Search results for 'palettes for oils'

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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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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This product does not contain turpentine, and can therefore be suitable for artists with allergies.

From the Schmincke website:

A neutral, nearly non-yellowing, painting and thinning medium for oil colours. Suitable for all painting techniques except for early layers on absorbent undergrounds (not lean enough); has a low impact on drying time. For dilution, use terpin (max. 30%). Dosage: 10 to max. 20%. Contains: alkyd and acrylic resin, mineral spirit.

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Gamsol is an odourless mineral spirit created by the American company Gamblin. They describe it as "the safest solvent that allows oil painters to utilize all traditional painting techniques without compromise."

Please see below for Gamsol's primary applications.

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Highly siccative painting medium. Dries on the palette with 40 minutes. Use sparingly to prevent gloss.

From the Schmincke website:

Medium for oil colours rich in resin (“lean”). Accelerates drying; increases gloss and depth; makes the colour layers more resistant. Close immediately after use. Dosage: 10% to 20%.

Contains: aldehyde resin, mineral spirit, siccative, stand oil.

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Schmincke Medium L is a jelly-like medium for “soft” painting with oil colours. It improves flow and reduces brush strokes, accelerates drying, increases gloss and transparency. There is no change of the product quality based on the colour change of the raw material alkyd resin. Shake well and stir – if necessary – before use. Close immediately after use.

Contains: alkyd resin, mineral spirit, siccative.

Dosage:10% to 20% maximum.

Thinner: Turpentine substitute

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A slow-drying medium that allows for extending the working period, wet-in-wet painting and blending techniques.

From the Schmincke website:

Medium for oil colours rich in oil. Retards drying; allows wet-in-wet painting; its high content of oil and resin improves the gloss and develops a smooth, elastic film. Dosage: 10% to 20% maximum.

ontains: sunflower oil, stand oil, mineral spirit, aldehyde resin

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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 to 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 color. 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 colorless 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

From the Schmincke website:

Low-fat (“lean”) painting and thinning medium for oil colours. Recommended for thin grounds and to create transparent layers over gouache, tempera and acrylic paintings; thins without hardly affecting the drying time and gloss. Dosage: 10% to max. 20%

Contains: Safflower oil, natural and synthetic resins, mineral spirit.

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The first acrylic colors offered by Golden Acrylic, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and light-fastness. There are no fillers, extenders, opacifiers, toners, or dyes added. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

The first acrylic colors offered by Golden Acrylic, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Increases drying and blending time. Reduces skinning on palette. Use for wet-in-wet techniques. Learn More

A safe wax medium for impasto effects. This medium retains palette knife marks and brush strokes, remains thick and doubles paint easily, drying to a matt finish.

Studio Safe products are non-aromatic, non-flammable, and have a pleasant orange smell.

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The first acrylic colors offered by Golden Acrylic, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

The first acrylic colors offered by Golden Acrylic, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. MULTI-BUY DISCOUNT Buy any five tubes of 60ml Golden Acrylic Heavy and get 10% discount. *Please note, this range is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Roberson Impasto medium is a crack-resistant medium for impasto effects. It retains palette knife and brush strokes, giving the paint sharp, defined edges. It remains thick and doubles paint easily, drying to a matte finish. To retain colour strength, mix one part medium to one part oil colour.

Contains: Stand Oil, Damar Resin, Turpentine, Bleached Beeswax.

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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

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PB29

Ultramarine Blue Dark 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

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Zinc White, or Zinc Oxide, is an artificial mineral pigment that was first produced in France in the late 18th century. Its use in commercial watercolours as Chinese White pre-dates its inclusion in oil painting. It is a semi-opaque, lightfast pigment, which dries very slowly in oil. Of all white pigments, it produces the most brittle paint film, so is not recommended in large quantities for impasto techniques. However, it is a good addition to a palette which requires a less overwhelming white than Titanium White.

Toxicity: B

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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

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Gamblin Etching Inks were formulated at the request of professional printmakers in the Pacific Northwest who wanted strong reliable inks for edition printing. The palette of pure intense pigments offers a broad range of color mixing potential. Learn More

A glass slab with wooden cradle for the grinding of pigments.

The friction created between the sand-blasted surfaces of the glass slab and muller facilitates the thorough mixing of pigment and medium, creating a consistent and strong paint body. This slab can be used to manufacture many types of paint including watercolours, egg tempera and oils.

Mulling is of particular importance when making oil paint; simply mixing pigment and oil together using a palette knife will result in an unstable substance with poor plasticity, which contains a large amount of excess oil and unevenly distributed pigment particles. Thorough mulling in a figure-of-eight motion will enable the pigment to be fully combined into the binder, strengthening the resultant paint film.

PLEASE NOTE: The separate glass slabs are in stock but it is a call to order item due to the fact that we cannot guarantee its safe delivery, however well we package it. Please ring us to discuss your delivery options. In combination with the glass frame, delivery is more secure but we still cannot guarantee a delivery without breakage.

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PB29

Ultramarine Blue Limewash 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. Most Ultramarine colours It react to alkali and are therefore unsuitable for use in lime-fresco; Limeproof Ultramarine Blue remedies this problem. 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

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Unique silicone tipped tools for painting heavy mediums such as acrylic and oil paint. Excellent for spreading adhesives and appplying masking fluid. Can be used with Batik and encaustic wax. Available in soft ivory tip and firm grey tip. Learn More

PR106

Cinnabar, composed of mercuric sulphide, is a mineral pigment found in crusts or veins in sites of volcanic activity. It has good tinting strength and opacity but, like many red pigments, it dries very slowly in oil media. Due to its high toxicity, it is no longer an ingredient in commercial paints, but is a prominent colour in historical palettes.

Generally, Cinnabar refers to the natural mineral, while Vermilion refers to the synthetic pigment. Cinnabar has been mined since at least the tenth millennium BC, and used as a painting material, gemstone, and ritual object by many cultures around the globe. 

Larger sizes available on request.

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PR233

Potter's Pink is an artificial mineral pigment produced by roasting tin oxide with various other oxides. It was first discovered in the pottery region of Staffordshire in the late-1700s, and in the following century Winsor & Newton introduced Potter's Pink into their watercolour range under the name "pink colour". It went on to become a popular addition to watercolour palettes, offering an opaque, lightfast colour with a weak tinting strength and a medium level of oil absorption.

Toxicity A

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