Search results for 'linseed oil'
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Liquid Glass Mediums
Starting at: £19.50
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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)
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Cerulean Blue Pigment
Starting at: £14.50
PB35
Cerulean Blue is an artificial mineral pigment that is prepared by heating a mixture of Cobalt Chloride and Potassium Stannate. It was first synthesised in the early nineteenth century, becoming more widely used from 1870, when Rowney introduced Coeruleum Blue into their range. It produces a very bright, clear, and unusually opaque blue, hence its name, which is derived from the Latin for "sky-blue", or perhaps "heaven-blue". It has a very low tinting strength meaning that, although it is stable in all media, some artists may choose to bind it in poppy rather than linseed oil, so that the colour isn't affected by the colour of the binder. It creates a fairly flexible paint film, and is a fast-to-medium drying pigment.
Limeproof
Toxicity: B
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Flake White Pigment
Starting at: £18.75
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PW1
Flake White Pigment, sometimes referred to as Lead White or Cremnitz White, is an artificial mineral pigment, lead carbonate. It is no longer available as a paint, due to its extreme toxicity. For this reason, great care must be taken when handling the dry pigment.
It is not usuable in water-based media, but works well in oils. It creates a flexible paint film that dries quickly. Although opaque, small quantities do not dominate mixtures, and can help slow-drying pigments to dry. For this reason, it has been a popular mixing white historically; in fact, until the mid-19th century, Flake White was the only white pigment available to artists. Although varnishing is generally considered optional for oil paintings, it is recommended for works containing Flake White, as contact with sulphur in the atmosphere can cause it to blacken. It creates a warm white, which can yellow over time when mixed with linseed oil.
Toxicity: D
Permitted uses: Restoration of art works and protected buildings when alternatives unsuitable.
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