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Wash brush, very smooth light brown synthetic fibre in plastic quills, wooden lacquered handle. Learn More

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

Our Cornelissen-branded sketchbooks are a popular, durable, and versatile choice. The acid-free, 140gsm paper is perfect for drawing and all dry-media techniques. The standard sizes (A6, A5, A4 and A3, portrait and landscape) contain 46 pages, while the chunky square formats contains 95 pages. 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 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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From the Winsor & Newton website: A pale refined oil of syrupy consistency which behaves like Linseed Stand Oil but dries quicker and darker. Improves flow and gloss. Increases the durability of paint film. Reduces brushstroke retention. Learn More

Poppy Oil is a slightly later addition to the artist's cabinet than Linseed Oil and Walnut Oil. It is generally used as a binder for pale colours, where the warmth of Linseed Oil is not desired. It provides a matte finish and dries very slowly, so we would not advise using it in conjunction with slow-drying pigments or in underpaintings. A paint film produced by Poppy Oil is weaker and softer than that created by Linseed Oil. This is because it contains a smaller percentage of linolenic acid than Linseed Oil; this substance imparts both strength and yellowness to an oil.  

Although some of these properties can be perceived as drawbacks, paints made with Poppy Oil generally obtain a "short" or buttery texture without the addition of waxes or other additives, which can be an advantage for certain colours that produce poor consistencies in Linseed oil alone. Sometimes, the addition of a small quantity of Poppy Oil when grinding a tricky or "stringy" pigment in Cold Pressed Linseed Oil can introduce some of benefits of Poppy Oil, without transmitting its negative characteristics.

Paints made with Poppy Oil are particularly suited to "alla prima" working methods, where paint is applied spontaneously. When working in successive layers, Poppy Oil would only be appropriate for the final stages of a painting.

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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. 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

From the Winsor & Newton website: Our most popular oil. A low viscosity alkali refined oil of pale colour that dries slowly. Reduces oil colour consistency. Increases gloss and transparency. Add to other oils to slow drying. Learn More

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

From the Winsor & Newton website: A slow drying oil which improves flow, increases gloss and transparency. Particularly suitable for use with whites and pale colours.

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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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From the Winsor & Newton website: A fast-drying, pale oil made from poppy seeds which is well suited for whites and pale colours. Reduces consistency. Increases gloss & transparency. Resists yellowing.

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From the Winsor & Newton website: Darker than refined Linseed Oil, this oil promotes the fastest drying rate of all the oils, whilst increasing gloss. Improves flow. Increases gloss transparency. Add to other oils to speed drying.

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Safflower Oil is light-coloured, making it suitable for grinding pale pigments. It is still sometimes used as a binder for commercially available paints, although due to its very slow drying time it is best reserved for the final layers of a painting. Compared to Linseed oil, Safflower Oil will give a matte finish.

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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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Made of high-carbon tool-steel, Lyons irregular roulette wheels produce a pebbled effect when rolled over a metal plate, enabling the printmaker to add texture and shading to their image. Total length: 12.5 cm. 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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Unusual combination of squirrel body and red sable tip facilitating the painting of long continuous lines. 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

Pfeil's Arkansas Sharpening Stones are made for honing cutting edges such as lino and wood cutting tools and etching tools. Genuine Arkansas stones are among the hardest and finest of honing stones. Use with special light honing oil. Each stone measures 65mm x 25mm x 8mm, with a grit rating of circa 8,000. 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

Made of high-carbon tool-steel, Lyons roulettes produce regular line or dot patterns on metal plates, enabling the printmaker to add texture and shading to their image. The higher the number, the denser the lines or dots will be: 45 (coarse), 85 (medium), 100 (fine) and 120 (extra fine). Total length: 12.5 cm. 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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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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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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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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Made of high-carbon tool-steel, this tool scores multiple parallel lines with one stroke. The number indicates the density of the lines: 25 (broadly spaced thick lines) and 45 (finer spacing and line width). Total length: 13 cm. Learn More