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PR108

Cadmium Red is a synthetic organic pigment, which has been in use since the 1920s, effectively replacing vermilion. It is formed by heating cadmium sulphide and selenium, the hue is determined by the level of calcination and proportion of selenium. It is very opaque, and lightfast, with a high tinting strength. It absorbs a small amount of oil, and dries very slowly to form a hard, flexible paint film.

Larger quantities are available by request.  

Limeproof

Toxicity: C

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Quinacridone Scarlet Pigment (PR209). Organic pigment. Very transparent. High tinting strength. Excellent Lightfastness. High oil absorption with slow drying rate. Requires wetting agent. Suitable for all media. Developed in the 1950's. Toxicity A/B. Learn More

Viridian Green is a synthetic inorganic pigment, similar in composition to Chromium Oxide. However, unlike Chromium Oxide, Viridian contains water molecules within its crystal structure, imparting a greater degree of transparency. Sometimes referred to as Verte Eméraude, Viridian was discovered in France in 1838, patented in 1859, and made available in the UK in 1862. It is stable in all media, and offers excellent lightfastness and good tinting strength. It requires a high oil content, and dries slowly to form a hard, fairly flexible paint film.

Toxicity B

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From the Winsor & Newton website: Our most popular oil. A low viscosity alkali refined oil of pale colour that dries slowly. Reduces oil colour consistency. Increases gloss and transparency. Add to other oils to slow drying. Learn More

Cadmium Yellow Light Pigment (PY37). Synthetic Inorganic pigment. Opaque. Good tinting strength. Excellent Lightfastness. Low oil absorption with slow drying rate. Suitable for all media. Good acid and alkali resist. Exterior application not advised as discoloration occurs. Used since 19th Century. Toxicity B/C. Learn More

Cadmium Yellow Middle Pigment (PY37). Synthetic Inorganic pigment. Opaque. Good tinting strength. Excellent Lightfastness. Low oil absorption with slow drying rate. Suitable for all media. Good acid and alkali resist. Exterior application not advised as discoloration occurs. Used since 19th Century. Toxicity B/C. Learn More

Extra strength, medium size, 'White Cloud' brush. A versatile brush for painting and calligraphy. Learn More

18 pages of fine-grained watercolour paper with internal and surface sizing, folded in an accordion style. Learn More

Pearl Lustre Bronze Powder Learn More

PB28

Cobalt Blue is an artificial mineral pigment, produced by the calcination of cobalt oxide and aluminium oxide. It has been widely used since the early 1800s, following its discovery by the French chemist Thenard at the beginning of the century. The name Cobalt has its roots in the German word Kobold, meaning imp or evil spirit. German miners named it to in the late-Middle Ages, as the presence of cobalt ore in the mines made the extraction of silver more difficult. They were possibly also aware of the toxic properties of the mineral that was frustrating their efforts.

Cobalt remains a very popular colour today, and is present in most ranges of paints, being a semi-transparent pigment that is stable in all media. As a watercolour, all cobalt pigments tend to granulate. As an oil paint, it requires less oil content than most other pigments, and dries quite quickly. Like Cerulean Blue, some artists may choose to bind it with poppy oil, to avoid any possible colour changes brought about by the yellowish cast of linseed oil and the pigment's weak tinting strength.

Limeproof

Toxicity: C

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NB1

Genuine Indigo is a natural vegetable pigment derived from the Indigofera Tinctoria plant, which was first imported into Europe from India in the seventeenth century. It replaced woad, which had been grown natively in Europe for its blue dye. The leaves are soaked in water to ferment; upon drying, an oxidised residue forms on the dry leaves, which is removed, washed, boiled in water, and then dried to form cakes of pigment or dye.

Indigo is very transparent, with a good tinting strength. It requires a wetting agent to disperse, and in oil it dries very slowly. It is fugitive to light; this drawback means that it is no longer commonly available in commercial paints. It fell out of general use at the beginning of the seventeenth century, largely replaced by Prussian Blue, and synthetic Indigo was patented in the 1890s. However, it provides a subtle shade of blue that is still desirable in works that are going to be protected from light.

Toxicity: B

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PB29

Ultramarine Blue Light is an artificial mineral pigment that is produced by heating clay, soda, sulphur and coal to high temperatures. Its name comes from outremer, or over-the-sea, as a reference to the highly-prized Lapis Lazuli pigment which had been imported into Europe from Afghanistan since the Middle Ages. First manufactured in France and Germany in 1828, synthetic Ultramarine provided a brilliant and affordable blue to artists, and it remains one of the most popular blues on artists' palettes today. 

It is a transparent pigment, with a high tinting strength and excellent lightfastness. It reacts to alkali, therefore it is not suitable for use in lime-fresco; we do offer a Limeproof Ultramarine Blue for this purpose. It is stable in all other media, although it can be tricky to grind in oil. Instead of creating a thick, buttery paste, it can remain stringy and deteriorate when stored in a tube. To correct this, many commercial paint manufacturers include additives and waxes in their recipes; if you intend on grinding your own paint, you could try replacing 10-15% of your Linseed Oil with Poppy Oil to improve the consistency. Ultramine Blue provides a slow-drying, fairly hard paint film, which can tend towards brittleness.

Toxicity B

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PB29

Ultramarine Blue Limewash is an artificial mineral pigment that is produced by heating clay, soda, sulphur and coal to high temperatures. Its name comes from outremer, or over-the-sea, as a reference to the highly-prized Lapis Lazuli pigment which had been imported into Europe from Afghanistan since the Middle Ages. First manufactured in France and Germany in 1828, synthetic Ultramarine provided a brilliant and affordable blue to artists, and it remains one of the most popular blues on artists' palettes today.

It is a transparent pigment, with a high tinting strength and excellent lightfastness. Most Ultramarine colours It react to alkali and are therefore unsuitable for use in lime-fresco; Limeproof Ultramarine Blue remedies this problem. It is stable in all other media, although it can be tricky to grind in oil. Instead of creating a thick, buttery paste, it can remain stringy and deteriorate when stored in a tube. To correct this, many commercial paint manufacturers include additives and waxes in their recipes; if you intend on grinding your own paint, you could try replacing 10-15% of your Linseed Oil with Poppy Oil to improve the consistency. Ultramine Blue provides a slow-drying, fairly hard paint film, which can tend towards brittleness.

Toxicity: B

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PV15

Ultramarine Violet is a synthetic organic pigment that is produced by heating Ultramarine Blue with Ammonium Chloride, causing the removal of some of the sodium and sulphur and thus a change in colour. It is lightfast and semi-transparent, with a weak tinting strength. In oils, it dries quite slowly, forming a hard, flexible film.

Toxicity: B

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PBk 6

Lamp Black is an inorganic, synthetic, pure carbon pigment. Originally made from soot collected from oil lamps and fireplaces, its modern equivalent is derived from partly combusted mineral and vegetable oil. It is a cool, transparent, bluish black, with a good tinting strength, and stable in all media. It requires a wetting agent, and in oil it has a very high absorption drying very slowly.

Larger quantities are available by request. 

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Relief Printing Baren Learn More

Fullers Earth is used to remove plant debris and other impurities from cold-pressed linseed oil, as its large particle size and unusual shape attracts unwanted matter and pulls it down, away from the surface of the oil. Our Fullers earth consist sly of Bentonite.

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Precipitate Chalk is fine and white. For use in aqueous mediums as a ground for oil and tempera paintings. Learn More

Gum Copal Manila is derived from the resin of a coniferous tree native to the Philippines. It is not to be confused with other copals, which are the product of fossilised plant materials. It can be dissolved in alcohol to make a spirit varnish, to be used as a substitute for shellac, or as a fixative for pastel and charcoal drawings. Please note, that when used as a fixative it may darken the colour of the image. Learn More

Paraffin Wax is a by-product of the petro-chemical industry. It has a low melting point of 50-60°c and a brittle texture, making it unsuitable for encaustic painting or as an additive to oil paints, but it can be used to impart softness to lithographic crayons. As a petroleum product, it is more inert than animal or vegetable waxes, and is therefore not saponified (turned into soap) by alkali substances. Learn More

Carnauba Wax is the hardest wax commonly used in the production of artists' materials, with a melting point of 83-86°c. It is derived from a tree native to South America, and is available in a natural colour (grey), or a refined colour (pale yellow). Small amounts of carnauba wax are commonly used in both oil painting mediums and encaustic painting, usually in conjunction with beeswax to add toughness, durability and sheen to the paint film. It creates an inflexible surface, so works best on rigid supports such as gesso panels, and it should be noted that it will raise the melting point of encaustic mixtures. It can produce a glossy finish; as such it is used in waxes and polishes for shoes, cars, musical instruments, furniture, and wooden floors, especially when mixed with beeswax and turpentine. Learn More

Pearl Glue is a traditional animal-based wood glue used for veneering, joinery and antique restoration. 170-200 bloom. Learn More

Our clear reagent bottles are manufactured in the EU and are made of high quality soda lime glass. They have a solid base and good wall thickness. 

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