Jackson's - Materials Guide - Winter 2016

MATERIALS GUIDE WINTER 2016/2017

Welcome to the new Jackson's catalogue. This new layout catalogue gets back to basics. It explains what oil, acrylic, watercolour and pastels are really about.

We'll explain the nitty gritty of each and guide you through the choices available regarding colour, mediums, brushes, surfaces and kit. We hope we might entice you to try something new, or gain a better understanding of the paints you already know and love. Once you're set on the medium you want to work in our specialist catalogues by medium present a more in depth look at all the materials available to you, or there's also the option of browsing everything we sell online at jacksonsart.com We're proud of being more than just an art materials supplier, and interacting with fellow artists across social media. We're on Facebook (where we love to run monthly competitions), Instagram, Pinterest, Twitter, YouTube and Google+, sharing inspiration, ideas, hints and tips. For an ever increasing compendium of artist interviews, comment, product reviews and exhibition reports head to the Jackson's Blog at jacksonsart.com/blog. If you have ideas for products you'd like us to stock, suggestions for our catalogue or anything else about Jackson's, please email us at customerservices@jacksonsart.co.uk Thank you! We are always happy to serve you.

The Jackson's Team

VISIT OUR WEBSITE AND OUR BLOG Visit our website at jacksonsart.com to order supplies, view current offers and sign up to our newsletter. For news, reviews and information about our frequent open art competitions, head to jacksonsart.com/blog

VIEW OUR OTHER RANGES ONLINE Go to www.jacksonsart.com for more details.

HOW TO ORDER Call us on 020 7254 0077 or order on our website, by fax or by post. See back page for further information.

Please note: Whilst prices are correct at the time of going to print they may be superceded by those in a later catalogue.

Please check the website for the most up-to-date prices.

E&OE. All prices are shown inclusive of VAT.

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We do not stock all products at each shop, and we advise you to please call first if you are after a specific product.

CONTENTS Colour Which Paint ?

Oil Paint Guide Oil Painting Water-mixable Oil Oil Mediums Acrylic Paint Guide Acrylic Painting Watercolour Guide Watercolour Pastels Guide Pastels Pencils Charcoal Graphite Drawing Pens

4–5 6–7 8–20 21–23 24–25 26–27 28–41 42–43 44–53 54–55 56–65 66–71 72–73 74–75 76–77

Brushes Brushes Guide Brushes

78–79 80–87

Surface Paper Guide Watercolour Paper Cartridge Paper Canvas Guide Canvas Rolls Stretched Canvas Painting Panels Bespoke Canvas

88–89 90–92 93–95 96–97 98–100 101 102–104 105

Studio Palette Knives Mount Cutters Framing Watercolour Palettes Oil & Acrylic Palettes Cases & Portfolios Lighting & Tools Easels Books DVDs

106–107 108 109 110–111 112–113 114–115 116–117 118–125 126–127 128–129

W H AT M A K E S OIL PAINT SO SPECIAL ?

P. 6

MIXING OIL COLOURS P. 17

DIFFERENT TYPES OF ACRYLIC PAINT P. 2 6

USING OIL PRIMERS MEDIUMS AND VARNISH P. 2 5

W H AT S E T S T H E BEST BRUSH APART FROM THE REST ?

P. 7 8

W H AT I S T H E DIFFERENCE W H MEANK ES SO FOTI ,L BEA TT WE ND T PAN H A R DP AAI N S OP AS SPTE EC LI A?L ?

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FOCUS ON JACKSON'S ACRYLIC MEDIUMS P. 2 9

PROTECTING YOUR FINISHED WORK ON PAPER P. 8 9

CHOOSING A SURFACE P. 1 0 3

WHICH PENS TO TRY ?

P. 76

As you browse through you'll come across some of the highest quality brands of fine art materials, with information on what sets them apart, and how they can help make your work look its best.

To view everything we sell head to our website jacksonsart.com Find in depth articles about our materials on the Jackson's Art Blog jacksonsart.com/blog

CHOOSING YOUR PAINT

WHICH PAINT? OIL COLOUR

ACRYLIC COLOUR

WAT E R C O L O U R

PASTELS

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CHOOSING YOUR PAINT

Oils, acrylics, watercolours and pastels are each inspiring and exciting in their own way. Which set of marks, textures and colours will inspire you?

Oil paints have a richness that is unparalleled. Finely ground pigments are carefully milled into a drying oil, usually linseed but sometimes if it's a pale colour safflower or walnut oil.

Different pigments have different particle sizes and absorbency, which means that some paints end up being more saturated, thicker or with a greater staining capacity than others.

Oil paint is slow drying which means colour can be blended on the support, as in a sky painted

by Constable. The ability to move and lift colour with a rag can lend the painting process an almost sculptural quality, an example of this is 'Impression, Sunrise' (1873) by Claude Monet, where traces of lifted colour remain and exist alongside thicker applications of paint.

Rubenesque flesh tones can be created with layers of delicate glazes.

Buttery impasto effects can be built up thickly to create rich colour and texture, effects that may bring Van Gogh's 'Starry Night' to mind. Paints are thinned and brushes cleaned with the use of artists solvents such as turpentine or Zest-It. Drying times can be sped up with the use of alkyd mediums or driers so you really don't have to wait around if you need to quickly capture the likeness of your sitter or the first light on the hills. Water-mixable oils get around the problem of needing solvents, while oil sticks allow you to draw straight on to canvas with pure colour and discover a direct, tactile and expressive way of working.

Pros: Rich colour, easy to apply in lots of ways, easily controlled with mediums.

Cons: Slow drying, require solvents.

Acrylic is the state of the art choice for today's most modern painter, and is made from pigment suspended in an acrylic resin. It is possible to formulate resins to different degrees of fluidity, which explains the many different varieties of acrylic paint available. As with most acrylic mediums, most resins when wet have a milky appearance that turns clear as it dries.

This causes a colour shift; as the paints dry the milkiness disappears and the paints appear darker. Some painters who are looking to match a previously used colour mix find this a problem. However for versatility it's hard to beat. No other kind of paint offers as much room for customisation - there are gels, pastes and fluid mediums that allow you to alter sheen, drying times, transparency, and texture - and it's also possible to combine mediums and paint ranges to give your paint the exact qualities you're looking for.

Acrylic is great for mixed media artists as it creates a stable ground for almost all wet and dry media and with no solvents required for painting or clean-up, it's a convenient choice for those painting in the home.

Pros: Water soluble, large variety of textures and viscosities are achievable.

Cons: Naturally fast drying, true longevity of paints has not been tested, colour shift from wet to dry paint can make colour matching difficult.

Watercolours are made from pigment, gum arabic and distilled water, which evaporates as the paint dries to leave pure colour and its glossy binder. It is most commonly applied to paper. It's potential for dynamism is often underestimated, but it is vibrant transparency that is watercolour's greatest charm. It is fast drying yet re-wettable. Because the paints are small and easily transportable, it is the medium of choice for many beginners.

Watercolour paint is available in solid pans as well as in tubes, which makes it the easiest paint to take abroad. There's no big easels to consider, nor is it essential to think about mediums, materials or heady fumes. Watercolour is often described as the easiest paint to work with, but is also considered the most difficult to master, which must be some indication of the enigma it carries!

Pros: Fast drying, not as messy to work with as oils or acrylics, portable.

Cons: Colours are not as saturated as oils or acrylics, less mark making variety.

Soft Pastels are mostly pigment mixed with a clay binder which makes it the most immediate way of working with colour. No mediums or tools are needed, just an abrasive surface that catches the pigment as you push the colour across its surface.

Working with pastels requires blending colours on to the surface of your work. Although some artists feel unfamiliar with not mixing colours on a palette it all adds to the immediacy of the medium. Fine detail can be tricky unless you employ a few pastel pencils but the real beauty of pastels is the resonant pure colour that sits unadulterated on the surface of your painting. Pastels can create dust as you work and many artists like to ensure dust falls way from work in progress by tilting it forward during the painting process. Finished work is best preserved under glass and fixatives can also be used to keep colour in its place, although it has a tendency to darken colours slightly.

Pros: Most immediate way of working with pigment, no drying time, bright colours.

Cons: Finished work can be fragile, very few mediums to control behaviour of pastels.

Once you've chosen what paint you'd like to work with, the next decision to make is: which brand?

Mixing brands within a medium is fine so if you like the sound of several, why not try a few?

Often brands will have characteristics unique to them e.g. Professional Acrylics by Winsor & Newton have no colour shift, and Schmincke Mussini oils are made with natural resins. Paints are categorised as being professional (the highest pigment to binder ratio), artist (slightly less pigment than professional but usually made using the same processes) or student quality (reliable paints made with just enough pigment to make vibrant work possible).

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OIL PAINT GUIDE

OIL PAINT GUIDE

OIL PAINT GUIDE

What makes Oil Paint so special?

Lustrous and versatile, oil paint has appealed to artists since the middle ages. Painters from Jan Van Eyck to Gerhard Richter have been drawn to its rich sheen and vibrant colour. Many oil paint recipes used by the world's finest paint-makers have hardly changed for hundreds of years, because there's no need - colour simply cannot appear any richer or more beautiful.

How oil paints dry and the fat over lean rule

Oils can be extended with drying oils and thinned with solvent. The drying process is different to other paints; acrylics and watercolours dry as their water content evaporates into the atmosphere, while the oil in oil paint reacts with air causing it to solidify - this process is called oxidisation. In the meantime the solvent in the paint evaporates. While the evaporation of the solvent doesn't take very long at all, the oxidisation process is very slow and never really stops. As oil paint oxidises it also contracts. If anything that dries faster is put on top of not-sufficiently-dry oil paint it is likely to crack. This explains why oils can only be painted over acrylics but never the other way around, and why oils should always be painted fat over lean: the more oil (or fat) in the paint the more so always put the paint with more oil over the top of paint that has less oil in it and as a result will take less time to dry.

What is the difference between Traditional oils, Water-mixable oils, Alkyd oils and Oil Sticks?

Traditional oil paints are made using finely ground pigment particles suspended in drying oils, usually linseed but sometimes pale colours are mixed with poppy, safflower or walnut.

The buttery consistency can be made more fluid by whipping the paint up with a palette knife once squeezed from the tube. Transparency, sheen, drying times and thickness can all be altered by adding mediums, available pre-mixed or made using drying oils and solvents.

Water-mixable oil paints offer the charm of traditional oils with the added advantage of not requiring solvents for either thinning or the clean up operation. Water-mixable oils can be a little more stringy or fluid than regular oils, but for many the advantages vastly outweigh the disadvantages - no need for the heady fumes of solvents, and a much safer and easier clean-up operation with soap and water. Special water-mixable oil painting mediums are also available. It's possible to mix water-mixable oils with regular oils but in doing so they lose their water-solubility.

Alkyd oil paints contain the same alkyd resin used in painting mediums to speed drying; a godsend for painters who have little time to spare Oil Bars are also known as pigment sticks and are a mixture of pigment, oil and wax. Use them to draw straight onto canvas - a direct, tactile and expressive way of working. Marks can be thinned or made more fluid with solvent and oils, just like regular oils.

Which brand?

All brands of oil colour are intermixable. Traditional oil paints are classified as being either 'Professional', 'Artist' or 'Student' quality, with a couple of exceptions that straddle these classifications. Price and the name of the range usually indicate the paint's quality.

Professional paints pack in as much pigment into the oil as possible. Pigments are ground to a precise particle size that optimises the visual qualities of the colour, and then milled carefully into the drying oil binder. Occasionally the pigment to oil ratio is so great that the weight of the pigment sinks to the bottom of the tube, causing the binder and pigment to separate (this can be rectified by stirring the contents of the tube with a straightened paper clip). This allows the unique characteristics of the pigments to have a greater influence on the behaviour of the paint - properties such as sheen, transparency, tinting and staining capacity.

These vary from colour to colour and contribute to the dynamism that can be achieved on your canvas. Professional paints comprise a greater number of single pigment colours; colours look purer, more luminous and are easier to create vibrant mixes with.

Artist quality paints have a little less pigment in the mix but are usually made using very similar processes as professional paint. The characteristics of each pigment are maintained but with less intensity than the professional paints.

Student quality paints have less pigment in them in order to keep production costs down, and may have added fillers to make the paints more uniform in tinting strength, viscosity and covering power. Driers are often added to slow drying pigments so that all colours dry at the same rate - the differing drying times of colours in professional and artist ranges can be a surprise for painters that have upgraded from student paints. Combinations of less expensive pigments are sometimes blended to replace the most expensive single pigment colours (these have the word 'hue' in their colour name). Colours may appear more chalky than Artist and Professional colours, and the choice is sometimes more limited and conventional. However, the affordability of student grade paints make them a popular choice for painters who are new to oils as well as those who need to stick to a budget.

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OIL PAINT GUIDE

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Increase Transparency All mediums extend colour and therefore increase transparency. If you're looking to keep the drying times nice and slow to allow for blending, add a little drying oil such as linseed, stand, poppy, walnut or safflower oil. The more medium you add and the thicker you apply the paint the longer the drying time, which can be anything from overnight to months. If it's too thick there's a risk of the top layer wrinkling, caused by the paint on the surface contracting at a faster rate than what's underneath. Linseed oil is amber coloured and pourable like double cream, Stand oil is linseed that has been thickened through a special heating process, and is particularly treacle-like in colour and consistency. It's very useful in glaze mediums. All varieties of linseed oil will give a yellow tint to pale mixes. Poppy and Safflower oils are both much paler than linseed oils and are often added to pale colours as they hardly tint colour at all, but they do tend to take even longer to dry. Walnut is also used with paler colours, and is faster drying than poppy or safflower. It dries with a more flexible paint film which means it's great to use if you are layering colours. Alkyd resin mediums, such as Liquin or Jackson's Fast Drying Oil Painting Medium will speed drying. Glaze mediums are specially formulated to increase transparency and gloss for glazes that layer beautifully. Solvents such as turpentine or Zest It dilute rather than extend paint, so add a little of either to your medium to stop your paint becoming too gloopy and to sped drying. Household white spirit is too abrasive, can kill the vibrancy of paint and is not recommended for oil paint mediums. Remember too that some colours are naturally more transparent than others and that nearly all colour charts will specify the transparency of each colour in their range.

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What mediums do I need?

Alter Sheen When used neat, oils usually dry with a subtle velvet sheen. Adding one of the drying oils or an alkyd medium such as Jackson's Fast Drying Oil Painting Medium will increase a gloss finish.

For high gloss glazes try adding a small quantity of Dammar or Retouching Varnish to your medium, or try our pre-mixed Jackson's Glaze Medium. Beeswax mediums will reduce or keep gloss at the original level of the paint. Adding a little more artist's solvent to mediums will also help to bring down the shininess!

Alter Drying Time Drying oils (linseed, stand, walnut, poppy, safflower) will slow drying times, while alkyd mediums (Liquin, Galkyd mediums and any fast drying oil painting mediums), artist's solvent (turpentine, zest it, Shellsol, Gamsol, Sansodor, oil of spike lavender) and driers such as cobalt (found in siccative) will speed drying. Many oil painting mediums available are made of solvent, oil and resin and designed to subtly increase gloss, give a workable consistency and dry faster than neat oil paint. It's possible to alter pre-mixed mediums - reduce sheen and speed drying times by adding a few more drops of solvent, or increase gloss by adding a bit more oil. You can also make your own mediums by combining drying oils with solvents. A couple of drops of Siccative, Dammar and Retouching varnish all speed drying and increase gloss when added to painting mediums. Siccative should only be added in very small quantities (10% of the paint mixture) to ensure that the paint doesn't dry so fast that it cracks, and it's best to avoid mixing so much solvent into your paint that it forms the majority of the overall recipe - this is because it breaks the paint down and very dilute layers of oil paint are much more fragile.

Thicken or Thin the Paint Make your oils pourable by adding linseed oil and solvent in near equal measure (a touch more oil than solvent). If you want your oil paint to have a treacle texture and gloss try adding stand oil. Liquin Impasto or beeswax based mediums will thicken the paint even further without layers wrinkling or taking a lifetime to dry. To learn more about how to thicken or thin your paint it pays to try a little bit of this and a little bit of that - add a little solvent, a little oil, try more or less paint in the mix… so long as you stick to the 'fat over lean' rule (always apply mixtures with more oil in them on top) you can't really go wrong.

Varnish Solvent based varnishes will alter sheen and protect oil paintings. Varnish is made of natural or synthetic resin crystals dissolved in solvent. There are 2 main types of varnish.

Retouching Varnish For touch dry paintings or to be added to glaze mediums. It is more dilute and forms a thinner layer than picture varnish. It is fast drying and will temporarily unify the sheen of your picture.

Picture Varnish For fully dry paintings (depending on the thickness of the paint, the support the paint's applied to and the atmosphere it can take anything from a week to a number of years for a painting to be sufficiently dry for varnishing). Contains more resin and when dry forms a much less porous and inflexible layer. Picture varnish is naturally gloss - matting agents or beeswax are added to make matte picture varnish. Spray varnishes are available for thin coats, otherwise varnish is best applied with a brush.

F R E E O I L C O LO U R C ATA LO G U E AVAILABLE NOW For the first time in print we have combined our entire range of oil painting, brushes, surfaces and sundries.

Customers who have already received it are finding it invaluable, and we are sure you will too.

Order a free catalogue with your next order using code CATO, or view online at www.jacksonsart.com

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OIL COLOUR

VA S A R I A R T I S T S ' O I L C O LO U R 104 COLOURS AVA I L A B L E

A Jackson's exclusive! From New York, these highly-acclaimed and meticulously formulated colours represent the pinnacle of today's oil paint production.

Carefully milled and with no artificial fillers, each tube is produced and filled by hand for a paint so beautiful you'll want to paint with what you scrape off your palette.

Vasari promise "a paint with true full-strength colour, exhibiting all the natural qualities, subtle or overt, that are characteristic of each pigment, and that would in other brands be lost."

Loved by our customers as their "best find

in years" and "the best paint in the world", we're sure you'll find it a welcome addition to your palette.

Vasari's line of colours of course includes the traditional colours that have been the staple of artists over time, but they have also taken the classic paintmaking techniques of the old masters and brought them into the 21st century with the addition of modern pigments unavailable to previous generations. In addition, they offer a line of proprietary colours; carefully developed pigment combinations exclusive to Vasari Classic Artists' Oil Colours and not available

from other makers. Vasari oil colours are so vibrantly rich with pigment, so buttery smooth and consistent in their flow characteristics, that painting with them is a different experience.

Vasari Classic Artists' Oil Colours can help you take your painting to another level.

104 colours are available in 40ml and 175ml, 3 colours are available in 473ml and 946ml.

View the full range of colours online.

Go to www.jacksonsart.com

FOCUS ON COLOURS INFO

Rosebud

Rousseau Green Extra Pale

Jasper

Clean and bright, yet soft and natural, this opaque pink is a unique warm tint to use instead of white or to mix with cool blues, greens, or earths to create colourful greys.

Extra light yellow green, much lighter in value than the Rousseau Green yet still warm and colourful.

Deep warm green grey, with a rich red undertone, Jasper is semi-opaque and great for mixing to achieve highly effective changes in value and tone. Creates elegant tints with white.

Colour Codes All codes shown refer to the 40ml tubes.

Modifies intense transparent colours while adding opacity and warmth to the mix or just lighten Rosebud with additional white for the sheerest of pinks that never lose their tender blush!

Series � Code: OV40211 RRP: £20.00 Price: £17.80

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This paint was inspired by the self-taught 19th century painter Henri Rousseau, a former Paris Customs Service worker who retired early to live his passion and spend his time painting. Vasari wish to honour Rousseau's dedication and ingenuity with this new Extra Pale. Use as a warm opaque white, or as a softly nuanced, greenish yellow.

Series � Code: OV40120 RRP: £13.00 Price: £11.70

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Series � Code: OV40323 RRP: £26.00 Price: £23.50

OIL COLOUR

FOCUS ON COLOURS CONTINUED Bice

Silver Point

Video Blue Extra Pale

Unique, semi-opaque soft blue. Bice adds both dimension and a cool brightness to mixtures.

A cold, silvery grey with an almost violet undertone, Silver Point possesses a nearperfect neutrality in both mass tone and tint. It is a cooling, semi-opaque mixer which takes on a bluish tone when used adjacent to warm earths or oranges.

Delicate sky blue, cool, and far lighter in value than the Video Blue, but still vibrant.

Series � Code: OV40324 RRP: £26.00 Price: £23.50

Series � Code: OV40119 RRP: £13.00 Price: £11.70

Terra Rosa

Scarlet Sienna

Capucine Red Light

The warmest of Vasari's natural red earths, this terracotta earth colour is richly red and rosy yet natural in both its tint and tone. It easily mixes into a full range of soft salmon pinks.

An intense, very warm natural brown earth, this deep brick red is also an authentic Burnt Sienna.

Soft coppery-rose in colour, this semitransparent earthy brown-pink mixture has a delicate warmth which makes it useful for mixing flesh tones.

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Series � Code: OV40111 RRP: £13.00 Price: £11.70

Series � Code: OV40303 RRP: £26.00 Price: £23.50

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Series � Code: OV40118 RRP: £13.00 Price: £11.70

Lighter in value and redder than the regular Burnt Sienna in both mass tone and tint, the Scarlet Sienna is a very useful warm brown for building flesh tones rich with colour.

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Series � Code: OV40326 RRP: £26.00 Price: £23.50

Useful as an opaque bluish white that's also colourful enough for complementary mixing with warmer yellows and oranges, including all of the warmer earths.

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Medium light in value, Bice instantly complements warms into colourful notes of grey or effectively lightens dark, cool brights to unfold their chromatic saturation.

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OIL COLOUR

MICHAEL HARDING ARTISTS' OIL COLOUR Stronger, richer colours and an incomparable texture.

87 COLOURS AVA I L A B L E

Michael Harding Handmade Artists' Oil Colours are one of the leading oil paint brands available in the world today.

In 1982 fine art student Michael Harding decided to embark on a quest to produce oil paint that replicated the recipes used by the Old Masters.

Today these paints are used by our greatest

living painters. David Hockney once said that Michael Harding produced "the first quality oil paint, excellent!" Howard Hodgkin proclaimed them to be "the best oil paints in the world today". Many Jackson's customers are also impressed, one online review said "Great paints… buttery and intense".

Manufactured to the highest standards, these paints reintroduce to the market

a colour intensity that artists would have experienced prior to the 1940s.

86 colours are available in 40ml and 60ml, 87 colours are available in 225ml, 7 colours are available in 250ml, 68 colours are available in 1L, 5 colours are available in 2.5L. View the full range of colours online.

Go to www.jacksonsart.com

FOCUS ON COLOURS INFO

Titanium White 2

Unbleached Titanium Dioxide

Rose Madder

Titanium White No. 2 paint is ground with linseed oil and contains a small addition of Zinc White in order to avert the tendency of pure Titanium Dioxide pigment to exude oil to the surface whilst drying, which then causes a more pronounced appearance of yellowing. Zinc White incorporates this free oil more effectively, as well as adding a cooler brightness to the white. If you want a strong mixer which tends to lighten hues strongly then this is it.

Manufactured using a different chemical process to that which produces standard rutile titanium dioxide. This makes the paint a good drier, and lends it the subtle pinkishbrown of linen or lime-wash. The real power in this colour comes from its ability to lend a muted 'suede' effect to mixes. Also an ideal ground or underpainting colour, with good texture and a lean surface.

Average speed drying, and not toxic, high oil content. Not tested for lightfastness (this pigment is known to be fugitive, i.e. not lightfast). Rose Madder is a claret coloured lake pigment, sourced from Rubia Tinctorum (the common madder plant). The Egyptians were the first to hone this lake pigment technique and it is believed that Rubia Tinctorum was grown widely across Asia and Egypt in the 1500's. The famous red coats worn by the British Army in the 17th century were dyed with madder.

Colour Codes All codes shown refer to the 40ml tubes.

Series � Code: OMH40102 RRP: £7.20 Price: £5.90

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Series � Code: OMH40117 RRP: £7.20 Price: £5.90

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Series � Code: OMH40515 RRP: £30.00 Price: £24.00

OIL COLOUR

FOCUS ON COLOURS CONTINUED French Yellow Ochre

Italian Green Umber

Bright Green Lake

Ground in linseed oil, fast drying, and not toxic. A glowing natural yellow with beautiful golden tones, this is a unique ochre colour without duplication. Ochre, an iron oxide earth pigment, can be traced back to paintings from the Middle Stone Age. Landscape and portrait painters alike will find uses for this soft, natural yellow pigment. Being an iron-based inorganic earth colour its drying speed is fast. Can be described as semi-transparent.

Ground in linseed oil, fast drying, and not toxic. Green Umber is an inorganic pigment (not plant-based) especially chosen for its deep green warm semi-transparent undertone. It is a natural earth from Italy with the ability to dry very quickly. It is ideal for not only Landscape plein air painters but also for portrait painters wanting to create shadows.

The blend of organic pigments Arylide Yellow and Phthalo Green is formulated to fill the gap previously occupied by the Lead Chromate Greens, long discontinued by manufacturers because of their tendencies to darken or react with other paints. This paint differs from them not only in being a permanent lake, but also in sheer power.

A fruity, loud, tropical green with exotic undertones, it's almost fluorescent on its own, and cuts right into mixes to reveal light sappy yellows.

Series � Code: OMH40133 RRP: £7.20 Price: £5.90

Series � Code: OMH40132 RRP: £7.20 Price: £5.90

Kings Blue Deep

Phthalo Turquoise

A deeper version of the Kings Blue Light blend. Useful for such features as architectural modelling in backgrounds, flowers, interiors, skies and accent colours. This name was given by English manufacturers to Smalt, a Cobalt based pigment which was used in the 16th -17th centuries as a less expensive alternative to Lapis Lazuli. Unfortunately, Smalt was prone to fade into a light grey, as some Veronese skies demonstrate. But the introduction of Ultramarine Blue made the original Smalt formula obsolete, and so Michael Harding offer a completely reliable substitute blend which evokes the aerial effects of the great Venetian decorators.

Another blend to supplement the sea-green range, this is a powerful mixer which landscapists often find indispensable.

The addition of Titanium White and Phthalocyanine Green to the blue hue gives it very strong covering power which holds out over large areas of application.

Series � Code: OMH40116 RRP: £7.20 Price: £5.90

Series � Code: OMH40210 RRP: £11.40 Price: £9.20

Series � Code: OMH40212 RRP: £11.40 Price: £9.20

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OIL COLOUR

MICHAEL HARDING OIL COLOUR SETS All Michael Harding sets give artists the opportunity to try a selection of their luscious colours. Their sets also make for ideal gift giving.

Artists that are new to Michael Harding requested to have suggested colours put together in sets for them to try.

1. Starter Set of 6 x 40ml Tubes Code: OMH40SA RRP: £42.66 Price: £34.00

2. Bermuda/Tropical Set of 6 x 40ml Tubes Code: OMH40BTS RRP: £66.96 Price: £54.00

3. Old Master Set of 6 x 40ml Tubes Code: OMH40MS RRP: £206.40 Price: £166.00

4. Modern Master Set of 6 x 40ml Tubes Code: OMH40MMS RRP: £74.70 Price: £60.00

5 5. Plein Air Painter Set of 10 x 40ml Tubes Code: OMH40PAPS RRP: £113.68 Price: £91.00

6. Plein Air Master Set of 10 x 40ml Tubes Code: OMH40PAMS RRP: £174.66 Price: £140.00

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7. Desert Set of 10 x 40m Tubes Code: OMH40DS RRP: £72.36 Price: £58.00 MICHAEL HARDING NE W WAV E PA INT & PALETTE SETS These sets provide any combination of one Michael Harding paint set and one New Wave artist palette.

Experience an artists' paint and palette set of the highest calibre. New Wave artist palettes are made in a small Pennsylvania (USA) wood shop, and come pre-finished with a preparatory formula that is resistant to water, standard artist mediums & solvents, which is easily cleaned. Attention has been placed into every detail; from wood selection, to design, sanding, branding and finishing.

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8. Starter Set of 6 x 40ml and New Wave Avant-Garde Highland Right Handed Palette Code: OMHNWSET3 RRP: £90.60 Price: £73.00

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9. Bermuda/Tropical Oil Paint Set of 6 x 40ml and New Wave Grey Posh Palette Code: OMHNWSET5 RRP: £122.10 Price: £98.00

10. Modern Master Oil Paint Set of 6 x 40ml and New Wave AvantGarde Highland Right Handed Palette Code: OMHNWSET9 RRP: £123.60 Price: £99.00

OIL COLOUR

MICHAEL HARDING MEDIUMS Oleo Resin Medium 100ml Bottle Code: OMPM5100 RRP: £19.80 Price: £16.50 Balsam Resin Glaze Medium 250ml Bottle Code: OMPM6250 RRP: £39.00 Price: £33.00 Dammar Varnish 100ml Bottle Code: OMV1100 RRP: £9.60 Price: £8.00 Oil Paint Medium 100ml Bottle Code: OMPM1100 RRP: £7.50 Price: £6.30 Dammar Glaze Medium 250ml Bottle Code: OMPM2250 RRP: £15.00 Price: £12.50 Rather than using toxic and unpredictable lead drying agents, Michael Harding have prepared a selection of oil-resin-balsam-wax blends, which avoid any driers (with the exception of Dammar Glaze Medium).

In place of sun-thickened linseed oil, Michael Harding uses high grade viscous Linseed Stand Oil (a partially polymerised linseed oil which is fat in consistency but self levels perfectly. It imparts elasticity into oil paint films and does not yellow/darken significantly over time). Otherwise, the raw materials used here are consistent with those of the past.

As an alternative to mastic resin (in use for over 800 years) Michael Harding makes use of best quality Indonesian dammar resin (used in paint mediums since the late 18C) dissolved into the best grade double rectified turpentine. This solvent evaporates slowly and evenly and has a delicate flowery odour.

Larch Turpentine from the Austrian Tyrol is the best grade tree balsam for use in paint mediums: the balsam is collected by drilling into the core of the tree, to obtain a form of resin-sap which is highly resistant to darkening when incorporated into paint films.

Oleo Resin Glaze Medium makes use of very pale, highly elastic Canada balsam. This high grade oleo-resin imparts excellent depth and lustre to oil paint films and possesses exceptional clarity.

Beeswax Paste 1L Tin Code: OMPM41000 RRP: £39.60 Price: £33.00 Resin-Oil Wax Medium 100ml Bottle Code: OMPM3250 RRP: £16.50 Price: £13.80

INFO Mediums A range of sizes and different mediums are avalaible online.

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OIL COLOUR

JACKSON'S PROFESSIONAL OIL COLOUR

37 COLOURS AVA I L A B L E

Jackson's Professional Oil paints are made by skilled artisans using the finest grade pigments and the purest refined oils we can source.

colours which allows us to condition our paints for longevity without compromising performance or masking the inherent individuality of the pigments.

You will find our paints are luminous, vibrant, and full of character. Our range of Professional colours are made with a 'lighter touch' so the natural beauty and character of the each pigment is preserved and revealed.

After mixing, the pigments and oils are passed through water-cooled mills made of stone or steel, according to pigment type.

We grind our colours as many times as needed to release the full 'colour value' and ensure a smooth, homogonous oil paint.

We never use extenders or fillers so that we can maintain optimum colour strength and lightfastness. We do make room for a very small proportion of metallic stearate in some

Some colours benefit from a period of further standing to promote the development of the product. Quality checks are carried out at each stage of production.

As a rule we don't use drying modifiers to even out drying times and so you will find some variation across the range reflecting the natural drying characteristics of each pigment.

37 colours are available in 40ml tubes and 225ml tubes.

View the full range of colours online.

Go to www.jacksonsart.com

INFO

FOCUS ON COLOURS

Colour Codes All codes shown refer to the 40ml tubes.

Titanium White Safflower Oil

Ultramarine Blue Red Shade

Burnt Sienna

If you're looking for a crisp, clean, cool white, then Titanium White with Safflower Oil will allow you to achieve the whitest and purest opaque highlights on your painting, as well as help to achieve pastel shades with good covering power.

Ultramarine Blue Red Shade is a highly versatile, high tinting, vivid blue. Add a little Magenta or Alizarin and it's possible to create a variety of stunning rich violets.

Mix with earth colours or yellows to achieve vibrant greens and more subdued greys.

Our Burnt Sienna is a strong and useful earth colour. When mixed with white it creates soft, gentle earth pinks that can be useful when painting skin, or ploughed fields.

Our Titanium White has an average drying time and combines the titanium pigment with a touch of zinc, which along with the safflower oil helps to minimise yellowing, as titanium on its own can sometimes push the oil binder to the surface of the painting giving a more noticeable yellow tint.

The combination of its transparency and high tinting capacity means that small quantities with lots of medium can create some stunning transparent glazes.

It's a powerful white that's particularly useful in high-key paintings.

Series � Code: OJP40203 Price: £5.20

Ultramarine Blue either has a red or green shade - it always possesses a bias towards one or the other. This is important to consider when mixing colours - red/blue colours will muddy when mixed with colours that have a hint of yellow to them - it is usually best to keep mixes limited to colours that belong to only 1 or 2 of the 3 main primary colours.

Series � Code: OJP40350 Price: £5.20

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It is semi-opaque and the most orangey-red of the earth browns, which means that it has the potential to look like an orange or red in earth palettes, but also be knocked right back in more primary coloured palettes.

It has a stronger tinting capacity than a lot of other browns and so you often only need to use small quantities when mixing colours with it.

Series � Code: OJP40422 Price: £5.20

OIL COLOUR

FOCUS ON COLOURS CONTINUED If you look closely at the information for each of the colours in the Professional Oils range, you'll see that only 5 colours have multiple pigment codes.

32 out of 37 colours are single pigment colours, and this will help those who work with Professional colours to achieve the cleanest and strongest possible colour mixes.

Cadmium Yellow Lemon PY35

How is this so? When 2 pigments are used to make a paint the unique properties of each combine, and any contrasting properties mask one another. The purity of the colour is impaired. This isn't always a bad thing. The Titanium White in the Jackson's Professional Oils range combines PW4 and PW6 - titanium and zinc pigments, because the titanium pigment on its own can push the oil binder to the surface of the paint as it is drying, giving the white a yellow tint.

Titanium White PW6 PW4

Alizarin Crimson PR83

The presence of zinc within our Titanium White stops it from gaining a yellow tint and also adds an element of coolness to its appearance.

When a range of paints offers so many single pigments, it offers the painter a range of colours in their purest and most individual state. The artist has the greatest possible control over how they might like to mix and apply colour to create paintings that look just as they intended.

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OIL COLOUR

JACKSON'S ARTIST OIL COLOUR 51 COLOURS AVA I L A B L E

INFO Colour Codes All codes shown refer to the 60ml tubes.

Jackson’s Artist Oil Colour has gained a loyal following over the years, and not without reason!

precise degree to ensure that the colour appears at its brightest. Not all pigments need the same amount of milling, so it’s paramount that those in the know keep a watchful eye over the process. Another key stage in the process is 'sweating’ - where paints are left to stand, enabling just the right equilibrium between pigment and oil.

This is a range that exceeds the standards of many other Artist Oil ranges, while still maintaining an affordability that many others cannot achieve.

51 colours are available in 60ml tubes and 225ml tubes. Sets are avalaible in 4 colours x 60ml tubes and 8 colours x 60ml tubes.

Raw Umber

Magenta

Cadmium Yellow Genuine

A gorgeous transparent, dark, warm brown.

When thinned it's a great underpainting colour as a huge range of tone can be achieved with it. It's delicacy and transparency underneath punchy opaque colours can make some wonderful contrasts.

A bright pink with bluish overtones, that is stunning straight from the tube and often used in flower painting. However its value extends to working well in mixes. Try blending with our Indian Yellow Hue to create a warm, deep, gingery orange, or with one of our blues (Phthalo or French Ultramarine are particularly good) to make truly wonderful vivid violets.

A powerful opaque Yellow (just a hint of transparency here) that is a great mixing colour in warm palettes. Bright pure oranges are achieved when mixed with Magenta, gorgeous olive greens when mixed with Ivory Black. Add a hint of Violet to it if you want to subdue its intensity but still have a Primary Yellow.

Made in the UK, Jackson’s Artist Oils benefit from the expertise of colourmen who understand how to get the very best from their materials. The finest linseed oils and modern pigments are combined using highly developed, tried and tested methods for successful paint manufacture. According to the pigments used, steel or stone triple roll mills are used to ground the pigments to the

FOCUS OUR FAVOURITE COLOURS IN THE JACKSON'S ARTIST OILS RANGE

Series � Code: OJ60120 Price: £3.70

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View the full range of colours online.

Go to www.jacksonsart.com

Series � Code: OJ60037 Price: £5.00

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Series � Code: OJ60013 Price: £7.40

OIL COLOUR

FOCUS MIXING COLOURS Jackson's Artist Oil Colours are a smart choice for discerning painters who care about the quality of their materials but also need to keep a firm eye on the cost of them, too.

The majority of the range - 31 of the 51 colours - are single pigment and are capable of the most vibrant, clean mixes.

They're packed with pigment, and while the saturation is not to the extremes of the Professional range, there's still enough

there for the pigment to determine the characteristics of the paint when it's applied to substrate.

try and stick to only mixing 2 or 3 colours at a time and remember to use a clean brush each time you begin work with a new colour!

Many beginner painters are drawn to the bright colours because they want to make bright pictures, but beware! It's important to think about what kinds of mixes these colours achieve with the other pigments on your palette.

The more pigments in your mixes the more likely your mixes will look muddy and dull, so

Magenta mixed with Indian Yellow Hue.

Cadmium Yellow Genuine mixed with Ivory Black.

Cadmium Yellow Genuine mixed with Magenta.

Magenta mixed with French Ultramarine.

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OIL COLOUR

117 COLOURS AVA I L A B L E

WINSOR & NEWTON ARTISTS' OIL COLOUR Since 1832 and a favourite among many in the Jackson's community, Winsor & Newton produce quality artist oils that mix beautifully.

For artwork to last, artists need to use high quality, lightfast pigment in their work and store it in agreeable conditions. Even during Turner's lifetime, some of his paintings became faded, discoloured, flaked or even grew mould. Turner and Winsor became good friends, and with Turner's desire to remain at the forefront of pigment development, Winsor bestowed his knowledge upon him.

This desire for quality, permanence and reliability continues to be at the heart of

Winsor & Newton's work today.

Titanium White and Zinc White

Indian Yellow

Indigo

Titanium White is Winsor & Newton's most popular modern white, having high opacity and tinting strength. When mixed with another colour, it rapidly lightens it and, depending on the amount used, can turn it into a much paler, almost chalky shade.

This is a vibrant yellow pigment with excellent glazing properties. As a warm golden yellow, it is a must-have staple in every oil painter's palette. Indian Yellow is believed to have originated in 15th Century India, where cows were fed an exclusive diet of mango leaves. Once they urinated into the sand, dark yellow-brown lumps were then collected, powdered and purified.

Indigo is a deep blue pigment that can range from dark black to pale blue. It is one of the oldest blue pigments used universally.

Winsor & Newton's premium Artists' Oil Colour range boasts 117 colours made from only the purest pigments. They carefully formulate each tone for stability, tinting strength and coverage. Use them thickly with palette knives or brushes, or thin them to a very fine glaze.

117 colours are available in 37ml tubes and 33 colours are available in 200ml tubes.

View the full range of colours online.

Go to www.jacksonsart.com

FOCUS ON COLOURS INFO Colour Codes All codes shown refer to the 37ml tubes.

Series � Code: OW37644 RRP: £7.45 Price: £5.60 Zinc White, on the other hand, is transparent and has only a fraction of the tinting strength that Titanium White possesses.

Made with translucent pigments, when added to another colour it brightens it rather than immediately making it pastel.

Zinc White works especially well when used with other transparent pigments and is ideal for tinting or glazing.

Series � Code: OW37748 RRP: £7.45 Price: £5.60

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An enquiry into this practice revealed it to be cruel – a sole diet of mango leaves left the cows in a perpetual state of near starvation, as well as discomfort due to the leaves' toxins, and Indian Yellow was therefore taken off the market. After this, it was difficult to recreate a pigment of similar lightfastness, until Winsor & Newton recreated effective alternatives in 1996, mirroring the original qualities.

Series � Code: OW37319 RRP: £9.60 Price: £7.20

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Blues have always been one of the most expensive pigments in the art world. In comparison to its mineral counter parts, Lapis Lazuli and Cobalt, Indigo was much cheaper, and artists such as Rembrandt and Frans Hals used it in their paintings. In 1878, German chemist Von Baeyer discovered how to synthesis Indigo.

Following this discovery, the commerce of natural Indigo declined and high quality synthetic Indigo is now used for pigments.

Series � Code: OW37322 RRP: £9.60 Price: £7.20

OIL COLOUR

WINSOR & NEWTON MEDIUMS Choosing complementary oils, solvents, mediums and varnishes for your oil painting is as unique as choosing your colour palette.

Winsor & Newton offer seven different Drying Oils.

Used to modify consistency, gloss and drying time. Range includes Linseed, Poppy and Safflower Oils. Ideal for preventing over-thinning.

Depending on your style and technique, there are a wide range of traditional oils, mediums and solvents to help you control your colour, as well as varnishes to protect your work and provide your chosen finish.

Refined Linseed Oil 500ml Bottle Code: MW5095 Price: £14.30

View the full range of oils, solvents, mediums and varnishes online. Go to www.jacksonsart.com.

INFO Mediums A range of sizes and different mediums are avalaible online.

Drying Poppy Oil Paint 75ml Bottle Code: MWDPO75 Price: £5.50

Artist Safflower Oil 75ml Bottle Code: MWOSF75 Price: £5.50 Mediums are used to alter the characteristics of oil colour and to change drying time, increase gloss, improve flow or add texture. Based on binders used in oil colour.

Unique to Winsor & Newton, Liquin increases drying time and also acts as a barrier, preserving work underneath. This allows you to layer paint on top and then scrape back to reveal the protected under layer.

Liquin Fine Detail 75ml Bottle Code: MWD75 Price: £5.50

Artist Painting Medium 250ml Bottle Code: MWM250 Price: £10.20

Varnishes protect paintings from dirt and grease and enhance the colour depth of paintings.

Choice of various resins for different levels of gloss. Removable and nonremovable varnishes.

Artists Retouching Varnish 250ml Bottle Code: MWRV250 Price: £10.20

Artists Gloss Varnish 75ml Bottle Code: MV75G Price: £5.50

Solvents are used to dilute oil colour.

Can be used to clean oil painting brushes, palettes and surfaces. All solvents are specially refined for artists' use.

Primers are designed to prepare surfaces for oil painting.

The traditional oil painter's choice available in white, clear or black.

English Distilled Turpentine 1L Bottle Code: MW4695 Price: £22.50

Sansodor 250ml Bottle Code: MWS250 Price: £7.20

Oil Painting Primer 500ml Tin Code: MWLP500 Price: £18.80

Artists White Spirit 75ml Bottle Code: MW2962 Price: £4.10

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OIL COLOUR

GAMBLIN ARTIST'S OIL COLOUR & MEDIUMS

97 COLOURS AVA I L A B L E

There's no other oil paint range quite like Gamblin that have the expertise to craft traditional oil painting mediums with advantages only possible with today's technological know-how.

A long-time favourite in the US, Gamblin Artist's Oils are steadily gaining popularity in the UK as well. Their vibrant evocative colours and beautiful balanced texture make mixing and devising new colours a joy, opening new possibilities on the palette.

97 colours are available in 37ml tubes and 6 colours are available in 150ml tubes.

Artists use Gamblin Oil Painting Mediums safe in the knowledge that they are highly permanent; colours are guaranteed to appear as fresh as the day they were painted for hundreds of years to come. The artist has more choice than ever - it's possible to thicken or thin colour, alter sheen or drying

times and increase transparency, all while keeping colours at their most sublime.

Gamblin mediums are safer too. The solvent used in their recipes is Gamsol - their own highly refined odourless solvent. Gamsol not only is an explanation for why the mediums are so permanent (thanks to its highly purified state the stability of the medium is guaranteed), but it is also less harsh and abrasive.

Gamblin offer a range of Alkyd Resin based mediums. These replicate the characteristics of natural resins and speed up drying as well as increase transparency of colour. When used in larger quantities they will smooth brush marks and dry with a gloss surface.

Gamblin's Neo Melgip gel replicates traditional Maroger medium and will increase the transparency of colour without affecting

the consistency of your paint.

Cold wax thickener is made from naturally white pure beeswax and thickens paint while also making it appear more matte. It can also be applied as a matte varnish once work is dry.

Solvent-Free Gel will allow you to increase the flow and transparency of your paint while holding the shape of brush marks. It is made from Safflower Oil and Alkyd Resin and also doubles up as an effective brush cleaner during painting sessions. Thin Gamblin mediums with Gamsol to ensure their permanence.

View the full range of colours and mediums online. Go to www.jacksonsart.com

MEDIUMS Solvent Free Gel Oil Painting Medium 150ml Code: MGBSFG150 Price: £16.50 Galkyd Lite Oil Painting Medium 118ml Bottle Code: MGBGL118 Price: £9.50 Cold Wax Oil Painting Medium 120ml Tub Code: MGBCW120 Price: £7.90 Neo Megilp Soft Gel Oil Painting Medium 118ml Bottle Code: MGBNM118 Price: £9.50 Galkyd Oil Painting Medium 118ml Bottle Code: MGBG118 Price: £9.50

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WAT E R- M I X A B L E OIL COLOUR

HOLBEIN DUO AQUA OIL COLOUR Holbein's Duo Aqua were the world's first artist quality water-mixable oil colour. Holbein also make mediums for use with Duo Aqua Oils.

The texture and characteristics are hard to differentiate from traditional oils. The range offers 80 high chroma colours, 75 of which are fully lightfast. The paints can be washed with soap and water meaning you no longer need to keep heady-fumed solvents in your studio. You can even mix these with acrylics so long as you add a few drops of water too.

97 colours are available in 40ml tubes and 3 colours are available in 50ml & 110ml tubes.

But it's not just the paints that will allow you to enjoy a solvent free oil painting experience.

Holbein Duo-Aqua mediums allow you to unlock the true potential of Duo Aqua colour by allowing you to alter the fluidity, sheen and drying time all while ensuring the colours keep looking their best. Painting Oil Medium will increase gloss and transparency, make paint more fluid and speed drying a little. Quick Drying Medium is available in Matt and Gloss, and allows colour to be touch dry within 30 minutes, while Quick Drying Liquid is the more fluid version of the same medium.

In addition to these they also offer water-mixable Linseed Oil and Linseed Stand Oil. Just like regular drying oils they will increase gloss and transparency; Linseed Oil has the consistency of double cream while Stand Oil

is double the thickness.

Both can be thinned with water - this may give mixtures a milky appearance to start with but this clears as the medium dries.

Traditional mediums and oils can be used with Duo Aqua, however if your mixture consists of more than 30% regular oil then your Duo Aqua will not longer be water-mixable.

100 COLOURS AVA I L A B L E

As with regular oil painting, painting fat over lean is advised; Initial layers of paint should have less oil content in them than the layers of paint you apply over the top.

View the full range of colours and mediums online.

Go to www.jacksonsart.com

MEDIUMS Holbein Duo-Aqua Painting Oil Medium 200ml Water-mixable medium. Enhances transparency and gloss, great for detail. Fast drying.

Code: ODUOM200 Price: £15.50 Holbein Duo-Aqua Quick Drying Liquid 200ml Water-mixable medium. Enhances transparency and gloss, accelerates drying. Add <50%.

Code: ODUQ200 Price: £26.00 Holbein Duo-Aqua Quick Drying Medium Matt 110ml Water-mixable medium. Aqueous paste gives translucent, matte finish and speeds drying.

Code: ODUM110 Price: £21.50 Holbein Duo-Aqua Linseed Oil 200ml Water-mixable medium. Enhances transparency and gloss, slows drying, watersoluble.

Code: ODUL200 Price: £15.50

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WAT E R- M I X A B L E OIL COLOUR

TA L E N S C O B R A A R T I S T WAT E R- M I X A B L E O IL C O LO U R

70 COLOURS AVA I L A B L E

Cobra water-mixable paints show very little difference in performance to painting with traditional oils.

They have a uniform drying time as well as degree of gloss across the range, which beginners may find easier to work with. A beautiful colour range put together by the experts at Royal Talens.

70 colours are avalaible in 40ml tubes.

Cobra mediums offer artists who paint with Cobra water-mixable paints the control to extend, increase transparency, enhance the creamy consistency and maintain the gloss of Cobra water-mixable oil paints, all while maximising the permanence of your painting.

View the full range of colours and mediums online. Go to www.jacksonsart.com

SETS Starter Set Contains 5 x 40ml tubes.

Code: ORCS505 RRP: £32.50 Price: £24.50

Value Pack Set Contains 10 x 40ml tubes.

Code: ORCS510 RRP: £53.50 Price: £40.00

Gift Box Set Contains 12 x 40ml tubes, brushes and accessories.

Code: ORCS001 RRP: £130.00 Price: £97.00

MEDIUMS Cobra mediums contain the same binder as the colour itself and as a result you'll be safe in the knowledge that your painting is fully stable and permanent.

If colour is used with too much water, the structure of the dried paint film may be impaired and this will undermine the permanence of the colour. Remember that the 'Fat Over Lean' Principle applies to water-mixable oils too, and that water makes the paint leaner, medium makes it fatter! Ensure your layers of paint have more and more oil content in them as they get closer to the surface of your painting. This will guarantee that your painting has a solid structure that will stand the test of time.

The medium is also great for wet-into-wet techniques.

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WAT E R- M I X A B L E OIL COLOUR

A R TI ST M A X H A LE TA L K S A B O U T C O B R A WAT E R- M I X A B L E PA I N T Cobra water-mixable oils are artist quality oil paint that are designed to be mixable with water.

Cobra is genuine oil paint; the difference between them and traditional oils is that Royal Talens add an emulsifier which enables the paint to be used with water instead of solvents. Because water can be used as a mixer or thinner, these paints are much easier to use than traditional oils. This also makes the process of cleaning brushes, palettes and hands both easier and safer.

Water-mixable oils have been around for at least a decade; I have tried them all and Cobra is without doubt my first choice. The paint sare creamy with superb, refined pigment depth. The stable of colours is pretty comprehensive too, with 70 in the range.

As a tutor I often teach in institutions that won't allow oil paint simply because it may cause breathing difficulties due to the various solvents needed in traditional oil painting. With Cobra of course there is no such problem. There is a faint smell of oil to the paint, as you'd expect, but no other odours at all. I'm hoping that artists who want to use oils will lobby their committees and overturn these rules as water-mixables become more mainstream (as I predict they will).

In use, Cobra water-mixable oils are similar to traditional oils in that they still need to be applied 'Fat Over Lean'. Since water makes the paint leaner, it is advisable to dilute the paints with less and less water as you build up through successive paint layers. If you prefer to paint your finishing layers thinly, in a watercolour style, you can dilute the paints with a mixture of water and up to 20% Cobra WaterMixable Oil Painting Medium (MCR91075).

When paint is used with simply a moist brush (which is how I paint most of the time, the drying time is similar to that of traditional oils. Drying is what paints do that have water in them but Cobra only uses it as a partial carrier and it isn't ever integral to the paint. Oil paint hardens over time and Cobra, being a true oil paint, does the same. This means that it should typically be left for a year before varnishing, unless the paint has been applied very thinly.

I have used Cobra for as long as they have been around and I've pushed and pulled them, layered them, used them in an impasto style and tested them in every circumstance. I have run workshops for artists who wish to try them and almost without exception they have been impressed with the convenience and pure product quality. Many might otherwise have given up on oils due to the unpleasant solvents and chemicals involved in the painting process.

Cobra water-mixable oils have none of the negative qualities of acrylic paints, and if you are usually an acrylic painter, you will find it easy to make the switch.

If an artist has been successful at using a medium it can be tricky to convince them to change. However Cobra is a simple switch even from traditional oils. Cobra can be added to an existing palette of traditional oils (though you would have to use them with the usual oil mediums, as mixing the two with water just wouldn't work).

The colour palette I use with Cobra has varied over the years but the following basic nine gives me a standard to modify depending on my subject: Titanium White, Cadmium Yellow Medium, Permanent Orange, Pyrolle Red, Madder Lake, Sap Green, Ultramarine, Cerulean, Greyish Blue.

Next I would add Naples Yellow Light, Yellow Ochre, Raw Umber, Cobalt, Titanium Buff and Zinc White, and perhaps also Permanent Lemon Yellow, which is especially good for mixing cool greens.

All Cobra water-mixable oils have a +++ on lightfastness which means that they are tested to at least 100 years under museum conditions.

There is a four series price structure where typically the cadmiums are 4, but there's nothing unusual about that and if you want to use an alternative to save money there are some. I like Pyrrole Red for example, which I use in place of Cadmium Red on occasions, and this is a series 3 colour. One more feature is the universal gloss across all colours.

For auxiliaries, Cobra Paste will extend the paint and is just like adding colourless medium in the same consistency. It's good for using expensive colours and impasto techniques; the more paste added, the more transparent the colour will be. It's also possible to reduce the tinting strength of a dominant colour in a mix by adding a proportion of the paste to the stronger hue.

Cobra Water-Mixable Oil Painting Medium (MCR91075) will thin the paint and make it creamier whilst increasing its durability. Adding this medium makes the paint 'fatter', whilst adding water makes it ‘leaner'. Layering techniques can be used with paint/water first, then a mixture of paint/water/medium and then paint/medium on top. Finally, Talens make a specific varnish spray for Cobra which is excellent. The can deposits a fine spray which protects and enhances the colour, giving a beautiful finish to your painting.

Very few painters find the fast-drying nature of acrylics useful, and certainly the darkening which can occur as acrylic paintings dry (where highlights can lose strength) is less than appealing.

For further information about Max Hale and see his work visit www.maxhaleart.co.uk

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OIL MEDIUMS

O I L P R I M E R S , M E D I U M S , S O LV E N T A N D VA R N I S H E S In order to unlock the true potential of oil paints, it's worth investing in mediums, primers, varnishes and solvents.

These are the necessary ingredients for painters who want their work to look its very best.

Primers

Primer is used to prepare your surface for painting. Conventionally it is a white coating that can be applied to wood, card, canvas or plastic in order to improve the adhesion of paint to the surface. It usually reduces the absorbency of the surface and allows paint to sit on the surface. Its white colour reflects light and as a result colours appear at their most vibrant. Oil painters can opt to prime their surfaces with acrylic or oil primer.

Acrylic Primer dries with a near matt, bright white finish and can be applied straight on to surfaces without any other preparation such as sizing. It is made from calcium carbonate and titanium (which gives it the white colour), suspended in an acrylic co-polymer emulsion. It is faster drying than oil primer.

Acrylic Gesso replicates the properties of traditional gesso (which is made from a mix of whiting and rabbit skin glue) and is more absorbent than regular acrylic primer, making it well suited to thin stains and washes as well as thicker applications of paint. Its properties are largely defined by the special acrylic binder that is used.

Oil Primer is made from calcium carbonate, titanium pigment, linseed oil and alkyd resin.

When properly applied it creates a milky white surface that has a very subtle sheen to it.

It tends to be smoother and less absorbent than acrylic primer so wet paint can be moved around on the surface and lifted with a rag without leaving a trace. Surfaces need to be sized with rabbit skin glue or acrylic size prior to oil priming - this creates a barrier between the oil and the natural surface which stops oil from seeping into the fibres of natural materials causing them to deteriorate.

Mediums

Mediums give oil painters the control to unlock the potential of their paint however they wish. Mediums are added to paint to change the fluidity of it, to alter drying times, sheen and to increase transparency.

Linseed Oil is often the binder found in tubes of oil paint, and adding more to your mixes will increase transparency, gloss and slow drying time. It has a slightly yellow tint which can affect pale colour mixes. Stand Oil is linseed oil that has been thickened through a heating process.

It is particularly useful in rich glaze mediums.

Poppy, Safflower and Walnut Oils are all much paler than linseed oils and are often added to pale colours as they hardly tint colour at all, but they do tend to take even longer to dry.

Walnut is the fastest drying of the three, drying at a similar rate to linseed oil but with a stronger film than poppy oil. If you are likely to paint over existing layers of paint, use walnut rather than poppy oil for this reason. Safflower is the slowest drying while Poppy oil has a drying rate somewhere in between the drying rate of walnut and safflower.

Fast Drying Oil Painting Medium and Liquin are our two biggest selling alkyd based mediums. These speed up drying, increase gloss and transparency, and thin the fluidity of paint to an easy-to-work-with 'double cream' consistency.

Beeswax and Impasto Mediums thicken paint for impasto techniques. This means you can get thick applications without having to squeeze out half your tube of very expensive paint which would take years to dry.

Solvents

Solvents are vital for oil painters - they can be used to dilute paint mixes, making them more fluid in their consistency. Solvents can be used as a brush cleaner.

Solvents dissolve oil - use too much and the structure of the paint may break down completely, so it's always a good idea to balance your small quantity of solvent with at least the same amount of oil in your painting mediums. The most refined, purest solvents are best suited to painting mediums, although they're great for brush cleaning too - these include English Distilled Turpentine, Larch Venice Turpentine, Gamsol, Jackson's Low Odour Solvent and Zest It. Artist's White Spirit and Pure Turpentine are best used for cleaning brushes only.

A little bit of solvent will always help to speed drying times as well as make finished results more matt.

Varnishes

Varnishes protect your work and can alter the sheen of it, making it more matt, gloss or satin.

Some can be added to mediums or applied to works in progress while picture varnish is the heavy duty stuff that's designed to be applied to protect and enhance the look of finished paintings.

Retouching Varnish is a thinner version of picture varnish, with a lot more solvent and a lot less dammar resin in it. It unifies the sheen of a painting's surface, it's quick drying, and can be applied to touch-dry paintings. Very small quantities can be added to painting mediums to increase gloss and accelerate drying. It is removable too - lightly rub the surface of your varnished work with a clean cloth dipped in solvent and stop as soon as you see colour coming off onto your rag.

Picture Varnish has more resin in it and a coat of it is much less porous and inflexible. It is non-removable. Picture varnish should only be applied to fully cured paintings - this means the layers of paint are solid all the way through and won't move or contract which could cause tiny cracks to form in the varnish.The most traditional picture varnishes are made with dammar resin and solvent, but there are other picture varnishes made with other resins, including synthetic resins (such as Mineral Spirit Acrylic Varnish), copal, mastic and shellac. Picture varnish is naturally gloss. Matting agents or beeswax are added to matt picture varnishes - thorough stirring of these is advised as mattifiers can sometimes sink to bottom of the bottle. Spray varnishes are available for thin coats, otherwise varnish is best applied with a brush.

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OIL MEDIUMS

O I L P R I M E R S , M E D I U M S , S O LV E N T A N D VA R N I S H E S

The various colours of drying oils shown below clockwise from top left: coldpressed linseed, refined linseed, stand linseed, walnut, poppy, safflower.

Shown above l-r: oil paint neat (Jackson's Artist Oil Phthalo Blue), thinned with distilled turpentine, thinned with refined linseed oil.

The final coating of Picture Varnish on a completely dry picture. Shown above l-r: gloss, satin (half matt + half gloss) and matt.

Shown above: oil paint neat (Jackson's Artist Oil Phthalo Blue & Titanium White) (top) and thinned with refined linseed oil (bottom).

Jackson's English Distilled Turpentine 500ml Tin Code: MJT500 Price: £13.90

Jackson's Refined Linseed Oil 500ml Tin Code: MJL500 Price: £9.50

Shown above: oil paint neat (Jackson's Artist Oil Phthalo Blue) (top) and thinned with refined linseed oil (bottom).

Jackson's Picture Varnish Gloss 500ml Tin Code: MJVG500 Price: £9.10

Jackson's Picture Varnish Matt 500ml Tin Code: MJVM500 Price: £10.20

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ACRYLIC GUIDE

ACRYLIC PAINT GUIDE

ACRYLIC PAINT GUIDE

What makes Acrylic Paint so special?

For reliability and versatility, it's hard to beat acrylic. No other kind of paint offers as much variety of texture or room for customisation - there's a formula for every application, and no end to the mediums available. Bright, consistent and smooth, it was the colour of choice for artists such as Lichtenstein and Hockney, and should be considered by any artist wanting to produce equally vibrant work. It's great for mixed media artists, with a water-mixable formula that adheres to many surfaces and creates a stable ground for almost all wet and dry media.

Plus, with no solvents required for painting or clean-up, it's a convenient choice for those painting at home.

What is the difference between all the different types of Acrylic Paint available?

The thickness of the paint in question is often referred to as 'body'. Professional and artist grade paints often come in several different formulas with different applications. Consistency is no indication of quality - the difference arises from the formulation of the binder, not the amount of pigment in the paint. The type of acrylic paint that's best for you will be determined by the techniques and surfaces you plan on using.

Heavy Body paints, as the name suggests, are the thickest and heaviest of the lot - they're also the most popular. With a texture similar to soft butter, they're the closest to oil paints in handling and retain brush marks and gestures well. They also hold their own on rougher canvases.

Soft Body paints are smoother, resembling soft yoghurt in consistency. This makes them ideal for mixing with mediums, whilst retaining enough thickness to paint smoothly and responsively on their own.

Fluid paints have a texture like double cream. Supplied in a bottle, they are perfect for smooth brushing or staining effects and are great for glazes and finely detailed work.

Acrylic Ink is the most fluid of the acrylic paints. It is made of super fine pigments suspended in a state of the art acrylic emulsion that is as fluid as water. Acrylic Ink is intensely coloured and dries with a soft gloss finish. It can be applied using a paintbrush, pen or brush. This is the consistency of acrylic used to fill empty marker pens. Airbrush Acrylics are very similar to Acrylic ink, but are less likely to clog or impair the flow within airbrush equipment.

Open paints are formulated to dry very slowly, making it easy to paint wet-into-wet and blend colour on the surface of your painting. They're a great solution for painters who want to incorporate techniques usually only possible with oils.

Interactive acrylics are a regular fast drying artist quality acrylic, however, within the range is a truly unique 'unlocking formula', a liquid that rewets dried interactive acrylic and slows drying if a few drops are added to the paint while still wet. When work is completely finished the Fast Medium/Fixer will seal the layer of paint - once this is done the paint is no longer unlockable.

Acrylic Gouache is creamy with a velvety matt finish. The paint levels brush marks and is particularly popular among illustrators. If you're looking to paint blocks of flat colour then gouache might be worth a try. Most acrylic gouache isn't rewettable once it's dry (although the Lascaux acrylic gouache is rewettable if you let the water sit for a little while). Not to be confused with regular gouache, which is easily rewettable, watersoluble and often used as an opaque watercolour.

Acrylic Markers are bright, bold, acrylic paint marker pens, perfect for those wishing to combine painting and drawing techniques. Acrylic markers are designed to be high covering, fast drying, water and abrasion proof. They'll make their mark even on already brightly coloured or painted surfaces and will adhere to most surfaces, from metal to paper.

Acrylic Spray paint allows you to apply thin layers of bold colour onto a multitude of surfaces. Some acrylic sprays contain solvent - for these it is advisable to wear a fume mask or spray in well ventilated spaces. Some other sprays are water based and do not emit heady fumes, so are safe to use indoors. The low pressure handling system offered by some of the ranges allows you to control your applications of colour more carefully - it's possible to draw fine lines as well as big splodges of colour with the right amount of pressure. Exciting to use on their own or alongside other acrylics such as markers and regular paint.

All brands and formulas are intermixable, so if something unusual catches your eye there's nothing stopping you giving it a try!

Which Brand?

The great thing about the intermixability of acrylic paint in particular is that you can mix heavy body with soft body paint to create a consistency that falls between the two, or Open Acrylic with something faster drying to create a paint that dries just a little slower than regular acrylic. You are in full control of the sheen, drying times and fluidity of your paint, and then when you start to think about adding mediums into the mix you'll realise that the possibilities are almost limitless.

Paints are graded according to their quality.

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ACRYLIC GUIDE

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Artist grade often use the same pigments as professional paints, but in more affordable proportions. This is normally achieved by increasing the amount of binder in each colour, which makes for good quality paints that are a little more consistent in their characteristics.

The personality of the pigments in each paint are muted a little (such as transparency, natural sheen, drying times, staining capacity etc) as the greater amounts of other ingredients (fillers and binders) mask them. They're the favoured option for those wanting to find out what's great about acrylic without breaking the bank.

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Professional are the best quality grade. Characterised by the use of the highest quality pigments and resins, tubes will contain less binder than in other grades. This makes for bright, clean colour with characteristics defined by the pigments used - qualities such as texture, drying times, opacity and staining capacity vary from colour to colour. For experienced painters or limited palettes they're an exciting experience, but for those new to painting the variations in handling can prove challenging

Student grade have the lowest pigment to binder ratio, and a uniformity of fluidity and gloss within each range. Fillers and mediums are used to extend the pigments and add bulk, which means student equivalents of professional colours often display increased transparency or lower saturation. Opaque colours often appear chalkier than higher grade equivalents because of the fillers that are added. However, what you lose in colour you save in money. If you're sticking to a budget, you can still make some great work with student paints.

Not all paints are clearly marked with their grade so if you're unsure, use the 'quality' filter when searching for your acrylic paint on jacksonsart.com. Within higher grade ranges of paint there are usually a number of price bands (known as 'series') that reflect the cost of manufacture (some pigments are more expensive than others). The lower grade ranges of paint tends to have fewer price bands.

Adding Mediums

While you're trying out your new colours, it's a good to be aware of the mediums that are available to you. A medium is something added to a paint to change one of its properties to thicken or thin it, to change the rate it dries at, to add texture, and plenty more things besides. If you're finding your paint too runny, or that it dries too quickly, there'll be a medium out there to help.

Altering body is normally done with gels, pastes, flow enhancers or fluid mediums. If you just need to thin your paint a little you can use water, but drastic changes of consistency are best achieved with flow enhancers or fluid mediums, which maintain the paint's ability to form a sturdy film when drying. Gels and pastes increase the body of paint in slightly different ways - pastes tend to add bulk and are often opaque, whereas gels are viscous and clear. Regular gel is the same consistency as heavy body acrylic paint and will extend colour without thinning the body while heavy gel and extra heavy gel will add bulk.

Altering drying time is a handy trick to be aware of, particularly if you're just starting out and aren't so confident with your mark making. Adding a little retarder to your paint will give you more time to work with it, increasing what is called its open time. Golden Open Acrylics are designed to be workable for longer without adding retarder.

Altering the texture of your paint can really spark creativity - from a stringy gel for expressive drips to a sandy grit that'll let you use pastels on top of your work, there's no end to the textures possible with acrylic paint. Available in wet or dry formats, there are simply too many options available to mention them all here! Browse through our mediums section to explore the possibilities.

Varnish

Many painters see varnishing their work as part of the painting process, rather than just the 'finishing touch'. Varnishes are available gloss, matt and satin (satin can also be made by mixing gloss and matt varnishes).

What varnish can I use?

Varnish will protect your painting as well as unify the sheen. All fine art varnishes are suitable for varnishing your acrylic painting. Solvent based varnishes are slow drying and made of natural resins dissolved in solvent - the matt versions have an added matting agent. Mineral Spirit Acrylic varnish is made from synthetic resins dissolved in mineral spirit. The synthetic resin used in MSA varnish has been especially developed to ensure that it does not yellow over time - something that natural resins like dammar can be prone to do. Acrylic varnishes are made of polymer resins dissolved in acrylic emulsion and are the fastest drying of the lot.

How should I varnish my acrylic painting?

Your painting needs to be clean and completely dry before you varnish it. Keep it in a dust free environment; you may want to wipe it with a damp clean rag and allow it to dry just before you varnish to get rid of any possible dust or dirt on the surface. Use a clean soft varnishing brush and apply your varnish in thin even layers. It's worth adopting a technique to ensure that you don't go over already varnished areas (raking light can help you see where is shiny and where isn't). Once the varnish has reached the 'tacky' stage of the drying process you'll be able to lean your painting against a wall, painting side inwards, to prevent dust settling on the wet varnish, without the varnish from running (so long as it's been applied thinly). Once the layer has dried you'll be able to apply another layer. As ever, several thin even layers always produces better results than one thick layer.

F R E E AC RY L I C C O LO U R C ATA LO G U E AVAILABLE NOW Have you heard about Jackson's Acrylic Catalogue?

Our entire range of Acrylic painting, brushes, surfaces and sundries. Customers who have already received it are finding it invaluable, and we are sure you will too.

Order a free catalogue with your next order using code CATA, or view online at www.jacksonsart.com

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ACRYLIC COLOUR

JACKSON'S ARTIST ACRYLIC COLOUR 41 COLOURS AVA I L A B L E

INFO Colour Codes All codes shown refer to the 60ml tubes.

Our stunning range of acrylics are a heavy/medium body paint that thins out beautifully and mixes well with other brands.

These beautiful colours are formulated with the finest artist grade acrylic resin and the highest quality lightfast pigments. They offer incredible strength and intensity, with a consistency that's perfect for brushing out

500ml & 1L pots. Tube sets come in 4 colour x 60ml tubes and 8 colours x 60ml tubes.

View the full range of colours and sets online. Go to www.jacksonsart.com

41 colours are available in 60ml & 250ml tubes and white is also available in 225ml,

FOCUS ON COLOURS Phthalo Green

Cadmium Red Genuine

Cerulean Blue Genuine

Jackson's Acrylic Phthalo Green is made with PG7 pigment, which means that the green has a blue undertone. It has excellent lightfastness ratings, and is transparent yet with high staining power. When squeezed from the tube it looks very dark and saturated but the vivacity of the colour comes to life when a little water or medium is added to it.

Cadmium Red is not a red for those who seek subtlety! Opaque, strong and fiery, it is a bright orangey red that is made with the pigment PR108. Rich and deep browns are made when mixed with black, and when matched with Cadmium Yellow you get bright opaque orange. It is fast drying and is popular among those who like to work with wet-into-wet techniques. It has high tinting strength and by adding the tiniest amount to Zinc or Titanium White it's possible to create bright pinks.

Cerulean Blue is often thought of as the colour of the sky or the sea. A cool, pure blue made from the pigment PB36, it is semi opaque with an average drying speed.

Lighter, warmer greens can be made by adding a little yellow. Beautiful warm aubergine coloured mixes can be created when mixed with Napthol Red or Magenta, while at the other end of the spectrum an array of cool clean turquoises and aquas can be made when combined with French Ultramarine Blue.

Series � Code: AJA60274 Price: £4.30

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flat and retains its structure for impasto work. They can be mixed with any other brand of acrylic or acrylic medium, and can be applied to most grounds. An affordable acrylic suitable for professional painters and serious amateurs alike. "Great product, will use again" - Customer review.

Jackson's Artist Acrylics also offer a Cadmium Red Deep for those who require something darker as well as Cadmium Red Hue, which looks similar but is made of a number of less expensive pigments.

Series � Code: AJA60223 Price: £8.80

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Cerulean derives from the Cobalt family.

It is very often on the palettes of realist landscape painters. You may notice that some other Cerulean Blue paints are made with the PB35 pigment - in comparison, this colour is darker and greener.

When mixed with Phthalo or Hookers Green it is capable of creating stunning turquoises - in fact this particular pigment is also used to make the colour Cobalt Turquoise in a number of other paint ranges.

Series � Code: AJA60261 Price: £9.50

ACRYLIC MEDIUMS

FOCUS ON ACRYLIC MEDIUMS Jackson's Acrylic Mediums demonstrate a big part of why acrylic painting is so exciting and versatile.

Mediums are essentially pigmentless paint.

The acrylic formulas used to bind paint are very easily adjusted to any thickness - from as fluid as ink to a mouldable thick paste - all while maintaining the necessary prerequisites of artist paint such as

lightfastness and durability.

Jackson's offer their own range of acrylic mediums that allow you to make your paint look more gloss or more matt, allow you to add to or thin the body of your paint mixes, and allow you to control drying times so that any kind of painting technique is possible. Did you know that the gel mediums can also used as adhesives? They're all acid-free (unlike

a lot of craft PVA glues) which means that they won't discolour or cause your other materials to deteriorate. Perfect for mixed media artists! You can add paper, card, in fact anything you like into the layers of your painting. It's time to really stretch your imagination. So which should you try? Here are a few of our favourites.

Jackson's Acrylic Retarder Allows you to slow the drying time right down so that you have more open time to move your paint around on the surface and blend it with other colours. It's ideal for those who want to try out techniques usually associated with slower drying oils.

Add up to 10% Retarder to your Acrylic Paint.

Jackson's Fluid Matt Medium It is a best-seller. It's useful for adding a little fluidity to heavy body paints as well as for making acrylic glaze mediums. Very quick drying.

"I have been using Jackson's Acrylic Fluid Matt Medium for a few years now and am really pleased with the results and flexibility it offers. It allows me to build up both bold or incredibly subtle layers of translucent glaze to great effect. It can be watered down and used loosely on textured ground or watercolour paper or mixed with paint straight out of the bottle. Retarder medium can be added to give greater working time. And its very good value for money!

Fantastic." - submitted by painter Christine Harrison.

Jackson's Acrylic Extra Heavy Gel Available in gloss and matt, this gel allows you to work in thick impasto layers. It extends your colour and adds body to it so that you don't need to use pots and pots of acrylic paint. It retains the sheen of your paint and slows drying.

1 part Cerulean Blue to 9 parts Extra Heavy Gel. To add body and trasparency use a lot of gel.

The texture and colour of the paint will not be changed.

Your paint will stay wet long enough for you to achieve smooth blending.

wet

dry

Jackson's Fluid Matt Medium makes a great clear primer for canvas. Apply one or more coats for acrylic paint and two or more to seal the canvas for oil paint.

To make a transparent glaze add a small amount of colour to a large amount of medium. Matt Medium will thin your paint without sacrifing the binder.

Left: Cerulean Blue from the tube. Right: 9 parts Extra Heavy Gel mixed to 1 part Cerulean Blue.

The same mixture with overlapping brushmarks to show thickness and trasparency.

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ACRYLIC COLOUR

GOLDEN ACRYLIC COLOUR Golden is recognised internationally as one of the leading manufacturers of acrylic paints and mediums.

further manipulate their characteristics with the aid of acrylic mediums. Literally thousands of colours for you to choose from.

Tubes and pots of brilliant acrylic paint. In this section you'll find heavy body paint as well as fluid colour, ready to use. You can

View the full ranges of colours and sets online. Go to www.jacksonsart.com

GOLDEN SETS Heavy Body Acrylic Intro Set of 6 Contains 6 x 22ml tubes.

Code: AGIS6 RRP: £28.95 Price: £21.50

Open Acrylic Intro Traditional Set of 6 Contains 6 x 22ml tubes.

Code: AG0045 RRP: £28.95 Price: £21.50

Fluid Acrylic Select Set of 8 Contains 8 x 15ml bottles.

Code: AG300918 RRP: £34.95 Price: £26.50

High Flow Assorted Set of 10 Contains 10 x 30ml bottles.

Code: AGHF-0953 RRP: £54.95 Price: £41.00

GOLDEN FLUID ACRYLIC COLOUR Fluid Acrylic paints will pour easily, but don't make the mistake of thinking they are a thinned-out version of Heavy Body Acrylics.

These colours still offer maximum colour strength for artists who are keen to avoid retaining brush marks.

Fluid Acrylics are highly intense, permanent acrylic colours with a consistency similar to heavy cream. Produced from lightfast pigments, not dyes, they offer very strong colours with creamy consistencies. No fillers or extenders are added and the pigment load is comparable to Golden Heavy Body Acrylics.

Unlike mixtures of heavy-bodied paints and water which produce weak colour and films by dilution, Fluid Acrylics contain high pigment levels suspended in an acrylic polymer vehicle. The result offers fine dispersion, high tinting strength, durability, flexibility and good adhesion. Fluid Acrylics are ideal for spraying, brushing, staining, and can be mixed with other Golden Products.

82 Golden Fluid Acrylic Paint colours are available in 30ml, 119ml, 236ml and 473ml bottles.

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Gel & Paste Intro Set of 6 Contains 6 x 60ml tubs.

Code: AG300945 RRP: £26.95 Price: £20.50

Golden Acrylic A-Z Box Set of 14 Contains 14 samples.

Code: AGSAZ14 RRP: £34.95 Price: £28.00

ACRYLIC COLOUR

GOLDEN HIGH FLOW ACRYLIC COLOUR Golden High Flow is a range of acrylic paint designed for maximum versatility.

Use it in your airbrush, your dip pen or with a paint brush. High flow is useful for artists who need the thinnest consistency colour, like ink, but do not want to dilute their acrylic paint with water to the point where the stability of the colour is impaired. High Flow uses very liquid binders which means that the paint is just as stable as any other.

49 Golden High Flow Acrylic colours are available in in 30ml and 119ml bottles.

GOLDEN HE AV Y BODY ACRYLIC COLOUR This heavy body acrylic is the original paint range produced by the internationally respected American paint maker.

Golden Heavy Body is known for its exceptionally smooth, thick, buttery consistency. It contains the largest assortment of unique pure pigments in a 100 percent acrylic emulsion vehicle available to the professional artist. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners or dyes added.

Each colour is formulated differently depending on the nature of the pigment.

Colours that tolerate high pigment loads dry to a more opaque, matte finish.

Colours that are more reactive and do not accept high pigment loading dry to a glossy finish and tend to be more transparent.

Heavy Body colours contain no additives, such as matting agents, therefore the gloss of each colour will reflect the characteristics of each pigment in their purest form.

128 Golden Heavy Body Acrylic colours are available in 60ml and 150ml, 134 colours are available in 236ml, 138 colours are available in 473ml, 142 colours are available in 946ml and 5 colours are available in 3.78L.

GOLDEN OPEN ACRYLIC COLOUR Acrylic colour with an extended drying time, allowing you to work with your paint for longer. Golden Open Acrylics are truly unique.

This soft body acrylic is workable for a similar length of time as a professional artist oil colour (up to 100 times the drying time of regular acrylic paint) with the added bonus of not having to use very abrasive and harmful solvents when working. You can blend, soften, shade, glaze and use fine detail with your Golden Open Acrylic colours without any danger of the paint drying too quickly.

Another advantage of this is minimising wasted paint on your palette. Colour mixes will remain wet without forming a skin on the top for longer.

79 Golden Open Acrylic colours are available in 60ml tubes and 236ml tubs, 1 colour is available in 150ml tubes.

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ACRYLIC MEDIUMS

GOLDEN ACRYLIC GELS, MEDIUMS, ADDITIVES AND VARNISH Why are there so many Gels and Mediums?

Gels and Mediums are made of the same acrylic resin based binders used to make acrylic paint.

When added to paint it will extend the colour (in other words it will give you more paint!) and increase transparency. Golden produces a large variety of mediums because they allow an artist to make their paints perform exactly how they want them to. The main differences in gels and mediums are: viscosity (thickness), rheology (feel), sheen, flexibility and texture. The paint film is often referred to in descriptions of how mediums behave. A drying acrylic paint will form a film which allows it to adhere to the surface that it has been applied to. A solid or hard paint film implies robust adhesion but it may prove inflexible (i.e. it would be suitable for rigid surfaces such as boards). A more flexible or soft paint film enables the paint to adhere well to more flexible surfaces, such as fabric. If you are having difficulties deciding which gel or medium to use, use these properties as a guide to figure out which product suits your needs. For example, if you want to thicken a Heavy Body Paint for impasto work, and desire a semi gloss sheen, then your choices are limited to gels thicker than the Heavy Body Paints which offer a semi-gloss finish; you can therefore choose between Heavy or Extra Heavy Gel Semi-Gloss. In most cases there's no limit to how much medium you can add to your paint - so if you want to apply very transparent layers of colour then you can add lots of medium of any viscosity to achieve that transparency. Other mediums can be used to alter sheen or make the paint film harder, or level brush marks...the list is almost endless! These products come in a wide array of thicknesses, ranging from the thinnest Airbrush Medium to Extra Heavy Gels, and it's also possible to mix a combination of mediums in your paint to benefit from the characteristics of each.

What's the difference between a Gel, a Medium and an Additive?

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Mediums

Mediums do form a paint film and are usually pourable, however exceptions do exist such as Clear Tar Gel which is pourable, but is named a 'Gel'. As Golden Mediums will have a fluidity that can range from being ink-like such as Golden's Airbrush Medium to the oil-like Polymer Medium, mediums can thicken fluid acrylics and acrylic inks but can also thin heavy body paint.

On the following pages we also have mediums by Vallejo and Liquitex. Mediums offer a whole gamut of effects, from making your paint pourable to making it shimmer with iridescence.

Gels

Gels will form a solid paint film and are usually not pourable (although there are exceptions such as Liquitex's String Gel). Most gels such as High Solid Gel and Heavy Gel are transparent and will retain brush marks. Self levelling clear gel will level off to prevent brush marks from showing. Gels will maintain the thickness of Heavy Body Paints but will significantly thicken fluid acrylics. Transparent Gels are great for heavy body glazing techniques, as well as adding truly unique textures - Mica Flake Gel is an example of this.

Pastes

Pastes can be used to achieve a variety of effects and expressions. Unlike gels, pastes are opaque because they contain Marble Dust or other fillers that create a white or clay-tone finish with a variety of textures and properties - this causes them to make paint mixes opaque too. Molding Paste can also be used to create foundations for painting either to create texture over a smoother surface, or to smooth out a textured surface. The absorbent qualities of Molding Paste make it suitable as a ground for nearly every painting and drawing media.

Additives

Additives do not form a paint film in the way that gels and mediums do. Additives, such as Golden Retarder, Acrylic Flow Release and water, may change the working properties of an acrylic product, but do not change the paint layer properties. They do not have any binder in them and an artist needs to be concerned with how many additives are in their paint mixtures. Too much Retarder results in a slow drying, tacky, and sometimes uneven film. Too much Acrylic Flow Release has similar side effects, as well as creating a lot of undesired foam (trapped air). Too much water can result in poor film formation - a solid durable layer of dry paint - as the acrylic binders are spread out too far to form a continuous film.

Varnish

Varnish serves three main functions - to protect, to enhance the colour and to unify the sheen of a painting. Golden offers 2 kinds of varnish. MSA (Mineral Spirit Acrylic) Varnish is a mineral spirit based acrylic resin system that can be applied to acrylic, oil, and alkyd painted surfaces.

It is removable with mineral spirits after drying and can be used for interior or exterior applications. It is available in a spray can as well as in a bottle, which needs to be applied with a brush. Golden Polymer Varnish is unique in that it offers a water-borne varnish which meets the criteria of remaining removable and having good visual properties, while freeing the user from hazardous solvent exposure. In terms of film toughness and permeability, this varnish provides an intermediate level of performance compared to the MSA Varnish - for more information on varnishing acrylic paintings head to the Jackson's Art Blog.

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ACRYLIC MEDIUMS

GOLDEN ACRYLIC GELS Soft Gel Gloss

Soft Gel Matte

Soft Gel Semi-Gloss

Regular Gel Matte

INFO Golden Medium Codes All codes shown on this page refer to the 236ml tubs. More sizes are avalaible online.

Dries clear and can be used as an isolation coat before a final varnish is applied.

Code: AG3010236 Price: £10.40

All of the soft gels can be mixed with small amounts of colour to produce brilliant glazes.

Code: AG3013236 Price: £10.40

Like all of the soft gel range makes an excellent glue for collage.

Code: AG3017236 Price: £10.40

Like all of the gels can be used for impasto glazing techniques and for controlling finish.

Code: AG3030236 Price: £10.40

Regular Gel Gloss

Regular Gel Semi-Gloss

Heavy Gel Gloss

Heavy Gel Matte

Has the consistency of Heavy Body colour making it ideal for extending colours.

Code: AG3020236 Price: £10.40

The same as the other regular gels but dries to a satin finish.

Code: AG3040236 Price: £10.40

Has a much thicker consistency than Heavy Body colours.

Code: AG3050236 Price: £10.40

Like all of the heavy gels will hold peaks when being used as an impasto medium.

Code: AG3060236 Price: £10.40

Heavy Gel Semi-Gloss

Extra Heavy Gel Gloss

Extra Heavy Gel Semi-Gloss

Extra Heavy Gel Matte

As with all of the gels can be mixed with colour or used independently.

Code: AG3070236 Price: £10.40

Blends well with colour and is excellent for building surface and texture.

Code: AG3080236 Price: £10.40

Excellent for impasto techniques and will hold peaks.

Code: AG3100236 Price: £10.40

Has the thickest consistency of gel which will dry to a translucent finish.

Code: AG3090236 Price: £10.40

High Solid Gel Gloss

High Solid Gel Matte

Self Levelling Clear Gel

Clear Tar Gel

Has a high acrylic to water ratio which means there is little shrinkage as it dries.

Code: AG3120236 Price: £10.40

Dries to a matte finish and has a high acrylic to water ratio which means there is little shrinkage as it dries.

Code: AG3130236 Price: £10.40

The thinnest gel which can be poured.

Produces an even film with excellent clarity.

Code: AG3001236 Price: £10.40

A unique gel with a tar like consistency.

High gloss. Ideal for pouring.

Code: AG3330236 Price: £10.40

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ACRYLIC MEDIUMS

INFO Golden Medium Codes All codes shown on this page refer to the 236ml tubs. More sizes are avalaible online.

GOLDEN ACRYLIC VARNISHES ADDITIVES & MEDIUMS Fibre Paste

Light Molding Paste

Extra Heavy Gel/Molding Paste

Hard Molding Paste

Creates look of handmade paper.

Off white, very absorbent when dry.

Code: AG3240236 Price: £10.40

Can be used to create extreme texture without excessive weight.

Code: AG3575236 Price: £10.40

Mix of gel and paste for thickening and building. Satin, semi-opaque.

Code: AG3110236 Price: £10.40

For creating durable smooth or textured surfaces. Can be carved. Opaque.

Code: AG3571236 Price: £10.40 Golden Polymer Varnish Gloss 236ml Code: AG7710236 RRP: £15.95 Price: £11.90 Golden Polymer Varnish Satin 236ml Code: AG7715236 RRP: £15.95 Price: £11.90 Golden Polymer Varnish Matte 236ml Code: AG7720236 RRP: £15.95 Price: £11.90

From left to right: Golden Polymer Varnish Gloss, Golden Polymer Varnish Satin and Golden Polymer Varnish Matte applied on Jackson's Cadmium Red Acrylic colour.

1 2 A flow release is used for canvas staining techniques to allow even, flowing washes of acrylic. This additive contains surfactants that break up the surface tension of water preventing a wash of acrylic from beading up on the painting surface. It is a concentrate, you should only add a very small amount, do not exceed 3%. The best way to ensure this is to mix 1 part Acrylic Flow Release to 10-20 parts water, label the container 'AFR/water mixture' and use this mixture whenever adding the Flow Release to your paint.

Image 1: Acrylic by itself in a watery wash on primed canvas. Note how it beads up and doesn't spread in an even wash.

Image 2: The same paint with 1 drop of Golden Flow Release added to 5ml watery paint. Note how it spreads in an even wash.

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Golden Flow Release 236ml Code: AG3590236 RRP: £14.95 Price: £11.20

ACRYLIC MEDIUMS

ACRYLIC MEDIUMS Derivan Matisse Dry Medium Ferrous Powder

Derivan Matisse Dry Medium Black Flakes

Derivan Matisse Dry Medium Glass Beads 1.5mm

Derivan Matisse Dry Medium Lang Lang Sand 3mm

Fine powdered iron. Makes a heavy, dull grey, magnetic paste. Shown mixed with Golden Regular Gel Gloss (above left) and with Golden Regular Gel Gloss and Jackson's Artist Acrylic Phthalo Green (above right).

Price shown is for a 40ml jar.

Code: MDV50FP Price: £6.00

Very fine shimmery flakes of metalised polyester. Shown mixed with Golden Regular Gel Gloss (above left) and with Golden Regular Gel Gloss and Golden Heavy Body Phthalo Blue GS (above right).

Price shown is for a 40ml jar.

Code: MDV50BKF Price: £6.00

Loose glass balls, available in a range of sizes. Mix with clear gel and spread in a thin layer for the most reflective quality.

Shown mixed with Golden Regular Gel (above left) and with Jackson's Acrylic Phthalo Green over the top (above right).

Price shown is for a 40ml jar.

Code: MDV50GLB1 Price: £6.00

Dry sand of evenly-sized 3mm grains.

Mix with acrylic paint or gel to add a large gritty texture. Shown mixed with Golden Regular Gel Gloss (above left) and with a wash of Jackson's Artist Acrylic Phthalo Green over the top (above right).

Price shown is for a 40ml jar.

Code: MDV50LS3 Price: £3.70

Vallejo Acrylic Gel Medium

Vallejo Acrylic Black Lava Paste

Vallejo Acrylic Mica Flake Gel

Vallejo Acrylic Crackle Medium

Heavy clear gel, adds body and transparency. Shown neat (above left) and mixed 50:50 with Golden Phthalo Blue GS (above right).

Price shown is for a 500ml tub.

Code: AVV190500 Price: £11.00

Gritty, dense, opaque black paste.

Shown applied with palette knife (above left) and brush (above right).

Price shown is for a 200ml tub.

Code: AVV594200 Price: £7.20

Pearlescent, semi-opaque, lumpy gel.

Adds body, shimmer and texture. Shown neat (above left) and mixed with Golden Phthalo Blue GS (above right).

Price shown is for a 200ml tub.

Code: AVV579200 Price: £8.80

Create small or large cracks to show contrasting colour underneath. Use with or without Crackle Base and in different thicknesses of application and layering to achieve different size cracks.

Shown mixed with Golden Phthalo Blue GS (above).

Price shown is for a 200ml tub.

Code: AVV160200 Price: £7.20

Liquitex Pouring Medium

Liquitex Ultra Matte Gel

Liquitex String Gel

Atelier Molding Paste

A clear, self-leveling medium with the consistency of warm honey. Unlike many others it doesn't crack as it dries, great for glazes and isolation coats. Shown neat (above left) and mixed with a small amount of Golden Phthalo Blue GS (above right).

Price shown is for a 237ml bottle.

Code: AX3903200 Price: £9.30

Semi-opaque, super matt, heavy body gel. Shown neat (above left) and mixed with a small amount of Golden Phthalo Blue GS (above right).

Price shown is for a 237ml tub.

Code: AW3902140 Price: £10.70

A clear medium with the consistency of honey that yields a long, unbroken string of acrylic. Shown neat (above left) and mixed with a small amount of Golden Phthalo Blue GS (above right).

Price shown is for a 237ml tub.

Code: AX3903180 Price: £9.30

A semi-opaque, heavy paste that can build up exaggerated texture effects to then paint over or it can be mixed with acrylic paint for impasto applications.

Shown neat (above left) and painted over with Golden Phthalo Blue GS (above right).

Price shown is for a 250ml tub.

Code: AMA2504805 Price: £6.60

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ACRYLIC COLOUR

WINSOR & NEWTON PROFESSIONAL ACRYLIC COLOUR Versatile, water-­mixable and fast drying, acrylic paint has grown in popularity since it was first introduced in the 1950's.

Artists wanting to keep at the forefront of art development leapt at the chance to experiment with this new medium. For example, Andy Warhol's Campbell Soup Can demonstrates acrylic's bold, sharp results, while with Little Electric Chair (Orange) Warhol plays with acrylic's range of effects, creating a soft and eerie ambience. Back then, acrylic was still being developed and often lacked vibrancy.

Winsor & Newton worked with artists across the world, confirming that above all else, they sought the brightest, most vivid colours that did not change in tone as they dried. Winsor & Newton Professional Acrylic colour achieves just that, and that they are

INFO

FOCUS ON COLOURS

Colour Codes All codes shown refer to the 60ml tubes.

Winsor & Newton's research chemists spent years investigating every possible pigment and its potential for acrylic paint.

unrivalled in their richness, intensity and depth of colour. What's more, they remain just as bright when they dry.

Over time, an increasing number of professional artists began to use acrylic in their work. American painter and print maker, Robert Motherwell, used acrylic with pencil and charcoal to striking effect.

Mark Rothko's series of untitled acrylics, on both canvas and paper, demonstrate its ability to enhance formal elements, such as tone, depth, colour and scale.

Now, widely used by professional artists, acrylic is also seen as the ideal medium by many amateur painters and crafters, with its plethora of user-­friendly qualities and surface compatibility. Compared to oil and watercolour, acrylic is still very much in its infancy, and artists continue to experiment with its possibilities.

These acrylics are high quality, just like Winsor & Newton's other Professional colour ranges. Their very finest acrylic paint, Professional Acrylic is made using the latest developments in resin technology.

Most acrylics darken as they dry, but Winsor & Newton's innovative translucent binder means that what you see is what you get.

With no colour-­shift, colour matching is made much easier.

Winsor & Newton also ensured these paints have longer working time. And, with 80 brilliant colours, you're spoiled for choice.

Number of colours per format available: 80 colours in 60ml tubes. 35 colours in 200ml tubes. 4 colours in 237ml pots.

View the full range of colours online. Go to www.jacksonsart.com

This resulted in 17 brand new colours being added to their Professional Acrylic portfolio, providing artists with an increased number of new unique pigments at their disposal.

Cerulean Blue

Pyrrole Orange

Silver No.2

Cerulean Blue was developed in 1805 and entered the English market in the 1860s.

A bright warm orange, Pyrrole orange is a semi-transparent colour. A single pigment colour, Pyrrole Orange is a clean mid-orange which mixes well with other colours.

Silver No.2 is a unique acrylic colour. It is a semi-opaque colour which, due to its unusual combination of pigments, creates a metal sheen closely resembling that of silver.

Series � Code: AW60519 RRP: £14.00 Price: £10.50

Series � Code: AW60624 RRP: £10.00 Price: £7.50

Its name derives from the Latin Caeruleum meaning sky-blue pigment. It is a bright blue pigment with green undertones.

Series � Code: AW60137 RRP: £15.00 Price: £11.30

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ACRYLIC COLOUR

W H AT M A K E S W I N S O R & N E W T O N P R O F E S S I O N A L A C R Y L I C S TA N D O U T ?

Brilliance

Longer Working Time

No Colour Shift

Brilliance is about the purity of colour, its richness, depth and clarity. This does not mean the colours are garish. Rather, even earths, blacks and whites appear clean and not dull, and this brilliance is evident when plied straight from the tube or in the thinnest of films.

One of the major advantages of acrylic colour is that it dries quickly, allowing artists to paint new layers within minutes. Although this is great for maximising progress within one painting session, we realised artists found acrylic a little too fast-­drying, restricting certain painting techniques.

Having listened to this, Winsor & Newton formulated Professional Acrylic to have a longer working time on the palette, without compromising the convenient drying time for which they are known. With approximately 20-­30 minutes longer open time, you can blend colours on your palette and canvas and work on your painting without worrying.

Most acrylics change colour as they dry.

This is because they contain a milky-­looking binder, which turns transparent as it dries, affecting the overall colour.

Winsor & Newton Professional Acrylic on the right, painted in different thicknesses, and a competitor's acrylic on the left for comparison.

Winsor & Newton are confident in the brilliance of their Professional Acrylic.

Picture depicting Winsor & Newton Professional Acrylic transparent binder on the left, and a competitor's milky binder on the right.

Mediums

Primers

Varnishes

INFO

Maintains colour brilliance and extends colour usage. Adds transparency and depth to paint film. Improves flow or adds texture.

Prepares surfaces for acrylics. Available in white, clear or black. Can be used on surfaces other than canvas.

Protects paintings from dirt and grease.

Enhances colour depth. Achieves gloss, satin or matte finishes.

Mediums A range of sizes and different mediums are avalaible online.

Modelling Paste 237ml Tub Code: AW3040917 RRP: £12.50 Price: £10.30

White Gesso Primer 225ml Tub Code: AW3040920 RRP: £9.85 Price: £8.30

Gloss UV Varnish 125ml Bottle Code: AW3030929 RRP: £7.55 Price: £6.30

Winsor & Newton's revolutionary transparent binder means that the colour of your wet paint will remain consistent with the finished dry paint. Choose colours with confidence, knowing that what you see in the tube is a true representation of how your artwork will look.

WINSOR & NEWTON MEDIUMS Acrylic mediums and texture gels allow you to experiment with the versatility of acrylics, from thick impasto applications to thin water colour-­style techniques. A breakthrough in technology, Winsor & Newton's mediums range maintains the colour brilliance of your acrylic by using the same base resin.

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ACRYLIC COLOUR

TA L E N S A M S T E R D A M S TA N D A R D ACRYLIC COLOUR Royal Talens' Amsterdam Acrylics are incredibly popular thanks to their quality and affordability.

exceptionally durable paint film for an everlasting result, alkali resistant, and suitable for wall paintings.

The 70 colour range offers a high degree of lightfastness thanks to the use of pure and non-fading pigments. The colour range includes both traditional and contemporary colours. Pure primary colours for creating clear blends and wonderful contemporary colours for immediate use.

The paint can be thinned easily with water.

Short drying time: thin films of paint dry within half an hour. The specific preparation method makes the paint practically odourless. "I use this make a lot of the time, along with other acrylics and I love the texture and vibrancy of colours, as well as the cost" - Customer Review.

Pigments are bound in 100% acrylic resin.

Even after several decades the works of art retain their original colour; an

70 colours are available in 120ml tubes and 50 colours are available in 500ml tubes.

View the full range of colours online.

Go to www.jacksonsart.com

Amsterdam Standard series offers everything an acrylic painter needs.

SETS Amsterdam Standard Acrylic Set of 6 Contains 6 x 20ml tubes. Colours: Titanium White, Primary Yellow, Pyrrole Red, Ultramarine, Permanent Green Deep, Oxide Black.

Code: ATAS001 RRP: £9.95 Price: £6.50

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Amsterdam Standard Acrylic Set of 12 Contains 12 x 20ml tubes. Colours: Titanium White, Primary Yellow, Azo Yellow Medium, Vermillon, Pyrrole Red, Permanent Blue Violet, Ultramarine, Primary Cyan, Permanent Green Deep, Yellow Ochre, Burnt Umber, Oxide Black.

Code: ATAS002 RRP: £17.50 Price: £11.40

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Amsterdam Standard Acrylic Set of 24 Contains 24 x 20ml tubes. Colours: Titanium White, Naples Yellow Deep, Naples Yellow Red, Azo Yellow Medium, Vermillon, Pyrrole Red, Carmine, Primary Magenta, Permanent Red Violet, Permanent Blue Violet, Ultramarine, Primary Cyan, Brilliant Blue, Turquoise Blue, Yellowish Green, Permanent Green Light, Permanent Green Deep, Sap Green, Yellow Ochre, Burnt Sienna, Burnt Umber, Oxide Black.

Code: ATAS003 RRP: £32.50 Price: £21.50

ACRYLIC COLOUR

C R E AT I V E F R E E D O M W I T H A M S T E R D A M A C R Y L I C S A REVIEW BY ARTIST ROBERT DUTTON Royal Talens have created a brand new and exciting system of acrylic paints that inspire a freedom of expression in your work – Amsterdam Acrylics.

The versatility of these paints is boundless – these beautiful paints are right there with you every step of the way, supporting every creative decision with surprising results.

Amsterdam Acrylics are available in a 'Standard' range for students or beginners and an 'Expert' range which is their top quality professional acrylic paint. The expert has higher pigmentation and colour saturation and more body than the 'Standard' range. Amsterdam Standard and Expert are packaged in transparent, plastic tubes and squeeze bottles with firm fitting click lids. The clear plastic is perfect to view the real colour inside – what you see is what you get with Amsterdam Acrylics!

Both Standard and Expert Amsterdam Acrylic paints are exceptionally good value for money for such highly pigmented paints. I don't know how they do it!

The thick viscosity of Expert Amsterdam Acrylic paints has a real buttery feel to it, making it much better for palette knife techniques and heavy body impasto techniques. Creative, expressive painting techniques such as these look amazing when applied over layered paint or a toothy gesso surface with pumice.

I particularly find the extra flow of Standard Amsterdam acrylics (being somewhat thinner in consistency than the Expert series) a very useful paint for getting my paintings underway and in the early stages of a painting's development.

As the painting progresses and I want a denser, thicker paint application, I'll then use Amsterdam Acrylic Expert range. Then I will use the Standard series to glaze with (requiring a thinner but high quality paint to work with) over more dense passages of paint.

Both Standard and Expert Amsterdam Acrylics are totally interchangeable and work in harmony throughout the painting process. Both dry to a resilient and durable finish and as such are great for outdoor painting as well as studio work.

Both the Amsterdam Standard and Expert series create very uniform surface paint films. Because of the high quality of both types of paint you can work very evenly on really large, flat areas with a good colour consistency (provided you have mixed enough first), working vertically, at an angle or flat. If you are using a fluid mixture of paint and want a uniform area, it helps to work flat.

A paint that travels well Expert and Standard series are available in 70 colours and packaged in 120ml and 250ml tubes and 500ml and 100ml plastic bottles with a screw on lid. Nice and safe when, like me you are moving often from place to place giving demonstrations, workshops, teaching art holidays at home and abroad, and the last thing you want to be worried about is how your paints travel and if a lid has popped open so it's all over the car or all over the rest of the painting gear in the hold!

Both the standard and the professional tube acrylic paints are great for lots of painting techniques from multi-layering, wet-onwet, glazing techniques, impasto, sgraffito

and so on. The paint always works with you, not against you, inspiring total freedom of creativity every time. However, adding some acrylic medium to the water before you begin is advisable so the acrylic resin binder does not separate too much and thus helps you to create really uniform transparent layers with the paint every time.

Paints with great finish and longevity Throughout the range of Standard and Expert Amsterdam Acrylics, all the colours are exceptionally lightfast which means longevity to all your creations – whatever your approach or creative discipline. Whilst the Standard series will suit artists on a budget, by paying that little bit more for the Expert series the differences will be pretty noticeable. Colours are far brighter in the Expert Series and they are thicker, too so will suit artists who want to create more impasto work.

With Amsterdam Acrylics you can really push the boundaries of what you thought creatively possible. The full Amsterdam Acrylic range by Royal Talens really does offer something unusual in terms of visual concept. They are quite spectacular and without doubt add a new dimension to your creative palette.

For further information about Robert Dutton and to see his work visit www.rdcreative.co.uk

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ACRYLIC INK

SCHMINCKE AERO COLOR FINEST ACRYLIC INK & LINERS Incredibly fluid acrylic, fine enough to use with dip pens and brushes.

Ready to use straight from the bottle, and with an accompanying range of mediums for airbrush art work. Aero Color is nearly odourless and dries to a water-resistant finish. The Aero Color Finest Acrylic ink comes in 72 colours available in 28ml, 24 colours available in 250ml and 5 colours available in 1L. There are 36 standard colour shades, 24 effect colours and 12 new 'Total Cover' colours.

All colour shades in Aero Color have the maximum lightfastness.

View the full range of colours online.

Go to www.jacksonsart.com

INFO Prices All prices shown are for standard colours, please see our website for special effect colour prices.

28ml Bottles RRP: £7.10 Price: £6.60

1L Bottles RRP: £70.61 Price: £66.00

250ml Bottles RRP: £25.22 Price: £23.50 Schmincke Aero Color Liners are empty marker pens that can be filled with Schmincke Aero Color Finest Acrylic Ink. The markers come in six different sizes of tips, 0.8mm to 15mm. The different size tips each require a different size body to fit onto, so each body is a different size. The tips are a solid felt that won't dry out and go hard as long as the lid is replaced. So you can draw with real paint! The 1mm width tip comes with a regular length body (Liner No. 2) or an extra short body length for fitting into a small space (Liner No. 4). You can buy replacement tips if you wear yours out. The labels of the pens include a small blank block in which you can note the number of the colour you have filled it with.

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The light blue is Supra White plus some Turquoise in a No. 5 pen. The light yellow is Supra White with a drop of Yellow in a wide liner No. 6 pen. The black is a mix of the Red, Yellow and Blue in a liner No. 1 pen. The dark blue is straight Turquoise in a liner No. 2 pen. The red is Scarlet plus 1 drop of Turquoise in a chisel tip No. 3 pen, drawn with the thick and the thin sides of the tip.

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Empty Aero Liner Pen No. 1, 2, 3, 4 and 5 RRP: £3.70 Price: £3.50 Empty Aero Liner Pen No. 6 RRP: £5.45 Price: £5.10

RESIN CASTING

I N T R O D U C I N G T O TA L C A S T R E S I N B Y J U L I E C AV E S TotalCast Resin is an optically clear, high-gloss, polymer resin system which is especially suitable for the protection and decoration of paintings and sculptures as it provides a tough coating with good abrasion resistance. It is also great for casting objects in moulds.

To use this two-part resin simply stir together equal parts of the resin and hardener and pour over your artwork to create a wet-look shine or pour into a prepared mould to cast an object. It is safe and easy to use because it cures at room temperature, is non-toxic and self-levelling.

The resin is non-flammable, odour-free and has no solvent content, so there is no need to wear a vapour mask. Because it is non-yellowing it is perfect for use on all art surfaces including canvas, wood, MDF and photographs, and can be used over acrylic, oil, watercolour and enamel paint.

Each kit consists of one container of each component (Resin & Hardener), available in four sizes. Simply stir them together when your artwork or mould is ready, pour over your artwork or into your mould, and it will start to set within a few minutes. Only mix as much as you need for each work period.

You can colour the resin with a few drops of acrylic ink for casting objects or mixed media painting. We stock photoluminescent powders to mix with the resin for creating glow-in-the-dark objects.

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Coating a painting for a wet-look finish Image 1 shows the uncoated painting.

This was placed on a paper cup to raise it up, inside a cardboard box with flaps and positioned to level with a spirit level. The well-stirred mixture was poured slowly over the painting, it spread and levelled out, you don't need very much. A quick warming with a heat gun removed bubbles. The flaps of the box were then closed because any dust landing on the surface will be visible on the gloss finish and it was left to set.

Image 2 shows the thick, glossy coating the next day after curing. You can read the full instructions on the product and there is a helpful video. It is very sticky so you should wear disposable gloves.

Casting an object Images 3-5 show the latex mould of a tube of paint we created using Pebeo Siligum with a hole at the top to pour into. We cut it open to remove the paint tube, coated the inside with Vaseline and bound it tightly closed with packing tape. We used the same resin mixture as for the painting above but stirred in some blue photoluminescent powder. We propped the mould upright and poured the mixture in. We un-moulded it the next day, a perfect copy of the paint tube and it glows in the dark!

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2 TotalCast Clear Artwork Resin Tester Kit 500g Code: UTC500 Price: £19.10

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Pebeo Gedeo Siligum 100g Code: UP766309 Price: £10.60

Eli-Glow Aqua Blue Photoluminescent Pigment Powder 100g Code: PPEG100AB Price: £18.30

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WAT E R C O L O U R GUIDE

WAT E R C O L O U R G U I D E

WAT E R C O LO U R G U I D E

What makes Watercolour so special?

Luminous, delicate, pure... it's easily to see the appeal of watercolour. It's possible to just add water and get going, but there's also a lot of room for experimentation thanks to the diversity of mediums and surfaces that you can work on. Many beginners start in watercolour but it's easy to see why a lot of experienced oil and acrylic painters still keep a set of watercolours in their bag - the perfect sketching medium for combining line and colour quickly (exactly what you need in idea development or observational painting). But it's by no means a lesser medium - just look at the masterpieces of JMW Turner to see how watercolour is capable of the most luminous, beguiling and accomplished results in its own right.

What's the difference between Traditional Watercolour, Watercolour Paint Sticks, Watercolour Pencils, Watercolour Markers and Watercolour Inks?

Watercolour Paint is made up of finely ground pigment suspended in a binder made of distilled water and gum arabic (a gum that is extracted from 2 species of the Acacia tree).

Small quantities of other ingredients are added to enhance the overall performance of the paint; a plasticiser (usually glycerin) which stops the gum arabic from completely drying which means the paint is more easily rewettable; a humectant such as honey or corn syrup which helps the paint retain moisture and smoothness when diluted in water - it also acts as a preservative so the paint doesn't go off and helps the colour achieve its maximum brilliance.

Dispersants and extenders are also sometimes added to bulk out the paint and ensure that pigment particles do not clump up and cause the paint to separate in the tube. Watercolour paint dries when the water content evaporates. Watercolour is available as a liquid paint in a tube, or solid in little cakes known as pans or half pans.

Watercolour Paint Sticks are pure dry watercolour paint in stick form. The big attraction is their versatility - use them dry on dry paper for fine scratchy marks, on wet paper for broader crayon like marks, dip them in water for ink like intensity, or use them just like regular pans, drawing the intense colour from the stick with a wet brush. Use them on their own or with traditional watercolour - they are fully intermixable.

Watercolour Pencils have leads that are made of pigment blended with a solid watersoluble binder (usually watersoluble wax). Some are rewettable while others are not. The very best watercolour pencils are as highly pigmented as the finest watercolours and it's impossible to tell one from another when both are applied to paper with a brush. They can be used to add fine detail or highlights to a traditional watercolour painting or used as a medium in their own right. Another variant on the watercolour pencil is the watersoluble crayon which is woodless and great for bold textural marks Watercolour Markers are waterbased markers, intermixable with watercolour. They look like regular markers and can be used as such too, but you can also spread and blend colour across the paper with a wet brush. However the hard edges of drawn lines tend to always leave a trace. These have proven popular among artists who like the 'line and wash' approach, graphic artists and illustrators.

Watercolour Ink comes in a glass bottle with a pipette lid, making it very easy to lay on intense bursts of colour. There are 2 types - watercolour dye is not lightfast and is favoured for work intended to be seen in reproduction. The colours are intense and popular for illustration work - they can also be painted on fabric. Concentrated watercolour is permanent and has an ink like consistency - liquid watercolour that's ready for action.

Which brand?

All brands of watercolour are intermixable. Traditional watercolours are classified as being either 'Professional', 'Artist' or 'Student' quality, with a couple of exceptions that straddle these classifications. Price and the name of the range usually indicate the paint's quality. Also if there are lots of price bands within a range (we call them 'series') it implies that the range uses some rare and expensive pigments; the cost of manufacturing these colours is a lot higher than some less expensive pigments and this explains the differences in price within a range.

Professional paints have the highest concentration of pigment in them. Pigments are ground to a precise particle size that optimises the visual qualities of the colour, and then milled carefully into the vehicle (gum arabic, distilled water and small quantities of other ingredients included to optimise the performance of the paint). Occasionally the pigment to vehicle ratio is so great that the weight of the pigment sinks to the bottom of the tube, causing the binder and pigment to separate (this can be rectified by stirring the contents of the tube with a straightened paper clip). This allows the unique characteristics of the pigments to have a greater influence on the behaviour of the paint - properties such as sheen, transparency, tinting and staining capacity. These vary from colour to colour and contribute to the dynamism you can achieve with your watercolour. Professional paints comprise a greater number of single pigment colours - as a result colours look purer, more luminous and are easier to create vibrant mixes with. The vehicle itself is also of the finest quality - the very best watercolours will use the finest purest gum arabic so that colours appear their cleanest and brightest. Additional ingredients such as honey (found in some ranges including Jackson's Professional Watercolour) also help to enhance colour.

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Adding Mediums

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Student quality paints have less pigment in them in order to keep production costs down, and may have added fillers to make the paints more uniform in viscosity. Combinations of less expensive pigments are sometimes blended to replace the most expensive single pigment colours (these have the word 'hue' in their colour name). Colours may appear more milky than Artist and Professional colours, and the choice available is sometimes more limited and conventional. However, the affordability of student grade paints make them a popular choice for painters who are new to watercolour as well as those who need to stick to a budget.

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Artist quality paints have a little less pigment in the mix but are usually made using very similar processes as professional paint. The characteristics of each pigment are maintained but with less intensity than the professional paints.

Painting with watercolour can just be about dipping your brush in water, loading it with paint and going for it, but there can also be a lot more to the process. Throwing mediums into the mix will truly place you in the driving seat of your painting, giving you control over drying times, sheen, re-wettability and flow.

Slowing drying times Watercolour is the fastest drying of the fine art paints, and although it is rewettable some artists might like to slow down its drying times for ease of blending one colour into another, or for wet-into-wet techniques. Adding a little extra gum arabic or trying blending medium are two ways of slowing down the rate at which your watercolour dries.

Granulating Granulation naturally occurs in watercolour when coarser pigments pool together on the surface of the paper being painted, creating a mottled look (N.B. some pigments are not ground down to as small a size as others - either because it simply isn't possible or because a smaller particle size would not get the very best colour). Granulation medium allows you to create the same effect with pigments that wouldn't normally granulate.

Alter sheen You might want the surface of your paint to appear more shiny that it would normally appear.

The less water you dilute your paint with the glossier it is likely to look - however to increase gloss even on less saturated applications of paint you could try adding more gum arabic, gloss medium or use a watercolour varnish once your painting is finished. For extra sparkle there is also a watercolour iridescent medium.

Rewetting/Lifting Preparation Ox Gall (and synthetic alternatives) make it easier to re-wet dried watercolour and improve the adhesion of layers of paint applied to already painted surfaces. Lifting Preparation should be applied to paper before you start work to make it easier to lift dried watercolour from the surface.

Other Mediums There are always new watercolour mediums being introduced to the market, so if you're into experimental watercolour keep your eyes on our blog where we review new products. Check out the website for the rest of the watercolour mediums we offer, including those that help with collage and impasto effects.

What is Masking Fluid?

Traditionally, unless gouache is used, any areas that are white in a watercolour painting are left white rather than painted in - it utilises the pale surface of the paper. Because of the delicacy and transparency of watercolour leaving areas unpainted is usually less noticeable and therefore is less likely to look out of place than it might do in a textured oil or acrylic painting. Masking fluid is a liquid latex-based product that is very effective at keeping small areas and thin lines white when painting on watercolour paper. The rubber prevents the paint from reaching the paper and is peeled off to expose the white paper left untouched once the painting is dry. Masking fluid can be applied in many ways. You could try a brush, a ruling pen, a dental pick, a Colourshaper applicator or a special Masquepen or Super Nib - a needle that gives extremely fine lines. If you need splattered white dots (perhaps for a sea spray effect) you can flick the masking fluid from an old toothbrush. Masking fluid should only be applied to surfaces that are completely dry as otherwise it has a tendency to be very difficult to remove! It should be removed as soon as the painting is dry too. Masking fluid is usually white but there are tinted varieties that help you see where it has been applied more clearly.

What else do I need?

A watercolour box is an essential piece of kit to help you keep your paints in one place, organised. You'll save so much time looking for the right colour if it's neatly stowed in a watercolour box! Most watercolour boxes are made from plastic or aluminium and the inside of the lid doubles up as a palette. A generous amount of colour mixing space is really useful, so when you start gaining experience you may think about getting an additional palette. It's OK if you have excess paint at the end of the session because they'll be ready to re-wet for your next painting session. There's plenty more we offer for watercolourists - including easels, water pots, spray bottles. There is a lot of different ways to work with watercolour but we have every kind of solution to optimise your enjoyment of the painting process. Take a look online or order our watercolour catalogue for more information!

F R E E WAT E R C O LO U R C ATA LO G U E AVAILABLE NOW Our entire range of Watercolour painting, brushes, surfaces and sundries. Customers who have already received it are finding it invaluable, and we are sure you will too.

Order a free catalogue with your next order using code CATW, or view online at www.jacksonsart.com

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WAT E R C O L O U R

JAC KS O N ' S A RT I S T WAT E R C O LO U R We are extremely proud of our professional quality watercolour.

Our paint offers luminous pure colour that rivals the world's finest brands.

48 COLOURS AVA I L A B L E

Made to the exact same standards and formulas as the best professional artist watercolours available today, Jackson's Artist Watercolours are as good as any leading brand watercolour but at a fraction of the price! Large chunks of the finest quality Sudanese Kordofan Gum Arabic are very slowly dissolved in cold water to preserve the gum's maximum binding strength. Honey is then added to give lustre and vivacity to the colours.

Carefully selected for their purity and lightfast qualities, the finest pigments are then finely ground and soaked in purified water to allow the colours to develop their maximum splendour. The two mixtures are then blended together and slowly ground into a fine paste. The process is repeated until the pigment particles are dispersed evenly and finely to allow a flawless unity of the watercolour wash.

Stringent quality controls follow, resulting in a selection of professional watercolours that are rich, luminous, intense and a pleasure to use.

The watercolour sets are chosen to give a varied and extensive palette for the most popular colours. Alternatively you may create your own set, picking your own colours regardless of series. With every set purchased we will plant a tree with www.treesforlife.org.uk.

48 colours are available in 21ml tubes & Full Pans.

View the full range of colours and sets online. Go to www.jacksonsart.com

FOCUS MIXING COLOURS The colour on the left is the resulting mix from combining Phthalo Blue Jackson’s Artist Watercolour and Permanent Carmine Schminke Horadam Watercolour.

The mix on the right is a combination of Phthalo Blue Jackson’s Artist Watercolour and Indian Yellow Schmincke Horadam Watercolour.

Proof that beautiful mixes are also achievable when mixing across brands of colour.

Mixing Jackson's French Ultramarine Blue and Raw Sienna together (mix on the left) produces a really useful neutral grey, ideal for creating shadows and dark details without the use of black. Add more French Ultramarine for a blueish grey tone or add more Raw Sienna for a grey which leans towards green.

Using predominantly French Ultramarine Blue when mixed with Jackson's Genuine Carmine (mix on the right) will result in more of a violet, adding more Genuine Carmine will give you a purple that leans towards magenta.

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WAT E R C O L O U R

TUBES OR PANS? Jackson's Watercolours are available in tubes and pans. Which should you choose?

Watercolours are rewettable, which is how it's possible to produce the paint solid in pans or as a liquid paint in tubes.

Pans are often a good introduction to the medium - it's easier to load your brush with just the right amount of paint to apply thin, translucent yet vibrant layers of colour. There's nothing to squeeze out onto a palette, so you can take your box of paints wherever you wish, along with a jar of water and some brushes and start work

straight away. As they're solid dry until wetted they're perfect for taking abroad. It's possible to mix colours on a palette before you apply them, and if you have any paint left over at the end it's not necessarily wasted as it can stay on your palette until the next session, and be rewetted for use at any time.

Because half pans and full pans are only a couple of centimetres big, it can be pretty difficult to load a large mop brush with paint using a half pan.

Jackson's Artist Watercolour Full Pan Set of 12, 24 or 18, Pick Your Own Colours These sets allow you to create your own palette of colours, once you have decided on the size of the set you would like, simply list the colours you require in the order comments when checking out. With every set purchased we will plant a tree with www.treesforlife.org.uk Set of 12 Full Diagonal Pan Code: AMBF12XA Price: £31.00

Set of 24 Full Pan Pick Your Own Colours Code: WJS24Y Price: £75.00

Tubes on the other hand are better for varying textures in your work and for larger scale work. You can mix much larger quantities of colour in one go, and if there's any left on your palette it won't go to waste - it can just stay there until the next time you paint.

You can load bigger brushes adequately in pools of colour squeezed from the tube. It's easy to mix in mediums too, and it's easier to vary the thickness of your application. If an old tube of paint goes hard it's no disaster the tube can be cut open and the colour can still be rewetted.

Tubes are also generally better value - you get more paint for your money, which is why many artists fill their own empty pans with tube colour.

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WAT E R C O L O U R

S C H M I N C K E H O R A DA M WAT E R C O LO U R 110 COLOURS AVA I L A B L E

These are an impressive range of watercolours that continually excite artists as more and more discover the pleasures of painting with them.

The optimal amount of ox gall is added to the premium Schmincke Horadam Watercolours for controlled flow even on absorbent watercolour papers.

liquid state allowing the colour to dry for some weeks in a drying chamber to a certain degree of residual moisture and to settle between each filling.

Among the range of 110 colours are 69 single pigment hues. This means mixing clean, bright colour is effortless. The paints are bound with Kodorfan Gum Arabic from the southern Sahara.

Another of the unique characteristics of Horadam is that the tube paint is fully reusable after it has dried on a palette as Schmincke use the same formulation for the paint in both tubes and pans.

110 colours are available in 5ml tubes, 15ml tubes, Half Pans and Full Pans.

Due to the natural source of the binder, the Gum Arabic does tend to differ slightly year on year, but Schmincke are dedicated to continually testing the ingredients to ensure the finest balance is achieved for watercolour performance.

This is unusual as many other brands have a different formula for the pans that allows them to extrude the paint like clay and cut it into pieces to put in the pans.

View the full range of colours and sets online. Go to www.jacksonsart.com

Horadam pans are poured four times in a

SETS

Horadam Watercolour is also available in a selection of sets in metal boxes and wooden boxes.

In order to achieve the highest standard regarding lightfastness, resolubility and stability, Schmincke use the best raw materials available. There is no compromise in quality - the highest standards of artists' pigments allow the highest level of lightfastness.

Metal Box Set of 12 Half Pans Code: WSS12H RRP: £63.19 Price: £56.00

Metal Box Set of 48 Half Pans Code: WSS48H RRP: £218.71 Price: £190.00

Metal Box Set of 24 Full Pans Code: WSSM324 RRP: £162.34 Price: £142.00

Metal Box Set of 12 x 5ml Tubes Code: WS74112 RRP: £69.89 Price: £62.00

Wooden Box Set of 48 Half Pans Code: WSSW48H RRP: £266.23 Price: £228.00

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WAT E R C O L O U R

ESSENTIAL MIXING COLOURS Schmincke have kindly explained how they chose the colours they include in their sets of Horadam watercolours.

The six primaries are the three primary colours in cool and warm variants. This allows clear and clean mixing with the respective neighbour tones (224 + 349 or 353 + 494 or 492 + 215). For all general uses the combinations from mixing these 12 most important colours allows the greatest possible creative space.

Pre-mixed greens are useful to have on hand. A green hue can also be obtained by mixing yellow and blue, but its availability as a clean, predictable colour facilitates painting especially outdoors.

The combination of the basic colours in Schmincke Horadam watercolour boxes for 12 colours has been conceived with particular care since this represents the basic assortment of all sets.

Schmincke Horadam recommends this Metal Set of 12 Half Pans basic colours as a good core group of colours for watercolour painting- six primaries and six earth and green colours. Top row: 215 Lemon Yellow, 224 Cadmium Yellow Light, 349 Cadmium Red Light, 353 Permanent Carmine, 494 Ultramarine Blue, 492 Prussian Blue.

Bottom row: 519 Phthalo Green, 534 Permanent Green Olive, 655 Yellow Ochre, 649 English Venetian Red, 663 Sepia Brown, 780 Ivory Black.

All the colours have high and highest lightfastness (4 and 5 stars) except for Lemon Yellow, which has sufficient lightfastness (3 stars) and which does not exist in a more lightfast version in this colour characteristic.

Cadmium Red Light is almost an orange hue.

This corresponds to its mixing properties.

In the colour circle Permanent Carmine is most close to primary red. To achieve clear violet shades we recommend mixing with Permanent Carmine.

Cadmium Yellow fulfils the function of primary yellow. Mixed with a little bit of red it will glow in the warmest tones.

There are also 2 blues, a cooler tone (Prussian Blue) and a warmer variant (Ultramarine Blue). They differ considerably even though they are very close to each

Lemon Yellow mixes clear greens.

other in the colour circle.

Phthalo Green is a very interesting mixing colour. It increases the range of cool green mixing possibilities. It is also well suited to painting doors, windows and the Mediterranean Sea. Permanent Green Olive is also very useful for mixing. The addition of different earth colours produces lively and natural green shades.

The earth colours were chosen based on their position in the colour circle: Yellow Ochre is a more yellow tone – also suited for sand and walls. English Venetian Red as a reddish tone is often used for roof tiles and red brick. Sepia Brown is a blackish dark brown with a lively character which very often can replace black at least in mixtures with blue.

Ivory Black – similarly to white, not everyone approves of using black watercolour. In mixtures it normally dirties other shades, mixed with blue it is often used to paint bad weather situations.

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BRONZE POWDER

SCHMINCKE AQUA BRONZE Schmincke Aqua Bronze is a range of dry metallic powders with a watersoluble binder that comes in five colours.

There are three shades of Gold, plus Copper and Silver. Mix it with watercolours and gouache to add a bit of sparkle or use it by itself to add areas of metallic shine to your painting.

Pale Gold shown wet.

Showing the Silver powder straight from the jar before adding water, and the powder applied.

Aqua Bronze Rich Pale Gold mixed with Ruby Red Horadam watercolour.

Schmincke Aqua Bronze is available in 20ml jars in the following colours: Rich Gold, Rich Pale Gold, Pale Gold, Copper and Silver.

The Schmincke Aqua Bronze metallic powders are made with dry dextrine-glue binder. Ready to use, just add water to make highly brilliant, shiny watercolours, or add to any watercolour or gouache paint to achieve metallic effects. For the shiniest effects mix with water right before use. Mix with a little water on a palette, the amount of added water influences the opacity and gloss of the colour.

Rich Gold Code: MSPQ1 RRP: £8.93 Price: £8.20

Rich Pale Gold Code: MSPQ2 RRP: £8.93 Price: £8.20

Pale Gold Code: MSPQ3 RRP: £8.93 Price: £8.20

The colours have exceptional lightfastness and opacity and are suitable for using on board, paper, canvas or canvas board.

View the full range of colours online.

Go to www.jacksonsart.com

Copper Code: MSPQ4 RRP: £8.93 Price: £8.20 Silver Code: MSPQ5 RRP: £8.93 Price: £8.20 48

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LINO INK

SCHMINCKE AQUA LINOPRINT Waterbased, high-quality Aqua Linoprint colours contain natural binders such as Gum Arabic as well as organic/inorganic pigments.

They're easy to apply due to optimum open-times and result in sharp prints with fast drying times (wipe-resistant after approx.

15 minutes).

All colours offer maximum lightfastness (4 and 5 stars) and an excellent intensity (especially black). The formulation for the colours in tubes and jars is the same.

Due to their fluid consistency all Aqua Linoprint colours can easily be applied on different surfaces such as paper, felt or cardboard, and are also suitable for wood engraving and other relief printing methods.

18 colours are available in 35ml tubes, 15 colours are available in 120ml tubes and 5 colours are available in 250ml bottles.

Finest Artists' Aqua Linoprint Colours •

15 brilliant shades plus 3 effect colours (Gold, Silver, Copper).

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Waterbased colour with natural raw materials (Gum Arabic).

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Only highest lightfastness (4 and 5 stars).

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Even, sharp print.

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Highly intense colours and good miscibility.

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Available in 35ml tubes, 120ml tubes and 250ml bottles.

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Special effect mediums for mixing with Schmincke waterbased linoprint colours are also available online.

View the full range of colours online.

Go to www.jacksonsart.com

35ml Tubes RRP: £6.12 Price: £5.60 120ml Tubes RRP: £11.64 Price: £11.20

INFO Prices All prices shown are for standard colours, please see our website for special effect colour prices.

250ml Bottles RRP: £16.32 Price: £15.60

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WINSOR & NEWTON PROFESSIONAL WAT E R C O LO U R 105 COLOURS AVA I L A B L E

Winsor & Newton's Professional Water Colour uses only the purest pigments and is recognised for its quality, reliability and permanence.

Recent innovations, Professional Water Colour Sticks and Water Colour Markers, offer the same outstanding colour performance and versatility for which Winsor & Newton are known.

Discover how you can develop your water colour artwork with Winsor & Newton today.

With their premium range of 96 colours and the unlimited colour mixing opportunities they come with, you'll have every shade at your disposal. Find out more on their spotlighted colours below.

105 colours are available in 5ml tubes, 96 colours are available in 14ml tubes, 24 colours are available in 37ml tubes, 95 colours are available in Half Pans, 72 colours are available in Full Pans, 27 colours are available in Giant Pans.

View the full range of colours and sets online. Go to www.jacksonsart.com

FOCUS ON COLOURS INFO

Titanium White

Chinese White

Hooker's Green

Pristine and striking, various iterations of white are used by artists to create high contrast, serve as a base layer for other colours, or create clean, bright, and transparent effects in artwork.

A variation of Zinc White, Chinese White is popular among artists for its ability to take the edge off of brighter colours.

In the 1800s, Mr Hooker, a famous botanist and botanical painter, needed a green he could mix up and down to create any number of shades, without needing to carry lots of tubes with him during his travels cataloguing plants.

Colour Codes All codes shown refer to the 5ml tubes.

Winsor & Newton's range of whites range from opaque to sheer, some ideal for mixing, others more suited for highlighting.

Clean and opaque, Titanium White is considered the strongest and most standout white. It is a popular choice among artists, both for the strength of its finish and ability to provide good coverage, lending it well to base layers, or for when a large surface area must be painted white.

A subtle white, it is essential for painting white objects in addition to softening other colours.

Series � Code: WW5150 RRP: £5.90 Price: £4.40

Series � Code: WW5644 RRP: £5.90 Price: £4.40

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Hooker's Green is great for creating a multitude of green hues from a limited palette, ideal for painting different elements in the same painting, such as trees, grass and lake reflections.

Series � Code: WW5311 RRP: £5.90 Price: £4.40

WAT E R C O L O U R

FOCUS ON COLOURS CONTINUED Rose Madder

Winsor Blue (Green Shade)

Raw Sienna

A distinctive rose coloured single pigment made from the roots of the common madder plant, Rubia tinctorum. It is a rich, transparent pigment with granulating properties in water colour. Considered the most stable natural pigment, it was highly sought-after since 1500 BC, when it was originally used as a fabric dye.

Winsor Blue, otherwise known as Phthalo Blue, is a deep, intense blue which approaches black in mass tone and has either a red or green undertone leading to the variations of Winsor Blue (Red Shade) or Winsor Blue (Green Shade). It has great tinting abilities, is transparent and completely permanent.

A yellow-brown colour, Sienna is part of a group collectively known as 'earth colours'.

Shades of Sienna vary in hue and have different names depending on the colour.

Raw Sienna, however, comes from iron ore or ferric oxide naturally found in clays. Unlike yellow ochres, which are generally opaque, siennas are more transparent.

Renowned colourist, George Field, discovered the most efficient process of extracting the dye and thus making a stronger, more vibrant pigment. Realising the importance of his work, Winsor & Newton acquired Field's research and they have used this as the basis for their colour recipes ever since.

Made from the organic synthetic-pigment copper phthalocyanine, which is part of a collection of colours that were first chemically synthesized in the late 1920s, Winsor Blue was one of only three colours that were universally accepted for their artist quality.

Sienna was one of the first pigments used for painting and can be found in prehistoric cave art. However, it was not until the dawning of the Renaissance in the 14th century that the pigment was further developed for artistic use. It was also during this time that it was named after Siena in Italy, where it was found.

Series � Code: WW5587 RRP: £8.80 Price: £6.60

Series � Code: WW5709 RRP: £5.90 Price: £4.40

Series � Code: WW5552 RRP: £5.90 Price: £4.40

WINSOR & NEWTON MEDIUMS Blending Medium

Granulation Medium

Lifting Preparation

Permanent Masking Medium

INFO Medium Codes All codes shown refer to the 75ml bottles. Find more sizes and full range of mediums online. Go to www.jacksonsart.com

Used to slow down the drying time of water colour, allowing more time for blending.

Especially useful while painting in warm climates.

Code: WMW6 RRP: £6.75 Price: £5.40

Provides a mottled appearance to colours that would otherwise have a smooth wash. Also enhances the effect of granulating colours, such as Ultramarine Blue.

Code: WMW8 RRP: £6.75 Price: £5.40

Allows dry washes, including staining colours, to be more easily lifted from paper with a wet brush or rag.

Code: WMW9 RRP: £6.75 Price: £5.40

Used to mask specific areas of paper, making it resistant to water and colour. If you painted a watercolour wash over, these areas would remain isolated.

Code: WMW10 RRP: £6.75 Price: £5.40

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WAT E R C O L O U R

D A N I E L S M I T H E X T R A F I N E W AT E R C O L O U R 246 COLOURS AVA I L A B L E

Daniel Smith watercolours are loved by so many artists the world over, and it's not hard to see why.

A staggering variety of colours in their range combine ancient hues with the most modern developments in colour. One artist told us "Daniel Smith watercolours are the best you can find on the market".

The most loved Daniel Smith watercolours have something unusual about them.

INFO

FOCUS ON COLOURS

Colour Codes All codes shown refer to the 5ml tubes.

Lunar Black

Exclusive to Daniel Smith, this black pigment reacts like magnetised metal particles shifting around. It granulates on its own or when mixed with other colours to create lots of texture.

They contain exclusive pigments, they are stand-out mixed colours with special effects or they are the PrimaTek colours, a range of naturally pigmented watercolours made from genuine semi-precious stones and minerals.

88 colours are available in 5ml tubes and 246 colours are available in 15ml tubes.

51 colours are available in Sticks.

View the full range of colours and sets online. Go to www.jacksonsart.com

Daniel Smith have spent eighteen years developing the finest and most complete line of watercolour paint so you can create your own unique vision.

Lunar Black mixed with Blue (RS) Winsor & Newton Professional Watercolour.

Lunar Black mixed with Scarlet Lake Winsor & Newton Professional Watercolour.

Lunar Black mixed with Cadmium Yellow Jackson's Artist Watercolour.

Lunar Black mixed with Cerulean Blue Blockx Watercolour.

Series � Code: WDN50049 Price: £6.00

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WAT E R C O L O U R

FOCUS ON COLOURS CONTINUED Undersea Green

Bloodstone Genuine

Green Apatite Genuine

A mix of Ultramarine Blue and Quinacridone Gold. The blue settles and granulates while the transparent gold floats into an orange halo.

A velvety aubergine mass tone develops into a warm grey wash and granulates to create natural textures.

A warm, olive green that granulates and separates into a brown and a vivid natural green.

Series � Code: WDN50193 Price: £6.80

Series � Code: WDN50197 Price: £7.70

Shadow Violet

Amazonite Genuine

Lunar Blue

A mix of three colours that make a grey-mauve but in a wash can separate into greys with a pink halo.

A clear blue-green, good for seascapes.

The special Lunar Black pigment is premixed with Phthalo Blue which then separates to create an exciting texture.

Series � Code: WDN50109 Price: £6.00

Series � Code: WDN50188 Price: £6.80

Series � Code: WDN50163 Price: £6.80

Series � Code: WDN50183 Price: £6.80

Moonglow

Cascade Green

Quinacridone Deep Gold

A mix of three colours that can separate out for aurora borealis effects. Also great for mixing shadows, an alternative to Indigo or Neutral Tint.

A mix of Iron Oxide and Phthalo Blue, this green separates into a wide range of greens and blues.

Depending on the dilution this versatile colour can range from vibrant burnt orange to a clear pale sienna.

Series � Code: WDN50142 Price: £6.00

Series � Code: WDN50152 Price: £6.80

Series � Code: WDN50057 Price: £6.80

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PASTELS GUIDE

PASTELS GUIDE

PASTELS GUIDE

What makes pastel so special?

To many, pastels are the most immediate way of working with colour. It's easy to mistake working with these brightly coloured sticks for working with pure pigment. Soft pastels work best on a textured surface that can hold colour. They will create a bit of dust when working (those who are sensitive to dust may consider wearing a mask when working), but are easy to lift with an eraser and blend beautifully with the aid of soft brushes and specialised pastel blending tools. There's no pre-mixing with soft pastel, the process simply involves applying the colour to your paper and blending on the surface where necessary. Hard pastels create crisp lines of crayon like colour and are great for adding detail to soft pastel works, or used to create dynamic drawings on their own. They'll smudge and blend but not nearly as much as soft pastels. They are usually cuboid shaped and edges can be used to draw fine lines while the side of the stick can glide across paper to make broad strokes. PanPastels are cakes of beautiful colour that can be applied and mixed with the aid of the recommended Sofft tools, bridging the gap between pastels and paints. Across the 3 varieties of pastel you have a water soluble medium that is capable of both sharp lines and subtle blending in an array of beautiful colours.

What is the difference between Soft, Hard and PanPastel?

Soft Pastels are made from a blend of pigment, clay and binder (usually gum arabic or gum tragacanth) which is mixed into a paste before being rolled into sausage-like sticks that are left to dry. Because their composition is very simple many consider it as close to working with pure pigment as is possible. Colour can be applied directly and blended with tools such as colour shapers, paper stumps, tortillions and brushes, as well as fingers and sponges. Soft pastels are water soluble and also dissolvable in solvent, and there are also a few specialised mediums that help with blending techniques. They are best used on textured surfaces that can hold the coloured dust particles in place. They can create a lot of excess dust - the best pastels even more so as there is less binder to hold the stick together. Putty erasers easily lift applied soft pastel from a surface. Finished soft pastel works are best protected under glass or sprayed with fixative to prevent smudging.

Hard Pastels are also made with pigment, clay and binder - the proportions make all the difference. Hard pastels have more binder in them to hold their structure and make them less likely to crumble. They can achieve crisp lines and are suited to drawing techniques. They are most commonly sold as sticks or 'carres' that can be sharpened with a knife. Use the squares on their side to apply broader swathes of colour. Hard pastel is often used to apply sharper detail to a soft pastel work, although they can be used on their own. Hard pastels are harder to erase although it's still possible to lift lightly applied marks. There is less need to fix work with a fixative. Finished works are best preserved under glass or in between sheets of glassine.

PanPastels are professional artist grade soft pastel colours contained in plastic pans. They can be mixed and applied like paint. They are creamier than regular soft pastel so there is a lot less dust. Sofft Tools allow you to mix PanPastel colours on a palette before applying to your support - just like painting! The same tools for soft pastel can also be used with PanPastels, and they can be fixed with fixative and preserved safely under glass.

Which brand?

Professional soft pastels will have a higher pigment to binder concentration. Their manufacturing process will involve hand rolling the sticks of pastel in such a way as to not compress the ingredients too much; this allows for both subtle and bold marks. Although this means that the pastel sticks deposit brighter, more saturated hues, it also means that the characteristics of the individual pigments will be more apparent, and the sticks are more likely to break or crumble as less is holding them together.

Artist soft pastels will have a little less pigment in the mix, a little more binder, and will be rolled more compactly. Dust is less likely to accumulate to the same degree as professional colours, and although colours are still intense and pure, they may be just a touch less saturated.

Student pastels are great for getting to grips with the medium - the colours are still good and some blending is possible. They are more affordable and in many ways easier to handle than professional pastels - the colours just won't be as intense. As with all art materials, the higher the price the greater the investment in quality.

What mediums do I need?

The great thing about pastels is that you don't need any mediums, but if you would like the push the possibilities of the medium there are a few to try.

Creating washes Wetting pastels with water or solvents will enable you to create thin washes of colour. A lot of pastel artists like to do this to cover the surface with a tint before starting work. Tim Fisher's Pastel Liquefier is a special medium designed to wet pastels while maintaining the stability of the pigment. It breaks down already applied colour sufficiently to make subsequent layers of colour adhere with relative ease.

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PASTELS GUIDE

Blending Zest-it Pencil Blend is suitable for use with all pastels. One great way to use it is to dip a paper stump or colour shaper into the medium and then use it to gently dissolve applied colour and blend.

Adding Pearlescence PanPastel Mediums are the world's first dry colour pastel mediums. They are allow you to add pearlescence to your colours (fine and coarse, white and black varieties are available), and they also have a colourless blender. They have the same characteristics as all PanPastel Colours - they are mixable, erasable, low dust, light fast and professional artist's quality. No preparation or drying time is required with PanPastel mediums, as neither solvents nor water is needed. PanPastel Mediums are versatile and can be use on almost any surface, making them great for mixed media work. Simply apply with a Sofft tool or sponge, blending into colour on a palette or on your support.

What brushes and tools should I use?

For blending and intricate detail - soft pastel, hard pastel, PanPastel Paper stumps, tortillions and colour shapers can all help with blending techniques, especially in soft pastel and PanPastel. They work best if dipped in solvent or Pencil Blend if using with hard pastel. The pointed end can help to etch into colour or draw very fine lines.

Applying broader marks and blending Sofft tools and sponges are designed for use with PanPastel. The tools are just like eye shadow sponges and apply the creamy colour with a painterly touch - use a sideways motion for best results. For bigger marks try using one of their synthetic sponge bars, available in a range of shapes for different marks. Brushes such as the Sennelier Pastel Brushes and Da Vinci Pastel brushes are soft with short deerfoot shaped brush heads which is perfect for dappled textures and blending effects.

What should I paint on?

Textured papers are best for soft pastel and PanPastel The texture of a pastel paper will allow it to hold colour in its crevices. There are a variety of textures available. Ingres Paper is a cylinder mould made paper that has a chain and laid texture - this means it is finely ribbed, and is a traditional surface used by pastellists for hundreds of years. It is usually too light to take water without buckling. Velour Paper has a fuzzy felt-like surface which holds soft pastel colour within its fine fibres, however like Ingres it does not like water so is only suitable for dry pastel techniques. Sanded Paper has a slightly coarser surface thanks to the sanded primers that are used the create the surface.

Some pastel surfaces have a heavier tooth and are suitable for both wet and dry media.

They are able to hold more layers of colour, and include Spectrum Colourfix, Sennelier Pastel card and Tim Fisher's 400 Pastel card. Soft pastel papers tend to be coloured this is because soft pastels have a degree of opacity due to the presence of clay in the binder, and look attractive on a coloured ground without the surface having any influence on the colour being placed upon it. The coarsest of the lot is the Tim Fisher Paper. Check out 'The Wide Variety of Pastel Papers' article by Julie Caves on the Jackson's Art Blog.

Do it Yourself Pastel Surfaces Pastel Primer is an acrylic primer that can be applied to any dry surface in order to give it a sandpaper like texture than is perfect for soft pastel painting. Apply several thin layers with a brush to give the perfect finish. It is available in a range of colours and it's also possible to tint primer with acrylic colour to get the perfect shade. There are varieties made by Golden Acrylic and Colourfix, both can be applied to a range of surfaces including MDF and watercolour paper.

Something a little smoother for hard pastels Hard pastels do not crumble or make dust like soft pastels, and while they also look beautiful on laid papers it's also possible to draw on smooth or lightly textured cartridge papers.

They also look great on any of the watercolour papers we sell. Protect finished works with a layer of fixative and interleave sheets of paper with glassine or tissue paper.

What products do I need in my studio?

Easels that tilt forward allow dust to fall away from your work and are so useful for pastel artists. With this in mind it's also worth investing in a good drawing board and clips too!

Check out our studio lights, essential for accuracy in colour matching. A soft brush is useful to brush away too heavily applied colour. A good putty eraser will also serve you well, to lift colour cleanly and add highlights to work - because they are easily to mould into any shape they are great for erasing tiny areas at a time. To add little details you might like to add some pastel pencils to your collection of art materials, too. Soft Pastel Fixative is essential for keeping applied marks in their place, however they can darken shades, and some artists avoid using fixatives for this reason, preferring to frame work under glass at earliest convenience instead. We sell fixatives especially for soft pastel by Loxley, Daler Rowney and Sennelier.

Spectrafix Degas Pastel Fixative is an all natural and odour free fixative, very popular among artists who do not have private outdoor space in which to fix work - take a look at the review by Joanna Hudson on the Jackson's Art Blog.

F R E E PA S T E L S C ATA LO G U E COMING SOON

PASTELS

Our Pastels Catalogue is a work in progress! Sign up to our mailing list by visiting jacksonsart.com to keep up to date with our news.

C ATA LO G U E COMING SOON

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SOFT PASTELS

UNISON SOFT PASTELS 368 COLOURS AVA I L A B L E

Northumberland based Unison Colour have an enviable reputation of being one of the leading international manufacturers of soft pastels.

in a cycle of related hues, instead of adding white or black to the colours. The result is intense, vibrant colour not muddied by the blending of colours.

Their pastels possess a subtlety and intensity of colour, in over 350 handmade shades.

They are mixed to meticulous recipes and are based on traditional pigments such as cadmiums, cobalts and natural and synthetic earths.

Unison Pastels contain only pure pigments

Pastels measure approximately 75 mm × 20mm. Large Pastels are 2.3 times the size of the standard Unison Pastel.

Sticks vary slightly due to the fact that they are handmade.

View full range of colours and sets online. Go to www.jacksonsart.com

SETS

Landscape Set of 72 Full Sticks Code: TU72S RRP: £213.60 Price: £172.00

Landscape Colours Set of 36 Full Sticks Code: TU36L RRP: £107.52 Price: £87.00

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Portrait Colours Set of 18 Full Sticks Code: TU18P RRP: £53.76 Price: £44.00

Ocean Blues Set of 12 Full Sticks Code: TU12OB RRP: £36.00 Price: £31.00

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Set of 16 Half Sticks Code: TU16HS RRP: £24.72 Price: £21.50

SOFT PASTELS

U N I S O N D E S C R I B E T H E C R E AT I O N O F T H E I R PA S T E L S Stage 1. Pigments in a Bowl First, we follow a unique recipe created by John Hersey, and add all the dry ingredients into a bowl. In some recipes there can be up to 7 pigments combining to create the colour; with the addition of one of the pigments being no more than 5 grams in some cases- John was a perfectionist!

Stage 2. Pastels Spooned Out Pigment properties vary enormously, some needing a little binder, some none at all. The pigments are mixed to a thick consistency and spooned out with an ordinary spoon in equal proportions onto sheets of blotting paper until they are dry enough to handle.

This drying time varies from pigment to pigment and can take from a few minutes to 24 hours.

Stage 3. Giving them a gentle s queeze Before they are rolled out, the mixture is squeezed to release any excess water so they are ready for rolling.

Stage 4. Rolling, rolling, rolling The main bit! They are then carefully rolled out into the pastel shape. Each and everyone is done by hand. We believe this gives our pastels a unique texture that delivers a consistency of response across the colour spectrum that is unmatched.

Stage 5. Cutting the Pastel After drying for a little while longer on the blotting paper, the pastels are cut exactly to size, using 2 palette knives taped together… (no fancy equipment here!)

Stage 6. Drying out The pastels are then carefully put onto wire trays to be dried overnight in a very gentle heat. So, the whole process is a bit like cooking. Maybe we should call ourselves the 'Colour Kitchen'…

Stage 7. Storage The pastels are stored in our packing room in cardboard boxes. We have a whole room full of 'stored colour'.

Stage 8. Labelling Each pastel is hand labelled. There a team of 3-4 ladies who have perfected the art of labelling a handmade pastel.

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SOFT PASTELS

SENNELIER EXTRA SOFT PASTELS Sennelier Soft Pastels strike the perfect balance between binder and pigment.

523 COLOURS AVA I L A B L E

The pastels are made with attention to detail, air dried in order to achieve optimum consistency. The chromatic range is one of the largest available.

A Sennelier extra soft pastel is composed of high quality pure pigment grounded with a natural transparent binder.

The high quality composition of 'à l'écu' pastels is the result of a perfect balance between binder and pigment. For gradient shades, increasing amounts of mineral fines are added, ultimately tending towards white.

The exceptional brightness is the result of the pigment and of the natural mineral fines discovered by Sennelier in 1905, which have been used ever since.

'Sennelier make lovely pastels and they work particularly well on the pastel support I use, Pastelmat' – Customer review.

View full range of colours and sets online. Go to www.jacksonsart.com

SETS Black Wooden Box Set of 120 Half Stick Code: TTB120 RRP: £124.95 Price: £100.00

Set of 20 Half Stick Code: TTS20A RRP: £27.95 Price: £22.50

Set of 24 Full Stick Code: TTS24A RRP: £55.95 Price: £46.00

Set of 24 Full Stick Iridescent Tones Code: TTS24I RRP: £55.95 Price: £46.00

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Set of 30 Half Stick Plein Air Landscape Code: TTS30PAL RRP: £37.96 Price: £31.00

SOFT PASTELS

FO C U S G E T T I N G S TA RT E D W I T H SENNELIER SOFT PASTELS With a history that spans over 100 years, and thoughts of what masters of the medium have achieved (everyone from Degas to Sean Scully), it can be difficult to know where to start with soft pastels, and in particular Sennelier Pastels, whose range consists of a staggering 525 shades!

Let us guide you through the factors you need to think about if you're to begin working with Sennelier Soft Pastels with confidence.

Colour selection You may be wondering why Sennelier make so many different colours. The answer is immediacy. Unlike acrylic, oil or watercolour, soft pastels are not designed to be mixed on a palette prior to application. Sure you can blend and mix colours on the surface, but with 525 shades available it's unlikely you'll find any need to do so. This range gets you as close to painting with pure colour as is possible. Their colour chart illustrates how colours are available in usually 4,5 or 6 different tints, ranging from off white to pure saturation - very useful when you need subtle variations of tone, for example in a figure study. The joy of soft pastel is being

able to see the colour you need in your pastel box and use it straight away, responding instantly to what's in front of you or your imagined vision.

Surface Selection Sennelier Soft Pastels are soft and crumbly, which can take some getting used to. Hardly any pressure is required to allow the colour to glide onto your surface. The ease with which they deposit colour means you can work on a whole range of papers and cards from coarse to completely smooth - however you're more likely to need to use a fixative when working on smoother surfaces as it is easier for the colour to shift from where you initially placed it. For variation of mark, from very raw and crisp to soft and blended, we'd suggest a ribbed paper such as Ingres.

For soft, Renoir-esque blurred edges a Velour paper may suit you. Or why not try Sennelier's own pastel card - a coarse surface that locks colour in place.

Tool Selection

may not be slender enough for your fine details! Paper stumps, tortillions and Colour Shapers are all great for blending and applying soft pastel, and can really help with finer marks. Sofft Tools are a little like eye shadow applicators and are really useful when needing to delicately blend or soften marks.

Why Sennelier over other ranges?

The creamy appearance of applied Sennelier Soft Pastel really allows your work to look its best. With so many colours in the range you can avoid blending, and so your work is more likely to be painted in the cleanest, purest colours possible. There's a fantastic variety of different selection sets that have been carefully considered, and are a great way of acquiring your first pastels without feeling utterly bewildered by the decisions required to buy your pastels individually! Sennelier have an international reputation for being fine art colour makers of the highest order and these pastels are no exception.

Of course the obvious way to work with soft pastel is with your hands, but it can get messy, and the ends of your fingers

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SOFT PASTELS

JACKSON'S HANDMADE SOFT PASTELS 200 COLOURS AVA I L A B L E

There are 200 vivid colours in the Jackson's Handmade Soft Pastels range.

Jackson's Handmade Soft Pastels are handmade, giving them an incredible softness and a smooth 'buttery' consistency.

Jackson's hand-rolled pastels are formed with the lightest touch, so as not to over compress the pastel ingredients.

This gentle manufacturing process creates pastels that deposit brighter and more saturated hues.

The low binder to pigment ratio of a Jackson's Handmade Pastel allows for both subtle and bold mark making. The pastels glide smoothly onto paper. The excellent lightfast qualities mean that pastel paintings

created with them will not deteriorate over time.

"The pastels are lovely to work with – consistently soft and creamy, excellent size and simply and clearly marked" – Margaret Evans.

View the full range of colours online.

Go to www.jacksonsart.com

SETS Set No. 1 of 14 Colours Code: TJHSET01 Price: £25.50

Set No. 3 of 14 Colours Code: TJHSET03 Price: £25.50

Basic Starter Set of 14 Colours Code: TJHSET30 Price: £25.50

Light Flesh Tones Set of 14 Colours Code: TJHSET40 Price: £25.50

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Full Set of 200 Colours Code: TJHSETFULL Price: £362.00

SOFT PASTELS

N E W PASTEL S – N E W LOV E A FFA I R A RE VIE W OF JACKSON' S HANDMADE SOF T PASTELS BY MARG ARET E VANS The serious pastel painter groans when there's a new brand of pastels on the block.

It's not that we need them, but we know we're going to want them!

Often a new brand will say they are cheaper, better quality, wider range, all things to all people, but not Jackson's. They have seriously watched trends in pastel buying and done their homework – they know what we buy, what we need, and what we want. Then they have gone out and made accordingly. Their range of soft pastels don't promise to be the softest, cheapest, bestest… just temptingly the worthiest of brands to add to your collection.

The full range is a comprehensive cross section of all the usual main colour wheels and the lighter and darker supplements to these colours. Nobody pretends they offer all shades & tones we need, but considering the keen price of these it makes buying the entire set affordable and will suffice the leisure painter for a long time, before you need to invest in further brands to supplement individual needs.

I suspect they may add more tones and colours as time progresses, but a full set will keep you more than happy for a long time.

Push the boat out with a empty box, specially made at a fraction of the price of my 'posh' boxes that my students drool over, and you can set them out in any way you like.

Their creamy texture is soft enough to handle, but firm enough to keep shape and not crumble, helping to keep an economical balance whatever methods you use for them.

I still insist on taking their covers off so I can apply pastel with the side of the stick as well as the ends, so I slit the covers, and leave them in the box, under each pastel, so I still have the colour number and name. Treat yourself – drop a few hints to the family – whatever means you need to acquire these beauties, and enjoy their purity, clarity and quality.

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SOFT PASTELS

TA L E N S R E M B R A N D T S O F T PA S T E L S Half Sticks Assorted Set of 15 in Card Box Code: TR15H RRP: £16.50 Price: £12.30

Half Sticks Assorted Set of 30 in Card Box Code: TR30H RRP: £26.75 Price: £19.80

Full Sticks Set of 15 Dark Colours Card Box Code: TR15D RRP: £29.95 Price: £22.50

Full Sticks Portrait Set of 30 in Card Box Code: TR30P RRP: £44.95 Price: £32.00

Full Sticks Landscape Set of 30 in Card Box Code: TR30L RRP: £44.95 Price: £32.00

Full Sticks Assorted Set of 30 in Card Box Code: TR30A RRP: £44.95 Price: £32.00

Half Sticks Assorted Set of 60 in Card Box Code: TR60H RRP: £49.96 Price: £37.00

Full Sticks Portrait Set of 90 in Card Box Code: TR90P RRP: £125.00 Price: £94.00

A world renowned soft pastel, a little harder in consistency but considerably lower priced than its competitors.

218 COLOURS AVA I L A B L E

Rembrandt Soft Pastels owe their quality to the close collaboration with professional artists, combined with traditional expertise and more than a century of experience in the manufacture of pastels.

More sets and individual pastels are available on our website.

View the full range of colours online.

Go to www.jacksonsart.com

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SOFT PASTELS

TA L E N S R E M B R A N D T S O F T PA S T E L S A R E V I E W B Y A R T I S T R O B E R T D U T T O N I frequently use Rembrandt Pastels in all my work, which includes mixed media painting as well on a wide variety of supports.

Although Rembrandt pastels are branded as a soft pastel, I would describe them realistically as medium soft pastel as they are harder than many other brands such as Unison and Sennelier for example.

As a medium pastel they are a lot more durable and so last longer – great news for pastelists who like to use a more 'toothy' pastel paper support or rough textured watercolour paper when working.

I personally find that the unique surface tooth of Canson Mi-Tientes Touch 350gsm pastel paper works exceptionally well with Rembrandt pastels. There is never a disappointment when using both together for any subject.

Painting with soft pastel is a very unique experience since you will be both drawing and painting at the same time when expressing your personal creativity. In essence, dry colour is applied onto a receptive surface (one with tooth in order to hold the pastel) as if painting across the surface with pure pigment. Choices how to blend and mix pastel colours are as infinite and varied as there are pastels to choose from.

Techniques varying from a blend with your fingers, cloth or tools such as a colour shaper are a personal choice.

Personally I prefer my colours and tones to be blended by working the colours one into the other adding further excitement and visual effects in my work. For several years I had the joy of getting to know and working alongside one of the UK's leading international pastellists David Blackburn (OBE) from Huddersfield. David was an international artist of some considerable reputation with many leading dignitaries from all over the word collecting and buying his work for private, corporate and municipal collections.

for example, where fine lines are worked in different directions one over the other in rapid gestural movements – the results are outstanding every time! I use different colours form the entire 225 range of Rembrandt Pastels frequently on their sides, to create many different colour tones throughout my work. By removing the wrappers and dragging the barrel of the pastels flat against the surface of my chosen pastel supports, lots of tantalising colours can quickly, efficiently and expressively be created.

David's unique methods of blending pastels together involved both drawing and working one colour into the other as I do, as well as rubbing and blending his unique palette together by using no other brand than Rembrandt! Because Rembrandt pastels are medium soft they do not overfill the tooth of the paper and so more layers of other pastels can easily be applied one over the other to blend colours more easily or to create really interesting and varied scumbled effects to give your pastel paintings further visual interest.

Full sticks measure 2-3/4" long x 7/16" diameter (70mm × 11mm) so fit comfortably in the hand. They are paper wrapped, and are sold individually or in sets. The paper both protects the pastels and clearly numbers them but to get the very best out of the pastels to create as many mark making techniques as possible I advocate the removal of the wrappers as soon as possible. The good news is, this can be done very easily and with very little effort.

Once removed the pastels do not fall apart, shatter or fracture unlike many other pastel brands.

The firmer texture of Rembrandt Pastels makes detail and precision far easier with their edges in comparison to very soft pastels. Fine lines are a real dream to create with Rembrandt Pastels and I love to use them layer upon layer to create shimmering moorland tussock grasses

The numbering system makes it very simple to re-order pastels and to add to your range by extending the numbers that you order.

The medium softness of Rembrandt Pastels makes them last much longer than many other pastel brands, but without sacrificing quality.

Because Rembrandt pastels are made from the purest pigments the colours are bright, consistent when re-ordering and because they are mixed with the finest quality kaolin clay binder they hold together beautifully. No pigments chosen by Royal Talens to create this excellent professional pastel contain any heavy metals such as cadmium, lead or cobalt, so you can use them with total confidence in the hand. Through a strict selection of the pigments used the light fastness and composition of Rembrandt Pastels is continually guaranteed.

Whatever colour or mixed shade you are looking for Rembrandt Pastels are sure to have it! With 42 pure colours (full tones, no tint), 40 intermediate shades going towards a darker range to include pigmentations of black and 121 shades grading towards white, there's plenty to use on their own, even before you begin to mix them!

For artists new to pastels, I personally think Rembrandt medium soft pastels are a great choice. They are really economical to buy in both single sticks or useful and carefully selected sets and well made crafted dark wooden boxes, but the fact that the pastels are so easy to use and long lasting is a major attraction for any artist.

For further information about Robert Dutton and see his work visit www.rdcreative.co.uk To see more work by David Blackburn (OBE) visit www.davidblackburn.org

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SOFT PASTELS

SCHMINCKE SOFT PASTELS Working with Schmincke's finest extra soft pastels leads you back to the origin of colour and is a real painting experience rather than simple drawing.

They contain only the purest medium fine ground artists' pigments, which are in the highest possible concentration.

400 COLOURS AVA I L A B L E

Contrastingly, the binding agent content is kept to a minimum, which ensures a stable

compound. In order to guarantee the highest quality it is necessary to manufacture Schmincke pastels using special recipes which avoid the use of machinery during manufacture.

Pastel paintings will always remain sensitive, therefore they should only be treated with a special pastel fixative.

View the full range of colours and sets online. Go to www.jacksonsart.com

The complete assortment includes 400 colours classified in 80 rows with 5 colours each. The range also contains 5 additional pearl lustre effect colours.

SETS Card Box Set of 10 Full Sticks Code: TSSC10 RRP: £29.04 Price: £27.00

Card Box Set of 15 Full Sticks Code: TSSC15 RRP: £45.17 Price: £40.00

Card Box Set of 30 Full Sticks Code: TSSC30 RRP: £90.36 Price: £81.00

Wooden Presentation Case Set of 60 Full Sticks Code: TSSW60 RRP: £213.84 Price: £188.00

Wooden Presentation Case Set of 100 Full Sticks Code: TSS100 RRP: £349.92 Price: £312.00

Portrait and Landscape Card Box Sets of 15 full sticks, as well as a Wooden Case Set of 45 full sticks are available online.

Go to www.jacksonsart.com

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Wooden Presentation Case Set of 200 Full Sticks Code: TSS200 RRP: £670.68 Price: £590.00

Wooden Presentation Case Set of 400 Full Sticks (Pictured) Code: TSS400 RRP: £1,312.20 Price: £1036.00

SOFT PASTELS

WHY SCHMINCKE'S SOFT PASTELS ARE NOT PASTEL C R AY O N S S I L K Y S M O O T H W I T H A T O U C H L I K E V E L V E T The unsurpassed smoothness and quality of Schmincke's finest pastels are legendary among experts.

Many producers of artist pastels use chalk as a key ingredient in their manufacturing process, also Schmincke pastels confusingly are often called 'pastel crayons' even though they do not contain any chalk.

The use of chalk may impair the quality, which becomes apparent through the lack of smoothness of the pastels when applying the colour. This is where these pastel crayons differ from Schmincke's unique velvet pastels which contain no chalk.

'Worm extruders' form the pre-kneaded dough into round skeins, which are then detached by hand and cut in a wire-strung frame.

The damp sticks have to dry for around eight days before they can be labelled and packed by hand. This is a costly and time consuming process, however it is the only way Schmincke can guarantee homogenous quality and smoothness in all the production cycles, in order that the artist can be assured of his favourite colour shade is consistant throughout our range of 400 finest extra-soft artists' pastel colours.

Only this sophisticated manufacturing method can guarantee the artist that Schmincke pastels are silky smooth with a touch like velvet.

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COLOURED PENCILS

PENCILS GUIDE Watercolour Pencils

Watercolour pencils have leads made of pigment bound in gum (thus truly replicating watercolours) or a mixture of watersoluble oils, soap and fatty acids. Watercolour pencils behave just like regular coloured pencils when used dry and can be burnished and blended, but when wet the intensity of the colour is enhanced, and the ease with which colour can be spread into thin even washes is increased. Watercolour pencils are hard enough to be sharpened to a fine point, perfect for intricate detail work. Watercolour pencil colour is not as re-wettable as regular watercolour, which can make it easier to layer colours over one another, but can make it more difficult to erase.

Caran d'Ache Museum · Emerald Green Code: GCMU210 Price: £2.70

Caran d'Ache Supracolour · Light Purple Code: GCS3091 Price: £1.70

Faber-Castell Albrecht Durer · Helio Blue Reddish Code: GPRO151 Price: £1.40 Coloured Pencils

The leads of coloured pencils are made from a blend of pigments, additives and wax and/ or oil based binding agents. Artists require a wide range of qualities from their coloured pencils, and because of this some coloured pencil ranges possess different qualities to one another. For example Faber-Castell Polychromos pencils have a slightly harder lead that is made with an oil based binder, which makes detailed marks easy to create (although blending and smudges are also easy to make too!), whereas Caran d'Ache Luminance pencils are wax based and do have a slightly softer lead. This softer lead makes them exceptional for layering colours and blending techniques.

Faber-Castell Polychromos · Olive Green Yellowish Code: GPRO173 Price: £1.40

Caran d'Ache Luminance · Olive Yellow Code: GCDL015 Price: £3.00

Caran d'Ache Pablo · Empire Green Code: GCPB290 Price: £1.80

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PASTEL PENCILS & OIL PASTELS

Pastel Pencils

Pastel pencils contain leads that are made with pigment in a clay binder, which are encased in wood. The leads are a little harder than the consistency you would expect from a regular soft pastel, which makes sharpening them possible without the tip of of lead completely disintegrating. Pastel pencils are a great medium in their own right or a mess-free way of applying finer details to your soft pastel painting.

Conte Pastel Pencils · Violet Code: GCTP152 Price: £1.40

Faber-Castell Pitt · Cobalt Green Code: GFP156 Price: £1.40

Stabilo Carbothello · Orange Code: TCT221 Price: £1.30

Oil Pastels

Oil pastels are a really expressive and dynamic medium! They are made of pigment blended into a non drying oil and wax binder, and this is what makes them different to oil sticks; because they never fully dry it's theoretically possible to keep lifting and blending your applied oil pastel marks forever! When drawn on lightly, oil pastels have a crayonlike mark - this can be made more even by blending with a colour shaper or paper stump.

They can even be heated up and applied in a more sculptural way, or used with encaustic techniques. Oil pastels are versatile, rich with colour and fun to use.

Sennelier Oil Pastels · English Light Red Code: TTO240 Price: £1.60

Caran D'Ache Neopastels · Blue Code: GCNEP260 Price: £1.80

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COLOURED PENCILS

CA R A N D 'AC H E L U M I N A N C E P E N C I L S We've yet to encounter an artist who has regretted an investment in Caran d'Ache Luminance Pencils.

Intensely saturated colour that is lightfast and smooth. 'Expensive but lovely' – Customer review.

Caran d'Ache Luminance pencils are also available in Metal Tin sets of 20, 40 and 76 colours.

View the full range of colours and sets online.

Go to www.jacksonsart.com

Luminance Wooden Box Set of 76 Colours Code: GCDLWS20 RRP: £324.99 Price: £293.00 CA R A N D 'AC H E M U S E U M AQUARELLE PENCILS Caran d'Ache Museum Aquarelle Pencils are as high quality as you can get.

When dry, their saturation and consistency matches the best regular coloured pencils. When wet they're comparable with traditional artist watercolours.

View the full range of colours and sets online.

Museum Aquarelle Card Box Set of 12 Code: GCMU312 RRP: £34.99 Price: £31.00

Museum Aquarelle Card Box Set of 20 Landscape colours.

Code: GCMU420 RRP: £58.00 Price: £51.00

Caran d' Ache Museum Aquarelle are also available in Metal Tin sets of 40 colours.

Museum Aquarelle Wooden Box Set of 76 Assorted colours.

Code: GCMU476W RRP: £319.99 Price: £274.00

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COLOURED PENCILS

CA R A N D 'AC H E S U P R A C O LO R P E N C I L S These soft watersoluble pencils are favoured by many artists, illustrators, graphic designers and tutors.

'Lovely material, perfect for the job' – Customer review.

View the full range of colours and sets online.

Supracolor Metal Tin Set of 12 Colours Code: GCS312 RRP: £23.99 Price: £20.50

Supracolor Metal Tin Set of 18 Colours Code: GCS318 RRP: £35.99 Price: £31.00 Supracolor Wooden Box Set of 80 Colours Code: GCS480 RRP: £269.99 Price: £225.00

CA R A N D 'AC H E PA S T E L P E N C I L S These are a superb quality range of pastel pencils from the highly reputable Swiss manufacturer.

The 84 colours in the range have a powdery texture and good coverage. 'The best pastel pencils I've found' – Customer review.

Pastel Pencil Card Box Set of 20 Colours Code: GCPPSET320 RRP: £59.99 Price: £53.00

Pastel Pencil Card Box Set of 40 Colours Code: GCPPSET340 RRP: £115.00 Price: £101.00

Pastel Pencil Wooden Box Set of 84 Colours Code: GCPPSET484 RRP: £319.99 Price: £288.00 View the full range of colours and sets online.

Caran d'Ache Pastel Pencils are also available in a Card Box set of 12 colours.

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WA X & OIL PASTELS

CA R A N D 'AC H E N EO C O LO R I I WAT E R S O LU B L E CR AYO N S The widest range of wax-based watersoluble pastels on the market.

High pigment concentration for bright and opaque colours.

Caran d' Ache Neocolor II Crayons are also available in Metal Tin sets of 40, 84 and 96 Colours.

Neocolor II Metal Tin Set of 10 Colours Code: GCN210 RRP: £16.00 Price: £14.40

Neocolor II Metal Tin Set of 30 Colours Code: GCN230 RRP: £49.00 Price: £45.00

Neocolor II Metal Tin Set of 15 Colours Code: GCN215 RRP: £23.99 Price: £22.00

CA R A N D 'AC H E N EO PA S T E L O I L PA S T E L S These oil pastels contain a wax binder.

The pastels have a soft velvety texture that glides on to surfaces and can be thinned with solvents.

Neopastel Wooden Box Set of 96 Colours Code: GCNEP996 RRP: £310.00 Price: £266.00

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Neopastel Set of 12 Colours Code: GCNEP312 RRP: £25.00 Price: £21.50

Neopastel Set of 48 Colours Code: GCNEP348 RRP: £104.99 Price: £90.00

Neopastel Set of 24 Colours Code: GCNEP324 RRP: £49.99 Price: £43.00

Caran d' Ache Neopastels Crayons are also available in a card box set of 96 colours.

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View the full range of colours and sets online.

WAT E R C O L O U R PENCILS

FA B ER- CASTELL A LB R EC HT D Ü R ER WAT E R C O LO U R P E N C IL S

INFO

Albrecht Durer artists' watercolour pencils provide artists with great versatility of expression when drawing, shading and painting in watercolours.

Set of 120 Colour Pencils in Wenge Stained Wooden Case Code: GFA120WW RRP: £410.00 Price: £333.00

High-quality materials, combined with over 250 years of experience, have resulted in watercolour pencils that produce unsurpassed watercolour effects and vibrancy. The coloured surface can be transformed with only a few fine or broad brush strokes to reveal the full and unique power of the colours. Depending on the paper being used, the pigments can be completely dissolved, and will then behave in the same way as classic watercolour paints.

View Faber-Castell full range online.

Go to www.jacksonsart.com for more details

Ideal for amateur artists, students and professionals. Protected against lead breakage by the SV bonding process. If you have yet to try them, then we at Jackson's recommend you do, with one of the sets on this page. These would also make for a fantastic Christmas present to any level of artist.

Gift Box Set of 36 Colours & Brush Ideal gift for any level of artist.

Code: GFAGB36 RRP: £62.25 Price: £52.00

INTRODUCING ALBRECHT DURER MAGNUS WAT E R C O LO U R P E N C IL S Tin Set of 12 Includes 1 x 10mm paint brush.

Code: GFAM912 RRP: £30.99 Price: £23.50

Key features: •

High quality pigments of unsurpassed lightfastness and brilliance.

•

Pigments dissolve completely when brushed with water.

•

Smooth colour stroke.

•

Break-resistant due to special bonding process.

•

Available as individual pencils or in various assorted sets.

•

Ideal Christmas gift for any level of artist.

Tin Set of 24 Includes 1 x 10mm paint brush.

Code: GFAM924 RRP: £61.50 Price: £47.00

Albrecht Durer Magnus watercolour pencils give strong and brilliant results, soft vibrant colour laydown and high break-resistance.

•

Artists' watercolour pencils with extra thick 5.3 mm lead.

•

Available in 24 individual colours.

•

Fully water-soluble lead.

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Maximum lightfastness (3***) across all 24 individual colours.

•

Soft, intense colour laydown - ideal for drawing over large areas.

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CHARCOAL

CHARCOAL GUIDE Charcoals

Artist's charcoal, just like regular charcoal, is made from the residual carbon that is left after burning wood of one kind or another. Charcoal is capable of a wide range of tone, thanks to the ease with which it can be laid and lifted. Vine and willow charcoal are twigs which been heated in an air-free kiln to exactly the right degree of hardness. Marks are expressive and smudgy, and often used in life drawing classes. Aside from the heating process the twigs are completely natural, and occasionally knots will appear, which can cause the quality of the drawn line to suddenly change. They tend to crumble and create dust which can be messy, but are easy to erase with a soft putty eraser.

Nitram charcoal is made using a unique process that makes the charcoal more durable.

It is less brittle than regular vine or willow charcoal and creates less dust, but the marks are just as expressive.

Jackson's Charcoal Powder can be applied with a brush, tortillion, paper stump or colour, and can be used to fill larger areas of even tone. Layers of charcoal powder can be drawn over with any dry media as well as erased easily to create huge tonal depth. Compressed charcoal is made of charcoal powder bound into a rectangular stick with a gum or wax binder. Compressed charcoal is available in a range of softnesses (from HB - 4B) and are not prone to crumbling; the corner of the stick can easily be used for very fine lines while the side of the stick can be used to apply broad, dark strokes of black. Marks can be smudged and blended to a lesser extent than regular charcoal, as they tend to more firmly adhere to the paper's surface.

Charcoal Pencils are a great way to steer clear of grubby fingers, all while never needing to sharpen - simply pull gently on the small string, peeling back the paper to expose more charcoal. General's Peel & Sketch charcoal has velvety smooth consistency and is ideal for travelling and plein air sketching. Just like compressed charcoal they are also available in grades HB-4B, allowing for expressive marks and fine lines.

If you're looking for the perfect paper for your charcoal work, why not treat yourself to some Strathmore Charcoal Paper? It's 100% cotton fibre with a traditional laid finish (finely ribbed) which helps to achieve the maximum shading control. If you prefer a mottled texture over a laid texture then one of our many 100% cotton watercolour papers are a fine alternative.

Nitram Vine Charcoal Extra Soft Code: GNT700303 Price: £12.80

Jackson's Charcoal Powder 500ml Code: CHAR500 Price: £6.30

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CHARCOAL

CHARCOAL GUIDE

L CHARCOA

Coates Natural Willow Charcoal Code: GNCRT Price: £1.60

General Pencil Company Charcoal Wrap Pencil Hard Code: GGP557-HB Price: £1.80

Cretacolor Condensed Charcoal Code: GCR40702 Price: £1.50

Conté à Paris Compressed Charcoal 2B Code: GCTCC2B Price: £1.00

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GRAPHITE

GRAPHITE GUIDE Graphite

GRAPHITE

Graphite - a blend of graphite powder and clay - has its own unique charm. It glides onto paper smoothly, is less smudgy than charcoal, and there is loads of choice! Faber-Castell Pitt Graphite Pencils are woodless with a coating that prevents messy fingers. Because the stick is pure graphite, it's easy to make a whole range of marks. Faber-Castell Series 9000 and Caran d'Ache Graphite Line Pencils (sets only) are dependable traditional wood coated pencils, available from 8B - 2H; many artists keep a stash in the studio as it's so annoying to run out! Caran d'Ache Grafwood pencils are available in even more grades - 4H-9B. Koh-I-Noor Jumbo Graphite pencils are perfect for big, bold marks. They are 10mm in diameter with a sturdy wood casing meaning you can apply lots of pressure.

Koh-I-Noor and Derwent both offer watersoluble graphite. It's a great way of softening lines and combining painting and drawing techniques. Derwent's XL Graphite range and Caran d'Ache Grafwood sticks are available in a range of shades and softnesses formed into 'carres' sticks - for use on their side for broad strokes or for fine lines use the edges.

XL Graphites are also watersoluble. Once dry more marks can be laid over the top.

Koh-I-Noor's 4B watersoluble woodless pencil is another we recommend for versatility.

Use it dry or wet, even the pencil shavings can be used to apply marks! If you're looking for extra dark marks the Conte Pierre Noire range is worth a try. Not strictly graphite, they're actually made from a black pigment and clay formula, and are indelible. They're great for drawing a composition on to canvas with and are available in H-3B grades. For real precision and cleanliness you can't go wrong with a Pentel Clutch Pencil. It's easy to replace leads (grades HB-4B are available) and erasers when required.

Caran D'Ache Grafcube Graphite Stick Code: GCGC106B Price: £4.00

Caran D'Ache Grafstone Code: GCGSHB Price: £3.60

Caran D'Ache Watersoluble Graphite Pencil Code: GCTEHB Price: £2.10

Faber-Castell Pitt Pure Graphite Code: GP29003B Price: £2.30

Conté à Paris Pierre Noire Code: GCTPNB Price: £1.10

Pentel 0.5mm Clutch Pencil Code: GXP205 Price: £6.20

Koh-I-Noor Progresso Aquarell Woodless Code: GK8912AQ4B Price: £0.80

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LIQUID PENCIL

D ER I VA N L I Q U I D P EN C I L T E S T I N G B Y J ACK S O N ' S M AT E R I A L S E X P E RT J U L IE CAV E S Derivan Liquid Pencil is an innovative new product that allows you to create actual graphite pencil sketches using a creamy graphite in a jar. Liquid Pencil is available in six shades of graphite with subtly tinted undertones in a permanent (acrylic) or rewettable (watercolour) formula.

The graphite shades are: blue, red, yellow, sepia, grey 3 and grey 9. It has been formulated to be easily thinned with water or acrylic medium and allows the softest of colours to be applied with a brush, nib, or other art tools. This paint-on graphite can be used to cover a large area quickly, in a smooth, even way or in a gradation. They granulate if you use a lot of water. Unlike

painting with ink or watercolour, Liquid Pencil doesn't lighten as it dries.

Dried liquid pencil will burnish up in a manner similar to traditional graphite and you can smudge the edges for blends, the rewettable version smudges more. Both formulas have the sparkle of graphite, but the watercolour version is a little more sparkly and looks great on textured paper – when applied lightly in a dry brush manner it skims over the textured surface.

The Permanent (acrylic) formula when dry will not erase with eraser or water.

The Rewettable (watercolour) formula when dry erases with a traditional eraser – though light areas erase well and dark

areas erase only about halfway. Comparing the rewettable formula to the permanent formula: you get darker darks and lighter lights more easily; you can lift areas using water like you would with watercolour painting, though not completely as these are all staining; it flows more evenly and you have more time to adjust the work than with the acrylic version.

Both Permanent and Rewettable formulas have the highest lightfastness rating.

Read more of Julie Caves' articles on materials on the Jackson's Art Blog

Left: Permanent colours must be worked quickly before the acrylic dries.

Right: Rewettable colours has more time for adjusting.

Blending colours shown: Blue (Permanent) (bottom), Grey 3 (Rewettable) (centre), and Sepia (Permanent) (top). Applied with a sable watercolour brush on hot press paper.

Left to right: Permanent Grey 3, Permanent Sepia, Rewettable Grey 3.

Top to bottom: Permanent Blue, Rewettable Grey 3, Rewettable Grey 9, Permanent Sepia

Smudging shown - bottom: Rewettable Watercolour, top: Permanent Acrylic

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SKETCHING PENS

SKETCHING PENS GUIDE Sketching Pens

Sketching in ink for many is a daring way to work. Faced with a blank page and full of intention to make your mark with an unerasable pen, artists that work in ink need to be able to go with the flow and revel in the beauty of impulsivity. Once the bare bones of your composition are laid down a few layers of watercolour can really bring your drawings to life.

So which pens to try? Staedtler Sketching Pens are reliable fine liners that are great for writing, sketching and drawing. There are 12 different sizes including a lovely chisel tip which can create lines that gently undulate in width as well as achieve archetypal calligraphic effects. Pigment Brush Pens by Pentel are refillable and have a hardwearingyet soft synthetic brush tip that is great for painterly marks that vary in width. The natural marks that this pen makes are energetic and elegant. Think oriental calligraphy, fast comic strip art, or expressive illustration work. Both Staedtler and Pentel pens use pigmented ink which means that marks are indelible, lightfast and waterproof.

If an authentically traditional drawing tool appeals, then the Manuscript Dip Pens are worthy of your attention. Beautifully crafted metal nibs (Styles I and J are great for starters) fit into a wooden holder and can achieve the finest delicate lines. Jackson's Indian Ink is the perfect ink for your ink well. Completely lightfast and permanent with an exceptional deep black colour, Jackson's ink is also suitable for use with a brush or airbrush. Pentel Water Brush Pens are an essential for artists who like a painterly quality to their drawings. Fill it with water and use it to break down and soften lines drawn in watersoluble media. Brush pens can also be used to move still-wet ink around on the surface of your work.

Pentel Pigment Brush Pen Code: GPP3 Price: £12.70

Pentel Watercolour Brush Pen Code: GFL101 Price: £7.00

Pilot Pigment Ink Pen Code: GPILOTB8 Price: £2.90

Stabilo Point 88 Watersoluble Fineliner Pen Code: GSP8846 Price: £0.90

Staedtler Pigment Liner Pen Code: GSDR-07 Price: £2.40

Manuscript Calligraphy Nib Style I Drawing Nib Code: GCNI Price: £0.80 Manuscript Calligraphy Nut Brown Pen Holder Code: GCHNB Price: £1.80

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COLOURED PENS

COLOURED PENS GUIDE Coloured Pens

Combine colour and line with a coloured pen - our menu of markers offer you bold and even colour that are able to blend with the aid of special colourless blender pens. These pigmentless pens help to re-wet your drawn marker lines and help them merge. Such blenders are available in the Winsor & Newton Pigment marker range and Shin Han Touch Twin range. Winsor's Pigment markers are lightfast with an ergonomic barrel, and available in a fine and broad nib. Shin Han's Touch Twin markers are double ended with each pen capable of both fine and broad marks, but unlike Winsor & Newton pens, they use alcohol and dye.

Tombow Dual Tip Blender Pen · Orange Code: GTABT933 Price: £2.60

Winsor & Newton Pigment Marker · Winsor Red Code: GWPG726 Price: £4.20

Shin Han Touch Twin Marker · Viridian Code: GSTB-G54 Price: £2.60

Uni Posca Acrylic Pens · Violet Code: GU3M10 Price: £2.70

Copic Ciao Marker · Lapis Lazuli Code: GCCM224 Price: £2.90

Liquitex Paint Marker · Medium Magenta Code: AXMW500 Price: £5.90

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BRUSHES GUIDE

BRUSHES GUIDE

BRUSHES GUIDE

What sets the best Brushes apart from the rest?

A well made brush will look good, offer you long lasting reliability (with the right care) and have the potential to create beautifully consistent brush marks. What are the other hallmarks of a great brush?

A Neat Brush Head The hairs of a brush aren't always just cut to the same length and bound. Expert brush makers will take into account the natural curve and shape of each hair. The collective binding of the hairs of the brush needs to form a solid shape (either round, flat, filbert etc.) to guarantee a clean crisp brush mark. Hairs are interlocked in their binding to maximise the liquid holding capacity. Hair is rarely cut at the tip as the natural taper of each strand is essential for achieving the finest point.

Excellent Binding A good brush will use longer hairs, so that they can sit deeper into the glue that binds them in place, reducing the likelihood of hairs falling out. Each brush undergoes careful inspection, and shorter hairs are removed. Once the hairs are arranged in exactly the right position they are tightly bound within a metal ferrule or a natural or plastic quill.

Varnished or Lacquered Handle for Longevity Wooden handles will be waxed or varnished to avoid water or solvent damage. Many are especially ergonomically shaped to ensure that they are comfortable to use.

What makes a good Oil Painting or Acrylic Painting Brush?

Considering what your painting approach is will enable you to choose the perfect brush.

Smooth Brush Strokes, Washes, Stains and Glazes If you are working with fluid paint, you will need a soft brush to make smooth brush marks.

We'd suggest Red or Black Sable brushes by Da Vinci, or a soft synthetic brush, such as Jackson's Procryl or Winsor & Newton Monarch Synthetic Mongoose brushes. These all hold a lot of liquid and spread colour evenly. If you paint fine detail and like a shorter handle you can also consider using a watercolour brush for fluid painting techniques.

Impasto Brush Marks For very thick applications of colour with an imprint of the brush in your brush-strokes there are natural and synthetic choices available. Da Vinci Top Acryl, Jackson's Akoya and Jackson's Shinku brushes are all great synthetic recommendations. Stiffer Hog brushes such as the Da Vinci Maestro 2 range are also great for impasto work.

A good all-rounder that can do a bit of both The Jackson's Black Hog and the Shiro Hog brush ranges are perfectly versatile for both thick and thin painting techniques. Black Hog hair is a touch softer than most other hog hair, which means it can hold a lot of liquid but also has the rigidity required in a brush for impasto painting. Shiro is a premium white hog range.

A good Snap for a vibrant and fresh mark The snap or spring of a brush is the speed at which brush hairs will ping back into their original position if pulled back with your finger. If they snap right back into place instantly then the brush is said to have good snap, and the resulting brush marks of the brush will be crisp and vibrant looking. Sound appealing? Then try our beautiful synthetic Jackson's Shinku brushes, or the award winning Isabey Isacryl brushes.

Short Handle, maximum control When accuracy is your aim, short handle brushes can be a lot easier to hold and control, and this is why Pro Arte Acrylix has a popular short handle range. Our own Jackson's Onyx short handle brush range are also worth looking at - expertly made with a stiff hair.

What makes a good Watercolour Brush?

The main aim for most watercolourists is to find a brush with good liquid holding capacity.

Sable hair brushes are generally considered the very best for this, but there are also now some exceptional synthetic alternatives too. Those who paint fine detail are likely to also look for good spring so that crisp lines can be applied exactly where they're needed.

Natural Hair for maximum holding capacity Hair naturally has a thicker middle (belly) which tapers to a fine point. When hairs are bunched together this shape helps to hold more liquid. Short handled sable brushes such as Jackson's Kolinsky-Tajmyr brushes are often considered the finest brushes that a watercolour painter can work with. Some other alternatives are the famous Winsor & Newton Series 7 brushes (commissioned by Queen Victoria) and Da Vinci Series 10 sable brushes.

Washes For vast expanses of gentle colour; skies, seas or the initial laying in of tone for a painting, mops are the perfect brush. Squirrel Mops are round, natural and with the best liquid holding capacity. A brilliant synthetic alternative is the Da Vinci Cosmotop Spin mop brush, the Jackson's Raven Synthetic mop range or Escoda's Ultimo Tendo Synthetic mop brush range. Oval wash brushes such as those made by Jackson's, Pro Arte and Daler Rowney

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Travel Brushes The perfect companion to your travel watercolour set. You're no longer limited to the brush that came free with it - today there are some fantastic retractable brushes available by leading brands Escoda, Pro Arte and Da Vinci, in round, flat and filbert shapes.

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offer a lozenge-shaped brush mark. Hake brushes are made from very soft and relatively short, white goat hair. They are wide and flat shaped. Their long wooden handles are perfect for making vast sweeping brushstrokes as you might find in Chinese painting techniques.

Jackson's and Pro Arte Hakes are our most popular.

Speciality Brushes These clever brushes are specially designed to capture effects from the natural world.

Effortlessly portray foliage, render a moody sky or use the stippler brush to create texture in the foreground with our ever popular Jackson's Speciality brushes, made with a blend of natural hairs. The width of a Swordliner brush head at the ferrule holds a lot of paint. This width then tapers off to a very fine point. As a result it's possible to make lines that undulate from thin to thick depending on the pressure that you apply.

Top of the Range Synthetics Those who prefer not to use natural hair brushes have loads of excellent synthetics to choose from, which generally last longer than natural brushes. Nowadays synthetic brushes so closely resemble their natural hair equivalents it can be hard to tell the difference. One of our bestselling synthetic ranges is the Jackson's Artica brush range.

The best of both Combining natural with synthetic hair in a single brush give you the best of both worlds maximum liquid holding and maximum durability. Jackson's Icon sable-synthetic brushes are certainly worth a try.

What makes a good Pastel Brush?

Pastel brushes are soft, short haired, and don't usually taper to a point. They're designed to make it possible to add texture to already applied soft pastel colour, or to make it easy to blend two colours together smoothly. Jackson's, Sennelier and Da Vinci all make pastel blending brushes. Soft tools are little sponge-ended blenders designed to apply PanPastel colours, which can also be used to blend regular soft pastel.

How to care for your Brush

The lifespan of a brush is prolonged if it is kept clean and cared for.

All brushes benefit from being cleaned with artist brush soap, as it contains natural oils which help to moisturise the hairs, which maintains their strength and shape. The following is a great clean up procedure for your brushes: Remove the excess paint from your brush with a rag, and then rinse - for watercolour and acrylic rinse in water, and for oils use solvent (turpentine, white spirit, low odour solvent or Zest-It). Blot on a clean rag.

Gently rub the head of the brush onto your brush soap. Work into a lather with your fingers.

The lather will pick up the colour of the paint you have been working with. Rinse under running lukewarm water and work in more brush soap, and keep doing this until the lather becomes free of paint. Remember to work the lather with your fingers right up against the ferrule, as acrylic and oil paint are particularly good at getting lodged up there and if the paint is not washed away, the brush is likely to lose its shape and splay.

Once the hairs are clean, blot onto another clean rag and shape the brush head with your fingers. For extra protection you can dip a clean watercolour brush in gum arabic. This will fix the hairs in place until it is next dipped in water.

Leave to air dry, ideally by hanging the brush from its handle somewhere reasonably well ventilated. This will allow any water in the ferrule to run out, which will prevent the handle from rotting.

If your brush ever becomes misshapen (for example by being squashed in storage or during transport) remember it's possible to re-shape natural hair brushes by holding the head in some steam from a kettle. This softens the hairs and causes them to bend back into place of their own accord.

Many painters like to use a brush cleaning pot. Put a bit of water or solvent in the pot.

During your painting session place your brushes in the pot and use the liquid to rinse your brushes when you're not using them. Brush pots have a filter level which allows paint sediment to sink below it, keeping the solvent/water and your brush cleaner for longer.

FREE OIL, ACRYLIC & WAT E R C O LO U R C ATA LO G U E S AVAILABLE NOW Have you heard about Jackson's Oil, Acrylic and Watercolour Catalogues?

For the first time we have combined our range of brushes, surfaces and sundries for each medium in print.

This ensures that our customers get a catalogue which is tailored to their interests.

Order a free catalogue with your next order using the code CATO (Oil Catalogue), CATA (Acrylic Catalogue), CATW (Watercolour Catalogue), or view online at www.jacksonsart.com

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BRUSHES

INTRODUCING JACKSON'S R AVEN SYNTHETIC SQUIRREL MOP The Raven is a short handled mop brush which is made from synthetic squirrel hair.

It has an excellent take-up and release of water and holds a lot of paint which will enable you to produce long, flowing strokes.

The larger sizes are especially useful for creating big washes of colour without having to reload your brush with pigment or water.

The hair is soft and holds its shape really well, it retains a really nice point which will be ideal for finer detail.

Mop Series 528 Size No. 6 Code: BR5286 Price: £17.20 Mop Series 528 Size No. 4 Code: BR5284 Price: £13.20 Mop Series 528 Size No. 2 Code: BR5282 Price: £10.30 Image above shows sizes 6, 4 and 2 Mop Series 528 Size No. 0 Code: BR5280 Price: £8.00 Mop Series 528 Size No. 3/0 Code: BR52830 Price: £6.50 Mop Series 528 Size No. 10/0 Code: BR528100 Price: £5.60

Image above shows sizes 0, 3/0 and 10/0

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BRUSHES

INTRODUCING JACKSON'S ONYX SYNTHETIC A new range of brushes!

The Onyx are a range of stiff haired, short handled synthetic brushes which have a great spring, hold their shape incredibly well and have a good colour holding capacity.

Smooth, versatile brushes that glide with paint, they are best used with heavy body or fluid paint. They are firm yet flexible and have a lovely silky texture. They are perfect for both precision work and looser styles and can be used with acrylic and oils.

Testing Jackson's Onyx Brushes I decided to give a few sizes in both the flat and round a little try out. I used Jackson's Artist Acrylic in Orange Red as I thought it would be a good test for both brushing out flat and creating more defined brush marks.

I used two of our Jackson's Ultralite Panels to test the brushes out on as it is a great lightweight surface.

When first touching the brushes without having paint on them, I could feel that they had a great spring and bounced back when I pushed them onto my hand. I was surprised at how much water and paint the brush held; this meant that my lines went further and I was able to create a more continuous line.

The brush also reacted well when I applied pressure to it; the bristles did not splay outwards and held their shape well.

Image above shows Onyx Round Brushes in size 12, 8, 4 and 1 using Jackson's Artist Acrylic on Ultralite Panel

In the Flat range I tried the Mottler 1 inch, 1/2 inch and 1/4 inch and in the Round I sampled sizes 12, 8, 4 and 1 with a variety of different brush strokes. I noticed that I had the ability to produce both thick, bold lines with the flat brush and also really thin lines with the edge of the bristles without it dragging or the bristles splaying. The brushes also allow you to blend really easily and are flexible enough that you can create subtle, soft marks.

Round Series 571 Size No. 12 Code: BR57112 Price: £6.90

Mottler Series 576 Size 1in Code: BR5761 Price: £13.50

Round Series 571 Size No. 8 Code: BR5718 Price: £4.20

Flat Series 572 Size 1/2in Code: BR57212 Price: £5.10

Round Series 571 Size No. 4 Code: BR5714 Price: £2.70

Flat Series 572 Size 1/4in Code: BR57214 Price: £3.10

Round Series 571 Size No. 1 Code: BR5711 Price: £2.40

Image above shows Onyx Flat Brushes - 1 inch, 1/2 inch and 1/4 inch using Jackson's Artist Acrylic on Ultralite Panel

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JACKSON'S SHINKU SYNTHETIC Round Series 373 Size No. 8 Code: B3738 Price: £8.90

Our Shinku brushes have a deep red glossy hair that has a good spring. It's the perfect brush for dynamic acrylic painting.

One happy artist told us the Shinku is 'an excellent brush, which creates the finest, detailed and smoothest brush marks'. These brushes are made to ensure no hairs are lost while painting.

Top image showing heavy body paint.

Bottom image showing fluid body paint.

Bright Series 374 Size No. 8 Code: B3748 Price: £8.30 Filbert Series 375 Size No. 8 Code: B3758 Price: £9.60

INFO Brush Images Shown actual size.

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JACKSON'S BLACK HOG Round Series 333 Size No. 6 Code: B3336 Price: £5.60 Flat Series 334 Size No. 6 Code: B3346 Price: £5.20

If you find most hog hair too coarse, but sable too soft, then our Black Hog brushes are worth a try.

They work beautifully with both thick and thin paint. Encased in a silver coloured ferrule and matt black handle, they both look and feel beautiful.

Top image showing heavy body paint.

Bottom image showing fluid body paint.

Filbert Series 335 Size No. 6 Code: B3356 Price: £5.40

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JACKSON'S SHIRO HOG Shiro Hog hair is very resilient. It does not undergo any bleaching or boiling treatments, and therefore the hair is strong.

It has no trouble in retaining both shape and spring if cared for properly. As one artist told us, it is a 'very good brush, firm and dependable in use'.

INFO Brush Images Shown actual size.

Heavy body paint.

Fluid body paint.

Round Series 301 Size No. 8 Code: B3018 Price: £6.50 Bright Series 302 Size No. 8 Code: B3028 Price: £6.10 Filbert Series 304 Size No. 8 Code: B3048 Price: £6.50 84

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JAC KS O N ' S A KOYA S Y N T H E T I C Round Series 363 Size No. 6 Code: B3636 Price: £6.50

Bright Series 364 Size No. 6 Code: B3646 Price: £6.20

Filbert Series 365 Size No. 6 Code: B3656 Price: £6.50

Our Akoya brushes are made of semi matte synthetic hair which has microcraters which help the brush retain liquid and replicate the performance of natural hair.

They're a real hit among the artists we serve. One reviewer told us, 'these synthetic brushes are perfect. They're springy and keep their shape very well indeed'.

Heavy body paint.

Fluid body paint.

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JAC KS O N ' S WAT E R C O LO U R B R U S H E S Jackson's have a great range of synthetic and natural hair watercolour brushes which are versatile and will help you to get the best out of your paint.

The Squirrel Mop brush is perfect for creating large washes of colour.

The Studio Synthetic brush holds colour really well and is super soft with a lovely spring.

The Kolinsky-Tajmyr brush tapers to a fine point and is great for detail work.

Jackson's Pure Squirrel Mop holds loads of water and makes it easier to experiment with loose washes.

This brush also tapers to a fine point for more detailed work' – Customer review.

Jackson's Pure Squirrel Mop Quill Series 828 Size No. 8 Code: BS8288 Price: £9.70

Jackson's Studio Synthetic is a great brush for watercolourists of all abilities.

The hair is similar to Prolene, and is long lasting as well as soft. One customer review said 'it has a good heavy handle that I like. Feels very durable and balanced when held. The tuft is made from quality synthetic hair'.

Jackson's Studio Synthetic Round Series 505 Size No. 6 Code: B5056 Price: £3.20

We believe that these Jackson's Kolinsky-Tajmyr brushes will surpass your expectations.

Made with the finest Kolinsky sable available and assembled to the highest specifications, these brushes are guaranteed to give you great holding capacity, control, spring and a fine point, all the way to the largest size.

Jackson's KolinskyTajmyr Round Series 1205 Size No. 8 Code: B12058 Price: £12.10

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BRUSHES

DA VINCI BRUSHES Da Vinci Kolinsky Red Sable Oil Brush Series 1610 Round No. 28 Code: B161028 RRP: £128.05 Price: £110.00

Da Vinci Kolinsky Red Sable Oil Brush Liner Series 1210 No. 8 Code: B12108 RRP: £15.25 Price: £13.10

Da Vinci Kolinsky Red Sable Oil Brush Series 1810 Bright Size No. 18 Code: B181018 RRP: £45.85 Price: £40.00

Da Vinci Kolinsky Red Sable Oil Brush Series 1815 Filbert Size No. 16 Code: B181516 RRP: £63.80 Price: £55.00

Da Vinci Russian Squirrel Quill Brushes Series 418 Size No. 2/0 Code: BV41800 RRP: £13.06 Price: £12.30

Da Vinci Russian Squirrel Quill Brushes Series 418 Size No. 3 Code: BV4183 RRP: £24.84 Price: £23.50

Da Vinci have an international reputation for making world class fine art brushes. They specialise across all mediums and hair types, producing synthetic and natural hair brushes for oil, acrylic and watercolour.

Da Vinci's range of brushes use the finest hairs available - The Kolinsky Red Sable Oil Brush is soft yet resilient and allows you to produce very smooth marks and details. The Russian Squirrel Hair Quill Brush is ideal for fluid watercolour washes and techniques.

The Tobolsky Sable is incredibly well suited to delicate and detailed watercolour painting as it holds sharp points and can achieve crisp edges.

Da Vinci Russian Squirrel Quill Brushes Series 418 Size No. 12 Code: BV41812 RRP: £163.20 Price: £154.00

Da Vinci Maestro Tobolsky-Kolinsky Red Sable Series 35 Size No. 6 (below) Code: BRS106 RRP: £21.80 Price: £17.70

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PAPER GUIDE

PAPER GUIDE

PAPER GUIDE

What's so special about paper?

The word 'paper' refers to so many surfaces for many different purposes. For artists what is key is that the paper they work on is durable, reliable, and has the right weight and texture.

It has to be the perfect backdrop to the work that you draw, paint or print onto it. The right paper actually helps to enhance how your work looks and will bring out the best in every mark you make. You'll be able to trust that it doesn't yellow or deteriorate over time. Paper can be made from materials such as cotton, wood cellulose and even plastic. So whether your medium is graphite, charcoal, watercolour, print, oil or acrylic, there's a paper available that we're sure you'll love working with.

What's the difference between paper for watercolour, pens, pencils, soft pastel, printmaking oil, acrylic, and mixed media?

Watercolour Paper

What is watercolour paper made of?

The very best watercolour papers are made from 100% linen or cotton rag - it's the most resilient material and can withstand heavy applications of liquid and scrubbing of the surface without severe damage. Artist quality paper made from wood cellulose has been specially treated to remove the natural acid content. The fibres are not as strong as cotton but will still withstand a good amount of scrubbing and watercolour paint application. We also sell a number of papers that combine wood cellulose and cotton.

How is watercolour paper made?

The process of making watercolour paper starts by making the pulp - rinsing the fibres being used and then mixing with water and pH neutralising chemicals. The pulp is pounded so that the fibres are separated out and create an even consistency. Internal size is added to the pulp mix - this is usually a synthetic solution that helps watercolour paint look its brightest by preventing it from seeping into the paper itself. In the case of handmade papers the paper pulp is then placed into a rectangular frame to create a sheet of paper that is left until it has dried a little, and then it is placed between sheets of felt to create the texture required on the surface. A natural deckled edge is formed with this process of manufacture. Cylinder mould made papers are made by pressing the paper through 2 large metal rollers - the pressure, and whether felts line the cylinders or not, shapes the final texture of the paper.

What are the different textures of watercolour paper and how are they formed?

Completely smooth paper is called hot pressed paper, when the pressure has been at its greatest and the cylinders at their hottest. Cold pressed paper (NOT surface) is pressed between cold cylinders lined with felt for a lightly dimpled surface that allows for a slight irregularity in how colour sits on the surface (which enhances colour vibrancy). Rough paper has been pressed with the least pressure between felts, giving a heavier texture. Cylinder moulds can make up to 200 sheets an hour - it's a much faster way of making watercolour paper than the handmade process and the results are more uniform. Once the paper is dry a layer of external sizing is added - this reduces further the absorbency of the paper so that watercolour sits mainly on the surface (although it will partially sink into the paper) and appears bright. Wetting the paper in paper stretching methods can remove a lot of this sizing, making the paper too absorbent, so many manufacturers add more external sizing than is necessary to compensate for this.

What colours is Watercolour Paper available in?

Traditionally watercolour paper is a warm white. It's impossible to get bright white watercolour paper as the brighteners they would need to use would impair the quality of the paper and over time, may cause the surface to look patchy. That said there are some whiter watercolour papers that have been made paler with the use of specially developed acid free optical brightening agents. There are also a number of tinted watercolour papers.

What formats is watercolour paper available in?

Watercolour paper is available in loose sheets, rolls, spiral bound pads, gummed pads, soft and hardcover journals, blocks and postcards.

Paper for Pens

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The most important requirements for most Marker, Sketching and Drawing pen work is that the paper used is bleedproof, bright white and smooth. Marker and Bleedproof pads have a special coating giving the bright white surface a soft sheen. Ink glides across effortlessly and colour looks even and bright. The thickness also allows for layering of marks without buckling. Layout Pads contain much thinner paper, useful for drafting out sketches and ideas. Illustration board and Marker boards are rigid to prevent warping or the need for a completely smooth work surface. Paper for Pens is usually bound in a gummed pad while boards are sold individually.

PAPER GUIDE

Paper for Pencils and Charcoal

Lightly textured or completely smooth paper is often favoured by artists working with charcoal and graphite (although heavier textures can also be used). The most commonly used paper is cartridge paper, it's sometimes internally sized to make it more hardwearing, and can be made of wood cellulose or cotton rag. It's usually either completely smooth or lightly textured. Paper especially suited to charcoal tends to have a laid (finely ribbed) texture.

Paper for pencils and charcoal are usually sold as loose sheets, pads or rolls. Cartridge paper tends to be white or off-white, while charcoal paper is also available in a range of pale earthy hues.

Paper for Soft Pastel

Paper (and card) for soft pastel comes in all sorts of different colours - the opacity of the pastel means it can be applied to different colours and the colour of the pastel still appears bright. The best papers are acid free and made of rag and/or wood cellulose. Surfaces for pastel are textured - sometimes subtly and sometimes heavily. This helps to keep the colour where it should be, and also makes it possible to layer colours. Among the available surfaces is finely ribbed paper (known as Ingres), naturally mottled (such as Murano), and the coarser sandpaper-texture papers and cards. Surfaces for soft pastel are available as loose sheets and in pads.

Paper for Mixed Media

Mixed Media paper is made to withstand applications of paint while maintaining the look and feel of a drawing paper. It's perfect for line and wash techniques, or for watercolour pencil work. It usually has a subtle vellum like surface and can be made from cotton, rag or bamboo.

It is usually available in pads or hardbound books.

Paper for Oil and Acrylic Painting

These papers will not buckle, nor will the colour bleed. The oil painting paper by Arches is truly unique - it looks and feels just like their regular watercolour paper, however, it has been especially sized to make it resistant to the deterioration that would normally occur when oils are applied to paper. Other acrylic and oil painting papers are either made from plastic or acrylic primed sheets of paper with an imitation linen texture. They're perfect for quick sketches, idea development and experiments. They are available as loose sheets as well as in pads.

Paper for Print

Each printmaking process requires a unique set of qualities in order to achieve the best results. Digital papers are available in a range of different textures and weights. They are thinly coated with an archival solution that not only enhances the appearance of inkjet printed images, but optimises their lightfastness. Etching requires a reasonably heavyweight, smooth or lightly textured cream or white paper that can be made damp and withstand high pressure. Screenprinting paper needs to be smooth so that colour can be evenly applied - it doesn't have to be white if opaque inks are being used, but it usually is. Relief printing papers i.e. paper for lino, woodcut and wood engraving, vary a lot with regards texture and weight.

Japanese Gampi paper is very thin and semi translucent and is favoured by relief artists who like the illuminating quality the paper lends to printed images, however it is very delicate.

More robust papers with a smooth vellum surface can be used to give a more graphic effect.

Which brand?

Every kind of art process requires a set of unique qualities, so one paper might be excellent for watercolour but be totally unsuitable for a graphic marker pen drawing. However what is true, irrespective of your medium, is that the best papers are made from cotton or linen. The fibres are longer and stronger, so the paper will be more robust too. Scrub, stretch, erase to your heart's content, and your paper will survive a lot better than any paper made of the less expensive wood cellulose. All art papers are made to ensure that the acid content is as low as possible. In the case of cotton or linen, there's no acid content anyway, so no problem but wood based papers undergo essential neutralisation - and papers on occasion may have the tiniest traces of acid content. Acid causes paper to discolour over time and become more brittle, but when the content is so low you may not ever see these effects in your lifetime.

If you're really concerned about longevity it's worth checking that the paper states it is 'archival'.

Protecting your finished work on paper

If the materials that you use to make your work on paper are permanent then a great way to protect them is to frame under glass. Display them out of direct sunlight as even fully permanent pigments may be at risk from fading if exposed to too much Ultra-Violet. UV resistant glass does help to minimise the risk. Alternatively our archival portfolio sleeves are acid free and a great way to protect finished work. You may also consider binding works together in your own book.

FREE OIL, ACRYLIC & WAT E R C O LO U R C ATA LO G U E S AVAILABLE NOW Have you heard about Jackson's Oil, Acrylic and Watercolour Catalogues?

For the first time we have combined our range of brushes, surfaces and sundries for each medium in print.

This ensures that our customers get a catalogue which is tailored to their interests.

Order a free catalogue with your next order using the code CATO (Oil Catalogue), CATA (Acrylic Catalogue), CATW (Watercolour Catalogue), or view online at www.jacksonsart.com

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WAT E R C O L O U R PAPER

S A U N D E R S WAT E R F O R D WAT E R C O LO U R PA P E R Saunders Waterford is a very popular paper at Jackson's Art Supplies.

It is regarded by professionals as one of the best watercolour papers available on the market internationally today. It is a natural beige colour, 100% archival, and a

particularly lovely surface on which to create traditional looking watercolour paintings on.

Regarded by professionals as one of the best watercolour papers available on the market internationally today. It is available in all 3 surfaces (Not, Hot Press and Rough) in each

of the 3 weights (140lb, 200lb, 300lb). It is available in all 3 surfaces (Not, Hot Pressed and Rough) in each of the 3 weights (140lb, 200lb, 300lb).

Not 140lb / 300gsm Single sheet 22 x 30in.

Code: PPS140N RRP: £4.06 Price: £3.30 INFO View Saunders Waterford Watercolour paper full range online. Go to www.jacksonart.com

Hot Press 140lb / 300gsm Single sheet 22 x 30in.

Code: PPS140HP RRP: £4.06 Price: £3.30 HIGH WHITE SHEETS The superb artists’ grade paper from Saunders Waterford is now available in bright white, along with their normal natural creamy white paper.

This high quality paper has a watermark in the corner for authenticity and 4 deckle edges which are visually beautiful and perfect for float framing. Artists' grade

watercolour paper is archival which means it will not discolour or fall apart over time and is made of 100% cotton rag. This paper is much more durable than lower grades of paper because it is gelatine surface sized and it is mould made both of which mean it can take scrubbing of the surface without falling apart. Saunders Waterford paper is

endorsed by the Royal Watercolour Society. natural beige colour, 100% archival, and a particularly lovely surface on which to create traditional looking watercolour paintings on.ssed and Rough) in each of the 3 weights (140lb, 200lb, 300lb). It is available in all 3 surfaces (Not, Hot Pressed and Rough) in each of the 3 weights (140lb, 200lb, 300lb).

Rough 140lb / 300gsm Single sheet 22 x 30in.

Code: PPSX140R RRP: £4.06 Price: £3.30

Not 140lb / 300gsm Single sheet 22 x 30in.

Code: PPSX140N RRP: £4.06 Price: £3.30 Hot Press 140lb / 300gsm Single sheet 22 x 30in.

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WAT E R C O L O U R PAPER

CANSON MOULIN DU ROY WAT E R C O LO U R PA P E R Canson Moulin du Roy is a 100% cotton French watercolour paper.

A French-made watercolour paper that compares well to Saunders Waterford.

It is 100% cotton, archival and acid free, and made on a cylinder mould machine with deckle frames which create a deckled

edge on each sheet as you would find on handmade paper. Moulin du Roy is internally and externally sized, designed for heavy applications of watercolour and for withstanding scrubbing and colour lifting.

Moulin du Roy is naturally white and does not contain any optical brightening agents.

A beautiful and reliable watercolour paper that can be used for all water based painting and drawing media.

View the full range of Moulin du Roy sheets, packs and pads online.

Go to www.jacksonsart.com

Rough 140lb / 300gsm Single sheet 22 x 30in.

Code: PCMR140R RRP: £3.55 Price: £3.10

Hot Press 140lb / 300gsm Single sheet 22 x 30in.

Code: PCMR140HP RRP: £3.55 Price: £3.10

Not 140lb / 300gsm Single sheet 22 x 30in.

Code: PCMR140N RRP: £3.55 Price: £3.10

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WAT E R C O L O U R PAPER

JAC KS O N ' S EC O WAT E R C O LO U R PA P E R Jackson's Eco Watercolour Paper is an exciting, rugged handmade paper from India that is perfectly matched for dynamic, bold, wet-into-wet techniques with no risk of colours bleeding into one another.

NOTE Paper Cutting We can cut your loose watercolour sheets in quarter or half on request with no additional cost.

This very absorbent paper is packed with character. Recommended for confident painters who enjoy making quick, expressive marks within their painting.

Sheets are available in 3 weights: 140lb, 200lb and 560lb.

View the full range of Jackson's Eco Paper sheets and packs online. Go to www.jacksonsart.com or order our speciality Watercolour Catalogue.

Medium Rough 140lb / 300gsm Single sheet 22 x 30in. (above left) Code: PJ140MR Price: £2.50

Smooth Medium 140lb / 300gsm Single sheet 22 x 30in. (above right) Code: PJ140SM Price: £2.50

Extra Rough 140lb / 300gsm Single sheet 22 x 30in.

Code: PJ140ER Price: £2.50

Smooth Medium Half Sheet Pack 140lb / 300gsm A pack of 10 sheets, each measures 15 x 22in.

Code: PJ140SM5H Price: £11.50

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Smooth Medium Quarter Sheet Pack 140lb / 300gsm A pack of 20 sheets, each measures 11 x 15in.

Code: PJ140SM5Q Price: £10.80

Medium Rough Half Sheet Pack 140lb / 300gsm A pack of 10 sheets, each measures 15 x 22in.

Code: PJ140MR5H Price: £11.50

Medium Rough Quarter Sheet Pack 140lb / 300gsm A pack of 20 sheets, each measures 11 x 15in.

Code: PJ140MR5Q Price: £10.80

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Extra Rough Half Sheet Pack 140lb / 300gsm A pack of 10 sheets, each measures 15 x 22in.

Code: PJ140ER5H Price: £11.50

Extra Rough Quarter Sheet Pack 140lb / 300gsm A pack of 20 sheets, each measures 11 x 15in.

Code: PJ140ER5Q Price: £10.80

SKETCHBOOKS

JACKSON'S SKETCHBOOKS Jackson's Hardbound Sketchbook This A5 Landscape sketchbook has a sewn spine and an elegant synthetic linen cover for extra durability and protection. It is made from acid-free, pH buffered lignin and chlorine-free Alpha cellulose paper with the same archival qualities as cotton. The white matt surface is suitable for all dry media, as well as water-based markers and light washes. 88 sheets, 100gsm. Available in the following format: A5 Landscape.

Jackson's Lay-Flat Sketchbook This sketchbook has a thick card cover and a sturdy sewn binding which allows the pages to lie completely flat when open. It is made from medium-grain, acid-free drawing paper in natural white. Suitable for all dry techniques. 72 sheets, 100gsm.

Available in the following formats: 15 x 12cm, 21 x 21cm, A5 Landscape, A4 Portrait.

Jackson's Hardbound Sketchbook - A5 Landscape Code: PJS100612 Price: £5.50

Jackson's Lay-Flat Sketchbook - A5 Landscape Code: PJS110612 Price: £5.00

Jackson's Wire-O Sketchbook This sketchbook has heavy-duty binder board covers and an elegant Wire-O binding, which allows the pages to be laid completely flat. It is made from acid-free, pH buffered lignin and chlorine-free Alpha cellulose paper with the same archival qualities as cotton. The white matt surface is suitable for all dry media, as well as water-based markers, light washes, and most other techniques. 55 sheets, 130gsm.

Available in the following formats: 17 x 17cm, 21 x 21cm, A6 Landscape, A5 Landscape, A4 Portrait, A4 Landscape.

Jackson's Softcover Sketchbook This softcover sketchbook has a staple binding, and is lightweight and highly portable. It is made from acid-free, pH buffered lignin and chlorine-free Alpha cellulose paper with the same archival qualities as cotton.The white matt surface is suitable for all dry media, as well as water-based markers and light washes.

16 sheets, 120gsm. Available in the following formats: 16 x 20cm, 21 x 20cm, A5 Landscape, A4 Portrait.

Jackson's Wire-O Sketchbook - A5 Landscape Code: PJS150712 Price: £4.60

Jackson's Softcover Sketchbook - A5 Landscape Code: PJS121600 Price: £1.50 Jackson's Watercolour Sketchbook This sketchbook has a sewn binding and an elegant synthetic linen cover, which provides support when working and makes it scuff, stain and scratch resistant. It is made from acid-free 35% cotton rag paper. The white, slightly textured surface is suitable for all dry media, as well as light-wash watercolour and ink. 60 sheets, 160gsm. Available in the following formats: 17 x 11.5cm, 17 x 15.6cm, 17 x 24cm, 24 x 20.6cm, 30 x 24cm.

Jackson's Watercolour Sketchbook - 30 x 24cm Landscape Code: PJS130811 Price: £19.50 O R D E R N O W · 0 2 0 7 2 5 4 0 07 7 · JAC K S O N S A RT.C O M

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SKETCHBOOKS

STILLMAN & BIRN HARD COVER PADS NOTE Stillman & Birn Sketchbooks are available in hardbound or wirebound.

Visit our website for more info and details.

1. Alpha 150gsm White Vellum Hardbound The Stillman & Birn Alpha Series sketchbooks contain a natural white vellum paper with a distinctive tooth, 100 lb. (150 gsm), suitable for all dry media, and will also accept multiple washes. Available in hardbound (62 sheet) or wirebound (50 sheet) sketchbooks.

Order Code PSB100460 PSB100580 PSB100899 PSB100960

Size in 4x6 5.5 x 8.5 8.25 x 11.75 9x6

Sheets 62 62 62 62

£ RRP 9.76 12.65 18.22 15.03

£ Price 9.40 12.10 17.40 14.40

4. Epsilon 150gsm Natural White Smooth Hardbound The Stillman & Birn Epsilon Series sketchbooks contain a natural white smooth paper suitable for pen & ink, coloured pencils, water-based markers as well as watercolours. Available in hardbound (62 sheet) or wirebound (50 sheet) sketchbooks.

Order Code Size in Sheets £ RRP £ Price PSB700580 5.5 x 8.5 62 12.65 12.10 PSB700899 8.25 x 11.75 62 18.22 17.40

NOTE Stillman & Birn Softcover Sketchbooks are available in a range of different sizes.

Visit our website for more info and details.

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2. Beta 270gsm Natural White Cold Pressed Hardbound The Stillman & Birn Beta Series sketchbooks contain paper with both internal and surface sizing, these papers have exceptional wet strength that supports the application of multiple washes. Similarly, just as the paper's sizing retards water absorption, pigment stays on the surface of the sheet.

Order Code PSB300580 PSB300899

Size in Sheets 5.5 x 8.5 26 8.25 x 11.5 26

£ RRP £ Price 14.33 13.70 20.54 19.70

5. Gamma 150gsm Ivory Vellum Hardbound The Stillman & Birn Gamma Series sketchbooks contain an ivory vellum paper with a distinctive tooth, 100 lb. (150 gsm), suitable for all dry media, and will also accept multiple washes. Available in hardbound (62 sheet) or wirebound (50 sheet) sketchbooks.

Order Code Size in Sheets £ RRP £ Price PSB400899 8.25 x 11.75 62 18.22 17.40 PSB400580 5.5 x 8.5 62 12.65 12.10

3. Delta 270gsm Ivory Cold Pressed Hardbound The Stillman & Birn Delta Series sketchbooks contain an ivory cold press paper with substantial tooth, 180 lb.

(270 gsm), enhanced wet and tear strength, suitable for multi-media artwork. Available in hardbound (26 sheet) or wirebound (25 sheet) sketchbooks.

Order Code Size in Sheets £ RRP £ Price PSB600580 5.5 x 8.5 26 14.33 13.70 PSB600899 8.25 x 11.75 26 20.54 19.70

6. Zeta 270gsm Natural White Smooth Hardbound The Stillman & Birn Zeta Series sketchbooks contain a natural white smooth paper, 180 lb. (270 gsm), suitable for pen & ink, coloured pencils, water-based markers as well as watercolours. Available in hardbound (26 sheet) or wirebound (25 sheet) sketchbooks.

Order Code PSB900580 PSB900899

Size in Sheets 5.5 x 8.5 26 8.25 x 11.75 26

£ RRP £ Price 14.33 13.70 20.54 19.70

STILLMAN & BIRN SOFTCOVER PADS 1. Alpha Softcover Sketchbook 150gsm 9 x 14cm. 48 sheets.

Code: PSBSA350P RRP: £7.96 Price: £7.60

2. Beta Softcover Sketchbook 270gsm 9 x 14cm. 28 sheets.

Code: PSBSB350P RRP: £7.96 Price: £7.60

3. Delta Softcover Sketchbook 270gsm 9 x 14cm. 28 sheets.

Code: PSBSD350P RRP: £7.96 Price: £7.60

4. Epsilon Softcover Sketchbook 150gsm 9 x 14cm. 48 sheets.

Code: PSBSE350P RRP: £7.96 Price: £7.60

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5. Gamma Softcover Sketchbook 150gsm 9 x 14cm 48 sheets.

Code: PSBSG350P RRP: £7.96 Price: £7.60

6. Zeta Softcover Sketchbook 270gsm 9 x 14cm. 28 sheets.

Code: PSBSZ350P RRP: £7.96 Price: £7.60

SKETCHBOOKS

STILLMAN & BIRN TEXTURES IMAGES 1. Alpha 150gsm 2. Beta 270gsm 3. Delta 270gsm 4. Epsilon 150gsm 5. Gamma 150gsm 6. Zeta 270gsm

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CA N VAS & B OA R D S GUIDE

CA N VA S & B OA R D S G U I D E

CANVAS AND BOARDS GUIDE

Whats so special about canvas?

There's nothing quite like laying paint onto the plain woven threads of traditional canvas.

When tightly stretched onto a frame as with our ready made, bespoke and DIY stretched canvases, the vibrancy of the surface is truly unique. Linen canvas is considered the very best, made from the long and strong fibres of the flax plant, it is available in a range of weaves, from extra fine to rough. Due to traditional manufacturing the weave of linen can look more irregular than the weave of cotton which all adds to its charm.

Cotton duck has a medium grain weave. It has shorter fibres and is not as elastic as linen, but still makes a robust stretched canvas. Jute is the least conventional material of choice for canvas. The coarseness of the vegetable fibres offers something rough and ready, perfect for impasto techniques. If you love the texture of canvas but prefer a rigid surface there are also a range of cotton and linen canvas panels and boards; Panels have the fabric glued to rigid card and wrapped around the sides, while boards have canvas adhered to the front only. Our handmade linen panels are a fantastic low cost way of trying out all the professional linens we offer off the roll, and our Ultralite panels are perfect for carrying out and about without weighing you down.

How does the weave affect your painting?

When choosing a canvas to paint on, you will find that each is described to have a particular grain - extra fine, fine, medium or rough. If you think of canvas as having lots of little peaks and troughs on its surface created by how the individual threads weave in and out of one another, its easy to imagine how paint is likely to gather in the troughs of the texture and spread more thinly over the peaks. This variation in thickness of paint is more optically engaging and makes colour appear more vibrant - the heavier the weave the greater the effect. At the other end of the spectrum the smoother the canvas the more control you have over your brush marks - fine lines and clean edges are more easily achieved.

How important is the weight of your canvas?

The weight of canvas is measured in ounces per square yard or grammes per square metre. The finer the weave the lighter the canvas tends to be, which can also make it a bit less elastic than heavier weights of canvas. Bigger frames require the elasticity of heavier canvases to get the tension needed in the canvas.

Why would you stretch your own canvas when there are so many ready made canvases available ?

Some artists prefer the look and feel of a canvas they've made themselves. The freedom exists to make a surface that combines the right dimensions, weave and priming.

What do I need to make my own stretched canvas?

Stretcher Bars kiln dried to minimise the risk of warping over time. They're available in pairs that you can assemble without the need for screws or wood glue. Aluminium reinforced bars offer maximum warp resistance. Cross bars give larger frames a sturdier structure and can also make them easier to carry.

Canvas - Cottons, Linen and Jute in a variety of weaves and weights are available off the roll, pre-primed with oil or acrylic primer, or unprimed.

Canvas Pliers achieve a level of tension in your canvas across a frame that is both necessary and incredibly difficult to achieve without pliers.

Staple Gun is vital for getting enough pressure to staple your canvas to the reverse of your stretcher bar securely.

Rabbit Skin Glue or Acrylic Size (For oil painting only) forms a barrier between your canvas and oil primer to prevent colours from sinking and natural fibres from rotting. Size should be worked into the fibres of the canvas, just giving them enough coating to protect them from applications of oil. Jacksons Fluid Matt Medium works as a great acrylic size for canvases.

Primer 2 - 3 coats of oil or acrylic primer makes for a durable, non absorbent surface.

Best applied with a priming brush or a synthetic mottler brush. Primer is usually white so that it reflects light and allows transparent colour to appear at its most luminous.

Acrylic (universal) primer is suitable for all water and oil based as well as dry media and can be applied straight onto canvas, wood and card. Oil Primer is slower drying and so it's advised only to use it for other slow drying media, i.e. not acrylic paint. It is slightly creamier in colour and can be sanded once dry to get the smoothest results.

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What will be your surface of choice?

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For some painters, the rigidity of a board or panel offers the perfect surface - reliable, resilient, easy to store and transport. As well as a whole array of linen and cotton coated panels (canvas wrapped around the edges) and boards (canvas stuck to the front with shear edges) that enable you to paint on your favourite weaves, the Ampersand painting panels are available cradled (batoned on the back to prevent warping, also making them very easy to carry) and uncradled in a range of surfaces. Among them is Claybord, a super absorbent clay ground suited to all waterbased, acrylic based and drawing based media. There's also Smooth primed and Gesso primed boards, boards for encaustic and unprimed basswood, ready to be prepared exactly how you'd like. The Jackson's Aluminium panels are state of the art, suitable for all wet and dry painting and drawing media. They are completely warp-proof and are the sturdiest support you can work on.

The Jackson's plywood panels are light and easy to carry, with a beautiful surface which can be drawn or painted on as it is (in water and acrylic based media), or sized and primed for oil painting.

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What makes boards and panels so special?

Try Gesso panels, Ampersand Smooth, Clay, Encaustic and Basswood panels or Aluminium panels. In the absence of any texture or weave a brush mark is able to show off its true personality. Light washes tend to spread or move around more freely than on a textured surface. All our ready made smooth primed surfaces are acrylic primed and suitable for acrylic and oil painting.

A little bit of texture Try extra fine, fine and medium weave linens and cottons, imitation canvas texture boards, oil/acrylic painting pads.

A lightly textured surface helps to keep the colour in place and can enhance the vibrancy of your painting - paint moves from the tiny peaks into the tiny valleys created by the weave of the fabric, or the tooth of the priming. There are also a selection of imitation linen textured boards and painting pads that give a similar, if a touch more uniform, textured surface.

A lot of texture Try Jute and rough linen on MDF board.

When a loaded brush is dragged across a coarse or rough grained surface, the paint catches on the raised texture. Adhesion of paint on the surface is good and the paint tends to lay on more thickly. The heaviest weave linens look least mechanically made and have a lovely rough and ready look to them.

A degree of absorbency, so that initial fluid applications of paint will delicately stain the surface Try Claybord, Gessobord, Gesso panels, Basswood and Plywood Panels.

Gesso is sandable and is designed to have a degree of absorbency - more even layers with increase the absorbency. Very dilute oil or acrylic paints will stain the surface and leave a faint deposit of colour if lifted with a rag. Waterbased media can be used on unprimed boards such as Basswood or plywood panels.

No absorbency; colour sits on the surface and retains body and vibrancy Try Smooth Primed Board, Canvas Texture Primed Boards, Aluminium Panels, Primed Linen and Cotton Panels and Boards.

Without any absorbency in the substrate, paint will sit on the surface without any sinking.

Watery paints will form drips and run easily.

Colour - the natural colour of the linen or canvas, the white of the primer or something completely different ?

Unprimed surfaces such as the Basswood or Plywood panels show the grain of the wood and offer an attractive natural looking backdrop to dry media or water-based paints. Clear primed boards such as Jackson's linen boards are available in fine and rough grain and can be worked on with both oils and acrylics. The many white primed surfaces available including cotton, linen and boards have the reflective qualities necessary for luminous transparent colour.

For something completely different, test out the satin metallic surface of our aluminium panels, or tint some primer with oil or acrylic paint to make your surface any shade you want.

FREE OIL, ACRYLIC & WAT E R C O LO U R C ATA LO G U E S AVAILABLE NOW Have you heard about Jackson's Oil, Acrylic and Watercolour Catalogues?

For the first time we have combined our range of brushes, surfaces and sundries for each medium in print.

This ensures that our customers get a catalogue which is tailored to their interests.

Order a free catalogue with your next order using the code CATO (Oil Catalogue), CATA (Acrylic Catalogue), CATW (Watercolour Catalogue), or view online at www.jacksonsart.com

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CA N VAS R O LL S

Q U I C K R E F E R E N C E TA B L E T O R E C O M M E N D E D S U R FA C E S The table below matches popular painting approaches to our sug gested surfaces PAINTING APPROACH

REQUIREMENTS

OUR SUGGESTIONS

Experimentation

Affordable yet resilient

Cotton panels and boards, canvas pads and sheets

Outdoor Painting

Lightweight, resilient

Ultralite linen boards, Jackson's cotton and linen panels and boards, Ampersand boards, plywood or gesso panels.

Impasto Painting

Coarser weave to hold the paint in place

Jute, rough weave linen

Detailed Painting / Miniature Painting

Smooth surface

Gesso panels/fine weave canvases/painting panels

Large Scale Painting

Large canvas

Canvas Rolls/Bespoke/Alu-Pro Canvases

Fluid Painting

Absorbency for stains of colour

Gesso panel

Paintings to be Hung Unframed

The ability to attach D-Rings or picture cord to the reverse of the surface

All stretched cotton, linen and jute canvas, Jackson's plywood panels, Ampersand cradled boards

Specific Sizes

Bespoke, DIY canvases

Cotton is a resilient fabric with a uniform weave.

When stretched tightly and evenly over a frame it offers a surface that springs as you paint on it, a vibrancy that many painters love. When several layers of primer are applied to cotton the weave is hardly visible at all, leaving you to apply crisp and dynamic brush marks.

Unprimed cotton can be used by painters in a number of ways - as well as stretching over a frame it can also be tacked straight onto a board or wall. Acrylic painters have the option of working on it primed or unprimed.

Belle Arti canvases are highly professional, made using durable wooden stretchers and the finest cotton, evenly triple coated with universal primer. This ensure colour appears fresh and luminous and the surface is consistent across the whole canvas.

There are many more cotton canvases to browse in our Surfaces section at jacksonsart.com

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Jackson's Unprimed Cotton Duck Canvas Medium Grain 407g / 12oz Width: 1.83m / 72in.

Priced per metre.

Code: CUPC12 Price: £9.50

Jackson's Unprimed Cotton Duck Medium Grain 407g / 12oz, 10m Roll Width: 1.83m / 72in.

Code: CUPC12/10 Price: £77.00

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Jackson's Universal Primed Cotton Duck Medium Grain 407gsm / 12oz, 10 Roll Width 1.83m / 72in.

Priced per metre.

Code: CPC12 Price: £13.10

Jackson's Universal Primed Cotton Duck Medium Grain 407gsm / 12oz, 10m Roll Width 1.83m / 72in.

Code: CPC12/10 Price: £111.00

Belle Arti Universal Primed Medium/ Fine Cotton 390gsm / 11.5oz Width: 2.1m / 82in.

Priced per metre.

Code: CL564 RRP: £28.58 Price: £16.20

Belle Arti Universal Primed Ultra Fine (No Grain) Italian Poly/ Cotton 330gsm Width: 2.1m / 82in.

Priced per metre.

Code: CL575 RRP: £44.63 Price: £32.00

Belle Arti Primed Medium/Fine Cotton 390gsm / 11.5oz, 10m Roll Width: 2.1m / 82in.

Code: CL564/10 RRP: £215.75 Price: £148.00

Belle Arti Universal Primed Ultra Fine (No Grain) Italian Poly/ Cotton 330gsm, 10m Roll Width: 2.1m / 82in.

Code: CL575/10 RRP: £446.32 Price: £285.00

CA N VAS R O LL S

LINEN & JUTE Jute is a unique fabric made from long, strong vegetable fibres.

When plain woven it creates an earthy, coarse fabric that's full of its own character.

Jute is particularly well suited to paintings that combine both thin and thick applications of paint. Linen is arguably the best material to use as artist's canvas. It is made from the long fibres of the flax plant which help give it its elasticity. Linen is available in a range of weaves from extra fine to medium. An investment worth making!

Belle Arti Universal Primed Linen Extra Fine 316gsm / 9.3oz Width: 2.1m / 82in.

Priced per metre.

Code: CL574 RRP: £56.92 Price: £43.00

Belle Arti Universal Primed Linen Extra Fine 316gsm / 9.3oz, 10m Roll Width: 2.1m / 82in Code: CL574/10 RRP: £569.21 Price: £389.00

Belle Arti Universal Primed Jute Coarse Grain 584gsm / 17.2oz Width: 2.1m / 82in.

Priced per metre.

Code: CL565 RRP: £30.53 Price: £23.00

Belle Arti Universal Primed Jute Coarse Grain 584gsm / 17.2oz, 10m Roll Width: 2.1m / 82in.

Code: CL565/10 RRP: £305.30 Price: £209.00

Belle Arti Clear Primed Linen Fine 361gsm / 10.6oz Width 2.1m / 82in.

Priced per metre.

Code: CL696 RRP: £45.55 Price: £35.00

Beller Arti Clear Primed Linen Fine 361gsm / 10.6oz, 10m Rolls Width 2.1m / 82in.

Code: CL696/10 RRP: £455.51 Price: £311.00

Belle Arti Unprimed Linen Medium 302gsm / 8.9oz Width 2.1m / 82in.

Priced per metre.

Code: CL548 RRP: £36.94 Price: £28.00

Belle Arti Unprimed Linen Medium 302gsm / 8.2oz, 10m Rolls Width 2.1m / 82in.

Code: CL548/10 RRP: £369.36 Price: £253.00

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CA N VAS R O LL S

OIL PRIMED LINEN Arguably, there is no finer surface on which to paint with oils than an oil primed canvas.

Claessens Oil Primed Linen Medium 460gsm Width 2.1m / 82in.

Priced per metre.

Code: CCL66 RRP: £57.24 Price: £53.00

The attractive natural weave of linen canvas is complemented by the even and smooth creamy oil priming. Claessens is a Belgian brand that has specialised in making linen since 1906. The complex process to create the very best oil primed linen involves sizing the fabric with an acid free PVA glue, then priming with Zinc white bound in Linseed oil. The fabric is left to fully dry and then a Titanium White layer of priming is applied.

The fabric is then left again for 10 days before it is prepared for distribution.

Claessens Oil Primed Linen Medium 460gsm 10m Roll Width 2.1m / 82in.

Code: CCL66/10 RRP: £572.37 Price: £470.00

Belle Arti is an Italian fine art manufacturer.

Their oil primed linen is stretchable yet stable, and suitable for both oil and egg tempera. 2 excellent quality oil primed linens to choose from.

Belle Arti Oil Primed Linen Fine 582gsm / 17.2oz Width 2.1m / 82in.

Priced per metre.

Code: CL537 RRP: £68.17 Price: £50.00

Belle Arti Oil Primed Linen Extra Fine 441gsm / 13oz Width 2.1m / 82in.

Priced per metre.

Code: CL540 RRP: £85.17 Price: £63.00 100

Belle Arti Oil Primed Linen Extra Fine 441gsm / 13oz, 10m Roll Width 2.1m / 82in.

Code: CL540/10 RRP: £851.68 Price: £582.00

Claessens Oil Primed Heavy Linen 465gsm Width 2.1m / 82in.

Priced per metre.

Code: CCL70 RRP: £45.81 Price: £42.00

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Claessens Oil Primed Heavy Linen 465gsm, 10m Roll Width 2.1m / 82in.

Code: CCL70/10 RRP: £458.10 Price: £376.00

Claessens Oil Primed Linen Fine 300gsm Width 2.1m / 82in.

Priced per metre.

Code: CCL706 RRP: £72.26 Price: £62.00

STR E TC H ED CA N VAS

ST R E TC H ED CA N VA S Belle Arti Universal Primed Cotton Fine Grain 21mm Profile Size 50 x 120cm.

Code: CBC50120 RRP: £29.93 Price: £19.60

When there are ready made canvases as good as these, why would you paint on anything else?

Belle Arti have been a popular choice among oil and acrylic painters for a long time. You can trust that the canvas will be evenly stretched with a good amount of tension (and each one comes with a bag of wedges should you need to add any extra), and the linen and priming are second to none. You have the choice of clear primed (for acrylics only unless another layer of size is added), universal primed (for acrylic and oil) and oil primed (for oil painting only).

Jackson's canvases use a weighty cotton canvas that has a more prominent weave than most - and the canvases look a lot less mechanically made than many other stretched canvases. Alu-Pro stretchers are available for those who want a state-of-theart, warp resistant stretcher.

Belle Arti Universal Clear Primed Linen Medium Grain 21mm Profile Size 60 x 70cm.

Code: CBL6070CP RRP: £40.71 Price: £28.50

NOTE Please find different canvas sizes online.

Our Canvases are also available in multipack boxes. Visit our website for more info.

Belle Arti Oil Primed Linen Extra Fine Grain 21mm Profile Size 60 x 70cm.

Code: CBL6070EO RRP: £63.20 Price: £44.00

Jackson's Premium Universal Primed Cotton Medium Grain 38mm Profile, 10oz Size 120 x 120cm.

Code: CJW120120 Price: £34.00

Jackson's Premium Universal Primed Cotton Medium Grain 19mm Profile, 10oz Size 75 x 90cm.

Code: CJS7590 Price: £15.60

Jackson's Alu-Pro Premium Universal Primed Linen Medium Grain 25mm Profile, 440gsm Size 120 x 180cm.

Code: CALS120180 Price: £160.00

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PAINTING PANELS

AMPERSAND PAINTING PANELS Ampersand Painting Panels are available in a vast range of finishes.

AQUABORD UNCRADLED 3MM

ENCAUSTICBORD CRADLED 22MM

Uncradled 3mm hardboard panel prepared with an acid free textured clay surface like a fine paper. Perfect for watercolours and gouache, but also ideal for acrylics.

Cradled 22mm profile panel prepared with encaustic gesso for a bright, smooth and velvety surface ready to use with encaustic paint.

Order Code CAMA357 CAMA3810 CAMA31114 CAMA31216 CAMA31620

Order Code CAME2288 CAME22810 CAME221212 CAME221620

Everything from smooth primed to canvas texture to surfaces for encaustic, all their choices are guaranteed to be of the highest quality. Their bright, reflective surfaces get the very best out of colour. The rigidity of the surface means you don't have to worry about stretcher bar marks (as you may do with canvas) and allow you to achieve the maximum control over your brush work. All Ampersand panels use a special patented sealant between the panel and the priming which prevents discolouration.

£ RRP 3.25 7.05 10.24 13.25 19.35

£ Price 3.00 6.50 9.50 12.20 17.90

Size in 8x8 8 x 10 12 x 12 16 x 20

£ RRP 14.35 16.35 24.25 39.45

£ Price 13.30 15.10 22.50 37.00

GESSOBORD UNCRADLED 3MM

GESSOBORD CRADLED 22MM

GESSOBORD CRADLED 38MM

Uncradled 3mm hardboard panel prepared with an acid free, non-yellowing archival gesso ground.

Cradled 22mm profile panel prepared with an acid free, non-yellowing archival gesso ground.

Cradled 38mm profile panel prepared with an acid free, non-yellowing archival gesso ground.

Order Code CAMG2288 CAMG22810 CAMG22912 CAMG221114 CAMG221212 CAMG221216 CAMG221620 CAMG221824

Order Code CAMG3888 CAMG38810 CAMG38912 CAMG381114 CAMG381212 CAMG381216 CAMG381620 CAMG381824

Order Code CAMG357 CAMG388 CAMG3810 CAMG3912 CAMG31114 CAMG31212 CAMG31216 CAMG31620 CAMG31824

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Size in 5x7 8 x 10 11 x 14 12 x 16 16 x 20

Size in 5x7 8x8 8 x 10 9 x 12 11 x 14 12 x 12 12 x 16 16 x 20 18 x 24

£ RRP 3.35 6.10 7.80 8.90 11.40 10.95 13.70 20.85 26.10

£ Price 3.10 5.70 7.20 8.20 10.50 10.10 12.70 19.20 24.50

Size in 8x8 8 x 10 9 x 12 11 x 14 12 x 12 12 x 16 16 x 20 18 x 24

£ RRP 14.30 16.10 18.90 22.45 22.60 26.10 35.10 4 4.50

£ Price 13.20 14.90 17.40 21.00 21.00 24.50 33.00 41.00

Size in 8x8 8 x 10 9 x 12 11 x 14 12 x 12 12 x 16 16 x 20 18 x 24

£ RRP 19.60 20.60 23.25 28.25 26.65 31.75 42.00 51.45

£ Price 18.10 19.00 21.50 26.00 25.00 29.50 39.00 48.00

C L AY B O R D U N C R A D L E D 3 M M

C L AY B O R D C R A D L E D 2 2 M M

C L AY B O R D C R A D L E D 3 8 M M

Uncradled 3mm hardboard panel prepared with an ultra-smooth absorbent clay ground for inks, acrylics, collage, pencil, pens, airbrush, watercolour, gouache, mixed media etc.

Cradled 22mm profile panel prepared with an ultra-smooth absorbent clay ground for inks, acrylics, collage, pencil, pens, airbrush, watercolour, gouache, mixed media etc.

Cradled 38mm profile panel prepared with an ultra-smooth absorbent clay ground for inks, acrylics, collage, pencil, pens, airbrush, watercolour, gouache, mixed media etc.

Order Code CAMC357 CAMC388 CAMC31114 CAMC31216 CAMC31824

Order Code CAMC2288 CAMC221114 CAMC221216 CAMC221824

Order Code CAMC3888 CAMC381114 CAMC381216 CAMC381824

Size in 5x7 8x8 11 x 14 12 x 16 18 x 24

£ RRP 3.15 5.65 10.45 12.55 23.75

£ Price 3.00 5.20 9.70 11.60 22.00

Size in 8x8 11 x 14 12 x 16 18 x 24

£ RRP 13.25 21.90 24.75 43.05

£ Price 12.20 20.50 23.00 40.00

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Size in 8x8 11 x 14 12 x 16 18 x 24

£ RRP 18.50 27.10 30.25 48.45

£ Price 17.10 25.00 28.00 45.00

PAINTING PANELS

AMPERSAND PAINTING PANELS

Watercolour on Aquabord

R&F Encaustic on Encausticbord

Acrylic Paint on Gessobord

Oil Paint on Gessobord

Egg Tempera on Claybord

Ink and Scrafitto on Claybord

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PAINTING PANELS

JACKSON'S LINEN BOARD Made in house, our Handmade Panels are second to none.

Jackson's Handmade Linen Board Universal Primed Extra Fine Grain 3.5mm Thick Size: 40 x 50cm.

Code: CL574B4050 Price: £6.90

We use the finest linens that we sell from the roll, to make panels of 6 different sizes.

We also offer a unique panel with a surface made from coarse jute, great for interesting impasto painting. The canvases are adhered to the MDF backing with PH Neutral glue, ensuring that the painting surface is acid-free.

Our ever-popular Claessens linens are now available backed with this ultra lightweight composite board, available in 2 convenient thicknesses.

Far lighter than wood and more supportive than card-backed options, this new range of Ultralite painting panels is ideal for those needing a portable, archival surface.

Available in a full range of linen weights and priming options to suit all techniques and subject matter.

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Jackson's Handmade Linen Board Clear Primed Fine Grain 3.5mm Thick Size: 40 x 50cm.

Code: CL696B4050 Price: £6.90

Jackson's Handmade Linen Board Oil Primed Medium Grain 3.5mm Thick Size: 40 x 50cm.

Code: CL536B4050 Price: £6.90

Jackson's Ultralite Linen Board Universal Primed Fine Grain 0.8mm Thick Size: 12 x 16in.

Code: CJ1091216 Price: £10.80

Jackson's Ultralite Linen Board Universal Primed Medium Grain 3.2mm Thick Size: 12 x 16in.

Code: CJU1661216 Price: £14.60

Jackson's Ultralite Linen Board Oil Primed Medium Grain 0.8mm Thick Size: 12 x 16in.

Code: CJ661216 Price: £10.80

Jackson's Ultralite Linen Board Oil Primed Medium Grain 3.2mm Thick Size: 12 x 16in.

Code: CJU661216 Price: £14.60

CA N VAS BU I LD ER

JACKSON'S ONLINE BESPOKE CANVAS BUILDER Order your own unique bespoke stretched canvas online.

JACKSON’S CANVAS BUILDER CHOOSE · STYLE · MEASURE

To order your very own bespoke stretched canvas, go to the ‘Canvas' department of our website to find our online bespoke canvas builder. www.jacksonsart.com

CHOOSE THE TYPE OF STRETCHER B A R FO R YO U R B E S P O K E CA N VA S FROM EITHER NARROW OR DEEP PROFESSIONAL BARS.

C H O O S E YO U R CA N VA S T Y P E (LINEN, COTTON), TEXTURE (ROUGH, MEDIUM, FINE) AND PRIMING TYPE (UNIVERSAL PRIMED, OIL PRIMED, UNPRIMED).

2 MM SPACE

ENTER THE DIMENSIONS OF YOUR B E S P O K E CA N VA S .

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PALETTE KNIVES

JACKSON'S CARBON STEEL PALETTE KNIVES Palette knives look simple but are surprisingly versatile. The longer, narrower blades will flex against the painting surface, allowing the artist to smear paint thinly over large areas. Thinner, more pointed blades are great for adding detail, or for sketching in the outlines of distant people in landscapes.

All of these palette knives can be used for subtractive painting, where wet paint is scratched away from the surface, to reveal the lower layers of paint.

elegant wooden handles. They make an attractive and durable addition to the modern painter's toolkit.

The twelve shapes offer a range of markmaking options. All of these tools have stainless steel forged blades and dark,

SHAPES Code: APKJ01 Price: £4.50

Code: APKJ02 Price: £4.50

Code: APKJ03 Price: £5.50

Code: APKJ04 Price: £5.30

Code: APKJ05 Price: £5.70

Code: APKJ06 Price: £5.50

Code: APKJ07 Price: £5.60

Code: APKJ08 Price: £5.30

Code: APKJ09 Price: £4.40

Code: APKJ10 Price: £4.80

Code: APKJ11 Price: £4.80

Code: APKJ12 Price: £5.70

JACKSON'S EXTRA LARGE PALETTE KNIVES Large scale palette knives, in sizes that allow for broad gestures and deep marks. These palette knives are designed for use with viscous paints, normally either oil paints (with or without the addition of thickening mediums) or heavy body acrylics which have been thickened with impasto medium.

The ridged plastic handles give excellent grip, which is doubly important when the knife is heavily loaded with paint. They all have a hole in the handle, and can be hung up to dry once clean.

Printmakers will also find some of the knives with thinner blades useful for the application of relief printing ink (which is often sold in tins or tubs) to glass plates and ink slabs, ready for rolling.

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Code: APKXL-04 Price: £5.30

Code: APKXL-06 Price: £5.30

Code: APKXL-08 Price: £5.30

Code: APKXL-10 Price: £5.30

Code: APKXL-11 Price: £5.30

Code: APKXL-12 Price: £5.30

JAC K S O N ' S A RT S U P P L I E S · M AT E R I A LS G U I D E · P R I C E S S U B J ECT TO C H A N G E P L E A S E C H EC K O U R W E B S I T E

PALETTE KNIVES

JACKSON'S RUBBER GRIP PALETTE KNIVES Some painters find wooden or plastic handles too slippery after a long day's work in the studio. Jackson's Rubber Grip Palette Knives feature ergonomic rubber handles, which provide an extra-secure grip for even the messiest painters!

Made from high quality steel, these lightweight palette knives are great for

applying paint to a surface and creating bold impasto effects.

They come in a range of twenty varied shapes. The blades are strong yet flexible; the longer, thinner blades are springy, and will bend when pressed against panels or boards. The stubbier, sharper blades are great for sketching in detail, especially when

working on a dry or partially dry surface.

They all have a useful hole in the handle, and can be hung up to dry once clean.

SHAPES

Code: APKSG2 Price: £3.00

Code: APKSG6 Price: £3.00

Code: APKSG9 Price: £3.00

Code: APKSG10 Price: £3.00

Code: APKSG11 Price: £3.00

Code: APKSG12 Price: £3.00

Code: APKSG13 Price: £3.00

Code: APKSG15 Price: £3.00

Code: APKSG16 Price: £3.00

Code: APKSG17 Price: £3.00

Code: APKSG23 Price: £3.00

Code: APKSG24 Price: £3.00

Code: APKSG26 Price: £3.00

Code: APKSG27 Price: £3.00

Code: APKSG29 Price: £3.00

Code: APKSG30 Price: £3.00

Code: APKSG31 Price: £3.00

Code: APKSG32 Price: £3.00

Code: APKSG34 Price: £3.00

Code: APKSG36 Price: £3.00

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MOUNT CUTTERS

MOUNT CUTTERS

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1. Logan Compact Elite Mount Cutter Open ended guide rail allows bevel cuts in matboards of any size. Downsize matboard up to 32in (81.3 cm).

Code: ML350-1 RRP: £238.15 Price: £209.00

2. Logan 450 Intermediate Mount Cutter 40in mount cutting system capable of cutting large 32 x 40in sheets of mount board.

Code: ML450 RRP: £388.59 Price: £325.00

3. Logan 4000 Hand Mount Cutter Includes a marker bar system for faster marking, a pivot-and-pull blade and an ergonomic handle.

Code: ML4000 RRP: £61.36 Price: £54.00

4. Logan 424 Team System 24in (61cm) This practical combo system includes a 24in (61cm) straight edge and a Logan 2000 Handheld Mat Cutter for accurate, high quality mat cutting. Also available in 40in.

Code: ML424 RRP: £73.91 Price: £66.00

5. Jackson's Double Sided Cutting Mat Ideal as a cutting surface for a wide variety of creative works, feature a heavy duty double-sided grid with one side dedicated to the Metric system (centimetres) and the other side for the Imperial system (inches).

Avalaible in A1, A2, A3 and A4.

Code: ACJECMA1 Price: £15.70

6. Maped 45 Degree Straight Edge Mount Cutter For a clean, precise 45 degree bevelled cut.

Cuts up to a thickness of 6mm. Comes with 4 blades, instructions and an integrated spare blade holder.

Code: MMC45 RRP: £39.95 Price: £36.00

JAC K S O N ' S A RT S U P P L I E S · M AT E R I A LS G U I D E · P R I C E S S U B J ECT TO C H A N G E P L E A S E C H EC K O U R W E B S I T E

FRAMING

JACKSON'S ONLINE FRAME BUILDER Easily order your custom made bespoke frames online.

A huge choice of self assembly mouldings, available for works on canvas, board or paper. The finished or coloured frames are ready to use and the natural wooden frames can be stained, painted, waxed or varnished in order to show your work at its very best.

FRAME BUILDER MEASURE · STYLE · FRAME

To use our online frame builder go to www.jacksonsart.com/frame-builder

MEASURE AND ENTER THE OUTER DIMENSIONS OF YOUR ARTWORK

CHOOSE THE STYLE AND COLOUR OF YOUR FRAME MOULDING

PREVIEW YOUR FRAMED ARTWORK AND ADD TO BASKET

JAC KS O N ' S R E A DY M A DE INL AY F R A ME S S TA N D A R D I N L AY F R A M E R E B AT E D E P T H 2 3 M M

D E E P I N L AY F R A M E R E B AT E D E P T H 4 3 M M

These beautiful ready-made frames are constructed from tulipwood.

The frames are available in two depths, one for standard and another for deep canvases.

Pale olive in colour, these frames can be left unfinished or coated in clear or lime wax. The tulipwood frames are easly stained black and can also be painted white or washed in a light colour.

Order Code FRMIS3030 FRMIS3040 FRMIS4040 FRMIS4050 FRMIS5050 FRMIS5060

Size cm 30 x 30 30 x 40 40 x 40 40 x 50 50 x 50 50 x 60

£ Price 25.50 27.50 32.00 38.00 43.00 45.00

Order Code FRMID3030 FRMID3040 FRMID4040 FRMID4050 FRMID5050 FRMID5060

Size cm 30 x 30 30 x 40 40 x 40 40 x 50 50 x 50 50 x 60

£ Price 25.50 27.50 32.00 38.00 43.00 45.00

All frames are supplied constructed, pre-drilled and counter sunk.

Each one comes with D-rings, cord and screws to secure a canvas.

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WAT E R C O L O U R PALETTES

WAT E R C O L O U R PA L E T T E S John Pike Regular Watercolour Palette Code: WJPREG RRP: £31.84 Price: £30.00

Cloverleaf Folding Paint Box by Barry Herniman Code:ACLPB Price: £39.95

Mijello 18 Well Folding Plastic Palette Blue Code: AMIJ3018B RRP: £12.95 Price: £9.90

Mijello 20 Well Folding Plastic Palette Black Code: AMIJ3020K RRP: £15.95 Price: £12.20

Jackson's Empty Plastic Half Pan Code: AEHP Price: £0.20 Jackson's Empty Plastic Full Pan Code: AEWP Price: £0.30 Jackson's Empty Plastic Half Pan Set of 6 Code: AEHP6 Price: £1.20 Jackson's Empty Metal Watercolour Palette Box Holds 12 Full or 24 Half Pans Code: APM24 Price: £10.50

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JAS Empty Metal Watercolour Palette Box Holds 12 Full or 24 Half Pans Code: AMB24 Price: £15.80

JAS Empty Metal Watercolour Palette Box Holds 12 Half Pans or 6 Full Pans Code: AMB12 Price: £14.60

JAC K S O N ' S A RT S U P P L I E S · M AT E R I A LS G U I D E · P R I C E S S U B J ECT TO C H A N G E P L E A S E C H EC K O U R W E B S I T E

Jackson's Empty Plastic Full Pan Set of 6 Code: AEWP6 Price: £1.70

WAT E R C O L O U R PALETTES

C H O O S I N G C O L O U R S T O F I L L YO U R WAT E R C O L O U R B OX Choosing a good selection of colours for your basic palette means that you will be able to mix any colour you need from just 8 to 12 colours. If your watercolour box has room for a few more colours then you might wish to add some extra colours that you mix often but for convenience are premixed, like some greens and browns.

Eight Colour Palette and Twelve Colour Palette With careful selection, it’s possible to mix almost any colour you desire from just 8 tubes of colour. To get the most from a limited palette it is important to choose good mixing colours - this means being sure to choose from the warm and cool ends of each colour section in the spectrum: a warm and cool red, a warm and cool blue, and a warm and cool yellow. As a general principle, the most vibrant mixes are achieved when the 2 colours being mixed have the same temperature i.e. both are warm or cool.

For example: On a colour wheel, a warm yellow is closer to red than green. When mixed with a warm red (closer to yellow on the wheel) it makes a vibrant orange; the colour between them. In addition to the warm and cool variants of the 3 primaries (red, blue and yellow), burnt umber is useful to have; when mixed with your warm blue (in our example ultramarine blue) the mix created is near black. When burnt umber is mixed with a bright bluish-green (like phthalo green blue shade or viridian) it makes for an earthier green that is easily altered to provide many other shades of green.

Choosing your colours wisely allows you to mix the most vibrant colours, but you can also mix muted colours by mixing colours that are not near to each other – for example: a cool yellow (a yellow tends towards a shade of green) and a cool red (a red that tends towards violet) will produce a less vibrant orange as there are now small hints of other colours mixed in. The more colours in a mix the less pure the resulting colour appears, hence the more muted appearance.

The image above demonstrates the warm and cool primaries in our 8 colour palette, i.e. 6 of our 8 colours.

• Lemon Yellow - a cool yellow i.e. is more greenish than reddish, • Indian Yellow or New Gamboge - a warm yellow, i.e. is more reddish than greenish.

• Cadmium Red Light - a warm red i.e. is more orange-ish than blue-ish.

• Permanent Carmine or Crimson - a cool red i.e. is more blue-ish than orange-ish.

• French Ultramarine - a warm blue i.e. is more reddish than greenish.

• Phthalocyanine Blue - a cool blue i.e. is more greenish than reddish. As you can see these colours make beautiful secondary colour mixes as they are, but for our 8 colour palette we have added a cool green like Viridian or Phthalocyanine Green, and a Burnt Umber (mix with lots of ultramarine to make a cool black, mix with a little ultramarine to make a warm black).

If you wish to expand your palette to 12 colours then you may consider adding 4 earthier colours, our example suggests the following: Sennelier Green Earth (an earth green), Perylene Maroon (an earth red), Gold Ochre (an earth yellow), Venetian Red (a warmer brown to complement your Burnt Umber).

In painting, the word 'palette' is used for both the group of colours an artist uses for a painting and the surface upon which you mix your paints.

The Jackson's Empty Watercolour Palette Box ( above ) will hold 12 full pans or 24 half pans or a combination (you can actually fit two extra full pans of most brands). The frame inside has bendable edges that adjust to fit any make of watercolour as the standard sizes do vary a little bit. You might wish to choose full pans for the colours you use most often, and half pans for the colours you use less often.

You can even use a few empty pans that you fill from tubes for some custom mixtures or if the colour you want is only made in tubes but you'd like a pan. Inside are fold-out palette flaps for mixing paint on.

There is also a thumb-ring on the bottom to help you hold onto it.

Jackson's Empty Metal Watercolour Palette Box Holds 12 Full or 24 Half Pans Code: APM24 Price: £10.50

Image above: mixing secondary colours and more from our 12-colour palette.

First row from the left: Indian Yellow + Cadmium Red Light, French Ultramarine + Permanent Carmine, Lemon Yellow + Phthalocyanine Blue, Ultramarine + Burnt Umber.

Second row from the left: Permanent Carmine + Perylene Maroon, Phthalocyanine Blue + Permanent Carmine, Indian Yellow + Phthalocyanine Blue, Cadmium Red Light + Terre Vert.

This is an excerpt from the longer article 'Choosing Colours To Fill Your Watercolour Box' by Julie Caves on the Jackson's Art Blog jacksonsart.com/blog

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OIL & ACRYLIC PALETTES

OIL AND ACRYLIC PALETTES

New Wave Grey Pad Disposable Paper Hand Held Palette 50 sheets. 27.9 x 40.6cm.

Code: APNW401 RRP: £14.95 Price: £12.00

New Wave Grey Pad Disposable Paper Rectangular Palette 50 sheets. 27.9 x 40.6cm.

Code: APNW402 RRP: £14.95 Price: £12.00

JAS Transparent Acrylic Kydney Palette 25 x 43 x 0.3cm.

Code: APP32543 Price: £10.70

JAS Melamine Style Palette Board 28 x 19cm.

Code: AMP9 Price: £8.70

Winsor & Newton Tear Off Palettes 20 x 30cm. 50 sheets.

Code: AWTM RRP: £8.35 Price: £7.00

Winsor & Newton Tear Off Palettes 24 x 37cm. 50 sheets.

Code: AWTL RRP: £11.65 Price: £9.80

Mijello 24 Well Plastic Palette with Airtight Lid This palette is designed for to keep acrylic paint workable for days due to it's airtight lid. It is also suitable for oil colours. The lid has a rubber ring for a perfect seal. With 24 wells you can mix all the colours that you will need for a painting and the circular shape lets you arrange them in a helpful colour wheel. Spray a mist of water over your acrylics before you close the airtight lid and they will stay completely wet until you open the palette again. The sturdy palette cleans easily.

Mijello 24 Well Plastic Palette with Airtight Lid 33 x 23 x 3cm.

Code: AMIJ3025 RRP: £20.95 Price: £16.00

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OIL & ACRYLIC PALETTES

OIL AND ACRYLIC PALETTES

New Wave Avant-Garde Grand View Neutral Grey Held in Left Hand 45.4 x 56.5cm.

Code: APNW601 RRP: £59.95 Price: £48.00

New Wave Avant-Garde Grand View Neutral Grey Held in Right Hand 45.4 x 56.5cm.

Code: APNW602 RRP: £59.95 Price: £48.00

New Wave Expressionist Wooden Palette Held in Right Hand 51.9 x 40.3 x 0.5cm.

Code: APNW202 RRP: £41.63 Price: £34.00

New Wave Avant-Garde Grand View Neutral Grey Left Hand 28 x 40cm.

Code: APNW605 RRP: £44.95 Price: £36.00

New Wave Avant-Garde Grand View Neutral Grey Right Hand 28 x 40cm.

Code: APNW606 RRP: £44.95 Price: £36.00

Mabef Bat Wooden Palette 35 x 50cm x 0.37cm.

Code: MBAT42 RRP: £15.50 Price: £11.50

Mabef Rectangle Wooden Palette 25 x 35 x 0.37cm.

Code: MR2535 RRP: £6.95 Price: £5.20

Mabef Rectangle Wooden Palette 30 x 40 x 0.37cm.

Code: MR3040 RRP: £8.95 Price: £6.70

Mabef Rectangle Wooden Palette 30 x 45 x 0.37cm.

Code: MR3045 RRP: £9.50 Price: £7.10

Mabef Rectangle Wooden Palette 35 x 45 x 0.37cm.

Code: MR3545 RRP: £10.25 Price: £7.60

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BRUSH AND PENCIL CASES

BRUSH AND PENCIL CASES

KEY * Art materials not included.

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1. Jackson's Small Brush Easel Case * 34 x 18cm. Available in small or large size, for short or long-handled brushes.

Code: AJBCS Price: £6.40

2. Jackson's Pencil Roll with Clear Window * 21 X 38cm open. A sturdy nylon / canvas pencil roll with a clear window. Holds 24 pencils in a sturdy, elastic pencil holder as well a detachable small pencil case.

Code: ACJGRC Price: £6.40

3. Mapac Brush Case * 34 x 17.5cm open. Contains 17 brush pockets and two storage pockets.

Code: ABCS RRP: £13.95 Price: £11.20

4. Jackson's Black Pencil Roll * 20 x 10cm open. The black rubberized nylon surface is shower-proof and the rucksack-style buckle closure is simple. There is room for 27 pencils.

Code: AH3165 Price: £4.30

5. Jackson's Blake Brush & Pencil Roll * 15.5cm x 30cm closed. Allows you to carry brushes, paint, pencils and more with you in one easy to access item.

Code: AJBLAKEB Price: £13.20

6. Pro Arte Short Handle Brush Case * Comes in two sizes: large (15 x 6in) and small (11 x 6in) when closed.

Code: APBCS RRP: £10.15 Price: £8.00

7. Global Leather Short Brush Case * 11 x 2.25in. This beautiful pencil case is handmade made from genuine top grain leather.

Code: GGMBH11 RRP: £18.95 Price: £17.40

8. Global Leather Colour Pencil Case * Holds 120 pencils. This durable case offers a long lasting solution for organising, storing and transporting a variety of drawing materials.

Code: GGM412120 RRP: £54.95 Price: £51.00

9. Mapac Brush Case 21 Brush Pockets * 40 x 38cm open. This Mapac easel brush case is made with a reinforced outer casing and contains 21 brush pockets and two storage pockets. It also has an in built security flap.

Code: ABEC RRP: £13.95 Price: £11.20

JAC K S O N ' S A RT S U P P L I E S · M AT E R I A LS G U I D E · P R I C E S S U B J ECT TO C H A N G E P L E A S E C H EC K O U R W E B S I T E

PORTFOLIOS AND CARRIERS

PORTFOLIOS AND CARRIERS

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10. Biyomap Reusable Artwork Shipping and Storage Bag 60 x 70cm Made from a water-resistant, breathable, acid-free material. Available in a range of sizes.

Code: DBB6070 RRP: £11.62 Price: £10.00

11. Mapac Academy Portfolio A4 This lightweight portfolio comes with a carrying handle, a shoulder strap, plus a ring binder mechanism for portfolio sleeves. Available in A1, A2, A3, and A4.

Code: DPBACA4 RRP: £12.44 Price: £10.20

12. Portfolio Sleeves 140 Micron A4 PVC, light 'orange peel' texture to reduce glare.

Welded holes. Available in A1, A2, A3, and A4, single sheet, packs of 10 or packs of 20.

Code: DPSA4 Price: £0.50

13. Breen Smart Bag Artwork Storage & Protection 50 x 60cm A reusable solution to packing, storing and transporting artworks and frames. Available in a range of sizes.

Code: DBSB60 RRP: £13.99 Price: £10.90

14. Clairefontaine Green Marbled Art Folder A3 Green Marbled Art Folder with ties. The perfect size for imperial watercolour paper. Available in A1, A2, A3, and 61 x 76cm.

Code: DCAFA3+ RRP: £8.95 Price: £8.10

15. Mapac Artsafe Presenters Good quality presentation folder. 20 clear sleeves, so will hold up to 40 pages. Avalaible in 3 sizes.

Code: DMASA4 RRP: £4.45 Price: £3.60

16. Mapac Poly-Carrier A4 Very economical way to carry and store work. Card insert for rigidity. Available in A1, A2, A3, and A4.

Code: DPOLA4 RRP: £1.50 Price: £1.20

17. Mapac Art Storage Bag A durable bag with a main lockable compartment, a second outer compartment and side pockets.

Code: DASB RRP: £49.25 Price: £40.00

18. Mapac Sketch Bag Fits A3. Contains a free ground mat in a removable pouch and a removable pouch for paints.

Code: DASS RRP: £32.65 Price: £26.50 O R D E R N O W · 0 2 0 7 2 5 4 0 07 7 · JAC K S O N S A RT.C O M

INFO Portfolios & Carriers Find the full selection of products to frame, glazemount, hang and carry your artwork online

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LIGHTING

LIGHTING

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1. Daylight Lighting Triple Bright Lamp Code: LD32500 RRP: £150.00 Price: £110.00

2. Daylight Lighting Easel Lamp Code: LEL1 RRP: £90.00 Price: £70.00

4. Daylight Lighting Ultra Slim Magnifying Lamp Code: LD22020 RRP: £240.00 Price: £200.00

5. Daylight Lighting Artist Studio Lamp Code: LD31375 RRP: £125.00 Price: £105.00

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3. Daylight Lighting Artist Easel Lamp Code: LD33900 RRP: £143.00 Price: £118.00

COMPOSITION TOOLS

COMPOSITION TOOLS

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6. Artograph Super Prism Table Top Projector Code: LDSP RRP: £415.00 Price: £331.00

7. Artograph Tracer Projector Code: LDT1 RRP: £93.00 Price: £70.00

8. Artograph Inspire800 LED Art Projector Code: LAILAP RRP: £750.00 Price: £735.00

9. Daylight Wafer A4 Light Pad Code: LD3540 RRP: £100.00 Price: £81.00

10. Color Wheel Company View Catcher Code: ACW7001 RRP: £6.00 Price: £5.80

11. Jackson's Viewfinder Code: ACJVF Price: £5.00

12. Jackson's ArtGrid Tablet App Available to purchase through the App Store for iPad or for free through Google Play for Android tablets.

Price: £1.49

13. Grey Scale & Value Finder Code: ACW3505 RRP: £3.47 Price: £2.80

14. Personal Mixing Guide Code: ACW5324 RRP: £14.39 Price: £13.60

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EASELS GUIDE

A GUIDE TO EASELS What do you need from your easel?

Whether you paint in a studio, a kitchen, in a shed or out in a field, a sturdy easel is a painter's best friend. Easels come in different shapes and sizes so that every kind of painter has their needs catered for. When choosing an easel, it's important to think carefully about the kind of painter you are and the requirements that are most important to you.

Perhaps you work on a large scale, and so you need your easel to be sturdy and heavy so that it stays put - the largest and most solid easels are H-Frame, with a broad square base. Or maybe you like to alternate between sitting and standing positions when painting and

so it's important that the height can be adjusted easily - crank handle easels will easily raise or lower the level of your easel's working height. Perhaps you work at a table and need something that will fold up conveniently for storage - our table easels fold into a neat box and many also offer storage space for paints and brushes. If you will be working with very fluid watercolour and need an easel that can tilt to a horizontal position to prevent spills and drips, there are specially designed watercolour easels that can do just that. Think carefully about how you work as this will make it easier to choose the easel for you.

Which easel do you need?

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OUTDOOR Studio H-Frame Easels are heavy beech or elm wood easels, perfect for indoor use and great for painting on a large scale.

H-Shaped easels rely on a central wooden column that the canvas supports are fixed on to. These easels have a square base, with the H-Frame fixed to the front of the base and an angled support joined to the back of the base. This allows you to adjust the angle of the easel without compromising its stability. These easels are heavier than the radial easels, but they are sturdier and the range of sizes of painting supports they can hold is greater. The more expensive H-Frame easels such as Mabef's Roma, Roma Grande and Milano easels have a shelf or drawer built underneath the lower canvas support which offers a very practical storage space, for the materials you like to keep close to hand such as favourite colours, brushes and rags. For

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those of you who want the stability of an H-Frame easel but know that you will need to move the easels frequently, we also stock wheeled H-Frame easels such as the Mabef Roma and the Mabef Roma Grande.

When the easel is where you want it to be simply screw the bolts down and these will secure the easel in its position. For artists who struggle to adjust canvas ledges the Roma Grande has a very easy to use, low pressure crank handle. Watercolour H Frame easels will tilt to a horizontal position so you can work just as you would on a table – this can be really useful for watercolourists who need to ensure that their work will not run. These easels will also tilt forward - a feature which often appeals to pastel artists who want to ensure dust falls away from work in progress.

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EASELS GUIDE

STUDIO H-FRAME EASELS

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1. Mabef Studio Easel Oiled Beechwood Height: 236cm.

Code: EM09 RRP: £220.00 Price: £149.00

2. Mabef Roma Studio Easel Height: 300cm.

Code: EM06 RRP: £390.00 Price: £264.00

3. Mabef Roma Grande Studio Easel Height: 235cm.

Code: EM04 RRP: £885.00 Price: £558.00

4. Jackson's Medium H-Frame Studio Easel Height: 175cm.

Code: EJ017 Price: £119.00

5. Mabef Tilting Beechwood Studio Easel Height: 240cm.

Code: EM18 RRP: £495.00 Price: £335.00

6. Winsor & Newton Welland Beechwood Easel Height: 129cm.

Code: EW219 RRP: £300.00 Price: £185.00

7. Mabef Milano Studio Easel Height: 284cm.

Code: EM07 RRP: £270.00 Price: £183.00

8. Winsor & Newton Shannon Beechwood Easel Height: 264cm Code: EW130 RRP: £265.00 Price: £144.00

9. Winsor & Newton Hamilton Tilting Easel Height: 138cm.

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STUDIO A-FRAME EASELS Studio A-Frame Easels - Easy to store, best for medium and large supports, lighter than H-Frames The main structure of an A-Frame easel is triangular with a central canvas support that runs between the 2 front legs and holds the top and bottom canvas ledges. On less expensive A-frame easels this column is fixed to the angle of the 2 front legs; on high end easels it can be adjusted to sit closer to the vertical.

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A- Frames are the second sturdiest design of indoor easel. It's easy to fold them flat from the hinge at the top of the easel which makes them easy to stack in the corner of a room. They are a little lighter than H-Frames which suits those who will need to move their easel around frequently. A-Frames cannot adjust to horizontal angles for watercolourists and will not tilt forward for pastellists either.

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1. Winsor & Newton Mersey A-frame Easel Height: 124cm.

Code: EW128 Price: £101.00

2. Jackson's A-Frame Easel Height: 130cm.

Code: EJ001 Price: £79.00

3. Mabef M11 Napoli Studio Easel Height: 175 - 246cm.

Code: EM11 Price: £105.00

4. Mabef M12 Lyre Studio Easel Height: 177 - 260cm.

Code: EM12 RRP: £150.00 Price: £102.00

5. Mabef M20 Beechwood Studio Easel Height: 160cm.

Code: EM20A RRP: £100.00 Price: £68.00

6. Daler Rowney Cotswold Studio Easel Height: 175cm.

Code: ED0734 Price: £82.00

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EASELS GUIDE

STUDIO RADIAL AND DONKEY EASELS Studio Radial and Donkey Easels - Best for life drawing classes The slender build of the radial easel which stands on 3 short legs at the base of the construction is perfectly suited to life drawing and other observational work, as it is easy to position in front of a subject and does not take up a lot of space. For those who prefer to work sitting down, the Donkey easel has a seat on which to perch and a

support for your drawing board at one end, and a handy drawer for your pencils at the other.

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7. Jackson's Donkey Easel Height: 95cm.

Code: EJ021 Price: £141.00

8. Mabef Work Station Height: 185cm.

Code: EM30 RRP: £950.00 Price: £645.00

9. Jackson's Large Tilting Radial Easel Height: 180cm.

Code: EJ022 Price: £85.00

10. Winsor & Newton Thames Radial Easel Height: 180cm.

Code: EW131 RRP: £225.00 Price: £116.00 O R D E R N O W · 0 2 0 7 2 5 4 0 07 7 · JAC K S O N S A RT.C O M

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FIELD & BOX EASELS Field Easels Field Easels are designed for outdoor painting, and are available in wood or aluminium. They are smaller and lighter than studio easels, and fold into a neat bundle for ease of carrying. Most field easels have telescopic legs which can be extended to heights for both sitting and standing positions. Field easels would also be great for artists working indoors with limited space. Box Easels are another clever design for outdoor painters - a field easel which has a box incorporated into the design which can hold paints, a palette and brushes. Box easels are heavier and a little more cumbersome to carry than field easels but they do minimise the number of extra bags you need to carry on your painting trip. The Jackson's Wentworth Box Easel has telescopic upper and lower canvas supports which accommodate a large range of canvas sizes.

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The pochade box is well suited for use out of doors. It appears from the outside as if it were a regular painter's travel case but inside the lid is a board that can be folded out at an upright angle once the lid is fully open. Painting panels can be fixed to this board using the clips attached to it. In the box there is enough storage space for your paints, brushes and mediums. The lid that keeps your tubes of paints in the box also has some holes which you can hold your brushes in for ease of accessibility. A tripod is also available for the pochade which means that you can set up and paint anywhere.

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1. Winsor & Newton Windrush Beechwood Sketching Field Box Easel Size: 73 x 94 x 182cm.

Code: EW203 Price: £116.00

2. Jackson's French Style Box Easel Size: 71 x 114 x 180cm.

Code: EJ019 Price: £103.00

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3. Mabef Venetian Full Box Field Easel Height: 73in (185cm).

Code: EM22 RRP: £280.00 Price: £189.00

EASELS GUIDE

FIELD EASELS

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4. Winsor & Newton Trent Metal Sketching Easel Height: 190cm.

Code: EW126 RRP: £82.00 Price: £63.00

5. Winsor & Newton Severn Sketching Easel Height: 200cm.

Code: EW125 RRP: £155.00 Price: £68.00

6. Winsor & Newton Dart Sketching Easel Height: 168cm.

Code: EW124 RRP: £54.00 Price: £26.00

7. Winsor & Newton Bristol Alumium Easel Height: 177cm.

Code: EW210 RRP: £90.00 Price: £56.00

8. Jackson's Small Sketching Easel Height: 91cm.

Code: EJ012 Price: £28.00

9. Jackson's Blue Box Metal Sketching Easel Height: 180cm.

Code: EC650 Price: £32.00

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TA B L E & B OX E A S E L S Table Easels Table easels are perfect for artists that like to work relatively small scale, like to work sitting down, or have limited space. Most except the Pochade boxes are designed for indoor use, although they can all be used on a table out of doors. Tripod table easels look like mini A-frames and are available in wood or aluminium. They fold into a conveniently compact size and are adequate for light work, but do not offer as much stability as an H-frame table easel. Some H-Frames such as the Winsor and Newton Medway have a drawer at the bottom

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which is particularly useful if you're going to carry yours around a lot and need everything in one place. The Jackson's Academy small and large box easels use the lid of the box as the canvas support, which can be positioned to your desired working angle. This offers a really sturdy and ergonomic solution to painting indoors while occupying minimal space.

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1. Jackson's Wentworth Box Easel Size: 38 x 41 x 13cm.

Code: EJ016 Price: £52.00

2. Mabef Pochade Box Size: 40.5 x 30 x 24cm.

Code: EM105 RRP: £160.00 Price: £105.00

3. Mabef Sculpture Stand Beechwood Size: 34 x 34cm.

Code: EM36 RRP: £140.00 Price: £95.00

4. Jackson's Tripod Table Easel Size: 8.5 x 7 x 53cm.

Code: EJ015 Price: £9.40

5. Jackson's Display Easel Size: 45 x 45 x 56cm.

Code: EJ018 Price: £7.70

6. Jackson's H-Frame Table Easel Size: 32 x 27.5 x 74.5cm.

Code: EJ004 Price: £24.00

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EASELS GUIDE

P R I N T R A C K S & W O R K S TAT I O N S Print Racks Print racks are ideal for displaying works on paper. They stand on the floor and hold works on paper flat on their side. The wide opening at the top of a print rack allows viewers to flick through artwork, like a browser. Jackson's sells both aluminium and wooden print racks.

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The metal print racks are on wheels and can more easily be moved about. Ideal for displaying very large paintings, prints and drawings at shows or fairs. Check our website for prices and information.

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Workstations These perfect multi-functional contemporary tables are great for drafting, drawing, or crafting. The large, tempered, glass work surface adjusts from flat to 35 degrees. Features include a large pencil drawer, four removable side trays for supplies and three slide-out drawers that mount on either side of the table. It has four floor levelers for stability and is constructed of a heavy gauge steel

for durability. You can use the Light Pad Support Bars which attach to the back of Studio Designs' glass top tables to suspend a light pad (not included). This secures placement and prevent scratches.

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7. Mabef M40 Beech Print Rack Code: EM40 RRP: £215.00 Price: £150.00

8. Jackson's Print Rack Code: EJ005 Price: £38.00

10. Studio Designs Futura Craft Station Silver / Blue. 38 x 24in worksurface.

Code: ESDFCSSB RRP: £297.00 Price: £271.00

11. Studio Designs Vision Craft Station 35.5 x 23.75in worksurface.

Code: ESDVCS RRP: £237.00 Price: £216.00

9. Mabef Beech Print Rack Code: EM38 RRP: £105.00 Price: £76.00

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BOOKS

BEST SELLING BOOKS Experimental Flowers in Watercolour by Ann Blockley

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BOOKS ONLINE

Written by the well-known watercolour painter Ann Blockley, this exciting new book really pushes the boundaries of watercolour, showing you how to paint a stunning range of flowers throughout the seasons. Techniques covered include combining water-based paint and ink with other media such as gesso to create dramatic effects; manipulating paint with materials such as plastic wrap; tearing, layering and reassembling paintings into watercolour collages; and developing textures and marks using fabrics and organic materials. Anne also demonstrates how to create exciting textures using materials like glitter, sequins, granulation medium, sand, salt and gold paint.

Divided by seasons into four sections, Experimental Flowers in Watercolour is a practical and inspirational book aimed at the intermediate or experienced flower painter who wishes to take their painting to the next level and to develop a more adventurous style.

Code: BKA049 RRP: £18.99 Price: £15.10 Colour Mixing Bible by Ian Sidaway Are you discouraged by the time and expense involved in mixing colours to achieve the ones you really want for your work? Are you confused by the vast range of colours available on the market and the language used to describe them? Ian Sidaway’s Colour Mixing Bible takes the time and effort out of experimenting with colours by showing you the vast range of colour mixes possible in all the major media.

The book consists of a visual directory of over 10,000 colour mixes. It also includes a full explanation of the properties and dimensions of pigment colour including temperature, intensity, opacity and tone. It is an essential reference book for artists working in all the major media: oil, acrylic, watercolour, gouache, soft pastel, coloured pencil and ink.

Code: BKD156 RRP: £12.99 Price: £10.30 Little Ways to Learn Acrylics Book by Mark Nelson This unique book works as a complete course in acrylic painting, built up from key techniques.

As the reader progresses through the sections of the book, the author demonstrates each technique with the creation of a mini painting, measuring 5-inch square. By the time the reader has worked right through to the end, they will have an amazing collection of 50 minipaintings, on board, paper or canvas, that will be a testament to their skill and creativity. The subject matter for the squares varies from abstracts and simple colour mixing exercises, through to figurative subjects: a flower, a sunset or a busy street scene. These can be mounted, exhibited, collected in a portfolio or given away as gifts for friends to cherish.

This book is ideal for anyone coming to acrylics for the first time, or for those who are keen to improve their skills. The course will be particularly helpful for anyone who is daunted by the thought of filling a large empty canvas or a blank piece of board. It will free painters from their creative hang-ups, and replace them with an addictive desire to create that next 5-inch square.

Code: BKS406 RRP: £12.99 Price: £10.30 Painting Light in Oils by Peter Wileman and Malcolm Allsop Peter Wileman is one of the most dynamic oil painters currently working in the UK and is currently the President of the Royal Institute of Oil Painters. In ‘Painting Light in Oils’ he demonstrates how to create atmospheric landscapes in oils with stunning effects.

Light is what motivates many painters. It excites the eye and radiates an energy that transforms an otherwise ordinary scene into something special. In his first book, Peter Wileman shows how he gets inspiration for his exciting landscapes and seascapes, working both on location and in the studio. Several step-by-step demonstrations show how he captures light and shade on his canvas with such amazing skill. There are also sections on tone and colour harmony, reflected and changing light and how to paint from both sketches and photographs.

Code: BKA050 RRP: £18.99 Price: £15.10

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BOOKS

BEST SELLING BOOKS The Modern Flower Painter by Anna Mason Anna Mason‘s exceptional floral artwork has won awards from the Royal Horticultural Society and International Artist magazine and has seen her elected to the prestigious Society of Botanical Artists. In this book, she shares her innovative watercolour technique so that you too can paint flowers in her clean, crisp style.

The book covers every aspect of painting modern botanical-style portraits of flowers using Anna’s six-stage watercolour process. There are instructions on setting up your studio, gathering your reference material and producing detailed preliminary drawings. Each of the six step-by-step projects in this 128-page paperback book is accompanied by an outline drawing, tonal notes and useful colour swatches so that you can compare the tone and hue of your mixes to Anna’s own. This all builds into a fantastic guide that will inspire and challenge the experienced watercolour artist, while drawing in and reassuring the complete beginner.

Code: BKS366 RRP: £17.99 Price: £14.30 Colour & Light in Watercolour by Jean Haines In this new and extended edition of her best-selling book in the 'How to Paint' series, 'Colour and Light in Watercolour' (first published 2010), Jean Haines has produced a book even more inspirational than the first. Using hands-on demonstrations, examples of her work and an extended text, Jean provides a valuable insight into the materials and techniques she uses to inject colour and light into her stunningly beautiful, award-winning watercolour paintings. 40% of the material in this edition is entirely new.

Jean's enthusiasm and passion for art is evident throughout this book, which is packed full of ideas, useful tips, expert advice and over 20 step-by-step demonstrations, with subjects ranging from atmospheric winter landscapes to bright colourful cockerels, all painted in Jean's loose and expressive style. Artists of all tastes and abilities will not fail to be inspired by her imaginative and exciting use of light and colour.

Code: BKS386 RRP: £15.99 Price: £12.70 David Bellamys Skies, Light and Atmosphere in Watercolour by David Bellamy In this second book in a series, renowned watercolourist David Bellamy shows how to paint skies, light and atmosphere, and explains how these three key elements can affect a painting.

Starting with skies, David covers basic techniques, composition, clouds, special effects like silver linings, sunsets and shafts of light. He then provides a step by step walkthrough of a study of a dramatic sky. The next section explores the use of light in landscape painting, with plenty of advice including warm and cool light; using glazes; depicting light from different directions; painting the sun and reflected light. This is followed by a step by step demonstration featuring strong light and shadow.

The atmosphere section covers haze and mist, fog, mountains in cloud, smoke and steam, rain, storms and tranquil moods, and is followed by an step by step painting of a waterfall.

David Bellamy’s extensive travels and much admired painting style ensure that there are plenty of atmospheric skyscapes and landscapes throughout the book.

Code: BKS320 RRP: £9.99 Price: £7.90

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DVDS

BEST SELLING DVDS Experimental Landscapes In Watercolour by Ann Blockley SWA Ann Blockley is a truly imaginative and exciting painter famed for her ravishing, colourful flower paintings. Now she tackles landscapes in the same thrilling style: flicking paint with paintbrushes, dropping in colour with pipettes, and using clingfilm to manipulate washes as they dry.

250+ DVDS

ONLINE

There are four full demonstrations on this DVD, which has been filmed in her Cotswold studio.

Over a running time of nearly two hours, Ann encourages the viewer to move beyond the chocolate-box, picture-postcard style of painting which is commonly used in watercolour landscapes. Instead, she teaches the viewer how to use strong contrasts of dark and light to capture dense vegetation, how to make use of daring wet-in-wet techniques, and how to exaggerate the natural qualities of the landscape. These techniques will help you to produce vibrant, lively watercolours of your own. This DVD is an excellent companion to Ann’s recent book ‘Experimental Landscapes in Watercolour’.

Code: VTH56 RRP: £27.95 Price: £26.00 Watercolour Inspiration by Jean Haines Presented by the artist Jean Haines SWA and filmed in her waterside home and studio, 'Watercolour Inspiration: Jean Haines' provides over two hours and ten minutes of instruction in the art of contemporary watercolour painting. Jean guides the viewer through a series of watercolour demonstrations, warm-up exercises and step-by-step studies, all the while sharing the techniques which will allow them to create accomplished watercolour paintings of their own.

The intimate over-the-shoulder style of tuition will help the viewer to feel comfortable playing with paint, using wet-in-wet techniques and lifting colour. The aim at all times is to use heavilyloaded mop brushes without the painting becoming vague or sloppy. The DVD includes a stepby-step demonstration painted from a photograph, designed to help you tell when your own paintings need more detail, and when they are finished.

Code: VTH60 RRP: £27.95 Price: £26.00 Pushing The Boundaries Of Watercolour by Chris Forsey RI In ‘Pushing the Boundaries of Watercolour’, Chris Forsey RI demonstrates how he uses a variety of water-based painting techniques to produce artwork which shimmers with light and crackles with energy. There are four full demonstrations on this two hour DVD including one watercolour painting which Chris executes in the studio from a sketch he creates on location at a wintry rural church.

This DVD will give a real creative kick-start to your watercolour painting. Chris instructs the viewer in the use of dry and wet media, using card to apply colour, flicking colour, and painting with a dry brush. It also contains a special bonus item - an interview with Chris in which he explores his idiosyncratic approach to watercolour painting.

Code: VTH49 RRP: £27.95 Price: £26.00

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DVDS

BEST SELLING DVDS Atmosphere & Mood In Watercolour by Joseph Zbukvic Watercolour is a medium naturally suited to impressionistic painting which conveys the atmosphere of a scene without going into unnecessary detail. Joseph is a highly regarded Australian watercolour artist who has the ability to create a magical atmosphere and mood in his paintings. He has spent years teaching students how to simplify complex or crowded scenes.

In this film we follow him as he paints urban views of Australia and Venice. He paints a busy Melbourne street, full of movement and life, as well as the marina at Williamstown with its boats and the city of Melbourne in the background. In Venice he paints a view of the fish market on the Grand Canal. Boats, cars, buildings and figures are all portrayed in an impressionistic manner which stems from Joseph’s practice of producing quick studies in watercolour when working en plein air, rather than detailed pencil or crayon sketches.

Code: VAP47D RRP: £28.55 Price: £27.50 Inspirational Oil Landscapes by Peter Wileman PROI FRSA Peter Wileman is President of the Royal Institute of Oil Painters and a Fellow of the Royal Society of Arts. His paintings are full of colour and light and an energy you can feel. Peter is passionate about his art and in this DVD he demonstrates how to get truly creative with landscape painting in oils.

Producing large-scale oil paintings from photographs is a difficult skill. Peter shows the viewer how to scale up photographs; how to use pencil sketches; how to use oil sketches to colour-match and test composition; and how to restore light-effects and details which are difficult to capture in a photograph. This DVD features four full demonstrations in which Peter shares his unique way of working. Using over-the-shoulder tuition, he produces a view of London from the Thames, a view of a hill town in the Sierra Nevada, Spain, and a rural snow scene.

Code: VTH26 RRP: £27.95 Price: £26.00 Dynamic Acrylics by Soraya French Soraya French is one of the most in-demand teachers and demonstrators in the acrylic medium in the UK, thanks to her vibrant, dynamic and exciting work. In this DVD she demonstrates the use of a range of acrylic paints from acrylic inks to heavy body acrylics, with additional advice on the use of acrylic mediums which can thin, thicken or otherwise alter the properties of your colours.

This DVD includes five full demonstrations showing how the various types of acrylic paints can be used to best effect. Soraya’s distinctive style stems from her time as a painter in waterbased transparent media; she shows you how to use these techniques, such as building up gradual washes of lighter colour before sketching in detail later. This DVD really shows off the versatility that acrylic paints can offer.

Code: VTH18 RRP: £27.95 Price: £26.00

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JACKSON'S ART SITES

JACKSON'S ART SITES Jackson's provide great websites for artists without the cost and hassle of setting one up.

With minimal expertise required, you can use our online admin system and a variety of beautiful templates designed especially for artists, to create and edit your own website quickly, easily and very cost-effectively. www.jacksonsartsites.com

When you sign up for a free trial you are automatically taken through to our admin system where you can choose a template and begin to build your site.

SIGN UP FOR A FREE 1 4 D AY T R I A L

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Get a feel for how the system works. Watch the instructional videos and download the Easy Start User Guide. Follow the simple steps to make and update your website.

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When you are ready to go live, follow our prompts in the admin system to subscribe.

Within minutes your website will be live.

SUBSCRIBE WHEN YOU ARE READY

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Our guides are extremely easy to follow but email support is available if and when you need it.

S U P P O R T I S AT H A N D

JACKSON'S GIFT VOUCHERS Printed on attractive deckle edged cards and available in a range of values.

Jackson's gift vouchers make ideal presents.

They are easily redeemable online or over the phone. Sent with free postage anywhere in the world.

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£5 Gift Voucher Code: GV5

£20 Gift Voucher Code: GV20

£10 Gift Voucher Code: GV10

£50 Gift Voucher Code: GV50

£15 Gift Voucher Code: GV15

£100 Gift Voucher Code: GV100

O R D E R I N G I N F O R M AT I O N

Materials Guide Winter 2016/2017

This Materials Guide highlights selected products within Jackson's vast range of art materials. We have a much bigger selection (over 38,000 different products) which is available to view both online and in our catalogues. Jackson's currently has four different catalogues available to order for free if you live within the UK. Alongside our main product catalogue we have three which are specially dedicated to some of your favourite mediums - Watercolour, Oil Colour & Acrylic. We are also in the process of creating a catalogue specifically for pastels which will be coming soon!

Three ways to order: • By post - Simply use the order form below, ensuring that you include product codes as listed on our website and post it to our address which is listed.

• By phone - Jackson's can also process orders over the telephone on 0207 254 0077.

• Online - Using our website to order is simple - with our next day delivery option it means your art supplies go from our stockroom to your studio in a day.

By Phone 020 7254 0077 +44 (0) 20 7254 0077 (International) 9.00am to 5.30pm Monday to Friday

By Post Jackson's Art Suppplies 1 Farleigh Place, London, N16 7SX See order form below.

By Fax 020 7254 0088 +44 (0) 20 7254 0088 (International)

By Email or Online sales@jacksonsart.co.uk www.jacksonsart.com

UK Standard

Over £20 Under 400g FREE

Under £39 Under 1Kg £3.95

Under £39 Over 1Kg £3.95

Over £39 Under 1Kg FREE

Over £39 Over 1Kg FREE

UK Non Standard*

FREE

£3.95

£10.95

FREE

£7.00

Channel Islands

FREE

£3.95

£10.95

FREE

£7.00

Postage Info

*Scottish Highlands, offshore UK and Northern Ireland.

For international orders (including the Republic of Ireland) please call for a quote.

PRIORITY ORDER FORM Name

Email

Payment Address

Delivery Address (if different) or Delivery Instructions

Address

Address

Postcode Telephone

Telephone

Credit or Debit Card (no Amex)

Postal Order

Cheque (payable to Jackson's Art Supplies)

Card Number Valid from

Sec. No. Expiry Date

Issue No.

Please note that we can no longer process credit card orders without the Security Number. This is the final three digits of the number on the signature strip of your card.

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Order Code

Description

Quantity

£ Price

Postage Total

Total