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  1. Pfeil Lino and Woodcut Tools

    Pfeil Lino and Woodcut Tools

    Starting at: £20.00

    Exceptional quality Swiss made carving tools, suitable for either lino or wood cutting. Each tool is made from precisely ground stainless steel, with a classic mushroom hardwood handle. 70mm blade length, 125mm overall length. Learn More
  2. Dry Red Bole

    Dry Red Bole

    Starting at: £4.70

    Armenian hue, fine powder. Mix with rabbit skin glue. Learn More
  3. da Vinci Series 2468 Wavy Mottler

    da Vinci Series 2468 Wavy Mottler

    Starting at: £20.80

    Firm short bristled brush ideally for spreading uniformly white lead primer into the weave of sized canvas. Learn More
  4. Mars Red Pigment

    Mars Red Pigment

    Starting at: £4.50

    PR101

    Mars Red is an artificial mineral pigment. Its pigment code, PR101, refers to a wide spectrum of synthetic iron oxide pigments including yellows, oranges, reds, violet-browns and green-browns, which replace many natural earth colours to provide pigments without impurities and with great opacity. It has a good tinting strength, is lightfast and stable in all media, and has a medium drying time in oil.

    Toxicity: B

    Limeproof

    Learn More
  5. Acetate

    Acetate

    Starting at: £0.70

    Call to Order

    Acetate Learn More
  6. Bone White Pigment 100 grams, Renaissance Workshop Materials

    Bone White Pigment 100 grams, Renaissance Workshop Materials

    £38.00

    To make grounds for silverpoint drawing. Learn More
  7. Vine Black Pigment

    Vine Black Pigment

    Starting at: £4.70

    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

    Learn More
  8. Ultramarine PB29 Pigment

    Ultramarine PB29 Pigment

    Starting at: £9.10

    PB29

    Ultramarine Blue is an artificial mineral pigment that is produced by heating clay, soda, sulphur and coal to high temperatures. Its name comes from outremer, or over-the-sea, as a reference to the highly-prized Lapis Lazuli pigment which had been imported into Europe from Afghanistan since the Middle Ages. First manufactured in France and Germany in 1828, synthetic Ultramarine provided a brilliant and affordable blue to artists, and it remains one of the most popular blues on artists' palettes today.

    It is a transparent pigment, with a high tinting strength and excellent lightfastness. It reacts to alkali, therefore it is not suitable for use in lime-fresco; we do offer a Limeproof Ultramarine Blue for this purpose. It is stable in all other media, although it can be tricky to grind in oil. Instead of creating a thick, buttery paste, it can remain stringy and deteriorate when stored in a tube. To correct this, many commercial paint manufacturers include additives and waxes in their recipes; if you intend on grinding your own paint, you could try replacing 10-15% of your Linseed Oil with Poppy Oil to improve the consistency. Ultramine Blue provides a slow-drying, fairly hard paint film, which can tend towards brittleness.

    Toxicity: B/C

    Learn More
  9. Golden Ochre Pigment

    Golden Ochre Pigment

    Starting at: £4.50

    PY43 Golden Ochre is a natural earth pigment, somewhat darker than Yellow Ochre. It is a semi-transparent, lightfast pigment, that is stable in all media. It has a medium to slow drying rate in oil, creating a tough, flexible paint film. Toxicity: B Limeproof Learn More
  10. Gum Tragacanth

    Gum Tragacanth

    Starting at: £20.00

    Call to Order

    Gum Tragacanth is a natural tree gum with pigment-binding properties. It can be used to make a very matte watercolour, but is most commonly used in the production of soft pastels.

    Please see the Formulas & Recipes section on our homepage for a recipe to make your own pastels using Gum Tragacanth (currently under construction). 

    Learn More
  11. Cadmium Brown Pigment

    Cadmium Brown Pigment

    Starting at: £10.00

    PR108

    Cadmium Brown is a shade of Cadmium Red, a synthetic organic pigment that has been in use since the 1920s. It is formed by heating cadmium sulphide and selenium, the hue is determined by the level of calcination and proportion of selenium. It is very opaque, and lightfast, with a high tinting strength. It absorbs a small amount of oil, and dries very slowly to form a hard, flexible paint film.

    Larger quantities are available by request.  

    Limeproof

    Toxicity: C

    Learn More
  12. Carmine Red Genuine Pigment

    Carmine Red Genuine Pigment

    Starting at: £10.00

    NR4

    Carmine has been used as a dye and pigment since antiquity. Originally derived from the kermes insect, it was replaced by cochineal following the discovery of the Americas. It has a good tinting strength and is very transparent, although it is fugitive to light.

    Larger quantities are available by request.

    Learn More
  13. Terre Verte Pigment

    Terre Verte Pigment

    Starting at: £4.00

    Terre Verte, sometimes known as Green Earth, is a natural earth pigment derived from clay coloured by iron silicate. As with other natural pigments, impurities can prevent it from fully dispersing in an acrylic binder, although it is a popular pigment in all other mediums. It has been in use since antiquity, providing excellent lightfastness and great transparency, with a low tinting strength. It requires a high volume of oil, and dries slowly to create a soft, flexible paint film. When calcined, Terre Verte becomes Burnt Green Earth.
    Toxicity B Learn More

  14. Raw Sienna Pigment

    Raw Sienna Pigment

    Starting at: £4.00

    PBr7

    Raw Sienna is a natural earth pigment that dates back to antiquity. Our Raw Sienna comes from areas of Tuscany where the earth has been coloured by iron-rich minerals. It provides a good tinting strength, excellent lightfastness, and a fast to medium drying rate in oil. It is stable in all media but, like umber pigments, can be difficult to disperse in an acrylic binder. It is similar in composition to Yellow Ochre, but whereas Yellow Ochre contains a higher proportion of clay, Raw Sienna contains a higher proportion of silica. As a natural material, the exact colour and qualities of the resultant pigments can vary, but generally this difference creates a paler, more opaque Yellow Ochre, and a darker, more transparent Raw Sienna.

    Toxicity: B

    Learn More
  15. Ultramarine Pink Pigment

    Ultramarine Pink Pigment

    Starting at: £8.00

    Ultramarine Pink Pigment, Toxicity A/B Learn More
  16. Cornelissen Pearl Lustre Pigments 100g

    Cornelissen Pearl Lustre Pigments 100g

    Starting at: £12.90

    Pearl Lustre Pigments 100g. Colour swatch on the left indicates colour on a White Background and Colour on a Black Background on the right. Learn More
  17. Realgar Pigment

    Realgar Pigment

    Starting at: £12.75

    Realgar, like Orpiment, is sulphide of arsenic, and these two substances are often found in close proximity to each other in nature. Realgar exists in small deposits throughout the world and has been used for its colour since ancient times, although its extreme toxicity means that it has been superseded by cadmiums in modern painting. It is an opaque pigment with poor tinting strength. Larger quantities are available by request.

    Toxicity D

    PERMITTED USES: Restoration of art works and protected buildings when there are no suitable alternatives.

    IMPORTANT: Please refer to the MSDS (Material Safety Data Sheet) below.

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

    Learn More
  18. Ultramarine Blue Light Pigment

    Ultramarine Blue Light Pigment

    Starting at: £6.00

    PB29

    Ultramarine Blue Light is an artificial mineral pigment that is produced by heating clay, soda, sulphur and coal to high temperatures. Its name comes from outremer, or over-the-sea, as a reference to the highly-prized Lapis Lazuli pigment which had been imported into Europe from Afghanistan since the Middle Ages. First manufactured in France and Germany in 1828, synthetic Ultramarine provided a brilliant and affordable blue to artists, and it remains one of the most popular blues on artists' palettes today. 

    It is a transparent pigment, with a high tinting strength and excellent lightfastness. It reacts to alkali, therefore it is not suitable for use in lime-fresco; we do offer a Limeproof Ultramarine Blue for this purpose. It is stable in all other media, although it can be tricky to grind in oil. Instead of creating a thick, buttery paste, it can remain stringy and deteriorate when stored in a tube. To correct this, many commercial paint manufacturers include additives and waxes in their recipes; if you intend on grinding your own paint, you could try replacing 10-15% of your Linseed Oil with Poppy Oil to improve the consistency. Ultramine Blue provides a slow-drying, fairly hard paint film, which can tend towards brittleness.

    Toxicity B

    Learn More
  19. Alumina Hydrate Light

    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
  20. Cadmium Green Pigment

    Cadmium Green Pigment

    Starting at: £4.50

    Cadmium Green is an artificial mineral pigment, a mixture of Cobalt and Cadmium Yellow. It is an opaque, lightfast, slow-drying pigment with a high tinting strength.

    Toxicity C

    Learn More
  21. Parchment Clippings

    Parchment Clippings

    Starting at: £9.90

    Parchment Clippings, usually waste goatskin vellum, were utilised throughout the Middle Ages to make an animal hide glue. This continued to be commonly used as a sizing for canvas before rabbit skin glue came to prominence in the nineteenth century. Parchment glue is comparable to isinglass glue, as it also produces a very pale, almost transparent glue with a degree of flexibility. Our parchment clippings are a mixture of vellum scraps, and may include goatskin, calfskin and sheepskin. Cennino Cennini gives a recipe for gesso using parchment in his treatise about painting; please see below for our recipe. Learn More
  22. English Lino Tool Sets

    English Lino Tool Sets

    Starting at: £7.30

    English Lino Tool Sets Learn More
  23. Prussian Blue Pigment

    Prussian Blue Pigment

    Starting at: £5.20

    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

    Learn More
  24. Venetian Red Pigment

    Venetian Red Pigment

    Starting at: £4.60

    Venetian Red Pigment (PR101). Iron oxide and chalk. Semi-transparent and very lightfast. Stable in all media.

    Limeproof

    Toxicity: B

    Learn More
  25. Translucent Orange Oxide Pigment

    Translucent Orange Oxide Pigment

    Starting at: £9.40

    Translucent Orange Oxide (PR101). Artificial mineral pigment, hydrated ferric oxides. Transparent and very lightfast. Stable in all media, medium drying rate in oil. Toxicity B. Learn More
  26. Drum-Wheel Roulette

    Drum-Wheel Roulette

    Starting at: £54.00

    Wheel with a straight shaft for fine, medium and coarse parallel and cross lines. Learn More
  27. Ammonium Carbonate

    Ammonium Carbonate

    Starting at: £9.70

    Ammonium Carbonate is a highly Alkaline substance that reacts with the lactic acid present in casein to form a robust binder for tempera paints. It should only be used in a well-ventilated area, please see below for the Material Safety Data Sheet. Learn More
  28. Carbon Black Pigment

    Carbon Black Pigment

    Starting at: £10.80

    PBk7

    Carbon Black is an inorganic synthetic pigment, created by burning natural gases to form an almost pure carbon. It is semi-transparent, and in oil dries very slowly to a soft, brittle paint film. It requires a wetting agent, and can show in streaks, even when mixed with other colours. 

    Larger quantities are available by request. 

    Learn More
  29. English Red Light Pigment

    English Red Light Pigment

    Starting at: £5.50

    English Red Light Pigment Learn More
  30. Green Earth Light Pigment

    Green Earth Light Pigment

    Starting at: £4.95

    Green Earth Light Pigment Learn More

Items 151 to 180 of 657 total

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