Pigments are divided into two categories: minerals and chemical synthesis. The initial pigments were mostly mineral pigments, which were manually ground into fine particles before being mixed with nasal bleeding during painting. In modern times, it was produced in batches by factories, loaded into tin tubes, and the variety of pigments continued to increase. The performance of pigments is related to their chemical composition, and during color mixing, chemical reactions can cause adverse reactions between some pigments. Therefore, mastering the properties of pigments helps to fully utilize oil painting techniques and maintain the color of the work for a long time.

松节油，是一种挥发性医用油。在油画的调制中，起稀释颜料的作用。一两分钟即可完全挥发，干后无光泽。将松节油和调色油按照一定比例混合使用，干得较快，色彩也比较亮。

Turpentine is a volatile medical oil. In the modulation of oil paintings, it plays a role in diluting pigments. It can evaporate completely in one or two minutes and become dull after drying. Mix turpentine and toner in a certain proportion to achieve faster drying and brighter colors.

画笔，用弹性适中的动物毛制成，有尖锋圆形平锋扁平形短锋扁平形及扇形等种类。

A paintbrush made of animal hair with moderate elasticity, including sharp, circular, flat, short, flat, and fan-shaped shapes.

画刀，又称调色刀，用富有弹性的薄钢片制成，有尖状圆状之分，用于在调色板上调匀颜料，不少画家也以刀代笔，直接用刀作画或部分地在画布上形成颜料层面肌理，增加表现力。

A painting knife, also known as a color mixing knife, is made of elastic thin steel sheets, with pointed and circular shapes. It is used to evenly mix pigments on a color palette. Many painters also use a knife instead of a pen to directly draw or partially form a pigment layer texture on the canvas, increasing expressiveness.

画布，标准的画布，是将亚麻布或帆布紧绷在木质内框上后，用胶或油与白粉掺和并涂刷在布的表面制作而成。一般做成不吸油又具有一定布纹效果的底子，或根据创作需要做成半吸油或完全吸油的底子。布纹的粗细根据画幅的大小而定，也根据作画效果的需要选择。有的画家使用涂过底色的画布，容易形成统一的画面色调，作画时还可不经意地露出底色。经过涂底制作后，不吸油的木板或硬纸板也可以代替画布。

Canvas, a standard canvas, is made by tightly pressing linen or canvas onto a wooden inner frame, mixing it with glue or oil and white powder, and applying it to the surface of the cloth. Generally, it is made into a non oil absorbing and textured base, or a semi oil absorbing or fully oil absorbing base according to creative needs. The thickness of the fabric pattern depends on the size of the painting and also depends on the needs of the painting effect. Some painters use canvas with a painted background color, which can easily form a unified color tone in the picture, and even inadvertently expose the background color when painting. After being coated and made, non oil absorbing wooden boards or cardboard can also replace canvas.

外框，完整的油画作品包括外框，尤其是写实性较强的油画，外框形成观者对作品视域的界限，使画面显得完整集中，画中的物象在观者的感觉中朝纵深发展。画框的厚薄大小依作品内容而定。古典油画的外框多用木料石膏制成，近现代油画的外框较多用铝合金等金属材料制成。

Outer frame: A complete oil painting work includes outer frames, especially those with strong realism. The outer frame forms the boundary of the viewer's perspective on the work, making the picture appear complete and concentrated. The objects in the painting develop in depth in the viewer's perception. The thickness and size of the frame depend on the content of the work. The outer frames of classical oil paintings are mostly made of wood gypsum, while the outer frames of modern oil paintings are mostly made of metal materials such as aluminum alloy.

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