Search results for 'yellow'

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

Learn More

Carnauba Wax is the hardest wax commonly used in the production of artists' materials, with a melting point of 83-86°c. It is derived from a tree native to South America, and is available in a natural colour (grey), or a refined colour (pale yellow). Small amounts of carnauba wax are commonly used in both oil painting mediums and encaustic painting, usually in conjunction with beeswax to add toughness, durability and sheen to the paint film. It creates an inflexible surface, so works best on rigid supports such as gesso panels, and it should be noted that it will raise the melting point of encaustic mixtures. It can produce a glossy finish; as such it is used in waxes and polishes for shoes, cars, musical instruments, furniture, and wooden floors, especially when mixed with beeswax and turpentine. Learn More

PB28

Cobalt Blue is an artificial mineral pigment, produced by the calcination of cobalt oxide and aluminium oxide. It has been widely used since the early 1800s, following its discovery by the French chemist Thenard at the beginning of the century. The name Cobalt has its roots in the German word Kobold, meaning imp or evil spirit. German miners named it to in the late-Middle Ages, as the presence of cobalt ore in the mines made the extraction of silver more difficult. They were possibly also aware of the toxic properties of the mineral that was frustrating their efforts.

Cobalt remains a very popular colour today, and is present in most ranges of paints, being a semi-transparent pigment that is stable in all media. As a watercolour, all cobalt pigments tend to granulate. As an oil paint, it requires less oil content than most other pigments, and dries quite quickly. Like Cerulean Blue, some artists may choose to bind it with poppy oil, to avoid any possible colour changes brought about by the yellowish cast of linseed oil and the pigment's weak tinting strength.

Limeproof

Toxicity: C

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.

Learn More

PY39

Orpiment, also called King's Yellow, is a mineral pigment containing naturally occurring sulphide of arsenic. Its high toxicity, and the prevalence of cadmium pigments, means that it is largely obsolete outside the field of restoration. It works best bound in oil or egg tempera, but it is not reliably permanent.

Larger quantities are available by request.

Learn More

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

This warm earthy yellow is made from yellow bricks the quintessential London ‘stock brick’ which was in use during the 18th and 19th centuries. This pigment has a medium grain size and is transparent. Learn More

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.

Learn More