Search results for '10'

PR108

Cadmium Red Deep 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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Imparts texture when added to acrylic mediums and primers. Can also be used in lime mortar. Available in three different grades: - Coarse (irregular granules); - Medium (mesh size: 16); - Fine (mesh size: 100; most appropriate for use in paint). Learn More

The Cornelissen Virtual Gift Voucher will arrive with the recipient in the form of an email containing a virtual gift code. This code will be emailed immediately after the order is placed. Please see the range of values available below. Vouchers can be redeemed fully or partly and do not expire.

Alternatively, please call us on 020 7636 1045 or email info@cornelissen.com to request one of the following:

Physical Gift Voucher (a paper voucher with a code for use only in the shop, for any value).

Combination Gift Voucher (a paper voucher with separate codes for use online or in the shop, for the values listed on the website).

If you purchase a Physical or Combination Gift Voucher, this will be sent to you in the post. Learn More

PBk10

Graphite powder is an allotropic form of pure carbon, ground to 200 mesh. It is transparent and lightfast, with a slight sheen. It can be applied directly onto a paper support.

Larger quantities are available by request. This variety of graphite is a naturally occurring material sourced from Sri Lanka.

Toxicity: A/B

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Damar is a pale, almost colourless tree resin, which is soluble in turpentine, but not in alcohol or mineral spirits. It can be used as a varnish or as a glossy painting medium in conjunction with vegetable oils, and is generally preferable to other resin-based varnishes, such as mastic varnish, as it retains its colourless appearance for a longer period of time. In encaustic painting, the inclusion of damar resin imparts toughness and gloss to the paint surface. Learn More

PR108

Cadmium Red is a synthetic organic pigment that has been in use since the 1920s. 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. This shade has been formulated to imitate the bright hue of vermilion.

Larger quantities are available by request.  

Limeproof

Toxicity: C

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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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For moulding when mixed with the same volume of water. Sets quickly and will not shrink. Learn More

NY13:75640 Stil de Grain is a natural yellow pigment derived from unripe buckthorn berries, which were also once used to produce sap green pigment before the introduction of synthetic alternatives. Stil de Grain may also be known as brown lake, yellow lake, Persian lake, buckthorn lake, Dutch pink, yellow carmine and Italian pink. It has a weak tinting strength, and is very transparent, especially in oil. When mixed with oil, the pigment becomes saturated, darkening considerably in colour and drying very slowly, whereas in a water-based paint it is appears as a warm yellow. It is very fugitive to light, and compatible with all media, except lime. Larger quantities are available by request. Learn More

Cornelissen Pigment Colour Chart. 85 pigment samples displayed in a 6 page 300 gsm A4 booklet, including 'permanence' and 'colour index' references. Colour swatches have been made using a casein binder. Learn More

Cadmium Yellow Deep 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 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

Quinacridone Red Pigment (PV19). 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

Plastic Paint Tubs Learn More

15 ml pots of pure pigment 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.

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Fine abrasive powder used historically for polishing daguerreotype plates. Can be used to age wooden frames and object's d'art. Learn More

Dragon's Blood is a natural, resin, mentioned by Pliny in his Natural History. It has a weak tinting strength, and its rich red colour can be fugitive in direct sunlight. It is fully soluble in alcohol, and can be used to add a warm, transparent tone to spirit varnishes. Also available in powdered form.

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Beeswax is derived from melted honeycomb, and is available in two grades. Bleached Beeswax Pellets are white, having been bleached by the sun, and are an appropriate choice for using with pale colours, although they may revert to yellow over time. Natural Beeswax Pellets are yellow in colour, and offer a more flexible structure with a higher resin content. Beeswax has a melting point of 63-66°c, and may turn brown if over-heated. It is the most widely used wax in artists' materials, having a wide range of applications. Please see below for more details.

 

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French Chalk is a term commonly used to describe talcum powder and is also known as talc. This grade is very fine magnesium silicate  It is sometimes used as a filler in pastels, to make soft sticks that produce velvety marks as it has a soapy like consistency.

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Pearl Lustre Pigments 1 kg. Colour swatch on the left indicates colour on a White Background and Colour on a Black Background on the right. Learn More

Pearl Lustre Pigments 7g. Colour swatch on the left indicates colour on a White Background and Colour on a Black Background on the right. Learn More

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

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

Dragon's Blood is a natural, resin, mentioned by Pliny in his Natural History. It has a weak tinting strength, and its rich red-colour can be fugitive in direct sunlight. It is fully soluble in alcohol, and can be used to add a warm, transparent tone to spirit varnishes. Also available in lump form.

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Beeswax is derived from melted honeycomb, and is available in two grades. Bleached Beeswax Pellets are white, having been bleached by the sun, and are an appropriate choice for using with pale colours, although they may revert to yellow over time. Natural Beeswax Pellets are yellow in colour, and offer a more flexible structure with a higher resin content. Beeswax has a melting point of 63-66°c, and may turn brown if over-heated. It is the most widely used wax in artists' materials, having a wide range of applications. Please see below for more details.

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Gesso di Bologna is a bright white Calcium Sulphate, or gypsum, from Italy, which can be used as a substitute for whiting in the preparation of gesso. It is ground to a particularly fine powder, which makes it a suitable ground for gilding, as the small size of the particles allows for greater compression when burnishing. Learn More

For sizing canvas prior to priming with an oil based primer. Do not use under acrylic primer. Soak overnight in water. Heat in double boiler (do not boil). Ratio water:size 13:1. Use while still warm. Rabbit Skin Glue does not contain preservatives. 340 - 360 Bloom Learn More

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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