Search results for 'palette'
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Ceramic 12 Well Palette with Lid
Starting at: £10.95
Call to Order
Ceramic 12 Well Palette with Lid Learn More -
Plastic 10 Well Round Palettes
Starting at: £1.70
Call to Order
Plastic 10 Well Round Palettes Learn More -
Ceramic 10 Well Round Palette
Starting at: £14.40
Call to Order
Ceramic 10 Well Round Palette Learn More -
Plastic 9 Well Flower-shaped Palette
Starting at: £2.95
Plastic 9 Well Flower-shaped Palette Learn More -
Lilian May, Mini Ceramic Palette
£12.00Ceramic palette, 4 wells, 8 cm x 8 cm Handmade in Somerset, UK. Learn More -
Ceramic 7 Well Flower-shaped Palette
Starting at: £9.80
Ceramic 7 Well Flower-shaped Palette Learn More -
Holbein White Plastic Reversible Palette
Starting at: £4.90
Call to Order
Holbein White Plastic Reversible Palette Learn More -
Schmincke Horadam Box 48 Half Pans
Starting at: £271.95
Schmincke Horadam Box 48 Half Pans. Learn More -
Schmincke Horadam Box 24 x 5ml Tubes
Starting at: £209.60
Schmincke Horadam Box 24 x 5ml Tubes. Learn More -
Daler Rowney Tear-Off Palette, Oil and Acrylic
Starting at: £15.50
Tear-off palette for oil and acrylic paint. 40 sheets. Learn More -
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Winsor & Newton Tear-Off Palette, Oil and Acrylic
£10.25Tear-off palette for oil and acrylic 22.9 x 30.5 cm 50 sheets Learn More -
Colour Shapers
Starting at: £7.00
Unique silicone tipped tools for painting heavy mediums such as acrylic and oil paint. Excellent for spreading adhesives and appplying masking fluid. Can be used with Batik and encaustic wax. Available in soft ivory tip and firm grey tip. Learn More -
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Zinc White Pigment
Starting at: £4.00
Zinc White, or Zinc Oxide, is an artificial mineral pigment that was first produced in France in the late 18th century. Its use in commercial watercolours as Chinese White pre-dates its inclusion in oil painting. It is a semi-opaque, lightfast pigment, which dries very slowly in oil. Of all white pigments, it produces the most brittle paint film, so is not recommended in large quantities for impasto techniques. However, it is a good addition to a palette which requires a less overwhelming white than Titanium White.
Toxicity: B
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Golden Heavy Body Acrylic 473ml
Starting at: £47.30
The first acrylic colors offered by Golden Acrylic, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More -
Cylindrical Dippers
Starting at: £4.95
Small metal dippers, roughly 36mm in diameter so as to take up very little real estate on your palette. Learn More -
Gamblin Relief Printing Inks 175ml
Starting at: £16.00
Gamblin Relief Inks are formulated for all relief techniques, including woodblock, linocut, monotype, and Solarplate. They contain the right amount of stiffness and tack to hold fine detail yet spread evenly on the block or plate. The palette of ten colors is designed to give artists intense pure pigmented colors straight from the jar, along with a wide range of color mixing capabilities. Gamblin Relief Inks are all bound in the highest quality Burnt Plate Oil. Learn More -
Schmincke Drying Accelerator for Oils
Starting at: £8.20
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.
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Roberson Impasto Medium
Starting at: £16.50
Roberson Impasto medium is a crack-resistant medium for impasto effects. It retains palette knife and brush strokes, giving the paint sharp, defined edges. It remains thick and doubles paint easily, drying to a matte finish. To retain colour strength, mix one part medium to one part oil colour.
Contains: Stand Oil, Damar Resin, Turpentine, Bleached Beeswax.
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Casein Lactic
Starting at: £15.95
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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Ultramarine Blue Limewash Pigment
Starting at: £6.30
PB29
Ultramarine Blue Limewash is an artificial mineral pigment that is produced by heating clay, soda, sulphur and coal to high temperatures. Its name comes from outremer, or over-the-sea, as a reference to the highly-prized Lapis Lazuli pigment which had been imported into Europe from Afghanistan since the Middle Ages. First manufactured in France and Germany in 1828, synthetic Ultramarine provided a brilliant and affordable blue to artists, and it remains one of the most popular blues on artists' palettes today.
It is a transparent pigment, with a high tinting strength and excellent lightfastness. Most Ultramarine colours react to alkali and are therefore unsuitable for use in lime-fresco; Limeproof Ultramarine Blue remedies this problem. It is stable in all other media, although it can be tricky to grind in oil. Instead of creating a thick, buttery paste, it can remain stringy and deteriorate when stored in a tube. To correct this, many commercial paint manufacturers include additives and waxes in their recipes; if you intend on grinding your own paint, you could try replacing 10-15% of your Linseed Oil with Poppy Oil to improve the consistency. Ultramine Blue provides a slow-drying, fairly hard paint film, which can tend towards brittleness.
Toxicity: B
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Schmincke Mussini Medium 1
Starting at: £9.45
Low-fat (lean) painting and thinning medium for oil colours. Recommended for thin grounds and for creating transparent layers over gouache, tempera and acrylic paintings. Thins with minimal affect on drying time and gloss. Dosage: 10% to max. 20% Contains: Safflower oil, natural and synthetic resins, mineral spirit. Learn More
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