Raw Materials 

Raw Materials

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TIANYA MINERAL PIGMENT

In ancient Chinese paintings, mineral color has a glorious history, the original quaint pottery of Banpo, the majestic paintings and lacquer paintings of Mawangdui, the magnificent murals of the Dunhuang Caves, and the fine brushwork of Tang Lifu. These constitute a splendid China. History of drawing. Although the appearance of the literati ink painting in the Chinese painting circle since the Song and Yuan Dynasties had its deep and unique artistic charm, the over-unified expression techniques and simple tools and materials of the ink painting could no longer meet the aesthetic demands of the modern people and it was difficult to express the rich and colorful modern. Life, at this point, most painters in the art world today have varying degrees of confusion, and the reinvigoration of traditional mineral pigments has promoted the use of Chinese painters' lives.

Mineral color is a traditional painting material. After nearly 20 years of efforts, the Tianya Art Center successfully explored and developed several major types of high-quality mineral color, including natural mineral color and new rock under the guidance of Japanese experts. More than 4000 kinds of mineral color, water-dry mineral color, mica mineral color, and flash color have formed the most complete mineral color system at home and abroad. The use of precious stone materials has reached international advanced level from quality to quantity. Tianya Art Center focuses on innovation on the basis of inheriting traditions. It develops the original single stone and stone into one stone and eighteen colors. The center has also developed natural hemp paper, heavy colored rock color painting special glue, heavy colored rock painting special board brush and other special use with mineral color.

Derivan Dry Medium
Derivan has explored an extensive variety of minerals and man-made additives before finalising their selection of eighteen Matisse Dry Mediums. These mediums, designed to mix with the existing Matisse and Derivan mediums, have a wealth of purposes. Many of them provide magnificent textural effects, never previously achievable. Others fulfill a more specific function, for example Microspheres, which provide bulk without weight – a great benefit for artists who work with texture on large canvasses.
Artists will be excited by the varying effects achievable with the different methods used to apply the Matisse Dry Mediums. Applied smoothly, or in troughs or peaks, the results will surprise and delight artist and viewer alike. Where a rough texture has been chosen, care should be taken – like nature herself a hard and rocky surface can scratch the unwary once the work is dry.

Black Flakes Use these gleaming hexagonal flakes for either a striking decorative effect or a distinctive texture on paintings and indoor sculptures. Precision cut from coated polyester film, Black Flake Hex is best used as a final finish to preserve its sparkle and can also be sprinkled onto a freshly painted surface. To maintain the shiny surface of the black flakes, mix with either MM4 Gel Medium or MM7 Gloss Varnish and Gloss Medium, as these mediums have a gloss finish.

Calcined Bauxite Weipa Calcined Bauxite has a particularly interesting earthy colour mix. This extremely hard mineral is mined at Weipa in Far North Queensland. Calcinated Bauxite can be used in mixed media and collage as well as for adding texture to paintings. Mix with MM2 Impasto Medium, MM4 Gel Medium or MM30 Matt Gel Medium. For the best adhesion it is important not to make the mix too dry.

Crushed Garnet This deep red transparent gemstone has an attractive glowing rich red colour. Glaze or varnish to achieve even deeper colour. It is very hard and suitable for texture for paintings or collage. For the best results mix up to equal parts crushed garnet with either MM4 Gel Medium, or MM7 Gloss Varnish and Gloss Medium. As both these mediums have a gloss finish they will maintain the beauty and clarity of the gem.

Ferrouse Powder Use Ferrous Powder on paintings and mixed media. For a water resistant dark grey magnetic coating, mix up to equal parts of Ferrous Powder to a slurry with MM14 Gloss Varnish (turps-based), MM15 Matt Varnish (turps-based) or MM29 Satin Varnish (turps-based), then seal with the varnish. Ferrous powder can be rusted. Consult our website for details. Otherwise, mix with MM14 Gloss (turps based) or MM29 Satin (turps based) and varnish to seal. Avoid sprinkling. Large amounts may cause the canvas to sag.

Mica Flakes Shiny pearlescent Mica Flakes make a durable yet flexible layer on the painted surface. The thin flakes are strong and tough. To retain their shimmer, mix Mica Flake with either MM4 Gel Medium, or MM7 Gloss Varnish and Gloss Medium. Sprinkle small amounts of Mica Flake finely onto wet medium for maximum glistening effect. For textural effects on paintings and collage, use up to equal parts of Mica Flake. An interesting texture is obtained on collograph plates.

Microshpheres create ultra-high-build texture on large canvasses without adding weight. Although large amounts of these tiny hollow synthetic glass spheres can be added, do not to make the mix too dry. In smaller quantities Microspheres create subtle textural effects. Use with MM2 Impasto Medium, MM4 Gel Medium, MM6 Polymer Matt Varnish (water-based), MM7 Gloss Varnish and Gloss Medium, MM28 Polymer Satin Varnish (water-based) or MM30 Matt Gel Medium. Mix only as required, as mixture continues to thicken.

Prumice Almost weightless, Pumice is rough textural volcanic glass. Applied smoothly, it produces a consistently rough, flat surface. Capable of creating unusual textures on large canvasses due to its light weight, Pumice is also suitable for mixed media, collage and collograph plates. Up to equal parts pumice can be added to either MM2 Impasto Medium, MM4 Gel Medium, MM6 Polymer Matt Varnish (water-based), MM7 Gloss Varnish and Gloss Medium, MM28 Polymer Satin Varnish (water-based) or MM30 Matt Gel Medium.

Wollstonite Mix up to 50% Wollastonite to Matisse Background Colours to create a superb textured surface for pastels and charcoal. Wollastonite produces a more uneven texture than Ground Quartz, thereby giving a ground for harder pastels (use Ground Quartz for soft pastels). Wollastonite is ideal for acrylic paints due to its alkaline properties. Add to MM7 Gloss Varnish and Gloss Medium, MM10 Gesso, MM27 Low Viscosity Gesso or MM28 Polymer Satin Varnish (water-based) to create texture in paintings on canvas.
Gamblin Dry Pigment

Dry pigments are used to create a variety of painting media such as oils, acrylics, watercolors, egg tempera, and encaustic. Dry pigments are often used in mixed media and decorative painting techniques as well.

To create an artist’s oil color, pure dry pigments are thoroughly ground and mixed into refined or cold pressed linseed oil to form a stiff paste. Gamblin Artists Colors offers a range of dry pigments for painters who want to make their own oil colors.

Regardless of the binder used to mix dry pigments, artists should be very careful when handling powders. A respirator mask should be worn so that no pigment dust is inhaled.

Maries Pigment Powder

pigment is a material that changes the color of reflected or transmitted light as the result of wavelength-selective absorption. This physical process differs from fluorescencephosphorescence, and other forms of luminescence, in which a material emits light. Most materials selectively absorb certain wavelengths of light. Materials that humans have chosen and developed for use as pigments usually have special properties that make them useful for coloring other materials. A pigment must have a high tinting strength relative to the materials it colors. It must be stable in solid form at ambient temperatures.

For industrial applications, as well as in the arts, permanence and stability are desirable properties. Pigments that are not permanent are called fugitive. Fugitive pigments fade over time, or with exposure to light, while some eventually blacken. Pigments are used for coloring paintinkplasticfabriccosmeticsfood, and other materials. Most pigments used in manufacturing and the visual arts are dry colorants, usually ground into a fine powder. For use in paint, this powder is added to a binder (or vehicle), a relatively neutral or colorless material that suspends the pigment and gives the paint its adhesion. A distinction is usually made between a pigment, which is insoluble in its vehicle (resulting in a suspension), and a dye, which either is itself a liquid or is soluble in its vehicle (resulting in a solution). A colorant can act as either a pigment or a dye depending on the vehicle involved. In some cases, a pigment can be manufactured from a dye by precipitating a soluble dye with a metallic salt. The resulting pigment is called a lake pigment. The term biological pigment is used for all colored substances independent of their solubility.

Jack Richeson Powder Paint
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Powder Paint is convenient and easy to use! Just mix equal parts of Powder Paint and water and you’re ready to get painting. For thinner washes add more water; for thicker, more rich colors add a bit less water. Available in 1lb and 1/2lb. containers.

Caution: Pigments may stain. We recommend wearing an apron during use.

9 Color Powder Paint Set Contains one pound jars: red, yellow, blue, orange, green, purple, white, black, brown