Frequently Asked Questions

You will find below a selection of FAQs relating to using Artists' Oilbar. If you still can't find the answer you're looking for you can email us.

1.  Does paper need to be primed before using with oil bar or can it go directly on paper?

2.  What are the benefits of Artists’ Oilbar and how is it different from Oil Pastels?

3.  How is Artists’ Oilbar used?

4.  What are the primary colours in Artist’ Oilbar?

5.  What are the differences between the whites?

6.  Do any colours adversely react to each other?

7.  Do Oilbar sticks dry out?

8.  How do the oil painting rules e.g. Fat over Lean apply to Oilbar painting?

9.  What is the colourless Oilbar used for?

10. Can Oilbar be mixed with other oils colours such as Winsor & Newton Artists' Oil Colour, Winton Oil Colour and Griffin Alkyd Fast Drying Oil Colour?

1. Does paper need to be primed before using with oil bar or can it go directly on paper?

Suitably primed paper can all be used as suitable surfaces for Artists' Oilbar. A good primer to use is our Acrylic Gesso Primer. 

For further information on Acrylic Gesso Primer click here.

For further information on surfaces click here.

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2. What are the benefits of Artists’ Oilbar and how is it different from Oil Pastels?

Oilbar presents the exciting possibility of drawing directly onto the canvas with wet oil colour. The high level of pigmentation provides a strength and depth of colour, superior in every way to oil pastels or crayons.

Oilbar also has the structural advantage of producing a dry film, in comparison to oil pastels whose binder cannot be fixed, leaving the colours to smudge or pick up excess dirt. On contact with the surface, the soft, creamy consistency of Oilbar produces and ‘oiliness’ giving it the handling properties of conventional oil colour and not a pastel.

Working with Oilbar is expressive and immediate; nothing comes between the artist and the surface, not even a brush. As less equipment is required, Oilbar is popular for painting outdoors. And finally, Oilbar can always be used on a palette and with brushes to further manipulate the colour.

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3. How is Artists’ Oilbar used?

To start work with Artists’ Oilbar simply wipe away the thin surface film which forms as Oilbar dries. Underneath is fresh, clean oil colour ready for use. As pressure is applied to Oilbar, it softens and flows from the bar. The more pressure employed, the more fluid the colour will be.

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4. What are the primary colours in Artist’ Oilbar?

The three primary Oilbar colours are Cadmium Lemon, French Ultramarine and Alizarin Crimson. If using the six colour mixing system we would recommend Cadmium Lemon, Cadmium Yellow Pale, French Ultramarine, Manganese Blue Hue, Permanent Magenta and Cadmium Red.

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5. What are the differences between the whites?

Titanium White is the whitest and most opaque white with the greatest covering power. Antique white is a warmer white for mellower results.

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6. Do any colours adversely react to each other?

No. All Oilbar colours can be safely intermixed.

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7. Do Oilbar sticks dry out?

The outer film of Oilbar will reform and seal the oil colour after 2-5 days. When required again, simply wipe the skin away with a rag, revealing fresh colour underneath.

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8. How do the oil painting rules e.g. Fat over Lean apply to Oilbar painting?

The three oil painting rules apply to Oilbar when painting in layers over a long period. Most Oilbar work is “alla prima”, painted in one layer or session, and the rules do not apply. Where applicable the rules are:

1) Fat over lean or ‘flexible over less flexible’. When painting in layers, each successive layer must be more flexible than the one underneath. This is achieved by increasing the amount of medium (binder) used in each layer. A common practice is to add in creasing amounts of linseed oil into the solvent used. Contrary to many publications, neither oil absorption nor index information is required for observing this rule.

2)  Often confused with fat over lean is ‘thick over thin’. Thick layers of oil are best applied over thin underlayers. If not followed, there may be a tendency for the painting to crack.

3) Slow drying colours in underlayers are not recommended.

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9. What is the colourless Oilbar used for?

Colourless Oilbar is the equivalent of linseed oil in traditional oil colour, and is mostly used for blending and glazing colours directly on the canvas. It serves as a medium in solid form.

For further information on Artists' Oilbar click here.

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10. Can Oilbar be mixed with other oils colours such as Winsor & Newton Artists' Oil Colour, Winton Oil Colour and Griffin Alkyd Fast Drying Oil Colour?

Oilbar can be used with Winsor & Newton Artists' Oil Colour, Winton Oil Colour and Griffin Alkyd Fast Drying Oil Colour. Due to the wax content, thick Oilbar films are not recommended underneath thin oil films. Doing so would contravene the 'fat over lean' rule. Oilbar is also compatible with all Winsor & Newton oil mediums.

For further information on Artists' Oilbar click here.

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