Search results for 'red'

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.

Learn More

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. 

Learn More

STAEDTLER Mars Plastic holder is a high-quality, retractable eraser for graphite pencil. The eraser is easily advanced and retracted by the sliding mechanism, and compared to conventional erasers more precise erasing can be achieved. Phthalate and latex free.

Learn More

Traditional quill pen made from goose and turkey feathers. Cut by hand and cured in hot sand. Learn More

Gamblin Solvent-Free Gel is manufactured by the American company Gamblin. They write:

"Gamblin Solvent-Free Gel is the only solvent-free painting medium that supports a broad range of painting techniques with minimal compromise. Solvent-Free Gel gives colours more flow and transparency, yet holds the shape of your brushmark. Solvent-Free Gel has a moderately fast drying rate and increases gloss. Made from safflower oil and alkyd resin, Gamblin Solvent-Free Gel is non-toxic and contains no Gamsol or petroleum distillates. In comparison to other solvent-free mediums, Gamblin Solvent-Free Gel supports the broadest range of painting techniques with the least compromise across color, dry time, texture and mark-making. To ensure proper drying of paint layers, Solvent-Free Gel should be used in moderation with oil colors. No more than 25% by volume. To avoid wrinkling, apply mixtures of Solvent-Free Gel and oil colors thinly. To paint solvent-free, we recommend Gamblin Safflower Oil for cleaning brushes while you are working. After your painting session, brushes can be further cleaned using Gamsol and/or soap and water."

Learn More

Similar to series 222 but with shorter hair and a pointed tip. Used in the same way as above but preferred when more control needed or when applying gesso to more elaborate mouldings. 100% pure hog hair. Learn More

The Unison Light 8 set, specially selected by Unison Colour. This small set contains the essential Light colours from their large range of pastels. Unison Colour Soft pastels allow for ease of use with a highly blendable texture.

Learn More

COLINEO Fan brush - Composition of straight and wavy synthetic fibres in different lengths with extra fine tips, precise point, high elasticity and colour absorption. - Handle made of water-resistant, hi-tech multicolour laminated wood - Ideal for watercolour painting - Very similar to Kolinsky Red Sable hair brushes Learn More

Apply 2 coats. First coat may be applied 25% diluted with water to increase flow and coverage if required. Apply second coat once first coat is touch dry (approx.. 1 hour). This product may be applied to: linen, wood, MDF and other supports to produce a strong, flexible, permanent, highly pigmented white ground. Suitable for as a ground for both acrylic and oil paint. May even be applied over inexpensive standard primed canvases to render them non absorbent! Do not apply over rabbit skin / hide glue or to unsound supports such as cardboard and flimsy supports! Learn More

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

This warm earthy yellow is made from the quintessential London ‘stock brick’ of the 18th and 19th centuries. This pigment has a medium grain size and is transparent. Learn More

Transparent etching ground in cap form is a light-coloured, transparent product for etching plates that already carry sketch which is meant to remain visible under the etching ground. Learn More

Genuine artists' pigments with highest possible concentration in linseed and sunflower oils. All colours have outstanding brilliance and highest possible lightfastness. Mainly single pigment colours. Learn More

High quality oil based gold size. Well known for it's predictability and length of it's open period. Tacky in 12 hours, remains open for 20 hours. Learn More

This ink is made to the recipe that Jane Austen used to draft her novels. Austen's maid took this formula from Martha Lloyd's book, ‘The House Keeper’. She used good-quality English oak galls, but poorer quality beer than Isaac Newton, and added a little sugar. Her recipe is less stable and turns ‘antique brown’ over a long period of time, while Sir Isaac Newton's remains black. Initially a medium blue-grey, it darkens to a rich matte back, slightly warmer in tone than our regular Oak Gall Ink. It is made in small batches and blended to give the required consistency and strength, and is fully waterproof in 5-7 days. Permanent and lightfast, it has been steeped for several weeks and left to ‘mature’ for several more in the bottle. When used on animal skins such as vellum, the acids in the Oak Gall Ink react with collagen, effectively ‘etching’ itself into the surface, hence its permanence. 

 

Not suitable for fountain pens. Learn More

Ink made from pure copper metal leaf that has reacted with distilled vinegar. Learn More

From the Schmincke website:

Jelly-like medium for accelerating the drying of oil colours. Preserves consistency and degree of gloss. Dosage: 10% to 30% maximum. Contains: Siccative, stand oil, resin solution, mineral spirit.

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

PG19

Cobalt Green is a synthetic pigment that consists of compounds of cobalt and zinc oxides. It is sometimes referred to as Rinman's Green, after the Swedish chemist who discovered it in the late-18th century. It is a permanent, opaque colour, with a weak tinting strength. It dries quite quickly in oil, requiring a high oil content and  forming a hard, fairly fleixible paint film. Cobalt Green is available in light and dark shades; the colour is determined by the amount of zinc oxide present.

Toxicity: B

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

Learn More

These antique-style sketchbooks offer 120 pages of unbleached, heavyweight rag paper with torn edges. The lightly textured pages respond well to watercolours, inks and dry media. Please note, the delicate surface makes these sketchbooks unsuitable for erasing, and the paper is not of archival quality. Learn More

Energy saving daylight bulbs consume 80% less energy than incandescent bulbs and last up to ten times longer. The bulbs assist colour matching for those working at night or in weak winter light. They also reduce eye strain and low heat technology means they are extremely safe. Screw or bayonet fittings. Learn More

120GSM / 200GSM, A4 / A3, 100% Recycled Pulp, Manufactured using Hydro Power, Cold Pressed / NOT Surface. Learn More

Made with new improved brown interlocking tapered filaments, these brushes have an excellent shape retention and firm texture. Good spring. Gold colour ferrule with bottle green handle. Learn More

Michael Harding Non-Absorbent Acrylic Primer (NAAP) is a versatile product suitable for application on various surfaces, including linen, wood, MDF, and more. It is designed to create a robust, flexible, permanent, and intensely pigmented ground, making it an excellent choice for both acrylic and oil paints. Important Application Guidelines: Support Selection: NAAP should not be applied over surfaces treated with rabbit skin/hide glue or on unsound, flimsy supports such as cardboard. Opt for stable substrates to ensure the primer’s effectiveness. Not a Gesso: Please note that NAAP is a primer, not a gesso. As such, there is no need for additional gessoes, sizes, or other ancillary products when using NAAP. DIRECTIONS: Coat Application: Apply a minimum of two coats of NAAP to your chosen support, ensuring liberal coverage for optimal results. Dilution for Flow: If you desire increased flow, dilute NAAP with a mixture of 1 part water to 4 parts NAAP. This adjustment allows for customization based on your artistic preferences. Second Coat Application: Apply the second coat once the first coat is touch dry, typically after approximately 1 hour. This step contributes to the creation of a well-prepared painting surface. Additional Considerations: Suitable Supports: Do not use Michael Harding Non-Absorbent Acrylic Primer on flimsy or unsound supports. It is crucial to choose a stable and well-prepared surface for priming to ensure the longevity and integrity of your artwork. Canvas Weave Consideration: Avoid using this primer on canvases with a wide weave. The non-absorbent nature of the primer may not be suitable for canvases with a loose or open structure, compromising its effectiveness. Transparency Check: Before application, inspect your canvas material by holding it up to the light. If you can see light passing through the wefts (threads) of the canvas, it is not recommended to use Michael Harding Non-Absorbent Acrylic Primer. Opt for a more appropriate primer based on the transparency of your canvas. 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

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

Sosaku inking brush for working the pigments and glue paste onto the carved block for printing. These are made from horse hair and are traditionally prepared by splitting and softening the hair on shark-skin or sandpaper before printing. Brushes come in 3 sizes. Learn More

A drawing tool for transferring scale. Align your desired subject matter in the small end of the divider and transfer the spacing of the larger end to your drawing surface. Learn More

Extra short haired brush for the discerning miniaturist. Learn More