Buying Artist Oil Paints

Before you buy artist's oil paints, study the information on the label.  Jim Hingst explains the lightfast rating, the color index name and number and the paint series designation...

Many of my sign painter friends are also fine art painters. When painting on canvas or for other interior applications, they will use artist oil paints. If you are an artist, you know that oil paints are available in a number of different grades. Determining which grade of paint to buy can be confusing.  If you don’t know what to look for, you could buy an inferior paint.

A major difference from one grade to another is price. Caveat Emptor! You get what you pay for.  Student grade paints are cheaper for a reason. The durability of the color of the cheaper paints is much shorter than the better grades. Also be aware that these tubes of paint will often not indicate “student grade” on the label.  Instead the manufacturer might use terms and brand names that might disguise the fact that the paint is of a lower grade.

Professional grade artist oil paints will provide the longest life, because the pigment grade is better. While these paints are more expensive, you generally only use a very small amount.  Mixed with a medium, a little dab will go a very long way.

Before you buy, carefully study the information on the tube of paint.  It should list what you need to know, but you may need to decipher the information. The three things that I look at are:

·    Lightfastness Rating. 

   This tells you how fade resistant the paint is to UV light.  Lightfast values are based on American Standard Test Measure (ASTM) criteria.  These values range from I, which is as good as it gets, to V, which is at the bottom of the scale.

·    Color Index Name & Number.  

   This code is an alphanumeric code. The first letters identify the pigment.  P stands for pigment. The second letter identifies the color. The chart below provides a partial key to the code.

PY = Pigment Yellow;
PO = Pigment Orange;
PR = Pigment Red;
PV = Pigment Violet;
PB = Pigment Blue;
PG = Pigment Green;
PBr = Pigment Brown;
PBk = Pigment Black;
PW = Pigment White;
PM = Pigment Metal

Take note of whether the paint is comprised of a single pigment or a combination of pigments. The conventional wisdom is that generally colors composed of a single pigment are better for mixing colors.

The tricky part of the code is the number that follows.  To understand what that means you need to look up the number in a Color Index Database, which you can find on various websites, such as www.artiscreation.com.     This database will provide with a wealth of information, including a description of the color, chemical composition, lightfastness, opacity and toxicity.

·    

    Paint Series. 

   The paint series designation is expressed as either an alphabetic or numeric value. The higher the value, the more expensive it is. Why do I think that’s important?  My belief is that you get what you pay for.  A more pricey series 7 paint will typically be better than a series 2.

In selecting paint, stick with one brand, rather than buying from different manufacturers. This ensures compatibility and consistency in color and quality. You can literally mix the same colors in the same proportions from two manufacturers and end up with two different colors.

Tip: When you buy titanium white (as called titanium dioxide), buy the big tubes, because you will use of lot of it.

Tip: Avoid buying paint described as a “hue”.  Hue is code for a dye, which will not provide the durability of a pigment. 

Essential Reading for Artists

One topic that fascinates me in the field of art are the materials and techniques of painters, especially the Old Masters. So much of what an artist uses and how he uses these materials affect the durability of the painting. Failure to understand the physical properties of pigments and oils used in painting, and how one material chemically interacts with another can result in problems. 

To ensure the longevity of a work of art, an artist needs to thoroughly familiarize himself with the materials, tools and  techniques of his trade. What's more, because many of these materials are comprised of toxic chemicals, he or she needs to know the hazards involved and how to deal with them. Here are four books in my library that I believe are essential reading for artists. 

The Artist's Handbook of Materials and Techniques

If you are an art student or serious artist, The Artist's Handbook of Materials and Techniques by Ralph Mayer belongs in your bookcase. Called the “Painter’s Bible”, this reference book explains the chemistry of commonly used art materials that you should understand. These materials include pigments, drying oils, solvents and varnishes. The Artist’s Handbook provides information on how to make your own paint and painting mediums, how to prepare a canvas and how to care for your tools. In addition to oil painting, Mayer’s book also covers tempera painting and encaustic painting. Originally published in 1940, The Artist’s Handbook has been revised several times. The fifth edition is now available.

The Materials of the Artist and Their Use in Painting: With Notes on the Techniques of the Old Masters

The Materials of the Artist and Their Use in Painting by Max Doerner, a German artist, who painted in the impressionist style, was an authority on the materials and techniques of the Old Masters. Originally, this book was published in1921. It is still relevant for any artist or restorer, who wants to learn the techniques used by the great painters of the past.

Painter's Handbook

First published in 1993, The Painter’s Handbook by Mark David Gottsegen provides artists with essential information about art materials. The book also offers step-by-step recipes for making paints, varnishes and gessoes. In addition, it explains how to prepare your supports and how to preserve, store and restore paintings. Gottsegen, who chaired the ASTM committee on artist’s materials, also covers the health hazards, which artists routinely encounter, as well as how to safely handle materials in your shop or studio.

Artist Beware, Updated and Revised: The Hazards in Working with All Art and Craft Materials and the Precautions Every Artist and Craftsperson Should Take

Often artists and art students are unknowingly exposed to highly toxic chemicals or work in poorly equipped studios. Gases, solvents, dusts and fumes can be toxic and threaten your health.  If you work with art materials, you need to read Artist Beware, by Michael McCann PhD. This book provides details regarding toxicity of chemicals, flash point and common uses for these art materials. McCann also explains what personal protective equipment an artist should wear when working with hazardous materials.

About Jim Hingst: After fourteen years as Business Development Manager at RTape, Jim Hingst retired. He was involved in many facets of the company’s business, including marketing, sales, product development and technical service.

Hingst began his career 42 years ago in the graphic arts field creating and producing advertising and promotional materials for a large test equipment manufacturer.  Working for offset printers, large format screen printers, vinyl film manufacturers, and application tape companies, his experience included estimating, production planning, purchasing and production art, as well as sales and marketing. In his capacity as a salesman, Hingst was recognized with numerous sales achievement awards.

Drawing on his experience in production and as graphics installation subcontractor, Hingst provided the industry with practical advice, publishing more than 150 articles for  publications, such as  Signs Canada, SignCraft,  Signs of the Times, Screen Printing, Sign and Digital Graphics and  Sign Builder Illustrated. He also posted more than 325 stories on his blog (hingstssignpost.blogspot.com). In 2007 Hingst’s book, Vinyl Sign Techniques, was published.

Slides of Jim's Artwork

© 2015 Jim Hingst