Cornelissen

This comprehensive kit includes a wide selection of tools and materials for Lino cutting and printing. You can experiment with artisan printing techniques and compare traditional lino and the new Softcut materials, which add new possibilities for beginners and experienced users alike. The 6 different lino cutters allow varied carving styles, whilst the safety cutter and hand guard ensure safe working for younger or less experienced users. The 3-in-1 Baren is a tool for transferring ink from your lino block to paper, but can also be used as a desk tidy for your cutters and as a stamping tool when used with the included self-adhesive Softcut™ discs. You can make many prints with the water based ink whilst keeping your work space clean with the handy ink tray. This educational and fun kit is ideal for making unique greeting cards, gifts, posters or even great works of art! Full instructions are included. Recommended Age: 12 and up with adult supervision. Learn More

Unique silicone tipped tools for painting heavy mediums such as acrylic and oil paint. Excellent for spreading adhesives and appplying masking fluid. Can be used with Batik and encaustic wax. Available in soft ivory tip and firm grey tip. Learn More

Shell gold, so named because it was historically made and stored in a shallow shell such as a mussel shell, consists of finely powdered genuine gold mixed with a variety of gums. It is mixed with a bit of water and applied in the same way as watercolour. After drying for an hour or so, it can be burnished to a soft, beautiful lustre using an agate stone burnishing tool.
Our Shell gold is used by calligraphers, framers, restorers, iconographers and watercolour artists.
In recent years our colour range of genuine gold has been extended and genuine Lapis Lazuli and genuine Malachite have also been added. Learn More

Aerosol varnish for oil and acrylic paintings. Gloss, Satin or Matt finishes. Contains: Ketone resin, UV blockers. Unable to send overseas. Learn More

Provides clear, non-removable protection of craftwork. Suitable for a variety of surfaces (wood, metal, paper, modelling materials). Contains: Acrylic resin. High Gloss or Matt. Unable to send overseas. Learn More

Pre-stretched aluminium screens. Our screens use the highest quality monofilament polyester mesh and are available in 43T (for fabric), 90T (for paper) and 120T (for finest detail on paper). The mesh appears in different colours, white is for fabric and yellow is for the higher mesh counts, the colour this makes registering with stencils underneath the screen easier. The screen is made of quality aluminium with a profile of 20mm x 30mm x 1.2mm thick. Learn More

The Squeegee Stand is designed to make screen products more efficent. It holds your Squeegee upright and keeps your work space mess free. Product Dimensions: 13 x 5.1 x 4.2 cm. Learn More

Coating Trough, used to coat screens with Photographic Emulsion. Shaped to allow the weight of the coating trough to be supported by the thumb, the palm and all four fingers for a steady and even coat. Features a dual sided coating edge for either a sharp edge thin coat for higher mesh counts, or a rounded dull edge for coating lower mesh count screens. Learn More

Hinge clamps, these are zinc plated aluminium clamps for attaching screens to any surface to create printing bed. Clamp surface is 60mm wide, and will securely hold a frame depth of min: 12mm and max: 45mm. The clamps have counter sunk screw holes 6mm diameter and 30mm a part (centres). Clamp opens up to 90 degrees. Learn More

Van Dyke Crystals are a traditional and natural water based wood dye made from walnut husks. They produce a colour ranging from a very light brown to dark brown depending upon concentration. Traditional method for colouring oak, mahogany and walnut. Learn More

Stencil strip, this is a concentrated organic emulsifying stripper that is made using natural mineral salts. It quickly removes all stencil emulsions and capillary films. Can be diluted up to 1:10 with water. Always wear gloves and avoid contact with eyes. Learn More

Cleaning brush. Abrasive cleaning pad for cleaning, degreasing and reclaiming screens. This brush is safe on all mesh types. Learn More

Gamboge is a natural tree resin, generally extracted by tapping of Garcinia trees, available as a powder and in the solid "pipe" form. One of the unique features of Pipe Gamboge is that it does not require a binding agent to be used as a paint. Instead, colour can be lifted with a wet brush, as from a watercolour pan. When used as a water colour, it gives a bright transparent golden yellow colour. It is highly transparent, fugitive to light, with a weak tinting strength. The powder can be dissolved in alcohol to colour resin-based varnishes. Gamboge was used from ancient times to dye the clothes and also to make a transparent yellow varnish for the colouring of wood, metals and leather.

Pipe Gamboge is available while stocks last. Larger quantities are available by request.

Learn More

Gamboge is a natural tree resin, generally extracted by tapping of Garcinia trees, available as a powder and in the solid "pipe" form. One of the unique features of Pipe Gamboge is that it does not require a binding agent to be used as a paint. Instead, colour can be lifted with a wet brush, as from a watercolour pan. When used as a water colour, it gives a bright transparent golden yellow colour. It is highly transparent, fugitive to light, with a weak tinting strength. The powder can be dissolved in alcohol to colour resin-based varnishes. Gamboge was used from ancient times to dye the clothes and also to make a transparent yellow varnish for the colouring of wood, metals and leather.

Pipe Gamboge is available while stocks last. Larger quantities are available by request.

Learn More

PY46

Litharge is lead monoxide, also known as Massicot. It is an opaque pigment, with a weak tinting strength. Its toxicity and fugitive nature means that it is rarely used as a pigment. Instead, its fast drying time means that it has been used as a siccative in oil mediums. The colour tends to darken in all media, and it is also unstable in its dry form, as the powder can lighten when exposed to air. Toxicity D. 

Larger quantities are available by request.

Please note, unfortunately we are not able to send this product outside the UK.

Learn More

NR9

The madder plant was once widely cultivated for the red dye extracted from its roots. Its earliest known use is in ancient Egypt, and there is evidence of its widespread adoption in Europe from the medieval period. Madder Lake, the pigment that is derived from the root, has now largely been replaced by synthetic alizarin pigments, but it is still used as an ingredient in some commercial paints. It provides a very transparent pigment, with a weak tinting strength, which can be used in all lime-free media, although it is very slow-drying in oil. It is fugitive to sunlight, so paintings containing Madder should be stored appropriately, but it remains one of the most lightfast plant-based pigments. 

Larger quantities are available by request.

Learn More

NR4

Carmine has been used as a dye and pigment since antiquity. Originally derived from the kermes insect, it was replaced by cochineal following the discovery of the Americas. It has a good tinting strength and is very transparent, although it is fugitive to light.

Larger quantities are available by request.

Learn More

NR9

Madder Lake pigment is derived from dye that has been extracted from the root of the madder plant, and attached to alum as a base. It has largely been replaced by synthetic alizarin pigments, but it is still used as an ingredient in some commercially-available paints. It provides a very transparent pigment, with a weak tinting strength, which can be used in all lime-free media, although it is very slow-drying in oil. It is fugitive to sunlight, so paintings containing Madder should be stored appropriately, but it remains one of the most lightfast plant-based pigments. It requires a wetting agent to aid dispersion.

Larger quantities are available by request

Learn More

PR106

Cinnabar, composed of mercuric sulphide, is a mineral pigment found in crusts or veins in sites of volcanic activity. It has good tinting strength and opacity but, like many red pigments, it dries very slowly in oil media. Due to its high toxicity, it is no longer an ingredient in commercial paints, but is a prominent colour in historical palettes.

Generally, Cinnabar refers to the natural mineral, while Vermilion refers to the synthetic pigment. Cinnabar has been mined since at least the tenth millennium BC, and used as a painting material, gemstone, and ritual object by many cultures around the globe. Toxicity D.

Larger sizes available on request.

Learn More

NR9 Rose Madder is an alizarin lake pigment made by precipitating dye extracted from madder root onto an inert base. It has largely been replaced by synthetic alizarin pigments, but it is still used as an ingredient in some commercially-available paints. It provides a very transparent pigment, with a weak tinting strength, which can be used in all lime-free media, although it is very slow-drying in oil. It is fugitive to sunlight, so paintings containing Madder should be stored appropriately, but it remains one of the most lightfast plant-based pigments. It requires a wetting agent to aid dispersion. Larger quantities are available by request Learn More

PR106 Vermilion is an artificial pigment based on mercuric sulphide, which occurs naturally as Cinnabar. The synthetic form contains fewer impurities than Cinnabar, and was in use in China as early as the fourth century. It was present in Europe from the ninth century, and was the most widely used red pigment until the introduction of Cadmium Red in the early twentieth century. It has good tinting strength and opacity but, like many red pigments, it dries very slowly in oil media. Toxicity D. Larger sizes available on request. Domestic shipping only Learn More

PB30

Azurite is a naturally occuring copper carbonate, with a long history within European and Asian painting. It was mined in northern Europe, so was a less expensive source of blue than Lapis Lazuli, which was imported from Afghanistan. Medieval artists would often use Azurite in underpaintings, before applying layers of Lapis Lazuli during later stages of production.

It is best used in aqueous media, as the acidity of oils can cause it to darken in colour, although this can be somewhat counteracted by protecting the pigment particles with a protein such as egg yolk. It has a very low tinting strength, and the particle size tends to be quite large, to give a darker colour. It is sensitive to damp conditions, and is slightly transparent.

Learn More

Malachite is a naturally occurring copper carbonate, closely related to Azurite. It has a weak tinting strength, is quite opaque, and works best in aqueous media. Larger sizes available on request. Learn More

Synthetic Malachite is an artificial mineral pigment, copper carbonate, chemically based on Malachite. It has a medium tinting strength and good opacity. Larger sizes available on request Learn More

Bright yellow first used in the Middle Ages as a replacement for Orpiment. Suitable for oil based media. Larger sizes available. Please ask for quotation. Toxicity D. Domestic shipping only Learn More

Lead Tin Yellow Dark Pigment. Larger sizes available. Please ask for quotation. Toxicity D. Domestic shipping only Learn More

Realgar, like Orpiment, is sulphide of arsenic, and these two substances are often found in close proximity to each other in nature. Realgar exists in small deposits throughout the world and has been used for its colour since ancient times, although its extreme toxicity means that it has been superseded by cadmiums in modern painting. It is an opaque pigment with poor tinting strength. Toxicity D.

Larger quantities are available by request.

Learn More

** While stocks last ** Blue Verditer, sometimes referred to as Bremen Blue, is a synthetic form of Azurite, or copper-calcium carbonate. It has a weak tinting strength and is sligtly transparent. It works best in water-based binders, as the acidity of linseed oil can cause discolouration. 

Larger sizes available on request

Learn More

Egyptian Blue is stable in all media, highly transparent, with a weak tinting strength. A synthetically produced calcium copper silicate, it is considered to be the earliest artificial pigment, dating from antiquity and widely used in ancient Egypt. Larger sizes available on request Learn More