Oil Paint Characteristics
| Feature |
Description |
Note |
| Drying Time |
Slow (days to weeks) |
Allows blending and adjustments |
| Opacity |
Ranges from transparent to opaque |
Depends on pigment type |
| Colour Vibrancy |
Extremely rich, doesn’t dull when dry |
Great for detailed and rich work |
| Finish |
Naturally glossy |
Can be adjusted with varnish |
| Durability |
Excellent longevity |
Proper care ensures centuries |
Paint Grades
| Grade |
Pigment Load |
Price Range |
Best For |
| Student Grade |
Lower |
$5–$15/tube |
Practice, sketching |
| Artist/Professional |
High |
$15–$50+/tube |
Finished work, commissions |
Surfaces for Oil Painting
| Surface |
Prep Required |
Best Use |
Notes |
| Stretched Canvas |
Usually pre-primed |
Standard use |
Needs oil-compatible gesso |
| Canvas Board |
Minimal prep |
Studies, beginners |
Budget-friendly |
| Wood Panel |
Yes (gesso, sealing) |
Detailed, archival works |
Rigid support helps avoid cracking |
| Oil Paper |
Ready-to-use |
Sketches, plein air |
Disposable and portable |
| Linen |
Yes (usually primed) |
High-end, smooth finish |
More expensive, high quality |
Essential Oil Painting Supplies
| Item |
Use |
Notes |
| Oil Paints |
Main medium |
Choose artist grade when possible |
| Brushes |
Applying paint |
Hog bristle or synthetic preferred |
| Palette |
Mixing colours |
Wood, glass, or disposable |
| Mediums |
Alter drying time, texture |
Linseed oil, stand oil, alkyd, etc. |
| Solvents |
Thinning, cleaning |
Odorless mineral spirits or turpentine |
| Palette Knife |
Mixing, scraping, texture |
Use metal for durability |
| Rags/Paper Towels |
Wiping, blotting |
Essential for cleanup |
| Easel |
Holding surface |
Keeps posture correct |
| Gloves |
Protection |
Especially when using solvents |
Brush Types for Oils
| Brush Type |
Shape |
Best For |
Sizes |
| Flat |
Square tip |
Blocking in, bold strokes |
2–20+ |
| Bright |
Short flat |
Controlled, short strokes |
2–16 |
| Round |
Pointed round |
Lines, details, drawing |
0–12+ |
| Filbert |
Rounded edges |
Blending, portraits |
2–16 |
| Fan |
Spread bristle |
Blending, foliage, texture |
Small–Large |
Popular Mediums & Their Uses
| Medium |
Effect |
Notes |
| Linseed Oil |
Slows drying, adds gloss |
Most commonly used |
| Stand Oil |
Thick, smooth flow |
Helps with blending, glazing |
| Walnut Oil |
Slower drying, non-yellowing |
Great for detail work |
| Alkyd Medium |
Speeds drying |
Good for layering quickly |
| Liquin |
Improves flow, speeds drying |
Popular commercial medium |
| Damar Varnish |
Glossy finish, used in final varnish |
Apply after full curing (6+ months) |
Fat Over Lean Rule
| Layer Type |
Fat Content |
Drying Time |
Examples |
| Lean (Base) |
Low (solvent-heavy) |
Fast |
Paint + solvent |
| Mid Layer |
Moderate (medium mix) |
Medium |
Paint + oil/medium blend |
| Fat (Top) |
High (oil-rich) |
Slow |
Paint + mostly oil |
Always apply “fat” layers over “lean” ones to avoid cracking as the painting cures.
Oil Painting Techniques
| Technique |
Description |
Best For |
| Alla Prima |
Wet-on-wet, direct painting |
Quick, expressive works |
| Glazing |
Transparent layers over dried paint |
Depth, luminosity |
| Scumbling |
Light dry paint over dark dried layer |
Atmospheric, textured effects |
| Impasto |
Thick, raised paint application |
Dramatic texture, highlights |
| Underpainting |
Monochrome base layer |
Value planning |
| Blending |
Soft transitions between colours |
Skies, skin, gradients |
| Sgraffito |
Scratching through paint |
Reveals underlayers |
Drying Times (Estimates)
| Paint Type |
Touch Dry Time |
Full Cure Time |
Tips |
| Thin Layers |
1–2 days |
~1 month |
Use less oil |
| Thick Layers |
5–14+ days |
3–6 months |
Allow air circulation |
| With Alkyd Medium |
6–24 hours |
1–2 months |
Good for deadlines |
Beginner-Friendly Projects
| Project Idea |
Techniques Used |
Surface |
Time Estimate |
| Monochrome Still Life |
Underpainting, layering |
Canvas board |
2–3 hours |
| Simple Sky & Clouds |
Blending, scumbling |
Stretched canvas |
3–4 hours |
| Fruit Bowl Painting |
Fat over lean, glazing |
Canvas panel |
4–6 hours |
| Ocean Waves |
Impasto, dry brushing |
Canvas |
5–6 hours |
| Portrait Study |
Blending, glazing |
Linen board |
6–12+ hours |
Safety Tips
| Concern |
Safety Measure |
| Solvent Fumes |
Use odorless mineral spirits, ventilate |
| Skin Contact |
Wear gloves, wash thoroughly |
| Fire Hazard |
Dispose rags in sealed metal container |
| Food Proximity |
Keep paints away from eating areas |
| Cleaning |
Use dedicated brush cleaner |
Finishing & Varnishing
| Step |
Purpose |
Timing |
Notes |
| Dry Fully |
Ensure all layers cured |
3–6+ months |
Do not varnish too early |
| Dust Off |
Clean surface gently |
Before varnish |
Use soft brush or microfiber cloth |
| Varnish |
Protect and unify finish |
Gloss, satin, matte |
Use removable varnish if desired |
Selling Oil Artwork
| Product Type |
Market |
Price Range |
Notes |
| Original Canvases |
Art galleries, online |
$75–$1,500+ |
High value, premium finish |
| Mini Oil Studies |
Craft shows, bundles |
$20–$100 |
Great entry point for buyers |
| Commissioned Portraits |
Private clients |
$150–$2,000+ |
Requires clear timeline/contract |
| Framed Panels |
Local boutiques |
$50–$500 |
Adds perceived value |