Search results for 'linseed oil'

Linseed Oil is derived from flax seeds, and appears on our shelves in many guises: Cold Pressed, Refined, Stand Oil, and as a key ingredient in many mediums. It has been appreciated for its drying properties since the Medieval period, and has become the most popular oil used in painting today due to the strong, flexible and glossy film that it creates. Cold Pressed Linseed Oil is ideal for the grinding of pigment to make oil paints. The process of producing Cold Pressed Linseed Oil results in a lower yield, but the resultant oil is of a superior quality to oil that has been extracted by other methods, creating a paint film that is more resistant to embrittlement on aging. Its yellow colour is caused by the high concentration of linolenic acid, the presence of which provides durability to the paint film. The amount of oil that each pigment requires can vary enormously. Alizarin Crimson, for example, requires a high percentage of oil compared to most other colours. We would always recommend mulling the pigment and oil together thoroughly to create a "short" or buttery paste, with evenly dispersed, well-coated pigment particles. This process contributes to the strength and flexibility of the paint film, and prevents the inclusion of excess oil. Origin: USA Learn More

From the Winsor & Newton website: A pale refined oil of syrupy consistency which behaves like Linseed Stand Oil but dries quicker and darker. Improves flow and gloss. Increases the durability of paint film. Reduces brushstroke retention. Learn More

From the Winsor & Newton website: Darker than refined Linseed Oil, this oil promotes the fastest drying rate of all the oils, whilst increasing gloss. Improves flow. Increases gloss transparency. Add to other oils to speed drying.

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From the Winsor & Newton website: Our most popular oil. A low viscosity alkali refined oil of pale colour that dries slowly. Reduces oil colour consistency. Increases gloss and transparency. Add to other oils to slow drying. Learn More

From the Winsor & Newton website: A pale viscous oil that slows drying while imparting a tough, smooth enamel finish with no brush marks. Increases film durability. Ideal for glazing and fine detail if mixed with solvent.

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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

Linseed Oil is derived from flax seeds, and appears on our shelves in many guises: Cold Pressed, Refined, Stand Oil, and as a key ingredient in many mediums. It has been appreciated for its drying properties since the Medieval period, and has become the most popular oil used in painting today due to the strong, flexible and glossy film that it creates.

Stand Oil is paler and more viscous than other Linseed Oils, having been heated and kept at temperature to provoke a molecular change. It is not suitable for grinding colours, but it is a very versatile ingredient that can be thinned with turpentine to create a glazing medium or be included in a varnish. Stand Oil is notable for its ability to smooth out brush strokes to create an enamel-like surface.

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Poppy Oil is a slightly later addition to the artist's cabinet than Linseed Oil and Walnut Oil. It is generally used as a binder for pale colours, where the warmth of Linseed Oil is not desired. It provides a matte finish and dries very slowly, so we would not advise using it in conjunction with slow-drying pigments or in underpaintings. A paint film produced by Poppy Oil is weaker and softer than that created by Linseed Oil. This is because it contains a smaller percentage of linolenic acid than Linseed Oil; this substance imparts both strength and yellowness to an oil.  

Although some of these properties can be perceived as drawbacks, paints made with Poppy Oil generally obtain a "short" or buttery texture without the addition of waxes or other additives, which can be an advantage for certain colours that produce poor consistencies in Linseed oil alone. Sometimes, the addition of a small quantity of Poppy Oil when grinding a tricky or "stringy" pigment in Cold Pressed Linseed Oil can introduce some of benefits of Poppy Oil, without transmitting its negative characteristics.

Paints made with Poppy Oil are particularly suited to "alla prima" working methods, where paint is applied spontaneously. When working in successive layers, Poppy Oil would only be appropriate for the final stages of a painting.

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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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Safflower Oil is light-coloured, making it suitable for grinding pale pigments. It is still sometimes used as a binder for commercially available paints, although due to its very slow drying time it is best reserved for the final layers of a painting. Compared to Linseed oil, Safflower Oil will give a matte finish.

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From the Winsor & Newton website: A fast-drying, pale oil made from poppy seeds which is well suited for whites and pale colours. Reduces consistency. Increases gloss & transparency. Resists yellowing.

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From the Winsor & Newton website: A slow drying oil which improves flow, increases gloss and transparency. Particularly suitable for use with whites and pale colours.

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The distinctive buttery consistency of Daler-Rowney Artists' Oils derives from the use of linseed oil and wax, which acts as a plasticiser, helping to prevent even heavy impasto from becoming brittle and cracking over time. Learn More

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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Genuine artists' pigments with highest possible concentration in linseed and sunflower oils. All colours have outstanding brilliance and highest possible lightfastness. Mainly single pigment colours. Learn More

PM1 is a basic paint medium, designed to increase the flow of your oil paints and the gloss and transparency of your paint layers, adding to the depth and beauty of the your pigment colour. The inclusion of linseed stand oil in the recipe of this oil based medium prevents the “yellowing” of your paint film.

Recommendation: Add 10-20% to your oil colour as you require.

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PB29

Ultramarine Blue Dark 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. It reacts to alkali, therefore it is not suitable for use in lime-fresco; we do offer a Limeproof Ultramarine Blue for this purpose. 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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PB28

Cobalt Blue is an artificial mineral pigment, produced by the calcination of cobalt oxide and aluminium oxide. It has been widely used since the early 1800s, following its discovery by the French chemist Thenard at the beginning of the century. The name Cobalt has its roots in the German word Kobold, meaning imp or evil spirit. German miners named it to in the late-Middle Ages, as the presence of cobalt ore in the mines made the extraction of silver more difficult. They were possibly also aware of the toxic properties of the mineral that was frustrating their efforts.

Cobalt remains a very popular colour today, and is present in most ranges of paints, being a semi-transparent pigment that is stable in all media. As a watercolour, all cobalt pigments tend to granulate. As an oil paint, it requires less oil content than most other pigments, and dries quite quickly. Like Cerulean Blue, some artists may choose to bind it with poppy oil, to avoid any possible colour changes brought about by the yellowish cast of linseed oil and the pigment's weak tinting strength.

Limeproof

Toxicity: C

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** While stocks last ** Blue Verditer, sometimes referred to as Bremen Blue, is a synthetic form of Azurite, or copper-calcium carbonate. It has a weak tinting strength and is sligtly transparent. It works best in water-based binders, as the acidity of linseed oil can cause discolouration. 

Larger sizes available on request

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PB29

Ultramarine Blue Light 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. It reacts to alkali, therefore it is not suitable for use in lime-fresco; we do offer a Limeproof Ultramarine Blue for this purpose. 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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PB29

Ultramarine Blue 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. It reacts to alkali, therefore it is not suitable for use in lime-fresco; we do offer a Limeproof Ultramarine Blue for this purpose. 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/C

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PR105

Lead Red is an early articficial pigment that dates back to antiquity. It is created by heating Lead White or Litharge at a constant temperature of 480ºC over a prolonged period of time. It is a fast-drying colour, with good tinting strength and opacity, and has been widely used as an underpaint for gilding and in industry. However, it is highly toxic and generally unstable, so has fallen out of use in favour of Cadmium pigments. The acid in linseed oil causes Lead Red to darken, and it can solidify when stored in a tube. In water-based mediums, it can turn black.

Toxicity: D 

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

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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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PB32

Smalt is a kind of cobalt blue glass or frit, and its use as a pigment dates from the 1600s in the glass-making regions of Saxony. We offer two shades, light and dark, which are determined by the particle size of the pigment; the more finely ground the powder, the paler the colour. Before the introduction of Ultramarine Blue, Smalt was available in a wide variety of grades. It is a very transparent pigment, which is easily overwhelmed in mixtures due to its weak tinting strength. It works best in water based media. When ground in oil, it can become almost invisible in dried oil-paint films because its refractive index is so close to that of linseed oil.

Larger quantities are available by request.

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Fullers Earth is used to remove plant debris and other impurities from cold-pressed linseed oil, as its large particle size and unusual shape attracts unwanted matter and pulls it down, away from the surface of the oil. Our Fullers earth consist sly of Bentonite.

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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

PB32

Smalt is a kind of cobalt blue glass or frit, and its use as a pigment dates from the 1600s in the glass-making regions of Saxony. We offer two shades, light and dark, which are determined by the particle size of the pigment; the more finely ground the powder, the paler the colour. Before the introduction of Ultramarine Blue, Smalt was available in a wide variety of grades. It is a very transparent pigment, which is easily overwhelmed in mixtures due to its weak tinting strength. It works best in water based media. When ground in oil, it can become almost invisible in dried oil-paint films because its refractive index is so close to that of linseed oil.

Larger quantities are available by request.

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