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Winsor & Newton - Series 7 Kolinsky Sable Brush Size 7

Winsor & Newton - Series 7 Kolinsky Sable Brush Size 7

Widely considered the world's finest watercolour brush! Bristles: Kolinsky Sable Sizes: 13 Sold Individually Professional-Quality brushes Available in several sizes Made using only the finest Kolinsky Sable hair Seamless nickel-plated ferrules & short black polished handles Originally developed at the behest of Her Majesty Queen Victoria, the Series 7 earned Winsor & Newton the Royal Warrant.  Offering a rapier-like point, perfectly balanced spring with extraordinary colour-holding capacity & flow control, they're still widely considered to be the greatest range for professional watercolourists. Handmade in England since 1866 using only the finest Kolinsky Sable hairs, the Series 7 has proven itself to be the standard–bearer in the three essential qualities that define the finest watercolour brush; "Point", "Snap and Spring" and "Flow Control". Point Every Series 7 brush should come to a crisp point and maintain that point during use. Pointing without colour – swirl the brush in water, give the brush head a hard flick of the wrist. Point when painting – drain excess colour into palette and then twist brush head gently to get the perfect point. Snap and Spring The brush snaps back crisply into shape with the right degree of spring to allow the artist superior control with a degree of give and take between the brush and painting surface. Flow Control – Speed and control of painting The larger belly of the Series 7 brush hold more colour than other sable brushes and this makes applying washes so much easier. Along with the colour carry capacity the Series 7 comes with such a fine point too. The same fine line can be achieved with a size 10 as it would be with a size 0 as the reason for the larger size brush is when you want a reservoir of colour.

GBP 135.91
1

Gamblin - Cold Wax Medium (3.78L)

Gamblin - Cold Wax Medium (3.78L)

Made from naturally white, pure beeswax Formulated to knife consistency Makes oil colours thicker and more matte It can also be applied alone as a matte varnish It's a rare occurrence for one specific painting medium to have a whole genre of painting associated with it, but Cold Wax Medium is one such medium. Cold Wax Painting is not defined by subject matter nor the degree of realism or abstraction, Cold Wax Painting is unified by artists' shared interest in experimentation, texture and the physicality of paint layers. What is Cold Wax Painting? Cold Wax Painting is any type of painting that heavily utilises Cold Wax Medium into oil colours. In its own way, Cold Wax Painting blurs the line between oil painting and encaustic painting. What is Cold Wax Medium? Gamblin Cold Wax Medium a mixture of natural beeswax (wax pastilles), Gamsol and a small amount of alkyd resin. The term "cold" in Cold Wax Medium and Cold Wax Painting refers to the fact that heat is not required for working with this wax medium – as it dries by solvent evaporation (Gamsol), rather than the cooling of the wax, as in encaustic painting. As the Gamsol evaporates out of the medium, the soft wax hardens to the density of a beeswax candle. Unlike other Gamblin painting mediums, which increase the flow and gloss of oil colours to varying degrees, Cold Wax Medium makes oil colours thicker and more matte. Cold Wax Painting Techniques Cold Wax medium is a dense paste that's is excellent in creating a variety of textures within a painting. It has a "short" characteristic and gives a clean break off of the brush or knife, retaining the sharp peaks of impasto. These working properties allow for expressive brush marks and the ability to carve into paint layers with palette knives. Cold Wax also gives oil colours a beautiful translucent quality, similar to the seductive surfaces of encaustic paintings. Cold Wax Painting utilises experimental approaches, including the use of brayers, stencils, and textural elements such as bubble wrap or wire screens. The possibilities are endless! Compatibility Cold Wax Medium is compatible with oil colours, alkyd/oil colours, alkyd-based painting mediums, and Gamsol. Fast-drying mediums such as Galkyd and Galkyd Gel will increase the tack when mixed with Cold Wax Medium. Neo Megilp, our silky, soft gel medium gives the wax a smoother feel and will round the peaks of impasto. These alkyd mediums will increase the gloss level of Cold Wax (just as adding Cold Wax lowers the gloss level of these mediums). Adding Gamsol to Cold Wax Medium will make it more fluid without adding gloss. How much Cold Wax Medium can be safely added to oil colours? We recommend adding up to 1/3 Cold Wax Medium to 2/3 oil colours. Beyond this amount, approximately 25% Solvent-Free Gel or Galkyd Gel should be added to 75% Cold Wax Medium. The addition of these mediums will increase both the flexibility and durability of the resulting paint layer, making it less prone to cracking. What is the best support to paint on for Cold Wax Painting? Just like encaustic paintings are done on rigid supports such as panels, we recommend the same for Cold Wax Paintings. Wood or aluminium panels are appropriate, as are panels with fabric adhered to the surface. Rigid supports limit movement the paint layers and will help prevent cracking. When using Cold Wax Medium alone as a painting medium on stretched canvas, we recommend limiting the wax to 1/3 of the total paint mixture. To use higher percentages of Cold Wax Medium on stretched canvas, add 25-50% Galkyd Gel, Solvent-Free Gel, or for more fluid results, Galkyd. The addition of these mediums will increase the flexibility and durability of the resulting paint layer, making it less prone to cracking. Are Cold Wax paintings subject to melting because of the wax? The wax used to formulate the Cold Wax Medium has a melting point of approximately 155 degrees Fahrenheit. In most environments, Cold Wax paintings will remain quite stable. However, if you need to transport or ship the painting through a warm climate in the summer, consider air conditioning!

GBP 149.99
1

GOLDEN - Heavy Body Titanium White Acrylic Colour (3.78L)

GOLDEN - Heavy Body Titanium White Acrylic Colour (3.78L)

Large 3.78 Litre tub of Titanium White (Series 1) acrylic Exceptionally smooth, buttery consistency Excellent permanency and lightfastness Golden acrylics are noted for their thickness Great flexibility when dry Ideal for priming surfaces Video: Golden Artist Colours - Acrylic Paint Demo The first acrylic colours offered by Golden Artist Colors, Heavy Body paints are known for their exceptionally smooth, buttery consistency. The Heavy Body palette includes the largest assortment of unique pure pigments in a 100% acrylic emulsion available to professional artists. They offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners, or dyes added. Each Heavy Body colour formula reflects the qualities of its pigment. Colours that tolerate a higher pigment load dry to a more opaque, matte finish. Colours that are more reactive and do not allow as much pigment loading tend to have a glossier, more transparent, finish. Because Heavy Body colours contain no matting agents, the gloss of each colour will be different.  Golden Heavy Body Acrylics are noted for their thickness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas. All Heavy Body colours are thixotropic in nature. This means that when brushing or stirring, the paints actually lose viscosity and feel much thinner. The faster the paints are moving, the thinner they feel. Returned to a state of rest, the paints gradually increase in thickness until they are again restored to their formulated viscosity. These paints retain excellent flexibility when dry, greatly diminishing the possibility of cracking that occurs in other natural and synthetic polymer systems. The acrylics can absorb the constant stress and strain placed on canvas when shipped or as it expands and contracts with changes in temperature and humidity. Please note: acrylics begin to harden at 15 degrees Centigrade or 59 degrees Fahrenheit, and become quite hard at temperatures below freezing. This is especially important to remember when shipping a painting in freezing conditions or when unrolling a painting that has been kept in cold storage. Mixing Abilities Heavy Body Colours can be mixed with all of our Golden Mediums, Gels and other paint lines, including our High Flow Acrylics, Fluid Acrylics, High Load Colors, Iridescent Colors, Paste Paints, and Matte Acrylics. By mixing paint lines, artists can produce a wide range of paint consistencies without compromising color strength. Heavy Body viscosity can also be reduced successfully with water. Remember: the more water added to the acrylics, the greater the subsequent shrinking of the paint layer. Too much water will reduce the binding capability of acrylic paints and tends to flatten out their sheen. Some artists have used other solvents, including alcohols, to thin these Acrylics. All of the acrylics are sensitive to additions of solvent. If you require this addition it is advisable to dilute the solvent first with water to reduce the shocking effect of the solvent. In some cases, adding solvent too quickly will coagulate the acrylic. Gloss Variations When producing the Heavy Body line, Golden consciously broke the mould of acrylics made in the past. Most acrylics were produced to have an even satin sheen across the range of colors. Manufacturers felt artists wanted this even sheen to avoid the differences encountered by oils. Each pigment is made to its own level of matte or gloss depending upon its own unique nature. It is always possible to add matting agents and other whitening materials to the product, but once added, it is impossible to take them away. The Heavy Body line of acrylics contains no additional flattening agents, opacifiers or other solids that might interfere with the clarity of the pigments. It is quite evident when looking at our color chart that colors in the HB line do differ in gloss. For example, the sheen of Golden Ultramarine Blue or Burnt Umber is almost a dead matte, whereas the sheen of Green Gold or Dioxazine Purple is extremely glossy. Some artists may find this problematic; yet for many artists the variations offer the same nuances of color that are so appreciated in oil paints and give what many describe as an organic look to the colors. Without the need for opacifiers we can offer colors as similar in hue as the Cadmiums and Hansas, yet quite different in their ability to cover and in their clarity when mixing. Mixture Colours The mixture colours within the Golden Heavy Body line of acrylics include Green Gold, Jenkins Green, Quinacridone Crimson and Turquois (Phthalo), as well as our Neutral Greys, Historical Colours, Blended Colours and Primaries. Some mixture colours, such as Historical Colours, offer safe and lightfast alternatives for pigments that, otherwise, would be dangerous or insufficiently light stable for artist use. The range is divided among inorganic and organic pigments.

GBP 174.99
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