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Old Holland Classic Pigment Titanium White 110gSave Up to25%Off listWhite Prepare custom paints and base liquids with these pure, light-fast pigments and high quality raw materials! For the artists who prefer to create their own paints, Old Holland Classic Pigments and Raw Materials offers a carefully selected range of 98 light-fast dry pigments. Old Hollands organic, anorganic and synthetic organic pigments have outstanding color strength, clarity and intensity. Six different raw materials, from dammar resin to hide glue, allow artists and restorers to create their own base liquids. Old Holland uses these pigments to make all its paints. The pigments have an outstanding colour strength, clarity and brilliance Key Features: * Wide range of light-fast pure pigments * 98 light-fast dry pigments * Excellent color strength, clarity and brilliance * Organic pigments include Carmine, Indian Yellow and Madder Lacquer * Anorganic pigments include Umbers, Cadmiums and mineral pigments Perfect For: * Artists who prefer to create their own paints * Artists working in oils * Restoration work * Painting on canvas pigments can be divided into three groups: Group 1: Organic pigments Of natural origin, animal or vegetable (living), usually carbon compounds. Some examples: Carmine (from the Cochineal insect), Gummigutta, Gamboge (from the gum resin of the Garcinia Tree), Indian Yellow (from the urine of cows that eat mango leaves), Mummy (from the remains of Egyptian mummies), Madder Lacquer (from the root of the common Madder plant). Group 2: Anorganic pigments: Chemical compounds from chemical elements other than carbons (non-living). Some examples divided into three subgroups:Earth pigments: Ochres, Umbers, Green Earth, Caput Mortuum, Venetian Red. Mineral pigments: Malachite, Vermillion, Lapis Lazuli. Synthetic inorganic pigments (do not occur in nature but are manufactured): Prussian Blue, Ceruleum Blue, Lead White, Cadmiums. Group 3: Synthetic organic pigmentsComplex carbon compounds which do not occur in nature, but are created in the laboratory. Some examples: Phtalocyanine Blues and Greens, Quinacridones, Isoindolinones, Dioxazine, Azo Pigments. See More
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Sennelier Artist Dry Pigments Gold Ochre 110 gramsSave Up to37%Off listGold An Endless Combination of Colors! These pure, concentrated pigments are used in the actual production of legendary Sennelier Artist paints and pastels. All dry pigments come packed in 175 ml jars and are sold by weight. Please note that pigments usually do not fill the top of the jar when you receive them. This is because some pigments tend to settle more than others after filling. Sennelier Dry Pigment Color Chart > See More
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Yes! All Media 11oz Cotton Canvas Roll 72" x 6 YardsSave Up to70%Off listWhite The canvas that accepts any media! We do not know where art will lead you. You may want to start with watercolor and gouache, reworking or removing areas then finishing off with permanent acrylics. With Yes! You can! Yes! Mixed-Media Canvas accepts watercolors, oils, acrylics, casein, permanent markers, alkyds, shellac, acrylic-based inks, airbrush, egg tempera, or any other media of your choice. It uses only the finest closed weaved cotton that is triple-primed to a super smooth surface. A versatile canvas that will accept any paint, ink, or marker you have in your studio. Perfect for portrait artists and realistic technique artists. A unique twist to this canvas is that you can draw with a permanent marker and use the lines to form a resist for your watercolors without feathering or smudging. Similar to the resists used for silk painting, you can paint on top of the drawing. For traditional watercolor painting, the color sits on the surface, allowing for easy lifting, scratching, and reworking the painted surface and even layering for unique effects using opaque or transparent colors. This surface is fantastic with virtually any acrylic-based paint, from heavy-body acrylics to acrylic-based inks to airbrush colors. Key Features: * 11oz weight, 100% unbleached cotton * Portrait smooth, fine weave surface * Triple-primed with acid-free special wet media primer * Perfect For: * Accepts all media! * Watercolors, Water-based inks, Airbrush colors * Acrylics, Markers, Acrylic inks * Oil, Shellac, and Alkyds The Portrait Cotton - Portrait artists and super realistic technique artists craved for a surface that was plate smooth but also affordable. Yes, is plate smooth using only the finest close weaved cotton and primed three times to a super smooth surface. So smooth you can easily draw on it. But here's the twist you can also paint on it with any media! The priming is the key. Imagine a canvas so versatile that it will accept any paint, ink or marker you have in your studio. Imagine the possibilities. The Watercolor Surface - Many watercolorists draw with permanent marker as they create their watercolors. With this surface you can draw right into your watercolor without feathering or smudging or you can paint on top of the drawing. A unique twist to this canvas is that you can draw with permanent marker and use the lines to form a resist for your watercolors. This is very similar to resists used for silk painting. It is quite amazing and interesting. For traditional watercolor painting the color sits right up on the surface and allows for easy lifting, scratching into the paint film, reworking the painted surface and even layering for unique effects. Use with opaque or transparent colors. This canvas works best with tube watercolor and provides rich, vibrant expressions. Acrylics and Watercolors - We don't know where art will lead you but you may want to start off playing with watercolors and gouache reworking or even removing areas then fine tuning and finally finishing off the top layers with permanent acrylics. Of course you don't need to use watercolors with your acrylics but you can if you want. You'll find this surface to be fantastic with virtually any acrylic based paint from heavy body to acrylic based inks to airbrush colors. Before applying watercolor, we suggest that you clean the canvas thoroughly with high-strength Isopropyl alcohol to remove any hand-oils from the canvas. Surface oils may have accumulated from manufacturing, packaging, or unwrapping the canvas. Cleaning the canvas should prevent the paint from beading up on the surface. See More
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Strathmore Paper Roll 300 Bristol Vellum 42"x10yd RollSave Up to33%Off list…paper. Ideal for use with pencil, colored pencil, charcoal and sketching stick. Paper weight is 70 lb.* 400 Series Watercolor-Â Heavy weight, cold-press, natural-white watercolor paper that will allow lifting and scraping applications. Features deckled edges with a weight of 140 lb.* 400 Series… Create artwork on any size and any shaped paper with these Strathmore rolls! Strathmore's specialty grade paper rolls provide artists with the convenience and flexibility of creating without size or scale limitations. Perfect for either practice of techniques or finished artwork, depending on roll.* 400 Series Drawing-Â Smooth, medium weight, cream colored drawing paper. Ideal for use with pen and ink, pencil, charcoal, crayon, and markers. Paper weight is 80 lb.* 300 Series Bristol-Â Smooth, stiff, illustration paper. This high quality bristol is ideal for mechanical drawing, marker, airbrush, pencil or pen. Bristol weight is 100 lb.* 300 Series Drawing- Medium weight, student-grade drawing paper. Ideal for use with pencil, colored pencil, charcoal and sketching stick. Paper weight is 70 lb.* 400 Series Watercolor-Â Heavy weight, cold-press, natural-white watercolor paper that will allow lifting and scraping applications. Features deckled edges with a weight of 140 lb.* 400 Series Toned Sketch Paper-Â Medium weight, 100% recycled, acid-free sketch paper in shades of cool gray or warm tan. Toned paper weight is 80 lb.* 300 Series Newsprint Rough-Â A heavier weight, natural-toned newsprint for practicing sketching and drawing. Rough surface readily accepts graphite, colored pencil, charcoal, and sketching sticks. Newsprint weight is 32 lb.* 300 Series Bristol Vellum-Â Good for graphite, colored pencil, charcoal, sketching sticks, mixed media, airbrush, and oil pastel. Bristol weight is 100 lb.* 300 Series Charcoal- This laid finish, traditional white, strong surface is ideal for charcoal or pastel. Also suitable for graphite, colored pencil, sketching sticks, crayon, and oil pastel. Paper weight is 64 lb.* 400 Series Drawing Smooth-Â Cream-colored drawing paper ideal for graphite, colored pencil, pen and ink, and marker. Designed to be ideal for sketching, it is heavy enough for most finished drawings. Paper weight is 80 lb.* 400 Series Layout Bond-Â Crisp, smooth surface is ideal for rough drawings or finished layout renderings in pencil, pen, or marker. Paper weight is 16 lb.* 400 Mixed Media- This Mixed Media roll features a vellum surface, combining characteristics of watercolor paper with a drawing sheet finish. Used for studies or finished art in watercolor, gouache, acrylics, graphite, pen and ink, colored pencil, marker, pastel, or collage. Paper weight is 140 lb.* 400 Series Recycled Drawing-Â Medium surfaced, bright white paper is good for graphite, colored pencil, charcoal, sketching sticks, marker, pen and ink, and soft or oil pastels. 30% post consumer fiber. Paper weight is 80 lb.* 400 Series Recycled Sketch-Â Fine-toothed sketch paper is ideal for experimentation, perfecting techniques, and preliminary drawings with all dry media. 30% post consumer fiber. Paper weight is 60 lb. See More
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Arches Cover Paper 42" x 10 yd Roll, White 300gsmSave Up to40%Off listMould made in France! This famous heavyweight, Mould made sheet is 100% cotton, acid-free, and buffered. Arches Cover paper has a visible, slightly flattened grain, two deckle edges, and a registered watermark. An excellent choice for Printmaking and publishing, as well as drawing, embossing, foil… Mould made in France! This famous heavyweight, Mould made sheet is 100% cotton, acid-free, and buffered. Arches Cover paper has a visible, slightly flattened grain, two deckle edges, and a registered watermark. An excellent choice for Printmaking and publishing, as well as drawing, embossing, foil stamping, lithography, intaglio, and silkscreening. Perfect for an archival cover for prints and antique documents. Arches Cover is 100% cotton fiber, pH neutral, acid-free, internally sized, and buffered. Mould made in France. Key Features:* Heavyweight, Mould made papers* 100% cotton fiber* Acid-free and pH neutral* Internally sized and buffered Perfect For:* Archival covers for prints and antique documents * Printmaking and publishing* Drawing, Silkscreening, Lithography, and more! See More
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Global Arts Handbook Journal 5-1/2 x 5-1/2" Square - Vermilion RedSave Up to44%Off listRed Attractive and functional Journal! Global Art Handbook Journals feature attractive book cloth hand-bound covers with just the right amount of flexibility. Each journal contains 128 pages of heavyweight, 130 gsm, acid-free, buff drawing paper. Excellent for pen and ink, pencil, and markers. The lightly toothed paper accepts light watercolor washes. A resilient elastic closure keeps the journal closed, and a useful, clear plastic envelope on the inside back cover is perfect for notes or business cards. Key Features: * Book cloth hand-bound cover * 128 pages * Heavyweight, 130 gsm paper * Acid-free * Buff drawing paper * Resilient elastic closure * Clear plastic envelope on the inside back cover Perfect For: * Pen and ink * Pencil and markers * Uncomplicated, spontaneous creativity * Light watercolor washes * Journal or sketchbook * Use in classes, studios, or outdoors! See More
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Guild-Gold Imitation Gold Leaf Book of 50 (Loose)Save Up to68%Off listGold Add dazzling magical accents to your art with imitation gold and silver leaf! Available in: Champagne, Rose Gold, Gold & Silver Leaf, Guild-Gold Leaf Books are known by suppliers worldwide for consistent quality and reliable purity. The thin sheets of imitation leaf are created by hammering and stretching metal to its limit. Guild-Gold Metal Leaf is used for accenting artwork or objects with an ultra-thin layer of metal foil leaf. Traditionally used to decorate frames and paintings, gold leaf is now widely used for a wide range of decorative projects. You can apply Guild-Gold Metal Leaf to ceramic, metal, stone, glass, wood, plastic, and leather surfaces through the gilding process. The leaves are arranged in paper booklets, loosely inset in compartments, one for each leaf. You can use a gilder's tip brush to pick up and place the loose leaf on the prepared surface. Key Features: * Imitation Champagne, Rose Gold, Gold, and Silver leaf * Champagne Gold, Champagne Silver leaf: Available in books of 50 sheets * Rose Gold leaf: Available in books of 50 sheets * Gold and Silver leaf: Available in books of 100 sheets * Leaves measure 140 mm × 140 mm (5.51" × 5.51") * Perfect For: * Water gilding or adhesive gilding * Jewelry design and Keum-Boo * Ceramic, metal, stone, glass, wood, plastic, and leather surfaces * Paintings on canvas or board * Gilding frames or sculptures * Icon paintings and mixed media work Keum-Boo (attached gold) is an ancient Korean jewelry technique. This method uses heat to fuse gold leaf to sterling silver or other metals. Agate burnishers are used to buff and brighten the resulting jewelry pieces. How to Apply Guild-Gold Metal Leaf: * Make sure that the surface you plan to leaf is clean and free of dust. Cotton gloves are recommended when working directly with metal leaves (gold leaf will stick to the oils in your fingers). * Apply a thin layer of metal leaf adhesive size to the area you want to cover. Let the adhesive set until tacky (be sure to follow instructions on your adhesive). * Pick up the leaf with statically charged wax paper or a gilding brush. You can achieve a static charge by gently rubbing on fabric, like your shirt, for example. * Carefully lay each leaf onto the tacky adhesive areas. A soft brush will help guide each leaf into crevices or textured surfaces. * Overlap leaves as you go until you have covered the entire tacky area. * Gently dust away loose flakes. Larger pieces can be saved for future use. * Ensure good adhesion by patting all over with a soft cloth. Use gentle pressure and avoid rubbing. * Varnish your finished work to prevent tarnishing. See More
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