Working with Oil Paint

OIL PAINT

Most artists use some kind of 'limited palette' based on the principles of colour theory that we can mix almost any shade from the primary colours of red + yellow + blue. There are many possible variations, such as using yellow with cyan blue and magenta, rather than primary red + yellow + blue. The physics behind colour-mixing is complex, but for our purposes, it suffices to know that from a very few paints, we can easily achieve a wide spectrum of hues. The 19th-century portraitist Anders Zorn famously used a palette that was so limited that it excluded blue altogether (white, yellow ochre, red and black), but by leveraging the cool undertones of ivory black and carefully balancing warm and cool colours, he was able to simulate the effects of blue to create realistic flesh tones and subtle variations in light and shadow without needing a true blue. 

The core palette we use in the studio is composed of the following: 

• White: Titanium white and Flake White Replacement (the latter is mostly useful for portraits)
• Ultramarine Blue
• Yellow Ochre
• Cadmium Yellow (Hue)
• Cadmium Red (Hue)
• Alizarin Crimson (mostly for portraits)
• Raw Umber

What Paint Should I Buy?

The student-quality paint we use in the studio is mostly the popular Winsor & Newton 'Winton' and Daler-Rowney 'Georgian' ranges. In my own work, I mostly use Old Holland and Michael Harding. We use Winton and Georgian in the studio as it is inexpensive but consistent and reasonably lightfast. Student-quality and artist-quality oil paints differ primarily in their pigment concentration and binder composition. Student-quality paints have a much lower pigment load, which makes them less potent and can result in faster fading over time. They also use cheaper binders, which can affect texture and drying time. Student-quality paints are much more affordable so they are great to learn with. I recommend moving to artist-quality paints after you have grasped the principles of oil painting, around the point that you start making work that you like and wish to keep, give away, or sell. Note that there is a learning curve when transitioning to artist-quality paint because it handles so differently on account of its potency. 

Here’s an overview of some oil paint brands I recommend (no affiliate links, just my opinions): 

Winsor & Newton's 'Artist’s Oil Colour' and 'Winton Oil Colour'

• Characteristics: The Winton range is a very good student-quality paint. The Artist’s Oil Colour series is known for its high pigment concentration, so it offers rich colours and excellent lightfastness at a very good price. These tend to be more liquid in consistency than pricier brands like Michael Harding and Old Holland, but that suits many artists.  
• Pricing: from £7.40/ 37ml tube for the Artist’s range and £3.40/ 37ml tube for the Winton student-quality range. 

Daler-Rowney's 'Georgian' 

• Another popular student-quality oil paint series comparable to Winton paints; equally pigmented (moderate), equally low-odour, but slightly thicker. You might prefer these if you like the idea of painting thick (impasto and other textured techniques). Really I suggest that If you are new to oil painting and you are buying your first set of paints you pick either 'Winton' or 'Georgian' based on what is available in your local art shop or what is on offer, as they are very similar and both are frequently sold at discounted prices. Pricing from £3.40/ 40ml tube.  

Old Holland's 'Classic Oil Colours'

• Premium artist-quality paint. Known for their dedication to traditional craftsmanship. Old Holland paints are very high in pigment concentration and they tend to come out of the tube rather stiff, so can be diluted as much or as little as you like. Excellent for all kinds of applications from impasto to glazing. 
• Pricing: from £8.90/ 40ml tube. 

Michael Harding's 'Artist’s Oil Paints'

• Premium artist-quality paint. These paints are valued for their high pigment concentration and buttery consistency. Michael Harding paints are made using high-quality materials and traditional methods and are favoured by many professional artists for their premium quality.
• Pricing: from £7.90/ 40ml tube. 

Schmincke's 'Mussini Artist Oil Colours': 

• The artist-quality Mussini range differs from the other suggestions on this list as it uses resin-oil binders for enhanced durability and colour brilliance. The Mussini range tends to be slow-drying and can be used alongside traditional oil paints. They are a popular choice for artists who prefer to work slowly and in glazes. I have several of these which I use almost only for glazing, but they handle beautifully and a little goes a long way. Pricing: from £10.90/ 35ml tube. 

Wallace Seymour's 'Artist's Oil Colour'

• A premium artist-quality paint similar to Michael Harding and Old Holland. Some fun place-specific offerings, such as their 'Bealach na Ba - Scottish Red Granite', and some hard-to-find historic paints like genuine smalt. Convenient for artists based close to the GSA as their shop (Paint & Mortar) stocks a wide range of this brand. 
• Pricing: from £9.95/ 40ml tube.

Sennelier's 'Artist Oil Paints'

• Artist-quality paint, comparable in texture and pigmentation to Winsor & Newton Artist's Oil Colour. Sennelier have some very interesting 'convenience mixes' in secondary colours which I enjoy using, such as their 'Brown Pink' (it's pigeon-poo green and made from buckthorn berries) and their luminous 'Chinese Orange'. They also made innovative oil sticks and excellent oil pastels, both of which are a great supplement to traditional oil paints for achieving a range of interesting effects. Their beautiful shop opposite the Louvre on the Quai Voltaire is not to be missed when on holiday in Paris! 
• Pricing: from £7.75/ 40ml tube. 

Gamblin's 'Artist’s Oil Colours' and '1980 Oil Colours'

• The Artist’s Oil Colours have a high pigment load and generally excellent performance. Similar in consistency to Winsor & Newton Artist's oils. Gamblin 1980 offers a more affordable student-quality option of high quality (exceeding that of Winton and Georgian) and a range of colours. Gamblin emphasises environmentally friendly practices. 
• Pricing: Because this is an American brand Gamblin paints are a little steep in the UK (around £10.60/ 37ml tube for Artist’s quality and £6.80/ 37ml tube for the 1980 student range), as such I would not recommend them as a good-value go-to option unless they are on offer or you happen to be based in/ visiting the US (in which case I highly recommend them). 

Royal Talens' 'Rembrandt Oil Colour'

• Particularly smooth artist-quality paints. Some professional artists become devotees of this brand, but they are a little more fluid than I personally like.  
• Pricing: from £8.10/ 40ml tube. 

Deciphering an Oil Paint Tube Label:

Oil paint tubes contain various pieces of information that help us make informed choices. Depending on the brand you may find some or all of the following information:

1. Colour Name: The name of the colour, such as 'Ultramarine Blue' or 'Cadmium Red'. This may be followed by more information in parentheses, for example, it may say 'Cadmium Red (Hue)' which indicates that the pigment used is a cheaper alternative to authentic cadmium, or 'Ultramarine Blue (Light)', which indicates a slightly lighter and reddish blue. 

2. Pigment Information: This often includes the pigment number (e.g., PB29 for Ultramarine Blue or PR108 for Cadmium Red) which refers to the specific chemical compound of the pigment. The pigment numbers follow standardised codes set by the Colour Index International. This information is often more helpful than the colour name as it's important to know what pigment has been used as the interaction between pigments when you mix them with other pigments can vary very great: for example, paint labelled with the colour 'Cerulean' (sky blue) can be made using expensive cobalt (PB35 or PB36), or cheap phthalo blue (PB15), but while the former is great in a portrait palette, the latter is a highly staining dye-based pigment, which many artists would wish to avoid. So while these tubes of paint share the same name and appear to the eye to contain the same physical stuff, the results that you get with each will be different. 

3. Manufacturer's Name and Product Line: The brand and the specific line of paint (e.g., Winton Oil Colour, Artist’s Oil Colour) are indicated.

4. Lightfastness Rating: This indicates the resistance of the paint to fading when exposed to light over time. The most common scale is the ASTM (American Society for Testing and Materials), which ranges from I (excellent lightfastness) to V (poor lightfastness). Sometimes the manufacturer has their own rating system, typically there will be a key explaining the system on the product page.

5. Opacity/Transparency: Symbols or words indicating whether the paint is opaque, semi-opaque, semi-transparent, or transparent. This helps artists understand how the paint will interact with other layers.

6. Series Number: This number indicates the price range of the paint, often related to the cost of the pigment used. Higher series numbers usually mean more expensive pigments. To return to the example of Cerulean, PB15-based cerulean will likely be a Series 1 paint, while PB35 will be around a Series 6, and PB36 will be around a Series 4: this reflects the amount of cobalt required to make the pigment, as cobalt is an expensive raw material.  

7. Binder: Sometimes the binder, typically linseed oil, is listed, especially if a different oil is used (like safflower or poppy oil). The binder can affect colour and drying time. For example, if you are concerned about your whites yellowing over time you might opt for a white pigment made with safflower oil, as it is paler yellow than linseed oil. 

8. Safety Information: Warnings about potential hazards, such as toxicity or the presence of heavy metals like cadmium or lead, are included to ensure safe handling. Student-quality materials seldom contain toxic materials, while artist-quality paint will frequently include heavy metals and other hazardous substances, as their effects are difficult to imitate (if you tend to get paint on your skin you might consider wearing disposable gloves).  

9. Volume: The quantity of paint in the tube, usually given in millilitres (ml) or fluid ounces (fl oz).

10. Country of Origin: The country where the paint was manufactured.

MEDIUMS

The choice of oil medium can significantly influence the painting process and final result. Linseed oil, the most common binder, provides a durable and flexible film. Other oils, such as walnut or poppyseed oil, offer different drying times and surface qualities, allowing artists to tailor their materials to their specific needs. In the studio, we use refined linseed oil as it is versatile, durable, and dries at a moderate rate. 

Bear in mind that linseed oil from hardware shops is not suitable for oil painting as it has, not been put through the refining process of removing proteins and other organic matter, and as a result, it is inconsistent in handling and markedly yellow. 

SOLVENTS

Traditional solvents, such as turpentine and white spirit are less frequently used by artists today because they are 'high VOC' (volatile organic compound). VOCs are chemicals that easily evaporate at room temperature, releasing fumes that can contribute to air pollution and cause health issues such as headaches, dizziness, respiratory problems, and long-term conditions with prolonged exposure. I do not use high-VOC solvents (aside for when cleaning up) or permit them in the studio. Low VOC solvents are less harmful to our health and the environment because they are formulated to reduce risks by containing fewer volatile compounds, thus emitting fewer fumes. Examples of low-VOC solvents include odourless mineral spirits, citrus-based solvents, and specially formulated low-VOC turpentines.

Solvent Safety Chart

I recommend: 

• Gamsol by Gamblin (or Puresol by Jackson's): a highly refined petroleum distillate useful in place of traditional turpentine and white spirits. 
• Zest-It: a citrus-based solvent, chemically similar to Gamsol with a pleasant orange scent (increasingly difficult to find due to supply issues)
• Liquin Original by Winsor & Newton: an alkyd medium which is useful for speeding drying time. 
• Oleogel by Rublev: Adds transparency and body to oil paints. Good for impasto work. Comes in a handy tube, which makes it convenient for transporting when working outdoors. 

BRUSHES

Different types of brushes for oil painting vary in shape, size, and bristle material, each serving specific purposes to achieve various techniques and effects. 

Brush Shapes

Round Brushes

• Characteristics: Pointed tip, round ferrule.
• Uses: Detailed work, fine lines, and delicate strokes.

Flat Brushes

• Characteristics: Square end, long or short bristles, flat ferrule.
• Uses: Bold, sweeping strokes, filling in large areas, and creating sharp edges.

Bright Brushes

• Characteristics: Shorter bristles than flat brushes, square end, flat ferrule.
• Uses: Short, controlled strokes, and thick application of paint.

Filbert Brushes

• Characteristics: Rounded edge, flat ferrule, medium to long bristles.
• Uses: Blending, soft rounded strokes, and smooth, curved lines.

Fan Brushes

• Characteristics: Fan-shaped bristles, flat ferrule.
• Uses: Blending, softening edges, creating textures like foliage or fur.

Angle Brushes

• Characteristics: Bristles cut at an angle, flat ferrule.
• Uses: Angular strokes, precise lines, and tight corners.

Rigger or Liner Brushes

• Characteristics: Very long bristles, round or flat ferrule.
• Uses: Fine details, long continuous lines, and lettering.

Bristle Materials

Natural Bristles

• Types: Hog bristle, sable, mongoose, squirrel.
• Characteristics: Hog bristle is stiff and durable, suitable for thick paint; sable is soft and excellent for smooth applications and fine details.
• Uses: Versatile for various techniques depending on stiffness and softness.

Synthetic Bristles

• Types: Nylon, polyester.
• Characteristics: Less expensive, more durable with solvents, mimic natural bristles.
• Uses: Suitable for a wide range of techniques, often preferred for their durability and consistent quality.

Brush Sizes

Brushes come in various sizes, typically numbered (e.g., 0, 2, 4, 6, etc). Larger brushes (higher numbers) are used for broad strokes and covering large areas, while smaller brushes (lower numbers) are used for detailed work. 

What Brushes Should I Buy?

The quality of paint is more important than the quality of brushes, but really poor-quality (crafting) brushes will make it difficult for you to achieve good results as they splay and are prone to shedding. If you are new to painting and you would like to get some budget brushes, I suggest long-handled Daler-Rowney brushes: one pack of 4+ hog hair brushes and one pack of synthetic (either the 'Simply' or 'Graduate' range). These will serve you well for a few months if you look after them (never leave your brushes standing in liquid!). Long-handled brushes are ergonomically balanced for larger movements so are useful for working large at a standing easel as well as seated, but if you work on small paintings you might prefer to stick with short-handled brushes as they handle more like a pen or pencil and are good for close detail. 

If you decide to invest in better brushes, the brands Rosemary and Isabey offer great value-for-money brushes, which are suitable for all levels. I suggest trying sample packs (Jackson's sells them) of different brands/ series to get a sense of what works best for you as you discover your individual style and preferred techniques.