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The perfect selection of pure pigments Oil Colors from ShinHanArt are carefully crafted for brilliant color, superior adhesion, and lightfastness that minimize discoloration. This precise formula for blending pure pigments and oil ensures ShinHan Oil Colors’ brilliance and reliability. -
Holbein Artists’ Oil Colors come in 148 standard colors, and 6 white colors in 50ml tubes.
Titanium White **** The most popular white, Titanium White is inert and non-reactive under most ordinary conditions. It has greater opacity than lead or zinc but tends to yellow in the short term. It is slower drying than lead but faster than zinc. It handles and mixes well, and its surface qualities may be strengthened by mixture with zinc oxide which also helps reduce the sometimes too intense tinting power inherent in titanium pigment.
Zinc White **** Zinc Oxide is more transparent than lead and its surface qualities are more brittle. It does not have the same brushing qualities, is slower drying and does not react to sulphur. It is whiter than lead.
Ceramic White **** A painting white developed by a joint research project of the Holbein Works Ltd. Laboratory and Japanese Government Industrial Laboratory, Ceramic White was developed to combine the most positive qualities of other painting whites when taken collectively. It contains titanium and strontium pigment which will not react with sulphur. Ceramic White offers superior surface strength without brittleness, increases tinting and covering power over lead and zinc, but when compared to titanium white, it offers increased transparency, drying time and visual whiteness. Excellent handling qualities.
Silver White *** S (Flake/Lead White) One of the first artificially produced pigments, white lead mixes well with oil to a smooth uniform viscosity and has excellent opacity and brush handling qualities. Possessing great surface strength, it is nevertheless toxic in nature and will react by darkening when exposed to sulphur compounds or fumes. The latter reactivity is not too important as lead pigment in use is normally well protected by the oils and varnishes with which it is mixed.
Permanent White **** A titanium white with the same general handling qualities but with a barium sulphate additive which inhibits yellowing in early drying while reducing tinting power and increases transparency. Available in two variations: Permanent White SF is produced using poppy oil, while Permanent White EX is produced using safflower oil.
Quick Drying White **** Made of titanium white, calcium carbonate, poppy oil, alkyd resin and petroleum solvent. This quick-drying white is best suited as an undercoat offering exceptional qualities of surface adhesion and durability. Non-yellowing and non-cracking, this white, when coated thinly (0.15mm) will dry in 4 to 5 hours, while application by brush, knife, squeegee or spatula in 2mm to 3mm textured thickness will take approximately 24 hours. Dilute and clean petroleum solvent.
Permanency Rating:
**** Absolutely Permanent
*** Permanent
S – Leaden Chemical origin colors, should avoid admixture with sulfide origin colors. -
Out of stock
Set of 3 metal painting knives, suitable for expressive and structured work with oil and acrylic colours, as well as for mixing colours. -
Purpose: For the artist to make his own paint and painting medium Composition: Linseed oil- Increases the gloss and the drying time of the paint film
- Increases the risk of the paint film wrinkling
- Shows less yellowing in dark conditions than Purified linseed oil; the yellowing largely disappears in daylight
- Can be thinned with white spirit or turpentine
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Purpose: Thinning oil colour and cleaning brushes and other artistsmaterials Composition: Mineral oil distillate with the minimum possible content of harmful constituents Characteristics:- Odourless
- Drying time somewhat longer than Talens white spirit (090)
- Very pure, 100% evaporation; disappears completely from the paint film
- Makes oil paint leaner (use in lower coats)
- Not suitable for removing dry varnish coats
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Out of stock
Purpose: Increasing the flow and/or transparency of oil colour, making the paint fatter, decreasing the drying time Composition: Alkyd resin, white spirit- Increases the durability and elasticity of the paint film
- Makes the brush stroke run, depending on the amount added
- Hardly influences the degree of gloss
- Slightly yellowing
- Can be thinned with white spirit or turpentine
- Suitable as glazing medium
- Flammable
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Out of stock
Purpose: Increasing the flow and/or transparency of oil colour, shortening the drying time and making the paint fatter Composition: Vegetable oils, synthetic resins, white spirit, siccatives- Increases the durability and elasticity of the paint film
- Makes the brush stroke run, depending on the amount added
- Increases gloss
- Does not yellow
- Can be thinned with white spirit or turpentine
- Flammable
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Primer that converts surfaces such as canvas, wood or cardboard, into perfectly prepared canvases for the application of paint by means of painterly techniques such as oil or tempera. Not available for shipping outside of mainland Luzon. Email us at [email protected] for shipping quote. -
Out of stock
Fixative Lacquer ideal for artistic techniques such as pastel, charcoal, pencil or graphite. Not available for shipping outside of mainland Luzon. Email us at [email protected] for shipping quote. -
Out of stock
Good for a combination of drawing, painting and collage. Made in the USA. Two inspirational project ideas are included on the inside of the front cover. Cover artwork by Jaden - Grade 1. Project ideas by Art Projects for Kids. Sheets per pad: 15 -
Out of stock
Let the world see your vision
Tear off the top sheet and reveal your own customizable cover! Mixed Media Paper Weight: 160 g/m2 Surface: Medium Sheets per pad: 70 Acid Free Customizable Cover Weight: 300 g/m2 Surface: Medium Acid Free A medium weight, acid free, all-purpose paper in a sketching format. This versatile paper is a good choice for dry and light, wet media sketching. All sizes feature high sheet counts, sturdy chipboard backing and tear-off top sheets with customizable, steel blue, mixed media covers below. Pad Features: Wire bound pads are micro-perforated. Tear-off top sheet with a blank, permanent mixed media cover underneath that can be customized with your own artwork. -
Weight: 187 g/m2 Surface: Canvas texture Sheets per pad: 10 A canvas-textured paper for practicing techniques with oils and acrylics. Great for sketching and practicing techniques. Pad Features: Glue Bound pads have flip-over covers. -
Out of stock
Weight: 187 g/m2 Surface: Canvas texture Sheets per pad: 10 Pad Features: Glue Bound pads have flip-over covers. Creating art on our new Black Canvas paper is a fresh and inspiring way to make paintings that pop. The black background allows colors to take center stage and lets the artist create dramatic shadows for an inspiring look. This bold black canvas-textured paper is great for practicing techniques and making finished art. The classic canvas texture works with oil and acrylic paints, and is the same texture that can be found on our 300 Series White Canvas paper. -
Out of stock
Mixed Media pads combine true wet media performance and dry media finish for a complete range of mixed media applications. We've combined the characteristics of watercolor paper and the finish of a drawing sheet, creating a paper that performs unlike any other in the industry. Mixed Media is available in a full range of formats and sizes. Weight: 190 g/m2 Surface: Vellum Sheets per pad: 40 Media Applications: Watercolor, gouache, acrylic, graphite, pen & ink, colored pencil, marker, pastel, collage For mixed media sketches, practice of techniques and quick studies. Medium weight paper in sketchbook formats. Pad Features: Wire Bound sheets are micro-perforated and are Actual Size when removed at the micro-perforation. The 5.5in x 8.5in (362-5) is not micro-perforated but sheets are Actual Size when removed at the wire binding. -
Weight: 300 gsm Surface: Cold Pressed The stability and strength of this board offers excellent flatness when wet. The hard surface offers easy application of color. Ideal for all wet painting techniques: watercolor – especially wet-in-wet painting, smooth wash and also dry painting – as well as lavis, gouache, tempera and acrylic. Natural white, acid free, lightfast and extremely age resistant. -
Weight: 300 gsm Surface: Hot Pressed The stability and strength of this board offers excellent flatness when wet. The hard surface offers easy application of color. Ideal for all wet painting techniques: watercolor – especially wet-in-wet painting, smooth wash and also dry painting – as well as lavis, gouache, tempera and acrylic. Natural white, acid free, lightfast and extremely age resistant. -
Out of stock
Weight: 450 gsm Surface: Cold Pressed Bright white, acid free, lightfast and extremely age resistant. The heavy weight provides a very stable board that ensures improved flatness when wet. Cornwall offers good color flow and high color intensity. This quality is ideal for wet painting techniques: watercolor – especially smooth washes and dry painting – and also lavis, gouache, tempera and acrylic. -
Out of stock
Weight: 230 gsm Surface: Cold Pressed Size: 10.5 x 14.8 cm (4.13 x 5.83 in) -
Fredrix® White Canvas Pads contain genuine artist canvas, primed and ready for use with any medium. Canvas sheets are sturdy enough to be mounted when dry. Each pad contains 10 sheets. -
FREDRIX Painting and Palette Knives are sturdy and long lasting with extra thin, flexible blades, ideal for mixing and applying paints. Because we control the manufacturing process, we hold ourselves to the highest standards using premium grade, non-toxic and non-acidic materials. -
- FIT SYNTHETICS, round
- grey, very elastic synthetic fiber
- aluminum ferrule
- green matt handles with a newly developed surface structure
- Rounds for details and precision work
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- da Vinci MAESTRO2, round
- medium length bristles
- long red transparent handles with black ends
- Rounds for detail and precision work
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- da Vinci MAESTRO2, brights
- medium length bristles
- long red transparent handles with black ends
- Flats and brights for area work
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- FIT SYNTHETICS, mottler
- grey, very elastic synthetic fiber
- rust-proof steel ferrule
- green matt handles with a newly developed surface structure
- width 20, 30, 40, 50, 60, 80, 100 and 120 mm
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- FIT SYNTHETICS, flat
- grey, very elastic synthetic fiber
- aluminum ferrule
- green matt handles with a newly developed surface structure
- Flats and brights for area work
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Select Artiste™ – Brushes for Acrylic, Watercolor and Oil
Created by the fine craftsmen of Princeton, Select Artiste™ is a vast line of brushes created for oil, acrylic and watercolor artists. Now you can explore traditional and avant-garde techniques on nearly any surface. Satin-finish jewel-tone blue handles and silver ferrules make Select Artiste™ as beautiful to look at as it is to paint with. -
Select Artiste™ – Brushes for Acrylic, Watercolor and Oil
Created by the fine craftsmen of Princeton, Select Artiste™ is a vast line of brushes created for oil, acrylic and watercolor artists. Now you can explore traditional and avant-garde techniques on nearly any surface. Satin-finish jewel-tone blue handles and silver ferrules make Select Artiste™ as beautiful to look at as it is to paint with. -
Select Artiste™ – Brushes for Acrylic, Watercolor and Oil
Created by the fine craftsmen of Princeton, Select Artiste™ is a vast line of brushes created for oil, acrylic and watercolor artists. Now you can explore traditional and avant-garde techniques on nearly any surface. Satin-finish jewel-tone blue handles and silver ferrules make Select Artiste™ as beautiful to look at as it is to paint with. -
Select Artiste™ – Brushes for Acrylic, Watercolor and Oil
Created by the fine craftsmen of Princeton, Select Artiste™ is a vast line of brushes created for oil, acrylic and watercolor artists. Now you can explore traditional and avant-garde techniques on nearly any surface. Satin-finish jewel-tone blue handles and silver ferrules make Select Artiste™ as beautiful to look at as it is to paint with. -
FORTE BASIC, round - strong elastic synthetic fiber - aluminum ferrule - blue matt handles with a newly developed surface structure - standard sizes No. 5/0, 3/0 - Rounds for details and precision work -
True color. Real value. Gamblin 1980 Oil Colors are made with the same dedication and pure pigments that go into our Artist’s Oils. In addition, we use the same process of mixing, milling, filling, and hand labeling. In order to reduce the cost of oil colors, some manufacturers use gels and waxes to stiffen colors and replace traditional pigments with less expensive ones. Our approach is different. 1980 colors are formulated with pure pigments, the finest refined linseed oil and marble dust (calcium carbonate). More affordable colors have been made with these three ingredients since oil painting began. With 1980 colors, artists experience colors that are true, without homogenized texture or muddy color mixtures. Our approach of using both traditional raw materials and processes ensures that artists experience the luscious working properties that they expect from their oil colors. -
Out of stock
- 37 ml (1.25 oz) tubes of
- Cadmium Yellow Light
- Yellow Ochre
- Cadmium Red Light
- Alizarin Crimson
- Ultramarine Blue
- Phthalo Green
- Ivory Black
- Titanium White
- Solvent-Free Gel Medium
- Primed, handcrafted panel
- 37 ml (1.25 oz) tubes of
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Out of stock
This set includes 59ml bottles of Galkyd, Neo Meglip, Refined Linseed Oil, Gamsol, a 37 ml tube of Galkyd Gel, and a 2 ml jar of Cold Wax Medium. -
Out of stock
Galkyd thins oil colors and increases transparency and gloss. When used in greater proportions with oil color, Galkyd will level brushstrokes, creating an enamel-like surface. Galkyd is our fastest-drying painting medium. Thin layers will be touch-dry in approximately 24 hours. -
Galkyd Lite thins oil colors and increases transparency and gloss. When used in moderation with oil colors, Galkyd Lite will retain brushstrokes. Galkyd Lite is more fluid and less glossy compared to Galkyd. Thin layers will be touch-dry in 24 to 30 hours. -
Neo Megilp is a contemporary version of Maroger. This soft gel medium maintains the body of oil colors, increases transparency and flow, and imparts a smooth, silky feel. Neo Megilp dries at a moderate rate and remains workable for hours. Neo Megilp gives colors a satin gloss -
Out of stock
Cold Wax medium is made from naturally white, pure beeswax. Formulated to knife consistency, Cold Wax Medium makes oil colors thicker and more matte. Cold Wax Medium can be used to make Gamblin mediums and Gamvar more matte. It can also be applied alone as a matte varnish. -
Galkyd Gel is a stiffer gel compared to Neo Megilp that holds thicker, sharper brushmarks and dries more quickly. Galkyd Gel increases transparency of oil colors and creates impasto. -
Solvent-Free Gel gives colors more flow and transparency, yet holds the shape of your brushmark. Solvent-Free Gel has a moderately fast drying rate and increases gloss. Made from safflower oil and alkyd resin, Gamblin Solvent-Free Gel is non-toxic and contains no Gamsol or petroleum distillates.
