You can give solvents the boot and still be able to clean your brushes.
As we move into 2021, wouldn’t it be great to create an even safer work space!
In this episode I answered all your questions about making your painting practice safer in the months ahead.
Welcome to today’s AMA. If you don’t know what an AMA is, it means. You got to ask me anything. What we’re focusing on primarily though today is the impact of toxins in your studio. How to have a healthier, safer greener studio space so that you can stay healthy in the coming year. If we haven’t met before I’m Mary Gilkerson and I help artists create thriving studio and online art best practices.
[00:00:38] As well as chasing the light, catching the light across the Southeastern landscape myself. So I’m an active plain air painter. So we have a whole bunch of questions that came in. What kicked it all off was that I sent out an email this morning to my list. And in that email, I asked if people had any questions about painting in a solvent free way, because I have real strong feelings about this.
[00:01:16] Hey Sabrina, it’s good to see you here. Let me just check really quickly here. Yeah, I got the right microphone going so one of the reasons that I have such strong feelings is that two of my major painting professors when I was in graduate school. Lost their lives way too soon because of the toxic effects of what they used inside their studio.
[00:01:43] One was probably pretty aware that what he was doing, his, his habits were not safe, but just went on and did it anyway. I don’t think he was really aware of how toxic it was and the other was a pioneer in using Encaustics and at that point, I really didn’t have a complete understanding of the effects of using it.
[00:02:09] And encaustics in an unventilated or poorly ventilated space. And he worked in encaustics for a number of years in an old building that belonged to the university with basically just a window event on it. And caustics produced an enormous amount of. Of nasty stuff as you work with them and it affected his health.
[00:02:32] So both of them passed away, very young that caught my attention really fast and became one of my research areas as an academic. So I, found that painters earlier lived long and healthy, productive lives. So what was it that was creating this. This level of toxicity for contemporary artists, and a lot of it devolves down to one common thread solvents and their use beginning pretty much in the late 19th century, early 20th century, they have not been around that long.
[00:03:14] They were developed as cleaning products, not as artists products to begin with yet, we’re using them. A lot of people are using them on a regular basis every day in spaces that are not designed to be using toxic materials in. So here’s the problem with solvents go airborne really quickly and they have different levels at which they will become combustible, but they also have different levels at which they will sit.
[00:03:53] Pretty much at your nose level in the studio the most, one of the most explosive ones that does is turpentine. The odorless thinners tend to be a little bit less explosive, so fire’s one problem with them. But the other big problem is that solvents are toxic to your body. And when you breathe them in, it causes long-term respiratory problems.
[00:04:21] That was one of the other things that cued me into, maybe this is not being such a good idea to use. And I realized this when I was in graduate school. Again those early formative years for me as an artist. So I was using a lot of solvent in the studio because you know, when you’re young, you think you’re invincible.
[00:04:41] And I started getting respiratory infections. I had bronchitis a couple of times. I quit using solvents and bronchitis went away. That was my first clue. Then as a young professor of painting at Columbia college, it’s a women’s college. And I had a number of students in my class who were expecting they were pregnant with their first child.
[00:05:08] And I did not want my students to be impacted by the toxic materials that we might be using in class. So I started researching what would make oil painting less toxic. And as it turns out, if you take solvent out and you substitute less toxic pigments oil paint is pretty much the least toxic material out there that you can paint with.
[00:05:39] So what we started doing was banning solvents from the studio. Now, academia, the National art academic world caught up with those of us who were doing it early on. And it’s now standard regulation that you don’t use solvents in a painting studio, or that if you do, you have really super good ventilation with air purifying systems so that people don’t breathe that stuff in that, then it was really unusual.
[00:06:15] So once I got it out of the studio at school, I got it out of my own studio and noticed again, no more respiratory infections. So that’s one really strong reason, what happens is that when you breathe those solvents in it occupies space, that oxygen would occupying your brain. That’s why you get lightheaded with it.
[00:06:39] You don’t want to do that over a long period of time. So if you’re insistent it, you just got to use solvent. Then what I would recommend is that you use turpentine and here’s why turpentine stinks. I liked the smell, a lot of oil painters do, but a lot of people don’t, but it’s going to distinctive odor. And when it builds up to a level that you shouldn’t be using it anymore, you should not be in that space.
[00:07:06] You’ll know it because you’ll be able to smell it. The big problem with odorless thinners with any of the ones that are mineral spirit based odorless products, is that you can’t smell it. So it builds up to levels that are not safe in a fairly quick period of time without your being aware of it. Don’t do that.
[00:07:28] That’s why I don’t think they’re a good idea to use. At all the only time I use those is if I’m outside and it’s freezing cold and my paint has gotten too stiff to work with, and I need something to loosen it up because oil paint gets stiff and freezing cold weather. Otherwise, there’s just no need for it.
[00:07:51] What you can do instead is to clean with an organic natural oil. So I clean my brushes with Walnut oil in a silicone oil jar, and it has a coil in the top, actually in the whole jar. And I pull the brush back and forth across that coil that releases the pigment into the oil. And then I can wipe the brush with paper towels and go wash it with a bar of ivory soap that initial, pulling it back and forth in the silicone oil jar.
[00:08:26] It removes most of the pigment and then the pigment settles down in the bottom. And when it builds up too much pigment, you can take that pigment sludge. And either paint with it because you’ve just got oil in there or you, if you don’t want to paint with it, cause it makes great gray. You can dispose of it at your, your municipalities or counties, toxic waste dump because some of it is toxic.
[00:08:58] So substitute or oil like Walnut oil or linseed oil as a cleaning tool instead. And it’s really a good idea to use artists’ Gregg oil declaim, because then it’s, if it’s in your brush and you start to work again, It’s not going to get into the painting and not be artists, Greg. But if you want to save a little money, use food grade oil to clean with, and just make sure you wash your brush sufficiently before you start to use the account.
[00:09:25] Now, a lot of people like to use Murphy oil to clean, which is a linseed oil based soap to clean their brushes. That’s fine. Just make sure you rinse it out. Well, enough Murphy oil will remove any dried paint, whether it’s acrylic or oil based. Paint. So it’s a great product, I use that to rejuvenate or recondition my brushes when I need to, when I’ve been really hard on them.
[00:09:52] And I did get hard on them at times. So think about using Murphy oil for that. Do not use baby oil. Now I saw some suggestions on that, and, a couple of comments in another Facebook group. Here’s why. That baby oil stays in there on your brush. It’s there residually. And that means that it’s going to be in your brush when you go paint and you don’t want baby oil mixing in with your oil paint as you’re working, not a good idea.
[00:10:24] Don’t use baby oil. I carry a baby oil when I’m out playing air painting to clean my hands, but not ever to clean my brush. So don’t do that. So you can absolutely clean your brushes. And in fact, it’s better for your brushes when you clean them with oil, especially if you use synthetic brushes. Those synthetic brushes have a plastic fiber.
[00:10:50] And when you stick them in solvent, the solvent begins to break down the plastic fiber. It’s why your brush starts to splay. And if you spend a lot of money on a really good brush, you don’t want that to happen. So if you’re, especially if you’re using synthetic brushes, start cleaning them in oils.
[00:11:10] There’s absolutely no need for solvents there. So when people ask me about what to clean the brushes with, that’s what I recommend oil. If you need to get out dried paint, use Murphy oil, then wash with ivory, soap, something really simple, and you rinse lather and rinse and lather until the lather is clean.
[00:11:33] It’s white. Your brush may have a little bit of staining in there. If you’ve used a dye color. But it’ll go white when it’s completely clean. One of the things you want to remember is brushes are made out of hair. Even those synthetic ones. Would you wash your hair with Dawn dish washing detergent? No, And I see a lot of people using that on their brushes.
[00:11:53] Don’t do that. Not a good habit. Your brushes won’t last as long use ivory soap. So those are the first two things that I would recommend and making your studio more green is too. Get rid of the solvent. You don’t need it. And to use oil to clean your brushes. Another reason to use the Walnut oil is it does like catch on fire really easily.
[00:12:18] So you can actually sit a container open container with Walnut oil in it and rest your brush in it. At the end of the day, come back the next day, wipe the oil off and start painting again. And you’re not endangering anybody’s lives. By having an open container of linseed oil hanging out or an open container of solvent loved Walnut oil.
[00:12:39] So one of the next questions that I got was about pigments. And I want to talk about those, in just a second, I want to reiterate that oil paint is not inherently toxic, as long as you’re using non-toxic pigments. So when people tell you oil painting is dangerous, they’re talking about the solvent, not the paint itself.
[00:13:06] So if you’ve left oil paint, because you’re worried about it being dangerous, you don’t have to do that. Just get rid of the solvent and use non-toxic pigments. So here’s what I mean by that. The pigments that are the most toxic are the heavy metals. That means things like the cab mediums, the cobalts, anything that has nickel in it, any of those metallic sounding names led you don’t want to be using those?
[00:13:37] Yes. They’re small amounts and yes, you’d have to eat your paint for it to really hurt you. But guess what? A lot of y’all eat your pain. Ramirez said that one of my professors died young. He ate his paint. And people are very cavalier about it. And I don’t mean he took a tuba, cadmium red, squeezed it out and sucked it dry.
[00:14:00] What I mean is that he took his brush on a regular basis and he painted very detailed paintings and he used a number two brush and painted in acrylics. What he would do would be, he would take his brush. He would dip it in the paint, make a Mark. Then he would. Stick the brush in his mouth and look it to bring it to a point, dip it in the paint again and make another Mark.
[00:14:30] Every time he stuck it in his mouth, he was ingesting his paint. It contributed to his death. So don’t do things like that. So the other thing that people do, and I see it all the time, let me grab my brush here.
[00:14:51] I too am guilty of this. So, I have broken the habit, but I used to do it all the time. How many of you take your brush and stick it in your mouth? Notice I’m not doing it right now. So when you stick your brush in your mouth to hold it, you know, like a pencil, like. That any paint that is on your hand, that’s transferred from the brush to your hand, to the handle goes in your mouth as well.
[00:15:28] And when you paint over time, all of that stuff builds up in your body and it is cancer inducing. Please don’t keep doing that. If you get paint on your hands and you pick up food to eat it. You’re ingesting your paint. So I taught painting to college students for 26 years. So I know what bad habits people have and they start really young.
[00:15:58] I’ve seen people with the brush in their mouth all the time, and I’ll shrink at them and they’ll stop for five minutes. I’ve seen people eating a sandwich with Dayna blue all over their hands. Don’t do that. Be super careful about how you handle the paint. I don’t wear gloves when I’m painting, but I’m also not using heavy metals in my painting.
[00:16:22] So if for some reason I get a little bit of Italian Tara there on my finger and it goes onto my coffee cup. I’m not going to die. It’s not going to kill me. So being aware of what materials you’re working with is super, super important, develop good habits around how you handle your tools, and there’ll be so much better off.
[00:16:48] So if you’re using the double primary palette that I’ve recommended so many times, if you don’t have a copy of that list, go to my website. Now I’ll see if we can’t stick the link in here, in just a little bit, I’ll put it in the, The caption up above when we hop off. But if you’re using the double primary palette that I recommend, we’ve got colors in there that are substituting for the toxic ones.
[00:17:16] So instead of using cadmium red, for instance, which is a fantastic color, but there are better substitutes out there now. Naphthol red medium. It’s a really close substitute for it. It looks very, very similar. Pyrrol red is almost an identical pigment. It’s actually an improvement over cadmium. Cadmium is opaque and you cannot get a clear warm red with cadmium red.
[00:17:47] With pyrrol red, On the other hand, you can, it’s transparent. It is very, very, very strong as a pigment. So it doesn’t take nearly as much of it. It’s a little expensive, but so is cadmium red. It’s an excellent substitute. And there are a pyrrole reds and every paint line I know of it. Won’t say pyrrol red
[00:18:09] on the label necessarily. But if you look on the pigment list on the back of the label, you’ll, you’ll be able to find it. So think about substantiating that when you’re looking at the blues, for example, I use ultra Marine blue and yellow blue. I do not use cobalt blue. I do not use manganese blue.
[00:18:34] I do not use surreally and blue. Now there are surreally in blue cobalt, blue and manganese blue hues paints that have the name hue or the word he was part of their name. Those are not the original, pure pigments. They’ve got substitutes in there that are not toxic or cheaper. Those are safe to use.
[00:18:59] Cobalt. Blue hue is made from ultra Marine blue and they low I can mix almost exactly the same color. From those two very safe colors to work with you don’t need Cobalt’s. Same for HerCerulean cerulean is just the yellow, blue and white. So it’s a convenience color. If you’re using the hue, if you’re using the original, that’s a toxic, heavy metal, don’t do that, eliminate those things and you’ll be golden.
[00:19:30] It doesn’t matter whether you’re working in oils, acrylics, watercolors, pastels, gouache, whatever the medium is. You need to know what pigments you’re using. So check some of those out. Another one that is toxic, that a lot of people use. Is cadmium yellow. Well, again, CAD yellow is no paint color. There are other substitutes out there.
[00:19:55] That like Hansa yellow, that is a much better color to be working with. I use Indian yellow, which from Williamsburg, which is the same pigment as what is enhanced, the yellow, Indian, yellow can be. Mixed with white in order to make every shade of yellow, every hit whew, tint of yellow, that there is, I can make lemon yellow.
[00:20:20] I can make the equivalent of CAD yellow. I can make cool and warm yellows from that one pigment and it’s not toxic. So another one is CAD orange. Again, there’s pyrrol orange as well, which is again, not toxic. So I hope that gives you just a taste of what you can do with getting rid of those toxic pigments.
[00:20:44, led white is another one that a lot of people still insist on using Gamblin makes a substitute called, lead white replacement that I love. That’s the main white that I use. So there are other options out there. Think about trying some of those, Didi. Yes. I have a list. Those substitutes in the double primary palate.
[00:21:05] So I’m going to try to put that link into the, description of the video after I hop off, let me look in here. Jenny said, what type of jar? It’s a silicone oil jar, Jenny, and it is, you can order those from Dick Blick or you can make one yourself. Basically what it is is a jar kind of like a peanut butter jar.
[00:21:32] And it has a metal spring inside of it. And as you pull the brush across that spring, it pulls the, the excess paint out. You can make one with a peanut butter jar and a piece of screen like chicken wire. Actually that’s a little bit too big, a smaller mesh screen and you fold it and put it in there and pull it back and forth across that something that’s like a quarter inch screen works really, really well.
[00:21:59] So you don’t have to buy one. And Andrew says he used Walnut oil when he did oils regularly, then just a good, true set. I agree. That’s exactly what I like to do, Andrew. That is a recipe for success. Deedee says, what about safflower oil? My answer to that is no, the, the. Best experts on oil, especially oil, materials and best practices suggest that safflower oil while it’s not toxic is not a good thing to paint with because it makes the paint film too slippery.
[00:22:37] And it doesn’t make a strong paint film. So I would not use safflower. And Erin says, is Walnut oil good for acrylic paint? Nope. You can’t use oil as a medium and acrylic paint and you don’t want to use that to clean up with, for acrylic, I would still use a silicone oil jar and I would simply put water in there so that you’re pulling most of the pigment off as you’re cleaning it in that silicone oil jar.
[00:23:10] That also answers a concern that a lot of people have when they’re working with acrylic switches, the idea of sending any medium, sending toxic elements down into the water table. So again, it’ll do the same thing as with an oil base. It’ll let the pigment settle down to the bottom of the jar. You can pour the water off and then dispose of that sludge.
[00:23:33] So that’s one of the best ways to get rid of that stuff with acrylics, Didi says wear gloves. Yeah, it, I don’t like to wear gloves because I’m a, it makes my hands itch and a lot of people are allergic to the materials in the gloves. So you don’t have to wear gloves as long as you’re not using things that are toxic.
[00:24:00] And I’m not a real, super messy painter as far as what gets on my hands, you had, Thibeault awesome. Yeah, he S he said on you or in you, if it’s on you, it’s going to be in you. So that’s one of the reasons I want people to be super, super careful with it, that’s a great saying I’d forgotten. He said that that’s a really good reminder.
[00:24:23] If it’s on you on your hands, on your clothing, it’s going to be inside of you. Be very, very careful. Joanne asks, what about the masters brush cleaner? It is safe. Yeah. The masters brush cleaner is basically Lyndsey. It’s the, Oh, the mulch McCall. The, the sub I was just talking about and I’m having a brain fart right at the moment.
[00:24:48] I use it all the time, cleaning in the house. It’ll come back to me as soon as I scroll down. But yes, Masterson’s brush cleaner is fine. It’s a linseed oil based cleaner, and it is fine for your brushes. It’s, it’ll recondition them. You can get the cheaper version, by going to the grocery store and buying the, darn it.
[00:25:17] I can’t think of it. Somebody type it in. What was I just talking about? As far as cleaning some money was talking about it earlier. I’m going to have to come back to it Murphy. Well, thank you. Thank you. Trish Murphy oil Murphy oil Masterson is basically Murphy oil that is hardened into a cake. Thank y’all.
[00:25:38] I was just having one of those moments there, Laurie Liam says, what do you think about GAM Saul? GAM Saul is an odorless spirit. So that kind of tells you what I think I use GAM salt. If I’m outside, I do not use it in the house because you cannot tell how much of it is building up and it does build up and you don’t want to have that occupying your brain cells instead of oxygen.
[00:26:04] So no GAM Saul is a solvent and I appreciate all of the work that. Gambling has done on developing it and on how they feel about how safe it is. But I still would suggest that you need to not use it. I would only use it outside. So GAM salt is a solvent and I would not use it. I really wouldn’t gamble in his made a really, really wonderful medium called solvent free, medium, and solve it free gel.
[00:26:35] So it’s a liquid and a gel and it’ll help the paint dry just a little bit quicker, but I would use that instead, if you want to use a medium, while you paint. Julie brothers says I just used Windsor neat and distilled turpentine to clean my brushes for the first time just doing that, threw me into an allergic reaction.
[00:26:55] Yeah, it will, some people are allergic to it on their hands, you know, skin contact, but yeah, it can be a problem. Deedee says, what about Liquin Liquin, gal keyed, any of those Al keyed mediums have a little bit of solvent in there, it’s it’s got enough, more solvent in it. Then the gambling solvent free that you cannot travel with.
[00:27:24, gal Kate or Liquin in your carry on, on an airplane because it does have solvent. So I don’t use it for that reason because like I said, I’m solvent free and sign. So I also have some real hesitations about using alkyd products anyway, so I would probably avoid them. Let’s see, glad you under you appreciate that pigment education there and you’re welcome, Jenny Whittaker.
[00:28:04] Roxanne said a plastic pot scrubber in the bottom of the sour cream container. Yeah. That’s a great idea. Just be sure. It’s not one that’s really rough because that’ll eat your brush up. But yeah, that’s a, that is a great solution. So Roxanne Celeste suggested a plastic pot scrubber in the bottom of the sour cream container or a yogurt container would do the same thing with your Walnut oil poured on top.
[00:28:31, Yeah. Marla says that she’s had several painting, friends who’ve died of cancer and she doesn’t have for certain there’s a connection, but it is concerning. It is. And when you look back at history at people like Leonardo, Michael, Angela Turner, Rembrandt, the great masters, Rosa Bonner, all of the.
[00:28:58] People that we study in art history. Now there are a handful who die young. Most of them lived into their eighties. Painting is good for you. It makes you live longer. As long as you’re careful, you don’t start having artists die young and have cancer so frequently until the 20th century. It’s because we’re careless is hack with our materials and we’re using solvent and we’re using things that are.
[00:29:25] Toxic. So one of the questions that I got, let’s see if I can pull this up. This is from Sally Hutchinson and she sent this to me via email. She said, I work in acrylics and just started in water-soluble oils, which I love. I recently heard the, that they are quite toxic. I was thinking of an air purifier, but I wonder if you had any other suggestions.
[00:29:50] the water soluble oils are not inherently toxic, I don’t like them because of the consistency of them. They’re kind of like, pudding and it it’s not, it doesn’t work well for me when I’m painting thickly with a palette knife. But as long as you’re using pigments that are not toxic, water-soluble oils are not toxic.
[00:30:14] They’re not going to hurt you now, acrylics, on the other hand, I love, but most acrylic paint has something called formaldehyde in it. And the formaldehyde is in there. To prevent mold from growing on the paint, as it sits in storage. And as it shipped out, I can smell it. And I started having a react, slightly allergic reaction to acrylics when I was really young.
[00:30:41] So I became real aware. I could tell when they were in the studio, I don’t use them that often as a result, if I do use them, I’ve got to have really good ventilation. So for me, one of the problems with acrylics. Is that they have stuff in all of them that gives an, off gases off gases formaldehyde.
[00:31:06], and I find that problematic for a whole lot of different reasons. One my nose. And another, what it sends out into the world. The other problem I have with acrylics as far as sustainability goes, and the environment goes, is sending all that plastic down the drain. And I know at least two other people emailed me about that.
[00:31:30] When you rent your brushes out in a sink, you’re sending plastics down your pipes. And if it sits brainy length of time, those plastics dry out. So you actually can clog your own drain by washing your brushes in the sink. If you clean them first in a silicone gel jar or in that yogurt, container that we talked about, you’re going to have less of it go down the drain.
[00:32:02] But you’re also sending those plastics into the water treat search system and the water treatment system and contributing to the increase of plastics in our environment. I saw some heinous article that scared the, you know, what out of me the other day, and it was talking about finding microplastics in the umbilical cord of babies.
[00:32:28] And that is a very, very, very scary idea. So I think the less plastic we send into the environment, the batter. So that’s my problem with acrylics watercolor. The only real issues that you have watercolors are again, the pigments. Same for gouache. They’re not inherently toxic, you’re not sending plastics down the drain and you’re not, creating.
[00:32:54] Things that are not biodegradable oils, watercolors squash. There’s a biodegradable. And as long as you’re using non-toxic pigments, you’re not hurting the environment. So that is something definitely that I would consider there, yeah, Tricia Paige had that same question for cleaning brushes. So if you want to clean brushes and you’re using acrylics and you want to be conscious of what you’re doing, get a silicone oil jar or get a yogurt container sour cream container.
[00:33:26] Put the cleaning sponge down in the bottom of it. And after, It builds up enough sludge in the bottom, pour the water off into another container and dispose of that plastic sludge at your areas, hazardous waste dump, because they can dispose of it in a way that’s not in our, the environment. So that would be a real strong suggestion that I would make now, Sally Thompson had a question because she had followed my advice and started using Walnut oil in her painting.
[00:34:02] And she had something happened that I’m not sure why, she said it, it feels like it stiffens the paint and dries too fast when using it as medium. And I’m wondering Sally, if you’ve got Walnut Al Cade, when you’re doing that, because that would dry fast, normally Walnut oil dries a little bit more slowly than linseed oil.
[00:34:24] So I have a sneaking suspicion, you got a little Al Qaeda in there, and that’s why it’s drying so quickly and stiffening things up. So be careful that you’ve got pure Walnut oil and not a Walnut Al-Qaeda. And, let’s see. Kathy Levinson said, I’ve been wondering about the dangerous from pigments. We just went over those and she says, I hate wearing gloves, especially in the hot summer weather.
[00:34:51] So try to paint without getting much pain on my hands. So, yeah, the knowing the ones that are toxic, I think helps to prevent that. And like I said, I don’t wear gloves, so I don’t think gloves are a must, as long as you’re careful with what pigments you’re using, because if you’re using non-toxic pigments, if you get it on your hands, it’s not going to be a problem other than, you know, they low blue.
[00:35:14] Goes everywhere. And I have found it before on my sink, my washing machine on the side of the cabinets. So just be careful with that, but it’s not going to hurt you. Say what other questions we’ve got in here? Alice says I do cold wax and encaustic. Is there any way to make encaustic safe in terms of ventilation?
[00:35:41] Oh Alice, cold wax. I go there first. I know a lot of people love cult wax, and I love the way it looks. It’s great as a final finish on a painting an oil, because it gives it an even Shayne and it’s fairly easy to apply, but it’s got a ton of solvent in it. So if you use cold wax, you’re going to have to be super careful about having really, really good ventilation because it’s full of solvent.
[00:36:19] And as far as a safe way goes to using caustics here, here’s what makes encaustics so toxic. It’s got solvent in it. And if you’re using toxic pigments, it gets heated up. So part of the problem with encaustics is everything is done hot when it heats up, it releases the solvents into the air. And if you’re using pigments that have toxic elements in them, it releases those toxic elements into the air.
[00:36:56] So encaustics produce fumes that are deadly. I personally think the only way to do in cost access is to do them outside. And, and I know people who have created a elaborate ventilation systems in their studios in order to be able to use them, I would not do that. I just have known too many people who had really, really bad health problems because of doing that.
[00:37:25] So. I don’t have a good answer for you. Not one. That’s going to be one you want to hear. So if you want to build, or if you have a garage where you can open the garage door, that would be a safe way to do it, but she pretty much have to be outside in order to be safe doing and caustics. That was, what killed one of my professors.
[00:37:55] And it was because, and he had a ventilate ventilator going, I mean, a ventilation fan going, it just wasn’t enough. It couldn’t pull enough of the fumes out of the studio. So, and he ended up with dementia early onset dementia at a very young age. And I don’t want that to happen to anybody. So as much as I love the way they look, I don’t think it’s worth it.
[00:38:19] So get an outside studio and then I think you’ll be okay, but not inside. If anybody knows of any better way to do it, I’m, I’m wide open to hearing it, but I haven’t heard of any really good ventilation system for that. It’s really a dangerous material to use super, super dangerous. I would just do cold wax if you really, really love that.
[00:38:44] The look of wax and I would not do encaustics, yeah. Thank you all for giving me the soap. Yeah, ACV, I think that was when we were talking about Murphy oil and awesome. Y’all saved my life there. Yeah, Alison just don’t think there is a way to make encaustics safe. Other than working outside. John says my studio air cleaner shows the air quality decreasing.
[00:39:20] When I clean my brushes with odorless solvent. I just discovered that. Yeah, it really will because it occupies the, the airspace instead of oxygen, you have. Solvent in the air. So not a good thing. So that’d be really, really, really careful with that, Sue says I use water-soluble products, no gambling, but was told that the water soluble paint are full of chemicals.
[00:39:50] Yeah. What they have to do to make oils soluble in water. It’s a chemical process. I’m not sure what’s in there, the only time I use water solubles is when I’m doing monotypes, because I like to do them very thin and I don’t want to use solvents anymore, I’ll have to check that out because I’m not sure Sue what they are doing, what chemicals they’re using in the process to make them miserable.
[00:40:25] But, you know, I can ask one of my chemist cousins and I’m sure they’ll know, but off the top of my head, I’m not aware of it being an increased level of toxicity, but I will research that and check back in and let y’all know what I find out about it.
[00:40:47] No paint itself. I’m not sure that it is full of chemicals. I’m not sure I. I think that’s really what happens. Linnea says. What about terpenoid for brushes? Nope. It’s got a solvent in it too. I would not do that. If you want something that you want to clean, like, a palette or a brush handle with there’s something called citrus solve.
[00:41:14] Which is a citrus cleaner, and it’s an organic one that you can buy in health, food stores, and a lot of grocery stores. They also sell it in the art supply stores. And I use that to clean my palette off if I’ve got stuff stuck on there. But again, it’s not toxic. It’s not a solvent that is going to harm you.
[00:41:34] that one is good to use, the, another one that will work is, lavender oil, spike lavender. It is what people like Michelangelo used. That was the solvent and air quotes of the time. And if you can get true oil spike, lavender now, and you can, it’s expensive, but you can, you can use that to dilute your paint and you can use that to clean your brushes.
[00:42:05] It’s hard to find the actual stuff. There’s some companies out there that have it on the market, but it’s actually a chemical substitute for it. And I’m not sure how safe that is and how close to solve it. That is, Roxanne, I’m glad this is so helpful. And D says, I find it more difficult to claim brushes.
[00:42:28] When I use liquid, I often use brush cleaner outdoors, not sure what cleans it adequately. I think you’ll find that the oil will help clean the brushes way better than the solvent will. So again, clean them in Walnut oil and then wash it with ivory soap. And if you’re still having trouble with it, use Murphy oil, that’ll get out the rest of that adequately.
[00:42:53] Oh Tricia. Great question.
[00:42:59] Trisha says one of the problems with using soft pastels. I am a huge lover of pastels and I used them for the first half of grad school because I love how rich the colors are. And I was doing big, huge pastels that were four by six feet. In my studio. And again, I started hat. That was when I ran into the bronchitis, both from solvent.
[00:43:27] And from that I, kept having bad sinus infections, bronchitis. And one time when, this is going to be really gross, I blew my nose and it was blue. And that was my first clue that I needed to do something a little differently. So if you’re going to use soft pastels, It’s going to be critical that you wear a mask and not just a dusk mask, you need to wear a respirator.
[00:43:58] So I have two respirators that I use in the studio when I’m doing soft pastels. And I looked like Darth Vader. You know, it has the two canisters on the front and you go to breathe. So you look really weird, but you’re safe. And what really sold me on that was having to change the filters. When you change the filters in your respirator, and you see all of the pastel dust on those filters, you’ll never work in pastels without a respirator on again, with pastels, it is more important than with any other material you’re working with that you use non-toxic pigments because everything that you’re working with goes airborne.
[00:44:43] So if you’re using cobalts and pastel, you are breathing in cobalt. If you’re using cadmiums or nickel, yellow, light nickel, ISO yellow, I’ll go in airborne and you’re breathing it all in. It’s going directly into your system and it doesn’t leave. So you have to make some real serious color choices in there and substitute.
[00:45:10] There are great substitutes out there for pastels as well, but get non-toxic pigments because not only are you breathing in, but if your studio is in your home, everybody else in your home is breathing it into because those pastels go into your ventilation system and get circulated. Throughout your house.
[00:45:33] That’s the other problem with using solvents in a home studio is everybody else shares in the, the effects of your using those materials. So get a respirator, you can get them at Lowe’s home Depot, Amazon, and get the con has changeable filter cartridges, and where it, even if you look weird, Where, even if you’re outside doing plan a, or you need to be at least wearing a dust mask because that stuff goes airborne close to the easel and you’re breathing it all in.
[00:46:09] I actually don’t do pastels that much anymore, as much as I love them, because they are literally the most dangerous medium there is, I love charcoal, soft charcoal. But again, the same thing, you’re breathing it all in and you can damage your lungs. So please, please, please everyone who’s using pastel.
[00:46:37] Promise me, you’re going to get a respirator and you’re going to remove those toxic pigments from your boxes. There’s not any good way to get rid of them other than to just quit using them. I usually tell oil painters and acrylic painters watercolorist that if they’ve got some of those toxic pigments in their pallet, use them up, don’t throw them away.
[00:47:04] But I’m telling all the pastels list. If you’ve got those toxic pigments in your box, get rid of them. Because they are that dangerous, do not breathe that stuff in it. Isn’t the most hands down, dangerous, medium that there is only because so few people take the proper safety precautions, especially important.
[00:47:28] If you have a home studio in anybody else’s breathing, not air. So keep that in mind, Yeah, Trish as Trish Harrington says don’t ever blow pastel off of a paper surface because it’s so easily inhaled. Yeah, pastel dust is just awful. Alice says she’s done in caustic outside, but doesn’t know any other encaustic artists who do it outside.
[00:47:55] Ana people think they’re going to live forever and they ignore the recommendations. Alice and there used to be an artist who had her studio right down the hall from mine. And. She worked in encaustics without adequate ventilation and the whole building would reek of fumes, and it didn’t matter how many times my landlord talked to her, she would.
[00:48:25] Sometimes remember, turn on the ventilation, but she just didn’t take it seriously. And a lot of artists don’t until you see somebody suffer from the effects of it, it just doesn’t hit home. But if you’re already working outside with it, I think you’re doing everything you can do. And you’ll get picked on by some artists about it.
[00:48:46] Ignore it because you’re taking care of yourself and everybody else around you, you’re doing the right thing. So kudos, my friend, keep doing the right thing. If you can figure out a way to make it work, go for it, Jane know, Don had built her studio. I think her latest studio around creating an environment that was safe for working with encaustics.
[00:49:11] And I think Jane has roll up, roll up doorway. That she uses for that, but I’ll have to ask her more specifically about that because she is also very concerned about the health effects of things like that. She knows those same professors. We both went to the same school for grad school. She knows those same people who passed away young.
[00:49:31] We don’t want that continuing so great question there. Let me chat one line last time here to make sure I’m not skipping any that came in via email. Before I hop off, let’s say have some more. Let’s see.
[00:49:59] Yeah. Art says, I’ve seen mortar miscible paint then not with water. And it also chocks off with dry. What do you think about an acrylic than acrylic underpainting? That isn’t, an absolutely great way to start with a wash on a painting is to use thinned out acrylic and what you’re talking about there with the water miscible oil, then out with water is something that also happens when people thin oils out with water, regular oils out with not water with solvent.
[00:50:32] When you spread the paint out too thin when you break it breaks down the bonds that glue the pigments to gather the molecules together. And it’ll wipe off with your finger when you do that. So that’s another reason not to do a wash with solvent and oil paint and not to do all wash with water miscible oils.
[00:50:56] It’s not a good idea. So you can. Some of that can happen with acrylics as well, but there’s more of the, the medium in there even when it’s diluted. So it holds together a little bit better. So you can absolutely use an acrylic then layer of acrylic under an oil painting. And it’ll be fine. That’s been done for a long time.
[00:51:21] So yeah. This is from Karen Dungy. I think I’m saying your last name, right? She says, John McDonald talked about the loss of a peer of his due to toxicity in his studio. Wonder if it may have been one of your profs? I don’t think so, but it’s not uncommon. There are a lot of artists of that generation, who just.
[00:51:46] Didn’t think about the studio safety issues. It’s a big factor now, but artists I’m of the generation ahead of me were not necessarily as careful. So, Karen says I’ve totally switched to water miscible oils and love them. Yeah, you can absolutely use those. Just make sure again that you’re not diluting them with too much water, because they’re not meant to be diluted with water.
[00:52:13] Just cleaned up with water. And. So Tom Gardner says, I saw a 64 ounce bottle of Sulu Walnut oil and refined cold press oil for $29 on Amazon reviews for cooking were bad, which I don’t care about. Spectrum oils are very expensive. Would you recommend it or is it good to be too good to be true? Sidebar. I used odorless mineral spirits and the smell haunts me when I’m in, and other rooms.
[00:52:43] Yeah, it definitely will. Cause it’s gotten into you, I think a lot of people experienced that because it’s gotten into inside your body. So it’s, it’s in your nose at the haunting is real. It’s going everywhere. I’m not familiar with Sulu Walnut oil and. I’ve found actually that spectrum Walnut oil is about that same price in the stores.
[00:53:12] So I would check around where you’re looking for it. If you look in a regular grocery store, you’ll find it in there now as well. But I think almost any Walnut oil and that one sounds like it’s fine. We’ll work for cleaning. Just make sure you’re getting that out of your brushes before you start to work with it.
[00:53:31] But that should absolutely be fine. Let’s see if I catch any last questions. I think that’s the last one that came in via email. So great questions. Y’all and Marna says, where do I buy Walnut oil? You can get it at the grocery store. So if you go to a grocery store and go to the cooking oil section, You’ll see a range of different oils besides vegetable oil.
[00:54:02] And you’ll see things like olive oil, you’ll see things, things like Walnut oil. And so you can get a bottle of Walnut oil. Here’s what makes it not so expensive. I’ve used the same bottle of Walnut oil for life three years. And the way I do it is is I have multiple silicone oil jars for cleaning. I have three of them.
[00:54:25] So I’ll use one filled with Walnut oil and when it gets too mucky, it’s got like, it’s turned totally gray and it’s just, it’s not cleaning the brush anymore. I will put the lid on it and let it sit so that the pigment falls to the bottom. I have a second jar. That I feel with Walnut oil, fresh Walnut oil.
[00:54:50] And I use that then to clean the brush while the other one is sitting and the pigments falling down to the bottom. When the one that I’ve put to the side rests long enough that the pigment excess pigments at the bottom, I pour that clear oil that’s on top into the third jar. Then I dispose of the.
[00:55:13] Sludge that’s in, in that first jar. And now I have clear oil in jar. Number two and jar number three, dispose of the sludge wipe out jar. Number one, then when jar number two gets too yucky. I pour that into jar number three, and I feel jar number one with fresh oil, but I can keep that going with the same oil.
[00:55:42] Between the three jars for years, because it really does settle down to the bottom that easily. So it doesn’t have to be expensive for very long, Vanessa says I missed something. You use Walnut oil as part of your medium, or just as cleaning both. If you use it as your medium, you need to use artists grade Walnut oil.
[00:56:06], it’s been used for centuries. There’s nothing wrong with using it. And if you’re going to use it just for cleaning and you want to save a little money, then you can use food grade Walnut oil. So for both, I use it for both. I also love linseed oil is a medium and a mixed linseed oil was standard oil.
[00:56:28] If I’m going to use a medium, but both of those are fine to use. And Michelle says what device shows air quality. So I think that Joan has an air purifier in her studio, and a lot of the air purifiers will have a readout dial that lets you know, what the air quality is in your room. And so John was saying that when she’s cleaning her brushes with solvent.
[00:56:58] The air purifiers dial shows that the air quality goes down. So it definitely is, is something you want to be aware of, redo LA. I would not use liquid handset to clean your brush and here’s why. There’s a lot of other stuff in hand soap. It’s got perfumes and other things in there, and that’s one of the reasons it’s taken you longer.
[00:57:27] If you clean the pigments out first and then use the bar of ivory soap, it’ll get your brushes cleaner, faster. That would be what I would recommend. Yeah. Michelle says the art store has Walnut oil. Yeah. My local art store has Walnut oil and, that’s the easiest place to get it. You can order it from the online suppliers as well, but I’d go to your local art store.
[00:57:51] First. I tend to do that anyway. Support your support, your local art store. Sarah says, I heard that you should refrigerate Walnut oil to keep it from going rancid. That’s true for any oil, if you’ve got a really hot climate. So if you’re working in an un-air conditioned space that is subject to extreme heat, then yeah.
[00:58:14] You want to stick it in the fridge or in some sort of refrigerated. Situation, but, I have not experienced that when I’ve painted with it, but then I’m not painting with a large volume of it. So I’ve got a small bottle that I use for cleaning. That’s just not an issue. That’s not something you need to worry about.
[00:58:37] And Patty, Oh, you’re welcome, Sue says rubbing. Alcohol’s great to clean palettes. Yeah, it is. It’ll work to rubbing alcohol. I just love the smell of citrus salve. It’s what I used to clean my house with two. So it gets me started on the whole cleaning process, Laurie, I would not use baby oil to clean your, your paint off of your brushes because bits of it will remain in your brush and get into your paint as you’re making your painting.
[00:59:10] And that’s not sound painting practice. So I recommend that nobody used Walnut or baby oil to clean brushes. We talked about that earlier. And we talked about the rancid newness already. Yeah. Y’all stop using baby oil and don’t use Dom dishwashing detergent. You shouldn’t use anything on your brush that you wouldn’t use on your hair.
[00:59:35] So this brush that you see right here, it’s stained because I’ve used it with Failla blue and lots of. Dye colors over the gears and the handle looks terrible because I have not cleaned the handles super well, but anybody guess how all this brushes it’s a good 20 years old. And the reason this brush is still in good shape after 20 years is because I’ve taken care of it.
[01:00:11] And I don’t use Dawn dishwashing detergent on it, and I don’t use baby oil on it. I clean it just with oil and I don’t use solvent on it. It’s a natural bristle brush. So it’s hair, just like my hair is, and I’m not putting anything on it that wouldn’t put on my own hair. So think about that. Is she used other products on your brushes?
[01:00:37] Don’t do it. Dawn is much, much, much too strong, a detergent to use on your brush. You’re going to wear your brushes out faster. The only thing that’s happened to this one over time, she might be able to tell. That it’s worn down on the sides from being used, but that just makes it more personal. I can still use this for another 10, 20 years.
[01:01:05] The. Fibers are going to start falling out eventually, but it’s still in really good shape. So be kind to your brushes and they’ll last forever. If you treat them badly, they won’t last six months. I know people who have complained and I’ve seen the complaints, on Rosemary brushes website, I’ve seen people complain about.
[01:01:30] The synthetic brushes splaying after being used to very short period of time. And in almost every case, they’re taking that synthetic brush and they’re cleaning it and solvent, and then washing it with Dawn. And they’re responsible for those brushes. Not holding up. It’s not Rosemary’s brushes are fantastic.
[01:01:50] They are very, very high quality, but they’re not meant to be cleaned like that. So be careful how you take care of things like that. Be super, super, super gentle with them. And they’ll last a really, really long time. So now baby oil and no Dawn for sure. Yeah. Joan has put in her air filters, name, brand name in here, et cetera.
[01:02:17] W I N I X Winix, something like that. Yeah. Michelle rainbow lung. I had rainbow lung at one point. It cleared out, but it took a while for it all to clear out. Yeah. The Cobra brand is from talents is fine. If the water miscible oils, Sarah, it’s a good one. Yes, Bob says, does that go for oil pastels as well?
[01:02:38] No, it doesn’t Bob. You’re safe with oil pastels and here’s why oil pastels don’t create dust. They are bound already with oil. And when you go and make a vigorous Mark on paper or canvas with an oil pastel, it’s not sending stuff airborne. So oil pastels are as safe as oil paints, as long as you’re not using toxic pigments.
[01:03:02] So oil pastels are great. Highly recommend them. Yes. Sarah charcoal, if you’re not wearing a mask is bad as well. Yeah, it’s fine to use, but you’ve got to wear a respirator. So you cannot use things that produce dust without covering up your mouth and nose, because it’s all going into your body. So be super careful with that.
[01:03:27] Yeah. I met myself really sick with all of that, no, Don Alice it’s N O D I N E. Jane. No dine. And I know she’s active in the encaustics group, that’s in the States. So you’ll probably be able to find her there, and I’ll also try to pull Jane on and maybe we can do as, Facebook live together and she can talk more about it.
[01:03:59] I’ll ask her about that and see if we can’t do that in early January. So y’all can ask some more questions there. Yes, you’re welcome Tricia. And let’s see. Yeah, Leslie O’Hanlon says when I was in college that closed the print room for a year to swap to non-toxic inks. Everyone used to get high on the themes on a same here.
[01:04:25] And that was one of the things that convinced me when I first started teaching painting, and I still allowed solvents in the studio. Everybody would get high. You know, when you have 20 students, all using solvent in one space, it just is overwhelming. And you don’t want to do that. But yeah, printmakers have gotten super, super conscious of toxicity as well.
[01:04:48] So all of us who deal with pigments oils and with solvents have become much, much more aware of that, D D yes. So you can use linseed oil to claim while you paint. It’s absolutely fine. You just don’t want to leave it uncovered because linseed oil can catch on fire spontaneously. And the best example of that I can give is that one of my favorite oil paint brands, which is blue Ridge oils.
[01:05:20] Caught on fire. I think it was two years ago, maybe three years ago, and because somebody left the lid up on the oil can waste can, and it spontaneously combusted. So you could absolutely use Lyndsey oil to clean. And as a medium, but you just have to remember at the end of the day to put a lid on it, literally so that it doesn’t have a chance to get exposed to oxygen.
[01:05:52] You should take all of those oily waste, drags or paper towels that you make. When you paint outside and dispose of them every day so that they don’t catch on fire because it’s, it’s devastating, blue Ridge was down for a good six months. You don’t want that to happen. Okay, Carol? Yes. She says I die fabrics.
[01:06:15] That is absolutely a one that has a lot of toxicity of involved with it. So she says she does it outside, wearing a respirator. And after she blew her nose and it was blue. Yep. Some of those are really, really toxic. And I know I have a friend who had a really horrible tragedy happened in her family as a result of that.
[01:06:36] So be very, very careful with dyes and I don’t know enough about fabric dyes to even tell you which ones were the ones that are so highly toxic, but be very, very careful with that. And oil pastels are safe. Maggie charcoal. You need to wear a mask for sure. Yeah. Medula says I do the jar thing. Awesome.
[01:07:03] That is fantastic, Jenny, I mix standard oil with linseed oil. Standard oil is a kind of linseed oil it’s just thickened up. So it has a different consistency. And I really liked that, I would not use hair conditioner on my brushes and there’s some people who do, if you need to condition the brush, the best thing to use is Murphy oil and.
[01:07:34] Leslie says, I can’t imagine food grade Walnut oil isn’t equal to artist’s grade, except it discolors that’s enough, right there. It discolors, food grade Walnut oil has impurities in it. So what makes artists grade is that they filter it extra filtering processes and those extra stuff, those extra things that are in food grade can make your paint yellow faster.
[01:07:59] That would be why you would want to use, are described. So,
[01:08:09] if you want to mix linseed oil, Joanne is asking how do you mix linseed oil and artist’s grape Walnut oil. You just pour them in the same container. I don’t do that. I mix linseed oil and stand oil, but at any oil you want to mix, you just mix them in a bottle. It’s it’s super easy. Mix them together, stir it up.
[01:08:30] D D says, what brush is that? I love this brush. I have a dozen of them. It is a number 12 and it’s a white bristle brush series two Oh nine. I’ve used him for decades from new track. They’re my favorite brushes. It’s a Filbert. So I buy them by the dozen and I am hard on them. So my favorite sizes are number sixes, number eight, and number twelves.
[01:09:01] This is a 12 and they still make them, they look a little different. This has the older ones have the blonde handle. The newer ones have a dark handle, but it’s the same, same series. So it’s a natural fiber brush. They last forever looking over at my brush container. Can you see it back there? and most of them that are in there are, Utrecht brushes.
[01:09:28] I like you track and Rosemary bristle brushes. I don’t use synthetics very much. I prefer bristle brushes, sometimes I’ll use Princeton if they’ve got a good sale. And I think it’s Royal Langnickel makes a silver handled brush that they sell, like for. $5. All the different sizes. They’re not expensive and sometimes they’ll lose fibers, but I buy those when I’m going to be traveling with them.
[01:09:58] So I don’t worry about losing them and you can get email@example.com. Vanessa says, do you dry your brushes bristles up or hang them down or flat? After I washed them, they go back into that big old coffee can back there and they stand up with their bristle end up that way they can air dry. So that’s all I did to him.
[01:10:26] It’s a, let them air dry and you’re welcome. Amy and Sarah. If that has said I joined three months ago and only completed module one. We’ll keep going. Aveda. If I’m assuming you’re talking about composition color in light. So dive back in, you’ve still got access. I don’t take access away from the course.
[01:10:49] So dive right back in and keep going. You’re on your own schedule. There’s no such thing as late or behind, awesome. Alice, let me know what Jane says.
[01:11:07] Ah, Danuta says, how would you claim watercolor brushes? Great question. So, same thing I do with acrylics, I would use the same container. Move the watercolor brush across the top of the screen or the coil to release most of the pigment in the water. Then let that settle down so that you can dispose of the pigment and then wash the brush and ivory set.
[01:11:34] Now watercolor brushes. I use. I’m a real kicker for natural fibers. So I’m still using a natural fiber there. I do have some synthetics, but it’s even more important with a soft hair brush that you wash it in ivory soap. I do use cheap brushes. I use really big brushes for big paintings. So I go to the dollar tree and buy the dollar house painting brushes in sizes from like one inch to six inches.
[01:12:07] And I use those for really big paintings. And I’m not worried about how I clean those because they cost a dollar and I’ll toss them when they get too nasty. So that I use all kinds of tools to paint with not just good tools, but, you do get. Better results using the best tools that you can possibly afford.
[01:12:30] Marina says, what should you do with your paper towels that have been covered in GAM Saul dispose of them every single day. So I keep, you know, like a plastic grocery bag hanging from my easel, and I think it’s not on there right now, and then I take it out and throw it in the trash can at the end of the day.
[01:12:53] Because I don’t want paper towels that have solvent on them if I’ve used solvent for some reason. And I don’t want paper towels to have paint or linseed oil on them sitting in the studio overnight. So just dispose of them, just like any other paper towels outside. Yeah. The trash every day at the end of the day.
[01:13:15] Yes, Joanne, I’m going to post the video, Facebook automatically saves them and we’ll post it here after we’re done and I’ll post it on my website too. Oh, D D says when I was three, I drank turpentine that was left in a Coke bottle on the bathtub by my dad got a stomach pumped. Yeah. I did S equally similar things.
[01:13:38] So yeah, I’m really conscious of that. And you know, a lot of people. Keep their thinner in cups that looked like this. And I have drunk my, before I quit using it, I’ve taken a mouthful and then had to spit it out. So yeah, you can do really nasty stuff to yourself. Make sure if you’re using water with watercolors or acrylics that you’ve got a tub there that is distinctly not a coffee cup.
[01:14:03] I know almost everybody I know has done that at one time or another. Yes, you can watch it again. Amy. It’ll be right here. Awesome. Hey, Susan, I’m glad to see you. Roxanne says when you clean your brushes with Walnut oil and then don’t wash them out with soap don’t they get sort of gummy. No, they don’t. I mean, they will, if you leave it that way for weeks, but actually when, if you’re doing that with Walnut oil, don’t do this with linseed because it can combust, you can clean your brush out with the Walnut oil at the end of the day.
[01:14:35] Wipe it off, get rid of those paper towels and pick that brush up without washing it and use it the next day, because it’s not going to get gummy overnight. It takes longer than that for it to oxidize. So yeah, you don’t have to use soap every day for using Walnut oil. Yes, Jenny, my Southern accent is making it hard to hear, but I’m talking about stand S T a N D oil stand oil.
[01:15:10] And Vanessa says, where do we go to see your available courses? If you, excuse me? one of the best places to go is, And I’ll pop it into the caption up above is just the, the link on my website to learn with me. And it outlines all of the courses, but I’ve also got a blog post where I talk about what happens.
[01:15:39] It’s got a chart, so that it’s a little easier to see and compare the different courses. Let me see if I can grab that really fast here and then I can drop it into. If I can, I can drop it into the link. It’s not letting me search for some reason. It’s just refusing to cooperate. So let me see if I can get another tab open and that should do it.
[01:16:16] There we go. No, I’m gonna have to put it into the caption. It’s not going to let me do it because of the camera. I am broadcasting using an app called AKM and it’s just not letting me get to, the web to do that, but I’ll drop it into. The caption and I’ll also come back and tag you to make sure you see it.
[01:16:39] But I do have a blog post that has a chart that makes it easy to see what we’re doing in those courses. And then I have a website that has just the courses listed as well. Awesome. Leslie, I’m glad you found it. Helpful. Yeah, Susan. Susan says, if you’re in any of the courses, it should show the available course, her available courses.
[01:17:00] Yes, it will, Vanessa is not in any of the courses right now, Susan, Susan’s been in almost all of my courses so far, Yeah. Leslie says don’t use all food containers to store solvers. Definitely not, definitely not. So for newbies, Diana de mean course wise, The course that I recommend for newbies that I offer is composition color and light.
[01:17:31] It is basically my beginning painting class that I taught for almost 30 years at the college. So highly recommend that if you’re starting out, that you dive into composition color and light, you don’t have to have had a whole lot of experience. You can start from ground zero in there. Susan says your Southern accent is that half as bad as my Tennessee one.
[01:17:53] Nah, that’s true. But the more I, if I start talking fast, it goes super Southern, Tammy says is clove oil okay to use? No, no, no, no, no, no, no. Don’t mix clove oil with your paint. It will never dry clove oil slows down the drying process. You can use it in your pallet box to keep the paint open longer, but if you mix it in with your paint, It won’t ever dry.
[01:18:20] So be careful with clove oil. Absolutely careful with that. Awesome. I think we’ve gotten through all the questions. Thank you all for joining me today. It’s been a lot of fun talking about this. It’s one of my favorite topics. I can go down that rabbit hole for a really long time. If you have any other questions about it, drop them into the comments here and I’ll come back and see if I can’t catch some of those too.
[01:18:45] Sarah said, what about individual mentoring and coaching? I do have that too, Sarah. So I’ll try to make sure I give you a link to that. And no, don’t clean with clove oil because it’ll get into your brush and it’ll, you’ll never get your paint dry. It’s also too expensive to use, to clean with.
[01:19:06] It’s good to see you. You’re most welcome. My friend y’all have a wonderful new, could you say it again, please? Siri just decided to pop up on my phone does that sometimes. So having great new year and I look forward to talking with you in 2021, we’re going to have a fantastic 20, 21. I’ve just decided it’s going to be good.
[01:19:31] So everybody take care and stay safe. Bye-bye for now.
You're invited to a special free workshop I’m hosting where I'll share how you can leverage composition, value, and color to make compelling paintings. If you missed this earlier now's the time to save your seat. You can learn more here and find a time that fits your schedule.