Let It Dry
The following post is a bit technical and directed at oil painters specifically. I know it is not for everyone but this post is necessary and one I plan to revert back to whenever the question comes up. I hope you get something out of it even if you are not an oil painter.
The question I share today comes up online, in my DMs, in conversations, and in groups with well-meaning creators in a crunch, all the time. They state, “I need my oil painting to dry faster because I have to have them ready for exhibition” (or insert any other reason art must be dry soon.
I must add, technically oil paintings don’t “dry” they oxidize. A cured oil painting given the time to oxidize properly is why oil paintings are still the best option for artwork we want to be durable and last for centuries.
But here’s the thing — the question often masks the real issue.
The real question is, “Why Fast-Drying Mediums And Rushing The Process Aren’t Always the Best Answer — and What the Real Problem Is.”
“How do I make my oil painting dry faster?”
It’s not about drying time.
It’s about inventory. discipline. and planning.
The Problem Isn’t Your Medium — It’s Your momentum and productivity.
If you’re rushing to finish work for a show or a last-minute opportunity, chances are the issue isn’t the oil paint — it’s the fact that you didn’t have a body of work ready in the first place.
Modern artists have been tricked into operating like content creators or home décor suppliers. Fast, frequent, sell it before the brush is clean. The fear of missing out and saying, “If I don’t post more online people will think I stopped painting!” is real.
But if we worked like the artists of the past — painting consistently, letting things cure properly, and maintaining a steady inventory — we’d never have to panic over drying time. Because we’d always have something ready. And we would always have something to share on the socials when it is truly ready to sell or if you are sharing your process.
First, we need to talk about medium or additives to our oil paint.
My Medium System (Simple, Traditional, Effective)
I don’t use Liquin, Galkyd, or commercial fast-drying additives (typically) — not because they don’t work, but because I treat my oils like fine wine: better when aged, and more stable when handled traditionally.
Here’s my medium workflow:
100% OMS (Odorless Mineral Spirits) — For initial block-in and lean underpainting.
50/50 OMS + Refined Linseed Oil — For the mid-stage. Smooth handling. Transitions well.
Paint Straight from the Tube — No additives. Just pigment and pressure.
Touch of 100% Linseed Oil — If I need a little more flow or sheen in the final layer.
That’s it. No magic. No synthetic shortcuts. Just the fat-over-lean principle with enough room for the painting to breathe — and cure properly.
Selling Too Fast? Maybe You’re Underpricing
If you’re selling 20 paintings a year but find yourself with nothing left for the next show or inventory…
You might need to raise your prices.
Selling fewer pieces for more money not only frees up your time, but gives you space to build an inventory. You’re not supposed to be in a state of panic after each sale. You’re supposed to be in a state of readiness.
The Professional’s Rule: Maintain a Live Inventory
If you want to show professionally — solo shows, galleries, institutions — you should aim for 30+ finished works framed and ready to go. Remember that scenario of selling 20 per year? Yes, 20 sold, and 10 for the inventory every year! If you can’t paint thirty a year, adjust your plan to fit what you can do.
Let me be frank, this all starts with your own production limits, how many do you sell, and what you expect from your art sales. If you can only paint 12 a year and they all sell, consider raising your prices.
I aim to sell 2/3 of my production limits and use that as a guide. So, if I can paint 15 oil paintings a year, I really only want to sell 10 and put 5 in the inventory. If I painted 60 per year, I would aim to sell 40 and and have 20 for inventory. I hope this makes sense. Just work out how many you can paint in a year, and determine the ratio you are comfortable with.
Using this math, the 2/3 rule, one would have a year’s worth of work in inventory in three years. This will start to give you some wiggle room when that exhibition opportunity comes up, or when you have that one customer that must have it today. Or when that show comes up and you just need one piece to put in the exhibition that is ready to hang.
That means being OK with:
“I painted this 24 months ago and it hasn’t sold.”
Good. It’s cured. It’s part of the catalog. It’s available.
And more importantly — you’ve painted many more since then.
Still have more work than space? Also good, reach out to galleries. You never know when they’re behind schedule and need an artist who’s ready right now. Your surplus might be someone else’s perfectly timed exhibition.
When You Do Need to Work Fast — Use the Right Tools
Not every project has the luxury of time. If you truly need to meet a deadline or make a quick sale:
• Use watercolor
• Use graphite
• Use charcoal, ink, or pastels
These pieces dry quickly, require no varnishing, and don’t complicate the archival process. Plus, you might find they are a nice break from the oil painting process. Moreover, these pieces are more affordable and can help you reach new collectors.
Save your oil paintings for the pieces that deserve to cure like fine wine in the cellar. Your oil paintings are your flagship pieces for collectors looking for the work you consider your most important pieces.
A Note on Fast-Drying Mediums
There’s nothing wrong with Liquin, Galkyd, or even cobalt driers. Just understand the trade-offs:
Faster oxidation often means greater risk of cracking over time.
Discoloration is more likely.
Impatience creates instability.
If you use these tools, use them wisely — and only when the timeline truly demands it.
You’re the Artist. You Set the Pace.
As a fine artist, you:
Control the output
Manage the inventory
Dictate the price — based on the value you bring, not the assumptions people make
“Fast paint sells fast” — that’s the myth.
“Prepared artists don’t rush” — that’s the truth.
Finally…
Let your paintings dry.
Let your inventory grow.
Let your legacy take shape over time.
