How to Oil Paint without Fumes?

I think this is a question of safely painting with oil paint. I have seen people ask.

ARE OIL PAINT FUMES TOXIC?

ARE OIL PAINT FUMES BAD FOR YOU?

ARE OIL PAINT FUMES DANGEROUS?

The reality is that when you oil paint you are dealing with chemicals and although some are natural many are dangerous and especially some paint pigments are toxic..

WHAT DO I DO?

I treat oil painting with respect… If you think about it you are using a tool in the form of different paints, mediums, etc to create your art. You respect your art and if you pay respect to your oil paint supplies you should be able to paint in a safe manner for both you and your surroundings.

Its like having your favourite pair of shoes, musical instrument, car etc…

You think about the environment (studio), The packaging and where it kept and Working it with it safely…AND DISPOSAL.

ENVIRONMENT - STUDIO FUMES

Can you oil paint without the smell? Paints and mediums are going to give off fumes… they just are…using solvents will be the big fume giver (such as turpentine, and white spirit but also odourless solvents will too they just can’t be smelt very well and sometimes have a citrus scent to cover this ) but also paints and other things with have their own fumes.

JUST TO BE CLEAR! ODOURS AND FUMES ARE NOT THE SAME THING!

Odour: a distinctive smell, especially an unpleasant one.

Fume: an amount of gas or vapour that smells strongly or is dangerous to inhale

The reason I make the distinction is because I have experienced an educator miss describe a fume as a odour which can, considering the industry I was studying for, be detrimental as those fumes are constantly surrounding the people both working and visiting the establishment.

So I recommend reading the back of your products to find out what the manufacturer recommends or visit their website or even message them on their socials if you cannot find out what to do.

If you do anything you need to keep your workspace ventilated and try to work in a fume free way.

If in doubt always treat something as hazardous to your health… Fumes can cause all sorts of respiratory problems and illnesses. So it is worth while thinking that:

• Oil Painting Products can and will have both Odours and Fumes… meaning the studio should be well ventilated. A suitable extraction fan (for use with chemicals) or an open window or both is good practice. OR a fume appropriate face mask (Not the dental paper kind as these are not suitable) Ones that say for fumes or spray painting are a good choice but always read and research if something is suitable for the purpose you need it for. I personally opt for a low fume method of working which I will explain further in this article.

• It is very easy to become allergic to fumes or odours or any chemical via contact or exposure. Once you are allergic you will never be able to use that chemical again. So protect your health through ventilation. (For example… I can’t handle garlic as I get little blisters form on my fingers if I cut it up to cook with it. So I have somehow over exposed my skin to garlic and some onions (same family) so I have to avoid it.

• Do not use around pets or babies and small children, do not let them touch or eat the products either.

• Keep your products packaging clear of product (wipe bottles etc) and keep lids closed…especially the jars you use to paint from. Clean up spills and dispose of carefully as the manufacturers recommend. Please see * for how to safely clean up chemical soaked rags etc.

• Your bin should be lidded… this keeps fumes and odours within the bin and preferably outside.

• *To dispose of rags and paper - the soaked or used rags should be left in a metal container in an area of ventilation or outside where they can evaporate and dry before being disposed of. (Alternatively the SAFTY DATA SHEETS of a product should tell you what to do in the event of a spill)

• Wear gloves (In general while oil painting is good practice to protect skin from chemicals) when handling or cleaning up because if it smells strong and is harmful it won’t be good for your skin to absorb either.

MY PAINTING METHOD - THE LOW FUME METHOD

I decided to paint in a way that I believe is both beneficial to the environment, my working environment, my health and benefits the quality and standard my work.

PRODUCTS

Essentially oil paint is the basis of oil painting. If you find a paint you like to work with I say stick with it but insure that it would work with the mediums you like to use. I prefer paints and mediums that are more in the old traditional method of painting and that use traditional medium recipes and are more high quality rather than the new oil painting paints available (such as those that can be used with water etc)

I Paint with different brands of oil paint… they contain different ingredients alongside the pigment. I tend to stick with traditional artist oils rather than the lower quality student oil paints due to the quality of the pigments used and the higher standards. Some I know use Damar in their paint mix which is why I won’t use mediums that contain Alkyd Resin.

(A NOTE ON ALKYD RESIN) Alkyd resin is a new kind of medium applauded for its flexibility and other properties. It comes under different names and it is worth checking (if you don’t want to use it ) whether a pre mixed medium or paint colour or something uses it. There is a mixture of opinions one paint company says it definitely should not be used with Damar containing products and other says it is perfectly fine…. I personally think if one person says no then best not to touch it, especially, as this is a new medium, which hasn’t stood the test of time as the more traditional mediums have (even though in lab tests they reckon it should be fine) I prefer to know through the products previous experience that it lasts. So no Alkyd for me.

Oil Paint is oil paint but what about what we use alongside them? Can you paint without turpentine? Can you paint without solvents? (check out oil paints that are water mixable if this is a major desire point for your artist journey).

MEDIUMS

Alongside the paint I use:

• Linseed Oil - Usually an artist will use turpentine or a solvent to clean their brushes… I use a jar with a small amount of linseed oil in the bottom and a paper towel to flush the paint out of the brush. I will probably switch the oil to another one if I was just using that oil in the final stages of an oil painting, such as when using white and needed to clean my brush (such as with safflower oil or poppyseed oil). This actually works really well and is kinder to the brush. After Painting when I need to clean up, I then follow it with a brush cleaner ( see below) this prevents fumes from an open jar of solvent. Linseed is natural and therefore I have less exposure to harmful fumes.

• Mixed Painting Mediums - I am experimenting with a variety of different mediums at the moment. Some contain turpentine in their mix and others contain oil of spike lavender and some I have mixed from different ingredients.

  These can smell and give off fumes so the important thing to remember is keep the lids shut after use and have a well ventilated studio.

  I am however shifting focus to staying with Michael Harding, Roberson and Chelsea Classical Studio Mediums.

  I have listed the pre mixed ones below that I have used:

  Zest-It Clear Painting Medium - I use this in my Circe Painting where I also use Zest It as a solvent. I will however discontinue using it to focus more on the other Mediums I have mentioned. Zest-It Clear Painting Medium - is a blend of Zest-it and Linseed Stand Oil. It enhances the flow and reduces the consistency of oil paint and it can also speed up drying times.

  Roberson Impasto Medium - Crack resistant medium for impasto effects, Made with stand oil, dammar resin, turpentine and bleached beeswax, Holds palette knife and brush strokes, Build and define texture & Matt finish.

  Mediums I have yet to experiment with:

  Michael Harding's PM4 Beeswax Paste - Has a high oil content and is based on linseed stand oil and bleached beeswax. This paste increases the body and flexibility of oil colour with a satin-matt finish. Contains turpentine.

  Chelsea Classical Studio Fat Medium - Lean Medium consists of linseed oil and lavender spike oil essence – a historically documented, alternative solvent for painting that is safer to breathe than turpentine. Lean Medium will thin the paint and make it dry faster. It is recommended for early stages of painting.

  Chelsea Classical Studio Lean Medium - Is a mixture of linseed oil, lavender spike oil essence, and damar resin. Fat Medium will make the paint more glossy and dry faster. It is recommended for later stages of painting.

SOLVENTS

• Oil of Spike Lavender - Is a herbal smelling, non-carcinogenic natural solvent - A solvent is used to either clean a brush or create an underpainting in the first stage of a fat to lean painting. They are also used in a mixture to create a paint medium to alter the properties of paint (They can be, as stated, turpentine or mineral spirits or white spirit). I keep a small jar of this beside my jar of linseed oil for use where I would use a solvent.

  Brands I use:

  Chelsea Classical Studio Oil of Spike Lavender Solvent - I used to use another one but they don’t seem to make it anymore but this is a good replacement.

VARNISHES

The final finish to a painting is the placement of a varnish. To protect it and enhance the luster and colour of a painting. These can come in gloss, matt and satin. I personally prefer the traditional ones rather than the newer ones that promise no shrinkage or problems when applied to touch dry oil paint.

Oil paint takes six months to a year to be dry enough to varnish, touch dry to use an exhibition varnish. Which then has to be followed with a normal varnish.

There is a method using an inhibition varnish which is a varnish placed over the finished piece but that is solvent resistant and is followed by a traditional varnish. Meaning that when the old darkened varnish from dust and time is due to be removed by a conserver the conserver removes the layer of varnish but cannot penetrate the actual paint film as they remove the varnish so preserving the artist’s work. I am not sure how I feel about this but intent to test it out on a small painting.

• I have yet to use these but I have a list of the ones I have below:

  Roberson Dammar Varnish - is a made with a combination of Gum Damar and Turpentine. It dries hard and clear, and when put on thinly it gives a low gloss. Roberson Dammar Varnish is less prone to blooming than mastic varnish. It is non-yellowing and removable with turpentine or white spirit.

  Roberson Gloss Picture Varnish - Is a traditional picture varnish that gives oil paintings a high-gloss finish. It is removable with white spirit.

  The varnish is a nearly colourless liquid made from ketone resin, standoil and white spirit. It dries to a clear, non-yellowing, non-blooming high-gloss film.

  Roberson Matt Varnish -Is a clear and tough matt varnish for oil paintings.

  Made with ketone resin and microcrystalline wax. Excellent for use over paintings where resinous media has been used.

  Roberson Exhibition Varnish - Apply to touch dry paintings as a temporary exhibition varnish. After 6 months a final picture varnish can be used with no need to remove . Contains Darmar resin and white spirit.

BRUSH CLEANERS

Brush Cleaner - I keep a small amount in another jar and once the oil has cleaned out as much of the oil paint as possible I then swish the brush in brush cleaner and run under cold water and dab with a towel before leaving it to dry. The brush cleaner can be reused until full of paint. I follow up with a clean with a brush soap and water.

Brands I use:

• Bristle Magic - is a non-toxic brush cleaner and reconditioner from the US. it is Non-toxic, Biodegradable, Sustainable, Non-flammable, No-fumes and Recycled.

  Chelsea Classical Studio Lavender Brush Cleaner - Just discovered Chelsea Classical Studio and this is one i have in their Oil Painting Cube Sampler Set it is is a safer, natural alternative to turpentine, odourless petroleum mineral spirits, and other toxic solvents.

Brush Soaps:

• The Masters Brush Cleaner & Preserver - B&J Original Formula The Masters Brush Cleaner and Preserver cleans, conditions, and restores your paint brushes in one step.

  Chelsea Classical Studio Lavender and Olive Oil Soap - Crafted from all natural ingredients, this soap for brushes and hands has a pleasant lavender scent.

All in all the answer to fumes is paint safely, research and find out the best practices for ventilation and handling the chemicals associated with oil painting.

Respect the materials as you respect your hard work and vision as you paint.

Discover a low fume method of painting with the mediums that you like and prefer to use.

And experiment safely with different products and materials until you are happy.

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Please Note -

• None of the above are paid advertising these are mediums I have discovered and have been experimenting or am planning to experiment with.

• Some information has been used from and more information can be found on the manufacturers websites.

• None of this is intended as medical advice and it recommended that Safety Data Sheets and consulting the Manufacturers instructions be followed prior to using any product mentioned above.