Search results for 'Mediums'

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)

Learn More

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.

Learn More

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.

 

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

Learn More

English Willow Charcoal Learn More

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

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

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. 

Learn More

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

A glass slab with wooden cradle for the grinding of pigments.

The friction created between the sand-blasted surfaces of the glass slab and muller facilitates the thorough mixing of pigment and medium, creating a consistent and strong paint body. This slab can be used to manufacture many types of paint including watercolours, egg tempera and oils.

Mulling is of particular importance when making oil paint; simply mixing pigment and oil together using a palette knife will result in an unstable substance with poor plasticity, which contains a large amount of excess oil and unevenly distributed pigment particles. Thorough mulling in a figure-of-eight motion will enable the pigment to be fully combined into the binder, strengthening the resultant paint film.

PLEASE NOTE: The separate glass slabs are in stock but it is a call to order item due to the fact that we cannot guarantee its safe delivery, however well we package it. Please ring us to discuss your delivery options. In combination with the glass frame, delivery is more secure but we still cannot guarantee a delivery without breakage.

Learn More

English Red Light Pigment Learn More

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

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.

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

Learn More

Cobalt Yellow Pigment, Aureolin (PY40). Synthetic Inorganic pigment (Potassium Cobaltinitrate). Transparent. Good tinting strength. Very good Lightfastness. Medium to high oil absorption. Suitable for all media except Lime-fresco. Used since mid 19th Century. Toxicity C.

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

Learn More

PBk8

Vine Black is derived from charred vines, forming an organic pigment of pure carbon. It has been in use since antiquity, providing a cold black with bluish undertones, which creates a blue-grey when mixed with white. It is a very lightfast, slow-drying colour with a medium tinting strength. It requires a wetting agent to disperse properly, and is not suitable for use in fresco, mortar or cement, as the water-soluble impurities within the pigment can create efflorescence. 

Toxicity: A

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.

Learn More

PBr7

Burnt Umber is a natural earth pigment from Italy, composed of iron oxide, manganese, and aluminium silicate. It is a form of Raw Umber that a has undergone a process of calcination, becoming warmer, more transparent and easier to disperse. It has a good tinting strength, and is very lightfast, quick-drying, and stable in all media. In oils it forms a hard, fairly flexible paint film, though it may be difficult to use in acrylic mediums.

Toxicity: B

Learn More

Pearl Lustre Bronze Powder Learn More

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

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

PR101

Mars Red is an artificial mineral pigment. Its pigment code, PR101, refers to a wide spectrum of synthetic iron oxide pigments including yellows, oranges, reds, violet-browns and green-browns, which 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.

Toxicity: B

Limeproof

Learn More

Chrome Yellow Light Pigment (PY34). Synthetic Inorganic pigment (Lead Chromate). Opaque. Good tinting strength. Lightfastness is good, but in some cases unstable as it can darken and turn greenish. Low oil absorption with fast drying rate. Recommended for oils not suitable for water-based mediums. Used since late 18th Century. Toxicity D.

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

Learn More

Canvas Carrier M-Clip Learn More

Damar is a pale, almost colourless tree resin, which is soluble in turpentine, but not in alcohol or mineral spirits. It can be used as a varnish or as a glossy painting medium in conjunction with vegetable oils, and is generally preferable to other resin-based varnishes, such as mastic varnish, as it retains its colourless appearance for a longer period of time. In encaustic painting, the inclusion of damar resin imparts toughness and gloss to the paint surface. 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

Learn More