Search results for 'wax'

Pelikan Nakiplast modeling clay is soft, pliable high-quality wax dough made with beeswax. Brightly coloured but does not stain hands. Learn More

Classic 1960's design. Made from solid alder. 15cm. Available in natural waxed or black stained alder. Learn More

PB29

Ultramarine Blue Light 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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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

This resist is painted onto the plate in a thin even layer with a soft flat square-ended brush. When this clear layer is dry it may be coloured or drawn into with etching needles, roulettes and steel wool. The waxy character allows the needle to glide through its surface. After drawing the coloured coating (if used) is removed, the image is stopped out if necessary, then the plate is etched. As the resist is clear the artist can monitor the etching process accurately. Learn More

This unique colour is an intense orange oxide that is made from the decay of Victorian pipes mixing with the chalk bed of the infilled docks at Rotherhithe, in south east London. Rotherhithe has a long history as a port, with many shipyards from Elizabethan times until the early 20th century and with working docks until the 1970s, when they began to be infilled due to a decline in imports to Central London. With a fine particle size and transparent quality this pigment would be great for glazing techniques.

Follow @londonpigment on Instagram for an insight into the stories behind the colours and how she makes them. 

NOTE: many of these colours are made in extrmely limited batches so please email us at info@cornelissen.com for further infomation on what is currently availible. 

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Bitumen, turpentine, quick drying petroleum, wax. Hard etching ground. Allows long etching time with no risk of scaling. 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

Artists' quality metallic oil paint sticks for painting & drawing. Non-tarnishing and highly pigmented, these soft paint sticks are made with an unique mix of mica pigments, oils and waxes which generate a solid metal effect. Easy to use alongside regular oil paint. Blend and shade the colours together to make further shades. Treat as oil paint for surface preparation and clean-up. Learn More

This pigment comes in a 20 ml glass vial with hand finished wax seal and label. Learn More

Treasure Gold is a metallic wax which is unparalleled in restoring gold lead and the finishing touches for antiquing. Blend any of the colours together for just the right shade. Apply with the fingers or a cloth and buff lightly. The metal lustre won't fade or tarnish. It is ready to be polished in ten minutes. Treasure Gold is highly concentrated and is to be used sparingly. A 25g jar will cover approximately 2sq/m. Learn More

Hand made from Georgian bricks found on the foreshore of the Thames near Tower Bridge. A warm yellow brown colour with a mixture of fine and coarse grains for a lively texture. Try this pigment if you like to experiment with materials that introduce an element of chance in your work. Presented in a 20 ml bottle with a wax seal and label. Learn More

This colour comes in a 20 ml glass vial with hand finished wax seal and label. Learn More

A pure form of glue from animal tissue. Used for sizing paper. Used in gliding and for weak sizes in isolating layers in tempera painting. Learn More

HMG Acrylic Restoration Adhesive. Heat and waterproof adhesive for repairs to pottery, wood, porcelain, leather etc. Not suitable for use on rubber. 14ml. Learn More

Pearl Glue is a traditional animal-based wood glue made from bone, used for veneering, joinery and antique restoration. 170-200 bloom. Learn More

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

Carrageen Moss is a seaweed that is gathered from the Irish coast, whose natural thickening properties are often exploited by the food industry. It is also used as a size in traditional paper marbling, as it allows colours to float and be manipulated on the surface of the water. Learn More

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

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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For sizing canvas prior to priming with an oil based primer. Do not use under acrylic primer. Soak overnight in water. Heat in double boiler (do not boil). Ratio water:size 13:1. Use while still warm. Rabbit Skin Glue do not contain any preservatives. 340 - 360 Bloom Learn More

B72 Acrylic Adhesive is touch dry in 3-5 minutes, surface dry in 1 hour and hard dry in around 6 hours. Not having instant grab, fragments can be easily re-adjusted and surplus adhesive removed with acetone, making any joint virtually invisible. It’s ideal for repairs to pottery, wood, metal, glass, ivory and many porous substances. 14ml. Learn More

Gelatine Capsules Learn More

Isinglass is derived from the dried swim bladders of fish, with Salianski Isinglass being the highest grade available. In the Russian Icon tradition, it commonly provided the glue component in gesso recipes, and was sometimes mixed with pigment to make tempera paints, due to its high binding strength. It can be used to make a pale, clear glue, which is less prone to darkening than other animal glues, and which is particularly flexible, making it a useful material for repairing textiles. Learn More

Acticide SPX Preservative Learn More

Schmincke gouache binder Learn More

From the Cranfield website:

A pereparation of pure beeswax in white spirit, this is used to achieve a soft sheen on your finished painting. It will retard drying, allowing you to achieve a range of effects.

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A safe wax medium for impasto effects. This medium retains palette knife marks and brush strokes, remains thick and doubles paint easily, drying to a matt finish.

Studio Safe products are non-aromatic, non-flammable, and have a pleasant orange smell.

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A final picture varnish suitable for both oil and acrylic paintings. unable to send overseas. Learn More