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Pearl Lustre Pigments 7g
Starting at: £4.70
Pearl Lustre Pigments 7g. Colour swatch on the left indicates colour on a White Background and Colour on a Black Background on the right. Learn More -
Pearl Lustre Pigments 1 kg
Starting at: £94.00
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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 -
Pearl Lustre Pigments 100g
Starting at: £12.90
Pearl Lustre Pigments 100g. Colour swatch on the left indicates colour on a White Background and Colour on a Black Background on the right. Learn More -
Casein Lactic
Starting at: £18.30
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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Natural Beeswax
Starting at: £11.20
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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Cobalt Blue Pigment
Starting at: £6.30
PB28
Cobalt Blue is an artificial mineral pigment, produced by the calcination of cobalt oxide and aluminium oxide. It has been widely used since the early 1800s, following its discovery by the French chemist Thenard at the beginning of the century. The name Cobalt has its roots in the German word Kobold, meaning imp or evil spirit. German miners named it to in the late-Middle Ages, as the presence of cobalt ore in the mines made the extraction of silver more difficult. They were possibly also aware of the toxic properties of the mineral that was frustrating their efforts.
Cobalt remains a very popular colour today, and is present in most ranges of paints, being a semi-transparent pigment that is stable in all media. As a watercolour, all cobalt pigments tend to granulate. As an oil paint, it requires less oil content than most other pigments, and dries quite quickly. Like Cerulean Blue, some artists may choose to bind it with poppy oil, to avoid any possible colour changes brought about by the yellowish cast of linseed oil and the pigment's weak tinting strength.
Limeproof
Toxicity: C
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Mars Yellow Pigment
Starting at: £4.50
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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Ammonium Carbonate
Starting at: £9.70
Ammonium Carbonate is a highly Alkaline substance that reacts with the lactic acid present in casein to form a robust binder for tempera paints. It should only be used in a well-ventilated area, please see below for the Material Safety Data Sheet. Learn More -
Mars Red Pigment
Starting at: £4.50
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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Raw Sienna Pigment
Starting at: £4.00
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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Bleached Beeswax
Starting at: £12.30
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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Indian Red Pigment
Starting at: £4.60
PR101
Indian Red was imported into the UK during the nineteenth century, its present-day equivalent is a synthetic iron oxide. Its pigment code, PR101, refers to a wide spectrum of synthetic iron oxide pigments including yellows, oranges, reds, violet-browns and green-browns; Indian Red is a slightly cool, bluish shade of red. It is semi-opaque, stable in all media, lightfast, and possesses a good tinting strength
Toxicity: B
Limeproof
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Yellow Ochre Pigment
Starting at: £4.00
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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Mars Violet Pigment
Starting at: £4.50
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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Cornelissen Pigment Set of 30 Colours
£130.00The 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
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Alizarin Crimson Pigment
Starting at: £4.50
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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Cadmium Yellow Orange Pigment
Starting at: £4.50
Cadmium Yellow Orange Pigment (PY108) also known as Pyramid Yellow. Organic pigment. Opaque to Semi-opaque. Good tinting strength. Excellent Lightfastness. Medium drying rate. Suitable for all media except Lime-fresco. Toxicity B/C Learn More -
Gypsum
Starting at: £5.70
Gypsum is powdered Calcium Sulphate, a traditional ingredient in gesso grounds used in southern Europe. One of the advantages of preparing your painting surface with gypsum is that it allows for a particularly even absorption of the paint film. It can also be added to acrylic primers to increase absorbency or add tooth to a surface. Learn More -
Madder Lake Genuine Pigment
Starting at: £10.20
NR9
Madder Lake pigment is derived from dye that has been extracted from the root of the madder plant, and attached to alum as a base. It has largely been replaced by synthetic alizarin pigments, but it is still used as an ingredient in some commercially-available 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. It requires a wetting agent to aid dispersion.
Larger quantities are available by request
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Potters Pink Pigment
Starting at: £7.30
PR233
Potter's Pink is an artificial mineral pigment produced by roasting tin oxide with various other oxides. It was first discovered in the pottery region of Staffordshire in the late-1700s, and in the following century Winsor & Newton introduced Potter's Pink into their watercolour range under the name "pink colour". It went on to become a popular addition to watercolour palettes, offering an opaque, lightfast colour with a weak tinting strength and a medium level of oil absorption.
Toxicity A
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Carnauba Wax Yellow
Starting at: £6.50
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 -
French Chalk
Starting at: £5.50
French Chalk is a term commonly used to describe talcum powder and is also known as talc. This grade is very fine magnesium silicate It is sometimes used as a filler in pastels, to make soft sticks that produce velvety marks as it has a soapy like consistency.
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Litharge Pigment
Starting at: £8.00
PY46
Litharge is lead monoxide, also known as Massicot. It is an opaque pigment, with a weak tinting strength. Its toxicity and fugitive nature means that it is rarely used as a pigment. Instead, its fast drying time means that it has been used as a siccative in oil mediums. The colour tends to darken in all media, and it is also unstable in its dry form, as the powder can lighten when exposed to air.
Larger quantities are available by request.
Please note, unfortunately we are not able to send this product outside the UK.
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Cobalt Violet Light Pigment
Starting at: £10.00
Cobalt Violet Light Pigment (PV14). Synthetic inorganic pigment. Semi-opaque. Weak tinting strength. Excellent Lightfastness. Fast drying rate. Good for oil and watercolour but not acrylic as pigment 'settles out'. Used since early 1900's. This colour cannot be matched through mixing other colours.
Limeproof
Toxicity: C
Please note, unfortunately we are not able to send this product outside the UK.
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Phthalo Turquoise Pigment
Starting at: £17.00
Phthalo Turquoise Pigment (PB15.3, PG7, PW21). Mixture of Phthalo Green, Phthalo Blue and Blanc Fixe. Transparent. Excellent Lightfastness. Requires wetting agent. Toxicity B Learn More -
Indigo Blue Genuine Pigment
Starting at: £6.30
NB1
Genuine Indigo is a natural vegetable pigment derived from the Indigofera Tinctoria plant, which was first imported into Europe from India in the seventeenth century. It replaced woad, which had been grown natively in Europe for its blue dye. The leaves are soaked in water to ferment; upon drying, an oxidised residue forms on the dry leaves, which is removed, washed, boiled in water, and then dried to form cakes of pigment or dye.
Indigo is very transparent, with a good tinting strength. It requires a wetting agent to disperse, and in oil it dries very slowly. It is fugitive to light; this drawback means that it is no longer commonly available in commercial paints. It fell out of general use at the beginning of the seventeenth century, largely replaced by Prussian Blue, and synthetic Indigo was patented in the 1890s. However, it provides a subtle shade of blue that is still desirable in works that are going to be protected from light.
Toxicity: B
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Naples Yellow Dark Pigment
Starting at: £7.40
Naples Yellow Dark Pigment (PY41). Synthetic Inorganic pigment (Lead Antimoniate). Opaque. Good tinting strength. Excellent Lightfastness. Low oil absorption with fast drying rate. Suitable for all media except watercolours. Toxicity D.
Please note, unfortunately we are not able to send this product outside the UK.
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Roberson Glass Mullers
Starting at: £42.70
Roberson Glass Mullers are handmade using high quality-glass.
Mullers act as flat-bottomed pestles, which are used to grind pigment into a binding medium, suspending it evenly to create a uniform covering of binder around each pigment particle. Using a muller and slab, rather than simply mixing pigment and binder together, will create a more homogenised and stable paint.
Roberson Glass Mullers are handmade using superior boro silicate laboratory glass, which is 40% harder, more heat resistant, and offers better clarity than soda-lime glass. The base of each muller is ground perfectly flat, and sand-blasted to create a fine tooth to facilitate the grinding of pigments.Use in conjunction with a Cornelissen Glass Slab to make paint efficiently. The sand-blasted texture of the muller and plate helps to push and distribute the pigment throughout the binder quickly. This will mean less grinding, and more painting!
NOTE: Sizes may vary slightly as these are handmade products.
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