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Thread-stitched for a solid binding, this sketchbook features 190gsm, natural white paper. The smooth surface allows for clearly defined hatchings and pen work, as well as beautiful gradients of colour. Suitable for the use of all dry painting techniques in addition to wet colours. This versatile paper is encased in a linen surfaced grey hardback cover, with a red ribbon page mark. Acid free. Learn More

A robust sketchbook with thread stitching to allow for smooth page turning. The natural white paper has superb abrasion properties, enabling you to effortlessly create broad strokes with pencil. The 140 gsm paper is suitable for dry painting techniques as well as light washes of watercolour Learn More

The Flourish is precision machined from a solid Aluminium bar meaning that it will last a lifetime and give you just the right amount of weight without feeling too heavy. Each pen is fitted with a stainless steel ferrule (the part that the nib goes into). These are 10X better and longer lasting than the original chrome style. The ferrule also fits all nibs big or small for effortless calligraphy in a jiffy. Learn More

Antique style nib holder made of stained wood. 20cm in length. The mahogany holder includes a nickel plated nib and the black holder includes a gold nib. 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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Unusual combination of squirrel body and red sable tip facilitating the painting of long continuous lines. Learn More

Roberson Liquid Metal 1Ltr. Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. Coverage is approximately 7 square metres per litre. Two coats are required for most applications but if applied to walls or ceilings with a roller or a brush then three or four coats are recommended. Because of the highly reflective nature of the metallic paint when applying with a roller to a large area apply the paint evenly in long vertical strokes, finishing off the surface by rolling or brushing in one direction, i.e ceiling to floor. This will help to minimise overlapping and create a smooth and even finish. We recommend the use of a professional quality foam roller in order to achieve the best possible finish. When applying with a roller to a large area, apply the paint evenly in long vertical strokes. Finish off the surface by rolling one direction, i.e. ceiling to floor. This will help minimise overlapping and create a smooth, even finish. These paints can also be sprayed and this will produce the best and most consistent finish. To spray Liquid Metal Acrylics, you will need to use HVLP spray equipment with a 1.6mm or 1.8mm nozzle. To ensure proper flow, paint can be thinned with 25-30% water. Learn More

Schmincke Medium W is an odourless, jelly-like ("lean") medium for mixing oil colours with water instead of organic solvents such as turpentine or turpentine substitute. It increases gloss and transparency, reduces viscosity and harmonizes the drying process.

Dosage: 50%

Thinner: Water

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Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. Coverage is approximately 7 square metres per litre. Two coats are required for most applications but if applied to walls or ceilings with a roller or a brush then three or four coats are recommended. Because of the highly reflective nature of the metallic paint when applying with a roller to a large area apply the paint evenly in long vertical strokes, finishing off the surface by rolling or brushing in one direction, i.e ceiling to floor. This will help to minimise overlapping and create a smooth and even finish. We recommend the use of a professional quality foam roller in order to achieve the best possible finish. When applying with a roller to a large area, apply the paint evenly in long vertical strokes. Finish off the surface by rolling one direction, i.e. ceiling to floor. This will help minimise overlapping and create a smooth, even finish. These paints can also be sprayed and this will produce the best and most consistent finish. To spray Liquid Metal Acrylics, you will need to use HVLP spray equipment with a 1.6mm or 1.8mm nozzle. To ensure proper flow, paint can be thinned with 25-30% water. Learn More

* Only available online.* Cold Wax medium is made by Gamblin. They say:

"Cold Wax medium is made from naturally white, pure beeswax. Formulated to knife consistency, Cold Wax Medium makes oil colours thicker and more matte. Cold Wax Medium can be used to make Gamblin mediums and Gamvar more matte. It can also be applied alone as a matte varnish."

Please see below for more information.

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Premium quality, extra fine genuine gold precious metal powders handcrafted in Japan by experienced craftsmen, all 1 gram in weight. By crushing gold leaves finely and mixing them with melted glue, a paste is obtained, broken into pieces and transformed into powder, called « Kindei » Gold Powder. First, the 0,2 micron gold leaves are crushed into 3 microns pieces. Afterwards, the glue is washed out with water and dried. The powder obtained is as smooth and fine as flour.

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Kaweco Sketch Ups are solid, chunky clutch pencils made of octagonal, solid, untreated CNC-machined brass, also available with satin or chrome plating. It will age and develop its own unique patina over time unless polished. A push button on the top is used to advance or retract the 5.6mm lead. The push button also unscrews to reveal a lead sharpener inside. The Kaweco Sketch Up comes in a nostalgic Kaweco gift tin. Learn More

Brush sleeves are the perfect sundry item to help keep your brushes in perfect condition. Simply pull the sleeve up from from the base of the base of the brush and slide over the brush fibres. Two different sizes are included to accommodate a range of brush shapes. Keep sleeves clean for best protection and longevity. Learn More

Handcrafted, extra fine, genuine precious metal powders in a range of shades, all 1 gram in weight. These powders are produced using thin gold, silver and other precious metal leaf. A complex, manual process is undertaken to achieve the extremely fine-grained particle size of this extra fine powder.

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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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A gel medium that increases the buttery character of oil colours and decreases their drying time. Useful for impasto techniques and knife application. Add to oils in a maximum ratio of 1:4. Contains alkyd resin.

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Renaissance Materials by Dr. David Cranswick.

A thick glazing medium of the 'Old Masters'. Liquid Glass Mediums facilitate building up layers of transparent glaze. Gloss or Satin.

Contains: Damar resin, linseed oil and beeswax (for Satin medium only)

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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

Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. Coverage is approximately 7 square metres per litre. Two coats are required for most applications but if applied to walls or ceilings with a roller or a brush then three or four coats are recommended. Because of the highly reflective nature of the metallic paint when applying with a roller to a large area apply the paint evenly in long vertical strokes, finishing off the surface by rolling or brushing in one direction, i.e ceiling to floor. This will help to minimise overlapping and create a smooth and even finish. We recommend the use of a professional quality foam roller in order to achieve the best possible finish. When applying with a roller to a large area, apply the paint evenly in long vertical strokes. Finish off the surface by rolling one direction, i.e. ceiling to floor. This will help minimise overlapping and create a smooth, even finish. These paints can also be sprayed and this will produce the best and most consistent finish. To spray Liquid Metal Acrylics, you will need to use HVLP spray equipment with a 1.6mm or 1.8mm nozzle. To ensure proper flow, paint can be thinned with 25-30% water. This range of paints is suitable for exterior use but must be applied on a dry day as acrylics take longer to dry out completely than oil-based paints. Once dry the paints cure and are hardwearing. Learn More

From the Schmincke website:

Jelly-like medium for accelerating the drying of oil colours. Preserves consistency and degree of gloss. Dosage: 10% to 30% maximum. Contains: Siccative, stand oil, resin solution, mineral spirit.

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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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Treasure Gold is a metallic wax which is unparalleled in restoring gold lead and the finishing touches for antiquing. Blend any of the colours together for just the right shade. Apply with the fingers or a cloth and buff lightly. The metal lustre won't fade or tarnish. It is ready to be polished in ten minutes. Treasure Gold is highly concentrated and is to be used sparingly. A 25g jar will cover approximately 2sq/m. Learn More

Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. Coverage is approximately 7 square metres per litre. Two coats are required for most applications but if applied to walls or ceilings with a roller or a brush then three or four coats are recommended. Because of the highly reflective nature of the metallic paint when applying with a roller to a large area apply the paint evenly in long vertical strokes, finishing off the surface by rolling or brushing in one direction, i.e ceiling to floor. This will help to minimise overlapping and create a smooth and even finish. We recommend the use of a professional quality foam roller in order to achieve the best possible finish. When applying with a roller to a large area, apply the paint evenly in long vertical strokes. Finish off the surface by rolling one direction, i.e. ceiling to floor. This will help minimise overlapping and create a smooth, even finish. These paints can also be sprayed and this will produce the best and most consistent finish. To spray Liquid Metal Acrylics, you will need to use HVLP spray equipment with a 1.6mm or 1.8mm nozzle. To ensure proper flow, paint can be thinned with 25-30% water. Learn More

This product does not contain turpentine, and is therefore suitable for artists with allergies. A 'neutral', nearly non-yellowing painting and thinning medium for oil colours. Applicable for all painting techniques except for ground motifs on slightly absorbent undergrounds (not “lean” enough). Low impact on drying time. Thinner: Terpin (50023) (max. 30%). Dosage: 10 to max. 20%. Learn More

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

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

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

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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NR9

Madder Lake pigment is derived from dye that has been extracted from the root of the madder plant, and attached to alum as a 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

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