Natural Pigments 2011 Catalog

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CATALOG OF PROFESSIONAL ARTISTS’ MATERIALS

About Natural Pigments

Glossary

elcome to the new Natural Pigments reference catalog and a world of natural and historical colors for fine artists. You will find many new products since our first catalog and, even more important, lower prices on pigments and paints. How is this possible? We recently traveled to Europe to obtain better prices by purchasing large quantities of pigments and other materials. We’ve passed those savings on to our customers.

Acid Value: The amount of fatty acids measured

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Rublev Colours® Artists’ Oils During the past year, we made significant improvements to Rublev Colours® Oils—not by resorting to additives, but by how we make them. See page 12.

All other brands of oil paints, even those marketed as “only pigment and oil” have some additives in them. Some pigments, such as ultramarine, cannot be used easily without them. The addition of additives may not be noticed by some painters, but even in minimal amounts, they alter the properties of paint.

Rublev Colours® oils are not formulated to eliminate the noticeable different consistencies amongst pigments like oil colors made by other manufacturers. We believe each color should have its own character, as long as its consistency isn’t too stiff or too liquid for painting.

However, other paint brands contain stabilizers or other additives that eliminate those differences and alter their drying time.

Drying time should be at the bottom of the list of vital properties of oil paint. The most important are brushability, miscibility, the best vehicle and high pigment concentration. With few noted exceptions, all Rublev Colours® Artists’ Oils are made using only linseed oil, because it is the best drying oil vehicle of all.

This kind of paint can only be offered by a small manufacturer, because large manufacturers cater to amateurs and hobbyists that comprise the vast majority of art materials consumers.

Rublev Colours® Artists’ Oils are expressly made for professional painters.

New Mediums and Varnishes Natural Pigments now offers a wide assortment of varnishes and mediums that are not available Hematite outcropping on the banks of the Ural river, Russia and a source of Rublev Colours Hematite.

Stone mills are still the best way to grind minerals and are used

by Natural Pigments to prepare earth pigments.

from other manufacturers. You will find natural impasto mediums, gel mediums, wax mediums and gumtion. Check out our new mediums and varnishes on page 18.

Rublev Colours® Watercolors Rublev Colours® Watercolors are new to this catalog. These single pigment paints available in tubes and pans are made with the same pigments used by masters of past centuries. See our array of colors and mediums on page 26.

While the trend in commercial watercolors is to suppress pigment textures in favor of homogeneous, flat color, the earth and mineral pigments used in Rublev Colours® Watercolors feature larger particles that produce granulation effects without the use of additives.

About Natural Pigments Natural Pigments imports, manufactures and distributes rare and hard-to-find art materials for fine artists and decorators. Natural Pigments specializes in supplying artists’ materials that were used in traditional painting from pre-historic times up to the 19th century.

We search for materials of the best quality, bringing them direct to you from the source. We travel the world to find materials for artists and decorators. We obtain minerals from mines in Asia, Europe and South America for pigments.

We buy resins, gums and plant dyes from Asia and Africa for varnishes and paints.

Our goal is to provide the widest selection of natural and historical pigments, paints and other art supplies, making shopping for rare and hard-to-find art materials easy. We promote education of these materials among artists by providing detailed information for their use in encaustic, fresco, oil and water-borne mediums and sponsoring workshops throughout North America and Europe. Visit our web site for more information and current schedule of workshops.

Cover: Rembrandt van Rijn (Dutch, 1606–1669), The Artist in His Studio, 1629, Oil on panel, Museum of Fine Arts, Boston.

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as the number of milligrams of potassium hydroxide required to neutralize the free acids in one gram of oil, resin, etc.

Agglomerate: A loose arrangement of primary particles and aggregates of a pigment that may be broken apart during dispersion (grinding or mulling) in the paint making process.

Aggregate: A group of pigment particles held together by surface forces; the spaces between the particles are filled with air.

Binder: Solid ingredients in paint that hold pigment particles in suspension and adhere them to a support, consisting of glue, gum, oil or resin.

Bodied Oil: (Stand Oil) A drying oil that has been partially polymerized by heat with or without driers to promote rapid drying. Bodied oils can be heated in open kettles, closed kettles, under an inert atmosphere or in a vacuum.

Body: A general term for “consistency” or “viscosity,” referring to how “thick” or “thin” paint is in its plastic (not liquid) form.

Boiled Oil: A drying oil that is heat-treated until it is partially oxidized and thereby dries more rapidly than raw oil. Usually driers are added during cooking; the reaction releases water, resulting in boiling, hence the name.

Bloom: A white milky appearance on the surface of paint, sometimes after applying varnish, and usually caused by solvent evaporating too fast in high humidity. Polar solvents help to reduce or eliminate this effect. Also called blush or haze.

Couch: An oily or resinous medium spread thinly onto the surface of the painting before applying fresh paint (referred to as “painting into a couch of oil or medium”).

Cut: The number of pounds of resin dissolved in one gallon of solvent; e.g., a 5-pound cut is five pounds of resin in one gallon of solvent.

Dispersed: Finely divided or colloidal in nature, such as pigment particles evenly distributed in a vehicle as compared with pigments particles stuck to one another and unevenly distributed.

Drier: A substance that accelerates the drying of vegetable oil binders.

Drying Oil: An oil that when exposed to air will dry to a solid, such as linseed and walnut oil.

Emulsion: A mixture of two immiscible substances, such as oil and water. One liquid (the dispersed phase) is dispersed in the other (the continuous phase); i.e., egg tempera (oil-inwater emulsion) is a dispersion of egg oil surrounded by a continuous liquid phase of water.

Essential Oil: A volatile oil that is the product of the distillation or expression of plants, including flowers, leaves, wood and grass.

Extender: A solid material used as an additive to impart specific physical properties to paint; typically natural minerals, such as silica, clay, whiting, etc. The term is derived from “pigment extender,” as they are generally pigment-like but possess poor optical properties.

Filler: A solid substance used to impart specific physical properties, usually bulk, to paint. The term refers to the function, as they are the same as extenders.

Fineness of Grind: The degree of dispersion determined by the presence of coarse particles as measured a Hegman or grind gauge.

Flocculation: The process by which dispersed pigment particles come together and either settle out or form a gel.

Continued on page 31

History of Pigments Prehistoric Colors

From Antiquity to the Renaissance

The Industrial Revolution

Throughout history, humans have found expression through color. The colors used by the first humans were made from earths and charcoal spread on the walls of caves. Prehistoric dwellers undoubtedly discovered that unlike the dyes derived from animal and vegetable sources, the colors from deposits in the earth would not fade. For this reason, early men traveled long and far to maintain a steady supply of pigments. Their limited palette was derived from three basic colors: red, black and yellow. Reds, yellows and browns came from the minerals hematite and goethite. Blacks were derived from manganese ores and charcoal.

Mineral extraction flourished and the production of artificial pigments began as civilizations grew, expanding artists’ palettes to include blues and greens. The Egyptians added malachite, azurite, lazurite and Egyptian blue to their ancient palette. Ancient Chinese and Romans added verdigris and the bright reds of cinnabar, vermilion and realgar. Throughout the Middle Ages and Renaissance, mineral pigments continued to be used by painters. Available since antiquity, medieval painters used green earth for underpainting flesh tones. New colors—smalt and lead antimonate (Naples yellow)—were added from the glassmakers’ trade.

Research in pigments lead to the development of many new colors, beginning with Prussian blue and cobalt blue in the 18th century and culminating with hundreds of organic and high-performance pigments in the 20th century. Many of the mineral pigments used by painters in former centuries were abandoned for less expensive alternatives developed during the past two centuries.

The graph below shows the history of artists’ pigments, representing traditional pigments in common use from the 6th century until now.

The gradated bar represents approximate dates of a pigment’s introduction to termination.

Pigments: History of Artists’ Common Use Pigment Name (Artificial Pigment Name)

500

600

700

800

900

1000 1100 1200 1300 1400 1500 1600 1700 1800 1900 2000

Key: Natural pigment (blue); artificial pigment (yellow) 500

600

700

800

900

1000 1100 1200 1300 1400 1500 1600 1700 1800 1900 2000

Azurite (Blue Verditer) Lazurite from Lapis Lazuli (Ultramarine) Vivianite also Blue Ocher Indigo Smalt Cobalt Blue Prussian Blue also Milori Blue Malachite (Green Verditer) Green Earth also Terre Verte Verdigris Jarosite Orpiment (King’s Yellow) Yellow Iron Oxide Earth (Mars Yellow) Lead-Tin Yellow also Massicot Lead Antimonate also Naples Yellow Chrome Yellow Cinnabar (Vermilion) Realgar Hematite also Red Iron Oxide Red Iron Oxide Earth (Mars Red) Minium also Red Lead Scarlet Red also Chrome Red Cochineal/Kermes Lake also Carmine Lake Madder Lake also Rose Madder Lac Lake also Indian Lake Mummy Sienna Brown Iron Oxide Earth also Umber, Sienna Cassel Earth also Van Dyke Brown Cerussite (Lead White) Bone Black Charcoal Black also Vine Black Lamp Black Black Iron Oxide Earth (Mars Black)

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ublev Colours® natural mineral, organic and historical powder pigments are especially made by Natural Pigments for artists. They are the same pigments used by ancient, medieval and Renaissance painters. Each pigment can be used for different painting techniques. Whether you are a novice or an experienced painter, you’ll find Rublev Colours pigments well suited for use in aqueous mediums, such as egg and casein tempera, gum arabic (watercolor), hide glue (distemper) and acrylic dispersions. They perform equally well in oil and alkyd paint. Most are suitable for fresco and other painting techniques, such as encaustic.

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Collecting hematite-bauxite ore in Russia—source of Rublev Colours® Mummy pigment.

At Natural Pigments, we remove the mystery of pigments by disclosing their source and known composition. We want you to gain the same intimate knowledge that the old masters had when they made their own paint with pigments.

Why Use Natural Pigments?

PIGMENTS Microphotographs of pigment particles: lazurite, above; synthetic ultramarine, below; show the striking difference between traditional and modern pigments.

Rublev Colours® pigments are made directly from mineral and organic sources. Our geologist, who has many years experience selecting minerals for pigments, travels to distant locations, and hand selects mineral ores for use in our pigments. We process the minerals by pulverizing, grinding and levigating for use as fine artists’ pigments.

We travel worldwide to observe the growing and processing conditions of the natural materials used in our organic pigments. We inspect cochineal gathering at cactus plantations in Mexico, madder root in Turkey, indigo vats in India, and logwood trees growing in Honduras.

Synthetic pigments today are made to serve the paint industry, in which producing paints for artists plays a minor role. To achieve maximum desirability in paint today, pigments are made homogenous in shape, size and composition. For example, to increase the covering power of pigments, particle sizes are made as small as possible. The smaller the particles, the more the color nuances of the pigment are reduced to its basic hue, as in inks that have no texture. Particles that are homogenous in shape and size also tend not to settle quickly and separate from

the binder during storage. This increases the shelf life and thereby the marketability of paint, but reduces its beauty as a color for artists’ use. As Anita Albus wrote in Art of Arts, “The result is not perfection, but sterility.”

Artists’ material manufacturers purchase most of their pigments from companies that mass-produce them for other uses. A few examples include ultramarine, cadmium and thalo colors. Oddly enough, painters are one of the few artistic groups to succumb to economic pressures and use ready-made materials. Even in the applied arts such as cookery, it is customary to produce their own stocks and sauces, even though commercially-processed alternatives are available.

We make our pigments, on the other hand, to specifications that maintain their best qualities and allow artists to refine them for their own use. You can use them as they come out of the jar or

Natural Sienna is ready for roasting in the furnace to create Rublev Colours® burnt Sienna.

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Pigments grind and separate into different grades for special visual effects.

As you become more aware of these possibilities, you will want to experiment, paying attention to the way the pigments look and behave when mixed with your favorite binder—whether it is oil, acrylic, egg, lime, casein, collagen glue or gum arabic.

species of plants that contain indigotin, a fermentation derivative of the leaves. The plant Indiagofera tinctoria thrives in the tropical climate of India and is the source of our pigment. We purify our natural indigo in acid, alkali and alcohol, according to old recipes, to achieve very high purity and improve on the lightfastness of natural indigo.

Rublev Colours Historical Pigments Here are some of the most important historical pigments, mostly natural minerals, available as Rublev Colours from Natural Pigments.

Azurite is basic carbonate of copper and is found in many parts of the world in the upper oxidized portions of copper ore deposits along with malachite. Azurite varies in mass tone color from deep blue to pale blue with a greenish undertone. According to some authorities, azurite has been found in paint pigment as early as the 4th Dynasty in Egypt.

We supply this pigment in two grades—coarse (53–150 microns) to use for texture and to grind further for special effects and fine (0–53 microns) for most painting applications.

Cinnabar, a dense red mineral, is the principal ore of mercury. It is an historical pigment well known to the Romans and widely used in China since the 3rd millennium B.C.E. The natural mineral is said to be more stable than the manufactured pigment known as vermilion. Vermilion was used extensively in easel and miniature painting throughout the Middle Ages until the end of the 19th century. The traditional use of red glazes of madder or cochineal lakes over cinnabar or vermilion underpainting not only increases

the intensity of the color, but also reduces the tendency of these lake pigments from fading. Our dry process vermilion is made in China by a recipe handed down through successive generations.

Glauconite is a greenish mineral of hydrated iron potassium silicate, known as green earth, and varying from pale green and bluish-green to olive-green.

We obtain green earth from Cyprus, Estonia, Italy and Ukraine. The most famous deposit of green earth is found near Verona, Italy. Restorers have proven that the famous green pigments of past centuries known as terre verte are in essence the mineral glauconite.

Hematite is a dark red iron oxide. We obtain hematite from iron ore deposits in England, France, Italy, Russia and U.S. It is a lustrous pigment of considerable tinting strength and opacity.

Hematite is the principle-coloring agent in red ocher, such as Pozzuoli red, Venetian red, etc.

These pigments contain hematite associated with varying amounts of clay, chalk and silica.

Lazurite is a rare mineral commonly found combined with other minerals, called lapis lazuli. We buy select pieces of lapis from one of the oldest lazurite mines in Badakhshan, Afghanistan, as well as mines near Lake Baikal, Russia and the Cordillera Range of Chile. These pieces are finely ground and washed to obtain the highest purity and deepest blue hue. The raw lapis is crushed, ground and cleaned in a series of different steps, removing impurities, such as calcite, pyrite, diopside, wollastonite, until a concentrate of lazurite crystals is derived —the remaining mineral is mostly wollastonite. In most mediums, our premium quality (70–75% lazurite) gives a dark blue. The particle size is less than 40 microns, which still preserves the reflective quality of its crystals.

The mineral Malachite is basic carbonate of copper, described as a bright greenish blue or sometimes as a pale green. The finer the pigment particle size is the lighter green in color it becomes. Our malachite is obtained from mines in the Ural mountain range in Russia. Available in fine and coarse grades.

Orpiment is yellow arsenic sulfide, a rare mineral usually described as a lemon or canary yellow or sometimes as a golden or brownish yellow. Our orpiment is from Kadamdzhaï in Kyrgyzstan. The modern name comes from the Latin auripigmentum, or golden pigment. It is an historical pigment having been identified on ancient Egyptian objects and paintings from the 31st Dynasty to the 6th century B.C.E. It is mentioned in Greek and Roman literary sources. The Leyden papyrus described its use in late Egyptian painting, as does the Mappae Clavicula in early medieval painting. The pigment has been described in various other manuscripts dating from the 12th to the 15th centuries.

Lapis lazuli mine in Chile and source of Rublev Colours® lazurite pigment.

Indigo is a dark blue pigment prepared from more than 10

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Pigments

Azurite (Fine Grade) 410-10 | Series 7 | PB 30 T

Prussian Blue 417-17 | Series 3 | PB 27

Victoria Green 427-12 | Series 7 | PG 51

Italian Dark Ocher 431-43 | Series 1 | PY 43

Cinnabar 450-10 | Series 7 | PR 106 N

Sartorius Red Earth 451-41 | Series 1 | PR 102

Azurite (Coarse Grade) 410-11 | Series 7 | PB 30 T

Ultramarine (Greenish) 417-18 | Series 3* | PB 29

Chromium Oxide Green 427-15 | Series 3 | PG 17

Chrome Yellow Primrose 437-11 | Series 3* |PY 34 N

Vermilion 450-15 | Series 7 | PR 106 N

Pozzuoli Red 451-42 | Series 2 | PR 102

Afghanistan Lazurite 410-15 | Series 7 | PB 29

Indigo 415-11 | Series 5 | NB 1

Jarosite 430-17 | Series 4

Chrome Yellow Light 437-12 | Series 3 |PY 34 N

Realgar 450-20 | Series 7 | N

Ercolano Red 451-43 | Series 2 | PR 102

Vivianite (Blue Ocher) 410-20 | Series 7

Dioptase 420-10 | Series 7 | T

Orpiment 430-20 | Series 7 | PY 39 N

Chrome Yellow Medium 437-13 | Series 3 |PY 34 N

Madder Lake 455-24 | Series 5 | NR 9

Venetian Red 451-44 | Series 1 | PR 102

Riebeckite 410-30 | Series 4 | T

Malachite (fine grade) 420-20 | Series 7 | T

Gold Ocher 430-31 | Series 3* | PY 43

Lead-Tin Yellow Lt (Type I) 437-51 | Series 7 | N

Minium (Red Lead) 457-10 | Series 3 | PR 105 N

Catlinite (Pipestone) 450-61 | Series 2

Cobalt Zinc Blue 417-10 | Series 7 | PB 72

Malachite (coarse grade) 420-21 | Series 7 | T

Yellow Ocher Light 430-41 | Series 1* | PY 43

Lead-Tin Yellow Dk (Type II) 437-52 | Series 7 | N

Hematite 450-31 | Series 3 | PR 102

Potter’s Pink 457-51 | Series 7

Blue Verditer 417-11 | Series 7 | PB 30 T

Celadonite 420-26 | Series 4 | PG 23

Yellow Ocher Dark 430-42 | Series 1* | PY 43

Lead-Tin Lemon (Type I) 437-53 | Series 7 | N

Violet Hematite 450-32 | Series 4 | PR 102

Mummy 460-21 | Series 3 | PR 102

Blue Bice 417-12 | Series 7 | PB 30 T

Glauconite 420-30 | Series 4 | PG 23

Natural Yellow Oxide 430-44 | Series 1 | PY 43

Lead Antimonate Light 437-54 | Series 7 | PY 41 N

Spanish Red 450-44 | Series 1 | PR 102

Siderite 460-10 | Series 4

Royal Smalt 417-13 | Series 7 | PB 32 T

Verona Green Earth 421-26 | Series 1 | PG 23

Limonite 431-10 | Series 1 | PY 43

Lead Antimonate Dark 437-55 | Series 7 | PY 41 N

Natural Red Oxide 450-51 | Series 1 | PR 102

Goethite 460-50 | Series 3 | PBr 7

Smalt 417-14 | Series 7 | PB 32 T

Antica (Prun) Green Earth 421-27 | Series 1 | PG 23

Lemon Ocher 431-41 | Series 1 | PY 43

Massicot (Litharge) 437-59 | Series 3 | PY 46 N

Blue Ridge Hematite 450-71 | Series 1 | PR 102

Italian Brown Ocher 461-50 | Series 1 | PBr 7

Egyptian Blue 417-15 | Series 7 | PB 31

Nicosia Green Earth 421-31 | Series 2 | PG 23

Italian Yellow Earth 431-42 | Series 1 | PY 43

Orange (Havane) Ocher 440-37 | Series 1 | PY 43

Blue Ridge Violet Hematite 450-81 | Series 1 | PR 102

Russian Raw Sienna 460-30 | Series 3 | PBr 7

Maya Blue 417-16 | Series 4

Green Bice 427-11 | Series 7 | T

Ambrogio Yellow Earth 431-44 | Series 1 | PY 43

Lead-Tin Orange 447-11 | Series 7 | N

Luberon Red Ocher 450-52 | Series 1 | PR 102

Luberon Raw Sienna 460-32 | Series 1 | PBr 7

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Pigments

Luberon Raw Sienna Light 460-33 | Series 1 | PBr 7

Italian Burnt Umber 461-48 | Series 1 | PBr 7

Titanium White 475-21 | Series 1 | PW 6

Italian Raw Sienna 461-31 | Series 1 | PBr 7

Italian Burnt Umber Warm 461-49 | Series 1 | PBr 7

Titanium-Calcium White 475-25 | Series 1 |

Luberon Burnt Sienna 460-34 | Series 1 | PBr 7

Cyprus Burnt Umber 461-44 | Series 2 | PBr 7

Zinc White 475-31 | Series 2 | PW 4

Natural and Historical Pigments

Series 1–5 Prices Italian Burnt Sienna 461-32 | Series 2 | PBr 7

Cyprus Burnt Umber Warm 461-45 | Series 2 | PBr 7

Bianco San Giovanni 475-41 | Series 2

Russian Raw Umber 460-41 | Series 3 | PBr 7

Van Dyke Brown 462-21 | Series 2 | NBr 8

Shungite 480-10 | Series 4 | PBk 10

Luberon Raw Umber 460-42 | Series 1 | PBr 7

Cassel Earth 481-12 | Series 1 | NBr 8

Pyrolusite 480-20 | Series 3 | PBr 8

Series 1 2 3 4 5

100 g $5.50 $6.95 $9.50 $14.50 $19.25

500 g $12.50 $22.50 $44.50 $52.50 $62.00

1 kg $20.00 $34.00 $72.00 $85.00 $114.00

Packaging: Pigments in quantities of 100 grams or less are packed in plastic jars. For quantities of 500 grams or more, pigments are packed in plastic bags to avoid damage during shipping. Pigments with * next to series number are sold by volume in 4 oz jars. With ** next to series number are sold in 4 oz jars and 150 gram bags only.

5 kg $80.00 $135.00 $305.00 $360.00 –

Symbol Key N Toxic T Hazardous

Series 7 Prices Italian Raw Umber 461-46 | Series 1 | PBr 7

Gilsonite (Asphaltum) 462-10 | Series 2*

Natural Black Oxide 480-30 | Series 1 | Pbk 11

Italian Raw Umber Green 461-47 | Series 1 | PBr 7

Vicenza Earth 472-20 | Series 1 | PW 19

Bone Black 480-40 | Series 2 | PBk 9

Cyprus Raw Umber Light 461-41 | Series 1 | PBr 7

Barite White 470-20 | Series 1 | PW 21

Lamp Black 480-50 | Series 1** | PBk 7

Cyprus Raw Umber Med 461-42 | Series 1 | PBr 7

Cerussite (Lead White) 470-10 | Series 7 | PW 1 N

German Vine Black 481-11 | Series 1 | PBk 8

Cyprus Raw Umber Dark 461-43 | Series 1 | PBr 7

Lead White (stack process) 475-11 | Series 7 | PW 1 N

Roman Black 481-13 | Series 1 | PBk 11

Luberon Burnt Umber 460-44 | Series 1 | PBr 7

Lead White (modern) 475-15 | Series 4 | PW 1 N

Item 410-10 410-15 410-18 410-19 410-20 417-10 417-11 417-12 417-13 417-14 417-15 420-11 420-20 427-11 427-12 430-20 437-51 437-52 437-53 437-54 437-55 447-11 450-10 450-15 450-20 457-51 470-10 475-15

Pigment 10 g 50 g Azurite $18.00 $72.00 Lazurite (Afghanistan, std) 23.10 92.50 Lazurite (Chile, standard) 7.50 30.00 Lazurite (Chile, premium) 12.95 51.80 Vivianite (Blue Ocher) 28.00 72.00 Cobalt Zinc Blue – 18.00 Blue Verditer 9.95 39.80 Blue Bice 7.50 30.00 Royal Smalt 6.75 27.00 Smalt 6.00 22.00 Egyptian Blue 16.50 66.00 Dioptase 18.00 72.00 Malachite 5.50 24.00 Green Bice 7.50 30.00 Victoria Green – 14.50 Orpiment 20.00 80.00 Lead-Tin Yellow Light (Type I) – 26.00 Lead-Tin Yellow Dark (Type II) – 28.00 Lead-Tin Lemon (Type I) – 26.00 Lead Antimonate (Naples Yellow Light) 14.50 Lead Antimonate (Naples Yellow Dark) 14.50 Lead-Tin Orange – 28.00 Cinnabar 24.60 108.00 Vermilion – 22.50 Realgar 14.00 65.00 Potters Pink – 17.50 Cerussite (Natural Lead White) – 24.75 Lead White (Stack Process)1 18.95 per cake

100 g $135.00 173.50 56.50 97.50 135.00 35.00 69.65 52.50 47.25 42.00 115.50 135.00 41.50 52.50 24.50 140.00 45.00 49.50 45.00 24.50 24.50 49.50 199.00 45.00 112.00 31.75 44.00

Notes: 1 Available only as solid, friable cakes (35-45 grams each)

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Oil ColorsSamplers and Sets Pigment

Introductory Sampler

Pigment Sets

One ounce (29.5 cc) each of Green Earth, Yellow Ocher, Red Ocher, Umber, Titanium White and Vine Black. An excellent introduction to making your own paints.

Intended for artists who want to expand their painting horizons, each set includes jars containing 100 g or 4 oz of each pigment.

401-1101

Save $3.00

$16.95

Introductory Sampler II Samples of six pigments are included in this kit to introduce you to Rublev Colours pigments.

The set contains six inorganic and one organic pigments: Ultramarine, Yellow Ocher, Madder Lake, Raw Sienna, Burnt Sienna and Burnt Umber—all in individual one ounce (29.5 cc) jars.

401-11011

Save $4.50

$18.00

Introductory Pigment Set Contains 8 pigments in a basic palette: Verona Green Earth, Italian Yellow Earth, Venetian Red, Italian Raw Sienna, Italian Burnt Sienna, Italian Raw Umber, Titanium White and Vine Black.

Makes an excellent starter set for painting, an introduction to making your own paints, or a great gift for the student wanting to learn more about paint making.

401-1106

Save $12

$32.00

Historical Pigment Set Contains 16 historical pigments: Lazurite (50 g), Malachite, Nicosia Green Earth, Verona Green Earth, Lemon Ocher, Italian Yellow Earth, Pozzuoli Red, Venetian Red, Italian Raw Sienna, Italian Burnt Sienna, Italian Umber and Green Umber, Cyprus Umber Dark, Italian Burnt Umber, Calcite and Vine Black. The colors used in medieval and Renaissance paintings in a boxed set that is an excellent set of for making your own paints.

401-1107

Save $30

Historical Pigment Set

Earth Tones™ Pigment Sets Earth Tones™ pigments sets are built on the idea of using warm and cool colors in a subdued range of green, red and brown hues. The sets help to make clear the contrasts of temperature within each of these colors: Greens: Nicosia green earth (cool) Verona green earth (warm) Reds: Venetian red (cool) Ercolano red (warm) Middle tones: Italian dark ocher (cool) Italian Sienna (warm) Dark tones: Italian umber (cool) Cyprus umber (warm) Earth Tones™ pigment sets are designed to help you build tone relationships and color harmony in your painting. Earth Tones™ sets enable you to paint with a limited palette without losing an emphasis on tone.

Warm Earth Tones™ Set Verona Green Earth (warm) Ercolano Red (warm) Italian Raw Sienna (warm) Cyprus Raw Umber Medium (warm) 401-1121

Save $4

$16.50

Cool Earth Tones™ Set Nicosia Green Earth (cool) Venetian Red (cool) Italian Dark Ocher (cool) Italian Umber (cool) 401-1122

Save $5

$16.50

Contrasts Earth Tones™ Set Eight colors from both the warm and cool Earth Tones™ sets.

401-1123

Save $9

$32.00

Complete Earth Tones™ Set covers the entire chromatic range of earth pigments. Includes warm and cool colors (above) with the addition of Lemon Ocher, Italian Yellow Earth, Blue Ridge Hematite, Luberon Red Oxide, Blue Ridge Umber, Cassel Earth, Roman Black and Bone Black.

401-1124

Save $18

$65.00

$165.55

Color Terms

Historical Sampler Contains 11 historical pigments, giving you the basic palette since the Middle Ages: Lazurite (lapis lazuli), Green Earth, Malachite, Yellow Ocher, Lemon Ocher, Red Ocher, Brown Ocher, Violet Hematite, Sienna, Umber and Roman Black—in one ounce (29.5 cc) jars. The boxed set makes a great starter set, an introduction to making paint or a great gift.

401-1102

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Save $20

$85.50

Color is the general term for the property of reflecting light of a particular wavelength, allowing the eye to distinguish red, yellow, blue, etc.

Hue, often equivalent to color, specifically refers to the distinctive property of a color that enables it to be assigned a position in the spectrum.

Shade refers to the gradation of a color with reference to its degree of darkness. Mixing black with a color makes a shade of that color.

Tint refers to a gradation of a color with reference to its degree of whiteness. Mixing white with colors makes tints of those colors.

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Introductory Pigment Set

Pigment Index Key ¢ Suitable in this binder © With certain painting techni-

£

ques can be suitable in this binder—visit our website for more details.

Not suitable in this binder

T or

Warning labels—see page 42 LF—Lightfastness Categories Not tested for lightfastness – I or II Sufficiently lightfast Limited lightfastness III

Pigment Oil Colors Index

BLACK

WHITE

BROWN

RED

YELLOW

GREEN

BLUE

Pigment Name

Colour Index WL LF Wax Fresco

Azurite Blue Bice/Blue Verditer Egyptian Blue Indigo Lazurite (Lapis Lazuli) Maya Blue Riebeckite Smalt/Royal Smalt Vivianite (Blue Ocher) Dioptase Green Bice/Green Verditer Green Earth Malachite Victoria Green Chrome Yellow Gold Ocher Italian Dark Ocher Italian Yellow Earth Jarosite Lemon Ocher Lead Antimony (Naples Y.) Lead-Tin Yellow Limonite Luberon Yellow Ocher Luberon Yellow Oxide Orange Ocher Orpiment Lead-Tin Orange Cinnabar Ercolano Red Hematite Luberon Red Oxide Luberon Red Ocher Madder Lake Minium (Red Lead) Mummy Potter’s Pink Pozzuoli Red Realgar Sartorius Red Spanish Red Venetian Red Vermilion Cassel Earth Cyprus Burnt Umber Cyprus Raw Umber Gilsonite (Asphaltum) Goethite (Brown Ocher) Italian Brown Ocher Italian Burnt Sienna Italian Raw Sienna Italian Raw Umber Italian Burnt Umber Luberon Burnt Sienna Luberon Raw Sienna Luberon Raw Umber Luberon Burnt Umber Pyrolusite Siderite Van Dyke Brown Barite (Baryte) Bianco San Giovanni Cerussite (Lead White) Lead White German Vine Black Lamp Black Luberon Black Oxide Roman Black Shungite (Russian Black)

PB 30 PB 30 PB 31 NB 1 PB 29 – – PB 32 – – – PG 23 – – PY 34 PY 43 PY 43 PY 43 – PY 43 PY 41 – PY 43 PY 43 PY 43 PY 43 PY 39 – PR 106 PR 102 PR 102 PR 102 PR 102 NR 9 PR 105 PR 102 – PR 102 – PR 102 PR 102 PR 102 PR 106 NBr 8 PBr 7 PBr 7 – PBr 7 PBr 7 PBr 7 PBr 7 PBr 7 PBr 7 PBr 7 PBr 7 PBr 7 PBr 7 PBr 8 – NBr 8 PW 21 – – PW 1 PBk 8 PBk 6 PBk 11 PBk 11 PBk 10

T – T –

¢ ¢ – ¢ – ¢ I ¢ – ¢ T – ¢ T – ¢ – ¢ T – ¢ T – ¢ I ¢ T – ¢ I ¢ T – ¢ I ¢ I ¢ I ¢ – ¢ I ¢ – ¢ – ¢ I ¢ I ¢ I ¢ I ¢ – ¢ – ¢ T – ¢ I ¢ I ¢ I ¢ I ¢ II ¢ – ¢ I ¢ I ¢ I ¢ – ¢ I ¢ I ¢ I ¢ T I ¢ – ¢ I ¢ I ¢ – © I ¢ I ¢ I ¢ I ¢ I ¢ I ¢ I ¢ I ¢ I ¢ I ¢ I ¢ – ¢ – ¢ I ¢ T – © – ¢ I ¢ I ¢ I ¢ I ¢ I ¢ – ¢

¢ £ ¢ £ ¢ ¢ ¢ ¢ © ¢ ¢ ¢ ¢ ¢ £ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ £ £ ¢ ¢ ¢ £ ¢ ¢ ¢ ¢ £ ¢ ¢ £ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ £ ¢ ¢ £ £ ¢ ¢ ¢ ¢ ¢

Oil Egg WC Mineral Analog

Chemical Composition

© © ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ © ¢ ¢ ¢ ¢ ¢ ¢ ¢

Basic copper carbonate Dzhezkgazgan, Kazakhstan Basic copper carbonate England Copper calcium silicate England Indigotin Tamilnadu, India Aluminum sulfo-silicate Chile, Russia & Afghanistan Indigotin and attapulgite Texas, United States Iron magnesium silicate Ukraine Potassium cobalt silicate England Iron phosphate Moscow, Russia Copper silicate Altyn Tiube, Kazakhstan Basic copper carbonate England Iron potassium silicate Cyprus, Estonia, Italy, Ukraine Basic copper carbonate Nizhniï Tagil, Ural, Russia Calcium chromium silicate England Lead chromate United States Hydrated iron oxide Voronezhskaia Oblast, Russia Hydrated iron oxide Italy Hydrated iron oxide Italy Iron sulfate Zhuravlinskoe, Perm, Russia Hydrated iron oxide Luberon Massif, France Lead antimonate England Lead-tin oxide England Hydrated iron oxide Italy Hydrated iron oxide Luberon Massif, France Hydrated iron oxide Luberon Massif, France Hydrated iron oxide Luberon Massif, France Arsenic sulfide Kadamdzhaï, Kyrgyzstan Lead-tin oxide England Mercuric sulfide Khaïdarkan, Kyrgyzstan Iron oxide Ercolano, Italy Iron oxide Krivoï Rog, Russia Iron oxide Luberon Massif, France Iron oxide Luberon Massif, France Alizarin-alumina hydroxide United States Lead tetroxide United States Iron oxide Kaluzhskaia Oblast, Russia Tin chromium silicate England Iron oxide Pozzuoli, Italy Arsenic sulfide China Iron oxide Tuscany, Italy Iron oxide Tuscany, Italy Iron oxide Spain Mercuric sulfide China Iron oxide with lignite Cassel, Germany Iron-manganese oxide Cyprus Iron-manganese oxide Cyprus Asphaltum Utah, United States Iron oxide Kaluzhskaia Oblast, Russia Iron oxide Italy Iron oxide Sienna, Italy Hydrated iron oxide Sienna, Italy Iron-manganese oxide Italy Iron-manganese oxide Italy Iron oxide Luberon Massif, France Hydrated iron oxide Luberon Massif, France Iron-manganese oxide Luberon Massif, France Iron-manganese oxide Luberon Massif, France Manganese oxide Ural, Russia Iron carbonate Kaluzhskaia Oblast, Russia Iron oxide with lignite Cologne, Germany Barium sulfate Texas, United States Calcium hydroxide California, United States Lead carbonate Primorskiï Kraï, Russia Basic lead carbonate United States Carbon from vegetable char Germany Amorphous carbon United States Iron oxide Luberon Massif, France Iron oxide Rome, Italy Amorphous carbon Shunga, Karelia, Russia

¢ ¢ ¢ © ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ © ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ © ¢ ¢ ¢ ¢ ¢ ¢ ¢

¢ ¢ ¢ © ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ © ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ © © ¢ ¢ ¢ ¢ ¢ ¢ £ ¢ ¢ ¢ £ ¢ ¢ ¢ ¢ ¢ ¢ ¢ £ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ © © © ¢ ¢ ¢ ¢ ¢

Azurite Azurite Cuprorivaite – Lazurite – Riebeckite – Vivianite Dioptase Malachite Glauconite/celadonite Malachite – Crocoite Goethite Goethite Goethite Jarosite Goethite Bindheimite – Goethite Goethite Goethite Goethite Orpiment – Cinnabar Hematite Hematite Hematite Hematite – Miniumite Hematite – Hematite Realgar Hematite Hematite Hematite Cinnabar Lignite Hematite-pyrolusite Goethite-pyrolusite Gilsonite Goethite Goethite Goethite Goethite Goethite-pyrolusite Hematite-pyrolusite Goethite Goethite Goethite-pyrolusite Hematite-pyrolusite Pyrolusite Siderite Lignite Barite – Cerussite Plumbonacrite – – Magnetite Magnetite Shungite

Source

NATURALPIGMENTS.COM

9

Paint Making Kits and Supplies Paint Making Kits and Supplies

Grinding Plates of tempered glass sandblasted to give it the ideal surface for grinding colors.

640-GLASS 640-GLASL

Basic Paint Making Kit is for artists who want to expand their painting horizons, but have little or no experience making their own paints. The kit comes with all the materials that you need to get started, including instructions, glass muller, grinding surface and six traditional pigments in dry powder form to start making your own paint. All that is needed is a paint vehicle. The kit includes the following: • Muller, med. glass, 6,5 cm (2.5 in.) diameter base • Grinding plate, 10x10x0.25 in.

(254 x 254 x 6,4 mm) glass • Spatula with hardwood handle • Dispenser bottle, 8 fl oz (237 ml), plastic • Silicon carbide, 100 grit, 1 fl oz (30 ml) jar • Introductory Pigment Sampler • Instructions for preparing the the plate and making paint

Advanced Paint Making Kit for artists who want to make larger amounts of paint. Here are all the tools you need and a sampler of 11 pigments. The kit includes the following: • Muller, med. glass, 6,5 cm (2.5 in.) diameter base • Grinding plate, 10x10x0.25 in.

(254 x 254 x 6,4 mm) glass • Spatula with hardwood handle • Dispenser bottle, 8 fl oz (237 ml), plastic • Silicon carbide, 100 grit, 1 oz (30 ml) net vol. jar • Collapsible tubes, 12 each • Historical Pigment Sampler • Instructions for preparing the the plate and making paint The kit includes one ounce (30 ml) each of Lazurite, Green Earth, Malachite, Yellow Ocher, Lemon Ocher, Hematite, Red Ocher, Brown Ocher, Violet Hematite, Sienna and Roman Black.

601-1101

601-2101

Save $18

$125.60

Save $16

Glass Mullers are handmade by glassmakers at a monastery in Russia. The bulbous handle is specially formed to provide a comfortable grip. The bottom of the muller is flat and sandblasted to provide a grinding surface. Sizes: Large, 7,6 cm (3.0 in.) diameter base; Medium, 6,5 cm (2.5 in.) diameter; Small, 5,0 cm (2.0 in.) diameter. Actual size may vary.

640-GLMLS Small 640-GLMLM Medium 640-GLMLL Large

8 fl oz

$2.85

670-1201 100 grit

$5.95

Wide Mouth Plastic Jars and black screw-on caps with liner.

The 4 oz jars store about 100 grams of dry mineral pigment or 30 grams of organic pigment; one oz jars store about 20 grams of mineral pigment or 10 grams of organic pigment. Also great for storing pigment pastes and paint.

1-49 50+ $0.95 $0.86 $1.19 $1.08

$179.75

Best Value Kit includes rare pigments: malachite and lazurite

TO ORDER CALL 1-888-361-5900

Silicon Carbide abrasive to roughen the surfaces of grinding plates and mullers. 175 gram jar.

Item No. Size 621-JARP1OZ 1 oz 621-JARP4OZ 4 oz

Porcelain Mortar and Pestle for grinding pigments and other materials. The inner surface is unglazed so you can abrade nearly any substance to the degree of fineness needed. Small: 6 cm (2.5 in.) diameter, 150 ml (5 oz) capacity; Medium: 10 cm (4.2 in.) dia., 300 ml (10 oz); Large: 13 cm (5.0 in.) dia., 600 ml (20 oz).

10

$19.50 $59.50

$60.00 $69.50 $79.50

Squeeze Bottle (8 oz) This natural-colored plastic bottle with spout cap is ideal for dispensing liquids used in making paint.

621-BOTP8OZ

10x10 in.

16x20 in.

641-MRPTL6 Small 641-MRPTL4 Medium 641-MRPTL Large

$10.50 $11.50 $15.50

Paint Tubes White aluminum collapsible tubes and caps. Use lined tubes (20 ml) for reactive paint or water-borne paint and unlined tubes (50 ml) for oil paint. Fill the tube with paint, pinch the open end to flatten it, then crimp and fold twice.

Item No. Size 621-TBL020 20 ml 621-TBU050 50 ml

1-49 50+ $0.75 $0.55 $0.80 $0.60

How to Make Paint Making Paint Paint basically consists of two components: pigment and vehicle.

Pigment particles do not dissolve but are suspended in the vehicle.

Making paint simply means mixing a solid and liquid component together into a smooth paste.

Making paint is easier than you may think. With basic supplies, such as pigment, linseed oil, a spatula and a clean, flat surface, you can start making small batches of oil paint.

If you want to make enough paint that you can store, however, you will need a muller to grind the paint. Why grind pigment into paint? Although a powdered pigment may appear very fine, it is composed of aggregates of pigment particles. The aggregates clump together to form larger agglomerates and settle during storage in the paint vehicle.

Grinding breaks up agglomerates of pigment particles and evenly disperses them in the paint vehicle, thereby wetting particle surfaces more thoroughly.

How to Make Oil Paint The amount of oil required for each pigment varies, so it is not possible to provide specific formulas. Some pigments absorb more oil than others.

Step 1: Place a small amount of pigment in a heap at the center of the surface. Make a small crater in the center of the heap.

Note: Remove accumulated paint from the sides of the muller with the spatula. At times it may be difficult to move or lift the muller from the grinding surface. Using the spatula as a lever, raise the edge of the muller. Then slide the muller off the surface.

Step 3: Fold the pigment into the oil with the spatula. Continue to blend the pigment into oil, applying pressure to the mixture as you mix it. The correct amount of oil is added when the mixture has the consistency of stiff paste and appears dry. In the beginning, it is better to grind a stiff paste than one that is soft and runny.

Step 4: Place the muller on top of the paste. Holding the muller firmly with the heel of your hand down and thumb up. Move the muller in a circular motion outward from the center of the paste.

Spread the paste in a thin layer as you grind. The more paste in contact with the surface of the plate and flat bottom of the muller, the smoother the paste will be. The more you grind, the softer it becomes. Paste that is at first dry and stiff becomes wet and soft.

Step 5: Once the paste is spread out, collect it back to the center.

Continue grinding with the muller.

Step 6: If the paste becomes runny, thicken it by adding a small amount of pigment to the mixture. Combine the pigment with a spatula then grind with the muller until smooth.

Storing Paint in Tubes

Step 1: Hold the tube with the cap pointing downward and the open end up. Using a narrow palette knife, pick up some paint and drop it into the tube.

Step 2: Scrape paint off the knife onto the edge of the tube.

Step 5: Place the tube on a flat surface and flatten the tube end with the palette knife.

Step 6: Place the knife across the end of the tube. Bend the tube upward, creasing the tube at the edge of the palette knife.

Step 7: Repeat one or two times, folding the end of the tube onto itself.

Clean your tools with light vegetable oil or odorless mineral spirits followed with warm water and soap. Remove caked-on paint by grinding the muller and surface with silicon carbide mixed with mineral spirits. Follow by washing with warm water and soap.

More Paint Making Kits

Step 3: Paint will accumulate at the open end of the tube. Grasp the the tube between your forefinger and thumb. Gently tap it several times on a tabletop to settle the paint in the tube.

Repeat steps 1–3.

Our Paint Making Kits come with everything you need, including instructions, to start making colors in your favorite medium. In addition to the items listed in the Basic Making Kit on the previous page, you also get the following items:

Oil Paint Making Kit Linseed oil, 8 fl oz Collapsible tubes (20 ml), 6 each Making Oil Colors instruction booklet 601-1102

$132.50

Watercolor Paint Making Kit Watercolor medium, 8 fl oz Collapsible tubes (20 ml), 6 each Making Watercolors instructions booklet 601-1104

Step 2: Add oil or paint medium to the pigment slowly—a few drops at a time. The less oil added in the beginning, the easier it will be to break up the agglomerates of pigment particles.

$132.50

Casein Paint Making Kit

Step 7: When the paint has the consistency pictured above, it is ready to use or store.

Step 4: When the tube is filled to about two-thirds, close the end of the tube by pinching it between your fingers.

Casein powder, 500 g (8.8 oz) Borax, 100 g (3.5 oz) Making Casein Colors instruction booklet 601-1103

$132.50

ORDER ONLINE: NATURALPIGMENTS.COM

11

ost oil colors today are made to feel the same under the brush. Their consistency is short and buttery, irrespective of the color. Whereas a short and buttery consistency is good, there are many times you need paint with a different body.

Sometimes you need paint that flows and levels out. Other times you want long and ropy paint. Or one that flows when brushed then thickens upon standing— thixotropic paint. That is why so many painters today must resort to using mediums with their tube oil colors—to alter the consistency of their paint.

M

The Rublev Colours Difference

OILS

Why are Rublev Colours different from other commercial oil colors?

One reason is that we use genuine natural or historical pigments like those used by the old masters. We also make Rublev Colours Artists’ Oils how paint was made before modern tube colors—without stearates and other modern additives.

Rublev Colours Artists’ Oils are formulated to maintain the unique characteristics of each pigment in oil. The character found in each tube of our oil colors is unique due to the pigment inside, giving the artist nearly limitless choices of texture, opacity, consistency, tone and hue.

With Rublev Colours you experience the transparency of yellow ocher, the pale coolness of green earth, and the crystalline glitter of deep blue azurite.

Color Particle by Particle The particles of natural pigments are at least six times the diameter of synthetic pigments in modern artists’ colors. However, when we remember how largely crystalline or semi-crystalline pigments, such as azurite, malachite, lazurite, and so on, were used in old masters’ paintings, it is easy to understand how these beautiful surfaces with broken lights were obtained. An examination, for instance, of the surface of azurite blue under the microscope at once reveals the beautiful mass of blue and blue-green crystals, reflecting light in all directions, and thus of course enhancing the decorative effect.

12

Pure Oil Color— No Additives

don’t give you cadmium red. And our Naples yellow is not an indeterminate mixture of pigments, but pure lead antimonate. You won’t even find the word “genuine” used to describe Rublev Colours, because all of our pigments are simply that—genuine.

All our earth colors have outstanding lightfastness and most of the others are permanent when used full strength. Rublev Colours Artists’ Oils offer an extraordinary range of tinting strength and an immense diversity between opacity and transparency.

Rublev Colours Artists’ Oils do not contain additives, such as fillers, driers and stabilizers—simply pigment and oil. With few exceptions we use only linseed oil, sometimes with a small amount of heat-bodied oil. Stabilizers, such as stearates and waxes, are not added that diminish the individual effects of pigments in oil.

Therefore, you will find different consistencies from color to color due to the individual pigment characteristics, and an occasional bit of free oil. Some colors brush out long and ropy, others short and buttery, and still others are creamy and thixotropic.

Some separation of pigment and oil may occur with Rublev Colours and is a natural process when no stabilizers are added to oil paint to prevent this from occurring.

Overall, Rublev Colours Artists’ Oils have a longer brushing consistency than most tube colors available today, making them ideal for both bristle and softhair brushes in fine rendering, old master-like effects, on both fineweave canvas and smooth panels.

Individually Made, Meticulously Crafted Oil Colors We make Rublev Colours Artists’ Oils in small batches, typically only five gallons at a time, meticulously crafting each color. Using natural mineral pigments means that we must take extra steps to prepare these colors into a useable paint, typically not required for modern synthetic pigments.

All this requires more time and labor to make a finished product that is different from other oil colors—a difference you can clearly see and feel.

How We Make Rublev Colours Artists’ Oils

Single Pigment Colors When you see a color name on our label, you get just that—one pure pigment. You will not find “hues” among Rublev Colours. No “Vermilion Hue,” simply pure red mercuric sulfide. When you buy a tube of Rublev “Green Earth” from Natural Pigments you are not getting a mixture of green chromium oxide, an unidentified earth color and barium sulfate, you get the real thing—green earth. When you buy “Rublev Vermilion,” we

From our extensive experience making pigments, we select those that not only make good oil colors, but provide a diverse range of texture, body and opacity.

Some pigments are further purified, such as indigo, using methods found in old treatises to increase lightfastness. We then prepare each pigment by baking them at low-temperature to remove all traces of moisture.

Continued on page 17

Rublev Colours Artists’ Oils

Other Oil Colors Pigment

Pigment

Brightener Filler Vehicle / Millbase

Vehicle / Millbase Oil Oil

TO ORDER CALL 1-888-361-5900

Thickener/Pigment Disperser Driers

Oil Colors

20 ml only Azurite 820-101 | Series 10 PB 30 c

Italian Yellow Earth 820-307 | Series 1 | PY 43 P

French Red Ocher 820-506 | Series 1 PR 102 \

French Umber 820-610 | Series 1 | PBr 7 c

Artists’ Oils

Indigo 820-102 | Series 5 | NB 1 c

Italian Dark Ocher 820-308 | Series 1 | PY 43 c

Indian Red 820-505 | Series 2 PR 102 \

Italian Green Umber 820-619 | Series 1 | PBr 7 c

Vine Black 820-904 | Series 1 | PBk 8 \

Lazurite (Lapis Lazuli) 820-103 | Series 8 | PB 29 P

Natrual Yellow Oxide 820-312 | Series 1 | PY 43 \

Hematite 820-517 | Series 2 PR 102 \

Cyprus Umber Light 820-613 | Series 1 | PBr 7 c

Roman Black 820-906 | Series 1 PBk 11 \

Prussian Blue 820-106 | Series 3 | PB 27 c

Orpiment 820-305 | Series 9 | \

Violet Hematite 820-701 | Series 3 PR 102 \

Cyprus Umber Medium 820-614 | Series 1 | PBr 7 c

Natural Black Oxide 820-908 | Series 2 PBk 11 \

20 ml only

20 ml only Lead-Tin Yellow (Type I) 820-309 | Series 7 | \

Vermilion 820-508 | Series 9 PR 106 \

Cyprus Umber Dark 820-615 | Series 1 | PBr 7 c

Bone Black 820-909 | Series 1 | PBk 9 \

Malachite 820-204 | Series 6 | PG 30 c

Naples Yellow 820-355 | Series 8 | PY 41 \

Madder Lake 820-510 | Series 4 | NR 9 P

French Burnt Umber 820-609 | Series 1 | PBr 7 c

Barite (Baryte) 820-810 | Series 1 | PW 22P

Nicosia Green Earth 820-205 | Series 2 | PG 23 P

Chrome Yellow Primrose 820-310 | Series 4 | PY 34 \

Minium (Red Lead) 820-509 | Series 4 PR105 \

Cyprus Burnt Umber 820-616 | Series 2 | PBr 7 c

Smalt 820-140 | Series 6 | PB 32 c

20 ml only

Whites Verona Green Earth 820-206 | Series 1 | PG 23 P

Antica Green Earth 820-208 | Series 1 | PG 23 P

Orange Ocher 820-401 | Series 2 | PY 43 c

Sartorius Red 820-501 | Series 1 PR 102 c

Italian Brown Ocher 820-622 | Series 1 | PBr 7 c

French Sienna 820-606 | Series 1 | PBr 7 P

Cyprus Burnt Umber Warm 820-617 | Series 2 | PBr 7 c

Cassel Earth 820-905 | Series 1 | NBr 8 \

Rublev Colours Lead White artists’ oils are ground in linseed oil or walnut oil.

Lead White: Our best creamy white that works well with bodied oil or mediums. Fast drying.

820-802 | Series 5 | PW 1

Rublev Colours 50 ml tubes have 33% more than 37 ml tubes Lead White #2: Ground in walnut oil. A slightly stiffer and brighter white than #1.

820-803 | Series 5 | PW 1 Venetian White (lead white and barite): A ropy white in walnut and linseed oil. This semi-opaque white moves easily with the brush, tends to stay put, and is good for mixing with other colors.

820-808 |Series 3 |PW1/22 Ceruse (lead white and chalk): A soft mixing white ground in walnut and linseed oil like that used by Rembrandt for translucent effects and softer tints.

820-809 |Series 3 |PW1/18 Crystal White (lead white and crystal glass powder ground in linseed oil): Good bodied, translucent white for melted wax effect.

820-812 | Series 3 | PW 1 Flemish White (lead sulfate and lead white ground in linseed oil): Good bodied, opaque bright white for good coverage.

820-811 | Series 3 | PW3/1

Series Prices Yellow Ocher Light 820-313 | Series 1 | PY 43 P

Venetian Red 820-504 | Series 1 PR 102 c

Italian Sienna 820-611 | Series 1 | PBr 7 P

Blue Ridge Yellow Ocher 820-303 | Series 1 | PY 43 P

Pozzuoli Red 820-502 | Series 2 PR 102 c

French Burnt Sienna 820-608 | Series 1 | PBr 7 P

Lemon Ocher 820-306 | Series 1 | PY 43 P

Ercolano Red 820-503 | Series 2 PR 102 c

Italian Burnt Sienna 820-612 | Series 1 | PBr 7 c

Series 1 2 3 4 5 6 7 8 9 10

20 ml – – – – – $17.50 $29.50 $39.50 $57.50 $65.50

50 ml $12.95 $14.95 $17.95 $22.50 $28.75 $42.50 $59.50 $87.00 $99.50 –

Key: Colors are shown straight from the tube (left) and mixed with an equal amount of titanium white (right).

130 ml $32.50 $37.00 $44.50 $55.50 $75.75 – – – – – Symbol Key \ Opaque c Semi-transparent P Transparent

ORDER ONLINE: NATURALPIGMENTS.COM

13

Oil Color Palettes

Earth Tones™ Palettes

Rublev Colours Artists’ Oils Ercolano red, Nicosia green earth and Lemon ocher

Tone, Color and the Limited Palette Tone is the use of contrast between light and shade in painting, which is sometimes referred to by the Italian term chiaroscuro.

It can be an aid to composition, such as in the works of Vermeer; the creation of space; and to communicate a sense of form, as in paintings by Leonardo. The use of tone is especially prevalent in the works of Caravaggio, Rembrandt and Velázquez, and the schools to which they belonged.

Tone is also crucial in the use of colors. Harold Speed, British painter and author, writes that it is “so intimately associated with color that many think they are admiring color when they are admiring tone.” Muddy color is usually the ‘result of bad tone relationships.’

A limited palette of earth pigments, Earth Tones™ palettes, was especially conceived to help build tone relationships and color harmony in oil painting. Earth Tones™ palettes enable you to paint with color without losing an emphasis on tone.

The limited palette has many advantages. One advantage is that with fewer colors on the palette it is easier to create color unity in a painting. Improving your color mixing skills is another advantage. The simplicity of a limited palette encourages experimentation and quickly builds an appreciation for the subtle nuances of every color. Philip Hammertone wrote in The Graphics Arts: “Limited palettes are the best instructors in colouring, because they teach us, far better and more effectually than a

14

great number of pigments ever can do, the wonderful effects of mixture.”

Speed advised learning to paint using only two colors—a warm and a cool color. ”A great deal that is of vast importance with regard to colour, can be more directly learned by this means than by stumbling straight into a full palette.”

Contrasts of warm and cool colors, as Speed insists, is ‘the most important consideration in coloring’ upon which ‘the vitality of coloring largely depends.’

Warm-cool contrasts resulting from the juxtaposition of warm and cool colors makes warm hues appear warmer, and vice versa.

This type of contrast, which helps balance color schemes, are in Earth Tones™ palettes.

Earth Tones™ palettes are built on the idea of warm and cool colors in a subdued range of green, red and brown hues. Such palettes help to make clear the contrasts of temperature within each of these colors: Greens: Nicosia green earth (cool) Verona green earth (warm) Reds: Venetian red (cool) Ercolano red (warm) Middle tones: Italian dark ocher (cool) French Sienna (warm) Dark tones: Italian green umber (cool) Cyprus umber (warm) Earth Tones™ palettes contain 50 ml tubes of Rublev Colours Artists’ Oils, saving you money when purchasing the oil colors separately.

Warm colors are those hues ranging between yellow to redviolet on the chromatic circle.

Cool colors are colors ranging between blue-violet and yellowgreen on the color circle.

This degree of warmth or coolness exhibited by a color is also called “color temperature.” For example, madder lake is a cooler (leaning toward blue) red than red ocher, which is warmer (inclining toward yellow).

The interaction between colors may cause a hue such as yellowgreen to appear colder if it is placed next to a warm color, such as red, or warmer if it is placed next to a cool color, such as blue.

TO ORDER CALL 1-888-361-5900

Ercolano Red

Venetian Red

Verona Green Earth

Nicosia Green Earth

Lemon Ocher

Earth Tones™ Palette I Lemon Ocher Nicosia green earth (cool) Ercolano red (warm) Italian dark ocher (cool) Cyprus umber (warm) 810-1201

Save $7

$62.00

Earth Tones™ Palette II Italian yellow earth Verona green earth (warm) Venetian red (cool) Sienna (warm) Italian green umber (cool) 810-1202

Save $7

$58.00

Earth Tones™ palettes provide numerous possibilities of cool, warm and neutral colors. Add Vine Black (cool) to the first palette or Bone Black (warm) to the second to complete the warm and cool sequence. Extend the range of color effects by playing one tone against another and by making tints with Lead White.

Total Earth Tones™ Palette—For an extended palette, the Total Earth Tones™ palette covers the entire chromatic range accessible to earth pigments by including colors from palettes I and II. 810-1203

Save $27

$106.80

For special purposes, you may want to add Lazurite (lapis lazuli), Violet Hematite and a bright red, such as Vermilion or Madder Lake, to your palette.

Ercolano Red is a bright red earth with lovely warm tints when mixed with white.

Venetian Red is a cool red, a darker shade of scarlet, useful for rosy tints and strong bright reds for those subtle cold tones.

Verona Green Earth mixes with white for warm tints in which you can perceive the yellow peeking out of the green.

Nicosia Green Earth has a touch of turquoise that mixes with white to render beautifully cold tints. It is useful in making luminous, light skin with bluish shadows—rather than the warm greenish shadows of deeper colored flesh.

Lemon Ocher is softly tinting, rich and subtle. It has a subtle but distinct “lemon” tone that is by no means cold or acid. It works lightly and more transparently than other yellow ochers. In mixtures with red, it is robust without the acid undertone of bright yellows.

Oil Color Palettes

Old Masters Palettes™ The Rational Palette The combination of a simple palette with an open, direct execution produces durable paintings that retain their power and freshness. This is advice from Roger de Pile’s widely read, 17th century painting manual, Les Elémens de la Peinture Pratique.

In addition to using a limited palette, artists were encouraged to systematically lay out colors and mixed tints on their palettes.

This was to discourage over blending colors so that they do not lose their freshness, especially in flesh tones, and do not become muddy.

Arranging colors around the outer edge of the palette, leaving space for pre-mixed tints was already done in the early 16th century. By the early 17th century, a rational tonal layout of the palette had emerged. White was often positioned nearest the thumbhole and the colors were arranged according to their tonal value from light to dark.

In 1630, De Mayerne described the three main functions of the painter’s palette: first, ‘to arrange the colors;’ second, ‘to temper with oil’ (by which he meant adding a paint medium to make them fluid during painting); and third, ‘combining and blending.’

Only limited mixing on the palette was required during the painting process. This approach differs markedly from that of painters’ today who usually mix their colors on the palette while painting and often combine them on canvas.

Besides an artist’s personal notes or treatise on the art of the period, the systematic arrangement of separate colors and mixtures on the palette, which the painter prepared before he began work his work, can help us to understand the artist’s painting procedures. Such palettes can be found in portraits and self-portraits where the palette is held in the hand in which rows of colors and tints are clearly visible.

Old Masters Palettes™ We’ve compiled details of many old masters’ palettes and provided the most essential in a series of oil color sets. Rublev Colours Old Masters Palettes™ allow you to use the pigments and the rational approach used by the old masters in your own painting.

Titian Palette Titian was perhaps the greatest of the Venetian painters and certainly one of the most influential artists of Western art. According to The Technique of Painting by Hilaire Hiler, Titian used the following colors: ultramarine (lapis lazuli), malachite, lead-tin yellow, yellow ocher, red ocher, vermilion and carbon black. Titian Palette includes Rublev Colours Artists’ Oils: Lazurite (lapis lazuli), Malachite (20 ml), Lead-tin yellow, Italian yellow earth, Ercolano red, Vermilion and Vine black.

810-1104

Save $35

$263.80

Roger de Piles Palette In Jombert’s edition of Roger de Piles’ treatise on painting, Les Elémens de la Peinture Pratique, he describes with exact detail the arrangement of colors and their mixtures. In his 1684 palette of eight principle colors, Roger de Piles arranged them along the top edge, placing the lightest colors nearest the thumbhole and arranging tints in rows below.

Roger de Piles Palette includes these Rublev Colours Artists’ Oils: Lazurite (lapis lazuli), Lemon ocher, Vermilion, Madder lake, Italian raw Sienna and Bone black with a wooden palette and illustrations and descriptions of the palette layout and tints.

810-1107

Save $30

$210.85

Le Blon Palette The discoverer of the red-yellowblue theory of color, J.C. Le Blon, described in the painting treatise, Coloritto, a palette of seven colors to make flesh tints. These colors and their tints are meticulously described and the palette illustrated in Coloritto.

Le Blon Palette includes these Rublev Colours Artists’ Oils: Yellow ocher light, Vermilion, French red ocher, Italian brown ocher, Madder lake, Cyprus umber and Cyprus burnt umber with a wood palette and illustrations and descriptions of the color mixes.

810-1109

Save $30

$189.00

Portrait of Francisco de Goya by Vicente López y Portaña, 1826, oil on canvas, 93 x 75 cm, Museo del Prado, Madrid

Goya Palette In the portrait of Francisco de Goya, we have a precise record of not only the colors Goya used but their arrangement and mixtures on his palette. He used nine colors and arranged them on the palette with white nearest the thumbhole and blacks on the opposite side. Besides white and blacks, there are only earth colors. We easily can see the nine colors arranged along the outer edge and tints in the center of the palette in his portrait.

Goya Palette includes these Rublev Colours Artists’ Oils: Italian yellow earth, Venetian red, Italian brown ocher, Italian burnt Sienna, Bone black, Vine black and Roman black, and a wooden palette with illustrations and descriptions of the colors and tint mixtures depicted on his palette.

810-1111

Save $20

$70.65

See the entire collection of Old Masters Palettes™ at our web site: naturalpigments.com

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15

Oil Painting Technique with Lazurite, Azurite, Lead White and German Vine Black.

The blocking-in stage was done without the model present. A mannequin wearing her costume filled in for her until later, when she was needed again for the final painting of the face and hands.

The flesh areas were initially blocked in with a general flesh tone and left to dry while the other areas were attended to.

Blocking In Colors

The Fortune Teller

The Drawing

By Virgil Elliott The scene was set up in a dark booth constructed in my studio, consisting of a model stand with uprights at each corner supporting black cloth on the tops and sides to exclude all external light sources, with an opening at the front facing my easel. The model, Jo Adell, was posed in the dark booth in costume, seated at the small table with the lamp and crystal ball. I painted a small color sketch in oils from direct observation at the first sitting, to get her facial expression and hand gesture noted down especially.

This color sketch then served as reference material in the execution of the larger painting.

I drew the scene in charcoal on a white primed canvas, refined the drawing, and then decided on a taller canvas for better composition. I then traced the drawing onto glassine paper, and transferred it to a 36 x 24-inch whiteprimed canvas (which had previously been glued to a rigid panel) using transfer paper made from glassine with graphite scrubbed on one side. The tracing was then corrected and refined freehand on the white-primed canvas.

16

The charcoal drawing was then strengthened with burnt sienna thinned with turpentine, using a rigger brush. The paint was allowed to dry for one day before going to the next stage.

TO ORDER CALL 1-888-361-5900

Painting commenced with the blocking in of the large areas of color, using Rublev Colours oils.

The objective at this stage is always to get the white ground covered with paint that will be close to the color of each area of the painting before any significant modeling of forms is attempted. The reason is that judgment of values is apt to be more accurate when the white ground is covered. The background was blocked in with dull grey-greens made from German Vine Black, Lead White and various earth yellows; the tablecloth in shadow was blocked in with Violet Hematite; the red scarf with Vermilion, and the tablecloth in the light on top of the table with mixtures of Venetian Red, Vermilion, Lemon Ocher and Lead White. The larger shapes were attended to first, and the smaller shapes afterwards. The blues of the model’s costume were made

Adding Details The first area to receive much in the way of detailed attention was the lamp, which was painted wetinto-wet except for the illuminated globe, which was painted in two steps. The background color and the tabletop color were renewed with wet paint where they abutted the forms being painted, in order to control the degrees of softness at the edges.

Modeling Forms Within each area, the development process began with the darks, and progressed to the lights by degrees until each form was fully modeled. The face was addressed following the color sketch as far as possible, and then the model was brought back for the finishing touches.

I added a corner shelf on the left side, with an incense burner smoking, as an area of secondary interest. I observed smoke trails until I felt I had a good working understanding of them, and then painted them into a field of wet background color, playing around with their swirling arabesques as I designed them. I finished the pic-

Specialty Oil Colors and I don’t go to the trouble of mulling my own any more.

I should mention that the method I used on this painting is only one of a number of good ways to paint, and only one of several methods that I use. It is important that this tutorial be understood in the proper context.

We must each paint in our own unique way. This just happens to be the way I chose to paint this particular painting.

Traditional Oil Painting

ture with my signature in the smoke near the top of the canvas.

Nearing the end, I supplemented my palette of Rublev Colours with a few colors from other companies, notably Winsor & Newton Rose Madder Genuine and Vasari Naples Yellow Light. The Naples Yellow was used to add some color to the lamp globe, mixed with white and scrubbed on thinly, translucently, over the white and off-white modeling of the (barely discernible) spiral pattern, since the color of the light produced by the lamp had a yellowish cast, and the color scheme needed some yellow for better harmony with the reds and blues.

All the other colors used were Rublev Colours. The white was hand-mulled from Rublev Colours dry white lead pigment, mulled in water-washed, sun-bleached coldpressed linseed oil. This was before Rublev Colours Lead White oil paint was available. Now that they have lead white in tubes, it has become my favorite white,

As more and more artists today look to the past, there has been a tremendous resurgence of interest in painting realistically—in creating convincing illusions of threedimensional depth on two dimensional surfaces. How did the Old Masters create their masterpieces?

What kind of education allowed these great artists to create such beautiful work, and how can an artist learn these lessons today?

Traditional Oil Painting answers those questions and many more.

This comprehensive sourcebook explores advanced levels of oil painting with information on the latest scientific discoveries. Artist and author Virgil Elliott examines the many elements that let artists take the next step in their work: mental attitude, aesthetic considerations, the importance of drawing, principles of visual reality, materials, techniques, portraiture, photographic images versus visual reality and color. Low price only when ordering from this catalog.

151-0823030660

$35.00 $28.00

Virgil Elliott is a worldrespected painter and writer. He is included in the Art Renewal Center’s Gallery of Living Masters and one of only 24 artists worldwide with certification from the American Portrait Society.

Making Artists’ Oils Continued from page 12 Next, we mix the pigment with oil, usually linseed, in mixers or, in the case of some mineral pigments, in edge runners resembling oldfashioned stone mills to obtain a dense, homogenous mixture. The paste, called a premix, is allowed to “sweat” overnight or longer before grinding.

The paste is ground on three-roll mills made of stone rolls or chilled cast steel. The steel rolls are water cooled to prevent the premix from over-heating. We grind each color at least 3 or 4 times—each time reducing the gap between the rolls to apply greater pressure on the paste. We grind our paints more times than other manufacturers, because we do not use stabilizers that, while making paint easier to grind, alter the body and consistency of the paint. Often colors are ground 5 to 6 times before we consider them ready. We age each batch several months and grind one last time.

Finally, we check each batch for tinting strength, consistency and density before filling in tubes.

Specialty Artists’ Oil Colors

Azurite is one of the most beautiful blues in the range of blues on the artists’ palette. The pigment does not readily submit to fine grinding, so when ground with oil it remains gritty, and under the microscope shows fairly large crystalline particles. If the grinding is forced to the fineness associated with modern pigments, it would lose much of its splendor. Azurite’s graininess can be used to good advantage alone and in mixtures.

Verona Green Earth is a transparent green used in verdaccio—a style of underpainting that uses green-grey colors to establish values for later layers of paint.

Verdaccio is renowned for being particularly effective when painting flesh tones. It was popular amongst Renaissance artists, such as Leonardo da Vinci who used verdaccio underpainting in his masterpiece, Mona Lisa.

Malachite, the native copper carbonate, is found on early manuscripts and easel paintings. It was a common and universal green, and continued right through the centuries, until the 18th century.

Like azurite, it is crystalline—its greenish and bluish crystals are plainly visible—enhancing the visual effect of this color.

Yellow Ocher Light from the ocher region of France is a transparent warm yellow that works well in flesh tints. Naturally transparent it makes outstanding glazes right out of the tube.

Venetian Red is a semi-transparent red ocher that is a cool red with pink tints. Mixes well with lead white to create flesh tints and in the lips. Vermeer mixed small amounts of red ocher and smalt in roughly equal portions with lead white to produce a light gray in which neither the bluish tone of smalt nor the pinkish tone of red ocher dominates. The resulting neutral tone, however, is more lively than conventional mixtures of white and black.

Vermilion was the brightest red on the old master’s palette and our genuine vermilion is the same bright red with pink tints so highly favored by past masters.

Violet Hematite has outstanding tinting strength and opacity with deep purple tones and lavender tints. Known as caput mortum (or colcothar), it was first made in medieval times by heating iron sulfate. It went out of use when oils became common, presumably because the artificially-made pigment is not suitable for use with oil mediums. Ours is a natural mineral that works well in oil and is absolutely permanent.

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17

Varnishes and Mediums Oleogel Oil Painting Gel

Lead white (left), Oleogel (center) and a mixture of both (right). The lead white is stiff and short, but when mixed with Oleogel it becomes semi-transparent, soft, yet sculptural.

Varnishes Neil’s Best Mastic Varnish, based on J. Wilson Neil’s famous 19th century varnish made of pure Chios mastic cold dissolved in distilled gum spirits of turpentine and aged for one year. Use as a picture varnish or paint medium.

Very glossy. (31% resin w/v) 540-22108

8 fl oz

$39.50

Neil’s Best Dammar Varnish is a traditional varnish of dammar resin cold dissolved in gum turpentine and aged one year. Use as a final glossy picture varnish or add Wax Paste for a satin finish.

Use as a quick-drying paint medium or to make egg-oil emulsions.

(31% resin w/v) 540-50108

8 fl oz

8 fl oz

$11.50

Matte Dammar Varnish is our picture varnish with a matte finish. (31% resin w/v) 540-50109

8 fl oz

$14.50

UV Stabilizer inhibits yellowing and protects from UV radiation.

Mix with 4 times the amount of varnish just prior to use.

540-50252

2 fl oz

$10.50

Artists’ Virgin Copal Varnish, from J. Wilson Neil’s famous 19th century varnish for fine painting, is a quick-drying painting medium that keeps brushstrokes where you want them. Made with copal, oil and turpentine. Does not contain driers. (28% resin w/v) 540-35108

18

8 fl oz

540-29008

8 fl oz

$12.95

Sealing Varnish is a natural varnish of Manila copal and elemi gum (a plasticizer). Dries fast to a hard finish, resists turpentine and mineral spirits, sands easily, making it ideal for sealing wood panels and gesso. Thin with denatured alcohol. (26% resin w/v) 540-28008

8 fl oz

$10.50

$14.50

Dammar Picture Varnish is made from dammar cold dissolved in a blend of aliphatic and aromatic solvents to minimize yellowing.

Use as a final picture varnish for a glossy finish. Add UV Stabilizer to inhibit yellowing caused by UV radiation. (31% resin w/v) 540-50208

Isolating Varnish a blend of natural resins—sandarac and mastic.

Dries fast to a clear finish. Ideal for isolating paint layers, as a fixative and to reduce absorbency of grounds. (10% resin w/v)

$19.95

Pump Spray Dispenser provides a continuous, fine mist spray without propellants. It uses air so it’s safe and harmless to the environment. The cap has an integrated piston pump to build up air pressure. The spray is then released with the fingertip control. Fill with varnish and spray.

621-BOTPS

100 ml capacity $6.75

Resin Content We’ve made selecting varnishes and mediums easy by noting the resin content as a percentage. For example, 31% resin w/v means 31% resin weight of the total volume. In this example, 100 ml of varnish contains 31 grams of total resin. With this you can easily calculate the resin content of your paint as you use it in your work.

TO ORDER CALL 1-888-361-5900

Oleogel is a thixotropic gel made with linseed oil and silica. Used for glazing, this absolutely transparent and luminous medium conserves the body and satin finish of oil colors. Contains no driers, so it is safe to use without worry of cracking, and does not affect the drying of oil paint.

530-43001 530-43008

50 ml tube 8 fl oz can

$8.95 $16.50

Liquid Mediums Rublev Colours Oil Mediums are drying oils (linseed or walnut) purified and thickened by exposure to sunlight and air until they are clear and pale. They are then thinned with spike oil, turpentine or odorless mineral spirits (OMS).

As the oils dry naturally, containing no driers or resins, they may be used with confidence as to their future behavior. The medium prepared with spike oil evaporates slowest. That prepared with turpentine evaporates most rapidly; the mineral spirits preparation is in the middle. Use as a painting medium, for “oiling out” to keep oil colors fresh and as a safe drier mixed with oil colors.

Medium No. 1 Linseed oil and spike oil 530-12101 8 fl oz $14.65 Medium No. 2 Linseed and turpentine 530-12102 8 fl oz $9.50 Medium No. 3 Linseed oil and spirits 530-12103 8 fl oz $9.50 Medium No. 4 Walnut and spike oil 530-12204 8 fl oz $17.35 Medium No. 5 Walnut and turpentine 530-12205 8 fl oz $10.50 Medium No. 6 Walnut oil and spirits 530-12206 8 fl oz $10.50

Dammar Medium made of pure dammar cold dissolved 1:2 in pure gum turpentine for use in painting medium. (44% resin w/v) 530-50154

8 fl oz

$14.50

Mastic Medium made of pure mastic cold dissolved 1:2 in gum turpentine. Use to make megilp,

Sienna (left), mixed with Oleogel (right), and brush outs of each both below. When added to oil colors, Oleogel increases the transparency without flowout and leveling of brushstrokes.

Maroger or your own painting medium. (44% resin w/v) 530-52204

4 fl oz

$28.50

Rublev Colours Balsam Essential Oil Medium is composed of Canada balsam, pale bodied linseed oil and spike oil. Add to colors for enamel-like effects, to achieve glow in glazes and facilitate fusion. (44% resin w/v) 530-36504

4 fl oz

$25.50

Gel & Paste Mediums Italian Varnish, a 19th century medium by Mérimée, has the double advantage of drying well and preventing the flow of liquid paint. Prepared with pale drying oil and litharge with a small amount of beeswax and mastic added. Similar to gumtion but dries faster. Add small amounts to Contains Lead colors.

530-35001 530-35005

42ml tube 130ml tube

$12.50 $35.00

Oleoresgel is a thixotropic gel made with bodied linseed oil, alkyd and silica. Used for glazing, this absolutely transparent and luminous medium conserves the body and satin finish of oil colors. Add directly to your paint to give it transparency without thinning its consistency. Add pigments or extenders to thicken it for creating impastos. Contains no driers, so it is safe to use without worry of cracking, and does not affect the drying of oil paint.

530-42001 530-42008

42 ml tube 4 fl oz can

$12.50 $16.50

Oils Wilson’s Medium is sun-thickened linseed oil, turpentine and beeswax based on the 19th century formula and, according to Field, used by Joshua Reynolds. No driers added. Mix with colors to give a long consistency, hold brushstrokes and dry to a satin finish.

530-41001 530-41004 530-41008

42ml tube 4 fl oz can 8 fl oz can

$8.95 $9.50 $14.50

Venetian Medium based on 16th century Venetian painters practice of adding powdered glass to their paint. Leaded glass powder, pale linseed oil, sun-thickened walnut oil with small amounts of beeswax and lead drier. Spread thinly onto the surface and paint directly into it or add directly to paint nut.

Smooths the edges of brush or knife strokes. Fast setting, satin Contains Lead finish.

530-31001 530-31005

42ml tube 130 ml tube

$12.50 $35.00

Impasto Medium. Finely ground calcite, silica and bentonite in bodied oil. Semi-transparent.

Gives paint crisp consistency for impasto with fine detail. Thin with solvent or oil.

530-32001 530-32008

42ml tube 8 fl oz can

$8.95 $14.50

VelĂĄzquez Medium. Finely ground calcite in bodied linseed oil. Use to extend paint without altering its consistency. Softer than Impasto Medium, it makes colors slightly transparent allowing greater control over tints without whites. Thin with solvent or oil.

530-36001 530-36008

42ml tube 8 fl oz can

$8.95 $14.50

Wax Mediums Rublev Colours Wax Medium is a blend of beeswax, Carnauba wax, dammar and bodied linseed oil in a thick paste formulated to make oil colors thicker and more workable, without extending drying time. Produces a harder film than wax alone and dries to soft sheen.

Add to oil colors or grind with pigments for a buttery consistency and prevent oil separation. No paraffin or microcrystalline waxes.

540-5416

16 fl oz can

$12.50

Wax Paste, white beeswax in a paste preparation for use directly in painting techniques that call for wax. Wax cuts the gloss of varnish and oil paint, makes oil colors thicker and workable for a

longer time, and helps give colors a buttery consistency.

540-5410

16 fl oz can

$10.50

Carnauba Wax Paste a blend of Carnauba wax, beeswax and odorless mineral spirits to thicken oil colors. Use as a final varnish or mix with mediums and varnish to cut gloss. Carnauba wax gives the paste more solidity and raises the melting point, making harder finishes for paints and varnishes.

540-5412

16 fl oz can

$11.75

Drying Oils Pale Drying Oil is linseed oil heat-treated with driers (without lead) that dries faster than refined and bodied linseed oil.

Provides glossiness, improves handling and drying of oils. Add to oil colors or mediums to speed drying and hardening.

510-41OWD08

8 fl oz

$9.50

pure raw linseed oil without heating and any processing except light mechanical filtering.

510-41OCP08

8 fl oz

$9.50

Aged Refined Linseed Oil from North American flax seeds is more siccative than other refined and untreated oils. Pale, clear and pure, alkali-refined linseed oil.

Ideal for grinding your own oil colors, thinning oil paint or as an ingredient in painting mediums.

510-41ORL08

8 fl oz

$9.50

Pale Grinders Linseed Oil is refined, bleached and dewaxed linseed oil and fatty acids, making an exceptionally pale oil. Its high acid value makes it easier to wet pigments, such as organic pigments, for making your own oil paint and grinding reactive pigments, such as lead white.

510-41OPG08

8 fl oz

$9.50

Dark Drying Oil (Black Oil) is a quick drying oil and varnish made by heating linseed oil with lead oxide used in historical painting.

Improves handling and drying of oil colors and can be used to Contains Lead make megilp.

Walnut Oil is cold-pressed from freshly dried English walnuts and then lightly refined. As a thin oil, it is used to make oil paint more fluid. It is less yellow than linseed oil so it is used to make pale oil colors. Walnut oil dries slower than linseed oil.

510-35BM08

510-43ORW08

8 fl oz

$22.50

Varnish Drying Oil (Olifa) is a mixture of copal resin, linseed oil and tung oil with lead drier. It can be added to oil colors to give them brightness and hardness.

Use undiluted as an excellent varnish over tempera painting. Thin with turpentine as primer over porous surfaces, such as wood.

Contains Lead 510-35VM08 510-35VM16

8 fl oz 16 fl oz

$19.50 $32.50

Cold-Pressed Raw Linseed Oil is produced from the first pressing of flax seeds without using heat or chemicals of any kind. This is

8 fl oz

$10.50

Safflower Oil, pressed from safflower seeds, is a refined vegetable oil that is a good drier with low acidity and resists yellowing. Due to its pale color, it is used for grinding white pigments.

It can be mixed with oil colors to give them fluidity, transparency and gloss without affecting their color after drying. Dries slower than linseed oil, but can be safely mixed with it. Add a maximum of 25% to the total paint mixture.

510-43ORS08

8 fl oz

$10.50

Poppy Seed Oil, cold-pressed from poppy seeds, is clearer and

less yellowing than linseed and walnut oil and is recommended for light colors and blue colors. It dries slower than linseed, walnut and safflower oil that is improved with a drier. Avoid excess use.

510-4308088

8 fl oz

$14.50

Kettle-Bodied Linseed Oil (Stand Oil) is a viscous, polymerized linseed oil refined by neutralizing free fatty acids and heated in a closed kettle. It gives gloss, brushability, forms harder films than raw or refined oil and creates an enamel-like finish.

510-41OST08

8 fl oz

$9.50

Vacuum-Bodied Linseed Oil (Stand Oil) is a very bright, clear, bodied medium made by heating pure linseed oil in a vacuum.

Provides transparency and fluidity while smoothing brushstrokes.

Use straight from the bottle or thin with solvent. Makes an excellent medium for glazing and imparts gloss to paint. Reduces the appearance of cracking, slows drying and is less yellowing than refined linseed oil. Bodied oils form harder films than untreated oil and leaves an enamel-like finish. Add to mediums to increase viscosity and slow drying.

Item No. 510-41OVL08 510-41OVM08 510-41OVT08 510-41OVX08

Viscosity 8 fl oz Low $9.50 Medium $9.50 High $9.50 Extra High $9.50

Epoxide Oil is a fast drying, copolymer linseed oil that forms strong paint films. It can be used in place of stand oil and resinous mediums to speed up drying and improve film formation. It is low viscosity making it easier to brush and requires less thinner to use than stand oil.

510-40OEX08

8 fl oz

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$12.25

19

Solvents, Driers, Resins, Waxes and Gums Siccatif de Harlem is based on the famous “siccatif” of copal dissolved in linseed and spike oil.

Not strictly speaking a drier, it can be used to hasten drying and add hardness to paint.

500-SFHA04

4 fl oz

$18.95

Resins

Spirits and Essential Oils Clove Oil is the essential oil from the flower buds of the clove tree.

Add to oil colors and mediums to retard drying. Use as a natural preservative in tempera and water-based paint.

510-43OCL02 510-43OCL08

2 fl oz 8 fl oz

$15.80 $35.80

Spike Oil from the lavender plant is a low-toxic substitute for turpentine. Use as a solvent in emulsion recipes and with oil-based paint to improve handling.

510-42OSP02 510-42OSP08

2 fl oz 8 fl oz

$13.80 $32.50

Spirits of Gum Turpentine made only from sap and triple distilled.

Add directly to oil colors, mediums or varnishes for thinning.

Use to dissolve natural resins.

520-1TRPT16 520-1TRPT32

16 fl oz 32 fl oz

17.00 30.50

Rublesol Odorless Mineral Spirits is an excellent solvent for general painting and studio clean up. Use to thin oil-based paint and mediums with synthetic resins. Lowest PELs. 520-1OMS16 520-1OMS32

16 fl oz 32 fl oz

10.50 15.25

Driers Calcium Drier is a clear, amber drier containing calcium, which activates the natural drying characteristics of pigments and aids in wetting pigments when grinding colors. Add 1 or 2 drops per 5 ml (teaspoon) paint. T 500-CADR02

2 fl oz

$8.25

Cobalt System Drier is a concentrated blend of cobalt, zirconium and calcium salts. Use in small doses by adding drop-by-drop to oil colors. Provides well-balanced drying of oil paint, both on the surface and through the film with no effect on the hue or gloss. T 500-CZCD02

500-LCCD02

500-EPDR04

$12.95

4 fl oz

$12.95

English Terebine is a liquid drier made with lead and manganese in linseed oil and thinned with odorless mineral spirits. Based on the original 19th century formula and improved with purer ingredients.

Add to oil colors to decrease dryContains Lead ing time.

500-ETDR04

4 fl oz

$12.95

French Terebine is a liquid drier made with lead and manganese in linseed oil with copal and thinned with turpentine. Based on the original 19th century formula and improved with purer ingredients.

Add to oil colors to decrease drying time at the rate of 1 to 10 Contains Lead parts.

500-ZRDR02

500-SFCTO4

20

2 fl oz

English Patent Drier is a paste drier based on original 19th century formulas, containing lead and zinc driers that can be added without critical measurement—1 part drier to 10 parts oil color.

Contains Lead

500-FTDR04

$8.25

$9.65

Lead Drier is a concentrated blend of lead, cobalt and calcium designed to improve the drying of oils and alkyds. This blend is optimized for use in all artists colors.

Contains Lead

Zirconium Drier contains zirconium and calcium salts to give greater drying power than Calcium Drier. May be mixed directly with oil colors or thinner by adding 1 or 2 drops per 5 ml (teaspoon).T 2 fl oz

2 fl oz

4 fl oz

$16.95

Siccatif de Courtrai is a reproduction of the famous 19th century lead and manganese drier in turpentine used by William Contains Lead Bouguereau.

TO ORDER CALL 1-888-361-5900

4 fl oz

$18.95

Dewaxed Shellac Flakes are produced from select raw seedlac by solvent extraction using activated carbon. Wax and impurities are removed by dissolving seedlac in solvent, filtering the solution and stretching on a roller. Flakes allow you to prepare fresh shellac each time and avoid waste. Use to seal wood, reduce gesso absorbency and isolate paint layers.

Platina Dewaxed Shellac (decolorized) 510-32SFB10 100 g $8.75 510-32SFB50 500 g $34.85 510-32SFB1K 1 kg $60.50 Orange Dewaxed Shellac 510-32SFO10 100 g $8.75 510-32SFO50 500 g $34.85 510-32SFO1K 1 kg $60.50

Dammar is the most popular resin for spirit varnishes and mediums.

Our imported Grade A crystals are packed in a filter bag. Add turpentine and let stand for a few days. Remove the filter bag and you have clear golden dammar varnish. This is the most economical way to buy dammar varnish.

510-33DMR01 To make Pt $8.95 510-33DMR02 To make Qt $12.95

Mastic was the most popular resin for spirit varnishes and mediums in the 19th century. The small yellow tears are used to make traditional high grade picture varnishes and mediums. Our mastic is tapped from living trees on the Greek island of Chios and packed in a filter bag. Add turpentine and let stand for a few days.

Remove the filter bag and you have clear golden mastic varnish.

510-33MAS10 To make Pt $43.50 510-33MAS25 To make Qt $87.00

Canada Balsam is the pale yellow oleoresin with a faint greenish cast of Abies balsamea and related species. It dries to a clear transparent film. It is used as a plasticizing resin for varnishes.

510-33CAN04

4 fl oz

$28.90

Baltic Amber is a natural fossilized resin. We hand select pieces of gem-grade succinite amber from our Baltic source, ranging in color from clear, gold-

en yellow to reddish brown with few inclusions or impurities, so it is ideal for making amber varnish.

510-31AMR10

100 g

$33.20

Waxes White Beeswax pastilles from bee apiaries naturally bleached to a soft, pleasing white color. White beeswax is the recommended choice for most painting techniques calling for wax. Beeswax cuts the gloss of oil paints, giving them a satin finish while extending the drying time, making them thicker and workable for longer periods of time.

510-33WAXLB 510-33WAXKG

500 g 1 kg

$16.50 $29.50

Carnauba Wax is a vegetable wax from Brazil harvested from the leaves of the carnauba palm. It is harder and has a higher melting temperature than beeswax. Since Carnauba is easier to melt than dammar resin, it can be substituted for dammar or combined with it to make encaustic medium.

510-33WAXCB

250 g

$12.50

Candelilla Wax is a vegetable wax from the Candelilla plant growing in northern Mexico and western Texas. It is an excellent plasticizer, water repellent, and has a high melting point—higher than beeswax. It can be used in place of beeswax or carnauba wax.

510-33WAXCL

250 g

$12.50

Gums Gum Arabic is a water-soluble gum obtained from the senegal species of the acacia tree, and used to make watercolor, tempera, ink, adhesives and as a binding medium for pastels and marbling colors. Useful for creating textural effects when mixed with watercolor washes, and with resins in making emulsions for tempera.

Gum Arabic Powder is hydrated powder that is easier to dissolve in water to make watercolor medium or use in tempera or emulsion recipes.

510-51GUMAR 4 oz jar 510-51GUMARB 250 g 510-51GUMAPBB 500 g

$6.50 $15.50 $18.95

Gum Arabic Pebbles is the actual exudation of the tree in the form of small amber pebbles without any additional processing. Soak in water overnight before heating.

510-52GAPBS 510-52GAPBB

4 oz jar 500 g

$8.50 $30.50

Additives

Chemicals

Gum Tragacanth is a natural gum that is mixed with pigments to make pastels and chalks. Use to make marbleized papers and as an ingredient to make emulsions.

510-51GUMTG1 1 oz jar 510-51GUMTG 4 oz jar

$6.50 $16.00

Dextrin is processed starch used as a binder in combination with (or in place of) gum arabic. It thickens paint, altering a taffylike vehicle to a smooth, buttery consistency, and reduces surface gloss or bronzing in the dried color. Watercolors are given a “short” or stiff consistency.

510-53DXTLB 510-53DXTKG

500 g 1 kg

$7.50 $12.50

Additives Fumed Silica has a chain-like particle structure that bonds together to trap liquid, thereby increasing viscosity. Add to thicken and increase transparency of paint.

Stirring or brushing paint with fumed silica will flow and level, but when stopped, the paint will ‘thicken up’ again. This property is called thixotropy.

510-15FSQ

Quart

$12.50

Aluminum Distearate is a white, wax-like powder that dissolves in oil. A small amount (2% or less) added to oil paint imparts a short, buttery consistency. It eliminates the separation of pigment and oil, thickens varnishes considerably. A concentrate of aluminum stearate and linseed oil can be prepared ahead of time and added to the paint whenever needed.

510-15ALD50

500 g

$14.50

Organoclay (Bentone SD-1) is an organic derivative of bentonite clay and used as a rheological additive. Mixes easily with oil and alkyd paints to increase viscosity, prevent pigment settling, and increase crispness of handling.

Add 1–4% of total weight.

510-15OCL50

500 g

$16.95

Castor Wax (Thixcin R) is a nondiscoloring, non-hygroscopic organic derivative of castor oil.

Used as a rheology additive in oil and alkyd paint, it adds thixotropic body and prevents oil separation. Does not react with pigments and vehicles and does not detract from durability. Also assists in emulsion stabilization of water-in-oil emulsions. Add 1–2% of total pigment weight.

510-15CWX50

500 g

$16.95

Aluminum Acetate is used to make gelatin or hide glue insoluble as described in Science of Painting by Jehan Georges Vibert.

Citric Acid is used to adjust the pH of solutions (toward acidity) and as a mordant to make lake pigments from natural dyes.

500-11ALA50

500-21CIA50

500 g

$39.00

Aluminum Chloride is used with calcium chloride to produce an aluminum-calcium rosinate. This rosinate is used in varnishes for musical instruments.

500-11ALC50

500 g

$20.00

Aluminum Sulfate (alum) hardens glue and starch sizes. Spray a solution of alum and water onto glue or gesso to harden it or add to glue. Use 10 grams of alum for each 100 grams of size.

500-11ALM10 500-11ALM50 500-11ALMB

100 g 500 g 1 kg

$4.50 $9.95 $14.95

Aluminum Potassium Sulfate, also called potash alum, is the traditional alum used for dyeing and making lake pigments.

500-11ALP50

500 g

$18.50

Ammonium Carbonate is used to dissolve casein in water and as an emulsifier to combine water with oil or wax. T 500-11AMC50

500 g

$35.00

Borax (sodium tetraborate pentahydrate) is an alkali used to dissolve casein in water, as an emulsifier to combine water with oil or wax, and to neutralize acidity, such as in gum arabic solutions and after bleaching with oxalic acid. Add borax to casein to make milk paint or glue.

500-41BX010 500-41BX050 500-41BX100

100 g 500 g 1 kg

$4.50 $9.95 $14.95

Calcium Chloride is used with aluminum chloride to make an aluminum-calcium rosinate found in varnish recipes for musical instruments.

500-21CAC50

500 g

$7.50

Calcium Hydroxide, also known as hydrated lime, is used to make lime putty, milk paint and “limed rosin.” Also used to neutralize free fatty acids and remove water in drying oils after washing with water to remove impurities. T 500-21CAH50

500 g

$7.50

500 g

$7.50

Copper Sulfate, also known as blue vitriol or blue copperas, is used as a mordant for natural dyes and to make verdigris. T 500-21CUS50

500 g

$12.50

Ferrous Sulfate (iron(II) sulfate or ferrous sulfate heptahydrate), also known as copperas or green vitriol, is a light green powder used as a mordant for dyes. T 500-22FES50

500 g

$7.50

Formaldehyde Spray, a 4% solution of formaldehyde to prevent mold and to harden animal collagen, such as hide glue. Spray on gesso or chalk grounds after application to a support. T 500-21FHSP8

8 fl oz

$8.45

Glycerin is used as a humectant and plasticizer for aqueous mediums, such as glue and gum. Add to glues and starches to make them more flexible and prevent cracking. Add to watercolors to prevent drying on the palette.

500-23GCRN2 500-23GCRN8

2 fl oz 8 fl oz

$4.95 $9.55

Oxalic Acid is used extensively as bleaching agent and as a mordant in making lake pigments, such as carmine lake.

500-21OXA50

500 g

$7.50

Phenol Spray, a 4% solution of phenol to prevent mold on gesso.

Spray on fresh gesso and store for days in a cool place, or weeks in a refrigerator. Spray containers and tools before use. T 500-22PHSP8

8 fl oz

$8.45

Potassium Bitartrate, also called potassium hydrogen tartrate and cream of tarter, is a white powder easily soluble in water. It is used with other mordants to vary the colors produced by natural dyes.

500-21POB50

500 g

$12.00

Potassium Carbonate, also called pearlash, is a strong alkali used to make rosinates for varnishes. T 500-21POC50

500 g

$7.50

Calcium Oxide, also known as quicklime, is used to make lime putty, milk paint and “limed rosin.” Quicklime is a caustic and exothermic substance producing heat when mixed with water.

Potassium Dichromate, also known as potassium bichromate, is an orange-red powder used as a mordant for natural dyes. When added to glue or gum, it hardens in light, making it insoluble.

500-21CAO50

500-21POD50

500 g

$12.50

100 g

$29.50

Potassium Hydroxide, also known as caustic potash, is a strong alkali used in lake pigments, emulsions and soaps with wax and resin, such as rosinate for varnishes. Can be substituted with sodium hydroxide.

500-21POH50

500 g

$15.00

Sodium Carbonate, also known as soda ash, is an alkali used in making lake pigments. T 500-21SOC50

500 g

$7.50

Sodium Hydroxide (flakes), also called caustic soda, is used to make lake pigments, emulsions and soaps with wax and resin. Can be substituted with potash.

500-21SOH50

500 g

$15.00

Stearin, a glycerol ester of stearic acid, can be combined with wax to increase the melting point and hardness of encaustic medium.

500-21STA50

500 g

$15.00

Tetrapotassium Pyrophosphate (TKPP) is used as a dispersing agent for pigments in water-borne paint and in making emulsions.

500-21TKP50

500 g

$7.50

Tetrasodium Pyrophosphate (TSPP) is used to dissolve shellac in water, in making emulsions, and as a dispersing agent for pigments in water-borne paint.

500-21TSP50

500 g

$7.50

Tin Chloride, also called stannous chloride, is a mordant to produce various colors when used with the natural dyes. T 500-21TIC50

500 g

$60.00

Triethanolamine (85% solution), known as TEA, is an amide used to emulsify wax by adding to water before adding to melted wax to make emulsion.

500-21TEA08

8 fl oz

$7.75

Van Dyke Crystals is a water-soluble form of Van Dyke brown, the natural earth pigment. Dissolve in water to make a walnut brown stain or watercolor. Darker shades can be made by adding an alkali.

500-21VDC50

500 g

$35.00

Zinc Sulfate, also called white copperas or white vitriol, is used as a drier for drying oils and in varnishes for musical instruments.

500-21ZIS50

500 g

$22.00

Zinc Chloride, when dissolved in rosin, use to make zinc-alizarinrosinate used in certain musical instrument varnish formulas.

500-21ZIC50

500 g

ORDER ONLINE: NATURALPIGMENTS.COM

$25.50

21

spite of their popularity, some painters find this type of ground inconvenient for oil painting and entirely unsuitable for tempera.

Advanced Chalk Grounds Kit (bowls not included)

Absorbent Ground Kits Basic Chalk Grounds Kit has the essential supplies to make your own traditional chalk grounds for painting. The kit includes: • Easy Gesso, 1 kg • Gesso brush, 2 in.

• Surface knife, 80 mm wide • Steel wool • Instructions 501-1101

Painting Grounds

GROUNDS

The ground is the layer applied on to the support to prepare it to receive paint. Painting grounds have a number of functions the most essential is to provide a surface favorable to the application of paint. Grounds also change the absorbency of the support, reduce or enhance its texture or provide a different texture entirely and create a surface that forms a good bond between the support and the paint layer.

The ground is crucial to the durability of the painting. De Mayerne noted as early as the 17th century that quality materials were as essential to the ground layer as to the paint layer.

Grounds can be divided into two broad categories, according to their absorbency: those that are absorbent and those relatively non-absorbent or semi-absorbent.

Absorbent grounds are essentially tempered, water-based grounds prepared with glue or casein. The most common solid materials of absorbent grounds were chalk, calcium carbonate, and gypsum, calcium sulfate.

Strictly speaking, gesso (the Italian word for gypsum) refers solely to absorbent grounds made with gypsum, which was commonly used for the grounds of Italian panel and canvas paintings from medieval times to the end of the 16th century. Gypsum is the principle ingredient in gesso grosso and gesso sottile described by Cennino Cennini in his 15th century painting handbook, Il libro dell' Arte o Trattato

22

della Pittura. Chalk occurs naturally in Northern European countries and for this reason in those areas, it was the most widely used in absorbent grounds.

Grounds bound with casein are generally less absorbent than grounds made with animal collagen, such as technical gelatin, hide glue or rabbit skin glue.

Oil grounds were adopted for their flexibility when canvas supports were developed. The advantage of an oil ground beneath an oil paint layer is that it provides a relatively non-absorbent foundation, which enhances the inherent gloss of oil paint.

Emulsions of glue or casein and linseed oil are called halfchalk grounds and are suggested for painters who want to combine the advantages of oil grounds (flexibility) with those of chalk grounds (absorbency).

In the 20th century, acrylic dispersion grounds (misnamed acrylic gesso) were developed to answer the problem of slow drying inherent in oil grounds. In

TO ORDER CALL 1-888-361-5900

Save $10

$28.00

Advanced Chalk Grounds Kit has all the tools and ingredients to make traditional chalk grounds for painting supports. The advanced kit includes: • Chalk, 1 kg • Aluminum sulfate (alum), 4 oz • Rabbit skin glue, 4 oz • Phenol spray, 8 fl oz • Sanding block • Sandpaper, wet/dry • Gesso brush, 2 in.

• Surface knife, 80 mm wide • Instructions 501-1102

Save $12

$45.00

Gesso Grounds Kit has everything needed to make and apply gesso to panels, frames, furniture, etc., as a base for painting or gilding. Gesso Oro per Indoratori is preferred by professional gilders in Europe as their first choice for making ivory smooth grounds. The kit includes: • Italian Gesso Oro, 1 kg • Italian rabbit skin glue, 4 oz • Steel wool • Gesso brush, 2 in. wide • Surface knife, 105 mm wide • Instructions on how to prepare gesso for gilding and painting 301-1104

Gesso Grounds Kit (bowls not included)

Save $7

$25.00

Grounds Emulsion Grounds for Tempera and Oil Painting

Ready-Made Grounds Easy Gesso is an easy way to make traditional chalk grounds.

This is a dry mix of chalk and rabbit skin glue in just the right proportions, making it easy to use.

Simply mix equal amounts of Easy Gesso and water, wait a few hours to gel and then warm until it is liquid enough to apply with a brush or cool and apply with a surface knife (see page 25).

510-12ESGMX 510-12ESGMK

500 g 1 kg

$11.50 $17.50

Easy Gesso Extra-Fine is a new formulation of our original Easy Gesso but with extra fine natural ground chalk and titanium dioxide. Prepare in the same way as Easy Gesso for a ground with a little less tooth. Use for all watermedia and oil paint on rigid supports. Polishes to a very smooth bright white finish.

510-12ESGXX 510-12ESGXK

500 g 1 kg

$13.50 $22.50

Traditional Silverpoint Ground is a ready-to-use dry mix ground based on Cennini’s 15th century recipe that provides the right abrasive surface for silver and other metal point drawing that is applied to paper or wood. Mix with an equal amount of water and warm until it is liquid enough to apply with a brush.

550-SPTG05

500 g

$14.50

GOLDEN Silverpoint / Drawing Ground is a liquid acrylic used for the preparation of supports for drawing media. The ground allows you to make fine detailed lines on a permanent, lightfast, flexible ground. Silverpoint / Drawing Ground is ideal for use with metal styli or other drawing tools. Apply with brush or sponge.

550-SPG08

8 fl oz

$14.39

Old Masters Liquid Ground is a liquid casein ground for the prep-

SEMI-ABSORBENT GROUND We have found this ground to be excellent for tempera painting, especially using a “fat” emulsion.

If 1/2 cup of linseed oil is added to the ground, it also makes a good ground for oil painting.

Ingredients Easy Gesso 1 cup 250 ml Water 1 cup 250 ml Linseed Oil 1/3 cup 85 ml Vacuum-Bodied (Low Viscosity) Preparation Prepare the panel or canvas by rubbing with a pumice stone, size with PVA or rabbit skin glue and again lightly rub with the pumice.

Slowly add warm water (too hot for your hand, but not boiling) to Easy Gesso, stirring all the time with a spatula, until all lumps have disappeared and you have a perfectly smooth creamy mixture. Stir gently to avoid entrapping air and forming bubbles in the mixture.

When the mixture has cooled somewhat, to about the temperature that you can touch without burning, but before it begins to stiffen, add the linseed oil very slowly at first, dropwise, stirring the mixture constantly. After it absorbs some of the oil, it is possible to add the oil faster. When all the oil has been added, and well stirred into the mixture, apply it to the panel or canvas. As soon as it is evenly covered, take a knife and lightly scrape it with long steady strokes in one direction, and then at right angles to the first. Apply two coats. Allow the first coat to set for 30 minutes before applying the second.

aration of porous supports, such as wood and paper. The lightly abrasive ground allows fine lines with drawing media, such as metal point, graphite and charcoal. Ideal for use with watercolors or tempera and with oil colors

after reducing the absorbency with Isolating Varnish (page 18) or Lead Oil Ground. Apply with a brush or sponge on porous surfaces, such as wood or paper.

Allow the ground to dry at least one week, better two weeks, before using. When dry, test it for flexibility by pressing with the finger from behind the canvas.

The ground should not crack under reasonable pressure.

550-SPTLG08 550-SPTLG16

8 fl oz 16 fl oz

$14.50 $24.50

Semi-Absorbent Grounds

Rublev Colours Lead Oil Ground is a blend of white pigments and linseed oil for a semi-absorbent ground ideal for oil painting.

Lead Oil Ground contains lead white, ground calcite, and titanium dioxide in just the right proportions to make a film that

remains flexible and tough with some absorbency. The blend of linseed oil provides penetration into the support to ensure good adhesion yet maintain sufficient holdout to form a good foundation for paint layers. It provides good leveling properties, so

brush and knife marks are minimized. Rublev Colours Lead Oil Ground has a high concentration of pigments so only two coats are usually necessary. Apply directly onto a panel or canvas sized with PVA or rabbit skin glue for an excellent foundation for oil and alkyd paints.

The essential characteristics of good grounds are 1) adhesion, 2) flexibility, 3) penetration control, 4) a surface to which paint layers can adhere well, and 5) easy application. Careful selection of ingredients is essential to impart these qualities. Ground calcite (calcium carbonate), lead white (basic lead carbonate) and a chalk resistant grade of rutile titanium dioxide have proven to be excellent choices.

Lead white contributes to flexibility and creates a strong paint film. The grade of dry ground calcite we use provides the lowest possible oil absorption. It offers

the desired penetration control and aids in forming a surface to which paint layers adhere well.

Titanium dioxide increases opacity and provides a brilliant white surface for painting.

Rublev Colours Lead Oil Ground has the consistency of heavy cream, so it can be used straight from the can and applied with a brush or knife. Although not required, it can be thinned with turpentine or mineral spirits.

We recommend at least two thin coats on a panel or a sized canvas. This ensures even coverage and speeds drying.

Drying time depends on many factors, so it is difficult to give a recommendation that covers all applications, but we recommend waiting at least 14 days before painting and more time may be required.

510-8LWG08 510-8LWG1 510-8LWG1Q

8 fl oz Pint Quart

$27.75 $41.25 $69.75

ORDER ONLINE: NATURALPIGMENTS.COM

23

Grounds Bentonite has colloidal properties, increasing volume several times when mixed with water, creating a gelatinous and viscous fluid. Its properties makes it useful as a thickening and/or suspension agent in aqueous and oil medium.

510-15BNT1K

Whiting and Fillers Calcium Carbonate Chalk (calcite) is the finest whiting from limestone deposits in the Lucerne Valley for making brilliant white grounds. Use as an extender in paint and as filler in chalk grounds. Brightness is rated at 92 and is 98% pure calcium carbonate. Useful for adding texture and body to paint.

Fine (median particle size 12 µ) 510-11CHK1K 1 kg $6.85 510-11CHK5K 5 kg $25.50 Extra Fine (median particle size 3 µ) 510-11CHX1K 1 kg $7.50 510-11CHX5K 5 kg $28.00

Marble Dust is formed from limestone. Heat and pressure in the earth's crust, called recrystallization, changes the composition of limestone to form large grains of calcite. All our marble dusts are ground to a particle size of 0–70 microns to retain its high bulking characteristics while preserving its brightness. Use as an extender in paint, to add texture and body to paint, and as filler in grounds.

Bianco Carrara White Marble Dust is ground white marble from the world-class deposit of high brightness in Carrara, Italy.

510-10CWMD1K 1 kg 510-10CWMD5K 5 kg

$7.50 $28.00

Verde Alpi Green Marble Dust is a green ophicalcite from Italy, which is recrystallized limestone of calcite and serpentine.

510-10AGMD1K 1 kg 510-10AGMD5K 5 kg

$7.50 $28.00

Rosso Verona Red Marble Dust is ground red marble from the Veneto province of Italy.

510-10VRMD1K 1 kg 510-10VRMD5K 5 kg

$7.50 $28.00

Bianco Verona White Marble Dust is ground white marble from the Veneto province, Italy.

510-10VWMD1K 1 kg 510-10VWMD5K 5 kg

$7.50 $28.00

Bologna Chalk is a natural mineral from Bologna, Italy, composed of monoclinic prismatic crystals of hydrated calcium sulfate-carbonate. Use it to make optimally soft gesso for gilding and painting.

510-11BLCL1 510-11BLCL5

1 kg 5 kg

$9.50 $35.00

Calcium Sulfate Italian Gesso (Gesso Oro per Indoratori) is dry ground gypsum made according to an old recipe.

Gypsum was used since before the Renaissance with animal glue in Cennini’s gesso sottile recipe. It makes an ivory ground that is ideal for painting and gilding.

510-11GL1K 510-11GL5K

1 kg 5 kg

$9.50 $35.00

Alabaster (also called satin spar) is a natural crystalline mineral of hydrated calcium sulfate mined near Florence, Italy. Softer than chalk (hardness 3), its hardness of 1.5–2 makes a soft white gesso that takes a high polish for gilding or for painting. Use with paint as a brilliant white filler.

510-11ALB1K 510-11ALB5K

1 kg 5 kg

$7.50 $28.00

Botticino Marble Dust is a cream limestone from marble quarries near the town in the province of Brescia, Lombardy, Italy.

Terra Alba is natural gypsum used as an extender in gesso and paint.

Brightness is 89, median particle size 12 microns and 98% pure calcium sulfate. Oil absorption is 23 grams per 100 grams of terra alba.

510-10BWMD1K 1 kg 510-10BWMD5K 5 kg

510-11TRAL1 510-11TRAL5

24

$7.50 $28.00

TO ORDER CALL 1-888-361-5900

1 kg 5 kg

$7.50 $28.00

$7.50

Pumice is a fine grade of volcanic rock used to polish surfaces and to give “tooth” to grounds. Add pumice to paint to make it appear mat when dried, add texture and increase body without greatly affecting the color.

Silica Silica powder is high purity, natural crystalline silica that is ground from natural silica ore. It is an inert, bright white powder composed of 99% pure silicon dioxide.

Add to paint to increase the transparency of colors, add bulk for impastos and increase the viscosity of painting mediums. Very fine, median particle size of 5 µ.

510-15SLC1 1 kg 510-15SLC5 5 kg

$6.85 $25.50

Fumed Silica has a chain-like particle structure that bonds together to trap liquid, thereby increasing viscosity. Add to thicken and increase transparency of paint. Stirring or brushing paint with fumed silica will flow and level, but when stopped, the paint will ‘thicken up’ again. This property is called thixotropy.

500-15SFSQ Quart (946cc) $12.50

Alumina Silicate Kaolinite is a soft, earthy, white mineral, known as China clay or kaolin, that has been heat-treated to increase whiteness and hardness and alter the size and shape of its particles. Use in grounds, such as for painting where recipes call for “pipe clay” mixed with starch or flour to make a thick creamy white ground typical of 19th century paintings, and in recipes for gilding bole.

510-15KLN1K 510-15KLN5K

1 kg

1 kg 5 kg

$7.50 $28.00

Medium Granularity (1–125 microns) 510-13PUMOZ 4 oz $4.25 510-13PUM50 500 g $7.50 510-13PUMKG 1 kg $11.00 Fine Granularity (1–70 microns) 510-13PUFOZ 4 oz $4.25 510-13PUF50 500 g $7.50 510-13PUFKG 1 kg $11.00

How to Select Fillers For soft grounds, choose calcium sulfate or alumina silicate minerals. Marble dust makes grounds with hard, coarse (textured) surfaces. Silica, talc and pumice add texture to grounds. Add at least 10% titanium white pigment for opaque, brilliant white grounds.

Magnesium Silicate Talc is magnesium silicate hydroxide from natural ores in Montana, U.S. Chemically inert, talc can be added to paint to increase bulk and to pastel pastes to brighten pigments. Extra fine particles, 3µ.

510-13TAL1K 510-13TAL5K

1 kg 5 kg

$6.85 $25.50

Miscellaneous Extenders Aluminum Hydrate is an extender and bodying agent in oil- and water-based paint that does not affect the color of the paint. Ours is an 8 micron median particle size filler that is a bright white powder and can be added to paint to impart transparency and increase brilliance of colors.

510-11ATH1K 510-11ATH5K

1 kg 5 kg

$6.85 $25.50

Vicenza Earth is natural hydrated clay from Vicenza, Italy used in Renaissance Italian sgraffito pottery. Use it to make smooth gesso and as a filler to thicken, add thixotropic properties to water- or oil-based paint and as a creamy beige transparent color.

Barite is made using the highest quality white, natural barium sulfate ore. Its unique properties of fine grind (3 micron median particle size), high specific gravity (4.4) and chemical inertness makes it ideal for many uses. It can be used in grounds, to make white paint and as paint filler.

510-11VIC5K

510-11BRT5K

5 kg

$39.50

5 kg

$39.50

Grounds

Natural Glues Genuine Rabbit Skin Glue is a high bloom strength glue made in Italy of pure rabbit collagen and not bovine. It is a granular glue that is ideal for use in gesso, gilding size and as a medium for distemper painting.

510-21GRSG1 510-21GRSG5 510-21GRSGK

4 oz 500 g 1 kg

$7.50 $25.00 $49.00

Rabbit Skin Glue is a high bloom strength glue made in the U.S. It is a fine mesh granular glue that is easy to dissolve in water and is the lightest in color and most translucent glue available. It ideal for use in gesso and as a medium for distemper painting.

510-21RSGL5 510-21RSGLK

500 g 1 kg

$12.50 $20.00

Italian Rabbit Skin Glue is a medium bloom strength glue made in Italy . It is a medium mesh granular glue that is easy to dissolve in water and ideal for use in gesso, gilding size and as a medium for distemper painting.

510-21IRSG5 510-21IRSGK

500 g 1 kg

$15.95 $29.00

Technical Grade Gelatin is a fine mesh granular gelatin that is easy to dissolve in water. The medium bloom strength makes it ideal for use in gilding. Gelatin is preferred by many professional gilders over hide glue, because it can burnish easier than hide glue when mixed with gilders’ clay or gesso.

510-21THGLU

500 g

Fish Gelatin is a high molecular weight glue with a higher viscosity and a tougher film than our standard gelatin. Similar characteristics to animal gelatin with the exception that it does not gel at room temperature.

510-21FGLT5

500 g

$12.95

Russian Sturgeon Glue (Isinglass) from dried sturgeon bladders of the highest quality.

Our sturgeon glue is the same used by Russian restorers.

Sturgeon glue has higher adhesion and lower viscosity than comparable animal glue, such as gelatin or rabbit skin glue.

510-21STGL

100 g

650-SFKNTWB

500 g

Neutral pH Adhesive is a white, neutral pH adhesive that dries clear and fast and is fully reversible with water. Made of archival polyvinyl acetate (PVA), it does not become brittle and adheres to most porous surfaces.

510-270008 510-27032 510-27028

8 fl oz Quart Gallon

$8.42 $21.35 $58.95

Brushes and Tools

Set of 3

656-HHC

$7.50

Synthetic Glues

651-SFKNPLC

$7.50

Horsehair Cloth (right) is a mildly abrasive cloth made of horsehair for polishing bole or grounds.

The thickly woven cloth measures 10 x 15 in. (25,4 x 38,1 cm).

Dextrin is processed starch used as a binder in paint as an adhesive. It is soluble in cold water.

Use as an adhesive for porous surfaces, such as wood and paper.

510-53DXTLB

Plastic Surface Knife Set are inexpensive and great for smoothing grounds on nearly any size panel. Widths: 50 mm (2 in.), 80 mm (3-1/8 in.), 100 mm (4 in.) and 120 mm (4-3/4 in.)

$24.50

$69.50

Surface Knife is a German-made scraper ideal for scraping grounds.

The aluminum handle without rivets is easy to grip and permits easy cleaning by simply throwing it into water or solvent. Hardened stainless steel blade is machine ground. Blade size: 80 mm (3-1/4 in.) or 105 mm (4-1/8 in.) wide by 105 mm (4-1/8 in.) tall.

651-SFKN080 651-SFKN105

80 mm 105 mm

$8.00 $10.00

$7.95

Gesso Brushes—A quality flat brush made of white Chungking bristles. Used specifically for applying gesso, varnishing, painting with oils and acrylics on large surfaces, and applying glue size to panels, canvas and fabrics.

Bristles with natural flagged tips and chiseled straight edges are set into a metal ferrule. The long red plastic handle is designed for easy gripping.

702-5437125 702-5437150 702-5437180

2 cm (0.75”) $2.50 4 cm (1.5”) $3.05 6 cm (2.38”) $5.10

$12.95

Hide Glue is a high-grade glue made of pure bovine hides. It is a medium mesh granular glue that’s easy to dissolve in water. Its lower bloom strength gives it a longer setting time, useful for making softer gesso.

Sandpaper Block holds a sheet of sandpaper for polishing the surface of grounds. 122 x 70 x 35 mm (4.875 x 2.75 x 1.375 in.)

510-21HDGLU

656-SNDPPRB

500 g

Surface Knife (Twin Blade) This German-made knife is the cadillac of scrapers because of its twin blade and comfortable wood grip.

It makes scraping and applying grounds easier. The polished steel knife is firmly set in a varnished wood grip. The blade has a finger rest-plate for even distribution of pressure across the entire width of the blade. Slight rounding of the blade ends ensures smooth application of gesso. The flexibility of the knife blade can be accurately set by adjusting the finger rest-plate. Blade size 120 x 105 mm (4-3/4 x 4-1/8 in.).

$12.95

$7.50

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25

ublev Colours Watercolors are made with the same pigments used by watercolor masters of the 17th to 19th centuries. The colors are genuine single pigment paints available individually in tubes and cakes.

We make Rublev Colours Watercolors with gum arabic, honey and sugar syrup, which were the basic ingredients used in watercolors of past centuries.

There are no other additives to alter the characteristics of each color. Rublev Colours Watercolors do not contain fillers to extend colors, dispersants to disperse and granulate pigments and brighteners to intensify colors.

Rather, each color is crafted to develop its unique character, so they behave much the same as the watercolors of the past.

Using only pure pigments, we first wet the pigment in distilled water to better diffuse with the binder for flawless color washes.

Bound with gum arabic from Acacia trees in Africa, slowly dissolved from natural pebbles, we produce a binder that fuses completely with pigments for clean washes.

Our secret ingredients—white honey and golden sugar syrup— impart a soft luster to colors.

Honey and sugar were used in watercolors throughout history to prevent them from drying too quickly. Watercolors made with these ingredients remain moist on the palette and are easier to dilute into washes.

Rublev Colours Watercolors have the highest amount of pigment possible suspended in a gum arabic binder, giving them a heavy consistency that makes them one of the richest and thickest watercolors available.

Staining is the characteristic of paint that makes it difficult to remove from paper after it has been applied. Less staining colors can be lightened or removed almost entirely when wet or when rewetted and then “lifted” by stroking gently with a clean, wet brush and then blotted up with a paper towel. Staining depends in large part on the composition of the paper and on the particle size of the pigment. Staining is increased by the use of dispersants, because dispersants act to

R

WATER COLORS

26

embed pigment particles between the fibers of the paper, dulling the finished color. While most brands of watercolors contain dispersants to reduce the time to make the paint, Rublev Colours Watercolors do not contain dispersants; staining is minimized.

Granulation is the appearance of visible pigment particles in the applied color, especially when the paint is diluted and applied with a wet brush stroke.

Flocculation is the clumping together of pigment particles, typical of some colors, such as lazurite. Both granulation and flocculation create subtle effects as the paint dries and are considered desirable by accomplished watercolor painters. The trend in commercial watercolors is to suppress pigment textures in favor of homogeneous washes of color.

Many of the natural pigments in Rublev Colours Watercolors produce granulation effects naturally without the use of additives.

Lac Water Varnish is a clear, natural resin varnish that can be used as a fixative or final picture varnish on watercolor paintings to enhance color saturation. It is based on varnishes used by 19th century watercolorists. Apply with a soft-hair brush or by mouth spray. Thin with water.

540-1205

Watercolor Medium can be used to make watercolor paint with powdered pigments and to dilute watercolors. Contains gum arabic, honey, glycerin and a small amount of preservative.

510-5508

8 fl oz

$12.95

Gum Arabic Solution to increase the binding effect of watercolors.

510-5608

8 fl oz

TO ORDER CALL 1-888-361-5900

8 fl oz

$14.95

Hydrogel is a transparent gel of gum arabic and fumed silica that thickens the consistency of paint, giving an impasto effect to watercolors and gouache.

540-1203

50 ml tube

$10.95

$11.50

Crystal Water Varnish is a gum varnish that adds luster to a watercolor painting and saturates colors. It is based on a recipe used by watercolorists of the 18th and 19th centuries. Apply with a wide flat, soft-hair brush.

Can be thinned with water.

540-1201

8 fl oz

$14.95

Glycerin is used as a humectant and plasticizer in aqueous mediums, such as egg, gelatin and gum. Add to watercolors to make them more flexible and prevent cracking. Makes watercolor wetter and last longer on the palette.

500-23GCRN2 500-23GCRN8

2 fl oz 8 fl oz

$4.95 $9.55

Watercolors

Azurite 850-101 | Series 6 | PB 30

Lemon Ocher 850-306 | Series 1 | PY 43

Vermilion 850-507 | Series 6 | PR 106

Italian Brown Ocher 850-622 | Series 1 | PBr 7

Indigo 850-102 | Series 4 | NB 1

Italian Yellow Earth 850-307 | Series 1 | PY 43

Madder Lake 850-508 | Series 5 | NR 9

Van Dyke Brown 850-624 | Series 2 | NBr 8

Lazurite (Lapis Lazuli) 850-103 | Series 6 | PB 29

Italian Dark Ocher 850-308 | Series 1 | PY 43

French Sienna 850-607 | Series 1 | PBr 7

Violet Hematite 850-701 | Series 2 | PR 102

Watercolors

Smalt 850-104 | Series 6 | PB 32

Natural Yellow Oxide 850-312 | Series 1 | PY 43

French Burnt Sienna 850-608 | Series 1 | PBr 7

Bone Black 850-903 | Series 1 | PBk 9

Vivianite (Blue Ocher) 850-105 | Series 5

Yellow Ocher Light 850-313 | Series 1 | PY 43

French Umber 850-610 | Series 1 | PBr 7

German Vine Black 850-904 | Series 1 | PBk 8

Prussian Blue 850-106 | Series 3 | PB 27

Chrome Yellow T 850-310 | Series 4 | PY 43

Italian Sienna 850-611 | Series 1 | PBr 7

Verditer Blue 850-107 | Series 4 | PB

Orange Ocher 850-401 | Series 1 | PY 43

Italian Burnt Sienna 850-612 | Series 1 | PBr 7

Malachite 850-204 | Series 5

Red Sartorius Earth 850-501 | Series 1 | PR 102

Cyprus Umber Dark 850-615 | Series 1 | PBr 7

Nicosia Green Earth 850-205 | Series 3 | PG 23

Ercolano Red 850-503 | Series 2 | PR 102

Cyprus Burnt Umber 850-616 | Series 2 | PBr 7

Verona Green Earth 850-206 | Series 2 | PG 23

Venetian Red 850-504 | Series 1 | PR 102

Cyprus Burnt Umber Warm 850-617 | Series 2 | PBr 7

Celadonite 850-207 | Series 4 | PG 23

Indian Red 850-505 | Series 2 | PR 102

Italian Raw Umber 850-618 | Series 1 | PBr 7

Gold Ocher 850-302 | Series 4 | PY 43

French Red Ocher 850-506 | Series 1 | PR 102

Italian Burnt Umber 850-620 | Series 1 | PBr 7

3 Colo3% Mor r e 15 m than S l Tu td bes

Rublev Colours Watercolors are in lightfastness category I or II, except Vermilion (category III), Indigo and Madder Lake (category IV). Lightfastness categories I and II, according to ASTM standard D 5607, are considered sufficiently lightfast for watercolors. Category III colors may be satisfactory, if provided extra protection from ultraviolet light.

The high pigment concentration of Rublev Colours Watercolors gives them a heavy consistency, making them one of the richest and thickest watercolors available. Rublev Colours Watercolors do not contain ox-gall or other dispersants that may affect the purity and texture of the color.

Rublev Colours Watercolors are available in moist form, in 20 ml tubes, that can be thinned and mixed on a dish or palette. Moist

watercolors are ideal for making large amounts of watercolor wash.

Rublev Colours Watercolors are also available in half (1.5 ml) and full pans (3 ml), giving you pure pigment and binder in a cake form.

Apply water with a brush to moisten the pan and lift the paint. Use a palette with indentations to mix colors. Pan watercolors are ideal for painting outdoors or in the field.

Unlike pan watercolors made with the extrusion process, Rublev Colours Watercolors are poured—a process preserving the integrity of each color and resulting in semimoist cakes that respond instantly to a wet brush.

Apply Rublev Colours Watercolors on paper or other absorbent surfaces prepared to accept waterborne paint. Clean up is easy with soap and water.

Series Prices Series 1 2 3 4 5 6

20 ml Tubes $8.95 $9.95 $11.95 $12.95 $18.95 $28.50

Half Pans 3.50 3.50 3.50 4.00 4.75 7.95

Full Pans 5.50 5.50 5.50 6.50 7.85 10.95

Swatches: Colors are shown full strength, lifted and as a thinned wash from left to right. Color was applied over the left vertical line and the right vertical line was made over the color to help visualize the opacity of the color.

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27

Watercolor Palettes Watercolor Palettes Rublev Colours Watercolor Palettes are a convenient and cost-effective way to try our unique range of natural and historical watercolors.

Basic Flesh Tint Palette includes three colors—one tube each of three colors: Gold Ocher, Verona Green Earth and Sartorius Red. 850-1001

Save $10

$22.30

Complete Flesh Tint Palette, described on page 30, includes the colors need to do a complete range of flesh tones. The set contains one tube each of six colors: Primary triad: Indian Red, Italian Yellow Earth, Lazurite; Complementary dyad: Ercolano Red and Nicosia Green Earth; and Underpainting: Cyprus Burnt Umber.

850-1004

Save $14

$65.50

Cozens Palette introduces you to the natural palette used by the 18th century watercolorist, John Robert Cozens (1752–1797). The muted color scheme in Cozens’ paintings rarely departs from grayish blue or green colors, accented with browns or muted reds and yellows. His palette consisted of Prussian blue, yellow ocher, crimson lake, Indian red, burnt Sienna, burnt umber and carbon black. By using a subdued palette, the effects of light and dark in his work are made more forceful. The set includes the hues used by the British artist—one half pan each of 8 watercolors: Prussian Blue, Green Earth, Gold Ocher, Madder Lake, Indian Red, Burnt Sienna, Burnt Umber and Vine Black in a watercolor case.

850-1010 850-1011

Small Case Travel Case

$50.95 $79.95

18th Century Palette introduces the colors used by 18th century English watercolorists—one full pan each of 12 watercolors: Prussian Blue, Green Earth, Antica Green, Yellow Ocher, Gamboge, Indian Red, Vermilion, Madder Lake, Burnt Sienna, Burnt Umber, Payne’s Gray and Bone Black—all genuine pigments—in a large full-pan watercolor case (above).

850-1012

18th Cent.

$123.35

Girtin Palette introduces you to the palette used by the 18th century British watercolorist, Thomas Girtin. Set includes half pan each: Lazurite, Nicosia Green Earth, Lemon Ocher, Red Ocher, Burnt Sienna, Brown Ocher, Warm Burnt Umber and Vine Black in a case.

850-1013 850-10130

Small Case Travel Case

Introductory Palette introduces you to a watercolor palette of natural mineral pigments. The palette includes 16 half-pan watercolors: Lazurite (lapis lazuli), Vivianite (Blue Ocher), Cold Green Earth, Warm Green Earth, Gold Ocher, Lemon Ocher, Orange Ocher, Dark Ocher, Venetian Red, Indian Red, Sartorius Red, Raw Sienna, Burnt Sienna, Brown Ocher, Warm Burnt Umber and Vine Black in the large halfpan watercolor case (above).

850-1014

$52.45 $79.95

Girtin Palette (small case)

Watercolor Cases

See the entire collection of Watercolor Palettes online

All cases are made of heavy-gauge metal with black and white enamel. Each has a handy metal loop on the back to allow you to place the case on a belt loop or hold it securely in hand while painting.

Use these cases with semi-moist watercolors in pans or moist watercolors in tubes. (Winsor & Newton pan watercolors also fit.)

To use a case with tube watercolors, simply fill empty pans with watercolor paint and dry.

Watercolor Travel Case (top) is ideal for the traveling watercolor artist, featuring an integral water bottle, cup and a convenient foldout palette. Size: 9,7 x 6,2 x 2,5 cm (3.75 x 2.5 x 1 in.) closed.

Includes 8 empty half pans.

624-2086

Travel Case

$69.95

Small Watercolor Case (bottom) is compact and ideally suited for painting in the field. It features a brush compartment and an integral foldout lid that has two paint

28

Intro Palette $110.65

wells to make mixing colors out in the field very convenient. Size: 8,2 x 6,2 x 1,5 cm (3.25 x 2.5 x 0.625 in.) closed. Includes 8 empty half pans.

Large Watercolor Case is ideal for use with a larger palette of colors (half pans). It features an integral foldout lid with three paint wells, a separate foldout flat palette for mixing colors on-thego, and a 14 cm (5.5 in.) center compartment for brushes and accessories. Size: 14,3 x 7 x 2,5 cm (5.5 x 2.75 x 1 in.) closed.

Includes 16 empty half pans.

Full-Pan Watercolor Case is for the watercolorist who is away from the studio for long periods.

It features an integral foldout lid with four paint wells, a foldout flat palette for mixing colors onthe-go, and a 21 cm (8.375 in.) center compartment for brushes and accessories. Size: 21 x 8 x 2,5 cm (8.25 x 3.1 x 1 in.) closed.

Includes 12 empty full pans.

624-2083

624-2091

624-2096

TO ORDER CALL 1-888-361-5900

Small Case

$37.45

Large Case

$66.45

Full-Pan Case $88.80

Watercolor Papers Note: We may substitute colors in the sets on this page that are out of stock or unavailable at the time of your order with similar hues of equal or greater value.

Watercolor Pans Use these pans to make your own sets with watercolors in tubes.

Simply fill the empty pans with tube paint and let dry. Insert the watercolor pans into a case. Half Pans, 1.5 ml capacity; Full pans, 3 ml capacity. Package of 10 pans.

624-2190 624-2191

Half Pans Full Pans

$2.95 $3.50

Saint Armand Paper Mill Natural Pigments commissioned Saint Armand paper mill to make these papers especially for our customers. David Carruthers opened Saint Armand paper mill in 1979, out of his love for handmade papers and 19th century technology. David came from a family associated with paper. His grandfather, George Carruthers, was the owner of the Interlake Paper Mill in Ontario and David’s father was a paper salesman with the family firm.

Handmade Papers Saint Armand handmade papers are made one sheet at a time following traditional methods. The pulp for making paper is prepared by beating rags, using mostly cotton from clothing manufacturers, but also linen, flax straw, jute and sisal. The pulping is mechanical— no chemical or bleaching agents of any kind are used, only water and rags. Beating keeps the fibers long and pliable. The papers do not crack when folded and resist very deep embossing.

Watercolor Paper Weight: The thickness of watercolor paper is measured by weight. The greater the weight, the thicker the sheet.

It is measured either in grams per square meter (g/m2 or gsm) or pounds per ream (lb). Thinner paper needs to be stretched to prevent it from buckling or warping when you paint on it. How thick the paper needs to be without buckling depends on how wet you make the paper as you paint.

Experiment with different paper weights, though you’ll find that paper less than 440 g/m2 (200 lb) needs to be stretched.

Sandby Watercolor Paper The British watercolorist of the 18th century, Paul Sandby, often painted on a white wove paper made from linen and cotton rags.

Named in honor of this artist, this paper is both internally sized and surfaced sized with gelatin just as 18th century papers. The surface size gives paper a harder surface well suited for glazing and vigorous rubbing. Sandby Watercolor Paper is ideal for both traditional and contemporary watercolor techniques and especially body color and gouache.

Old Master Paper

Rideau (ivory) 950-OMP58 Sandby Watercolor Paper

Innis (tan) 950-OMP59

Dominion Watercolor Paper

Size: 46 x 60.5 cm (18 x 24 in.)

950-S1815 320 g/m2 (150 lb) $6.00 950-S1830 660 g/m2 (300 lb)$16.00

Brown Cartridge Paper Cartridge Paper originally referred to a paper used for making cartridges for guns. The history of its use began in the 17th century, but by the early 19th century, the name referred to a type of paper associated with drawing and watercolor. Cartridge paper was a rough paper of mixed furnish (mixture of cloth fibers) and sized to add both strength and water repellency. Its surface enhanced the irregular forms that were part of the goal in drawing.

Brown Cartridge Paper is a brown laid paper with mixed fibers well suited for drawing in graphite, charcoal and ink, and for painting with body color and gouache.

Size: 46 x 60.5 cm (18 x 24 in.)

950-OMP66 80 g/m2 $5.50

Blue Wrapping Paper JMW Turner often drew and painted on blue paper. Blue paper had long been used as a wrapping paper, such wrapping loaves of sugar, presumably to show off the sugar’s whiteness. Turner had a predilection for working on colored papers. Blue Wrapping Paper is a gray-blue laid paper ideal for drawing in graphite, charcoal and ink, and for painting with body color (gouache).

Size: 46 x 60.5 cm (18 x 24 in.) $5.50 950-OMP63 80 g/m2

Rivière (ocher) 950-OMP62

Cartridge Paper

Palliser (taupe) 950-OMP60

Gaspé (jade ) 950-OMP65

Old Master Paper is made from linen and cotton rags like drawing papers of the 17th and 18th centuries. Lightweight and strong they are excellent for calligraphy and drawing with charcoal, chalk and sanguine. They print well in lithography, letterpress, etching and even ink-jet.

Size: 46 x 60.5 cm (18 x 24 in.) $5.50 950-OMPxx 80 g/m2

St Armand Dominion Watercolor Paper Dominion Watercolor Paper is treated with a surface sizing of gelatin to make it harder. Waterbased paints or inks will not bleed. This paper is excellent for watercolor, acrylic, ink and embossing. 300 lb is recommended for encaustic. 75% cotton and 25% linen rag fiber.

950-Dxxxx

See Table Below

St Armand Dominion Watercolor Paper Item Number

Paper Dimension

950-D18xx 46 x 60.5 cm (18 x 24 in.)

950-D22xx 55.5 x 76 cm (22 x 30 in.)

950-D30xx 76 x 102 cm (30 x 40 in.)

320 g/m2 (150 lb)

440 g/m2 (200 lb)

$6.00 $10.00 –

– – $30.00

660 g/m2 (300 lb) – $16.00 –

Blue Wrapping Paper

Paper Finishes vary considerably among mills. The terms rough, cold pressed and hot pressed are used to distinguish the surface finish of watercolor papers today.

Hot pressed or H.P. refers to paper that is pressed to produce a surface finish by inserting the wet sheets between metal plates, then pressing the plates. It has smooth surface with almost no tooth. The smooth surface is idea for painting fine detail and for even washes of color.

NOT (as in not hot pressed) or cold pressed is a traditional surface finish when wet sheets of paper are pressed together without any felt or metal plate between them. Cold-pressed is the most commonly used watercolor paper surface as it allows for a good amount of detail while also having some texture.

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29

Watercolor Painting Technique Painting Flesh Tones in Watercolors

By Butch Krieger any artists, including some who’ve had years of experience, look upon flesh tones as beautiful to behold—but dreadful to paint.

There’s no mystery to making the colors of skin, though, because flesh tones are grounded in basic color theory. And given that, flesh tones are quite simple and easy to make. The only difficulty is actually psychological. It is the fear of making the most disturbing mistake that an artist can make—repugnantly unnatural flesh tones. But you can overcome this fear, and paint naturally beautiful flesh tones in watercolor. And you can do so in a surprisingly short time. I will show you two ways you can do that, one with a primary triad and another with a red-green dyad.

I will first show you how to make skin colors with a primary triad. As I do so, keep in mind that all flesh tones are derived from the same primary colors that you learned in elementary school: red, yellow and blue. Together, these three colors are one of the chromatic triads.* In figure 1, you can see an example of a triadic primaries. In this case, my red is Indian Red, my yellow is Italian Yellow Earth and the blue is Lazurite (the blue mineral in lapis lazuli). Beneath these colors are flesh tones that I made by mixing them together in varying amounts. Figure 2 demonstrates how I used these same three colors to paint a typical Caucasian flesh tone.

Be aware that not all combinations of red, yellow and blue pigments will work as well together to make good flesh tones. When it comes to making flesh tones, you must see it to believe it. Thus, you should experiment with your color combinations before you use them in an actual painting.

You can also make a base flesh tone with some combinations of red and green, which are complementary colors on the color wheel. You can use a dyad of these two colors to make many variations of flesh tones. In figure 3, for example, I made a good flesh tone by blending Sartorius

M

30

Rublev Colours Used in this Article Triadic Primaries Indian Red Italian Yellow Earth Lazurite Dyadic Complementaries Sartorius Red and Verona Green Earth OR Ercolano Red and Nicosia Green Earth Underpainting Cyprus Burnt Umber Red Earth and Verona Green Earth.

In my portrait of Rebecca (figure 4), as another case in point, I used Ercolano Red and Nicosia Green Earth. As always, you should experiment with red and green combinations before you try to use them in an actual painting.

Flesh tone mixtures, such as these, work best with light to medium skin colors. Their tonal ranges are too short to work for darker flesh tones. In such cases, I suggest that you use brown pigments such as the Umbers. (I recommend Rublev Colours Cypress Burnt Umber, which is a superb pigment for dark brown skin.) You can do your initial modeling with Umber, and then bring in the other colors to finish it off.

My purpose here is not to prescribe the choice of pigments you should use for the rest of your life. This is not the only way that you should mix your flesh tones.

It is instead just a means to get you started mixing life-like flesh tones. It is to bring the painting of skin colors into the realm of possibility for you. And once you enter that realm, you may discover many other ways to create beautiful flesh tones. *A triad is a set of three colors equidistant from each other on the traditional color wheel.

Butch Krieger has been a fulltime artist for over 30 years. For the first 18 of those years, he was a news artist for CBS Network News, CNN, Associated Press, United Press International and USA Today. Butch is a contributing editor for Artists’ Magazine and writer for Watercolor Artist, and his book, Watercolor Basics: People, shows how to paint people using watercolors.

TO ORDER CALL 1-888-361-5900

Figure 1 Triadic Primaries This illustration shows you the colors with which I painted the Caucasian ear (figure 2). The first row of colors shows you what each looks like alone.

The red is Indian Red, a natural red iron oxide. Indian Red is very dark brownish red. It is opaque, and can over power some other pigments in mixtures. But it works quite well for making flesh tones in watercolor when used sparingly.

The color in the middle is Italian Yellow Earth. It is a wonderful yellow for making flesh tones. It is semi-transparent, and its relative transparency helps offset the overbearing opacity of the Indian Red. The blue pigment is Lazurite.

Lazurite is a beautiful blue that mixes well with other earth colors to make life-like flesh tones. Like Italian Yellow Earth, Lazurite’s transparency helps to offset the opacity of Indian Red. Lazurite makes a clear blue glaze that you can apply over other colors.

The second row shows five different skin colors, the first three of which are mixtures of the primary colors above them. This is not a value scale. It is a continuum, in which each square has a different ratio of the primary colors. The skin tone on the far left, for example, has relatively little blue in it. The next one has a greater ratio of blue.

And the third one from the right has the highest proportion of blue.

These are excellent flesh tones.

Unfortunately, though, their tonal range is too limited. The yellow cannot get any darker. Although the red and the blue can be darker, I cannot use them to darken my base flesh tone any further. If I did, my mixture would become too violet in hue for my purposes here.

I solved this problem by introducing a dark brown that harmonizes with the rest of the continuum. In this case, it was Cyprus Burnt Umber, pictured in the fourth box on the top row. This beautiful dark brown enabled me to extend the tonal range of the continuum by two more values.

I used only Cyprus Burnt Umber in the fourth box. As you can see, the chromatic continuity at this step is successful, even though I have actually changed pigment. But in the fifth and final box, the Cyprus Burnt Umber was too orange to serve as the next step in the continuum. So, I mixed a bit of Lazurite into it to offset its orange hue. (Remember that blue is the complementary color of orange.)

Once I did that, I filled in the fifth box—thereby completing the fivestep flesh tone scale. Of course, you can extend this continuum by diluting the mixture on the far left and, on the far right, mixing a greater concentration of the Umber with a larger ratio of blue.

With this range, you can paint the basic skin color of anyone on the planet, just by slightly varying their ratios in your mixtures.

Watercolors Glossary Continued from page 2 Fused Edge: Edge of paint that is

Figure 4 Rebecca I did this portrait of my daughter’s friend, Rebecca, with the same procedure that I used to do the Caucasian ear (see figure 2), but with a different primary triad. At the bottom of the portrait image, I kept a visual record of its progress, in the form of successive swatches.

On the left is the initial modeling that I did with the mixture of red and yellow. In the next step, I glazed a transparent blue over the orange mixture. Then I finished it by using the red and yellow pigments separately, and with a violet that I mixed from the blue and red.

Note that I am using the same colors to make the color of the model’s shirt as to do the flesh tones.

Figure 5 Young Man from Africa

Figure 3 Complementary Dyad Two colors, Sartorius Red Earth and Verona Green Earth, can be used to make a range of flesh tones.

Figure 2 Caucasian Ear (at left) This simple illustration shows you how I develop pale complexions in watercolor, using a primary triad. In this case, the red is Indian Red, the yellow is Italian Yellow Earth and the blue is Lazurite. The ear on the left shows you the first stage, in which I have used an orange mixture of red and yellow. In the second step, I have glazed over the orange with the blue. This establishes my base flesh tone for the painting. At right, the finished ear after I have glazed over the ear with modifying colors.

You can hone your flesh tone paintings skills by matching. This means trying to match, as closely as you can, the subject’s actual skin color with whatever colors you have on hand. You can do this in a studio setting (such as in my flesh tone workshops) or in the field. (I carry a “spit palette”—a watercolor field box with watercolor pans—everywhere I go.) This young man from Africa, whom I met at an airport, had a deep ebony skin color. I found that Rublev Colours Cyprus Burnt Umber gave me an excellent match. I filled in the weave detail in his shirt collar later, and used it for an illustration on painting the appearance of cloth.

When painting someone with dark skin it is usually best to start with a dark pigment—which will probably be one of the Umbers. This way you avoid building up too many layers of watercolor medium. (Too much medium can lead to accidental lifting.) If you want to make a flesh tone darker than you can get with primary colors, I recommend using Umber to create a brown underpainting.

blended, making the separation of spatial planes or objects in a picture appear blurred. Bodied oils are effective in creating this effect and are assisted by the use of resins.

Glaze: A paint layer, consisting of transparent pigments or a low concentration of opaque pigments, superimposed over another layer to produce blended colors.

Gloss: The shininess or reflecting ability of a surface.

Grisaille: A monochromatic painting in tones of gray. Traditionally, the underpainting over which the local color is applied as opaque, semiopaque or transparent color.

Ground: The primary surface on which paint is applied. Usually refers to an opaque coating applied to the support. Traditionally, an opaque white oil priming on canvas and chalk or gypsum (gesso) mixed with animal glue on wood panel.

Hiding Power: The opacity of paint, or its capacity to cover an underlying surface.

Hold Out: Ability to inhibit penetration into the porous surface of the substrate, thereby preventing sinking in and uneven gloss or color.

Isolating Varnish: A liquid varnish applied to areas of a picture to protect the paint layer before applying fresh paint or varnish. Also used to reduce the absorbency and yellowing of the ground and to prevent overcoats from sinking in.

Lake: A pigment consisting of organic coloring matter with an inorganic, usually mineral base.

Leveling: The ability of paint to form a smooth level film. Paint that has good leveling characteristics is usually free of brush marks.

Lifting: The softening and penetration of dried paint by a fresh paint layer resulting in raising.

Lightfast: Resistant to fading when exposed to natural or artificial light.

Masstone: The undiluted color of a pigment or paint.

Luster: Having the appearance of depth. Also a synonym for gloss.

Medium: An oily or resinous liquid or gel mixed with paint to alter its properties, such as accelerate or delay drying, add thixotropy, thicken or thin consistency and increase transparency.

Oil Absorption: The amount of linseed oil in grams required to form a paste with 100 grams of pigment.

Oiling Out: Application of a thin coat of drying oil or medium to an oil painting. This is done after the surface of the oil painting is sufficiently dry so that it can be applied without disturbing it. Excess medium is wiped off. This saturates the color, restores sunken-in areas of the

painting and helps isolate the color layer from the final varnish.

Opacity: The quality of paint to hide completely the underlying layer, not permitting light to pass through, or preventing one to see through it.

The opposite of transparency.

Plasticizer: A substance added to impart properties of elongation, elasticity or flexibility.

Polymerization: The interlocking of molecules by chemical reaction to produce very large molecules.

Retouch Varnish: A liquid varnish (typically one-pound cut) applied in thin layers to areas of the painting to make sunken-in or dry passages look wet again, making it easier to match the color of fresh paint with that of dry paint.

Sinking In: In the technique of applying successive coats of color to a picture, the oil in each superimposed coat can sink into the previous one (especially if the latter is not perfectly dry), resulting in color that appears dull. Before applying fresh paint, therefore, the artist may spread a thin coat of oil or medium over the colors already laid, in order to match the tone and hue of the fresh color, uniting the new layer with the previous. This is called “oiling out” and the thin layer of medium or oil is called a “couch.” Sinking in of the vehicle should be distinguished from that of the pigment: in the former, the surface becomes dull, in the latter it becomes shining from the supernatant oil. Sinking in is also the result of a ground that is too absorbent or unevenly absorbent and can also be caused by using too much thinner with paint, weakening the binder’s capacity to make a film and exposing pigment particles.

Thixotropy: The property of paint to change viscosity when agitated over time, becoming more fluid or decreasing viscosity, but thickening when left undisturbed. Paint that exhibits the opposite property, in which agitating for a time causes thickening or increased viscosity is called “rheopectic.” Thixotropic generally infers a heavy bodied paint.

Tinting Strength: The coloring power of a given quantity of paint.

Transparency: The quality of paint that lets light to pass through it so that the underlying surface may be seen. The opposite of opacity.

Undertone: The color seen when paint is spread thinly by brushing the color out thinly or by diluting the color with medium or white.

Varnish: Any transparent or translucent liquid, which when applied as a thin film, air dries to a hard film providing a protective coating.

Vehicle: The portion of paint that includes the liquid and the binder.

The vehicle and the pigment are the two basic components of paint.

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31

Gold Leaf Aurum Gold Leaf is our own brand of high-quality leaf made in the colors and weights standard in the industry. Aurum gold leaf is assembled into books with sheets of thin rouged paper between each leaf. Size: 80 x 80 mm (3.15 x 3.15 in.) in books of 25 leaves and boxes of 20 books or 500 leaves.

23.5 Karat Gold Loose Leaf 300-AU23.50SF Book $39.80 300-AU23.50SFP Box $635.00 23.5 Karat Gold Patent Leaf 300-AU23.50PA Book $44.50 300-AU23.50SFP Box $712.00

Patent gold leaf, also called transfer leaf, is individually mounted on tissue paper.

GOLD

Silver Leaf Aurum Silver Leaf is pure silver leaf produced by the respected traditions of the craft. Aurum silver leaf is assembled into books with sheets of thin rouged paper between each leaf. Size: 95 x 95 mm (3.75 x 3.75 in.) in books of 25 leaves and boxes of 20 books or 500 leaves.

300-AUSLVS 300-AUSLVSFPK

Book Box

$9.40 $175.00

Metal Leaf Aurum Metal Leaf is imitation gold leaf made from brass—a composite of copper and zinc— assembled into books with sheets of tissue paper between each leaf. Size: 140 x 140 mm (5.5 x 5.5 in.) in books of 25 leaves, and boxes of 20 books or 500 leaves. Available in two colors: No. 2.0 our most popular imitating gold leaf, and 2.5 with a deeper reddish gold tone.

No. 2.0 Composite Metal Leaf 300-AU2.0SFCP Book $5.80 300-AU2.0SFCPK Box $58.00 No. 2.5 Composite Metal Leaf 300-AU2.5SFCP Book $5.60 300-AU2.5SFCPK Box $56.00

How Much Gold Leaf Do I Need?

Each book of Aurum gold leaf covers an area of 1600 square cm (248 square inches) without waste or overlap. The amount of waste is based on your project complexity and experience. We recommend adding at least 10% for overlaps.

Patent Gold Leaf is removed from the book by hand (a gilder’s tip is not needed) and stays on the tissue until pressed onto the surface and the tissue removed.

For best results, store patent leaf in a humid environment of about 80% relative humidity.

Loose Gold Leaf is assembled into books by placing each gold leaf between sheets of thin rouged paper. It is removed from the book with a gilder’s tip.

Shell Gold is used to paint fine details in genuine gold with a brush. Shell gold is gold powder suspended in gum arabic and formed into tablets (about 0.25 to 0.5 in. dia.). Our shell gold is 23.75 karats in 0.3 and 1 gram tablets in a round plastic tray.

301-SH2375S 0.30 g $47.70 301-SH2375M 1.05 g $120.15

Aurum Aluminum Leaf, also called imitation silver leaf, is made from pure aluminum and assembled into books with sheets of tissue paper between each leaf. Size: 140 x 140 mm (5.5 x 5.5 in.) in books of 25 leaves, and boxes of 20 books.

300-AU00SFAL 300-AU00SFALPK

Book Box

$4.40 $44.00

Practical Gilding is comprehensive introduction to oil and water based gilding, the procedures used and the materials required. Very helpful for beginners, but also excellent for problem solving by experienced gilders. Covers in-depth every aspect of gilding, with chapters on materials, surface preparation, oil gilding, gesso, water gilding and special techniques. Effectively illustrated.

151-0950778257

32

TO ORDER CALL 1-888-361-5900

$26.00

Gilding Selhamin Poliment (paste)

Kölner Clay 500 ml

Kölner Colnasize

Kölner Clay 100 ml

Selhamin Poliment (cones)

Tip: The best brush for applying gilding clay is a round sable watercolor brush. The size of the brush depends on the scale of the work; for small areas, a No. 4 or 5 is about right, and even for larger areas, a No. 7 or 8 is adequate.

Gilding Bases Kölner Burnishing Clay is made from the finest English clay.

Unlike traditional gilders’ clay, it is premixed with size—an acrylic binder mixed in very fine clay.

Available in these colors: Red, Ocher and Black.

Kölner Clay 100 ml (3.4 fl oz) 321-KLNCL10R Red $15.95 321-KLNCL10Y Ocher $15.95 321-KLNCL10B Black $15.95 Kölner Clay 500 ml (16.9 fl oz) 321-KLNCL50R Red $60.90 321-KLNCL50Y Ocher $60.90 321-KLNCL50B Black $60.90

LeFranc & Bourgeois Charbonnel Gilders’ Clay is a burnishing base from France that is premixed with water in a paste and must be mixed with size before applying.

LeFranc gilders’ clay is available in three colors—red, yellow and black—in 1 liter tubs.

320-GLGLUR 320-GLGLUY 320-GLGLUB

Red Yellow Black

Charbonnel Gilders’ Clay

$45.50 $45.50 $45.50

Selhamin Poliment Clay is a specially prepared and refined bole for priming surfaces for gilding.

The best raw materials are combined in the right proportions and processed according to traditional methods. Selhamin Poliment clay shows its special abilities in gilding with gold, white gold, silver and platinum. Especially appreciated are its characteristics in applying silver and gold leaf on surfaces for contemporary and traditional techniques. The richness of color nuances that can be obtained is a delight for artists.

Selhamin Poliment is available in Calabrian black, Piedmont red, Ligurian yellow and Amalfi blue; and in solid form as cones (about 140 g each) or in paste form packed in jars (net wt. 1 kg).

Selhamin Poliment Clay (Cone) 321-SHPLCR Red $18.50 321-SHPLCY Yellow $18.50 321-SHPLCK Black $18.50 Selhamin Poliment Clay (Paste) 321-SHPLPR Red $75.95 321-SHPLPY Yellow $75.95 321-SHPLPK Black $75.95

Tip: Apply each layer of clay wet on wet without waiting for the previous one to dry completely.

Add a little warm water to prevent the sizing from thickening.

Technical Grade Gelatin is a fine mesh granular gelatin that is easy to dissolve in water. The medium bloom strength makes it ideal for use in gilding. Gelatin is preferred by many professional gilders over hide glue, because it can take a super burnish when mixed with gilding clay or gesso.

510-21THGLU

Gilding Sizes LeFranc & Bourgeois Mixtion is a traditional, oil-based size made in France that has earned the reputation of being the best oil size available. LeFranc 3-hour size becomes tacky in 3–5 hours, depending on thickness, temperature and humidity, and remains open for 4–6 hours. LeFranc 12hour size reaches tack in 12–14 hours and remains open for 8–12 hours. 250 ml (8.4 fl oz) can.

330-MXO03H 330-MXO12H

3 Hour 12 Hour

$18.00 $21.95

Hide Glue is a high-grade glue made of pure bovine hides. It is a medium mesh granular glue that’s easy to dissolve in water. Its lower bloom strength gives it a longer setting time.

510-21HDGLU

500 g

$12.95

Italian Rabbit Skin Glue is a medium bloom strength glue made in Italy of pure rabbit collagen. It is a medium mesh granular glue that is easy to dissolve in water and ideal for use in gesso and as a gilding size.

510-21IRSGL

500 g

500 g

$12.95

Russian Sturgeon Glue (Isinglass) from dried sturgeon bladders of the highest quality— the same used by Russian restorers. Sturgeon glue has higher adhesion and lower viscosity than comparable animal glue, such as gelatin or hide glue.

510-21STGL

100 g

$69.50

Fish Gelatin is a high molecular weight glue with a higher viscosity and a tougher film than our standard gelatin. Similar characteristics to animal gelatin with the exception that it does not gel at room temperature.

510-21HDGLU

500 g

$12.95

Kölner Colnasize is an easy to use size for the adhesion of metal leaf to Kölner Burnishing Clays. To use the concentrate, dissolve one teaspoon in two cups of lukewarm water and apply to the clay.

321-KLCLSZ 2.25 fl oz

$13.95

$12.95

Rabbit Skin Glue is a high bloom strength glue made in the U.S. of pure rabbit collagen. It is a fine mesh granular glue that is easy to dissolve in water and is the lightest in color and most translucent glue available. It ideal for use in gilding clay and gesso.

510-21RSGLU

500 g

$12.50

Rolco Aquasize is a water-based, gilding adhesive for interior and vertical exterior leaf work where extended tack time is required.

320-GSWS 320-GSWB

8 fl oz 16 fl oz

ORDER ONLINE: NATURALPIGMENTS.COM

$7.95 $11.95

33

Gilding Water Gilding Kit (bowls not included)

Gilding Tools

Selhamin poliment

Reed breathing tube

Rabbit skin glue

Gilder’s knife

Gilder’s tip

340-GLKDSQ 340-GLKDRD

Gilder’s cushion

Round sable brush

$47.75 $47.75

Agate burnisher

Gilding Kits Water Gilding Kit has all the tools and supplies needed to complete a water gilding project from start to finish. Included are all the materials to apply the gilding base; handle, cut and apply gold leaf; and polish the gilded surface. One book of gold leaf is included, enough to cover nearly 1600 cm2 (248 in2). Save $34 when you purchase this kit that includes the following: • Selhamin poliment (bole), 4 oz • Italian rabbit skin glue, 4 oz • Gilders’ knife • Gilders’ cushion • Gilders’ tip • Mop brush • Round sable brush • Agate dog tooth burnisher • Reed breathing tube • Aurum 23.5k loose gold leaf • Cotton balls, mixing sticks and steel wool • Practical Gilding (see below) Save $34

Oil Gilding Kit has all the materials needed to complete an oil gilding project from start to finish. Included are the materials to apply the mordant and gold leaf.

Included is one book of patent gold leaf to start your project.

The kit includes: • LeFranc Mixtion oil size, 250 ml • Round sable brush • Aurum 23.5k patent gold leaf • Cotton balls and steel wool

Gilders’ Tool Kit has all the tools needed to equip you for any water gilding project. We’ve included only professional tools in this kit that save you $29 when purchased separately. The kit includes (individual items are pictured in the kit above): • Gilders’ knife • Gilders’ cushion • Gilders’ tip • Mop brush • Round sable brush • Agate burnisher • Reed breathing tube

301-1102

301-1103

Save $11

$69.50

Save $29

TO ORDER CALL 1-888-361-5900

703-12035 703-12050 703-12075 703-12100

35 mm 50 mm 75 mm 100 mm

$19.60 $20.80 $28.60 $39.60

Gilders’ Bristle Tip for Silver Leaf 703-15002 703-15003

50 mm 75 mm

$20.80 $25.80

Reed Breathing Tube allows the moisture from breath to activate the glue allowing leaf to adhere to the base. A reed tube absorbs excess moisture that accumulates, preventing drops of moisture from falling on your work surface.

$210.00

151-0950778257 $26.00

Gilders’ Squirrel Tip is a pure squirrel hair brush to pick up pieces of gold leaf on the tips of the hairs. The soft, single-thick hairs are 50 mm (2-1/8 in.) long and available in different widths.

$142.00

70-RBTUBE

Practical Gilding, included in the kit above, provides detailed explanations of the traditional method of water and oil gilding in a way that can be followed.

34

Sq. Tip Rd. Tip

Gold leaf book Mop brush

301-1101

Gilders’ Knife cuts loose pieces of metal leaf on a gilders’ cushion. These imported knives have a 140 mm (5.5 in.) long blade set firmly into a hardwood handle.

Blade has two cutting edges that measures 17 mm (5/8 in.) wide.

To cut leaf draw the blade across on the pad without pressure.

Oil Gilding Kit (bowl not included)

$4.45

Steel Piercing Needle is used to transfer sketches to a grounds and for scoring gesso for “pastiglia” effects. Steel handle.

655-STLNDL

$2.99

Gilding

Double-Ended Stylus is used to transfer drawings to a panel with a stylus that will not tear transfer paper or scratch the surface.

Rounded points prevent scratches and tears. Natural wood handle has one point for fine work and one for thicker lines. Useful for scoring lines for “pastiglia.”

655-STLSDBL

$3.10

Embossing Punch is an engraved steel punch to emboss patterns into gesso, gilding base or finished gilding for incised designs and patterns in gilding and metal leaf. Punch patterns appear below in approximately actual size. To order a pattern specify the number to the left of the pattern in the order. Special order—allow two weeks for delivery.

655-70600

Burnishers impart a mirror-like polish to gold and other metal leaf. They consist of agate, sard, psilomelanite or hematite stones set in handles. Hematite burnishers are the best and also the most expensive. Pencil and tooth burnishers are suitable for most gilding. Flat shape burnishers are ideal for polishing leaf over large flat surfaces. A tooth burnisher (#19) is sufficient to start with; later adding a pencil burnisher for fine details.

Agate burnishers shown actual size

$32.95

#13

#15

#17

#19

Embossing Patterns

Gilders’ Cushion has soft goat skin leather covering a square 150 x 150 mm (6 x 6 in.) wood board providing an effective surface for cutting loose metal leaf.

345-GLPDSQ

$32.00

Gilders’ Cushion with Shield has soft goat skin leather covering a rectangular 150 x 255 mm (6 x 10 in.) wood board provides a simple and effective surface for cutting loose metal leaf. The paper shield folds out to surround the cushion on three sides protecting the leaf from drafts or air currents.

345-GLPDSH

$110.00

655-70641

655-70649

655-70642

655-70650

655-70643

655-70651

655-70644

655-70652

655-70645

655-70653

655-70646

655-70654

655-70647

655-70655

655-70648

655-70656

Tip: Burnishers are delicate tools and scratch easily if handled roughly; they may be kept in good condition by rubbing them on the flesh side of leather coated with whiting or by rubbing them on a microfine abrasive paper or cloth coated with light machine oil.

Agate Burnishers have polished agate stone heads, set securely in metal ferrules on hardwood handles, and are popular because of its low price.

360-BADT13 360-BADT15 360-BADT17 360-BADT19 360-BASL02 360-BADT25 360-BADT32 360-BADT35 360-BAFL30 360-BAFL40 360-BAPE08 360-BAPE11 360-BAOV01

Dog Tooth #13 Dog Tooth #15 Dog Tooth #17 Dog Tooth #19 Dog Tooth #22 Dog Tooth #25 Dog Tooth #32 Dog Tooth #35 Flat #30 Flat #40 Pencil #8 Pencil #11 Oval #1

$32.00 $38.00 $32.00 $32.00 $32.00 $32.00 $29.00 $32.00 $42.00 $42.00 $29.00 $29.00 $38.00

#22

#25

#32

#35

#30

Hematite Burnishers are ideal because the stone head remains dry even in humid conditions and skates over the gold while creating a brilliant polish. It disperses static so gold does not readily stick to it. The polished black hematite stone is set firmly into a brass metal handle.

360-BHSL01 Dog Tooth

#40

#8

$59.50

Tip: Always store your burnisher wrapped in a soft cloth—the smallest of scratches may cause the burnisher to pull the gold leaf. Avoid touching the stone with your fingers. Before working breathe on the burnisher and polish it with a piece of silk.

#11

#1

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35

Pozzolana is ground volcanic ash (0–0.1 mm) of siliceous and aluminous minerals from Pozzuoli, Italy. Pozzolana reacts with lime and water to form plaster with cementious properties. Helps plaster retain more water, allowing the fresco painter to work longer. Add up to one part equal to lime putty in the scratch coat.

Introductory Fresco Pigment Set Introductory Fresco Pigment Set contains 8 historical and natural pigments giving you the basic colors used in many medieval and Renaissance frescoes. The set includes 100 grams each of Verona Green Earth, Italian Yellow Earth, Venetian Red, Italian Raw Sienna, Italian Burnt Sienna, Italian Raw Umber, German Vine Black and Bianco di San Giovanni (lime white) packaged in individual jars—a typical palette of green, yellow, red, brown, black and white. An excellent starter set for fresco painting.

401-1104

8 colors

$32.00

FRESCO

510-13POZ1K 510-13POZ5K

Fresco Materials Our mature Lime Putty is slaked and aged for at least two years.

Aging ensures that the lime particles are extremely fine, making this product the ideal choice for fresco painting. Made from nonhydraulic high calcium limestone of 98% purity. Use for a variety of plaster finishes, such as marmorino, Venetian stucco, sgraffito and scagliola. All natural.

510-14310 510-14325

10 kg (2 gal) $70.00 25 kg (5 gal) $145.00

No Free Shipping—Call for Price Traditional Fresco Plaster packaged as a ready-to-use blend of lime putty and well-graded, fine sharp sand in reclosable 3.5-gal. pails. Use for finish or intonaco coat of fresco paintings. Coverage is about 18 sq. ft. when applied 6 mm (1/4") thick. Cured color is white. One year shelf life. All natural and aged at least 30 days.

Historical Fresco Pigment Set

510-14520

Historical Fresco Pigment Set contains 16 historical and natural pigments giving you the palette used in many medieval and Renaissance fresco paintings from Byzantium to Giotto and Michelangelo. The set includes 100 grams each of Lazurite (lapis lazuli), Malachite, Verona Green Earth, Nicosia Green Earth, Lemon Ocher, Italian Yellow Earth, Pozzuoli Red, Venetian Red, Italian Raw Sienna, Italian Burnt Sienna, Italian Raw Umber, Italian Burnt Umber, Italian Raw Umber Greenish, Cyprus Raw Umber Dark, German Vine Black and Bianco di San Giovanni (lime white) in individual jars—all the common palette colors of blue, green, yellow, red, brown, black and white. The pigments come in a boxed set that makes a great gift as an advanced set of pigments for fresco painting.

Traditional Fresco Plaster with Pozzolana (also called coarse stuff) packaged as a ready-to-use blend of aged lime putty and well-graded, coarse sharp sand in resealable 3.5-gal. pails with a separate pouch of pozzolana. Add the pozzolana prior to use to make 1:2:5 (pozzolana:lime:sand) plaster. Use for the scratch coat.

Coverage is about 18 sq. ft. when applied 6 mm (1/4") thick. Beige cured color. One year shelf life.

All natural and aged 30 days.

401-1105

36

16 colors

3.5 gal

1 kg 5 kg

$6.85 $25.50

Fresco Starter Kit Fresco Painting Starter Kit contains everything that the beginning or advanced artist needs to start painting in fresco. All the materials included in the kit are professional artist grade. The kit includes a set of 8 fresco pigments, tracing kit, intonaco plaster (3.5 gal. pail) and assorted tools: gauging trowel, finishing trowel, wood float, mixing board, grinding surface (16 x 20 in.), large glass muller, spatula, silicon carbide and squeeze bottle.

601-3101

Save $35

$345.00

No Free Shipping—Call for Price

$90.00

No Free Shipping—Call for Price

$165.55

510-14720

3.5 gal

$96.00

No Free Shipping—Call for Price Marble Dust is pure white marble from the world-class deposit of high brightness marble in Carrara, Italy. Ground to particle size of 0–70 µ to retain its crystalline shape and brightness. Substitute 1/3 of the sand in the intonaco coat for brilliant white fresco.

510-10CWMD1K 1 kg 510-10CWMD5K 5 kg

TO ORDER CALL 1-888-361-5900

$7.50 $28.00

Fresco Panel ruggedly made of Baltic birch plywood and fir with galvanized metal diamond lath to securely hold your fresco.

930-FP1216 12 x 15 in.

$55.00

Fresco Tools Trowels are used to apply plaster and finish the surface before painting. All our tools were selected for their fresco suitability. They are the finest made to give years of service. The blade, post and tang are forged from a single piece of high-grade tool steel for maximum strength. The hardwood handle has a polished steel ferrule. The handle rise is set for the correct “hang” and balance. The blade is taperground and polished to give it the right amount of flexibility.

Fresco Base Coat

x 15/32 in.) “V” notches on three sides. The resilient handle is soft, reduces fatigue and offers excellent durability. 30,48 x 11,43 cm (12 x 4-1/2 in.)

681-15742

Gauging Trowel is a versatile tool for transferring plaster (rounded point is ideal for picking plaster out of a pail) and applying plaster. Use to mix or “gauge” small amounts of plaster. The rounded shape of the blade’s heel allows plaster to be carried further forward on the blade. 17,78 x 8,57 cm (7 x 3-3/8 in.)

681-10748

Gauging

$21.47

Scratcher $16.43

Wood Float is used to prepare the surface for troweling, or if a rough finish is desired, floating is the final operation. Made from 1,27 cm (1/2 in.) thick seasoned mahogany with a very smooth finish. The plastic handle is both comfortable and durable. This is the most popular float for fresco: 30,48 x 8,89 cm (12 x 3-1/2 in.).

681-14512

Bullnose Pointing Trowel is for polishing the final plaster coat prior to transferring the cartoon and the completed fresco. Also useful to apply plaster in tight or curved areas. Pointing trowels are handy for patchwork and cleaning other tools. Size: 13,97 x 4,76 cm (5-1/2 x 1-7/8 in.).

681-11102

Pointing

$12.12

Finishing Trowel is used to put a smooth finish on plaster. It compacts the surface adding to its quality and durability. Its highcarbon steel blade is cross-ground (usually only found on better finishing trowels) to hold its shape better. The handle is curved for better handling and machine fitted onto the milled shank. Finishing trowels are narrower and longer than plastering trowels and the blade is slightly convex. Ideal size for most fresco work: 20,3 x 7,6 cm (8 x 3 in.).

681-13105

Finishing $25.41

Hoe

$24.20

Leaf Tool

$9.40

Scrub Brush is great for cleaning surfaces and tools. White Tampico bristles are set in a high-tensile strength plastic block. The brush will not absorb water and is made for long service. 20,32 cm (8 in.)

681-16522

Brush

$5.60

Preparing to Paint a Portable Fresco resco is a wall-painting technique in which pigments, dispersed in water, are applied to freshly-laid wet lime plaster.

Although fresco is a wall painting technique, you can make a small portable fresco in your studio. All you need are the following items:

F

• Fresco Painting Starter Kit Hawk is used for holding plaster before applying to the working surface. Made of heavy gauge, hard-rolled aluminum, so it is lightweight but very durable. The edges have been smoothed and the corners rounded for convenience. The 9,2 cm (3-5/8 in.) diameter flange with an extended hub is threaded for the solid wood handle. A sponge rubber doughnut is included to prevent calluses. 33,02 x 33,02 cm (13 x 13 in.)

681-14659

Scratcher Trowel is for scoring plaster to form a good bond between coats. The blade is made of the highest-grade spring steel.

The blade has 1,3 x 1,2 cm (1/2

682-14281

$3.95

Leaf and Ornamental Tool is ideal for plasterwork in small areas, such as inside corners. It is also used in the detailing of ornate shapes and unusual wall surfaces. This tool is perfectly forged and tempered for long life.

0,95x21,59 cm (3/8x8-1/2 in.)

681-13085

Mortar Hoe has holes in the blade allowing for more effective mixing of plaster in the mortar pan. The head is one piece forged carbon steel, riveted to the steel ferrule. It has a heavy-duty 45,7 cm (18-in.) long hardwood handle with a sturdy “D” grip. Head size: 12,1 x 17,8 cm (4-3/4 x 7 in.)

Hawk

$13.86

Mixing Board is made of extra high density, UV stabilized polyethylene. Dry mortar will not stick. Durable, lightweight and easy to clean. Not affected by heat and cold, plaster and water.

681-11167

24 x 24 in.

$28.50

• Fresco Panel Tip the bucket of plaster onto the mixing board and scoop out about five to six handfuls of the plaster. You may find that the plaster is stiff and crumbly. You can restore its plasticity by a procedure called “knocking up.”

Thoroughly wet the gauging trowel with water. Chop and press the mixture with the trowel using as much downward pressure as possible and working across the heap from the farthest side towards you. Turn the plaster over and repeat the chopping and pressing until the consistency is soft and workable. Do not add water, as the water present in the plaster should be sufficient to restore its plasticity.

Pick up some plaster from the mixing board with the gauging trowel. Starting at the bottom and working up, apply the plaster in even strokes, smoothing as you go. Keep the blade of the trowel at a slight angle, flattening out at the end of the stroke. Apply the plaster with as much pressure as possible, working it into the lath.

Press and smooth the plaster in all directions. Apply sufficient plaster to cover the lath—a thickness of 9 mm (3/8-in.).

Tips: Wet tools with water before working with plaster.

Always keep your tools clean to avoid depositing dried plaster into wet plaster. Wipe the trowel off in between strokes. Use a side “raking” light to locate and remove ridges and low spots.

Using the trowel blade as a straightedge, move it from the bottom upwards in a left-to-right sawing motion to level off the surface of the base coat. Add more plaster to the low spots.

Allow the coat to completely set and harden—usually a few days.

Finish Coat Wet the base coat before the applying the next. Stand the panel upright and, using the squeeze bottle, drench the plaster from the top, letting the water run down its face. The surface of the plaster should be wet but without standing water.

Apply the finish coat in the same manner as the first—working in all directions—to a thickness of 3 mm (1/8-in.). Smooth the plaster surface by “floating.”

Wet the wood float, place it flat against the surface, and smooth the plaster in circular motions, with light pressure, over its entire surface. Level the surface, taking plaster from the high spots and adding it to the low spots, until it is a smooth, flat plane.

Test the plaster to determine whether it is ready for painting.

Dip a brush in water and stroke it across the surface. If the water is absorbed into the plaster, the surface is ready. If the water lies on the surface, you must wait. When the plaster is ready, lay the tracing of your fresco cartoon over it, correctly lined up, and draw the outline with the stylus, lightly scoring the surface.

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37

Brushes for Oil and Fresco Painting 100% Kolinsky Brushes Kolibri Kolinsky Brushes are handmade using only Kolinsky hair to give them greater paint capacity allowing long strokes and less reloading. The gold-plated brass ferrules are securely fastened with double crimps to long black handles—25 cm (10 in.) from the ferrule to handle end.

Kolibri Kolinsky Round Item No. 701-08900 701-08902 701-08904 701-08906 701-08908 701-08910 701-08912

Size 0 2 4 6 8 10 12

Price $9.80 $10.60 $11.80 $13.00 $15.95 $19.50 $21.65

Size 0 2 4 6 8 10 12

10 8 6 4 2

Kolibri Bristle Pointed Round Item No. 704-1902 704-1904 704-1906 704-1908 704-1910 704-1912

Kolibri Kolinsky Bright Item No. 701-07900 701-07902 701-07904 701-07906 701-07908 701-07910 701-07912

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Hog Bristle Brushes Kolibri bristle brushes are made using the finest Chungking hog bristles. The bristles are handshaped to provide greater capacity, while stiffer, fat hairs are removed to ensure more flags at the tip. The seamless, nickel-plated ferrules are held securely with double crimps to long ivory handles—25 cm (10 in.) from the ferrule to handle end.

Size 2 4 6 8 10 12

Price $4.90 $5.50 $6.10 $7.20 $8.60 $9.45

Kolinsky Rounds, long-handle, shown actual size

0

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Kolibri Bristle Flat

Price $11.80 $12.35 $13.25 $15.90 $21.30 $25.75 $29.45

Item No. 704-1202 704-1204 704-1206 704-1208 704-1210 704-1212

Size 2 4 6 8 10 12

Price $4.40 $4.90 $5.35 $5.85 $5.90 $6.35

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8 6

BRUSHES

Kolinsky Hair—No Red Sable

Hog Bristles

The winter fur from the tail of the Siberian male Kolinsky (Mustela sibrica) makes the best soft-haired brushes. Unlike red sable hair from other weasels, it is extremely soft and supple, yet strong and elastic.

Kolibri Kolinsky brushes are made with longer tapered hair, handcupped by our expert brush maker to a sharp edge. A dense hair count and full, tapered belly maximizes the brushes’ holding power. The hairs are deeply set in the ferrules, producing excellent spring and control, and return to a point immediately. This is pure Kolinsky, not a mix, so the brushes point and snap as only pure Kolinsky brushes can.

Bristle brushes are best for applying thick paint and working on textured grounds, such as canvas. The stiff bristles do not bend easily allowing vigorous brushing. Hog bristles also differ from other hairs due to the split or “flag” at the tip of the bristles. Chungking hog bristles are the finest bristles for artists’ brushes.

What makes Chungking bristles unlike any others is their natural curve. Each brush is hand crafted with “interlocked” bristles, meaning the natural curve of the bristles is positioned inward, making the brush resistant to fraying and spreading paint more smoothly and evenly.

4 2 Kolinsky Brights, long-handle, shown actual size

0

Natural Bristle Rounds, shown actual size

Natural Bristle Flats, shown actual size

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10

8

6 4

12

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10

8

6

4

TO ORDER CALL 1-888-361-5900

2

2

Brushes Brushes for Watercolor and Tempera Good watercolor brushes will last for years when used properly. The better the hair, the longer the brushes last: pure male kolinsky watercolor brushes wear considerably better than pure red sable brushes and are the best long-term investment.

Although not as long-lasting as pure Kolinsky hair, squirrel brushes are useful for large washes. The best wash brushes contain pure Russian

24

22

20

18

16

14

12

11

10 9

7 6 5 4 3 2 1 0 2/0

Squirrel Watercolor Brushes

Kolinsky Watercolor Brushes

Item No. 701-21000 701-2100 701-2101 701-2102 701-2103 701-2104 701-2105 701-2106 701-2107 701-2108 701-2109 701-2110 701-2111 701-2112 701-2114 701-2116 701-2118 701-2120 701-2122 701-2124

Item No. 701-098001 701-098003 701-098002 701-09800 701-09801 701-09802 701-09803 701-09804 701-09805 701-09806 701-09807 701-09808 701-09809 701-09810 701-09812 701-09814 701-09816 701-09818 701-09820 701-09822 701-09824

Brush Size 2/0 0 1 2 3 4 5 6 7 8 9 10 11 12 14 16 18 20 22 24

Price $4.35 $4.50 $4.60 $4.50 $5.40 $6.50 $7.40 $7.90 $9.55 $10.10 $10.85 $14.95 $17.30 $19.80 $26.60 $36.10 $42.36 $46.20 $54.95 $63.65

About Kolibri Brushes

8

Squirrel Watercolor Brushes, shown actual size

squirrel hair. Less expensive brushes contain a mixture of squirrel and pony hair.

Kolibri watercolor brushes are made with pure Russian squirrel hair (21 series) and male kolinsky hair (98 series).

The nickel-plated (21 series) and gold-plated (98 series) ferrules are securely fastened with double crimps to short black handles—19,5 cm (7.5 in.) from the ferrule to handle tip.

Kolibri brushes are handmade by Feurer & Sohn—one of the oldest brush manufacturers in Germany (established 1898). They are made by dedicated brush makers, using the highest quality hair.

Seamless Ferrules The ferrule of each Kolibri brush receives two deep crimps. Deep crimping compresses the walls of the ferrule into the surface of the wooden handle, creating a mechanical lock that securely fastens the ferrule to the handle.

Hardwood Handles Kolibri brush handles are made of hardwood. Only the best brush handles are dip coated by lowering the handles first in primer, then twice in colored lacquer and finally in varnish—a total of four coats—for a durable finish.

Brush Size 10/0 3/0 2/0 0 1 2 3 4 5 6 7 8 9 10 12 14 16 18 20 22 24

24

22

20

18

Price $9.70 $8.80 $8.80 $8.80 $9.50 $10.30 $12.25 $16.20 $19.10 $21.50 $28.76 $30.70 $38.10 $46.80 $98.50 $143.70 $168.70 $209.80 $241.65 $336.50 $413.40

16

14

12

10

9 8 7

Squirrel Hair Kolibri uses the finest hair from the tail of the Kazan squirrel—named for its habitat in Russia. Its hair is considered the best of squirrel hairs, and is used to make the finest watercolor brushes. The hair is exceptionally soft and absorbent, so that the brush holds paint well—even without a belly—and forms an excellent point.

Their capacity for water-based paints is unsurpassed and the hair is so fine that it will not leave tracks.

Squirrel brushes are similar to Kolinsky brushes; they point well and have thick bodies with large paint capacity, but they lack the snap of Kolinsky brushes. However, they are ideal for ink and watercolor, as well as thinned acrylic, casein, tempera and other water-based paint.

Curd Soap is a hardworking soap made from pure palm and coconut oils. It is an ideal soap for cleaning brushes and has been favored among European painters for hundreds of years and recommended by our brush maker.

71-100S

100 g bar

6 5 4 3 2 1 0 2/0 Kolinsky Watercolor Brushes, shown actual size

10/0

More brushes can be seen online

$3.95

ORDER ONLINE: NATURALPIGMENTS.COM

39

DRAWING Leonardo da Vinci, portrait of a girl, silverpoint on prepared parchment

Silverpoint was most commonly practiced during the Renaissance by such artists as Jan van Eyck, Leonardo da Vinci, Albrecht Dürer and Raphael, and is the ancestor of the modern graphite pencil.

Silverpoint is a drawing instrument composed of a small, pointed metal tip, usually of silver, encased in a holder. Silverpoint can be used on various supports, including paper, parchment and wood, but the surface requires special preparation or a ground for the metal to leave a mark.

Paper, which is most commonly used, is coated with an opaque white or tinted ground composed of powdered bone ash, chalk or lead white and gum-water.

Several layers are usually applied.

The natural tone of the ground is

40

off-white, but it can be colored with any pigment. The ground is slightly abrasive so that metal from the stylus rubs off and has sufficient ‘tooth’ to retain the particles. The silver particles oxidize over time giving a final tone to the drawing.

The medium is also called “metalpoint” for drawing with copper, gold, platinum and brass. Each metal has its own “softness” and reaction to oxidation. Copper is soft and produces a greenish oxidized tone. Silver, another soft metal, creates brownish black oxidation. Gold and platinum are hard without oxidizing. Brass is very hard with a light black oxidation. The length of time and the degree to which oxidation occurs depends on local condi-

TO ORDER CALL 1-888-361-5900

tions, but copper usually oxidizes in 1–2 months. Silver oxidizes at a much slower rate—about 4–6 months. Sulfur can speed up the process of oxidization.

Glossary Dead soft designates metal tempered to its minimum hardness by annealing. Dead-soft sterling silver is softer than half-hard sterling silver.

Fine silver is 99.9% silver and is much softer than sterling silver.

Half-hard is metal that has been hardened but is still malleable.

Sterling silver is an alloy of 92.5% silver and 7.5% copper.

Copper makes the point harder and oxidizes faster than silver.

Drawing and Silverpoint Silverpoint and Drawing Grounds are on page 23

Complete Stylus

Wide Silverpoint Stylus is a 50 mm (2 in.) long handmade deadsoft pure silver (99.9%) point shaped to a cone on one end and a bevel on the other, polished, and set in a 2 mm metal holder.

900-10WS

Wide Stylus

Thin Silverpoint Stylus is a 50 mm (2 in.) long dead-soft pure silver (99.9%) point with one rounded, polished end set in a 0.9 mm metal holder.

900-10TS

Thin Stylus

Silverpoint drawing and demonstration

by Butch Krieger, 2008

$17.00

$17.00

Metal Points Silverpoint made from dead-soft pure silver (99.9%) in two widths: shaped to a cone on one end and a bevel on the other on wide points (2 mm, 0.08 in.), and a cone shape on one end on thin points (0.9 mm, 0.035 in.). The 50 mm (2 in.) length lasts through hundreds of drawings.

900-12FDW 2 mm Point $15.00 900-12FDT 0.9 mm Point $11.00

Half-Hard Silverpoint made from half-hard pure silver (99.9%) in two widths: cone on one end and a bevel on the other on wide points (2 mm, 0.08 in.), and a cone shape on one end on thin points (0.9 mm, 0.035 in.). The 50 mm (2 in.) length lasts through hundreds of drawings.

900-12FHW 2 mm Point $15.00 900-12FHT 0.9 mm Point $11.00

Dead-Soft Sterling Silverpoint is a dead-soft sterling silver point in two widths: cone and bevel ends on wide points (2 mm, 0.08 in.), and cone on thin points (0.9 mm, 0.035 in.). Length: 50 mm (2 in.).

900-12SDW 2 mm Point $14.00 900-12SDT 0.9 mm Point $10.00

Half-Hard Sterling Silverpoint is a half-hard sterling silver point in two widths: cone and bevel ends on wide points (2 mm, 0.08 in.), and cone on thin points (0.9 mm, 0.035 in.). Length: 50 mm (2 in.).

900-12SHW 2 mm Point $14.00 900-12SHT 0.9 mm Point $10.00

Copper Point is a dead-soft copper point, rounded and polished on one end in two widths.

Length: 50 mm (2 in.).

Lead Point is a metallic lead point, rounded and polished on one end in one width. Length: 50 mm (2 in.).

900-13CDW 2 mm Point 900-13CDT 0.9 mm Point

900-15JBT

$7.00 $5.00

Yellow Brass Point is made from yellow brass, rounded and polished on one end in two widths.

Length: 50 mm (2 in.).

900-14BDW 2 mm Point 900-14BDT 0.9 mm Point

$7.00 $5.00

900-16ALW 900-16ALT

2 mm Point 0.9 mm Point

$7.00 $5.00

Nickel-Silver Point is a nickelsilver point, rounded and polished on one end in two widths.

Length: 50 mm (2 in.).

900-17NSW 2 mm Point 900-17NST 0.9 mm Point

$7.00 $5.00

Kit

$75.00

Gold Point is a 24 karat gold point, rounded and polished on one end in a sigle width. Length: 25 mm (1 in.).

900-12ADT

900-1002

0.9 mm Point

$5.00

0.9 mm Point $45.00

Accessories

Kit

$45.95

Specially designed for artists working on panels with a 33 mm (1-5/16 in.) space underneath.

900-PB18 900-PB24

$7.00 $5.00

Aluminum Point is an aluminum point, rounded and polished on one end in two widths. Length: 50 mm (2 in.).

900-1001

Silverpoint Starter Kit has the basic tools needed for silverpoint drawing. The kit includes two metalpoint holders, two Sterling silverpoints, Traditional Silverpoint Ground, Maped Epure vinyl eraser and step-by-step instructions.

Red Brass Point is a dead-soft red brass point, rounded and polished on one end in two widths.

Length: 50 mm (2 in.).

900-14RBW 2 mm Point 900-14RBT 0.9 mm Point

Silverpoint Drawing Kit has everything needed for silverpoint drawing. The kit includes two silverpoints, 2 mm and 0.9 mm, in metal holders, two copper tips, copper wool pad, Golden Silverpoint Ground, Maped Epure eraser and step-by-step instructions.

Maped Epure Eraser is a pure white vinyl eraser in an easy-tohold triangular shape that can erase graphite without a trace and soften metalpoint lines.

901-1060AE Maped Epure

$1.25

Bridge helps prevent smudges by providing a raised rest for your hand. Meaures 455 mm (18 in.) long by 90 mm (3.5 in.) wide. It can easily take the full weight of your hand without bending.

18-in. Bridge $19.50 24-in. Bridge $24.50

Copper Wool Pad can produce shading along with other metalpoint drawing tools in metal point drawings. These copper wool pads are oil free and will not leave a residue.

656-7071020

$6.50

Bronze Wool Pad can produce shading along with other metalpoint drawing tools in metal point drawings. These bronze wool pads are oil free and will not leave a residue.

656-7123120

$4.85

Wide Stylus 2 mm with silverpoint tip

Thin Stylus 0.9 mm with silverpoint tip

Copper 2 mm

0.9 mm

Yellow Brass 2 mm

0.9 mm

Silver 2 mm

0.9 mm

ORDER ONLINE: NATURALPIGMENTS.COM

41

Shopping, Shipping and Safety You’ll Find More Online

Standard Shipping

You can find many more rare and hard-to-find art materials at NaturalPigments.com. You will also find tutorials, articles, recipes and the most comprehensive product information available anywhere.

All in stock items are shipped within one business day using UPS ground or USPS parcel post. In the U.S. within the contiguous 48 states, allow at least 5–9 business days for delivery.

To Order by Mail or Fax

Shipping to Alaska, Hawaii, Puerto Rico, Guam and Virgin Islands

Photocopy the order form and fill it out section by section. Fill in the name and address in the Ordered By section of the person responsible for paying for the order. Fill in the Ship To section with the name and address of the person to whom the order will be shipped.

We accept Visa, MasterCard, American Express and Discover credit cards. You can also pay by check, money order or Natural Pigments gift card. Checks and money orders must be in U.S. dollars.

Mail orders to Natural Pigments LLC, PO Box 112, Willits, CA 95490.

Fax your order to 1-408-516-9442.

To Order by Phone First, fill out the order form on the following page. Have your credit card ready—this will help us to take your order efficiently. Call our toll free number, 1-888-361-5900, Monday through Friday, 9:00 a.m. to 5:00 p.m. Pacific Time.

To Order by Internet Visit us at NaturalPigments.com and follow the instructions there.

Your 100% Satisfaction Guaranteed If you are not completely satisfied with any purchase from Natural Pigments, you are entitled to receive a replacement or refund.

Simply call Customer Service at 1-888-361-5900 within 30 days of receipt so we can arrange an exchange, refund or credit to your satisfaction.

Free Shipping on Orders of $150 or More Delivery is free when you order $150 or more and send them to a single U.S. address in the contiguous 48 states. This offer applies only to standard delivery on purchases of $150 or more of qualifying items. It does not apply to items that are noted in this catalog as “No Free Shipping.” Charges related to shipping, gift wrapping and taxes cannot be included to meet this $150 minimum.

Out of Stock Items Some items in this catalog may not be available or are discontinued at the time of order. We charge your credit card only for items actually shipped and prorated shipping cost.

42

All APO/FPO, post office boxes, Alaska, Hawaii, Puerto Rico, Guam, United States Virgin Islands, Marshall Islands, U.S. Protectorates and all non-UPS deliverable addresses are shipped using USPS Priority Mail (5–9 business days) or USPS Parcel Post (2–4 weeks), depending upon the size and weight of the package.

Please be aware that packages sent USPS are not trackable door to door.

For faster delivery and tracking, ship your order using UPS 2nd Day Air® or UPS Next Day Air®.

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Order Total Shipping Charge $0.00–$29.99 $8.50 $30.00–$49.99 $10.95 $50.00–$74.99 $12.95 $75.00–$149.99 $14.95 $150.00 and up Free* Charges may change without notice. *Except orders exceeding 20 lbs (9 kgs) total shipping weight.

Expedited Shipping If you need your order to arrive by a specific date, please call 1-888361-5900 to arrange for expedited shipping and to ensure items are available. We can arrange air shipment using UPS 2nd Day Air® or UPS Next Day Air® delivery.

International Orders We ship using U.S. Postal Service Par Avion to Canada. We ship to almost all other countries around the world by USPS Parcel Post or USPS International Priority Mail. To order by phone, call +1-707-4599998, by fax +1-408-516-9442, or online at NaturalPigments.com. For the shipping cost to your country shop online or send us email at Service@NaturalPigments.com.

Please be aware that local customs may delay the delivery of your package beyond the delivery times quoted by us.

Customer Service Please open and inspect each package as it arrives to check for shortages and damage. Natural Pigments will handle all claims for damaged shipments. Please report any problems by calling 1-888-361-5900,

TO ORDER CALL 1-888-361-5900

Monday through Friday, 9:00 a.m. to 5:00 p.m. Pacific Time.

Always keep products away from children.

No Hassle Returns

Never use our products for uses they are not intended.

Our products are guaranteed for normal life and standard usage. If a product does not meet your expectations for any reason, you can return it for replacement or refund of the purchase price—it’s your choice. Returns made after 60 days of receipt will only be exchanged for the same item. Merchandise returned because of a customer order error will be subject to a 15% restocking charge.

Order by Phone 1-888-361-5900 9:00 a.m.–5:00 p.m. Pacific Time Monday through Friday

Order Online Anytime NaturalPigments.com

Refunds Please note that shipping charges are not refundable. Refunds will be made in the form of the original payment method.

Trademarks Rublev Colours, Aurum and Rublesol are trademarks of Natural Pigments LLC. All other trademarks belong to their respective owners.

About Natural Pigments Natural Pigments LLC is based in Willits, California with an affiliate company in Russia and a distribution facility in Lithuania. We make, import and distribute rare and hardto-find art materials for artists.

Artists’ Materials Safety Precautions The artists’ materials offered in this catalog are not intended for use by children. Please remember that you are dealing with materials that may be harmful if not handled with care.

It must not be assumed that the absence of a health warning indicates that a material is safe. All dusts can be harmful if inhaled and persistent exposure to them will at least cause irritation and possible harm. The safest practice is to treat all materials as potentially harmful.

When precautions are taken, such as wearing gloves and a NIOSH-certified dust mask, the risk of exposure to these potentially hazardous materials is greatly minimized. The minimum care needed for most materials is no more than sound studio practice. Here are our recommendations: Always read the label. When transferring art materials to other containers, transfer the label from the original package onto the new one.

Do not eat, drink or smoke while using art materials.

Wash up after each use—clean yourself and your tools. Keep your work area clean. Wet mop floor to pick up dust.

Work with pigments that you have first wetted into a paste.

Store pigments in sealed containers that are easy to open.

Do not inhale dusts. Do not work near a draft or fan that will blow dusts or fumes about, but keep your work area well ventilated. Wear a NIOSH-certified dust mask while handling powders.

Wear dedicated work clothing with long sleeves.

Protect hands and skin from exposure. Wear gloves, especially if you have cuts or abrasions. Apply a barrier cream about 30 minutes before you start working. Wash hands frequently and re-apply barrier cream.

Keep hands away from your face.

Warning Labels Some products contain hazardous materials. These products are clearly marked and carry warning labels on the packaging or package inserts.

These products are identified in this catalog with the symbol T that contain hazardous material or containing toxic material. Items with contain combustible material and cannot be shipped by air.

All our products are labeled in accordance with the chronic hazard labeling standard, ASTM D 4236 and Federal law, P.L. 100-695.

CA Prop 65 Labeling The state of California requires warnings on products containing substances that have been shown to cause cancer, birth defects or other reproductive harm. Even if these products contain only trace levels of harmful substances, a warning is required. Caution is recommended when using products that are labeled CA Prop 65.

Products carrying warning labels can be used safely by individuals who are able to read, understand and follow precautions for handling those materials. Some artists’ products cannot be made non-hazardous, because they are necessary for certain creative activities. When used in properly supervised and controlled conditions, they can be used with the risk of exposure to potentially hazardous materials greatly minimized.

Order Form Order by Phone 1-888-361-5900

Natural Pigments LLC PO Box 112 Willits, CA 95490

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SHIPPING RATES 48 CONTIGUOUS STATES AL, HI, PR, VI OR GUAM (U.S. Mail) CANADA Order Total Shipping Charge Order Total Shipping Charge Order Total Shipping Charge $0.00–$29.99 $8.50 $0.00–$29.99 $9.50 $0.00–$59.99 $13.95 $30.00–$49.99 $10.95 $30.00–$49.99 $12.50 $60.00–$99.99 25% $50.00–$74.99 $12.95 $50.00–$74.99 $14.50 $100.00–$149.99 20% $75.00–$149.99 $14.95 $75.00–$149.99 $16.00 $150.00+ 18% $150.00 and up FREE $150.00 and up 15% Call or Email for International Rates

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43

Stack Process White Lead is

Oil colors made with mineral and organic historical pigments for old masters-like painting effects.

How are Rublev Colours Artists’ Oils different from all other commercial oil colors? They contain only genuine natural or historical pigments like those used by the old masters. And we make them like oil colors were made before modern tube colors—without stearates and other modern additives. Rublev Colours Artists’ Oils are formulated to maintain the unique characteristics of each pigment in oil—they are long, heavy bodied and have the highest pigment level possible. See page 12.

Featured Products

The Source for Professional and Traditional Artists’ Materials

Order by Phone

1-888-361-5900 Monday–Friday (Pacific Time) 9:00 a.m.–5:00 p.m. (09:00–17:00) Outside the U.S. and Canada +1-707-459-9998

Order Online Anytime

NaturalPigments.com For a greater selection of products

Order by Mail Natural Pigments PO Box 112, Willits, CA 95490

Oleogel is a gel medium of linseed oil, silica and resin. Used for glazing, this transparent and luminous medium conserves the body and satin finish of oil colors. Does not contain driers and will not affect drying of colors. See page 18.

Lead Oil Ground is a blend of lead white, calcite and titanium white ground in linseed oil in just the right proportions for a primer that remains flexible and tough. Dries fast and creates a flexible, semi-absorbent ground ideal for oil painting on canvas and panel. See Page 23.

Free Shipping On orders of $150 or more within the U.S. 48 contiguous states.

See page 42 for details.

made according to the 16th century Dutch method using lead rolls corroded in stacks of horse litter. The white flakes are shaken off the rolls, washed, ground and formed into cakes. The cakes are easily broken and ground in oil for immediate use.

Only from Natural Pigments—see page 7 “I can paint the tiniest highlights and details with the stack process white lead. It seems to cover better than modern white lead and that, plus its natural ropiness, seems to be the magic combination.”—William Whitaker, U.S. “It goes on with a litheness and stability new to my experience. This is paint as I have only dreamed.”—Paul Rhoads, France

Inside this Catalog: Pigments, 6 Pigment Sets, 8 Paint Making Kits, 10 Artists’ Oils, 12 Artists’ Oil Color Sets, 14 Varnishes and Mediums, 18 Oils, 19 Solvents and Driers, 20 Resins, Waxes and Gums, 20 Additives and Chemicals, 21 Grounds, Gesso and Glues, 22 Artists’ Water Colors, 26 Artists’ Water Color Sets, 28 Gold, Silver and Metal Leaf, 32 Gilding Sizes and Bases, 33 Gilders’ Burnishers and Tools, 34 Fresco Painting Supplies, 36 Artists’ Brushes, 38 Drawing Tools, 40 Silverpoint and Metalpoint, 41

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PAID PO Box 112, Willits, CA 95490

CUSTOMER NUMBER

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2009 REFERENCE CATALOG

Natural Pigments