Search results for 'Labs'

A glass slab with wooden cradle for the grinding of pigments.

The friction created between the sand-blasted surfaces of the glass slab and muller facilitates the thorough mixing of pigment and medium, creating a consistent and strong paint body. This slab can be used to manufacture many types of paint including watercolours, egg tempera and oils.

Mulling is of particular importance when making oil paint; simply mixing pigment and oil together using a palette knife will result in an unstable substance with poor plasticity, which contains a large amount of excess oil and unevenly distributed pigment particles. Thorough mulling in a figure-of-eight motion will enable the pigment to be fully combined into the binder, strengthening the resultant paint film.

PLEASE NOTE: The separate glass slabs are in stock but it is a call to order item due to the fact that we cannot guarantee its safe delivery, however well we package it. Please ring us to discuss your delivery options. In combination with the glass frame, delivery is more secure but we still cannot guarantee a delivery without breakage.

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Chromium Oxide is a synthetic mixed-metal oxide pigment. It is stable in all media and has an average drying speed in oil, forming a hard, fairly flexible paint film. It is opaque, with a low tinting strength. It has been widely available since the mid-nineteenth century, following its introduction in 1809.

Please note, unfortunately we are not able to send this product outside the UK.

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PBk7

Carbon Black is an inorganic synthetic pigment, created by burning natural gases to form an almost pure carbon. It is semi-transparent, and in oil dries very slowly to a soft, brittle paint film. It requires a wetting agent, and can show in streaks, even when mixed with other colours. 

Larger quantities are available by request. 

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** While stocks last ** Blue Verditer, sometimes referred to as Bremen Blue, is a synthetic form of Azurite, or copper-calcium carbonate. It has a weak tinting strength and is sligtly transparent. It works best in water-based binders, as the acidity of linseed oil can cause discolouration. 

Larger sizes available on request

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Formulated to the exact recipe used by Isaac Newton, this ink is completely permanant, as his surving writings attest. Although composed of very similar ingredients to our Jane Austen Ink, we consider Newton's recipe to be superior, as Austen's has browned slightly over time. Initially a medium blue-grey, it darkens to a rich, matte back, which is slightly warmer in tone than our regular Oak Gall Ink. It is made in small batches and blended to give the required consistency and strength, and is fully waterproof in 5-7 days. Permanent and lightfast, it has been steeped for several weeks and left to ‘mature’ for several more in the bottle. When used on animal skins such as vellum, the acids in the Oak Gall Ink react with collagen, effectively ‘etching’ itself into the surface, hence its permanence. 

Not suitable for fountain pens. Learn More

Gamblin Etching Inks were formulated at the request of professional printmakers in the Pacific Northwest who wanted strong reliable inks for edition printing. The palette of pure intense pigments offers a broad range of color mixing potential. Learn More

Pre-stretched aluminium screens. Our screens use the highest quality monofilament polyester mesh and are available in 43T (for fabric), 90T (for paper) and 120T (for finest detail on paper). The mesh appears in different colours, white is for fabric and yellow is for the higher mesh counts, the colour this makes registering with stencils underneath the screen easier. The screen is made of quality aluminium with a profile of 20mm x 30mm x 1.2mm thick. Learn More

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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Shellac is a natural resin that is deposited by the female lac insect on the branches of trees in India and Thailand. It is soluble with alcohol, but not with mineral spirits or turpentine. It forms a tough yet flexible film, with many applications. It is suitable as a top coat for gilding when applied thinly, a sealant for porous surfaces, an isolating layer for tempera paintings, a base for pigmented inks, a protective layer for collograph plates, and a warm varnish for wooden floors and furniture. As it is prone to darkening with age, it is not recommended as a varnish for oils, and its solubility can reduce over time. There are various grades of shellac. When mixed with alcohol, it may initially form a cloudy mixture, due to traces of wax in the shellac, but this should become clear once it has dried. The highest grades of shellac are Clear Dewaxed Shellac, which has been de-coloured using the carbon filtering method, Lemon Shellac, and Orange Shellac, which are pale in colour. Button Shellac is less refined and therefore produces a reddish varnish. It was, in fact, widely used as a red dye before synthetic dyes became available. Learn More

STABILO CarbOthello is a chalk pastel coloured pencil range available in up to 60 colours. With its wonderfully dry and dusty stroke it is just like a chalk pastel in pencil format. It's very popular with artists, art students and people with creative hobbies. Its high pigmentation guarantees great luminosity and opacity as well as colour fastness and colour brilliance especially on dark backgrounds and delicate papers. What's more it can be sharpened to a very fine tip which make it ideal for detail. Colours can be dry mixed and blended which makes colouring more fun and special.

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Well made metal dippers, available with or without lids. A rubber disc on the inside of the lid helps create a good seal and prevent leaks. Listed measurements are of the widest point of the dipper, not the aperture. Learn More

Cornelissen Gift Vouchers are available in a range of values and can be redeemed both on-line and in our store. Vouchers can be redeemed fully or partly and do not expire. *Virtual gift vouchers will be emailed immediately after the order is placed. Learn More

Fine sand paper type pastel board, available in two colours. Learn More

Handmade in Germany with two high-carbon blades to shave away the wood and precisely shape the pencil lead. Designed to give you a very long, sharp point, it in works in two stages, first stripping the wood away from the lead (hole number 1) and then by honing the exposed lead to a very fine point (hole number 2). Made from lightweight yet durable magnesium. Blades are made of finely ground high-carbon steel with a hardness of more than 62 hrc. Comes with two spare blades, extras are also available. Learn More

Synthetic Inorganic pigment. Opaque. Good tinting strength. Excellent Lightfastness. Low oil absorption with slow drying rate. Suitable for all media. Good acid and alkali resist. Exterior application not advised as discoloration occurs. Used since 19th Century. Toxicity B/C

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PBr7

Burnt Sienna is a natural earth pigment that has been in use since antiquity. Our Burnt Sienna comes from Tuscany, and is produced by calcining Raw Sienna to temperatures of about 450 degrees Celsius. This process creates a rich warm colour and increases transparency. It also offers 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, may be difficult to disperse in acrylic binders. 

Toxicity B

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NR9

The madder plant was once widely cultivated for the red dye extracted from its roots. Its earliest known use is in ancient Egypt, and there is evidence of its widespread adoption in Europe from the medieval period. Madder Lake, the pigment that is derived from the root, has now largely been replaced by synthetic alizarin pigments, but it is still used as an ingredient in some commercial 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. 

Larger quantities are available by request.

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The Unison Bright 8 set, is specially selected by Unison Colour. This smaller set is a perfect addition to a full set if you want to increase the number of vibrant colours in your collection.

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Made from organic walnut husks collected in Cambridgeshire, this deep brown walnut ink is made to an 18th-century formula. Small batches of the ink are blended to give the required consistency and strength. It has good permanence, but will eventually fade if left in direct sunlight for sustained periods of time, and is not wholly waterproof, but has some staying power, especially on sized watercolour papers. As with all handmade products derived from natural ingredients, there may be slight variations in the colour and consistency as a result of seasonal changes.

Not Suitable for fountain pens. Learn More

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 light-fastness. 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

[ONLY AVAILABLE ONLINE] Schmincke PRIMAcryl is a high viscosity premium acrylic range of 84 premium shades. Artists quality high pigment content gives all the shades a new dimension of brilliance and expressiveness. The titanium white is unparalleled. It's high pigmentation, opacity and cover rate enables incredibly brilliant mixtures. No colour shift between the wet and dry states. High lightfastness level either 4 or 5 stars indicates the quality of these premium acrylic paints. All colours do not yellow and the dried paint layers are durable, flexible and water resistant. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

This lightweight set contains a selection of 24 Artists’ Water Colour half pans. Includes: Winsor Yellow, Indian Red, Raw Umber, Burnt Umber, Payne's Grey, Ivory Black, Chinese White, Aureolin, Indian Yellow, Winsor Red, Permenant Alizarin Crimson, Permanent Rose, Winsor Dioxazine Purple, French Ultramarine, Cobalt Blue, Winsor Blue (Green hue), Cerulean Blue, Burnt Sienna, Raw Sienna, Lemon Yellow (Nickel Titanate), Winsor Orange, Prussian Blue, Viridian, Indigo. Actual contents may vary depending on availability at Winsor & Newton. Learn More

PB32

Smalt is a kind of cobalt blue glass or frit, and its use as a pigment dates from the 1600s in the glass-making regions of Saxony. We offer two shades, light and dark, which are determined by the particle size of the pigment; the more finely ground the powder, the paler the colour. Before the introduction of Ultramarine Blue, Smalt was available in a wide variety of grades. It is a very transparent pigment, which is easily overwhelmed in mixtures due to its weak tinting strength. It works best in water based media. When ground in oil, it can become almost invisible in dried oil-paint films because its refractive index is so close to that of linseed oil.

Larger quantities are available by request.

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Gum Sandarac, derived from a coniferous tree, is available in powdered or lump form. It can be dissolved in alcohol to create a varnish that is suitable as an isolating layer in oil painting and as a traditional top coat for egg tempera. It forms a brittle layer, so is only suitable for use on a rigid support. Another application is as a surface preparation for calligraphy; the ground gum can be dusted across a piece of prepared vellum or paper to create a resist, which shrinks ink strokes slightly, making them appear finer, with crisp edges. Learn More

Safflower Oil is light-coloured, making it suitable for grinding pale pigments. It is still sometimes used as a binder for commercially available paints, although due to its very slow drying time it is best reserved for the final layers of a painting. Compared to Linseed oil, Safflower Oil will give a matte finish.

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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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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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Lead Tin Yellow Dark Pigment. Larger sizes available. Please ask for quotation. Toxicity D. Domestic shipping only Learn More

Roberson Bushey books are available in two landscape sizes (11.3 x 18 cm and 18 x 23 cm), each one of which has a perforated and a non perforated version. 60 sheets / 120 pages Thread Bound Fedrigoni Arena Natural White Paper 100gsm Acid Free. Alkaline buffered, archival quality. Learn More