Search results for 'Red'

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 powdered form.

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Silverpoint Stylus, Artisan.

The Maestro, Artisan and Artista Silverpoint Styli are inspired by Jan Gossart's painting of Saint Luke drawing the Virgin from the early sixteenth century. Each stylus has been hand-forged from silver bullion to form two gradually tapered points, which can be easily re-sharpened with fine sandpaper. Length 175 mm. For use on prepared paper.

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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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Sosaku inking brush for working the pigments and glue paste onto the carved block for printing. These are made from horse hair and are traditionally prepared by splitting and softening the hair on shark-skin or sandpaper before printing. Brushes come in 3 sizes. Learn More

From the Winsor & Newton website: This reliable favourite is a general purpose semi gloss medium which speeds drying, improves flow and reduces brush stroke retention. Halves the drying time of conventional oil colour (touch dry in 1-6 days depending on colour and film thickness). Resists yellowing. Not suitable as a varnish or final coat. Learn More

Short haired pure sable brush fo extra control and strength while spotting and retouching. Learn More

For cleaning marble. Mix with water to thick paste. LAPONITE® is a registered trademark of BYK Additives Ltd Learn More

From the Cranfield website:

An almost transparent painting medium based on refined linseed oil and alumina. It is similar in consistency to Studio Oil Colours in tubes. It does not promote quick drying and may be used to extend oil colours. It can be used in large ratios where the desired effect is to increase yellowing and darkening of pale colours. It will not increase gloss.

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Daniel Smith "Try It" Dot Cards are a great way to sample this wonderful new range. Each colour dot has been placed on to a "Try It" Card which is actually watercolour paper. You can then wet each colour dot and use the card as a sort of palette. You'll be amazed just how far one dot of colour goes. You can even revisit a colour at a later date by re-wetting it. *Please note, this product is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

The Unison Midnight 8 set was created by the colour experts at Unison Colour. Unison Pastels partnered with Australian artist, Chris Blake, to create Dark 19 and 20, and with British artist, Robert Dutton, to create Dark 24. The set also includes Carbon Black 1 and 2. These two colours are their darkest ‘black’ pastels. The eight colours in the Midnight Set are unrivalled in the soft pastel format.

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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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CASANEO Wash brush - Made from extra soft synthetic fibres with an extraordinary elasticity and an extremely high colour absorbing capacity - Manufactured in plastic quills - Bound on black lacquered handles - Ideal for watercolour painting and liquid acrylic colours - Extremely high colour absorbing capacity - Extraordinary elasticity Learn More

Enhances blending, workability, and adhesion of acrylic colours for painting acrylics directly on to fabric. Reduces paint stiffness. No heat setting required. Learn More

Buff Titanium is great for value studies and provides a gorgeous, classic-looking surface for work in neutral grays, earthy reds, black and white. *Please note, this product is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

NR9 Rose Madder is an alizarin lake pigment made by precipitating dye extracted from madder root onto an inert 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 Learn More

Apply directly to canvas or board to give a slightly textured white surface. Learn More

Canada Balsam is an oleoresin, meaning that it is a mixture of essential oils and resin. It comes from the fir tree Abies balsamea, native to Canada and the eastern states of North America. It is notable for its pale colour, clarity and gloss, making it a useful ingredient in recipes for oil-painting mediums.

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From the Winsor & Newton website: Our most popular oil. A low viscosity alkali refined oil of pale colour that dries slowly. Reduces oil colour consistency. Increases gloss and transparency. Add to other oils to slow drying. Learn More

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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Reverse Cover Text: Did you know that the Egyptians created the first synthetic colour; or that the noblest purple comes from a predatory sea snail? Throughout history, artist pigments have been made from deadly metals, poisonous minerals, urine, cow dung, and even crushed insects. From grinding down beetles and burning animal bones to alchemy and serendipity, Chromatopia reveals the origin stories of over 50 of history's most extraordinary pigments. Spanning the ancient world to modern leaps in technology, this book for the artist, the history buff, the science lover an the design fanatic. "David has spent the entire life up to his elbows in this subject - he covers colour with beauty, depth and understanding. Anyone who has ever wondered about the origins of mummy brown, Tyrian purple or how manure makes the purest white need look no further." Narayan Khandejar, Director of the Straus Center for Conservation and Technical Studies, Harvard Art Museums

Please note, the book is now only available in a paperback format.

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Extra short haired brushes for miniature painting. Kolinsky sable. Learn More

Cornelissen Etching Press T52100B 52 x 100 cm, Bed size: 52 x 100 cm, Upper Roller Diameter: 110 mm, Lower Roller Diameter: 110mm, Weight: 83 kg. Etching press base: 56 x 44 cm. Please call Cornelissen for more details. Delivery to your address usually takes up to 4 weeks to UK & EU countries and 6 weeks to USA after the order is placed. Please be aware these goods are heavy and it is the customer’s responsibility to check measurements for delivery before orders are placed and to be able to receive the goods over two days.

 

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Shell gold, so named because it was historically made and stored in a shallow shell such as a mussel shell, consists of finely powdered genuine gold mixed with a variety of gums. It is mixed with a bit of water and applied in the same way as watercolour. After drying for an hour or so, it can be burnished to a soft, beautiful lustre using an agate stone burnishing tool.
Our Shell gold is used by calligraphers, framers, restorers, iconographers and watercolour artists.
In recent years our colour range of genuine gold has been extended and genuine Lapis Lazuli and genuine Malachite have also been added. Learn More

PB35

Cerulean Blue is an artificial mineral pigment that is prepared by heating a mixture of Cobalt Chloride and Potassium Stannate. It was first synthesised in the early nineteenth century, becoming more widely used from 1870, when Rowney introduced Coeruleum Blue into their range. It produces a very bright, clear, and unusually opaque blue, hence its name, which is derived from the Latin for "sky-blue", or perhaps "heaven-blue". It has a very low tinting strength meaning that, although it is stable in all media, some artists may choose to bind it in poppy rather than linseed oil, so that the colour isn't affected by the colour of the binder. It creates a fairly flexible paint film, and is a fast-to-medium drying pigment.

Limeproof

Toxicity: B

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Daniel Smith PrimaTek colours are unique paints made with pure, authentic mineral pigments that are mined directly from the earth and each one has a story. These colours have captured the imagination of artists for hundreds or even thousands of years. Their diversity is amazing. *Please note, this product is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

TROPICAL SET Inspired by Bermuda and Caribbean adventures, Michael Harding created this set to capture the essence of the tropics and natural beauty of the islands. 6 x 40ml tubes. The Tropical set contains: Warm White Yellow Lake Brilliant Pink Phthalocyanine Blue Bright Green Lake Cobalt Teal Learn More

Used in printmaking. Imparts softness and greasiness. An ingredient for producing soft etching ground. Learn More

Extra long haired synthetic brush for signwriting or lining. Square tip. Learn More

Nine pigments, especially selected for L. Cornelissen & Son by Aidan Hart, renowned icon painter, writer and lecturer. Learn More