Search results for 'acrylic'

PBr7

Raw Umber is a natural earth pigment composed of iron oxide, manganese, and aluminium silicate. It has its roots in the Umbria region of Italy, and was historically a popular colour for underpaintings, as it dries very quickly. It is semi-opaque, very lightfast, and stable in all media but may be difficult to disperse in acrylic. It requires a large amount of liquid when mixed with oil.

Toxicity: B

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Dual action acrylic glue pen for permanent or temporay bonding. Acid and xylene free. Learn More

Finest golden synthetic fibre. More springy than Cosmotop Spin making it an excellent brush for watercolour, gouache, acrylic and oil painting. 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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For sizing canvas prior to priming with an oil based primer. Do not use under acrylic primer. Soak overnight in water. Heat in double boiler (do not boil). Ratio water:size 13:1. Use while still warm. Rabbit Skin Glue do not contain any preservatives. 340 - 360 Bloom Learn More

Acrylic size, fluid enough to use with dip pen. Pink colour. For gilding onto paper and parchment. Learn More

PBr7

Burnt Umber is a natural earth pigment from Italy, composed of iron oxide, manganese, and aluminium silicate. It is a form of Raw Umber that a has undergone a process of calcination, becoming warmer, more transparent and easier to disperse. It has a good tinting strength, and is very lightfast, quick-drying, and stable in all media. In oils it forms a hard, fairly flexible paint film, though it may be difficult to use in acrylic mediums.

Toxicity: B

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PBr7

Raw Sienna is a natural earth pigment that dates back to antiquity. Our Raw Sienna comes from areas of Tuscany where the earth has been coloured by iron-rich minerals. It provides a good tinting strength, excellent lightfastness, and a fast to medium drying rate in oil. It is stable in all media but, like umber pigments, can be difficult to disperse in an acrylic binder. It is similar in composition to Yellow Ochre, but whereas Yellow Ochre contains a higher proportion of clay, Raw Sienna contains a higher proportion of silica. As a natural material, the exact colour and qualities of the resultant pigments can vary, but generally this difference creates a paler, more opaque Yellow Ochre, and a darker, more transparent Raw Sienna.

Toxicity: B

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Formerly Tro Col, Schmincke Aqua-Bronze is a range of metallic gouache in dry powder form. Mix with distilled water. May also be mixed with acrylic mediums to give a rich colour. Light resistant, but not resistant to humidity. Learn More

Hand-primed pure Belgian linen. Oil or Acrylic (universally) primed. Learn More

Daler-Rowney Pearlescent Ink Learn More

The Rohrer & Klingner Traditional Ink range provides 18 colours of high luminance and brilliance, suitable for use with dip pens, brushes, fountain pens, and even airbrush devices. They can be used to produce crisp edges or more painterly washes. They have an acrylic resin base, with a high pigment content, and are completely intermixable. They can also be used in conjunction with Rohrer & Klingner's Drawing and Calligraphy range, to create an even more extensive range of tones. Learn More

PBr7

Burnt Sienna is a natural earth pigment that has been in use since antiquity. Our Burnt Sienna comes from Tuscany, and is produced by calcining Raw Sienna to temperatures of about 450 degrees Celsius. This process creates a rich warm colour and increases transparency. It also offers a good tinting strength, excellent lightfastness, and a fast to medium drying rate in oil. It is stable in all media but, like umber pigments, may be difficult to disperse in acrylic binders. 

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

A high quality painting medium which will produce a deep glow, made from Canada Balsam and Turpentine. Especially effective with transparent oil colours, it is recommended as the medium of choice in the final stages of an oil painting. Learn More

Ketone resin/white spirit. Water white liquid dries to non-yellowing glossy film. Learn More

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

Schmincke Norma Cardboard Set 8 x 35 ml tubes Learn More

Damar resin/rectified turpentine. Ideal for large surfaces. Shiny varnish. Avoid using in damp water. Learn More

From the Cranfield website:

An almost transparent painting medium based on refined linseed oil and alumina. It is similar in consistency to Studio Oil Colours in tubes. It does not promote quick drying and may be used to extend oil colours. It can be used in large ratios where the desired effect is to increase yellowing and darkening of pale colours. It will not increase gloss.

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Lefranc Bourgeois are a paint manufacturer with a long history of supplying to artists since their beginnings in 1720.

From their website: White spirit helps to thin oils and mediums and can be used to clean tools while working, although it is not a replacement for dedicated cleaners. “Fine art-quality” white spirit evaporates very rapidly and leaves no marks. It is stable over time, enabling it to be used to dilute mediums.

Consistency: liquid | Finish: neutral | Drying time: rapid

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Safflower Oil is light-coloured, making it suitable for grinding pale pigments. It is still sometimes used as a binder for commercially available paints, although due to its very slow drying time it is best reserved for the final layers of a painting. Compared to Linseed oil, Safflower Oil will give a matte finish.

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Colour From the Mines 

Six Bells Burnt Ochre has been developed by artist Onya McCausland by recycling waste iron oxide residues resulting from the treatment of mine water in ex-industrial coal mining landscapes into pigment that can be used for the manufacture of paint. Each tube of Six Bells Burnt Ochre paint is individually numbered of the first edition of 1000 40ml tubes. The paint has been manufactured in collaboration with Michael Harding paints in his Cwmbran factory in 2020.

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Gamblin Solvent-Free Fluid is an oil painting medium created by the American company Gamblin. They write:

"Gamblin Solvent-Free Fluid painting medium gives oil colours more flow and transparency. It has a moderately fast drying rate and increases gloss. Made from safflower oil and alkyd resin, Gamblin Solvent-Free Fluid is non-toxic and contains no Gamsol or petroleum distillates. To ensure proper drying and prevent beading-up of paint layers, Solvent-Free Fluid should be used in moderation with oil colours – no more than 25% by volume. To avoid wrinkling, apply mixtures of Solvent-Free Fluid and oil colors thinly. For underpainting, we recommend adding Gamsol to Solvent-Free Fluid."

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Michael Harding Artists Oils Set of 6 colours in 40ml Titanium White, Ultramarine Blue, Scarlet Lake, Yellow Lake, Yellow Ochre Deep, Burnt Umber Learn More

From the Winsor & Newton website: A quick drying, semi-gloss medium which thickens slowly and extends tube colour retaining crisp textures brush marks without any visible levelling. Speeds drying (touch dry in 1-6 days depending on colour and film thickness). Resists yellowing. Not suitable as a varnish or final coat.

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Fast drying varnish for metal leaf. May also be used to seal absorbent surfaces prior to sizing. Cellulose based. Clean brushes with methylated spirits. Learn More

Georgian Oil colour offers artists high performance at an economical and uniform price across all colours in the range. All 55 colours have fine working qualities and a high degree of performance. Learn More

Roberson Mastic Varnish Thin. Unable to send overseas. Learn More