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The Edge All Media Pro Cotton Canvas 6"x36" - 1-1/2" Deep (Box of 3)Save Up to85%Off listWhite Ignite your composition with an inspiring substrate! Extra Long Sizes Are you bored of painting on the same standard canvas size? Ready to shake things up and supercharge your creativity? The new Edge All Media Cotton Canvases come in 21 extra long sizes like 10x40" and 12x72"! We've designed these new hypnotic sizes to help you hook your viewer's attention. Our goal, as always, is to emphasize your artwork. The extra-long rectangular shape naturally focuses attention, whether it's a triptych, a non-traditional portrait, or an abstract piece. Each canvas is coated in a ground-breaking primer that maintains the richness and purity of your paint colors. Unlike other canvases with lesser quality primers, your paintings will keep their vibrant punch with excellent adhesion. Triple priming ensures superb barrier protection between paint and canvas, perfect for traditional and water-mixable oils. The Edge is known for its' tuck-n-roll style construction that keeps the back of the canvas neat and clean. A sturdy surface for all painting styles, even mixed media, The Edge features a beefy 14oz, triple primed medium texture. Finish your painting with solid-colored sides, or continue your design onto the sides for a distinctive modern look. Extra Longs/Longs/Multiples (triptych) - These used by themselves offer unique aspect ratios to achieve various single and multi-canvas compositions. They work well with squares, used as a square or diamond shape. The 6x18" and the largest being 18x64". Artists working in abstract impressionism have found these to be new heroes, to create unique multiple images that work together. Key Features: * Extra Longs/Longs/Multiples (triptych) * Create unique multiple images that work together * Available in: Singles or Boxes of 3 * 1-1/2" Deep, Extra long sizes * 100% cotton canvas * 14oz primed weight * 8oz. raw weight before priming * Triple acrylic primed * Medium texture canvas * Deluxe stretched canvas * Professional tuck-n-roll style construction * Hand stretched by skilled artisans * Perfect For: * Oils, alkyds, and acrylics * Painted edge presentation * Mixed media works * Painters of all levels * Frameless artwork presentation * Excellent barrier protection between paint and canvas * A non-traditional portrait * A landscape or an abstract piece * Painting a dazzling triptych See More
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Schmincke Mussini Drying Accelerator 35 ml TubeSave Up to10%Off list…(Megilp): Schmincke Meglip Impasto Medium is an oil painting medium designed for painting thickly. The medium preserves the buttery character of oil paint while accelerating the drying process. When you are applying paint in a thick style with a palette knife you should include some Impasto Medium… Magnificent mediums for oil paints Schmincke Oil Mediums allow you to create fluid glazes or thick Impasto effects. You can even transform traditional oils into water-mixable oil paints with Medium W. All of the mediums increase the gloss and transparency of oil paint while accelerating or slowing drying time. Key Features: * Accelerate or slow drying * Improve transparency and gloss * Outstanding working properties * Extend oil paints and use less paint * Perfect For: * Traditional oil paints * Blending and glazing * Changing the paint texture * Adding to oils undiluted Schmincke Mussini Drying Accelerator: is an especially fast-drying, Jelly-like painting medium for oil colors. The paste preserves the consistency and degree of gloss of oil colors. To avoid weakening of binding properties, use dosage of 10 to max of 30%. The product is ready to use and should be added to oil colours undiluted. After use clean tools as soon as possible with turpentine or brush cleaner. The Schmincke Mussini drying accelerator contains: siccative, stand oil, resin solution, mineral spirit. Impasto Medium (Megilp): Schmincke Meglip Impasto Medium is an oil painting medium designed for painting thickly. The medium preserves the buttery character of oil paint while accelerating the drying process. When you are applying paint in a thick style with a palette knife you should include some Impasto Medium to support the drying process between layers of paint. Contains: alkyd resin, stand oil, and fillers. Medium L: The Jelly-like medium improves oil paint flow while reducing brush strokes, accelerating drying time, and increasing gloss and transparency. Shake well and stir before use. Close immediately after use. The recommended dosage for medium L is 10 - 20 %. The product is ready to use out of the bottle, but you can dilute it with turpentine substitute 50019. Medium W: Schmincke Medium W is a low-odor oil paint additive that transforms traditional oil paints into water-mixable oils. The odorless medium increases gloss and transparency while allowing you to clean your tools with water. You should shake the bottle before use. Mix 2 parts of oil color and 1 part of Medium W on your palette, then add water to thin. Add more Medium W to the mixture as necessary. After use, you can clean your painting tools with water. Oil colors mixed with Medium W may appear lighter or "milky" when wet, but the color will return as the paint dries. Medium W Gel: Schmincke Medium W Gel is a jelly-like oil paint additive that transforms traditional oil paints into water-mixable oils. The odorless medium increases gloss and transparency while allowing you to clean your tools with water. Mix 2 parts of oil color and 1 part of Medium W Gel on your palette, then add water to thin. Add more Medium W Gel to the mixture as necessary. After use, you can clean your painting tools with water. Oil colors mixed with Medium W Gel may appear lighter or "milky" when wet, but the color will return as the paint dries. Refined Linseed Oil: Refined Linseed Oil is winterized and bleached. Many artists use it as a medium when painting. It slows down the drying time of your paint, which can be very useful when painting in layers. Please note: The natural yellowing tendency of linseed oil cannot be stopped by bleaching! Schmincke Primer 1: Schmincke Primer 1 is a pure white, semi-opaque, light-resistant, and nonaging primer for oil and acrylic colors. The primer has a strong absorbent character and forms an elastic, matt film once dry. Schmincke Primer 1 is ready to use straight out of the bottle, or for a thinner consistency, you can thin it with water. For max dilution, mix with 30% water See More
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Turner Acryl Gouache Empty Palette Ruler & ClothSave Up to60%Off list…for use with Turner Acryl Gouache Paints* Cards are the perfect size for your pocket* Create up to 120 colors by following mixing ratios* Empty plastic palette with 5 compartments* Ruler and wipe cloth included with the palette Perfect For:* Painting with Turner Acrylic Gouache* Fine artists,… Try Turner Acryl Gouache accessories today! The Turner Acryl Gouache Color Mixing Guide is designed for use with Turner Acryl Gouache Paints. You can create up to 120 individual colors by following the mixing ratio written on the back of each card. The Empty Palette Box is made of translucent plastic and includes 5 separate compartments, a clear ruler, and a wipe cloth. It's perfect for making your very own portable paint set. Snap the clear plastic lid over the box when it's clean-up time. Key Features:* Mixing Guide cards designed for use with Turner Acryl Gouache Paints* Cards are the perfect size for your pocket* Create up to 120 colors by following mixing ratios* Empty plastic palette with 5 compartments* Ruler and wipe cloth included with the palette Perfect For:* Painting with Turner Acrylic Gouache* Fine artists, illustrators, and designers* Color mixing 120 different colors* Reproducing colors with mixing instructions* Storing materials and paints* Everyday studio use See More
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Awagami Papers Okawara (51GSM) Pack of 25Save 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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Holbein Fluid Acrylic 35ml Set of 8 Assorted ColorsSave Up to35%Off listAssorted Colors A smooth, free-flowing acrylic perfect for pouring Holbein Fluid Acrylics are low viscosity artist-grade paints. All of Holbein's vibrant colors are lightfast and mix cleanly. Holbein doesn't use fillers or extenders, so the paint has outstanding tinting strength. You can pour, drip, or spray the fluid acrylic because it's formulated to resist crazing, wrinkling, and foaming. As the paint dries, it forms a flexible, durable film with good adhesion. If you want to create watercolor-like effects, you can thin Holbein Fluid Acrylic with medium and brush it on like watercolor. Holbein Artist Fluid Acrylics mix well with all acrylic mediums, including gels, pastes, and gesso. Key Features: * Low-viscosity artist acrylic * Smooth, free-flowing formula * Holbein's colors are intermixable across the ranges * Highly lightfast pigments * No fillers or extenders used * Outstanding tinting strength * Dries to a durable, flexible paint film * Formulated to resist crazing, wrinkling, and foaming Perfect For: * Pouring techniques * Drip or spray application * Fine brushwork * Mixing with gels, pastes, and gesso * Glazing and staining * Water media techniques * Dry brush application Fluid Acrylic Set of 8 - The set of 8 includes Quinacridone Magenta, Naphthol Red, Hansa Yellow, Phthalo Green, Phthalo Blue, Burnt Sienna, Lamp Black, and Titanium White. See More
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Norma Blue Water-Mixable Oil Color - Neutral Black, 35ml TubeSave Up to36%Off listBlack Water-Mixable, Environmentally Conscious, Vegan Oil Paint NORMA Blue Water-Mixable Oils by Schmincke are ideal for painting without solvents in the studio or classroom. The high-quality line comprises 48 brilliant colors guaranteed to ignite your passion for oil painting. The oils can be used pure, diluted with water, or combined with the NORMA Blue mediums. You can easily clean any used brushes or tools with soap and water. Enhance your artwork further with Schmincke's collection of five NORMA Blue mediums, designed to simplify your painting experience. Some of the mediums have an accelerating or retarding effect on the drying time, while others can be used to increase gloss. A special linseed oil completes the range of the NORMA Blue mediums. Key Features: * Low-odor water-mixable oils * Buttery consistency * Highly pigmented and lightfast * Low yellowing * Vegan and eco-friendly * Formulated from high-quality vegetable oils * No cobalt, cadmium, or zinc oxide pigments used * Allergy-friendly: no preservatives * Cleans up with water Perfect For: * Alla prima and traditional oil techniques * Environmentally conscious artists * Painting without any harsh chemicals * Sampling brilliant color ranges * Indoor painting and classroom use * Plein air painters Painting Medium Blue: 1:1 Lean painting medium, watery, oil-free, and low odor. This medium supports the traditional oil paint consistency and makes the oil paint smoother. Please note you should not use this medium with traditional oil paints. Medium 2 Blue: Fat painting medium for water-mixable oil colors. Water thinnable, retards drying, and allows for longer wet-on-wet painting time. The high oil content increases gloss and forms a soft elastic film. Medium 2 can also be used with traditional oil paints. Dosage: Do not exceed a mixture of 1:1 if possible. Contains: modified safflower oil, poppy oil, and siccative. Medium 3 Blue: Is a painting medium with oil content for water-mixable oil colors. You can dilute it with water. The medium accelerates drying, increases gloss, and makes paint layers more resistant. Medium 3 can also be used with traditional oil paints. Contains: modified linseed oil and siccative. Linseed Oil Blue: Modified linseed oil, water-dilutable, and used as an additional binder for water-mixable oil colors. It can also be used for traditional oil paints. Contains: modified linseed oil. Transparent/Gloss Medium Blue: Is a very fat painting medium for water-mixable oil colors. You can dilute it with water. The medium increases transparency enhances gloss, and softens brush marks. Use it only on the upper layers of paint. Transparent/Gloss Medium can also be used with traditional oil paints. Shake before use. Contains: modified linseed oil, safflower oil, and siccative. See More
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Blockx Oil Color 35 ml Tube - Veronese GreenSave Up to30%Off listGreen Finest Quality Artists' Oil Colors Made and processed by the Blockx family in Belgium, still handground in the Blockx tradition with slowly rotating stone mills, our extra-fine artists' colors are made from the finest selection of pigments and oil. Only pure pigment is used for maximum lightfastness, buttery consistency and easy mixing on the canvas itself. All colors have a minimum lightfast rating 7 out of 8 on the blue wool scale. So they all can be considered perfectly lightfast. Iron oxides, earths and blacks are ground with linseed oil. All other pigments are ground with poppyseed oil which is well-known for its lack of yellowing and the non-forming of wrinkles at the time of the drying. As an oil colorist you deserve the very best colors to paint with. Blockx has been made in the same way in Belgium by family members for over 140 years. Today, Blockx is the oldest artist paint manufacturer continuously run and operated by a family. The story began when Jacques Blockx, a noted chemist, was asked by his artist friends to make reliable oil colors that would be permanent and extremely expressive. His formulas for permanent and lightfast colors are legendary and carefully guarded by the Blockx family today, who still test each batch of color to personally insure absolute quality and satisfaction. Key Features:* Slowly stone ground in pure Poppy Seed Oil* 84 colors available in 35ml & 200ml tubes* The preferred color of Rene Magritte, Salvador Dali and Frank Stella* All colors have a minimum lightfast rating 7 out of 8* Made from the finest selection of pigments and oil* Maximum lightfastness, buttery consistency and easy mixing on the canvas* Iron oxides, earths and blacks are ground with linseed oil* Other pigments are ground with poppyseed oil* Lack of yellowing and the non-forming of wrinkles at the time of the drying* Colors produced in maximum color concentration Perfect For:* Colors in still life that deliver consistent results* Fine quality paint that moves beautifully* Beginner to Professional artists* Amazing pigment load* Color that holds it's tone beautifully when mixed with titanium white* Use in studios or professional classrooms New: historical pigments handground with poppyseed oil; Vermillon, Naples yellow light, Naples yellow dark, Lapis Lazuli How Blockx Oils Are Made Using Blockx oils is a tactile experience—they are creamy yet firm, and allow the artist to feel the color with brush or painting knife. Indeed Blockx is a bit expensive, but these paints are worth every penny. An investment in Blockx is an investment in your art and truly one that will pay dividends in the future. Mixing: Pigments, oil, generally poppyseed oil, and specific ingredients are pre-mixed according to their particular nature to achieve the best paste for milling. Grounding: The paste is ground on a three roll mill made of stone rolls, to preserve the purity of paints, rotating at low speed to avoid heating. This operation is conducted 3 or 4 times-each time reducing the size of particles-allowing us to fill the tube immediately to preserve all the qualities of the paint. Test: Besides the long experience of the craftsman, numerous checks are made of particle size, consistency, drying time, density, and so more. A sample of each batch is carefully kept for years. See More
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Schmincke Mussini Oil Color 35ml - Natural Burnt SiennaSave Up to30%Off listBrown Unparalleled luminosity and outstanding lightfastness! Schmincke MUSSINI® Fine Artist Resin Oil Colors use the recipes of the old masters to provide unparalleled brilliance and luminosity in a truly reliable paint film. Vats of Schmincke oil colors are stored for up to three months before paint is added to the tubes. This vat time allows the linseed, safflower, and walnut oil to coat the pigment thoroughly. Different amounts of dissolved damar resin are then added to guarantee tension-free color layers that dry harmoniously. The addition of dissolved dammar resin depends on the oil requirement of the particular color. As a result, each of the 108 color shades has an individually balanced recipe. The high luminosity, outstanding lightfastness, and depth of light that can be achieved with Schmincke MUSSINI® Resin Oil Colors make them a pleasure to use. Key Features: * Balanced and tension-free drying process * Mixture of linseed, safflower, walnut oil, and dissolved dammar resin * Colors based on recipes of old masters * High luminosity * Excellent lightfastness * Truly reliable paint film * Imported from Germany * Perfect For: * Professional oil painters * Creating beautiful glazes * Pigment aficionados * Upgrading to professional oils * Portrait painting * Painting beautiful atmospheric landscapes See More
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