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Tri-Art

Oil Mediums

Tri-Art Oil Mediums

UNIQUE MEDIUMS TO COMPLIMENT THE COLOURS Tri-Art continues to offer a wide range of traditional, modern and environmentally conscious oil painting mediums. Our oil mediums are designed to enhance the characteristics of the colours and maximize individual creative vision. We have introduced an unbleached linseed oil called Natural Amber Linseed. This is an all natural, more environmentally friendly linseed oil that has not been through the bleaching process. It is a natural dark-amber in its wet state and has the same drying time, clarity and flexibility as our Refined Linseed Oil. An alternative option to using solvents for cleaning is our Linseed Soap. This is made from naturally refined linseed oil. It is a natural cleanser for both oil and acrylic brushes. Also useful for cleaning work surfaces and hands. Of note is the development of our fast-drying Alkyd Gel and texture mediums such as Fine Texture and Nepheline Gel Mediums. The nephelines mix easily with Tri-Art Oil colours and other mediums to create granular textures and are available in Fine, Coarse and Extra Coarse.


Alkyd Gel

Available in: 75mL and 150mL Tube

A thickened version of the Alkyd Medium, it significantly accelerates the drying time of oil colours and extends without losing all the viscosity.

Alkyd Oil Medium

Available in: 60mL, 120mL, 250mL, 500mL, 1000mL, 2L, 3.78L, 16L

A semi synthetic polymer which significantly accelerates the drying time of oil colours. It can be mixed in any ratio to dilute and extend colours and is the ideal medium for creating luminous transparent glazes. Dries to a tough yet flexible film, reinforces the coat's adherence and is virtually non-yellowing.

Alkyd Refined Linseed Oil

Available in: 60mL, 120mL, 250mL, 500mL, 1000mL, 2L, 3.78L, 16L

A very pure, highly refined artist quality linseed oil. Using Alkali Refined Linseed Oil will increase the gloss and transparency of oil colours. Dries quickly and thoroughly, making it ideal for underpainting.

Alkyd Refined Linseed Oil Gel

Available in: 75mL and 150mL Tube

A thickened version of Alakali Refined Linseed Oil. Mix in with oil colours to extend without losing all the viscosity, and to increase open time, gloss and transparency.

Cobalt Drier

Available in: 120mL

Significantly accelerates the drying time of oil paints. Cobalt Drier is very potent and should be used sparingly.

D-Limonene

Available in: 60mL, 120mL, 250mL, 500mL, 1000mL, 2L, 3.78L, 16L

D-limonene is a safe substitute for harsh chemical thinners. Made with orange rind extract, D-limonene has the cleaning power of turpentine and acetone but doesn’t mimic their harsh chemical odour. D-limonene leaves nothing on valuable brushes and painting tools but the faint smell of oranges.

Fine Texture Oil Gel Medium

Available in: 75mL and 150mL Tube

A thick gel with a sandstone-like finish. Used to add an extra fine granular texture to oil colours, enhancing dry brush effects. While still thick, Fine Texture Gel is easy to mix with oil colours and manipulate with a brush/tool.

Liquid White Oil

Available in: 60mL, 120mL, 250mL, 500mL, 1000mL, 2L, 3.78L, 16L

A pourable, highly pigmented white oil paint made from the highest grade Titanium pigment and pure, alkali refined safflower oil. This free-flowing oil colour is ideal for wet on wet painting techniques or fine-detailed work.

Nepheline Oil Gel Coarse

Available in: 75mL and 150mL Tube

A semi-transparent, thick oil medium used to create granular textures. They mix easily with oil colours and mediums to create a variety of effects. An excellent ground for dry brushwork. May be tinted with colour prior to applying, or once dry on the surface, and is best applied with spreading tools.

Nepheline Oil Gel Extra Coarse

Available in: 75mL and 150mL Tube

A semi-transparent, thick oil medium used to create granular textures. They mix easily with oil colours and mediums to create a variety of effects. An excellent ground for dry brushwork. May be tinted with colour prior to applying, or once dry on the surface, and is best applied with spreading tools.

Nepheline Oil Gel Fine

Available in: 75mL and 150mL Tube

A semi-transparent, thick oil medium used to create granular textures. They mix easily with oil colours and mediums to create a variety of effects. An excellent ground for dry brushwork. May be tinted with colour prior to applying, or once dry on the surface, and is best applied with spreading tools.

Odourless solvent

Available in: 60mL, 120mL, 250mL, 500mL, 1000mL, 2L, 3.78L, 16L

A virtually scent-free, mild, pure mineral spirit that has had some of the harmful aromatic solvents removed. It is ideally suited to thinning oil colours and cleaning paint tools.A virtually scent-free, mild, pure mineral spirit that has had some of the harmful aromatic solvents removed. It is ideally suited to thinning oil colours and cleaning paint tools.

Orange scented thinner

Available in: 60mL, 120mL, 250mL, 500mL, 1000mL, 2L, 3.78L, 16L

A very mild, pure mineral spirit with a light orange fragrance which can be used for thinning oil paints and mediums and for cleaning brushes and painting tools. It produces minimal fumes compared to turpentine and other strong solvents, making it less harmful and more pleasant to work with.

Safflower Oil

Available in: 60mL, 120mL, 250mL, 500mL, 1000mL, 2L, 3.78L, 16L

Lightest in colour, Safflower Oil is used for mixing with light colours and wet on wet applications as it yellows significantly less and dries considerably more slowly than linseed oil.

Stand Oil

Available in: 60mL, 120mL, 250mL, 500mL, 1000mL, 2L, 3.78L, 16L

A thicker processed form of linseed oil, with a slower drying time and a superior resistance to yellowing and darkening. Stand Oil is honey-like in consistency, pale in colour and produces a smooth, enamel-like finish without any visible brush marks.


New! Eco Friendly Oil Mediums:

Tri-Art actively sources materials and processes with environmental and individual impact in mind. We introduced the following eco friendly oils to the Finest Quality Oil line.

Sunflower, Tung and Hemp Oil
All are solvent-free and come natural, renewable sources. All may be used for varnishing, glazing techniques or as a mixing media. Our Eco friendly drying oils will appeal to the artist that suffers from chemical sensitivities.

Hemp Oil

Available in: 60mL, 120mL, 250mL, 500mL, 1L, 2L, 3.78L, 16L

Obtained by pressing hemp seeds. It is greener in colour than the other oils. Mild scent.

Linseed Soap

Available in: 120mL, 150mL Tube, 250mL, 500mL, 1000mL, 2L, 3.78L, 16L

Made from naturally refined linseed oil, a derivative of flax seed, Tri-Art Linseed Soap safely cleans and conditions all of your artist brushes. Use for all types of brush hair, from sable to synthetic, and you can also use it to clean hands, floors, work surfaces and just about anything else that needs cleaning! 100% natural, non-toxic and low odor properties for a greener studio and well-cared for artist tools.

Natural Amber Linseed Oil

Available in: 60mL, 120mL, 250mL, 500mL, 1000mL, 2L, 3.78L, 16L

Processed in a more natural manner, Natural Amber Linseed Oil has not undergone the traditional bleaching process as have other linseed oils. Darker in colour, it will not alter or yellow more than other Alkali Refined Linseed Oils.

Natural Amber Linseed Oil Gel

Available in: 75mL and 150mL Tube

A thickened version of Natural Amber Linseed Oil. Mix in with oil colours to extend without losing all the viscosity, and to increase open time, gloss and transparency.

Sunflower Oil

Available in: 60mL, 120mL, 250mL, 500mL, 1L, 2L, 3.78L, 16L

Made from compressing sunflower seeds. It is very clear in colour, similar to safflower oil but lighter. It is good for use with light colours such as whites and yellows.

Tung Oil

Available in: 60mL, 120mL, 250mL, 500mL, 1L, 2L, 3.78L, 16L

Made by pressing the nut of the tung tree. Tung Oil has historical applications in house Finest Quality Oil line. paint. It is very durable for indoors or outside applications. Tung oil does not darken noticeably with age. Tung Oil is the glossiest and hardest once dry. It should be used in thin applications on a hard substrate in order to avoid cracking due to the strain of a flexing surface.

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