Painting

Finest artists’ resin-oil colours . Schmincke Mussini oil colour are unique throughout the world for their use of natural resin binders, instead of conventional oil binders. This allows for more luminous, stable colours. The recipe of Mussini oils in based on the oil paint formulations of the Old Masters. There are 108 colours in the range, including 7 gold shades. All of these offer intense pigment saturation and maximum lightfastness. 64 of the shades are single pigment shades, which are particularly easy to use when colour mixing.

In order to achieve the highest standard regarding lightfastness, resolubility and stability, Schmincke's HORADAM® use the best raw materials available. There is no compromise in quality - the highest standards of artists' pigments allow the highest level of lightfastness. Schmincke's HORADAM® binding medium is Kordofan Gum Arabic from the Sahara region, due to it differing from year to year it is tested and the best of the batch is selected to used with their pigments. They use an optimal amount of oxgall to avoid undesired coloured formations and undissolved pigment, allowing the perfect flow of colour.

A transparent, light-resistant and non-aging primer for oil and acrylic colours and pastel with slightly absorbent character. Forms an elastic, matt, slightly rough film after drying. Transparent primer is ready to use, but can be diluted with max. 10% of water.

A natural coloured, light-resistant and non-aging, very adsorbent primer for working with pastels on greaseless surfaces like wood, metal, canvas or paper (> 350 g/m2 ). Forms an elastic, matt, rough film after drying. Ideal for mixing techniques with watercolours, gouache or acrylic colours. Primer for pastels is ready for the application with a paint roller; for working with a brush please dilute with max. 20% of water.

A white, light-resistant and non-aging, even primer for working with water-colours on greaseless surfaces like linen canvas, card board or wood. Forms an elastic, matt, even film after drying. AQUA watercolour ground, fine is ready to use and should be applied in minimum 3 layers on the ground. If been diluted with water (max. 10%) you have to apply more layers.

The transparent primer allows watercolour painting on grease-free surfaces such as canvas, painting boards, wood as well as on acrylic paintings in which the surface remains visible - in comparison to the existing white watercolour ground, fine - and provides for especially creative options. The watercolour ground, transparent forms an even, matt, elastic and age resistant film. Can be overpainted (or tinted beforehand) with watercolours, gouache or acrylic colours. Thinner: Water

A transparent, colourless, light-resistant and nonaging primer for working with AERO COLOR® Professional on non-absorbent surfaces such as plastics and metal. Improves the adhesion properties. AERO GRUND is ready to use. After drying sand down finely and – if necessary – repeat this process.

Pasty medium for oil colours. Suitable for prima- and putty-knife painting technique. Preserves the natural tone and buttery character of an oil colour; accelerates drying and supports the through drying of thicker oil layers. There is no change of the product quality based on the colour change of the raw material stand oil. Dosage: 10 to max. 30%

Very fast drying medium for oil colours. Especially recommended for prima painting, transparency painting, and also for the application of upper colour layers on already dried layers; increases gloss and transparency. Quick application is necessary as the mixture dries fast on the pallet. Close immediately after use. Dosage: 10 to max. 20%.

Very fast-drying additive for oil colours. Provides fast surface drying and even thorough drying. ATTENTION: Add only in drops to the oil colour otherwise colour may darken, stick, wrinkle or even tear off. Dosage: max. 0,1%.

Liquid medium for mixing oil colours with water instead of turpentine or turpentine substitute. Increases gloss and transparency; harmonizes drying process; odourless. Shake before use. Mix 2 parts of oil colour and 1 part of medium W on a palette, than add water like you want; if necessary add more medium W. Painting tools can be cleaned with water. There is no change of the product quality based on the color change of the raw material alkyd resin. Dosage: 50%.

Slightly thinner than Liquin or other Alkyd gel mediums, it increases the transparency and flow of oil colour, allowing paint to be brushed out more smoothly. Alkyd flow medium reduces drying time.

A “neutral”, nearly non-yellowing painting- and thinning medium for oil colours. Applicable for all painting techniques except for ground motifs on slightly absorbent undergrounds (not “lean” enough); has only a low impact on drying time. For dilution use terpin (max. 30%). Dosage: 10 to max. 20%.

Creamy painting medium for “soft” painting with acrylic colours. Retards drying; increases gloss and transparency. Simplyfies colour flows and colour transitions; creates paintings with acrylic colours surfaces similar to oil colours. Mixing ratio: max 1:1.

A gently flowing medium for acrylic colours. Forms a clear and glossy film; retards drying; increases gloss and transparency; optimizes adhesive properties. Ideal for large surfaces.

A gently flowing medium for acrylic colours. Forms a clear and glossy film; retards drying; increases gloss and transparency; optimizes adhesive properties. Ideal for large surfaces.

An extra light acrylic paste with a firm, very heavy consistency. Dries up to a white, matt, even surface with a stronger absorbent character. Ideal for structural effects also on flexible substrates, e.g. canvas. The low weight of this paste makes it ideal for large surfaces. Dries quicker than the other acrylic pastes.