Search results for 'mens'

These are useful for bracing a larger frame, and are necessary when one of the dimensions is over 36 inches. Cross bars are notched for overlap from 36 inches, either at the front or back. Please specify which bar arrangement you need. Supplied with wedges. *Please note - prices are for individual bars* Learn More

Dimensions: 22.5 x 120 x 23 cm Learn More

Cornelissen canvas bag 3 internal pockets Dimensions H36 x W39 x G12 cm Learn More

This unbranded watercolour metal box is the same as the lightweight metal boxes used by most of the major European colour-makers. The back of the box includes a thumb ring. Dimensions: 22.2 x 7 x 2cm Learn More

This unbranded watercolour metal box is the same as the lightweight metal boxes used by most of the major European colour-makers. The back of the box includes a thumb ring. Dimensions: 12.6 x 7 x 1.8cm Learn More

This unbranded watercolour metal box is the same as the lightweight metal boxes used by most of the major European colour-makers. The back of the box includes a thumb ring. Dimensions: 22.8 x 11.3 x 2.3cm Learn More

Van Dyke Brown pigment is know for its poor lightfastness and instability in all mediums. Our Van Dyke Brown, also known as Cassel Earth, offers the same dark brown colour and transparency as the traditional pigment, but without the drawbacks usually associated with its longevity and use. It is made from lignite, or brown coal, from the Alsace region in France.

Toxicity: B

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Cadmium Green is an artificial mineral pigment, a mixture of Cobalt and Cadmium Yellow. It is an opaque, lightfast, slow-drying pigment with a high tinting strength.

Toxicity C

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PV15

Ultramarine Violet is a synthetic organic pigment that is produced by heating Ultramarine Blue with Ammonium Chloride, causing the removal of some of the sodium and sulphur and thus a change in colour. It is lightfast and semi-transparent, with a weak tinting strength. In oils, it dries quite slowly, forming a hard, flexible film.

Toxicity: B

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NR4

Carmine has been used as a dye and pigment since antiquity. Originally derived from the kermes insect, it was replaced by cochineal following the discovery of the Americas. It has a good tinting strength and is very transparent, although it is fugitive to light.

Larger quantities are available by request.

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Fine abrasive powder used historically for polishing daguerreotype plates. Can be used to age wooden frames and object's d'art. 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

Traditional Japanese "ba-ren" is the pressing and rubbing tool for printing. The inner coil or "shin" consists of flat strips of bamboo twisted together into strands and then into a long cord. The cord is then coiled onto a backing disk made from either layers of washi paper, carved wood or plastic. Finally a bamboo sheath or "takenokawa" is used as a covering, with rubbing surface for printing one side and a twisted handle for the artist to hold on the other. Over time the outer sheath may need replacing due to wear and friction of printing. Our "sumi" baren is made in the traditional way with a plastic backing disk and has a finer coil. It is 130mm across and is suitable for printing the "key block" and fine details. This baren comes in a presentation box. Replacement bamboo sheaths are available to order specially. Learn More

From the Winsor & Newton website: A slightly yellow oil, which is extracted without the use of heat dries slightly quicker than refined linseed oil. Improves flow. Increases gloss & transparency. Reduces consistency and brushstrokes. Ideal for grinding pigments. Learn More

PG23 Burnt Green Earth is a semi-transparent pigment that is stable in all media, although it may be difficult to incorporate into an acrylic binder. A calcined form of Green Earth, it has a low tinting strength, long drying time, and is very lightfast. Toxicity: B Limeproof 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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PR108

Cadmium Red is a synthetic organic pigment that has been in use since the 1920s. It is formed by heating cadmium sulphide and selenium, the hue is determined by the level of calcination and proportion of selenium. It is very opaque, and lightfast, with a high tinting strength. It absorbs a small amount of oil, and dries very slowly to form a hard, flexible paint film. This shade has been formulated to imitate the bright hue of vermilion.

Larger quantities are available by request.  

Limeproof

Toxicity: C

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Terre Verte, sometimes known as Green Earth, is a natural earth pigment derived from clay coloured by iron silicate. As with other natural pigments, impurities can prevent it from fully dispersing in an acrylic binder, although it is a popular pigment in all other mediums. It has been in use since antiquity, providing excellent lightfastness and great transparency, with a low tinting strength. It requires a high volume of oil, and dries slowly to create a soft, flexible paint film. When calcined, Terre Verte becomes Burnt Green Earth.
Toxicity B Learn More

Type of print: General Intaglio techniques and Monotype. Plate thickness needs to be no higher than 1mm. YTI18 - Width of roller 18cm, Upper roller diameter 35mm, Lower roller diameter 35mm. YTI26 - Width of roller 25cm, Upper roller diameter 35mm, Lower roller diameter 35mm **please note - blankets not included** Learn More

Volcanic rock in powdered form. Used to provide tooth to grounds. Learn More

Rosin is the powdered form of colophony, which is a by-product of the distillation of turpentine. Its primary application is to create tonal areas on metal plates as an aquatint resist. It is also an additive in etching grounds, where it gives a hard surface to the otherwise soft wax. Learn More

English Red Light Pigment 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

Empty Aluminium Tubes.

*Fragile. Available only in the shop (not online or mail order)* Learn More

PBk11

Mars Black is an artificial mineral pigment composed of hydrated ferric oxides. Like other Mars colours, it provides a very opaque, permanent colour, which is stable in all media. It has an average drying time in oil, forming a hard, fairly flexible film, making it more suitable for impasto application than carbon-based black pigments, which tend to be brittle. It also wets more easily than other black pigments, and possesses a warm, brownish undertone.

Toxicity: B

Limeproof

Larger quantities are available by request. 

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PB27

Prussian Blue is a synthetic organic pigment that was discovered by the paint maker Diesbach, apparently by accident, in Germany in the early eighteenth century. For many years, it was used not only as a colour in its own right, but also as a component of the original Hooker's Green. The other ingredient, gamboge, is highly fugitive, which is why many watercolours painted with Hooker's green have taken on a bluish tone with with age.  

It is a very transparent and heavily staining colour. It dries quite quickly in oil, and can therefore wrinkly if applied too quickly. It is suitable for use in oils, watercolour, and egg tempera. However, it shouldn't be used in conjunction with alkali substances, such as Lead White or Calcium Carbonate as it can turn brown, so it isn't suitable for fresco. For the same reason, it isn't used with acrylic resin binders due to their alkaline nature, so most paint manufacturers will replace Prussian Blue with a mixture of Phthalo Blue and black in their acrylic ranges. It requires a wetting agent to fully disperse into a binder.

Toxicity: B

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PBr7

Raw Umber is a natural earth pigment composed of iron oxide, manganese, and aluminium silicate. It has its roots in the Umbria region of Italy, and was historically a popular colour for underpaintings, as it dries very quickly. It is semi-opaque, very lightfast, and stable in all media but may be difficult to disperse in acrylic. It requires a large amount of liquid when mixed with oil.

Toxicity: B

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Quinacridone Scarlet Pigment (PR209). Organic pigment. Very transparent. High tinting strength. Excellent Lightfastness. High oil absorption with slow drying rate. Requires wetting agent. Suitable for all media. Developed in the 1950's. Toxicity A/B. Learn More

Cobalt Violet Light Pigment (PV14). Synthetic inorganic pigment. Semi-opaque. Weak tinting strength. Excellent Lightfastness. Fast drying rate. Good for oil and watercolour but not acrylic as pigment 'settles out'. Used since early 1900's. This colour cannot be matched through mixing other colours.

Limeproof

Toxicity: C

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

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