a finish that is only found in authentic egg tempera made in the traditional manner. These delicate colors hold their brush strokes, and do not change when dry. Egg tempera can be worked with a brush or a palette knife (diluted with water) on non-greasy supports like acrylic primed canvas or paper.

Impasto techniques are not recommended for egg tempera. Use varnish over egg tempera paintings for an oil painting like appearance. Sennelier recommends giving a finished egg tempera painting a coating of charcoal or pastel fixative before applying a final oil paint picture varnish.

View a full colour chart here.

Slows the drying of water colours, allowing more time for blending. Extends working time even in hot climates.

A pale coloured solution that controls the spread of wet colour, reduces staining & slows drying.

Allows dry colour washes, including staining colours, to be easily lifted from paper with a wet brush or rag.

This increases the granulation of colour, giving a mottled appearance to colours which usually give a smooth wash (e.g. Winsor Blue), or enhancing the effect of granulating colours (e.g. French Ultramarine).

Since 1832 when Henry Newton and William Winsor introduced the first moist water colours to the world, much of our reputation for supreme quality has stemmed from the Artists’ Water Colour range.

Since then Artists’ Water Colour continues to be formulated and manufactured according to our founding principles; to create an unparalleled water colour range which offers artists the widest and most balanced choice of pigments with the greatest possible permanence.

Each colour within this wide and balanced spectrum of 96 colours, has been selected and formulated to offer the greatest choice so that artists can use a unique palette that best suits their work.

Available in 5ml and 14ml tubes.

View the full colour range here.

Use Gummed Paper Tape for stretching watercolor paper sealing silk screens or wrapping packages. Brown kraft water activated acid-free paper tape.

Cotman Water Colours are a range of water colours that are made to Winsor & Newton’s normal high quality standards but costs are kept to an economical level by replacing some of the more costly pigments with less expensive alternatives.

The range consists of 50 colours in tubes, which possess good transparency, excellent tinting strength and good working properties, including genuine cadmiums and cobalt.

Available in 8ml and 21ml tubes.

View the full colour range here.

We stock a variety of Royal brand sponges; synthetic, wool and silk. Available in singly and in packs.

There are many misconceptions about whether or not it is necessary to varnish an acrylic painting. As a general rule, you should always varnish your acrylic work when possible. Varnishes are applied over dry paint films and have several purposes. The first and most important function is to protect the painting surface from the environment and protect the pigments from ultraviolet light. Secondly, varnishes can be used to change or unify a painting’s surface sheen. Liquitex varnishes come in several different sheens, which can all be intermixed for a customized sheen.

Detailed information on Liquitex Varnishes are available here.

Liquitex Acrylic Varnish is available in Matt, Satin, Gloss and High Gloss.

Available in 118ml, 237ml, 473ml and 946ml.

Linseed is the most widely used oil because when dry it forms the toughest, most resilient paint films.

Used in small quantities, it adds a soft, slippery quality when added to oil colours. The paint film will stay open and is easily moved or reworked for up to 24 hours.

Because linseed oils yellow or darken with time, some more dramatically than others, it is recommended that the use of linseed oil should be kept to a minimum as a medium to aid fluidity or transparency.

Available in 500ml and 1 litre.

There are many misconceptions about whether or not it is necessary to varnish an acrylic painting. As a general rule, you should always varnish your acrylic work when possible. Varnishes are applied over dry paint films and have several purposes. The first and most important function is to protect the painting surface from the environment and protect the pigments from ultraviolet light. Secondly, varnishes can be used to change or unify a painting’s surface sheen.

Detailed information on Matisse Acrylic Varnishes are available here.

Liquitex offers a variety of specialty products including Fluid Mediums, Gel mediums, Texture Gels and Additives which have been specifically designed to achieve various techniques, applications and special effects

A complete list of available Liquitex Gel Mediums and their effects can be found here.

Liquitex Gel Mediums add body to thinner paint for impasto techniques as well as extending color volume and adding transparency. Gels also add “open time” as they tend to dry slower than thinner paint films. Gel mediums can modify acrylic paints in a variety of ways and, since they contain acrylic resins, tend to improve adhesion and durability

The product of over 50 years experience in high quality acrylic paint and art supplies, Liquitex gel mediums can add texture, enhance color and increase transparency within your work.

A complete list of available Liquitex Gel Mediums and their effects can be found here.

Liquitex Fluid Mediums perform much in the way that their name implies, they are fluid in nature and reduce viscosity of heavier paints and gels. They tend to self-level and do not retain brushstrokes. Liquitex Fluid Mediums modify acrylic paints in a variety of ways and contain acrylic resins to maintain or enhance adhesion and durability.

A complete list of available Liquitex Fluid Mediums and their effects can be found here.

Derivan’s range of Matisse painting mediums make the already flexible Matisse Structure and Flow Formulas even more versatile. Our acrylic paint technology has achieved a much higher level of specialisation in the last decade, resulting in superior quality acrylic paints and mediums that have set the current standards.

A complete list of available Liquitex Gel Mediums and their effects can be found here.

Heavy Body Artist Acrylic Paint, has a thick consistency for traditional art techniques using brushes or knives, as well as for experimental, mixed media, collage and printmaking applications. Impasto applications retain crisp brush stroke and knife marks. Good surface drag provides excellent handling and blending characteristics with increased open-working time. High pigment load produces rich, brilliant, permanent color.

View the full colour range here.

Lefranc & Bourgeois extra-fine vinyl-based paint dries evenly with intense coverage to a uniform, velvety matte, opaque finish.

Highly pigmented, Flashe may be diluted with water to create a range of results, from highly opaque to a transparent watercolor effect.

Use Flashe Vinyl Paint indoors or out on canvas, paper, or walls, with brushes, paint guns, or sponges. The supple film offers good adherence and resistance to weather — ideal for fresco and wall painting, faux finishes, theater decorations, and more.

View a full colour chart here.

Matisse Structure Formula is a rich impasto paint that artists love. Available in 95 colours, Matisse Structure Formula paint is ideal for application with a brush or palette knife for striking textured effects, or combined with the range of Matisse Mediums for exceptional flexibility of application and finish.

The intense, vibrant colours of the Structure Formula paints cover the full colour spectrum, including several uniquely Australian colours.

Only the finest quality pigments and ingredients are selected for the Matisse range of premium acrylic colours. All have the highest lightfastness rating of ASTM 1 or 2 and are archival quality – so you can create with confidence knowing your artwork will stand the test of time. Each are fully compatible with the range of Matisse Mediums working together to create a highly versatile painting system for all artists.

View the full colour range here.

This premium product offers incredible versatility and new creative opportunities. The exceptional range of 37 colours (opaque, semi-opaque, semi-transparent, and transparent) has unparalleled purity, intensity and brilliance. They are lightfast, permanent, flexible and water-based.

Professional Artist Acrylic Impasto allows artists to mix every colour they need to the desired opacity or transparency.

These premium quality fine art colours are exceptionally versatile and can be used for folk art, realism, commercial illustration, scenic art, watercolour, traditional arts or textile painting, coloured sculpture, block painting or decoupage.

For the Global website click here.

With Global Colours Fine Art Student Acrylic Impasto you are only limited by your imagination. Explore any art, craft or design activity with one set of affordable artist colours. These brilliant pigments are ideal for bold structured techniques such as simulated oil painting through to delicate watercolours. This is the first time students have been able to use a palette knife with an economical range of quality student colours.

For the Global website click here.

The Montana ACRYLIC PAINT Refills complete the Montana ACRYLIC marker range to offer all 34 matt colors and varnish gloss in the series as 25ml Refills. Now including the 5 fluoresecent color shades: Flash Yellow, Power Orange, Fire Red, Gleaming Pink and Acid. Green. The ACRYLIC PAINT Refill bottles are the same high quality water-based paint that are nontoxic, ACMI approved and wearing the AP mark. Not only perfect for refilling your Montana ACRYLIC Markers, the Montana ACRYLIC COLORS also offer a wide variety of possible application techniques such as air brushing, mixed media, brush application and of course can be combined with the corresponding color from the Montana GOLD spray paint range. Able to be applied on to almost all surfaces such as canvas, wood, glass, walls and metal. The bottles are transparent for easy assesment of remaining content. Perfect to use for airbrush! Use in Combination with Montana ACRYLIC Empty Markers Extra Fine (0,7mm), FINE (2mm), 15mm, 30mm and 50mm broad. Solvent free. Dilutable with water. High Covering and quick drying.

View the full colour chart here.

Retouching varnish is used to eliminate sinking (areas of a painting that become matt owing to the absorption of the resin and/or oil by the underlying layers). It is also essential when retouching old paint that has dried out, to ensure a link between the old layer and the new layer of colour.

Finally, it is also used as a temporary varnish while waiting until the final varnish can be applied. Caution: Never apply the final varnish to an oil painting before 6 months to 1 year. The consequences are serious because any future varnish removal and restoration will become impossible.

With acrylic resin, quick drying petroleum. Dry extract: 17%

Available in 200ml and 400ml.

Retouching varnish is used to eliminate sinking (areas of a painting that become matt owing to the absorption of the resin and/or oil by the underlying layers). It is also essential when retouching old paint that has dried out, to ensure a link between the old layer and the new layer of colour. Finally, it is also used as a temporary varnish while waiting until the final varnish can be applied.

Caution: Never apply the final varnish to an oil painting before 6 months to 1 year. The consequences are serious because any future varnish removal and restoration will become impossible.

With acrylic and ketone resin,quick drying petroleum. It contains the most resin with 25% dry
extract after drying.

Based on a composition of Dammar resin and linseed oil, rectified turpentine. Very glossy (40% dry extract).

Available in 75ml and 250ml.

This UV resistant gloss varnish provides protection for paintings achieved with Artisan Water-Mixable Oil Colour and is removable with Artisan Varnish Remover. Painting must be completely dry (6-12 months). Use only as a final varnish.

For use with Winsor & Newton Water-Mixable Oil Paints. This oil reduces the consistency and improves flow of Artisan oil colours. It also increases gloss and transparency. Slows drying. Can be cleaned up with water.

This reliable favourite is a general purpose semi gloss medium which speeds drying, improves flow and reduces brush stroke retention.

Halves the drying time of conventional oil colour (touch dry in 1-6 days depending on  colour & film thickness). Resists yellowing.

Colourless painting medium, ketone resin, heated oil, rectified turpentine. Rapid setting (1h), increases the transparency and brightness of the colours.

Available in 75ml, 250ml, 500ml and 1 liter bottles.

Contains ketone and acrylic resin, poppyoil, quick drying petroleum. Very slow setting and transparent, satin paint film.

Available in 75ml, 250ml, 500ml bottles

New medium for oil painting, that gives a matt finish to the layers, regular and smooth.

Available in 75ml and 250ml bottles

To speed up the drying of oil colours. The most powerful siccative drier, reduces the difference of drying time which exists naturally between certain colours. When working with pale colours use the colourless White Courtrai Drier.

To speed up the drying time of oil colours. Hardens the paint film rather than making it dry more quickly, making the paint film dry regularly and in depth.

Colourless and perfect for use with pale colours.

Beeswax, linseed oil, essence of spike lavender, cobalt-zirconium siccative. Smooth painting gel enabling strokes to be juxtaposed in the style of the impressionists. Smoothes the edges of the paint or knife strokes. Very rapid setting (1h), matt-satin finish.

Flemish medium emulsion with water and opaque extender. Structuring gel with firm consistency that increases the gel texture to create impasto effects that do not sink. For thick layers (5 mm max.), this medium must be softened with 20% of Flemish medium.

Art Spectrum Wax Medium is a mixture of oil and wax. Mix with oil colour to achieve a translucent effect. Not suitable for heavy impasto. Imparts a satin finish.

This slow drying medium reduces consistency, increases luminosity & flexibility of Artisan Oil Colour. It is ideal for oiling out & enriching dull patches.

Artisan Fast Drying Medium improves the flow and speeds the drying of Artisan oil colours, smoothes brushwork and increases gloss and transparency. It is excellent for glazing and producing fine detail and is resistant to yellowing.

This is a very popular medium as it speeds the drying of oil colour by about 50%, allowing further layers to be applied more quickly. The formulation has been improved and this has helped to wet the colour better. It thins the colour and increases gloss and transparency. When painting in layers it can substitute linseed oil and be combined with water and/ or thinner to maintain ‘fat over lean.’

This thinner has been specially developed to maintain the oily feel & keeps Winsor & Newton Artisan colour open longer than water.

Although water is suitable as a diluent for the colour, its speedy evaporation can make the colour thicken upon the palette much quicker than conventional oil colour would when used with turpentine. As Artisan thinner does not form an emulsion with the colour, there is less colour change than there would be with water.