Some artists are still cleaning their brushes in a jar with of Odorless Mineral Spirits, creating a toxic sludge that must be taken to the chemical recycling center. Here's a better way:

1) Go to the grocery store and buy a roll of freezer paper. It has a slick side that will prevent the paint from soaking into the paper.

2) Cut a piece of the freezer paper to wrap around a board. Any board will do. Cardboard, plywood, and craft board all work fine. Tape the paper to the board on the back side.

3) Mix your paints directly on the freezer paper with your palette knife. If needed add a drop of your medium, such as Linseed oil or Spike Lavender oil. Wipe the knife with toilette paper.

4) When changing colors, wipe your brush with toilette paper, or stroke your brush on the paper palette.

5) When you are done, fold the palette paper up and dispose of it or take it to recycling, depending on whether your pigments are toxic. You won't have to wipe your palette board off with solvents. NO OIL SOAKED RAGS TO CATCH ON FIRE.

6) Clean your brushes with soap. Old chunks of hand soap will work fine. Recycle! This assumes that you are using non-toxic pigments in your paints. For example titanium white artist paint is made from the same pigment used in toothpaste. If you are using toxic paints such as those with with lead or cadmium, the leftover pigment water should be taken to recycling.

7) That's It! No toxic solvents to mess with, during or after painting.

Recently, while visiting an upscale gallery to look for new art, I came across a painting that I enjoyed very much. Wanting to learn about the artist's technique, I looked close at the brushstrokes. Suddenly I realized the painting was falling apart! Actual hunks of paint were peeling off the surface of the canvas. Looking further, I discovered that all of the peeling paint was white. This was indeed a mystery. I said to myself, "Why white?" I then remembered that one of the most common pigments used in artist paints should probably never have been used at all. It is called Zinc Oxide, and it causes oil paint to de-laminate. If the artist had used a different white paint in his painting, It might have lasted 100 years. But now, unfortunately, it will probably never be sold.

Children love to play with face paints and tatoos. However, the art materials used for this purpose are not always safe. Recently, the FDA put several children's cosmetics and tatoos on their "Red List". Included in the list are Disney Camp Rock and Disney Fairies Glitter Temporary Tatoos. So what's... in these skin paints? Quinoline Yellow, a synthetic coal tar dye that research shows is related to hyperactivity. Just what the kids need! http://www.accessdata.fda.gov/cms_ia/importalert_133.html

Way back when, artists would grab charcoal and clay to paint on walls and skins.  Then someone (Greeks, Egyptians) discovered that dried eggs created a hard film you could color with clay and paint with. Then, of course, bees wax was discovered, and eventually various oils: linseed, walnut, poppyseed, etc. Linseed oil, left on an old cooking utensil, becomes pretty stiff (smile).

So, various oxides (clay pigments) in linseed oil become the standard, at least by the Flemish period.  However, two secondary issues emerge: 1) linseed oil is a bit thick for painting the highly detailed work the Flemish wanted to do on wood panels.  2) The Venetians wanted to paint thin under-paintings on which to build up layers.  Enter Spike Lavender Oil, the second oil of choice during the time of Leonardo. Spike Lavender is used to loosen up paint, as well as to thin paint for underpaintings. 

During the Industrial Revolution, turpentine is produced for much less cost than Spike Lavender, and artists begin to use it as a cheap alternative.  Later mineral spirits is introduced, and artists begin to use it.  The problem is, of course both turpentine and mineral spirits are toxic.  OMS is toxic and requires full protection and ventilation for the user. Spike Lavender is not toxic - although it has a strong lavender smell.  Also, mineral spirits will not dissolve damar, Spike Lavender will. Thus Spike Lavender is much closer to turpentine in performance, without the toxicity. 

"MY PAINTING SMELLS TOXIC", read the posting on an art blog. The writer had been given a painting as a gift, and it smelled bad.  "Should I be concerned?"  

Well, probably so.  It sounds like the artist used turpentine or mineral spirits as part of the painting process - both are considered toxic, and are regulated by several federal safety agencies.  Basically, you shouldn't inhale the fumes. 

The primary oil used in oil painting is linseed oil, sometimes called flax oil.  Flax oil has a mild odor, and is sold in health food stores as a supplement.  The odor goes disappears quickly, and is not harmful. There is also oil of spike lavender, which is not toxic and has a wonderful odor.  But very few artists know about it at this point in history. 

It is possible to avoid turpentine and mineral spirits entirely, and create totally solid archival paintings. As we become more aware of environmental and health issues, more artists will no doubt choose this approach.

When painting over several days, it is not always desirable to clean your brushes every evening.  Yet, if the brushes are left overnight the umbers will begin to stiffen. Here is a great solution - put just a drop of Spike Lavender Oil on your palette and dip the brush in it.  Your brush will loosen up immediately, and you can paint all day.  It helps to have a click-top cap for your Oil of Spike Lavender, so that you get only a drop.  Don't have a click-top cap?  Just send us a note at: http://www.arttreehouse.com/contact with your address, and we'll mail one to you for free -- no charge!