Search results for 'Ground pigments'

Michael Harding Non-Absorbent Acrylic Primer (NAAP) is a versatile product suitable for application on various surfaces, including linen, wood, MDF, and more. It is designed to create a robust, flexible, permanent, and intensely pigmented ground, making it an excellent choice for both acrylic and oil paints. Important Application Guidelines: Support Selection: NAAP should not be applied over surfaces treated with rabbit skin/hide glue or on unsound, flimsy supports such as cardboard. Opt for stable substrates to ensure the primer’s effectiveness. Not a Gesso: Please note that NAAP is a primer, not a gesso. As such, there is no need for additional gessoes, sizes, or other ancillary products when using NAAP. DIRECTIONS: Coat Application: Apply a minimum of two coats of NAAP to your chosen support, ensuring liberal coverage for optimal results. Dilution for Flow: If you desire increased flow, dilute NAAP with a mixture of 1 part water to 4 parts NAAP. This adjustment allows for customization based on your artistic preferences. Second Coat Application: Apply the second coat once the first coat is touch dry, typically after approximately 1 hour. This step contributes to the creation of a well-prepared painting surface. Additional Considerations: Suitable Supports: Do not use Michael Harding Non-Absorbent Acrylic Primer on flimsy or unsound supports. It is crucial to choose a stable and well-prepared surface for priming to ensure the longevity and integrity of your artwork. Canvas Weave Consideration: Avoid using this primer on canvases with a wide weave. The non-absorbent nature of the primer may not be suitable for canvases with a loose or open structure, compromising its effectiveness. Transparency Check: Before application, inspect your canvas material by holding it up to the light. If you can see light passing through the wefts (threads) of the canvas, it is not recommended to use Michael Harding Non-Absorbent Acrylic Primer. Opt for a more appropriate primer based on the transparency of your canvas. Learn More

STABILO CarbOthello is a chalk pastel coloured pencil range available in up to 60 colours. With its wonderfully dry and dusty stroke it is just like a chalk pastel in pencil format. It's very popular with artists, art students and people with creative hobbies. Its high pigmentation guarantees great luminosity and opacity as well as colour fastness and colour brilliance especially on dark backgrounds and delicate papers. What's more it can be sharpened to a very fine tip which make it ideal for detail. Colours can be dry mixed and blended which makes colouring more fun and special.

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Apply 2 coats. First coat may be applied 25% diluted with water to increase flow and coverage if required. Apply second coat once first coat is touch dry (approx.. 1 hour). This product may be applied to: linen, wood, MDF and other supports to produce a strong, flexible, permanent, highly pigmented white ground. Suitable for as a ground for both acrylic and oil paint. May even be applied over inexpensive standard primed canvases to render them non absorbent! Do not apply over rabbit skin / hide glue or to unsound supports such as cardboard and flimsy supports! Learn More

Unlike other commercially available oil paints, Roberson Artists' Oil Colours do not contain any fillers, extenders or stabilisers. Each paint consists solely of high-quality pigment that has been ground into cold pressed linseed oil, resulting in a highly pigmented paint. This strength of colour presents the possibility of greater economy of use and a less homogenised texture between each tube, instead allowing the unique qualities of each individual pigment to reveal themselves. By limiting our range to 59 shades, we dispense with colours that can be easily mixed, creating a focussed palette of intense, lightfast paints that offer limitless combinations.

Available in 40ml and 225ml tubes

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STABILO CarbOthello is a chalk pastel coloured pencil range available in up to 60 colours. With its wonderfully dry and dusty stroke it is just like a chalk pastel in pencil format. It's very popular with artists, art students and people with creative hobbies. Its high pigmentation guarantees great luminosity and opacity as well as colour fastness and colour brilliance especially on dark backgrounds and delicate papers. What's more it can be sharpened to a very fine tip which make it ideal for detail. Colours can be dry mixed and blended which makes colouring more fun and special.

Learn More

Michael Harding Non-Absorbent Acrylic Primer (NAAP) is a versatile product suitable for application on various surfaces, including linen, wood, MDF, and more. It is designed to create a robust, flexible, permanent, and intensely pigmented ground, making it an excellent choice for both acrylic and oil paints. Important Application Guidelines: Support Selection: NAAP should not be applied over surfaces treated with rabbit skin/hide glue or on unsound, flimsy supports such as cardboard. Opt for stable substrates to ensure the primer’s effectiveness. Not a Gesso: Please note that NAAP is a primer, not a gesso. As such, there is no need for additional gessoes, sizes, or other ancillary products when using NAAP. DIRECTIONS: Coat Application: Apply a minimum of two coats of NAAP to your chosen support, ensuring liberal coverage for optimal results. Dilution for Flow: If you desire increased flow, dilute NAAP with a mixture of 1 part water to 4 parts NAAP. This adjustment allows for customization based on your artistic preferences. Second Coat Application: Apply the second coat once the first coat is touch dry, typically after approximately 1 hour. This step contributes to the creation of a well-prepared painting surface. Additional Considerations: Suitable Supports: Do not use Michael Harding Non-Absorbent Acrylic Primer on flimsy or unsound supports. It is crucial to choose a stable and well-prepared surface for priming to ensure the longevity and integrity of your artwork. Canvas Weave Consideration: Avoid using this primer on canvases with a wide weave. The non-absorbent nature of the primer may not be suitable for canvases with a loose or open structure, compromising its effectiveness. Transparency Check: Before application, inspect your canvas material by holding it up to the light. If you can see light passing through the wefts (threads) of the canvas, it is not recommended to use Michael Harding Non-Absorbent Acrylic Primer. Opt for a more appropriate primer based on the transparency of your canvas. Learn More

STABILO CarbOthello is a chalk pastel coloured pencil range available in up to 60 colours. With its wonderfully dry and dusty stroke it is just like a chalk pastel in pencil format. It's very popular with artists, art students and people with creative hobbies. Its high pigmentation guarantees great luminosity and opacity as well as colour fastness and colour brilliance especially on dark backgrounds and delicate papers. What's more it can be sharpened to a very fine tip which make it ideal for detail. Colours can be dry mixed and blended which makes colouring more fun and special.

Learn More

Unlike other commercially available oil paints, Roberson Artists' Oil Colours do not contain any fillers, extenders or stabilisers. Each paint consists solely of high-quality pigment that has been ground into cold pressed linseed oil, resulting in a highly pigmented paint. This strength of colour presents the possibility of greater economy of use and a less homogenised texture between each tube, instead allowing the unique qualities of each individual pigment to reveal themselves. By limiting our range to 59 shades, we dispense with colours that can be easily mixed, creating a focussed palette of intense, lightfast paints that offer limitless combinations. 

Available in 40ml and 225ml tubes

Learn More

Unlike other commercially available oil paints, Roberson Artists' Oil Colours do not contain any fillers, extenders or stabilisers. Each paint consists solely of high-quality pigment that has been ground into cold pressed linseed oil, resulting in a highly pigmented paint. This strength of colour presents the possibility of greater economy of use and a less homogenised texture between each tube, instead allowing the unique qualities of each individual pigment to reveal themselves. By limiting our range to 59 shades, we dispense with colours that can be easily mixed, creating a focussed palette of intense, lightfast paints that offer limitless combinations.

Available in 40ml and 225ml tubes

Zinc White and Titanium White only available in this intermediate size of 120ml

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Equal the intensity of GOLDEN Heavy Body Acrylics but with an even, flowing characteristic useful for dry brush application, fine details, pouring, spraying, staining techniques and many others. Fluids are created by loading an acrylic polymer binder with concentrated levels of quality pigments for a wide selection of permanent and lightfast colors. No fillers or extenders are added to achieve the desired consistency, nor is the fluid quality achieved with additional water. GOLDEN Fluid Acrylics have the same pigment load as the Heavy Body Acrylics, but in a viscosity similar to heavy cream. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Equal the intensity of GOLDEN Heavy Body Acrylics but with an even, flowing characteristic useful for dry brush application, fine details, pouring, spraying, staining techniques and many others. Fluids are created by loading an acrylic polymer binder with concentrated levels of quality pigments for a wide selection of permanent and lightfast colors. No fillers or extenders are added to achieve the desired consistency, nor is the fluid quality achieved with additional water. GOLDEN Fluid Acrylics have the same pigment load as the Heavy Body Acrylics, but in a viscosity similar to heavy cream. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Equal the intensity of GOLDEN Heavy Body Acrylics but with an even, flowing characteristic useful for dry brush application, fine details, pouring, spraying, staining techniques and many others. Fluids are created by loading an acrylic polymer binder with concentrated levels of quality pigments for a wide selection of permanent and lightfast colors. No fillers or extenders are added to achieve the desired consistency, nor is the fluid quality achieved with additional water. GOLDEN Fluid Acrylics have the same pigment load as the Heavy Body Acrylics, but in a viscosity similar to heavy cream. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Solid artists' quality oil paint sticks. (Ø = 3/4 ; length = 5" ) SENNELIER Extra-Fine Solid Oil Sticks can be used alone or in combination with oil colours in tubes. The oil stick colours can be used for an entire painting. They are applied directly to any traditional oil-painting support, such as canvas, wood panel or fine art paper. They need the same archival priming (acrylic gesso or oil ground) that oil paint requires. Surfaces: Before use, the surface film of the oil stick must be peeled off. It will form again after a few days of non-use, protecting and conserving the colour. The oil sticks must be applied in a thin film application of no more than 1mm thick. Once applied they can be painted over with oil stick or oil paint and if desired be diluted with turpentine. Oil stick Medium, a colourless oil stick, may be used to produce transparent effects and glazes. Once applied, the oil stick surface will dry in 2 to 5 days, depending on the atmospheric conditions Varnishing: If varnishing is desired, you must wait 6 months (as in traditional oil paint) until the colour is completely dry, before giving the painting a final coat of picture varnish. Use a soft brush to varnish so that the oil stick marks are not disturbed. SENNELIER Extra-Fine Solid Oil Stick colours are either opaque (O) or transparent (T) depending on the nature of the pigment in each colour. Oil Sticks do not change during storage and require no special precautions except to be kept away from any source of heat, which could adversely affect the stick. Application Techniques After applying the colour with the point or the edge of the oil stick, colours can be mixed directly on the support using the following methods: • Blending, with brush, finger, or drawing stump. With or without turpentine • Wash-drawing, dilute colours with turpentine or mineral spirit • Retouching, with oil stick, palette knife or brush • Textures, thick application oil stick colour. Retouch with a brush or palette knife •Sgraffito, scratching a layer of fresh paint with a point (brush handle, palette knife, etc.) to reveal the layer below. Sgraffito is related to engraving, and is used not only for revealing the under-layers of paint but also to scratch and clean unsatisfactory parts of the painting •Interior Decoration, on glass, ceramics etc. Use for decorative purposes only Learn More

Working with Schmincke’s finest extra-soft pastels leads you back to the origin of colour and is a real painting experience rather than simple drawing. They contain only the purest medium fine ground artists’ pigments, which are in the highest possible concentration. Contrastingly, the binding agent content, is kept to a minimum, which ensures a stable compound. In order to guarantee the highest quality it is necessary to manufacture Schmincke pastels using special recipes which avoid the use of machinery. Multiple Discounts: 10+ Pastels 10% SAVING, 30+ Pastels 17% SAVING Learn More

Length 190 mm. For use on prepared paper. Hand-forged in London from silver bullion. Renaissance Workshop Materials are historically authentic drawing materials and tools, which would be recognisable to the artists of Renaissance Europe. Each product is made in the workshop by hand, using historical methods. Each product is borne from the same historical, European craft tradition, as the drawings and artworks from the Renaissance. In the words of the artisan maker, 'We make these materials in order to experience the historical craft and method of drawing in the most authentic way possible.' Learn More

Length 170mm. For use on prepared paper. Hand-forged in London from silver bullion. Renaissance Workshop Materials are historically authentic drawing materials and tools, which would be recognisable to the artists of Renaissance Europe. Each product is made in the workshop by hand, using historical methods. Each product is borne from the same historical, European craft tradition, as the drawings and artworks from the Renaissance. In the words of the artisan maker, 'We make these materials in order to experience the historical craft and method of drawing in the most authentic way possible.' Learn More

Length 220 mm. For use on prepared paper. Hand-forged in London from silver bullion. Renaissance Workshop Materials are historically authentic drawing materials and tools, which would be recognisable to the artists of Renaissance Europe. Each product is made in the workshop by hand, using historical methods. Each product is borne from the same historical, European craft tradition, as the drawings and artworks from the Renaissance. In the words of the artisan maker, 'We make these materials in order to experience the historical craft and method of drawing in the most authentic way possible.' Learn More

Length 160 mm. For use on prepared paper. Hand-forged in London from silver bullion. Renaissance Workshop Materials are historically authentic drawing materials and tools, which would be recognisable to the artists of Renaissance Europe. Each product is made in the workshop by hand, using historical methods. Each product is borne from the same historical, European craft tradition, as the drawings and artworks from the Renaissance. In the words of the artisan maker, 'We make these materials in order to experience the historical craft and method of drawing in the most authentic way possible.' Learn More

To make grounds for silverpoint drawing. Learn More

Made from pulverised historic London bricks collected from the foreshore of the Thames near Tower Bridge and Wapping this deep red pigment is essentially a variety of red ochre. During the Victorian era, London Clay was dug up and fired on construction sites to produce the building materials for the city. Red brick pigment has a medium grain size and is opaque. ****Please note, these pigments are artisan made in small batches. Please email info@cornelissen.com for availability**** 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

PB32

Smalt is a kind of cobalt blue glass or frit, and its use as a pigment dates from the 1600s in the glass-making regions of Saxony. We offer two shades, light and dark, which are determined by the particle size of the pigment; the more finely ground the powder, the paler the colour. Before the introduction of Ultramarine Blue, Smalt was available in a wide variety of grades. It is a very transparent pigment, which is easily overwhelmed in mixtures due to its weak tinting strength. It works best in water based media. When ground in oil, it can become almost invisible in dried oil-paint films because its refractive index is so close to that of linseed oil.

Larger quantities are available by request.

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Colophony is a by-product of the distillation of turpentine. It is soluble in most solvents, but considered an adulterant in varnishes and paints, as it forms a weak surface that is prone to darkening and cracking. It is, however, a key ingredient in wax-based etching grounds, imparting hardness, and can be used in powdered form (rosin) to make aquatints. Learn More

Whiting is powdered Calcium Carbonate, which can be mixed with rabbit skin glue to create a chalk-based ground for oil, tempera, distemper or encaustic painting. Traditionally, whiting was an important ingredient when preparing painting surfaces in the north of Europe, as opposed to gypsum (Calcium Sulphate), which was widely used south of the Alps. Learn More

Gypsum is powdered Calcium Sulphate, a traditional ingredient in gesso grounds used in southern Europe. One of the advantages of preparing your painting surface with gypsum is that it allows for a particularly even absorption of the paint film. It can also be added to acrylic primers to increase absorbency or add tooth to a surface. Learn More

PBk10

Graphite powder is an allotropic form of pure carbon, ground to 200 mesh. It is transparent and lightfast, with a slight sheen. It can be applied directly onto a paper support.

Larger quantities are available by request. This variety of graphite is a naturally occurring material sourced from Sri Lanka.

Toxicity: A/B

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Verdigris is an artificial pigment that dates from antiquity. Originally, it was produced by exposing copper to vinegar; nowadays acetic acid is used. It is acidic, so can contribute to the deterioration of paper supports. For this reason, it is more suited to oil or tempera painting than it is to watercolour. In tempera painting, it should be bound in animal glue or isinglass glue rather than egg york. When used in oil painting it should be held in a resin oil or balsam such as Venice Turpentine, as it can turn brown when ground directly into linseed oil. It is a fast-drying, transparent pigment, with a visible crystalline structure. 

Larger quantities are available by request.

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PB32

Smalt is a kind of cobalt blue glass or frit, and its use as a pigment dates from the 1600s in the glass-making regions of Saxony. We offer two shades, light and dark, which are determined by the particle size of the pigment; the more finely ground the powder, the paler the colour. Before the introduction of Ultramarine Blue, Smalt was available in a wide variety of grades. It is a very transparent pigment, which is easily overwhelmed in mixtures due to its weak tinting strength. It works best in water based media. When ground in oil, it can become almost invisible in dried oil-paint films because its refractive index is so close to that of linseed oil.

Larger quantities are available by request.

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Gesso di Bologna is a bright white Calcium Sulphate, or gypsum, from Italy, which can be used as a substitute for whiting in the preparation of gesso. It is ground to a particularly fine powder, which makes it a suitable ground for gilding, as the small size of the particles allows for greater compression when burnishing. Learn More