Search results for 'red'

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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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

Dragon's Blood is a natural, resin, mentioned by Pliny in his Natural History. It has a weak tinting strength, and its rich red colour can be fugitive in direct sunlight. It is fully soluble in alcohol, and can be used to add a warm, transparent tone to spirit varnishes. Also available in powdered form.

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Sosaku inking brush for working the pigments and glue paste onto the carved block for printing. These are made from horse hair and are traditionally prepared by splitting and softening the hair on shark-skin or sandpaper before printing. Brushes come in 3 sizes. Learn More

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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This travelling bag for artists includes a selection of coloured pencils and an A5 hardback sketchbook. This item is generally made to order, but we do have a small selection available in black, red and pale brown, so please ring our office if you would like to order one. All of our leather goods are handmade in Spain, and dyed with natural dyes that will fade and age beautifully over time. 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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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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C

PG19

Cobalt Green is a synthetic pigment that consists of compounds of cobalt and zinc oxides. It is sometimes referred to as Rinman's Green, after the Swedish chemist who discovered it in the late-18th century. It is a permanent, opaque colour, with a weak tinting strength. It dries quite quickly in oil, requiring a high oil content and  forming a hard, fairly fleixible paint film. Cobalt Green is available in light and dark shades; the colour is determined by the amount of zinc oxide present.

Toxicity: B

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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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Ivory Black is a natural pigment of impure carbon, derived from charred animal bones. It is semi-transparent, very lightfast, and offers good tinting strength. It is a particularly slow-drying pigment, which forms a soft, rather brittle paint film in oil.

Compared to other blacks, such as Vine Black, Ivory Black possesses warmer, brownish undertones. It should not be used at full-strength in an underpainting, as subsequent layers are likely to crack. Otherwise, it is a very useful all-purpose black for many types of paint, excluding mortar, fresco or cement.

Toxicity: B

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Blue Verditer, sometimes referred to as Bremen Blue, is a synthetic form of Azurite, or copper-calcium carbonate. It has a weak tinting strength and is sligtly transparent. It works best in water-based binders, as the acidity of linseed oil can cause discolouration. 

Larger sizes available on request

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Volcanic rock in powdered form. Used to provide tooth to grounds. Learn More

Cornelissen Press T52100, Bed size: 52 x 100 cm, Upper Roller Diameter: 157 mm, Lower Roller Diameter: 157mm, Weight: 106 kg. Etching press base: 58 x 63 cm. We offer press demonstrations for this model. Please call Cornelissen for more details. Delivery to your address usually takes up to 4 weeks to UK & EU countries and 6 weeks to USA after the order is placed.

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Pure red sable brushes wit a high colour holding capacity enabling free flow of colour. The fine edge of this brush provides defined clean cut lines. Learn More

Cornelissen Saunders Waterford Watercolour hardback books are available in two sizes: 12 x 17cm and 28 x 35 cm. Each size is available in HP (Hot Pressed) and NOT (Cold Pressed) and contain 30 sheets including end papers / 58 pages. Saunders Waterford paper is 300 gsm mould made, 100% cotton, chlorine and acid free, guaranteeing conservation and inalterability over time. The paper is Gelatine tub sized and calcium carbonate buffered, making it ideally absorbent and retaining its nature unaltered even if scratched. Ideal for watercolour, tempera, gouache, acrylic, ink, charcoal, graphite and drawing. Thread bound and branded L. Cornelissen & Son in stamp gold foil.

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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

Empty Aluminium Tubes. Please see delivery information below. Learn More

Shell gold, so named because it was historically made and stored in a shallow shell such as a mussel shell, consists of finely powdered genuine gold mixed with a variety of gums. It is mixed with a bit of water and applied in the same way as watercolour. After drying for an hour or so, it can be burnished to a soft, beautiful lustre using an agate stone burnishing tool.
Our Shell gold is used by calligraphers, framers, restorers, iconographers and watercolour artists.
In recent years our colour range of genuine gold has been extended and genuine Lapis Lazuli and genuine Malachite have also been added. Learn More

PB33

Manganese Blue is an articficial mineral pigment, that is prepared by heating sodium sulphate, potassium permanganate and barium nitrate to 750-800 degrees Celcius. It has been produed as a pigment and as a colourant for cement since the 1930s, and is notable for its quick drying time in oils, its high transparency, and its bright, slightly greenish colour. Its weak tinting strength can cause it to be overwhelmed in mixtures, and it has a tendency to granulate as a watercolour. It is no longer used in commercial paints, but many manufacturers offer a Manganese Blue Hue, which is typically based upon Phthalocyanine Blue.   

Production of this pigment has now ceased, due to environmental and health concerns, therefore it is only available while stocks last.

Toxicity: C

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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

Finest quality red sable to all types of oil techniques. This brush has good sping even in the smaller sizes and retains its point well. Learn More

NR9 Rose Madder is an alizarin lake pigment made by precipitating dye extracted from madder root onto an inert base. It has largely been replaced by synthetic alizarin pigments, but it is still used as an ingredient in some commercially-available paints. It provides a very transparent pigment, with a weak tinting strength, which can be used in all lime-free media, although it is very slow-drying in oil. It is fugitive to sunlight, so paintings containing Madder should be stored appropriately, but it remains one of the most lightfast plant-based pigments. It requires a wetting agent to aid dispersion. Larger quantities are available by request Learn More

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

Shellac is a natural resin that is deposited by the female lac insect on the branches of trees in India and Thailand. It is soluble with alcohol, but not with mineral spirits or turpentine. It forms a tough yet flexible film, with many applications. It is suitable as a top coat for gilding when applied thinly, a sealant for porous surfaces, an isolating layer for tempera paintings, a base for pigmented inks, a protective layer for collograph plates, and a warm varnish for wooden floors and furniture. As it is prone to darkening with age, it is not recommended as a varnish for oils, and its solubility can reduce over time. There are various grades of shellac. When mixed with alcohol, it may initially form a cloudy mixture, due to traces of wax in the shellac, but this should become clear once it has dried. The highest grades of shellac are Clear Dewaxed Shellac, which has been de-coloured using the carbon filtering method, Lemon Shellac, and Orange Shellac, which are pale in colour. Button Shellac is less refined and therefore produces a reddish varnish. It was, in fact, widely used as a red dye before synthetic dyes became available. Learn More

Type of print: General Intaglio techniques and Monotype. Plate thickness needs to be no higher than 1mm. YTI18 - Width of roller 18cm, Upper roller diameter 35mm, Lower roller diameter 35mm. YTI26 - Width of roller 25cm, Upper roller diameter 35mm, Lower roller diameter 35mm **please note - blankets not included** Learn More

Short haired pure sable brush fo extra control and strength while spotting and retouching. Learn More

Viridian Green is a synthetic inorganic pigment, similar in composition to Chromium Oxide. However, unlike Chromium Oxide, Viridian contains water molecules within its crystal structure, imparting a greater degree of transparency. Sometimes referred to as Verte Eméraude, Viridian was discovered in France in 1838, patented in 1859, and made available in the UK in 1862. It is stable in all media, and offers excellent lightfastness and good tinting strength. It requires a high oil content, and dries slowly to form a hard, fairly flexible paint film.

Toxicity B

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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