Search results for 'de 1'

PBr7

Raw Umber is a natural earth pigment composed of iron oxide, manganese, and aluminium silicate. It has its roots in the Umbria region of Italy, and was historically a popular colour for underpaintings, as it dries very quickly. It is semi-opaque, very lightfast, and stable in all media but may be difficult to disperse in acrylic. It requires a large amount of liquid when mixed with oil.

Toxicity: B

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Fine golden synthetic fibre. More springy than da Vinci Cosmotop Spin (but with lower water absorption) making it an excellent brush for watercolour, gouache, acrylic and oil painting. Learn More

PR108

Cadmium Brown is a shade of Cadmium Red, a synthetic organic pigment that has been in use since the 1920s. It is formed by heating cadmium sulphide and selenium, the hue is determined by the level of calcination and proportion of selenium. It is very opaque, and lightfast, with a high tinting strength. It absorbs a small amount of oil, and dries very slowly to form a hard, flexible paint film.

Larger quantities are available by request.  

Limeproof

Toxicity: C

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Quinacridone Red Pigment (PV19). Organic pigment. Very transparent. High tinting strength. Excellent Lightfastness. High oil absorption with slow drying rate. Requires wetting agent. Suitable for all media. Developed in the 1950's. Toxicity A/B. Learn More

Hand made in Somerset. Cotton and flax blend, acid free. Not surface. 410 gsm. Sold in packs of 5 sheets. Learn More

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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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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L.Cornelissen & Son's Professional Gilders Cushions are handmade in London, using the highest quality materials. Soft, buffed suede nap goatskin stretched over a sturdy mahogany veneer panel, secured with brass tacks and some fitted with a genuine parchment windsheild. Learn More

Swanskin Etching Blankets. Finest quality Swanskin. 8mm in thickness. Please specify the exact length in centimetres under the quantity box. Learn More

Quinacridone Magenta Pigment (PR122). Organic pigment. Very transparent. High tinting strength. Excellent Lightfastness. High oil absorption with slow drying rate. Requires wetting agent. Suitable for all media. Developed in the 1950's. Toxicity A/B. Learn More

PBk8

Vine Black is derived from charred vines, forming an organic pigment of pure carbon. It has been in use since antiquity, providing a cold black with bluish undertones, which creates a blue-grey when mixed with white. It is a very lightfast, slow-drying colour with a medium tinting strength. It requires a wetting agent to disperse properly, and is not suitable for use in fresco, mortar or cement, as the water-soluble impurities within the pigment can create efflorescence. 

Toxicity: A

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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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PB29

Ultramarine Blue Dark 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. It reacts to alkali, therefore it is not suitable for use in lime-fresco; we do offer a Limeproof Ultramarine Blue for this purpose. 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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Made from pure Kolinsky sable hair to give added control and spring when painting long lines. Learn More

Azure Blue Pigment (PB28). Inorganic pigment made from various aluminium, zinc and cobalt compounds. Semi-opaque. Weak tinting strength. Excellent Lightfastness.

Toxicity: C

Limeproof

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Pearl Glue is a traditional animal-based wood glue made from bone, used for veneering, joinery and antique restoration. 170-200 bloom. Learn More

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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Good quality Chinese white interlocking hog hair. Nickel-plated brass seamless ferrule. Maroon handle. Length approximately 300mm / 370mm depending on size. Learn More

Venetian Red Pigment (PR101). Iron oxide and chalk. Semi-transparent and very lightfast. Stable in all media.

Limeproof

Toxicity: B

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PBk11

Mars Black is an artificial mineral pigment composed of hydrated ferric oxides. Like other Mars colours, it provides a very opaque, permanent colour, which is stable in all media. It has an average drying time in oil, forming a hard, fairly flexible film, making it more suitable for impasto application than carbon-based black pigments, which tend to be brittle. It also wets more easily than other black pigments, and possesses a warm, brownish undertone.

Toxicity: B

Limeproof

Larger quantities are available by request. 

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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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Oriental Blue Pigment (PB29). Inorganic pigment consisting kaolin, soda ash, sulfides and coal. Semi-transparent. High tinting strength. Excellent Lightfastness. Medium to slow drying rate. Suitable in all media except Lime-fresco. Used since early 19th Century. Toxicity B Learn More

Fine abrasive powder used historically for polishing daguerreotype plates. Can be used to age wooden frames and object's d'art. Learn More

PBr7

Raw Umber Greenish is a natural earth pigment composed of iron oxide, manganese, and aluminium silicate. It has its roots in the Umbria region of Italy, and was historically a popular colour for underpaintings, as it dries very quickly. It is semi-opaque, very lightfast, and stable in all media but may be difficult to disperse in acrylic. It requires a large amount of liquid when mixed with oil.

Toxicity: B

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Ivory Black is a natural pigment of impure carbon, derived from charred animal bones. It is semi-transparent, very lightfast, and offers good tinting strength. It is a particularly slow-drying pigment, which forms a soft, rather brittle paint film in oil.

Compared to other blacks, such as Vine Black, Ivory Black possesses warmer, brownish undertones. It should not be used at full-strength in an underpainting, as subsequent layers are likely to crack. Otherwise, it is a very useful all-purpose black for many types of paint, excluding mortar, fresco or cement.

Toxicity: B

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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. 

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Indigo Blue Synthetic Pigment (VB1). Organic pigment. Transparent. Good tinting strength. Moderate Lightfastness, slower fading rate than Genuine Indigo. Requires wetting agent. Suitable for oil and water-based media. Developed in late 19th Century. Toxicity A/B Learn More

PR101

Red Ochre is a synthetic iron oxide pigment which provides the same level of semi-opacity that is associated with natural ochres. It has a good tinting strength and is stable in all media, including lime mortar. 

Toxicity B

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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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