Search results for 'yellow'

The new set has six x 5ml transparent watercolours. The pigments were carefully selected to give you a wide range of colours and values. When mixed together the colours you can create are endless! The Essentials set contains Hansa Yellow Light, New Gamboge, Quinacridone Rose, Pyrrol Scarlet, Phthalo Blue GS, French Ultramarine in 5ml tubes. so you have both cool and warm Yellows, Reds and Blues. *Please note, this product is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Fast drying, flexible and non yellowing white ground for oil, acrylic and tempera. Gives a matt, absorbent surface which may be sanded smooth once dry. Learn More

From the Winsor & Newton website: A slow drying, gloss medium which is ideal for fine detail work, glazing and smoothly blended areas with no brush marks. Reduces consistency and improves flow. Suitable for oiling out and enriching dull patches. Resistant to yellowing. 

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Traditional size for illumination. Made with natural gums. Yellow colour. Learn More

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

Synthetic, Polaroid B67 retouching varnish made as an alternative to natural resin, Damar retouching varnish. superior non-yellowing characteristics. Less readily absorbed into painted surface and less susceptible sinking. Dries quickly to a breathable, uniform, gloss finish. Learn More

Roberson's Traditional Oil Primer is made in small batches using the highest quality materials. Can be used on canvas or wood. Two to three coats will produce a slippery surface to enable oil colour to be moved around. Canvas should be sized before oil primer is applied using Roberson's Prepared Rabin Skin Glue. Touch dry in approx. 6h. hard dry in 24h. Paint may set in tin, shake tin and stir well before use, dilute with white spirit if desired. Prior to painting , primed canvases should be kept in daylight conditions to prevent over yellowing. Clean brushes in White Spirit. 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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18 vibrant colours, lightfast, non-clogging and fully intermixable. Non-waterproof. Learn More

PR101

Indian Red was imported into the UK during the nineteenth century, its present-day equivalent is a synthetic iron oxide. Its pigment code, PR101, refers to a wide spectrum of synthetic iron oxide pigments including yellows, oranges, reds, violet-browns and green-browns; Indian Red is a slightly cool, bluish shade of red. It is semi-opaque, stable in all media, lightfast, and possesses a good tinting strength 

Toxicity: B

Limeproof

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Genuine artists' pigments with highest possible concentration in linseed and sunflower oils. All colours have outstanding brilliance and highest possible lightfastness. Mainly single pigment colours. 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

Gamboge is a natural tree resin, generally extracted by tapping of Garcinia trees, available as a powder and in the solid "pipe" form. One of the unique features of Pipe Gamboge is that it does not require a binding agent to be used as a paint. Instead, colour can be lifted with a wet brush, as from a watercolour pan. When used as a water colour, it gives a bright transparent golden yellow colour. It is highly transparent, fugitive to light, with a weak tinting strength. The powder can be dissolved in alcohol to colour resin-based varnishes. Gamboge was used from ancient times to dye the clothes and also to make a transparent yellow varnish for the colouring of wood, metals and leather.

Pipe Gamboge is available while stocks last. Larger quantities are available by request.

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Ketone resin/standoil/white spirit. Nearly colourless liquid which dries to a clear non-yellowing, non-blooming. Unable to send overseas. Learn More

From the Winsor & Newton website: This quick drying gloss medium offers a slight gel that brushes out smoothly and is ideal for artists looking for a non-drip effect when mixed with colour. Speeds drying (touch dry in 1-6 days depending on colour and film thickness). Ideal for glazing. Resists yellowing. Not suitable as a varnish or final coat. Learn More

Flexible brush tip. Extremely fade resistant colours made with pigmented drawing ink. Waterproof and PH neutral. Cadmium yellow, Chrome Yellow Deep, Phthalo Blue, Carmine, Violet, Olive Green. Learn More

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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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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The perfect introduction to working with pigment, this selection of thirty pigments provides a wide range of colours for the production of paint. Each colour is supplied in a 15ml plastic jar, and the set includes both natural and synthetic colours. Recipes can be found on our homepage, with instructions for making different paints, including watercolour, egg tempera and oil paint. Learn More

Inspired by traditional tailor’s chalk block, prepared for drawing and painting. Water soluble and extremely soft, choice of 6 traditional earth colours: sanguine, sepia, dark brown, brown, ochre and carbon black. Learn More

Ketone resin/white spirit. Water white liquid dries to non-yellowing glossy film. Learn More

From the Winsor & Newton website: This reliable favourite is a general purpose semi gloss medium which speeds drying, improves flow and reduces brush stroke retention. Halves the drying time of conventional oil colour (touch dry in 1-6 days depending on colour and film thickness). Resists yellowing. Not suitable as a varnish or final coat. Learn More

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

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PR101

Mars Violet 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. Although it is similar to Caput Mortuum and Indian Red, it is less transparent than the former and warmer than the latter.

Toxicity: B

Limeproof

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Drawing gum for masking specific areas which should remain white on water-colour paper, smooth drawing carton, photographs or films. For direct application with the dispensing bottle. Contains: synthetic resin dispersion without ammonia. Learn More

Liquid Watercolour (series 27). 18 shades of highly concentrated organic pigment in a light acrylic base. Low dosage of the binder allows dried colour to be dissolved up to 24 hours after application. Colours retain their strength when diluted with water, Drying Retarder or Gloss Intensifier mediums. Undiluted applications may bronze when dry. Learn More

Oil-based inks that wash away safely with liquid soap and water. Suitable for all types of relief or block printing, such as woodcut and wood engraving, letterpress and linocut. This range contains less than 1% of driers. For faster drying rates, add a small amount of cobalt or manganese driers. Formulated with excellent light fast pigments for non-toxic printmaking or solvent-free cleaning.

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PW1

Flake White Pigment, sometimes referred to as Lead White or Cremnitz White, is an artificial mineral pigment, lead carbonate. It is no longer available as a paint, due to its extreme toxicity. For this reason, great care must be taken when handling the dry pigment.

It is not usuable in water-based media, but works well in oils. It creates a flexible paint film that dries quickly. Although opaque, small quantities do not dominate mixtures, and can help slow-drying pigments to dry. For this reason, it has been a popular mixing white historically; in fact, until the mid-19th century, Flake White was the only white pigment available to artists. Although varnishing is generally considered optional for oil paintings, it is recommended for works containing Flake White, as contact with sulphur in the atmosphere can cause it to blacken. It creates a warm white, which can yellow over time when mixed with linseed oil.

Toxicity: D

Permitted uses: Restoration of art works and protected buildings when alternatives unsuitable.

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A varied collection of flame oranges, golden yellows, and vibrant reds. A useful add on for a more floral landscape or sunsets.

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