Mediums, Accessories & Printing

Watercolour Mediums
Separates watercolour
Granulation medium:

Helps give a more mottled granulation to normally smooth pigmented colours. Works best on not or rough watercolour paper.

Texture Medium:

Contains small particles that when mixed with paint or applied directly to paper gives a slightly three dimensional effect.

Iridescent Medium:

A medium that can be mixed with watercolours for a gentle pearlescent effect, or thinly smeared over the top for a stronger sparkle.

Blending Medium:

Slows the drying of watercolours allowing for longer working time. Particularly useful in hot climates. For best results dilute colours with medium only.

Art Masking Fluid:

A staple for most watercolourists. A rubber solution that provides a barrier between paper and paint, allowing freedom with washes and fine detailed work.

Lifting Preparation:

A medium that, once applied to the paper, helps colours lift off more easily once water is applied. Will not lift staining colours completely, though.

Gum Arabic:

As a binding agent of watercolours, Gum Arabic can also be used as a medium to slow drying, and to add transparency and gloss.

Ox Gall

A wetting agent that is particularly useful when using the 'wet on wet' technique. It can also be used on very hard sized papers to assist absorbtion.

Acrylic mediums
Blended Fibres:

A thick, fibrous, opaque gel that gives the impression of pulpy fibres when dry. Best applied with a palette knife. Dries to a satin finish and can be mixed with acrylic paint.

Black lava

A gel speckled with tiny chips of black aggregates. The gel dries clear, so can be mixed with transparent acrylic colours, and is best applied with a palette knife or trowel.

Ceramic Stucco:

A thick, matte, gritty paste that dries to a pale grey stucco finish. Because of it's texture, it makes an excellent ground for pastels as well as acrylics.

Resin Sand:

A thick, course texture gel that is mixed with aggregates. It will retain it's texture when mixed with paint and is best applied with a palette knife. Dries opaque.

String Gel:

This medium has a thick, viscous, almost treacle like consistency. It is self levelling and dries to a very high gloss. Mixed with acrylic, it will increase the transparency and flow.

Glass Beads:

This clear this gel has round beads suspended in it that give a 'bubbly' surface once dry. Can be mixed with any acrylics, although transparent colours work best.

Natural Sand:

As the name suggests, this gel has a fine sand texture akin to beach sand. It works as a ground for soft and oil pastel as well as acrylics, and dries to a hard glossy finish.

White Opaque Flakes:

A heavy body coarse gel that contains irregular shaped opaque flakes. The white flakes are most obvious if no colour or a very thin mix of transparent colour is used.

Liquitex Gel Mediums add body to thinner paint for impasto techniques as well as extending colour volume and adding transparency. Gels also add “open time” as they tend to dry slower than thinner paint films. Gel mediums can modify acrylic paints in a variety of ways and, since they contain acrylic resins, tend to improve adhesion and durability. They hold brush strokes and knife marks well, and make an excellent adhesive medium for collage pieces.

Oil Mediums
Refined Linseed Oil:

The most popular oil medium. Slows drying time and increases transparency and gloss. 

Cold Pressed Linseed oil:

The extra virgin olive oil of it's category! Extracted without using heat, increases transparency and gloss. Dries a little quicker than refined linseed oil.

Artists' Painting Medium:

A slow drying medium suitable for fine detail work, and areas that require smooth blending with minimum brush strokes.

Liquin Fine Detail:

The most fluid of the Liquin family of products, this quick drying, gloss medium is ideal for fine details, glazing & blending or to produce a smooth surface picture.

Liquin Original:

Possibly the best selling oil painting medium. Reduces brush strokes, speeds drying and improves flow. Perfect for glazing.

Oil Solvents
Distilled Turpentine:

A highly refined essential oil with the strongest thinning & brush cleaning power of the artists' quality solvents. Use in a well ventilated area.

White Spirit:

A petroleum based product that is a more reasonably priced alternative to turpentine. Highly flammable. As with turpentine, use in a well ventilated area.

Low odour Thinners (Sansodor):

For those who dislike the smell of other thinners. Also, must be used in a well ventilated area.

Zest it (and variations)

A great new product that emerged a few years ago. A natural solvent made from pure ingredients which is pH neutral and contains no CFC's and has a pleasant citrus smell. Easily removes fresh oil paint from all your brushes, sable, sable mix, synthetic or bristle. Perfect as a medium to thin oils.

Oil Varnishes
Matt, Satin & Gloss Varnish

Quick drying, non yellowing UV resistant range of varnishes that won't bloom or crack. Use once the painting is completely dry (six to twelve months). Don't use as a medium. 

Damar Varnish:

A pale yellow varnish that dries to a high gloss that can darken with age. Removable with turpentine. Do not varnish until painting is completely dry.

Retouching Varnish:

A quick drying, UV resistant gloss varnish that, if applied thinly, can be used as a temporary varnish to touch dry paint.

Exhibition Varnish:

C Roberson Exhibition Varnish acts as a temporary varnish to protect touch-dry paintings when you need to display them before they’re fully dry.

Made with a very fine cut of damar resin, it can be relied on to preserve your work and does not need to be removed before you apply a final picture varnish when the time comes.

A fine, clear, non-yellowing spray varnish suitable for sealing acrylic and oil paintings. Use in a well ventilated area.


Liquitex Varnish is one of the few water based varnishes for acrylic, and is absolutely superb. Exceptionally straightforward to use, and of course has the benefit of easy to clean. Available in Matt, Satin, Gloss and High Gloss. The latter is a favourite of mine as I use it to build up layers to give an almost resinous finish.

Palette Knives

An Italian made range of palette knives in tempered steel that have a wonderful spring and flexibility to them. We keep a selection of over 20 styles that cater for all requirements, be it fine detail or a wider blade for blocking in large areas. 

Watercolour Palettes
Oil Palettes
Acrylic Palettes

We stock a variety of plastic, ceramic, wooden, tear-off and stay wet palettes suitable for a variety of mediums. See in shop for the full range.




One of the original air drying clays. Das is soft and pliable, and very easy to work by hand or with tools. As no baking or firing is required, it is perfect for use with children as well as model-makers. It will stay workable as long as it is kept moist, and once fully dry can be painted with poster paint or acrylics. Available in 500g and 1kg packs, and in a whitish grey or original terracotta. 

*Although you can use it for fine detailed work, I would be cautious about doing anything that is too thin, as, once dry, it would easily snap or break if not handled carefully. 

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For model making and plaster casting, we stock Creative House moulding powder, which is just another name for Plaster of Paris.

Also, we stock Mod Roc, which is essentially plaster impregnated gauze. This requires a structure to be formed round, but it's a very useful product as layers can be quickly put down and 'moulded' to shape. 


Lino Cut Materials


We stock Essdee handles, blades, rollers/brayers and sets. A very affordable way to start lino printing.

Abig Lino cutting tool set. Contains a wooden handle and five blades.

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Printing Inks

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We currently stock Daler Rowney and Scola Water Based Block Printing Inks. Both are excellent value for the beginner and more accomplished printer. Should you wish to use a professional quality ink (Speedball, Akua or Gamblin) we are able to order these in quite readily.