What is the Best Oil Paint?
(10 votes, average: 4.80 out of 5)
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Today’s post was written by Jim Harris whom Cindy and I have virtually known for several years. He is an amazing resource of paint knowledge as you’ll see below, and when we were wondering “What’s the best paint?” there was no better person to ask. Enjoy! Thanks, Jim, for writing this!!
Jim Harris' collection of paint
Lisa Gloria asked me if I’d like to share my views on the best paint, since I am sort of a self-made paint guru.
My claim to fame is having a large collection of paints (unfortunately, not everything made by every manufacturer), and having done a large number of paint comparisons and comparative mixes between the brands. This is often done on a small scale by just about every oil painter – I simply took it to the max.
I should say right from the start that I have no financial interest in any paint company, and almost all the paint was purchased by me personally. Lately I’ve requested paints from a few makers, but thus far it amounts to only a few tubes out of the hundreds I own.
So, any prejudice or bias is completely my own!
The change-up table
And that’s a good place to start – personal opinion, taste and artistic need. These are often the overriding factors in making paint choices and brand loyalty. Personally, I have no brand loyalty, beyond “what have you done for me lately?” But I’ve found people can get quite attached to the paints they use, even when not of top quality. We all have our reasons for the paints we own, but I try to find what I consider “the best” for all situations.
For the sake of this presentation, I’ll try to keep away from selecting a favorite, or trying to convince you of one that will fill all your needs. Such a brand does not exist, but there may be several that come close.
The first place to start is need: artistic and economic need.
Artistic need – what paint will do the job to be done, with an adequately high quality result. Artistic need can often be satisfied, at least partially, with lower quality paints. (Anyone who knows me is wondering who wrote that! J) For some painters, student grade paints will work, depending on subjects and final resting place. For professionals, better paints become more of an issue.
Economic need – we all have economic need! We all look for a bargain, and remember when paints cost less. Even I hedge my painting by using “adequate” brands for the more expensive pigments, even when I have deluxe paints sitting right next to them in the drawer! Why use up the expensive stuff, when the cheaper one will do? I know the thinking.
Burnt Sienna cross-brand comparisons
After working so much with paint comparisons, I’ve come more and more to use the most expensive paints, and force myself to distance my economic distress and produce the best made painting possible.
This opens the next question of debate: Do quality paints make the artist a better artist? My observations lead me to the opinion that yes, to an extent, better paints and better art materials lead to better paintings. Naturally the inherent genius (or lack of) is the most important factor, and I’m not saying using low quality paints will make any of you geniuses into dummies, or good quality paints make you dummies into artists. That’s on you. But better quality paint will assist in better control of paint, and better opacity or transparency, and paints more suited to the technique you like to employ. All of which result in more painting satisfaction for the artist.
Painting satisfaction is really what we are addressing by trying to determine the best brand of paint. What makes the painter feel better (pride of ownership should not be disregarded)? What assists the painter to produce brushstrokes that were what was intended? Let’s face it — most paintings are done to satisfy the criteria of the painter. So, if the painter is satisfied with the paint and how it handles, that is the final judgment.
Paint combinations
What has surprised me is the level of satisfaction with middle-of-the-road paints by otherwise fairly sophisticated painters. I see forum comments all the time about how a painter would never pay such ridiculously high prices for paints.
The average artist, according to what I’ve seen, is an amateur who is largely self-taught and uses the paints they can afford to pursue their hobby, which tend to be the middle-of-the-road brands. A recent survey on well known web forum found the “favorite paint” to be Winsor Newton Artist by more than 50% the respondents. That’s a big, fat bell curve in favor of the mid-grade paint – with approximately 25% feeling even lower quality are acceptable, and the same percentage feeling better quality paints are needed.
I joke about being a “paint snob”, but in a way it is true. Perhaps I know too much, of have been exposed to too many fine paints. Perhaps I am a born snob. 
But on the other hand, there are vigorous opponents to quality paints, and we might consider them “paint proletariats” – proud to get by with less.
Somewhere in the middle, likely, we find you, the reader.
You would like to use better paints, but it is terribly expensive to buy all sorts of paint (especially the top brands!) on speculation, or buying the same pigment by multiple manufacturers and then doing the comparisons yourself. Come on! Get serious – you want to paint, not test paint!!!
So how are you going to move up in quality, other than blindly throwing your money at the purported top brands? That’s where a guy like me comes in.
Jim Harris' "Munsell Rabbit Hole"
Personally, I love color. Go to my art website if you don’t believe me! Follow a few of my threads or paint arguments on forums. I love paint. I love color. And one of my missions in life is to convince people to use better paint, which means better color.
I like to do comparisons, to show with photos how the paints look compared to each other, and give descriptions that reflect what I experienced in use.
Here’s how I have come to break down the types of paint by their level of quality:
- Student grade
- Artist grade
- Premium grade
Most writers concentrate on dividing paint quality into Student and Artist grades. I find those two categories too limiting with today’s vast global distribution of paint brands. So I’ve shifted the break-points and added a top level – Premium grade.
Medium comparison
Each grade I am suggesting is actually a range of paint. Even if something is listed as “Artist Grade” there is a wide range of quality from top to bottom of the class. As the brands get better on the scale, there are less “hues” or imitation colors, and more genuine pigments used – also better care in the milling process.
Student Grade describes acceptable paints of lower quality – not real dogs that you wouldn’t give a blind man to experiment with. These paints usually have less pigment and more “filler”, so the opaque paints are not quite so opaque and the transparent paints tend to be waxy and weak. Some student paint lines are fairly decent, such as the Maimeri Classico brand (my recommendation – no fillers) or Winsor Newton Winton brand.
Artist Grade takes in a broad range of paints of that can be used to produce professional results. This is the bulk of paint brands on the market, and they are fairly economical choices, but a step up in quality from the student brands. Artist paints feature higher pigment loads, with better pigment quality and more single pigment choices.
Premium Grade paints is the category I have coined to include all the best. The best pigments, the best production oversight, the best tubes, the best – best! These paints have the highest pigment load, the best opacity, the cleanest transparencies, even when diluted with mediums. These are usually the most expensive, but you get more for your money in most cases. Consistency of the paint is another area where the premium paints shine – they spread well from the tube, or they are so laden with pigment that slight additional oil might be desired to blend to suit the artist.
Other criteria within every category for determining the standings are lot-to-lot consistency over the years, and the breadth of the product line (how many different tubes of paint are offered).
Here is a general breakdown of currently available paints I am personally familiar with. Each category shows the weakest entry on the top of the list and the best at the bottom.
Student grade paints
- DR Georgian
- Van Gogh
- Permalba/Bob Ross
- Winton
- Classico (best of the student)
Artist grade paints
- Grumbacher
- Zecchi
- Da Vinci
- Art Spectrum (Australia)
- Lefranc et Bourgeois
- Gamblin
- Holbein
- Sennelier
- M. Graham
- Rembrandt
- Blue Ridge
- Daniel Smith
- Winsor Newton
Premium grade paints
- Studio Products
- Williamsburg
- Robert Doak
- Maimeri Puro
- Michael Harding
- Mussini
- Blockx
- Vasari
- Old Holland
The four entries at the bottom of the premium list are my candidates for “best paint”. I could be satisfied (theoretically, at least) using any one of these lines exclusively. Thankfully, I have the option of using all of them, and more.
Schmincke’s Mussini (Germany) is the only paint made with a resin additive as an ingredient in every tube. This brand has the best “from the tube” consistency for brushing. It has the overall best color (especially in the transparent colors) and a wide range of tubes. Oil type and blend is tailored to specific pigments.
Blockx (Belgium) is an all-around powerhouse brand with outstanding smooth consistency and color fidelity. Blockx uses linseed oil for all dark colors and earths, but switches to poppy oil for all light and bright colors.
Vasari (United States) would be my top choice, if it had a slightly fuller product line. A downside is poor worldwide availability (direct sales in the US) unless you place a $500 order overseas (Jackson’s UK is carrying Vasari). As it is, the line is excellent in scope, and the colors are magnificent. These are the most fluid of the paints in any category of this list, but have the best color concentration and excellent opacity and tinting strength. Vasari is certainly my favorite paint to work with.
My choice of Best Paint would have to go to Old Holland (Netherlands) for its wonderful thick consistency of extreme pigment load (which responds well to thinning with mediums), outstanding colors, and extremely broad product line of tubes. Lot-to-lot consistency is impressive.
The final judge is you, the paint user. I am sure you will use the best paint you can afford.
My advice to economy-minded painters looking to improve their paint collections is to buy the lower series paints from the very top brands. These Series A and B, or Series 1 & 2, are usually the most useful earth colors and blacks and whites. Build with these to try out the best brands. You will always use up the paint, even if you buy duplicates for comparison. Buy a tube of OH Burnt Sienna and one of Vasari and see the difference. Other representative pigment choices are Yellow Ochre, lead white, Mars Black, Ultramarine Blue, . . . you can get quite a lot of painting done with these, and not have to take out a loan.
I hope this information makes it somewhat easier for you to choose better paints for your collection.
Jim Harris' "Corner Key"
Jim Harris' "Grey Collaboration"
Jim Harris at a recent gallery opening
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Thanks to superstition, Julie and Lorna for your comments.
Juanfer — “Carthame” is another way of saying safflower oil, which is becoming the go-to oil of artists oil paint manufacturers, at least the larger ones including Sennelier, L&B, WN, Maimeri Puro, and quite a few others. I have no problem with it, and use it to make OH paints more pliable when I do custom mixed and re–tube the paint. Although some painter prefer linseed or walnut, I think it is safe to advise you to use safflower too.
I’ve not heard of chia oil.
Superstition — Great stuff. I’m not convinced the Doak Vermilion isn’t genuine, based on comparisons with every other genuine vermilion I’ve tried. Some of his paints and procedures have come into question by reliable people, so I’m reserving my unqualified endorsement of his paints as Premium, but they are still quite decent quality, at least the fifty or sixty I’ve used.
Carl Plansky, painter, founder and driving force behind Williamsburg paints, recently passed away.
Lorna — I’ve not used any Natural Pigments paints, only about a dozen of their dry pigments. NP has a good repution and some very serious artists swear by their paints. Color selection is somewhat limited, and all in the historical vein, but with those qualifiers out of the way, if you are interested, give it a try!
They also supply many hard to find high quality paint additives like resins or oils.
Hello,
Thanks for sharing all this with everyone who wishes to read it, great info. I personally love Mussini paints because of the brilliancy in color. Sometimes I use Michael Harding (when I can afford to) and I have used Old Holland a bit but sometimes the lead white gets just a bit too thick. It’s very unfortunate that a lot of even the better quality paint manufacturers do not make lead white. I just recently started using a couple of colors from Williamsburg but haven’t experimented enough to know exactly how I feel about it. As far as the other premium grade paints you have listed, I have only heard of Robert Doak, but haven’t tried that just yet. I was wondering if you have ever used Rublev Artists’ oil colors. If so, I would love to hear what you think of them since I am considering trying them. I found it at naturalpigments.com.
Arpi Azaryan
azaryana@gmail.com
Arpi — Thanks for your remarks about the paint types you’ve used. Sounds like you are familiar with many quality paints.
I suggest adding a little oil to those OH lead whites. I like to use a bit of Safflower to make the paint smooth and easy to mix/spread. You can use any oil on hand: linseed, walnut. Mix thoroughly with a palette knife.
Coincidentally, the comment before yours by Lorna Doon also asked about the Natural Pigments/Rublev paints. See my response there.
*******
Correction on my previous post response to superstition — should have read, “I’m convinced the Doak Vermilion isn’t genuine”. The “not” was accidentally included.
I don’t see Charvin on your list. I am curious if you have tried Charvin Extra Fine and where you would place it.
I am currently “moving up” in paint price and, as you said, I cannot purchase every high quality paint for a side-by-side test. Your article was extremely helpful!
Color Junkie — I haven’t tried Charvin. I became interested in the brand when it was first introduced about a year ago by ASW/Jerry’s, but on investigating, I was unable to find out anything regarding the pigments used in their two levels of quality. For such a supposedly prestigious brand, very little history and no pigment listing was available. What I did find out did nothing to reassure gathering doubts — both levels were full of convenience mixes and unknown pigments. The net result was that I couldn’t justify the high price of the paint against the non-existent pedigree, so lost interest.
Jim,
Your oil paint studies, I like your START on your last color chart!
Iv’e been on a quest for twenty years to learn all about the best oil paint possible! Any artist would benefit to have the best oil paint to create a modern master piece!
Rick Locklair,
I’ll be in thouch soon!
I found your insightful link and threads about your personal oil paint comparisons and i am glad to find someone else out there obsessed with color and paint quality.
I wanted to personally share with you that i have tried and compared many on your list. More recently, RGH, Doak and Blue Ridge.
Rolf from RGHis a nice man and very attentive to service. I have found his RGH paints to be okay but, not convinced he is keeping consistent batch to batch in both recipe and pigment source and probably getting the cheapest pigs. I like to know how much linseed vs saff in the binder and basically his philosophy is to try to keep the drying times relatively similar across the range. So less saff in slow drying colors unless it is a light color in which he will use all safflower and no linseed. No tubes and safflower in the binder is a minus for me .
Doak i have found to be good but, VERY inconsistent batch to batch. When speaking with Robert Doak, he seems to just tell you what you want to hear and have caught him in many dishonest statements. His arrogance does not make me feel good about painting with his product. Never trusting or believing that if he says ALL colors are single pigment and completely perm and LF.
Eric at Blue Ridge is , on the other hand, lovely and has gleaned some insight into the shadiness of Doak formulations (using the cheapest pigs avail, diluting the oils and stuff he sells in bottles with oms, using hardware store ingredients in some things) . Also, Doak does not make the paints but, pays others to do it and many of his colors are mixes. The Doak ‘recipes’ are loose like a scoop of x + scoop of why (and the scoop is a kitchen spoon ). This recipe formula explains the inconsistences between batches if the spoonful is sometime level and sometime heaping or sometimes the pigment may have been sitting in a bag and more densely packed per spoonful .. Eric at BR claims that his product is reputable and of much higher grade and whithout the shady business of Doak. Eric is very easy to speak with and deal with and very attentive to the customer’s needs.
I am obsessed with color and believe that it is more of a pleasure and joy to work with a high quality oil paint and feel good ‘energy or karma’ when using a product from a manufacturer that is honest and has integrity . ………and not feel like i am getting ripped off on paying more than i should for the paint and quality of pigments and the manner of manufacturing involved in producing the paint. I agree BR is too new to market to be ranked with your Vasari etc.. and the one drawback is that there could be a larger line (he is working on that) . I do love walnut oil in the binder and have found the paint better than Graham even though i would like to see more of a 50/50 blend. Eric uses a consistent 25% walnut to 75%linseed across the line.
i have read your 2004 thread regarding the BR vs Doak. And so my email to you is in inquiry as to whether you have compared them lately? Doak seems to be very apathetic and could care less now that his wife has passed away and just seems to be maximizing his profits now. And now that Eric has an additional 5+years of experience since your 04 review…..Also, since his fall-out in relationship with Doak Br is no no longer buying pigments from Doak/
Just very curious in whether you have recently compared the two?
Please comment on the BR vs Doak dilemma.
And happy painting with all that luscious color!!
KAt MAsella
Kathy — My comparison of , or rather introduction to, Blue Ridge only happened around one year ago when I published a report/thread on both Wet Canvas and Rational Painting forums. I’ve never done a head-to-head comparison between Doak’s paints and Blue Ridge, except in a new comparison just out on Wet Canvas, evaluting around 20 BR paints and comparing the two cad vermilions. http://www.wetcanvas.com/forums/showthread.php?t=594145
I had thought Eric’s understudying at Doak’s was a much more recent event.
If you have a link to a thread I’d posted on comparing the two brands from 2004, please post it.
As a result of the improved quality I’ve noticed in Blue Ridge, I’ve elevated them into the entry position in Premium grade paints. Due to several reports of quality slippage, I’ve placed Doak in the top section of the Artist grade for the time being. I’m still happy with the Doak piants I have, purchased several years ago.
I’ve been looking to up my game and get some good paints, and this article is a big help. I’m hoping to get some Old Holland tubes and give them a try.
What about oil paint brushes, any thoughts on the best brushes on the market?
Kurtis — I’d say the best brushes with the widest selection of types is Silver Brush. I particularly like their hog bristle Grand Prix and stiff synthetic Ruby Satin. The synthetic Bristlon is excellent for closer to hog bristle in a synthetic. (I’m not a fan of the soft synthetics like Taklon).
Although more limited in selection, Trekell has a good reputation and low prices, although I’ve never used their brushes.
I’m a particular fan of older “Made in USA” Grumbacher Gainsborough and Degas brushes.
Think I’ll go with the Grumbacher Gainsborough brushes as its more affordable. What would the essitial must have colors be for the Old Holland oils?
Please keep in mind, I’m talking about the old Gainsborough brushes (mid-90s and earlier, especially late 70s -80s), made in USA, occasionally still found new and used on eBay — not the newer production made in India and elsewhere.
Essential OH colors? Wow — that’s a big topic and depends on your subject matter. Start with the lower series earths and such, and work up. There are no set rules on which colors to but. I recommend Ultramarine Blue Light, Burnt Umber, Yellow Ochre Light, Naples Yellow Deep, Flesh Ochre, Persian (Indian Red), and Mars Black as good starters you can add to as you go.
Nice work. I am glad that you are not endorsing any particular brand. It is difficult to get a financial unbiased opinion these days. You have been very helpful in my very early painting career.
Regards
James.M
Thanks for this information Jim. I’m curious, though. Is this just an “intuitive” rating about the paints’ pigment load, handling, color intensity, etc?
A few years ago I came across a british painter who had tested several brands scientifically, reaching the conclusion that most artists’ oil paint was “rubbish” with the exception of Harding and Holland. I believe Gamblin and Winsor Newton both were judged “weak” for color intensity. This test used to be a link from the Harding site. I feel (although I can’t prove it) that alkali refined linseed is a far inferior oil to cold pressed. Ralph Meyer thought so too.
Our local art store promotes Gamblin as “absolutely top of the line”, a rating I have always found dubious. After 20 years of painting, I only use OH Cremnitz white (wonderful body) and an assortment of W&N artist, Holbein, OH and Harding.
THanks again,
Adrian
Vancouver Canada
Adrian — Ha-ha! Like: I hold a tube up to my temple and assess its qualities?
I have certain preferences in handling in types of painting I pursue, but that doesn’t mean the paint itself is a problem. Let’s say I prefer an easy to spread consistency, that blends easily with other paints — I may want to dilute that further to produce sharp edged areas of solid color. In this case, the Vasari paint, thinned with a medium is almost ideal due to its low viscosity and high pigment load. But that doesn’t rule out Old Holland or any other high viscosity paint with high pigment load — these other paints can be blended with medium to about the same state as the Vasari above — not an exact match, but certainly providing excellent results.
I find many artists don’t care to tinker around with thin and thick paints to even out the consistency, and will most often choose one that is easy to spread and blend (provided it is a quality paint otherwise).
Outside of handling characteristics, which are pretty easy to define (smooth/gritty, oil-rich/pasty, etc.), the remaining criteria are pigment strength and purity of hue. By blending various brands’ offerings, comparing same pigment to same pigment, the information takes on an objective quality, outside preferences. Unless an artist wants a weak or dull paint, the likelihood is that almost all want a strongly pigmented pure color. Personally, I may prefer a redder brown of higher chroma for my favorite burnt umber, someone else might like one more orange or more neutral. But by showing these brand differences side by side, readers have the opportunity to decide for themselves which might be worth their hard earned money.
Sorry, i am slow to reply . I had read your more recent post on WC re: BR and we are on the dame page:). And please forgive my mistake, the date i noticed from the old post said 2004 but that was your join date (not post date).. Sorry , i am new to the WC forum and their format. Thanks for all your hard work. You may be interested in Tad Spurgen, has also done much research on the materials of the oil painter (especially oils and mediums)…http://tadspurgeon.com/index.php
Best regards
Hi !Wich Vermillon red would you recommend me in Artist grade painting and Premium ones ,also in Permanant Burnt Sienna and permanant Red Lake that turns colours beautifully + a yellow that doesn’t turn greenish hues (hard to find i admit),i need to know your opinion on all aspect because i have a lot of work to do.
I also have tried 2 brands that are not mentionned above first The Stevenson oil paint from Toronto and the Van Dyck from Ferrario .Does anyone have comments on them ? Any receipe to turn beautifull mistycal madrigal romantic greens period.
I wich you all Merry Christmas 2009 and a happy new year fro 2010.
Thank you in advance
Vermilion covers a lot of possibilities! I’d suggest getting a synthetic vermilion, not a genuine. Choices could be Blue Ridge’s Cadmium Vermilion, Blockx Pyrol Vermilion or Mussini’s Vermilion Red Tone (the least expensive of the three).
Mussini is my favorite natural Burnt Sienna.
“Red Lake” is quite undefined, as there is no pigment or brand match. I would suggest Pyrol Ruby from Blue Ridge, Robert Doak or Blockx (called Crimson Lake).
I don’t know what you mean about a yellow not turning greenish, as all do when black or even dark earths are mixed with yellow — and I assume you want a vivid yellow, not an earth color. In that case you are pretty well restricted to opaque Cadmium Yellows. I suggest Winsor Newton “Pale, L&B “Light” or Blockx “Light”. If you want a transparent yellow, then try any company’s brand of the pigment PY3.
Mr Jim Harris thank you for a rather quick synopsis with particular artist oil brands. Found it extremely helpful. Now can you do an article with paintbrushes, pros and cons.
Trying for the umpteenth time…Has this gone through?
Why have you rated Studio Products(their paint line is called Cennini) last on the Premium Paint list? I doubt the paint they make could be surpassed. It is because they only have a small (not that one really needs more) range of colors?
From all I have read and seen SP would be the top rated paint followed by Harding and then a fair gap to maybe Blockx and Old Holland. (I hadn’t heard of Vasari until I stumbled upon this site so I cant comment about them)
I’d like to see your reasoning.
Success finally!
Heads up, I had to use IE as this site wont let you post when using Firefox.
Anonymouse — That’ s an excellent question. The main reason is as you suspect, the range is quite limited in the colors produced and distribution is mainly to member of the Studio Products forum subscribers. Studio Products is ranked in the Premium line, and that says something. The consistency is quite loose and not everyone’s cup of tea. Also, in the past the brand has experimented unsuccessfully with Black Oil as its binder, followed by a deep yellowing linseed Special Aged Oil, leading to re-formulation of the line.
The product is well thought of in many circles and has a loyal following despite others’ avoiding the product due to conflicts with its owner.
Thanks for the reply.
I can understand the limited range of colors being an issue with some(although I dont see that as a reason to punish the paint they do make) and also the paint consistence not being to some peoples tastes(same as above, yet you mention Mussini’s resin additive paint in a favorable light)…but how does their now years defunct black oil/SPO(is the deep yellowing still an issue?) range and personal issues with the owner affect your view of SP paint? (unless you have had issues with the owner?)
Also it looks like you rate W&N on their reputation and marketing, I dont think they make decent paint at all anymore.
Blockx has also dropped its quality over the past number of years I have heard.
I’m not a “fanboy” nor a current SP forum subscriber(you can still buy their paint without being a member, just like other places), I’m just interested and like to be informed.
Anonymouse — More good questions!
I try to keep personal likes and dislikes well known and reasonably based on quality of pigments, paint consistency and handling, and availability and price criteria. Mainly, I use direct comparisons and the documentation of such to back up my evaluations. But anyone is free to disagree with my findings — they are provided in an attempt to save others time and money in searching for suitable quality paints without having to undertake such extensive comparisons themselves.
Studio Products Cennini — The issue of paint making technical mis-steps seem to be in the past, but not the distant past, being only several years back, and as a result do influence the perception of reliability and lack of thorough product testing before commercial deployment (especially after having been heavily hyped as ground-breaking by the owner). Additionally, publicly acrimonious contentions with once loyal advocates of the product line have affected confidence and is taken into consideration for brand reliability (this is a rather novel situation among the paint making industry).
Despite this issues, I place the brand in the Premium category based on most recent examination of their paints, which I feel is an adequate endorsement. Other users may find they rate somewhat higher or lower, as any of the brands might after comprehensive use.
So, to summarize: Two characteristics (somewhat ephemeral) that lower the overall rating to the lower end of the Premium category are 1) limited product line, and 2) limited confidence in product reliability.
These same issues, in reversal of importance, have a positive impact on WN Artist ratings, pushing it somewhat higher than some users might agree. The WN line has shown an improvement in quality in the recent samples I’ve received for comparison, and the line has shown a comprehensive consistency in quality throughout its extremely broad line — not enough to rank as Premium grade, but still very good quality and reliable Artist grade. WN have made a few technical mis-steps, but not brand-wide disasters. So, in this brand, the 1) extremely broad offerings of paints, and 2) their consistent reliablility now and in the past have slightly elevated the brand to the top area of the Artist grade.
Blockx — I haven’t found Blockx quality to have changed in recent years. There have been minor changes to its line-up, such as substitution of Phthalo Blue in making Manganese Blue now that the original pigment has been exhausted, but nothing in the overall paint making quality or pigments, which have remained remarkably consistent over a very long period of time.
I won’t deny that my personal experience influences the ratings, since that is the direct basis of my evaluations.
If I were using personal issues with the owner of Studio Products as a basis for my evaluations, you can be assured the brand would not even be allowed to be included in my list. So — I hope you will take my restraint into consideration when I endorse the product line as being included in the list, especially in the Premium grade. (BTW — I was not one of the loyal advocates caught up in the acrimonious activities mentioned above.)
Thanks for the comprehensive reply.
Now can you expound your thoughts on the other 23 paints listed?
Ha-ha!
I suppose!
And I jump through fiery hoops on request!
Having an expanded explanation under each paint as to why you have placed them in the order you have would help us.
Also you could mention that you prefer a thicker consistence paint out of the tube(Old Holland) whereas some lines like Studio Products/Rembrandt paint is more fluid(I know some people like a more fluid paint) so you placed them lower out of personal preference or that Mussini’s resin additive needs to factored into how you paint if/when adding other “mediums” or when mixing with other paint lines.
I’m sure there’s more things, I just cant think of them now.
Jim, I appreciate the clear-eyed an unbiased appraisal you gave of all the brands and, without exception, I concur with your findings. A wise writer once said…”the risk of insult is the price of clarity.”
Unpleasant truths are, nonetheless, truths. For those who take issue with my passionate approach to art (and what is art without passion…accounting, Diplomacy? Politics?) I can only repeat Popeye…”I yam what I yam.” And what I yam not anymore, is connected with the manufacture of Cennini brand paints. They are being manufactured by far more able hands than mine.
Last year, Studio Products moved lock, stock and paint mills to Athens Georgia and while keeping with our original idea of producing the highest possible pigment load while avoiding the window-putty quality some mistake for pigment load (it’s alumina stearate), maintaining a “softness” and brush-ability to the paint.
The biggest changes since you have tested them has been the recent introduction on the market of a high Acid Number safflower oil. What this oil does that previous, salad-grade safflower oil did not do, is produce an exceptionally strong film strength. This is an industrial oil, not food grade, and Studio Products uses it in formulating most of their whites and blues. The results are very satisfying to see.
The Flake/Cremnitz is still ground in Cargill’s Special Aged Oil and the film strength is phenomenal. If you allow the painting some direct sunlight withing the first few months, it dries to a clean, clear white (a bit pinkish as all basic lead carbonate paints will be).
What you must test (speak to Max at 706-227-4427 and ask for evaluation samples) are some exciting white paints. They have added Flemish White, white is made from the vaunted non-poisonous lead pigment, lead sulphide. Again, they make it soft and brushable but it tends to produce more drag and texture from the brush. This may have been one of the ingredients in Rembrandt’s more textured whites…who knows for sure?
The other hot one to try is the Optical White. This is the result of a lot of advice from the paint department at Mercedes Benz where they have been putting silicone nanospheres into the paints to make incredibly strong paints. The unforeseen advantage was that the nanospheres tended to orient the pigment particles in a more or less regular orientations and actually raised the Chroma.
Those glowing colors on the S-class Benzs are a result of that new technology. In my tests, mixing the Optical White with colors prevents the high tints from losing the character of the color. Lots more to learn
Rob — Thank you so much for response with excellent update and technical information on the Studio Products paints. The whites sound very interesting, as does the safflower oil. I’ve always loved the idea of non-yellowing oils, so this is welcome news. I’ll try giving Max a call to test out some new Cennini paints. I like to stay current on developments.
Anonymouse — Actually, my preference overall is toward Vasari paints, which are quite loose (but fully pigmented), more along the lines of Cennini paints I’ve tried, although I would characterize Cennini as one of the very creamiest paints with outstanding blending. I rate OH highest due to their colors and extensive product line, not particularly going by their often stiff consistency as a yardstick.
It would be interesting to codify my observations brand by brand, but that might be like writing a novel or two! For more specific information, check “gunzorro” threads on Wet Canvas, Rational Painting, and possibly some older ones on Studio Products showing photo comparison of brands and mixes along with extensive commentaries.
“I rate OH highest due to their colors and extensive product line”. Ahah this changes everything! Sooo product/color range/alltheothercriteria aside, which do you consider the best “paint”?
You cant really call this blog post “the Best Oil Paint” if most of the criteria has nothing to do with the actual paint.
*No edit feature*
Personally I’d rather use 10 colors of the best made paint than have the option of 200 colors of lesser quality paint.
Thanks so much for this useful article ,it was a big help to me and several…
Another request for youre wise advice regarding Schmincke-Norma Oil paints
(wich i use abundantly with expensive alternatives of mussini and sennelier)
I’m curious about the real quality of the brand and i couldn’t understand it’s grade equivalent(student.artist.premium).
Thanks again for the help
Hugo
Thank you so much for this write up! I’m so glad a stumbled upon it!
I am in the process of reviewing all my painting processes, and brands of paint is definitely one of them.
I’ve never really known what to get when I’m at the store, and have tended to be quite random about it all. Luckily, some of those purchases have included Mussini, Blockx and Old Holland.
I recently read that paints made with walnut oil and linseed in them are better than those with poppy seed oil as walnut yellows less, so was starting to be worried about some of my not-earth Blockxs, and was about to purchase some Robert Doaks instead. But after reading your review and some of the feedback here I’m really not so sure anymore. I got really excited when I found his site and thought that maybe I had finally found the perfect paint! Sigh. Perhaps not to be after all.
With the Schminke I am a little concerned about the resin factor (but maybe I shouldn’t be…?)
And I’ve never heard of the Vasari and am not sure what they use in their formulas (do you know?) (also the $500 o/s limit is pretty insane, and I’m not in the UK so the other option possibly isn’t so great either).
I’ve also always heard that some lines are better at some colours than others: ‘x is good at the earths, for blues and greens get y’ etc, etc.
You would seem to be the perfect person to answer this! If you wouldn’t mind…
By the way I really love your work. I love all that coloured squares, clean lines, Itten and Albers kinda stuff. I also love the little test samples that you put up. I can see why you’ve done so many test samples over the years if you make that kind of work!
Anonymouse – You’ve got several good points here. I agree with you – I’d rather use a select few terrific paints than a barrel of mediocre ones.
I wouldn’t call that a “gotcha moment” regarding the consideration of product line depth and color range, not when taken into consideration with other criteria. My point about the breadth of the line was especially regarding OH, which I’ve already given the highest endorsement for paint quality (with the caveat that it may not be the perfect consistency from tube for some needs without a little thinning). So, the brand has already scored in the top level based on quality, add to that the extremely extensive and comprehensive (did I hear “over-kill”?) range of outstanding pigments and combinations. When coupled with other demonstrable factors, I’d have to say Old Holland is The Best Paint, with qualifications.
Some of those other factors include 1) output quantity and distribution, 2) general availability and price, and finally, 3) “pedigree” or history of quality production (this is also affected by a brand’s disclosure of pigment and manufacturing info).
Let’s consider the Premium category as a whole: it is a given that excellence reigns with regard to pigment selection and attention to detail in production. Then it remains to be determined how the pigment is processed into paint, and this can affect painter’s preference or loyalty. How loose, how thick, how oily, how dry, how gritty, how smooth, how brilliant, and how dull – and many other factors can influence the preference for one brand over another. I try to make clear when those factors contribute to my decisions and choices.
Having given the title to OH for those reasons, it is surprising that I might have given it to Vasari, had some of those additional factors not come into play. Which is really beyond surprising, since Vasari has a short history, small output, limited distribution ($500 minimum order outside USA, except thru Jacksons in England), loose consistency, and non-disclosure of pigment info. Still, it is neck-and-neck with OH in my ratings based almost exclusively on quality of the paint.
If I throw out the extensive depth of the product line and impressive distribution structure, OH loses some ground to Blockx. For the most part, I prefer Blockx natural earths to OH. I prefer Blockx handling and consistency throughout the line to OH. For the most part, Blockx has more vibrant colors, in large part due to the use of poppy oil in the brighter ones (OH is linseed throughout). Blockx also excels in its pedigree, being family owned and trusted for many generations. Relating to that last point, Jacques Blockx has been very forthcoming about processes and ingredients – an easy man to reach and get straight answers from.
If I were looking at the Premium category and asking which company has the “best color” and smoothest consistency, I can confidently recommend Mussini. If asked which company has the best transparent oil paints, Mussini is “the best”. The company’s attention to detail in blending oils and resins to suit specific pigments is unmatched.
BTW – I followed up on Rob’s suggestion and contacted Max, who furnished me with a small selection of Studio Products new paint production. Of interest to readers may be my recent paint comparison of new Studio Products paints on Wet Canvas: http://www.wetcanvas.com/forums/showthread.php?t=604712&page=5
So, not trying to be coy about the idea of judging the best paint brand, but I think this article’s title “What is the Best Oil Paint” allows for a comprehensive look at several premium paints that might rightly claim the title of “Best Paint” for various reasons.
Hugo – Norma sits squarely in the middle of the Artist Grade. The closest match would be the Rembrandt line (both linseed-based, as opposed to Sennelier’s safflower). Rembrandt offers a more extensive line of paints, so I rank it slightly higher than Norma. I don’t have much to say about Norma, I got rid of most from my collection, keeping a few outstanding single pigment paints – Norma is a decent, if unimpressive paint line overall. Certainly, it is far below Mussini in quality, but more than adequate for professional work. Norma has a tendency toward mixes of less expensive pigments than Mussini.
Sienna – Thanks for your appreciation of my paintings, you hit the nail on the head.
It’s too bad that Vasari has such strictly minimums, so for the sake of deciding brands, they are out of your possibilities. But I was only able to work with Mussini, Blockx and Old Holland, I would not feel that I was being pinched on quality in any way, shape or form. I could be quite happy with those choices – even two of those brands!
Regarding oil selection – in terms of yellowing or darkening, linseed is the darkest and poppy the lightest. Walnut is the next most darkening, and safflower the next lightest. The ranking generally looks like this:
Linseed
Walnut
Safflower
Poppy
All this concern about yellowing and darkening is pretty misplaced for the most part. The same can be said for the concern about paint film strength. There is adequate history of all these oils to show that even the most yellowing examples produce paintings of historic significance that are still wonderful to look at today – the yellowing/darkening is not ruining the image.
Regarding paint film – we have long evidence that even poppy is strong enough to endure the test of time for several hundred years, so there really isn’t much issue there. I recommend choosing quality paints based on the handling characteristics and color brightness you prefer.
It is a nice choice to use light colored oils in the whites and bright colors that can shift if yellow-biased oil is used for mixing. But it isn’t what I’d call essential – just nice if you have the option.
I can’t make any broad generalities regarding brand, other than the sort I just wrote above on Norma. I don’t adhere to claims that “Doak makes the best blues” (many are mixes, and OH probably has more types anyway) or “Williamsburg has the best earths” (Blockx and Old Holland are pretty awesome in this area, and lack WB’s grittiness and have better tinting strength generally). I’ve done too many A-B (and C-D-E-F. . . ) comparisons to see that some brands are better at a certain pigments than others, and certain brands are better overall than others. But for a wholesale category recommendation, I can’t give that.
So, don’t be thrown off by claims (pro or con) about binding oils as long as they are these four types.
If you stick with any of the Premium paints, you can hardly be disappointed.
Rule of Thumb #1 – you will never go wrong with linseed
Rule of Thumb #2 – don’t blindly follow Rules of Thumb
Thanks for answering my questions, it really helped. I was starting to get a little overwhelmed!
Cheers
Thank you so much for the advice.
I’ll probably have a try with rembrandt for a while.
Best regards
Hugo
What about varnishes? I have used some spray varnish but am not happy with the results, which made some spots in areas and didn’t seem easy to evenly spread. So I’m thinking of going to a brush varnish. Is that the best way varnish? Also what type of varnish should I use? I’m using old holland oils so considering Old Holland New Masters UV Resistant Varnish, is that any good?
I’ve heard its best to use a sponge brush when varnishing which makes sense. What about cleaning the canvas before varnishing, wondering what the best way to do that is?
Kurtis — I don’t have a large collection of varnishes like I do oil paints, and have experience with about 10 different types of brush-on varnishes. Of those, my favorites are OH Picture Varnish Glossy (no UV protection) and Liquitex Soluvar (glossy or matte, or mix, includes UV protection). The OH is particularly nice to apply, and the Soluvar is too, plus the added benefit of the UV. In third place, I place Gamvar (Regalrez synthetic resin/OMS).
I think your idea of the OH New Masters UV sounds terrific.
I would avoid any sponge applicator. Instead, use a mottler of appropriate width (sizes are in mm). I like Da Vinci very much. Here are the natural hair type, but their are also “Artist Bristle” listed and synthetic. These are wide, but thin, so you don’t need a tremendous saturation of the bristles (wastes varnish). These can also be used for painting — smoothing and washes. http://www.gdfa.net/oil_mottlers_3.html Italian Art Store sells many Da Vinci brushes at discount prices.
Cleaning the canvas: If the canvas is older or fully cured, it may have gotten a dirty film from airbourne particles/gases — I would use a highly diluted detergent (Woolite or Ivory soap) in water, with a rinse and gentle toweling. The 3M clothes are great for not leaving lint for washing and toweling. Allow to fully dry, or place in direct sun. Fresher pieces may only need a dusting or wipe-down with a soft brush or the 3M cloth — no liquid or solvent.
If the varnish beads up (rare, but possible with ultra-glossy paint surface), you many need an gentle turpentine wash to open the surface.
Apply the varnish with brush strokes all in the same direction, then turn the canvas and make cross-strokes all in the same direction. Work rapidly but smoothly to keep all sections of varnish open without irregularities. If you must go back to correct a poor stroke, feather it into the adjacent areas with slight overlap and continue forward — or restart strokes from the begining, covering the anomaly and moving on. I don’t like to stroke into tacky surface, so for large paintings, speed is of the essence. If possible, lay flat or upside down to dry, in a non-dusty area.
Warning: Be sure your original paint surface is well cured before applying varnish (usually around 6 months, thicker paint may take quite a bit longer), or you risk the varnish binding with the paint layer. I know it is sometimes impossible to wait that long when involving a sale or exhibition, but the longer the better if you want the varnish to be completely removable. You can wait until the last minute — varnished painting should be good to go the next day.
Thank you very much. I am a serious art student. It’s been an amazingly difficult task for me to select my first oil paints. I have read a number of reviews at Dick Blick. I have found few with much depth in analysis. A search for oil paint “reviews” has usually led me to manufacturers/sellers (so much for objective analysis). I was happy to find your site. It’s ironic that my first choice of oil colours matches yours. Although costly, Old Holland is where I am headed.
Side note: I lost my Ebay bid on an Old Holland gift set prior to going to your site. I was discouraged and briefly considered buying a less expensive brand. Thanks for re-encouraging me!
What is your take on watersoluble paints?
“Water soluble” is a misnomer. There is no oil paint that is soluble in water — water (and soap) clean up, yes, but not dilutable with water. Watercolor is the only truly water-soluble paint. Even Acrylic, once dried, is no longer soluble.
I’m sure you mean water-miscible oil paint. My opinion is to avoid these and move right to traditional oil paint. If you don’t l ike oil or solvent, then use acrylic, casein or egg tempera. Water miscilbe paints are slow-drying and gummy in consistency and not agreeable with traditional mediums and thinners.
Water miscible paints are rated as mid-Student grade (per Winsor Newton), for use in academic settings that forbid the use of solvents. Pigment load is lower than artist grade, along the lines of student paints.
Holbein Duo is supposed to be excellent and to handle as well as traditional oil paint, and can be used with walnut oil for excellent results. They are supposed to be better than the WN Artisan paint.
Have you tried either of these?
Also, I’m looking into using baby oil as a solvent for traditional oil, to avoid the toxic ones. Have you heard of doing this?
Thank you, Mr. Harris.
Susan — I don’t know your sources of this information, but if you are so inclined, go ahead and buy a collection of water mixable paints and have fun trying them out. That isn’t my area of expertise, but I have seen quite a few experiences on the forums of other people who have tried them.
There is a forum at Wet Canvas exclusively devoted to Water Mixable (miscible) Paints. Perhaps you will have better luck getting the information you are looking for.
I recommend that you do some serious study of art materials before you introduce intuitive ideas like adding baby oil. Baby oil (mineral oil) is a non-drying oil and is never used in oil paints.