Alkyd Resin AM
Order number: 79163
light, with siccative
Successor product of 79162 Alkyd Resin AH. It is light in color and dries within 1 - 2 days.
Form viscous liquid
Solubility in water practically insoluble
Safety Information
GHS02: Flame
GHS07-1: Exclamation Mark
Signal word: Warning
Hazard designation
H226: Flammable liquid and vapour.
H317: May cause an allergic skin reaction.
H336: May cause drowsiness or dizziness.
Safety Information
P210: Keep away from heat/ sparks/ open flames/ hot surfaces. No smoking.
P261: Avoid breathing dust/ fume/ gas/ mist/ vapors/ spray.
P280: Wear protective gloves/ clothing/ eye/ face protection.
P302+P352: If on skin: Wash with soap and water.
P333+P313: If skin irritation or rash occurs: Get medical attention.
Royal Talens Amsterdam Gel Malmittel Matt (080)
Zweck: Vermindern des Glanzes und Vergrößern der Transparenz von Acrylfarbe bei Erhalt der Viskosität. Auch zum Verleimen vielerlei Materialien nutzbar. Zusammensetzung: Acrylatharzdispersion, Verdickungsmittel, Mattierungsmittel (Silica)
Eigenschaften:
Milchweißes Produkt, trocknet farblos und transparent auf
Verarbeiten bei über 10o C
Frostfrei aufbewahren
Erhältlich in 250ml, 500ml und 1L
Medium 3 („Harzöl-Farbe“)
Schwach gelbliches Malmittel zum Ermischen schnell trocknender Harzölfarbe; beschleunigt die Oberflächentrocknung von reinen Ölfarben; verstärkt Glanz und Tiefenlicht. Vor Gebrauch schütteln!
Dispersion based on methyl methacrylate and butyl acrylate.Produces a tough elastic film and is extremely tensile resistant. Suitable for wet and dry applications. Standard type for doublings and marouflage. Water-dilutable. Film after drying water resistant. Permanently soluble in acetone, alcohol, toluene, xylene, etc.
Pure beeswax, damar resin, and refined linseed oil. No paraffins or microcrystallines. Use in moderation to thicken paint and impart a short, buttery texture. Increases transparency and dries to a satin sheen.
M. Graham & Co. Walnuss Öl Medium
Walnussöl entfernt effektiv die Farbe von Künstlerpinseln und ist ein natürliches Pflanzenöl, das keine ätherischen Öle aus den Pinseln der Künstler verdünstet oder entfernt. Die Zugabe von Walnussöl zur Farbe verlangsamt das Trocknen, verbessert den Fluss und erhöht den Glanz. Das M. Graham Walnussöl-Medium wurde entwickelt, um die besondere Natur der Ölfarbe zu verstärken, ist aber auch vollständig kompatibel mit anderen Künstler Ölfarben und Medien.
- dries to a waterproof matt film- modifies the gloss of Lascaux acrylic colours- due to its relatively large particle size, this mediumis not suitable as a colourless matt varnish: thecoarse-grained dry surface is not scratch-resistant,and the colour appears duller- ideal for glazes on concrete (pur or diluted with upto max. 10% water) and can be tinted with acryliccolours as desired (approx. 5-10%)- may be used alone as colourless sizing or primerfor canvas and paper
Lascaux Impasto Gel 1 gloss /2 matt / 3 satin mattCompositionPure acrylic resin emulsionProperties- thinnable with water- dries to a waterproof and crystal-clear film- becomes viscous-elastic and flexible- lightfast and age-resistantApplications- painting mediums for acrylic colours- to create transparent and pasty colour applications- added to Lascaux Studio Acrylic colours itincreases pastosity (also for the creation of heavyimpastos)- can be added in any proportion to Lascaux ArtistAcrylic colours without changing viscosity andtexture of the Artist Acrylic colours- Impasto Gels prolong the drying of acrylicsaccording to the amount added- Impasto Gels are particularly suitable as adhesivesfor collages and for embedding a variety ofmaterials. They can also be combined withpigments, earth, sand and other granularsubstances- use as a final texture varnish for interior(Impasto Gel 1 gloss is particularly suitable forcolourless textural final varnishes for art prints etc.)DirectionsInteresting textural effects can be achieved with abrush or palette knife when used undiluted or mixedwith a bit of colour. Diluted with water, Impasto Gelforms a viscous film.Very thick colourless layers (above 5 mm/ 1/5 in.) maytake several days to dry completely.Depending on the amount of Impasto Gel 1 gloss added,the colours become more brilliant and transparentas well as glossier.
Lascaux Modelling Paste A, B, CCompositionThickened pure acrylic resin dispersion with highgradecalcite filler, finely ground. Modelling Pastes Band C contain quartz sand additionally.Properties- flexible, elastic hard- have excellent adhesion properties- do not crack in thicker layers- are waterproof once dry and can be over painted- Modelling Paste A: dry to a smooth surface- Modelling Paste B: dry to a rough surface- Modelling Paste C: dry to a very rough surfaceApplications- relief-type applications- for impasto painting: gives paint more body andextends paint volume- use in collage and mosaics for imbedding materials- for use in texturing grounds (fresco like) orsubstrates- restoration workDirectionsModelling Pastes are used undiluted in any final layerthickness. However, the paste should never be appliedin layers of more than 1 cm (2/5˝) at a time in order tokeep drying times reasonably short. When completelydry, layers can be covered with more paste or paintedwith acrylics as desired. A certain amount of shrinkagetakes place due to evaporation as the paste dries, butthere is no crack formation.Modelling Pastes can also be added to Lascaux Acryliccolours in any ratio for impasto painting. When mixingcolours with the various Natural Modelling Pastes,colours will hardly be altered.The paste gives a slight body to transparent washes.The strongest modelling effect is obtained by applyingthe paste unmixed and overpainting with LascauxAcrylic colours when dry.Fabric, stones, wood, bits of metal and other materialscan be embedded in the paste for collages. Thepowerful grip of the acrylic base provides an excellentanchorage. In restoration work, Modelling Pastes canbe used to supplement impasto, relief, fresco plasteror for stopping cracks.Modelling Pastes B and C are suitable for fresco-typepriming on virtually all supports. Mixed with LascauxPrimer, it gives a fine grainy surface that is easy topaint.NotesPhysiologically and toxicologically safe in conventionalusage. USA: conforms to ASTM D-4236.SizesJars of 250 ml, 500 ml and 1 l, plastic buckets of 5 lLascaux Structura®CompositionPure acrylic resin dispersion with modified quartz fillerProperties- a fine, granular modelling paste- extremely light weight- age and light resistant- elastic hard, can be sanded- has very good adhesionApplications- to texture painting grounds- to build surface dimension- the light weight makes Structura ideal for theuse in large works- for collagesDirectionsAs a painting ground Structura can be applied, directlyor diluted with water, in several layers; also in mixtureswith Lascaux Primer, Gesso or Studio White, dependingon the desired absorption and texture.Supports which are very absorbent should first beimpregnated; with Lascaux Medium 1, Acryl TransparentVarnish 1 gloss or Hydro-Sealer (approx. diluted1:4 with water). Heavy impastos should be built inseveral layers to reduce the drying time.Structura Natural can be mixed with all Lascauxcolours; due to its minimal tinting strength the hues willhardly be altered. Thanks to the fine texture the intensityof the colours will be enhanced. This is especiallyapparent in mixtures with Lascaux Aquacryl colours, aswell as with glazes on Structura grounds.Finished works can be varnished for protection withLascaux Transparent Varnish.NotesPhysiologically and toxicologically safe in conventionalusage. USA: conforms to ASTM D-4236.SizesJars of 250 ml, 500 ml and 1 l, plastic buckets of 5 l
Gießmedium, selbstnivellierend
Flüssiges, selbstnivellierendes Acrylmedium. Das Produkt trocknet zu einem klaren, flexiblen und glänzenden Finish, das im trockenen Zustand dauerhaft, nicht vergilbend und wasserbeständig ist.Ideal für Tropf-, Gieß- und Direktauftragstechniken auf großen Flächen
CCS Lavender Spike Oil Essence is safer natural solvent for oil painting that is widely documented since the Renaissance. It is used in mediums and varnishes, and mixed with paints to make them thinner and leaner. It evaporates at a similar rate to turpentine, but its distinctive lavender scent does not cause acute and chronic health problems such as those associated with the inhalation of toxic fumes from turpentine or petroleum mineral spirits.
Neo Megilp
Neo Megilp is a contemporary version of Maroger. This soft gel medium maintains the body of oil colors, increases transparency and flow, and imparts a smooth, silky feel. Neo Megilp dries at a moderate rate and remains workable for hours. Neo Megilp gives colors a satin gloss. SDS
Reduziert die Konsistenz, verringert den Glanz und erhöht die Transparenz der Farben.Das mittelviskose Produkt trocknet schnell, ist flexibel und wasserfest.
GAC (short for Golden Artist Colors) Specialty Acrylic Polymers are based on 100% acrylic polymer emulsions. The GACs are useful as mediums or modifiers of acrylic paints. GACs can be used to extend acrylic colors, to regulate transparency, create glazes, increase gloss, reduce viscosity or improve adhesion and film integrity. GAC polymers can also be used for binding pigment solids for various effects and surfaces. Unlike the other GOLDEN Mediums and Gels, GAC Acrylic Polymers have only a minimum amount of thickeners, levelers, defoamers and surfactants to ensure good film formation.The consistency of the GAC polymers is more fluid and thin than other GOLDEN Mediums, so they will reduce the thickness of most GOLDEN Acrylic Paints. GOLDEN Fluid Acrylics are slightly thicker than the GACs, but will exhibit less change in viscosity with the addition of a GAC polymer.Each GAC is a unique polymer with unique benefits and applications. Refer to the product descriptions below to find the proper medium for a particular applications.GAC 100 Acrylic primer and extender helps prevent Support Induced Discoloration (SID) caused by impurities that are drawn up through a substrate as the acrylic paint dries. GAC 100 is also useful for diluting and extending colors, increasing flexibility and film integrity, sizing for fabric and sealing for wood. GAC 100 will wet out solids, including pigments, more readily than other polymers and is useful for artists formulating their own paints.
Holbein DUO:
Permanent White DU460/560 PGW
|
Size:
50 ml
DUO Whites Titanium White **** The most popular white, Titanium White is inert and non-reactive under most ordinary conditions. It has greater opacity than lead or zinc but tends to yellow in the short term. It is slower drying than lead but faster than zinc. It handles and mixes well, and its surface qualities may be strengthened by mixture with zinc oxide which also helps reduce the sometimes too intense tinting power inherent in titanium pigment. Permanent White **** A titanium white with the same general handling qualities but with a barium sulphate additive which inhibits yellowing in early drying while reducing tinting power and increases transparency. Ceramic White **** A painting white developed by a joint research project of the Holbein Works Ltd. Laboratory and Japanese Government Industrial Laboratory, Ceramic White was developed to combine the most positive qualities of other painting whites when taken collectively. It contains titanium and strontium pigment which will not react with sulphur. Ceramic White offers superior surface strength without brittleness, increases tinting and covering power over lead and zinc, but when compared to titanium white, it offers increased transparency, drying time and visual whiteness. Excellent handling qualities.
Lascaux thickener increases the consistency of the ink at high dilutions with water. The good strokes are thus retained. The thickening effect is only ensured in the wet state.increases the viscosity of acrylic paints saves the water content of the colors and thereby extends the opening timeallows a good brushing in the case of very dilute colors when applying glazes and prevents drips The color depth and surface texture of the painting remain unchanged.
Dammar, best quality
Order number: 60000
handpicked, from Sumatra
Use for varnishes and in mediums. Kurt Wehlte recommends wrapping 100 g damar crystals in gauze and suspending them by a string in a closed jar filled with 200 ml pure gum turpentine. The crystals will take a couple days to dissolve. Our damar is harvested by hand in Sumatra, Indonesia, where deforestation and political unrest have diminished supplies.
Chemical description Natural resin, CAS No. 9000-16-2
Form solid
Solubility in water insoluble
Lascaux Matting AgentCompositionDispersed pyrogenic silicia with acrylic polymer inwaterProperties- used to obtain a matt effect with acrylic paintsand mediums. It contains no binders.- dries to a matt, water-resoluble film- lightfast and age resistandApplications- adding Lascaux Matting Agent gives acrylics a mattappearance similar to that of gouache or temperacolours- likewise, acrylic colours can be prepared forsupplementing or retouching lime and caseinpaintings at any stage- the Matting Agent is only suitable for use withwater-based systems and for interior applicationsDirectionsSlowly add 20-30% Matting Agent to the relevantproducts, stirring all the time. Depending on theamount of the agent added, a certain loss of transparencyis unavoidable. Higher proportions of MattingAgent will proportionaly reduce the binder contentthereby diminishing the waterproofness and scratchresistance of the paint. The Matting Agent shouldtherefore only be used for interior work.NotesPhysiologically and toxicologically safe in conventionalusage. USA: conforms to ASTM D-4236.Sizesbottles of 85 ml, 250 ml and 1 l, plastic buckets of 5 l.
Modern Egg Tempera (Replacement) Medium No. 6
Brownish water-mixable binder for making classical tempera colours (egg yolk
replacement). Addition produces a stable mixture of oil and water colours.
For more details please request a product information sheet at www.lukas.eu or
by phone on ++49 (0) 2 11-78 13-0
alkyd resin, emulsifying agents, balsam turpentine, water, additives
water (turpentine) / dangerous goods /
Medium Gel Green for Oil
Technical description : Carthame oil-based formula.2 formats available : 40ml and 200mlUse:The Medium gel has been designed for artists who want to use thick paints and build up depth. It preserves the consistency of oil paints without making the product too fluid, thereby enabling artists to superpose colours without diluting the bottom layers of colour. Product bonus:This medium also SPEEDS UP DRYING TIME.
A glass clear liquid which levels itself, even on irregular surfaces, to reproduce the effect of transparent still water. Apply in several fine layers of no more than 3 mm. thickness to prevent cracks or bubbles in the drying process.
Galkyd Lite
Galkyd Lite thins oil colors and increases transparency and gloss. When used in moderation with oil colors, Galkyd Lite will retain brushstrokes. Galkyd Lite is more fluid and less glossy compared to Galkyd. Thin layers will be touch-dry in 24 to 30 hours. SDS
Schnell trocknendes mattes Medium für Acrylfarben. Verringert den Glanz und erhöht den Verlauf und die Transparenz. Trocknet schnell, flexibel und wasserfest.
- dries to a waterproof, clear gloss film- Lascaux Medium 1 gloss is added to acrylic coloursin either diluted or undiluted form. Undiluted, itimproves adhesion of the colours on smooth andonly sligthly porous supports- Medium 1 gloss may be diluted with water in aratio of up to 1:10 for use as a sealing coat on supportsfor exterior painting- can be used as final gloss varnish for protecting artworkon flexible supports: use of Lascaux Medium 1or 3 diluted with approx. 25 % water is recommended.The dry film will be waterproof, colourlessand lightfast- Lascaux Medium does not dissolve dry acrylicpaint films. Lascaux Mediums dry to a softer filmthan Lascaux Acrylic Transparent Varnish