‘‘Southern Nevada’ Complete Art Store’’ Fine Arts Supplies - Custom Framing
We carry a wide variety of mediums
Acrylics Modeling Pastes Holbein Acryla Modeling Paste Standard, Light and High Solid are now available in 300ml poly bag format. Holbein’s innovative and unique design provides for easy pouring and storage. No more rigid plastic containers with difficult lids to open and crusted medium around the top! Gel Mediums Holbein Gel Medium Standard, High Solid, Hard, Matte and Crystal are now available in 300ml poly bag format. Holbein’s innovative and unique design provides for easy pouring and storage. Gesso Choose from 4 whites: Smooth ‘S’, Medium ‘M’, Coarse ‘L’ and Super Coarse ‘LL‘ in a convenient 300ml poly bag format. Also available, Black and Clear Gesso. Made with high chroma and lightfast pigments Holbein Gesso is thick, creamy, and offers superb coverage and great opacity. Pumice Modeling Paste Offered in Standard, Coarse, or Extra Coarse, these pastes make especially good grounds for pastel. The addition of pumice granules lend a grainy texture to built-up forms, and results in a tooth similar to sandpaper. Self Leveling Clear Gel Designed to produce an even film with excellent clarity. The gel has a unique resinous, stringy consistency resulting from the leveling property. This product dries to a flexible, high gloss film, which can increase the transparency and sheen, while imparting a leveling quality to other GOLDEN Acrylic products. Blends with GOLDEN Acrylic colors to produce glazes Soft Gels Thinner than GOLDEN Heavy Body Acrylic colors, Soft Gels are moderately pourable. Hold only slight peaks. The recommended acrylic to function as a glue for collaging. Soft Gel Gloss is ideal for glazing and other techniques where transparency is desired. Soft Gel Gloss is useful as a non-removable isolation coat, applied over an acrylic painting prior to varnishing (must be thinned with water - 2 parts Soft Gel Gloss to 1 part water; DO NOT USE Soft Gel Semi-Gloss or Matte for this purpose). Heavy Gel Mediums Thicker consistency than GOLDEN Heavy Body Acrylic colors. Blend with colors to increase body. Good for holding peaks. Dries translucent. Regular Gel Mediums Same creamy consistency as GOLDEN Heavy Body Acrylic colors. Ideal for extending paint and regulating translucency without changing the consistency of the Heavy Body and Matte colors. Hold moderate peaks and texture. The Regular Gel Gloss is ideal for glazing and other techniques where transparency is desired. Extra Heavy Gel Mediums Thicker consistency than GOLDEN Heavy Body Acrylic colors. The thickest of GOLDEN gels, along with the High Solid Gels. Blend with colors to increase body. Excellent for holding peaks and impasto techniques. Dries translucent High Solid Gel Gloss Thicker consistency than GOLDEN Heavy Body Acrylic colors, while being similar to Extra-Heavy Gels. Offers higher gloss, lower shrinkage and dries to the touch quicker than most Gels. High Solid Gels are good for holding peaks. Blends with colors to make them feel more oil-like and increases retention of brushstrokes. Clear Tar Gel Designed to yield a pully, tar-like feel, but in a colorless gel. This gel has an extremely resinous and stringy consistency, which makes it feel very different than other acrylics. Useful for generating fine detailed lines by "dripping" it over surfaces, as it continuously flows from palette knives or other tools. Blends with all GOLDEN Acrylic colors (though Fluids work best) to offer a full range of colors with which to work. Clear Granular Gel Used to create textured surfaces. Dries to a hard film. To increase its flexibility, mix in other GOLDEN Gels or mediums. Blends with GOLDEN Acrylic colors. Molding Paste Excellent for building surfaces and creating textures. Dries to a hard, yet flexible, opaque film. Blends with GOLDEN Acrylic colors. Hard Molding Paste Dries to a extremely hard, opaque film. This product is useful for creating tough, durable finishes for smooth or textured surfaces. The dried film can be carved with hand or power tools. Blends with GOLDEN Acrylic colors. Light Molding Paste Offers dramatic weight reductions when building thick layers of acrylic. The density of the wet product is over 50% less than GOLDEN Molding Paste. This results in a significantly lighter film. This dramatic weight reduction will be beneficial in creating artworks that are large in size, have thick film build-up, or both. The product dries to an opaque, matte finish. The consistency is designed to hold stiff peaks to create a highly textured surface. Blends with GOLDEN Acrylic colors. Fiber Paste This medium offers a dry film that has the appearance of rough handmade paper. Skimming the product with a wet palette knife can make a smoother surface. When dry, it has an off-white color and is very absorbent, making it ideal for use with acrylic and watercolor washes or inks. It has a thick, somewhat sticky feel in the wet state. Crackle Paste Crackle Paste is a thick, opaque cracking material designed to develop deep fissure-like cracks as it cures. The size and extent of the crackle pattern is dependent on many factors, including the thickness of application and the environmental conditions (temperature, relative humidity and air flow) during drying. Pumice Gels - Fine, Coarse and Extra Coarse Used to create textured surfaces. Dries to a hard film. To increase its flexibility, mix in other GOLDEN Gels or mediums. Blends with GOLDEN Acrylic colors.
Sandable Hard Gesso is  formulated with 100%  acrylic polymer  emulsion and can be  sanded to provide  surfaces that are  smoother and more  even than those created  using regular gesso. 
White and Black Gessos are ready-to-use liquid grounds formulated for the use of acrylics on any commonly used painting surface. They are flexible and can be applied in thin layers to conform to a variety to textured surfaces without cracking. For oil painting over acrylic gesso, it is recommended that at least three layers of gesso be applied. GOLDEN Gesso can be mixed with GOLDEN Acrylics to produce a range of colored grounds. Absorbent Ground Designed for stain and watercolor-type applications, is light stable, permanent and flexible. While it has a gesso-like consistency, it is not intended as a gesso alternative. It must be applied over a porous and “toothy” surface, such as GOLDEN Gesso to ensure adequate adhesion due to the type and level of solids in the product. Once properly sealed, it is a permanent acrylic film that does not need to be kept under glass, however, the surface is quite delicate and additional protection is recommended. A properly applied isolation coat and GOLDEN Varnishes (Polymer & MSA) will protect the artwork from environmental factors such as sunlight and dust. GAC 100: Universal Acrylic Polymer / S.I.D. Blocker / Most Flexible GAC Polymer. This polymer is one of the most universal used in paint manufacturing. Artists who had used "Rhoplex" (a registered trade name) will find that this GAC most closely reflects the properties to which they were accustomed. The GAC 100 is a useful polymer for protecting against Support Induced Discoloration (S.I.D.). The most flexible with a moderate level of tack and gloss. Useful for diluting and extending colors, especially when film flexibility and integrity are important characteristics. Wets pigment surfaces well. The most ideal for artists formulating their own paints.
BASICS®  Gesso is a value acrylic gesso used to  prepare painting surfaces for acrylic  and oil paint.  Non-yellowing. Thick texture that levels evenly.  Flexible and non-cracking.   Good quality base coat primer.    One coat is usually all that is  required.  
Liquitex Gesso is a premium acrylic gesso  used to prepare painting surfaces for  acrylic and oil paint.  Non-yellowing. Flexible and non-cracking.  Provides the perfect "tooth" and  adhesion to a wide variety of  surfaces such as canvas, paper and  wood. Excellent base coat primer for  many applications for example  murals. One coat is usually all that is  required.  Available in White, Clear and Black. 
Glazing Medium  For creating brilliant jewel like  glazes with acrylic artist colors.  Excellent brushing and leveling  qualities. Dries quickly for rapid  layering. Mix with any amount  of acrylic color. Small quantities  of color provide the most  transparency. Works best with  transparent or translucent  colors. Flexible, non-yellowing  and water resistant when dry.   
Toll Free 1-888-725-4666 email: desertartsupply@aol.com GAC 200: Increases Film Hardness of Acrylic Paints / Increased Non-porous Surface Adhesion. The hardest and least flexible of any Golden Acrylic product. Caution is advised when using this product alone. Used in its pure form, it is limited to applications on rigid supports, as its lack of flexibility may lead to cracking when flexed. Under certain conditions, the medium alone may crack upon drying. Ideal as an additive to acrylic paints to increase film hardness and reduce dry film tack. Improves adhesion to non-porous surfaces; however some surfaces, such as glass and glazed tile, will not allow for a permanent bond Dries with high gloss and excellent film clarity. Promotes cleaner edges of hard-edge techniques. The harder paint film has less "pull" as the masking tape is removed.
  GAC 400: Fabric Stiffener /  Rabbit skin Glue Alternative.      Dries to a very hard and stiff  film. Most useful for priming fabrics  (cotton, linen, silk, etc.) when  stiffness is desired.  Used as a rabbit skin glue  alternative when applied  directly to raw canvas or linen.  Allows sculpting and shaping  of draped fabrics.   Traditionally, rabbit skin glue  (also known as hide glue) was  used to reduce the flexibility of  canvas before painting.  Although the rabbit skin glue does reduce  flexibility, it is extremely brittle. It is  hygroscopic, which means that it will  always be water-soluble. Even when the  glue is completely dry, high humidity will  re-introduce water into the film, causing it  to soften or swell up. Over time, this  constant swelling and drying of the film  can cause severe paint-film cracking and  delamination.  GAC 400 can be used in a similar fashion  for stiffening canvas. Apply directly to the  front of the raw canvas for maximum  stiffness. It is imperative that it be applied  directly to the raw canvas. It is ineffective  over any other medium, and most likely  will flake off and cause delamination of  subsequent paint layers. Since GAC 400 is  not effective against oil penetration, the  use of GAC 100 over GAC 400 is  recommended for oil painters  Note: Since GAC 400 is brittle, it is  important that it not be rolled tightly, or  bent back upon itself. This will cause  cracking of the polymer film and may  transfer cracks into additional paint layers.  This is especially a risk with cured oil  paints.  
GAC 500: Self Leveling Applications / Hard Yet Flexible / Best Isolation Coat Medium for Spray-Application. Unique balance of film hardness  and flexibility.  Mix 2 parts GAC 500 to 1 part  Airbrush Transparent Extender  to produce a good spraying, fast-  drying isolation coat.  Beneficial as an additive for  acrylic paints for increasing mar  resistance and decreasing dry  film tack, without disturbing the  balance between hardness and flexibility.  Useful when working on flexible or rigid  supports.  Offers a self leveling working quality.  Dries to high gloss film with good  clarity/transparency.  Useful to hard-edge painters to seal masking  tape for cleaner edges. Apply over masking  tape. Let dry before applying additional  paint layer.  
GAC 900: Increases Launderability of Acrylic Paint. Designed to be used as a modifier  for acrylic paints for painting on  clothing. See the GOLDEN  Acrylics on Fabric Application  Information Sheet for more  extensive information.  Offers a soft, pliable feel and when  properly heat-set, provides  excellent laundering stability.  Blend with GOLDEN Heavy Body,  Matte or Fluid Acrylics for brush  or screen application.      Mix with GOLDEN Airbrush Colors for  "Tie-Dye" effects.  Note: The heat-setting process will release  low levels of formaldehyde; therefore it is  imperative that adequate ventilation be  provided.  
GOLDEN Silverpoint / Drawing  Ground is formulated with 100%  acrylic polymer emulsion. It is a  low viscosity fluid that contains  high levels of titanium dioxide  and prepares surfaces to readily  accept marks from a metal stylus. PRODUCT APPLICATIONS GOLDEN Silverpoint / Drawing  Ground is designed for thin  applications only. When applied  too thickly the film may crack  upon curing. A single thin coat is  typically sufficient.  It can be brush or spray applied to paper,  primed canvas, wood or any surface that will  accept a water-based coating. The most  common substrate for metal point drawing  is heavy weight hot pressed watercolor  paper.  Note: Because lower weight papers are  susceptible to buckling from the moisture in  the Silverpoint / Drawing Ground, some  artists may find taping the edges down will  help prevent extensive warping.  
GOLDEN Acrylic  Ground for Pastels is  a 100% acrylic medium  designed to prepare  surfaces for the  application of pastels,  charcoal and other art  media where a coarse  tooth is desired. It  contains finely ground  sand (silica) in a pure acrylic  emulsion.  Acrylic Ground for Pastels can be applied to  paper, canvas, wood or any primed support.  This allows almost limitless applications for  media typically confined to standard papers.  PRODUCT APPLICATION Thinning: Due to the weight of the solids in  Acrylic Ground for Pastels, it is produced  very thick, and does not come ready to  brush-apply. Thin 20-40% with water to  desired consistency.  Application: Apply with brush, paint-roller,  spray equipment, squeegee or palette knife.  Mix up only as much as is needed for one  day's work, as the solids will settle rapidly  and be extremely difficult to mix back into  suspension.  
Palette Wetting Spray An innovative, fluid acrylic resin designed to slow the drying of acrylic colors. Allows you to keep your palette colors fresh longer, preventing the paint from ‘skinning over’. Improves color blending . Can be used to thin color while maintaining film integrity. Formulated with an anti-microbial agent to prevent mold. Application: Spray on palette before applying paints. Use repeatedly to re-wet palette. Gloss Medium & Varnish All purpose Liquitex medium, formulated to be mixed into all Liquitex acrylic paints and mediums. Mix into any acrylic paint to enhance the depth of color intensity, increase transparency, gloss, ease flow of paint and add flexibility and adhesion of paint film. Use as a non-removable varnish to protect painting and establish gloss sheen surface. Translucent when wet, transparent (clear) when dry. Dries to a non-tacky, hard, flexible surface that is resistant to dirt retention. Depending upon substrate, allows moisture to pass through (breathable). Will not crack as surface expands and contracts during temperature and humidity changes. Applicable for any surface (flexible and inflexible) including canvas, paper, wood, Plexiglas, etc. Not for use over oil paint. Matte Medium Creates a matte, non-reflecting finish when added to acrylic colors. Mix into any acrylic paint to increase transparency and extend color, increase matte sheen, increase film integrity, ease flow of paint and add flexibility and adhesion of paint film. Mix with Liquitex Gloss Medium & Varnish to produce a semi-gloss or satin medium. Opaque when wet, translucent when dry. Slow-Dri Blending Medium A unique formulation that extends drying time up to 40% for blending with acrylics Adds flow to Liquitex Heavy Body Professional Artist Color and is similar in body to Liquitex Soft Body Professional Artist Color. Mix any amount into color to enhance the depth of color intensity, increase transparency, gloss, ease flow of paint, and add flexibility and adhesion to paint film Dries clear to reveal full, rich color Unlike retarding additives, any quantity may be added to color without jeopardizing the strength of the paint film Translucent when wet, transparent when dry Flexible, non-yellowing and water resistant when dry. Ultra Matte Medium Increases the volume of paint, while maintaining the opacity of the color it is mixed into. Economically doubles the volume of paint by adding up to an equal amount (50%) of medium to color with little or no noticeable loss in opacity or change in hue. Opacity of colors mixed with Liquitex Ultra Matte Medium will be higher than if the color had been thinned to the same degree with any other medium except Modeling Paste. The degree to which the color can be extended will vary among the different pigments. When over 50% is added, Liquitex Ultra Matte Medium can act as a weak tinting white, increasing the value of the original color approximately one level. Light colors will be affected less than dark colors. Colors mixed with Liquitex Ultra Matte Medium dry to a matte finish.
Gloss Gel  Dries to a gloss finish.  Viscosity and body similar  to Liquitex Heavy Body  Artist Color.    Dries clear to translucent  depending on thickness of  application.  Ideal medium to mix with  Liquitex Heavy Body  Acrylic Color to extend  paint, increase the  brilliance and transparency of  color, without changing the thickness of the  paint.  Mix with Liquitex Heavy Body Artist Color to  obtain paint similar in color depth to oil paint.  
Gloss Heavy Gel Medium Extra heavy body medium. Dries to a transparent or translucent gloss finish. Mix with acrylic paint to increase body, density, viscosity and attain oil paint like consistency with brush or palette knife marks. Extends paint while increasing brilliance and transparency. Keeps paint workable longer than other gel mediums.
Gloss Super Heavy  Gel Medium  Extremely thick, extra  heavy body. The  thickest "clear" gel.  Very dense, with high  surface drag for a stiff  "oil-like" feel.    Dries clear to  translucent depending  on thickness of the  application. Very little  shrinkage during  drying time. Excellent  adhesion for collage and mixed media.   Extends paint, increases brilliance and  transparency. Keeps paint working longer  than other gel mediums.  Flexible, non-  yellowing and water resistant when dry.   
Matte Gel  Dries translucent with a  satin/matte finish.    Viscosity and body similar  to Liquitex Heavy Body  Artist Color.  Liquitex  Matte Gel Medium has  greater adhesion than  Liquitex Gloss Gel  Medium and Liquitex  Gloss Heavy Gel Medium.  Translucent when wet,  transparent when dry. Thicker  applications result in less transparent dry  medium films.  Mix with Liquitex Heavy Body Artist Color to  obtain paint similar in color depth to oil paint.    Color mix will dry to a satin sheen.   
Matte Super Heavy Gel Medium  Extremely thick, extra  Heavy Body.  Heavy bodied, very  dense, with high surface  drag for a stiff "oil-like"  feel. Dries to a  translucent matte finish  depending on thickness of  the application.    Very little shrinkage  during drying time.    Excellent adhesion for collage and mixed  media. Extends paint. Keeps paint working  longer than other gel mediums.    Flexible, non-yellowing and water resistant  when dry. 
Ultra Matte Gel  Heavy Body. A translucent  white gel of high density and  high solids, that  economically extends the  volume of Heavy Body Artist  Color without changing its  heavy body Add up to 50% by volume, to  double amount of paint and  retain color position. If more than 50% is  added, it acts as a very weak tinting white.  Maintains the opacity of the color better than  using a clear gel medium. Dries to a matte  finish, giving colors a matte sheen and  gouache look.
Slow-Dri Blending Gel  A unique formulation for  superior surface blending with  acrylic paints. Extends drying  time up to 40% for superior  surface blending with acrylic  paints.    Similar in body to Liquitex  Heavy Body Professional  Artist Color.    Mix any amount into color to enhance the  depth of color intensity, increase  transparency, gloss, and add flexibility and  adhesion to paint film. Dries clear to reveal  full, rich color.     Unlike retarding additives, any quantity may  be added to color without jeopardizing the  strength of the paint film. Translucent when  wet, transparent when dry. Flexible, non-  yellowing and water resistant when dry.   
Light Modeling Paste  A lightweight, airy, flexible,  thick, sculptural gel  specifically formulated to be  used in thick applications  where weight is a factor.  Will not exhibit "mud  cracking".  Used alone, will dry to a  matte opaque white that  readily accepts staining if  desired.   
Flexible Modeling Paste 100% polymer emulsion that  dries more slowly than other  modeling pastes to a hard yet  flexible surface.    Used to build three-  dimensional forms and heavy  textures on supports that may  be subject to flexing or movement.    Adheres to any non-oily, absorbent surface.    When mixed with acrylic colors will act as a  weak tinting white, while increasing thickness  and rigidity. 
Gel Mediums
Modeling Paste  Extra heavy body and very  opaque. A marble paste  made of marble dust and  100% polymer emulsion.    Used to build heavy textures  on rigid supports and create  three-dimensional forms.  Dries to the hardness of  stone. It can be sanded or  carved when thoroughly dry.  Can be handled like clay if  the top of the container is  removed and some of the water is allowed to  slowly evaporate until it reaches a clay-like  consistency.    Adheres to any non-oily, absorbent surface.    Drying too quickly causes mud cracking that is  usually cosmetic, not structural.    When mixed with acrylic colors will act as a  weak tinting white, while increasing thickness  and rigidity.    Excellent substrate for acrylic paint, oil paint, oil  pastel, oil bars, watercolor, graphite or dry  pastel.   
Fabric Medium  Enhances the workability of  acrylic paint on fabric.  Controls  bleeding of colors thinned with  water.  Provides a smooth,  consistent flow when added to  Liquitex Soft Body Artist Color.    Prevents uneven application of  paint to rough textured fabrics.    Reduces stiffness of dried  acrylic paint on fabric.    Eliminates the need to scrub or  abrade rough textured fabrics  to enable paint to adhere or  penetrate surface.  Does not  require heat setting.   
Effects Mediums
Iridescent Medium  Produces a range of iridescent  or metallic colors when mixed  into acrylic colors.    Opaque when wet,  transparent to translucent  when dry. Will not oxidize.    Application: Mix with small  amounts of color, gradually  adding more color until  desired iridescent quality and  transparency is achieved.    Transparent and translucent  colors work best however  opaque colors can also be  used.    Color will become more  transparent as percentage of  medium increases.    Colors increase in their iridescent quality and  become much more reflective upon drying.    For mother of pearl color, use directly from  container. For use on fabric, thin 50% with  water.
Fluid Mediums Toll Free 1-888-725-4666 email: desertartsupply@aol.com
Airbrush Medium  Low viscosity. Ready to use  pre-filtered and pre-  reduced to the required  consistency for airbrush  techniques, add as much or  as little as desired.    Formulated for thinning  acrylic colors for airbrush  application.    Ensures colors do not lose  flexibility, durability and  adhesion.    Easily thins acrylic color or  any water-soluble paints to a  spray-able consistency.    Allows thinned acrylic paint to be sprayed  efficiently and retain paint film integrity.    Airbrush Medium mixes easily with all  Liquitex Soft Body Artist Colors to produce  airbrush paint with the proper viscosity for  airbrushing.    Can also be mixed with Liquitex Heavy  Body Artist Colors.        Can be mixed with all Liquitex paint,  mediums and gesso.   
String Gel  A self-leveling gel with a  syrupy, honey-like  consistency. Enhances  depth of color and  increases transparency  and flow. Dries glossy and  transparent. Permanent,  non-yellowing, flexible  and water resistant when  dry.  Application: Pouring or  dripping the gel from above produces a  long, string-like application.  Mix with  acrylic color and brush to create long  streaking effects, as well as to enhance  depth of color.  
Pouring Medium  Creates even  “puddles,” poured  sheets, and flowing  applications of  color.    Does not craze,  crack, or hold  bubbles in the paint film  upon drying.  Retains high  gloss and wet appearance  when dry.  Will not add transparency  when mixed with color.  Flexible, non-yellowing and  water resistant when dry.   
Ceramic Stucco Medium A thick, low luster gel with a fine texture that dries to a light gray matte stucco finish Lightweight, non-toxic and dries to a water-resistant, non-yellowing surface. Intermixable with Liquitex Professional Acrylic Paint Colors and Mediums. White Opaque Flake Medium A Heavy body, coarse gel, that contains irregular sized and shaped opaque flakes. White flake texture is most apparent when mixed with transparent or translucent colors or small amounts of opaque color. If pure white is desired, add a small amount of Liquitex® Titanium White.
Glass Beads An acrylic medium  body gel that  contains clear, round  aggregates that dry  to a semi-gloss,  reflective ("bubbly")  surface.  For most dramatic  reflective effects, mix  with transparent or  translucent colors or  apply straight from  container over dried  paint.    For reflective textural glazes, mix with  Liquitex® Gloss Medium & Varnish and  small amounts of Liquitex Soft Body Artist  Color.  Suitable as a ground for acrylic and oil  paint. Works well with brush application.   
Blended Fiber Medium  A thick, fibrous gel that gives the effect of  flexible fibers when dry. Add Liquitex Gloss  Gel Medium or Gloss  Heavy Gel Medium for  easier application and  to increase adhesion  while wet. Works best  when applied with  palette knife or trowel. 
Grounds for Digital Imaging  Digital Grounds are ink-receptive coatings  intended for use with ink-jet printers. With them  artists can coat and subsequently print over a  variety of substrates including paper, canvas,  metal and acrylic paints, using ordinary  computer printers and inks. For more  information on GOLDEN Digital Grounds, see  the Digital Ground Product Information &  Application Sheet.   Golden offers three Digital Ground formulations:  Digital Ground White (Matte) is A semi-opaque  white ground for printing on porous and non-  porous surfaces.  It provides a smooth and  absorbent surface for printing inks to dry rapidly.  It is an ideal starting product for artists exploring  digital printing.  Digital Ground Clear (Gloss) is a for use on most  porous surfaces where clarity is desired to view  underlying materials.  Digital Ground for Non-Porous Surfaces is a clear  gloss ink-receptive coating for use with ink-jet  printers and is suitable for coating non-porous  surfaces, such as plastic and metal. 
coated uncoated
Extender   Extender for Rolling, when added to  Metallic Paint Collection paints,  extends the open time or ‘wet-edge’  of the paint. This added open time  allows for ‘back-rolling’ as a last step  to properly orient the metallic  particles and eliminate seams. 
Tintable Glaze  This translucent and durable  water base glaze has one-hour  “open time”, with optimum  viscosity for maintaining textures  on vertical surfaces. Use for any  decorative paint/faux finish such  as Marbling, Wood Graining,  Exotic Mineral, Bone, and  Overglazing. The glaze can be tinted with  universal colorants or our ShimmerStone  colorants. Do not tint with paint. If a longer  “open time” is desired, add Extender for Latex  Paint. 
Dead Flat Varnish  This premium quality, water  base, non-yellowing Dead  Flat Varnish is a water  base clear finish coat  formulated to have the  optimum level of clarity  with the least amount of  sheen. They will  remove undesirable  variations in sheen created by using semi-gloss  base coats with Decorative Glazes and allows  the finish to maintain that aged effect. 
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