Pip Seymour's range of auxiliary materials (mediums, varnishes, solvents) have been selected to combine tradition and innovation. At a time when natural materials have become scarce, expensive and hard to find, Pip Seymour intends to continue to offer these niche products, at sensible prices. Many new synthetic resins and solvents have become available, the best of these he has selected and formulated to create a range of oil paint mediums and varnishes, with best resistance to ageing. The products are all trialled in-house by artists and run through rigorous laboratory tests, to ensure the best quality control. A note about Pip Seymour's Refined Linseed Oil Our refined linseed oil in unbleached. This is the colour that bleached oil turns to over time - we decided not to bleach the oil, so that the end user knows that this type of product has this n-built defect. In any case, adding any linseed oil to oil paint tends to cause darkening/yellowing over time. The best use for this type of oil is in painting grounds - to make half oil grounds with whiting, titanium white and rabbit glue (as emulsion). There are recipes for such in The Artist's Handbook. It is also good with egg to make a tempera grasse - egg-oil emulsion. For paint making with pigment, cold pressed oil (flax oil) is preferred as it changes less over time. If adding oil to oil colour, it is technically better to add a mix of stand oil-turps 50/50, to the same consistency as linseed oil - this mix darkens less than refined linseed oil.
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