natural pigments 2011 catalog

CATALOG OF PROFESSIONAL ARTISTS’ MATERIALS

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Welcome to the new Natural Pigmentsreference catalog and a world of naturaland historical colors for fine artists. You

will find many new products since our first cata-log and, even more important, lower prices onpigments and paints. How is this possible? Werecently traveled to Europe to obtain betterprices by purchasing large quantities of pig-ments and other materials. We’ve passed thosesavings on to our customers.

Rublev Colours® Artists’ OilsDuring the past year, we made significant im -prove ments to Rublev Colours® Oils—not byresorting to additives, but by how we makethem. See page 12.

All other brands of oil paints, even thosemarketed as “only pigment and oil” have someadditives in them. Some pigments, such asultramarine, cannot be used easily withoutthem. The addition of additives may not benoticed by some painters, but even in minimalamounts, they alter the properties of paint.

Rublev Colours® oils are not formulated toeliminate the noticeable different consistenciesamongst pigments like oil colors made by othermanufacturers. We believe each color shouldhave its own character, as long as its consisten-cy isn’t too stiff or too liquid for painting.However, other paint brands contain stabilizersor other additives that eliminate those differ-ences and alter their drying time.

Drying time should be at the bottom of thelist of vital properties of oil paint. The mostimportant are brushability, miscibility, the bestvehicle and high pigment concentration. Withfew 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 asmall manufacturer, because large manufacturerscater to amateurs and hobbyists that comprisethe vast majority of art materials consumers.Rublev Colours® Artists’ Oils are expressly madefor professional painters.

New Mediums and VarnishesNatural Pigments now offers a wide assortmentof varnishes and mediums that are not available

from other manufacturers. You will find naturalimpasto mediums, gel mediums, wax mediumsand gumtion. Check out our new mediums andvarnishes on page 18.

Rublev Colours® WatercolorsRublev Colours® Watercolors are new to thiscatalog. These single pigment paints availablein tubes and pans are made with the same pig-ments used by masters of past centuries. Seeour array of colors and mediums on page 26.

While the trend in commercial watercolors isto suppress pigment textures in favor of homo-geneous, flat color, the earth and mineral pig-ments used in Rublev Colours® Watercolors fea-ture larger particles that produce granulationeffects without the use of additives.

About Natural PigmentsNatural Pigments imports, manufactures anddistributes rare and hard-to-find art materialsfor fine artists and decorators. Natural Pigmentsspecializes in supplying artists’ materials thatwere used in traditional painting from pre-his-toric times up to the 19th century.

We search for materials of the best quality,bringing them direct to you from the source. Wetravel the world to find materials for artists anddecorators. We obtain minerals from mines inAsia, Europe and South America for pigments.We buy resins, gums and plant dyes from Asiaand Africa for varnishes and paints.

Our goal is to provide the widest selection ofnatural and historical pigments, paints andother art supplies, making shopping for rare andhard-to-find art materials easy. We promoteeducation of these materials among artists byproviding detailed information for their use inencaustic, fresco, oil and water-borne mediumsand sponsoring workshops throughout NorthAmerica and Europe. Visit our web site for moreinformation and current schedule of workshops.

About Natural Pigments Glossary

Acid Value: The amount of fatty acids measuredas the number of milligrams of potassiumhydroxide required to neutralize the free acids inone gram of oil, resin, etc. Agglomerate: A loose arrangement of primaryparticles and aggregates of a pigment that maybe broken apart during dispersion (grinding ormulling) in the paint making process.Aggregate: A group of pigment particles heldtogether by surface forces; the spaces betweenthe particles are filled with air.Binder: Solid ingredients in paint that hold pig-ment particles in suspension and adhere them toa support, consisting of glue, gum, oil or resin.Bodied Oil: (Stand Oil) A drying oil that hasbeen partially polymerized by heat with or with-out driers to promote rapid drying. Bodied oilscan be heated in open kettles, closed kettles,under an inert atmosphere or in a vacuum.Body: A general term for “consistency” or “vis-cosity,” referring to how “thick” or “thin” paintis in its plastic (not liquid) form.Boiled Oil: A drying oil that is heat-treateduntil it is partially oxidized and thereby driesmore rapidly than raw oil. Usually driers areadded during cooking; the reaction releaseswater, resulting in boiling, hence the name.Bloom: A white milky appearance on the surfaceof paint, sometimes after applying varnish, andusually caused by solvent evaporating too fast inhigh humidity. Polar solvents help to reduce oreliminate this effect. Also called blush or haze.Couch: An oily or resinous medium spread thinlyonto the surface of the painting before applyingfresh paint (referred to as “painting into a couchof oil or medium”).Cut: The number of pounds of resin dissolved inone gallon of solvent; e.g., a 5-pound cut is fivepounds of resin in one gallon of solvent.Dispersed: Finely divided or colloidal in nature,such as pigment particles evenly distributed in avehicle as compared with pigments particlesstuck to one another and unevenly distributed.Drier: A substance that accelerates the drying ofvegetable oil binders.Drying Oil: An oil that when exposed to air willdry to a solid, such as linseed and walnut oil.Emulsion: A mixture of two immiscible sub-stances, such as oil and water. One liquid (thedispersed phase) is dispersed in the other (thecontinuous phase); i.e., egg tempera (oil-in-water emulsion) is a dispersion of egg oil sur-rounded by a continuous liquid phase of water.Essential Oil: A volatile oil that is the productof the distillation or expression of plants,including flowers, leaves, wood and grass.Extender: A solid material used as an additiveto impart specific physical properties to paint;typically natural minerals, such as silica, clay,whiting, etc. The term is derived from “pigmentextender,” as they are generally pigment-like butpossess poor optical properties.Filler: A solid substance used to impart specificphysical properties, usually bulk, to paint. Theterm refers to the function, as they are the sameas extenders.Fineness of Grind: The degree of dispersiondetermined by the presence of coarse particlesas measured a Hegman or grind gauge.Flocculation: The process by which dispersedpigment particles come together and either set-tle out or form a gel.

Hematite outcropping on the banks of the Ural river, Russia anda source of Rublev Colours Hematite.

Stone mills are still the best way to grind minerals and are usedby Natural Pigments to prepare earth pigments.

Cover: Rembrandt van Rijn (Dutch, 1606–1669),The Artist in His Studio, 1629, Oil on panel,Museum of Fine Arts, Boston. Continued on page 31

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Prehistoric ColorsThroughout history, humans have found

expression through color. The colors used by thefirst humans were made from earths and char-coal spread on the walls of caves. Pre historicdwellers undoubtedly discovered that unlike thedyes derived from animal and vegetable sources,the colors from deposits in the earth would notfade. For this reason, early men traveled longand far to maintain a steady supply of pig-ments. Their limited palette was derived fromthree basic colors: red, black and yellow. Reds,yellows and browns came from the mineralshematite and goethite. Blacks were derivedfrom manganese ores and charcoal.

From Antiquity to the RenaissanceMineral extraction flourished and the produc-

tion of artificial pigments began as civilizationsgrew, expanding artists’ palettes to includeblues and greens. The Egyptians added mala-chite, azurite, lazurite and Egyptian blue totheir ancient palette. Ancient Chinese andRomans added verdigris and the bright reds ofcinnabar, vermilion and realgar. Throughout theMiddle Ages and Renaissance, mineral pigmentscontinued to be used by painters. Availablesince antiquity, medieval painters used greenearth for underpainting flesh tones. New col-ors—smalt and lead antimonate (Naples yel-low)—were added from the glassmakers’ trade.

The Industrial RevolutionResearch in pigments lead to the develop-

ment of many new colors, beginning withPrussian blue and cobalt blue in the 18th cen-tury and culminating with hundreds of organicand high-performance pigments in the 20thcentury. Many of the mineral pigments used bypainters in former centuries were abandoned forless expensive alternatives developed during thepast two centuries.

The graph below shows the history of artists’pigments, representing traditional pigments incommon use from the 6th century until now.The gradated bar represents approximate datesof a pigment’s introduction to termination.

Pigment Name (Artificial Pigment Name) 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)

Key: Natural pigment (blue); artificial pigment (yellow) 500 600 700 800 900 1000 1100 1200 1300 1400 1500 1600 1700 1800 1900 2000

History of Pigments

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Pigments: History of Artists’ Common Use

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PIGMENTS

Rublev Colours® natural min-eral, organic and historicalpowder pigments are espe-

cially made by Natural Pigmentsfor artists. They are the same pig-ments used by ancient, medievaland Renaissance painters. Eachpigment can be used for differentpainting techniques. Whether youare a novice or an experiencedpainter, you’ll find Rublev Colourspigments well suited for use inaqueous mediums, such as eggand casein tempera, gum arabic(watercolor), hide glue (distem-per) and acrylic dispersions. Theyperform equally well in oil andalkyd paint. Most are suitable forfresco and other painting tech-niques, such as encaustic.

Rublev Colours® pigments aremade directly from mineral andorganic sources. Our geologist,who has many years experienceselecting minerals for pigments,travels to distant locations, andhand selects mineral ores for usein our pigments. We process theminerals by pulverizing, grindingand levigating for use as fineartists’ pigments.

We travel worldwide to observethe growing and processing con-ditions of the natural materialsused in our organic pigments. Weinspect cochineal gathering atcactus plantations in Mexico,madder root in Turkey, indigo vatsin India, and logwood trees grow-ing in Honduras.

At Natural Pigments, weremove the mystery of pigmentsby disclosing their source andknown composition. We want youto gain the same intimate knowl-edge that the old masters hadwhen they made their own paintwith pigments.

Why Use NaturalPigments?Synthetic pigments today aremade to serve the paint industry,in which producing paints forartists plays a minor role. Toachieve maximum desirability inpaint today, pigments are madehomogenous in shape, size andcomposition. For example, toincrease the covering power ofpigments, particle sizes are madeas small as possible. The smallerthe particles, the more the colornuances of the pigment arereduced to its basic hue, as ininks that have no texture. Parti -cles that are homogenous inshape and size also tend not tosettle quickly and separate from

the binder during storage. Thisincreases the shelf life and there-by the marketability of paint, butreduces its beauty as a color forartists’ use. As Anita Albus wrotein Art of Arts, “The result is notperfection, but sterility.”

Artists’ material manufacturerspurchase most of their pigmentsfrom companies that mass-pro-duce them for other uses. A fewexamples include ultramarine,cadmium and thalo colors. Oddlyenough, painters are one of thefew artistic groups to succumb toeconomic pressures and useready-made materials. Even in theapplied arts such as cookery, it iscustomary to produce their ownstocks and sauces, even thoughcommercially-processed alterna-tives are available.

We make our pigments, on theother hand, to specifications thatmaintain their best qualities andallow artists to refine them fortheir own use. You can use themas they come out of the jar or

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

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

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

grind and separate into differentgrades for special visual effects.As you become more aware ofthese possibilities, you will wantto experiment, paying attentionto the way the pigments look andbehave when mixed with yourfavorite binder—whether it is oil,acrylic, egg, lime, casein, colla-gen glue or gum arabic.

Rublev ColoursHistorical PigmentsHere are some of the most impor-tant historical pigments, mostlynatural minerals, available asRublev Colours from NaturalPigments.

Azurite isbasiccarbon-ate ofcopperand isfound inmany parts ofthe world in the upper oxidizedportions of copper ore depositsalong with malachite. Azuritevaries in mass tone color fromdeep blue to pale blue with agreenish undertone. According tosome authorities, azurite hasbeen found in paint pigment asearly as the 4th Dynasty in Egypt.We supply this pigment in twogrades—coarse (53–150 microns)to use for texture and to grindfurther for special effects and fine(0–53 microns) for most paintingapplications.Cinnabar, a dense red mineral,

is the principal ore of mercury. Itis an historical pigment wellknown to the Romans and widelyused in China since the 3rd mil-lennium B.C.E. The natural mineralis said to be more stable than themanufactured pigment known asvermilion. Vermilion was usedextensively in easel and miniaturepainting throughout the MiddleAges until the end of the 19thcentury. The traditional use of redglazes of madder or cochineallakes over cinnabar or vermilionunderpainting not only increases

the intensity of the color, but alsoreduces the tendency of theselake pigments from fading. Ourdry process vermilion is made inChina by a recipe handed downthrough successive generations.Glauconite is a greenish miner-

al of hydrated iron potassium sili-cate, known as green earth, andvarying from pale green andbluish-green to olive-green.We obtain green earth fromCyprus, Estonia, Italy and

Ukraine. The most famousdeposit of green earth is foundnear Verona, Italy. Restorers haveproven that the famous green pig-ments of past centuries known asterre verte are in essence the min-eral glauconite.Hematite is a dark red iron

oxide. We obtain hematite fromiron ore deposits in England,France, Italy, Russia and U.S. It isa lustrous pigment of considerabletinting strength and opacity.Hematite is the principle-coloringagent in red ocher, such asPozzuoli red, Venetian red, etc.These pigments contain hematiteassociated with varying amountsof clay, chalk and silica.

Indigo is a dark blue pigmentprepared from more than 10

species of plants that containindigotin, a fermentation deriva-tive of the leaves. The plantIndiagofera tinctoria thrives inthe tropical climate of India andis the source of our pigment. Wepurify our natural indigo in acid,alkali and alcohol, according toold recipes, to achieve very highpurity and improve on the light-fastness of natural indigo.

Lazurite is a raremineral com-monly foundcombinedwith otherminerals,called lapislazuli. We buyselect pieces of lapis fromone of the oldest lazurite minesin Badakhshan, Afghanistan, aswell as mines near Lake Baikal,Russia and the Cordillera Range ofChile. These pieces are finelyground and washed to obtain thehighest purity and deepest bluehue. The raw lapis is crushed,ground and cleaned in a series ofdifferent steps, removing impuri-ties, such as calcite, pyrite, diop-side, wollastonite, until a concen-trate of lazurite crystals is derived—the remaining mineral is mostlywollastonite. In most mediums,our premium quality (70–75%lazurite) gives a dark blue. Theparticle size is less than 40microns, which still preserves thereflective quality of its crystals.

ThemineralMalachiteis basiccarbon-ate ofcopper,describedas a brightgreenish blue orsometimes as a pale green. Thefiner the pigment particle sizeis the lighter green in color it

becomes. Our malachite isobtained from minesin the Ural moun-tain range inRussia. Available infine and coarse

grades.Orpiment is yellow

arsenic sulfide, a rare mineralusually described as a lemon orcanary yellow or sometimes as agolden or brownish yellow. Ourorpiment is from Kadamdzhaï inKyrgyzstan. The modern namecomes from the Latin auripigmen-tum, or golden pigment. It is anhistorical pigment having beenidentified on ancient Egyptianobjects and paintings from the31st Dynasty to the 6th centuryB.C.E. It is mentioned in Greekand Roman literary sources. TheLeyden papyrus described its usein late Egyptian painting, as doesthe Mappae Clavicula in earlymedieval painting. The pigmenthas been described in variousother manuscripts dating from the12th to the 15th centuries.

Pigments


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









Luberon Raw Sienna Light460-33 | Series 1 | PBr 7

Italian Raw Sienna461-31 | Series 1 | PBr 7

Luberon Burnt Sienna460-34 | Series 1 | PBr 7

Italian Burnt Sienna461-32 | Series 2 | PBr 7

Russian Raw Umber460-41 | Series 3 | PBr 7

Luberon Raw Umber460-42 | Series 1 | PBr 7

Italian Raw Umber461-46 | Series 1 | PBr 7

Italian Raw Umber Green461-47 | Series 1 | PBr 7

Cyprus Raw Umber Light461-41 | Series 1 | PBr 7

Cyprus Raw Umber Med461-42 | Series 1 | PBr 7

Cyprus Raw Umber Dark461-43 | Series 1 | PBr 7

Luberon Burnt Umber460-44 | Series 1 | PBr 7

Italian Burnt Umber461-48 | Series 1 | PBr 7

Italian Burnt Umber Warm461-49 | Series 1 | PBr 7

Cyprus Burnt Umber461-44 | Series 2 | PBr 7

Cyprus Burnt Umber Warm461-45 | Series 2 | PBr 7

Van Dyke Brown462-21 | Series 2 | NBr 8

Cassel Earth481-12 | Series 1 | NBr 8

Gilsonite (Asphaltum)462-10 | Series 2*

Vicenza Earth472-20 | Series 1 | PW 19

Barite White470-20 | Series 1 | PW 21

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

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

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

Titanium White475-21 | Series 1 | PW 6

Titanium-Calcium White475-25 | Series 1 |

Zinc White475-31 | Series 2 | PW 4

Bianco San Giovanni475-41 | Series 2

Shungite480-10 | Series 4 | PBk 10

Pyrolusite480-20 | Series 3 | PBr 8

Natural Black Oxide480-30 | Series 1 | Pbk 11

Bone Black480-40 | Series 2 | PBk 9

Lamp Black480-50 | Series 1** | PBk 7

German Vine Black481-11 | Series 1 | PBk 8

Roman Black481-13 | Series 1 | PBk 11

Pigments


Series 1–5 PricesSeries 100 g 500 g 1 kg 5 kg1 $5.50 $12.50 $20.00 $80.002 $6.95 $22.50 $34.00 $135.003 $9.50 $44.50 $72.00 $305.004 $14.50 $52.50 $85.00 $360.005 $19.25 $62.00 $114.00 –

Series 7 PricesItem Pigment 10 g 50 g 100 g410-10 Azurite $18.00 $72.00 $135.00410-15 Lazurite (Afghanistan, std) 23.10 92.50 173.50410-18 Lazurite (Chile, standard) 7.50 30.00 56.50410-19 Lazurite (Chile, premium) 12.95 51.80 97.50410-20 Vivianite (Blue Ocher) 28.00 72.00 135.00417-10 Cobalt Zinc Blue – 18.00 35.00417-11 Blue Verditer 9.95 39.80 69.65417-12 Blue Bice 7.50 30.00 52.50417-13 Royal Smalt 6.75 27.00 47.25417-14 Smalt 6.00 22.00 42.00417-15 Egyptian Blue 16.50 66.00 115.50420-11 Dioptase 18.00 72.00 135.00420-20 Malachite 5.50 24.00 41.50427-11 Green Bice 7.50 30.00 52.50427-12 Victoria Green – 14.50 24.50430-20 Orpiment 20.00 80.00 140.00437-51 Lead-Tin Yellow Light (Type I) – 26.00 45.00437-52 Lead-Tin Yellow Dark (Type II) – 28.00 49.50437-53 Lead-Tin Lemon (Type I) – 26.00 45.00437-54 Lead Antimonate (Naples Yellow Light) 14.50 24.50437-55 Lead Antimonate (Naples Yellow Dark) 14.50 24.50447-11 Lead-Tin Orange – 28.00 49.50450-10 Cinnabar 24.60 108.00 199.00450-15 Vermilion – 22.50 45.00450-20 Realgar 14.00 65.00 112.00457-51 Potters Pink – 17.50 31.75470-10 Cerussite (Natural Lead White) – 24.75 44.00475-15 Lead White (Stack Process)1 18.95 per cakeNotes:1 Available only as solid, friable cakes (35-45 grams each)

Packaging: Pigments in quantities of 100 grams or lessare packed in plastic jars. For quantities of 500 grams ormore, pigments are packed in plastic bags to avoid damageduring shipping. Pigments with * next to series numberare sold by volume in 4 oz jars. With ** next to seriesnumber are sold in 4 oz jars and 150 gram bags only.

Symbol KeyN ToxicT Hazardous

Natural andHistoricalPigments




































Oil Colors

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Introductory SamplerOne ounce (29.5 cc) each ofGreen Earth, Yellow Ocher, RedOcher, Umber, Titanium White andVine Black. An excellent introduc-tion to making your own paints.401-1101 Save $3.00 $16.95

Introductory Sampler IISamples of six pigments areincluded in this kit to introduceyou to Rublev Colours pigments.The set contains six inorganic andone organic pigments: Ultra -marine, Yellow Ocher, MadderLake, Raw Sienna, Burnt Siennaand Burnt Umber—all in individ-ual one ounce (29.5 cc) jars.401-11011 Save $4.50 $18.00

Historical SamplerContains 11 historical pigments,giving you the basic palette sincethe Middle Ages: Lazurite (lapislazuli), Green Earth, Malachite,Yellow Ocher, Lemon Ocher, RedOcher, Brown Ocher, Violet Hema -tite, Sienna, Umber and RomanBlack—in one ounce (29.5 cc)jars. The boxed set makes a greatstarter set, an introduction tomaking paint or a great gift.401-1102 Save $20 $85.50

Pigment SetsIntended for artists who want toexpand their painting horizons,each set includes jars containing100 g or 4 oz of each pigment.

Introductory Pigment SetContains 8 pigments in a basicpalette: Verona Green Earth,Italian Yellow Earth, VenetianRed, Italian Raw Sienna, ItalianBurnt Sienna, Italian Raw Umber,Titanium White and Vine Black.Makes an excellent starter set forpainting, an introduction to mak-ing your own paints, or a greatgift for the student wanting tolearn more about paint making.401-1106 Save $12 $32.00

Historical Pigment SetContains 16 historical pigments:Lazurite (50 g), Malachite,Nicosia Green Earth, Verona GreenEarth, Lemon Ocher, Italian YellowEarth, Poz zuoli Red, Venetian Red,Italian Raw Sienna, Italian BurntSienna, Italian Umber and GreenUmber, Cyprus Umber Dark, ItalianBurnt Umber, Calcite and VineBlack. The colors used in medievaland Renaissance paintings in aboxed set that is an excellent setof for making your own paints.401-1107 Save $30 $165.55

Earth Tones™ Pigment SetsEarth Tones™ pigments sets arebuilt on the idea of using warmand cool colors in a subduedrange of green, red and brownhues. The sets help to make clearthe contrasts of temperaturewithin 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 tonerelationships and color harmonyin your painting. Earth Tones™sets enable you to paint with alimited palette without losing anemphasis on tone.

Warm Earth Tones™ SetVerona Green Earth (warm)Ercolano Red (warm)Italian Raw Sienna (warm)Cyprus Raw Umber Medium (warm)401-1121 Save $4 $16.50

Cool Earth Tones™ SetNicosia Green Earth (cool)Venetian Red (cool)Italian Dark Ocher (cool)Italian Umber (cool)401-1122 Save $5 $16.50

Contrasts Earth Tones™ SetEight colors from both the warmand cool Earth Tones™ sets. 401-1123 Save $9 $32.00

Complete Earth Tones™ Set cov-ers the entire chromatic range ofearth pigments. Includes warmand cool colors (above) with theaddition of Lemon Ocher, ItalianYellow Earth, Blue RidgeHematite, Luberon Red Oxide,Blue Ridge Umber, Cassel Earth,Roman Black and Bone Black.401-1124 Save $18 $65.00

Pigment Samplers and Sets

Color TermsColor is the general term for theproperty of reflecting light of aparticular wavelength, allowingthe eye to distinguish red, yellow,blue, etc.

Hue, often equivalent to color,specifically refers to the distinc-tive property of a color thatenables it to be assigned a posi-tion in the spectrum.

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

Tint refers to a gradation of acolor with reference to its degreeof whiteness. Mixing white withcolors makes tints of those colors.

¢ Suitable in this binder

© With certain painting techni -ques can be suitable in thisbinder—visit our website formore details.

£ Not suitable in this binder

T or Warning labels—seepage 42

LF—Lightfastness Categories– Not tested for lightfastnessI or II Sufficiently lightfastIII Limited lightfastness

Pigment Index Key

Historical Pigment Set

Introductory Pigment Set

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Oil ColorsPigment Index

NATURALPIGMENTS.COM 9

Pigment Name Colour Index WL LF Wax Fresco Oil Egg WC Mineral Analog Chemical Composition SourceAzurite PB 30 T – ¢ ¢ © ¢ ¢ Azurite Basic copper carbonate Dzhezkgazgan, KazakhstanBlue Bice/Blue Verditer PB 30 T – ¢ £ © ¢ ¢ Azurite Basic copper carbonate EnglandEgyptian Blue PB 31 – ¢ ¢ ¢ ¢ ¢ Cuprorivaite Copper calcium silicate EnglandIndigo NB 1 – ¢ £ ¢ © © – Indigotin Tamilnadu, IndiaLazurite (Lapis Lazuli) PB 29 I ¢ ¢ ¢ ¢ ¢ Lazurite Aluminum sulfo-silicate Chile, Russia & AfghanistanMaya Blue – – ¢ ¢ ¢ ¢ ¢ – Indigotin and attapulgite Texas, United StatesRiebeckite – T – ¢ ¢ ¢ ¢ ¢ Riebeckite Iron magnesium silicate UkraineSmalt/Royal Smalt PB 32 T – ¢ ¢ ¢ ¢ ¢ – Potassium cobalt silicate EnglandVivianite (Blue Ocher) – – ¢ © ¢ ¢ ¢ Vivianite Iron phosphate Moscow, RussiaDioptase – T – ¢ ¢ ¢ ¢ ¢ Dioptase Copper silicate Altyn Tiube, KazakhstanGreen Bice/Green Verditer – T – ¢ ¢ ¢ ¢ ¢ Malachite Basic copper carbonate EnglandGreen Earth PG 23 I ¢ ¢ ¢ ¢ ¢ Glauconite/celadonite Iron potassium silicate Cyprus, Estonia, Italy, UkraineMalachite – T – ¢ ¢ ¢ ¢ ¢ Malachite Basic copper carbonate Nizhniï Tagil, Ural, RussiaVictoria Green – I ¢ ¢ ¢ ¢ ¢ – Calcium chromium silicate EnglandChrome Yellow PY 34 T – ¢ £ ¢ ¢ © Crocoite Lead chromate United StatesGold Ocher PY 43 I ¢ ¢ ¢ ¢ ¢ Goethite Hydrated iron oxide Voronezhskaia Oblast, RussiaItalian Dark Ocher PY 43 I ¢ ¢ ¢ ¢ ¢ Goethite Hydrated iron oxide ItalyItalian Yellow Earth PY 43 I ¢ ¢ ¢ ¢ ¢ Goethite Hydrated iron oxide ItalyJarosite – – ¢ ¢ ¢ ¢ ¢ Jarosite Iron sulfate Zhuravlinskoe, Perm, RussiaLemon Ocher PY 43 I ¢ ¢ ¢ ¢ ¢ Goethite Hydrated iron oxide Luberon Massif, FranceLead Antimony (Naples Y.) PY 41 – ¢ ¢ ¢ ¢ ¢ Bindheimite Lead antimonate EnglandLead-Tin Yellow – – ¢ ¢ ¢ ¢ ¢ – Lead-tin oxide EnglandLimonite PY 43 I ¢ ¢ ¢ ¢ ¢ Goethite Hydrated iron oxide ItalyLuberon Yellow Ocher PY 43 I ¢ ¢ ¢ ¢ ¢ Goethite Hydrated iron oxide Luberon Massif, FranceLuberon Yellow Oxide PY 43 I ¢ ¢ ¢ ¢ ¢ Goethite Hydrated iron oxide Luberon Massif, FranceOrange Ocher PY 43 I ¢ ¢ ¢ ¢ ¢ Goethite Hydrated iron oxide Luberon Massif, FranceOrpiment PY 39 – ¢ ¢ ¢ ¢ © Orpiment Arsenic sulfide Kadamdzhaï, KyrgyzstanLead-Tin Orange – – ¢ ¢ ¢ ¢ © – Lead-tin oxide EnglandCinnabar PR 106 T – ¢ ¢ ¢ ¢ ¢ Cinnabar Mercuric sulfide Khaïdarkan, KyrgyzstanErcolano Red PR 102 I ¢ ¢ ¢ ¢ ¢ Hematite Iron oxide Ercolano, ItalyHematite PR 102 I ¢ ¢ ¢ ¢ ¢ Hematite Iron oxide Krivoï Rog, RussiaLuberon Red Oxide PR 102 I ¢ ¢ ¢ ¢ ¢ Hematite Iron oxide Luberon Massif, FranceLuberon Red Ocher PR 102 I ¢ ¢ ¢ ¢ ¢ Hematite Iron oxide Luberon Massif, FranceMadder Lake NR 9 II ¢ £ ¢ ¢ ¢ – Alizarin-alumina hydroxide United StatesMinium (Red Lead) PR 105 – ¢ £ ¢ ¢ £ Miniumite Lead tetroxide United StatesMummy PR 102 I ¢ ¢ ¢ ¢ ¢ Hematite Iron oxide Kaluzhskaia Oblast, RussiaPotter’s Pink – I ¢ ¢ ¢ ¢ ¢ – Tin chromium silicate EnglandPozzuoli Red PR 102 I ¢ ¢ ¢ ¢ ¢ Hematite Iron oxide Pozzuoli, ItalyRealgar – – ¢ £ ¢ ¢ £ Realgar Arsenic sulfide ChinaSartorius Red PR 102 I ¢ ¢ ¢ ¢ ¢ Hematite Iron oxide Tuscany, ItalySpanish Red PR 102 I ¢ ¢ ¢ ¢ ¢ Hematite Iron oxide Tuscany, ItalyVenetian Red PR 102 I ¢ ¢ ¢ ¢ ¢ Hematite Iron oxide SpainVermilion PR 106 T I ¢ ¢ ¢ ¢ ¢ Cinnabar Mercuric sulfide ChinaCassel Earth NBr 8 – ¢ £ ¢ ¢ ¢ Lignite Iron oxide with lignite Cassel, GermanyCyprus Burnt Umber PBr 7 I ¢ ¢ ¢ ¢ ¢ Hematite-pyrolusite Iron-manganese oxide CyprusCyprus Raw Umber PBr 7 I ¢ ¢ ¢ ¢ ¢ Goethite-pyrolusite Iron-manganese oxide CyprusGilsonite (Asphaltum) – – © £ ¢ © £ Gilsonite Asphaltum Utah, United StatesGoethite (Brown Ocher) PBr 7 I ¢ ¢ ¢ ¢ ¢ Goethite Iron oxide Kaluzhskaia Oblast, RussiaItalian Brown Ocher PBr 7 I ¢ ¢ ¢ ¢ ¢ Goethite Iron oxide ItalyItalian Burnt Sienna PBr 7 I ¢ ¢ ¢ ¢ ¢ Goethite Iron oxide Sienna, ItalyItalian Raw Sienna PBr 7 I ¢ ¢ ¢ ¢ ¢ Goethite Hydrated iron oxide Sienna, ItalyItalian Raw Umber PBr 7 I ¢ ¢ ¢ ¢ ¢ Goethite-pyrolusite Iron-manganese oxide ItalyItalian Burnt Umber PBr 7 I ¢ ¢ ¢ ¢ ¢ Hematite-pyrolusite Iron-manganese oxide ItalyLuberon Burnt Sienna PBr 7 I ¢ ¢ ¢ ¢ ¢ Goethite Iron oxide Luberon Massif, FranceLuberon Raw Sienna PBr 7 I ¢ ¢ ¢ ¢ ¢ Goethite Hydrated iron oxide Luberon Massif, FranceLuberon Raw Umber PBr 7 I ¢ ¢ ¢ ¢ ¢ Goethite-pyrolusite Iron-manganese oxide Luberon Massif, FranceLuberon Burnt Umber PBr 7 I ¢ ¢ ¢ ¢ ¢ Hematite-pyrolusite Iron-manganese oxide Luberon Massif, FrancePyrolusite PBr 8 I ¢ ¢ ¢ ¢ ¢ Pyrolusite Manganese oxide Ural, RussiaSiderite – – ¢ ¢ ¢ ¢ ¢ Siderite Iron carbonate Kaluzhskaia Oblast, RussiaVan Dyke Brown NBr 8 – ¢ £ ¢ ¢ ¢ Lignite Iron oxide with lignite Cologne, GermanyBarite (Baryte) PW 21 I ¢ ¢ ¢ ¢ ¢ Barite Barium sulfate Texas, United StatesBianco San Giovanni – T – © ¢ © © © – Calcium hydroxide California, United StatesCerussite (Lead White) – – ¢ £ ¢ ¢ © Cerussite Lead carbonate Primorskiï Kraï, RussiaLead White PW 1 I ¢ £ ¢ ¢ © Plumbonacrite Basic lead carbonate United StatesGerman Vine Black PBk 8 I ¢ ¢ ¢ ¢ ¢ – Carbon from vegetable char GermanyLamp Black PBk 6 I ¢ ¢ ¢ ¢ ¢ – Amorphous carbon United StatesLuberon Black Oxide PBk 11 I ¢ ¢ ¢ ¢ ¢ Magnetite Iron oxide Luberon Massif, FranceRoman Black PBk 11 I ¢ ¢ ¢ ¢ ¢ Magnetite Iron oxide Rome, ItalyShungite (Russian Black) PBk 10 – ¢ ¢ ¢ ¢ ¢ Shungite Amorphous carbon Shunga, Karelia, Russia

BLUE

GREEN

YELLOW

RED

BROW

NWHITE

BLACK





































































Paint Making Kits and Supplies

10 TO ORDER CALL 1-888-361-5900

Basic Paint Making Kit is forartists who want to expand theirpainting horizons, but have littleor no experience making theirown paints. The kit comes with allthe materials that you need toget started, including instruc-tions, glass muller, grinding sur-face and six traditional pigmentsin dry powder form to start mak-ing your own paint. All that isneeded is a paint vehicle. The kitincludes 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 paint601-1101 Save $18 $125.60

Advanced Paint Making Kit forartists who want to make largeramounts of paint. Here are all thetools you need and a sampler of11 pigments. The kit includes thefollowing:• 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 paintThe kit includes one ounce (30

ml) each of Lazurite, Green Earth,Malachite, Yellow Ocher, LemonOcher, Hematite, Red Ocher,Brown Ocher, Violet Hematite,Sienna and Roman Black.601-2101 Save $16 $179.75

Glass Mullers are handmade byglassmakers at a monastery inRussia. The bulbous handle is spe-cially formed to provide a com-fortable grip. The bottom of themuller is flat and sandblasted toprovide a grinding surface. Sizes:Large, 7,6 cm (3.0 in.) diameterbase; Medium, 6,5 cm (2.5 in.)diameter; Small, 5,0 cm (2.0 in.)diameter. Actual size may vary.640-GLMLS Small $60.00640-GLMLM Medium $69.50640-GLMLL Large $79.50

Squeeze Bottle (8 oz) This natu-ral-colored plastic bottle withspout cap is ideal for dispensingliquids used in making paint.621-BOTP8OZ 8 fl oz $2.85

Porcelain Mortar and Pestle forgrinding pigments and othermaterials. The inner surface isunglazed so you can abrade nearlyany substance to the degree offineness 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).641-MRPTL6 Small $10.50641-MRPTL4 Medium $11.50641-MRPTL Large $15.50

Grinding Plates of temperedglass sandblasted to give it theideal surface for grinding colors.640-GLASS 10x10 in. $19.50640-GLASL 16x20 in. $59.50

Silicon Carbide abrasive toroughen the surfaces of grindingplates and mullers. 175 gram jar.670-1201 100 grit $5.95

Wide Mouth Plastic Jars andblack screw-on caps with liner.The 4 oz jars store about 100grams of dry mineral pigment or30 grams of organic pigment; oneoz jars store about 20 grams ofmineral pigment or 10 grams oforganic pigment. Also great forstoring pigment pastes and paint.Item No. Size 1-49 50+621-JARP1OZ 1 oz $0.95 $0.86621-JARP4OZ 4 oz $1.19 $1.08

Paint Tubes White aluminum col-lapsible tubes and caps. Use linedtubes (20 ml) for reactive paint orwater-borne paint and unlinedtubes (50 ml) for oil paint. Fillthe tube with paint, pinch theopen end to flatten it, then crimpand fold twice.Item No. Size 1-49 50+621-TBL020 20 ml $0.75 $0.55621-TBU050 50 ml $0.80 $0.60

Paint Making Kitsand Supplies

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Making PaintPaint basically consists of twocomponents: pigment and vehicle.Pig ment particles do not dissolvebut are suspended in the vehicle.Making paint simply means mix-ing a solid and liquid componenttogether into a smooth paste.

Making paint is easier than youmay think. With basic supplies,such as pigment, linseed oil, aspatula and a clean, flat surface,you can start making small batch-es of oil paint.

If you want to make enoughpaint that you can store, however,you will need a muller to grindthe paint. Why grind pigment intopaint? Although a powdered pig-ment may appear very fine, it iscomposed of aggregates of pig-ment particles. The aggregatesclump together to form largeragglomerates and settle duringstorage in the paint vehicle.Grinding breaks up agglomeratesof pigment particles and evenlydisperses them in the paint vehi-cle, thereby wetting particle sur-faces more thoroughly.

How to Make Oil PaintThe amount of oil required foreach pigment varies, so it is notpossible to provide specific for-mulas. Some pigments absorbmore oil than others.

Step 1: Place a small amount ofpigment in a heap at the centerof the surface. Make a small craterin the center of the heap.

Step 2: Add oil or paint mediumto the pigment slowly—a fewdrops at a time. The less oil addedin the beginning, the easier itwill be to break up the agglomer-ates of pigment particles.

Step 3: Fold the pigment into theoil with the spatula. Continue toblend the pigment into oil, apply-ing pressure to the mixture as youmix it. The correct amount of oilis added when the mixture hasthe consistency of stiff paste andappears dry. In the beginning, itis better to grind a stiff pastethan one that is soft and runny.

Step 4: Place the muller on top ofthe paste. Holding the mullerfirmly with the heel of your handdown and thumb up. Move themuller in a circular motion out-ward from the center of the paste.Spread the paste in a thin layer asyou grind. The more paste in con-tact with the surface of the plateand flat bottom of the muller, thesmoother the paste will be. Themore you grind, the softer itbecomes. Paste that is at first dryand stiff becomes wet and soft.

Step 5: Once the paste is spreadout, collect it back to the center.Continue grinding with the muller.

Step 6: If the paste becomesrunny, thicken it by adding asmall amount of pigment to themixture. Combine the pigmentwith a spatula then grind withthe muller until smooth.

Step 7: When the paint has theconsistency pictured above, it isready to use or store.

Note: Remove accumulated paintfrom the sides of the muller withthe spatula. At times it may bedifficult to move or lift the mullerfrom the grinding surface. Usingthe spatula as a lever, raise theedge of the muller. Then slide themuller off the surface.

Storing Paint in Tubes

Step 1: Hold the tube with thecap pointing downward and theopen end up. Using a narrowpalette knife, pick up some paintand drop it into the tube.

Step 2: Scrape paint off the knifeonto the edge of the tube.

Step 3: Paint will accumulate atthe open end of the tube. Graspthe the tube between your fore-finger and thumb. Gently tap itseveral times on a tabletop tosettle the paint in the tube.Repeat steps 1–3.

Step 4: When the tube is filled toabout two-thirds, close the end ofthe tube by pinching it betweenyour fingers.

Step 5: Place the tube on a flatsurface and flatten the tube endwith the palette knife.

Step 6: Place the knife acrossthe end of the tube. Bend thetube upward, creasing the tube atthe edge of the palette knife.

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

Clean your tools with light veg-etable oil or odorless mineral spir-its followed with warm water andsoap. Remove caked-on paint bygrinding the muller and surfacewith silicon carbide mixed withmineral spirits. Follow by washingwith warm water and soap.

More Paint Making KitsOur Paint Making Kits come witheverything you need, includinginstructions, to start making col-ors in your favorite medium. Inaddition to the items listed inthe Basic Making Kit on the pre-vious page, you also get the fol-lowing items:

Oil Paint Making KitLinseed oil, 8 fl ozCollapsible tubes (20 ml), 6 eachMaking Oil Colors instructionbooklet601-1102 $132.50

Watercolor Paint Making KitWatercolor medium, 8 fl ozCollapsible tubes (20 ml), 6 eachMaking Watercolors instructionsbooklet601-1104 $132.50

Casein Paint Making KitCasein powder, 500 g (8.8 oz)Borax, 100 g (3.5 oz)Making Casein Colors instructionbooklet601-1103 $132.50

How to Make Paint









12 TO ORDER CALL 1-888-361-5900

OILS

Most oil colors today aremade to feel the sameunder the brush. Their con-

sistency is short and buttery, irre-spective of the color. Whereas ashort and buttery consistency isgood, there are many times youneed paint with a different body.Sometimes you need paint thatflows and levels out. Other timesyou want long and ropy paint. Orone that flows when brushedthen thickens upon standing—thixotropic paint. That is why somany painters today must resortto using mediums with their tubeoil colors—to alter the consis -tency of their paint.

The Rublev ColoursDifferenceWhy are Rublev Colours differentfrom other commercial oil colors?One reason is that we use gen-uine natural or historical pig-ments like those used by the oldmasters. We also make RublevColours Artists’ Oils how paintwas made before modern tubecolors—without stearates andother modern additives.

Rublev Colours Artists’ Oils areformulated to maintain theunique characteristics of eachpigment in oil. The characterfound in each tube of our oil col-ors is unique due to the pigmentinside, giving the artist nearlylimitless choices of texture, opac-ity, consistency, tone and hue.With Rublev Colours you experi-ence the transparency of yellowocher, the pale coolness of greenearth, and the crystalline glitterof deep blue azurite.

Color Particle by ParticleThe particles of natural pigmentsare at least six times the diame-ter of synthetic pigments in mod-ern artists’ colors. However, whenwe remember how largely crys-talline or semi-crystalline pig-ments, such as azurite, malachite,lazurite, and so on, were used inold masters’ paintings, it is easyto understand how these beauti-ful surfaces with broken lightswere obtained. An examination,for instance, of the surface ofazurite blue under the microscopeat once reveals the beautifulmass of blue and blue-green crys-tals, reflecting light in all direc-tions, and thus of course enhanc-ing the decorative effect.

Pure Oil Color—No AdditivesRublev Colours Artists’ Oils do notcontain additives, such as fillers,driers and stabilizers—simplypigment and oil. With few excep-tions we use only linseed oil,sometimes with a small amountof heat-bodied oil. Stabilizers,such as stearates and waxes, arenot added that diminish the indi-vidual effects of pigments in oil.Therefore, you will find differentconsistencies from color to colordue to the individual pigmentcharacteristics, and an occasionalbit of free oil. Some colors brushout long and ropy, others shortand buttery, and still others arecreamy and thixotropic.

Some separation of pigmentand oil may occur with RublevColours and is a natural processwhen no stabilizers are added tooil paint to prevent this fromoccurring.

Overall, Rublev Colours Artists’Oils have a longer brushing con-sistency than most tube colorsavailable today, making themideal for both bristle and soft-hair brushes in fine rendering, oldmaster-like effects, on both fine-weave canvas and smooth panels.

Single Pigment ColorsWhen you see a color name onour label, you get just that—onepure pigment. You will not find“hues” among Rublev Colours. No“Vermilion Hue,” simply pure redmercuric sulfide. When you buy atube of Rublev “Green Earth” fromNatural Pigments you are not get-ting a mixture of green chromiumoxide, an unidentified earth colorand barium sulfate, you get thereal thing—green earth. Whenyou buy “Rublev Vermilion,” we

don’t give you cadmium red. Andour Naples yellow is not an inde-terminate mixture of pigments,but pure lead antimonate. Youwon’t even find the word “gen-uine” used to describe RublevColours, because all of our pig-ments are simply that—genuine.

All our earth colors have out-standing lightfastness and mostof the others are permanent whenused full strength. Rublev ColoursArtists’ Oils offer an extraordinaryrange of tinting strength and animmense diversity between opaci-ty and transparency.

Individually Made,Meticulously CraftedOil ColorsWe make Rublev Colours Artists’Oils in small batches, typicallyonly five gallons at a time, metic-ulously crafting each color. Usingnatural mineral pigments meansthat we must take extra steps toprepare these colors into a use-able paint, typically not requiredfor modern synthetic pigments.All this requires more time andlabor to make a finished productthat is different from other oilcolors—a difference you canclearly see and feel.

How We Make RublevColours Artists’ Oils From our extensive experiencemaking pigments, we select thosethat not only make good oil col-ors, but provide a diverse rangeof texture, body and opacity.Some pigments are further puri-fied, such as indigo, using meth-ods found in old treatises toincrease lightfastness. We thenprepare each pigment by bakingthem at low-temperature toremove all traces of moisture.

Rublev Colours Artists’ Oils

Vehicle / Millbase

Oil

Pigment

Vehicle / Millbase

Oil

Thickener/Pigment DisperserDriers

Pigment

Brightener

Filler

Other Oil Colors

Continued on page 17

Oil Color Palettes

14 TO ORDER CALL 1-888-361-5900

Tone, Color and theLimited PaletteTone is the use of contrastbetween light and shade in paint-ing, which is sometimes referredto by the Italian term chiaroscuro.It can be an aid to composition,such as in the works of Vermeer;the creation of space; and tocommunicate a sense of form, asin paintings by Leonardo. The useof tone is especially prevalent inthe works of Caravaggio, Rem -brandt and Velázquez, and theschools to which they belonged.

Tone is also crucial in the useof colors. Harold Speed, Britishpainter and author, writes that itis “so intimately associated withcolor that many think they areadmiring color when they areadmiring tone.” Muddy color isusually the ‘result of bad tonerelationships.’

A limited palette of earth pig-ments, Earth Tones™ palettes,was especially conceived to helpbuild tone relationships and colorharmony in oil painting. EarthTones™ palettes enable you topaint with color without losing anemphasis on tone.

The limited palette has manyadvantages. One advantage isthat with fewer colors on thepalette it is easier to create colorunity in a painting. Improvingyour color mixing skills is anotheradvantage. The simplicity of alimited palette encourages experi-mentation and quickly builds anappreciation for the subtlenuances of every color. PhilipHammertone wrote in TheGraphics Arts: “Limited palettesare the best instructors in colour-ing, because they teach us, farbetter and more effectually than a

great number of pigments evercan do, the wonderful effects ofmixture.”

Speed advised learning to paintusing only two colors—a warmand a cool color. ”A great dealthat is of vast importance withregard to colour, can be moredirectly learned by this meansthan by stumbling straight into afull palette.”

Warm colors are those huesranging between yellow to red-violet on the chromatic circle.Cool colors are colors rangingbetween blue-violet and yellow-green on the color circle.

This degree of warmth or cool-ness exhibited by a color is alsocalled “color temperature.” Forexample, madder lake is a cooler(leaning toward blue) red thanred ocher, which is warmer(inclining toward yellow).

The interaction between colorsmay cause a hue such as yellow-green to appear colder if it isplaced next to a warm color, suchas red, or warmer if it is placednext to a cool color, such as blue.

Contrasts of warm and cool col-ors, as Speed insists, is ‘the mostimportant consideration in color-ing’ upon which ‘the vitality ofcoloring largely depends.’

Warm-cool contrasts resultingfrom the juxtaposition of warmand cool colors makes warm huesappear warmer, and vice versa.This type of contrast, which helpsbalance color schemes, are inEarth Tones™ palettes.

Earth Tones™ palettes are builton the idea of warm and cool col-ors in a subdued range of green,red and brown hues. Such paletteshelp to make clear the contrastsof temperature within each ofthese 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 contain50 ml tubes of Rublev ColoursArtists’ Oils, saving you moneywhen purchasing the oil colorsseparately.

Earth Tones™ Palette ILemon OcherNicosia green earth (cool)Ercolano red (warm)Italian dark ocher (cool)Cyprus umber (warm)810-1201 Save $7 $62.00

Earth Tones™ Palette IIItalian yellow earthVerona green earth (warm)Venetian red (cool)Sienna (warm)Italian green umber (cool)810-1202 Save $7 $58.00

Earth Tones™ palettes providenumerous possibilities of cool,warm and neutral colors. AddVine Black (cool) to the firstpalette or Bone Black (warm) tothe second to complete the warmand cool sequence. Extend therange of color effects by playingone tone against another and bymaking tints with Lead White.

Total Earth Tones™ Palette—Foran extended palette, the TotalEarth Tones™ palette covers theentire chromatic range accessibleto earth pigments by includingcolors from palettes I and II.810-1203 Save $27 $106.80

For special purposes, you maywant to add Lazurite (lapislazuli), Violet Hematite and abright red, such as Vermilion orMadder Lake, to your palette.

Earth Tones™ Palettes

Ercolano Red

Venetian Red

Verona Green Earth

Nicosia Green Earth

Lemon Ocher

Ercolano Red is a bright red earthwith lovely warm tints when mixedwith white.

Venetian Red is a cool red, a dark-er shade of scarlet, useful for rosytints and strong bright reds forthose subtle cold tones.

Verona Green Earth mixes withwhite for warm tints in which youcan perceive the yellow peeking outof the green.

Nicosia Green Earth has a touch ofturquoise that mixes with white torender beautifully cold tints. It isuseful in making luminous, lightskin with bluish shadows—ratherthan the warm greenish shadows ofdeeper colored flesh.

Lemon Ocher is softly tinting, richand subtle. It has a subtle but dis-tinct “lemon” tone that is by nomeans cold or acid. It works lightlyand more transparently than otheryellow ochers. In mixtures with red,it is robust without the acid under-tone of bright yellows.

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

The Rational PaletteThe combination of a simplepalette with an open, direct exe-cution produces durable paintingsthat retain their power and fresh-ness. This is advice from Roger dePile’s widely read, 17th centurypainting manual, Les Elémens dela Peinture Pratique.

In addition to using a limitedpalette, artists were encouragedto systematically lay out colorsand mixed tints on their palettes.This was to discourage overblend ing colors so that they donot lose their freshness, especial-ly in flesh tones, and do notbecome muddy.

Arranging colors around theouter edge of the palette, leavingspace for pre-mixed tints wasalready done in the early 16thcentury. By the early 17th centu-ry, a rational tonal layout of thepalette had emerged. White wasoften positioned nearest thethumbhole and the colors werearranged according to their tonalvalue from light to dark.

In 1630, De Mayerne describedthe three main functions of thepainter’s palette: first, ‘to arrangethe colors;’ second, ‘to temperwith oil’ (by which he meantadding a paint medium to makethem fluid during painting); andthird, ‘combining and blending.’Only limited mixing on thepalette was required during thepainting process. This approachdiffers markedly from that ofpainters’ today who usually mixtheir colors on the palettewhile painting andoften combinethem on canvas.

Besides an artist’s personalnotes or treatise on the art of theperiod, the systematic arrange-ment of separate colors and mix-tures on the palette, which thepainter prepared before he beganwork his work, can help us tounderstand the artist’s paintingprocedures. Such palettes can befound in portraits and self-por-traits where the palette is held inthe hand in which rows of colorsand tints are clearly visible.

Old Masters Palettes™We’ve compiled details of manyold masters’ palettes and providedthe most essential in a series ofoil color sets. Rublev Colours OldMasters Palettes™ allow you touse the pigments and the rationalapproach used by the old mastersin your own painting.

Titian PaletteTitian was perhaps the greatest ofthe Venetian painters and certain-ly one of the most influentialartists of Western art. Accordingto The Technique of Painting byHilaire Hiler, Titian used the fol-lowing colors: ultra marine (lapislazuli), malachite, lead-tin yellow,yellow ocher, red ocher, vermilionand carbon black. Titian Paletteincludes Rublev Colours Artists’Oils: Lazurite (lapis lazuli), Mala -chite (20 ml), Lead-tin yellow,Italian yellow earth, Ercolano red,Vermilion and Vine black.810-1104 Save $35 $263.80

Roger de Piles PaletteIn Jombert’s edition of Roger dePiles’ treatise on painting, LesElémens de la Peinture Pratique,he describes with exact detail thearrangement of colors and theirmixtures. In his 1684 palette ofeight principle colors, Roger dePiles arranged them along the topedge, placing the lightest colorsnearest the thumbhole andarranging tints in rows below.

Roger de Piles Palette includesthese Rublev Colours Artists’ Oils:Lazurite (lapis lazuli), Lemonocher, Vermilion, Madder lake,Italian raw Sienna and Bone blackwith a wooden palette and illus-trations and descriptions of thepalette layout and tints.810-1107 Save $30 $210.85

Le Blon PaletteThe discoverer of the red-yellow-blue theory of color, J.C. Le Blon,described in the painting treatise,Coloritto, a palette of seven colorsto make flesh tints. These colorsand their tints are meticulouslydescribed and the palette illus-trated in Coloritto.

Le Blon Palette includes theseRublev Colours Artists’ Oils: Yel -low ocher light, Vermilion, Frenchred ocher, Italian brown ocher,Madder lake, Cyprus umber andCyprus burnt umber with a woodpalette and illustrations anddescriptions of the color mixes.810-1109 Save $30 $189.00

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

Goya PaletteIn the portrait of Francisco deGoya, we have a precise record ofnot only the colors Goya used buttheir arrangement and mixtureson his palette. He used nine col-ors and arranged them on thepalette with white nearest thethumbhole and blacks on theopposite side. Besides white andblacks, there are only earth col-ors. We easily can see the ninecolors arranged along the outeredge and tints in the center ofthe palette in his portrait.

Goya Palette includes theseRublev Colours Artists’ Oils:Italian yellow earth, Venetian red,Italian brown ocher, Italian burntSienna, Bone black, Vine blackand Roman black, and a woodenpalette with illustrations anddescriptions of the colors and tintmixtures depicted on his palette.810-1111 Save $20 $70.65

Oil Color Palettes

Old Masters Palettes™

See the entirecollection of

Old Masters Palettes™at our web site:

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Oil Painting Technique

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The Fortune TellerBy Virgil ElliottThe scene was set up in a darkbooth constructed in my studio,consisting of a model stand withuprights at each corner support-ing black cloth on the tops andsides to exclude all external lightsources, with an opening at thefront facing my easel. The model,Jo Adell, was posed in the darkbooth in costume, seated at thesmall table with the lamp andcrystal ball. I painted a smallcolor sketch in oils from directobservation at the first sitting, toget her facial expression and handgesture noted down especially.This color sketch then served asreference material in the execu-tion of the larger painting.

The DrawingI drew the scene in charcoal on awhite primed canvas, refined thedrawing, and then decided on ataller canvas for better composi-tion. I then traced the drawingonto glassine paper, and trans-ferred it to a 36 x 24-inch white-primed canvas (which had previ-ously been glued to a rigid panel)using transfer paper made fromglassine with graphite scrubbedon one side. The tracing was thencorrected and refined freehand onthe white-primed canvas.

The charcoal drawing was thenstrengthened with burnt siennathinned with turpentine, using arigger brush. The paint wasallowed to dry for one day beforegoing to the next stage.

Blocking In ColorsPainting commenced with theblocking in of the large areas ofcolor, using Rublev Colours oils.The objective at this stage isalways to get the white groundcovered with paint that will beclose to the color of each area ofthe painting before any signifi-cant modeling of forms isattempted. The reason is thatjudgment of values is apt to bemore accurate when the whiteground is covered. The back-ground was blocked in with dullgrey-greens made from GermanVine Black, Lead White and vari-ous earth yellows; the tableclothin shadow was blocked in withViolet Hematite; the red scarfwith Vermilion, and the tableclothin the light on top of the tablewith mixtures of Venetian Red,Vermilion, Lemon Ocher and LeadWhite. The larger shapes wereattended to first, and the smallershapes afterwards. The blues ofthe model’s costume were made

with Lazurite, Azurite, Lead Whiteand German Vine Black.

The blocking-in stage was donewithout the model present. Amannequin wearing her costumefilled in for her until later, whenshe was needed again for the finalpainting of the face and hands.The flesh areas were initiallyblocked in with a general fleshtone and left to dry while theother areas were attended to.

Adding DetailsThe first area to receive much inthe way of detailed attention wasthe lamp, which was painted wet-into-wet except for the illuminat-ed globe, which was painted intwo steps. The background colorand the tabletop color wererenewed with wet paint wherethey abutted the forms beingpainted, in order to control thedegrees of softness at the edges.

Modeling FormsWithin each area, the develop-ment process began with thedarks, and progressed to thelights by degrees until each formwas fully modeled. The face wasaddressed following the colorsketch as far as possible, andthen the model was brought backfor the finishing touches.

I added a corner shelf on theleft side, with an incense burnersmoking, as an area of secondaryinterest. I observed smoke trailsuntil I felt I had a good workingunderstanding of them, and thenpainted them into a field of wetbackground color, playing aroundwith their swirling arabesques as Idesigned them. I finished the pic-

ture with my signature in thesmoke near the top of the canvas.Nearing the end, I supplementedmy palette of Rublev Colours witha few colors from other compa-nies, notably Winsor & NewtonRose Madder Genuine and VasariNaples Yellow Light. The NaplesYellow was used to add somecolor to the lamp globe, mixedwith white and scrubbed on thin-ly, translucently, over the whiteand off-white modeling of the(barely discernible) spiral pattern,since the color of the light pro-duced by the lamp had a yellow-ish cast, and the color schemeneeded some yellow for betterharmony with the reds and blues.All the other colors used wereRublev Colours. The white washand-mulled from Rublev Coloursdry white lead pigment, mulled inwater-washed, sun-bleached cold-pressed linseed oil. This wasbefore Rublev Colours Lead Whiteoil paint was available. Now thatthey have lead white in tubes, ithas become my favorite white,

and I don’t go to the trouble ofmulling my own any more.

I should mention that themethod I used on this painting isonly one of a number of goodways to paint, and only one ofseveral methods that I use. It isimportant that this tutorial beunderstood in the proper context.We must each paint in our ownunique way. This just happens tobe the way I chose to paint thisparticular painting.

Traditional Oil PaintingAs more and more artists todaylook to the past, there has been atremendous resurgence of interestin painting realistically—in creat-ing convincing illusions of three-dimensional depth on two dimen-sional surfaces. How did the OldMasters create their masterpieces?What kind of education allowedthese great artists to create suchbeautiful work, and how can anartist learn these lessons today?Traditional Oil Painting answersthose questions and many more.This comprehensive sourcebookexplores advanced levels of oilpainting with information on thelatest scientific discoveries. Artistand author Virgil Elliott examinesthe many elements that let artiststake the next step in their work:mental attitude, aesthetic consid-erations, the importance of draw-ing, principles of visual reality,materials, techniques, portraiture,photographic images versus visualreality and color. Low price onlywhen ordering from this catalog.151-0823030660 $35.00 $28.00Virgil Elliott is a world-

respected painter and writer. Heis included in the Art RenewalCenter’s Gallery of Living Mastersand one of only 24 artists world-wide with certification from theAmerican Portrait Society.

Next, we mix the pigment withoil, usually linseed, in mixers or, inthe case of some mineral pigments,in edge runners resembling old-fashioned stone mills to obtain adense, homogenous mixture. Thepaste, called a premix, is allowedto “sweat” overnight or longerbefore grinding.

The paste is ground on three-rollmills made of stone rolls or chilledcast steel. The steel rolls are watercooled to prevent the premix fromover-heating. We grind each colorat least 3 or 4 times—each timereducing the gap between the rollsto apply greater pressure on thepaste. We grind our paints moretimes than other manufacturers,because we do not use stabilizersthat, while making paint easier togrind, alter the body and consis-tency of the paint. Often colors areground 5 to 6 times before we con-sider them ready. We age eachbatch several months and grindone last time.

Finally, we check each batch fortinting strength, consistency anddensity before filling in tubes.

Specialty Artists’ Oil Colors

Azurite is one of the most beauti-ful blues in the range of blues onthe artists’ palette. The pigmentdoes not readily submit to finegrinding, so when ground with oilit remains gritty, and under themicroscope shows fairly large crys-talline particles. If the grinding isforced to the fineness associatedwith modern pigments, it wouldlose much of its splendor. Azurite’sgraininess can be used to goodadvantage alone and in mixtures.

Verona Green Earth is a transpar-ent green used in verdaccio—astyle of underpainting that usesgreen-grey colors to establish val-ues for later layers of paint.Verdaccio is renowned for beingparticularly effective when paint-ing flesh tones. It was popularamongst Renaissance artists, suchas Leonardo da Vinci who used ver-daccio underpainting in his mas-terpiece, Mona Lisa.

Malachite, the native copper car-bonate, is found on early manu-scripts and easel paintings. It wasa common and universal green,and continued right through thecenturies, until the 18th century.Like azurite, it is crystalline—itsgreenish and bluish crystals areplainly visible—enhancing thevisual effect of this color.

Yellow Ocher Light from the ocherregion of France is a transparentwarm yellow that works well inflesh tints. Naturally transparent itmakes outstanding glazes right outof the tube.

Venetian Red is a semi-transpar-ent red ocher that is a cool redwith pink tints. Mixes well withlead white to create flesh tints andin the lips. Vermeer mixed smallamounts of red ocher and smalt inroughly equal portions with leadwhite to produce a light gray inwhich neither the bluish tone ofsmalt nor the pinkish tone of redocher dominates. The resultingneutral tone, however, is morelively than conventional mixturesof white and black.

Vermilion was the brightest red onthe old master’s palette and ourgenuine vermilion is the samebright red with pink tints so highlyfavored by past masters.

Violet Hematite has outstandingtinting strength and opacity withdeep purple tones and lavendertints. Known as caput mortum (orcolcothar), it was first made inmedieval times by heating iron sul-fate. It went out of use when oilsbecame common, presumablybecause the artificially-made pig-ment is not suitable for use withoil mediums. Ours is a natural min-eral that works well in oil and isabsolutely permanent.

Oil Colors

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Specialty Oil Colors

Making Artists’ OilsContinued from page 12







Varnishes and Mediums

18 TO ORDER CALL 1-888-361-5900

VarnishesNeil’s Best Mastic Varnish, basedon J. Wilson Neil’s famous 19thcentury varnish made of pureChios mastic cold dissolved in dis-tilled gum spirits of turpentineand aged for one year. Use as apicture varnish or paint medium.Very glossy. (31% resin w/v) 540-22108 8 fl oz $39.50

Neil’s Best Dammar Varnish is atraditional varnish of dammarresin cold dissolved in gum tur-pentine and aged one year. Use asa final glossy picture varnish oradd Wax Paste for a satin finish.Use as a quick-drying paint medi-um or to make egg-oil emulsions.(31% resin w/v) 540-50108 8 fl oz $14.50

Dammar Picture Varnish is madefrom dammar cold dissolved in ablend of aliphatic and aromaticsolvents to minimize yellowing.Use as a final picture varnish for aglossy finish. Add UV Stabilizer toinhibit yellowing caused by UVradiation. (31% resin w/v) 540-50208 8 fl oz $11.50

Matte Dammar Varnish is ourpicture varnish with a matte fin-ish. (31% resin w/v) 540-50109 8 fl oz $14.50

UV Stabilizer inhibits yellowingand protects from UV radiation.Mix with 4 times the amount ofvarnish just prior to use. 540-50252 2 fl oz $10.50

Artists’ Virgin Copal Varnish,from J. Wilson Neil’s famous 19thcentury varnish for fine painting,is a quick-drying painting mediumthat keeps brushstrokes where youwant them. Made with copal, oiland turpentine. Does not containdriers. (28% resin w/v) 540-35108 8 fl oz $19.95

Isolating Varnish a blend of nat-ural resins—sandarac and mastic.Dries fast to a clear finish. Idealfor isolating paint layers, as a fix-ative and to reduce absorbency ofgrounds. (10% resin w/v) 540-29008 8 fl oz $12.95

Sealing Varnish is a natural var-nish of Manila copal and elemigum (a plasticizer). Dries fast to ahard finish, resists turpentine andmineral spirits, sands easily, mak-ing it ideal for sealing wood pan-els and gesso. Thin with dena-tured alcohol. (26% resin w/v)540-28008 8 fl oz $10.50

Pump Spray Dispenser provides acontinuous, fine mist spray with-out propellants. It uses air so it’ssafe and harmless to the environ-ment. The cap has an integratedpiston pump to build up air pres-sure. The spray is then releasedwith the fingertip control. Fillwith varnish and spray.621-BOTPS 100 ml capacity $6.75

Liquid MediumsRublev Colours Oil Mediums aredrying oils (linseed or walnut)purified and thickened by expo-sure to sunlight and air until theyare clear and pale. They are thenthinned with spike oil, turpentineor odorless mineral spirits (OMS).As the oils dry naturally, contain-ing no driers or resins, they maybe used with confidence as totheir future behavior. The mediumprepared with spike oil evaporatesslowest. That prepared with tur-pentine evaporates most rapidly;the mineral spirits preparation isin the middle. Use as a paintingmedium, for “oiling out” to keepoil colors fresh and as a safe driermixed with oil colors.Medium No. 1 Linseed oil and spike oil530-12101 8 fl oz $14.65Medium No. 2 Linseed and turpentine530-12102 8 fl oz $9.50Medium No. 3 Linseed oil and spirits530-12103 8 fl oz $9.50Medium No. 4 Walnut and spike oil530-12204 8 fl oz $17.35Medium No. 5 Walnut and turpentine530-12205 8 fl oz $10.50Medium No. 6 Walnut oil and spirits530-12206 8 fl oz $10.50

Dammar Medium made of puredammar cold dissolved 1:2 in puregum turpentine for use in paint-ing medium. (44% resin w/v) 530-50154 8 fl oz $14.50

Mastic Medium made of puremastic cold dissolved 1:2 in gumturpentine. Use to make megilp,

Maroger or your own paintingmedium. (44% resin w/v) 530-52204 4 fl oz $28.50

Rublev Colours Balsam EssentialOil Medium is composed ofCanada balsam, pale bodied lin-seed oil and spike oil. Add to col-ors for enamel-like effects, toachieve glow in glazes and facili-tate fusion. (44% resin w/v)530-36504 4 fl oz $25.50

Gel & Paste MediumsItalian Varnish, a 19th centurymedium by Mérimée, has the dou-ble advantage of drying well andpreventing the flow of liquidpaint. Prepared with pale dryingoil and litharge with a smallamount of beeswax and masticadded. Similar to gumtion butdries faster. Add small amounts tocolors. Contains Lead530-35001 42ml tube $12.50530-35005 130ml tube $35.00

Oleoresgel is a thixotropic gelmade with bodied linseed oil,alkyd and silica. Used for glazing,this absolutely transparent andluminous medium conserves thebody and satin finish of oil col-ors. Add directly to your paint togive it transparency without thin-ning its consistency. Add pig-ments or extenders to thicken itfor creating impastos. Contains nodriers, so it is safe to use withoutworry of cracking, and does notaffect the drying of oil paint.530-42001 42 ml tube $12.50530-42008 4 fl oz can $16.50

Resin ContentWe’ve made selecting varnishesand mediums easy by noting theresin content as a percentage. Forexample, 31% resin w/v means31% resin weight of the total vol-ume. In this example, 100 ml ofvarnish contains 31 grams of totalresin. With this you can easilycalculate the resin content of yourpaint as you use it in your work.

Oleogel Oil Painting Gel

Oleogel is a thixotropic gel madewith linseed oil and silica. Usedfor glazing, this absolutely trans-parent and luminous mediumconserves the body and satin fin-ish of oil colors. Contains no dri-ers, so it is safe to use withoutworry of cracking, and does notaffect the drying of oil paint.530-43001 50 ml tube $8.95530-43008 8 fl oz can $16.50

Lead white (left), Oleogel (center) and amixture of both (right). The lead white isstiff and short, but when mixed withOleogel it becomes semi-transparent, soft,yet sculptural.

Sienna (left), mixed with Oleogel (right),and brush outs of each both below. Whenadded to oil colors, Oleogel increases thetransparency without flowout and levelingof brushstrokes.







Wilson’s Medium is sun-thick-ened linseed oil, turpentine andbeeswax based on the 19th centu-ry formula and, according to Field,used by Joshua Reynolds. No dri-ers added. Mix with colors to givea long consistency, hold brush-strokes and dry to a satin finish.530-41001 42ml tube $8.95530-41004 4 fl oz can $9.50530-41008 8 fl oz can $14.50

Venetian Medium based on 16thcentury Venetian painters practiceof adding powdered glass to theirpaint. Leaded glass powder, palelinseed oil, sun-thickened walnutoil with small amounts of beeswaxand lead drier. Spread thinly ontothe surface and paint directly intoit or add directly to paint nut.Smooths the edges of brush orknife strokes. Fast setting, satinfinish. Contains Lead530-31001 42ml tube $12.50530-31005 130 ml tube $35.00

Impasto Medium. Finely groundcalcite, silica and bentonite inbodied oil. Semi-transparent.Gives paint crisp consistency forimpasto with fine detail. Thinwith solvent or oil.530-32001 42ml tube $8.95530-32008 8 fl oz can $14.50

Velázquez Medium. Finely groundcalcite in bodied linseed oil. Useto extend paint without alteringits consistency. Softer thanImpasto Medium, it makes colorsslightly transparent allowinggreater control over tints withoutwhites. Thin with solvent or oil.530-36001 42ml tube $8.95530-36008 8 fl oz can $14.50

Wax MediumsRublev Colours Wax Medium is ablend of beeswax, Carnauba wax,dammar and bodied linseed oil ina thick paste formulated to makeoil colors thicker and more work-able, without extending dryingtime. Produces a harder film thanwax alone and dries to soft sheen.Add to oil colors or grind withpigments for a buttery consisten-cy and prevent oil separation. Noparaffin or microcrystalline waxes.540-5416 16 fl oz can $12.50

Wax Paste, white beeswax in apaste preparation for use directlyin painting techniques that callfor wax. Wax cuts the gloss ofvarnish and oil paint, makes oilcolors thicker and workable for a

longer time, and helps give colorsa buttery consistency.540-5410 16 fl oz can $10.50

Carnauba Wax Paste a blend ofCarnauba wax, beeswax and odor-less mineral spirits to thicken oilcolors. Use as a final varnish ormix with mediums and varnish tocut gloss. Carnauba wax gives thepaste more solidity and raises themelting point, making harder fin-ishes for paints and varnishes.540-5412 16 fl oz can $11.75

Drying OilsPale Drying Oil is linseed oilheat-treated with driers (withoutlead) that dries faster thanrefined and bodied linseed oil.Provides glossiness, improveshandling and drying of oils. Addto oil colors or mediums to speeddrying and hardening.510-41OWD08 8 fl oz $9.50

Dark Drying Oil (Black Oil) is aquick drying oil and varnish madeby heating linseed oil with leadoxide used in historical painting.Improves handling and drying ofoil colors and can be used tomake megilp. Contains Lead510-35BM08 8 fl oz $22.50

Varnish Drying Oil (Olifa) is amixture of copal resin, linseed oiland tung oil with lead drier. Itcan be added to oil colors to givethem brightness and hardness.Use undiluted as an excellent var-nish over tempera painting. Thinwith turpentine as primer overporous surfaces, such as wood.

Contains Lead510-35VM08 8 fl oz $19.50510-35VM16 16 fl oz $32.50

Cold-Pressed Raw Linseed Oil isproduced from the first pressingof flax seeds without using heator chemicals of any kind. This is

pure raw linseed oil without heat-ing and any processing exceptlight mechanical filtering.510-41OCP08 8 fl oz $9.50

Aged Refined Linseed Oil fromNorth American flax seeds is moresiccative than other refined anduntreated oils. Pale, clear andpure, alkali-refined linseed oil.Ideal for grinding your own oilcolors, thinning oil paint or as aningredient in painting mediums.510-41ORL08 8 fl oz $9.50

Pale Grinders Linseed Oil isrefined, bleached and dewaxedlinseed oil and fatty acids, makingan exceptionally pale oil. Its highacid value makes it easier to wetpigments, such as organic pig-ments, for making your own oilpaint and grinding reactive pig-ments, such as lead white.510-41OPG08 8 fl oz $9.50

Walnut Oil is cold-pressed fromfreshly dried English walnuts andthen lightly refined. As a thin oil,it is used to make oil paint morefluid. It is less yellow than lin-seed oil so it is used to make paleoil colors. Walnut oil dries slowerthan linseed oil.510-43ORW08 8 fl oz $10.50

Safflower Oil, pressed from saf-flower seeds, is a refined veg-etable oil that is a good drierwith low acidity and resists yel-lowing. Due to its pale color, it isused for grinding white pigments.It can be mixed with oil colors togive them fluidity, transparencyand gloss without affecting theircolor after drying. Dries slowerthan linseed oil, but can be safelymixed with it. Add a maximum of25% to the total paint mixture.510-43ORS08 8 fl oz $10.50

Poppy Seed Oil, cold-pressedfrom poppy seeds, is clearer and

less yellowing than linseed andwalnut oil and is recommendedfor light colors and blue colors. Itdries slower than linseed, walnutand safflower oil that is improvedwith a drier. Avoid excess use.510-4308088 8 fl oz $14.50

Kettle-Bodied Linseed Oil(Stand Oil) is a viscous, polymer-ized linseed oil refined by neu-tralizing free fatty acids and heat-ed in a closed kettle. It givesgloss, brushability, forms harderfilms than raw or refined oil andcreates 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 heatingpure linseed oil in a vacuum.Provides transparency and fluiditywhile smooth ing brushstrokes.Use straight from the bottle orthin with solvent. Makes an excel-lent medium for glazing andimparts gloss to paint. Reducesthe appearance of cracking, slowsdrying and is less yellowing thanrefined linseed oil. Bodied oilsform harder films than untreatedoil and leaves an enamel-like fin-ish. Add to mediums to in creaseviscosity and slow drying.Item No. Viscosity 8 fl oz510-41OVL08 Low $9.50510-41OVM08 Medium $9.50510-41OVT08 High $9.50510-41OVX08 Extra High $9.50

Epoxide Oil is a fast drying, co -polymer linseed oil that formsstrong paint films. It can be usedin place of stand oil and resinousmediums to speed up drying andimprove film formation. It is lowviscosity making it easier to brushand requires less thinner to usethan stand oil.510-40OEX08 8 fl oz $12.25

Oils


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Solvents, Driers, Resins, Waxes and Gums

20 TO ORDER CALL 1-888-361-5900

Spirits andEssential OilsClove Oil is the essential oil fromthe flower buds of the clove tree.Add to oil colors and mediums toretard drying. Use as a naturalpreservative in tempera andwater-based paint.510-43OCL02 2 fl oz $15.80510-43OCL08 8 fl oz $35.80

Spike Oil from the lavender plantis a low-toxic substitute for tur-pentine. Use as a solvent in emul-sion recipes and with oil-basedpaint to improve handling.510-42OSP02 2 fl oz $13.80510-42OSP08 8 fl oz $32.50

Spirits of Gum Turpentine madeonly from sap and triple distilled.Add directly to oil colors, medi-ums or varnishes for thinning.Use to dissolve natural resins. 520-1TRPT16 16 fl oz 17.00 520-1TRPT32 32 fl oz 30.50

Rublesol Odorless MineralSpirits is an excellent solvent forgeneral painting and studio cleanup. Use to thin oil-based paintand mediums with syntheticresins. Lowest PELs. 520-1OMS16 16 fl oz 10.50 520-1OMS32 32 fl oz 15.25

DriersCalcium Drier is a clear, amberdrier containing calcium, whichactivates the natural drying char-acteristics of pigments and aids inwetting pigments when grindingcolors. Add 1 or 2 drops per 5 ml(teaspoon) paint. T500-CADR02 2 fl oz $8.25

Zirconium Drier contains zirconi-um and calcium salts to givegreater drying power than CalciumDrier. May be mixed directly withoil colors or thinner by adding 1or 2 drops per 5 ml (teaspoon).T500-ZRDR02 2 fl oz $8.25

Cobalt System Drier is a concen-trated blend of cobalt, zirconiumand calcium salts. Use in smalldoses by adding drop-by-drop tooil colors. Provides well-balanceddrying of oil paint, both on thesurface and through the film withno effect on the hue or gloss. T500-CZCD02 2 fl oz $9.65

Lead Drier is a concentratedblend of lead, cobalt and calciumdesigned to improve the drying ofoils and alkyds. This blend is opti-mized for use in all artists colors.

Contains Lead500-LCCD02 2 fl oz $12.95

English Patent Drier is a pastedrier based on original 19th cen-tury formulas, containing leadand zinc driers that can be addedwithout critical measurement—1part drier to 10 parts oil color.Contains Lead500-EPDR04 4 fl oz $12.95

English Terebine is a liquid driermade with lead and manganese inlinseed oil and thinned with odor-less mineral spirits. Based on theoriginal 19th century formula andimproved with purer ingredients.Add to oil colors to decrease dry-ing time. Contains Lead500-ETDR04 4 fl oz $12.95

French Terebine is a liquid driermade with lead and manganese inlinseed oil with copal and thinnedwith turpentine. Based on theoriginal 19th century formula andimproved with purer ingredients.Add to oil colors to decrease dry-ing time at the rate of 1 to 10parts. Contains Lead500-FTDR04 4 fl oz $16.95

Siccatif de Courtrai is a repro-duction of the famous 19th centu-ry lead and manganese drier inturpentine used by WilliamBouguereau. Contains Lead500-SFCTO4 4 fl oz $18.95

Siccatif de Harlem is based onthe famous “siccatif” of copal dis-solved in linseed and spike oil.Not strictly speaking a drier, itcan be used to hasten drying andadd hardness to paint.500-SFHA04 4 fl oz $18.95

ResinsDewaxed Shellac Flakes are pro-duced from select raw seedlac bysolvent extraction using activatedcarbon. Wax and impurities areremoved by dissolving seedlac insolvent, filtering the solution andstretching on a roller. Flakes allowyou to prepare fresh shellac eachtime and avoid waste. Use to sealwood, reduce gesso absorb encyand isolate paint layers.Platina Dewaxed Shellac (decolorized)510-32SFB10 100 g $8.75510-32SFB50 500 g $34.85510-32SFB1K 1 kg $60.50Orange Dewaxed Shellac510-32SFO10 100 g $8.75510-32SFO50 500 g $34.85510-32SFO1K 1 kg $60.50

Dammar is the most popular resinfor spirit varnishes and mediums.Our imported Grade A crystals arepacked in a filter bag. Add tur-pentine and let stand for a fewdays. Remove the filter bag andyou have clear golden dammarvarnish. This is the most econom-ical way to buy dammar varnish.510-33DMR01 To make Pt $8.95510-33DMR02 To make Qt $12.95

Mastic was the most popular resinfor spirit varnishes and mediumsin the 19th century. The smallyellow tears are used to make tra-ditional high grade picture var-nishes and mediums. Our mastic istapped from living trees on theGreek island of Chios and packedin a filter bag. Add turpentineand let stand for a few days.Remove the filter bag and youhave clear golden mastic varnish.510-33MAS10 To make Pt $43.50510-33MAS25 To make Qt $87.00

Canada Balsam is the pale yellowoleoresin with a faint greenishcast of Abies balsamea and relat-ed species. It dries to a cleartransparent film. It is used as aplasticizing resin for varnishes.510-33CAN04 4 fl oz $28.90

Baltic Amber is a natural fos-silized resin. We hand selectpieces of gem-grade succiniteamber from our Baltic source,ranging in color from clear, gold-

en yellow to reddish brown withfew inclusions or impurities, so itis ideal for making amber varnish.510-31AMR10 100 g $33.20

WaxesWhite Beeswax pastilles from beeapiaries naturally bleached to asoft, pleasing white color. Whitebeeswax is the recommendedchoice for most painting tech-niques calling for wax. Beeswaxcuts the gloss of oil paints, givingthem a satin finish while extend-ing the drying time, making themthicker and workable for longerperiods of time.510-33WAXLB 500 g $16.50510-33WAXKG 1 kg $29.50

Carnauba Wax is a vegetable waxfrom Brazil harvested from theleaves of the carnauba palm. It isharder and has a higher meltingtemperature than bees wax. SinceCarnauba is easier to melt thandammar resin, it can be substitut-ed for dammar or combined withit to make encaustic medium.510-33WAXCB 250 g $12.50

Candelilla Wax is a vegetable waxfrom the Candelilla plant growingin northern Mexico and westernTexas. It is an excellent plasticiz-er, water repellent, and has a highmelting point—higher thanbeeswax. It can be used in placeof beeswax or carnauba wax.510-33WAXCL 250 g $12.50

GumsGum Arabic is a water-solublegum obtained from the senegalspecies of the acacia tree, andused to make watercolor, tempera,ink, adhesives and as a bindingmedium for pastels and marblingcolors. Useful for creating texturaleffects when mixed with watercol-or washes, and with resins inmaking emulsions for tempera.

Gum Arabic Powder is hydratedpowder that is easier to dissolvein water to make watercolor medi-um or use in tempera or emulsionrecipes.510-51GUMAR 4 oz jar $6.50510-51GUMARB 250 g $15.50510-51GUMAPBB 500 g $18.95

Gum Arabic Pebbles is the actualexudation of the tree in the formof small amber pebbles withoutany additional processing. Soak inwater overnight before heating.510-52GAPBS 4 oz jar $8.50510-52GAPBB 500 g $30.50

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Aluminum Acetate is used tomake gelatin or hide glue insolu-ble as described in Science ofPainting by Jehan Georges Vibert.500-11ALA50 500 g $39.00

Aluminum Chloride is used withcalcium chloride to produce analuminum-calcium rosinate. Thisrosinate is used in varnishes formusical instruments.500-11ALC50 500 g $20.00

Aluminum Sulfate (alum) hard-ens glue and starch sizes. Spray asolution of alum and water ontoglue or gesso to harden it or addto glue. Use 10 grams of alum foreach 100 grams of size.500-11ALM10 100 g $4.50 500-11ALM50 500 g $9.95500-11ALMB 1 kg $14.95

Aluminum Potassium Sulfate,also called potash alum, is thetraditional alum used for dyeingand making lake pigments.500-11ALP50 500 g $18.50

Ammonium Carbonate is used todissolve casein in water and as anemulsifier to combine water withoil or wax. T500-11AMC50 500 g $35.00

Borax (sodium tetraborate penta -hydrate) is an alkali used to dis-solve casein in water, as an emul-sifier to combine water with oil orwax, and to neutralize acidity,such as in gum arabic solutionsand after bleaching with oxalicacid. Add borax to casein to makemilk paint or glue.500-41BX010 100 g $4.50500-41BX050 500 g $9.95500-41BX100 1 kg $14.95

Calcium Chloride is used withaluminum chloride to make analuminum-calcium rosinate foundin varnish recipes for musicalinstruments.500-21CAC50 500 g $7.50

Calcium Hydroxide, also knownas hydrated lime, is used to makelime putty, milk paint and “limedrosin.” Also used to neutralizefree fatty acids and remove waterin drying oils after washing withwater to remove impurities. T500-21CAH50 500 g $7.50

Calcium Oxide, also known asquicklime, is used to make limeputty, milk paint and “limedrosin.” Quicklime is a caustic andexothermic substance producingheat when mixed with water. 500-21CAO50 500 g $12.50

Citric Acid is used to adjust thepH of solutions (toward acidity)and as a mordant to make lakepigments from natural dyes.500-21CIA50 500 g $7.50

Copper Sulfate, also known asblue vitriol or blue copperas, isused as a mordant for naturaldyes and to make verdigris. T500-21CUS50 500 g $12.50

Ferrous Sulfate (iron(II) sulfateor ferrous sulfate heptahydrate),also known as copperas or greenvitriol, is a light green powderused as a mordant for dyes. T500-22FES50 500 g $7.50

Formaldehyde Spray, a 4% solu-tion of formaldehyde to preventmold and to harden animal colla-gen, such as hide glue. Spray ongesso or chalk grounds afterapplication to a support. T500-21FHSP8 8 fl oz $8.45

Glycerin is used as a humectantand plasticizer for aqueous medi-ums, such as glue and gum. Addto glues and starches to makethem more flexible and preventcracking. Add to watercolors toprevent drying on the palette.500-23GCRN2 2 fl oz $4.95500-23GCRN8 8 fl oz $9.55

Oxalic Acid is used extensively asbleaching agent and as a mordantin making lake pigments, such ascarmine lake. 500-21OXA50 500 g $7.50

Phenol Spray, a 4% solution ofphenol to prevent mold on gesso.Spray on fresh gesso and store fordays in a cool place, or weeks in arefrigerator. Spray containers andtools before use. T500-22PHSP8 8 fl oz $8.45

Potassium Bitartrate, also calledpotassium hydrogen tartrate andcream of tarter, is a white powdereasily soluble in water. It is usedwith other mordants to vary thecolors produced by natural dyes.500-21POB50 500 g $12.00

Potassium Carbonate, also calledpearlash, is a strong alkali used tomake rosinates for varnishes. T500-21POC50 500 g $7.50

Potassium Dichromate, alsoknown as potassium bichromate,is an orange-red powder used as amordant for natural dyes. Whenadded to glue or gum, it hardensin light, making it insoluble. 500-21POD50 100 g $29.50

Potassium Hydroxide, alsoknown as caustic potash, is astrong alkali used in lake pig-ments, emulsions and soaps withwax and resin, such as rosinatefor varnishes. Can be substitutedwith sodium hydroxide. 500-21POH50 500 g $15.00

Sodium Carbonate, also knownas soda ash, is an alkali used inmaking lake pigments. T500-21SOC50 500 g $7.50

Sodium Hydroxide (flakes), alsocalled caustic soda, is used tomake lake pigments, emulsionsand soaps with wax and resin. Canbe substituted with potash. 500-21SOH50 500 g $15.00

Stearin, a glycerol ester of stearicacid, can be combined with waxto increase the melting point andhardness of encaustic medium.500-21STA50 500 g $15.00

Tetrapotassium Pyrophosphate(TKPP) is used as a dispersingagent for pigments in water-bornepaint and in making emulsions.500-21TKP50 500 g $7.50

Tetrasodium Pyrophosphate(TSPP) is used to dissolve shellacin water, in making emulsions,and as a dispersing agent for pig-ments in water-borne paint.500-21TSP50 500 g $7.50

Tin Chloride, also called stannouschloride, is a mordant to producevarious colors when used with thenatural dyes. T500-21TIC50 500 g $60.00

Triethanolamine (85% solution),known as TEA, is an amide usedto emulsify wax by adding towater before adding to meltedwax to make emulsion.500-21TEA08 8 fl oz $7.75

Van Dyke Crystals is a water-sol-uble form of Van Dyke brown, thenatural earth pigment. Dissolve inwater to make a walnut brownstain or watercolor. Darker shadescan be made by adding an alkali.500-21VDC50 500 g $35.00

Zinc Sulfate, also called whitecopperas or white vitriol, is usedas a drier for drying oils and invarnishes for musical instruments.500-21ZIS50 500 g $22.00

Zinc Chloride, when dissolved inrosin, use to make zinc-alizarin-rosinate used in certain musicalinstrument varnish formulas. 500-21ZIC50 500 g $25.50

ChemicalsAdditives

Gum Tragacanth is a natural gumthat is mixed with pigments tomake pastels and chalks. Use tomake marbleized papers and as aningredient to make emulsions.510-51GUMTG1 1 oz jar $6.50510-51GUMTG 4 oz jar $16.00

Dextrin is processed starch usedas a binder in combination with(or in place of) gum arabic. Itthickens paint, altering a taffy-like vehicle to a smooth, butteryconsistency, and reduces surfacegloss or bronzing in the driedcolor. Watercolors are given a“short” or stiff consistency.510-53DXTLB 500 g $7.50510-53DXTKG 1 kg $12.50

AdditivesFumed Silica has a chain-like par-ticle structure that bonds togetherto trap liquid, thereby increasingviscosity. Add to thicken andincrease transparency of paint.Stirring or brushing paint withfumed silica will flow and level,but when stopped, the paint will‘thicken up’ again. This property iscalled thixotropy.510-15FSQ Quart $12.50

Aluminum Distearate is a white,wax-like powder that dissolves inoil. A small amount (2% or less)added to oil paint imparts a short,buttery consistency. It eliminatesthe separation of pigment and oil,thickens varnishes considerably. Aconcentrate of aluminum stearateand linseed oil can be preparedahead of time and added to thepaint whenever needed.510-15ALD50 500 g $14.50

Organoclay (Bentone SD-1) is anorganic derivative of bentoniteclay and used as a rheologicaladditive. Mixes easily with oil andalkyd paints to increase viscosity,prevent pigment settling, andincrease crispness of handling.Add 1–4% of total weight.510-15OCL50 500 g $16.95

Castor Wax (Thixcin R) is a non-discoloring, non-hygroscopicorganic derivative of castor oil.Used as a rheology additive in oiland alkyd paint, it adds thixo tro -pic body and prevents oil separa-tion. Does not react with pig-ments and vehicles and does notdetract from durability. Alsoassists in emulsion stabilization ofwater-in-oil emulsions. Add 1–2%of total pigment weight.510-15CWX50 500 g $16.95


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22 TO ORDER CALL 1-888-361-5900

GROUNDS

Painting GroundsThe ground is the layer appliedon to the support to prepare it toreceive paint. Paint ing groundshave a number of functions themost essential is to provide a sur-face favorable to the applicationof paint. Grounds also change theabsorbency of the support, reduceor enhance its texture or providea different texture entirely andcreate a surface that forms agood bond between the supportand the paint layer.

The ground is crucial to thedurability of the painting. DeMayerne noted as early as the17th century that quality materi-als were as essential to theground layer as to the paint layer.

Grounds can be divided intotwo broad categories, accordingto their absorbency: those thatare absorbent and those relativelynon-absorbent or semi-absorbent.Absorbent grounds are essen-

tially tempered, water-basedgrounds prepared with glue orcasein. The most common solidmaterials of absorbent groundswere chalk, calcium carbonate,and gypsum, calcium sulfate.

Strictly speaking, gesso (theItalian word for gypsum) referssolely to absorbent grounds madewith gypsum, which was com-monly used for the grounds ofItalian panel and canvas paint-ings from medieval times to theend of the 16th century. Gypsumis the principle ingredient ingesso grosso and gesso sottiledescribed by Cennino Cennini inhis 15th century painting hand-book, Il libro dell' Arte o Trattato

della Pittura. Chalk occurs natu-rally in Northern European coun-tries and for this reason in thoseareas, it was the most widelyused in absorbent grounds.

Grounds bound with casein aregenerally less absorbent thangrounds made with animal colla-gen, such as technical gelatin,hide glue or rabbit skin glue.Oil grounds were adopted for

their flexibility when canvas sup-ports were developed. The advan-tage of an oil ground beneath anoil paint layer is that it providesa relatively non-absorbent foun-dation, which enhances theinherent gloss of oil paint.Emulsions of glue or casein

and linseed oil are called half-chalk grounds and are suggestedfor painters who want to combinethe advantages of oil grounds(flexibility) with those of chalkgrounds (absorbency).

In the 20th century, acrylicdispersion grounds (misnamedacrylic gesso) were developed toanswer the problem of slow dry-ing inherent in oil grounds. In

spite of their popularity, somepainters find this type of groundinconvenient for oil painting andentirely unsuitable for tempera.

Absorbent Ground KitsBasic Chalk Grounds Kit has theessential supplies to make your

own traditional chalk groundsfor painting. The kitincludes:• Easy Gesso, 1 kg

• Gesso brush, 2 in.• Surface knife, 80 mm wide• Steel wool• Instructions501-1101 Save $10 $28.00

Advanced Chalk Grounds Kit hasall the tools and ingredients tomake traditional chalk groundsfor painting supports. Theadvanced 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• Instructions501-1102 Save $12 $45.00

Gesso Grounds Kit has every-thing needed to make and applygesso to panels, frames, furni-ture, etc., as a base for paintingor gilding. Gesso Oro per Indora -tori is preferred by professionalgilders in Europe as their firstchoice for making ivory smoothgrounds. 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 painting301-1104 Save $7 $25.00

Gesso Grounds Kit(bowls not included)

Advanced Chalk Grounds Kit(bowls not included)









Easy Gesso is an easy way tomake traditional chalk grounds.This is a dry mix of chalk and rab-bit skin glue in just the right pro-portions, making it easy to use.Simply mix equal amounts of EasyGesso and water, wait a few hoursto gel and then warm until it isliquid enough to apply with abrush or cool and apply with asurface knife (see page 25).510-12ESGMX 500 g $11.50 510-12ESGMK 1 kg $17.50 Easy Gesso Extra-Fine is a newformulation of our original EasyGesso but with extra fine naturalground chalk and titanium diox-ide. Prepare in the same way asEasy Gesso for a ground with a lit-tle less tooth. Use for all water-media and oil paint on rigid sup-ports. Polishes to a very smoothbright white finish.510-12ESGXX 500 g $13.50 510-12ESGXK 1 kg $22.50

Traditional Silverpoint Ground isa ready-to-use dry mix groundbased on Cennini’s 15th centuryrecipe that provides the rightabrasive surface for silver andother metal point drawing that isapplied to paper or wood. Mixwith an equal amount of waterand warm until it is liquid enoughto apply with a brush.550-SPTG05 500 g $14.50

GOLDEN Silverpoint / DrawingGround is a liquid acrylic used forthe preparation of supports fordrawing media. The ground allowsyou to make fine detailed lines ona permanent, lightfast, flexibleground. Silverpoint / DrawingGround is ideal for use with metalstyli or other drawing tools. Applywith brush or sponge.550-SPG08 8 fl oz $14.39

Old Masters Liquid Ground is aliquid casein ground for the prep -

aration of porous supports, suchas wood and paper. The lightlyabrasive ground allows fine lineswith drawing media, such asmetal point, graphite and char-coal. Ideal for use with watercol-ors or tempera and with oil colors

after reducing the absorbencywith Isolating Varnish (page 18)or Lead Oil Ground. Apply with abrush or sponge on porous sur-faces, such as wood or paper.550-SPTLG08 8 fl oz $14.50550-SPTLG16 16 fl oz $24.50

Grounds


Rublev Colours Lead Oil Groundis a blend of white pigments andlinseed oil for a semi-absorbentground ideal for oil painting.Lead Oil Ground contains leadwhite, ground calcite, and titani-um dioxide in just the right pro-portions to make a film that

remains flexible and tough withsome absorbency. The blend oflinseed oil provides penetrationinto the support to ensure goodadhesion yet maintain sufficientholdout to form a good founda-tion for paint layers. It providesgood leveling properties, so

brush and knife marks are mini-mized. Rublev Colours Lead OilGround has a high concentrationof pigments so only two coatsare usually necessary. Applydirectly onto a panel or canvassized with PVA or rabbit skinglue for an excellent foundationfor oil and alkyd paints.

The essential characteristics ofgood grounds are 1) adhesion, 2)flexibility, 3) penetration con-trol, 4) a surface to which paintlayers can adhere well, and 5)easy application. Careful selec-tion of ingredients is essential toimpart these qualities. Groundcalcite (calcium carbonate), leadwhite (basic lead carbonate) anda chalk resistant grade of rutiletitanium dioxide have proven tobe excellent choices.

Lead white contributes to flex-ibility and creates a strong paintfilm. The grade of dry ground cal-cite we use provides the lowestpossible oil absorption. It offers

the desired penetration controland aids in forming a surface towhich paint layers adhere well.Titanium dioxide increases opaci-ty and provides a brilliant whitesurface for painting.

Rublev Colours Lead Oil Groundhas the consistency of heavycream, so it can be used straightfrom the can and applied with abrush or knife. Although notrequired, it can be thinned withturpentine or mineral spirits.

We recommend at least twothin coats on a panel or a sizedcanvas. This ensures even cover-age and speeds drying.

Drying time depends on manyfactors, so it is difficult to give arecommendation that covers allapplications, but we recommendwaiting at least 14 days beforepainting and more time may berequired.510-8LWG08 8 fl oz $27.75510-8LWG1 Pint $41.25510-8LWG1Q Quart $69.75

Semi-Absorbent Grounds

SEMI-ABSORBENT GROUNDWe have found this ground to beexcellent for tempera painting,especially using a “fat” emulsion.If 1/2 cup of linseed oil is addedto the ground, it also makes agood ground for oil painting.IngredientsEasy Gesso 1 cup 250 mlWater 1 cup 250 mlLinseed Oil 1/3 cup 85 mlVacuum-Bodied (Low Viscosity)Preparation

Prepare the panel or canvas byrubbing with a pumice stone, sizewith PVA or rabbit skin glue andagain lightly rub with the pumice.

Slowly add warm water (toohot for your hand, but not boil-ing) to Easy Gesso, stirring allthe time with a spatula, until alllumps have disappeared and youhave a perfectly smooth creamymixture. Stir gently to avoidentrapping air and forming bub-bles in the mixture.

When the mixture has cooledsomewhat, to about the tempera-ture that you can touch withoutburning, but before it begins tostiffen, add the linseed oil veryslowly at first, dropwise, stirringthe mixture constantly. After itabsorbs some of the oil, it is pos-sible to add the oil faster. Whenall the oil has been added, andwell stirred into the mixture,apply it to the panel or canvas. Assoon as it is evenly covered, takea knife and lightly scrape it withlong steady strokes in one direc-tion, and then at right angles tothe first. Apply two coats. Allowthe first coat to set for 30 min-utes before applying the second.

Allow the ground to dry atleast one week, better two weeks,before using. When dry, test it forflexibility by pressing with thefinger from behind the canvas.The ground should not crack underreasonable pressure.

Emulsion Grounds for Tempera and Oil Painting

Ready-Made Grounds

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Grounds

24 TO ORDER CALL 1-888-361-5900

Whiting and FillersCalcium CarbonateChalk (calcite) is the finest whit-ing from limestone deposits inthe Lucerne Valley for making bril-liant white grounds. Use as anextender in paint and as filler inchalk grounds. Bright ness is ratedat 92 and is 98% pure calciumcarbonate. Useful for adding tex-ture and body to paint.Fine (median particle size 12 µ)510-11CHK1K 1 kg $6.85510-11CHK5K 5 kg $25.50 Extra Fine (median particle size 3 µ)510-11CHX1K 1 kg $7.50510-11CHX5K 5 kg $28.00

Marble Dust is formed from lime-stone. Heat and pressure in theearth's crust, called recrystalliza-tion, changes the composition oflimestone to form large grains ofcalcite. All our marble dusts areground to a particle size of 0–70microns to retain its high bulkingcharacteristics while preservingits brightness. Use as an extenderin paint, to add texture and bodyto paint, and as filler in grounds.

Bianco Carrara White MarbleDust is ground white marble fromthe world-class deposit of highbrightness in Carrara, Italy.510-10CWMD1K 1 kg $7.50510-10CWMD5K 5 kg $28.00

Verde Alpi Green Marble Dust isa green ophicalcite from Italy,which is recrystallized limestoneof calcite and serpentine.510-10AGMD1K 1 kg $7.50510-10AGMD5K 5 kg $28.00

Botticino Marble Dust is a creamlimestone from marble quarriesnear the town in the province ofBrescia, Lombardy, Italy.510-10BWMD1K 1 kg $7.50510-10BWMD5K 5 kg $28.00

Rosso Verona Red Marble Dust isground red marble from theVeneto province of Italy.510-10VRMD1K 1 kg $7.50510-10VRMD5K 5 kg $28.00

Bianco Verona White MarbleDust is ground white marble fromthe Veneto province, Italy.510-10VWMD1K 1 kg $7.50510-10VWMD5K 5 kg $28.00

Bologna Chalk is a natural miner-al from Bologna, Italy, composedof monoclinic prismatic crystals ofhydrated calcium sulfate-carbon-ate. Use it to make optimally softgesso for gilding and painting.510-11BLCL1 1 kg $9.50 510-11BLCL5 5 kg $35.00

Calcium SulfateItalian Gesso (Gesso Oro perIndoratori) is dry ground gypsummade according to an old recipe.Gypsum was used since before theRenaissance with animal glue inCennini’s gesso sottile recipe. Itmakes an ivory ground that isideal for painting and gilding.510-11GL1K 1 kg $9.50510-11GL5K 5 kg $35.00

Alabaster (also called satin spar)is a natural crystalline mineral ofhydrated calcium sulfate minednear Florence, Italy. Softer thanchalk (hardness 3), its hardnessof 1.5–2 makes a soft white gessothat takes a high polish for gild-ing or for painting. Use with paintas a brilliant white filler.510-11ALB1K 1 kg $7.50510-11ALB5K 5 kg $28.00

Terra Alba is natural gypsum usedas an extender in gesso and paint.Brightness is 89, median particlesize 12 microns and 98% pure cal-cium sulfate. Oil absorption is 23grams per 100 grams of terra alba.510-11TRAL1 1 kg $7.50510-11TRAL5 5 kg $28.00

SilicaSilica powder is high purity, natu-ral crystalline silica that is groundfrom natural silica ore. It is aninert, bright white powder com-posed of 99% pure silicon dioxide.Add to paint to increase thetransparency of colors, add bulkfor impastos and increase the vis-cosity of painting mediums. Veryfine, median particle size of 5 µ.510-15SLC1 1 kg $6.85510-15SLC5 5 kg $25.50

Fumed Silica has a chain-likeparticle structure that bondstogether to trap liquid, therebyincreasing viscosity. Add to thick-en and increase transparency ofpaint. Stirring or brushing paintwith fumed silica will flow andlevel, but when stopped, thepaint will ‘thicken up’ again. Thisproperty is called thixotropy.500-15SFSQ Quart (946cc) $12.50

Alumina SilicateKaolinite is a soft, earthy, whitemineral, known as China clay orkaolin, that has been heat-treat-ed to increase whiteness andhard ness and alter the size andshape of its particles. Use ingrounds, such as for paintingwhere recipes call for “pipe clay”mixed with starch or flour tomake a thick creamy white groundtypical of 19th century paintings,and in recipes for gilding bole.510-15KLN1K 1 kg $7.50510-15KLN5K 5 kg $28.00

Vicenza Earth is natural hydratedclay from Vicenza, Italy used inRenaissance Italian sgraffito pot-tery. Use it to make smooth gessoand as a filler to thicken, addthixotro pic properties to water- oroil-based paint and as a creamybeige transparent color.510-11VIC5K 5 kg $39.50

Bentonite has colloidal proper-ties, increasing volume severaltimes when mixed with water, cre-ating a gelatinous and viscousfluid. Its properties makes it use-ful as a thickening and/or suspen-sion agent in aqueous and oilmedium.510-15BNT1K 1 kg $7.50

Pumice is a fine grade of volcanicrock used to polish surfaces andto give “tooth” to grounds. Addpumice to paint to make it appearmat when dried, add texture andincrease body without greatlyaffecting the color.Medium Granularity (1–125 microns)510-13PUMOZ 4 oz $4.25510-13PUM50 500 g $7.50 510-13PUMKG 1 kg $11.00 Fine Granularity (1–70 microns)510-13PUFOZ 4 oz $4.25510-13PUF50 500 g $7.50 510-13PUFKG 1 kg $11.00

Magnesium SilicateTalc is magnesium silicate hydrox-ide from natural ores in Montana,U.S. Chemically inert, talc can beadded to paint to increase bulkand to pastel pastes to brightenpigments. Extra fine particles, 3µ.510-13TAL1K 1 kg $6.85510-13TAL5K 5 kg $25.50

Miscellaneous ExtendersAluminum Hydrate is an exten-der and bodying agent in oil- andwater-based paint that does notaffect the color of the paint. Oursis an 8 micron median particlesize filler that is a bright whitepowder and can be added to paintto impart transparency andincrease brilliance of colors.510-11ATH1K 1 kg $6.85510-11ATH5K 5 kg $25.50

Barite is made using the highestquality white, natural barium sul-fate ore. Its unique properties offine grind (3 micron median parti-cle size), high specific gravity(4.4) and chemical inertnessmakes it ideal for many uses. Itcan be used in grounds, to makewhite paint and as paint filler.510-11BRT5K 5 kg $39.50

How to Select FillersFor soft grounds, choose calciumsulfate or alumina silicate miner-als. Marble dust makes groundswith hard, coarse (textured) sur-faces. Silica, talc and pumice addtexture to grounds. Add at least10% titanium white pigment foropaque, brilliant white grounds.

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Natural GluesGenuine Rabbit Skin Glue is ahigh bloom strength glue made inItaly of pure rabbit collagen andnot bovine. It is a granular gluethat is ideal for use in gesso,gilding size and as a medium fordistemper painting.510-21GRSG1 4 oz $7.50510-21GRSG5 500 g $25.00510-21GRSGK 1 kg $49.00

Rabbit Skin Glue is a high bloomstrength glue made in the U.S. Itis a fine mesh granular glue thatis easy to dissolve in water and isthe lightest in color and mosttranslucent glue available. It idealfor use in gesso and as a mediumfor distemper painting.510-21RSGL5 500 g $12.50510-21RSGLK 1 kg $20.00

Italian Rabbit Skin Glue is amedium bloom strength gluemade in Italy . It is a mediummesh granular glue that is easy todissolve in water and ideal for usein gesso, gilding size and as amedium for distemper painting.510-21IRSG5 500 g $15.95510-21IRSGK 1 kg $29.00

Technical Grade Gelatin is a finemesh granular gelatin that is easyto dissolve in water. The mediumbloom strength makes it ideal foruse in gilding. Gelatin is preferredby many professional gilders overhide glue, because it can burnisheasier than hide glue when mixedwith gilders’ clay or gesso.510-21THGLU 500 g $12.95

Hide Glue is a high-grade gluemade of pure bovine hides. It is amedium mesh granular glue that’seasy to dissolve in water. Itslower bloom strength gives it alonger setting time, useful formaking softer gesso.510-21HDGLU 500 g $12.95

Fish Gelatin is a high molecularweight glue with a higher viscosi-ty and a tougher film than ourstandard gelatin. Similar charac-teristics to animal gelatin withthe exception that it does not gelat room temperature.510-21FGLT5 500 g $12.95

Russian Sturgeon Glue (Isinglass) from dried sturgeonbladders of the highest quality.Our sturgeon glue is the sameused by Russian restorers.Sturgeon glue has higher adhe-sion and lower viscosity thancomparable animal glue, such asgelatin or rabbit skin glue.510-21STGL 100 g $69.50

Dextrin is processed starch usedas a binder in paint as an adhe-sive. It is soluble in cold water.Use as an adhesive for porous sur-faces, such as wood and paper.510-53DXTLB 500 g $7.50

Synthetic GluesNeutral pH Adhesive is a white,neutral pH adhesive that driesclear and fast and is fullyreversible with water. Made ofarchival polyvinyl acetate (PVA),it does not become brittle andadheres to most porous surfaces.510-270008 8 fl oz $8.42510-27032 Quart $21.35510-27028 Gallon $58.95

Brushes and Tools

Sandpaper Block holds a sheet ofsandpaper for polishing the sur-face of grounds. 122 x 70 x 35mm (4.875 x 2.75 x 1.375 in.)656-SNDPPRB $7.50

Surface Knife (Twin Blade) ThisGerman-made knife is the cadillacof scrapers because of its twinblade and comfortable wood grip.It makes scraping and applyinggrounds easier. The polished steelknife is firmly set in a varnishedwood grip. The blade has a fingerrest-plate for even distribution ofpressure across the entire widthof the blade. Slight rounding ofthe blade ends ensures smoothapplication of gesso. The flexibili-ty of the knife blade can be accu-rately set by adjusting the fingerrest-plate. Blade size 120 x 105mm (4-3/4 x 4-1/8 in.).650-SFKNTWB $24.50

Surface Knife is a German-madescraper ideal for scraping grounds.The aluminum handle without riv-ets is easy to grip and permitseasy cleaning by simply throwingit into water or solvent. Hardenedstainless steel blade is machineground. Blade size: 80 mm (3-1/4in.) or 105 mm (4-1/8 in.) wideby 105 mm (4-1/8 in.) tall.651-SFKN080 80 mm $8.00651-SFKN105 105 mm $10.00

Plastic Surface Knife Set areinexpensive and great for smooth-ing grounds on nearly any sizepanel. Widths: 50 mm (2 in.), 80mm (3-1/8 in.), 100 mm (4 in.)and 120 mm (4-3/4 in.)651-SFKNPLC Set of 3 $7.50

Horsehair Cloth (right) is a mild-ly abrasive cloth made of horse-hair for polishing bole or grounds.The thickly woven cloth measures10 x 15 in. (25,4 x 38,1 cm).656-HHC $7.95

Gesso Brushes—A quality flatbrush made of white Chungkingbristles. Used specifically forapplying gesso, varnishing, paint-ing with oils and acrylics on largesurfaces, and applying glue sizeto panels, canvas and fabrics.Bristles with natural flagged tipsand chiseled straight edges areset into a metal ferrule. The longred plastic handle is designed foreasy gripping.702-5437125 2 cm (0.75”) $2.50702-5437150 4 cm (1.5”) $3.05702-5437180 6 cm (2.38”) $5.10

Grounds






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26 TO ORDER CALL 1-888-361-5900

WATERCOLORS

Rublev Colours Watercolorsare made with the same pig-ments used by watercolor

masters of the 17th to 19th cen-turies. The colors are genuine sin-gle pigment paints available indi-vidually in tubes and cakes.

We make Rublev ColoursWatercolors with gum arabic,honey and sugar syrup, whichwere the basic ingredients usedin watercolors of past centuries.There are no other additives toalter the characteristics of eachcolor. Rublev Colours Watercolorsdo not contain fillers to extendcolors, dispersants to disperseand granulate pigments andbrighteners to intensify colors.Rather, each color is crafted todevelop its unique character, sothey behave much the same asthe watercolors of the past.

Using only pure pigments, wefirst wet the pigment in distilledwater to better diffuse with thebinder for flawless color washes.

Bound with gum arabic fromAcacia trees in Africa, slowly dis-solved from natural pebbles, weproduce a binder that fuses com-pletely with pigments for cleanwashes.

Our secret ingredients—whitehoney and golden sugar syrup—impart a soft luster to colors.Honey and sugar were used inwatercolors through out history toprevent them from drying tooquickly. Watercolors made withthese ingredients remain moiston the palette and are easier todilute into washes.

Rublev Colours Watercolorshave the highest amount of pig-ment possible suspended in agum arabic binder, giving them aheavy consistency that makesthem one of the richest andthickest watercolors available.Staining is the characteristic

of paint that makes it difficult toremove from paper after it hasbeen applied. Less staining colorscan be lightened or removedalmost entirely when wet or whenrewetted and then “lifted” bystroking gently with a clean, wetbrush and then blotted up with apaper towel. Staining depends inlarge part on the composition ofthe paper and on the particle sizeof the pigment. Staining isincreased by the use of disper-sants, because dispersants act to

embed pigment parti-cles between the fibers ofthe paper, dulling the fin-ished color. While most brandsof watercolors contain disper-sants to reduce the time to makethe paint, Rublev Colours Water -colors do not contain dispersants;staining is minimized.Granulation is the appearance

of visible pigment particles in theapplied color, especially when thepaint is diluted and applied witha wet brush stroke.Flocculation is the clumping

together of pigment particles,typical of some colors, such aslazurite. Both granulation andflocculation create subtle effectsas the paint dries and are consid-ered desirable by accomplishedwatercolor painters. The trend incommercial watercolors is to sup-press pigment textures in favor ofhomogeneous washes of color.Many of the natural pigments inRublev Colours Watercolors pro-duce granulation effects naturallywithout the use of additives.

Watercolor Medium can be usedto make watercolor paint withpowdered pigments and to dilutewatercolors. Contains gum arabic,honey, glycerin and a smallamount of preservative.510-5508 8 fl oz $12.95

Gum Arabic Solution to increasethe binding effect of watercolors.510-5608 8 fl oz $11.50

Crystal Water Varnish is a gumvarnish that adds luster to awatercolor painting and saturatescolors. It is based on a recipeused by watercolorists of the18th and 19th centuries. Applywith a wide flat, soft-hair brush.Can be thinned with water.540-1201 8 fl oz $14.95

Lac Water Varnish is a clear, nat-ural resin varnish that can beused as a fixative or final picturevarnish on watercolor paintingsto enhance color saturation. It isbased on varnishes used by 19thcentury watercolorists. Applywith a soft-hair brush or bymouth spray. Thin with water.540-1205 8 fl oz $14.95

Hydrogel is a transparent gel ofgum arabic and fumed silica thatthickens the consistency of paint,giving an impasto effect towater colors and gouache.540-1203 50 ml tube $10.95

Glycerin is used as a humectantand plasticizer in aqueous medi-ums, such as egg, gelatin andgum. Add to watercolors to makethem more flexible and preventcracking. Makes watercolor wetterand last longer on the palette.500-23GCRN2 2 fl oz $4.95500-23GCRN8 8 fl oz $9.55

Azurite850-101 | Series 6 | PB 30

Indigo850-102 | Series 4 | NB 1

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

Smalt850-104 | Series 6 | PB 32

Vivianite (Blue Ocher)850-105 | Series 5

Prussian Blue850-106 | Series 3 | PB 27

Verditer Blue850-107 | Series 4 | PB

Malachite850-204 | Series 5

Nicosia Green Earth850-205 | Series 3 | PG 23

Verona Green Earth850-206 | Series 2 | PG 23

Celadonite850-207 | Series 4 | PG 23

Gold Ocher850-302 | Series 4 | PY 43

Lemon Ocher850-306 | Series 1 | PY 43

Italian Yellow Earth850-307 | Series 1 | PY 43

Italian Dark Ocher850-308 | Series 1 | PY 43

Natural Yellow Oxide850-312 | Series 1 | PY 43

Yellow Ocher Light850-313 | Series 1 | PY 43

Chrome Yellow T

850-310 | Series 4 | PY 43

Orange Ocher850-401 | Series 1 | PY 43

Red Sartorius Earth850-501 | Series 1 | PR 102

Ercolano Red850-503 | Series 2 | PR 102

Venetian Red850-504 | Series 1 | PR 102

Indian Red850-505 | Series 2 | PR 102

French Red Ocher850-506 | Series 1 | PR 102

Vermilion850-507 | Series 6 | PR 106

Madder Lake850-508 | Series 5 | NR 9

French Sienna850-607 | Series 1 | PBr 7

French Burnt Sienna850-608 | Series 1 | PBr 7

French Umber850-610 | Series 1 | PBr 7

Italian Sienna 850-611 | Series 1 | PBr 7

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

Cyprus Umber Dark850-615 | Series 1 | PBr 7

Cyprus Burnt Umber850-616 | Series 2 | PBr 7

Cyprus Burnt Umber Warm850-617 | Series 2 | PBr 7

Italian Raw Umber850-618 | Series 1 | PBr 7

Italian Burnt Umber850-620 | Series 1 | PBr 7

Italian Brown Ocher850-622 | Series 1 | PBr 7

Van Dyke Brown850-624 | Series 2 | NBr 8

Violet Hematite850-701 | Series 2 | PR 102

Bone Black850-903 | Series 1 | PBk 9

German Vine Black850-904 | Series 1 | PBk 8

Watercolors


33% MoreColor than Std15 ml Tubes

Series PricesSeries 20 ml Tubes Half Pans Full Pans

1 $8.95 3.50 5.502 $9.95 3.50 5.503 $11.95 3.50 5.504 $12.95 4.00 6.505 $18.95 4.75 7.856 $28.50 7.95 10.95

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

Rublev Colours Watercolors are inlightfastness category I or II,except Vermilion (category III),Indigo and Madder Lake (categoryIV). Lightfastness categories I andII, according to ASTM standardD 5607, are considered sufficientlylightfast for watercolors. CategoryIII colors may be satisfactory, ifprovided extra protection fromultraviolet light.

The high pigment concentrationof Rublev Colours Watercolors givesthem a heavy consistency, makingthem one of the richest and thick-est watercolors available. RublevColours Water colors do not containox-gall or other dispersants thatmay affect the purity and textureof the color.

Rublev Colours Watercolors areavailable in moist form, in 20 mltubes, that can be thinned andmixed on a dish or palette. Moist

watercolors are ideal for makinglarge amounts of watercolor wash.

Rublev Colours Watercolors arealso available in half (1.5 ml) andfull pans (3 ml), giving you purepigment and binder in a cake form.Apply water with a brush to mois-ten the pan and lift the paint. Usea palette with indentations to mixcolors. Pan watercolors are ideal forpainting outdoors or in the field.

Unlike pan watercolors madewith the extrusion process, RublevColours Watercolors are poured—aprocess preserving the integrity ofeach color and resulting in semi-moist cakes that respond instantlyto a wet brush.

Apply Rublev Colours Water colorson paper or other absorbent sur-faces prepared to accept water-borne paint. Clean up is easy withsoap and water.

Watercolors










Watercolor Palettes

28 TO ORDER CALL 1-888-361-5900

Watercolor PalettesRublev Colours WatercolorPalettes are a convenient andcost-effective way to try ourunique range of natural and his-torical watercolors.

Basic Flesh Tint Palette includesthree colors—one tube each ofthree colors: Gold Ocher, VeronaGreen Earth and Sartorius Red.850-1001 Save $10 $22.30

Complete Flesh Tint Palette,described on page 30, includesthe colors need to do a completerange of flesh tones. The set con-tains one tube each of six colors:Primary triad: Indian Red, ItalianYellow Earth, Lazurite; Comple -mentary dyad: Ercolano Red andNicosia Green Earth; and Under -painting: Cyprus Burnt Umber.850-1004 Save $14 $65.50

Cozens Palette introduces you tothe natural palette used by the18th century watercolorist, JohnRobert Cozens (1752–1797). Themuted color scheme in Cozens’paintings rarely departs fromgrayish blue or green colors,accented with browns or mutedreds and yellows. His palette con-sisted of Prussian blue, yellowocher, crimson lake, Indian red,burnt Sienna, burnt umber andcarbon black. By using a subduedpalette, the effects of light anddark in his work are made moreforceful. The set includes the huesused by the British artist—onehalf pan each of 8 watercolors:Prussian Blue, Green Earth, GoldOcher, Madder Lake, Indian Red,Burnt Sienna, Burnt Umber andVine Black in a watercolor case.850-1010 Small Case $50.95850-1011 Travel Case $79.95

18th Century Palette introducesthe colors used by 18th centuryEnglish watercolorists—one fullpan each of 12 watercolors:Prussian Blue, Green Earth, AnticaGreen, Yellow Ocher, Gamboge,Indian Red, Vermilion, MadderLake, Burnt Sienna, Burnt Umber,Payne’s Gray and Bone Black—allgenuine pigments—in a largefull-pan watercolor case (above).850-1012 18th Cent. $123.35

Girtin Palette introduces you tothe palette used by the 18th cen-tury British watercolorist, ThomasGirtin. Set includes half pan each:Lazurite, Nicosia Green Earth,Lemon Ocher, Red Ocher, BurntSienna, Brown Ocher, Warm BurntUmber and Vine Black in a case.850-1013 Small Case $52.45850-10130 Travel Case $79.95

Introductory Palette introducesyou to a watercolor palette ofnatural mineral pigments. Thepalette includes 16 half-panwatercolors: Lazurite (lapislazuli), Vivianite (Blue Ocher),Cold Green Earth, Warm GreenEarth, Gold Ocher, Lemon Ocher,Orange Ocher, Dark Ocher, Vene -tian Red, Indian Red, SartoriusRed, Raw Sienna, Burnt Sienna,Brown Ocher, Warm Burnt Umberand Vine Black in the large half-pan watercolor case (above).850-1014 Intro Palette $110.65

All cases are made of heavy-gaugemetal with black and white enam-el. Each has a handy metal loopon the back to allow you to placethe case on a belt loop or hold itsecurely in hand while painting.Use these cases with semi-moistwatercolors in pans or moistwater colors in tubes. (Winsor &Newton pan watercolors also fit.)To use a case with tube watercol-ors, simply fill empty pans withwatercolor paint and dry.

Watercolor Travel Case (top) isideal for the traveling watercolorartist, featuring an integral waterbottle, cup and a convenient fold-out palette. Size: 9,7 x 6,2 x 2,5cm (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 forpainting in the field. It features abrush compartment and an inte-gral foldout lid that has two paint

wells to make mixing colors out inthe field very convenient. Size:8,2 x 6,2 x 1,5 cm (3.25 x 2.5 x0.625 in.) closed. Includes 8empty half pans.624-2083 Small Case $37.45

Large Watercolor Case is ideal foruse with a larger palette of colors(half pans). It features an inte-gral foldout lid with three paintwells, a separate foldout flatpalette for mixing colors on-the-go, and a 14 cm (5.5 in.) centercompartment for brushes andaccessories. Size: 14,3 x 7 x 2,5cm (5.5 x 2.75 x 1 in.) closed.Includes 16 empty half pans.624-2091 Large Case $66.45

Full-Pan Watercolor Case is forthe watercolorist who is awayfrom the studio for long periods.It features an integral foldout lidwith four paint wells, a foldoutflat palette for mixing colors on-the-go, and a 21 cm (8.375 in.)center compartment for brushesand accessories. Size: 21 x 8 x 2,5cm (8.25 x 3.1 x 1 in.) closed.Includes 12 empty full pans.624-2096 Full-Pan Case $88.80

Watercolor Cases See theentire

collection ofWatercolorPalettesonline

Girtin Palette(small case)

Note: We may substitute colors inthe sets on this page that are outof stock or unavailable at thetime of your order with similarhues of equal or greater value.

Watercolor PansUse these pans to make your ownsets with watercolors in tubes.Simply fill the empty pans withtube paint and let dry. Insert thewatercolor pans into a case. HalfPans, 1.5 ml capacity; Full pans,3 ml capacity. Package of 10 pans.624-2190 Half Pans $2.95624-2191 Full Pans $3.50

Saint Armand Paper MillNatural Pigments commissionedSaint Armand paper mill to makethese papers especially for ourcustomers. David Carruthersopened Saint Armand paper millin 1979, out of his love for hand-made papers and 19th centurytechnology. David came from afamily associated with paper. Hisgrandfather, George Carruthers,was the owner of the InterlakePaper Mill in Ontario and David’sfather was a paper salesman withthe family firm.

Handmade PapersSaint Armand handmade papersare made one sheet at a time fol-lowing traditional methods. Thepulp for making paper is preparedby beating rags, using mostly cot-ton from clothing manufacturers,but also linen, flax straw, jute andsisal. The pulping is mechanical—no chemical or bleaching agentsof any kind are used, only waterand rags. Beating keeps the fiberslong and pliable. The papers donot crack when folded and resistvery deep embossing.

Sandby Watercolor PaperThe British watercolorist of the18th century, Paul Sandby, oftenpainted on a white wove papermade from linen and cotton rags.Named in honor of this artist, thispaper is both internally sized andsurfaced sized with gelatin just as18th century papers. The surfacesize gives paper a harder surfacewell suited for glazing and vigor-ous rubbing. Sandby WatercolorPaper is ideal for both traditionaland contemporary watercolortechniques and especially bodycolor and gouache.Size: 46 x 60.5 cm (18 x 24 in.)950-S1815 320 g/m2 (150 lb) $6.00950-S1830 660 g/m2 (300 lb)$16.00

Brown Cartridge PaperCartridge Paper originallyreferred to a paper used for mak-ing cartridges for guns. The histo-ry of its use began in the 17thcentury, but by the early 19thcentury, the name referred to atype of paper associated withdrawing and watercolor. Cartridgepaper was a rough paper of mixedfurnish (mixture of cloth fibers)and sized to add both strengthand water repellency. Its surfaceenhanced the irregular forms thatwere part of the goal in drawing.Brown Cartridge Paper is a brownlaid paper with mixed fibers wellsuited for drawing in graphite,charcoal and ink, and for paintingwith body color and gouache.Size: 46 x 60.5 cm (18 x 24 in.)950-OMP66 80 g/m2 $5.50

Blue Wrapping PaperJMW Turner often drew and paint-ed on blue paper. Blue paper hadlong been used as a wrappingpaper, such wrapping loaves ofsugar, presumably to show off thesugar’s whiteness. Turner had apredilection for working on col-ored papers. Blue Wrapping Paperis a gray-blue laid paper ideal fordrawing in graphite, charcoal andink, and for painting with bodycolor (gouache).Size: 46 x 60.5 cm (18 x 24 in.)950-OMP63 80 g/m2 $5.50

Old Master Paper

Rideau (ivory) 950-OMP58

Innis (tan) 950-OMP59

Rivière (ocher) 950-OMP62

Palliser (taupe) 950-OMP60

Gaspé (jade ) 950-OMP65

Old Master Paper is made fromlinen and cotton rags like drawingpapers of the 17th and 18th cen-turies. Lightweight and strongthey are excellent for calligraphyand drawing with charcoal, chalkand sanguine. They print well inlithography, letterpress, etchingand even ink-jet.Size: 46 x 60.5 cm (18 x 24 in.)950-OMPxx 80 g/m2 $5.50

St Armand DominionWatercolor PaperDominion Watercolor Paper istreated with a surface sizing ofgelatin to make it harder. Water-based paints or inks will notbleed. This paper is excellent forwatercolor, acrylic, ink and em -bossing. 300 lb is recommendedfor encaustic. 75% cotton and25% linen rag fiber.950-Dxxxx See Table Below

Watercolor Paper Weight: Thethickness of watercolor paper ismeasured by weight. The greaterthe weight, the thicker the sheet.It is measured either in grams persquare meter (g/m2 or gsm) orpounds per ream (lb). Thinnerpaper needs to be stretched toprevent it from buckling or warp-ing when you paint on it. Howthick the paper needs to be with-out buckling depends on how wetyou make the paper as you paint.Experiment with different paperweights, though you’ll find thatpaper less than 440 g/m2 (200 lb)needs to be stretched.

Watercolor Papers


Item Paper 320 g/m2 440 g/m2 660 g/m2

Number Dimension (150 lb) (200 lb) (300 lb)

950-D18xx 46 x 60.5 cm (18 x 24 in.) $6.00 – –950-D22xx 55.5 x 76 cm (22 x 30 in.) $10.00 – $16.00950-D30xx 76 x 102 cm (30 x 40 in.) – $30.00 –

St Armand Dominion Watercolor Paper

Sandby Watercolor Paper

Dominion Watercolor Paper

Cartridge Paper

Blue Wrapping Paper

Paper Finishes vary considerablyamong mills. The terms rough,cold pressed and hot pressed areused to distinguish the surfacefinish of watercolor papers today.

Hot pressed or H.P. refers topaper that is pressed to producea surface finish by inserting thewet sheets between metal plates,then pressing the plates. It hassmooth surface with almost notooth. The smooth surface is ideafor painting fine detail and foreven washes of color.

NOT (as in not hot pressed) orcold pressed is a traditional sur-face finish when wet sheets ofpaper are pressed together with-out any felt or metal platebetween them. Cold-pressed isthe most commonly used water-color paper surface as it allowsfor a good amount of detail whilealso having some texture.

Watercolor Painting Technique

30 TO ORDER CALL 1-888-361-5900

Painting FleshTones in WatercolorsBy Butch Krieger

Many artists, includingsome who’ve had years ofexperience, look upon

flesh tones as beautiful tobehold—but dreadful to paint.There’s no mystery to making thecolors of skin, though, becauseflesh tones are grounded in basiccolor theory. And given that,flesh tones are quite simple andeasy to make. The only difficultyis actually psychological. It is thefear of making the most disturb-ing mistake that an artist canmake—repugnantly unnaturalflesh tones. But you can over-come this fear, and paint natural-ly beautiful flesh tones in water-color. And you can do so in a sur-prisingly short time. I will showyou two ways you can do that,one with a primary triad andanother with a red-green dyad.

I will first show you how tomake skin colors with a primarytriad. As I do so, keep in mindthat all flesh tones are derivedfrom the same primary colors thatyou learned in elementary school:red, yellow and blue. Together,these three colors are one of thechromatic triads.*

In figure 1, you can see anexample of a triadic primaries. Inthis case, my red is Indian Red,my yellow is Italian Yellow Earthand the blue is Lazurite (the bluemineral in lapis lazuli). Beneaththese colors are flesh tones that Imade by mixing them together invarying amounts. Figure 2 demon-strates how I used these samethree colors to paint a typicalCaucasian flesh tone.

Be aware that not all combina-tions of red, yellow and blue pig-ments will work as well togetherto make good flesh tones. When itcomes to making flesh tones, youmust see it to believe it. Thus,you should experiment with yourcolor combinations before you usethem in an actual painting.

You can also make a base fleshtone with some combinations ofred and green, which are comple-mentary colors on the colorwheel. You can use a dyad ofthese two colors to make manyvariations of flesh tones. In figure3, for example, I made a goodflesh tone by blending Sartorius

Red Earth and Verona Green Earth.In my portrait of Rebecca (figure4), as another case in point, Iused Ercolano Red and NicosiaGreen Earth. As always, youshould experiment with red andgreen combinations before you tryto use them in an actual painting.

Flesh tone mixtures, such asthese, work best with light tomedium skin colors. Their tonalranges are too short to work fordarker flesh tones. In such cases,I suggest that you use brown pig-ments such as the Umbers. (I rec-ommend Rublev Colours CypressBurnt Umber, which is a superbpigment for dark brown skin.) Youcan do your initial modeling withUmber, and then bring in theother colors to finish it off.

My purpose here is not to pre-scribe the choice of pigments youshould use for the rest of yourlife. This is not the only way thatyou should mix your flesh tones.It is instead just a means to getyou started mixing life-like fleshtones. It is to bring the paintingof skin colors into the realm ofpossibility for you. And once youenter that realm, you may discov-er many other ways to createbeautiful flesh tones.*A triad is a set of three colorsequidistant from each other onthe traditional color wheel.Butch Krieger has been a full-

time artist for over 30 years. Forthe first 18 of those years, he wasa news artist for CBS NetworkNews, CNN, Associated Press,United Press International andUSA Today. Butch is a contribut-ing editor for Artists’ Magazineand writer for Watercolor Artist,and his book, Watercolor Basics:People, shows how to paint peo-ple using watercolors.

Figure 1 Triadic PrimariesThis illustration shows you the col-ors with which I painted theCaucasian ear (figure 2). The firstrow of colors shows you what eachlooks like alone.

The red is Indian Red, a naturalred iron oxide. Indian Red is verydark brownish red. It is opaque, andcan over power some other pig-ments in mixtures. But it worksquite well for making flesh tones inwatercolor when used sparingly.

The color in the middle is ItalianYellow Earth. It is a wonderful yel-low for making flesh tones. It issemi-transparent, and its relativetransparency helps offset the over-bearing opacity of the Indian Red.

The blue pigment is Lazurite.Lazurite is a beautiful blue thatmixes well with other earth colorsto make life-like flesh tones. LikeItalian Yellow Earth, Lazurite’stransparency helps to offset theopacity of Indian Red. Lazuritemakes a clear blue glaze that youcan apply over other colors.

The second row shows five dif-ferent skin colors, the first three ofwhich are mixtures of the primarycolors above them. This is not avalue scale. It is a continuum, inwhich each square has a differentratio of the primary colors. The skintone on the far left, for example,has relatively little blue in it. Thenext one has a greater ratio of blue.And the third one from the righthas the highest proportion of blue.

These are excellent flesh tones.

Unfortunately, though, their tonalrange is too limited. The yellowcannot get any darker. Although thered and the blue can be darker, Icannot use them to darken my baseflesh tone any further. If I did, mymixture would become too violet inhue for my purposes here.

I solved this problem by intro-ducing a dark brown that harmo-nizes with the rest of the continu-um. In this case, it was CyprusBurnt Umber, pictured in the fourthbox on the top row. This beautifuldark brown enabled me to extendthe tonal range of the continuum bytwo more values.

I used only Cyprus Burnt Umberin the fourth box. As you can see,the chromatic continuity at thisstep is successful, even though Ihave actually changed pigment. Butin the fifth and final box, theCyprus Burnt Umber was too orangeto serve as the next step in thecontinuum. So, I mixed a bit ofLazurite into it to offset its orangehue. (Remember that blue is thecomplementary color of orange.)Once I did that, I filled in the fifthbox—thereby completing the five-step flesh tone scale. Of course, youcan extend this continuum by dilut-ing the mixture on the far left and,on the far right, mixing a greaterconcentration of the Umber with alarger ratio of blue.

With this range, you can paintthe basic skin color of anyone onthe planet, just by slightly varyingtheir ratios in your mixtures.

Rublev ColoursUsed in this ArticleTriadic PrimariesIndian RedItalian Yellow EarthLazurite

Dyadic ComplementariesSartorius Red andVerona Green EarthORErcolano Red andNicosia Green Earth

UnderpaintingCyprus Burnt Umber

Figure 4 RebeccaI did this portrait of my daughter’sfriend, Rebecca, with the same pro-cedure that I used to do theCaucasian ear (see figure 2), butwith a different primary triad. Atthe bottom of the portrait image, Ikept a visual record of its progress,in the form of successive swatches.On the left is the initial modelingthat I did with the mixture of redand yellow. In the next step, Iglazed a transparent blue over theorange mixture. Then I finished itby using the red and yellow pig-ments separately, and with a violetthat I mixed from the blue and red.Note that I am using the same col-ors to make the color of the model’sshirt as to do the flesh tones.

Figure 3 Complementary DyadTwo colors, Sartorius Red Earth andVerona Green Earth, can be used tomake a range of flesh tones.Figure 2 Caucasian Ear (at left)This simple illustration shows youhow I develop pale complexions inwatercolor, using a primary triad. Inthis case, the red is Indian Red, theyellow is Italian Yellow Earth andthe blue is Lazurite. The ear on theleft shows you the first stage, inwhich I have used an orange mix-ture of red and yellow. In the sec-ond step, I have glazed over theorange with the blue. This estab-lishes my base flesh tone for thepainting. At right, the finished earafter I have glazed over the earwith modifying colors.

Figure 5 Young Man from AfricaYou can hone your flesh tone paint-ings skills by matching. This meanstrying to match, as closely as youcan, the subject’s actual skin colorwith whatever colors you have onhand. You can do this in a studiosetting (such as in my flesh toneworkshops) or in the field. (I carry a“spit palette”—a watercolor fieldbox with watercolor pans—every-where I go.) This young man fromAfrica, whom I met at an airport,had a deep ebony skin color. Ifound that Rublev Colours CyprusBurnt Umber gave me an excellentmatch. I filled in the weave detailin his shirt collar later, and used itfor an illustration on painting theappearance of cloth.

When painting someone withdark skin it is usually best to startwith a dark pigment—which willprobably be one of the Umbers. Thisway you avoid building up too manylayers of watercolor medium. (Toomuch medium can lead to acciden-tal lifting.) If you want to make aflesh tone darker than you can getwith primary colors, I recommendusing Umber to create a brownunderpainting.

WatercolorsGlossary

Fused Edge: Edge of paint that isblended, making the separation ofspatial planes or objects in a pictureappear blurred. Bodied oils are effec-tive in creating this effect and areassisted by the use of resins.Glaze: A paint layer, consisting oftransparent pigments or a low con-centration of opaque pigments,superimposed over another layer toproduce blended colors.Gloss: The shininess or reflectingability of a surface.Grisaille: A monochromatic paintingin tones of gray. Traditionally, theunderpainting over which the localcolor is applied as opaque, semi-opaque or transparent color.Ground: The primary surface onwhich paint is applied. Usually refersto an opaque coating applied to thesupport. Traditionally, an opaquewhite oil priming on canvas andchalk or gypsum (gesso) mixed withanimal glue on wood panel.Hiding Power: The opacity of paint,or its capacity to cover an underly-ing surface.Hold Out: Ability to inhibit penetra-tion into the porous surface of thesubstrate, thereby preventing sinkingin and uneven gloss or color.Isolating Varnish: A liquid varnishapplied to areas of a picture to pro-tect the paint layer before applyingfresh paint or varnish. Also used toreduce the absorbency and yellowingof the ground and to prevent over-coats from sinking in.Lake: A pigment consisting oforganic coloring matter with an inor-ganic, usually mineral base.Leveling: The ability of paint toform a smooth level film. Paint thathas good leveling characteristics isusually free of brush marks.Lifting: The softening and penetra-tion of dried paint by a fresh paintlayer resulting in raising.Lightfast: Resistant to fading whenexposed to natural or artificial light.Masstone: The undiluted color of apigment or paint.Luster: Having the appearance ofdepth. Also a synonym for gloss.Medium: An oily or resinous liquidor gel mixed with paint to alter itsproperties, such as accelerate ordelay drying, add thixotropy, thickenor thin consistency and increasetransparency.Oil Absorption: The amount of lin-seed oil in grams required to form apaste with 100 grams of pigment.Oiling Out: Application of a thincoat of drying oil or medium to anoil painting. This is done after thesurface of the oil painting is suffi-ciently dry so that it can be appliedwithout disturbing it. Excess mediumis wiped off. This saturates the color,restores sunken-in areas of the

painting and helps isolate the colorlayer from the final varnish.Opacity: The quality of paint to hidecompletely the underlying layer, notpermitting light to pass through, orpreventing one to see through it.The opposite of transparency.Plasticizer: A substance added toimpart properties of elongation,elasticity or flexibility.Polymerization: The interlocking ofmolecules by chemical reaction toproduce very large molecules.Retouch Varnish: A liquid varnish(typically one-pound cut) applied inthin layers to areas of the paintingto make sunken-in or dry passageslook wet again, making it easier tomatch the color of fresh paint withthat of dry paint.Sinking In: In the technique ofapplying successive coats of color toa picture, the oil in each superim-posed coat can sink into the previ-ous one (especially if the latter isnot perfectly dry), resulting in colorthat appears dull. Before applyingfresh paint, therefore, the artist mayspread a thin coat of oil or mediumover the colors already laid, in orderto match the tone and hue of thefresh color, uniting the new layerwith the previous. This is called “oil-ing out” and the thin layer of medi-um or oil is called a “couch.” Sinkingin of the vehicle should be distin-guished from that of the pigment: inthe former, the surface becomes dull,in the latter it becomes shining fromthe supernatant oil. Sinking in isalso the result of a ground that istoo absorbent or unevenly absor bentand can also be caused by using toomuch thinner with paint, weakeningthe binder’s capacity to make a filmand exposing pigment particles.Thixotropy: The property of paint tochange viscosity when agitated overtime, becoming more fluid or de -creas ing viscosity, but thickeningwhen left undisturbed. Paint thatexhibits the opposite property, inwhich agitating for a time causesthickening or increased viscosity iscalled “rheopectic.” Thixotropic gen-erally infers a heavy bodied paint.Tinting Strength: The coloringpower of a given quantity of paint.Transparency: The quality of paintthat lets light to pass through it sothat the underlying surface may beseen. The opposite of opacity.Undertone: The color seen whenpaint is spread thinly by brushingthe color out thinly or by dilutingthe color with medium or white.Varnish: Any transparent or translu-cent liquid, which when applied as athin film, air dries to a hard film pro-viding a protective coating.Vehicle: The portion of paint thatincludes the liquid and the binder.The vehicle and the pigment are thetwo basic components of paint.

Continued from page 2


32 TO ORDER CALL 1-888-361-5900

GOLD

Gold LeafAurum Gold Leaf is ourown brand of high-quality leafmade in the colors and weightsstandard in the industry. Aurumgold leaf is assembled into bookswith sheets of thin rouged paperbetween each leaf. Size: 80 x 80mm (3.15 x 3.15 in.) in books of25 leaves and boxes of 20 booksor 500 leaves.23.5 Karat Gold Loose Leaf300-AU23.50SF Book $39.80300-AU23.50SFP Box $635.00

23.5 Karat Gold Patent Leaf300-AU23.50PA Book $44.50300-AU23.50SFP Box $712.00

Silver LeafAurum Silver Leaf is pure sil-ver leaf produced by therespected traditions of thecraft. Aurum silver leaf isassembled into books with sheetsof thin rouged paper betweeneach leaf. Size: 95 x 95 mm (3.75x 3.75 in.) in books of 25 leavesand boxes of 20 books or 500leaves.300-AUSLVS Book $9.40300-AUSLVSFPK Box $175.00

Metal LeafAurum Metal Leaf is imitationgold leaf made from brass—acomposite of copper and zinc—assembled into books with sheetsof tissue paper between eachleaf. Size: 140 x 140 mm (5.5 x5.5 in.) in books of 25 leaves,and boxes of 20 books or 500leaves. Available in two colors:No. 2.0 our most popular imitat-ing gold leaf, and 2.5 with adeeper reddish gold tone.No. 2.0 Composite Metal Leaf300-AU2.0SFCP Book $5.80300-AU2.0SFCPK Box $58.00

No. 2.5 Composite Metal Leaf300-AU2.5SFCP Book $5.60300-AU2.5SFCPK Box $56.00

AurumAluminum Leaf,also called imitation silverleaf, is made from pure aluminumand assembled into books withsheets of tissue paper betweeneach leaf. Size: 140 x 140 mm(5.5 x 5.5 in.) in books of 25leaves, and boxes of 20 books.300-AU00SFAL Book $4.40300-AU00SFALPK Box $44.00

Shell Gold is used to paint finedetails in genuine gold with abrush. Shell gold is gold powdersuspended in gum arabic andformed into tablets (about 0.25to 0.5 in. dia.). Our shell gold is23.75 karats in 0.3 and 1 gramtablets in a round plastic tray.

301-SH2375S 0.30 g $47.70301-SH2375M 1.05 g $120.15

Practical Gilding is comprehen-sive introduction to oil and waterbased gilding, the procedures

used and the materialsrequired. Very helpful forbeginners, but also excellent

for problem solving by experi-enced gilders. Covers in-depthevery aspect of gilding, withchapters on materials, surfacepreparation, oil gilding, gesso,water gilding and special tech-niques. Effectively illustrated.151-0950778257 $26.00

How Much Gold Leaf Do I Need?Each book of Aurum gold leafcovers an area of 1600 square cm(248 square inches) withoutwaste or overlap. The amount ofwaste is based on your projectcomplexity and experience. Werecommend adding at least 10%for overlaps.Patent Gold Leaf is removedfrom the book by hand (a gilder’stip is not needed) and stays onthe tissue until pressed onto thesurface and the tissue removed.For best results, store patent leafin a humid environment of about80% relative humidity.Loose Gold Leaf is assembledinto books by placing each goldleaf between sheets of thinrouged paper. It is removed fromthe book with a gilder’s tip.

Patent gold leaf, also calledtransfer leaf, is individuallymounted on tissue paper.

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Gilding BasesKölner Burnishing Clay is madefrom the finest English clay.Unlike traditional gilders’ clay, itis premixed with size—an acrylicbinder mixed in very fine clay.Available in these colors: Red,Ocher and Black.

Kölner Clay 100 ml (3.4 fl oz)321-KLNCL10R Red $15.95321-KLNCL10Y Ocher $15.95321-KLNCL10B Black $15.95

Kölner Clay 500 ml (16.9 fl oz)321-KLNCL50R Red $60.90321-KLNCL50Y Ocher $60.90321-KLNCL50B Black $60.90

LeFranc & Bourgeois CharbonnelGilders’ Clay is a burnishing basefrom France that is premixed withwater in a paste and must bemixed with size before applying.LeFranc gilders’ clay is availablein three colors—red, yellow andblack—in 1 liter tubs.320-GLGLUR Red $45.50320-GLGLUY Yellow $45.50320-GLGLUB Black $45.50

Selhamin Poliment Clay is a spe-cially prepared and refined bolefor priming surfaces for gilding.The best raw materials are com-bined in the right proportions andprocessed according to traditionalmethods. Selhamin Poliment clayshows its special abilities in gild-ing with gold, white gold, silverand platinum. Especially appreci-ated are its characteristics inapply ing silver and gold leaf onsurfaces for contemporary andtraditional techniques. The rich-ness of color nuances that can beobtained is a delight for artists.Selhamin Poliment is available inCalabrian black, Piedmont red,Ligurian yellow and Amalfi blue;and in solid form as cones (about140 g each) or in paste formpacked in jars (net wt. 1 kg).Selhamin Poliment Clay (Cone)321-SHPLCR Red $18.50321-SHPLCY Yellow $18.50321-SHPLCK Black $18.50

Selhamin Poliment Clay (Paste)321-SHPLPR Red $75.95321-SHPLPY Yellow $75.95321-SHPLPK Black $75.95

Gilding SizesLeFranc & Bourgeois Mixtion is atraditional, oil-based size made inFrance that has earned the repu-tation of being the best oil sizeavailable. LeFranc 3-hour sizebecomes tacky in 3–5 hours,depend ing on thickness, tempera-ture and humidity, and remainsopen for 4–6 hours. LeFranc 12-hour size reaches tack in 12–14hours and remains open for 8–12hours. 250 ml (8.4 fl oz) can.330-MXO03H 3 Hour $18.00330-MXO12H 12 Hour $21.95

Hide Glue is a high-grade gluemade of pure bovine hides. It is amedium mesh granular glue that’seasy to dissolve in water. Itslower bloom strength gives it alonger setting time.510-21HDGLU 500 g $12.95

Italian Rabbit Skin Glue is amedium bloom strength gluemade in Italy of pure rabbit colla-gen. It is a medium mesh granularglue that is easy to dissolve inwater and ideal for use in gessoand as a gilding size.510-21IRSGL 500 g $12.95

Rabbit Skin Glue is a high bloomstrength glue made in the U.S. ofpure rabbit collagen. It is a finemesh granular glue that is easy todissolve in water and is the light-est in color and most translucentglue available. It ideal for use ingilding clay and gesso.510-21RSGLU 500 g $12.50

Technical Grade Gelatin is a finemesh granular gelatin that is easyto dissolve in water. The mediumbloom strength makes it ideal foruse in gilding. Gelatin is preferredby many professional gilders overhide glue, because it can take asuper burnish when mixed withgilding clay or gesso.510-21THGLU 500 g $12.95

Russian Sturgeon Glue (Isinglass) from dried sturgeonbladders of the highest quality—the same used by Russian restor-ers. Sturgeon glue has higheradhesion and lower viscosity thancomparable animal glue, such asgelatin or hide glue.510-21STGL 100 g $69.50

Fish Gelatin is a high molecularweight glue with a higher viscos -ity and a tougher film than ourstandard gelatin. Similar charac-teristics to animal gelatin withthe exception that it does not gelat room temperature.510-21HDGLU 500 g $12.95

Kölner Colnasize is an easy touse size for the adhesion of metalleaf to Kölner Burnish ing Clays. Touse the concentrate, dissolve oneteaspoon in two cups of lukewarmwater and apply to the clay.321-KLCLSZ 2.25 fl oz $13.95

Rolco Aquasize is a water-based,gilding adhesive for interior andvertical exterior leaf work whereextended tack time is required.320-GSWS 8 fl oz $7.95320-GSWB 16 fl oz $11.95

Tip: The best brush for applyinggilding clay is a round sablewatercolor brush. The size of thebrush depends on the scale of thework; for small areas, a No. 4 or 5is about right, and even for largerareas, a No. 7 or 8 is adequate.

Gilding


Tip: Apply each layer of clay weton wet without waiting for theprevious one to dry completely.Add a little warm water to pre-vent the sizing from thickening.

Kölner Clay 100 ml

Charbonnel Gilders’ Clay

Selhamin Poliment (cones)

Selhamin Poliment (paste)

Kölner Clay 500 ml

Kölner Colnasize

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Gilding

34 TO ORDER CALL 1-888-361-5900

Gilding KitsWater Gilding Kit has all thetools and supplies needed to com-plete a water gilding project fromstart to finish. Included are allthe materials to apply the gildingbase; handle, cut and apply goldleaf; and polish the gilded sur-face. One book of gold leaf isincluded, enough to cover nearly1600 cm2 (248 in2). Save $34when you purchase this kit thatincludes 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)301-1101 Save $34 $210.00

Practical Gilding,included in the kitabove, providesdetailed explanationsof the traditionalmethod of water andoil gilding in a waythat can be followed.151-0950778257$26.00

Oil Gilding Kit has all the materi-als needed to complete an oilgilding project from start to fin-ish. Included are the materials toapply the mordant and gold leaf.Included is one book of patentgold 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 wool301-1102 Save $11 $69.50

Gilders’ Tool Kit has all the toolsneeded to equip you for any watergilding project. We’ve includedonly professional tools in this kitthat save you $29 when pur-chased separately. The kitincludes (individual items are pic-tured in the kit above):• Gilders’ knife• Gilders’ cushion• Gilders’ tip• Mop brush• Round sable brush• Agate burnisher• Reed breathing tube301-1103 Save $29 $142.00

Gilding Tools

Gilders’ Knife cuts loose piecesof metal leaf on a gilders’ cush-ion. These imported knives have a140 mm (5.5 in.) long blade setfirmly into a hardwood handle.Blade has two cutting edges thatmeasures 17 mm (5/8 in.) wide.To cut leaf draw the blade acrosson the pad without pressure.340-GLKDSQ Sq. Tip $47.75340-GLKDRD Rd. Tip $47.75

Gilders’ Squirrel Tip is a puresquirrel hair brush to pick uppieces of gold leaf on the tips ofthe hairs. The soft, single-thickhairs are 50 mm (2-1/8 in.) longand available in different widths.703-12035 35 mm $19.60703-12050 50 mm $20.80703-12075 75 mm $28.60703-12100 100 mm $39.60Gilders’ Bristle Tip for Silver Leaf703-15002 50 mm $20.80703-15003 75 mm $25.80

Reed Breathing Tube allows themoisture from breath to activatethe glue allowing leaf to adhereto the base. A reed tube absorbsexcess moisture that accumulates,preventing drops of moisture fromfalling on your work surface.70-RBTUBE $4.45

Steel Piercing Needle is used totransfer sketches to a groundsand for scoring gesso for “pastig -lia” effects. Steel handle.655-STLNDL $2.99

Water Gilding Kit(bowls not included)

Reed breathingtube

Gilder’s tip

Mop brush

Gold leaf book

Rabbit skin glue

Selhaminpoliment

Roundsable brush

Gilder’s cushion

Gilder’s knife

Agate burnisher

Oil Gilding Kit(bowl not included)



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Double-Ended Stylus is used totransfer drawings to a panel witha stylus that will not tear transferpaper or scratch the surface.Rounded points prevent scratchesand tears. Natural wood handlehas one point for fine work andone for thicker lines. Useful forscoring lines for “pastiglia.”655-STLSDBL $3.10

Gilders’ Cushion has soft goatskin leather covering a square 150x 150 mm (6 x 6 in.) wood boardproviding an effective surface forcutting loose metal leaf.345-GLPDSQ $32.00

Gilders’ Cushion with Shield hassoft goat skin leather covering arectangular 150 x 255 mm (6 x 10in.) wood board provides a simpleand effective surface for cuttingloose metal leaf. The paper shieldfolds out to surround the cushionon three sides protecting the leaffrom drafts or air currents.345-GLPDSH $110.00

Embossing Punch is an engravedsteel punch to emboss patternsinto gesso, gilding base or fin-ished gilding for incised designsand patterns in gilding and metalleaf. Punch patterns appear belowin approximately actual size. Toorder a pattern specify the num-ber to the left of the pattern inthe order. Special order—allowtwo weeks for delivery.655-70600 $32.95

Burnishers impart a mirror-likepolish to gold and other metalleaf. They consist of agate, sard,psilomelanite or hematite stonesset in handles. Hematite burnish-ers are the best and also the mostexpensive. Pencil and tooth bur-nishers are suitable for most gild-ing. Flat shape burnishers areideal for polishing leaf over largeflat surfaces. A tooth burnisher(#19) is sufficient to start with;later adding a pencil burnisher forfine details.

Agate Burnishers have polishedagate stone heads, set securely inmetal ferrules on hardwood han-dles, and are popular because ofits low price.360-BADT13 Dog Tooth #13 $32.00360-BADT15 Dog Tooth #15 $38.00360-BADT17 Dog Tooth #17 $32.00360-BADT19 Dog Tooth #19 $32.00360-BASL02 Dog Tooth #22 $32.00360-BADT25 Dog Tooth #25 $32.00360-BADT32 Dog Tooth #32 $29.00360-BADT35 Dog Tooth #35 $32.00360-BAFL30 Flat #30 $42.00360-BAFL40 Flat #40 $42.00360-BAPE08 Pencil #8 $29.00360-BAPE11 Pencil #11 $29.00360-BAOV01 Oval #1 $38.00

Hematite Burnishers are idealbecause the stone head remainsdry even in humid conditions andskates over the gold while creat-ing a brilliant polish. It dispersesstatic so gold does not readilystick to it. The polished blackhematite stone is set firmly into abrass metal handle.360-BHSL01 Dog Tooth $59.50

Tip: Burnishers are delicate toolsand scratch easily if handledroughly; they may be kept ingood condition by rubbing themon the flesh side of leather coat-ed with whiting or by rubbingthem on a microfine abrasivepaper or cloth coated with lightmachine oil.

Tip: Always store your burnisherwrapped in a soft cloth—thesmallest of scratches may causethe burnisher to pull the goldleaf. Avoid touching the stonewith your fingers. Before workingbreathe on the burnisher and pol-ish it with a piece of silk.

Gilding


655-70641

655-70642

655-70643

655-70644

655-70645

655-70646

655-70647

655-70648

655-70649

655-70650

655-70651

655-70652

655-70653

655-70654

655-70655

655-70656

Embossing Patterns

Agate burnishersshown actual size

#13

#15

#17

#19

#22

#25

#32

#35

#30

#40

#8

#11

#1

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FRESCO

Introductory FrescoPigment SetIntroductory Fresco Pigment Setcontains 8 historical and naturalpigments giving you the basiccolors used in many medieval andRenaissance frescoes. The setincludes 100 grams each ofVerona Green Earth, Italian YellowEarth, Venetian Red, Italian RawSienna, Italian Burnt Sienna,Italian Raw Umber, German VineBlack and Bianco di San Giovanni(lime white) packaged in individ-ual jars—a typical palette ofgreen, yellow, red, brown, blackand white. An excellent starterset for fresco painting.401-1104 8 colors $32.00

Historical FrescoPigment SetHistorical Fresco Pigment Setcontains 16 historical and naturalpigments giving you the paletteused in many medieval andRenaissance fresco paintings fromByzantium to Giotto and Michel -angelo. The set includes 100grams each of Lazurite (lapislazuli), Malachite, Verona GreenEarth, Nicosia Green Earth, LemonOcher, Italian Yellow Earth,Pozzuoli Red, Venetian Red,Italian Raw Sienna, Italian BurntSienna, Italian Raw Umber,Italian Burnt Umber, Italian RawUmber Greenish, Cyprus RawUmber Dark, German Vine Blackand Bianco di San Giovanni (limewhite) in individual jars—all thecommon palette colors of blue,green, yellow, red, brown, blackand white. The pigments come ina boxed set that makes a greatgift as an advanced set of pig-ments for fresco painting.401-1105 16 colors $165.55

Fresco MaterialsOur mature Lime Putty is slakedand aged for at least two years.Aging ensures that the lime parti-cles are extremely fine, makingthis product the ideal choice forfresco painting. Made from non-hydraulic high calcium limestoneof 98% purity. Use for a variety ofplaster finishes, such as marmori-no, Venetian stucco, sgraffito andscagliola. All natural.510-14310 10 kg (2 gal) $70.00510-14325 25 kg (5 gal) $145.00No Free Shipping—Call for Price

Traditional Fresco Plaster pack-aged as a ready-to-use blend oflime putty and well-graded, finesharp sand in reclosable 3.5-gal.pails. Use for finish or into nacocoat of fresco paintings. Coverageis about 18 sq. ft. when applied 6mm (1/4") thick. Cured color iswhite. One year shelf life. All nat-ural and aged at least 30 days.510-14520 3.5 gal $90.00No Free Shipping—Call for Price

Traditional Fresco Plaster withPozzolana (also called coarsestuff) packaged as a ready-to-useblend of aged lime putty andwell-graded, coarse sharp sand inresealable 3.5-gal. pails with aseparate pouch of pozzolana. Addthe pozzolana prior to use tomake 1:2:5 (pozzolana:lime:sand)plaster. Use for the scratch coat.Coverage is about 18 sq. ft. whenapplied 6 mm (1/4") thick. Beigecured color. One year shelf life.All natural and aged 30 days.510-14720 3.5 gal $96.00No Free Shipping—Call for Price

Marble Dust is pure white marblefrom the world-class deposit ofhigh brightness marble in Carrara,Italy. Ground to particle size of0–70 µ to retain its crystallineshape and brightness. Substi tute1/3 of the sand in the intonacocoat for brilliant white fresco.510-10CWMD1K 1 kg $7.50510-10CWMD5K 5 kg $28.00

Pozzolana is ground volcanic ash(0–0.1 mm) of siliceous and alu-minous minerals from Pozzuoli,Italy. Pozzolana reacts with limeand water to form plaster withcementious properties. Helpsplaster retain more water, allow-ing the fresco painter to worklonger. Add up to one part equalto lime putty in the scratch coat.510-13POZ1K 1 kg $6.85510-13POZ5K 5 kg $25.50

Fresco Starter KitFresco Painting Starter Kit con-tains everything that the begin-ning or advanced artist needs tostart painting in fresco. All thematerials included in the kit areprofessional artist grade. The kitincludes a set of 8 fresco pig-ments, tracing kit, intonaco plas-ter (3.5 gal. pail) and assortedtools: gauging trowel, finishingtrowel, wood float, mixing board,grinding surface (16 x 20 in.),large glass muller, spatula, siliconcarbide and squeeze bottle.601-3101 Save $35 $345.00No Free Shipping—Call for Price

Fresco Panel ruggedly made ofBaltic birch plywood and fir withgalvanized metal diamond lath tosecurely hold your fresco.930-FP1216 12 x 15 in. $55.00

Fresco ToolsTrowels are used to apply plasterand finish the surface beforepainting. All our tools wereselected for their fresco suitabili-ty. They are the finest made togive years of service. The blade,post and tang are forged from asingle piece of high-grade toolsteel for maximum strength. Thehardwood handle has a polishedsteel ferrule. The handle rise isset for the correct “hang” andbalance. The blade is taper-ground and polished to give itthe right amount of flexibility.


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Gauging Trowel is a versatile toolfor transferring plaster (roundedpoint is ideal for picking plasterout of a pail) and applying plas-ter. Use to mix or “gauge” smallamounts of plaster. The roundedshape of the blade’s heel allowsplaster to be carried further for-ward on the blade. 17,78 x 8,57cm (7 x 3-3/8 in.)681-10748 Gauging $21.47

Bullnose Pointing Trowel is forpolishing the final plaster coatprior to transferring the cartoonand the completed fresco. Alsouseful to apply plaster in tight orcurved areas. Point ing trowels arehandy for patchwork and cleaningother 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 asmooth finish on plaster. It com-pacts the surface adding to itsquality and durability. Its high-carbon steel blade is cross-ground(usually only found on better fin-ishing trowels) to hold its shapebetter. The handle is curved forbetter handling and machine fit-ted onto the milled shank. Finish -ing trowels are narrower andlonger than plastering trowels andthe blade is slightly convex. Idealsize for most fresco work:20,3 x 7,6 cm (8 x 3 in.).681-13105 Finishing $25.41

Scratcher Trowel is for scoringplaster to form a good bondbetween coats. The blade is madeof the highest-grade spring steel.The blade has 1,3 x 1,2 cm (1/2

x 15/32 in.) “V” notches on threesides. The resilient handle is soft,reduces fatigue and offers excel-lent durability. 30,48 x 11,43 cm(12 x 4-1/2 in.)681-15742 Scratcher $16.43

Wood Float is used to prepare thesurface for troweling, or if arough finish is desired, floating isthe final operation. Made from1,27 cm (1/2 in.) thick seasonedmahogany with a very smooth fin-ish. The plastic handle is bothcomfortable and durable. This isthe most popular float for fresco:30,48 x 8,89 cm (12 x 3-1/2 in.).681-14512 $3.95

Leaf and Ornamental Tool isideal for plasterwork in smallareas, such as inside corners. It isalso used in the detailing ofornate shapes and unusual wallsurfaces. This tool is perfectlyforged and tempered for long life.0,95x21,59 cm (3/8x8-1/2 in.)681-13085 Leaf Tool $9.40

Hawk is used for holding plasterbefore applying to the workingsurface. Made of heavy gauge,hard-rolled aluminum, so it islightweight but very durable. Theedges have been smoothed andthe corners rounded for conven-ience. The 9,2 cm (3-5/8 in.)diameter flange with an extendedhub is threaded for the solid woodhandle. A sponge rubber dough-nut is included to prevent callus-es. 33,02 x 33,02 cm (13 x 13 in.)681-14659 Hawk $13.86

Mixing Board is made of extrahigh density, UV stabilized poly-ethylene. Dry mortar will notstick. Durable, lightweight andeasy to clean. Not affected byheat and cold, plaster and water.681-11167 24 x 24 in. $28.50

Mortar Hoe has holes in theblade allowing for more effectivemixing of plaster in the mortarpan. The head is one piece forgedcarbon steel, riveted to the steelferrule. It has a heavy-duty 45,7cm (18-in.) long hardwood handlewith a sturdy “D” grip. Head size:12,1 x 17,8 cm (4-3/4 x 7 in.)

682-14281 Hoe $24.20

Scrub Brush is great for cleaningsurfaces and tools. White Tampicobristles are set in a high-tensilestrength plastic block. The brushwill not absorb water and is madefor long service. 20,32 cm (8 in.)

681-16522 Brush $5.60

Preparing to Paint aPortable Fresco

Fresco is a wall-painting tech-nique in which pigments, dis-persed in water, are applied

to freshly-laid wet lime plaster.Although fresco is a wall paint ingtechnique, you can make a smallportable fresco in your studio. Allyou need are the following items:

• Fresco Painting Starter Kit

• Fresco Panel

Tip the bucket of plaster ontothe mixing board and scoop outabout five to six handfuls of theplaster. You may find that theplaster is stiff and crumbly. Youcan restore its plasticity by a pro-cedure called “knocking up.”

Thoroughly wet the gaugingtrowel with water. Chop and pressthe mixture with the trowel usingas much downward pressure aspossible and working across theheap from the farthest sidetowards you. Turn the plaster overand repeat the chopping andpressing until the consistency issoft and workable. Do not addwater, as the water present in theplaster should be sufficient torestore its plasticity.

Base CoatPick up some plaster from themixing board with the gaugingtrowel. Starting at the bottomand working up, apply the plasterin even strokes, smoothing as yougo. Keep the blade of the trowelat a slight angle, flattening out atthe end of the stroke. Apply theplaster with as much pressure aspossible, working it into the lath.Press and smooth the plaster inall directions. Apply sufficientplaster to cover the lath—a thick-ness of 9 mm (3/8-in.).Tips: Wet tools with water

before working with plaster.Always keep your tools clean toavoid depositing dried plasterinto wet plaster. Wipe the troweloff in between strokes. Use a side“raking” light to locate andremove ridges and low spots.

Using the trowel blade as astraightedge, move it from thebottom upwards in a left-to-rightsawing motion to level off thesurface of the base coat. Addmore plaster to the low spots.Allow the coat to completely setand harden—usually a few days.

Finish Coat Wet the base coat before theapplying the next. Stand thepanel upright and, using thesqueeze bottle, drench the plasterfrom the top, letting the waterrun down its face. The surface ofthe plaster should be wet butwithout standing water.

Apply the finish coat in thesame manner as the first—work-ing in all directions—to a thick-ness of 3 mm (1/8-in.). Smooththe plaster surface by “floating.”Wet the wood float, place it flatagainst the surface, and smooththe plaster in circular motions,with light pressure, over its entiresurface. Level the surface, takingplaster from the high spots andadding it to the low spots, until itis a smooth, flat plane.

Test the plaster to determinewhether it is ready for painting.Dip a brush in water and stroke itacross the surface. If the water isabsorbed into the plaster, the sur-face is ready. If the water lies onthe surface, you must wait. Whenthe plaster is ready, lay the trac-ing of your fresco cartoon over it,correctly lined up, and draw theoutline with the stylus, lightlyscoring the surface.

Fresco


100% Kolinsky BrushesKolibri Kolinsky Brushes are hand-made using only Kolinsky hair togive them greater paint capacityallowing long strokes and lessreloading. The gold-plated brassferrules are securely fastenedwith double crimps to long blackhandles—25 cm (10 in.) from theferrule to handle end.

Kolibri Kolinsky RoundItem No. Size Price701-08900 0 $9.80701-08902 2 $10.60701-08904 4 $11.80701-08906 6 $13.00701-08908 8 $15.95701-08910 10 $19.50701-08912 12 $21.65

Kolibri Kolinsky BrightItem No. Size Price701-07900 0 $11.80701-07902 2 $12.35701-07904 4 $13.25701-07906 6 $15.90701-07908 8 $21.30701-07910 10 $25.75701-07912 12 $29.45

Hog Bristle BrushesKolibri bristle brushes are madeusing the finest Chungking hogbristles. The bristles are hand-shaped to provide greater capaci-ty, while stiffer, fat hairs areremoved to ensure more flags atthe tip. The seamless, nickel-plat-ed ferrules are held securely withdouble crimps to long ivory han-dles—25 cm (10 in.) from theferrule to handle end.

Kolibri Bristle Pointed RoundItem No. Size Price704-1902 2 $4.90704-1904 4 $5.50704-1906 6 $6.10704-1908 8 $7.20704-1910 10 $8.60704-1912 12 $9.45

Kolibri Bristle FlatItem No. Size Price704-1202 2 $4.40704-1204 4 $4.90704-1206 6 $5.35704-1208 8 $5.85704-1210 10 $5.90704-1212 12 $6.35

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BRUSHES

Kolinsky Rounds, long-handle, shown actual size

Kolinsky Brights, long-handle,shown actual size

Natural Bristle Rounds, shown actual size

Natural Bristle Flats, shown actual size

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Brushes for Oil and Fresco Painting

Kolinsky Hair—No Red SableThe winter fur from the tail of theSiberian male Kolinsky (Mustela sib-rica) makes the best soft-hairedbrushes. Unlike red sable hair fromother weasels, it is extremely softand supple, yet strong and elastic.Kolibri Kolinsky brushes are madewith longer tapered hair, hand-cupped by our expert brush makerto a sharp edge. A dense hair countand full, tapered belly maximizesthe brushes’ holding power. Thehairs are deeply set in the ferrules,producing excellent spring and con-trol, and return to a point immedi-ately. This is pure Kolinsky, not amix, so the brushes point and snapas only pure Kolinsky brushes can.

Hog BristlesBristle brushes are best for applyingthick paint and working on texturedgrounds, such as canvas. The stiffbristles do not bend easily allowingvigorous brushing. Hog bristles alsodiffer from other hairs due to thesplit or “flag” at the tip of the bris-tles. Chungking hog bristles are thefinest bristles for artists’ brushes.What makes Chungking bristlesunlike any others is their naturalcurve. Each brush is hand craftedwith “interlocked” bristles, meaningthe natural curve of the bristles ispositioned inward, making the brushresistant to fraying and spreadingpaint more smoothly and evenly.

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Brushes


Squirrel Watercolor Brushes,shown actual size

Kolinsky Watercolor Brushes,shown actual size

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Good watercolor brusheswill last for years when usedproperly. The better the hair,the longer the brushes last:pure male kolinsky watercolorbrushes wear considerablybetter than pure red sablebrushes and are the bestlong-term investment.

Although not as long-last-ing as pure Kolinsky hair,squirrel brushes are useful forlarge washes. The best washbrushes contain pure Russian

squirrel hair. Less expensivebrushes contain a mixture ofsquirrel and pony hair.

Kolibri watercolor brushesare made with pure Russiansquirrel hair (21 series) andmale kolinsky hair (98 series).The nickel-plated (21 series)and gold-plated (98 series)ferrules are securely fastenedwith double crimps to shortblack handles—19,5 cm (7.5in.) from the ferrule to han-dle tip.

Squirrel HairKolibri uses the finest hair from thetail of the Kazan squirrel—named forits habitat in Russia. Its hair is con-sidered the best of squirrel hairs, andis used to make the finest watercolorbrushes. The hair is exceptionallysoft and absorbent, so that the brushholds paint well—even without abelly—and forms an excellent point.Their capacity for water-based paintsis unsurpassed and the hair is so finethat it will not leave tracks.

Squirrel brushes are similar toKolinsky brushes; they point well andhave thick bodies with large paintcapacity, but they lack the snap ofKolinsky brushes. However, they areideal for ink and watercolor, as wellas thinned acrylic, casein, temperaand other water-based paint.

Brushes for Watercolor and Tempera

Squirrel Watercolor BrushesItem No. Brush Size Price701-21000 2/0 $4.35701-2100 0 $4.50701-2101 1 $4.60701-2102 2 $4.50701-2103 3 $5.40701-2104 4 $6.50701-2105 5 $7.40701-2106 6 $7.90701-2107 7 $9.55701-2108 8 $10.10701-2109 9 $10.85701-2110 10 $14.95701-2111 11 $17.30701-2112 12 $19.80701-2114 14 $26.60701-2116 16 $36.10701-2118 18 $42.36701-2120 20 $46.20701-2122 22 $54.95701-2124 24 $63.65

Kolinsky Watercolor BrushesItem No. Brush Size Price701-098001 10/0 $9.70701-098003 3/0 $8.80701-098002 2/0 $8.80701-09800 0 $8.80701-09801 1 $9.50701-09802 2 $10.30701-09803 3 $12.25701-09804 4 $16.20701-09805 5 $19.10701-09806 6 $21.50701-09807 7 $28.76701-09808 8 $30.70701-09809 9 $38.10701-09810 10 $46.80701-09812 12 $98.50701-09814 14 $143.70701-09816 16 $168.70701-09818 18 $209.80701-09820 20 $241.65701-09822 22 $336.50701-09824 24 $413.40

About Kolibri BrushesKolibri brushes are handmade byFeurer & Sohn—one of the oldestbrush manufacturers in Germany(established 1898). They are madeby dedicated brush makers, using thehighest quality hair.Seamless FerrulesThe ferrule of each Kolibri brushreceives two deep crimps. Deepcrimping compresses the walls of theferrule into the surface of the wood-en handle, creating a mechan icallock that securely fastens the ferruleto the handle.Hardwood HandlesKolibri brush handles are made ofhardwood. Only the best brush han-dles are dip coated by lowering thehandles first in primer, then twice incolored lacquer and finally in var-nish—a total of four coats—for adurable finish. Curd Soap is a hardworking soap

made from pure palm and coconutoils. It is an ideal soap for clean-ing brushes and has been favoredamong European painters for hun-dreds of years and recommendedby our brush maker.71-100S 100 g bar $3.95

Morebrushes

can be seenonline

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Silverpoint was most commonlypracticed during the Renaissanceby such artists as Jan van Eyck,Leonardo da Vinci, Albrecht Dürerand Raphael, and is the ancestorof the modern graphite pencil.Silverpoint is a drawing instru-ment composed of a small, point-ed metal tip, usually of silver,encased in a holder. Silverpointcan be used on various supports,including paper, parchment andwood, but the surface requiresspecial preparation or a groundfor the metal to leave a mark.Paper, which is most commonlyused, is coated with an opaquewhite or tinted ground composedof powdered bone ash, chalk orlead white and gum-water.Several layers are usually applied.The natural tone of the ground is

off-white, but it can be coloredwith any pigment. The ground isslightly abrasive so that metalfrom the stylus rubs off and hassufficient ‘tooth’ to retain theparticles. The silver particles oxi-dize over time giving a final toneto the drawing.

The medium is also called “metal-point” for drawing with copper,gold, platinum and brass. Eachmetal has its own “softness” andreaction to oxidation. Copper issoft and produces a greenish oxi-dized tone. Silver, another softmetal, creates brownish blackoxidation. Gold and platinum arehard without oxidizing. Brass isvery hard with a light black oxi-dation. The length of time andthe degree to which oxidationoccurs depends on local condi-

tions, but copper usually oxidizesin 1–2 months. Silver oxidizes ata much slower rate—about 4–6months. Sulfur can speed up theprocess of oxidization.

Glossary

Dead soft designates metal tem-pered to its minimum hardness byannealing. Dead-soft sterling sil-ver is softer than half-hard ster-ling silver.

Fine silver is 99.9% silver and ismuch softer than sterling silver.

Half-hard is metal that has beenhardened but is still malleable.

Sterling silver is an alloy of92.5% silver and 7.5% copper.Copper makes the point harderand oxidizes faster than silver.

DRAWING

Leonardo da Vinci, portrait of a girl, silverpoint on prepared parchment

Complete Stylus

Wide Silverpoint Stylus is a 50mm (2 in.) long handmade dead-soft pure silver (99.9%) pointshaped to a cone on one end anda bevel on the other, polished,and set in a 2 mm metal holder.900-10WS Wide Stylus $17.00

Thin Silverpoint Stylus is a 50mm (2 in.) long dead-soft puresilver (99.9%) point with onerounded, polished end set in a0.9 mm metal holder.900-10TS Thin Stylus $17.00

Metal PointsSilverpoint made from dead-softpure silver (99.9%) in two widths:shaped to a cone on one end anda bevel on the other on widepoints (2 mm, 0.08 in.), and acone shape on one end on thinpoints (0.9 mm, 0.035 in.). The50 mm (2 in.) length laststhrough hundreds of drawings.900-12FDW 2 mm Point $15.00900-12FDT 0.9 mm Point $11.00

Half-Hard Silverpoint made fromhalf-hard pure silver (99.9%) intwo widths: cone on one end anda bevel on the other on widepoints (2 mm, 0.08 in.), and acone shape on one end on thinpoints (0.9 mm, 0.035 in.). The50 mm (2 in.) length laststhrough hundreds of drawings.900-12FHW 2 mm Point $15.00900-12FHT 0.9 mm Point $11.00

Dead-Soft Sterling Silverpoint isa dead-soft sterling silver point intwo widths: cone and bevel endson 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 $14.00900-12SDT 0.9 mm Point $10.00

Half-Hard Sterling Silverpoint isa half-hard sterling silver point intwo widths: cone and bevel endson 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 $14.00900-12SHT 0.9 mm Point $10.00

Copper Point is a dead-soft cop-per point, rounded and polishedon one end in two widths.Length: 50 mm (2 in.).900-13CDW 2 mm Point $7.00900-13CDT 0.9 mm Point $5.00

Yellow Brass Point is made fromyellow brass, rounded and pol-ished on one end in two widths.Length: 50 mm (2 in.).900-14BDW 2 mm Point $7.00900-14BDT 0.9 mm Point $5.00

Red Brass Point is a dead-softred brass point, rounded and pol-ished on one end in two widths.Length: 50 mm (2 in.).900-14RBW 2 mm Point $7.00900-14RBT 0.9 mm Point $5.00

Aluminum Point is an aluminumpoint, rounded and polished onone end in two widths. Length: 50mm (2 in.).900-16ALW 2 mm Point $7.00900-16ALT 0.9 mm Point $5.00

Nickel-Silver Point is a nickel-silver point, rounded and polishedon one end in two widths.Length: 50 mm (2 in.).900-17NSW 2 mm Point $7.00900-17NST 0.9 mm Point $5.00

Lead Point is a metallic leadpoint, rounded and polished onone end in one width. Length: 50mm (2 in.).900-15JBT 0.9 mm Point $5.00

Gold Point is a 24 karat goldpoint, rounded and polished onone end in a sigle width. Length:25 mm (1 in.).900-12ADT 0.9 mm Point $45.00

Accessories

Maped Epure Eraser is a purewhite vinyl eraser in an easy-to-hold triangular shape that canerase graphite without a traceand soften metalpoint lines.901-1060AE Maped Epure $1.25

Bridge helps prevent smudges byproviding a raised rest for yourhand. Meaures 455 mm (18 in.)long by 90 mm (3.5 in.) wide. Itcan easily take the full weight ofyour hand without bending.

Specially designed for artistsworking on panels with a 33 mm(1-5/16 in.) space underneath.900-PB18 18-in. Bridge $19.50900-PB24 24-in. Bridge $24.50

Copper Wool Pad can produceshading along with other metal-point drawing tools in metal pointdrawings. These copper wool padsare oil free and will not leave aresidue.656-7071020 $6.50

Bronze Wool Pad can produceshading along with other metal-point drawing tools in metal pointdrawings. These bronze wool padsare oil free and will not leave aresidue.656-7123120 $4.85

Drawing and Silverpoint


Silverpoint drawingand demonstrationby Butch Krieger,

2008

Silverpoint Drawing Kit haseverything needed for silverpointdrawing. The kit includes two sil-verpoints, 2 mm and 0.9 mm, inmetal holders, two copper tips,copper wool pad, Golden Silver -point Ground, Maped Epure eras-er and step-by-step instructions.900-1001 Kit $75.00

Silverpoint Starter Kit has thebasic tools needed for silver-point drawing. The kit includestwo metalpoint holders, twoSterling silverpoints, TraditionalSilver point Ground, Maped Epurevinyl eraser and step-by-stepinstructions.900-1002 Kit $45.95

Copper Yellow Brass Silver2 mm 0.9 mm 2 mm 0.9 mm 2 mm 0.9 mm

Wide Stylus 2 mm with silverpoint tip

Thin Stylus 0.9 mmwith silverpoint tip

Silverpointand DrawingGrounds areon page 23

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You’ll Find More OnlineYou can find many more rare andhard-to-find art materials atNaturalPigments.com. You will alsofind tutorials, articles, recipes andthe most comprehensive productinformation available anywhere.

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Expedited ShippingIf you need your order to arrive by aspecific date, please call 1-888-361-5900 to arrange for expeditedshipping and to ensure items areavailable. We can arrange air ship-ment using UPS 2nd Day Air® orUPS Next Day Air® delivery.

International OrdersWe ship using U.S. Postal ServicePar Avion to Canada. We ship toalmost all other countries aroundthe world by USPS Parcel Post orUSPS International Priority Mail. Toorder by phone, call +1-707-459-9998, by fax +1-408-516-9442, oronline at NaturalPigments.com. Forthe shipping cost to your countryshop online or send us email [email protected] be aware that local customsmay delay the delivery of your pack-age beyond the delivery times quot-ed by us.

Customer ServicePlease open and inspect each pack-age as it arrives to check for short-ages and damage. Natural Pigmentswill handle all claims for damagedshipments. Please report any prob-lems by calling 1-888-361-5900,

Monday through Friday, 9:00 a.m. to5:00 p.m. Pacific Time.

No Hassle ReturnsOur products are guaranteed fornormal life and standard usage. If aproduct does not meet your expec-tations for any reason, you canreturn it for replacement or refundof the purchase price—it’s yourchoice. Returns made after 60 daysof receipt will only be exchangedfor the same item. Merchandisereturned because of a customerorder error will be subject to a 15%restocking charge.

RefundsPlease note that shipping chargesare not refundable. Refunds will bemade in the form of the originalpayment method.

TrademarksRublev Colours, Aurum and Rublesolare trademarks of Natural PigmentsLLC. All other trademarks belong totheir respective owners.

About Natural PigmentsNatural Pigments LLC is based inWillits, California with an affiliatecompany in Russia and a distribu-tion facility in Lithuania. We make,import and distribute rare and hard-to-find art materials for artists.

Artists’ MaterialsSafety PrecautionsThe artists’ materials offered in thiscatalog are not intended for use bychildren. Please remember that youare dealing with materials that maybe harmful if not handled with care.It must not be assumed that theabsence of a health warning indi-cates that a material is safe. Alldusts can be harmful if inhaled andpersistent exposure to them will atleast cause irritation and possibleharm. The safest practice is to treatall materials as potentially harmful.When precautions are taken, such

as wearing gloves and a NIOSH-cer-tified dust mask, the risk of expo-sure to these potentially hazardousmaterials is greatly minimized. Theminimum care needed for mostmaterials is no more than soundstudio practice. Here are our recom-mendations:

Always read the label. When trans-ferring art materials to other con-tainers, transfer the label from theoriginal package onto the new one.

Always keep products away fromchildren.Never use our products for usesthey are not intended.Do not eat, drink or smoke whileusing art materials.Wash up after each use—cleanyourself and your tools. Keep yourwork area clean. Wet mop floor topick up dust.

Work with pigments that you havefirst wetted into a paste.Store pigments in sealed contain-ers that are easy to open.Do not inhale dusts. Do not worknear a draft or fan that will blowdusts or fumes about, but keep yourwork area well ventilated. Wear aNIOSH-certified dust mask whilehandling powders.

Wear dedicated work clothing withlong sleeves.

Protect hands and skin from expo-sure. Wear gloves, especially if youhave cuts or abrasions. Apply a bar-rier cream about 30 minutes beforeyou start working. Wash hands fre-quently and re-apply barrier cream.Keep hands away from your face.

Warning LabelsSome products contain hazardousmaterials. These products are clearlymarked and carry warning labels onthe packaging or package inserts.These products are identified in thiscatalog with the symbol T thatcontain hazardous material or containing toxic material. Itemswith contain combustible mate-rial and cannot be shipped by air.All our products are labeled inaccordance with the chronic hazardlabeling standard, ASTM D 4236 andFederal law, P.L. 100-695.

CA Prop 65 LabelingThe state of California requireswarnings on products containingsubstances that have been shown tocause cancer, birth defects or otherreproductive harm. Even if theseproducts contain only trace levels ofharmful substances, a warning isrequired. Caution is recommendedwhen using products that arelabeled CA Prop 65.Products carrying warning labels

can be used safely by individualswho are able to read, understandand follow precautions for handlingthose materials. Some artists’ prod-ucts cannot be made non-haz-ardous, be cause they are necessaryfor certain creative activities. Whenused in properly supervised andcontrolled conditions, they can beused with the risk of exposure topotentially hazardous materialsgreatly minimized.

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PAIDNatural Pigments

Oil colors made with mineral andorganic historical pigments forold masters-like painting effects.How are Rublev Colours Artists’ Oils different from allother commercial oil colors? They contain only genuinenatural or historical pigments like those used by the oldmasters. And we make them like oil colors were madebefore modern tube colors—without stearates and othermodern additives. Rublev Colours Artists’ Oils are formu-lated to maintain the unique characteristics of eachpigment in oil—they are long, heavy bodied and havethe highest pigment level possible. See page 12.

Stack ProcessWhite Lead ismade according tothe 16th centuryDutch method usinglead rolls corrodedin stacks of horselitter. The white

flakes are shaken off the rolls, washed, groundand formed into cakes. The cakes are easilybroken and ground in oil for immediate use.Only from Natural Pigments—see page 7

“I can paint the tiniest highlights and detailswith the stack process white lead. It seems tocover better than modern white lead and that,plus its natural ropiness, seems to be themagic combination.”—William Whitaker, U.S.

“It goes on with a litheness and stability newto my experience. This is paint as I have onlydreamed.”—Paul Rhoads, France

Inside this Catalog:Pigments, 6Pigment Sets, 8Paint Making Kits, 10Artists’ Oils, 12Artists’ Oil Color Sets, 14Varnishes and Mediums, 18Oils, 19Solvents and Driers, 20Resins, Waxes and Gums, 20Additives and Chemicals, 21Grounds, Gesso and Glues, 22Artists’ Water Colors, 26Artists’ Water Color Sets, 28Gold, Silver and Metal Leaf, 32Gilding Sizes and Bases, 33Gilders’ Burnishers and Tools, 34Fresco Painting Supplies, 36Artists’ Brushes, 38Drawing Tools, 40Silverpoint and Metalpoint, 41

The Source for Professional andTraditional Artists’ Materials

Order by Phone1-888-361-5900Monday–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 AnytimeNaturalPigments.comFor a greater selection of products

Order by MailNatural PigmentsPO Box 112, Willits, CA 95490

Featured ProductsOleogel is a gel medi-um of linseed oil, sili-ca and resin. Used forglazing, this transpar-ent and luminousmedium conserves thebody and satin finish

of oil colors. Does not contain driers andwill not affect drying of colors. See page 18.

Lead Oil Ground is ablend of lead white,calcite and titaniumwhite ground in lin-seed oil in just theright proportions for aprimer that remains

flexible and tough. Dries fast and creates aflexible, semi-absorbent ground ideal for oilpainting on canvas and panel. See Page 23.

Free ShippingOn orders of $150 or more withinthe U.S. 48 contiguous states.See page 42 for details.

natural pigments 2011 catalog

Documents

oil colors

new mediums andvarnishes

rublev coloursartists

artists materials thatwere

brands of oil paints

gel mediums

naturalimpasto mediums

linseed oil