This follows on from my recent other pieces about CWM processes. I have gone through these processes several times over the past two years and I dont see any structual problems with the paintings I have produced using these techniques so far. I would suggest that processes should be tested using your own materials. One of the great advantages of working with CWM and oil paint is that the final layers can sit over a textured acrylic underpainting. Acrylic dries quickly, accepts a wide variety of mixed media, and provides an ideal foundation for the slower more relaxed process of painting with oils and cold wax.
Remember dont add acrylic products over cold wax and oilpaint it doesnt work.
Please be aware of the safety information on all of these products and use suitable masks, safety goggles and gloves when mixing hazardous materials. Use suitable gloves when painting see below.
The process can be divided into five stages.
1. Substrates and Surface Preparation
● Birch plywood panels
● MDF panels
● Cradled wooden panels
● Aluminium composite panels (ACP)
● Hardwood panels
Papers like Arches ‘Huile’ can be used but a rigid support minimises movement and reduces the possibility of cracking and peeling over time. There is nothing to stop you gluing a paper painting to a board although I haven’t done this myself.
Sealing the Surface
Wood is naturally absorbent and contains acids that may migrate into paint films over many years. Before painting, seal the surface with a medium like GAC 100. After sealing, apply two or three coats of professional acrylic gesso.
Between coats:
● Allow each layer to dry thoroughly.
● Sand lightly with fine abrasive paper (320–400 grit).
● Remove all dust before applying the next coat.
Some artists prefer a perfectly smooth surface, while others intentionally leave brush marks to create subtle texture beneath later paint layers, of course it doesnt matter too much if you are going to texture the surface.
2. Acrylic Paint, Crayon and Texture Materials
The acrylic stage is an opportunity to experiment. Since acrylic dries rapidly, compositions can develop through multiple layers without long waiting periods.
Acrylic Paint
Use fluid, heavy-body or open acrylics to establish:
● composition
● value structure
● colour relationships
● areas of contrast
● expressive mark-making
Avoid making the acrylic painting too ‘finished’.
Useful textural mediums include:
● matte medium
● gloss medium
● heavy gel
● modelling paste
● fibre paste
● crackle paste
● pumice gel
● coarse texture gel
These materials can introduce visual textures that later work with oil paint beautifully.
Crayons and Drawing
● Neocolor II water-soluble crayons, I have started testing Derwent Inktense Blocks.
● Stabilo Woody pencils
● graphite
● charcoal
● acrylic paint pens
● acrylic ink
● India ink
Lines may remain visible through transparent oil additions, adding history and depth.
Collage
Collage introduces another layer of visual complexity.
Materials might include:
● tissue paper
● old maps
● book pages
● handmade papers
● printed text
● rice paper
● fabric
Adhere collage using acrylic matte medium once dry, seal everything with another thin coat of matte medium.
3. Preparing the Surface for Cold Wax and Oil
Before introducing oil paint, ensure the acrylic underpainting is completely dry.
This usually means waiting at least 24 hours after the final acrylic layer.
A light sanding with 600-grit paper can soften overly sharp and glossy textures while preserving surface interest.
Remove dust carefully using a soft cloth or vacuum and wear a mask.
At this point you can decide if you will put a coat of transparent gesso on it* (see later comment)
4. Painting with Cold Wax
Cold wax medium is typically mixed with oil paint to create a buttery consistency.
A common starting ratio is:
● 50% oil paint
● 50% cold wax medium
The ratio can be adjusted depending on the desired transparency and body (I dont exceed the ratio of coldwax myself).
Application Tools
Cold wax encourages the use of unconventional tools.
These include:
● silicone wedges
● old credit cards
● rubber shapers
● brayers
● palette knives
● squeegees
Brushes can be used, although many artists rely more heavily on the above.
Building Layers
The greatest strength of cold wax lies in layering.
A painting often develops through repeated cycles of:
● applying
● scraping
● wiping
● sanding
● reapplying
Earlier acrylic marks gradually emerge beneath translucent oil layers, creating a sense of depth that would be difficult to achieve using oils alone.
Scraping Back
One of the defining techniques is subtractive painting.
Areas are scraped away using palette knives or credit cards to reveal fragments of the acrylic underpainting beneath.
These discoveries often become some of the painting’s most compelling elements.
Solvents
You can use solvents like Gamsol to soften the surface to ease scraping
5. Finishing the Painting
Once the painting feels complete, resist the temptation to continue adjusting small areas.
Stand the work aside for several days before making final decisions.
Curing
Although touch dry relatively quickly, oil and cold wax continue curing for many months.
Allow the painting to cure thoroughly before framing or varnishing.
Many artists wait six months, others prefer a full year.
Buffing
One of the distinctive characteristics of cold wax is its soft sheen.
After curing, the surface can be gently buffed with a soft lint-free cloth.
Buffing enhances depth without producing a high gloss.
Varnishing
Some artists leave cold wax paintings unvarnished, appreciating the natural satin finish.
Others apply a conservation varnish after the paint has fully cured to provide additional protection and colour saturation.
Always follow the varnish manufacturer’s recommendations regarding curing time.
Acrylic provides freedom to experiment with colour, texture, collage and drawing without long drying times, while the cold wax layers bring richness, translucency and physical presence. The finished painting becomes a record of its own making, with earlier marks partially concealed and gradually rediscovered through scraping, sanding and glazing.
Rather than hiding the history of the painting, this approach celebrates it. Every layer contributes to the final image, creating surfaces that invite close inspection and reward repeated viewing. The result is work that possesses both visual depth and a tangible sense of time a painting whose surface carries the memory of every decision made throughout its creation.
*Transparent gesso
- Acrylic paint is already an excellent ground for oil paint. Once it has fully dried and cured (typically at least 24 hours for thin layers, longer for heavy texture), oil and cold wax will adhere well without an additional layer a light sanding as mentioned above helps.
- Applying transparent gesso over your finished underpainting can alter the colours, reduce contrast, and create a slightly cloudy finish.
There are, however, a few situations where a clear gesso can be useful:
- If you’ve used very smooth acrylics or glossy mediums, a coat of clear gesso can add a slight tooth that makes the cold wax mixture easier to control.
- If you’ve included collage elements with differing surface sheens, clear gesso can help unify the absorbency across the panel.
- If you know you’ll be doing extensive scraping and sanding, the additional tooth may help successive oil and cold wax layers grip the surface.
When not to use clear gesso
Avoid it if your underpainting contains:
- subtle transparent glazes,
- delicate line work,
- rich, saturated colours you want to preserve,
because clear gesso has a slight milky cast when wet and leaves a matte, slightly hazy surface when dry, which can mute these effect.
An advantage of Gamsol
One of the pleasures of working over an acrylic underpainting is that you can apply a layer of oil and cold wax, then use a rag lightly dampened with Gamsol to remove the fresh oil paint and reveal the acrylic beneath. Because the acrylic remains unaffected, you can selectively expose earlier colours, textures, and marks to create depth and complexity.
The key is to wipe gently rather than scrub. Think of it as lifting the uncured oil layer off the acrylic surface, not cleaning down to the panel.
This subtractive approach painting, wiping back, scraping, and repainting is one of the techniques that gives cold wax paintings their layered, time worn character.
Further Reading from Golden Paints
Oil Over Acrylic Guidelines Golden Paints Guidelines
Zinc Oxide: Warnings, Cautions, and Best Practices
Safety Notice
Always work in a well ventilated space and follow the manufacturer’s safety instructions for all paints, mediums and solvents.
● Wear nitrile gloves if handling paints or solvents for extended periods, and wash your hands after painting.
● Use odourless mineral spirits, such as Gamsol, sparingly and keep containers closed when not in use.
● Never pour solvents down drains. Dispose of waste according to local regulations.
● Oil or solvent soaked rags can present a fire risk. Lay them flat to dry or store them in a sealed metal container before disposal. Never leave oily rags crumpled in a pile.
● When sanding dried paint or cold wax, wear a suitable dust mask and remove dust with a vacuum or damp cloth.
● Store all materials safely, away from heat, children and pets.
By following these simple precautions, you can enjoy working with acrylics, oils and cold wax safely while maintaining a clean and safe studio.