Search results for 'red'

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

A one-step paint, giving a permanent finish, closely resembling traditional gilding with leaf. Learn More

Pure red sable brushes with a high colour holding capacity enabling free flow of colour. The fine edge of this brush provides defined clean cut lines. Learn More

Slightly thinner than Alkyd Gel, Daler Rowney Alkyd Flow Medium increases the transparency and flow of oil colour, allowing paint to be brushed out more smoothly. Reduces drying time. Learn More

PB27

Prussian Blue is a synthetic organic pigment that was discovered by the paint maker Diesbach, apparently by accident, in Germany in the early eighteenth century. For many years, it was used not only as a colour in its own right, but also as a component of the original Hooker's Green. The other ingredient, gamboge, is highly fugitive, which is why many watercolours painted with Hooker's green have taken on a bluish tone with with age.  

It is a very transparent and heavily staining colour. It dries quite quickly in oil, and can therefore wrinkly if applied too quickly. It is suitable for use in oils, watercolour, and egg tempera. However, it shouldn't be used in conjunction with alkali substances, such as Lead White or Calcium Carbonate as it can turn brown, so it isn't suitable for fresco. For the same reason, it isn't used with acrylic resin binders due to their alkaline nature, so most paint manufacturers will replace Prussian Blue with a mixture of Phthalo Blue and black in their acrylic ranges. It requires a wetting agent to fully disperse into a binder.

Toxicity: B

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Each Hazel shaft used in the creation of our Mahl poles is individually selected for straightness and overall appearance before being dried and prepared. We use hazel for strength, weight, and the appearance of its rich brown bark when linseed is applied.

Our pommels and handles are made from a stock of fine Italian leather, used for its durability and flex during assembly.

"Georgeson and Son established in 2012 with a singular aim. To resurrect and manufacture forgotten Artist's tools by hand, as carefully and as beautifully as possible.
  A desire to make useful things that will last underpins all that we do. We use only the finest quality materials, sustainably sourced and refuse to compromise this quality for the sake of profitability."

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Box Set Dimensions 9 cm x 5.5 cm Ultramarine PB29 Burnt Umber PBR6 Genuine Madder NR9 Vermilion PR4, PY1, W21 Mars Orange PY42, PR10 Indigo NB1 Yellow Ochre PY43 Prussian Blue PB27. Learn More

Enhances blending, workability, and adhesion of acrylic colours for painting acrylics directly on to fabric. Reduces paint stiffness. No heat setting required. Learn More

Wooden box containing 12 x 20ml tubes of Schmincke Calligraphy Gouache. Learn More

** 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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The Cornelissen Virtual Gift Voucher will arrive with the recipient in the form of an email containing a virtual gift code. This code will be emailed immediately after the order is placed. Please see the range of values available below. Vouchers can be redeemed fully or partly and do not expire.

Alternatively, please call us on 020 7636 1045 or email info@cornelissen.com to request one of the following:

Physical Gift Voucher (a paper voucher with a code for use only in the shop, for any value).

Combination Gift Voucher (a paper voucher with separate codes for use online or in the shop, for the values listed on the website).

If you purchase a Physical or Combination Gift Voucher, this will be sent to you in the post. Learn More

This viscous tusche can be painted in a smooth even layer which can be scratched away to create delicate non-printing lines. It can also be used for a broad range of painted marks, offsetting and pattern-making. The diluted tusche dries to create granular washes that are full of character. Dry marks can be re-wet and altered if required. 500ml. Learn More

Extra long haired synthetic brush for signwriting or lining. Square tip. Learn More

Prepared exclusively for Cornelissen following a Medieval English recipe, This handmade ink is produced in Cambridgeshire, from soot harvested from a working 19th-century forge, powered by charcoal and wood. Small batches of ink are blended to give the required consistency and strength. Forge Lamp Black is a thick, smooth non-waterproof ink that has good permanence. It can be watered down, and should always be shaken well before use. As with all handmade products derived from natural ingredients, there may be slight variations in the colour and consistency. Ingredients: Soot, gum Arabic, and clove oil.

Not suitable for fountain pens. Learn More

Gum Sandarac, derived from a coniferous tree, is available in powdered or lump form. It can be dissolved in alcohol to create a varnish that is suitable as an isolating layer in oil painting and as a traditional top coat for egg tempera. It forms a brittle layer, so is only suitable for use on a rigid support. Another application is as a surface preparation for calligraphy; the ground gum can be dusted across a piece of prepared vellum or paper to create a resist, which shrinks ink strokes slightly, making them appear finer, with crisp edges. Learn More

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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Empty Aluminium Tubes. Learn More

For cleaning marble. Mix with water to thick paste. LAPONITE® is a registered trademark of BYK Additives Ltd Learn More

For enamel-like surfaces Learn More

The Unison Dark 8 set, is specially selected by Unison Colour. This small set contains the essential Dark colours from various points of the Unison colour ranges. They are presented in an attractive and practical dark blue box.

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PBk8

Vine Black is derived from charred vines, forming an organic pigment of pure carbon. It has been in use since antiquity, providing a cold black with bluish undertones, which creates a blue-grey when mixed with white. It is a very lightfast, slow-drying colour with a medium tinting strength. It requires a wetting agent to disperse properly, and is not suitable for use in fresco, mortar or cement, as the water-soluble impurities within the pigment can create efflorescence. 

Toxicity: A

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- 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

Charbonnel Whites Learn More

NR9

The madder plant was once widely cultivated for the red dye extracted from its roots. Its earliest known use is in ancient Egypt, and there is evidence of its widespread adoption in Europe from the medieval period. Madder Lake, the pigment that is derived from the root, has now largely been replaced by synthetic alizarin pigments, but it is still used as an ingredient in some commercial 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. 

Larger quantities are available by request.

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Daniel Smith Watercolour Ground creates a soft, absorbent watercolour surface with a slightly cottony texture that's similar to cold pressed paper. With this breakthrough archival quality ground, you can rescue flawed paintings, create new work on any surface, lift and scrub without damaging the painting surface. *Please note, this product is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Sosaku inking brush for working the pigments and glue paste onto the carved block for printing. These are made from horse hair and are traditionally prepared by splitting and softening the hair on shark-skin or sandpaper before printing. Brushes come in 3 sizes. Learn More

Formulated to the exact recipe used by Isaac Newton, this ink is completely permanant, as his surving writings attest. Although composed of very similar ingredients to our Jane Austen Ink, we consider Newton's recipe to be superior, as Austen's has browned slightly over time. Initially a medium blue-grey, it darkens to a rich, matte back, which is slightly warmer in tone than our regular Oak Gall Ink. It is made in small batches and blended to give the required consistency and strength, and is fully waterproof in 5-7 days. Permanent and lightfast, it has been steeped for several weeks and left to ‘mature’ for several more in the bottle. When used on animal skins such as vellum, the acids in the Oak Gall Ink react with collagen, effectively ‘etching’ itself into the surface, hence its permanence. 

Not suitable for fountain pens. Learn More

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

A gently abrasive paste for non-scratch cleaning of metals and many sensitive fine-art surfaces. Learn More