Bleached Linseed Oil  A refined pale oil of slightly increased viscosity, which will improve the flow of colours and dries slightly faster than Refined Linseed Oil. This oil is thinner and paler than thickened linseed oil and is useful for use with white and pale colours. It dries slightly slower than Thickened Linseed Oil.

Thickened Linseed Oil  A pale refined oil of syrupy consistency. This speeds the drying time even more than Bleached Linseed Oil, improves flow and gloss and increases the durability of the film. This oil behaves like Linseed Stand Oil but is dries quicker and darker.

Cold Pressed Linseed Oil  A slightly yellow oil, which is extracted without the use of heat. This can be added to colour to reduce the consistency, improve flow, and increase gloss and transparency whilst reducing brush marks. Thin with Turpentine or Artist’s White Spirit. This oil dries slightly quicker than refined lineseed oil and may have better flow with some colours.

Drying Linseed Oil  This is an oil of darker colour than Refined Linseed Oil, which promotes the fastest drying rate of all the oils whilst increasing gloss.

Refined Linseed Oil  Our most popular oil offers many of the same qualities as Cold Pressed Linseed Oil, but is slower drying. It is an alkali-refined oil of pale colour that reduces oil colour consistency and increases gloss and transparency.

Drying Poppy Oil  A drying oil used to increase the drying rate. Made from poppy seeds, it is the palest of the oils and is resistant to yellowing which makes it well suited for whites and pale colours.

Stand Oil  A pale viscous oil that can be mixed with Turpentine or White (Mineral) Spirit to improve the flow and levelling of oil colour. Retards drying but imparts a tough, elastic finish. Use in conjunction with Turpentine or Artists’ White Spirit to improve colour flow. It is well suited for glazing and for fine detail and is resistant to yellowing while increasing the durability of the film. It slows drying and is the best oil to choose as an additive medium.

Artists Picture Cleaner  Not strictly a solvent, Artists' Picture Cleaner is a liquid which is designed for the cleaning of varnished paintings and is an excellent product for this purpose. It works by dissolving linseed oil oxidation and will remove surface dirt and the products of oxidation in the old varnish. It contains an emulsified mixture of Copaiba balsam, dipentene and pine oil with ammonia.
You will find that the liquid settles out in two layers so you will need to shake well before use and thinning is not recommended.

Artists White Spirit  A volatile, flammable diluent (thinner) for oil colours and the cleaning of brushes. Whilst it has a characteristic odour, this is less pronounced than Turpentine. This makes a watery mixture, evaporates quickly, is less hazardous than Distilled Turpentine, less costly and does not deteriorate on storage.

Sansodor  A Low odour solvent. Sansodor makes a viscous mixture, evaporates slowly, is the least hazardous, costs approximately the same as turpentine, does not deteriorate on storage and has minimal odour. This is well suited to artists who prefer to avoid exposure to turpentine.

Distilled Turpentine  All solvents vary in strength and their capacity to 'loosen up' the body of the colour. The artists' grade solvent with the greatest power is Distilled Turpentine, the only artists' grade solvent capable of easily dissolving Dammar resin. Turpentine makes a viscous mixture, evaporates slowly, is the most hazadous and strongest smelling solvent commonly used by artists.

Oil Painting Medium  This is a prepared medium that thins the colour consistency, improves flow and wetting, slows drying, increases the durability of the film and is resistant to yellowing. Artists' Painting Medium is well suited for 'oiling out'.

Liquin Fine Detail  The most fluid of the Liquin family of products, this gloss medium is ideal for fine detailed work. It is also perfect for producing a smooth surface picture or in smoothly blended areas where you do not want brushmarks. 

Liquin Fine Detail is the modern alternative to the traditional copal mediums that were based on natural resins and offered fast drying properties to the artist. It will approximately half the drying time of oil colour, dependant on the proportions added.  Therefore, depending on the climate, colours used, and film weight, the layer will be touch dry in anything between 1-5 days.
It is not advised to use Liquin as a varnish or final coat. 

Liquin Light Gel  This Liquin formulation offers a slight gel that breaks down on brushing (thixotropic) and flows out to give a non-drip effect when mixed with colour. It is ideal for glazing. It dries to a gloss film that has an increased resistance to yellowing. This product offers all the handling properties traditionally seen with the historic Meglip mediums but without the tendencies to crack and yellow which are normally associated with mastic mediums. Choosing Liquin Light Gel is like selecting non drip gloss paint for decorating in favour of liquid gloss (Liquin Fine Detail). It provides looser handling.

Japan Gold Size  A dark, thin liquid, which acts as a quick drying adhesive for use when gilding. Can also be used as a non removable exterior varnish.

Artists Gloss Varnish  A modern general purpose high gloss varnish. It is a clear liquid which dries to a non-yellowing glossy film. It may be mixed with Artists’ Original Matt Varnish to adjust degree of gloss.

Artists Matt Varnish  A superior quality artists’ matt varnish which represents the very latest in varnish chemistry. It is water white and remains readily removable for over 100 years with White Spirit or Turpentine. Dries quickly to a non-yellowing film, does not bloom or crack.

Retouching Varnish  A clear liquid varnish, which dries to a non-yellowing, glossy film. Gives temporary protection to recently completed oil paintings.

Dammar Varnish  A pale yellow varnish which dries quickly to a high gloss for use on oil and alkyd paintings. Traditionally also used on prints and maps. It tends to darken with aging. It is the traditional high-gloss varnish.

Liquin Original  This reliable favourite (formerly known as just "Liquin") continues to be our most popular liquid alkyd medium. A general purpose low gloss medium which improves flow and transparency. It mixes easily with the brush or knife and smooths brushwork. Liquin Original also suits a textured oil technique.
Liquin Original will approximately half the drying time of oil colour, dependant on the proportions added.  Therefore, depending on the climate, colours used, and film weight, the layer will be touch dry in anything between 1-5 days.
It is not advised to use Liquin as a varnish or final coat.