Search results for 'yellow pigment paints'

PY43

Yellow Ochre is a natural earth pigment that has been in use since prehistoric times. It is derived from iron-rich clay deposits that are present all over the world; our Yellow Ochre comes from the hilly regions around Verona, Italy. As a pigment, it is semi-opaque, extremely lightfast, and stable in all media. It has a medium to slow drying rate in oil, creating a tough, flexible paint film. Yellow Ochre is similar in composition to Raw Sienna, 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 compositional difference creates a paler, more opaque Yellow Ochre, and a darker, more transparent Raw Sienna. 

Toxicity B

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PY42

Mars Yellow is an artificial mineral pigment, a synthetic iron oxide. Mars colours in general replace many natural earth colours to provide pigments without impurities and with great opacity. It has a good tinting strength, is lightfast and stable in all media, and has a medium drying time in oil, creating a strong, flexible paint film.

Toxicity: B

Limeproof

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This soft yellow ochre is sourced from near the ancient woodland of Epping Forest in North London. Given legal status by Henry ll as a Royal hunting ground for the Monarchy this forest has a rich cultural and geological history. This pigment is a fine particle size and is semi-opaque.

Follow @londonpigment on Instagram for an insight into the stories behind the colours and how she makes them. 

NOTE: many of these colours are made in extrmely limited batches so please email us at info@cornelissen.com for further infomation on what is currently availible. 

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English Red Light Pigment Learn More

The perfect introduction to working with pigment, this selection of thirty pigments provides a wide range of colours for the production of paint. Each colour is supplied in a 15ml plastic jar, and the set includes both natural and synthetic colours. Recipes can be found on our homepage, with instructions for making different paints, including watercolour, egg tempera and oil paint. 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

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

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.

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Nine pigments, especially selected for L. Cornelissen & Son by Aidan Hart, renowned icon painter, writer and lecturer. 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

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.

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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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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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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

PW1

Flake White Pigment, sometimes referred to as Lead White or Cremnitz White, is an artificial mineral pigment, lead carbonate. It is no longer available as a paint, due to its extreme toxicity. For this reason, great care must be taken when handling the dry pigment.

It is not usuable in water-based media, but works well in oils. It creates a flexible paint film that dries quickly. Although opaque, small quantities do not dominate mixtures, and can help slow-drying pigments to dry. For this reason, it has been a popular mixing white historically; in fact, until the mid-19th century, Flake White was the only white pigment available to artists. Although varnishing is generally considered optional for oil paintings, it is recommended for works containing Flake White, as contact with sulphur in the atmosphere can cause it to blacken. It creates a warm white, which can yellow over time when mixed with linseed oil.

Toxicity: D

Permitted uses: Restoration of art works and protected buildings when alternatives unsuitable.

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