Oil Painting Mediums

Bob Ross Oil Mediums are designed especially for use with Bob Ross Oil Paints, including the Soft Oil Colors. Use them in the wet-on-wet techniques demonstrated in Bob Ross's books and video programs.

Gamblin offers a great range of contemporary mediums. Using today's safer materials, they recreate the properties of traditional mediums.

Gamsol is an excellent solvent for thinning Gamblin mediums and for general painting. It evaporates 100% and leaves no residue in paint layers. It's also useful for studio and brush cleanup.

Utrecht's exclusive blend of damar gum, linseed oil, and artist's pure gum turpentine makes oil colors more fluid, enhances their gloss level, increases their brilliance, and makes the final paint film more flexible and durable. A great general-purpose medium.

Weber Odorless Turpenoid is a premium artists' medium. An odorless, very volatile, thin, colorless medium, Turpenoid possesses the same painting properties and drying time as turpentine but is free of the strong odor that is characteristic of turpentine.

Great for plein air painting, this transparent medium is made with a fast-drying resin to speed the drying of both alkyds and traditional oils. Used for extending colors and creating transparent glazes, Gel Medium FastDry can be diluted with solvent to achieve a thinner consistency if desired.

Recommended for experienced painters who work all day on the same painting, this syrupy, heavy-bodied liquid medium contains high solids to promote faster, more thorough drying of oils, and increase gloss and flow for enamel-like effects.

Use these gel mediums from Chroma with a variety of oil painting techniques.

Chroma Archival Oils Lean Medium is a very fluid, general-purpose alkyd resin medium that can be used to increase the flow and transparency of Chroma Archival Oils, as well as for glazing and other thin applications.

Daler-Rowney Alkyd Flow Medium reduces the drying time and increases the transparency and flow of oil colors. Slightly thinner than Daler-Rowney Alkyd Gel, it allows paint to be brushed out more smoothly.

A highly effective oil painting medium, it speeds the drying time of oil colors considerably. It also makes oil colors more flexible, transparent, and is non-yellowing.

This gelled alkyd resin painting medium creates transparent impasto of approximately a quarter inch thick. Holds marks and brush strokes. It does not dry as fast as most gel mediums, and it can be applied in multiple layers.

Gamblin offers a great range of contemporary mediums. Using today's safer materials, they recreate the properties of traditional mediums.

Soft, silky gel that gives body to paint, decreases viscosity, and can produce a luminous atmosphere. Base of alkyd resin, without toxic lead or other materials. Will not turn yellow or darken.

Since 1980, Gamblin has handcrafted luscious oil colors and contemporary painting mediums that are true to historic working properties, yet safer and more permanent. Gamblin Solvent-Free Oil Mediums extend that mission by giving oil painters alternatives that don't require the use of toxic solvents.

Grumbacher Alkyd Painting Medium lubricates oil color for easier surface glide, allowing for up to eight hours of painting with little, if any, brush drag.

This full-strength, ready-to-use, synthetic resin gel produces transparent, full-bodied colors. Extends expensive oil colors, prevents color running, retains brush strokes, holds sharply defined detail, adds luminosity and brilliance, accelerates drying.

This special medium was developed to provide a non-toxic, environmentally responsible alternative to solvent based, rapid drying alkyd mediums. It closely resembles combinations of sun-thickened oil and natural resins.

Schmincke Megilp is a traditional oil painting medium that has been reformulated for today's painters. With a more stable consistency than Victorian-era recipes, it makes colors look deeper and more transparent.

Schmincke Mussini Mediums are specially formulated for use with resin-rich oils such as Schmincke Mussini Oils.

Schmincke Rapid Medium is an alkyd resin medium that helps oil colors dry more quickly, while also increasing their flow and transparency. This versatile medium is ideal for underpainting, for glazing, and for alla prima techniques.

This is the gel version of Flow ’N Dry alkyd medium. Use it to speed drying and improve fluidity and gloss by adding to paint. Suitable for impasto techniques, it comes in a 40 ml (1.4 oz) tube that travels well into the field for plein air painting.

The company's Alkyd Mediums reflect Utrecht's dedication to helping artists realize their vision without spending a fortune. All products are manufactured in the USA using the finest raw materials and are 100% guaranteed for quality.

Similar in consistency to a thick stand oil, Williamsburg Alkyd Resin is a slow-drying medium made from pure alkyd resin that dries to a glossy, flexible, enamel-like film. Add it directly into oil paints to modify their transparency and flow. It is also a useful ingredient for making other mediums.

Winsor & Newton Liquin Fine Detail is ideal for fine detailed work, for producing a smooth surface picture, or in smoothly blended areas where brush marks are not desired. Winsor & Newton Liquin Fine Detail approximately halves the drying time of oil color, depending on the proportions added. It is touch-dry in one to five days, depending on the climate, colors used, and film weight. It is not recommended for use as a varnish or final coat.

Liquin Light Gel is a slight gel that breaks down on brushing (thixotropic) and flows out to give a non-drip effect when mixed with color. It is ideal for glazing, and dries to a gloss film that has an increased resistance to yellowing. It is not recommended for use as a varnish or final coat.

Winsor & Newton Liquin Original is a durable, non-yellowing medium for thinning oil and alkyd colors, and speeding drying time. Liquin Original approximately halves the drying time of oil colors, resulting in a drying time of anywhere from one to five days, depending on climate, colors used, and film weight. It is not recommended as a varnish or final coat.

Grumbacher Copal Painting Medium is made with a modern synthetic copal resin. When added to oil colors, it improves flow, accelerates drying, and imparts hardness and a high gloss to the dry paint film.

Prepared from finest synthetic copal gum. Improves paint flow, and speeds drying. It makes a tough final varnish, giving excellent protection for finished paintings.

Copal is a natural resin medium historically used by the Flemish masters to achieve their strikingly brilliant, enamel-like glazes. Utrecht Copal Medium is a modern improvement made from a blend of natural copal, synthetic resin, and refined turpentine.

Weber's Copal Medium is excellent for glazing, thin or impasto painting, and wet-on-wet techniques. It may be thinned with Turpenoid or turpentine. Copal Medium is prepared from synthetic and natural resins, and refined turpentine.

Made from high-quality natural resins, Blick Studio Damar Varnish provides surface protection for oil and alkyd paintings by preventing dust and airborne contaminants from adhering.

Dissolved yellow amber has allowed great works of art to stand the test of time. Blockx Amber Painting Solution imparts a rare luminosity, adding depth to your paintings. It has a lower concentration of dissolved amber than Blockx Amber Varnish.

Daler-Rowney Damar Varnish is a removable picture varnish that, when applied thinly, will lend a low gloss. It dries hard and clear within a few hours, and is removable with turpentine or white spirits.

A high-quality, graded natural resin that adds brilliance and luminosity to colors. Clear white crystals are used to make various traditional painting preparations, such as varnish and medium. Strain out impurities using Orange Terpene.

This medium has a rather heavy consistency resulting in a rich glaze finish. The addition of lead-free driers cobalt-zirconium-calcium octoates reduces the drying time.

Enkaustikos Damar Resin is a natural, sticky sap, harvested from trees that grow in the East Indies. The combination of damar resin with USP beeswax produces a harder, more durable paint film. This creates a luminous finish.

This Balsam Resin Glaze Medium is a historic glaze medium that is based on based on Austrian larch turpentine and fused with dammar resin and linseed stand oil. It provides increased gloss levels and imparts depth to paint films.

This is an historic paint medium, based on light-colored Canada balsam and fused with dammar resin and linseed stand oil. Oleo-Resin Medium can be added to oil colors to enhance depth, gloss, and luster.

This is a soft painting paste derived from bleached, pure beeswax and fused with dammar resin and linseed stand oil. It creates a satin sheen and allows for gentle impasto effects when painting in layers. When settling occurs, stand the jar in hot water and stir the medium until it dissolves.

Utrecht Damar Varnish is a very durable yet flexible varnish prepared from pure, sustainably harvested, Singapore white damar gum. When used as a final coating over finished paintings, it adds a high gloss finish and extra-strong yet flexible protection.

Use Utrecht Singapore Damar Crystals to create your own damar varnish for paintings. These crystals are made using the finest grade of colorless damar resin available, sustainably harvested from living trees in Singapore. Handcrafted from globally sourced raw materials in Brooklyn, New York.

Williamsburg Damar Crystals are highest-quality, 100% natural damar crystals from Indonesia.

Blick Studio Quick Glaze is a soft, translucent gel that thins and extends colors and speeds drying time. Ideal for glazing and underpainting, it dries to a durable, flexible film that resists yellowing.

Speeds up the drying time of linseed oil and stand oil coats. It's an aromatic-free blend of cobalt, barium and zinc octoates. Added in tiny quantities it helps linseed oil and stand oil coats to dry through and shortens dry times.

Grumbacher Cobalt Drier is the only siccative that has been scientifically proven to be the least harmful to use for fine art painting. Cobalt Drier speeds drying of oil colors and oil painting mediums.

Grumbacher Japan Drier is a reliable alkyd resin-based liquid siccative intended for use by sign painters, artisans, and craftspeople. It is an ideal medium for oil gilding.

Accelerate the drying time of your painting with this clear and colorless colloidal oil painting medium. Grumbacher ZEC Medium maintains the consistency and hue of the colors and holds any desired texture.

Reduce the drying time of oil colors. Drying Gel Medium leaves viscosity unchanged.

This Dammar Glaze Medium a traditional glaze medium that creates depth and gloss in transparent oil colors. It also speeds the drying process, making it ideal for use with slower-drying paints. Dammar Glaze Medium contains cobalt siccative.

This medium thins oil paints and enhances their flow. It also produces quicker drying times, reduces gloss, and allows brushstrokes to remain visible. Made from a mixture of linseed oil, turpentine oil, and white spirit, Quick Drying Painting Medium contains no resin or dryers.

Utrecht Japan Drier is an ideal medium for gilding oil paintings. The name comes from the 17th century European practice of "Japanning," a process designed to imitate Asian lacquerwork. Primarily used for oil gilding, Japan Drier has the consistency of thin molasses.

This mixture of purified linseed oil and Turpenoid is ideal for thinning oil colors or making painting mediums.

Winsor & Newton Drying Linseed Oil possesses a darker color than Refined Linseed Oil. It promotes the fastest drying rate of all drying oils while increasing gloss.

This transparent medium has a heavier consistency that retains its shape for impasto painting techniques. Use it to build structure by applying it directly and covering it with paint, or mixing it with paint on the palette. It dries thoroughly to allow the building of a surface.

This semi-opaque medium is cloudy white in color, with a grainy texture. Fine Textured Medium is lightweight for building higher texture without adding weight. It can be mixed with color, or used alone to create an "undertexture."

This semi-opaque medium is cloudy white in color with a grainy texture. Use it for building higher texture without adding weight — or mix it with color or use it alone to create an "under texture." This medium dries to a tough yet flexible sandy surface.

This full-strength, ready-to-use, synthetic resin gel produces transparent, full-bodied colors. Extends expensive oil colors, prevents color running, retains brush strokes, holds sharply defined detail, adds luminosity and brilliance, accelerates drying.

This pigment-free medium extends colors. Based on non-yellowing safflower oil, it dries quickly and is ideal for use with whites and light colors. Mixed with colors that are very rich in pigments, it reduces their cost without altering their consistency.

Created especially for use with water-mixable techniques, Cobra Mediums make working with Cobra Water Mixable Oil Colors even easier and more fun. They improve paint flow, decrease color intensity, increase paint volume, and add transparency.

This is the gel version of Flow ’N Dry alkyd medium. Use it to speed drying and improve fluidity and gloss by adding to paint. Suitable for impasto techniques, it comes in a 40 ml (1.4 oz) tube that travels well into the field for plein air painting.

Van Eyck Gel is a mastic-based medium that allows the artist to superimpose oil colors rapidly, even when paint is fresh, without diluting the underlying coats. It fixes brush strokes, giving them a varnished, enamel finish.

Turpenoid Gel is a fast-drying medium that increases the transparency of oil colors and can create an impasto effect. Clear, semi-soft, smooth, and extremely flexible, it holds brush strokes and dries to a matte finish Packaged in a 5 oz (150 ml) tube.

Winsor & Newton Liquin Impasto Medium is a semi-gloss, quick-drying, non-yellowing impasto medium that retains crisp textures and brush strokes without any visible leveling. It also extends tube color, provides bulk, and allows more blending time. When dry, it forms a flexible, tough film that can be varnished in the normal way. Use it for heavier brush work or palette knives. It is not recommended for use as a varnish or final coat.

A semi-matte, quick-drying medium, Winsor & Newton Liquin Oleopasto has a soft gel consistency with some brush drag, ideal for leveling crisp brushmarks and providing bulk in impasto and texture work. It dries to a crack-resistant, virtually non-yellowing film.

Pressed from top-quality flax seeds, Blick Studio Linseed Oil contains no free mineral acids. Mix it with oil and alkyd colors for smoother color application and better blending. Or combine it with turpentine or mineral spirits to create your own custom painting mediums.

Bob Ross Oil Mediums are designed especially for use with Bob Ross Oil Paints, including the Soft Oil Colors. Use them in the wet-on-wet techniques demonstrated in Bob Ross's books and video programs.

This is the palest and cleanest pure linseed oil available to artists. Washed and filtered to remove impurities, it darkens less and yellows less than other linseed oils.

Hand-cleaned and purified using traditional methods, CCS Walnut Oil improves the richness and brightness of whites and light oil colors. It dries slower and is less yellow than linseed oil.

Da Vinci Artists' Oil Meduims are specially formulated for use with Da Vinci oil paints. Use these mediums to increase transparency, modify consistency, and accelerate drying time.

Linseed oil increases the brilliance and transparency of colors, and helps to eliminate brush strokes. Da Vinci's oil mediums are formulated especially for Da Vinci oil paints but can be used with any oil paint.

Da Vinci's Safflower Oil is pure and refined, useful for diluting white oil paints. Using safflower oil to dilute whites, rather than linseed oil, will help reduce yellowing.

Use Daler-Rowney Linseed Stand Oil to reduce the consistency of oil colors, enhance flow, and reduce brush marks. Viscous and faster-drying than pure linseed oil, Linseed Stand Oil dries slowly to a tough, elastic film.

Daler-Rowney Purified Linseed Oil reduces the consistency of oil paint and slows down drying time. In its raw state, it gives colors a high gloss. When diluted 50/50 with turpentine or Daler-Rowney Low Odor Thinner, it creates an excellent medium for most types of painting.

This very light, purified linseed oil is made without additives. It's used as a fine oil painting medium, or as a raw material ingredient.

A light-colored, pre-polymerized linseed oil, adds elasticity and moisture to the paint coat, improving flow and leveling of paints. It has less of a tendency to yellow than plain linseed oil.

Gamblin's Cold Pressed Linseed Oil is pressed from flax seeds in Canada without using heat or chemicals. Use linseed oil to thin oil colors and increase brilliance and transparency. Linseed oil increases the tendency of lighter colors to yellow.

Since 1980, Gamblin has handcrafted luscious oil colors and contemporary painting mediums that are true to historic working properties, yet safer and more permanent. All of Gamblin's oil painting materials are handcrafted at the company's factory in Portland, Oregon.

Slows down drying time. Especially useful for painters using "wet into wet" techniques. Add 10% by volume to slow down the drying time of Gamblin Galkyd painting mediums. 8 oz (237 ml) bottle. AP non-toxic.

Gamblin's Refined Linseed Oil is pressed from American flax seeds and refined using an alkalai process. This low acid oil is about as light and pure as it gets. Use linseed oil to thin oil colors and increase their brilliance and transparency.

There are a variety of ways to clean brushes without solvents during a painting session. Gamblin has listened and tested them all. Based on that work, they are proud to offer Gamblin Safflower Oil, which works great as a brush cleaner and may also be used as a painting medium.

Gamblin's Stand Oil, manufactured by heating a pure refined linseed oil, is an oil that wets pigments well. Stand oil is linseed oil that has been polymerized by heating. Thicker than cold pressed or alkalai refined oils. Has almost no tendency to yellow.

Our professional select alkali-refined linseed oil provides excellent blending and adhesion for the professional artist.

The Grumbacher Pale Drying Oil is a safe, non-toxic medium is specially formulated for use by hobbyists, decorative painters, and other artisans to reduce the consistency of tube oil colors and accelerate drying time. Because excessive use causes severe yellowing and brittleness of the paint film, Pale Drying Oil is not recommended for fine art applications.

Grumbacher Poppyseed Oil is a purified, non-yellowing oil painting medium. When mixed with oil colors, it slows their drying rate, allowing ample time for blending and other wet-into-wet techniques. It also makes colors smoother, improves their flow, and helps level out brushstrokes. It may be diluted with Grumtine, pure gum spirits of turpentine, or odorless paint thinner.

Grumbacher Stand Oil is a polymerized linseed oil with a thicker, molasses-like viscosity that offers better flow and leveling than regular linseed oil.

A heavy-bodied purified oil that is thicker than regular linseed oil but not as thick as stand oil, Grumbacher Sun-Thickened Linseed Oil is designed for use in preparing oil painting mediums.

Made to the same exacting high standards as Holbein paints, Purified Linseed Oil is made for thinning the consistency of Holbein Artists' Oil Colors while preserving their legendary pigment strength. It imparts a clean, traditional, semi-gloss finish.

Distilled from a variety of the lavender plant family, this fragrant oil is a thinning agent with properties similar to turpentine but has a greater tendency to oxidize or gum and does not evaporate as readily.

Still made by the orthodox method of exposure to the sun for prolonged periods, this oil is very heavy and thick, with a viscosity that improves drying, leveling and protective characteristics. Used with oil mediums, varnishes and glazes.