Galkyd is an alkyd resin painting medium that increases the fluidity of oil colors and speeds their drying time. Thin layers of oil colors are dry in 24 hours. The viscosity of Galkyd is similar to traditional painting mediums made from linseed stand oil. Galkyd levels brush strokes, creates a strong flexible paint film and leaves an enamel like glossy finish. Galkyd is ready to use. Thins with odorless mineral spirits. Painters can add up to 50% by volume odorless mineral spirits to change the viscosity of Galkyd for glazing. Galkyds are excellent glazing mediums.

Galkyd Lite is different from Galkyd because it is formulated to have a lower viscosity. The viscosity of Galkyd Lite is very similar to that of a traditional damar/refined linseed oil/turpentine painting medium. Galkyd Lite is also ready to use. Because of its lower viscosity, Galkyd Lite will leave brush strokes in thicker layers. Glazes made with Galkyd Lite look slightly less glossy than those made with traditional mediums or Galkyd. Like Galkyd, Galkyd Lite is formulated to thin oil colors and maintain strong flexible paint films. Besides painters who prefer a lighter painting medium, landscape painters and others who enjoy painting outdoors will appreciate the longer working time of Galkyd Lite (approximately three hours). Thin layers will be ready to paint over within 24 hours. Thins with odorless mineral spirits.

Galkyd Slow Dry is formulated to have strength and flexibility and to keep the surface of oil paintings open for approximately three days. This is a good choice for painters who blend or work wet into wet. Use 1 part Galkyd Slow Dry and 1 part oil colors to paint wet into wet for at least a day. DO NOT DILUTE.

G-Gel is a gelled alkyd resin painting medium, which Robert formulated for painters who want to create transparent impasto. Thixotropic G-Gel holds marks and brush strokes. G-Gel makes impasto of approximately 1/4" thick. You can apply multiple layers. To maintain its clarity, G-Gel is not loaded with driers so it does not dry as fast as most gel mediums. Adding driers causes oil paintings to darken and become brittle over time. G-Gel contains a very small amount of silica so it is very transparent and lightweight.

NEO MEGILP Oil Painting Medium is a soft, silky gel. Neo Megilp maintains the body of the paint, and produces a luminous Turner-like atmosphere, while suspending and supporting paint in a soft gel. And it is made from contemporary materials so it will not turn yellow or dark as it did in the 17th and 18th centuries. Neo Megilp can also replace Maroger Medium for artists who love the working properties but are now concerned about Maroger's poor aging qualities.

Cold Wax can be used to make oil colors thicker and more matte. A soft paste formulated to knife consistency, Gamblin Cold Wax medium is made from naturally white unbleached beeswax, alkyd resin and odorless mineral spirits (OMS). Gamblin Cold Wax Medium can be thinned to brush consistency by dissolving in a small amount of OMS. The surface of paintings made with beeswax mediums will become only as hard as a beeswax candle. Adding Galkyd to cold wax painting medium/oil colors mix will increase the sheen and flexibility of the paint film. Use a small amount to make Galkyds more matte. Gamblin Cold Wax Medium contains no oil so it can be applied as a wax varnish over a dry oil painting.

Small beads of naturally white unbleached beeswax.

Pressed from American flax seeds. This is as light and pure as industrially produced linseed oil can be made. Use in moderation to thin oil colors or as an ingredient in traditional painting mediums.

Produced from pressing of flax seeds without using heat or chemicals of any kind. Increases tendency of oil paints to yellow over time when used to thin oil colors.

Vacuum bodied linseed oil

Poppy oil's slow drying time may be useful for painters using "wet into wet" techniques. Adding 10% by volume poppy oil slows down the drying time of Gamblin Galkyd Painting Mediums.

Gamvar is a low molecular weight synthetic-resin gloss varnish developed by conservation scientists at the National Gallery. Package makes enough varnish for 8 X 10 sq feet of paintings made with oils as well as acrylics. Gamvar can also be used for retouch.

With a high refractive index similar to that of natural resins, colors are fully saturated to bring out the best in the painting.

Unlike varnishes made from natural resins like damar and mastic, Gamvar does not yellow with age or become more difficult to remove. It contains a UV stabilizer and offers some measure of protection to less lightfast pigments, depending on how thickly it is applied.

Gamsol is the safest solvent that allows oil painters to utilize all traditional painting techniques without compromise.

This is the traditional size for fabric support. Conservation scientists caution painters that rabbit skin glue absorbs atmospheric moisture on damp days and swells, gives off moisture on dry days and shrinks. This movement of the size layer can cause aged oil paintings to crack according to the Smithsonian Conservation Lab.

Gamblin Gesso makes a traditional absorbent ground for oil paintings on panels. "Gesso" is Italian for gypsum which, when mixed with water and animal glue, makes a luminous painting surface. Gamblin Traditional Gesso is a dry mixture of rabbit skin glue, gypsum, marble dust, and titanium dioxide. Robert Gamblin recommends applying four coats Traditional Gesso to both sides of thin or poorly braced panels. Traditional Gesso is too brittle to use with fabric supports.

Diluted with distilled water, PVA size is a contemporary size for fabric support. Conservation scientists recommend painters use neutral pH PVA size on linen and canvas instead of rabbit skin glue. PVA provides a good size layer that seals the fabric but does not re-absorb atmospheric moisture, swell and shrink like rabbit skin glue does. There are hundreds of different formulae of PVA. We acknowledge and appreciate the research of the Canadian Conservation Institute that helps painters and conservators identify the best PVA to use. Gamblin PVA Size is made from PVA that has a neutral pH and does not yellow. It also retains its flexibility and does not emit harmful volatiles.

Gamblin Oil Painting Ground makes a strong, bright, non-absorbent foundation for oil paintings. Formulated from alkyd resin, titanium dioxide, and barium sulfate, Gamblin Ground makes canvas and linen stiffer than acrylic "gesso" and more flexible than traditional oil primers. Barium sulfate gives Gamblin Ground its tooth. Titanium dioxide gives Gamblin Ground its opacity.

Because the percentage of pigments is so much higher than in acrylic "gesso", painters need only apply TWO coats of Gamblin Ground instead of the recommended four coats of acrylic. More coats can be added for smoother painting surfaces. Because alkyd resin is used instead of linseed oil as the binder, Gamblin Ground is more flexible and dries more quickly than lead/linseed oil grounds. Lead/linseed oil grounds must dry for six months and Gamblin Ground is ready for paint application within a week.