Search results for 'pigments'

Pearl Lustre Pigments 1 kg. Colour swatch on the left indicates colour on a White Background and Colour on a Black Background on the right. 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

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

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.

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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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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

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Ammonium Carbonate is a highly Alkaline substance that reacts with the lactic acid present in casein to form a robust binder for tempera paints. It should only be used in a well-ventilated area, please see below for the Material Safety Data Sheet. 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

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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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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

Indian Red was imported into the UK during the nineteenth century, its present-day equivalent is a synthetic iron oxide. Its pigment code, PR101, refers to a wide spectrum of synthetic iron oxide pigments including yellows, oranges, reds, violet-browns and green-browns; Indian Red is a slightly cool, bluish shade of red. It is semi-opaque, stable in all media, lightfast, and possesses a good tinting strength 

Toxicity: B

Limeproof

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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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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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The perfect introduction to working with pigment, this selection of thirty pigments provides a wide range of colours for the production of paint. Each colour is supplied in a 15ml plastic jar, and the set includes both natural and synthetic colours. Recipes can be found on our homepage, with instructions for making different paints, including watercolour, egg tempera and oil paint. Learn More

PR83

Alizarin Crimson is a synthetic organic pigment that became available in 1868. It requires a wetting agent to disperse, and in oil it also absorbs a lot of liquid and dries very slowly to form a hard, brittle paint film. It is chemically identical to madder-root pigments and should be protected against UV light where possible as it can fade when applied onto a white ground, although it is less fugitive than its natural counterpart. Alizarin Crimson is a very transparent pigment, with a high tinting strength and slightly blue undertone.  

Toxicity: A/B

Larger quantities are available by request. 

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Hand made from Georgian bricks found on the foreshore of the Thames near Tower Bridge. A warm yellow brown colour with a mixture of fine and coarse grains for a lively texture. Try this pigment if you like to experiment with materials that introduce an element of chance in your work. Presented in a 20 ml bottle with a wax seal and label. Learn More

PR108

Cadmium Red is a synthetic organic pigment, which has been in use since the 1920s, effectively replacing vermilion. 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.

Larger quantities are available by request.  

Limeproof

Toxicity: C

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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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PY43 Golden Ochre is a natural earth pigment, somewhat darker than Yellow Ochre. It is a semi-transparent, lightfast pigment, that is stable in all media. It has a medium to slow drying rate in oil, creating a tough, flexible paint film. Toxicity: B Limeproof Learn More

PBk7

Carbon Black is an inorganic synthetic pigment, created by burning natural gases to form an almost pure carbon. It is semi-transparent, and in oil dries very slowly to a soft, brittle paint film. It requires a wetting agent, and can show in streaks, even when mixed with other colours. 

Larger quantities are available by request. 

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Viridian Green is a synthetic inorganic pigment, similar in composition to Chromium Oxide. However, unlike Chromium Oxide, Viridian contains water molecules within its crystal structure, imparting a greater degree of transparency. Sometimes referred to as Verte Eméraude, Viridian was discovered in France in 1838, patented in 1859, and made available in the UK in 1862. It is stable in all media, and offers excellent lightfastness and good tinting strength. It requires a high oil content, and dries slowly to form a hard, fairly flexible paint film.

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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Microcrystalline Wax is related to paraffin wax, and is used as a plasticiser in some recipes. It is characterised by the fineness of its crystals in contrast to the larger crystal of paraffin wax. It is generally more viscous, denser, tackier and more elastic than paraffin waxes, and has a higher melting point. Learn More

NR9 Rose Madder is an alizarin lake pigment made by precipitating dye extracted from madder root onto an inert base. It has largely been replaced by synthetic alizarin pigments, but it is still used as an ingredient in some commercially-available paints. It provides a very transparent pigment, with a weak tinting strength, which can be used in all lime-free media, although it is very slow-drying in oil. It is fugitive to sunlight, so paintings containing Madder should be stored appropriately, but it remains one of the most lightfast plant-based pigments. It requires a wetting agent to aid dispersion. Larger quantities are available by request Learn More

Cadmium Yellow Orange Pigment (PY108) also known as Pyramid Yellow. Organic pigment. Opaque to Semi-opaque. Good tinting strength. Excellent Lightfastness. Medium drying rate. Suitable for all media except Lime-fresco. Toxicity B/C Learn More

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

Chromium Oxide is a synthetic mixed-metal oxide pigment. It is stable in all media and has an average drying speed in oil, forming a hard, fairly flexible paint film. It is opaque, with a low tinting strength. It has been widely available since the mid-nineteenth century, following its introduction in 1809.

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

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PBr7

Raw Umber Greenish 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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