Water Mixable Oil Painting for BEGINNERS | Sarah Burns | Skillshare

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Water Mixable Oil Painting for BEGINNERS

teacher avatar Sarah Burns, Painter / Photographer / Youtuber

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      What are WMO


    • 3.



    • 4.

      Beginner Exercises


    • 5.



    • 6.

      Clean Up


    • 7.

      Varnishing and Framing


    • 8.

      Final Thoughts


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About This Class

Water Mixable Oil Painting is a perfect way to transition from a water-based painting background (like watercolor and gouache) to the wonderful world of oil painting! In this class you will learn what water mixable oils are, general oil painting "rules," best practices for using them, how to clean up, and more!

Through easy beginner exercises, you will begin to understand how the paints move and flow, and begin your oil painting journey with confidence.


I use Winsor & Newton Water Mixable Oils (Artisan)

My favorite supplies

My water mixable oil painting playlist on YouTube (lots of demos, plein air, etc)

Resources to further research if you are interested:

Remember, if you paint without any mediums, you don't have to worry about fat over lean. If you do this, you should try to keep your initial layers more thin, and leave the really thick, slow drying layers for the end.

If you enjoy painting straight from the tube but want "thinner" paint without having to use more water, consider changing brands. Some are more fluid than others. 

Need more help?

Check out my other classes to improve your landscapes!

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Meet Your Teacher

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Sarah Burns

Painter / Photographer / Youtuber


Hello! My name is Sarah. I'm a full-time artist and photographer living in the Highlands of Scotland. I moved here from Colorado, where my painting journey began. I specialize in landscape painting with watercolor and gouache. I also love drawing, acrylics, and oil painting. I'm one of those artists who likes to "do it all!" But what really gets me excited is painting or drawing outside. I love to hike and paint what I see. It is my primary focus and what truly drives me to create.

My days are spent painting and teaching others. I provide educational content on several platforms in addition to Skillshare, such as Youtube, Gumroad, and Patreon. I have also self published three books.

What makes my classes special? As a self-taught painter, I know the strugg... See full profile

Level: Beginner

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1. Intro: If you've ever wanted to get into oil painting, but have no idea where to start. I want to help you get over that hurdle. And water mixable oils are an amazing way to transition from a water-based painting background like watercolor or Guassian, and get into the oil painting world. So in this class I'll cover everything you need to know to get started. We'll talk about some rules that are involved with oil painting to make sure your paintings last for a long time. I'll demonstrate some very simple beginner exercises that will help you get familiar with your paint. And then I'll walk you through my full process, including how I do my underlayer, my block in. I'll talk about brush technique and layering and glazing, clean up. And then we'll even go into the final touches and varnishing and framing. So there's a lot to cover. So let's get started. 2. What are WMO: So what are water mixable oils? As I've said before, they are oil paints. They are virtually the same as any other oil paint that has ever existed. There's just one little unique feature. They've been engineered with a modified linseed oil that allows it to dissolve in water before it oxidizes. I say that because once it oxidizes or dries, It's permanent. So you can see the benefit, right? In theory, you only need water to thin them down and get a nice smooth brushstroke. And with a little bit of soap and water, you are squeaky clean. But it's not quite that simple. Over the years, I've learned through experience and countless hours of research that these special paints are not meant to be thin down with water during the painting process. In fact, manufacturers caution the use of water during painting as it's too easy to dilute the pain too much, which could result in the pigment separating from the binder and leading to longevity issues. But a touch of water, especially on the first layer, which is what I do, is perfectly fine. Basically what I'm trying to say is, you should view these as regular oil paints, except that it's okay to add a tiny bit of water during painting. And all it takes to clean up is some soap and water. But we'll get into that later. 3. Rules: Have you ever seen those really old oil paintings in the museum that are covered in tiny little cracks or even have pieces missing. Before we get started, it's important to understand the general rules of oil painting. And I know the word rules and art is kind of a controversial topic, but hear me out. Unlike watercolor or guage, oil, pain has a lot going on behind the scenes. The second you take that paint out of the tube and apply it to the canvas. A chemical reaction is happening, it's called oxidation. So when we say oil paint is drying, what we really mean is that it's oxidizing and during that process, it's a little bit unstable and it can take anywhere from a month to a year or even more depending on how thick your painting for it to completely oxidize. And during that time it's quite unstable. And there are a few simple rules we can follow to make sure our paintings last a long time. I know this part can be a little intimidating at first. It definitely was for me, but I've researched so much and I have a really good understanding of it now. And once you understand the basics of what's happening, you really don't have to worry. The stability of our painting surface can make a difference. There is some controversy about this, but some people say that painting on a board or a hard surface is much more stable than painting on canvas. Technically, canvas is loose. It can flex and it moves over time. And depending on how it's taken care of over its lifetime, the painting could potentially run into issues down the road. But if you're worried about that at all, there are tons of options for people who want to paint on a stable surface. There are boards that are pre finished with gesso, with all sorts of different textures to choose from. There are linen boards, which mean there's a linen cover on top of a hard surface or a board, which means you're painting on a very stable surface, but you still get the benefits of the canvas. You can also paint on oil paper as long as you back it with a hard board and frame it properly and want you'll discover the more you get into oil painting is that choosing your surface is very personal. And you just have to try a few before you figure out what you like to paint on. The next thing we'll talk about is a rule that may cause a little confusion, but I'll break it down as simple as possible. And that is fat overline. Fat overline is a common phrase or term thrown around in the oil painting world. But basically what it comes down to is you want your top layers to dry slower and be more flexible than the under layers. So really this only applies when you're painting in layers. Some people paint alla prima, which means they paint the entire thing in one session. So technically it's all one single layer and it really doesn't matter how long it takes things to dry. You can also avoid worrying about this rule if you paint straight out of the tube in thin layers. To break this down even further, I made a little graphic. Oil paint takes a long time to dry. Even if you can touch it, doesn't mean it's completely oxidized. So what do you think would happen if you painted over a layer of seemingly dry oil paint with a fast drying layer, the top layer would quickly dry, trapping the wet layer underneath. And as the layer underneath attempts to dry, it moves ever so slightly, creating cracks in the layer above. If you wish to dive deeper into the subject, I will leave a bunch of links in the description for you to research everything yourself. 4. Beginner Exercises: Alright, the first thing you're gonna wanna do when you get your colors are to make some swatch sheets. This is a perfect beginner exercise because not only do you get to see what your colors look like, but it helps you get familiar with how the paint flows. Some colors are a little bit more sticky and solid. Other colors are very fluid. So this is a super easy way to start out and make sure you label them so you don't forget which is which. I really like to do swatches on many different types of boards and canvases and papers just to get an idea of how they look when they dry and if you can see any of the texture that shows through in the end. Okay guys, I'm going to show you how to do a couple beginner exercises that will just get you really familiar with your pain and how it flows. And you can experiment a lot at this point. So have a little jar of water or get your medium if you're using linseed oil or whatever your favorite medium is, and a pellet. And you can use all sorts of different palettes. I'm using a saleable palette tray. So this is a glass palette. And I'm just putting my palette paper inside there to make it easier to clean up later. For this exercise, let's just pick one or two colors to work with, plus white. I'm going to be painting on this teeny little bored. It's just the extra board I had lying around. And it's covered in oil paint. And I think I painted on it at some point and then painted over it. So just get like a scrap piece of canvas or something that we can use for this exercise. Let's get our brush wet and start off with a very watered down version of any color. And the whole reason for this is to just get you guys familiar with what it feels like to paint with really water down, water makes up a oils. Make a mark on your Canvas so you can really see how it reacts to your surface and just push it around and just get a feel for it. Next, take a dry brush and get that same color with no water added and make a mark next to it so you can see the difference and feel the difference. And again, you can just push it around. And next I'm going to get some of my white paint. And I'm going to put a pretty decent amount on my piece of board. And then with my dry brush again, I'm going to pick up some of that same color as before, and I'm going to put it on the canvas next to my white. And I'm gonna slowly introduce the white into it by sweeping my brush left. And the whole point of this is to start getting a feel for how the paint interacts with a color that's next to it, how you can start blending it. And the direction of your brush stroke is going to make a difference. Just take your time trying to blend the two. Try vertical brushstrokes tries and horizontal brush strokes and really see if you can get a nice smooth gradient. This is really important for understanding how oil paint blends. If you need to get some more white or blue and just try to add it in. And I like to have different brushes for different colors so they stayed cleaner. So this I'll just put another sweep of white there. So just take your time and play a little bit with that. And next we're going to paint a sphere with highlights and shadows. So I actually find that it's really good to start with my darks because once you get white in there, really hard to get the way out. It's much harder to go from light to dark with oil paint. So just sketch in a sphere, a circle, and choose a highlight side. So let's say, or light is coming from over here. So if there's, if there's a bright light, it's pointing, it's coming directly down at my sphere on this side. So this side is going to be in shadow. So I'm going to load up that side with my darker paint. Try to fill it in as much as I can. And this area is going to be my highlight. So I can kind of ignore that right now. Just do your best to get a nice solid sphere, making sure it's darker on the right side. As you can see, some of my board is showing through so that white, that lighter blue is technically just the board, the background showing through. And this is a strategy you can use when you're painting. If you have a colored background and you want some of that to pop through, just use a little bit less pain, but we're going to add white to make our highlight more prominent. So I've got some peer White and I'm gonna start touching it in to that spot. And very quickly you're going to see how much it starts blending with what is around it. So pretty quickly, it won't be pure white anymore. Pretty much. The second you touch it into another color, it will start blending. So first, just get your white highlight on that area. And I'm also going to paint a little bit of that color. Next to it. On the left side is the sphere sitting on a little table or a piece of cloth. We're just gonna put that down for now. You can almost barely see it because it's, you know, just light blue or white. And then clean your brush off and dip a little bit in the blue. So it's got a little blue on the edge. And now I'm going to start blending that edge. And when you do this, try different directional brushstrokes, See if you can make it a nice even blend. I'll show you a few different directions that you can go. And when in doubt, just clean your brush off and start fresh again. And the more you do this, the more you get that subtle. Blend of color. You'll get a feel for how to move your brush. So when only a little bit high there, that's okay. And you don't have to make it absolutely perfect. If your intention is to make like hyper-realistic paintings, then yes, you will want to practice your brush control like a lot. But if you really like that look of strong brushstrokes in art than at this point you're getting familiar with how to make those marks. So it's tempting to go overboard and just like Blend, blend, blend, blend, blend until It's absolutely perfect. But in reality, this is when you're starting to practice how to let some of those brushstrokes show through so that in the end you can actually see evidence of the artist. Okay, so just keep going until you're comfortable with that. And once again, doesn't have to be perfect. This is just an exercise. And especially if this is your first time, it might feel a little crazy and hard to control. And then down here on the right side, I'm going to start sleeping in the shadow, which is coming if the lights here, the shadows being cast down this direction. And as I'm painting, I'm constantly wiping my brush off like this. And I'm just touching it into my color or my White and I'm brushing it off. So feel free to continuously do that. Depending on the surface you're painting on, you may need to use thicker paint to really get it to move around. Or you might want to thin it down with a medium if you'd really like to get it to flow strongly. So let's just get a little more of that shadow showing. So our shadow will be kinda like that. If you want, you can add some peer Y as a little highlight on the left's bright highlight right there. Continue to shape the edge if you want, just go as much, go into as much detail as you feel comfortable with. I just want to really encourage you to play when you're just starting out. Don't, don't expect perfect results. What you should expect is to have fun. Another beginner exercise that's really helpful is to try some color mixing swatches. So let's say I have a blue, this is my ultramarine blue. And I want to introduce some Alizarin crimson. So it's a nice pinkish purple and blend it on the paper or the canvas or the board, whatever you're using. And maybe try touching and a little white. Start to get familiar with how your colors mix and how much you need of one color to dominate the mix because some of them are much stronger than others. Ultramarine. And I wanna touch in some Thaler green. Just drag it left and right until it starts to blend. See if you can get some smooth gradient's. See you, I'm just doing vertical brushstrokes and kind of introducing the different colors from left to right until I get a nice mix. How about some yellow and ultramarine? This is what happens if you have leftover paint on your brush. I had some ultramarine leftover on the brush and I just touched yellow night, just picked up some yellow like this. And as soon as I started blending it on the paper, or the board, immediately turned into green. So that is how strong that blue is when you're mixing in green, I recommend starting with more yellow and then introducing a tiny, tiny amount of blue as you go, because it is very powerful and it takes over quickly. After you play around with that a little bit more, you can start doing that on bigger pieces of paper or canvas. And these will just be really great references for you in the future. And I don't I haven't labeled mine. The only reason mine isn't labeled is because I have memorized what my colors look like, so I don't need the label, but I really recommend you start labeling them from the beginning because it is easy to forget if you aren't super familiar with your colors. So my mixing charts are maybe a little bit less traditional. I kinda just do whatever I feel like in the moment, because it's all about exploring those colors and the different mixes that you can create. So your color charts are going to look very different than mine. But all it is is just taking one or two colours, mixing them, putting a little swatch on the piece of canvas or the board and letting it dry so that you can really see what they look like when they dry. And sometimes I'll just take a palette knife and sweep the color right onto that canvas. You can see how thick that is. And this is really great because I can actually time it to see how long it takes that to dry. That way I know in the future this particular mix, if it's that thick, takes two to three weeks to dry or something like that. And if you're feeling really ambitious, you can do some bigger mixing charts. And not only is this a mixing chart, but it's a gradient chart. So this is cadmium yellow light on this row right here. And then we have blue gray, we have Cerulean, we have cobalt, French ultramarine, Prussian blue. And on the bottom of each of these slouches, I have the blue version and the top I have the yellow. So you can see how that yellow shifts from yellow to cobalt blue. And the same goes for all of those. This is an old chart that I don't use anymore, but I just keep it around as reference. But I did it with a bunch of my yellows and browns and reds mixed with my blues so that it can get a decent idea of the range of greens and earthy tones and purples that I could achieve. I also like to make these reference sheets that I can take with me outside when I go plenary painting. So I have a bunch of my colors mixed. This was a time when I was exploring greens and earthy tones. So I have a lot of reference here. And by doing this, I know exactly what colors to mix when I'm outside and I see a certain color or a certain Green in the landscape and I want to put it on my canvas. So do what you need to do to get familiar with your colors. 5. Demo: Next I'm going to walk you through my process from start to finish. I often start off with just splitting the paper or the canvas or the board with a little bit of water. The reason for this is because I'm about to do my sketch and I want the paint to flow freely and easily. And because I'm using such little paint for the initial sketch, it doesn't really matter what this layer looks like or if it's messy or anything. And we're going to build up lots of paint on it later. So all I do at the sketch phase is just dip my brush in a little bit of color. Usually something Bray like Permanent Alizarin crimson or something deep like Prussian blue or burnt umber. And I just try to figure out my composition or where the big elements are going to be. And then I take a big brush. And when I say big brush, I mean big anywhere from four to eight inches. And I tried to lay in an under layer on the whole thing, which is technically going to be kind of like a value study my composition. So it's a monotone painting, meaning I'm using one color and I'm just thinning it down ever so slightly with water. And I'll start to block in some of the big shapes with that color, thinking purely about highlights and shadows. You can also use a negative affects like I'm doing here with a paper towel. Just sweep away some of that color for anything that you want to be a highlight. It usually doesn't take very long for this layer to dry anywhere from a few minutes to a couple hours depending on how thick you went. But I usually just let it sit for about 20 minutes to a half an hour and go make a cup of coffee and come back to it after. Next is my block in phase with my dark, darks. And I usually use a palette knife at this point. I'm actually using a silicone palette knife here, which a lot of people laugh at me about on stream because they think it's a spatula from my kitchen, which, you know, if basically is. But it's a really wonderful tool and I have lots of these lying around. I use them all the time in my paintings. The reason I like these palette knives is because it actually has a flexible tip. It bends a lot and you can blend. And you can really push against the canvas or the board and really blend those colors into the fibers or into all the little nooks and crannies. This painting is a great example of a time when I don't stick to one single process. So a lot of times I will block in all of my dark shapes first. But in this case, I got really excited about the sky, so I decided to jump right into the sky before I was done blocking everything in. But it was also kind of strategic because I wanted to blend some of the distant trees in the tips of the pine trees into the sky and make it kind of feed off into the distance. So being able to work wet into wet, in that case would be very important. I will caution you on this because it is much harder to go from light to dark Once you get white into the mix, it is so hard to get it out. So I think it's much easier to start with the darks and then work your way up to the lighter areas. Now that I've started to establish those faded trees in the distance, I'm going to start working my way forward. And I am going to be jumping back and forth between lights and darks at this point. Because instead of working from light to dark or dark to light at this point, I'm thinking about back to front. So I'm kind of just laying in big sections of paint to represent different areas of the painting, like the background, mid ground, and foreground. I think it's much easier to work this way when you are using a palette knife and laying in thick layers of paint. So if for instance, I can lay on a nice bright color on top of a dark color or vice versa, with a palette knife, much easier than with a brush. A brush tends to blend more. So if you use, Especially if you press down and use more pressure with a brush, you're going to immediately start blending into the layer that you put down before that or the color that's underneath it. Which is why I love to use a palette knife for the majority of the painting, especially in these initial layers when I'm blocking everything in. Plus I just love the bold stylized marks that I can make with a palette knife. But brushes have their uses two, and for something like water or Sky, something that will become a big gradient. When I wanna get nice smooth transitions between colors, I will use these big brushes. The bristles on these brushes are quite stiff, so I can push the paint around rather aggressively. I can really grind it into the surface and grind of the colors together. It's more than just blending. It's like pulverizing the colors together. It creates such beautiful smooth gradients. So for something like a reflection or big soft skies, they are just so wonderful. One of the challenges of this scene is to somehow capture the variety of colors and textures of the rocks that are just barely visible below the surface of the water. So one of my strategies for something like that is to use layering or glazing techniques. And by that I mean similar to watercolor where we glaze On top of colours with other colors. And the two will visually combine into another color. We layered yellow or blue on top of each other, they become green. It's very similar with oil paint. You thin down your pain or just use very, very thin layers of peer pane and the layer that was underneath that will sort of show through and those will combine. So my strategy was to lay in some of the colors of the rocks and some of the shapes of the rocks on a very loose layer. Then next time I came back to the painting after it was touched dry, I could start building up the depth and the realism of those areas by glazing, I drag some of the watercolor down closer to the shore line. Then with my palette knife, I start blending in some of the rock and sand textures. And now I'm going to let the painting dry for about a week, maybe a week and a half before I come back to the next layer. The reason for this is I want this first layer to be completely touched dry. And because I worked rather thin in a lot of the areas, it won't take very long, but some of the thicker areas like the trees up in the distance have a little longer to go before their touch dry. And this is where I think the process gets really fun because the first layer is dry. I can paint on top of it. And if I don't like something, I can just get some water and swipe it off. It won't affect that first layer. So now is when you can really start building up the depth and the realism if you want to. So I can come back with white. I can use some bright highlights here in there. I can start building up my skies and my water reflections and the reflections on the rocks in it's just a lot of fun. And I will mention again that if you are using mediums to thin down your pain, make sure you're following that fat overline rule that I talked about. Because if you decide you want to speed up the drying time and you use a fast-growing layer at this point, you are going to be trapping that initial layer. Even though it feels touched dry is not technically dry and it could lead to cracking later on. So each time you let the painting dry and add another layer, either use just straight up here paint or you can thin it down with a medium like linseed oil or anything that has more slow drying. As long as you follow that general rule, you'll be fine. Now what I'm doing at this point is laying in some of the bright sky reflection on top of the water will be coming back later on and covering pieces of this here and there. But it's mostly just a way to experiment with whether or not I like the placement of the reflexion and just kind of live with it for awhile and then make decisions after the fact. It's something I do a lot in my painting. I like to experiment with putting things down and knowing I can come back and change them is really nice. And that's one of the beautiful things about working with oil pain or any kind of opaque medium. You can always come back with another layer. When I use these big brushes, I make sure I have enough space on my palette to properly fill the bristles with the colors that I want. And sometimes I want one end of the brush to be one color and the other end to be a different color. So I can get a natural variety in the brushstroke, but it just depends on what I'm doing. Having a big palette is very helpful in that situation. Here I'm experimenting a little with erasing the pain with just a tiny bit of water and a clean brush. So I was seeing if I could create any kind of ripple effects by the shoreline and making negative space marks so that some of the underlayer shows through in those areas. In the end, I ended up changing it a little bit, but it's a lot of fun to be able to experiment with that because it's so easy to clean it off with just brush or water or a paper towel. This is also when I start to add a little bit more detail and realism to some of the areas that I want to focus on. So. Maybe some of the trees get a bit more oomph to them. And so they stand out a little bit more. And some of the rocks in the foreground get to find a little bit more as well. If you've watched any of my other classes or tutorials, you've probably heard me say the term dry brush technique quite often. And this is actually something I can do in oil paint as well. Taking a palette knife, which is obviously dry, and sweeping a big, thick, juicy layer of pain over a dry canvas leads to all this beautiful visual texture. The pain is blending on the canvas or the board rather than on the palette. And I just loved the beautiful variety I can create. And in this case, it lends itself really nicely to that sandy shoreline. But I usually don't do more than a couple hours on each layer because I don't want to get painted blind. And by that I mean, sometimes you can stare at a painting or work on a painting for hours on end. And you become sort of blind to the problems or you can't really see what really needs to be done. So setting it aside, letting it dry, coming back later is extremely helpful for progressing in a painting. When I finally get to about the third layer, I'm really starting to build up the depth. And in this case, I'm adding way more detail to what is below the surface of the water. I'm going to be adding Little Shadows, little highlights on the rocks of more of a variety of colors. And then later come back on top of that and glaze over some of the reflections of the water. Let's quickly talk about pallets. So as I mentioned earlier, I am using this glass sea-level palette tray. And inside I have placed my disposable palette paper. And these are just sheets of pallet paper that you can get rid of when you're done painting if you want, or just keep using them, it's up to you. But what I like to do is spread out my colors along the top and sides and then leave the whole middle area for mixing. Sometimes I have multiple pieces of this pallet paper out on the floor so I can really spread out and use lots of different brushes. Speaking of brushes, I very often pane with anywhere from three to 12 different brushes in a single painting. I like each brush to have its own color or its own color family. So sometimes one brush will be just for read, or it could be red, orange, and pink. Or another brush would be used for will only white. Which is actually very important because y gets diluted or tainted soul quickly. Ok, so back to the painting. So I actually showed the progress photos of the previous layer to the client and the wanted it to be a bit more of a classic summer pallet. So I often stylize my colors quite strongly and include lots of colors you may not find in nature, but they were like really into the blues and greens of this lock, which is actually what it's famous for. So I decided to drop in some bold colors in the water, including Prussian blue, yellow, green, cobol, turquoise, and blend them all together. So I could really create that feeling of depth and vibrancy in the water. I really like to lay in some of the color with a pallet knife and then come back with my big soft brushes and create those beautiful gradients. I also want to point out that in the distance you can see some of those pine trees are more defined and they're a little bit less faded. And there's less of that bright pink initial underlayer showing through. So by neutralizing those bright pops of pink with more of the greens and grays and blues. It's going to be a bit more summary in a little bit less stylized. But it just goes to show you that just a hint of color can make such a difference in the overall feel of the painting. My final touches on the painting are to create a bit of glimmer on the surface of the water. So I use just pure white paint with my palette knife, and I just let it graze the surface of the paint that's already down. You could also use a teeny tiny little brush or some kind of special brush to create that glimmer effect. But it would take so much longer. And I really love the natural variety that I get with a palette knife. 6. Clean Up: This is the best part about water mixable oils. All you need is a bit of soap and water to dissolve wet pane off of your hands, brushes and even clothing. To clean brushes, I use Masters brush cleaner, which comes in a little container. I have a bunch of these lying around and as you can see, this one is well used. I like to break it up into pieces so I can massage the brush and really give the bristles are deep clean. If you don't thoroughly clean out your bristles, oil can build up and dry within and create a very stiff or even unusable brush. If I notice one of my Russia's getting stiff, I will simply swirl it around in an old jar with a bit of soap and water and then let it sit overnight in the water. The next day I can rinse them out and they're almost like new. Cleaning the palate is just as easy if you're using pallet paper, just tear it off in, either save it for later, or toss it. But if you're using a glass palette, like what I usually do, all you need to do is spritz it a little with some water, it will start softening up the pain. And then I use a razor or something similar and just scrape it off of the glass in it comes off really easily. I'm gonna leave a link in the description for you guys to read about how to properly and safely dispose of oil and mediums that you might use during the process. Always make sure to read about your particular product and how to store them and dispose of them properly so that you don't have to worry about anything bad happening. 7. Varnishing and Framing: Remember when I said oil paint takes a long time to dry? Yeah. It can actually take six months or more to fully oxidize. And I bet most of us would prefer to sell or work before then. There are lots of different ways to varnish and oil painting. And my method is very simple. If the painting is touched dry and I want to sell it, I use artists retouching varnish. This burnish doesn't create a bond with the oil paint. It actually creates its own breathable layer on top, allowing the paint to continue to oxidize, yet giving it a nice satin finish and protecting it from dust and debris. They spray it on thinly three or four times, letting it dry overnight between coats. The reason it's called retouching varnish is because technically you can paint on top of this layer or down the road. You can remove it without damaging the oil painting. If I have more time to let the painting fully oxidize. So more than six months, I used liquid gloss varnish with a clean sponge applicator. I pour a very small amount onto the painting, tilted until the majority is covered, then use the applicator to very gently spread it evenly across the entire painting and removing any access varnish. Typically you don't want to disturb the liquid very much as it could result in tiny bubbles forming. So you might even want to use a very, very soft, clean brush, but you just wanna make sure the painting is evenly covered. Varnishing not only protects the painting, but it will even out the overall finish or look. And it will make your colors appear richer and deeper. If the reason you're using the retouching varnish is because you don't want to wait six months or more to sell it. You should advise the buyer that they can take it to an art restoration shop, a curator, or even a really well-known framing shop for a final varnish after the painting has fully cured. Or they can do it themselves if they're willing to learn and remember to use proper ventilation and protection when handling toxic materials. Everyone has particular taste, but my personal favorite way to frame a painting is with these beautiful contemporary floater frames. Floater frame means that there's a little bit of space between the actual painting and the frame, so it's not overlapping the painting, it seems to be floating there in space. So in order to do that, I need to finish the edges of my painting in case you catch a glimpse of it from the side. Elected choose a color that complements the painting or is at least neutral, so it doesn't distract from the painting itself. I order my frames with custom sizes that match my paintings. And the framer will usually leave a little bit of space to accommodate that floater style. And I need to add the hardware to the back of the frame so that they can be hung on the wall and measure a third of the way down and then screw in the hardware and then attach the string. You can use hanging wire or nylon string, whatever you want. I use string when I'm shipping them internationally because it's a lot lighter and I don't have to worry about anything getting scratched. But either way, it's one of the easiest things to replace. 8. Final Thoughts: Water mixable oils were a game changer for me. And it's just such an amazing medium to work with. The ability to blend seemingly forever and getting really beautiful thick layers and just all the varieties of texture, Shiza magical material. I hope this class gets you excited to pick up your water mixable oils and give it a try for your class project. Go ahead and paint one of the spheres that I showed you as well as a few mixing charts just to get familiar with your paint. When you're first starting out, it can be really intimidating. And if you sit down to try to paint something really elaborate and complex, it's gonna be frustrating. I still struggle and I've been doing it for five years. I mean, it can be tricky of course, but I just try to have fun with the process. And I definitely learned a lot. Each time I sit down with these payments. I will list out all of my favorite materials in the description. But if you guys have any questions at all about anything I talked about in this class, please don't hesitate to message me or post a discussion here on skill share. And of course, feel free to share your projects here on skill share in the project section or posted on social media with my hashtag, Sarah Burns tutor. That way I can find you. And if you enjoyed this class, please consider giving me a review because it really helps other students know what to expect. Alright guys, thank you so much for watching and I'll see you next time.