The Well Equipped Student, Materials Explained
Dear young students and parents,
Oil painting for a young student should begin with the safest and most affordable (but high quality) paints, brushes and materials. Rather than give you a simple shopping list I am writing a more detailed overview for teaching responsibility and safety to a young student. Here is a list of subjects that I want all my young students to know about. (An adult oil paint list is included )
1. Solvent Free Studio
2. Oil Paints, Choosing and Using
3. Good Quality Brushes and how to Clean and Care for Them
4. Painting Surfaces, Posh to Affordable
5. Materials and Studio Maintenance Fee Explained
1. Solvent Free Studio, OIL ONLY
For years now I have been painting without odorless mineral spirits (OMS) or other petroleum- or citrus-based paint thinners or solvents. This is for many reasons, but mainly because I find it unnecessary. Paint thinner is traditionally used for thinning mediums and for using to thin paint for the initial under-painting phase of painting. Paint thinner is also used to clean the brushes after painting.
Solvents irritate the lungs and skin. They irritate throats, eyes and lips and may cause cancer or other health problems. They are not a good material to send down your drain into the public water treatment system. Most oil paints are pigments mixed with a variety of vegetable oils, and these oils dissolve easily with soap and water. These include Linseed Oil, Walnut Oil, Poppy Oil, Safflower Oil, etc. Linseed oil is the best oil in general and forms the strongest and most flexible paint films. These oils are safe to touch and use.
The oil mediums we will use in the studio include Cold Pressed or Refined Linseed, Walnut and Poppy Oil.
We avoid the following mediums, so please do not buy or use: Damar Varnish, Liquin, Alkyd Mediums or “Dryers”
Cobalt Dryers, Any Other “Dryers”
Mediums with Petroleum Solvents Added
2. Oil Paints, Choosing and Using
For young students who are still growing we will not use paints that include lead, cadmium or cobalt. There is no shortage of information available about the dangers of these metals. It is every parent's responsibility to know this when shopping for anything involving pigment, and this includes more than just paint. However, safe practices are easy to learn and painting with gloves and safe habits keeps artists healthy.
Lead, cadmium and heavy metals are dangerous to growing children because when these metals are in a child’s blood stream they are mistaken by the body for protein and are bound into the bones and skeleton for decades. All organs are susceptible to damage. It should be noted that most young adults are growing their skeletons and ossifying their cartilage until their middle twenties.
The safest paints to use are “earth tones”, made from a variety of clay found around the world. Many of my “cadmium replacements” are simply laboratory-made synthetic pigments. These include the bright spectral colors that will replace cadmium.
The whites are Titanium, not lead or zinc. Zinc is safe but forms an inferior paint film that becomes brittle in a short time. Titanium will have an alarming new label due to the passing of the Prop 65 consumer labeling bill. Most highly-respected authorities are not at all fearful of titanium. Titanium White is very unlikely to cause any harm in the way an artist is expected to handle it. Titanium White is an adequate paint for a reasonably strong paint film, although inferior in strength or viscosity to lead white.
How to Clean your Brushes
When you are done painting your brushes will be full of wet paint. The hairs will be saturated with paint even down inside the shiny metal part of the brush called the ferrule. Wipe as much paint off with a paper towel as you can. You should be squeezing with gentle pressure from the ferrule toward the tip, extruding the paint from the ferrule and the hairs.
Be kind to your brushes. They are expensive and you should also be kind to them while you paint with them. Lay your strokes down with some style and grace.
After you have wiped them off, dip them in a jar of walnut oil (first choice) or cheap vegetable oil and repeat the wiping process. Then wash the brush with medium-hot water and dish soap or cheap white bar soap. You should be wearing a thick and comfortable rubber glove in your non-dominant hand. Massage the soap and extrude the paint patiently and gently, so as to not damage the hairs. Always squeeze from ferrule to tip.
Note. Wash one brush at a time. Do not save time and attempt to wash a handful of brushes together. It just doesn’t work! You will be disappointed to find later that the paint did not get washed out and your hairs are hardened with dry paint. Take your time and do it right. Also, wash your brushes by the time you go to bed.
When your beautifully cleaned brushes are rinsed you can lay them flat with the tips hanging over the edge of a table. You may also reshape the brushes before they dry to keep them in form.
Your Local Independent Art Supply Store
142 River St,
Santa Cruz, CA 95060
831-423-1935
Closed Sundays
Materials & Procedures
Oil Paints
Ivory Black
Ultramarine Blue Manganese Violet
Dioxazine Purple
Provence Violet Bluish by Williamsburg
King's Blue Dark or Light
Sap Green
Permanent Green Light
Titanium White, NOT ZINC or LEAD
Raw Umber
Burnt Umber
Yellow Ocher
Raw Sienna
Transparent Iron Oxide
Hansa Yellow Light or Medium
Mono Orange
Permanent Orange Pyrol, Orange Permanent Orange
Perlene Red OR
Pyrol Red
Permanent Red Quinacridon Red Alizarin Permanent
Refined Linseed Oil, 8oz bottle
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5. Materials and Studio Maintenance Fee Explained Studio Materials and Maintenance Fee
Registered students may be asked for a periodic $48 Studio Materials and Maintenance Fee. The fee may last a student from one to two months depending on the student's work in progress. The contribution pays for shared items we all need. Although these funds help support the collective program, students will be encouraged to acquire personal materials such as brushes or painting surfaces befitting a well equipped dedicated Artist. Thank you for keeping the studio well stocked for the benefit of everyone.
Regular registered students commit to supporting the studio program by sharing the expenses of stocking and maintaining the studio. This patronage helps us share art supplies as well as many general items we all need. This ranges from drawing and painting materials to hardware, cleaning supplies, subject matter, furnishing and office supplies. We travel to shop for and collect many things that are best bought in bulk or for special needs.
What does your contribution support? We regularly need the following;
Graphite pencils, charcoal pencils, chalk pencils, vine charcoal, pastels, kneaded erasers, retractable erasers, retractable eraser replacements, Olfa Japan sharpeners, drawing board clips, hundreds of sheets of various specialty drawing papers, pastel papers, masking tape, paper towels, still life fruit and subjects, antiques, draperies and fabrics, high quality plaster casts, utility lights, light bulbs, tubes of oil paint, linseed oil, walnut oil, poppy seed oil, brushes, palette knives, mediums, Duralar brand Mylar for painting, acrylic gesso, workable fixatif, palettes, tracing paper, clamps, electrical cords, copy paper, cotton balls, Q-tips, tissues, Teacher Pro electric pencil sharpeners four times per year, plastic cups, paper bowls, sand papers, flowers and produce, etc.
Thank you for taking the time to read this, Gabriel Coke
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