Charvin Fine Oils 150ml

Cryla Artists’ Acrylic was introduced by Rowney & co. in 1963 and pioneered the use of artists’ acrylics in Europe; it is one of the significant milestones in the company’s development. Cryla Artists’ Acrylic colour is a very heavy-bodied colour with a high loading of permanent, lightfast pigments. The unique heavy, buttery feel under the brush and knife is popular with artists wanting to achieve a wide variety of impasto effects

College® Oil Series 31 Beginners as well as artists who use large quantities of colours can now obtain a new reliable artist oil colour in student quality with 24 colours made of proven artists’ pigments and natural plant oils (linseed and sunflower oil). All colours are available in 200 ml-tubes in only one price group – including gold and silver. The range includes 18 opaque/semi-opaque and 6 transparent/semitransparent colours, with very good light fastness ratings (4 – 5 stars) for durable intense colours. oil colours are compatible with all other Schmincke oil colours ( MUSSINI®, Norma® Professional, AKADEMIE® Öl color) as well as the Schmincke oil colour mediums. Benefits: oil colours are characterized by easy use and application. The colours can easily be mixed and dry quite fast and evenly. The smooth and buttery consistency allow the use of brushes and painting knives maintaining – when desired – the brush strokes. Primary colours College yellow, College magenta and College cyan allow infinite mixture of brilliant colour shades. SPECIAL OFFER WHILE STOCKS LAST – Buy 1 get a free Schmincke brush, Buy5 get a free white Your free products will be added to your order before we dispatch.

Formulated based on real metal pigments for painting techniques in oil, acrylic and water-colour/Gouache colours. 5 colours are available: rich gold, rich pale gold, pale gold, copper and silver

HORADAM® AQUARELL Finest artists’ water-colours, series 14 110 colours in small and large tubes and full and half pans Each colour has its own individually optimized formula 69 single pigment colours for brilliant mixing results Pans poured 3-4 times in liquid state Highest lightfastness Dried colour can be rewetted for further use High control of paint flow even on soft water-colour papers Excellent quality “Made in Germany” Same formulations for tubes and pans Available in following sizes: 110 colours in whole (3,2 ml) pans and 15 ml tubes

Finest artists’ water-based aqua LINOPRINT colours, 15 brilliant shades as well as 3 effect colours (gold, silver, copper) 4 special mediums + 1 universal fixative water-based colour + natural raw materials (gum Arabic) only highest light fastness (4+5 stars) even, sharp prints highly intense colours, good miscibility Available in following sizes: 35 ml tubes (15 + 3 effect colours), 120 ml tubes (17 colours), 250 ml jars (7 colours)

MUSSINI®, finest artists’ resin-oil-colours, series 10 The artists’ natural resin-oil-colours which are unique throughout the world Based on old masters’ formulations 101 colours + 7 new gold shades offering the ultimate in brilliance and purity, including 64 single pigment colours 42 exquisite translucent colours Premium artists’ pigments in highest concentrations Maximum possible light-fastness Balanced drying process Tension-free and durable colour-layers

Norma® PROFESSIONAL Finest artists’ oil colours, series 11 84 shades including unique special tones Use of renewable raw materials e.g. pure high-quality plant oils Only highest light fastness (4 + 5 stars) The drying process occurs evenly and there is an even consistency among all colours Maximum efficiency by using the highest concentration of pigments Versatile colours suitable for all painting techniques We recommend these are a very good value Artist’s quality paint

Working with Schmincke’s finest extrasoft pastels leads you back to the origin of colour and is a real painting experience rather than simple drawing. They contain only the purest medium fine ground artists’ pigments, which are in the highest possible concentration. Contrastingly, the binding agent content, is kept to a minimum, which ensures a stable compound. In order to guarantee the highest quality it is necessary to manufacture Schmincke pastels using special recipes which avoid the use of machinery during manufacture. ‘Worm extruders’ form the pre-kneaded dough into round skeins, which are then detached by hand and cut in a wirestrung frame. The damp sticks have to dry for around eight days before they can be labelled and packed by hand. This is a costly and time consuming process, however it is the only way Schmincke can guarantee homogenous quality and smoothness in all the production cycles, in order that the artist can be assured that his favourite colour shade is consistant throughout our range of finest extra-soft artists’ pastel colours. The complete assortment includes 400 colours classified in 80 rows with 5 colours each. The range contains also 5 additional pearl lustre effect colours. Pastel paintings will always remain…

CREAMY AND RICH TONES The goal of this new line was the creation of a line of artist-grade acrylics that has the consistency and rendering capability similar to those of extra-fine oils. The texture is that of a colour paste, creamy and rich, revealing desired brush or knife marks. With 120 shades, Sennelier offers one of the broadest palettes on the market. These colours have a high pigment content (primarily single pigments), selected to provide optimal stability over time. Sennelier has also included the colours that made its line of extra-fine oils famous. Thus, the colour chart includes the traditional ultramarines, earths, and ochres. It includes, among others, tones made from cadmium and cobalt based pigments. Finally, there are colours based on quinacridone, pyrrole, naphthol, and phtalocyanine from recent research that offer new possibilities to painters.

In 1887 (same year as ourselves!), Gustave Sennelier established himself as a colour merchant on the Quai Voltaire in Paris. Sennelier’s passion for colour chemistry and focused pigment research led to the development of a distinctive oil colour manufacturing process that has been employed for generations. Sennelier gathers only the finest natural and inorganic pigments from around the world. The pure pigments are ground very slowly with extreme care to an extra-fine consistency. They are then combined at maximum concentration with an archival safflower oil to yield the highest possible tinting strength and a lustrous satin finish. The sensuous pigments have a unique buttery texture, a consistency originally developed for the expressive style of the Impressionist painters who frequented the Sennelier store in the 19th century. Sennelier’s meticulous work, his vast knowledge of pigments, his talents as a colourist, and collaboration with Cezanne and other Masters gave rise to a palette of oil colours that quickly became the standard of quality. Favoured by some of the greatest artists (Monet, Gauguin, Matisse, Picasso, Bonnard, Modigliani, Chagall, Ernst, Hockney), Sennelier oils hang in the world’s most prestigious museums. Today, Sennelier’s classic palette is expanding with 50 new, original shades that encompass contemporary…

EXCEPTIONAL BRIGHTNESS It took over three years, at the turn of the 20th Century, to formulate the Sennelier range of Extra Soft Pastels “à l’écu” and thus to create one of the largest chromatic range of pastels. Throughout the century, this range of tones has evolved, but the heart of its making remains unchanged.

In 1949, Parisian painter Henri GOETZ approached Henri SENNELIER the famous artist materials manufacturer, about creating a wax colour stick for his friend Pablo PICASSO. Picasso, a long-time Sennelier customer and a frequent visitor to their store across the street from the Louvre museum, was looking for a medium that could be used freely on a variety of surfaces without fading or cracking. Their collaboration produced the incomparable SENNELIER oil pastels. Originally available in a palette of classic hues, the colour selection was expanded with the addition of metallic and iridescent hues. Beyond these classic hues a selection of unique shades is available, and in particular a gradation of greys, required for a balanced palette. This evolution is the fruit of a long-standing collaboration with European and North American painters, who have worked with our company in developing an exceptional palette of shades. The Sennelier oil pastel is a product that makes use of the components used in all Sennelier colours: top quality pigme nts, an extremely pure synthetic binding medium and mineral wax. The pigments are ground with an inert, non-siccative binding medium that does not oxidise and that has no effect upon either film stability or surface. This…

HONEY-BASED WATERCOLOUR A watercolor tailored to the needs of today’s artists. A honey-based watercolor. Honey has many virtues: a symbol of light and sun, an emblem of poetry and science and has been used since Ancient times as a remedy for dry skin and to help heal wounds. This nectar is used in L’Aquarelle Sennelier not only as a preservative but as an additive giving incomparable brilliance and smoothness to the paint. Always striving for excellence, Sennelier has reworked its watercolor formula with increasing the amount of Honey in the paint to reinforce the longevity of the colors, their radiance and luminosity. Watercolors Made in France using traditional methods. L’Aquarelle Sennelier has been produced in the same way for more than a century using the best pigments and top quality Kordofan Gum Arabic as a bonding agent. This mix of natural ingredients produces colours which have a smooth, bright texture and offer lively, colourful shades. The Gum Arabic and honey combination offers incomparable quality of application, producing superb washes. Then, this base is mixed with pigments and carefully ground. Sennelier makes sure to wet the pigments in purified water (with no mineral salts) for 24 hours before mixing them in…

Artists’ Oil Colour is unmatched for its purity, quality and reliability – a success which is reflected in its world-wide reputation amongst professional artists. It has 120 colours in the range, offering the widest spectrum of all the Winsor & Newton oil ranges

Griffin Fast Drying Oil Colour offers the excellent advantage of faster drying times compared to traditional oil colours. This means that the traditional oil techniques of both impasto and glazing can be done in considerably less time and a painting can be completed in a single session. The full range of 50 colours are ideal for working outdoors, and greater transparency means increased depth and clarity for glazes.

After extensive research and development, we are proud to present the brightest ever range of Artists’ Acrylic. By combining our world-beating colour making experience with the latest developments in resin technology we have taken ‘brilliance’ to a new level. And that’s not all. Not only are our colours brilliant when wet but they remain as bright when dry – so what you see is what you get

Since 1832 when Henry Newton and William Winsor introduced the first moist watercolours to the world, much of our reputation for supreme quality has stemmed from the Artists’ Water Colour range. Since then Artists’ Water Colour continues to be formulated and manufactured according to our founding principles; to create an unparalleled water colour range which offers artists the widest and most balanced choice of pigments with the greatest possible permanence. Each colour within this wide and balanced spectrum of 96 colours, has been selected and formulated to offer the greatest choice so that artists can use a unique palette that best suits their work.

Winton Oil Colours are a range of moderately priced oil colours suitable for artists requiring good quality colour at a uniform and affordable price. Notwithstanding price, Winton has a high level of pigmentation which provides good covering power and is stronger than many artists’ quality ranges. Winsor & Newton formulation, manufacture and quality control ensure Winton is a product of absolute excellence. The range of colours is chosen according to mass tone (colour from the tube), undertone (bias of colour when in a thin film), strength and relative opacity. The resultant colour spectrum ensures the maximum number of colours can be mixed from the range. Winton colours may be safely intermixed with other Winsor & Newton Oil ranges with the exception of (a) thin alkyd films over thick oil films and (b) thick Oilbar films under oil films. A wide range of mediums are also available, allowing you to modify the characteristics of your tube colour e.g. consistency, gloss, drying rate and texture. The Winton range of colours have a uniform consistency which retains excellent brush and knife stroke textures.