Derived from several varieties of South American trees, it is a slow-drying oleoresin. A very poor additive for oil paintings which dries slowly. Restorers often use copaiba balsam. The application of these concoctions to old, dried-out-looking paintings temporarily improves the appearance of the paint. However, as the sticky resin dries, it collects dust. Eventually, the balsam dries and the whole process must be repeated. It is not recommended for paintings.

This balsam is obtained from the familiar balsam fur, Abies Balasmea, in the Eastern United States and Canada. Widely available in clean grades, it is said to be very similar to that of other American balsams, giving it usefulness in some mixtures of mediums.

Gum Thus is the oleoresin from one of the American long-leafed, yellow pines from which gum turpentine is distilled. It should not be used in artistic painting as the resin content causes darkening. It is primarily used as plasticizer in commercial varnishes.

Venice turpentine is tapped from the Austrian larch tree and is sometimes known as Larch turpentine. Supplies are readily found in America. This is a very good additive for oil painting mixtures because it contributes to the stability of the films. It is relatively non-yellowing and more flexible than many of the other resins. It is also used as an addition to egg tempera emulsions and encaustic mediums in place of the usual varnish resins.

These resins are not commonly found in the United States but are widely used in Europe and are the equivalent in characteristics to that of Venice turpentine.