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Pebeo Self-Adhesive Lead StripSave Up to32%Off list…colours Perfect For:* Mixed media artists* Use on multiple surfaces* Use over acrylic mediums or in combination with resins What is Pebeo Vitrail Paint? To imitate a stained glass effect, use Vitrail Glass Paint with Pebeo Cerne Relief. Pebeo Cerne Relief is a water-based outliner that comes… Create The Beauty of Stained Glass with Vitrail Colors Luminous, high-gloss colors in transparent and opaque finishes great for glass, acetate, polyester, plexiglass! Pebeo Mixed Media Vitrail Colors are high-gloss, solvent-based colors, 36 total colors: available in 26 transparent and 10 opaque colors. These colors can be used with liquid art panels, metal, glass, ceramics, plastics, paper, canvas and more! Applied in thin or thick layers with a brush or used with a dropper. To imitate stained glass, use the Vitrail colours with the Cerne Relief outliners Key Features:* Mixable* Ready to use* Good lightfastness* Solvent-based* Transparent, intense and very bright colour* Opaque effect, luminous colours Perfect For:* Mixed media artists* Use on multiple surfaces* Use over acrylic mediums or in combination with resins What is Pebeo Vitrail Paint? To imitate a stained glass effect, use Vitrail Glass Paint with Pebeo Cerne Relief. Pebeo Cerne Relief is a water-based outliner that comes in a tube with a fine nozzle. It is available in a range of 7 colours and is used to create the outline of the design before applying the glass paint. After applying the Cerne Relief outliners, how long do you wait before applying Vitrail colours? It is better to allow the Cerne Relief dry at least 30 minutes prior to applying the Vitrail colours. QUALITY: Transparent, intense and very bright colours. Opaque effect, luminous colours. Solvent based, ready to use. Good lightfastness. Use with the cerne relief. COLOUR MIXABILITY: Colours can be mixed together. DRYING: 1 hour to the touch, completely dry after 8 hours. Drying times can vary depending on the thickness of the application, and the temperature and humidity of the room where the product is applied. SURFACES: Glass, polyester, acetate THINNER: Odorless mineral spirits or white spirits. OPACITY:Transparent and opaque colours FINISH Brilliant. See More
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Gamblin Palette Knife - "The Robert Red"Save Up to40%Off listRed Use the Right Tool for the Job Gamblin Palette Knives are perfect for color mixing, and the blade has the right amount of spring and tension for expressive paint application. Each flexible steel blade has a non-reflective matte finish, so you can mix colors outside or by a sunny window without the light blinding you. The ergonomic handle is made of FSC-Certified wood and shaped to fit comfortably in your hand. Each knife is named after the Portland streets and neighborhoods where Gamblin has been based since its founding in 1980. Key Features: * One-piece, non-reflective blade * Available in 6 different shapes * Each handle is hand-dipped in paint * FSC-Certified wood handles * Made in the USA Perfect For: * Painting with oils and acrylics * Mixing colors on your palette * Laying down the crispest lines and cutting edges * Building or scraping away color See More
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Awagami Ginwashi 39gsm Cream 25" x 38" (Pack of 25)Save Up to24%Off listWhite Over 8 generations of family papermaking! Since the late 18th century, Japan's Awagami Factory has been producing fine-art papers characterized by their softness and strength. Their papers, including their signature Kitakata paper, are made from regional fibers to yield paper sheets with an expressive surface and impressive character. Awagami Japanese Handmade Papers are acid-free, made with respect, and care for the environment and suitable for professional artists & students alike. Here you will find some of Awagam's best-selling papers for painting, drawing, printmaking, book arts, and alternative photography. Key Features: * Handmade paper * Acid-free * Eco-friendly * Eight generations of papermaking experience * Regional fibers make up the paper pulp * Made in Tokushima, Japan Perfect For: * Painting and drawing * Printmaking * Book arts * Alternative photography prints * Block and monotype printing * Students, teachers, professionals Bamboo, 170gsm: Made with environmentally friendly bamboo, this sheet has a small ecological footprint. Bamboo Select is slightly heavier than other washi with a lovely soft surface making it ideal for intaglio, block-printing, and letterpress. 70% Bamboo, 30% Recycled. Bunkoshi, 70gsm: This paper has a relatively deep natural color and smooth surface with 4 deckled edges. Its texture is classically Japanese, with no additional sizing, making it good for both printmaking and calligraphy. 30% Kozo, 70% Alpha Cellulose. Ginwashi Cream 39gsm: This beautiful thin paper has hemp fibers that resemble "Gin", or silver. Hakuho, 220gsm: This sturdy sheet is made from an impressive blend of kozo and cotton, and is the first fine paper to feature this unique East meets West fiber blend. Hakuho Select's strong and resilient surface is certain to lend unique textural depth to artworks created on it. Great for Woodcut, but sized enough for atmospheric watercolors. 45% Kozo, 55% Cotton. Hosho, 80gsm: The striped laid lines are a unique characteristic of this high-quality sheet. Long recognized by printmakers as one of the most versatile of Japanese washi papers, Hosho Select is particularly suitable for woodblock prints. 100% High Alpha Cellulose. Kinwashi, 30gsm: Kinwashi (also known as Ogura Natural) is 30 gsm with cut edges machine-made from acid-free manila hemp and kozo with long swirling fibers set in a creamy, natural-colored paper. Heavier than Ginwashi, it is great for printing and printmaking as well as shoji screens, lampshades, collage, and book arts. Kitakata Natural, 36gsm: Primarily composed of Gampi fiber, Kitakata has a subtle gloss yet surprisingly soft surface. Warm-toned yet resilient the sheet itself is also quite dense, making it ideal for many types of printmaking. 90% Gampi, 10% High Alpha Cellulose. Kitakata Green 36gsm: Primarily composed of Gampi fiber, Kitakata Green has a subtle gloss yet surprisingly soft surface. Warm-toned and resilient, the sheet itself is also quite dense, making it ideal for many types of printmaking. 90% Gampi - 10% Alpha Cellulose Kozo, 46gsm: Kozo, which derives its name from the eponymous fiber from which it is made, is the choice of many fine art printmakers and calligraphers. Kozo fiber, a renewable resource, is long and durable and results in a paper that is highly absorbent and supple. It also serves as the base paper for many other practical and creative applications such as shoji screens, umbrellas, lanterns, fans, and Yuzen-patterned papers. It is handmade from acid-free kozo, hemp, and sulfite pulp with four deckle edges. Masa, 86gsm: Masa paper (often referred to as affordable Hosho) is machine-made of sulfite pulp, bright white, and acid-free. One side is very smooth, the other side toothy. It is economical and useful for edition proofs and for student grade projects. Internally sized and should be slightly dampened prior to printing. Mulberry, 45gsm: Mulberry paper is handmade of kozo and sulfite pulp, white and acid-free, and its strength, softness, and flexibility make it the most versatile sheet for printers and printmakers. This paper is good for relief printing, silkscreen, hand lithography, and book arts. Okawara 51gsm: This paper has a warm natural color, medium weight, and subtle surface texture. Because of its versatility and affordable price point, this sheet has become an international standard for printmaking students. 25% Kozo, 75% High Alpha Cellulose. Sekishu White 35gsm: The manufacture of Sekishu started 1300 years ago and continues today. It is the trademark of the Shimane prefecture, famed for producing the purest conservation papers. Sekishu paper is handmade with kozo and sulfite pulp, acid-free with four deckle edges and a laid finish. It is used mostly in conservation, but also suitable for printing and printmaking. The paper is perfect for conservation and printmaking. Shiramine 110gsm: The relative thickness, generous sizing, and easy-to-use color of Shiramine make it a versatile paper for many art mediums including printmaking, painting, and drawing. 30% Kozo, 15% Hemp, 55% High Alpha Cellulose. Tengucho 10gsm: Tengucho is the thinnest paper made in Japan, specially designed for conservation and restoration of documents. It was invented during Japan's Edo period 1603-1867 by Genta Yoshii and was designated as a cultural asset in 1976. This paper is acid-free and machine-made of pure Kozo pulp10 gsm with cut edges. 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SoHo Urban Artist Linen #133 Unprimed Roll 15.17 oz, 82.67" x 30 ydSave Up to53%Off listNatural Quality canvas worthy of your finest masterpiece! Are you tired of painting on standard cotton duck canvas but find better fabrics too expensive? SoHo Urban Artist has the answer with their new line of professional quality, unprimed artists' canvas in a wide range of fibers and textures — all at an affordable price! Only the highest quality natural fibers are used to weave the canvas. Because the canvas is raw, you have the opportunity to select the special gesso or primer that you want to use as your base. If you want the canvas to be ultra-smooth, you can sand the gesso in between coats or apply more texture if that is the effect you want. Linen, jute, and hemp are superior fibers that, when properly cared for, will survive for centuries — and so will your art! These premium raw unprimed canvases are available in generous 30-yard rolls, 6-yard folded blankets, and convenient 1-yard samples to make it easy to find your favorite. Find the perfect painting surface with SoHo Urban Artist Professional Unprimed Canvas! Key Features: * Professional quality linen, jute, and hemp * Multiple surface textures offered * Raw canvas ready to prime * Prime to suit your painting needs! Perfect For: * Professional painters of all types * Custom priming and stretching your own canvas * Creating a textured or smooth canvas * Portrait artists and detail painters * Archival art that will last! #42 Linen – 66.9" wide; 12.7 oz. - Slightly heavier than 12 oz cotton but not as bulky. It has a beautiful, tight weave that is perfect for detailed realistic techniques and more abstract applications. For portrait artists, three coats of priming sanded between layers would yield a very pleasing surface. #38 Linen – 66.9" wide; 14.1 oz. - This linen is about 10% heavier than the #42. It has a medium weave and texture and falls into our all-purpose range. You can use this linen for portraiture, but we generally do not recommend it for this purpose. This linen is ideal for all other realistic, representative, and modern expressions. #133 Linen – 82.67" wide; 15.17 oz. - This hearty linen has a robust weave and uniform surface. Perfect for expressive works and abstract pieces. #31 Linen – 90.55" wide; 17.99 oz. - The heaviest linen with a medium texture and weave. It is intended for large-sized works, but you can use it for any size piece. It weighs in at 17.99 oz. or 510 gms, which is heavier than any commercially produced pre-stretched linen canvas product on the market. #24 Jute – 74.8" wide; 24.51 oz. - Jute is a delightful departure from the smoothness associated with hemp and linens as it is delectably coarse, soft, and shiny with a beautiful golden color. The fiber lengths are incredibly long, so the strength of the jute is unrivaled. It has a large, coarse weave and is wonderful for glue-sizing, leaving the natural color of the canvas, or for traditional priming with oil or acrylic-based primers. #25 Hemp – 86.6" wide; 25.4 oz. - Hemp is for any artist looking for a heavyweight, durable fabric that is strong and soft. A robust, tight weave characterizes this fabric. The archival nature of hemp rivals that of the finest linen, but it is economical enough to use on the largest of paintings. See More
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