The Oil Paint Store is the leading painting canvas manufacturer in the Philippines. We manufacture all TOPS canvas and TOPS Quality Stretcher Canvas. We can customize any size our customers required.
-Phil. standard 1”x 2” Kiln Dried wood stretcher frame, with 1/4 marine or 3/16 plywood backing
-1 7/8" Depth almost 2"
-museum wrap with 12oz canvas
-Primed Boysen latex flat white
also available in Unprimed Canvas- for artists who prefer Gesso Primed Canvas. click for Gesso Primer
-Ideal for re-stretching or reusing new canvas on the stretcher for a new painting
-Ideal for Mixed Media artist
-Backing protects the canvas from sharp objects
Kinds of Braces:
x1Brace: With 1x1 inch X-brace support at the back of the stretcher
x2Brace: With 1x2 inch X-brace support at the back of the stretcher
I Brace: With 1x2 inch Brace support at the back of the stretcher
+1Brace: With 1x1 inch Cross-brace support at the back of the stretcher
+2Brace: With 1x2 inch Cross-brace support at the back of the stretcher
o Brace: Without brace support at the back of the stretcher
Note: No RETRUN, No EXCHANGE for all TOPS Quality Canvas. Defected items will be replaced with the same size. CLICK DELIVERY RATES.
Can't find the size you're looking for? CALL US and we will customize what you need! Call 87258162, Viber- 09519942066
The Oil Paint Store is the leading painting canvas manufacturer in the Philippines. We manufacture all TOPS canvas and TOPS Studio Stretch Canvas. We can customize any size our customers required.
TOPS Studio Stretch Canvas features:
-Lightweight but very sturdy and durable
-With 1/4" plywood backing
-Canvas 12oz heavy texture
-Available in Primed (2 coats Latex) and Unprimed - for artists who prefer Gesso Primed Canvas. click for Gesso Primer
The Oil Paint Store is the leading painting canvas manufacturer in the Philippines. We manufacture all TOPS canvas and TOPS Circular Primed Canvas. We use 3/4 ph standard plyboard, 12oz canvas cloth with double primed latex flat white. We can customize any size our customers required.
also available in Unprimed Canvas- for artists who prefer Gesso Primed Canvas. click for Gesso Primer
Note: No RETRUN, No EXCHANGE for all TOPS Quality Canvas. Defected items will be replace with the same size. CLICK DELIVERY RATES.
Can't find the size you're looking? CALL US and we will customize what you need! Call 87258162, Viber- 09519942066
Paper that has a neutral or basic pH (7 or slightly greater). It can be made from any cellulose fiber as long as the active acid pulp is eliminated during processing. It is also lignin and sulfur free. Acid-free paper addresses the problem of preserving documents for long periods.
Paper made from wood-based pulp that has not had its lignin removed goes yellow and deteriorates over time. When exposed to light and/or heat, the molecules in the acidic paper will break down even faster. It was only in the 1930s that the effects of wood-pulp paper became known, when William Barrow (a librarian) published a report about the deterioration of acidic paper in the libraries. For fear of the gradual disintegration of written materials, measures have been taken to improve the quality of paper.
Derivan Kindyglitz is an acid free, archival quality, glitter glue great for adding a little glamour to your papercraft, cardmaking and scrapbooking projects. It can be applied to all card and paper surfaces, drying to a relatively flat finish. Derivan Kindyglitz is safe for children to use.
Derivan Kindyglitz has been formulated as a safe, non-toxic paint to be used straight from the nozzle applicator or brushed out over your creation.
All the colours may be intermixed to form other interesting glitter colours. It is possible to apply the glitters over black or dark coloured backgrounds for greater contrasts.
If you are chooswhat paints to use for 3-5 year olds, you will need to consider more than just the price. Brush & Finger Paint has been formulated with young children in mind. The colours are bright, and intermixable, as well as being safe.
When children are young, paint doesn't always end up where it is meant to go. Paint will end up on clothes, despite aprons. It will end up on the floor, despite drop cloths, and when you're not looking, it will end up in young children's mouths. Obviously Brush & Finger Paint are not designed to be eaten - but kids will be kids, so keeping this in mind our Brush and Finger Paint range has been improved and specially formulated, just in case.
Derivan Brush & Finger paints are easy to clean up off children's clothes, while the paint is still wet it will easily come out of most fabrics (however, suitable clothing should be worn as some staining may occur).
In addition to 10 basic colours, there are also 5 glitter paints, ideal for creating gifts for special occasions.
Try out our marble painting activity, using Brush & Finger Paint.
Artist quality inks that are highly pigmented, water-resistant, lightfast (will not fade) and non-clogging. Fully intermixable, these versatile inks can be applied with brush, technical drawing pen, calligraphy nibs and airbrush to paper, board, wood and fabric.
Derivan Inks have been formulated as a safe, non-toxic acrylic ink to be used in a variety of projects including calligraphy, painting, cardmaking and scrapbooking. Use straight from the bottle or thin with water, or Derivan Ink Extender.
Available in 36ml twist lid bottles, or economical 500ml bottles.
All the colours may be intermixed to form an endless array of colours for your use. As colours are transparent they are also good for creating colour mixes through layering techniques.
Derivan Inks are washable in water making clean-up quick and easy. Brushes, pens and airbrushes all clean easily in water, however the nature of Derivan Ink's water-resistant properties means dried ink will need to be cleaned in Derivan Ink Cleaner. Simply soak dirty equipment in Derivan Ink Cleaner then wash-up in warm soapy water to finish.
Like any high-quality ink, Derivan Ink it is hard to remove from clothing when dried. Use the following method to remove stains as soon as you find them:
Wet Stains: Place the stained area of the garment under a tap of cold running water, holding the garment above the stain so it does not spread. After removing the surplus ink, place wet garment on a towel and rub ordinary household soap into the stain working the heavily soaped wet cloth area between your fingers in a rolling action using the thumb and forefinger of each hand on either side of the stain. Do not rub the stain directly.
Wash the area under cold water and repeat procedure 2 or 3 times until all colouring is removed. Dry out wet garment by wrapping in a towel and twisting to remove excess moisture.
Dried Stains: Prepare a bucket or sink with lukewarm water, using plenty of household or laundry soap. Immerse the garment and let it soak for 15 minutes to wet out properly.
With the thumb and forefinger of each hand, slowly work the stain in a rolling action thereby releasing the ink and colour into the soapy water. Change the water as necessary and repeat washing action. DO NOT USE HOT WATER. Some stubborn stains may need to be soaked overnight. Other methods of cleaning will generally only act to drive the stain in deeper. Do not boil, dry clean or use chemical solvents or thinners. Do not iron over a stain. Do not machine wash. Keep stained garments separate from other washing.
Health and Safety
Derivan Inks are a non-toxic water-based formula containing water, pigment and acrylic. Although it is certainly not made to be ingested, it is safe for use with children.
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. 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 colours 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 colour 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 colour 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 colour 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.
Derivan Screen Ink is a totally water-based silk screen printing ink.
Derivan Screen Ink has been formulated as a safe, non-toxic silk screen printing ink for fabric and Tie Dyeing. It can be used in the classroom or at home safely without the worry of being exposed to harmful solvents such as white spirits, turps or thinners. Derivan Screen Ink is water-based and washes up in water (before it is heat set) but has excellent rub resistance and lightfastness once heat set.
All the colours may be intermixed to form bright secondary and tertiary colours. White (Opaque) may be mixed if pale pastel opaque prints are desired on dark coloured fabrics.
This is a thick milky coloured paste which dries colourless and transparent. It is used for intermixing with standard printing colours in order to extend deep colours into pale or lighter transparent shades (Red into transparent pink, etc.). Mainly for White or pale fabrics.
Wash all utensils, brushes and hands with soap and water to clean up.
It is important to make sure the silk screen blockout or stencil system that is to be used is compatible with water-based products (some are completely resistant to many solvents but water will destroy them).
Generally speaking, the best mesh size for fabric printing is 10T to 25T (monofilament). A coarser mesh screen is required for fabric than for paper; more ink is required as fabric tends to be more absorbent.
Best results are obtained from absorbent fabrics; avoid waterproof fabrics as they tend to inhibit penetration and repel the water-based colours. Fabrics containing starch, size, fillers, softeners or crease-proof treatments should be washed prior to printing. Fabrics containing waterproofing treatments may not accept the paints and may result in mottling, poor colour adhesion or patchy printing and may not remain washproof.
It is necessary to heat fix the image if it is to be washproof. Heat fixing can take many forms. The main points to be observed are:
The image must be air dried before it is heat fixed.
Ensure the heat is applied evenly over the image.
Ensure the heat is applied continuously for the required time over the image.
Be sure not to scorch or burn the image or garment.
Any type of heat can be used. Heat tunnels, ovens, even the humble household iron can all be used. If using contact heat (for instance an iron), use a tea towel or another piece of cotton cloth over the image to iron on. Do not iron directly over the print.
Heat fixing times and temperatures vary. However, a guide is as follows:
Cotton, calico, linen, rayon - 4-5 mins at 140-180°C
Synthetics, nylon, polyester, tetron, acrylic - 5-8 mins at 115-130°C. .
Important projects warrant testing to determine maximum temperature to make image fast and avoid scorching. Test by heat-fixing a test strip and washing in a heavy duty cycle.
Places which have their own colour capture the imagination. In the mind, as in memory, every colour has its place and every place has its colour.
The Mediterranean, the center of a world. A sea that unites different continents and cultures; the colours and tints of unforgettable sites and civilizations: mare nostrum. This same sea is the fluid palette on which are spread tones that paint the history of humankind. The chromatic assortment of Coarsely Ground Mediterranean Colours is basic, because only a few essential tones are needed to render the magic of a harmonic motion. Pure and, one may say, fundamental, the colours of this light are in any case calibrated to capture every nuance and modulation needed for sunny, luminous and natural painting. "Nature is extraordinarily beautiful here", wrote Van Gogh when, fleeing northern mists and grayness, he journeyed south pursuing the path of light. This is a colour range especially suited to painting with warm, bright and harmonious hues, juxtaposed with one another. Also indicated for en plein air works of sun-drenched landscapes, of warm or temperate climes, or paintings with sunny tonalities and enveloping light. In using these colours we recommend hard bristle, ox-hair or synthetic brushes. The grain size of these colours is larger than for other oil paints and paste density is thicker, with brushstrokes accentuated.The colour dried on the canvas damps the ray of light and softens tones, giving the surface a rugged feel.
The colours can be thinned with safflower or walnut oil or appropriate mediums for oil painting. It is best to avoid solvents and essential oils, which would weaken the pastes. In painting with a palette knife, for whose "impressions" these paints are particularly suitable, it might be best to use brilliant mediums to accentuate the luminosity and shine of each single coat. It is also advisable to prepare the canvas with uniform, soft coats of pastel pink or yellowish pink obtained with ochre and Natural Earth Colours (Terre Grezze d'Italia). This can be especially suitable for creations with predominantly blue and greenish blue tones, enhanced by these complementary bases.
With Gamblin FastMatte Alkyd Oil Colors, oil painters can take their paintings further, faster than ever before.
24-Hour Dry Time
The fast drying rate means painters can stay in the flow of their painting session longer with layering and mark-making possibilities beyond traditional oils. The consistent drying rate of FastMatte colors means painters can return to a dry surface the following day.
The matte surface gives colors a deep, soft luster that speaks directly to the viewer. Never before have oil painters been able to create a consistent, matte surface with such ease. The matte surface gives dry paint layers a subtle tooth which beautifully grabs paint from the brush or knife.
FastMatte colors are compatible with Gamblin painting mediums and our traditional oil colors. For thinning FastMatte colors, we recommend a 50/50 mixture of Galkyd and Gamsol. This mixture, used in moderation, thins colors without slowing dry-times or significantly increasing gloss. Gamvar Picture Varnish may be applied to saturate colors and impart a uniform satin or gloss surface to your finished work.
The 24-hour dry time, matte surface and compatibility make FastMatte colors ideal for underpainting.
The balanced color palette of earth, mineral, and modern pigments was chosen for its mixing capabilities in all oil painting techniques and styles.
Richeson Oil Paints: Tradition, Quality & StabilityThe Shiva Series are a superior brand of oil paint that is made at the factory in the United States, alongside our hand–crafted line of BEST Easels. These oils have a rich history and long standing quality.
Originally marketed and sold as ShivaÂ® Signature Oils, these paints were created by an artist out of personal need and passion. Ramon Shiva was interested in making a fine paint for himself and his friends in the late 1920s. Ramon’s son–in–law saw the potential of this paint and encouraged him to make a real business of it. During this time, Shiva had a sixteen year–old errand boy by the name of Jack Richeson, who made deliveries to the factory and was fascinated by the paint making process (and a fellow who would eventually make his own legendary contributions to the art supplies industry).
The paint took off: during the 1940s thru the 1950s, Shiva became the leading oil paint manufacturer in the United States, and also led the world in bringing back casein, a paint from antiquity. During the late sixties, the company was sold because of illness and the drive seemed to be lost. The quest for purity and quality, once so proudly held by Ramon, was replaced by efficiency and price control brought on by the new owners’ financial administrators. In the year 2002, a lifelong dream of Jack Richeson’s came true. Today Jack Richeson & Company has gone back to all the old formulas of the 1950s that made Shiva oil the top brand in the United States.
Richeson is committed to producing the “Best of the Best.” Richeson Oils ~ The Shiva Series has generated positive response from some of the top oil painters in the country, including Ramon Kelley, Daniel Greene and Kate Palmer.
Richeson uses only pure, artist–grade dry pigments, ground to each one’s own correct degree of fineness and then formulated individually under exacting laboratory controls. They are guaranteed to be permanent, free from darkening, yellowing, fading and cracking, and are bound with the finest grade of alkali–refined linseed oil available.
Richeson Oils have generated positive response from some of the top oil painters in the United Sates!
Richeson Oils go through a rigorous series of processes, which ensures an even distribution of the pigment and results in a buttery, even consistency. Because great care must be taken to avoid overworking the pigment, the amount of time required for the milling process varies greatly for each color—anywhere from six hours to three days. Each color of paint that is made must be treated individually.
Last in the process is “resting time” for a minimum of 90 to 120 days before tubing, so that the pigment can reach its maximum absorption level. Richeson tests the paint through the resting process and only after the oil is determined to have reached its prime is the color tubed.
Richeson’s commitment to provide only the best of the best does not allow for short cuts.
Richeson Oil Colors offer rich color intensity, brilliance of hue and chemical purity available to the most discerning artist
Manufactured since 1929, Richeson Oils have gained a reputation for the following:
Finest–quality with a friendly price tag
Each pure pigment is ground to its own correct degree of fineness
Formulated individually under exacting laboratory controls
Guaranteed to be permanent, free from darkening, yellowing, fading and cracking
Made with the finest grade linseed oil, and pure, artist–grade dry pigments
Venice Turpentine is used in mixing your own mediums. Its properties include adhesiveness and an enamel—like gloss.
Stand Oil is a very heavy bodied oil. It wets pigments well, producing paint with good flowing qualities that level easily and reduce brush marks.
Light Painting Medium is formulated to provide brilliance and good working consistency to oil paints. After drying, the paint film remains flexible and very durable, with no cracking.
Rectified Turpentine is highly refined and crystal clear. It is used to thin oil paints and for cleaning brushes.
Linseed Oil is highly purified white linseed oil of the finest quality. It thins the paint, but still acts as a binder for pigments.
Damar Varnish is considered to be the best of the natural picture varnishes. It increases the brilliancy of the colors and provides moderately high gloss. Damar Varnish responds readily to ordinary solvents used in painting restoration.
Signa–Turp is a colorless turpentine substitute which possesses the properties of turpentine without its strong odor. It is especially ideal for people who are allergic to turpentine or do not like its strong odor.
Stand Oil is a very heavy bodied oil. It wets pigments well, producing paint with good flowing qualities that level easily and reduce brush marks.
Copal Painting Medium improves the flow of paint from the brush and speeds the drying rate for oil colors. Avoid overloading the paint film with copal as this can cause excessive yellowing.
Finishing Spray Varnish for Oil
Bob Ross’s quick drying Spray Varnish offers temporary protection until oil painting is dry enough for final varnish. Enhances color and dries to an even gloss. 12 oz size.
Archival Copal Medium
Prepared from synthetic and natural resins and refined turpentine, Archival Copal Painting Medium is excellent for glazing, thin or impasto painting, and wet-on-wet techniques. May be thinned with turpenoid® or turpentine.
Artist Pure Gum Turpentine
A very volatile, thin, colorless, refined turpentine derived from pine trees, for use with oil colors, and as a thinner or solvent for varnishes or varnish gums, and for cleaning brushes and tools.
Cleaning Solution for Painting Restoration
Cleaning Solution is used to remove accumulated surface soil and aged varnish from oil paintings. Carefully follow directions for safe, proper, techniques for surface restoration and cleaning. Caution is advised to avoid disturbing the painting during cleaning. Follow with application of Salamander™ restorative.
A very durable and flexible varnish prepared from selected true Singapore White Damar Gum. Damar Varnish gives a high gloss and strong protection, greatly increasing the brilliance of colors. Contains no artificial dryers. Responds readily to ordinary solvents. Thin with Turpenoid® or turpentine.
Speeds the drying of slow drying colors. Only a small amount of Japan Drier should be used, since overuse of the drier tends to cause darkening and cracking of the painting.
Light Drying Oil
An ideal painting medium for oil colors to thin their consistency. Prepared from purified linseed oil and Turpenoid®.
Mix desired amount of Liquiglaze with artist quality oil color. Excellent medium for fine detail, impasto or glaze effects. Dries quickly, resistant to yellowing and provides a long lasting quality paint film. The consistency of Liquiglaze is a soft translucent gel, ideal for mixing with heavy bodied artist oil color. May be thinned with Turpenoid®
Matvar 53® Varnish
A matte finish varnish for oil color, watercolor, and tempera painting. This colorless, acrylic resin varnish provides the artist with a non-yellowing, flexible, transparent matte film when dry. When used for an overall matte finish on varnished and unvarnished work, it will not dull tonal values and may be painted over. Quick drying and ready for use, it contains no wax and will not mar or smudge through handling. Resists cracking, peeling, blush and bloom. Thin and clean up with turpentine. This product will not thin with Turpenoid.
An 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.
Oil Paint Transparentizing Medium
Use to transparentize oil colors and as a flow medium for stroke work. Great for antiquing and oil rouging. Can be used as a varnish. Prolongs drying time. Brushes can be cleaned with soap and water. Nontoxic.
Oil Painting Medium
Used with oil paints when durability is desired. Prepared from refined linseed oil, gum damar, and turpentine. Imparts brilliance to colors and gives a pleasant consistency.
Process Thickened Linseed Oil
A linseed oil prepared to possess the properties of sun-thickened oil. A pale, heavy bodied oil, employed as an addition to painting mediums. Faster drying than Stand Oil and superior to other heat treated Linseed Oils.
Pure Refined Linseed Oil
Finest quality, purified and refined linseed oil is pressed from flaxseed. Contains no free mineral acids. For use in diluting oil or alkyd colors and making painting mediums or to clean brushes.
RapiDry™ Oil Paint Medium
RapiDry makes oil colors smoothly workable and speeds drying time. Remains wet under normal conditions for about four to five hours. Dries to the touch overnight. It will not yellow or darken and it plasticizes the paint film to prevent cracking.
Res-n-gel ® Oil Painting Medium
Res-n-gel® is a full strength, ready to use, synthetic resin gel. It is a transparent, full bodied medium which extends expensive oil colors. It is ideal for glazing effects. Res-n-gel® gives a buttery brush response, prevents colors from running, retains character of brush strokes, holds sharply defined detail, adds luminosity and brilliance to colors and accelerates drying. An excellent medium for painting with either brush or palette knife to create a full range of impasto, opaque, translucent glazed effects. Nontoxic.
Resin-Oil Medium 789
Synthetic medium for use with dry pigments or tubed colors. Yields a buttery, plastic response for impasto painting, or a free flowing consistency when thinned with turpentine. Can be used to obtain sharply defined detail, working wet-on-wet. Recommended as an oil painting medium in glazing techniques. Drying of the paint is accelerated.
A restorative for oil paintings prepared from carefully selected essential oils and balsams. For application to oil paintings to restore color brilliance. After a painting has been treated with Salamander™, an application of Damar or Synvar Varnish® will help protect the restored surface.
Silicone Brush Cleaner
An odorless, economical silicone brush cleaner for cleaning oil color immediately after use. Safe for use in most cleaning devices. Silicone Brush Cleaner is completely non-caustic and will not remove natural oils from sable or bristle brushes. Also good for removing fresh paint from all accessories and clothing.
Sphinx® Retouch Varnish
A quick drying, light bodied, colorless retouching varnish, composed of crystal clear acrylic resin with a very volatile diluent. Retouch Varnish is excellent for use on parts of a painting that have dried flat in order to bring out their full wet appearance. It can also be used on paint not entirely dry, so further painting can be done. Protects paintings until drying is complete, pending final varnish.
A pale colored, heavy bodied, polymerized linseed oil used in the preparation of painting mediums with less tendency than linseed oil to after-yellowing. It is slower drying than sun thickened linseed oil and produces a durable film.
An excellent, water clear, acrylic resin picture varnish for oil and acrylic paintings. Synvar® dries to a gloss finish, has excellent durability, good adhesion, no tendency to blush or bloom, good resistance to ordinary acids, alkalies and to moisture. Dries tack-free in less than a half hour under normal conditions. Will not darken with age. When used as a medium to mix with oil colors it will produce a soft chromatic quality. Thins with Odorless Turpenoid® or Turpentine.
Turpenoid® Gel Oil and Alkyd Painting Medium
Fast drying with high cohesion. Turpenoid® Gel increases transparency of oil colors and creates impasto. Turpenoid® Gel is clear, semi-soft and smooth.
Extremely stable and flexible; holds brush strokes in place.
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. Now, 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. 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.
Blue Label® Fixatif
A water clear fixatif prepared expressly for use on pastel and charcoal drawings. Gives maximum durability and protection with the least change in tonal values. Dries to a matte finish which may be reworked.
ArtResin is non-toxic (when used as directed) so it's not bad for your health like other resins. No VOCs. No fumes. No solvents. Non-flammable. Non-hazardous. Conforms to ASTM D4236 (Safe for Home Use when used in a well ventilated area).
ArtResin is chemically engineered to offer the
most efficient yellowing
protection on the market. Its advanced stabilization additives provide superior, long-term clarity.
ArtResin is self-levelling, its 1:1 mixing ratio is user-friendly and we offer a million easy how-to videos. Almost a million :)
Designed to look gorgeous and be strong and durable. Clear. Glossy. Shiny. Thick. Solid. Hard. Pro. ArtResin increases the attractiveness and value of whatever it's used on!
Brush Washer designed mainly for cleaning brushes used for oil painting. The overhead coiled spring is made to suspend brushes by their handles over the base which holds a cleaning fluid of the artist’s choice and a mesh to dislodge thick paint.
Brush Holder Ideal for artist and crafters! Keeps artist paint brushes and art tools organized and readily accessible. Perfect pen or pencil holder. Fantastic for make up brush holder. Circular organizer with holes.
CERNIT is a ready to use polymer modelling clay. The clay becomes very soft by kneading. It is easy to work with and needs just a few tools. The clay has a high tensile strength; a particulate translucency and does not loose its shape and stability. Colours can be intermixed to suggest marbling and there are no limits to create new shades. The material hardens permanently by baking in an ordinary oven (about 30 minutes at maximum 130°C). It can make dolls look life-like and all finished pieces cure to a porcelain-like appearance. CERNiT offers a very wide palette of 70 brilliant shades
The CERNIT comprises in 5 ranges:
NUMBER ONE porcellaneous standard finishes in 34 colours.
GLAMOUR 12 pearlescent and 6 metallic colours.
TRANSLUCENT 6 colours.
NEON 6 couleurs avec finition fluorescente