Search results for 'yellow'

From the Winsor & Newton website: A slightly yellow oil, which is extracted without the use of heat dries slightly quicker than refined linseed oil. Improves flow. Increases gloss & transparency. Reduces consistency and brushstrokes. Ideal for grinding pigments. 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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Ketone resin/standoil/white spirit. Nearly colourless liquid which dries to a clear non-yellowing, non-blooming. Unable to send overseas. Learn More

From the Winsor & Newton website: This quick drying gloss medium offers a slight gel that brushes out smoothly and is ideal for artists looking for a non-drip effect when mixed with colour. Speeds drying (touch dry in 1-6 days depending on colour and film thickness). Ideal for glazing. Resists yellowing. Not suitable as a varnish or final coat. Learn More

Flexible brush tip. Extremely fade resistant colours made with pigmented drawing ink. Waterproof and PH neutral. Cadmium yellow, Chrome Yellow Deep, Phthalo Blue, Carmine, Violet, Olive Green. Learn More

From the Winsor & Newton website: A fast-drying, pale oil made from poppy seeds which is well suited for whites and pale colours. Reduces consistency. Increases gloss & transparency. Resists yellowing.

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Schmincke Medium W is an odourless, jelly-like ("lean") medium for mixing oil colours with water instead of organic solvents such as turpentine or turpentine substitute. It increases gloss and transparency, reduces viscosity and harmonizes the drying process.

Dosage: 50%

Thinner: Water

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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

Inspired by traditional tailor’s chalk block, prepared for drawing and painting. Water soluble and extremely soft, choice of 6 traditional earth colours: sanguine, sepia, dark brown, brown, ochre and carbon black. Learn More

Ketone resin/white spirit. Water white liquid dries to non-yellowing glossy film. Learn More

From the Winsor & Newton website: This reliable favourite is a general purpose semi gloss medium which speeds drying, improves flow and reduces brush stroke retention. Halves the drying time of conventional oil colour (touch dry in 1-6 days depending on colour and film thickness). Resists yellowing. Not suitable as a varnish or final coat. Learn More

Cadmium Green is an artificial mineral pigment, a mixture of Cobalt and Cadmium Yellow. It is an opaque, lightfast, slow-drying pigment with a high tinting strength.

Toxicity C

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PR101

Mars Violet is an artificial mineral pigment. Its pigment code, PR101, refers to a wide spectrum of synthetic iron oxide pigments including yellows, oranges, reds, violet-browns and green-browns, which 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. Although it is similar to Caput Mortuum and Indian Red, it is less transparent than the former and warmer than the latter.

Toxicity: B

Limeproof

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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

INTRODUCTORY SET Artists unfamiliar with my paints should begin with the MH introductory set. Use this set to mix many colours in my range. Play, experiment, and enjoy true oil paints. 6 x 40ml tubes. The Introductory set contains: Titanium White No.1 Yellow Lake Ultramarine Blue Burnt Umber Scarlet Lake Learn More

PY39

Orpiment, also called King's Yellow, is a mineral pigment containing naturally occurring sulphide of arsenic. Its high toxicity, and the prevalence of cadmium pigments, means that it is largely obsolete outside the field of restoration. It works best bound in oil or egg tempera, but it is not reliably permanent.

Larger quantities are available by request.

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

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From the Winsor & Newton website: A quick drying, semi-gloss medium which thickens slowly and extends tube colour retaining crisp textures brush marks without any visible levelling. Speeds drying (touch dry in 1-6 days depending on colour and film thickness). Resists yellowing. Not suitable as a varnish or final coat.

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Schmincke Horadam Naturals Set Earth Pigments 5 x 15 ml Celadonite Yellow Ochre Lalvarit Violet Caucasus Earth Green Slate Learn More

PR101

Mars Red is an artificial mineral pigment. Its pigment code, PR101, refers to a wide spectrum of synthetic iron oxide pigments including yellows, oranges, reds, violet-browns and green-browns, which 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.

Toxicity: B

Limeproof

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Poppy Oil is a slightly later addition to the artist's cabinet than Linseed Oil and Walnut Oil. It is generally used as a binder for pale colours, where the warmth of Linseed Oil is not desired. It provides a matte finish and dries very slowly, so we would not advise using it in conjunction with slow-drying pigments or in underpaintings. A paint film produced by Poppy Oil is weaker and softer than that created by Linseed Oil. This is because it contains a smaller percentage of linolenic acid than Linseed Oil; this substance imparts both strength and yellowness to an oil.  

Although some of these properties can be perceived as drawbacks, paints made with Poppy Oil generally obtain a "short" or buttery texture without the addition of waxes or other additives, which can be an advantage for certain colours that produce poor consistencies in Linseed oil alone. Sometimes, the addition of a small quantity of Poppy Oil when grinding a tricky or "stringy" pigment in Cold Pressed Linseed Oil can introduce some of benefits of Poppy Oil, without transmitting its negative characteristics.

Paints made with Poppy Oil are particularly suited to "alla prima" working methods, where paint is applied spontaneously. When working in successive layers, Poppy Oil would only be appropriate for the final stages of a painting.

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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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Non-yellowing synthetic resin dissolved in ethyl alcohol. 609 is for use on charcoal, pencil, pastel, watercolour and gouache, 675 is for universal use. Use sparingly to fix and protect your pieces. 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

Wooden box containing 12 x 20ml tubes of Schmincke Calligraphy Gouache. 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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Gum Damar/Turpentine. Dries hard/clear. Gives low gloss. Less prone to blooming than mastic. Non-yellowing. Removable with turpentine or white spirit. Unable to send overseas. Learn More

From the Cranfield website:

An almost transparent painting medium based on refined linseed oil and alumina. It is similar in consistency to Studio Oil Colours in tubes. It does not promote quick drying and may be used to extend oil colours. It can be used in large ratios where the desired effect is to increase yellowing and darkening of pale colours. It will not increase gloss.

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Aidan Hart Pigment Set. Nine pigment colours especially selected for L. Cornelissen & Son by Aidan Hart, renowned icon painter, writer and lecturer. Ultramarine Blue, Raw Umber, Yellow Ochre Light, Terre Verte, English Red Light, Ivory Black, Warm Ochre, Red Ochre, Titanium White. Learn More

Use to protect metal & silver leaf, white gold, Ormoline paint & Robersons Liquid Metal range. Provides extra protection on exterior projects & high-wear areas. It dries crystal clear with a satin finish, and is non-yellowing. Learn More