Search results for 'Mediums'

Pearl Lustre Bronze Powder Learn More

Pearl Lustre Pigments 7g. Colour swatch on the left indicates colour on a White Background and Colour on a Black Background on the right. 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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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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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.

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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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PR101

Mars Violet 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. Although it is similar to Caput Mortuum and Indian Red, it is less transparent than the former and warmer than the latter.

Toxicity: B

Limeproof

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Phthalo (Mona) Green Pigment (PG7). Organic pigment (Chlorinated Copper Phthalocyanine). Transparent. Very high tinting strength. Excellent Lightfastness. Medium to slow drying rate. Requires wetting agent. Suitable for all media. Developed in 1927. Toxicity B Learn More

Canada Balsam is an oleoresin, meaning that it is a mixture of essential oils and resin. It comes from the fir tree Abies balsamea, native to Canada and the eastern states of North America. It is notable for its pale colour, clarity and gloss, making it a useful ingredient in recipes for oil-painting mediums.

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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

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

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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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Venice Trupentine is a thick, resinous liquid extracted from the Larix decidua, a larch tree native to Austria. It can impart luminosity, brilliance and gloss when used in mediums and varnishes, and as such it was highly valued during the Golden Age of painting in Venice. It is a slow-drying balsam, which can be diluted with turpentine or placed in a bath of warm water to aid flow.

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Artools Roulette, Medium, Crossed Lines, No. 1 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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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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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

Pearl Lustre Pigments 100g. Colour swatch on the left indicates colour on a White Background and Colour on a Black Background on the right. 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

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.

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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

PB15:3

Phthalo (Mona) Blue is a synthetic organic pigment, Copper Phthalocyanine, that has been in use since the 1930s. It has an extremely high tinting strength and is a staining colour, so cannot successfully be lifted in watercolour. It requires a wetting agent to fully disperse into a medium, and, when used at full strength, a copper sheen is visible in dried paint film. It is transparent, very lightfast, and has a medium-to-slow drying rate in oil.

Toxicity: C

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Unprimed Linen 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

Canvas Carrier M-Clip 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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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 Lead is a highly poisonous metal which, if inhaled, ingested, or introduced to the blood through cuts in the skin, builds up in the body and can affect multiple parts of the body, including the digestive and nervous systems.

PERMITTED USES Over 18s only. Proof of age required. Restoration of art works and protected buildings when alternatives unsuitable.

IMPORTANT Please refer to the MSDS (Material Safety Data Sheet) below. Dispose of product as hazardous waste.

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

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