Search results for 'acrylic'
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Winsor & Newton Retouching Varnish Aerosol
Starting at: £16.10
Temporary protection for oil paintings less than 6 months old. Contains: Ketone resin. Unable to send overseas. Learn More -
Schmincke Drying Accelerator for Oils
Starting at: £7.00
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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Lefranc Satin Picture Varnish
Starting at: £7.50
Flexible, semi-matt and transparent. Anti-UV. Warm gently before applying. Satin finish. Learn More -
Winsor & Newton Sansodor
Starting at: £6.05
Sansodor is a low-odour solvent which can be used as an alternative to turpentine. It evaporates slowly, increasing the blending time of oil paints, and can be used to clean brushes. Learn More -
Roberson Glaze Medium
Starting at: £8.00
Mix with tube oil colours or pigment to improve flow and translucency. For thin glazes, fine details and smooth brushwork.
Contains: Turpentine, Damar Resin, Stand Oil, Cobalt Dryers.
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Burnt Umber Pigment
Starting at: £4.00
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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Raw Sienna Pigment
Starting at: £4.00
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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Schmincke Aqua-Bronze
Starting at: £8.85
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 -
Primed Linen Panels
Starting at: £10.50
Hand-primed pure Belgian linen. Oil or Acrylic (universally) primed. Learn More -
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Rohrer & Klingner Antique Ink
Starting at: £10.00
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 -
Burnt Sienna Pigment
Starting at: £4.00
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 Pigment
Starting at: £4.00
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 -
Rabbit Skin Glue
Starting at: £10.95
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
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Roberson Ormoline Gilding Medium
Starting at: £8.40
Acrylic size, fluid enough to use with dip pen. Pink colour. For gilding onto paper and parchment. Learn More -
Omega Series 57 Hog Sash
Starting at: £14.00
Thick flat hog hair brush with sligtly domed shape. Used for thick applications of oil or acrylic paint. Especially good for applying white lead primer to sized linen. Learn More -
Omega Series 70 Hog Fitch Round
Starting at: £11.40
Soft round Italian hog hair with long flexible bristles and good colour holding capacity. Ideal for large scale painting in oils or acrylics. Learn More -
Marble Dust
Starting at: £4.70
Imparts textue when added to acrylic mediums and primers. Used in lime mortar. Meets paint pigment specificitions in its fine form. Mesh size: Course (Irregular granules), Medium (16) and Fine (100). Learn More -
Fumed Silica
Starting at: £13.60
An inert substance with coarse texture and no colouring capability. Use in grounds and to provide tooth to mixed paints. Also used as an adulterant. Can be used for thickening acrylic and oil mediums. Learn More -
Colour Shapers
Starting at: £6.15
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 -
Pro Arte Series 101
Starting at: £2.85
Economical, hard-wearing brushes suitable for watercolours and acrylics. They retain their points well. Learn More -
Rohrer & Klingner Drawing & Calligraphy Black Ink 1L
£63.00Lightfast pigmented acrylic ink. Intermixable with Rohrer’s Antique Drawing Inks. Suitable for brush, dip pen, technical drawing pens greater than 0.35mm and airbrush. Learn More -
Burnt Green Earth Pigment
Starting at: £8.00
PG23 Burnt Green Earth is a semi-transparent pigment that is stable in all media, although it may be difficult to incorporate into an acrylic binder. A calcined form of Green Earth, it has a low tinting strength, long drying time, and is very lightfast. Toxicity: B Limeproof Learn More -
Daniel Smith Watercolour Ground Mars Black 4oz
£10.30Mars Black makes our Luminescent Watercolors “pop” and also provides an exciting, unexpected background for all your standard watercolour paints. Soft pastels, graphite and watercolour pencils show up beautifully on both the buff and black. *Please note, this product is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More -
Rohrer & Klingner Drawing & Calligraphy Ink 250ml
Starting at: £23.20
Drawing & Calligraphy Ink (series 29 700). Lightfast pigmented acrylic inks in 22 colours. Intermixable with Rohrer’s Antique Drawing Inks. Suitable for brush, dip pen, technical drawing pens greater than 0.35mm and airbrush. Learn More -
Casein Lactic
Starting at: £18.30
Casein is a protein derived from dried milk, which has been used in painting since ancient times. It can be combined with Ammonium Carbonate to form an emulsion, which acts as a durable, non-resoluble binder for pigments, producing a matte, fast-drying paint, similar in appearance to egg tempera. We use casein as a binder for our L. Cornelissen & Son Pigment Colour Charts, as it is a medium that clearly showcases the characteristics and behaviour of each pigment in its pure form. Casein paints can be applied in thin layers to watercolour paper, but would require a more rigid support, such as a gesso panel, to be applied thickly, as the comparative inflexibility of the paint layer means that it can be prone to cracking. Subsequent layers of paint should be more diluted to aid adhesion, and impasto effects are not recommended. It is possible to varnish casein paintings using an acrylic or damar varnish to obtain a glossy surface if desired, although this is not a necessary step. Casein can also be used as an ingredient in gesso, and is a suitable binder for fresco secco techniques.
Some pigments may require a wetting agent in order to fully disperse within the binder, in which case alcohol may be used.
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HMG B72 Restoration Adhesive
£7.70B72 Acrylic Adhesive is touch dry in 3-5 minutes, surface dry in 1 hour and hard dry in around 6 hours. Not having instant grab, fragments can be easily re-adjusted and surplus adhesive removed with acetone, making any joint virtually invisible. It’s ideal for repairs to pottery, wood, metal, glass, ivory and many porous substances. 14ml. Learn More -
da Vinci Series 122 Cosmotop One Stroke
Starting at: £3.50
Finest golden synthetic fibre. More springy than Cosmotop Spin making it an excellent brush for watercolour, gouache, acrylic and oil painting. Learn More -
Raw Umber Greenish Pigment
Starting at: £4.80
PBr7
Raw Umber Greenish 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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Pro Arte Series E Hog Fan
Starting at: £5.65
Used for blending and softening adjacent areas of oil and acrylic colour. Suitable for thicker layers of colour. Learn More
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