Search results for: '10'

Reagent Jar

Starting at: £6.50

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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Red Ochre Pigment

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Starting at: £4.00

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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Carmine Red Genuine Pigment

Starting at: £10.00

NR4

Carmine has been used as a dye and pigment since antiquity. Originally derived from the kermes insect, it was replaced by cochineal following the discovery of the Americas. It has a good tinting strength and is very transparent, although it is fugitive to light.

Larger quantities are available by request.

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Pearl Lustre Bronze Powder

Starting at: £6.20

Pearl Lustre Bronze Powder Learn More

Burnt Umber Pigment

Starting at: £4.00

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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Realgar Pigment

Starting at: £12.75

Realgar, like Orpiment, is sulphide of arsenic, and these two substances are often found in close proximity to each other in nature. Realgar exists in small deposits throughout the world and has been used for its colour since ancient times, although its extreme toxicity means that it has been superseded by cadmiums in modern painting. It is an opaque pigment with poor tinting strength. Toxicity D.

Larger quantities are available by request.

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Ultramarine PB29 Pigment

Starting at: £9.10

PB29

Ultramarine Blue 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/C

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Warm Ochre Pigment

Starting at: £4.96

Warm Ochre Pigment Learn More

Alumina Hydrate Light

Starting at: £8.30

Alumina Hydrate is an inert pigment with highly absorbent properties, which can be ground into oil paint as an almost colourless extender. It is often used as an additive in commercial oil paints, particularly in conjunction with transparent or lake pigments, as it provides stability and a homogenous consistency without effecting colour or gloss, although it may effect the pigment strength. When combined with linseed oil, it produces an almost transparent painting medium for extending oil colours. Sometimes referred to as Lake Base. Learn More

Mars Yellow Pigment

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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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Schmincke Masking Fluid

Starting at: £8.65

Drawing gum for masking specific areas which should remain white on water-colour paper, smooth drawing carton, photographs or films. For direct application with the dispensing bottle. Contains: synthetic resin dispersion without ammonia. Learn More

Roulette Wheels Angled Shaft

Starting at: £40.00

Produces various line and dot patterns. Learn More

Daylight Bulbs

Starting at: £11.50

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

Surrey Ivory Cartridge Paper

Starting at: £67.15

Surrey Ivory Cartridge paper with a cream shade and matt surface. Woodfree and acid free. Pack quantity 100 sheets. Learn More

Rohrer & Klingner Black Drawing Ink

Starting at: £7.40

Drawing Ink (series 29 500). A fine, free flowing pigmented ink. Available in gold, silver, black, sepia and bistre lightfast traditional tones in shellac binder. Learn More

Roberson Linseed Stand Oil

Starting at: £10.50

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.

Stand Oil is paler and more viscous than other Linseed Oils, having been heated and kept at temperature to provoke a molecular change. It is not suitable for grinding colours, but it is a very versatile ingredient that can be thinned with turpentine to create a glazing medium or be included in a varnish. Stand Oil is notable for its ability to smooth out brush strokes to create an enamel-like surface.

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Snowdon Cartridge Paper

Starting at: £1.50

Snowdon Cartridge paper with a white shade and matt surface. Designed for drawing and many printing processes including etching and waterbased silkscreen in 300gsm. Woodfree and acid free Learn More

Fabriano 4 Cartridge Paper

Starting at: £31.30

Fabriano 4 Cartridge paper in bright white shade. Available in either smooth or not surfaces. Woodfree. Pack quantity 25 sheets. Learn More

Roberson Gilders Tips

Starting at: £23.30

Roberson Gilders Tips Learn More

da Vinci Kolinsky Sable Watercolour Series 11

Starting at: £10.60

Made by hand with the highest quality Tobolsky Kolinsky sable. Has more belly than the da Vinci series 10 and therefore higher colour holding capacity. Suitable for all watercolour techniques. Learn More

Korns Litho Tusche Stick

£33.60

108 x 29 x 10 mm. Prepare by mixing with distilled water to desired concentration. Can be used on aquatint as well as litho plates and stones. Recommended for higher quality results. Learn More

Cornelissen Series 1 Kolinsky Sable Watercolour Brush

Starting at: £11.10

Made from the highest quality Siberian Kolinsky sable. Golden ferrule with short black polished hexagonal handle. Round watercolour brush. 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

Pro Arte Series 204 One Stroke Acrylix

Starting at: £4.95

This brush achieves a particularly good sharp edge in all media. Learn More

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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Dragon's Blood Powder

Starting at: £28.10

Dragon's Blood is a natural, resin, mentioned by Pliny in his Natural History. It has a weak tinting strength, and its rich red-colour can be fugitive in direct sunlight. It is fully soluble in alcohol, and can be used to add a warm, transparent tone to spirit varnishes. Also available in lump form.

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Faber-Castell TK4600 Leads

Starting at: £9.95

2 mm lead for Faber-Castell TK4600 pencil. Box of 10 leads. Available in 3B 2B B HB H 2H 4H. Learn More

Rabbit Skin Glue

Starting at: £13.00

For sizing canvas prior to priming with an oil based primer. Do not use under acrylic primer. Soak overnight in water. Heat in double boiler (do not boil). Ratio water:size 13:1. Use while still warm. Rabbit Skin Glue does not contain preservatives. 340 - 360 Bloom Learn More

Winsor & Newton Colourless Masking Fluid

Starting at: £9.25

Application gives a water impervious film to protect areas from colour applied in broad washes. Remove by peeling. Learn More

Canson Mi Teintes Pastel Paper 55 x 75 cm

Starting at: £47.90

160GSM, 75cm x 55cm, 50% Cotton, Acid Free, Tub Sized, Antique Wove, Roller Marked, Textured Surface. Learn More

Search results for '10'