59 = complete range of 18 products
20 = 125 ml glass jar of all products – sold in boxes of 6
34 = 500 ml plastic bottle of a reduced range of products, marked with a  - sales unit 6 pieces |
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 | 721
Wax finish
High quality pure beeswax based varnish. Apply to dry decoration to protect. Creates a silky, slightly mat appearance.
May be applied over all surfaces and colours. Dilute with white spirit. Dries in one day. |
|  | 722
Heavy gel, mat
Acrylic gel with high viscosity used in thick painting techniques.
May be mixed with all water-soluble colours.
Dulls the gloss of colours, for a smooth surface appearance when dry. Suitable for application to all surfaces. May be applied with a palette knife or brush. Drying time depends on the thickness applied.
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 | 723
Heavy gel, gloss
A high viscosity acrylic gel used in thick painting techniques.
May be mixed with all water-soluble colours. Increases gloss, so that colour has a high gloss finish when dry. Suitable for use on all surfaces. May be applied with a knife or brush. Drying time depends on the thickness of the layer applied. |
|  | 724
Marbling gel
Thickening powder which forms a marbling gel when mixed with water. Use 3 tsp powder per litre of water. Apply to paper and fabric with any colour. |
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 | 725
Artist’ masking rubber
Latex used in the reserve technique. Dip brush in gum and paint along lines drawn
on the surface. Allow to dry.
Paint the entire object, including the gum lines. When colour is dry, remove gum by rubbing it off with your fingers. Clean the brush immediately after use in pure ammonia.
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|  | 726
Papier-mâché paste
A dense paste reproducing the surface of papier-mâché.
Ready-to-use, adheres well to all surfaces. May be coloured when dry or mixed with any
water-soluble colour.
May be modelled with a palette knife. Drying time depends on the thickness of the layer applied.
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 | 727
Crystal paste
An opalescent paste with a high viscosity, containing tiny spheres of glass. Adheres perfectly to all surfaces, including glass and mirrors, to provide a bright, glossy surface. May be painted lightly with glass colours or mixed with Idea wood colours, but also gives beautiful results alone. May be modelled with a palette knife or applied with a brush. Ready-to-use. Drying time depends on the thickness applied.
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|  | 728
Black iron paste
A dark paste with a high viscosity which reproduces the colour of wrought iron. May be used in thick painting techniques or brushed on in a thin layer.
Ready-to-use. Adheres perfectly to all surfaces. Drying time depends on the thickness applied. |
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 | 729
Granite paste
A dense, full-bodied paste with a grain like that of light coloured granite. Recommended for thick painting techniques with a knife.
Ready-to-use. Adheres perfectly to all surfaces.
Drying time depends on the thickness applied.
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|  | 730
Coarse paste
A dense, rough paste which looks like sand. Creates a dark, uniform, highly porous surface. Used in thick painting techniques, applied with a knife. Ready-to-use. Adheres perfectly on all surfaces. May be coloured when dry or mixed with all water-soluble colours; gives very good results alone. Drying time depends on the thickness applied.
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 | 731
Light paste
A dense, very light paste. Recommended for thick painting techniques because of its low specific weight, which does not weigh down the decoration. Provides a smooth, even surface. Adheres well to all surfaces.
May be coloured when dry or mixed with all water-soluble colours. Drying time depends on the thickness applied.
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|  | 732
Swelling paste
A clear paste which may be mixed with fabric colours to increase their volume. Add one third inflating paste to colour. Paint and leave to dry for 24 hours. Iron the reverse of the painted fabric with your iron at the temperature recommended for the fabric. Recommended for use with IDEA fabric colours.
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 | 733
Cracking paste
A very dense, light cracking paste, applied in a thick layer with a knife.
Ready-to-use. Creates cracks like those on a cracked wall on the surface when dry to create an antique look. Adheres perfectly to all surfaces. May be coloured when dry or mixed with all water-soluble colours.
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|  | 734
Terracotta paste
A dense paste in the original terracotta colour. Perfect for decorating terracotta vases, it may be applied with a brush or a knife. Adheres perfectly to all surfaces. May be coloured when dry or mixed with all water-soluble colours; very attractive used alone. Drying time depends on the thickness of the layer applied.
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 | 735
Mould paste
Used for casting. Mix 90 g water with 30 g powder. Immerse the object to be cast in a full container of paste. 10 minutes later the paste will begin to solidify, and you can remove it all from its container. Cut the solidified paste in half to remove the object and free the two halves of the cast. Fill the cast with plaster, wax or other materials.
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|  | 742
Craquelé varnish
Ready-to-use water-based varnish. May be applied to any surface with a flat brush. Perfectly clear. Apply an even layer over the surface. After about 30 minutes, apply an acrylic colour in a hue contrasting with the base colour over the surface of the craquelé varnish. Cracks will form quickly as it dries, in which the base colour will be visible.
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 | 745
Coarse white paste
Contains a high percentage of Lipari pumice whitened with titanium white. Has a doughy consistency which allows you to obtain grainy material effects.
Apply to any surface with a knife. Provides an excellent base for all painting and decorative techniques. Drying time depends on the thickness of the layer applied.
An extremely flexible paste which moves with the surface below it.
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|  | 746
Glassy varnish
A water-based protective picture varnish which is ideal for mosaic and decoupage work. Forms a thick film which is highly resistant to atmospheric and mechanical stress.
Apply with a brush over a decorated surface. When fully dry it is perfectly even and clear, giving the work shine and gloss.
It levels itself and cannot be reversed. |
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Mediums are modelling pastes, evidence of the extraordinary possibilities opened up by modern industry, which adds to the potential of traditional classic techniques to open up new horizons for graffito decoration and bas-relief. 
Via
Gianni Maimeri 1, 20060 Bettolino di Mediglia Milano Italy, tel. ++39 02 906981, fax ++39 02 90698999