Mediums + Gesso

MM22 Print Paste has been especially formulated for use with Matisse Colours to screen print on paper.DirectionsMix thoroughly equal parts of MM22.Print Paste and Matisse Colour (Flow or Structure Formula).Adjust ratio to achieve …

MM24 Iridescent Medium is formulated to be mixed with the Matisse Structure or Flow Formula acrylic paints to add an iridescence (metallic sheen) to them.This medium can be mixed in any proportion with Matisse Colours.MM24 Iridesc…

Similar to the regular MM10 Gesso only black!A great permanent flexible primer for canvas, board or even paper. An intense black ground with an excellent tooth for easy paint manipulation. Matisse MM25 Black Gesso is a water-based…

Cleaning up at the end of a day in the studio might be the last thing you want to do but with MM34 cleaning up your brushes and hands is a breeze. Matisse MM34 Brush & Hand Cleaner was created in response to requests for a gen…

Matisse MM33 UV* Conservation Varnish produces a hard, non-yellowing, UV protected coating similar in appearance to Damar varnish. it is a final clear gloss varnish (similar to Matisse MM14 Gloss Varnish), quick drying, designed t…

MM29 Final Varnish Satin Finish produces a hard, non-yellowing, protective coating with a subdued sheen formulated to match the sheen of Matisse paint films. It is nearly invisible.Strippable, the varnish re-dissolves in mineral t…

MM3 Surface Tension Breaker is a dispersant and is used to break down the surface tension of the acrylic paints.It acts as a powerful penetrating agent. It is also known as "watercolour medium" or "flow medium".Used correctly, it …

Mineral Turpentine-Based Acrylic Resin with Matting AgentThis produces a hard, non-yellowing, protective coating with a subdued sheen formulated to match the sheen of Matisse paint films. It is nearly invisible.Strippable, the var…

Mineral Turpentine-Based Acrylic ResinThis varnish produces a hard non-yellowing, protective coating similar in appearance to Damar. A final clear gloss varnish, quick drying, designed to give your painting that final "glow".For a…

Additions of MM1 Drying Retarder may be used in watercolouring, water wash effects, stain painting and hard edge techniques where it assists in pigment wetting, rapid colour diffusion and penetration. On raw canvas, the addition o…

MM31 Open Medium is formulated to be mixed with either Matisse Structure or Matisse Flow acrylic colours to assist in prolonging drying time while maintaining the consistency of the paint. When mixed with Matisse Structure, they w…

Artists who prefer a matt finish will love the new MM30 Matisse Matt Gel Medium.Matisse's original Gel Medium is a long-time favourite of artists and craftspeople alike, providing texture and adhesion in a glossy finish. The Matis…

Use MM16 Faux Finish & Marbling Gel with Matisse Flow Formula Acrylic colours for a thicker and more transparent consistency. Also can be used for additional painted finishes and various marbling techniques.For painted finish …

MM28 Polymer Satin Varnish is used as a final varnish over a dried, well-cured acrylic painting when a satin or very mid level sheen is required (and the use of MM29 Satin Varnish (turps-based) is not appropriate).Polymer water-ba…

Matisse MM27 Low Viscosity Gesso has been specially formulated for those artists who prefer a lower viscosity gesso. It has all the outstanding properties of the original MM10 Matisse Gesso formula including bright white colour, s…

MM26 Transparent Gesso is similar to MM10 Gesso and MM25 Black Gesso only without pigmentation; therefore, giving a transparent (although not altogether clear) flexible primer for canvas, board or even paper with an excellent toot…

Matisse Structure Formula paint offers a thick buttery consistency suitable for impasto, oil painting and brush stroke techniques: its high tintorial strength permits ready dilution with water or mediums to allow the artist free e…

Botticino marble ground to medium coarse powder. Use this marble dust to make grounds, for adding textural and handling qualities to paints, and as filler in lime plastic for the intonaco layer of fresco.Imported from the world-cl…

Vel?zquez Medium is an oil painting medium of finely ground calcite in bodied linseed oil. Use it to extend paint and alter its consistency, making oil colors 'long'* for finer detail and impastos. Softer than Impasto Medium, this…

Impasto Medium is an oil painting medium of finely ground calcite, silica and bentonite in bodied linseed oil. Use it to extend paint without altering the consistency, making oil colors 'short' and buttery for impastos. Stiffer th…

Oleoresgel is a thixotropic gel painting medium made with bodied linseed oil, alkyd resin, odorless mineral spirits and pyrogenic (fumed) silica. Oleoresgel is a clear pale amber gel that adds transparency and thixotropic body to …

Wilson's Medium is a clear, gel-like oil based on the 18th century oil painting medium of thickened linseed oil, turpentine and beeswax used by the English landscape painter, Richard Wilson (1 August 1714 - 15 May 1782), who may f…

Add Retarder to Ceracolors to increase the open time, for "wet-in-wet" techniques and to reduce skinning on the palette. Do not add excess Retarder or paint will not dry.What Retarder Additive Can DoCeracolors Mediums, Gels, Paste…

Natural Pigments Sun-Bleached Linseed Oil is made by exposing raw, cold-pressed linseed oil to sunlight in shallow enamel trays covered with clear glass but exposed to the atomosphere for a period of less than one month. No driers…

Our safflower oil is expeller-pressed from safflower oilseeds (Carthamus tinctorius) cultivated in North America, and lightly refined. It is a clear, pale yellow oil that is odorless. As it yellows less than linseed oil it is good…

Oleogel is a thixotropic painting medium made with linseed oil and pyrogenic silica. Oleogel is a clear pale amber gel that adds transparency and thixotropic body to oil, resin-oil or alkyd paint. Add directly to your paint to giv…

Cobalt System Drier is a concentrated blend of metal carboxylates in mineral spirits, containing 1% cobalt, 13% zirconium and 4% calcium, and consists of an active, primary surface drier with two auxiliary through-driers blended i…

Natural Pigments refined aged linseed oil is a low-acid value drying oil pressed from North American flaxseed. This is as light and pure as industrially-produced linseed oil can be made. Use to grind colors, thin oil colors or pre…

span>Conservar Dammar Finishing Varnish is a varnish made from the best grade of natural dammar resin dissolved in aromatic and aliphatic solvents with UV light stabilizer.

Our pumice is a near-white, milled volcanic glass that has many uses in fine arts. Add pumice to paint to make it appear mat when dried, to add texture and to increase body without tinting the color. Pumice can also be added to gr…

Rublev Colours Sun-Thickened Walnut Oil is made by exposing filtered, cold-pressed walnut oil to sunlight in shallow tanks covered with clear glass and exposed to the atmosphere for a period of three months. No driers or other add…

Epoxide Oil is a dicyclopentadiene copolymer linseed oil. It is a fast drying oil with good alkali resistance. The copolymer of linseed oil and dicyclopentadiene provides a new vehicle that can be added to paints low in volatile o…

Walnut Oil Gel is a thixotropic painting medium made with walnut oil and pyrogenic silica. Walnut Oil Gel is a clear pale amber gel that adds transparency and thixotropic body to oil, resin-oil or alkyd paint. Add directly to your…

span>Mixing White is a bright, semi-opaque white that is useful for making tints with colors. Does not contain lead.

span>Crystal Water Varnish is a medium that increases the gloss and brilliance of watercolor. Apply over dried watercolor or mix with color prior to painting. The gloss decreases when diluted with water. Retards drying and remains…

Rublev Colours Wax Paste is made with beeswax and odorless mineral spirits. It is a soft paste formulated to make oil colors thicker and more matte. It can also be used as a final varnish over a dry painting or mixed with varnish …

Impasto Putty is an oil painting medium of finely ground calcite, barite and bentonite in bodied linseed oil. Use it to extend paint without altering the consistency, making oil colors 'short' and buttery for impastos. Stiffer tha…

Venetian Medium is an oil-painting medium based on the research that sixteenth century Venetian painters added powdered glass to their paint. Venetian Medium contains leaded crystal glass powder, the palest bodied linseed oil, sun…

Natural Pigments Sun-Bleached Linseed Oil is made by exposing raw, cold-pressed linseed oil to sunlight in shallow enamel trays covered with clear glass but exposed to the atomosphere for a period of less than one month. No driers…

Oleogel is a thixotropic painting medium made with linseed oil and pyrogenic silica. Oleogel is a clear pale amber gel that adds transparency and thixotropic body to oil, resin-oil or alkyd paint. Add directly to your paint to giv…