It proved to be an enduring relationship because I was frustrated when I would have to wait for my work to dry in order to continue painting. With Sal-Zar, the next day the work was ready for additional paint. I could work wet-in-wet, and create glazes. I found that I could coat an entire canvas with Sal-Zar, work in wet-in-wet and continue with additional layers of paint. I used Sal-Zar freely. Sometimes I will mix Sal-Zar in the oil pigment; sometimes I spread the Sal-Zar across a portion of the canvas. In any case, and in anyway I work, the Sal-Zar Medium™ is a pure artistic joy to use in oil painting.

I have been disappointed with dammar varnish and linseed oil as a vehicle in oil paints. I grew up with it as the only medium to use. A small addition of turpentine or quality thinner was also used. There are technical books that discuss other mediums used by artists who have shared their formula with others. The oil paints produced for the market today are generally laden with linseed oil. As artists no longer grind their own pigments for their oil paintings, and most have switched to acrylic paints the subject of a medium for oil paints is not as widely discussed as in years ago. A quality manufacturer of oil paints can generally produce a better oil color than an artist laboring in his/her studio can develop by grinding the color oneself. There are at least six international manufacturers that produce quality oil colors. Use the best in your artwork, unless you are a student painter.