Raw Materials

Damar Resin

Sumatran A1 grade Damar Resin. Very clean and bright.
Constituent in oil painting and egg tempera mediums. Add to mediums to create optical depth and transparency. Use as a traditional picture varnish for oil painting. Damar Varnish is easily removed but has a slight tendency toward yellowing and embrittling with age.

Castor Wax

Hydrogenated castor oil (Castor Wax) is a non-yellowing hard wax.
Used as a rheology modifier for oil paints and mediums; may be added to other waxes to increase hardness and durability.
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Refined Beeswax

Very pale, very clean Refined Beeswax beads.
When melted and added to oil mediums will impart body and a ‘shortness’ to the brushstroke. Can also be added to oils, oil mediums and varnishes as a matting agent. Binder in true encaustic, whereby melted wax is coloured with artists’ pigments and applied to a solid support whilst molten. Beeswax may also be mixed with Carnauba Wax and Distilled Turpentine for the manufacture of timber polishes.
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Rabbit Skin Glue

Refined animal glue size for sizing canvasses prior to oil priming for the prevention of canvas rot.
Painting directly onto a Rabbit Skin Glue size with oil colours is not recommended as it has the potential to create underbound paint.
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Gilders’ Whiting

Genuine Natural English Whiting / Chalk (Calcium Carbonate).
Added as a filler for water-based paints to create opacity; for the manufacture of traditional glue gesso; and as a filler for the manufacture of soft pastels.
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Fine White Marble Dust

This manufactured calcium carbonate is extra fine, dense, inert and very white.
Added as a filler for water-based paints to create opacity. It may also be used as a extender for oil colours due to its lower oil absorbtion index than Gilders’ Whiting.
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Pumice Powder

A very absorbent, fine grey inert filler.
Adds texture to primers, paints & mediums; may be used as a soft abrasive for cutting and polishing; also used as grain filler.
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