Search results for 'acid'

Ink made from pure copper metal leaf that has reacted with distilled vinegar. ****Please note, these inks are artisan made in small batches. Please email info@cornelissen.com for availability**** Learn More

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

Daler-Rowney Calligraphy Paper is a high-quality parchment-style paper. The paperweight is 90gsm. It is suitable for calligraphy, pen and ink work, and certificate writing. Learn More

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.

Alkali Refined Linseed Oil has been treated to reduce its acidity, and is a useful ingredient in mediums and varnishes.

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Saunders Waterford paper is a mould-made,100% cotton paper for watercolour painting with two deckle edges. Acid-free, gelatine tub-sized and calcium carbonate buffered. 

Mail-order customers are able to buy this paper in packs of 10 sheets. Single sheets are also available in our shop. 

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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

Liquid lithographic ink and solid (tushe) lithographic ink are highly resistant against acids and can be used to draw on stone, aluminium and zinc plates. Uses a highly dispersed pigment that is compounded from shellac, wax and soap. While the liquid ink is suited for complete covering, the tushe ink is excellent for halftones and transitions. * Please note that the Litho Tusche now comes in a cylindrical shape, rather than the rectangular stick photographed. Learn More

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

Mould-made, 50% cotton, surface sized and acid-free. Spiral bound short edge. 25 sheets per pad. Hot-pressed (HP) surface. 300 gsm. Learn More

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. Cold Pressed Linseed Oil is ideal for the grinding of pigment to make oil paints. The process of producing Cold Pressed Linseed Oil results in a lower yield, but the resultant oil is of a superior quality to oil that has been extracted by other methods, creating a paint film that is more resistant to embrittlement on aging. Its yellow colour is caused by the high concentration of linolenic acid, the presence of which provides durability to the paint film. The amount of oil that each pigment requires can vary enormously. Alizarin Crimson, for example, requires a high percentage of oil compared to most other colours. We would always recommend mulling the pigment and oil together thoroughly to create a "short" or buttery paste, with evenly dispersed, well-coated pigment particles. This process contributes to the strength and flexibility of the paint film, and prevents the inclusion of excess oil. Origin: USA Learn More

** 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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Exclusive to Cornelissen, our intense black Iron Oak Gall Ink is inspired by a medieval recipe using oak galls collected in Cambridgeshire. The small, handmade batches are blended to give the required consistency and strength, and are steeped for several weeks and allowed to mature for several more. Lightfast and fully waterproof 5-7 days after application, Oak Gall Ink has been used for centuries by calligraphers and scribes to create illuminated manuscripts and legal documents. 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. As with all products derived from natural ingredients, there may be slight variations in the colour and consistency of the ink due to seasonal changes. Not Suitable for fountain pens.

 

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These black or white coatings may be painted onto a dry layer of Hard resist so that the drawing made with etching tools is highly visible. The coloured coatings are not acid-resistant and are designed to be washed away with water before the plate is stopped-out or etched. Learn More

Oak Gall Ink was originally used in monasteries and by the Crown in medieval Britain. Doomsday Ink initially lays down as a medium blue-grey, darkening to a rich, matte black, slightly warmer in tone than our other Oak Gall Inks. When diluted, beautiful warm red undertones are revealed due to the presence of wine within the mixture.

Not suitable for fountain pens.

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Composed of wax, tallow and Syrian asphalt, the litho chalks feature high resistance against acids. To maintaine quality of the stone, they do not seal the pores of the stone surface. Available in six degrees of hardness with No. 0 being the softest, No. 5 the hardest, and No. 3 the most commonly applied. Learn More

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

Our Cornelissen-branded sketchbooks are a popular, durable, and versatile choice. The acid-free, 140gsm paper is perfect for drawing and all dry-media techniques. The standard sizes (A6, A5, A4 and A3, portrait and landscape) contain 46 pages, while the chunky square formats contains 95 pages. Learn More

This ink is made to the recipe that Jane Austen used to draft her novels. Austen's maid took this formula from Martha Lloyd's book, ‘The House Keeper’. She used good-quality English oak galls, but poorer quality beer than Isaac Newton, and added a little sugar. Her recipe is less stable and turns ‘antique brown’ over a long period of time, while Sir Isaac Newton's remains black. Initially a medium blue-grey, it darkens to a rich matte back, 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

Gelatine free. A mould-made, acid-free 100% cotton watercolour paper with 2 deckle edges.

Mail-order customers are able to buy this paper in packs of 10 sheets. Single sheets are also available in our shop.

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46 sheets of acid-free 140 gsm paper, dark green cover imprinted 'L.CORNELISSEN & SON' on front lower-right corner. Learn More

A mould-made, acid-free 100% cotton watercolour paper with 2 deckle edges. Mail-order customers are able to buy this paper in packs of 10 sheets. Single sheets are also available in our shop. Learn More

Ideal for ink, pencil, charcoal, pastels, as well as for you every intellectual whim. Made of four elegant colours of Fabriano CMF Ingres 90 gsm (acid free and lightfast). Learn More

Daler-Rowney Ingres Pastel Paper is a laidline-textured paper presented in 2 pads of colour assortments. The sheets of Ingres Paper are separated by a blank paper allowing the artist to work on the back of one sheet while keeping the work of the next sheet protected. Gridline textured acid-free paper. Cylinder moulded. 160gsm. Provides excellent tooth for pastel work. Learn More

Soft Sewn Sketchbook. 64 Pages, 120GSM Acid-Free Paper. Learn More

Mould-made, 50% cotton, surface sized and acid-free. 10 sheets per pad. Hot-pressed (HP) surface. 300 gsm. A4 and A3 pads are glued on the short edge, and A5 pads are glued on the long edge. Learn More

Poppy Oil is a slightly later addition to the artist's cabinet than Linseed Oil and Walnut Oil. It is generally used as a binder for pale colours, where the warmth of Linseed Oil is not desired. It provides a matte finish and dries very slowly, so we would not advise using it in conjunction with slow-drying pigments or in underpaintings. A paint film produced by Poppy Oil is weaker and softer than that created by Linseed Oil. This is because it contains a smaller percentage of linolenic acid than Linseed Oil; this substance imparts both strength and yellowness to an oil.  

Although some of these properties can be perceived as drawbacks, paints made with Poppy Oil generally obtain a "short" or buttery texture without the addition of waxes or other additives, which can be an advantage for certain colours that produce poor consistencies in Linseed oil alone. Sometimes, the addition of a small quantity of Poppy Oil when grinding a tricky or "stringy" pigment in Cold Pressed Linseed Oil can introduce some of benefits of Poppy Oil, without transmitting its negative characteristics.

Paints made with Poppy Oil are particularly suited to "alla prima" working methods, where paint is applied spontaneously. When working in successive layers, Poppy Oil would only be appropriate for the final stages of a painting.

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Thread-stitched for a solid binding, this sketchbook features 190gsm, natural white paper. The smooth surface allows for clearly defined hatchings and pen work, as well as beautiful gradients of colour. Suitable for the use of all dry painting techniques in addition to wet colours. This versatile paper is encased in a linen surfaced grey hardback cover, with a red ribbon page mark. Acid free. Learn More

Arches Aquarelle paper is a mould-made, 100% cotton watercolour paper. It is available in hot pressed, cold pressed and rough surfaces. Gelatine tub sized internally and externally with four deckle edges, acid free and pH neutral.

Mail-order customers are able to buy this paper in packs of 5 or 10 sheets depending on the gsm. Single sheets are also available in our shop.

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Cadmium Yellow Light Pigment (PY37). 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. Learn More