Oil Paint Storage: How to Store Paints, Mediums, and Solvents

Proper storage of oil painting materials is important for maintaining their quality and ensuring studio safety. This guide details how to store oil paint tubes, painting mediums, and solvents under both short-term (in-use) and long-term conditions. We address considerations for professional and home studios, drawing on expert guidance from the Painting Best Practices educational website, Natural Pigments’ video series (Rublev Colours YouTube channel), and recommendations from the Natural Pigments website. The advice below is organized by material type, with special sections on avoiding common issues like dried paint caps and safe storage setups.

Oil paint in tubes can last for many years if stored properly. Key goals are to prevent the oil from separating or leaking, avoid the paint drying in the tube, and keep the tubes in good physical condition. Simple habits in daily studio use and sensible long-term storage will preserve your oil colors.

Short-Term (Studio Use)

Always recap tubes promptly and tightly after squeezing out paint during use. Wipe the threads and nozzle clean before capping because any paint left on the tube threads can act like glue and make the cap stick​ (naturalpigments.com). Avoid leaving tubes uncapped for extended periods, as exposure to air can start drying the paint at the opening. When closing the tube, do not over-tighten the cap — screw it on just until you feel resistance to seal it without cracking the cap ​(naturalpigments.com). Over-tightening is a common cause of split or broken caps. If a cap is difficult to open, resist using pliers or excessive force, which can crush the cap or nozzle; instead, try running the cap under hot water to soften any dried paint, then gently twist it off with a cloth for grip. Keeping the tube threads clean (as noted) will largely prevent stuck caps and the need for force (​naturalpigments.com).

In a busy studio, it helps to organize your paint tubes so they are accessible but protected. Store tubes with the cap facing downward whenever possible (naturalpigments.com). Gravity will draw the pigment toward the cap end and keep the oil toward the bottom of the tube, preventing separated oil from pooling at the nozzle, leaking out, and being released first when squeezing the tube, causing the paint to become stiff as the oil is depleted (​naturalpigments.com). Many artists use simple setups like placing tubes in a jar or a purpose-made rack to hold them upside-down.

Figure 1: A tube rack allows oil paint tubes to be stored inverted (cap-down) to prevent oil separation at the nozzle. Storing tubes with caps down keeps any separated oil at the back of the tube instead of flooding the cap area (​naturalpigments.com).

Also, take care not to drop or puncture tubes; aluminum tubes can dent or crack, leading to slow drying of the paint or leaks. If a tube does get a small puncture, you can salvage the paint by transferring it to an empty collapsible tube or a small airtight jar, but it’s best to avoid damage in the first place.

Long-Term Storage

Aim for a cool, consistent temperature environment when storing oil paints for an extended period (weeks to years). Heat can cause oil to extrude from the paint, whereas freezing temperatures are generally best avoided. Although freezing can dramatically slow oxidation, it may change the paint’s consistency or risk the tube’s integrity. A normal room temperature (roughly 10–20 °C / 50–68 °F) out of direct sunlight is ideal for storing oil paints long-term. In humid environments, consider storing your paint tubes in a sealed container with a desiccant packet to prevent the metal tubes from corroding (moisture can sometimes cause the tube caps or seams to rust or stick).

Importantly, the tubes should also be stored cap-down for long-term storage, not just during daily use​ (naturalpigments.com). This practice ensures any separated oil rises to the bottom of the tube, leaving the pigment-rich paint near the cap ready for use. Tubes stored upright (cap up) for months may accumulate a layer of oil at the top so that when you next open the tube, a runny mix of oil and pigment gushes out, and the remaining paint is overly stiff. Inverting the tubes prevents this issue and maintains a consistent paint consistency over time (naturalpigments.com). Products like the Rublev Colours tube rack are designed to hold multiple tubes inverted securely (​naturalpigments.com), but you can improvise with any holder that keeps tubes vertical and upside-down.

Periodically check on paints in long-term storage. Give tubes a gentle knead (especially large ones) every few months to remix any slight separation – this can keep the contents homogeneous. Ensure caps remain snug; if you notice any paint seeping or a strong smell of linseed oil in your storage area, it could indicate a loose cap or tiny breach. Tighten the cap or use a bit of plastic wrap under the cap to improve the seal if needed. It’s also wise to keep long-stored paint tubes in a secondary container (like a plastic bin) as a precaution, so if a tube does leak or burst (for example, due to being stepped on or heavy items pressing on it), the mess is contained.

Lastly, avoid long-term storage of oil paints in direct contact with concrete floors or walls, especially in garages or basements. Concrete can be damp or subject to temperature swings, which might affect the paints; store the tubes on a shelf or in a cabinet instead. By following these practices, artists have successfully kept oil paint tubes usable for decades.

Broken or cracked caps on paint tubes are a frequent annoyance for oil painters. Caps can become brittle, snap, get stuck, and break when force is applied. Natural Pigments notes that vegetable oils and wax in the paint can slowly degrade plastic caps, making them prone to breaking. However, the primary causes of broken caps are often user-related: paint left on the threads or over-tightening when closing. Here are some tips to help you avoid broken caps in the future (​naturalpigments.com):

1. Keep the tube nozzle clean. Before replacing the cap, always clean off any paint on the tube’s nozzle and threads. Dried paint acts like an adhesive; if not removed, it can glue the cap to the tube ​(naturalpigments.com). Wipe the nozzle with a rag or paper towel so that no residue remains that could cement the cap in place.
2. Let the paint settle before capping. When you’ve squeezed out paint, give the tube a moment so that any paint in the nozzle can recede slightly back into the tube, creating a tiny air gap. This ensures you’re not pressing the cap directly into fresh paint. In practice, just a few seconds of holding the tube upright (cap off) is enough for the paint at the tip to relax inward, preventing the cap from being effectively buried in paint.
3. Do not over-tighten the cap. Screw caps on until you meet resistance, then stop​ (naturalpigments.com). It only needs to be finger-tight to seal out the air. Cranking the cap hard can fracture it or strip the threads. A firm but gentle closure keeps the seal intact and the cap un-damaged. If you habitually over-tighten, train yourself to use a lighter touch—modern tube caps are usually made of polyethylene, which seals well without extreme force.
4. Avoid forcing stuck caps open. If a cap does get stuck, do not use pliers or excessive force to yank it off (​naturalpigments.com). This often ends with a crushed cap or twisted-off nozzle. Instead, use the prevention steps above (clean threads, don’t over-tighten) to avoid stuck caps. If you encounter one, try softening the blockage by dipping the cap end of the tube in hot water for a minute to loosen any dried oil paint inside the threads. You can also grip the cap with a rubber jar-opener pad to get better leverage with your hand. The goal is to coax the cap off, not crack it. In some cases, carefully slicing through a plastic cap (for example, with a utility knife) to remove it and then replacing it with a new cap is better than brute force. Natural Pigments even offers to send replacement caps if you break yours​ (naturalpigments.com), underscoring that it’s a common problem – but following the above tips means your caps should last a long time without breaking.

By consistently cleaning the nozzle, leaving a bit of space, gentle tightening, and careful opening—you can greatly extend the life of your paint tube caps and avoid the frustration of broken caps. These small steps keep your paint tubes in good working order, ensuring a tight seal and easy access to the paint.

Painting mediums encompass a range of substances that you might mix with oil paint, including pure drying oils (like linseed, walnut, or poppy oil), oil-modified resins (such as damar or mastic varnish mediums), commercial medium mixtures (which can contain oil, resin, solvent, driers, etc.), and alkyd mediums. Proper storage of mediums is important both for maintaining their working properties and for safety since many mediums are flammable or can slowly oxidize in storage. Below, we address both short-term usage in the studio and longer-term storage of mediums, considering different types.

Short-Term (Studio Use)

When using mediums during a painting session, dispense only the amount you need for that day into a smaller container, and keep the main stock bottle or can tightly closed. For example, if you use an oil-resin medium or an alkyd medium, pour a small quantity into a cup or palette well for dipping your brush. Keep the working container covered when not actively dipping — this could mean using a container with a lid or covering a small cup with foil or plastic wrap during breaks. Covering the medium serves two purposes: it reduces exposure to air, slows evaporation of any solvent in the medium, and minimizes the release of fumes into your studio (especially important with solvent-containing mediums).

Be mindful that many mediums (particularly those containing a drying oil component) will form a skin or thicken upon contact with air over time. In the short term (a few hours), this is usually not significant, but if you leave an open cup of medium out overnight, you might return to find a skin on its surface. If you need to keep a medium mixture usable for the next day, transfer it to a small, airtight jar at the end of your session. Fill the jar as much as possible to minimize air, or drop a few clean glass marbles into the jar to raise the liquid level, then cap it. This will greatly slow down skin formation by limiting the oxygen in the container.

During use, also avoid contamination of your medium supply. Do not dip a brush laden with paint directly into the stock bottle of medium, as this can introduce pigments and impurities that will spoil the medium over time. Instead, pour or decant medium into a separate container as mentioned. Label your medium containers clearly (especially if you use multiple mediums) to avoid confusion and accidental misuse. In a home studio, also ensure that any open medium in use is kept well away from children or pets and that any container you use is stable (to prevent tipping and spills).

Ventilation is important even for mediums, not just pure solvents. Oil-based mediums may have low odor, but those with solvent or essential oils (e.g. spike oil) will release volatile fumes. Use mediums with adequate ventilation, opening a window or running an exhaust fan, to avoid breathing concentrated vapors. This standard safety precaution is indicated on mediums containing solvents (naturalpigments.com).

Long-Term Storage

The strategy for storing mediums over extended periods is to keep them in tightly sealed containers in a cool, dark place with minimal air exposure. Natural Pigments advises that drying oils and mediums be stored in “well-closed, well-filled containers or under inert gas, protected from light, cool, and dry”​ (naturalpigments.com). In practice, this means that after using a medium, ensure the cap or lid is put back on firmly. Suppose the medium’s container is only half full. In that case, you have two options to reduce oxygen: transfer the medium to a smaller container that it can fill more completely or introduce an inert gas into the container before closing (products are available that spray an inert gas to displace oxygen, forming a protective layer on top of the liquid). Most artists will find it easiest to simply use smaller bottles as the volume of medium decreases so that each bottle stays mostly full of liquid with little air above it (naturalpigments.com).

Protect the medium from light by using amber or opaque containers or storing the bottle inside a cabinet. Light can accelerate oxidation and in the case of resin-containing mediums, light might also cause some yellowing or breakdown over a long time. For this reason, many commercial mediums come in brown glass bottles or metal cans. If you have a medium in a clear jar, keep it in a dark drawer or wrap it in aluminum foil for long-term storage.

Temperature control is also important. Store mediums at cool room temperature. Excess heat can accelerate the polymerization of drying oils (causing them to gel or skin faster) and cause solvents to build pressure in containers. Very cold temperatures can cause some resinous mediums to precipitate solids (e.g., damar crystals might form if damar varnish gets cold). If you see crystallization, you can gently re-warm the medium (place the sealed jar in a pan of warm water) and stir to re-dissolve the resins. Do not expose mediums to flames or high heat sources when doing this due to flammability. In general, avoid storing mediums near any heat source or in direct sunlight to prevent degradation and fire risk.

One special consideration is preventing skinning or drying in the container during extended storage. Even with the lid on, there is often a small amount of oxygen inside that can slowly react with an oil medium. A handy tip is to pour a thin layer of linseed oil on top of the medium for mediums stored in cans or jars before closing the lid​ (naturalpigments.com). Linseed oil (or whatever drying oil is the base of your medium) will float on top and form a protective barrier, consuming oxygen and preventing the bulk of the medium underneath from skinning. Next time you open it, you can mix that oil in, or if skin formed on that sacrificial layer, peel it off and discard it. This technique effectively creates an “oil blanket” to protect the rest of the medium.

Material of containers: use appropriate containers for the type of medium. Solvent-free oils and alkyds can be stored in plastic bottles (many manufacturers ship them in plastic), but be aware that plastic is somewhat oxygen-permeable, so for very long-term storage glass or metal might preserve the contents better​naturalpigments.com. Resinous or solvent-containing mediums should not be stored in thin plastics that are not rated for solvents — they can melt or leach. Glass jars with tight lids are an excellent choice for most mediums. Metal cans (tin or aluminum) are also good for blocking light and air, but as noted with solvents below, if a metal can is only partially full, the exposed portion may develop a skin and the can might internally rust if the medium contains acidic components (​naturalpigments.com). Many artists buy empty small bottles or tins to downsize their mediums as they use them up.

Finally, label all medium containers with their contents and date. Over the years, it’s easy to forget what a mixture was, especially if you like experimenting with homemade recipes. A label ensures you won’t mistakenly use an old varnish as a painting medium or vice versa. Suppose a stored medium develops a bad odor, unusually thick texture, or mold (in rare cases, moisture contamination can cause mold in water-based mediums and paint). In that case, it’s best to dispose of it and make or buy fresh medium. However, with proper storage, most oil-based mediums will last a very long time. For instance, a well-sealed bottle of linseed oil can remain usable for many years (gradually thickening perhaps), and a jar of damar varnish can be kept for years if capped tightly with minimal air.

A Note on Rancidity

Walnut oil is a popular painting oil and is sometimes used as a medium or binder for oil paint. It is known for having a shorter shelf life than linseed oil due to the potential for rancidity, which refers to the unpleasant taste and smell that occurs when oils oxidize. Since oxidation is what you want your oil to do, rancidity is primarily a concern for culinary uses, affecting the oil's flavor rather than its drying properties, making it effective in oil painting despite any off-putting odor that may develop over time. While food-grade walnut oil often contains added antioxidants to prolong its shelf life, artist-grade walnut oil typically omits these additives, as they can impact the drying process.

Solvents like turpentine, mineral spirits, and other paint thinners require careful storage because they are flammable and volatile. “Short-term” in the context of solvents refers to how you handle them during your painting sessions or daily studio use, whereas “long-term” refers to storing bulk solvent supply or the jar of brush cleaner between painting days. In both cases, safety is paramount: we must control fumes (for health) and vapors (for fire risk), and maintain the quality of the solvent (for example, preventing it from becoming contaminated or overly evaporated).

Short-Term (Studio Use)

While painting, many artists keep a container of solvent for rinsing brushes or thinning paint. During these active periods, limiting how much of the solvent’s surface is exposed to open air is important. Use a container with a lid or cover if possible. For example, brush washer pots with self-closing lids or even a simple jar you cover when not dipping brushes can reduce evaporation. This reduces the amount of solvent fumes you inhale and maintains the solvent’s strength (an open dish of solvent will evaporate quickly and become less effective). If you need an open container (for instance, a wide-mouth jar to dip large brushes), try to close it when you take breaks. Even placing a weighted palette or tray on top of a jar between sessions can help.

Always work in a well-ventilated area when using solvents. Good ventilation is part of safe short-term use: it disperses fumes and lowers the concentration of vapors in the air. In a professional studio, this might mean a dedicated ventilation system or fume hood; in a home studio, it could be as simple as opening windows and using a fan to exhaust air. Ventilation also indirectly helps with storage because a ventilated space will more rapidly carry away any vapors from a temporarily open container, reducing the chance of those vapors reaching flammable levels.

Fire safety is critical with solvents. Keep solvent containers away from any ignition sources while in use – that means no open flames (e.g. don’t paint near a candle or pilot light), and beware of sparking tools or even hot surfaces like space heaters. Remember that solvent vapors are heavier than air and can travel; a spark across the room could ignite vapors from an open can of turpentine. In a home studio, be extra cautious if your painting area is near a furnace, water heater, or kitchen. In a professional setting, solvent-use areas are typically designated as flame-free zones.

During use, it’s wise to only pour out as much solvent as you need for the session. Keep bulk solvent containers closed at all times. If you are using turpentine or mineral spirits to thin paint on your palette, consider using a small dropper bottle for dispensing it. You can then keep the main bottle closed and just squeeze out drops as needed. This not only limits evaporation but also gives you finer control over how much you use (and prevents accidentally knocking over a big open bottle).

One often overlooked aspect of “storing” solvents in the short term is handling solvent-soaked rags or paper towels. Do not leave solvent (or oil) soaked rags balled up on your workspace, as they pose a fire hazard (drying oils can spontaneously combust as they oxidize, and solvents add flammability). Even during a painting day, have a metal bin with a lid (an oily waste can) to deposit used rags and paper towels​(naturalpigments.com). At the very least, spread them out flat on a non-flammable surface to dry rather than piling them. This is more about safety than preserving the solvent, but it is a crucial part of short-term solvent management in the studio.

Long-Term Storage

For long-term storage of solvents (whether it’s the bottle of turpentine you only use occasionally or a large can of mineral spirits in reserve), focus on fire safety, containment, and preservation of solvent quality. Solvents should be stored in a cool, dry, and well-ventilated area away from living spaces if possible. Professional studios and schools are typically required to store flammable liquids in OSHA-approved flammable storage cabinets (​naturalpigments.com) — essentially double-walled metal cabinets that can contain a fire. While a home studio isn’t legally required to have one, it’s an excellent safety investment if you keep significant quantities of flammable solvent. Even a small countertop flammables cabinet can safely hold your bottles of turps and spirits and greatly reduce fire risk. At a minimum, store solvents in a metal cabinet or on a metal/stone shelf, not on a wooden shelf above a heat source.

The container for long-term solvent storage is usually the original container it came in, and it’s best to keep it that way. Solvents are often sold in metal cans or amber glass bottles. Metal cans are durable and shield the contents from light, but note that partially filled metal cans of turpentine can develop issues. Gum turpentine oxidizes in contact with air and can form acids that attack metal containers and darken the solvent ​(naturalpigments.com). For this reason, some artists transfer turpentine to glass bottles once the quantity gets low. Amber glass bottles are ideal for solvents like turpentine: they are non-reactive and impermeable to oxygen, and the dark glass blocks light that can trigger oxidation​ (naturalpigments.com). In fact, Natural Pigments opted to package their turpentine in amber glass for these reasons (​naturalpigments.com). If you transfer solvents to a different container, make absolutely sure to label it clearly (e.g., “Turpentine – flammable”) and include hazard information if possible to inform others.

Regardless of container type, keep it tightly closed when not in use. This prevents evaporation (which can significantly concentrate or diminish your solvent over months) and also keeps out moisture. Moisture ingress is particularly concerning for solvents like alcohols, but even mineral spirits can get contaminated. A tightly sealed container also traps volatile vapors—which is what you want to avoid—the continuous release of fumes into your storage space.

Just as with mediums, minimize the air space in long-term solvent containers. If you have a gallon can of mineral spirits that is now only one-quarter full, consider transferring it to a smaller can or bottle. The less empty air, the slower the remaining solvent will oxidize or evaporate. With turpentine, this is especially important: in a half-empty container, turpentine will gradually oxidize, become viscous and yellow, and lose effectiveness​ (naturalpigments.com, ​naturalpigments.com). If you don’t use it quickly, pour it into a smaller bottle to eliminate air space​(naturalpigments.com). Some conservators also add marbles to solvent bottles as they use them to raise the liquid level.

Store solvents in the dark or at least out of direct sunlight. Light and heat accelerate chemical reactions. A cool closet or cabinet is preferable to a sunny windowsill. Also, ensure the storage location stays below the solvent’s flash point (for most artist solvents, this is not hard — e.g., mineral spirits flash point ~105 °F, turpentine ~95 °F (naturalpigments.com) — don’t store next to a furnace or in an attic that gets very hot). In a home setting, a detached garage or shed can be an option for solvent storage as long as it’s secure, but be mindful of temperature extremes in such places. If using a garage, keep containers off the concrete floor (which can be cold and damp); use a shelf.

Another aspect is segregation: Keep solvents away from oxidizing agents or sources of ignition. Do not store acids or oxidizers in the same cabinet as flammables. In a home studio, you might not have strong chemicals besides your art materials, but just be aware (for example, do not store bleach or peroxide right next to turpentine — it’s just good practice).

For both professional and home studios, compliance with local regulations is important. Professionals likely already follow OSHA or local fire codes, which dictate flammable quantities and storage methods​(naturalpigments.com). Home studios should mirror those safety practices, even if not mandated. A good rule of thumb is: if you have more than a few liters of flammable solvent, treat it with the same respect a small workshop or laboratory would – in other words, use a proper storage cabinet or area.

Finally, check on your stored solvents periodically. Ensure caps/corks haven’t loosened (some bottles have cork or rubber stoppers that can shrink over time – these are not ideal; if you have a solvent in such a bottle, replace it with a tight screw cap). Look for any signs of container degradation: metal cans can rust or pucker, and glass bottles can get residue around the cap. If a metal can starts to rust or a lid is dented, you might transfer the solvent to a fresh container. Also, sniff for any off odors – for instance, heavily oxidized turpentine smells less pine-like and more acidic/resinous. Dispose of any solvent that has significantly degraded or become cloudy, as it may introduce unwanted effects in your painting (e.g., yellowing from oxidized turps).

Always remember to store solvents out of reach of children and pets. Even in a home with no kids, keeping these toxic and flammable liquids in a locked or secure location is wise. The combination of toxicity and flammability makes solvents the most dangerous common item in an oil painting studio, so treat them with care and respect at all times.

The fundamental principles of storing oil paints, mediums, and solvents are the same whether you work in a professional studio or at home, but the scale and setting can introduce different considerations. Here are some key points applicable to each environment:

• Quantity and Regulatory Compliance: Professional studios often have larger quantities of materials on hand (gallons of solvents, dozens of paint tubes, large batches of mediums). Consequently, they are subject to regulations (fire codes, OSHA standards) that require proper storage of flammable and hazardous materials ​(naturalpigments.com). This means flammable storage cabinets, safety cans for solvents, and official procedures for waste. Home studios typically have smaller volumes and are not under the same regulations, but it is strongly advisable for home artists to voluntarily follow similar safety measures. For example, even at home, you can use a small flammables cabinet for your solvents and keep a fire extinguisher nearby. The cost of these safety tools is minor compared to the protection they offer.
• Ventilation: Proper ventilation is essential when working with solvents. A professional studio may be equipped with dedicated systems such as fume hoods, wall-mounted exhaust fans, or centralized HVAC systems with high air exchange rates. These setups are designed to effectively remove volatile organic compounds (VOCs) and minimize exposure.
  • In a home studio, especially one located in a confined or shared living space, ventilation should be achieved through a combination of passive and active means. Open windows and cross-ventilation are baseline requirements. Ideally, use a window exhaust fan to actively pull air out of the room while drawing in fresh air from another open window or door. The exhaust should vent directly to the outdoors, not into an adjacent room.
  • Natural Pigments emphasizes that the best way to reduce exposure to solvent vapors is not just limiting use, but providing mechanical ventilation at the point of emission. For example, place your painting station near a window outfitted with an exhaust fan that captures vapors as they are released. If a fan is not feasible, consider using a portable air purifier equipped with activated carbon filters that can help absorb VOCs.
  • Avoid relying on air conditioning or air purifying systems alone, as it recirculates indoor air without removing contaminants. In cold weather, intermittent ventilation—for example, opening windows every 30 minutes for a few minutes—is preferable to keeping a sealed, stagnant room.
  • Even with "low-odor" or "odorless" solvents, harmful vapors may still be present, as these descriptors relate to odor perception, not toxicity. Proper ventilation reduces health risks and also prevents the buildup of flammable vapors, a key safety concern in enclosed spaces. Make ventilation a standard part of your painting workflow to ensure a safe, comfortable, and responsible studio environment.
• Climate Control: Professional environments often have heating/air conditioning maintaining a stable climate, which benefits stored art materials. In a home, you might store paints/mediums in a garage or attic with big temperature swings. Find the most stable spot in your home for storage: an interior closet is better than a garage. If a garage or shed is the only option, consider using an insulated container or box for your supplies to buffer against temperature changes. Remember that extremes of temperature or humidity can degrade your materials, so the closer you can get to a moderate, stable environment, the better.
• Security and Access: In a shared studio or school setting, storage might be in communal spaces; clearly labeling your materials and keeping them organized helps prevent mix-ups or misuse. At home, the concern is more about preventing accidental access by children, pets, or even uninformed adults. Always store hazardous materials out of reach of children and ideally under lock. A child-resistant lock on a cabinet or a high shelf can prevent a tragedy. Also, family members or housemates should be informed about the hazards; for instance, they should know that oily rags must be appropriately handled and not tossed in the kitchen trash.
• Waste Disposal: While not exactly “storage,” managing the by-products of your painting (solvent waste, oily rags, used mediums) ties into how you store materials. Professionals often have scheduled hazardous waste pickup or disposal plans. Home artists should research local hazardous waste facilities — many municipalities offer drop-off days for paint and solvent waste. In the meantime, store waste safely: used solvents can be kept in a closed container (clearly marked) until disposed of, and oily rags in an airtight metal container as discussed. Never store solvent waste or oil sludge in a flimsy plastic jar that solvent can eat through – use the original solvent can or a purpose-made container.
• Organization: A well-organized storage system is not just neat; it prevents accidents. In a professional studio, racks for paints (like the tube rack mentioned) and designated cabinets for chemicals are standard. You can emulate this at home by having a specific shelf or cart for paints, another for mediums, and a closed cabinet for solvents. Keep heavier items on lower shelves (for instance, gallon solvent cans on the floor or bottom shelf to reduce the risk of a high fall). Keep glass containers spaced so they don’t knock into each other and break. Little things like liner trays under bottles can catch drips or leaks — a handy trick for home studios where you might store things on furniture not designed for lab use.
• Maintenance: In a professional setting, there might be routines, such as checking fire extinguisher dates, inspecting storage rooms, etc. Implement a personal version of this in your home studio: inspect your stored supplies every so often. Look for any signs of deterioration as mentioned (bulging tubes, leaky caps, rusting cans). Rotate or use up older materials first (first-in, first-out), especially for things that can age, like mediums. This maintenance mindset ensures nothing is forgotten and becomes a hazard.

In summary, professional studios have strict protocols out of necessity; home studios should adopt as many of those best practices as possible for the safety and preservation of materials. By treating your home art space with the same care as an industrial workspace, you not only keep yourself and your family safer but also prolong the life and quality of your paints, mediums, and solvents. The investment in proper storage pays off in peace of mind and the condition of your artistic tools. Following these best practices drawn from expert advice and experience, you can ensure your oil painting materials remain in excellent condition and your studio remains a safe, efficient creative environment.

• Natural Pigments (Rublev Colours) – Painting Best Practices playlist on Rublev Colours YouTube channel and website articles on paint composition and safety practices.
• Natural Pigments – Composition & Permanence (Artist Oils): “Tips to Avoid Broken Caps” guidelines (​naturalpigments.com).
• Natural Pigments — Product Information (Tube Rack): Recommendations to store oil paint tubes cap-down to prevent oil separation​ (naturalpigments.com).
• Natural Pigments — Product Information (Gum Turpentine): Guidance on storing turpentine in amber glass and minimizing air exposure to prevent oxidation (​naturalpigments.com,​ naturalpigments.com).
• Natural Pigments — Health & Safety (Walnut Oil): Storage recommendations to keep drying oils in well-filled containers, protected from light, cool, and dry​ (naturalpigments.com).
• Natural Pigments — Blog (Oil Paint Rag Disposal): Fire safety practices for oily rags and regulatory notes on flammable storage (OSHA)​ (naturalpigments.com​, naturalpigments.com).
• Natural Pigments – Blog (Mediums): Tip to add linseed oil on top of stored mediums to prevent skinning in the container​ (naturalpigments.com).