Search results for 'process'

Oil-based inks that wash away safely with liquid soap and water. Suitable for all types of relief or block printing, such as woodcut and wood engraving, letterpress and linocut. This range contains less than 1% of driers. For faster drying rates, add a small amount of cobalt or manganese driers. Formulated with excellent light fast pigments for non-toxic printmaking or solvent-free cleaning.

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Oil-based and washable - Artist quality etching inks for non-toxic printmaking. Solvent-free cleaning and lightfast, this unique range of etching inks can be washed away with liquid soap and water. Suitable for all types of intaglio printing e.g. etching, aquatint and line engraving. This range does not contain any driers. For faster drying rates, add a small amount of cobalt or manganese driers.

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Our Gesso Icon Panels are handmade throughout the entire process, using hand tools rather than industrialised machinery. 

Each board is made of lime, which has been allowed to age naturally for long term stability. Firstly, the panel is gently abraded to allow the penetration of rabbit skin glue into the fibres. Following the laying down of a specific canvas, the delicate process of building up precise layers of gesso is undertaken by hand. A final coat of water-based paint treated with wood preservative is applied and the finished panel lightly sanded, ready for painting.

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Designed for traditional sign painting, these oil based lettering enamels provide superior vibrancy, flexibility, durability, and single stroke coverage. Specified for fine, sign paint lettering on store fronts and vehicles, the vibrant colours of 1 Shot Lettering Enamels spread evenly and offer outstanding hiding, durability and fade resistance. Superior flow characteristics assure the virtual absence of brush marks and provide a clean, sharp edge. Ideal for use on interior or exterior metal, glass, wood, and enamel receptive banners and vinyl. Learn More

PBr7

Burnt Umber is a natural earth pigment from Italy, composed of iron oxide, manganese, and aluminium silicate. It is a form of Raw Umber that a has undergone a process of calcination, becoming warmer, more transparent and easier to disperse. It has a good tinting strength, and is very lightfast, quick-drying, and stable in all media. In oils it forms a hard, fairly flexible paint film, though it may be difficult to use in acrylic mediums.

Toxicity: B

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15 ml pots of pure pigment Learn More

Handcrafted, extra fine, genuine precious metal powders in a range of shades, all 1 gram in weight. These powders are produced using thin gold, silver and other precious metal leaf. A complex, manual process is undertaken to achieve the extremely fine-grained particle size of this extra fine powder.

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Linseed Oil is derived from flax seeds, and appears on our shelves in many guises: Cold Pressed, Refined, Stand Oil, and as a key ingredient in many mediums. It has been appreciated for its drying properties since the Medieval period, and has become the most popular oil used in painting today due to the strong, flexible and glossy film that it creates. Cold Pressed Linseed Oil is ideal for the grinding of pigment to make oil paints. The process of producing Cold Pressed Linseed Oil results in a lower yield, but the resultant oil is of a superior quality to oil that has been extracted by other methods, creating a paint film that is more resistant to embrittlement on aging. Its yellow colour is caused by the high concentration of linolenic acid, the presence of which provides durability to the paint film. The amount of oil that each pigment requires can vary enormously. Alizarin Crimson, for example, requires a high percentage of oil compared to most other colours. We would always recommend mulling the pigment and oil together thoroughly to create a "short" or buttery paste, with evenly dispersed, well-coated pigment particles. This process contributes to the strength and flexibility of the paint film, and prevents the inclusion of excess oil. Origin: USA Learn More

For satin-matt acrylic colours. Ready to use. Learn More

Finest quality gouache paints, available in 48 shades, all of which are fully inter-mixable with the HORADAM® WATERCOLOUR range. Made following a traditional gum arabic recipe, they are naturally opaque, without the addition of white. They provide a luminous, velvet-matte finish, drying to a slightly lighter shade than when wet. 

Schmincke recommends the following:

"The application possibilities of HORADAM® GOUACHE are extremely versatile. Although it can be heavily diluted, gouache is mainly intended to provide opaque application of colour. Opaque, in this case, means that it is not impasto, because impasto application tends to produce cracking, unless the percentage of binder is increased by adding gum arabic (50302). While watercolour painting work goes from light to dark (the white paper is the light), in gouache painting, any process can be used. While “back painting” of lights is limited in watercolour painting, when working in gouache (and other opaque colours), light values and lights can be added later using colours."

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Drawing gum for masking specific areas which should remain white on water-colour paper, smooth drawing carton, photographs or films. For direct application with the dispensing bottle. Contains: synthetic resin dispersion without ammonia. Learn More

This resist is painted onto the plate in a thin even layer with a soft flat square-ended brush. When this clear layer is dry it may be coloured or drawn into with etching needles, roulettes and steel wool. The waxy character allows the needle to glide through its surface. After drawing the coloured coating (if used) is removed, the image is stopped out if necessary, then the plate is etched. As the resist is clear the artist can monitor the etching process accurately. Learn More

PBr7

Burnt Sienna is a natural earth pigment that has been in use since antiquity. Our Burnt Sienna comes from Tuscany, and is produced by calcining Raw Sienna to temperatures of about 450 degrees Celsius. This process creates a rich warm colour and increases transparency. It also offers a good tinting strength, excellent lightfastness, and a fast to medium drying rate in oil. It is stable in all media but, like umber pigments, may be difficult to disperse in acrylic binders. 

Toxicity B

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Kölner Instacoll is a two-part system, consisting of a base coat and activator, that can be used on nearly all suitably prepared substrates to create weather-resistant, high gloss interior and exterior gilded surfaces. The Instacoll Tool is a double-ended tool with shaped tips made of elastic rubber, designed for pressing gold and silver transfer leaf into indentations when gilding uneven surfaces. The Instacoll Chiffonnette is an extra soft, lint-free cloth, used for polishing and burnishing surfaces gilded with Instacoll. *PLEASE NOTE - COLOURS OF THESE PRODUCTS MAY VARY SLIGHTLY FROM PRODUCTS PICTURED* Learn More

Drawing gum for masking specific areas which should remain white on water-colour paper, smooth drawing carton, photographs or films. Apply with writing pen, cotton bud or wooden stick. Contains: synthetic resin dispersion without ammonia. Learn More

Liquid charcoal in the 15 ml tube - a clean, dust-free way of painting, charcoal drawing and underpainting with charcoal. The three pigments of natural origin used for this (PBK 8, pit black) are created by charring fruit seeds from the EU area and result in the following unique coal nuances: a neutral peach stone black - 18 757 a warm, brownish cherry pit black - 18 756 a cool, bluish grape seed black - 18 755 Due to the larger quantity of available paint, liquid charcoal can be used to quickly process large areas. The liquid charcoal contains the high-quality binder gum Arabic like traditional artists' watercolours (gouaches, watercolours, etc.), has a gouache-like consistency and can be diluted with water, so that different shades, structures and layer thicknesses can be achieved by different application. Depending on the substrate and the thickness of the layer, it can be wiped off by hand and removed with water. Used as thin underpainting (e.g. in oil painting), subsequent paints do not become dirty or become less dirty than with conventional charcoal underpainting due to the higher adhesion of the bound carbon pigments to the substrate. Of course, the liquid charcoal can be combined with drawing charcoal. The blurring and removability of the liquid charcoal depends on the surface of the substrate - the more even and firm the surface, the easier to change the application. Pre-tests are recommended. Learn More

Schmincke Akademie Acrylic 500ml. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

DANIEL SMITH currently offers 245 different watercolours, with more in the works every year. The sheer range of possibility they offer is endless and unparalleled in the industry. Their amazing selection spans the spectrum from the historical, to natural earth and PrimaTek colours, to Quinacridones, the brightest and boldest colours modern technology has to offer. We stock a core range of 77 colours in the large 15ml tubes. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

* Only available online.* Robert Gamblin started making artists' oil paints in 1980. Since then he has built a reputation as both an innovative and imaginative maker of some of the best oils on the market today. As well as usual single pigment colours you would expect, the range also includes an interesting selection of neutral greys, beautiful metallics and the truly innovative Radiant range of pastel colours. Combining science and artistry, Gamblin paints are truly exceptional. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Daniel Smith Watercolour Ground creates a soft, absorbent watercolour surface with a slightly cottony texture that's similar to cold pressed paper. With this breakthrough archival quality ground, you can rescue flawed paintings, create new work on any surface, lift and scrub without damaging the painting surface. *Please note, this product is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Snowdon Cartridge paper with a white shade and matt surface. Designed for drawing and many printing processes including etching and waterbased silkscreen in 300gsm. Woodfree and acid free Learn More

Exhibition cross bars for Exhibition stretchers only. Notched for overlap from 120cm. Prices are for individual bars. Please note, this range is stored off-site. Please allow extra time for your order to be processed and dispatched. [Only available online] Learn More

Patricia Lovett is one of the world’s leading authorities on the techniques and practical processes of making mediæval manuscripts. She lectures and teaches all over the world on calligraphy and illumination, and has written about a dozen books on these subjects, as well as producing a DVD – Illumination – Tools, Materials, Techniques, Projects. Patricia has run calligraphy courses as well as those on traditional manuscript gilding and painting techniques, and was awarded an MBE for her services to heritage crafts and calligraphy. This book takes the beginner and those with more experience through step-by-step processes to produce simple and easy projects using cheap metals and modern adhesives, and also to create mediæval miniatures and illuminated scrolls on vellum (animal skin). Learn More

Top quality 36mm deep stretcher bars made from European pine. Extra strong laminated wood construction to minimise warping. Mortised for cross bars from 100cm. Mitre cut expansion corners. Lip finished to 2mm radius to minimise cracking on inkjet prints. All stretcher bars are cut 3mm short of nominal size. Supplied with wedges. Prices are for individual bars. Please note, this range is stored off-site. Please allow extra time for your order to be processed and dispatched. [Only available online] Learn More

Gamsol is an odourless mineral spirit created by the American company Gamblin. They describe it as "the safest solvent that allows oil painters to utilize all traditional painting techniques without compromise."

Please see below for Gamsol's primary applications.

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The 5ml range consists of 88 colours and includes some of the fabulous Primatek colours that are handmade with authentic mineral pigments and Quinacridones with their pure, intense colour combining the power of staining pigments with the luminosity of the transparents. They also have the more traditional favourites. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

ONLY AVAILABLE ONLINE[]. Schmincke PRIMAcryl is a high viscosity premium acrylic range. Artists quality high pigment content gives all the shades a new dimension of brilliance and expressiveness. The titanium white is unparalleled. It's high pigmentation, opacity and cover rate enables incredibly brilliant mixtures. No colour shift between the wet and dry states. High lightfastness level either 4 or 5 stars indicates the quality of these premium acrylic paints. All colours do not yellow and the dried paint layers are durable, flexible and water resistant. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Schmincke Akademie Acrylic 2.5L Titanium White Series 1. *Please note, this product is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Daniel Smith PrimaTek colours are unique paints made with pure, authentic mineral pigments that are mined directly from the earth and each one has a story. These colours have captured the imagination of artists for hundreds or even thousands of years. Their diversity is amazing. *Please note, this product is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More