Search results for 'palette'
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Plastic 10 Well Round Palettes
Starting at: £1.70
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Plastic 10 Well Round Palettes Learn More -
Plastic 9 Well Flower-shaped Palette
Starting at: £2.95
Plastic 9 Well Flower-shaped Palette Learn More -
Ceramic 7 Well Flower-shaped Palette
Starting at: £9.80
Ceramic 7 Well Flower-shaped Palette Learn More -
Holbein White Plastic Reversible Palette
Starting at: £4.90
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Holbein White Plastic Reversible Palette Learn More -
Schmincke Horadam Box 48 Half Pans
Starting at: £271.95
Schmincke Horadam Box 48 Half Pans. Learn More -
Schmincke Horadam Box 24 x 5ml Tubes
Starting at: £209.60
Schmincke Horadam Box 24 x 5ml Tubes. Learn More -
Colour Shapers
Starting at: £7.00
Unique silicone tipped tools for painting heavy mediums such as acrylic and oil paint. Excellent for spreading adhesives and appplying masking fluid. Can be used with Batik and encaustic wax. Available in soft ivory tip and firm grey tip. Learn More -
Schmincke Mussini Oil Medium 3
Starting at: £9.45
Highly siccative painting medium. Dries on the palette with 40 minutes. Use sparingly to prevent gloss.
From the Schmincke website:
Medium for oil colours rich in resin (“lean”). Accelerates drying; increases gloss and depth; makes the colour layers more resistant. Close immediately after use. Dosage: 10% to 20%.
Contains: aldehyde resin, mineral spirit, siccative, stand oil.
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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
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Roberson Artists' Oil Colour 225 ml
Starting at: £29.60
Unlike other commercially available oil paints, Roberson Artists' Oil Colours do not contain any fillers, extenders or stabilisers. Each paint consists solely of high-quality pigment that has been ground into cold pressed linseed oil, resulting in a highly pigmented paint. This strength of colour presents the possibility of greater economy of use and a less homogenised texture between each tube, instead allowing the unique qualities of each individual pigment to reveal themselves. By limiting our range to 59 shades, we dispense with colours that can be easily mixed, creating a focussed palette of intense, lightfast paints that offer limitless combinations.
Available in 40ml and 225ml tubes
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Lapis Lazuli Pigment
Starting at: £10.20
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PB29
Lapis Lazuli is a natural mineral pigment, mined in Afghanistan and South America. For many centuries it was the most reliable blue pigment available, and became particularly significant during the Medieval and Renaissance periods, when its inclusion in a work of art denoted the wealth and status of the patron, or the holiness of a painting's subject. In commercial paint production it has largely been replaced by the more affordable Ultramarine Blue, although it still has a place on modern palettes due to its unique soft violet tone. It is a transparent pigment, with a low tinting strength.
Larger quantities are available by request.
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Golden Heavy Body Acrylic 473ml
Starting at: £38.60
The first acrylic colors offered by Golden Acrylic, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More -
Schmincke Oil Medium N
Starting at: £9.60
This product does not contain turpentine, and can therefore be suitable for artists with allergies.
From the Schmincke website:
A neutral, nearly non-yellowing, painting and thinning medium for oil colours. Suitable for all painting techniques except for early layers on absorbent undergrounds (not lean enough); has a low impact on drying time. For dilution, use terpin (max. 30%). Dosage: 10 to max. 20%. Contains: alkyd and acrylic resin, mineral spirit.
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Gamblin Gamsol Mineral Sprit
Starting at: £11.00
Gamsol is an odourless mineral spirit created by the American company Gamblin. They describe it as "the safest solvent that allows oil painters to utilize all traditional painting techniques without compromise."
Please see below for Gamsol's primary applications.
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Potters Pink Pigment
Starting at: £7.30
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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Roberson Impasto Medium
Starting at: £15.50
Roberson Impasto medium is a crack-resistant medium for impasto effects. It retains palette knife and brush strokes, giving the paint sharp, defined edges. It remains thick and doubles paint easily, drying to a matte finish. To retain colour strength, mix one part medium to one part oil colour.
Contains: Stand Oil, Damar Resin, Turpentine, Bleached Beeswax.
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Liquitex Acrylic Slow-Dri Retarder
Starting at: £12.35
Increases drying and blending time. Reduces skinning on palette. Use for wet-in-wet techniques. Learn More -
Gamblin Relief Printing Inks 175ml
Starting at: £16.00
Gamblin Relief Inks are formulated for all relief techniques, including woodblock, linocut, monotype, and Solarplate. They contain the right amount of stiffness and tack to hold fine detail yet spread evenly on the block or plate. The palette of ten colors is designed to give artists intense pure pigmented colors straight from the jar, along with a wide range of color mixing capabilities. Gamblin Relief Inks are all bound in the highest quality Burnt Plate Oil. Learn More -
Cinnabar Pigment
Starting at: £16.00
PR106
Cinnabar, composed of mercuric sulphide, is a mineral pigment found in crusts or veins in sites of volcanic activity. It has good tinting strength and opacity but, like many red pigments, it dries very slowly in oil media. Due to its high toxicity, it is no longer an ingredient in commercial paints, but is a prominent colour in historical palettes.
Generally, Cinnabar refers to the natural mineral, while Vermilion refers to the synthetic pigment. Cinnabar has been mined since at least the tenth millennium BC, and used as a painting material, gemstone, and ritual object by many cultures around the globe.
Larger sizes available on request.
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Roberson Studio Safe Beeswax Medium
Starting at: £15.00
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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Cylindrical Dippers
Starting at: £4.95
Small metal dippers, roughly 36mm in diameter so as to take up very little real estate on your palette. Learn More -
Ultramarine Blue Limewash Pigment
Starting at: £6.30
PB29
Ultramarine Blue Limewash 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. Most Ultramarine colours It react to alkali and are therefore unsuitable for use in lime-fresco; Limeproof Ultramarine Blue remedies this problem. 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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