ART+ INSIDE

When selecting oil paints, it’s essential not only to consider the richness and vibrancy of the color but also to understand what’s inside the tube. Oil paint primarily consists of two compounds — pigment particles and drying oil (commonly linseed oil). Together, these determine the quality, vibrancy, lightfastness, and drying time of the paint.

The quality of oil paints can differ depending on the binder used. Most modern oil paints use linseed oil as the primary binder because it dries relatively quickly and creates a durable paint film. However, linseed oil has a natural tendency to yellow over time, which can affect the colors, especially lighter pigments. To address this, some premium brands use stand oil — a honey-like oil made by slowly heating linseed oil in the absence of oxygen at 250-300 °C. Stand oil helps level brushstrokes, create a smooth enamel-like finish, and has reduced tendency to yellow compared to linseed oil. For lighter colors and whites, manufacturers often use poppy seed oil, safflower oil or walnut oil. These oils yellow less than linseed oil, helping preserve the brightness of colors. However, paints made with these binders generally dry more slowly, which can extend the painting and curing time. Some brands indicate the type of oil binder used on the paint label. Being aware of which binder is used can help you choose paints that will best preserve the intended look of your artwork.

Pigments vary widely in composition, origin, and safety. Broadly speaking, they can be divided into two groups: Natural Pigments and Synthetic Pigments. Natural pigments have been used for centuries. They are often made from minerals (such as ochre, sienna, umber), metals (like lead white and vermilion), or plant extracts (such as madder root). This pigments give good earthy toned color pallet but sometimes they can be less consistent in quality and, in many cases, highly toxic. Synthetic pigments, introduced mainly in the 19thcentury, include both organic and inorganic types. This pigments are chemically engineered to create a broader and more vibrant color palette. They generally offer better consistency and often superior lightfastness, meaning they resist fading when exposed to light.

Many historical natural pigments were dangerous, and some pigments sill widely used today remain toxic. These pigments are produced using heavy metals and compounds that can be hazardous to your health if inhaled or absorbed through the skin. Commonly used reds and yellows are produced using cadmium. Vermilion red uses natural or synthetic mercuric sulfide or cinnabar. Flake white and Cremnitz white are made with basic lead carbonate. Some intense blue colors, including cobalt blue and cerulean blue, are made with cobalt compounds. If you have sensitive skin, allergies, or work mainly in indoor spaces with limited ventilation, it’s strongly recommended to choose non-toxic pigments. Many paint manufacturers now offer safer alternatives: these paints are often labeled “Hue” (for example, Cadmium Red Hue or Cobalt Blue Hue). “Hue” means the paint imitates the original color but is made with different, less hazardous pigments.

Consistency of oil paint can vary depending on the brand, the pigment used, and even the specific production batch, so it shouldn’t be seen as a quality indicator after all. If the paint feels too thick and stiff straight from the tube, it can be modified using mediums to alter its properties. With the help of mediums, you can increase flow, add texture, adjust transparency, or change the drying time, making the paint behave the way you need for different painting techniques.

Oil is one of the most basic and essential mediums. Usually, it’s the same types of oils already found in the composition oil paints themselves — linseed oil, stand oil, safflower oil, poppyseed oil and walnut oil, which is known for being the most white and clear painting oil. Adding a bit of oil to your paint helps it flow more easily, spread smoothly across the surface and become more transparent. It is not the type of medium you use for textured brushstrokes, but it’s perfect for thin, flat and texture-free areas. Oil mediums are generally considered safe as they don’t give off harmful fumes and, being derived from seeds and nuts, are non-toxic to the human body. However, it is important to remember that oil mediums can be highly flammable, especially oil-soaked rags, which have been known for starting studio fires. To reduce this risk, it is recommended to dispose of them in a fireproof container.

Solvents, the next most common type of medium, are thinners used primarily to dissolve paint and to clean brushes. But they can also be mixed into paint to make it flow better, dry faster and become more transparent, which can be useful in underpainting, plein air work, or alla prima (wet-in-wet) painting. The most widely used historical solvents are turpentine and mineral spirits (often called white spirt). They are effective and widely used, but produce strong fumes and can be toxic. Many contemporary artists prefer odorless mineral spirits (OMS), which are less harsh though still require good ventilation. Another option you may come across is spike oil, also known as lavander oil, which is a natural solvent with a softer scent. But even natural solvents are flammable and volatile, and should be handled with care. It is always recommended to read product instructions carefully before use and to minimize solvent use in indoor studios, especially if you have allergies, asthma or respiratory issues.

Beyond these essentials, there are modern synthetic mediums known as alkyd-based mediums, that combine oil with alkyd resins to dramatically speed up drying time while often add gloss or improving flow. Popular examples include, Liquin, Galkyd, and Neo Megilp. These mediums are widely used because they help artists work in layers faster and make glazing or detail work easier without waiting days for each layer to dry.

As you explore further, you might encounter natural resins and traditional mediums, which artists have used for centuries. These are made by dissolving tree resins like damar, mastic, or copal in turpentine. Although they add transparency, gloss and have decent drying rate, they tend to age poorly, sometimes darkening and becoming cracked, so this group of materials requires experience to handle well. Mastic, a resin from Greece, is known for a luminous, glossy finish and is used as a an ingredient in self-made mediums. Dammar resin, often used in quick-drying turpentine-based mediums, also dries to a gloss. Copal resin dries rapidly to a hard, glass-like finish, though it is very rigid and hence tends to age poorly, leading to yellowing and cracking of the finnished artwork. Maroger medium, a blend of linceed oil and mastic ( and sometimes copal), creates an enamel-like, rich surface admired by artists for glazing and depth. All these natural resins can be used as glazing mediums to crate luminous, layered effects in painting, but they are best approached once you’re comfortable with the basics.

For artists interested in texture and special effects, there are additives and specialty products. Fumed Silica, which is heat-processed sand, gives the paint thixotropic properties — meaning it behaves like a soft, flowing liquid when pressure is applied but holds its shape like a gel when untouched, which is ideal for impasto work. Ground calcium, also known as chalk, can be added to paint or oil to increase body and create a matte finish. Beyond these, artists can experiment with meglips, burnt plate oils, stand oils, blending and glazing mediums, impasto and cold wax mediums and solvent-free gels, and more — each designed to help artists achieve specific visual effects or improve handling.

The choice of brush plays a big role in how oil paint will behave on the canvas. The thicker the paint, the stiffer the brush you’ll need. A stiff brush gives enough resistance against the canvas, making it easier to apply heavy brushstrokes and to control paint‘s movement across the surface. If your paint has been thinned to a more fluid consistency then a softer brush, either synthetic or natural soft hair, allows smoother flow and softer edges.

Natural hog bristle brushes are a classic choice for oil painting. They are naturally stiff and the split ends of the bristles help them hold on plenty of paint, spreading it evenly. When deciding on hog brushes, it‘s worth paying attention to the quality of the hair used. High-quality hog bristle is springy and stiff enough to keep its shape and working edge over time. Lower quality hog bristle tends to be softer and less responsive, resulting in poor paint control. Also, be cautious about white bristle brushes: if the bristle have been chemically bleached, they become weaker and may wear out faster.

There is other types of natural hair that are used for softer brushes, particularly for blending, glazing, and delicate detail work. Sable brushes are among the most prized and expensive, known for their fine tip, spring, and softness. They can deliver beautiful smooth lines and gentle blending. Kolinsky sable — from the tail hair of the Kolinsky weasel — is considered to be the highest grade of sable, valued for its balance of softness and ability to return to natural shape.

Other natural hairs include squirrel, goat, pony, and horse. Squirrel hair is extremely soft and absorbent, so its good for washes and delicate blending, though it lacks spring. Goat hair is also soft, used for large area blending and softer edges. Horse and pony hair are coarser and less common, but can still be used in combination with other hair or for special effects.

Synthetic brushes today are made from materials like Nylon, Taklon or Polyester. They have improved over the years and can now closely imitate the behavior of natural bristle or softer natural hairs. Synthetic brushes can be more affordable, often more durable, and are less prone to damage from solvents.

Brushes come in different shapes, the most common ones are flat, bright, filbert, angular flat, round, pointed round, detail round and fan — each shape lending itself to different types of marks and techniques. The handle length matters too. Long-handled brushes are typical for oil painting, because its more common for artists to use a tripod and stand at arm’s length when painting. The longer handle allows loose brushwork and more freedom in movement. Short-handled brushes are better for small-scale work and detailed areas where more controlled hand movement is required.

Brush care is essential if you want your brushes to last and keep their shape, but it is equally important to choose the right cleaning products and to know what to avoid. There are several dedicated brush cleaning soaps and liquids available on the market. These are specially formulated to dissolve oil paint from both natural and synthetic bristles and some also contain conditioner that prevent brush hair from drying out. In addition to brush soaps, many artists use mild household soap, such as gentle dish soap or Marseille soap, which can also remove oil paint effectively without being overly harsh. When stronger cleaning is needed, small amounts of solvent like odorless mineral spirits can help remove stubborn paint near the ferrule.However, it is recomended not to soak brushes in solvent for long periods because it can dry out natural hair, strip away natural oils, and cause bristles to become brittle. Better avoid harsh household chemicals, strong detergents, and industrial degreasers, as these can damage both natural and synthetic brushes. Hot water should also be avoided because it can weaken the glue inside the ferrule and cause the bristles to loosen or fall out. For natural hair brushes it is especially important to use milder cleaning products and brush conditioner to keep the bristles soft and supple. Synthetic brushes are generally more resistant to solvents and less affected by strong cleaners. However, even synthetic brushes can lose shape or become rough if repeatedly soaked in strong solvent or cleaned aggressively. Treat your brushes with care and they will perform at their best for as long as possible.

There is a arrange of materials that can be used for oil painting palettes: disposable paper palettes, glass palettes, or traditional wooden palettes. Disposable paper palettes can be convenient if you don’t want to bother yourself with cleaning, as you can simply tear off and discard the used sheet when you’re done. However, they don’t provide the same mixing surface qualities as more traditional options.

Traditionally, artists have worked on wooden palettes, and today there many options made of lightweight woods like maple, birch, or beech, which are easy to clean and comfortable to hold. It is recommended to condition your wooden palette — you seal it with linseed oil by rubbing it into the surface with a clean rug. This procedure should be repeated several times until the wood no longer absorbs oil. This protects your palette from stain and warping, and creates a smooth, less absorbent surface for mixing paint.

Glass palettes have become popular because of the ultra-smooth surface they offer. They are durable and easy to keep spotless, though can feel heavy and are often more practical to be kept on a table rather that held in hand. Some artists place a sheet of mid-tone grey or brown paper underneath the glass so that the true values of mixed paint are easier to judge.

Plastic palettes are generally not recommended for oil painting. Oil can stain or soften the plastic over time, and solvents can damage or warp plastic surface, making plastic palettes difficult to be cleaned properly.

Palettes come in different shapes and sizes, and it's worth thinking in advance of how you prefer to work. Large palettes provide more space for mixing colors, which is very useful for large canvases or detailed work. However, if you travel a lot or tend to work outdoors (plein air), a smaller, lightweight palette might be easier to carry around. Palettes also come with different handle designs, for left-handed or right-handed artists, and some even be reversible (used either way), depending on your comfort.

When it comes to cleaning your palette, it can be a good practice to keep the surface reasonably clear, although some artists love building up mountains of paint and if it suits your working style there is nothing wrong about it. After each painting session, you can scrape leftover paint off with a palette knife. Once most paint is removed, wipe the palette with a cloth dampened with solvent, cleaning the surface completely. For glass palettes, a single edged razor blade can remove dried paint without causing damage to the surface.

Choosing the right palette ultimately depends on your habits: how you like to paint, whether you stand and hold your palette or prefer keeping it on a table, and how much time you have to take care of your tools.

For oil painting, the most common surfaces are canvas — either linen or cotton — as well as wood panels, medium-density fiberboard (MDF), and canvas boards. Linen canvas is prized for its strength and fine texture, making it popular among professional artists, while cotton canvas is more affordable and widely available. Wood panels and MDF offer a rigid, smooth surface ideal for detailed work and can reduce the risk of cracking over time. Canvas boards are particularly useful for plein air painting or sketch studies. They are lightweight, portable, and take up less space than stretched canvases, while also being less prone to damage during transport.

Although less common, artists sometimes use surfaces like glass or paper. There is paper specifically made for oil painting, but alternatively, you can use heavyweight, acid-free paper that has been properly primed before starting to paint, usually with a couple of coats of acrylic gesso, to prevent the oil paint from seeping in and weakening the fibers. Similarly, glass must be carefully cleaned and primed to help the paint adhere.

The first thing you do before priming your surface is apply sizing coat. Sizing is a type of glue — traditionally rabbit skin glue, though modern synthetic alternatives are also present — that seals and protects the fibers of the canvas from the acidic components of oil paint.

Priming is the second step in preparing a painting surface, as it ensures good adhesion of the paint, smooths out the surface, and extends the life of the artwork. Several types of primers and grounds can be used, each giving a different surface feel and absorbency. Acrylic primers, often referred to simply as acrylic gesso, usually of white color, are the most common choice today. They act both as a sealant and a ground layer, providing an absorbent surface that works well for oil paint. Acrylic gesso is quick-drying, easy to apply, and can be used on a wide variety of surfaces. Oil-based primers are the more traditional choice, that create a smoother, more absorbent surface favored by many classical painters, though these primers typically require a longer drying time. Clear primers are tranparent, unlike clasical white gesso, and can be a good choice for those who want to keep the natural color and texture of the canvas or wood visible underneath the painting.

Varnishing is the final step in finishing an oil painting. Varnishes are special coatings applied over a fully dried oil painting to protect the surface from dust, moisture, and mechanical damage, as well as to unify the overall finish and deepen the colors. Unlike painting mediums, which are mixed directly into the paint during the painting process, varnishes are applied only after the painting has cured — usually after several months, depending on the thickness of the paint layers.

There are two main types of varnishes: final varnishes and retouch varnishes. Final varnishes create a durable, protective top coat and should only be applied after the paint film is completely dry. Retouch varnishes are thinner solutions that can be applied sooner to even out the gloss of the painting while you are still working on it. They do not provide the same level of long-term protection as a final varnish, but can help termorarily restore sunken-in areas on the canvas.

Traditional varnishes with natural resins dry to a beautiful, warm gloss but can yellow and crack over time, so they require careful application and future maintenance. Modern synthetic varnishes, such as acrylic or alkyd-based varnishes, are less prone to yellowing and are often easier to remove or replace when cleaning a painting in the future.

The finish of a varnish can vary depending on your preference: gloss, which makes colors appear deeper and more vibrant; matte, which reduces shine and reflections; or satin, which strikes a balance between the two. Varnishing should always be done in a dust-free environment, and it’s important to follow product instructions carefully, as improper application can create streaks or an uneven surface.