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Michael Harding Artists’ Oil Colours are formulated to the highest possible standards. They do not include any fillers, extenders or driers and the high pigment content of the paint ensures a greater resistance to fading. The range includes 86 rich, intense colours which have a stiff and viscous texture. We have high stock levels on all Series numbers including 5,6 & 7 in larger sizes. Learn More

Solid artists' quality oil paint sticks. (Ø = 3/4 ; length = 5" ) SENNELIER Extra-Fine Solid Oil Sticks can be used alone or in combination with oil colours in tubes. The oil stick colours can be used for an entire painting. They are applied directly to any traditional oil-painting support, such as canvas, wood panel or fine art paper. They need the same archival priming (acrylic gesso or oil ground) that oil paint requires. Surfaces: Before use, the surface film of the oil stick must be peeled off. It will form again after a few days of non-use, protecting and conserving the colour. The oil sticks must be applied in a thin film application of no more than 1mm thick. Once applied they can be painted over with oil stick or oil paint and if desired be diluted with turpentine. Oil stick Medium, a colourless oil stick, may be used to produce transparent effects and glazes. Once applied, the oil stick surface will dry in 2 to 5 days, depending on the atmospheric conditions Varnishing: If varnishing is desired, you must wait 6 months (as in traditional oil paint) until the colour is completely dry, before giving the painting a final coat of picture varnish. Use a soft brush to varnish so that the oil stick marks are not disturbed. SENNELIER Extra-Fine Solid Oil Stick colours are either opaque (O) or transparent (T) depending on the nature of the pigment in each colour. Oil Sticks do not change during storage and require no special precautions except to be kept away from any source of heat, which could adversely affect the stick. Application Techniques After applying the colour with the point or the edge of the oil stick, colours can be mixed directly on the support using the following methods: • Blending, with brush, finger, or drawing stump. With or without turpentine • Wash-drawing, dilute colours with turpentine or mineral spirit • Retouching, with oil stick, palette knife or brush • Textures, thick application oil stick colour. Retouch with a brush or palette knife •Sgraffito, scratching a layer of fresh paint with a point (brush handle, palette knife, etc.) to reveal the layer below. Sgraffito is related to engraving, and is used not only for revealing the under-layers of paint but also to scratch and clean unsatisfactory parts of the painting •Interior Decoration, on glass, ceramics etc. Use for decorative purposes only Learn More

Michael Harding Artists’ Oil Colours are formulated to the highest possible standards. They do not include any fillers, extenders or driers and the high pigment content of the paint ensures a greater resistance to fading. We have high stock levels on all Series numbers including 5,6 & 7. Learn More

Finest quality gouache paints, available in 48 shades, all of which are fully inter-mixable with the HORADAM® WATERCOLOUR range. Made following a traditional gum arabic recipe, they are naturally opaque, without the addition of white. They provide a luminous, velvet-matte finish, drying to a slightly lighter shade than when wet. 

Schmincke recommends the following:

"The application possibilities of HORADAM® GOUACHE are extremely versatile. Although it can be heavily diluted, gouache is mainly intended to provide opaque application of colour. Opaque, in this case, means that it is not impasto, because impasto application tends to produce cracking, unless the percentage of binder is increased by adding gum arabic (50302). While watercolour painting work goes from light to dark (the white paper is the light), in gouache painting, any process can be used. While “back painting” of lights is limited in watercolour painting, when working in gouache (and other opaque colours), light values and lights can be added later using colours."

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Cryla Artists' Heavy Body colours are designed to retain the intended stroke when applied with a knife or brush, so they are ideal for highly textured impasto painting techniques. Learn More

This long established artists' quality oil colour range of 113 colours is well known for its firm consistency and excellent handling properties. Learn More

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

The Rohrer & Klingner Traditional Ink range provides 18 colours of high luminance and brilliance, suitable for use with dip pens, brushes, fountain pens, and even airbrush devices. They can be used to produce crisp edges or more painterly washes. They have an acrylic resin base, with a high pigment content, and are completely intermixable. They can also be used in conjunction with Rohrer & Klingner's Drawing and Calligraphy range, to create an even more extensive range of tones. Learn More

15 ml pots of pure pigment Learn More

Georgian Oil colour offers artists high performance at an economical and uniform price across all colours in the range. All 55 colours have fine working qualities and a high degree of performance. Learn More

Artist quality range of 50 colours made from pigments bound in an oil modified alkyd resin. The main advantage of the Griffin Alkyd range is speed of drying - about 24 hours. Ideal for under painting. Compatible with traditional oils. Learn More

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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