100% to women artists
Women In ArtWomen In Art
Studio Resource · Compendium

Creative Techniques

A reference library across five disciplines — materials, techniques, and global traditions for studio practice.

Content is © Women In Art. Tap Save on any tip or step to pin it to your studio library — no copying off-site.

Painting allows artists to express emotions and ideas through colour and texture, utilising various mediums and techniques for different effects. This comprehensive guide covers every major painting medium, essential techniques, global traditions from every continent, colour theory, materials, and studio safety.

The medium is the beginning. Your vision is the rest.

Water-Based Media

From transparent washes to opaque flat colour — water is the oldest and most universal painting solvent.

Watercolour

Fast (minutes)

Transparent pigment suspended in gum arabic, activated with water. The white of the paper provides luminosity — working from light to dark is essential.

Gouache

Fast (30 minutes)

Opaque watercolour with higher pigment concentration and added chalk. Dries to a flat, matte, velvety finish that can be reactivated with water.

Egg Tempera

Fast (minutes)

Pigment bound with egg yolk — the dominant panel painting medium of the Middle Ages and early Renaissance. Builds form through fine hatching rather than blending.

Fresco

Sets with plaster (hours to days)

Pigment applied to wet lime plaster — bonds permanently through carbonation as the plaster cures. One of the most permanent painting techniques.

Casein

Fast (30 minutes)

Milk protein-based paint with a smooth matte finish and strong adhesion. Used since ancient times for its durability on absorbent surfaces.

Distemper

Slow (hours)

Traditional chalk-and-glue paint with a soft, powdery matte appearance. Used for centuries for interior decoration and theatrical scenery.

Oil-Based Media

Slow drying, rich colour, and unmatched blending — oil paint transformed Western art in the 15th century.

Traditional Oil Paint

Slow (days to weeks)

Pigment suspended in drying oil — the most versatile and historically significant Western painting medium. Offers rich colour, extended workability, and luminous glazing potential.

Water-Miscible Oil Paint

Slow (days)

Modified oil paint that can be thinned and cleaned with water instead of solvents. Same working properties as traditional oils without the fumes.

Alkyd Paint

Medium (~24 hours)

Oil-modified synthetic resin paint that handles like oil but dries overnight. Ideal for underpainting and artists with limited studio time.

Oil Sticks / Paint Sticks

Slow (days)

Solid oil paint in stick form for direct, expressive mark-making that bridges drawing and painting.

Enamel Paint

Medium (hours)

Hard, glossy paint (oil or lacquer-based) that forms a tough protective film. Resistant to wear, weather, and chemicals.

Acrylic & Synthetic Media

The 20th century brought new polymer paints — fast-drying, versatile, and endlessly adaptable.

Acrylic Paint

Fast (30 minutes – 2 hours)

Water-based pigment suspended in acrylic polymer emulsion. The most versatile and accessible modern paint medium — can mimic watercolour, oil, or create unique effects.

Spray Paint / Aerosol

Fast (10-30 minutes)

Pressurised paint in aerosol form. Creates smooth gradients, stencil work, and bold graphic layers — the signature medium of street art and murals.

Pouring / Fluid Art

Hours to days

Acrylic paint thinned with pouring medium, poured and manipulated to create organic cells, marbling, and flowing abstract patterns.

Encaustic & Wax Media

Ancient Egyptian and Greek technique revived — heated wax creates luminous, sculptural surfaces.

Encaustic

Instant when cooled

Heated beeswax mixed with pigment and damar resin. Each layer is fused with heat, creating luminous, sculptural surfaces that can be carved, embedded, and polished.

Essential Painting Techniques

Master these fundamental approaches and every painting becomes possible.

Glazing

Concept (slow process)

Applying thin, translucent layers of colour over dried paint to build luminous depth impossible with opaque mixing.

Steps · tap Save to pin to your studio
  1. Ensure the base layer is completely dry
  2. Mix a small amount of transparent paint with glazing medium (oil) or gloss medium (acrylic)
  3. Apply a thin, even layer with a soft brush — the layer should barely tint the surface
  4. Allow the glaze to dry thoroughly before applying the next layer
  5. Build up multiple glazes — each adds depth and complexity
  6. Use a soft brush to avoid disturbing the layers beneath
Studio tips · tap Save to pin to your studio
  • Use transparent pigments (Alizarin Crimson, Viridian, Phthalo Blue, Ultramarine)
  • Each glaze should be whisper-thin — heavy application muddies the effect
  • Patience is essential — the luminosity comes from many successive layers
  • Glazing medium increases transparency and flow
  • Test glaze colour on a white card before applying
  • This technique creates colour depth impossible with direct mixing
  • Used by Vermeer, Turner, and the Old Masters for luminous effects
  • Allow weeks between complex glazing sequences
  • Rich, luminous skin tones
  • Atmospheric skies
  • Still-life depth
  • Classical portrait backgrounds
  • Jewel-like colour effects

Impasto

Variable

Applying paint thickly so brush and knife marks remain visible, creating physical texture that catches light and adds dimension.

Steps · tap Save to pin to your studio
  1. Use paint straight from the tube or mixed with minimal medium
  2. Apply with a painting knife or stiff hog-bristle brush
  3. Build peaks and ridges that stand proud of the canvas surface
  4. Directional strokes can follow form to enhance three-dimensionality
  5. Allow to dry thoroughly — thick impasto can take weeks or months
  6. The paint surface should retain the tool marks — do not blend
Studio tips · tap Save to pin to your studio
  • Work alla prima (wet-on-wet) for fresh, energetic strokes
  • Use heavy-body acrylics or add marble dust to oil paint for extra body
  • Impasto catches light physically — consider the painting's final lighting position
  • Palette knives create smooth flat marks impossible with brushes
  • Vary the direction of strokes to enhance form
  • This technique adds physical presence and emotional intensity
  • Used expressively by Rembrandt, Van Gogh, and Lucian Freud
  • Thickest application should be in the lightest areas
  • Expressive, energetic work
  • Adding focal points and emphasis
  • Abstract textural pieces
  • Still life highlights
  • Portrait highlights and focal areas

Wet-on-Wet

One session

Applying fresh paint into still-wet layers, allowing colours to blend naturally and create soft, organic transitions.

Steps · tap Save to pin to your studio
  1. Wet your surface (paper for watercolour, canvas for oils) or work into existing wet paint
  2. Apply colours adjacent to each other while the surface is still wet
  3. Watch as colours blend and interact at their boundaries
  4. Guide the blending gently with a clean soft brush if needed
  5. Work quickly — once paint begins to set, blending becomes difficult
  6. In watercolour, tilt the board to control paint flow and granulation
Studio tips · tap Save to pin to your studio
  • For oils, use a generous amount of paint to keep it workable
  • In watercolour, wet both sides of the paper to slow drying
  • Accept happy accidents — spontaneity is the strength of this technique
  • Work from larger areas to smaller details
  • This technique requires confidence and quick decision-making
  • Excellent for atmospheric effects and soft backgrounds
  • The Impressionists used this technique extensively
  • Keep edges soft unless you want intentional hard transitions
  • Soft cloudscapes and skies
  • Atmospheric plein air landscapes
  • Portrait backgrounds
  • Watercolour washes
  • Spontaneous, fresh effects

Sfumato

Concept (extremely slow process)

Leonardo da Vinci's "smoky" blending technique — ultra-soft transitions between tones with no visible brushstrokes or edges.

Steps · tap Save to pin to your studio
  1. Apply paint layers with no sharp boundaries between tones
  2. Use a soft, dry brush or fingertip to gently feather all edges
  3. Build up multiple ultra-thin glazes that blend imperceptibly into each other
  4. The result is an overall soft-focus effect where light and shadow dissolve into each other
  5. No brushstrokes should be visible in the final surface
  6. Patience is essential — sfumato is achieved through countless delicate touches
Studio tips · tap Save to pin to your studio
  • Work on a smooth surface (fine canvas or panel) for best results
  • Keep paint layers consistently thin to avoid a heavy, overworked look
  • Study Leonardo's works — the Mona Lisa is the definitive example
  • The technique creates an ethereal, dreamlike quality
  • Use a magnifying glass to check for invisible transitions
  • This is the opposite of impasto — smoothness is the goal
  • Takes far longer than any other painting technique
  • Build up gradually over many sessions
  • Ethereal portraits
  • Moody, atmospheric compositions
  • Creating mystery and softness
  • High Renaissance-style realism
  • Dreamlike, otherworldly effects

Alla Prima (Direct Painting)

One session

Completing an entire painting in one session while paint remains wet. Also called "direct painting" or "au premier coup".

Steps · tap Save to pin to your studio
  1. Begin with a toned canvas or white ground
  2. Block in major shapes and colours quickly with large brushes
  3. Work from general to specific — establish composition before details
  4. Mix colours on palette and directly on canvas
  5. Blend edges while paint is wet for soft transitions
  6. Build details while all paint is workable
  7. Complete the entire painting in a single session
Studio tips · tap Save to pin to your studio
  • Requires confidence and quick decision-making
  • Excellent for plein air — completes before light changes
  • Brushwork should be fresh and decisive
  • Colours stay cleaner than in multi-session work
  • Limited palette speeds up colour mixing
  • The Impressionists favoured this approach
  • Work quickly but not frantically
  • If you must stop, scrape back and restart — don't let it half-dry
  • Plein air landscape
  • Capturing fleeting light effects
  • Expressive portraits
  • Quick colour studies
  • Spontaneous, fresh work

Grisaille

Depends on medium

Creating a complete tonal underpainting in shades of grey before applying colour glazes — separates value from colour for stronger painting.

Steps · tap Save to pin to your studio
  1. Draw the composition on canvas or panel
  2. Mix a range of grey tones from white to black (or use a single pigment like Raw Umber)
  3. Paint the entire image in monochrome, establishing all values and forms
  4. Ensure the grisaille is completely dry before proceeding
  5. Apply transparent colour glazes over the grisaille
  6. The value structure shows through the transparent colour
Studio tips · tap Save to pin to your studio
  • Focus entirely on values and form, not colour in the grisaille stage
  • Use the full value range from white to near-black
  • Ensure grisaille is completely dry before glazing
  • Use transparent colours for the glaze layers
  • This was the standard Old Master method
  • The underpainting should be a complete painting in itself
  • Excellent for learning to see values separately from colour
  • Can use any single earth colour (brunaille, verdaille) instead of grey
  • Classical and realist painting
  • Complex figurative compositions
  • Learning value structure
  • Strong, luminous final paintings

Scumbling

Depends on medium

Dragging a dry, opaque or semi-opaque paint layer over a dry darker underlayer to create broken, veiled, atmospheric effects.

Steps · tap Save to pin to your studio
  1. Ensure the base layer is completely dry
  2. Load a stiff brush with relatively dry, opaque paint
  3. Drag the brush lightly across the surface
  4. Allow the underlying colour to show through in broken patches
  5. Use irregular, varied strokes rather than even coverage
  6. Build up scumbled layers gradually for complex effects
Studio tips · tap Save to pin to your studio
  • Use relatively dry paint — not wet or runny
  • Work over a completely dry darker layer
  • Use broken, irregular brushstrokes — not smooth coverage
  • Allow underlying colours to show through intentionally
  • Excellent for softening edges and creating mist
  • Build up gradually for subtle atmospheric effects
  • J.M.W. Turner used this technique extensively in skies
  • Creates a sense of depth and atmosphere
  • Atmospheric landscapes
  • Softening hard edges
  • Creating depth in skies
  • Veiled, mysterious effects
  • Texture and visual interest

Sgraffito

Done while paint is wet

Scratching through a wet upper layer of paint to reveal a contrasting colour beneath, creating sharp energetic lines.

Steps · tap Save to pin to your studio
  1. Apply a base colour layer and allow it to set slightly
  2. Apply a contrasting colour on top while the base is still receptive
  3. While the top layer is still wet, scratch through it with a tool
  4. Use a palette knife, brush end, or specialised sgraffito tools
  5. Create lines, patterns, or textures that reveal the colour below
  6. Allow both layers to dry completely together
Studio tips · tap Save to pin to your studio
  • Work while the top layer is wet but not too fluid
  • Use various tools for different mark types
  • Plan your scratching — it's difficult to correct
  • Use contrasting colours for maximum impact
  • Excellent for adding graphic energy and movement
  • Can be combined with other techniques
  • Practice on test surfaces first
  • Popular in both painting and ceramics
  • Adding graphic energy
  • Sharp, defined lines
  • Textural effects and patterns
  • Dynamic mark-making
  • Contemporary and expressive work

Global Painting Traditions

Painting belongs to every culture. These traditions span continents and millennia.

China

Ink Wash Painting (Shuimo Hua)

Over 2,000 years of continuous ink painting tradition emphasising qi (spirit), yun (rhythm), and the expressive power of the single brushstroke.

  • Gongbi (meticulous) and Xieyi (freehand) styles
  • Bamboo brush on absorbent xuan paper or silk
  • Ink stick ground on ink stone — the "four treasures" of the study
  • Five tones of ink — the colour spectrum within black
  • Landscape, bamboo, orchid, plum blossom, and figure painting
  • Emphasis on capturing spirit, not photographic likeness
Japan

Sumi-e & Nihonga

Zen-influenced ink painting and traditional Japanese painting using mineral pigments on silk or paper.

  • Sumi-e: Simplicity, empty space (ma), spiritual discipline
  • Nihonga: Mineral pigments, animal glue binder, gold leaf
  • Rinpa school: Decorative, stylised, bold compositions
  • Influence of Zen Buddhism on brushwork and restraint
  • Ukiyo-e painting: Precursor to the woodblock print tradition
  • Contemporary Nihonga continues the tradition with modern themes
India

Miniature Painting Traditions

Highly detailed, jewel-like works — Mughal naturalism, Rajput devotion, and Pahari lyricism.

  • Extremely fine squirrel-hair brushes for minute detail
  • Burnished wasli paper — multiple layers of sized paper
  • Natural pigments: lapis lazuli, malachite, vermilion, gold leaf
  • Mughal school: Historical scenes, portraiture, natural history
  • Rajput school: Vibrant colour, Krishna and Radha themes, ragamala
  • Pahari school: Lyrical landscapes, delicate figures, Kangra style
Iran

Persian Miniature

Courtly tradition flourishing 13th-17th centuries — intricate detail, jewel-like colour, and epic narrative illustration.

  • Multiple vanishing points and layered spatial construction
  • Lapis lazuli, gold illumination, intense colour harmonies
  • Shahnameh (Book of Kings) and Persian poetry illustration
  • Herat, Tabriz, Shiraz, and Isfahan schools
  • Kamal ud-Din Behzad — master of the Herat school
  • Integration of text and image in manuscript format
Australia

Aboriginal Dot Painting

Symbolic language of dots and circles derived from body painting and sand drawing — a contemporary fine art movement.

  • Acrylic on canvas (Papunya Tula movement, 1971 to present)
  • Symbolic language encoding ancestral Dreaming stories
  • Ochres and natural earth pigments in traditional work
  • Women's and men's distinct painting traditions
  • Emily Kame Kngwarreye, Clifford Possum Tjapaltjarri
  • International recognition as major contemporary art movement
Mexico

Mexican Muralism

Large-scale public fresco and acrylic murals — painting as social and political voice after the Mexican Revolution.

  • Diego Rivera: National Palace, Detroit Industry murals
  • José Clemente Orozco: Expressionist, emotional power
  • David Alfaro Siqueiros: Experimental materials and techniques
  • Integration of indigenous Mexican aesthetics
  • Painting as public education and political statement
  • Influence on WPA mural programs in the United States
South Africa

Ndebele House Painting

Women's geometric mural tradition — bold, colourful patterns on house exteriors expressing identity and cultural continuity.

  • Bright commercial paints on plastered mud walls
  • Geometric patterns with symbolic meaning and clan identification
  • Tradition maintained and innovated by generations of women
  • Contemporary Ndebele artists carry the tradition to canvas
  • Distinctive colour palette: white outlines, bright primary colours
  • UNESCO recognition of cultural heritage
Russia

Orthodox Icon Painting

Egg tempera on wood panel following strict theological canons — a living spiritual painting tradition.

  • Gold leaf backgrounds symbolising divine, uncreated light
  • Reverse perspective — vanishing point in the viewer, not the image
  • Andrei Rublev (15th c.): The Trinity, Moscow school
  • Novgorod and Pskov schools: Regional variations
  • Continuing tradition in Orthodox monasteries worldwide
  • Strict canonical rules for every element of the image
Italy

Italian Renaissance Fresco

Buon fresco on wet lime plaster — the supreme achievement of Western mural painting.

  • Giotto: Arena Chapel, Padua — beginning of Renaissance naturalism
  • Michelangelo: Sistine Chapel ceiling — over 300 figures
  • Raphael: Vatican Stanze — harmony, grace, classical learning
  • Giornate (daily sections) visible under raking light
  • Cartoon transfer and sinopia underdrawings
  • Carbonation permanently bonds pigment to wall

Colour Theory & Practice

Colour is the place where our brain and the universe meet. — Paul Klee

Colour Relationships

Understanding colour temperature, harmony, and contrast is essential for creating mood, depth, and visual impact.

Steps · tap Save to pin to your studio
  1. Study the colour wheel: primary, secondary, and tertiary colours
  2. Understand temperature: warm colours advance, cool colours recede
  3. Learn harmonies: complementary, analogous, triadic, split-complementary
  4. Practice mixing neutrals from complementary pairs
  5. Use a limited palette to understand colour relationships deeply
Studio tips · tap Save to pin to your studio
  • Every colour has a temperature bias — know your pigments
  • Complementary colours intensify each other when placed adjacent
  • Use a grey palette for accurate colour perception
  • Value (lightness/darkness) is more important than colour
  • Study the Old Masters' limited palettes
  • A colour appears different depending on surrounding colours
  • Warm light creates cool shadows; cool light creates warm shadows
  • Build a personal palette based on the colours you actually use
  • Creating mood and atmosphere
  • Colour harmony
  • Understanding light
  • Developing personal palette

Colour Mixing

Learning to mix any colour from a limited palette is more valuable than owning every tube of paint.

Steps · tap Save to pin to your studio
  1. Start with a limited palette: warm and cool of each primary plus white
  2. Mix a colour wheel to understand how pigments interact
  3. Create value scales for each colour (adding white, grey, or complementary)
  4. Practice matching colours from observation
  5. Learn which pigments are transparent vs. opaque
  6. Understand that darkening with complementary creates richer shadows than black
Studio tips · tap Save to pin to your studio
  • Titanium White is opaque; Zinc White is transparent for glazing
  • Ultramarine Blue leans purple (warm); Phthalo Blue leans green (cool)
  • Cadmium Red leans orange (warm); Alizarin Crimson leans blue (cool)
  • Cadmium Yellow leans red (warm); Lemon Yellow leans blue (cool)
  • Mix your own blacks rather than using tube black
  • Earth colours are excellent for natural, harmonious mixes
  • Keep a mixing journal to record successful combinations
  • Colour mixing is a skill that improves with daily practice
  • All painting
  • Developing colour confidence
  • Reducing palette size
  • Creating custom colours

Materials & Tools

Quality materials remove obstacles between vision and execution.

Brushes

The primary tool for most painters. Different shapes, fibres, and sizes serve different purposes.

Steps · tap Save to pin to your studio
  1. Choose appropriate shape: filbert (versatile), flat (sharp edges), round (detail), fan (blending), rigger (fine lines)
  2. Natural bristles for oils: hog, sable, squirrel
  3. Synthetic bristles for acrylics — resistant to water and alkaline pH
  4. Sable for watercolour — excellent point and snap
  5. Invest in a few high-quality brushes rather than many cheap ones
  6. Clean immediately after every session — dried paint ruins brushes
Studio tips · tap Save to pin to your studio
  • Never leave brushes resting on their bristles in solvent or water
  • Reshape bristles while damp after cleaning
  • A good brush should hold its shape and spring back to position
  • Condition natural brushes with brush soap or a tiny amount of oil
  • Store brushes horizontally or handle-down — never bristle-down
  • Replace brushes when they no longer hold a point or sharp edge
  • Cheap brushes are fine for underpainting and rough work
  • Protect brush tips during transport
  • All painting mediums
  • Precise control
  • Expressive mark-making

Palettes & Mixing Surfaces

The surface on which you mix colours — different materials suit different mediums.

Steps · tap Save to pin to your studio
  1. Oils: Traditional wooden palette (seasoned, oiled) or glass on grey paper
  2. Acrylics: Stay-wet palette (sponge + membrane paper), glass, or disposable palette paper
  3. Watercolour: Ceramic palette with wells, or plastic folding palette
  4. Squeeze colours along edges in consistent order (by colour wheel)
  5. Leave large central area for mixing
  6. Clean after each session — dried paint affects colour perception
Studio tips · tap Save to pin to your studio
  • A grey or mid-tone palette helps judge colour and value accurately
  • For oils, cover palette with plastic wrap to keep paint workable overnight
  • Glass palettes clean easily with a razor blade scraper
  • Disposable palette sheets save cleanup time
  • The palette is a tool — keep it organised and clean
  • A wooden palette develops a patina that aids colour perception
  • Large palettes give room to mix freely without crowding
  • Position palette under the same light as your canvas
  • Colour mixing
  • Organisation
  • Efficiency

Canvas & Painting Supports

The foundation of your painting — proper preparation ensures longevity and provides the right surface for your technique.

Steps · tap Save to pin to your studio
  1. Choose support: Stretched linen (archival, expensive), cotton canvas (affordable, good), wood panel (rigid, traditional)
  2. Prepare with sizing (sealant) to protect fibres from oil
  3. Apply ground (primer): Acrylic gesso for most work, oil ground for traditional oils
  4. Multiple thin layers of ground, sanded between, create the ideal surface
  5. Smooth surface for detail; textured surface for oil and impasto
  6. Watercolour: Use 100% cotton paper, 140lb/300gsm minimum
Studio tips · tap Save to pin to your studio
  • Linen is superior to cotton for archival quality oil painting
  • Acrylic gesso is compatible with both acrylic and oil paints
  • Oil ground (lead white in linseed oil) is traditional and archival
  • Never paint oils directly on raw canvas — the oil will rot the fibres
  • Stretch canvas properly — it should sound like a drum
  • Panels provide a rigid, non-flexing surface ideal for detailed work
  • Watercolour paper must be stretched or taped to prevent buckling
  • The support determines the longevity of your painting
  • All painting
  • Archival permanence
  • Surface preparation

Studio Safety

Create safely so you can create for a lifetime.

Ventilation & Air Quality

Many painting materials release fumes that can be harmful with prolonged exposure.

Steps · tap Save to pin to your studio
  1. Work in a room with open windows and cross-breeze
  2. Use a window exhaust fan to draw fumes out
  3. Never eat or drink in the studio
  4. Wear a respirator with organic vapour cartridges for spray paint and strong solvents
  5. Cover solvent containers when not in use
  6. Consider water-miscible oils or acrylics to minimise solvent exposure
Studio tips · tap Save to pin to your studio
  • Turpentine is more toxic than odourless mineral spirits
  • Spray paint requires a respirator — even outdoors
  • Dust from dry pigments, pastels, and sanding is hazardous
  • Air purifiers with activated carbon help reduce fumes
  • Take regular breaks in fresh air during long sessions
  • Children and pregnant women should avoid solvent-heavy studios
  • Oil and solvent-based media
  • Spray painting
  • Home studio setup
  • Long-term health

Pigment Safety

Some pigments contain toxic metals. Know your colours and handle them appropriately.

Steps · tap Save to pin to your studio
  1. Use premixed paints rather than dry pigments whenever possible
  2. Wear nitrile gloves when painting to prevent skin absorption
  3. Wash hands thoroughly after painting and before eating or drinking
  4. Never sand or scrape old paint without a P100 respirator
  5. Keep paint out of reach of children
  6. Dispose of paint waste properly — not down household drains
Studio tips · tap Save to pin to your studio
  • Lead white, cadmiums, cobalts, and chromiums are toxic if ingested or inhaled
  • Cadmium colours are safe in paint form but hazardous if sanded or heated
  • Look for ACMI AP (Approved Product) seal on student-grade paints
  • Titanium white is the safest opaque white — use instead of lead white
  • Earth colours (ochres, umbers, siennas) are generally non-toxic
  • Don't pour acrylic or oil paint wash-water down drains
  • Artist safety
  • Working with toxic pigments
  • Home studio
  • Environmental responsibility

Fire Prevention & Waste Disposal

Oil-soaked rags can spontaneously combust. Proper disposal is essential.

Steps · tap Save to pin to your studio
  1. Lay oil-soaked rags flat to dry completely before disposal (never crumple them)
  2. Store used rags in a metal container with a tight lid, filled with water
  3. Dispose of pigment sludge at hazardous waste facilities
  4. Allow used solvent to settle; pour off clear solvent for reuse
  5. Check local regulations for paint and solvent disposal
  6. Keep a fire extinguisher in the studio
Studio tips · tap Save to pin to your studio
  • Linseed oil generates heat as it dries — rags can ignite
  • Never leave oily rags in a pile or in a plastic bin
  • A metal safety can is the best storage for used rags
  • Minimise waste by using a limited palette
  • Consider non-toxic alternatives to reduce hazardous waste
  • Clean brushes with vegetable oil before soap to reduce solvent use
  • Fire prevention
  • Environmental responsibility
  • Studio management
  • Safe disposal

Cookies

We use cookies to keep the site working and improve your experience. See our Cookie Policy.