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Khadi White Rag Paper Packs 640gsm

Starting at: £5.20

Khadi White Rag Paper Packs 640gsm Learn More

Cornelissen 80 Moon Gold Leaf 22 ct

Starting at: £59.50

Moon Gold Leaf 22 ct, 80 x 80 mm. Book of 25 leaves. Coverage per book is 0.16 m2 (1.69 sq. feet) Learn More

Cornelissen 85 Pure Gold Leaf Extra Thick 24 ct

Starting at: £73.80

Pure Gold Leaf 24 ct, Extra Thick. 85 x 85 mm. Book of 25 leaves. Coverage per book is 0.18 m2 (1.97 sq. feet) Learn More

Dragon's Blood Pieces

Starting at: £25.40

Dragon's Blood is a natural, resin, mentioned by Pliny in his Natural History. It has a weak tinting strength, and its rich red colour can be fugitive in direct sunlight. It is fully soluble in alcohol, and can be used to add a warm, transparent tone to spirit varnishes. Also available in powdered form.

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Cornelissen 80 Red Gold Leaf 23 ct

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Starting at: £59.30

Red Gold Leaf 23 ct, 80 x 80 mm. Book of 25 leaves. Coverage per book is 0.16 m2 (1.69 sq. feet) Learn More

Vermilion Genuine Pigment

Starting at: £17.00

PR106 Vermilion is an artificial pigment based on mercuric sulphide, which occurs naturally as Cinnabar. The synthetic form contains fewer impurities than Cinnabar, and was in use in China as early as the fourth century. It was present in Europe from the ninth century, and was the most widely used red pigment until the introduction of Cadmium Red in the early twentieth century. It has good tinting strength and opacity but, like many red pigments, it dries very slowly in oil media. Toxicity D. Larger sizes available on request. Domestic shipping only Learn More

Rohrer & Klingner Drying Retarder 50ml

£8.90

Rohrer & Klingner Liquid Watercolour Drying Retarder 50ml Learn More

Daler-Rowney Cryla 250ml

Starting at: £8.90

Cryla Artists' Heavy Body colours are designed to retain the intended stroke when applied with a knife or brush, so they are ideal for highly textured impasto painting techniques. Learn More

Cornelissen 80 Renaissance Gold 22.5 ct

Starting at: £59.20

Renaissance Gold 22.5 ct, 80 x 80 mm. Book of 25 leaves. Coverage per book is 0.16 m2 (1.69 sq. feet) Learn More

Cornelissen 85 Standard Gold Leaf 22 ct

Starting at: £63.50

Standard Gold Leaf 22 ct, 85 x 85 mm. Book of 25 leaves. Coverage per book is 0.18 m2 (1.97 sq. feet) Learn More

Roberson Glass Mullers

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Starting at: £42.70

Roberson Glass Mullers are handmade using high quality-glass.

Mullers act as flat-bottomed pestles, which are used to grind pigment into a binding medium, suspending it evenly to create a uniform covering of binder around each pigment particle. Using a muller and slab, rather than simply mixing pigment and binder together, will create a more homogenised and stable paint.

Roberson Glass Mullers are handmade using superior boro silicate laboratory glass, which is 40% harder, more heat resistant, and offers better clarity than soda-lime glass. The base of each muller is ground perfectly flat, and sand-blasted to create a fine tooth to facilitate the grinding of pigments.

Use in conjunction with a Cornelissen Glass Slab to make paint efficiently. The sand-blasted texture of the muller and plate helps to push and distribute the pigment throughout the binder quickly. This will mean less grinding, and more painting!

NOTE: Sizes may vary slightly as these are handmade products.

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Gamblin Oil Colours 150ml

Starting at: £27.20

* Only available online.* Robert Gamblin started making artists' oil paints in 1980. Since then he has built a reputation as both an innovative and imaginative maker of some of the best oils on the market today. As well as usual single pigment colours you would expect, the range also includes an interesting selection of neutral greys, beautiful metallics and the truly innovative Radiant range of pastel colours. Combining science and artistry, Gamblin paints are truly exceptional. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Sennelier Oil Sticks

Starting at: £7.65

Solid artists' quality oil paint sticks. (Ø = 3/4 ; length = 5" ) SENNELIER Extra-Fine Solid Oil Sticks can be used alone or in combination with oil colours in tubes. The oil stick colours can be used for an entire painting. They are applied directly to any traditional oil-painting support, such as canvas, wood panel or fine art paper. They need the same archival priming (acrylic gesso or oil ground) that oil paint requires. Surfaces: Before use, the surface film of the oil stick must be peeled off. It will form again after a few days of non-use, protecting and conserving the colour. The oil sticks must be applied in a thin film application of no more than 1mm thick. Once applied they can be painted over with oil stick or oil paint and if desired be diluted with turpentine. Oil stick Medium, a colourless oil stick, may be used to produce transparent effects and glazes. Once applied, the oil stick surface will dry in 2 to 5 days, depending on the atmospheric conditions Varnishing: If varnishing is desired, you must wait 6 months (as in traditional oil paint) until the colour is completely dry, before giving the painting a final coat of picture varnish. Use a soft brush to varnish so that the oil stick marks are not disturbed. SENNELIER Extra-Fine Solid Oil Stick colours are either opaque (O) or transparent (T) depending on the nature of the pigment in each colour. Oil Sticks do not change during storage and require no special precautions except to be kept away from any source of heat, which could adversely affect the stick. Application Techniques After applying the colour with the point or the edge of the oil stick, colours can be mixed directly on the support using the following methods: • Blending, with brush, finger, or drawing stump. With or without turpentine • Wash-drawing, dilute colours with turpentine or mineral spirit • Retouching, with oil stick, palette knife or brush • Textures, thick application oil stick colour. Retouch with a brush or palette knife •Sgraffito, scratching a layer of fresh paint with a point (brush handle, palette knife, etc.) to reveal the layer below. Sgraffito is related to engraving, and is used not only for revealing the under-layers of paint but also to scratch and clean unsatisfactory parts of the painting •Interior Decoration, on glass, ceramics etc. Use for decorative purposes only Learn More

Schmincke Horadam 24 Whole Pans

Starting at: £188.55

Schmincke Horadam 24 Whole Pans. Learn More

Roberson Prouts Brown Ink

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Starting at: £6.40

Non waterproof, The ink can be used in all types of pens. Learn More

da Vinci Series 5522 COLINEO Watercolour brush, round

Starting at: £5.30

Composed of different lengths of straight and wavy synthetic fibres, with extra fine tips. Precise point, high elasticity and colour absorption with a silver metal ferrule Handle made of water-resistant, hi-tech multicolour laminated wood. Ideal for watercolour painting. Very similar to Kolinsky Red Sable hair brushes. Learn More

Cinnabar Pigment

Starting at: £16.00

PR106

Cinnabar, composed of mercuric sulphide, is a mineral pigment found in crusts or veins in sites of volcanic activity. It has good tinting strength and opacity but, like many red pigments, it dries very slowly in oil media. Due to its high toxicity, it is no longer an ingredient in commercial paints, but is a prominent colour in historical palettes.

Generally, Cinnabar refers to the natural mineral, while Vermilion refers to the synthetic pigment. Cinnabar has been mined since at least the tenth millennium BC, and used as a painting material, gemstone, and ritual object by many cultures around the globe. Toxicity D.

Larger sizes available on request.

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Cornelissen Imitation Gold No 2.5

Starting at: £7.40

Coverage per book of 25 leaves is 0.49 m2 (5.29 sq feet) Learn More

Burnt Green Earth Pigment

Starting at: £8.00

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

Cobalt Violet Dark Pigment

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Starting at: £14.00

Cobalt Violet Dark Pigment (PV14). Synthetic inorganic pigment. Semi-transparent. High tinting strength. Excellent Lightfastness. Low oil absorption with fast drying rate. All media including ceramics. Used since late 19th Century.

Limeproof

Toxicity: C

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

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Cornelissen 80 Platinum Leaf

Starting at: £71.25

Platinum Leaf, 80 x 80 mm. Book of 25 leaves. Coverage per book is 0.16 m2 (1.69 sq. feet) Learn More

Ivory Black Genuine Pigment

Starting at: £38.00

PBk9

Genuine Ivory Black is produced by burning reclaimed ivory, such as piano keys. These are antique, mainly Victorian pieces, using ivory with started out as hippo or walrus teeth, and offers a higher carbon content and greater tinting strength than modern-day equivalents, which are usually derived from animal bones. It is a particularly slow-drying pigment.

Larger quantities are available by request. While stocks last.

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Cornelissen 80 Victorian Gold Leaf 23 ct

Starting at: £59.30

Victorian Gold Leaf 23 ct, 80 x 80 mm. Book of 25 leaves. Coverage per book is 0.16 m2 (1.69 sq. feet) Learn More

Lemon Shellac

Starting at: £8.20

Shellac is a natural resin that is deposited by the female lac insect on the branches of trees in India and Thailand. It is soluble with alcohol, but not with mineral spirits or turpentine. It forms a tough yet flexible film, with many applications. It is suitable as a top coat for gilding when applied thinly, a sealant for porous surfaces, an isolating layer for tempera paintings, a base for pigmented inks, a protective layer for collograph plates, and a warm varnish for wooden floors and furniture. As it is prone to darkening with age, it is not recommended as a varnish for oils, and its solubility can reduce over time. There are various grades of shellac. When mixed with alcohol, it may initially form a cloudy mixture, due to traces of wax in the shellac, but this should become clear once it has dried. The highest grades of shellac are Clear Dewaxed Shellac, which has been de-coloured using the carbon filtering method, Lemon Shellac, and Orange Shellac, which are pale in colour. Button Shellac is less refined and therefore produces a reddish varnish. It was, in fact, widely used as a red dye before synthetic dyes became available. Learn More

Cerulean Blue Pigment

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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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Charbonnel Yellows

Starting at: £15.47

Charbonnel Yellows Learn More

Mussini Large Wooden Box Set

£305.30

Schmincke Mussini Large Wooden Box 15 x 35 ml tubes, 1 x 120 ml white including charcoal, brushes, and mediums. Learn More

Cornelissen Silver Leaf Thin

Starting at: £11.00

Cornelissen Silver Leaf Thin, 95 x 95 mm (20g/1000 lvs). Book of 25 leaves Learn More

Egyptian Blue Pigment

Starting at: £5.90

Egyptian Blue is stable in all media, highly transparent, with a weak tinting strength. A synthetically produced calcium copper silicate, it is considered to be the earliest artificial pigment, dating from antiquity and widely used in ancient Egypt. Larger sizes available on request Learn More

Daniel Smith 238 Try it dot Card

£25.80

Daniel Smith "Try It" Dot Cards are a great way to sample this wonderful new range. Each colour dot has been placed on to a "Try It" Card which is actually watercolour paper. You can then wet each colour dot and use the card as a sort of palette. You'll be amazed just how far one dot of colour goes. You can even revisit a colour at a later date by re-wetting it. *Please note, this product is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

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