If it seems that your oil painting reproduction is little older, evaluate whether the paint is in good condition but the varnish has become older. In this case, try applying a gentle solvent known as conservation liquid. Some of the art supply stores may sell an “emulsion” intended to clean and remove varnish. There is always a chance that the solvent would as well harm or remove the oil paint. If you are ready to risk this possibility, pat the emulsion with a cotton swab quite delicately. Try spot testing one corner before moving on to the whole canvas. Work in an area where you find adequate ventilation.

For any of the recent oil paintings, your trouble is more probable a loudening of dust, smoke, pet hair, dander, and other bacterial or fungal growth. In this case, ensure none of the paint is set to come off the canvas or board, sense that it doesn’t display any cracks or flakes. Then you could vigilantly dust the surface with a very soft, dry bristle brush, like a baby toothbrush or shaving cream brush.

When the surface is steamy, dirty, or oily, you might desire to take the cleaning a step further and in fact uses a mild detergent solution. Again, in general speaking, oil and water must never mix, as moisture could be damage both the canvas and the impasto. Proceeding with care, use brand original cotton cloths dipped in a mixture of dish soap and only the warm water. Lightly blot the surface, but do not rub, wipe, or rub at the oil painting. At no point you should sink any part of the painting, nor permit so much moisture that it drips or pools.

DO’S

1) Apply the oil paint densely, particularly in the foreground to give it a feel so it would stand out as an original oil painting.

2) You need to mix as few colors as probable to get to the preferred outcome. Try to keep it within three colors.

3) When possible in its place of using white to lessen a color, use a color such as lemon yellow or yellow ocher. This would give a less crumbly look and the colors would be cleaner.

4) Blend edges to make softer them in areas, which are in the backdrop and away from the center of interest.

5) Add thick paint to point out highlights such as on rocks, tree foliage etc. Thick paint on a wine bottle in a still life would make it shine more and make a persuasive light reflection.

Don’ts

a) Don’t thin pigment with turpentine, other than usage of linseed oil. However if you require an ink consistency to make thin lines such as three branches etc. this will be the omission since these are only small touches.

b) Do not ever over-mix your colors on your using palette. This would only result into flat and dull areas in your painting.

c) Avoid mixing more than three unlike colors. Be as straight as possible. If you learn the color wheel this would as well be a good help.

Additional Hints:

If in case you add up a very thin layer of linseed oil to your canvas before you start the paint, you would work less trying to stroke the pigment on. This would give you a more workable surface as the paint would slide on. Also you would not require varnishing your painting because it ends up with a shiny look.

Remember that you were the only person that knows the disparity among your palette and a canvas. As far as the pigment is concerned they are both mixing bases, sense you could even mix your paint on either one.