Acrylic primed. Suitable for Oils and Acrylics. Sold by the metre

These notebooks are one of Moleskines best selling products.

This reliable travel companion, perfect for writings, thoughts and passing notes, has a cardboard bound cover with rounded corners, acid free paper, a bookmark, an elastic closure and an expandable inner pocket that contains the Moleskine history.
Highly sought after by creative professionals and lovers of writing.

Sizes: Pocket and Large.

Available in Ruled, Plain and Squared formats in both Soft and Hard covers.

The Moleskine Plain Cahiers are journals with a flexible heavy-duty cardboard cover in with visible stitching on the spine.

The last 16 sheets are detachable and there is a pocket for loose notes.

Each set of 3 pieces includes the Moleskine history.

Available in Black, Red, Tan and Navy Blue.

Sizes: Pocket, Large and Extra Large

The Moleskine Ruled Cahiers are journals with a flexible heavy-duty cardboard cover in with visible stitching on the spine.

The last 16 sheets are detachable and there is a pocket for loose notes.

Each set of 3 pieces includes the Moleskine history.

Available in Black, Red, Tan and Navy Blue.

Sizes: Pocket, Large and Extra Large

The Moleskine Squared Cahiers are journals with a flexible heavy-duty cardboard cover in with visible stitching on the spine.

The last 16 sheets are detachable and there is a pocket for loose notes.

Each set of 3 pieces includes the Moleskine history.

Available in Black, Red, Tan and Navy Blue.

Sizes: Pocket, Large and Extra Large

Moleskine Watercolour notebooks are the portable atelier for painting and drawing with watercolours.

A heavy 200-gram, cold-pressed paper is identical on the both sides and was created especially for Moleskine.

Every Moleskine product is thread bound and has a cardboard bound cover with rounded corners, acid free paper, a bookmark, an elastic closure and an expandable inner pocket that contains the Moleskine history.

Sizes: Pocket and Large.

Sold by the meter.

Rabbit Skin Glue primed. Sold by the meter.

Universal Acrylic primed. Suitable for Acrylic and Oil.

Sold by the metre.

Universal Acrylic Primed. Suitable for Acrylic and Oil.

Sold by the Metre or the Roll.

(Extra-Fine) “Rolls Royce of Linens”

Cotton canvas, acrylic primed. Suitable for Acrylic and Oils. Sold by the metre.

The economical choice!!!!

Cotton canvas, triple acrylic primed. Suitable for Acrylic and Oils. Sold by the metre.

Cotton canvas, uprimed. Sold by the meter.

Framing tape bonds more aggressively to your backing and frame moulding and will hold firm for a long time and NOT dry out like the packaging tapes do over a very short period of time.

Bright white, satined paper, wood free, 90 g/m², rounded corners, cloth tape binding, sturdy manilla cardboard cover with leather texture, linen spine.

Available in blank and lined, and in colours of Black, Tan, Red and Green.

A range of ring bound drawing pads designed for studies and drafting work. Soft off white paper with light grain, acid free.

Available in 6×6″, 10×10″, 8×12″ and 12×16.5″.

A range designed for studies and drafting work. Soft off white paper with light grain, acid free.

Graph Paper is popular for designing, drawing, pattern making, etc. Non-reproducing blue lines.

Available in 2mm or 5mm squares, in A4 and A3.

Ideal for both rough drawings and finished compositions. Suitable for pencil, pen, and marker. Bleedproof.

Available in A4, A3 and A2.

This professional-quality, highly transparent tracing paper has a fine, smooth, hard surface that makes it excellent for tracing and visualizing with pencils, markers, or ink.

Available in A4 and A3.

Sennelier applies finely ground, pH neutral vegetable flakes by hand to a 360gsm, pH neutral board stock, creating a paper that is slightly abrasive, yet has a perfectly smooth and uniform tooth.

This greatly enhances pigment adhesion, so that less fixative is required. It offers an excellent surface for any dry media.

Super smooth drawing paper, recommended by the professionals. Suitable for pencil, coloured pencil, charcoal and pen and ink. Bound along top edge, acid free.

Medium grain soft white drawing paper. Bound along top edge. Made in France, acid free.

Available in A5, 21x21cm, A4, 29.7×29.7cm and A3.

Saunders Waterford is an exquisite watercolour paper, traditionally made on a cylinder mould machine. This is the superior quality watercolour paper made by St Cuthberts Mill and comes with the Royal Watercolour Society’s endorsement. Made using 100% cotton, the highest quality papermaking material, to high archival standards. Each sheet is buffered with calcium carbonate to help defend finished pieces of work from discolouration caused by acids present in atmospheric pollution.

Available in Hot Press (smooth), Cold Press (some texture) and Rough. Priced per sheet.

Drafting film is suitable for pen and pencil drawing; it is durable, able to withstand extensive revisions and changes. Drafting film is dimensionally stable and unaffected by temperature and humidity, and feature excellent transparency and flatness.

Available in A3 and A2.

Fabriano Accademia drawing paper is made of high quality lignin free and acid free cellulose, guaranteeing long conservatione over time. Produced with 100% of E.C.F. pulp (Elemental Chlorine Free), F.S.C. certified (©1996 Forest Stewardship Council A.C.) from forests responsibly managed respectful of environmental, social and economic standards.

Its internal and external sizing renders it resistant to repeated erasures.

It is recommended for artists and amateurs for sketching and drawing with pencil, charcoal, pastel, coloured pencil and ink. Its 200 g/m2 is also suitable for gouache.

120gsm available in A5, A4, A3 and A2.

200gsm available in A4, A3 and A2.

Arches papers aren’t just for watercolors. Use them also for drawing, calligraphy, gouache, printmaking, acrylics, and even digital printing. Manufactured from pure cotton fiber, they are so durable that they will remain beautiful and vibrant for centuries without conservation, if stored and handled properly.

Many artists say they choose Arches because working on an inferior surface just isn’t worth the effort. And no other watercolor paper provides such a huge selection of sizes, surfaces, and formats for creative expression.

This paper is the original Arches, sometimes known as Natural White. The choice of leading watercolorists all over the world, Arches is the product of five centuries of papermaking experience. You can rely on Arches to always be consistent.

Arches watercolor papers are mouldmade in France, with 100% cotton fiber content. They are acid-free, pH-neutral, gelatin-sized, and air-dried.

Available in Hot Press (smooth), Cold Press/Not Press (some texture) and Rough. Priced per sheet.

Rarely are card stock pastel supports available to the artist in a pad. The La Carte pad offers twelve sheets of heavyweight, professional quality paper board with a finely ground coating of cork and vegetable flakes providing a uniform, toothy surface that grabs and holds even the softest pastels.

The pad is top side glue bound for easy sheet removal and includes two sheets each of six assorted neutral colors. Paper is acid-free and lightfast. A beautiful surface for dry media applications.

Cartulina is a pulp-dyed cardboard. This paper pulp colouring process achieves more uniform, long-lasting colours than on printed paper. It is also highly resistant to discolouring by light or water. It has been whitened without chlorine, is acid free, free of heavy metals and the pulp is sourced from FSC forests.

Its composition makes it ideal for crafts, artwork, origami, modelling and can also be used for painting and watercolours. It is also suitable for use with inkjet and laser printers.

Available in a range of 30 brilliant colours in 50x65cm size and 20 colours in A4.

This white, French-made, medium textured paper erases well and is an ideal foundation for both broad and fine-point media. Use it with pencil, colored pencil, charcoal, pen, and ink.

Arches papers aren’t just for watercolors. Use them also for drawing, calligraphy, gouache, printmaking, acrylics, and even digital printing. Manufactured from pure cotton fiber, they are so durable that they will remain beautiful and vibrant for centuries without conservation, if stored and handled properly.

Many artists say they choose Arches because working on an inferior surface just isn’t worth the effort. And no other watercolor paper provides such a huge selection of sizes, surfaces, and formats for creative expression.

This paper is the original Arches, sometimes known as Natural White. The choice of leading watercolorists all over the world, Arches is the product of five centuries of papermaking experience. You can rely on Arches to always be consistent.

Arches watercolor papers are mouldmade in France, with 100% cotton fiber content. They are acid-free, pH-neutral, gelatin-sized, and air-dried.

Available in weights of 185gsm and 300gsm; sizes of A5, A4 and A3 and in Hot Press (smooth), Cold Press/Not Press (some texture) and Rough.

Sennelier’s Oil Pastel Card was developed especially for the exceptional qualities of oil pastels. Oil will not seep, bleed through, or halo on this paper.

Each pad contains 12 thick, 340gsm sheets of acid-free paper. Glassine sheets are interleaved between the pages to protect your paintings.

Created in collaboration with internationally renowned watercolourists, Sennelier watercolour paper meets the rigorous demands of the most discerning artists. Sennelier watercolour paper is 100% cotton, mould-made, acid-free and chlorine-free. These characteristics allow the paper to accept paint beautifully while ensuring longevity of your precious artwork.

Available in Hot Press (smooth), Cold Press (some texture) and Rough.

Created in collaboration with internationally renowned watercolourists, Sennelier watercolour paper meets the rigorous demands of the most discerning artists.

Take these professional watercolor blocks into the field to capture the wide-open spaces. There’s plenty of room for inspiration. The 100% cotton, acid-free, mould-made paper carries all the tradition and quality associated with the name Sennelier.   These characteristics allow the paper to accept paint beautifully while ensuring longevity of your precious artwork.

Blocks contain 20 sheets of 140 lb (300 gsm) paper bound on all four sides.

Available in textures of Hot Press (smooth) and Cold Press (some texture), and sizes of 18x26cm, 19x33cm, 26x36cm and 30x30cm

A classic white paper used by artists for centuries, this natural warm white paper is achieved without the use of optical brighteners. Papers are synthetically sized both internally and externally so that no animal by-products are used. Fabriano’s Artistico papers are mould-made of 100% cotton and are acid-free/pH neutraland chlorine-free.

Papers are luxurious yet durable and can handle lifting and scraping without compromising their integrity. Suitable for all water media, printmaking, digital printing, charcoal, pastel, and other drawing applications.

Sheets have two natural deckled edges and two cut edges.

Available in Hot Press (smooth), Cold Press (some texture) and Rough. Priced per sheet.

Rosaspina is a hidden jewel among printmaking papers! It performs as well as 100% rag papers and is excellent for all printmaking techniques.

Its 60% cotton content and lack of external sizing give it a sumptuously soft surface ideal for deep etching and aquatint. It makes for an equally luxurious, upscale drawing paper.

This paper is mould-made with two natural deckled edges.

Available in weights of 220gsm and 285gsm, and in sizes of 50x70cm and 70x100cm.

You’ll see and feel the difference as your pastels bite into the extraordinarily toothy surface of this pastel, charcoal, and pencil drawing paper. Available in White and more than 30 delicious colors, it features a grain that runs parallel to the long side.

Acid-free. 40% cotton.

Available in A4 and 50x65cm.

A classic white paper used by artists for centuries, this natural warm white paper is achieved without the use of optical brighteners. Papers are synthetically sized both internally and externally so that no animal by-products are used. Fabriano’s Artistico papers are mould-made of 100% cotton and are acid-free/pH neutraland chlorine-free.

Papers are luxurious yet durable and can handle lifting and scraping without compromising their integrity. Suitable for all water media, printmaking, digital printing, charcoal, pastel, and other drawing applications.

Sheets have two natural deckled edges and two cut edges.

Available in Hot Press (smooth), Cold Press (some texture) and Rough. Priced per sheet.

Fabriano Artistico Traditional White Watercolor Blocks are glued on four sides and are perfect for Plein Air painting. They are made from 100% cotton, aredouble-sized and are acid-free. The traditional warm white shade is created without the use of optical brighteners.

Available in cold press, hot press, and rough grain surfaces. Excellent for all water media, drawing and charcoal. Hot press is ideal for pen and ink.

Available in 5×7″, 9×12″, 12×18″

A classic white paper used by artists for centuries, this natural warm white paper is achieved without the use of optical brighteners. Papers are synthetically sized both internally and externally so that no animal by-products are used. Fabriano’s Artistico papers are mould-made of 100% cotton and are acid-free/pH neutraland chlorine-free.

Papers are luxurious yet durable and can handle lifting and scraping without compromising their integrity. Suitable for all water media, printmaking, digital printing, charcoal, pastel, and other drawing applications.

A classic white paper used by artists for centuries, this natural warm white paper is achieved without the use of optical brighteners. Papers are synthetically sized both internally and externally so that no animal by-products are used. Fabriano’s Artistico papers are mould-made of 100% cotton and are acid-free/pH neutraland chlorine-free.

Papers are luxurious yet durable and can handle lifting and scraping without compromising their integrity. Suitable for all water media, printmaking, digital printing, charcoal, pastel, and other drawing applications.

Sheets have two natural deckled edges and two cut edges.

Available in Hot Press (smooth), Cold Press (some texture) and Rough. Priced per sheet.

This stunning paper delivers the purest bright white available without the use of optical brighteners or bleaches. Fabriano’s Artistico papers are mould-made of 100% cotton and are acid-free/pH neutral and chlorine-free.

Artistico is the only paper that offers a “soft press” sheet, a luxurious texture that falls between hot press and cold press. Papers are luxurious yet durable and can handle lifting and scraping without compromising their integrity.

Papers are synthetically sized both internally and externally so that no animal by-products are used. Suitable for all water media, printmaking, digital printing, charcoal, pastel, and other drawing applications.

Available in Hot Press (smooth), Soft Press, Cold Press (some texture) and Rough. Priced per sheet.

Stonehenge is a traditional fine art paper with a smooth, flawless surface that is slightly mottled to resemble actual vellum. Use it for watercolor, printmaking, pen-and-ink, pencil, or pastel.

Stonehenge is machine-made in the United States, from 100% cotton fibers. It’s acid-free. Each sheet has two deckle edges.

Available in White and Black.

Exceptionally strong and versatile, Fabriano Tiepolo Printmaking Paper withstands the wear and tear of rigorous techniques.

Featuring a traditional Italian soft white color, this 100% cotton, mouldmade,acid-free paper has four deckle edges and a beautiful watermark. Its particularly smooth surface excels when used for printmaking techniques, silkscreening, embossing, and even digital printing.

Fabriano Tiepolo Printmaking Paper is also great for drawing, for loose watercolor washes, and for use with other fine art media.

Available in 56x76cm and 70x100cm.

Fabriano Accademia drawing paper is made of high quality lignin free and acid free cellulose, guaranteeing long term archival qualities over time. Produced with 100% of E.C.F. pulp (Elemental Chlorine Free), F.S.C. certified (©1996 Forest Stewardship Council A.C.) from forests responsibly managed respectful of environmental, social and economic standards.

Its internal and external sizing renders it resistant to repeated erasures.

It is recommended for artists and amateurs for sketching and drawing with pencil, charcoal, pastel, coloured pencil and ink. Its 200gsm version is also suitable for gouache.

Available in 120gsm in 50x65cm, and in 200gsm in A3, 50×65 and 70×100.

Fabriano Accademia drawing paper is made of high quality lignin free and acid free cellulose, guaranteeing long conservatione over time. Produced with 100% of E.C.F. pulp (Elemental Chlorine Free), F.S.C. certified (©1996 Forest Stewardship Council A.C.) from forests responsibly managed respectful of environmental, social and economic standards.

Its internal and external sizing renders it resistant to repeated erasures.

It is recommended for artists and amateurs for sketching and drawing with pencil, charcoal, pastel, coloured pencil and ink. Its 200 g/m² is also suitable for gouache.

Available in 120gsm and 200gsm.

Printed on 300gsm hot press watercolour paper and with its 20 dense, lightfast colours and fine deep tooth, Colourfix™ is a superb substrate for acrylics, inks, silverpoint, oil pastels, gouache, watercolours and dry media such as soft pastels, charcoal and pencils. The natural toothy surface will hold multiple layers of pastel without the need for fixative, allowing the velvet bloom and vibrant colour of pastel to be preserved. Erasing is also easy with Colourfix™ – simply lift off excess pastel with clear adhesive tape, brush off with a dampened or dry brush, or use a pencil eraser. Alternatively, errors can be overpainted or areas touched up with the matching colour of Art Spectrum Colourfix™ Primer. The tough, toothy surface can be sanded, scrubbed, soaked and reworked over and over

Available in A4 and 50x65cm

View the full colour range here.

A traditional linseed oil based oil primer. Produces a high quality white surface with good tooth and flexibility for oil painting.

Constituents: Refined Linseed Oil, Titanium Dioxide Pigment, Calcium Carbonate, Cobalt Octoate.

Langridge Oil Primer needs further dilution for easy brushing out. Add Artists’ White Spirit to Oil Primer in proportions of 1:2 till a thin cream consistency is obtained. Oil Primer is supplied in a form that needs further dilution to prevent dropping out of the pigment whilst in storage. It is important not to use Langridge Oil Primer undiluted as the resulting film will be too fat and lacking proper tooth.

Because of a high titanium white pigment content, Langridge Oil Primer has excellent hiding power. Langridge recommends the application of two coats for a complete prime and for maximum brightness.

Before applying an oil primer the support must be ‘sized’ to reduce absorbancy. If over absorbant, the linseed oil in the primer will soak into the substrate leading to two major defects: The support, especially if canvas, will be acted upon by the oil, which is acidic, leading to embrittlement. The canvas can, in a short period of time, lose its’ flexibilty and start to crack, especially on stress points such as the edge of the stretcher frame. Secondly, the oil, having soaked into the substrate, will leave the primer underbound. There is not enough oil to completely bind the pigment, creating a priming ground that will draw oil from all oil colours applied on top. The primer, whether oil or acrylic, is the foundation of the whole painting. If the foundation is faulty all painting applied on top of it will be compromised.

After applying a sizing agent such as rabbit skin glue, gelatine size or diluted archival EVA the canvas fibres will have swelled due to the sizes’ water content. The swollen fibres will tend to give the surface a rough, abrasive surface. If wanting a smoother surface, lightlysand using a flat faced pumice stone. Pumice is less aggressive than commercial abrasive papers which have the potential to cut and weaken the canvas fibres. Once lightly sanded and wiped down with a dry cloth, proceed with the application of Oil Primer.

Further information about Langridge Oil Primer including application instructions can be found here.

A superior acrylic resin, low chalk content primer with excellent hiding power. High Titanium White loading. Suitable for oils and acrylics. Can be applied to a wide range of surfaces including raw canvas, wood and paper. No prior sizing needed. A permanently flexible and non-yellowing ground.

Constituents: Acrylic Copolymer Emulsion, Titanium Dioxide pigment, Calcium Carbonate, Talc, Wetting Agent, Defoamer.

A fluid primer that does not need further dilution for easy brushing out. Because of a high titanium white pigment content, Langridge Acrylic Primer has excellent hiding power needing only one coat application. A second coat may be needed for extremely absorbant surfaces. When applying to canvas (cotton or linen) the water content will swell the canvas fibres. When the primer dries the swollen fibres, now held in place by the acrylic resin, will tend to give the surface a rough, abrasive surface. If wanting a smoother surface, lightlysand using a pumice stone with a flat face. Pumice is less aggressive than commercial abrasive papers which have the potential to cut and weaken the canvas fibres. Once lightly sanded and wiped down with a dry cloth, a second coat of Acrylic Primer may be applied

Further information on Langridge Acrylic primer including application instructions can be found here.

Liquitex Gesso is a premium acrylic gesso used to prepare painting surfaces for acrylic and oil paint.

• Non-yellowing
• Flexible and non-cracking
• Provides the perfect “tooth” and adhesion to a wide variety of surfaces such as canvas, paper and wood
• Excellent base coat primer for many applications for example murals
• One coat is usually all that is required

Use undiluted or thin up to 25% with water. When thinning more than 25% use an equal mixture of water and Liquitex Matte Medium to thin gesso. Tint with up to 10% Liquitex Soft Body or Heavy Body Artist Colors.

Available in 118ml,237ml, 473ml and 946ml.

A very clear size and ground that keeps the working surface visible.

• Ideal high tooth for pastel, oil pastel, graphite, and charcoal
• Excellent ground for acrylic and oil paint
• Mix with acrylic color to have a tinted ground
• Dries clear to translucent depending on thickness
• Flexible, non-cracking and non-yellowing when dry
• Provides the perfect “tooth” and adhesion to a wide variety of surfaces including canvas, paper and wood
• Excellent base coat primer for many applications for example murals

Application

• For canvas, paper, wood, or any clean, porous, non-oily surface
• Sizes and primes while maintaining the original appearance of the surface
• Provides paper with good tooth for chalk and oil pastel techniques
• Mix with a very small amount of transparent or translucent acrylic color to tint the ground while maintaining transparency

Available in 118ml , 237ml, 473ml, and 946ml.

For preparation of painting surfaces. Dries fast & waterproof for traditional acrylic techniques. Use with Atelier Interactive, other artists’ acrylics or oil paints.

• A heavy, white acrylic ground with a high grit content, designed to provide a stable matte, surface on which to paint either for acrylic or oil painting.
• Can be applied straight from the container for thick textural interest in a painting.
• For a smooth finish, dilute and sand between coats.

Clean up with mild soap & cool water. Water-Based & Non-Toxic.

Available in 250ml, 500ml & 1 litre.

A multi-purpose medium which can be used to thin acrylic paint, increase the open working time, as a sealer, and a clear varnish or to change the sheen levels of acrylic paints.

Sealer: Can be used straight from the bottle as a sizing/sealer on wood, canvas or cotton duck to seal the surface and prevent absorption of paint into the fabric.
Thinning: When added to acrylic paints it dilutes the viscosity and blends colours without losing pigment solids and intensity. This increases the open working time and translucency.

Use generously with acrylic paint or spread liberally over the surface to be worked on for wet-over-wet or wet over dry techniques.

Varnish: Primal can be used as a water based non-toxic over-varnish for acrylic painting. Provides a non-tacky protective coating. It is non-removable, however can be over painted.

Clean up with soap and cool water.

Available in 100ml and 2 litres.