OPEN Acrylic Gels are supplied in the same consistency as the colors and are used to extend the paints while maintaining working properties.
Note: Packaging design may vary.-
Golden OPEN Mediums help maximize working time of OPEN Acrylics and can be used to adjust color strength and translucency while maintaining consistency. OPEN Acrylic Medium will lower paint viscosity to create a more fluid mixture and increase flow.
Note: Packaging design may vary. -
Out of stock
Golden OPEN Mediums help maximize working time of OPEN Acrylics and can be used to adjust color strength and translucency while maintaining consistency. OPEN Acrylic Medium will lower paint viscosity to create a more fluid mixture and increase flow.
Note: Packaging design may vary. -
Out of stock
Six-3/4 fl. oz. (22 ml) OPEN Acrylic Tubes Contents: Hansa Yellow Opaque, Pyrrole Red, Quinacridone Magenta, Phthalo Blue (GS), Phthalo Green (BS), Titanium White. The colors in this set include some of our cleanest organic pigments, capable of producing bright mixes and are least likely to muddy or gray. -
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Six-3/4 fl. oz. (22ml) OPEN Acrylic Tubes Contents: Indian Yellow Hue, Alizarin Crimson Hue, Ultramarine Blue, Sap Green Hue, Van Dyke Brown Hue and Titanium White. The colors in this set use contemporary pigments to create the hue combinations of traditional colors while meeting today's requirements for quality, lightfastness and safety. -
Out of stock
Seven - 22 ml OPEN Colors, One - 59 ml OPEN Titanium White, One - 30 ml OPEN Thinner. OPEN Slow-Drying Acrylics have a remarkably relaxed working property that facilitates blending, softening, shading and glazing and fine detail. This eight color set is capable of producing some of the cleanest, brightest mixes for a wide array of hues and shades. The set includes a reference guide/poster with proportions for mixing popular colors. OPEN colors can be mixed with Fluid and Heavy Body colors to control drying time. Includes: Hansa Yellow Light, Hansa Yellow Medium, Naphthol Red Light, Quinacridone Magenta, Anthraquinone Blue, Phthalo Blue (Green Shade), Phthalo Green (Blue Shade), Titanium White (59 ml), OPEN Thinner (30 ml). -
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Seven - 22 ml Acrylic Tubes, One - 59 ml Acrylic Tube, One 30 ml OPEN Thinner. GOLDEN Acrylics remain wet far longer than other acrylics, facilitating blending, softening, shading, glazing and fine detail. They resist skinning on the palette during long painting sessions. These unique characteristics make them ideal for a range of techniques including portraiture, plein air painting and monoprinting. Includes: 22 ml Cadmium Yellow Primrose, Yellow Ochre, Cadmium Red Light, Alizarin Crimson Hue, Ultramarine Blue, Manganese Blue Hue, Sap Green Hue, 59 ml Titanium White, 30 ml OPEN Thinner and an OPEN Application Guide. -
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The GOLDEN Introductory Set of Professional Acrylic Gel Mediums and Molding Pastes offers the opportunity to experiment with a representative sampling of Gel Mediums. Gel Mediums used alone, or blended with acrylic colors can add texture, broaden the working properties and expand the possibilities. The set inclueds six 2 fl oz jars: Soft Gel (Gloss), Regular Gel (Semi-Gloss), Extra Heavy Gel (Matte), Light Molding Paste, Coarse Pumice Gel, Clear Tar Gel. Also includedis a product sample card consisting of a finished one inch square sample of each product and a brief description of the product features. -
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Weight: 118 gsm Surface: Medium Pages/Book: 128 Media Applications: Graphite, chalk, charcoal, sketching stick, markers, china markers, colored pencils, pens and white gel pens Available in Warm Tan and Cool Gray. This sketch paper is ideal for light and dark media. 100% recycled, contains 30% post-consumer fiber, acid free. Journal Features: Lightly-textured, matte cover in dark chocolate brown. Durable Smyth-sewn binding allows pages to lay flatter. -
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Weight: 300 gsm Surface: Cold Press / Hot Press Developed in 1949, this professional watercolor paper is known for its hard surface sizing which provides excellent water hold out, color lifting and blending. It is made with 100% cotton and has two deckle edges. -
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. -
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. -
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. -
14 very lightfast and transparent watercolors, full pans in a metal box 402208 Italian Gold Ochre light 404008 Raw Sienna (Italy) 405108 Venetian Red 407208 Burnt Umber (Cyprian) 408218 Green Earth from Verona 420008 Vermilion 439408 Baryte Yellow 441518 Cobalt Green bluish A 442008 Chrome Oxide Green 452108 Paris Blue, water soluble 457008 Cobalt Blue, dark 463008 Zinc White (lead-free) 472508 Furnace Black 487008 Caput Mortuum reddish -
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14 very lightfast and transparent watercolors, half pans in a metal box 462008 Titanium White 463008 Zinc White 463608 Kremer White 479218 Warm Grey no. 1 479228 Warm Grey no. 2 479258 Warm Grey no. 5 479268 Warm Grey no. 6 479418 Cold Grey no. 1 479428 Cold Grey no. 2 479458 Cold Grey no. 5 479468 Cold Grey no. 6 124408 Bideford Black 471008 Bone Black 472508 Furnace Black -
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23 carat, 3.15in x 3.15in (80mm x 80 mm) 1 booklet (25 Sheets) -
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3.74in x 3.74in (95mm x 95mm) 1 booklet (25 Sheets) -
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Ø 7.5 cm, app. 300 g Our glass mullers are all handmade. They are used on a sandblasted piece of glass to slowly grind oil into the pigment. Our mullers are oversized and heavier than other models. -
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Staedtler Triplus® Fineliner 334 Triangular Fineliner box containing 20 assorted colours.
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The Holbein Iridescent Watercolor Medium is an artist-grade medium is designed to facilitate iridescent (pearlescent) effects when used with water based media including watercolor, acrylic, gouache and acryla gouache. Available in 60ml Squeeze bottle. -
APPLICATIONS • daily notes, stick notes, letters, editing, journals, grocery lists • carbon-less paper, check writing, log books • sketching, comic drawing, Zentangle® Method drawing • coloring, Bible journaling TECHNICAL QUALITIES • Durable plastic nib • 8 archival Pigma ink colors: black, red, blue/black, blue, sepia, rose, burgundy and purple • Pigma archival quality ink is waterproof, chemical and fade resistant, bleed free, quick drying and pH neutral. -
Out of stock
- Semi-hard squared pastel.
- Very smooth and soft application on paper.
- Dimensions: 8x8mmx60mm
- Clean and easy to use. The pastels will not crumble or powder in hands
- Green Gray (2)
- Blue Green (2)
- Blue Gray
- Prussian Blue (1)
- Venetian Red
- Light Red
- Burnt Umber
- Brown Ochre
- White
- Gray (1)
- Black
- Compose Green (2)
- Prussian Blue (2)
- Cobalt Blue
- Purple
- Sepia
- Pink
- Carmine
- Rose
- Jaune Brilliant (2)
- Permanent Yellow (2)
- Naples Yellow (1)
- Olive Green (1)
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Out of stock
- Easy blending and color extension
- Extra fine quality pigment formulation
- Meets ACMI non-toxicity requirements
- Suitable for many surfaces: paper, cardboard, canvas and wood
- Provides full coverage on many surfaces such as paper, cardboard, canvas, and wood
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Out of stock
- Easy blending and color extension
- Extra fine quality pigment formulation
- Meets ACMI non-toxicity requirements
- Suitable for many surfaces: paper, cardboard, canvas and wood
- Provides full coverage on many surfaces such as paper, cardboard, canvas, and wood
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Unique 3-D stained-glass effect ball point pen with 0.8mm ball.- Suitable on not only papers but also hard-surface such as mirrors, mobile-phone, frame and so on.
- Glossy ink.
- 3-D effect (Raised letters feelable with finger).
- Leave “2-3 minutes” to dry completely.
- No smears, feathers, or bleed-through on most papers.
- Line width: 0.6mm.
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Unique 3-D OPAQUE effect ball point pen with 0.8mm ball.
- Suitable on not only papers but also hard-surface such as mirrors, mobile-phone, frame, etc.
- Opaque ink.
- 3-D effect with the touch of a finger.
- Leave “2-3 minutes” to dry completely.
- No smears, feathers, or bleed-through on most papers.
- Line width: 0.6mm.
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Out of stock
Smooth-writing gel-ink ballpoint pen with white ink. Suitable for black or dark colored papers.- Clear and vivid white ink and standing out on black/dark color papers.
- Smooth-writing and constant ink flow from start to end.
- No smears, feathers, or bleed-through on most papers.
- Bright, white opaque ink
- 08 Medium: 0.8mm ball / 0.4mm line
- Not evaluated for cosmetic use on skin
- Meets ACMI non-toxicity standards
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Retractable Eraser.- Incorporates the convenience of a mechanical pencil advance system.
- Comfortable finger grip.
- Refill (XHNE-A) is available.
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- Refill cartrdige for Nocks Pencil Eraser.
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Out of stock
Antique Medium is used as a top coat over Turner Milk Paint to achieve the aged look of old paint, using a cloth for large areas or a dry brush for smaller areas. -
Turner Top Coat Clear UV is used for Turner Milk Paint to protect the longevity of your finished surface and impart a glossy sheen. -
Plaster Medium is used as a base layer for Turner Milk Paint, for impasto style effects. -
Out of stock
Dust Medium is used as a top coat over Milk Paint to achieve a faded finish, using a cloth for large areas or a dry brush for smaller areas. -
Multi Primer is used to improve adhesion of of Turner Milk Paint to paint-resistant surfaces like glass, metal, plastic, and other smooth, non-porous surfaces. Stir before use and apply two layers for best results; add a tiny amount of water for smoother application and non-visible brushstrokes. The surfaces will be ready two hours after priming, but glass needs a day before painting. -
GAC 400 Stiffens natural fibers and fabrics and is useful for stiffening unprimed canvas or sculpting and shaping fabric. Fibers saturated with GAC 400 will dry to a hard, stiff film.
Note: Packaging design may vary. -
GAC 800 is a low-crazing extender for pouring acrylic colors. "Crazing" is the formation crevices in surfaces that develop as acrylic paints and mediums dry. The addition of GAC 800 promotes drying with a smooth, even film, good gloss and flexibility, but with moderate clarity. GAC 800 is also useful for adhesion to chalky surfaces.
Note: Packaging design may vary. -
Holbein’s Botanical Art Set of 24 5ml tube watercolors comes in a range of colors for the serious botanical artist. The set includes the following colors:- Crimson Lake W010
- Carmine W011
- Pyrrole Red W007
- Opera (Quinacridone Opera) W013
- Vermilion Hue W019
- Cadmium Yellow Deep W043
- Cadmium Yellow Lemon W040
- Imidazolone Yellow W050
- Yellow Ochre W034
- Permanent Green No. 1 W066
- Hooker's Green W062
- Sap Green W075
- Cerulean Blue W092
- Cobalt Blue W090
- Ultramarine Light W093
- Prussian Blue W097
- Permanent Violet W115
- Cobalt Violet Light W110
- Bright Violet (Luminous) W175
- Quinacridone Violet W120
- Burnt Sienna W134
- Burnt Umber W133
- Vandyke Brown W139
- Payne's Grey W156
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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.
