Michael Harding Oil Paint 40ml

mh40mlMy 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

 *Exclusive to The French Art Shop Auckland

View the full range of colours here.

Sennelier Extra-Fine Artist’s Oil Paint 40ml

Untitled-1Dense, yet buttery, Sennelier oils are more highly pigmented and firmer than ever. The reformulated homogeneous consistency is better suited to the diversity of modern techniques and pictorial sensitivities. The slightly heavier body retains its unique creaminess, while offering greater versatility.

Sennelier’s carefully selected pigments are ground longer, to provide the finest, most vivid colouration possible. Sennelier strives to provide the purest, most concentrated stable pigments. With improved lightfastness, the colour intensity will endure for generations.

Safflower oil, a binder with balanced drying power, provides the creamy texture that dries with an attractive satin finish in a uniform manner over the entire range. Unlike linseed oil, safflower oil is non-yellowing.

Also available in 200ml tubes.

 

View the full range of 144 colours here.

Art Spectrum Artist’s Oil Colours 40ml

Untitled-2Art Spectrum are Australia’s most respected oil paints because they conform to the classic tradition. To make a permanent artists’ paint, it is of the utmost importance to not only have lightfast pigments and pure linseed oil (safflower oil in whites) but to ensure they are thoroughly milled as well. All colours are triple-milled to ensure that every pigment particle is completely coated with the vehicle, and evenly dispersed. This results in a stable paint film which has even surface tensions. Genuine oil colours characteristically smell of pure and natural vegetable oils.

Improved permanency information and new pigments have enabled us to replace the toxic and fugitive colours with non-toxic and cleaner colours of superior lightfastness. Ongoing research and development is dedicated to maintaining or improving the permanency, safety and performance of our colours.

Pigments are chosen for purity and clarity. Art Spectrum oil colours give lasting brilliance and luminosity to paintings. The finest pigments are used in the maximum working strength to impart the best colour quality. It is not Art Spectrum’s policy to substitute pure pigments with blanc fixe (a heavy filler) to simulate quality by artificially increasing the weight of oil paints.

View the full range of colours here.

Sennelier Etude Oil Paint 200ml

Untitled-3The vibrant and intense colours of this range feature excellent stability in colour mixing and lightfastness. The buttery texture allows smooth brushwork in thick applications or glazing. A comprehensive 36 colour range features a traditional palette of established colours, perfect for artists of any ability. Three accurate primaries are optimized for colour mixing, enabling the artist to create a vast palette of colours.

Etude’s very affordable price allows students and beginners to experience the renowned Sennelier quality that has made it the standard for over a century.

For professional artists, the large 200ml. tubes are the perfect combination of price and quality, especially when working in large format or thick application.

 

 

View the full range of 36 colours here.

Daler-Rowney Georgian Oils 38ml & 225ml

Untitled-4This high quality line of color is produced at a uniform and economical price. Daler-Rowney Georgian Oil Colors are ideal for use with a knife or a brush, allowing for a variety of effects to be achieved. Every batch is matched for color and texture against exacting standards to ensure they will perform perfectly anywhere in the world, from the Amazon to Antarctica.

 

 

 

 

 

 

View the full range of colours here.

Lefranc & Bourgeois Louvre Student Oils 60ml

Untitled-6The LOUVRE oil colours are a perfect compromise for first attempts at oil painting.

 

 

 

 

 

 

 

 

 

 

View the full colour range here.

Winsor & Newton Artisan Water Mixable Oils 37ml

Untitled-5Artisan Water Mixable Oil Colour has been specifically developed to appear and work just like conventional oil colour.   

The key difference between Artisan and conventional oils is its ability to thin and clean up with water.  Hazardous solvents are not necessary for Artisan and artists can enjoy a safer painting environment, making it ideal for artists who share a work space, schools or painting at home. 

 

 

 

 

 

 

 

View the full range of colours here.

Langridge Odourless Solvent

Untitled-3Langridge Low Toxic Solvent is supplied as a low toxicity alternative to traditional artists’ solvents, reducing exposure to the more harmful compounds associated with turpentine, etc.

Associated issues with prolonged contact with traditional artists’ solvents such as dermatitis, skin and respiratory organ irritation, headaches, etc. can be dramatically reduced or removed by using Langridge Low Toxic Solvent.

Because its’ Permisable Exposure Level (PEL) is higher than other solvents the artists exposure will not be as harmful in comparison to traditional solvents. Langridge still recommends the use of good studio ventilation, a minimum of two open windows, preferably a properly installed exhaust system.

It can be used as a diluent when used in small quantities with oil colours. Extreme care should be taken, however, in diluting purely with Low Toxic Solvent as its over-use can easily underbind paint and lead to a dull, dry lifeless film with potential for dusting or flaking off. Artists wishing to create very fluid working qualities should refer to painting mediums constructed for that purpose.

Available in 100ml, 500ml, 1 Litre, 4 Litre

Langridge Distilled Gum Turpentine

Untitled-4Natural diluent when used in small quantities with oil colours. Unlike petrolleum distillate based solvents (Low Toxic Solvent, Mineral Turpentine, White Spirit, etc.) its function is not solely to break-down oil but aids in dilution, keeping the richness and fatness of the oil with which it is mixed.Care should be taken, however, in diluting purely with Gum Turpentine as its over-use can easily underbind paint and lead to a dull, dry lifeless film with potential for dusting or flaking off. Artists wishing to create very fluid working qualities should refer to painting mediums constructed for that purpose.

Gum Turpentine can be added to artists’ drying oils to add extra fluidity. It is  generally found that Gum Turpentine has greater wetting powers than petrolleum distillates so that much smaller quantities may be added to achieve fluidity of paints and oils.

Available in 100ml, 500ml, 1 Litre, & 4 Litre.

Lefranc & Bourgeois Quick Drying Petroleum

Untitled-6Highly volatile, gives a matt finish, also called White Spirit.
This solvent is purely of mineral origin. Its principal quality is that it evaporates completely, leaving no trace.

Available in 75ml, 250ml, 500ml and 1liter bottles

Lefranc & Bourgeois Rectified Turpentine

Untitled-7Turpentine is  obtained by distilling the gum from pine trees. It is then rectified, which makes it colourless and increases its fluiditiy. It is mainly used for thinning oil colours, therby making them easier to use for the basic sketch by fluidifying them without altering their hue.

Less volatile than Quick drying petroleum, it gives less of a matt appearence to the work.

Available in 75ml, 250ml, 500ml and 1liter bottles

Lefranc & Bourgeois Oil of Spike Lavender

Untitled-5Lavender oil comes from the distillation of lavender. Thanks to its slow volatility, it gives body the colours as well as a certain amount of bite, which improves adhesion to the lower layers.

Available in 75ml and 250ml bottles

Art Spectrum Odorless Solvent

art-spectrum-logo_81Ideal for artists who are sensetive to the odor of turpentine. Used for the cleaning of brushes and as a replacement when making up mediums.

Keep away from naked flame and heat. Use in a well ventilated area.

Available in 500ml and 1 litre.

Art Spectrum Pure Gum Turpentine

art-spectrum-logo_81Double distilled for artist’s use. Use in the preparation of painting mediums and for cleaning equipment.

Do not use neat as a diluent for oil paint. Use in a well ventilated area.

Available in 500ml and 1 litre.

Art Spectrum Citrus Turpentine

art-spectrum-logo_81Alternative to Gum Turpentine with a citrus aroma. Use in the preparation of painting mediums and cleaning equipment.

Do not use as a diluent for oil paint. Use in a well ventilated area.

Available in 500ml and 1 litre.

Turpenoid Odourless 236ml

Untitled-1An odorless, very volatile, thin, colorless, turpentine substitute, Turpenoid® has the same painting properties and drying time as turpentine but is free from the strong characteristic turpentine odor. Compatible with oil colors as a painting vehicle, either alone or in mediums. Turpenoid® is also excellent as a solvent or paint brush cleaner, and for use in removing paint spots from clothing.

Turpenoid Natural 236ml

Untitled-2Now, artists seeking safer choices, as well as students, seniors and those unable to enjoy the pleasures of oil painting because of problems with traditional solvents, have a new safe alternative. Turpenoid Natural is an extremely effective nontoxic brush cleaner and gentle brush conditioner which rinses out with plain water. Brushes are reconditioned when cleaned with Turpenoid Natural. It is non-flammable, does not irritate skin or eyes and does not emit harmful vapors. It is an effective painting medium when used within recommended guidelines.

Not recommended with Damar Varnish or crystals. Use in paint mediums should not exceed 25% to ensure proper drying time. Do not use Turpenoid Natural to create washes, glazes or to wet canvas before painting.

 

Langridge Refined Linseed Oil

Untitled-29Linseed is the most widely used oil because when dry it forms the toughest, most resilient paint films.

Used in small quantities, it adds a soft, slippery quality when added to oil colours. The paint film will stay open and is easily moved or reworked for up to 24 hours.

Because linseed oils yellow or darken with time, some more dramatically than others, it is recommended that the use of linseed oil should be kept to a minimum as a medium to aid fluidity or transparency.

Further information on the use of refined linseed oil is available here.

Available in 100ml, 500ml and 1 litre.

Langridge Cold Pressed Linseed Oil

Untitled-28Cold Pressed Linseed Oil has greater wetting power than refined linseed oils and is often recommended for hand milling of oil  paints. When used to mill oil colours or even when mixed with prepared oil colours produces a pronounced stroke to the brushmark, so that strokes of  different directions and application show a marked ‘suede’ effect.

Used even in small quantities, it adds a loose, slippery quality when added to oil colours. The paint film will stay open and is easily moved or reworked for up to 24 hours. Cold Pressed Linseed Oil creates a flexible paint film longer than any other artist’s drying oil.

Further information on the use of Cold Pressed Linseed Oil can be found here.

Available in 100ml, 500ml and 1 litre.

Langridge Stand Oil

Untitled-27Stand Oil is a virtually non-yellowing drying oil. Thick and honey-like, it cannot be used without the addition of Distilled Gum Turpentine or equivalent solvent. It has pronounced levelling qualities and produces an enamel-like effect when mixed with oil paints.

Stand Oil based mediums will set-up to a tack that grabs any succeeding brush strokes. The wet, but tacky paint surface can be readily painted into without moving freshly applied paint. Excellent for controlled paint manipulation.

For further information on the use of Stand Oil is available here.

Available in 100ml, 500ml and 1 litre.

Lefranc & Bourgeois Clarified Linseed Oil

Untitled-31Used to reduce the consistency and to speed up the drying time of oil colours. Also improves gloss and transparency.

Available in 75ml and 250ml.

Lefranc & Bourgeois Poppy Oil

Untitled-30Extracted from poppy seeds. Used to reduce the consistency and speed up the drying time of oil colours. Also improves flow and transparency.  Does not yellow with age and as such is traditionally used in more delicate colours. Not siccative.

Available in 75ml and 250ml.

Sennelier Oil Sticks

senn oil stickThe Oil Stick is a composition of oil paint. A proportion of the oil is substituted with a neutral mineral wax, resulting in the stick appearance.

These colours are of perfect quality: pure pigments are ground into vegetable oils (siccatives), selected for their low degree of yellowing with time. The choice and high concentration of pigments enables excellent light resistance to be achieved. These colours are applied discreetly to conventional oil painting supports (oil-proof or universal) and demand quality background preparation.

Supports: canvas, canvas boards, laminated panels, paper.
Solid oil paint should be applied in a relatively thin film (no more than 1mm). Layers can be overlapped, in the same manner as paste oil paint, and can, if necessary, be thinned with petroleum or turpentine. Before use, the surface film should be removed. This latter will re-form after a few days of non-use. Paint applied dries within 2 to 5 days depending on layer thickness and atmospheric conditions. A clear medium is available allowing transparency and glazing effects
to be achieved.

Solid artists’ quality colours are available in opaque or transparent shades, depending on the shades of the pigments used. The product may be stored for extended periods of time and requires no special attention, apart from avoiding heat sources that may damage it.

Once dry, the paint may be varnished like conventional oil paint, after a minimum drying period of 6 months, using an oil paint finishing varnish.

View the full colour range here.

Markal Artists Paintstiks

markel oilMarkal Artists Paintstiks are real oil paint in stick form.  They are made from highly refined drying oils blended with the finest pigments and molded into sticks. Application of the stick to the painting surface liquifies the Painstick at the point of contact.An effective medium to explore shape, composition and color in the studio or on field trips.

Markal Artists Paintstiks can be used without palettes, mixing cups, brushes or turpentine. They can be applied and blended in nearly infinite color variations with the finger, a paintbrush, or palette knife. The sticks are completely compatible and can be varnished, over painted or worked over with a complete range of varnishes or conventional oil paints.

Art Spectrum Refined Linseed Oil

Untitled-26Linseed is the most widely used oil because when dry it forms the toughest, most resilient paint films.

Used in small quantities, it adds a soft, slippery quality when added to oil colours. The paint film will stay open and is easily moved or reworked for up to 24 hours.

Because linseed oils yellow or darken with time, some more dramatically than others, it is recommended that the use of linseed oil should be kept to a minimum as a medium to aid fluidity or transparency.

Available in 500ml and 1 litre.

Lefranc & Bourgeois Extra-Fine Retouching Varnish Spray

lefranc__bourgeoisRetouching varnish is used to eliminate sinking (areas of a painting that become matt owing to the absorption of the resin and/or oil by the underlying layers). It is also essential when retouching old paint that has dried out, to ensure a link between the old layer and the new layer of colour.

Finally, it is also used as a temporary varnish while waiting until the final varnish can be applied. Caution: Never apply the final varnish to an oil painting before 6 months to 1 year. The consequences are serious because any future varnish removal and restoration will become impossible.

With acrylic resin, quick drying petroleum. Dry extract: 17%

Available in 200ml and 400ml.

Lefranc & Bourgeois J.G. Vibert Retouching Varnish 75ml

lefranc__bourgeois

Retouching varnish is used to eliminate sinking (areas of a painting that become matt owing to the absorption of the resin and/or oil by the underlying layers). It is also essential when retouching old paint that has dried out, to ensure a link between the old layer and the new layer of colour. Finally, it is also used as a temporary varnish while waiting until the final varnish can be applied.

Caution: Never apply the final varnish to an oil painting before 6 months to 1 year. The consequences are serious because any future varnish removal and restoration will become impossible.

With acrylic and ketone resin,quick drying petroleum. It contains the most resin with 25% dry
extract after drying.

Lefranc & Bourgeois Anti-UV Picture Varnish

lefranc__bourgeoisA new liquid varnish for oil. A recent formulation, it stops the destroying action of Ultra-Violet rays by absorbing their energy. Thus, the pigments and the binders are protected better in time. In spite of that, it is not advised to leave  paintings in full sun without revarnishing every year with this product.

Available in 75ml and 250ml.

Lefranc & Bourgeois Extra-Fine Spray Varnish

lefranc__bourgeoisAcrylic resin, quick drying petroleum and rectified turpentine. A little less glossy than the J.G. Vibert (23% dry extract), non-yellowing, reversible.

Available in 200ml and 400ml.

Lefranc & Bourgeois Extra-Fine Dammar Picture Varnish

lefranc__bourgeoisBased on a composition of Dammar resin and linseed oil, rectified turpentine. Very glossy (40% dry extract).

Available in 75ml and 250ml.

Lefranc & Bourgeois Satin Picture Varnish Spray

lefranc__bourgeoisAcrylic and ketone resin, linseed oil, matting agent (silica), quick drying petroleum. Satin (24% dry extract), non-yellowing.

Available in 200ml and 400ml.

Lefranc & Bourgeois Satin Picture Varnish

lefranc__bourgeoisAcrylic and ketone resin, linseed oil, matting agent (silica), quick drying petroleum. Satin (24% dry extract), non-yellowing.

Available in 75ml and 250ml.

Lefranc & Bourgeois Matt Picture Varnish Spray

lefranc__bourgeoisAcrylic resin, matting agent (silica), rectified turpentine. Non-yellowing and matt (18% dry extract).

Available in 200ml and 400ml.

Lefranc & Bourgeois Matt Picture Varnish

lefranc__bourgeoisWax and dammar resin base, rectified turpentine. Can be combined with Dammar varnish to reduce the degree of mattness. 33% dry extract: the most pronounced matt finish.

Available in 75ml and 250ml.

Lefranc & Bourgeois Quick Drying Picture Varnish

lefranc__bourgeoisKetone resin, quick drying petroleum. Glossy (30% dry extract), non-yellowing, reversible.

Available in 75ml and 250ml.

Art Spectrum Retouch Varnish

art-spectrum-logo_81Retouching varnish is used to eliminate sinking (areas of a painting that become matt owing to the absorption of the resin and/or oil by the underlying layers). It is also essential when retouching old paint that has dried out, to ensure a link between the old layer and the new layer of colour.

Finally, it is also used as a temporary varnish while waiting until the final varnish can be applied. Caution: Never apply the final varnish to an oil painting before 6 months to 1 year. The consequences are serious because any future varnish removal and restoration will become impossible.

Available in 500ml and 1 litre.

Art Spectrum Dammar Varnish

art-spectrum-logo_81Use as a final varnish over dry oil paintings. Dilute with gum turpentine for less gloss. A natural resin, use Damar as an ingredient for glazing mediums to impart a degree of gloss and hardness to the paint film.

Available in 500ml and 1 litre.

Winsor & Newton Artisan Gloss Varnish 75ml

Untitled-32This UV resistant gloss varnish provides protection for paintings achieved with Artisan Water-Mixable Oil Colour and is removable with Artisan Varnish Remover. Painting must be completely dry (6-12 months). Use only as a final varnish.

Art Spectrum Stand Oil

Untitled-25Stand Oil is a virtually non-yellowing drying oil. Thick and honey-like, it cannot be used without the addition of Distilled Gum Turpentine or equivalent solvent. It has pronounced levelling qualities and produces an enamel-like effect when mixed with oil paints.

Stand Oil based mediums will set-up to a tack that grabs any succeeding brush strokes. The wet, but tacky paint surface can be readily painted into without moving freshly applied paint. Excellent for controlled paint manipulation.

Available in 500ml and 1 litre.

Winsor & Newton Artisan Linseed Oil 75ml

Untitled-24For use with Winsor & Newton Water-Mixable Oil Paints. This oil reduces the consistency and improves flow of Artisan oil colours. It also increases gloss and transparency. Slows drying. Can be cleaned up with water.

Winsor & Newton Artisan Safflower Oil 75ml

Untitled-1This oil improves the flow, increases gloss & transparency of Artisan Oil Colour. It is particularly suitable for use with whites & pale colours. Dries slowly. Can be cleaned up with water.

Winsor & Newton Liquin

Untitled-12This reliable favourite is a general purpose semi gloss medium which speeds drying, improves flow and reduces brush stroke retention.

Halves the drying time of conventional oil colour (touch dry in 1-6 days depending on  colour & film thickness). Resists yellowing.

Archival Oils Odorless Lean Medium 500ml

Untitled-9This is a very fluid, general-purpose alkyd resin medium that can be used to increase the flow and transparency of Chroma Archival Oils, as well as for glazing and other thin applications. Its fast-drying properties allow a variety of techniques beyond what is normally possible with traditional mediums.

Odorless Lean Medium generates very little vapor, resulting in healthier and more pleasant painting sessions.

Art Spectrum Liquol

Untitled-13A fast drying alkyd based painting and glazing medium. Ideal for multi layered glazing where it will give great depth and subtlety of colour.

Available in 500ml and 1 litre.

Lefranc & Bourgeois Painting Medium

Untitled-22Colourless painting medium, ketone resin, heated oil, rectified turpentine. Rapid setting (1h), increases the transparency and brightness of the colours.

Available in 75ml, 250ml, 500ml and 1 liter bottles.

 

 

Lefranc & Bourgeois J.G. Vibert Painting Medium

Untitled-21Contains ketone and acrylic resin, poppyoil, quick drying petroleum. Very slow setting and transparent, satin paint film.

Available in 75ml, 250ml, 500ml bottles

Lefranc & Bourgeois Matt Painting Medium

Untitled-8New medium for oil painting, that gives a matt finish to the layers, regular and smooth.

Available in 75ml and 250ml bottles

Lefranc & Bourgeois Brown Courtrai Drier 75ml

Untitled-17To speed up the drying of oil colours. The most powerful siccative drier, reduces the difference of drying time which exists naturally between certain colours. When working with pale colours use the colourless White Courtrai Drier.

Lefranc & Bourgeois White Courtrai Drier 75ml

Untitled-18To speed up the drying time of oil colours. Hardens the paint film rather than making it dry more quickly, making the paint film dry regularly and in depth.

Colourless and perfect for use with pale colours.

Lefranc & Bourgeois Flemish Medium 60ml

Untitled-19Gum mastic, linseed oil, essence of spike lavender, cobalt-zirconium siccative. The most frequently used painting gel for glazes. Rapid setting (2 hour), thixotrope (hardens at rest). Very bright and transparent, ensures that the strokes have great detail and depth.

Lefranc & Bourgeois Venetian Medium 60ml

Untitled-20Beeswax, linseed oil, essence of spike lavender, cobalt-zirconium siccative. Smooth painting gel enabling strokes to be juxtaposed in the style of the impressionists. Smoothes the edges of the paint or knife strokes. Very rapid setting (1h), matt-satin finish.

Lefranc & Bourgeois Impasto Medium 150ml

Untitled-16Flemish medium emulsion with water and opaque extender. Structuring gel with firm consistency that increases the gel texture to create impasto effects that do not sink. For thick layers (5 mm max.), this medium must be softened with 20% of Flemish medium.

Art Spectrum Glazing Gel 150ml

Untitled-15Art Spectrum Glazing Gel Medium becomes liquid when mixed into oil paint. It is suitable for moderate impasto and glazing and will retain texture and brush marks.

Art Spectrum Glazing Gel Medium will Increase the transparency of oil colours. It is quick drying and dries with a soft sheen.

Art Spectrum Wax Medium 150ml

Untitled-14Art Spectrum Wax Medium is a mixture of oil and wax. Mix with oil colour to achieve a translucent effect. Not suitable for heavy impasto. Imparts a satin finish.

Winsor & Newton Artisan Painting Medium 75ml

Untitled-11This slow drying medium reduces consistency, increases luminosity & flexibility of Artisan Oil Colour. It is ideal for oiling out & enriching dull patches.

Winsor & Newton Artisan Fast Drying Medium 75ml

Untitled-10Artisan Fast Drying Medium improves the flow and speeds the drying of Artisan oil colours, smoothes brushwork and increases gloss and transparency. It is excellent for glazing and producing fine detail and is resistant to yellowing.

This is a very popular medium as it speeds the drying of oil colour by about 50%, allowing further layers to be applied more quickly. The formulation has been improved and this has helped to wet the colour better. It thins the colour and increases gloss and transparency. When painting in layers it can substitute linseed oil and be combined with water and/ or thinner to maintain ‘fat over lean.’

Winsor & Newton Artisan Thinner 75ml

wn thinnerThis thinner has been specially developed to maintain the oily feel & keeps Winsor & Newton Artisan colour open longer than water.

Although water is suitable as a diluent for the colour, its speedy evaporation can make the colour thicken upon the palette much quicker than conventional oil colour would when used with turpentine. As Artisan thinner does not form an emulsion with the colour, there is less colour change than there would be with water.

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