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LANGRIDGE OIL COLOURS

Langridge Handmade Oil Colour has been constructed to excel in saturation of colour and physical handling qualities for unequalled performance. Developed in consultation with artists to satisfy demands for oil colours unadulterated by fillers or modifiers, to make a pure, full-strength paint with maximum pigment loading.

The resulting range of paints has the fullest chromatic strength with exceptional tinting power resulting in extremely clean colour mixing. Built to reflect the intense colour and light of Australia they are the world’s first oil paint specifically based on contemporary colours of the 21st Century­.

 
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SCHMINCKE AKADEMIE OIL COLOURS

Schmincke’s student range of oil colour ensures brilliant results due to the many single-pigment colours, both directly used from the tube and as mixtures. The balanced and educationally practical range offers opaque and transparent colours and, as a particular feature, four different shades of white.


OIL MEDIUMS

 

UNDERPAINTING MEDIUM

A lean medium to be used for the ‘first-sketch’ in painting, with low oil content for rapid drying, minimising chances of cracking when over-painting with full strength colours. Stand Oil base ensures non-yellowing of artwork.

PAINTING MEDIUM

A free-flowing medium for oils that improves paint handling that quickly dries to a tack but remains fresh so that it may still be painted into. Perfect for wet on wet technique. Stand Oil base ensures non-yellowing of artwork. Pale colours stay bright while deep tones are enriched.

LOW TOXIC UNDERPAINTING MEDIUM

Low-toxicity solvent (odourless) based lean medium used for ‘first-sketch’ in oil painting.
Low oil content for rapid drying minimises chances of cracking when over-painting with full strength colours. Ensures pale colours stay bright whilst deep tones are enriched.

LOW TOXIC PAINTING MEDIUM

Low Toxic Solvent based fluid medium for improved paint handling. Reduces exposure to harmful solvents. Perfect for wet on wet technique. This medium will tack-up in 30 minutes, allowing paint to be aggressively worked whilst maintaining position.

FLOW MEDIUM

Added to oil colours to increase flow.
Very pale and non-yellowing Safflower oil based medium. Keeps a ‘slippery’ and wet quality to paint, allowing for loose manipulation over extended periods.

GLAZE MEDIUM

A resin rich oil medium that gives oil colours increased translucency. Perfect for the creation of optical depth and soft suffusions of colour. Used for traditional thin glazes and fine detail work. Stand Oil base ensures non-yellowing.

MATTE MEDIUM

A matte version of Langridge Painting Medium for adding fluidity and improve paint handling. It quickly dries to a tack but remains fresh so that it may still be painted into. Stand Oil base ensures non-yellowing of artwork. Caution should be used when painting with deep tones as the matting agent raises the tonal values slightly.

OLEOGEL

Solvent-free gel. A versatile medium that, when applied vigorously, will become highly fluid allowing easy brushing. As soon as the medium stops being moved it immediately ‘sets up’ and does not drip or lose its position.

IMPASTO MEDIUM

Incredibly thick gel medium for adding to oil colours for extra ‘body’ without altering colour with which it’s mixed. A slightly thixotropic medium, that allows for ease of thorough mixing with the paint.

OIL GLAZING GEL

Fast drying, damar resin based medium giving lasting brilliance and luminosity when mixed with oil colours, allowing for modern glazing technique. Thixotropic medium with a soft gel consistency designed for bold glazing.

WAX PAINT PASTE

Wax paint paste has a thick, smooth and buttery consistency. It is a highly stable impasto medium, extending paint whilst keeping a strong-bodied brush or palette knife stroke. Reduces gloss level.

ISOLATING MEDIUM

Isolating mediums is a non-reversible, oil-based medium to even out the reflective finish of the painting prior to varnishing. Dries to a non-yellowing, gloss finish so that the consequent application of a gloss, satin or matt picture varnish can be achieved more easily. Not to be used as a final varnish.

COBALT DRIERS

Siccative made with cobalt octoate.  Acts as a surface drier for all oil colours and mediums. Use sparingly as its overuse may destroy paint films.

CALCIUM DRIERS

Concentrated calcium carboxylate drier in mineral spirits that acts as an auxiliary ‘through film’ drier for oil colours and mediums.
 


DRYING OILS

 

REFINED LINSEED OIL

Highest quality Dutch linseed oil used as a medium for oil colours. Increases gloss and transparency. Adds a soft, ‘slippery’ quality when added to oil paints. Most economic of all artists’ drying oils. Use sparingly as a medium as linseed has a tendency to yellow with age.

REFINED SAFFLOWER OIL

Pale drying oil with a minimal tendency to yellow. High linoleic acid value for good drying rate compared to cold-pressed varieties. Slower film-forming than linseed oil.
Used for preparation of paints and mediums. Increases gloss and transparency.

STAND OIL

Stand oil is a non-yellowing oil for use in all oil mediums. Thick and honey-like oil, it will give enamel-like qualities to paint. Too thick to use straight, it should be diluted with solvent. Recommended for the manufacture of oil mediums. Reduces brush marks. Dries to a tough flexible film.

COLD PRESSED LINSEED OIL

Golden coloured oil used as a traditional binder for grinding oil colours.
When used to mill oil colours or mixed with prepared colours, removes the pronounced ‘suede’ effect. Use sparingly as a medium as linseed has a tendency to yellow with age.

COLD PRESSED SAFFLOWER OIL

Pale slow drying oil preferred for preparing delicate colours, particularly whites and blues where the yellowing of linseed oil is more noticeable. Added to prepared oil colours for a longer working time due to its slow drying nature. Safflower oil dries to a softer film than Linseed oil.

 

SOLVENTS

 

LOW TOXIC SOLVENT

Low Toxic solvent is completely odourless iso-paraffinic solvent. Permissible exposure Level is at least 3 times higher than alternative traditional solvents. It is an ideal turpentine replacement for artists concerned about exposure to harmful solvents.

DISTILLED GUM TURPENTINE

A natural diluent and solvent for oil colours and varnishes, that is distilled from the resin of tapped Gum Thus Pine. Unlike petroleum distillate based solvents its function is not solely to breakdown oil but aids in dilution. It has a greater wetting power than other solvents.

ARTISTS’ WHITE SPIRIT

Economical all purpose solvent. Ideal for cleaning brushes as it has a strong detergent action. Has a distinctive petroleum smell. Over-use will matt oil paint due to partial destruction of oil paint film.

 

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PRIMERS

OIL PRIMER

A traditional linseed oil based oil primer.
Produces a high quality white surface with good tooth and flexibility for oil painting. Reduces sinking in of colours and imparts good luminosity. Must be used on a pre-sized support (i.e. rabbit skin glue or Golden GAC100 on canvas or panel).


ACRYLIC PRIMER

Is a superior high resin, low chalk content primer with excellent hiding power due to its high Titanium White loading. It is suitable for oils and acrylics. Can be applied to a wide range of surfaces including raw canvas, wood and paper. No prior sizing needed.

CLEAR ACRYLIC PRIMER

Suitable for acrylic and oil painters, Langridge Clear Primer is a transparent and flexible sealer for preparation of a variety of materials including canvas, wood, paper, particleboard and much more. No prior sizing needed.

ENCAUSTIC GROUND

Specially formulated acrylic-based priming ground built with high absorbency to create the perfect base for application of encaustic wax. Easy to apply, the ground is fluid, yet full bodied giving maximum film-build needed to ‘take’ subsequent wax coats.

 

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VARNISHES

RETOUCH VARNISH

Retouch varnish is a temporary varnish for paintings six months or younger. Revives dull areas caused by ‘paint-sinking’. Helps adhesion of subsequent paint layers. Acrylic resin based synthetic varnish. Dries to a satin finish. Remove with Artists White Spirit.

DAMAR VARNISH

Used both as a final varnish and as a constituent of artists’ oil and egg tempera mediums. Dries hard and clear. Highest quality resin clarified before filtration. Dries to a satin-gloss finish. Remove with Turpentine.

GLOSS VARNISH

Acrylic resin based synthetic varnish, a final varnish for protection of oil & acrylic paintings. Unifies painting with an even optical reflection. It is non-yellowing and bloom resistant. Dries to a gloss finish. Remove with Artists White Spirit.

SATIN VARNISH

Acrylic resin based synthetic varnish, a final varnish for protection of oil & acrylic paintings. Unifies painting with an even optical reflection. It is non-yellowing and bloom resistant. Dries to a satin finish. Remove with Artists White Spirit.

MATTE VARNISH

Acrylic resin based synthetic varnish, a final varnish for protection of oil & acrylic paintings. Unifies painting with an even optical reflection. It is non-yellowing and bloom resistant. Dries to a dead-matte finish.
Remove with Artists White Spirit.

WAX VARNISH

For oil and acrylic painting. Apply with a clean cloth and polish to desired finish. Dries naturally to a matt reflection but may be buffed to a satin finish if required. Remove with Langridge Low Toxic Solvent.