The Derwent Inktense Paint Pan Travel Set contains the unique Inktense formulation found in our pencil and block ranges. Unlike traditional watercolour, washes of vivid paint can be applied without dissolving previously dried layers.
Vibrant – Inktense creates vibrant, intense ink-like color which remains fixed once dried
Versatile – Suitable for use on paper and fabric for a wide range of fine art and craft projects
Portable – Ideal for travel with everything needed to paint on the go
Unlike traditional watercolor, washes of vivid paint can be applied without dissolving previously dried layers
Professional quality, all colors in this set are 100% light fast
While the practice of pouring artist paints is certainly not a new way to apply paint, achieving consistent results can be frustrating and costly. However, it is vital to the process to conduct experiments to gain the knowledge of what are the most critical controlling factors which preside over paint pours.
Image 1: This tinted GOLDEN Self-Leveling Gel “skin” shows the crazes that developed during the drying process.
One sure way to improve the odds for successful pouring is to start with a clean studio. Acrylic pours are relatively slow drying paint layers and dust can easily become imbedded into the film. Take some time to free the immediate workspace, sweeping the floor and wiping down surfaces around the studio. Next, be sure the table top or floor you are working on is also clean and level. Even slight angles can cause issues with pours. Put down fresh poly plastic sheeting on the surface which will protect the surface and help later on by preventing your artwork from becoming glued to the work surface, as pouring products creates puddles and drips that can travel off of the canvas or panel. Finally, control the temperature and humidity level in the studio as much as possible. Dry climates increase the chance of crazes developing – fissures resulting from liquid acrylic products skinning over during initial drying while the underlying liquid paint is still very fresh. The skin shrinks and tears apart resulting in unwanted physical textures known as a “craze” (see Image 1).
The most predictable painting surface for pours is a sealed panel. This surface is less affected by the weight of the wet product compared to stretched canvas. Of course, the panel needs to be resistant to warping from water, thus sealing the surface with one or more coats of acrylic medium (or paint) is helpful. Conversely, this advice may be counter-productive if your technique relies upon the surface absorbency and/or the ability to curve the substrate in order to control the paint movement. This is why testing is such a critical factor even when using products that other artists find successful. If working on stretched canvas is vital to your process, you may be able to eliminate the sagging by stretching over a wooden panel or using a cardboard block between the stretcher bars.
Paints and Mediums used for Pouring Applications
Free-flowing liquid paints and mediums are at the heart of the pouring process. Adjusting the viscosity and flow rate to work in tandem with how you want the paints to interact with each other is key. Obviously, products like GOLDEN Fluid Acrylics and High Flow Acrylics are more practical when doing pours than thicker Heavy Body Acrylics. This is not to say you cannot use Heavy Body paints, but they will first require thinning with water, acrylic medium, or both. A great approach for thinning Heavy Body paints without a loss of film strength is to first mix a thin acrylic medium such as GAC 100 with water (1 part medium to 1.5 parts water, and then use this mixture to thin the paints as much as desired). This mixture assures quick thinning but contains enough acrylic binder so that you still end up with a pourable paint instead of a color stain mixture. Since Fluids and High Flow Acrylics are already pourable, this step isn’t required to work with them, but sometimes it is necessary to adjust these paints as well. GOLDEN Airbrush Transparent Extender is also a valuable medium for adjusting paints. This product is a similar consistency to High Flow Acrylics, containing flow improvers and leveling additives.
Although most acrylic mediums are inherently pourable, some are better suited for pouring than others. GAC 800 is a medium specifically produced to modify paints for pouring, such as when pouring a puddle onto a paint surface. The GAC 800 mixes readily with the Fluid Acrylics and this combination is the least likely to craze during drying. It’s still possible GAC 800 may craze, but this is usually the result of too much paint being added and in turn, countering the acrylic solids level or the pour has been applied in too thick of a layer. A great starting point is to mix 1 part paint into 10 parts GAC 800 and limit the thickness to how far the product will spread. In other words, pour the product into a pancake puddle, and let it seek its own thickness without impeding its flow by use of a taped off or dammed edge. Once these tests are done you may want to try other paint amounts and use edges to control the flow, but be wary of too thick of a pour to start. The biggest negative attribute of GAC 800 is “dry state clarity”. This medium retains a slight cloudy quality making it a poor choice as a clear topcoat or even transparent color layer.
Other mediums to experiment with include GAC 500, Polymer Medium (Gloss), Fluid Matte Medium, Self-Leveling Clear Gel and Clear Tar Gel. One important note worth mentioning is that these products were not developed with defect-free pouring in mind, and although smooth thin layers are possible when using them, they are not free of issues and limitations. For example, a common misconception is that Self-Leveling Clear Gel can be poured liberally and spread around with palette knives, trowels and squeegees and level perfectly upon drying. This is not the case, and some tool marks, however slight, will likely remain in the dried layer. Tool shape and application technique are critical to their success, and artists who have mastered their use have spent many frustrating nights in their studio figuring out the best application method that provides the desired results. As a place to start, use clean, large tools with smooth edges and carefully spread the product in multiple thin coats until the desired effect is attained. Allow one to three days drying between coats to reduce the chance of crazing and don’t be put off if every layer isn’t a perfect epoxy like surface, as perfection is nearly impossible to attain in layers of air drying products.
Image 2: GAC 800 blended 10:1 with GOLDEN Fluid Acrylics creates solid color pours that retain crisp edges between each color.
Pouring Application Techniques
There are as many methods as there are product combinations to try. First, appreciate each paint color as its own unique formula and pigments vary in their density and ability to move and spread. The same is true for the many acrylic mediums produced. Now factor in the addition of water, Retarder, or diluted Acrylic Flow Release. Toss in the impact of the painting substrate and studio environment and suddenly, predictable pouring seems unattainable. The way to best describe the approach to pouring applications is the concept of setting the stage to allow the products to do what they want to do; in other words, controlled chaos. And if you don’t take good studio notes to identify how each painting is created then you’ll never be able to reproduce a great effect when they happen. That said, here are some common methods and beginning mixtures to try out:
Thinned Color Washes – High Flow Acrylics are ready to use for this application. The colors will readily move and interact. Try them neat, mixed with mediums like Airbrush Transparent Extender or GAC 500 and let gravity move them around. Fluid Acrylics will require at least 10% additions with water to allow them to freely move about. Note: high additions of water increase surface tension, which can be countered by adding in 2 or 3% Acrylic Flow Release into the water prior to using it to thin paints. Do not over-add Acrylic Flow Release as it does not help improve flow, it’s intended to reduce surface tension which happens quickly.
Solid Color Pours – As mentioned previously, GAC 800 is a great medium to use with Fluid Acrylics for making colored pours (see Image 2). Ideally start around 10 parts GAC 800 to 1 part Fluid Acrylic, mix and store the paint overnight in a sealed container. This allows the bubbles incurred during mixing to rise and pop, resulting in clean pours with sharp edges. These mixtures produce clear color edges. Solid color pours can be used over an entire canvas, but avoid damming up the edges during drying.
Adding Isopropyl Alcohol into Acrylic Paint – Alcohol is less dense than water, and evaporates quickly once it hits the surface of a pour. Unlike other applications, the alcohol amount for this technique is relatively low because once the effect happens and it escapes the fresh pour, there needs to be sufficient time for the normal acrylic paint curing process to
Image 3: Pours of GAC 800, GOLDEN High Flow Acrylic & Isopropyl Alcohol create cellular patterns as the alcohol tries to escape the paint during drying.
occur to avoid film formation issues. An effective starting recipe is 2 parts GAC 800, 1 part High Flow Acrylic, and 1 part 70% isopropyl alcohol. Create 3 or more paint mixtures in containers which can be shaken without spilling and carefully pour one color on top of another. Dense pigments like Titanium White should be used as the final layers so that the more aggressive colors below will push up through and create the cellular effects (see Image 3).
As with any new painting technique, do not be discouraged if the desired results don’t happen immediately. Good note taking is critical for successful pours of acrylic paints and mediums. If you find yourself at the crossroads and need additional guidance, please contact the Materials Specialists with your questions!
Check out these cool family friendly glass painting ideas with Marabu glass paints
Although I haven’t yet painted on it I have to say the QOR watercolor grounds go on to the substrates beautifully. So far they work better than other grounds that I have applied but I will make my final judgement after I paint on them – so keep posted for more feedback. I think they are going to be fabulous … making unusual surface a watercolor surface.
Grounds Product Information
QoR Grounds offer watercolorists three easy to apply products for use on surfaces such as wood, canvas, and paper. They are flexible, absorbent, acid free, and compatible with watercolors, acrylics, and drawing media (pencil, ink, etc.). They may also be tinted with small amounts of acrylic paints without noticeably altering the absorbency. Adding more than 5% acrylic paint will begin to change how color washes behave.
QoR Grounds may be blended together in any amount or layered on top of one another to create custom surfaces.
Watercolor papers do not require extra preparation before applying QoR Grounds. However some materials such as hardboard or linen can cause a yellowish-brown discoloration known as SID, or Support Induced Discoloration. If SID is a concern, apply two coats of GOLDEN GAC 100 or Polymer Medium Gloss, and let fully dry before applying the QoR Ground.
QoR Watercolor Ground
QoR Watercolor Ground is a liquid prep coat that can be applied to a variety of surfaces, such as paper, canvas and panel.Purpose – A brushable base coat useful for creating a smooth hot press paper-like absorbent surface.
Use as Ground – Allows for watercolor techniques on virtually any paintable substrate. The smooth surface remains flexible with a soft feel. Use to create custom watercolor panels or canvases. After the last layer has been applied, allow 24 hours or longer to fully dry before applying paint washes.
Application – Apply two or more coats of Watercolor Ground to paper, panel, canvas or other desired surface. Allow sufficient time (usually 24 hours or more) for the layers to fully dry before applying watercolor washes. Up to 20% water (5:1 ground to water ratio) may be added to improve leveling. Watercolor Ground may be sanded for a smoother surface, with wet sanding providing the best results. Avoid coarser grits as they can leave scratches that will become highlighted when washes are applied to the surface.
QoR Light Dimensional Ground
QoR Light Dimensional Ground can be applied smoothly or used to create texture.Purpose – creates a lightweight dimensional, absorbent surface, similar to cold press watercolor paper. It can be applied smoothly or used to create a highly textural layer. Watercolor washes lift easily, including colors that are usually listed as staining.
Application – Apply with brush, knife or trowel as desired, and allow to fully dry. This product is non-leveling and will retain the tool marks in the dried surface. Use a wet application tool to create a more even layer. Thicker applications may take several days before they are ready to be painted.
QoR Cold Press Ground
QoR Cold Press Ground is textural and fibrous, creating a surface responsive to watercolor washes.Purpose – Creates a rough paper-like surface that easily accepts color washes and produces variations in staining. The fibers in Cold Press Ground are synthetic and will not break down from acids or age.
Application – Apply Cold Press Ground with a palette knife or trowel. Apply evenly for a smooth paper quality or vary the application for increased texture. Once applied, wet the application tool and use to smooth the surface to create a more even layer. Allow the layer to fully dry. Thicker applications may take several days before they are ready to be painted.
Protecting Painted Watercolor Grounds Although these grounds are not made with cotton rag like many watercolor papers, they are still absorbent materials. Because of that, watercolors painted on them will need to be protected against environmental factors such as humidity, pollution, dust, handling and sunlight. To achieve this, QoR Grounds can either be framed like traditional watercolors done on paper or they may be varnished. For complete instructions, please review the information sheet Varnishing Watercolors.
I had the opportunity to try the Porcelaine 150 and Vitrea 160 by Pebeo and I have to say – It was FUN, easy and worked really well. I had several chipped dishes that I was about to discard. So I decided to try and rescue them by disguising the chips; now this is now work of art but it worked for me and quite frankly I got over my hesitation of using them. It was easy, no fuss no bother and can be used to decorate almost anything
Porcelain & Vitrea by Pebeo
PREMO Oven Bake Clay
Here are some new items that will be in the store in time for the holidays
Whether this involves artistic impressions, product design, illustrations, fashion design, calligraphy or children’s drawings, the brilliant colors of this liquid water color paint bring every piece of art to life.
• Available in 46 brilliant transparent colors and 2 opaque colors (white and gold) in 30 ml, 490 ml and 990 ml
• The color range includes the three primary colors lemon yellow (205), magenta (337) and sky blue cyan (578)
• Handy Brush Pens are also available, ready for immediate use. Available in 29 colors.
• Good adhesion to water color and drawing paper and board
• It is not waterproof when dry, so you can work on it “further” by wetting what is dry once more
• Store the original works of art in a portfolio for optimal color retention
Easy-to-use spray protects paint, lacquer, varnish, stain, glue, wood and other porous surfaces. Creates a strong, crystal clear and non-yellowing acrylic seal. Reduces tackiness, a common issue with decoupage projects. No runs or drips. Dries quickly.
Can this be used over painted rocks?
This product can be sprayed over paint after it has cured completely.
Yes. When applying make two light coats instead of one heavy one.
Dots ‘N Doodles September Newsletter
TIPS on using POSCA Markers
How to prime POSCA?
Shake the marker vigorously with the cap securely attached in order to move the ball inside the barrel. On a test sheet, press the tip down several times to start the paint flowing. Replace the cap tightly after use.
How to use POSCA brush?
Shake the marker vigorously with the cap securely attached in order to move the ball inside the barrel. To use the marker, remove the cap and the protection on the push button. Press and hold the push button to start the paint flowing. Replace the cap tight after use.
Another tip: You do not need to press the push button for too long and only once the cap has been removed.
Why should I test POSCA before use?
Paint flow is controlled by a valve and a piston mechanism. To regulate and optimize the flow, try on a piece of paper before use.
Another tip: Keep the scrap paper in case you need to prime POSCA again.
What are Posca’s paint characteristics?
The paint is both opaque and fluid, smooth and dense with a wide coverage. It can be mixed, diluted and overlaid. The rendering is similar to that of acrylic. So, how to mix colors? You can mix them directly onto the surface as long as the paint is wet. There’s no need to pre-mix them in a different bowl or palette. It is ideal to overlay colors. As the paint dries quickly, you can cover a layer by a new one within a minute and without smudges. Even light colors can perfectly overlay with dark ones.
Is POSCA’s paint permanent?
POSCAs are water-based pigment paint markers which can write on any surface. Paint is permanent on porous surfaces, and removable on non-porous surfaces such as glass. You can further optimize its adherence by following one of the next three steps: apply a varnish (see the workshop with salt dough magnets), bake in the oven (ceramic…) or iron (see the ecological bag workshop).
Is POSCA refillable?
You cannot refill POSCA. Some users do reuse paint from one marker to another, in particular to mix colors. Mitsubishi Pencil Company has however not designed it for that use.
What is the drying time?
The drying time is extremely quick. Generally, the paint dries quicker on porous surfaces than on smooth ones. In any case, wait a few minutes and the paint will be dry.
Are tips replaceable?
The tips of the following references can be replaced when dirty or worn: POSCA PC-1M, PC-3M, PC-5M, PC-8K and PC-17K.
What should I do when the tip has dried?
Don’t panic if you have lost the cap and the tip has completely dried. Thanks to the piston and valve mechanism, you can flow paint once again by priming the POSCA marker again.
Another tip: In case the tip is extremely dry, you can take it out simply by pulling and rinse it with water.
How to avoid bleeding?
The valve and piston mechanism prevents bleeding. To control the flow, press the tip down on scrap paper when priming POSCA.
What do you mean by Watercolor effect?
You can create great gradation effects with Posca’s paint, also referred as a watercolor effect. You only have to be careful you perform it before the paint dries. Once the paint has dried, you cannot dilute it but you can overlay the colors
How to correct a mistake?
If you have missed a line or got the wrong color: overlay! With POSCA, you can overlay colors as many times as you wish.
Another tip: Wait until the first layer has dried before applying another one.
Can I use Posca to paint on skin?
POSCA can easily be cleaned off the skin and is non-toxic. However, it is not a cosmetic and has not been tested against cosmetic or dermatology standards. The manufacturer will therefore not be responsible for possible reactions on the skin if used incorrectly.
Is Posca Toxic?
POSCA’s paint is water-based, without solvents and is odorless.
In fact, beekeepers use it to identify the queen in beehives! A color corresponds to each year which enables them to determine the insect’s age.
Can children use them?
POSCAs are water-based markers. They are odorless and totally safe for children to use. However, as they are quite technical, we recommend them for children over 5 years old.
How to store your makers?
POSCAs can be stored horizontally or vertically. However, it is preferable to store POSCA brush horizontally. The ball inside the barrel enables paint to flow at any time. The paint being perfectly preserved in the barrel.
Do I need some specific material to use POSCA?
You do not need material such as a brush, a cloth nor water: POSCAs enable you to paint neatly and accurately. You do not need any additional materials.
PAPER Tracing paper, photo paper…
POSCA markers adhere perfectly to all types of paper and cardboard such as tracing paper, photo paper or cardboard. The paint does not bleed through paper and is resistant through time. The adherence can be further optimized using varnish.
POSCA’s on Fabric
POSCA can write on any type of fabric and is resistant to washing once it has been ironed. We have tested POSCA’s compatibility on a wide selection of fabrics such as cotton, silk, linen and leatherette. Of course, the resistance will depends on the type of fabric. To fix colors, iron the fabric on the reverse side, using no steam.
To optimize adherence, wash the fabric before customizing with POSCA. On delicate fabrics, we suggest you start drawing outlines and then color progressively in order to avoid bleeding.
MINERAL Perfect adherence
POSCA is impeccable on clays, stones and rocks, cement etc… Its adherence is perfect and the line definition is fine. You can apply a varnish or bake in the oven (depending on materials) to optimize its adherence and resistance. On smooth or shiny surfaces, make small circular and regular movements when painting to achieve a neat result.
POSCA is ideal for creative works. Your works can evolve following your inspiration. Once baked in the oven, they will become permanent.
WOOD POSCA is ideal for wood
POSCA is ideal for creations on wood. See the rendering on different kinds of wood and the steps to follow to optimize your works’ freshness.It absorbs quickly into untreated wood, should be mostly dry after about 5 minutes, it was good after 5 on smooth non absorbent surfaces
METAL Indoor and outdoor
We have tested POSCA’s adherence, line definition, resistance to rubbing, to water… on aluminum, iron and coated steel.
All types of plastic Did you know that POSCA’s paint adheres perfectly to latex? That it can be fixed on vinyl or PVC by ironing under a cloth? To discover POSCA’s proprieties on all types of plastic, read here!
Choose: permanent or non-permanent?
POSCA writes on glass and can be cleaned off with a damp cloth*. Your creations and markings on glass can be either non-permanent or permanent once baked in the oven.
POSCA can also write on:
Smooth and raw leather, suede and even wax or eggshell.
Encaustic Supplies At Dots ‘N Doodles
R&F Encaustic Wax
What is Encaustic Paint
Encaustic is a wax based paint (composed of beeswax, resin and pigment), which is kept molten on a heated palette. It is applied to an absorbent surface and then reheated in order to fuse the paint. The word ‘encaustic’ comes from the Greek word enkaiein, meaning to burn in, referring to the process of fusing the paint. Although they come from the same root word, ‘encaustic’ should not be confused with ‘caustic,’ which refers to a corrosive chemical reaction. There is no such hazard with encaustic.
Opulence. Encaustic is perhaps the most beautiful of all artists’ paints, and it is as versatile as any 21st century medium. It can be polished to a high gloss, carved, scraped, layered, collaged, dipped, cast, modeled, sculpted, textured, and combined with oil. It cools immediately, so that there is no drying time, yet it can always be reworked.
Wax is its own varnish. Encaustic paintings do not have to be varnished or protected by glass because encaustic, which is the most durable of all artists’ paints, is its own protector. This is because beeswax is impervious to moisture, which is one of the major causes of deterioration in a paint film. Wax resists moisture far more than resin varnish or oil. Buffing encaustic will give luster and saturation to color in just the same way resin varnish does.
No yellowing. Encaustic paint will not yellow or darken. However, wax itself is photoreactive, so unpigmented encaustic medium that has been kept in dark storage will darken slightly. When re-exposed to light that darkening will bleach out.
No solvents. Encaustic paint does not require the use of solvents. As a result, a number of health hazards are reduced or eliminated.
Encaustic is a beeswax-based painting medium that is worked with heat. It can be used as a luminous traditional painting medium, but it also has the potential to obscure the boundaries between mediums like no other art material, resulting in works that are just as much about painting or sculpture as they are about photography, drawing, printmaking, installation or a variety of craft techniques. Artists of all kinds are discovering its unifying potential, unique properties and versatility. Painting with encaustic is a multi-step process. First, the paint must be melted, or liquefied. Next, the molten paint is applied to a porous surface. Then the applied wax is reheated, or fused into, the working surface, allowing it to form a good bond. As a final option, the cooled paint can be buffed to bring up the luster of the wax and resin.
Basic Set-up Suggestions
• You will need a clean level counter or worktable to put a heated palette on. When setting up your worktable take into consideration the space that your palette will occupy and give yourself extra room for additional materials.
• You will want to make sure that your work area has proper ventilation. Exhaust fans in windows, cross-ventilation, or a studio ventilation system are all good options. It is important that you have a source of fresh air in your workspace.
• It will be imperative that you have adequate electrical outlets available for use. Consider that you will have a palette, possibly a heat gun and/or other tools that will require electricity and it will be helpful to position your workspace accordingly.
• Keep in mind that anytime you use heated tools/equipment it is recommended that you have a burn kit and a fire extinguisher on-hand for safety purposes.
A counter or table to hold an electric palette, heat gun, tools and your work-in-progress.
Your workspace should be free of any solvents and flammable materials. A burn kit and fire extinguisher are also recommended.
Tools and Equipment
The heated palette is an essential tool to the encaustic artist. It provides a surface to heat and mix encaustic paint and medium on. Less expensive alternatives to purchasing a custom palette include electric skillets, crock-pots or electric griddles. R&F’s heated palettes are designed specifically for encaustic painters and feature an anodized aluminum surface which prevents reactivity that could discolor pigments. The versatile aluminium surface also makes it easy to see paint colors. Regardless of the palette you select, it is important that it be equipped with temperature controls.
Palette Surface Thermometer
It is crucial to be able to monitor the surface temperature of your palette. A surface thermometer can easily assist you in monitoring the temperature of your palette (the safe working temperature for encaustic paint ranges from 180-200°F). For this reason, R&F offers a heavy duty Thermometer that sits on top of your palette surface.
As you apply layers of paint to your support you will want to fuse (or re-heat) each layer to ensure that it is adhered to your ground or substrate. It is important to fuse between layers to prevent them from separating. There are two methods for fusing; either indirect (heat gun, torches, light bulbs, or sunlight) or direct (tacking irons, spatulas, heated brushes, plaster tools, palette and paint knives, etc.)
Use natural bristle brushes only; synthetic brushes can burn and melt on the palette.
Any type of mark-making tool will work with Encaustic paint. We recommend etching, wood carving dental, sculpture, and clay working tools.
For best results, encaustic should be painted on a rigid, absorbent, and heat resistant surface. Examples include: wood (maple or birch plywood), heavy watercolor or printmaking paper glued to board, or raw canvas glued to board (avoid pre-gessoed canvas boards). Please note that you can use paper as your support, but you will want to consider the size and rigidity of the paper.
Three-dimensional or sculptural work that is porous and rigid can also be used. Plaster, stone, wood, terra cotta, or cast paper are all acceptable surfaces to work on.
Soy or Paraffin Wax
There are two options for clean-up, either Soy or Paraffin wax. We recommend using soy wax for clean-up because soybeans are a renewable resource, while paraffin is a petroleum based product. An additional benefit to using soy wax is that it can be washed off with soap and water leaving brushes supple.
Great for keeping melted waxes separate on your palette. R&F carries heavy aluminum and steel alloy rectangular palette cups in two sizes (sm|lg) to fit our 40 ml and 104 ml cakes.
There really is no general recommendation for a starter palette of colors, since different artists have individual preferences, but we recommend that you choose a good balance of opaque and transparent colors. Try starting with a red, yellow and blue, and build from there.
What distinguishes our paint as handmade is the intensive labor involved in making paint solely from its base ingredients of pigment and medium. We want the individual characteristics of each pigment to show through. This means that the formulation and milling of each pigment must be tailored to its particular traits. Each of our colors, therefore, has a slightly different feel to it. Each batch is milled in small carefully controlled batches. R&F’s encaustic paints are currently made in 84 vibrant colors plus encaustic medium and impasto modeling wax.
40 ml cake = 2½” x 1¼” x ¾” (6.4cm x 3.2cm x 1.9cm)
104 ml cake = 3½” x 1½” x 1¼” (8.9cm x 3.8cm x 3.2cm)
333 ml cake = 5″ x 3½” x 1¼” (12.7cm x 8.9cm x 3.2cm)
In our work we use only legal software. www.cheapsoftware.com – one of the sites where we purchase program. All our machines are programmed using Solidworks 2016 Premium, located here. Buy OEM software enables us to significantly reduce the price of our paints.
102 colors in pigment stick | 84 colors in encaustic
History of Encaustic
Encaustic painting was practiced by Greek artists as far back as the 5th century B.C. Most of our knowledge of this early use comes from the Roman historian Pliny the Elder whose Natural History, written in the 1st century A.D. was a monumental encyclopedia of art and science. Pliny seems to have had little direct knowledge about studio methods, so his account of techniques and materials is not thorough, but his discussion gives us an idea of its general usage. According to Pliny, encaustic had a variety of applications: for the painting of portraits and scenes of mythology on panels, for the coloring of marble and terra cotta, and for work on ivory (probably the tinting of incised lines).
Wax is an excellent preservative of materials. It was from this use that the art of encaustic painting developed. The Greeks applied coatings of wax and pitch to weatherproof their ships. Pigmenting the wax gave rise to the decorating of warships and later, merchant ships. Mention is even made by Homer of the painted ships of the Greek warriors who fought at Troy. The use of a rudimentary encaustic was an established practice in the Classical Period (500-323 BC). It is possible that at about that time the crude paint applied with tar brushes to the ships was refined for the art of painting on panels. Pliny mentions two artists who had in fact started out as ship painters.
[Pliny’s account of artists and their practices is in Book 35 of his Natural History]
Encaustic and Tempera
Encaustic on panels rivaled that of tempera in what are the earliest known portable easel paintings. Tempera was a faster, cheaper process. Encaustic was a slow involved technique, but the paint could be built up in relief, and the wax gave a rich optical effect to the pigment. These characteristics made the finished work startlingly lifelike. Moreover, encaustic had far greater durability than tempera, which was vulnerable to moisture. Pliny refers to encaustic paintings several hundred years old in the possession of Roman aristocrats of his own time.
Encaustic in Sculpture
We know that the white marble we see today in the monuments of Greek antiquity was once colored, either boldly or delicately and that wax was used to both preserve and enhance that marble (see “Polychromy in Greek Sculpture” below). The literary evidence of how this was done is scant. The figures on the Alexander Sarcophagus in the archeological Museum of Istanbul are an example of such coloration, although it is not clear how intense the original color was.
The methods used to color the marble probably varied. They may have been painted with encaustic or painted with tempera and “varnished” with fused wax.
A 4th Century BC terracotta krater vase in the Metropolitan museum depicts a painter applying encaustic to a sculpture of Heracles while his servant heats up metal spatulas on a charcoal brazier.
The Fayum Portraits
Perhaps the best known of all encaustic work are the Fayum funeral portraits painted in the 1st and 2nd centuries A.D. by Greek painters in Egypt. A significant Greek population had settled in Egypt following its conquest by Alexander, eventually adopting the practice of mummifying their dead. The portraits, painted either in the prime of life or after death, were placed over the person’s mummy as a memorial. The custom of funeral portraits did not begin until after the conquest of Egypt by Rome and lasted about two centuries. The portraits represent the converging influence of Egyptian religious ritual, Greek aesthetic and Roman fashions and social ranking. Many of these pieces have survived to our own time, and their color has remained as fresh as any recently completed work.
The great period of economic instability that followed the decline of the Roman Empire and the change in cultural values caused encaustic to fall into disuse. Some encaustic work, particularly the painting of icons, was carried on as late as the 7th century, but for the most part it became a lost art. It was replaced by tempera, which was cheaper, faster, and less demanding to work with.
18th & 19th Century Revivals. The roots of modern encaustic painting go back to the 18th century when antiquarians, excited by the archeological discovery of the buried cities of Pompeii and Herculaneum, strove to rediscover the techniques of the ancient painters. Encaustic was further explored in the 19th century as a way solve the problem of dampness faced by mural painters in northern climates. Although the practice did not become widespread, there were some amazing successes, such as John LaFarge’s murals for Trinity Church in Boston.
20th Century Revival. In the first half of the 20th century, the invention of portable electric heating implements made encaustic a far less formidable technique. Numerous artists were drawn to experiment with it and apply it to their individual styles. Robert Delaunay, Antoine Pevsner, Diego Rivera, Rifka Angel, Karl Zerbe, and Victor Brauner were early exponents of the revived technique.
Alfonso Ossorio, Jasper Johns, Lynda Benglis, Robert Morris, Nancy Graves, Mia Westerlund Roosen, Robert Rauschenberg, are prominent among the many artists who turned encaustic into a modernist and cross-disciplinary medium, extending its use from painting to collage, assemblage, sculpture, and printmaking.
1940s. First commercial encaustic. The latter part of the century saw a further explosion of encaustic painting propelled in part by the availability of commercial encaustic paint, first introduced by Torch Art Supplies in New York City in the late 1940s.
1988. R&F Handmade Paints. The tradition of commercial encaustic was continued after Torch goes out of business when their paint maker, Richard Frumess founded R&F Handmade Paints.
1995. Encaustic Workshops. R&F began teaching the first regularly run encaustic workshops, first in art centers, then, in 1996, in its factory building in Kingston, NY. The workshops were held year around in formats ranging from 1-5 days and cover both 2- and 3-dimensional uses of encaustic. In 1999, R&F began setting up regional workshops in throughout the country. In 2004 R&F developed collaborative workshops with other workshop organizations, combining encaustic with photography, printmaking, and papermaking.
1997. Encaustic Works biennial. R&F inaugurated the first of its biennial exhibitions of encaustic work with the intention of creating an ongoing record through the exhibit catalogues of encaustic’s growing role in contemporary art making. Jurors included artists, gallerists, and curators, such as Stephen Haller, Judy Pfaff, Mia Westerlund Roosen, Tracey Bashkoff, Joan Snyder, Heather Hutchison, and Joanne Mattera. Over the years, the biennial itself evolved into a curated exhibit in print. The 2014 exhibit will be curated by Michelle Stuart.
1999. The Montclair Art Museum in Montclair, NJ, held the first museum show dedicated to encaustic. Waxing Poetic: Encaustic Art in America. The essays in the accompanying catalogue provide a comprehensive history of encaustic painting from the 18th Century onward.
2001. Joanne Mattera’s The Art of Encaustic Painting became the first technical and contemporary overview of encaustic to be published. Since then numerous other books, essays, and instructional DVDs have come out.
The ferment from all of these developments resulted in numerous encaustic related exhibits and the formation of encaustic networks and conferences and events. The International Encaustic Artists was founded in 2005 and holds its annual encaustic conference event, EncaustiCon, in a different city each fall. The International Encaustic Conference founded by Joanne Mattera in 2007 is held yearly in June in Provincetown, MA in conjunction with Truro Center for the Arts at Castle Hill. press this link to go directly to R&F
Available at Dots ‘N Doodles Art Supplies
Siberian Kolinsky Sable, Short Handle Painting Brushes
These watercolor painting brushes are made with the finest Kolinsky sable hair. Hand-shaped by skilled German brush makers, the brush heads are what make these brushes a must-have for watercolorists. The natural hair ensures a generous belly for holding water and for maintaining a fine point.
With a single sided nylon bristle brush tip, ZIG Clean Color Real Brush is a water-based dye with a range of 80 colors. Featured the ZIG Arts & Crafts line, the nylon bristle brush is small and very flexible with great elasticity, making it easy to go from thin too thick lines in one stroke. Sets include: 4, 6, 12, 24, 36, 48, and 60.
Clean Color Real Brush is expanding into all types of art forms including: scrapbooking, rubber stamping, illustration, cartooning, fine arts, brush lettering, and one of the most popular, card making. When paired with ZIG Blender or ZIG BrusH2o, there’s endless possibilities when it comes to blending.
Taking two ZIG Clean Color Real Brush pens, for a few seconds gentlyy touch nib-to-nib. Keep the two pens horizontal and ink will flow from the top pen onto the tip of the second pen. After using the blended pen, clean excess ink off onto a piece of scrap paper or towel. Another blending technique, take a ceramic or plastic dish and brush a color straight on to the dish. Taking another color (preferably a lighter one) grab the color in the dish and brush away.
Now Available at Dots ‘N Doodles
Royal Talens Art Materials a Dutch Company
Creative expression to share!
Royal Talens was founded in 1899 by Marten Talens, and throughout the world is well known among artists for its quality brands such as Talens, Rembrandt, Amsterdam, Van Gogh, Talens Art Creation and Cobra. Sakura was founded in 1921 and the first Bruynzeel pencil rolled off the production line in 1948. The company is part of the Sakura Color Products Corporation, inventor of the oil pastel (Cray-Pas), gel pen (Gelly Roll), pigment fineliner (Pigma Micron) and pigment marker (Permapaque). The group is a global leader in artists’ materials, stationery and writing instruments and employs 1,200 people.
CLICK ON THE PICTURE OF Vincent Van Gogh
Bryunzeel DESIGN for Professionals
20% off through Saturday March 11th
Design As an artist, designer or illustrator you know exactly what kind of material you want. The very best; to define your style and be able to convey your emotions. Our complete Bruynzeel Design Collection with graphite, color, water color and pastel pencils are precisely tailored to your needs and requirements. Because you will be pleased with a fine sense of color, high color release, dense color structure, excellent compatibility and good coordination of colors and hardnesses.
Design Colored Pencils Perfect colored pencils have an outstanding color transfer and tinting strength. The tinting strength and light-fastness of Bruynzeel Design colored pencils are objectively judged recently by KM Art Material Magazine, which recommended these colored pencils as the best choice. Bruynzeel Design colored pencils are made from high-quality color pigments. That makes it easy to apply several layers of color on top of each other. The core has a thickness of 3.7mm. Bruynzeel Design Colored pencils are available as 48 separate colors and as a luxury boxes of 12, 24 and 48 pencils.
Design Watercolor Pencils To create detailed watercolor drawings artists use watercolor pencils. This offers them the freedom of watercolor and the accuracy of pencils. Bruynzeel Design watercolor pencils are made from high-quality color pigments that are completely watersoluble.
The pencils can be applied both dry and wet.
The core has a thickness of 3.7mm. Bruynzeel Design Aquarel pencils are available as 48 separate colors and as a luxury boxes of 12, 24 and 48 pencils.
Design Pastel pencils As with watercoloring it is convenient to use pencils for adding details to your work. You can work more accurate and clean than with pastels, ensuring that you’re no longer limited and can make that extra step. For Bruynzeel Design pastel pencils superior quality pastels are encased as pencil. Not only they do combine perfectly with each other, but they can also be used for watercoloring.
The core has a thickness of 3.8mm. Bruynzeel Design Pastel pencils are available as 48 separate colors and as a luxury boxes of 12, 24 and 48 pencils.
Bruynzeel – Design Graphite The secret of realistic sketches and lifelike portraits is the use of graphite pencils that are perfectly matched in terms of graphite transfer and hardness. After all, depth and shadows are the result of subtle color transitions or striking contrasts. Bruynzeel Design graphite pencils are made from the finest, high-quality raw materials and and suitable for design work, technical drawings, sketching and illustrations.
The graphite core has a thickness of 2.2mm to 3.5mm, depending on the hardness. Bruynzeel Design Graphite pencils are available as 12 separate degrees and as a luxury box of 12 pencils.
Bryunzeel Professional Artists Pencils
20% off through Saturday March 11th
Colored Pencils – 50 color set The Night Watch of Rembrandt van Rijn is a highlight of a visit to the Rijksmuseum. This was one of several halls of Amsterdam’s civic guard, the city’s militia and police. The captain, dressed in black, is telling his lieutenant to start the company marching. The guardsmen are getting into formation. This scene decorates the exterior of this tin with high quality colored pencils. The pencils are manufactured from quality pigments for very good color transfer. The handy tin makes sure your pencils are properly stored after coloring.
Color pencils – 24 color set You can find this world famous masterpiece of Johannes Vermeer in the Gallery of Honor of the Rijksmuseum. A Maidservant pours milk, entirely absorbed in her work. Except for the stream of milk, everything else is still. Vermeer took this simple everyday activity and made it the subject of an impressive painting. The 24 colored pencils in this tin are manufactured from quality pigments for very good color transfer. The handy tin makes sure your pencils are properly stored after coloring.
Watercolor The extensive collection of the Rijksmuseum comprises also works from the famous painter Vincent van Gogh. Using rhythmic brushstrokes in striking colors, he portrayed himself here as a fashionably dressed Parisian. This characteristic image adorns the exterior of this collectors item.
The 24 watercolor pencils inside are manufactured from quality pigments for very good color transfer and complete solubility in water. With the brush and some water you can spread the color out on the paper to obtain watercolor effects. The handy tin makes sure your pencils are properly stored after coloring.
Graphite pencils Rembrandt’s repertoire, the painter of the Night Watch, consists of among others biblical scenes, historic pieces and portraits, including a remarkable amount of self-portraits. This piece form 1639 is called Self-Portrait leaning on a Stone Still. The pencils in this nice storage tin have a strong graphite core. The pencils have an excellent graphite transfer and a perfect balance in pencil hardness. The tin contains these hardnesses: 2H, 1H, HB, 1B, 2B, 3B, 4B, 5B, 6B, 7B, 8B, 9B. The handy tin makes sure your pencils are properly stored after sketching.
Amsterdam Acrylic Paint – Standard Series
Wonderful colors Amsterdam Standard Series provides you with everything you need if you want to use acrylic paint. A high-quality acrylic paint in 70 brilliant colors.
Cobra Study Water Mixable Oil Paints
Water Mixable Oil Paint
Cobra is the new generation of oil colors of Royal Talens. A fantastic line of water mixable colors for which you no longer need any hazardous solvents. Not only is this therefore better for your health, but you also have the freedom to paint wherever you want. And all this without having to surrender any quality.
Subscribe to the Cobra Masterclass
Water mixable oil painting is an extraordinary painting technique. How is it possible to mix water and oil? And does that work well? And what is the best way to use it? Artist Don Nederhand answers these questions in the Royal Talens masterclass ‘Cobra Water Mixable Oil Colors’. Register and receive free of charge this masterclass course in your mailbox for 8 weeks! You will receive a masterclass every week. Each masterclass comprises a video of 12 minutes explaining the technique.
Van Gogh is the brand for the serious artist who has an eye for quality.
Van Gogh watercolors are brilliant, intense, and very transparent.
Every color in the line features the highest degree of light fastness, ensuring that your work displays the same color decades later as it did on the day you painted it.
Due to the purity of the colors, Van Gogh Watercolors are extremely easy to mix and wash to create the subtlest of differences in shade.
Van Gogh Watercolors are made in the Netherlands. Each tube contains 10 ml (.34 oz).
Solid water color paints in metal box
Includes 12 colors and one No.3 round brush
Lightfast pigments are vibrant and transparent
The case doubles as a convenient palette
Made to the highest standards in the Netherlands
Colored Pencils For the Whole Family
These colored pencils & watercolor pencils from Bruynzeel are designed for the intermediate artist.
Each pencil features strong 2.9mm cores for added break resistance and color coverage.
As well as its professional uses, these sets are the perfect accompaniment to any Adult Coloring book, or addition to a School or College art arsenal.
High quality pigments within the leads ensure bright and vibrant colors.
All products made to meet Bruynzeel’s stringent Dutch quality requirements.
Maimeri Classico Oil Paints
Maimeri Acrilico Acrylic Paints
Amsterdam Acrylic Paints by Royal Talens – Dutch Made
Van Gogh Watercolor Paints by Royal Talens – Dutch Made
Van Gogh watercolors are brilliant, intense, and very transparent. Every color in the line features the highest degree of lightfastness, ensuring that your work displays the same color decades later as it did on the day you painted it. Due to the purity of the colors, Van Gogh Watercolors are extremely easy to mix and wash to create the subtlest of differences in shade.
Van Gogh Watercolors are made in the Netherlands. Each tube contains 10 ml (.34 oz).
Who would have thought it? A new Van Gogh. But this time there no sunflowers and Starry Nights, but a very handy box with watercolous. The Pocket Box Van Gogh is completely redesigned. But what makes it so special? Its new inspiring design, beautiful synthetic material, greater functionality with its removable mixing palette, two brushes and perfect form. And … very attractive prices. So be inspired by the new Pocket Box Van Gogh.
COBRA water mixable oils by Royal Talens – Dutch Made
The new water mixable oil colour from Royal Talens that produces wonderful and long-lasting results without having to use solvents such as turpentine or white spirits.
Mixing Quinacridone Rose – Michael Harding Oil Color with Vicki Norman
An absolutely beautiful warm red with a very unique nature when mixed with or glazed over whites it produces a truly shocking shade of pink.
Added after much demand, this very permanent popular pigment capable of making completely exciting pinks with a vivid undertone I am providing artists with Quinacridone Rose. This is a modern organic color perfect for vivid still life painting of flowers, fruit or in portrait paintings. This unique color makes very exotic pinks that may appeal to the Plein Air painter for skies, fields, flowers and sunlight to name a few. I have always been a great fan of quinacridone colors for the use in my own paintings and find them to add a difference that cannot be achieved through other pigments, it gives me that burst of color I so enjoy!
DECOART MEDIA® FLUID ACRYLICS
Highly pigmented and formulated to deliver professional artist performance at all skill levels and at an affordable price. Fluid Acrylics are flexible, intermixable, durable, and permanent.
Media Interference Fluid Acrylics include six translucent colors that shift in color and appearance depending upon the light, viewing angle and color of the surface on which they are applied.
When applied over a dark color you will see more opalescent color and less of the color shift. When applied over a light color you will see a sheer opalescent color but more of the color shift. Thin applications in a wash or glaze increase the visual interference effects.
Use alone or mix with mediums to create various textures and unique effects. Due to their pigment strength, only a small amount of Fluid Acrylics will be needed when tinting mediums, which will prevent thinning of the medium.
Individual pigments have natural gloss levels. To make a paint range with all colors being uniform in sheen, a matting agent is added to the paint.
By not adding matting agents, Media Fluid Acrylics have greater color saturation, transparency, and a far higher pigment load.
Choose the finish for your artwork by adding a range of protective varnishes in Gloss, Satin, Soft Touch, or Ultra-Matte, which will eliminate any sheen.
Renowned mixed media artist, Andy Skinner, teaches the attributes and versatile uses for DecoArt’s new Media Fluid Acrylics.
Walnut Hollow® | Creative Versa-Tool® Points
The Creative Versa Tool from Walnut Hollow is possibly one of the best all around tools that we use around our shop. This is truly a versatile tool that we have used on wood, metal and leather. The best part is that it works great on each product, not just one!
Included in the Versa Tool kit is a hot tool with a variable temperature control, a tool stand, storage case, 11 interchangeable points, lead free solder and instructions and techniques for using the tool.
Products that can be used with the Versa Tool include; leather, plastic, synthetic fabrics, wax, cork, iron-on embellishments, wood, natural fabrics, paper, stencil cutting, ceramics, foam core board, foam pumpkins and soldering.
The tips consist of a universal point, flow point, tapered point, calligraphy point, shading point, transfer point, hot kinfe point, soldering point and three hot stamp points.
Hot tool featuring variable temperature control. This tool has options and functions for all types of needs. Wood burning, leather crafting, soldering, stamping, hot knife cutting, transferring, embossing, personalizing and much more.
Creative Versa-Tool® featuring variable temperature control and comfort grip
I’m a novice woodburner but have found the Versa Tool easy to use. Most surprising was how quickly it heats up and it does get very hot. The hottest setting on the dial was too hot and I was scorching surrounding areas so I turned it down a bit. I also found that if you stop using it for a minute, touch a piece of scrap wood before continuing otherwise it will burn too quickly and leave a deeper, darker, mark than you may want.
This has been a super fun purchase for me! Not many people I know have a wood burning kit, so everyone is really impressed with what I am able to do with this. For the inexpensive price, I expected less from this, but it’s actually quite amazing. I’ve only used this a couple of times, only for wood burning, and I have only used 2 tips: the one it came with and the rounded one. The rounded one, in my opinion, is much, much easier to manipulate when wood burning. I was frustrated when I tried the first tip, but pleasantly surprised when I switched to the rounded tip. I’m excited to try others, and I am also hoping to get some stencils so that I can play around more with it! So far, I burned my dogs name into a bone for her food/water station that my husband and I made together and I made a gift for my friend for her bridal shower. Her family was impressed that this was made using a simple kit at home!
The tool is 25 watts.
JACQUARD Airbrush Color
NO Way – Leopard from Namur by Ton Jansen
“Over 30 years of airbrushing I’ve used all the different
brands of paint and they all gave me issues. Jacquard
Airbrush paint is far ahead of them all.” Jacquard Airbrush Colors meet the needs of artists like never before, raising the bar for quality, economy and versatility. Though originally formulated for textiles, the exceptional durability, unsurpassed coverage and superb flexibility of Jacquard Airbrush Colors have attracted artists of every ilk. The go-to paint for custom shoe and sneaker painting, it resists cracking, peeling and chipping better than any other brand.
With excellent adhesion on many non-traditional surfaces such as vinyl, leather,
plastic, rubber on fabric, these paints are soft to the touch and exceptionally
washfast. Formulated for easy spraying right out of the bottle with no additives
or adulteration required, these odorless, non-toxic and water-based fluid acrylic
paints perform well even at low pressures, with minimal tip-dry or clogging.
Available in six intermixable varieties: Transparent, Opaque, Metallic, Fluorescent,
Bright and Iridescent. All the colors are highly pigmented and intense!
A professional quality watercolor made in a country rich with art history. These liquid-poured, semi-moist, full pan
watercolors are manufactured in a St. Petersburg factory that has been producing color for over 100 years. The liquid-
poured process is thought by professionals to be the highest quality grade watercolors. The finest raw materials and
pigments are used to guarantee the highest possible light and color fastness
Why just sketch with graphite when you can paint it too!
Have you ever been sketching and wanted to cover a larger area quickly? Or wanted to just variegate the tone very subtly similar to using a watercolor? Well, Derivan Liquid Pencil is capable of all these things and more. It’s a truly revolutionary way to create sketches.
Derivan Liquid Pencil is available in Permanent and Rewettable formulas in six subtle graphite shades – Yellow, Red, Blue. Sepia, Grey 3 and Grey 9 in 40ml jars.
Use (unique formulation)
Derivan Liquid Pencil is an innovative new product that allows you to create authentic graphite pencil effects and pencil sketches using a liquid. It has been formulated to be easily thinned with water or MM9 Acrylic Painting Medium (to maintain permanency) and allow for the softest of colors to be applied with a brush, nib, or other art tools. With a creamy consistency, and a different rheology (flow of liquid matter), artists now have a wider scope for creating sketches.
Lighter or darker results can be obtained by mixing in a combination of water and medium and the effective layering (glazing) of different shades. Water will allow you to spread it more easily and the addition of MM9 Medium will maintain the intrinsic structure of the product.
As with all creative undertaking, experimentation is recommended as there are no precise ‘fool proof’ method to achieve exact variety of tones.
Due to a precisely balanced formulation another great benefit of the Permanent liquid pencil is that it will “burnish up’ in a similar manner to traditional graphite but it will not smudge.
The Rewettable formula will also allow you to remove areas using water – in a similar manner to watercolour techniques. A standard eraser can also be used and while it will remove some of the color it will not erase back to clean paper. Another advantage to using Derivan Liquid Pencil is that large areas can be built up and covered quickly and easily. This product can is also completely compatible with traditional solid form of graphite.
Each of the shade variations gives each color in the Derivan Liquid Pencil range unique properties. There are distinct undertones such as blue, yellow, red, and sepia, in addition to neutral grey in two different finishes – to allow a great range of options for artists – Grey 3 and Grey 9. The number is indicative of the final rendered layer’s undertone (cooler or warmer grey ) rather than lightness or darkness.
All shades in the Derivan Liquid Pencil range were created using natural graphite powder, just like those used in the more familiar solid form and most commonly known as the active ingredient in lead pencils.
Graphite is a common, naturally occurring form of carbon, non-toxic. When carbon compounds are subjected to extreme pressure and heat, it converts to crystalline graphite. However, not all graphites are equal…
There are different types of natural graphite, each sourced from different types of ore deposits and each intended for a variety of uses like, lubricants, batteries, household and automobile paints and, of course, as artist medium. Graphite in various grades of softness or hardness results in different qualities and tones when used in artist media.
Different regions on the planet produce graphite with unique properties. For example, the graphite powder used in Liquid Pencil Grey 3 is sourced from China and has a partially formed structure that contains additional compounds, which give it a deep black color with a blue undertone. In contrast, the graphite used in Liquid Pencil Grey 9 comes from Sri Lanka and has a more uniform chemical structure that imparts a silver metallic sheen to the finish.
Brushes, utensils, and hands can then be washed with soap and water.
Wash stains out immediately with cold water and household soap, taking care not to spread the stain. Dry stains will need to be soaked overnight in lukewarm soapy water. Do not use hot water, chemical solvents, or thinners. Other methods of cleaning will generally only act to drive the stain in deeper.
Suitable clothing should be worn as some staining may occur.
Health & Safety
Derivan Liquid Pencil is a non-toxic water-based product containing water and graphite powder dispersed in an acrylic polymer emulsion. For further information, please view or download the Safety Data Sheet document here.
The Liquid Pencil set of twelve 12ml tubes, contains all six shades of Liquid Pencil in Permanent and Rewettable formulas.
trav•e•logue series artist journals
Hand-bound bookcloth cover has just the right flexibility. Contains 128 pages of heavyweight buff drawing paper with a good tooth. Great for pen & ink, pencil, and markers. Accepts light watercolor washes without buckling and, of course, it’s 100% acid-free. We wrap it all up with a durable elastic closure and tuck a very useful clear envelope inside the back cover. Available in 5 formats. Now in 4 colors including Vermillion Red.
trav•e•logue series watercolor journals
Bound in natural linen, these three new journals offer watercolorists an attractive and practical option for travel painting. Inside are 60 pages of soft-white, acid-free, 200 gsm watercolor paper with a pleasing cold-press finish. All of the thoughtful Travelogue details are included from the durable elastic closure to the clear pocket tucked inside the back cover.
Quattro artist journals and pad holders
Quattro works. Now available in six sizes, it will work the way you want. Rounded corners mean Quattro will resist damage as you carry it. The specially laminated cover resists dirt and stains.
QUATTRO GRID JOURNALS
Open a Quattro journal and fold the cover around to the back to reveal it’s truly refined grid pattern. Each 90 gsm, super-smooth, acid-free sheet is printed in soft gray ink. Sheets are micro-perforated for effortless removal.
QUATTRO ARTIST BLANK JOURNALS
Open a Quattro Artist Blank journal and fold the cover around to the back to reveal 60 sheets of quality, acid-free drawing paper. Sheets are microperforated for effortless removal. Choose one that’s just your size.
Global Art HandBook Journal Handmade Watercolor Books
This Handmade Watercolor Book has deckle edge pages made from 100% post-consumer waste.
• Archival Quality
• 100% Cotton fiber
• Internally & Surface sized 140lb /300 gsm paper
• Made in India
3 Ways to Color Leaves in Magical Jungle
by Johanna Basford
I thought it might be helpful to share this little tutorial with you demonstrating 3 different ways to color leaves, because let’s face it, the jungle is pretty leafy! I’ve gone for a traditional green color palette for my foliage, but remember this Jungle is MAGICAL – so grab all your tropical brights and make those leaves any color that takes your fancy! And once you are finished your masterpiece, don’t forget to upload it to my spangly new Coloring Gallery (www.johannabasford.com/coloring-gallery) and share your work with the world 🙂
My stretched canvas collection features designs from all 4 books; Secret Garden, Enchanted Forest, Lost Ocean and Magical Jungle. Available in square or landscape format, each cotton canvas is primed with acid-free acrylic gesso and is perfect for solvent based markers or acrylic or gouache paints – fantastic for Colorists who want to take their art off the page and try some new materials and techniques! If you use solvent based markers, I’d recommend sealing with a clear UV Resistant fixative spray to protect your colors from fading.
• Two sizes available: 12”x12” & 12”x24”
• Acid-free paper board backing for firm surface
• Solid kiln-dried spruce stretcher bars
Designed for introductions to art and teaching, the Caran d’Ache Gouache Studio is a favorite medium for color fans of all ages and all creative universes.
Gouache Studio gouache tablets are characterized by a unique, durable formula and their texture contains no plasticisers whatsoever. Instead only natural vegetal binding agents are used which maintain their smoothness and velvety finish while avoiding any cracking. Luminous and very finely ground, highly concentrated pigments combine with these vegetal binding agents to form colours of incomparable beauty. Opaque and matt by nature, the gouaches are water-soluble and have excellent coverage, while painted surfaces remains flexible after drying. This means that a project in progress can then be worked on again subsequently.
The Caran d’Ache Gouache Studio is suitable for high-density watercolor effects on solid backgrounds. Combinations with water-resistant pastels make it possible to achieve rich washed out effects, multiple paint layers or batik by using overlaying and scraping techniques.
The Gouache Studio assortments are entirely developed and manufactured in the workshops of the Maison Caran d’Ache in line with the requirements of the Swiss Made label and environmental standards.
– Type: Water-based paint with a natural binder and no plasticizer, water-soluble
– High pigment concentration, luminous colors, good light resistance, economical to use.
– Complies with CE EN71
– Warning. Not suitable for children under 3 years
– Techniques: opaque and
transparent painting on paper or cardboard, easy to mix, water-soluble.
– Available in tablet assortments of 8 and 15 colors and tube assortments of 5, 8 and 12 colors as well as as pump dispensers in 30 distinct shades.
The water-soluble fibre-tipped pens in luminous and transparent shades
When it comes to the Fibralo range of fibre-tipped pens, the Maison Caran d’Ache has created a medium of choice for color enthusiasts. Filled with completely water-soluble ink and offering a wealth of luminous, transparent shades, Fibralo fibre-tipped pens are designed for budding artists as well as professionals in the fields of design, architecture and every artistic sphere.
Colors take on vibrant watercolor shades or outline various shapes. The durability enables optimal use for up to three years. Even if the cap is left open, the ink retains its qualities for up to seven days without drying out. Fibralo fibre-tipped pens offer excellent writing length of more than 600 meters. Inks do not bleed through paper and are washable on most contemporary fabrics.
The Fibralo range offers 30 medium-tipped colours and three metallic shades with excellent coverage. They are entirely developed and manufactured in the Caran d’Ache workshops, according to the quality standard criteria of the Swiss Made label and in compliance with environmental norms and certifications.
– Type: Medium, water-soluble fibre-tipped pens
– Superior quality water-based ink does not bleed through paper and can be washed out of most modern fabrics
– Bright, transparent colours last a long time when used for writing (>600 m), will not dry out for 7 days with the cap left off, 3 year guarantee against ink drying out
– Complies with CE EN71
– Warning. Not suitable for children under 3 years
– Techniques: watercolor, washes, stenciling, color bundling technique, sketching, coloring and transfer printing.
– Available in assortments of 10, 15, 24 and 30 colors.
– Also available in a 24 Fibralo wooden case.
SolarFast dyes are light-sensitive and only develop color and become permanent upon exposure to sunlight (UV). This unique property means SolarFast may be used to create remarkably detailed photographs, photograms and shadow-prints on paper or fabric by harnessing the power of the sun! Anything you place on the painted surface to block the light will create a print in a matter of minutes, whether that’s a solid object (toys, tools, plants, lace, etc.), a photographic negative (an image digitally printed onto a transparency) or shadow (from folds in the fabric or a 3D object).
Mark’s outdoor bench had been left out in the elements for two whole years but that didn’t stop him from giving it a gorgeous makeover! Check out the transformation that saved this Boho beauty!
Terra Skin Paper
Stone Paper + Kevin Jenne = Desire Paths + Art
Meet Kevin Jenne. A multi media artist on TerraSkin who takes seriously do something everyday that scares you ...and kinda revels in it.
About Kevin Jenne
I grew up in the Eastern Townships, QC in a small community called East Farnham, time spent in nature was a given. As an artist I am largely self taught – of course after credit is given to my artist mother who gave me me a great start in understanding painting, drawing and even tapestries.That whole idea of bright colours on black from those tapestries has really lasted with me. When I was drawing, painting or making comic books as kid life just felt right. Eventually I headed to Montreal and Toronto met David Drum who opened my eyes at the myriad of different ways to offer art and make an life as an artist. Returning to Montreal I rented the top floor of the old Atwater library and had my 1st show. My Dad is a metal machinist and I asked him to fashion me 15 wrought iron easels for that 1st show and which I still use in my annual Montreal exhibits at 1507 Dr. Penfield. Since then I have regularly exhibited internationally, enjoyed being repped by great galleries and even owned a gallery in Mexico.
Recently I have delved into event work and specific projects. For example I speed paint events (especially musical events) and the pieces are then auctioned off right at the event. I set up team building events – guiding 30 people to generate a masterpiece. I even Visual DJ art events – creating live animation on site.
Woods in the Eastern Townships by Kevin Jenne oil on TerraSkin
what projects are you doing with TerraSkin?
One of my current personal projects is a painting a day on TerraSkin – which actually connects with my running! When I was a kid in the woods I would simply go left, go right as prompted intuitively. As adult when I run I do the same .I do not have a route and this has lead me to the discovery of some of Montreal’s Desire Paths. Over the years I have been obsessed with finding these Desire Paths -and I just have had to document them. These paths maintained by urbanites just going with their flow often involve short cuts through nature, connecting urban to nature seamlessly. Cities in Europe actually document these paths and adopt them into city planning considering the people have voted with their feet. So currently I paint these paths and I find the ease of putting up a sheet of stone paper is so fast plus the way oil moves on the paper is incredible .
Mont Royal Desire Path Kevin Jenne oil on TerraSkin
What mediums (even brands you prefer) do you work with on the TerraSkin?
Recently I inherited a huge box of oil paints from a friend’s grandfather. I added linseed oil and instantly rediscovered the love of oil paint. It is funny, the old tubes are so delicate and a little fragile so if I squeeze a little too hard the back open ups and I get a big blob and I then I think -oh I got to paint with red now! So I have returned to my roots of landscapes and oils.
Desire Paths unmarked passages in Montreal where urbanites cross paths with nature
What technical discoveries did you make or find using the paper? – both positive and negative. What solutions/adaptations did you discover to any road blocks?
Painting with oil is so interesting on the stone paper. The surface is not like canvas, it is a cross between canvas and metal. I always put Tri-Art black gesso both front and back of each sheet. This is a new material and I do find it sensitive to being marked by metals using gesso overcomes that road block and help in preservation.
What is incredible with using oil paint on the rock paper is the lack of resistance, the oil slides on without the texture/drag of a canvas surface—- It just becomes a much freer experience, for me it is a much closer experience in creating the movement in the painting.
“lilacs hanging heavily over fences with 3 different coats of old paint peeling off, graffiti on the old brick, light is shimmering down and wow I have to document this!”-Kevin Jenne
Often Artists go in with a set of well defined habits and find themselves opening up in a new direction After working with HeartStonePaper.
hmmm -Maybe that happened for me with the Terraskin paper too. I started with acrylics just painting on it but the waterproof aspect and speed of setting up for oil paint has taken me outdoors and back to landscapes!
Mont Royal lookout by Kevin Jenne oil on TerraSkin
What are your thoughts going forward?
Oh this outdoor adventure is just beginning for me – look for me and my art exhibiting in public outdoor spaces soon. I am deep in research on the stone paper and the materials I am using — will keep you posted!
Drafting Supplies Videos
Using drafting supplies can be a bit confusing at times. Below are three videos that will help in better understand drafting materials. Alvin has created a new video series that takes a look at many of the classic tools used for drafting and technical drawing by hand. Doug Patt, architect, author, and popular YouTube personality, hosts the show and teaches viewers about these tools.
Feel free to share these videos in your store or on your social media accounts or website!
Ceracolors is featured in the December 2015 issue of The Artist’s Magazine, in the front-cover feature Cold Encaustic! Ceracolors does not require heat, solvents or mediums. Ceracolors share properties with traditional waterborne paint that makes it instantly familiar to painters, but it also has unique characteristics and advantages of its own. Ceracolors is an alternative to artists who do not want the fumes and heat of encaustic paint. Multimedia artists love this new medium that can be used with acrylics, watercolors, gouache, tempera and encaustic paint.
Kim Flora, an artist accustomed to working with (hot) encaustic tries Natural Pigments water-soluble (cold) wax paints, Ceracolors—and discovers something unexpected.
Comparing Browns – Michael Harding Oil Color with Vicki Norman
Fascinating experiments with Michael Harding’s Italian Brown Ochre, Transparent Oxide Red, Transparent Oxide Brown, Burnt Umber and Vandyke Brown – with British Plein air artist and tutor Vicki Norman.
Michael Harding 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: to create colours that are true and vibrant, and paint which is beautiful and durable.
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 compromises on quality. I refuse to do this — why make something exceptional and then dilute it?
A delicate and intense water color, which is made in France.
The elastic strap for easy carrying in hand.
With “La petite watercolors” Sennelier makes watercolor painting more easy.
Sennelier La Petite Aquarelle is a fine watercolour made in France, the little sister of Sennelier Aquarelle. These travel sets are ideal for field trips and have soft elastic straps to hold them securely in the palm of your hand.
Sennelier La Petite Aquarelle paints are delicate and colourful. The pigments have been specifically selected for their mixability, and the innovative formula facilitates blends and washes.
The following Sennelier La Petite Aquarelle Sets are available:
12 x 1/2 pan set contains: Titanium White, Primary Yellow, Chinese Orange, Alizarin Crimson Lake, Rose Madder Lake, Cobalt Blue, Phthalocyanine Blue, Phthalo. Green Deep, Phthalo. Green Light, Yellow Ochre, Burnt Umber, Payne’s Grey
24 x 1/2 pan set contains: Titanium White, Lemon Yellow, Primary Yellow, Sennelier Yellow Deep, Chinese Orange, Sennelier Orange, Alizarin Crimson Lake, Rose Madder Lake, Cobalt Violet Deep Hue, Ultramarine Deep, Cobalt Blue, Phthalocyanine Turquoise, Phthalocyanine Blue, Phthalo. Green Deep, Phthalo. Green Light, Forest Green, Olive Green, Yellow Ochre, Raw Umber, Burnt Sienna, Venetian Red, Burnt Umber, Payne’s Grey, Ivory Black
Tim Holtz® Mini Distress Ink Pads
Ranger and Tim Holtz® are pleased to announce the release of all 48 Mini Distress Ink Pads in open stock. Small just got bigger! The Tim Holtz® Mini Distress Ink Pads are a collection of 52 individual 1” x 1” water-based dye inks. Like their larger counterpart, the Minis feature a raised felt pad with ink that is reactive with water and coordinates with the Distress palette of products. Each ink pad is stackable and fade resistant. Mini Ink Pads can be re-inked with matching Distress Ink Re-inker.
TIM HOLTZ® MINI DISTRESS INK PADS
1” x 1” stackable ink pads
52 colors of the Distress color palette
March 15, 2016 | Press Releases
Artists Receive FREE QoR® Cobalt Blue, Expanding your Palette and experiment. GOLDEN is giving watercolor artists an opportunity to expand their color palette with its unique Spring 2016 Free Color Promotion highlighting QoR Watercolors. With the purchase of 3 tubes of QoR, artists will
receive an 11 ml tube of QoR Cobalt Blue FREE! This is a great opportunity to give QoR Watercolor a try if you’ve never experimented with them before!
The free tube of QoR Cobalt Blue (Series 4) will be packaged with a flyer and a QoR Sample card, which you can share with a friend. This package represents a great value and not only brings artists savings, but it allows you to try new color combinations, inspiring exploration and expansion of your ideas!
QoR Watercolor retains the best qualities of traditional watercolors while expanding the range and versatility of each color. QoR’s exclusive binder provides more pigment in every brushstroke, offering a strength, range and versatility unmatched in the history of watercolors.
The unique QoR formulation accentuates the luminosity and brilliance of pigments even after drying. It provides the subtlety, transparency and flow of a great watercolor, with colors that have as much vibrancy as the best acrylic or oil paint. QoR offers several unique qualities:
· Vibrant, intense colors that stay brilliant even after they dry
· Exceptionally smooth transitions, flow and liveliness on paper
· Excellent resolubility in water and glazing qualities
· Vivid depth of color with each brushstroke
· Greater resistance to cracking and flaking
· More density of color than traditional watercolors
Look for more information about the GOLDEN Spring 2016 Free QoR Color Promotion at your local art supply retailer beginning early March. To learn more about QoR Watercolor, go to www.QoRcolors.com. For technical product information, feel free to contact the Materials & Applications team by calling 607-847-6154 or by emailing firstname.lastname@example.org.
Buy three M Graham tubes of oil paint and get Azo Coral FREE. Limited supplies.
Announcing Azo Coral: A New, Limited-Edition Oil Color
We are pleased to introduce Azo Coral 11-015, a limited-edition oil color.
Azo Coral 11-015 is a semi-transparent glazing orange with a vibrant red leaning mass tone and a beautiful orange undertone. This new color is a uniquely creamy formulation, ideal for glazing directly from the tube as well as body color applications.
Azo Coral 11-015 is formulated with Orange 62 and Red 254 pigments, which produce a color stronger than Quinacridone Red, not quite as dominant as Naphthol Red Red, yet more orange than Indian Yellow. Our new Azo Coral possesses the ease of handling one expects of a color fully dispersed in walnut oil and the strength of a color that comes with the high pigment loads considered a hallmark of all our color.
We love this color because it’s unlike any other in our lineup. We’ve introduced it because we want to offer artists a glazing orange unique to both our lines and others’.
Only 6,000 1.25 oz tubes of Azo Coral 11-015 have been produced. They will be available for a limited time as part of a special promotion starting mid-January 2016.
Alvin Heritage Apollo Lead Holders and Refills
Alvin Heritage Apollo Lead Holders offer a thick brushed anodized barrel for easy handling when sketching and drawing and do a great job keeping the lead off your fingers. Features include an easy release, auto-feed clutch and a handy pocket clip.
VARSITY The Fashionable, No-Maintenance Fountain Pen
at Dots ‘N doodles Art Supplies
Finally an elegant, easy-to-use, every day, no-maintenance fountain pen! Varsity features seven vibrant ink colors and a real laser cut, stainless steel fountain pen
nib. Varsity isprefilled and guarantees smooth, expressive writing. Get in touch with your inner poet, writer or artist with a writing instrument designed to deliver an unsurpassed writing experience.
The Pilot Varsity fountain pen captures the fun of writing with a fountain pen in a modern body style. Its stainless steel nib and Advanced Liquid Ink Feed System ensure smooth writing, and the ink supply is visible through a window on the side. The Varsity is a great no-maintenance everyday fountain pen.
The everyday fountain pen now with a new modern design
Fashionable, no-maintenance fountain pen that s convenient and easy to use
Advanced liquid ink feed system and genuine stainless steel nib guarantee smooth writing
Visible ink supply allows you to see how much ink is left
Item: Varsity fountain pen in Black, Blue, Red, Green, Pink, Purple and Turquoise – 7 pack Ink Color: Assorted Point Type: Medium
Derivan Liquid Pencil
Have you ever been sketching and wanted to cover a larger area quickly? Or wanted to just variegate the tone very subtly similar to using a watercolour? Well Derivan Liquid Pencil is capable of all these things and more.
Derivan Liquid Pencil is an innovative new product that allows you to create authentic graphite pencil effects and pencil sketches using a liquid. It has been formulated to be easily thinned with water or MM9 Acrylic Painting Medium (to maintain permanency) and allow for the softest of colours to be applied with a brush, nib, or other art tools. With a consistency of cream, and a different rheology, artists now have a wider scope for creating sketches.
Derivan Liquid Pencil is available in six graphite shades each with a permanent or rewettable formula.
Due to a precisely balanced formulation another great benefit of the Permanent liquid pencil is that it will “burnish up’ in a similar manner to traditional graphite but it will not smudge.
The rewettable formula will also allow you to remove areas using water – in a similar manner to watercolour techniques, or it is possible to use with a traditional eraser. Another advantage to using Derivan Liquid Pencil is that large areas can be built up and covered quickly and easily.
Each of the shades have a definite graphite colour, however, there are distinct undertones such as blue, yellow red, sepia and neutral in two different strengths to allow a great range of options for artists. Derivan Liquid Pencil – a revolutionary way to create sketches.
Paper Crafter Crayons Red-Yellow
Paper Crafter Crayons™ are highly-pigmented wax crayons that can be used on all types of crafting surfaces such as card stock, chipboard, canvas, embossed and textured paper, even wood, glass and ceramic and is just a very fine product! Best of all, the unique twist-up design allows you to sharpen the crayons with a standard pencil sharpener.
Paper Crafter Crayons™ are highly-pigmented wax crayons that can be used on all types of crafting surfaces like card stock, chipboard, canvas, embossed and textured paper, even wood, glass and ceramic
Mix and Match with wet mediums, like inks, paints, Gelatos™ and Art GRIP Aquarelles to create colorful wax resist effects. Just doodle, trace, draw or write a message, then cover the crayon marks with the wet medium and the marks will “resist” the wet medium and show through!
From the metallic color palette of GOLDEN Heavy Body and Fluid Acrylic colors, Micaceous Iron Oxide is a warm, nearly black color that dries with a texture and sparkle similar to fine grit sandpaper. Great as a metallic color, it also makes an excellent surface for drawing with pencil, pastel and conté crayon.
Americana Decor Maxx Gloss provides a revolutionary, superior, high-gloss sheen that delivers an almost lacquer-like finish. It enables you to create contemporary, sleek, and polished furniture and home décor accessories. Until now, this level of gloss finish has only been available in aerosol spray paints. Aersols cause over-spray and must be used in a well-ventilated area for safety. Maxx Gloss now offers DIYers the ability to add a high-gloss finish with a water-based, non-toxic, brush-on formula.
Americana Decor Maxx Gloss provides a revolutionary, superior, high-gloss sheen that delivers an almost lacquer-like finish. It enables you to create contemporary, sleek, and polished furniture and home décor accessories. Until now, this level of gloss finish has only been available in aerosol spray paints. Aersols cause over-spray and must be used in a well-ventilated area for safety. Maxx Gloss now offers DIYers the ability to add a high-gloss finish with a water-based, non-toxic, brush-on formula. Patent protection has been applied for.
Can be used on wood, terra cotta, canvas, metal, decorative glass, most plastics, and more.
The advanced adhesion technology assures a durable finish on almost all surfaces without the need to prime or sand.
Remarkable coverage achieved in two coats
Extended open time allows optimum flow and leveling for an ultra smooth finish
Durable, hard finish which, once fully cured, is highly resistant to household cleaning chemicals
Soap and water clean-up
Indoor or outdoor use
Americana Decor® Maxx Gloss™ comes in 20 high-gloss, trendy colors.
Test an inconspicuous spot to ensure that adhesion occurs and no surface primer is required. If desired, sand surface to remove any imperfections for smoothest finish. No priming or sanding required on sealed surfaces. Clean object thoroughly. Stir paint; do not shake. Apply with a quality, soft bristle brush in multiple, thin coats to prevent drips and runs on vertical surfaces. Immediately smooth out drips. Let dry to the touch between coats. Allow 14 days to cure fully. Soap and water clean-up. One 8 oz jar covers approximately 35 square feet on sealed surfaces.
TO USE ON RAW/UNFINISHED SURFACES
Seal the surface first with one coat of Multi-Purpose Primer & Sealer. and let dry. Sand the surface with fine grit sandpaper. Remove dust with a slightly damp cloth. Apply a second coat of sealer and let dry. Use a small piece of brown paper bag to “sand” the surface until smooth. Wipe with cloth. Use a good quality, soft-bristled brush to apply a thin coat of Americana Decor Maxx Gloss. Let dry to the touch. Repeat paint application until desired sheen is achieved (usually 2 to 3 coats).
Tips for Maxx Gloss
Avoid overloading brush or overworking paint.
Load brush to a medium thickness to get a nice, leveled look. If it is too thin, brush strokes will show.
Maxx Gloss is thinner than most paints, so take caution on vertical surfaces. Leave surface flat as long as possible to prevent drips.
Use a flat, soft bristle brush to achieve a smoother, streak-free finish.