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Shellac is a natural resin that is deposited by the female lac insect on the branches of trees in India and Thailand. It is soluble with alcohol, but not with mineral spirits or turpentine. It forms a tough yet flexible film, with many applications. It is suitable as a top coat for gilding when applied thinly, a sealant for porous surfaces, an isolating layer for tempera paintings, a base for pigmented inks, a protective layer for collograph plates, and a warm varnish for wooden floors and furniture. As it is prone to darkening with age, it is not recommended as a varnish for oils, and its solubility can reduce over time. There are various grades of shellac. When mixed with alcohol, it may initially form a cloudy mixture, due to traces of wax in the shellac, but this should become clear once it has dried. The highest grades of shellac are Clear Dewaxed Shellac, which has been de-coloured using the carbon filtering method, Lemon Shellac, and Orange Shellac, which are pale in colour. Button Shellac is less refined and therefore produces a reddish varnish. It was, in fact, widely used as a red dye before synthetic dyes became available. Learn More

PY43 Golden Ochre is a natural earth pigment, somewhat darker than Yellow Ochre. It is a semi-transparent, lightfast pigment, that is stable in all media. It has a medium to slow drying rate in oil, creating a tough, flexible paint film. Toxicity: B Limeproof 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 Madder Lake, the pigment that is derived from the root, has now largely been replaced by synthetic alizarin pigments, but it is still used as an ingredient in some commercial paints.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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Rosin is the powdered form of colophony, which is a by-product of the distillation of turpentine. Its primary application is to create tonal areas on metal plates as an aquatint resist. It is also an additive in etching grounds, where it gives a hard surface to the otherwise soft wax. Learn More

Casein is a protein derived from dried milk, which has been used in painting since ancient times. It can be combined with Ammonium Carbonate to form an emulsion, which acts as a durable, non-resoluble binder for pigments, producing a matte, fast-drying paint, similar in appearance to egg tempera. We use casein as a binder for our L. Cornelissen & Son Pigment Colour Charts, as it is a medium that clearly showcases the characteristics and behaviour of each pigment in its pure form. Casein paints can be applied in thin layers to watercolour paper, but would require a more rigid support, such as a gesso panel, to be applied thickly, as the comparative inflexibility of the paint layer means that it can be prone to cracking. Subsequent layers of paint should be more diluted to aid adhesion, and impasto effects are not recommended. It is possible to varnish casein paintings using an acrylic or damar varnish to obtain a glossy surface if desired, although this is not a necessary step. Casein can also be used as an ingredient in gesso, and is a suitable binder for fresco secco techniques.

Some pigments may require a wetting agent in order to fully disperse within the binder, in which case alcohol may be used.

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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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Chromium Oxide is a synthetic mixed-metal oxide pigment. It is stable in all media and has an average drying speed in oil, forming a hard, fairly flexible paint film. It is opaque, with a low tinting strength. It has been widely available since the mid-nineteenth century, following its introduction in 1809.

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

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Volcanic rock in powdered form. Used to provide tooth to grounds. Learn More

Translucent Yellow Oxide (PY42). Artificial mineral pigment, hydrated ferric oxides. Transparent and very lightfast. Stable in all media, medium drying rate in oil. Toxicity B. Learn More

Gum Sandarac, derived from a coniferous tree, is available in powdered or lump form. It can be dissolved in alcohol to create a varnish that is suitable as an isolating layer in oil painting and as a traditional top coat for egg tempera. It forms a brittle layer, so is only suitable for use on a rigid support. Another application is as a surface preparation for calligraphy; the ground gum can be dusted across a piece of prepared vellum or paper to create a resist, which shrinks ink strokes slightly, making them appear finer, with crisp edges. 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

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

Shellac is a natural resin that is deposited by the female lac insect on the branches of trees in India and Thailand. It is soluble with alcohol, but not with mineral spirits or turpentine. It forms a tough yet flexible film, with many applications. It is suitable as a top coat for gilding when applied thinly, a sealant for porous surfaces, an isolating layer for tempera paintings, a base for pigmented inks, a protective layer for collograph plates, and a warm varnish for wooden floors and furniture. As it is prone to darkening with age, it is not recommended as a varnish for oils, and its solubility can reduce over time. There are various grades of shellac. When mixed with alcohol, it may initially form a cloudy mixture, due to traces of wax in the shellac, but this should become clear once it has dried. The highest grades of shellac are Clear Dewaxed Shellac, which has been de-coloured using the carbon filtering method, Lemon Shellac, and Orange Shellac, which are pale in colour. Button Shellac is less refined and therefore produces a reddish varnish. It was, in fact, widely used as a red dye before synthetic dyes became available. Learn More

Squat and Powder Jars in glass and plastic. *Please note, our glass jars are fragile, although they are packed very carefully we cannot guarantee they will arrive safely. Cases of jars are stored offsite, please allow extra time for your order to be processed and dispatched. Learn More

Translucent Red Oxide (PR101). Artificial mineral pigment, hydrated ferric oxides. Transparent and very lightfast. Stable in all media, medium drying rate in oil. Toxicity B. Learn More

PBr7

Raw Sienna is a natural earth pigment that dates back to antiquity. Our Raw Sienna comes from areas of Tuscany where the earth has been coloured by iron-rich minerals. It provides 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, can be difficult to disperse in an acrylic binder. It is similar in composition to Yellow Ochre, but whereas Yellow Ochre contains a higher proportion of clay, Raw Sienna contains a higher proportion of silica. As a natural material, the exact colour and qualities of the resultant pigments can vary, but generally this difference creates a paler, more opaque Yellow Ochre, and a darker, more transparent Raw Sienna.

Toxicity: B

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Translucent Orange Oxide (PR101). Artificial mineral pigment, hydrated ferric oxides. Transparent and very lightfast. Stable in all media, medium drying rate in oil. Toxicity B. Learn More

PR101

Red Ochre is a synthetic iron oxide pigment which provides the same level of semi-opacity that is associated with natural ochres. It has a good tinting strength and is stable in all media, including lime mortar. 

Toxicity B

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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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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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Terre Verte, sometimes known as Green Earth, is a natural earth pigment derived from clay coloured by iron silicate. As with other natural pigments, impurities can prevent it from fully dispersing in an acrylic binder, although it is a popular pigment in all other mediums. It has been in use since antiquity, providing excellent lightfastness and great transparency, with a low tinting strength. It requires a high volume of oil, and dries slowly to create a soft, flexible paint film. When calcined, Terre Verte becomes Burnt Green Earth.
Toxicity B Learn More

Zinc White, or Zinc Oxide, is an artificial mineral pigment that was first produced in France in the late 18th century. Its use in commercial watercolours as Chinese White pre-dates its inclusion in oil painting. It is a semi-opaque, lightfast pigment, which dries very slowly in oil. Of all white pigments, it produces the most brittle paint film, so is not recommended in large quantities for impasto techniques. However, it is a good addition to a palette which requires a less overwhelming white than Titanium White.

Toxicity: B

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Ivory Black is a natural pigment of impure carbon, derived from charred animal bones. It is semi-transparent, very lightfast, and offers good tinting strength. It is a particularly slow-drying pigment, which forms a soft, rather brittle paint film in oil.

Compared to other blacks, such as Vine Black, Ivory Black possesses warmer, brownish undertones. It should not be used at full-strength in an underpainting, as subsequent layers are likely to crack. Otherwise, it is a very useful all-purpose black for many types of paint, excluding mortar, fresco or cement.

Toxicity: B

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PBr7

Raw Umber is a natural earth pigment composed of iron oxide, manganese, and aluminium silicate. It has its roots in the Umbria region of Italy, and was historically a popular colour for underpaintings, as it dries very quickly. It is semi-opaque, very lightfast, and stable in all media but may be difficult to disperse in acrylic. It requires a large amount of liquid when mixed with oil.

Toxicity: B

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PV16

Manganese Violet is a synthetic organic pigment, discovered in Germany in 1868 and formed by combining manganese chloride, phosphoric acid and ammonium carbonate. It is very lightfast, but sensitive to alkalis and oils. It is semi-opaque and fast-drying, with a low tinting strength and low absorption of oil. 

Toxicity: C

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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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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

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 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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PR83

Alizarin Crimson is a synthetic organic pigment that became available in 1868. It requires a wetting agent to disperse, and in oil it also absorbs a lot of liquid and dries very slowly to form a hard, brittle paint film. It is chemically identical to madder-root pigments and should be protected against UV light where possible as it can fade when applied onto a white ground, although it is less fugitive than its natural counterpart. Alizarin Crimson is a very transparent pigment, with a high tinting strength and slightly blue undertone.  

Toxicity: A/B

Larger quantities are available by request. 

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