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Van Aken Kato Polyclay 4oz Set Of 4 Warm ColorsSave Up to19%Off listWarm Colors A polymer clay developed with an artist for artists! Kato Polyclay is an easy-to-use polymer clay that bakes in ten minutes to become a robust and sturdy material. You can mix Kato colors to create unique shades with ease once the clay has warmed up in your hand. Create beads for jewelry or sculpt figurines then bake in your household oven at 300 degrees Fahrenheit. Once cooked, the clay can be further improved by sanding and buffing. Kato Polyclays have color stability, uniform consistency, and excellent cured strength. More durable than other poly clays, objects made with Kato Polyclay become permanent works of art that will resist cracking and decay over time. Its smooth texture allows for detailed results for all types of craft, including sculpture, jewelry, home decor, and model making. Key Features: * Created in partnership with artist Donna Kato * Highly-pigmented non-sticky formula * Oven-hardening clay * Strong and durable * All colors are mixable * When sliced, it will maintain its shape * Keeps its shape and color after baking * Made in Georgia, USA * Certified non-toxic * Conforms to ASTM D-4236 * Sulfur-free, paraben-free, latex-free * Free of nuts, dairy, gluten, soy, corn, GMOs, pollen, nickel, lead, and VOCs *DO NOT EAT* Perfect For: * Creating figurines * Making jewelry * Custom color mixing * Letting your creative juices run wild * Sculpting character studies * School projects * Model making * Teachers and students * DIY up-cycling * Polymer caning-techniques * Bake between 275F (135C) and 325F (165C) for 10-30 minutes Polymer clay pieces may be cured in a standard oven or in a toaster oven. When curing compositions, it is recommended that you test the temperature of your oven (especially when using a toaster oven) with an oven thermometer. To do this, place the thermometer into the oven in the approximate location where you will be curing your piece; wait for the thermostat to adjust then adjust the temperature of your oven accordingly until the appropriate temperature is achieved. Kato Polyclay should be cured at about 300°F (150°C); however, it can be cured within the range of 275°F (135°C) and 325°F (165°C). It has been approved to be cured at 350°F (175°C). You should never exceed a temperature of 365°F (185°C) when curing Kato Polyclay. When cured at elevated temperatures, Kato Polyclay will become harder and more durable and have an increased surface gloss. For optimal strength, it is recommended that you cure your piece for 30 minutes. Curing Kato Polyclay for more extended periods will yield similar results as curing it at elevated temperatures; however, it is not recommended that you cure it for longer than the recommended time. Some projects may require that you cure a piece multiple times. For example, after adding an uncured piece of clay or another medium to it. When you create a project like this, it is a good idea to cure the piece in shorter increments of time. For example, if you were baking a piece three different times, it’s recommended that you cure the piece for 10 minutes the first two times and 30 minutes for the final curing this will save you time and ensure that your piece is permanent. See More
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Jacquard Pinata Twist Caps Pack of 5, 4ozSave Up to30%Off list…media artists * Artists seeking an extremely saturated transparent ink Jacquard Pinata Alcohol Ink Set of 4 1/2oz Inks &Three 5x7" Masterpiece alcohol ink art panels - The Pinata Masterpiece Set of Four combines four Jacquard Pinata alcohol ink colors - coral, golden yellow, teal, and copper with… Try the best of Jacquard's Piñata inks! Piñata Colors are beautiful alcohol-based, acid-free, transparent inks. The Piñata Exciter Packs feature an assortment of popular Piñata colors, including three primary colors, three secondary colors, black, white and metallic gold—making each exciter pack an excellent starter pack for mixing! Piñata colors have an alcohol base which makes them permanent and moisture resistant when dry and allows you to use them on almost any surface as long as it's clean and oil-free. Can be used for rubber stamping, fiber art, scrapbooking, calligraphy, staining, airbrushing and more! Key Features: * 9 colors, including 3 true primaries, 3 secondary colors, black and white, and gold * Acid-free, alcohol-based transparent inks * Works well on glass, metal, leather, fabric, wood and most surfaces that are clean and oil-free! * Perfect For: * Mixed media applications, faux finishing, wood and leather staining, airbrush applications, and more! * Crafters * Mixed media artists * Artists seeking an extremely saturated transparent ink Jacquard Pinata Alcohol Ink Set of 4 1/2oz Inks &Three 5x7" Masterpiece alcohol ink art panels - The Pinata Masterpiece Set of Four combines four Jacquard Pinata alcohol ink colors - coral, golden yellow, teal, and copper with three 5x7 inch Masterpiece alcohol ink art panels. The ready to paint double-sided panels are 1/8 inch thick and made with a lightly textured non-porous vinyl. The unique vinyl surface extends the working time for the Pinata inks by limiting spread across the surface. Each panel is slightly reflective and shines through the vibrant inks to give a pearlescent shimmer to the finished work. Colors included: Coral, Golden Yellow, Teal and Copper See More
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New York Central Acrylic Gloss Medium, 4oz BottleSave Up to59%Off list…extender, mix the medium with acrylic paint. The more you add, the thinner and more transparent the paint will become. * To fix chalk pastels or graphite, mix 1 part medium to 1 part distilled water and apply with an airbrush or atomizer. * To use as a collage adhesive, apply at full strength with a… Professional grade mediums for archival results by New York Central® New York Central® Professional Acrylic Mediums are perfect for thinning and extending acrylic paint. Many misinformed artists use water to thin their acrylic paint, but using too much water can weaken the paint bond and cause long-term issues. New York Central® mediums support and maintain the structure of your paint while adding a gloss or matte effect. You can thin and extend your heavy body paints with acrylic medium. The more you add, the thinner and more transparent the paint will become. You can also use New York Central® Acrylic Medium as a collage adhesive or as a fixative for dry media. Key Features: * Professional grade acrylic medium * Matte or gloss finish * Mediums are semi-opaque when wet, transparent when dry * Extends colors without damaging paint structure * Non-yellowing, acid-free, and archival * Flexible and non-cracking * Water-resistant once dry * Intermixable with acrylic paint * Perfect For: * Increasing color depth and transparency * Thinning heavy body paints * Collage, mixed media, and photo transfers * Use as a collage adhesive or as a fixative for dry media * Professional artists and students * Everyday studio use Acrylic Medium Instructions: * Always stir gently. If bubbles appear, let the mixture sit for about ten minutes or until the bubbles dissipate, then resume use. * For use as an extender, mix the medium with acrylic paint. The more you add, the thinner and more transparent the paint will become. * To fix chalk pastels or graphite, mix 1 part medium to 1 part distilled water and apply with an airbrush or atomizer. * To use as a collage adhesive, apply at full strength with a brush or sponge. See More
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New York Central Acrylic White Gesso, 4oz BottleSave Up to60%Off listWhite Professional grade gesso for archival results New York Central® Gesso is a professional grade acrylic ground. Itās perfect for a variety of surfaces, from canvas to metal. You can apply the gesso with a palette knife to create a rough texture or sand between coats to achieve a smooth result. Once dry, New York Central® Gesso makes a sturdy base for graphite, charcoal, oil pastels, acrylic, and oil paints. You can even mix it with acrylic paint to create a toned background. Key Features: * Professional grade acrylic gesso * Matte white, opaque finish * Non-yellowing, acid-free, and archival * Flexible and non-cracking * Water-resistant once dry * Intermixable with acrylic paint * Optimal absorbency rate for paints Perfect For: * Priming raw canvas, panels, or paper * Acrylic and oil paints * Preparing wood and metal surfaces * Charcoal, pencil, and oil pastel * Creating a smooth or textured foundation * Adding a high level of tooth to a surface Acrylic Gesso Instructions: * Use at full strength or thin with up to 25% water. When thinning more than 25%, create an equal mix of water and matte medium. * Sand slick surfaces first. Apply a thin coat with a flat brush and let dry for 24 hours before painting. * To create a smoother base, sand the dried gesso and reapply. * Acrylic painters should apply at least two coats. * Oil painters should apply 2-4 coats and sand between applications. * To create a colored background, gradually add acrylic paint to the gesso until you reach your desired tone. Stir until thoroughly blended. Apply as normal. See More
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Gamblin Cold Wax Medium 4ozSave Up to40%Off listTrue to historic working properties. Safer. More Permanent. Gamblin Oil Painting mediums offer a great deal more than simply extending oil colors. Mediums modify the working properties of oil color from the tube ā from a fluid consistency for expressive mark making to a stiff paste for creating… True to historic working properties. Safer. More Permanent. Gamblin Oil Painting mediums offer a great deal more than simply extending oil colors. Mediums modify the working properties of oil color from the tube ā from a fluid consistency for expressive mark making to a stiff paste for creating thick, crisp marks. Painting mediums also broaden the visual qualities of our colors ā from increasing the transparency of paint layers, to creating a range of surface qualities, from high gloss to matte. Gamblinās family of Galkyd painting mediums and Cold Wax Medium are formulated with Gamsol. We recommend only Gamsol for thinning these materials. Alkali Refined Linseed Oil - Processed from flax seeds. This linseed is the purest and lightest industrially produced variety. Cold Pressed Linseed Oil - Made from the first pressing of flax seeds without heat or chemicals of any kind. Cold Wax Medium - Made from natural white unbleached beeswax. Mix directly into colors. Cold Wax creates an ultra-thick, matte impasto. For greater shine and flexibility mix with Galkyd medium. "G-Gel" - Made from alkyd resin, Galkyd Gel is a colorless oil color additive that accelerates the drying rate of oil colors and enables artists to create thick transparent paintings with a moderate sheen. Galkyd Painting Medium - Alkyd based resin painting medium that thins oil paints and maintains a strong flexible paint film. Galkyd speeds the drying rate and is excellent for glazing providing an enamel like finish. For thinning, Gamblin recommends using Gamsol or a small amount of Refined Linseed Oil. Galkyd Painting Medium Lite No.2 - This low viscosity alkyd resin painting medium is a good replacement for traditional damar/ linseed oil/ turpentine combination mediums. Galkyd Lite dries within about 3 hours to a subdued gloss, and will maintain your brush strokes. For thinning, Gamblin recommends using Gamsol or a small amount of Refined Linseed Oil. Galkyd Slow Drying Medium - Especially formulated to thin oil colors and give painters extended working time. To use mix equal portions of medium with oil colors to paint wet for at least a day. Since this product should not be diluted you may want to purchase the larger size. Gamsol - Quality solvent and medium and for general oil painting. Gamsol is also an excellent studio and brush cleaner. Odorless Mineral Spirits -Gamsol is the safest solvent that allows oil painters to utilize all traditional painting techniques without compromise. Primary Uses for Gamsol - Thinning oil colors, Modifying painting mediums, Studio clean up.Gamsol is a petroleum distillate but all the aromatic solvents have been refined out of it, less than .005% remains. Gamvar - Conservation quality varnish for oil, acrylic and alkyd paintings. This resin varnish may be removed with a mild solvent and contains a UV stabilizer. Developed in association with the National Gallery of Art. Package makes enough varnish to cover 80 sq ft. Once varnish is applied surface will have a uniform gloss apperance. Neo-Megilp - When mixed into oil colors Neo-Megilp makes them richer and deeper and finished paintings have a luminous glow! Neo-Megilp will not darken or crack over time. For thinning, Gamblin recommends using Gamsol or a small amount of Refined Linseed Oil. Oil Painting Ground - For strong, bright foundations of oil paintings. Requires only 2 coats. Formulated from alkyd resin, titanium dioxide and barium sulfate. Stiffer than traditional gesso. PVA Size - Use as a barrier size between linen or cotton canvas instead of rabbit skin glue. Remains flexible and won't yellow, shrink or swell. Poppy Oil - Poppy Oil's slow drying time may be useful for painters using "wet into wet" techniques. Adding 10% by volume poppy oil slows down the drying time of Gamblin Galkyd Painting Mediums. Rabbit Skin Glue - Gamblin's Rabbit Skin Glue is the traditional size for fabric support on panels. It seals porous fabric and isolates it from ground or oil paints. Stretching the canvas is easy, because the size shrinks as it dries. Safflower Oil- Gamblin's Safflower Oil is a pale, slow-drying oil. Safflower oil increases flow of oil colors and slows dry time. Use sparingly or mix with an equal amount of Gamsol to create a traditional slow-drying, low-viscosity painting medium. Solvent-Free Gel Medium - This unique, non-toxic blend of safflower oil and alkyd resin gives colors more flow and transparency, yet holds brushstrokes well. It has a moderately fast drying rate, increases gloss, and supports the broadest range of painting techniques with the least compromise across color, dry time, texture and mark-making. Contains no Gamsol or petroleum distillates. Solvent-Free Fluid Medium- Gamblin's Solvent-Free Fluid Mediumgives oil colors more flow and transparency, It has a moderately fast drying rate that increases gloss. Made from safflower oil and alkyd resin, this medium is non-toxic and contains no Gamsol or petroleum distillates. Stand Oil - Vacuum bodied heavy oil which can be used in painting and glazing mediums. Dries to an enamel like finish. Traditional Gesso - Gamblin's Traditional Gesso is a dry mixture of rabbit skin glue, gypsum, marble dust, and titanium dioxide. Paintings on gesso are more matte because of the high absorbency of traditional gesso. Wax Pastilles - Small beads of naturally white unbleached beeswax.* See More
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Awagami Papers 86gsm Masa (Bright White), 21" x 31" (Pack of 10)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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