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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

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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Gamboge is a natural tree resin, 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. It is highly transparent, fugitive to light, with a weak tinting strength. The powder can be dissolved in alcohol to colour resin-based varnishes.

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

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PB15:3

Phthalo (Mona) Blue is a synthetic organic pigment, Copper Phthalocyanine, that has been in use since the 1930s. It has an extremely high tinting strength and is a staining colour, so cannot successfully be lifted in watercolour. It requires a wetting agent to fully disperse into a medium, and, when used at full strength, a copper sheen is visible in dried paint film. It is transparent, very lightfast, and has a medium-to-slow drying rate in oil.

Toxicity: C

While stocks last

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Well made metal dippers, available with or without lids. A rubber disc on the inside of the lid helps create a good seal and prevent leaks. Listed measurements are of the widest point of the dipper, not the aperture. Learn More

Gamboge is a natural tree resin, available as a powder and in the solid "pipe" form. It is highly transparent, fugitive to light, with a weak tinting strength. The powder can be dissolved in alcohol to colour resin-based varnishes. In its solid form, Pipe Gamboge 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.

Larger quantities are available by 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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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: This item is 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.

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Cobalt Violet Light Pigment (PV14). Synthetic inorganic pigment. Semi-opaque. Weak tinting strength. Excellent Lightfastness. Fast drying rate. Good for oil and watercolour but not acrylic as pigment 'settles out'. Used since early 1900's. This colour cannot be matched through mixing other colours.

Limeproof

Toxicity: C

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Cornelissen Series 1855 Sable Brush Size 12. The box contain 1 x Artists' Quality Kolinsky Sable watercolour Brush and a brush soap. Learn More

This Watercolour Case is designed to hold a standard tin of 12 half-pans. All of our leather goods are handmade in Spain, and dyed with natural dyes that will fade and age beautifully over time. Please see below to order this in red, green or tan brown, or ring our office to enquire about additional colours that we may have available. Learn More

Traditional high quality soft hair mops with considerable colour carrying capacity. Useful for laying down large washes. Also used by gilders for tamping down gold leaf and for dusting. Learn More

This leather cover comes with a hardback book of Hahnemuehle drawing paper, and is easily refillable with a standard A6 portrait sketchbook, making it perfect for travelling. All of our leather goods are handmade in Spain, and dyed with natural dyes that will fade and age beautifully over time. Please see below to order this in red, green or tan brown, or ring our office to enquire about additional colours that we may have available. Learn More

Made from the highest quality Siberian Kolinsky sable. Golden ferrule with short black polished hexagonal handle. Filbert. Learn More

Soft but springy hair. For varnishing or lacquering. Also useful for watercolour washes. Learn More

Extra soft brush for varnishing or lacquering. Also useful for watercolour washes. Learn More

This unbranded watercolour tin box is the same as the light weight metal boxes used by most of the major European colour-makers. The back of the box includes thumb ring. Dimensions: 22.8 x 11.3 x 2.3cm Learn More

Gum Copal Manila is derived from the resin of a coniferous tree native to the Philippines. It is not to be confused with other copals, which are the product of fossilised plant materials. It can be dissolved in alcohol to make a spirit varnish, to be used as a substitute for shellac, or as a fixative for pastel and charcoal drawings. Please note, that when used as a fixative it may darken the colour of the image. Learn More

Gum Tragacanth is a natural tree gum with pigment-binding properties. It can be used to make a very matte watercolour, but is most commonly used in the production of soft pastels.

Please see the Formulas & Recipes section on our homepage for a recipe to make your own pastels using Gum Tragacanth (currently under construction). 

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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

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

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

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

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

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PB27

Prussian Blue is a synthetic organic pigment that was discovered by the paint maker Diesbach, apparently by accident, in Germany in the early eighteenth century. For many years, it was used not only as a colour in its own right, but also as a component of the original Hooker's Green. The other ingredient, gamboge, is highly fugitive, which is why many watercolours painted with Hooker's green have taken on a bluish tone with with age.  

It is a very transparent and heavily staining colour. It dries quite quickly in oil, and can therefore wrinkly if applied too quickly. It is suitable for use in oils, watercolour, and egg tempera. However, it shouldn't be used in conjunction with alkali substances, such as Lead White or Calcium Carbonate as it can turn brown, so it isn't suitable for fresco. For the same reason, it isn't used with acrylic resin binders due to their alkaline nature, so most paint manufacturers will replace Prussian Blue with a mixture of Phthalo Blue and black in their acrylic ranges. It requires a wetting agent to fully disperse into a binder.

Toxicity: B

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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

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

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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