Atlantis Catalogue

atlantis
ART
MATERIALS
Archival
atlantis
ART
MATERIALS
Acid Free Paper Framing Tape

Developed for hinging works of art on paper, can also be used to seal
the sides of picture frames and photographic glass plates.
Specifications
- White woodfree paper base pH 6-7
- Coates one side with water soluble starch adhesive
(pH 5-6)
- Reversible
Code
gsm
Size mm
Colour
Quantity
Price
FTP011
64
24mm x 350m
1M
FTP0110
64
24mm x 350m
24mm x 350m
White
White
10M
0.20
1.80
White
200M
33.00
FTP01
64
Draft Cleaning Powder & Pads

Vulcanised unsaturated vegetable oil, with the addition of talc, in a convenient pad or loose-contained in a drum. Non-abrasive for
cleaning fingerprints or smudges off paper and board. Large areas can be cleaned evenly without leaving patchy areas, which can
occur when using a normal rubber.
Code
Size
Pack Qty
Price
DCP01
4oz pad
5.20
DCP03
2lb drum
20.59
Bondina
This cross laid non-woven 100% polyester fabric is used to support fragile paper during washing and aqueous deacidification and
for the wrapping of artifacts.
Code
gsm
Size mm
Size ft
Price
BON01R
100
800 x 10m
31 1/2 x 32 1/2 ft
64.80
BON02R
30
1000 x 10m
39 x 32 1/2 ft
26.14
DISCONTINUED
Cotton Tying Tape

Ideal for the tying up of bundles of documents and folders. Also invaluable for securing of phase box lids.
Code
Size mm
Size ft
CTT01
13mm x 50mtrs 1/2 ft x 164 ft
Pack Qty
Price
Roll
7.54
Cotton Researcher Gloves

For use when handling all archive material these cotton lint free gloves are ideal. 1 size only.
Code
Size
Pack Qty
Price
CRG01
1 size only
10
2.38
www.atlantisart.co.uk
Tel: 020 7377 8855
Archival
atlantis
ART
MATERIALS
Acid-Free Tissue Paper

Chinese Acid-Free Tissue is made from fully beaten sulphate pulp
and buffered with calcium carbonate. The extensive beating imparts
a smooth hard feel, with a good degree of transparency appreciated
by many for interleaving
applications.
Code
Size mm
Size
Pack Qty
Price
AAFT01
500 x 750
19 1/2 x 29 1/2
500
17.04
AAFT02
750 x 1000
29 1/2 x 39 1/2
500
36.72
Acid-Free Blotting Paper

A high quality woodfree, acid-free blotting paper, for paper conservation and repair work.
Code
gsm
Size mm
Size
Pack Qty
Price
AB01
300
610 x 860
24 x 34
100
121.20
Atlantis Long-Life Copysafe

100% woodfree fibre, bleached completely without the use of chlorine.
Guaranteed for use in ALL dry-toner copier machines and laser printers.
Neutral pH and buffered with calcium carbonate.
Atlantis Long-Life Copysafe meets the ISO standard for long-life papers
(likewise the ANSI spec.) and has been awarded the seal of approval by
both the Swedish Environment Society and the Swedish Association for
the Protection of Nature for its cleanliness of manufacture.
Code
gsm
Size
Pack Qty
Price
CS01
80
A4
500
9.20
CS02
80
A3
500
18.15
Archival Interleaving Tissue

A non-buffered tissue paper in sheet and roll formats ideal for interleaving and wrapping.
Code
gsm
Size mm
Size
Pack Qty
Price
AL2SB
10
485 x 760
19 x 30
500
144.00
AL2S
10
760 x 950
29 x 37
500
281.16
AL2R
10
940 x 100m
37 x 109 yds
Roll
97.20
Tel: 020 7377 8855
Archival
atlantis
ART
MATERIALS
Atlantis Silversafe Paper

Applications
DISCONTINUED
- Conservation and archival protection of silver

image
- Photographic negatives and prints
- Making of negative folders and envelopes
- Storage of metal artifacts
- Textile storage - particularly silk & wool where
the alkaline environment of buffered paper is
undesirable
Specifications
- 100% cotton fibres from purest cotton linters
- Passes Silver Tarnish Test
- Passes ANSI photographic activity test
- Sized and neutral curing ketene dimer
- Reducible sulphur less than 2 part per million
- pH 6 by cold demineralised extract
- No added alkaline buffering agents
Atlantis Silversafe Paper was developed in collaboration with photographic conservators who had become increasingly
concerned about the damaging effects that storage papers containing sulphur/sulphurous compounds and chlorates had on
the photographic materials stored in them. To ensure purity, only cotton fibres are used in the paper. Silversafe has no alkaline
buffering, colouring agents, reducible sulphur, lignin or any other oxidising chemicals. As the paper is non-buffered, a change in
pH value may occur depending on storage and environmental conditions. Made in a smooth finish to prevent abrasion of
negatives and prints, the paper comes in a natural white colour. The pH value of Silversafe ex-mill is 6, comparable to other
inert materials such as polyester and de-ionised water, and reflects the absence of buffering agents which in the context of
photographic storage are considered impurities, beacuse of the sensitivity of photographic materials to chemical damage.
Code
gsm
Size mm
Size
Pack Qty
Price
ASP02
120
914 x 1219
36 x 48
100
345.79
Archival Rag Endleaf

Atlantis Archival Rag Endleaf is an exceptionally high quality paper developed primarily for conservation bookbinding, e.g.
endpapers, guarding, etc. It is manufactued from 100% cotton fibre and is designed to meet the most stringent standards
required by conservation binderies, libraries and museums. It is produced in cream, with a smooth wove surface, buffered with
calcium carbonate and tub sized with pure non-ionic oxidised farina starch, to resist fibre picking when printing and to impact
extra fold and surface strangth to the paper.
Specifications
Applications
- Made from 100% cotton fibres

- Acid free
- pH 8.5 (hot extract)
- Buffered with calicum carbonate
- Tub-sized with pure non-ionic oxidised farina starch
- Lightfast/Blue wool scale reading of 5
- Bookbinding and library conservation

- Archival storage
- Conservation of photographs
- Printing
Code
gsm
Size mm
Size
Pack Qty
Price
ARE02
120
813 x 1118
32 x 44
100
186.25
Tel: 020 7377 8855
Archival
atlantis
ART
MATERIALS
Heritage Woodfree Paper

Applications
- Paper Conservation
- Bookbinding
- Archival quality printing and publishing
- Conversion into archival storage enclosure
- Calcium Carbonate buffered
- Internally sized: Alkyl Ketene Dimer
- Surface sized with modified starch
- Vellum finish
Specifications
- Purified alpha - cellulose fibre
- Acid free (pH 8.5)
- Lightfast (Blue Wool Test: 5)
- Free from optical brightening agents
Heritage Woodfree is ideal as a fine art printing and archival storage paper. It comes in a range of weights from 100gsm to 315gsm.
It can handle any conversion demands particularly pockets and envelopes due to its good surface and fold strength. Made from a
purified high alpha cellulose pulp, which can provide an economical alternative to Silversafe Photostore, where an unbuffered paper
is not a critical requirement.
Code
gsm
Size mm
Size
Pack Qty
Price
AHW01
100
838 x 1143
33 x 45
100
78.75
AHW02
160
200
838 x 1143
33 x 45
100
125.06
315
838 x 1143
838 x 1143
33 x 45
33 x 45
100
50
142.80
117.00
315
1016 x 1372
40 x 54
50
172.80
HW031
HW072
HW073
Archival Kraft, Manilla & Cover Papers

Manufactured to the highest standards and quality required by archivists and conservators, the range consists of Archival Kraft
(120gsm) , Manilla (225gsm) and Cover (300gsm). All these have excellent cutting, folding and tear strength properties and are
suitable for conversion to a wide range of archival products which can be used for general storage and preservation of archival
collections.
Specifications
Applications
- Chemically purified woodfree fibre

- Acid free, Lignin free, O.B.A. free
- Reducible sulphur less than 0.5 parts per million
- pH 8.5
- Lightfast, minimum 5/6 Blue Wool Test
- Buffered with 3% Calcium Carbonate
- A.K.D. - Alkaline sized
- Archival storage - files, folders, envelopes

- Wrapping
- Lining
Code
Name
gsm
Size mm
Size
Pack Qty
Price
AAK01
Kraft
100
838 x 1143
33 x 45
100
81.80
AAK02
Manilla
Cover
225
200
838 x 1143
33 x 45
100
152.80
Kraft
315
838 x 1143
838 x 1143
33 x 45
33 x 45
100
50
182.17
191.56
AAK03
AAK01R
Tel: 020 7377 8855
Archival
atlantis
ART
MATERIALS
Lilliput Time Traveller Album Pages

Fabricated from a special polyester based material which passes both the Silver Tarnish Test and the Solvent Activity Test, the
Lilliput Time Traveller pages are chemically inert, acid-free, light, strong, clear and resistant to atmospheric pollution. Suitable
for the storage of even the most sensitive and fragile material, such as old letter and photographic, the four-hole punched pages
available in different styles to suit almost every requirement.
Styles include pages suitable for collection of letters, first day covers, postcards, cartes-de-visite and cigarette cards, as well as
many other types of ephemera. For photographic collections, there are sleeves to fit 35mm film negatives, 2 1/4 film negative
and 35mm transparencies. Each page can even be used within a filing cabinet by the insertion of a suspension rod. Each
eclosure has a special security flap to retain the contents, while every page comes ready to use immediatley.
Code
Pack Qty
Price
PLMP--
25
28.35
Tel: 020 7377 8855
Archival
atlantis
ART
MATERIALS
Lilliput Museum System

The Lilliput Museum System has been specifically designed with conservation in mind. It provides a versatile, flexible and
safe method for archivists, curators, collectors and photographers to tailor make their own safe archive and display system.
The Lilliput Museum System consists of a rigidly constructed hand-made box containing a four post D-ringbinder that holds
a variety of clear chemically inert special polyester Time Traveller album pages.
The Lilliput Museum System provides protection against:
Acidity
Atmospheric Pollution
Ultra-Violet Light
Careless Handling
Chemical Reactions
Natural Hazards
Inherent in many papers, boards and plastics: causes yellowing and embrittlement
Chemical reactions with dust and dirt particles in the air, causing acids to form
Can cause fading of images and dyes
Tearing, creasing, abrasion and spillage
Silver tarnishing of photographic images; migration of plasticers with potential solvent effects
Vermin, insects and associated dangers
Lilliput Museum Box

Recommended for the most valuable and fragile items, the Museum
Box is constructed throughout from Atlantis Archival Folding
Boxboard for absolute archival safety. The material is strong and
rigid, creating a stable non-acidic micro environment for perminently
protected storage. Covered with Black Library Buckram.
Code
External size
Internal size
Price
LMB1
345 x 325 x 65
330 x 310 x 55
65.28
Lilliput Accessories
Code
Description
Pack Qty
Price
LHB01
Lilliput Page Hanging Bars
10
6.05
LIT02
Page Index Tabs, self adhesive

Photo Corner Mount Strips
50
13.44
315gsm Page Inserts (fits PLMP11 pages)
100
25
9.24
5.88
Fold Over Mounting Corners
100
10.42
LMC04
LIP101
LMC03
Storing in Plastic - The Dangers!

In the case of long term transparent storage for photographs and documents, certain important criteria apply. The
material used should be chemically inert and have a neutral pH level. It should contain no migratory plasticisers or
be likely to generate harmful vapours in decomposition, as well as being tear proof in normal use, durable and clear.
It should not yellow or become brittle, it should have low flammability and be resistant to atmospheric attack. Certain
commonly available plastics are therefore not suitable, such as polyvinylchloride (PVC) and some cellulose acetates
and polyalkenes.
Atlantis use a special grade of durable polyester based material for Lilliput Time Traveller pages, developed for
strength and archival safety to meet these requirements.
Indepent laboratory tests prove that they are:Free of plasticisers
Free of residual solvents
Tel: 020 7377 8855
Archival
atlantis
ART
MATERIALS
Polyester Archival Storage Pockets

Polyester Melinex transparent protection sleeves/pockets for
negative print slides and artwork of all kinds. If you do not wish
to frame or mount your photograph or artwork, a simple method
of protection offering easy access, visibility and protection against
mishandling and abrasion is to house the piece in transparentarchival
polyester sleeves or pockets. With larger prints in particular, the instertion
of a heavyweight acid-free paper or board will give extra rigidity and
protection to the print and prevent the risk of it being bent or creased in
storage. These pockets are available in a choice of LONG or SHORT side
open; they can also be made open on two sides. Please allow 1/4 (6mm)
around the item you wish to store to ensure a safe fit.
Code
Type
Size mm
Size
Pack Qty
Price
APS01
2 1/4 slides
77 x 77
3x3
50
16.65
APS02
Lantern slides
104 x 104
4x4
50
17.75
Postcard size
108 x 134
96 x 153
4 1/4 x 5 1/4
3 3/4 x 6
50
50
15.65
13.55
108 x 159
4 1/4 x 6 1/4
50
17.59
APS03
APS04
APS05
APS06
A6
115 x 159
4 1/2 x 6 1/4
50
18.99
APS07
A5
153 x 229
6x9
50
27.99
APS08
APS09
A4
8 X 10
229 x 311
210 x 260
9 x 12 -3/4
8 1/4 x 10 1/4
50
50
37.20
33.69
APS10
10 X 12
260 x 311
10 1/4 x 12 1/4
50
48.09
APS11
11 X 14
288 x 362
11 1/4 x 14 1/4
50
53.59
APS12
12 X 16
311 x 413
12 1/4 x 16 1/4
50
74.35
APS13
APS14
16 X 20
20 X 24
413 x 515
515 x 616
16 1/4 x 20 1/4
20 1/4 x 24 1/4
50
50
104.90
159.19
APS15
A3
305 x 429
12 x 16 7/8
50
65.55
APS16
A2
428 x 603
16 13/16 x 23 3/4
50
148.59
APS17
A1
603 x 854
23 3/4 x 33 5/8
25
148.65
Melinex Archival Polyester

A chemically inert, optically clear polyester film, with applications in conservation, restoration and archival storage.
Specifications
- Moisture resistant
- Chemically inert
- Sparkling optical clarity
- Non-yellowing
- Non-brittling
- Contains no plasticisers
Applications
- Archival storage
- Encapsulation
- Paper restoration support materal
- Lamination
- Printing
Code
Microns
Roll Size mm
Roll Size
Type
Price
MX01
75
1016 x 20m
40 x 21 3/4 yds
Archival
60.00
Tel: 020 7377 8855
Archival
atlantis
ART
MATERIALS
Archival Folding Boxboard

Applications
- Box Making
- Folders
- Small phase boxes (650 micron)
- Medium phase boxes (1000 micron)
- Large phase boxes (1300 micron)
- E.V.A polymer adhesive pH. 7.0, contains
no plasticers
Specifications
- Reducible sulphur: less than 0.5 parts per
million
- Sizing agent: Alkyl Ketene Dimer
- Lignin free
- Lightfast (Blue wool test 5-6)
- Free of optical brightning agents
A laminated board specifically developed to meet the stringent requirements of archival storage. Can be converted to
folders or boxes. Offering a controlled mini-environment for books, papers, photographs and other fragile items, adding
to physical protection a non-acidic environment, which helps to counteract any acidity in boxed materials.
Code
Mircons
Size mm
Size
Pack Qty
Price
AAFB01
650
1016 x 1473
40 x 58
20
122.40
AAFB02
1000
1016 x 1473
40 x 58
10
93.84
AAFB03
1300
1016 x 1473
40 x 58
10
122.40
Die Cut Archival Boxes
These provide safe housing for items where tailor-made one-off phase boxes are an impractical solution. Made from Archival
Folding Boxboard, these flat pack acid-free storage boxes are economical, quick and easy to assemble. Double thickness
board in the base walls of the box gives rigidity for stacking horizontally and drop spines provide easy access to conents.
Code
Description
Size mm
Size
Pack Qty
Price
DCBD8
A4 Storage
311x222x70
40 x 58
10
72.00
DCBA3
A3 Storage
430x310x70
40 x 58
10
72.00
DCBC3
Foolscap
362x235x70
40 x 58
10
72.00
DCBB1DEP
Gen. Storage
400x298x143
40 x 58
10
108.00
Tel: 020 7377 8855
Archival
atlantis
ART
MATERIALS
100% Cotton Museum Board - Cream

Atlantis defines Museum Board as one which is made
from cotton fibre, which is at least 95% alpha cellulose in its
raw state. Alpha cellulose is the purest form of cellulose used
in papermaking. Cotton requires little cleaning and refining to
remove the imputities, which are considered to be detrimental
to the long-term storage of art works. In addition, the fibres
retain their superior length and strength, which gives greater
stability to the board. The range has been developed to
accomodate most of the variances found in mounting and
storing art works. It has a pH value of 8.5 and is buffered with
3% calcium carbonate.
Applications
Specifications
- Museum mounting of prints, drawing & photographs

- Conservation framing
- Museum exhibition and display
- Photographic storage and conservation
- Boxmaking and bookbinding
- Library conservation
- Passes silver tarnish test
- E.V.A. polymer adhesive, contains no plasticisers
- 100% cotton fibre

- Acid, lignin and sulphur free
- Buffered with calcium carbonate
- Surface sized (pure non-ionic farina starch)
- OBA free (Optical Brightening Agent)
- Lightfast: Blue wool test 5)
Code
Mircons
Size mm
Size
Pack Qty
Price
AAMB03
1650
1143 x 838
45 x 33
10
212.16
AAMB04
1650
1143 x 1676
45 x 66
10
463.08
AAMB05
AAMB06
2200
2200
1143 x 838
1143 x 1676
45 x 33
45 x 66
10
10
336.60
673.20
100% Cotton Museum Board - TG Off-White

For mounting certain types of photograph, which prefer a less alkaline environment, we offer TG Off-White as an unbuffered
version of our 100 % Cotton Museum Board.
Code
Microns
Size mm
Size
Pack Qty
Price
AAMB10
1650
1189 x 841
47 x 33
10
226.44
AAMB11
2200
1189 x 841
47 x 33
10
348.84
Conservation Board
We define Conservation Board as one which is made from chemically purified woodpulp which is totally acid and lignin free.
The acids and lignin present in raw woodpulp are removed by caustic bleaching, followed by lengthy washing to remove all
trace elements of the chemicals used in the process. Atlantis Conservation Board offers a high degree of purity at an
economical price. It is available in Bookwhite Ivory and is lightfast (5-6 on Blue Wool Test).
We believe that our conservation board is amongst the safest conservation mounting board available and hope that its
economical size combined with its low price will encourage more framers to consider the long term effect of the board they use
on original works of art.
Code
Microns
Size mm
Size
Pack Qty
Price
AACB02
1380
817 x 1220
32 x 48
10
102.00
Tel: 020 7377 8855
Archival
atlantis
ART
MATERIALS
Glossary
Acid Free
Alkaline ( paper)
Alpha Cellulose
Alum
Archival
Blue Wool Test

Brittleness
Buffer, Buffering Agent
Caliper
Cellulose
Conservation Board
gsM
Inert Material
Lamination
Lignin
Lightfast
Linters
Machine Made Paper
Micron
Purity
Pulp
Rag
Sizing
Sulphur
Tarnish
Woodfree
Material based towards alkalinity by measurement of pH.

Alkaline papers have a pH value above 7.5.
See Cellulose
A highly acidic salt used to stabilise rosin in the sizing of paper.
In preservation usage, materials and products capable of assisting in the preservation of
archive contents - principally papers; hence archival quality. Atlantis also uses this term to
describe material that is not only acid-free but also lignin-free and of a low reducible sulphur
content.
Measure of a materials lightfast quallity.
In paper, the decreased folding strength caused by acidity shortening paper fibres. A paper
breaking after, say five folding actions would qualify as brittle.
Usually calcium carbonate is purposely added to paper pulp to protect the paper from
environmental acidity. Can be used to disguise acidity or impurities in paper or board.
Thickness in board manufacture; measured in microns, 1/1000th of a millimetre.
The chief component of all natural plant fibres. Alpha Cellulose is the purest form, and cotton
fibre has the best alpha content available in papermaking.
Made from woodpulp, which has been chemically purified to keep the cellulose free of acid
and lignin.
Grammes per square metre; common measure of weight in paper.
Synthetic products, e.g. polyester or papers such as Silversafe Photostore which contain no
impurities and are chemically inactive. Calcium Carbonate is considered an impurity in this
respect.
Contruction of boards by adhesive bonding of 2 or more layers; also reinforcement of paper
in repair.
Fibre-bonding material found in woody (ligneous) plants; an undesirable impurity in paper.
Quality of resistance to colour changes under light, of which ultra violet light is the most
damaging.
Prepared cotton fibres used in paper making.
Paper made on a moving wire mesh and passed through rollers to remove the water.
Unit of thickness conventionally used to indicate board thickness/caliper.
In describing paper or its cellulose base, denotes the relative absense of chemically active
contaminents, e.g. lignin, sulphur, etc.
Basic cellulose fibres for papermaking.
In paper - cotton fibres, traditionally from textile waste commonly refers nowadays to cotton
linters. Rag content is the proportion of a papers fibres not accounted for by wood/woodfree
fibres, or additives.
The process of adding agents to paper to make them moisture resistant. Sizing added to pulp
is known as internal, stock, beater or engine sizing; sizing of already formed paper is called
tub or surface sizing.
Chemical inherent in some paper from manufacture, active agent in damaging photographic
emulsions. Also present as sulphuric acid in atmospheric pollution.
In archival usage, damage to silver image photographs, notably by sulphur.
Chemically purified woodpulp, free of lignin and most of the naturally occuring wood
substances that are detrimental to paper. Also means free of mechanically ground wood pulp
(newsprint type pulp).
10
Tel: 020 7377 8855
ACRYLICS
ACRYLIC PAINTS - ECONOMICAL
DALER-ROWNEY
System 3 Acrylics
System 3 for Painting

This range is by far the number 1 selling
acrylic paint in the U.K.
System 3 is designed to be an economical
range of acrylic colours for use by artists on
a budget, students, first timers or any artist
painting on a large scale.
This is a good quality, versatile water based
acrylic that aims to offer an excellent painting
experience at an affordable price.
The key characteristics are good lightfastness levels, covering power, colour strength
and excellent adhesion.
System 3 can be thinned with water to create
wash effects or used directly from tube or pot
as a thicker bodied colour.
Either way it dries quickly to form an insoluble film.
The speed of the drying enable the artist to
work quickly, place one colour over another,
or, side by side, without disturbance.
The greatest advantage of System 3 is that
the quality of the colour and their covering
power come at a price that is very affordable
especially if large quantities are required for
busy classrooms or studio environments,
or for large scale murals or theatrical productions.
Colours come in a wide variety of size in
tubes, jars and sets.
They have been designed to offer a perfect
compromise between those who want firmer,
more comtrolled applications of colour and
those who wish to cover large areas
swiftly and evenly.
Tubes are available in 75ml and 225ml sizes.

Jars are made in 250ml and 500ml formats
which include a wide jar neck design with the
ingenious screw top with flip lid.
This is used when you need to squeeze out
more controlled amounts. The whole lid just
unscrews when the colour needs to be
poured or scooped out with a palette knife.
Selected colours also come in the large
scale application.
All System 3 colours are intermixable and
can be mixed with the System 3 range of
acrylic mediums.
As a pure painting medium System 3 can be
applied to traditional surfaces like canvas,
canvas boards, cartridge and watercolour
papers, boards and purpose designed
System 3 acrylic painting pads.
Paper surfaces do not necessarily have to be
primed, but excessive initial absorption can
be easily overcome with a slightly thinned
covering of System 3 Primer or Glaze
Medium.
These paints are very versatile and can be
used successfully with other media.
They can be used for underpainting, followed
by oils or oil pastels, acrylic based inks.
Pastels and coloured crayons can also be
worked the paint surface.
Fixing, if required, can be done in the
normal way.
Code
Size
DRS17
75ml tube
DRS31*
250ml jar
DRS36
500ml jar
DRS39
1L
DRS68
2.25 L jar
jar
Price
RRP
3.87
6.98
11.43
19.07
41.98
4.85
8.75
13.95
25.95
59.95
9 NEW COLOURS
Due to the limitations of 4 colour printing the

colour chart should only be used as a guide.
TEL: 020 7377 8855 www.atlantisart.co.uk
When ordering please refer to the colour

chart and quote the product code followed by the colour code,e.g. 500ml pot
of Sap Green DRS36+375 =DRS36375.
Due to the limitations of 4 colour printing the
colour chart should only be used as a guide.
ACRYLICS
ACRYLIC PAINT SETS- ECONOMICAL
DALER-ROWNEY - System 3 Sets
System 3 Selection Set

System 3 Starter Set
6 x 22ml key colours Price 8.68 RRP 9.95
Code D129100005
8 x75ml tubes of key colours : Black, white, cadmium red hue, ultramarine, emerald, yellow ochre, burnt umber and cadmium yellow
hue.
Code D129100025 Price 19.71 RRP 28.25
System 3 Painting Mediums

System 3 can be greatly enhanced when it is added to the
System 3 Painting Mediums which offer a wide variety of
surfaces and textural finishes.For example, the Heavy Bodied
Medium when added to the paint in small amounts will increase
the thickness or body of the paint for what is traditionally called
impasto work. Matt and Gloss Mediums can produce thin,
transparent glazes when mixed 90% with the colour.
The Texture Paste Medium when added to colour produces
dense, pumice-like textural effects which when dry can be
sanded and sculpted. This is very much a 3D effect medium.
The Screen Printing Medium has been made to be added to the
System 3 colours to produce a highly economical, low odour
water based screen printing ink which is widely regarded as the
finest of its type in the world.
All System 3 Painting Mediums can be found in the section on
acrylic mediums following the acrylic paints section.
System 3 Acrylic Screen Printing Set
System 3 Process Colours
DRSP900
For the first timer or anyone wanting to get started in Screen printing
on: T-shirts, Cushions, Paper, Board and Canvas.
Set contains:
! A Guide to Screen Printing
! 5 x 75ml Tubes System 3 (1 each Vermillion Hue, Ultramarine,
Process Yellow, Process Black and Titanium White)
! 250ml System 3 Textile Printing Medium
! 250ml System 3 Screen Printing Medium
! 75ml System 3 Screen Drawing Fluid
! 237ml System 3 Removable Screen Block
! Wooden Frame 41 x 55cm with high quality mesh
! Squeegee
! Artists Apron
Code
Price
69.05
Daler - Rowney have produced a range of process colours

to enable four colour half-tone screen printing to be done with
ease.These are also a great aid to colleges or artists when
doing colour mixing exercises.
RRP
79.95
ACRYLICS
ACRYLIC PAINTS PROFESSIONAL
ARA Artists Acrylics
Economically priced professional in quality.

ARA were taken over by Old Holland and
as a result the range has been greatly
improved by the addition of a considerable
number of new colours including cadmiums
which ARA had previously not made.
No change has been made to the basic
concept of producing high quality paints at
affordable prices.
Married to the reputation that Old Holland
have created through their extraordinarily
successful oil paints ARA should go from
strength to strength.
The paints are formulated to give a smooth
brushable colour while maintaining
brilliance and intensity.
These colours are made with 100%
acrylic emulsion combined with lightfast
pigments.
The strong adhesion of an acrylic binder
makes these colours suitable for various
applications and surfaces.
When specifying a colour please use the
size code followed by the colour code, i.e.;
100ml Titanium White = ARA18A1
Standard Colours
Code Size Series A Series B Series C
ARA18 100ml
ARA31
250ml
ARA36
500ml
ARA39 1000ml
ARA41*
2.5 Litre
5.04
8.37
13.51
24.80
53.08
6.00
9.98
16.11
29.43
----
6.66
11.19
18.33
31.76
----
Series D
Series E
9.01
18.67
35.46
67.35
----
10.34
21.66
41.08
78.13
----
* 2.5 Litres only available in Titanium White, Zinc White and Opaque Titanium White.
ARA Metallic Acrylic Colours

There are two types of colour action :
1. Normal : a part of the light is absorbed; this means when you see the red, the blue
and the yellow have been absorbed.
2. Reflected :
There are 3 pigment types covering this effect:
-Metallic Pigments Microscopic Reflective Silver, Bronze & Gold
- Iridescent Pigments -Mica Flakes reflecting light.
- Interference Colours - Mica Flakes coated white.
Metallic Colours
Code
Size
ARA18
100ml
ARA31
250ml
ARA36
500ml
Price
6.66
11.19
18.33
ACRYLICS
A BEGINNERS GUIDE TO ACRYLIC PAINTING
A GUIDE TO ACRYLIC PAINTING
Acrylic painting is based on the same type of emulsions that
we have all used to decorate the walls of our rooms at home.
The key difference apart from some formulation ingredients is
the quality and content of the colour.
Essentially, acrylics are a water based paint that dries fast
and therefore cannot be reworked once dried.
Acrylics have increased in popularity over the last few years
asthey are more user friendly and have a greater range of
mediums to extend the range of techniques available to
artists.
In their wet state acrylics have a slightly lighter tone than
when they are dry. They dry to a matt finish which can be
made gloss or satin or matt with a final coat of varnish.
The main characteristics of acrylics are;
- Acrylics dry very fast in comparison to oil paints.
In warm weather the paint can dry in minutes.
A retarding medium or Retarder can be added to slow
the drying times.
- Acrylic paint is very flexible when dry.
- The paint will not yellow or darken with age.
- The paint can be layered thickly without the fear of cracking.
As the paint dries rapidly,the problem of two layers drying at
different times, the main cause of cracking, is avoided.
There are generally two grades of acrylic available to artists :
Student or Economical Grade Acrylics
All colours are made to one price per size.
Like oil paints, colour hues have been developed to give the
appearance of professional colours but at an affordable price.
These colours do not have the lightfast performance of
professional colours but they will perform well over time
provided they are not overly exposed to sunlight.
Professional Grade Acrylics
These are made with high grade pigments.
example whites, blacks and some earth colours are series 1
or A as these pigments are relatively cheap to make.
Whereas other colours such as the cadmiums are very
expensive to manufacture and often come out as high price
band series such as 7, 8, or 9/ D,E or F.
Be aware makers price bands can vary. The colour performance of these colours far outstrips the economical ranges in
terms of colour strength and lightfastnessas well as the sheer
number of colours available.
Some professional ranges have well over 100 colours.
Some professional ranges have fluid acrylics which have a
similar consistency to ink with almost identical colour intensity
to the paint in tubes. Prepared painting grounds for acrylic
paints are mainly acrylic based but the paint can be applied
to a range of other surfaces as long as they are dirt or grease
free.
Boards, MDF, Plywood can all be primed with acrylic primer.
If boards are dirty with fingerprints for example they can be
cleaned with an alcohol soaked rag. Primer can be painted
onto cotton duck as well as linen and paper.
ARA Artists Acrylics delivery

The two main acrylic primers are acrylic or non absorbent primer and
gesso which has an absorbent surface.
Titanium White pigment is normally included in both these primers
although any acrylic colour can be added as a tint.
A comprehensive range of gels, mediums and varnishes are one of the
great factors when considering acrylics.
There are transparent, opaque, high gloss transparent gels as well as
granular and coarse gels to give a pumice effect all of which can have
paint added to colour them.
There are mediums for extending the paint, to stiffen fabrics, to apply it
to non porous surfaces, to enable the paint to be used through an air gun
and many more.
Acrylics are truly the paint for the 21st Century.
ACRYLICS
OLD HOLLAND NEW MASTERS ACRYLICS
Old Holland New Masters Acrylics
Professor Theo De Beer always had the idea of
creating a range of Acrylic paints that would be
the equivalent Old Holland Oils, the oldest oil
paint range in the world in existence since the
17th Century. The professor aimd to replicate
in acrylics the intense and lightfast colours the
Old Masters loved with the oil paints. Hence the
idea came to realization as New Masters to
appeal to the modern generation of painters.
The acrylic range incorporates the same pigments used in the Old Holland Oils and
Watercolour both highly regarded for their intensity and longevity. A high quality and
expensive binder was sourced to provide the foundation for the new colour range which
results in great adhesion, colour retention and excellent working properties.
High pigment loadings used in conjunction with the binder ensure the unique characteristics of the individual pigments are accurately expressed.
When dry the colours are a satin gloss finish and offer very little brush drag ensuring
techniques as far apart as impasto to thin glazes can be achieved.
The additional characteristics of the New Masters range is the absence of fillers or
extenders which all contribute to minimal colour shift from wet to dry.
In this way, these paints mimic the Old Holland Oils which are regarded as the
benchmark of oil paints around the world.
Code Size
OHA16
60ml
OHA31 250ml
OHA39
1L
Series A Series B Series C
Series D
Series E
Series F
6.15
8.26
10.29
10.92
12.66 13.92
18.25
21.89
27.23
31.32
36.34
-----42.05* available only in Titanium White & Ivory Black Extra
42 Colours available in 250ml pots :

Titanium White, Zinc White, Titanium White Extra Opaque, Old Holland Yellow Light,
Titanium Buff Light, Cadmium Yellow Lemon, Cadmium Yellow Medium, Gamboge
Extra, Blood Red, Cadmium Red Light, Alizarin Crimson Extra, Brilliant Pink,
Quinacridone Magenta, Dioxazine Violet, Old Holland Violet Grey, Neutral Tint,
Ultramarine Blue, French Ultramarine Extra, Cobalt Blue, Phthalo Blue, Indigo Extra,
Manganese Blue, Cerulean Blue, Old Holland Blue Grey, Phthalo Green Blue Shade,
Sap Green Extra, Green Earth, Green Umber, Naples Yellow Extra, Yellow Ochre Light,
Raw Sienna, Gold Ochre, Transparent Oxide Red, Burnt Sienna, Flesh Ochre, Caput
Mortuum Violet, Sepia Extra, Burnt Umber, Raw Umber, Old Holland Warm Grey, Ivory
Black Extra, Carbon Black.
PEBEO STUDIO ACRYLICS COLOUR CHART

discontinued
65 Buff Titanium
***/I
100ml
51 Bright Yellow
***/I
100ml
12 Light Lemon
***/I Yellow
100ml/250ml
22 Lemon Cadmium
**/Il Yellow Hue
100ml/250ml/500ml
48 Primary Yellow
***/I
100ml/250ml/500ml
13 Light Azo Yellow

***/I
100ml/250ml
23 Medium Cadmium
Yellow Hue
100ml/250ml/500ml
52 Dark Cadmium
Yellow Hue
100ml
32 Cadmium Orange
Hue
100ml/250ml/500ml
19 Transparent
Vermilion
100ml/250ml
33 Cadmium Red
Hue
100ml/250ml/500ml
53 Dark Cadmium
Red Hue
100ml
20 Quinacridone
Scarlet
100ml/250ml
50 Primary Magenta
18
Naphthol
Carmine
100ml/250ml/500ml
54 Alizarin Crimson
55
21 Oriental Violet
100ml
100ml
100ml/250ml
47 Dark Cobalt Violet

Hue
100ml/250ml/500ml
56 Prussian Blue
Hue
100ml
57
25 Light Ultramarine
Blue
100ml/250ml
14 Cobalt Blue Hue
100ml
15 Dark Ultramarine
Blue
100ml/250ml/500ml
17 Phthalocyanine
Blue
100ml/250ml/500ml
49 Primary Cyan
28 Cerulean Blue
30 Turquoise Blue
58 Turquoise Green
31 Veronese Green
100ml/250ml/500ml
100ml/250ml
100ml/250ml
100ml
100ml/250ml
43 Cadmium Green
Hue
100ml/250ml
42 Phthalocyanine
Green
100ml/250ml/500ml
59
44 Hookers Green
61 Green Earth
100ml/250ml/500ml
100ml
60 Chrome Green
Hue
100ml
100ml/250ml/500ml
Indigo
Sap Green
100ml
Azo Pink
100ml/250ml/500ml
discontinued
24 Naples Yellow
Hue
100ml/250ml/500ml
27 Yellow Ochre
62 Yellow Earth
35 Venice Yellow
36 Raw Sienna
34
100ml/250ml/500ml
100ml
100ml/250ml
100ml/250ml/500ml
100ml/250ml
39 Venice Red
38 Burnt Sienna
63 Terra Rossa
64 Raw Umber
29 Burnt Umber
40 Paynes Grey
100ml/250ml
100ml/250ml/500ml
100ml
100ml
100ml/250ml/500ml
100ml/250ml
26
11 Titanium White
351 Iridescent
Silver
352 Iridescent Gold

100ml/250ml
350 Iridescent
Precious Gold
100ml
355 Iridescent
Copper
100ml/250ml
357 Iridescent
Blue Green
100ml
358 Iridescent
Green Blue
100ml
359 Iridescent
Green Yellow
100ml
Mars Black
100ml/250ml/500ml
100ml/250ml/500ml
353 Iridescent
Orange Yellow
100ml
354 Iridescent Red

Blue
100ml
356 Iridescent
Violet Blue
100ml
360 Iridescent
Blue Black
100ml
Red Ochre
ACRYLICS
PEBEO STUDIO ACRYLIC PAINTS
PEBEO STUDIO ACRYLIC
This is one of our best selling ranges due to the combination of good quality colour at an affordable price. Unique in our economical range
of acrylics with 11 iridescent colours.
100ml, 250ml, 500ml.

Pebeo Studio High Viscosity colours are satin finish acrylics developed with the same precision as professional grade extra fine paints but
at an affordable price. The main characteristics are; Suitable for thicker paint application due to its thick consistency and heavy body. Wide
range of lively and deep colours with rich pigmentation.Good lightfastness and adherent and indelible when dry. Suitable for most surfaces
such as metal, wood, canvas, board and ceramic.
Pebeo Heavy Body Studio Acrylic

Code
Size
Price
PSA18100ml Standard
2.23
PSA18100ml Fluorescent
3.12
PSA18100ml Iridescent
2.40
PSA31250ml Standard
4.80
PSA31250ml Fluorescent
5.99
5.99
PSA36500ml Standard
7.44
8.40
PSA31-
Pebeo Studio Acrylic Set

Code
PSA50000
Size
5 x 100ml tubes
Price 13.64
250ml Phosphorescent Gel 9.99
ACRYLICS
ACRYLIC PAINTS GOLDEN OPEN
GOLDEN OPEN Acrylics are a new
line of professional artists acrylics
that features uniquely relaxed working characteristics and a versatility
that allows artists to explore techniques where acrylics are normally
challenging to use.
OPEN Acrylics:
! Remain wet far longer on palette
during painting sessions
! Excellent blending characteristics
! Can be used with natural fibre
brushes
! Less wasted paint due to drying
and palette loss
! Available in 40 traditional colours
1Feels like no other paint !

OPEN Acrylics feature a unique balance of properties and relaxed working characteristics
that make them an ideal choice when blending, softening, shading, glazing and creating
fine detail.
2Stays Wet Longer !

OPEN Acrylics resist skimming and remain wet on the palette for extended periods. Colour
mixes remain useable longer. OPEN Acrylics can be reconstituted for a period of time once
set using water, fresh paint or OPEN Mediums and Thinner and can be easily washed
from brushes.
3Expands The Boundaries of Acrylics !

OPEN Acrylics are ideal for a wide range of traditional techniques and are recommended
for artists whose painting styles benefit from extended working time and blendability, such
as portraiture, landscape, and plein air painting. OPEN Acrylics can also be used for other
techniques such as monoprinting and screenprinting.
4Adjusting Made Simple !

The OPEN Mediums and Thinner control viscosity while maintaining the maximum working
time.
To accelerate drying time OPEN Acrylics may be blended with GOLDEN Acrylics, Gels and
Mediums. Because of the slow drying nature of these paints, it is recommended that work
be left to dry for 30 days or longer before varnishing.
Code 60ml
GOA16 --Size
60ml
119ml
236ml
Series 1
5.99
9.56
15.60
Code 119ml
GOA21-Series 2
6.37
10.36
17.20
Series 3
7.40
11.17
19.16
Code 236ml
GOA29--Series 4
8.20
11.96
20.77
Series 5
8.60
14.60
23.80
Series 6
9.99
16.76
28.40
Series 7
10.80
18.80
31.60
Series 8
11.96
20.40
34.36
Series 9
12.76
23.17
39.60
ACRYLICS
ACRYLIC PAINTS - PROFESSIONAL
Winsor & Newton Artists Acrylics
These are W&Ns finest quality acrylic range and represent a breakthrough in acrylic colour technology. The combination of their worldbeating colour making experience with the latest developments in resin technology have taken brilliance to a new level. Colours remain as
brilliant when dry as they are wet, i.e no colour shift in addition to richness, intensity and depth of colour.
! The full range of 80 colours is available in 60ml tube size.
! A range of 39 colours is available in 200ml tube size.
! Ivory Black, Mars Black, Mixing White and Titanium White are available in 237ml and 474ml pot sizes.
60ml Tube
NEW
Code
Series
WAA16-1
WAA16--
WAA16--
WAA16--
WAA16--
Price
5.55
6.11
8.05
11.09
11.68
200ml Tube
WAA26-WAA26-WAA26-WAA26-WAA26--
1
2
3
4
5
11.35
13.55
18.99
21.55
22.99
237ml Pot
WAA30--
60ml Tube
200ml Tube
237ml Pot
474ml Pot
12.79
ARTISTS
ACRYLIC
80 colours
Colour Chart
disc.
086 A S3
Cadmium
Lemon
346 A S2
Lemon
Yellow
025 A S4
Bismuth
Yellow
113 A S3 !
Cadmium
Yellow Light
disc.
019 A S3
Nickel Azo
Yellow
016 A S3 !
Cadmium
Yellow Medium
disc.
disc.
disc.
019 A S3
Azo Yellow
Medium
disc.
111 A S3
Cadmium
Yellow Deep
039 A S2
Azo Yellow
Deep
089 A S3 !
Cadmium
Orange
disc.
100 A S3 !
Cadmium
Red Light
536 A S4
Pyrrole Red
Light
099 A S3 !
Cadmium
Red Medium
421 A S2
Naphthol
Red Light
534 A S4
Pyrrole Red
097 A S3 !
Cadmium
Red Deep
548 A S3
Quinacridone
Red
464 A S4
Perylene
Red
423 A S2 !
Naphthol
Red Medium
466 A S3 !
Permanent
Alizarin Crimson
507 A S4
Perylene
Maroon
550 A S3 !
Quinacridone
Violet
545 A S3
Quinacridone
Magenta
470 A S4
Perylene
Violet
229 A S3 !
Dioxazine
Purple
672 A S2
Ultramarine
Violet
321 A S3
Indanthrene
Blue
664 A S2 !
Ultramarine
Blue
178 AA S4 !
Cobalt Blue
514 A S2 !
Phthalo Blue
Red Shade
515 A S2 !
Phthalo Blue
Green Shade
137 AA S5 !
Cerulean
Blue
139 A S2 !
Cerulean Blue
Hue
191 AA S4
Cobalt Turquoise
Light
190 AA S5
Cobalt
Turquoise
526 A S3
Phthalo
Turquoise
184 AA S4
Cobalt
Green
185 AA S3
Cobalt
Green Deep
162 AA S3
Chromium
Oxide Green
460 A S4
Perylene
Green
503 A S3 !
Permanent
Sap Green
447 A S2 !
Olive Green
294 A S4
Green Gold
422 AA S2 !
Naples
Yellow
425 AA S2
Naples
Yellow Deep
744 AA S1 !
Yellow
Ochre
737 AA S1
Yellow Iron
Oxide
285 AA S1
Gold Ochre
547 A S4
Q uinacridone
Gold
552 AA S1 !
Raw Sienna
074 AA S1!
Burnt Sienna
537 AA S3
Potters
Pink
362 AA S1
Light Red
560 AA S1
Red Iron
Oxide
549 A S4
Quinacridone
Burnt Orange
691 AA S1
Violet Iron
Oxide
557 AA S1
Raw Umber
Light
554 AA S1 !
Raw Umber
076 AA S1!
Burnt Umber
217 A S1 !
Davys Gray
292 AA S2
Graphite
Grey
465 A S1
Paynes
Grey
331 AA S1 !
Ivory Black
386 AA S1!
Mars Black
644 AA S1 !
Titanium
White
330 A S3
Iridescent
White
617 A S3 !
Silver
624 A S3
Silver No.2
283 A S3 !
Gold
573 A S3
Renaissance
Gold
014 A S3
Antique
Gold
519 A S4
Pyrrole
Orange
502 A S3 !
Permanent
Rose
180 AA S5
Cobalt Blue
Deep
522 A S2
Phthalo Green
Blue Shade
060 AA S1
Buff
Titanium
521 A S2
Phthalo Green
Yellow Shade
415 AA S1 !
Mixing
White
Key to Codes
AA Extremely Permanent - A Permanent - S Series Number - ! Available
130 AA S4
Cerulean Blue
Chromium
311 A S2 !
Hookers
Green
Note. When ordering please use the colour chart
in 200ml tubes quoting the product code followed by the colour code:
eg. WAA16 + 502 = Permanent Rose 60ml tube.
ACRYLICS
ACRYLIC PAINTS ECONOMICAL
W&N Galeria Acrylic

Galeria Acrylics are an ideal range for artists who require large quantities of good quality acrylic colour at an economic price. They have been
carefully formulated to produce a range of strong colours, with a smooth consistency which maintains its body and retains brush marks. This
range of acrylics is available at an affordable and uniform price level due to the replacement of some prohibitively expensive traditional
pigments with modern alternatives. Galeria Acrylics have been formulated to be fully compatible with the complete range of our other acrylics
in the economical category. These can however be intermixed with mediums of all types and can be thinned with water but not more than
10%. All colours are non hazardous in normal use. Galeria Acrylics are suitable for a variety of techniques. They can be used on numerous
surfaces but are not recommended for use on non porous surfaces such as glass, unprimed metal or surfaces painted with oil colours. As
with any acrylics, ensure brushes and other equipment are thoroughly cleaned after use.
Code
Size
WGA16
60ml
250ml
500ml
WGA31
WGA36
Price RRP
2.76
3.30
6.37
8.99
11.39 14.99
Code
Size
WGA39
1L
2.5 L
WGA41
Price
20.35
37.10
RRP
24.99
45.00
New Colours
GALERIA ACRYLIC COLOUR RANGE
When ordering please refer to the

colour chart and quote product
code followed by colour code, e.g.
WGA1674 = Burnt Sienna 60ml.
Hansa Yellow Light

2180
Hansa Yellow Opaque

2191
4
Hansa Yellow Medium

2190
3
Diarylide Yellow
2147
Nickel Azo Yellow

2225
Transparent Yellow Iron

2386
Oxide
3
Transparent Red Iron Oxide

2385
3
Quinacridone Gold
2300
Quinacridone Burnt Orange

2280
7
Vat Orange
2403
Pyrrole Orange
2276
Transparent Pyrrole Orange

2384
5
Pyrrole Red Light

2279
Pyrrole Red
2277
Naphthol Red Light

2210
Naphthol Red Medium

2220
5
Quinacridone Red Light

2320
7
Quinacridone Red
2310
Quinacridone Crimson
2290
7
Quinacridone Magenta
2305
7
Quinacridone Violet
2330
Permanent Violet Dark

2253
7
Dioxazine Purple
2150
Anthraquinone Blue
1005
Ultramarine Blue
2400
Cobalt Blue
2140
Cerulean Blue Chromium

2050
7
Cerulean Blue Deep

2051
Phthalo Blue (Red Shade)

2260
4
Phthalo Blue (Green Shade)

2255
4
Cobalt Teal
2145
Turquoise (Phthalo)
2390
Phthalo Green (Blue Shade)

2270
4
Phthalo Green
2275 (Yellow Shade)
Jenkins Green
2195
Permanent Green Light

2250
4
Green Gold
2170
Yellow Oxide
2410
Yellow Ochre
2407
Raw Sienna
2340
Burnt Sienna
2020
Red Oxide
2360
Violet Oxide
2405
Burnt Umber Light

2035
Raw Umber
2350
Paynes Gray
2240
Bone Black
2010
Carbon Black
2040
Titan Buff
2370
Zinc White
2415
ACRYLICS
Golden Fluid Acrylics

With almost identical colour strength to the standard Heavy Body Acrylics, the fluid range offers the artist the ability to paint in flat stains, free
of brush strokes or with watercolour effects, spraying techniques, brushing or staining. This paint formulation provides high tinting strength,
durability and flexibility. Can be used with other acrylics and acrylic mediums as a means of tinting. These are 100% acrylic polymers with
pigments suspended and enable the professional artist to broaden his or her techniques.
Code
GFA45
Size
30ml Pot*
Series Price
I
II
III
IV
V
VI
VII
VIII
IX
4.75
5.21
5.40
5.57
5.93
6.60
6.99
7.61
8.40
Code Size
Code Size
Code Size
GFA21 119ml Pot*
GFA29 236ml Pot*
GFA35 473ml Pot*
Series Price
Series Price
Series
I
II
III
IV
V
VI
VII
VIII
IX
10.36
11.16
11.96
12.99
15.96
17.99
19.96
21.99
24.76
I
II
III
IV
V
VI
VII
VIII
IX
16.76
18.80
20.76
22.36
25.56
30.80
34.36
37.20
43.16
I
II
III
IV
V
VI
VII
VIII
IX
Price
26.36
32.76
35.16
39.16
46.36
53.56
60.16
67.57
75.96
When ordering please refer to the colour chart and quote size INTERFERENCE COLOURS
code followed by colour code ie: 30ml Pot of Burnt Sienna = Code
2465
Blue Fine S7
GFA45020.
2466
Green Fine S7
2467
Gold Fine S7
* Blended Colours
ADDITIONAL COLOURS
2468
Orange Fine S7
2469
Red Fine S7
2470
Violet Fine S7
2480
Oxide Green Blue Shade S9
2481
Oxide Green Yellow Shade S9
2482
Oxide Red S9
Chromium Oxide Green
Primary Cyan
Primary Yellow
2483
Oxide Violet S9
2060
3
2420
2
2422
2
IRIDESCENT COLOURS
Code
2450
Bronze Fine S7
2451
Copper Fine S7
2452
Copper Light Fine S7
Ultramarine Violet
CadmiumYellow Medium
Cobalt Turquoise
2453
Gold Fine S7
2401
4
2428
Hue
4
2144
8
2454
Bright GoldF ine S7
2455
Gold Deep Fine S7
2456
Pearl Fine S4
2457
Silver Fine S5
2458
Stainless Steel Coarse S4
Primary Magenta
Cadmium Red Medium Hue
Titanium White
2459
Micaceous Iron Oxide S4
2421
6
2425 *
4
2380
ACRYLICS
Series
60ml
GHB16
119ml
GHB21
150ml
GHB25
236ml
GHB29
I
II
III
IV
V
VI
VII
VIII
IX
5.99
6.80
7.96
8.76
9.20
10.80
11.80
12.99
13.99
10.36
11.16
11.17
11.96
14.60
16.76
17.57
21.99
23.17
11.96 15.60
------ 17.20
------ 19.17
------ 20.77
------ 23.80
------ 28.40
------ 31.60
------ 34.36
------ 39.60
473ml
GHB35
946ml**
GHB38
3.78L**
GHB42
24.76 41.99 107.99

30.20 ------ -----32.77 ------ -----35.96 ------ -----42.37 ------ -----49.57 ------ -----55.60 ------ -----61.57 ------ -----71.96 ------ ------
** Carbon Black and Titanium White only

When ordering please refer to the colour chart and quote the product code followed by the
colour code, eg. Golden 60ml Pyrrole Orange = GHB16 + 276.
Golden Heavy Body Acrylics Professional

Created by Sam Golden and his sons
who together are probably the most
influential paintmakers in the acrylic
sector, and largely responsible for the
quality of modern acrylics.
Golden, with its considerable range of
colours, paint types and gels, mediums
and varnishes have probably the most
comprehensive selection of products
of any acrylic range currently available.
These are for anyone who is serious
about acrylics.
Great colour intensity is matched with
the highest standards of quality control.
No fillers, extenders or opacifiers are
used in the manufacturing process nor
are any toners or dyes used.
All cadmiums are chemically pure.
Golden Historical Colours

(Blended Colours)
After years of experimentation Golden have
accurately recreated these traditionally popular colours using only completely stable modern pigments .Artists can now enjoy these
famous colours with all the working properties
of the originals but with the added benefit of
reliable stability and lightfastness.
Code Colour
450
454
455
457
459
460
461
Alizarin Crimson Hue

Hookers Green Hue
Indian Yellow Hue
Manganese Blue Hue
Naples Yellow Hue
Prussian Blue Hue
Sap Green Hue
Series Code Colour

7
7
4
1
2
4
4
462
463
464
465
467
468
469
Van Dyke Brown Hue

Aureolin Hue
Azurite Hue
Cobalt Violet Hue
Smalt Hue
Terre Verte Hue
Viridian Green Hue
Series
3
3
1
3
1
1
1
C.P Cadmium Yellow Primrose

1135
7
C.P Cadmium Yellow Light

1120
7
BC
HC
Cadmium Yellow Medium Hue

1554 *
4
Aureolin Hue
1463
Pyrrole Orange
1276
Transparent Pyrrole Orange

1384
5
C.P. Cadmium Yellow Medium

1130
7
C.P. Cadmium Yellow Dark

1110
7
Titanate Yellow
1375
Nickel Azo Yellow

1225
Transparent Yellow Iron Oxide

1386
3
Transparent Red Iron Oxide

1385 *
3
C.P. Cadmium Red Medium

1100
9
C.P. Cadmium Red Dark

1080
9
C.P. Cadmium Red Light

1090
9
BC
Quinacridone Red
1310
1290 *
7
1305 *
7
Quinacridone Violet
1330 *
BC
BC
Permanent Violet Dark

1253
7
Dioxazine Purple
1150 *
Light Violet
1568
Medium Violet
1572
HC
BC
BC
Primary Magenta
1510 *
Cobalt Violet Hue

1465
HC
Phthalo Blue (Red Shade)

1260 *
4
Phthalo Blue (Green Shade)

1255 *
4
Light Ultramarine Blue

1566
2
Cobalt Blue Hue

1556 *
Manganese Blue Hue

1457 *
1
Cobalt Turquois
1144
Cobalt Green
1142
Light Turquois (Phthalo)

1564
3
Turquois (Phthalo)
1390 *
Phthalo Green (Blue Shade)

1270 *
4
BC
Green Gold
1170 *
HC
BC
Light Green (Yellow Shade)

1560
3
Light Green (Blue Shade)

1558
3
Viridian Green Hue

1469 *
Burnt Sienna
1020
Mars Yellow
Red Oxide
Bone Black
1010 *
HC
Terre Verte Hue

1468 * !
1360 *
Violet Oxide
1405
Mars Black
1200 *
Titan Buff
1370 *
HC
Naples Yellow Hue

1459 *
Paynes Gray
1240 *
HC = Historical Colour
1202
Carbon Black
1040 *
BC = Blended Colour
= 150ml tube colour availability
RC = Replacement Colour
BC
Hansa Yellow Light

1180
Hansa Yellow Opaque

1191
4
RC
Hansa Yellow Medium

1190 *
3
Diarylide Yellow
1147 *
Primary Yellow
1530 *
HC
Quinacridone Nickel Azo 1301

Gold
7
Quinacridone Burnt
1280 *
Orange
Indian Yellow Hue

1455 *
C.P. Cadmium Orange

1070
8
Vat Orange
1403
Pyrrole Red Light

1279
Pyrrole Red
1277
Naphthol Red Light

1210 *
Naphthol Red Medium

1220 *
5
Quinacridone Red Light

1320 *
7
BC
BC
HC
Cadmium Red Medium Hue

1552 *
4

1450 *
7
BC
Light Magenta
1562
Medium Magenta
1570 *
Cobalt Blue
1140
Cerulean Blue Chromium

1050
7
Ultramarine Violet
1401 *
Cerulean Blue Deep

1051
Cobalt Teal
1145 *
BC
Anthraquinone Blue
1005
7
Ultramarine Blue
1400 *
HC
Primary Cyan
1500 *
HC
Smalt Hue
1467
Azure Hue
1464
HC
Prussian Blue Hue

1460 *
discontinued
Phthalo Green
1275 * (Yellow Shade) 4
HC
Sap Green Hue

1461 *
Jenkins Green
1195 *
Permanent Green Light

1250 *
4

1060
3
Cobalt Titanate Green

1143
4
Yellow Oxide
1410
Yellow Ochre
1407 *
Raw Sienna
1340 *
Graphite Gray
1160 *
HC
Hookers Green Hue

1454 *
7
HC
Burnt Umber Light

1035
Zinc White
1415 *
* = 150ml tube colour availability
Burnt Umber
1030
Titanium White
1380 *
Raw Umber
1350 *
Neutral Grays
1
N2 - 1442, N3 - 1443
N4 - 1444, N5* - 1445
N6 - 1446, N7 - 1447
N8 - 1448
Vandyke Brown Hue

1462 *
Fluorescent Blue
Fluorescent Cerise
Fluorescent Chartreuse
Fluorescent Green
Fluorescent Magenta
Fluorescent Orange
Fluorescent Orange Red
Fluorescent Orange Yellow
Fluorescent Pink
Fluorescent Red
4605
4610
4615
4620
4625
4630
4635
4640
4645
4650
5
5
5
5
5
5
5
5
5
5
Interference
Gold Fine
4040
7
Iridescent Copper Light Fine

4006
7
Iridescent Copper Light Coarse

4106
8
Interference
Gold Coarse
4140
7
Iridescent Copper Fine

4005
Iridescent Copper Coarse

4105
8
Interference
Orange Fine
4055
7
Iridescent Bronze Fine

4003
Iridescent Gold Fine

4010
Iridescent Gold Coarse

4110
Iridescent Gold Deep Fine

4015
7
Interference
Red Fine
4 4060
Interference
Red Coarse
4160
7
Iridescent Bright Gold Fine

4012
7
Gold Mica Flake Small

4076 (not in tubes)
Interference
Violet Fine
4070
7
Gold Mica Flake Large

4078 (not in tubes)
Iridescent Pearl Fine

4020
Interference
Blue Fine
4030
7
Iridescent Pearl Coarse

4120
Pearl Mica Flakes Small

4077 (not in tubes)
Interference
Blue Coarse
4130
7
Iridescent Silver Fine

4025
Iridescent Stainless Steel Fine

4028
5
Interference
Green Fine
4050
7
Iridescent Stainless Steel

4027
Coarse
5
Micaceous Iron Oxide

4080 (not in tubes)
Interference
Green Coarse
4150
7
Black Mica Flake Small

4075 (not in tubes)
Coarse Alumina
4082 (not in tubes)
At Golden Artists Colors, artists forge our

creative process. Many of our products,
even entire product lines, were first created in response to the needs of an individual or small group of artists. This is not
merely our legacy, but a tradition we continue to uphold. We place great value on
the close, personal relationships we have
developed with artists over the years, and
we continue to involve artists in many
aspects of our production.
Mark Golden - CEO and Founder
TEL: 020 7377 8855 www.tlantisart.co.uk
ACRYLICS
ACRYLIC PAINTS - ECONOMICAL
Daler - Rowney Acrylics Colour Chart
651*** (t)
Lemon Yellow
540*** (t)
Primary Red
603*** (t)
Primary Yellow
537*** (t)
Permanent Rose
159*** (t)
Primary Blue
154*** (t)
Phthalo Turquoise
573*** (o)
Portrait Pink
634*** (o)
Naples Yellow
026**** (o)
Black
Code : DRA22 -Code : DRA36 -Code : DRA39 --
011*** (o)
White
605*** (t)
Cadmium Yellow
Hue
450***(s)
Violet
386*** (t)
Phthalo Green
690*** (s)
Yellow Ochre
702*** (t)
Silver Imitation
Size :120ml 2.53

Size : 500ml 5.15
Size :1 L
8.95
618*** (t)
Cadmium Yellow
Deep Hue
619*** (t)
Cadmium Orange
Hue
588*** (s)
Vermilion Hue
500*** (s)
Cadmium Red Hue
542*** (t)
Crimson
127*** (s)
Indigo
143*** (t)
Phthalo Blue
123*** (s)
Ultramarine
110*** (s)
Cobalt Blue Hue
130*** (o)
Coeruleum Hue
335*** (s)
Emerald
355*** (s
Leaf Green
375*** (s)
Sap Green
343*** (t)
Hookers Green
024*** (o)
Buff Titanium
201**** (t)
Burnt Sienna
583**** (s)
Venetian Red
701*** (t)
Gold Imitation
032 *** (t)

Pearl Black
225*** (s)
Burnt Umber
021*** (st
Pearl White
084*** (o)
Neutral Grey
065 ***(o)
Paynes Grey
Due to the limitations of 4

colour printing this chart should
only be used as a guide.
RRP 2.75
RRP 8.95
RRP 11.95
Daler - Rowney
Graduate Acrylic Colours
A low cost acrylic paint ideal for use by students, young artists,
schools, workshops or at home.
This new range of acrylics comes from the makers of System 3, the
bestselling range of acrylics. What made System 3 a success was that
Daler - Rowney aimed to put a heavier pigment loading than other
acrylics of its class. The new acrylics provide artists, schools or anyone in craft a range of paints at a very low price but with good colour
quality.
Daler - Rowney Acrylic Colours have good pigment intensity and flow
easily over paper as well as primed surfaces. The colours are non toxic
as they are water based and contain no solvents.
They can be used on primed canvas, canvas boards, almost any
paper as well as indoors or externally.
The paint can be used as an under base for professionals who want a
thick or solid surface laid down which they can paint over with more
expensive paint, thus saving considerable financial outlay.
Made in three sizes, a Litre pot, a 500ml squeezable pot with a valve
effect dispensing cap to reduce waste and a 120ml tube.
Available in 38 key colours.
Please note when ordering quote the product code DRA followed by the colour code : eg. Daler Acrylics Strawberry Red = DRA + 500 =
DRA36.
ACRYLICS
Since developing the first water based artists acrylic products in 1955, Liquitex has
always been concerned with tthe needs of the professional artist.
All Liquitex products are formulated by a unique team of chemists and artists :
Chemists with a wide array of skills in resin technologies and artists who help them to
stay focussed on the working properties.
The result is the most versatile ranges of intense, highly loaded, permanent colours
possible. Liquitex colours and mediums hae been developed as a complete system
for work on virtually all porous surfaces and with an unlimited range of speciaity
effects, from thick sculptural applications to thin permanent watercolours.
Liquitex Acrylics are known for their versatility and are well suited for all applications
and techniques.
Liquitex Acrylics include artists colours in Heavy Body as well as Surface
Preparations, Additives, Mediums and Varnishes.
Heavy Body
(Formerly high viscosity)
! 100 colours
! Exceptionally smooth, thick buttery consistency
! Retains brush strokes and palette knife marks
! Great for thick/impasto applications and painting techniques
! Flexible when dry; thick films remain free of cracks and
chips
LQAHB15 1
LQAHB15 1A
LQAHB15 2
LQAHB15 2A
LQAHB15 3
LQAHB15 4
LQAHB15 5
59ml tube
59ml tube
59ml tube
59ml tube
59ml tube
59ml tube
59ml tube
4.73
4.73
4.87
4.87
6.26
8.21
8.21
1
1A
2
3
4
5
138ml tube
138ml tube
138ml tube
138ml tube
138ml tube
138ml tube
8.38
8.38
9.26
12.24
15.74
15.74
LQAHB24
LQAHB24
LQAHB24
LQAHB24
LQAHB24
LQAHB24
L I Q U I T E X H E AV Y B O D Y C O L O U R S
COLOUR CHART
S1a
Light Portrait Pink
Medium Magenta
S2
Alizarin Crimson Hue Perm.
Cadmium Red Deep Hue
S2
Naphthol Crimson
Quinacridone Red Orange
Cadmium Red Light Hue
Pyrrole Orange
S3
Transparent Burnt Sienna
S1
Raw Umber
Transparent Raw Umber
Raw Sienna
S2
S2
Cadmium Yellow Deep Hue
Naples Yellow Hue

S3
Cadmium Yellow Medium
Yellow Medium Azo
Vivid Lime Green
Light Emerald Green

S2
Sap Green Permanent
Light Green Permanent

S1a
Hookers Green Hue Perm.

S1a
Phthalo Green Yellow Shade
Phthalo Green Blue Shade
S1
Bright Aqua Green
Cobalt Green
Light Blue
Cobalt Blue Hue

S1a
Phthalo Blue Green Shade
Indanthrene Blue
S3
Quinacridone Blue Violet
Dioxazine Purple
S1
Transparent Mixing White
Iridescent Antique Gold
Iridescent Bright Silver
S3
Deep Violet
S1
Neutral Gray/Mixing Gray
S2a
Iridescent White
S2a
Iridescent Rich Silver
Phthalo Blue Red Shade
S1
Paynes Gray
Titanium White
S2
S2
S1
S2a
S3
Manganese Blue Hue
Prism Violet
Mars Black
Parchment
S2a
Cobalt Teal
S1a
S1
S1
S4
S2
Cerulean Blue Hue
Brilliant Purple
Ivory Black
Unbleached Titanium
S2a
Turquoise Deep
S1
S1
S1
Hookers Green Dp.Hue Perm.
Ultramarine Blue Red Shade Ultramarine Blue Grn Shade
Light Blue Violet

S2
S1a
S2
S1a
S1a
S2
Transparent Viridian Hue
Cerulean Blue
Prussian Blue Hue

S1
Brilliant Yellow Green
S2
S3
S2
S1
S4
S4
Cobalt Turquoise
Brilliant Blue
S1a
Yellow Light Hansa
S1a
S1a
Cadmium Yellow Med. Hue
Green Gold
Viridian Hue Permanent
S1a
S1a
S2
S4
S1
S4
Cobalt Blue
Green Deep Permanent
Yellow Orange Azo
Turners Yellow
Emerald Green
S2
S2
S3
S2
S1a
Transparent Burnt Umber
Indian Yellow
Cadmium Yellow Light Hue
S2
S2
S1
S2
S1a
Red Oxide
Burnt Umber
Bronze Yellow
Cadmium Yellow Light

S2
Cadmium Red Light
S1
S3
S3
S5
S1a
Cadmium Orange Hue
Transparent Raw Sienna
Yellow Oxide
Quinacridone Red
S2
S2
S1
S2
S1a
Cadmium Orange
S1
S3
Naphthol Red Light
Quinacridone Burnt Orange Van Dyke Red

S2
S4
S3
S3
S3
S5
S3
Vivid Red Orange
S1
Burnt Sienna
Deep Magenta
Pyrrole Crimson
S2
S2
S3
S4
Cadmium Red Medium Hue Cadmium Red Medium
S2
Iridescent Rich Gold
S3
S4
Pyrrole Red
S1a
S2a
Iridescent Bright Gold
S2a
Iridescent Rich Silver
S2a
Iridescent Rich Bronze
All 100 colours are available in Heavy Body 59ml tubes.

Available in Heavy Body 138ml :
114, 116, 326, 292, 321, 154, 152, 323, 127, 129, 128, 130, 331, 330, 332, 324, 416, 161, 160,
312, 325, 166, 224, 327, 317, 164, 170, 314, 316, 322, 186, 244, 434, 432.
ACRYLIC MEDIUMS
GOLDEN ACRYLIC MEDIUMS
Golden Acrylic Mediums
Golden GAC 100
Universal Acrylic Primer
For diluting and extending colours as well
as increasing flexibility and film integrity.
Will wet out solids more easily than other
polymers and is useful for artists
formulating their own paints.
Golden GAC 200
Golden GAC 700
The hardest of all Golden Acrylic Mediums.

It is designed for non-flexible substances.
The most transparent of all the polymers

and the best choice for glazing or for other
applications where film clarity is important.
Dries to a hard gloss with moderate
hardness.
Code
Size
GGAC229
236ml
GGAC235
473ml
GGAC238
946ml
GGAC242
3.78L
Price
11.16
18.79
26.35
70.37
Golden GAC 400
Code
Size
GGAC729
236ml
GGAC735
473ml
GGAC738
946ml
Price
11.16
18.79
26.35
70.37
GGAC742
3.78L
Acrylic Polymer for Stiffening Fabrics
Dries to a hard, stiff film. This allows artists to
transform lightweight fabrics such as cotton and Golden GAC 800
linens into free standing forms that will hold their Most useful when porous puddles are
shape. This product is not for use by children as it desired, when required to dry with the
carries a health label.
same evenness as when wet.
Useful for adhesion to chalky surfaces.
Code
Size
Price
GGAC429
236ml
GGAC435
473ml
GGAC438
946ml
GGAC442
3.78L
11.16
18.79
26.35
70.37
Code
Size
GGAC829
236ml
GGAC835
473ml
GGAC838
946ml
GGAC842
3.78L
Code
Size
GGAC129
236ml
GGAC135
473ml
GGAC138
946ml
GGAC142
3.78L
Golden GAC 900

Acrylic Polymer for Clothing
When heat set properly, it offers a very
soft hand and laundering stability.
Can be blended with acrylic colours to
produce fabric paints which can be
airbrushed, hand brushed or screen
applied.
Must have adequate ventilation as the
heat setting process releases low levels
of formaldehyde.
Not for children, this carries a health
warning.
Code
Size
GGAC929
236ml
GGAC935
473ml
GGAC938
946ml
Price
11.16
18.79
26.35
70.37
Golden GAC 500

Ideal for working on rigid or flexible supports.
Self-levelling, it dries to a high gloss film.
It is a balance of hardness and flexibility.
Code
Size
GGAC529
236ml
GGAC535
473ml
GGAC538
946ml
GGAC542
3.78L
Price
11.16
18.79
26.35
70.37
Price
11.16
18.79
26.35
70.37
Price
11.16
18.79
26.35
ACRYLIC MEDIUMS
ACRYLIC GEL MEDIUMS
Golden Mediums
This is such a diverse range that experimentation is
essential as there is something for everyone.
Glazes can be created, paints extended, textures
built up and finishes changed.
The gels can be used as gluing agents for collages.
Golden Soft Gels
These pour from the jar.

Soft Gel Gloss can be thinned considerably and
be used as a non removable isolation varnish with
minimal foaming before a final varnish top coat is
applied.
An excellent glaze can be produced by using
Soft Clear Gel and mixed with a small amount
of colour.
All of the soft gels can be used as a soft base for
wet blending of the colour on the canvas.
Golden Soft Gel Gloss

Code
Size
Price
GSGG29
236ml
11.16
GSGG35
473ml
19.61
GSGG38
946ml
28.75
GSGG42
3.78L
79.15
Golden Soft Gel Matte

Code
Size
Price
GSGM29
236ml
11.16
GSGM35
473ml
19.61
GSGM38
946ml
28.75
GSGM42
3.78L
79.15
Golden Soft Gel Semi-Gloss

Code
Size
Price
GSGSG29
236ml
11.16
GSGSG35
473ml
19.61
GSGSG38
946ml
28.75
GSGSG42
3.78L
79.15
Golden Regular Gel Matte

Code
Size
Price
GRGM29
236ml
11.16
GRGM35
473ml
19.61
GRGM38
946ml
28.75
GRGM42
3.78L
79.15
Golden Regular Gel Semi-Gloss

Code
Size
Price
GRGSG29
236ml
11.16
GRGSG35
473ml
19.61
GRGSG38
946ml
28.75
GRGSG42
3.78L
79.15
Golden Regular Gels

Particularly effective for maintaining a textured
surface as they do not flatten out when drying.
They have a very creamy consistency and
are particularly good for extending paint.
A considerable amount of gel has to be added
before there is an identifiable fall-off in covering.
Transparency can also be controlled.
In addition, regular gels are useful for impasto
glazing effects or for thicker clear applications.
Golden Regular Gel Gloss

Code
Size
Price
GRGG29
236ml
11.16
GRGG35
473ml
19.61
GRGG38
946ml
28.75
GRGG42
3.78L
79.15
ACRYLIC MEDIUMS
ACRYLIC GEL MEDIUMS
Golden Heavy Gels
Provide a thicker, more translucent finish.

These are used for thickening the body of a paint.
They form very precisely but remain flexible even
with thick impasto work.
Golden Heavy Gel Gloss

Code
Size
GHGG29
GHGG35
GHGG38
GHGG42
236ml
473ml
946ml
3.78L
Golden Heavy Gel Matte
Price
11.16
19.61
28.75
79.15
Golden Clear Tar Gel
Code
Size
GHGM29
GHGM35
GHGM38
GHGM42
236ml
473ml
946ml
3.78L
A 100% acrylic polymer emulsion designed to give a stringy,

tar-like feel, but in a colourless gel form.
Artists can control the gel by dripping the string over a
surface.
Interesting effects have been achieved by using the Clear Tar Gel
as a mask or resist.
Code
Size
GCTG29
236ml
GCTG35
473ml
GCTG38
946ml
GCTG42
3.78L
Price
11.16
19.61
28.75
79.15
Price
11.16
19.61
28.75
79.15
Golden Heavy Gel Semi-Gloss

Code
Size
GHGSG29
GHGSG35
GHGSG38
GHGSG42
236ml
473ml
946ml
3.78L
Price
11.16
19.61
28.75
79.15
Golden Self Levelling Clear Gel

Designed to avoid brushmarks by levelling out to a flat,
glossy finish.
Code
Size
GSLCG29
236ml
GSLCG35
473ml
GSLCG38
946ml
GSLCG42
3.78L
Price
11.16
19.61
28.75
79.15
ACRYLIC MEDIUMS
ACRYLIC GEL MEDIUMS
Golden Extra Heavy Gels
Useful for artists who want the thickest of textures.
The finish when dry is translucent. For more opaque effects with satin finish Extra Heavy Gel/ Molding Paste is required.
Golden Extra Heavy Gel Gloss

Price
Code
Size
GEHGG29
236ml
GEHGG35
473ml
GEHGG38
946ml
GEHGG42
3.78L
11.16
19.61
28.75
79.15
Golden Extra Heavy Gel Matte

Code
Size
Price
GEHGM29
236ml
GEHGM35
473ml
GEHGM38
946ml
GEHGM42
3.78L
11.16
19.61
28.75
79.15
Golden Extra Heavy Gel Semi-Gloss

Code
Size
Price
GEHGSG29
236ml
GEHGSG35
473ml
GEHGSG38
946ml
GEHGSG42
3.78L
11.16
19.61
28.75
79.15
Golden
Extra Heavy Gel
Molding Paste
Gives a thick opaque molding paste finish.
Code
Size
GEHMP29
236ml
GEHMP35
473ml
GEHMP38
946ml
GEHMP42
3.78L
Golden High Solid Gels

A unique product to Golden. Very similar to heavy gels in body, the gloss dries
quicker and has a glossier finish than the other gels.
The matte dries to a cloudy appearance.
High Solid Gels provide the highest level of working resistance to any gel product.
Golden High Solid Gel Matte

Code
Size
GHSGM29
236ml
GHSGM35
473ml
GHSGM36
946ml
GHSGM42
3.78L
Price
11.16
19.61
28.75
79.15
Golden High Solid Gel Gloss

Code
Size
GHSGG29
236ml
GHSGG35
473ml
GHSGG38
946ml
GHSGG42
3.78L
Price
11.16
19.61
28.75
79.15
Price
11.16
19.61
28.75
79.15
ACRYLIC MEDIUMS
LIQUITEX ACRYLIC GEL MEDIUMS
Liquitex Gel Mediums
Professional Quality
Heavy-bodied mediums are formulated to maintain three dimensional peaks and troughs as well as brush marks with palette knives or other
implements. This type of medium facilitates the building up of surfaces, extending paint volume and drying time as well as achieving various
degrees of transparency and sheen. Mix into acrylic paints to maintain or increase paint thickness.
In the wet state the mediums appear milky, but dry, transparent to translucent. A wet medium/paint mixture will appear lighter in colour until
it dries. All high viscosity mediums can have additives such as sand, sawdust, etc. Be careful not to overload the mediums with texturing
mediums as brittleness can result.
Liquitex
Gloss Super Heavy Gel Gloss
Creates super thick high peak texture in a high solids acrylic gel with good
wet and dry clarity. Excellent for modelling and heavy textured surfaces.
Maintains colour clarity with less shrinkage.
Liquitex Heavy Gel Gloss

For achieving a thick oil paint-like thickness.
Mix with acrylic paint to increase body density and
viscosity. It can be applied with brush and palette knife
whose marks will remain. This medium extends paint while
increasing brilliance and transparency.
Paints mixed with this medium will remain workable for
longer periods of time than with other gel mediums.
Code
Size
LQHG2110
237ml
LQHG2120
473ml
Price
9.79
16.20
Liquitex Gloss Gel Medium

This is a medium for mixing with acrylic colour to extend the
paint, increase the brilliance and transparency of colour
without changing its thickness. Dries to a gloss finish,
is translucent when wet and is transparent to translucent
when dry. When mixed with high viscosity paint an effect
similar in colour depth to oil paint is achieved. Gloss Gel
Medium can be used as a ground when a transparent effect
is required e.g. when the canvas or substrate surface needs
to be seen.
It is recommended that the substrate cotton or linen is
washed to avoid risk of discoloration. When applying Gloss
Gel Medium to canvas, use sufficient pressure to force
the medium into the canvas weave to ensure proper
bonding between the gel and the canvas.
Code
Size
LQGM2040
237ml
LQGM2050
473ml
LQGM2060
946ml
Price
9.79
16.20
23.78
Code
Size
LQGSHG032
237ml
LQGSHG033
473ml
LQGSHG034
946ml
Price
9.79
16.20
23.78
Liquitex
Ultra Matte Gel Medium
A translucent gel of high density that economically
extends the volume of any colour without changing
its thickness.The paint is doubled in volume with
little or no discernible loss in colour intensity, opacity or change in hue. The degree to which the colour
can be extended will vary depending on the pigment.
Colours mixed with Ultra Matte Gel Medium will dry
to a matte sheen, giving colours a gouache look.
When over 50% is added to a colour the Ultra Matte
Gel Medium increases the value of the original
colour approximately one level.
Liquitex
Liquithick Gel
Medium
Code LQLM3160
Size 237ml
Price 9.58
Code
LQUMG2140
Size
237ml
Price
9.79
Liquitex
Matte Gel Medium
Dries to a satin matte finish and has greater
adhesion than Gloss Gel and Heavy Gloss Gel
Medium.
Code
Size
LQMG2090
237ml
Price
9.79
ACRYLIC MEDIUMS
LIQUITEX TEXTURE GELS
Blended Fibres
A thick, stringy, fibrous gel that when

dry gives the effect of flexible fibres.
Add Liquitex Gloss Gel Medium or
Gloss Heavy Gel Medium for easier
application and to increase adhesion
when wet. Works best when applied
with a palette knife or trowel.
Code
Size
LQBF3090
237ml
Price
9.58
White Opaque Flakes
A heavy body, coarse gel that

contains irregular sized and shaped
opaque flakes. White flake texture is
most apparent when mixed with
transparent or translucent colours or
small amounts of opaque colour.
If pure white is desired add a small
amount of Liquitex Titanium White.
Code
Size
LQWO3120
237ml
Price
9.58
Black Lava
A black speckled gel that contains

small, fat, hexagonal shaped dark
aggregates. When wet the lava
appears grey but when dry it has the
appearance of ground, dry, black
lava. When mixed with transparent
and translucent colours the black
speckled quality is most apparent.
Mix with Liquitex Interference Paint
for more dramatic colour effects.
Code
Size
LQBL3100
237ml
Price
9.58
Modelling Paste
A marble putty used to build heavy

textures. Can be mixed or painted
with acrylic colour. Mix with Gel
Medium for use on flexible supports.
Code
Size
LQMP3010
LQMP3020
LQMP3030
237ml
473ml
946ml
Price
9.79
16.20
23.78
Light Modelling Paste

A lightweight, airy, flexible, thick,
sculptural gel specifically formulated
to be used to build heavy textures.
Can be mixed or painted with acrylic
colours. Mix with Gel Medium for
use on flexible supports.
Code
Size
LQLM3050
237ml
Price
9.58
Resin Sand
A thick, coarse texture gel that

contains aggregates of various
sizes. Dries to a rough cement
look and will retain its unique
texture when mixed with
paint, particularly useful for
dramatic, very coarse effects.
Code
Size
LQRS3080
237ml
Price
9.58
Glass Beads
A medium body gel that contains

translucent plastic aggregates that
dry to a semi-gloss reflective
(bubbly) surface. For the most
dramatic, reflective effects mix with
transparent or translucent colours
or apply straight from the container
over dried paint. For reflective
textural glazes, mix with Liquitex
Gloss Medium and Varnish and
small amounts of Liquitex Medium
Viscosity Concentrated Acrylic
Colours. Suitable as a ground for
acrylic and oil paint.
Code
Size
LQGB3110
237ml
Price
9.58
Natural Sand
A finely textured gel that dries to a
surface similar to glossy beach
sand. Mix with Liquitex Acrylic
Colour to improve blending and
impart the feel of oil paint. This
provides a very effective ground for
acrylic and oil paints, oil pastel and
graphite when delicate marks and
blending are necessary.
Code
Size
LQNS3070
237ml
Price
9.58
Ceramic Stucco
A thick, fine texture gel that dries to
a light grey matte stucco finish. This
is excellent for producing thick 3-D
effects, as well as thinly coating a
surface.This medium provides an
excellent ground for acrylic and oil
paint, oil pastel, oil bars, pastels and
graphite. Ceramic Stucco Medium is
a little susceptible to abrasion. Coat
with Liquitex Varnish for added
protection. Apply varnish carefully to
avoid foaming and clouding.
Code
Size
LQCS3060
237ml
Price
9.58
ACRYLIC MEDIUMS
LIQUITEX ACRYLIC MEDIUMS
Liquitex
Flexible Modelling Paste
Liquitex
Slow-Dri Blending Gel
Code
Size
LQSDBLG022 237ml
Liquitex
Pouring Medium
Code
Size
LQPM3200
LQPM3210
237ml
946ml
Price
9.79
Code
Size
LQFMP3130
LQFMP3140
237ml
473ml
Liquitex
String Gel
Code
Size
LQSG3170
LQSG3190
237ml
473ml
Price
9.58
23.78
Price
9.79
16.20
Liquitex
Slow-Dri Blending Fluid Medium
Code
Size
Price
LQSDBF011
LQSDBF012
LQSDBF013
118ml
237ml
473ml
6.19
9.79
16.20
Price
9.79
16.20
Liquitex
Slow-Dri Gel Retarder
Code
Size
LQSDR3170
237ml
Price
9 .79
Liquitex
Slow-Dri Retarder
Code
Size
LQSD1190
118ml
Price
6.19
ACRYLIC MEDIUMS
GOLDEN OPEN ACRYLIC MEDIUMS
OPEN Acrylic Gel (Gloss and Matte) has a slightly softer feel
than our Regular Gel (Gloss) and the same consistency as OPEN
colours. It can be used for glazes and to extend the paints while
maintaining working properties of OPEN acrylics
OPEN Gels and Mediums are compatible with Golden Heavy
Body and Fluid Acrylic colours, as well as regular acrylic gels and
mediums and will increase open time while altering their consistency.
OPEN Thinner contains no binders and is used to thin the consistency of paint mixes without altering open time, or to maintain and
adjust the workability of colours on the palette without the use of
water mist and moisturizing palettes.
Code
Size
GOAGG29
236ml
Price
11.16
Code
Size
GOAT45
59ml
GOAT21
119ml
Price
3.79
7.15
OPEN Acrylic Medium

(Gloss and Matte)
Has a lower viscosity and is used to
extend paint and maintain properties
when a more fluid mixture is desired
to increase flow.
Gloss
Code
Size
GOAMG21
119ml
GOAMG29
236ml
Price
7.15
11.16
ACRYLIC MEDIUMS
GOLDEN TEXTURE GELS
Golden Crackle Paste
Light Molding Paste
Crackle Paste is a water-based product formulated

with styrene - acrylic copolymer emulsions, and has
a tendency to yellow over time. This product has
white, low density solids that replace traditional
fillers. Its unique composition allows for a controlled
failure to occur and the result is its tendency to
crack. It has a consistency similar to cake icing,
easily manipulated with a palette knife.
Peaks will maintain their height and appearance.
It is a harder film than Golden Light Molding Paste,
yet still retains an absorbent surface.
Films dry to an opaque, matte finish to which subsequent layers of acrylic paint and mediums can be
applied.
Crackle Paste can be easily tinted with Golden
Heavy Body, Matte, High Load and Fluid Acrylic
paints.
Drying times greatly depend upon film thickness.
Very thin films will dry to the touch in several hours
but may not produce much cracking.
Increasing film thickness will increase the tendency
to crack and also the size of the cracks and
platelets.
Cracks can take several days to fully develop.
Do not force dry the Crackle Paste, nor try to slow
the drying by adding Retarder or other additives, as
both conditions may interfere with the products ability to crack. Products should be allowed to cure
between 17/18 degrees and 23.
Crackle Paste cleans up with soap and water.
A finer version of the standard

molding paste.
Ideal for building subtle surfaces.
Molding Paste
Code
Size
GLMP29
GLMP35
GLMP38
GLMP42
236ml
473ml
946ml
3.78L
Price
11.16
19.61
28.75
79.15
Molding Paste
Used for building surfaces and
textures and dries to a hard,
opaque film.
Code
Size
GMP29
GMP35
GMP38
GMP42
236ml
473ml
946ml
3.78L
Price
11.16
19.61
28.75
79.15
Hard Molding Paste
Golden Crackle Paste

Code Size Price
GCP29
236ml 11.16
GCP35
473ml 19.61
GCP38
946ml 28.75
GCP42
3.78L 79.15
Provides the hardest opaque matte

finish and blends well with Golden
Acrylic Colours
Code
Size
GLMP29
GLMP35
GLMP38
GLMP42
236ml
473ml
946ml
3.78L
Price
11.16
19.61
28.75
79.15
Golden
Acrylic Texture Gels Professional Quality
Golden Pumice Gels
These provide the artist with
varying coarseness of finishes
from a fine almost smooth
plaster consistency to a very
rough concrete type of finish.
Golden
Clear Granular Gel
A mid-grained clear gel with excellent clarity
and good durability.
Code
Size
GCGG29
GCGG35
GCGG38
GCGG42
236ml
473ml
946ml
3.78L
Price
11.16
19.61
28.75
79.15
Fine
Pumice
Code
Coarse
Pumice
Code
Extra Coarse
Pumice
Code
Size
GPGF29
GPGF35
GPGF38
GPGF42
GPGC29
GPGC35
GPGC38
GPGC42
GPGEC29
GPGEC35
GPGEC38
GPGEC42
236ml
473ml
946ml
3.78L
Price
11.16
19.61
28.75
79.15
ACRYLIC MEDIUMS
ACRYLIC MEDIUMS - ECONOMICAL
Size
250ml
Size
Price
RRP
7.55
9.15
Price
RRP
Galeria
Iridescent Medium
Suitable for a variety of surfaces and
developed to provide pearlescent effects
when added to colour.
Codes
Size
WNGIM31
250ml
WNGIM36
500ml
Galeria
Black Lava Textured Gel
Granular paste contains fine particles of
black flint.
Codes
Size
WNGBLTG31
WNGBLTG36
250ml
500ml
500ml
11.55
13.30
Galeria Sand Texture Gel
Galeria Medium Grain Gel
A finer and more consistent texture than the

pumice used in Mineral Texture Gel.
Formulated with refined and purified sand to
ensure the most interesting possible texture
as well as security and durability.
When mixed with acrylic colour, Medium

Grain Gel forms a moderately granular
texture. It may be used alone as a clear,
textured film, or with added colour.
Can be overpainted. Formulated to ensure
that the texture is evenly distributed.
Codes
Size
Codes
Size
WNGSTG31
WNGSTG36
250ml
500ml
WNGMGG31
250ml
WNGMGG36
500ml
Glass Beads Texture Gel
Large Grain Grain Gel
Small, spherical glass beads suspended in

a thick clear acrylic gel.
Used with a transparent colour, the effects
are arresting and jewel-like.
A more pronounced textural grain appearance

than the Medium Grain Gel, providing more
visible structure and effect to the colour.
Codes
Size
WNGGBTG31
WNGGBTG36
250ml
500ml
Codes
Size
WNGMGG31
WNGMGG36
250ml
500ml
ACRYLIC MEDIUMS
ACRYLIC MEDIUMS - ECONOMICAL
Galeria
Flexible Modelling Paste
Galeria
Carvable Modelling Paste
Galeria
Structure Gel
A fine texture paste with soft yet thick

sculptural consistency. Build up depth
in layers, allowing each to dry.
This is the do-it-all version that is tough and

can be literally carved.
It remains flexible on a variety of surfaces
and is suitable for applying in multiple layers.
Add to acrylic colour to create high peak

retention. Smooth and flexible.
Provides a gloss finish with good clarity.
Codes
Size
WNFMP31
250ml
WNFMP36
500ml
Price
7.55
11.55
Codes
Size
WNGHMP31
250ml
WNGHMP36
500ml
Price
7.55
11.55
Codes
Size
WNGSG31
250ml
WNGSG36
500ml
Price
7.55
11.55
Galeria Gloss Medium
Galeria Matt Medium
Galeria Fluid Retarder
Creates high clarity and even flow. Gloss

medium boosts the brilliance and transparency of the colour as well as improving adhesion and durability.
Ideal for glazing or applying thickly as well as
producing highly transparent layers of brilliant
colour for depth and stained glass effect.
This medium creates a flat, non reflective

matt, even finish.
It maintains brilliance of colour while boosting
transparency, adhesion and durability.
For extending the drying and working time of

acrylic colours. Small amounts (a few drops)
will allow for extended blending and manipulation. Fluid Retarder does not contain sufficient acrylic resin to act as additional binder
and should be used only in the amount needed to achieve the desired effect.
Codes
Size
WNGGM31
250ml
WNGGM36
500ml
Price
7.55
11.55
Codes
Size
WNGMM31
250ml
WNGMM36
500ml
Price
7.55
11.55
Galeria Extender
Galeria Flow Improver
A highly economical medium that increases

the volume of paint and maintains opacity.
Colour will dry to a matt finish.
A great product for those with limited budgets.
This is an additive that loosens the surface

tension of water within the acrylic film.
It increases flow, allowing the artist to apply
areas of flat even colour evenly without
changing the colour. This is, in effect for
staining techniques as it produces a much
more fluid acrylic.
Codes
Size
WNGGE31
250ml
WNGGE36
500ml
Price
7.55
11.55
Codes
Size
WNGFI31
250ml
Price
7.55
Codes
Size
WNGFR31
250ml
Price
7.55
Galeria
Screen Printing Medium
Galeria colours are lightfast and offered
within a fine art spectrum, making them
highly attractive for printmaking.
By themselves, however, acrylic colours dry
too rapidly to be used for screen printing.
Adding this medium to the colours will
improve flow and slow the drying time,
allowing for successful printing.
Codes
Size
WNSPM39
1L
Price RRP
11.04 13.80
ACRYLIC MEDIUMS
ACRYLIC VARNISHES - ECONOMICAL
Galeria Acrylic Varnishes
Hints, Tips & Techniques for Acrylics - Varnishes

Find out what varnishes you can use to protect your paintings.
Varnishing Paintings
Varnishes are used to protect finished paintings from dirt and
grease. Picture varnishes should be removable so that paintings
can be cleaned when the varnish itself has become dirty.
Although modern varnishes for oil colour can be used on acrylics,
the removability can be safer with a dedicated acrylic varnish.
We provide three such varnishes for acrylics :
Gloss Finish, Satin Finiish and Matt Finish.
These can also be mixed by the artist to achieve their preferred
level of finish anywhere in between the three types.
We also provide a Varnish Remover which enables you to
remove acrylic varnishes, allowing your paintings to be cleaned
and re-varnished in the future without fear of damage.
Varnishing hobby projects
Furniture, toys and murals which are handled often need a hard
finish.This can only be achieved with a non-removable varnish, the
most popular of which is polyurethane. The colour of this varnish
will slightly deepen the tone of your picture but this cannot be
helped.
Galeria Matt Varnish

A unique removable matt varnish which may be mixed with Galeria
Gloss Varnish to vary the final finish.
Code
Size
WNGMV17
WNGMV31
WNGMV36
75ml
250ml
500ml
Price RRP
4.21 6.10
7.55 9.15
11.55 12.30
Galeria Satin Varnish

A uniquely removable satin varnish for the protection of finished
acrylic paintings
Code
Size
WNGSV17
WNGSV31
WNGSV36
75ml
250ml
500ml
Price RRP
4.21 6.10
7.55 9.15
11.55 12.30
Galeria Gloss Varnish
Galeria Varnish Remover
A unique removable gloss varnish for the protection of finished

artwork. This product can also be mixed with Galeria Matt Varnish
to vary the final finish.
Winsor & Newton acrylic varnishes are readily removable with this
product, allowing pictures to be cleaned and re-varnished in the
future without fear of damage.
Code
Size
WNGGV17
75ml
WNGGV31
250ml
WNGGV36
500ml
Price
4.21
7.55
11.55
RRP
5.10
7.15
11.30
Code
Size
WNGVR17
75ml
Price
4.21
RRP
5.10
ACRYLIC MEDIUMS
Liquitex
Fabric Medium
Liquitex
Liquitex
Glazing Medium
This creates a surface with great depth and
translucence.
This glaze offers a superior wet clarity so as to
minimise wet to dry colour shift and dries to a
high gloss finish.
Code
Size
LQGM0001
118ml
LQGM0002
237ml
LQGM0003
473ml
LQGM0004
946ml
Airbrush Medium
Code
Size
LQAM1010
237ml
Price
9.58
Price
6.19
9.79
16.20
23.78
When added to acrylic paint it

enables the colours to be applied
onto fabrics.
Because the paints can be applied to
rough fabrics once the medium has
been added, it eliminates the need to
roughen up or abrade the fabric surface.
The acrylic colours will remain flexible once they are dry on the fabric,
they do not stiffen up.
No heating setting techniques are
required.
Code
Size
Price
LQFM1210
118ml
6.19
Liquitex
Palette Wetting
Spray
Liquitex
Code LQPWS1111
Enhancer
Flow Aid
Size 237ml
Price
Code LQFA1170
9.58
Size 118ml
Liquitex
Iridescent Tinting Medium
Code
Size
LQIT1160
237ml
Price
9.58
Price 6.19
ACRYLIC MEDIUMS
Liquitex Mediums
Liquitex Gloss Medium and Varnish
A permanent gloss sheen varnish that dries clear.
It is non-yellowing and most importantly flexible.
Gloss Varnish not only increases the final gloss
surface of the acrylic paints it importantly,
increases the intensity and brilliance of the
colours it is applied to.
Code
Size
LQGM1030
118ml
LQGM1040
237ml
LQGM1050
473ml
LQGM1060
946ml
LQGM1070
3.79L
Price
6.19
9.79
16.20
23.78
55.99
Liquitex Matte Medium

Creates a matte, non-reflecting finish when added to
acrylic colours.
Mix into any acrylic paint to increase transparency
andextend colour, increase matte sheen and film
integrity, ease flow of paint and add flexibility and
adhesion to paint film.
Mix with Gloss Medium & Varnish to produce a
semi-gloss or satin medium.
Opaque when wet, transparent when dry.
Can be used as an extender, as a fixative and a
ground in the same way as Gloss Medium &
Varnish.
In its role as a ground the Matte medium can be
used as an alternative to glue size traditionally used
for oil painting.
When using for exterior murals, if the surface is too
smooth, a coat of Matte Medium should be brushed
or two coats sprayed onto the surface prior to
applying gesso.
Code
Size
LQMM1080
118ml
LQMM1090
237ml
LQMM1100
473ml
LQMM1110
946ml
Price
6.19
9.79
16.20
23.78
ACRYLIC MEDIUMS
ACRYLIC MEDIUMS
LeFranc & Bourgeois Acrylic Transfer Medium
Golden - Retarder
Used for increasing the drying time of acrylic paint.
A medium for transferring a printed image

from one surface to another. In particular,
printed newspaper and magazine photographs
can be transferred onto clothing. Very simple to
use with excellent instructions contained with
every bottle.
Code
Size
LB028517
75ml
LB028531
250ml
LB028536
500ml
Code
Price
9.99
18.99
26.60
Size
GRET21
119ml
GRET29
236ml
GRET35
473ml
GRET38
946ml
Price
7.97
11.95
20.99
31.97
Golden Phosphorescent Medium

Glow in the dark paint.
Contains a unique pigment that distorts natural or artificial light
and then emits it in the dark. Mixing with other colours reduces
glow effects. Not lightfast.
Code
Golden Polymer Mediums
Size
GPHOS21
119ml
GPHOS29
236ml
GPHOS35
473ml
GPHOS38
946ml
Polymer Gloss
Code
Size Price
GPMG29 236ml
GPMG35 473ml
11.16
18.79
Code
Size
GPMG38 946ml
GPMG42 3.78L
Price
26.35
70.37
Fluid Matte Medium

Code
Size Price
GFMM29 236ml
GFMM35 473ml
11.16
18.79
Matte Medium
Code
Size Price
GMM29
236ml
GMM35
473ml
11.16
18.79
Code
Size
GFMM38 946ml
GFMM42
3.78L
Code
Size
GMM38
946ml
GMM42
3.78L
Price
26.35
70.37
Price
26.35
70.37
Price
19.97
33.99
60.77
106.37
ACRYLIC MEDIUMS
GOLDEN MEDIUMS
Golden Acrylic Flow Release
Used for staining techniques,
reduces the surface tension
between the paint/water and
the support such as canvas
which is inherently water
repelling and allows the paint
to stain the support.
also improves flow for
spraying acrylic paints.
Code
Size
GAFR21
119ml
GAFR29
236ml
Price
7.97
11.95
Golden Airbrush Medium
Golden Transparent Airbrush

Extender
Increases the flow of fluid acrylics for use in airbrushes.
Add to opaque airbrush colours

to increase transparency.
Code
Size
GATE21
119ml
GATE35
473ml
GATE42
3.78L
Price
7.01
18.79
70.37
Golden Silkscreen Medium
A new waterborne system

designed to blend with acrylic
colours for non-textile silkscreen
application. Increases working
time and retards paint from
drying in the screen.
Safe to use with minimal colour.
Code
Size
GSM29
236ml
GSM35
473ml
GSM38
946ml
GSM42
3.78L
Price
8.40
12.19
19.97
51.17
Code
Size
GAM21
119ml
GAM29
236ml
Price
7.01
11.16
Code
Size
GAM35
473ml
GAM42
3.78L
Golden Sikscreen Mediums
Golden Silkscreen Fabric Gel

A 100% Acrylic Polymer emulsion
which when heat set stays soft and
pliable.
Code
Size
GSFG29
236ml
GSFG35
473ml
GSFG38
946ml
GSFG42
3.78L
Price
11.16
18.79
26.35
70.37
Price
18.79
70.37
ACRYLIC MEDIUMS
DALER - ROWNEY ACRYLIC MEDIUMS
Daler Rowney Special Acrylic Mediums
Removable Screen Block for
Screenprinting.
Once the drawing fluid is dry the entire screen
surface is then blocked out with System 3
Removable Screen Block, applied by
squeegee.
Again, once dry, the previously drawn image
is washed out in cold water to leave an
open-mesh positive image ready for printing.
The screens can be reclaimed after printing
by washing out the ScreenBlock with hot tap
water and soap.
Screen Block should be kept upright and
stored at normal room temperature 25
Centigrade.
Code
Size
DRM02131
DRM02139
250ml
1L
Price
10.36
25.64
System 3
Decoupage Medium
System 3
Pearlescent Tinting Medium
Creates a shimmering, pearlescent, metallic lustre when mixed 80%
medium to 20% System 3 colour. Used on its own, the medium
dries to an attractive off-white pearlized colour.
It works particularly well with more transparent colours and is perfect for all forms of 2 and 3 dimensional decorative cards and craft
work.
Specially formulated as a clear gloss medium with adhesive properties for papier
mache, collage and decoupage or as a
final water resistant sealant for all manner
of craft works including stone, wood, card
and paper. The medium can also be added
to poster and powder colour to impart
greater flexibility and increase gloss and
transparency.The medium is not removable
when dry. Its milky colour dries clear.
Code
Size
DRM02617
75ml
DRM02634
300ml
Price
3.49
8.60
System 3
Textile Printing Medium
System 3
Pearlescent
Tinting Medium
Code DRM17018
Size 75ml
A Textile Printing Medium has now been developed for screen printing
on fabrics. Mixed 1:1 with System 3 Colour, the medium remains open
on the screen, gives strong colour, fine definition and excellent
colour fastness over 20+ washes.
Garments should be heat fixed with an iron at temperatures appropriate
to the fabric itself.
The medium works well on cotton, cotton mixes, synthetics, silk and
natural fibres.
Code
Size
DRM02231
250ml
DRM02244
5L
Price
7.64
58.15
Price 3.86
ACRYLIC MEDIUMS
DALER ROWNEY ACRYLIC MEDIUMS
System 3
Screen Drawing Fluid
The blue Screen Drawing Fluid is applied by brush direct to the screen to create
the drawn image.
It can be applied neat but will probably require some dilution with water in finer
detail areas.
Code
Size
DRM02017
75ml jar
Price
3.60
System 3
Printing Medium
The medium retards the drying of acrylic
colour on the screen and reduces the risk of
screen blocking, making it easier to wash out.
Screens, kept moist will wash out easily with
soap and water.
System 3 Acrylic Colours retain great density of colour even after
mixing with medium and very substantial covering power can be
achieved on paper, card and board without undue cockling.
System 3
Texture Paste Medium
Code
Size
DRM01139
1L
DRM01144
5L
To create really dense textural qualities on the painting surface itself.

Once dry the hard surface can be further enhanced with scribing,
scratching and chiselling.
Paste is not formulated for outdoor work.
Code
Size
DRM01731
250ml
DRM01739
1L
Price
6.52
22.58
Price
12.00
41.63
ACRYLIC MEDIUMS
ACRYLIC VARNISHES & GLAZES
Golden Acrylic Varnishes Water Based and Solvent Based
Golden Polymer Varnish with UVLS Gloss

A non-yellowing flexible varnish with ultraviolet filters and light
stabilisers for protection from UV damage.
May be removed with an alkaline solution.
Golden Acrylic Glazing Liquid

Gloss
Code
Size
GAGMG29
236ml
GAGMG35
473ml
GAGMG38
946ml
GAGMG42
3.78L
Golden Polymer Varnish with UVLS Gloss

Code
Size
Price Code Size
Price
8.40
12.19
19.97
51.17
Golden Acrylic Glazing Liquid

Satin
Code
Size
GAGMS29
236ml
GAGMS35
473ml
GAGMS38
946ml
GAGMS42
3.78L
Price
8.40
12.19
19.97
51.17
GPVG21
119ml
GPVG29
236ml
GPVG35
473ml
7.97
12.77
23.95
GPVG38
946ml
GPVG42
3.78L
Golden Polymer Varnish with UVLS Satin

Code
Size
Price Code Size
GPVS21
119ml
GPVS29
236ml
GPVS35
473ml
7.97
12.77
23.95
GPVS38
946ml
GPVS42
3.78L
Golden Polymer Varnish with UVLS Matte

Code
Size
Price Code Size
GPVM21
119ml
GPVM29
236ml
GPVM35
473ml
7.97
12.77
23.95
GPVM38 946ml
GPVM42
3.78L
Price
36.77
107.95
Price
36.77
107.95
Price
36.77
107.95
ACRYLIC MEDIUMS
Liquitex Permanent Non Removable Acrylic Varnishes (except Soluvar)
The Liquitex varnishes (except Soluvar) have the following important characteristics :
They dry to a non tacky, hard, flexible surface that is resistant to dirt.They are non yellowing and resist discolouring due to humidity, heat
and ultraviolet light (sunlight)which bleaches out colours.
They dry permanently and flexible and therefore will not crack as the surface expands and contracts during temperature and humidity
changes.
Liquitex Satin Varnish

Code
Size
Price
Liquitex Matte Varnish

Produces a non reflective, non glare, low
sheen surface that will intensify most
colours.
Dries clear, is non yellowing and flexible.
Code
Size
LQMV5010
237ml
LQMV5020
473ml
LQMV5030
946ml
LQMV5040
3.78L
LQSV5110
LQSV5120
237ml
946ml
9.79
23.78
Price
9.79
16.20
23.78
55.99
Liquitex Gloss Varnish

Code
Size
Price
LQGVF041
118ml
LQGVF042
237ml
LQGVF043
473ml
6.19
9.79
16.20
Liquitex Rigid High Gloss Varnish

These are formulated to provide a hard,
permanent surface that will not crack or yellow.
They are water based for ease of use and cleanup, can be used for final permanent protective
coating over any acrylic paint or stain ,and are
sandable for furniture.
grade finishes.
Liquitex Rigid High Gloss Varnish

Liquitex Soluvar Varnish Gloss
Code
Size
Price
LQSVG050
237ml
Matte
Code
Size
LQSVM070
237ml
9.79
Code
Size
LQHG6010
118ml
LQHG5090
237ml
LQHG5100
946ml
Price
6.19
9.79
23.78
Price
9.79
ACRYLIC MEDIUMS
ACRYLIC VARNISHES
Golden
MSA Varnish
with UVLS
Physically tougher than the water
based acrylic varnishes, it contains
ultraviolet light stoppers to reduce UV
damage.
Can be applied to all surfaces and
oil painting mediums.
It can also be used with acrylics, oils,
alkyds,watercolour, pastels, tempera.
Non yellowing.
Can be thinned with white spirits or
distilled turpentine by 20% - 40% or,
as a rule of thumb 4 parts varnish to
one part thinner.
Avoid using odourless thinners.
Apply in thin layers.
Dries in 3-6 hours.
Golden MSA Varnish

with UVLS Gloss
Code
Size
GMSAVG21
119ml
GMSAVG29
236ml
GMSAVG38
946ml
Golden MSA Varnish

with UVLS Satin
Code
Size
Price
9.55
16.39
43.97
More Varnish Troubleshooting
If the surface reflectivity is not uniform:

The surface may have variable absorbency
resulting in uneven gloss.
Ideally, sucha surface would first have an
isolation coat applied to provide a more
uniform surface.
However,if varnish has already been applied,
the surface must be sealed by applying one
or more additional coats of gloss varnish,
followed by the desired sheen varnish.
Possibly, the varnish/solvent mixture may
not have been thoroughly mixed or a mixture of different sheens (gloss with matte)
may not have been thoroughly mixed. If the
diluted varnish is used over a long period of
time without stirring, it may be separating
(matting agents settling).
GMSAVS21
119ml
GMSAVS29
236ml
GMSAVS38
946ml
GMSAVS42
3.78L
Price
9.55
16.39
43.97
106.95
To achieve a uniform finish, start with a fresh

varnish/solvent mixture, thoroughly stirred
andapply another coat.
Also consider removing the existing varnish.
Note :
Do not over stir the varnish or air bubbles
can get in and cause serious problems.
Always stir gently.
If brush strokes remain :
The varnish may not have been thinned sufficiently to level during application or the solvent may not have been compatible with the
varnish.
The surface may have been absorbent,
causing the varnish to dry too quickly, not
allowing it to level.
Or the temperature of the surface and or
room was too high, causing the varnish to
dry too quickly.
Golden MSA Varnish

with UVLS Matte
Code
Size
GMSAVM21
119ml
GMSAVM29
236ml
GMSAVM38
946ml
GMSAVM42
3.78L
Price
9.55
16.39
43.97
106.95
If the MSA Varnish will not thin down :

The solvent is not strong enough to be
compatible. Use a stronger solvent like
distilled turpentine.
When spraying, the surface is very pebbly
or textured :
The varnish may have dried before reaching
the surface.This could have been caused
by insufficient thinning(add more solvent),
an extremely dry environment (add humidity,
reduce heat, limit air flow), or by excessive
air flow (reduce air pressure)
If the varnish is sinking in and not developing sufficient gloss:
The surface is too absorbent.
Apply additional coats of isolating layers
(only if no varnish is yet applied) or gloss
varnish. Excessive dilution of varnish may
also result in this problem.
ACRYLIC MEDIUMS
The following is a paper produced by Golden
Artist Acrylic Colours on the importance of
varnishing correctly.
We have reproduced this as we feel it is of
importance in an area where there are many
misconceptions.
AN INTRODUCTION TO VARNISHING
The application of varnishes is a topic which
generates frequent questions.
This is a complex issue which does not
always lend itself to easy solutions because
no single varnish or technique is right for all
situations.
Common factors influencing the selection of
a varnish are appearance,type of application
and thickness of the underlying media,texture
and absorbency of the surface, and interior
versus exterior exposure conditions.
Understanding what varnishes can or cannot
do will enhance the likelihood of successful
use.
Functions of a Varnish
Varnishes can assist the artwork in several
ways. They can be used to change the surface sheen, making the surface more matte
or higher gloss, or to provide the various
areas of a painting with a more unified finish. They can also be used to increase
colour saturation. Varnishes offer protection
for the underlying surface and allow for
ease of cleaning of the painting or object.
Often they are used to consolidate artwork,
in a similar manner to a fixative for charcoal
or pastel. Some varnishes offer additional
protection in the form of Ultra Violet Light
Stabilizers (UVLS) which dissipate UV radiation before it can contact the artwork
where damage may occur. These varnishes
are especially useful for materials that are
fugitive in nature, such as dyes,but will not
render them completely lightfast. The thicker the film of varnish with UVLS, the greater
the protection afforded. Both the Golden
Polymer Varnish and the Golden MSA
Varnish contain UVLS.
Requirements of a Varnish
Varnishes should be removable to allow for
cleaning without damaging the underlying
surface.The use of removable varnish products provides a valuable tool to anyone who
may need to restore or clean the painting in
the future.The varnish can be made soluble
and removed, taking with it any surface
contamination. The varnish can be made
soluble and removed, taking with it any surface contamination.
The varnish must be flexible enough to

move with the painting surface, yet hard
enough to resist retention of grime and dust
by providing a non-tacky surface.Depending
on the substrate and environmental conditions, it must be formulated with the correct
porosity to either allow moisture to pass
through or provide a moisture barrier. It
should have a good chemical and water
resistance. Over time, it should resist discoloration caused by factors such as humidity,
heat, visible and ultraviolet light (UV)sources.
Finally, the varnish must possess excellent
clarity, without discoloration or fogging.
Aesthetics of a Varnish
In all cases, varnishes serve an aesthetic
function, whether desired or not, due to a
difference in the refractive index between the
varnish and what is underneath it. A perfect
varnish that does not alter the appearance
of the painting is often requested, but has
never been fully achieved.
Therefore, varnish is most successfully
used when it complements the painting.
Practice and experience will provide an
understanding of how varnish affects the
look of a painting. Varnishes are offered in a
range of finishes, from gloss to matte, to
allow the artist to control the sheen. Different
finishes of the same brand can usually be
intermixed within each product type, or
used sequentially, to achieve any desired
level of gloss.
Types of Varnish
The most important traditional varnish is
Dammar. It is the only traditional coating
system that is still recommended as suitable
for a work of art. Other resins such as Copal
or Mastic although still in use, suffer from
cracking, extensive yellowing and become
increasingly difficult to remove from a painting over time. Although Dammar does turn
a yellow to brown colour after approximately
50 years of normal exposure conditions, it is
still removable from an oil painting surface
without greatly affecting the paint layers
below.The search for a better alternative to
the above has moved to the newer synthetic
varnish systems.This centres mainly around
low molecular weight varnishes (LMW)
such as GamVar by Gamblin in the USA
and high molecular weight (HMW) varnishes
such as Golden MSA Varnish.
A low molecular weight varnish will tend to
have a greater gloss and higher refractive
index .
It will provide greater saturation due to the

smaller molecular size, than the high smaller molecular size, than the high molecular
weight varnishes. On the other hand, high
molecular weight (HMW) varnishes tend to
offer a better protective surface,have greater
elasticity and more resistance to blooming
(cloudiness). We, at Golden continue to prefer the HMW varnishes such as Golden
MSA Varnish which has so far proven to be
the most durable and lightfast and maintains removability. Our other varnish,
Golden Polymer Varnish is unique in that it
offers a waterborne varnish which meets the
criteria of remaining removable and having
good visual properties while freeing the user
from hazardous solvent exposure. In
terms of film toughness and permeability,
this varnish provides an intermediate level
of performance compared to the MSA
Varnish. Rigid Supports allow the use of
much harder varnishes
This is especially important when applications involve functional use of the artwork,
as in furniture or floor designs. Often the
varnishes of choice in these applications
are polyurethanes because they provide
some of the most non porous and toughest
films available.
Varnishing Acrylic Paintings
Some practitioners of conservation and art
instructors recommend that paintings done
with acrylic emulsion paints should not be
varnished because of the potential difficulty
in removing the varnish without affecting the
paint film. Our research and experience indicate that with the right varnish and technique, varnishing of such paintings is advantageous and risks are minimised. Acrylic
paint being thermoplastic polymer tends to
soften under conditions of high humidity
and/or high temperature, thus making it
more vulnerable to retention of dust and dirt
particles. A varnish that is harder than the
paint will reduce this effect, while providing
a sacrificial layer for cleaning. However, it is
critical that the varnish maintains good flexibility if the support for the painting is also
flexible as with canvas or paper. In order to
protect the paint film, if varnish removal is
required for restoration purposes, we recommend that an intermediate layer of an
isolating medium be applied. An isolating
medium is a transparent film that physically
separates the underlying layer of paint or
other medium from the varnish to be
applied.
BLOCK PRINTING
BLOCK PRINTING
Lino Cutting Packs
Handle comes with either blades 1 5 or blades 1 10.
Code
Set
EAL5S
EAL10S
Handle & Blades 1 - 5

Handle & Blades 1 10
Price
4.08
6.12
Lino Cutting Blades

A range of different shaped cutting blades to provide a
variety of cuts into lino.
Price for Single 43p

Code
Blade
EALC01
EALC02
EALC03
EALC04
EALC05
EALC06
EALC07
EALC08
EALC09
EALC010
No1
No2
No3
No4
No5
No6
No7
No8
No9
No10
Code
EALC121
EALC122
EALC123
EALC124
EALC125
EALC126
EALC127
EALC128
EALC129
EALC130
Blade
No1
No2
No3
No4
No5
No6
No7
No8
No9
No10
Lino Printing Rollers
A range of economically priced rubber rollers.
Code
Lino Cutter Handles

Code
Product
EALH12
Single Handle
Price
1.38
Lino Blocks
Code
Size
EACL3L1
EACL3L2
EACL3L3
EACL3L4
EACL3L6
EACL3L5
EACL3L7
75 x 75 x 3.2mm
152 x 102 x 3.2mm
203 x 152 x 3.2mm
300 x 200 x 3.2mm
305 x 305 x 3.2mm
406 x 305 x 3.2mm
450 x 450 x 3.2mm
Price
38p
89p
1.79
3.59
5.33
7.13
11.68
Size
EAR1
2 / 50mm
EAR2
2.6 / 65mm
EAR3
3 / 75mm
EAR4
4 /100mm
EAR5
6/150mm
EAR6
8/200mm
EAR7
10/250mm
EAR8
12/300mm
Price
3.05
3.58
3.77
4.03
4.85
6.28
6.38
7.62
Sponge / Foam Rollers

Code
Size
ART336
1 / 25mm
ART337
ART338
2 / 50mm
3 / 75mm
Price
50p
59p
79p
Block Printing Ink Waterbased

Economical range, ideal for
beginners or educational
establishments.
Code
Size
CCBP300---
300ml
Code
Colour
12
20
21
23
25
26
27
31
34
36
40
41
42
43
44
45
46
67
Price
3.72
Cerise
Lemon
Brilliant Yellow
Orange
Vermilion Hue
Brilliant Red
Crimson
Brilliant Blue
Prussian Blue
Turquoise
Brilliant Green
Leaf Green
Black
Burnt Umber
Burnt Sienna
Yellow Ochre
White
Sky Blue
BOOKS
BOOKS
PENCIL DRAWING TECHNIQUES -
DYNAMIC ANATOMY
Edited by David Lewis

A compendium of different artists who cover almost all the key
aspects of creatively developing pencil drawing.
144 pages. 31 colour and 80 black and white illustrations.
By Bourne Hogarth
This award-winning book reveals the live, expressive structure of
the human form. Excellent action studies and practical diagrams
show how to render the anatomical details of the figure in action
and at rest. 232 pages. 302 colour illustrations.
Code
WBWG9919
Price
12.95
Code
WBWG1552 - 1
THE PAINTERS HANDBOOK
OIL PAINTING TECHNIQUES

10 successful artists show how to colour in conjunction with varying
application techniques. Different subjects are covered, such as
painting landscapes, seascapes, etc.144 pages. 200 colour plates.
Code
WBWG3261-2
Price
16.99
Price
16.99
Highly recommended book which gives in depth coverage of

painting materials and techniques. For anyone looking for a good
guide to painting, this would be one we would strongly suggest.
320 pages. 9 black & white illustrations.
Code
WBWG3003-2
Price
17.99
405
BOOKS
BOOKS
FORMULAS FOR PAINTERS by Robert Massey.
Over 200 recipes for making sizes, grounds, paints, mediums,

glazes, varnishes, fixatives and adhesives. Each formulas
purpose is explained and directions and substitutions are clearly
given. We highly recommend this book to anyone seriously
interested in painting. 224 pages
Code
WBWG1877-6
Price
12.95
A comprehensive overview of acrylic colour mixing techniques

designed to enable artists to achieve the wider range of colours.
144 pages. 200 colour illustrations.
WBWG0106-7
406
Price
16.99
A compendium about best selling authors present lessons on oil

colour and basic techniques as well as unconventional
approaches. 256 pages. 350 colour illustrations.
Code
WBWG1616-4
ACRYLIC PAINTING TECHNIQUES by Stephen Quiller
Code
EVERYTHING YOU EVER WANTED TO KNOW

ABOUT OIL PAINTING
Price
19.99
THE ACRYLICS BOOK by Barclay Sheaks

An extensive A-Z overview of all the key aspects of acrylic
painting. The first part covers the materials and then deals with
techniques that enable artists to work as if using watercolours, oil,
tempera and airbrush. 176 pages
Code
WBWG0062-1
Price
14.99
BOOKS
BOOKS
HINTS, TIPS, TECHNIQUES
FOR PAINTING.
We highly recommend this excellent
range of booklets that are very well priced
and provide a great introduction into the
key painting mediums.
Hints, Tips, Techniques for

Watercolour
Code
WNHT1480
Price
1.55
Hints, Tips, Techniques

for Oil Colour
Code
WNHT1481
Price
1.55

for Acrylic Colour
Code
WNHT1482
Price
1.55

for Pastels
Code
WNHT1483
Price
1.55

for Colour Mixing
Code
WNHT1484
Price
1.55
Notes on the Composition &

Permanence of Artists Colours
Code
WNHT1485
Price
1.55
407
BOOKS
BOOKS
PAINTERS POCKET PALETTE
SERIES
The series contains everything the artist needs to
know about colour mixing. Easy-to-follow colour
charts on each page allow you to see at a glance
how to achieve the exact tone and hue required.
Each book has been written by an accomplished
artist and expert in their own favourite medium,
drawing on their own knowledge and experience of
the best mixtures for brilliant colours.
64 pages
The Watercolour Painters Pocket

Palette
by Moira Clinch
Code
SP2719
Price
8.99
The Oil Painters Pocket Palette

by Rosalind Cuthbert
Code
SP3594
Price
8.99
The Pastel Painters Pocket Palette

by Rosalind Cuthbert
Code
SP2375
Price
8.99
The Acrylic Painters Pocket Palette

by Ian Sidaway
Code
SP2368
Price
8.99
The Watercolour Flower Painters

Pocket Palette by Adelene Fletcher
Code
Price
SP2344
8.99
408
BOOKS
BOOKS
STEP-BY-STEP
LEISURE ARTS
An ideal series for the first timer or
hobbyist who wants to improve their
technique and skill. This very good
value series is an excellent
introduction to traditional as well as
new techniques. Key techniques are
taught in a step-by-step approach by
leading artists covering each
medium.Each book has 48 pages in
paperback format and over 100
colour illustrations.
Painting with Watercolours

by William Newton
Code
SP8986
Price
6.99
Painting with Acrylics

by Wendy Jelbert
Code
SP8405
Price
6.99
Creative Acrylic Techniques

by Wendy Jelbert
Code
SP8481
Price
6.99
Creative Watercolour
Techniques
by Richard Bolton
Code
SP8474
Price
6.99
Basic Drawing Techniques

by Richard Box
Code
SP8429
Price
6.99
Landscapes in Pastel
by Paul Hardy
Code
SP9181
Price
6.99
409
BOOKS
BOOKS
Drawing Landscapes 48 pages

Code SP8467 Price 6.99
Landscapes in Oil, 48 pages

Buildings in Watercolour 48 pages

Watercolour Painting 144 pages

Acrylic Painting 144 pages

Drawing, Step by Step 144 pages

Perspective 48 pages
Pen and Wash 48 pages

Painting with Oils

410
BOOKS
BOOKS
Encyclopedia of Origami & Papercraft Techniques

Code SP0258 Price 12.99 192 pages
Encyclopedia of Calligraphy & Illumination

Encyclopedia of Cardmaking Techniques

Encyclopedia of Colour for Watercolour Artists

Encyclopedia of Drawing Techniques

411
BOOKS
BOOKS
Encyclopedia of Acrylic Techniques 176 pages

Encyclopedia of Oil Painting Techniques 192 pages

Encyclopedia of Pastel Techniques 192 pages

Encyclopedia of Watercolour Techniques

Encyclopedia of Watercolour Landscape

Techniques 176 pages
412
BOOKS
BOOKS
Acrylic artists colour mixing bible

256 pages
The Coloured Pencil Artists

drawing bible
192 pages
The Landscape Artists

drawing bible
192 pages
The Oil painters bible

192 pages
The Drawing bible

192 pages
watercolour artists colour

mixing bible 256
256 pages
The Pastel artists bible

192 pages
The Watercolor artists bible

192 pages
The Watercolour Flower

artists bible 192 pages
413
BOOKS
THE COLOUR WHEEL BOOKS
The Colour Wheel Books
have a jacket that allows mixes
to be immediately cisible for
successful paintings every time.
Price 9.99
160 pages
SP5345
SP4218
These
books
describe the
basic principles of
colour mixing
and applying
colour.
These books
will help anyone
who wants to
paint to produce
quality art in
days.
SP4287
SP3518
CARTOONING BOOKS
Cartooning for the Beginner
This manual offers a complete
course in creating a repertoire of
cartoon characters.
Among the topics covered are :
The real versus the cartoon head;
how to create your own
characters;the basic cartoon body
shape;
popular cartoon expressions (eyes
and mouth);
a smile chart;
cartoon hands;
cartoon body poses and balance;
action lines;
slow/fast movement;
drawing pets and other animals;
hair styles and hats;
cartoon clothes;
develping your own style;
cartoon backgrounds;
comic strip and animation technique.
414
192 pages
Code WBWG05860
Price 12.99
144 pages
Discover how to create great cartoons in a wide

range of styles and media, from comic-book line art
to digital manga. More than 100 step-by-step
sequences demonstrate all the skills you will need,
from sketching basic body shapes using pencil and
paint to computer rendering techniques.
Code SP5567
Price 9.99
BOOKS
30 MINUTE BOOKS
30 Minute Books
96 pages
Price 7.99
SP2977
SP9380
SP6501
SP4894
SP68504
SP6495
SP7513
These practical and inspirational

guides, in a handy sketchbook format are aimed at the practised
beginner and show how to paint
successfully in 30 minutes ! They
encourage quick and simple learning.
By working with just a few materials and focusing on the key techniques it is possible to achieve successful , realistic paintings in no
more than half an hour. And for those artists who already have a little
painting experience, learning to work more quickly enable them to free
up their style and paint more spontaneously.
All the key topics are covered, from painting techniques, colour and tone to learning about creating distance, composing pictures and selecting scenes.
There are also practical projects and step-by-step demonstrations as well as helpful tips and checklists.
With clear, easy to follow advice and ideas presented in a simple approachable way, these books provide a perfect
indtoduction painting, sketching quickly and easily.
415
BOOKS
THE ART OF DRAWING
The Art of Drawing
64 pages
Price 8.99
SP5107
SP5091
SP0715
SP0722
SP1866
SP2443
The Complete Guide to Drawing

by Giovanni Civardi
This comprehensive guide brings together the seven
books from the successful Art of Drawing series: This
is an essential book for anyone learning to draw, or
wishing to improve their drawing.
Starting with the basics of drawing techniques,
Civardi gives expert advice on drawing portraits, the
clothed figure, hands and feet and scenery, finishing
with a section on the importance of light and shade.
Civardi's technical advice and practical tips, accompanied by his own outstanding drawings, make this
an invaluable resource for any artist.
440 pages
Code SP2061
Price 19.99
416
SP5084
BOOKS
BOOKS
Painting Water
Painting with Oils
Painting with Acrylics
In clear, simple - to - understand terms Joe

Francis Dowden illustrates all the techniques
that are needed to create different types of
water : How to paint puddles, shallow water,
rippling rivers, white water, a seascape and
more. Each stage is clearly explained with
helpful tips and a wealth of information on
composition, perspective, capturing tone,
colour texture and detail.
This is a fresh, innovative book.
96 pages.
Michael Sanders shows how to create

successful oil paintings from stormy skies
and dramatic landscapes to tranquil harbours and panoramic seascapes.
Arnold Lowrey presents a lively, inspirational introduction to acrylics which illustrates the versatility and beauty of this
wonderful medium. Using over 100 stepby - step photographs in a sequence of
simple demonstrations, Arnold shows
how to paint landscapes, seascapes
and buildings, and he also illustrates
how to change daylight into night and
sunlight into mist using transparent
glazing effects. With his help you can
create sparkling pictures full of life,
atmosphere and depth. 96 pages.
Code SP0104
Price 9.99
Code SP5008
Step - by - step demonstrations guide

you every step of the way.
96 pages
Code SP0074
Price
9.99
Price 9.99
Perspective, Depth and Distance
by Geoff Kersey
Clear, practical and easy - to - follow, this book draws the reader into understanding the
principles of perspective using simple techniques, tips and step - by - step demonstrations. From sketches through to final paintings, Geoff Kersey shows how to incorporate
linear and arial perspective, how to create depth and distance with light and shade, and
how to breathe a sense of realism into a picture. Flat, dull landscapes can be changed
into vibrant scenes full of life with sunlight and shadows; distance can be enhanced
by placing warm colours in the foreground and cool colours in the background; foreground detail and soft background images can lead your eye into a picture. There are
many more tricks which can be used to create an illusion of a three - dimensional scene.
Fields, trees, roads, rivers, bridges, buildings, harbours - whatever the subject you will
need to learn about perspective, depth and distance.
Geoff Kersey is an experienced watercolourist and is much in demand as a teacher and
demonstrator. He lives and works in Derbyshire where he has a studio, and he exhibits
extensively.
He has made two watercolour videos and contributes to various art publications.
96 pages
Code SP0142
Price 9.99
417
BOOKS
HOW TO BOOKS
How To Paint Acrylics
How To Paint Landscapes in Oils
How To Paint Oils
Building a painters confidence is the goal

of this tutorial that walks aspiring artists
through the process of completing a finished
work. Beginning with canvas preparation,
each project includes tips and techniques
for a balanced composition and accurate
perspective. Four projects include landscapes and translating personal photography from print to canvas. 64 pages.
From capturing light and reflections in water,

to building up the vibrant watercolours of a
Mediterranean landscape or the delicate
mood of morning mist, this books shows how
to create landscape paintings in oils that are
filled with compelling atmosphere and
interest. 64 pages
This is a serious book for serious artists,

designed to both inspire and teach beginners with a solid introduction to oils. The rigorous text is supported with full-colour photographs with clear descriptions and stepby-step instructions are provided throughout. Three step-by-step projects give the
readers the opportunity to produce three
fantastic oil paintings of their own.
How To Paint Watercolours

This great new series has been created for
amateur and professional artists with an
excellent selection of subjects and ideas for
successful paintings. It provides expert
guidance from leading artists. Jeremy Ford
is a master artist who will show you all you
need to know to paint beautiful watercolour
pictures, starting from initial sketches,
through simple techniques to completed
pictures ready for display. 64 pages
How To Paint Watercolour Washes
Emphasizing a free, spontaneous style and

explaining the properties of this medium
and the various surfaces that can be used
as a canvas, this convenient guide walks
painters through the basic steps of getting
started with tips and tricks for a temperamental medium. Painters are taught how to
work upright to avoid dust spoilage, correct
mistakes with relative ease, protect, store
and transport finished works. 64 pages
Fiona Peart shows how to create a great

selection of watercolour wash paintings
with a few simple guidelines. Combining
her distinctive style with colour and texture,
she includes clear step-by-step demonstrations to help build up skills with
easy-to-follow explanations about all the
techniques she uses. Features include :
Extensive coverage of materials, equipment, methods and techniques; full-colour
photographs and clear descriptions; and
four hands-on, step-by-step projects. 64
pages
Code SP3655
Code SP3662
How To Paint Pastels
418
Price 8.99
Price 8.99
BOOKS
BOOKS
Acrylic Revolution
This is the most advanced book on acrylics to date and is a must for any artist working
at a professional level with acrylics and mediums and in particular with Golden acrylic
products. The author Nancy Reyner is a practising artist who visually demonstrates all
the technical possibilities opened up by using Golden Colours and Mediums.
Simple and advanced techniques for every main Gel, Medium and Varnish are covered
in detail. One excellent point is the book is spiral bound so it is easy to lay flat on a studio table/work surface while you work on the techniques.
This is an investment not an expense. Not a book for the first timer or hobbyist but more
for anyone wishing to get serious with the full orchestra of Golden Acrylics.
128 pages
Code GARB Price 17.99
Brush with Acrylics

by Terry Harrison
Terry Harrison presents a refreshingly
simple guide that is packed with excellent,
easy-to-follow demonstrations illustrating
how to create stunning paintings. Acrylics
are easy to master and extremely versatile. Paint can be applied thick like oils, or
in washes like watercolour. Also, techniques can be mixed to create unusual
and different effects. Using a range of
brushes, Terry explores all these different
techniques showing how to capture
atmosphere, texture and detail.
He paints a selection of beautiful landscapes, seascapes and buildings with
ease, showing how to apply colour to
produce stunning pictures of atmospheric
skies, mist covered rivers, vibrant fields of
flowers, rustic buildings, calm estuaries
and more. With many hot tips and a
wealth of practical advice, Terry presents
an inspiring sequence of step-by-step
demonstrations which aim to build up
skills and encourage the artist to create
their own original paintings. 128 pages
Quick and Clever Acrylics

by Michael Sanders
A comprehensive introduction to painting with
acrylics presented in the quick and clever
approach, making it suitable for newcomers to
the medium. This book explores the full potential of acrylics, which are used by a wide variety of artists for painting on paper, canvas,
hardware, etc. Each chapter explores painting
a popular subject, starting with technique
focused exercises before moving into a stepby-step demonstrated painting.The focus of the
steps is to get top results with acrylics in a
short amount of time making acrylics easy, fun
and fast. 128 pages
Rethinking Acrylics
by Patti Brady
This book shows readers how to use
acrylic in a variety of ways.
Acrylic can mimic oil paint, watercolour,
gouache, encaustic; it can be applied in
subtle transparent washes, or troweled on
in heavy thick impasto.
It can be as transparent as glass or as
dense and black as tar, with a tar-like consistency !
This book takes the most popular techniques and makes them accessible to the
contemporary artist and crafter.
Six different artists show the reader using

mini-demos, full demonstrations, finished
examples and artists profiles how they can
use the most current techniques.
160 pages
419
BOOKS
BOOKS
Mega Manga
The Monster Book of Manga

Learn to draw Manga with this great value, monter-sized practical sourcebook of hundreds of step-by-step manga drawings. The most popular Manga figures and themes
are covered - girls, boys, monsters, samurai, fantasy and science fiction. The popularity of Manga comics and graphic novels continues to grow in the UK, inspiring considerable interest in learning how to draw in this exciting style. The Monster Book of
Manga is divided into sections focusing on the most popular Manga themes. Each figure is broken down into six stages, accompanied by step-bystep instructions, taking
the reader from an initial black and white sketch to hatching and stippling, gestural
lines and rendering drawings, plus a section on the applications of the new permanent
colour inks. 384 pages
Code SP2849
Price 15.99
All the techniques you need to create great

Manga characters, with step-by-step drawings in
pencil, ink and colour. Learn how to draw bodies
and faces, eyes and hair, hands and feet,
expressions and gestures, across a range of
human and fantasy creatures. Includes galleries
of finished art to show you the full range of what
you can achieve, including scores of hairstyles,
facial expressions, hand gestures and body
poses for you to practice, and add variety to
your work. Pages of clothing, accessories and
gadgets, weapons and vehicles for you to draw
and colour and incorporate into your Manga
illustrations and stories, together with ideas for
animals, including monsters and cute fantasy
creatures, to help you build skill and confidence.
288 pages
Code SP3877
Price 9.99
Drawing Dynamic Comics

by Andy Smith
This practical text offers aspiring artists instruction on the creation of comic book art.
It is structured in such a way that artists of all levels of talent can benefit, and progresses from basic figure drawing to action scenes and inking techniques.
144 pages
Tips of the trade are also included.
Code WBWG03124
420
Price 14.99
BOOKS
BOOKS
The New
Drawing on the Right Side

of the Brain by Betty Edwards
A fully revised edition of the worlds
most widely used drawing instruction book.
Whether you feel you have little
talent and you doubt you could ever
learn,or you enjoy drawing but have
not been able to get much beyond
a childlike level, this book will give
you the skill you have always
wanted
If you are already drawing as a
professional artist it will give you
greater confidence in your ability
and and deepen your artistic perception.
This 20th-century anniversary edition of Drawing on the Right Side
of the Brain has been dramatically
revised, with more than 50% more
material, including:
Recent developments in brain
research that relate to drawing,
new insights on the use of drawing
techniques in the corporate world
and education.
Instruction on self - expression
through drawing.
Ways to step beyond black - and
- white drawing into colour, detailed
advice on applying the five basic
skills of drawing to solve problems.
292 pages.
Code SP6454
Price 19.99
The Complete Book of Drawing

by Barrington Barber
Drawing is one of the UKs most popular hobbies. Anyone can learn to draw with practice
and sensitive instruction. Inspirational because
it is a practical and comprehensive course
showing clearly visible and attainable progress.
Over 450 original drawings, a thoroughly professional course. A new practical artbook that
combines the finest of two existing bestsellers
: The Fundamentals of Drawing and Advanced
Drawing Skills.
With a little persistence and patience, anyone
can learn to draw and with the help of this
book they can learn to draw very well. The subjects covered in the book make it entirely comprehensive and the informative and helpful text
works very well with Barrington Barbers specially devised and inspirational illustrations. The
aim throughout is to help readers discover and
develop their own unique drawing style. What
does an artist need to know about drawing ?
And what needs to be mastered in order to
achieve the drawings you want ?
In this beautiful book Barrington Barber shows
you, offering advice and tips he takes you
through the various stages. From object drawing and still-life composition, the natural world
and portraiture, to looking at form and shape,
and assessing styles and techniques.
The Complete Book of Drawing is a distillation
of the many skills that the aspiring artist needs
to develop. As Barrington Barber knows from
his many years of both teaching and practising
art, it is crucial for you as an individual to find
your own style and way of doing things. And,
uniquely among practical artbooks this is what
The Complete Book of Drawing provides.
352 pages
Code SP0445
Price 14.99
Anatomy for the Artist

by Sarah Simblet
In Anatomy for the Artist acclaimed artist
and academic Sarah Simblet unveils the
extraordinary contruction of the human body
and celebrates its continuing prominence in
Western art today. Using superb, specially
commissioned photographs of male and
female models together with historical and
contemporary works of art and her own
illustrations Sarah shows us how to look
inside the human frame to map its muscle
groups, skeletal strength, balance, poise
and grace.
Selected drawings superimposed over photographs reveal fascinating relationships
between external appearance and internal
structure. Six drawing classes guide the
reader to see the human body afresh offering techniques and attitudes that imaginatively show how to observe and draw the
skeleton, head, ribcage, pelvis, hands and
feet.
By investigating ten Masterworks the author
shows the knowledge and ideas of different
artists across the range from Holbeinss
Christ Entombed to Edward Hoppers Hotel
Room.
Each masterclass presents a photographed
model set in the same pose so that anatomical comparisons can be made.
Understandin anatomy is often the key to
an artists understanding and interpretation
of the body.
This imaginative modern reference book will
enhance the drawing and painting techniques of artists and every level. 255 pages
421
BOOKS
BOOKS
The Artists Complete Guide to Figure Drawing
by Anthony Ryder
Many of us want to learn how to draw. But as artist Anthony Ryder explains, it is much more
important to learn what to draw. In other words, to observe and draw what we actually see, rather
than what we think we see. When it comes to drawing the human figure, this means letting go of
learned ideas and expectation of what the figure should look like. It means carefully observing the
interplay of form and light, shape and line, that combine to create the actual appearance of human
form. In The Artists Complete Guide to Figure Drawing, amateur and experienced artists alike are
guided toward this new way of seeing and drawing the figure with a three-step drawing method.
The books progressive course starts with the block-in, an exercise in seeing and establishing the
figures shape. It then builds to the contour, a refined line drawing that represents the figures silhouette. The last step is tonal work on the inside of the contour, when light and shadow are shaped to
create the illusion of form. Separate chapters explore topics critical to the method : gesture, which
expresses a sense of living energy to the figure; light, which largely determines how we see the
model; and form, which conveys the figures volume and mass.
Examples, step-by-step, and special tips offer helpful hints and practical guidance throughout.
Lavishly illustrated with the authors stunning artwork, The Artists Complete Guide to Figure Drawing combines solid instruction with
thoughtful meditations on the art of drawing, to both instruct and inspire artists of all levels.
160 pages
Code WBWG3035 Price 17.99
Paint :
Theory and Practice
by Pip Seymour
This comprehensive publication offers a valuable
insight into recent
research and development
with regards to the materials and methodologies
within contemporary painting practice.
A Real Foundation for Fine
Art Painting Practice
Code PSPTAP
Price 8.00
The Artists Handbook

by Pip Seymour
The Artists Handbook provides artists with
in-depth, practical information on the materials, equipment and skill necessary for all
areas of artistic practice. Topics covered
include advice on how to select appropriate
art materials, including paints, brushes,
canvasses and drawing materials; techniques for making your own pigments, glue,
varnishes and paper; advice on how to
achieve the best results from both manufactured and hand-made materials; the best
methods of storing and preserving finished
artworks, and health and safety precautions.
Code PSAHB
Price 20.00
Artists Colour Manual

by Simon Jennings
This award-winning manual has established itself as the artists ultimate visual reference to the
fascinating world of colour. Practical, informative and inspiring, it will appeal to designers, art
students and educators alike. Collins Artists Colour Manual brings the subject of colour alive
and with over 1000 illustrations, colour swatches and works of art, this superbly designed book
is a visual delight and an invaluable reference book for artists of all levels of experience.
There are four sections in the book : The first giving information on paints and pigments, with a
concise buyers guide top materials. The reader is then taken on a tour around the paintbox to
learn what colours are and how to use them to greatest effect.
Then there are inspiring and creative ideas for colour usage, with first-hand tips and techniques
from practising artists. And the final section is a visual reference to over 450 colours in a variety
of media from the worlds leading manufacturers. 192 pages
422
BOOKS
BOOKS
Creative Handmade Paper
This guide shows how to be creative and environmentally friendly at the same time using papers
and plants to make unusual and beautiful textures
papers. The basic techniques are illustrated with
step - by - step photographs. This book shows
how to use recycled paper, and gives advice on
dyeing and scenting it. It also gives advice in
changing the texture and strength of the paper,
dyeing and scenting it, embossing and watermarking it.
Finally, there is a wealth of beautifully textured
writing papers and envelopes, sculptured pictures, collages, wall hangings and items such as
hats, waistcoats, ties and shopping bags.
80 pages
Colour Theory
made easy
This book covers all the fundamentals for achieving pure, shaded, or tinted colour.
It also contains proof that artists
primary colours are cyan, yellow
and magenta - which form the
basis of the 12-unit colour wheel
that is the foundation of all colour.
Printmaking Handbook
Encompassing a variety of processes and techniques, printmaking offers the amateur and professional alike to visualise ideas in many different ways. This handbook containes step-bystep instructions that take you through different
stages of the processes of relief printing,
intaglio printing, lithography, screen printing
and photo composition. 192 pages
128 pages
Code WBWG7545
Price 12.99
Pastel for the Serious Beginner

by Larry Blovits
This is a primer for a serious beginner, which
examines the methods and materials the artist
needs to learn to master the pastel medium.
Step-by-step demonstrations in three major
genres - landscape, figure and still life - are
included. Basic methods are covered with
sophisticated examples. Pastel colours, pastel
surfaces, applying and mixing, and form, light
and depth as related to the medium are all
discussed.
144 pages
Code WBWG9072
Price 12.99
Artists Little Book of Colour

An attractive, handy guide to the fascinating
world of colour, this is an essential sourcebook
for artists, designers, art students and teachers. Full of fascinating facts and useful information about all aspects of colour, this book is a
visual delight. It explores the most popular
colours available to the artist - their history,
composition and attributes. It also contains a
visual index of colour with over 450 popular
artists colours in a variety of media to help you
get to know your colours and how best to use
them. 128 pages.
423
BOOKS
BOOKS
Beginners Guide to
Silk Painting
Painting on silk is a popular pastime. Silk paints and materials
are now widely available, and the
craft is much easier than it looks .
This guide presents step-by-step
colour photographic sequences
to show how easy it is to do.
The book also contains ten projects for scarves, cushion covers,
greeting cards and wall-hangings,
in which readers combine the
natural beauty of silk with silk
paints to create attractive items.
64 pages
Code SP8023
Price 7.95
Oil Painting Secrets from a Master by Linda Cateura
Like some of the most popular art instruction books ever written, this 25th anniversary edition of a Watson-Guptill classic is based on student notes culled over the
years from actual workshop lessons. For more than two years, Linda Cateura pursued master teacher David A. Leffel, notebook in hand, as he critiqued the work of
students. Her succinct notes capture his insights, philosophy, and painting tips and
tricks. Leffels classic, painterly, old master style, much in the manner of Chardin
or Rembrandt, affords ample illustration of the ideas expressed- through his many
paintings, details, demonstrations, and diagrams. No matter what the level-beginner, intermediate, advanced or professional- there is something here to apply,
ideas that will enable artists to rethink their approach to painting, tips that save
time and effort, and clear solutions to persistent painting problems.
144 pages
Painting Abstracts
168 pages.
Code SP3365
424
Price
12.99
Full Instructions for 65 abstract painting are provided in this guide that
urges beginners to plunge right in,
learning about composition, theme
and design while they paint.
The history of abstract painting and
its implortance as a means of selfexpression are covered in the guides
beginning pages, and each of the
paintings that follow conventional
step-by-step instruction is replaced
with information on composition,
imagery, method, materials, and technique, allowing the painter to copy
straight from the book- or make
changes according to the flow of
creativity. 168 pages.
The Nude Figure

For thousands of artists lacking in access to figure
classes with live models, this portfolio is superbly
photographed models provides a life-drawing studio
right at home. An extensive compilation of traditional
life-drawing poses includes female and male figures
in standing, seated, reclining, and action poses, each
shown gracefully in circular movement, taking in all
views : front, three-quarter-front, side, three-quarter
back, and back. Each photograph is beautifully composed and lit, providing artists with all the nuances of
muscle structure, line, and gesture to inspire fully
developed figure drawings and paintings.
208 pages
BOOKS
BOOKS
Artist Studio :
Vibrant Watercolour
The Technical Pen

This work demonstrates the characteristics
of the Rapidograph pen, its techniques and
their use to the artist. The test includes
advice on cross-hatching and stippling,
gestural lines and rendering drawings, plus
a section on the applications of the new
permanent colour inks.
Colour is one of the most important aspects of

painting, and most artists find it both a fascnating
and challenging subject. Shirley Trevena, author
of Taking Risks with Watercolour, is well known
for her vibrant watercolour style. Here she
demostrates colour theory through a series of
simple exercises that illustrate how the principles
work in practice, with fascinating sections on
using just single colours and neutrals, and how to
mix colours in unusual ways to create interesting
and sometimes unconventional effects. The role
of colour to evoke mood and atmosphere is also
covered, and throughout the book Shirleys stunning watercolours provide valuable inspiration for
artists looking to develop their own style. The
key features of the book include Explore Further
Exercises, studio tips, practical projects, Food for
Thought discussion points, and step-by-step
demonstrations. In addition, to provide a broader
view and show different ways of using colour, the
work of several guest artists is featured.
128 pages
Code SP5231
Price
17.99
Creative Oils
Watercolour Textures
Ann Blockley is a successful artist, known for the innovative way in which she
uses texture asa key element in her work, and this guide for intermediate painters
looks specifically at how she achieves her stunning effects Creating texture in
watercolour can be quite a challenge, but this book brings a fresh approach to the
subject. Ann explains how to manipulate the paint by lifting out colour, scraping
and scatching the paint, and using additional materials such as wax, salt, and
metallic pigments. She also explains how the surface itself can play an important
role in the effects achieved. Ann experiments with acrylics, inks, gouache, and
collage, as well as with watercolour. Ann also looks at the creative process and
provides insights into how to develop ideas and portray texture in specific subjects,
such as flowers and folliage, animals, still life, buildings and landscapes. 128 pages
This book is a collection of oil painting projects

expressly designed to get the most out of the readers artistic potential. An introductory section featuring basic materials and their application is followed
by 14 projects showcasing different oil painting techniques. Every technique is explained in full detail,
enabling the reader to explore a rich world of experimentation. Each project is based on an example
from a painter who has applied the technique in their
own way, providing a visual model from which the
work develops step-by-step. These are complemented by a gallery section showing possible applications of the given technique and explaining the
variations that created them. Finally, a page of new
suggestions leaves the project open for the reader to
develop by using new models, colour schemes or
compositions. This titles is an excellent tool of consultation for anyone who wishes to go beyond
mimetic painting and use oils as a medium of
expression and personal development.
Creative Oils provides the technical expertise
needed to make this possible.
144 pages
Code SP2170
Price 12.99
425
BRUSHES
A GUIDE TO BRUSHES
BRUSHES FOR WATERCOLOURS
Watercolour is a media which, unlike oils and acrylic is applied in a
diluted form onto absorbent watercolour paper. This dictates
the way the brush has to perform so that only soft hair brushes
are appropriate for most watercolour techniques.
Sable is universally regarded as being the best type of hair due to
its unique characteristics of hair length (kolinsky sable being the
longest) plus the shape of the individual hairs which taper from
the hair endto swell into a belly, and then back again into a fine
point.
This results in great paint holding capacity and is best see in the
famous capillary action when a dry brush tip is gently placed into
watercolour, the colour literally flows upwards into the hairs. Sable
hair has the additional ability to provide great flexibility and comes
to a fine point no matter what the size. Kolinsky sables are the most
highly prized by artists as they have all the above features allied to
greater hair length. Sable hair come from the coldest parts of
North East Russia where the extremes of temperature have lead
to a natural evolution of the hairs so they have the greatest
strength, suppleness and natural spring, all highly prized by artists.
To test how good a sable is simply ask the art supplier to provide
you with a glass of water, some paper and the brush you are interested in, loosen the binding agent in which the hairs have coated
to keep them sharp and move the brush around in water a few
times until all the binding agent is removed and the brush is completely saturated. Apply the water from the brush onto the paper
(there are magic papers which show the dark stain of the
brush marks when wet) and paint so you get the feel for the
painting performance. A good sable will always come back to its
original position of vertical and the hairs will always end in a
sharp point.
As a final test immerse the brush in water take it out and flick
your wrist to get rid of the water.The good quality sables will
always come back to their original position and a perfect point.
Cheaper sables proliferate in the market place and are generally
sold as red sable or selected red sable and while they are
from the same or similar animals their performance in terms of
spring and shape holding is not the same as Kolinsky sable. Red
sable comes into its own in the larger sizes where the price of
a Kolinsky can be very high whereas the red sable is within reach
of most. Almost always, when the term Kolinsky is applied to a
brush it means it is Kolinsky or mixes of Russian and kolinskies
from elsewhere. Larger format flat sables are called one-strokes
and are used for areas of flat washes.
For precise or detailed work sable spotters are favoured by
restorers, botanical artists or miniature model makers where the
short hair length provides greater control.
Rigger brushes are for painting long uninterrupted lines of colour

and are made with much greater hair length than typical watercolour brushes. Other longer hair sables include French style quill
brushes which are for laying down larger quantities of often made
in squirrel hair which has the softness of sable but without the cost.
Synthetic hair watercolour brushes are an ideal entry point into
painting. They are affordable and have reasonable shape and paint
holding characteristics.They are generally made with hairs of three
different diameters to give them improved performance. These
hairs are very durable compared with natural hair brushes and are
easy to clean.Their main advantage is price particularly for the mid
to large sizes.
However, this advantage is eroded for the serious brush user as
the performance falls away rapidly in shape holding and paint
delivery to the point that one high quality sable if looked after will
last years whereas synthetics, especially cheap ones may hold
their initial performance for hours. As a rough guide, if you intend
to paint regularly always buy a good brush, it is cheaper and works
better.
BRUSHES
A GUIDE TO BRUSHES
BRUSHES FOR OIL PAINTING
The purchase of a brush is probably the most important acquisition most
artists will make as its performance will affect the application of paint directly.
Our advice in this area is quite simple: Artists who regularly paint should
avoid cheap brushes and only use good quality ones as their performance
in terms of durability and shape holding means they will work out less
expensive in the long run.
BRISTLE BRUSHES
Bristle brushes have for hundreds of years been favoured by artists for oil
painting as they have great durability and can withstand immersion in many
cleaning agents such as mineral/ white spirit and turpentine.
The softer hair brushes have less resistance to such everyday uses.
However, many artists need to use these brushes in oil painting for
technical reasons and therefore great care must be taken to clean and maintain them so they will last The best quality bristle comes from China where
there is a long tradition of supplying hairs of high quality.
The best quality hog brushes are handmade in a traditional manner where
the hairs are gathered into bundles and shaped into the required
configuration.
Becauseof the demands of mass production and the need to supply a larger
audience, many of the larger manufacturers have resorted to mechanised
production, which has resulted in an overall reduction in quality.
Higher quality hog brushes are never trimmed at the ends as this will
remove the famous flags or tips which split into two or three points, which
as a result hold more paint than other hairs. Brush ends that have been
clipped are a sign of cheaper brushes.
Oil painting brushes generally have longer handles to enable the artist to
work further away from the surface to provide a better overall view of the
work in progress. The hair bundles are then set into metal ferrules using
vinyl or epoxy resin adhesives.The very best ferrules are seamless nickel
plated copper although most good quality brushes these days are made
with nickel plated ferrules. Hog hair oil painting brushes are made in a
range of shapes and hair lengths:
Round, long, medium or short flats, filberts (tongue shaped) and fans. The
round shapes are mainly for detailed work, the flats are for more broad
brush or area work and the filberts are often used for blending colours with
the larger sizes becoming a mix of round and flat in one.
Fan brushes are used for blending or softening techniques.
Due to their stiffness hog brushes leave visible brush marks which many
artists favour. To reduce such marks softer hair brushes will be required.
To clean hog brushes it is important to remember that the compounds used
to set brush hairs can be vulnerable to dissolving in aromatic solvents such
as washing up liquids. Only use white spirit, gum turpentine, alcohol or
water. It is important to remember to avoid the build up of paints at the base
of the hairs just above the ferrules as this will lead to the stiffening up of
the brush head. Particular care must be taken in this area during cleaning.
Photo illustrates the

difference between a
cheap brush and a
da Vinci. The result is
greater durability and
performance.
Some manufacturers als include camelhair, squirrel hair, goat hair under
with the hair used. The best sable is 100% Russian Kolinsky sable as the
hairs are the longest due to the weather extremes the animal has to endure.
When painting on a large scale some artists find flat badger brushes provide a useful tool particularly, with softening techniques hence the name
badger softener.
BRUSHES FOR ACRYLICS
In the main acrylic brushes tend to center on synthetic hair brushes but it is
important to remember that hog hair brushes can be used for painting in
acrylics.The main considerations to bear in mind are that hogs leave more
pronounced brush marks due to their greater stiffness and also the hairs
spread out more with thick acrylic paint and the paint residue is more likely
to build up where the hair meets the brushes after using individual colours.
Also, bear in mind there are some pigments that discolour brush hairs
pemanently but provided the brush has been well cleaned it will not affect
other colours. One simple piece of advice when using acrylics with hogs is
to thin the normal paint consistency with water so it can be applied more
easily and it can be cleaned from the hairs without leaving too much
residue.
Synthetic hair brushes have been greatly developed in recent years and are
the type mostly used by acrylic painters. Although they do not have the
same performance as the good quality natural hairs in terms of spring and
paint carrying capacity recent developments have ensured artists have
ranges of brushes available that have greatly closed the previously large
gap.Today, round synthetics closely ressemble the characteristics of sables
and with the introduction of new fibres in recent years, that give greater
SOFT HAIR BRUSHES FOR OILS
paint holding allied to the greater durability of synthetic hair and its ease of
The very finest quality of soft hair brushes are sable and although not as
widely used as hog hair brushes in oil painting they are favoured by serious cleaning, it is easy to see why so many artists use these brushes for
acrylics. For example, a fluid acrylic does not need dilution to improve flow
painters for detailed work or techniques where a degree of subtlety is
whereas a heavy bodied paint, as it comes out like toothpaste,when mixed
required. In addition to sable, ox hair is the most widely used as it is less
with some mediums becomes very thick and may need water added to aid
expensive than sable and more durable. Sable has a tendency to wear out
application by brush. It is ideal to experiment with various hair types as well
particularly on grained canvas surfaces so when paint has been modified
as brush shapes to find the one best suited to your own requirements.
for example with a painting medium there is much less abrasion when the A flat, wide varnish brush is favoured by many professionals for applying
paint is applied to the surface. The main wear problems of sables come
paint where no brush marks are to be seen and where a flat staining effect
when they are used to apply paint in a hard manner such as rubbing in the is desired. It is important to clean brushes after every painting session with
acrylics and as they are already immersed in a water based paint they
paint. An important warning when viewing sable brushes is that the word
sable itself now applies to a wide range of hairs such as weasels, minks, should not be left immersed in water as this results in rusting ferrules
which shortens brush life.
ermines, martens and kolinskies.
BRUSHES
WATERCOLOUR / MODELLERS / HOBBY BRUSH SETS
Nova
Watercolour Set
Watercolour Sable Set
Nova
Modellers / Hobby Set
da Vinci Set No 4226
A four brush synthetic hair set which

is aimed at the hobbyist or first
timer.
Contains short handled series 1570

sizes 0, 6, and 10 (rounds) plus
series 122 size 8 (flat).
Code
DVB4226
Price
18.55
This is for any watercolour painter or any

one wishing to take up the medium.
Outstanding value for money.
Contains five red sable hair brushes

sizes 3/0, 0, 2, 4, 6, plus a bar of brush
conditioning soap.
Code
DVB5246
Price
17.89
A special selection of fine brush

heads for anyone involved in the precise application of paint.
! The short handled series 1570
Nova synthetic hair range has
been chosen for this set due to the
combination of quality and price.
!
Contains series 1570 sizes 10/0,

5/0, 3/0, 0, 2.
Code
DVB4237
Price
10.82
BRUSHES
DALER ROWNEY - BRUSH SETS
Georgian Classic
Brush Set
Georgian Starter
Brush Set
System 3 Starter
Brush Set
System 3 Classic
Brush Set
Code DGS004
Code DGS003
Code DSY003
Code DSY004
Price
RRP
Price
RRP
Price
RRP
Price 11.61
RRP 13.50
11.08
13.95
8.68
10.15
8.90
10.23
BRUSHES
BRUSH SETS
Atlantis Container Set

Series 2692
For starting oils and acrylics. Contains an assortment of brushes in bristle. Both flats and rounds ideal for anyone starting in oils and acrylics.
Exceptional value.
Contained in a strong screw cap plastic tube which provides good protection.
Set contains the following:
Series 115 (hog bright) size 6,10,16
Series 114 (hog flat) size 12
Series 11405 (hog round) size 10
Series 7104 (black round large bristle) Size 16
One strong plastic brush container.
Code A2692S
Price 8.99
BRUSHES
OIL PAINTING BRUSHES ECONOMICAL
Flat Hog Hair Brushes
Flat Series 579
Ideal for young students or anyone looking
for an inexpensive hog brush.
Good value and reasonable durability.
Code
Size
ATG57901
ATG57902
ATG57903
ATG57904
ATG57905
ATG57906
ATG57907
ATG57908
1
2
3
4
5
6
7
8
ATG57909
ATG57910
ATG57911
ATG57912
9
10
11
12
Price
0.24
0.25
0.30
0.36
0.42
0.49
0.58
0.67
0.77
0.89
1.03
1.16
Round Hog Hair Brushes

Round Series 582
Ideal for young students and
very inexpensive.
Good value and reasonably
durable.
Code
Size
ATG58201
ATG58202
ATG58203
ATG58204
ATG58205
ATG58206
ATG58207
ATG58208
ATG58209
ATG58210
1
2
3
4
5
6
7
8
9
10
ATG58211
ATG58212
11
12
Price
0.24
0.25
0.30
0.36
0.42
0.49
0.58
0.67
0.77
0.89
1.03
1.16
BRUSHES
OIL PAINTING BRUSHES ECONOMICAL
Daler Georgian Oil Painting Hog Brushes
Oil painting calls for resilient, durable and well
made hog bristle brushes that hold their shape
after repeated use.
Georgian brushes are made with extra fine quality Chungking bristles to provide this performance.
These brushes are handmade with the interlocking method (the sign of good hog hairs).
Daler Georgian G48 Long Flat

The long flat holds more colour due to its extra
bristle length and gives a longer paint stroke.
Good for glazing.
Code
Size Price RRP
DG48001
DG48002
DG48004
DG48006
DG48010
DG48012
1
2
4
6
10
12
2.07
2.07
2.51
3.80
4.15
6.98
3.75
3.75
3.56
4.60
4.60
8.85
Daler Georgian DG36 Short Flat (Bright)

Used primarily for the application of very thick
paint (impasto) where a strong, short stroke
definition is required in the painting.
Code
Size Price RRP
DG36001
DG36002
DG36004
DG36006
DG36008
DG36010
DG36012
DG36014
DG36016
DG36018
1
2
4
6
8
10
12
14
16
18
2.51
2.51
2.51
3.80
3.80
4.92
7.31
7.31
7.31
7.31
3.01
3.01
3.01
4.60
4.60
6.34
9.10
9.10
9.10
9.10
Daler Georgian DG24 Round
Daler Georgian DG12 Filbert
Daler Georgian DG84 Fan
Rounds provide for touching in small areas,

for detailed work and for applying well
thinned colour.
The combination of a flat brush head with

a rounded end provides for great stroke
control.
Useful for strong, tapering strokes.
Fans are designed for subtle and gentle

effects such as blending wet colours into
one another.
Ideal for stippling and dry brush effects
such as tree foliage where delicacy is
essential.
Code
DG24001
DG24002
DG24003
DG24004
DG24005
DG24006
DG24008
DG24010
DG24012
Size Price RRP

1
2
3
4
5
6
8
10
12
2.51
2.51
2.51
2.51
3.67
3.97
3.97
4.15
6.52
3.01
3.01
3.01
3.01
4.78
4.65
4.65
5.45
8.60
Code
Size Price RRP
DG12001
DG12002
DG12004
DG12006
DG12008
DG12010
DG12012
1
2
4
6
8
10
12
2.23
2.51
3.97
3.97
3.97
3.97
6.68
2.88
3.01
4.65
4.65
4.65
4.65
8.60
Code
DG84002
DG84004
DG84006
Size Price RRP

2
4
6
2.07 2.55
2.10 2.65
3.67 4.78
BRUSHES
OIL PAINTING BRUSHES - PROFESSIONAL
Escoda
White Hog Hair Bristle Oil Brushes
Series 4528 Filbert
Part of the range of Escoda Hog Hair brushes which
features series 5131 and series 4628. These hogs
with high quality Chunking bristle are popular with
professional artists as they provide great
performance at an affordable price.
Please note :
Escoda brush sizes are European i.e. smaller than UK
sizes. To calculate UK size divide Escoda size by 2 to
get an approximate equivalent, e.g. Escoda 10 is a UK
5 approximately.
Escoda
Series 4628 Flat
Made using high quality white Chunking bristle
which is known for its durability and shape holding.
This range has been reintroduced after many customer and staff requests. Escoda hog hair brushes
represent very good value.
Please note :
Escoda brush sizes are European i.e. smaller than UK
sizes . To calculate UK size divide Escoda size by 2
to get an approximate equivalent, e.g. Escoda 10 is a
UK 5 approximately.
Escoda
Series 5131 Round
Made from high quality Chunking bristle which is
famous for its durability and shapeholding characteristics. Like the series 4628 this is part of our range that
had been discontinued but which has been reintroduced due to demand from customers and our own
staff.
Please note :
Escoda brush sizes are European i.e.smaller than UK
sizes. To calculate UK size divide Escoda size by 2 to
get an approximate equivalent, e.g. Escoda 10 is a
UK 5 approximately.
Short Filbert Hog Hair - Series 4528

Code
Size mm
Price Code Size
EB45280
0
1.2
4.73 EB452816 16
EB45281
1
1.8
4.96 EB452818 18
EB45282
2
2.5
5.01 EB452820 20
EB45284
4
4.1
5.45 EB452822 22
EB45286
6
5.1
5.73 EB452824 24
EB45288
8
6.5
6.22 EB452826 26
EB452810
10
8.1
6.51 EB452828 28
EB452812
12
9.8
7.19 EB452830 30
EB452814
14 12.1
7.83 EB452832 32
14.1
17.2
20.2
23.1
24.5
28.1
30.1
37.1
44.1
Flat Hog Hair - Series 4628

Code
Size mm
Price
EB46280
0
1.2
4.62
EB46281
1
1.8
4.69
EB46282
2
2.5
4.79
EB46284
4
4.1
5.06
EB46286
6
5.1
5.46
EB46288
8
6.5
5.82
EB462810
10
8.1
6.19
EB462812
12
9.8
6.55
EB462814
14 12.1
7.17
14.1
17.2
20.2
23.1
24.5
28.1
30.1
37.1
44.1
Round Hog Hair - Series 5131

Code
Size mm
Price
EB513130
3/0
0.5
4.89
EB513120
2/0
0.5
4.90
EB51310
0
1.2
4.93
EB51311
1
1.8
5.19
EB51312
2
2.5
5.26
EB51314
4
4.1
5.60
EB51316
6
5.1
6.11
EB51318
8
6.5
6.38
Code
Size mm
EB462816 16
EB462818 18
EB462820 20
EB462822 22
EB462824 24
EB462826 26
EB462828 28
EB462830 30
EB462832 32
Code
EB513110
EB513112
EB513114
EB513116
EB513118
EB513119
EB513122
EB513124
mm
Size
mm
10
12
14
16
18
20
22
24
8.1
9.8
12.1
14.1
17.2
20.2
23.1
24.5
Price
9.56
10.26
11.30
12.80
13.77
13.98
14.50
20.03
27.02
Price
9.10
10.00
11.01
12.43
13.36
13.58
13.93
19.43
26.30
Price
6.63
7.30
8.61
10.08
11.01
12.23
13.72
15.49
BRUSHES
da Vinci
Professional Quality Hogs
Code
Highly durable with good shape holding characteristics

this will outlast many more expensive and well
known makes.
DVB572301
DVB572302
DVB572303
DVB572304
DVB572305
DVB572306
DVB572307
Series 5423
Code
Maestro 2
Series 5723
Round, Maroon, Black Handle
Filbert, Maroon, Black Handle

A very high quality oil brush and the filbert to the other
brushes in this series.
Series 5123 Flat, Medium Length Hair,

Maroon and Black Handle
DVB542301
DVB542302
DVB542303
DVB542304
DVB542305
DVB542306
DVB542307
Code
Designed to provide the artist with a very high quality

oil brush at an affordable price.
Series 5023 Long Flat, Maroon, Black Handle

This is the same brush as the 5123 except it has extra
long length hair.
DVB512301
DVB512302
DVB512303
DVB512304
DVB512305
DVB512306
DVB512307
DVB512308
Code
DVB502301
DVB502302
DVB502303
DVB502304
DVB502305
DVB502306
DVB502307
DVB502308
Size
1
2
3
4
5
6
7
Size
1
2
3
4
5
6
7
Size
1
2
3
4
5
6
7
8
Size
1
2
3
4
5
6
7
8
Price
3.16
3.35
3.96
4.61
4.71
5.66
6.17
Price
4.53
5.00
5.24
5.75
6.26
6.70
7.12
Code
DVB572308
DVB572309
DVB572310
DVB572311
DVB572312
DVB572316
DVB572320
Code
DVB542308
DVB542309
DVB542310
DVB542311
DVB542312
DVB542316
DVB542320
Price
2.92
3.11
3.62
4.20
4.43
5.33
5.52
5.66
DVB512309
DVB512310
DVB512311
DVB512312
DVB512316
DVB512320
DVB512324
DVB512330
Price
2.92
3.11
3.62
4.20
4.43
5.33
5.52
5.66
DVB502309
DVB502310
DVB502311
DVB502312
DVB502316
DVB502320
DVB502324
DVB502330
Code
Code
Size
8
9
10
11
12
16
20
Size
8
9
10
11
12
16
20
Size
9
10
11
12
16
20
24
30
Size
9
10
11
12
16
20
24
30
Price
6.70
7.31
9.58
10.37
13.42
26.35
37.09
Price
7.54
8.12
9.65
10.67
13.64
29.13
44.62
Price
7.07
8.12
10.08
10.64
20.13
29.13
46.47
55.53
Price
7.07
8.12
10.08
10.64
20.13
29.13
46.47
55.53
BRUSHES
OIL PAINTING BRUSHES PROFESSIONAL
Winsor & Newton Artists Hogs
Made to suit professional artists with high
quality chungking bristles. Durable hog hairs.
Long Flat
Code
Size
WAHLF02
WAHLF04
WAHLF06
WAHLF08
WAHLF10
WAHLF12
2
4
6
8
10
12
Price
6.92
7.55
9.09
10.99
14.09
17.19
Round
Code
Size
WAHR02
WAHR04
WAHR06
WAHR08
WAHR10
WAHR12
2
4
6
8
10
12
Price
6.92
7.55
9.09
10.99
14.09
17.19
Short Flat Bright

Code
Size
WAHSFBR02
WAHSFBR04
WAHSFBR06
WAHSFBR08
WAHSFBR10
WAHSFBR12
2
4
6
8
10
12
Price
6.92
7.55
9.09
10.99
14.09
17.19
Short Filbert
Code
Size
WAHSFB02
WAHSFB04
WAHSFB06
WAHSFB08
WAHSFB10
WAHSFB12
2
4
6
8
10
12
Price
6.92
7.55
9.09
10.99
14.09
17.19
Long Filbert
Code
Size
WAHLFB02
WAHLFB04
WAHLFB06
WAHLFB08
WAHLFB10
WAHLFB12
2
4
6
8
10
12
Price
6.92
7.55
9.09
10.99
14.09
17.19
Fans
Code
Size
WAHFN02
WAHFN04
WAHFN06
2
4
6
Price
6.92
7.55
9.09
NEW
BRUSHES

Atlantis Professional Quality Oil Painting Brushes
Interlocked hog hair flat brushes made with the finest Chinese bristle by master brush makers in Nuremberg,
Germany. These oil painting brushes are very durable with great shape holding, plus providing great value for
money. Professional quality at an economical price. Made with silver ferrules and long plain varnished handles.
Hog Hair Oil Flat Series 995

Interlocked hog hair flats for oils made
with the finest extra white Chinese bristles by master brush makers in Germany.
Highly durable with great shape holding
to provide professional quality at an economical price.
Made with silver ferrules, with long plain
varnished handles.

Code
Size
Price
Hog Hair Oil Filbert Series 99518

Interlocked hog hair filbert brushes for oils
made with the finest extra white Chinese
bristles in Germany by master brush
makers to provide durability and shape
holding. These oil painting brushes deliver professional quality at an economical
price. Made with silver ferrules and long
plain varnished handles.

Code
Size
Price
Hog Hair Oil Round Series 9955

Interlocked hog hair rounds for oils made
varnished handles.

Code
Size
Price
A99501
A99502
A99503
A99504
A99505
A99506
A9951801
A9951802
A9951803
A9951804
A9951805
A995501
A995502
A995503
A995504
A995505
1.87
1.97
2.12
2.42
2.64
3.07
Code
Size
A99507
A99508
A99509
A99510
10
A99511
11
A99512
12
Code
Size
1.92
2.22
2.47
2.75
3.03
1.92
1.97
2.12
2.75
3.03
A9951806
A9951807
A9951808
A9951809
A9951810
10
Code
Size
A995506
A995507
A995508
A995509
Price
4.28
6.09
6.95
8.31
10.67
10.99
Price
4.53
6.56
8.87
11.48
12.10
Price
3.42
4.43
4.95
7.78
BRUSHES
da Vinci Series 7055 - Very large flat Oil brushes with elongated handles.
This is what brushmaking is all about. Interlocking finest Chunking hog hair bristles mounted on top of beautiful elongated (390mm) black
and red polished flat handles. Purpose made for larger area working and sketching out bold and simple forms. Rustproof steel ferrule. If you
want to treat yourself or someone else say it with one or more of these. It's one of our favourite brushes in the range.
Code
Size Price
DVB705525 25
8.36
DVB705530 30
9.38
DVB705540 40 10.08
Code
Size Price
DVB705550 50 12.60
DVB705560 60 14.62
Code
Size Price
DVB705580 80 16.91
DVB7055100 100 24.16
da Vinci Maestro Oil Painting Hog Hair Brush - Series 7000 Flats - Long Length Bristles.
Maestro white bristle brushes are made for the more serious oil painter in mind where performance and durability are vital. The brush
head hairs are hand built with the natural curve of the bristles turned inwards.Two equally sized tufts of bristle are set curving into each
other to produce interlocking, a key ingredient that indicates the highest grade of oil brush. If these brushes are maintained correctly they
will hold their shape and performance after a lot of use and many washings. Bristle length is extra long.
Code
DVB700001
DVB700002
DVB700004
DVB700006
Size
1
2
4
6
Price
5.38
5.38
6.09
6.73
Code
Size
DVB700008
DVB700010
DVB700012
DVB700014
8
10
12
14
Price
8.02
8.12
9.43
11.62
Code
Size
DVB700016
DVB700018
DVB700020
DVB700022
DVB700024
16
18
20
22
24
Price
13.85
16.58
19.20
21.93
26.40
Care of Brushes
An economical brush will not last long even if cleaned daily with all the right materials. A high quality brush will last years if properly cared
for. Always clean brushes after each major painting session. Failure to follow this simple piece of advice can be very costly over years. Oil
painting hog hair brushes should be cleaned in white spirit, gum turpentine or alcohol. Carefully ensure all the paint is removed. Clean the
brush by working it gently into a rag as if making brush strokes. Watercolour brushes naturally are washed in water. Using a mild soap or
brush soap, and warm (not hot) water, work up a lather on either a saucer or small receptacle and then rinse. Depending on how much
paint is still in the brush repeat this stage.
Note: Dont worry about hair discoloration as this is a natural occurrence due to the intense nature of some pigments. The important thing
is to get the paint out from the base of the hair as it enters the ferrule.
- Rub the brush into a conditioning soap such as Da Vinci Kernseife as this puts back natural oils into the hair and aids its longevity.
- Rinse the brush in water.
- Remove the water using a rag or kitchen towel ensuring the brush is gently pressed back into its original shape.
- Leave to dry preferably lying flat.
- And certainly not straight upright in a pot as liquid remaining can seep down between the wood and the lacquered handles resulting in the wood expanding and loosening the ferrule.
- Keep sables stored in a box that has holes to allow air to circulate and to keep them safe from moths. Include mothballs to keep
the moths well away.
Splayed Hairs and how to fix them
If brush hairs become splayed out or bent they can be restored to their original shapes : Immerse the brush in hot soapy water for 5 -10
minutes or until they are soft. Using the fingers shape the brush back into its original position. Work the brush into some baby shampoo or
cream rinse and soak for a further five minutes. Wrap the brush head in some grease proof paper and tie with an elastic band and leave
for 24 hours or until dry.
BRUSHES
Atlantis Professional Quality Oil Paint Brushes
Interlocked hog hair flat brushes made with the finest Chinese bristle by master brush makers in Nuremberg,
Germany. These oil painting brushes are very durable with great shape holding, plus providing great value for
money. Professional quality at an economical price. Made with silver ferrules and long plain varnished handles.

Interlocked hog hair flats for oils made
varnished handles.

Code
Size
Price

Interlocked hog hair rounds for oils made
varnished handles.

Code
Size
Price

Interlocked hog hair filbert brushes for oils
made with the finest extra white Chinese
bristles in Germany by master brush
makers to provide durability and shape
holding.
These oil painting brushes deliver professional quality at an economical price.
Made with silver ferrules and long plain
varnished handles.
A111301
A111302
A111303
A111304
A111305
A111306
A1113500
A1113501
A1113502
A1113503
A1113504
A1113505
A1113506
1.92
1.99
2.14
2.67
2.95
3.34
Code
A111307
A111308
A111309
A111310
10
A111311
11
A111312
12
Code
Size
2.47
2.47
2.47
2.64
2.75
3.03
3.32

Code
Size
Price
A11131801
A11131802
1
2
A11131803
A11131804
A11131805
A11131806
A11131807
Size
2.92
2.92
3.12
3.32
3.65
3.77
4.18
A1113507
A1113508
A1113509
A1113510
10
A1113511
11
A1113512
12
A1113516
16
Code
Size
A11131808
A11131809
A11131810
10
A11131811
11
A11131812
12
A11131816
16
Price
4.06
4.56
5.36
5.73
6.64
7.42
Price
3.62
3.99
4.73
5.11
5.99
6.39
7.48
Price
5.21
5.71
6.37
6.89
7.70
8.98
BRUSHES
Raphael Paris Classics
Arguably the most highly regarded range of hog hair brushes by the
professionals who use them. Only the very finest Chinese white bristles
are used. Part of the process of hair preparation involves boiling for 2
hours to give suppleness. The copper coloured ferrule and black
handles are recognisable around the world. Made by the worlds oldest
brush manufacturer in France.
Series 356
Round
Code
Series 3570
Short Flat (Bright)
Code
Size
RA357002
RA357004
RA357006
RA357008
RA357010
2
4
6
8
10
Series 357
Long Flat
Code
Size
RA35702
RA35704
RA35706
RA35708
RA35710
2
4
6
8
10
Series 3572
Long Filbert
Code
Size
RA357202
RA357204
RA357206
RA357208
RA357210
2
4
6
8
10
RA35601
RA35602
RA35603
RA35604
RA35605
Size
1
2
3
4
5
Price
3.41
3.55
3.96
5.04
5.45
Code
Size
RA35606
RA35608
RA35610
RA35612
6
8
10
12
Price
4.13
4.44
4.87
5.59
6.72
Code
Size
RA357012
RA357014
RA357016
RA357018
RA357020
12
14
16
18
20
Code
Size
RA35712
RA35714
RA35716
RA35718
RA35720
12
14
16
18
20
Code
Size
RA357212
RA357214
RA357216
RA357218
RA357220
12
14
16
18
20
Price
4.13
4.44
4.87
5.59
6.72
Price
4.87
5.11
5.35
6.17
7.37
Price
5.95
6.77
8.40
10.68
Price
9.96
12.77
14.71
16.44
19.85
Price
9.96
12.77
14.71
16.44
19.85
Price
10.92
13.03
15.48
17.52
21.29
BRUSHES
da Vinci Series 7172
Extra Large White
Bristle Oil Brush
!
Purpose made for large area

working and simple forms of
painting.
Unlacquered plain wood handles.
A really great brush.
Code
Size
DVB717235
35
DVB717240
40
Price
39.27
51.05
da Vinci Series 403

Fan Blender
Extra Thick Bristle
For the creation of special painting effects as well as

for use in gilding.
!
Long polished bluehandles.
Handmade, great quality.
There are cheaper ones but if you are going to

use a blender regularly get a good one as you
will go through many before this one loses its
shape.
Code
Size
DVB40301
DVB40302
DVB40303
DVB40304
DVB40305
Price
8.40
9.01
9.81
11.00
12.82
Da Vinci Series 403
Atlantis
Hog Hair Fan Oil Brush
Series 42287
!
Made by master brush makers in

Germany.
High quality white bristle to provide durability, shape holding and

spring.
Professional quality at an economical price.
Made with silver ferrules on plain

long varnished handles.
Code
Size
A4228703
A4228706
Price
2.29
2.54
BRUSHES
BRUSHES OILS & ACRYLICS - ECONOMICAL
da Vinci Series 1670 Round Nova
!
These brushes possess great elasticity as well as a durability

that far outlasts hair brushes, particularly whenworking on
rough surfaces.
These are primarily favoured by acrylic painters.
Code
Size
DVB167000
DVB167001
DVB167002
DVB167004
DVB167006
DVB167008
DVB167010
10
DVB167012
12
DVB167014
14
DVB167016
16
DVB167018
18
DVB167020
20
DVB167024
24
DVB167026
26
DVB167028
28
Price
2.40
2.40
2.44
2.74
2.93
3.25
3.67
3.89
5.50
6.05
8.20
8.79
10.17
11.21
12.27
da Vinci Series 1870 Flat Nova

!
!
!
Made with the finest golden synthetic fibre which results in a

combination of great elasticity and durability.
Ideal for working on rough surfaces.
Primarily favoured by acrylic artists.
Code
Size
DVB187000
DVB187001
DVB187002
DVB187004
DVB187006
DVB187008
DVB187010
10
DVB187012
12
DVB187014
14
DVB187016
16
DVB187018
18
DVB187020
20
DVB187024
24
DVB187026
26
DVB187035
35
Price
2.33
2.33
2.43
2.98
3.25
3.85
4.67
5.91
7.79
9.03
12.47
14.95
19.20
21.49
31.09
BRUSHES
BRUSHES OILS & ACRYLICS ECONOMICAL
Canale Series 983

Flat
Code
Size
mm
A98300
1.4
Acrylic and Oil Synthetic Hair
A98302
2.2
A98304
2.4
A98306
2.7
A98308
3.4
A98310
10
3.6
A98312
12
3.9
Code
Size
mm
A97800
1.4
A97802
2.2
A97804
2.4
A97806
2.7
A97808
3.4
A97810
10
3.6
A97812
12
3.9
This range has become popular with our

customers since it was introduced over
two years ago.
! The combination of low prices and a
durable brush head is the reason for
this.
! Long white handles with interlocked
golden hair.
Canale Series 978

Rounds
Acrylic and Oil Synthetic Hair
!
!
!
The round version of series 983

flats.
The 978 rounds are both supple and
very durable.
Excellent price for such performance.
Price
1.67
1.81
1.99
2.42
2.84
3.15
3.65
Code
Size
mm
A98314
14
4.4
A98316
16
4.9
A98318
18
5.5
A98320
20
5.9
A98322
22
6.5
A98324
24
7.0
Price
1.69
1.81
1.99
1.99
2.14
2.22
2.45
Code
Size
mm
A97814
14
4.4
A97816
16
4.9
A97818
18
5.5
A97820
20
5.9
A97822
22
6.5
A97824
24
7.0
Price
4.20
4.56
5.18
5.92
7.75
9.28
Price
2.64
2.95
3.32
3.73
4.78
5.18
BRUSHES
da Vinci
Series 1875
Code
Filbert Nova
!
Made with the finest golden synthetic

fibres which results in great elasticity
and durability.
Particularly suited for work on rough
surfaces.
Size
DVB187500
DVB187501
DVB187502
DVB187504
DVB187506
DVB187508
Price
2.75
2.75
2.88
3.53
4.45
5.32
Code
Size
DVB187510
10
DVB187512
12
DVB187514
14
DVB187516
16
DVB187520
20
Price
6.50
7.92
8.99
10.50
17.41
BRUSHES
System 3 Acrylic Brushes
Acrylic painting requires brushes that have a robust synthetic filament that will maintain their performance after repeated use. These
brushes are ideal for beginners and regular users alike and are very reasonably priced.
System 3 Acrylic SY85
Round
A brush that can be used for touching in small
areas, fine detailing and for applying well
thinned colour. The larger rounds will make it
easier to lay a broad wash over a big area.
Code
Size
DSY85000
DSY85900
DSY85990
DSY85001
DSY85002
DSY85003
DSY85004
3/0
2/0
0
1
2
3
4
DSY85006
DSY85008
DSY85010
DSY85012
DSY85014
DSY85018
DSY85030
6
8
10
12
14
18
30
Price
2.23
2.23
2.23
2.23
2.23
2.23
2.71
3.80
4.78
4.78
7.31
7.31
7.31
7.31
RRP
2.70
2.70
2.70
2.70
2.70
2.70
3.46
5.35
5.85
5.85
9.45
9.45
9.45
9.45

Filbert
A flat brush with a filbert or rounded head
combines the advantages of both types of
brushes in one. Good for tapering strokes.
Code

Flow Wash
An extra wide flat wash.The chisel edge holds plenty of colour for precise stroke work
over large areas. Ideal for mural painting.
Code
DSY278100
DSY278150
Size
1
1.5
Price
6.68
11.43
RRP
8.60
14.70
Code
DSY278200
Size Price
2 12.07
RRP
15.00
A sharp square edged brush that holds plenty of colour for long continuous strokes and
allows for good colour flow. Good for laying broad paint applications.
The sharp edge provides for sharp paint lines.
DSY21025
DSY21050
Size
1/4
1/2
Price
3.80
3.80
RRP
5.35
5.35
0
2
4
6
8
10
12
Price RRP
2.51 3.10
2.51 3.10
2.51 3.10
3.97 5.17
3.97 5.17
3.97 5.17
7.16 8.35

Short Flat (Wide)

Long Flat (Wide)
Code
DSY67990
DSY67002
DSY67004
DSY67006
DSY67008
DSY67010
DSY67012
Size
Code
DSY21075
DSY21100
Size
3/4
1
Price
6.52
6.52
RRP
8.15
8.15
Ideal for applying thick applications of colour in

either broad strokes or wide flat areas.
Code
Size
DSY55025
DSY55050
1/4
1/2
DSY55075
DSY55100
3/4
1
Price
3.80
3.80
6.52
6.52
RRP
5.35
5.35
8.15
8.15
BRUSHES
BRUSHES OILS & ACRYLICS - SOFT HAIR - MID QUALITY
ProArte Sterling Acrylix - Series 201

!
!
Can be used for oil as well as acrylics.

Synthetic hair provides spring and durability.
Long Flat
Code
Size
PAB201LF00
PAB201LF02
PAB201LF04
PAB201LF06
0
2
4
6
Short Flat
Code
Size
PAB201SF00
PAB201SF02
PAB201SF04
PAB201SF06
Round
Code
Size
PAB201R00
PAB201R02
PAB201R04
PAB201R06
Filbert
Code
Size
PAB201FB00
PAB201FB02
PAB201FB04
PAB201FB06
Price Code
4.45 PAB201LF08
4.96 PAB201LF10
6.10 PAB201LF12
7.25
Size
8
10
12
Price
9.05
11.05
13.90
Price Code
Size
4.45 PAB201SF08
8
4.96 PAB201SF10 10
6.10 PAB201SF12
12
7.25
Price
9.05
11.05
13.90
Price
4.45
4.96
6.10
7.25
Price
9.05
11.05
13.90
Price
4.45
4.96
6.10
7.25
Code
Size
PAB201R08
PAB201R10
10
PAB201R12
12
Code
Size
PAB201FB08
PAB201FB10
10
PAB201FB12
12
Price
9.05
11.05
13.90
Mail Order Gift Vouchers

Ring the Mail Order Dept. to
order vouchers for birthdays, Christmas or for students beginning university.
BRUSHES
BRUSHES OILS & ACRYLICS PROFESSIONAL
Atlantis Professional Red Sable Long Handled Oil Brushes
Professional quality oil brushes made with the finest red sable by master brush makers in Germany to provide
spring, durability and great shape holding.
! These are the ideal combination of high performance with great value formoney.
! Made with silver ferrules and short cherry red handles.
Sable Long Oil Flat Series 315

Code
Size
Price
A31501
1
2.34
A31502
2
2.34
A315020
2/0
2.34
A31503
3
2.34
A31504
4
2.34
Sable Filbert Oil Series 31518

Code
Size
Price
A3151801
1
2.19
A3151802
2
2.45
A3151803
3
2.08
A3151804
4
2.08
A3151805
5
2.57
Sable Round Oil Series 312

Code
Size
Price
A31200
0
1.41
A31201
1
1.41
A31202
2
1.41
A31203
3
1.46
A31204
4
2.01
Code
Size
A31505
A31506
A31507
A31508
Code
Size
A3151806
A3151807
A3151808
A3151809
A3151810
10
Code
Size
A31205
A31206
A31207
A31208
Price
2.89
3.44
4.73
6.31
Code
Size
A31509
A31510
10
A31511
11
A31512
12
Price
2.57
4.21
5.62
6.92
7.86
Code
Size
Price
2.20
2.35
2.82
3.14
Code
Size
A31209
A31210
10
A31211
11
A31212
12
A3151812
12
Price
7.78
8.84
11.59
16.82
Price
14.97
Price
4.61
5.19
6.90
8.46
BRUSHES
Series 1820 Series 1620
Series 1824
da Vinci Series 1820 Red Sable

Oil Painting Brush Flat
!
!
!
!
!
!
Red sable oil painting brushes have both great resilience and softness.
They are primarily used for spreading colour thinly and evenly.
Finely detailed colour work can be achieved.
Made with Ussuri red sable hair and mounted on long grey polished
handles.
As these are high quality tools their performance will remain high if they
are well looked after.
Extremely good value.
Code
DVB182001
DVB182002
DVB182004
DVB182006
DVB182008
Size
1
2
4
6
8
Price
3.67
3.67
4.39
6.27
7.35
Code
DVB182010
DVB182012
DVB182014
DVB182016
Size
10
12
14
16
Price
9.29
12.00
16.85
21.71

Oil Painting Brush Round
!
!
!
This is the round version of the series 1820 and provides great overall
value and performance.
The rounds all come to a very fine point for detail work but are sufficiently large to work on a good scale.
Made with red Ussuri sable and mounted on long grey polished handles.
Code
DVB162001
DVB162002
DVB162004
DVB162006
DVB162008
Size
1
2
4
6
8
Price
3.16
3.16
3.82
4.43
5.09
Code
DVB162010
DVB162012
DVB162014
DVB162016
Size
10
12
14
16
Price
6.35
7.49
12.60
17.95

Oil Painting Brush Filbert
!
!
!
This filbert is part of the series 1820 and 1620 red Ussuri sable long han
dle range.
In sable form the filbert comes into it own to provide the artist with the
round / flat combination in one brush.
Will facilitate fine detail as well as broader brush work.
Code
DVB182401
DVB182402
DVB182404
DVB182406
DVB182408
Size
1
2
4
6
8
Price
5.04
5.04
5.62
7.72
10.71
Code
DVB182410
DVB182412
DVB182414
DVB182416
Size
10
12
14
16
Price
14.73
18.38
29.18
36.65
BRUSHES
Atlantis Professional Acrylic Brushes
Professional grade brushes made with wine-red Toray hair by master brush makers in Germany to provide spring,
durability and great shape holding for area and precision acrylic paint application. To help achieve this three different diameter fibres are intermixed in a specific method to improve capillary action and general use.
! Made with silver ferrules mounted on long black handles.
Acrylic Long Flat Series 984

Code
Size
Price
A98401
1
1.81
A98402
2
1.97
A98404
4
2.22
A98406
6
2.70
A98408
8
2.92
Code
Size
A98410
10
A98412
12
A98414
14
A98416
16
Acrylic Long Filbert Series 98418

Code
Size
Price
Code
A9841800
0
1.97
A9841810
A9841802
2
2.04
A9841812
A9841804
4
2.22
A9841814
A9841806
6
2.70
A9841816
A9841808
8
2.95
Acrylic Long Round Series 979

Code
Size
Price
Code
A97901
1
1.89
A97910
A97902
2
1.97
A97912
A97904
4
1.99
A98414
A97906
6
2.07
A98416
A97908
8
2.19
Size
10
12
14
16
Size
10
12
14
16
Price
3.48
3.99
4.56
4.90
Code
Size
A98418
18
A98420
20
A98422
22
A98424
24
Price
3.56
4.12
4.76
5.18
Code
Size
Price
2.31
2.50
2.87
3.17
Code
Size
A97918
18
A97920
20
A97924
24
A9841818
18
A9841820
20
A9841822
22
A9841824
24
Price
5.46
6.14
7.85
9.43
Price
5.76
6.45
8.30
9.86
Price
3.45
3.95
5.31
BRUSHES
BRUSHES OILS & ACRYLICS - PROFESSIONAL
da Vinci
Series 7185
Top Acryl Flats
Top Acryl brushes are constructed with

the interlocking effect. They are made
of extremely resistant fibres which have
been particularly developed for impasto
painting where the paint has to be
applied thickly.
! Burgundy coloured hair.
! Long red brown polished handles.
! Highly durable with excellent
shapeholding characteristics.
Please note the very large brush head
sizes available in this range.
Do not make the mistake of comparing
this range with similar looking popular
ranges.
The performance is totally different.
da Vinci
Series 7485
Top Acryl Filbert
!
Fine acrylic colours are normally

used in more liquid consistency
than oil colours which is why
Maestro synthetic artists brushes
have an inward curved shape with
a slightly longer visible hair length
so that they can hold a larger
amount of colour.
Acrylic brushes dry quickly and
therefore must be especially hard
wearing and possess good
elasticity.
da Vinci
Series 7785
Top Acryl Round
!
!
!
Made with medium length bristles

to provide detail and precision
work in acrylics.
Great spring and highly robust
fibres.
The 7785 is the round version of
the 7185.
Code
DVB718501
DVB718502
DVB718504
DVB718506
DVB718508
DVB718510
DVB718512
DVB718514
DVB718516
DVB718518
DVB718520
DVB718522
DVB718524
DVB718518
DVB718528
DVB718530
DVB718535
DVB718540
DVB718550
Size
1
2
4
6
8
10
12
14
16
18
20
22
24
26
28
30
35
40
50
Price
3.58
3.86
4.16
4.71
5.47
6.17
7.01
8.43
9.58
12.05
13.64
15.55
18.65
20.95
23.35
24.38
33.49
46.25
55.96
Code
Size
DVB748506
DVB748508
DVB748510
DVB748512
DVB748514
DVB748516
DVB748520
DVB748524
DVB748530
6
8
10
12
14
16
20
24
30
Price
5.67
6.77
8.20
9.44
11.24
11.73
17.24
20.67
27.60
Code
Size
Price
DVB778501
DVB778502
DVB778504
DVB778506
DVB778508
DVB778510
DVB778512
DVB778516
DVB778520
DVB778524
DVB778528
DVB778535
DVB778550
1
2
4
6
8
10
12
16
20
24
28
35
50
3.37
3.87
4.53
5.33
6.97
8.44
10.29
12.22
13.75
18.33
22.80
32.35
40.42
BRUSHES
Leonard Mangoose Brush

Series 580
Flat
Series 580PLF

Round
Series 580RO
Code
Size
Code
L580PLF02
L580PLF04
L580PLF06
L580PLF08
L580PLF10
L580PLF12
L580PLF14
L580PLF16
L580PLF18
L580PLF20
L580PLF22
2
4
6
8
10
12
14
16
18
20
22
Price
4.38
4.89
5.26
5.89
7.11
7.85
10.93
12.79
15.48
19.81
26.10
L580ROR02
L580ROR04
L580ROR06
L580ROR08
L580ROR10
L580ROR12
L580ROR14
L580ROR16
L580ROR18
L580ROR20
Size
2
4
6
8
10
12
14
16
18
20
Price
4.30
4.45
4.99
5.91
7.07
8.53
10.22
12.10
14.47
17.42

Filbert
Series 580UB
Code
Size
Price
L580UBF02
2
4.78
L580UBF04
4
5.33
L580UBF06
6
5.69
L580UBF08
8
6.37
L580UBF10
10
7.51
L580UBF12
12
8.44
L580UBF14
14
11.34
L580UBF16
16
14.34
L580UBF18
18
16.35
L580UBF20
20
21.09
L580UBF22
22
27.70
BRUSHES
da Vinci Series 7182 Maestro
Top Acryl Flat.
!
!
!
A very high quality range specifically designed for the more fluid working consistency of acrylic paint.
These brushes are made with an inward curved shape otherwise known as the interlocking effect plus a slightly longer hair length so
they can hold a lot more paint.
Great elasticity and durability combined with skilled brush making means there is no superior acrylic brush on the market today.
Code
DVB718 202
DVB718204
DVB718206
DVB718208
DVB718210
DVB718212
Size
2
4
6
8
10
12
Price
3.73
3.92
4.37
5.14
5.75
6.60
Code
DVB718214
DVB718216
DVB718218
DVB718220
DVB718222
DVB718224
Size Price
14
7.82
16
8.91
18
10.96
20
12.55
22
14.45
24
17.02
Code
DVB718226
DVB718228
DVB718230
DVB718235
DVB718240
DVB718250
Size Price
26
19.42
28
20.40
30
22.25
35
31.53
40
37.42
50
52.58
da Vinci Series 7782 Maestro

Top Acryl Round.
!
!
The round version of the flat 7182. ! Made with white synthetic hair selected its durability and elasticity as well as paint holding.
These are made with the interlocking effect so that the hairs all slope in to a fine point. ! For large area and precision painting.
Code
Size
DVB778201
DVB778202
DVB778204
DVB778206
DVB778208
1
2
4
6
8
Price
3.49
3.58
4.29
5.09
6.60
Code
DVB778210
DVB778212
DVB778216
DVB778220
Size Price
10
8.02
12
9.62
16
12.05
20
12.60
Code
DVB778224
DVB778228
DVB778235
DVB778250
da Vinci Impasto Brush

Series 5025
da Vinci has made this brush at the request of a number of
key customers. The requirement was to supply a purpose
made brush for the application of very thick paint.
! The Series 5025 is made with short synthetic hair which
means it has limited spring or flexibility thus giving the
user greater control
Code
Size
DVB502520
DVB502530
DVB502540
20mm
30mm
40mm
DVB502550
DVB502560
DVB502580
50mm
60mm
80mm
Price
8.59
9.52
11.67
15.05
18.65
24.71
Size Price
24
16.75
28
21.16
35
29.78
50
37.96
BRUSHES
WATERCOLOUR BRUSHES - ECONOMICAL
Junior 303
Code
DVB30301
DVB30302
DVB30303
DVB30304
DVB30305
DVB30306
DVB30308
DVB30310
DVB30312
DVB30314
DVB30316
DVB30318
DVB30320
Size
1
2
3
4
5
6
8
10
12
14
16
18
20
da Vinci
Junior 303 & 304
Price
1.27
1.27
1.42
1.55
1.73
1.83
2.40
3.44
4.58
5.66
6.32
8.51
9.93
An amazingly successful range which da

Vinci made to address the problems teachers experience with childrens brushes, i.e.
poor durability and performance.
The Junior range has the following qualities:
! A stable, almost indestructible brush
head with a very fine tip.
! Rust resistant ferrules, stainless,
polished metal is used.
! Handles that are lacquered to provide
water resistance, plus, significantly, on
the thickest part of the handle, areas are
flattened to provide both grip and a non
rolling brush.
! Brush head will not come loose after a
short period of time.
This brush will be a good investment as it
will outlast cheaper brushes many times
over.
Junior 304
Code
Size
DVB30402
DVB30404
DVB30406
DVB30408
DVB30410
10
DVB30412
12
DVB30414
14
DVB30416
16
DVB30420
20
DVB30424
24
Price
1.37
1.68
1.97
2.29
2.64
3.29
3.94
4.71
6.14
9.53
BRUSHES
WATERCOLOUR BRUSHES - PROFESSIONAL
da Vinci Nova
Code
Size
DVB157010/0
10/0
DVB157005/0
As good as it gets in synthetic hair
DVB157003/0
watercolour brushes.
5/0
DVB157002/0
2/0
Series 1570
!
!
!
!
!
Made with the finest grade

golden Toray hair.
To improve paint holding characteristics, four different diameters of hair are utilised.
Green varnished handles.
Not to be confused with economical synthetic hair brushes.
Very durable.
3/0
DVB15700
DVB157001
DVB157002
DVB157003
DVB157004
DVB157005
DVB157006
DVB157007
Price
2.41
2.17
2.17
2.17
2.27
2.40
2.50
2.71
3.07
3.52
3.85
5.18
Code
Size
DVB157008
DVB157009
DVB157010
10
DVB157012
12
DVB157014
14
DVB157016
16
DVB157018
18
DVB157020
20
DVB157022
22
DVB157024
24
DVB157026
26
DVB157030
30
Price
5.41
6.83
7.20
8.39
9.58
10.72
13.31
15.22
17.51
18.65
22.58
24.44
Escoda Kolinsky Tajmir Sable Watercolour Brush

Series 1212
Due to popular demand we are reinstating this excellent range of sables. Made in the south of Spain just outside Barcelona these brushes
were much more popular than we realised with many of our longstanding customers.The quality in terms of shape holding and performance
is excellent and when combined with the good price the value for money is hard to beat It is important to remember the sizes shown
are European sizes which are smaller. To calculate divide the Escoda size by 2 to get an approximate UK size.
Code
Size
mm
EB121250
5/0
0.5
EB121240
4/0
0.5
EB121230
3/0
0.5
EB121220
2/0
0.8
EB12120
0.95
EB12121
1.43
EB12122
2.02
EB12124
2.82
Price
4.12
4.16
4.18
4.24
4.42
4.91
5.57
7.95
Code
Size
mm
EB12126
3.60
EB12128
4.40
EB121210
10
5.70
EB121212
12
6.90
EB121214
14
8.20
EB121216
16
9.70
EB121218
18
12.00
EB121219
20
14.10
Price
9.83
13.40
22.92
32.99
50.28
82.38
118.11
174.02
BRUSHES
WATERCOLOUR BRUSHES - MID QUALITY
da Vinci - Series 36
Red Sable Watercolour Brush
Made with 100% Red Harbin kolinsky sable hair this range provide value for
money through its combination of very high quality brushes at an affordable
price.
!
!
!
The Siberian fire sable (mustela sibirica) is prized for the strength and
quality of its hair. This results in brushes with very fine points and great
durability.
This will outlast most brushes of its type as no inferior hairs are mixed
into the sable.
Handles are esagonal which means there are six delicately flattened areas
in the gripping area which are unique to da Vinci. This gives the artist
greater control and ease of use.
Smaller sizes (up to no 6) have three flattenings due to the smaller diameter of the handle.
Code
Size
DVB3603/0
DVB3602/0
DVB360
DVB3601
DVB3602
DVB3603
DVB3604
DVB3605
3/0
2/0
0
1
2
3
4
5
Price
2.81
2.81
2.90
3.05
3.73
5.13
5.72
7.46
Code
Size
DVB3606
DVB3608
DVB3610
DVB3612
DVB3616
DVB3620
DVB3624
Pro Arte- Prolene
Code
Prolene Round - Series 101
PAB101040
PAB101030
PAB101020
PAB10100
PAB10101
PAB10102
PAB10103
PAB10104
PAB10105
Probably the best selling range of watercolour brushes in the UK with the famous
Prolene hair which has all the appearance of sable without the disadvantage of
high prices such brushes have.
! Synthetic hair.
! Good durability.
! Ideal for serious hobbyists.
6
8
10
12
16
20
24
Price
9.14
14.47
25.42
28.47
57.05
86.73
105.60
Size
4/0
3/0
2/0
0
1
2
3
4
5
Price
2.30
2.35
2.50
2.65
2.86
3.00
3.35
3.76
4.85
Code
PAB10106
PAB10107
PAB10108
PAB10110
PAB10112
PAB10114
PAB10116
PAB10120
PAB10124
Size
6
7
8
10
12
14
16
20
24
Price
5.05
5.80
7.45
9.40
10.66
10.47
12.29
25.50
30.60
BRUSHES
Retouching / Spotting Red Kolinsky
Sable Brush
!
Made with extra short selected 100% pure Kolinsky hair

and designed for anyone applying paint in a very precise
manner.
Will h old shape long after most similar brushes.
Code
Size
DVB150505/0
DVB150504/0
DVB150503/0
DVB150502/0
DVB150500
DVB150501
DVB150502
5/0
4/0
3/0
2/0
0
1
2
DVB150503
DVB150504
DVB150505
DVB150506
DVB150507
DVB150508
DVB150509
DVB150510
DVB150512
3
4
5
6
7
8
9
10
12
Price
5.84
5.84
5.14
5.14
5.14
5.79
6.36
7.49
9.00
10.76
13.47
19.15
26.07
37.75
48.98
69.49

Cosmotop-Mix B Flat
Large sized watercolour brushes made with a skillful blend of

mainly natural fibres such as sable, squirrel and fitch with some
synthetic hair.
! The result is a high performance, big watercolour brush
range that is also affordable for most artists.
! Excellent durability.
! Short, blue transparent lacquered esagonal handles (six
subtle flattenings of the handle at its widest part to provide
greater grip and control for the user).
Code
Size
DVB583008
DVB583010
10
DVB583012
12
DVB583016
16
DVB583020
20
DVB583024
24
Price
7.68
8.91
10.46
17.40
24.38
31.20
BRUSHES
Atlantis Series 310 Pure Red Sable Watercolour Brush
!
!
!
Professional quality watercolour brushes made with the finest red sable by master brush makers in Germany to provide spring, durability and great shape holding.
These are the ideal combination of high performance with great value for money.
Made with silver ferrules and short cherry red handles.
Price
Code
Size
Price
Code
A310020
2/0
1.42
A31004
4
2.42
A31011
A310030
3/0
1.42
A31005
5
2.97
A31012
A310040
4/0
1.42
A31006
6
3.32
A31014
A310050
5/0
1.42
A31007
7
5.09
A31016
A31000
0
1.42
A31008
8
5.81
A31018
A31001
1
1.48
A31009
9
7.70
A31020
A31002
2
2.06
A31010
10
9.43
A31024
A31003
3
2.26
Atlantis Series 309 Pure Red Kolinsky Sable Watercolour Brush
Code
!
!
Size
Size
11
12
14
16
18
20
24
Price
11.12
14.26
28.62
48.73
57.28
83.38
156.93
Made from 100% Kolinsky sable the finest hair available to the serious water colourist.
Made for us in Germany by master brush makers to provide high performance. This is our best value for money sable brush.
Code
Size
A309020
2/0
A309030
3/0
A309040
4/0
A309050
5/0
A30900
A30901
A30902
Price
1.93
1.87
1.87
1.81
1.99
2.06
2.22
Code
Size
A30903
A30904
A30905
A30906
A30907
A30908
A30909
Price
2.47
3.03
3.75
4.31
6.09
7.42
8.98
Code
Size
A30910
10
A30910
11
A30912
12
A30914
14
A30916
16
A30918
18
Price
11.73
13.15
15.99
31.05
39.75
47.50
BRUSHES
da Vinci - Cosmotop Spin
!
!
Holds more water than any other synthetic

brush.
This unique da Vinci brush is popular for its
water holding capacity and excellent value in
large sizes.
It is a blend of different diameters and
lengths of extra smooth synthetic hair providing
a fine tip, stable shape and energetic spring.
Ergonomic handles allow for maximum painting
control and seamless, nickel-plated brass fer
rules are rust resistant.
The result is a revolutionary, durable, synthetic
brush for artists.
Series 5580 Round

Code
Size
DVB5580030
DVB5580020
DVB5580000
DVB558001
DVB558002
DVB558003
DVB558004
DVB558005
DVB558006
DVB558008
DVB558010
DVB558012
DVB558014
DVB558016
DVB558018
DVB558020
DVB558022
DVB558024
DVB558026
DVB558030
DVB558040
3/0
2/0
0
1
2
3
4
5
6
8
10
12
14
16
18
20
22
24
26
30
40
Series 5880 Flat

Code
Size
DVB588002
DVB588004
DVB588006
DVB588008
DVB588010
DVB588012
DVB588014
DVB588016
DVB588020
DVB588024
2
4
6
8
10
12
14
16
20
24
Price
2.68
2.68
2.68
2.78
2.98
3.08
3.44
3.89
4.27
6.24
7.79
9.62
10.77
12.82
14.73
16.04
18.93
20.35
24.11
26.40
33.16
Price
2.68
3.25
3.69
4.20
5.05
6.41
8.59
9.80
16.20
20.67
BRUSHES
da Vinci MAESTRO Watercolour Brushes

The top quality from selected Siberian Tobotsky Kolinsky Red Sable Hair
!
!
!
Siberian Kolinsky red sable hair from selected male hairs (the finest and costliest). It is our belief that this is probably the benchmark
for top watercolour sables.
It is a strict policy of da Vinci never to mix in inferior sable hairs to a brush head. Therefore, only 100% of the declared hair type is used
in a brush - an important consideration.
From size 9, these brushes are singularly packaged, from size 12 in an attractive gift box.
Code
Size
Price
DVB10010/0
DVB1005/0
DVB1004/0
DVB1003/0
DVB1002/0
DVB100
DVB1001
DVB1002
DVB1003
10/0
5/0
4/0
3/0
2/0
0
1
2
3
7.25
7.25
7.25
6.41
6.41
6.41
6.94
7.90
9.22
Code
Size
DVB1004
DVB1005
DVB1006
DVB1007
DVB1008
DVB1009
DVB1010
4
5
6
7
8
9
10
DVB1012
DVB1014
12
14
Price
10.44
12.82
16.80
20.35
29.78
43.53
54.22
79.75
100.91
Code
DVB1016
DVB1018
DVB1020
DVB1022
DVB1024
DVB1036
DVB1050 *
Size
16
18
20
22
24
36
50
* Check availability
Price
123.82
151.64
190.91
216.00
250.36
580.36
1224.00
BRUSHES
da Vinci
Series 1503
Pocket Brush
Probably the finest travel brushes of
them all.
! Made with a virtually indestructible
body and Kolinsky red sable hair.
! If well looked after will last years and
years.
Code
Size
DVB150301
DVB150302
DVB150303
DVB150304
DVB150305
DVB150306
DVB150308
DVB150310
10
DVB150312
12
Price
10.85
11.29
12.33
13.69
15.38
18.27
36.00
53.35
83.67
da Vinci
Series 1573
Watercolour Travelling Brush
!
Cosmotop Spin combination of finest

light brown synthetic fibres contained
in a virtually indestructible two part
handle.
This and the Kolinsky Sable (1503)
are, we believe ,the best travelling
brushes available today.
Because of da Vincis guaranteed
reliability the shape holding and
durability characteristics are out
standing.
Code
DVB157301
DVB157302
DVB157303
DVB157304
DVB157305
DVB157306
DVB157308
DVB157310
DVB157312
Size
1
2
3
4
5
6
8
10
12
Price
7.81
7.97
8.06
9.09
9.52
10.33
15.44
17.89
23.35
BRUSHES
da Vinci MAESTRO
Series 10 - full bodied with a strong, perfect point
Series 35 - extra long and pointedly shaped
da Vinci Series 35
For watercolourists preferring an extra long tip for perfect water colour drawing.
Code
DVB35030
DVB35020
DVB3500
DVB3501
DVB3502
DVB3503
DVB3504
DVB3505
DVB3506
Code
DVB130102
DVB130104
DVB130106
DVB130108
DVB130110
DVB130112
DVB130114
DVB130116
DVB130118
DVB130120
Size
Price
Code
3/0
2/0
0
1
2
3
4
5
6
7.22
7.22
7.49
7.49
8.29
9.95
11.40
13.53
17.78
DVB3507
DVB3508
DVB3509
DVB3510
DVB3511
DVB3512
Size
Price
2
4
6
8
10
12
14
16
18
20
Size
7
8
9
10
11
12
Price
Code
26.62
31.85
45.71
55.85
63.93
82.47
DVB3514
DVB3516
DVB3518
DVB3520
Price
Size
100.36
123.82
152.73
193.09
14
16
18
20
da Vinci Series 1301 Flat
9.60
10.13
12.76
19.91
25.42
31.31
42.55
57.27
69.60
93.27
The flat counterpart is available in

sizes 2 - 20 and from size 12 is
packaged piece by piece in the
MAESTRO gift box.
da Vinci MAESTRO VOYAGE

Series 910 Round
MAESTRO quality for travelling, available in
sizes 1,2,5,6 - every brush is packaged piece by
piece.
Code
Size Price
DVB91001
1
15.98
DVB91002
2
16.64
DVB91005
5
22.42
DVB91006
6
26.18
BRUSHES
da Vinci
Series 803
English Style Watercolour Brush
!
Made with the finest Russian squirrel hair in an onion

shaped tip this is a brush head much favoured by many of
the great British watercolourists of the past.
Short black polished handles.
Code
Size
DVB80300
DVB80301
DVB80302
DVB80304
DVB80305
DVB80306
Price
16.75
18.76
20.02
28.91
38.73
44.18

One Stroke Sable
!
!
Made with 100% Red sable hair, this is as good

as it gets for One Stroke brushes.
With regular use, care and loving attention this
will last a long time without its handling characteristics deteriorating.
Code
Size
DVB131102
DVB131104
DVB131106
DVB131108
DVB131110
10
DVB131112
12
Price
5.80
6.73
8.06
12.11
20.24
25.85
Code
Size
DVB131114
14
DVB131116
16
DVB131118
18
DVB131120
20
DVB131124
24
Price
30.22
36.62
55.64
65.02
118.36
BRUSHES
Isabey
Watercolour Brush
Series 6234
!
!
!
The classic French Quill Mop with the fullest

capacity for water.
Handmade in France in the traditional manner,
it is, undoubtedly the ultimate wash brush.
Kazan Squirrel Hair.
Code
Size
IB623400
IB623401
IB623402
IB623403
IB623404
IB623405
IB623406
IB623407
IB623408
IB623410
10
Price
17.06
18.46
23.38
28.75
31.06
32.86
35.95
44.06
48.55
71.06
BRUSHES
BRUSHES - SURFACE PREPARATION/FINISHING
Omega
Varnish Brush
Lily Glider
!
!
For producing totally flat varnish

effects, i.e., free of brush strokes.
Specifically made very thin for this
purpose.
Series 1049
Code
Size
OM104930
OM104950
OM104980
30mm
50mm
80mm
Price
5.18
7.15
13.46
Omega
Flat Synthetic Hair Brush
Orel Plus
!
For varnishing and general purposes.
Series 1208
Code
Size
OM120830
30mm
OM120850
50mm
OM120880
80mm
OM1208100 100mm
Price
6.02
8.54
14.35
19.34
Omega
Varnish Brush
Spalter Lily Varnish
!
!
Very popular with studio based

professional artists.
For covering larger areas.
Series 1031
Code
Size
OM103130
OM103150
OM103180
OM1031100
OM1031120
OM1031150
30mm
50mm
80mm
100mm
120mm
150mm
OM1031180
180mm
Price
3.58
4.73
9.86
12.55
17.06
20.26
26.54
BRUSHES
da Vinci Series 488
!
The Spin synthetics is a new concept with a quite remark

able performance.
This brush was specifically developed for watercolour wash

techniques and area working as well as silk painting and
anyone working with ink drawing and writing.
Made in the French watercolour brush style this combination

creates a amazing colour carrying capacity.
We cannot recommend this highly enough for anyone working in

washes or who want a significant amount of liquid
laid down. Just try one.
Code
Size
DVB48802
DVB48803
DVB48804
DVB48805
DVB48806
DVB48808
DVB48810
10
Price
10.71
13.64
16.25
20.13
30.87
44.45
54.22
BRUSHES
Omega
Red Silk Polyester Varnish Brush
Series S461
Code
Size
OM46130
OM46140
OM46150
30mm
40mm
50mm
Price
4.46
5.81
6.74
Code
Size
OM46160
OM46170
60mm
70mm
Price
8.33
9.86
Omega
Red Silk Polyester Spalter Brush
Series S463
Code
OM46380
OM463100
OM463120
OM463150
OM463180
Size
80mm
100mm
120mm
150mm
180mm
Omega
Italia Hog Brush
Series S1138
Code
OM1138150
OM1138160
Size
150mm
160mm
Price
19.75
24.74
Price
12.55
16.66
21.55
26.06
32.35
BRUSHES
BRUSHES - SURFACE PREPARATION / FINISHING
Escoda
Gesso Sash Brush
Code
EB754202
Series 7542
EB754204
EB754206
EB754208
!
!
!
Round, domed, bristle sash brush.

Incredibly popular and very well
priced range of hankow bristle brushes.
Durable and good shape holding.
Escoda
Pointed Gesso Sash Brush
Series 7643
!
Professional quality hog pointed sash

brush with wooden handle.
Code
Size
Size
EB764330
3/0
EB76431
EB76432
EB76433
EB76434
1
2
3
4
Price
5.52
6.38
7.35
9.24
Code
Price
7.28
8.28
8.99
10.50
12.09
Code
Price
8.95
9.67
11.26
Code
Size
EB754210
10
EB754212
12
EB754214
14
EB754216
16
Size
EB76435
EB76436
EB76437
EB76438
6
7
8
Price
10.55
13.34
15.37
18.20
Price
13.36
16.65
23.42
30.71
Omega
Pointed Sash Brush
Series S203
!
Professional quality hog pointed sash brush with wooden handle.
Code
OM203000
OM20301
OM20302
Size
3/0
1
2
Price
7.65
8.18
8.54
Code
OM20303
OM20304
OM20305
Size
3
4
5
OM20306
OM20308
Size
6
8
Price
13.06
17.06
BRUSHES
Atlantis
Series 13141
!
!
!
Handmade, great quality ,flat bristle varnish brushes

with short, unlacquered handles.
Mid quality at extremely reasonable prices.
Made for us in Germany.
Code
Size
A1314101
A1314102
A1314125
2.5
A1314104
A1314106
Price
2.26
2.79
3.73
6.14
14.09
Escoda
Chunking Varnish Brush
Series 8247
!
!
Very popular and good value range

of varnish brushes.
Excellent durability and performance.
Code
EB82479
EB824715
EB824724
EB824730
Size Price
9
5.78
15
6.73
24
9.28
30
12.47
Escoda
Chunking Thin Varnish Brush
Series 8146
!
!
Very popular range of varnish brushes

with our customers.
Good performance and durability.
Code
Size
EB81469
EB814615
15
EB814624
24
EB814630
30
Price
5.79
6.35
9.00
11.76
BRUSHES
Omega
Varnish Brush
Series S43
Omega
Lily Varnish
Series 40
!
Code
OM4320
OM4340
OM4360
OM4380
OM43100
Size
20mm
40mm
60mm
80mm
100mm
Price
4.27
6.07
8.06
14.35
17.95
Omega
Hog Oval Brush
Series S55
Thin flat brushes for applying layers of

varnish without brush strokes.
Code
Size
OM4020
20
OM4040
40
OM4070
70
OM40100
100
Price
4.58
6.07
9.22
15.26
Code
Size
OM55112
1.5
OM5502
OM55212
2.5
OM5503
Price
12.55
15.74
21.14
26.06
BRUSHES
VARNISH/ PRIMING - GENERAL USE FLAT BRUSHES
Leonard Priming Brush
Code
Professional Quality
L375PL40
40
L375PL60
60
L375PL80
80
L375PL100 100
L375PL150 150
L375PL200 200
!
!
!
!
Leonards Priming Brush is our best selling brush for this purpose.
With shorter length bristle, this brush is designed to provide firm applications of
primer allowing the artist to work in the primer, i.e., to get it into all the fibres.
Made with a coppered steel ferrule this can be used to apply oil or acrylic primers.
A very high quality brush at an affordable price.
Size
mm
40
60
80
100
150
200
Price
4.72
5.99
7.99
11.26
18.91
23.59
Omega Thick Varnish Brush

Series 1067
Heavy duty, extra thick bristle varnish brush.
Code
Size
OM106715
OM106702
OM106703
1.5
2
3
Price
9.86
11.66
18.86
BRUSHES
VARNISH/ PRIMING - GENERAL USE FLAT BRUSHES
Atlantis Series 2129 Flat Brush for Priming and Varnishing
Professional quality synthetic golden filaments allow for even application of thin or thick layers. Durable and with
good shape holding characteristics. Made in Germany by Master brush makers. These are professional grade
brushes at an economical price.
Code
A212912
A212934
A212901
A212915
A212902
A212925
A212903
A212904
!
!
!
Size
1/2
3/4
1
1.5
2
2.5
3
4
Professional quality and made

with synthetic white filaments that
allow for an even application of
thin or thick layers.
Highly durable and with good
shape holding characteristics.
Made in Germany by Master
brush makers.
These are professional grade
brushes at an economical price.
Code
Size
A2133V125
25cm
A2133V150
50cm
A2133V175
75cm
A2133V1100 100cm
!
!
!
Price
4.31
6.23
9.28
11.99
Professional quality and made

with red-brown synthetic hair
allowing for an even application of
thin or thick layers.
Highly durable and with good
shape holding characteristics.
Made in Germany by Master
brush makers.
High quality at an affordable
price.
Code
Price
2.54
3.09
3.87
5.56
7.95
10.64
13.98
18.04
Size
A213435
A213450
A213460
35cm
50cm
60cm
A213475
A2134100
75cm
100cm
Price
5.92
7.25
9.06
10.92
12.43
BRUSHES
BRUSHES - SPECIALIST
Pastel Brush
!

Sable Rigger / Lettering Brush
Long Handle Kolinsky Red Sable
Made for the softest blending,

with soft pony hair and blue
polished handles.
Beautifully hand made brushes.
Size Price
Code
9.95
14.84
19.75
31.31
40.36
4
8
12
16
24
DVB13204
DVB13208
DVB13212
DVB13216
DVB13224
!
!
Canale Stencil Brush - Economical

Bristle stencil brush with mid length handle.
To achieve clear and precise paint application this brush

with its accurate sable edge and needlepoint is purpose
made.
This is a medium length rigger hair.
Long maroon polished handles.
Favoured by model makers and script writers.
Code
Size Price Code
DVB12105/0
5/0
DVB121000
DVB121001
DVB121002
0
1
2
6.53
6.53
6.53
6.80
Price
7.31
8.53
11.73
13.91
Size
DVB121004
DVB121006
DVB121008
DVB121010
6
8
10
da Vinci Reservoir Liner

Kolinsky Red Sable - Series 5519
!
!
!
Code
A100300
A100301
A100302
A100304
A100306
Size mm Price Code

0
1
2
4
6
4.8
4.8
6.1
8.6
10.6
0.65
0.73
0.78
0.94
1.25
A100308
A100310
A100312
A100314
A100316
Liner brush with inlaid, extra long needle sharp tip made
from Kolinsky red sable hair from body of Kazan squirrel.
Made to hold large amounts of colour.
Short,transparent, lacquered hexagonal handles in bordeaux
colour.
Size mm Price
8
10
12
14
16
12.5
13.6
16.3
17.5
19.0
1.55
Size Price
1.84 Code
2.16 DVB551905 5 16.58
2.60 DVB551908 8 23.67
4.10 DVB551910 10 27.60
Size Price
Code
12
18
40
DVB551912
DVB551918
DVB551940
32.40
54.87
156.55
Atlantis Gilders Brush

Series 185
!
!
For applying gold and silver leaf, mounted on

card in the traditional method.
Squirrel hair, flat, square edged..
Code
Size
mm
A18501
A18502
A18503
A18504
1
2
3
4
26.5
52
74.5
100
Price
6.52
10.99
20.37
25.59
BRUSHES
FLAT BRUSHES / MOTTLERS
da Vinci Cosmotop
!
!
!
Golden / Burgundy coloured

extra strong synthetic fibre for
application of varnishes and
glazes.
Mounted in rustproof steel fer
rules.
Red / Black polished handles.
Size
20
20mm
30
30mm
40
40mm
50
50mm
60
60mm
80
80mm
150
150mm
200
200mm
When ordering please use the
product code followed by the size,
eg. DVB504080 = da Vinci
Cosmotop Brush Series 5040
size 80. Or DVB5080150 = da
Vinci Cosmotop Brush Series
5080 size 150.
Code DVB5040
da Vinci Mottler - Series 2470

!
!
!
Price
9.38
11.07
13.64
17.78
21.44
31.85
95.45
114.55
mm
Made with white china bristles and short

plain wood handles.
Mounted in rustproof steel ferrules.
This range has brushes up to 500mm in
width and are ideal for artists wanting to
apply paint in flat areas free of brush
strokes.
Code
Size
DVB247015
15mm
DVB247020
DVB247040
DVB247080
DVB2470100
20mm
40mm
80mm
100mm
Code DVB5080
Price
2.98
3.07
4.66
11.07
15.65
Code
Size
DVB2470200
200mm
DVB2470300
DVB2470400
DVB2470500
300mm
400mm
500mm
Price
55.53
134.73
200.18
254.18
BRUSHES
BRUSHES
Hake Brush
Series 712
!
!
!
Goat hair flat brush mad in the traditional manner,

using plain flat wooden handles.
For watercolour washes and calligraphy.
This is an economical quality brush.
Code
Size
HB71201
HB71202
HB71203
HB71204
Price
2.40
3.67
5.26
6.84
Foam Brush Set
Foam Brushes
Simple, economical foam brushes for

educational establishments, children or
students experimenting with colour.
Code
FB01
FB02
FB03
Final Task Flat Bristle Brush

Series 880 Industrial
!
!
Middle quality, professional standard brush.

Very good quality / performance ratio.
Price
0.44
0.52
0.61
Size
1
2
3
Code
Size
HKFTF8812
1/2
HKFTF8801
HKFTF8802
HKFTF8803
HKFTF8804
Contains 1 each of 1, 2 and

3 foam brushes.
Code
FBS123
Price
1.79
Price
0.52
0.71
1.73
3.22
5.16
CANVAS
STRETCHED CANVAS
CANVAS
STRETCHED CANVAS
Atlantis Mid Quality Stretched Canvas / Standard Depth (1.8cm Deep)Staple Free Sides
Pre-stretched and pre-primed, these canvases are ready to paint in both oils and acrylics.
No other preparation is needed prior to painting. We are pleased to introduce a new range of ready stretched acrylic primed canvas that is
both significantly cheaper and of a much better quality than our previous range.
A heavier and much higher grade cotton duck has been used, together with a better way of stapling rear corners. The result is stretched
canvas that is staple free on the sides.The main advantage of buying pre-primed canvases (apart from the price) is avoiding the stretching
and the potentially messy business of priming. This is an important consideration for anyone without a studio space. The staple free sides
have the additional advantage of not requiring a frame for hanging.
Code
ATSSC0808
Size
8 x 8 / 203x 203mm
ATSSC1008 10 x 8 / 254x 203mm

ATSSC1010 10 x 10/ 254x 203mm
ATSSC1210 12 x 10/ 305x 203mm
ATSSC1212 12 x 12/ 305x 305mm
ATSSC1410 14 x 10/ 356x 203mm
ATSSC1612 16 x 12/ 406x 305mm
ATSSC1616 16 x 16/ 406x 406mm
ATSSC2016 20 x 16/ 508x 406mm
ATSSC2020 20 x 20/ 508x 508mm
ATSSC2418 24 x 18/ 610x 457mm
ATSSC2424 24 x 24/ 610x 610mm
ATSSC3020 30 x 20/ 762x 508mm
ATSSC3024 30 x 24/ 762x 610mm
ATSSC3030 30 x 30/ 762x 762mm
ATSSC3624 36 x 24/ 915x 610mm
ATSSC4030 40 x 30/1016x 762mm
ATSSC4040 40 x 40/1016x1016mm
ATSSC4836 48 x 36/1220x 915mm
ATSSC6048 60 x 48/1525x1220mm
Unit Price
2.09
2.36
2.53
2.84
3.23
3.19
3.93
4.36
4.80
5.67
6.11
7.51
8.51
9.16
10.91
10.47
13.75
15.71
17.24
25.31
Pack
Price
Pack/10 18.81 / 1.88 each
Pack/10 21.00 / 2.11 each
Pack/10 22.70 / 2.27 each
Pack/10 25.40 / 2.54 each
Pack/10 28.90 / 2.89 each
Pack/10 28.50 / 2.85 each
Pack/10 35.20 / 3.52 each
Pack/10 39.10 / 3.91 each
Pack/10 43.00 / 4.30 each
Pack/10 50.80 / 5.08 each
Pack/10 54.70 / 5.47 each
Pack/10 67.20 / 6.72 each
Pack/10 76.20 / 7.62 each
Pack/10 82.10 / 8.21 each
Pack/10 97.70 / 9.77 each
Pack/10 93.80 / 9.38 each
Pack/10 123.10/ 12.31 each
Pack/6 84.42/14.07 each
Pack/6 92.64/15.44 each
Pack/6 136.02/22.67 each
Box
100
100
40
40
40
40
40
20
20
20
20
20
20
20
Price
169.00/ 1.69 each
191.00/ 1.91 each
82.00/ 2.05 each
91.60/ 2.29 each
104.40/ 2.61 each
103.20/ 2.58 each
127.20/ 3.18 each
70.60/ 3.53 each
77.60/ 3.88 each
91.80/ 4.59 each
98.80/ 4.94 each
121.40/ 6.07 each
137.60/ 6.88 each
148.20/ 7.41 each
Landscape / Marine Format

ATSSC1224 12 x 24/ 305x 610mm
ATSSC1232 12 x 32/ 305x 812mm
ATSSC1436 14 x 36/ 356x 915mm
ATSSC2040 20 x 40/ 508x1016mm
ATSSC3060 30 x 60/ 762x1525mm
5.02
6.11
7.20
10.04
18.33
45.00 / 4.50 each

Pack/10 54.70 / 5.47 each
Pack/10 64.50 / 6.45 each
Pack/10 89.90 / 8.99 each
Pack/10 164.20/16.42 each
Pack/10
20
20
20
81.20/ 4.06 each

98.80/ 4.94 each
116.40/ 5.82 each
CANVAS
STRETCHED CANVAS
Atlantis Mid Quality Deep Stretched Canvas (3.8cm Deep) Staple Free Sides
Pre-stretched and pre-primed, these canvases are ready to paint in both oils and acrylics.
Our new mid quality range of acrylic ready stretched canvases has been significantly improved. We have introduced a higher grade of cotton
duck together with a better method of stapling the rear corners at the back. The result is a stretched canvas that has totally staple free sides.
This range is ideal for any budget conscious artist,student or anyone just starting. Additionally, no frame is needed to hang and no priming,
an advantage for someone without studio space.
Code
Size
ATDSC0808 8 x 8 / 203x 203mm

ATDSC1008 10 x 8 / 254x 203mm
ATDSC1010 10 x10 / 254x 254mm
ATDSC1210 12 x10 / 305x 254mm
ATDSC1212 12 x12 / 305x 305mm
ATDSC1410 14 x10 / 356x 254mm
ATDSC1612 16 x12 / 406x 305mm
ATDSC1616 16 x16 / 406x 406mm
ATDSC2016 20 x16 / 508x 406mm
ATDSC2020 20 x20 / 508x 508mm
ATDSC2418 24 x 18/ 610x 457mm
ATDSC2424 24 x 24/ 610x 610mm
ATDSC3020 30 x 20/ 762x 508mm
ATDSC3024 30 x 24/ 762x 610mm
ATDSC3030 30 x 30/ 762x 762mm
ATDSC3624 36 x 24/ 915x 610mm
ATDSC4030 40 x 30/1016x 762mm
ATDSC4040 40 x 40/1016x1016mm
ATDSC4836 48 x 36/1220x 915mm
ATDSC6048 60 x 48/1525x1220mm
Unit Price
2.79
3.23
3.58
3.84
4.19
4.15
4.89
5.76
6.41
7.42
8.16
9.82
9.86
11.13
13.00
12.87
17.02
20.60
22.47
32.07
Pack
Price
Pack/10 25.00 / 2.50 each
Pack/10 28.90 / 2.89 each
Pack/10 32.10 / 3.21 each
Pack/10 34.40 / 3.44 each
Pack/10 37.50 / 3.75 each
Pack/10 37.10 / 3.71 each
Pack/10 43.80/ 4.38 each
Pack/10 51.60/ 5.16 each
Pack/10 57.50/ 5.75 each
Pack/10 66.40/ 6.64 each
Pack/10 73.10/ 7.31 each
Pack/10 87.90/ 8.79 each
Pack/10 88.30/ 8.83 each
Pack/6 59.82/ 9.97 each
Pack/6 69.90/11.65 each
Pack/6 69.18/11.53 each
Pack/6 91.44/15.24 each
Pack/6 110.70/18.45 each
Pack/6 120.78/20.13 each
Pack/6 172.38/28.73 each
Landscape / Marine Format

ATDSC1224 12 x 24/ 305x 610mm
ATDSC1232 12 x 32/ 305x 812mm
ATDSC1436 14 x 36/ 356x 915mm
ATDSC2040 20 x 40/ 508x1016mm
ATDSC3060 30 x 60/ 762x1525mm
6.33
7.68
9.38
11.87
22.91
56.70/ 5.67 each

Pack/10 68.80/ 6.88 each
Pack/10 84.00/ 8.40 each
Pack/6 63.78/10.63 each
Pack/6 123.12/20.52 each
Pack/10
Box
60
20
20
20
20
20
20
Price
135.60/ 2.26 each
52.20/ 2.61 each
57.80/ 2.89 each
62.20/ 3.11 each
67.80/ 3.39 each
67.00/ 3.35 each
79.00/ 3.95 each
CANVAS
MADE-TO-MEASURE STRETCHED CANVAS
Atlantis Made-To-Measure Stretched Canvas Service
For customers who require professional, exhibition quality stretched canvas we can
offer to make most sizes with the most popular surfaces. Our made-to-measure
canvas service uses all grades of stretchers. We take particular care to ensure
these canvases are made to the highest specification. All sides are staple free and
corners tucked away flat. Delivery is normally 3-5 days for standard sizes and up to
14 days for non standard sizes as stretcher bars have to be specially made up.
The following are the painting surfaces available :
Cotton Duck Unprimed
Cotton Duck Primed
Linen Medium Grain Primed
Linen - Portrait Fine Primed
Mixed Weave - Universal Primed
CANVAS
PRIMED COTTON DUCK
DISCONTINUED
Primed Cotton Duck Rolls

Acrylic / universal primed for both oil and acrylic paints.
8oz Primed Cotton Duck

Code
Description
ATPCR2108
8 oz Primed Cotton Duck - 1.5 x 5.5 metre Roll
ATPCR21081
8 oz Primed Cotton Duck - 1.5 x 11 metre Roll
Width
154cm
154cm
Price/Roll
52.95
105.33
CANVAS
PRIMED COTTON DUCK
Very Fine Grain Mixed Weave Cotton Ref. 503 Primed
Universally primed - ideal for oils and acrylics. This is a very fine, smooth, slightly textured surface.
Perfect for detailed paintings or where the surface should not be prominent.
Can be used for printing images.
Code
SAL503N
Description
100% Cotton Duck, Primed
Width
2.10cm
2.10cm
Price per metre

13.20 1 m
11.88 10 m+
Medium Grain 100% Cotton Ref. 528c Primed

Universally primed, ideal for oils and acrylics. This is a heavier weight of primed canvas. Perfect for medium to larger sized canvases.
Code
SAL528C01
Description
Width
2.10cm
2.10cm
Price per metre

15.82 1 m
14.24 10 m+
CANVAS
UNPRIMED COTTON DUCK - SUPERIOR
10oz Cotton Duck
Code
Description
Width
Price per metre
ATUCD7210M
10 oz Superior Cotton Duck

72/183cm
72/183cm
6.98
6.28
1 m
10 m+
ATUCD7212

72/183cm
72/183cm
108/275cm
108/275cm
120/305cm
120/305cm
8.08
7.27
11.88
10.69
12.69
11.42
1 m
10 m+
1 m
10 m+
1 m
10 m+

72/183cm
72/183cm
108/275cm
108/275cm
120/305cm
120/305cm
9.05
8.15
12.69
11.42
16.18
14.56
1 m
10 m+
1 m
10 m+
1 m
10 m+
ATUCD10812N
ATUCD12012N
ATUCD7215
ATUCD10815N
ATUCD12015
15oz Cotton Duck
CANVAS
PRIMED COTTON DUCK
Medium Grain
Primed Cotton Duck
Ref. 507
Mixed fibres. Tremendous strength

mixed with its medium grain make
this our own choice when we make
bespoke stretched canvas.
Universal primer is used for making
this product ideal for both oil and
acrylic paints. Perfect for small and
large stretcher sizes.
Code
SALORIG507N
Description
Primed Cotton Duck
Width
2.10m
Price
14.65 / 1 m
Price / metre
13.19 / 10m+
LINEN
LINEN
Flax Plant
LINEN
UNPRIMED LINEN
Medium Grain Linen Ref. 509 Unprimed
A mid grained surface where the artist requires some general
texture to the paint surface without it becoming too pronounced.
Code
Surface
Width
Price per metre
SALUL509N
Medium
Medium
1.50m
1.50m
14.33 1 m
12.90 10 m+
Medium Grain Linen Ref. 602 Unprimed

More heavily textured than typical grained linens.
For techniques that require a definite textured element to the paint
surface without it being coarse.
Code
Surface
Width
FDUL602N
Medium Grain 2.10m

Medium Grain 2.10m
Price per metre

25.08 1 m
22.57 10 m+
Medium Fine Linen Ref. 103 Unprimed

As it states, this is on the finer side of medium with a less textured
surface than typical mediums.
Code
FDUL103N
Price per metre

Medium Fine 2.10m
28.63 1 m
Medium Fine 2.10m
25.78 10 m+
Surface
Width
Portrait Superfine Ref. 5055 Unprimed

The very finest of painting surfaces. For the artist who wants the smallest
amount of texture intruding on the surface.
Code
Surface
Width
FDUL5055N
Portrait S/fine 2.10m

Portrait S/fine 2.10m
Price per metre

32.09 1 m
28.88 10 m+
Medium Grain Ref. 350 Ex. Wide Linen Unprimed

The same textured medium grain surface as the 602 above but with a 3
metre width.
Code
FDUL350N
Surface
Width
Medium Grain 3 m
Medium Grain 3 m
Price per metre

33.58 1 m
30.22 10 m+
Coarse Grain Linen Ref. 068 Unprimed

Provides a highly textured surface which will only disappear if impasto
techniques are used.
Code
CLUL068N
Surface
Coarse
Width
2.10m
Price per metre

45.31 1 m
LINEN
UNPRIMED LINEN
Fine Grain Linen Ref.070
A smooth grain with a small amount of texture.
Code
CLUL070N
Surface
Fine Grain
Fine Grain
Width Price per metre

2.10m
44.65 1 m
2.10m
40.19 10 m+
Medium Fine Grain Linen Ref. 066

The classic mid grain favoured by the majority of artists. Provides the
balance of sufficient grain without the texture becoming prominent.
Code
CLUL066N
Surface
Medium Fine
Medium Fine
Width
2.10m
2.10m
Price per metre

33.84 1 m
30.46 10 m+
OIL PRIMED LINEN
Coarse Grain Linen Ref. 68 - Oil Primed

Provides a heavily textured surface.
Code
CLOPL68N
Surface
Coarse Grain
Coarse Grain

2.10m
61.72 1 m
2.10m
55.55 10 m+
Portrait Fine Grain Linen Ref. 13 - Oil Primed

Very smooth, minimum texture : Ideal for detailed work or portraits.
Code
Surface
CLOPL13N
Very Fine
Very Fine
2.10m
2.10m
77.41 1 m
69.67 10 m+
Medium-Fine Grain Linen Ref. 66 - Oil Primed

Less grain and texture than the standard medium but still sufficient to be
present on the painted surface.
Code
Surface
CLOPL66N
Medium Fine
Medium Fine
2.10m
2.10m
50.93 1 m
45.84 10 m+
LINEN
UNIVERSAL PRIMED LINEN
Primed with a medium that provides good receptivity to both oils and
acrylics. Ideal for almost any paint medium.
Medium Grain Linen Ref. 509
NEW
A mid grained surface where the artist requires some general

texture to the paint surface without it becoming too pronounced.
Code
SALP509N
Surface
Medium
Medium
Width
2.10m
2.10m
Price per metre

28.73
1m
25.86 10m+
Fine Linen for Ink Jet Printing - Ref. 520

Very popular product among artists who utilise inkjet to print.
Code
Surface
Width
SALPL520N
Very Fine
91.5cm
Very Fine
91.5cm
Price per metre

10.20
9.18
1m
10m+
Medium Grained Linen Ref. 510

A medium grain linen where some texture is required.
Code
SALPL510N
Surface
Medium
Medium
Width
2.10m
2.10m
Price per metre

31.63 1 m
28.47 10 m+
Fine Grain Linen Ref. 512

The classic linen that provides the artist with a reasonable amount
of texture.
Code
SALPL512N
Surface
Medium Fine
Medium Fine
Width
2.10m
2.10m
Price per metre

31.63 1 m
28.47 10 m+
Portrait Fine Linen Ref. 514

A very smooth linen with little texture.
Code
SALPL514N
Surface
Smooth
Smooth
Width
2.10m
2.10m
Price per metre

40.58 1 m
36.52 10 m+
LINEN
ACRYLIC PRIMED LINEN
This primer is suitable for both oils and acrylics.
Fine Grain Linen Ref.170

Acrylic (Universal) Primed
A very finely textured surface suitable for more detailed work or
where the grain needs to be less visible.
Code
CLAP170N
Surface
Very Fine
Width
2.10m
Very Fine
2.10m
Price per metre

40.14 1m
36.13 10m+
Medium Grain Linen Ref.109

A medium textured surface.
Code
CLAP109N
Surface
Medium Grain
Width
2.10m
Medium Grain
2.10m
Price per metre

44.01 1m
39.61 10m+
Medium Fine Grain Linen Ref. 166

A medium textured surface.
Code
CLAP166N
Surface
Medium
Width
2.10m
Medium
2.10m
Price per metre

50.65 1m
45.59 10m+
Coarse Grain Linen Ref. 168

A very textured linen.
Code
CLAP168N
Surface
Coarse
Width
2.10m
Coarse
2.10m
Price per metre

62.24 1m
56.02 10m+
Portrait Superfine Linen Ref. 113

The finest surface available to painters.
Code
CLAPL113N
Surface
Very Smooth
Width
2.10m
Very Smooth
2.10m
Price per metre

77.02 1m
69.32 10m+
CANVAS
CANVAS BOARDS
ATLANTIS CANVAS BOARDS
A range of good quality canvas panels primed with acrylic primer which enables oils as well as acrylics to be applied on the surface.These
are ideal for starting in oils and acrylics as they can always be scraped or wiped clean if mistakes are made.
Code
ATCB0406
ATCB0507
ATCB0608
ATCB0810
ATCB1012
ATCB1014
ATCB1216
Size
4 x 6
5 x 7
6 x 8
8 x 10
10 x 12
10 x 14
12 x 16
mm
101 x 153
127 x 177
153 x 203
203 x 254
254 x 305
254 x 356
305 x 406
Price
76p
88p
1.04
1.32
1.72
1.92
2.44
Code
ATCB1418
ATCB1620
ATCB1824
ATCB2024
ATCB2030
ATCB2430
ATCB2436
Size
14 x 18
16 x 20
18 x 24
20 x 24
20 x 30
24 x 30
24 x 36
mm
356 x 457
406 x 508
610 x 457
508 x 610
508 x 762
610 x 762
610 x 915
Price
2.92
2.88
4.76
5.16
6.28
7.68
8.80
CHILDRENS SECTION
CHILDRENS SECTION
CREATIVITY FOR KIDS
just add imagination
From Faber-Castell this recently introduced range has won a significant number of awards around the world which include :
Toy Industry Association T.O.T.Y Speciality Toy of the year 2007
(USA)
The National Parenting Centres Seal of Approval (USA).
Teachers Choice award (USA).
Parents Magazine Best Toy of the Year (USA).
Oppenheim Toy Portfolio Gold Seal Award (USA).
Creative Child Magazine Top Creative Toy Award.
Canadian Toy Association.
Canadian Toy Testing Council.
We are delighted to have introduced this range into the shop and
now the catalogue. An excellent range for introducing younger
children to creative activities using colour shapes and imagination. In an age of screen media instant stimulation this range of
products is like a breath of fresh air. Although this range has been
primarily aimed at children it has also been very successful in
getting older children and adults into art related activities.
Mini Kit
Crazy Critter Creations
Paint and decorate 6 different bugs and
critters and turn them into magnets, note
holders and cool pins.
Includes paint and paintbrush.
Age 6 to 96.
Code
Price
WCFK1433
5.30
Mini Kit
Beautiful Ballerina
Music Box
Paint a star shaped box, add jewels and

a music button and top it off with a dancing ballerina figure. Includes paint and
paintbrush. Age 6 to 96.
Code WCFK1434
Price
5.30
Mini Kit
Kooky Crazy Mini Cars
Paint 2 kooky cars and decorate with
animal eye headlights and glittery tape.
Then race them around.
Age 6 to 96.
Code
Price
Mini Kit
Fabulous Fancy Fans
Paint 2 paper and bamboo fans.
Add some sparkly touches with glitter
glue, plus use feathers and lace for
more decoration.The fans are a fabulous accent for your room, or use them
for dressing up play. Age range 7 - 96.
Code
Price
WCFK1437
5.30
Mini Kit
Safety Pin Charm & Bead
Bracelet
Create a beautiful trendy bracelet with
and assortment of beads, charms and
safety pins.
Age 5 to 95
Code
Price
WCFK1442
5.30
Mini Kit
Wild & Wonderful
Window Art
Create 6 or more beautiful stained glass
like designs with easy to us squeezable
transparent paint and black outliner.
Age 6 to 96.
Code
Price
WCFK1445
5.30
Mini Kit
Photo Cubes
Create 2 cool photo holders and decorate them with sparkling paint and
rockin rhinestones for your room,
for a friend, or....
Age 7 to 97.
Code
Price
WCFK1458
5.30
WCFK1436
5.30
CHILDRENS SECTION
CHILDRENS SECTION
Mini Kit
10 Opti-Art Rings
Use this unique technique of reverse
painting on crystal clear gemstones to
make 10 rings with an awesome
effect.
Age range 7 - 97.
Code
Price
WCFK1451
5.30
Mini Kit
Lucky Bamboo
Wind Chime
Add peace and tranquility to your room
or garden. Paint 6 natural bamboo
poles and also add beads to them.
Age 5 - 95
Code
Price
WCFK1431
5.30
Mini Kit
Cute Kitty Cat Magnets
Mini Kit
Photo Album
Paint 4 purr-feet cat shaped magnets.

Kit includes paint and paintbrush.
Age 5 - 95
Decorate 2 fabulous photo albums

with self sticking foam shapes. Make
one for you and one for a friend. Age
7 to 97.
Code
Price
WCFK1430
5.30
Code
Price
WCFK1456
4.75
Mini Kit
Butterfly Hair Clips
Mini Kit
Fun Flower Magnets
Create 5 beautiful hair clips with delicate tulle butterflies and easy- tosqueeze sparkling paint.. Age 7 to 97.
Decorate 5 fun flower magnets with

colourful paint and sparkle
glaze.Includes paint and paintbrush.
Age 6 to 96.
Code
Price
WCFK1457
5.30
Mini Kit
Rhinestones & Roses
Barrettes
Decorate 6 hair clips with rhinestones
and roses and then clip them to your
hair to show off your style.
Age 7 to 97.
Code
Price
WCFK1426
5.30
Code
Price
WCFK1463
5.30
Kit Plaster-a-Saurus
Build your own classic Jurassic

dinosaur skeleton and then cover it
with a special water activated plaster
gauze. Finish off your creation with
paint, glitter and 3D eyes. When complete dinosaur measures 22cm tall
and 40cm long. Kit includes a neat
and handy mixing tray, paint, paintbrush and disposable latex-free crafting gloves. Age 10 to 110.
Code
WCFK1152
Price 16.05
DISCONTINUED
CHILDRENS SECTION
CHILDRENS SECTION
Mini Kit
Dragonfly Wind
Chimes
Kit
Ceramic Pet Dish
PDesign and decorate a dainty

mobile.
Squeeze 5 glittery puffy paints
onto 6 glasss-like plastic dragonflies.
When dry, hang to catch a
breeze and enjoy the lovelychime sounds.
Age 6 - 96
Paint your own ceramic pet dish

for your favourite four legged
pet.
The dish is 18cm in diameter by
6cm deep.
The kit includes special nontoxic water-based paint to be
durable on the ceramic surface
and a paintbrush.
Age 7 to 97
Code
WCFK1124
Price
10.68
Code
WCFK1369
Price 9.65
Kit
Its My Life Scrapbook
Kit Ancient Egypt

Discovery Crafts
The classic scrapbook kit

includes a spiral bound scrapbook, decorative papers, stickers,
envelopes, scissors, stencil, glue
and markers. also included a
bonus mini key chain scrapbook.
Age 7 to 97.
Discover the secrets of

Ancient Egypt.
Wrap a mummy, paint a sarcophagus and construct a
pyramid bank.
Paint and decorate your artefacts with water activated plaster gauze, hieroglyphic stickers
and special metallic and sand
paint.
Kit also includes the paint and
paintbrush.
Age 8 to 98.
Code
WCFK1011
Price
17.10
Kit
Mini Window Garden
Create the cutest little garden you
have ever seen .
Paint 2 pots, a real watering can, 3
miniature garden tools and a tray.
Age 8 to 98.
Code
WCFK1120
Price
11.77
Code
WCFK1153
Price
17.10
CHILDRENS SECTION
GLITTER AND GLITTER PAINT
Glitter Gel Paint
A washable range of glitter colours that combine strong
paint with glitter to add sparkle to paint projects:
Available in 10 bright colours that are intermixable.
The Glitter Paint is ready to use direct from the bottle
and it can be easily cleaned up with soap and water.
The bottles are squeezable with a flip top cap to protect
against mess.
Water based and safe for children who cant get
enough of it.
Code
Size
ORGP31
250ml
Code
010
008
009
640
688
Colours
Crystal
Gold
Silver
Light Yellow
Light Green
Price
3.25
Code
657
671
695
664
701
Colours
Orange
Raspberry
Light Blue
Light Pink
Purple
Glitter Glue
A washable Glue and Glitter combination that results
in sparkling jewel like effects that tend to be irresistible
to children.
The Glitter Glue is supplied in an easily squeezable
100ml bottle with a directional nozzle.
Apply directly from the nozzle to any surface.
Comes in 10 key colours that are perfect for cards
and fun creations in general.
Code
Size
ORGG18---
100ml
Code
005
012
029
036
043
Colours
Gold
Silver
Ruby
Diamond
Emerald
Price
2.05
Code
050
067
074
081
098
Colours
Sapphire
Amethyst
Citrine
Aquamarine
Rose Quartz
CUTTING
CUTTING TOOLS / KNIVES
Swan Morton
Trimaway Knife
Heavy Duty Knife
Code TSO.SMT
Code
The classic cutting knife

format.
Best selling disposable knife.
JK7335
Price 81p
Price
3.57
Spare Blades
Code
Price
JK7343-B
Auto Lock
Cutting Knife
with Snap Off
Blade
2 Auto Lock Knife Cutting

Set - 1 slim snap off blade and 1
broad snap off knife.
Code
JK7334
Small
Price
2.03
Code JK7331
Price 46p
Large
Code JK7332
Price 87p
Spare Blades
Code JK7344-B
Price 1.54
Hobby
Cuttng Knife
For craft and
hobby work.
Code
JK7333
Price
2.30
Standard Width
Pack of 5
Note: Fits all standard
width knives in this snap
off range.
Code JK7341-B
Price
72p
Large Width
Note: Fits all large
snap off knives in this
range.
Code JK7342-B
Price
1.01
Rotary
Cutting Knife
With 28mm blade.
Code JK7336
Price 3.05
Spare Slide
& Blades
Code JK7318-B
Price 2.55
Hobby /
Craft Knife Set
Aluminium alloy hobby
knife, 8mm in diameter.
Comes with six different
blades.
Code
JK7338
88
1.13
Price
3.05
Compass Cutter
This cuts circles from 1cm to 15cm diameter in

paper, thin card, film, vinyl sheet, rubber etc.
Includes six spare blades and two pencil
leads.
Code JK7339
Price 3.05
Spare Blades
12 spare blades.
Code JK7365-B
Price 2.03
CUTTING
CUTTING MATS / SCALPEL HANDLES
Cutting Mats
Durable, thick cutting mat with self
healing characteristics. A high friction
surface ensures papers or card are
securely held. Protects tables and desk
tops from ultimate destruction. Beware it
is easy to confuse very cheap mats that
look identical but in fact fall apart very
quickly. 3mm thick. Calibrated in 5cm
lines.
Grade 5
Code
Size
RS005643
RS005618
A5
A4
RS005622
A3
RS005629
A2
RS005636
A1
Price
1.62
1.83
3.41
6.90
12.94
Cutting Tools
Swann-Morton Scalpel, Handle & Blades
Made from high quality Sheffield carbon steel, these are
highly recommended for any regular cutting requirements.
Handles
No.3 (For use with blades 10, 10a, 11, 12, 15, 15a)
No.4 (For use with blades 20, 21, 22, 22a, 23, 24, 25, 26,
27)
No.5 (For use with blades 10, 10a, 11, 12, 15)
No.9 (For use with blades 10, 10a, 11, 12, 15)
TSO.--
Price
4.49
Blades
Pack 5
Code
Code
TSO.--
Note: When ordering please

quote code followed by handle
number code ie: TSO.no.3 =
Swann-Morton Scalpel Handle
Price
0.87
TSO.No10 TSO.No12 TSO.No20 TSO.No22A

TSO.No26
TSO.No10A TSO.No15 TSO.No21 TSO.No24
TSO.No27
TSO.No11 TSO.No15A TSO.No22 TSO.No25
Swann-Morton Set No. 3

Handle plus 5 x 10A Blades.
Code TSO.GAS10A Price
5.46
Note: When ordering

please quote code
followed by blade
number
code
ie:
TSO.no.10 = SwannMorton blade no.10.
89
CUTTING
CUTTING TOOLS
Maped Mountcutters
The Maped cutting system combines the Profila

rules and the Maped cutters to provide an easy
and safe method of cutting board, paper etc.
Excellent stability on all surfaces, due to the
rubber insert in the base of the rulers. The
cutters slot instantly into a groove in the ruler.
Code
Type
Price
UGM172500
Profila Matcutter Kit 60cm
UGM172050
Maped Matcutter 45 Degree
UGM172090
Maped Matcutter 90 Degree
UGM172150
Multicut set of 45 & 90 Degree Cutters
UGM172660
Matcutter Classic Kit 45 & 90 Degree
UGM172800
Maped Universal Matcutter Kit
UGM589100
Maped Multicut Paper Trimmer
UGM089093
Maped Paper Trimmer Blades (2)
83.52
36.16
36.16
53.40
67.32
83.52
39.45
5.10
12.77
37.89
9.74
9.74
55.25
64.52
79.38
92.38
UGM089300
Maped Compact Paper Trimmer
UGM089400
Maped Precise Paper Trimmer
UGM094593
Maped Matcutter Blades 45 degree
UGM099093
Maped Matcutter Blades 90 degree
UGM177060
Maped Profila Rule 60cm
UGM177080
UGM177100
UGM177120
Maped Matcutter 45 degrees
90
CUTTING
CUTTING TOOLS
Cutting Set
with Knife
Spare Blades
2 spare blades.
Code JK7345-B
Code JK7317
Price 2.55
Price 10.20
Slide Cutter &

Mat
Code
Price
JK7318
11.74
Logan 201 Oval/Circle Mat Cutter
The Logan 3-step oval/circle mat cutter is fast, portable, easy to use, and
costs significantly less than most oval/circle mat cutters. Cuts perfect openings every time and needs no other equipment to operate. Easily cuts single, double, or triple mats. Adjustments are made with a simple twist of the
knob. Cut ovals from 3 1/4 x 4 3/4 inches to 20 x 23 inches (8.3 x 12.1 cm
to 50.8 x 58.4 cm.): Cuts circles from 4 1/2 to 20 inches (11.4 to 50.8 cm) in
diameter: Includes illustrated instructions and 5 extra #324 blades. The 201
comes with 1 year manufacturer's warranty.
Code
LOC201
Line Cutter &

Mat Set
Code
Price
JK7319
14.30
Spare Blades
JK7319-B
4.08
Stainless Steel Scissors
With plastic holds.
Code
JK7052 (A)
JK7053 (B)
Size Price
1.53
2.03
18cm
23cm
Price
102.45
A
NEW
91
CUTTING
CUTTING TOOLS
Logan Mountcutters
A simple method to cut unique shapes and designs into mount board using the Logan Freestyle handheld mat cutter. It's easy to use with
either your left or right hand, and is Logan's most affordable mat cutter. Follow traced designs by pushing or pulling the cutter.
Available in red or silver. Uses Logan 324 blade.
Freestyle 1100
Spare Blades 324

Code
Qty.
Price
LRB32420 20
12.62
LRB3245
5
3.51
Fixed blade, adjustable for 2 depths of cuts.
Code
LF1100R
Red
Price
19.26
Code LDPS4000
Price 45.51
Logan 2000 Push Style
The Logan Push Style handheld mat cutter includes a

retractable blade. The blade slot prevents blade flex,
resulting in straighter cuts. A start-and-stop indicator
helps to eliminate over cuts. Can upgrade for use on the
Adapt-A-Rule straight edge and Compact or Simplex
board mounted mat cutting systems. Uses Logan 270
blade.
Code
LPS2000
Price
29.45
Logan 270
Spare Blades for 2000
Code
Price
LRB27010
LRB270100
Logan 4000 Deluxe Pull Style Matt Cutter

Ergonomic grip for more comfortable operation.
The Deluxe Pull Style is Logan's most advanced handheld mat cutter, including features developed and refined by Logan since 1974.
The Deluxe Pull Style includes a marker bar system for faster marking, a
pivot-and-pull blade in the blade slot, and an ergonomic handle.
The blade slot prevents blade flex, resulting in straighter cuts. A start-andstop indicator helps to eliminate over cuts occurring. Can easily be upgraded
for use on the Adapt-A-Rule straight edge and Compact or Simplex board
mounted mat cutting systems. Uses Logan 270 blade (see above).
3.46 (10)
17.74 (100)
Logan 701 Straight Cutting Head

This is a pull type, 90-degree straight cutter
with a comfortable 7.62cm (3") ergonomic
handle. Used with any suitable straight
edge it produces sharp cuts and is ideal for
reducing down mount board, in preparation
for creating mounts for artwork. . It features
three depth settings: safety, single sheet,
and 0.48cm (3/16") for cutting foam board.
It has nylon guides and screws already
attached making it ready to use with the
Logan Adapt-A-Rule, the Logan Team
System, the Logan Compact, the Logan Code LSC701 Price
Intermediate and the Logan Simplex Plus.
Each pack includes five replacement blades. Uses Logan 270 blade.
92
Logan 1500 Foam Board Cutter

Push or pull style, reversible fixed blade foam board cutter
can be used with any suitable straight edge. Cuts 90degree and 45-degree bevel with an adjustable blade
depth of 1/8" (0.32cm), 3/16" (0.47cm), and 3/8" (0.95cm).
Includes three extra blades. Uses Logan 492 blade.
Code
LFC1500
Price 26.07
30.58 Spare Blades 492 (5)

Code
LRB4925
Price
3.46
CUTTING
CUTTING TOOLS
Pattern Scissors Crazy Cutters
Price
1.28
An excellent range of stainless steel and

plastic cutters with novel blade patterns
Code
Pattern
JK7041
Zig Zag
JK7042
Victorian
JK7043
Scallop
JK7044
Deckle
JK7045
Wave
JK7046
Notch
NEW
93
CUTTING
CUTTING TOOLS
Logan Straight Edges
524 and 540
Adapt-A-Rule
All the Logan cutters can be slotted onto
a straight edge to provide straighter,
faster and more accurate cuts.
The 24" (61cm) and 40" (101cm) models
include a non-slip rubberized base and
Imperial or metric ruled guides.
All models include an Upgrade Kit allowing modification of your Logan Handheld Mat Cutter.
Logan 524 24/61cm

Code
Price
LAR524
28.54
Logan 540 40/101cm
Code
Price
LAR540
52.17
NEW
Logan 424 and 440
Team Systems
Get it all in one kit. These practical combination
systems includes a 24" (61cm) or 40" (101cm)
straight edge and a Logan Handheld Mat Cutter
for accurate, high quality mat cutting. Just mark
your borders using the ruled straight edge,
attach the cutting head, and cut from line to
line. All models include a non-slip rubberized
base, US or metric ruled straight edge, and a
Logan Handheld Mat Cutter.
Logan 424 - 24"/61cm with Logan 2000 Push

Style Handheld Cutter.
Code
Price
LTS424
55.54
Code
Price
LTS440
74.84
NEW
Board Mounted Mat Cutters

Logan 301-S Compact Cutter
Quite possibly the worlds most popular mat cutter. 29/60.96cm
capacity.This versatile, portable 32 inch (81.3 cm) cutter provides
affordable and professional results. Great for light duty home
use, this cutter will produce perfect mounts every time! Open
ended guide rail allows bevel cuts in mount boards of any size.
Downsize mat boards up to 29 1/2 inches (74.9 cm.). Includes
parallel mat guide for setting border widths from 3/4 inch to 4 1/4
inches (1.9 cm to 10.8 cm.) Features serrated, spring loaded aluminum guide rail, 5 extra 270 blades, and fully illustrated
instructions. Comes with a 2 year manufacturer's warranty.
Code
LCMC301S
94
NEW
Price
136.13
Price 272.30
NEW
Code
LIC450
Logan 450
Intermediate Plus Straight Cutting Head
The Logan 450 is an all purpose, economical 40 inch mat cutting
system capable of cutting a full size 32 x 40 inch (81.3 cm x 101.6
cm) sheet of mount board. This is a cutter for medium duty home
use: Includes parallel mat guide for setting border widths up to 4 1/4
inches (10.8 cm.). Also features a 90 degree squaring bar for true
corners (not to be confused with the larger squaring arm on other
Logan models.) Includes straight and bevel cutting heads, 5 extra
270 blades. Comes with a 2 year manufacturer's warranty.
CUTTING
CUTTING TOOLS
Logan Framing Accessories
Inserts are the essential framers securing tool once the art
work has been mounted and are simple metal sections
gunned into the moulding sides.
Logan F500-1 Dual Drive Point Driver

The F500-1 Dual Drive insert gun uses stacks of either rigid
or flex point inserts and quickly fires them into your wood
moulding to secure the glass and artwork into the frame.
Unique in that it can use two different point types unlike other
models. All metal construction.
Works with Logan's F53, F54, F55, and F56 points
Code
LDDF5001
Price
76.68
Logan F10
Rigid Insert
400 loose for use framing points.
Code
LRIF10
Price
9.66
Logan F11
Flexible Insert
400 loose for use framing points
Code
LFIF11
Price
9.66
Logan F53
Flexible Point
Insert Strip
Code
LFPSF53
Logan F400 - 1 Fitting Tool

The ideal tool to insert the 4 most popular types of inserts that finish
framed art. Logan's unique swivel foot design (patent pending) drives
single inserts including rigid points, flexible points, brad nails, and multi
points for framing oil paintings. Multi points are an excellent choice for
holding canvas artwork in frames. Multi points can be used as an alternative to flexible points that don't always stay inserted in some types of
pine frames. Features include:
drives 4 different inserts
no slipping or bending
easy adjust foot
use on hard or soft woods
rotating insert holder
proper drive angle assured
no guessing or skill required
improved rubber foot and redesigned swivel point holder increases
product durability
Code
LFTF4001
Price
43.11
Price
5.67
Logan F54
Rigid Point
Insert Strip
Code
LFRPSF54
Price
7.94
95
DRAWING
A GUIDE TO DRAWING MATERIALS
Drawing materials fall into two categories: Dry and wet.
The dry materials include charcoal, graphite, pencils, crayons
and pastels amongst others. The wet materials are Indian inks,
coloured inks, coloured markers, and drawing pens, including
the humble ball point.
Dry Materials
Graphite Pencils
Also known as lead pencils - incorrectly as it happens, as they
are all made of graphite which has been processed to give us
the wide range of pencil leads we see today.
Although the use of graphite in drawing has been known for over
2,500 years, the first real pencils made for mass use were produced by Nicholas Conte at the end of the 19th century.
His development was to mix ground clay with graphite into a
paste. The proportion of clay to graphite determines the hardness or softness of the lead.
The softest pencils are denoted by 9B, 8B etc, down to B.
The hardest pencils are denoted as 9H down to H.
Graphite Sticks
Graphite sticks are made in the form of large sticks, which are
generally although not exclusively much thicker than pencils.
Unlike pencils they are not sleeved in wood.
These are for where a broader more expressive form of drawing
is required.
Slim, pencil thin sticks are available in plastic sleeved versions
which can be more easily sharpened than the thick versions.
Graphite Chunks
Very large graphite chunks are available (but not everywhere) for
very large drawing techniques.
Graphite Powder
Graphite is available in powder form. Great care should be taken
when using this as the particles will float in the air and can be
ingested. Please ensure you wear a dust mask when handling.
Most artists rub the powder onto the surface (generally paper)
and then apply fixative. There are other techniques and formulas
in some of the better known reference books which are worth
looking up for any artist wishing to go into greater depth.
Charcoal
Most charcoal is made from willow trees. The wood is very slowly
charred in an enclosed chamber that restricts the oxygen and
prevents it burning. Charcoal is made in different stick thicknesses ranging from thin to wider thickness (scene painters) and up
to blocks and stumps. The marks obtainable from charcoal vary
from very broad and heavy to the most subtle tones.
Many artists use their fingers and hands to draw in many effects.
Pastels
Although pastels are clearly drawing materials, because of their
nature they are also regarded as a painting medium in their own
right.
Soft pastels are essentially dry pigments that are combined with
a binder and a dry filler material such as chalk or china clay.
Different manufacturers produce pastels with varying degrees of
softness and hardness.
They also produce in some cases two pastel types:
Oil Pastels and Soft Pastels.
The pastel colour ranges very often contain 3 categories :
Pure colours i.e. where no other pigment is used.
Tones of colour where a white is added in varying degrees to
the original colour. These tones move towards white.
Tones of colour where black is added as per above where the
resulting colours move towards black.
Oil Pastels are heavier and greasier than dry pastels and require
a prepared surface to prevent the oil penetrating.
Mixtures of pigment, linseed oil and beeswax amongst others are
used.
The resulting marks made by oil pastels can take a long time to
dry and are not as easy to work with on the ground as are dry
pastels. When using on standard paper it needs to be glue sized
first to stop the oil coming through.
Compressed Charcoal
This is simply standard charcoal that has been compressed into
primarily a pencil form.These are available in paper wrap that can
be peeled as well as in wood encased form. The advantage of
these is they are much easier to sharpen than the charcoal sticks.
This type of charcoal is also available in rectangular stick format.
Oil Bars / Pigment Sticks
Pigments are combined with linseed or stand oil and one of a
number of waxes to form an Oil Bar or Stick. These are in effect
oil paints in a stick form and can be applied directly onto the relevant primed or prepared support whether it is a sized paper or a
primed canvas. Oil Bars and Pigment Sticks can be applied without brushes but can be worked subsequently with brushes if
needed. Because wax is a major component in these products
they should be kept well away from direct sunlight, heaters or
radiators particularly when storing the work.
Wax Crayons
Wax crayons are a mixture of pigment and wax, in a harmless
form that children are safe to use. The resulting colours are not
at all lightfast.
DRAWING
Oil Crayons
These are combinations of pigments and clays plus oils.
First developed by Nicolas Conte in the 18th century, they are
harder than soft pastels but can be applied in a similar manner.
They give more defined colour marks than pastels and wax
crayons.
Coloured Pencils
Coloured Pencils are very popular and, generally have limited
colour permanence. Often they are wax based.
Pay attention and look for genuine pigment names like yellow
ochre or raw sienna as these are more likely to have a better
colour performance than the manufacturers own colour names.
Pastel pencils and watercolour pencils normally have higher
colour performance than standard colour pencils.
The watercolour pencils can be worked on with a wet brush to
create washes.
Dye based Inks

Many of the dye based ranges have to use dyes that are called
fugitive; this means the colours are very prone to fading.
Be particularly careful to read the manufacturers claim.
Try to get supporting technical literature to see what exactly the
colour source is.
As a general rule, the cheapest inks are dye based and the
professional or expensive qualities are pigmented.
Coloured Markers
Generically, these are called felt tipped pens and are available in
a range of key colours. They are solvent based and therefore
quick drying.
Many ranges are dye based as this aids flow through the pen
but the ink is not very lightfast.
This means these products may be good for short term work in
the area of design and illustration but not for the longer term
projects where permanence is a factor.
Wet Drawing Materials
Industry Standards- A Warning

There are no set industry standards that govern inks.
This is important to remember before committing yourself to
making work that may be sold and which could come back to
haunt you if the colours fail to perform over time.
It is important to know that above all it is the duty of the artist to
ensure they know about the materials they are working with.
Inks
Ink is a broad term which refers more to the consistency of the
colours rather than the traditional writing ink we are all familiar
with. The result is there are acrylic based inks as well as pen
inks.
Indian Ink
These inks are made of carbon black pigment, in water and
bound with shellac to make them water-resistant.
The lightfastness of Indian Ink is quite good, and it can be
applied in thin washes with a brush, or with different types of
pens.
When Indian Ink is applied in neat form it dries to a shiny finish.
It is preferable to dilute them if a natural sheen is required.
It is important not to confuse Indian Ink with inks made for fountain pens or technical pens.
These inks are normally not permanent or water resistant.
Coloured Inks
These inks come in two types:
Pigmented inks and Dye based inks. Both types can be used in
pens, brushes or airbrushes.
Pigmented Inks
These have the appearance of watercolours with the main
difference being the binder in the inks has more water resistance
than the binder used in watercolours.
In general, these inks are more lightfast than standard coloured
inks, but there are exceptions, so some experimentation is
recommended.
DRAWING
SKETCHING PENCILS
Drawing / Sketching Pencils
Lyra Art and Design Professional Pencils
A range of 15 key grades of hardness, that covers the majority of professional requirements in fine art, graphic and architecture.
Price
55p
List
70p
Code
Grade
L6699B
L6698B
L6697B
9B
8B
7B
Code
Grade
5B
4B
3B
L6695B
L6694B
L6693B
Lyra Rembrandt
Carbon Pencils
Code
Grade
Code
B
2B
6B
L669B
L6692B
L6696B
L669HB
L669H
L6693H
Grade
HB
H
3H
Code
L669F
L6692H
L6694H
Code
Grade
Code
Grade
Code
Grade
L309W
Soft
L309M
Medium
L309H
Hard
Professional quality carbon pencils.
Price 95p List
Lyra Rembrandt
Sketching Pencils
Code
Grade
Code
Grade
L8744B
4B
L8746B
6B
Professional quality, extra wide pencils

for shading of large areas.
Price
Grade
99p
65p List
69p
Lyra Pro Natura

Pencils
Economical Range of unlacquered graphite pencils. Available in degrees of hardness.
Price 16p
List 20p
Code
Grade
Code
Grade
Code
Grade
Code
L25112H
L25112B
2H
L2511H
L2511F
L2511HB
Grade
HB
Code
Grade
L2511B
2B
Lyra Pro Natura

Rubber Tip Pencil
Code
L2511HB
Grade
HB
Price 18p
List 22p
F
2H
4H
DRAWING
SKETCHING PENCILS
Lyra Robinson Pencils
Student and school pencils economical quality.
Code
L25102H
Grade
2H
Code
Price 23p
Grade
Code
L2510H
List 27p
Grade
L2510HB
Lyra Robinson Rubber Tip Pencil
Code
Grade
HB
L2510B
Code
Grade
Price
28p
L25105HB
HB
List
32p
Faber - Castell 9000 Art Set

Set of 12 Graphite 9000 pencils in a tin geared to the
artist who draws and sketches.
Contains one of each:
8B / 7B / 6B / 5B / 4B / 3B / 2B / B / HB / F / H, / 2H
Price
9.40
Code
FCLPAS
List
11.75
Faber - Castell 9000 Design Set

Set of 12 Graphite 9000 pencils in a tin geared to the
illustrator / designers needs.
Contains one of each:
5B / 4B / 3B / 2B / B / HB / F / H / 2H / 3H / 4H / 5H
Price
9.40
Code
FCLPDS
List
11.75
Faber - Castell 9000 Graphite Pencils

Top quality pencils for regular artists from a company that has been in the business since 1761. The 9000 range is highly resistant to
breakage due to a special bonding process which also enhances their sharpening qualities. For writing, drawing and sketching.
Price 99p
Code
Grade
Code
Grade
Code
Grade
Code
Grade
FCLPHB
FCLPB
FCLP2B
FCLP3B
HB
B
2B
3B
FCLP6B
FCLP7B
FCLP8B
FCLP4B
FCLP5B
6B
7B
8B
4B
5B
FCLP2H
FCLP3H
FCLP4H
FCLP5H
2H
3H
4H
5H
FCLPF
FCLPH
FCLPHB
FCLP6H
F
H
B
6H
DRAWING
SKETCHING PENCILS
Lyra Rembrandt Specials

A range of traditional chalk pencils both oil based and oil free.
Price
95p
List
99p
Red Brown Oil Free
95p
99p
L302
Sepia Light Brown Oil Free
95p
99p
L303
Sepia Dark Brown Oil Free
95p
99p
L304/1
White Chalk, Soft Oil Free
95p
99p
L304/2
White Chalk, Medium - Oil Free
95p
99p
95p
99p
Code
Pencil Type
L300
Red Brown Oil Based
L301
L305
Black Chalk - Oil Free
DRAWING
SKETCHING PENCILS
Lyra Rembrandt Specials

Assorted Pencils in a Tin
Set of 12
An ideal assortment for anyone seriously
interested in drawing and sketching.
Code
L2611M12
Price
12.69
Faber - Castell
PITT Monochrome Artists Pencils
Price 1.45
Faber have been making pencils for professional
artists since 1761 and are highly regarded
around the world.
The Pitt Monochrome pencils are a range of
traditional sketching media in pencil format,
which are rich in pigments and are resistant to
fading. The pencils come in oil based as well as
oil free tones.
Oil-Free
Code
Grade
FC112201
FC112211
FC112288
FC112277
FC112275
Pastel Pencil White/Medium

Pastel Pencil White/Soft
Pastel Pencil Sanguine
Pastel Pencil Light Sepia
Pastel Pencil Dark Sepia
Oil-Based
Code
Grade
FC112920
FC112601
FC112602
FC112603
FC112604
FC112605
Pitt Oil Base Sanguine

Pitt Oil Base Black Ex/Soft
Pitt Oil Base Black Soft
Pitt Oil Base Black Medium
Pitt Oil Base Black Hard
Pitt Oil Base Black Ex Hard
List
13.95
DRAWING
GRAPHITE PENCILS / STICKS / POWDER
Price
Lyra Graphite Aquarelle Pencils
95p
Graphite watercolour pencils, watersoluble for aquarelle techniques.
Code
Grade
Code
L501HB
HB
L5018B
Grade
8B
HB
2B
L3072B
Grade
4B
Price 1.10
Lyra Graphite Woodless Pencils

Code
Grade
Code
Grade
L307HB
Code
L504B
Code
Grade
L3074B
4B
Code
Grade
6B
L3076B
Price
Lyra Graphite Crayons
Code
L3078B
Grade
8B
85p
Available in three degrees of softness. 12mm wide and 120mm long. Ideal for shading and larger area working.
Code
Grade
L17722B
2B
Code
Grade
Code
6B
L17726B
Grade
9B
L17729B
Lyra Ferby Graphite Pencils

A range of large triangular 3B grade graphite unlacquered wooden pencils.
Ideal for educational establishments. 12cm long, 6.25 diameter.
Code
Quantity
L97100
Singles
Price
69p
Code
Quantity
L971C36
Tub of 36
Price
23.85
Price 2.35
PITT Monochrome Graphite Pure
Thick graphite leads with a protective coating for clean handling.

Suitable for expressive shading of large areas. Can be sharpened like a regular pencil.
Code
Grade
Code
Grade
Code
Grade
FCPGPPHB
FCPGPP9B
Pitt Graphite Pure HB

Pitt Graphite Pure 9B
FCPGPP3B
FCPGPP6B
Price 2.39
PITT Monochrome Graphite Crayons
Thick sticks of 12mm Graphite of the same quality as the leads in the Castell 9000 pencils. For large area shading, sketching and drawing.
Code
FCPGC2B
Grade
2B
Code
FCPGC4B
Grade
4B
Code
FCPGC6B
Grade
6B
Code
FCPGC9B
Grade
9B
DRAWING
CHARCOAL
Lyra Rembrandt Wallet Sets of 5 Charcoal Pencils
Code Set
Price
Set of 5 Oil Free Pencils
L1958
4.75
Lyra Rembrandt Charcoal Pencils

A professional quality range of oil free and oil based charcoal pencils
Code
Pencil
L306/1
Soft- oil free
L306/2
Medium- oil free
L306/3
Hard- oil free
L308/1
Ex soft (8B) - oil based
Price
95p
95p
95p
95p
List
99p
99p
99p
99p
Code Pencil
L308/2
Soft (5B) - oil based
L308/3
Medium (HB) - oil based
L308/4
Hard (H) - oil based
L308/5
Ex Hard (3H) - oil base
Price
95p
95p
95p
95p
Faber - Castell PITT Monochrome Pressed Charcoal Sticks and Pencils
List
99p
99p
99p
99p
Price 1.45
Produced from a fine mixture of soot and charcoal to create the deepest black tone and a soft stroke. Very high quality.
PITT Pressed Charcoal Stick

Code
Grade
FCPPCES
FCPPCS
Ex/soft Pressed Charcoal Stick

Soft Pressed Charcoal Stick
Code
Grade
Code
Grade
FCPPCM
FCPPCH
Medium Pressed Charcoal Stick

Hard Pressed Charcoal Stick
FCPPCEH
Ex/Hard Pressed
Charcoal Stick
Lyra Rembrandt Charcoal Pencils
A professional quality range of oil based and oil free pencils.
PITT Charcoal Pencil (Bluish / Black tint) - Oil Free

Code
Grade
Code
Grade
FC112992
Soft Charcoal Pencil
FC112995
PITT Charcoal Pencil (Deep Black) - Oil Free

Code
Grade
Code
FC117403
Soft Pressed Charcoal Pencil
FC117400
Medium Charcoal Pencil
Price 1.45
Code
Grade
FC112993
Hard Charcoal
Pencil
Price 1.45
Grade
Code
Grade
Medium Pressed Charcoal Pencil
FC117411
Hard Pressed
Charcoal Pencil
DRAWING
CHARCOAL / CLUTCH - AUTOMATIC PENCILS
Coates Willow Charcoal
With their own plantation of willow, Coates is a family
run business specialising exclusively in the production of
charcoal which is supplied to artists around the world.
Code
Size
PHCASL
PHCET4
PHCM25
PHCSP12
PHCT25
PHCTK12
PHCTS1
PHCTS100
Assorted short lengths- 30/box

Extra thick sticks 4/box
Medium sticks 25/box
Scene painters sticks 12/box
Thin sticks 25/box
Thick sticks 12/box
Large tree sticks - singles
Large tree sticks 100/box
Price List
2.15
3.85
2.43
4.68
2.35
4.25
3.19
5.45
1.92 3.65
2.23
3.75
1.20 2.42
91.92 220.00
Compressed Charcoal Sets

Black / Grey
Price
Code
Colour
JK7622
JK7623
3.59
3.59
Set of Black
Set of Grey
Clutch / Automatic Pencils

Clutch Pencil for Large Leads
Economical price but high quality clutch pencil
for 5.6mm leads.
Code
CA5347
Price
5.10
List
4.99
Clutch Pencil Leads - 5.6mm

A selection of key sketching grades from Soft
leads to Charcoal and traditional drawing
media. Come in a pack of 6.
Price 2.09
List 2.25
Code
Lead
CACPL2B
CACPL4B
CACPL6B
CACPLC
CACPL71
CACPL73
CACPL77
CACPL78
CACPL45
5.6mm 2B
5.6mm 4B
5.6mm 6B
5.6mm Charcoal
5.6mm White
5.6mm Russet Sepia
5.6mm Lt Brown Sepia
5.6mm Dark Brown Sepia
5.6mm Black
DRAWING
AUTOMATIC PENCILS
Economical Automatic Pencils
Sharplet by Pentel
Price
Ideal for everyday writing and drawing and comes with integral eraser.
Code
Size
Code
Size
Code
Size
A125A
0.5mm
A127C
0.7mm
A129G
0.9mm
2.02
P200 Automatic Pencil by Pentel

Professional quality used for drawing and designing. UKs top selling automatic pencil.
Code
Size
P203
P205
0.3mm
0.5mm
Price
7.14
6.09
Code
Size
P207
0.7mm
Price
6.09
Code
Size
P209
0.9mm
Price
6.09
Refill Leads for

Automatic Pencils
Ideal for paper, tracing and drafting media.
Pentel High Polymer Leads

For all Pentel automatic pencils.
Code
Size
Lead Price
Code
Size
Lead Price
Code
Size
Lead Price
Code
Size
Lead Price
P300B
0.3mm
0.3mm
0.3mm
0.3mm
0.3mm
0.3mm
0.5mm
0.5mm
B
HB
H
2H
3H
4H
4B
3B
C5052B
0.5mm
0.5mm
0.5mm
0.5mm
0.5mm
0.5mm
0.5mm
0.5mm
2B
B
HB
F
H
2H
3H
4H
C5055H
0.5mm
0.5mm
0.7mm
0.7mm
0.7mm
0.7mm
0.7mm
0.7mm
5H
6H
2B
B
HB
F
H
2H
P503H
0.7mm
0.7mm
0.9mm
0.9mm
0.9mm
0.9mm
0.9mm
3H
4H
2B
B
HB
H
2H
P300HB
P300H
P3002H
P3003H
P3004H
C5054B
C5053B
2.21
2.21
2.21
2.21
2.21
2.21
1.49
1.49
C505B
C505HB
C505F
C505H
C5052H
C5053H
C5054H
1.49
1.49
1.49
1.49
1.49
1.49
1.49
1.49
C5056H
P502B
P50B
P50HB
P50F
P50H
P502H
1.49
1.49
1.21
1.21
1.21
1.21
1.21
1.21
P504H
P50/92B
P50/9B
P50/9HB
P50/9H
P50/92H
Pentel Coloured Leads

Super strong with dense composition and slow wear rate.
Code
Colour
Size
PPB/5
Blue
Blue
Blue
0.5mm
0.7mm
0.9mm
PPB/7
PPB/9
Price
3.63
2.37
2.37
Code
Colour
Size
PPR/5
Red
Red
Red
0.5mm
0.7mm
0.9mm
PPR/7
PPR/9
Price
3.63
2.37
2.37
1.21
1.21
1.21
1.21
1.21
1.21
1.21
DRAWING
COLOURED PENCILS
Lyra Rembrandt Polycolour
A high quality range of intense colours for artists, graphic
artists, designers and architects. Combines strong tones as
well as delicate nuances. They are light and water resistant
.
Price 1.10
List 1.30
Code
Colour
Code
Colour
L60001
L60002
L60004
L60005
L60006
L60007
L60008
L60009
L60013
L60015
L60017
L60018
L60021
L60024
L60026
L60027
L60028
L60029
L60030
L60031
L60032
L60033
L60034
L60035
L60036
L60037
L60038
L60039
L60041
L60043
L60044
L60046
L60047
L60048
L60049
L60050
L60051
L60053
L60054
White
Cream
Zinc Yellow
Lemon Cadmium
Light Chrome
Lemon
Canary Yellow
Orange Yellow
Light Orange
Dark Orange
Vermilion
Scarlet Lake
Geranium Lake
Rose Carmine
Dark Carmine
Light Carmine
Rose Madder Lake
Pink Madder Lake
Dark Flesh
Medium Flesh
Light Flesh
Wine Red
Magenta
Red Violet
Dark Violet
Blue Violet
Violet
Light Violet
Delft Blue
Deep Cobalt
Light Cobalt
Sky Blue
Light Blue
True Blue
Oriental Blue
Paris Blue
Prussian Blue
Peacock Blue
Aquamarine
L60055
L60058
L60059
L60061
L60062
L60063
L60065
L60067
L60068
L60070
L60071
L60072
L60073
L60074
L60075
L60076
L60080
L60082
L60083
L60084
L60085
L60087
L60089
L60090
L60091
L60092
L60093
L60094
L60095
L60096
L60097
L60098
L60099
L600195
L600196
L600197
L600198
L600199
L600299
Night Green
Sea Green
Hookers Green
Viridian
True Green
Emerald Green
Juniper Green
Sap Green
Moss Green
Apple Green
Light Green
Grey Green
Olive Green
Cedar Green
Dark Sepia
Vandyke Brown
Raw Umber
Brown Ochre
Gold Ochre
Ochre
Light Ochre
Burnt Ochre
Cinnamon
Venetian Red
Pompeian Red
Indian Red
Burnt Carmine
Purple
Light Grey
Silver Grey
Medium Grey
Dark Grey
Black
Light Grey Warm
Silver Grey Warm
Med Grey Warm
Dark Grey Warm
Black Soft
Black Hard
Lyra Rembrandt Polycolour Sets in Tins

Code
Set
Price List
L2600M12
L2600M24
L2600M36
12 Assorted Colours
24 Assorted Colours
36 Assorted Colours
11.75
24.00
35.69
12.95
25.95
38.50
Lyra Rembrandt Splender

A colourless blender. Facilitates the blending of coloured
drawings into smooth glossy surfaces by applying just a
little pressure or by reducing the pressure. Colours can be
blended into smoother transitional areas of tone and
colour. A valuable drawing tool.
Code
L60200
Price
1.10
List
1.30
DRAWING
COLOURED PENCILS
Lyra Rembrandt Aquarelle
Artists coloured pencils, offer 72 distinctive shades for artists who require
professional quality pencils.The finest pigments contained in the coloured
leads (4mm diameter) can be dissolved almost completely in water.
Techniques that can be used with these pencils range from opaque colours
to transparent tints. Blending allows lines and shaded areas to be created
easily with a wet brush.
Colour brilliance and light fastness are of a very high standard.
These pencils are only available in sets.

Code Colour
Code
Colour
L70001 White
L70055 Night Green
L70002
L70004
L70005
L70006
L70007
L70008
L70009
L70013
L70015
L70017
L70018
L70021
L70024
L70026
L70027
L70028
L70029
L70030
L70031
L70032
L70033
L70034
L70035
L70036
L70037
L70038
L70039
L70041
L70043
L70044
L70046
L70047
L70048
L70049
L70050
L70051
L70053
L70054
Cream
Zinc Yellow
Lemon Cadmium
Light Chrome
Lemon
Canary Yellow
Orange Yellow
Light Orange
Dark Orange
Vermilion
Scarlet Lake
Pale Geranium Lake
Rose Carmine
Dark Carmine
Light Carmine
Rose Madder Lake
Pink Madder Lake
Dark Flesh
Medium Flesh
Light Flesh
Wine Red
Magenta
Red Violet
Dark Violet
Blue Violet
Violet
Light Violet
Delft Blue
Deep Cobalt
Light Cobalt
Sky Blue
Light Blue
True Blue
Oriental Blue
Paris Blue
Prussian Blue
Peacock Blue
Aquamarine
L70058
L70059
L70061
L70062
L70063
L70065
L70067
L70068
L70070
L70071
L70072
L70073
L70074
L70075
L70076
L70080
L70082
L70083
L70084
L70085
L70087
L70089
L70090
L70091
L70092
L70093
L70094
L70095
L70096
L70097
L70098
L70099
L700195
L700196
L700197
L700198
L700199
L700299
Sea Green
Hookers Green
Viridian
True Green
Emerald Green
Juniper Green
Sap Green
Moss Green
Apple Green
Light Green
Grey Green
Olive Green
Cedar Green
Dark Sepia
Vandyke Brown
Raw Umber
Brown Ochre
Gold Ochre
Ochre
Light Ochre
Brown Ochre
Cinnamon
Venetian Red
Pompeian
Indian Red
Burnt Carmine
Purple
Light Grey
Silver Grey
Medium Grey
Dark Grey
Black
Light Grey Warm
Silver Grey Warm
Medium Grey Warm
Dark grey Warm
Black Soft
Black Hard
Lyra Rembrandt Aquarelle Sets in Tins

Code
Set
Price
List
L2700M12
L2700M24
L2700/M36
12 Assorted Colours
24 Assorted Colours
36 Assorted Colours
Lyra Rembrandt Aquarelle Pencil Wood Set

Code L2700/2000
Price 120.96
Contents : 96 Rembrandt Aquarelle Coloured Pencils, 1 Black
Chalk Pencil, 3 Graphite Aquarelle Pencils, 1 Erasing Knife, 1
Sandpaper Block, 1 Eraser, 1 Sharpener, 2 Brushes nos. 5/8.
11.50
23.50
34.95
12.95
25.95
38.50
DRAWING
PENS / SKETCHING - DRAWING - BRUSH
Edding 1200 Colour Pen

Code ED1200-- Price 95p
Colour Codes
001 Black
002 Red
003 Blue
004 Green
005 Yellow
006 Orange
Rolinx Mapping Pens

Mapping pen complete with pen
holder to protect nib.
Code
W7013237
Price
2.73
007 Brown
008 Violet
009 Pink
010 Light Blue

011 Light Green
012 Grey
Rotring Art Pens

Art Pens are a very high quality range of durable
sketching pens that are highly valued by regular
artists. Nibs are interchangeable.
Ink is cartridge fed.
Code
Grade
RUAPSEF
RUAPSF
Ex-Fine
Fine
Price
15.89
15.89
Rotring Ink Cartridges Black

Code
Qty
Price
RUAPICB
1.31
Other colours :
Code
RUAPICT
RUAPICRB
RUAPICBR
RUAPICUB
Colour
Turquoise
Royal Blue
Brown
Ultra Blue
Gillott Drawing Pens
Gillott Mapping Pens
Pack of 8 assorted drawing nibs and penholder
This pack contains 6 nibs, 2 each of 3 points

plus a penholder.
Code
W7013239
Price
13.51
Code
W7013238
Price
10.69
DRAWING
BRUSH PENS
Kuretake Artist Sketching Pen
This is an excellent economical drawing instrument that is hugely popular with younger artists, students or anyone requiring a simple drawing pen. The plastic fine point allows the creation of fine point sketches. The ink is rapid drying and permanent allowing for the overlay of
colour washes without blurring or running. Can be used on paper, acetate, film, glass or plastic.
Code
KASPBL
Colour
Tip Size
Black
0.5mm
Kuretake Art and Graphic

Twin Tip Brush Pens
Price
1.57
Code
KTUT80---
Code
KASPSE
Price
2.30
An extensive range of twin tip brush

pen markers for both professionals and hobbyists. The fine tip is 2mm for
detail work and the flexible brush tip enables broad strokes and area
colouring to be done.
It is in effect a watercolour brush pen using a water based dye ink which
is Xylene free and odourless. 80 colours.
Code Colour
1
2
3
4
5
6
8
9
10
13
16
20
21
22
23
24
25
29
31
34
35
36
37
38
42
43
49
50
51
53
54
55
56
57
59
60
61
62
63
70
Yellow
Red
Blue
Orange
Green
Violet
Grey
Black
Light Yellow
Pastel Yellow
Gold Ochre
Magenta
Light Carmine
Dark Carmine
Bordeaux
Scarlet
Light Vermilion
Carmine
Glacier Blue
Light Blue
Turquoise
Indigo
Cyan
Sea Green
Light Orange
Flesh
Fawn
Willow Green
Light Green
Lime Green
French Green
Green Earth
Light Olive
Olive Green
Hookers Green
Light Mauve
Dark Mauve
Lavender
Delft Blue
Burnt Ochre
Code Colour
71
72
73
74
75
76
77
80
81
82
83
84
85
86
87
110
200
202
207
220
222
230
260
302
303
308
313
434
474
505
550
602
660
703
727
800
803
805
815
890
Light Brown
Dark Sand
Burnt Sienna
Cool Grey 11
Bistre
Vandyke Brown
Warm Sepia
Cool Grey 5
Silver Grey
Cool Grey 7
Dove Grey
Cool Grey 3
Warm Grey 7
Ash Grey
Cool Grey 9
Bright Yellow
Pale Magenta
Light Magenta
Pale Flesh
Blush
Salmon
Pale Mauve
Tuscan Red
Pastel Blue
Sky Blue
Pale Cyan
Aqua
Peach
Dark Beige
Pastel Green
Pale Green
Pastel Violet
Deep Violet
Rose Wood
Mahogany
Cool Grey 1
Warm Grey 3
Warm Grey 5
Warm Grey 15
Cool Grey 13
Colour
Tip Size
Sepia
0.5mm
Price
1.57
Edding 1340 Brush Pen

The Edding Brush Pen has waterbased ink to allow colours to blend.
The brush-like tip gives you all the
freedom and flexibility of a paintbrush, but with greater control.
The brush tip provides variable
stroke width depending on the
pressure exerted.
Code
ED1340--
Price
1.29
Code
Colour
001
002
003
004
005
006
007
008
009
010
011
012
Black
Red
Blue
Green
Yellow
Orange
Brown
Violet
Pink
Light Blue
Light Green
Grey
DRAWING
ROTRING TECHNICAL PENS
The Rapidograph has virtually transformed technical pens due to its being virtually
maintenance free combined with superior performance.These pens produce precise,
light-resistant waterproof lines, which combined with its performance characteristics
results in its great popularity with professionals such as technical draftsmen, designers,
architects, graphic designers and artists. The unique disposable venting cartridge system is the secret of its success combined with its design and build quality.
Rapidograph Pens
Code
Size
RURTP10
RURTP13
RURTP18
RURTP20
RURTP25
RURTP30
RURTP35
0.10mm
0.13mm
0.18mm
0.20mm
0.25mm
0.30mm
0.35mm
Price
31.25
31.25
31.25
26.45
26.45
24.99
24.99
Rapidograph Spare Nibs

Code
Size
Price
RURTSN10
RURTSN13
RURTSN18
RURTSN20
RURTSN25
RURTSN30
0.10mm
0.13mm
0.18mm
0.20mm
0.25mm
0.30mm
25.45
25.45
25.45
16.83
16.83
15.99
Code
Size
RURTP40
RURTP50
RURTP60
RURTP70
RURTP80
RURTP100
0.40mm
0.50mm
0. 60mm
0.70mm
0..80mm
1.00mm
Code
Size
RURTSN35
RURTSN40
RURTSN50
RURTSN60
RURTSN70
RURTSN80
0.35mm
0.40mm
0.50mm
0. 60mm
0.70mm
0..80mm
Price
24.99
24.99
24.99
24.99
24.99
24.99
Price
15.99
15.99
15.99
15.99
15.99
15.99
Code R1556136
Rapidograph
College Set
Price
51.25
RRP
72.47
12 Pencil Leads
0.5mm
1 Eraser
3 pens: .25mm, .
1 Compass Adaptor
35mm, .50mm
3 Pen Station
1 Mechanical Pencil 1 Multi-purpose
0.5mm
Template
Contents include:
Isograph Pens
The Isograph is a refillable technical pen with a durable and precise stainless steel nib
point. A range of nib sizes can be interchanged.
Code
Size
RUIP10
RUIP13
RUIP18
RUIP20
RUIP25
RUIP30
RUIP35
0.10mm
0.13mm
0.18mm
0.20mm
0.25mm
0.30mm
0.35mm
Isograph Spare Nibs

Code
Size
RUISN10
RUISN13
RUISN18
RUISN20
RUISN25
RUISN30
RUISN35
0..10mm
0.13mm
0.18mm
0.20mm
0.25mm
0.30mm
0.35mm
Price
31.25
31.25
31.25
31.25
31.25
24.05
24.05
Price
22.45
22.45
22.45
16.83
16.83
15.99
15.99
Code
Size
RUIP40
RUIP50
RUIP60
RUIP70
RUIP80
RUIP100
0.40mm
0.50mm
0..60mm
0.70mm
0.80mm
1.00mm
Code
Size
RUISN40
RUISN50
RUISN60
RUISN70
RUISN80
RUISN100
0.40mm
0.50mm
0..60mm
0..70mm
0.80mm
1.00mm
Price
24.05
24.05
24.05
24.05
24.05
24.05
Price
15.99
15.99
15.99
15.99
15.99
15.99
Code R1516136
Isograph
Mixed College
Set
Contents include:
3 pens: .25mm,
.35mm, 50mm
1 Mechanical
Pencil
12 Pencil Leads
Price
48.05
RRP
56.45
1 Rotring Ink 100ml

1 Rotring Compass
Pen Holder
1 Eraser
1 Multi-purpose
Template
DRAWING
TECHNICAL / FINELINER PENS/ CARTRIDES
Rapidograph Ink Cartridges
Code
Colour
Qty
RURCBLA
RURCBL
RURCR
Black
Blue
Red
3
3
3
Rotring Cleaning Fluid

Price
3.59
4.55
4.55
Code
Size
RUCF100
100ml
Price
6.85
Fineliners
Edding 55 Fineliner
Price 1.25
Code
Colour
Code
Colour
Code
Colour
Code
Colour
ED55001
ED55002
ED55003
Black
Red
Blue
ED55004
ED55005
ED55006
Green
Yellow
Orange
ED55007
ED55008
ED55009
Brown
Violet
Pink
ED55010
ED55011
ED55012
Light Blue
Light Green
Grey
Edding Profipen 1800

Price 3.11
Code
Colour
Size
Code
Colour
Size
Code
Colour
Size
ED18000011
ED18000013
ED18000015
ED18000017
ED18000451
ED18000453
ED18000455
ED18000457
Black
Black
Black
Black
Sepia
Sepia
Sepia
Sepia
0.1
0.3
0.5
0.7
0.1
0.3
0.5
0.7
ED18000031
ED18000033
ED18000035
ED18000037
ED18000041
ED18000043
ED18000045
ED18000047
Blue
Blue
Blue
Blue
Green
Green
Green
Green
0.1
0.3
0.5
0.7
0.1
0.3
0.5
0.7
ED18000021
ED18000023
ED18000025
ED18000027
Red
Red
Red
Red
0.1
0.3
0.5
0.7
DRAWING
FINELINERS
Stabilo Point 88 Fineliner Pen
The best selling fibre pen with a range of 20 colours in a water based ink. For all general drawing and sketching requirements.
0.4mm tip.
Code
SS88---
Price List
1.09 1.15
Code
Colour
Code
Colour
Code
Colour
Code
Colour
13
32
36
40
Ice Green
Ultramarine
Green
Red
43
44
45
46
Leaf Green
Yellow
Brown
Black
51
54
55
56
Turquoise Blue
Orange
Violet
Pink
58
63
89
94
Lilac
Olive Green
Dark Ochre
Light Grey
41
Dark Blue
50
Crimson
57
Azure
96
Dark Grey
Stabilo Point 88 Fineliner Pen Sets
Stabilo Point 88 Fineliner Mini Pen Sets
Available in packs of 6, 10 or 20 assorted key colours.
Same as above but half the size.
Code
SS88/6
SS88/10
SS88/20
Size
6 Assorted Colours
10 Assorted Colours
20 Assorted Colours
Price
6.48
10.80
21.60
List
7.49
11.50
22.52
Code
Size
SS68808
SS68812
SS68818
8 Assorted Colours
12 Assorted Colours
18 Assorted Colours
Price
4.55
6.85
10.25
DRAWING
TWIN-TIP MARKERS
Permanent Twin-Tip ProMarkers
NEW
When starting out, entry-level ProMarkers offer great value and top-performance.
Each pen is double-ended, with a broad chisel nib for large area fills and a fine bullet tip for more detailed work. ProMarkers contain alcohol based inks and come in a range of 148 colours.
ProMarkers produce vivid, bright colours right through to the subtlest pastel shades - the translucent inks can also be overlaid and blended, even further extending the range of shades and hues on offer. ProMarker's quality nibs and inks provide flawless colour lay down with
consistent coverage and no unsightly streaking.
Alcohol based, non-toxic, permanent ink
Multi surface application: use on paper, card, vellum, acetate, glass, wood, metal and plastic
Code
Outstanding tone and vibrancy
Colours are transparent and can be overlaid to create a variety of tone and shading effects
LPMTT------ Ideal for illustrators, students and hobbyists
Twin tipped allowing for a variety of strokes within one marker
148 colours available
Price
1.99
Two Built In Nibs - ProMarkers are twin-tipped, with a fine bullet nib for detailing and a wider, chisel shaped nib for colouring in larger
areas. The chisel nib can also provide a further variety of line widths depending on which side is used.
Non-Toxic - ProMarkers are certified non-toxic and conform to standard ASTM D-423
Alcohol Based Ink - Because ProMarker ink is alcohol based, it can be regarded as permanent and will apply to a variety of different surfaces, not just paper and card. ProMarkers can be used on glass, acetate, plastic, ceramic, wood, metal, etc.
Extended Colour Depth - ProMarker colours have a translucent quality and can be layered to achieve varying depth and opacity. Going
over the same spot creates a darker tone of the same colour, enabling a versatile range of shading effects.
High Quality, Dye-Based Colour - The colour dyes used in ProMarkers ensure even colour lay down, with outstanding vibrancy and tonal
variation. Unlike ordinary felt tipped pens or low grade markers, ProMarker colour appears perfectly even, with no unsightly streaking.
Fully Blendable - It's possible to overlay different ProMarker colours to produce new colours and, depending on how wet the ink is, smooth
transitions can be achieved. A special ProMarker Blender is available separately - this can be used to soften and merge colours together.
Wide Colour Range - ProMarker offers an extensive palette of 148 colours, ranging from subtle pastels through to bold vibrant hues.
The colours provide for a broad range of creative applications, from design and illustration through to comic art and all kinds of craft-based
activities.
DRAWING
MARKER PENS
Kuretake Twin-Tip KC1100
Professional quality graphic markers
specifically made forth the serious
illustrator or designer.
This range has proved very popular with
our customers. The twin tips are a broad
wedge shaped tip at one end and a fine
point at the other.
The ink is an alcohol based dye with low
odour.
The colours are rated as permanent.
The large size of the marker ensures
a very good ink capacity. Refillable.
There are 108 colours graded into
separate categories, which cover the
majority of tones required by
illustrators and artists.
Note: When ordering please state product
code followed by colour No. i.e
KC1100218 = Kuretake Twin Tip Red.
Code
KC1100---
Price
3.99
218
407
106
102
508
304
Red
Orange
Yellow
Lemon Yellow
Green
Cobalt Blue
208
217
215
406
504
506
Carmine Red
Cadmium Red
Scarlet Red
Cadmium Orange
Light Green
Ocean Green
420
404
104
124
505
534
Flesh Colour
Bright Yellow
Mid Yellow
Yellow Green
May Green
Turquoise Green
Mid Brown
Mustard
Dark Oatmeal
Ochre
Mid Green
Emerald Green
Code Colour
334
364
366
665
262
285
Persian Green
Cornflower Blue
Dull Blue
Deep Pink
Pale Rose
Blood Red
Warm Colours:
Code Colour
W01
W02
W03
W04
W05
W06
Warm Grey 1
Warm Grey 2
Warm Grey 3
Warm Grey 4
Warm Grey 5
Warm Grey 6
Code Colour
W07
W08
W09
W10
W11
900
Warm Grey 7
Warm Grey 8
Warm Grey 9
Warm Grey 10
Warm Grey 11
Black
Pale Colours:
Code Colour
780
140
100
120
501
520
317
607
225
705
828
900
268
266
264
793
544
567
Blue
Violet
Pink
Brown
Grey
Black
Oatmeal
Mellow Yellow
Pale Yellow
Barium Yellow
Pale Green
Green Shadow
Code Colour
330
340
341
602
741
200
Pale Blue
Haze Blue
Shadow Mauve
Lilac
Blush
Pale Pink
Code Colour
Code Colour
315
609
637
229
723
767
Persian Blue
Deep Violet
Purple
Dark Pink
Sand
Dark Brown
838
843
841
845
847
823
Mid Grey
Brick Beige
Pale Dawn Grey
Green Grey
Slate Grey
Dawn Grey
Code Colour
539
316
339
378
769
808
Marine Green
Menthol Violet
Peacock Blue
Deep Blue
Deep Brown
Natural Grey
Pale Aqua
Light Blue
Light Violet
Light Pink
Light Carmine
Beige
Code Colour
824
831
821
801
803
805
Blue Grey
Grey Tint
Pale Grey
Light Grey
Grey Brown
Dark Grey
Cool Colours:
Code Colour
Code Colour
531
302
634
221
204
732
Deep Red
Wine Red
Geranium Red
Light Brown
Olive Green
Deep Green
Grey Colours:
Natural Colours:
Code Colour
764
736
784
153
542
553
Code Colour
Code Colour
Brilliant Colours:
Code Colour
Code Colour
Deep Colours:
Basic Colours:
Code Colour
Dull Colours:
C01
C02
C03
C04
C05
C06
Cool Grey 1
Cool Grey 2
Cool Grey 3
Cool Grey 4
Cool Grey 5
Cool Grey 6
Code Colour
C07
C08
C09
C10
C11
900
Cool Grey 7
Cool Grey 8
Cool Grey 9
Cool Grey 10
Cool Grey 11
Black
Kuretake Single Tip KC500

Refillable, single tip graphic markers.
The same ink and colours are used in the
KC500 as are used in the KC1100.
The pens have a single broad wedge
shaped tip.
Alcohol based ink.
Code
KC500---
Price
2.08
Colour list same as

KC1100 Twin Tip above.
DRAWING
EDDING PENS & MARKERS
Edding 142 OHP Marker Medium

Code
Colour
Code
ED142M001
Black
ED142M002
Edding 2000 Permanent Marker- Bullet

Code
Colour
Code
ED2000C001
Black
ED2000C002
Edding 2200 Permanent Marker Chisel

Code
Colour
Code
ED2200C001
Black
ED2200C002
Edding 300 Permanent Marker- Bullet

Code
Colour
Code
ED300001
Black
ED300002
Edding 330 Permanent Marker- Chisel

Code
Colour
Code
ED330001
Black
ED330002

Code
Colour
Code
ED390001
Black
ED390002
Price 1.49
Colour
Code
Colour
Code
Colour
Red
ED142M003
Blue
ED142M004
Green
Price 1.96
Colour
Code
Colour
Code
Colour
Red
ED2000C003
Blue
ED2000C004
Green
Colour
Code
Colour
Price 1.96
Colour
Code
Red
ED2200C003
Blue
ED2200C004
Green
Price 1.08
Colour
Code
Colour
Code
Colour
Red
ED300003
Blue
ED300004
Green
Price 1.08
Colour
Code
Colour
Code
Colour
Red
ED330003
Blue
ED330004
Green
Price
3.69
Colour
Code
Colour
Code
Colour
Red
ED390003
Blue
ED390004
Green
DRAWING
EDDING PENS & MARKERS

Code
Colour
Code
ED400001
Black
ED400002

Code
Colour
Code
ED500001
Black
Edding 750 Paintmarker

Code
Colour
ED750053
Gold
ED500002
Colour
Code
Colour
Code
Colour
Red
ED400003
Blue
ED400004
Green
Price 3.15
Colour
Code
Colour
Code
Colour
Red
ED500003
Blue
ED500004
Green
Price 3.49
Code
Colour
Code
Colour
Code
Colour
ED750054
Silver
ED750055
Copper
ED750049
White
Edding 780 Paintmarker Ex Fine

Code
Colour
ED780001
ED780054
Price 2.11
Ex-Fine Black
Ex-Fine Silver
Price 3.56
Code
Colour
Code
Colour
ED780049
ED780055
Ex-Fine White
Ex-Fine Copper
ED780053
Ex-Fine Gold
Price 5.49
Code
Colour
Code
Colour
Code
Colour
Code
Colour
ED800001
Black
ED800002
Red
ED800003
Blue
ED800004
Green
DRAWING
MARKERS
Pentel Speciality Marker MSP5
Spirit based ink for writing / marking on
metal, glass, wood, plastic, rubber, card
and paper. Fibre tipped. Fine point.
Code
Colour
MSP5W
MSP5NZ
Fine White
Fine Silver
Code
Colour
MMP5NX
Gold
Code
Colour
N50A
N50B
Black
Red
Price
4.16
4.16
Code
Colour
MSP5NX
Fine Gold
Code
Colour
MMP5NZ
Silver
Price
4.16
Pentel Paint Marker MMP5N

Cellulose paint markers. Fine bullet
point. Permanent, opaque ink for many
surfaces: Same as for MSP5 above.
Price
3.98
Price
3.98
Pentel Heavy Duty Marker N50

Permanent marker designed to tackle
the toughest jobs. Durable, hard wearing
tip. Will mark on the same surfaces as
the MSP5 and MMP5 above. Bullet tip.
Price
2.33
2.33
Code
Colour
N50C
N50D
Blue
Green
Price
2.33
2.33
Code
Colour
N60C
N60D
Blue
Green
Price
2.33
2.33
Pentel Heavy Duty Marker N60

Chisel tip. Same specifications as N50
Code
Colour
N60A
N60B
Black
Red
Price
2.33
2.33
Pentel Graphic Marker S520
Price 1.52
Coloured range of economical marker
pens for the studio, home or office.
Fibre tipped, high quality ink.
Comes in 12 colours and writes for
900 metres.
Code
Colour
Code Colour
Code
Colour
Code Colour
S520A
S520B
S520E
Black
Red
Brown
S520G Yellow
S520P Pink
S520V Violet
S520C
S520D
S520F
Blue
Green
Orange
S520N
S520S
S520Y
Code
Colour
M180C
M180D
Blue
Green
Grey
Sky Blue
Ochre
Pentel Jumbo Markers M180

Extra capacity jumbo marker with wide chisel
felt tip which gives a variable line width up to
14mm. For large writing such as signs, posters.
Code
Colour
M180A
M180B
Black
Red
Price
5.59
5.59
Price
5.59
5.59
DRAWING
MARKERS / ACCESSORIES
Code
Colour
RS525653
RS524359
RS527855
RS525950
RS523055
Black
Blue
Red
Yellow
White
Chinagraph Markers
Ideal for marking on glass, plastic, film, paper, metal, rubber or any smooth surface.
Hancocks Universal Markers
Price 99p
Price 72p
Waterproof range of coloured markers made for marking almost any type of
surface both internal and external.
Code
Colour
Code
Colour
Code
Colour
HUMBLU
HUMRED
HUMYEL
Blue
Red
Yellow
HUMBLA
HUMSIL
Black
Silver
HUMGRE
HUMWHI
Green
White
Drawing Accessories
Daler Rowney
Bottled Perfix
Daler Rowney Perfix

Low Odour Aerosol Fixative
For application with a diffuser.

For pencil, charcoal, pastel or crayon
drawings.
A very popular fixative due to its having

little or no odour. For pencil, charcoal,
pastel, or crayon drawings.
Code
DRM700017
DRM700064
Size
75ml
175ml
Price
4.73
8.19
Code
Size
DRM000025
DRM000034
150ml
400ml
Price
4.73
9.10
Canale Fixative
Excellent value aerosol fixative for securing
most artists drawings.
Non-yellowing ,colourless and quick drying.
Suitable for drawings done in pencil,
charcoal, pastels or crayons.
Code
Size
CAF34
400ml
Price List
5.55 6.90
DRAWING
DRAWING ACCESSORIES
Spray Diffuser
A handy tool for atomising liquids from a container, available in two
sizes both with wooden mouthpieces.
Code
Size
CASDL
CASDS
Large (3mm)
Small (2mm)
Price
2.55
1.65
List
3.95
2.75
Charcoal Holder (A)

A
A useful tool for holding charcoal so the hands remain clean as well
as enabling the artist to draw with small pieces.
Code
CAMPS05
Price List
1.99 3.20
Pencil Extender (B)

A wooden handled pencil holder, which enables the artist to extend
the life of pencil stumps, which would otherwise be thrown away.
Pays for itself.
Code
CAMPS06
Price List
1.39 1.90
Ruling Pen
A lightwweight ruling pen which has an adjustable line width.
Code
CAMPS07
Price List
1.99 4.25
Sandpaper Block
A block of sandpaper sheets fastened to a wooden handle, for

sharpening and pointing pastels and pencils.
Code
CAMPS10
Price List
0.99 1.05
Erasing Shield
This erasing shield is an essential tool for every artist who uses a
pencil. It has 26 different shaped holes for selective erasing on a
pencil drawing.
Code
CAMPS12
Price List
0.75 2.10
Dusting Brush
For the careful removal of debris from works on paper when to do
so by hand would result in smudging.
Code
TS760100
TEL: 020 7377 8855
Price
6.65
DRAWING
DRAWING ACCESSORIES
Economical PVC Pencil Case A
Code
Price
JK7456
2.05
Large Economical PVC Pencil Case

Code
Price
B
JK7457
2.69
Metal Pencil Sharpeners

Code
Size
JK5013
1 Hole
JK5014
2 Hole
Price
25p
50p
Trio Pencil Sharpener (D)

Popular with our staff as this is a clever,
hinged container sharpener design.
TRIO
Contains a metal double hole sharpener and a

plastic sharpener for coloured pencils.
Code
JK5018
Price
2.69
F
Automatic Pencil Lead
Sharpener (F)
Automatic pencil lead pointer for 2 &
3.15 mm leads.
Code
FC186600
Drum Plastic Sharpener (E)

E
Price
4.09
Code
LY9588
Price List
1.51 1.95
Pencil Sharpener Spare Blades

Box of 10.
Code
JK5209
Price
2.69
(D)
DRAWING
DRAWING ACCESSORIES
Erasers
discontinued
Soft Eraser (A)

discontinued
For general pencil and charcoal erasures
Code
Price
List
B
discontinued
CAER200
20p
30p
Hi-Tek Eraser (B) discontinued

Code
Price
List
CAER100
20p
30p
25p
List
30p
Plastic Eraser (C)

Code
Price
CAER208
Kneadable Putty Eraser - small (D)

Code
Price
List
CAER05
99p
1.30
Design Office Plastic Eraser (E) discontinued

Hard plastic eraser for erasing on smoother papers without
leaving traces.
discontinued
Code
CAER32
Price
35p
List
38p
Conte - Putty Eraser

Popular with professionals.
Code
COPUTT
Price
1.09
RRP
1.35
Winsor & Newton - Kneaded Putty Eraser

Contained in sleeve.
Code
Size
W7030576
Medium
Price
1.72
RRP
1.90
Winsor & Newton - Kneadable Eraser

Contained in sleeve.
Code
Size
W7030618
Large
Price
3.58
RRP
3.90
DRAWING
DRAWING ACCESSORIES
Lyra - Orlo Techno Eraser
Lyra - India Rubber Eraser
Plastic eraser for erasing on paper without leaving traces.

Self cleaning.
For lead and ink. Two thirds of the eraser is soft (red) and one
third is hard.
Code
Code
LY3454
Price
39p
List
45p
Price
25p
LY3443K
List
29p
Lyra - Combination Plastic Eraser
Winsor & Newton - Griffin Eraser
Combination plastic eraser for lead and ink.
Wedge shaped, green rubber erasers. Soft and non-smear. For

pencils and charcoal.
Price
28p
Code
LY3456K
List
35p
Price
1.72
Code
W7030575
RRP
1.85
D
B
E
A
Dry Cleaning Pads
A must for anyone who wants to erase without bruising the
paper as normal erasers can do. Used by conservators to
clean smudged or marked paper. The pad comprises a soft
cotton bag packed with rubber granules, which when rubbed
onto paper releases the fine granules, which gently remove
the marks. More expensive than typical erasers but the pads
can last for years.
Code
DCP02
Price
5.20
Clips
Code
Type
Size
CADBC1(A) Drawing Board Clip
Each
CACLC32 (B) Supergrip
32mm
CACLC54 (C) Supergrip
54mm
CACLC74 (D) Supergrip
74mm
CACLP100(E) Board Clip Large
100mm
CACLP145 (F)Board Clip Large
145mm
Price
45p
30p
52p
99p
90p
1.39
DRAWING
DRAWING ACCESSORIES / GRAPHICS
Drawing Boards
Wooden Drawing Boards - 5mm Thick
Wooden Sketching Boards - 9mm Thick
An economical range of 5mm MDF drawing boards in three key

sizes.
Code
Size
CADBA3
CADBA2
CADBA1
A3 / 425 x 410mm
A2 / 640 x 510mm
A1 / 910 x 650mm
Made from seven layer 9mm thick birch plywood.

Water resistant, these boards have a hard fine surface.
Ideal for sketching and watercolour.
Price
List
6.69
8.35
9.90 11.50
20.95 22.95
Code
Size
TSAK.SBWA3
TSAK.SBWA2
TSAK.SBWA1
A3 / 400 x 480mm
A2 / 480 x 610mm
A1 / 610 x 870mm
Price
15.05
21.93
34.95
Rules
A
Plastic Rules (A)
Economical selection of inexpensive rulers.

Marked in mm, cm and inches.
discontinued
Code
Size
CAPR6
CAPR12
CAPR16
150mm / 6
300mm / 12
400mm / 16
Price
16p
25p
45p
PVC Flexible Rules (B)- discontinued

Economical selection made of more flexible PVC.
Marked in mm, cm and inches.
Code
Size
CAFR6
CAFR12
150mm / 6
300mm / 12
Price
15p
25p
Stainless Steel Rules (C)

Economical steel rulers.
Code
Size
CASSR12
300mm / 12
CASSR24
600mm / 24
Price
2.10
3.10
DRAWING
Fisco Wooden Metre Rule
Graduated in inches and 1 / 8s on one side, cm and
mm on the reverse.
Brass ends give added protection.
Code
Size
TSAT.BR1ME
1 Metre / 39
Price
13.09
1 Metre Stainless
Steel Rule
Acrylic Rule with Stainless Steel Edge
A strong acrylic rule with stainless steel cutting edge,
other edge bevelled. Marked in cm and mm and 5mm
squares.
With hole for hanging up.
Code
Size
JK3063
JK3064
300mm/ 12
600mm/ 24
Price
4.05
7.19
Single sided 1 metre

long, mm, cm one
edge. Inches, 32nds,
64ths, 16ths other
side.
Code
TSJ.R39ME
Size
1 metre / 39
Price
14.25
Aluminium Student Grade Rules

Printed mm / cm and with a hole for hanging.
Comes with plastic wallet.
Code
Size
JK3021
30cm / 12
JK3022
JK3023
50cm / 20
60cm / 24
Price
4.49
6.52
7.65
DRAWING
R.I.B.A. Conversion Scales 'A' and 'B'

Code
Scale
TSH.44V/300
1:12 x 1:24 x 1:48 x 1:96
Open divided mm full size x inch full size 1 / 24th fully divided.
Price
15.51
Code
Scale
TSH.45V/300 1:5ft x 1:20ft - 1:50ft x 1:100ft
Aluminium Stainless Steel Straight Edge

Graduated in mm with a stainless steel cutting edge and rubber back for gripping.
Code
Size
TSN.659/30
30cm
TSN.659/50
50cm
Price
22.91
29.59
Code
Size
60cm
TSN.659/60
TSN.659/100
100cm
Price
36.41
63.16
Aluminium Cutting Rules

Marked on one side in mm and cm with a strong aluminium and zinc alloy handle. Fitted with hole for hanging up.
Code
Size
JK3027
45cm / 18
Price
11.69
Code
Size
JK3028
1 metre
Price
20.69
Aluminium Tee Squares - Economical

Code
Size
JK3091
JK3094
60cm
85cm
Price
15.29
20.69
Price
15.51
DRAWING
Protractors Moulded Plastic
B
Durable 180 and 360

degree Protractors,
divided in degrees and
with an open centre.
Protractors-Moulded Plastic
Code
Size
JK2101 (A)
180 Degrees -100mm
JK2102 (B)
180 Degrees -150mm
Price Code
23p JK2103 (C)
1.79 JK2104 (D)
Size
360 Degrees -100mm
360 Degrees -150mm
Price
1.79
2.47
Unique Acrylic Set Squares - Student

These 2.5mm Set Squares are very durable, highly accurate
and have a bevelled edge.
Available in 45 and 60 degree formats. Ideal for students.
45 Degree Set Squares

Code
Size
Chartmate Set Squares

Graduated acrylic set squares with stainless steel edges.
Graduated in centimetres and millimetres with a 5cm grid for
lining up artwork and double sided fingerlifts.
TSU2406B
TSU2408B
TSU2410B
TSU2412B
6 / 15cm x 45/90
8 / 20cm x 45/90
10 / 25cm x 45/90
12 / 30cm x 45/90
Price
4.73
4.43
5.45
6.33
The markings are marker solvent resistant.
Code
Size
TSB.231MT.32A
TSB.231MT.32B
30cm x 60
21cm x 45
TSB.231MT.35A
TSB.231MT.42B
35cm x 60
30cm x 45
Price
8.88
8.88
10.91
10.91
60 Degree Set Squares

Code
Size
TSU2606B
TSU2608B
TSU2610B
TSU2612B
6 / 15cm x 30/60
8 / 20cm x 30/60
10 / 25cm x 60/60
12 / 30cm x 60/60
Price
4.60
4.32
5.08
5.74
DRAWING
Steady Safety Rule

Specifically designed to give full protection to the fingers when
using with a knife. Can be used with both pencil and ink.
Marked in metric and inch scales.
Code
Size
JK3025
30cm / 12
Price
3.59
Plastic Triangular Scale Rule (A)
Aluminium Triangular Scale Rule (B)
300mm high impact polystyrene, white edges.

Scales: 1:20, 1:25, 1:50, 1:75, 1:100, 1:125.
Highly robust Scale Rule.

Scales: 1:20, 1:25, 1:50, 1:75, 1:100, 1:125.
Code
Size
CATR12
300mm / 12
Price
2.99
List
4.15
Code
Size
CAAR12
300mm / 12
Price
5.55
List
8.35
Verulam Oval Section Scale Rules - Metric Range

Fully divided 300mm or 150mm.
White Acrylic Scale Rule

High quality white acrylic with boxwood
coloured centre (oval section).
Made to British Standard BS1347 . Part 3.
1:5, 1:50, 1:20, 1:200, 1:1, 1:100, 1:250,
1:2500.
Code
Size
JK3711
JK3712
15cm/ 6
30cm/12
Price
6.53
9.23
List
4.25
Price
10.56
Code
Scale
TSH.2V/150
1:5 x 1:50 1:10 x 1:100

1:20 x 1:50 x 1:1250 x 1:2500
TSH.2V/300
1:5 x 1:50 1:10 x 1:100

1:20 x 1:50 x 1:1250 x 1:2500
15.51
TSH.3V/150
1:1 x 1:100 x 1:20 x 1:200

1:5 x 1:50 x 1:1250 x 1:2500
10.56
TSH.3V/300
1:1 x 1:100 x 1:20 x 1:200

1:5 x 1:50 x 1:1250 x 1:2500
15.51
DRAWING
DRAWING
Jakar Templates
We are pleased to be the first in the UK with this really good range of Templates from the USA. These are geared to the more professional
user and cover subjects as wide as Professional Architects & Builders, Landscape, Surveyors/Engineers, Professional Landscape through
to the Classic Circles and Ellipses.
The templates come in various sizes but are effectively grouped into small, medium and large.
A selection is shown here.
Code
Template
Size
Price
RRP
JK4601
JK4602
JK4603
JK4641
JK4642
JK4643
JK4644
JK4645
JK4646
JK4647
JK4671
General Purpose
Sketch Master Pro
Surveyors/Engineers
General Purpose Pro
Home Planning & Layout
Home Furnishing
Kitchen Cabinets/Appliances
The Human Figure
Pro Combo Circle
Circle Radius Master
Pro Architects & Builders
Small
Small
Small
Medium
Medium
Medium
Medium
Medium
Medium
Medium
Large
5.39
5.39
5.39
6.29
6.29
6.29
6.29
6.29
6.29
6.29
7.19
6.99
5.99
5.99
7.99
7.99
7.99
7.99
7.99
7.99
7.99
8.59
DRAWING
A
DISCONTINUED
C
Acrylic Student Adjustable Set Squares discontinued
2mm bevelled edge.
Code
Size
TSU.20CBTI
23cm / 9
TSU.25CBTI
30cm / 12
Price
12.29
14.09
French Curves (A)

Set of 3 different templates
Code
CADA3
Price
1.59
List
4.15
Flexible Curves (B)

An instantly bendable curve which maintains a controlled position.
Can be bent down to a 25cm radius. Has one bevelled edge for
ink ruling. In one size : 30cm
Code
Size
CADA12
12/ 30cm
Radius Template (C)

Code
CADA110
Price
2.99
List
3.25
Price
2.69
List
2.85
Unique Adjustable Set Squares

Made from clear 3mm Perspex with bevelled edges and to British
standards of accuracy.
The white solid octant is virtually unbreakable and the scale is
divided in 1/2 degrees.
Fittings are aluminium.
The size is measured on the longest edge.
Code
Size
Price
TSU20CBI
TSU25CBI
TSU30CBI
23cm / 9
30cm / 12
37cm / 15
16.58
17.69
22.70
Large Flexible Curve - 1 Metre

A controlled curve which will easily bend down to 25mm radius.
This curve has one bevelled edge for ink ruling.
Code
Size
JK3904
39/ 1 metre
Price
10.79
RRP
11.99
DRAWING
Compasses
Safety Compass
Simple traditional compass,
complete with pencil. Comes
with point protector.
Code
JK1136
Price
2.05
A
B
Circle Template
Contains 39 circles from 1mm to 36mm.
Marked on one edge in mm and cm.
Code : JK4006
Price 2.69
Ecobra
Ecobra instruments have been made in Germany for decades.
They have been recognised worldwide as the best and largest
range of precision instruments available today.
Lettering Stencils - Set of 4
Ecobra Junior Pencil Compass Series (A)
A pack of 4 alpha-numeric different colour stencils made from

shatterproof plastic, 5,10,20 and 30mm in size contained in
plastic wallet.
Code : JK4027
Price 2.05
A range made for the younger artist in Germany. Compass with

detachable leg. Comes with spare leads and needlepoint.
Code
Size
TSA.61200
TSA.61210
4.75 / 120mm
5.5 / 140 mm
Price
4.78
6.81
Ecobra Junior Divider (B)

Comes in hard plastic case.
Ruling Pen
An economical lightweight ruling pen, which has an adjustable line
width.
Code
Size
CAMPS07
Standard
Price
1.99
Professional Ecobra Ruling Pen

Hand ground ruling pen made of tool strength steel.
Length: 125mm / 5. Width of lines 0.25 - 0.8mm / 0.01 - 0.03.
Code
Size
TSA.5157
125mm / 5
Price
8.90
Code
Size
TSA.61560
5.5 / 140mm
Price
7.66
'K' Series 152mm Divider

Plain divider. Length:152mm / 6. Opening range 230mm / 9.
Code
Size
TSA.5156
152mm / 6
Price
13.55
DRAWING
DRAWING ACCESSORIES
Duo-Tec Giant Bows
Ecobra 'K' Series
Masterbow with knee joints and quick release.
The College series is designed for the serious drawing student who
needs a durable, precise but economical instrument.
All popular makes of technical pens may be used in conjunction
with the compasses.
'K' Series 140mm Compass

Made with knee joint. Working range is 400mm / 16.
Code
Size
TSA.5130
140mm / 5.5L
A well made Giant Bow at a good price.

Code TSDT.421500
Price
19.57
Masterbow with 'L' Bar

A Masterbow with knee joints and an 'L' Bar.
Code TSDT.421510
Price 24.81
Price
11.78
Master Giant Bows

Giant Bow
Good value and well made.165mm long solid brass nickel plated,
with double knee joint and container with two leads and a
shoulder needle. Supplied in a hard plastic case.
Code
Size
JK1155
165mm
Price
12.59
The Master Bows feature an unbreakable hoop spring and a

centre screw spindle with end stops that are free from play.
Both Bows have two knee joints and the spigot diameter is 4mm.
The Master Bows can be used with all popular technical pens.
Master Giant Bow Pencil

Code
Length
TSA.3741
162mm / 6
Range
250mm /1 0
Price
19.18
Master Giant Bow Pencil with Lengthening Bar

Code
Length
Range
Price
TSA.3728
162mm / 6
500mm / 20
24.81
Ecobra Universal Masterbow
Master Giant Bow Quick Release Bar
The Universal Masterbow has an adaptor that will hold markers,

technical pens as well as a Swan Morton No 3 handle to cut circles.
Working range 210mm / 8.25. Supplied in plastic case.
An inexpensive, quick release giant bow with lengthening bar, two

knee joints and detachable leg.
Can be used with all popular technical pens.
Code
Range
Code
TSA.60500
210mm / 8.25
Price
13.55
TSA.42146
Price
27.99
DRAWING
Speedmaster Giant Bow
Compass, pencil, with lengthening bar. Rapid setting and fine
adjustment combine with automatic locking of the spindle at the
chosen setting.
All metal construction. Has two knee joints and 4mm spigots.
Can be used with all popular technical pens.
Code
Length
TSA.4262
Range
560mm / 22
170mm / 6.8
Price
44.18
Beam Compass 50cm / 20

A simple economical well made beam compass for large working range requirements.
Comes complete with pencil, pen & needle plus a holding section. Beams are graduated in cm and inches.
Code TSA.3836-0
Length
50cm / 20
Range
Price
980mm / 38
41.63
Compass Accessories & Spares

Compass Universal Adaptor
Universal compass adaptor for both 3.5mm and 4.0mm
compasses.
Code
TSA.3723
Price
4.49
Compass Technical Pen Adaptor

4.0mm Technical pen adaptor.
Code
TSA.6466
Price
4.93
Compass Needle - Spare

Code
Price
TSA.7961
56p
Large Springbow Needle - Spare

Code
Price
TSA.7963
51p
Compass Leads
Tube of leads
Code
TSA.3297
Price
56p
EASELS
TABLE EASELS
Wentworth Box Table Easel

Well designed box table easel with good materials storage capacity and
capable of taking small and mid size canvas. Fitted with brass coloured
hardware and leather carrying handle.
The canvas support brackets can be extended down below table height
as well as up offering great flexibility.
Maximum canvas height: 87cm / 34.
Easel size: 40 x 30 x 10cm / 16 x 12 x 4.
Wood: Elm.
Weight: 3Kg / 6.6lbs
Code
CAWBTE900
Price
36.09
RRP
52.49
Code
MMTEM24
Price RRP
120.00 145.00
Maximum picture height: 63cm / 25

Easel height: 89cm / 35
Wood: Elm.
Weight: 2.7Kg / 6lbs
Code
CAYTE520
Price RRP
34.25 36.74
Surrey Table Easel

A best selling design,
which combines a good size
materials box with an easel.
Internal compartments are
adjustable and foam lined.
M24
Professional quality table box
easelmade in Italy from oiled
Beechwood. Comes fitted with a
metal tray with fully adjustable partitions as well as a rectangular
wooden palette. Comes with high
quality fittings.
Maximum canvas size: 77cm / 30.
Easel size: 90H x
30W x 45cm / D / 35 x 12 x 18.
Weight: 3Kg / 7lbs
Yorkshire Table Easel
M24
Maximum canvas height:

61cm / 24
Easel Height: 74cm / 29.5
Wood: Elm.
Weight: 1.4Kg
Code
O4870135
Price
20.65
RRP
49.99
EASELS
SMALL TABLE EASELS & PORTABLE BOX EASELS
Large Portable Box
Easel (D)
Professional quality stretching easel

Large sliding drawer holds full range
of materials.
Comes with canvas carrying shoulder strap and folds into a box for
portability and storage.
87cm / 34
Easel height : 181cm / 71
Rutland Table Easel (A)

Maximum picture height: 30cm / 12.
Easel height: 40cm / 16 .
Wood: Beech.
Code
O4870130
Price
7.20
Wood: Beechwood
Weight: 5.05Kg / 11.1lbs
RRP
12.99
Tavola Table Display Easel (B)
O4870110
Folds flat.
Maximum picture height: 66cm / 26
Easel Height: 80cm / 32.
Wood: Beech.
Price
104.55
Code
O4870125
Price
7.95
RRP
159.99
Code
RRP
21.99
Cambridge Table Box
Easel (E)
C
This classic table box easel is

designed as a mini mobile studio
for use in the home or on the move.
The Cambridge Table easel is a
convenient wooden box for storing
art materials with a carry handle for
easy transportation while providing
a working support for painting and
drawing.
Made from lightweight elm wood.
Adjustable canvas support.
Accommodates canvas up to
620mm high.
Watercolour Table Easel (C)

The painting angle has four positions.
Folds flat for carriage.
Maximum artwork size: 48mm / 19.
Easel Height: 55cm / 21 Weight: 1.5Kg / 3lbs.
Code
O4870120
Price
34.54
RRP
62.99
Code
O4870145
RRP
49.99
Price 21.60
EASELS
SKETCHING EASELS
SKETCHING
EASELS
NEW
NEW
Sketching Metal Sketching Easel (B)

Dart by Winsor & Newton (A)
Wooden Sketching Easel
Ideal for both oil and watercolour painting.
Maximum canvas height: 68cm / 27
Folded size: 84 x 13 x 7.6cm / 33 x 5 x 3
Weight: 1.6Kg
Wood: Beechwood or Oak
Code
WED124
Price
23.40
RRP
45.00
Total variation of angles and heights.

Can be fully flat for watercolour work.
Finished in black with chrome telescopic legs.
Easel height extended: 187cm / 74
Weight: 2.5Kg
Code
O4870140
Price
36.60
RRP
59.99
EASELS
STUDIO EASELS
Thames Radial
Art School Easel.
Famous best selling Art School studio
easel.
This design has been tried and tested
and is capable of holding very large
sizes.
190cm / 75
Wood: Elm
Weight: 6.5Kg / 14.3lbs
Code
WETR
Price RRP
75.00 209.00
M11
A Frame / Lyre
Mid-Size Studio Easel.
Made in Italy in oiled Beechwood.
High quality finish and construction.
Paintings are adjustable from 70 degrees to
the vertical position without having to move
the main easel body.
A shelf for holding materials is under bottom
canvas support.
Easel height: 174 - 245cm / 69-97
Basic dimensions: 66cm x 26W / 76cm x
30D
Weight: 7Kg / 15lbs
Code
MMAFM11
Price
116.26
M13
A Frame/Lyre Mid-Size Studio
Easel.
Made in Italy from oiled Beechwood.
High quality finish and construction.
Folds flat and is ideal for limited
spaces.
Easel height: 155-225cm
Basic dimensions: 55cm / 22W x
65cm / 26D
Weight: 5Kg / 11lbs
Code
MMLRM13
RRP
155.00
Price
93.74
RRP
115.00
EASELS
STUDIO EASELS MID SIZE
NEW
M10
M10
H Frame Mid Size Studio Easel.
Professional quality Italian construction and
finish.
Sussex H Frame
Studio Easel
A mid size economical good value easel.
A bottom materials shelf is under the
base canvas support. The base folds flat
behind the body for ease of storage.
Wood: Elm
Code
CASHE695
Price
127.25
RRP
156.50
Made in oiled Beechwood.

Easel height: 170-235cm / 67-93
Basic dimensions : 55cm / 21W, 52cm / 20D
Weight: 9Kg / 20lbs
Code
MMBSEM10
Price
153.74
RRP
175.00
Oxfordshire Studio Easel

This large studio easel is made from hard
wearing elm wood and represents great
value for the artist who wants a good easel
without having to pay too much.
It features an adjustable shelf height for
different working positions and the base
folds flat for easy storage.
An excellent value studio easel that will
accommodate canvas up to 1035mm high.
Code
O4870150
Price
105.60
RRP
135.99
EASELS
STUDIO EASELS - LARGE
M07
H Frame Large
Studio Easel
Ayrshire Mobile Deluxe

Large Studio Easel.
Made in Italy in oiled Beechwood this is for

small through to larger canvas sizes.
The base folds flat for ease of storage.
Adjustable ratchet system for height variations. A good size materials storage shelf is
under the bottom canvas support.
Maximum canvas size: 215cm / 85
Easel height: 205-335cm / 80 -132H
Basic dimensions : 62cm / 25 W, 58cm x
23D
Weight: 13Kg / 29lbs
Code
MMMSEM07
Price RRP
202.51 285.00
This deluxe easel is fitted with two rubber wheels for easier mobility in the
studio. This is well made from quality
Elm wood and designed for someone
looking for something a little different.
It is fully adjustable.
Maximum painting height:
190cm / 75
Easel height:
215cm / 85 (Fully extended)
Weight:
9.2Kg / 20lbs
Code
CAADSE697
Price RRP
114.49 157.00
Stirling H Frame
Large Studio Easel
Very good value easel for small through to
large size canvas.
Fully adjustable for varying painting sizes and
angles. Large base affords added stability as
well as folding flat behind the body.
Large paint material storage tray is located
under the base canvas support.
Easel height: 242cm (Fully extended)
Weight: 8.9Kg
Wood: Elm
Code
CASLSE696
Price
102.59
RRP
157.00
EASELS
STUDIO EASELS MID SIZE
Essex Easel
An innovative and unique studio beechwood easel which has been
created for use with all forms of media. It can be tilted backwards into a
horizontal position for watercolours and the application of picture
varnishes or forward for pastel and oil and acrylic painting.
In addition to this tilt function, the whole canvas carriage can be moved
up and down meaning the artist can stand or sit when painting.
The easel has a useful storage shelf built into the base, and can be
folded down flat for easy storage.
Made from Beechwood.
Easel Height: 67" (171cm)
Maximum Canvas Height: 45.5" (116cm)
Weight: 6.45Kg
Code
RRP
CAEE698
199.00
Price
123.49
M33 Studio Easel
Mid Size for Multimedia.
This is a well designed and constructed Italian multi painting
media easel.
The M33 can be used not only for oils, acrylics and pastels it
can fold completely flat for use with watercolours or for
applying varnishes.
Made in oiled beechwood with high quality fittings.
M33
Easel height: 120-235cm / 47-92

Basic dimensions: 62cm / 25W, 70cm / 28D
Code
MMSEM33
RRP
215.00
Price
176.26
EASELS
GIANT STUDIO EASEL / PRINT RACKS
Wooden Print Rack
M38 Small Print Rack
An economical yet robust small print

rack made from seasoned Elmwood.
For displaying finished artwork or for
studio storage. Folds away flat.
Size: 77 cm / 30H x 56cm / 22L x
15cm / 6W
Made in Italy from oiled Beechwood,

this is a professional grade product that
is ideal for displaying smaller artworks
such as A3 and A4 sizes.
Height: 84cm / 33 Width: 56cm / 22
Depth: 35cm /14
Gusset: 9cm
Code
Code
CAWPR100
Price RRP
28.45 45.99
GMAB / 38
Price RRP
78.74 109.50
Wooden Tripod Stool

Leather topped wooden stool
with strong legs.
The stool folds flat for storage
and carriage.
Seat height: 48cm / 19
M02
Giant Studio Easel.
Specifically made to hold extra large and in particular
extra wide canvas sizes, which are securely held by two
separate canvas bracket holders. The height of both
brackets is simultaneously operated by a single crank
handle. The vertical angle is adjustable.There are two
sliding drawers to hold materials plus four castors on
the base for mobility and two front locking brackets.
Made in Italy from oiled Beechwood.
Maximum canvas width: within reason there isnt one!
Easel height: 205 - 305cm / 80 -129
Basic dimensions: 99cm / 39W, 68cm x 26D
Code
MMSEM02
Price
843.74
RRP
1139.00
Code
CAAS250
Price RRP
19.99 31.45
M40 Large Wooden Print Rack

Professional Display Browser
Made in Italy from oiled Beechwood, this is a
professional grade product that is ideal for
displaying or storing A1 and A2 artworks.
Height : 103cm / 40 Width : 87cm / 34
Depth : 57cm / 22 Weight : 10Kg / 22lbs.
Code
GMAB / 40
Price
161.26
RRP
209.00
discontinued
EASELS
STUDIO EASELS - LARGE
NEW
M06
Large Studio Easel
Professional quality easel made in Italy from
oiled Beechwood. For small through to larger
canvas sizes. Heights can be varied through
a ratchet system. Although the M06 is large,
the four castors enable it to be moved with
ease. Added stability is achieved by the use
of four adjustable stabilisers next to each
castor wheel. The painting angle is varied
from vertical to 70 degrees. A large materials
shelf is located under the bottom canvas
support.
Easel height: 230 - 370cm / 90 -145
Basic dimensions: 66cm/ 26W,60cm x 24D
Code
MMSEM06
Price
292.51
RRP
379.00
M18
Large Studio Easel
with horizontal working capability
M04
Large Studio Easel
Made in Italy in oiled Beechwood this is

The only large studio easel designed to enable for mid to very large painting sizes in a
the artist to work horizontally as well as vertical- studio environment. Height can be
ly. This is useful for varnishing and watercolour adjusted with a crank handle. The vertical position is variable from vertical to
work but can even be the base of a larger
70 degrees slope. Under the bottom
work surface if a good-sized board is placed
canvas support are two sliding drawers
on top. Made in Italy with oiled Beechwood
and high quality fittings. Comes with four cast- for holding materials. This is a very well
made product and should last a few
ers and corner stabilisers.
lifetimes. Supplied with front casters
and locking brackets.
Easel height: 205 - 305cm / 80 -120
Height in horizontal position: 82cm / 32
Easel height: 205 - 305cm / 80 -120
Basic dimensions: 67cm / 26W,
Basic dimensions: 70cm / 28W,68cm
75cm x 30D
x 27
Code
MMSEM18
Price
371.76
RRP
479.00
Code
MMSEM04
Price RRP
663.74 855.00
EASELS
METAL PRINT RACKS / SCULPTURE TURNTABLES
M36 Sculpture Turntable / Trestle
Metal Print Rack

A3 / A4
Made of oiled Beechwood in Italy.

Designed for working in modelling materials.
Height adjustable to eight positions
between100cm/39 to 130cm/51.
Sturdy construction and simplicity itself to use.
Height:100cm/39-130cm/51 Width: 48cm/19
Depth: 48cm/19
Weight: 7Kg
Max load: 25kg/55lbs
Code
MTTM36
Price
105.00
Height: 65cm/26
Width: 51cm/20
List
85.00
Code
F/3322A3A4
Price
109.10
RRP
139.00
A3 / A4
NEW
Metal Print Rack
A1 / A2
Height: 86cm/34
Width: 86cm/34
Code
F/3320A1A2
List
130.00
Price
118.19
A1 / A2
M37 Sculpture Turntable Trestle
Ruck-Sack Seat
Tabletop turntable trestle with rotating work

surface. Made in Italy from oiled Beechwood.
Can also be used for display.
Height: 14cm/6
Width: 34cm/13
Depth: 34cm/13 Weight: 2Kg/4lbs
Max load: 20Kg/44lbs
A very clever all in one seat and backpack

design for the outdoor artist on field sketching trips. Made from waterproof and durable
green nylon mounted on a black steel frame.
There are three large storage compartments
as well as three side pockets which have
quick release fasteners.The lightness of the
design is a major feature.
Code
MTTM37
Price
51.72
RRP
66.00
Seat height: 32cm/13

Weight: 1.5Kg/3.3lbs
Code
NEW
CARSS100
Price
19.45
RRP
31.50
discontinued
EGG TEMPERA
EGG TEMPERA COLOUR
Sennelier Egg Tempera
Professional quality Sennelier EggTempera

is an authentic formulationof classic egg
tempera as used by artists sincewell before
the Renaissance.
In fact, before the rise of oil painting, egg
tempera was the predominant painting
medium in the 16th century. Much of the
religious panel painting done between the
12th and 15th centuries was carried out in
this delicate medium because it enabled
the artist to paint detailed and subtle effects.
The Sennelier Egg Tempera is famous, in
more recent centuries as the medium used
by the great artist Marc Chagall in many
of his masterpieces. Egg Tempera is a semiopaque water soluble and permanent painting medium for fine art painting, restoration
and icon painting. It provides painters with
an alternative to oil and its solvents, with
highly pigmented and brilliant fine art
colours that have excellent archival qualities
in that the paint does not age or yellow like
oil paints. Senneliers formula is a centuries old egg emulsion recipe which leaves
a satin/matte finish.
To see this at first hand, just visit any major

art collection and you will see centuries old
works seem recently completed. It is water
soluble when wet but is completely water
resistant when dry.The colours hold their
brush strokes and do not change when dry.
They can be worked with a brush or palette
knife on non greasy supports like acrylic
primed canvas or paper. However, the ideal
support for this paint is a rigid panel or
board which has been prepared in the traditional manner, i.e. with repeated applications of gesso grounds. The main characteristic of the gesso ground is not just its
smoothness but the slightly absorbent surface which takes in the initial paint layers
thus improving the adhesion of the paint to
the paint ground. Egg tempera can be
applied to acrylic primed canvas or even
paper if the paint is applied thinly. However,
by nature the paint is not flexible due to the
nature of the egg yolk which gets harder over
time. Once the final egg tempera painting is
varnished it looks just like a varnished oil
painting. Sennelier recommends a final
coating of charcoal or pastel fixative before
applying a final oil paint varnish.
Code
Size Series
SET08-
21ml
SET08-
21ml
SET08-
21ml
SET08-
21ml
SET08-
21ml
Price
6.25
6.75
7.43
8.55
9.86

chart and quote the product code followed
by the colour code, eg. Sennelier Lemon
Yellow Egg Tempera = SET08 + 501 =
SET08501.
116 Titanium White
119 Zinc White
S2
S2
501 Lemon Yellow
529 Cadmium Yellow

Light Genuine
533 Cadmium Yellow

Deep Genuine
S5
537 Cadmium Yellow

Orange Genuine
674
S3
S4
689 Alizarin Crimson

S4
619
606 Cadmium Red

Deep Genuine
S5
635
690 Rose Madder Lake

S4
948 Cobalt Violet Hue

S4
318 Prussian Blue
357 Ultramarine Blue

S2
307 Cobalt Blue

Genuine
305 Cerulean Blue
837
845 Permanent Green

S4
Emerald Green
S3
567 Naples Yellow
517 Indian Yellow
Burnt Sienna
259
S3
S3
847
211
S3
Permanent
Intense Red
S4
405
Red Ochre
S1
S4
S5
S3
S2
Carmine
Red Brown
S3
Viridian
S5
837
688
Vermillion
S3
202 Burnt Umber
208 Raw Sienna
Viridian
S3
407 Van Dyck Brown

S1
Crimson Lake
S1
S1
205 Raw Umber
S1
755
Ivory Black
S1
HOBBY SECTION
GLASS PAINTS
Vitrail Glass Paints
Vitrail is a range of transparent, intense and very bright colours that are solvent based and create the appearance of a stained glass effect.
Vitrail is applied with a brush to transparent surfaces that are clean of grease such as glass, polyester, Plexiglas as well as metal and
engraving metal. The 26 antique Vitrail colours are dense and highly transparent. The decorated surface has good hardness and the
paint dries without air bubbles to give a smooth stain. Vitrail Stained Glass Varnish when painted over the colours produces a higher level
of colour brilliance and gloss to the surface. The 18 solvent based colours are completely dry in 8 hours and will dry flat without air bubbles
to produce a smooth stain.
To create the glass stained effect, the Vitrail paints are used together with Cerne Relief outliners which are applied directly from the tube
with the nozzle prior to applying the Vitrail colours. In other words the Cerne Relief is the lead strip effect that is seen in all the medieval
cathedrals that act as the liners to each colour or figure.
Allow 30 minutes for the Cerne Relief outliners to dry after applying.
It is important to remember that objects painted with Vitrail are intended for decorative purposes only and should not be considered for practical use.
Surface Preparation: Surfaces can be degreased by simply using soapy water or alcohol. If an error is made during application simply
use a cotton swab soaked in Mineral / White Spirit to erase the mistake. Use water to erase the Cerne Relief Outliner.
Code
Size
PVG050---
45ml
14
Yellow
30
Sand
31
Old Pink
21
Pink
26
Purple
17
Turquoise Blue
13
Emerald
19
Red Violet
23
Lemon
11
Brown
Price
4.25
Code
Size
PVG053---
250ml
Price
14.99
Also available in 250ml
12
Crimson
10
Deep Blue
32
Salmon
16
Orange
37
Cobalt Blue
36
Sky Blue
34
Apple Green
18
Chartreuse Green
22
Green Gold
35
Dark Green
33
Parma
25
Violet
15
Black
20
White
Vitrail Cerne Relief

38
Gold
39
Pearl
28
250 ml only
Burnt Umber
29
250 ml only
Grey
For outlining the design to be

painted.
Code
PVCR----
Price
3.48
Code
Colour
PVCR390
PVCR772
PVCR773
PVCR7731
PVCR774
PVCR460
Black
Lead Grey
Gold
King Gold
Silver
Vermeil Gold
HOBBY SECTION
FABRIC, HOBBY AND CRAFT PAINTS
Pebeo Setacolour
One of the worlds most popular fabric colour ranges. All colours are intermixable,
heat fixed and once fabrics are fixed they will resist machine washing and dry
cleaning. The range comprises of four types of colour :
Transparent: 25 standard and 5 fluorescent colours.
Opaque: 25 standard colours.
Shimmer Opaque: 15 colours.
Price 4.25
Size 45ml
PSC32917 T
Lemon Yellow
PSC32913
Buttercup
PSC32921
T
Bright Orange
PSC32926
Vermillion
PSC32923 T
Oriental Red
PSC32949
Fuchsia
PSC32901
Plum
PSC32911 T
Cobalt Blue
PSC32903
Sky Blue
PSC32930
Turquoise
PSC32927 T
Light Green
PSC32918 T
Pernod Yellow
PSC32919 T
Black Lake
PSC32924
T
Cardinal Red
PSC32922
Bengal Pink
PSC32929
T
Parma Violet
PSC32902
Indigo
PSC32912
T
Ultramarine Blue
PSC32915
Emerald
PSC32904
Lawn Green
PSC32928
Moss Green
PSC32905
Fawn
PSC32925
Raw Sienna
PSC32920
Red Ochre
PSC32914
T
Velvet Brown
PSC29517 O
Lemon Yellow
PSC29513
Buttercup
PSC29512
Orange
PSC29526
Vermillion
PSC29550
Cherry
PSC29515 O
Oriental Red
PSC29518
Garnet
PSC29522
O
Bengal Pink
PSC29529
O
Parma Violet
PSC29521
Indigo
PSC29557
Cornflower
PSC29511 O
Cobalt Blue
PSC29520 O
Royal Blue
PSC29556
O
Oriental Blue
PSC29527
Light Green
PSC29524
O
Spring Green
PSC29532
O
Aniseed Green
PSC29555 O
Green Gold
PSC29552
Fawn
PSC29525
Sienna
PSC29551
Sanguine
PSC29514
O
Velvet Brown
PSC29553
Chamois
PSC295519 O
Black Lake
PSC29510
White
Note : Please order using our colour chart which includes transparent and opaque
colours and their codes.
This colour chart should only be used as a guide.
T = Transparent on colour chart
O = Opaque on colour chart
HOBBY SECTION
FABRIC, HOBBY AND CRAFT PAINTS
Setacolor Auxiliaries
Setacolor Thickener
When mixed with Setacolor, it
enables the colour to be used for
silkscreen printing.
Code P391003
Pebeo Setaskrib
Felt marker fabric colours for fine line work or filling in. Heat fixed, takes frequent washing and is
simple to use. The 18 colour range can be used for stencilling and on most fabrics, from silks to deck
chair covers. 12 standard and 6 fluorescent colours.
Price 2.95
Size 110ml
Price 4.25
Fluorescent Colours
PSC29831
PSC29832
PSC29833
PSC29834
PSC29835
Fluorescent Yellow
Fluorescent Orange
Fluorescent Pink
Fluorescent Green
Fluorescent Blue
Shimmer Colours
Code
Colour
PSC20261
PSC20263
PSC20264
PSC20265
PSC20266
PSC20267
PSC20269
PSC20272
PSC20273
PSC20274
PSC20247
PSC20245
PSC20260
PSC20279
PSC20244
Shimmer Canary
Shimmer Brick Red
Shimmer Oriental Red
Shimmer Purple
Shimmer Wine
Shimmer Plum
Shimmer Electric Blue
Shimmer Bronze
Shimmer Ash
Shimmer Chocolate
Shimmer Light Copper
Shimmer Gold
Shimmer Silver
Shimmer Black
Shimmer Pearl
Pebeo Setaskrib Colours

Code
Colour
PSS80301
PSS80302
PSS80303
PSS80304
PSS80305
PSS80306
PSS80307
PSS80308
PSS80309
PSS80310
PSS80311
PSS80312
PSS80313
PSS80314
PSS80315
PSS80316
PSS80317
PSS80318
Yellow
Orange
Red
Magenta
Violet
Light Blue
Blue
Light Green
Green
Brown
Grey
Black
Fluorescent Yellow
Fluorescent Orange
Fluorescent Pink
Fluorescent Violet
Fluorescent Blue
Fluorescent Green
HOBBY SECTION
HOBBY PAINTS
Dylon Machine Fabric Dye
Dylon Machine Dye has been a world wide favourite for many years and we have introduced it due to customer requests. This dye is
designed specifically for use in automatic front loading washing machines. Dylon provides permanent colour for cotton, linen and viscose
as well as for lighter shades on polyester/cotton. Machine Dye is NOT suitable for 100% synthetic fabrics because pure synthetics do not
pick up on the dye. One pack of Machine Dye will dye 600g of dry weight fabric to the colour indicated on the pack. Dyeing larger amounts
(up to 1200g) will result in a lighter colour.
Please be aware that dyeing pre coloured fabrics will result in the original colour blending with the new dye colour to create a wholly new
colour (e.g. red dye on yellow fabric = orange).Ideal for dyeing larger items such as jeans, towels, bedding and curtains.
Other items you will need: 500g of ordinary salt, rubber gloves.
Price 8.09
Code
Colour
Code
Colour
DMFD02
French Lavender
DMFD26
Ocean Blue
DMFD03
Tropical Green
DMFD29
Flamingo Pink
DMFD05
Sunflower Yellow
DMFD30
Intense Violet
DMFD06
China Blue
DMFD34
Olive Green
DMFD07
Powder Pink
DMFD35
Terracotta Brown
DMFD08
Navy Blue
DMFD36
Tulip Red
DMFD09
Dark Green
DMFD41
Jeans Blue
DMFD10
Pebble Beige
DMFD51
Burlesque Red
DMFD11
Dark Brown
DMFD55
Goldfish Orange
DMFD12
Velvet Black
DMFD59
Amazon Green
DMFD17
Woodland Brown
DMFD64
Rosewood Red
DMFD21
Bahama Blue
DMFD80
Antique Grey
So what are you waiting for? Revitalise your wardrobe with the latest shades or brighten up your
bathroom with some freshly dyed towels; whatever you choose, it's never been easier to bring
colour to your life.
GILDING
GILDING
Imitation Gold Leaf Dutch Metal 2
Ormoline Medium
An economical alternative to gold leaf and is better for beginners.

Comes in a larger sheet than genuine gold leaf. Available in 25 leaf
transfer books as well as 25 loose sheets. Size 140 x 140mm.
Code
Size
ROOM16
ROOM31
ROOM39
60ml
250ml
1L
Code
Product
AIGL25L
AIGL25T
25 Loose Sheets
25 Transfer Sheets
Price
3.07
6.50
A transparent medium for adding bronze and aluminium powders.
Price
6.50
13.80
38.40
Imitation Silver Leaf

Size 140 x 140mm.
Code
Product
AISL25L
AISL25T
25 Loose Sheets
25 Transfer Sheets
Price
3.07
6.50
Genuine Gold Leaf *

Size 80 x 80mm.
Code
AGGL22L
Price
22 carat 25 Loose Sheets
32.67
22 carat 25 Transfer Sheets
33.14
23.75 carat 25 Loose Sheets 34.75
23.75 carat 25 Transfer Sheets 35.22
Product
AGGL22T
AGGL23L
AGGL25T
*The price of gold leaf reflects the current price in the world bullion
market which fluctuates from time to time. Please call to confirm
prices.
Genuine Silver Leaf

Size 95 x 95mm.
Code
Product
AGSL25L
AGSL25T
25 Loose Sheets
25 Transfer Sheets
Price
9.20
12.83
Atlantis Variegated Leaf

Code
Product
AVLBL25T
AVLB25T
AVLG25T
AVLR25T
25 Transfer Sheets Black

25 Transfer Sheets Blue
25 Transfer Sheets Green
25 Transfer Sheets Red
Price
11.29
11.29
11.29
11.29
Wundersize Adhesive
A glue medium for applying to surface to be gilded. Apply a thin
single coat and allow 15 minutes to go tacky. The leaf can then be
applied to this surface and provides instant adherence. The glue
will remain tacky for 24 hours. Wundersize is transparent.
Expert Tip: Paint surface to be leafed a colour such as red or deep
yellow, as this provides an undertone as well as a sympathetic
tone if any gaps are left after leafing.
Code
Size
ANAM31
250ml
ANAM36
ANAM39
500ml
1000ml
Price
9.13
14.60
25.09
Roberson Gum Ammoniac

For laying down a base for illumination or highlighting in gold.
Best suited for use in very small areas such as dots and lines.
For very detailed work you may need two applications especially if
the paper is absorbent.
Raised areas can be obtained by building up several layers allowing
each layer to dry.
The gum can be reactivated for use after many months of being laid
down by simply breathing on it and pressing the gold into the now
tacky gum, wait 2 / 3 minutes.
It is now ready to be burnished.
Do not burnish directly onto the gold but use
glassine paper between the gold and the agate.
Code
Size
ROGA45
50ml
Price
11.50
GILDING
LIQUID METAL ACRYLIC
Liquid Metal - Acrylic
Roberson Liquid Metals have a rich, deep colour, ideal for a wide range of applications.
This Gold range is as close to the real thing as paint will get and provides an excellent
selection of the many varied tones of that precious metal.
Applications:
Plaster, Wood, Paper and Canvas.
Will not tarnish and no need to varnish.
All colours are intermixable.
Code
Size
ROLM45
ROLM31
ROLM36
30ml
250ml
500ml
Price Solid Silver *

4.95
5.90
13.09
19.19
22.49
35.39
Twinkle**
6.70
26.20
49.70
BB
Blackened Bronze
B
Bronze
CG
Classic Gold
FG
Fine Gold
G
Graphite
IG
Imperial Gold
OS
Old Silver
PG
Pale Gold
P
Pewter
PL
Platinum
REG
Regency Gold
REN
Renaissance Gold
RG
Royal Gold
SV
Silver - Verde
S
Silver
SG
Steel - Grey
VG
Victorian Gold
YG
Yellow Gold
AG
NEW
Autumn Gold
BR
Brass
BA
SS *
SB
T **
NEW
NEW
NEW
Baroque
Solid Silver
Silver Blush
Twinkle
When ordering please use the colour chart and quote the product code followed by the colour code :
eg. 30ml Bronze = ROLM45 + B
NEW
NEW
GILDING
GILDING
Treasure Gold Wax
Treasure Liquid Leaf

An ideal range for the beginner in gilding or where an economical but
good quality effect is required.
This is a combination of red primer and metallic particles which when
applied resembles traditional gold leafing.
Available in a range of metallic colours, liquid leaf can be applied on
a variety of surfaces (although ensure you always test a surface first).
To apply shake thoroughly and brush onto the clean dry surface
using a bristle brush.
To thin or remove simply use brush bath. To protect the painted
surface use treasure sealer or an appropriate varnish.
Code
Colour
TLF08CG
TLF08WFG
TLF08FG
TLF08RG
TLF08SI
TLF08BR
Classic Gold
White Fire Gold
Florentine Gold
Renaissance Gold
Silver
Brass
Size
Price
7.00
35ml
Charbonnel
Oil Gold Size
3 Hour
Size
CGS331
CGS339
250ml
1L
Code
Colour
TGW07CG
TGW07WFG
TGW07FG
TGW07RG
TGW07SI
TGW07BR
Classic Gold
White Fire Gold
Florentine Gold
Renaissance Gold
Silver
Brass
Size
Price
7.00
25ml
Japan Gold Size
Internationally renowned.
This oil based size is formulated with an autoclave from an
exclusive formula and is clarified after four months to enable
to produce the best quality and
resistance.
Code
Effective for achieving metallic finishes or glazes on a variety of

surfaces.
Apply with a soft cloth. Treasure gold will dry almost immediately
and can be buffed to a fine lustre.
Thin or remove using turpentine or white spirit.
Protect finished surface with sealer or varnish.
Price
20.85
59.19
Japan Size is a simple to

use quick drying adhesive
for use when gilding.
The size is dark, thin and
flammable. This is suited
for first timers or hobbyists.
Code
Size
WME17976
75ml
Price
4.32
FRAMES
IMAGE 91 FRAMES
NEW
Image 91 Frames
We are delighted to reintroduce our Image 91 range of ready to hang frames. These are aimed at the professional artist who has limited time
and who wants a value and good exhibition quality option for framing. The main difference to our previous range is that the wood is now Tulip
rather than Ramin. The finish is the same plain unlacquered wood which enables ease of staining.
The unique self hanging system at the back of the frame enables the user to hang instantly in the vertical or horizontal without having to add
wire or hangers.
Image 91 Black
Due to demand we have added a selection of the Image 91 in key sizes in black. They are also made of Tulip wood and have the same unique
self hanging system at the back enabling the user to hang in both the horizontal as well as the vertical without having to add wire or
hangers.The Image 91 is made to provide the professional artist with a value and good exhibition quality option for framing.
Code
Natural
cm
DFIF2430
24 X 30
DFIF3040
30 X 40
DFIF4050
40 X 50
DFIF5060
50 X 60
DFIF5070
50 X 70
DFIF6080
60 X 80
DFIF7090
70 X 90
DFIF70100
70 X 100
DFIF59484 59.4 X 84.1
DFIF42594
42 X 59.4
DFIF29742 29.7 X 42
DFIF21297
21 X 29.7
Size
Price
A1
A2
A3
A4
14.95
17.29
23.95
30.55
33.75
40.45
47.49
50.95
41.65
28.45
17.79
13.45
Code
Black
DFIFB2430
DFIFB3040
DFIFB4050
DFIFB5060
DFIFB5070
DFIFB70100
DFIFB59484
DFIFB42594
DFIFB29742
DFIFB21297
cm
24 X 30
30 X 40
40 X 50
50 X 60
50 X 70
70 X 100
59.4 X 84.1
42 X 59.4
29.7 X 42
21 X 29.7
Size
Price
A1
A2
A3
A4
17.05
21.15
28.29
35.95
39.49
59.95
48.60
34.15
22.15
16.45
FRAMES
EXHIBITION BOX FRAMES 10mm
Ready to Hang Exhibition Grade Box Frames
We have completely revamped our range of ready to hang Box
Frames so we are able to offer a higher quality of natural wood
for the moulding with an even wood colour on all four sides of the
frame face.
Particular emphasis is given to ensuring corners are gap free and
precisely joined and that the internal spacers between the glass
and back are accurately mitred and line up with the corners. We
are happy that these Box Frames are a step up from our previous
range. The back panel has two serrated hangers that enable the
frame to instantly hang in either a landscape or portrait format.
Access for mounting the work couldnt be simpler :
Push release the four rear corner brackets holding the back
panel, lift out the panel, insert the work and then retrace these
steps in reverse.
You can literally frame your own work in about a minute once you
have done a few.
All frames have a natural untreated finish making them ideal for
staining.
10mm Box Frames
These have an inside gap of 10mm between the glass and the
inside back panel on which the art work is mounted.
Frame moulding dimensions : 35mm deep by 25mm wide.
Code
10mm
cm/Size
NEW
DF10BOX1318
DF10BOX1824
DF10BOX2020
DF10BOX2025
DF10BOX2430
DF10BOX3040
DF10BOX4040
DF10BOX4050
DF10BOX5050
DF10BOX5070
DF10BOX6060
13 X 18
18 X 24
20 X 20
20 X 25
24 X 30
30 X 40
40 X 40
40 X 50
50 X 50
50 X 70
60 X 60
DF10BOX6070
DF10BOX6090
DF10BOX7090
DF10BOX59484 59.4 X 84.1
DF10BOX42594
42 X 59.4
DF10BOX29742 29.7 X 42
DF10BOX21297
21 X 29.7
60 X 70
60 X 90
70 X 90
Please note that the frame sizes listed are the dimensions of the
art work that can be inserted into the frame.
Price
A1
A2
A3
A4
24.09
26.76
26.33
27.67
30.63
37.10
43.34
47.76
52.56
62.20
62.56
67.70
79.05
84.40
74.70
52.92
37.83
29.34
FRAMES
EXHIBITION BOX FRAMES 20mm
Exhibition Box Frames - 20mm
Code
These provide an inside gap of 20mm between the glass

and the inside back panel on which the art work is mounted.
Frame moulding dimensions:
49mm deep by 29mm wide.
NEW
Please note that the frame sizes listed are the dimensions of
the art work that can be inserted into the frame.
DF20BOX2430
DF20BOX3040
DF20BOX4040
DF20BOX4050
DF20BOX5050
DF20BOX5070
DF20BOX6060
DF20BOX6070
DF20BOX6090
DF20BOX7090
DF20BOX59484 59.4 X 84.1
DF20BOX42594
42 X 59.4
DF20BOX29742 29.7 X 42
cm/Size
24 X 30
30 X 40
40 X 40
40 X 50
50 X 50
50 X 70
60 X 60
60 X 70
60 X 90
70 X 90
A1
A2
A3
Price
31.56
38.64
51.55
56.99
64.99
74.48
74.90
81.12
96.57
100.90
89.40
63.33
39.34
FRAMES
CUTTING TOOLS
Logan Straight Edges
524 and 540
Adapt-A-Rule
All the Logan cutters can be slotted
onto a straight edge to provide
straighter, faster and more accurate
cuts.
The 24" (61cm) and 40" (101cm) models include a non-slip rubberized base
and Imperial or metric ruled guides.
All models include an Upgrade Kit
allowing modification of your Logan
Hand- held Mat Cutter.
Logan 524 24/61cm

Code
Price
LAR524
35.45
Logan 540 40/101cm
Code
Price
LAR540
58.45
Logan 424 and 440

Team Systems
Get it all in one kit. These practical combination
systems includes a 24" (61cm) or 40" (101cm)
straight edge and a Logan Handheld Mat Cutter
for accurate, high quality mat cutting. Just mark
your borders using the ruled straight edge,
attach the cutting head, and cut from line to
line. All models include a non-slip rubberized
base, US or metric ruled straight edge, and a
Logan Handheld Mat Cutter.
discontinued
Board Mounted Mat Cutters

Logan 301-S Compact Cutter

Code
Price
LTS424
57.96
Code
Price
LTS440
86.39
Price 290.95
discontinued
Quite possibly the worlds most popular mat cutter. 29/60.96cm

capacity.This versatile, portable 32 inch (81.3 cm) cutter provides
affordable and professional results. Great for light duty home
use, this cutter will produce perfect mounts every time! Open
ended guide rail allows bevel cuts in mount boards of any size.
Downsize mat boards up to 29 1/2 inches (74.9 cm.). Includes
parallel mat guide for setting border widths from 3/4 inch to 4 1/4
inches (1.9 cm to 10.8 cm.) Features serrated, spring loaded aluminum guide rail, 5 extra 270 blades, and fully illustrated
instructions. Comes with a 2 year manufacturer's warranty.
Code
LCMC301S
Price
136.13
Code
LIC450
Logan 450
Intermediate Plus Straight Cutting Head
The Logan 450 is an all purpose, economical 40 inch mat cutting system capable of cutting a full size 32 x 40 inch (81.3 cm x 101.6cm cm)
sheet of mountboard. This is a cutter for medium duty home use:
Includes parallel mat guide for setting border widths up to 4 1/4 inches
(10.8 cm.).
Also features a 90 degree squaring bar for true corners (not to be
confused with the larger squaring arm on other Logan models.)
Includes straight and bevel cutting heads, 5 extra 270 blades.
Comes with a 2 year manufacturer's warranty.
FRAMES
LOGAN FRAMING ACCCESSORIES
Logan Framing Accessories
Inserts are the essential framers securing tool once the art work
has been mounted and are simple metal sections gunned into
the moulding sides.
Logan F500-1 Dual Drive Elite Point Driver

The F500-1 Dual Drive insert gun uses stacks of either rigid or
flex point inserts and quickly fires them into your wood moulding
to secure the glass and artwork into the frame. Unique in that it
can use two different point types unlike other models. All metal
construction.
Works with Logan's F53, F54, F55, and F56 points
Code
LDDF5001
Price
91.99
Logan F400 - 1 Fitting Tool

The ideal tool to insert the 4 most popular types of inserts that finish framed art. Logan's unique swivel foot design (patent pending)
drives single inserts including rigid points, flexible points, brad nails,
and multi points for framing oil paintings.
Multi points are an excellent choice for holding canvas artwork in
frames. Multi points can be used as an alternative to flexible points
that don't always stay inserted in some types of pine frames.
Features include:
drives 4 different inserts
no slipping or bending
easy adjust foot
use on hard or soft woods
rotating insert holder
proper drive angle assured
no guessing or skill required
improved rubber foot and redesigned swivel point holder increases product durability
Logan F10
Rigid Insert
400 loose for use framing points.
Code
LRIF10
Price
11.60
Logan F11
Flexible Insert
400 loose for use framing points
Code
LFIF11
Price
11.60
Code
LFTF4001
Logan F53
Flexible Point
Insert Strip
Code
LFPSF53
LFRPSF54
discontinued
Price
6.80
Logan F54
Rigid Point
Insert Strip
Code
Price
55.45
Price
9.52
discontinued
FRAMES
FRAMES ACCCESSORIES
Strong Picture Hanging Nails
Plaster Board Wall Hook
Contains 6 per card
Hooks designed especially for soft

plasterboard walls.
Contains 3 per card.
Price
1.19
Code
LF016
Code
LF1019
Price
1.69
Picture Hooks - Larger Quantities

Larger packs of the most popular picture hooks. Made in brass plated steel.
Please note the packs do not include pins. Order these separately from the range below.
No 1, Picture Hooks & Pins
No 3, Hooks & Pins
Tub of 200
Tub of 100
Code
LF2088T
Price
13.16
Code
Price
22.14
LF2089T
Screw Eyes
Picture Plates - Plain
Still the most commonly

used way of hanging a
picture.
Code
Size
LF631 (A)
LF633 (B)
16 x 1BP
20 x 2 BP
Plain Steel Brass Plated.

The majority of our picture plates
are 'double press countersunk' fit
using countersink screws - see
below.
A
Quantity
500
250
Price
8.16
7.09
Code
Size
LF1496
LF620T
1 / 25mm
1.5 / 38mm
Quantity
100
100
Hole D - Rings Standard
Low Stretch Picture Cord
A simple, neat and strong picture

hanger. Either fix them to the
backing board or to the back of
the frame molding. Nickel plated.
Made for fitting cord or wire to
medium or larger sized frames.
This cord is available in a selection

of five strengths. The cord is made
from white polyester fibre.
When compared to cheap nylon
which gives around 26%,
the polyester gives around 12%.
Polyester will not rot or be
affected by moisture.
Take particular care always to
select screw eyes or D-rings to
securely tie the cord onto.
Code Quantity Price

LF640
100
Quality 2-Hole D-Rings

A strong steel hanger for larger
paintings. Fix with two pan head
screws into the frame molding.
Code
LF644T
Quantity Price
100
10.15
Steel Screws - Zinc Plated

Pan Head Pozi.
For use with D- Rings above.
Code
Size
LF732A 10mm x 6 pan

LF733A 13mm x 6 pan
Type
5.30
Price
8.55
10.99
Code
Type
Strength
Qty
LF584
LF586
No 1 L/St Cord
No 2 L/St Cord
89kg
150kg
100m
100m
Price
12.69
14.99
Soft Stainless Steel Wire

Qty Price
Pozi, ZP 200
Pozi, ZP 200
5.06
6.07
Braided wire with bright attractive finish. Easy to twist and wrap.
Use the knot as shown on the roll diagram.
Code
Type
Strength
Qty
LF5720
No2
8Kg
343m
LF5724
No6
24Kg
142m
Price
34.45
34.45
FRAMES
FRAMING ACCESSORIES
Rektangl
Picture
Accessories
Rektangl Picture
Accessories are a
blister pack selection of the key
hanging items in
small quantities
and are very well
priced.
Knurled Head Picture Pins

Contains 10 pins per card.
Code
LFR006
Price
1.79
Brass Wire
Contains 3m plus 8 ferrules.
Code
LFR1007
Price
1.19
Picture Cord no 2
Contains 2m of cord per card. This
is the same high quality polyester
picture cord as in our larger rolls.
Code
LFR008
Price
99p
Single Picture Hooks
Screw Eyes BP
Contains 10 hooks per card.

Includes pins.
Contains 16 screw eyes per card.
Code
LFR001
Price
1.45
Code
LFR009
Price
1.75
Double Picture Hooks
Screw Ring BP
Contains 3 hooks per card.

Includes Pins.
Contains 6 screws with rings per

card
Code
Code
LFR002
Price
1.45
LFR010
Price
1.75
Hard Wall Picture Hooks
Felt Frame Bumpers
Contains 4 medium sized hooks

per card.
Contains 12 self adhesive felt discs

per card.
Code
LFR1004
Price
1.70
Picture Plates
Contains 4 x 38mm plates per
card. Includes screws.
Code
LFR005
Price
1.79
Code
LFR1011
Price
1.70
Heavy Duty Picture

Hangers
Contains 2 large screw fix hangers
per card.
Code
LFR012
Price
1.75
Please note :
Due to the limitations of four colour printing this chart
should only be used as a guide.
Actual colours may differ slightly to those shown.
! = opaque
! = semi-opaque
= transparent
345 S1
Lemon
Yellow
086 S4
Cadmium
Lemon
726 S3
Winsor
Red !
623 S1
Spectrum
Red !
527 S1 118
S4
Primary
Cadmium
Yellow
Yellow
!
Pale !
* 30ml pots in Gold and Silver

** 37ml tubes in Black and White
*** 100ml pot in Permanent White
627
S1 055 S3
Spectrum Brilliant
Yellow
Yellow
004
S1 466 S3 502 S3
524 S1
Alizarin ! Permanent Permanent Primary
Crimson
Alizarin ! Rose !
Red !
Crimson
108
S4 508
S1
Cadmium Permanent
Yellow
Yellow
!
Deep !
111
S4
Cadmium
Yellow
Deep !
384
S1 089
S4
Marigold Cadmium
Yellow
Orange
440 S2
Opera
Pink !
028
S2
Bengal
Rose !
448
S2
Opera
Rose !
593 S2
Rose
Tyrien !
380 S2 550 S3 050 S1 052 S1

Magenta Quinacridone Brilliant ! Brilliant
Magenta ! Red /Violet Violet !
360
S2
Light !
Purple
538 S1
Prussian
Blue !
453
S1
Orange
Lake
Light !
452 S1
Orange
Lake
Deep !
106
S4 249 S1
Cadmium Flame Red
Scarlet
!
094 S4
Cadmium
Red !
455
S2
Brilliant
Purple !
733 S3 625
S1 660
S1 667 S1 178 S4
Winsor
Spectrum Ultramarine Ultramarine Cobalt
Violet ! Violet !
!
(Green !
Blue !
(Dioxazine)
Shade)
706 S3
Winsor
Blue !
322
S1
Indigo
621 S1
Sky Blue
327
S2
Intense
Blue !
523
S1
Primary
Blue !
137
S4 514
S1
Cerulean Phthalo
Blue !
Blue !
656 S2
Turquoise
Blue !
191 S4
211 S2
Cobalt !
Cyprus
Turquoise Green !
Light
692 S3
Viridian
720
S3
Winsor
Green !
459 S2 483 S2
447 S2
Oxide of ! Permanent Olive
Chromium Green ! Green !
Light
599 S2
Sap
Green !
369 S2
Linden
Green !
422
S1
Naples
Yellow !
425 S1
Naples
Yellow !
Deep
744 S1
Yellow
Ochre!
552 S1
Raw !
Sienna
285 S1
Gold !
Ochre
074
S1
Burnt !
Sienna
257 S1
Flesh
Tint !
678 S1 507 S3 564 S1 470

S3 554
S1 676 S1
Venetian Perylene
Red
Perylene
Raw
Vandyke
Red !
Maroon ! Ochre ! Violet !
Umber !
Brown !
076 S1
Burnt
Umber !
505 S3
Perylene
Black !
331 S1
Ivory
Black !
337 S1
Lamp
Black !
335 S1
Jet
Black !
436 S1
Neutral
Grey 3 !
617 S3
Silver
283 S3
Gold
512 S1 748 S1
Permanent Zinc
White !
White !
482
S2 484
S2 046 S1
Permanent Permanent Brilliant
Green !
Green !
Green !
Middle
931
Process
White !
037
Bleedproof
White !
When ordering
please refer to the
colour chart and
quote product code
followed by colourcode, eg.Winsor &
Newton Designers
Gouache 14ml Sky
Blue = WDG04 + 621
= WDG04621.
609 S1
Sepia !
Code
WDG04
WDG45
WDG09
WDG18
Series 1
14ml tube
4.23
30ml pot*
6.09
37ml tube1** 7.92
100ml pot*** 10.83
Size
Series 2
4.54
-
Series 3
5.45
-
Series 4
7.27
-
GOUACHE
WINSOR & NEWTON - DESIGNERS GOUACHE
A Brief History of Gouache
Winsor & Newton have been producing Designers Gouache since 1935.
Gouache is actually both a technique and a product. The technique, dating
to before the Renaissance, refers to the use of white to achieve opacity in
water based colours. Originally, used for illuminating manuscripts, it was
the artist Paul Sandby in the 18th century who first used the painting technique extensively and later the Pre-Raphaelites. Opaque techniques were
further popularised by the Impressionists and Post-Impressionists, in their
use of pastel, lithography and wood cuts. Gouache, the product, was a
result of this interest in both opaque and water based products.
Introduction
Designers Gouache colours are a range of opaque water colours, so
called because they were developed for and continue to be used by
designers, illustrators and commercial artists to create crisp vibrant visuals
and illustrations in solid colour. However, gouache is also widely used in
fine art as an opaque water colour, or in combination with Artists Water
Colour. It is also used widely by colleges to teach the theory of colour mixing. Winsor & Newton introduced their gouache in 1935 as Designers
Opaque Water Colour; the range rapidly achieved the standard of reputation common to Winsor & Newton and more than 70 years later is
accepted as one of the finest quality Designers Gouache on the market.
Today, the Designers Gouache range benefits from significant developments in technology, manufacturing methods and the availability of the
finest grade pigments to enable the company to produce the widest and
most lightfast palette available. The range contains both pure single pigment colours for the brightest, strongest mixes as well as accurate premixed colours as it is recognised that convenience is required at times. In
addition, gouache includes some uniquely bright colours because sometimes brilliance of colour is more important than anything else all of this
plus improved working properties. The range today is also smoother, flatter, more opaque and stronger than ever before.
Why use Gouache?
Gouache is a very versatile paint which can transcend the boundaries of
many mediums. It can make a wash like a water colour, blend like an oil
colour and dry brush like acrylic. It can be used thinly for a wash at the
start of a painting then applied in thicker layers towards the end. Due to its
opaque nature it can be applied in solid colours, allowing you to paint in
layers from dark to light. It is a direct and quick drying paint with superb
covering power which is achieved by high levels of pigmentation (not by
the use of fillers or opacifiers). Unlike transparent water colour, where you
need to plan and reserve the white of the paper, gouache is more controllable and enables you to remove mistakes and re-paint.
Who uses it ?
Designers its ease of use, brilliance, quick drying and matt finish make
it the most popular designers and illustrators colour.
The opaque matt finish makes for more accurate reproduction at artwork
stage as it minimizes reflections.
Fine Artists use it in conjunction with water colour or on its own as
opaque water colour. Its brilliance and opacity give it solidity, excellent for
abstract work and extra details. Strong effects also result from the contrast
of working on coloured backgrounds which are left partly exposed.
Calligraphers because of its excellent flow, opacity and permanence.
Marblers the high pigmentation and gum arabic base make it a
common choice with professional marblers.
Product Range
Winsor & Newton Designers Gouache has recently benefited from a wide
ranging review in their research and development laboratory. It has been
updated and now offers a wide and balanced spectrum of 85 colours. Each
colour has been specially formulated to offer the greatest choice and flexibility, ensuring that all users/artists can choose the best palette to suit their
work.
New Colours
Code
455 Brilliant Purple - New colour position to increase spectrum across the
range very bright
094 Cadmium Red - Replaces Cadmium Red Pale with a brighter colour
Very opaque and lightfast.
106 Cadmium Scarlet - New colour position to increase spectrum across
the range very opaque and lightfast
108 Cadmium Yellow - New colour position to increase spectrum across
the range very opaque and lightfast
191 Cobalt Turquoise Light - New colour position to increase spectrum
across the range very bright, excellent lightfastness, good opacity
425 Naples Yellow Deep - New colour position to increase spectrum
across the range. Single Pigment. Excellent lightfastness, subtle
colour, good opacity
440 Opera Pink - A modern fluorescent pigment offering the brightest pink
available. Brilliance
448 Opera Rose - A modern fluorescent pigment offering the brightest
rose available. Brilliance
466 Permanent Alizarin Crimson - Lightfast alternative to Alizarin Crimson
Brighter, more opaque and lightfast than Alizarin Crimson
502 Permanent Rose - New colour position with good lightfastness.
CMYK magenta very high lightfastness.
505 Perylene Black - New colour position to increase spectrum across the
range. A single pigment black with a subtle green undertone
507 Perylene Maroon - New colour position to increase spectrum across
the range. A single pigment deep maroon. Very high lightfastness
470 Perylene Violet - New colour position to increase spectrum across the
range. A single pigment: Deep Violet. A popular position amongst
modern pigments. Very high lightfastness
550 Quinacridone Magenta - New colour position offering improved light
fastness in area of spectrum. Single pigment, high brightness, very
lightfast
667 Ultramarine Green Shade - New colour position to increase spectrum
across the range. Single pigment, very bright and lightfast
726 Winsor Red - A single pigment, bright and lightfast red to increase
spectrum across range .Single pigment, very bright and lightfast
733 Winsor Violet (Dioxazine) - A lightfast dioxazine in this part of spectrum. Single pigment, very strong and lightfast
Modified Colours
24 colours have been modified improving their brilliance, permanence
ratings and mixing abilities.
Discontinued Colours
There are 25 discontinued colours
The remaining 41 colours are unchanged. All colours are available in 14ml
tubes except Bleedproof White, Process White & Photo Opaque.
A selected number of whites, blacks and metallics are available in 30ml,
60ml and 100ml pots and 37ml tubes. There is also a selection of box sets
available, which are a perfect introduction to gouache.
Characteristics & Benefits

Formulation
Good quality gouache colour is a combination of pigment and gum arabic.
Gum arabic is the binder that holds the pigment, giving it that perfect
creamy flowing consistency. Every colour within the range has an individual formulation to take advantage of individual pigment characteristic and
to ensure tube stability.
Opacity
All the Designers Gouache colours are more opaque than Artists Water
Colours. However, the degree to which they cover does vary. The relative
opacity of the colours is marked on the colour chart.
GOUACHE
DESIGNERS GOUACHE
Photographic Opaque
For use on photographic negatives
and slides for spotting pinholes,
blocking out backgrounds.
Can be used with brush or pen.
Price
7.96
Code
WDG16934
Size
60ml
Winsor & Newton -
Winsor & Newton -
Designers Gouache
Primary Colours Set
Designers Gouache
Introductory Set
This set offers a selection of 6 x 14ml tubes.

The colours have been specially selected for optimum
results when colour mixing, producing strong bright mixes.
This is an ideal first time set for students.
Code
WDG50174
Price
13.51
RRP
20.00
This set contains 10 x 14ml key colours and is an ideal

starter set.
Code
WDG50173
Price
19.99
RRP
30.00
GOUACHE
DESIGNERS GOUACHE
Using Designers Gouache Hints and Tips
Surfaces and Grounds
For fine art painting, acid free water colour papers (either white or tinted)
are recommended to accommodate the widest variety of techniques and
ensure long term stability. Designers and illustrators often choose illustration board or hot pressed water colour paper, both of which have a flat finish which reproduces well. Textured paper, coloured paper or mount board
may also be used to achieve different finishes; it is recommended that
heavier weights are used to give a more stable surface for the paint, especially if a number of layers will be applied.
Layering Colour
Designers Gouache is intended to be applied fairly thickly in comparison
to water colour. If diluted with too much water it may 'powder off' the surface when dry. If applied in too many thick layers it may have a tendency
to crack,due to the under layers absorbing water and Gum Arabic from the
newly applied paint; this only becomes apparent when dry. We would
advise that fewer layers are definitely best when working with gouache.
(See also Thick Colour/Adding Texture in Mediums Section). Gum Arabic
can be added to Designers Gouache when painting in layers to reduce
cracking. Gum Arabic should also be added to the colour when airbrushing
to ensure that the colour is not over thinned. However, the addition of Gum
Arabic should be kept to a minimum as it increases brilliancy, gloss and
transparency if used in large quantities. When using a lighter colour over a
darker colour, ensure that the lighter colour has a high opacity rating.
Mediums
Designers Gouache can be used with water and mediums or water alone.
Through the use of various mediums the creative potential of Designers
Gouache can be enhanced and extended even further. Mediums are additives which alter or enhance the characteristics of the colour. They are
used to change the rate of drying, increase gloss, improve flow, provide
texture etc.
Thick Colour/Adding Texture
If you want to apply colours more thickly try using Winsor & Newton
Aquapasto, a semi transparent gel medium which allows you to build up
relatively thicker layers without fear of cracking or flaking when dry.
Aquapasto also helps the colour go further and increases its transparency.
For increased texture use Texture Medium which contains fine particles
and can be used to give the impression of depth and structure to paintings,
it is ideal for emphasising areas such as sandy beaches or the bark of a
tree in figurative paintings.
Improving Flow
Water Colour Medium has the same characteristics as Gum Arabic, but
also increases the wetting of the paper which will improve the flow of
washes across the surface. (Caution: Water Colour Medium should not be
used with acid sensitive colours - those containing Ultramarine.)
Alternatively ,Ox Gall liquid is a wetting agent and can be used to improve
flow when mixed directly with Designers Gouache.
Slow Drying
Blending Medium is used to slow the drying rate of Designers Gouache
allowing you more time for blending. It is particularly useful in hot climates
where artists would like their colours to stay open and workable for longer
periods of time.
Lifting Colour making corrections
Lifting Preparation allows dry washes, including staining colours, to be
more easily lifted from paper with a wet brush or sponge. It is an ideal
preparation with which beginners can prime the paper allowing corrections
to be made more easily to their painting.
Resistance to water
Acrylic Matt Medium can be used to achieve water resistance however
care should be taken with the amount used as some colours can react and
change colour or consistency. The addition of Matt Medium will also deepen the tone and reduce the matt finish so always try a small area first.
Using Designers Gouache in conjunction with other water based media
Designers Gouache, Artists' Water Colour and economical ranges such as
Cotman Water Colour can be fully intermixed.
Although Designers Gouache can be mixed with Artists Acrylic and
Galeria economical acrylic, care should be taken as some colours can
react. The pinks and violets in Designers Gouache can have a tendency to
change colour on combination with acrylic. Some other Designers
Gouache colours may also be sensitive to alkali and produce gelatinous or
lumpy mixtures. All combinations should be tested on the palette prior to
use.
Varnishing/Finishing
Gouache paintings are best left unvarnished as the depth, darkness and
finish of the work can be drastically affected by varnishing (which would
not be removable).
Pigments
Pigments are sourced from many different places, some are natural
products - notably the earths (umbers, ochres, etc.); some are from metal
compounds and are often referred to as traditional or genuine
(cadmiums, cobalts, titanium) and there is an ever growing range of
organic pigments available as a result of the distillation of petroleum:
These are often termed modern. In total, there are 64 different pigments
used in the Designers Gouache range. Within the Designers Gouache
range there are 34 single pigment colours in order to provide the widest
handling properties and maintain clean mixing. Single pigments are used
wherever possible as they are purer in hue and cleaner in colour than
mixtures of pigments. This provides a larger number of clean, vibrant
colour mixes whereas colours made with multiple pigments can result in
muddy colours, which is a major disadvantage to artists. In addition to the
single pigment colours there are 51 colours that are produced using carefully selected mixtures of pigments that result in good colour mixes.
These are equally important as we understand that it is difficult and time
consuming for an artist to consistently mix some colours by hand. Mixing
colours in the manufacturing process saves time and colour otherwise
wasted on incorrect mixing. As a result of the range review many colours
now also have increased pigment strength.
Spectrum/Colour Range
One of the main reasons artists choose Winsor & Newton is for its colour
spectrum. The Designers Gouache range offers a wide and balanced
spectrum of 82 tube colours (3 additional colours in pots only). These
colours have been chosen according to mass tone (colour from tube),
colour bias (undertone), colour strength and relative opacity.
The range includes bright colours for designers and more lightfast ones
for fine artists. The resultant colour range ensures that all artists can obtain
the palette which best suits their work, and also that all colours can be
safely intermixed.
We have now introduced a number of super bright new colours, such as
the Opera Pink and Opera Rose.
Series
Due to the wide range of pigments used in the range it is necessary to use
a series system. The series indicates the relative price of the colour and is
determined mainly by the cost of the pigment. Designers Gouache has
four series with Series 1 being the least expensive and Series 4 the most
expensive.
GOUACHE
DESIGNERS GOUACHE
Daler Rowney
Designers Gouache
Starter Pack
6 x 15ml tubes. A basic palette of
colours for anyone wishing to start
painting with Designers Gouache.
Code
DRDG900004
Price RRP
18.15 19.00
Designers Gouache Tube

Code
Size Price RRP
DRDG15- 15ml
3.57 5.20
DRDG38- 38ml*
6.69 8.15
Developed for the professional, Daler Rowney

Designers Gouacheis available in 90 brilliant
matte colours for a wide choice in sensitive
graphic reproduction or fine art painting techniques.
Covering power, opacity and tinting strength
are all characteristics of Daler Rowney
DesignersGouache.
Applied with complete confidence by brush,
ruling pen or airbrush, all colours are intermixable to allow the designer to achieve a fine
degree of colour matching.
When ordering please refer to the colour chart and
quote product code followed by colour code, eg. 38ml
Jet Black Designers Gouache = DRDG38 + 041 =
DRDG38041
DALER - ROWNEY DESIGNERS GOUACHE

C
651 ***
B
Lemon Yellow
666 ***
Canary
675 ***
B
Process Yellow
676 ***
B
Spectrum Yellow
620 ***
C
Cadmium Yellow
Hue
607 ***
B
Brilliant Yellow
643 ** T
Indian Yellow
618 **
C
Cadmium Yellow
Deep Hue
685 **
B
Middle Orange
631 **
Tangerine
687 **
C
Flame Orange
630 **
Coral
553 **
Red Orange
547 **
Brilliant Red
503 **
C
Cadmium Red
Hue
589 **
D
Vermillion Red
517 **
Flame Red
567 **
Scarlet
518 * S
Geranium
513 **
Crimson
416 * S
Maroon
533 **
Mars Red
530 * S,T
C
Madder Carmine
558 * S
Ruby Red
576 * S,T
Rose Pink
575 *S,T
Deep Pink
412 * S,T
C
Process Magenta
409 * S
Magenta
437 * S
Purple Lake
445 * S
B
Spectrum Violet
407 * S
B
Brilliant Violet
135 **
B
Prussian Blue
119 ***
Rowney Blue
123 ***
Ultramarine
125 ***
Delft Blue
112 ***
Coeruleum
Hue
110 ***
Cobalt Blue
Hue
124 ***
Brilliant Blue
120 * S
C
Process Cyan
117 ***
Powder Blue
106 * S
Azure Blue
150 ***
Ocean Blue
151 ***
Marine Blue
304 ***
B
Cyprus Green
145 ***
Turquoise
341 ***
Pine Green
340 ***
Fir Green
381 ***
Viridian
351 ***
Mint
335 ***
Emerald
309 ***
B
Brilliant Green
370 ***
B
Process Green
355 ***
Leaf Green
348 *** T
Light Green
388 ***
Yellow Green
367 ****
B
Opaque Oxide of
Chromium
363 **
Olive Green
663 ****
Yellow Ochre
578 **
Flesh Tint
217 ***
Sandstone
667 ****
Raw Sienna
221 ****
Burnt Sienna
554 **
Red Earth
215 ***
Brown Pink
523 **
Indian Red
550 ****
Red Brown
247 ****
Raw Umber
264 ****
A
Vandyke Brown
Hue
223 ****
Burnt Umber
075 ***
Warm Grey 1
076 ***
Warm Grey 2
077 ***
Warm Grey 3
080 ***
Cool Grey 1
081 ***
Cool Grey 2
082 ***
Cool Grey 3
085 ***
A
Neutral Grey 1
086 ***
A
Neutral Grey 2
087 ***
A
Neutral Grey 3
065 ***
Paynes Grey
035 **** X
Lamp Black
039 **** X
Velvet Black
041 ****
Jet Black
008 *** X
A
Permanent White
001 *** X
Zinc White
230 ***
Copper
703 ***
D
Silver (Imitation)
665 ***
Primrose
708 ***
Pale Gold
707 ***
Rich Gold
Please note : This chart should only be used as a guide. Actual colours
may differ slightly to those shown.
374 *** T
B
Saffron Green
Key to Coding
****
Extremely Permanent
***
Permanent
**
Moderately Durable
*
Fugitive
X
38ml size available
S
Colours with a tendency to
stain when overpainted
T
Colour with a high transparency when wet
CHALKS & GUMS

CHALKS
Pumice Powder
Rottenstone Grey
French Chalk
A simple additive to PVA or acrylic primer to

a give a granular coarse texture gel.
A fine additive used to create an

aged appearance on gilding. Also
put into cracks to give ageing
appearance.
The finest grade of chalk used for fine gilding

and making gesso. This is in effect talc grade
fineness.
Code
Size
PP500
PP1K
500gsm
1 Kilo
Price
5.81
7.80
Code
Size
RG250
RG1K
250gsm
1 Kilo
Price
7.90
20.40
Whiting
The commonest form of chalk and is
used for making gesso.
new image
coming soon
Code
Size
Price
AWHIT1K
AWHIT5K
1 Kilo
5 Kilo
1.89
7.20
Plaster of Paris
The classic modelling material and one of the easiest to use by simply adding
water to the plaster powder. Much favoured by modellers as it is easy to
manipulate once dry as it remains relatively soft so it can be shaped with metal
tools or even sandpaper.
Generates some heat when water is added so care should be taken if using
parts of the body to work on.
Code
CAPLP100
CAPLP500
Size
1kg
5kg
Price
3.69
11.99
Code
Size
FC500
FC1K
500gsm
1 Kilo
Price
6.11
8.40
CHALKS & GUMS

GUMS & RESINS
Gum Arabic
When dissolved in hot water
it is used as an adhesive
(gum mucilage), as a slop out
in litho printing, as a size
and more often as a binder in
opaque and transparent
watercolours and pastels.
Plasticisers are added as pure
gum film is brittle.
Gum
Sandarac (Morocco)
A hard resin collected from the
alerce tree in North Africa.
It comes in rounded granules
and is dissolved in alcohol and
other solvents to form a hard,
brittle varnish.
Code
Size
GSM50
50gsm
GSM250
250gsm
Price
9.25
32.78
Atlantis
Gum Arabic Crystals
Make your own Gum Arabic.
Code
Size
AGA100
100gsm
AGA250
250gsm
Price
3.05
7.63
Gum Mastic (Chios)

Mastic Varnish is very simple to
make and comes in its raw form
as rounded granules.Popular in
the 19th century mastic cen be
dissolved in alcohol or gum turpentine. It is less in use than
damar as it has the tendency to
brown, darken and yellow with
age. To make use same procedures as damar.
Code
Size
GM50
GM100
50gsm
100gsm
GCM100
100gsm
GCM500
500gsm
Price
5.30
11.50
Code
Size
GD250
250gsm
GD500
GD1K
GD2.5K
500gsm
1 Kilo
2.5 Kilo
Price
3.70
6.53
11.76
26.75
Gum Tragacanth
(Pharmac)
This comes from the shrub
Astragalus found in the Middle
East.
It swells into a translucent
colloid in hot water.
The gel is then filtered and the
resulting liquid is used to
stabilise coating emulsions and
as a binder for pastel chalks.
Code
Size
GTP25
GTP100
25gsm
100gsm
Price
5.65
12.76
Shellac Lemon (India)

Code
Size
Price
Shellac Button (India)

SLI100
Code
Size
Price SLI500
Used to make Copal Varnish

and Copal Painting Medium.
Generally mixed with linseed
oil and driers.
The varnish films are glossy.
Size
Damar varnish is very simple

and much more economical to
make. The resin is tapped from
the damar fir tree in Thailand,
Malaysia and Indonesia.
It comes in lump form and
dissolves in gum turpentine.
Other solvents are not
recommended.
Price
20.85
36.80
Gum Copal (Manilla)
Code
Gum Damar
Shellac Orange (India)

Code
Size
SOI100
100gsm
SOI500
500gsm
Price
6.60
17.80
SBI100
100gsm
SBI250
250gsm
SBI1K
1 Kilo
6.50
10.60
31.10
Shellac Clear (Dewaxed)

Code
Size
SCD100
100gsm
SCD250
250gsm
SCD1K
1 Kilo
Price
8.80
16.30
53.70
100gsm
500gsm
6.30
16.40
WAXES
WAXES
Waxes
Waxes have been used for centuries as
protective coatings, binders, ingredients in
painting mediums, adhesives and stabilisers
for mixtures of pigments and binders.
Waxes do not decay, are stable and do not
attract moulds.
When added to paints as a medium they
can produce soft films.
They are vulnerable to extremes of
temperature and can crack when cold.
Beeswax Pellets (Bleached)

This is the natural honeycomb beeswax
formed into thin sheets and bleached by
sunlight making it white.
This also raises the melting point of the
wax.
Due to it being colourless it is the
recommended wax for beeswax oil mediums
and some impasto mediums.
Congealing point is 61-65 degrees centigrade.
Code
Size
BPB250
BPB500
BPB1K
250gsm
500gsm
1 Kilo
Price
7.19
11.99
19.95
Beeswax Pellets (Natural)

This is the totally natural wax that remains after
the honey is extracted.
It is yellow in colour.
Code
Size
BPN250
BPN500
BPN1K
250gsm
500gsm
1 Kilo
Price
6.99
11.69
19.47
Microcrystaline Wax
A petroleum derivative wax this is used as an
additive to oils as well as for making adhesive
mixtures for conservation.
This is our most popular wax with artists.
Paraffin Wax
Code
White, odourless.
PW250
Commonly used in candle making plus other
PW500
uses.
PW1K
Melting point is 57-60 degrees centigrade.
Size
250gsm
500gsm
1 Kilo
Price
2.33
4.08
6.53
Code
Size
MW500
MW1K
MW5K
500gsm
1 Kilo
5 Kilo
Price
6.38
10.62
42.48
MODELLING MATERIALS
MODELLING MATERIALS
Newclay - Air Drying
Newclay is a unique product which combines the qualities of typical clay with the convenience of modelling materials. This makes it suitable for professionals as well as
first timers. Newclay is highly malleable, air dries and is non toxic which is excellent for
children. Because it contains nylon reinforcing it is very strong and is not brittle. For
professional users a hardener can be added to increase the strength and durability
still further. Newclay has the advantage that if it dries out while in use simply break it
into small pieces, put into a small plastic bag and sprinkle some water on them, leave
until soft and workable again. Quite simply, Newclay has the feel and characteristics
of traditional clay made more user friendly by incorporating modern ingredients.
Code
Size
NC1Kg
NC4.5Kg
NC12.5Kg
1Kg
4.5Kg
12.5Kg
Price
List
4.19
5.99
9.89 10.95
14.97 15.95
Newclay Hardener 1
Newclay Hardener 2
Non-toxic hardener for Newclay. H1

is mixed with water and painted onto
Newclay when it has hardened. This
additionally coating hardens it. H1 is
a blue powder.
Non-toxic hardener for Newclay. H2

is kneaded into Newclay to provide
additional strength. By baking at 200
degrees Centigrade further robustness can be obtained. H2 is a yellow
powder.
Code
Size
NCH1
113g
Price
4.80
Code
Size
NCH2
225g
Price
6.49
DAS Modelling Material

This is the solution for anyone that has enjoyed using Plasticine and similar materials but wanted the results to be more permanent so
they can be kept. DAS is a moist feel modelling clay similar in respect to many others except that it air dries to a hard, durable matt finish
enabling the modelled objects to be kept indefinitely.
The advantages of hardening a modelling material without the need for kiln firing mean that anyone can work with this. It is important to
ensure that unused DAS is kept in an airtight container preferably wrapped in cling-film or foil so that it remains in a workable condition.
A snap on lid container is perfect for this. DAS can be smoothed by wetting the fingers which will soften the surface.
However, be careful as too much water can result in the material becoming too soft or sludgy to work with.
Although this is an air drying material, experience shows that you can allow about 2 to 3 hours to finish a project.
For larger scale modelling some supporting wire or mesh is important.
For painting dried models enamels or acrylics work best but simple craft
paints can also be used.
Packed and sealed in foil.
Available in White and Terracotta in two sizes.
Code
Size
Colour
DMC0070
500g
White
DMC10075
1000g
White
DMC0071
500g
Terracotta
DMC10076
1000g
Terracotta
Price
2.39
4.25
2.39
4.25
List
3.50
6.25
3.50
6.25
MODELLING MATERIALS
MODELLING MATERIALS
Newplast
Newplast is a non-drying, non-setting modelling
material.It is virtually identical to Plasticine, and
can be re-used many times.
Newplast is sufficiently pliable to make a wide
variety of models, but is firm enough to retain
its shape indefinitely.
Newplast is non-toxic.
This product will keep for many years if stored
correctly in a refrigerator in cling film.
This is the modelling material made famous by
the recent animated animal film success seen
in cinemas around the world.
The Ardman animation website has a blog section where various comments on Newplast can
be viewed.
Newplast is primarily available as a 500g bar,
but is also supplied in multi-coloured 3Kg and
10Kg tubs. Newplast can be supplied in 21
different colours.
NP50001
White
NP50002
Stone
NP50007
NP50003
Grey
NP50008
NP50009
Light Green Green
Red
NP50013
Yellow
NP50014
Orange
NP50004
NP50005
Pink
Violet
NP50010
NP50011
Turquoise
NP50015
Peach
NP50016
NP50017
Brown
Dark Brown
Terracotta
Cerise
NP500R
Rainbow
NP50018
Black
Price
500g bar
NP50020
NP50012
Light Blue
Blue
Size
NP50019
NP50006
Mauve
single colour
500g bar Rainbow
1.81
1.99
Sculpey - Oven Bake Clay
Code
Colour
Code
Colour
Sculpey and Fimo are the most popular craft clays on the market
today.
This range is safe and easy to use for both children and adults.
Sculpey is polymer clay which remains pliable for long periods but
bakes or cures in the home oven at a fairly low temperature to a
hard, often pliable surface.
Sculpey can be carved, sanded, textured, and painted as well as
being useful for home dcor, jewellery, figurines and children's
toys.
INSC533
INSC1209
INSC093
INSC042
INSC063
INSC1008
INSC053
INSC393
INSC303
INSC1645
INSC323
INSC1656
INSC1086
INSC1629
INSC1657
INSC503
INSC501
INSC1634
INSC322
INSC573
INSC521
INSC1103
INSC1102
INSC382
Atomic Orange
Ballerina
Beige
Black
Blue
Blue Pearl
Chocolate
Coral
Dusty Rose
Elephant Grey
Emerald
French Blue
Gold
Granny Smith
Hazelnut
Hot Pink
Ivory
Just Orange
Leaf Green
Lemon
Lime
Lt. Blue Pearl
Lt. Pink Pearl
Maroon
INSC1626
INSC363
INSC1101
INSC1221
INSC1655
INSC513
INSC083
INSC583
INSC1130
INSC1216
INSC1668
INSC1628
INSC1689
INSC1274
INSC033
INSC301
INSC305
INSC1685
INSC010
INSC505
INSC1207
INSC515
INSC001
INSC072
Moss
Navy Blue
Pearl
Pistachio
Pottery
Purple
Red
Red Hot Red
Silver
Spring Lilac
Stonewash
Spring Bean
Sunset
Sunshine
Sweet Potato
Tan
Teal
Tomato Red
Translucent
Turquoise
Vanilla
Violet
White
Yellow.
Sculpey Large Blocks

Code
Colour
INSC2
INSC02
White
Terracotta
Size
795gms
795gms
Price
9.99
9.99
MODELLING MATERIALS
MODELLING MATERIALS
Milliput
Sculpey Super Block

Super Sculpey is used by film animation studios and professionals
worldwide. Its excellent tooling qualities make it the preferred
choice for casting and all types of sculpture.
Super Sculpey is a semi-transparent beige colour and can be
sanded, drilled, carved and painted with water based acrylics
(after oven hardening)
Code INSCC1
Size 454g
Price 9.99
Milliput is a 2-part epoxy putty that has a wide range of uses such
as porcelain restoration, modelling, sculpting, crafts, and architectural models among many others.
The packs contain two sticks which have a long shelf life but once
mixed together the resultant putty is initially soft and highly adhesive and then gradually hardens.
Speed of hardening is dependant on temperature so that at 20-25
degrees Milliput becomes rock hard in three to four hours.
By the application of heat the setting time can be reduced by a few
minutes.
Once fully cured Milliput can be sandpapered, filed, tapped, drilled,
turned, sawn and painted.
As an adhesive Milliput is excellent and will bond any of the following to itself or to any of the others - wood, brick, cement, metals,
concrete, plastics, glass, etc.
Please note that Milliput is not intended to be used as a thin layer
adhesive and should not be used where a paste, mucilage or thin
glue is indicated.
Milliput will set under water and is heat resistant up to 130 degrees.
Store in cool, dry conditions and reseal bags well after use.
If stored well this product should remain workable for about 2 years.
The following is a guide to uses:
Standard:
Modelling and Sculpting, Architectural models, D.I.Y, Household
repairs, Cars, Marine, even Caravans.
Superfine White:
Modelling and Sculpting, Repairs to Porcelain, Dolls, and white
domestic goods such as Cookers and Refrigerators.
Terracotta: Pots, Garden Urns, Statuettes, Damaged Brickwork,
Quarry Tiles.
Code
Type
Size
TSMEP01
TSMEP02
TSMEP03
TSMEP04
TSMEP05
Standard Yellow Grey

Terracotta
Silver Grey
Superfine White
Black
113g/ 4oz
113g /4oz
113g/4oz
113g/4oz
113g/4oz
Sculpy 30 Piece Sampler

Pack of 30 key colours in 1oz/28g size. The pack also includes
helpful instruction leaflet with projects.
Code
INSCS301
Price 20.49
Price
3.29
3.96
5.30
6.37
5.77
MODELLING MATERIALS
MODELLING MATERIALS
Modelling Mesh
Copper Modelling Mesh Rolls

Copper mesh has exactly the same characteristics as the aluminium mesh with the added advantage that it can be soldered.
Aluminium Modelling Mesh Rolls

This unique aluminium wire is excellent for use with all kinds of
modelling materials and especially Plaster Roc. The wire is easy
to cut, shape, stretch and contour, while being rigid enough to
retain its strength. Available in rolls of 500mm x 3 metres.
Code
Mesh Grade Size
SCAMMF
SCAMMM
SCAMMC
Fine
Medium
Coarse
500mm x 3 metres
500mm x 3 metres
500mm x 3 metres
SCCMMF Fine
500mm x 3 metre
Price
33.15
SCCMMM Medium
500mm x 3 metres
24.95
Code
Mesh Grade
Size
Price
21.96
20.99
19.89
DISCONTINUED
Brass Modelling Mesh Rolls

Superb for modelling being naturally stronger than aluminium and
can be woven for added strength and malleability.
18 holes per inch.
Code
Mesh Grade
Size
SCBMM
18 holes / inch
500mm x 3 metres
DISCONTINUED
Price
42.30
MODELLING MATERIALS
MODELLING & CASTING MATERIALS
Plaster Roc
Liquid Latex
Plaster Roc is resin-impregnated gauze that is ideally suited for

use in design and technology construction where a free form surface is required. Plaster Roc is especially useful where a rock
hard, lightweight shell or structure is required. It works best
when applied to a form or structure such as wire mesh or aluminium wire and can be textured during the drying period
for natural effects. As Plaster Roc is a resin impregnated gauze it
is superior to use than plaster in that it is less messy, more chip
resistant, and easy to use as well as having greater speed
of setting and a capacity for fine detail work.
Liquid Latex Emulsion is used for making accurate, long lasting

moulds easily and quickly. It can also be used to make models and
general objects, which can be intensely coloured when Latex colour
is added. Liquid Latex can also be used on several master materials
such as plaster, clay, wood and metals. It is important to remember
that Latex works best on porous materials as these draw moisture
out of the Latex causing it to thicken.
When using Latex on non-porous surfaces it is essential to use
Latex Thickener which when mixed with Liquid Latex alters its viscosity to enable it to form on metals and plastics.
Master materials can be either dipped into the Latex or can have the
Latex painted directly onto them.
This approach is better suited to non-porous master materials.
After dipping, Latex should be dry within 20 minutes, and can be
removed after approximately 3 hours.
Code
Size
ALL1L
ALL5L
1 Litre
5 Litres
Price
9.25
44.40
List
12.29
46.95
Plaster Roc Roll Pack

A single 3 metre roll of Mod Roc.
Code
Size
CAPY250
100mm x 4.5m - 3 rolls
CAPY258
25 lbs. 100mm x 4.5m - 40 rolls
CAPY254
5 lbs. 100mm x 4.5m - 8 rolls
Price
2.29
47.35
12.96
Alginate Mould Material

Alginate is an exceptional mould making material for its ability to
produce objects in great detail in a short working time (2-3mins).
This is a powder formula which is mixed with water and begins to
set immediately. Takes 2-3 minutes to set.
Code
Weight
SCAMM500
500gms
Price
26.15
Liquid Latex Thickener

Thickener is added to latex to enable it to adhere to non-porous
materials such as plastics and metals.
It is mixed to the Latex before application.
Code
Size
ALT250
250ml
Price
5.20
List
6.75
MODELLING TOOLS
MODELLING TOOLS
20
22
23
26
27
11
29
13
33
14
15
18
35
Boxwood Modelling Tools

A range of quality, twin-ended boxwood shaping tools in a selection of 38 individual shapes. 6inches / 152mm long.
Price
0.79
List
0.90
Code
Shape No
Code
Shape No
CABMT06
CABMT08
CABMT11
CABMT13
CABMT14
CABMT15
CABMT18
CABMT20
CABMT22
CABMT23
No. 6
No. 8
No. 11
No. 13
No. 14
No. 15
No. 18
No. 20
No. 22
No. 23
CABMT26
CABMT27
CABMT29
CABMT33
CABMT35
No. 26
No. 27
No. 29
No. 33
No. 35
Boxwood Modelling
Tools
Set of 6
An assortment of 6 of the
most popular modelling tools.
Code
CABMT6
Modelling Tool Set Plastic

Contains 14 assorted plastic carving and
shaping tools.
Code
CAPMSS14
Price
4.25
List
6.35
Price List
4.55 6.50
OIL MEDIUMS
A GUIDE TO SOLVENTS AND THINNERS
Solvents and Thinners
Low Odour Solvents
All solvents and thinners are primarily for diluting and thinning
paints to achieve the desired consistency as well as for cleaning brushes and dissolving resins or waxes in the formulation
of mediums.
Solvents in the main have one major disadvantage, they
give off toxic fumes which the artist must know how to cope
with to avoid health problems.
On the other hand, solvents are so successful that most
artists will put up with their downside to continue to work in
their preferred techniques. Odourless solvents have been
developed to overcome the health hazards and are popular
with many artists. There are a number of solvents available.
We have chosen the key types. Most good technical artist
reference books cover these, as well as health and flammability questions in more detail.
It is recommended that artists have such a manual to hand
at all times.
Standard Solvents and Thinners

Water
Water is the most common thinner in use as it is used to vary
the consistency of water based painting media including
acrylic paints and mediums. In some formulas. distilled water
is preferred due to its purity.
White Spirit
Primarily, White Spirit is used as a brush or palette cleaner,
but it can be used as a solvent for oil paint when mixed with
a small amount of stand oil.
A range of products developed specifically for the artist who gets an

adverse reaction to solvents. Zest-It, Sansodor by Winsor & Newton are
such products as well as Citrus Turpentine by Lukas which we have
reluctantly had to discontinue due to the cost of shipping hazardous
materials.
Low Odour Solvents have a slow evaporation time and prevent the vast
majority of reactions experienced by artists.
Spontaneous Combustion of Artists Cleaning

Rags - An everyday danger..
It may sound a little far fetched but this occurred in Atlantis a few years
ago. Used artists cleaning rags that are either piled up or kept packed
in a plastic bag have a real possibility of spontaneous combustion. This
is due to the presence of microbes where linseed oil as well as other
solvents has been cleaned up with rags and which have then been
stored in a compact manner.
There is a similar natural process as is seen on compost heaps during
which high temperatures are naturally generated.
We had a fire at Atlantis when we were based in Brick Lane. This was
caused by a pile of dirty rags combusting spontanously. The Fire
Brigade officer told us that this is a regular event in artists studios, particularly in warm weather and where the artist has compressed the dirty
rags in a plastic bag for storage. Luckily, the fire was caught just after it
had started. The recommended solution for the storage of cleaning
rags is to keep them in a bucket or old waste bin and soak them in
water (particularly if you are going to leave for a day or two).
Turpentine
There is a wide range of turpentine types ranging from what
we could term DIY types (generally called genuine turpentine) to the traditional turpentine such as Gum Turpentine.
The main difference is that genuine turpentine is produced in
an industrial scale and is therefore less effective than Gum
Turpentine and is more prone to cause adverse health reactions such as headaches and rashes.
Gum Turpentine
Turpentine is distilled from several different species of pine
trees and is the main solvent for oil paints, mediums and varnishes. Gum Turpentine is regarded as a moderately toxic
solvent and has a reasonably safe fire hazard rating as it
combusts at 35 degrees centigrade (95 degree Fahrenheit).
The best grades of Gum Turpentine are double rectified to
remove the gum residue that naturally occurs in the solvent.
Gum Turpentine thickens on contact with air so it is important
to keep it tightly sealed when not in regular use and away
from sunlight to avoid discoloration.
There are some variations in performance of different trees
so it is important to read up these in more detail.
OIL MEDIUMS
OIL SOLVENTS AND THINNERS
Robersons- Larch Venice Turpentine

Used to slow drying times this is a Thixotropic Balsam
mixture used in mediums and varnishes.
Dilute with rectified turpentine.
Code
Size
ROLVT16
60ml
ROLVT31
250ml
ROLVT36
500ml
Price
11.99
31.60
53.99
Robersons - Rectified Spirit of Turpentine
A distilled turpentine that is used to thin oils and speed up drying time. Used
in the formulation of mediums such as Saummar and Mastic.
Code
Size
250ml
500ml
1L
RORST31
RORST36
RORST39
Winsor & Newton Artists Picture

Cleaner
A liquid which dissolves
linseed oil oxidation and
cleans soiled oil paintings.
Robersons Picture Cleaner CRP
Cleansing, reviving, preserving wax paste for oil paintings,

objets dart, sculpture, any painted and polished surfaces.
Not for drawings, watercolours or pastels.
Code
Size
ROCRP22
ROCRP36
120ml
500ml
Emulsified mixture of
Copaiba balsam, dipentene,
pine oil with ammonia.
The liquid settles out in two
layers.
Code
Size
WME96117
75ml
WME96131
WME96136
250ml
500ml
Price
5.56
10.41
18.74
RRP
6.25
11.99
19.99
Price
11.90
17.50
29.70
Shake well before use.

Thinning not recommended.
Price
8.60
19.90
OIL MEDIUMS
Winsor & Newton - Distilled Turpentine
A highly refined essential oil used as a dilutant of oil colours and the cleaning of brushes.
Turpentine is a white, volatile, flammable liquid with a characteristic odour and greater wetting
properties than artist white spirit.
Store in the dark in full bottles as exposure to air and light causes thickening.
Code
Size
WME96517
WME96531
WME96536
WME96539
75ml
250ml
500ml
1L
Price
4.23
7.27
12.41
22.73
RRP
5.99
8.99
14.00
24.00
Winsor & Newton - Sansodor

A low odour dilutant alternative to artist white spirit. Sansodor is slow drying and therefore useful in
controlling Griffin Alkyd and oil colours. Low flammability.
Code
WME96417
WME96431
WME96436
WME96439
Size
75ml
250ml
500ml
1L
Barrettine Genuine Turpentine
Price
4.23
7.27
12.41
22.73
RRP
5.99
8.99
14.00
24.00
Barrettine Genuine Turpentine
Standard grade for everyday use.

Used for thinning oil colours, cleaning
Code
of brushes and hands. Some users get an BGT36
adverse reaction to turpentine.
An alternative is to use Sansodor or Zest It BGT40
as both are free from the agents that cause BGT44
most of the reaction.
Size
500ml
2L
5L
Price
5.67
18.65
50.82
Barrettine White Spirits
Barrettine White Spirits

Used by artists for everyday
cleaning purposes when working
in oils.
Code
Size
BWS38
750ml
BWS40
2L
BWS43
4L
Price
2.39
5.25
10.35
Barrettine Methylated Spirits
Code
Size
BMS36
500ml
Price
2.71
OIL MEDIUMS
What is Zest-it ?
The simple answer is, its an environmentally friendly, non-toxic, biodegradable, alternative to turpentine and white spirit. Zest-it is made
from the zest of citrus fruit and is ideal for cleaning brushes and thinning paint.
Please note:
You may have read on other sites that citrus thinners give off hazardous fumes and they may do, but Zest-it is not a citrus thinner.
Zest-it has been thoroughly tested to todays industry standards and does not give off hazardous vapours or fumes.The not - so - simple
answer is Zest-it is a natural solvent made from pure food grade ingredients, which has a neutral pH value and contains no CFCs or
It is a clear liquid which has a pleasant citrus smell and is inherently biodegradable (it evaporates without leaving any residue).
Non-irritating to the eyes or skin (if you have dermatitis or any other skin condition on your hands, then we recommend the use of gloves this would be a sensible practice when using any solvent).
It is non-toxic and non-flammable with low evaporative loss, (if you have a known allergy to citrus fruit then it may be best not to use this
product). Independent laboratory tests show it has no detrimental effect to the oil paint or pigment quality, proven stability and a long shelf
life.
Zest-it is safe to use even in a small studio and is certainly safer to use than normal solvents if there are children or grandchildren around.
Its active strength is longer lasting than turpentine or white spirit, it is re-usable with very little lost by evaporation, so therefore you use
less.
When Zest-it is used for brush cleaning, leave it to stand for a good few hours preferably overnight to allow the paint sediment to settle to
the bottom of the container allowing the clear Zest-it can to be decanted off and re-used.
If you use a paint kettle, often referred to as a bucket and screen, the need to decant would be far less frequent. Some users filter it
through cotton wool and a stocking or kitchen towel.The sediment needs to be disposed of sensibly, as with other solvents containing the
remains of oil paint (pigment and oil) it is not advisable just to throw it down the sink or drain, (an easy way is to pour the sediment onto
dry sand before disposing).
Turpentine Solvent
This is a much safer solvent for oil painters than Gum Turpentine and makes an excellent replacement. Ideal for those oil painters who prefer a non-citrus smell, a stronger action, slightly faster drying and a little more bite to their solvent than the original Oil Paint Dilutant and
Brush Cleaner.
Code
Size
ZESTTS23
125ml
ZESTTS31
250ml
Price
5.15
7.60
Code
Size
ZESTTS36
500ml
ZESTTS39
1L
Price
11.24
17.64
Code
Size
ZESTTS41
2.5L
ZESTTS44
5L
Price
40.99
71.78
OIL MEDIUMS
ZEST-IT SOLVENTS, MEDIUMS,VARNISHES & OILS
Zest-it
Lean Painting Medium
A mix of Zest It and Linseed Stand Oil, this medium has less
Stand Oil than the Clear Painting Medium and is ready for use.
Use in the first layers of an oil painting to give a stable foundation and excellent key for further oil work.
Code
Size
ZESTLPM23
125ml
ZESTLPM31
250ml
ZESTLPM36
500ml
Price
6.56
9.88
16.60
Zest-it
Pencil Blend
Zest-it
Clear Painting Medium
A mix of Zest It and Linseed Stand Oil
and ready for use. It enhances the flow
and reduces the consistency of oil paint.
This medium can also make the paint
dry quicker. Very useful for blending and
glazing without added varnish.
Code
Size
ZESTCPM12
50ml
ZESTCPM23
125ml
ZESTCPM31
250ml
ZESTCPM36
500ml
ZESTCPM39
1L
Code
Size
ZESTPB12
50ml
ZESTPB23
125ml
ZESTPB31
250ml
ZESTPB36
500ml
Price
4.04
5.10
7.55
11.35
Zest-it
Washaway Brush Cleaner
Zest-it
Washaway Brush Cleaner
Clean the oil paint from your brushes
and equipment, then rinse with water
or under the tap.
Price
4.93
6.79
10.30
17.48
29.99
Code
Size
ZESTWBC23
125ml
ZESTWBC31
250ml
ZESTWBC36
500ml
ZESTWBC39
1L
Price
5.05
7.43
11.00
17.14
OIL MEDIUMS
ZEST-IT SOLVENTS, MEDIUMS,VARNISHES & OILS
Zest-it
Linseed Stand Oil
The Linseed Stand Oil is for use with oil colour to improve the consistency and flow of oil paint, dilute with Solvent or Oil Paint Dilutant
and Brush Cleaner.
A clear, viscous drying oil that levels brush marks, drying to a tough,
flexible film.
There is a risk of spontaneous combustion of crumpled up cloth or
rags.
Code
Size
ZESTLSO23
125ml
ZESTLSO31
250ml
ZESTLSO36
500ml
Price
4.99
7.26
11.74
Zest-it
Cold Pressed Linseed Oil
Zest -it
Oil Dilutant and Brush Cleaner
The Cold Pressed Linseed Oil which is just

unrefined linseed oil is ready for use.
It enhances the flow and reduces brush
marks, dries in about 24 to 48 hours.
It can also be ground with dry pigment to
make your own paint.
Zest-it Oil Paint Dilutant and Brush

Cleaner is an alternative to turps and
white spirit.
Use for thining paint and cleaning
brushes.
Code
Size
ZESTCPLO23
125ml
ZESTCPLO31
250ml
ZESTCPLO36
500ml
ZESTCPLO39
1L
Price
6.33
9.45
15.79
26.80
Zest-it
Dip Pen Nib Cleaner
Code
Size
ZESTNC23
125ml
ZESTNC31
250ml
Pre-Moistened Sponge Pot

ZESTNCSP
15ml
Price
4.88
6.86
4.82
Code
Size
ZESTBC23
125ml
ZESTBC31
250ml
ZESTBC36
500ml
ZESTBC39
1L
ZESTBC41
2.5L
Price
5.10
7.55
11.35
17.80
41.40
OIL MEDIUMS
MICHAEL HARDING MEDIUMS
MICHAEL HARDING PAINTING MEDIUMS
AN INTRODUCTION
In formulating these special painting mediums Michael Harding
working with Pip Seymour looked at a number of factors:
- Compatibility with Michael Hardings Artist Oil Colours
- Long term stability when added judiciously to Michael Hardings
Artist Oil Colours
- Use of high grade natural materials to ensure excellent working
properties.
The genesis of these painting mediums relates strongly to the
development of oil paint techniques. Painters have always manipulated and adopted their own special strategies to create the ideal
paint film.
HISTORY AND USE
Through the Renaissance, artists worked with combinations of tree
resins, thickened vegetable oils, waxes and balsams. The exact
organisation of these raw materials is open to speculation and may
differ from one artist to another, and even within the practice of an
individual artist.
However, the basic desire to create an oil paint film with a
degree of gloss and depth seems to be a constant.
When oil colour is simply diluted with turpentine, it loses some of its
body and also appears to become slightly matt upon drying. If a
small addition of paint medium is incorporated into the paint layer
and then it is diluted the paint film retains more of its original gloss
and lustre. This simple step helps avoid reliance upon varnishing:
In essence, the varnish constituent is then built into the paint film
itself. The antique formulations of these kinds of painting mediums
often involved the presence of sun-thickened linseed oil, wellknown for its self-levelling properties, excellent gloss and drying
capabilities. This viscous oil would invariably be blended with natural tree resins, such as Mastic, from the Greek island of Chios. This
combination may also have been treated with lead-based Siccative
to speed up drying times. To this formulation, an addition of tree
balsam may also have been included, to impart yet more gloss to
the paint mediumContemporary thought about the use of paint
mediums errs somewhat on the side of caution. Rather than using
toxic and unpredictable lead drying agents, we have prepared a
selection of oil-resin-balsam-wax blends, which avoid any driers
(with the exception of Dammar Glaze Medium). In place of sunthickened linseed oil, we use best grade viscous linseed stand oil
(a partially polymerised linseed oil, which is fat in consistency but
which self levels perfectly and imparts elasticity into oil paint films
and does not yellow/darken appreciably over time). Otherwise, the
raw materials used here are consistent with those of the past. As
an alternative to mastic resin (in use for over 800 years) we make
use of best quality Indonesian dammar resin (used in paint mediums since late 18C) dissolved into the best grade double rectified
turpentine.
In our opinion, this is the best and only solvent for use in oil paint
technique: it evaporates slowly and evenly and has a delicate flowery odour.
Larch turpentine from the Austrian Tyrol is the best grade tree balsam for use in paint mediums: the balsam is collected by drilling
into the core of the tree, to obtain a form of resin-sap which is highly resistant to darkening when incorporated into paint films.
Our unique Oleo Resin Glaze Medium makes use of very pale,
highly elastic Canada balsam. This high grade oleo-resin imparts
excellent depth and lustre to oil paint films and possesses exceptional clarity.
To create matt or satin-matt paint films, high grade pure bleached
beeswax can be fused with tree resins and oils. This makes paint
mediums which allow the possibility of mild impasto within the paint
film. Although beeswax is the most flexible of all natural waxes, it
works best on flexible (i.e. canvas) supports, when fused with oil or
resin-oil combinations.
The paint mediums are prepared without drying agents, to compliment the working properties of our oil colours, which are also prepared without use of drying agents. By adding only 10-20% paint
medium to oil colour, one can tweak the sheen of the paint film and
help avoid loss of gloss within the paint film.
In this kind of ratio the normal drying rate of individual colours is
preserved.
If quicker-drying is required, we have prepared one medium
(Dammar Glaze Medium) which can be introduced to speed the
curing rate of the paint film, again when added in the ratio of 1020% to oil colour. One can also mix this medium 50:50 with all the
other mediums to help speed drying times. Remember that overuse of drying agents could cause problems over time in the dried
paint film.
Final varnishes are best applied to thoroughly dried oil paint films.
For example, a thinly painted picture may take 6-12 months to
cure enough to be varnished. Remember that any varnish application will close the paint film, thereby stopping the paint layers
from drying if not already dried out. Our Mastic Varnish is clearer
than Dammar Varnish and it can also be thinned with turpentine to
create a super-fine varnish layer. Varnish is best applied in dry conditions (avoid damp/humid atmospheres, which may cause blooming or clouding in the varnish film upon drying).
Sometimes oils and varnishes might separate on standing in the
container, which can be simply shaken to remedy this. It is also
worth remembering that turpentine when exposed to direct sunlight
in glass containers can spoil and must be discarded; this is apparent when the turpentine goes very cloudy. Although we do sell turpentine based products in glass they are generally for immediate
use. Try and store these products in darkness.
Pip Seymour & Michael Harding, 2009
OIL MEDIUMS
MICHAEL HARDING MEDIUMS
V1 Dammar Varnish
Final picture varnish. Creates a
subtle gloss finish. Use with
opaque, semi-opaque colours.
Code
MHDV18
MHDV31
MHDV39
Size Price
100ml 7.97
250ml 12.84
1L
30.23
V2 Matt Varnish
PM1 Oil Paint Medium

permanent protective coating
with matt finish.
A basic paint medium, designed

to ease flow and increase gloss,
transparency, depth and beauty
of the pigment colour.
Code
Size
MHMV18
100ml
MHMV31
250ml
MHMV39
1L
PM4 Beeswax Paste

A high oil content paste, based
on linseed stand oil and
bleached beeswax. Increases
body of oil colour, with satinmatt finish. Especially useful
with opaque colours.
Code
Size
MHBP18 100ml
MHBP31 250ml
MHBP39 1L
Price
7.29
13.34
33.02
Price
8.21
13.25
31.45
Code
Size
MHOPM18
100ml
MHOPM31
250ml
MHOPM39
1L
PM5 Oleo-Resin Medium

Historic paint medium, based
on Austrian larch turpentine
(Venice turpentine), fused with
dammar resin and linseed stand
oil. Can be added to oil colours
to enhance depth, gloss and
lustre.
Code
MHORM18
MHORM31
MHORM39
Size
Price
100ml 16.53
250ml 36.80
1L
117.46
PM2 Dammar Glaze Medium
Price
6.20
10.55
27.23
(with cobalt siccative)

subtle gloss finish. Use with
opaque, semi-opaque colours.
Code
Size
Price
MHDGM18 100ml
6.88
MHDGM31 250ml 12.61
MHDGM39
1L
30.69
PM6 Balsam Resin Glaze

Medium
Historic glaze medium based on
light coloured Canada Balsam,
fused with dammar resin and
linseed stand oil. Provides
increased gloss levels and
imparts depth to paint films.
Code
Size
Price
MHBRGM18 100ml 16.06
MHBRGM31 250ml 32.81
MHBRGM39 1L 104.72
OIL MEDIUMS
OIL PAINTING MEDIUMS
Liquin Original
Our most popular liquid medium, which will improve the flow
of oil and alkyd colours for smooth brushwork, subtle blending or fine detail. It also increases translucency making it ideal
for thin glazing. Mixes easily with a brush and flows readily.
Accelerates drying.
Code
Size
WME99117
WME99131
75ml
250ml
WME99136
WME99139
500ml
1L
Price RRP
5.56
6.25
10.41 11.99
18.74 19.99
30.02 31.00
Original Effect
Liquin - Fine Detail Medium

A quick drying fluid gloss medium for
oil and alkyd colours.
Ideal for fine detail work, glazing and
smoothly blended areas with no brushmarks. Very resistant to yellowing.
Liquin - Impasto Medium
When added to oil paint this medium increases the body of the colours for thick paint techniques otherwise known as impasto. Quickens
the drying time of oil or alkyd paints and dries
to a semi-gloss finish. Retains crisp textures
and individual brushstrokes without any visible flattening out during the drying process.
This has the great advantage of increasing
the body of the paint. Good resistance to yellowing.
Code
Size
WME97316
WME97326
60ml
200ml
Price
RRP
7.27 8.99
16.15 17.50
Liquin - Light Gel Medium
A quick drying gloss medium for glazing in

oil and alkyd colours. A very light gel which
breaks down immediately on brushing and
flows out to give a non drip effect.
Good resistance to yellowing.
Code
Size
WME97217
WME97231
WME97236
75ml
250ml
500ml
Price
RRP
5.56 6.25
10.41 11.99
18.74 19.99
Code
Size
WME97117
WME97131
WME97136
75ml
250ml
500ml
Price
RRP
5.56 6.25
10.41 11.99
18.74 19.99
OIL MEDIUMS
Robersons Turks Florentine
Medium
Oil of Spike Lavender
linseed oil paraffin wax
turps.
Robersons:
Suppliers of Artists Materials
since 1819.
A Profile.
When this product is

thoroughly incorporated with
ordinary oil colour, it is
possible to paint onto textile
fabric designs which will
stand up to subsequent
washing with soap and
water.
It is also suited for
preliminary studies in oils
upon unprepared drawing
paper and for use where
flexibility combined with a
matte surface is desirable.
There are a handful of companies in the

world that can claim to have been in
existence since 1819 and there are fewer Code
Size
still that have been supplying artists
ROTFMI6 60ml
materials since that time.
ROTFM31 250ml
For any of our customers interested in
using original and in some cases ancient
materials, anything with a Roberson label
is worth seeking out.
Price
6.20
13.20
Robersons Canada Balsam
Oleoresin from balsam fir

tree. Superior to Venice
Turpentine in recipes where
clarity and rapid drying are
important.
Code
Size
ROCAB16 60ml
Robersons Copaiba Balsam
South American origin.

Viscous liquid may be diluted
with turpentine.
Used to restore and revive
varnish and brittle paintlayers.
Price Code Size

18.50 ROCB16 60ml
ROCB31 250ml
Price
9.90
24.70
This is more and more relevant in an age where we are increasingly remote from the materials and techniques that were developed over
generations.This is not to slavishly follow the belief that anything that is natural or from the past must be superior but it is a recognition that
much of what was learnt previously is in danger of being lost. Robersons are very active today producing mediums, oils and varnishes in
much the same way they did almost 200 years ago.
This is reinforced from time to time when some products run out owing to the absence due to illness of the formulation stirrer or maybe they
have been too busy to mix up a new batch, or some ingredient they received had to be rejected and sent back. This is exactly as it should
be. Charles Roberson opened his shop in Covent Garden to sell artists materials and rapidly became one of the best known colourmen in
London. This may be hard to believe considering today most of us have heard of Winsor & Newton, Rowney and Reeves, all contemporaries
of Roberson and major international companies. Robersons reputation continued to grow to the extent that customers included Queen
Victoria, Turner, Burne-Jones, William Morris, Tissot, Whistler, Sargent amongst many others.
The company became the main supplier to professional artists for a large part of the 19th century and this group of artists remains the primary
clientele today. The Roberson Archive survives in detail and is held in the Fitzwillliam Museum. It contains recipes, colour charts, pigments,
ledgers and is the largest surviving record of its type. The most important records include the materials and techniques of many of the
greatest artists of the 19th and 20th century.
Robersons fame centred upon one product more than any other, the Painting Medium.
It became so well known that it appeared in a newspaper cartoon in 1883. The formula became a well guarded secret known only to the
companys founder who kept it in a sealed envelope to be opened only on his death. A court case was threatened in 1900 when a Mr. Ellis
placed an ad in the Daily Telegraph offering to sell the formula for making this famous medium to impart permanency in oil paintings for the
price of 70 guineas.The importance of secrecy to the company is underlined by the fact that many recipes were written in code, Greek,
shorthand or even backwards so the workers could not pass on the key information.
We are more than delighted to stock almost all of Robersons own recipe products and even more pleased that our customers continue to
purchase them in increasing numbers.
Currently, Robersons are reviewing some of their early recipes with a view to adding them to their range. If this comes to fruition we will be
the first in the queue.
OIL MEDIUMS
Spectrum - Alkaflow
Spectrum - Spectraflow
A free flowing, alkyd based, gloss medium

A free flowing, slightly thixotropic medium,
and may be used to thin oil paint. Helps to alkyd based, which will not increase gloss
remove brush strokes and gives a smooth
when added to oil colours. It is quick drying.
gloss finish. Quick drying.
Code
Size
SPOM0431
SPOM0439
SPOM0441
250ml
1L
2.5 L
Price
10.80
25.05
46.95
Spectrum - Matte Spectragel
Similar to Spectragel but does not Increase

gloss when added to oil colours.
Code
Size
SPOM0231
SPOM0239
SPOM0241
250ml
1L
2.5 L
Price
11.13
27.99
47.99
Code
Size
SPOM0331
SPOM0339
SPOM0341
250ml
1L
2.5 L
Price
10.80
25.05
46.95
Spectrum - Spectragel
A thixotropic alkyd medium designed to mix

with oil colours, retaining the body of the
paint. Spectragel is a gloss medium and is
quick drying.
Code
Size
SPOM0131
250ml
SPOM0139
SPOM0141
1L
2.5 L
Price
10.80
25.05
46.95
Spectrum - Linseed Oil Paste
An almost transparent medium based on

refined linseed oil and alumina. It is similar in
consistency to artists oil colour in tubes. It is
not for quick drying. Its use is to extend oil
colours. If used in large amounts it is liable to
increase yellowing and darkening of pale
colours. Will not increase gloss.
Code
SPOM0531
SPOM0539
SPOM0541
Size
250ml
1L
2.5 L
Price
11.73
29.57
53.35
Spectrum Solution of Beeswax
A solution of pure beeswax in white spirit

which when mixed with oil paints produces
soft sheen effects. Will retard drying.
Code
SPOV0531
SPOV0539
Size
250m
1L
Price
11.95
29.29
OIL MEDIUMS
Winsor & Newton Artisan (Water Mixable) New Mediums
The R&D chemists at Winsor & Newton have greatly expanded the
range of Artisan with the introduction of 6 new products :
A Thinner, an Oil Medium, 3 Varnishes and a Varnish Remover.
All these additions are solvent free.
Artisan has probably the most comprehensive selection of mediums
available to the users of water mixable oil colour. Currently, these
varnishes are claimed to be the only water based varnishes suitable for use on water mixable oil paintings.
The main objective has been to allow artists to use water mixable
Artisan with the same time honoured techniques enjoyed by traditional oil colourists without the disadvantages of the reactions to
solvents that can occur.
Artisan Thinner- Water Mixable

Although water is suitable as a diluent for Artisan colour, its
speedy evaporation can make the colour thicken upon the palette
much quicker than conventional oil colour would when used with
turpentine.
To deal with this issue, this thinner has been developed which can
be used instead of water or combined with it. It also provides a
more oily consistency which closely resembles the traditional feel
and appearance of oil paint.
Key Features;
! Crystal clear.
! Thin solution with low viscosity.
! Low odour.
! Water based no solvents used.
Advantages;
More effective at thinning Artisan Oil Colour than water.
! Less Thinner is required is required to produce the same
effect.
! Evaporates completely from the paint film (same as water).
! Evaporates more slowly giving a longer working time.
! Provides a more oily consistency which is favoured by some
artists.
! Less colour change wet to dry than water.
! Can also be used to clean materials where colour is particular
ly stubborn..
! Avoids the reactions some artists get with solvents.
!
Code
WME84617
WME84631
Size
75ml
250ml
Winsor & Newton Artisan Safflower Oil

When painting with whites or paler colours, Safflower oil can be
used instead of Linseed Oil to provide better original colours as the
linseed has traditionally a slight yellowing effect only noticeable on
lighter colours. There is also added gloss and transparency.
Key Features;
Pale Yellow colour (but is non yellowing).
Viscous solution is thicker than water.
Benefits;
Improves flow.
Increased gloss and transparency.
Slows drying.
Improved performance of whites and pale colours due to less
yellowing effects of traditional linseed Oils.
Code
WME84517
WME84531
Size
75ml
250ml
Price
4.69
8.33
RRP
5.50
9.99
TEL: 020 7377 8855 www@atlantisart.co.uk
Price
4.69
8.33
RRP
5.50
9.99
OIL MEDIUMS
Winsor & Newton Artists Painting Medium
A flammable pale yellow thinning medium for oil colours which
improves flow and wetting, thereby facilitating fine detail work.
Dries to a flexible film with minimal tendency to yellow, wrinkle or crack.
Code
Size
WME96717
WME96731
WME36967
75ml
250ml
500ml
Price
5.56
10.41
18.74
Lukas Oil Painting Medium

No. 5
Alkyd resin, thickening agent,
mineral spirit, driers, sunflower
oil.
Robersons Maroger Medium

Mastic resin, gum arabic
linseed oil.
Mixed in equal parts with oil
colours gives a lasting
brilliance to the colours.
The medium produces a
workable consistency and
prevents the sinking of colour
when using wet-in-wet
technique.
For mixing impasto oil colours.

Its solid content allows
extremely thick layer structures,
speeds through drying, prevents
wrinkling associated with thick
paint layers and is non yellowing.
Code
LM262225
Size
200ml
Price
7.39
Reflects surface visible

from any angle and ideal
for mural painting.
Code
Size
ROMM10 38ml
ROMM22 120ml
Price
9.40
19.70
RRP
6.25
11.99
19.99
Old Holland Painting Medium
Old Holland Painting Medium
is made from a mixture of
linseed oil, turpentine and white
spirit.
Thins oil paint and enhances flow.
Reduces glossand has little effect
on drying time.
Brush strokes will remain visible.
Code
Size
OHME110718 100ml
OHME110731 250ml
OHME110736 500ml
Price
5.33
8.51
15.25
OIL MEDIUMS
Drying and Accelerating Agents
Robersons -
Old Holland Quick Drying

Painting Medium
Siccative
Thins oil paints and enhances flow.

Reduces gloss and accelerates
drying. Made from a mixture of
linseed oil, turpentine and white
spirit. Contains no resin or driers
(siccatives).
Code
Size
OHME110818
OHME110831
OHME110836
OHME110839
100ml
250ml
500ml
1L
Price
5.33
8.51
15.25
28.16
Winsor & Newton Drying Linseed Oil
An oil of darker colour than

refined linseed oil. Increases
the drying rate of oil colours.
Code
Size
WME95517
75ml
Price
RRP
5.56
6.25
Cobalt naphanate with white spirit.

Dilute in turpentine before adding to
paint. Use siccative by the drop
when adding to turps. Accelerates
drying.
Code
Size
ROSIC16
ROSIC31
60ml
250ml
Price
4.95
9.85
Winsor & Newton Drying Poppy Oil

A fast drying oil traditionally used
with whites and pale colours to
increase the drying rate. It is cold
pressed and does not yellow
colours as much as linseed oil.
Gives soft buttery consistency.
Code
Size
WME95717
75ml
Price 5.56
OIL MEDIUMS
Robersons Original Glaze Medium
An original 1980s formula newly resurrected
to provide artists with a glaze medium that
had no darkening affect on colours when
used.
This Glaze medium is primarily designed to
be used with lighter colours such as whites,
light blues, yellows where it is often critical
their lighter tones remain unchanged.
Roberson Original Glaze Medium is made
without cobalt driers which are added to
accelerate drying times but which have a
slight tinting affect that is unnoticed in mid to
dark toned colours but is perceptible in the
lighter ones.
The drying time is therefore longer.
Code
ROGM16
ROGM31
ROGM36
ROGM39
Price
5.29
9.85
16.85
29.45
Size
60ml
250ml
500ml
1L
Robersons Matt Glaze Medium

This is the matte version of our best
selling glaze medium.
The same formula has been used
with the simple addition of a matting
agent.
By adding to oil paints or pigments
this medium this increases translucency and improves flow.
Ideal for smooth brush work and
fine detail.
Glaze Medium is ideal for applying
in thin layers.
Code
Size
ROGMM16
ROGMM31
ROGMM36
ROGMM39
60ml
250ml
500ml
1L
Robersons Painting Medium

Double thick mastic varnish ,
pale drying linseed oil
synthetic copal varnish.
Gives the paint much greater
body for pronounced brush
strokes and relief effects.
Code
Size
ROMFO16 60ml
ROMFO22 120ml
ROMFO36 500ml
Price
10.30
17.80
61.90
Price
5.56
11.39
19.19
34.95
OIL MEDIUMS
Winsor & Newton - Artisan Water Mixable Oil Mediums
Winsor & Newton Artisan Oil Painting Medium
Reduces consistency of Artisan Oil Colour

and aids fine detail work.
Improves flow and wetting.
Dries slowly to a flexible film.
Code
Size Price RRP
WME84317
75ml
WME84331
250ml
4.69 5.50
8.33 9.99
Winsor & Newton Artisan Fast Drying Medium

Improves flow and levelling. Excellent for
glazing and fine detail.Slows drying.
Code
WME84017
WME84031
Winsor & Newton Artisan Linseed Oil
Reduces consistences and improves flow.

Increases gloss and transparency.
Size Price RRP
Code
Size
75ml
250ml
WME84117
75ml
4.69 5.50
8.33 9.99
Winsor & Newton Artisan Stand Oil
WME84131 250ml
Price RRP
4.69 5.50
8.33 9.99
Winsor & Newton Artisan Impasto Oil Medium
A pale, viscous oil that can be mixed with

For use with Artisan Oil Colours.
turpentine or white (mineral) spirit to improve Mix thoroughly into colour, gradually adding
the flow of colour. Retards drying but imparts small amounts of water, only if required.
a tough, elastic finish.
Use with turpentine or white spirit to improve
Code
Size Price RRP
colour flow.
WME84416
60ml 3.64
4.35
Code
Size
WME84217 75ml
WME84231 250ml
Price RRP
4.69 5.50
8.33 9.99
WME84426
200ml
9.38 10.99
OIL MEDIUMS
OILS
Robersons Oil of Spike Lavender
A slow drying alternative to turpentine.

Pleasant odour. Ideal for artists who
get reaction to Turpentine. Evaporates
slowly and therefore has less fumes.
Improves flow of oils and
levels out brush strokes.
Code
Size
ROOSL16 60ml
ROOSL31 250ml
Price
14.40
44.50
Kremer Refined Linseed Oil

Code Size
Price
K733991L 1L
9.99
Kremer Cold Pressed Linseed
Oil
Code
Size Price
K730541L 1L
8.16
Atlantis
Refined Linseed
Oil
Code ATRLO31
Size 250ml
Price 3.86
Code ATRLO36
Size 500ml
Price 6.95
Code ATRLO39
Size
1L
Price 8.99
Code ATRLO41
Size
2.5L
Price 19.99
Robersons Safflower Oil (Alkali

Refined)
Cold pressed with limited yellowing
tendencies. Used in making white and
blue oil paints. Longer drying time than
linseed.
Code
Size
ROARSO16
ROARSO31
ROARSO36
ROARSO39
60ml
250ml
500ml
1L
Price
4.60
10.80
18.49
30.10
OIL MEDIUMS
OILS
Winsor & Newton Cold Pressed Linseed Oil

A slightly yellow oil, used to reduce the
consistency of oil colours, increases gloss
and transparency whilst reducing brush
marks. Thin with turpentine or white spirit.
Code
Size Price
WME95117
75ml
RRP
5.56 6.25
Winsor & Newton Stand Linseed Oil
A pale, viscous oil that can be mixed with

turpentine or white (mineral) spirit to
improve the flow of colour.
Retards drying but imparts a tough, elastic
finish.
Use in conjunction with turpentine or white
spirit to improve colour flow.
Code
Size Price RRP
WME95817
75ml
5.56 6.25
Winsor & Newton Refined Linseed Oil
An alkali refined oil of pale colour. Increases

gloss and transparency whilst slowing drying
rate.
Code
Size
WME95617
WME95631
WME95636
WME95639
75ml
250ml
500ml
1L
Price RRP
4.23 5.99
8.33 9.99
14.55 15.99
25.85 27.00
Winsor & Newton Bleached Linseed Oil
A refined, pale oil of slightly increased

viscosity which will improve flow of colours
and dries slightly faster than Refined
Linseed Oil.
Replaces Sun Bleached Linseed Oil.
Code
Size Price RRP
WME94917
75ml
5.27 6.25
Winsor & Newton Thickened Linseed Oil
A pale refined oil of syrupy consistency which

increases flow of colours and speeds up
drying.
Replaces Sun Thickened Linseed oil.
Code
Size Price RRP
WME95017
75ml
5.56
6.25
OIL MEDIUMS
VARNISHES AND GLAZES
Robersons Retouching Varnish
Damar resin and white spirit.
Revives dull patches or acts as
temporary varnish on new paintings
Code
Size
RORV16
60ml
RORV31
250ml
RORV36
500ml
RORV39
1L
Price
5.20
9.99
17.60
30.70
Winsor & Newton Artists Matt Varnish
Same characteristics as the Gloss Varnish,

dries quickly. Not suitable for use on absorbent
or cracked paintings. Shake bottle well before
use.
Code
WME98117
WME98131
WME98136
Size
75ml
250ml
500ml
Price
5.27
9.92
17.82
RRP
6.25
11.99
18.99
ATLANTIS GIFT VOUCHERS

Available for purchase to
give as presents. Call for details.
Robersons Picture Varnish Gloss
Ketone resin, stand oil, white
spirit.
Almost colourless liquid
which dries reasonably quickly to
a clear non-yellowing.
non- blooming high gloss film.
Code
Winsor & Newton Artists Gloss Varnish

WME98017
75ml 5.27
6.25
WME98031 250ml 9.92
11.99
WME98036 500ml 17.82 18.99
ROPVG16
Size
60ml
ROPVG31 250ml
ROPVG36 500ml
ROPVG39 1 L
Price
6.15
9.19
16.45
27.39
OIL MEDIUMS
Winsor & Newton Aerosol Varnishes
From Winsor and Newton an, excellent
range of aerosol varnishes (seven in all)
covering most of the key media areas
where artists are involved. These have
been formulated to ensure the majority are
removable and user friendly. This range
represents very good value for money.
Available in two sizes: 150ml and 400ml
Size
150ml
400ml
Price
5.59
10.08
RRP
6.99
11.99
Code
Size
Description
WME25985 150ml Dammar Varnish High Gloss Removable

WME34988 400ml Dammar Varnish High Gloss Removable
WME25988
WME34988
WME25989
WME34989
WME25981
WME34981
WME25982
WME34982
WME25984
WME34984
WME25983
WME34983
150ml
400ml
150ml
400ml
150ml
400ml
150ml
400ml
150ml
400ml
150ml
400ml
All Purpose Varnish High Gloss Non-removable

All Purpose Varnish High Gloss Non-removable
All Purpose Varnish Matt Non-removable
All Purpose Varnish Matt Non-removable
Artists Picture Varnish Matt Removable
Artists Picture Varnish Matt Removable
Artists Picture Varnish Gloss Removable
Artists Picture Varnish Gloss Removable
Artists Picture Varnish Satin Removable
Artists Picture Varnish Satin Removable
Artists Retouching Varnish Gloss Removable
Artists Retouching Varnish Gloss Removable
Robersons Picture Mastic Varnish
A traditional varnish: which has been in use for centuries by generations of artists.
The varnish is made from mastic resin which is produced by the pistachio tree. The main source
is the Greek island of Chios. The basic resin comes in the form of clear drops which are clear when
fresh and which have a tendency to yellow with age.The resin dissolves in alcohol or gum
turpentine and forms a varnish that is easy to work with. The main drawback is a tendency to
bloom and or darken and yellow with age. As a result dammar is the preference of most artists.
When making mastic it is essential to do so in a warm dry environment as the ingress of moisture
will cause blooming .The medium can be added to oil in a ratio of about 10% and results in a paint
finish which is glossy and almost enamel in appearance.
Robersons Mastic Varnishes are available in four grades of consistency to suit the various
applications.The varnish is very easy to make by following the same procedure as dammar
varnish.The resulting varnish is easy to brush to a smooth film, and is easy to remove.
Mainly used by restorers, surely one of the best recommendations of all.
Mastic is very much in this category.
Code
Size
ROOMV16
60ml
Price
10.80
Code
Size
ROOMV31
250ml
Price
36.40
OIL MEDIUMS
Robersons Damar Varnish
Gloss - 5lb cut
Robersons - Beeswax Picture Varnish
Roberson Beeswax varnish is made utilising an ancient recipe.

The origins of this medium go back a long way to the ancient
Greeks where Beeswax was mixed
with pigments and applied to statues
(traditionally painted in bright colours)
as well as decorating ships. The reasons were simple the medium preserved the bright colours as it provided the finished painting with a durable
protective barrier against aggressive
atmospheric contaminants over a long
period of time.The finished surface
can be polished up to increase the
sheen if desired.
Low
This is a new and very interesting

varnish from Roberson, for the legion
of followers of this source of ancient
recipes. Made to the same centuries
old formula as their famous regular
Damar Varnish this has been
formulated to produce less gloss or
shine once dried. Can be applied in
thin layers and dries to a hardclear
finish. Non yellowing. Less prone to
blooming than mastic varnish.
As with normal Damar this can be
removed with turpentine or white
spirit.
Code
Size
RDV16
60ml
RDV31
250ml
RDV36
500ml
Code
Price
5.39
11.85
19.29
Robersons Picture Varnish Matte

Ketone resin, microcrystalline
wax, white spirit.
A removable picture varnish that
gives tough protection without
gloss.
Code
Size Price
ROPVM16
60ml
ROPVM31
250ml
ROPVM36
500ml
ROPVM39
1L
6.15
9.19
16.45
27.39
Size
ROBPV16
60ml
ROBPV22
120ml
ROBPV31
250ml
ROBPV36
500ml
Price
6.29
8.55
12.75
19.45
Robersons Picture Satin Varnish
Code
Ketone resin, microcrystalline

wax, white spirit.
A removable picture varnish
that gives tough protection with
a satin finish.
ROPVS16
Size
60ml
ROPVS31 250ml
ROPVS36 500ml
ROPVS39 1 L
Price
6.15
9.19
16.45
27.39
OIL MEDIUMS
Winsor & Newton - Artisan Varnishes
Gloss ! Satin ! Matt
Code
Code
Size
WME84831
250ml
WME84931
250ml
WME31847
250ml
All three varnishes are water based and do not contain any solvents. The varnishes provide finished paintings with protection from dirt
and grease and when the varnish becomes dirty itself over time it can be removed with Artisan Varnish Remover. Paintings done in
Artisan should, like conventional paintings be allowed to dry completely before varnishing, at least 6-12 months for thin films, longer
if thicker or impasto techniques are used for paint application.
Key Features
! Gloss has a slightly cloudy appearance.
! Matt and Satin have a milky appearance.
! Similar consistency to Artists varnishes.
! Low odour.
! Water based with no solvents.
Benefits
! Provides a protective film in either a gloss, satin or matt finish.
! Dries to a clear film.
! No build up of odour.
! Water soluble before its dry- so all equipment can be cleaned
using soap and water.
! Varnishes can be removed with varnish remover.
Size
WME84817
75ml
WME84917
75ml
WME17847
75ml
Finish Price
Gloss
4.69
Satin
4.69
Matte
4.69
RRP
5.50
5.50
5.50
Finish Price
Gloss
8.33
Satin
8.33
Matte
8.33
Le Franc & Bourgeois Cracking Varnish

This varnish imparts a cracked appearance as a result of
a controlled chemical reaction.
This effect may be further enhanced by the application of
antiquing colour and white spirit with a soft cloth.
Code
Size
LB028117
75ml
LB028231
250ml
LB028439
1L
Price
7.70
18.70
49.70
Le Franc & Bourgeois Ageing Varnish

This varnish has a slightly yellow gloss finish.
Code
Porous surfaces should be treated with an undercoat LB027717

of Transcryl to render it impermeable.
LB027831
Ageing Varnish is also the preparatory treatment for the LB027936
application of Cracking Varnish.
LB028039
Size
75ml
250ml
500ml
1L
Price
7.70
18.70
26.70
49.70
RRP
9.99
9.99
9.99
OIL PAINTS
ATLANTIS ARTIST OIL PAINTS - PROFESSIONAL
ATLANTIS ARTISTS OILS
The optimum pigment strength gives each colour in this expanding range a level of intensity, strength and clarity that is appreciably superior to the bulk of commercially available Artist Oil paints. The Atlantis team have selected and specified the best raw materials from the
finest European and American manufacturers and suppliers. Black pigments are sourced from the USA, Earth pigments from Italy and a
select number of synthetic organic and inorganic pigments are sourced from a range of respected European suppliers. As would be
expected from a professional range, all the pigments are selected for optimum lightfast resistance with ratings from Very Good (ASTM II) to
Excellent (ASTM I).
The Atlantis team working with Angela Brown have made their selection of pigments balancing the needs of the professional artists with a
genuine desire to establish this range as not only of the highest quality but with sustainable formulations. Atlantis Oils include a full range
of Cadmiums sourced from reliable suppliers with each hue selected with lowest solubility. But from the outset, the palette will not include
Leads or Chromates. Not only are these amongst the most toxic materials used in painting, but because of changing legislation and best
practice, they have a very limited future and are likely to disappear from shelves by 2012. The range will instead offer excellent non-toxic
alternatives.
The Atlantis Oils contain the best choices based on current knowledge and in accordance with REACH compliance and best practice.
The Atlantis Artist Oil Difference

This superb and highly pigmented range is made in the traditional style with the finest raw materials. None of the colours in the Atlantis Oil
range contain fillers such as Aluminium Hydroxide or Barium Sulphate which not only serve to dilute the intensity of colour but also
degrade the lightfast resistance. We refrain from using driers or anti-oxidants to artificially alter the natural drying rate, the exception being
Titanium White which is available both with and without driers.
Some pigments by their nature need a little extra help to form and maintain a stable well structured paint and in these cases a very small
addition of stabilizer is added but only as a conditioner and never as a filler. Because each individual paint recipe is as natural and simple
as possible, you will find different consistencies from colour to colour revealing and dependent on the individual characteristics of each pig
ment.
Some colours will brush out longer or shorter than others and not all colours are equally thixotropic but all have simplicity of formulation,
excellent light fastness, superb pigmentation and an extraordinary strength. They simply burst with colour and character. Atlantis Artist Oils
include full details as to the pigments by Colour Index Number (CI) and Pigment Number, Chemical Name as well as a general indication
of oil content, drying rate, transparency and lightfast rating at full strength.
Code
Size
AAO11--
40ml
AAO11--
40ml
AAO11--
40ml
AAO11--
40ml
AAO11--
40ml
Code
Size
AAO28--
225ml
AAO28--
225ml
AAO28--
225ml
AAO28--
225ml
AAO28--
225ml
Code
Size
AAO34--
335ml
AAO34--
335ml
AAO34--
335ml
AAO34--
335ml
Series Price
1
4.68
2
6.84
3
9.12
4
15.36
5
19.20
Series Price
1
17.28
2
30.00
3
37.20
4
62.28
5
77.64
Series Price
1
24.48
2
41.28
3
50.40
4
81.60
OIL PAINTS
ATLANTIS ARTISTS OILS
NEW
Responding to the growing demands from professional artists for a range of high-end oil paints at affordable prices and in a good selection
of packaging sizes, Atlantis Art Materials first researched the possibility of commissioning their own range of Artist Oils in 2010. Since that
time the experienced technical team at Atlantis have worked closely with colour specialist Angela Brown to develop an exciting and unique
range of professional oil colours that present a real alternative to the best oil paints available at an affordable and sustainable price.
Whilst Oil Paints have seen something of a resurgence after several decades of pressure from Acrylic alternatives, regrettably many of the
bulk production of oil paints have been formulated to meet a tight budget and have lacked the vibrancy and longevity of the oil paints
enjoyed by previous generations.The Atlantis Artist Oils therefore have specifically been manufactured by traditional methods and using
only the finest pigment and purest oils. Each pigment is first mixed with the appropriate oil most commonly refined linseed and sometimes safflower oil - to allow initial pigment wetting. Atlantis Titanium White is available in both Linseed Oil and Safflower Oil versions.
Safflower Oil has a paler colour and can help reduce the natural tendency of Linseed to yellow.
The pigment-oil mixture is then passed through a stone or chilled-steel triple-roll mill
three or sometimes four times to release the full colour value of the pigment and
ensure a smooth, homogeneous paint.
During this process the mix is aged by allowing it to sweat or stand for a period to
allow the full development of the product.
Finally every batch is checked for strength, consistency and dispersion before being
pressed out into tubes.
40ml
225ml
335ml
OIL PAINTS
9029
S1
Bright Yellow Lake
9015
S4
Cadmium Yellow Lemon
9018
S4
Cadmium Yellow
PY3
PY35
PY35
5006
S4
Cadmium Orange
6014
PO 20
9023
S1
S3
PY73
Cadmium Red
6041
S4
Cadmium Red Deep
PR 188
PR 108
PR 108
S1
S4
Yellow Ochre
Burnt Sienna
6019
S3
Alizarin Crimson
PY 42
PBr7
PR83
7008
S3
2014
Violet
PV23
2019
S5
S2
Yellow Lake
Vermillion
3007
6013
9017
S2
2015
6030
S3
Magenta
PR 122
S1
2017
S5
Phthalo Blue
Ultramarine
Cobalt Blue
PB15:3
PB 29
PB 28
Cerulean Blue
4023
S3
Oxide of Chromium
PB35
PG17
4007
S2
005
S1
Phthalo Green
Ivory Black
PG7
PBk 9
Due to the limitations

of 4 colour printing
please use this colour
chart only as a guide.
8050
S1
Zinc White
PW4
8049
S1
8064
S1
Titanium White
(Safflower)
Titanium White
(Linseed)
PW6 PW4
PW6 PW4
OIL PAINTS
ATLANTIS ARTISTS OIL PAINTS - PROFESSIONAL
Only the finest quality artists

grade pigments are used and
sourced from around the world.
OIL PAINTS
The dispersion premix which combines pigments and oils plus any other ingredients required to suit the characteristics of each specific
pigment.
The Hegman Gauge which critically

measures the paint particle size. Along
the sides is the scale measure. Typically
economical ranges have a reading of 15
against 5 for professional gauges. Some
of the Atlantis colours (such as
Ultramarine) are milled down to 3.
Angela Brown checking the colour during milling on the triple roller.
OIL PAINTS
Atlantis Artist Handmade Oil Paints Probably the finest ground oils on the market today
Atlantis Artists Oil Paint is a professional quality range that is comparable to the best oil paints on the market
The paints are handmade using a traditional stone rolling machine rather than a stainless steel rollers commonly in use today.
Made exclusively for Atlantis by Angela Brown, one of Europes leading experts on pigments and paint making. Angela Brown has insisted
on grinding the pigment particle size down to 3.5 microns to create greater colour intensity and vibrancy. Other professional oils are ground
to 5 microns. Colours are initially pre-mixed with either Safflower Oil or mostly with Linseed Oil. Titanium White is available with both oils
as the Safflower Oil will not yellow, whereas the Linseed Oil White will yellow over time due to oxidisation of the linseed.
Colours are passed through the milling machine three and sometimes four times to reduce the particle size down to as fine a grind as possible, thus releasing the full colour value of the pigment. During the milling process each colour is allowed to stand or sweat further
developing each colour. Each colour batch is tested by Angela Brown and her team for strength, consistency and dispersion before being
pressed into tubes. Angela has insisted that the Atlantis Artist Oils are made without adding filling agents such as Aluminium Hydroxide or
Barium Sulphate. In addition she has refrained from using driers or anti-oxidants to artificially alter the natural drying rates of colours with
the exception of Titanium White, which is available with and without driers. Some pigments due to their nature need a little help to form
and maintain a stable well structured paint and in these cases a very small addition of stabiliser is added but only as a pigment conditioner
and never as a filler.
Additional colours will be added over the coming months to bring the range in line with other ranges.
OIL PAINTS
MICHAEL HARDING NEW COLOURS
HAND MADE STACK LEAD WHITE
Michael makes his Stack Lead White by using the Old Dutch Stack method of suspending lead strips over vinegar
and burying under horse dung. The method produces white lead like no other in terms of handling and provides the
stringiness the Old Masters preferred. This warm white is very opaque, has outstanding brushing qualities and
mixes well with every colour on the artists palette. Its strong covering power made it a favourite of the Old Masters.
Scientific testing confirms the method Michael uses is in keeping with the original formulation and process of the
Old Masters. Michael carefully nurtures each tube of paint for approximately 6 months. Michael is the only paint
maker to create both the pigment and Stack Lead Oil Paint in the world.
Colour and Characteristics : Colour Index Pw 1, extremely fast drying, very low oil content, lead carbonate, toxic.
Series and Sizes : Series 6, available in 40ml, 250ml cartridges, 250ml tins.
This product has restrictions in the EU and the UK, sold in tins/cartidges only*.
* Subject to local packaging legislation for each country.
LEAD TIN YELLOW LIGHT
LEAD TIN YELLOW LEMON
These deliciously soft, subtle lemony hues date back many centuries.
Artists like Vermeer used Lead Tin Yellows to paint draperies and fur trim. Known for their incredibly high covering
power they also blend beautifully with blues to create subtle greens. Girl Reading an Open Letter by the Window
painted by Vermeer is a wonderful example of Lead Tin Yellows and Azurite blended to create the green trompe
loeil curtain.
Colour and Characteristics : Colour Index known as Type 1, fast drying, low oil content, lead stannate, toxic.
Series & Sizes : Series 5, available in 40ml, 60ml and 225ml. Please note packaging may differ by country*
* Subject to local packaging legislation for each country.
OIL PAINTS
OIL PAINTS - PROFESSIONAL
Michael Harding Traditional Oil Paints

These are the best paints in the world today (Howard Hodgkin January 1997).
The first quality oil paint, excellent (David Hockney 1998).
Michael Harding oils are beautifully honest paints - for the beautifully honest
act of painting. (Chris Ofili - 2004)
My paints are made by hand, using techniques which date back to the days of the Old Masters.
There is a very simple reason for this painstaking process. As an artist and painter I wanted to create colours that were true and vibrant,
and paint which was beautiful and durable. The greater the pigment content of a paint the greater the resistance it has to fading. Nearly all
manufacturers use various fillers to extend the volume of the oil paint. It may increase profits but it compromises on quality.
I totally refuse to do this. Why make something exceptional and then dilute it?
I will not claim that my paints will turn you into a great painter, but I can promise they will have a profound effect on your work. Your colours
will be stronger and richer, and you will find the texture of the paint incomparable. You will love working with them.
Try them. You will be amazed. Michael Harding
Code
Series 1
Series 2
Series 3
Series 4
Series 5
Series 6
Series 7
5.07
MHO16--- 60ml
8.24
MHO28--225ml
26.37
MHO39--- 1 L
90.49
MHO41--- 2.5 L
210.28
MHO31--- 250ml tin
MHPAG Paint Aplicator Gun 4.99
9.18
13.18
44.65
154.87
376.55
48.58
13.18
18.58
55.88
60.35
21.28
31.89
89.65
-
25.92
37.55
100.87
-
40.07
59.59
168.49
190.99
62.87
82.25
263.63
-
MHO11---
Size
40ml
01
Titanium White No.1
03
S1
02
Titanium White No.2
04
Flake White
S1
43
Cadmium Yellow Lemon S4
13
59
69
Cadmium Yellow Deep S4
16
08
Yellow Lake
S1
Aureolin
S5
67
Cadmium Red Deep S5
S1
53
Zinc White
S1
Lemon Yellow
S1
Cadmium Yellow S4
Indian Yellow
S2
Cadmium Red Light S5
Napthol Red
S3
Magenta
S3
41
Alizarin Crimson S3
Cobalt Violet Light S6
Prussian Blue
42
45
39
Crimson Lake S4
15
Cadmium Orange S5
S2
28
05
34
47
Scarlet Lake
21
Cremnitz White S1
48
Permanent Orange S1
52
S1
Cobalt Violet Dark S6
37
Phthalocyanine Blue Lake
S2
61
20
06
56
30
Foundation White S1
Bright Yellow Lake S1
Yellow Lake Deep S2
32
Indian Yellow Red Shade S2
46
Cadmium Red
S5
66
Genuine Chinese Vermilion
S7
64
Manganese Violet S3
Ultramarine Blue S1
Brilliant Pink
38
49
S2
Ultramarine Violet S2
Cobalt Blue
S5
51
58
70
Cerulean Blue
S6
Kings Blue Deep S2
Cobalt Green Deep S5
18
19
Phthalocyanine Blue
& Zinc White
S1
55
50
Cobalt Turquoise Deep S5
40
63
35
Phthalocyanine Green
Yellow Shade
S2
65
Permanent Green Light S2
62
07
Unbleached Titanium Dioxide
60
14
54
Genuine Naples Yellow Light
S5
31
26
09
Bright Green Lake S1
Raw Umber
S1
Red Umber
S1
Lamp Black
S1
25
23
Yellow Ochre Deep S1
11
Naples Yellow
S2
Venetian Red
S1
Phthalocyanine S2
Turquoise
Oxide of Chromium S3
Phthalocyanine
Green Lake
S2
Emerald Green
S2
Yellow Ochre
S1
S1
Ivory Black
S1
22
17
44
Kings Blue Light S2
Terre Verte
S1
Viridian
S4
36
Permanent Sap Green S2
68
Genuine Naples Yellow Dark
S5
33
Transparent Oxide Yellow
S2
12
10
29
Transparent Oxide Red S2
Indian Red
S1
Burnt Umber
S1
24
Burnt Sienna
57
73
Cremnitz White
in Walnut Oil
S1
27
Paynes Grey
73
S2
Raw Sienna
S1
Cadmium Golden Yellow

S2
OIL PAINTS
Winsor & Newton Artists Oil Colour for Professionals

A high quality range of oil paints for the professional artist. Made by the worlds most famous
manufacturer of artists paints these oil colours have a deservedly high reputation for the
quality of the pigments used and their durability and lightfastness. Winsor & Newton have a
strong tradition for quality control throughout all stages of the paintmaking process, from the
selection of the most suitable drying oils and pigment dispersion through to a high standard
of colour matching. It is this combination of the centuries old methods of artist colourmen
combined with the latest modern colourmaking technology that has enabled Winsor &
Newton to produce oil paints of great quality.
There are 117 colours available in 37ml.
Code
Size
Series 1 RRP
Series 2
RRP
4.99 6.62 6.98 8.42

WAO26 200ml 19.99 22.43 29.99 30.13
WAO31* 250ml 24.48 22.43
WAO09
37ml
Series 4
RRP
12.98
38.50
15.99 19.99
51.06
* Only available in Titanium White, Underpainting White and Zinc White
Series 5
RRP
25.49
NEW SIZE
200ml
There are 34 colours available in
the new size.
Colours
Alizarin Crimson
Bright Red
Burnt Sienna
Burnt Umber
Cadmium Red
Cadmium Yellow
Cobalt Blue
Davys Gray
French Ultramarine
Gold
Indian Yellow
Indigo
Ivory Black
Manganese Blue Hue
Olive Green
Paynes Gray
Permanent Rose
Phthalo Turquoise
Prussian Blue
Raw Sienna
Raw Umber
Renaissance Gold
Sap Green
Silver
Terre Verte
Titanium White
Underpainting White
Viridian
Winsor Lemon
Winsor Violet Dioxazine
Winsor Yellow
Yellow Ochre
Yellow Ochre Pale
Zinc White
Series
2
1
1
1
4
4
4
2
2
2
2
2
1
1
2
1
2
1
1
1
1
2
2
2
1
1
1
4
2
2
2
1
1
1
When ordering please refer

to the colour chart and quote
the product code followed by
the colour code, eg. 37ml
Gold Ochre =
WAO09 + 285 = WAO09285.
347 S4
Lemon
Yellow
Hue
722 S1
Winsor
Lemon
086
S4
Cadmium
Lemon
025 S4 653 S1
Bismuth Transp.
Yellow
Yellow
726 S1
Winsor
Red
094 S4
Cadmium
Red
042 S1
Bright
Red
725 S1
Winsor
Red
Deep
097 S4
Cadmium
Red
Deep
380
545 S2
Quinacridone
Magenta
544 S1
Purple
Lake
543 S2
Purple
Madder
184 S6
Cobalt
Green
084 S4
Cadmium
Green
Pale
708 S2
Winsor
Emerald
426 S1
Naples
Yellow
Light
422 S1
Naples
Yellow
395 S2
Mars
Violet
Deep
056 S1
Brown
Madder
S2
Magenta
247 S1
Flake
White
Hue
261 S1
Foundation
White
320 S2
Indian
Yellow
Deep
319 S1
Indian
Yellow
108 S4
Cadmium
Yellow
731 S1
Winsor
Yellow
Deep
502 S2
576 S4
Permanent Rose Dore
Rose
587 S4
Rose
Madder
Genuine
004 S1
Alizarin
Crimson
468 S4
Perm.anent
Alizarin
Crimson
379 S1
137 S4
Manganese Cerulean
Blue Hue
Blue
178 S4
Cobalt
Blue
180 S5
Cobalt
Blue
Deep
707 S2
Winsor
Blue
(Green
Shade)
706 S2
Winsor
Blue
(Red
Shade)
483 S2
Perm.
Green
Light
481 S2
Perm.
Green
482 S2
Perm.
Green
Deep
637 S1
Terre
Verte
459 S4
Oxide of
Chromium
147 S1
Chrome
Green
Deep Hue
425 S2
Naples
Yellow
Deep
746 S1
Yellow
Ochre
Pale
745 S1
Yellow
Ochre
Light
285 S1
Gold
Ochre
744 S1
Yellow
Ochre
552 S1
Raw
Sienna
076 S1
Burnt
Umber
676 S1
Vandyke
Brown
557 S1
Raw
Umber
Light
558 S1
Raw
Umber
Grn Shade
554 S1
Raw
Umber
217 S2
Davys
Gray
674 S1
U/Painting
White
748 S1
Zinc
White
644 S1
Titanium
White
653 S4
Transp.
Yellow
730 S2
Winsor
Yellow
149
S1
Chrome
Yellow
Hue
548 S4
Quinacridone Red
118 S4
Cadmium
Yellow
Pale
111 S4
Cadmium
Yellow
Deep
089 S4
Cadmium
Orange
724 S2
Winsor
Orange
257 S2
Flesh Tint
106 S4
Cadmium
Scarlet
192 S4
479 S2
Cobalt
Permanent
Violet
Carmine
491 S3
Permanent
Mauve
733 S2
Winsor
Violet
(Dioxazine)
400 S1
672 S2
Ultramarine Mauve
Blue
Violet
Shade
489 S3
Permanent
Magenta
667 S1
U/marine
(Green
Shade)
263 S2
French
Ultramarine
321 S4
Indanthrene
538 S1
Prussian
Blue
322 S2
Indigo
526 S1
Phthalo
Turquoise
190 S5
Cobalt
Turquoise
191 s4
Cobalt
Turquoise
Light
183 S4
Cobalt
Chromite
Green
692 S4
Viridian
721 S2
720 S2
Winsor
Winsor
Green
(Yell.Shade) Green
540 S2
Prussian
Green
599 S2
Sap
Green
447 S2
Olive
Green
294 S2
Green
Gold
333 S1
Jaune
Brilliant
646 S2
Trans.
Gold
Ochre
074 S1
Burnt
Sienna
648 S1
Trans.
Brown
Oxide
657 S2
Trans.
Maroon
059 S1
Brown
Ochre
647 S1
Trans.
Red
Ochre
635 S1
Terra
Rosa
362 S1
Light Red
678 S1
Venetian
Red
317 S2
Indian
Red
142 S1
Charcoal
Grey
465 S1
Paynes
Gray
034 S1
Blue
Black
386 S2
Mars
Black
331 S1
Ivory
Black
337 S1
Lamp
Black
505 S1
Perylene
Black
330 S1
Iridescent
White
201 S1
Cremnitz
246 S1
Flake
White
No. 1
Please note :
Due to the limitations of 4 colour
printing this chart should only be
used as a guide.
283 S2
Gold
573 S2
314 S2
Renaissance Copper
Gold
058 S2
Bronze
511 S2
Pewter
617 S2
Silver
When ordering, please quote the

product code followed by the colour
code ; eg: W & N 37 ml Alizarin
Crimson =
WAO09 + 004 = WAO09004.
603 S2
Scarlet
Lake
OIL PAINTS
A GUIDE TO WHITES
FROM WINSOR & NEWTON
FLAKE WHITE NO 1
Unlike most other colours where the visual differences are more evident, the differences between whites are less discernible. As white is
the colour that is most widely used in the majority of oil paintings, it is
important to understand the differences of each one so the correct
selection is made. The selection of whites available to the modern
artist is far greater than in previous eras. Today each white offers different characteristics including different degrees of opacity and variable consistency.
This is the traditional lead white. It is excellent for oil painting due to
its flexibility, durability and good drying speed. It is the stiffest white
in the range. The final paint film has very good durability and flexibility.Flake White contains lead therefore it is important to avoid
ingestion of the pigments or paint mixtures that contain this
product.
CREMNITZ WHITE
Similar to Flake White No 1, this white is also made from lead,
although the absence of zinc gives it a more stringy consistency. It
offers a long extended mark similar to the brushstroke characteristics of the old masters. It is a slower drying white than Foundation
White (see below).
IRIDESCENT WHITE
This white gives a pearlescent finish due to the presence of a mica
pigment.It is effective when mixed with transparent colours or used
on dark backgrounds
FLAKE WHITE HUE

A titanium based white that mimics the properties of Flake White
No 1 without the hazards of working with lead based pigments. It
has a lower tinting strength thanTitanium White, consequently, when
combined with its warmer hue results less influential on mixtures.
TRANSPARENT WHITE
A unique transparent Titanium pigment is used to produce the most
transparent white on the market today. Ideal for mixing with glazes
when opacity and covering are not the desired end result. It has a
medium time drying rate.
FOUNDATION WHITE
TITANIUM WHITE
This is the whitest, most opaque of the whites. It is the most widely
used white due to its good mixing qualities. Because it is such a
strong white it can overwhelm weaker or more transparent colours
producing a chalky effect. Titanium White is generally made with linseed oil which oxidises over time turning the bright white that comes
out of the tube to a creamy off white as time passes. This gradual creaming is not discernible when used for colour mixing but is
apparent when applied directly on its own as a white.
ZINC WHITE
This is a cool, semi-transparent white which is suitable for mixing with
cool colours. It is useful for glazing and scumbling techniques and it
does not overpower other hues.It has the shortest consistency. When
Zinc White dries, it can produce a hard and brittle film. This effect
can be lessened with the addition of a small amount of thickened
Linseed or Stand Oil.
Ideal for priming, foundation coats, or extensive layering. This is

perfect for strong textural effects or heavy colour applications. It is
made from basic lead carbonate and a small percentage of Zinc
White that is added to improve consistency and whiteness to the
resulting paint film. Foundation White is ground in Linseed Oil, and
therefore is the traditional lead white preferred by many artists. It
can be used throughout the painting. It offers a fast drying rate and
benefits mixtures by its durable flexible nature. Foundation White
contains lead thereforeit is important to avoid ingestion of the
pigments or paint mixtures that contain this product.
UNDERPAINTING WHITE
This is a fast drying white. used in the preparation of grounds, or
mixing. It offers a quick drying time with a toothy texture which
makes it ideally suited for heavy underpainting. It can be used
throughout the painting as a normal white if desired. When mixed
with other colours it can speed the drying time of the mixture. It is
a less hazardous alternative to Foundation White.
OIL PAINTS
SENNELIER EXTRA - FINE OILS - REINVENTED

In 1887, Gustave Sennelier established himself as a colour merchant on the Quai Voltaire in Paris.
Senneliers 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.
Senneliers 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 worlds most prestigious museums.
Today, Senneliers classic palette with new, original shades encompasses contemporary trends and tastes.
These colours, still as smooth and luminous as ever, offer an updated texture with firmer body to accommodate the requirements of 21st
century artists. Utilizing the time-honoured, exacting methods perfected for over one hundred years, the new paints are produced under the
watchful eye of Dominique Sennelier.
At Sennelier, tradition meets the needs of todays artists and the innovations of modern chemistry. Sennelier proudly introduce the next
generation of oils, a collection of professional, extra-fine colours that reinvents your palette and redefines quality.
Sennelier Oils 40ml - Tubes

Code Series Price List
SEAO11 - 1
5.73 6.73
SEAO11 - 2
6.88 7.88
SEAO11 - 3
7.95 8.95
SEAO11 - 4
11.95 12.95
SEAO11 - 5
17.73 18.73
SEAO11 - 6
24.85 25.95
Sennelier Oils 200ml - Tubes
SEAO26 - 1 18.61 21.95
SEAO26 - 2 21.28 25.95
SEAO26 - 3 28.40 31.95
SEAO26 - 4 44.40 47.95
SEAO26 - 5 62.19 65.95
SEAO26 - 6 75.72 78.95
Sennelier Oils 500ml
TINS *
SEAO36 - 1 37.79 40.70
SEAO36 - 2 45.12 48.95
SEAO36 - 3 57.73 60.45
SEAO36 - 4 88.85 91.95
SENNELIER EXTRA - FINE OILS COLOUR CHART - REINVENTED

138
series 1
136
series 1
253
series 1
568
series 2
513
series 2
563
series 2
Unbleached Titanium
200ml 40ml
Titanium Buff
200ml, 40ml
Pale Ochre
40ml
Naples Yellow Light

200ml, 40ml
Warm Bright Yellow

40ml
Naples Yellow Warm

40ml
258
567
566
559
576
series 5
series 2
series 2
series 5
Amber Ochre
40ml
Naples Yellow
200ml, 40ml
Naples Yellow Deep

40ml
Aureoline
40ml
535
501
583
539
series 6
Cadmium Yellow
Lemon
200ml, 40ml
531
series 6
Cadmium Yellow
Medium
200ml, 40ml
533
series 6
series 2
series 4
Turner Yellow
40ml
Cadmium Yellow
Light Hue
200ml, 40ml
503
561
590
series 3
series 4
537
547
674
series 6
series 4
Cadmium Yellow
Orange Hue
40ml
691
Rose Dore Madder

Lake 40ml
613
series 4
605
Sennelier Red
200ml, 40ml
Cadmium Red Light

Hue
200ml, 40ml
698
690
606
series 6
series 3
series 4
series 6
609
series 6
649
661
series 4
675
series 4
688
series 3
677
series 3
series 3
Orient Lake
40ml
638
series 4
Antique Red
40ml
French Vermillion
500ml, 200ml, 40ml
607
618
series 4
635
series 4
689
699
series 5
639
671
series 4
series 2
Permanent Rose
200ml, 40ml
695
series 3
Alizarin Crimson
200ml, 40ml
953
series 2
696
941
Ultramarine Rose
200ml, 40ml
Magenta
40ml
916
917
901
301
series 2
series 3
Permanent Alizarin
Crimson(Quinacridone)
200ml, 40ml
200ml, 40ml
series 4
series 6
Cadmium Red
Medium 200ml, 40ml
Carmine Deep
40ml
series 2
Cadmium Red
Orange
200ml, 40ml
657
series 4
616
series 3
series 4
619
Madder Lake Deep

200ml, 40ml
915
Cadmium Red
Orange Hue
40ml
series 4
Chinese Vermillion
200ml, 40ml
Permanent Intense
Red
500ml, 200ml, 40ml
series 3
615
Vermillion
200ml, 40ml
Crimson Lake
40ml
Cadmium Red Deep

200ml, 40ml
series 4
series 2
Cinnabar Red
40ml
Rose Madder Lake

200ml, 40ml
series 5
series 3
Cadmium Red Light

200ml, 40ml
Permanent Alizarin
Crimson Deep 40ml
Cadmium Red
Medium Hue 40ml
511
543
series 3
series 5
series 4
Cadmium Yellow
Medium Hue
200ml, 40ml
Cadmium Yellow
Deep Hue 40ml
Chinese Orange
200ml, 40ml
Geranium Lake
200ml, 40ml
541
series 6

200ml, 40ml
Bright Yellow
40ml
645
series 4
529
Indian Yellow Orange

200ml, 40ml
693
636
series 4
Alizarin Yellow Lake

40ml
Cadmium Yellow
Orange
40ml
series 5
Cadmium Yellow
Lemon Hue
40ml
series 4
Yellow Lake
40ml
series 4
Cadmium Yellow Deep

200ml, 40ml
Chinese Lake
40ml
series 4
Lemon Yellow
200ml, 40ml
545
Nickel Yellow
200ml, 40ml
series 5
Cadmium Red
Deep Hue 40ml
Carmine Red
200ml, 40ml
911
series 4
Cobalt Violet Hue

40ml
series 2
322
series 3
Manganese Violet
200ml, 40ml
Ultramarine Violet
40ml
Dioxazine Violet
200ml, 40ml
Kings Blue
200ml, 40ml
Blue-Grey
200ml, 40ml
Royal Blue
40ml
312
315
314
395
399
307
series 2
Ultramarine Light
200ml, 40ml
series 2
Ultramarine Deep
500ml, 200ml, 40ml
series 2
French Ultramarine
Blue 200ml, 40ml
series 2
Flemish Blue
40ml
series 2
Sennelier Blue
40ml
series 6
Cobalt Blue
200ml, 40ml
SENNELIER EXTRA - FINE OILS COLOUR CHART

303
series 4
318
308
series 2
series 2
305
series 6
326
Prussian Blue
200ml, 40ml
Indigo Hue
200ml, 40ml
Cerulean Blue
200ml, 40ml
Phthalo Blue
40ml
328
323
320
345
339
series 2
347
series 3
Cobalt Blue Hue

200ml, 40ml
series 6
Alizarin Blue Lake

200ml, 40ml
series 6
Manganese Blue
40ml
Azure Blue
200ml, 40ml
343
Cerulean Blue Hue

200ml, 40ml
Bonnard Blue
40ml
Turquoise Light
40ml
Cobalt Turquoise
200ml, 40ml
833
835
807
837
818
817
series 3
series 3
series 6
series 2
series 6
series 2
series 3
Cobalt Green Light

200ml, 40ml
Cobalt Green Deep

200ml, 40ml
Chromium Green
Deep
200ml, 40ml
847
821
845
series 2
series 2
series 3
series 4
Phthalo Green Cool

40ml
Phthalo Green Warm

200ml, 40ml
825
831
series 4
849
series 4
805
series 3
851
series 4
series 6
Emerald Green Sub.

40ml
Baryte Green
200ml, 40ml
Permanent Green
200ml, 40ml
829
813
815
819
series 4
series 3
series 3
Olive Green
40ml
Chromium Oxide
Green 40ml
series 3
Viridian
500ml, 200ml, 40ml
Cadmium Green Deep

200ml, 40ml
Cinnabar Green
Deep 40ml
series 3
series 2
Sap Green
200ml, 40ml
Cinnabar Green
Yellow 40ml
Permanent Yellow
Green 40ml
Chromium Green
Light 200ml, 40ml
Golden Green
200ml, 40ml
827
series 4
445
series 4
517
series 2
254
series 1
257
series 1
252
Light Yellow Ochre

200ml, 40ml
Gold Ochre
40ml
Yellow Ochre
500ml, 200ml, 40ml
650
series 2
505
series
219
series 1
208
series 1
255
series 1
217
Cinnabar Green Light

200ml, 40ml
Blush Tint
200ml, 40ml
Mars Yellow
40ml
647
631
series 2
Mars Orange
40ml
627
series 1
English Red
40ml
202
series 1
Indian Yellow Hue

40ml
Brown Pink
200ml, 40ml
Italian Earth
40ml
211
series 2
Mars Red
40ml
471
series 4
Brown Ochre
200ml, 40ml
Tuscan Earth
40ml
250
623
259
series 1
Venetian Red
40ml
Red Ochre
40ml
407
629
919
series 1
series 2
412
205
411
203
215
series 1
series 1
Raw Umber
200ml, 40ml
705
series 1
series 1
series 1
768
759
755
108
Mars Black
200ml, 40ml
213
series 1
703
series 1
757
Pitch Black
200ml, 40ml
438
707
Green Umber
40ml
series 1
series 2
Green Earth
200ml, 40ml
Cool Grey
200ml, 40ml
Ivory Black
500ml, 200ml, 40ml
Neutral Tint
200ml, 40ml
series 1
Sepia
500ml, 200ml, 40ml
Warm Grey
200ml, 40ml
series 1
931
Caput Mortum
200ml, 40ml
Van Dyck Brown

Deep 40ml
Cassel Earth
40ml
series 1
series 1
Modigliani Ochre
200ml, 40ml
Van Dyck Brown

200ml, 40ml
series 1
series 1
Burnt Sienna
200ml, 40ml
Madder Brown
200ml, 40ml
Sennelier Brown
500ml, 200ml, 40ml
series 1
Raw Sienna
200ml, 40ml
Indian Red
40ml
Burnt Umber
500ml, 200ml, 40ml
series 1
series 1
series 1
series 3 116 series 1
Flake White
series 2
Paynes Grey
200ml, 40ml
Titanium White
500ml, 200ml,
40ml
series 1
Carbon Black
200ml, 40ml
119 series 1
Zinc White
500ml, 200ml,
40ml
123 series 1
Zinc Titanium
White
200ml, 40ml
OIL PAINTS
OIL PAINTS - STUDIO OILS
63
05
Primrose Yellow
S3
S3
Cadmium Yellow Deep
Genuine *
10
03
06
S1
S1
Spectrum Violet
19
S3
31
S1
Spectrum Lemon Yellow
32
S2
34
09
Indian Yellow Hue
S1
Spectrum Green Light
S1
Spectrum Orange
17
Spectrum Scarlet
55
Cadmium Yellow Pale

Genuine *
S1
14
Spectrum Yellow
S1
04
S1
13
Flesh Tint
S3
07
S2
S3
Cadmium Yellow Genuine*
33
S4
Cadmium Red Genuine*
16
15
S2
S2
Spectrum Red
18
S3
Rose Madder Quinacridone
Spectrum Red Deep
Spectrum Crimson
Alizarin Crimson
Spectrum Magenta
49
S1
Spectrum (Phthalo) Blue
47
S1
French Ultramarine Blue
51
S1
Spectrum Cobalt Blue Hue
50
S1
Spectrum Cerulean Blue Hue
48
39
S1
Spectrum Emerald Green
23
S3
Opaque Oxide of Chrome
20
S1
Spectrum Phthalo Green
21
22
29
12
S1
S1
Spectrum Yelow Deep
S1
Prussian Blue
Terre Verte
S1
Sap Green
discontinued
40
S1
Spectrum Viridian Green
84
S2
Naples Yellow*- Tins only
30
08
60
59
S1
Indian Red
S1
S1
Yellow Ochre
Raw Umber
S1
Raw Sienna
S1
24
Burnt Umber
S1
11
Burnt Sienna
S1
25
Vandyke Brown
S1
Light Red
S1
01
Mars Violet
S1
Titanium White
discontinued
26
S1
Zinc White
75
S3
Flake White - Tins only
27
S1
Mixing White
64
S1
Paynes Grey
Spectrum
Studio Oil Paints
Spectrum has recently upgraded this ever popular range of oil paints
so that what used to be a straightforward economical range has been
transformed into a genuine paint for the studio based artist.The pigment
loadings have been increased by up to 30% to create a more intense
range of colours.
When ordering please quote product code followed by colour code,
e.g. Spectrum Oil 225ml tube of Yellow Ochre = SPO31 + 30 =
SPO3130. * These products require special handling and use.
Code
Size
Series 1
10.09
250ml Tin
-I L Tins* 42.55
SPO31 225ml Tube

SPOT31
SPOT39
Series 2
11.99
11.99
--
Series 3 Series 4
16.59
16.59
65.00
20.10
---
*Titanium White and Black only

61
S1
Ivory Black
61
S1
Mars Black
OIL PAINTS
Old Holland Classic Oil Colours

The oldest manufacturer of oil colours and with the largest range of colours these
are much sought after by the more serious or advanced artists where quality of
colour is the main criteria. Only the best pigments and binders are used to ensure
extremely concentrated colours and high lightfast ratings. Each tube has a strip of
paper/card around it on which the genuine colour of the particular tube is painted.
These are visibly stronger than typical professional grade artists oils.
When ordering please refer to the colour chart and quote the product code followed by the colour code, e.g. OHO11367 = Old Holland
40ml tube of Vine Black = OHO11 + 367 / Colours available in 125ml are marked on the colour chart with a black dot (!)
Code
OHO11--OHO16--OHO23--OHO28--OHO35--OHO39--OHO22--OHO22---
Size
40ml
60ml
125ml!
225ml
475ml
1L
120ml
120ml
Series A
5.85
7.88
14.45
23.56
40.40
80.29
50.15
31.12
Series B
8.64
12.18
22.68
38.73
Series C
13.20
18.09
33.25
57.35
Series D
20.27
28.65
52.51
95.79
(Tins)
Whites and Blacks only (Tins)
Mixing White No. 3 (Tin)
Mixing White No. 4 (Tin)
Series E
24.68
33.99
58.35
110.35
Series F
38.82
45.64
98.19
175.65
!
!
!
!
!
!
OIL PAINTS
Mussini
A unique range of Resin Oil Colours
The uniqueness of these exceptional professional Oil colours is derived from the use of the old master practise of combining selected
artists oil with natural resins.
Ancient techniques such as those employed by the painters of the late Middle Ages were already using indigenous European Resins,
such as Gum Mastic, from the famous Greek island of Chios and Gum Copal.
The advantage of these old techniques was that they used natural resins to enhance the colour brilliance and impression of depth
achieved by Byzantine artists in the first centuries AD. Throughout history, these old techniques have been handed down from one generation to the next. Oil painting techniques in particular have utilised a large number of special binder formulations that have been well
tried and tested: It is from this fund of knowledge that the formulas for The Mussini colours have been found.The researchers and formulators at Schmincke believe that pigment and a linseed oil (as used in most ranges) are not sufficient to make a traditionally based artists
oil.
Damar resin from Palembang Indonesia is used in combination with a broad range of artists oils. The amount of Dammar resin used for
each pigment colour varies considerably in accordance with the differing characteristics of each individual pigment. A range of well known
and natural oils are used such as Linseed oil, Safflower oil, Poppyseed oil and Sunflower oil are used in combination with so called auxiliary agents as well as additives. These are used in minute amounts where they aid the consistency and fineness of the colour as well as a
consistent drying process.
The range comprises 101 colours of which 64 are single pigment colours and 42 are translucent.
Great attention has been paid to ensure that the colours dry in a well balanced manner.
What makes Mussini unique among artists oil colours?
Before the metal collapsible tube was invented in the mid 19th century, traditional colour formulations made with a resin oil combination
fell out of favour as they could not be transported in the small leather and hide pouches that became widely used all over Europe.
The founders of the Schmincke company, the chemists Hermann Schmincke and Josef Horadam had become aware of the now almost
forgotten traditional resin oil colour formulations when they looked around in 1881 for a method of recreating the brilliance of Old Master
colours.
Their research took them to Florence, the cradle of the Renaissance where they sought out Professor Cesare Mussini who worked in his
studio in the Academy of Florence.
Professor Mussini had gained a wide reputation as a man who was the guardian of ancient techniques and materials.
Subsequently, the recipes were acquired by Schmincke and put into the production of this unique range of professional oil colours.
Series Price
Code
Size
SMO08--
35ml
SMO08--
35ml
SMO08--
35ml
SMO08--
35ml
SMO08--
35ml
SMO08--
35ml
SMO08--
35ml
SMO08--
35ml
7.30
9.72
12.46
16.42
27.96
33.48
36.54
48.41
Series Price
Code
Size
SMO25--
150ml
SMO25--
150ml
SMO25--
150ml
SMO25--
150ml
19.54
27.26
35.20
44.45
What is very important to remember is that

the quality and performance of modern
pigments is light years away from what
was available to the artists of previous
centuries.
This range of colours encompasses many of the

traditional pigments in their finest form together
with the best technological developments of
recent years and formulated in the traditional
manner.
Be prepared for an introduction to a past world
of ancient colour names many of which are exotic to say the least.
These are for any artist with a desire to acquaint
themselves with an exceptional painting experience.
OIL PAINTS
The mystery of extraordinary colours
The history of painting has a long tradition of colours and mediums. Artists colours
that had remained unchanged for centuries have since the 1800s been modified
or reproduced by new pigments as a result of better quality, ease of manufacturing
or Health and Safety issues. Some colours have a long history and many artists still
consider them essential in their choice of the classical colour range. H. Schmincke &
Co. has had a programme of colour research for most of its 125-years-history. This
has centered on the use of key traditional formulations as a base for better, more stable and modern modifications of traditional colours. Consequently, Schmincke offers
a number of unusually rare colours, which are highly prized by artists and restorers.
These are what Schminke calls its extraordinary colourswith rare and exotic names
which probably need an explanation. We would like to reveal these mysteries
for you, so that you become aware of what Sfumato or Viridian are really about.
I. Special Historical Colours

The colour Mummy Brown which doesnt exist any more, has a remarkable history.
This colour literally got its name in the 19thC, from mummies imported in quantity
from Egypt! Believe it or not they were simply ground down to make the colour. Other
examples are Schweinfurt Green (it contained arsenic!) or Genuine Vermilion (it
contained mercury!) which were so poisonous, that artists using them were under a
severe health threat. Of course these colours and their questionable manufacturing
methods have now disappeared and have been substituted by safer, better and more
stable products, e.g. Vermilion Red Tone. Additionally, the Mussini range is supplemented by colours with ancient names such as Verona Green Earth, Sepia Brown,
Caesar Purple or Caput mortuum. Schmincke believe these colours are so important that they have created this guide to explain their key features:
Medieval Yellow
The brightest yellow used by medieval painters. Today, it is
Origin/ Manufacture: an imitation of the original shade with inorganic pigments.
Appearance:
Pale, greenish, opaque yellow.
Florentine Red
Based on the old Florentine colour which was obtained
Origin/ Manufacture: from Brazil wood. Today, made of Perylenes (highest lightfast
organic pigments).
A translucent, cold, dark red with a slight brown tint.
In ancient times, purple was obtained by means of a comCaesar Purple
Origin/ Manufacture: plicated process from the gland of a snail, and was much
sought after as a particularly valuable dye for artists colours.
Appearance:
Finely translucent colour, bluer than magenta.
Byzantine Blue
Often appears in Byzantine frescos. In former times it was
Origin/ Manufacture: obtained primarily from azurite and a small fraction of coal.
Today composition of modern, lightfast pigments.
Appearance:
Appearance:
Dark black blue which retains its blue character.
Ultramarine Blue
In the Middle Ages, Ultramarine was obtained from the semi
Origin/ Manufacture: precious stone lapis lazuli. It was not possible until the first
third of the 19th century to produce ultramarine by synthetic
means without any qualitative consequences.
Appearance:
Finely translucent, very pure blue with a red tinge.
Mussini:
Ultramarine Blue Light and Ultramarine Blue Deep.
HORADAM AQUARELL (see Water Colours); Ultramarine Finest, Ultramarine).
The classical royal blue a light blue, corresponding roughly
Royal Blue
Origin/ Manufacture: to a green tinged sky blue - was introduced under King Louis
XIV of France, based on a cobalt pigment.
Depending on the amount of cobalt or ultramarine pigment
royal blue varies from light green-tinged sky blue to brilliant
medium blue.
Mussini:
Royal Blue Light and Royal Blue Deep.
Verona Green Earth Known since antiques times. Ideal for producing the
Origin/ Manufacture: Verdaccio effect, the green priming coat applied to the main
areas in por trait colouring. In former times, produced with
best Terra Verde earths from Baldo (Lake Garda) and traded via Verona. As these earths arent available anymore,
the colour is now an imitation with high quality pigments.
Appearance:
Appearance:
Translucent, dull green with a slight grey tinge.
Attic Light Ochre In ancient times, this was a much sought after colour. Attic
Origin/ Manufacture: means the area around Athens in ancient times. Today, made
with imitation pigments with modern hydrated iron oxide.
Appearance:
Semi opaque to semi translucent fiery golden yellow.
Sepia Brown
IOriginally, since the end of the 18th century, obtained from
Origin/ Manufacture: the cuttlefish. At that time, it was not lightfast and storable.
Today, replaced by a lightfast pigment mixture. Often used
for first layers or pen-and-ink drawings.
Appearance:
Deep brown
HORADAM AQUARELL (see Water Colours Sepia brown and Sepia brown tone)
Caput Mortuum
The name Caput Mortuum is derived from the field of alcheOrigin/ Manufacture: my and means deaths head, as this colour was obtained
from iron salts which were baked down to their dying
embers.
Appearance:
A translucent, cold, dark red with a slight brown tint.
II. Unusual colour names

Some colour names might sound enigmatic, because some have their roots in history,
and other names were borrowed from foreign languages, especially Latin and
Italian, e.g. Atrament, Viridian or Pozzuoli Earth.
We offer you an explanatory guide below:
Tourmaline Green Colour similar to the semi-precious stone tourmaline.
Appearance:
Dark, rich bluish green, whose shades range from yellow

ish green and olive green to bluish green.
Viridian
The name is borrowed from Latin viridis =green. Successor
Origin/ Manufacture: of the Original Schweinfurt Green, an important artists colour
in the 19th century, which was highly toxic on account of its
arsenic content.
Appearance:
Semi-translucent, gentle, yellow-tinged green.
Pozzuoli Earth
In former times made by the famous natural terrain earths
Origin/ Manufacture: from Italy. The name relates to the place where it was
formerly found at the foot of Vesuvius. Now,a high-quality
imitation is used because these earths are barely obtainable
today.
Appearance:
Red brown, slightly lighter and more yellow than Pompeiian
Red, with high opacity and tinting power.
Atrament was the name for a very cold, black in Roman
Atrament Black
Origin/ Manufacture: times (tro (Ital.) = dark, gloomy, murky, atramentarius
(Lat.) = like ink). Today a modern organic pigment.
Very deep black in full tone, close to a Russian green in
glazes. Produces green-tinged grey tones when mixed with
white.
Brown Pink
Stil de grain was formerly obtained from the dyestuff contained
(Stil de Grain Brun) in the semi ripe berries of the milkwort. Today a high-quality
Origin/ Manufacture: imitation.
Appearance:
Appearance:
A warm translucent brown tone.
Sfumato
Sfumato - especially developed to produce the Italian
(Shade Grey)
Masters famous "sfumato", a fine grey mist which was applied
Origin/ Manufacture: to portraits, for example: sfumato (Ital.) = shaded: fumo
(Ital.) = fume/ smoke).
Appearance:
Greenish, semi-transparent grey
Note: All colours shown are available in the range of MUSSINI-finest artist
resin oil colours, except Sepia Brown.
MUSSINI COLOUR CHART
206
S2
207
Flesh Tint
S3
209
S4
216
Cadmium Yellow Tone
221
S3
*****
S5
223
*****
S5
228
S3
231
S3
237
S5
229
232
*****
238
243
S4
*****
340
S4
Brilliant Scarlet
*****
342
S6
*****
343
Cadmium Red Tone

*****
S3
Madder Root Tone
*****
346
S4
*****
347
Madder Lake Dark

****
S3
Translucent Yellow
*****
Cadmium Red Middle
S4
S4
Naples Yellow Deep
S3
****
Madder Lake Brilliant
S5
*****
Chrome Orange Tone
S7
*****
Cadmium Yellow 3 Deep
Translucent Orange Oxide
Translucent Orange
344
S4
*****
341
*****
*****
Translucent Yellow Oxide
S3
S1
Brilliant Yellow
Naples Yellow Light

*****
224
*****
Cadmium Orange
239
*****
Cadmium Yellow 2 Middle
S6
S6
Vanadium Yellow Light
*****
*****
236
220
Indian Yellow
Cadmium Yellow 1 Light
230
*****
Lemon Yellow
Vanadium Yellow Deep
227
S4
Yellowish Green Ural
*****
*****
208
Medieval Yellow
S4
Alizarin Madder Lake
*****
***
353
S3
356
Florentine Red
S6
*****
358
S4
363
S4
****
S3
366
S8
477
480
Cobalt Blue Tone
S8
485
*****
S5
490
*****
478
****
S2
493
Ultramarine Blue Deep
*****
S5
481
S2
S6
*****
486
S4
Royal Blue Deep
****
S1
491
***
S2
Ultramarine Blue Light
****
S3
494
****
S1
Indigo Tone
*****
****
496
S3
Translucent Oriental Blue
*****
****
Cobalt Blue Deep
Delft Blue
S3
S2
Indigo
Prussian/Paris Blue
Byzantine Blue
S3
Translucent Violet
Royal Blue Violet
Manganese Cerulean Blue
495
473
*****
*****
Cobalt Violet
S3
Cobalt Blue Light

****
492
S3
****
487
****
Translucent Cyan
S1
S3
Vermilion Red Tone
*****
Cobalt Cerulean Blue
482
364
Caesar Purple
*****
479
*****
Translucent Magenta
Translucent Red Oxide
475
S6
Cadmium Red Deep
*****
Carmine
365
357
Cadmium Red Light
*****
497
S3
Translucent Turquoise
*****
*****
206
S2
207
Flesh Tint
S3
209
S4
216
Cadmium Yellow Tone
221
S3
*****
S5
223
*****
S5
228
S3
231
S3
237
S5
229
232
*****
238
243
S4
*****
340
S4
Brilliant Scarlet
*****
342
S6
*****
343
Cadmium Red Tone

*****
S3
Madder Root Tone
*****
346
S4
*****
347
Madder Lake Dark

****
S3
Translucent Yellow
*****
Cadmium Red Middle
S4
S4
Naples Yellow Deep
S3
****
Madder Lake Brilliant
S5
*****
Chrome Orange Tone
S7
*****
Cadmium Yellow 3 Deep
Translucent Orange Oxide
Translucent Orange
344
S4
*****
341
*****
*****
Translucent Yellow Oxide
S3
S1
Brilliant Yellow
Naples Yellow Light

*****
224
*****
Cadmium Orange
239
*****
Cadmium Yellow 2 Middle
S6
S6
Vanadium Yellow Light
*****
*****
236
220
Indian Yellow
Cadmium Yellow 1 Light
230
*****
Lemon Yellow
Vanadium Yellow Deep
227
S4
Yellowish Green Ural
*****
*****
208
Medieval Yellow
S4
Alizarin Madder Lake
*****
***
353
S3
356
Florentine Red
S6
*****
358
S4
363
S4
****
S3
366
S8
477
480
Cobalt Blue Tone
S8
485
*****
S5
490
*****
478
****
S2
493
*****
S5
481
S2
S6
*****
486
S4
Royal Blue Deep
****
S1
491
***
S2
****
S3
494
****
S1
Indigo Tone
*****
****
496
S3
Translucent Oriental Blue
*****
****
Cobalt Blue Deep
Delft Blue
S3
S2
Indigo
Prussian/Paris Blue
Byzantine Blue
S3
Translucent Violet
Royal Blue Violet
Manganese Cerulean Blue
495
473
*****
*****
Cobalt Violet
S3
Cobalt Blue Light

****
492
S3
****
487
****
Translucent Cyan
S1
S3
Vermilion Red Tone
*****
482
364
Caesar Purple
*****
479
*****
Translucent Magenta
Translucent Red Oxide
475
S6
Cadmium Red Deep
*****
Carmine
365
357
Cadmium Red Light
*****
497
S3
Translucent Turquoise
*****
*****
OIL PAINTS
OIL PAINTS - ECONOMICAL
XL Fine Oil Paints
We are delighted to add this range of fast drying oil paints to our selection,
particularly as the superb prices will benefit anyone seeking value for
money.
XL Oils are a good quality, resolutely modern oil paints that have been
specifically created to meet the needs of the contemporary artist.
XL Oils are an economical range of fast drying oil paints with a smooth
consistency plus the added benefit of a broad range of 55 bright colours in
200ml tubes.
XL Fine Oil is suitable for a range of techniques from applying in thin
glazes to working in thick layers as well as being usable in combination
with oil mediums and auxiliary products.
Because the colours are fast drying they are touch dry after 48 hours (with
a 2mm thick application) and can be over painted after only 4 days (without the addition of drying agents).
When used in conjunction with drying agents such as Siccative or
Siccative Medium overpainting can be done in as little as three hours
which is a major advantage for anyone with tight schedules or when
working on a large scale.
This oil paint is probably the best value in our selection.
Code
PXLO09-- Standard
PXLO09-- Iridescent
PXLO26-- Glaze
PXLO26-- Iridescent
PXLO26-- Standard
Size
Price
1.68
2.16
7.80
7.80
5.16
37ml
37ml
180ml
180ml
200ml
RRP
3.25
4.25
9.25
9.25
8.95
200ml
Tube
5.16
Pebeo XL Studio Oil Selection Set

Qty 10 - 37ml tubes & 1 brush
Code PXLO50098
Price 22.73
31 Bright Yellow
***
01 Lemon Cadmium
* Yellow Hue
02 Primary Cadmium
*
Yellow Hue
49 Aureoline
*
03 Cadmium Yellow
*** Deep Hue
04 Cadmium Orange
***
Hue
35 Vivid Orange
**
36 Vivid Red
**
05 Cadmium Light
**
Red Hue
06 Cadmium Red
**
Deep Hue
07
**
08 Madder Carmine
**
43
**
32
**
09 Dioxazine Purple
**
37
**
28 Cobalt Violet
***
Light
50
**
Crimson
Bright Red
Vivid Pink
Magenta
Madder
10 Prussian Blue
**
47 Steel Blue
***
14 Ultramarine
***
Blue
12 Cobalt Blue Hue

***
11 Primary Phthalo
***
Blue
13 Cerulean Blue
***
Hue
38 Vivid Turquoise
***
33 Bright Blue
***
34 Bright Green
***
15 English Light
**
Green
16 Cadmium Green
***
Hue
39
**
18 Phthalocyanine
*** Emerald
26 English Green
**
Deep
17
**
Sap Green
51 Dark Cobalt
*** Green Hue
44
**
52 Chartreuse
**
Yellow
19 Naples Yellow
***
20 Yellow Ochre
***
53
**
Stil de Grain
41 Venetian Yellow
*** Orange
21 Raw Sienna
***
27 Bright Pink
***
42
***
54
***
22 Burnt Sienna
***
30 Van Dyck Brown

***
29 Raw Umber
***
23 Burnt Umber
***
24 Ivory Black Hue

***
55 Precious Gold
***
40 Vivid White
***
46 Imitation Zinc
***
White
Red Ochre
45 Paynes Grey
***
Red Brown
48 Neutral Grey
***
To order please use this colour chart and quote product code followed by colour
code, eg. XL 200ml Titanium White = PXL26 + 25 = PXL2625.
25 Titanium White
***
Due to the limitations of 4 colour printing please use this colour chart only as a guide.
*** Very Lightfast
** Lightfast
* Low Lightfastness
Terre Verte
Vivid Green
XL OIL PAINTS
COLOUR CHART
OIL PAINTS
OIL PAINTS - MEDIUM QUALITY
Lukas Studio Oil Paints

A Genuine Middle Quality Paint
Ideal for the artist who wants good colour performance without paying for the cost of
professional quality paints, but who wants a much better performance than student grade.
Made in Germany since 1862 Lukas is now the largest manufacturer of artist oil paints and the
best selling range of oil paints in Germany and Switzerland.
Lukas has very stringent quality control resulting in a range that is markedly superior to student
grade paints. The quality was such that a recent comparison of professional grade artist oils
published in The Painter magazine included Lukas Studio in the same category as Winsor and
Newton Artist Oils as well as Old Holland and Michael Harding.
It lies halfway between professional and student grades. Lukas Studio is probably the only
genuine second or medium quality oil paint on the market today, as all other paints are either
full professional or student quality.
All 48 colours in the range are available in 37ml and 200ml tube size.
Code Size
LST09 - 37ml
LST26 - 200ml
LST36 - 500ml
LST40 - 2L
LST44 - 5L
Price
3.52
9.45
19.76*
77.32*
146.05*
* Blacks
and
Whites
only
LUKAS STUDIO COLOUR CHART
204
S1
207
S1
Opaque White
208
S1
Titanium White
209
226
S1
Hue
227
S1
Cadmium Yellow Hue
234
S1
Naples Yellow
224
S1
229
S1
Cadmium Orange Hue
236
S1
Naples Yellow Red
250
S1
261
S1
266
S1
272
S1
Cadmium Red Light
Hue
274
S1
Cadmium Red Deep
Hue
286
329
S1
320
S1
321
S1
Cerulean Blue Hue
323
S1
Cobalt Blue Hue
327
S1
Cobalt Violet Hue
S1
345
355
S1
356
354
S1
Viridian Phthalo
357
252
S1
Caput Mortuum
301
382
384
Zinc White
222
Flesh Colour
S1
S1
Vermilion
334
Mauve
S1
337
Prussian Blue
231
S1
S1
S1
Raw Umber
338
Sky Blue
S1
254
Raw Sienna
Green Earth
310
S1
239
Carmine
Cyan Blue
Ultramarine
Yellow Ochre
358
Magenta Red
S1
S1
S1
311
312
S1
Van Dyck Brown
375
Sap Green
S1
Green Yellow
322
212
Indian Yellow
S1
Indigo
S1
S1
Emerald Green
S1
Olive Green
S1
Cassel Earth
Ivory Black
When ordering through mail order please quote product code followed by colour code ie: LST09208 = 37ml Titanium White.
Due to the limitations of 4 colour printing, this colour chart should only be used as a guide.
S1
Brilliant Yellow
Turquoise
Burnt Sienna
365
S1
Lemon Yellow
S1
309
English Red
S1
210
Phthalo Blue
363
S1
Permanent Green
Burnt Umber
S1
Beige
S1
Paynes Grey
OIL PAINTS
Daler-Rowney
Georgian Oils
Our product manager Leslie, who has 25 years of experience in the
art materials business rates Daler Rowneys Georgian the best quality
economical oil paint in the business.
This comes not just from her daily interface with thousands of customers
over the years but also from direct experience using the paint but also
supplying it to conservators who rate it highly.
These facts appear to be supported by ever increasing sales to artists as
well as schools and colleges.
In Georgian Oil Colour, Daler have set out to produce the highest
levels of performance, in terms of colour intensity, workability and
permanence at an economical and uniform price across all 57 colours
in the range.
Code
Size
DRG17-
75ml
DRG28-
225ml
Price RRP
3.67
6.40
8.88 11.95
When ordering please refer to the colour chart and quote product code followed by colour code, eg. 225ml Raw Sienna = DRG28 + 667 = DRG28667
Georgian Oil Colour Starter Set
An ideal starter set for the first time oil painter or student on a
course.
Code
DRG50150
Georgian Oil Colour Selection Set
Contains 10 tubes of 38ml key colours: the ideal set for

anyone wishing to start oil painting.
These economical oils provide a balance between quality
and value for money.
Code
DRG50650
Price RRP
31.59 49.45
Price RRP
14.09 15.65
635
651
617
627
620
623
618
Naples Yellow
Lemon Yellow
626
619
Cadmium Yellow
Pale Hue
628
Chrome Lemon
Hue
588
Cadmium Yellow
Hue
505
Chrome Yellow
Hue
503
Cadmium Yellow
Deep Hue
504
Chrome Orange
Hue
520
Cadmium Orange
Hue
571
Chrome Orange
Deep Hue
515
Vermillion
Hue
506
Cadmium Red Light

Hue
512
Cadmium Rue
Hue
561
Cadmium Red Deep

Hue
409
Permanent
Geranium
Scarlet Lake
Crimson Alizarin
Carmine
Hue
Naphthol Crimson
Rose Madder
(Quinacridone)
Permanent Magenta
406
413
123
137
142
135
Cobalt Violet
Hue
Permanent Mauve
French Ultramarine
Permanent Blue
Cobalt Blue
Hue
Phthalo Blue
Prussian Blue
112
369
361
352
382
338
375
Coeruleum
Hue
Prussian Green
Phthalo Green
Hookers Green
Viridian
Hue
Emerald Green
Hue
Sap Green
379
388
347
663
667
024
577
Terre Verte
Hue
527
Yellow Green
Yellow Ochre
Raw Sienna
Buff Titanium
Flesh Tint
583
Permanent Light
Green
523
221
247
223
264
Light Red
Venetian Red
Indian Red
Burnt Sienna
Raw Umber
Burnt Umber
065
034
035
005
009
001
Vandyke Brown
Hue
007
Paynes Grey
Ivory Black
Lamp Black
Flake White
Titanium White
Zinc White
Mixing White
003
* The following colours/sizes have been

discontinued :
DRG17369 Georgian Oil 75ml Prussian Green
DRG17527 Georgian Oil 75ml Light Red
DRG17623 Georgian Oil 75ml Chrome Yellow Hue
DRG28369 Georgian Oil 225ml Prussian Green
Underpainting
White
110
This tint chart is produced within the limits of printing

and is intended only as a guide.
T = Classified as Toxic according to UK legislation.
501
Lemon Yellow
807 Phthalo Green Deep
869 Viridian
539 Cadmium Yellow Light Hue

543
Cadmium Yellow Deep Hue

847
547
Cadmium Yellow Orange Hue
615
Cadmium Red Orange Hue
613
Cadmium Red Light Hue
Emerald Green
873 Phthalo Green Bright
871 Bright Yellow Green

805 Phthalo Green Light
681
Bright Red
674
Vermillion
606
Cadmium Red Deep Hue (Primary)
213 Green Earth
205 Raw Umber

567
689 Alizarin Crimson
635
Carmine
913
Cobalt Violet Deep Hue
911
Cobalt Violet Light Hue
357
Ultramarine
Naples Yellow
252 Yellow Ochre
208
Raw Sienna
250
Flesh Ochre
259
Red Ochre
211 Burnt Sienna

303
Cobalt Blue Hue
360
Phthalo Blue
323
Cerulean Blue Hue (Primary)
320
Azure Blue
341
Turquoise
202
Burnt Umber
755
116
Ivory Black
Titanium White
When ordering please refer to the

colour chart and quote the size product code followed by the colour code,
eg. 34ml Turquoise = SEO08 + 341 =
OIL PAINTS
Sennelier Etude - Economical Oil Colours
Made by the paintmakers that Picasso personally requested to make some of his materials, Sennelier have a long tradition for great quality
and intensity of colour in France and we are pleased they have directed their expertise into making an economical range of oil colours.
The vibrant and strong colours of this range feature excellent stability in colour mixing and lightfastness. The buttery texture facilitates
smooth brush work or thick applications.
The comprehensive 36 colour range features a traditional palette of established colours which suits artists whatever their level of expertise.
The primary colours are specifically made with the correct pigments which means that colour mixing is accurate: many economical ranges
with so called primary colours very often make their colours using more than one pigment per colour; the result is that when mixed the primaries do not produce the correct or accurate colour results.
The range of colours contains a very strong selection of yellows, reds, oranges and blues and complement the remaining colours which
comprise the most important that most artists need.
For artists wanting to apply paint thickly or work on a large scale the 200ml tubes provide the classic balance of price and colour.
Code Size
SEO08 34ml
Price
2.72
Code
Size
SEO26
200ml
Price
7.39
OIL PAINTS
Winsor & Newton Winton Oil Paints

Winton Oil Colour has been developed to
provide the highest quality colours at an
affordable price.
To achieve this, Winsor & Newton have
combined traditional skills and modern
colour chemistry which has resulted in a
range of 47 selected colours.
Some of the more costly traditional pigments
have been replaced with excellent
modern alternatives resulting in great colour
performance at an economical price.
Code
Size
WWO09--
37ml tube
WWO26--
200ml tube
Price
2.99
RRP
3.50
8.50 12.00
Please refer to the colour chart when ordering

and quote the product code followed by the
colour code, e.g. Winton 200ml tube of Light
Red = WWO26 + 362 = WWO26362.
346
Lemon
Yellow Hue
087
Cadmium
Lemon Hue
119
Cadmium
Yellow Pale
Hue
149
Chrome
Yellow Hue
109
Cadmium
Yellow Hue
115
Cadmium
Yellow
Deep Hue
090
Cadmium
Orange Hue
257
Flesh Tint
603
Scarlet
Lake
095
Cadmium
Red Hue
682
Vermillion
Hue
098
Cadmium
Red Deep
Hue
480
Permanent
Geranium
Lake
502
Permanent
Rose
478
Permanent
Crimson
Lake
468
Permanent
Alizarin
Crimson
380
Magenta
194
Cobalt
Violet Hue
229
Dioxazine
Purple
138
Cerulean
Blue Hue
179
Cobalt Blue
Hue
263
French
Ultramarine
516
Phthalo
Blue
538
Prussian
Blue
241
Emerald
Green
483
Permanent
Green Light
145
Chrome
Green Hue
696
Viridian
Hue
459
Oxide of
Chromium
637
Terre Verte
599
Sap Green
422
Naples
Yellow Hue
744
Yellow
Ochre
552
Raw
Sienna
362
Light Red
317
Indian Red
074
Burnt
Sienna
076
Burnt
Umber
676
Vandyke
Brown
554
Raw
Umber
465
Paynes
Gray
331
Ivory
Black
337
Lamp
Black
242
Flake White
Hue
415
Soft Mixing
White
644
Titanium
White
748
Zinc White
346 A S3
Lemon
Yellow Hue
113 A S4
Cadmium
Yellow Light
119 A S1
Cadmium
Yellow Pale
Hue
116 A S4
Cadmium
Yellow
Medium
109 A S1
Cadmium
Yellow Hue
115 A S1
Cadmium
Yellow
Deep Hue
089 A S4
Cadmium
Orange
090 A S2
Cadmium
Orange Hue
257 A S2
Flesh Tint
100 A S4
Cadmium
Red Light
107 A S2
Cadmium
Scarlet
Hue
095 A S2
Cadmium
Red Hue
099 A S4
Cadmium,
Red
Medium
098 A S2
Cadmium
Red Deep
Hue
502 A S3
Permanent
Rose
468 A S3
Permanent
Alizarin
Crimson
380 S1
Magenta
194 A S2
Cobalt
Violet Hue
229 A S2
Dioxazine
Purple
137 A S4
Cerulean
Blue
138 A S1
Cerulean
Blue Hue
178 AA S4
Cobalt Blue
179 A S1
Cobalt Blue
Hue
263 A S2
French
Ultramarine
516 A S2
Winsor
Blue (Red
Shade)
538 A S1
Prussian
Blue
692 AA S4
Viridian
721 A S2
Winsor Green
(Yellow
Shade)
483 A S2
Permanent
Green Light
696 A S2
Viridian Hue
459 AA S3
Oxide of
Chromium
637 A S1
Terre Verte
599 A S4
Permanent
Sap Green
422 AA S1
Naples
Yellow Hue
744 AA S1
Yellow
Ochre
552 AA S1
Raw
Sienna
635 AA S1
Terra Rosa
317 AA S2
Indian Red
074 AA S1
Burnt
Sienna
076 AA S1
Burnt
Umber
676 A S1
Vandyke
Brown
555 AA S1
Raw
Umber
465 A S1
Paynes
Gray
331 AA S1
Ivory Black
337 AA S1
Lamp
Black
060 AA S1
Buff
Titanium
009 AA S1
Antique
White
644 AA S1
Titanium
White
415 AA S1
Soft Mixing
White
218 AA S1
Colourless
AA Extremely Permanent
A Permanent
OIL PAINTS
OIL BARS
Winsor & Newton - Artists Oilbar

Winsor & Newton Artists Oilbar is a high quality oil colour in stick form, enabling artists to paint and draw freely and directly on to a surface.
Combining the richness and buttery consistency of oil colour and the flexibility of pastels and charcoal, Artists Oilbar can be used to paint
anywhere, anytime.
Each of the 50 colours in the range is made from artists grade pigments and linseed oil or safflower oil, blended with specially selected
wax.
When softened and blended, Atists Oilbar moves freely and mixes well with other colours, whether Oilbar or tube oil colour.
As well as working directly on a surface, Artists Oilbar can be applied with a brush or knife depending on the preferred technique.
Artists Oilbar can be applied on paper or canvas which has been suitably primed to ensure the correct level of tooth and absorbency.
To start using Artists Oilbar simply wipe away the thin surface skin which forms on the chiselled tip of the bar.
While the appearance of this skin can vary, underneath is fresh, clean oil colour ready to use.
As pressure is applied, the bar will soften and colour will flow from it. The more pressure is applied, the more fluid the colour will be.
The new range of 50 colours can create endless variations both alone or in combination with tube oil colours. Each colour is individually
formulated and single pigments are used wherever possible to create individual colours.
The three primary Oilbar colours are Lemon Yellow Hue, Winsor Blue (Red Shade) and Permanent Rose.
Colourless Oilbar is the equivalent of linseed oil in traditional oil colour and is mostly used for blending and glazing colours directly on
the canvas. It serves as a medium in solid form.
As the cost of pigments varies, so does the price of the colour.
Oilbars are grouped into 4 series, the higher the series number, the higher the price.
Code
Size
WOB50---
50ml
Series 1
5.38
Series 2
6.45
Series 3
7.32
Series 4
9.49
OIL PAINTS
WATER MIXABLE OILS
Code Size
Series 1
Series 2
WAR09- 37ml Tube
4.32
13.99
5.37
WAR26- 200ml Tube
NEW
Series 1 only
When ordering please

refer to the colour chart
and quote product code
followed by colour code
e.g. Prussian Blue 37ml
= WAR09 + 538 =
WAR09538
Please note : The full range of 40

colours is available in 37ml tubes.
Now available in Series 1 only
a new size : 200ml.
NEW SIZE
Winsor & Newton - Artisan Water Mixable Oils
Winsor & Newton Artisan Water Mixable Oil Colour is a genuine oil colour which
can be thinned with water and cleaned with soap and water. This enables the artist
to thin and clean up with water rather than solvents such as turpentine or white
spirits (mineral spirits).
Artisan is a genuine oil colour made from modified linseed oil and modified safflower oil.
It has been specifically developed to appear and work just like conventional oil
colour. The key characteristics of oil, e.g the depth of colour, buttery consistency,
lightfastness, opacity / transparency, performance and drying times are contained
in Artisan thus enabling artists to use all oil colour techniques.
In all respects Artisan behaves like any standard oil colour with the important
exception that Artisan can be mixed with water.
Many artists would prefer to use oil colours but the use of traditional solvents such
as white spirits and turpentine produce allergic reactions such as skin rashes or
headaches.
Additionally, many educational establishments prohibit the use of normal oil paints
where a group of painters using solvents can lead to a concentration of vapours.
Artisan can be thinned with water and all brushes simply cleaned with soap and
water. As the water evaporates during the drying the remaining paint becomes a
conventional oil colour that dries in the traditional manner.
A detailed leaflet on the use of Artisan is available on request.
10 Titanium-Zinc White
48 Kings Blue
IV
11 Neutral White
I
I
33 Graphite
III
20 Mars Yellow Light II
29 Neutral Grey Pale II
21 Mars Yellow Deep II
2A Neutral Grey Light
22 Mars Orange
II
23 Mars Red
II
2C Neutral Grey Deep II
24 Mars Violet
II
2E Paynes Grey
27 Naples Yellow
II
43 Phthalo Blue
IV
II
2B Neutral Grey Med. II
12 Ivory Black
II
I
42 Manganese Violet IV
26 Intense Carbon Black

II
18 Lamp Black
I
44 Phthalo Turquoise IV
45 Phthalo Green
IV
25 Mars Black
II
31 Prussian Blue
III
40 Alizarin Crimson
IV
36 Azure Blue
III
57 Quinacridone Magenta
V
41 Rose Madder
IV
2D Brilliant Yellow Extra Pale

II
3D Brown Pink
III
50 Cadmium Lemon
51 Cadmium Yellow Light

V
52 Cadmium Yellow Medium
V
53 Cadmium Yellow Deep
V
54 Cadmium Orange
2F Sanguine Earth Light

II
2G Sanguine Earth Medium
II
2H Sanguine Earth Deep
II
3C Sepia
III
13 Raw Sienna
14 Burnt Sienna
37 Turquoise Blue
III
60 Cadmium Red Light

VI
61 Cadmium Red Medium
VI
47 Ultramarine Violet IV
62 Cadmium Red Deep

VI
15 Raw Umber
55 Cadmium Green Pale

V
56 Cadmium Green
V
16 Burnt Umber
30 Ultramarine Blue III
73 Cerulean Blue
VII
17 Turkey Umber Greenish

I
49 Veronese Green IV
32 Chromium Oxide
III
46 Viridian
70 Cobalt Yellow Aureolin

VIIa
71 Cobalt Violet Light
VII
72 Cobalt Violet Deep
VII
38 Warm Pink Permanent

IV
39 Warm Rose Permanent
IV
80 Pearl
V
63 Cobalt Blue
VI
81 Metallic Silver
64 Cobalt Turquoise
VI
82 Metallic German Silver

V
74 Cobalt Green Light

VIIa
35 Courbet Green
III
83 Metallic Pewter
84 Metallic Brass
3B Dianthus Pink
III
85 Metallic Gold
28 Green Earth
II
86 Metallic Copper
34 Indigo
III
87 Metallic Bronze
III
00 Blending Stick
3A Jaune Brilliant
R & F Pigment Sticks
Oil paint highly concentrated in stick form. Handmade in small

batches. For the serious artist who wants high colour
performance. We believe these to be of real interest for those
who would like to try oil bars or who have tried them and found
them unsatisfactory. R & F have taken great care to ensure very
high levels of pigment are contained in their sticks and their
performance speaks for itself.
These pigment sticks are handmade rather than mass produced
and made by a company who set out to deliver an oil stick that
had the fluidity, subtlety and durability of oils from tubes.
As standard oil bars utilise waxes, R & F Encaustics, with their
great experience of all waxes were ideally placed to develop the
full potential of the oil bar. To produce an oil bar of real quality R
& F have utilised their knowledge of different waxes and
pigments (both traditional and modern), of different milling
methods allied to unusual painting techniques. Only natural
waxes, linseed oil and pigments are used. Many professionals
consider these to be the first oil bars on the market today as R
& F do not use any of the additives, extenders or substitutes
used in industrial production. Atlantis is very pleased to have
this range of products available for artists and we can highly
recommend them. (78 colours).
Blending Stick
38ml Small - Price 6.94
188ml Large - Price 24.94
Pigment Sticks
Small
Large
Code RFPSS1 -Code RFPSL2-Series
I
II
III
IV
V
VI
VII
VIIa
Price
11.50
12.50
13.51
14.95
18.50
21.51
23.96
26.95
Series
Price
I
37.96*
II
*blacks & whites
III
only
IV
V
VI
VII
VIIa
Please note : When ordering, using the colour chart ,

quote the product code followed by the colour code,e.g.
RFPSS111 = 37ml Neutral White.
Due to the limitations of four colour printing, this chart
should only be used as a guide. Actual colours may differ
slightly from those shown.
PAINTING ACCESSORIES
BRUSH ACCESSORIES
Brush Easel Case
Well made brush easel case designed to provide a high level of protection to brushes, but
when opened will stand upright.
Black reinforced nylon outer casing.
21 brush pockets.
Security flap and secure Velcro closure.
Folded size empty: 18.5 x 19.5cm.
Size full standing: 18.5 x 39.5cm.
Price
6.72
Code
BEC15840
Plastic Brush Tube

Strong plastic telescopic brush tube which holds brushes
up to 33cm long.
Code
CAPBT
Size
5 x 4 x 26cm
(33.5cm extended)
Price
2.24
Wooden Brush Box Long

Good quality brush box made of seasoned Elmwood with a
canvas strap.
Holds brushes up to 35cm
Code
Size
CAWBB
39 x 44cm
Price
8.22
Da Vinci
Very well made durable wooden brush boxes with air holes to
allow air circulation for safely drying wet brushes.
Come in two sizes for short and long handled brushes.
Code
Short
DVB4016
Code
Long
DVB4023
Size
268 x 78 x 37mm
Size
378 x 118 x 30mm
Price
26.96
Price
40.21
Brush Rest Porcelaine

Holds up to six brushes.
Avoids getting colour on work surface.
Code
CAPBR1
Size
165 x 50mm
Price
2.92
293
BRUSH ACCESSORIES
Brush Rolls / Cases
Brush Rolls Soft

Made from durable nylon, well made multi-pocketed brush rolls.
Available in two sizes for the short handled watercolour brushes and
the long handled oil and acrylic brushes.
Absorbent towelling inner.
Can hold modelling tools, pencils etc.
Bamboo Brush Roll

Traditional method of carrying and protecting brushes.
Code
Size
CABR801N
28 x 27cm
Price
2.43
Short Handled Brush Roll

Code
Size
BRS15510
Brush Cases
Brush Case - Short
Strongly made zip case designed to provide a
high level of protection to short handled brushes.
17 brush slots and 2 storage pockets.
Zip closure
Code
BCS15830
Size
37 x 15cm closed
37 x 33cm open
34 x 34cm open,
17 x 34cm closed.
Long Handled Brush Roll

Code
Size
BRL15511
34 x 39cm open
Price
4.32
Price
4.59
Price
5.04
Brush Case - Long

Strongly made zip case designed to provide a
high level of protection to long handled brushes.
14 brush slots and 2 storage pockets.
Zip closure.
Code
BCL15831
Size
37 x 15cm closed
37 x 33cm open
Price
6.72
291
BRUSH ACCESSORIES
Aluminium Brush Washer / Holder (A)
A popular brush washer designed mainly for cleaning brushes
used for oil painting. The overhead coiled spring is made to
suspend brushes by their handles over the base which holds a
cleaning fluid of the artists choice and a mesh to dislodge
thick paint.
Code
Size
CAABW
210 H x 100mm Dia
Price
3.53
Stainless Steel Professional Brush Washer (B)

A sturdy classic brush washer designed to last a long time.
Code
Size
CASWB50 145 H x 140mm Dia
Price
19.36
Brush Bath Plastic (C)

An inexpensive plasic brush bath with a carrying handle and
lid which can act as a palette.
Code
Size
CABB170 170 x 170 x 90mm
Price
2.95
Brush Bath Deluxe (D)

A quality brush bath with many unique features including an
airtight compartment for acrylics, built into the lid.
C
D
Code
CABB180
Size
227 x 137mm
Price
4.03
Paint Mixing Bucket (E)

A large sub-divided water bucket with a deep mixing daisy
palette which fits in the top. Other features include a carrying
handle and lid.
Code
CABB200
Size
150 H x 166 Dia
Price
4.03
Rinse Well (F)

An innovative product with a large well, fed from a bottle of
clean water which at the push of a button, flushes away the
colour contaminated water and fills the mixing well with a clean
supply.
Code
CARW53
292
Size
178 x 175mm
Price
16.91
PALETTE KNIVES
Roberson Professional
Japanese Painting Knives (A)
Beautifully made from high tempered carbon

steel to provide a combination of strength
and flexibility. The steel blades are very
securely mounted in cranked handles, a
weakness of cheaper versions as blades and
handles can separate after some use. These
painting knives are as good as it gets.There
are cheaper knives but these will last a lifetime if cared for.
Code
Shape
ROVT0001
ROVT0002
ROVT0003
ROVT0004
ROVT0005
ROVT0006
ROVT0007
ROVT0008
Price
5.75
5.75
5.75
5.75
5.75
5.75
5.75
5.75
Roberson Professional
Japanese Palette Knives ( B )
Made from highly tempered carbon steel
which results in great strength and flexibility.
These palette knives are made with flat handled blades, which are securely mounted.
Plastic Palette Knives (C )

Code
Shape
CAPKN300
Straight blade
CAPKN301
Cranked blade
Code
Size
ROVT10101
Small
ROVT10102
Medium
Price
3.19
3.19
Palette Knife Set ( E )
Price
61p
60p
A set of 5 economical assorted palette

knives.
Code
CAPKN257
Price
7.25
Plastic Palette Knife

Set of 5 ( D )
Code
Qty
CAPKN305
Pk/5
294
Price
2.15
LARGE PALETTE KNIVES
GTECH8001
8.95
GTECH8014
8.95
GTECH8002
8.95
GTECH8015
8.95
GTECH8003
8.95
GTECH8016
8.95
GTECH8004
8.95
GTECH8017
8.95
GTECH8005
8.95
GTECH8017
8.95
GTECH8006
8.95
GTECH8007
8.95
GTECH8008
8.95
GTECH8009
8.95
GTECH8010
8.95
GTECH8011
8.95
GTECH8012
8.95
GTECH8013
8.95
NEW
Palette Knives Extra Large A new generation
We were so impressed when we first saw
and tried these knives that we immediately
decided we had to introduce them to our
range of products.
There are 18 different spatula sized shapes
mounted into very solid wooden grip
designed handles.
295
PALETTES - METAL
Metal Palettes
Much more durable than plastic palettes.
Aluminium Rectangular Palette (L)
A lightweight aluminium palette with 6 wells designed to

last longer than plastic.
Code
Size
CAMPR322
13.4 x 8.8cm
Price
1.27
Aluminium Circular Palette - Small (M)

This circular aluminium palette with 7 mixing wells is lightweight yet hard wearing.
N
O
Code
Size
CAMPC322S
13cm diameter
Price
1.27
Aluminium Circular Palette - Large (N)

A lightweight aluminium circular palette with 11 mixing
wells
Code
Size
CAMPC322L
17cm Dia
Price
1.93
Metal Enamelled Oblong Palette (O)

A white enamelled tin metal palette with 13 small
wells designed for use with more aggressive paint
mediums.
Code
Size
CAMPO250
20.3 x 10.2cm
Price
1.99
Metal Enamelled Kidney Palette (P)

An authentic white enamelled tin palette with 12 small
mixing wells
DISCONTINUED
296
Code
Size
CAMPK251
19 x 12.6cm
Price
1.89
Aluminium Folding Palette (Q)

Lightweight but well made folding palette with 20 small
and 3 large wells.
Code
Size
CAMFP314
30 x 13cm
Price
13.59
BRUSH ACCESSORIES
Childrens Brush Pot Non-Spill (A)
This pot comes with removable lid, which can be sealed by a
plastic plug when not in use. Brush holding slots on lid.
Code
CABP330
Price
60p
Size
90H x 70mm Dia
Childrens Brush Pot Non Spill - Ex Wide (B)
A very stable larger pot for classroom work.
Code
CABP33L
Price
87p
Size
90H x 90mm Dia
Lantern Water Pot- Large (C)

A popular 1 litre collapsible water pot.
Code
CALP317
Price
1.27
Size
100H x 120mm Dia
Brush Cleaning /Conditioning

Brush Cleaner and Preserver Soap (D)
Cleans oil, acrylic and watercolour brushes, even when paint
hardened.
Code
Size
CABC100
30gm
Price
3.94
Masters Brush Cleaner (E)

Cleans oil and acrylic paint hardened brushes. An investment as it
restores lost brushes.
Code
Size
MBC025
2.5oz
MBC24
24oz (Studio Pot)
Price
9.78
31.78
Da Vinci Brush Conditioning Soap (F)

F
Essential conditioner for natural hair brushes. Extends brush life by

putting back the natural oils lost to strong solvents. If you have a
good brush this pays for itself.
Code
Size
DKS4033
Standard
Price
2.25
297
OO
PALETTES - PORCELAINE
Porcelaine Palettes
Porcelain palettes have the major advantage of not staining

even with highly pigmented colours.
Porcelain Daisy Palette - Small (L)

Code
Size
CAPDP323S
152mm / 6
Porcelain Daisy Palette - Large (M)

Code
Size
CAPDP323L
190mm / 8
Price
3.33
Price
4.35
Porcelain Slant Well Palette (N)
This strong porcelain Slant Well has 5 circular wells and 5

slants.
Code
Size
CA7058
180 x 90mm
Price
5.87
Porcelain Round Palette (Q)

Code
Size
CA7153
Price
6.89
185mm
Porcelain Mixing Saucers (P)

A compact stack of 5 mixing saucers with lid.
Code
Size
CA7096
750mm W
Price
10.73
Porcelain Tinting Saucer (R)

A quality white tinting saucer with four divisions.
Code
Size
CA7030
8.5cm diameter
298
Price
1.63
PALETTE KNIVES
50
51
53
54
61
62
63
80
81
82
96
98
45
103
107
44
105
43
109
42
110
41
111
40
33
31
30
112
23
115
Please note shapes above No 103

are flat handled blades.
All others are cranked.
Sizes 16.1 and 16.2 have extra
long 20cm blades.
116
Made in Italy for generations by a family company, these are good quality knives
in a wide range of shapes and sizes to cover all techniques.
Blades are made of steel and are tempered to create the balance of flexibility and
strength. The majority of knives are palette knives which have a cranked handle
to keep them away from the paint surface.
The last 9 knives are flat long painting knives.
GIPK001
GIPK003
GIPK004
GIPK005
GIPK006
GIPK010
GIPK013
GIPK020
GIPK022
GIPK023
GIPK030
GIPK031
GIPK033
GIPK040
Knife
1
3
4
5
6
10
13
20
22
23
30
31
33
40
Code
GIPK041
GIPK042
GIPK043
GIPK044
GIPK045
GIPK050
GIPK051
GIPK053
GIPK054
GIPK061
GIPK062
GIPK063
GIPK080
GIPK081
10
Knife
41
42
43
44
45
50
51
53
54
61
62
63
80
81
Code
GIPK082
GIPK096
GIPK098
GIPK103
GIPK105
GIPK107
GIPK109
GIPK110
GIPK111
GIPK112
GIPK115
GIPK116
13
20
Italian Palette Knives
Code
16.1
16.2
22
Knife
82
96
98
103
105
107
109
110
111
112
115
116
Long Flat Painting Knives

Flat blade
Flat blade
Flat blade
Flat blade
Flat blade
Flat blade
Flat blade
Flat blade
Flat blade
Code
Knife
GIPK16.1
16.1
GIPK16.2
16.2
Price: 7.16
RRP: 8.50
Italian Palette Knives Shapes
1 - 116
Price: 3.33
RRP: 4.50
299
OO
PALETTES - WOOD
K
C
D
A
DISCONTINUED
Giant Deluxe Kidney Palette

with Wooden Counter Balance
Professional
Available in left and right handed versions (Special order)
Code
B
GM41
Size
(K)
650 x 450mm
Wooden Palettes -
DISCONTINUED
Professional
Made with a good grade of seasoned veneered plywood.
Code
Size
(F)
CAWPK160 (G)
CAWPK200 (H)
410 x 240mm
CAWPK100
Wooden Palettes
500 x 310mm
590 x 370mm
Wooden Oval Palettes Economical
Price
Code
Size
(A)
CAWOP01 (B)
290 x 235mm
discontinued
350 x 250mm
4.08
CAWOP00
Wooden Rectangular Palettes -
Economical
Code
CAWRP90
CAWRP91
Price
2.95
3.89
Size
(C)
(D)
300 x 230mm
350 x 250mm
Wooden Hinged Palette

Code
Size
CAWPH (E)
345 x 246mm open discontinued
345 x 123mm folded
Giant Kidney Plywood

with Metal Counter Balance
The counter balance allows for the weight of the paints and
mediums.
Code
Size
GGKP (J)
650 x 450mm
300
Price
33.37
discontinued
Price
5.05
7.09
11.83
PALETTES - PLASTIC & PERSPEX
Plastic Oblong Palette (A)

Code
Size
Price
2.29
CAPOP313 35 x 25cm
Plastic Rectangular Pallete (B)

Code
Size
Price
CAPRP320 13 x 9cm
31p
Round Plastic Palette (C)

Code
Size
Price
52p
CAPCP318 18cm
E
F
Plastic Kidney Palette (D)

Code
Size
Price
1.79
CAPKP316 34 x 22.5cm
Oblong Deep-Well Palette (E)

For colour blocks.
Code
Size
CADP06
28 x 18cm
Price
1.38
Plastic Slant Well Palette (F)

Code
Size
Price
CA5580
19 x 11.5cm
71p
Perspex Palettes
For oils and acrylics.
The whiteness of the palette facilitates more accurate colour mixes
than the traditional wooden brown palettes.
Perspex Palette - Small (G)

Code
Shape
Size
CAPKP200
Kidney
30 x 23cm
Price
2.29
Perspex Palette - Large (H)
Code
Shape
Size
CAPKP430
Kidney
43 x 31cm
Price
3.05
301
COLOUR WHEELS
Colour Wheels
The Colour Wheel range is a very simple and highly effective aid for anyone working in colour. The wheels are the traditional type of
overlapping wheels that reveal colours in a number of small windows that result from the mixing of two or more colours.
Pocket Colour Wheel (A)
A compact wheel that serves as a ready - reckoner. Covers most key colours, shows how to
mix colours, and includes a grey scale as well as illustrated colour relationships and harmonies.
Code
Size
CACW097
130mm diameter
Price
3.56
Create-A-Colour Wheel Kit (B)
A hands on tool that can be painted with oils, acrylics, watercolours and pastels to give
actual colour mix samples in your own media and favourite brand for future reference.
Code
Size
CACW098
238mm diameter
Price
3.83
C
Watercolour Wheel (C)
This is a key aid to the watercolour artist showing combinations of
the most common colours to help in the selecting, mixing and understanding of this popular medium.
Code
Size
CACW099
258mm diameter
Price
8.58
Artist's Colour Wheel (D)

A large Colour Wheel which has become very popular. Visually
demonstrates how to mix colour, including a grey scale as well as illustrating colour relationships and harmonies.
302
Code
Size
CACW100
242mm diameter
Price
6.07
COLOUR WHEELS
E
F
Children's Colour Wheel (F)
The Coloursaurus teaches children colour mixing.
Very similar to the artist's Colour Wheel but with the
Dinosaurs back plates to indicate the results of colour
mixing.
The Big Wheel (E)

A very large version of the artists' Colour Wheel designed with classroom work
in mind. A simple visual demonstration of the effects of colour mixing with
the results clearly and simply shown. Brings to life the endless possibilities
of colour. Coated with UV material to prevent fading.
Code
Size
CACW101
690mm diameter
Code
Size
CACW102
240mm Dia
Price
53.60
Price
5.16
Grey Scale & Value Finder (G)

A new product for determining colour
value in all media. It explains how to mix
colours, to darken or lighten them when using
the Artist's Colour Wheel.
Code
Size
CACW105
150 x 190mm
Price
2.95
Pocket Guide to Mixing Colour

(H)
A pocket size colour reference with
many useful definitions. Includes a personal palette mixing chart.
Code
Size
CACW106
125mm x 75mm
Price
2.85
Interior Design Colour Wheel (I)

A guide to colours that harmonise for the
interior designer/decorator, showing 'value'
of colours, monochromatic, complimentary,
split complimentary and related colours.
Code
Size
CACW108
216mm diameter
Price
8.05
303
Paper Stumps and Tortillions (A)
A comprehensive selection of traditional paper Stumps and
Tortillions for blending pastels 3 and charcoal.
A
Code
Size
Qty
CAPS61
CAPS63
CAPS10
CAPT6
CASTS5
Stump 6mm Dia

Stump 6mm Dia
Stump 10mm Dia
Tortillion 6mm Dia
Stump/Tortillion 5 Assorted Pack
1
Pk 3
Pk 2
Pk 12
Pk 5
Price
0.16
0.56
0.71
0.66
1.32
Mahl Stick (B)

Essential traditional hand rest that has been in use for centuries,
provides control when working on large wet painted areas.
Price
17.93
Code
CAMS500
Spray Diffuser (C)

Diffusers are a simple and inexpensive method of applying liquids
in atomised form. Mainly for the application of fixative in liquid
form.
Code
Size
CASDS
CASDL
2mm Small
3mm Large
Price
1.58
2.40
Fluid Applicator Bottle Kit (D)

This well designed bottle set can be used with most liquids for
the application of fluid colours with precision.
Code
CAFABK
Price
3.32
Paint Saver Appliance (E)

D
A plastic ribbed tool with a roller which runs in channels, gripping

and squeezing paint from the tube. A very effective means of
extracting those difficult remainders from the tubes. In short it
saves you money.
Code
CAPSA01
Price
4.03
Paint Saver Keys (F)

F
For extracting the last paint from tubes.

Small / Medium / Large
Code
CATW056
304
Price
0.20
DIPPERS / STAY-WET & TEAR-OFF PALETTES
C
D
E
B
A
Dippers
Code
Type
CAPDS
CAPDD
CAMDS
Plastic Single Dipper (A)

Plastic Double Dipper (B)
Metal Single Dipper / No Lid (C)
Price Code
0.92 CAMDD
1.94 CAMDSL
0.92 CAMDDL
Price
1.94
2.25
4.75
Type
Metal Double Dipper / No Lid (D
Metal Single Dipper/ W. Lid (E)
Metal Double Dipper / W/ Lid ( F)
Stay Wet Palette for Acrylic Painting

A simple and effective method of preventing acrylic paint from
drying before the artist wants them to dry.
A stay wetpalette, if used correctly will keep acrylic paint from
drying for days and weeks, particularly if stored in a refrigerator.
The stay wetpalette is basically a water impregnated membrane upon which the paint is placed for use.This ensures that
the acrylic paint continually remains wet as it draws moisture
from the membrane to replace the natural evaporation that
takes place in the normal drying process.
The palette is a tray in which the membrane is held and over
which a plastic top is placed to hold in moisture. A side brush
water tray additionally prevents brushes from hardening.
The palette contains three sheets of reservoir paper and a
semi-permeable membrane.
Available in 2 sizes and with refills to fit.
Code
Size
DRSWPS
DRSWPL
Small - 25 x 30cm
Large - 28 x 51cm
Price
14.49
22.72
RRP
16.20
24.30
Refills
Refill packs for stay wetpalettes. Each pack contains 3 sheets of
reservoir paper and 12 sheets of semi-permeable membrane.
Code
Size
DRSWRS
Small - 25 x 30cm
DRSWRL
Large - 28 x 51cm
Price
3.59
5.68
RRP
3.90
6.15
Disposable Tear -Off Palettes

Contains 36 sheets of coated paper with a thumb hole.
Suitable for oils, acrylics and watercolours.
Code
Size
CAPP912
300 x 230mm / 12 x 9
Price
2.51
305
PROTECTIVE EQUIPMENT & CLEANING AGENTS
Archival Gloves (A)
!00% cotton gloves for the safe handling of artwork. Single size fits
all.
Price
2.38
Code
CRG01
Dust Sheets (B)

Lightweight, polythene protective sheets to cover artwork or items
from sprays or dust.
Code
Size
HK1760
HK1761
HK1762
12' x 6'/305 x 153mm

12' x 9'/ 230 x 230mm
12' x 12'/305 x 305mm
Price
0.91
1.20
1.55
Cleaning and Protecting Agents
Kiss-Off (C)
Removes paint stains plus many domestic stains such as wine,

grease, coffee both wet and dry. Simply add water to the stain and
dab Kiss-Off onto the affected area.
Code
Size
ATGKO136
30gm
Price
5.66
D
Masters Hand Soap (D)

This specially formulated soap is designed to cut through oil and
acrylic paint on the hands when used with water. It works very well.
Price
4.78
Code
ATGHS
Art-Wipes (E)
A handy dispenser containing approx 100 strong wipes saturated in
a solution, which removes oil and acrylic paint from hands and
painting accessories.
Code
Qty
CAAW800
Pk/100
Art-Gel (F)
A hygienic gel cleaner which removes oil, alkyd, acrylic from hands
and brushes without harmful effects. Recently reformulated, slightly
redder with small particles which aid cleaning. A marked improvement.
Code
Size
WME31969
250ml
Price
4.03
Price
5.71
RRP
6.99
Art-Guard (G)
An excellent barrier cream which is invaluable to those who get
allergies or reactions to paints and solvents.
Code
Size
WME31997
250ml
306
Price
5.71
RRP
6.99
PROTECTIVE EQUIPMENT
Protective Clothing
Canvas Apron (A)
A good no-nonsense decorators apron which has proven popular with
our customers over the years. Contains a single large pocket.
Price
5.69
Code
HK1836
Children's Aprons (B & C)

Code
Type
Size
CACPASL (B)Sleeveless PVC Material 50 x 49cm

CACPAWS(C)Sleeves PVC Material
40cm long
Price
2.51
1.99
Masks and Respirators

Valved Fold Flat Mask (D)
Designed to cater for finer dust particles.

Essential for anyone working in an enclosed environment.
Price
6.12
Code
HKFFMVP3
Fold Flat Mask (E)
Higher performance than economical disposable masks.
Code
HK3068
Price
1.80
Disposable Masks
Provides protection against dust particles and larger sized particles. These
provide better protection than some very cheap ones available in the
market place.
Code
HK1880
Qty.
5
Price
1.63
D
E
Latex Gloves (F)

Surgeon-style latex gloves, not only protect the hands form paints but
also from aggressive solvents which can cause skin irritation. The gloves
are internally powdered to ease fitting and removing. Available in 3 sizessmall, medium and large.
Code
HBLGS100
HBLGM25
HBLGM100
HBLGL25
HBLGL100
Size
Small/Box100
Med/Pair
Med Box/100
Large/Pair
Large/Box 100
Price
7.43
0.25
7.43
0.25
7.27
Suede Riggers Gloves (G)

Durable and cheap gloves.
Code
HK1872
Price
1.48
307
STAPLE GUNS
Staple Guns
Rexel RA-53E Hand Staple Gun
Good value low cost stapler.
Price
19.68
Code
ISRA53
Rexel Rapid 23
This metal staple Gun is very robust and will take a lot of use.
Price
40.08
Code
ISRA23
Rexel RA-453E Combi Staple Gun
Price
31.25
Code
ISRA453
Rexel Rapid 33 Staple Gun

A heavy-duty staple gun designed for professionals who need to
stretch canvas on a regular basis.
Price
60.98
Code
ISRA33
Staples for Rexel RA-453E and RA-53E

Code
Size
Box Qty
Price
ISRA536
ISRA538
6mm
8mm
3.65
3.65
1.060
1.060
Staples for Rexel Rapid 23 and 33

Code
Size
Box Qty
ISRA136
ISRA138
13/6 6mm
13/8 8mm
5,000
5,000
Price
7.49
8.83
Canvas Tacks
With 8mm wide heads and 13mm long.
Code
Quantity
CR24030F
CR24040J
100g/box
500g/box
308
Price
6.70
10.99
CANVAS ACCESSORIES
Canvas Accessories
B
Canvas Pliers Economical Chrome (A)
Code
Price
13.13
CACPC
Canvas Pliers Economical Black Cast Iron (B)

Code
Price
6.23
CACPB
Canvas Pliers Upholsterers Quality (C)

If you intend to stretch a lot of canvas, buy a good pair of pliers.
These are built to last and last.
Price
45.91
Code
HWCPUQ
Canvas Separating Clips (D)

Code
Qty
CACSC4
Pk/4
Canvas Carrier Handle (E)

Code
CACCH
Price
5.10
Price
5.05
Stretched Canvas Hanging Brackets (F)

Hangers for Unframed Stretched Canvas
A totally unique design and specifically made to hang unframed

stretched canvas flat against a wall. It is also called canvas wrap
art.
This is a simple concept that anyone can fit. Simply screw the
hanger to the back of the top bar of the stretcher. The unique cut
out design allows it to fit over a standard 2-pin picture hook and
lets the picture hang flat on the wall. The sawtooth inside the top
of the cut out allows the picture to be adjusted sideways.
The hangers are available in 1 size : Large
One screw is enough to fit the hanger to smaller canvas and
two screws for larger sizes.
Steel, yellow zinc finish.
Code
Size
LFCHBL
Large
Price
0.59
309
WOODEN BOXES - PROFESSIONAL / ART BOXES
Wooden Boxes - Professional Quality
A range of very high quality oiled Beechwood metal lined paint

boxes. Each box comes with a wooden palette which is held in
a lid slot. The metal tray insert has adjustable compartments.
Code
GM/100
GM/101
GM/102
GM/103
Size
(A)
(B)
(C)
(D)
32 x 20cm/12 x 8
35 x 25cm/14x 10
40 x 30cm/16 x 12
45 x 35cm/18 x 14
Price
51.11
61.33
64.74
68.15
List
59.95
69.95
79.95
89.95
B
Artist Carry Box

Economical plastic art materials
storage box with three movable
inner trays.
Code
DRACB
308
Price
12.69
Artist Kit Box

Robust heavy duty plastic Art box made to
tool box specifications . It comes with a
recessed swivel handle and padlock fitting (vital
for college). Internally there is a lift out tray which
has holes in the handle to hold brushes: Also
contains a removable double water pot.
Code
Size
CAAB005
37 x 17 x 16cm
Price
8.99
BOXES / CONTAINERS
Boxes / Containers
Empty Watercolour Pans
Code
Size
Qty
CAARTHP (A)
Half Pan
Pack of 10
CAARTWP (B)
Pan
Pack of 6
Price
1.27
1.27
List
2.15
2.15
Wooden Boxes Small

Well made economical Elm wood box with brass coloured catches
and leather handle.
Code
CAWB210
Size
(C)
305 x 155 x 40mm
Price List
7.72 11.99
Wooden Boxes with Split Folding Lid

Boxes with unique split folding lid which has built in brush storage
holder. Both boxes are fitted with brass coloured hardware and a
leather carrying handle.
Code
Size
CAWB220 (D)
CAWB225 (E)
260 x 105 x 55mm

350 x 163 x 50mm
Price List
8.33 11.99
10.42 12.99
Wooden Boxes Deep

These boxes are well made in Elm wood and are fitted with lift out
trays and good sized compartments.
Code
CAWB230
CAWB240
Size
(G)
(H)
360 x 130 x130mm

410 x 205 x 152mm
Price List
15.47 19.95
19.39 25.95
309
PAINTMAKING EQUIPMENT / ABRASIVES / PACKAGING
A
C
D
Glass Muller (A)
For mixing dry artist pigments with oil/mediums for making
your own paints.
Code
Price
20.58
28.65
Size
60ml
100ml
LGM5543
LGM5544
Glass Paint Mixing Slab (B)

Reinforced heavy-duty very thick glass slab for mixing
colours.
Code
Size
ROGPMS
40 x 30cm
Price
27.30
Abrasives
Sandpaper - Diamond Abrasive (C)
Code
Grade
HKDASPOO
OO
HKDASPM2
M2
HKDASPF2
F2
HKDASPS2
S2
Price
16p
16p
16p
16p
Carat Paper - Silicon Carbide (D)

Used by professionals as this is substantially more durable
than sandpaper.
Code
Grade
HK4219
HK4217
120 Grit
240 Grit
HK4216
320 Grit
Price
40p
40p
40p
Packaging
Bubble Wrap
Small bubble.
Code
KPBW03
KPBW10
KPBW75
Size
small 3m x 1.5m
small 10m x 1.5m
small 1500m x 1.5m
Price
1.95
6.07
40.80
Kraft Paper
Sheets, one side glazed, the other matte.
Code
Size
APKP3040
30 x 40
30 x 40
30 x 40
Qty
1 sheet
25 sheets
250 sheets
Price
0.38
0.34 each
0.31 each (Pack)
Butchers Twine
Very strong and durable twine.
Code
Size
LPBT
220 metres
310
Price
6.07
Cork Sanding Block

(E)
Code
HK1514
Price
1.68
5 Rubber Sanding Block

(F)
Professional rubber block with sandpaper clamp.
Code
HK1615
Price
2.20
PAINTMAKING EQUIPMENT
Plastic Storage Tubs
Plastic tubs with lids. The 2.5 litre tubs have handles.
Code
Size
FP250PL
FP.5PLA
WC1L
WC2.5L
250ml
500ml
1 Litre
2.5 Litre
Price
0.63
0.96
1.07
1.35
Glass Storage Jars (A)

Squat storage jars with screw cap tops.
Code
Size
CSLC31102E
CSLC31103F
CSLC31105J
60ml
120ml
500ml
Glass Storage Jars with Neck (B)

Code
Size
CSLC31201D
CSLC31202E
CSLC31203F
30ml
60ml
100ml
Price
1.15
1.69
3.95
Price
0.85
1.27
1.35
Metal Cone Top Tins

Internally lacquered tins with inner metal plug and screw cap.
Code
Size
FPCTT31
FPCTT36
FPCTT39
FPCTT41 Rectangular Tin
250ml
500ml
1 Litre
2.5 Litre
Price
1.63
1.89
2.23
2.92
Dropper Bottle (Roberson)

Glass dropper bottle. Bottle has 15ml capacity. Pipette is 50mm
long.
Price
2.40
Code
RODB15
Pipettes
Plastic Bulb Pipette.
Price
0.46
Code
SCPBP
Aluminium Empty Paint Tubes

Code
Size
AEPT40
AEPT225
40ml
225ml
Price
0.40
0.97
311
LIGHTING / BULBS / MAGNIFIERS
Why Daylight is important
Flexilens on Mini-Clip D91101

Slim but powerful. This Flexilens is ideal for clipping onto small
frames or work surfaces.
With a 9cm diameter lens with a 2cm higher magnification inset
lens and flexible arm, giving you the detailed precision you need,
exactly where you need it.
Technical information
main lens: 9cm, 2.25 X magnification
inset lens: 2cm, 4.0 X magnification
17.5cm flexible arm
Code
D91101
Price
20.87
Working in artificial lighting conditions can and has been problematical for anyone using colour. The standard light bulbs and fluorescent tubes we use every day are designed to illuminate an area or
subject in what is essentially a harsh white light.
This has the effect (unknown to many artists and hobbyists!) of significantly changing colours from their original hues.
Daylight lighting ensures colours are accurately viewed at anytime
of the day or night which is essential for colour matching of materials like paint or hobby/craft materials.
The Daylight Company has a comprehensive range of products
that aim to create exact lighting options for artists, hobbyists or
anyone working in crafts. The accurate use of colour indoors is critical and by using daylight as a light source the user can be sure to
obtain optimum working conditions
All Daylight lamps are supplied fitted with high quality Daylight
bulbs or tubes. The Daylight range of products is designed for the
widest range of uses both for general work as well as work involving intricate details and the finest of designsAn additional benefit is
that Daylight light is softer on the eyes, helping to reduce eye strain.
Daylight bulbs and tubes are environmentally friendly as they are
low energy light which dramatically reduces the amount of electricity used. Also, the bulbs or tubes run cold, no heat is generated.
Flexilens on Base D90946

This simple but handy table magnifier comes with a weighted base
and makes this lens very sturdy and stable as well as very convenient. This is purely a simple magnifying glass without its own
source of illumination and is great value for money.
The 46cm flexible arm provides for longer reach and is fitted with a
13cm lens. Use it on any flat working surface to rapidly give you
the magnification you need, where you need it.
Lens: 13cm, 1.75 X magnification
46cm flexible arm
Code D90946
Price 27.73
Twin Fluorescent Lamp D30350

Very sturdy, metal lamp supplied with 2 x 15w Daylight tubes making this the most powerful lamp in our range. The light's high power
output ensures light is spread evenly over a large area.
Suitable for benches and other large work surfaces where plenty of
light is needed. Height: 76 Light: 2x15w Daylight tube (D12601)
Supplied with table clamp
Code
312
D30350
Price 95.23
Lighting
Daylight Simulation Bulbs and Lights
All artists, hobbyists, designers, model makers experience problems with artificial light as the accurate application of colour
becomes difficult in standard artificial light which tends to flatten or deaden colours. This when added to the shorter winter days or typical overcast days that are common, for a large part of the year we are stuck working in poor light conditions. For anyone working
for example in standard fluorescent light conditions there is only a 75% reproduction of colour. Daylight Simulation Bulbs guarantee perfect colour matching, give greater eye comfort, and reveal greater detail. Daylight simulation bulbs are made with a special blue
tinted glass which produces a light quality that is almost identical to natural daylight.
Magnifying Lamp
This simple clamp on magnifying lamp comes with a semi-rimless
13cm precision acrylic lens with removable lens cover to give you a
wider viewing area illuminated with a daylight bulb. This versatile magnifier can be clamped to a suitable flat surface or can
be converted into a table or floor -mounted lamp by mounting into
one of the two base accessories.
The Magnifying Lamp enables the user to see detailed work
with greater clarity.
Key Features :
Lens 13 cm, magnification: x 1.75.
Supplied with bulb, long lead and table clamp.
Light source: 60 watt daylight bulb.
Code
Colour
D21000
White
Price
62.86
Easel Lamp D31075

Designed for artists who want the best focused daylight whilst
working at an easel or for displaying their results whether they are
paintings, drawings or designs.
It comes complete with clamp, stylish aluminum shade and a
20w Daylight energy saving bulb (100w equiv.)
Height: 43cm
Light: 20w Daylight bulb
(D15200)
Supplied with spring
clamp.
Code
D31075
Price
52.85
313
Clip-on Flexilight D31120

In clean white and chrome finish, this handy lamp clamps onto so many surfaces table, desk, easel and frame or wherever you want to
work. The flexible arm can be angled and positioned to put low heat Daylight where you need it. This lamp comes with a soft 11w Daylight
energy saving bulb (60w equiv.)
Code
Height: 28cm
Light: 11w Daylight bulb (D15110)
Flexible 36cm arm
Supplied with spring clamp
Wide Neck Magnifier D90922

A simple hands free magnifier that just hangs
around the neck. This version has been made
with a wider angle to maximise the viewing area.
Comes with an acrylic 14 x 11cm lens which
gives 1.75 X magnification.
Code D90922 Price 11.59
D31120
Price 29.61
Clip-on Spectacle Magnifiers

D91171
Get precisely the magnification you need
with our unique box set of four lenses (1.7,
2.0, 2.5 and 3.0 X magnification).
Simply clip the lightweight frame to
your glasses, select the lens and see all
the intricate details with needle-sharp
clarity.
Just flip up the lens for normal viewing.
4 lens included
Lens 1: 1.7 X magnification Lens 21:
2.0 X magnification
Lens 3: 2.5 X magnification Lens 4:
3.0 X magnification
Code D91171
Price 15.45
314
Slim-line Magnifier, chrome
D22030 01
This slim-line magnifier is ideal for any serious artist
working for regular periods and who needs magnified
illumination for detailed work. The bright 22w low
heat and flicker-free Daylight tube (100w equiv.)
combines with the slim-line head and adjustable
internal spring arm. Two 13cm glass lenses ensure
you see intricate details clearly. The spring balanced
design allows full adjustability. Supplied with table
clamp. Optional accessories available.
Height: 76cm
Light: 22w Daylight TM tube (D12010)
Lens 1: 13cm, 1.75 X magnification
Lens 2: 13cm, 2.25 X magnification
Supplied with table clamp
Code
Price
108.05
D22030-01
Accessory: Large Table Base D52010
Bulbs & Tubes

ES= Edison Screw.
BC= Bayonet.
20W BC Daylight Bulb D15201 (C)

Code
Price
D15201
9.79
20W ES Daylight Bulb D15200 (D)

Code
Price
D15200
9.59
8W Daylight PL Tube D13621 E
18Watt daylight PL tube for model numbers: D23020 and
D23030.
Code
D13621
Price
13.98
13Watt Daylight PL Tube D13625 F

For Portable White Lamp D33150
Code
D13625
Price
10.48
315
TRACERS / PROJECTORS
Code
ART225485
Price
26.08
Artograph
Globox Box
Simple but highly effective tool that
enables the artist or hobbyist to trace,
transfer or emboss images.
Enables highly detailed work to be executed. This light box utilises Daylight
bulbs to reproduce natural daylight and
not standard fluorescent tubes as used
in some light boxes.
Key Features :
Tracing area 31 x 30cm / 12 x 12.

Suitable for A4 paper.
8W Daylight Tube (D12600).
Suitable for Portrait and Landscape.
Light Tracer II
The Light Tracer II although aimed at the younger artist is a step up from the basic Tracer above.
This model is for larger, more complex tracing projects than the Light Tracer.
The Light Tracer II is a larger version of the standard model in that it offers a more generous 12 x 18 illuminated surface so that
larger images can be recreated.
The whole acrylic tracing surface is conveniently sloped for ease of drawing.
The Tracer is illuminated by a long-life daylight 15-watt fluorescent lamp (included).
Key Features :
12 x 18 (30 x 45) acrylic tracing

surface.
Standard 18 , 15 - watt daylight
fluorescent (included).
Lamp provides 7500 hours of use.
Conveniently slanted tracing surface
for comfort.
Handy recess for drawing implements.
Weight: 7lbs (3.18kg).
Code
ART225479
316
Price
81.70
Designmaster II
This projector is double the brightness of the Designmaster.
The Designmaster II is made for professional designers, illustrators,
and fine artists who must have high performance.
This projector has a sturdy spring-loaded stand which makes it easy
for size adjustments and rock steady image projection.
Designs or photos can be mounted onto the copy area safely with a
unique magnetic system.
The effective copy area is 6 x 6 (15 x 15cm).
A heavy duty mounting clamp attaches the stand firmly to any table
or work area. A micro switch automatically turns off the lamp when
the door is opened.
A 200mm ground optical glass lens ensures accurate and precise
image size and proportion. Originals can be enlarged up to 3x or
reduced down to 70% onto the table top.
Further enlargement is available by simply rotating the projector
onto the stand and projecting onto the wall, easel or other vertical
surface for up to 30x enlargement.
Key Features :
Vertical projection : Ranges of 70 %, reduction up to 3x the
original size.
Horizontal projection : Up to 30x enlargement.
Spring-loaded stand with heavy duty table clamp for extra
stability.
Copy size : 6 x 6 (15 x 15cm).
Illumination : 550 watts of photo quality lighting for a
brighter image.
Lens: 20mm precision-ground optical glass.
Cooling fan and safety overload circuit keeps copy cooler.
Net weight: 13lbs / 5.89kg.
Code
ART225414
Price
388.08
Accessories
Projector Floor Stand
Adjustable robust stand that is an invaluable aid to vertical projection.
The stand will the three large projectors :
The Super Prism, the Designmaster and the Designmaster II.
The stand is versatile so it can be moved from horizontal to vertical
projection very quickly. The stand incorporates a large adjustable
platform that facilitates the positioning of the projector onto a wall,
easel or other vertical surfaces.
The platform may be rotated 360 degrees, tilted 15 degrees front to
back and elevated up from 3 feet to 5 feet high.
Code
ART225350
Price
122.55
317
Artograph Tracer Projector.
This projector is for anyone just starting or any artist looking
for a better performance than the Tracer Junior below for a
reasonable price.The Tracer will project an image onto a wall or
canvas from 2x to 14x the original size. The projected image can
be easily traced and coloured as desired. No set up is necessary
and it is simple to operate. Standard 100-watt bulb included.
Darkened room required.
Key Features :
Enlarges flat artwork and small 3D objects from
2x to 14x onto any vertical surface.
Illuminated by 75-watt bulb.
Easy to use.
Horizontal projection onto any vertical surface.
Lightweight and portable.
Silent operation.
Plug in and turn on, instantly ready to use.
Copy size: 5x 5 (13 x 13cm).
Note : For larger designs and prints simply work in sections.
Net weight: 3lbs (1.36Kgs).

Lens: 200mm optical glass.
Code
Artograph Tracer Projector Junior
ART225450
Price
71.49
This compact projecto is ideal for anyone just starting or any artist
that wants a reasonable projection scale at an affordable price.
Images can be enlarged from 4x to 10x on to a wall or canvas for
quick and easy viewing or tracing.
The Tracer Junior is an aid to making murals, signs, paintings as
well as a range of small craft objects.
This projector incorporates an energy efficient fluorescent lamp
(included). This 8000 hour lamp produces a whiter and brighter
(1200 lumens) image with little heat and uses only 20 watts of
energy. No set up is necessary and it is simplicity itself to operate.
A darkened room is required for best use.
Horizontal projection only.
Key Features :
Enlarges flat artwork and small 3D objects up to 10x the size of

the original image.
Illuminated by 20 -watt fluorescent bulb (included).
Copy Size: 3 x 3 (9 x 9 cm)
Very lightweight and portable.
Net weight : 2 lbs (907 gms)
Lens 200mm optical glass.
Code
ART225482
320
Price
51.05
PROJECTORS & ACCESSORIES
Super Prism Projector
This projector can project images from 3x to 20x magnification.
The Super Prism can also accommodate 3D objects and be
used for vertical projection and reduction with the use of the
optional projector stand and lens.
The Super Prism features a 3 element, colour corrected lens
for extra sharp images and increased brightness.
This system is ideal for producing highly detailed drawings.
Fan cooled.
550 watt lamp output.
Key Features :
Copy area: 7 x 7 / 17.8 x 17.8cm.

Lighting: 2 x 275w bulbs.
Vertical projection range: 55% - 300%.
Horizontal projection range: 300% - 2000%.
Net weight: 9lbs /18.2kg.
Will accept 3D objects but not 35mm slides.
Code
ART225455
Price
331.91
Super Prism Table Stand

This added accessory allows the user to project verically from
3x enlargement.
Code
ART225206
Price
112.33
Replacement Bulbs for Tracers & Projectors

Code
Lamp
Price
ART106018
ART106033
ART106033
ART106049
ART106050
ART106055
ART106056
Tracer Projector
Designmaster
Super Prism
Light Tracer
Light Tracer II
Artograph Globox
Tracer Junior
9.29
10.20
10.20
6.51
11.22
6.51
9.29
321
MANNEQUINS
Mannequins
Mannequin Hands
Mannequins or Lay Figures are the traditional method of life drawing in the absence of a live model.
Made of unvarnished wood with articulated joints.
Available in male and female.
Code
CAMU8
CAMM12
CAMF12
CAMM16
CAMF16
CAMM48
Price
List
8/203mm Unisex Figure
4.68
5.40
12/300mm Male Figure
5.37
5.95
12/300mm Female Figure
5.37
5.95
16/405mm Male Figure
12.72 13.65
16/405mm Female Figure 12.72
13.65
48/1.2m Male Figure
159.60 258.00
Size
Mannequin Horse
The legs, feet, neck, head and ears are adjustable to create a
range of positions including grazing, running and jumping.
Code
Size
CAHM12
12/300mm
322
Price
69.91
List
90.00
Available in male and female sizes as well as left and right.

Fully articulated.
Code
CAWH110
CAWH111
CAWH112
CAWH113
Price
12/300mm Male Right Hand 20.07
12/300mm Male Left Hand
20.07
10/250mm Female Right Hand 20.07
10/250mm Female Left Hand 20.07
Size
List
26.00
26.00
26.00
26.00
Segmented Mannequins
In addition to flexible joints these figures have torsos that are segmented.
Code
Size
CAMSM12
12/300mm Segmented Male
Price List
7.51 10.45
SPONGES
Sponges
Artists Finest Sea Sponges for

Artwork, Stencilling and Decorating.
Natural sea sponges play a vital role in
watercolour painting not only for dampening large
areas, but also for applying washes, lifting off colour
and creating texture. It is fun experimenting with
sponges to create many different effects, large flat
washes or fairly dry colour to produce mottled
effects such as tree bark, rough paths or weathered
rocks. Natural sea sponges are a skeletal network
made of sponging, a flexible protein material, 100%
non toxic and biodegradable. They have a very low
PH and are therefore ideal for delicate work, either
for artistic or cosmetic use. Sponges are a
sustainable source, carefully harvested by helmeted
divers from the sea or from sea sponge culture
farms, with the roots left intact for renewed growth.
They are then hand prepared to ensure softness and
durability.
There are four different types of sea sponges
available:
Honeycomb - H
This is a soft sponge with an open texture, useful for
dampening large areas, for applying washes, lifting
off patches of colour and for cloud effects,
seascapes, etc. The overall result is a loose,
interesting texture
Silk - S
A soft sponge with a more close, dense texture than
honeycomb, useful for small, dabbing work, which
will give a fine effect, particularly for trees, rocks, etc.
or a heavy texture if more pressure is applied.
Yellow - Y
An open textured sponge, usually not as soft as
honeycomb, which will produce a less subtle result.
Grass - G
A firmer, harder sponge with a spiky texture, which
gives a less dense effect than silk. If used correctly, it
will give a mottled effect.
To get an idea of the various sponges available in this

range we recommend the Artists Starter Pack or the
big value Mixed Pack. The latter comprises 8 different
sponges.
Artists Starter Pack

Code
Item
RGMA2
Price
9.36
6 mixed sponges
Artists Mixed Pack

Code
Item
8 separate sponges
Price
13.87
Assorted Pack (approx. 7 pieces)

Code
Item
Price
RGV1
RGMA5
2 sponges (S1 & H2)
Stencil Art Pack

Code Item
RGMA3
5 mixed sponges
Decorating Stencil Pack

Code Item
RGMA4
4 sponges
Various types and sizes
4.69
Price
1.87
Code Type
RGH0 H (loose)
RGH1 H (bagged)
RGS0 S (loose)
Price
6.43
RGS1 S (bagged)
RGH2 H (bagged)
RGS2 S (bagged)
RGH3 H (bagged)
Price
8.41
RGS3 S (bagged)
RGH4 H (bagged)
RGS4 S (bagged)
RGY4 Y (bagged)
RGH5 H (bagged)
RGG5 G (bagged)
Synthetic Large Sponge
RGY5 Y (bagged)
Cheap DIY type domestic sponge for all general
RGH6 H (bagged)
purpose mopping up.
RGG6 G (bagged)
Code
Item
HKSS1581 Synthetic Sponge
Sponge Packs
RGMA1
Artists Mini Pack

Code Item
Price
1.01
RGY6 Y (bagged)
RGH7 H (bagged)
RGS7 S (bagged)
RGG7 G (bagged)
Tips on caring for sponges

Before use, rinse thoroughly by
squeezing in clean, cool water.
Never ring out.
Allow to dry naturally, do not store in
a polythene bag.
Occasionally, wash in cool water
containing a little washing soda.
Never boil, bleach, wring or use with
a biological detergent.
RGH8 H (bagged)
RGS8 S (bagged)
RGY8 Y (bagged)
RGH9 H (bagged)
RGG9 G (bagged)
RGY9 Y (bagged)
RGH10 H (bagged)
RGG10 G (bagged)
RGH11 H (bagged)
RGH12 H (bagged)
Size Price
1.5-2
1.5-2
1.5-2
1.5-2
2-2.5
2-2.5
2.5-3
2.5-3
3-3.5
3-3.5
3-3.5
3.5-4
3.5-4
3.5-4
4-4.5
4-4.5
4-4.5
4.5-5
4.5-5
4.5-5
5-5.5
5-5.5
5-5.5
5.5-6
5.5-6
5.5-6
6-6.5
6-6.5
6.5-7
7-7.5
0.79
0.94
0.79
0.94
1.39
1.41
1.67
2.21
2.77
3.53
2.29
3.74
2.77
3.19
5.64
4.65
4.65
7.51
7.51
5.55
10.32
10.32
8.40
12.17
9.39
9.82
14.98
11.27
17.81
21.61
323
PAPER
PAPER
PAPER
DRAWING PADS
Black Hardback Sketchbook
Our traditional hardback sketchbooks have been revamped. We have used a regular acid free cartridge paper (short grain) as the previous
paper grade (long grain) had become very expensive to use. Approx. 80 leaves.
110gsm acid free cartridge paper
Code
Size
FWCS5
A3
A4
FWCS6
Price
9.72
5.65
List
18.95
9.95
Code
Size
FWCS7
FWCS8
A5
A6
Code
Size
FWCS11
A5
A6
Price
3.35
2.09
List
7.18
5.50
Price
4.05
2.69
List
8.18
6.50
Black Twinwire Hardback Sketchbook

Same as above but wirebound.
110gsm acid free cartridge paper
Code
Size
FWCS9
A3
A4
FWCS10
Price
10.45
6.48
List
18.95
9.95
FWCS12
PAPER
ATLANTIS DRAWING PAPER
Atlantis
College Cartridge 5000 Paper
Atlantis
Heavyweight College Cartridge Paper
Acid free paper with a short grain and therefore smoother surface
than typical artist grade cartridge papers. Ideal for sketching and
detailed loose drawing. Great value for students and educational
establishments or anyone wanting good paper at a great price.
Acid free paper with a short grain and therefore smoother surface
than typical artist grade cartridge papers. Ideal for sketching and
detailed loose drawing. Great value for students and educational
establishments or anyone wanting good paper at a great price.
Standard
Heavyweight
Available only in White
Available only in White
A1
Code
A1
Code
Gsm 100
ATCC5A1
A2
Code
ATCC5A2
A3
Code
ATCC5A3
A4
Code
ATCC5A4
Gsm 190
Sheets
1
25
100
250
500
1000
Price
22p
20p each
5.00
19p each 19.00 pack
18p each 45.00 pack
17p each 85.00 pack
16p each 160.00 pack
Sheets
1
25
100
250
500
1000
Price
16p
14p each
3.50
13p each 13.00 pack
12p each 30.00 pack
11p each 55.00 pack
Sheets
1
25
100
250
500
1000
Price
14p
12p each
3.00
11p each 11.00 pack
10p each 25.00 pack
09p each 45.00 pack
08p each 80.00 pack
Sheets
1
25
100
250
500
1000
Price
10p
08p each
2.00
07p each 7.00 pack
06p each 15.00 pack
05p each 25.00 pack
04p each 40.00 pack
ATHCCA1
A2
Code
ATHCCA2
A3
Code
ATHCCA3
A4
Code
ATHCCA4
Sheets
1
25
100
200
500
1000
Price
60p
54p each 13.50
52p each 52.00 pack
48p each 96.00 pack
Sheets
1
25
100
200
500
1000
Price
30p
26p each 6.50
25p each 25.00 pack
24p each 48.00 pack
Sheets
1
25
100
200
500
1000
Price
17p
15p each 3.75
13p each 13.00 pack
12p each 24.00 pack
11p each 55.00 pack
Sheets
1
25
100
200
500
1000
Price
12p
11p each
10p each
09p each
08p each
07p each
2.75
10.00 pack
18.00 pack
40.00 pack
70.00 pack
PAPER
DRAWING PAPER ROLLS
Fabriano
Accademia Paper Rolls Gsm 120 - Size: 39 x 11 yards / 1M x 10M
Our very popular range of smooth,
hard drawing paper rolls.
Available in White.
Code RKFAR1201
Price 9.99
List 13.95
Gsm 120 - Size: 59 x 11 yards / 1.5M x 10M

Code RKFAR120
Price 12.99
List 17.50
Gsm 200 - Size: 59 x 11 yards / 1.5M x 10M

Code RKFAR200
Price 19.64
List 24.15
PAPER
DRAWING PAPER HEAVYWEIGHT CARTRIDGE
Norfolk Cartridge Paper Heavyweight
Classic economic cartridge paper for general drawing
purposes. Acid free, woodfree, white matt surface.
Suitable for all main drawing techniques.
Available in A1 white only.
Gsm 210
Code
Sheet
RKNC2
1
25
100
Price
63p
57p each
54p each
14.25
54.00 Pack
Snowdon Heavyweight Cartridge Paper

Designed for drawing, watercolour and many printing
processes including etching, silkscreen (including water based
silkscreen) and offset lithography. Woodfree, acid free, white
matt surface. Available in White only. Gsm 300
A1
Code
Sheet
Price
RKSC3A1
1
1.02p
25
91p each
50
86p each
19.5 x 27.5/ 50 x 70cm
Code
Sheet Price
RKSC357
1
63p
25
57p each
100
54p each
27.5 x 39/ 70 x 100cm
Code
Sheet
Price
RKSC3710
1
1.19
25
1.06 each
50
1.01 each
39 x 55/ 100 x 140cm
Code
Sheet Price
RKSC314
1
2.29
25
2.06 each
50
1.96 each
22.75
43.00 Pack
14.30
54.00 Pack
26.50
50.50 Pack
51.50
98.00 Pack
Kent Edition Drawing Paper
Woodfree, acid free, economical drawing paper, very popular.
Semi-smooth surface. Available in White.
A1 - Gsm 190
Code
RKKEA1
Sheet
1
25
100
Price
61p
54p each 13.50
52p each 52.00 Pack
PAPER
DRAWING PAPER
Heritage Woodfree Drawing and Printmaking Paper
Atlantis Heritage Woodfree is a high quality versatile range of acid free papers and as such far superior to cartridge papers. Main uses include
drawing, screenprinting, calligraphy, paper conservation, book binding, illustration, offset lithography and origami. The paper is surface sized
with pure starch to resist fibre picking on machine litho runs and impart extra fold and surface strength. It is buffered with calcium carbonate
to a pH of 8.5. The surface finish of the paper is vellum. To rationalise this range we have deleted a number of sizes and concentrated on the
popular papers.
Size
33 x 45
33 x 45
33 x 45
mm
838 x 1143
838 x 1143
838 x 1143
Gsm
200
200
200
Colour
White
White
White
Sheet
1
25
100
20 x 27
20 x 27
20 x 27
508 x 686
508 x 686
508 x 686
315
315
315
White
White
White
1
25
100
27 x 40
27 x 40
27 x 40
686 x 1016
686 x 1016
686 x 1016
315
315
315
White
White
White
1
25
100
33 x 45
33 x 45
33 x 45
838 x 1143
838 x 1143
838 x 1143
315
315
315
White
White
White
1
25
50
Price
1.75
1.58 each 39.50
1.42 each 142.00
1.01
91p each 22.75
82p each 82.00
2.01
1.81 each 45.25
1.63 each 163.00
2.73
2.46 each 61.50
2.22 each 111.00
HW073
40 x 54
40 x 54
40 x 54
1016 x 1372
1016 x 1372
1016 x 1372
315
315
315
White
White
White
1
25
50
4.03
3.63 each 90.75
3.27 each 163.50 pack
AHW01
33 x 45
838 x 1143
100
White
100
----
AHW02
33 x 45
838 x 1143
160
White
100
----
Code
HW031
HW070
HW071
HW072
78.75
125.06
pack
pack
pack
pack
PAPER
DRAWING PAPER / ROLLS
Fabriano Accademia Paper
Fabriano 5
Acid free, smooth surface made with100% alpha cellulose.

Surface sized. Trimmed all four edges. Strong white, smooth
surface. A very popular drawing paper. Available only in
White.
This paper is mould made of a valuable mixture of cotton (50% and

accurately sected raw material. The absence of acid guarantees the
inalterability over time of the paper. Ideal for watercolour, tempera,
gouache, acrylic, ink, charcoal, wax, graphite, felt tip pens, drawing and
printmaking (etching, lithography and silk screening.
Gsm 200 Size: 27.5 x 19.5 / 70 x 50cm

Code
RKFAS705
Sheet
1
25
Price
66p
59p each 14.80
Fabriano 4 Paper
A good quality acid free paper. The colour is bright white and it
is a woodfree drawing and printmaking paper. There are two
surfaces available, smooth (Liscia) HP which comes in 220gsm
and rough (Ruvido) NOT which comes in 200gsm.
Size: 19.5 x 27.5 / 50 x 70cm

NOT - Gsm 200
Code
Sheet
RKF41N
1
25
100
Price
1.06
94p each 23.50
90p each 90.00
HP - Gsm 220
RKF41S
1
25
100
1.06
94p each 23.50
90p each 90.00
HP - Gsm 220
RKF42S
1
25
100
SMOOTH Gsm 160

RKF51S
1
1.25
25
1.12 each
100
1.07 each 107.00
Size: 19.5 x 27.5 / 50 x 70cm
NOT
Gsm 300
RKF53N
1
2.37
25
2.12 each
100
2.02 each 202.00
Smooth
Gsm 300
RKF53S
1
2.16
25
2.12 each
100
2.02 each 202.00
Fabriano 4 Rolls
Good, strong quality white woodfree paper. Trimmed edges.
Size: 27.5 x 39/ 70 x 100cm

NOT - Gsm 200
Code
Sheet
RKF42N
1
25
100
Size: 19.5 x 27.5 / 50 x 70cm

NOT
Gsm 160
Code
Sheet
Price
RKF51N
1
1.25
25
1.12 each
100
1.07 each 107.00
Size: 59 x 11 yards
Price
1.85
1.65 each 41.30
1.57 each 157.00
NOT Code
RKF4R20N
Gsm 200
Price
40.17
SMOOTH - Gsm 220
1.85
1.65 each 41.30
1.57 each 157.00
Code
RKF4R22S
Price
40.17
PAPER
DRAWING PAPER
Fabriano Roma 100% Cotton Handmade Paper
A very beautiful handmade paper made at this 700 year old mill. It is excellent for drawing, pastel, printing or bookbinding and has a toothy surface
and crisp feel. It is acid free, watermarked (broad laid) with four deckle edges for artists who want something special. It comes in 5 colours Ivory,
Cream and 3 deep shades. The 3 browns: Red Earth, Raw Umber and Burnt Umber are pigmented with native Italian earths to give a suitable
warmth to the sheet.
Code
RKFR-RKFR--
Size
19 x 26
19 x 26
cm
48 x 66
48 x 66
Gsm
130
130
Surface
Laid
Laid
Sheet
1
10
Colours: IV-Ivory CR-Cream RE-Red Earth GRN-Green BU-Burnt Umber

When ordering please quote code followed by colour code ie: RKFRIV = Fabriano Roma Ivory
Handmade paper production at Fabriano
Price
12.63
11.30 each 113.00
PAPER
DALER - ROWNEY FINE GRAIN DRAWING PADS
Spiral Pad
Fine Grain - Drawing Pad
25 sheets of acid free cartridge

paper.
Gsm 120
Code
Size
Probably the UKs No. 1

selling pad.
DRFGDA2
DRFGDA3
DRFGDA4
DRFGDA5
A2
A3
A4
A5
Price RRP
11.16 13.70
6.26 7.90
3.60 5.20
2.45 2.95
Spiral Pad
Gsm 150
Code
Size
DRSPA2
A2
DRSPA3
A3
DRSPA4
A4
DRSPA5
A5
DRSPA6
A6
Price
11.88
6.84
4.03
2.64
2.06
RRP
14.75
7.80
4.85
3.00
2.50
Fine Grain - Cartridge Pad

Gsm 160
Code
Size
DRFGCA2
DRFGCA3
DRFGCA4
DRFGCA5
A2
A3
A4
A5
Fine Grain - Heavyweight Pad

200 Gsm
Code
Size
DRFGHA2
DRFGHA3
DRFGHA4
DRFGHA5
A2
A3
A4
A5
Price
13.97
8.04
5.06
3.14
RRP
17.15
10.20
6.75
4.75
Price
12.58
7.18
4.18
2.98
RRP
16.40
9.05
5.95
4.40
PAPER
DRAWING PAPER / PADS
Canson Bristol Pads
Hard white paper with an extra smooth surface. Glued along the short edge.
Ideal for fine drawing and illustration.
Gsm 250
20 leaves
Code
Size
RKCBPA4 A4
Price
5.28
Canson Bristol Board
Code
Size
RKCBPA3 A3
Price
10.44
Very hard extra smooth white drawing paper particularly suited for very fine
drawing and illustration.
Available in White.
Gsm 250
Size: 19.5 x 25.5 / 50 x 60cm
Code
Sheet Price
RKCB250 1
87
25
81p each 20.25
125
73p each 91.25
Daler Bristol Board Pad

20 sheets
Code
Size
DRBBPA4 A4
DRBBPA3 A3
Weight
250 gsm
250 gsm
NEW
Price RRP
4.56
5.55
9.07 12.10
Blue Wave Portrait Sketchbook

62 Leaves - Gsm 150
Code
DRBWSBA4
Size
A4
Price
7.80
RRP
10.30
PAPER
ATLANTIS GIANT DRAWING & WATERCOLOUR PAPER
Atlantis Giant Drawing and Watercolour Paper
A very high quality paper for artists needing a large surface format. Can be used for most main applications ranging from watercolours,
gouache and drawing through to silkscreen and acrylic. Made from 70% highly refined woodfree pulp and 30% cotton fibre. Acid free.
Buffered with calcium carbonate, pH 8.5 (hot extract). The paper is gelatine sized, un-watermarked. NOT surface. Two deckle edges.
Available in White only.
Size: 60 x 48 / 1524 x 1219mm - Gsm 400
Code
ATGWC01
Sheet
1
10
Price
10.22
9.20 each 90.20 Pack
PAPER
ATLANTIS WATERCOLOUR PADS
Atlantis Economical Thick Bockingford Watercolour Pads
Ideal for starting out in watercolours or for anyone who wants a lot of paper at a good
price. Mould made, internally sized, acid free, trimmed four edges. NOT surface only.
Gsm 300
Code
ABFPA5
ABFP1442
ABFP1928
ABFPA4
ABFP2838
ABFPA3
Size
A5
7.5 x 11
A4
11 x 15
A3
cm
14 x 21
14 x 42
19 x 28
21 x 29
28 x 38
29 x 42
Price
7.92
12.67
11.34
12.40
18.22
21.26
Atlantis Professional Quality Thick Waterford Pads

Our professional watercolourists large pads. 100% cotton, wire bound on the short edge,
contains 25 sheets. NOT surface only.
Gsm 300
Code
AWFP1928
AWFP2838
Size
7.5 x 11
11 x 15
cm
19 x 28
28 x 38
Price
16.83
32.72
PAPER
WATERCOLOUR PADS
Canson Watercolour 100 Page Pad

Very good value for money, this pad has a fine grain surface..
Code
Size
Gsm
Surface
Leaves
CAN100WCB
24 x 32 cm
200
Cold Pressed
100
List
18.37 24.99
Price
PAPER
WATERCOLOUR PAPER
Bockingford Drawing and
Watercolour Paper
This is an economical good quality paper that is excellent for
everyday water based media and drawing work. This paper
is acid free and internally sized. The paper has a distinctive
NOT textured surface created by the woollen blanket of the
cylinder mould machine.
Size: 30 x 22 / 76 x 56cm
Gsm 150
Code
Sheet Price
RKB15001
1
1.15
25
1.03
250
98p
Gsm 190
RKB19001
1
1.44
25
1.29
250 1.22
Gsm 300
RKB30001
1
2.17
25
1.94
125 1.85
Gsm 425
RKB42501
1
3.09
25
2.77
100 2.63
Gsm 535
RKB53501
1
3.90
25
3.49
50
3.31
each
each
each
each
each
each
each
each
each
each
Bockingford Extra Rough Surface

Watercolour Paper
Tinted Bockingford Watercolour Paper
Size: 30 x 22 / 76 x 56cm
Newly introduced, this rough surface paper is ideal for Gsm 300 - NOT Surface
artists requiring a strong textured surface.
Size: 30 x 22 / 76 x 56cm
Gsm 300
Code
Sheet Price
RKB3ER
1
2.17
25
1.94 each
125 1.85 each
Gsm 425
RKB4ER
Code
RKTB3--
Colours:
1
25
100
3.09
2.77
2.63
each
each
Sheet
1
25
125
Price
3.02
2.71 each
2.57 each
EG - Eggshell
CR - Cream
GR - Grey
OAT - Oatmeal
When ordering please quote product code followed by colour

code ie: RKTB3EG = Eggshell
PAPER
WATERCOLOUR PAPER
Bockingford Watercolour Paper 1/2 and 1/4 Sheets
Pre-packed cut down sheets represent an ideal way of purchasing quantities of smaller sized sheets.
Code
RKB11511N
RKB11522N
RKB31511N
RKB31511ER
RKB31522N
RKB31522ER
RKB41511N
Size
15 x 11
15 x 11
15 x 11
22 x 15
22 x 15
22 x 15
15 x 11
15 x 11
15 x 11
15 x 11
15 x 11
15 x 11
22 x 15
22 x 15
22 x 15
22 x 15
22 x 15
22 x 15
15 x 11
15 x 11
15 x 11
cm
38 x 28
38 x 28
38 x 28
56 x 38
56 x 38
56 x 38
38 x 28
38 x 28
38 x 28
38 x 28
38 x 28
38 x 28
56 x 38
56 x 38
56 x 38
56 x 38
56 x 38
56 x 38
38 x 28
38 x 28
38 x 28
Gsm
190
190
190
190
190
190
300
300
300
300
300
300
300
300
300
300
300
300
425
425
425
Surface
NOT
NOT
NOT
NOT
NOT
NOT
NOT
NOT
NOT
Ex.Rough
Ex.Rough
Ex.Rough
NOT
NOT
NOT
Ex.Rough
Ex.Rough
Ex.Rough
NOT
NOT
NOT
M
1.5M x 10M
1.5M x 10M
Gsm
190
300
Surface
NOT
NOT
Price
41p
36p each
35p each
71p
64p each
60p each
61p
55p each
52p each 52.00 Pack
61p
55p each
52p each 52.00 Pack
1.22
1.09 each
1.04 each
1.22
1.09 each
1.04 each
87p
78p each
74p each
Sheet
1
25
250
1
25
250
1
25
100
1
25
100
1
25
125
1
25
125
1
25
125
Bockingford Paper Rolls

Code
RKBR190
RKBR300
Size
60 x 11yds
60 x 11yds
Price
72.24
102.12
PAPER
WATERCOLOUR PAPER
Saunders Waterford
Code
Size
cm
Gsm Surface
30 x 22/76 x 56 190 HP
30 x 22/76 x 56 190 HP
30 x 22/76 x 56 190 HP
RKSW1N 30 x 22/76 x 56
190 NOT
30 x 22/76 x 56 190 NOT
30 x 22/76 x 56 190 NOT
RKSW1R 30 x 22/76 x 56
190 Rough
30 x 22/76 x 56 190 Rough
30 x 22/76 x 56 190 Rough
RKSW3H 30 x 22/76 x 56
300 HP
30 x 22/76 x 56 300 HP
30 x 22/76 x 56 300 HP
RKSW3N 30 x 22/76 x 56
300 NOT
30 x 22/76 x 56 300 NOT
30 x 22/76 x 56 300 NOT
RKSW3R 30 x 22/76 x 56
300 Rough
30 x 22/76 x 56 300 Rough
30 x 22/76 x 56 300 Rough
RKSW35H 40 x 26/101.6 x 66 356 HP
40 x 26/101.6 x 66 356 HP
40 x 26/101.6 x 66 356 HP
RKSW35N 40 x 26/101.6 x 66 356 NOT
40 x 26/101.6 x 66 356 NOT
40 x 26/101.6 x 66 356 NOT
RKSW35R 40 x 26/101.6 x 66 356 Rough
40 x 26/101.6 x 66 356 Rough
40 x 26/101.6 x 66 356 Rough
RKSW4H 30 x 22/76 x 56
425 HP
30 x 22/76 x 56 425 HP
30 x 22/76 x 56 425 HP
RKSW4N 30 x 22/76 x 56
425 NOT
30 x 22/76 x 56 425 NOT
30 x 22/76 x 56 425 NOT
RKSW4R 30 x 22/76 x 56
425 Rough
30 x 22/76 x 56 425 Rough
30 x 22/76 x 56 425 Rough
RKSW6N 30 x 22/76 x 56
640 NOT
30 x 22/76 x 56 640 NOT
30 x 22/76 x 56 640 NOT
RKSW6R 30 x 22/76 x 56
640 Rough
30 x 22/76 x 56 640 Rough
30 x 22/76 x 56 640 Rough
Saunders Waterford Paper Roll
Code
Size
M
RKSWR1R
60 x 11yds/1.5M x 10M
RKSWR3H
60 x 11yds/1.5M x 10M
RKSWR3N
60 x 11yds/1.5M x 10M
RKSWR3R
60 x 11yds/1.5M x 10M
RKSWRHW3
60 x 11yds/1.5M x 10M
RKSW1H
Watercolour Paper
Saunders Waterford is a very high quality
watercolour paper that can be used for acrylics,
drawing, pen and ink, gouache, charcoal and
calligraphy. It is made with 100% cotton fibre,
gelatine tub sized and is acid free. It is internally
starched. As a result, the surface is resistant to fibre
lift when removing masking materials.Lines will not
feather when pen and ink are used, it will also stand
multiple erasures when using pencil or charcoal.
Saunders Waterford is very stable and will have little
or no cockling or distortion when soaking or with
heavy washes.
Available in 3 surfaces HP, NOT and ROUGH.
640gsm only available in NOT and ROUGH.
Sheet Price
1
2.61
10 2.34
100 2.22
1
2.61
10 2.34
100 2.22
1
2.61
10 2.34
100 2.22
1
4.11
10 3.68
100 3.49
1
4.11
10 3.68
100 3.49
1 4.11
10 3.68
100 3.49
1 7.92
10 7.08
50 6.73
1
7.92
10 7.08
50 6.73
1
7.92
10 7.08
50 6.73
1
6.00
10 5.37
100 5.10
1
6.00
10 5.37
100 5.10
1
6.00
10 5.37
100 5.10
1
8.82
10 7.89
50 7.50
1
8.82
10 7.89
50 7.50
Gsm
190
300
300
300
300
23.40
222.00 Pack
23.40
222.00 Pack
23.40
222.00 Pack
36.80
349.00 Pack
36.80
349.00 Pack
36.80
349.00 Pack
70.80
70.80
70.80
53.70
510.00 Pack
53.70
510.00 Pack
53.70
510.00 Pack
78.90
78.90
Surface
Rough
HP
NOT
Rough
Rough
Price
121.32
177.97
177.97
177.97
177.97
PAPER
WATERCOLOUR PAPER
Fabriano Artistico Watercolour Paper

A highly popular range of papers for watercolour, gouache, tempera, charcoal, graphite, wax etc. Its cold pressed surface is a little smoother
than Arches and its combination of strength and absorption make it unique. Artistico has 2 deckled edges. Acid free mould made 100% rag.
The 200 and 300gsm paper is also available in Rough.
Code
RKFA2H
RKFA2N
RKFA2R
RKFA3H
RKFA3N
RKFA3R
RKFA6H
RKFA6N
RKFA6R
Size
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
cm
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
Gsm
200
200
200
200
200
200
200
200
200
Surface
HP
HP
HP
NOT
NOT
NOT
Rough
Rough
Rough
Sheet
1
25
100
1
25
100
1
25
100
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
300
300
300
300
300
300
300
300
300
HP
HP
HP
NOT
NOT
NOT
Rough
Rough
Rough
1
25
100
1
25
100
1
25
100
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
640
640
640
640
640
640
640
640
640
HP
HP
HP
NOT
NOT
NOT
Rough
Rough
Rough
1
10
50
1
10
50
1
10
50
Price
2.51
2.24 each
2.13 each 213.00 Pack
2.51
2.24 each
2.13 each 213.00 Pack
2.51
2.24 each
2.13 each 213.00 Pack
3.73
3.34 each
3.17 each 317.00 Pack
3.73
3.34 each
3.17 each 317.00 Pack
3.73
3.34 each
3.17 each 317.00 Pack
8.24
7.38 each 73.80
7.01 each
8.24
7.38 each 73.80
7.01 each
8.24
7.38 each 73.80
7.01 each
PAPER
WATERCOLOUR PAPER
Arches Aquarelle Watercolour Paper
Code
Size
cm
Gsm
Surface Sheet
RKAA1H---
30 x 22
30 x 22
76 x 56
76 x 56
185
185
HP
HP
1
10
RKAA1N---
30 x 22
76 x 56
185
NOT
30 x 22
76 x 56
185
NOT
10
RKAA1R---
30 x 22
30 x 22
76 x 56
76 x 56
185
185
Rough
Rough
1
10
RKAA3H
30 x 22
30 x 22
76 x 56
76 x 56
300
300
HP
HP
RKAA3N
30 x 22
76 x 56
300
NOT
1
10
1
30 x 22
76 x 56
300
NOT
10
RKAA3R
30 x 22
30 x 22
76 x 56
76 x 56
300
300
Rough
Rough
1
10
RKAA6N
30 x 22
30 x 22
76 x 56
76 x 56
640
640
NOT
NOT
1
5
RKAA6R
30 x 22
30 x 22
76 x 56
76 x 56
640
640
Rough
Rough
1
5
RKAA8N
30 x 22
30 x 22
76 x 56
76 x 56
850
850
NOT
NOT
1
5
RKAA8R
30 x 22
30 x 22
76 x 56
76 x 56
850
850
Rough
Rough
1
5
Blocks
RKAAB1826H
18cm x 20cm
20 Sheets
HP
RKAAB1826N
18cm x 20cm
20 Sheets
Not
RKAAB1826R
18cm x 20cm
20 Sheets
Rough
RKAAB2331H
23cm x 31cm
20 Sheets
HP
RKAAB2331N
23cm x 31cm
20 Sheets
Not
RKAAB2331R
23cm x 31cm
20 Sheets
Rough
RKAAB2636H
26cm x 36cm
20 Sheets
HP
RKAAB2636N
26cm x 36cm
20 Sheets
Not
RKAAB2636R
RKAAB3141H
RKAAB3141N
26cm x 36cm
31cm x 41cm
31cm x 41cm
20 Sheets
20 Sheets
20 Sheets
Rough
HP
Not
RKAAB3141R
31cm x 41cm
20 Sheets
Rouge
RKAAB3651H
RKAAB3651N
36cm x 51cm
36cm x 51cm
20 Sheets
20 Sheets
HP
Not
RKAAB3651R
36cm x 51cm
20 Sheets
Rouge
Rolls
27.99
27.99
27.99
34.31
34.31
34.31
40.13
40.13
40.13
52.67
52.67
52.67
66.93
66.93
66.93
Price
4.65
4.16 each 41.60
4.65
4.16 each 41.60
4.65
4.16 each 41.60
7.59
6.79 each 67.90
7.59
6.79 each 67.90
7.59
6.79 each 67.90
15.52
13.97 each 69.85
15.52
13.97 each 69.85
20.34
18.31 each 91.55
20.34
18.31 each 91.55
Arches Aquarelle Watercolour Paper
One of the most popular and finest watercolour papers in the world.
Mould made 100% rag (cotton) and tub sized using gelatine, this creates
an extremely durable and sensitive surface
which appeals to many watercolourists.
It also works well in mixed media.
Comes with four deckle edges
and is available in HP, NOT and Rough surfaces.
640gsm and 850gsm are available in NOT and Rough only.
Acid free.
Surfaces: N-NOT R-Rough HP - Hot Pressed

87.13
87.13
RKAAB4661H 46cm x 61cm 20 Sheets Rough 87.13
RKAAB4661H 46cm x 61cm
RKAAB4661H 46cm x 61cm
- RKAAR1N
44in x 10yards
1.13M x 9M
185
Not
RKAAR3H
44in x 10yards
1.13M x 9M
300
HP
RKAAR3N
44in x 10yards
1.13M x 9M
300
Not
RKAAR3R
44in x 10yards
1.13M x 9M
300
Not
20 Sheets HP
20 Sheets Not
89.01
142.17
142.17
142.17
PAPER
WATERCOLOUR PAPER
Hahnemuhle (1584) Watercolour Paper
Founded on the 27th February 1584, this is one of the worlds oldest paper mills, famous for its high quality papers throughout Europe.
We stock the alpha cellulose version of this range. Its applications include: Watercolours, pastels, drawing with red chalk, carbon and wax
pencils, pencils and crayon and also line drawings and chalks.
The specifications are:
4 deckle edges, mould made, acid free (pH value 8.0),
buffering with 2% calcium carbonate.
Neutral sized.
NOT and Rough surfaces.
Size: 29 x 21.5 / 73 x 55cm

Gsm 200
Code
RKHW2N
RKHW2R
Sheet
1
25
100
1
25
100
Price
2.16
1.94 each 48.50
1.84 each 184.00 pack
2.16
1.94 each 48.50
1.84 each 184.00 pack
Surfaces: N-NOT R-Rough
Hahnemuhle
Watercolour Postcard Tin

Tin of 30.
Size: 4 x 6 / 10.5 x 14.8 cm
Gsm 280
Code
Surface Leaves
RKHWPT
NOT
30
Price
7.79
Fabriano
Watercolour Postcard Pad
(Woodfree)
Size: 4 x 6 / 10.5 x 14.8 cm
Gsm 280
Code
RKFPP46
Surface
NOT
Leaves
20
Price
6.75
PAPER
WINSOR & NEWTON WATERCOLOUR PADS / BLOCKS
Winsor and Newton Cotman

Watercolour Gummed Pads
140lbs/300gsm for heavier watercolour washes. Ideal range of pads
for the artist starting in watercolours or the hobbyist. Excellent value.
Each pad contains 10 sheets of 300gsm Cotman watercolour paper
with a strong backing board for rigidity. NOT Surface.
Gsm 300
Code
WCG20805
WCG21007
WCG21209
WCG21410
WCG21612
Size
8 x 5
10 x 7
12 x 9
14 x 10
16 x 12
Price
5.00
7.16
9.53
10.45
13.85

Watercolour Blocks

Watercolour Wire Bound Pads
Wire bound are more versatile to use than gummed as paper is
simply turned over and held in the pad, whereas gummed cannot be
handled in quite the same way. Contains 12 leaves. NOT surface.
Gsm 300
Code
WCS20805
WCS21007
WCS21209
WCS21410
Code
WCOB21007
Pre stretched and glued on all sides to provide the artist with a taut
surface.
Acid free.
20 leaves. NOT surface.
WCOB21209
WCOB21410
WCOB21612
Size
8 x 5
10 x 7
12 x 9
14 x 10
Price
5.89
7.64
9.88
12.28
Size
10 x 7
12 x 9
14 x 10
16 x 12
Price
12.17
15.47
19.55
23.65
Gsm 300
PAPER
PRINTMAKING PAPER
Somerset Printmaking Paper
Somerset is a versatile high quality range of papers for all printmaking techniques as well as for water media and
pastel. This is a very strong paper made to exacting specifications and is hand inspected during manufacture. Made
of 100% cotton rag this is an acid free and buffered range of papers. It comes in two finishes satin and textured
and has four deckled edges. Colour Code:
SW-Soft White
W-White
Code
RKS2SWT1
RKS2WS01
RKS2WT01
RKS3SWT1
RKS3WS01
RKS3WT01
RKS3SWT2
RKS3WS02
RKS3WT02
Size
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
30 x 22
44 x 30
44 x 30
44 x 30
44 x 30
44 x 30
44 x 30
44 x 30
44 x 30
44 x 30
cm
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
76 x 56
112 x 76
112 x 76
112 x 76
112 x 76
112 x 76
112 x 76
112 x 76
112 x 76
112 x 76
Gsm
250
250
250
250
250
250
250
250
250
300
300
300
300
300
300
300
300
300
300
300
300
300
300
300
300
300
300
Surface
Textured
Textured
Textured
Satin
Satin
Satin
Textured
Textured
Textured
Textured
Textured
Textured
Satin
Satin
Satin
Textured
Textured
Textured
Textured
Textured
Textured
Satin
Satin
Satin
Textured
Textured
Textured
Sheet
1
25
100
1
25
100
1
25
100
1
25
100
1
25
100
1
25
100
1
25
50
1
25
50
1
25
50
Price
3.12
2.79 each
2.65 each
3.12
2.79 each
2.65 each
3.12
2.79 each
2.65 each
3.72
3.33 each
3.16 each
3.72
3.33 each
3.16 each
3.72
3.33 each
3.16 each
7.41
6.63 each
6.30 each
7.41
6.63 each
6.30 each
7.41
6.63 each
6.30 each
69.80
265.00 pack
69.80
265.00 pack
69.80
265.00 pack
83.30
316.00 pack
83.30
316.00 pack
83.30
316.00 pack
165.80
315.00 pack
165.80
315.00 pack
165.80
315.00 pack
Newsprint
Made from ground wood pulp to provide paper at the lowest cost. It is used for childrens drawing and proofing. High discoloration when
exposed to daylight. Colour : Cream.
Size: 35.4 x 25 / 90 x 64cm - Gsm 45
Code
RKNP48
Sheet
1
25
500
Price
10p
09p each
08p each
2.30
40.00 pack
PAPER
PRINTMAKING PAPER
Hahnemuhle Etching Paper
Arches 88 Printmaking Paper
A highly textured surface this paper is much favoured by

etchers. It is soft sized made from alpha cellulose pulp and
comes with four deckled edges. It can also be used for coarse
ground drawings. Surface is textured.
A high quality acid free silkscreen bright white paper. This is used for
intaglio printing and multiple drawing applications made with 100%
cotton fibre.
It is unsized and therefore absorbs ink freely. For hand lithography its
smooth surface can show up the finest detail. We recommend
dampening it with an atomiser before use.
Popular for monoprints.
Surface is smooth.
Size: 31 x 22 / 78 x 53cm
Gsm 300
Code
RKHE300
Sheet
1
25
100
Price
2.75
2.48 each 62.00
2.23 each 223.00 pack
Atlantis Acid Free Blotting Paper
Size: 30 x 22 / 76 x 56cm
Gsm 300
Code
Sheet Price
RKA88300
1
5.52
25
4.94 each
100
4.69 each
123.50
469.00 pack
Size : 34 x 24 / 86 x 61cm
White
A heavyweight blotter with excellent bulk to give absorption
used extensively in printmaking where its acid free nature precludes the risk of acid contamination of wetter papers.
Gsm 300
Code
AB01
AB01
Sheet Price
1
1.35
100
1.22 each
122.00
Pack
PAPER
PRINTMAKING / PASTEL PAPER
BFK Rives Blanc White Paper
Fabriano Rosaspina Heavyweight Paper
BFK Rives is ideal for printmaking, monoprinting and drawing. It is

100% rag, buffered, neutral pH and has four deckled edges and
matte surface.
A tremendous intaglio and general printmaking paper. This paper is

Size: 25.5
watermarked so we recommend dampening by atomising rather than
by soaking. The paper has a 60% rag content, is neutral pH, has two Code
RKBFK201
deckled edges and comes with a matte surface.
Available in White and Ivory. Gsm 285
Size: 27.5 x 19.5 / 70 x 50cm

Code
Sheet
Price
RKFROS
1
1.87
25
1.68 each 42.00
100
1.59 each 159.00 Pack
x 19.5/ 65 x 50cm Gsm 250

Sheet Price
1
2.87
25
2.57 each 64.30
100
2.44 each 244.00 pack
Colour Code : W - White
Size: 30 x 22 / 76 x 56cm Gsm 250

Code
Sheet Price
RKBFK202
1
4.32
Colour Code:
WH-White
IV-Ivory
25
3.87 each 96.80
When ordering please quote code followed by colour code ie:
100
3.67 each 367.00 pack
RKFROSWH = White Fabriano Rosaspina
Fabriano Tiziano - Cotton Pastel Paper

Very popular pastel paper made in Italy by this 700 year-old mill.
This paper has a 40% cotton rag content and is acid free.
Trimmed 4 edges. 30 colours. Textured surface.
Size: 27.5 x 19.5 / 70 x 50cm Gsm 160

Code
RKFT
Sheet
1
25
100
Price
1.27
1.14 each 28.50
1.08 each 108.00
Colours:
01 White
02 Cream
03 Banana
04 Sand
05 Zabalane 06 Almond
07 Raw Sienna 09 Coffee
11 Pale Green 12 Meadow Gr 13 Sage
14 Moss Green
15 Marina
16 Powder
17 Sugar
18 Adriatic
19 Danube
20 Lemon
21 Orange
22 Vesuvious
23 Amaranto 24 Viola
25 Pink
26 Pearl
27 Llama
28 China
29 Fog
30 Anthrack
31 Black
32 Flecked White
When ordering please quote code followed by colour code i.e
RKFT01 = White Fabriano Tiziano
Size: 30 x 22 / 76 x 56cm
Code
RKBFK21
Sheet
1
25
100
Price
5.30
4.74 each 118.50
4.50 each 450.00 pack
Colour Code : C - Cream W - White G - Grey T - Tan

When ordering please quote code including colour code i.e:
RKBFK21G = Grey 30 x 22
Size: 47.5 x 31.5 / 120 x 80cm Gsm 300

Code
Sheet Price
RKBFK303
1
11.93
25
10.67 each 266.75
50
10.41 each 520.50 pack
Fabriano Tiziano Pastel Pads
High quality pastel paper with a textured surface. 160gsm paper

weight. 5 sheets each of 6 colours per pad in soft pastels colours or
Brizzati (blues/greys).
Code
RKFTSPA4
RKFTSPA3
RKFTBPA4
RKFTBPA3
Size
A4
A3
A4
A3
cm
21 x 29.7
29.7 x 42
21 x 29.7
29.7 x 42
Colours
6 Asst.
6 Asst
Blues/Greys
Blues/Greys
Gsm 280
Price
12.28
20.99
12.28
20.99
PAPER
PASTEL PAPER / PADS
Canson Mi-Teintes Pastel Paper
Mi-Teintes is a uniquely surfaced pastel paper. It is ideal for gouache
and watercolour work (must be stretched). 100% wood free and acid
free. Available in 34 key colours in A4 and 30 in A1. High quality
pastel paper with a textured surface and 160gsm paper weight.
Code RKCMA1---
Size
mm
Sheet Price
21.5 x 29.5 550 x 750 1
2.40
21.5 x 29.5 550 x 750 25
2.16 each 54.00 Pack
Code RKCMA4--Size
mm
Sheet Price
A4
210 x 297 1
44p
A4
210 x 297 50
40p each 20.00 Pack
Colours
111 Ivory
130 Red Earth
140 Indigo
343 Pearl
374 Hemp
407 Cream
448 Ocean Green
475 Green
500 Dark Blue *
505 Red
553 Cad Yellow Deep
112
131
150
345
384
425
453
480
501
506
575
Eggshell
Twilight *
Lavender *
Slate Grey
Buff
Black
Orange
Light Green
Tobacco
Poppy Red
Baize Green
120
133
335
354
400
431
470
490
503
507
590
Pearl Grey
Sepia
White
Sky Blue
Canary
China Grey
Champagne
Light Blue
Burgundy
Violet
Royal Blue
Note: When ordering please quote code followed by

colour code ie:
RKCMA1335 = AI Canson Mi-Teintes White
* Not available in A1

Available for purchase to give as present.
Call for details
PAPER
PASTEL PAPER & PASTEL BOARD
Hahnemuhle Bugra Butten
Pastel and Drawing Paper
These tremendous drawing papers first appeared in
the 1920s. They have a pronounced textured antique
laid appearance giving a rough canvas-like surface.
The paper is often used to reproduce antique prints as
well as for conventional drawing. Ideal for drawing with
carbon, red chalk, wax pencils, standard leaded pencils and crayons. Very suitable for line drawings and
chalk techniques. These should be experienced by
anyone seriously interested in drawing.
With four genuine deckled edges.
Available in 130gsm and 14 attractive colours.
Additional applications : Documents, calendars, wood
engraving, lino cuts, certificates.
Acid free, neutral sized, buffered with 2% calcium carbonate.
Extremely high resistance to deterioration by ageing.
Code
RKHB1---
Sheet
1
25
Price
1.79
1.61 each 40.25
Sheet
1
25
Price
2.08
1.86 each 46.50
Black
Code
RKHB1313
Colours
300 Cream
303 Orange
304 Slate
306 Grey
307 Lt. Brown
310 Silurian
312 Dark Green
302
305
308
309
311
314
313
Sand
Blue
Lt. Green
White
Terracotta
Orchid
Black
When ordering please quote code followed by

colour code ie: RKHB1300 = 19.5 x 25.5 Cream
PAPER
PASTEL PAPER / PADS
Canson Mi-Teintes Pastel Pads
Code
This is one of the best selling pastel papers in the world along with
Tiziano. Interleaved with glassine paper. 16 leaves per pad.
RKCMPW24
RKCMPW32
RKCMPB24
Size
mm
9.4x12.6 240 x 320
12.6x16 320 x 410
9.4x12.6 240 x 320
Gsm Colour
160 White
160 White
160 Black
Price
13.47
22.59
13.47
Hahnemuhle Ingres Paper

A mould laid paper suitable for pastel
work and printmaking. It has a uniquely,
slightly coarse surface available in natural
white and 5 tints. It has four deckled edges.
Colours :
102 Ivory
112 Blue
116 Green
103 Cream
114 Black
117 Pale Green
When ordering please quote product code

followed by colour code ie: RKHI101 =
Ivory Hahnemuhle Ingres Paper.
Code
RKHI---
Size
24.5x19
24.5x19
24.5x19
mm
625 x 480
625 x 480
625 x 480
Gsm
95
95
95
Surface
Laid
Laid
Laid
Sheet
1
25
100
Price
85p
77p each 19.25
69p each 69.00 Pack
PAPER
PASTEL PAPER / PADS
Murano Coloured Papers
A range of 35 strong colours in two sizes that represents great
value.The added bonus is that this range is made with 45% cotton
which sets it aside for quality from normal coloured paper ranges.
Ideal for drawing in all regular media including pastels.
Available in two sizes: A4 and 50 x 65cm
45% cotton 160gsm paper weight
Murano Coloured Papers Pads

DRMP129 30 sheets - 12 x 9
Price 10.25
DRMP161 30 sheets - 16 x 12 Price 18.26
Colour Codes
DRMP129C Cool DRMP129N Neutral
DRMP161C Cool DRMP161N Neutral
RRP11.55
RRP20.00
Murano Paper 160

Size A4
Code : DRMPA4-----
25 sheets
32p
39p
29p each
Murano Paper 160

Size 50 x 65mm
Code : DRMP56---
50 sheets
Warm
DRMP161W Warm
DRMP129W
Price
RRP
Price
Price 1.28
RRP 1.39
Price 1.15 each
MURANO COLOUR CHART

035 Soft White
022 Latte
021 Vanilla
023 Oatmeal
024 Honey
026 Nutmeg
Please note :
discontinued
027 Toffee
025 Cinnamon
003 Mandarin
004 Strawberry
005 Raspberry
006 Amethyst
011 Cobalt
013 Aquamarine
018 Jade
001 Pineapple
014 Lime
020 Lagoon
discontinued
discontinued
015 Apple
016 Fern
009 Cornflower
008 Wedgewood
010 Haze
030 Rose Grey
019 Pale Peach
031 Stone
033 Platinum
032 Storm
029 Slate
028 Chocolate
discontinued
007 Bordeaux
012 Dusk
017 Holly
002 Aubergine
034 Midnight
This tint chart is produced within the limitations of printing and is intended as a guide only.
When ordering paper please

quote the product code
followed by the colour code
from the colour chart,eg :
A4 Murano Holly = DRMPA4 +
017 += DRMPA4017
PAPER
OIL / ACRYLIC PAPER & PADS
Fabriano Pittura Acrylic Painting Paper
Made to recreate the appearance and surface of a medium grained canvas.
This paper is ready to paint in oils and acrylics. It is acid free and wood free.
Code
Size
RKFP47050
27.5x 19.5 70x50

27.5x 19.5 70x50
27.5x 19.5 70x50
RKFP47010
cm
Gsm Sheets
400
1
400
25
400
100
27.5 x 39 70x100
27.5x 39 70x100
27.5x 39 70x100
400
400
400
1
25
50
Price
1.71
1.53 each 42.80
1.46 each 146.00
3.30
2.95
2.80
each 73.80
each 140.00
Daler - Rowney
Georgian Oil Painting Pads
Available in fine surface. The paper is embossed to give
canvas grain appearance.
Pad contains 12 sheets. For oils only.
Code
DGOP1100
DGOP11400
DGOP11700
DGOP11900
DGOP12200
DGOP12700
Size
7 x 5
10 x 7
12x 9
14 x 10
16 x 12
20x 16
Daler - Rowney
Georgian Oil Painting Paper
A fine grain surface oil sketching paper. Will take thin oil washes as well as thick
paint applications. The embossed paper provides a distinctive grain. Also ideal for
oil pastels.
Size
mm
Gsm Sheet Price
DGOPP0001 30x20 762x508 250
1
5.01
30x20 762x508 250 12
4.51 each 54.12
Code
Daler - Rowney
System3 Acrylic Pads
These pads contain linen textured paper specifically for use with acrylics. The paper
is 100% acid free and will therefore not discolour or embrittle.The paper is 230 gsm
in weight and comes in 4 popular sizes. Available in medium surface.
Pads contain 20 sheets.
Code
DS3P500
DS3P400
DS3P300
DS3P200
Size
Price
RRP
A5
A4
A3
A2
3.49
7.34
12.25
16.45
5.25
9.75
14.70
19.00
mm
Price
178 x 127 2.98
254 x 178 5.06
305 x 229 7.18
355 x 254 8.38
406 x 305 11.38
508 x 406 13.97
PAPER
HANDMADE PAPER
KHADI 100% COTTON RAG PAPER

THIS RANGE INCLUDES THE WORLD'S LARGEST SHEETS
OF HANDMADE PAPER and possibly the smallest (A7).
Very strong and durable handmade papers with a lot of character
and ideal for expressive watercolours and art media in general.
These are made from 100% cotton rags which have long fibres
producing paper of great strength.
All sheets are deckle edged and are internally sized and then tub
sized (surface sized) with gelatine.
Sizes range from the almost minute A7 size to up to 2 metres in
length.
For the larger sizes (above A4) white is the only colour. A4 and
below have a full range of colours and flower
inclusions.
The whites are available in rough and smooth and the colours are
all in medium.
These are for anyone who wants a paper with real attitude.
Cotton Rag Paper White

22 x 30 / 560 x 760mm
Code
Surface Gsm
KPR1W
Rough
210
KPS1W
Smooth
210
KPR2W
Rough
320
KPS2W
Smooth
320
KPR4W
Rough
640
KPS4W
Smooth
640
KPR5W
Rough
1000
Landscape Cotton Rag Paper White

14 x 27 / 350 x 700mm
Code
Surface Gsm
1
25
KPRL2W
25
100
2.60
2.60
3.33
3.33
5.07
5.07
8.93
2.40
2.40
3.00
3.00
4.56
4.56
8.04
2.29
2.29
2.86
2.86
4.34
4.34
7.66
320
1.87
1.68
Double Elephant Cotton Rag Paper White

27 x 39 / 700 x 1000
Code
Surface Gsm
1
25
KPR12W
Rough
320
KPS12W
Smooth
320
KPR14W
Rough
640
5.47
5.47
8.93
4.92
4.92
8.04
1.60
100
4.69
4.69
7.66
Indian Atlas Cotton Rag Paper White

39x 55 / 1000 x 1400mm
Code
Surface Gsm
1
5
KPR23W
Rough
100
Rough
400
25.73
23.16
Great White Cotton Rag Paper

31 x 79/ 800 x 2000 (Yes 2 metres!)
Code
Surface Gsm
1
5
33.33
30.00
Round Cotton Rag Paper White

56cm
Code
Surface Gsm
1
25
100
2.40
2.29
KPR43W
KPRO2W
Rough
Rough
400
320
2.87
PAPER
HANDMADE PAPER
Khadi Handmade Papers from India, Nepal,
Bhutan and Thailand
The word Khadi has a strong resonance in India. Khadi is the

handspun cotton yarn which has been produced in Indias
villages for thousands of years. But the meaning of Khadi goes
beyond that. It is associated in India with Gandhi and the Khadi
movement of the 1930s which was about decentralising production,
about taking work back to the villages, about making things by hand.
This is the context of contemporary Indian handmade paper.
Khadi have always worked directly with the papermakers in India,
Nepal, Bhutan and Thailand in a collaborative process.
In 1995, Khadi extended this collaboration even further with a formal
partnership with Vasudevan, regarded by many as the most
experienced and energetic figure in Indian papermaking today.
This has resulted in Khadi Papers India. Crucially, this has enabled
Khadi to exert total control over quality.
Khadi 100% Cotton Rag Deckled Edge Papers (on 4 sides)
Khadi Cotton Rag Papers are made in a new paper mill in a rural
area of Karnataka, South India.
Here, between 30 and 40 people from surrounding villages work
alongside Vasudevan and two members of his family, Subramanian
and Srikumar to make white and coloured handmade rag papers.
Papermaking involves two processes : First, beating raw material to
make the pulp and then forming the pulp on a mould to make a
sheet.
Both these processes use water and at the Khadi mill, recycle this
water into a compound where they have planted teak, mango,
papaya and banana trees.
Recycling is in fact the essence of papermaking : A material
transformed through the medium of water.
The rag papers are made of white woven cotton cuttings, which
are broken down in the Hollander beater, the fibres separated and
opened out to form a pulp.
Woven cotton has a greater fibre length than cotton linters and
this fibre makes the paper exceptionally strong. The sheet is
formed in a vat of water by pouring pulp onto the surface of the
paper mould. Doing this in water allows the pulp to spread evenly
over the surface of the mould. The mould itself is a frame made of
teak wood, covered with a fine wire mesh.
On top of the mould is a second frame, the deckle, which holds the
pulp in place and defines the edge of the sheet, the deckle edge.
The surface texture of the paper is the impression of the wooden
felts which interleave the wet sheets for the first pressing.
This is rough surface. Medium surfaced papers have this texture
flattened by a second pressing and smooth papers have a further
pressing, this time between sheets of galvanised steel. Because
cotton is absorbent the papers need to be sized to take ink or
watercolour.
Size is added internally during the beating and again on the
surface afte the sheet has been made, by dipping the sheets in a
solution of gelatine. The gelatine size gives the papers a hard,
resistant surface and they can stand up to a lot of rough treatment.
For oil painting, the paper can be sized again with gesso.
Coloured Khadi rag papers are made from pulp dyed in the
beater. We have chosen red and yellow earth colours, a range of
blues and greens, stone and black.
Sheet sizes from Khadi Papers range from A6, A5, A3 and A2
through to imperial and double elephant, to traditional handmade
sizes: India atlas, at a metre and a half, probably the biggest
handmade paper to be found in the world.
PAPER
HANDMADE PAPER
A5
Medium 150 6x 8/150 x 200mm
1 Sheet
Pack / 20 Pack / 100
27p
4.44
19.92
Code
KPA5CO
KPA5W
KPA5BL
KPA5IR
KPA5IP
KPA5PB
KPA5AS
KPA5CF
Colours
Coffee
White
Black
Indian Red
Indian Pink
Powder Blue
Aster
Cornflower
Code
KPA5PG
KPA5ST
KPA5MA
KPA5OR
KPA5AG
KPA5AM
KPA5B
KPA5MG
Colour
Parrot Green
Stone
Mango
Orange
Ash Grey
Almond
Bougainvillea
Marigold
A4
Medium 150
8x 12/200 x 300mm
1 Sheet
Pack / 20 Pack / 100
43p
7.08
Code
KPA4C
KPA4W
KPA4BL
KPA4IR
KPA4IP
KPA4PB
KPA4AS
KPA4CF
Colours
Coffee
White
Black
Indian Red
Indian Pink
Powder Blue
Aster
Cornflower
32.28
Code
Colour
KPA4PG Parrot Green
KPA4ST Stone
KPA4MA Mango
KPA4OR Orange
KPA4AG Ash Grey
KPA4AM Almond
KPA4B
Bougainvillea
KPA4MG Marigold
Please note the flower petal inclusions in the 4 flower papers.
PAPER
HANDMADE PAPER
Packs of Artists White Cotton Rag Paper Smaller Sizes Available in handy packs
The same 100% cotton rag handmade papers as in the large sizes but also available in handy packs.
All papers are deckle edged and sheets are internally sized and tub sized with gelatine which makes them excellent for watercolour and
art media in general.
A Series 320 gsm 100% Cotton Rag Paper Packs

White Rough
Size Code
Size
Pack Price
A6
KPA62W1
4x 6/100 x 150mm
A6
KPA62W20
4x 6/100 x 150mm
20
A6
KPLA62W100
4x 6/100 x 150mm
100
A5
KPA52W1
6x 8/150 x 200mm
A5
KPA52W20
6x 8/150 x 200mm
20
A5
KPLA52W100
6x 8/150 x 200mm
100
A4
KPA42W1
8x 12/ 200 x 300mm
A4
KPA42W20
8x 12/ 200 x 300mm
20
A4
KPLA42W100 8x 12/ 200 x 300mm
100
A3
KPA32W1
12x 15.8/ 300 x 400mm
A3
KPA32W20
12x 15.8/ 300 x 400mm 20
A3
KPLA32W100 12x 15.8/ 300 x 400mm 100
27p
4.44
20.16
40p
6.72
29.76
60p
9.93
44.64
91p
15.12
67.92
Packs of Square 320 gsm Cotton Rag Paper

Code
Size
Pack Price
KPSP42W1
8x 8/200 x 200mm
1
46p
KPSP42W20
8x 8/200 x 200mm
20
7.56
KPLSP42W100
8x 8/200 x 200mm
100
33.60
KPSP32W1
12x12/300 x 300mm
1
79p
KPSP32W20
12x12/300x 300mm
20
13.20
KPLSP32W100
12x12/300 x 300mm
100
62.04
Cotton Rag Colours 150 gsm Packs
Made from 100% cotton rag which due to its long fibre length imparts
great strength and durability to the paper. All papers are deckle edged
and are internally sized and tub sized with gelatine which makes them
excellent for working on.
Available in single sheets as well as packs of 20 and 100.
A6 Medium 150gsm 4x 6/100 x 150mm

1 Sheet Pack / 20 Pack / 100
18p
Code
KPA6CO
KPA6PB
KPA6A
KPA6CF
3.00
Colours
Coffee
Powder Blue
Aster
Cornflower
14.16
Code
KPA6PG
KPA6AM
KPA6B
KPA6MG
Colour
Parrot Green
Almond
Bougainvillea
Marigold
Code
KPA6IP
KPA6W
KPA6BL
KPA6IR
Colours
Indian Pink
White
Black
Indian Red
Code
KPA6AG
KPA6ST
KPA6MA
KPA6OR
Colour
Ash Grey
Stone
Mango
Orange
PAPER
HANDMADE PAPER
Khadi Rag and Fibre Papers
These are made exclusively for Khadi Papers at the Sri Aurobinda Ashram paper mill in
Pondicherry, south of Madras.
This is tropical South India, the landscape a patchwork of flooded rice fields and groves of
coconut palms. The paper mill has been built in a coconut plantation on the edge of the town
of Pondicherry. Over the workshops and drying sheds the fronds of coconut palms rattle in
the wind, which blows almost constantly from the Bay of Bengal.
The papers are made here from cotton rag with natural fibres are the original and the finest
papers of this kind made in India.
In these papers the colour and texture come from the different raw materials added to the
pulp. Gunny paper is made from recycled jute sacking, Bagasse paper from sugar cane fibre,
Banana paper from the leaf fibres of banana trees.
Gsm 210 Size 22 x 30/ 560 x 760mm
Code
Sheet
KPGUNS
1
25
100
Gunny/Smooth
Gunny/Smooth
Gunny/Smooth
Surface
Price
2.67
2.40 each 60.00
2.29 each 229.00
KPGUNR
1
25
100
Gunny/Rough
Gunny/Rough
Gunny/Rough
2.67
2.40 each 60.00
2.29 each 229.00
KPBAGGS
1
25
100
Bagasse/Smooth
Bagasse/Smooth
Bagasse/Smooth
2.67
2.40 each 60.00
2.29 each 229.00
KPBAGGR
1
25
100
Bagasse/Rough
Bagasse/Rough
Bagasse/Rough
2.67
2.40 each 60.00
2.29 each 229.00
KPBANAS
1
25
100
Banana/Smooth
Banana/Smooth
Banana/Smooth
2.67
2.40 each 60.00
2.29 each 229.00
KPBANAR
1
25
100
Banana/Rough
Banana/Rough
Banana/Rough
2.67
2.40 each 60.00
2.29 each 229.00
PAPER
HANDMADE PAPER
Khadi Lokta Paper
Khadi Lokta Papers

Paper drying, the frames angled toward the sun on a
Nepalese Mountain Papers Tissues
terraced hillside at three thousand metres.
Lokta papers are an ancient form of paper made in a
High up, a range of white peaks with smoke blowing off totally traditional manner. The pulp is poured onto the
them. Below, green terraces of barley and rice dropping mould, which is a heavy wooden frame covered with cloth,
away to a silver river, a paper factory never had a better which floats in a pool of water. The mould is then propped
view than this. Paper has been made in the foothills of the upright and the sheet dries in the sun on the Himalayan
Himalayas for more than a thousand years. It is made
mountainside.
from the bark of a woody shrub called lokta in Nepal and This is papermaking at its most primitive but the results
deyshin in Bhutan, which grows at high altitudes in the
are paper tissues of a special quality.
Himalayan forests. From Nepal we have three traditional
lotka papers, made by pouring pulp onto the mould, a
heavy wooden frame covered with cloth which floats in a
pool of water. The mould is then propped upright and the
sheet dries in the sun.
Also from Nepal the range of Nagashizuki papers have
been developed in Katmandu with Milan Dev and Mahesh
Bhattarai.
Nagashizuki is a Japanese method of papermaking in
which pulp is formed in fine layers onto a silk back mould.
A number of these papers have inclusions of bark,
leaves and bamboo. The lotka for these papers is grown
in the hill forest from seedlings. The planting and
harvesting of the lotka creates work for the people who
Preparing fibres above 3000 metres.
live in the hills and helps preserve the forests by creating
a renewable resource within them. This project is run by
Mahesh and one of the hill farmers, Shiva Ram.
From Bhutan, which borders Tibet and the north eastern
frontier provinces of India, we have two traditional papers,
Resho and Tsasho. These are made from the same sort
of bark fibre as the Nepalese but they have a somewhat
wilder character. Resho is made on cloth covered mould,
like the Nepalese mountain paper. Tsasho is made on a
mould of split bamboo and has a very distinctive laid
pattern which is in effect the watermark of the bamboo
mould.
Khadi N1 Paper - Natural
Code
Size
KPN1--19.5 x 29.5
19.5 x 29.5
19.5 x 29.5
mm
500 x 750
500 x 750
500 x 750
Gsm
30
30
30
Surface
Medium
Medium
Medium
Sheet
1
25
50
Colours: B-Blue GR-Green L-Lime PL-Plum R-Rose SA-Saffron OL-Olive TU-Turquoise

Note: When ordering please quote code followed by colour code ie: KPN1B = N1 Blue
Mixed Lotka Plum Sampler Pack

Code KPA3L Size A3
Price 13.92
Price
1.17
1.06 each 26.50
1.01 each 50.50
FU-Fuchsia CO-Coral
Mixed Lotka & Leaf Sampler Pack

Code KPA3LL Size A3
Price 13.92
PAPER
HANDMADE PAPER
Paperback Books
Khadi Cotton Rag Paperback Books
150 gsm Medium White
Simple inexpensive and good value sketch books /
notebooks. Made with 150 gsm cotton rag white
medium paper. Sheets are internally sized and tub
sized with gelatine which makes them excellent
for watercolour and mixed media.
30 pages
Code
Size
KPPPB2
6x 6/150 x 150mm
KPPPB1
8x 8/200 x 200mm
Hardback Books
Khadi White Cotton Rag Hardback Books
210 gsm - Rough(R) and Smooth(S) - White
Available in rough and smooth 100% white cotton rag paper made
with deckle edges. Sheets are internally sized and tub sized with
gelatine making them excellent for water colour and mixed media.
32 pages
Code
Surface
Size
KPHB5WR
Rough
5x 6/130 x 160mm
KPHB5WS
Smooth
5x 6/130 x 160mm
KPHB5LWR Rough
5x 12/130 x 320mm
KPHB5LWS Smooth
5x 12/ 130 x 320mm
KPHB4WR
Rough
8x 10/ 210 x 250mm
KPHB4WS
Smooth
8x 10/ 210 x 250mm
KPHB3WR
Rough
28 x 35cm
KPHB4WS
Smooth
28 x 35cm
Khadi
Sunn Hemp Paper
North India
Price
9.90
9.90
14.40
14.40
16.55
16.55
25.88
25.88
90 gsm
This is a traditional Islamic paper made by the

Size: 22
Muslim Kagzi community in North India.
Paper of this kind was made by the Kagzi during
Code
the Moghul period and earlier. The paper is made
KPSHMP
from hemp fibre and formed on chapri, a screen of
grass stems, which gives this paper its characteristic
laid pattern.The paper is sized on the surface
with wheat starch. Surface Laid.
x 30 / 560 x 760mm
Sheet
1
25
100
Price
2.40
2.16 each 54.00
2.05 each 205.00
Price
3.22
4.80
PAPER
HANDMADE PAPER
Nepalese Washi Papers
Made in Nepal by the Japanese Nagashizuki Method.
Nagashizuki is the Japanese method of papermaking in which the pulp is formed in fine
layers onto a silk back sieve mould. The papers contain bark, leaves and bamboo.
These are light and medium weight papers made from Lotka bark fibres, Lotka with leaf,
bark and mica and Nepalese Mitsumata.
Mitsumata is a softer more absorbent fibre and makes great printmaking paper.
Nepalese Mitsumata Washi

Made with a softer, absorbent fibre and makes an excellent printmaking paper.
Gsm 40
Code
Size
mm
Surface Sheet Price
KPJM3N
22 x 30
22 x 30
22 x 30
560x760
560x760
560x760
Medium
Medium
Medium
1
25
100
2.67
2.40each 60.00
2.29each 229.00
Paper drying - Bhutan
PAPER
HANDMADE PAPER
Wiro Albums in Black Cotton Rag
Khadi Rag Sketchbooks
Ideal for creating your own album of ideas, a project or for

memorabilia. Made with heavy smooth black paper.
Wiro Sketchbooks
210 gsm - Rough(R) and Smooth(S) - White
Made with 100% cotton rag which due to the long fibre length produces handmade papers with exceptional strength and durability.
All sheets have deckle edges, are internally sized and tub sized
with gelatine making them great for watercolour and a whole range
of art media.
Wiro bound containing 30 pages and available in two papers rough and smooth. Great value.
Code
Pages
Size
KPW5WR
30
6x 8/150 x 200mm
KPW5WS
30
6x 8/150 x 200mm
KPW4WR
30
10x 11/ 260 x 280mm
KPW4WS
30
10x 11/ 260 x 280mm
KPW3WR
30
12x 13/ 300 x 340mm
KPW3WS
30
12x 13/ 300 x 340mm
Price
8.27
8.27
16.02
16.02
21.88
21.88
400gsm - Smooth - Black

Code
Pages
Size
KPWB5
20
6x 8/ 150 x200mm
KPWB4
20
10x 11/ 260 x 280mm
Price
8.27
16.02
Wiro Jumbo Books

Made with 100% cotton rag heavyweight paper with deckle edges
that have been internally sized and tub sized with gelatine. Ideal for
watercolour and mixed media work. 15 pages
640gsm -Rough and Smooth- White and Multicolour

Code
Colour Surface
KPJBWR
White
Rough
21x 15/540 x 380mm
KPJBWS White
Smooth
21x 15/540 x 380mm
Size
Price
31.20
31.20
PAPER
HANDMADE/TISSUE PAPER
Khadi Lokta Papers
Bhutan
From Bhutan which borders Tibet and the north eastern frontier
provinces of India. We have two traditional papers: Resho and
Tsasho. These are made from the same sort of bark fibre as the
Nepalese but they have a somewhat wilder character. Resho is made
on a cloth covered mould, like the Nepalese mountain paper. Tsasho
is made on a mould of split bamboo and has a very distinctive laid
pattern which is in effect the watermark of the bamboo mould.
Khadi Resho Paper

Size: 22 x 30 / 560 x 760mm Gsm 90
Surface Laid
Code
Sheet
Price
KPRESH
1
2.16
25
1.94 each 48.50
100
1.85 each 185.00
Khadi Tsasho Paper
Size: 22 x 30 / 560 x 760mm Gsm 100
Surface Laid
Code
Sheet
Price
KPTSAS
1
3.84
25
3.45 each 86.25
100
3.28 each 328.00
Khadi Mulberry Tissue Papers

Northern Thailand
And finally, from the Chiang Mai district of Northern Thailand, two very
fine, almost weightless handmade papers made from the bark fibre of
the paper mulberry, called ton sea.
Khadi
TP1 Paper - Natural - Surface Smooth
Size: 19 x 21.5 / 480 x 550mm Gsm 10

Code
Sheet
Price
KPTP1
1
71p
50
64p each
100
61p each
32.00
61.00
Khadi TP2 Paper Natural - Surface Smooth

Size: 19 x 21.5 / 480 x 550mm Gsm 25
Code
Sheet
Price
KPTP2
1
71p
50
64p each
32.00
100
61p each
61.00
Khadi TP3 Paper - Natural - Surface Smooth
Size: 31.5 x 38.5 / 800 x 950mm Gsm 30
Code
Sheet
Price
KPTP3
1
1.62
25
1.46 each 36.50
100
1.38 each 138.00
PAPER
TISSUE / JAPANESE PAPER / EGYPTIAN PAPYRUS
Japanese Papers The Fibres
The main difference between Western and Japanese papers is that in the
west we primarily use cotton or wood pulp fibres, whereas Japanese papers
are primarily made from bast fibres taken from the inner white bark of young
gampi, kozo and mitsumata trees, which produce thin but extremely strong
papers. Even though the fibres are extensively beaten in the papermaking
process they retain their length, fineness and thin wall construction. The cost of
bast fibres is very high compared to pulp or cotton due to the intensive
processes involved in preparing the Japanese fibres. Amongst Japanese fibres,
the kozo fibres are the longest and produce the strongest papers. Kozo and
Gampi fibres have been used by the Japanese since around the eighth century.
Gampi fibres are known for their translucency and lustre.
Japanese papers are normally neutral pH as no acidic additives are included in
the making process. The only other ingredient is soda ash which is the
commercial grade of calcium carbonate and is water soluble.
Generally, Japanese papers are unsized. If sizing is applied, it is usually
gelatine surface sizing and not an internal size added at the pulp stage.
Lens Tissue
Machine made, pH 8, 100% manila hemp.
Size: 20 x 30 / 510 x 760mm Gsm 10

Code
Surface Sheet Price
RKLT10
Smooth
1
86p
Smooth
25
78p each 19.50
Smooth
100 74p each 74.00
Maruishi
Machine made, 100% manila hemp, neutral pH.
Size: 24 x 30 / 610 x 910mm Gsm 9

Code
Surface Sheet Price
RKMAR9
Smooth
1
1.44
Smooth
25 1.30 each 32.50
Smooth
100 1.15 each 115.00
Egyptian Papyrus
Made by hand in the
traditional manner using
papyrus reeds.
A truly unique paper
essentially the worlds first
genuine writing surface.
Suitable for calligraphy,
painting or printing when a
specific surface effect is
required.
Size : 12 x 16 / 300 x 400mm - Gsm Variable

Code
Surface Sheet Price
RKEP01 Grained
1
5.12
Grained 10
4.61 each 46.10
Grained 100
4.15 each 415.00
Maruishi
Lens Tissue
PAPER
TISSUE PAPER
Atlantis Acid Free Tissue Paper

Our own acid free paper is ideal for interleaving drawings, photos, prints etc. This tissue is widely purchased by many of our major institutions such
as museums, galleries and archives. Made from fully beaten sulphate pulp and buffered with calcium carbonate to neutralise acidity.
The extensive beating imparts a smooth hard feel with a good degree of transparency. Surface is smooth.
Size: 19.5 x 30 / 500 x 750mm - Gsm 18

Code
Sheet
Price
AFT01
1
5p
50
4p each 2.00
Size : 30 x 39 / 750 x 1000mm - Gsm 18

Code
Sheet
Price
AFT02
1
10p
50
8p each 4.00
Atlantis Coloured Tissue Paper
Glassine Paper
A range of very economical coloured tissues that have a wide range

of uses including collage, crafts etc.
Size : 19.5 x 30 / 508 x 762mm - Gsm 18

Code Surface Sheet Price
APTP--- Smooth
1
22p
Smooth 25
20p each 5.00
Smooth 480
18p each 86.40 Pack
Colours:
BL-Black
P-Pink
R-Red
B-Blue
SB-Sky Blue
BM-Bright Mauve
Y-Yellow
W-White
L-Lime
O-Orange
PU-Purple
LI-Lilac
Note: When ordering please quote code followed by colour
code ie: APTPBL = Black
Glassine is used as an interleaving and barrier paper to separate art

works such as oil and acrylic paintings as well as charcoal and
pencil drawings.The paper is impenetrable by oil and grease, is
highly resistant to solvents and chemicals, is compatible with pH
sensitive items and is resistant to high heat. Other uses include
protection of photography, stamps and even candles such is the
versatility of this paper.
Gsm 40
Size 50 x 70cm/19.7 x 27.6
Code
RKGCP40
RKGCP40
Sheet Price
1
25
500
25p
22p each 9.50
21p each 105.00
PAPER
COLOURED PAPER AND CARD
Maya Coloured Paper and Card
by Clairefontaine of France
We decided to introduce this range as it
represents great value, woodfree, acid free,
smooth surface. Available in White and 29
colours.
A1 - Gsm 120
Code
Sheet Price
RKCMPA1 1
1.26
25
1.13 each 28.25
A1 - Gsm 270
Code
Sheet
RKCMCA1 1
10
A4 - Gsm 270
Code
Sheet
RKCMCA4 1
25
50
Price
1.82
1.64 each 164.00
Price
32p
29p each 7.25
26p each 13.00
Colour Codes
50 - Black
51 - Dark Green
52 - Moss Green
53 - Intense Yellow
54 - Lemon
55 - Orange
56 - Red
57 - Midnight Blue
58 - Blue
59 - Violet
60 Intense Pink
61 - Brown
62 - Grey
63 - White
64 - Apricot
65 - Pale Pink
66 - Pale Orange
67 - Straw Yellow
68 - Mint
69 - Turquoise
70 - Khaki
71 - Sky Blue
72 - Light Grey
73 - Cream
74 - Light Brown
75 - Ivory
76 - Burgundy
77 - Lilac
78 - Royal Blue
79 - Antique
Green
Note : When ordering please quote

product code followed by colour
code, eg. RKCMPA150 = RKCMPA1 +
50 = Maya Coloured Paper A1 Black
Atlantis Sugar Paper

Ideal for work where discarding paper is not a financial
problem.
Primarily used for rough drawing, water based paint work for
younger children and collages.
Size A1 - 100 Gsm

Code
ATSP1---
Sheet Price
1
39p
25
35p each
8.75
100
32p each 32.00
250
29p each 72.50
2500
26p each 650.00
BK-Black BU-Buff
PI-Pink
BL-Blue
GRE-Grey GR-Green OR-Orange RD-Red
WH-White
YE-Yellow
Mirri Card
Metallic card with a highly reflective
surface.
Colours
SI - Silver BL - Black
Size: 17.5 x 25.2 / 450 x 640mm B - Blue GR - Green

G - Gold C - Copper
Gsm 270
R - Red GM - Gun Metal
Silver
Code
Sheet Price
RKMC27SI--- 1
2.62
25
2.36 each 59.00
100 2.13 each 213.00 Note : When ordering
please quote product
All Colours
code followed by
RKMC27--- 1
3.20
colour code i.e:
25
2.88 each 72.00 RKMC27SI = Mirri
100 2.59 each 259.00 Card Silver.
PAPER
COLOURED PAPER AND CARD
CANFORD PAPER AND CARD COLOUR CHART
024
Dresden
Yellow
010
Buttercup
072
Tangerine
073
Bubble Gum
204
Blush
(disc.)
080
Plum
007
Bright Red
031
Guardsman
Red
078
Cherry
206
Pale Lilac
001
Amethyst
053
Royal Purple
003
Azure Blue
043
Navy Blue
201
Mint
085
Terracotta
(disc.)
205
Aqua
036
Kingfisher
025
Electric
Blue
052
Royal Blue
081
Ocean Blue
026
Emerald
034
Jewel Green
054
Russian
Green
077
Forest
014
Coffee
023
Dreadnought
Grey
202
Barley
033
Ivory
069
Champagne
079
Gun Metal
068
Snow White
070
Frosted
Silver
071
Frosted
Gold
Daler Canford Card and Paper

Britain's No. 1 range of coloured card and paper.
Card -Available in A1 and A4 Gsm 300

A4 Code Sheet Price
DRCC4--1
37p
10
33p each 3.30
50
30p each 15.00
A1 DRCC--- 1
1.81
10 1.63 each 16.30
50 1.47 each 73.50
Paper - Available in A1 and A4
A4 Code Sheet Price
DRCP4--1
21p
10
19p each 1.90
50
17p each 8.50
A1 DRCP--- 1
1.25
25 1.13 each 28.25
50 1.02 each 51.00
074
Mocha
(disc.)
004
Jet Black
011
China White
083
Ice White
Please note : When ordering please use the colour chart and quote the
product code followed by the colour code, eg. Canford Paper A1 Ivory =
DRCP033. This colour chart is produced within the limitations of printing
and is intended as a guide only.
Canford Coloured Paper Pad - Gsm 150

Available in pads of eight assorted colours and black. 30 leaves per pad.
Available in Assorted and Black. Sizes A3 and A4
Assorted
Code
Price
DRCPPAA3
DRCPPAA4
RRP
10.47 13.10
5.96 8.65
Black
Code
DRCPPBA3
DRCPPBA4
Price RRP
10.47 13.10
5.96 8.65
PAPER
GRAPHIC PAPERS, PADS & ROLLS
Tracing Paper Sheets
Tervakoski Detail Paper Rolls
High quality smooth surface paper with low opacity.

Available in White
Code
RKT90A1
RKT90A2
RKT112A1
RKT112A2
Size
A1
A1
A1
Available in White.
Gsm Sheet Price

90
1
56p
90
25 51p each 12.75
90
125 46p each 57.50
Gsm 25
Code
Size
mm
30 x 330ft 297 x 100m
60 x 330ft 594 x 100m
RS000134
RS000141
A2
A2
A2
90
90
90
1
25
125
28p
25p each 6.25
23p each 28.75
Tracing Paper Rolls
A1
A1
A1
112
112
112
1
25
125
75p
68p each 17.00
61p each 76.25
Code
A2
A2
A2
112
112
112
1
25
125
37p
33p each 8.25
30p each 37.50
Price
24.99
50.29
Colour - Transparent
RKTR624
RKTR928
RKTR112
Size
mm
33 x 81ft 841 x 25m

33 x 81ft 841 x 25m
33 x 81ft 841 x 25m
Gsm
Price
62
92
112
20.26
25.28
31.19
Goldline Economical Tracing Pads
Goldline Professional Tracing Pads
A very successful range of good value economical tracing pads.
For the more regular graphic designer who requires a better quality
pad. These pads will accept pen or pencil.
Code
THGPT2A4
THGPT2A3
THGPT2A2
Size
A4
A3
A2
Gsm Sheet Price

63
50
6.22
63
50 12.29
63
50 21.15
RRP
7.21
13.30
22.25
Code
THGPT1A4
THGPT1A3
THGPT1A2
Size
A4
A3
A2
Gsm Sheet Price RRP

90
50
8.20 9.22
90
50 15.15 16.20
90
50 27.50 28.57
PAPER
GRAPHIC PADS
Daler Graphic Pads

Tracing Pads
Layout Pads
Excellent value range of tracing pads in two paper thickness

:60gsm which contains lighter weight tracing paper and 90gsm
standard tracing paper.
The pads have been relaunched with new covers with a design
which more clearly show in clear symbol forms all the key
information such as number of sheets, weight of paper as well as
what type of media can be used on the surface. Acid free.
Lightweight Paper 60gsm
Code
Size
Sheets
DRSATP60A4
A4
50
DRSATP60A3
A3
50
DRSATP60A2
A2
50
Price
5.26
9.07
16.65
Size
RRP Code
6.40 DRSALPA4 A4
11.80 DRSALPA3 A3
20.80 DRSALPA2 A2
6.85
9.77
17.49
8.70
12.60
22.15
Price
4.56
9.07
RRP
5.95
11.60
Standard Paper 90 gsm

DRTP90A4
A4
50
DRTP90A3
A3
50
DRTP90A2
A2
50
Daler Bristol Board Pad

Sheets 20
Code
Size Weight
DRBBPA4
A4
DRBBPA3
A3
250 gsm
250 gsm
Great value for money range of layout pads for the preparation of
roughs and other work for both artists and designers.
This range has been revamped to include better graphics on the
cover design which in clear symbols provides the user with all the
key information such as weight of paper,number of sheets and
what type of media can be used on the surface.
Acid free. Ideal for use with pencil and pen with very high
see through characteristics. 45gsm
Gsm
45
45
45
Sheets Price RRP

80
3.14 3.95
80
5.96 7.60
80
10.85 13.80
Marker Pads
A much improved pad range with the addition of a better quality of

bleedproof paper that is more resistant to heavy drawings with
marker pens as well as having excellent see through.
New Cover graphics provide clear symbols covering all the key
information an artist or designer requires. 70gsm
Code
DRMPA4
DRMPA3
DRMPA2
Size
A4
A3
A2
Gsm
70
70
70
Sheets Price RRP

50
4.56 5.75
50
7.34 9.40
50
15.05 18.98
PAPER
GRAPHIC PADS
Goldline Typo / Detail Pads
A range of good but economical Typo / Detail pads with excellent
bleedproof qualities and ideal for colour mark up on artwork.
Code
THGPD1A4
THGPD1A3
Size
A4
A3
Gsm Sheet
53
50
53
50
Price RRP
7.97 9.00
9.45 10.50
Chartwell Graph Pads

Printed transparent blue.
Available in two sizes A4 and A3 and also available in 3 graph
square sizes, 1.5 and 10mm.
Code
THJ14BA4
THJ13BA3
Size
A4
A3
Gsm Sheet Price

70
50
5.32
70
50
7.19
RRP
5.88
7.57
Goldline Layout Pads
Goldline Bleedproof Marker
A range of good but economical graphic layout pads.

Good transparency with substantial resistance to bleed through.
An economical range of pads that represent excellent value.

Ideal for presentation visuals.
Code
Size
THGPL1A4 A4
THGPL1A3 A3
THGPL1A2 A2
Gsm Sheet Price

50
80
4.59
50
80
8.19
50
80 14.24
RRP
4.89
8.52
14.57
Code
THGPB1A4
THGPB1A3
THGPB1A2
Size
A4
A3
A2
Gsm Sheet Price

RRP
70
50
5.48 5.78
70
50
8.62 8.91
70
50
16.55 16.96
PAPER
SOMERSET INKJET PAPER
Somerset Enhanced Inkjet Paper
This is widely used by professionals around the world where
there is a demand for those producing fine art limited edition prints
and photographic reproductions.
Somerset Enhanced has been especially formulated for Inkjet
Printers such as Iris, Colourspan and Epsom.
This paper is 100% Cotton, acid free and is coated on one side.
The colour is Radiant White and comes in three surface textures :Satin - Textured - Velvet
The paper has the look and feel of uncoated cotton paper but gives
a printed result closer to that of a coated paper. The suitability of
individual models of printers should be checked prior to use.
Ensure that the printing is applied to the coated side.The paper is
available in A4 and A3+ in all three surfaces above as well as rolls.
Archival Properties
Somerset Enhanced is made from 100% cotton to ensure the
customer has a sheet of inkjet paper made with one of the purest
sources of cellulose. It is buffered with calcium carbonate to combat
acid attack that finished prints may encounter from air pollution.
Fade Resistance
For print longevity, pigment-based inks are advised.
This type of ink usually has a far greater fade resistance than the
equivalent dye-based, making it ideal for coated inkjet papers.
As with the majority of original artwork, prints should where possible
be framed behind glass and hung away from direct sunlight.
General Storage and Handling
Keep the paper in its original packaging until required.
Handle the paper with care to avoid damaging the coated surface.
Avoid touching the coated surface (print side), as oils from the skin
can be absorbed into the paper coating, which can have an adverse
effect on the print quality.
Handle the paper by the edges or underside.
Do not expose the paper to extremes of temperature or humidity.
After printing
Coated inkjet papers can react to solvents, plasticizers or
antioxidants by producing a transient yellow cast. To avoid this, let
the prints dry thoroughly. This is best done individually in drying
racks which allow free circulation of air. The prints should be left like
this for up to 24 hours. Do not stack a number of freshly printed prints
in a pile. Do not seal freshly printed material in polythene bags, in
drawers or other areas where air cannot freely circulate until the print
is dry. If the dry prints are to be stored in plastic bags at any point,
we recommend the use of bags that do not contain plasticizers.
Certain materials, i.e. tapes, dry mounting film contain plasticizers
and can cause discoloration. Discoloration of coated papers is a
known phenomenon but it is only temporary and can be permanently
reversed by exposure to UV. If yellowing is experienced, exposing to
daylight for a short period can permanently reverse it. Handle the
prints with care as the surface is easily damaged.
A4 - Gsm 225
Code
Surface Sheet Price
RKSESWA4 Satin
1
1.32
Satin
25
1.19
RKSETWA4 Textured 1
1.32
Textured 25
1.19
RKSEVWA4 Velvet
1
1.32
Velvet
25
1.19
A3+ - Gsm 225
Code
Surface Sheet Price
RKSESWA3 Satin
1
3.20
Satin
25
2.88
RKSETWA3 Textured 1
3.20
Textured 25
2.88
RKSEVWA3 Velvet
1
3.20
Velvet
25
2.88
Somerset Inkjet Roll Velvet
Code
Surface Sheet Price
RKSEVR
Velvet
Roll 95.45
each 29.75 Pack

each 29.75 Pack
each 29.75 Pack
each 72.00 Pack

each 72.00 Pack
each 72.00 Pack
RRP
99.90
PAPER
INKJET PAPER / STENCIL PAPER
Bockingford Inkjet
Double sided watercolour paper. For inkjet reproduction.
Bockingford Inkjet is specially made for artists who wish to produce their own prints with the same look and feel of their original watercolours.
This unique Bockingford paper has been given an ink receptive surface on both sides, to create Bockingford Inkjet.
Artists can now produce their own limited edition prints. It is often very difficult to tell reproductions from the originals especially when using
a good inkjet printer.
Watercolour artists familiar with the original Bockingford Watercolour paper will recognise the same familiar surface on the Bockingford Inkjet.
It is made in the same time-honoured fashion as Bockingford Watercolour paper, on a traditional mould machine.
Unlike many other artists inkjet papers, Bockingford Inkjets ability to have an ink receptive surface on both sides of the sheet enables
limited edition books and portfolios to be created.
Code
Size Sheet
RKBBI3 A3
1
A3
20
Price
1.81
1.63 each 32.60
Code
Size Sheet
RKBBI4 A4
1
A4 20
Price
82p
74p each 14.80
Atlantis Stencil Card

Oiled manila card for cutting out stencils.
Colour is Mustard with a smooth surface.
A1
Code
APSCA1
Sheet
1
10
50
Price
4.27
3.84 each 38.40
3.46 each 173.00
Size : 22 x 24 / 560 x 610mm

APSC2224
1
2.91
10
2.62 each 26.20
50
2.36 each 118.00
Size : 11 x 24 / 280 x 610mm
APSC2411
1
1.48
10
1.33 each 13.30
50
1.20 each 60.00
PAPER
GREY BOARD / ENVIRONMOUNT / MOUNT BOARD
Environmount
Grey Board
An economical recycled mount board. Ideal for younger artists and

students as a simple, inexpensive mounting board or as a model
making material. Hard, smooth surface with a slight sheen.
General purpose economical board for model making, supporting

and backing. Micron 1950
Atlantis Conservation Board
Atlantis 100% Cotton Museum Board
We define Conservation Board as one which is made from

chemically refined pulp which is totally acid and lignin free.
Conservation board is marginally more expensive than acid pulp
boards but we encourage and recommend their use wherever
possible as a way of avoiding the dangers of acid pulp boards.
We believe that our conservation board is among the safest
conservation mounting boards available and hope that its
workable size (851x1207mm) combined with its low price will
encourage more artists and framers to consider the long term
effect of the board they use when framing original works of art.
This board offers a high degree of purity at an economical price.
We believe this is the highest grade of mounting board that is

realistically commercially available.
This is for use with good quality and important art works, including
old master drawings. We supply this to most major UK museums.
Atlantis defines a museum board as one which is made from cotton
fibre which is at least 95% alpha cellulose in its raw state.
Alpha cellulose is the purest form of cellulose used in papermaking.
Cotton requires little cleaning and refining to remove the impurities
which are considered to be detrimental to the long term storage of
art works.
In addition, the fibres retain their superior length and strength
which gives greater stability to the board.
A1
Microns 1250
Code Board Price
RKEN7A1
1
3.29
25 2.96 each 74.00
100 2.67 each 267.00
Micron 1380
Size : 33.5 x 47.5 / 817 x 1220mm
Code
AACB02
Colour
Bookwhite
Board
10 (Pack)
Size 64 x 90cm / 25 x 35.4 inches

Code
Board Price
RKGB1964 1
3.05
25
2.75 each 68.75
100 2.48 each 248.00
Size 42 x 59.4cm / A2
RKGB19A2 1
1.16
25
1.05 each 26.25
100
95p each 95.00
Micron 1650
Price
102.00
Note : Only available in full packs when purchased from the

mail order department
Code
Size
mm
Colour Board
AAMB03 33 x 45 838 x1143
Cream
10
AAMB04 45 x 66 1143 x1676
Cream
10
AAMB10 33 x 47 841 x1189 TG Off White 10
Price
212.16
463.08
226.44
Micron 2200
Code Size
mm
Colour Board
AAMB05 33 x 45 838 x 1143
Cream
10
AAMB06 45 x 66 1143x1676
Cream
10
AAMB11 33 x 47 841 x 1189 TG Off White 10
Atlantis Museum Board
Price
336.60
673.20
348.84
Note : Only available in full packs when purchased from the

mail order department
PAPER
MOUNT BOARD
Daler Rowney
Studland Mount Board
A very good economical range and one of the UKs best
selling mount boards.
The boards are made to an alkaline pH for permanence,
then buffered to prevent atmospheric contamination
We only stock the best selling colours.
Note: Poster Black and Snow White come in packs of 20.
1400 microns and smooth surface.

A1
Code
Board
DRSM---- 1
DRSM--10
DRSM-100
Price
2.96
2.67 each 26.70
2.40 each 240.00
Daler Rowney
1036 - Misty Grey

1041 - Pompadour
1047 - Saxe Blue
1057 - Storm Blue
1082 - Twilight Blue
1068 - Willow Green
1006 - Bottle Green
1072 - Dark Grey
1035 - Jade
1040 - Pale Grey
1048 - Scarlet
1055 - Soft Green
1058 - Suede Brown
1063 - Vivid Blue
1007 - Brick
1018 - Dawn Pink
1027 - Holly Green
1059 - Sunset Pink
1064 - Vivid Green
1080 - Steel Grey
Daler Rowney
Studland Extra Large
Jumbo Mount Board
Studland Mount Board Black Core

1400 microns and smooth surface.
A1
Code
Board Price
DRBCMB54
1
5.71
2
5.14 each
10
4.63 each
Extra large mount board White Core
Colour Codes
1062- Super White
1054 - Snow White
1091 - Ice White
1069 - Antique White
1030 - Ivory
1070 - Pale Ivory
1019 - Deep Cream
1012 - Charcoal Black
1003 - Double S/Black
1042 - Poster Black
1009 - Buff
1014 - Coffee
1028 - Horizon Blue
1031 - Maroon
1066 - Pillar Box Red
1046 - Sandstone
1050 - Sepia
1076 - Light Mauve
1043 - Russian Green
1065 - Vivid Yellow

1001 - Ash Grey
1013 - Catkin
1020 - Daler Cream
1074 - Delft Blue
1029 - Hussar Blue
1034 - Mid Grey
1067 - Plum
1044 - Satinwood
1052 - Silver Grey
1056 - Stone
1085 - Terracotta
1083 - Wedgewood
1002 - Avocado
1011 - Champagne
1008 - Damson
1022 - Dove Grey
1049 - Seal
1089 - Spice
Colour Codes
9042 - Poster Black
9069 - Antique White
9054 - Snow White
Size : 1525 x 1020 cm / 60 x 40

Board Price
DRSMXL 1
13.42
5 12.08 each 60.40
Code
Daler Rowney
Studland Mount Board
Colour Codes
0042 - Poster Black

0054 - Snow White
0030 - Ivory
AO Size
Size : 1189 x 841 cm
Board Price
DRSMA0 1
9.60
10
8.64 each 86.40
Code
A0 mount board
PAPER
FOAM CENTRED BOARD
Foam Centred Board 3mm, 5mm and 10mm
A foam centre art board that is used as a lightweight support panel for graphics, architectural and exhibition work.
Widely used also as a simple self supporting surface for signage and water based paintings. Oil based and acrylic paints can also be applied.
Very rigid and stable with an ultra fine polystyrene core. The surface is a printing quality smooth coated white kraft paper. Can be cut by die
or blade to give a clear sharp edge of board like quality. Probably the most widely used display board in use today.
Foam Centred Boards perform well with dry mounting equipment.
Code
Size
Price
Code
WF3020
30x20 762 x 508

30x20 762 x 508
21.20
WF5003
WF5003
40x30
40x30
39.50
WF5004
WF5004
57.10
WF7060
WF7060
30.80
WF7040
WF7040
16.10
WF7020
WF7020
8.70
WF7001
WF7001
6.00
WF7002
WF7002
23.00
WF7003
WF7003
45.50
WF7004
WF7004
78.10
WF1020
WF1020
74.60
WF1040
WF1040
37.30
WF1060
WF1060
WF3020
WF3040
WF3040
WF3060
60x40
60x40
WF3001
WF3001
A1
A1
WF3002
A2
A2
WF3060
WF3002
WF3003
WF3003
A3
A3
WF5020
WF5020
A4
A4
30x20
30x20
WF5040
WF5040
40x30
40x30
WF5060
WF5060
60x40
60x40
WF5000
WF5000
A0
A0
WF5001
WF5001
A1
A1
WF5002
WF5002
A2
A2
WF3004
WF3004
mm
Thick Colour Qty Unit

3mm White 1
2.35
3mm White 10 2.12
1016 x 762 3mm White 1
4.39
1016 x 762 3mm White 10 3.95
1016 x 1524 3mm White 1
6.34
1016 x 1524 3mm White 10 5.71
841 x 594 3mm White 1
3.42
841 x 594 3mm White 10 3.08
594 x 420 3mm White 1
1.79
594 x 420 3mm White 10 1.61
420 x 297 3mm White 1
96p
420 x 297 3mm White 10
87p
297 x 210 3mm White 1
66p
297 x 210 3mm White 10
60p
762 x 508 5mm White 1
2.55
762 x 508 5mm White 10 2.30
1016 x 762 5mm White 1
5.05
1016 x 762 5mm White 10 4.55
1524 x 1016 5mm White 1
8.68
1524 x 1016 5mm White 10 7.81
841 x 1189 5mm White 1
8.49
841 x 1189 5mm White 10 7.46
841 x 594 5mm White 1
4.14
841 x 594 5mm White 10 3.73
594 x 420 5mm White 1
2.25
594 x 420 5mm White 10 2.03
Size
mm
A3
A3
420 x 297 5mm White

420 x 297 5mm White
Thick Colour Qty Unit Price

1 1.18
10 1.06 10.60
A4
297 x 210 5mm White 1
83p
A4
297 x 21 5mm White 10
75p 7.50
60x40 1016 x 1524 5mm Black 1 16.00
60x40 1016 x 1524 5mm Black 10 14.40 144.00
40x30 1016 x 762 5mm Black 1 7.24
40x30 1016 x 762 5mm Black 10 6.52 65.20
30x20 762 x 508 5mm Black 1 4.29
30x20 762 x 508 5mm Black 10 3.86 38.60
A1
841 x 594 5mm Black 1 6.66
A1
841 x 594 5mm Black 10 5.99 59.90
A2
594 x 420 5mm Black 1 3.34
A2
594 x 420 5mm Black 10 3.01 30.10
A3
420 x 297 5mm Black 1 2.84
A3
420 x 297 5mm Black 10 2.56 25.60
A4
297 x 210 5mm Black 1 1.58
A4
297 x 210 5mm Black 10 1.42 14.20
30x20 762 x 508 10mm White 1 7.74
30x20 762 x 508 10mm White 10 6.97 69.70
40x30 1016 x 762 10mm White 1 9.91
40x30 1016 x 762 10mm White 10 8.92 89.20
60x40 1524 x 1016 10mm White 1 20.20
60x40 1524 x 1016 10mm White 10 18.18 181.80
20.30
PAPER
TRANSPARENT FILM / KRAFT PAPER
Acetate Sheets and Rolls
Frisk Coverseal Film Rolls
A clear film used for overlays and overhead projections.
A transparent, adhesive backed (1 side) film that is widely used for

covering books or laminating paper. Provides total clarity.
Microns 115
Code
Size
RSAS15A1
A1
A1
RSAS15A2
A2
A2
RSAS15A3
A3
A3
RSAS15A4
A4
A4
Code
Sheet
1
25
1
25
1
25
1
25
Price
4.88
4.39 each 109.75
2.62
2.36 each 59.00
1.25
1.13 each 28.25
63p
57p each 14.25
Microns 250
Code
Size
RSAS25A1
A1
A1
RSAS25A2
A2
A2
RSAS25A3
A3
A3
RSAS25A4
A4
A4
Sheet
1
25
1
25
1
25
1
25
Price
8.76
7.88
4.56
4.10
2.28
2.05
1.14
1.03
each 197.00
each 102.50
each
51.25
each
25.75
Rolls
Code
RSAR1563
Size
24 x 33ft
mm
Micron
610 x 10m 115
Price
51.95
BCFC202
BCFC201
mm
Price per roll 1 Metre
500 x 10M
15.95
500 x 1M
2.05
Kraft Paper Sheets

Brown kraft paper which apart from wrapping paper can be used
as an inexpensive pastel paper or for sketches and preparatory
drawings. Surface is smooth.
Gsm 90
Code
mm
Sheet
APKP3040 305 x 406
1
305 x 406
25
305 x 406 250
Price
38p
34p each
31p each
Melinex Sheets and Rolls

The clearest of all transparent films and chemically inert, providing
an ideal archival and conservation storage material. Many of our
professional stencillers use this as its durability is far greater than
normal oiled manila papers as well as for large area stencilling. Ideal
as a superior alternative to acetate.
Micron 75
Code
MXS1610
MX01
Size
mm
40.5 x 39 1016 x 1000
40.5 x 66ft 1016 x 20m
Sheet Price
1
3.59
1 roll 60.00
PASTELS
OIL PASTELS - PROFESSIONAL
Sennelier Oil Pastels - Professional Quality
In 1949 Sennelier developed a range of artists quality pastels for Pablo Picasso, a customer. Picasso was looking for a medium that could
be applied directly and freely to a variety of surfaces without cracking. The resulting collaboration between Sennelier and Picasso led to
the development of the famous Sennelier Oil Pastel. Sennelier Oil Pastels have a uniquely soft, creamy quality with the appearance and
intensity of conventional oil colours. However, unlike oil colours, Sennelier Oil Pastels are non-acidic and can therefore be applied to
almost any surface, including paper. In order to further enhance the quality of the range Sennelier have recently introduced 44 exciting
new colours and a new large stick size. Now all 120 colours are 100% lightfast making the
Code
Size
Price
Sennelier Oil Pastel range probably the only true artist quality oil pastel in the world.
SESOPStandard
1.66
SELOPLarge
6.74
SEGOPGiant*
11.26
* Black & White only
Standard Size Oil Pastel Sets

Code
Size
Price
SESOP5006
6 Assorted
SESOP5012
12 Assorted
SESOP5024
24 Assorted
SESOP5024L
24 Landscape
SESOP5024SL 24 Still Life
SESOP5024P
24 Portrait
SESOP5048
48 Assorted

chart and quote the product code followed
by the colour code, eg.Sennelier Standard
Oil Pastel Bordeaux = SEOP + 8 = SEOP8
8.54
17.06
34.15
34.15
34.15
34.15
67.46
PASTELS
OIL PASTELS PROFESSIONAL
SENNELIER
OIL PASTELS
All 100% Lightfast
Large Size
All Non Fugitive

New Sets
44 Exciting New Colours
Perforated Labels
1 White
2 Azure
Blue
12 Grey
Deep
13Yellow
Grey
14 Pale
Grey
15Reddish 16 Grey
BrownGrey Green
17 Violet
Green
29 Red
Light
30 Red
Deep
31 Ruby
Red
32Venetian 33 Sepia
Red
34 Burnt
35 Raw
Umber
Umber
37 Raw 38Vermillion39Chromium40 Baryte 41Cinnabar42Cinnabar 43 Cobalt 44 Viridian 45 Green 46 Olive

Sienna
Green Deep Green Green Deep Grn.Yellow Green Lt.
Green
Medium
Green
47 Blue
Violet
48 Red
Violet
19 Lemon 20 Yellow
Yellow
Deep
36 Burnt
Sienna
3 Cerulean 4 Cobalt
Blue
Blue
5U/marine
Blue
6 Pale
Blue
21 Naples 22 Gold
Yellow
Yellow
23 Black
25 Flesh 26 Yellow 27 Purple

Ochre
Ochre
76 Violet 77Pale Pink 80 Indigo

Aliz. Lake Madder Lake Light
98 Mars
Black
99 Titan
Buff
7 Prussian 8 Bordeaux 11 Blue

Blue
Grey
82 Bright 84 Blue
85 Chrome 86Chromium 87 Sap
Turquoise Chrom.Grn. Green Med. Green Lt.
Green
111
112 Pale 113 Rich 114 Rich 115 Red
Aluminium
Gold Pale Gold
Gold
Copper
28 Pink
18 Bright
Yellow
72 Green 74 Yellow 75 Blue

Yellow Lt.
Lake Alizarin Lake
88 Sap 90 Chinese 91 Chrome 92 Brown 93Sennelier 94 Still de 95 Cobalt 96 Paynes

Green Lt.
Orange
Red
Madder Brown Lt. Grain Brun Violet Lt.Hue
Grey
123 Transp. 125 Irid.

Blue
White
132 Golden 134 Red 135Reddish 200

201 Nickel 202Geran. 203 Delft
Pearl
Gold Brown Gold Mandarin
Yellow Lake Light
Blue
204Cinnab. 205 Moss 206Turquoise 207 Ash 208 Mars 209 Violet 210 Olive 211 M/night 212
Yellow Brn.
Green
Blue
Blue
Orange
Ochre
Brown
Blue
Mummy
213 Pine 214 Celadon 215 Havana 216 Parma 217Cobalt 218Prussian 219 Sky
Green
Green
Ochre
Violet Violet Light
Green
Blue
220 Perm. 221 Transp.222 Phthalo 223 Light 224 Medium 225 Indian 226Celestial 227 Royal 228
IntenseRed Medium
Blue
Grey
Grey
Blue
Blue
Blue Charcoal
229 English 230 Rose

Grey
Ochre
231 Gold 232

233Luminous 234 Perm. 235 Charcoal
Brown Terra Cotta Yellow Green Light
Blue
236 Coral 237 French 238 Orange 239 Red 240 Light 241 Brown 242 Chrome 243 Earth
U/marineBlue
Ochre
Brown English Red
Ochre
Brown
Brown
Due to the limitations of four

colour printing this colour chart
should only be used as a guide.
PASTELS
OIL PASTELS ECONOMICAL
Inscribe
Gallery Oil Pastel Sets
We consider this to be outstanding value for money.
Considering the price it is surprising how good the
colours are.
Code
Size
INGOP5012
Set of 12
INGOP5024
Set of 24
INGOP5036
Set of 36
INGOP5048
Set of 48
INGOP5072
Set of 72
Price
4.99
7.99
10.85
14.25
29.79
FIXATIVES
Atlantis Aerosol Fixative
Fantastic value aerosol fixative that is ideal for the majority of artists drawings.
This is non yellowing, quick drying, colourless, suitable for pastels, lead and graphite based pencils,
charcoal, pastels, graphite powder and chalk.
Code
Size
CAF34
400ml
Price List
5.55 6.80
Daler Rowney
discontinued
Fixatives
discontinued
Daler Rowney Perfix Low Odour Aerosol Fixative

Very popular with little or no odour. For pastels, crayons, pencils or charcoal drawings.
Code
Size
DRM250000 150ml
DRM340000 400ml
Price
4.92
8.99
Daler Rowney Perfix Bottled Fixative

discontinued
For pencil, pastel and
discontinued
charcoal drawings. For use with a diffuser.

Odour free.
Code
Size
Price
Fixative is an essential tool for anyone involved in drawing with pastels, pencils and charcoal. Once a drawing has been completed there exists the problem of avoiding smudging it during natural handling or even when framing and storing it against other
sheets of paper. By spraying the drawing with fixative the drawing is sealed or fixed with an invisible film which makes it impossible to smudge even when deliberately rubbing hard with a finger. Leaves a clear finish.
PASTELS
SOFT PASTELS HANDMADE PROFESSIONAL
Unison Soft Pastels Handmade

A very popular range of pastels made
from the finest traditional pigments.
These are beautifully soft and carefully
made by Unison in Northumbria.
Made with a very fine variety of chalk,
they produce a smoother effect than
many pastel manufacturers.
A chunkier shape than other pastels.
These pastels are made as they were
originally made and their quality is
known throughout the world.
Code
Size
UPS--UPS--UPL--UPL---
Small Standard
Small Premium
Large Standard
Large Premium
Small Pastel Sets

Code
Size
UPS18L
18 Landscape
UPS18P
18 Portrait
UPS18S
18 Starter
Price
2.62
3.05
4.52
5.67
Price
50.18
50.18
50.18
Half Sticks Pastel Sets

Code
Size
Price
UPS16HS 16 Half Sticks 21.38
YELLOW
RED
1
10
11
12
10
11
12
13
14
15
16
17
18
13
14
15
16
17
18
A13
A14
A15
A7
A8
A9
A10
A11
A12
10
11
12
10
11
12
13
14
15
16
17
18
13
14
15
16
17
18
RED-EARTH
GREEN 1-18
BROWN-EARTH 1-18
GREEN 19-36
19
20
21
22
23
24
10
11
12
25
26
27
28
29
30
13
14
15
16
17
18
31
32
33
34
35
36
BROWN-EARTH 19 -36
YELLOW-GREEN-EARTH
19
20
21
22
23
24
25
26
27
28
29
30
10
11
12
31
32
33
34
35
36
13
14
15
16
17
18
BLUE-GREEN-EARTH
GREY 19-36
19
20
21
22
23
24
10
11
12
25
26Ivory
27
28White
29
30
13
14
15
16
17
18
31
32
33
35
36
BLUE-GREEN
ADDITIONAL GREYS 19-36
A19
A20
A21
A22
A23
A24
10
11
12
A25
A26
A27
A28
A29
A30
13
14
15
16
17
18
A31
A32
A33
A34
A35
A36
A1
A2
A3
BLUE-VIOLET
ADDITIONAL GREYS 37-54
A37
A38
A39
A40
A41
A42
10
11
12
A43
A44
A45
A46
A47
A48
13
14
15
16
17
18
A49
A50
A51
A52
A53
A54
A4
GREY 1-18
1
10
11
12
13
14
15
16
17
18

T
34
PASTELS
SENNELIER SOFT PASTEL SETS
Sets of Half Pastels
The most popular of Sennelier sets containing
all the keycolours in half length size.
Contained in attractive card boxes.
Code
Size
SESSPS20
SESSPS40
SESSPS80
20 Assorted Pastels
40 Assorted Pastels
80 Assorted Pastels
Price
25.15
43.15
80.95
Sennelier Extra Soft

Pastel Sets
Landscape Wooden Box Set
Set of 24
Ideal for special occasion present. Contained in wooden box.

Major landscape pastelcolours selection.
Assorted Colours
A selection of key colours in

an attractive card box.
Code
SESSPS24
Code
Size
SESSPS100L 100 Soft Pastels
Price
50.35
Price
269.95
Portrait Wooden Box Set

Ideal for special occasion present.
Major portrait pastel colours selection.
Contained in wooden box.
Code
Size
SESSPS100 100 Soft Pastels
Royal Wooden Box Set
A major occasion presentation set containing a

selection of 250 pastels. Contained in a two tray
wooden box with handle.
Code
Size
SESSPS250 250 Soft Pastels
Royal Wooden Box Set
Portrait and Landscape

Wooden Box Sets
Price
674.95
Price
269.95
King Wooden Box Set
Contains an amazing 525 assorted pastels laiden in

three trays. Comes in a mahogany stained wooden
box with handle.
Code
Size
SESSPS525
525 Soft Pastels
King Wooden Box Set
Price
1349.95
PASTELS
SOFT PASTELS PROFESSIONAL
Sennelier Extra Soft Pastels
The Sennelier Soft Pastel range has
been famous since the late 1800s and has
been used by many of the worlds
leading artists.
The range of 525 colours has continued to
evolve and is now the worlds largest
chromatic pastel range.
The great quality of the pastels
comes from a result of a balance between
pigment and natural binders.
These pastels are individually prepared by
hand without compression and are dried to
reduce brittleness.
The giant pastels are ideal for large scale
work.
Code
Size
SESSP--SESSP--SESSP--SEGSP---
Standard
Iridescent
Metallic
Giant
Price
2.40
2.40
2.40
15.74*

chart and quote the product code followed by the colour code,eg. Sennelier
Standard Soft Pastel Burnt Madder =
SESSP + 375 or 376 or 377.
SENNELIER SOFT PASTELS

Golden Ochre
12
129
131
132
730
115
116
11
11
720
38
39
40
41
43
44
34
342
343
344
346
345
Cadmium Yellow Orange
196
198
19
297
613
298
29
301
99
101
602
102
103
603
18
431
432
725
39
400
402
403
40
186
491
188
493
49
49
Purplish - Blue Grey
91
91
91
91
916
91
479
478
918
480
482
481
483
48
Blue Grey
200
751
201
202
203
20
419
421
423
425
Blue Grey Green
752
753
75
75
49
756
500
50
50
503
504
505
Grey
228
229
230
231
232
233
51
51
51
516
Lamp
178
15
902
90
90
179
180
181
156
518
519
Ivory
526
520
521
Whit
513
523
52
Intense
52
52
Mid Tones
15
158
159
160
23
236
23
238
239
950
241
951
952
953
95
207
208
209
210
211
955
956
95
958
Iridescents
Reseda Grey Green
Baryte Green
213
212
21
216
801
802
803
804
806
80
80
809
805
Moss Grey Green
76
763
764
765
766
16
168
169
171
172
173
17
176
81
Raw Sienna
Lawn Green
150
152
154
Cinereous
Green
507
508
509
511
512
811
812
813
81
81
81
81
819
81
Mummy
347
349
351
Viridian
104
105
106
107
108
109
110
Bronze Green Light
252
25
25
16
163
164
165
82
166
822
823
82
820
82
Olive Grey
English Blue
740
911
177
60
430
Olive Green
901
250
910
428
Yellow Grey Green
183
22
Apple Green
148
72
Bronze Green Deep
601
761
723
Black Green
Nickel Yellow
760
182
750
Lemon Yellow
205
722
Chromium
Green
Naples Yellow
98
721
199
900
426
Mouse Grey
Cinnabar Green
612
610
600
734
Leaf Green
Cadmium Yellow Deep
97
733
Forest Green
Bright Yellow
339
732
English Green
Orange Lead
37
731
Turquoise
Green
Yellow Ochre
113
Reddish Brown Grey
Turquoise Blue
742
743
744
745
449
450
451
453
454
455
P l e a s e n o t e : due to the limitations of four colour printing this chart should only be used as a guide. Actual
colours may differ slightly to those shown.
PASTELS
SOFT PASTELS ECONOMICAL
Inscribe Soft Pastel Sets

Full Size Pastel Sets
Code
Size
Price
INSPF12 12 Assorted
5.99
INSPF24 24 Assorted
9.75
INSPF48 48 Assorted 18.55
Half Size Pastel Sets

Code
Size
Price
INSP5048 48 Assorted
9.75
INSP5064 64 Assorted 11.99
PASTELS
DIFFUSER / TORTILLONS / BRUSHES
Pastel Brushes
Da Vinci Series 132
Made for the softest blending
of colours.
With a soft pony hair mix and
blue polished handle.
Size
Price
DVB13204
DVB13208
DVB13212
12
DVB13216
16
DVB13224
24
9.95
14.84
19.75
31.31
40.36
Code
Spray Diffuser
Diffusers are a simple and inexpensive method of applying
liquids in atomised form.
Mainly for the application of fixative in liquid form.
Small
Code
Size Price List
CASDS
2mm
1.65 2.75
Paper Stumps and Tortillions

A comprehensive selection of traditional Paper Stumps and Tortillions for blending pastels and charcoal.
Code
Size
Qty
CAPS63
Stump 6mm Dia
Pk 3
CAPS10
Stump 10mm Dia
Pk 2
CASTS5
Mixed Stump/Tort
Pk 5
Price
0.59
0.75
1.39
List
1.05
1.05
2.15
Code
Size
Qty
CAPT6
Tortillion 6mm Dia
Pk 12
CASTS5
Mixed Stump/Tort
Pk 5
Price
0.75
1.39
List
1.05
2.15
PIGMENTS
KREMER PIGMENTS
KREMER PIGMENTS
KREMER Pigments have been discovering and redeveloping historical pigments for art and restoration since 1977. Their research over
the past 30 years has made the range of historical pigments into the largest assortment in the world. KREMER Pigment offers more than
1500 different pigments of which Atlantis has a selection of the most popular.
Due to the experience with pigments made of precious stones and minerals, the best industrially manufactured pigments or artistic painting are selected. Several hundred modern pigments complete the historical palette.
Historical and modern binders, natural dyes, modern synthetic pigments, chemicals as well as additives, round off the assortment.
The breadth of the range is evident : KREMER offer genuine Sepia made from Adriatic cuttlefish, the historically famous blue glass Smalt,
and Lead Tin Yellow, the pure yellow of the Gothic and Renaissance painters.
Exactly 30 years ago, the chemist George Kremer founded his company which, since that time has become the first point of call for artists
and restorers seeking historical pigments and mediums. Starting as a sideline of his study of chemistry, it became quickly apparent that
the production and distribution of historic pigments found an enthusiastic customer base all over the world. No matter whether it is the
restoration frescoes from a 17th Century church ceiling in Switzerland, or the desire of an artist for a special kind of red, yellow, blue or
green, Dr. Kremer has made it his task to find the desired hue, to obtain the special pigment, or to search for natural resources of the mineral and produce the pigment from it. Vermilion, Smalt, Veronese Earth, Lapis Lazuli, bone black and Madder to name just a few of the
rare pigments are equally at home in the KREMER Colour mill before being sent worldwide to restorers, artists, violin makers as well
as many artisans whose need for original colour is critically important.
NEW
Kremer Graphite Black Powder

K47710100
100g
K47710500
500g
K477101K
1Kg
4.35
11.36
15.65
K4320010/K432001K
Nickel-Titanium Yellow
100g/1Kg
K2102010/K2102050
Cadmium Yellow No.2
very light, 100g/500g
K238502/K2385010
Studio Yellow
20g/100g
K236502/K2365010
Brilliant Yellow
20g/100g
K2106010/K2106050
Cadmium Yellow No.9
dark, 100g/500g
K4330010/K433001K
Titanium Orange
100g/1Kg
K4800010/K480001K
Iron Oxide Yellow 920,
100g/1Kg
K4007010/K40070101K
French Ochre
SOFODOR, 100g/1Kg
K4006010/K400601K
French Ochre JALS,
100g/1Kg
K4040010/K404001K
Raw Sienna
Italy, 100g/1Kg
K233502/K2335010
Indian Yellow Imitation,
20g/100g
K4001210/K400121K
French Ochre, yellow,
very light, 100g/1Kg
K4002010/K40020/1K
French Ochre RTFLES,
100g/1Kg
K4043010/K404301K
Burnt Sienna No. 3
100g/1Kg
K4051010/405101K
Venetian Red
100g/1Kg
K4054510/K405101K
English Red Deep
100g/1Kg
K4210025
Carmine Naccarat
cochineal, 25g
K372025
Madder Lake Genuine
50g
K4822010/K482201K
K2114010/K2114050
Caput Mortuum Synthetic Cadmium Red No. 3,
180 M, 100g, 1Kg
dark, 100g/500g
K239502/L2395010
Studio Red Helio
20g/100g
K231822/K2318210
Irgazine Ruby DPP-TR, 20g/100g
K2112010/K2112050
Cadmium Red No. 1,
light, 100g/500g
K231782/K2317810
Irgazine Orange DPP
RA, 20g/100g
K231802/K2318010
Irgazine Red DPP
BO, 20g/100g
K236102/K2361010
Alizarin Crimson dark
20g/100g
K4260010/K4260050
Ultramarine Red, violet pink, 100g/500g
K4512010/1K
U/marine Violet, lt. reddish, 100g/1Kg
K230502/K2305010
Helio Gen. Blue 20g/
100g
K231002/K2310010
Indanthrene Blue,
20g/100g
K4520010/1K
Prussian Blue / Milori
100g/1Kg
K4570010/K4570050
Cobalt Blue, dark
100g/500g
K45010/10/1K
Ultramarine Blue, dark,
100g/1Kg
K4508010/1K
Ultramarine Blue,
light, 100g/1Kg
K100010
Smalt, standard grind
50g
K4573010/K4573050
100g/500g
K105201
Lapis Lazuli
10g
K102001/K1020010
Azurite Natural,
10g/100g
K4575010/K4575050
Cobalt Blue Turquoise,
light, 100g/500g
K3600010
Indigo, Genuine
Indian, 100g
K230002/K2300010
Helio Gen Green
20g/100g
K4415110
Cobalt Green bluish A
100g
K4425010
Viridian Green
100g
K103001
Malachite Natural
10g
K4170010/K417001K
Verona Green Earth
100g/1Kg
K4420010/50/1K
Chrome Oxide Green
100g/500g/1Kg
K4063010/K106301K
Raw Umber greenish
dark, 100g/1Kg
K4071010/K407101K
Burnt Umber, Cyprus
100g/1Kg
discontinued
K4092010/K409201K
Slate Gray, gray green,
100g/1Kg
K124005
Sepia
50g
K4770010/50/1K
Graphite Powder Silver
100g, 500g, 1Kg
K4700010/K470001K
Vine Black, German
100g/1Kg
K4840010/K484001K
Mars Black
100g/1Kg
K4715010/50/1K
Ivory Black
100g/ 500g/1Kg
K120001
Genuine Ivory Black
10g
K500905/K5009010
Pearl Lustre Black
50g/100g
K4890010/1K
Iron Glimmer Gray
100g/1Kg
K5000010
Pearl Lustre Silver
100g
K4628010/K462801K
Buff Titanium
100g/1Kg
K4620010/K462001K
Titanium White Rutile
100g/1Kg
K4630010/K463001K
Zinc White
100g/1Kg
K587001K
Blanc Fixe
1Kg
K5600010
Fluorescent White
100g
K5605010
Fluorescent Blue
100g
K5610010
Fluorescent Green
100g
K5615010
Fluorescent Lemon
Yellow, 100g
K5620010
Fluorescent Golden
Yellow, 100g
5625010/K562001K
Fluorescent Orange
100g/Kg
K5630010/K563001K
Fluorescent Brick
Red, 100g/1Kg
K5635010/K563501K
Fluorescent Flame
Red 100g/ 1Kg
K5640010/K564001K
Fluorescent Magenta
Red, 100g/1Kg
K5645010/K564501K
Fluorescent Violet
100g/1Kg
PIGMENTS
KREMER PIGMENTS
Code
Size
K100005
K102001
K1020010
K103001
K105201
K120001
K2102010
K2102050
K2106010
K2106050
K2112010
K2112050
K2114010
K2114050
K230002
K2300010
K230502
K2305010
K231002
K2310010
K231782
K2317810
K231802
K2318010
K231822
K2318210
K233502
K2335010
K236102
K2361010
K230502
K2305010
K231002
K2310010
K231782
K2317810
K231802
K2318010
K231822
K2318210
K233502
K2335010
K236102
K2361010
K236502
50g
10g
100g
10g
10g
10g
100g
500g
100g
500g
100g
500g
100g
500g
20g
100g
20g
100g
20g
100g
20g
100g
20g
100g
20g
100g
20g
100g
20g
100g
20g
100g
20g
100g
20g
100g
20g
100g
20g
100g
20g
100g
20g
100g
20g
Price
24.45
19.25
171.15
6.99
111.76
9.60
13.89
62.49
13.89
62.49
18.25
81.59
18.25
81.59
6.25
17.36
4.42
11.41
11.46
39.42
9.25
33.35
12.99
41.66
12.99
37.03
9.73
33.35
5.87
17.94
6.25
17.36
10.78
37.03
9.15
28.55
10.78
37.02
10.78
37.03
8.98
31.32
6.95
20.83
5.75
Code
Size
K236502
K2365010
K238502
K2385010
K239502
K2395010
K3600010
K372025
K3740510
K4001210
K400121K
K4002010
K400201K
K4006010
K400601K
K4007010
K400701K
K4040010
K404001K
K4043010
K404301K
K4051010
K405101K
K4054510
K405451K
K4063010
K406301K
K4071010
K407101K
K4092010
K409201K
K4170010
K417001K
K4210025
K4260010
K4260050
K4320010
K432001K
K4330010
K433001K
K4415110
K4420010
K4420050
K442001K
K4425010
20g
100g
20g
100g
20g
100g
100g
50g
100g
100g
1Kg
100g
1Kg
100g
1Kg
100g
1Kg
100g
1Kg
100g
1Kg
100g
1Kg
100g
1Kg
100g
100g
100g
1Kg
100g
1Kg
100g
1Kg
25g
100g
500g
100g
1Kg
100g
1Kg
100g
100g
500g
1Kg
100g
Price
5.87
20.83
6.95
20.83
6.95
20.83
23.95
69.45
3.75
4.35
8.52
4.35
8.52
4.35
8.52
4.35
9.55
4.35
18.25
4.35
18.25
4.35
19.99
4.35
11.29
4.35
12.99
4.35
17.19
4.35
10.45
4.35
19.99
17.36
9.19
39.99
7.29
62.49
6.95
49.49
24.35
5.25
21.70
38.19
24.35
Code
Size
K4501010
K450101K
K4508010
K450801K
K4512010
K451201K
K4520010
K4520050
K452001K
K4570010
K4570050
K4573010
K4573050
K4575010
K4575050
K4620010
K462001K
K4628010
K462801K
K4630010
K463001K
K4700010
K470001K
K4715010
K4715050
K471501K
K4770010
K4770050
K477001K
K4800010
K480001K
K4822010
K482201K
K4842010
K484201K
K4890010
K489001K
K5000010
K500905
K5009010
K5600010
K5605010
K5610010
100g
1Kg
100g
1Kg
100g
1Kg
100g
500g
1Kg
100g
500g
100g
500g
100g
500g
100g
1Kg
100g
1Kg
100g
1Kg
100g
1Kg
100g
500g
1Kg
100g
500g
1Kg
100g
1Kg
100g
1Kg
100g
1Kg
100g
1Kg
100g
50g
100g
100g
100g
100g
Price
5.25
21.70
5.25
34.20
6.09
49.99
5.25
19.57
45.99
20.85
97.25
26.95
121.55
21.70
100.69
4.35
15.19
4.35
14.76
4.35
13.09
4.55
20.69
4.25
11.41
22.02
5.25
13.86
27.79
4.08
12.19
4.35
11.09
4.08
9.47
4.35
14.69
18.25
15.29
26.75
14.79
14.79
14.79
PIGMENTS
KREMER PIGMENTS & MEDIUMS
Code
Size
K5615010
K5620010
K5625010
K562501K
100g
100g
100g
1Kg
Price
14.79
14.79
14.79
131.10
Code
Size
K5630010
K5635010
K563501K
K5640010
100g
100g
1Kg
100g
Price
14.79
14.79
131.10
14.79
Code
Size
K564001K
K5645010
K564501K
K587001K
1Kg
100g
1Kg
1Kg
Price
131.10
14.79
131.10
6.87
Fir Turpentine
K700101L 1L
K700103L 3L
15.99
46.35
KREMER MEDIUMS
Dextrine
K634201K 1Kg
K6342010 100g
8.69
4.55
Gum Tragacanth
K6340010 100g 18.25
Acematt HK125
K7890010 100g
5.25
Shellsol T
K704601L 1L 7.15
K704603L 3L 19.79
Orotan
731 K
Linseed Oil,
Cold Pressed 1L
K730541L 8.16
Plextol Oil B 500

K756001L 1L 17.10
K756005L 5L 79.85
NEW
K7803210
100g
4.69
Poppy Oil, Pure Ref.

K7360075 75ml 5.25
K7360025 250ml 7.99
K736001L 1L
25.52
Refined Linseed Oil/

Plextol Oil DN Gloss Varnish
K760001L 1L 10.77 K7330025 250ml 5.59
K760005L 5L 52.09 K733001L 1L
9.99
Walnut Oil, Cold-Press

Rohagit SD15
K7355075 75ml
5.25
K7691025 250ml
K7355025 250ml 12.77
7.85
K735501L 1L
42.36
Carole Gillot
Watercolour
Medium
K7926010 100ml
13.55
PIGMENTS
KREMER MATERIALS FOR MAKING OIL COLOURS
Simple formula for hand-made oil
colours
Bleached Beeswax Beads
K6221010 100g
4.89
K622101K 1Kg 20.99
Gum Arabic
K6330010 100g
K633001K 1Kg
4.89
27.79
Aluminium Hydroxide
K5894210 100g 4.55
K589421K 1Kg 21.19
Olive Oil Soap

K7804510
K7804550
100g
500g
4.55
6.59
Each pigment will absorb oil in different ratios. A

comprehensive table of comparative rates of oil
absorption is given in Pip Seymours Artists
Handbook. For each pigment, slowly add drops
of oil to the volume of pigment used.
For example: Place 50g of pigment onto a sandblasted glass plate. To t his quantity of pigment,
slowly add enough oil to create a stiff paste,
using a flat-bladed palette knife. Once a stiff
paste has been formed, add 2-5% beeswax soft
gel paste, which acts as a glue to keep the pigment and oil together. To this paste, then add a
small amount of filler (e.g. 5-10%). For opaque
pigments, use 58700 Blanc Fix; for transparent
pigments, use 58942 Aluminium Hydrate as filler.
This small addition of filler helps the consistency
of the paint paste and also assists in the refraction of light against the two particle structures
used (the pigment particle in combination with
the filler particle). An over-addition of filler causes
the paint film to become matt and light absorbing. This basic paint paste is then further mixed,
using a Glass Muller, to achieve a smooth, semigloss appearance. Each pigment may take different lengths of time to achieve a smooth paste
through this extended form of mixing. In a general sense, the longer the paint is mulled/mixed,
the smoother the paint paste becomes. This also
helps with adhesion of the paint film to the support: With prolonged mixing, each pigment particle becomes coated in oil and therefore sticks
together more cohesively. Prepared paint should
be used immediately, or stored in collapsible
metal tubes.
73011 Sun-thickened Linseed Oil
(Oleum crassum)
Through exposure to sunlight and air, coldpressed linseed oil changes viscosity, dries a
little quicker than normal and takes on excellent
self-leveling properties.
Can be used a binder when making oil paint,
or as an additive in historic paint mediums, for
example in combination with Mastic Varnish and
Venice Turpentine.
73054 Cold-pressed Linseed Oil, German
Stone-crushed linseed pods: Creates a bright
pale yellow oil, which has good self- leveling
properties, which enables smooth, even paint
films. In the longer term, shows less darkening
than Refined Linseed Oils. Standard binding
agent for hand-made oil colours: Readily mixes
with dry pigment powders. A thin coat of paint
made with Cold-pressed Linseed Oil dries in 2-3
days. Does not contain siccative.
73300 Refined Linseed Oil
Heat-pressed linseed oil, bleached to give a pale
colour. Over time, this type of Refined Linseed
Oil tends to darken slightly more than Coldpressed Linseed Oil.
Retains directional brush mark striations. A thin

coat of paint made with Refined Linseed Oil dries
in 1-2 days. Does not contain siccative.
73600 Poppy Oil, Refined
Pale coloured oil, which dries to provide a matt
paint film. A thin coat of paint made with Refined
Poppy Oil dries in 7-14 days. Often used for the
preparation of whites, pale blue and yellow pigments, where delicate colours may be affected
by the stronger yellow colour of linseed oils.
73550 Cold-pressed Walnut Oil
Pale coloured oil, which dries to provide a very
glossy paint film. A thin coat of paint made with
Cold-pressed Walnut Oil dries in 7-14 days.Often
used for the preparation of whites, pale blue and
yellow pigments, where delicate colours may be
affected by the stronger yellow colour of linseed
oils. Cold-pressed Walnut Oil can also be used in
conjunction with egg yolk to make an egg-oil
emulsion paint which can be thinned with water
(i.e. add 40% walnut Oil to 60% Egg Yolk, stir
together slowly and evenly to form an emulsion).
Additives in the Paint-making Procedure

58942 Aluminium Hydrate,
Aluminium hydroxide PW 24
Low tinting strength white, most often used a
filler in the paint-making process. Add 5-10% to
hand-made oil paint paste (see Simple formula
for hand-made oil colours).
58700 Blanc Fix, Barium sulphate PW 22
(natural mineral barytes, heavy spar)
Low tinting strength white, most often used a
filler in the paint-making process. Add 5-10% to
hand-made oil paint paste (see Simple formula
for hand-made oil colours). Good opacity: best
used with similarly opaque / semi-opaque pigments.
62200 Bleached Beeswax, Beads
Pale coloured natural beeswax. Dissolve 1:3 with
70010 Double Rectified Turpentine, to make soft
gel paste, for use in manufacturing oil colours.
Add 2-5% of this beeswax soft gel paste to
pigment, oil and filler.
Auxiliary Items
Empty Paint Tubes see Painting Accessories
Use to store oil paint pastes. Stiff, stable pastes
may keep for 3-6 months.
200ml , 50ml
78045 Marseilles Soap, Olive Oil Soap
Natural soap for clean-up of oil paint residue and
for cleaning brushes, palettes, etc. Presented in
small needles, which can be formed into a soap
solution by adding boiled water from a kettle, in
the ratio by adding boiled water from a kettle, in
the ratio 1 part soap to 2 parts water. This solution can be used while still warm, to cleanse
brush hairs.When cold, the solution forms a thick
gel paste. To reactivate, simply apply hot water.
Brush hair should be rinsed with warm water
once clean and left to dry out before re-using.
PIGMENTS
KREMER MATERIALS FOR MAKING OIL COLOURS
Painting Solvents
All painting solvents have a hazardous nature:
They are flammable and should not come into
contact with skin. To avoid skin contact, wear
barrier cream and / or disposable gloves.
Waste / dirty solvent can be removed by mixing
into fine powder cat litter and allowing the solvent to evaporate back to powder over a period
of days.
70010 Double Rectified Turpentine, Fir
Turpentine DAB 9
Standard thinner for oil colours and ingredient in
hand-made oil paint mediums and varnishes.
Because the solvent has been distilled twice, it is
free of resinous compounds tending not to
thicken or discolour. Double Rectified Turpentine
evaporates slowly and evenly from paint films. It
has a naturally greasy edge and mixes readily with oil colour. Slow evaporation secures even
paint films Turpentine will readily dissolve
Dammar Resin and Beeswax (without heat) in
the preparation of oil paint mediums. Best quality
turpentine, with a fresh, flowery fragrance.
70460 Shellsol T Low Odour Mineral Solvent
Evaporates slowly and evenly from oil paint films
but has virtually no odour. After use, waste
Shellsol T can be left to settle and clarify,
separated from the residual solids, then
decanted and re-used.
Materials for Making Acrylic Colours

Prepare dry pigment with distilled water, in a
paste, which should be stiff. Each particle of
pigment is required to be wet before incorporation with the chosen binder. In some cases,
this cannot be done by simply mixing water
and pigment together. An addition of wetting
agent (e.g. 78032 Orotan) may be required with
some pigments, especially the synthetic organics. The stiff pigment-water paste needs to be
thoroughly mixed before incorporation with the
acrylic dispersion binder. In the first place, the
dry pigment and water are brought together on a
ground glass slab, using a flat, long bladed
palette knife. Once all the pigment is absorbed
into the water to form a wet paste, this needs to
be mulled, with a glass muller, using a figure of
eight motion (as would be the case with oil
colour). This process helps to divide the pigment
particles from each other and encourage saturation by the water. The longer this is done, the
smoother the end paint paste should be.
If the water dries off during this process, add a
tiny bit more to re-wet. It is best to keep a supply
of distilled water nearby, in a dispenser bottle,so
that small droplets can be added if and when
the pigment-water pastebecomes too dry.
Into the water-pigment paste, a small amount of
a filler material (e.g. 78900 Acematt) may be
added to provide a shorter (stiffer) consistency.
For example, to create a flowing, easy to brushout paint, an acrylic resin dispersion with a low
solids content is selected.
Acrylic Polymer Emulsion / Dispersion

The solids content information informs the quantity of water in the binding system. For example,
75100 is composed of 46,5% acrylic resin to
53,5% water. When thickened to a gel, excessive
water content may cause some shrinkage of the
drying paint film. Acrylic paint films are sensitive
to frost: The MFT (Minimum Film Formation
Temperature) indicates the lowest temperature
where the applied binder will dry successfully as
a paint film.
75100 Primal AC35
Standard acrylic binder, for making acrylic paints.
Low Gloss. Solids content: 46,5% MFT: 9 C
75600 Plextol B 500
High quality acrylic binder for making acrylic
paints. Glossy. Solids content: 49-50% MFT: 7 C
76000 Plextol D 498
Inexpensive acrylic binder, for making acrylic
paints. Middle Gloss. Solids content: N/A MFT:
5C
Additives for Acrylic Paint Making
78032 Orotan 731K
Dispersing agent for acrylic paint systems. Can
be used to wet pigments with very small
particle size (e.g. all synthetic pigments, such
as 23610 Alizarin Crimson). Add 1-5% to paint
paste. Excessive use tends to cause excessive
foaming in the paint mixture.
76910 Thickener for Acrylic Paint Systems
ROHAGIT SD15
When added in very small quantities (no more
than 10%) to acrylic paint pastes, or directly into
acrylic binder, swells to create impasto gel paste
consistency. If too much Thickener is added, the
paint mixture becomes unstable.
78900 Acematt (Aerosil)
Very lightweight filler for acrylic paint systems.
Add 10-20% Acematt to pigment-acrylic binder
paste, to provide bulk and improve consistency.
Materials for Making Watercolour and

Gouache Colours
Various plant proteins can be used to make binding agents for aqueous paint systems.
In general, these plant gums and starches swell
when mixed with water to form viscous pastes.
Without preservative, they can spoil within 5-7
days of preparation. By using pure mineral water,
or distilled water, this lifespan can be prolonged
a little. Best practice is to make the binder into
solution, then use within a few days.
63300 Gum Arabic, raw crystals
Very pale, translucent, hand-picked Kordofan
Gum Arabic. Gum Arabic is prepared for use as
the binding agent for watercolour painting by dissolving in water. This is done by taking one part
(by volume) of Gum Arabic pieces and placing in
a pan or glass jar. Six parts (by volume) of boiling water are poured over the gum and this is
then left to soak for two to three days.
The gum will begin to dissolve within a few minutes but takes a few days to dissolve completely.
The dissolved gum solution should be strained
through muslin before use to eradicate any impurities. The resultant solution is fairly thick and
syrupy dilute with water to lower gloss of
paint films. Gum Arabic is brittle when applied in
any thickness: to aid flexibility, add 5 -10% liquid
honey (e.g. Acacia honey) when making the
watercolour paint paste.
Keeps for 5-7 days without preservative
63400 Gum Tragacanth, powder
As with Gum Arabic, Tragacanth swells in volume when mixed with water. For best results, the
powder is first wet with alcohol (methylated spirits) and mixed to a slurry before water is added:
10g Gum Tragacanth
25g Alcohol
100g Cold water
Slowly stir in water to create a gel paste. This
paste can be milled with pigment to make matt
watercolour paint or co-mixed with Gum Arabic
solution to give a satin sheen. Used in paste
form mixed with pigment, creates gentle impasto.
63420 Dextrine, powder
Simple starch binder for aqueous paint systems.
Dissolve 1 part powdered Dextrine with 5 parts
(by volume) hot water from a boiled kettle. The
resulting Dextrine syrup can be used as a binder
with dry pigment, to make simple gouache
colours.
By comparison to Gum Arabic binder, Dextrine
imparts a semi-opaque/cloudy finish.
Dextrine is used in minimum amounts as an
addition to watercolour, to improve the smoothness of the paint. Excess will make the paint too
dry and crumbly, providing less adhesion to the
support.
Cheap poster paints (which readily crack and
crumble when applied in any thickness) are often
prepared with Dextrine.
Keeps for 5-7 days without preservative
Auxiliary Items
79620 Gillots Watercolour Medium
A ready to use watercolour paint binder, with
preservative.
Can be milled with pigment to create satin gloss
watercolour paints.
Dilutes with water.
Used alone, as a top coat, can be used to add
extra gloss to dried watercolour paint films.
Contains, Gum Arabic, Honey, Glycerine.
Each pigment particle becomes coated in oil and
therefore sticks together more cohesively.
Prepared paint should be used immediately,
or stored in collapsible metal tubes.
PIGMENTS
SENNELIER PURE DRY PIGMENTS
Series Price Jar
1
6.48
2
10.13
3
14.19
4
20.88
5
39.95
6
51.52
7
79.95
Colour
Price Kg Colour
Price Kg
Alizarin Red Lake
179.55 Chromium Oxide Green
58.67
Alizarin Scarlet Lake
56.89 Cobalt Green Light
253.35
Azure Hue
27.99 Emerald Green Sub.
35.12
Brown Ochre
28.45 French Vermilion Sub.
35.12
Burnt Sienna
20.89 Green Earth
23.12
Burnt Umber
20.89 Permanent Red Helios
90.67
Cadmium Red Light Sub.
47.12 Indian Yellow Sub.
47.12
Cadmium Red Orange Sub. 58.19 Iridescent
78.22
Code Jar (Small)
27.99
Cadmium Red Purple
117.35 Ivory Black
SEP--Lemon
Yellow
47.12
Cadmium Yellow Deep Sub. 47.12
Code 1 Kilo Bag
13.78
Cadmium Yellow Lemon Sub. 40.89 Lithopone White
SEP1K--33.97
Cadmium Yellow Light Sub. 40.89 Madder Brown
Marly
White
7.55
A range of 94 colours in Cadmium Yellow Med. Sub. 46.22
18.22
plastic jars.
Cerulean Blue Sub.
30.22 Mars Black
Pigment weights appear Chinese Vermilion Sub.
Mars
Red
96.42
37.34
in grams in colourchart.
27.67
Chrome Green Light
61.34 Mars Yellow
(Packed in units of 1)
Whites
Flake White
Zinc White
Basic lead carbonate or lead white

This white has been well known since antiquity
- the Romans called it ceruse. Sennelier still
prepares it following the same ancient methods.
Opaque and dense, it creates a highly durable
film, and is best used in an oil binder.
Avoid mixtures with cadmiums and ultramarine
blues. Suitable for fresco, but prepare it with
caution, due to its toxic nature.
Not recommended for water-based techniques.
Lithopone White
Zinc sulphide and barium sulphate.

Dense opaque white invented in 1860 by the
French chemist De Romanange.
Creates tints with exceptional luminosity.
Frequently used in grounds.
Blanc de Meudon or Marly White

Natural chalk carbonate.
Delicate white with good covering capabilities,
generally used in water based paints.
Often used with Lithopone White.
Zinc oxide,which dates back to the 18th century

was first manufactured by the French chemist
Courtois.
A stable, non-toxic, semi-transparent pigment
that mixes well with all colours. Ideally used in
thin layers,or in combination with titanium white.
Used most frequently in oil, gouache, and
watercolour. Suitable for fresco.
Colour
Mineral Violet
Naples Yellow Sub.
Primary Blue
Primary Red
Primary Yellow
Prussian Blue
Raw Sienna
Raw Umber
Red Ochre
Titanium White
Ultramarine Deep
Ultramarine Light
Venetian Red
Viridian Green Sub.
Yellow Ochre
Zinc White
Price Kg
53.35
31.99
31.99
74.67
54.22
40.89
20.89
23.12
15.96
25.78
33.78
31.99
20.89
56.89
18.22
23.99
Blacks
In its pure state black does not literally exist.
In fact, all substances that appear black
actually have the capacity to absorb the
entire range of colours found in white light.
Ivory Black
Carbon from animal bones calcified in a vase,
rather than ivory tusks as was in the past.
A warm, intense black that turns brownish
when mixed with white.
Very good lightfastness.
In oil painting it requires large amounts of binder.
Does not dry well.
Suitable for all techniques, but in fresco, black
for fresco is preferable.
Mars Black
Iron Oxide.
This synthetic black is durable and very
lightfast.
Creates cool, grayshades.
Suitable for all techniques including fresco.
Titanium White
Titanium dioxide (rutile variety).

Very lightfast.
An opaque, very dense white that mixes well
with all colours.
An excellent all-round white appropriate for
both oil and water-based colours.
The most recent of the white pigments to be
developed (1915).
This now occupies a key position in the white
family fresco.
PIGMENTS
SENNELIER PURE DRY PIGMENTS
At the end of the 19th century, when he developed oil colours for
his artist customers who would include immortal names like
Cezanne, Gauguin and Picasso, Gustave Sennelier recognized the
need to produce paints that only contained the highest quality
pigments.
In order to craft superior colours, Gustave verified that the origins
of the pigments were from selected traditional sources, while
precisely identifying their specific chemical characteristics.
Ultimately, his great respect for these materials not only insured
the permanence of works created by his paints, but also assured
the production of an increasing array of unique colours of
unsurpassed beauty and quality.
Since then, some pigments have disappeared, their natural
resources depleted and others have been restricted due to their
toxicity.
But with recent innovations and research Sennelier offers a wide
variety of synthetic pigments that perfectly match the
performance of such ancient mineral pigments such as Lapis
Lazuli and Cinnabar.
Yet at the same time, Sennelier still mines the earth for minerals
and other natural elements from traditional sources - pigments like
clays and iron oxides used in ochres and the preparation of burnt
earth colours from calcified soil.
At the dawn of the 21st century, Sennelier still keeps a watchful
eye on the pigments selected for its lines of extra-fine oils, oil
sticks, watercolours, soft pastels and oil pastels. These very same
pigments are available to artists wishing to master the preparation
of their own colours.
At the end of the pigment section you will find the basic information
necesary for grinding dry pigments in the appropriate binders, an
important step in creating beautiful and lasting works of art.
SENNELIER DRY PIGMENTS COLOUR CHART
108** S/O
Flake White
PW1 160g 2
128** S/O +
Lithopone White PW5
(Kg bag only)
1
131***S/O +
Blanc de Meudon or
Marly White 1
PW18 (Kg bag only)
341*** S/O
Cobalt Turquoise
PB36 140g 5
387*** T
Phthalo Blue
PB15 100g 4
312*** T
PB29 60g 2 K
535 *** O
Cadmium Lemon Yellow
PY35 90g 4
529 *** O
PY35 140g 4
533 *** O
Cadmium Yellow Deep
PY35 150g 4
116*** O
Titanium White
PW6 140g
2 K
119*** S/O
Zinc White
PW4 100g 2 K
385*** S/O
Primary Blue
PB15 100g 2 K
315*** T
PB29 85g 2 K
318 *** T
Prussian Blue
PB27 80g 2 K
574 ** S/O
Primary Yellow
PY1 PY3 70g 2 K
531 *** O
Cadmium Yellow Med .
PY35. 150g 4
537 *** O
CadmiumYellow Orange
PO20 120g 4
549 ** S/O
Chrome Yellow Light
PY34 100g 2
discontinued
694 ** T
Alizarin Scarlet Lake
PR48:2 PY83 70g 3 K
696 ** T
Alizarin Red Lake
PR83 60g 4 K
697 o T
Solferino Lake
PR173 40g 2 K
763 * T
Black Lake
PBkl 80g 4
755 *** O
Ivory Black
PBk9 120g 1 K
761*** T/O
Black for Fresco
PBk6/7 35g 1
615 ** S/O
Cad.Red Orange Sub.
PR4 PY1 100g 3 K
617 *8 S/O
Cad Red Purple Sub.
PR3 100g 2
605 *** O
Cadmium Red Lighr
PR108 120g 4
606 *** O
Cadmium Red Deep
PR108 120g 4
609 *** O
Cad. Red Orange
PO20 110g 4
611 *** O
Cad. Red Purple
PR108 140g 4 K
675 ** O
French Vermilion Sub.
PR4 PY1 100g 2 K
471 *** S/O

Brown Madder
PBr23 PY42 150g 3 K
405 *** O
Red Brown
PR101 PBr7 110g 2
407 ** O
Van Dyck Brown
PBr8 170g 3 K
205 *** S/O

Raw Umber
PBr7 120g 1 K
202 *** S/O

Burnt Umber
PBr7 140g 1 K
833 *** O
Cobalt Green Light
PG19 120g 6 K
835 *** O
Cobalt Green Deep
PG19 120g 6
869 *** S/O

Viridian Green Sub.
PG7 170g 3 K
837 *** T
Viridian Genuine
PG18 80g 6
815 *** O
PG17 160g 3 K
847 *** T
Emerald Green Sub.
36 **
Copper
100g 4
40 **
Red Gold
90g 4
30 **
Yellow Gold
90g 4
20 ***
Iridescent
100g 3
10
Phosphorescent
15g 2
PG36 PY3 180g 2 K
A range of 94 colours
in plastic jars.
Pigment weights are
shown in grams.
(Packed in 1s)
When ordering please use the colour chart and quote the code SEP followed by the grams of the individual pigment followed by the
colour code, i.e. Qty. 1 plastic jar of Sennelier Yellow Ochre = SEP + 80+ 252 = SEP80252.
If ordering those pigments which are available in kilo bags, using the colour chart quote SEP followed by 1KG followed by the colour
code, i.e. Qty 1 kilo bag of Sennelier Alizarin Red Lake = SEP + 1KG + 696 = SEP1KG696.
*** : Very good lightfastness

** : Good lightfastness
* : Average lightfastness
o : Poor lightfastness
320 *** S/O

Azure (Hue)
O : Opaque
T : Transparent
S/O : Semi-opaque
+ : Only in Kilo bags
K
1
2
3
: available in Kilo bags

: series 1
4 : series 4
: series 2
5 : series 5
: series 3
6 : series 6
7 : series 7
PB15 180g 2 K
323 *** S/O

Cerulean Blue Sub.
PB15 180g 1 K
305 *** O
Cerulean Blue
PB35 145g 5
307 *** T
Cobalt Blue
PB72 130g 5
308 *** S/O

Indigo Blue
PB60 50g 5
309 *** S/O

Cobalt Blue Deep
PB74 140g 5
511 ** S/O
Bright Yellow
PY1 PR4 80g 2
539 ** S/O
Cad.Yellow Light Sub
P
. Y1 PY3 120g 2 K
543 ** S/O
Cad. Yellow Deep Sub.
PY1 100g 2 K
545 ** S/O
Cad. Lemon Yellow Sub.
PY1 PY3 140g 2 K
541 ** S/O
Cad. Yellow Medium
Sub. PY1 80g 2 K
547 ** S/O
Cad. Yellow Orange Sub.
PY1 PR4 100g 3
551 ** O
Chrome Yellow Deep
PY34 100g 2
501 ** T
Lemon Yellow
PY3 100g 2 K
517 ** T
Indian Yellow Sub.
PY1 PY83 90g 2 K
505 ** T
Mars Yellow
PY1 PBr7 110g 2 K
567 ** O
Naples Yellow Sub.
PY1 90g 2 K
576 *** O
Nickel Yellow
PY53 150g 4
759 *** O
Mars Black
PBk11 180g 2 K
252 *** T
Yellow Ochre
PY43 80g 1 K
259 *** O
Red Ochre
PR102 90g 1 K
255 *** S/O

Brown Ochre
PBr7 PG7 90g 1 K
686 *** S/O

Primary Red
PV19 110g 3 K
613 ** S/O
Cadmium Red Light Sub.
PR4 90g 2 K
603 *** T
Permanent Red Deep
PR3 PR48:2 150g 3
619 ** T
Helios Red
PR3 40g 2 K
631 *** S/O

Mars Red
PR101 120g 4 K
623 *** O
Venetian Red
PR101 170g 2 K
679 *** T
Quinacridone Red
PR122 30g 4
677 ** O
Chinese Vermilion Sub.
PR3 100g 2 K
208 *** T
Raw Sienna
PBr7 120g 1 K
211 *** T
Burnt Sienna
PBr7 120g 1 K
213 *** T
Green Earth
PG23 120g 1 K
805 *** S/O

Chrome Green Light
PY74 PG7 120g 3 K
807 *** S/O

Chrome Green Deep
PG36 130g 3
896 *** T
Phthalo Green
PG7 90g 4
909 *** O
Cobalt Violet Deep
PV14 120g 7
915 *** T
Mineral Violet
PV16 50g 2 K
916 *** T
Ultramarine Violet
PV15 100g 2
502 o
Fluorescent Yellow
100g 4
648 o
Fluorescent Orange
100g 4
604 o
Fluorescent Red
100g 4
654 o
Fluorescent Pink
100g 4
821 *** O
Baryte Green
PY32 PY31 120g 2
The shades on these swatches approximate the

actual colours as closely as possible, but are
limited by printing techniques. This colour
chart should only be used as a guide for
ordering but must be used as approximate
versions of the actual hues.
895 o
Fluorescent Green
100g 4
304 o
Fluorescent Blue
100g 4
When ordering please use the colour chart and quote the code SEP followed by the grams of the individual pigment followed by the
colour code, i.e. Qty. 1 plastic jar of Sennelier Yellow Ochre = SEP + 80+ 252 = SEP80252.
If ordering those pigments which are available in kilo bags, using the colour chart quote SEP followed by 1KG followed by the colour
code, i.e. Qty 1 kilo bag of Sennelier Alizarin Red Lake = SEP + 1KG + 696 = SEP1KG696.
PIGMENTS
SENNELIER DRY PIGMENTS
Notes on Colourmaking
Water-based colours
Watercolour, gouache, and tempera require the
addition of a hydroscopic product such as
glycerin, which slows their drying time and
makes them more flexible. The natural binder,
either of animal or vegetable base requires a
preservative agent in order to preserve the
integrity of the paints.
Oil Colours
For all shades of oil colours, the preferred
binder is refined safflower oil or linseed oil,
except for whites and very pale hues for which
poppyseed oil is sometimes recommended. For
grinding colours, use a glass muller on a sheet
of glass or polished marble.
Be careful not to add too much oil when
grinding because the longer you grind the
paint the more fluid it becomes. Each pigment
has a particular chemical nature and therefore
requires specific treatment.
The following are approximate guidelines for
the right proportions for hand-grinding
colours. Adjust them according to your
particular needs.
Measurements for 100g of pigments
Oil Colours :
30 to 100g oil
2 to 3g Courtrai drier (except for ivory black,
which requires 5 to 8g)
Note: To give the paste fullness and body, you
may add 1 to 3g purified beeswax.
Watercolours :
50 to 100g gum arabic in 35% solution
10 to 15g glycerin
1g preservative (anti-fermenting)
Gouache :
25 to 50g gum arabic in 35% solution or yellow
(canary) dextrin
8 to 10g glycerin
Egg Tempera
25 to 40g gum arabic in 35% solution
5 to 10g glycerin
1g egg yolk
Note : there are many different versions of this
recipe
Acrylic
50 to 80g acrylic binding medium
5 to 20g water if needed, to adjust consistency
Oil Pastel
30 to 40g beesewax or mineral wax
15 to 25g oil, Vaseline or non-drying petroleum
oil
Soft Pastels
80 to 90g pure pigment
2 to 3g gum tragacanth, glucose , gum arabic
or dextrin and water
This concentrated solution should take on the
following proportions : 1 to 3%
These measurements are suggested only as examples; we
cannot be held responsible for results obtained.
Sennelier Binding Mediums

In order to facilitate the use of pigments in colourmaking, Sennelier presents a unique line of binding
mediums especially formulated to create a complete range of fine art colours.
Methyl-Cellulose Binding Medium
This binding medium is used with pigments , either :

1) As a resin, for preparing traditional gouache
colours. 2) As a thickening agent for pigments before
making acrylic or tempera paints.Note : Before
preparing these types of colours it is advisable to
pre-thicken the pigments with a solution of the
following proportions :125g methyl-cellulose binding
medium; 3 litres water; 20g preservative. Shake the
solutiion well or grind it before using it for mixing
pigments. Once this solution is mixed well into the
pigments, add the appropriate binder (acrylic, egg).
Code SEM133657 Size 250ml Price 13.46
Acrylic Binding Medium
Pure acrylic polymer resin, 46% dry extract. Glossy,

transparent product suitable for interior and exterior.
Provides a smooth, glossy film depending on the
percentage of acrylic resin used.
Gouache Binding Medium
Provides a matte, opaque paint that can later be

reworked with water if desired. A ready-to- use
product made from natural gum, glycerin, water and
a preservative. If the resulting paste is too thick it
can be thinned with small quantities of water without
modifying the paints opacity or matte finish. Thin
with water. For permanent colours, coat your
painting with gouache varnish to protect the dry
paint films.
Oil Binding Medium
A thick, non yellowing vegetable oil specifically

developed for grinding oil colours of optimum
consistency. This ready to use binding medium is
compatible with all the pigments traditionally used in
oil paint.It includes a full, lead free drying agent that
permits normal drying time, both on the paint surface
and indepth.This binding medium can be mixed in
varying proportions according to : 1)The pigment;
2) The type of grinding. Add this binding medium
gradually during grinding until the desired paint texture is obtained. Its viscosity makes grinding easy
to work with for painters with little experience in
colourmaking.
Watercolour Binding Medium

This product contains gum arabic, honey, water and
a preservative. When mixed with dry pigments, it
provides a smooth, water-soluble paste with a
honey like consistency. If paints are too thick, this
ready to use medium can be used as a thinner. It
will also maintain the watercolours transparency
and brilliance. Thin with water (to increase the
binders fluidity; add 5 to 10% water maximum.
Egg Tempera Binding Medium

Code SEM131020
Price 17.06
Size 200ml
Sennelier Cobalt Drier

Sennelier cobalt drier combines a variety of
elements that equally promote surface drying
and drying in depth. Driers should be used in
small quantities: No greater than 0.5 to 3%
total paint volume.
CHALKS & GUMS

CHALKS
Pumice Powder
Rottenstone Grey
French Chalk
A simple additive to PVA or acrylic primer to

a give a granular coarse texture gel.
A fine additive used to create an

aged appearance on gilding. Also
put into cracks to give ageing
appearance.
The finest grade of chalk used for fine gilding

and making gesso. This is in effect talc grade
fineness.
Code
Size
PP500
PP1K
500gsm
1 Kilo
Price
5.81
7.80
Code
Size
RG250
RG1K
250gsm
1 Kilo
Price
7.90
20.40
Whiting
The commonest form of chalk and is
used for making gesso.
new image
coming soon
Code
Size
Price
AWHIT1K
AWHIT5K
1 Kilo
5 Kilo
1.89
7.20
Plaster of Paris
The classic modelling material and one of the easiest to use by simply adding
water to the plaster powder. Much favoured by modellers as it is easy to
manipulate once dry as it remains relatively soft so it can be shaped with metal
tools or even sandpaper.
Generates some heat when water is added so care should be taken if using
parts of the body to work on.
Code
CAPLP100
CAPLP500
Size
1kg
5kg
Price
3.69
11.99
Code
Size
FC500
FC1K
500gsm
1 Kilo
Price
6.11
8.40
CHALKS & GUMS

GUMS & RESINS
Gum Arabic
When dissolved in hot water
it is used as an adhesive
(gum mucilage), as a slop out
in litho printing, as a size
and more often as a binder in
opaque and transparent
watercolours and pastels.
Plasticisers are added as pure
gum film is brittle.
Gum
Sandarac (Morocco)
A hard resin collected from the
alerce tree in North Africa.
It comes in rounded granules
and is dissolved in alcohol and
other solvents to form a hard,
brittle varnish.
Code
Size
GSM50
50gsm
GSM250
250gsm
Price
9.25
32.78
Atlantis
Gum Arabic Crystals
Code
Size
AGA100
100gsm
AGA250
250gsm
Price
3.05
7.63
Gum Mastic (Chios)

Mastic Varnish is very simple to
make and comes in its raw form
as rounded granules.Popular in
the 19th century mastic cen be
dissolved in alcohol or gum turpentine. It is less in use than
damar as it has the tendency to
brown, darken and yellow with
age. To make use same procedures as damar.
Code
Size
GM50
GM100
50gsm
100gsm
GCM100
100gsm
GCM500
500gsm
Price
5.30
11.50
Code
Size
GD250
250gsm
GD500
GD1K
GD2.5K
500gsm
1 Kilo
2.5 Kilo
Price
3.70
6.53
11.76
26.75
Gum Tragacanth
(Pharmac)
This comes from the shrub
Astragalus found in the Middle
East.
It swells into a translucent
colloid in hot water.
The gel is then filtered and the
resulting liquid is used to
stabilise coating emulsions and
as a binder for pastel chalks.
Code
Size
GTP25
GTP100
25gsm
100gsm
Price
5.65
12.76
Shellac Lemon (India)

Code
Size
Price
Shellac Button (India)

SLI100
Code
Size
Price SLI500
Used to make Copal Varnish

and Copal Painting Medium.
Generally mixed with linseed
oil and driers.
The varnish films are glossy.
Size
Damar varnish is very simple

and much more economical to
make. The resin is tapped from
the damar fir tree in Thailand,
Malaysia and Indonesia.
It comes in lump form and
dissolves in gum turpentine.
Other solvents are not
recommended.
Price
20.85
36.80
Gum Copal (Manilla)
Code
Gum Damar
Shellac Orange (India)

Code
Size
SOI100
100gsm
SOI500
500gsm
Price
6.60
17.80
SBI100
100gsm
SBI250
250gsm
SBI1K
1 Kilo
6.50
10.60
31.10
Shellac Clear (Dewaxed)

Code
Size
SCD100
100gsm
SCD250
250gsm
SCD1K
1 Kilo
Price
8.80
16.30
53.70
100gsm
500gsm
6.30
16.40
WAXES
WAXES
Waxes
Waxes have been used for centuries as
protective coatings, binders, ingredients in
painting mediums, adhesives and stabilisers
for mixtures of pigments and binders.
Waxes do not decay, are stable and do not
attract moulds.
When added to paints as a medium they
can produce soft films.
They are vulnerable to extremes of
temperature and can crack when cold.
Beeswax Pellets (Bleached)

This is the natural honeycomb beeswax
formed into thin sheets and bleached by
sunlight making it white.
This also raises the melting point of the
wax.
Due to it being colourless it is the
recommended wax for beeswax oil mediums
and some impasto mediums.
Code
Size
BPB250
BPB500
BPB1K
250gsm
500gsm
1 Kilo
Price
7.19
11.99
19.95
Beeswax Pellets (Natural)

This is the totally natural wax that remains after
the honey is extracted.
It is yellow in colour.
Code
Size
BPN250
BPN500
BPN1K
250gsm
500gsm
1 Kilo
Price
6.99
11.69
19.47
Microcrystaline Wax
A petroleum derivative wax this is used as an
additive to oils as well as for making adhesive
mixtures for conservation.
This is our most popular wax with artists.
Paraffin Wax
Code
White, odourless.
PW250
Commonly used in candle making plus other
PW500
uses.
PW1K
Melting point is 57-60 degrees centigrade.
Size
250gsm
500gsm
1 Kilo
Price
2.33
4.08
6.53
Code
Size
MW500
MW1K
MW5K
500gsm
1 Kilo
5 Kilo
Price
6.38
10.62
42.48
PORTFOLIOS
SIMPLE CARRY BAGS AND FOLIO CASES
Polythene Project Bags
A range of heavy duty polythene carrying
and storage bags that are very inexpensive
but strong enough to carry a good amount
of artwork around.
Black plastic clip together handles.
The sides are folded in (gusseted) to

allow for the bag to increase its
capacity.
The A1 size has a heavier duty handle

to hold the heavier loads of artwork
and contains a cardboard insert to
stop the bag from bending.
Code
Size
M15591
A1
M11042
A2
M11043
A3
M11044
A4
Price
3.37
1.85
1.42
0.74
List
3.98
2.29
1.75
0.85
Lightweight Polylite Portfolio Case

Inexpensive PVC case that is ideal for the
student or young artist just starting out.
They can easily be stored under the

bed where they can be used as a
large drawer by just pulling it in and
out.
It is important to bear in mind this type

of portfolio has a weight limitation which
will reveal itself if it is over filled with
paper.
This is particularly relevant to the A1

size. It will prove a useful tool if only
two thirds filled.
Code
Size
Price
List
APLCA1
A1
A2
A3
A4
20.09
15.34
11.69
6.53
21.55
16.75
12.10
7.50
APLCA2
APLCA3
APLCA4
PORTFOLIOS
PORTFOLIOS WITH RING BINDERS FOR SLEEVES
Quartz Portfolio
Very well made, well designed and with a great price this is highly
recommended for anyone looking for a Portfolio that stands out.
This design has been a best seller for Mapac the manufacturer.
We highly recommend this product.
Key features :
Padded nylon, covering sturdy lightweight polypropelene
Strong ring mechanism.
Reflective safety strips on outside.
Easy grip comfortable carry handle.
Shoulder strap.
2 internal pockets for extra storage.
Code
Size
M15921
M15922
M15923
M15924
A1
A2
A3
A4
Price
37.45
23.19
14.29
9.85
List
39.99
24.99
15.99
10.49
Premier Presentation Portfolio

A best seller which is good value and high quality
Key features :
Made from weather resistant leather embossed
vinyl with matching internal pockets.
Fitted with a steel bar in the spine to provide
added strength to hold a full load safely.
and internal pockets.
Double cushioned handles and burst proof
sleeve rings.
A1 and A2 sizes are fitted with shoulder straps.
A1 has an additional side handle.
A small window is fitted for your name or
company logo.
Code
Size
TSAD.TPA1BLK
TSAD.TPA3BLK
TEL: 020 7377 8855
A1
A3
Price
62.83
28.85
Code
TSAD.TPA2BLK
TSAD.TPA4BLK
Size
A2
A4
Price
42.14
24.43
PORTFOLIOS
Art Matrix Presentation Portfolio with Rings
Art Matrix Presentation Portfolio with Rings

The Matrix Portfolio represents great value and quality for money.
Key features :
Textured finish with black fixings and a zip closure.
Ring binding mechanism with double cushioned handles

and internal pockets.
Contains shoulder strap for ease of carriage.
Rubber feet on base for protection when resting on the

ground.
Code
Size
Price
A1
A2
A3
A4
52.18
32.30
22.61
20.02
TSAD.SAPA1
TSAD.SAPA2
TSAD.SAPA3
TSAD.SAPA4
PORTFOLIOS
Mapac Premier Maxi Portfolio

Leather grained vinyl finish and gilt metal corners give a high quality
finish that is always useful in important presentations.
Extra wide spine with rings.
Code
Size
APMPA2
APMPA3
APMPA4
A2
A3
A4
Max No.
Sleeves
40
50
60
Price
51.01
35.76
27.84
List
57.65
43.80
37.75
Key Features :
Heavy duty ring mechanism.
Steel plate fitted between spine and handle to give exceptional
strength.
Clear window on spine for name card.
Robust handle on side of A1 for ease of carriage.
Internal pockets for extra storage space.
Double thickness handle.
Shoulder straps fitted to A1 and A2 sizes.
Available in maxi sizes.
Presenter Presentation Portfolio

with Rings
Specifically designed for the cost conscious
but with a leather grain finish and red stitching
and protective gilt corners that make it look like
a professional quality portfolio.
Key features :
Internal pocket.
Side handle on A1 size.
Strong ring binding
mechanism.
Code
Size
TSAD.ECA1
A1
TSAD.ECA2
A2
TSAD.ECA3
A3
TSAD.ECA4
A4
Price
45.07
29.71
21.07
18.82
PORTFOLIOS
PORTFOLIOS WITHOUT RING BINDERS
Quartz Case
A very successful case due to its combination of good design
with excellent value aimed at the younger artist or student.
This is for the secure carriage of artwork which is held in place
in pockets or by elasticated straps.
For anyone who wants ring binders for holding sleeves please
see the Quartz Portfolio in the portfolio section.
Key Features :
Padded nylon, covering sturdy lightweight polypropylene.
Reflective safety strips on outside both sides.
Internal elastic straps.
Shoulder strap.
Easy grip comfortable handles.
Double lockable zippers.
2 internal pockets.
Code
Size
M15911
M15912
M15913
A1
A2
A3
Price
34.19
21.55
13.09
List
36.99
23.99
14.99
Tech-Styl Art Matrix Folio Carrying Case
Ideal for the artist who wants to carry artwork loose in
sleeves or without sleeves.
A less expensive option to the Matrix Presentation
Portfolio.
Key Features :
Textured finish with black fixings and a zip closure.
Contains Shoulder Strap for ease of carriage.
Rubber feet on base for protection when resting on
the ground.
Code
Size
Price
List
TSAD.MAPA1
A1
TSAD.MAPA2
A2
TSAD.MAPA3
A3
36.77
23.76
16.08
46.99
43.89
17.89
PORTFOLIOS
PRESENTATION BOOKS
Napella Economy Book
Has all the appearance and feel of a luxury leather presentation
book at a much lower cost. Handmade with square spines this
book is matt black with a slight grained pattern against which
embossed names really stand out
Code
TSAD.EFN.1
Size
14 X 11
Price
81.19
Buckram Agency Book

The Buckram Agency Book has all the luxury appearance of
leather while being available at a reasonable cost. The surface is
a weave pattern in matt black material. It is made with a square
spine and corners. This smart, low cost agency book is ideal for
presenting photographs or artwork in important meetings. These
books can be embossed.
Code
TSAD.BFN.1
TSAD.BFN.3
TSAD.BFN.8
Size
14 X 11
A3
A4
Napella Economy Book
Price
51.67
66.43
51.67
Buckram Book
Artsafe Presentation Folders with Fixed Sleeves

Economical presentation folders with permanently bound-in clear
sleeves.
Code
M15653
M15654
M15655
Size
A3 20 Pocket
A4 20 pocket
A5 20 Pocket
Corner of Buckram Book
Price
5.57
2.76
2.29
PORTFOLIOS
AGENCY PORTFOLIO BOOKS
Corner of Leather
Hide Book
Corner of Napella Finish Book
14 x 11 Cream Leather
Agency Portfolio Books
Leather Hide Agency Books
Agency is a range of very high quality portfolio

books for people in professions where the presentation supports are critical. This range is used
by international photographers, fashion editors,
designers, architects, stylists, hair and make up
artists. Black padded Portfolio Books made in
either Hide Black Leather or hard wearing black
leather look Napella. Neither will show heavy fingermarksevenwhenhandled
continuously.Individual names can be embossed
on each book in 42pt Americana typeface.
Made by hand in England.
The ultimate presentation portfolio, bound in thick Leather Hide. Handmade with a
beautifully rounded spine, a truly impressive book that can look better with the
passage of time. Available in black, cream, blue or brown.
Code
Size
TSAD.AFCH.1
14 x 11
16 x 12
TSAD.AFCH.2
Price
194.40
254.88
Napella Agency Books

Napella is matt black with a slight pattern in the
material. An embossed name really stands out
on Napella, creating and impressive presentation
book. Handmade with that special Agency
rounded spine and available in several sizes.
Code
Size
A4 plus (12x13)
14 x 11
TSAD.AFN.2
16 x 12
TSAD.AFN.A3 A3
TSAD.AFN.4
TSAD.AFN.1
Price
117.60
117.60
129.00
129.00
Colours
Black, Burgundy, Mustard, Brown, Red, Light
Blue, Navy Blue, Mauve and Green
Embossed Name
Code
Price
TSEMBOSS
34.99
Your name in 42pt

Americana typeface
PORTFOLIOS
CARRYING AND POSTAL TUBES
Cardboard Postal Tubes
Simple cardboard tube, comes complete with two plastic end caps.
Code
Size
CTPT1325
1310mm xx 254mm
with carrying handle.
25 x 2
22 x 3
50 x 4
CTPT6550
CTPT5576
CTPT127100
Price
13.89
1.19
1.39
4.55
Portfolio Strap
Fully adjustable and primarily but not exclusive for A1.
Code
M15390
Teletube Tube
Code
Size
Price
JK7304
Giant size with strap
10.79
JK7305
Jumbo size with strap
13.22
Price
2.35
PORTFOLIOS
PORTFOLIO SLEEVES
Archival Grade Clear Crystal Sleeves
Crystal clear sleeves made with totally archival
safe material and acid free black paper inserts.
Plus static to aid photographic retention.
Code
Size
TSAD.AFBS.1 14 x 11 / 356 x 280mm

High Clarity Polyester
Price 1.97
TSAD.AFBS.2 16 x 12/ 407 x 305mm
Price 2.40
TSAD.AFBS.3 A3/ 12 x 17
High Clarity Polyester Price
2.40
TSAD.AFBS.4 A4 plus / 12 x 13
Price 2.04
Large Print Display Sleeves

Standard Portfolio Sleeves
PVC Portfolio Sleeves made with the heavier gauge 190gm material giving greater
durability and strength.
The surface contains a slight emboss to prevent sleeves sticking together.
Code
Size
APSA1
APSA2
A1
A2
APSA3
APSA4
A3
A4
Price
3.09
1.69
1.03
0.55
Pack (10)
28.00
15.24
9.36
5.04
Large PVC sleeves welded, stitched and edged

with material.
Contain a card inner for reinforcement.
Specifically made for exhibiting work.
Code
Size
ACPSA1
ACPSA2
ACPSA0
A1
A2
A0
Price
8.95
7.85
16.39
PRIMERS
A GUIDE TO SIZES AND GROUNDS
A Guide to Sizes and Grounds
The majority of painting surfaces need to be
sized or primed before oil primer or paint is
applied. The sizing provides a barrier to
prevent the paint penetrating through to the
back of the surface. Pre-primed surfaces
such as primed canvas do not require any
further priming or sizing.
Paper does not require further treatment
as it is already sized for watercolour. In
general, untreated surfaces, whether flexible or rigid, are too absorbent for the direct
application of paint. To provide a stable
base for the paint intermediate layers are
applied, in the form of a size which sinks
into the surface, or in the form of a ground
which sits more on the surface and gives it
more tooth.
Sizes
A size is a barrier between the canvas and

the primer layer and is generally a thin
Rabbit Skin Glue solution.This size layer is
applied directly onto the fabric so it saturates the fibres as opposed to just coating
them. It is therefore important that size is
correctly formulated so it is applied with the
correct consistency.
Rabbit Skin Glue Size

Rabbit Skin Glue is the most commonly
used glue size by artists and has been in
use for centuries. This is essentially a thin
solution that is brushed directly onto the
support. This size must penetrate the canvas fibres completely to provide a barrier
between the canvas and the primer. It is
essential to apply the size in the correct
consistency: Applied too thickly and it may
not have keyed into the canvas sufficiently,
preventing a goodbond between the original surface and the paints, as well as being
prone to cracking and the loss of the paint
film. If the size is too weak it may not be
able to prevent the paint from being
absorbed into the surface.The size layer is
particularly critical if either paints or grounds
are linseed oil based, such as oil primers
and oil paints as the linseed attacks canvas
or paper supports if they are un-treated.
Rabbit Skin Glue size is hygroscopic in
that it reacts to significant changes in
moisture and humidity levels by contacting
or expanding.The canvas can therefore be
taut one day (in dry conditions) and loose
the next (in moist conditions).
This renders the oil paint layers which are

relatively rigid and brittle somewhat vulnerable on a canvas support and will lead to
cracking and the eventual deterioration of
the painting. It is therefore important to ensure a primer is used that has a good degree of flexibility such as lead white or
other oil based primers.These should be
applied onto a thin layer of Rabbit Skin
Glue Size. Glue size should be applied
when still warm and worked into the canvas with an appropriate brush to ensure
total fibre penetration.
The Rabbit SkinGlue can be stored in a
refrigerator for a few weeks. It is best to
keep it in a covered container. Do not
leave it too long as it has a bad odour when it has gone off.
Formula for Rabbit Skin Glue

Materials
Rabbit Skin Glue
Cold water.
An old pan.
A small container such as an old cleaned
out food tin.
A suitable brush
Method
Add between 12 to 15 parts of water to one
part of Rabbit Skin Glue and allow to
stand, between 30 minutes and 3 hours,
or more if possible, so the granules can
expand.
Many of the older recipes recommend
leaving overnight. If the Rabbit Skin Glue
is supplied in sheets an overnight
soaking is suggested. Stir occasionally to
avoid lumps forming. Place the mixture into
the empty food tin and place that tin into a
pan part filled with water. It is essential the
heat is indirect as it is vulnerable to burning if exposed to direct heat or it can
lose its adhesiveness if it boils. The warming water gradually melts the glue size.
Remove from the heat when the mixture
has completely melted and, ideally, apply
to the ground while still warm but not hot.
As a test to see if the glue size is the
correct consistency pull a finger slowly
across the surface. The size should crack
like jelly when a finger is pressed into it.
The glue size can be kept for a few days in
a refrigerator as it can rapidly degrade in
warm weather.
Applying Glue Size to Stretched Canvas

Apply two coats of size ensuring the first
coat is dry before applying the second.
The second coat should be much thinner
than the first. To thin the size, add warm
water.
Apply the size by starting in the centre
and work towards the edges applying the
size uniformly so it soaks into the canvas.
It is important to ensure to apply the size to
the edges and corners and in particular
the corner overlaps.The surface is now
ready for priming. The permeated sized
canvas will have a tendency to stick to the
wooden stretchers (the frame) it was
stretched upon. If this happens simply run
a piece of card or the back of a knife blade
between the canvas and the wood.
Make sure the size dries in a natural
manner; do not place on top of radiators or
force dry it by other means. This can result
in the canvas being too tight and warping
the stretcher bars.
Applying Glue Size to Panels
Use the same formula above ensuring the
size is applied hot.
Sandpaper and wipe clean the panel.
Additional cleaning of grease marks can
be done by wiping with a rag soaked in
white spirit. Allow the panel to dry.
Apply thinly to the panel, ensuring the
edges and back are coated in the same
way.
Failure to coat the sides and back can lead
to shrinkage or warping.
Applying Glue Size to Paper
The size needs to be much thinner when
applied to paper.
When you have the normal glue size solution, add a further 30 to 35 parts of warm
water so you end up with a 40/50 to 1 mix.
Ideally, the glue should be poured into a
tray a little bigger than the size of the
paper.
The paper is then immersed in the glue.
If this proves difficult you can apply the
glue with a flat varnish style brush, making
sure you coat all the paper on both sides.
Trays can also be improvised by laying out
pieces of 4 by 2 in a rectangle and laying
a bin liner over it, making a shallow tray
shape.
PRIMERS
GROUNDS / PRIMERS.
The primer or ground is an intermediate
layer between the support surface and the
paint. The primer should provide a durable
surface upon which the paint can key into.
For some mediums such as watercolour a
ground is unnecessary as the paper itself
comes sized already.
Acrylic primers do not require a glue size
before they can be applied to supports.
They can be directly applied to Cotton
Duck in a thinned consistency.
In general, grounds should be white, and
have a little tooth to help the paint
adhere.
The application of a primer will naturally
affect the absorbency of the canvas.
The primer should be applied thinly and in
a uniform manner, ensuring no pinholes
remain in the canvas. This is simply
checked by holding up the canvas to a light
source. The primer should be unaffected
by the movement of flexible surfaces.
Original Gesso formulas will need rigid
supports as they are brittle in nature.
Primers for Canvas
Primers used for flexible supports such as
Cotton Duck and Linen are either Oil
primers or Acrylic based primers.
Lead White Primer
The traditional primer for oil paints, are logically, oil primers, and in particular Lead
White Primer.
Lead White has been in extensive use for
generations as the favoured oil paint primer
for canvas, applied directly onto glue sized
material. It is favoured due to its flexibility,
its opaque and dense nature, and its ability
to form a tough and fast drying surface.
The downside is the toxic nature of the
beast and great care must be taken when
handling Lead White. Other faults include
a tendency to darken over time, although
this can be largely overcome when the
primer has linseed oil binder.
Lead White is sold in tins and has a stiff,
thick consistency, which needs to be
thinned with turpentine or white spirit for
application in most cases. However, it can
be applied in its undiluted state with a
palette knife or spatula.
One important consideration is the drying
times which can be 3-4 weeks.
TRADITIONAL GESSO GROUNDS

This is a very ancient ground which until the
20th century was used exclusively on wooden panels.This produced an absorbent
painting surface but was only useful with
rigid supports. Technical developments
since 1945 have resulted in Acrylic
Gessos which have sufficient flexibility for
both canvas as well as rigid supports.
When applying Gesso it is important to stir
it from time to time as the Whiting/pigment
mix tends to settle.
Alternative Oil Primers
These centre on titanium white, zinc white
or combinations of the two.
These pigments have a significant advantage over lead white in that they do not
darken when kept in the dark (which lead
white does, although it lightens again when
exposed to light) These primers sometimes
avoid using linseed and instead opt for safflower or poppyseed oil.
Robersons Quick Drying Oil Primer is a
mix of titanium white and china clay, with a
linseed oil binder and an alkyd resin for
quick drying. This is touch dry in 3-5 hours
and hard dry in 16 hours.
Winsor and Newton Oil Painting Primer is
an oil-modified alkyd resin (fast drying)
primer which has the advantage of being
reasonably nonyellowing, is more flexible
than linseed oil based primers and dries
much faster. Such primers should only be
used under oils and definitely not acrylics.
ACRYLIC SIZES AND PRIMERS
Acrylic primers are available in two fundamental types:
Non-absorbent and absorbent.
The formulation of the two types is in the
main very similar i.e. Acrylic emulsion, titanium white pigment and whiting (calcium
carbonate or chalk).The absorbency variations are related directly to the amount of
whiting within the primer.The higher the
whiting content the greater the level of
absorbency.
Acrylic Primers are also called Gesso
Primers but there are significant differences
between them in that Acrylic Gesso primer
is more absorbent and has a more plaster
like surface, whereas the standard Acrylic
Primers have a matt, flat surface.
Both types of primers can be sanded
between coats with the gessos being easier
to sand down.
Acrylic Gesso primers should not be considered the same as traditional Gesso
which is much more absorbent due to their
being made with animal glue and chalk
(Whiting).
Primers that fall under this category can be
applied directly onto unprimed stretched
canvas. Acrylic primer should be applied in
a minimum of two coats. The first coat
should ideally be thinned by no more than
10% - 15% with water, and the second
applied undiluted. Ensure the first coat has
completely dried before applying the second. In warm weather this can take one or
more hours, at other times leave overnight.
Acrylic Sizes
Canvas supports are often treated to a pre
primer or size which acts as a sealer for
both cotton duck and linen. As linen has
more open weave characteristics an acrylic
size is generally recommended.These are
clear sizes and are known as Canvas
Sealer, Acrylic Binder, Acrylic Size.
Acrylic primers, when painted onto raw fabric, have a tendency to come through the
back. To avoid this, acrylic size or water
thinned acrylic matte medium can be
applied so it can penetrate the fibres and
prevent the primer from sinking in. It is
generally recommended to apply acrylic
sizes in two diluted coats to ensure total
fibre penetration.
Once the size is dry a -crylic primer can
be overpainted. Acrylic size is milky white
when wet, but dries clear e.g. Ara Casein
Acrylic Binder, Ara Acrylic Binder or one
of the Clear Acrylic Canvas Sealers such
as Roberson. The acrylic primers are an
intense white, very flexible and adhesive.
They can be applied to most surfaces provided they are not greasy. They should
not be applied on top of a Rabbit Skin
Glue size as it is impervious to oil paint
and remains flexible whereas the glue size
embrittles with age. This can cause the oil
paint to separate from the ground with
age.
It is therefore not recommended to use
Acrylic Primers under large sized paintings
that are on canvas grounds. As a rough
guide any painting over approx. 2.5 metres
square should be painted on an oil ground.
Several coats of acrylic primer can be used
to obtain a smooth surface : 5 or more can
be applied, and sanded after each coat.
PRIMERS
To help achieve a smooth finish apply
each successive coat at right angles to the
previous one to avoid a build up of brush
strokes
Acrylic Primers can be applied directly to
wooden panels and hardboard.
Gesso primers are better suited to the rigid
supports discussed above.
Note: Artists who prefer to avoid animal
glue sizes are recommended to consider
Casein Acrylic Binder by Ara.
This was created to be a modern alternative to Rabbit Skin Glue.
FORMULA FOR GESSO
Materials
Dry Rabbit Skin Glue: 40gms.
Titanium or Zinc White pigment: 200gms
Whiting: 200gms.
Water: 500ml.
A Double Boiler.
A container with graduated scales on the
side 1 litre size.
A fine mesh strainer.
A stirrer.
Method
Add 40 grammes of Rabbit Skin Glue to
200ml of water in a container.
Close the lid and allow to stand for 24
hours.
This will enable the glue granules to
expand.
Stir the remaining 300ml of water to the
glue mixture and pour into the pan.
Allow low heat taking great care the mixture never comes to the boil.
Stir until the mixture has blended together
and then add Zinc White and Whiting
while continually stirring.
Any lumps can be removed by passing
the mixture through a sieve or by rigorous
stirring.
Your Primer is now ready.
CANVAS FIREPROOFING
SOLUTION
FLAMEBAR FIREPROOFING
SOLUTION S3
For application to cotton duck canvas, linen,
cotton materials,pulp board, exhibition boards,
mount boards, card, general wood products,
plastic foam, wallboards, plywood, hardboard,
polystyrene: Plus many other materials.
Application by spray container will render the
above materials fire retardant to the appropriate British standards; - BS476 part 6 and 7 / BS5867 part 2.1980. / - BS3119/3120
/BS5852 and 5665.
Full data sheets are available on request.
This information is essential for anyone undertaking commissions that may hang in a public
place.
Code
Size
ROFFSS31
1L
ROFFSS325
2.5L
ROFFSS35
5L
Price
19.99
41.30
76.99
SPRAY CONTAINER
FOR FIREPROOFING SOLUTION
For the application of Flamebar
Fireproofing solution.
Code
Size
ROSPC
1L
Price
3.50
USING PVA / VINYL A SURVIVAL WARNING

We very often see some artists and students using PVA and white vinyl as an
alternative to purpose made sizes and
primers, or as an alternative economic
acrylic.
This is a major problem if the art work is
to last any reasonable period of time. In
the case of vinyl for example this is
designed to be painted on walls a rigid
surface, it is not made flexible enough for
canvas. Vinyl is made to be cheap house
paint and is expected to last for relatively
few years as a typical house will be
repainted every few years. This in practical terms will probably lead to rapid deterioration in the form of cracking and a
chalky surface.
True acrylic paint is more flexible and is
designed to be applied to fabric surfaces.
In the same way PVA based paints and
mediums (such as glues) can become
brittle and yellow with age.
Either way, the result will be paintings that
are highly vulnerable to significant deterioration over time.
While we fully appreciate that students
and artists often have to operate with very
limited resources, we believe that those
same limited resources can still be made
to produce well made paintings using genuine acrylics which can be extended using
mediums and water.
We suggest that if resources are very limited PVA and Vinyl can be used to experiment with techniques to avoid wasting
precious genuine acrylics, but no more
than this.
MAIL ORDER
GIFT VOUCHERS
AVAILABLE.
PRIMERS
ACRYLIC PRIMERS
Atlantis Acrylic Primer
Code
Size
The Atlantis House acrylic primer produces a much finer and smoother
semi-gloss surface that is intensely white which produces a high white reliable painting ground for a variety of surfaces for painting primarily in oils
and acrylic paints. Our best-selling standard acrylic primer has excellent
covering strength and good flowing consistency at an affordable price.
Acrylic primer is also an alternative painting surface to rabbit skin glue size
thus avoiding a process involving heating (and the smell). The acrylic primer
also means that its whiteness permits fewer coats of oil based white paint or
lead white primer to be used to create a white glossy surface. Acrylic primer
does not need glue size underneath.
Application of Primers
To ensure the primers are applied in a smooth uniform manner a wide flat
bristle brush is recommended. Additionally, apply each priming coat in the
same direction and the following coat apply at right angles, this avoids building up waves and troughs through repeated brush marks. Always remember
if a smooth surface is required sand between coats.
Coverage
1 Litre will cover approximately up to 14 square metres depending on surface porosity and dilution. Dilute when necessary with up to 10% water to
thin. 10 square metres coverage (approximately) can be obtained when
used undiluted.
Two coats are normally fine for a well primed surface. Sand between coats
for increased smoothness.
To improve surface fineness after priming, apply each coat with brush
strokes all in the same direction and apply second coat at right angles to the
first again with all brush strokes in the same direction.
Technical Description
100% Acrylic Resin (copolymer emulsion) and Titanium Dioxide pigment.
Water based.
No lead pigment and non-flammable.
Non yellowing and excellent adhesion and flexibility
FAAP39
1 Litre
FAAP41
2.5 Litres
FAAP44
5 Litres
Price
13.11
25.91
49.95
The resultant surface is characterised by its

smooth non-absorbent painting surface which
enables paint to bind well onto the canvas. An
added advantage for the artist of acrylic primers
is their ease of use as no rabbit Skin Glue size
has to be prepared and applied under the
primer.
Contains a blend of acrylic resin (copolymer
emulsion) and Titanium Dioxide pigment. Can
be applied to Cotton Duck, Linen, wood and
hardboard, card and paper. Dries rapidly and is
ready to paint within 20 minutes. It is recommended to apply two coats to most surfaces. It
is generally advised to dilute the first coat by
10% with water to enable greater surface penetration to occur. The second coat can be applied
neat from the original tub. The esulting surface
is a permanent, flexible non yellowing ground
that is suitable for Oil, acrylic and tempera painting. A very important point to remember is that a
painter can apply oils onto acrylic primed
grounds but acrylic paints cannot be applied
onto oil primed surfaces. Oil and water are not
compatible. Can be tinted with acrylic colours.
Made exclusively for Atlantis in Germany.
IMAGE COMING SOON
PRIMERS
GESSO PRIMERS/ACRYLIC PRIMERS
Atlantis Gesso Primer
Code
Size
Generally made with Acrylic copolymer resins combined with Titanium white pigment
(normally Titanium Dioxide) combined with Whiting (French Chalk/Calcium Carbide).
This creates a highly porous toothy opaque surface much favoured by artists.
This replicates the traditional Gesso surface and is more absorbent than regular acrylic
primer.
Multiple coats are required if oil is to be applied to the gessoed surface to prevent it
sinking in and penetrating the priming layer and damaging the canvas which it is likely
to do if only one coat is applied.
It is recommended to apply gesso in thin layers so add up to 10% water to dilute.
Sanding gesso surfaces between coats facilitates a much smoother less rough or
toothy primed base.
Many artists often apply a thin oil wash onto the gesso primer to give the paint a less
absorbent base as the thin oil wash will fill in the porous surface.
There are Black acrylic primers (which will obviously affect transparent colours) and
coloured primers as well as clear acrylic primers for those who wish to maintain the
natural canvas background colour avoiding the absorbency of the raw fabric.
Anyone can make their own coloured primer by simply adding a colour of choice.
FCGP39
1 Litre
FCGP41
2.5 Litres
FCGP44
5 Litres
Price
13.11
25.91
49.95
Application: Allow 2-3 hours drying time

between each coating.
Coverage:
1 Litre will cover approximately 14 square
metres depending on surface porosity and
dilution with water.
Can be diluted with water by up to 10% to
achieve appropriate consistency.
Two coats are normally fine for a well
primed surface.
Ensure first coat has dried before applying
second. Water-dilutable, free of solvents, will
not yellow.
IMAGE COMING SOON
Robersons Acrylic Primer

Roberson Acrylic Primer can be applied to a wide range
of surfaces such as cotton duck, linen, wood, hardboard, card
and paper.
No previous sizing is necessary.
Dries rapidly, it is ready to paint on within 20 minutes on
average.
It is best to apply 2 coats to most surfaces.
The first coat can be diluted by 10% with water to give it
greater penetration into the surface.
The result is a permanent, flexible, non-yellowing ground,
suitable for oils, acrylic or tempera colours.
This primer can be tinted to give a toned ground by simply
adding the relevant acrylic colour.
Acrylic primers are used by most artists owing to their ease of
use. It is important to remember that while you can put oil paint
on acrylic you cannotput acrylic onto oils, as oil and water
are incompatible.
Coverage 8-10 square metres per litre
Pigment Titanium Dioxide with Co-polymer Emulsion.
Code
Size
ROAP36 500ml
ROAP39 1L
Price
10.95
19.39
Code
Size
ROAP41 2.5L
ROAP44 5L
Price
42.29
76.09
PRIMERS
ACRYLIC PRIMERS / CANVAS SEALERS
RobersonsUniversal Canvas Sealer
Ara Casein Acrylic Binder
A transparent size for putting directly onto cotton and linen

so the underlying surface remains visible. The surface can
be primed already (acrylic primed) or unprimed.
Ensure the canvas is tightly stretched before applying 2
coats of size, allowing 1 hour between coats.
Can also be used under acrylic primer.
Code
Size
ROUCS36
ROUCS39
ROUCS41
ROUCS44
500ml
1L
2.5 L
5L
Price
10.55
18.25
33.49
59.95
Winsor & Newton

Galeria Binder
WNGB39
Size Price
1L
14.21
Code
Size
ARAM39A350
1L
ARAM41A350
2.5 L
Price
14.13
33.12
Winsor & Newton
Galeria White Gesso Primer
A soft, gloss finish gel formulated to allow

the adhesion or addition of additive materials,
objects or aggregates (like sand, stone,
wood, tiles and more).
Suitable for combined use with acrylic colour
on a variety of surfaces.
Provides flexibility and will not yellow over
time.
Ideal for collage, craft and home decoration
applications.
Code
Very much a marriage of the latest technical developments and

traditional materials.This is an alternative to acrylic primers for fabric
surfaces.
It is not susceptible to dampness which results in the surface
tension remaining consistent.
We have spoken to a number of continental professional artists and they rate
this primer highly.
Apply 2 or 3 thin layers to the required surface. To dilute, add one equal part
of water. For chalk walls, it is 1 part casein binder to 9 parts water.
RRP
16.50
This primer is made from the highest

quality acrylic resin and a superior pigment
level :
It is an opaque,white gesso that dries fast
and is ideal for priming a wide variety of
surfaces.
Excellent covering power and quality of
binder enable the user to even use one
coat only although two are normally
recommended.
It is also suitable for oil painting.
Code
Size Price RRP

WNWGP39 1L
11.04 13.50
WNWGP41 2.5L 17.99 25.75
PRIMERS
GESSO/ACRYLIC PRIMERS
Golden Gesso - White
Golden Gesso - Black
An all acrylic liquid ground for preparing supports for painting.

Offers an excellent surface for acrylic or oil paints.
An all acrylic liquid ground for preparing supports for painting.

Offers an excellent surface for acrylic or oil paints.
Code
Size
Code
Size
GGW29
GGW35
GGW38
GGW42
236ml
473ml
946ml
3.78 L
GGB29
GGB35
GGB38
GGB42
236ml
473ml
946ml
3.78 L
Price
11.16
18.79
28.75
66.79
Price
11.95
20.40
31.15
91.97
Liquitex Gesso
A painting surface that is smooth, hard
and highly absorbent and does not
yellow with age.
Gesso is an appropriate surface for oil
paints and a variety of water based
paints. Because gesso is by nature a
hard, brittle surface it should only be
applied to rigid supports such as
boards.
The only way the gesso can be
applied to canvas or fabric is if they
are pre-stretched over a hard surface
such as boards and panels. The gesso
can be applied undiluted or thinned up
to 25% water. When thinning more
than 25% use an equal mixture of water
and Liquitex Matt Medium to thin. Gesso
can be tinted with any acrylic colour.
Code
Size
LQG4010
LQG4020
LQG4030
LQG4040
118ml
237ml
473ml
946ml
LQG4050
LQG4060
1.89 L
3.79 L
Price
6.19
9.58
13.20
20.81
37.20
65.59
PRIMERS
ACRYLIC BINDERS / GESSO
Golden Sandable Hard Gesso
For use on rigid supports such as boards.

High solid content to facilitate sanding to produce very
smooth surfaces.
Code
Size
GSHG29
GSHG35
GSHG38
GSHG42
236ml
473ml
946ml
3.78 L
Price
11.95
20.40
31.15
91.97
Golden Absorbent Ground
Used as a surfacing medium over gessoed canvas,

this ground dries to a porous, paper like surface.
For staining or watercolour effects.
Impasto method is not recommended for this ground.
Available in white and canvas.
Code
GAG29WH
GAG35WH
GAG38WH
GAG42WH
Size Price
236ml 11.95
473ml 20.40
946ml 31.15
3.78 L 91.97
ARA Gesso
Outstanding value for money for a

professional grade gesso.
High adhesion factor and great
tinting strength.
Gives elasticity, a toothy surface
and is semi absorbent.
Can be used for oil, acrylics and
tempera.
Code
Size
ARAM39A330
1L
ARAM41A330
2.5 L
TEL: 020 7377 8855 www. atlantisart.co.uk
Price
14.13
33.12
PRIMERS
ANIMAL HIDE / BONE SIZE
Robersons Prepared Rabbit Skin Glue
Ideal for those who have limited studio space or are working in a domestic environment
and want to avoid the mess and smells.
Contains a biocide which means that if kept in refridgerated conditions the glue size will
last a considerable time.
Comes in a soft jelly like form.
To liquify simply stand in a pan of simmering water and stir occasionally till warm.
Code
Size
ROPRS36
ROPRS39
ROPRS41
500ml
1L
2.5 L
Price
10.95
17.65
33.90
Atlantis - Rabbit Skin Glue Granules
The traditional painting surface that has been in use for centuries.
Simply add water to the granules at a ratio of approximately 12 parts of water to 1 part of granules and allow to stand overnight.
This will result in an expansion of the granules.
Place the mixture on indirect heat such as Bain Marie or double boiler DO NOT allow to boil as it will embrittle the glue size.
The resulting size can be applied hot as many artists feel there is better penetration of the cotton or linen surface.
Apply two coats and allow to dry thoroughly.
When storing keep in a refrigerator as
this will increase the lifetime of the size.
When reheating add some granules
soaked in water as the size weakens
on each reheating.
To test if you have the correct
consistency the glue when cold should
be like a thick jelly when a finger
is pushed across the surface.
Code
Size
AARSG250
AARSG500
AARSG1K
250gsm
500gsm
1 Kilo
Price
4.40
7.81
14.35
PRIMERS
GOLDEN ACRYLIC DIGITAL GROUNDS
Golden Digital Acrylic Grounds
Golden Digital Grounds
These digital grounds allow the artist to coat and subsequently print over a broad range of surfaces including paper,
canvas, metal and acrylic paints, using ordinary computer printers and inks.
These are ink receptive coatings intended for use with ink-jet printers
GOLDEN Digital Ground White (Matte) - A semi-opaque white ground suitable for printing onto a large variety of
porous and non-porous surfaces. The smooth and absorbent surface allows printing inks to dry rapidly, making it an
ideal choice for all ink-jet printers, including desktop models that have ejection rollers or pizza wheels that come
into contact with the printed surface. Digital Ground White (Matte) is an ideal starting product for artists exploring
digital printing. DO NOT FREEZE. Frozen product will become unusable.
GOLDEN Digital Ground Clear (Gloss) - A clear gloss ground for use on most porous surfaces where clarity is
required to view underlying materials. Like most clear ink-jet receptive coatings, prints done on this ground will dry
more slowly, which can cause tracking problems for desktop printers that have ejection rollers or pizza wheels.
GOLDEN Digital Ground for Non-Porous Surfaces - A clear gloss ground for coating non-porous surfaces, such
as plastic and metal, when clarity is desired. Like most clear ink-jet receptive coatings, prints done on this ground
will dry much more slowly, which can cause tracking problems for desktop printers that have ejection rollers or
pizza wheels.
Surfaces/Substrate Considerations
It is important to know how the substrate will react to water-based products.
Absorbent surfaces like paper and canvas can easily swell, buckle or become distorted when wet. Taping material
to a sturdy backing-board or inflexible surface during product application can minimize this.
If taping is not an option, applying the Digital Ground to the entire surface, including the edges, can help minimize
curling.
Once sheet can be handled without dripping, hang by one corner until dry.
Afterwards, if needed, press flat overnight under a weighted board.
If the substrate is extremely absorbent, applying an initial coat of an acrylic medium or acrylic ground can help seal
the surface and allow for a more even application of the GOLDEN Digital Grounds with fewer layers
Application
If desired, all digital grounds can be thinned with up to 10% water.
Using a foam brush, or foam roller, apply even coats of the Digital Grounds to the substrate.
Other types of brushes or rollers may be used but test for your application as these might create a less even and
more textured surface. Apply product quickly to allow the film sufficient time to level.
Allow each layer to dry thoroughly before recoating. Two or more coats, applied in opposite directions, will typically
provide the most uniform coating and best results.
Please note: Because the Digital Ground Clear (Gloss) and the Digital Ground for Non-Porous Surfaces are watersensitive, additional coats can exhibit excessive brush drag during the application, especially if the initial coat has
not dried sufficiently.
Allow 8-12 hours after applying the last coat before printing.
FINAL PROTECTION
Like all printmaking and photographic processes, digital media remain vulnerable to water sensitivity, fading caused
by UV exposure and airborne pollutants, surface abrasion, and dirt. Unless planning to frame and mount the piece
behind glass, some form of final protection is strongly recommended. Without it, the print can be easily damaged
and its longevity greatly shortened. There are several Golden products we would recommend for this purpose:
GOLDEN Gel Topcoats w/ UVLS:
GOLDEN MSA Varnish, GOLDEN Archival Spray Varnish or GOLDEN Polymer Varnish
PRIMERS
GOLDEN ACRYLIC DIGITAL GROUNDS
Gloss
Code
Size
GDGCG29
236ml
GDGCG35
473ml
GDGCG38
946ml
GDGCG42
3.78L
Price
12.77
22.37
34.37
98.35
Matte
GDGWM29
236ml
GDGWM35
473ml
GDGWM38
946ml
GDGWM42
3.78L
12.77
22.37
34.37
98.35
Non-Porous Surface
GDGNP29
236ml
GDGNP35
473ml
GDGNP38
946ml
GDGNP42
3.78L
12.77
22.37
34.37
98.35
Golden
Digital Mixed Media Sample Set
Code
GMMS0923
Price
19.16
PRIMERS
OIL BASED PRIMERS
Robersons
Quick Drying Oil Primer
Excellent coverage. Can be applied to canvas or wood. Will cover in one coat.
Two coats will produce a slippery surface to enable oil colour to be moved
around.
Coverage : 8-10 sq.m Surface Dry: 3-5 hours Hard Dry: 16 hours
Solvent: White Spirit Pigment: Titanium and china clay.
Linseed oil/alkyd resin.
Code
Size
ROOP36
ROOP39
ROOP41
500ml
1L
2.5 L
Price
10.95
20.45
44.49
Spectrum
Thixotropic Alkyd Primer
A multi purpose primer for all types of

oil painting supports.
The canvas needs sizing with rabbit
skin glue before priming.
It is important to apply the primer in
thinned layers.
It should not be applied neat from the
tin.
Code
Size
SPPR0431
SPPR0439
SPPR0441
250ml
1L
2.5 L
Winsor and Newton

Oil Painting Primer
A ready to use primer in a non yellowing

oil modified alkyd resin medium.
No thinning or stirring is required.
A small amount of oil colour can be mixed
into the oil painting primer for tinted
primings.
A 24 hour drying period is recommended
for each coat most grounds will always
need 2 or 3 coats of primer.
Code
Size
WME99431 250ml
WME99436 500ml
WME99439 1 L
Price
8.70
15.62
25.20
Galeria White Gesso Primer
Galeria Gesso Comparison
Price
8.79
18.77
38.55
AEROSOLS
AEROSOL SPRAY CANS
Montana Gold Aerosol Spray Cans
The new Montana Gold spray cans provide 174
colours and shades together with a much improved
paint quality. We have successfully introduced the
new Montana Gold range last year and the positive
reaction of our customers has confirmed we were
correct in doing so. The gold replaces the original
black label which, as a product range, had been out
for a number of years.
The Gold range is a significant step up due to the
improved range and intensity of the colours.The
other major improvement is a smart high pressure /
low pressure cap and valve system which enables
the user to spray fine as well as broad nozzle; this
is achieved by simply pressing down on the front or
back of the standard cap.
Montana Gold are high covering, quick drying
special lacquer spray paints, which are suitable for
interior or exterior use. Touch dry within approx 10
minutes. Can be applied to most surfaces eg:
paper,board,wood,plastic,glass, stone,metal, pottery,
jute, wickerwork.
The finish is smooth, bubble free.
A wide range of nozzles is available.
Code
Size
MASG---
400ml
Caps / Nozzles
Price
4.90
Price
50p
Level 1 Ultra Skinny Cap Grey / Black

Code
MASGCL1
Level 2 Fine Skinny Cap Grey / Black
Code
MASGCL2
Level 3 Skinny Cap Grey / Black
Code
MASGCL3
Level 4 Soft Fat Cap GSilver / Black
Code
MASGCL4
Level 5 Soft Fat Cap GSilver / Black
Code
MASGCL5
Montana German Fat Cap
Code
MASGFC
Montana Aerosol Art Skinny
Code
MASAS
Montana Fat NYC Cap
Code
MASNF
Montana Fat Orange Cap
Code
MASFO
Montana Fat Rosa Cap
Code
MASFR
Please note : When ordering please use the colour
chart and quote the product code, i.e. MASG or
MASGS if it is a Shock colour, MAST, if it is a
Transparent colour, followed by the colour code.eg.
Montana Gold 400ml Babyskin = MASG + 4000 =
MASG4000.
LIQUITEX PROFESSIONAL SPRAY PAINT
LIQUITEX PROFESSIONAL SPRAY PAINT

WORLDS FIRST PROFESSIONAL ACRYLIC PAINT IN AN
AEROSOL CAN
Combines artist grade pigments with a revolutionary water-based technology to provide high colour intensity, lightfastness abd durability together with
a low odour formulation. This is an important consideration when working
indoors with spray cans.intermixes with acrylic paints and is importantly
colour matched to the Liquitex Acrylics colour spectrum so artists can work
with both wet acrylic paint and the spray paint. Suitable for both detail and
large scale work. Also ideal for both outdoor and indoor work. The paint can
be washed off with water when still wet but is totally permanent when dry
.
!
100 colours
!
Lightfast to levels 1 and 2 with the exception of Fluorescents
!
Finish - Matte
!
Standard cap for detail work or filling in
!
400ml - coverage 2 square metres
!
Usable on multiple surfaces
!
Water based with little or no odour
- CFC free and non-toxic.
!
Intermixes with acrylic paints.
NEW
Series 1
Series 2
7.30
9.10
STRETCHERS
CLASSIC 45 ECONOMY STRETCHER BARS
Stretchers are the traditional method of supporting canvas so that it remains taut for the purpose of painting and later framing and display.
Our wooden stretchers are self assembly i.e, they slot together and remain in position without glue, nails or screws. All our stretchers are
adjustable so that if the canvas becomes slack it can be tightened up by simply tapping in the wooden wedges (supplied with all stretchers).
This system has been in use by artists for generations.
We sell 3 types : Economy, Mid Quality Extra Thick and Super Professional.
STRETCHERS
CLASSIC 45 ECONOMY STRETCHER BARS
Classic 45 Economy Stretcher Bars - 45 x 19mm
Ideal for anyone wanting a small to medium sized canvas or a young artist who wants to stretch canvas for the first time.The range has the
added advantage of having cross bars to create a stronger more stable frame particularly over 80cm. The stretchers are kiln dried to prevent
warping and have a raised outer lip which raises the canvas above the surface of the wood.
GREATLY IMPROVED QUALITY
In late 2008 we took the decision to significantly improve the quality of the economy stretchers by having them made from laminated wood
which makes them much stronger and less likely to warp, particularly at lengths over 80cm. This has resulted in a price difference but as this
range of stretchers is still approximately 50% less than the Mid quality range they are still great value.
Stretchers 45mm x 19mm

Code
/cm
Price (Pr)
AC45S020
8/20
1.55
AC45S025
10/25
1.94
AC45S030
12/30
2.32
AC45S035
14/35
2.71
AC45S040
16/40
3.10
AC45S045
18/45
3.49
AC45S050
20/50
3.87
AC45S055
22/55
4.26
AC45S060
24/60
4.65*
AC45S065
26/65
5.03
AC45S070
28/70
5.42*
AC45S075
30/75
5.81*
AC45S080
32/80
6.19*
AC45S085
34/85
6.58*
AC45S090
36/90
6.97*
AC45S095
38/95
8.28*
AC45S100
40/100
8.71*
* Cross Bar slot (1)
Cross Bars for 45mm x 19mm

(actual size 41mm x 13mm)
Code
/cm
AC45CB035
AC45CB040
AC45CB045
AC45CB050
AC45CB055
AC45CB060
AC45CB065
14/35
16/40
18/45
20/50
22/55
24/60
26/65
Price ( 1 ) Code
1.45
1.55
1.74
1.94
2.13
2.32
2.52
AC45CB070
AC45CB075
AC45CB080
AC45CB085
AC45CB090
AC45CB095
AC45CB0100
/cm
28/70
30/75
32/80
34/85
36/90
38/95
40/100
Price ( 1 )
2.71
2.90
3.10
3.29
3.49
3.68
3.87

Available for purchase to give
as a present.
Call for details.
STRETCHERS
MID QUALITY EXTRA THICK STRETCHER BARS
Mid Quality Extra Thick Stretcher Bars

Made with laminated strips to prevent any chance of warping and creating a much stronger
piece of wood than a single strip.
We have introduced a slightly different profile this year, one which has a raised outer
edge to give the canvas much greater clearance from the wood.
Our previous profile had a very slight gradient and did not provide the gap many of our
customers required.
* Cross Bar slot

Code
AMQETS020
AMQETS025
AMQETS030
AMQETS035
AMQETS040
AMQETS045
AMQETS050
AMQETS055
AMQETS060
AMQETS065
AMQETS070
AMQETS075
AMQETS080
AMQETS085
AMQETS090
AMQETS095
Please note : Sizes are accurate

in centimetres but only approximately accurate when stated in
inches.
** Cross Bar slots
/cm
8/20
10/25
12/30
14/35
16/40
18/45
20/50
22/55
24/60
26/65
28/70
30/75
32/80
34/85
36/90
38/95
Price (Pr) Code

2.89
AMQETS100
3.62
AMQETS105
4.34
AMQETS110
5.06
AMQETS115
5.80
AMQETS120
6.52
AMQETS125
7.24
AMQETS130
7.96
AMQETS135
8.68*
AMQETS140
9.40*
AMQETS145
10.13*
AMQETS150
10.85*
AMQETS155
11.57*
AMQETS160
12.30*
AMQETS165
13.02*
AMQETS170
13.74*
AMQETS175
/cm Price (Pr)

40/100 14.47*
42/105 15.19*
44/110 15.91*
46/115
16.64*
48/120
17.36*
50/125
18.08*
52/130
18.82*
54/135
19.54*
56/140
20.26*
58/145
20.98*
60/150
21.70*
62/155
22.42*
64/160
23.15*
66/165
23.87*
68/170
24.59*
70/175
25.32**
Code
AMQETS180
AMQETS185
AMQETS190
AMQETS195
AMQETS200
AMQETS205
AMQETS210
AMQETS225
AMQETS240
AMQETS255
AMQETS270
AMQETS285
AMQETS300
/cm
72/180
74/185
76/190
78/195
80/200
82/205
84/210
90/225
96/240
102/255
108/270
114/285
120/300
Price (Pr)
26.04**
26.76**
27.49**
28.21**
28.93**
29.66**
30.38**
32.56**
34.72**
36.89**
39.06**
42.23**
43.40***
STRETCHERS
MID QUALITY EXTRA THICK CROSS BARS
Code
AMQETCB050
AMQETCB055
AMQETCB060
AMQETCB065
AMQETCB070
AMQETCB075
AMQETCB080
AMQETCB085
AMQETCB090
AMQETCB095
AMQETCB100
AMQETCB105
AMQETCB110
/cm
20/50
22/55
24/60
26/65
28/70
30/75
32/80
34/85
36/90
38/95
40/100
42/105
44/110
Price 1 Code
3.37 AMQETCB115
3.75 AMQETCB120
4.07 AMQETCB125
4.39 AMQETCB130
4.76 AMQETCB135
5.09 AMQETCB140
5.42 AMQETCB145
5.77 AMQETCB150
6.12 AMQETCB155
6.45 AMQETCB160
6.77 AMQETCB165
7.13* AMQETCB170
7.46* AMQETCB175
/cm
46/115
48/120
50/125
52/130
54/135
56/140
58/145
60/150
62/155
64/160
66/165
68/170
70/175
Price 1 Code
7.82* AMQETCB180
8.15* AMQETCB185
8.47* AMQETCB190
8.79* AMQETCB195
9.16* AMQETCB200
9.48* AMQETCB205
9.83* AMQETCB210
10.16* AMQETCB225
10.55* AMQETCB240
10.85** AMQETCB255
11.17** AMQETCB270
11.53* AMQETCB285
11.86* AMQETCB300
/cm
72/180
74/185
76/190
78/195
80/200
82/205
84/210
90/225
96/240
102/255
108/270
114/285
120/240
Price 1
12.21*
12.55*
12.89*
13.22*
13.54*
13.87*
14.23*
15.36*
16.28*
17.43*
18.51*
19.52*
20.53*
STRETCHERS
SUPER PROFESSIONAL STRETCHER BARS
SUPER PROFESSIONAL STRETCHER BARS
We have introduced this
range of superior stretchers
to provide artists with what
we consider to be the
highest level of performance.
To achieve this, high quality
pine wood strips are tightly
laminated together to form
incredibly strong stretchers
and cross bars that are
resistant to warping in any
direction.
In addition to the laminating
process, the additional width
and thickness provides greater
rigidity and strength once
assembled.
All sharp edges are hand
rounded off. This range is
aimed at the exacting
professional or any artist
who is aiming to exhibit or
sell work.
Size: 70 x 40mm / 23/4 wide
Code
ASPS020
ASPS025
ASPS030
ASPS035
ASPS040
ASPS045
APS050
ASPS055
ASPS060
ASPS065
ASPS070
ASPS075
ASPS080
ASPS085
ASPS090
ASPS095
/cm
8/20
10/25
12/30
14/35
16/40
18/45
20/50
22/55
24/60
26/65
28/70
30/75
32/80
34/85
36/90
38/95
Price (Pr)
5.08
6.35
7.62
8.90
10.16
11.44
12.71
13.15
16.30*
17.49*
18.69*
19.89*
21.08*
22.28*
23.57*
24.67*
Code
/cm
ASPS100
ASPS105
ASPS110
ASPS115
ASPS120
ASPS125
ASPS130
ASPS135
ASPS140
ASPS145
ASPS150
ASPS155
ASPS160
ASPS165
ASPS170
ASPS175
40/100
42/105
44/110
46/115
48/120
50/125
52/130
54/135
56/140
58/145
60/150
62/155
64/160
66/165
68/170
70/175
Price(Pr)
25.87*
27.06*
28.26*
29.45*
30.65*
31.84*
33.04*
34.24*
35.43*
36.63*
37.82*
39.02*
40.22*
41.41*
42.61*
43.80*
Code
ASPS180
ASPS185
ASPS190
ASPS195
ASPS200
ASPS205
ASPS210
ASPS225
ASPS240
ASPS255
ASPS270
ASPS285
ASPS300
ASPS315
/cm
72/180
74/185
76/190
78/195
80/200
82/205
84/210
90/225
96/240
102/225
108/270
114/285
120/300
126/315
Price(Pr)
46.95**
48.14**
49.34**
50.54**
51.73**
52.93**
54.12**
57.71**
61.30**
64.88**
68.47**
72.06**
77.60***
81.18***
STRETCHERS
SUPER PROFESSIONAL CROSS BARS
Cross bars come in three types:
W or whole bars an uninterrupted single
cross bar used on smaller sizes where only
a single cross bar is required ie, up to 40 x
40.
T or top cross bar a single cross bar with a
central slot cut out to permit a second
overlapping cross bar to be placed across it
(theB bottom bar).
B or bottom cross bar a single cross bar
with a central slot cut out to take the central
slot cut out to take the T or top bar.
*
T, B - Single mortice / notch
** T, B - Double mortice / notch
*** T, B - Triple mortice / notch
Code
Code
/cm
Profile
ASPXBW50 20/50
W
ASPXBW55 22/55
W
ASPXBW60 24/60
W
ASPXBW65 26/65
W
ASPXBW70 28/70
W
ASPXBW75 30/75
W
ASPXBW80 32/80
W
ASPXBW85 34/85
W
ASPXBW90 36/90
W
ASPXBW95 38/95
W
ASPXBW100 40/100 W
ASPXBT100 40/100 T
ASPXBB100 40/100 B
ASPXBT105 42/105 T
ASPXBB105 42/105 B
ASPXBT110 44/110 T
ASPXBB110 44/110 B
ASPXBT115 46/115 T
ASPXBB115 46/115 B
ASPXBT120 48/120 T
ASPXBB120 48/120 B
Price Code
5.75 ASPXBT125
6.32 ASPXBB125
6.90 ASPXBT130
7.47 ASPXBB130
8.04 ASPXBT135
8.62 ASPXBB135
9.19 ASPXBT140
9.77 ASPXBB140
10.34 ASPXBT145
10.92 ASPXBB145
11.49 ASPXBT150
14.60* ASPXBB150
14.60* ASPXBT155
15.17* ASPXBB155
15.17* ASPXBT160
15.75* ASPXBB160
15.75* ASPXBT165
16.32* ASPXBB165
16.32* ASPXBT170
16.90* ASPXBB170
16.90* ASPXBT175
/cm
Profile
50/125 T
50/125 B
52/130 T
52/130 B
54/135 T
54/135 B
56/140 T
56/140 B
58/145 T
58/145 B
60/150 T
60/150 B
62/155 T
62/155 B
64/160 T
64/160 B
66/165 T
66/165 B
68/170 T
68/170 B
70/175 T
Price
17.47*
17.47*
18.05*
18.05*
18.62*
18.62*
19.19*
19.19*
19.77*
19.77*
20.34*
20.34*
20.92*
20.92*
21.49*
21.49*
22.07*
22.07*
22.64*
22.64*
23.22*
ASPXBB175
ASPXBT180
ASPXBB180
ASPXBT185
ASPXBB185
ASPXBT190
ASPXBB190
ASPXBT195
ASPXBB195
ASPXBT200
ASPXBB200
ASPXBT205
ASPXBB205
ASPXBT210
ASPXBB210
ASPXBT225
ASPXBB225
ASPXBT240
ASPXBB240
ASPXBT255
ASPXBB255
ASPXBT270
ASPXBB270
ASPXBT285
ASPXBB285
ASPXBT300
ASPXBB300
ASPXBT315
ASPXBB315
/cm
Profile
70/175 B
72/180 T
72/180 B
74/185 T
74/185 B
76/190 T
76/190 B
78/195 T
78/195 B
80/200 T
80/200 B
82/205 T
82/205 B
84/210 T
84/210 B
90/225 T
90/225 B
96/240 T
96/240 B
102/255 T
102/255 B
108/270 T
108/270 B
114/285 T
114/285 B
120/300 T
120/300 B
126/315 T
126/315 B
Price
23.22*
26.90*
26.90**
27.47**
27.47**
28.05**
28.05**
28.62**
28.62**
29.20**
29.20**
29.77**
29.77**
30.34**
30.34**
32.07**
32.07**
33.79**
33.79**
35.52**
35.52**
37.24**
37.24**
38.96**
38.96**
43.79***
43.79***
44.57***
44.57***
POSTER / TEMPERA COLOURS

EDUCATIONAL ART MATERIALS
Tempera Powder Colours

Ideal for artists of the younger generation and safe to use, these powder paints are aimed at creative playtime for individuals as well as
groups. Reeves Tempera Powders are made from quality fine ground pigments to create a range of strong and bright colours that are
easy to mix with water. The consistency can be varied by simply adding or reducing the water content. Water soluble when dry so any
mess simply washes away.
Available in large volume buckets of 2Kg or 8Kg for heavy users as well as small pots for individual use.
Prices
500gm
2.22 2Kg
6.15
Colours
500gm
2Kg
8Kg
Lemon Yellow
Brilliant Yellow
Brilliant Orange
Brilliant Red
Crimson
Purple
Brilliant Blue
Cyan
Cerise
Turquoise
Brilliant Green
Leaf Green
Yellow Ochre
Burnt Sienna
Burnt Umber
Black
White
OTP36055
OTP36049
OTP36203
OTP36542
OTP36044
OTP36207
OTP36046
OTP36341
OTP36074
OTP36076
OTP36030
OTP36702
OTP40343
OTP40055
OTP40051
OTP40049
OTP40203
OTP40542
OTP40044
OTP40207
OTP40140
OTP40654
OTP40046
OTP40341
OTP40744
OTP40074
OTP40076
OTP40030
OTP40702
OTP76343
OTP76055
OTP76051
OTP76049
OTP76203
OTP76542
OTP76044
OTP76207
OTP76046
OTP76074
OTP76030
OTP76702
8Kg
19.15
POSTER / TEMPERA COLOURS

EDUCATIONAL ART MATERIALS
Redimix Tempera Colours

Redimix Colours are a water-based
range of paints that are widely used in
the educational sector.The vibrant, bright
colours provide excellent coverage and
flow easily from the squeezy plastic
bottle with an easy to use flip top cap.
This range features a wide spectrum of
traditional key colours, including those
used for colour mixing theory and
special fluorescent and metallic colours.
Redimix colours are also widely used
by students and artists for working out
ideas in preliminary sketch form or for
general colour exercises.
Code
Size
Description
ORT36 --
500ml
Standard
ORT36--
500ml
Fluorescent & Metallic
Code Colours
343
055
051
049
203
140
542
044
207
Lemon Yellow
Brilliant Yellow
Brilliant Orange
Brilliant Red
Crimson
Cerise
Purple
Brilliant Blue
Cyan
Price
1.52
2.99
Code Colours
654
046
341
744
074
076
030
702
Turquoise
Brilliant Green
Leaf Green
Yellow Ochre
Burnt Sienna.
Burnt Umber
Black
White
Code Fluorescent
260
450
256
556
272
251
Fluorescent Yellow
Fluorescent Orange
Fluorescent Pink
Fluorescent Red
Fluorescent Blue
Fluorescent Green
Code Metallics
283
617
078
160
Gold
Silver
Bronze
Copper
SCREEN PRINTING
SCREEN PRINTING
Permaset Aqua Fabric Screen Printing Inks

At long last a water based screen printing ink that has the same performance of solvent based inks. These inks are technologically state of the art
which combines the finest particled pigments with the latest polymer
developments to create both an environmentally friendly easy to use ink
that provides long-term durability without compromising its superior soft
handle or feel.
Atlantis consider this product a first rate innovation as it provides an outstanding textile artwork solution that consistently enables far greater creativity.
Key Characteristics;
!
100% solvent free.
!
Water-based.
!
Pure colours with intensity.
!
Unparalleled adhesion.
!
Rub, wash and dry-clean resistance.
!
Includes glow, metallic and process colours.
!
Additional Supercover colours for use on very dark fabrics.
!
Exceptional softness.
!
Environmentally friendly,
!
Low odour.
!
Long open time on the screen
The Supercover colours are specifically designed to provide excellent
coverage, opacity and definition over dark fabrics whilst retaining maximum stretchability. Both ranges incorporate Glow fluorescent colours :
Aqua also includes four metallic and three process colours. Permaset
has over forty years of manufacturing experience and is widely recognised by both the professional printing trade and fine artists as a premium supplier of screen printing inks. This tradition has been maintained in
the last few years when the well established and highly successful fabric
inks were totally reformulated. This has resulted in the development of a
water-based version offering superior performance that has eliminated
the trade-off between durability and softness. This 100% solvent free,
environmentally friendly formula provides pigments that are rich in coverage, intense, and produce exceptional colour yield. The resilient resin
base holds fast during rub, wash or dry clean while having virtually no
feel on fabrics.
Permaset Aqua performs at a higher standard with enhanced screen stability and an extended open time, to produce cleaner results for longer.
Ideal for use on almost every fabric made Permaset is very low odour
and is easily cleaned up with water.
Permaset Aqua will produce exceptional colours on the

following fabrics;
!
Cotton.
!
Polyester.
!
Silk.
!
Most synthetic fabrics.
All this is done without the need for any additives.
Permaset Aqua can also be used on the following materials;
!
Paper.
!
Lino.
!
Wood for block printing.
!
Most porous surfaces.
Permaset Aqua comprises both regular and Supercover colours.
This Australian product is quite literally a revolution in fabric inks
by using advanced polymer technology combined with very
high specification pigments that are on the edge of the colour
wheel, which gives maximum colour cleanliness and brightness. One of the key is the pigment particle size which is much
smaller than normal for inks which has the additional benefit of
passing through finer meshed screens.
These inks took over two years to develop and the results have
been spectacular.
A Guide to Permaset Whites

!
Transparent White has a minimum opacity and is

designed for use as a blending white to achieve
pastel colours for painting on light fabrics. Lower
levels of Titanium Dioxide maintain the softest
material handle of the print.
Standard White is formulated with higher levels of
Titanium Dioxide to achieve better opacity, how
ever a stiffer material handle will result.
Supercover White is our premium Opaque White
for use on dark coloured fabrics.
Screen Material
For Standard Colours : A mesh size of 43T (110 TPI) monofilament or 10 TXX Multifilament is suitable.
For Metallics, Phosphorescent and Supercover Colours : a 32T
(86 TPI) monofilament or 8TXX multifilament is recommended.
If stencils are to be used, they must be water resistant :
Check first.
SCREEN PRINTING
SCREEN PRINTING
Permaset Aqua Standard Colours
Size 300ml
Code
SR000207
SR002707
SR002307
SR001507
SR002807
SR0019207
SR001607
SR000407
SR000107
SR000507
SR000607
SR000707
SR000807
SR000907
SR001007
SR001707
SR002007
SR001207
SR001807
SR000307
SR002107
SR001307
SR002507
SR001407
Size 1 Litre
Code
Colour
SR007805
Process Yellow
SR001205
Purple
SR001805
Rose
SR000305
Scarlet
SR002105
Standard White
SR001305
Transparent White
SR002505
Turquoise
SR001405
Yellow R
Colour
Blue B
Bordeaux
Bright Red
Bright Silver
Brown R
Copper
Gold Lustre
Green B
Jet Black
Junior Navy
Light Blue
Mid green
Mid Red
Mid Yellow
Orange R
Pearl White
Phosphnt Green
Purple
Rose
Scarlet
Standard White
Transparent White
Turquoise
Yellow R
Price
8.59
8.59
8.59
22.09
8.59
26.99
26.99
8.59
8.59
8.59
8.59
8.59
8.59
8.59
8.59
22.09
43.35
8.59
8.59
8.59
8.59
8.59
8.59
8.59
Permaset Aqua Standard Colours Glow

Size 300ml
SR005607
SR005707
SR005807
SR005907
SR006007
SR006107
SR006207
SR006307
Glow Blue
Glow Green
Glow Magenta
Glow Orange
Glow Pink
Glow Red
Glow Violet
Glow Yellow
20.87
20.87
20.87
20.87
20.87
20.87
20.87
20.87

Size 1 Litre
SR000205
SR002705
SR002305
SR002805
SR001505
SR0019205
SR001605
SR000405
SR000105
SR000505
SR000605
SR000705
SR000805
SR000905
SR001005
SR001705
SR008105
SR007605
SR007705
Blue B
Bordeaux
Bright Red
Brown R
Bright Silver
Copper
Gold Lustre
Green B
Jet Black
Junior Navy
Light Blue
Mid Green
Mid Red
Mid Yellow
Orange R
Pearl White
Process Black
Process Blue
Process Magenta
18.85
18.85
18.85
18.85
42.05
42.05
42.05
18.85
18.85
18.85
18.85
18.85
18.85
18.85
18.85
42.05
18.85
18.85
18.85
Glow
Price
18.85
18.85
18.85
18.85
18.85
18.85
18.85
18.85
Size 1 Litre
SR005605
SR005705
SR005805
SR005905
SR006005
SR006105
SR006205
SR006305
Glow Blue
Glow Green
Glow Magenta
Glow Orange
Glow Pink
Glow Red
Glow Violet
Glow Yellow
32.73
32.73
32.73
32.73
32.73
32.73
32.73
32.73
Blue B
Bordeaux
Bright Red
Brown R
Jet Black
Junior Navy
Mid Green
Mid Red
Mid Yellow
Standard White
Turquoise
56.70
56.70
56.70
56.70
56.70
56.70
56.70
56.70
56.70
56.70
56.70
Size 4 Litre
SR000203
SR002703
SR002303
SR002803
SR000103
SR000503
SR000703
SR000803
SR000903
SR002103
SR002503
Permaset Aqua Supercover Colours

Size 300ml
SR004307
SR005207
SR005507
SR005307
SR005407
SR004807
SR004407
SR004607
SR005007
SR004907
SR004707
SR005107
SR004107
SR004507
Glow
SC/ Black
SC/ Blue B
SC/ Green B
SC/ Light Blue
SC/ Mid Green
SC/ Mid Red
SC/ Mid Yellow
SC/ Orange R
SC/ Purple
SC/ Rose
SC/ Scarlet
SC/ Ultra Blue
SC/ White
SC/ Yellow R
15.55
15.55
15.55
15.55
15.55
15.55
15.55
15.55
15.55
15.55
15.55
15.55
15.55
15.55
Size 300ml
SR029107
SR029207
SR029907
SR029307
SR029407
SR029507
SR030007
SR029607
SC/ Glow Blue

SC/ Glow Green
SC/ Glow Magenta
SC/ Glow Orange
SC/ Glow Pink
SC/ Glow Red
SC/ Glow Violet
SC/ Glow Yellow
22.09
22.09
22.09
22.09
22.09
22.09
22.09
22.09
Permaset Aqua Supercover Colours:

Size 1 Litre
Code
SR004305
SR005205
SR006905
SR005505
SR005305
SR005405
SR004805
SR004405
SR004605
SR005005
SR004905
SR004705
SR005105
SR004105
SR004505
Glow
Colour
SC/ Black
SC/ Blue B
SC/ Burgundy
SC/ Green B
SC/ Light Blue
SC/ Mid Green
SC/ Mid Red
SC/ Mid Yellow
SC/ Orange R
SC/ Purple
SC/ Rose
SC/ Scarlet
SC/ Ultra Blue
SC/ White
SC/ Yellow R
Price
35.19
35.19
35.19
35.19
35.19
35.19
35.19
35.19
35.19
35.19
35.19
35.19
35.19
35.19
35.19
Size 1 Litre
SR029105
SR029205
SR029905
SR029405
SR029405
SR029505
SR030005
SR029605
SC/ Glow Blue

SC/ Glow Green
SC/ Glow Magenta
SC/ Glow Orange
SC/ Glow Pink
SC/ Glow Red
SC/ Glow Violet
SC/ Glow Yellow
51.55
51.55
51.55
51.55
51.55
51.55
51.55
51.55
Permaset Paste Mediums

Print Paste
Permaset print pastes are designed for mixing with Permaset Aqua Fabric colours or
the Supercover where a more transparent
shade is required or for making up your own
colours.
Code
SR001107
SR001105
Size
300ml
1 Litre
Price
7.36
15.05
Puff Paste
Permaset Puff Paste can be used as a base
for a multitude of colours and effects, when
mixed with Permaset colours.
This high performance printing medim
swells upon curing to produce a vertical
rise, giving a 3D effect. Permaset Puff
Paste can be used to enhance designs
and provide a raised, textured feel to the
finished print.
Code
SR008007
SR008005
Size
300ml
1 Litre
Price
22.09
51.05
WATER COLOUR
A BEGINNER S GUIDE TO WATER COLOUR PAINTING
WATER COLOUR PAINTING
Economical colours do not have the same

colour intensity or lightfast performance as
the artist quality but will perform sufficiently
well if not exposed to direct sunlight or
strong natural light levels.
These ranges are ideal for anyone starting
in water colours for the first time.
Professional Grade Water Colour
Made with high grade pigments these
paints are more intense and have much
better lightfastness than economical water
colours.
century.
Water colour is primarily but not exclusively a Like professional oils and acrylics these,
transparent tinting paint that can thinned and ranges are made in colour price bands
will still adhere to its primary painting surface described as series numbers or letters;
these can be found on professional paints.
- water colour paper.
Be aware these bands can vary between
It is a delicate and subtle paint that enables
manufacturers.
the artist to build up tone and colour as well
Painting surfaces for water colours center
as structure.
When dry the water colours have a matt film. on paper. These papers are available in
The paint can be re-worked after it has dried different weights which are described as
90gsm, 300gsm etc. This denotes the
by adding water onto the paint whether on
grams per square metre weight of each
paper or on a palette. Water colours are
paper.
made with extremely fine pigments, much
While there are many different paper
finer than the particle sizes used in oils and
weights the majority of water colour
acrylics.
This enables the paints to be applied in very papers sold are either around 190/200gsm
(lighter weight) and 300gsm (heavier
diluted form without the paint film being
weight).
adversely affected.
Because a lot of water can be applied to
Water colours are generally made in half
paper in the painting process the lighter
pans, whole pans or in tubes (which are
weight papers have a tendency to buckle.
much smaller than typical oil or acrylic
To avoid this, the paper can be totally
tubes).
soaked in water (literally immersed both
Pans are small squares or oblongs normally
sides under a running tap) and, when still
contained in plastic trays. Wetting agents
wet placed immediately on a thick drawing have been added to ensure the pans are
board or a flat thick piece of wood.
instantly moist when a wet brush is applied
Gummed paper tape is then wiped with a
to them. The most important conservation
wet sponge and placed around all four
consideration amongst water colourists is
the permanence of the colours, which due to sides ensuring the paper is stuck to the
board.
their thin paint film are more vulnerable to
The board with the paper is then held in a
light than other paints.The artist must pay
attention as to which colours are designated manner that drains off the excess waterand
is left leaning upright so all the water drains
asbeing fugitive which in simple language
away.
means most prone to fading.
Most manufacturers now include information Within one or two hours, the paper should
be dry and tight as a drum.
on colour permanence in their literature.
As in oil and acrylic paints most manufacturers make two qualities of water colours :
Economical or student quality: Made to be
affordable, with all colours selling at the same
price per size. A range of colour hues have
been developed that mimic the high quality
professional grade colours but at a much
lower price.
This is a painting medium that traces its
ancestry back to ancient China where cakes
of pigment were compressed and which could
be dissolved in water for painting.
These gradually evolved in Europe with the
additions of binders to become water colour
paints that could be taken anywhere such as
in a box in your pocket.Their very portability
and ease of use made them widely popular
with artists in particular in England in the 19th
It can now be painted on without buckling.

Once the painting is finished it is removed
by neatly cutting it off with a knife.
The heavier papers, i.e. over 300gsm will
accept a heavy wash without buckling.
Water colour paper comes in three main
surface textures;
- Rough, the most textured or grained
effect which shows through when the
paint is applied to the surface.
- Not/Cold Pressed, a slightly rough surface, but much smoother than the rough.
This means that the paper has not received
a final pressing to make the paper smooth.
- Hot Press/Smooth, quite literally this
means a hot pressing through rollers to
ensure the paper is smooth.
Water colour papers are sized which prevents the colours soaking straight into the
paper but instead gives the artist time to work
the paint for some time before it dries.
Water colour paper like paints comes in two
qualities:
- Alpha cellulose (wood pulp) which is the
economical paper and a 100% cotton or
50% cotton mix which are favoured by the
professional artist. The price differences
reflect the two qualities.
There are a number of water colour
mediums amongst which the following are
key:
- Ox Gall for making the paints disperse
evenly.
- Masking fluid for covering areas of paper
so they do not absorb colour, and which
can be simply removed with an eraser.
- Gum Water or Gum Arabic to improve the
brilliance of the colour and improve paint
flow.
WATER COLOUR
ARTISTS WATER COLOUR - PROFESSIONAL
Old Holland Traditional Professional Quality Water Colour
For anyone seriously interested in great water colour these are worth trying.
Old Holland have spent a number of years researching the origins of water colour and the ancient formulas of Egypt and China.
The aim has been to create a range of colours with lightfast performance and great pigment intensity.
They researched, in particular the water colour formulas of the old Chinese masters and, as a result, have produced a range of
168 colours all of which are claimed to be lightfast.
To get much higher pigment levels Old Holland have used an original Chinese binder based on distilled water, bleached gum,
arabic crystals, pure glycerine 99.9% with various mixtures of natural sugar syrups, special honey, rabbit skin glue, resin varnish
(from roots), seaweed extract and myrrh etc.
The resulting colours are stronger than standard water colours while retaining the required transparency for delicate lines.
The final benefit for the artist is that the colours require less paint to cover areas.
Even if you only purchase one colour, do so and experience the intensity of the colour.
Code
Size
OHW01
6ml tube
OHW48
Half Pan
Series A
Series B
Series C
Series D
Series E
Series F
4.88
4.88
5.24
5.24
5.80
5.80
7.66
7.10
8.30
8.12
14.79
10.66
When ordering please refer to the colour chart and quote product code followed by colour code, eg. 6ml tube Flesh Tint = OHW01 + B115
Whites
A1 Highlighting Titanium White

A2 Tinting Zinc White
A3 Transparent Chinese White
A4 Opaque White
A5 Mixed White
Old Holland Classic Watercolours
A06 Old Holland Yellow Light
D148 Vermilion Extra
D151 Old Holland Bright Red
B208 Old Holland Violet Grey
A211 Neutral Tint
B08 Old Holland Yellow Deep
C19 Scheveningen Red

Scarlet
E21 Cadmium Red Light
C205 Old Holland Blue Violet
B214 Paynes Grey
B107 Old Holland Yellow

Medium
E20 Cadmium Red Scarlet
E154 Cadmium Red Medium

(Vermilion)
C202 Dioxazine Mauve
B217 Old Holland Blue Deep
B103 Brilliant Yellow Light
C145 Coral Orange
C157 Scarlet Lake Extra
B199 Ultramarine Violet
C220 Old Delft Blue
B106 Brilliant Yellow
E17 Cadmium Orange
E23 Cadmium Red Deep
F32 Cobalt Violet Dark
A34 Parisian (Prussian)

Blue Extra
B109 Brilliant Yellow Reddish
C18 Scheveningen Orange
C18 Scheveningen Purple

Brown
C196 Manganese Violet

Blueness
C223 Old Holland Blue
B112 Naples Yellow

Reddish Extra
E142 Cadmium Yellow Orange
E25 Cadmium Red Purple
C193 Old Holland Bright Violet
B226 Scheveningen Blue Deep
B115 Flesh Tint
E139 Cadmium Yellow

Deep Extra
D160 Carmine Lake Extra
E31 Cobalt Violet Light
B229 Blue Lake
B118 Indian Yellow Green

Lake Extra
C136 Golden Barok Red
C163 Alizarin Crimson

Lake Extra
C190 Manganese Violet

Reddish
B33 Indigo Extra
E119 Cobalt (Aureolin)

Yellow Lake
C133 Old Holland

Red Gold Lake
B27 Madder (Crimson)

Lake Deep Extra
E30 Scheveningen Violet
B35 Scheveningen Blue
C121 Nickel Titanium Yellow
B130 Indian Yellow Brown

Lake Extra
D166 Burgundy Wine Red
B187 Ultramarine Red Pink
C232 Caribbean Blue
D09 Cadmium Yellow Lemon
B127 Indian Yellow Orange

Lake Extra
C24 Scheveningen Red Deep
C184 Royal Purple Lake
E42 Cobalt Blue Turquoise
B10 Scheveningen Yellow

Lemon
B124 Gamboge Lake Extra
B27 Madder (Geranium)

Lake Light Extra
D181 Old Holland Magenta
E235 Cerulean Blue Deep
D11 Cadmium Yellow Light
D16 Cadmium Yellow Deep
B22 Scheveningen Red Light
E29 Scheveningen Rose Deep
F39 Cerulean Blue
B12 Scheveningen Yellow Light
D15 Scheveningen Yellow Deep
B169 Scheveningen Red

Medium
C178 Ruby Lake
F238 Cerulean Blue Light
C14 Scheveningen Yellow

Medium
D13 Cadmium Yellow Medium
B172 Rose Dore Madder Lake

Antique Extra
B175 Brilliant Pink
C241 Manganese Blue Deep
Old Holland Classic Watercolours
367
74
75
370
Vine Black
Ivory Black Extra
Scheveningen Intense Black
Mars Black
D47 Viridian Green Deep
D46 Viridian Green Light
A56 Raw Sienna Light
A57 Raw Sienna Deep
Please note :
This chart should only be used as
a guide. Actual colours may differ
slightly from those shown.
E267 Cobalt Green Deep
E268 Cobalt Green
A322 Italian Earth
A58 Brown Ochre Light
A365 Old Holland Cold Grey
E266 Cobalt Green Turquoise
C49 Scheveningen Green Deep
A55 Gold Ochre
C325 Old Holland Yellow

Brown
A73 Scheveningen Warm Grey
B265 Turquoise Blue Deep
C48 Scheveningen Green
A54 Yellow Ochre Deep
B328 Transparent Oxide

Yellow Lake
A361 Old Holland Warm Grey

Light
E262 Cobalt Blue Turquoise

Light
B271 Permanent Green Deep
A53 Yellow Ochre Light
B331 Italian Brown Pink Lake
A358 Davys Grey
B259 Old Holland Blue Grey
B274 Emerald Green
A319 Mars Yellow
B334 Transparent Oxide

Red Lake
A72 Van Dyck Brown

(Cassel) Extra
B40 Scheveningen Blue Light
B277 Permanent Green Light
B316 Naples Yellow Deep

Extra
A337 Mars Orange Red
A355 Sepia Extra
B256 Kings Blue Light
C280 Old Holland Bright Green
A313 Naples Yellow Extra
A59 Yellow Ochre Half Burnt
A352 Old Holland Ochre
B253 Kings Blue Deep
D45 Cadmium Green Deep
A310 Green Umber
A60 Yellow Ochre Burnt
A69
Raw Umber
E250 Cobalt Blue
D44 Cadmium Green Light
A52
A340 Old Holland Light Red
A70
Burnt Umber
C247 Old Holland Cyan Blue
D43 Cinnabar Green

Light Extra
B307
A61
Burnt Sienna
A68
Deep Ochre
E38 Cobalt Blue Deep
B283 Old Holland

Yellow Green
C304 Hookers Green Lake

Light Extra
A62
Red Ochre
A71
Warm Sepia Extra
A37 French Ultramarine Blue

Light Extra
B286 Old Holland

Green Light
C301 Hookers Green Lake

Deep Extra
A63
English Red
A67 Brown Ochre Deep
A36 Ultramarine Blue
B289 Permanent Green
D43 Cinnabar Green

Deep Extra
A343
Flesh Ochre
A349
Red Umber
A244 Ultramarine Blue Deep
B292 Sap Green Lake Extra
C50 Chromium Oxide Green
A64
Venetian Red
A346
Mars Brown
C41 Manganese Blue
C295 Old Holland Green Gold
C298 Old Holland Green

Gold Deep
A65 Persian (Indian) Red
A66
Green Earth
Olive Green Dark
Caput Mortuum Violet
WATER COLOUR
LUKAS Aquarell 1862 Water Colour
Exquisite pigments from all corners of the globe give these brilliant,
lightfast water colours a pronounced color intensity, and establish
them as one of the finest art treasures the world has to offer!
We are delighted to reintroduce Lukas Water Colours back into
the Atlantis range. We had this in our previous catalogue and
thought to drop it: Big mistake, the complaints from customers kept
coming in. Lukas Aquarell 1862 has a 140 year history as one of
the best ranges of artists water colours. Named after the year
Lukas was established, these colours were among the first to have
wetting agents and they have continually evolved to include key
scientific developments in pigments and materials, resulting in
great colour intensity and lightfastness.
Code
Size
LW48
LW49
LW06
Half-Pan
Whole Pan
24ml Tube
Series 2
2.46
3.78
6.79
Series 3
3.45
5.58
9.11
Artists Have Trusted The Expertise And

Longstanding Tradition Of LUKAS Since 1862!
Recently, Lukas comprehensively revamped the range to ensure
it maintains its position among the leading ranges for professional
artists. The new range now offers the serious water colour artist the
following:
70 high brilliance tones.
14 new colour tones
33 tones with improved formulae.
23 tones adhering to the tried and tested classic 1862
water colour formulae.
48 single pigment tones, essential for accurate colour
mixing.
70 colours in whole and half pans as well as in 24ml tubes
Key Characteristics of Lukas Aquarell 1862
LUKAS finest artists water colour is easy to lift up because of its
permanently moist consistency. This is achieved through special
wetting agents and a gentle production method which avoids strong
heating of the colour. This facilitates better lifting, not only sparing
expensive specialist water colour brushes, but also allowing colour
once dried to be re-dissolved easily. Pronounced colour Intensity
and highest transparency is achieved by using select pigments of
the best quality in the highest possible concentration. Highest
possible lightfastness levels with 58 tones with a grade of 7-8 on
the international Blue Wool scale. Importantly, no colour shades
have a lower lightfastness rating than 6 to 7 on the 8 step scale.
Outstanding solubility with water: Every colour has a recipe which is
tailored to that individual shade and the production process is very
gentle to the raw materials: For example, the water colour is still
pressed into the pans by hand. In order to ensure the highest
colour quality Lukas deliberately avoids heating the colours, a procedure which is conventionally used by many other manufacturers
during the production process. As a result, Lukas water colours
enable the artist to achieve even and easily controllable gradients
and an application of colour without clouds or veins.
Lukas Aquarell 1862 high quality pigments are subject to a precise
milling and mixing combination in production that ensures 99% of
each pigment is finely ground to 2 u (2/1000mm): This results in
outstanding blending on the palette and paint application to the
paper. The exceptional brilliance and outstanding mixing ability of
the range meet the requirements of the most demanding professional artist. Where it is possible, the colours consist of one pigment only,resulting in significantly improved general colour
performance. In order to lift water easily and accurately with a
brush, it is very important that the colour contains a moist consistency. For many years famous water colour painters used moist
water colour in tubes. In 1862, the founder of LUKAS Artists
Colours, Dr. Fr. Schoenfeld, was the first to successfully produce a
solid water colour in pans with a permanently moist consistency.
Due to this moist consistency, LUKAS moist water colour is easy to
lift up and can be applied without veins and clouds. No film or
adhesive stays on the pigment. The pigments are directly bound
with the painting ground and are able to shine through purely and
genuinely.
1006
S2
Chinese White
1007
S2
Opaque White
1015
1021
S2
Lemon Yellow (Primary)
1024
S2
Indian Yellow
1026
S3
1034
S2
Naples Yellow
1044
S2
1045
S2
Perm. Yellow Light
1028
S3
Perm. Yellow Deep
1031
S2
Yellow Ochre
1047
S2
Permanent Orange
1048
S2
Perm. Yellow Deep
1066
S2
Madder Lake Deep
1072
S3
Cadmium Red Light
1074
S3
Cadmium Red Deep
1080
Lukas Red
1088
S2
Cinnabar Red
1097
S2
Permanent Red
1051
S2
Magenta (Primary)
1061
S2
Carmine Red
1064
S2
Alizarin Crimson
1092
S2
Genuine Rose
1094
1126
S2
Indanthrene Blue
1127
S3
Cobalt Violet
1136
S2
1141
Purple
1142
S2
Dioxazine Violet
1118
S2
Cyan (Primary)
1119
S2
Manganese Blue
1121
S3
Cerulean Blue
1124
S2
Phthalo Blue
1125
S3
Cobalt Blue
1134
S2
Prussian Blue
1135
S2
Ultramarine Light
1162
1198
S2
Permanent Blue
1122
1163
S2
Permanent Green
1165
1168
S2
Cobalt Turquoise
1169
S2
Cobalt Green
1170
1193
S2
Perm.Green Yellowish
1195
S2
Phthalo Green
1023
Gold Ochre
1036
S2
Naples Yellow Reddish
1039
1055
S2
English Red Deep
1109
S2
Burnt Sienna
1153
S2
Oxide of Chromium
1012
S3
Metallic Gold
1052
S2
Caput Mortuum Deep
S2
1112
S2
Van Dyck Brown
S2
Sap Green
1182
S2
Ivory Black
Lukas Aquarell 1862

Water Colour Chart
S3
Aureolin
1016
S3
Gamboge
S2
Turquoise
S2
1104
S2
Burnt Green Earth
1184
S2
Paynes Grey
1154
1133
S2
Paris Blue
S2
1152
S2
Green Yellow
S2
1171
S2
Cinnabar Green Light
S2
Raw Sienna
1054
S2
English Red Light
S2
1158
S2
Verona Green Earth
1176
S2
Olive Green
S2
1110
S2
Raw Umber
1111
S2
Burnt Umber
Viridian
1106
S2
Ruby Red
S2
Sepia
Indigo
May Green
1186
S2
Neutral Tint
Note : Please order using the colour chart and quote the product code followed by the colour code,eg. LW48 + 1006 = LW481006 = Lukas 1862
Aquarell 24ml Chinese White.
WATER COLOUR
WATER COLOURS - PROFESSIONAL
Sennelier Extra-Fine Water Colours
It was in1887 that Gustave Sennelier, whose passion for the
alchemy of colourmaking was already legendary, established the
Maison Sennelier at 3, Quai Voltaire, directly across the Seine
from the Louvre. His research in the study of pigments,
production techniques, colour mixing and colour stability was so
rigorous that his eye for colour and his palette of paints became
standards amongst the artists of the day. After establishing his
high reputation with his oil paints he set himself the task of crafting a range of extra - fine water colours. He was supported by
many of his close artist friends many of whom are now known
as the French Impressionist Masters.The cornerstone of
Sennelier Extra - Fine Water Colours is Gustave Senneliers
special formulation, which was perfected in 1893. Water colours,
particularly Senneliers have very distinct characteristics when
compared to other painting media available to artists. Water
colour evolved from its predecessors: Egg tempera and gouache.
Architects, illustrators and painters used egg tempera to
colour a lot of their work throughout the 19th Century. But
painters sketching out landscapes and portraits, who
needed a transparent touch which would capture the
uniqueness and transitory nature of light. This experimentation gave birth to what was originally called wet paints
that appeared in the 19th Century, and the ensuing work
that eventually became known as water colour.
What is of particular relevance is that Sennelier Extra Fine water colour are designated as French Water
Colour. This results in a distinctive satin luminosity that is
an exaltation of colour, reflecting the Impressionist aesthetic of brilliant colour vibrancy which they wanted in their
water colour.
Further work has been carried out on the range as the
years have passed so that today Sennelier water colour
are a blend of 20th Century innovation and 19th Century
traditions. In order to hand make these unique colours it
is necessary to use components that retain colour intensity
in their transparency. Sennelier strove to find a binding
agent which reflected the luminous nature of the medium. Gum
Arabic was eventually selected, and from the many different
types of Gum Arabic available Sennelier chose the finest and
most expensive quality from Kordofan-Sudan in its natural state.
Unlike powdered Gum Arabic which is the most widely used,
these very large intact chunks are dissolved in cold water slowly
and gently in order to preserve the gums maximum binding
strength. Once this dissolving process has been completed a
solution rich in resin is obtained. Honey is then added to this
solution to give a luster to the vivacity of the colours. The very
rich mixture, possessing high binding properties, is then given
plasticity by the addition of glycerine. This creamy binding solution is then mixed with pigments and finely ground. Senneliers
special process involves soaking the pigments in purified water
for 24 hours before mixing and grinding the pigments with the
binding solution. This initial soaking allows the pigment and
binder to fuse more completely and permits the colours hue to
develop.
Sennelier Extra - Fine Water Colours are ground in the traditional

fashion on granite grindstones that revolve slowly so that the colour
paste does not become heated, which would alter the purity of the
colour tones.
The paste is repeatedly ground to obtain the maximum fineness,
dispersing the pigment particles that could alter the evenness of the
water colour wash.
Once the fineness of the paste has been obtained, the ground colour
will be left to sit for several days after being put in a tube or pan.
Sennelier Extra - Fine Water Colours also feature excellent lightfast
characteristics throughout the entire range, largely due to the
tremendous improvements of pigment composition in recent years.
Sennelier Watercolour
Treasure Chest
30 x 1/2 pans, No. 0 Squirrel Mop,
No. 4 Sable, 2 x Mediums, Soap Eraser,
Graphite Pencil.
Code SEWS629
Price 137.74
Half Pans
Code SW48
Series
Series
Series
Series
1
2
3
4
10ml Tubes
Price
4.46
4.95
5.36
6.75
Code SW07
Series
Series
Series
Series
1
2
3
4
Price
5.36
5.85
6.25
8.95
WATER COLOUR
SENNELIER WATER COLOUR SETS - PROFESSIONAL
Deluxe Mahogany
Box Set
24 x 1/2 Pans,
Porcelaine Palette,
No. 6 Sable,
No.2 Squirrel Mop.
Code SEWS614
Price 130.50
Traditional Metal Box

Double lids which serves as mixing palettes.
(Pocket Size). 12 x 1/2 pans.
Code SEWS633
Price 52.15
NEW
Travel Box
Plastic Pocket Set with
brush. 8 x 10ml tubes.
Code
SEWS641
Price
37.76
Travel Box
Plastic Pocket Set with
brush. 14 x 1/2 pans
Code
SEWS651
Traditional Metal Box

Double lids for use as palettes
and thumb rings on the underside
of the box. 48 x 1/2 Pans.
Code
SEWS604
Price
148.50
Price
40.46
...Extra Fine Watercolours
116
112
Titanium White
533
Cadmium Yellow Deep
579
Alizarin Crimson Lake
Cerulean Blue Red Shade
1
Olive Green
931
805
Van Dyck Brown
440
Brown Green
1
Warm Sepia
445
205
Raw Umber
315
Raw Sienna
254
1
Light Yellow Ochre
1
Burnt Umber
3
Viridian Green
202
837
French Ochre
Ultramarine Deep
565
690
Phthalo Green Deep
208
675
Madder Rose Lake
807
Brown Pink
Primary Yellow
Cobalt Blue
French Vermilion Red
307
Forest Green
574
Quinacridone Red
(Primary)
899
679
Cobalt Deep
857
645
Chinese Orange
309
Phthalo Turquoise
688
Carmine Lake
341
Bright Yellow Green
395
535
Sennelier Orange
Blue Indanthrene
871
641
Carmine
4
Aureolin
635
Cobalt Green
407
308
Turquoise Green
Phthalo Green Light
1
Neutral Tint
689
856
559
Red Orange
Indigo
640
Madder Lake Dark
843
Cadmium Yellow Orange
Prussian Blue
813
318
501
Lemon Yellow
537
Venetian Red
Dioxazine Purple
305
623
4
Nickel Yellow
Sennelier Yellow Dark
917
576
Chinese White
695
435
1
Transparent Brown
98 colours in half pans and 10ml tubes
529

Genuine
612
2
Opera Rose
314
Sennelier Yellow Light
691
817
Yellow Ochre
619
709
Bright Red
605
680
3
Permanent Magenta
399
1
Greenish Umber
636
326
809
Hookers Green
753
302
819
Green Earth
Lamp Black
755
703
1
Paynes Grey
1
Ivory Black
1
Sap Green
Caput Mortuum
4
Cerulean Blue
919
2
Blue Violet
213
Madder Brown
903
Royal Blue
4
Cadmium Red Purple
322
611
Bright Purple
699
Burnt Sienna
Light Grey
671
Violet Red
815
3
Perylene Brown
344
566
Naples Yellow Deep
499
707
905
1
Sophie Yellow
Cinerous Blue
211
587
Sennelier Red
Phthalo Blue
203
913
1
Naples Yellow
Cobalt Violet Deep Hue
599
567
Cadmium Red Light
Quinacridone Ochre
1
Sennelier Grey
823
1
Yellow Lake
Cadmium Green Light
Gold Ochre
561
Blue Sennelier
257
1
Indian Yellow
Ultramarine Light
Sennelier Green
Warm Grey
312
Emerald Green
705
911
French Ultramarine Blue
252
517
Cobalt Violet Light Hue
847
Rose Dor Madder Lake
Scarlet Lacquer
659
578
443
1
Raw Sepia
WATER COLOUR
Winsor & Newton - Artists Water Colour

Since 1832, when Henry Newton and William Winsor introduced the first moist water colour to the world, much of the companys
reputation for quality and its subsequent success in becoming the worlds largest supplier of art materials can be traced back to this
original water colour range. More than 170 years later, the original Winsor and Newton moist water colour continues to be formulated and
manufactured according to the original founders principals which were to create an unparalleled water colour range which offers the artist
the widest and most balanced choice of pigments with the greatest possible permanence.
The company are proud to claim that their colour brilliance, transparency and purity of colour are second to none. Today, the intense work
continues to maintain these standards through a combination of choice of raw materials, custom made machinery and expert formulation
by a team of experienced chemists and artists.
A great deal of this work centers on incorporating the newest advances in pigment technology and production methods to ensure that the
quality of the range is raised even further to produce brighter, more transparent and stable colours.
What is important is that despite many advances in key areas many of the original formulations remain the same !
The Product Range
The Artists Water Colour range offers a wide and balanced spectrum of 96 colours in a selection of pan and tube sizes. Each colour has
been selected and formulated to offer the greatest choice of flexibility, ensuring all artists have access to the palette that best suits their
work. The range of 95 colours includes 15 recently added new colours, the modification of the formula for a further 10 colours, with the
remaining 71 colours remaining unchanged.The selection of the raw materials for the 96 different colours of the Artists Watercolour is a
skill that has taken decades of experience and expertise by the chemists to perfect. Literally hundreds of materials are involved in the final
formulations. After the raw materials are delivered they each undergo quality control tests to ensure they meet the required standards and
specifications and are free from impurities. During this phase, as much as 25% of incoming materials are rejected.
NEW SIZE
37ml tube
A new range of large sized 37ml tubes has been introduced which is aimed at the regular user who needs to get their professional grade
colours in greater quantities.
This range contains 30 of the best selling colours.
Size
Code
5ml tube
WAW47
14ml tube WAW04

37ml tube ! WAW09
Series 1 Series 2 Series 3 Series 4
4.51 4.97
8.71 9.91
15.36 17.28
5.14
11.38
19.87
6.75
13.80
23.99
Size
Half Pan
Code Series 1 Series 2

WAW48
Whole pan WAW49
4.51
5.52
4.97
6.29
Series 3 Series 4
5.14
6.72
6.75
9.43
NEW
37ml tubes
347
S4
Lemon
Yellow
025
S3
Bismuth
Yellow
089
S4
Cadmium
Orange
724
S1
Winsor
Orange
026 S4
Cadmium
Lemon
Due to the limitations of

four colour printing this
chart should only be
used as a guide.
722 S1
Winsor
Lemon
723
S1 106
S4
Winsor
Cadmium
Orange
Scarlet
( Red Shade)
730
S1
Winsor !
Yellow
348
S2
Lemon
Yellow
Deep
016
S4 653
S1 118
S4
Aureolin
Transparent Cadmium
Yellow
Yellow
Pale
603
S2
Scarlet
Lake
094
S4
Cadmium
Red
097
S4 726
S1
Cadmium Winsor Red
Red Deep !
491
S3
Permanent
Mauve
672
S2 733
S1 321
S3 180
S4
Ultramarine Winsor ! Indanthrene Cobalt
Violet
Violet
Blue
Blue Deep
(Dioxazine)
587
S4 448
S2 545
S3 489
S3 192
S4
Rose Madder Opera Rose Quinacridone Permanent Cobalt
Genuine
Magenta
Magenta
Violet
!
538
S1
Prussian
Blue !
707
S1 140
S3 137
S3
Winsor ! Cerulean
Cerulean
Blue
Blue !
Blue
(Green Shade) (Red Shade)
379
S2 526
S2
Manganese Phthalo
Blue Hue
Turquoise
191
S4
Cobalt
Turquoise
Light
311
S1
503
S1 447
S1 638
S1 294
S2 422
S1
Hookers ! Permanent Olive!
Terre Verte Green Gold Naples
Green
Sap Green Green
(Yellow Shade)
Yellow
425
S1
Naples
Yellow
Deep
362
S1
Light Red
470
S2
Perylene
Violet
678
S1
Venetian
Red
317
S1 056
S1
Indian Red Brown
Madder
537 S2
Potters
Pink
331
S1 337
S1 386
S1 217
S1
150
S1
Ivory Black Lamp Black Mars Black Davys Gray Chinese
White
507
S3
Perylene
Maroon
644
S1
Titanium
White
(Opaque White)
190
S4
Cobalt
Turquoise
649
S3 267
S1
Turners
New !
Yellow
Gamboge
108
S4
Cadmium
Yellow
731
S1 319
S1
Winsor
Indian
Yellow
Yellow
Deep
576
S4 548
S3 725
S1 466
S3
004 S1 479
S3
Rose Dore Quinacridone Winsor Red Permanent Alizarin ! Permanent
Red
Deep
Alizarin ! Crimson
Carmine
Crimson
184
S4
Cobalt
Green
263
S2 667
S2 178
S4
French ! Ultramarine Cobalt
Ultramarine (Green Shade) Blue
709
S1
Winsor !
Blue
(Red Shade)
111
S4
Cadmium
Yellow
Deep
502
S3
Permanent
Rose !
010
S1
Antwerp !
Blue
719
S1 692
S3 721
S1 637
S1 460
S2 459
S3
Winsor ! Viridian ! Winsor
Terre Verte Perylene
Oxide of
Green
Green
Green
Chromium
(Blue Shade)
(Yellow Shade)
745
S1 744
S1 552
S1
285
S2
547 S3
059
S1 381
S1 074
S1
Yellow
Yellow ! Raw Sienna Gold Ochre Quinacridone Brown ! Magnesium Burnt !
Ochre
Ochre
Gold !
Ochre
Brown
Sienna
!
Light
125
S2
Caput
Mortuum
Violet
554
S1
076
S1
Raw Umber Burnt !
Umber
!
676
S1
Vandyke
Brown
609
Sepia
S1
322 S1
Indigo
465
S1 430
S1
Paynes Gray Neutral
Tint
Please note :
When ordering please refer to the colour chart and quote the product code followed by
the colour code, eg. W&N Artists Water Colour Burnt Sienna Half Pan = WAW48 + 074
= WAW48074
!
New Artists Water Colour 37ml Tubes
The new range of 37ml tubes has been introduced aimed at the regular user who
needs their professional grade colours in greater quantities.
WATER COLOUR
ARTISTS WATER COLOUR SETS - PROFESSIONAL
Winsor & Newton

Artists Water Colour Boxes
Lightweight Metal Boxes
Lightweight Metal
Artists Sketchers Black Box
This lightweight black enamelled box contains 12 assorted
key Artists Water Colour half pan colours with space for an
additional 12 colours.
Each of the twelve colours has been selected with mixing in
mind in that each colour intermixes to create the whole
colour spectrum.
The robust metal box has a mixing palette integrated into the
lid and a removable palette to help simplify cleaning.
Code
WAW50548
Price RRP
61.99 80.00
Lightweight Metal Artists 12 Tube Box

Contains 12 x 5ml tubes of key colours contained in a high
quality metal box with a total of 9 mixing wells in the lid and
hinged tray.
The tubes are favoured by professionals because of the quantity
of paint and their ease of carriage.
Code
Price
43.97
WAW50552
RRP
60.00
Bijou Metal Box

This mini pocket-sized metal box looks almost like a jewel box but has
the advantage of offering a combination of convenience and practicality.
The box measures only 79 x 60 x 16mm and contains 8 assorted key
Artists Watercolours in half pan sizes plus a special travelling pocket
brush.
Code
WAW50555
Price RRP
52.73 60.00
WATER COLOUR
ARTISTS WATER COLOUR SETS - PROFESSIONAL
Artists Water Colour Wooden Box Set
Piccadilly
A beautifully finished wooden box set containing a range of Artists
Watercolours in half pan size together with a selection of Water
Colour Accessories. This is ideal either as a gift for someone or just
as a present to yourself.
Contents:
Price RRP
18 x Half Pans of Artists Code
Water Colours.
WAW50004 127.27 140.00
1 x 5ml Tube of colour.
2 x Series 16 Sable
brushes
(sizes 0 and 4).
1 x Porcelain Palette.
1 x Artists Sponge.
1 x Putty Rubber.
1 x Leaflet on Water
Colour Painting
Winsor & Newton Heavyweight Artists Sketchers

Enamelled Boxes
A range of traditionally made black enamelled metal boxes featuring a
thumb ring for use when painting outdoors as well as integral mixing wells.
Winsor & Newton

12 Whole Pan Enamelled Box
This box contains 12 assorted Artists Water Colours in the
larger whole pan size.
Code
WAW50542
Price RRP
95.45 105.00
These are for anyone looking for a great present or who want to paint in
professional quality Water Colours made by the most famous maker of
these paints.
Artists Water Colour

Heavyweight Enamelled
12 Half Pans with bottle Set
A cleverly designed half pan box containing 12 assorted artists water colours with a
built in water container. Lid contains 2 mixing well recesses.
Code
WAW50543
Price
63.63
RRP
80.00
NEW
Artists Water Colour
Compact Set
This pocket sized lightweight box is ideal for the outdoor artist.
It contains 14 pans of professional grade water colour, plus a size 5 Series 16 Sable
brush as well as a number of useful
mixing surfaces:
Including a detachable lid which serves as a
palette plus an additional sliding palette and a
clip on side dish.
Code
WAW50049
Price
61.81
RRP
70.00
When ordering please refer to

the colour chart and quote the
product code followed by the
colour code, eg. Cotman 21ml
Lemon Yellow Hue = WCW46
+ 346 = WCW46346.
346
Lemon
Yellow Hue
119
Cadmium
Yellow Pale
Hue
266
Gamboge
Hue
109
Cadmium
Yellow Hue
090
Cadmium
Orange Hue
103
Cadmium
Red Pale
Hue
095
Cadmium
Red Hue
098
Cadmium
Red Deep
Hue
003
Alizarin
Crimson Hue
502
Permanent
Rose
580
Rose
Madder Hue
544
Purple Lake
398
Mauve
231
Dioxazine
Violet
660
Ultramarine
179
Cobalt Blue
Hue
139
Cerulean
Blue Hue
654
Turquoise
327
Intense
Blue
538
Prussian
Blue
329
Intense
Green
696
Viridian Hue
235
Emerald
312
Hookers
Green Dark
314
Hookers
Green Light
599
Sap Green
552
Raw Sienna
744
Yellow
Ochre
554
Raw Umber
074
Burnt
Sienna
362
Light Red
317
Indian Red
076
Burnt
Umber
676
Vandyke
Brown
609
Sepia
322
Indigo
465
Paynes
Gray
331
Ivory Black
337
Lamp Black
150
Chinese White
WATER COLOUR SETS - ECONOMICAL

WATER COLOUR
WATER COLOUR SETS - ECONOMICAL
Winsor & Newton
Cotman Water Colour
These are ideal for water colour first timers, students, hobbyists. They are inexpensive and provide good quality colours that enable the users
to experience the pleasures of water colour. This is probably the most popular range of water colour in the UK and the USA.
Cotman
Water Colour Sets
The sets in particular are incredibly popular and
are our recommended point of starting in this
medium.
Colour hues are used where some of the
pigments would be very expensive.
Code
Size
WCW48
Half-Pan
WCW03
8ml Tube
WCW46
21ml Tube
Price
1.68
1.99
4.20
Cotman Water Colour

Sketchers Pocket Box
The hues are an economical alternate to real

pigments which can be very costly.
For starting in Water Colour

this represents great value as it has:
! 12 assorted key colours
These are great value and are a single price for ! A travelling brush
each price size.
! A container that has a palette in the
lid
! An instruction leaflet.
Cotman
! It just fits in your pocket.
Whole Pan Painting Box
Code
A high quality lightweight painting box

containing :
! A selected palette of 12 whole pans.
! The box features integral slant well mixing
palette and thumb ring.
! Sceptre Pocket Brush
Code
WCW50653
Price
21.99
WCW50640
Price RRP
7.99 11.50
RRP
32.00
Cotman
Pocket Plus Water Colour Set
The basic set contains:
! 12 assorted key Cotman water colours
! A pocket brush.
However, the real value of this set is the
care and attention to the design.
The main features of this set are :
! A compact lighweight box that fits
easiy into a pocket.
Additional mixing area available

under mixing palette.
! A modern, well designed set that
will suit water colour artists of all ages.
! Soft, rubberised thumb loop
under the box to enable it to be
securely held in one hand, whether
left or right handed users.
Code WCW50373
!
Price
12.50
RRP
16.00
WATER COLOUR
COTMAN WATER COLOUR SETS / EMPTY BOXES
Cotman 24 Half Pan Painting Plus
Water Colour Set
A new and very well designed watercolour set primarily for the first timer or amateur but
also a useful tool for the serious artist doing preliminary sketches and jotting down pictorial
ideas. This set can have professional quality paints inserted at any point.
Contents :
!
24 half pans and three 8ml tubes in key colours. ! A pocket brush.
!
This format can be individually varied in use to hold up to 24 half pans alone if needed or 16 half pans and 3 x 8ml tubes or some accessories. The design is excellent with
a substantial number of fixed and removable mixing surfaces combined with different
Code
Price
RRP
types and depths of mixing wells.
WCW50376
24.98
35.00
The key features are : ! Large removable mixing palette which can be clipped onto
either end of the open set or used separately on a flat surface.! Detachable internal
Cotman Water Colour Painting
mixing palette which can be removed and used separately on a flat surface. Additional
mixing area available under internal mixing palette.! Easily removable pocket watercolour Plus Set of Half Pans & Tubes
Code
Cotman Field Box
So successful has this design been

that when it was replaced with the
Field Box Plus there was such an
outcry that it was hastily brought
back. This has an elegant and simple design that incorporates everything a water colour artists might
want to paint in the field.
! The lid doubles as a water
holder and there is also a water
bottle which also has a mixing
well recessed in to the bottle
side.
! There are also 2 other mixing
wells.
Code
! 12 half pan key colours
! A travelling short pocket brush WCW50639
! A sponge.
WCW50375
Price RRP
32.99 43.50
Cotman Field Box Plus

!
!
!
!
!
!
A 60ml bottle for clipping on the

side.
2 clip on pots for clean water
and or large washes
2 thumb holes for left and right
hand use.
A Sceptre Pocket Brush
Capacity for holding 2 pocket
size brushes.
3 substantial mixing surfaces
with a variety of mixing wells.
Code
WCW50374
Ultramarine
Yellow Ochre
Cobalt Blue Hue Burnt Sienna
Sap Green
Burnt Umber
RRP
35.00
Empty Water Colour Boxes

Code
Description Price
LW6703
24 Half Pans
22.77
LW6741
12 Half Pans
18.90
LW6708
12 Tubes
30.07
Price RRP
23.80 34.00
Colours:
Cadmium Yellow Pale Hue
Cadmium Yellow Hue
Cadmium Red Pale Hue
Price
24.98

Viridian Hue
Chinese White
WATER COLOUR
ACCESSORIES
Atlantis Gum Arabic Crystals
Finest Gum Crystals
Roberson Elisa Turks Aquarella

Medium
Roberson - Gum Water

(Gum Arabic)
Only the highest quality Kordofan
gum is utilised by one of the
oldest manufacturers of artists
materials.
Code
Size
ROGW18 100ml
ROGW31 250ml
ROGW36 500ml
ROGW39 1 Litre
Code
Size
ROTA16
60ml
ROTA31
250ml
Price
4.20
10.20
Facilitates painting with water

colour on paper, terracotta,
ivory, wood and textiles.
This medium entirely obviates Code
the need for sizing and other AGA100
preparations.
AGA250
Stops running even on
loosely woven fabrics.
AGA500
Do not thin with water.
AGA1K
Price
5.99
9.65
16.19
26.75
Roberson Refined Oxgall

Probably the highest quality
oxgall available.
Code
Size
RORO18 100ml
RORO31
250ml
RORO39
1L
Price
6.60
10.90
26.99
Size
100gsm
250gsm
500gsm
1 Kg
Price
3.05
7.63
12.72
21.19
WATER COLOUR
WINSOR & NEWTON - ACCESSORIES
Art Masking Fluid
Gum Arabic
Ox Gall Liquid
Rubber/ Latex Pigment.

Application gives a waterproof film to protect
areas from colour applied in broad washes.
Remove by rubbing with eraser or peeling.
A natural gum/water preservative.

It increases gloss and transparency of
water colours.
Can be thinned with water.
Colourless, odourless liquid.

Increases wetting and flow of water.
Dilute with water and dampen paper with
solution.
Code
Size Price
WME90217
75ml
WME90231
250ml
5.74
10.41
RRP
6.50
11.99
Lifting Preparation
Lifting Preparation allows dry washes,
including staining colours to be more easily
lifted from paper with a wet brush or sponge.
It is an ideal preparation with which beginners can prime the paper allowing corrections to be made to their painting.
Code
Size
WME86117
75ml
Price
5.74
Code
Size
WME90617
75ml
Price
5.74
RRP
6.50
Code
Size
WME90917
75ml
Price
5.74
RRP
6.50
Granulation Medium
Colourless Art Masking Fluid
This medium gives a mottled or granular

appearance to colours.
Same as Art Masking Fluid with no pigment.

This is specifically designed for soft-sized
papers to avoid staining.
Code
Size
WME86017
75ml
Price RRP
5.74 6.50
Code
Size
WME90417
75ml
RRP
6.50
Price
5.74
RRP
6.50
WATER COLOUR
ACCESSORIES
Winsor & Newton Blending Medium

Blending Medium is used to slow the drying
rate of water colours allowing more time for
blending.
It is particularly useful in hot climates where
artists would like their water colours to stay
open and workable for longer periods of time.
Code
Size
WME86317
75ml
Price
5.74
RRP
6.50
Winsor & Newton Permanent Masking Medium
Winsor & Newton Texture Medium
Permanent Masking Medium is used to

mask specific areas of the papermaking
them resistant to water.
This medium can also be mixed with water
colours and is ideal for isolating areas of
fine detail.
Texture Medium contains fine particles and

can be used to give the impression of depth
and structure to water colour paintings.
It is ideal for emphasising areas such as
sandy beaches or the bark of a tree in
figurative paintings. Used with multiple
washes, Texture Medium catches different
layers of colour and really gives a new
dimension to water colour painting.
Code
Size
WME86217
75ml
Price
5.74
RRP
6.50
Code
Size
WME86417
75ml
Price
5.74
RRP
6.50
Water Colour Medium

Pale coloured gum solution used to improve
the flow of water colours when mixed with
them. Can be thinned with water.
Iridescent Medium gives a pearlescent or

glitter effect to your water colours.
Size
WME86517
75ml
Price
5.74
Size
WME91117
75ml
Winsor & Newton - Aquapasto Medium

Code
Size
Price
WME90116
60ml
7.27
Winsor & Newton Iridescent Medium
Code
Code
RRP
6.50
Daler Rowney Poster & Water Colour Varnish

Simply apply one coat for a gloss surface on water
colours, gouache or poster colours.
Code
Size
DRM00917
75ml bottle
Price
4.54
Price
5.74
RRP
6.50

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atlantis

Acid Free Paper Framing Tape

Draft Cleaning Powder & Pads

Cotton Tying Tape

13mm x 50mtrs 1/2 ft x 164 ft

Cotton Researcher Gloves

Tel: 020 7377 8855

Acid-Free Tissue Paper

Acid-Free Blotting Paper

Atlantis Long-Life Copysafe

Archival Interleaving Tissue

Tel: 020 7377 8855

Atlantis Silversafe Paper

- Conservation and archival protection of silver

Archival Rag Endleaf

- Made from 100% cotton fibres

- Bookbinding and library conservation

Tel: 020 7377 8855

Heritage Woodfree Paper

Archival Kraft, Manilla & Cover Papers

- Chemically purified woodfree fibre

- Archival storage - files, folders, envelopes

Tel: 020 7377 8855

Lilliput Time Traveller Album Pages

Tel: 020 7377 8855

Lilliput Museum System

Lilliput Museum Box

Lilliput Page Hanging Bars

Page Index Tabs, self adhesive

315gsm Page Inserts (fits PLMP11 pages)

Fold Over Mounting Corners

Storing in Plastic - The Dangers!

Tel: 020 7377 8855

Polyester Archival Storage Pockets

Melinex Archival Polyester

Tel: 020 7377 8855

Archival Folding Boxboard

Die Cut Archival Boxes

Tel: 020 7377 8855

100% Cotton Museum Board - Cream

- Museum mounting of prints, drawing & photographs

- 100% cotton fibre

100% Cotton Museum Board - TG Off-White

Tel: 020 7377 8855

Blue Wool Test

Material based towards alkalinity by measurement of pH.

Tel: 020 7377 8855

System 3 for Painting

Tubes are available in 75ml and 225ml sizes.

Due to the limitations of 4 colour printing the

TEL: 020 7377 8855 www.atlantisart.co.uk

When ordering please refer to the colour

TEL: 020 7377 8855 www.atlantisart.co.uk

System 3 Selection Set

Code D129100025 Price 19.71 RRP 28.25

System 3 Painting Mediums

System 3 Acrylic Screen Printing Set

System 3 Process Colours

Daler - Rowney have produced a range of process colours

TEL: 020 7377 8855 www.atlantisart.co.uk

ARA Artists Acrylics

Economically priced professional in quality.

ARA Metallic Acrylic Colours

TEL: 020 7377 8855 www.atlantisart.co.uk