Search results for: 'painting mediums'

Gum Damar

Starting at: £10.00

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

Carnauba Wax Grey

Starting at: £8.40

Carnauba Wax is the hardest wax commonly used in the production of artists' materials, with a melting point of 83-86°c. It is derived from a tree native to South America, and is available in a natural colour (grey), or a refined colour (pale yellow). Small amounts of carnauba wax are commonly used in both oil painting mediums and encaustic painting, usually in conjunction with beeswax to add toughness, durability and sheen to the paint film. It creates an inflexible surface, so works best on rigid supports such as gesso panels, and it should be noted that it will raise the melting point of encaustic mixtures. It can produce a glossy finish; as such it is used in waxes and polishes for shoes, cars, musical instruments, furniture, and wooden floors, especially when mixed with beeswax and turpentine. 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

Colour Shapers

Starting at: £7.00

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

Carnauba Wax Yellow

Starting at: £6.50

Carnauba Wax is the hardest wax commonly used in the production of artists' materials, with a melting point of 83-86°c. It is derived from a tree native to South America, and is available in a natural colour (grey), or a refined colour (pale yellow). Small amounts of carnauba wax are commonly used in both oil painting mediums and encaustic painting, usually in conjunction with beeswax to add toughness, durability and sheen to the paint film. It creates an inflexible surface, so works best on rigid supports such as gesso panels, and it should be noted that it will raise the melting point of encaustic mixtures. It can produce a glossy finish; as such it is used in waxes and polishes for shoes, cars, musical instruments, furniture, and wooden floors, especially when mixed with beeswax and turpentine. Learn More

Cornelissen Larch Venice Turpentine

Starting at: £28.80

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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Roberson Linseed Stand Oil

Starting at: £10.50

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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Roberson Pure Gum Turpentine

Starting at: £14.00

Slightly less refined than rectified spirit of turpentine. Often preferred as constituent of painting mediums. Learn More

da Vinci Series 1222 COLINEO Watercolour brush, rigger

Starting at: £4.80

COLINEO Rigger, medium length, sharp needle point. - Composition of straight and wavy synthetic fibres in different lengths with extra fine tips, precise point, high elasticity and colour absorption so-called silver 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

Natural Beeswax

Starting at: £11.20

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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Small, 15ml Pigment sizes

Starting at: £4.00

English Red Light Pigment Learn More

Roberson Cold Pressed Linseed Oil

Starting at: £7.50

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

Casein Lactic

Starting at: £15.95

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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Grey shades of Khadi paper in various sizes.

Khadi Grey Paper Packs

Starting at: £2.85

Handmade from 100% long fibred cotton rag. Acid free. Deckle edge. Tub sized (surface sized) with gelatine. Learn More

Bleached Beeswax

Starting at: £12.30

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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Khadi White Rag Paper Packs 150gsm

Starting at: £2.85

Handmade Paper, 100% Long Fibred Cotton Rag, Acid free, Medium-Rough surface, Deckle Edged. All papers are internally sized with neutral pH size. Learn More

Precipitate Chalk

Starting at: £6.30

Precipitate Chalk is fine and white. For use in aqueous mediums as a ground for oil and tempera paintings. Learn More

Cornelissen Copaiba Balsam

Starting at: £20.80

Copaiba Balsam comes from the South American tree Copaifera landsdorfii. Its primary function is to improve the appearance of paint layers that may have become dull, brittle or sunken upon drying. It is a viscous liquid that may be diluted with turpentine, but which should not be used in painting mediums.

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Alumina Hydrate Light

Starting at: £8.30

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

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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Lefranc Flashe 80 ml

Starting at: £9.70

Flash vinyl colours, like resin-based acrylic paints, can be diluted with water, dry very quickly and become insoluble once dry providing lasting flexibility and excellent preservation. They have an even matt finish which recalls primitive Italian fresco painting. This makes Flashe the ideal medium for all artworks to be photographed. Also popular for illustration, graphics, comics, model making, fresco and interior mural decoration. Learn More

Winsor & Newton Griffin Alkyd Oil Colour

Starting at: £7.15

Artist quality range of 50 colours made from pigments bound in an oil modified alkyd resin. The main advantage of the Griffin Alkyd range is speed of drying - about 24 hours. Ideal for under painting. Compatible with traditional oils. Learn More

One Shot Lettering Enamel Paint

Starting at: £20.55

Designed for traditional sign painting, these oil based lettering enamels provide superior vibrancy, flexibility, durability, and single stroke coverage. Specified for fine, sign paint lettering on store fronts and vehicles, the vibrant colours of 1 Shot Lettering Enamels spread evenly and offer outstanding hiding, durability and fade resistance. Superior flow characteristics assure the virtual absence of brush marks and provide a clean, sharp edge. Ideal for use on interior or exterior metal, glass, wood, and enamel receptive banners and vinyl. Learn More

Cornelissen Glass Mullers

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Starting at: £24.50

Cornelissen 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. The tall handle features an ergonomic top, to ease fatigue when grinding large amounts of pigment. 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. 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! Learn More

Cornelissen Walnut Oil

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Starting at: £8.20

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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Lefranc Flashe 125 ml

Starting at: £13.95

Flash vinyl colours, like resin-based acrylic paints, can be diluted with water, dry very quickly and become insoluble once dry providing lasting flexibility and excellent preservation. They have an even matt finish which recalls primitive Italian fresco painting. This makes Flashe the ideal medium for all artworks to be photographed. Also popular for illustration, graphics, comics, model making, fresco and interior mural decoration. Learn More

Cornelissen Canada Balsam

Starting at: £39.10

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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Michael Harding Miracle Medium

Starting at: £12.00

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MM0 Miracle Medium is a solvent-free, odourless, vegan, and plant-based Medium that serves as an alternative to traditional turpentine. This medium offers artists a natural and sustainable option for thinning oil paints, cleaning brushes, and glazing (see our MM2 Quick Dry Dammar Varnish Miracle Medium) without the use of harsh chemicals or toxic fumes. CAN EXTEND DRYING TIME. ADD 5-10% TO OIL COLOUR AS NEEDED. Oil paint artists use MM0 Miracle Medium in several ways: Artists may dip their brush in MM0 Miracle Medium before applying it to the paint to achieve the desired consistency. Clean brushes: MM0 Miracle Medium can be used to clean oil paint brushes. After painting, artists may rinse their brushes in MM0 Miracle Medium to remove excess paint and then wash the brushes with soap and water – Use as a painting medium to mix with oil paints, enhancing flow and transparency – Clean brushes by dipping them in the medium and wiping them clean. – Dilute or thin oil paints without the use of traditional solvents. – CAN EXTEND DRYING TIME. ADD 5-10% TO OIL COLOUR AS NEEDED. – Available in 100ml, 250ml and 1 Litre. Learn More

Gum Mastic

Starting at: £20.30

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Gum Mastic is a tree resin, which dissolves into a clear varnish with alcohol or turpentine, but not with mineral spirits. Mastic varnishes are more prone to blooming and darkening with age than damar-based varnishes, and painting mediums that contain gum mastic can deteriorate in unpredictable ways. For this reason, it is primarily used in restoration, rather than in the production of artwork. Learn More

Roberson Refined Linseed Oil

Starting at: £13.30

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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.

Alkali Refined Linseed Oil has been treated to reduce its acidity, and is a useful ingredient in mediums and varnishes.

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Search results for 'painting mediums'