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Painting Supplies List
For your convenience, I've compiled a list of the recommended painting supplies that I regularly use. I hope this helps save you time and money! Each of these products links to Blick, Michaels, or Amazon, whoever has the lowest price. (Please note that this page contains affiliate links. Click here to see my affiliate link disclosure.)
Supports
$ Best of the affordable canvases
Every teacher and professional artist I know will tell you the same thing: buy the best quality supplies that you can afford. These cotton canvases made by Blick have some texture and are great for acrylic paint, heavier applications of mediums, and abstract pieces. The canvases are back-stapled to the frames, which makes it easy to remove if re-framing is ever needed in the future.
Specs: cotton, 10 oz primed, variety of depths, acid free.
Note: if you are looking for something even sturdier and with a smoother surface ideal for realistic work, check out the Masterpiece Tahoe and Elite Heavyweight canvases also listed here.
Specs: cotton, 10 oz primed, variety of depths, acid free.
Note: if you are looking for something even sturdier and with a smoother surface ideal for realistic work, check out the Masterpiece Tahoe and Elite Heavyweight canvases also listed here.
$$ Best of the middle priced canvases
Masterpiece canvases are built to last. The Tahoe canvases have a supple and smooth finish, which is great for more detailed paintings. The construction of these canvases is extremely sturdy and like the Blick Premier canvases, the Tahoe canvases are back-stapled to the frames.
Specs: cotton, 14.6 oz primed, 1.5 inches deep, archival and acid free.
Note: these canvases are about 2-3 times the price of the Blick Premier canvases. They are definitely worth the money depending on what you are working on and where your painting might end up. If you aren't sure what canvas is the best fit for what you are trying to accomplish, go to a speciality art store and talk to someone there and tell them what you want to do. Take canvases off of the shelves and compare them, see how they are constructed and how the different surfaces feel.
Specs: cotton, 14.6 oz primed, 1.5 inches deep, archival and acid free.
Note: these canvases are about 2-3 times the price of the Blick Premier canvases. They are definitely worth the money depending on what you are working on and where your painting might end up. If you aren't sure what canvas is the best fit for what you are trying to accomplish, go to a speciality art store and talk to someone there and tell them what you want to do. Take canvases off of the shelves and compare them, see how they are constructed and how the different surfaces feel.
$$$ Best of the expensive canvases
Masterpiece Elite Heavyweight Oil Primed Linen canvases are similarly constructed to the Tahoe canvases but are made with linen rather than cotton. Linen - especially Belgian linen - is more expensive than cotton and some artists prefer linen for its greater historical durability. Linen is made from flax fibers, which are longer, stronger, and more flexible than cotton fibers and have more natural oil in them, making them less prone to damage from humidity.
The Elite canvases are about twice the price of the Tahoe canvases. If you are looking for a very smooth linen canvas surface of the highest quality, go with the Masterpiece Elite Portrait Smooth Linen canvases.
Specs: linen, 18.3 oz primed, 1.5 inches deep, archival and acid free. Suitable for oils and water mixable oils.
Note that there is also an acrylic primed version of this canvas, which is suitable for both acrylic and oil paint.
The Elite canvases are about twice the price of the Tahoe canvases. If you are looking for a very smooth linen canvas surface of the highest quality, go with the Masterpiece Elite Portrait Smooth Linen canvases.
Specs: linen, 18.3 oz primed, 1.5 inches deep, archival and acid free. Suitable for oils and water mixable oils.
Note that there is also an acrylic primed version of this canvas, which is suitable for both acrylic and oil paint.
Masterpiece Ventura Hardcore Pro Canvas Panels
These linen canvas panels have a smooth surface and at 1/8th inch thick are ideal for plein air or studio painting and are easily frame-able. This linen is alkyd-oil primed, so is only suitable for oil based paints. The surface offers more tooth than hardwood and hardboard.
Note: Masterpiece offers other acrylic primed and oil primed cotton and linen canvas panel options. The Malibu, Ventura, Poiters Artfix, and Pau Artfix panels all have a lovely smooth finish. If you would like a medium texture, try the Santa Cruz panels. Be sure to choose the correct ground (i.e. acrylic primed or oil primed) based on the medium or mediums that you intend to use.
Note: Masterpiece offers other acrylic primed and oil primed cotton and linen canvas panel options. The Malibu, Ventura, Poiters Artfix, and Pau Artfix panels all have a lovely smooth finish. If you would like a medium texture, try the Santa Cruz panels. Be sure to choose the correct ground (i.e. acrylic primed or oil primed) based on the medium or mediums that you intend to use.
Ampersand Gessobord
For hardboards, Ampersand Gessobord is a great choice. These “museum series” panels are ready to be painted on, are archival quality, and have a patented sealing and coating technology that protects against support induced discoloration (SID). The fine tooth surface lends itself to tight detail work yet it is also strong enough to support heavier textures and palette knife painting. These are suitable for both acrylics and oils.
Side note: the quality and durability of hardboard panels, like Ampersand’s, are praised as a painting support by Mark David Gottsegen, author of The Painter’s Handbook and former Chair of the ASTM. He wrote:
“Hardboard panels are made of shredded, compacted, and compressed wood fibers. The fibers are burst apart under steam pressure, and the resulting pulp is formed into sheets. Only the natural adhesive found in the wood - lignin - holds the mass together. The method of manufacture produces a dense, one-layer substitute for solid wood that does not have a pronounced grain. The panels are therefore less likely to warp and are resistant to penetration by atmospheric moisture.”
Side note: the quality and durability of hardboard panels, like Ampersand’s, are praised as a painting support by Mark David Gottsegen, author of The Painter’s Handbook and former Chair of the ASTM. He wrote:
“Hardboard panels are made of shredded, compacted, and compressed wood fibers. The fibers are burst apart under steam pressure, and the resulting pulp is formed into sheets. Only the natural adhesive found in the wood - lignin - holds the mass together. The method of manufacture produces a dense, one-layer substitute for solid wood that does not have a pronounced grain. The panels are therefore less likely to warp and are resistant to penetration by atmospheric moisture.”
Golden Gesso
I use additional layers of gesso on canvases when I'm looking for a smoother surface to paint on and to prime hardwoods and hardboards prior to painting. I'm a big fan of Golden products and especially recommend their gesso and heavy body acrylic paint. If you're going to buy this you will also want to buy the assorted sandpaper pack to ensure an even surface after gessoing.
Note for those using unprimed hardwood or hardboard panels, apply sealer (Golden Gloss Medium) prior to applying gesso. Learn more here: https://ampersandart.com/full/priming-wood-panels-with-acrylic-gesso-or-oil-grounds
Note for those planning to paint with oils on top of acrylic gesso: over time oil paint becomes more brittle and less flexible than acrylic paint. If you are painting on a non-rigid support like a canvas the difference in flexibility may cause the oil paint layer to separate. This tends to be less of an issue with rigid supports such as hardboard. Golden maintains that their acrylic gesso is a perfectly fine foundation for oil painting and suggests applying at least three coats of gesso to control the penetration of oil paint.
Learn more here:
https://education.goldenpaints.com/technicalinfo_oil_over_acrylic
And here:
https://www.goldenpaints.com/technicalinfo/technicalinfo_gesso
Note for those using unprimed hardwood or hardboard panels, apply sealer (Golden Gloss Medium) prior to applying gesso. Learn more here: https://ampersandart.com/full/priming-wood-panels-with-acrylic-gesso-or-oil-grounds
Note for those planning to paint with oils on top of acrylic gesso: over time oil paint becomes more brittle and less flexible than acrylic paint. If you are painting on a non-rigid support like a canvas the difference in flexibility may cause the oil paint layer to separate. This tends to be less of an issue with rigid supports such as hardboard. Golden maintains that their acrylic gesso is a perfectly fine foundation for oil painting and suggests applying at least three coats of gesso to control the penetration of oil paint.
Learn more here:
https://education.goldenpaints.com/technicalinfo_oil_over_acrylic
And here:
https://www.goldenpaints.com/technicalinfo/technicalinfo_gesso
3M Assorted Sandpaper
Buy this assorted sandpaper pack to smooth painting surfaces after applying additional coats of gesso. I would recommend using a medium grit first and then a fine or very grit after that, gently rubbing the painting surface in a circular motion to remove any ridges or bumps.
Strathmore Bristol Vellum Paper 300 Series
This is a lovely smooth paper that works well for any kind of illustration involving pencil or ink mediums. I use it primarily for gouache and pastel paintings. This paper is acid free.
Arches Cover Paper
Made from 100% cotton, acid free, and ph neutral, arches cover paper is a wonderful surface for gouache, ink, and pencil. You can even run the paper through some printers and use it for bookmaking.
Note: this paper has a slight texture. If you want a super smooth surface, go with the Strathmore Bristol Vellum paper.
Note: this paper has a slight texture. If you want a super smooth surface, go with the Strathmore Bristol Vellum paper.
Brushes & Mediums
If you're curious about what oil paint colors to use, I have created a chart of what I consider to be the best pigments available. You can access that chart and download it as a PDF here.
There are over 100 paints listed on that chart. You won’t need all of them. To simplify things, I’ve also created a couple of example palettes below. The first one is for anyone looking for a basic set of colors to get started with. The second lists the colors that I use to paint wildlife. I encourage you to test out different colors and different brands to get a sense of what you like.
Example Palette #1 (limited or beginner’s palette with just 8 colors)
Example Palette #2 (the 14 colors currently on my palette)
Silverwhite brushes
Some artists prefer to use natural animal hair or bristle brushes, however, I find that while those may hold more paint they don't maintain their tips especially in the smaller sizes. They also tend to shed more hairs into my work. I prefer synthetic brushes because of this and Silverwhite is the brand that I find myself coming back to. These brushes are not very expensive and have lasted me a long time. The smaller angular shader brushes in particular are superior to other brands. Short handled brushes are my preference - I find them easier to manipulate than long handle ones, which I find myself having to maneuver around.
$$ Winsor and Newton Artists' Oil Paint
In my experience, Winsor and Newton has been a consistent and reliable brand. The Artists' Oil Colour line is my go-to for representational oil paintings along with Michael Harding's Artists Oil Colors.
Winsor and Newton also makes a student-grade line called Winton, which is not meant for professional artists but can be fine for beginners.
Winsor and Newton also makes a student-grade line called Winton, which is not meant for professional artists but can be fine for beginners.
$$$ Michael Harding Artists Oil Paint
Between Michael Harding's Artists Oil Paints and Winsor and Newton Artists' Oil Colours, I find that I am able to create a complete and wonderfully vivid palette. Formulas vary between manufacturers and you may prefer working with one over another or notice different results with the same pigments. Both lines are considered to have a more "buttery" consistency than other lines, which can be stiffer out of the tube. It's worth it to research different lines of artist's oil paint to figure out what you like and which lines suit the way that you paint.
Other lines to look at include:
- Blockx
- Daniel Smith
- Gamblin
- Grumbacher
- M. Graham
- Old Holland
- Rublev
- Schmincke Mussini
- Sennelier
- Williamsburg
When you're looking around, keep in mind that more expensive does not necessarily equate superior quality when it comes to artist lines of oil paints (all artist lines are meant to be professional-grade). It's more about your preferences.
Other lines to look at include:
- Blockx
- Daniel Smith
- Gamblin
- Grumbacher
- M. Graham
- Old Holland
- Rublev
- Schmincke Mussini
- Sennelier
- Williamsburg
When you're looking around, keep in mind that more expensive does not necessarily equate superior quality when it comes to artist lines of oil paints (all artist lines are meant to be professional-grade). It's more about your preferences.
Sennelier Refined Safflower Oil
I am moving towards solvent-free painting and have found safflower oil - especially refined safflower oil - to be an excellent choice for thinning paint. For hundreds of years, linseed oil has been the primary binder for oil paint. If you check out the ingredient list on the tubes of most oil paints, you will see it there along with safflower oil sometimes. Safflower oil is used as a binder especially in white oil paints because it does not yellow as much as linseed oil. I like safflower oil because: 1) unlike traditional solvents it does not break down the oil in oil paint (which weakens the paint), it just adds more of the existing binder, and 2) it has a lower viscosity than linseed oil, which means you can spread the paint a greater distance. Safflower oil is also a superb medium to create a glaze as the final layer on a painting.
Notes: safflower oil and linseed oil both slow down drying times, which can be good or a pain depending on what you are trying to accomplish. It’s generally not recommended to mix very much stand alone oil or any other medium in with oil paint. Also be sure to follow the fat-over-lean principle for best long-term results (i.e. the thinnest and least oily layer of paint should be on the bottom and the thickest and/or oiliest layer of paint should be on the top).
It’s also a good idea to get a designated oily metal trash can to dispose of rags or paper towels that are saturated with oil and oil paint. I have a good option listed below.
Notes: safflower oil and linseed oil both slow down drying times, which can be good or a pain depending on what you are trying to accomplish. It’s generally not recommended to mix very much stand alone oil or any other medium in with oil paint. Also be sure to follow the fat-over-lean principle for best long-term results (i.e. the thinnest and least oily layer of paint should be on the bottom and the thickest and/or oiliest layer of paint should be on the top).
It’s also a good idea to get a designated oily metal trash can to dispose of rags or paper towels that are saturated with oil and oil paint. I have a good option listed below.
Winsor and Newton Artisan Water Mixable Oil Paint
I use Winsor and Newton Water Mixable Oil Colours in some of my abstract paintings, primarily the ones where I'm looking to create a batik effect. They are easier to clean up than traditional oil paints (soap and water is all you need) and water can be used in place of traditional solvents.
Notes: I've noticed that this line dries more quickly than the Artists' Oil Colours. I have found that certain water mixable colors, like raw sienna and burnt umber, dry more quickly - easily within a day - whereas the Artists' colors don't dry as quickly, which I prefer for realistic work. If you use water to dilute the water mixable colors they will dry even faster. The reason that I mostly use this line for abstract paintings is because I think their ability to turn into a watercolor type paint lends them to interesting applications.
I would not use water-mixable oil paint and traditional oil paint in the same painting because the linseed oil in water-mixable paint has been altered to become hydrophilic (allowing it to accept water), which makes it chemically incompatible with traditional oil paint.
Notes: I've noticed that this line dries more quickly than the Artists' Oil Colours. I have found that certain water mixable colors, like raw sienna and burnt umber, dry more quickly - easily within a day - whereas the Artists' colors don't dry as quickly, which I prefer for realistic work. If you use water to dilute the water mixable colors they will dry even faster. The reason that I mostly use this line for abstract paintings is because I think their ability to turn into a watercolor type paint lends them to interesting applications.
I would not use water-mixable oil paint and traditional oil paint in the same painting because the linseed oil in water-mixable paint has been altered to become hydrophilic (allowing it to accept water), which makes it chemically incompatible with traditional oil paint.
Winsor and Newton Designers Gouache Paint
If you've never used gouache, it's like an opaque watercolor paint. The vivid colors lend themselves to all kinds of applications, such as dry brushing, though I use them mainly for smaller illustrations on the Strathmore Bristol Vellum paper.
Golden Heavy Body Acrylic Paint
Golden Heavy Body Acrylics are my favorite acrylic paint. Personally, I'd rather have a thick paint like this that I have to dilute than a lower quality paint that I would have to do multiple coats of to get the same effect. The colors are wonderfully rich and blend well together.
Caran d'Ache Neocolor II Water Soluble Wax Pastel Artists' Crayons
These are my absolute favorite pastels. They are not oily and work similarly as watercolor pencils do. You can use water to blend and spread the color or you can use them as you would normal pastels.
The Strathmore Bristol Vellum paper works very well with these crayons and is also listed here. Have a good pencil sharpener on hand to keep the tips pointy.
You can also use these crayons on canvases. A rep from Caran d'Ache told me:
"Neocolor II works very well on both cotton and linen canvases. You
can easily set it if you have applied it with a brush.
If you dissolve the Neocolor II like a watercolor or gouache and paint
it onto the canvas, the best thing to do is to let it dry. Then you can
heat set it with an iron, which makes it permanent.
Remember to place a piece of scrap cloth on the painting as to not stain your iron. You also want to put something under the piece itself, so
that any your ironing board doesn't get stained. This techniques works extremely well.
However, always do a test first with a piece of scrap canvas, to insure
that you are happy with the results.
There are 2 fixatives that you can use to coat it afterwards, if you
desire. Lascaux is probably the best one of the two that are available
in the US. Again, test it on a piece of scrap to insure that you are
happy with the finish. Make sure to always do very light coats and allow
them to dry completely before adding another one. If the fist coat was
applied going right to left, do the next going up and down... Three
coats seem to be the magic number."
The Strathmore Bristol Vellum paper works very well with these crayons and is also listed here. Have a good pencil sharpener on hand to keep the tips pointy.
You can also use these crayons on canvases. A rep from Caran d'Ache told me:
"Neocolor II works very well on both cotton and linen canvases. You
can easily set it if you have applied it with a brush.
If you dissolve the Neocolor II like a watercolor or gouache and paint
it onto the canvas, the best thing to do is to let it dry. Then you can
heat set it with an iron, which makes it permanent.
Remember to place a piece of scrap cloth on the painting as to not stain your iron. You also want to put something under the piece itself, so
that any your ironing board doesn't get stained. This techniques works extremely well.
However, always do a test first with a piece of scrap canvas, to insure
that you are happy with the results.
There are 2 fixatives that you can use to coat it afterwards, if you
desire. Lascaux is probably the best one of the two that are available
in the US. Again, test it on a piece of scrap to insure that you are
happy with the finish. Make sure to always do very light coats and allow
them to dry completely before adding another one. If the fist coat was
applied going right to left, do the next going up and down... Three
coats seem to be the magic number."
Turpenoid Natural
I use Turpenoid Natural as a non-toxic turpentine substitute for cleaning my palette and excess oil paint off of brushes before using the Masters Brush Cleaner to get any remaining paint off the brushes.
Masters Brush Cleaner
Every artist I know has a big tub of this soap. It is great for cleaning water mixable oil paint (even regular oil paint), acrylic, gouache, and watercolors. A 24 oz tub can last years.
Gamblin Gamvar Varnish
This is a great varnish that can be removed with Gamsol if needed. It is available in Matte, Satin (aka semi-gloss), and Gloss. Some artists prefer Gloss to deepen colors and if a less glossy look is desired will use additional dry brushes to "paint" over the varnish once it's applied, which will absorb excess varnish. I personally prefer using the gloss varnish mixed with a bit of satin.
Note: do not use this varnish for works with unfixed mediums (i.e. charcoal, colored pencil). Instead, use spray varnish. Winsor & Newton make a professional spray can varnish that I've also listed here.
Note: do not use this varnish for works with unfixed mediums (i.e. charcoal, colored pencil). Instead, use spray varnish. Winsor & Newton make a professional spray can varnish that I've also listed here.
Winsor and Newton Artists' Fixative Spray
This is a superb fixative for works done with dry and unfixed mediums on paper, such as pastels or charcoal. It will keep these works from being smudged and offer a protective layer as well.
Art Studio Essentials
Art Studio Essentials
John Pike Palette
I use this palette for my oil paints mainly though it can also be used for watercolors. It is made from a durable and sturdy plastic that can handle solvents and doesn't stain. It helps my paints last for several days without drying up.
Mechanical Tube Squeezer
This tube squeezer helps ensure that no paint gets left behind. Works well for tubes up to 2 7/8 inches wide. A heavier-duty metal option is also available.
8 oz Spray Bottle
I keep a little spray bottle on hand for making sure my paints moist and preventing a "skin" from forming on the top of paint in open jars.
2 oz Glass Jars
Perfect for mixing smaller quantities of paint, especially suited for mixing gouache paints. I like this particular brand (Vivaplex) because it's less expensive than the usual glass jars sold at art stores but great quality. The shape makes for easy clean-up as well. I prefer glass jars over plastic containers because paints seem to dry out more quickly in the plastic containers, the colors themselves are not as visible, and the plastic sometimes absorbs color and looks stained. None of these are issues with glass jars.
8 oz Glass Jars
Perfect for mixing larger quantities of paint, especially suited for mixing and diluting acrylic paint. I like this particular brand (Vivaplex) because it's less expensive than the usual glass jars sold at art stores but great quality. The shape makes for easy clean-up as well. I prefer glass jars over plastic containers because paints seem to dry out more quickly in the plastic containers, the colors themselves are not as visible, and the plastic sometimes absorbs color and looks stained. None of these are issues with glass jars.
No 2 pencils
Another studio essential, Staedtler No 2 pencils are regular everyday pencils that are used for making sketches, outlines, marking measurements, etc.
Prismacolor Kneaded Eraser
These erasers are superior to gum erasers in my experience and are great for removing pencil, charcoal, and pastel from canvas and paper. I like that I am able to mold the eraser into a specific shape or create a tip to allow for precision removal.
Mabef Artist Plus Easel M-07
This H-frame easel is one of the best around for the price point.
Note: Mabef's revolving attachment that allows you to rotate your canvas is compatible with this easel.
Note: Mabef's revolving attachment that allows you to rotate your canvas is compatible with this easel.
Canvas Drop Cloth
Not much explanation necessary here. Old towels will suffice but if you don't have those this heavy duty canvas drop cloth is a nice choice. If I'm really flinging paint around I'll put a couple of these down.
URBNFit Exercise Ball
A million times better than a chair. Your back will thank you. Be sure to take a look at the size guide to get the right size for your height. I am 5'6" and got the 65 cm ball and it works perfectly.
Honeywell Pivoting Fan
This inexpensive little fan is a studio-must for improving air circulation. I like the fact that I can change the angle of the fan to accommodate whatever height I'm painting at.
Air Duster
You never realize just how much stuff is floating in the air until you start painting and it lands all over your work. An air duster is especially helpful prior to varnishing and just in general when you're tempted to brush your hand across a painting.
Office Dimensions Mobile Metal Desk
This desk is 48 inches wide. It fits a computer and a monitor and still has enough room to be used as a work surface. It has wheels so can be easily moved around your studio or workspace. It is also very easy to clean, assemble and take apart, and it comes in white or black.
Amazon Basics 3-Tier Rolling Utility Cart
This rolling cart is great for holding and moving around whatever art supplies you're currently using. The inner tray dimensions will fit the John Pike Palette also listed here.
Delxo 3-Step Folding Ladder
This ladder is available in 2 steps, 3 steps, or 4 steps. I use the 3-step to rest my paint supplies on and I also use it to stand on when I'm working on a taller canvas. This ladder is heavy duty enough for my needs and stores easily when not needed.
AmazLit Clamp Lamp
This lamp is helpful for getting consistent light on paintings and for painting at night. It is easy to adjust the clamp-on part and reposition the lamp around your work. It is also easy to adjust the brightness and warmth of the light. I am considering getting another one to eliminate shadows on my work while painting after dark.
GlovePlus Powder-Free Nitrile Gloves
Disposable gloves can help protect your hands from paint and common chemicals. I've tried several brands and different thicknesses of gloves and have found these to be superior to other brands. They are more expensive but do not tear as often in part because they are 50% thicker than other brands.
Notes: these are latex-free in case you have an allergy to latex. As far as safety goes, nitrile gloves are documented to be better than latex gloves at resisting paints, oils, and solvents. However, certain solvents and hazardous substances can permeate through some gloves very quickly. Depending on what materials you are using, you may want to do some research around heavy duty chemical resistant gloves and even respirators and other safety equipment in order to know how you can best protect yourself.
Notes: these are latex-free in case you have an allergy to latex. As far as safety goes, nitrile gloves are documented to be better than latex gloves at resisting paints, oils, and solvents. However, certain solvents and hazardous substances can permeate through some gloves very quickly. Depending on what materials you are using, you may want to do some research around heavy duty chemical resistant gloves and even respirators and other safety equipment in order to know how you can best protect yourself.
3M Particulate Respirator
If you are going to be exposed to pigment dust or if you sand your artwork, you will want to wear this particulate respirator mask or another N100 mask along with gloves to reduce the chance or inhaling or ingesting the dust.
Scotch Artist Tape for Curves
If you need to tape a curved line in your painting, I would recommend Scotch Artist Tape for Curves.
Frogtape
If you want to get a smooth clean line around the edges of your canvas or panel then this tape is a must-have. It's more expensive than the blue tape but works better than the blue tape. For a gallery wrapped canvas (1.5 inches deep) the 1.88-inch wide tape is perfect. If you're using paper, go with the yellow "Delicate" FrogTape. If you need to tape a curved line, go with the Scotch Artist Tape for Curves.
Viva Signature Cloth Paper Towels
These paper towels are superb as far absorbency goes. I use them to wipe excess paint off of brushes and palette knives as well as gently press them against watercolor paintings to pick up excess paint. You can find these in most Walgreens, Targets, and Home Depots but they are also available from Amazon via the link below.
Stanley 25-foot Tape Measure
This thing goes almost everywhere with me, whether it's in my own studio, at the art store checking the sizes of canvases, or measuring a wall and hanging a painting at a client's home.
Picture Hanging Wire #6 Supports up to 50 lbs
Excellent picture hanging wire to hang relatively large as well as small paintings. This wire pairs with the D-rings also listed here.
Heavy Duty D-Ring Picture Hangers Supports up to 40 lbs
D-Ring picture hangers are better than the typical "screw eye" hangers because they lay flat, are secured by screws, and are stronger so will not snap and break under the weight of larger and heavier paintings. Even for smaller paintings I still use D-ring hangers. These pair with the picture hanging wire also listed here.
Lutz 15-in-1 Screwdriver
You'll need a screwdriver to install the D-rings on the backs of paintings plus it'll inevitably come in handy for a multitude of other random tasks around your studio.
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