Extra-fine Additives for Oils

Boiled Linseed Oil

It liquefies the paint and accelerates hardening and a gloss finish.

Boiled linseed oil encourages the finish to dry deeply. Gives texture and roundness to the finish while drying more quickly than normal linseed oil and it adds a brilliant, slightly amber finish. Avoid excess. For artists who wish to make their own paints using oil, it is recommended to grind pigments to 50% with clarified linseed oil. It is also used in recipes of mediums and paint.

Small preparation to paint:
You can produce your own paint medium by mixing 2/3 extra-fine varnish and 1/3 boiled
linseed oil.

Venice Turpentine

Pure natural balsam with the consistency of honey. Resin extracted from larch. Add as a plasticizer and gloss enhancing agent to oil colors, varnishes and mediums. Creates a jewellike quality with a tough enamel-like surface. Use with care (maximum 5%), as excess will make the film more brittle. Recommended thinner: turpentine (up to 20%).

Prepare your own medium, mix:
- 1/3 linseed oil
- 1/3 mastic varnish
- 1/3 petroleum spirit
You will obtain paint with a shimmering, gloss appearance, with depth and vibration in the tones.
Variation: reduce the proportion of linseed oil by 5% and add 5% Venice turpentine
(well known for its plasticising qualities).

Turner Painting Medium

Based on Dammar gum (natural resin). May be mixed with oil colors in all proportions, particularly suited for work with fresh paints. Reinforces the cohesion of the brushstroke and accentuates gloss. Useful for glazing and transparent washes. Thinners: mineral spirits and turpentine.
It is a ready-to-use medium that can be used throughout the production of a painting.

Hint: Begin your painting with Rectified Turpentine Spirits and then half Turner Painting Medium, half Rectified Turpentine Spirits, and finally with pure or slightly diluted Turner Painting Medium.

Veronese Medium

This medium allows you to work finish by finish quickly by avoiding mixing with colors on lower layers.

Paste medium, based on beeswax, which provides a uniform matte finish. Ideal for «alla prima» studies, large pieces and exterior work due to the rapid setting of impastos, the ease of carrying out superimpositions, its flexibility of use and its rapid drying characteristics. Veronese medium covers quickly and the pastes are richer. At times, it must be thinned. Vary fluidity and setting time with liquids such as essential petroleum/mineral oil or Aspic oil (adding several drops per knob
of color). This medium melds adjacent brushstrokes.

Start by moistening with very diluted medium (1/4 turpentine or petroleum spirit for 3/4 Veronese medium).

Pur Mastic Gum Varnish

This is a very attractive varnish with an unbeatable gloss appearance, and it is also one of the most expensive! Used a great deal by past generations of painters.

33% Mastic gum (from Chios) final painting varnish. Resistant film, high gloss and high build, with a tendency to discolor slightly over time. Easily reversible. Only apply on completely dry paint. Thinner: Rectified Turpentine spirit.

Mixed with baked linseed oil (50/50), pure mastic varnish gives an intereseting impasto medium.

The choice of additives influences the final finish

Here is a study carried out on the same subject, but treated with different additives.
Visually, the painting finish is completely different according to the additive used.

Suggestions for use

Download the Additives for oils leaflet.

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