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  1. Pearl Lustre Pigments 7g

    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
  2. Pearl Lustre Pigments 1 kg

    Pearl Lustre Pigments 1 kg

    Starting at: £94.00

    Call to Order

    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
  3. Cornelissen Pearl Lustre Pigments 100g

    Cornelissen 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
  4. Casein Lactic

    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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  5. Indian Red Pigment

    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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  6. Mars Yellow Pigment

    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

    Learn More
  7. Mars Red Pigment

    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

    Learn More
  8. Bleached Beeswax

    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.

    Learn More
  9. Yellow Ochre Pigment

    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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  10. Cobalt Blue Pigment

    Cobalt Blue Pigment

    Starting at: £6.50

    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 specifically used this name in the late-Middle Ages, as the presence of Cobalt ore in the mines made the extraction of silver very difficult. They were possibly aware of the toxic properties of the mineral 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

    Learn More
  11. Ammonium Carbonate

    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
  12. Alizarin Crimson Pigment

    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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  13. Raw Sienna Pigment

    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

    Learn More
  14. Mars Violet Pigment

    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

    Learn More
  15. Natural Beeswax

    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.

     

    Learn More
  16. Gamboge Pipe Pieces

    Gamboge Pipe Pieces

    Starting at: £22.00

    Gamboge is a natural tree resin, generally extracted by tapping of Garcinia trees, available as a powder and in the solid "pipe" form. One of the unique features of Pipe Gamboge is that it does not require a binding agent to be used as a paint. Instead, colour can be lifted with a wet brush, as from a watercolour pan. When used as a water colour, it gives a bright transparent golden yellow colour. It is highly transparent, fugitive to light, with a weak tinting strength. The powder can be dissolved in alcohol to colour resin-based varnishes. Gamboge was used from ancient times to dye the clothes and also to make a transparent yellow varnish for the colouring of wood, metals and leather.

    Pipe Gamboge is available while stocks last. Larger quantities are available by request.

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  17. Ivory Black Genuine Pigment

    Ivory Black Genuine Pigment

    Starting at: £38.00

    PBk9

    Genuine Ivory Black is produced by burning reclaimed ivory, such as piano keys. These are antique, mainly Victorian pieces, using ivory with started out as hippo or walrus teeth, and offers a higher carbon content and greater tinting strength than modern-day equivalents, which are usually derived from animal bones. It is a particularly slow-drying pigment.

    Larger quantities are available by request. While stocks last.

    Learn More
  18. Whiting

    Whiting

    Starting at: £4.00

    Whiting is powdered Calcium Carbonate, which can be mixed with rabbit skin glue to create a chalk-based ground for oil, tempera, distemper or encaustic painting. Traditionally, whiting was an important ingredient when preparing painting surfaces in the north of Europe, as opposed to gypsum (Calcium Sulphate), which was widely used south of the Alps. Learn More
  19. Yellow Ochre Light Pigment

    Yellow Ochre Light Pigment

    Starting at: £4.96

    Yellow Ochre Light pigment Learn More
  20. Powdered Rosin

    Powdered Rosin

    Starting at: £13.90

    Rosin is the powdered form of colophony, which is a by-product of the distillation of turpentine. Its primary application is to create tonal areas on metal plates as an aquatint resist. It is also an additive in etching grounds, where it gives a hard surface to the otherwise soft wax. Learn More
  21. Parchment Clippings

    Parchment Clippings

    Starting at: £9.90

    Parchment Clippings, usually waste goatskin vellum, were utilised throughout the Middle Ages to make an animal hide glue. This continued to be commonly used as a sizing for canvas before rabbit skin glue came to prominence in the nineteenth century. Parchment glue is comparable to isinglass glue, as it also produces a very pale, almost transparent glue with a degree of flexibility. Our parchment clippings are a mixture of vellum scraps, and may include goatskin, calfskin and sheepskin. Cennino Cennini gives a recipe for gesso using parchment in his treatise about painting; please see below for our recipe. Learn More
  22. Translucent Red Oxide Pigment

    Translucent Red Oxide Pigment

    Starting at: £9.80

    Translucent Red Oxide (PR101). Artificial mineral pigment, hydrated ferric oxides. Transparent and very lightfast. Stable in all media, medium drying rate in oil. Toxicity B. Learn More
  23. Empty Watercolour Pans

    Empty Watercolour Pans

    Starting at: £0.60

    Empty Watercolour Pans Learn More
  24. Schmincke Mussini Limited Edition Ruby Red 15 ml

    Schmincke Mussini Limited Edition Ruby Red 15 ml

    £26.00

    Schmincke Mussini Limited Edition Ruby Red 15 ml Learn More
  25. Lemon Yellow Pigment

    Lemon Yellow Pigment

    Starting at: £7.00

    Lemon Yellow Pigment (PY31). Synthetic Inorganic pigment (Barium Chromate). Opaque but transparent in a glaze. Low tinting strength. Excellent Lightfastness. Low oil absorption with medium drying rate. Recommended for oils but can turn slightly greenish when mixed with binder. Used since beginning of the 19th Century. Toxicity D

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

    Learn More
  26. Azure Blue Pigment

    Azure Blue Pigment

    Starting at: £12.00

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

    Toxicity: C

    Limeproof

    Learn More
  27. Oriental Blue Pigment

    Oriental Blue Pigment

    Starting at: £5.40

    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
  28. Warm Ochre Pigment

    Warm Ochre Pigment

    Starting at: £4.96

    Warm Ochre Pigment Learn More
  29. Z

    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

    Learn More
  30. Vermilion Genuine Pigment

    Vermilion Genuine Pigment

    Starting at: £17.00

    PR106 Vermilion is an artificial pigment based on mercuric sulphide, which occurs naturally as Cinnabar. The synthetic form contains fewer impurities than Cinnabar, and was in use in China as early as the fourth century. It was present in Europe from the ninth century, and was the most widely used red pigment until the introduction of Cadmium Red in the early twentieth century. It has good tinting strength and opacity but, like many red pigments, it dries very slowly in oil media. Toxicity D. Larger sizes available on request. Domestic shipping only Learn More

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