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A pale yellow flammable varnish which dries quickly to a high gloss for use on oil and alkyd paintings, prints, maps, and drawings. Tends to darken with age.

A flammable white paste which is rubbed onto a painting to achieve a soft sheen finish. When dry the surface may be polished with a soft brush or cloth.

A ready-to-use primer in a non-yellowing oil-modified alkyd resin medium. No thinning or stirring is required. Oil painting primer can be applied directly to metal or porous surfaces (glue sized canvas, untreated wood, hardwood, plywood, paper) with virtually no "sinking in". A small amount of oil colour can be mixed into the oil painting primer for tinted primings. The treated ground accepts oils easily with no "chalkiness" or absorbency. Please allow 24 hours between each coat - most grounds will always need two or three coats of primer, which should be applied around edges and on the reverse of the surface to prevent warping.

An extremely flexible primer for absorbent non-oily surfaces. Suitable for oil & alkyd as well as acrylic paintings. Quick Drying.

For sealing canvases prior to priming.

For sealing canvases prior to priming.

For oil and alkyd colours, increases gloss and transparency, and reduces consistency of the colour. Good for mixing with pigments.

A refined pale oil of slightly increased viscosity improving flow of colours. It dries slightly faster than Refined Linseed Oil.

An oil of darker colour than Refined Linseed Oil which increases the drying rate of oil colours.

Reduces consistency, increases gloss and transparency and slows the drying rate of oil colours.

Improves flow and retards drying of oil and alkyd colours.

A pale refined oil of syrupy consistency which increases flow of colours and speeds drying. Replaces Sun Thickened Linseed Oil.

Resistant to yellowing. A pale oil which reduces the consistency and increases drying rate of oil and alkyd colours.

A volatile, flammable diluent for oil colours and the cleaning of brushes. Whilst it has a characteristic odour, this is less pronounced than turpentine.

A highly refined essential oil used as a diluent for oil colours and the cleaning of brushes. Turpentine is a water white, volatile, flammable liquid with a characteristic odour and greater wetting properties than Artists' White Spirit. Store in the dark in full bottles, as exposure to light causes thickening.

A low odour diluent alternative to Artists' White Spirit. Sansodor is slow drying and therefore useful in controlling Griffin Alkyd and Oil Colours. Low flammability.

A liquid which dissolves Linseed Oil oxidation and cleans soiled oil paintings. Emulsified mixture of Copiaba balsam, dipentene and pine oil with ammonia. The liquid settles out in two layers. Shake well before use. Thinning not recommended.

A hygienic gel cleaner which quickly and effectively removes Oil and Alkyd Colours from brushes and hands without harmful effects. It also helps to restore natural oils to the skin, and conditions brushes too.

A convenient and practical dispenser containing 80 solvent saturated tissues for cleaning Oil and Alkyd colours from hands and painting accessories.

A light non-greasy cream which, when applied to hands before working, forms a protective barrier against all types of artists' material.

A flammable pale yellow thinning medium for Oil Colours which improves flow and wetting, thereby facilitating fine detail work. Dries to flexible film with minimal tendency to yellow, wrinkle or crack.

The most popular liquid medium. Improves the flow of oil colours for smooth brushwork, subtle blending or fine detail. It increases translucency making it ideal for thin glazing. Mixes easily with a brush and flows readily.

Liquin is a flammable, thixotropic, translucent gel drying to a virtually non-yellowing film.

A flammable, stiff, translucent gel specifically for impasto or texture work. It dries to a crack resistant and virtually non-yellowing film when mixed with a knife (do not use a brush, or the bristles will clog). It retains knife and brush strokes and will not level out.

Oleopasto can also be used as an extender. In this way, thick layers of colour can be built up, whilst using only minimal amounts of expensive pigments. When used generously with translucent colours, oleopasto produces an "inner light" effect - giving the painting a luminous quality.

A flammable, clear gel which produces a soft paste when mixed with Oil or Alkyd colours, ideal for expressive brush work.

When worked with a palette knife, Wingel becomes a free flowing liquid suitable for building up layers of glaze, for painting long fine lines (with a touch of white spirit on the brush tip) or for moderate impasto. Mix with colour in the ratio of one part colour to two parts Wingel and leave undisturbed for a short period before use. Keep brushwork to a minimum when applying to avoid build up. Dries to non-yellowing crack-resistant finish.