Search results for 'medium'

Renaissance Materials by Dr. David Cranswick.

A thick glazing medium of the 'Old Masters'. Liquid Glass Mediums facilitate building up layers of transparent glaze. Gloss or Satin.

Contains: Damar resin, linseed oil and beeswax (for Satin medium only)

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Medium/Soft Superior NBR Rubber Rollers available in 3 different width and 60mm diameter. Suitable for all fine printmaking applications including wood engraving, lino cut and wood cut. Solid metal handle. Learn More

Roulette Medium Crossed Lines Long handle 10x10 mm. #1 Learn More

Primed Linen. 210 cm (84 inches) wide. Prices per meter. Learn More

Unprimed Linen Learn More

Carborundum Powder. Grid of coarseness: Fine 120/220, Medium 80/120, Coarse 60/80 Learn More

Cornelissen cotton tote bags. Medium 34 x 36 cm. Large 34 x 47 cm. Learn More

Rigid high quality boxes manufactured in clear Polystyrene. Medium and large sizes are ideal for storing loose nibs. Learn More

English Willow Charcoal Learn More

Cornelissen Gilders Tips Learn More

Imparts textue when added to acrylic mediums and primers. Used in lime mortar. Meets paint pigment specificitions in its fine form. Mesh size: Course (Irregular granules), Medium (16) and Fine (100). Learn More

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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English Red Light Pigment Learn More

Medium to thick. Both sides useable for writing. Whiter and less translucent than parchment.

Please note: This is a natural product that has been finished and cut by hand. As such, there may be slight variations in the surface and size of each piece.

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Canvas Carrier M-Clip Learn More

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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Medium to thick with a shiny surface. Distinctive 'pebbled' appearance makes it slightly more difficult to write on.

Please note: This is a natural product that has been finished and cut by hand. As such, there may be slight variations in the surface and size of each piece.

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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

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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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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

PY46

Litharge is lead monoxide, also known as Massicot. It is an opaque pigment, with a weak tinting strength. Its toxicity and fugitive nature means that it is rarely used as a pigment. Instead, its fast drying time means that it has been used as a siccative in oil mediums. The colour tends to darken in all media, and it is also unstable in its dry form, as the powder can lighten when exposed to air. Toxicity D. 

Larger quantities are available by request.

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

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Carnauba Wax is the hardest wax commonly used in the production of artists' materials, with a melting point of 83-86°c. It is derived from a tree native to South America, and is available in a natural colour (grey), or a refined colour (pale yellow). Small amounts of carnauba wax are commonly used in both oil painting mediums and encaustic painting, usually in conjunction with beeswax to add toughness, durability and sheen to the paint film. It creates an inflexible surface, so works best on rigid supports such as gesso panels, and it should be noted that it will raise the melting point of encaustic mixtures. It can produce a glossy finish; as such it is used in waxes and polishes for shoes, cars, musical instruments, furniture, and wooden floors, especially when mixed with beeswax and turpentine. Learn More

PR233

Potter's Pink is an artificial mineral pigment produced by roasting tin oxide with various other oxides. It was first discovered in the pottery region of Staffordshire in the late-1700s, and in the following century Winsor & Newton introduced Potter's Pink into their watercolour range under the name "pink colour". It went on to become a popular addition to watercolour palettes, offering an opaque, lightfast colour with a weak tinting strength and a medium level of oil absorption.

Toxicity A

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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

The introduction of Walnut Oil as a pigment binder is contemporaneous with the emergence of Linseed Oil. Their drying properties have been appreciated since the Middle Ages, and throughout history there is evidence of both oils being used alongside each other within the same painting. In fact, until the sixteenth century, it is believed that Walnut Oil was the preferred binding medium among Italian artists. It is made from mature walnut kernals, offering a pale colour and brilliant gloss. For this reason, it is sometimes chosen as a binder for light colours, as it provides a stronger paint film than Poppy Oil, and faster drying times. However, a paint film made from Walnut Oil will tend to be brittle, so it is more suited to a rigid support rather than canvas. 

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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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Translucent Yellow Oxide (PY42). Artificial mineral pigment, hydrated ferric oxides. Transparent and very lightfast. Stable in all media, medium drying rate in oil. Toxicity B. Learn More

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

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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