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Mediumsfor Oil Painting

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Contents PRIMERS 4-5BINDERS 6-7SOLVENTS 8-10MEDIUMS 11-16VARNISHES 17-22

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Oil paints masterfully displayed with LUKAS mediums for oil painting Oil painting is regarded as the supreme discipline among artistic painting techniques. LUKAS artists’ colours, working materials and mediums have shaped the market for top quality art supplies since 1862, with timeless reference products for the masters of today and tomorrow. Like Vincent van Gogh or Joseph Beuys before him, Hans-Georg Baselitz and other contemporary artists place their trust in the range of products available from the traditional, Düsseldorf-based company.

WHAT sets the oil colours apart from the rest is easy: they are produced by rubbing pigments with plant oils (e.g. linseed oil, sunflower oil) which through a slow, “oxidative” drying permanently bind to the base by absorbing oxygen into the “pigment pebbles”. This drying process can take days or even weeks or months depending on the thickness of the coat, with the paint increasing in volume as a result of the oxygen it is absorbing. (“Risk of the development of wrinkles or tears” if you work with very thick coats. This problem can be avoided by using painting butter (Medium 5).)

The correct ratio of pigment, oil and other additives determines the colour-specific drying time and gives the paint its creamy consistency. (The art of manufacturing oil paints lies in this precise, pigment-dependent determination of the components of the recipe and a careful process of “dispersing and rubbing” the pigment particles in the plant oil.) Thanks to its refractive properties, the oil also ensures the characteristic depth and gloss of the oil paint and makes the pigments stick to the image carrier.

HOW oil colours are applied depends on the desired result. In principle, two techniques are possible: In alla prima painting colours are painted “wet in wet” on top of one another. For layer painting, individual coats of colour which are left to dry afterwards are built up. The “fat over lean” rule applies for layers. The upper layer has to contain more oil (in other words must be “fatter”) than the layer underneath (“thinner”).

WITH WHAT oil colours are manufactured or mixed affects their properties. The selection of the right tool is critical among other things for the drying time, lifetime, depth effect or gloss of an oil painting.

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Whether you are working with canvas, wood or paper and cardboard processed with canvas, when supports for oil paintings are not primed they are characterised by a po-rous surface structure, so they draw a large amount of oil or paint into the fabric or pa-per. Before oil colours are applied to a selec-ted image carrier, this should be treated just as well. The application of a primer as a fi rst coat of paint prevents oil from the paint sub-sequently seeping into the surface, resulting in the coat of paint that is left behind beco-ming dull or even tearing.

A primer has a number of positive effects on the painting surface:

· it gives it an even structure, · it regulates the absorbing capacity and· it improves the adhesion of the paint.

If you want to use carrier support which has not been pre-primed, you can prime the item you are going to work on yourself. Careful pre-treating of the painting surface pays off in many ways when painting with oil: the well prepared base then enables the speedy appli-cation of paint and makes the picture more resistant as a result of the optimal connection between the paint and the base. The use of a white primer also improves the brightness of the colours.

Primers

Gesso (Studio-Quality)Primer for everyday use, white

2345500 ml, 2 l Use/effect: Good quality white half-chalk primer; suitable for all painting techniques on absorbent bases such as canvas, cardboard and paper, multi-plex and hardboard for indoor use; dries to form an elastic, moderately glossy paint fi lm; opaque, light-proof and ageing-resistant; can be dyed with acrylic paint; use water to diluteComposition: Acrylic resin dispersion (copolymer), titanium dioxide, fi llers, additives

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Gesso High quality primer, white

2335250 ml, 500 ml Use/effect: Top quality white half-chalk primer; suitable for all painting techniques on absorbent bases such as canvas, paper and painting cardboard, multiplex and hardboard for indoor and outdoor use; dries to form an elastic, modera-tely glossy paint fi lm; opaque, light-proof and ageing-resistant; can be dyed with acrylic paint; use water to diluteComposition: Acrylic resin dis-persion (pure acrylate), titanium dioxide, fi llers, additives

White Primer Semi-transparent primer for large surfaces, white

23461 l Use/effect: White half-chalk primer with an acrylic base for the preparation of particularly large painting surfaces for oil painting; dries to form an elastic, moderately glossy paint fi lm; ensures an even surface structure and solid anchoring of the paint; light-proof and ageing-resistant; can be dyed with acrylic paint; use water to diluteNote: not suitable to prime wood outsideComposition: Synthetic resin disper-sion, titanium dioxide, fi llers, additives

Priming a canvasfi rst and foremost means checking whether the painting surface is free from dust, grease and chalk so the primer sticks. A thin insulation coat is applied to canvases and other particularly absorbent bases as a fi rst step. A mixture of 80% gesso (e.g. 2335) and 20% water is suitable for this, for example. Applied in a thin coat using a brush, this mixture seals the pores and prevents the actual primer from penetrating through the material and too much binding agent being drawn out of the oil paint during painting. The actual primer, the undiluted gesso, is then applied to the painting surface using a brush. Working crosswise is recommended for this: fi rst apply a coat vertically and let it dry; then continue with the second coat in a horizontal direction.

Rigid image carriers (e.g. wood and hardboard) have to be primed on both sides, otherwise they twist or curve. Once the primer has dried, smoothing can be carried out as necessary. When the surface is suffi ciently even, you can start painting.

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Bleached Linseed Oil Classic painting and binding agent

221250 ml, 125 ml, 1 l Use/effect: Natural, slightly yellow painting and binding agent for the rubbing of oil paints and as a binding agent additive; not particularly suitable for the colour “white” due to its slight colour; use turpentine oil (2210/2211) or white spirit (2273) to diluteComposition: Pure linseed oil, obtained in a careful manner, bleached anddeslimed

Oils are essential to process pigment pow-der into oil colours. They are also used, however, as additives for paints and tools, such as

· to change their drying behaviour,· to increase their malleability.

If a further oil is mixed into an oil paint, the drying time increases, for example. Paints with a high oil content are therefore particu-larly suitable for the upper coats in painting. The classic binding agent is linseed oil. It is

obtained from the seeds of the fl ax plant and has proven its value for painters and ama-teur artists because it produces a particularly permanent coat of paints and dries relatively quickly. The use of sunfl ower oil is recommended for white oil paints due to the slightly yellow colour of the linseed oil.

Binders

Making oil paints yourself is possible with just a few items. Simply place a small amount of colour pigment on the rubbing plate (5545 0000),drop in a small amount of oil and mix using a palette knife (e.g. 5551 0001);grind the resulting paste in a circular manner using the glass pestle (small: 5543 0000, large: 5544 0000) and if necessary add more pigment or oil until the paint has taken on a buttery consistency. In general, however, the oil should be used sparingly when rubbing as is slows down the drying of the oil paints.

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Linseed Oil VarnishRapidly drying painting and binding agent

2215125 ml, 1 lUse/effect: Red painting and binding agent for the rubbing of oil paints and as a binding agent additive; dries more quickly than “linseed oil, bleached” (2212); not particularly suitable for the colour “white” due to its slight colour; use turpentine oil (2210/2211) or white spirit (2273) to diluteComposition: Top quality linseed oil, includes siccatives

Stand Linseed Oil Painting and binding agent thickened during heating

2216125 ml, 1 lUse/effect: Slightly yellow painting and binding agent for the rubbing of oil paints and as a binding agent additive; dries more slowly but forms a better fi lm (adhesive strength, lack of sensitivity of the paint fi lm to moisture and elasticity) than “linseed oil, bleached” (2212); not particularly suitable for the colour “white” due to its slight colour; use turpentine oil (2210/2211) or white spirit (2273) to diluteComposition: Top quality linseed oil, thickened during heating

Sunflower Oil Tried and tested, almost colourless painting and binding agent

2222125 mlUse/effect: Light painting and binding agent for the rubbing of oil paints and as a bin-ding agent additive; dries more slowly than “linseed oil, bleached” (2212); particularly suitable for the colour “white” due to its minimal colour; use turpentine oil (2210/2211) or white spirit (2273) to diluteComposition: Sunfl ower oil, obtained in a careful manner, bleached and deslimed

Poppyseed Oil, bleachedAlmost colourless painting and binding agent

2217125 ml, 1 lUse/effect: Light, hardly yellow painting and binding agent for the rubbing of oil paints (including white paints) and as a binding agent additive; dries signifi cantly slower than “linseed oil, bleached” (2212); results in a slight paint fi lm; should therefore always be combined with other oils such as linseed oil when mixing oil paints at home; use turpentine oil (2210/2212) or white spirit (2273) to diluteComposition: Poppyseed oil, obtained in a careful manner, bleached and deslimed

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Classical oil colours cannot be processed with water. Special solvents such as turpen-tine and turpentine replacement are therefo-re needed to dissolve and dilute oil paints.

Turpentine is obtained as a natural resin from various species of pine tree and pro-cessed into balsam turpentine oil through distillation. The LUKAS solvent rage is opti-mally tailored to use in oil painting.

The products presented below are suitable:· to dilute paints and tools,· to make resin solutions and varnishes at home (e.g. dammar and mastic resin), · to clean tools such as brushes, palette knives and palettes and· to remove varnishes.

Pure Balsam Distilled Turpentine Natural diluent and solvent

2210125 ml, 1 lUse/effect: High quality, purifi ed, transparent, clear turpentine for the dilution of oil paints, painting substances and varnishes (exception: alcohol-based varnishes); improves the fl uidity of the paint; only use for lower coats of paint (makes the oil paint “thin”); also suitable for the cleaning of painting tools such as brushes, palette knives and palettes; dissolves resins (e.g. dammar and mastic) Note: ventilate well while working, seal the container wellComposition: Turpentine distillate

Rectified Balsam TurpentineDiluent and solvent distilled multiple times

2211125 ml, 1 l Use/effect: High quality, transparent, clear turpentine oil purifi ed several times; re-commended for the dilution of oil paints, painting substances and varnishes (exception: alcohol-based varnishes); more suitable for the production of varnishes at home than turpentine oil (2210); only use for lower coats of paint (makes the oil paint “thin”); also suitable for the cleaning of painting tools such as brushes, palette knives and palettes; dissolves resins (e.g. dammar and mastic)Note: ventilate well while working, seal the container well Composition: Turpentine, distilled multiple times

Solvents

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Odourless Turpentine Substitute Almost odourless diluent and solvent

2218125 ml, 1 l Use/effect: Solvent mixture for the cleaning of painting tools such as brushes, palette knives and palettes; also suitable for the dilution of oil paints; evaporates completely without leaving any residue in the paint fi lm; lower solvency than white spirit; not suitable for dissolving natural resins or the dilution of resin solutions Note: ventilate well while working, seal the container well Composition: Solvent mixture (Naphtha (crude oil))

Citrus Turpentine Solvent mixture with a citrus scent

221450 ml, 125 ml, 1 l Use/effect: Transparent, clear, high quality solvent mixture with a citrus scent; for the dilution of oil paints, painting substances and varnishes (exception: alcohol-based varnishes); only use for lower coats of paint (makes the oil paint “thin”); also suitable for the cleaning of painting tools such as brushes, palette knives and palettes; dissolves resins (e.g. dammar and mastic)Note: ventilate well while working, seal the container well Composition: Aliphatic hydrocarbons, citrus terpene

Mineral Spirit Turpentine alternative

22731 l Use/effect: Tried and tested cleaning agent for painting tools such as brushes and palettes; also suitable for the dilution of oil paints and painting substances; only user for lower coats of paint (makes the oil paint “thin”)Note: ventilate well while working, seal the container well Composition: Solvent mixture (Mineral spirits)

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Brush Cleaner Highly effective cleaning agent

2286125 ml, 1 lUse/effect: Tried and tested cleaning agent for painting tools such as brushes and palettes; also suitable for the dilution of oil paints and painting substances; only user for lower coats of paint (makes the oil paint “thin”)Note: ventilate well while working, seal the container well Composition: Solvent mixture (Mineral spirits)

Cleaning the brush – rubbing with a cloth is suffi cient while painting.The use of a highly effective brush cleaner is recommended for thorough cleaning. First remove the majority of the paint residue from the hairs of the brush using a cloth, then immerse the brush into the brush cleaner down to the holder and clean it. Then wash with water and soap in the palm of the hand and rinse with clean water, shake the water off and leave the brush to dry. The rinsing in the (reusable) cleaner and drying in an upright position are facilitated by the use of a brush washer with clamps (5754 0000) or a brush washer (5753 0000).

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Oil colours are impressive because of their texture, brilliance and various options in terms of design. However, their “oxidative” drying achieved by the gradual absorption of oxygen from the air requires a lot of time. It starts on the surface of a coat of paint and then gradually seeps down into the deeper layers. It can therefore take months for a picture to be completely dry. Wrinkles can form on thick coats of paint, for examp-le if the paint is applied like a paste, during the drying process, as the paint expands as a result of the absorption of oxygen.

It is therefore often sensible to change the characteristic features of oil paint for the optimal painting outcome. Painting substances are used for this. Thanks to the variety of possible uses (particularly when doing oil painting), they are a fi xed part of the inventory within art supplies. Their use is recommended to adapt the most varied of features of the paint with regard to the painting process or the resulting colour, e.g.

· drying time,· consistency,· fl uidity and· transparency.

The oil painting substances by LUKAS can affect several of these properties at once and optimise them for the desired use. We recommend only using one of the mediums shown here per application of paints so no undesirable impairment of the product properties oc-curs.

Painting Mediums

Medium 1 (“Underpainting medium”) For the mixing of fast drying base coat paint

221950 ml, 125 ml, 1 lUse/effect: Slightly yellow but not yellowed painting substance; low-oil (“thin”) and therefore particularly suitable for base coats; accelerates drying; glides easily; prevents “staved in” areas; use turpentine oil (2210/2211) or white spirit (2273) to diluteNote: Shake before use Composition: Alkyd resins, matting agent, siccative, mineral spirit, balsam turpentine

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Medium 2 (“wet in wet painting medium”)For the mixing of slowl drying resin oil paint

2220125 ml, 1 l Use/effect: Slightly yellow painting substance, makes oil paint into slowly drying resin oil paint; it is therefore particularly suitable for use in “wet in wet” painting and to remedy “staved in areas”; delays drying; increases the gloss and depth light; use turpentine oil (2210/2211) or white spirit (2273) to diluteComposition: Acrylic resins, dammar, sunfl ower oil, turpentine

“Staved in” areas are areas of the picture in which the oil paint appears matt because the paint there has bled a particularly high amount of oil into the painting surface. The deviating colour effect in these areas can be corrected for example using the painting substance medium 2 (2220). Apply a thin layer to the affected areas or the entire surfaces of the picture, it will slowly soak into the coat of paint and restore the original colour of the paint and gloss.

Medium 3 (“Fast drying glazing medium”)For the mixing of fastdrying resin oil paint

222150 ml, 125 ml, 1 l Use/effect: Slightly yellow painting substance; makes rapidly drying resin oil paint from oil paint; accelerates drying; increases gloss and depth light; can be dissolved again after drying, either turpentine oil (2210/2211) or white spirit (2273) are used for thisNote: Shake before useComposition: Acrylic resins, dammar, turpentine

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Medium 4 (“alkyd Oil Medium”)For the mixing of fast drying transparent paint

2224125 ml, 1 l Use/effect: Slightly red painting substance; makes rapidly drying, highly elastic, strongly adhesive alkyd resin oil paint; particularly suitable for upper layers of a picture on a dry base and for glazing technique; also used for painting on tin; use to dilute tur-pentine oil (2210/2211) or white spirit (2273); dries in a turpentine oil-resistant manner like “pure” oil paint and can therefore no longer be dissolved after drying; accelerates drying; increases the gloss and depth light;increases the colour fl ow of the paint fi lmNote: In the event of long-term storage in the dark, yellowing can occur on white parts in particular, but these are restored to normal in the light (reversible dark yellowing); protect against heat; stored in a well sealed mannerComposition: Alkyd resins, siccatives, mineral spirit

Medium 5 (“Painting butter”) For the mixing of fast drying, highly elastic, paste-like alkyd resin oil paint

2225s37 ml, 200 ml, 750 ml Use/effect: Slightly yellow painting substance; makes rapidly drying, highly elastic, paste-like alkyd resin oil paint from oil paint; also enables the thick application of oil paint without the colour layer wrinkling; use turpentine oil (2210/2211) or white spirit to dilute; dries resistant to turpentine oil like “pure” oil paint and can therefore no longer be dissolved after dryingNote: In the event of long-term storage in the dark, yello-wing can occur on white parts in particular, but these are restored to normal in the light (reversible dark yellowing); protect against heat; stored in a well sealed mannerComposition: Alkyd resins, siccatives, sunfl ower oil, mineral spirit

Painting ButterCan be mixed with oil colours in almost any ratio to achieve thicker and faster drying layers. The more oil content is present in the colour, the more painting butter should be added in order to prevent a wrinkling of the paint layer. Oil colour and painting butter have the same viscosity, which makes them very easy to blend with each other. The painting butter and the colour can easily be mixed with a painting knife (for example, 5551 00001), on the palette, giving an immediately usable, colour-identical paste.

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Medium 6 (“Egg tempera medium”) For the mixing of classical tempera paint

2233125 ml, 1 lUse/effect: Brown, water-miscible binding agent for the mixing of classical tempera paints (“chicken egg replacement”); enables the mixing of oil and water-based paints; particularly suitable for the base coat; use water to dilute; for more information on the areas of application of this painting substance see www.lukas.euNote: Protect against heatComposition: Alkyd resins, emulsifying agents, balsam turpentine , water, additives

Medium 7 (“Water Mixable medium”) For the mixing of water-miscible oil paint

2238125 ml, 1 lUse/effect: Slightly yellow painting substance which makes classical oil paints able to be mixed with water; the nature of the oil paints is retained; use water to diluteNote: Protect against heatComposition: Alkyd resin, emulsifying agents, citrus turpentine, water, additives

Oil and water...they can’t be mixed, can they? Yes they can! If painting substance Medium 7 is added to the oil paint in a ratio of 1:1, this can be mixed with water immediately. The use of a palette dipper (e.g. 5532 0000) ensures comfortable handling: fi ll the fi rst container of the dipper with medium 7 and the second with water; only immerse the brush in Medium 7, then take the paint directly and mix it with the oil paint on the palette, then dilute with water. In order not to delay the drying unnecessarily, the paint and the painting substance should be mixed at a ratio of a maximum of 1:1. The tools can easily be cleaned with water and soap after painting.

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Retouching varnishInterim varnish for better adhesion and corrections

2205125 ml, 1 lUse/effect: Transparent, elastically drying interim varnish; for dissolving slightly dried paint in preparation for the application of a further coat of paint; apply a thing layer using the retouching brush; ensures better adhesion between the old and the new coats of paint; also suitable to remedy “staved in” areas and prepare for corrections; use turpentine oil (2210/2211) or white spirit (2273) to diluteComposition: Urea/aldehyde resin, mineral spirit

Cobalt Siccative Fast drying medium

2229125 mlUse/effect: Strongly violet coloured additive; accelerates the drying process from the fi rst dose without changing the tone and intensity of the colour; use extremely sparingly (add in drops, max. 0.1%) as otherwise the drying process is impaired and permanent adhesion of the paint may occur; use turpentine oil (2210/2211) or white spirit (2273) to diluteComposition: Organic cobalt compounds in a solvent mixtur

Siccative de Haarlem Classical painting substance for the mixing of fastdrying resin oil paint

222650 mlUse/effect: Slightly yellow resin solution makes resin oil paint from oil paint; ensures even drying; accelerates drying; increases the gloss and depth effect; use turpentine oil (2210/2211) or white spirit (2273) to diluteNote: Keep well sealedComposition: Alkyd resin, dammar, mineral spirit, turpentine oil

Venetian turpentineTraditional natural resin

2283200 mlUse/effect: Viscous, extra light turpentine from the larch tree; for the production of resin solutions and tempera paints at home; use turpentine oil (2210/ 2211) or white spirit (2273) to diluteComposition: Larch turpentine

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Linseed Oil Modified Painting and binding agent for water mixable oil colours

2250125 mlUse/effect: Painting substance for LUKAS Berlin water mixable oil colours which delays drying; high quality linseed oil; since the recipe of the oil fundamentally enables mixing with water, it is also suitable for the production of water mixable oil colours at home; use water to diluteComposition: Linseed oil, emulsifying agent

Stand Oil modified Less yellowing painting and binding agent for water mixable oil colours

2251125 mlUse/effect: Painting substance for LUKAS Berlin water mixable oil colours which delays drying; linseed oil concentrated in a heated environment; results in an elastic drying and hardly yellowing paint fi lm; also suitable for very light colour tones; dries signifi -cantly more slowly than “Linseed Oil Modifi ed” (Art. no.: 2250) and is therefore only recommended for use in the upper layers of a picture; use water to dilute Composition: Linseed oil/stand oil, emulsifying agent

Medium 3 modified Painting medium for fast drying water mixable oil colours

2252125 mlUse/effect: Painting substance for LUKAS Berlin water mixable oil colours which accelerates drying; also suitable for base coats in “alla prima” painting; increases gloss and depth light; use water to diluteComposition: Acrylic resin dispersion, additives

Painting mediums for LUKAS Berlin water mixable oil colours

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The final brush stroke is done, the piece is finished. As soon as the paint has comple-tely dried, one final step is needed to ensu-re the intensity of the colour is maintained and the piece lasts as long as possible. A varnish forms the final protective layer that protects the oil painting from harmful effects and premature ageing.

But varnishes can do more than that:

· they help to give the picture a flat surface,· they give it an individual shine, · they form a protective film which reduces the harmful effects of UV radiation and aggressive components of the air and· they protect the painting against dust, dirt, spots and strain.

Whether painting in a classical or optimised manner, if you paint with oil colours then you can choose from various types of varnish. In addition to the historical classics of dammar and mastic varnish, the LUKAS range also offers synthetic resin varnishes with a urea or acrylic resin base, among other things. The latter are primarily characterised by the fact that they do not subsequently turn yellow and enable a finer degree of gloss or matting. They are available in gloss, silk gloss and matt. Synthetic resin varnishes do not have a colour. However, an increase of the depth of colour can occur when varnishes are applied to par-ticularly matt paints.

All varnishes are soluble in turpentine and can therefore be removed. Caution is advised, however, when doing this. A painting should be handed over to an experienced restorer for the varnish to be removed, particularly if the coat of paint is no longer adhering to the painting surface correctly, is torn or is flaking off.

Varnishes and surface treatment

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Picture Varnish GlossyGlossy synthetic resin varnish

2202125 ml, 1 lUse/effect: Classical fi nishing varnish for oil, acrylic and tempera pictures; transparent and elastic; dries quickly and with a high degree of gloss; does not turn yellow; use turpentine oil (2210/2211) or white spirit (2273) to dissolve and diluteComposition: Urea and aldehyde resins, mineral spirit

Dammar Varnish Glossy natural resin varnish

2206125 ml, 1 lUse/effect: Slightly yellow fi nishing varnish for oil and tempera pictures with a natural resin base; dries in an elastic manner and with a high degree of gloss; use turpentine oil (2210/2211) or citrus turpentine (2214) to dissolve and diluteNote: Dammar varnishes tend to turn slightly yellow over time and lose their elasticityComposition: Batavia dammar, turpentine

Mastic Varnish Slightly glossy natural resin varnish

2201125 ml, 1 lUse/effect: Slightly yellow fi nishing varnish for oil and tempera pictures with natural resin from the pistachio mastic tree; dries with a silk gloss; less elastic than dammar; use turpentine oil (2210/2211) to dissolve and dilute (e.g. for use as a retouching varnish) Note: Mastic varnish tends to turn slightly yellow over timeComposition: Chiox mastic, turpentinel

Natural resin varnishes

Synthetic resin varnish

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Finish Varnish glossyGlossy synthetic resin varnish

2203125 ml, 1 lUse/effect: Classical fi nishing varnish for oil, acrylic and tempera pictures; transparent and elastic; dries quickly and with a high degree of gloss; does not turn yellow; use turpentine oil (2210/2211) or mineral spirit (2273) to dissolve and diluteComposition: Urea and aldehyde resins, mineral spirit

Picture Varnish Matt Synthetic resin varnish with matting beeswax

2242125 ml, 1 lUse/effect: Classical fi nishing varnish for oil, gouache and tempera pictures; elastic and dries with a matt fi nish; does not turn yellow; use turpentine oil (2210/2211) or mineral spirit (2273) to dissolve and diluteNote: Shake well before useComposition: Acrylic resins, beeswax, turpentine, mineral spirit

The right timefor the varnish is critical: only when the piece is fully dry should the fi nishing varnish be applied. When painting with oil, the amount of time this will take varies depending on the number and nature of the individual applications of paint. Months and in some cases even years go by until the thicker layers in a piece dry. When using painting butter (Medium 5, 2225), it is at least a few weeks more. Before varnishing, we therefore recommend using your thumb to check whether even complex parts of the image no longer adhere when they are pressed fi rmly. Varnishing can then be carried out. The use of varnish during painting can also be sensible: retouching or interim varnish (2205, page 15) is used whenever the colour effect in different places needs to be unifi ed or individual coats of paint need to be better combined with one another.

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Acrylic Gloss VarnishFinishing varnish with an acrylic base (high gloss)

2209125 ml, 1 lUse/effect: Rapidly drying, transparent synthetic resin varnish for oil, acrylic and tempera pictures; dries in an elastic manner and with a high degree of gloss; does not turn yellow; use turpentine oil (2210/2211) or white spirit (2273) to dissolve and diluteComposition: Acrylic resins, mineral spirit

Acrylic Satin VarnishFinishing varnish with an acrylic resin base (slight gloss)

2204125 ml, 1 lUse/effect: Rapidly drying, transparent synthetic resin varnish for oil, acrylic and tempera pictures; dries in a more elastic manner and with a lower degree of gloss than fi nish or picture varnish (2202, 2203); does not turn yellow; use turpentine oil (2210/2211) or mineral spirit (2273) to dissolve and diluteNotes: Shake well before use, not suitable for matt paintssuch as thin tempera and gouacheComposition: Acrylic resins, matting agent, mineral spirit

Varnishing correctlymeans obeying a few simple ground rules: the picture and the work surface should be free from dust. It is also necessary to ensure that all of the tools which will be used for varnishing are dry and at room temperature. Condensate water can accumulate between the paint and the varnish in moist, cool rooms, resulting in a “white veil” or the varnish bubbling on the surface. Regardless of whether an interim or a fi nal varnish is to be applied to the well dried surface of the picture, when doing the varnishing itself it is always better to apply several thin layers than one thick layer. Extra broad, soft varnishing brushes (e.g. 5491) or ready-for-use spray cans (from page 22 (2321, 2322, 2324)) are suitable for this. Smaller formats can also be varnished fl at in order to avoid “wet” formations. For larger formats, we recommend varnishing the picture using a spray can upright on the wall or on an easel. Good ventilation should also be ensured while working.

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Acrylic Matt VarnishFinishing varnish with an acrylic resin base (no gloss)

2208125 ml, 1 lUse/effect: Rapidly drying, transparent synthetic resin varnish for oil, acrylic and tem-pera pictures; dries in an elastic manner and matt; does not turn yellow; use turpentine oil (2210/2211) or mineral spirit (2273) to dissolve and dilute Note: Shake well before useComposition: Acrylic resins, matting agent, mineral spirit

Transparent structureVarnish paste to achieve an “oil painting effect”

2268200 mlUse/effect: Paste-like painting substance with a slightly yellow colour with an alkyd resin base; apply with a brush or a palette knife; gives art prints a pain-ting-like structure and surface and therefore the appearance of oil paintings; dries in a turpentine oil-resistant manner and can therefore no longer be removed after drying Note: In the event of long-term storage in the dark, yellowing of the dried varnish paste can occur, but this is restored to normal in the light (reversible dark yello-wing); ventilate well while workingComposition: Alkyd resin, thickener, sunfl ower oil, driersmineral spirit

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Spray film varnish, mattUniversal spray for fi xing and varnishing (no gloss)

2322150 ml, 400 lUse/effect: Rapidly drying, transparent acrylic resin varnish in the spray can; suitable for oil, acrylic and tempera paintings, drawings and art prints but not for polystyrene; dries in an elastic manner and matt; does not turn yellow; with additional UV protection; CFC-free; use turpentine oil (2210/2211) or white spirit (2273) to dissolve and diluteNote: Shake well before useComposition: Acrylic resins, matting agent, solvent mixture, propellant (propane, butane)

Spray film varnish, satin glossUniversal spray for fi xing and varnishing (slight gloss)

2324150 ml, 400 lUse/effect: Rapidly drying, transparent acrylic resin varnish in the spray can; suitable for oil, acrylic and tempera paintings, drawings and art prints but not for polystyrene; dries in an elastic manner and with a silk gloss; does not turn yellow; with additional UV protection; CFC-free; use turpentine oil (2210/2211) or white spirit (2273) to dissolve and diluteNote: Shake well before use, not suitable for matt paints such as thin tempera and gouacheComposition: Acrylic resins, matting agent, solvent mixture, propellant (propane, butane)

Spray film varnish, glossUniversal spray for fi xing and varnishing (high gloss)

2321150 ml, 400 lUse/effect: Rapidly drying, transparent acrylic resin varnish in the spray can; suitable for oil, acrylic and tempera paintings, drawings and art prints but not for polystyrene; dries in an elastic manner and with a high degree of gloss; does not turn yellow; with additional UV protection; CFC-free; use turpentine oil (2210/2211) or white spirit (2273) to dissolve and diluteNote: Shake well before useComposition: Acrylic resins, solvent mixture, propellant (propane, butane)

Varnish as a ready-for-use spray

23

Art. No./tool prim

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2335 Gesso •

2345 Gesso (studio quality) •

2346 White primer •

2210 Pure balsam distilled turpentine • • •

2211 Rectified balsam turpentine • • •

2214 Citrus turpentine • • •

2218 Odourless turpentine substitute • •

2273 Mineral spirit 2286 Brush cleaner • •

2286 Brush Cleaner •

2212 Bleached linseed oil • • •

2215 Linseed oil varnish • • •

2216 Stand linseed oil • • •

2217 Poppyseed oil • • •

2222 Sunflower oil • • •

2219 Medium 1 • • •

2220 Medium 2 • • • • •

2221 Medium 3 • • • • •

2224 Medium 4 • • •

2225 Medium 5 • •

2233 Medium 6 • •

2238 Medium 7 •

2226 Siccative de Haarlem • • •

2229 Cobalt Siccative •

2250 Linseed oil Modified • • • •

2251 Stand oil Modified • • • •

2252 Medium 3 modified • • •

2205 Retouching varnish • •

2283 Venetian turpentine •

2201 Mastic varnish • •

2206 Dammar varnish • •

2202 Picture varnish glossy • •

2203 Finish varnish glossy • •

2242 Picture varnish Matt •

2209 Acrylic Gloss Varnish • •

2204 Acrylic Satin Varnish • •

2208 Acrylic Matt Varnish •

2321 Spray varnish, gloss • •

2324 Spray varnish, silk gloss • •

2322 Spray varnish, matt •

2268 Transparent structure • •

24

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