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BFK Rives Printmaking Papers White, 29" x 41" 270gsm (10 Sheets)Save Up to50%Off listWhite Professional 100% cotton and no optical brightening agents Arches BFK Rives Printmaking paper is mould-made in France and has a smooth, absorbent surface. Soft, yet with enough body and substance to give good support to the print. It is half sized to give a good balance between good ink absorption and ink holdout. Acid-free and buffered. White has 4 deckle edges, Cream has 3 deckle edges. Rives BFK Paper is made of 100% cotton, are soft-sized, and buffered. Rives is perfectly suited for lithography, intaglio, screen printing, relief printing, linocut, collotype, and drawing. As a result of using 100% cotton rag and the time-honoured manufacturing process, the paper has a very soft and supple feel. The paper has a natural white tone and is completely free of any optical brighteners (OBAs). 100% cotton – Made on a cylinder mould Key Features: * Composition: 100% cotton – Made on a cylinder mould * Grammages: 250, 270, 280gsm * Texture: Cold Pressed- light fine grain with a smooth surface * Colors: white, cream, grey, tan and black * Edges (sheet): 4 deckle edges * Watermark (sheet): "BFK Rives® France" * Conservation: with alkaline reserve, acid-free, no optical brightening agents (permanent in accordance with ISO 9706) * Uses: lithography, intaglio engraving, letterpress, screen-printing, blind embossing, gold tooling, linocut, gravure process, calligraphy drawing * Free of any optical brighteners (OBAs) See More
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Arches Cover Paper 29" x 41", White - Pack of 25 sheetsSave Up to40%Off listWhite 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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Magnani 1404 Italia Watercolor Pad 140lb Cold Press - 4.5" x 9" (20 Sheets)Save Up to40%Off listWhite Top-quality 100% Cotton Watercolor Paper. Love Your Papers! Imagine yourself using the same high-quality papers as the great masters of history. Magnani has been producing papers for over 600 years. Its clientele has included famous figures such as Napoleone Bonaparte and artists such as Picasso, De Chirico, Annigoni, and Morandi. Magnani 1404 watercolor paper is perfect for anyone who desires the highest quality paper available. Magnani 1404 Acquerello Watercolor Papers are made entirely from 100% cotton. Long cotton fibers are evenly distributed onto a slowly rotating wire cylinder before being pressed onto special Magnani marking felts and dried. The paper has superior absorbency and can withstand multiple layers and washes thanks to its internal and external vegan sizing. Want your art to withstand the test of time? Magnani's acid-free pH-neutral paper is UV resistant and can last for over a century, making it a wise investment for anyone who values longevity and quality. Choose from 3 different surface textures made in Italy: Italia (cold press), Portofino (hot press), and Toscana (rough). Key Features: * 100% cotton, acid-free archival watercolor paper * Italia (cold press), Portofino (hot press), or Toscana (rough) * Mould made on a cylinder machine * 140lb and 300lb weight * Internal and external vegan sizing * Acid-free, pH-neutral, and chlorine-free * Alkaline (calcium carbonate) buffer * Traditional natural white color * No optical brighter agents used * Sheets have 4 deckled edges and a watermark * Round blocks come with a cotton bag * Made in Italy Perfect For: * Professional watercolorists * Wet and dry media * Watercolor, gouache, ink, and fluid acrylic * Working with graphite, colored pencils, pastels, and charcoal * Scrubbing and lifting techniques * Repeated erasing and painting * Keeping paper perfectly flat * Painting on the go * Traveling Magnani 1404 Acquerello Watercolor Paper is ideal for wet and dry media, especially watercolor, gouache, ink, and fluid acrylic paint. Prime with a clear acrylic gesso to use with oil paint. Every round watercolor block comes with a cotton drawstring bag to keep your watercolor paper clean and protected. See More
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Enkaustikos Encaustic Mediums Wax 5 lbSave Up to20%Off listA variety of mediums and sundries for your encaustic painting applications! Enkaustikos offers a variety of wax mediums and encaustic sundries to complement their extensive line of encaustic paints. Bleached Beeswax – Purified beeswax featuring a chemically-achieved bright white color Carnauba… A variety of mediums and sundries for your encaustic painting applications! Enkaustikos offers a variety of wax mediums and encaustic sundries to complement their extensive line of encaustic paints. Bleached Beeswax – Purified beeswax featuring a chemically-achieved bright white color Carnauba Wax – A Pale yellow wax used to raise the melting point of encaustics or beeswax, creating more durable paint Damar Resin – Increases the shine, hardness, translucency and melting point of beeswax Impasto Wax – Builds texture and dimension when used with encaustics to produce sculptural effects Luster Wax – This white, translucent synthetic wax can be used with encaustic paint or beeswax to add shine or hardness and to increase the melting point Microcrystaline Wax – Produces a more flexible encaustic paint—ideal for building layers and texture Rabbit Skin Glue – Works great as a ground for encaustic work and is used to make a traditional gesso Slick Wax – A solvent-free blend of synthetic waxes used for cleaning brushes, tools and palettes Soy Wax – An environmentally-friendly alternative wax for cleaning brushes, tools and palettes USP Refined White Beeswax – Purified, USP-grade beeswax—free of additives or bleaching agents USP Refined Yellow Beeswax – Purified, USP-grade yellow beeswax—free of additives or bleaching agents Wax Medium – Perfect for use as a base coat, topcoat, glaze medium or extender. Made from a blend of USP white beeswax and dakar resin. Also available in natural yellow. XD Wax Medium – The addition of extra damar resin makes this medium provide a harder, shiny and transparent finish—making it ideal for glazes, topcoats and as a paint extender See More
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Jacquard Dye Additive Soda Ash Dye Fixer 5 lb BagSave Up to10%Off list…5 lb fabric. To increase fabric paint coverage on hard-to-wet textiles, add 1 to 2 drops Synthrapol® per 2 fl oz of fabric paint. Citric Acid: Citric Acid is a mild, odorless, powdered acid that helps fix acid dyes and exhaust dye baths. Add one tablespoon of Citric Acid to the dye bath per 1 lb… Essential chemicals for the dyeing process! Jacquard offers several necessary chemicals that complement their Acid and Procion MX dyes. Sodium Alginate SH is used to thicken dyes for painting, stamping, or screen printing. Citric Acid is a mild, odorless, powdered acid that helps fix acid dyes to protein-based fibers. Soda Ash promotes the chemical reaction between Procion MX fiber reactive dyes and cellulose fiber. The humectant Urea attracts moisture from the air and slows the tie-dye process, providing more time for the dye to process and generate deeper shades. You can use Synthrapol® an industrial-strength, pH-neutral liquid detergent as a wetting agent, or wash your decorated fabrics with it. It is essential to practice studio safety when using dyes and chemicals. Please keep dyes, paints, and chemicals away from children and avoid unnecessary skin contact. Key Features: * Powdered chemicals * Complement Acid and Procion MX dyes * Sodium Alginate SH will thicken dyes * Citric Acid is used to fix acid dye * Soda Ash is used to fix Procion MX dye * Urea enhances Procion MX colors * pH-neutral detergent and wetting agent Perfect For: * Fabric dyeing * Painting, stamping, or screen printing * Tie-dye, shibori, and ice dyeing * Low water immersion dyeing * Batik, printing, and direct painting * Direct painting or printing applications * Surface design Sodium Alginate SH: Sodium Alginate SH is a seaweed derivative used to thicken dyes for painting, stamping, or screen printing. When working with thicker fabrics, use a thinner consistency of dye solution to guarantee dye penetration. Instructions: Mix 1 quart water with ¼ cup Urea. Then, add two teaspoons Sodium Alginate SH for hand painting or four teaspoons Sodium Alginate SH for screen printing. Slowly sprinkle Sodium Alginate SH over water/Urea mix. Stir constantly for 10 minutes, or mix in a blender until smooth. Let stand for 1 hour, then stir again. The solution may be stored in a refrigerator for a few months. Soda Ash: Soda Ash dye fixer is a mild alkali that promotes the chemical reaction between Procion MX fiber reactive dyes and cellulose fiber. It is also known as sodium carbonate, washing soda, or salt soda. Soda Ash is necessary to activate and set Procion MX dye. For tie-dye (pre-soak method): Use one cup per gallon of warm water. Soak fabric in the mixture for 20 minutes. Squeeze/wring out the excess solution by hand. Do not rinse out. For immersion dyeing: Use 1/4 to 1/3 cup per three gallons of water. Add to dye bath per instructions. Dyeing cellulose fibers in a washing machine: Use 2-3 cups per load. Dissolve in one-quart hot water. Slowly add to dye bath in washer per instructions. Synthrapol®: Synthrapol® is an industrial-strength, pH-neutral liquid detergent used as a pre and after wash for dyed or painted fabrics. Synthrapol® can also be used as a wetting agent for fabric dyes and paints. The unique liquid detergent keeps loose dye pigment suspended during washing which prevents back staining and helps remove excess color. Pre wash: Prewashing fabric with Synthrapol® to remove oils, waxes, starches, and sizings helps ensure an even dye job and reduces the risk of blotchy color. Directions: Add three tablespoons Synthrapol® per 8 lb washing load. For cotton and other cellulose fibers, add two tablespoons soda ash. Wash for at least 10 minutes using hot water, and then rinse thoroughly. After wash: After dyeing or painting, rinse the fabric in cold water and then wash for at least 10 minutes using three tablespoons Synthrapol® per 8 lb wash load. Use hot water for cotton, cool to warm water for silk and wool, and then rinse thoroughly in cold water. Wetting Agent: Adding Synthrapol® to a dye bath or fabric paint can increase color penetration. When dyeing wool and other hard-to-wet fibers, add 2 to 3 drops of Synthrapol® per 5 lb fabric. To increase fabric paint coverage on hard-to-wet textiles, add 1 to 2 drops Synthrapol® per 2 fl oz of fabric paint. Citric Acid: Citric Acid is a mild, odorless, powdered acid that helps fix acid dyes and exhaust dye baths. Add one tablespoon of Citric Acid to the dye bath per 1 lb of fabric. Do not pour directly onto cloth. If further exhaustion of dye bath is necessary, add a little bit more. Avoid contact with eyes. In case of eye contact, flush immediately with water for at least 15 minutes. Keep out of reach of children. Urea: Urea is a humectant that attracts moisture from the air and slows the drying process; therefore, it allows more time for the dye to react with the fiber and helps develop deeper shades. Most artists use Urea when applying dye solutions directly to fabric or hand painting. Urea can be used with Sodium Alginate thickener for screen printing, direct painting, or tie-dye. Add one tablespoon Urea per 8 fl oz of dye solution (¼ cup per one quart of dye solution). See More
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