Search results for 'painting'

Inspired by traditional tailor’s chalk block, prepared for drawing and painting. Water soluble and extremely soft, the set contains 6 traditional earth colours: sanguine, sepia, dark brown, brown, ochre and carbon black Learn More

From the Cranfield website:

A pereparation of pure beeswax in white spirit, this is used to achieve a soft sheen on your finished painting. It will retard drying, allowing you to achieve a range of effects.

Learn More

Poppy Oil is a slightly later addition to the artist's cabinet than Linseed Oil and Walnut Oil. It is generally used as a binder for pale colours, where the warmth of Linseed Oil is not desired. It provides a matte finish and dries very slowly, so we would not advise using it in conjunction with slow-drying pigments or in underpaintings. A paint film produced by Poppy Oil is weaker and softer than that created by Linseed Oil. This is because it contains a smaller percentage of linolenic acid than Linseed Oil; this substance imparts both strength and yellowness to an oil.  

Although some of these properties can be perceived as drawbacks, paints made with Poppy Oil generally obtain a "short" or buttery texture without the addition of waxes or other additives, which can be an advantage for certain colours that produce poor consistencies in Linseed oil alone. Sometimes, the addition of a small quantity of Poppy Oil when grinding a tricky or "stringy" pigment in Cold Pressed Linseed Oil can introduce some of benefits of Poppy Oil, without transmitting its negative characteristics.

Paints made with Poppy Oil are particularly suited to "alla prima" working methods, where paint is applied spontaneously. When working in successive layers, Poppy Oil would only be appropriate for the final stages of a painting.

Learn More

Extra short haired brushes for miniature painting. Kolinsky sable. Learn More

Long handled synthetic brush for acrylic or oil painting. Soft bristles. Learn More

Acrylic resin/quick drying petroleum. Colourless and non-yellowing. Allows you to touch up ols paintings. Temporary and insulating varnish. Satin finish. Learn More

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

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

Roberson Glass Mullers are handmade using high quality-glass. 

Mullers act as flat-bottomed pestles, which are used to grind pigment into a binding medium, suspending it evenly to create a uniform covering of binder around each pigment particle. Using a muller and slab, rather than simply mixing pigment and binder together, will create a more homogenised and stable paint. 

Use in conjunction with a Cornelissen Glass Slab to make paint efficiently. The sand-blasted texture of the muller and plate helps to push and distribute the pigment throughout the binder quickly. This will mean less grinding, and more painting! 

NOTE: Sizes may vary slightly as these are handmade products. 

Learn More

Use as varnish over finished paintings. Learn More

Inspired by traditional tailor’s chalk block, prepared for drawing and painting. Water soluble and extremely soft. Learn More

Mould-made, 100% cotton, natural white (Neutral pH acid free). 12 sheets per pad, NOT surfaced. Specially designed for oil painting. Ready to use. Learn More

Drawing gum for masking specific areas which should remain white on water-colour paper, smooth drawing carton, photographs or films. For direct application with the dispensing bottle. Contains: synthetic resin dispersion without ammonia. Learn More

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

Aerosol varnish for oil colour. Temporary protective coat. Use as soon as painting is touch dry. Unable to send overseas. Learn More

The Gamblin Introductory Set of Artists' Oil Colours is intended to give painters a thoughtfully constructed palette of colours to support any style of painting. The set is built around a primed, ready to use painting panel handcrafted in the US from sustainably grown birch. *Please note, this product is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Verdigris is an artificial pigment that dates from antiquity. Originally, it was produced by exposing copper to vinegar; nowadays acetic acid is used. It is acidic, so can contribute to the deterioration of paper supports. For this reason, it is more suited to oil or tempera painting than it is to watercolour. In tempera painting, it should be bound in animal glue or isinglass glue rather than egg york. When used in oil painting it should be held in a resin oil or balsam such as Venice Turpentine, as it can turn brown when ground directly into linseed oil. It is a fast-drying, transparent pigment, with a visible crystalline structure. 

Larger quantities are available by request.

Learn More

Buff Titanium is great for value studies and provides a gorgeous, classic-looking surface for work in neutral grays, earthy reds, black and white. *Please note, this product is stored offsite. Please allow extra time for your order to be processed and dispatched. Learn More

Gamvar Picture Varnish saturates colors in your painting and gives your work a unified and protective surface. Developed in collaboration with the National Gallery of Art, Gamvar goes on water-clear, stays water-clear and can be easily and safely removed with Gamsol. Gamvar is virtually odorless and ready to apply. Brush apply. Do not spray. All Gamvar can be applied when the thickest areas of your painting are thoroughly dry and firm to the touch. Please visit our Video Demos page for additional information. Learn More

Slightly less refined than rectified spirit of turpentine. Often preferred as constituent of painting mediums. Learn More

This soft yellow ochre is sourced from near the ancient woodland of Epping Forest in North London. Given legal status by Henry ll as a Royal hunting ground for the Monarchy this forest has a rich cultural and geological history. This pigment is a fine particle size and is semi-opaque.

Follow @londonpigment on Instagram for an insight into the stories behind the colours and how she makes them. 

NOTE: many of these colours are made in extrmely limited batches so please email us at info@cornelissen.com for further infomation on what is currently availible. 

Learn More

Handmade from 100% long fibred cotton rag. Acid free. Deckle edge. Tub sized (surface sized) with gelatine. Learn More

Highly siccative painting medium. Dries on the palette with 40 minutes. Use sparingly to prevent gloss.

From the Schmincke website:

Medium for oil colours rich in resin (“lean”). Accelerates drying; increases gloss and depth; makes the colour layers more resistant. Close immediately after use. Dosage: 10% to 20%.

Contains: aldehyde resin, mineral spirit, siccative, stand oil.

Learn More

Allows watercolour paint to be used on various surfaces such as canvas, painting boards and wood. Learn More

Gypsum is powdered Calcium Sulphate, a traditional ingredient in gesso grounds used in southern Europe. One of the advantages of preparing your painting surface with gypsum is that it allows for a particularly even absorption of the paint film. It can also be added to acrylic primers to increase absorbency or add tooth to a surface. Learn More

Venice Trupentine is a thick, resinous liquid extracted from the Larix decidua, a larch tree native to Austria. It can impart luminosity, brilliance and gloss when used in mediums and varnishes, and as such it was highly valued during the Golden Age of painting in Venice. It is a slow-drying balsam, which can be diluted with turpentine or placed in a bath of warm water to aid flow.

Learn More

Schmincke Medium W is an odourless, jelly-like ("lean") medium for mixing oil colours with water instead of organic solvents such as turpentine or turpentine substitute. It increases gloss and transparency, reduces viscosity and harmonizes the drying process.

Dosage: 50%

Thinner: Water

Learn More

The Lascaux Screen filler and Lascaux Screen painting fluid may be used for painting directly on the mesh as part of a waterbased screenprinting system. These products work harmoniously with Lascaux Screenprinting paste and the Lascaux Colours. 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