A lot of paint! OK, I never throw out supplies, and some of the tubes might be many years old and unusable by now, but they’re there in case I need that one particular color at midnight.<\/p>\n
I never throw out brushes either. Some of those in the photo—little more than stubs by now—I’ve had since high school.<\/p>\n Not all paints are the same–no! Oil paints consist of pigment, binder, and (usually) additives. Pigments can be identified by their Color Index Name<\/strong><\/a>, which is a standard code used internationally. Vermilion red, for example, is PR106 (permanent red 106—mercuric sulfide). Of course, manufacturers have their own agendas, but you can quickly tell if a paint is a single-pigment paint or a combination. By the way, if you are curious about the pigments used to make paints, this site provides a wealth of information<\/a>. Although it’s a site dedicated to watercolor, the author provides wonderful discussions about pigments and color theory. It’s one of my favorite sites on the web.<\/p>\n Binder refers to the medium–oil–used to grind the pigment. Alkali-refined linseed oil is most commonly used, but walnut oil is frequently seen, and others as well. Poppy is the most expensive binder, and manufacturers try to add value to paints made with it. Safflower is the cheapest. Some manufacturers claim walnut is the best all-around binder (I don’t, I prefer cold-pressed linseed). When manufacturers use more than one binder, they generally use one for some colors and other binders for others, although that’s not always the case (Blue Ridge blends walnut and linseed oils, for example).<\/p>\n “Additive” is a touchy subject. Almost all commercial manufacturers add something to their paint in addition to pigment and binder. This is not necessarily a bad thing. Extenders extend the shelf-life of tube paint, without which even more of the tubes in my cabinets would be dry and useless. Note, too, that adding things to paint to affect their behavior is a cottage industry, and many artists—including me—muck around with different concoctions all the time. Having said that, one of the biggest distinctions between good paint and bad is the number of additives in it: the more additives, the worse the paint.<\/p>\n A minority of painters grind their own paint, including this one<\/a>, with whom I was an apprentice and diligent paint grinder once upon a time.<\/p>\n The following list is ordered by the cost of cerulean blue. Cerulean blue (PB35 cobalt tin oxide) can be very dear, and its price provides a good general guide. You won’t find many student-grade brands, like Van Gogh, listed. When I was young, I couldn’t afford “artist grade” paints and told myself it didn’t matter. Sadly—bitterly—it does matter. I haven’t used Grumbacher in years because I associate it with my student days.<\/p>\n Although price does not always translate into value, it’s a good rule of thumb: buy the best paints you can afford.<\/p>\n Most, but not all, of the brands on this list I’ve tried at some point or another. I note those I haven’t tried. The prices are found online.<\/p>\n <\/p>\n![\"Cabinet](\"https:\/\/i0.wp.com\/thomasparkerhudson.com\/wordpress\/wp-content\/uploads\/2012\/12\/paint1.jpg?resize=600%2C800\")
<\/a>