Shop by Category 

Subcategories

Acrylic Medium


Acrylic medium is the same formulation as acrylic paint, minus the pigment. It can be used as a paint additive, an adhesive, and a texturizer. It also can be used to create image transfers. It comes in three basic weights (medium, gel, and paste) and two finishes (matte and gloss). The different weights and finishes are inter-mixable, so you if you cannot find exactly what you need, or you are on a budget, you can create it using two or more products.

Medium is the thinnest of the acrylic mediums. It is easily pourable, with a consistency like that of cream. It works well as an adhesive and for creating image transfers. It can also be added directly to acrylic paints, to extend them or to alter the consistency, transparency, and finish.

Gel is thicker than medium. It is pourable, with a consistency like that of thin yogurt or kiefer. It works well as an adhesive and for creating image transfers. Gel can also be added directly to paint to alter consistency and transparency. It can also be applied to the surface prior to painting, to create texture.

Paste is the thickest of the acrylic mediums. It is too thick to pour, with a consistency like pudding. Depending on the manufacturer, it may be called either molding paste or modeling paste. While mediums and gels dry clear, paste may contain fillers that make it opaque. Paste is a good way to build up surface texture, prior to painting. It can also be mixed with acrylic paints, though be aware that its opacity will alter the look of the paint.

Acrylic Paint
A fast-drying paint containing pigment suspended in an acrylic polymer emulsion. Acrylic paints can be diluted with water, but become water-resistant when dry. Depending on how much the paint is diluted (with water) or modified with acrylic gels, media, or pastes, the finished acrylic painting can resemble a watercolor or an oil painting, or have its own unique characteristics not attainable with other media.
Airbrush

An airbrush is a small, air-operated tool that sprays various media including ink and dye, but most often paint by a process of nebulization. Spray guns developed from the airbrush and are still considered a type of airbrush.

Art & Crafts

Arts and crafts describes a wide variety of activities involving making things with one's own hands. Arts and crafts is usually a hobby. Some crafts (art skills) have been practised for centuries, others are more recent inventions. William MorrisJohn Ruskin and others promoted an "arts and crafts" movement in the late 19th century, which popularized the phrase.

Both children and adults enjoy arts and crafts. Children in schools may learn skills such as woodworkingwood carvingsewing, or making things with all sorts of material. Many community centres and schools have evening or day classes and workshops where one can learn arts and craft skills

Brush

Paintbrushes are used for applying ink or paint. These brushes are usually made by clamping the bristles to a handle with a ferrule.

Short handled brushes are for watercolor or ink painting while the long handled brushes are for oil or acrylic paint. The styles of brush tip seen most commonly are:

  • Round: Long closely arranged bristles for detail
  • Flat: For spreading paint quickly and evenly over a surface. They will have longer hairs than their Bright counterpart.
  • Bright: Flat brushes with short stiff bristles, good for driving paint into the weave of a canvas in thinner paint applications, as well as thicker painting styles like impasto work.
  • Filbert: Flat brushes with domed ends. They allow good coverage and the ability to perform some detail work.
  • Fan: For blending broad areas of paint.
  • Angle: Like the Filbert, these are versatile and can be applied in both general painting application as well as some detail work.
  • Mop: A larger format brush with a rounded edge for broad soft paint application as well as for getting thinner glazes over existing drying layers of paint without damaging lower layers.
  • Rigger: Round brushes with longish hairs, traditionally used for painting the rigging in pictures of ships. They are useful for fine lines and are versatile for both oils and watercolors.

Canvas & Boards

Extremely heavy-duty plain-woven fabric used for making sails, tents, backpacks, and other functions where sturdiness is required. It is also popularly used as a painting surface, typically stretched.

 

Early canvas was made of linen, sturdy brownish fabric of considerable strength. Linen is particularly suitable for the use of oil paint. In the early 20th century, cotton canvas, often referred to as "cotton duck", came into use. Linen is composed of higher quality material, and remains popular with many professional artists, especially those who work with oil paint. Cotton duck, which stretches more fully and has an even, mechanical weave, offers a more economical alternative. The advent of acrylic paint has greatly increased the popularity and use of cotton duck canvas. Linen and cotton derive from two entirely different plants, the flax plant and the cotton plant.

Draw & Illustrate

Note: Prices and Availability are subject to change without prior notice.

If the item you ordered is out-of-stock, you will receive an out-of-stock email notice and the item will be removed from your order. Please note that you will not be charged for any out of stock items. You will only be charged for items that will be shipped.

Easel

Easel refers to a portable stand or frame commonly of wood serving required to hold a canvas upright for the painter’s convenience or for the sake of displaying something. Easel Picture or an Easel Piece is essentially a painting of reasonable size as distinguished from a painting on a wall or ceiling. An easel can be of full height which can stand by itself on the floor. Shorter Easels are also in vogue which can be used on a table. Easels are usually made of wood, aluminum or steel.

French Sketch Box Easel. This easel was designed to allow painters on the go to be prepared. Made handsome, quality elm wood with long-lasting hardware, it folds to a compact size and doubles as a carrier for a wet canvas.

Encaustic Paint

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.

Face & Body Colors
Body painting, and Face painting, is a form of body art. Unlike tattoo and other forms of body art, body painting is temporary, painted onto the human skin, and can last several hours or many weeks . Body painting that is limited to the face is known as face painting. 

Modern water-based face and body paints are made according to stringent guidelines, meaning these are non-toxic, usually non-allergenic, and can easily be washed away. Temporary staining may develop after use, but it will fade after normal washing. These are either applied with hands, paint brush, and synthetic sponges or natural sea sponge, or alternatively with an airbrush.
Framing & Packaging

If something like a picture or a piece of art is valuable to you and you are proud to be part of it or be associated with it, then it needs to be framed and hung somewhere in your home for display. Some people opt to simply buy a picture frame from a home decor or craft store and hang it with a nail, while others find it enticing to frame their own pictures. The process may take several hours, and requires several tools and other picture hanging materials, but the final outcome will be something extravagant and personal.

Gesso & Grounds

Modern acrylic "gesso" is actually a combination of calcium carbonate with an acrylic polymer medium latex, a pigment and other chemicals that ensure flexibility, and ensure long archival life. It is sold premixed for both sizing and priming a canvas for painting. While it does contain calcium carbonate (CaCO3) to increase the absorbency of the primer coat, Titanium dioxide or titanium white is often added as the whitening agent. This allows the "gesso" to remain flexible enough to use on canvas. High concentrations of calcium carbonate, or substandard latex components will cause the resulting film to dry to a brittle surface susceptible to cracking. Typically, a canvas should be sized prior to being gessoed, as a sizing coat will sink into the substrate to support it as opposed to a gesso coat which is just put on top of the substrate.

Acrylic gesso can be colored, either commercially by replacing the titanium white with another pigment, such as carbon black, or by the artist directly, with the addition of an acrylic paint. Acrylic gesso can be odorous, due to the presence of ammonia and/or formaldehyde which are added in small amounts as preservatives against spoilage.

Oil Medium

Resin-based thinners that allow the artist to superpose layers of paint more rapidly without the new colours soaking through to the ones underneath. They also ensure that the painting dries better to the core and increase the suppleness of the paint film over time, thus delaying the appearance of cracks. With different combinations, artists can increase or decrease the setting time, change the shading, texture and adjust the brightness and transparency of their work. When using oil paint, be careful never to paint too lean (dilute with solvents instead of mediums): when the varnish is applied, the picture varnish will fusion with the paint layer. The consequences are serious because any future varnish removal and restoration will become impossible.

Oil Paint

Many artists today consider oil painting to be the fundamental art medium; something that a student should learn to appreciate, because of its properties and use in previous, very popular artwork. Typical qualities of oil paint include a long "open time," which means that the paint does not dry quickly. Oil paints take several weeks to dry, this allows the artist to work on a painting for many sessions. Oil paint also has a propensity to blend into surrounding paint allowing very subtle blending of colors. This medium also produced vivid color with a natural sheen and distinct contrast. Oil paints have a surface translucency similar to human skin, making it an ideal medium for portraits.

The color of oil paint derives from the small particles mixed with the carrier. Common pigment types include mineral salts such as white oxides: lead, now most often replaced by less toxic zinc and titanium, and the red to yellow cadmium pigments. Another class consists of earth types, e.g. sienna or umber. Synthetic pigments are also now available. Natural pigments have the advantage of being well understood through centuries of use but synthetics have greatly increased the spectrum available, and many are tested well for their lightfastness.

Oil Stick

Oil stick, or oilstick, is an art medium for applying color. It is produced in a stick form similar to that of a crayon or oil pastel. It is distinguished from oil pastel, to which it may appear similar, in that theoil used is comparatively volatile, causing a skin to develop on exposed surfaces. Oil sticks are oil paint in solid form. Oil sticks are made by compressing wax and oil until it forms into an oil stick. The same basic pigments and drying oils that are used in the formulation of tube paint are combined with wax and rolled into a crayon. Oil sticks can be used to concur drawings, paintings, and sketches. It is not a common medium nor a much used medium however is highly effective in art.

Palette Knife

A blunt tool used for mixing or applying paint, with a flexible steel blade. It is primarily used for mixing paintpaste, etc., or for marbling, decorative endpapers, etc. The "palette" in the name is a reference to an artist's palette which is used for mixing oil paints. Certain artistic techniques call for painting with a palette knife. colors,

Papers & Pads

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.

Sculpt & Modeling

Sculpture is the act or art of sculpturing or forming in a pliable material such as clay or wax. It is the visual shape and texture of something regarded aesthetically, especially the human face or form. While Modeling is an additive process, as opposed to carving, the other main sculptural teachnique, in which portions of a hard substance are cut away to reveal form. While modeling, the corrections are possible to do, and the result is like fired clay or preserved.

Modeling is essentially a building-up process in which the sculpture grows organically from the inside. Numerous plastic materials are used for modeling. The main ones are clay.Clay are the most common modeling materials, and the artist’s hands are the main tools. 

Modeling is an ancient technique, as indicated by prehistoric clay figurines from Egypt and the Middle East.It is a material primarily composed of a grouping of clay minerals, and can be used as an art medium.It is a great way to model things. It can be found in art shops around the area. In clay sculpture, all materials is formed or deformed into a new, permanent shape that you want.

We have a a best quality of clay that uses nowadays. We have also available tools for your clay art which can form anything you want. 

Textile

Safe. Acid Free. Odour Free. The new Derivan FabricArt range of twin tipped fabric markers are an easy and safe way to decorate fabric. With a range of standard and fluorescent colours that will enhance any creative project.

These versatile twin tipped markers are perfect for decorating and adding a touch of colour and personality to most fabric surf aces. You can now customise t-shirts, jeans, shoes, cushion covers, carry bags and more with illustrations, type, drawings, thoughts or writings, quick and easy …the possibilities are infinite.

Available in a range of 13 bold colours with a double-ended tip (pointed and chisel broad) to help create lines of varying widths adding versatility and a dynamic finish to any design - use them for detailed work, to outline letters or for wide strokes of colour. They are Acid free and odour free.
New Derivan FabricArt Marker’s colours are transparent and matt when dry, they resist fading on most fabrics and are wash resist during normal wash cycles after they are heat fixed.

Application

For best results wash and iron beforehand to remove any sizing. Allow the fabric to dry. The markers will work on cotton, polyester and most fabrics. Please note that colours may not show up on dark coloured fabrics.
It is prudent to do a test piece prior to embarking on a large project.
Place the fabric to be decorated on top of a piece paper or cardboard to prevent the markers from bleeding through the cloth. If you are drawing on a T-shirt, place the paper inside the shirt, between the front and back sections. Lay the fabric out on any work surface so it is smooth. It is best to tape the edges to hold the fabric in place while you work.
Colour your material using a plenty of ink. Light marks are more likely to wash out. Saturating the fabric well will guarantee the colour will remain on the fabric. Put aside your creation to let it dry before you set the design with heat. Drying times may range from just a few minutes to an hour or more, depending on how thoroughly you have covered your fabric. Test the surface of the paint to ensure it is dry.

Heat Fixing:

Set the markers by using either an iron or clothes dryer.
Iron: With an iron on cotton setting – press over the design slowly for about 2 to 3 minutes on the reverse side of the fabric. Move the hot iron over the surface evenly.
Dryer: If you prefer to use the dryer, tumble dry on high for about an hour and a half. Tumble dry only the items you have coloured with your fabric markers in the same load to avoid staining other clothing.

Washing:

Allow 48 hrs. after fixing before washing. Gentle machine-washing in cold water is best. Do not use bleach. Hang to dry.

Storage:

Store markers in a horizontal position in a cool place -box, pencil case, drawer, etc.- and always replace caps tightly after use

Tools & Accessories

Easels is most often used to hold up a painter's canvas or large sketchbook while the artist is working or to hold a completed painting for exhibition.

To learn the basics of figure drawing or just to have "standing around," a Wooden Manikin is a useful reference tool. These accurately proportioned figures adjust to assume most human positions. Each one has its own stand.

Painting Palette, a flat surface on which a painter arranges and mixes paints. Every painters needs a painting palette.

The Color Wheel, is an important learning tool for artists of all ages. One side teaches color mixing, and the other side demonstrates color harmonies.

Staple Gun or Gun Tacker  is a hand-held machine used to drive heavy metal staples into wood, plastic, or masonry. Staple guns are used for many different applications and to affix a variety of materials, including insulation, house wrap, roofing, wiring, carpeting, upholstery, and hobby and craft materials.

Tube Wringer

The Tube-Wringer® will be your main squeeze for any product packaged in squeezable tube containers — a Tube-Wringer® for every project, a Tube-Wringer® for every home.

You'll get up to one-third more for your money from every tube with the Tube-Wringer®.  Squeeze the last drop of expensive caulk, glue, oil paint, caviar, anchovy paste, make-up, and toothpaste from the tubes. 

For fun and a creative touch, use the Tube-Wringer® as a crimper for craft projects as well.

Varnishes Spray

Golden MSA Spray Varnish MSA Varnish (Gloss) dries to a highly reflective finish. MSA Varnish (Satin) offers moderate reflection, similar to most matte varnishes. MSA Varnish (Matte) finish is exceptionally flat. The different finishes can be intermixed, or used sequentially, to achieve the desired sheen. Note that the matte and satin MSA varnishes will lighten dark value colors, which is typical of reduced sheen varnishes with UVLS (Ultra Violet Light Stabilizers) dry to a tough, yet flexible protective finish. The UVLS system provides increased resistance to the harmful effects of ultraviolet radiation, making the product suitable for exterior as well as interior application. 

Grumbacher Oil & Acrylic Picture Varnish A final varnish and protective coating for dry oil and acrylic paintings available in gloss or matte. Protects oil and acrylic paintings from dirt, moisture and scuffing. Non-yellowing, flexible, and quick-drying. It is crystal clear when applied. Can be easily removed with Pure Gum Spirits of Turpentine, Grumtine™, or Odorless Paint Thinner.

Grumbacher Adhesive Spray can be used as a repositionable or permanent. Appropriate for porous and non-porous materials including paper, wood, metal and cloth. Permanent bond is created for porous materials by spraying surface and adhering porous material immediately before adhesive dries. Permanent bond is created for non-porous materials by spraying surface and letting adhesive dry for one minute before bonding. For all temporary bonds, spray surface and allow adhesive to dry for at least five minutes before making bond with porous and non-porous materials. Archival when used as directed.

Grumbacher Dammar Retouch Varnish use during intermediate stages of development in an oil painting to even out gloss of unfinished works, or revive sunken in or dry areas to aid in accurate color comparison for further painting. Can also be used to protect paintings before final varnishing. Transparent, quick-drying, clear, and glossy. Must dry completely before over-painting. When the surface of the painting is dry to the touch, one very light coat of retouch may be applied to it for protection against excessive dust. Use only in thin layers. If this coat produces a gloss, you have applied too much varnish. Not intended as a final varnish.

Grumbacher Dammar Varnish A colorless, genuine Damar Varnish for use as a final protective coating on thoroughly dry oil paintings. It brings out the beauty of colors with an even soft gloss or matte finish. Protects oil paintings from dirt, moisture and scuffing. Transparent, quick-drying and permanent. When properly used it will not 'bloom', or cloud with age. Designed to provide a uniformly fine mist. Easily removed with Pure Gum Spirits of Turpentine or Grumtine™. Not soluble in mineral spirits, petroleum solvents or any odorless paint thinners.

Grumbacher Final Fixative Workable fixative for dry media artwork such as charcoal, pastels, and pencil drawings. Can be used on paper, photographs, printed material, and ceramics. Non-yellowing, colorless and flexible. Fast-drying. Can be drawn over when dry. Provides a gloss or matte finish when dry.

Grumbacher Workable Fixative Workable fixative and surface preparation for works on paper, acetate, foil and glass. Allows non-porous surfaces to accept water-based media without beading up. Also fixed lower levels of water-based media to enable over-painting or layering without lifting. Non-glossy. Not intended as a final fixative.

Kuelox Fixative Colourless, Waterproof, Adhesive and not easy to turm yellow. Protect the surface of the pieces effectively and keep the original colour and texture. Suitable for Softpastel, Oil Pastel, Pencil, Colour pencil, Pen, Chalk, Crayon Watercolour Drawing.

Bob Ross Finishing Varnish This clear, glossy, quick-drying spray varnish enhances color and provides temporary protection until the oil painting is dry enough for a permanent varnish.

Weber Blue Label Reworkable Fixatif is a water-clear fixative prepared expressly for use on pastel and charcoal drawings. It gives maximum durability with the least change in tonal values. Blue Label dries to a matte finish that can be reworked.

Winsor & Newton Picture Varnish A final clear, non-yellowing varnish with a gloss or matte finish for the protection of oil, alkyd and acrylic paintings.

Winsor & Newton Dammar High Gloss Varnish A traditional general varnish with a high gloss finish for the protection of oil, alkyd and acrylic paintings.

Watercolor

Watercolor painting has the reputation of being quite demanding; it is more accurate to say that watercolor techniques are unique to watercolor. Unlike oil or acrylic painting, where the paints essentially stay where they are put and dry more or less in the form they are applied, water is an active and complex partner in the watercolor painting process, changing both the absorbency and shape of the paper when it is wet and the outlines and appearance of the paint as it dries. The difficulty in watercolor painting is almost entirely in learning how to anticipate and leverage the behavior of water, rather than attempting to control or dominate it.

 

Watercolor paint consists of four principal ingredients:

  • colorant, commonly pigment (an insoluble inorganic compound or metal oxide crystal, or an organic dye fused to an insoluble metal oxide crystal);
  • binder, the substance that holds the pigment in suspension and fixes the pigment to the painting surface;
  • additives, substances that alter the viscosity, hiding, durability or color of the pigment and vehicle mixture; and
  • solvent, the substance used to thin or dilute the paint for application and that evaporates when the paint hardens or dries.
Watercolor Medium

Natural Rubber Pick-up  An indispensable tool in the watercolorist's arsenal, use rubber cement pick-ups to cleanly remove liquid frisket and masking fluid from your watercolor paintings without damaging the paper underneath. Firm, textured rubber wafers can be reused again and again, unlike an eraser, and will not smudge your colors or mark up your paper as might happen if you just used a finger to remove frisket. Try a rubber cement pick-up today and you'll wonder how you ever painted in watercolors without one!

Golden MSA Spray Varnish Mineral Spirit Based Acrylic With UV Protection, Excellent for Ink Jet Prints, Pastels and Paintings. These sprays provide a superb protective finish for fine artworks that is removable for conservation purposes. Offers excellent dirt, dust and moisture resistance in a flexible film. Contains ultraviolet light filters and stabilizers to provide archival protection inhibiting light damage. The adjustable fan spray tip allows for precise atomization over the entire artwork. Adheres to a wide variety of surfaces and painting mediums including: acrylics, oils, alkyds, pastels, watercolors and temperas. Because the varnish is not waterbased it is perfect for ink jet prints because it won't migrate with waterbased inks and won't buckle most ink jet papers. Like with all products, testing is recommended. Dries rapidly. Made in the USA. Available in three finishes, Gloss, Matte and Satin. 

Grumbacher Workable fixative and surface preparation for works on paper, acetate, foil and glass. Allows non-porous surfaces to accept water-based media without beading up. Also fixed lower levels of water-based media to enable over-painting or layering without lifting. Non-glossy. Not intended as a final fixative.

Kuelox Fixative Colourless, Waterproof, Adhesive and not easy to turm yellow. Protect the surface of the pieces effectively and keep the original colour and texture. Suitable for Softpastel, Oil Pastel, Pencil, Colour pencil, Pen, Chalk, Crayon Watercolour Drawing.

Grumbacher Miskit Liquid Frisket 559 is a fluorescent orange colored frisket, for use on hard-sized watercolor papers, photos, and other media, to mask areas that are meant to be painted once the dried frisket is removed. It washes out of pens and brushes with soap and water. 1.2 oz (35 ml) glass jar. This product contains latex.

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.

Winsor & Newton Texture Medium Producing a textured finish for watercolors, this medium can be applied directly onto the paper, or mixed with watercolors first.

Winsor & Newton Colorless Art Masking Fluid A removable, colorless liquid, use it for masking areas of work that need protection when color is applied in broad washes. It is specifically designed for soft sized papers to avoid staining. Made from rubber and latex staining. Wash brushes immediately after use. 75 ml glass bottle.

Winsor & Newton Art Masking Fluid This liquid is applied to make areas resistant to watercolor. Has a slight yellow tint. Not recommended for use on damp or soft sized papers, or if yellow staining of paper is a risk (Instead use Colorless Art Masking Fluid). Made from latex. Do not dilute.

Winsor & Newton Blending Medium This medium slows the drying rate, allowing extra time for blending watercolors. As a result, it is particularly useful in hot climates. Dilute color with medium alone for maximum blending time.

Winsor & Newton Granulation Medium A medium that is known for giving a mottled or granular appearance to colors that usually give a smooth wash. For maximum effect, dilute color with medium alone.

Winsor & Newton Iridescent Medium Mix this medium with watercolors or apply it over a dry wash to give iridescent or glitter effects. It is particularly effective when mixed with transparent colors.

Winsor & Newton Lifting Preparation Apply the medium directly to paper and allow it to dry before painting. The preparation then allows dry washes, including staining colors, to be more easily lifted from paper with a wet brush. Ideal for making corrections.

Winsor & Newton Permanent Masking Medium A non-removable, transparent liquid mask, this medium is excellent for detail. It can be applied directly onto the paper, or mixed first with watercolors. Ensure that the fluid is thoroughly dry before overpainting. Wash brushes in warm, soapy water before using other colors.