jackson's - oil colour catalogue - 2016

O I L C O L O U R C A T A L O G U E2 0 1 6

Welcome to the Jackson's Oil Painting Catalogue!

The richness and versatility of oil painting has inspired painters since the early 12th century. Even after all these centuries it still continues to fascinate. Oil paint has a personality of its own that keeps the act of painting exciting. Whether you like to move it across a slick surface to create a lustrous spread of colour, or watch unexpected colour blends resonate against one another, or mix with mediums to create pure luminous glazes, it's easy to see why many artists today still consider oils irreplaceable and without equal.

We hope you enjoy looking at the hundreds of beautiful colours offered today by the world's leading colour men, as well as hand crafted artists brushes, surfaces, mediums and easels. We're especially proud of our Jackson's Professional colour range, which is popular among painters who need maximum colour saturation from the very finest pigments available.

To see our complete range of products and to keep up to date on offers and pricing head over to jacksonsart.com which has recently had a make-over and is more informative than ever.

We love interacting with fellow artists across social media. We're on Facebook, Twitter, Instagram, Pinterest, YouTube and Google+, sharing inspiration, ideas, hints and tips. Our monthly Facebook competitions are an opportunity to win hundreds of pounds' worth of art materials. For an ever increasing compendium of artist interviews, comment, product reviews and exhibition reports head to the Jackson's Blog at jacksonsart.com/blog.

Finally, if you have ideas for products you'd like us to stock, suggestions for this catalogue or the website, or anything else about Jackson's, please email us at [email protected].

The Jackson's Team

Fulham Arch 66 Station Approach London SW6 3UH

020 7384 3055

9–5:30 Mon–Fri 9–5 Saturday

Dalston 1 Farleigh Place Dalston London N16 7SX

020 7254 0077

9–5:30 Mon-Fri 10–6 Saturday

We do not stock all products at each shop, and we advise you to please call first if you are after a specific product.

V I S I T O U R S H O P S

xMM SPACE

xMM SPACE

Call us on 020 7254 0077 or order on our website, by fax or by post. See back page for further information.

Please note: Whilst prices are correct at the time of going to print they may be superceded by those in a later catalogue. Please check the website for the most up-to-date prices. E&OE. All prices are shown inclusive of VAT.

H O W T O O R D E R

C O N T E N T SColour Oil Painting / Watermixable Oil / Oil Sticks / Pencils / Charcoal

Surface Canvas Rolls / Strecher Bars /Streched Canvas / Painting Panels / Canvas Builder / Pads & Paper

Brushes Hog / Bristle / Sable / Synthetic / Sets

Studio Mediums / Accessories / Framing / Storage / Easels / Books / DVDs

Glossary

4–43

44–63

64–85

86–123

124–129

Go to www.jacksonsart.com for more details.

V I E W O U R O T H E R R A N G E S O N L I N E

Alu-Pro . . . . . . . . . . . . . . . . . . . . . . . . 50-51Albrecht . . . . . . . . . . . . . . . . . . . . .112-115Ampersand . . . . . . . . . . . . . . . 58-59Arches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62ArtBin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Artfix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46Artisan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Artograph . . . . . . . . . . . . . . . . . . . . . . . 108Bartoline . . . . . . . . . . . . . . . . . . . . . . . . . 97Belle Arti . . . . . . . . . . . . . . . . . . . 46-47.. . . . . . . . . . . . . . . . . 51-52, 53, 55, 62 Blockx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Borciani&Bonazzi . . . . . . . . . . . . 81Bristle Magic . . . . . . . . . . . . . . . . . . 97Canson . . . . . . . . . . . . . . . . . . . . . . . 62-63Claessens . . . . . . . . . . . . . . . . . . . . . . . . . 47Clairefontaine . . . . . . . . . . . . . . . . . 62Coates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Cobra . . . . . . . . . . . . . . . . . . . . . . . . . . . 31, 93Colour Wheel . . . . . . . . . . . . . . . . . 108Conte a Paris . . . . . . . . . . . . . . . . . . . 43Cornelissen . . . . . . . 90, 92, 95Crescent . . . . . . . . . . . . . . . . . . . . . . . . 103

Cretacolor . . . . . . . . . . . . . . . . 42-43Da Vinci . . . . . . . . . . . . . . . 70-71, 74.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76, 97Daler-Rowney . . . . . . . . . . .24-25.. .30, 43, 54, 62-63, 77, 85.. . . . . . .89, 91, 94, 96, 97, 107Daylight . . . . . . . . . . . . . . . . . . 108-109Draper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104Escoda . . . . . . . . 67, 69, 76, 80 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84-85, 97 Faber-Castell . . . . . . . . . . . . 42-43 Fabriano . . . . . . . . . . . . . . . . . . . 62-63 Fredrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Gamblin . . . . . . . . 18, 35, 88, 91. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95-96, 99 General Pencil Co. . . . . . . . . . . 43Global Leather. . . . . . . . . . . . . . . . 110Golden . . . . . . . . . . . . . . . . . 94, 98-99Hahnemuhle . . . . . . . . . . . 62, 107Handover . . . . . . . . . . . . . . 70-71, 81 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95, 103Holbein . . . . . . . . 32, 41, 93, 101Isabey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Jackson's . . . . . . . 10-11 , 33, 43.. . . . .47-51, 53, 56-57, 60-61. . 66, 73-74, 78, 84, 88, 90.. . . . 94, 96, 98, 100, 105, 111 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113, 115-118 Jakar . . . . . . . . 43, 103-104, 119JAS . . . . . . . . . . . . . . . . . 100-102, 106Koh-I-Noor . . . . . . . . . . . . . . . . 42-43.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103-104Lascaux . . . . . . . . . . . . . . . . . . . . . 94-95Lefranc & Bourgeois . . . . . . . 92. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98Lineco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95Liquitex. . . . . . . . . . . . . . .76, 84, 95 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98-99 Loxley. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Lukas . . . . . . . . . . . . . . . . . . . . . . . . .28, 92 Mabef . . . . . . . . 106, 108, 111-112. . . . . . . . . . . . . . . . . . . . . . . . . . . . 114-116, 119Maimeri . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Manuscript . . . . . . . . . . . . . . . . . . . . 103Mapac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Masterson . . . . . . . . . . . . . . .107, 110

Micheal Harding . . . . . . . . . 7, 41. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90, 99New Wave . . . . . . . . . . . . . . 106-107Nitram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Norfolk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63Old Holland . . . . . . . . . . . . . . . . . . 12-13Omega . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81Pentel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Pip Seymour . . . . . . . . . . . . . 91, 96Princeton . . . . . . . . . . . . . . . . . . . 82-83Pro Arte . . . . . . 68, 79, 84, 110Raphael . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69R&F . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38-40RGM . . . . . . . . . . . . . . . . . . . . . . . . . . 100-101Royal Talens . . . . . . . . . . . . . . . . . . . .99Roberson . . . . . . 88, 91-92, 94 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95-96, 99 Rosemary & Co . . . . . . . . . . . . . . . 85RTF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104Seawhite . . . . . . . . . . . . . . . . . . . . . . . . . . 63Schmincke . . 14, 30, 92, 95Sennelier . . . . . . . . . . . . . 20-21, 29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36, 89

Shin Han . . . . . . . . . . . . . . . . . . . . . 19, 41Snowdon.. . . . . . . . . . . . . . . . . . . . . . . . . 63Stil lman & Birn . . . . . . . . . . . . . . . 63Strathmore . . . . . . . . . . . . . . . . . . . . . . 63Talens . . . . . . . . . . . . . . . . . . . . . . . . 15, 26The Master's . . . . . . . . . . . . . . . . . . . 97Townhouse . . . . . . . . . . . . . 122-123Turpenoid. . . . . . . . . . . . . . . . . . . . . . . . . 97Vajello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95Vasari . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Will iamsburg . . . . . . . . . . . . . . 16-17Winsor & Newton . . 8-9, 27. . . . . . . . . . . 34-35, 43, 54-55, 71. . . . . . . . . . 84-85, 88-89, 92-94 . . . . . . . . . . . . . . 96-98, 107, 113-119Wolff 's . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Zecchi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Zest-it . . . . . . . . . . . . . . . . . . 91, 96-98

B R A N D I N D E X

ArtGrid App . . . . . . . . . . . . . . . . . . . . 108Aprons . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Blades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104Books . . . . . . . . . . . . . . . . . . . . . . . 120-121Box Easels . . . . . . . . . . . . . . . . . . . . . . . . 111Brush Cases . . . . . . . . . . . . . . . . . . . 110Brush Cleaner . . . . . . . . . . . . . . . . . 97Brush Sets . . . . . . . . . . . . . . . . 84-85Brush Washer . . . . . . . . . . . . . . . . 102Dippers . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Canvas . . . . . . . . . . . . . . . . . 51-54, 60Canvas Carriers . . . . . . . . . . . . 102

Canvas Pliers . . . . . . . . . . . . . . . . . 101Cartridge Paper . . . . . . . . . . . . . . 63Charcoal . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Clutch Pencils . . . . . . . . . . . . . . . . . 42Colour Wheels . . . . . . . . . . . . . . . 108DVDs . . . . . . . . . . . . . . . . . . . . . . . . . 122-123Easels . . . . . . . . . . . . . . . . . . . . . . . . 112-119Framing . . . . . . . . . . . . . . . . . . . . . . . . . . 105French Curves . . . . . . . . . . . . . . . 103Gesso.. . . . . . . . . . . . . . . . . . . . . . . . . 94-95Gesso Panels . . . . . . . . . . . . 55, 59Gloves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Graphite. . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Gift Vouchers . . . . . . . . . . . . . . . . 130Hand Cleaner. . . . . . . . . . 97, 102Knives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104Lamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Leads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Linen . . . . . . . 46-47, 51, 56-57Linseed Oil . . . . . . . . . . . . . . . . 88-89Liquin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Low Odour Solvents . . . . . .96Mahl Sticks . . . . . . . . . . . . . . . . . . . . 102Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Palette Knives . . . . . . . . 100-101Palettes . . . . . . . . . . . . . . . . . . 106-107Panels . . . . . . . . . . . . . . . . . . . . . . . . . 55-61Pencils . . . . . . . . . . . . . . . . . . . . . . . 42-43Perspective Viewer . . . . . . 108Primers . . . . . . . . . . . . . . . . . . . . . . 94-95Projectors . . . . . . . . . . . . . . . . . . . . . . 108Print Racks . . . . . . . . . . . . . . . . . . . . 109Roll Canvas . . . . . . . . . . . . . . . 46-47Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Solvents . . . . . . . . . . . . . . . . . . . . . . . . . . .96Stand Oil . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Stay Wet Palettes . . . . . . . . 107Stretcher Bars . . . . . . . . . 48-49Table Easels . . . . . . . . . . . . . . . . . . . 119Tapes . . . . . . . . . . . . . . . . . . . . . . 103-104T-Square . . . . . . . . . . . . . . . . . . . . . . . . . 103Turpentine . . . . . . . . . . . . . . . . 96-97Varnishes . . . . . . . . . . . . . . . . . . 98-99Watermixable Oil . . . . . . 31-34Wooden Boxes . . . . . . . . . . . . . . . . . 111

P R O D U C T I N D E X

R o s e M a d d e r Q u i n a c r i d o n eP V 1 9

C O L O U R

Over the next few pages you'll encounter a whole spectrum of beautiful colour from some of the world's leading paint-makers, as well as our own expert-crafted artisan Professional and Artist ranges - all the choice you'll need to build a truly inspiring palette. The highest quality paints combine maximum pigment load with the finest drying oils, and this allows the unique characteristics of the pigments used to define the performance of the colour. The more you work with these colours the more you realise just how exciting and full of potential they are. So whether you're after a selection of rich earth colours, something delicate and transparent or a punchy primary with maximum tinting strength, you'll find all your favourite colours here.

C O N T E N T SOil Paint

Watermixable Oil

Alkyd Oil

Oil Sticks

6–30

31–34

35

36–38

Encaustic Colour

Oil Sets

Graphite Pencils

Charcoal

39

40–41

42

43

6 J A C K S O N ' S A R T S U P P L I E S · O I L 2 0 1 6

O I L C O L O U R

V A S A R I A R T I S T S ' O I L C O L O U R

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO V4 0 � 1 2 . 6 2 9 . 8 0O V4 0 � 1 9 . 3 0 1 5 . 0 0O V4 0 � 2 5 . 2 4 1 9 . 6 0O V4 0 � 3 3 . 8 6 2 6 . 5 0O V4 0 � 4 6 . 9 9 3 7. 0 0O V4 0 � 5 4 . 8 2 4 3 . 0 0O V4 0 � 6 2 . 8 8 4 9 . 0 0O V4 0 � 8 1 . 6 3 6 4 . 0 0

4 0 M L T U B E SA Jackson's exclusive! From New York, these highly-acclaimed and meticulously formulated colours represent the pinnacle of today's oil paint production. Carefully milled and with no artificial fillers, each tube is produced and filled by hand for a paint so beautiful you'll want to paint with what you scrape off your palette.

Vasari promise "a paint with true full-strength colour, exhibiting all the natural qualities, subtle or overt, that are characteristic of each pigment, and that would in other brands be lost." Loved by our customers as their "best find in years" and "the best paint in the world", we're sure you'll find it a welcome addition to your palette.

C O L O U R S

507 · Cadmium Yellow Lemon�

504 · Cadmium Yellow Light�

503 · Cadmium Yellow Deep�

350 · Sulphur Yellow�

318 · Nickel Lemon�

511 · Cadmium Yellow Orange�

606 · Gen. Naples Yellow Light�

207 · Naples Yellow Extra�

501 · Cadmium Orange�

304 · Indian Yellow�

206 · Naples Orange�

115 · Brilliant Yellow (Extra Pale)�

202 · Dutch Yellow�

604 · Cad. Vermillion Red Light�

305 · Permanent Red Light�

201 · Brilliant Yellow Light�

603 · Cadmium Red Medium�

311 · Ruby Red�

602 · Cadmium Red Light�

401 · Alizarin Crimson�

601 · Cadmium Red Deep�

314 · Ruby Violet�

215 · Ultramarine Violet�

802 · Cobalt Violet Deep�

801 · Cobalt Violet Pale�

312 · Manganese Violet�

211 · Rosebud�

104 · King's Blue (Extra Pale)�

212 · Video Blue�

119 · Video Blue (Extra Pale)�

214 · Ultramarine Blue�

210 · Prussian Blue�

204 · King's Blue�

306 · Phthalo Blue�

337 · Phthalo Blue (Green Shade)�

605 · Cobalt Blue�

701 · Cerulean Blue�

709 · Cobalt Bright Turquoise�

666 · Phthalo Blue (Red Shade)�

705 · Cobalt Turquoise�

307 · Phthalo Green�

404 · Viridian�

505 · Cinnabar Green Light�

403 · Cadmium Green Light�

506 · Manganese Blue�

708 · Cobalt Green Light�

704 · Cobalt Green�

406 · Chromium Oxide�

315 · Sap Green�

208 · Olive Green�

221 · Rousseau Green�

316 · Swamp Green�

120 · Rousseau Green (Extra Pale)�

327 · Mesa Verde�

218 · Mars Yellow�

213 · Terre Verte (Warm)�

216 · Terre Verte (Cool)�

217 · Mars Red�

303 · Capucine Red Light�

222 · Mars Orange�

114 · Yellow Ochre�

117 · Brown Ochre Light�

108 · Raw Sienna Light�

113 · Venetian Red�

106 · Pompeian Red�

118 · Terra Rosa�

107 · Raw Sienna�

103 · Indian Red�

219 · Mars Violet�

111 · Scarlet Sienna�

101 · Burnt Sienna�

302 · Capucine Red Deep�

110 · Red Umber�

220 · Caput Mortuum�

102 · Burnt Umber�

112 · Van Dyke Brown�

209 · Payne's Grey�

321 · Bluff�

322 · Ship Rock�

319 · Adobe�

109 · Raw Umber�

323 · Jasper�

324 · Silver Point�

325 · Cedar�

326 · Bice�

328 · Transparent Oxide Red�

320 · Shale�

329 · Transparent Oxide Brown�

330 · Transparent Oxide Yellow�

105 · Lamp Black�

116 · Mars Black�

203 · Ivory Black�

001 · Titanium White� � �

003 · Zinc White� � �

002 · Titanium Zinc White� � �

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO V 1 7 5 � 4 0 . 1 2 3 2 . 0 0O V 1 7 5 � 6 1 . 3 6 4 8 . 0 0O V 1 7 5 � 8 0 . 2 4 6 3 . 0 0O V 1 7 5 � 1 0 7. 6 5 8 4 . 0 0O V 1 7 5 � 1 4 9 . 3 9 1 1 6 . 0 0O V 1 7 5 � 1 74 . 3 1 1 3 6 . 0 0O V 1 7 5 � 1 9 9 . 9 2 1 5 6 . 0 0O V 1 7 5 � 2 5 9 . 5 7 2 0 2 . 0 0

1 7 5 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO V4 7 3 � 9 1 . 8 1 7 2 . 0 0

4 7 3 M L T I N S ( M A R K E D � O N L Y )

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO V 9 4 6 � 1 6 3 . 7 6 1 2 8 . 0 0


502 · Cadmium Yellow�

K E YSeries Pr ice bands no . � - �

Pigment index Colour index name for example P W6

Lightfastness � Fug it ive � Fair � Good � E xcel lent

Transparency � Transparent � S emi Transparent � S emi Opaque � Opaque

Limited colours S ome tube/tub s izes are only avai lable in cer t a in colours marked a s shown

7O R D E R N O W · 0 2 0 7 2 5 4 0 0 7 7 · J A C K S O N S A R T . C O M

O I L C O L O U R

K E YSee previous page

Extended pigment index P[0 1 ] : PB 15 : 3 P G7 P W6 P W4 P[N A] : not avai lable

M I C H A E L H A R D I N G A R T I S T S ' O I L C O L O U R

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO M H 4 0 � 7. 2 0 5 . 9 0O M H 4 0 � 1 1 . 4 0 9 . 2 0O M H 4 0 � 1 5 . 9 0 1 2 . 8 0O M H 4 0 � 2 5 . 5 0 2 0 . 5 0O M H 4 0 � 3 0 . 0 0 2 4 . 0 0O M H 4 0 � 4 5 . 9 0 3 7. 0 0O M H 4 0 � 7 2 . 0 0 5 8 . 0 0

4 0 M L T U B E S Stronger, richer colours and an incomparable texture.Michael Harding Handmade Artists' Oil Colours are one of the leading oil paint brands available in the world today.

In 1982 fine art student Michael Harding decided to embark on a quest to produce oil paint that replicated the recipes used by the Old Masters.

Today these paints are used by our greatest living painters. David Hockney once said that Michael Harding produced "the first quality oil paint, excellent!" Howard Hodgkin proclaimed them to be "the best oil paints in the world today". Many Jackson's customers are also impressed, one online review said "Great paints… buttery and intense".

The paints are formulated to the highest possible standards, reintroducing to the market a range of paints with colour intensity that artists would have experiences prior to the 1840s. Treat yourself!

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO M H 6 0 � 1 0 . 2 0 8 . 2 0O M H 6 0 � 1 5 . 9 0 1 2 . 8 0O M H 6 0 � 2 2 . 2 0 1 7. 8 0O M H 6 0 � 3 6 . 6 0 2 9 . 5 0O M H 6 0 � 4 2 . 9 0 3 5 . 0 0O M H 6 0 � 6 7. 8 0 5 5 . 0 0O M H 6 0 � 9 4 . 2 0 7 6 . 0 0

6 0 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO M H 2 2 5 � 3 0 . 3 0 2 4 . 5 0O M H 2 2 5 � 5 1 . 3 0 4 2 . 0 0O M H 2 2 5 � 6 4 . 8 0 5 3 . 0 0O M H 2 2 5 � 1 0 3 . 5 0 8 4 . 0 0O M H 2 2 5 � 1 2 0 . 6 0 9 7. 0 0O M H 2 2 5 � 2 0 0 . 4 0 1 6 1 . 0 0O M H 2 2 5 � 3 1 5 . 6 0 2 5 3 . 0 0

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO M H 1 0 0 0 � 1 0 3 . 2 0 8 0 . 0 0

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO M H 2 5 0 0 � 2 5 2 . 0 0 2 0 2 . 0 0

2 2 5 M L T U B E S 1 L T I N S ( M A R K E D � O N L Y )

2 . 5 L T I N S ( M A R K E D � O N L Y )

C O L O U R S

101 · Titanium White (Safflower)� P W6 P W4 � � � �

137 · Warm White� P W6 P W4 PY42 � �

226 · Warm Light Yellow� P W6 P W4 PY42 � �

311 · Quinacridone Rose� P V 19 � �

312 · Deep Purple� P V 2 3 � �

102 · Titanium White (Linseed)� P W6 P W4 � � � �

103 · Zinc White� P W4 � � � �

108 · Lemon Yellow� PY 3 1 � �

512 · Lead Tin Yellow Light� P[N A] �

109 · Bright Yellow Lake� PY 3 � �

401 · Cadmium Yellow Lemon� PY 3 5 � �

501 · Aureolin� PY4 0 � �

110 · Yellow Lake� PY 3 � �

402 · Cadmium Yellow� PY 3 5 � �

403 · Cadmium Golden Yellow� PY 3 5 � �

202 · Yellow Lake Deep� PY 1 :1 � �

117 · Unbleached Titanium Dioxide� P W6:1 � �

212 · Kings Blue Deep� PB2 9 P W6 P W4 � �

116 · Bright Green Lake� PY 74 P G7 � �

122 · Venetian Red� PR 10 1 � �

514 · Lead Tin Yellow Lemon� P[N A] �

515 · Rose Madder� NR 9 � �

303 · Magenta� PR 12 2 � �

404 · Cadmium Yellow Deep� P O20 � �

203 · Indian Yellow� PY8 3 � �

204 · Indian Yellow (Red Shade)� PY8 3 PR 10 1 � �

502 · Cadmium Orange� P O20 � �

222 · Permanent Orange� P O7 3 � �

301 · Naphthol Red� PR 18 8 � �

205 · Scarlet Lake� PR 1 70 � �

503 · Cadmium Red Light� PR 10 8 � �

504 · Cadmium Red� PR 10 8 � �

406 · Crimson Lake� PR 1 4 9 � �

505 · Cadmium Red Deep� PR 10 8 � �

302 · Alizarin Crimson� PR 8 3 � �

207 · Brilliant Pink� PR 20 9 P W4 P W6 � �

601 · Cobalt Violet Light� P V 1 4 � �

602 · Cobalt Violet Dark� P V 1 4 � �

304 · Manganese Violet� P V 16 � �

208 · Ultramarine Violet� P V 15 � �

309 · Amethyst� PR 12 2 PB2 9 PY2 3 � �

112 · Prussian Blue� PB2 7 � �

209 · Phthalocyanine Blue Lake� PB 15: 3 � �

113 · Ultramarine Blue� PB2 9 � �

506 · Cobalt Blue� PB2 8 � �

603 · Cerulean Blue� PB 36 � �

702 · Lapis Lazuli (Afghan)� PB2 9 �

114 · Phthaloc. Blue & Zinc White� PB 15: 3 P W4 � �

214 · Phthalocyanine Green (YS)� P G 36 � �

213 · Phthalocyanine Green Lake� P G7 � �

215 · Permanent Green Light� P G 36 P W6 P W4 PY 3 � �

508 · Cobalt Green Deep� P G 19 � �

216 · Emerald Green� P G7 P W6 P W4 PY 3 � �

217 · Permanent Sap Green� P G7 PBr 6 � �

210 · Phthalocyanine Turquoise� P[0 1 ] � �

507 · Cobalt Turquoise Deep� PB 36 � �

513 · Cobalt Teal� PB 36 �

511 · Viridian� P G 18 � �

211 · Kings Blue Light� PB2 9 P W6 P W4 � �

132 · Italian Green Umber� PBr7 � �

133 · French Yellow Ochre� PY4 3 � �

218 · Naples Yellow� PBr24 � �

118 · Yellow Ochre Deep� PY4 3 � �

119 · Yellow Ochre� PY42 � �

219 · Transparent Oxide Yellow� PY42 � �

120 · Raw Sienna� PBr7 � �

605 · Genuine Naples Yellow Lt.� PY41 � �

606 · Genuine Naples Yellow Dk.� PY41 � �

223 · Italian Brown Ochre� PY42 � �

115 · Terre Verte� P G 2 3 � �

305 · Oxide of Chromium� P G 1 7 � �

121 · Raw Umber� PBr 6 � �

125 · Burnt Sienna� PBr7 � �

224 · Transparent Oxide Brown� PR 10 1 � �

126 · Burnt Umber� PBr 6 � �

127 · Payne's Grey� PBk 9 PB2 9 PY42 � �

136 · Neutral Grey� P W6 PBk 9 PB7 � �

134 · Van Dyke Brown� PBr7 � �

123 · Indian Red� PR 10 1 � �

220 · Transparent Oxide Red� PR 10 1 � �

124 · Red Umber� PBr 6 � �

128 · Lamp Black� PBk6 � �

S E T S

8 J A C K S O N ' S A R T S U P P L I E S · O I L 2 0 1 6

O I L C O L O U R

C O L O U R S

W I N S O R & N E W T O N A R T I S T S ' O I L C O L O U R

Since 1832 and a favourite among many in the Jackson's community, Winsor & Newton produce quality artist oils that mix beautifully."Lovely colour, great price" – what more could you look for in your oil paint?

347 · Lemon Yellow Hue� PY5 3 � �

722 · Winsor Lemon� PY 3 � � �

086 · Cadmium Lemon� PY 3 5 � �

025 · Bismuth Yellow� PY 18 4 � �

653 · Transparent Yellow� PY 12 8 � �

730 · Winsor Yellow� PY 74 � � �

149 · Chrome Yellow Hue� PY 74 P O62 � �

118 · Cadmium Yellow Pale� PY 3 5 � �

320 · Indian Yellow Deep� PY 150 � �

319 · Indian Yellow� PY 13 9 PR 10 1 � � �

731 · Winsor Yellow Deep� PY6 5 � �

111 · Cadmium Yellow Deep� P O20 PY 3 5 � �

089 · Cadmium Orange� P O20 PR 10 8 � �

724 · Winsor Orange� P O7 3 � �

257 · Flesh Tint� P W4 PY42 P V 19 � �

106 · Cadmium Scarlet� PR 10 8 � �




726 · Winsor Red� PR 25 5 PR 25 4 � �

042 · Bright Red� PR 25 4 � � �

725 · Winsor Red Deep� PR 1 4 9 � �


548 · Quinacridone Red� PR 20 9 � �

502 · Permanent Rose� P V 19 � � �

587 · Rose Madder Genuine� NR 9 � �

576 · Rose Doré� NR 9 � �

004 · Alizarin Crimson� PR 8 3 � � �

468 · Perm. Alizarin Crimson� PR 1 7 7 � �

479 · Permanent Carmine� P[N A] � �

192 · Cobalt Violet� P V 1 4 � �

491 · Permanent Mauve� P V 16 � �

733 · Winsor Violet Dioxide� P V 2 3 � � �


400 · Mauve Blue Shade� P V 19 P V 2 3 PB 15 � �

489 · Permanent Magenta� P V 19 � �

380 · Magenta� P V 2 3 PR 12 2 � �

545 · Quinacridone Magenta� PR 12 2 � �

54 4 · Purple Lake� PBr25 P V 2 3 � �

543 · Purple Madder� PBr25 P V 19 � �

379 · Manganese Blue Hue � PB 15 P G7 � � �

137 · Cerulean Blue� PB 3 5 � �

178 · Cobalt Blue� PB2 8 � � �

180 · Cobalt Blue Deep� PB74 � �

707 · Winsor Blue (Green Shade)� PB 15 � �

706 · Winsor Blue (Red Shade)� PB 15 � �

667 · Ultramarine (Green Shade)� PB2 9 � �

263 · French Ultramararine� PB2 9 � � �

321 · Indanthrene Blue� PB60 � �

538 · Prussian Blue� PB2 7 � � �

322 · Indigo� PB 15 PBk7 PB2 9 � � �

526 · Phthalo Turquoise � P G7 PB 15 � � �

190 · Cobalt Turquoise� PB 36 � �

191 · Cobalt Turquoise Light� P G50 � �

184 · Cobalt Green� P G 26 P G50 � �

084 · Cadmium Green Pale� PY 3 5 P G 18 � �

708 · Winsor Emerald� P G 36 P W5 � �

483 · Permanent Green Light� PY 74 P W6 P G7 � �

481 · Permanent Green� PY 13 8 P G7 P W6 � �

482 · Permanent Green Deep� PY 13 8 P G7 P W6 � �

637 · Terre Verte� P G 2 3 P G 18 � � �


147 · Chrome Green Deep Hue� PB 15 P G7 PY42 � �

183 · Cobalt Chromite Green� P G 26 � �

692 · Viridian� P G 18 � �

721 · Winsor Green (Yellow Shade)� P G 36 � �

720 · Winsor Green� P G7 � �

540 · Prussian Green� PY 1 10 PB 15 � �

599 · Sap Green � PY 1 10 PB 15 � � �

4 47 · Olive Green� PY 1 10 PBk6 � � �

294 · Green Gold� PY 12 9 � �

333 · Jaune Brillant� P[0 1 ] � �

426 · Naples Yellow Light� P W6 PY 13 8 P O62 � �

422 · Naples Yellow� P W5 PBr24 PY42 � �

425 · Naples Yellow Deep� PBr24 � �

746 · Yellow Ochre Pale� PY42 � � �

745 · Yellow Ochre Light� PY4 3 � �

285 · Gold Ochre� PY42 � �

74 4 · Yellow Ochre � PY4 3 � � �

552 · Raw Sienna� PY4 3 PY42 � � �

646 · Transparent Gold Ochre� PY42 PY4 3 � �

074 · Burnt Sienna � PR 10 1 � � �

648 · Transparent Brown Oxide� PR 10 1 � �

657 · Transparent Maroon� PBr25 � �

059 · Brown Ochre� PBr7 � �

647 · Transparent Red Ochre� PR 10 2 � �

635 · Terra Rosa� PR 10 1 � �

362 · Light Red� PR 10 1 � �


317 · Indian Red� PR 10 1 � �

395 · Mars Violet Deep� PR 10 1 � �

674 · Underpainting White� P W6 P W4 � � �

748 · Zinc White� P W4 � � �

242 · Flake White Hue� P W6 P W4 � �

655 · Transparent White� P W6 P W4 � �

64 4 · Titanium White � P W6 P W4 � � �

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO W 2 0 0 � 2 6 . 5 0 1 9 . 9 0O W 2 0 0 � 3 8 . 2 5 2 8 . 7 0O W 2 0 0 � 6 2 . 4 0 4 6 . 8 0

2 0 0 M L T U B E S ( M A R K E D � O N L Y )

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO W 3 7 � 7. 4 5 5 . 6 0O W 3 7 � 9 . 6 0 7. 2 0O W 3 7 � 1 8 . 6 0 1 3 . 9 0O W 3 7 � 2 9 . 2 0 2 1 . 9 0

3 7 M L T U B E S





Extended pigment index P[0 1 ] : PY 13 8 PY42 PR 18 8 P W6 P[0 2] : PBK19 PY42 PBk7 P[0 3] : PB2 9 PBk6 PR 10 1 PBk19 P[N A] : not avai lable


9O R D E R N O W · 0 2 0 7 2 5 4 0 0 7 7 · J A C K S O N S A R T . C O M

O I L C O L O U R

C O L O U R S C O N T I N U E D

S E T S

C U S T O M E R R E V I E W S

511 · Pewter� P[N A] � �

617 · Silver� P Met . 1 � � �

058 · Bronze� P[N A] � �

330 · Iridescent White� P[N A] � �

056 · Brown Madder� PBr7 PR 1 7 7 � �

076 · Burnt Umber� PBr7 � � �

676 · Van Dyke Brown� NBr 8 PBr7 � �

558 · Raw Umber (Green Shade)� PBr7 � �

554 · Raw Umber� PBr7 � � �

217 · Davy's Gray� P[0 2] � � �

465 · Payne's Grey� P[0 3] � � �

034 · Blue Black� PB2 9 PBk 9 � �

386 · Mars Black� PBk1 1 � �

557 · Raw Umber Light� PBr7 � �

142 · Charcoal Grey� PBk 8 � �

331 · Ivory Black� PBk 9 � � �


505 · Perylene Black� PBk3 1 � �

283 · Gold� P[N A] � � �

573 · Renaissance Gold� P[N A] � � �

214 · Copper� P[N A] � �

Cadmium Yellow'Excellent, versatile colour which mixes well with other Winsor and Newton oil paints.'

Naples Yellow Light'Lovely soft creamy Cotswold stone tone to this paint.'

Alizarin Crimson'Beautiful colour. The best alternative to fugitive alizarin.'

Quinacridone Magenta'Strong yet transparent. Spreads nicely and should go well in glazes.'

Viridian'Good base colour.'

Transparent White'For later layers I have found W&N Transparent White to be a very useful colour indeed for glazes and scumbles, it is exactly as they describe in their colour charts and leaflets and does not turn glazing layers blue. However it does not have enough body to be used for anything other than later thin layers with the addition of a lot of medium.'

Lemon Yellow Hue'A remarkable, subtle colour which has extended the possibilities of an earthy palette that has always had difficulties with the more prismatic yellows. A moderate to slow dryer.'

Cobalt Green'A beautiful colour that is very subtle. Mixed carefully, as it's not a strong colour, it's a very good landscape green.'

Cadmium Scarlet'Great paints, excellent colours and covering power.'

Venetian Red'A good red that I use sometimes for skin tones.'

Olive Green'Very realistic colour - delivery came next day.'

Introductor y SetContains 10 x 2 1ml tubes :Winsor Yellow, Cr imson Alizar ine, Green Ultramarine Hue, Winsor Blue (Red Hue), Winsor Green, Yellow Ochre, Indian Red, Burnt Umber, Ivor y Black , Titanium White . Code: OWS139RRP : £ 58.00Price: £ 43.50

May fair Wooden BoxContains 1 x 37ml tubes of ar tists' oi l colour1 x 75ml bot tle of sansodor and l iquin or ig inal , 2 ar tists' hog brushes , painting knife , charcoal , double dipper, wooden palet te , ar tists' oi l colour leaf let .Code: OWS013RRP : £ 14 8.99Price: £111 .70

G O O D W A R M

C O L O U R

1 0 J A C K S O N ' S A R T S U P P L I E S · O I L 2 0 1 6





Extended pigment index P [N A] : not avai lable


O I L C O L O U R

C O L O U R S

J A C K S O N ' S P R O F E S S I O N A L O I L C O L O U R

Handcrafted paints that impress with colour saturation.Jackson's Professional Oils are made with even greater pigment load than our Artist Oils range. One customer told us, "great paint at an affordable price."

205 · Zinc White� P W4 � �


224 · Bright Yellow Lake� PY 3 � �

234 · Cadmium Yellow Genuine� PY 3 5 � �

256 · Cadmium Yellow Deep Gen.� PY 3 5 � �

262 · Indian Yellow Hue� PY8 3 � �

292 · Cadmium Red Deep Gen.� PR 10 8 � �

362 · Cobalt Blue Genuine� PB2 8 � �


4 40 · Ivory Black� PBk 9 � �



370 · Cerulean Blue Genuine� PB25 � �


275 · Cadmium Red Light Gen.� PR 10 8 � �


37 7 · Prussian Blue� PB27 � �

279 · Cadmium Red Genuine� PR 10 8 � �

342 · Phthalo Blue� PB 15: 3 � �

391 · Phthalo Green� P G7 � �

430 · Burnt Umber� PBr7 � �

333 · Violet Dioxazine� P V 2 3 � �

384 · Chrome Oxide Green� P G 1 7 � �

428 · Raw Umber� PBr7 � �

203 · Titanium White (Safflower)� P W6 P W4 � �

241 · Yellow Lake� PY 7 3 � �

286 · Naphthol Vermillion� PR 18 8 � �

350 · Ultramarine Blue (RS)� PB2 9 � �


434 · Payne's Grey� PB2 9 PBk 9 PY42 � �

202 · Titanium White (Linseed)� P W6 P W4 � �


O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO J P 4 0 � - 5 . 2 0O J P 4 0 � - 7. 6 0O J P 4 0 � - 1 0 . 1 0O J P 4 0 � - 1 7. 0 0O J P 4 0 � - 2 1 . 5 0

4 0 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO J P 2 2 5 � - 1 8 . 9 0O J P 2 2 5 � - 3 3 . 0 0O J P 2 2 5 � - 4 1 . 0 0O J P 2 2 5 � - 6 9 . 0 0O J P 2 2 5 � - 8 6 . 0 0

2 2 0 M L T U B E S

A R T I S T R E V I E W S

C U S T O M E R R E V I E W SJackson's Oil Colours'Just to let you know that my last purchase included some of Jackson's own oil paints, and I have been very pleased and impressed with the quality at the price. The nice large tubes keep going for some time and the paint is fluid enough to allow working with it straight from the tube.'

Terre Verte'I'm very impressed with Jackson's line of oil paint. I've previously used mostly Winsor & Newton and Rembrandt, and the pigment load and texture of Jackson's is identical to these brands.'

Cadmium Orange'Have just put this orange paint on dull underpainting as a high light in a sunset next to a jackson titanium white and it is incredible, it is beautifully opaque with an intensity I rarely have seen in any other make! Worth its price.'

Alizarin Crimson'I mix this with molten wax and it gives a good colour without needing to add too much (which can make the wax too oily).'

Ivory Black'Very rich black I enjoyed working with it.'

Titanium White 'Lovely creamy paint mixes well with Jacksons ivory black for greys.'

Ultramarine Blue Red Shade 'Mixes well with molten wax. Good colour.'

'The paints are really luminous. These rich oil colours proved excellent to work with to create my still-life study'. Peter Graham painters-online.co.uk

1 1O R D E R N O W · 0 2 0 7 2 5 4 0 0 7 7 · J A C K S O N S A R T . C O M

O I L C O L O U R


Extended pigment index P[0 1 ] : PY42 P V 19 P W6 P W4 P[0 2] : PY 3 PB2 9 PB 15 : 3 P W6 P[0 3] : PY 3 PY 7 3 PB 15 : 3 P W6 P[N A] : not avai lable

C O L O U R S

001 · Titanium White� P W6 � �


007 · Mixing White� P W6 P W4 � �

008 · Primrose Yellow� PY5 3 � �

010 · Cad. Yellow Pale Genuine� PY 3 5 � �

011 · Lemon Yellow� PY 3 � �


022 · Flesh Tint� P[0 1 ] � �


052 · Cobalt Blue Hue� PB 15:1 PB2 9 P W6 � �



134 · Mars Violet� PR 10 1 � �

014 · Cad. Yellow Medium Hue� PY 7 3 � �


037 · Magenta� PR 12 2 � �

060 · Cerulean Blue Hue� P[0 2] � �


100 · Light Red� PR 10 1 � �

140 · Payne's Grey� PBr7 PB2 9 PBk7 � �

016 · Cad. Yellow Deep Genuine� PY 3 5 � �

024 · Cadmium Red Hue� PR 18 8 PR4 � �

038 · Rose Madder Quinacridone� P V 19 � �


07 7 · Sap Green� PY 3 P G7 PBR7 � �

112 · Indian Red� PR 10 1 � �

152 · Ivory Black� PBk 9 � �

018 · Cadmium Yellow Deep Hue� PY 7 3 P O5 � �

026 · Scarlet� P O5 � �

039 · Violet� P V 2 3 � �

069 · Green Light� PY 3 PY42 P G7 � �

076 · Viridian Green Hue� P G7 PY 7 3 PB 15 : 3 � �

120 · Raw Umber� PBR7 � �


019 · Indian Yellow Hue� PY 3 PY 7 3 PBr7 � �

030 · Cadmium Red Deep Hue� PR 3 � �

042 · Phthalo Blue� PB 15:1 � �

072 · Emerald Green Hue� P[0 3] � �


126 · Burnt Umber� PBR7 � �

021 · Cadmium Orange Hue� PY 7 3 PR4 � �

034 · Crimson� PR 18 8 PR4 PR 12 2 � �

049 · French Ultramarine Blue� PB2 9 � �

073 · Opaque Oxide of Chromium� P G 1 7 � �


130 · Van Dyke Brown� PBr7 PBk 9 � �

C U S T O M E R R E V I E W S

J A C K S O N ' S A R T I S T O I L C O L O U R

An impressive oil paint range consisting of 46 inspirational colours.We believe that our Artist Oil range strikes the perfect balance between affordability and pigment load.

Our customers have told us that the range offers "excellent vibrancy, colour and coverage, much higher quality than one would expect for the price".

6 0 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO J 6 0 � - 3 . 7 0O J 6 0 � - 5 . 0 0O J 6 0 � - 7. 4 0O J 6 0 � - 8 . 8 0

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO J 2 2 5 � - 1 0 . 3 0O J 2 2 5 � - 1 2 . 0 0O J 2 2 5 � - 1 6 . 5 0O J 2 2 5 � - 2 0 . 5 0

2 2 5 M L T U B E S

Cadmium Yellow Medium Hue 'Totally impressed! Lovely buttery consistency . Good colour. Mix beautifully. Will back for more.'

Titanium White'Unparalleled for quality and price. This a beautiful stringy, opaque Titanium white. I love the consistency of this paint, it has a wonderful plasticity and mixes brilliantly. Best Titanium white I've tried.'

Cadmium Orange Hue 'This orange tends towards green when mixed with ultramarine, so unlike cadmium orange you will not achieve a coloured grey. Nevertheless this is a useful modern pigment especially for landscapes.'

Flesh Tint'I use this colour in my SW American landscapes. It is a really good base colour for the rock with Indian Red predominating in the shadows.'

Cadmium Red Genuine'Great coverage and colour - reds are definitely my favourite colours, and at this price you'd be mad not to buy them'

'Excellent vibrancy, colour and coverage, much higher quality than one would expect for the price.

Cadmium Yellow Deep Genuine'Good tinting strength.'

A R T I S T R E V I E W S'The Jackson's Oils mixed really well and still maintained their vibrancy, in fact I got a bit carried away mixing a range of purples/violets that I didn’t really need! The paints themselves allowed me to leave satisfying brush marks on the canvas. Overall I am very impressed with Jackson’s Oils. The colours are as vibrant as they claim and the consistency allows me to layer the paint on as I please.

For any artist who loves using paint and colour, Jackson’s oils do exactly what you need them to do “professional quality at a sensible price.' Louise Sargent artsargent.com

'Jackson's choice of colours is astute. There is nothing esoteric or extraneous here. All available colours are useful and useable, and include all the essential hues that would be found on most artists' palettes. Very little painting medium was used as the consistency of the paint is perfect for brushing out and for modest impasto work a smooth, buttery consistency.' Ian Sidaway painters-online.co.uk


O I L C O L O U R

O L D H O L L A N D C L A S S I C O I L C O L O U R

The range of oil paints that serious artists recognise as being a reliable benchmark of quality.A staggering 166 colour range demonstrates consistently exceptional quality throughout.

The characteristics of the pigments shine through the paint thanks to their dedication to using only pigment and binder. No fillers here! Our loyal customers praise Old Holland and claim "You will not find better!", "Excellent product and price", "Superb intensity and smoothness".

Many artists ask how Old Holland can make so many colours. Not all are single pigment, but their expertise allows them to make multiple pigment colours that produce luminous results that can be used straight from the tube. Both Vermeer and Van Gogh used Old Holland, so if they're good enough for them they're probably worth a try.

2 2 5 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO H 2 2 5 � 3 0 . 7 6 2 6 . 0 0O H 2 2 5 � 5 0 . 5 7 4 3 . 0 0O H 2 2 5 � 7 1 . 5 0 6 1 . 0 0O H 2 2 5 � 1 1 9 . 4 1 1 0 1 . 0 0O H 2 2 5 � 1 3 7. 5 3 1 1 7. 0 0O H 2 2 5 � 2 1 8 . 9 5 1 8 2 . 0 0

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO H 4 7 5 � 5 2 . 7 5 4 5 . 0 0


O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO H 1 0 0 0 � 1 0 4 . 8 2 9 0 . 0 0

1 L T I N S ( M A R K E D � O N L Y )

006 · Old Holland Yellow Light� P W4 P W6 PY4 3 � �

008 · Old Holland Yellow Deep� P�0 1 � � �

007 · Old Holland Yellow Medium� P�0 2� � �

103 · Brilliant Yellow Light� P�0 3� � �

106 · Brilliant Yellow� P�0 4� � �

109 · Brilliant Yellow Reddish� P�05� � �

112 · Naples Yellow Reddish Extra� P�06� � �

115 · Flesh Tint� P�07� � �

118 · Indian Yellow Green Lake Ex.� PY95 PY 12 9 � �

119 · Cobalt (Aureolin) Yellow Lake� PY4 0 � �

121 · Nickel Titanium Yellow� PY5 3 � �


010 · Scheveningen Yell. Lemon� PY 3 � �

011 · Cadmium Yellow Light� PY 3 5 � �

012 · Scheveningen Yellow Light� PY 74 � �

014 · Scheveningen Yellow Med.� PY 120 � �

013 · Cadmium Yellow Medium� PY 3 5 � �

015 · Scheveningen Yellow Deep� PY8 3 � �

016 · Cadmium Yellow Deep� PY 3 5 PR 10 8 � �

124 · Gamboge Lake Extra� PY95 PY 12 9 � �

127 · Indian Yellow Orange Lake� PY95 PR 251 � �

130 · Indian Yellow Brown Lake� PY95 PBr2 3 � �

133 · Old Holland Red Gold Lake� PY95 PR 1 7 7 � �

136 · Golden Barok Red� PBr2 3 PR 1 7 7 � �

139 · Cadmium Yellow Extra Deep� PR 10 8 � �

142 · Cadmium Yellow Orange� PR 10 8 � �

018 · Scheveningen Orange� P O7 3 � �

017 · Cadmium Orange� PR 10 8 � �

145 · Coral Orange� P O67 � �

020 · Cadmium Red Scarlet� PR 10 8 � �

019 · Scheveningen Red Scarlet� P O 3 4 � �

148 · Vermillion Extra� PR 251 � �

151 · Old Holland Bright Red� PR 16 8 � �


154 · Cadmium Red Medium� PR 10 8 � �

157 · Scarlet Lake Extra� PR 16 8 PR 20 9 � �


026 · Scheveningen Purp. Brown� PR 1 7 7 PBr2 3 � �

025 · Cadmium Red Purple� PR 10 8 � �

160 · Carmine Lake Extra� P V 19 PR 1 7 7 PBr2 3 � �

163 · Alizarin Crimson Lake Extra� P V 19 PR 1 7 7 PBr2 3 � �

028 · Madder (Crimson) Lake Dp.� PR 8 3:1 � �

166 · Burgundy Wine Red� PR 1 7 7 � �

024 · Scheveningen Red Deep� PR 2 1 4 � �

027 · Madder (Geranium) Lake Lt.� PR 1 7 7 PR 16 8 PBr2 3 � �

022 · Scheveningen Red Light� PR 1 12 � �

169 · Scheveningen Red Medium� PR 1 12 � �

172 · Rose Dore Madder Lake Ant.� PR 16 8 PR 1 7 7 PBr2 3 � �

175 · Brilliant Pink� PB 4 PR 1 12 PR 12 2 � �

178 · Ruby Lake� PR 20 9 PR 16 8 � �

029 · Scheveningen Rose Deep� P V 19 � �

181 · Old Holland Magenta� PR 12 2 � �

184 · Royal Purple Lake� P V42 � �

187 · Ultramarine Red Pink� PR 259 � �

030 · Scheveningen Violet� P V 19 � �

190 · Manganese Violet Reddish� P V 16 � �


193 · Old Holland Bright Violet� P V 19 P V 2 3 � �

196 · Manganese Violet Blueness� P V 16 � �

032 · Cobalt Violet Dark� P V 1 4 � �


202 · Dioxazine Mauve� P V 2 3 � �

205 · Old Holland Blue Violet� P V 2 3 PB 15 � �

208 · Old Holland Violet Grey� P �0 8� � �

211 · Neutral Tint� P �0 9� � �

214 · Payne's Grey� PBk 9 PB2 9 � �

217 · Old Holland Blue Deep� PB2 9 P G7 P V 2 3 � �

220 · Old Delft Blue� PB60 � �

034 · Parisian (Prussian) Blue Ex.� PB2 7 PB 15 � �

223 · Old Holland Blue� PB 15 � �

226 · Scheveningen Blue Deep� PB 15 � �

229 · Blue Lake� PB 15 � �

033 · Indigo Extra� PB 15: 3 P V 19 PBk7 � �

035 · Scheveningen Blue� PB 15 � �

232 · Caribbean Blue� PB 16 � �

042 · Cobalt Blue Turquoise� PB 36 � �

235 · Cerulean Blue Deep� PB 36 � �


238 · Cerulean Blue Light� PB 3 5 � �

241 · Manganese Blue Deep� PB 3 3 P V 16 � �

041 · Manganese Blue� PB 3 3 � �

24 4 · Ultramarine Blue Deep� PB2 9 � �


037 · French Ultramarine Light� PB2 9 PB2 8 � �


247 · Old Holland Cyan Blue� P �10� � �


253 · Kings Blue Deep� P W4 P W6 PB2 9 � �

256 · Kings Blue Light� P W4 P W6 PB2 9 � �

040 · Scheveningen Blue Light� P W4 P W6 PB 15 � �

259 · Old Holland Blue Grey� P �1 1 � � �

262 · Cobalt Blue Turquoise Light� P G50 � �

265 · Turquoise Blue Deep� P W4 P W6 PB 15 P G7 � �

001 · Titanium White� P W6 � � � �

002 · Zinc White� P W4 � � � �

005 · Mixed White No. 2� P W6 P W4 � �

C O L O U R S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO H 4 0 � 7. 6 3 6 . 4 0O H 4 0 � 1 1 . 2 8 9 . 4 0O H 4 0 � 1 6 . 4 5 1 3 . 7 0O H 4 0 � 2 5 . 2 6 2 1 . 0 0O H 4 0 � 3 0 . 7 6 2 5 . 5 0O H 4 0 � 4 8 . 3 7 4 1 . 0 0

4 0 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO H 6 0 � 1 0 . 2 8 8 . 7 0O H 6 0 � 1 5 . 9 0 1 3 . 2 0O H 6 0 � 2 2 . 5 6 1 8 . 7 0O H 6 0 � 3 5 . 7 1 2 9 . 5 0O H 6 0 � 4 2 . 3 7 3 5 . 0 0O H 6 0 � 5 6 . 8 9 4 7. 0 0

6 0 M L T U B E S





Extended pigment index P[0 1 ] : P W4 P W6 PY 74 PY4 3 P[0 2] : P W4 P W6 PY 74 PY4 3 P[0 3] : P W4 P W6 PY8 3 P O7 3 P[0 4] : P W4 P W6 PY5 3 P O7 3 P[05 ] : P W4 P W6 PY5 3 P O7 3 P[06] : P W4 P W6 PY5 3 P O 4 3 P[07 ] : P W4 P W6 PY 1 19 PR 2 1 4 P[0 8] : P W6 P W4 P G 18 P V 2 3 PB2 9 P[0 9] : PR 259 P V 19 PBr7 PB 15 P[10] : P W4 P W6 PB 15 PB2 9 P[1 1 ] : P W4 P W6 PB2 9 P V 2 3 P[12] : PY 3 5 P G 18 P W4 P W6 P[13] : P W4 PY 3 P G 36 PY5 3 P[1 4] : PBr7 PB 60 PY 12 9 P G7 P[15 ] : PBr7 P G 2 3 PB 15 P G7 P[16] : P W4 P W6 PB2 9 PBk7 P[N A] : not avai lable



O I L C O L O U R

340 · Old Holland Light Red� PR 10 3 � �

060 · Yellow Ochre Burnt� PR 10 2 � �

059 · Yellow Ochre Half Burnt� PR 10 2 � �

337 · Mars Orange Red� PY42 PR 10 1 � �

334 · Transparent Oxide Red Lk.� PR 10 1 � �

331 · Italian Brown Pink Lake� PY42 PR 10 1 � �

328 · Trans. Oxide Yellow Lake� PY42 � �

325 · Old Holland Yellow Brown� PY95 PY 74 PY 1 19 � �

058 · Brown Ochre Light� PBr 8 � �

057 · Raw Sienna Deep� PBr7 � �

056 · Raw Sienna Light� PBr7 � �

322 · Italian Earth� PY4 3 � �

066 · Cap. Mortuum Violet (Mars)� PR 10 1 � �

346 · Mars Brown� PR 10 1 PBk1 1 PY42 � �

349 · Red Umber� PBr7 � �

067 · Brown Ochre Deep� PR 10 2 � �

07 1 · Warm Sepia Extra� PR 10 2 PBr7 PBk 9 � �

068 · Deep Ochre� PR 10 2 � �



352 · Old Holland Ochre� PBr7 � �

355 · Sepia Extra� PBr7 PBk 9 � �

072 · Van Dyke Brown (Cassel)� PBk 9 PR 10 1 PY42 � �

358 · Davy's Grey� P G 2 3 P W4 PBr7 � �

286 · Old Holland Green Light� PY 3 PY 74 P G 36 � �

289 · Permanent Green� P W4 PY 74 PB 15 � �

292 · Sap Green Lake Extra� PY95 P G7 PBk7 � �

295 · Old Holland Golden Green� PY 12 9 � �

298 · O.H. Golden Green Deep� PY 12 9 P G 3 8 � �

050 · Chromium Oxide Green� P G7 � �

051 · Cinnabar Green Deep Extra� P G 18 PY 74 PBr7 � �

301 · Hooker's Green Lake Deep� PY42 P G7 PBk7 � �

304 · Hooker's Green Lake Light� PR 10 1 PY42 P G7 � �

307 · Olive Green Dark� P[1 4] � �

052 · Green Earth� P G 2 3 � �

310 · Green Umber� P�15� � �

313 · Naples Yellow Extra� P W4 P W6 PY42 � �

316 · Naples Yellow Deep Extra� PBr24 � �

319 · Mars Yellow� PY42 � �

053 · Yellow Ochre Light� PY4 3 � �

054 · Yellow Ochre Deep� PY4 3 � �

055 · Gold Ochre� PY4 3 � �

065 · Persian (Indian) Red� PR 10 1 � �


343 · Flesh Ochre� PR 1 12 PY42 PR 10 2 � �

063 · English Red� PR 10 1 � �

062 · Red Ochre� PR 10 2 � �


27 7 · Permanent Green Light� P W4 P W6 PY 3 P G 36 � �

280 · Old Holland Bright Green� PY 3 P G 36 PB 15 � �

045 · Cadmium Green Deep� PY 3 5 P G 16 � �

04 4 · Cadmium Green Light� P�12� � �

043 · Cinnabar Green Light Extra� PY 3 5 P G 18 PB2 9 � �

283 · Old Holland Yellow Green� P�13� � �

046 · Viridian Green Light� P G 18 PY 3 � �

268 · Cobalt Green� P G50 � �

049 · Scheveningen Green Deep� P G7 � �

048 · Scheveningen Green� P G 36 � �

27 1 · Permanent Green Deep� PB 4 PY 3 PB2 9 P G7 � �

274 · Emerald Green� P W4 PY 74 P G 36 � �


075 · Scheveningen Intense Blk.� PBk7 � �

361 · Old Holland Warm Grey Lt.� P W4 P W6 PBk7 PBr7 � �

073 · Scheveningen Warm Grey� P W6 PBr7 PBk 9 � �

364 · Old Holland Cold Grey� P �16� � �


367 · Vine Black� PBk 8 � �


S E T S

Introductor y Set6 x 18ml TubesE xcellent star ter set for these f inest qualit y oil paints .Code: OHS6TRRP : £ 3 4.3 3Price: £3 1.00

Wooden Box Set34 x 40ml TubesA complete set of oils and accessories .Code: OHS103RRP : £ 524.70Price: £ 4 46.00

Wooden Box Set15 x 18ml TubesAn intro set of oils and accessories .Code: OHS099RRP : £ 189.72Price: £17 1.00

Wooden Box Set11 x 40ml TubesA complete set of oils and accessories .Code: OHS100RRP : £ 2 10.42Price: £180.00

266 · Cobalt Green Turquoise� P G 19 � �

267 · Cobalt Green Deep� PB 36 P G 26 � �

047 · Viridian Green Deep� P G 18 � �


O I L C O L O U R

S C H M I N C K E M U S S I N I A R T I S T S ' O I L C O L O U R

C O L O U R S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO M 3 5 � 8 . 6 4 7. 2 0O M 3 5 � 1 1 . 0 9 9 . 2 0O M 3 5 � 1 4 . 1 1 1 1 . 7 0O M 3 5 � 1 8 . 7 7 1 5 . 3 0O M 3 5 � 3 1 . 0 1 2 5 . 5 0O M 3 5 � 3 7. 0 1 3 0 . 0 0O M 3 5 � 4 0 . 2 5 3 6 . 0 0O M 3 5 � 5 3 . 9 5 4 4 . 0 0

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO M 1 5 0 � 2 3 . 3 8 1 9 . 9 0O M 1 5 0 � 3 0 . 9 6 2 5 . 5 0

3 5 M L T U B E S 1 5 0 M L T U B E S ( M A R K E D � O N L Y )A superb oil paint ideal for artists wishing to recreate the traditions of the old masters. These colours have a very loyal following.Mussini finest artists' resin oil colours use a particularly sophisticated manufacturing process to meet the very highest requirements, adopting the old masters' practice of combining selected artists' oils with natural resin.

102 · Zinc White� P W4 � � �

231 · Naples Yellow Light� PBr24 PY5 3 � �

227 · Cadmium Yellow 1 Light� PY 3 5 � �


669 · Translucent Brown Oxide� PR 10 1 � �


782 · Schmincke Payne's Grey� PB2 9 PR 10 1 PBk7 � �

861 · Renaissance Gold� P �N A� � �

103 · Titanium Opaque White� P W6 P W4 � � �

224 · Brilliant Yellow� P W4 PBr24 PY5 3 � �

209 · Cadmium Yellow Tone� PY 15 5 � �

660 · Raw Sienna� P �0 3� � �

663 · Pozzuoli Earth� PR 10 1 � �

670 · Raw Umber Light� PBr7 � �


787 · Brownish Grey 1� P �06� � �

862 · Antique Gold� P �N A� � �

105 · Translucent White� P W4 P W6 � �

207 · Medieval Yellow� P W4 P W6 PY5 3 � �

221 · Vanadium Yellow Deep� PY 18 4 � �

64 4 · Yellow Sienna� PY42 PR 10 1 � �

647 · Pompeiian Red� PR 10 1 � �

664 · Natural Raw Umber� PBr7 P G7 PY42 � �

783 · Mineral Black� PBk 2 8 � �

788 · Brownish Grey 2� P �07� � �

863 · Yellow Gold� P �N A� � �

206 · Flesh Tint� P W4 PY42 PR 10 1 � �

208 · Yellowish Green Ural� PY5 3 P G 19 � �

228 · Cadmium Yellow 2 Middle� PY 3 5 � �

653 · Deep Ochre� PY42 PY4 3 � �

648 · Caput Mortuum� PR 10 1 � �

666 · Natural Burnt Umber� PBr7 � �

7 79 · Atrament Black� PBk3 1 � �

784 · Bluish Grey 1� P �0 8� � �

864 · Gold Bronze� P �N A� � �


238 · Translucent Yellow� PY 150 � �

237 · Translucent Orange Oxide� PR 10 1 PY42 � �

672 · Mineral Brown� PBr3 3 � �

667 · Van Dyke Brown� PR 1 79 PR 10 1 PBk7 � �

790 · Shade Grey� P �05� � �

785 · Bluish Grey 2� P W4 P W6 PBk10 � �

865 · Rose Gold� P �N A� � �

232 · Naples Yellow Deep� PBr42 � �

220 · Vanadium Yellow Light� PY 18 4 � �

661 · Natural Burnt Sienna� PBr7 � �

662 · Brown Pink� P �0 4� � �

645 · Asphaltum Black Transl.� PR 10 1 P V 19 PBk7 � �

792 · Dove Grey� PR 10 1 P W4 PBk1 1 � �

860 · Silver� P �N A� � �

866 · Copper� P �N A� � �

229 · Cadmium Yellow 3 Deep� P O20 � �

366 · Caesar Purple� P V 19 � �

487 · Manganese Cerulean Blue� P W4 PB 15 : 3 PB 16 � �

656 · Attish Light Ochre� PY42 � �

236 · Translucent Yellow Oxide� PY42 � �

223 · Indian Yellow � PY 15 3 � �

364 · Vermilion Red Tone� PR 25 5 � �

365 · Translucent Red Oxide� PR 10 1 � �


341 · Cadmium Red Middle� PR 10 8 P W 2 1 � �

34 4 · Madder Lake Brilliant� PR 207 � �

243 · Chrome Orange Tone� P O67 � �

342 · Cadmium Red Tone� PR 25 4 P V42 � �

347 · Alizarin Madder Lake� PR 8 3 :1 � �

239 · Translucent Orange� P O7 1 � �

357 · Cadmium Red Deep� PR 10 8 P W 2 1 � �

346 · Madder Lake Dark� PR 26 4 P V42 � �

340 · Brilliant Scarlet� PR 242 � �

343 · Madder Root Tone� PR 206 � �

358 · Carmine� PR 1 79 P V 19 � �

356 · Cadmium Red Light� PR 10 8 P W 2 1 � �

353 · Florentine Red� PR 1 79 � �

363 · Translucent Magenta� PR 12 2 � �

493 · Delft Blue� PB60 � �

496 · Translucent Oriental Blue� PB 15:6 PB 15 : 2 � �


492 · Ultramarine Blue Deep� PB2 9 � �

490 · Prussian Parisian Blue� PB2 7 � �

473 · Translucent Violet� P V 2 3 � �

491 · Ultramarine Blue Light� PB2 9 � �

485 · Royal Blue Light� P W4 P W6 PB 36 � �

495 · Byzantine Blue� PB 60 PBk1 1 P W4 � �


486 · Royal Blue Deep� P �0 1 � � �

494 · Indigo Tone� P V 19 PB 60 PBk10 � �

480 · Cobalt Blue Light� PB2 8 � �

475 · Cobalt Cerulean Blue� PB 3 5 � �

478 · Indigo� PB66 � �

479 · Cobalt Blue Tone� PB2 9 PB 15 :6 P W4 � �

47 7 · Translucent Cyan� PB 15: 3 � �

518 · Helio Green Deep� P G7 � �

640 · Verona Green Earth� P G 18 PR 10 1 � �

497 · Translucent Turquoise� PB 16 � �

521 · Helio Green Light� P G 36 � �

526 · Sap Green� PB 60 PY 150 � �

498 · Cobalt Turquoise� P G50 � �

535 · Oriental Green� P G 19 � �

510 · Chrome Green Tone Light� PY 15 5 P G 1 7 PY42 � �

511 · Chrome Green Deep Tone� P �0 2� � �

513 · Chrome Oxide Green Deep� P G 1 7 � �

530 · Yellowish Green� PY 74 P G7 PY42 � �

536 · Tourmaline Green� P G 26 � �

529 · Viridian� P W4 PY 18 4 P G 18 � �

534 · Translucent Golden Green� PY 12 9 P G7 � �

512 · Chrom. Oxide Green Brilliant� P G 18 � �

528 · Cobalt Green Opaque� PY 18 4 P G50 � �

646 · Nat. Bohemian Green Earth� PBr7 � �

I L O V E T H E

B U T T E R Y T E X T U R E





Extended pigment index P[0 1 ] : P W4 P W6 PB2 9 PB 15 : 3 P [0 2] : P O20 PY 3 5 P W 2 1 PB 15 : 3 P [0 3] : PBr7 PY4 3 PR 10 1 PY42 P[0 4] :PY 15 3 PR 10 1 PY42 P G7 P[05 ] :P G 18 PY42 PBk1 1 P W4 P[06] : P W4 P W6 PY 15 5 P V 15 P[07 ] : P W4 P G 36 PY42 PBr3 3 P[0 8] : P W4 P W6 PY42 PBk10 P[N A] : not avai lable Limited colours S ome tube/tub s izes are only avai lable in cer t a in colours marked a s shown


O I L C O L O U R

C O L O U R S

T A L E N S R E M B R A N D T A R T I S T S ' O I L C O L O U R

Rembrandt oil paint is made by the reputable Royal Talens in Holland, and is one of the world's most popular professional ranges. It has a dedicated following in the Jackson's community, with customers telling us they love its "good strength and clarity" and that it is "one of the best".

104 · Zinc White (Safflower)� P W4 � � �

242 · Aureoline� PY 150 � �

37 7 · Permanent Red Medium� PR 25 5 � �


586 · Cobalt Turquoise Blue� PB 36 � �

625 · Cinnabar Green Medium� P G7 PY 1 10 � �

117 · Zinc White (Linseed)� P W4 � � �

281 · Transparent Yellow Green� PY 12 9 � �

334 · Scarlet� PR 1 4 9 � �

505 · Ultramarine Light� PB2 9 � �

522 · Turquoise Blue� PB 15 P G7 P W6 � �

626 · Cinnabar Green Light� P G7 PY 15 4 PY42 � �

118 · Titanium White (Linseed)� P W6 P W4 � � �

279 · Nickel Titanium Yellow Lt.� P W6 PY 18 4 � �

37 1 · Permanent Red Deep� PR 25 4 � �

513 · Cobalt Blue Light� PB2 8 � �

633 · Permanent Yellowish Green� P G7 PY 15 4 � �

629 · Green Earth� PY42 PB 15 � �

105 · Titanium White (Safflower)� P W6 P W4 � � �

282 · Naples Yellow Green� P W6 PY42 P G 1 7 � �


506 · Ultramarine Deep� PB2 9 � �

565 · Phthalo Turquoise Blue� PB 15 P G7 � �

620 · Olive Green� P G7 PY 1 10 PR 26 4 � �

103 · Mixed White� P W6 P W4 � � �

222 · Naples Yellow Light� P W6 PY 15 4 PBr24 � �


512 · Cobalt Blue Ultramarine� PB2 9 PB 15 � �

618 · Permanent Green Light� P G7 PY 15 4 � �

668 · Chromium Oxide Green� P G 1 7 � �

119 · Transparent White � P W6 P W4 � �

280 · Nickel Titanium Yellow Dp.� P W6 PY 15 4 PBr24 � �

348 · Permanent Red Purple� PR 26 4 P W6 � �


614 · Permanent Green Medium� P G7 PY 15 4 � �


207 · Cadmium Lemon Yellow� PY 3 5 � �

223 · Naples Yellow Deep� P W6 PY 15 4 PBr24 � �

321 · Permanent Madder Light� PR 25 4 PR 26 4 P V 19 � �

517 · King's Blue� PB2 8 P W6 � �

615 · Emerald Green� P G 36 PY 15 4 P W6 � �

234 · Raw Sienna� PY42 PR 10 1 � �

254 · Permanent Lemon Yellow� PY 18 4 � �

228 · Yellow Ochre Light� PBr24 � �

395 · Permanent Madder Med.� PR 26 4 P V 19 � �

530 · Sèvres Blue� PB 15 P W6 � �

619 · Permanent Green Deep� P G7 PY 15 4 � �

231 · Gold Ochre� PY42 � �


224 · Naples Yellow Red� P W6 P O 4 3 PBr24 � �

342 · Permanent Madder Deep� PR 26 4 � �


681 · Phthalo Green Yellow� P G 36 � �

232 · Orange Ochre� PY42 � �

283 · Permanent Yellow Light� PY 15 4 � �

211 · Cadmium Orange� P O20 PY 3 5 � �

323 · Burnt Carmine� PR 26 4 PB2 9 � �

582 · Manganese Blue (Phthalo)� PB 15 � �

680 · Phthalo Green Blue� P G7 � �

339 · Light Oxide Red� PR 10 1 � �

27 1 · Cadmium Yellow Medium� PY 3 5 � �

266 · Permanent Orange� P O7 3 PY 15 4 � �

318 · Carmine� PR 1 76 � �

583 · Phthalo Blue Red� PB 15 � �

616 · Viridian� P G 18 � �


284 · Permanent Yellow Medium� PY 15 4 P O 4 3 � �

311 · Vermilion� P O7 3 � �

366 · Quinacridone Rose� P V 19 � �

576 · Phthalo Blue Green� PB 15 � �

650 · Sèvres Green� P G7 P W6 � �

347 · Indian Red� PR 10 1 � �

210 · Cadmium Yellow Deep� PY 3 5 P O20 � �

303 · Cadmium Red Light� PR 10 8 P O20 � �

567 · Permanent Red Violet� PR 20 2 � �


610 · Cobalt Green� P G 26 � �

34 4 · Caput Mortuum Violet� PR 10 1 PB2 9 PR 26 4 � �

285 · Permanent Yellow Deep� PY 15 4 P O 4 3 � �

370 · Permanent Red Light� PR 25 5 P O7 3 � �

537 · Permanent Violet Medium� P V 19 � �


682 · Cobalt Turquoise Green� P G50 � �

430 · Brown Ochre� PR 10 1 PBk1 1 � �

272 · Transparent Yellow Medium� PY 12 8 � �


533 · Indigo� PB 15 PB2 9 PBk 9 � �

627 · Cinnabar Green Deep� P G7 PY42 PR 10 1 � �

403 · Van Dyke Brown� PR 10 1 PBk1 1 � �

251 · Stil de Grain Yellow� PY 1 10 � �


317 · Transparent Red Medium� PR 207 � �

568 · Permanent Blue Violet� P V 16 � �

683 · Ultramarine Green� PB2 9 PY 12 9 � �

623 · Sap Green� P G7 PY 1 10 � �

416 · Sepia� PY42 PR 10 1 PBk1 1 � �

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO R 4 0 � 6 . 9 5 5 . 0 0O R 4 0 � 8 . 9 5 5 . 9 0O R 4 0 � 1 0 . 9 0 8 . 1 0O R 4 0 � 1 7. 3 0 1 2 . 1 0O R 4 0 � 2 7. 5 0 1 5 . 9 0

4 0 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO R 0 1 5 0 � 1 6 . 6 0 1 3 . 1 0



Extended pigment index P[0 1 ] : P W6 P W 15 P W 20 PR 10 1 PBk1 1 P[0 2] : P W6 P W 15 P W 20 PBk1 1 P[N A] : not avai lable


324 · Permanent Madder Brown� PR 26 4 PR 10 1 P V 19 � �

409 · Burnt Umber� PR 10 1 PBk1 1 � �

708 · Payne's Grey� PBk1 1 PB2 9 P V 19 � �

273 · Transparent Oxide Orange� PY42 PR 10 1 � �

418 · Stil de Grain Brown� PY 1 10 PR 26 4 P G7 � �

410 · Greenish Umber� PY42 PBk1 1 � �


805 · Copper� P W 20 PR 10 1 � �

411 · Burnt Sienna� PR 10 1 � �

426 · Transparent Oxide Brown� PR 10 1 � �

735 · Oxide Black� PBk1 1 � �

811 · Bronze� P W 20 PR 10 1 � �

414 · Asphaltum� PY 1 10 PR 26 4 P G7 � �


408 · Raw Umber� PY42 PR 10 1 PBk1 1 � �

701 · Ivory Black� PBk 9 PB2 9 � �

MORE COLOUR OPTIONS AVAIL ABLE ONLINE. . .

S U B L I M E B R I L L I A N C E

A N D I N T E N S E L Y

D E E P C O L O U R S


O I L C O L O U R

W I L L I A M S B U R G H A N D M A D E O I L C O L O U R

Brooklyn's finest oil paint! The grinding of each pigment is tailored to enhance the beauty and luminosity of each individual colour. As a result some may feel a little gritty while others have been ground further and feel completely smooth. The paint uses pure, premium, alkali refined linseed oil and batches of 5 gallons are made at a time. This allows for total control over manufacturing. The beauty is all in the detail.

C O L O U R S

0101 · Titanium White� P W6 � � �

0121 · Titanium Zinc White� P W6 P W4 � � �


0161 · Zinc Buff� P[0 1 ] � �

0191 · Unbleached Titanium Pale� P W6 � �

0181 · Unbleached Titanium� P W6 � � �

0202 · Brilliant Yellow Extra Pale� P W6 PY 74 PY6 5 � �

0212 · Brilliant Yellow Pale� P W6 P W4 PY 74 PY 3 � �

0224 · Nickel Yellow� PY5 3 � �


0263 · Permanent Lemon� PY 3 P W6 P G 18 � �


0303 · Permanent Yellow Light� PY 3 � �


0383 · Perm. Yellow Medium� PY 74 PY6 5 � �

0406 · Cadmium Yellow Deep� PY 3 5 � �

0423 · Permanent Yellow Deep� PY6 5 � �

04 42 · Naples Yellow� P[0 2] � �

0422 · Naples Yellow Reddish� P[0 3] � �

074 4 · Canton Rose� P[07 ] � �

0463 · Jaune Brilliant� P[0 4] � �

0583 · Montserrat Orange� P[05 ] � �

0508 · Cobalt Yellow� PY4 0 � �

0514 · Alizarin Yellow� PY42 PY8 3 � �


0534 · Alizarin Orange� PR 1 7 7 PY8 3 � �

0416 · Cadmium Yellow Ex. Deep� PY 3 5 � �


0542 · Permanent Orange� PY 15 4 PR 1 12 � �

0563 · Permanent Red-Orange� P O 36 � �


0597 · Cadmium Red Vermilion� PR 10 8 � �


0624 · Fanchon Red� PR 1 12 � �



0658 · Cadmium Purple� PR 10 8 � �

0665 · Quinacridone Red� P V 19 � �

07 75 · Quinacridone Magenta� PR 12 2 � �

0687 · Permanent Crimson� PR 1 7 7 � �

0685 · Carl's Crimson (Perm.)� PR 18 7 � �


0686 · Perylene Crimson� PR 1 79 � �

0785 · Quinacridone Violet� P V 19 � �

07 13 · Persian Rose� P[06] � �

0724 · Dianthus Pink� P W6 P V 19 � �

07 74 · Ultramarine Pink� P V 15 � �

0728 · Cobalt Violet Light� P V4 9 � �

0748 · Cobalt Violet Deep� P V 1 4 � �

0734 · Provence Violet Reddish� P W6 P W4 P V 19 � �

0754 · Provence Violet Bluish� P W6 P W4 P V 2 3 � �



0805 · Eqyptian Violet� P V 2 3 � �

0813 · King's Blue� P[0 8] � �

0823 · Sevres Blue� P W6 P W4 PB 15 : 3 � �

0848 · Cerulean Blue (Genuine)� PB 3 5 � �

0857 · Cerulean Blue French� PB 36 � �

0863 · Turquoise� P[0 9] � �

0817 · Cobalt Teal Bluish� PB2 8 � �

0887 · Cobalt Turquoise (G.S.)� PB 36 � �

0907 · Cobalt Turquoise Bluish� PB 36 � �


0937 · Cobalt Blue Deep� PB2 8 � �


0962 · Ultramarine Blue French� PB2 9 P V 15 � �


0985 · Indanthrone Blue� PB60 � �

1004 · Phthalo Blue� PB 15: 3 � �

1024 · Phthalo Turquoise� PB 15: 3 P G7 � �

1043 · Indigo� PBr7 PB2 7 � �

1103 · Veronese Green� P W6 PY 3 P G7 � �

1153 · Cinnabar Green Light� P[10] � �

1146 · Cadmium Green Light� PY 3 5 P G 18 � �

1186 · Cadmium Green� PY 3 5 P G 18 � �

1163 · Permanent Green Light� PY 3 P G7 � �

1063 · Payne's Grey (Violet)� PBr7 P V 2 3 PB2 9 � �

1703 · Payne's Grey� PB2 9 PBk 9 � �

1263 · Permanent Green� PY 3 P G7 � �

1250 · Cobalt Green� P G 26 �

1245 · Viridian� P G 18 � �

1264 · Phthalo Green-Yellowish� P G 36 � �


1303 · Sap Green� PY42 PY 12 9 P G7 � �

1323 · Courbet Green� PR 10 2 PB2 7 PY6 5 � �

1223 · Chromium Oxide� P G 1 7 � �

1021 · Bohemian Green Earth� P[1 1 ] � �

0518 · Green Gold� PY 12 9 � �

1122 · Earth Green� PY42 P G7 � �

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO W L 3 7 � 8 . 7 5 7. 1 0O W L 3 7 � 1 3 . 9 5 1 1 . 3 0O W L 3 7 � 1 7. 9 5 1 4 . 6 0O W L 3 7 � 2 1 . 9 5 1 7. 8 0O W L 3 7 � 3 2 . 9 5 2 7. 0 0O W L 3 7 � 3 6 . 9 5 3 0 . 0 0O W L 3 7 � 4 1 . 9 5 3 4 . 0 0O W L 3 7 � 5 7. 9 5 4 5 . 0 0

3 7 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO W L1 5 0 � 2 5 . 5 0 2 1 . 0 0






Extended pigment index P[0 1 ] : P W4 P W6 PY42 PR 10 1 P[0 2] : P W4 P W6 PY42 PY6 5 P V 15 PY 3 P[0 3] : P W6 P W4 PY42 PY 74 P O7 3 P[0 4] : P W6 P W4 PY42 PY 74 P O7 3 P[05 ] : P W6 P W4 P O 36 PY 15 4 P V 19 P[06] : P W6 P W4 PR 1 12 PY 15 4 P V 19 P[07 ] : P W6 P W4 PY42 PR 10 1 PR 1 12 P [0 8] : P W6 P W4 PB2 9 PB 15 : 3 P[0 9] : P W6 P G7 P W4 PB 15 : 3 P[10] : PY 3 P W6 PB2 9 PB 15 : 3 P[1 1 ] : PR 10 1 PY42 PBk1 1 P W6 P[N A] : not avai lable


0786 · Cobalt Teal Greenish� P G50 � �


O I L C O L O U R


1581 · Red Ochre� PR 10 2 � �

1601 · Spanish Earth� PR 10 2 � �

1342 · Mars Yellow Light� PY42 � �

1362 · Mars Yellow Deep� PR 10 1 PY42 � �

1382 · Mars Orange� PR 10 1 PY42 � �

1383 · Mars Orange Deep� PR 10 1 � �

1402 · Mars Red Light� PR 10 1 � �

1422 · Mars Red� PR 10 1 � �

14 42 · Mars Violet� PR 10 1 � �

1494 · Dutch Brown (Transp.)� PR 10 1 � �


1631 · Brown Umber� PBr7 � �

1641 · Turkey Umber� PBr7 P G7 � �


167 1 · Red Umber� PBr7 � �

1681 · Van Dyke Brown� NBr 8 PBr7 � �

1792 · German Earth� PBk1 1 � �

1702 · Graphite Grey� PBk10 � �

1701 · Davy's Grey Deep� PBk19 � �

1691 · Slate Black� PBk19 � �




1732 · Cold Black� PB2 9 PBk 9 � �

0013 · Italian Terra Verte� P G 2 3 � �

0014 · Italian Lemon Ochre� PY4 3 � �

0015 · Italian Yellow Ochre� PY4 3 � �

0016 · Italian Orange Ochre� PBr7 PY4 3 � �

0017 · Italian Green Ochre� PBr7 PY4 3 � �

0018 · Italian Pompeii Red� PR 10 2 � �

0019 · Italian Rosso Veneto� PR 10 2 � �

0020 · Italian Pozzuoli Earth� PR 10 2 � �

0021 · Italian Terra Rosa� PR 10 2 � �

0022 · Ital. Black Roman Earth� PBr7 PBk6 � �

0023 · Italian Burnt Sienna� PBr7 � �

0024 · Italian Raw Sienna� PY4 3 � �

0025 · Italian Raw Umber� PBr7 � �

0052 · French Terre Verte� P G 2 3 � �

0040 · Fr. Yellow Ochre Deep� PY4 3 � �

0041 · French Raw Sienna� PY4 3 � �

0042 · French Ochre Havane� PY4 3 PR 10 2 � �

0043 · French Rouge Indien� PR 10 2 � �

004 4 · French Brown Ochre� PY4 3 � �

0046 · French Burnt Ochre� PBr7 � �

0045 · French Burnt Umber� PBr7 � �

0051 · French Light Sienna� PY4 3 � �

0050 · French Ardoise Grey� PBk19 �

0047 · French Raw Umber� PBr7 � �

0048 · French Cassel Earth� NBr 8 PBr7 �

0049 · French Noir Indien� PBk1 1 � �

1401 · Yellow Ochre (Domestic)� PY4 3 � �

1501 · Raw Sienna� PY4 3 � �

1512 · Cyprus Orange� PY42 P O7 3 � �

1464 · Stil De Grain� PY42 � �

1484 · Brown Pink� PR 10 1 � �

0874 · Quinacridone Gold Brown� P O 4 8 PR 206 � �

1474 · Italian Pink� PY42 PR 10 1 � �


1541 · Yellow Ochre Burnt� PY42 PR 10 2 PY4 3 � �

1561 · Brown Ochre� PY42 PR 10 1 � �

1883 · Iridescent Copper� P[N A] �

1823 · Iridescent Pale Gold� P[N A] �

1863 · Iridescent Pearl White� P[N A] �

1853 · Iridescent Bronze� P[N A] �

1833 · Iridescent Silver� P[N A] �

1843 · Iridescent Pewter� P[N A] �

1813 · Interference Violet� P[N A] �

1873 · Interference Red� P[N A] �

1803 · Interference Blue� P[N A] �

1893 · Interference Green� P[N A] �

C U S T O M E R R E V I E W SItalian Lemon Ochre 'An exquisite yellow ochre, slightly gritty with a slight lemon cast.'

'A beautiful colour, lovely on the brush and on the canvas.'

Italian Pozzuoli Earth'Possibly one of my favourite colours. I have every available shade in pastels (Schminke) but this is the first time I have seen it as an oil paint. It is a rich colour and reminds me very much of the range of colours that Modigliani uses in his flesh tones.'

Provence Violet Reddish 'This comment applies to all of the Williamsburg oil colours purchased. These are quality paints, not cheap but worth it for particular pigments. Introductory free 10ml tubes a good way to get acquainted with unusual colours(eg. Moserrat Orange) and to experience the quality.'

Unbleached Titanium'Williamsburg is my favourite oils and this up bleached titanium is great to use when white is too white.'

Italian Green Ochre'Amongst the best available artisan paints.The specific characteristics of every pigment are retained in their production.Italian green ochre is a real discovery, with a beautiful undertone.'

Courbet Green'This is a gorgeous colour that I use again and again. Williamsburg colours are more expensive than some other brands but they go a long way.'

Cyprus Orange'Always the highest quality paint. Well packaged by Jackson's so not mangled by carrier.'

Graphite Grey'Nice consistency, has a proper graphite sheen to it.'

'A Fabulous colour. I was overjoyed to find this as an oil paint as I have it in acrylic and have had difficulty tracking it down in an oil.'

Titanium Pale 'Outstanding quality.'

Van Dyke Brown'A very fine high quality oil paint.'

Cadmium Red Medium 'I love the texture and quality of these paints.'

Italian Black Roman Earth'Fantastic, especially for the shadows you get within dense foliage.'


O I L C O L O U R

G A M B L I N A R T I S T ' S O I L C O L O U R

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO G B O 1 5 0 2 � - 1 8 . 6 0

1 5 0 M L T U B E S ( M A R K E D � O N L Y )There's no other oil paint range quite like Gamblin.A long-time favourite in the US, Gamblin Artist's Oils are steadily gaining popularity in the UK as well. Their vibrant evocative colours and beautiful balanced texture make mixing and devising new colours a joy, opening new possibilities on the palette.

C O L O U R S

890 · Radiant White� P W6 � �


820 · Titanium-Zinc White� P W6 P W4 � � �

825 · Flake White Replacement� P W6 � �


840 · Quick Dry White� P W6 � �

800 · Cool White� P W6 PB 15 : 2 P W4 � � �

805 · Warm White� P[0 1 ] � � �

815 · Titanium Buff� P W6 � � �

195 · Caucasian Flesh Tone� P W6 PY4 3 PR 10 8 � �

850 · Radiant Lemon� PY 3 P W6 � �

300 · Hansa Yellow Light� PY 3 � �



310 · Hansa Yellow Medium� PY 74 � �

855 · Radiant Yellow� PY8 3 P W6 � �



315 · Hansa Yellow Deep� PY 74 �



505 · Permanant Orange � PY 74 P G7 � �

125 · Cadmium Orange Deep� P O20 � �

680 · Transparent Orange� PY8 3 PR 1 4 9 � �

860 · Radiant Red� PR 1 4 9 P W6 � �

475 · Napthol Scarlet� PR 18 8 � �



470 · Napthol Red� PR 1 12 � �


520 · Perylene Red� PR 1 4 9 � �



025 · Alizarin Permanent� PR 1 7 7 P G 36 � �

865 · Radiant Magenta� P V 19 P W6 � �


595 · Quinacridone Violet� P V 19 � �


870 · Radiant Violet� P V 2 3 P W6 � �


7 10 · Ultramarine Violet� P V 15 � �

260 · Dioxazine Purple� P V 2 3 � �

320 · Indanthrone Blue� PB60 � �

560 · Prussian Blue� PB2 7:1 � �




875 · Radiant Blue� PB2 9 P W6 � �


210 · Cerulean Blue Hue� P W4 PB 15 � �

400 · Manganese Blue Hue� PB 15:4 � �

880 · Radiant Turquoise� P G7 PB 15 P W6 � �

225 · Cobalt Teal� PB2 8 � �

535 · Phthalo Turquoise� PB 15: 2 P G7 � �


740 · Viridian� P G 18 � �

230 · Cobalt Green� P G 19 � �

541 · Phthalo Emerald� P G 36 � �

885 · Radiant Green� P G 36 PY 3 P W6 � �

270 · Emerald Green� P G 36 P W6 PY 74 � �

500 · Permanent Green Light� PY 74 P G7 � �


660 · Sap Green� PY8 3 PB 15 :1 � �

490 · Olive Green� PBr7 PY 74 PB 15 :1 � �

290 · Green Gold� PY 12 9 � �

675 · Terre Verte� PY4 3 P G 18 PBk 9 � �


110 · Cadmium Chartreuse� PY 3 5 P G 36 � �

480 · Nickel Titanate Yellow� PY5 3 � �

450 · Naples Yellow Hue� P W4 PY 3 7 PY4 3 � �

280 · Gold Ochre� PY4 3 PY8 3 � �

780 · Yellow Ochre� PY4 3 � �

683 · Transparent Earth Yellow� PY42 � �



681 · Transparent Earth Orange� PY42 PR 10 1 � �


330 · Indian Red� PR 10 1 � �

050 · Brown Pink� PR 10 1 PR 1 4 9 � �

682 · Transparent Earth Red� PR 10 1 � �

030 · Asphaltum� PR 10 1 PBk 9 � �



720 · Van Dyke Brown� PBk 9 PBr7 � �

555 · Portland Warm Grey� P W6 PR 10 1 PBk1 1 � �

554 · Portland Cool Grey� P W6 PB2 9 PBk1 1 � �

551 · Portland Grey Light� P[0 2] � �

552 · Portland Grey Medium� P[0 3] � �

553 · Portland Grey Deep� P[0 4] � �

550 · Paynes Grey� PB2 9 PBk1 1 PY42 � �



212 · Chromatic Black� P G 36 P V 19 � �

910 · Copper� P[N A] � �

920 · Pale Gold� P[N A] � �

930 · Rich Gold� P[N A] � �

940 · Silver� P[N A] � �

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO G B O 3 7 1 � - 7. 5 0O G B O 3 7 1 � - 9 . 0 0O G B O 3 7 1 � - 1 2 . 0 0O G B O 3 7 1 � - 1 7. 2 0O G B O 3 7 1 � - 2 1 . 0 0O G B O 3 7 1 � - 2 4 . 5 0

3 7 M L T U B E S

E X C E L L E N T P R O D U C T





Extended pigment index P[0 1 ] : P W6 PY 75 P O 62 P W4 P[0 2] : P W6 P W4 PBr7 PBk1 1 P [0 3] : P W6 P W4 PBr7 PBk1 1 P [0 4] : P W6 P W4 PBr7 PBk1 1 P [N A] : not avai lable



O I L C O L O U R

S H I N H A N A R T I S T S O I L C O L O U R

A range of 109 vibrant artist's colours, including some unique to Shin Han. Rich and creamy in consistency, thus ideally suited to precise mixing on the palette. A great choice for those seeking a good value paint with a broad palette for experimentation.


Extended pigment index P[0 1 ] : P W6 PBk1 1 PR 10 1 PY4 3 P[0 2] : PY 3 7 P O20 PBk7 P W4 P[0 3] : PR 10 8 P V 7 P V 1 1 P W4 P[0 4] : PY 3 7 P G7 PBr24 P W4 P[05 ] : PR 10 1 PY42 P G7 P W4 P[06] : PR 10 1 PY42 P G7 P W4 P[07 ] : PR 1 7 7 PY 1 7 P G8 PB2 9 P[N A] : not avai lable

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO S N 5 0 � 9 . 9 2 6 . 0 0O S N 5 0 � 1 1 . 0 3 6 . 6 0O S N 5 0 � 1 2 . 5 5 7. 5 0O S N 5 0 � 1 4 . 3 1 8 . 6 0O S N 5 0 � 1 6 . 3 5 9 . 8 0

5 0 M L T U B E S

S E T S

725 · Zinc White� P W4 P W6 � �

7 108 · Permanent White� P W6 � �

7 109 · Foundation White� P W 1 P W6 � �

739 · Silver White� P W 1 P W6 � �


753 · Jaune Brilliant No.4� PR 10 1 P O20 P W4 � �

743 · Lemon Yellow Pale� PY 3 P W4 � �

761 · Apricot Yellow� PY 1 P O20 � �


706 · Permanent Yellow Light� PY 1 � �

7 104 · Permanent Yellow� PY 74 � �

728 · Permanent Yellow Deep� PY 1 P O 13 � �


788 · Cadmium Lemon Prim� PY 3 7 � �

769 · Aureolin� PY 3 Pbr24 � �

707 · Permanent Yellow Orange� P[0 1 ] � �

7 76 · Mars Orange� P[0 2] � �

752 · Jaune Brilliant No.3� P O20 P W4 � �

764 · Pink� P[0 3] � �

798 · Shell Pink� PR 18 8 P W6 � �

790 · Aurora Pink� P V 7 BV 1 1 � �

702 · Chinese Red� PR 3 � �

703 · Vermillion Hue� PR4 8:1 PY 1 � �

726 · French Red Vermillion� PR4 8:1 � �

757 · Wine Red� PR 12 � �

758 · Cobalt Violet Pale� P V 2 3 � �

741 · Rose Violet� PR 12 2 P W4 � �

756 · Carmine� PR 8 3 � �

766 · Coral Red� PY 3 7 P O20 P W4 � �

796 · Columbia Red Deep� PR 18 8 � �

797 · Scarlet� PR 18 8 � �

701 · Crimson Lake� PR 1 7 7 � �

742 · Light Red Bright� PR4 8:1 PY 3 PY42 � �

783 · Cadmium Crimson� PR 10 8 � �



786 · Cadmium Orange Pale� P O20 � �

765 · Pink Madder� PR 10 8 � �


7 105 · Lilac� P V 16 P W4 � �

737 · Violet Grey� PB2 9 P V5 P W 18 � �

760 · Mineral Violet� P V 2 3 � �

7 19 · Cobalt Violet Light Hue� P V 16 P W4 � �

734 · Stable Violet� P V5 � �


7 72 · Cobalt Violet Pink� P V 1 4 � �

7 15 · Cobalt Blue Hue� PB 1 7:1 PB2 9 P W4 � �

7 16 · Cerulean Blue Hue� P G7 PB 15 : 3 P W4 � �

7 18 · Compose Blue� P G7 PB 15 : 3 P W4 � �


738 · Blue Grey� P G7 PB 15 : 3 P W4 � �

762 · Hydrangea Blue� PB 15: 3 � �

763 · Manganese Blue� PB 1 7:1 P G7 � �

747 · Verditer Blue� PB2 9 P W4 � �

7 17 · Ultramarine Blue� PB2 9 � �


794 · Indigo� PB 1 � �

733 · Turquoise Blue� PB 1 7:1 P W4 � �

709 · Viridian Hue� P G7 � �

730 · Ice Blue� P G7 PB 15 : 3 � �

7 103 · Dark Green� P G 26 � �

729 · Green Oxide of Chrome� P G7 � �

745 · Compose Green No.1� P[0 4] � �

746 · Green Grey� P[05 ] � �

7 7 1 · Cinnabar Green Deep� PY 3 P G7 PBr7 � �

7 10 · Emerald Green� PY 3 P G7 P W4 � �

7 12 · Permanent Green Pale� PY 1 P G7 � �

7 13 · Permanent Green Middle� PY 1 PB 15 : 3 � �

74 4 · Permanent Green Light� PY 1 P G 18 � �

780 · Viridian Green� P G7 � �

791 · Cobalt Green Pale� P G 19 � �

792 · Cobalt Green Dark� P G 19 � �

7 11 · Sap Green� PY 1 7 P G8 � �

7 70 · Cinnabar Green Light� PY 3 P G7 PBr24 P W4 � �

781 · Grass Green� PR 10 1 P G7 PBk6 � �

789 · Cadmium Green Prim.� PY 3 7 P G 18 � �

704 · Jaune Brilliant No.1� PY 3 7 P O20 P W4 � �

750 · Jaune Brilliant No.2� PY 3 7 P O20 P W4 � �

767 · Beige� PY 3 7 P W4 � �

782 · Greenish Yellow� PY 1 P G7 PBr7 � �

708 · Yellow Ochre� PY42 PBr24 � �

7 101 · Gold Ochre� PR 10 1 P O69 � �

727 · Indian Yellow� PY 12 � �

768 · Brown Red� PBr25 � �

7 100 · Raw Umber Light� PY4 3 � �

7 106 · Burnt Umber Light� PBr7 � �

7 107 · Lamp Black� PBk6 � �


721 · Burnt Umber� PBr 6 � �


748 · Mono Warm� P[06] � �


7 102 · Coffee Brown� PR 1 7 7 PY 12 8 P G7 � �

7 14 · Olive Green� P[07 ] � �

732 · Naples Yellow� PR 10 1 PY42 P W4 � �

759 · Burnt Sienna Deep� PBr 6 � �

7 7 7 · Sepia� PR 10 1 PB2 9 PBr7 � �

736 · Brown Pink� PR 10 1 � �

735 · Red Ochre� PR 10 1 � �

7 74 · Rose Grey No.1� PBr25 PBk6 P W4 � �

7 75 · Rose Grey No.2� PB2 9 PBr25 P W4 � �

755 · Foundation Grey� PY42 PBk6 P W 1 � �

7 79 · Foundation Greenish� P G7 PBk6 P W 1 � �

754 · Foundation Umber� PBr 6 P W 1 � �

724 · Grey of Grey� PBk6 P W4 � �

7 73 · Mono Chrome Cool� PY42 PBk6 P W4 � �

7 78 · Paynes Grey� PB2 9 PBk6 � �

723 · Ivory Black� PBk6 � �

C O L O U R S


O I L C O L O U R

S E N N E L I E R A R T I S T S ' O I L C O L O U R

C O L O U R S

Sennelier gathers only the finest natural and inorganic pigments from all around the world. The pure pigments are ground very slowly with extreme care, to an extra-fine consistency. They are then combined at maximum concentration with archival safflower oil (non yellowing) to yield the highest possible tinting strength and lustrous satin finish.

138 · Unbleached Titanium� P�0 1 � � �

258 · Amber Ochre� PY41 � �




636 · Sennelier Red� PR 25 5 � �

698 · Geranium Lake� PR 20 9 PY8 3 � �


616 · Cadmium Red Medium Hue� PR 1 70 � �


303 · Cobalt Blue Hue� PB2 9 PB 15 : 3 � �

328 · Manganese Blue� P W6 PB 15 :4 � �

136 · Titanium Buff� P W6 PBr24 PY 15 4 � �

567 · Naples Yellow� P W6 P W4 PY 3 PY 74 � �


537 · Cadmium Yellow Orange� PY 3 5 P O20 � �

645 · Chinese Orange� PY 13 PY8 3 � �

613 · Cadmium Red Light Hue� P O7 3 PR 25 4 PY 1 :1 � �

690 · Rose Madder Lake� PR 20 9 � �

689 · Madder Lake Deep� PR 1 79 PR 20 9 PY8 3 � �

639 · Carmine Deep� PR 1 4 6 � �


315 · Ultramarine Deep� PB2 9 P V 2 3 � �


323 · Cerulean Blue Hue� PB 15:4 P W6 � �

253 · Pale Ochre� P W6 PY42 PR 10 1 � �

566 · Naples Yellow Deep� P W6 PY42 PR 10 1 � �

583 · Turner Yellow� PY9 3 � �

561 · Yellow Lake� PY 13 PBr2 3 � �

547 · Cadmium Yell. Orange Hue� PY8 3 P O 4 3 � �

691 · Rose Dore Madder Lake� PR 20 9 PY8 3 � �


699 · Perm. Aliz. Crimson Deep� PR 206 � �

67 1 · Quinacridone Magenta� PR 12 2 � �

917 · Dioxazine Violet� P V 2 3 � �


308 · Indigo Hue� PBk 8 PB 15 : 3 � �

320 · Azure Blue� PB 15:4 P G7 � �

807 · Chromium Green Deep� PB2 7 PY 15 4 P G7 � �

845 · Permanent Green� PY 3 P G 36 � �

568 · Naples Yellow Light� P�0 2� � �

559 · Aureoline� PY4 0 � �

590 · Indian Yellow Orange� PY8 3 � �

674 · Vermillion� P O2 3 PR 25 4 PY 1 :1 � �

649 · Orient Lake� PY8 3 P V 19 � �

657 · Permanent Rose� P W6 PR 20 8 PR 20 9 � �


953 · Ultramarine Rose� PR 259 � �

901 · King's Blue� P W6 PB2 9 P V 16 � �


345 · Bonnard Blue� PB 36 � �

837 · Viridian� P G 18 � �

116 · Titanium White� P W6 P W4 � �



511 · Bright Yellow� PY8 3 � �

661 · Antique Red� P �0 4� � �

696 · Perm. Aliz. Crimson Quin.� P �05� � �

941 · Magenta� P V 19 � �

301 · Blue Grey� P �07� � �

326 · Phthalo Blue� PB 15:1 � �

339 · Turquoise Light� P G50 � �

119 · Zinc White� P W4 P W6 � �

563 · Naples Yellow Warm� P�0 3� � �

545 · Cadmium Yell. Lemon Hue� PY 3 � �

675 · French Vermillion� PR 25 5 PY 1 70 � �

67 7 · Chinese Vermillion� PR4 8:4 PY8 3 � �

911 · Cobalt Violet Hue� P W6 PR 20 9 P V 16 � �

322 · Royal Blue� P W6 PB2 9 PB 15 :6 � �


347 · Alizarin Blue Lake� PB 15: 3 � �

343 · Cobalt Turquoise� P G50 PB 15 :1 P G7 � �

S U C H A L O V E L Y

W A R M C O L O U R

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO T4 0 � 6 . 4 5 5 . 4 0O T4 0 � 7. 7 5 6 . 5 0O T4 0 � 8 . 9 5 7. 3 0O T4 0 � 1 3 . 4 5 1 1 . 2 0O T4 0 � 1 9 . 9 5 1 6 . 7 0O T4 0 � 2 7. 9 5 2 1 . 5 0

4 0 M L T U B E S

539 · Cadmium Yell. Light Hue� PY 3 PY 15 4 � �

503 · Alizarin Yellow Lake� PY 15 4 PY8 3 � �

543 · Cadmium Yell. Deep Hue� PY 15 4 PY8 3 � �

615 · Cadmium Red Orange Hue� P O 13 � �

609 · Cadmium Red Orange� P O20 � �

693 · Chinese Lake� P O6 1 � �

638 · Cinnabar Red� PR 20 8 � �

619 · Permanent Intense Red� P �N A� � �


618 · Cadmium Red Deep Hue� PR 1 70 P V 16 � �

635 · Carmine Red� P �06� � �


399 · Sennelier Blue� PB2 9 PB 15 :6 � �

833 · Cobalt Green Light� P G 19 � �

835 · Cobalt Green Deep� P G 26 � �

818 · Phthalo Green Cool� P G7 � �

817 · Phthalo Green Warm� P G 36 � �

688 · Crimson Lake� PR 20 9 PY8 3 � �

821 · Baryte Green� P W6 PY 3 P G7 � �

395 · Flemish Blue� PB2 9 PB 15 :6 � �

847 · Emerald Green� P W6 P G7 PY 15 4 � �

123 · Zinc Titanium White� P W6 P W4 � �

541 · Cadmium Yellow Med. Hue� PY 3 PY8 3 � �

513 · Warm Bright Yellow� P W4 P W6 PY6 5 � �





Extended pigment index P[0 1 ] : P W6 PBr24 P G 1 7 PBk1 1 P [0 2] : P W6 P W4 PY 15 3 PY 15 4 P[0 3] : P W6 P W4 PY8 3 P O7 3 P[0 4] : PY42 PR 10 1 PR 25 4 PR 20 9 PY8 3 P[05 ] : PR 20 9 PR 1 79 PR 20 2 P[06] : PR 20 2 PR 10 1 PY42 PBk1 1 P[07 ] : P W6 PB2 9 PBk1 1 PB2 7 P[0 8] : PR 107 P W6 P G 36 P O 4 3 P[0 9] : PR 10 1 P G 36 PY8 3 PY 15 4 P[10] : P W6 PY42 PR 20 8 PR 10 1 P[1 1 ] : PBr24 PR 10 1 PY 15 4 P G 1 7 P W6 PY42 P P[12] : PY42 P W6 PR 10 1 P G7 P[13] : PBr23 PR 10 1 PY42 PBk11 P[1 4] : P W6 PBk1 1 PR 10 1 PY42 P[15 ] : P W6 PBk1 1 PR 10 1 PY4 3 P[N A] : not avai lable



O I L C O L O U R


S E T S

829 · Cinnabar Green Deep� P G 36 PY8 3 P W6 � �

827 · Cinnabar Green Light� P�0 9] � �

202 · Burnt Umber� PBk1 1 P W6 PR 10 1 � �

203 · Greenish Umber� PY8 3 PBk7 PB 60 � �

757 · Peach Black� PBk7 PB60 � �


647 · Mars Orange� PY42 PR 10 1 � �

650 · Blush Tint� P�10] � �

813 · Olive Green� PR 10 2 P G 36 � �

412 · Sen. Transparent Brown� PBk 9 P O 4 9 PBr2 3 � �

215 · Cassel Earth� PBk1 1 PR 10 1 � �


47 1 · Madder Brown� PBr2 3 � �

505 · Mars Yellow� PY8 3 P O 4 3 � �


517 · Indian Yellow Hue� PY 13 P G 1 7 � �

205 · Raw Umber� PBk1 1 � �

705 · Warm Grey� P �1 4] � �


407 · Van Dyke Brown� PBr3 3 PR 10 1 � �

211 · Burnt Sienna� PBk1 1 PR 10 1 � �

219 · Italian Earth� P�1 1 ] � �

819 · Sap Green� P G 36 � �

254 · Light Yellow Ochre� PBr24 � �

707 · Cool Grey� P �15 ] � �

629 · Indian Red� PR 10 1 � �

250 · Modigliani Ochre� PR 10 2 PY42 P W4 � �

208 · Raw Sienna� PBk1 1 PY8 3 � �

831 · Cinnabar Green Yellow� PY 15 4 P G 36 � �

257 · Gold Ochre� PY 1 19 PY8 3 � �

438 · Sepia� PBk 9 PY8 3 PR 10 1 � �

703 · Payne’s Grey� PB 60 PBk7 P V 19 � �

919 · Mars Violet (Caput Mortum)� PR 10 1 PB2 9 P V 2 3 � �


255 · Brown Ochre� P�12] � �

849 · Permanent Yellow Green� PY 3 5 P G 1 7 � �

851 · Golden Green� PY 12 9 � �

252 · Yellow Ochre� PR 10 1 PY42 PBk1 1 � �


931 · Neutral Tint� PBk 9 PR 20 9 PB60 � �

259 · Red Ochre� PR 10 1 PR 10 2 � �

825 · Cadmium Green Deep� PY 3 5 P G7 � �

805 · Chromium Green Light� P�0 8] � �

4 45 · Brown Pink� PY8 3 PBr7 � �

217 · Tuscan Earth� PY 1 19 � �

631 · Mars Red� P�13] � �

411 · Van Dyck Brown Deep� PY42 PR 10 1 PBk7 � �

768 · Carbon Black� PBk 8 � �

C U S T O M E R R E V I E W SCinnabar Green Light 'I use WN and Michael Harding Oils and decided to try Sennelier as I like their watercolours. The paint is bright, vibrant and smoother than the other two, and really nice to use. The Cinnabar Green is similar to Sap Green but less intense and mixes well with all the blues and yellows. I'm sticking with it!'

Cinnabar Green Yellow 'This is my favourite green! It is so versatile, it is not as yellow as its name suggests, but a bright, light green that mixes well to create wonderful olive greens, or blue greens depending on your wish!'

Chinese Vermillion 'Beautiful colour, brilliant perfect opacity, covering is unbelievable.'

Naples Yellow Warm'This colour is wonderful for bright flesh tones - I normally use Schmincke Mussini Flesh, but for sunlit flesh, the Sennelier Naples is a better colour. Lovely peachy tone. Sometimes I mix it with white to make the highlights to go on top of Mussini flesh.'

Cinnabar Green Yellow'This is my favourite green! It is so versatile-it is not as yellow as its name suggests, but a bright,light green that mixes well to create wonderful olive greens, or blue greens depending on your wish!'

Phthalo Blue 'Good pigment and tinting strength, a quality oil at a good price.'

Bonnard Blue 'Useful to have an opaque blue that isn't bright.'

Blush Tint 'Lovely paint and a colour that is like a strong peach and very warm in tone. I find it great for underpainting for 'hot' landscapes and makes lovely greys mixed with blues.'

Light Yellow Ochre'This is a beautiful paint, creamy and smooth, and such a lovely warm colour. Love it.'

Light Yellow Ochre'This is a beautiful paint, creamy and smooth, and such a lovely warm colour. Love it.'

Wooden Box Set With Leather StrapsBox size : 3 35 x 24 5 x 90 mm. Contains : 2 2 x 4 0ml tubes , 1 x jar of turpentine 75ml1 x 75ml jar of g loss painting varnish 2 x brushes (351 n° 10 and 350 n°8) 1 x charcoals , 1 x embroided Sennelier cloth 1 x double metal dipper, 1 x wooden palet te , 1 x Painting knife Code: OT40SW22RRP : £ 370.00Price: £278.00


O I L C O L O U R

084 · Zinc White� P[N A] � �

086 · Titanium White� P[N A] � �

087 · Titanium Zinc White� P[N A] � �

147 · Cassel Earth� PBr7 � �


4 41 · Transparent Brown� PBr7 P G 18 � �


243 · Transparent Mars Brown� PR 10 1 � �

141 · Burnt Sienna Light� PBr7 � �

143 · Burnt Sienna Deep� PBr7 � �

221 · Transparent Mars Red� PR 10 1 � �

145 · Brown Ochre� PBr7 � �

341 · Mars Brown� PR 10 1 PY42 PBk1 1 � �

217 · Transparent Mars Yellow� PY42 � �


113 · Golden Ochre� PBr7 � �

117 · Italian Earth� PBr7 � �


146 · Brown Ochre Light� PBr7 � �


313 · Mars Yellow Orange� PY42 � �

123 · Light Red� PR 10 2 � �

321 · Mars Red� PR 10 1 � �

426 · Capucine Yellow Light� PR 1 4 9 PR 10 1 � �

428 · Capucine Yellow Deep� PR 1 4 9 PR 10 1 � �

421 · Rose Madder Pale� PR 1 4 9 � �

425 · Rose Lake� P V 19 � �

427 · Crimson Lake� PR 26 4 � �

429 · Carmine� PR 26 4 P V 19 � �

433 · Magenta� P V 19 � �

825 · Cadmium Purple� PR 10 8 � �


726 · Pyrrolo Red� PR 25 5 � �

521 · Pyrrol Vermilion� P O7 3 � �

821 · Cadmium Red Orange� P O20 � �


7 17 · Cadmium Yellow Deep� PY 3 5 P O20 � �

411 · Naples Yellow� P W4 PY 3 5 PY42 � �

215 · Brilliant Yellow Deep� P W4 PY 3 5 P O20 � �

412 · Naples Yellow Reddish� P[0 1 ] � �

7 13 · Cadmium Yellow Light� PY 3 5 � �



511 · Indian Yellow� PY 15 4 P O7 3 � �

213 · Brilliant Yellow Light� P W4 PY 3 7 � �

612 · Lemon Yellow� PY 18 4 � �

7 11 · Cadmium Yellow Pale� PY 3 5 � �

510 · Primary Yellow� PY 15 4 � �


413 · Baryte Yellow� PY 3 1 � �

562 · Golden Green� PY 15 4 P G 36 � �

163 · Cinnabar Green� PY42 P G7 � �

763 · Cadmium Green Pale� PY 3 5 P G7 � �

765 · Cadmium Green Deep� PY 3 5 P G7 � �

661 · Cobalt Green Light� P G50 � �

464 · Veronese Green� P W4 P G 36 � �

662 · Composed Green Deep� PY4 0 P G 18 � �

565 · Phthalo Green� P G 36 � �

563 · Blockx Green� P G7 � �

561 · Lamoriniere Green� P G 1 7 � �

462 · Thaline Green� P W4 P G7 � �

463 · Composed Green Light� P W4 PY 3 5 P G 18 � �


862 · Viridian� P G 18 � �

663 · Turquoise Green� PB 36 � �

655 · Turquoise Blue� PB 36 � �

651 · Coerulean Blue� PB 36 � �

451 · Thaline Blue� P W4 PB 15 :1 � �

550 · Manganese Blue� P W4 PB 15 : 3 � �




431 · Dioxazine Mauve� P V 2 3 � �

255 · Indigo� PB2 9 PB 15 PBk 9 � �

455 · Primary Blue� PB 15: 3 � �


653 · Cobalt Blue Dark� PB74 � �

253 · Ultramarine Blue Deep� PB2 9 � �

553 · Blockx Blue� PB 15:1 � �

251 · Ultramarine Blue Light� PB2 9 � �



27 1 · Paynes Grey� PBk1 1 PB2 9 � �

273 · Brownish Grey� P W4 PBk1 1 PY42 � �

17 1 · Ivory Black� PBk 9 � �

173 · Vine Black� PBk1 1 � �


B L O C K X O I L C O L O U R

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO X 3 5 � 9 . 0 0 7. 0 0O X 3 5 � 1 0 . 9 0 8 . 5 0O X 3 5 � 1 5 . 1 5 1 1 . 8 0O X 3 5 � 1 8 . 0 0 1 4 . 0 0O X 3 5 � 2 5 . 6 0 1 9 . 8 0O X 3 5 � 3 4 . 1 5 2 6 . 5 0O X 3 5 � 4 9 . 7 5 4 2 . 0 0

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO X 2 0 0 � 3 7. 5 0 2 9 . 5 0

3 5 M L T U B E S 2 0 0 M L T U B E S ( M A R K E D � O N L Y )

C O L O U R S

Hand-ground artists' colours made from the finest selections of pure pigment.With maximum lightfastness, the paints are buttery and easy to mix on the canvas. Iron oxides, earths and blacks are ground with linseed oil; all other pigments are ground with poppyseed oil which is well-known for its anti-yellowing/wrinkling properties.





Extended pigment index P[0 1 ] : P W4 PY 3 5 PY42 P O20 P[N A] : not avai lable



O I L C O L O U R

026 · Super Rapid White� P W4 P W6 � � �

018 · Titanium White� P W4 P W6 � � �

020 · Zinc White� P W4 P W6 � � �

075 · Brilliant Yellow Light� P W4 PY 1 75 � �

076 · Brilliant Yellow Deep� P W4 PY 13 9 PY97 � �

080 · Cadmium Orange� PY 3 5 � �




098 · Indian Yellow� PY97 P O 4 3 � �

105 · Naples Yellow Light� P W4 PY97 PY42 � �

106 · Naples Yellow Reddish� P W4 P W6 P O 4 3 � �

107 · Naples Yellow Deep� P W4 PY42 PY97 � �

110 · Permanent Orange� P O62 P O 4 3 � �

111 · Permanent Yellow Light� PY97 P W6 � �

112 · Permanent Yellow Lemon� PY 197 � �

114 · Permanent Yellow Deep� PY97 PY 13 9 P W6 � �

116 · Primary Yellow� PY97 PY 1 75 � �

131 · Yellow Ochre� PY4 3 PY42 P W4 � �

132 · Yellow Ochre Light� PY4 3 P W6 PY42 � �

134 · Golden Ochre� PY4 3 PY42 P W4 � �


167 · Permanent Carmine� P V 19 PR 206 � �

178 · Permanent Madder Deep� P V 19 PR 206 P V 2 3 � �

214 · Quinacridone Rose Light� P W4 PR 12 2 � �



248 · Mars Red� PR 10 1 � �

249 · Permanent Red Orange� P O 4 3 � �

251 · Permanent Red Light� P O 4 6 PR 25 4 � �

253 · Permanent Red Deep� P V 19 PR 25 4 � �

256 · Primary Red Magenta� PR 12 2 � �

258 · Quinacridone Red� PR 20 9 � �

262 · Venetian Red� PY42 PBr7 PR 10 1 � �

276 · Pozzuli Earth� PY42 PR 10 1 PBr7 � �


284 · Vermillion Light (Hue)� P O 36 PR 25 4 � �

286 · Cinnabar Green Light� PY 1 PB 15 : 3 � �

287 · Cinnabar Green Yellowish� PY 1 PB2 9 � �

288 · Cinnabar Green Deep� PY 1 PB 15 :1 P O 36 � �

290 · Green Lake� PY97 P G7 PB 15 : 3 � �

296 · Green Earth� P G 2 3 P G7 � �

307 · Cadmium Green� PY 3 5 P G7 � �



339 · Permanent Green Light� PY 1 75 P G7 P W6 � �

340 · Permanent Green Deep� P G7 PB 15 :1 PY 1 75 � �

356 · Emerald Green� P W4 PY 1 75 PB 15 : 3 � �

358 · Sap Green� PR 10 1 P G7 � �

370 · Cobalt Blue Light (Hue)� PB2 9 P W4 P W6 � �

37 1 · Cobalt Blue Deep (Hue)� PB2 9 P W4 PB 15 :1 � �


392 · Ultramarine Deep� PB2 9 � �

400 · Primary Blue Cyan � PB 15: 3 PB 16 � �


405 · Kings Blue Light� P W4 PB 36 � �

408 · Turquoise Blue� P W4 PB 16 P G7 � �

410 · Phthalo Blue Green� P G7 PB 15 : 3 � �

414 · Sky Blue� P W4 PB 15 : 3 � �

4 48 · Cobalt Violet (Hue)� P V 19 P V 2 3 � �

463 · Permanent Violet Blueish� P V 2 3 � �

484 · Vandyke Brown� PBr7 PBk 9 PBk7 � �

488 · Brown Stil de Grain� PR 1 4 6 PY8 3 3 P G7 � �

490 · Cassel Earth� PBr7 PBk 8 PBr7 � �


493 · Raw Umber� PBr7 P G 1 7 � �

514 · Paynes Grey� PB2 9 PBk 9 � �

535 · Ivory Black� PBk 9 PBk7 � �


465 · Permanent Violet Reddish� P V 19 P V 2 3 � �

368 · Cerulean Blue� PB 36 PB 15 :1 � �

285 · Vermillion Deep (Hue)� PR 25 4 P V 19 � �


M A I M E R I C L A S S I C O F I N E O I L C O L O U R

C O L O U R S

S E T S

Italian-made oil colours with no waxes or thickeners. Unusually for mid-range paints, Maimeri Classico features real cadmium pigments and a selection of traditional earth colours normally reserved for high-end ranges. Thick in texture and with balanced drying time across all colours.


Extended pigment index P[N A] : not avai lable

Set of 6 Colours6 x 20ml tubes .Code: OMCSET 1RRP : £ 17.95Price: £15.00

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO M C 6 0 � 6 . 9 5 5 . 8 0

6 0 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO M C 2 0 0 � 1 6 . 4 5 1 4 . 1 0


V E R Y G O O D Q U A L I T Y A T V E R Y

R E A S O N B L E P R I C E S


O I L C O L O U R





Extended pigment index P[0 1 ] : P W4 PY 1 PR 9 P W6 PY42 P[0 2] : P W4 PY 1 PR 9 P W6 PY42 P[0 3] : P W4 PY 1 PR 9 P W6 PY42 P[N A] : not avai lable


D A L E R - R O W N E Y A R T I S T S ' O I L C O L O U R

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO D 3 8 � 8 . 2 5 5 . 3 0O D 3 8 � 1 0 . 7 5 6 . 8 0O D 3 8 � 1 8 . 5 0 1 1 . 4 0O D 3 8 � 2 7. 2 5 1 6 . 8 0

3 8 M L T U B E SProfessional quality pigments with a distinctive buttery texture. Using a mix of traditional linseed oil and wax, a plasticiser, the binder is designed to prevent even heavy impasto from becoming brittle and cracking over time.


652 · Rowney Primrose� PY 3 P W4 � �

668 · Naples Yellow 1� P[0 1 ] � �

669 · Naples Yellow 2� P[0 2] � �

670 · Naples Yellow 3� P[0 3] � �

651 · Lemon Yellow� PY 100 PR 8 3 :1 PBk 9 � �

611 · Cadmium Yellow Pale� PY 3 5 � �

674 · Rowney Yellow� PY 3 PY 1 P W4 � �



627 · Chrome Lemon Hue� PY 7 3 P O 3 4 � �

613 · Cadmium Yellow Deep� P O20 PY 3 5 � �

673 · Rowney Golden Yellow� PY5 3 PR 10 1 � �

626 · Chrome Orange Hue� PY 18 4 P W4 � �

615 · Cadmium Orange� P O20 PY 3 5 � �

564 · Rowney Red� PR 9 P O 3 4 � �


588 · Vermillion Hue� PR 25 4 � �


560 · Rose Dore Alizarin� PR 8 3 :1 PR4 � �


569 · Scarlet Alizarin� PR 8 3 :1 PR4 � �

57 1 · Scarlet Lake� PR 9 PR5 � �

515 · Crimson Alizarin� PR 8 3 :1 � �

623 · Chrome Yellow Hue� PY 7 3 � �

565 · Rowney Rose� P V 19 � �

520 · Permanent Geranium� P V 19 PR 9 P O 3 4 � �

509 · Carmine� PR 8 3 :1 P V 19 � �

514 · Crimson Lake� PR 8 3 :1 P V 19 � �

437 · Purple Lake� PR 8 3:1 PR 8 8 � �

409 · Permanent Magenta� P V 19 � �

4 41 · Rowney Red Violet� P[N A] � �


415 · Mineral Violet� P V 16 � �

413 · Permanent Mauve� P V 2 3 � �


127 · Indigo� P G7 PBk7 PB2 9 � �



137 · Permanent Blue� PB2 9 � �

123 · French Ultramarine� PB2 9 � �

147 · Monestial Turquoise Phthalo� PB 15 � �


301 · Alizarin Green� P G7 PY 100 � �

375 · Sap Green� PR 8 3 :1 PY 100 P G7 � �

362 · Monestial Green Phthalo� P G7 � �

354 · Hookers Green No. 2� PY 3 PR 10 1 P G7 � �

379 · Terre Verte Hue� PY42 P G 18 � �

313 · Chrome Green Hue� PY42 PY 1 P G7 P W6 � �

367 · Opaque Oxide Of Chromium� P G 1 7 � �

37 1 · Rowney Emerald� P W4 P G7 PY 3 PY5 3 � �

382 · Viridian Hue� PB 36 P G7 � �

325 · Cobalt Green Deep� PB 36 � �

372 · Rowney Olive� PY 15 3 P G7 � �

363 · Olive Green� PR 8 3 :1 PY 100 P G7 � �

643 · Indian Yellow� PY 74 PY 1 � �

645 · Italian Pink� PY 100 PBk1 1 PR 9 � �

215 · Brown Pink� PY 100 PR 8 3 :1 PBk 9 � �


67 7 · Transparent Gold Ochre� PR 10 1 PY4 3 � �


57 7 · Flesh Tint� P W4 PR 10 1 PY42 � �


211 · Brown Ochre� PR 10 1 PBr7 � �

654 · Mars Orange� PR 10 1 PBr7 � �


527 · Light Red� PR 10 1 � �



207 · Brown Madder Alizarin� PBr7 PR 8 3:1 � �

260 · Rowney Transp. Brown� P O 4 8 � �



264 · Vandyke Brown Hue� PBr7 PBk 9 PR 8 3:1 � �

251 · Sepia� PBr7 PBk 9 � �

065 · Paynes Grey� PB2 9 PBk7 � �



033 · Blue Black� PBk 9 PBk7 � �

111 · Coreuleum� PB 3 5 � �

136 · Monestial Blue Phthalo� PB 15 � �

C O L O U R S

001 · Zinc White � P W4 � �


1.5 MM SPACE

D A L E R - R O W N E Y G E O R G I A N O I L C O L O U R

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO D G 3 8 � 3 . 7 5 2 . 8 0

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO D G 7 5 � 5 . 9 5 4 . 3 0

3 8 M L T U B E S 7 5 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO G 2 2 5 � 1 3 . 9 5 9 . 8 0

2 2 5 M L T U B E S

C O L O U R S

003 · Underpainting White� P W6 P W4 � �

007 · Mixing White� P W6 P W4 � �



635 · Naples Yellow� P[0 1 ] � �


617 · Cadmium Yellow Pale Hue� PY 7 3 PY 3 � �

588 · Vermillion Hue� PY 7 3 P O 3 4 PR 2 10 � �

512 · Pyrrole Red� PR 25 4 � �

137 · Permanent Blue� PB2 9 � �

352 · Hooker's Green� P G7 PR 10 1 � �

347 · Permanent Green Light� PY 3 P G7 PY42 � �

523 · Indian Red� PR 10 1 � �



505 · Cadmium Red Light Hue� P O 3 4 PR 1 12 � �

561 · Rose Madder (Quinacridone)� P V 19 � �

110 · Cobalt Blue� PB2 8 PB2 9 � �





620 · Cadmium Yellow Hue� PY 3 5 PY 74 � �

503 · Cadmium Red� PR 10 8 PR 25 4 � �

409 · Primary Magenta� P V 2 3 � �

531 · Brilliant Rose� PR5 PR 1 12 P W6 � �

142 · Primary Cyan� PB 15 � �

338 · Emerald Green Hue� PY 3 P G7 P W4 � �

667 · Raw Sienna� PY42 PR 10 1 � �


618 · Cadmium Yellow Deep Hue� PY8 3 PY 3 � �

504 · Cadmium Red Deep Hue� PR5 PY 7 3 PR 10 1 � �

406 · Cobalt Violet Hue� P V 2 3 P V 19 � �


375 · Sap Green� P G7 PY 7 3 PR 10 1 � �

024 · Buff Titanium� P W6 � �


619 · Cadmium Orange Hue� P O 3 4 PY 7 3 PY42 � �

57 1 · Scarlet Lake� PR5 PR 1 12 � �

413 · Permanent Mauve� P V 2 3 � �

112 · Coeruleum Hue� P[0 2] � �

379 · Terre Verte Hue� P G7 PY42 PBr7 � �

57 7 · Flesh Tint� P[0 3] � �

264 · Van Dyke Brown Hue� PBr7 PBk 9 PR 1 70 � �

628 · Pyrrole Orange� P O7 3 � �

515 · Alizarin Crimson� PR 1 7 7 � �



4 42 · Violet Gray� PB2 9 P W6 P V 2 3 � �

128 · Light Blue� PB2 9 PB 15 P W6 � �

133 · Blue Grey� PB2 9 P W6 PBk 9 � �

388 · Yellow Green� PY 74 P G 1 7 P W6 � �


065 · Payne's Grey� PBk7 PB2 9 � �

These Georgian oils are manufactured to replicate Daler-Rowney's Artist Oil Range but with economy in mind the same manufacturing standards with just a little less pigment saturation. Despite this, the range offers high performance colours that our customers love.

Water-Mixable Oil Star ter Set Contains 6 x 20ml tubes .Code: ODGWSET226RPP : £ 14.95Price: £10.80

Water-Mixable Oil Introduction Set Contains 10 x 20ml tubes .Code: ODGWSET2010RPP : £ 19.95Price: £14.40

Water-Mixable Oil Selection Set Contains 10 x 37ml tubes .Code: ODGWSET37 10RPP : £ 29.95Price: £22.00

1.5 MM SPACE

Oil Star ter SetContains 6 x 2 2ml tubes .Code: ODG150RPP : £ 15.50Price: £14.00

Oil Intro Set Contains 10 x 2 2ml tubes .Code: ODG050RPP : £ 25.50Price: £22.00

Oil Selection SetContains 10 x 38ml tubes .Code: ODG650RPP : £ 3 4.75Price: £29.50

Oil Jumbo Set Contains 9 x 120ml tubes .Code: ODG175RPP : £ 59.95Price: £51.00

Oil Classic Set Contains 8 x 75ml tubes .Code: ODGSET 758RPP : £ 4 3.95Price: £36.00

Oil Mixing Set Contains 5 x 75ml tubes .Code: ODGSET 755RPP : £ 27.50Price: £22.50

O I L S E T S

W A T E R - M I X A B L E O I L S E T S


Extended pigment index P[0 1 ] : P W4 PY8 3 PR 9 PY42 P W6 P[0 2] : PB 3 5 PB2 9 PB 15 P W6 P[0 3] : P W4 PR 10 1 PY42 P W6 P[N A] : not avai lable

O I L C O L O U R


O I L C O L O U R

T A L E N S V A N G O G H O I L C O L O U R

104 · Zinc White� P W4 � � �


118 · Titanium White (Linseed)� P W6 P W4 � � �

267 · Azo Yellow Lemon� PY 3 P W6 � � �

208 · Cadmium Yellow Light� PY 3 5 � � �

268 · Azo Yellow Light� PY 3 PY 74 P W6 � � �

27 1 · Cadmium Yellow Medium� PY 3 5 � � �

269 · Azo Yellow Medium� PY 74 P W6 � � �

210 · Cadmium Yellow Deep� PY 3 5 P O20 � � �

270 · Azo Yellow Deep� PY 74 P O 4 3 P W6 � � �

24 4 · Indian Yellow� PY 1 10 � � �

223 · Naples Yellow Deep� P[0 2] � � �

222 · Naples Yellow Light� P[0 1 ] � � �

224 · Naples Yellow Red� P W6 P O 4 3 PBr24 � � �

211 · Cadmium Orange� P O20 � � �

276 · Azo Orange� P O 4 3 PY 3 � � �

312 · Azo Red Light� P O 3 4 � � �

311 · Vermilion� P O 3 4 PR5 7:1 � � �

303 · Cadmium Red Light� PR 10 8 � � �

393 · Azo Red Medium� P O 3 4 PR5 7:1 � � �

314 · Cadmium Red Medium� PR 10 8 � � �

372 · Permanent Red� PR 25 4 � �

313 · Azo Red Deep� P O 3 4 PR5 7:1 � � �


366 · Quinacridone Rose� P V 19 � � �

327 · Madder Lake Light� PR 8 3 P V 19 � � �

318 · Carmine� PR 8 3 PR5 7:1 � � �


331 ·Madder Lake Deep� PR 8 3 � � �


567 · Permanent Red Violet� P V 2 3 PR 12 2 � �

536 · Violet� P V 2 3 � �

504 · Ultramarine� PB2 9 � � �


512 · Cobalt Blue (Ultramarine)� PB2 9 � � �

530 · Sèvres Blue� PB 15 P W6 � � �

534 · Cerulean Blue� PB 3 5 � � �

535 · Cerulean Blue (Phthalo)� PB 15 P W6 � � �

570 · Phthalo Blue� PB 15 � � �


522 · Turquoise Blue� P W6 PB 15 P G7 � � �


617 · Yellowish Green� P G7 PY 74 � � �

614 · Permanent Green Medium� P G7 PY 3 � � �

615 · Emerald Green� P W6 PB 15 PY 3 � � �

619 · Permanent Green Deep� PB 15 PY 74 � �

675 · Phthalo Green� P G7 � � �

616 · Viridian� P G7 PY4 3 � � �

623 · Sap Green� P G7 PY 1 10 � � �

654 · Fir Green� P G7 PY4 3 � �


629 · Green Earth� PY4 3 PBr7 PB 15 � �

620 · Olive Green� P G7 PY 12 8 � � �

227 · Yellow Ochre� PY42 � � �

234 · Raw Sienna� PY4 3 � � �



411 · Burnt Sienna� PBr7 � � �

339 · Light Oxide Red� PR 10 1 � � �

347 · Indian Red� PR 10 1 � �



403 · Vandyke Brown� PBr7 PBk 9 � � �

708 · Paynes Grey� PBk 9 PB 15 � � �


702 · Lamp Black� PBk 9 PB2 9 � � �

C O L O U R S

A wide and balanced palette of lively, intense colour. Designed for good value. The combination of a thick, smooth texture and good pigment content means these paints lend themselves to a wide range of techniques. They're especially useful for students looking for an affordable, good quality range, as Van Gogh uses the same pigment range as Rembrandt but in more economical proportions.

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO R V4 0 � 3 . 5 0 2 . 6 0O R V4 0 � 5 . 5 0 4 . 1 0

4 0 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO R V 2 0 0 � 9 . 9 5 7. 4 0O R V 2 0 0 � 1 9 . 9 6 1 4 . 8 0






Extended Pigment Index P[0 1 ] : P W6 PY 15 4 PBr24 P[0 2] : P W6 PY 15 4 PBr24 P[N A] : not avai lable


S T U D E N T S


W I N S O R & N E W T O N W I N T O N O I L C O L O U R

O I L C O L O U R

C O L O U R S

With good covering power and tinting strength, this is an economical range ideal for students. Paint texture is uniform across all colours, slightly stiff and offering excellent retention of brush and palette knife strokes. Formulated with moderately priced pigments rather than lessening pigment content to an unacceptable level.


Extended pigment index P[0 1 ] : P W6 PY42 P W4 PY 74 PR 18 8 P[0 2] : P W5 PB2 9 PB 15 :1 PBk6 P W6 P W4 P[N A] : not avai lable

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO W W 3 7 � 3 . 9 5 3 . 0 0

3 7 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO W W 2 0 0 � 1 5 . 5 0 1 1 . 6 0

2 0 0 M L T U B E S

S E T S

64 4 · Titanium White � P W6 P W4 � �


242 · Flake White Hue� P W6 P W4 P W5 � �

415 · Soft Mixing White � P W6 P W4 � �

346 · Lemon Yellow Hue� PY 7 3 P W6 � �

087 · Cadmium Lemon Hue� PY 3 PY 74 � �

119 · Cadmium Yellow Pale Hue� PY 74 � �

149 · Chrome Yellow Hue� PY 74 PY6 5 P W6 � �

109 · Cadmium Yellow Hue� PY6 5 P O7 3 � �

115 · Cadmium Yellow DeepHue� PY6 5 P O7 3 P W6 � �

090 · Cadmium Orange Hue� PY6 5 P O7 3 � �

257 · Flesh Tint� P[0 1 ] � �


095 · Cadmium Red Hue� PR 18 8 P W6 PR 1 12 � �

682 · Vermilion Hue� P W6 P O 36 PR 1 70 � �

098 · Cadmium Red Deep Hue� PR 1 70 P O 36 � �

480 · Permanent Geranium Lake� PR 20 9 � �

502 · Permanent Rose� P V 19 � �

478 · Permanent Crimson Lake� PR 1 7 7 PB2 9 � �

468 · Permanent Alizarin Crimson� PR 1 7 7 � �

380 · Magenta� PR 12 2 PB 15 : 3 P W6 � �

194 · Cobalt Violet Hue� P V 19 P V 2 3 P W6 � �


138 · Cerulean Blue Hue� P W4 P G7 PB 15 :1 � �

179 · Cobalt Blue Hue� P[0 2] � �


516 · Phthalo Blue� PB 15 � �


241 · Emerald Green� PY 74 P G7 P W6 � �

483 · Permanent Green Light� PY 74 PB 15 : 3 P W6 � �

145 · Chrome Green Hue� PY 74 P G7 PY42 P W6 � �



637 · Terre Verte� P G7 � �

599 · Sap Green� PY 1 10 PB 15 � �

422 · Naples Yellow Hue� P W6 PY42 PR 10 1 � �

74 4 · Yellow Ochre� PY42 � �

552 · Raw Sienna� PY4 3 PBk 9 PR 10 2 � �

362 · Light Red� PR 10 1 � �

317 · Indian Red� PR 10 1 � �

074 · Burnt Sienna� PR 10 1 PBk1 1 � �


676 · Vandyke Brown� PBr7 NatBr 8 � �

554 · Raw Umber� PBr7 PBk 9 PR 10 1 � �

465 · Payne's Grey� PB2 9 PBk7 P W6 � �



Set of 6 x 2 1ml TubesCode: OW WS617RRP : £ 17.00Price: £13.20

Set of 10 x 37ml TubesCode: OW WS1RRP : £ 4 0.00Price: £3 1.00

Large Ar t Box SetCode: OWG1492691RRP : £ 3 4.99Price: £26.00

Set of 10 x 2 1ml TubesCode: OW WS618RRP : £ 28.50Price: £22.50 S T U D E N T S


O I L C O L O U R

L U K A S S T U D I O O I L C O L O U R

C O L O U R S

A reliable, good quality large tube paint.Lukas's use of the best classic and modern artist's pigments in high concentration gives this range of oils a well-balanced spectrum, high intensity colour and excellent covering power, at a price that encourages large scale work and experimentation.

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO K 2 0 0 � 1 0 . 9 5 9 . 9 0

2 0 0 M L T U B E S





Extended Pigment Index P[0 1 ] : P W5 PY 3 PY42 PR 10 1 P [0 2] : P W5 PY 3 PY42 P O 3 4 P[0 3] : PR 1 76 PB2 9 PB 15 :1 PBk7 P[N A] : not avai lable

Limited colours S ome tube/tub s izes are only avai lable in cer t a in colours marked a s shownn


207 · Opaque White� P W5 � �


222 · Flesh Colour� P W5 PY 3 5 P O20 � �

209 · Beige� P W6 P W4 PY 3 5 � �

212 · Brilliant Yellow� P W4 PY 3 5 � �

234 · Naples Yellow � P[0 1 ] � �

236 · Naples Yellow Reddish� P[0 2] � �

210 · Lemon Yellow (Primary)� PY 3 � �

226 · Cadmium Yellow Light Hue� P W6 PY 1 � �

227 · Cadmium Yellow Hue� PY6 5 � �

224 · Indian Yellow� PY8 3 P O 36 � �

229 · Cadmium Orange Hue� P O 3 4 P O62 � �

272 · Cadmium Red Light Hue� P O 3 4 � �

286 · Vermillion� PR 9 � �

274 · Cadmium Red Deep Hue� PR 1 12 � �

261 · Carmine� PR 1 70 � �

250 · Magenta Red (Primary)� PR 12 2 � �

266 · Alzarin Crimson Hue� PR 10 1 PR 1 76 PBk1 1 � �

329 · Mauve� P V 2 3 P V 19 � �

327 · Cobalt Violet Hue� P V 2 3 � �

338 · Sky Blue� P W5 PB2 9 � �

320 · Cyan Blue (Primary)� P W6 PB 15 : 3 � �

321 · Cerulean Blue Hue� P W6 PB 15 :1 PB 16 � �

323 · Cobalt Blue Hue� P W6 PB2 9 P G7 � �

337 · Ultramarine� PB2 9 � �

345 · Phthlao Blue� PB 15: 3 � �


355 · Turquoise� P W5 PB 15 P G7 � �

356 · Emerald Green� P W5 P G7 � �

363 · Permanent Green� P W6 PY 1 P G7 � �

354 · Viridian Phthlao� P G7 � �

375 · Green Yellowish� P W6 PY 3 P G7 � �

365 · Sap Green� PY42 PY8 3 P G7 � �


357 · Olive Green� PY42 P G7 PBk1 1 � �





252 · Caput Mortuum� PR 10 1 � �

301 · Cassel Earth� PY 74 PR 1 76 PBk7 � �

311 · Burnt Umber� PY42 PR 10 1 PBk7 � �

310 · Raw Umber� PR 10 1 � �

312 · Van Dyke Brown� PBr7 � �

322 · Indigo� P[0 3] � �

384 · Payne's Grey� PR 26 4 P G7 � �

382 · Ivory Black� PBk7 � �

C U S T O M E R R E V I E W SNaples Yellow'Surprisingly good paint; much higher quality than the price tag suggests! Creamy consistency and good coverage. A gorgeous shade of Naples yellow too (not green yellow or pale ochre), exactly what I wanted.'

Titanium White'Really good paint, lovely bright clear white in colour, opaque, and less stiff than other titanium whites that I've used. I am continually impressed with the quality of this relatively cheap brand of paint!'

Yellow Ochre'You can rarely go wrong with yellow ochre in any brand, and this one is lovely.'

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO K 5 0 0 � 2 2 . 9 5 2 1 . 0 0

5 0 0 M L T U B S ( M A R K E D � O N L Y )

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO K 2 0 0 0 � 8 9 . 9 5 8 1 . 0 0

2 L T U B S ( M A R K E D � O N L Y )


O I L C O L O U R & E G G T E M P E R A

S E N N E L I E R E T U D E O I L C O L O U R


501 · Lemon Yellow� PY4 PY 3 P W6 � �

539 · Cadmium Yellow Light Hue� PY 1 P W6 � �

543 · Cadmium Yellow Deep� PY 3 PY 1 :1 P W6 � �

547 · Cadmium Yellow Orange� PY 1 :1 � �

615 · Cadmium Red Orange� PY 13 PR4 � �

613 · Cadmium Red Light� PR4 PR 3 � �

681 · Bright Red� PR 25 4 � �

674 · Vermilion� PR 3 P W6 � �

606 · Cadmium Red Deep Hue� P V 19 � �

689 · Alizarin Crimson� PR 8 3 PY 13 � �

635 · Carmine� PR 8 3 P V 2 3 � �

913 · Cobalt Violet Deep� PB2 9 PR4 8: 2 � �

911 · Cobalt Violet Light� P V 16 P W6 � �


303 · Cobalt Blue Hue� PB2 9 PB 15 : 3 P W4 � �

360 · Phthalocyanine Blue� PB 15: 3 PBk 9 P V 2 3 � �

323 · Cerulean Blue� PB 15:4 � �

320 · Azure Blue� PB 15: 3 P W6 � �

341 · Turquoise� P[0 1 ] � �

807 · Phthalo Green Deep� P G7 PB 15 : 3 PY 1 :1 � �

869 · Viridian� P G7 � �

847 · Emerald Green� P G7 PY 1 P W6 � �

873 · Phthalo Green Bright� P G7 PY 1 :1 � �

87 1 · Bright Yellow Green� P G 36 PY 1 P W6 � �

805 · Phthalo Green Light� P G7 PY 1 PBk 9 P W6 � �

213 · Green Earth� P[0 2] � �

205 · Raw Umber� PR 10 1 PY42 PBk1 1 � �

567 · Naples Yellow� PY 1 PY42 P W6 � �

252 · Yellow Ochre� P[0 3] � �

208 · Raw Sienna� PR 10 1 PY42 PBk1 1 � �

250 · Flesh Ochre� Pr10 1 PY42 P W6 � �

259 · Red Ochre� PR 10 1 PY42 PBk1 1 � �

211 · Burnt Sienna� PR 10 1 PY42 PBk1 1 � �

202 · Burnt Umber� PR 10 1 PY42 PBk1 1 � �


C O L O U R S

Affordable paints in traditional shades, great for beginners.Including three accurate primaries optimised for colour mixing, allowing the artist to create a vast palette of colour. Larger tubes are ideal for student artists looking to work in large formats or thick applications.

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO E 2 0 0 � 9 . 5 0 7. 8 0

2 0 0 M L T U B E S

S E N N E L I E R E G G T E M P E R A

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eE T S � 7. 5 0 6 . 5 0E T S � 7. 9 5 6 . 8 0E T S � 8 . 7 5 7. 5 0E T S � 9 . 9 5 8 . 6 0E T S � 1 1 . 9 5 1 0 . 3 0

2 1 M L T U B E S Authentically formulated, in a ready-to-use tube format.Semi-opaque, water-soluble and permanent paints, wonderful for fine art painting, restoration and icon work. An excellent choice for oil painters looking for a solvent-free medium. Delicate colour, not recommended for impasto work.

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eE T S 3 4 � 9 . 9 5 8 . 6 0E T S 3 4 � 9 . 9 5 8 . 6 0

3 4 M L T U B E S ( M A R K E D I N � O N L Y )

C O L O U R S


119 · Zinc White� P W4 � � �




537 · Cadmium Yellow Orange� P O20 � �

674 · Vermillion � PR4 � �

688 · Crimson Lake� PR 8 1 : 3 � �

689 · Alizarin Crimson� PR 12 2 PR4 8: 2 � �

619 · Permanent Intense Red� PR 3 � �


635 · Carmine� PR 8 3 :1 PR4 8: 2 � �

690 · Rose Madder Lake� P V 19 � �

948 · Cobalt Violet Hue� P V5 P V 2 3 � �





837· Viridian� P G 18 � �

845 · Permanent Green� P G7 PY 3 PY 1 � �

847 · Emerald Green� P G7 PY 15 4 � �

567 · Naples Yellow� PY 3 PY 1 PY 1 :1 P W6 � �

517 · Indian Yel low� PY4 3 PY 1 PY 13 � �





259 · Red Ochre� PR 10 1 � �

405 · Red Brown� PY4 3 PR 10 1 � �

407 · Van Dyke Brown� PBr7 NatBK6 � �


755 · Ivory Black� PBk1 1 PBk1 � � �


Extended pigment index P[0 1 ] : PB 15 : 3 P G7 P W4 P W6 P[0 2] : P G 2 3 PY42 P G7 PBk1 1 P[0 3] : PY42 PR 10 1 P W6 PBk1 1 P [N A] : not avai lable

S E T S

Eg g Tempera Star ter Set of 5 x 2 1ml TubesCode: ETSSETRRP : £ 38.95Price: £34.00

Eg g Tempera Wooden Gif t Box Set of 12 x 2 1ml TubesCode: ETSWSETRRP : £ 16 4.95Price: £142.00


O I L C O L O U R


001 · Zinc Mixing White� P W6 P W4 � �



620 · Cadmium Yellow Hue� PY 7 3 PY8 3 � �

618 · Cadmium Yellow Deep Hue� PY8 3 � �

631 · Yellow Orange� PY 7 3 PR 9 � �

619 · Cadmium Orange Hue� PY 7 3 PR 1 12 � �

588 · Vermilion Hue� PY 7 3 PR 1 12 � �

503 · Cadmium Red Hue� PR 1 12 � �

540 · Primary Red� PR5 � �

513 · Crimson� PR 1 70 � �

563 · Rose Madder� P V 19 � �

409 · Permanent Magenta� PR 12 2 � �

450 · Violet� P V 19 � �

123 · Utramarine� PB2 9 � �



120 · Primary Blue� PB 15: 3 � �


112 · Coeruleum Hue� P W6 PB 15 : 3 � �


352 · Hooker's Green� PY 7 3 PB2 7 � �

375 · Sap Green� PY 7 3 PB 15 � �

368 · Olive Green� P G7 PR 10 1 PY 7 3 � �

388 · Yellow Green� PY 74 P W6 P G 1 7 � �

635 · Naples Yellow� P W6 PY8 3 � �

024 · Buff Titanium � P W6 � �

573 · Portrait Pink� P W6 PR 10 1 � �


667 · Raw Sienna� PY42 PR 10 1 � �





065 · Payne's Grey� PB2 9 PBk7 � �



702 · Silver� P W6 PBk7 � �

708 · Gold� P W6 PR 10 1 � �

707 · Gold Rich� P W6 PR 10 1 � �

230 · Copper� P W6 PR 10 1 � �

C O L O U R S

D A L E R - R O W N E Y G R A D U A T E O I L C O L O U R

Value range of 42 vibrant colours, many single-pigment, with a uniform low gloss finish.The addition of modern drying agents makes this range reach surface dryness in 4-5 days, whilst remaining easy to mix and suitable in texture for both smooth brush and impasto work.

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO G R 3 8 � 2 . 6 5 2 . 4 0

3 8 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO G R 2 0 0 � 6 . 2 5 5 . 7 0

2 0 0 M L T U B E S






C O L O U R S

S C H M I N C K E A K A D E M I E O I L C O L O U R

Brilliant colour, ideal for beginners and heavy users alike.Lightfast, quick-drying and heavy-body, made from highly concentrated, high-quality pigments, linseed oil and sunflower oil.

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO S A 2 0 0 � 1 1 . 6 4 1 1 . 0 0

2 0 0 M L T U B E S



104 · Mixing White� P W5 � �

200 · Ivory� P W6 PY5 3 � �

201 · Sand� PBr24 P W6 PY42 � �

202 · Flesh Tint� P W6 PY42 PR 10 1 � �

218 · Primary Yellow� PY 3 PY 74 P W5 P W6 � �

226 · Cadmium Orange Tone � P O67 PY 74 P W5 � �

304 · Vermilion Red� PR 1 12 � �

224 · Indian Yellow� PY 15 3 � �

220 · Cadmium Yellow Tone� PY 74 P W5 P W6 � �

222 · Chrome Yellow Hue� PY 74 P W5 PR 10 1 � �

306 · Cadmium Red Hue� PR 25 4 P W5 � �

308 · Carmine� PR 1 70 � �

506 · Sap Green� PB2 9 PY 150 � �

312 · Madder Lake� PR 1 79 � �

502 · Chromium Oxide Green B� P G 18 � �

504 · Green Earth� PB 60 PY 150 PY42 � �

310 · Ruby� PR 25 4 PR 10 1 � �

314 · Primary Magenta� PR 12 2 P W5 P W6 � �

316 · Violet� P V 2 3 � �

400 · Royal Blue� PB2 9 P W6 � �

402 · Primary Cyan� PB 15: 3 P W5 P W6 � �

404 ·Cobalt Blue Tone� P[0 1 ] � �



606 · Sienna� PY42 PR 10 1 � �

410 · Indigo� PB 15: 3 PR 10 1 � �

608 · Burnt Sienna� PR 10 1 PBr 6 � �



414 · Aquamarine Turquoise� PB 15: 3 P G7 P W6 � �

614 · Vandyke Brown� PR 10 1 PBk7 � �

500 · May Green� P[0 2] � �

704 · Lamp Black� PBk1 1 PBk7 � �


K E YExtended pigment index P[0 1 ] : PB2 9 PB 15 : 3 P V 2 3 P W6 P W4 P[0 2] : PY 74 P G 36 P W5 P W6 P[N A] : not avai lable


W A T E R - M I X A B L EO I L C O L O U R

T A L E N S C O B R A A R T I S T W A T E R - M I X A B L E O I L C O L O U R

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO R C 4 0 � 4 . 9 9 3 . 7 0O R C 4 0 � 5 . 7 5 4 . 3 0O R C 4 0 � 7. 7 5 5 . 8 0O R C 4 0 � 1 2 . 9 0 9 . 6 0

4 0 M L T U B E S Cobra water mixable paints show very little difference in performance to painting with traditional oils.However they have a uniform drying time as well as degree of gloss across the range, which beginners may find easier to work with. A beautiful colour range put together by the experts at Royal Talens.

C O L O U R S

104 · Zinc White� P W 7 � �

291 · Titanium Buff� P W 7 PY42 PBk 9 � �


254 · Permanent Lemon Yellow� PY 18 4 � �

275 · Primary Yellow� PY 18 4 PY 15 4 � �

272 · Transparent Yellow Medium� PY 12 8 � �

283 · Permanent Yellow Light� PY 15 4 � �


284 · Permanent Yellow Medium� PY 15 4 � �

24 4 · Indian Yellow� PY 1 10 � �

222 · Naples Yellow Light� P W 7 PY 15 4 PBr24 � �

223 · Naples Yellow Deep� P W 7 PY 15 4 PBr24 � �

285 · Permanent Yellow Deep� PY 15 4 P O 4 3 � �

210 · Cadmium Yellow Deep� PY 3 5 P O20 � �


266 · Permanent Orange� PY 15 4 P O 4 3 � �

224 · Naples Yellow Red� P W 7 P O 4 3 PBr24 � �

311 · Vermilion� P O 4 3 � �


340 · Pyrrole Red Light� PR 25 4 P O 4 3 � �

317 · Transparent Red Medium� PR 207 � �


315 · Pyrrole Red� PR 25 4 � �

345 · Pyrrole Red Deep� PR 25 4 PR 26 4 � �

318 · Carmine� PR 1 76 � �

389 · Madder Lake� PR 26 4 � �

369 · Primary Magenta� P V 19 � �

330 · Persian Rose� P W 7 PR 20 2 � �

57 7 · Permanent Red Violet Light� PR 20 2 P W 7 � �

567 · Permanent Red Violet� P V 2 3 PR 12 2 � �

536 · Violet� P W 7 PR 12 2 P V 2 3 � �

568 · Permanent Blue Violet� P V 2 3 PR 12 2 � �

548 · Blue Violet� P W 7 PB2 9 P V 2 3 � �

562 · Greyish Blue� P W 7 PB2 9 PBk 9 � �



512 · Cobalt Blue (Ultramarine)� PB2 9 PB 15 � �

517 · King’s Blue� P W 7 PB2 9 � �



535 · Cerulean Blue (Phthalo)� PB 15 P W 7 � �


572 · Primary Cyan� PB 15 P W 7 � �

522 · Turquoise Blue� P W 7 PB 15 P G7 � �


617 · Yellowish Green� P G7 PY 15 4 � �

618 · Permanent Green Light� P G7 PY 15 4 � �

615 · Emerald Green� P W 7 P G7 PY 15 4 � �


619 · Permanent Green Deep� P G7 PY 15 4 � �

623 · Sap Green� P G7 PY 1 10 � �

620 · Olive Green� P G7 PY 1 10 PR 26 4 � �



234 · Raw Sienna� PY42 PBk1 1 � �

339 · Light Oxide Red� PR 10 1 � �




408 · Raw Umber� PY42 PBk1 1 � �

409 · Burnt Umber� PR 10 1 PBk1 1 � �

403 · Vandyke Brown� PR 10 1 PBk1 1 � �

708 · Payne's Grey� PBk 9 PB 15 P V 19 � �


702 · Lamp Black� PBk 9 PB2 9 � �

800 · Silver� P W6 PBk1 1 � �

802 · Light Gold� P W6 PR 10 1 � �

803 · Deep Gold� P W6 PR 10 1 � �




Star ter Set Contains 5 x 4 0ml tubes .Code: ORCS505RPP : £ 32 .50Price: £24.50

Value Pack Set Contains 10 x 4 0ml tubes .Code: ORCS510RPP : £ 5 3.50Price: £ 40.00

Gif t Box Set with AccessoriesContains 12 x 4 0ml tubes , medium, 2 brushes , painting knife , charcoal , pallete cup and palet te .Code: ORCS001RPP : £ 130.00Price: £97.00

S E T S


W A T E R - M I X A B L E O I L C O L O U R

H O L B E I N D U O A Q U A O I L C O L O U R

Holbein's Duo Aqua were the world's first artist quality water-mixable oil colour.The texture and characteristics are hard to differentiate from traditional oils. The range offers 80 high chroma colours, 75 of which are fully lightfast. The paints can be washed with soap and water meaning you no longer need to keep heady-fumed solvents in your studio. Drying time can be as little as 24 hours for thin applications. You can even mix these with acrylics so long as you add a few drops of water too. "Creamy paint, lovely colour. Mixes well with Artisan too" – Customer review.

C O L O U R S

460 · Permanent White� P W6 � � �


462 · Ceramic White� P[N A] � � �

216 · Brilliant Pink� PR 1 12 P W6 � � �

236 · Cadmium Yellow Lemon� PY 3 5 � � �

254 · Cobalt Green Light� P G 19 � � �

218 · Cadmium Orange� PR 10 8 � � �

219 · Imidazolone Orange� P O 36 � � �

221 · Naples Yellow� P[0 1 ] � � �

222 · Naples Yellow Light� PY5 3 PY42 � � �

223 · Jaune Brilliant� PY 3 PR 18 8 P W6 � � �

225 · Yellow Ochre Natural� PY4 3 � � �

226 · Imidazolone Yellow� PY 180 � � �

227 · Imidazolone Yellow Light� PY 15 4 � � �

228 · Lemon Yellow� PY5 3 PY8 1 P W4 � � �

229 · Yellow Ochre� PY42 � � �

230 · Aureolin Hue� PY 74 PR 10 1 � � �

231 · Cadmium Yellow Light Hue� PY 74 PY8 3 P W6 � � �

232 · Cadmium Yellow Hue� PY 74 PY 1 70 P W6 � � �

233 · Cadmium Yellow Deep Hue� PY 74 PR 18 8 P W6 � � �

234 · Indian Yellow� PY8 3 PR 10 1 � � �

235 · Greenish Yellow� P[0 2] � � �


202 · Rose Madder� PR 20 9 PR 2 2 1 � � �

203 · Rose Dore� PR 1 4 4 � � �

205 · Cadmium Red Hue� PR 25 4 � � �

206 · Cadmium Red Deep Hue� PR 1 70 � � �

207 · Cadmium Purple Red Hue� PR 1 70 � � �

208 · Vermillion (Hue)� PR 18 8 P O7 3 � � �

209 · Anthraquinone Red� PR 1 7 7 � � �

210 · Quinacridone Red� P V 19 � � �

211 · Quinacridone Scarlet� PR 20 9 � � �

212 · Naphthol Red� PR 1 70 � � �

214 · Cadmium Red Deep� PR 10 8 � � �

215 · Coral Red� PR 18 8 PY 3 P W6 � � �

213 · Cadmium Red� PR 10 8 � � �

253 · Phthalo Green Yellow Shade� P G 36 � � �

237 · Cadmium Yellow� PY 3 5 � � �

238 · Cadmium Yellow Deep� P O20 � � �

239 · Benzidine Yellow� PY8 3 � � �

240 · Viridian Hue� P G7 PR 10 1 � � �

241 · Emerald Green Nova� P G7 PY8 1 P W6 � � �

243 · Terra Verte Hue� PY4 3 P G7 � � �

24 4 · Sap Green� PY95 P G7 PR 12 2 � � �

245 · Cadmium Green Light Hue� PY 74 PY5 3 P G7 � � �

246 · Cadmium Green Hue� PY 74 PY5 3 PB 15 � � �

247 · Cadmium Green Deep Hue� PY 74 PB 15 P W6 � � �

248 · Yellow Green� PY 74 P G7 P W6 � � �

249 · Prussian Green� PB2 7 PY5 3 PY 74 � � �

250 · Leaf Green� P[0 3] � � �

251 · Olive Green� P G7 PR 12 2 PY 1 7 � � �



255 · Cobalt Green Deep� P G 19 � � �

256 · Cadmium Green Light� PY 3 5 P G7 � � �

257 · Cadmium Green� PY 3 5 P G7 � � �

258 · Shadow Green� PBk3 1 � � �

261 · Ice Green� P G7 P W6 � � �

27 1 · Cerulean Blue Hue� PB2 9 PB 15 P W6 � � �

272 · Ultramarine Light� PB2 9 � � �


274 · Indigo� PB2 9 PB2 7 PBk7 � � �

275 · Cobalt Blue Hue� PB2 9 PB 15 P W4 � � �

276 · Turqoise Blue� PB 15 P G7 P W6 � � �

27 7 · Navy Blue� PB2 9 P G7 � � �

278 · Manganese Blue Nova� PB2 8 PB 15 � � �


282 · Cobalt Turquoise� PB2 8 � � �

283 · Ultramarine Deep� PB2 9 � � �

312 · Quinacridone Gold� P O 4 8 PY 180 � � �

313 · Imidazolone Brown� PBr25 � � �

311 · Terra Rosa� PR 10 1 PY 1 19 � � �

284 · Verditer Blue� PB2 8 P W6 � � �

285 · Horizon Blue� PB 15 P W6 � � �


288 · Indanthrene Blue� PB60 � � �

291 · Cobalt Violet� P V47 � � �

292 · Mineral Violet� P V 16 � � �

293 · Quinacridone Violet� P V 19 � � �

294 · Dioxazine Violet� P V 2 3 � � �

295 · Mauve� PB2 9 PR 12 2 � � �

297 · Rose Violet� PR 12 2 � � �

300 · Light Magenta� P V 19 PR 20 9 P W6 � � �

301 · Lilac� P V 2 3 P W6 � � �

302 · Lavender� P V 15 PB2 9 P W6 � � �


316 · Raw Sienna� PY4 3 � � �



319 · Sepia� PR 10 1 PBk7 � � �

320 · Brown Pink� PR 10 1 PY8 3 � � �

336 · Payne's Grey� PB2 9 PBk1 1 � � �

346 · Grey of Grey� PBk1 1 PY42 P W6 � � �

352 · Spinel Black� PBk 2 8 � � �

375 · Luminous Violet� P[N A] � �

370 · Luminous Opera� P[N A] � �

373 · Luminous Lemon� P[N A] � �

372 · Luminous Orange � P[N A] � �

374 · Luminous Green � P[N A] � �

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO D U 4 0 � 1 0 . 6 1 7. 4 0O D U 4 0 � 1 3 . 5 3 9 . 5 0O D U 4 0 � 1 7. 0 3 1 1 . 9 0O D U 4 0 � 2 5 . 2 6 1 7. 6 0O D U 4 0 � 3 0 . 8 7 2 1 . 5 0O D U 4 0 � 4 3 . 1 7 3 1 . 0 0

4 0 M L T U B E S ( M A R K E D � O N L Y )

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO D U 5 0 � 1 2 . 7 9 9 . 0 0O D U 5 0 � 2 1 . 3 4 1 4 . 9 0

5 0 M L T U B E S ( M A R K E D � O N L Y )

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO D U 1 1 0 � 2 7. 1 1 1 8 . 9 0O D U 1 1 0 � 4 0 . 5 1 2 8 . 5 0






Extended Pigment Index P[0 1 ] : PY 3 5 PY42 P O20 P W 7 P[0 2] : PY8 3 PR 8 3 P G7 P W6 P[0 3] : PY8 1 PY 1 19 P G7 P W6 P[N A] : not avai lable


R E A L L Y I M P R E S S E D

A T T H E V E R S A T I L I -T Y O F T H I S

C O L O U R



J A C K S O N ' S A R T I S T A Q U A O I L

This is our own wonderful range of water-mixable oil paints.Having worked tirelessly with different paint specialists to get these just right, the Aqua Oil range now offers 54 vibrant shades that can also be mixed with other water-mixable oil colour ranges.

001 · Titanium White Linseed� P W6 � � �

003 · Titanium White (Safflower)� P W6 � �

005 · Zinc White (Linseed)� P W4 P W6 � �

022 · Cadmium Yellow Mid Hue� PY 1 P O 13 � �


012 · Cadmium Lemon Yellow� PY 3 5 � �

078 · Cobalt Violet Genuine� P V 1 4 � �

087 · Cobalt Blue Genuine� PB2 8 � �

088 · Cobalt Blue Deep Genuine� PB2 8 � �

122 · Cobalt Green Genuine� P G 19 � �

123 · Cobalt Green Deep Genuine� P G 19 � �

040 · Vermilion Genuine� PR 10 8 � �

035 · Cadmium Orange Genuine� P O20 � �

014 · Cad. Yellow Deep Genuine� PY 3 5 � �

045 · Cadmium Scarlet Genuine� PR 10 8 � �

050 · Cad. Red Light Genuine� PR 10 8 � �


027 · Indian Yellow� PY 1 � �

032 · Cadmium Yellow Deep Hue� PY 1 P O 13 � �

037 · Cadmium Orange Hue� P O 13 � �

042 · Vermillion Hue� PR4 � �

048 · Scarlet Lake� PR 3 PR4 � �

058 · Carmine� PR5 7:1 PR 3 � �

052 · Cad. Red Deep Genuine� PR 10 8 � �

053 · Cadmium Red Hue� PR 3 � �


090 · Cobalt Blue Light Hue� PB2 9 P W 7 � �

094 · Cobalt Blue Deep Hue� PB2 9 PB 15 � �


104 · Phthalo Blue (Red Shade)� PB 15 � �

110 · Cerulean Blue Hue� PB 15 P G7 � �

114 · Phthalo Turquoise� PB 15 P G7 P W6 � �

119 · Viridian Hue Green� P G7 � �

124 · Hooker's Green� PY 1 P G7 PBk6 � �

130 · Sap Green� PY 1 P G7 P O 13 PBk7 � �


139 · Permanent Green Light� PY 3 P G7 P W6 � �

145 · Titanium Buff� P W6 � �

148 · Naples Yellow Hue� P W4 PY 1 PY42 � �







172 · Payne's Grey� PB2 9 PBk7 � �


007 · Zinc White (Safflower)� P W4 P W6 � �

010 · Cadmium Lemon Yell. Hue� PY 3 � �

016 · Cadmium Yellow Light Hue� PY 3 PY 1 � �











C O L O U R S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO J A 5 6 � - 3 . 4 0O J A 5 6 � - 4 . 0 0O J A 5 6 � - 4 . 4 0

5 6 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO J A 2 2 5 � - 1 0 . 9 0


S E T S

Set of 8 x 56ml TubesContains : 1 x Titanium White , 1 x Cadmium Lemon Yellow Hue, 1 x Cadmium Red Hue, 1 x Dioxa zine Purple , 1 x French Ultramarine Blue, 1 x Phthalo Green, 1 x Yellow Ochre, 1 x L amp Black .Code: OJA56SAPrice: £2 1.50

T H E Y B L E N D

B E A U T I F U L -L Y W I T H M Y

E X I S T I N G P A I N T S



W I N S O R & N E W T O N A R T I S A N W A T E R - M I X A B L E O I L C O L O U R

Artisan is the name of the water-mixable oil paint range by Winsor & Newton.These paints can be thinned with water, extended with special Artisan mediums, and can be washed all without the need for any solvents.

C O L O U R S

64 4 · Titanium White� P W6 P W4 � � �

748 · Zinc Mixing White� P W4 P W6 � � �

346 · Lemon Yellow� PY 3 � � �


119 · Cadmium Yellow Pale Hue� PY6 5 PY 3 � �

116 · Cadmium Yellow Medium� PY 3 5 P O20 � �

109 · Cadmium Yellow Hue� PY6 5 � � �

115 · Cadmium Yellow Deep� PY6 5 P O 4 3 � � �

090 · Cadmium Orange Hue� P O 4 3 � � �



095 · Cadmium Red Hue� PR 18 8 PR 1 70 � � �

104 · Cadmium Red Dark� PR 10 8 � �

098 · Cadmium Red Deep Hue� PR 1 70 P O 36 � � �

502 · Permanent Rose� PR 1 70 P O 36 � � �

468 · Perm. Alizarin Crimson� P V 19 PR 206 � � �

380 · Magenta� PR 12 2 � � �

229 · Dioxazine Purple� P V 2 3 � � �


138 · Cerulean Blue Hue� PB 36 P W4 � � �


179 · Cobalt Blue Hue� PB60 PB2 9 � � �

263 · French Ultramarine� PB2 9 � � �


521 · Phthalo Green (Yell. Shade)� P G 36 � � �

692 · Viridian� P G 18 � �

522 · Phthalo Green (Blue Shade)� P G7 � � �


503 · Permanent Sap Green� PY 1 10 PB 15 � �

4 47 · Olive Green� PY 1 10 PBk6 � � �

422 · Naples Yellow Hue� PY42 PR 10 1 P W6 � � �

74 4 · Yellow Ochre� PY42 � � �

552 · Raw Sienna� PBr7 PY42 � � �

317 · Indian Red� PR 10 1 � � �

074 · Burnt Sienna� PR 10 1 � � �



465 · Payne’s Gray� PB2 9 PBk6 � � �


337 · Lamp Black� PBk6 � � �

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO WA 3 7 � 4 . 9 5 3 . 7 0O WA 3 7 � 6 . 1 5 4 . 6 0

3 7 M L T U B E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO WA 2 0 0 � 1 8 . 2 0 1 3 . 6 0


S E T S

Beginners Set Contains 6 x 37ml tubes .Code: OWAS1RRP : £ 28.75Price: £22.50

Star ter SetContains 6 x 2 1ml tubes .Code: OWASTRRP : £ 2 1 .85Price: £16.40

Studio SetContains 10 x 37ml tubes .Code: OWASSRRP : £ 55.00Price: £ 41.30

L O V E L Y B U T T E R Y

P A I N T T H A T M I X E S W E L L








A L K Y D O I L C O L O U R

W I N S O R & N E W T O N G R I F F I N / A L K Y D O I L C O L O U R

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO G 3 7 � 4 . 9 5 3 . 7 0O G 3 7 � 6 . 1 5 4 . 6 0

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO G 2 0 0 6 4 4 � 1 6 . 6 5 1 2 . 5 0

3 7 M L T U B E S 2 0 0 M L T U B E S ( M A R K E D � O N L Y ) Griffin paints have a much faster rate of drying than traditional oil paints. They are made of pigment suspended in oil modified alkyd resin and solvent. A popular choice for artists who like to have a painting completed in a single session.

C O L O U R S


64 4 · Titanium White� P W6 � � �

217 · Davy's Gray� PBk19 PY42 PBk7 � �


465 · Payne's Gray� PB2 9 PBk6 � �



696 · Viridian Hue� P G7 P G 36 PBr7 �

521 · Phthalo Green (Yell. Shade)� P G 36 � �

637 · Terre Verte� P G7 P G 2 3 � �


503 · Permanent Sap Green� PY 1 10 PB 15 : 3 � �

4 47 · Olive Green� PY 12 9 PBk7 � �

139 · Cerulean Blue Hue� P W6 P G7 PB 15 � �


422 · Naples Yellow Hue� P W6 PR 10 1 PY42 � �


676 · Van Dyke Brown� PBr7 PBk6 � �

554 · Raw Umber� PBr7 PBk1 1 � �

317 · Indian Red� PR 10 1 � �

074 · Burnt Sienna� PR 10 1 �

362 · Light Red� PR 10 1 � �

74 4 · Yellow Ochre� PY4 3 � �

552 · Raw Sienna� PY4 3 � �

722 · Winsor Lemon� PY 3 � �

730 · Winsor Yellow� PY 74 � �

119 · Cadmium Yellow Light Hue� PY 74 PY6 5 �

109 · Cadmium Yellow Hue� PY6 5 PY 74 �

319 · Indian Yellow� PY 13 9 � �

115 · Cadmium Yellow Deep Hue� PY6 5 P O7 3 �

090 · Cadmium Orange� PY6 5 P O7 3 �

257 · Flesh Tint� PY42 P W6 P V 19 � �

101 · Cadmium Red Light Hue� P O7 3 PR 18 8 �

095 · Cadmium Red Medium Hue� PR 18 8 �

680 · Vermillion Hue� PR 1 70 P O 36 P W6 � �

726 · Winsor Red� PR 18 8 PR 1 70 � �

098 · Cadmium Red Deep Hue� PR 1 70 PR 1 7 7 PR 10 1 �

480 · Permanent Geranium Lake� PR 20 9 � �

468 · Perm. Alizarin Crimson� PR 1 7 7 � �

501 · Permanent Rose� P V 19 � �

194 · Cobalt Violet Hue� P V 19 P V 2 3 �



667 · Ultramarine (Green Shade)� PB2 9 � �

179 · Cobalt Blue Hue� PB2 9 PB 15 :1 PBk6 �


54 4 · Purple Lake� PR 1 7 7 PB2 9 � �

380 · Magenta� PR 12 2 PB 15 � �


Extended pigment index P[N A] : not avai lable


475 · Naphthol Scarlet� PR 18 8 � �

400 · Manganese Blue Hue� PB 15:4 � �



025 · Alizarin Permanent� PR 1 7 7 P G 36 � �


682 · Transparent Earth Red� PR 10 1 � �

310 · Hansa Yellow Medium� PY 74 � �






740 · Viridian� P G 18 � �




660 · Sap Green� PY8 3 PB 15 :1 � �

212 · Chromatic Black� P G 36 P V 19 � �





G A M B L I N F A S T M A T T E A L K Y D O I L C O L O U R

Gamblin Fastmatte is an alkyd resin based oil colour, which dries faster than traditional oil colour.The drying time of Fastmatte varies depending on the thickness of the paint, but thin applications can be fully dry within 24 hours. The colours dry matte, and are the ideal medium for underpainting.

C O L O U R S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO G B A 3 7 F 1 � - 7. 5 0O G B A 3 7 F 1 � - 9 . 0 0O G B A 3 7 F 1 � - 1 2 . 0 0O G B A 3 7 F 1 � - 1 7. 2 0O G B A 3 7 F 1 � - 2 1 . 0 0

3 7 M L T U B E S


S E N N E L I E R O I L S T I C K S

O I L S T I C K S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO T S 3 8 � 4 . 9 5 4 . 4 0O T S 3 8 � 5 . 9 5 5 . 2 0O T S 3 8 � 7. 5 0 6 . 6 0

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO T S 9 6 � 1 1 . 5 0 1 0 . 0 0

3 8 M L S T I C K S 9 6 M L S T I C K S ( M A R K E D � O N L Y )

C O L O U R S

By substituting some oil for wax, Sennelier have transformed their paints into these versatile, tactile sticks. High pigment load and excellent lightfastness makes them a valuable addition to any painter's markmaking toolkit.

S E T S





Extended pigment index P[0 1 ] : P G 1 7 P G7 PBk1 1 PB 15 : 3 P[N A] : not avai lable


116 · Titanium White� P W6 P W4 � � �

139 · Antique White� P W6 P W4 PY42 PBr7 � �

140 · Iridescent White� P[N A] � �

574 · Primary Yellow� PY 1 � �


567 · Naples Yellow� P W6 P W4 PY4 PY 1 � �





675 · French Vermilion Red� PR4 � �

686 · Primary Red� P V 19 � �

635 · Carmine Red� PR 8 3 � �

631 · Mars Red� PR 10 1 � �


690 · Madder Lake Pink� PR 12 2 � �


903 · Blue Violet� P V 2 3 � �

940 · Alizarin Violet Lake� P V5 � �


389 · Blue Lake� PB 15: 3 � �

357 · Ultramarine Blue� PR 2 9 � �


385 · Primary Blue� P W4 PB 15 : 3 � �

323 · Cerulean Blue� P W4 PB 15 : 3 � �

365 · Light Blue� P W6 PB 15 : 3 PB2 9 � �

341 · Turquoise Blue� P W4 PR 15 :4 P G7 � �

847 · Emerald Green� P W6 PY 13 P G7 � �

833 · Cobalt Green Light� P G 1 7 P G7 PB 15 : 3 � �

835 · Cobalt Green Deep� P[0 1 ] � �

875 · Alizarin Green Lake� PY 3 5 PY 3 P G 36 � �

825 · Cadmium Green Deep� P G 3 5 P G7 � �

823 · Cadmium Green Light� PY 3 5 P G7 � �


813 · Olive Green� PR 10 1 P G7 PB 15 : 3 � �

412 · Sennelier Brown� PBr2 3 PY 13 PBk1 � �

438 · Sepia� PBk1 PY8 3 PR 10 1 � �

205 · Raw Umber� PR 10 1 PY42 PBk1 1 � �

211 · Burnt Sienna� PBr2 3 PY 1 :1 PB2 9 � �

259 · Red Ochre� PR 10 1 PY42 � �



208 · Raw Sienna� PY42 PR 10 1 PBk1 � �

250 · Flesh Ochre� P W6 PY42 PR 10 1 � �

028 · Gold� P[N A] � �

036 · Copper� P[N A] � �

003 · Transparent Medium� P[N A] � �

919 · Mars Violet� PR 10 1 PB2 9 P V 2 3 � �

703 · Paynes Grey� PBk1 PR 8 3 PB60 � �

768 · Vine Black� PBk 8 � �

755 · Ivory Black� PBk1 1 PBk1 � � �

029 · Silver� P[N A] � �

202 · Burnt Umber� PR 10 1 PY42 PBk1 1 � �

837 · Viridian� P G7 � �

308 · Indigo Blue� PBk1 PB 15 : 3 � �

Set of 6 x 38ml Oil StickCode: OTSS6RRP : £ 3 1 .95Price: £26.00

G O R G E O U S H U E A N D

V I B R A N C Y


W I N S O R & N E W T O N O I L B A R

O I L S T I C K S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO W B � 6 . 2 5 5 . 1 0O W B � 8 . 2 5 6 . 7 0O W B � 9 . 8 5 8 . 0 0O W B � 1 1 . 7 5 9 . 6 0

5 0 M L S T I C K S Combining the buttery consistency and richness of oil colour with the freedom and directness of pastels or charcoal.The Oilbar range comprises 50 specially formulated colours, 26 of which are single pigment. A convenient and versatile way to enrich your markmaking range, Oilbars can be used alone, alongside tube oil colour or combined with mediums.

C O L O U R S

64 4 · Titanium White � P W6 � �

009 · Antique White � P W6 PY42 PBk1 1 � �


346 · Lemon Yellow Hue� PY 3 � �

119 · Cadmium Yellow Pale Hue� PY 74 � �


109 · Cadmium Yellow Hue� PY6 5 � �

116 · Cad Yellow Medium� PY 3 5 P O20 � �

115 · Cadmium Yellow Deep Hue� P O7 3 PY6 5 � �

089 · Cadmium Orange � P O20 PR 10 8 � �

090 · Cadmium Orange Hue� P O7 3 PY6 5 � �

257 · Flesh Tint� P[N 1 ] � �


107 · Cadmium Scarlet Hue� P[N2] � �

095 · Cadmium Red Hue� PR 18 8 PR 1 70 � �


098 · Cadmium Red Deep Hue� PR 1 70 P O 36 � �

502 · Perm Rose� P V 19 � �

468 · Perm Alizarin Crimson� PR 1 7 7 � �

229 · Dioxine Purple� P V 2 3 � �

380 · Magenta� PR 12 2 PB 15 � �

137 · Cerulean Blue � PB 3 5 � �

138 · Cerulean Blue Hue � PB 15 P G7 � �



516 · Winsor Blue� PB 15 � �


483 · Perm Green Light� PY 74 P W6 PB 15 � �



692 · Viridian� P G 18 � �

721 · Winsor Green Yellow Shade� P G 36 � �

599 · Sap Green� PY 10 9 PB 15 � �

060 · Buff Titanium� P W6 PY42 PBk1 1 � �

422 · Naples Yellow Hue� PY42 P W6 � �

74 4 · Yellow Ochre� PY42 � �

552 · Raw Sienna� PY4 3 � �

635 · Terra Rosa� PR 10 1 � �

317 · Indian Red� PR 10 1 � �


676 · Vandyke Brown� PBr7 NBr 8 � �

554 · Raw Umber� PBr7 PBk 9 � �

465 · Payne's Gray� PBk6 PBk19 P B2 9 � �



218 · Colourless� P[N A]


637 · Terre Verte� P G 2 3 P G7 � �

194 · Cobalt Violet Hue� PB2 9 P V 16 � �

S E T S

Set of 6 x 50ml OilbarsCode: OWBS001RRP : £ 4 0.00Price: £32.00

Set of 12 x 50ml OilbarsCode: OWBS002RRP : £75.00Price: £60.00

E X C E L L E N T P A I N T


Extended pigment index P[N 1 ] : PY42 P W6 P V 19 P W5 P[N2] : PR 18 8 PR 1 70 PY6 5 P O7 3 P[N A] : not avai lable


R & F P I G M E N T S T I C K S

O I L S T I C K S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO R F 3 8 � 1 1 . 5 0 1 0 . 3 0O R F 3 8 � 1 2 . 5 0 1 1 . 3 0O R F 3 8 � 1 3 . 5 0 1 2 . 2 0O R F 3 8 � 1 4 . 9 5 1 3 . 5 0O R F 3 8 � 1 8 . 5 0 1 6 . 7 0O R F 3 8 � 2 1 . 5 0 1 9 . 4 0O R F 3 8 � 2 3 . 9 5 2 1 . 5 0 O R F 3 8 � 2 6 . 9 5 2 4 . 5 0

3 8 M L S T I C K S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eO R F 1 8 8 � 3 7. 9 5 3 5 . 0 0

1 8 8 M L S T I C K S ( M A R K E D � O N L Y )

C O L O U R S

Handmade with only the highest quality ingredients, equal in quality to the finest tube oil paints.With only a little wax added to give their unique lipstick consistency, the sticks can be used like thick tube paints or applied directly onto the painting surface. Perfect for continuous gestural lines, sketching and underpainting, or laying in final marks.







001 · Zinc White� P W 7 � �

002 · Titanium Zinc White� P W6 P W 7 � � �

004 · Neutral White � P[N A] � � �


006 · Cadmium Yellow Light � PY 3 7 � �

007 · Cadmium Yellow Medium � PY 3 7 � �

008 · Cobalt Yellow� PY4 0 � �


011 · Brilliant Yellow Extra Pale� PY 3 7 � �


012 · Naples Yellow� P[N A] �

013 · Jaune Brilliant� P[N A] �

014 · Mars Yellow Light� PY42 � �

015 · Mars Yellow Deep� PY42 � �


018 · Mars Orange� PR 10 1 � �




022 · Rose Madder� PR 8 3 PR4 8:1 �


023 · Alizarin Crimson� PR 8 3 �

017 · Alizarin Orange� PY8 3 PR 1 7 7 � �

025 · Dianthus Pink� P[N A] �

026 · Warm Pink Permanent� P[N A] �

027 · Warm Rose Permanent� P[N A] �

028 · Mars Red� PR 10 1 � �


031 · Quinacridone Magenta� P V 19 � �


033 · Egyptian Violet� P V 2 3 � �


036 · Mars Violet � P V 15 � �






04 4 · Kings Blue� P[N A] �

045 · Azure Blue� P[N A] �

046 · Indigo � P[N A] � �

048 · Turquoise Blue� P[N A] �

049 · Cobalt Turquoise� P[N A] � �

050 · Cadmium Green Pale� P G 18 PY 3 7 � �

052 · Phthalo Turquoise� P[N A] � �

053 · Chrome Oxide� P G 1 7 � �

054 · Viridian � P G 18 � �


056 · Celadon Green� P[N A] �

057 · Veronese Green� P[N A] �

058 · Sap Green� P[N A] � �

059 · Cobalt Green Light� PY4 0 PB 36 � �

060 · Green Gold� PY 12 9 � �

061 · Courbet Green� P[N A] � �


047 · Cerulean Blue Extra Pale� P[N A] �


064 · Turkey Umber Greenish� PBr7 � �


067 · Green Earth� P[N A] � �

068 · Brown Pink� PR 10 1 � �

069 · Sepia � P[N A] �

070 · Sanguine Earth Light� P[N A] �

07 1 · Sanguine Earth Medium� P[N A] �

072 · Sanguine Earth Deep� P[N A] �

073 · Neutral Grey Pale� P[N A] �

074 · Neutral Grey Light� P[N A] �

075 · Neutral Grey Medium� P[N A] �

076 · Neutral Grey Deep� P[N A] �

07 7 · Graphite� PBlk10 �

079 · Ivory Black� PBlk 9 � �

081 · Intense Carbon Black� PBlk7 � �

082 · Lamp Black� PBlk6 � �

083 · Iridescent Pearl � P[N A]

084 · Iridescent Silver � P[N A]

085 · Iridescent German Silver� P[N A]

086 · Iridescent Pewter� P[N A]

087 · Iridescent Brass� P[N A]

089 · Iridescent Copper � P[N A]

090 · Iridescent Bronze � P[N A]

080 · Mars Black� PBlk1 1 � �

065 · Raw Sienna � PBr7 � �

051 · Cadmium Green� P G 18 PY 3 7 � �


E N C A U S T I C C O L O U R

E Q U I P T M E N T

R & F E N C A U S T I C S C O L O U R

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eE N R 1 0 4 � 1 9 . 9 5 1 8 . 0 0E N R 1 0 4 � 2 1 . 9 5 1 9 . 8 0E N R 1 0 4 � 2 6 . 9 5 2 4 . 5 0E N R 1 0 4 � 3 0 . 5 0 2 7. 5 0E N R 1 0 4 � 3 3 . 9 5 3 1 . 0 0E N R 1 0 4 � 3 8 . 5 0 3 5 . 0 0E N R 1 0 4 � 4 5 . 9 5 4 2 . 0 0

1 0 4 M L C A K E S ( M A R K E D � O N L Y )


003 · Zinc White� P W 7 � � � �

004 · Neutral White� P[N A] � � � �

005 · Cadmium Lemon� P G 18 PY 3 7 � � �

006 · Cadmium Yellow Light� PY 3 7 � � �

007 · Cadmium Yellow Med� PY 3 7 � � �

008 · Cobalt Yellow� PY4 0 � � �

009 · Indian Yellow� PY8 3 � � �

010 · Cadmium Yellow Deep� PY 3 7 � � �

011 · Brilliant Yellow X Pale� P[N A] � �

012 · Naples Yellow� P[N A] � �

013 · Jaune Brilliant� P[N A] � �

014 · Mars Yellow Light� PY42 � � �

015 · Mars Yellow Deep� PY42 � � �

016 · Cadmium Orange� P O20 � � �

017 · Alizarin Orange� PY8 3 PR 1 7 7 � � �

018 · Mars Orange� PR 10 1 � � �

019 · Cadmium Red Light� PR 10 8 � � �

020 · Cadmium Red Med� PR 10 8 � � �

021 · Cadmium Red Deep� PR 10 8 � � �

022 · Rose Madder� PR 8 3 PR4 8:1 � �

091 · Burnt Scarlet� PR 206 �


024 · Quinacridone Red� P V 19 � � �

025 · Dianthus Pink� P[N A] � �

094 · Scarlet Extra Pale� P[N A] �

026 · Warm Pink� P[N A] � �

027 · Warm Rose� P[N A] � �

028 · Mars Red� PR 10 1 � �


030 · Cobalt Violet Deep� P V4 9 � � �

031 · Quinacridone Magenta� P V 19 � � �

032 · Manganese Violet� P V 16 � � �

033 · Egyptian Violet� P V 2 3 � � �

034 · Ultramarine Violet� P V 15 � � �

035 · French Mauve Bluish� P[N A] � �

036 · French Mauve Reddish� P[N A] � �

037 · Mars Violet� PR 10 1 � � �


039 · Ultramarine Blue� PB2 9 � � �

093 · Manganese Blue Hue� P[N A] �


042 · Phthalo Blue� PB 15: 3 � � �

04 4 · King's Blue� P[N A] � �

045 · Azure Blue� P[N A] � �

046 · Indigo � P[N A] � � �

047 · Cerulean Extra Pale� P[N A] � �

048 · Turquoise Blue� P[N A] � �

049 · Cobalt Turquoise� PB 36 � � �

050 · Cadmium Green Pale� P G 18 PY 3 7 � � �

051 · Cadmium Green� P G 18 PY 3 7 � � �

052 · Phthalo Turquoise� P[N A] � � �

092 · Malachite Green� P[N A] �

053 · Chrome Oxide� P G 1 7 � � �

054 · Viridian � P G 18 � � �


056 · Celadon Green� P[N A] � �

057 · Veronese Green� P[N A] � �

058 · Sap Green� P[N A] � � �

059 · Cobalt Green Light� PY4 0 PB 36 � � �

060 · Green Gold� PY 12 9 � � �

061 · Courbet Green� P[N A] � � �



064 · Turkey Umber Greenish� PBr7 � � �

065 · Raw Sienna� PBr7 � � �

095 · Sienna Yellow Extra Pale� P[N A] �


067 · Green Earth� P[N A] � � �

068 · Brown Pink� PR 10 1 � � �

069 · Sepia � P[N A] � �

07 7 · Graphite Grey� PBlk10 � �

078 · Payne's Grey� P[N A] � � �

079 · Ivory Black� PBlk 9 � � � �

080 · Mars Black� PBlk1 1 � � � �

081 · Intense Carbon Black� PBlk7 � � � �

083 · Iridescent Pearl� P[N A] �

084 · Iridescent Silver� P[N A] �

085 · Iridescent Ger Silver� P[N A] �

086 · Iridescent Pewter� P[N A] �

087 · Iridescent Brass� P[N A] �

088 · Iridescent Gold� P[N A] �

089 · Iridescent Copper� P[N A] �

090 · Iridescent Bronze� P[N A] �

C O L O U R S

A versatile range of 80 colours, composed of beeswax, resin and pigment.Solid in its packaged state, encaustic wax requries melting before use. Encaustic offers the painter a huge range of effects and mark-making possiblities - polishing, carving, layering, collage, modelling and textural effects are all possible without the need for a wide range of mediums.

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eE N R 4 0 � 1 0 . 5 0 9 . 5 0E N R 4 0 � 1 1 . 9 5 1 0 . 8 0E N R 4 0 � 1 4 . 5 0 1 3 . 1 0E N R 4 0 � 1 5 . 9 5 1 4 . 4 0E N R 4 0 � 1 8 . 5 0 1 6 . 7 0E N R 4 0 � 2 1 . 5 0 1 9 . 4 0E N R 4 0 � 2 4 . 9 5 2 2 . 5 0

4 0 M L C A K E S

O r d e r C o d e S e r i e s £ R R P £ O u r P r i c eE N R 3 3 3 � 5 4 . 9 5 5 0 . 0 0E N R 3 3 3 � 5 8 . 9 5 5 4 . 0 0

3 3 3 M L C A K E S ( M A R K E D � O N L Y )



O I L S T I C K S & E N C A U S T I C S E T S

R & F P I G M E N T S T I C K S E T S

Chiaroscuro Drawing Set of 6 x 38ml SticksPacka ged inside a 6.5 x 7.5in cradled Ampersand Gessobord.Code: ORF2002940RRP : £ 5 4.95Price: £50.00

Figure Drawing Set of 6 x 38ml SticksPacka ged inside a 6.5 x 7.5in cradled Ampersand Gessobord.Code: ORF2002910RRP : £ 5 4.95Price: £50.00

Metallic Colour Set of 6 x 38ml SticksPacka ged inside a 6.5 x 7.5in cradled Ampersand Gessobord.Code: ORF2002920RRP : £ 82 .95Price: £75.00

Opaque Colour Set of 6 x 38ml Sticks SticksPacka ged inside a 6.5 x 7.5in cradled Ampersand Gessobord.Code: ORF2002930RRP : £65.95Price: £60.00

Translucent Colour Set of 6 x 38ml SticksPacka ged inside a 6.5 x 7.5in cradled Ampersand Gessobord.Code: ORF2002960RRP : £65.95Price: £60.00

R&F Encaustic Star ter Kit Set of 5Contains 5 x 4 0ml cakes , 2 x f lat 5 x 7 in Ampersand Encausticbord, 1 x soy wa x for clean-up, 2 x palet te cups , 1 x 1 in hake brushes , R& F basic Encaustic Manual and colour char t .Code: ERF5001940RRP : £76.95Price: £70.00

R&F Encaustic Cadmium Colour Set of 6Includes 6 x 4 0ml cakes and packa ged inside a 6 x 6in cradled Ampersand Encausticbord. Code: ERF5001970RRP : £76.95Price: £70.00

R&F Encaustic Translucent Colour Set of 6Includes 6 x 4 0ml cakes and packa ged inside a 6 x 6in cradled Ampersand Encausticbord. Code: ERF5001990RRP : £65.95Price: £60.00

R&F Encaustic Metallic Colour Set of 6Includes 6 x 4 0ml cakes and packa ged inside a 6 x 6in cradled Ampersand Encausticbord. Code: ERF5001980RRP : £76.95Price: £70.00

R&F Encaustic Opaque Colour Set of 6Includes 6 x 4 0ml cakes and packa ged inside a 6 x 6in cradled Ampersand Encausticbord. Code: ERF5001960RRP : £65.95Price: £60.00

R & F E N C A U S T I C C A K E S E T S


O I L C O L O U R S E T S

Michael Harding Star ter Set of 6Contains 6 x 4 0ml tubes .Code: OMH40SARRP : £ 42 .66Price: £34.00

Michael Harding Bermuda / Tropical Set of 6Contains 6 x 4 0ml tubes .Code: OMH40BTSRRP : £66.96Price: £54.00

Michael Harding Plein Air Painter Set of 10Contains 10 x 4 0ml tubes .Code: OMH40PAPSRRP : £ 113 .68Price: £91.00

Michael Harding Plein Air Master Set of 10Contains 10 x 4 0ml tubes .Code: OMH40PAMSRRP : £ 174.66Price: £140.00

Michael Harding Deser t Set of 10Contains 10 x 4 0ml tubes .Code: OMH40DSRRP : £72 .36Price: £58.00

Holbein Duo Aqua Water-Mixable Set of 12 Contains 12 x 20ml tubes .Code: ODU904 SRRP : £91 .58Price: £59.00

Holbein Duo Aqua Water-Mixable Oil Set of 20Contains 20 x 20ml tubes .Code: ODU92 1SRRP : £ 170.32Price: £116.00

Holbein Duo Aqua Water-Mixable Oil Set of 4Contains 4 x 20ml tubes .Code: ODU20SETRRP : £ 20.09Price: £13.00

Holbein Duo Aqua Water-Mixable Oil Set of 12 Contains 12 x 10ml tubes .Code: ODU12SNRRP : £ 4 6.69Price: £3 1.00

Shin Han Oil Colour Set of 12 Contains 12 x 20ml tubes .Code: OSNS12RRP : £6 3.5 3Price: £32.00

Shin Han Oil Colour Set of 24Contains 24 x 20ml tubes .Code: OSNS24RRP : £ 114.85Price: £58.00

Shin Han Oil Colour Set of 32 Contains 32 x 20ml tubes .Code: OSNS36RRP : £ 203.4 5Price: £102.00

M I C H A E L H A R D I N G O I L C O L O U R S E T S

S H I N H A N O I L C O L O U R S E T S

H O L B E I N D U O A Q U A W A T E R - M I X A B L E O I L C O L O U R S E T S


P E N C I L S

P E N C I L S

Koh-I-Noor Plastic 5.6mm Clutch PencilSpring loaded lead holder, takes any 3-5.6mm leads ( 1 included).Code: GK AC5347BKRRP : £ 4.92 Price: £ 3.30

Cretacolor Black Pastel PencilA water-soluble , high qualit y black pastel pencil .Code: GPPBLKRRP : £ 1 .60 Price: £1.40

2 MM SPACE

O r d e r C o d e Ty p e £ R R P £ P r i c eG K X 4 8 6 5 2 B 2 B G r a p h i t e 3 . 7 2 2 . 4 0G K X 4 8 6 5 4 B 4 B G r a p h i t e 3 . 7 2 2 . 4 0G K X 4 8 6 5 6 B 6 B G r a p h i t e 3 . 7 2 2 . 4 0G K X 4 3 7 1 W h i t e 2 . 1 5 1 . 4 0G K X 4 3 7 3 S e p i a 2 . 4 0 1 . 6 0G K X 4 3 7 7 L i g h t B r o w n 3 . 8 4 2 . 5 0G K X 4 3 7 8 D a r k B r o w n 3 . 5 9 2 . 4 0G K X 4 8 6 9 S M i x e d 3 . 8 4 2 . 4 0G K X 4 3 4 5 M M e d i u m B l a c k 3 . 4 8 2 . 3 0

Koh-I-Noor 5.6mm Leads x 6Box of 6 leads , available in 3 grades of graphite and a range of dif ferent coloured chalks .

1.5 MM SPACE

1.5 MM SPACE

1.5 MM SPACE

1.5 MM SPACE

O r d e r C o d e Ty p e £ R R P £ P r i c eG C R 0 0 1 C h a r c o a l S o f t 1 . 0 5 0 . 9 0G C R 0 0 2 C h a r c o a l M e d . 1 . 0 5 0 . 9 0G C R 0 1 2 B l a c k C h a l k M e d . 1 . 0 5 0 . 9 0G C R 1 0 1 N e r o S o f t 1 . 0 5 0 . 9 0G C R 1 0 2 N e r o M e d i u m 1 . 0 5 0 . 9 0G C R 1 5 2 W h i t e C h a l k M e d . 1 . 0 5 0 . 9 0G C R 1 8 2 G r a p h i t e 2 B 1 . 0 5 0 . 9 0G C R 1 8 4 G r a p h i t e 4 B 1 . 0 5 0 . 9 0G C R 1 8 6 G r a p h i t e 6 B 1 . 0 5 0 . 9 0G C R 2 0 2 S a n g u i n e O i l M e d . 1 . 0 5 0 . 9 0G C R 2 1 2 S a n g u i n e D r y M e d . 1 . 0 5 0 . 9 0G C R 3 2 2 S e p i a L i g h t M e d . 1 . 0 5 0 . 9 0G C R 3 3 2 S e p i a D a r k M e d . 1 . 0 5 0 . 9 0

1.5 MM SPACE

Cretacolor 5.6mm Leads Sold individually. Var ious leads including several grades of charcoal : graphite , sanguine, sepia and chalk .

1.5 MM SPACE

1.5 MM SPACE

1.5 MM SPACE

1.5 MM SPACE

Cretacolor Fine Ar t Graphite PencilsAr tist pencils available in a full range of 20 lead grades .

O r d e r C o d e Ty p e £ R R P £ P r i c eG C 1 6 0 9 B 9 B 1 . 0 0 0 . 9 0G C 1 6 0 8 B 8 B 1 . 0 0 0 . 9 0G C 1 6 0 7 B 7 B 1 . 0 0 0 . 9 0G C 1 6 0 6 B 6 B 1 . 0 0 0 . 9 0G C 1 6 0 5 B 5 B 1 . 0 0 0 . 9 0G C 1 6 0 4 B 4 B 1 . 0 0 0 . 9 0G C 1 6 0 3 B 3 B 1 . 0 0 0 . 9 0G C 1 6 0 2 B 2 B 1 . 0 0 0 . 9 0G C 1 6 0 B B 1 . 0 0 0 . 9 0G C 1 6 0 H B H B 1 . 0 0 0 . 9 0G C 1 6 0 F F 1 . 0 0 0 . 9 0G C 1 6 0 H H 1 . 0 0 0 . 9 0G C 1 6 0 2 H 2 H 1 . 0 0 0 . 9 0G C 1 6 0 3 H 3 H 1 . 0 0 0 . 9 0G C 1 6 0 4 H 4 H 1 . 0 0 0 . 9 0G C 1 6 0 5 H 5 H 1 . 0 0 0 . 9 0G C 1 6 0 6 H 6 H 1 . 0 0 0 . 9 0G C 1 6 0 7 H 7 H 1 . 0 0 0 . 9 0G C 1 6 0 8 H 8 H 1 . 0 0 0 . 9 0G C 1 6 0 9 H 9 H 1 . 0 0 0 . 9 0

1.5 MM SPACE

1.5 MM SPACE

Faber-Castell 2mm Clutch PencilSpring loaded lead holder, takes any 2mm leads ( 1 included).Code: GP9400CRRP : £6.4 5Price: £5.60

Faber-Castell 2mm Clutch Pencil Leads x 10High qualit y graphite leads in a range of grades .

1.5 MM SPACE

1.5 MM SPACE

1.5 MM SPACE

O r d e r C o d e Ty p e £ R R P £ P r i c eG P 9 8 B 8 B 1 . 1 0 0 . 9 5G P 9 7 B 7 B 1 . 1 0 0 . 9 5G P 9 6 B 6 B 1 . 1 0 0 . 9 5G P 9 5 B 5 B 1 . 1 0 0 . 9 5G P 9 4 B 4 B 1 . 1 0 0 . 9 5G P 9 3 B 3 B 1 . 1 0 0 . 9 5G P 9 2 B 2 B 1 . 1 0 0 . 9 5G P 9 B B 1 . 1 0 0 . 9 5G P 9 H B H B 1 . 1 0 0 . 9 5G P 9 F F 1 . 1 0 0 . 9 5G P 9 H H 1 . 1 0 0 . 9 5G P 9 2 H 2 H 1 . 1 0 0 . 9 5G P 9 3 H 3 H 1 . 1 0 0 . 9 5G P 9 4 H 4 H 1 . 1 0 0 . 9 5G P 9 5 H 5 H 1 . 1 0 0 . 9 5G P 9 6 H 6 H 1 . 1 0 0 . 9 5

Faber-Castell 9000 Graphite PencilsA unique SV bonding technique g ives unrivalled breaking resistance. Superior smooth graphite black lead pencils .

Faber-Castell 9000 Pencil SetSet of 12 pencils in a metal t in , includes grades 2H-8B.Code: GP9SETRRP : £ 14.95 Price: £12.80

1.5 MM SPACE

1.5 MM SPACE

1.5 MM SPACE

O r d e r C o d e Ty p e £ R R P £ P r i c eG K W 8 9 7 1 H B H B 1 . 5 3 0 . 9 5G K W 8 9 7 1 2 B 2 B 1 . 5 3 0 . 9 5G K W 8 9 7 1 4 B 4 B 1 . 5 3 0 . 9 5G K W 8 9 7 1 6 B 6 B 1 . 5 3 0 . 9 5

Koh-I-Noor Jumbo Woodless Graphite Pencils10mm diameter pencil for strong l ines and tonal areas .

1.5 MM SPACE

Cretacolor Wooden 5.6mm Clutch Pencil Spring loaded lead holder, takes up to 5 .6mm leads (not included).Code: GCG43012RRP : £9.95Price: £8.60

O r d e r C o d e Ty p e £ R R P £ P r i c eG K 1 9 0 0 2 H 2 H 0 . 6 2 0 . 5 0G K 1 9 0 0 H H 0 . 6 2 0 . 5 0G K 1 9 0 0 F F 0 . 6 2 0 . 5 0G K 1 9 0 0 H B H B 0 . 6 2 0 . 5 0G K 1 9 0 0 B B 0 . 6 2 0 . 5 0G K 1 9 0 0 2 B 2 B 0 . 6 2 0 . 5 0G K 1 9 0 0 3 B 3 B 0 . 6 2 0 . 5 0G K 1 9 0 0 4 B 4 B 0 . 6 2 0 . 5 0G K 1 9 0 0 5 B 5 B 0 . 6 2 0 . 5 0G K 1 9 0 0 6 B 6 B 0 . 6 2 0 . 5 0G K 1 9 0 0 7 B 7 B 0 . 6 2 0 . 5 0G K 1 9 0 0 8 B 8 B 0 . 6 2 0 . 5 0

Koh-I-Noor Toison d'Or Graphite Pencils Graphite pencils for both ar tistic drawing and technical draf ting .

1.5 MM SPACE

Koh-I-Noor Woodless Graphite Pencils 7.6mm diameter pencil in a range of grades , including a 4B water-soluble "Aquarell" pencil .

1.5 MM SPACE

1.5 MM SPACE

O r d e r C o d e Ty p e £ R R P £ P r i c eG K 8 9 1 1 H B H B 1 . 0 6 0 . 8 0G K 8 9 1 1 2 B 2 B 1 . 0 6 0 . 8 0G K 8 9 1 1 4 B 4 B 1 . 0 6 0 . 8 0G K 8 9 1 1 6 B 6 B 1 . 0 6 0 . 8 0G K 8 9 1 1 8 B 8 B 1 . 0 6 0 . 8 0G K 8 9 1 2 A Q 4 B 4 B w a t e r - s o l u b l e 1 . 2 2 0 . 8 0

Pentel 0.5mm Clutch Pencil (6 included) .Presicion drawing pencil , takes any 0.5mm leads Code: GXP205RRP : £6.82Price: £6.20

1.5 MM SPACE

O r d e r C o d e Ty p e £ R R P £ P r i c eG 5 0 5 H B H B 1 . 6 7 1 . 6 0G 5 0 5 B B 1 . 6 7 1 . 6 0G 5 0 5 2 B 2 B 1 . 6 7 1 . 6 0G 5 0 5 4 B 4 B 1 . 6 7 1 . 6 0

1.5 MM SPACEPentel 0.5mm Graphite Leads x 12

1.5 MM SPACE

Cretacolor Monolith Woodless Graphite PencilsThick graphite leads with a protective coating . For producing both f ine and broad strokes .

O r d e r C o d e Ty p e £ R R P £ P r i c eG C R M 9 B 9 B 1 . 6 0 1 . 4 0G C R M 8 B 8 B 1 . 6 0 1 . 4 0G C R M 6 B 6 B 1 . 6 0 1 . 4 0G C R M 4 B 4 B 1 . 6 0 1 . 4 0G C R M 2 B 2 B 1 . 6 0 1 . 4 0G C R M H B H B 1 . 6 0 1 . 4 0GCMA4B 4 B w a t e r - s o l u b l e 1 . 6 0 1 . 4 0

O r d e r C o d e Ty p e £ R R P £ P r i c eG P 9 4 0 0 H B H B 6 . 2 0 5 . 4 0G P 9 4 0 0 B B 6 . 2 0 5 . 4 0G P 9 4 0 0 2 B 2 B 6 . 2 0 5 . 4 0G P 9 4 0 0 3 B 3 B 6 . 2 0 5 . 4 0G P 9 0 7 1 6 H 6 H 6 . 2 0 5 . 4 0G P 9 0 7 1 4 H 4 H 6 . 2 0 5 . 4 0G P 9 0 7 1 2 H 2 H 6 . 2 0 5 . 4 0G P 9 0 7 1 H 1 H 6 . 2 0 5 . 4 0


C H A R C O A L

Cretacolor Nero PencilOil based and water resistant pencil which g ives an intense smudge proof mark . Available in 5 grades .

O r d e r C o d e Ty p e £ R R P £ P r i c eG C N 0 1 E x t r a S o f t 1 . 6 0 1 . 4 0G C N 0 2 S o f t 1 . 6 0 1 . 4 0G C N 0 3 M e d i u m 1 . 6 0 1 . 4 0G C N 0 4 H a r d 1 . 6 0 1 . 4 0G C N 0 5 E x t r a H a r d 1 . 6 0 1 . 4 0

Cretacolor Square Compressed CharcoalCode: GCR40702RRP : £ 1 .70Price: £1.50

Nitram Baton Charcoal Drawing DeviceHolds the new Nitram Mignonet te , a thin 4mm charcoal stick . 20cm long . Includes 5 sticks .Code: GNTBATRRP : £ 24.95Price: £2 1.50Cretacolor Round Compressed Charcoal

Code: GCR49402RRP : £ 1 .00Price: £0.90

Nitram Fine Ar t CharcoalNitram Charcoal is an ar tist qualit y Canadian charcoal .

O r d e r C o d e S t i c k s S i z e m m £ R R P £ P r i c eG N T B AT R 7 4 S o f t 9 . 9 5 8 . 6 0G N T 8 0 7 1 7 1 5 5 S o f t 7. 9 6 6 . 9 0G N T 8 0 7 1 7 2 5 5 M e d i u m 7. 9 6 6 . 9 0G N T 8 0 7 1 7 3 5 5 H a r d 7. 9 6 6 . 9 0G N T 7 0 0 3 0 0 5 6 S o f t 8 . 9 5 7. 7 0G N T 7 0 0 3 0 1 5 8 S o f t 9 . 9 5 8 . 6 0G N T 7 0 0 3 0 2 5 1 2 S o f t 1 0 . 9 6 9 . 4 0G N T 7 0 0 3 0 3 1 5 0 S o f t 1 4 . 9 5 1 2 . 8 0G N T 7 0 0 3 0 4 1 2 5 S o f t 1 0 . 9 6 9 . 4 0G N T 7 0 0 3 0 5 1 4 6 x 1 5 S o f t 1 3 . 9 6 1 2 . 0 0

Daler-Rowney Willow CharcoalCharcoal comes wrapped in t issue and boxed. S tick leng th is approximately 15cm.

O r d e r C o d e S t i c k s S i z e £ R R P £ P r i c eG W C T 1 5 T h i n 4 . 9 6 4 . 6 0G D C M 1 5 1 5 M e d i u m 6 . 2 5 5 . 9 0G D C M 2 5 2 5 M e d i u m 8 . 9 5 8 . 4 0G W C M 5 T h i c k 3 . 7 6 3 . 5 0G W C C H 1 C h u n k y 3 . 7 6 3 . 5 0G W C A 1 0 A s s o r t e d 4 . 6 6 3 . 5 0

Winsor & New ton Willow Charcoal Approx 12 pieces per pack assor ted has more as sticks are shor ter.

O r d e r C o d e S t i c k s S i z e £ R R P £ P r i c eG W 5 1 7 5 1 2 A s s o r t e d 5 . 2 5 4 . 5 0G W 5 1 74 1 2 T h i c k 5 . 8 5 4 . 9 0G W 5 1 7 3 1 2 M e d i u m 4 . 8 5 4 . 1 0G W 5 1 7 2 1 2 T h i n 4 . 5 0 3 . 8 0

Cretacolor Charcoal Pencils Ar tists' charcoal pencils of the highest qualit y. Available in hard, medium and sof t .

O r d e r C o d e Ty p e £ R R P £ P r i c eG C P H H a r d 1 . 6 0 1 . 4 0G C P M M e d i u m 1 . 6 0 1 . 4 0G C P S S o f t 1 . 6 0 1 . 4 0

O r d e r C o d e S t i c k s S i z e m m £ R R P £ P r i c eG N C R T 1 1 6 - 2 4 2 . 0 3 1 . 6 0G N C E T 4 1 2 - 1 4 3 . 8 9 3 . 1 0G N C S C 1 2 8 - 1 2 5 . 0 5 4 . 0 0G N C T H 1 2 7 - 9 3 . 5 9 2 . 8 0G N C M E 2 5 4 - 6 3 . 6 7 2 . 9 0G N C T N 2 5 2 - 3 3 . 3 3 2 . 6 0

Coates Natural CharcoalCoates have been making charcoal in the traditional manner since 18 19. The intense blackness of natural wil low charcoal makes it a per fect drawing tool . S ticks are approx . 15cm long .

Conte à Paris Compressed CharcoalA natural charcoal form that is more compact and easier to handle . Diameter 8mm / Leng th 95mm.

O r d e r C o d e Ty p e £ R R P £ P r i c eG C T C C 4 B 4 B 1 . 2 5 1 . 0 0G C T C C 3 B 3 B 1 . 2 5 1 . 0 0G C T C C 2 B 2 B 1 . 2 5 1 . 0 0G C T C C H B H B 1 . 2 5 1 . 0 0G C T C C B B 1 . 2 5 1 . 0 0

Conte à Paris Charcoal PencilsAvailable H – 2B. S trong break resistant leads . Per fect for quick sketches .

O r d e r C o d e Ty p e £ R R P £ P r i c eG C T C H 2 B 2 B 1 . 3 5 1 . 1 0G C T C H B B 1 . 3 5 1 . 1 0G C T C H H B H B 1 . 3 5 1 . 1 0G C T C H H H 1 . 3 5 1 . 1 0

Faber-Castell Pitt Charcoal Pencils Available in sof t , medium and hard, encased in wood keeping drawing process cleaner.

O r d e r C o d e Ty p e £ R R P £ P r i c eG F C H H a r d 1 . 6 0 1 . 5 0G F C M M e d i u m 1 . 6 0 1 . 5 0G F C S S o f t 1 . 6 0 1 . 5 0

General Pencil Company Charcoal Wrap Pencils To use simply pull gently on the small str ing , peeling back the paper to expose more charcoal .

O r d e r C o d e Ty p e £ R R P £ P r i c eG G P 5 5 7- 4 B 4 B S o f t 1 . 9 5 1 . 8 0G G P 5 5 7-2 B 2 B M e d i u m 1 . 9 5 1 . 8 0G G P 5 5 7- H B H B H a r d 1 . 9 5 1 . 8 0

Wolf f 's Carbon PencilsCarbon pencils g ive a blacker mark than graphite but do not smudge as much as charcoal .

O r d e r C o d e Ty p e £ R R P £ P r i c e2 0 2 7 6 B 6 B 1 . 2 5 1 . 2 02 0 2 74 B 4 B 1 . 2 5 1 . 2 02 0 2 7 2 B 2 B 1 . 2 5 1 . 2 02 0 2 7 B B 1 . 2 5 1 . 2 0

Cretacolor Black Box Charcoal Set Includes 3 x charcoal pencils , 3 x Nero Pencils , 2 x Monolith Graphite (6B, 9B), 3 x compressed charcoal 2 x natural charcoal , eraser, blending stick .Code: GCR40030RRP : £ 27.95Price: £24.00

Jakar Compressed Charcoal SetsNon-toxic top qualit y compressed charcoal sets in assor ted greys or black .

O r d e r C o d e S t i c k s C o l o u r £ R R P £ P r i c eT 7 6 2 3 1 2 G r e y s 4 . 0 0 3 . 6 0T 7 6 2 2 1 2 B l a c k 4 . 0 0 3 . 6 0

C H A R C O A L

Jackson's Vine Charcoal SetContains 15 charcoal sticks approximately 150mm long and 3-5mm in diameter. This set comes in a sturdy card stora ge tube.Code: GJCS15Price: £3.00

S U R F A C E

The versatile nature of oil painting demands a wide variety of surfaces to choose from in order to allow for your work to look its very best. If you like painting with transparent glazes or delicate intricate detail, you might prefer a very smooth or lightly textured surface - take a look at our gesso panels, finest linen weaves, or for something more modern our new aluminium panels. If you see yourself as following in the footsteps of the Old Masters then you may be more inspired by our coarse weave Italian linens. For those of you planning an outdoor painting adventure, make sure your panel doesn't weigh you down! Our Ultralite painting boards are easy to cut to any size and made with a beautiful traditional linen surface.

C O N T E N T SCanvas Rolls

Stretcher Bars

Stretched Canvas

46–47

48–50

51–54

Panels

Acrylic Pads & Paper

Cartridge Pads & Paper

55–61

62

63


B E L L E A R T I L I N E N

Jackson's are proud to sell Belle Arti linen. They offer so much choice, and every type of linen is beautifully made and a pleasure to paint on.Belle Arti linens are available universally primed, clear primed, oil primed and unprimed. You can choose from weaves that range from extra fine to rough.

There is an authentic feel to the linens; they do not feel mechanically made. The character of the linen will lift your painting and you'll wonder why you ever settled for anything less.

O r d e r C o d e W i d t h L e n g t h £ P r i c eC L 5 6 8 2 . 1 m / 8 2 i n p e r m e t r e 3 8 . 0 0C L 5 6 8 / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 3 4 3 . 0 0

U N I V E R S A L P R I M E D M E D I U M 4 7 5 G S M / 1 4 O Z


U N I V E R S A L P R I M E D M E D I U M 3 9 9 G S M / 1 1 . 8 O Z


C L E A R P R I M E D R O U G H 4 3 0 G S M / 1 2 . 7 O Z


O I L P R I M E D E X T R A F I N E 4 4 1 G S M / 1 3 O Z


G E S S O P R I M E D M E D I U M 5 2 4 G S M / 1 5 . 5 O Z

O r d e r C o d e W i d t h L e n g t h £ P r i c eC L 5 74 2 . 1 m / 8 2 i n p e r m e t r e 4 1 . 0 0C L 5 74 / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 3 6 3 . 0 0

U N I V E R S A L P R I M E D E X T R A F I N E 3 1 6 G S M / 9 . 3 O Z

O r d e r C o d e W i d t h L e n g t h £ P r i c eC L 5 3 5 2 . 1 m / 8 2 i n p e r m e t r e 4 1 . 0 0C L 5 3 5 / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 3 6 7. 0 0

U N I V E R S A L P R I M E D F I N E 5 2 3 G S M / 1 5 . 5 O Z


C L E A R P R I M E D E X T R A F I N E 2 0 7 G S M / 6 . 1 O Z


C L E A R P R I M E D F I N E 3 6 1 G S M / 1 0 . 6 O Z

O r d e r C o d e W i d t h L e n g t h £ P r i c eC L 5 3 7 2 . 1 m / 8 2 i n p e r m e t r e 4 8 . 0 0C L 5 3 7/ 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 4 3 4 . 0 0

O I L P R I M E D F I N E 5 8 2 G S M / 1 7 . 2 O Z

O r d e r C o d e W i d t h L e n g t h £ P r i c eC L 0 0 7 2 . 1 m / 8 2 i n p e r m e t r e 5 3 . 0 0C L 0 0 7/ 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 4 7 7. 0 0

O I L P R I M E D F I N E 3 2 7 G S M / 9 . 6 O Z

O r d e r C o d e W i d t h L e n g t h £ P r i c eC L 5 3 6 2 . 1 m / 8 2 i n p e r m e t r e 4 7. 0 0C L 5 3 6 / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 4 2 4 . 0 0

O I L P R I M E D M E D I U M 5 0 8 G S M / 1 5 O Z


U N P R I M E D E X T R A F I N E 1 9 8 G S M / 5 . 8 O Z

O r d e r C o d e W i d t h L e n g t h £ P r i c eC L 5 9 6 2 . 1 m / 8 2 i n p e r m e t r e 2 7. 5 0C L 5 9 6 / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 2 4 9 . 0 0

U N P R I M E D F I N E 3 2 0 G S M / 9 . 4 O Z


U N P R I M E D M E D I U M 2 7 9 G S M / 8 . 2 O Z


U N P R I M E D R O U G H 4 0 5 G S M / 1 1 . 9 O Z

A R T F I X L I N E N

Artfix is a French manufacturer of linens. The quality is second to none and although the price does reflect this, you are guaranteed to be painting on a surface that could not be made to a higher specification.We offer their unprimed and universal primed linens, which are available in extra fine, fine and medium weaves. The linens are made in a small village near Matisse's beloved Vence, where the dry warm climate is ideal for a slow even drying of the layers of primer.

O r d e r C o d e W i d t h L e n g t h £ P r i c eC L 6 3 U 2 . 1 m / 8 2 i n p e r m e t r e 1 0 4 . 0 0C L 6 3 U / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 8 8 2 . 0 0

U N I V E R S A L P R I M E D E X T R A F I N E

O r d e r C o d e W i d t h L e n g t h £ P r i c eC L 9 2 U 2 . 1 m / 8 2 i n p e r m e t r e 1 0 4 . 0 0C L 9 2 U / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 8 8 2 . 0 0

U N I V E R S A L P R I M E D M E D I U M

O r d e r C o d e W i d t h L e n g t h £ P r i c eC L 4 3 U 2 . 1 m / 8 2 i n p e r m e t r e 9 4 . 0 0C L 4 3 U / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 7 9 8 . 0 0

U N I V E R S A L P R I M E D F I N E

O r d e r C o d e W i d t h L e n g t h £ P r i c eC L 6 0 2 . 1 m / 8 2 i n p e r m e t r e 7 5 . 0 0C L 6 0 / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 6 3 7. 0 0

U N P R I M E D E X T R A F I N E 3 4 0 G S M / 1 0 O Z


U N P R I M E D F I N E 3 4 0 G S M / 1 0 O Z


U N P R I M E D M E D I U M 3 4 0 G S M / 1 0 O Z

P R O F E S -

S I O N A L

C A N V A S R O L L S


C L A E S S E N S L I N E N

Claessens have made a conscious choice to keep a small-scale approach to production and to honour the traditional methods for treating artist's canvas.Nowadays, much of the work is done by machine, but the core of the production process has remained unchanged. This respect for tradition and experience has made Claessens a household name amongst professional artists, stretching far beyond the borders of Europe.

O r d e r C o d e W i d t h L e n g t h £ P r i c eC C L1 6 6 2 . 1 m / 8 2 i n p e r m e t r e 4 7. 0 0C C L1 6 6 / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 4 2 3 . 0 0


O r d e r C o d e W i d t h L e n g t h £ P r i c eC C L1 7 0 2 . 1 m / 8 2 i n p e r m e t r e 3 8 . 0 0C C L1 7 0 / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 3 3 6 . 0 0

U N I V E R S A L P R I M E D H E A V Y 4 0 0 G S M / 1 1 . 8 O Z

O r d e r C o d e W i d t h L e n g t h £ P r i c eC C L1 3 2 . 1 m / 8 2 i n p e r m e t r e 7 2 . 0 0C C L1 3 / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 6 4 2 . 0 0

O I L P R I M E D E X T R A F I N E 2 1 0 G S M


O I L P R I M E D F I N E 3 0 0 G S M

O r d e r C o d e W i d t h L e n g t h £ P r i c eC C L 6 6 2 . 1 m / 8 2 i n p e r m e t r e 4 8 . 0 0C C L 6 6 / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 4 2 5 . 0 0

O I L P R I M E D M E D I U M 4 1 5 G S M

O r d e r C o d e W i d t h L e n g t h £ P r i c eC C L7 0 2 . 1 m / 8 2 i n p e r m e t r e 3 8 . 0 0C C L7 0 / 1 0 2 . 1 m / 8 2 i n 1 0 m r o l l 3 4 0 . 0 0

O I L P R I M E D H E A V Y 4 0 0 G S M


U N I V E R S A L P R I M E D E X T R A F I N E 3 6 3 G S M


U N I V E R S A L P R I M E D F I N E 3 4 5 G S M

B E L L E A R T I C O T T O N & J U T E

A third of the price of many of the linens, the cotton offered by Belle Arti still offers a truly characterful surface on which to paint.As well as the extra fine, medium/fine and medium weaves offered in the cotton, we also stock their jute, an extra coarse painting surface ideal for bold impasto work. Cotton is less expensive than linen as the threads are shorter and the material not as strong. Cotton is also more uniform in its appearance, but it is still a very appealing painting surface.




U N I V E R S A L P R I M E D J U T E 5 8 4 G S M / 1 7 . 2 O Z


U N I V E R S A L P R I M E D E X T R A F I N E 2 5 3 G S M / 7.5O Z



J A C K S O N ' S C O T T O N

For medium and small sized paintings, Jackson's cotton offers an affordable and high quality surface.Jackson's Cotton Duck is available in medium grain 12oz, 10oz or 8oz. If you're looking for the subtlest of weaves we would recommend the 8oz for the small works. The heavier weights of canvas offer a little more texture and get stronger the heavier the weight. The weave is uniform. As one artist told us, "Good canvas, good price". A coat of oil primer on the universal primed cotton will make a less absorbent surface for oil painting.O r d e r C o d e W i d t h L e n g t h £ P r i c e

C P C 1 2 1 . 8 3 m / 7 2 i n p e r m e t r e 1 1 . 3 0C P C 1 2 / 1 0 1 . 8 3 m / 7 2 i n 1 0 m r o l l 9 6 . 0 0


O r d e r C o d e W i d t h L e n g t h £ P r i c eC U P C 1 0 1 . 8 3 m / 7 2 i n p e r m e t r e 7. 1 0C U P C 1 0 / 1 0 1 . 8 3 m / 7 2 i n 1 0 m r o l l 5 8 . 0 0


O r d e r C o d e W i d t h L e n g t h £ P r i c eC U P C 1 2 1 . 8 3 m / 7 2 i n p e r m e t r e 8 . 2 0C U P C 1 2 / 1 0 1 . 8 3 m / 7 2 i n 1 0 m r o l l 6 7. 0 0


O r d e r C o d e W i d t h L e n g t h £ P r i c eC P C 8 / 1 0 1 . 8 3 m / 7 2 i n 1 0 m r o l l 7 1 . 0 0

U N I V E R S A L P R I M E D M E D I U M 2 7 0 G S M / 8 O Z

O r d e r C o d e W i d t h L e n g t h £ P r i c eC P C 1 0 / 1 0 1 . 8 3 m / 7 2 i n 1 0 m r o l l 7 8 . 0 0


C A N V A S R O L L S


S T R E T C H E R B A R S

Our 43 x 58mm stretcher bars are very solid and come with a cross bar slot on lengths of 80cm or longer.Easy to assemble and guaranteed high quality. The square end of each bar will provide a snug fit with another bar of the same depth.

C C B C 3 0 4 0 5 0 6 0 7 0 8 0 9 0 1 0 0 1 1 0 1 2 0 1 3 0 1 4 0 1 5 0 1 6 0 1 7 0 1 8 0 1 9 0 2 0 0c m 3 0 4 0 5 0 6 0 7 0 8 0 9 0 1 0 0 1 1 0 1 2 0 1 3 0 1 4 0 1 5 0 1 6 0 1 7 0 1 8 0 1 9 0 2 0 0i n c h ( a p p r o x ) 1 2 1 6 2 0 2 4 2 8 3 2 3 6 3 9 4 3 4 8 5 1 5 5 6 0 6 3 6 7 7 1 7 5 7 9£ P r i c e 1 . 8 0 2 . 3 0 2 . 9 0 3 . 5 0 4 . 0 0 4 . 6 0 5 . 2 0 5 . 6 0 6 . 2 0 6 . 7 0 7. 3 0 7. 8 0 8 . 4 0 8 . 6 0 9 . 5 0 1 0 . 1 0 1 0 . 6 0 1 1 . 2 0

C E N T R E B A R S ( S I N G L E S ) 1 5 X 5 8 M M

J A C K S O N ' S 2 1 M M P R O F E S S I O N A L S T R E T C H E R B A R S

Our 21 x 58mm stretcher bars are very solid and come with a cross bar slot on lengths of 80cm or longer.Easy to assemble and guaranteed high quality. The square end of each bar will provide a snug fit with another bar of the same depth.



These 18 x 43mm bars are designed with one cross bar slot on each stretcher bar, usually lengths above 80cm.They are easy to assemble, solid and a guaranteed high quality product. The square end of the stretcher bar will provide a snug fit with another bar.

C C 1 3 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8 3 0 3 2 3 4 3 6 3 8 4 0i n c h 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8 3 0 3 2 3 4 3 6 3 8 4 0c m ( a p p r o x ) 3 0 . 5 3 5 . 6 4 0 . 6 4 5 . 7 5 0 . 8 5 5 . 9 6 1 6 6 7 1 . 1 7 6 . 2 8 1 . 3 8 6 . 4 9 1 . 4 9 6 . 5 1 0 1 . 6£ P r i c e 0 . 9 0 1 . 1 0 1 . 2 0 1 . 4 0 1 . 5 0 1 . 7 0 1 . 8 0 1 . 9 0 2 . 1 0 2 . 2 0 2 . 4 0 2 . 5 0 2 . 7 0 2 . 8 0 3 . 0 0


C S P 2 1 3 6 3 8 4 0 4 2 4 4 4 8 5 4i n c h 3 6 3 8 4 0 4 2 4 4 4 8 5 4c m ( a p p r o x ) 9 1 . 4 9 6 . 5 1 0 1 . 6 1 0 6 . 7 1 1 1 . 7 1 2 1 . 9 1 3 7. 2£ P r i c e 1 0 . 3 0 1 0 . 9 0 1 1 . 5 0 1 2 . 0 0 1 2 . 6 0 1 3 . 7 0 1 5 . 4 0

C C B I 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8 3 0 3 2 3 4 3 6 3 8 4 0 4 2 4 4i n c h 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8 3 0 3 2 3 4 3 6 3 8 4 0 4 2 4 4c m ( a p p r o x ) 2 5 . 4 3 0 . 5 3 5 . 6 4 0 . 6 4 5 . 7 5 0 . 8 5 5 . 9 6 1 6 6 7 1 . 1 7 6 . 2 8 1 . 3 8 6 . 4 9 1 . 4 9 6 . 5 1 0 1 . 6 1 0 6 . 7 1 1 1 . 7£ P r i c e 1 . 5 0 1 . 7 0 2 . 0 0 2 . 3 0 2 . 6 0 2 . 9 0 3 . 2 0 3 . 4 0 3 . 7 0 4 . 0 0 4 . 3 0 4 . 6 0 4 . 8 0 5 . 1 0 5 . 4 0 5 . 7 0 6 . 0 0 6 . 3 0


C S P 1 8 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8 3 0 3 2 3 4 3 6 3 8 4 0i n c h 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8 3 0 3 2 3 4 3 6 3 8 4 0c m ( a p p r o x ) 3 0 . 5 3 5 . 6 4 0 . 6 4 5 . 7 5 0 . 8 5 5 . 9 6 1 6 6 7 1 . 1 7 6 . 2 8 1 . 3 8 6 . 4 9 1 . 4 9 6 . 5 1 0 1 . 6£ P r i c e 1 . 5 0 1 . 8 0 2 . 0 0 2 . 2 0 2 . 5 0 2 . 7 0 3 . 0 0 3 . 2 0 3 . 5 0 3 . 7 0 4 . 0 0 4 . 2 0 4 . 4 0 4 . 7 0 4 . 9 0

S T R E T C H E R B A R S ( P A I R S ) 1 8 X 4 3 M M

C S P 2 1 9 1 0 1 1 1 2 1 3 1 4 1 5 1 6 1 7 1 8 2 0 2 2 2 4 2 6 2 8 3 0 3 2 3 4i n c h 9 1 0 1 1 1 2 1 3 1 4 1 5 1 6 1 7 1 8 2 0 2 2 2 4 2 6 2 8 3 0 3 2 3 4c m ( a p p r o x ) 2 2 . 9 2 5 . 4 2 7. 9 3 0 . 5 3 3 3 5 . 6 3 8 . 1 4 0 . 6 4 3 . 2 4 5 . 7 5 0 . 8 5 5 . 9 6 1 6 6 7 1 . 1 7 6 . 2 8 1 . 3 8 6 . 4£ P r i c e 2 . 6 0 2 . 9 0 3 . 2 0 3 . 5 0 3 . 8 0 4 . 0 0 4 . 3 0 4 . 6 0 4 . 9 0 5 . 2 0 5 . 8 0 6 . 3 0 6 . 9 0 7. 5 0 8 . 0 0 8 . 6 0 9 . 2 0 9 . 7 0


C S P 4 3 3 0 4 0 5 0 6 0 7 0 8 0 9 0 1 0 0 1 1 0 1 2 0 1 3 0 1 4 0 1 5 0 1 6 0 1 7 0 1 8 0 1 9 0 2 0 0c m 3 0 4 0 5 0 6 0 7 0 8 0 9 0 1 0 0 1 1 0 1 2 0 1 3 0 1 4 0 1 5 0 1 6 0 1 7 0 1 8 0 1 9 0 2 0 0i n c h ( a p p r o x ) 1 2 1 6 2 0 2 4 2 8 3 2 3 6 3 9 4 3 4 8 5 1 5 5 6 0 6 3 6 7 7 1 7 5 7 9£ P r i c e 6 . 7 0 8 . 9 0 1 1 . 2 0 1 3 . 4 0 1 5 . 6 0 1 7. 8 0 2 0 . 5 0 2 2 . 5 0 2 4 . 5 0 2 7. 0 0 2 9 . 0 0 3 2 . 0 0 3 4 . 0 0 3 6 . 0 0 3 8 . 0 0 4 1 . 0 0 4 3 . 0 0 4 5 . 0 0




S T R E T C H E R B A R SC H O O S E · A S S E M B L E · S T R E T C H

J A C K S O N ' S H O W T O A S S E M B L E 1 8 M M P R O F E S S I O N A L S T R E T C H E R B A R S

Assembling Jackson's Professional Stretcher Bars seems a little mysterious the first time you do it. But as soon as you know the process, it is really very simple to put them together.Stretching your own canvas allows you to control the quality of materials and customise the size of your stretched canvas.

C H O O S E T H E S I Z E O F Y O U R S T R E T C H E R B A R S

1 8 M M , 2 1 M M O R 4 3 M M

T H E W I D T H O F T H E B A R I S B E V E L L E D . T H E C O R N E R S H A V E

S L O T S C U T I N T O T H E M S O T H A T T H E Y F I T T O G E T H E R A T A R I G H T

A N G L E T O M A K E S T R O N G C O R N E R S

F I T T H E M T O G E T H E R B Y I N S E R T I N G ( B ) I N T O ( A ) W H I L E E N S U R I N G T H A T A L L B A R S S L O P E T O T H E I N S I D E O F

T H E S Q U A R E

U S E A M A L L E T T O T A P T H E MF U L L Y T I G H T

E N S U R E Y O U R S T R E T C H E RF R A M E I S S Q U A R E

N O T EFind a full article and video on assembling stretcher bars on our blogw w w. jacksons ar t .com / blog



J A C K S O N ' S A L U - P R O A L U M I N I U M S T R E T C H E R B A R S

ALU-PRO Aluminium stretcher bars ensure maximum stability for your artwork. Lightweight and easy to transport, precisely engineered components guarantee a high quality product. An outer wood profile allows for easy back stapling of canvases. ALU-PRO's design creates a perfect framework for canvas stretching, free from deformation, twisting and warping caused by humidity or dryness. Eco-friendly and sustainably produced. A basic stretcher of less than 120cm per side will require 4 corner connectors. Cross bars require 2 support connectors each, plus 2 cross connectors wherever cross bars intersect. For more construction details search 'ALU-PRO INFO' on the Jackson's site.

C A L 2 5 4 0 5 0 6 0 7 0 8 0 9 0 1 0 0 1 1 0 1 2 0 1 3 0 1 4 0 1 5 0 1 6 0 1 7 0 1 8 0 1 9 0 2 0 0c m 4 0 5 0 6 0 7 0 8 0 9 0 1 0 0 1 1 0 1 2 0 1 3 0 1 4 0 1 5 0 1 6 0 1 7 0 1 8 0 1 9 0 2 0 0i n c h ( a p p r o x ) 1 6 2 0 2 4 2 8 3 2 3 5 . 5 4 0 4 3 4 7. 2 5 5 2 5 5 6 0 6 3 6 7 7 0 7 5 7 9£ P r i c e 7. 5 0 9 . 4 0 1 1 . 2 0 1 3 . 1 0 1 5 . 0 0 1 6 . 8 0 1 8 . 7 0 2 1 . 0 0 2 2 . 5 0 2 4 . 5 0 2 6 . 5 0 2 8 . 5 0 3 0 . 0 0 3 2 . 0 0 3 4 . 0 0 3 6 . 0 0 3 8 . 0 0

2 5 M M P R O F I L E S T R E T C H E R B A R S ( P A I R S ) 2 5 X 6 5 M M

C A L P 4 0 5 0 6 0 7 0 8 0 9 0 1 0 0 1 1 0 1 2 0 1 3 0 1 4 0 1 5 0 1 6 0 1 7 0 1 8 0 1 9 0 2 0 0c m 4 0 5 0 6 0 7 0 8 0 9 0 1 0 0 1 1 0 1 2 0 1 3 0 1 4 0 1 5 0 1 6 0 1 7 0 1 8 0 1 9 0 2 0 0i n c h ( a p p r o x ) 1 6 2 0 2 4 2 8 3 2 3 5 . 5 4 0 4 3 4 7. 2 5 5 2 5 5 6 0 6 3 6 7 7 0 7 5 7 9£ P r i c e 2 . 4 0 3 . 0 0 3 . 6 0 4 . 2 0 4 . 7 0 5 . 3 0 5 . 9 0 6 . 5 0 7. 1 0 7. 7 0 8 . 3 0 8 . 9 0 9 . 4 0 1 0 . 0 0 1 0 . 6 0 1 1 . 2 0 1 1 . 8 0

P R I M A R Y C R O S S B A R 1 8 X 4 5 M M

4 5 M M P R O F I L E S T R E T C H E R B A R S ( P A I R S ) 4 5 X 6 5 M M

C A L 4 5 4 0 5 0 6 0 7 0 8 0 9 0 1 0 0 1 1 0 1 2 0 1 3 0 1 4 0 1 5 0 1 6 0 1 7 0 1 8 0 1 9 0 2 0 0c m 4 0 5 0 6 0 7 0 8 0 9 0 1 0 0 1 1 0 1 2 0 1 3 0 1 4 0 1 5 0 1 6 0 1 7 0 1 8 0 1 9 0 2 0 0i n c h ( a p p r o x ) 1 6 2 0 2 4 2 8 3 2 3 5 . 5 4 0 4 3 4 7. 2 5 5 2 5 5 6 0 6 3 6 7 7 0 7 5 7 9£ P r i c e 9 . 7 0 1 2 . 1 0 1 4 . 5 0 1 6 . 9 0 1 9 . 3 0 2 2 . 0 0 2 4 . 5 0 2 6 . 5 0 2 9 . 0 0 3 2 . 0 0 3 4 . 0 0 3 7. 0 0 3 9 . 0 0 4 1 . 0 0 4 4 . 0 0 4 6 . 0 0 4 9 . 0 0

J A C K S O N ' S A L U - P R O A L U M I N I U M S T R E T C H E R B A R A C C E S S O R I E S

Alu-Pro Frame StabiliserCan be assembled inside the aluminium box prof i le .Code: CAL ANGLEPrice: £1.00

Alu-Pro Corner ConnectorFor joining horizontal and ver tical stretcher bars at a 90° angle .Code: CALCORNERPrice: £2.40

Alu-Pro Cross ConnectorFor reinfocing central joins bet ween centre bars and stretcher barsCode: CALCROSSPrice: £1.50

Alu-Pro HangerHangs canvases without wires or screws. Code: CALHE AV YPrice: £6.10

Alu-Pro SpannerRequires a 4mm Allen Key for t ightening screws.Code: CALSTRETCHPrice: £1.40

Alu-Pro Suppor t ConnectorFor suppor ting a join bet ween a cross bars and an ex ternal frame screws.Code: CALCONNECTPrice: £2.30

Alu-Pro Screw EyeletsFor hanging A LU-PRO canvases securely.Code: CALHANGERPrice: £0.50

Alu-Pro Allen KeyFor t ightening bolts and screws when assembling an A LU-PRO canvas . Code: CALINBUSPrice: £1.20

Alu-Pro Ex tender 25mm SingleTo ex tend the bars to larger sizes .Code: CAL25E XTPrice: £26.50

Alu-Pro Ex tender 45mm SingleTo ex tend the bars to larger sizes .Code: CAL45E XTPrice: £29.00

C A L S 1 2 0 1 3 0 1 4 0 1 5 0 1 6 0 1 7 0 1 8 0 1 9 0 2 0 0c m 1 2 0 1 3 0 1 4 0 1 5 0 1 6 0 1 7 0 1 8 0 1 9 0 2 0 0i n c h ( a p p r o x ) 4 7. 2 5 5 2 5 5 6 0 6 3 6 7 7 0 7 5 7 9£ P r i c e 7. 1 0 7. 7 0 8 . 3 0 8 . 9 0 9 . 4 0 1 0 . 0 0 1 0 . 6 0 1 1 . 2 0 1 1 . 8 0

S E C O N D A R Y C R O S S B A R S E T ( I N 2 P A R T S ) 1 8 X 4 5 M M

K E YCanvas Crossbars — Sing le cros sbar + Double cros sbar

Metric Conversion

CM IN1 3 5 1 / 8

1 5 5 1 5 / 1 6

1 8 7 1 / 1 6

2 0 7 7 / 8

2 4 9 7 / 1 6

3 0 1 1 1 3 / 1 6

4 0 1 5 3 / 4

5 0 1 9 1 1 / 1 6

6 0 2 3 5 / 8

7 0 2 7 9 / 1 6

8 0 3 1 1 / 2

9 0 3 5 7 / 1 6

1 0 0 3 9 3 / 8

1 1 0 4 3 5 / 1 6

1 2 0 4 7 1 / 4

1 3 0 5 1 3 / 1 6

1 4 0 5 5 1 / 8

1 5 0 5 9 1 / 1 6

1 6 0 6 31 7 0 6 6 1 5 / 1 6

1 8 0 7 0 7 / 8

1 9 0 74 1 3 / 1 6

2 0 0 7 8 3 / 4


S T R E T C H E D C A N V A S

J A C K S O N ' S A L U - P R O P R E M I U M L I N E N S T R E T C H E D C A N V A S

Alu-Pro Aluminium Stretched Canvases ensure maximum stability for your artwork, and are easy to transport as they are lightweight. The canvas frames' precisely engineered components guarantee a high quality product that lasts. They are made with high quality, 440gsm pure linen. This linen is made of the best flax thread which is selected for good length, thickness and colour. The linen is prepared and processed using traditional methods. Canvases come with one layer of hide glue and are primed with three layers of acrylic gesso. The natural drying process takes place in a warm, ventilated space. The sides of the canvas can be painted. These canvases are also eco-friendly and sustainably produced.

O r d e r C o d e S i z e c m C r o s s b a r £ P r i c eC A L S 6 0 8 0 6 0 x 8 0 5 2 . 0 0C A L S 8 0 8 0 8 0 x 8 0 6 0 . 0 0C A L S 7 0 1 0 0 7 0 x 1 0 0 6 3 . 0 0C A L S 8 0 1 0 0 8 0 x 1 0 0 7 2 . 0 0C A L S 1 0 0 1 0 0 1 0 0 x 1 0 0 8 2 . 0 0C A L S 8 0 1 2 0 8 0 x 1 2 0 8 2 . 0 0C A L S 8 0 1 4 0 8 0 x 1 4 0 8 7. 0 0C A L S 1 0 0 1 2 0 1 0 0 x 1 2 0 9 2 . 0 0C A L S 8 0 1 6 0 8 0 x 1 6 0 1 0 4 . 0 0C A L S 1 0 0 1 4 0 1 0 0 x 1 4 0 1 0 9 . 0 0C A L S 1 2 0 1 2 0 1 2 0 x 1 2 0 1 2 6 . 0 0C A L S 1 0 0 1 5 0 1 0 0 x 1 5 0 — 1 1 3 . 0 0C A L S 1 0 0 1 6 0 1 0 0 x 1 6 0 — 1 2 0 . 0 0C A L S 1 2 0 1 5 0 1 2 0 x 1 5 0 — 1 2 7. 0 0C A L S 1 0 0 1 8 0 1 0 0 x 1 8 0 — 1 2 9 . 0 0C A L S 1 2 0 1 8 0 1 2 0 x 1 8 0 — 1 4 4 . 0 0

U N I V E R S A L P R I M E D 2 5 M MM E D I U M G R A I N L I N E N

O r d e r C o d e S i z e c m C r o s s b a r £ P r i c eC A LW 6 0 8 0 8 0 x 6 0 6 1 . 0 0C A LW 8 0 8 0 8 0 x 8 0 7 1 . 0 0C A LW 7 0 1 0 0 7 0 x 1 0 0 7 5 . 0 0C A LW 8 0 1 0 0 8 0 x 1 0 0 8 2 . 0 0C A LW 8 0 1 2 0 8 0 x 1 2 0 9 2 . 0 0C A LW 1 0 0 1 0 0 1 0 0 x 1 0 0 9 3 . 0 0C A LW 7 0 1 4 0 7 0 x 1 4 0 9 6 . 0 0C A LW 1 0 0 1 2 0 1 0 0 x 1 2 0 1 0 7. 0 0C A LW 8 0 1 4 0 8 0 x 1 4 0 1 0 3 . 0 0C A LW 8 0 1 6 0 8 0 x 1 6 0 — 1 1 9 . 0 0C A LW 1 0 0 1 4 0 1 0 0 x 1 4 0 1 2 3 . 0 0CA LW512 0 12 0 1 2 0 x 1 2 0 1 2 5 . 0 0C A LW 1 0 0 1 5 0 1 0 0 x 1 5 0 — 1 2 8 . 0 0C A LW 1 0 0 1 6 0 1 0 0 x 1 6 0 — 1 3 6 . 0 0C A LW 1 2 0 1 5 0 1 2 0 x 1 5 0 — 1 4 5 . 0 0C A LW 1 0 0 1 8 0 1 0 0 x 1 8 0 — 1 4 6 . 0 0C A LW 1 2 0 1 8 0 1 2 0 x 1 8 0 — 1 6 0 . 0 0

U N I V E R S A L P R I M E D 4 5 M MM E D I U M G R A I N L I N E N

P R O F E S -

S I O N A L


B E L L E A R T I L I N E N S T R E T C H E D C A N V A S

Belle Arti stretched linen canvases use the finest woven linen from France. It is then primed and stretched to the highest of standards. The linen is stapled to the reverse of the stretcher bars giving a clean edge suitable for displaying canvases without a frame.

The stretcher bars are made from renewable Red Fir wood which has been dried to the optimum degree of humidity to ensure stability and resistance to warping. The special design of the joints gives good resistance to torsion.

"For fine detail in oils, this is the best canvas I've ever come across… highly recommended" – Customer review.

O r d e r C o d e S i z e c m £ R R P £ P r i c eC B L1 8 2 4 C P 1 8 x 2 4 8 . 6 2 5 . 7 0C B L 2 4 3 0 C P 2 4 x 3 0 1 0 . 9 2 7. 2 0C B L 3 0 4 0 C P 3 0 x 4 0 1 3 . 9 8 9 . 2 0C B L 3 5 4 5 C P 3 5 x 4 5 1 6 . 0 0 1 0 . 5 0C B L 4 0 5 0 C P 4 0 x 5 0 1 8 . 1 6 1 1 . 9 0C B L 5 0 6 0 C P 5 0 x 6 0 3 2 . 6 0 2 1 . 5 0C B L 5 0 7 0 C P 5 0 x 7 0 3 5 . 7 9 2 3 . 5 0C B L 6 0 7 0 C P 6 0 x 7 0 4 0 . 7 1 2 7. 0 0

C L E A R P R I M E D 2 1 M M M E D I U M G R A I N L I N E N

O r d e r C o d e S i z e c m £ R R P £ P r i c eC B L1 8 2 4 F 1 8 x 2 4 1 0 . 4 2 6 . 9 0C B L 2 4 3 0 F 2 4 x 3 0 1 3 . 4 3 8 . 8 0C B L 3 0 4 0 F 3 0 x 4 0 1 7. 5 4 1 1 . 5 0C B L 3 5 4 5 F 3 5 x 4 5 2 0 . 3 1 1 3 . 3 0C B L 4 0 5 0 F 4 0 x 5 0 2 3 . 3 4 1 5 . 3 0C B L 4 0 6 0 F 4 0 x 6 0 3 5 . 2 8 2 3 . 5 0C B L 5 0 6 0 F 5 0 x 6 0 3 9 . 9 8 2 6 . 5 0C B L 5 0 7 0 F 5 0 x 7 0 4 4 . 2 1 2 9 . 0 0C B L 6 0 7 0 F 6 0 x 7 0 4 9 . 8 3 3 3 . 0 0

U N I V E R S A L P R I M E D 2 1 M M F I N E G R A I N L I N E N

O r d e r C o d e S i z e c m £ R R P £ P r i c eC B L1 8 2 4 M 1 8 x 2 4 1 0 . 1 8 6 . 7 0C B L 2 4 3 0 M 2 4 x 3 0 1 3 . 0 6 8 . 6 0C B L 3 0 4 0 M 3 0 x 4 0 1 7. 0 4 1 1 . 2 0C B L 3 5 4 5 M 3 5 x 4 5 1 9 . 6 7 1 2 . 9 0C B L 4 0 5 0 M 4 0 x 5 0 2 2 . 5 3 1 4 . 8 0C B L 4 0 6 0 M 4 0 x 6 0 3 4 . 3 4 2 2 . 5 0C B L 5 0 6 0 M 5 0 x 6 0 3 8 . 8 6 2 5 . 5 0C B L 5 0 7 0 M 5 0 x 7 0 4 2 . 9 3 2 8 . 5 0C B L 6 0 7 0 M 6 0 x 7 0 4 8 . 3 4 3 2 . 0 0

U N I V E R S A L P R I M E D 2 1 M M M E D I U M G R A I N L I N E N

N O T ESave 20% on boxes of 10 canvases online.Our L inen S tretched Canva s are a lso avai lable in mult ipack boxes . V is i t our website for more info .

O r d e r C o d e S i z e c m £ R R P £ P r i c eC B L1 8 2 4 E O 1 8 x 2 4 1 2 . 7 1 8 . 3 0C B L 2 4 3 0 E O 2 4 x 3 0 1 6 . 6 8 1 0 . 9 0C B L 3 0 4 0 E O 3 0 x 4 0 2 2 . 3 3 1 4 . 6 0C B L 3 5 4 5 E O 3 5 x 4 5 2 6 . 2 2 1 7. 2 0C B L 4 0 5 0 E O 4 0 x 5 0 3 0 . 4 9 2 0 . 0 0C B L 4 0 6 0 E O 4 0 x 6 0 4 3 . 6 6 2 9 . 0 0C B L 5 0 6 0 E O 5 0 x 6 0 4 9 . 9 9 3 3 . 0 0C B L 5 0 7 0 E O 5 0 x 7 0 5 5 . 6 8 3 7. 0 0C B L 6 0 7 0 E O 6 0 x 7 0 6 3 . 2 0 4 2 . 0 0

O I L P R I M E D 2 1 M ME X T R A F I N E G R A I N L I N E N


P A C K O F 3 U N I V E R S A L P R I M E D 4 3 M M F I N E G R A I N C O T T O N

O r d e r C o d e S i z e c m £ R R P £ P r i c eC G C 5 0 5 0 / 3 5 0 x 5 0 7 7. 4 5 4 0 . 0 0C G C 5 0 6 0 / 3 5 0 x 6 0 8 3 . 4 7 4 3 . 0 0C G C 6 0 7 0 / 3 6 0 x 7 0 9 9 . 8 6 5 1 . 0 0C G C 7 0 7 0 / 3 7 0 x 7 0 1 1 1 . 3 8 5 7. 0 0 C G C 7 0 8 0 / 3 7 0 x 8 0 1 2 4 . 7 2 6 4 . 0 0C G C 8 0 8 0 / 3 8 0 x 8 0 1 4 2 . 3 4 7 3 . 0 0C G C 8 0 1 0 0 / 3 8 0 x 1 0 0 1 6 8 . 6 8 8 6 . 0 0C G C 1 0 0 1 0 0 / 3 1 0 0 x 1 0 0 2 1 1 . 8 5 1 0 8 . 0 0C G C 1 0 0 1 2 0 / 3 1 0 0 x 1 2 0 2 3 9 . 7 6 1 2 3 . 0 0C G C 1 2 0 1 5 0 / 3 1 2 0 x 1 5 0 4 0 3 . 9 1 1 9 7. 0 0

p a c k o f 3


O r d e r C o d e S i z e c m £ R R P £ P r i c eC B C 1 8 2 4 1 8 x 2 4 6 . 4 1 4 . 0 0C B C 2 0 2 0 2 0 x 2 0 6 . 6 5 4 . 1 0C B C 2 4 3 0 2 4 x 3 0 7. 3 7 4 . 6 0C B C 3 0 3 0 3 0 x 3 0 8 . 1 2 5 . 0 0C B C 2 0 4 0 2 0 x 4 0 8 . 3 5 5 . 2 0C B C 3 0 4 0 3 0 x 4 0 8 . 8 9 5 . 5 0C B C 3 5 4 5 3 5 x 4 5 1 0 . 1 8 6 . 3 0C B C 4 0 4 0 4 0 x 4 0 1 0 . 2 0 6 . 3 0C B C 4 0 5 0 4 0 x 5 0 1 1 . 0 7 6 . 8 0C B C 4 0 6 0 4 0 x 6 0 1 2 . 4 7 7. 7 0C B C 5 0 5 0 5 0 x 5 0 1 2 . 5 9 7. 8 0C B C 5 0 6 0 5 0 x 6 0 1 3 . 5 5 8 . 4 0C B C 4 0 8 0 4 0 x 8 0 1 4 . 2 0 8 . 8 0C B C 5 0 7 0 5 0 x 7 0 1 4 . 5 5 9 . 0 0C B C 2 0 8 0 2 0 x 8 0 1 6 . 2 6 1 0 . 0 0C B C 6 0 6 0 6 0 x 6 0 1 7. 8 1 1 1 . 0 0C B C 6 0 7 0 6 0 x 7 0 1 8 . 8 6 1 1 . 6 0C B C 3 0 1 2 0 3 0 x 1 2 0 2 4 . 8 5 1 5 . 3 0C B C 5 0 1 2 0 5 0 x 1 2 0 2 9 . 9 3 1 8 . 4 0

U N I V E R S A L P R I M E D 2 1 M M F I N E G R A I N C O T T O N

O r d e r C o d e S i z e c m £ R R P £ P r i c eC G C 5 0 5 0 5 0 x 5 0 2 5 . 8 2 1 3 . 9 0C G C 5 0 6 0 5 0 x 6 0 2 7. 8 2 1 5 . 0 0C G C 6 0 7 0 6 0 x 7 0 3 3 . 2 9 1 7. 9 0C G C 7 0 7 0 7 0 x 7 0 3 7. 1 3 2 0 . 0 0C G C 7 0 8 0 7 0 x 8 0 4 1 . 5 7 2 2 . 5 0C G C 8 0 8 0 8 0 x 8 0 4 7. 4 5 2 5 . 5 0C G C 8 0 1 0 0 8 0 x 1 0 0 5 6 . 2 3 3 1 . 0 0C G C 1 0 0 1 0 0 1 0 0 x 1 0 0 7 0 . 6 2 3 8 . 0 0C G C 1 0 0 1 2 0 1 0 0 x 1 2 0 7 9 . 9 2 4 3 . 0 0C G C 1 2 0 1 5 0 1 2 0 x 1 5 0 1 3 4 . 6 4 7 3 . 0 0

U N I V E R S A L P R I M E D 4 3 M M F I N E G R A I N C O T T O N

B E L L E A R T I C O T T O N S T R E T C H E D C A N V A S

Belle Arti stretched cotton canvases use high quality fine grain cotton which is primed and stretched to the highest of standards.The cotton is stapled to the reverse of the stretcher bars giving a clean edge which enables displaying work without a frame. The stretchers are made from renewable Red Fir wood, carefully dried to ensure stability and resistance to warping.

"Beautifully made and a pleasure to paint on. Note that the canvas is very fine and smooth so this is not for you if you are looking for a rough grain" – Customer review.

CM IN2 0 7 7 / 8

4 0 1 5 3 / 4

6 0 2 3 5 / 8

7 0 2 7 9 / 1 6

8 0 3 1 1 / 2

1 0 0 3 9 3 / 8

1 2 0 4 7 1 / 4

K E YCanvas Crossbars— Sing le cros sbar+ Double cros sbarRatio� Golden Ratio

Metric Conversion

O r d e r C o d e S i z e c m £ R R P £ P r i c eC B C 1 8 2 4 / 6 1 8 x 2 4 3 8 . 4 7 2 3 . 5 0C B C 2 0 2 0 / 6 2 0 x 2 0 3 9 . 8 7 2 4 . 0 0C B C 2 4 3 0 / 6 2 4 x 3 0 4 4 . 2 3 2 7. 0 0C B C 3 0 3 0 / 6 3 0 x 3 0 4 8 . 7 2 2 9 . 5 0C B C 2 0 4 0 / 6 2 0 x 4 0 5 0 . 1 2 3 1 . 0 0C B C 3 0 4 0 / 6 3 0 x 4 0 5 3 . 3 5 3 3 . 0 0C B C 3 5 4 5 / 6 3 5 x 4 5 6 1 . 0 7 3 7. 0 0C B C 4 0 4 0 / 6 4 0 x 4 0 6 1 . 2 1 3 7. 0 0C B C 4 0 5 0 / 6 4 0 x 5 0 6 6 . 4 1 4 0 . 0 0C B C 4 0 6 0 / 6 4 0 x 6 0 74 . 8 3 4 5 . 0 0C B C 5 0 5 0 / 6 5 0 x 5 0 7 5 . 5 4 4 6 . 0 0C B C 5 0 6 0 / 6 5 0 x 6 0 8 1 . 2 9 4 9 . 0 0C B C 4 0 8 0 / 6 4 0 x 8 0 8 5 . 2 2 5 2 . 0 0C B C 5 0 7 0 / 6 5 0 x 7 0 8 7. 3 3 5 3 . 0 0C B C 2 0 8 0 / 6 2 0 x 8 0 9 7. 5 8 5 9 . 0 0C B C 6 0 6 0 / 6 6 0 x 6 0 1 0 6 . 8 4 6 5 . 0 0C B C 6 0 7 0 / 6 6 0 x 7 0 1 1 3 . 1 6 6 8 . 0 0C B C 3 0 1 2 0 / 6 3 0 x 1 2 0 1 4 9 . 1 0 9 0 . 0 0C B C 5 0 1 2 0 / 6 5 0 x 1 2 0 1 7 9 . 5 7 1 0 8 . 0 0

P A C K O F 6 U N I V E R S A L P R I M E D 2 1 M M F I N E G R A I N C O T T O N

B E L L E A R T I C O T T O N S T R E T C H E D C A N V A S M U L T I P A C K S

p a c k o f 6




J A C K S O N ' S P R E M I U M C O T T O N S T R E T C H E D C A N V A S

Our Premium Cotton Canvas and Canvas use traditional 10oz medium texture cotton.Each canvas is tightly stretched over a sturdy pine wood stretcher frame, and has the look and feel of a canvas that has been made for you by hand. Unique to this range are a number of sizes that have the proportions of the Golden Ratio, the shape considered most aesthetically pleasing throughout western art history.

Nothing has been compromised in their manufacture so that nothing is compromised in your finished work.

"Slightly rougher than some but without that 'mechanical' finish of cheaper canvases. Solid stretcher frame and good sized wedges" - Customer review.

U N I V E R S A L P R I M E D 3 8 M MM E D I U M G R A I N C O T T O N

O r d e r C o d e S i z e c m C r o s s b a r R a t i o £ P r i c eC J W 1 5 1 5 1 5 x 1 5 3 . 7 0 C J W 1 5 2 0 1 5 x 2 0 4 . 2 0C J W 2 0 2 5 2 0 x 2 5 5 . 2 0C J W 2 5 3 0 2 5 x 3 0 6 . 2 0C J W 2 5 3 5 2 5 x 3 5 6 . 7 0 C J W 3 0 3 0 3 0 x 3 0 6 . 7 0C J W 3 0 4 0 3 0 x 4 0 7. 7 0C J W 4 0 4 0 4 0 x 4 0 8 . 8 0C J W 3 5 4 5 3 5 x 4 5 9 . 1 0C J W 4 0 5 0 4 0 x 5 0 9 . 8 0C J W 5 0 5 0 5 0 x 5 0 1 1 . 1 0C J W 4 5 6 0 4 5 x 6 0 1 1 . 6 0C J W 5 0 6 0 5 0 x 6 0 1 2 . 2 0C J W 4 0 6 4 4 0 x 6 4 . 7 � 1 2 . 7 0C J W 6 0 6 0 6 0 x 6 0 1 3 . 4 0C J W 5 0 7 5 5 0 x 7 5 1 4 . 6 0C J W 6 0 7 5 6 0 x 7 5 1 6 . 1 0C J W 5 0 8 0 5 0 x 8 0 . 9 — � 1 6 . 8 0C J W 7 0 7 0 7 0 x 7 0 + 1 7. 7 0C J W 7 0 8 0 7 0 x 8 0 + 1 9 . 1 0C J W 6 0 9 7 6 0 x 9 7. 1 — � 2 1 . 0 0C J W 8 0 8 0 8 0 x 8 0 + 2 1 . 0 0C J W 8 0 1 0 0 8 0 x 1 0 0 + 2 4 . 0 0C J W 9 0 9 0 9 0 x 9 0 2 4 . 0 0C J W 7 0 1 1 3 7 0 x 1 1 3 . 3 + � 2 6 . 5 0C J W 1 0 0 1 0 0 1 0 0 x 1 0 0 + 2 7. 0 0C J W 1 0 0 1 2 0 1 0 0 x 1 2 0 + 3 0 . 0 0C J W 1 2 0 1 2 0 1 2 0 x 1 2 0 3 4 . 0 0C J W 1 2 0 1 5 0 1 2 0 x 1 5 0 + 4 1 . 0 0C J W 1 0 0 1 6 1 1 0 0 x 1 6 1 . 8 + � 4 3 . 0 0

U N I V E R S A L P R I M E D 1 9 M MM E D I U M G R A I N C O T T O N

O r d e r C o d e S i z e c m C r o s s b a r R a t i o £ P r i c eC J S 8 1 0 8 x 1 0 1 . 9 0C J S 1 0 1 0 1 0 x 1 0 2 . 0 0 C J S 1 0 1 5 1 0 x 1 5 2 . 2 0C J S 1 5 1 5 1 5 x 1 5 2 . 5 0C J S 1 5 2 0 1 5 x 2 0 2 . 9 0C J S 2 0 2 0 2 0 x 2 0 3 . 2 0C J S 2 0 2 5 2 0 x 2 5 3 . 4 0C J S 1 6 2 5 1 6 x 2 5 . 9 � 3 . 6 0C J S 2 5 3 0 2 5 x 3 0 4 . 0 0C J S 2 0 3 2 2 0 x 3 2 . 4 � 4 . 2 0C J S 2 5 3 5 2 5 x 3 5 4 . 4 0C J S 3 0 3 0 3 0 x 3 0 4 . 4 0C J S 3 0 4 0 3 0 x 4 0 5 . 0 0C J S 2 0 5 0 2 0 x 5 0 5 . 1 0C J S 2 5 4 0 2 5 x 4 0 . 5 � 5 . 2 0C J S 3 0 4 5 3 0 x 4 5 5 . 5 0C J S 4 0 4 0 4 0 x 4 0 5 . 8 0C J S 3 5 4 5 3 5 x 4 5 5 . 9 0C J S 3 0 4 8 3 0 x 4 8 . 5 � 6 . 3 0C J S 4 0 4 5 4 0 x 4 5 6 . 3 0C J S 4 0 5 0 4 0 x 5 0 6 . 5 0C J S 4 5 5 0 4 5 x 5 0 7. 1 0C J S 5 0 5 0 5 0 x 5 0 7. 3 0C J S 3 6 5 8 3 6 x 5 8 . 3 � 7. 6 0C J S 5 0 5 5 5 0 x 5 5 7. 9 0 C J S 5 0 6 0 5 0 x 6 0 8 . 2 0C J S 4 5 6 0 4 5 x 6 0 8 . 4 0C J S 4 0 6 4 4 0 x 6 4 . 7 — � 9 . 0 0C J S 6 0 6 0 6 0 x 6 0 1 0 . 0 0C J S 5 0 7 5 5 0 x 7 5 1 0 . 2 0C J S 4 6 74 4 6 x 74 . 4 — � 1 0 . 8 0C J S 5 0 8 0 5 0 x 8 0 . 9 — � 1 1 . 5 0C J S 6 0 7 6 6 0 x 7 6 — 1 2 . 2 0C J S 7 0 7 0 7 0 x 7 0 1 2 . 8 0C J S 6 0 9 7 6 0 x 9 7. 1 — � 1 4 . 7 0C J S 8 0 8 0 8 0 x 8 0 1 5 . 1 0C J S 7 6 7 6 7 6 x 7 6 + 1 5 . 4 0C J S 7 5 9 0 7 5 x 9 0 1 5 . 6 0

N O T ESave 20% on boxes of 10 canvases online.Our Premium Cot ton Canva ses are a lso avai lable in mult ipack boxes . V is i t our website for more info .



K E YMetric ConversionCM IN1 0 3 1 5 / 1 6

1 3 5 1 / 8

1 5 5 1 5 / 1 6

1 8 7 1 / 1 6

2 0 7 7 / 8

2 4 9 7 / 1 6

3 0 1 1 1 3 / 1 6

4 0 1 5 3 / 4

5 0 1 9 1 1 / 1 6

6 0 2 3 5 / 8

7 0 2 7 9 / 1 6

8 0 3 1 1 / 2

1 0 0 3 9 3 / 8

D A L E R - R O W N E Y S T R E T C H E D C A N V A S & O I L P R I M E D B O A R D S

These stretched canvases are made in the EU to the highest specifications. They are made with a heavy 380gsm, acid free, medium grain 100% cotton canvas and professional stretcher bars that ensure stability and improved strength. The canvases have been given three coats of acrylic primer which create a perfect ready-to-use surface for both oils and acrylics. The priming also ensures that colour does not seep through to the back. The cotton is stapled to the reverse to give clean edges. Wooden wedges are supplied to adjust tension in the traditional manner. They are individually wrapped to protect the surface.

Daler-Rowney boards are double primed for oil painting, with a unique fine grain surface on a substantial backing board.

S T R E T C H E D C A N V A S 1 5 M M

O r d e r C o d e S i z e c m £ R R P £ P r i c eC D 2 0 2 0 2 0 x 2 0 9 . 5 0 4 . 8 0C D 1 8 2 4 1 8 x 2 4 9 . 5 0 4 . 8 0C D 2 0 3 0 2 0 x 3 0 1 0 . 7 5 5 . 4 0C D 2 4 3 0 2 4 x 3 0 1 1 . 5 0 5 . 8 0C D 3 0 3 0 3 0 x 3 0 1 2 . 5 0 6 . 3 0C D 2 0 5 0 2 0 x 5 0 1 3 . 2 5 6 . 7 0C D 3 0 4 0 3 0 x 4 0 1 5 . 0 0 7. 5 0C D 4 0 4 0 4 0 x 4 0 1 6 . 5 0 8 . 3 0C D 3 0 6 0 3 0 x 6 0 1 7. 2 5 8 . 7 0C D 4 0 5 0 4 0 x 5 0 1 8 . 0 0 9 . 0 0C D 3 0 8 0 3 0 x 8 0 1 9 . 0 0 9 . 5 0C D 4 0 6 0 4 0 x 6 0 1 9 . 0 0 9 . 5 0C D 5 0 5 0 5 0 x 5 0 2 1 . 0 0 9 . 5 0C D 5 0 6 0 5 0 x 6 0 2 5 . 2 5 1 2 . 7 0C D 6 0 6 0 6 0 x 6 0 2 8 . 5 0 1 4 . 3 0C D 5 0 7 0 5 0 x 7 0 2 8 . 2 5 1 4 . 2 0C D 4 0 1 0 0 4 0 x 1 0 0 3 6 . 2 5 1 8 . 2 0C D 4 0 1 2 0 4 0 x 1 2 0 4 2 . 0 0 2 1 . 0 0C D 6 0 8 0 6 0 x 8 0 4 2 . 5 0 2 1 . 5 0C D 5 0 1 0 0 5 0 x 1 0 0 4 4 . 2 5 2 2 . 5 0C D 6 0 9 0 6 0 x 9 0 4 5 . 7 5 2 3 . 0 0C D 7 0 9 0 7 0 x 9 0 4 7. 2 5 2 4 . 0 0C D 8 0 8 0 8 0 x 8 0 4 9 . 7 5 2 5 . 0 0C D 7 0 1 0 0 7 0 x 1 0 0 5 2 . 0 0 2 6 . 0 0C D 1 0 0 1 2 0 1 0 0 x 1 2 0 6 3 . 0 0 3 2 . 0 0C D 8 0 1 0 0 8 0 x 1 0 0 5 7. 2 5 2 9 . 0 0C D 1 0 0 1 0 0 1 0 0 x 1 0 0 6 0 . 5 0 3 1 . 0 0C D 1 2 0 1 5 0 1 2 0 x 1 5 0 9 6 . 5 0 4 9 . 0 0

D A L E R B O A R D F O R O I L P A I N T N G 3 M M

O r d e r C o d e S i z e i n £ R R P £ P r i c eC D B 7 5 7 x 5 1 . 9 0 1 . 7 0C D B 8 6 8 x 6 2 . 3 0 2 . 1 0C D B 1 0 7 1 0 x 7 2 . 3 0 2 . 1 0C D B 1 0 8 1 0 x 8 2 . 5 0 2 . 2 0C D B 1 2 1 0 1 2 x 1 0 2 . 8 0 2 . 5 0C D B 1 4 1 0 1 4 x 1 0 3 . 2 0 2 . 9 0C D B 1 6 1 2 1 6 x 1 2 4 . 7 5 4 . 2 0C D B 1 8 1 4 1 8 x 1 6 5 . 7 5 5 . 1 0C D B 2 0 1 6 2 0 x 1 6 7. 0 0 6 . 2 0C D B 2 2 1 8 2 2 x 1 8 8 . 2 6 7. 3 0C D B 2 4 1 8 2 4 x 1 8 8 . 5 0 7. 5 0C D B 2 4 2 0 2 4 x 2 0 9 . 2 5 8 . 2 0C D B 3 0 2 0 3 0 x 2 0 1 0 . 5 0 9 . 3 0C D B 2 8 2 4 2 8 x 2 4 1 2 . 2 5 1 0 . 8 0C D B 3 0 2 5 3 0 x 2 5 1 3 . 5 0 1 1 . 9 0

A R T I S T S ' C O T T O N C A N V A S 2 0 M M

O r d e r C o d e S i z e i n £ R R P £ P r i c eC W U 1 2 1 0 1 2 x 1 0 1 0 . 4 5 4 . 2 0C W U 1 4 1 0 1 4 x 1 0 1 1 . 6 5 4 . 7 0C W U 1 6 1 2 1 6 x 1 2 1 2 . 8 5 5 . 2 0C W U 1 8 1 4 1 8 x 1 4 1 6 . 2 5 6 . 5 0C W U 2 0 1 6 2 0 x 1 6 1 6 . 2 5 6 . 5 0C W U 2 4 1 8 2 4 x 1 8 2 2 . 7 5 9 . 2 0C W U 3 0 2 0 3 0 x 2 0 2 6 . 2 5 1 0 . 6 0C W U 3 6 2 8 3 6 x 2 8 3 6 . 5 0 1 4 . 7 0C W U 3 0 4 0 3 0 x 4 0 4 3 . 0 0 1 7. 2 0C W U 3 6 4 8 3 6 x 4 8 6 7. 5 0 2 7. 0 0C W U 4 4 5 6 4 4 x 5 6 8 5 . 0 0 3 4 . 0 0

E C O N O M Y C O T T O N C A N V A S T W I N P A C K 1 7 M M

O r d e r C o d e S i z e i n £ R R P £ P r i c eC W T 1 2 1 0 1 2 x 1 0 1 8 . 7 5 7. 6 0C W T 1 4 1 0 1 4 x 1 0 2 0 . 3 5 8 . 2 0C W T 1 6 1 2 1 6 x 1 2 2 2 . 0 0 8 . 8 0C W T 1 8 1 4 1 8 x 1 4 2 6 . 0 0 1 0 . 5 0C W T 2 0 1 6 2 0 x 1 6 2 9 . 0 0 1 1 . 7 0C W T 2 2 1 6 2 2 x 1 6 3 1 . 5 0 1 2 . 6 0C W T 2 4 1 8 2 4 x 1 8 3 7. 5 0 1 5 . 0 0C W T 2 4 2 0 2 4 x 2 0 3 9 . 5 0 1 5 . 9 0C W T 3 0 2 0 3 0 x 2 0 4 4 . 2 5 1 7. 8 0C W T 3 0 2 4 3 0 x 2 4 4 6 . 5 0 1 8 . 6 0C W T 3 6 2 4 3 6 x 2 4 5 0 . 0 0 2 0 . 5 0C W T 3 6 2 8 3 6 x 2 8 6 2 . 7 5 2 5 . 5 0C W T4 0 3 0 4 0 x 3 0 6 8 . 5 0 2 7. 5 0C W T 3 0 4 8 3 0 x 4 8 8 0 . 0 0 3 3 . 0 0

W I N S O R & N E W T O N S T R E T C H E D C A N V A S

Artists' Cotton Canvases are made with a medium grain canvas. The cotton is 375gsm and is triple coated with one coat of acid free sizing and two coats of universal primer. The primed surface offers tooth and balanced absorbency which prevents any sinking of colour as well as guaranteeing good adhesion. The canvas is fixed to the back of stretcher bars leaving clean edges that can be displayed without the need for a frame. The canvases are available in rectangular, square and maritime shapes and well suited for both oil and acrylic painting. Wedges are also supplied.

Economy Cotton Canvas Twin Packs offer the artist a good quality, 100% cotton canvas. The primed weight is 12oz/350gsm with a double coat of primer to preventing the sinking of oil colour and aid adhesion. Suitable for use with oil, acrylic and alkyd colour.

N O T ESave 20% on boxes of 10 canvases online.Our Premium Cot ton Canva ses are a lso avai lable in mult ipack boxes . V is i t our website for more info .

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P A I N T I N G P A N E L S

B E L L E A R T I G E S S O P A N E L S

Gesso panels made in Italy suitable for a wide variety of techniques thanks to the high absorbancy of the surface. They are handmade and finished with a smooth surface. The 8mm thick wooden base is poplar multi-ply which is very stable and lightfast.

Belle Arti cotton art boards are more solid than regular art panels, they are made in Italy from 3.2mm thick MDF board with fine grain 100% cotton canvas glued to the front surface. The canvas has a sheared edge, and is universal primed making it suitable for oils, acrylics, mixed media etc.

Belle Arti cotton art boards are more solid than regular art panels. Made in Italy from 3.2mm thick MDF boards with fine-grain 100% cotton canvas glued to the front surface with a pH neutral adhesive. The edges of the canvas are sheared for a neat finish. Universal primer has been used, making these boards suitable for oils, acrylics, mixed media and so on.

O r d e r C o d e S i z e c m £ R R P £ P r i c eC A B 1 8 2 4 1 8 x 2 4 1 . 9 3 1 . 3 0C A B 2 4 3 0 2 4 x 3 0 2 . 8 3 1 . 8 0C A B 3 0 3 0 3 0 x 3 0 3 . 5 4 2 . 3 0C A B 3 0 4 0 3 0 x 4 0 4 . 4 4 2 . 9 0C A B 4 0 4 0 4 0 x 4 0 6 . 0 7 3 . 9 0C A B 4 0 5 0 4 0 x 5 0 7. 2 9 4 . 7 0C A B 5 0 6 0 5 0 x 6 0 1 0 . 4 9 6 . 7 0C A B 5 0 7 0 5 0 x 7 0 1 2 . 2 1 7. 8 0

C O T T O N A R T B O A R D S 3 . 2 M M

O r d e r C o d e S i z e c m £ R R P £ P r i c eC A B 1 8 2 4 / 1 0 1 8 x 2 4 1 9 . 2 7 1 1 . 0 0C A B 2 4 3 0 / 1 0 2 4 x 3 0 2 8 . 2 8 1 6 . 1 0C A B 3 0 3 0 / 1 0 3 0 x 3 0 3 5 . 4 0 2 0 . 5 0C A B 3 0 4 0 / 1 0 3 0 x 4 0 4 4 . 4 0 2 5 . 5 0C A B 4 0 4 0 / 1 0 4 0 x 4 0 6 0 . 74 3 5 . 0 0C A B 4 0 5 0 / 1 0 4 0 x 5 0 7 2 . 8 9 4 2 . 0 0C A B 5 0 6 0 / 1 0 5 0 x 6 0 1 0 4 . 9 4 6 0 . 0 0C A B 5 0 7 0 / 1 0 5 0 x 7 0 1 2 2 . 1 1 7 0 . 0 0

P A C K O F 1 0 C O T T O N A R T B O A R D S 3 . 2 M M

O r d e r C o d e S i z e c m £ R R P £ P r i c eC G P 1 0 1 5 1 0 x 1 5 2 . 5 1 1 . 8 0C G P 1 3 1 8 1 3 x 1 8 3 . 1 6 2 . 2 0C G P 1 8 2 4 1 8 x 2 4 5 . 0 5 3 . 5 0C G P 2 0 3 0 2 0 x 3 0 6 . 3 9 4 . 4 0C G P 2 4 3 0 2 4 x 3 0 7. 5 6 5 . 2 0C G P 3 0 3 0 3 0 x 3 0 1 0 . 3 3 7. 1 0C G P 3 0 4 0 3 0 x 4 0 1 0 . 6 4 7. 4 0C G P 4 0 4 0 4 0 x 4 0 1 3 . 9 9 9 . 7 0C G P 4 0 5 0 4 0 x 5 0 1 6 . 3 2 1 1 . 3 0C G P 5 0 6 0 5 0 x 6 0 2 4 . 4 6 1 6 . 9 0C G P 5 0 7 0 5 0 x 7 0 2 8 . 3 2 1 9 . 5 0C G P 6 0 8 0 6 0 x 8 0 3 7. 8 1 2 6 . 0 0C G P 7 0 1 0 0 7 0 x 1 0 0 5 5 . 9 5 3 9 . 0 0

G E S S O P A N E L S 8 M M

O r d e r C o d e S i z e c m £ R R P £ P r i c eC G P 1 0 1 5 / 1 0 1 0 x 1 5 2 5 . 1 3 1 5 . 6 0C G P 1 3 1 8 / 1 0 1 3 x 1 8 3 1 . 6 3 1 9 . 6 0C G P 1 8 2 4 / 1 0 1 8 x 2 4 5 0 . 4 8 3 2 . 0 0C G P 2 0 3 0 / 1 0 2 0 x 3 0 6 3 . 8 8 4 0 . 0 0C G P 2 4 3 0 / 1 0 2 4 x 3 0 7 5 . 6 1 4 7. 0 0C G P 3 0 3 0 / 1 0 3 0 x 3 0 1 0 3 . 2 6 6 4 . 0 0C G P 3 0 4 0 / 1 0 3 0 x 4 0 1 0 6 . 4 0 6 6 . 0 0C G P 4 0 4 0 / 1 0 4 0 x 4 0 1 3 9 . 9 2 8 7. 0 0C G P 4 0 5 0 / 1 0 4 0 x 5 0 1 6 3 . 1 7 1 0 1 . 0 0C G P 5 0 6 0 / 1 0 5 0 x 6 0 2 4 4 . 6 4 1 5 2 . 0 0C G P 5 0 7 0 / 1 0 5 0 x 7 0 2 8 3 . 1 8 1 7 6 . 0 0C G P 6 0 8 0 / 1 0 6 0 x 8 0 3 7 8 . 0 7 2 3 4 . 0 0C G P 7 0 1 0 0 / 1 0 7 0 x 1 0 0 5 5 9 . 2 4 3 4 7. 0 0

P A C K O F 1 0 G E S S O P A N E L S 8 M M

B E L L E A R T I C O T T O N A R T B O A R D S

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W I N S O R & N E W T O N A R T I S T S C A N V A S B O A R D S

The same double-primed painting surface as W&N's stretched canvas, in a much more portable format.With a medium grain surface that's ideal for all techniques, including heavier applications of colour, Winsor & Newton Artist's canvas panels are hand-stretched for perfect tension. The boards are prepared with acid-free sizing and two coats of highly pigmented primer, giving tooth, adhesion and balanced absorbency.

O r d e r C o d e S i z e c m £ R R P £ P r i c eC B W 1 0 8 2 5 x 2 0 3 . 4 5 2 . 1 0C B W 1 2 1 0 3 0 x 2 5 4 . 2 0 2 . 6 0C B W 1 4 1 0 3 5 x 2 5 4 . 8 5 3 . 0 0C B W 1 6 1 2 4 0 x 3 0 5 . 6 5 3 . 4 0C B W 1 8 1 4 4 5 x 3 5 6 . 4 5 3 . 9 0C B W 2 0 1 6 5 0 x 4 0 7. 9 5 4 . 8 0C B W 2 2 1 8 5 5 x 4 5 9 . 2 5 5 . 6 0C B W 2 4 1 8 6 0 x 4 5 9 . 6 5 5 . 8 0C B W 2 4 2 0 6 0 x 5 0 1 1 . 6 5 7. 0 0C B W 2 6 1 8 6 6 x 4 5 1 2 . 2 5 7. 4 0C B W 3 0 2 0 7 6 x 5 0 1 3 . 3 0 8 . 0 0

C A N V A S B O A R D S




J A C K S O N ' S H A N D M A D E L I N E N B O A R D S

Made in house, our Handmade Panels are second to none. We use the finest linens that we sell from the roll, to make panels of 6 different sizes.

We also offer a unique panel with a surface made from coarse jute, great for interesting impasto painting. The canvases are adhered to the MDF backing with PH Neutral glue, ensuring that the painting surface is acid-free.

U N I V E R S A L P R I M E D 3 . 5 M MR O U G H G R A I N J U T E

O r d e r C o d e S i z e c m £ R R P £ P r i c eC L 5 6 5 B 1 3 1 8 1 3 x 1 8 - 1 . 6 0C L 5 6 5 B 1 8 2 4 1 8 x 2 4 - 2 . 2 0C L 5 6 5 B 2 0 3 0 2 0 x 3 0 - 2 . 5 0C L 5 6 5 B 2 4 3 0 2 4 x 3 0 - 2 . 8 0C L 5 6 5 B 3 0 4 0 3 0 x 4 0 - 4 . 5 0C L 5 6 5 B 4 0 5 0 4 0 x 5 0 - 6 . 9 0

U N I V E R S A L P R I M E D 3 . 5 M ME X T R A F I N E G R A I N L I N E N

O r d e r C o d e S i z e c m £ R R P £ P r i c eC L 5 74 B 1 3 1 8 1 3 x 1 8 - 1 . 6 0C L 5 74 B 1 8 2 4 1 8 x 2 4 - 2 . 2 0C L 5 74 B 2 0 3 0 2 0 x 3 0 - 2 . 5 0C L 5 74 B 2 4 3 0 2 4 x 3 0 - 2 . 8 0C L 5 74 B 3 0 4 0 3 0 x 4 0 - 4 . 5 0C L 5 74 B 4 0 5 0 4 0 x 5 0 - 6 . 9 0

U N I V E R S A L P R I M E D 3 . 5 M MF I N E G R A I N L I N E N


C L E A R P R I M E D 3 . 5 M MF I N E G R A I N L I N E N


C L E A R P R I M E D 3 . 5 M MR O U G H G R A I N L I N E N


O I L P R I M E D 3 . 5 M ME X T R A F I N E G R A I N L I N E N


O I L P R I M E D 3 . 5 M MM E D I U M G R A I N L I N E N


K E YMetric ConversionCM IN1 0 3 1 5 / 1 6

1 3 5 1 / 8

1 5 5 1 5 / 1 6

1 8 7 1 / 1 6

2 0 7 7 / 8

2 4 9 7 / 1 6

3 0 1 1 1 3 / 1 6

4 0 1 5 3 / 4

5 0 1 9 1 1 / 1 6

6 0 2 3 5 / 8

7 0 2 9 1 5 / 1 6



Our ever-popular Claessens linens are now available backed with this ultra lightweight composite board, available in 2 convenient thicknesses. Far lighter than wood and more supportive than card-backed options, this new range of painting panels is ideal for those needing a portable, archival surface. Available in a full range of linen weights and priming options to suit all techniques and subject matter.

J A C K S O N ' S U L T R A L I T E L I N E N B O A R D

O r d e r C o d e S i z e i n £ R R P £ P r i c eC J 1 6 6 5 7 5 x 7 - 2 . 6 0C J 1 6 6 8 1 0 8 x 1 0 - 4 . 7 0C J 1 6 6 9 1 2 9 x 1 2 - 6 . 0 0C J 1 6 6 1 0 1 2 1 0 x 1 2 - 6 . 7 0C J 1 6 6 1 2 1 6 1 2 x 1 6 - 1 0 . 2 0

U N I V E R S A L P R I M E D 0 . 8 M MM E D I U M G R A I N L I N E N


O r d e r C o d e S i z e i n £ R R P £ P r i c eC J 1 0 9 5 7 5 x 7 - 2 . 6 0C J 1 0 9 8 1 0 8 x 1 0 - 4 . 7 0C J 1 0 9 9 1 2 9 x 1 2 - 6 . 0 0C J 1 0 9 1 0 1 2 1 0 x 1 2 - 6 . 7 0C J 1 0 9 1 2 1 6 1 2 x 1 6 - 1 0 . 2 0

O r d e r C o d e S i z e i n £ R R P £ P r i c eC J 6 6 5 7 5 x 7 - 2 . 6 0C J 6 6 8 1 0 8 x 1 0 - 4 . 7 0C J 6 6 9 1 2 9 x 1 2 - 6 . 0 0C J 6 6 1 0 1 2 1 0 x 1 2 - 6 . 7 0C J 6 6 1 2 1 6 1 2 x 1 6 - 1 0 . 2 0


O r d e r C o d e S i z e i n £ R R P £ P r i c eC J U 1 6 6 5 7 5 x 7 - 6 . 3 0C J U 1 6 6 8 1 0 8 x 1 0 - 8 . 1 0C J U 1 6 6 9 1 2 9 x 1 2 - 1 0 . 8 0C J U 1 6 6 1 0 1 2 1 0 x 1 2 - 1 1 . 3 0C J U 1 6 6 1 2 1 6 1 2 x 1 6 - 1 3 . 7 0

U N I V E R S A L P R I M E D 3 . 2 M MM E D I U M G R A I N L I N E N


O r d e r C o d e S i z e i n £ R R P £ P r i c eC J U 1 0 9 5 7 5 x 7 - 6 . 3 0C J U 1 0 9 8 1 0 8 x 1 0 - 8 . 1 0C J U 1 0 9 9 1 2 9 x 1 2 - 1 0 . 8 0C J U 1 0 9 1 0 1 2 1 0 x 1 2 - 1 1 . 3 0C J U 1 0 9 1 2 1 6 1 2 x 1 6 - 1 3 . 7 0

O r d e r C o d e S i z e i n £ R R P £ P r i c eC J U 6 6 5 7 5 x 7 - 6 . 3 0C J U 6 6 8 1 0 8 x 1 0 - 8 . 1 0C J U 6 6 9 1 2 9 x 1 2 - 1 0 . 8 0C J U 6 6 1 0 1 2 1 0 x 1 2 - 1 1 . 3 0C J U 6 6 1 2 1 6 1 2 x 1 6 - 1 3 . 7 0


J A C K S O N ' S C O T T O N C A N V A S B O A R D S

Canvas boards are a rigid surface that possess the weave of cotton that many oil and acrylic painters enjoy working on.We have two lines of Jackson's Cotton Canvas boards, our Premium range has a more prominent weave and a sturdier board, they have an appealing hand-made quality to their construction. They are made with 10oz acrylic primed cotton which is glued to a 4mm compressed card board.

The Academy range is a little more rough and ready, but once you start work, you'd be forgiven for thinking you were working on a professional grade surface. They are made with a 8oz acrylic primed cotton, which is glued to a 3mm compressed card board.

"Wonderful boards with a great texture and very reasonably priced!" – review of Jackson's Premium Canvas Boards.

"Excellent product - I recommend it to all my students." – Review of Jackson's Academy Canvas Boards.

O r d e r C o d e S i z e i n £ R R P £ P r i c eC C P 3 4 3 x 4 - 0 . 3 0C C P 4 5 4 x 5 - 0 . 4 5C C P 5 7 5 x 7 - 0 . 5 5C C P 6 8 6 x 8 - 0 . 6 0C C P 8 1 0 8 x 1 0 - 0 . 9 5C C P 1 0 1 2 1 0 x 1 2 - 1 . 3 0C C P 1 0 1 4 1 0 x 1 4 - 1 . 6 0C C P 1 2 1 6 1 2 x 1 6 - 2 . 2 0C C P 1 4 1 8 1 4 x 1 8 - 2 . 9 0C C P 1 6 2 0 1 6 x 2 0 - 3 . 5 0C C P 2 2 1 8 2 2 x 1 8 - 4 . 4 0C C P 2 0 2 4 2 0 x 2 4 - 5 . 4 0C C P 2 4 1 8 2 4 x 1 8 - 5 . 9 0C C P 2 0 3 0 2 0 x 3 0 - 6 . 8 0C C P 2 4 3 0 2 4 x 3 0 - 8 . 1 0

A C A D E M Y B O A R D S 3 M M M E D I U M G R A I N C O T T O N

O r d e r C o d e S i z e i n £ R R P £ P r i c eC J P 3 4 3 x 4 - 0 . 4 0C J P 4 5 4 x 5 - 0 . 5 5C J P 5 7 5 x 7 - 0 . 7 0C J P 6 6 6 x 6 - 0 . 7 0C J P 6 8 6 x 8 - 1 . 0 0C J P 8 1 0 8 x 1 0 - 1 . 2 0C J P 1 0 1 0 1 0 x 1 0 - 1 . 3 0C J P 1 0 1 2 1 0 x 1 2 - 1 . 5 0C J P 1 0 1 4 1 0 x 1 4 - 1 . 7 0C J P 1 2 1 2 1 2 x 1 2 - 1 . 7 0C J P 1 2 1 6 1 2 x 1 6 - 2 . 3 0C J P 1 4 1 8 1 4 x 1 8 - 2 . 9 0C J P 1 6 1 6 1 6 x 1 6 - 2 . 9 0C J P 1 6 2 0 1 6 x 2 0 - 3 . 6 0

P R E M I U M B O A R D S 4 M M M E D I U M G R A I N C O T T O N




A M P E R S A N D P A I N T I N G P A N E L S

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M P T 1 0 8 8 8 x 8 4 . 6 0 4 . 3 0C A M P T 1 0 8 1 0 8 x 1 0 5 . 7 5 5 . 3 0C A M P T 1 0 9 1 2 9 x 1 2 5 . 9 5 5 . 5 0C A M P T 1 0 1 1 1 4 1 1 x 1 4 7. 7 5 7. 2 0C A M P T 1 0 1 2 1 2 1 2 x 1 2 7. 7 0 7. 1 0C A M P T 1 0 1 2 1 6 1 2 x 1 6 9 . 2 5 8 . 6 0C A M P T 1 0 1 6 2 0 1 6 x 2 0 1 3 . 6 6 1 2 . 6 0C A M P T 1 0 1 8 2 4 1 8 x 2 4 1 6 . 6 6 1 5 . 4 0

C A N V A S T E X T U R E P R I M E D U N C R A D L E D 1 0 M M

Uncradled 3mm hardboard prepared using acid free acr ylic gesso with added canvas tex ture .

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M P T 1 9 8 8 8 x 8 6 . 3 5 5 . 9 0C A M P T 1 9 8 1 0 8 x 1 0 6 . 9 5 6 . 4 0C A M P T 1 9 9 1 2 9 x 1 2 8 . 1 0 7. 5 0C A M P T 1 9 1 1 1 4 1 1 x 1 4 9 . 7 0 9 . 0 0C A M P T 1 9 1 2 1 2 1 2 x 1 2 9 . 4 6 8 . 7 0C A M P T 1 9 1 2 1 6 1 2 x 1 6 1 0 . 8 5 1 0 . 0 0

C A N V A S T E X T U R E P R I M E D C R A D L E D 1 9 M M

Cradled 19mm prof ile panel prepared using acid free acr ylic gesso with added canvas tex ture .

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M P T 3 8 8 8 8 x 8 9 . 1 6 8 . 5 0C A M P T 3 8 8 1 0 8 x 1 0 9 . 5 0 8 . 8 0C A M P T 3 8 9 1 2 9 x 1 2 1 1 . 2 0 1 0 . 4 0C A M P T 3 8 1 1 1 4 1 1 x 1 4 1 3 . 9 0 1 2 . 8 0C A M P T 3 8 1 2 1 2 1 2 x 1 2 1 3 . 3 6 1 2 . 3 0C A M P T 3 8 1 2 1 6 1 2 x 1 6 1 5 . 3 5 1 4 . 2 0C A M P T 3 8 1 6 2 0 1 6 x 2 0 2 0 . 9 0 1 9 . 3 0C A M P T 3 8 1 8 2 4 1 8 x 2 4 2 4 . 7 6 2 3 . 0 0

C A N V A S T E X T U R E P R I M E D C R A D L E D 3 8 M M

Cradled 38mm prof ile panel prepared using acid free acr ylic gesso with added canvas tex ture .

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M P S 3 8 8 8 x 8 3 . 1 0 2 . 9 0C A M P S 3 8 1 0 8 x 1 0 3 . 6 0 3 . 4 0C A M P S 3 9 1 2 9 x 1 2 4 . 6 0 4 . 3 0C A M P S 3 1 1 1 4 1 1 x 1 4 5 . 7 5 5 . 3 0C A M P S 3 1 2 1 2 1 2 x 1 2 5 . 5 6 5 . 2 0C A M P S 3 1 2 1 6 1 2 x 1 6 6 . 9 0 6 . 4 0C A M P S 3 1 6 2 0 1 6 x 2 0 1 0 . 7 5 9 . 9 0C A M P S 3 1 8 2 4 1 8 x 2 4 1 4 . 4 0 1 3 . 3 0

S M O O T H P R I M E D U N C R A D L E D 3 M M

Uncradled 3mm hardboard prepared with a super smooth acid free acr ylic gesso.

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M P S 2 2 8 8 8 x 8 9 . 6 5 8 . 9 0C A M P S 2 2 8 1 0 8 x 1 0 1 0 . 9 9 1 0 . 2 0C A M P S 2 2 9 1 2 9 x 1 2 1 2 . 9 5 1 2 . 0 0C A M P S 2 2 1 1 1 4 1 1 x 1 4 1 5 . 8 5 1 4 . 6 0C A M P S 2 2 1 2 1 2 1 2 x 1 2 1 5 . 5 0 1 4 . 3 0C A M P S 2 2 1 2 1 6 1 2 x 1 6 1 7. 9 9 1 6 . 6 0C A M P S 2 2 1 6 2 0 1 6 x 2 0 2 5 . 6 0 2 4 . 0 0C A M P S 2 2 1 8 2 4 1 8 x 2 4 3 1 . 5 0 2 9 . 0 0

S M O O T H P R I M E C R A D L E D 2 2 M M

Cradled 2 2mm prof ile panel , fully pr imed on top and sides with a super smooth acr ylic gesso f inish.

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M P S 3 8 8 8 8 x 8 1 0 . 4 5 9 . 7 0C A M P S 3 8 8 1 0 8 x 1 0 1 1 . 9 9 1 1 . 1 0C A M P S 3 8 9 1 2 9 x 1 2 1 4 . 1 0 1 3 . 0 0C A M P S 3 8 1 1 1 4 1 1 x 1 4 1 7. 1 5 1 5 . 8 0C A M P S 3 8 1 2 1 2 1 2 x 1 2 1 6 . 7 0 1 5 . 4 0C A M P S 3 8 1 2 1 6 1 2 x 1 6 1 9 . 6 6 1 8 . 1 0C A M P S 3 8 1 6 2 0 1 6 x 2 0 2 6 . 9 9 2 5 . 0 0C A M P S 3 8 1 8 2 4 1 8 x 2 4 3 3 . 6 5 3 1 . 0 0

S M O O T H P R I M E D C R A D L E D 3 8 M M

Cradled 38mm prof ile panel , fully pr imed on top and sides with a super smooth acr ylic gesso f inish.

T H I S P R O D U C T

I S E X C E L L E N T

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M E 3 5 7 5 x 7 2 . 9 5 2 . 8 0C A M E 3 8 8 8 x 8 5 . 1 0 4 . 7 0C A M E 3 8 1 0 8 x 1 0 6 . 4 6 6 . 0 0C A M E 3 1 1 1 4 1 1 x 1 4 1 0 . 2 5 9 . 5 0

E N C A U S T I C B O R D U N C R A D L E D 3 M M

Uncradled 3mm hardboard panel prepared with encaustic gesso for a br ight , smooth and velvet y sur face ready to use with encaustic paint .

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M E 3 8 8 8 8 x 8 1 3 . 9 0 1 2 . 8 0C A M E 3 8 8 1 0 8 x 1 0 1 5 . 1 6 1 4 . 0 0C A M E 3 8 1 2 1 2 1 2 x 1 2 2 3 . 1 5 2 1 . 5 0C A M E 3 8 1 6 2 0 1 6 x 2 0 3 7. 4 0 3 5 . 0 0

E N C A U S T I C B O R D C R A D L E D 3 8 M M

Cradled 38mm prof i le panel prepared with encaustic gesso for a br ight , smooth and velvet y sur face ready to use with encaustic paint .

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M E 2 2 8 8 8 x 8 1 2 . 7 0 1 1 . 7 0C A M E 2 2 8 1 0 8 x 1 0 1 4 . 4 5 1 3 . 3 0C A M E 2 2 1 2 1 2 1 2 x 1 2 2 1 . 4 6 1 9 . 8 0C A M E 2 2 1 6 2 0 1 6 x 2 0 3 4 . 9 0 3 3 . 0 0

E N C A U S T I C B O R D C R A D L E D 2 2 M M

Cradled 2 2mm prof i le panel prepared with encaustic gesso for a br ight , smooth and velvet y sur face ready to use with encaustic paint .

IN CM5 1 2 . 77 1 7. 7 88 2 0 . 3 29 2 2 . 8 61 0 2 5 . 4 01 1 2 7. 9 41 2 3 0 . 4 81 4 3 5 . 5 61 6 4 0 . 6 41 8 4 5 . 7 22 0 5 0 . 8 02 4 6 0 . 9 6

K E YMetric Conversion


O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M P U 2 2 8 8 8 x 8 8 . 9 5 8 . 3 0C A M P U 2 2 8 1 0 8 x 1 0 1 0 . 2 5 9 . 5 0C A M P U 2 2 9 1 2 9 x 1 2 1 1 . 7 5 1 0 . 9 0C A M P U 2 2 1 1 1 4 1 1 x 1 4 1 5 . 1 0 1 3 . 9 0C A M P U 2 2 1 2 1 2 1 2 x 1 2 1 4 . 7 5 1 3 . 6 0C A M P U 2 2 1 2 1 6 1 2 x 1 6 1 6 . 5 0 1 5 . 2 0C A M P U 2 2 1 6 2 0 1 6 x 2 0 2 4 . 7 0 2 3 . 0 0C A M P U 2 2 1 8 2 4 1 8 x 2 4 2 9 . 3 0 2 7. 0 0

U N P R I M E D B A S S W O O D C R A D L E D 2 2 M M

Cradled 2 2mm prof ile panel with a basswood top, sanded per fectly smooth, ready to pr ime with the ground of your choice .

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M P U 3 8 8 8 8 x 8 9 . 6 0 8 . 9 0C A M P U 3 8 8 1 0 8 x 1 0 1 0 . 9 6 1 0 . 1 0C A M P U 3 8 9 1 2 9 x 1 2 1 2 . 6 0 1 1 . 6 0C A M P U 3 8 1 1 1 4 1 1 x 1 4 1 6 . 2 5 1 5 . 0 0C A M P U 3 8 1 2 1 2 1 2 x 1 2 1 5 . 8 0 1 4 . 6 0C A M P U 3 8 1 2 1 6 1 2 x 1 6 1 8 . 3 0 1 6 . 9 0C A M P U 3 8 1 6 2 0 1 6 x 2 0 2 5 . 9 9 2 4 . 0 0C A M P U 3 8 1 8 2 4 1 8 x 2 4 3 0 . 8 0 2 8 . 5 0

U N P R I M E D B A S S W O O D C R A D L E D 3 8 M M

Cradled 38mm prof ile panel with a basswood top, sanded per fectly smooth, ready to pr ime with the ground of your choice .


A M P E R S A N D P A I N T I N G P A N E L S

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M G 3 5 7 5 x 7 2 . 9 9 2 . 8 0C A M G 3 8 8 8 x 8 5 . 4 0 5 . 0 0C A M G 3 8 1 0 8 x 1 0 6 . 9 0 6 . 4 0C A M G 3 9 1 2 9 x 1 2 7. 8 5 7. 3 0C A M G 3 1 1 1 4 1 1 x 1 4 1 0 . 1 0 9 . 3 0C A M G 3 1 2 1 2 1 2 x 1 2 9 . 7 0 9 . 0 0C A M G 3 1 2 1 6 1 2 x 1 6 1 2 . 1 0 1 1 . 2 0C A M G 3 1 6 2 0 1 6 x 2 0 1 8 . 4 6 1 7. 0 0C A M G 3 1 8 2 4 1 8 x 2 4 2 3 . 1 0 2 1 . 5 0

G E S S O B O R D U N C R A D L E D 3 M M

Uncradled 3mm hardboard panel prepared with an acid free, non-yellowing archival gesso ground.

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M G 3 8 8 8 8 x 8 1 7. 3 5 1 6 . 0 0C A M G 3 8 8 1 0 8 x 1 0 1 8 . 2 5 1 6 . 8 0C A M G 3 8 9 1 2 9 x 1 2 2 0 . 5 6 1 9 . 0 0C A M G 3 8 1 1 1 4 1 1 x 1 4 2 5 . 0 0 2 3 . 0 0C A M G 3 8 1 2 1 2 1 2 x 1 2 2 3 . 6 0 2 2 . 0 0C A M G 3 8 1 2 1 6 1 2 x 1 6 2 8 . 1 0 2 6 . 0 0C A M G 3 8 1 6 2 0 1 6 x 2 0 3 7. 2 0 3 5 . 0 0C A M G 3 8 1 8 2 4 1 8 x 2 4 4 5 . 5 5 4 2 . 0 0

G E S S O B O R D C R A D L E D 3 8 M M

Cradled 38mm prof ile panel prepared with an acid free, non-yellowing archival gesso ground.

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M C 3 5 7 5 x 7 2 . 8 0 2 . 6 0C A M C 3 8 8 8 x 8 4 . 9 9 4 . 6 0C A M C 3 1 1 1 4 1 1 x 1 4 9 . 2 5 8 . 6 0C A M C 3 1 2 1 6 1 2 x 1 6 1 1 . 1 0 1 0 . 3 0C A M C 3 1 8 2 4 1 8 x 2 4 2 0 . 9 9 1 9 . 4 0

C L A Y B O R D U N C R A D L E D 3 M M

Ultra-smooth absorbent clay ground for inks , acr ylics , colla ge, pencil , pens , a irbrush, watercolour, gouache, mixed media etc .

O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M C 2 2 8 8 8 x 8 1 1 . 7 5 1 0 . 9 0C A M C 2 2 1 1 1 4 1 1 x 1 4 1 9 . 3 6 1 7. 9 0C A M C 2 2 1 2 1 6 1 2 x 1 6 2 1 . 9 0 2 0 . 5 0C A M C 2 2 1 8 2 4 1 8 x 2 4 3 8 . 1 0 3 6 . 0 0

C L A Y B O R D C R A D L E D 2 2 M M


O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M C 3 8 8 8 8 x 8 1 6 . 4 0 1 5 . 1 0C A M C 3 8 1 1 1 4 1 1 x 1 4 2 3 . 9 9 2 2 . 5 0C A M C 3 8 1 2 1 6 1 2 x 1 6 2 6 . 7 5 2 5 . 0 0C A M C 3 8 1 8 2 4 1 8 x 2 4 4 2 . 8 5 4 0 . 0 0

C L A Y B O R D C R A D L E D 3 8 M M


O r d e r C o d e S i z e i n £ R R P £ P r i c eC A M G 2 2 8 8 8 x 8 1 2 . 6 5 1 1 . 7 0C A M G 2 2 8 1 0 8 x 1 0 1 4 . 2 6 1 3 . 2 0C A M G 2 2 9 1 2 9 x 1 2 1 6 . 7 0 1 5 . 4 0C A M G 2 2 1 1 1 4 1 1 x 1 4 1 9 . 8 5 1 8 . 3 0C A M G 2 2 1 2 1 2 1 2 x 1 2 1 9 . 9 9 1 8 . 4 0C A M G 2 2 1 2 1 6 1 2 x 1 6 2 3 . 1 0 2 1 . 5 0C A M G 2 2 1 6 2 0 1 6 x 2 0 3 1 . 0 6 2 9 . 0 0C A M G 2 2 1 8 2 4 1 8 x 2 4 3 9 . 4 0 3 7. 0 0

G E S S O B O R D C R A D L E D 2 2 M M

Cradled 2 2mm prof ile panel prepared with an acid free, non-yellowing archival gesso ground.



P A I N T I N G B O A R D S

J A C K S O N ' S S M O O T H P L Y W O O D P A N E L S

Jackson's wooden panels are made of an ultra smooth, sanded light, plywood, reinforced on the reverse with bracing to prevent warping. The beautiful un-sized wooden surface is ready to paint on with water and acrylic based paint, or can be sized or primed for use with oil paint. Sturdy yet lightweight, they are perfect for both painting projects in or out of doors. We recommend priming with 3 layers of acrylic gesso and sanding between layers to produce a smooth yet slightly absorbent surface on which to apply both impasto marks and delicate washes. Can also be used for encaustic painting, collage, or as a drawing board. Available in 20mm (approx. 3/4in) and 50mm (approx. 2in) deep profiles, in a wide range of sizes.

"The smaller panels are amazing for making almost three dimensional pieces. They can be stood on a surface or hung. Really enjoy using them". - Customer review.

O r d e r C o d e S i z e i n £ R R P £ P r i c eC W S 4 4 4 x 4 - 1 . 8 0C W S 6 6 6 x 6 - 2 . 6 0C W S 6 8 6 x 8 - 3 . 0 0C W S 8 8 8 x 8 - 3 . 5 0C W S 8 1 0 8 x 1 0 - 3 . 8 0C W S 1 0 1 0 1 0 x 1 0 - 4 . 8 0C W S 1 1 1 4 1 1 x 1 4 - 5 . 9 0C W S 1 2 1 2 1 2 x 1 2 - 5 . 9 0C W S 1 2 1 6 1 2 x 1 6 - 6 . 2 0C W S 1 0 2 0 1 0 x 2 0 - 6 . 9 0C W S 1 6 2 0 1 6 x 2 0 - 9 . 6 0C W S 1 6 1 6 1 6 x 1 6 - 8 . 5 0C W S 1 8 2 4 1 8 x 2 4 - 1 2 . 6 0C W S 2 0 2 4 2 0 x 2 4 - 1 3 . 2 0C W S 2 0 2 0 2 0 x 2 0 - 1 2 . 1 0C W S 2 4 2 4 2 4 x 2 4 - 1 8 . 6 0C W S 2 4 3 6 2 4 x 3 6 - 2 8 . 0 0

P A N E L S W I T H B R A C I N G 2 0 M M

O r d e r C o d e S i z e i n £ R R P £ P r i c eC W D 4 4 4 x 4 - 4 . 2 0C W D 6 6 6 x 6 - 6 . 3 0C W D 1 2 1 2 1 2 x 1 2 - 8 . 7 0C W D 1 2 1 6 1 2 x 1 6 - 9 . 9 0C W D 1 6 2 0 1 6 x 2 0 - 1 4 . 7 0C W D 1 6 1 6 1 6 x 1 6 - 1 3 . 8 0C W D 2 0 2 0 2 0 x 2 0 - 1 7. 6 0C W D 2 0 2 4 2 0 x 2 4 - 1 9 . 6 0C W D 2 4 2 4 2 4 x 2 4 - 3 3 . 0 0C W D 2 4 3 0 2 4 x 3 0 - 3 8 . 0 0C W D 3 0 3 0 3 0 x 3 0 - 4 3 . 0 0C W D 2 4 3 6 2 4 x 3 6 - 4 3 . 0 0C W D 3 6 3 6 3 6 x 3 6 - 6 0 . 0 0C W D 3 6 6 0 3 6 x 6 0 - 8 0 . 0 0C W D 3 6 4 8 3 6 x 4 8 - 7 8 . 0 0C W D 4 8 4 8 4 8 x 4 8 - 9 4 . 0 0

P A N E L S W I T H B R A C I N G 5 0 M M

O r d e r C o d e S i z e i n £ R R P £ P r i c eC J A P S A M 5 x 5 - 2 . 0 0C J A P 0 6 0 8 6 x 8 - 6 . 0 0C J A P 0 8 1 0 8 x 1 0 - 8 . 6 0C J A P 1 2 1 2 1 2 x 1 2 - 1 3 . 4 0C J A P 1 1 1 4 1 1 x 1 4 - 1 4 . 2 0C J A P 1 2 1 6 1 2 x 1 6 - 1 6 . 9 0C J A P 1 6 1 6 1 6 x 1 6 - 2 1 . 5 0C J A P 1 6 2 0 1 6 x 2 0 - 2 5 . 5 0C J A P 1 8 2 4 1 8 x 2 4 - 3 3 . 0 0C J A P 2 4 2 4 2 4 x 2 4 - 4 2 . 0 0

J A C K S O N ' S A L U M I N I U M P A N E L S

Aluminium panels are smooth and incredibly durable, for painting with water, acrylic and oil based paints. Aluminium is one of the most stable surfaces that a painter could work on. Unlike wood or natural canvas, aluminium does not have a tendency to age with time; it will not emit gases, or suffer any alteration to its structure, and will not even warp or deteriorate through storage in damp conditions or extreme temperatures.

They have a smooth satin sheen grey surface that can be primed white if desired. Both sides of each panel are ready for use. Please note due to the industrial nature of the material there may be some natural marks to the surface.

A L U M I N I U M P A N E L S 3 M M

K E YMetric ConversionIN CM3 7. 6 24 1 0 . 1 65 1 2 . 76 1 5 . 2 47 1 7. 7 88 2 0 . 3 21 0 2 5 . 41 2 3 0 . 4 81 4 3 5 . 5 61 6 4 0 . 6 41 8 4 5 . 7 22 0 5 0 . 8 02 4 6 0 . 9 63 0 7 6 . 24 0 1 0 1 . 64 8 1 2 1 . 9 2


C A N V A S B U I L D E R

2 MM SPACE

3MM SPACE

3MM SPACE

J A C K S O N ’ S C A N V A S B U I L D E RC H O O S E · S T Y L E · M E A S U R E

C H O O S E T H E T Y P E O F S T R E T C H E R B A R F O R Y O U R B E S P O K E C A N V A S

F R O M E I T H E R N A R R O W O R D E E P P R O F E S S I O N A L B A R S .

2 MM SPACE

C H O O S E Y O U R C A N V A S T Y P E ( L I N E N , C O T T O N ) , T E X T U R E

( R O U G H , M E D I U M , F I N E ) A N D P R I M I N G T Y P E

( U N I V E R S A L P R I M E D , O I L P R I M E D , U N P R I M E D ) .

E N T E R T H E D I M E N S I O N S O F Y O U R B E S P O K E C A N V A S .

J A C K S O N ' S O N L I N E B E S P O K E C A N V A S B U I L D E R

Order your own unique bespoke stretched canvas online.To order your very own bespoke stretched canvas, go to the ‘Canvas’ department of our website to find our online bespoke canvas builder.

www.jacksonsart.com


O I L P A D S & P A P E R

IN CM5 1 2 . 7 06 1 5 . 2 47 1 7. 7 88 2 0 . 3 29 2 2 . 8 61 0 2 5 . 4 01 1 2 7. 9 41 2 3 0 . 4 81 3 3 3 . 0 21 4 3 5 . 5 61 5 3 8 . 1 01 6 4 0 . 6 41 7 4 3 . 1 81 8 4 5 . 7 21 9 4 8 . 2 62 0 5 0 . 8 02 1 5 3 . 3 42 2 5 5 . 8 82 3 5 8 . 4 22 4 6 0 . 9 62 5 6 3 . 5

K E YMetric Conversion

O I L P A D S A N D P A P E R

Hahnemuhle Oil and Acr ylic Block 230gsmLinen f inish, feels l ike canvas . No bleeding or halo ef fect , a l lows for luminous colours . .O r d e r C o d e S i z e c m S h e e t s £ R R P £ P r i c eC H A 1 8 1 8 x 2 4 1 0 7. 2 0 5 . 8 0C H A 2 4 2 4 x 3 2 1 0 1 0 . 2 0 8 . 2 0C H A 3 0 3 0 x 4 0 1 0 1 4 . 4 0 1 1 . 6 0

O r d e r C o d e P a c k S i z e £ R R P £ P r i c eP P 1 9 0 N S i n g l e 1 . 6 8 1 . 6 0P P 1 9 0 N 5 5 S h e e t s 8 . 4 0 7. 6 0P P 1 9 0 N 1 0 1 0 S h e e t s 1 6 . 8 0 1 4 . 0 0 P P 1 9 0 N 2 0 2 0 S h e e t s 3 3 . 6 0 2 7. 0 0

Fabriano Pittura Woodfree Paper 190lb / 400gsmBril l iant white , wood-free, archival . Rough, natural grain sur face. Tub and sur face sized. .

Clairefontaine Paint On Glued Pad 250gsmVersatile paper, suitable for a huge range of media and techniques . 4 0 sheets .O r d e r C o d e S i z e S h e e t s £ R R P £ P r i c eP C P N A 4 A 4 4 0 7. 1 8 7. 0 0P C P N A 3 A 3 4 0 1 2 . 2 0 1 1 . 5 0

Canson Figueras Oil & Acr ylic Paper Pad 290gsmUncoated, canvas tex ture . Absorbs oil & water evenly. For oil paint , pastel and acr ylic .O r d e r C o d e S i z e i n S h e e t s £ R R P £ P r i c eP C F P 1 9 7 x 1 0 1 0 5 . 0 4 4 . 9 0P C F P 2 4 9 x 1 3 1 0 7. 3 2 7. 1 0P C F P 3 3 1 3 x 1 6 1 0 1 2 . 0 0 1 1 . 6 0

Daler-Rowney Georgian Oil Paper Gummed PadDouble-pr imed, l inen tex tured sur face. Designed for Georgian but suitable for a ll oi ls .O r d e r C o d e S i z e i n S h e e t s £ R R P £ P r i c eC G O 7 7 x 5 1 2 4 . 5 5 3 . 7 0C G O 1 0 1 0 x 7 1 2 7. 7 5 6 . 3 0C G O 1 2 1 2 x 9 1 2 1 1 . 0 0 8 . 9 0C G O 1 4 1 4 x 1 0 1 2 1 2 . 7 5 1 0 . 3 0C G O 1 6 1 6 x 1 2 1 2 1 7. 2 5 1 3 . 9 0C G O 2 0 2 0 x 1 6 1 2 2 2 . 7 5 1 8 . 3 0

Fredrix Canvas PadsGenuine ar tist canvas . Medium tex ture, acr ylic pr imed, for oil & acr ylic . 10 sheets .O r d e r C o d e S i z e c m S h e e t s £ R R P £ P r i c eC X P 8 2 0 x 2 5 1 0 7. 9 5 7. 1 0C X P 9 2 3 x 3 1 1 0 9 . 9 5 8 . 9 0C X P 1 A 2 5 x 3 1 1 0 1 1 . 5 0 1 0 . 3 0 C X P 1 B 2 5 x 3 6 1 0 1 2 . 9 5 1 1 . 6 0C X P 1 2 3 1 x 4 1 1 0 1 6 . 9 5 1 5 . 1 0C X P 1 4 3 6 x 4 6 1 0 2 2 . 9 5 2 0 . 5 0C X P 1 6 4 1 x 5 1 1 0 2 7. 9 5 2 5 . 0 0C X P 1 8 4 6 x 6 1 1 0 3 8 . 9 5 3 4 . 0 0

Clairefontaine Oil PadImpermeable to oils and solvents but with per fect adhesion of colour. L ight grain .O r d e r C o d e S i z e S h e e t s £ R R P £ P r i c eC P O A 4 A 4 1 0 7. 6 1 7. 2 0C P O A 3 A 3 1 0 1 6 . 5 4 1 5 . 6 0

Clairefontaine Oil BlockAcid free, 24 0gsm. Linen tex tured paper treated specially for oil painting .O r d e r C o d e S i z e c m S h e e t s £ R R P £ P r i c eC B O 9 2 4 x 3 0 . 5 1 5 1 4 . 4 0 1 1 . 8 0C B O 1 2 3 0 x 4 0 1 5 1 9 . 8 0 1 6 . 3 0C B O 1 6 3 5 . 5 x 4 8 . 3 1 5 2 3 . 2 8 1 9 . 2 0

Arches Huile Oil Painting Paper SheetsFrench made 14 0lb paper with 4 deckled edges . Ready to use for oil painting . Both sides can be used.O r d e r C o d e S i z e c m S h e e t s £ R R P £ P r i c eP PA H 3 0 0 5 6 x 7 6 1 7. 0 9 6 . 2 0

Arches Huile Oil Painting Paper PadFrench made 14 0lb paper. Ready to use for oil painting . Both sides can be used.O r d e r C o d e S i z e i n S h e e t s £ R R P £ P r i c eP PA O P 3 B N 9 x 1 2 1 3 1 6 . 7 9 1 4 . 3 0P PA O P 3 D N 1 2 x 1 6 1 3 2 5 . 6 9 2 2 . 0 0

Belle Ar ti Canvas Pads10 sheets of acr ylic pr imed, medium-grain cot ton canvas , backed with a free canvas board.O r d e r C o d e S i z e c m S h e e t s £ R R P £ P r i c eC P B 2 4 2 4 x 3 0 1 0 9 . 4 5 6 . 8 0C P B 3 0 3 0 x 4 0 1 0 1 5 . 4 6 1 1 . 2 0C P B 3 0 3 3 0 x 3 0 1 0 1 1 . 7 7 8 . 5 0C P B 4 0 4 0 x 5 0 1 0 2 5 . 8 0 1 8 . 6 0C P B 4 0 4 4 0 x 4 0 1 0 2 1 . 0 3 1 5 . 2 0C P B 5 0 5 0 x 6 0 1 0 3 8 . 3 2 2 8 . 0 0

Multimedia Ar tboard 0.8mmReady to use on either f lat or tex tured side. Achival , no buckling , l ight weight .O r d e r C o d e S i z e i n Q u a n t i t y £ P r i c eC M A 1 0 9 1 2 W 9 x 1 2 P a c k o f 1 0 5 . 0 0C M A 5 1 1 1 4 W 1 1 x 1 4 P a c k o f 5 8 . 0 0C M A 5 1 2 1 2 W 1 2 x 1 2 P a c k o f 5 8 . 0 0C M A 5 1 2 1 6 W 1 2 x 1 6 P a c k o f 5 9 . 0 0


C A R T R I D G E P A D S & P A P E R

C A R T R I D G E P A D S A N D P A P E R


Strathmore 500 Series Mixed Media Ar t Journal Hardbound190 gsm vellum, for most wet media . Internally sized, archival 100% cot ton.O r d e r C o d e S i z e c m S h e e t s £ R R P £ P r i c eP S 5 6 6 H 5 1 4 x 2 2 2 4 1 9 . 9 9 1 7. 6 0P S 5 6 6 H 8 2 2 x 2 8 2 4 2 5 . 0 0 2 2 . 0 0P S 5 6 6 H 1 1 2 8 x 3 6 2 4 3 6 . 4 9 3 3 . 0 0

Snowdon 130gsm Car tridge PaperWood free, acid free, mat t white sur face. For drawing and l ight applications of water-based colour. O r d e r C o d e S i z e i n S h e e t s £ R R P £ P r i c eP E 1 2 5 A 3 1 2 x 1 6 1 0 0 1 0 . 9 2 9 . 5 0P E 1 2 5 A 2 2 3 x 1 6 2 0 0 3 5 . 5 2 3 1 . 0 0P S N 1 3 0 A 2 3 x 3 3 1 0 0 3 0 . 1 2 2 7. 0 0

Nor folk 150gsm Car tridge PaperWoodfree, acid free, white mat t sur face. O r d e r C o d e S i z e S h e e t s £ R R P £ P r i c eP N O 1 5 0 A A 1 1 0 0 3 8 . 4 4 3 6 . 0 0

Surrey Car tridge Paper 200gsm Of f WhiteWoodfree, acid free, cream shade mat t sur face.

1.5 MM SPACE

O r d e r C o d e S i z e S h e e t s £ R R P £ P r i c eP S U 2 0 0 B A 1 1 0 0 4 7. 8 2 4 3 . 0 0

Fabriano Accademia 200gsm Car tridge PaperInternally & ex ternally sized cellulose paper. For dr y media & l ight applications of watercolour/gouache. O r d e r C o d e S i z e c m S h e e t s £ R R P £ P r i c eP FA 2 0 0 A 4 A 4 1 0 0 9 . 4 8 8 . 8 0P FA 2 0 0 A 3 A 3 5 0 9 . 4 8 8 . 8 0P FA R 2 0 0 1 5 0 x 1 0 0 0 R o l l 2 9 . 1 6 2 6 . 5 0

Fabriano Accademia 160gsm Car tridge PaperLignin-and-acid-free cellulose paper. Internally & ex ternally sized. For a ll dr y media & ink . FSC Cer t . O r d e r C o d e S i z e S h e e t s £ R R P £ P r i c eP FA 1 6 0 A 4 A 4 1 5 0 9 . 4 8 8 . 8 0P FA 1 6 0 A 3 A 3 7 5 9 . 4 8 8 . 8 0

Stillman & Birn Delta Hardback SketchbookHard bound, 270gsm, Ivor y, cold press/rough tex ture . For wet and dr y media .O r d e r C o d e S i z e i n S h e e t s £ R R P £ P r i c eP S B 6 0 0 5 8 0 5 . 5 x 8 . 5 2 6 1 4 . 3 3 1 2 . 0 0P S B 6 0 0 8 9 9 8 . 2 5 x 1 1 . 7 5 2 6 2 0 . 5 4 1 7. 2 0

Snowdon Car tridge Paper Fat Pad Spiral bound pad with a strong black hard cover. Wood-free and acid-free car tr idge paper, with a mat t white sur face. 130gsm.1.5 MM SPACE

O r d e r C o d e S i z e S h e e t s £ R R P £ P r i c eP S N PA 4 A 4 9 0 8 . 1 6 7. 5 0P S N PA 3 A 3 9 0 1 4 . 2 8 1 3 . 1 0

Seawhite Jackson's Black Hardback SketchbookAcid-free, Sized, 14 0gsm. Heav y drawing car tr idge paper.O r d e r C o d e S i z e c m S h e e t s £ R R P £ P r i c eP S WA 5 P A 5 P 4 6 - 4 . 7 0P S WA 5 L A 5 L 4 6 - 4 . 7 0P S W 1 4 0 1 4 x 1 4 9 5 - 5 . 5 0P S W 2 5 P 2 5 x 1 9 P 7 0 - 6 . 9 0P S W 2 5 L 2 5 x 1 9 L 7 0 - 6 . 9 0P S WA 4 P A 4 P 4 6 - 6 . 9 0P S W 1 9 5 1 9 x 1 9 9 5 - 7. 8 0P S WA 4 L A 4 L 4 6 - 8 . 1 0P S W 2 5 0 2 5 x 2 5 9 5 - 1 0 . 4 0P S WA 3 P A 3 P 4 6 - 1 5 . 1 0P S WA 3 L A 3 L 4 6 - 1 7. 1 0

Seawhite Jackson's Sof t Cover Pad14 0gsm paper.O r d e r C o d e S i z e S h e e t s £ R R P £ P r i c eP S W 1 0 3 A 4 P 2 0 - 1 . 8 0P S W 1 0 4 A 4 L 2 0 - 1 . 9 0P S W 1 0 5 A 5 P 2 0 - 1 . 3 0P S W 1 0 6 A 3 P 2 0 - 3 . 6 0

Seawhite Jackson's Ar t Journal 130gsm. Recycled car tr idge paper, elastic retaining band, place marker and expandable inner pocket .

1.5 MM SPACE

O r d e r C o d e S i z e S h e e t s £ R R P £ P r i c eP S W 1 0 7 A 6 P 6 4 - 5 . 4 0P S W 1 0 8 A 5 P 6 4 - 6 . 3 0

Daler-Rowney Heav y weight Pad2 20gsm. Heav y-weight paper is acid-free and both internally and sur face sized.O r d e r C o d e S i z e S h e e t s £ R R P £ P r i c eP D 2 2 0 A 5 A 5 2 5 4 . 8 0 3 . 4 0P D 2 2 0 A 4 A 4 2 5 8 . 0 0 5 . 7 0P D 2 2 0 A 3 A 3 2 5 1 2 . 2 5 8 . 6 0P D 2 2 0 A 2 A 2 2 5 2 0 . 2 5 1 4 . 2 0

Canson Imagine Multimedia PadSmooth 200gsm paper that 's ideal for both dr y and wet techniques . Pure, br ight white .O r d e r C o d e S i z e S h e e t s £ R R P £ P r i c eP C I M 2 0 2 A 4 A 4 5 0 6 . 4 8 5 . 6 0P C I M 2 0 1 A 3 A 3 5 0 1 3 . 8 0 1 1 . 9 0

Canson Bristol PadE x tra-smooth br istol , 250gsm. For i l lustration and drawing in pen, pencil , ink and l ight wash.O r d e r C o d e S i z e S h e e t s £ R R P £ P r i c eP B R A 4 A 4 2 0 5 . 0 4 4 . 6 0P B R A 3 A 3 2 0 9 . 9 6 8 . 9 0

B R U S H E S

Whether you paint small, intricate details or huge bands of unadulterated colour, we have the brushes you need. Chances are that you'll consider a number of differing approaches over the course of your time as a painter, but what will remain constant is the fact that a good brush is an investment worth making, regardless of your painting style. For crisp clean edges take a look at brushes that boast a good spring; for washes and stains you'll want something a little softer, and for deliberate marks that show the imprint of the brush hairs try a good solid hog. Whatever your mark, we've got the brush.

C O N T E N T SHog Brushes

Sable Brushes

Synthetic Brushes

66–71

72

73–83

Priming Brushes

Brush Sets

81

84–85


K E YStiffness � Ver y S of t � S of t � Medium � S ti f f � Ver y S t i f f

J A C K S O N ' S S H I R O H O G

Shiro Hog hair is very resilient. It does not undergo any bleaching or boiling treatments, and therefore the hair is strong.It has no trouble in retaining both shape and spring if cared for properly. As one artist we serve told us, it is a "very good brush firm and dependable in use".

B R I G H T S E R I E S 3 0 2 ( L O N G H A N D L E ) �

B 3 0 2 0 1 2 4 6 8 1 0 1 2Ø m m 4 5 6 9 1 2 1 4 1 9 2 4£ R R P - - - - - - - -£ P r i c e 3 . 0 0 3 . 1 0 3 . 4 0 3 . 9 0 4 . 7 0 6 . 1 0 8 . 2 0 1 0 . 7 0

F I L B E R T S E R I E S 3 0 4 ( L O N G H A N D L E ) �

B 3 0 4 0 1 2 4 6 8 1 0 1 2Ø m m 4 5 6 9 1 2 1 4 1 9 2 4£ R R P - - - - - - - -£ P r i c e 3 . 2 0 3 . 4 0 3 . 6 0 4 . 2 0 5 . 0 0 6 . 5 0 8 . 7 0 1 1 . 2 0

R O U N D S E R I E S 3 0 1 ( L O N G H A N D L E ) �

B 3 0 1 0 1 2 4 6 8 1 0 1 2Ø m m 2 3 3 . 5 5 . 5 7 9 1 0 1 2£ R R P - - - - - - - -£ P r i c e 3 . 2 0 3 . 4 0 3 . 6 0 4 . 3 0 5 . 2 0 6 . 5 0 8 . 1 0 1 0 . 2 0

B 3 0 6 1 1 / 2 2 3Ø m m 2 5 . 4 3 8 5 0 7 6 . 2£ R R P - - - -£ P r i c e 1 0 . 1 0 1 5 . 7 0 1 9 . 5 0 3 3 . 0 0

M O T T L E R S E R I E S 3 0 6 ( S H O R T H A N D L E ) �

J A C K S O N ' S B L A C K H O G

If you find most hog hair too coarse, but sable too soft, then our Black Hog brushes are worth a try.They work beautifully with both thick and thin paint. Encased in a silver coloured ferrule and matt black handle, they both look and feel beautiful.


B 3 3 5 2 4 6 8 1 0 1 2Ø m m 6 9 1 2 1 4 1 9 2 4£ R R P - - - - - -£ P r i c e 3 . 7 0 4 . 4 0 5 . 4 0 7. 2 0 9 . 9 0 1 2 . 2 0

F L A T S E R I E S 3 3 4 ( L O N G H A N D L E ) �

B 3 3 4 2 4 6 8 1 0 1 2Ø m m 6 9 1 2 1 4 1 9 2 4£ R R P - - - - - -£ P r i c e 3 . 5 0 4 . 2 0 5 . 2 0 6 . 9 0 9 . 4 0 1 1 . 7 0


B 3 3 3 2 4 6 8 1 0 1 2Ø m m 3 . 5 5 . 5 7 9 1 0 1 2£ R R P - - - - - -£ P r i c e 3 . 5 0 4 . 5 0 5 . 6 0 6 . 7 0 8 . 7 0 1 1 . 0 0

B 3 3 6 1 1 / 2 2 3Ø m m 2 5 . 4 3 8 5 0 7 6 . 2£ R R P - - - -£ P r i c e 9 . 6 0 1 5 . 3 0 1 8 . 8 0 3 2 . 0 0


H O G B R U S H E S



F L A T S E R I E S 2 3 6 0 ( S H O R T H A N D L E ) �

B E 2 3 6 0 9 1 2 1 5 1 8 2 1 2 4 2 7 3 0Ø m m 1 8 . 8 2 4 . 6 3 1 . 3 3 7. 2 4 4 . 0 5 0 . 0 5 6 . 6 6 2 . 6£ R R P 6 . 5 0 6 . 9 6 7. 5 0 7. 8 7 8 . 8 4 9 . 7 9 1 1 . 3 6 1 3 . 4 7£ P r i c e 5 . 6 0 6 . 0 0 6 . 5 0 6 . 8 0 7. 7 0 8 . 5 0 9 . 8 0 1 1 . 6 0

Highest quality Chungking bristle makes for a brush that's firm and responsive.With a natural hardness that responds perfectly to both dense and thin oil and acrylic paint applications, the Clasico range is as its name suggests - a classic.

E S C O D A C L A S I C O H O G

F A N S E R I E S 5 3 3 7 ( L O N G H A N D L E ) �

B 5 3 3 7 2 4 6Ø m m 8 . 1 1 0 . 0 1 1 2 . 1£ R R P 1 0 . 4 1 1 1 . 1 3 1 2 . 2 2£ P r i c e 8 . 6 0 9 . 1 0 1 0 . 0 0

L O N G F L A T S E R I E S 4 8 2 9 ( L O N G H A N D L E ) �

B 4 8 2 9 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4Ø m m 1 . 1 1 . 6 6 2 . 4 5 3 . 8 7 4 . 8 1 6 . 1 8 . 0 9 . 0 4 1 1 . 5 6 1 3 . 9 1 7. 1 1 9 . 7 2 2 . 3 2 4 . 0£ R R P 5 . 1 5 5 . 2 4 5 . 3 8 5 . 7 1 6 . 0 9 6 . 5 3 6 . 8 6 7. 3 8 8 . 0 6 1 0 . 3 2 1 1 . 2 2 1 2 . 2 7 1 3 . 9 3 1 5 . 6 3£ P r i c e 4 . 3 0 4 . 3 0 4 . 4 0 4 . 7 0 5 . 0 0 5 . 4 0 5 . 7 0 6 . 1 0 6 . 6 0 8 . 5 0 9 . 2 0 1 0 . 1 0 1 1 . 4 0 1 2 . 8 0

R O U N D S E R I E S 5 1 3 1 ( L O N G H A N D L E ) �

B 5 1 3 1 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4Ø m m 1 1 . 4 2 . 2 2 . 8 3 . 6 4 . 4 5 . 7 6 . 9 8 . 2 9 . 7 1 2 1 4 1 6 1 7£ R R P 5 . 5 9 5 . 9 0 5 . 9 7 6 . 3 5 6 . 9 6 7. 2 5 7. 5 4 8 . 1 4 9 . 6 0 1 1 . 2 5 1 2 . 2 7 1 3 . 6 4 1 5 . 3 0 1 7. 2 9£ P r i c e 4 . 6 0 4 . 9 0 4 . 9 0 5 . 2 0 5 . 7 0 6 . 0 0 6 . 2 0 6 . 7 0 7. 9 0 9 . 2 0 1 0 . 1 0 1 1 . 2 0 1 2 . 5 0 1 4 . 2 0

F I L B E R T S E R I E S 4 7 2 9 ( L O N G H A N D L E ) �

B 4 7 2 9 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4Ø m m 1 . 1 1 . 6 6 2 . 4 5 3 . 8 7 4 . 8 1 6 . 1 8 . 0 9 . 0 4 1 1 . 5 6 1 3 . 9 1 7. 1 1 9 . 7 2 2 . 3 2 4 . 0£ R R P 5 . 4 6 5 . 6 1 5 . 7 0 6 . 0 7 6 . 5 2 6 . 9 6 7. 2 7 7. 8 5 8 . 8 3 1 0 . 6 1 1 1 . 5 2 1 2 . 8 6 1 4 . 5 5 1 6 . 0 0£ P r i c e 4 . 5 0 4 . 6 0 4 . 7 0 5 . 0 0 5 . 4 0 5 . 7 0 6 . 0 0 6 . 5 0 7. 3 0 8 . 7 0 9 . 5 0 1 0 . 6 0 1 1 . 9 0 1 3 . 1 0

F L A T S E R I E S 4 6 2 8 ( L O N G H A N D L E ) �

B 4 6 2 8 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 8 3 2Ø m m 1 . 1 1 . 6 6 2 . 4 5 3 . 8 7 4 . 8 1 6 . 1 8 . 0 9 . 0 4 1 1 . 5 6 1 3 . 9 1 7. 1 1 9 . 7 2 2 . 3 2 4 2 8 . 8 4 4 7. 4 1£ R R P 5 . 1 5 5 . 2 4 5 . 3 4 5 . 6 6 6 . 0 9 6 . 4 9 6 . 9 1 7. 3 0 7. 9 8 1 0 . 1 5 1 1 . 1 5 1 2 . 2 7 1 3 . 8 7 1 4 . 9 0 1 5 . 5 4 2 9 . 3 4£ P r i c e 4 . 3 0 4 . 3 0 4 . 4 0 4 . 7 0 5 . 0 0 5 . 4 0 5 . 7 0 6 . 0 0 6 . 6 0 8 . 3 0 9 . 2 0 1 0 . 1 0 1 1 . 4 0 1 2 . 2 0 1 2 . 7 0 2 4 . 0 0

F I L B E R T S E R I E S 4 5 3 5 �

B 4 5 3 5 2 0 2 2 2 4 2 6 2 8 3 0 3 2Ø m m 1 9 . 7 2 2 . 3 2 4 . 0 2 6 . 5 1 2 8 . 8 4 3 5 . 4 6 4 7. 4 1£ R R P 3 6 . 7 9 3 7. 3 6 3 8 . 3 3 3 9 . 0 5 3 9 . 6 0 4 3 . 4 0 5 0 . 6 0£ P r i c e 3 1 . 0 0 3 1 . 0 0 3 2 . 0 0 3 2 . 0 0 3 3 . 0 0 3 6 . 0 0 4 2 . 0 0

F L A T S E R I E S 4 6 3 6 �

B 4 6 3 6 2 0 2 2 2 4 2 6 2 8 3 0 3 2Ø m m 1 9 . 7 2 2 . 3 2 4 . 0 2 6 . 5 1 2 8 . 8 4 3 5 . 4 6 4 7. 4 1£ R R P 3 5 . 7 6 3 5 . 8 9 3 6 . 8 3 3 8 . 0 7 3 8 . 6 8 4 1 . 9 3 4 9 . 0 6£ P r i c e 2 9 . 5 0 2 9 . 5 0 3 1 . 0 0 3 2 . 0 0 3 2 . 0 0 3 5 . 0 0 4 1 . 0 0

E S C O D A C L A S I C O H O G ( E X T R A L O N G H A N D L E )

Extra-long handles make for an exciting edition to your brush collection.Perfect for artists looking to work at scale or in a gestural fashion.

H O G B R U S H E S



L O N G F L A T �

B PA L F 1 2 3 4 5 6 7 8 1 0 1 2Ø m m 4 . 6 5 . 8 7. 4 8 . 7 1 0 1 1 1 3 . 3 1 4 . 6 1 8 . 8 -£ R R P 3 . 6 5 3 . 9 5 4 . 5 0 4 . 8 5 5 . 5 0 6 . 1 6 7. 1 5 8 . 1 5 1 0 . 9 6 1 3 . 4 0£ P r i c e 3 . 0 0 3 . 2 0 3 . 6 0 3 . 9 0 4 . 4 0 5 . 0 0 5 . 8 0 6 . 6 0 8 . 8 0 1 0 . 8 0

F I L B E R T �

B PA F B 1 2 3 4 5 6 7 8 1 0 1 2Ø m m 4 . 8 5 . 6 7 8 . 5 9 . 4 1 1 1 3 . 3 1 4 1 8 . 9 2 3 £ R R P 3 . 6 5 3 . 9 5 4 . 5 0 4 . 8 5 5 . 5 0 6 . 1 6 7. 1 5 8 . 1 5 1 0 . 9 6 1 3 . 4 0£ P r i c e 3 . 0 0 3 . 2 0 3 . 6 0 3 . 9 0 4 . 4 0 5 . 0 0 5 . 8 0 6 . 6 0 8 . 8 0 1 0 . 8 0

R O U N D �

B PA R 1 2 3 4 5 6 7 8 1 0 1 2Ø m m 3 . 9 4 . 1 4 . 5 5 . 4 6 . 5 7 7. 8 8 . 6 9 . 3 1 2£ R R P 3 . 6 5 3 . 9 5 4 . 5 0 4 . 8 5 5 . 5 0 6 . 1 6 7. 1 5 8 . 1 5 1 0 . 9 6 1 3 . 4 0£ P r i c e 3 . 0 0 3 . 2 0 3 . 6 0 3 . 9 0 4 . 4 0 5 . 0 0 5 . 8 0 6 . 6 0 8 . 8 0 1 0 . 8 0

S H O R T F L A T �

B PA S F 1 2 3 4 5 6 7 8 1 0 1 2Ø m m 5 . 9 6 . 7 7 9 . 6 1 1 . 7 1 3 . 9 1 4 1 5 . 5 2 0 2 4£ R R P 3 . 6 5 3 . 9 5 4 . 5 0 4 . 8 5 5 . 5 0 6 . 1 6 7. 1 5 8 . 1 5 1 0 . 9 6 1 3 . 4 0£ P r i c e 3 . 0 0 3 . 2 0 3 . 6 0 3 . 9 0 4 . 4 0 5 . 0 0 5 . 8 0 6 . 6 0 8 . 8 0 1 0 . 8 0

P R O A R T E S E R I E S A H O G ( L O N G H A N D L E )

The Series A Hog is the kind of brush you purchase as a treat or a gift.The range is made of Jyukeis Hog, the finest grade of Chinese bristle presently available. With care these will last a long time. The only danger is expecting all the brushes you buy to be this good!.


B P B S F 1 2 3 4 5 6 7 8 1 0 1 2 1 6 2 0Ø m m 5 5 . 2 5 . 9 8 . 4 1 1 . 9 1 1 . 9 1 3 . 7 1 4 . 5 2 0 2 4 . 9 - -£ R R P 2 . 9 5 3 . 2 0 3 . 7 6 4 . 2 0 4 . 6 6 5 . 2 6 5 . 9 5 6 . 7 6 9 . 4 0 1 2 . 3 5 1 7. 4 5 2 1 . 9 0£ P r i c e 2 . 4 0 2 . 6 0 3 . 1 0 3 . 4 0 3 . 8 0 4 . 3 0 4 . 8 0 5 . 5 0 7. 6 0 9 . 9 0 1 4 . 0 0 1 7. 6 0

L O N G F L A T �

B P B L F 1 2 3 4 5 6 7 8 1 0 1 2Ø m m 4 . 6 5 5 . 8 8 . 9 1 0 1 1 . 6 1 2 . 8 - 2 0 2 4 £ R R P 2 . 9 5 3 . 2 0 3 . 7 6 4 . 2 0 4 . 6 6 5 . 2 6 5 . 9 5 6 . 7 6 9 . 4 0 1 2 . 3 5£ P r i c e 2 . 4 0 2 . 6 0 3 . 1 0 3 . 4 0 3 . 8 0 4 . 3 0 4 . 8 0 5 . 5 0 7. 6 0 9 . 9 0

F I L B E R T �

B P B F B 1 2 3 4 5 6 7 8 1 0 1 2Ø m m 4 . 9 0 5 . 4 5 . 6 8 9 . 4 1 1 . 5 1 3 1 4 . 4 1 8 . 5 2 3£ R R P 2 . 9 5 3 . 2 0 3 . 7 6 4 . 2 0 4 . 6 6 5 . 2 6 5 . 9 5 6 . 7 6 9 . 4 0 1 2 . 3 5£ P r i c e 2 . 4 0 2 . 6 0 3 . 1 0 3 . 4 0 3 . 8 0 4 . 3 0 4 . 8 0 5 . 5 0 7. 6 0 9 . 9 0

R O U N D �

B P B R 1 2 3 4 5 6 7 8 1 0 1 2Ø m m 2 . 2 2 . 7 3 . 3 4 . 8 5 . 6 6 . 6 7. 5 8 . 6 1 0 1 1 . 9£ R R P 2 . 9 5 3 . 2 0 3 . 7 6 4 . 2 0 4 . 6 6 5 . 2 6 5 . 9 5 6 . 7 6 9 . 4 0 1 2 . 3 5£ P r i c e 2 . 4 0 2 . 6 0 3 . 1 0 3 . 4 0 3 . 8 0 4 . 3 0 4 . 8 0 5 . 5 0 7. 6 0 9 . 9 0

P R O A R T E S E R I E S B H O G ( L O N G H A N D L E )

Series B Hog is a notch down from the Series A, but they are made with a very high grade of Chungking hog hair that will serve oil painters of all levels well.One customer remarked online they found them to give "nice smooth strokes, great for portraits too".

H O G B R U S H E S



B R I G H T S E R I E S 3 5 7 0 �

B 3 5 7 0 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0Ø m m - - - - - - - - - -£ R R P 5 . 1 5 5 . 5 5 6 . 1 0 7. 0 0 8 . 4 0 1 2 . 4 5 1 5 . 9 5 1 8 . 4 0 2 0 . 5 5 2 4 . 8 0£ P r i c e 3 . 9 0 4 . 2 0 4 . 6 0 5 . 3 0 6 . 3 0 9 . 4 0 1 2 . 0 0 1 3 . 8 0 1 5 . 5 0 1 8 . 6 0

R O U N D S E R I E S 3 5 6 �

B 3 5 6 1 2 3 4 5 6 8 1 0 1 2 1 2Ø m m - - - - - - - - - -£ R R P 4 . 2 5 4 . 4 5 4 . 9 5 6 . 3 0 6 . 8 0 7. 4 5 8 . 4 5 1 0 . 5 0 1 3 . 3 5 1 3 . 3 5£ P r i c e 3 . 2 0 3 . 4 0 3 . 8 0 4 . 8 0 5 . 1 0 5 . 6 0 6 . 4 0 7. 9 0 1 0 . 1 0 1 0 . 1 0

L O N G F L A T S E R I E S 3 5 7 �

B 3 5 7 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0Ø m m - - - - - - - - - -£ R R P 5 . 1 5 5 . 5 5 6 . 1 0 7. 0 0 8 . 4 0 1 2 . 4 5 1 5 . 9 5 1 8 . 4 0 2 0 . 5 5 2 4 . 8 0£ P r i c e 3 . 9 0 4 . 2 0 4 . 6 0 5 . 3 0 6 . 3 0 9 . 4 0 1 2 . 0 0 1 3 . 8 0 1 5 . 5 0 1 8 . 6 0

Soft, double-boiled hair makes for a straighter brush with reduced tendency to split at the end of strokes.Made with seamless copper ferrules and long black handles, Raphael Paris is the perfect range for those who want a brushmark that's smooth from start to finish.

R A P H A E L P A R I S C L A S S I C S H O G B R I S T L E ( L O N G H A N D L E )

F I L B E R T S E R I E S 3 5 7 7 �

B 3 5 7 7 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0Ø m m - - - - - - - - - -£ R R P 6 . 1 0 6 . 4 0 6 . 7 0 7. 7 0 9 . 2 0 1 3 . 6 5 1 6 . 3 0 1 9 . 3 5 2 1 . 9 0 2 6 . 6 0£ P r i c e 4 . 6 0 4 . 8 0 5 . 1 0 5 . 8 0 6 . 9 0 1 0 . 3 0 1 2 . 3 0 1 4 . 6 0 1 6 . 5 0 2 0 . 0 0

L O N G F I L B E R T S E R I E S 3 5 7 2 �

B 3 5 7 7 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0Ø m m - - - - - - - - - -£ R R P 6 . 1 0 6 . 4 0 6 . 7 0 7. 7 0 9 . 2 0 1 3 . 6 5 1 6 . 3 0 1 9 . 3 5 2 1 . 9 0 2 6 . 6 0£ P r i c e 4 . 6 0 4 . 8 0 5 . 1 0 5 . 8 0 6 . 9 0 1 0 . 3 0 1 2 . 3 0 1 4 . 6 0 1 6 . 5 0 2 0 . 0 0

F I L B E R T S E R I E S 7 0 4 0 �

B 7 0 4 0 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4Ø m m 5 . 1 5 . 9 7 7. 2 1 9 . 2 1 1 1 . 2 5 1 2 . 6 3 1 4 . 4 4 1 7. 5 2 0 . 6 2 4 . 6 2 7. 1 2 9 . 5£ R R P 3 . 4 6 3 . 5 0 3 . 6 9 4 . 0 7 4 . 4 8 4 . 7 9 5 . 4 5 6 . 4 2 7. 1 7 8 . 3 2 9 . 0 2 9 . 8 1£ P r i c e 3 . 0 0 3 . 1 0 3 . 2 0 3 . 5 0 3 . 9 0 4 . 2 0 4 . 7 0 5 . 6 0 6 . 2 0 7. 2 0 7. 8 0 8 . 5 0

Natural-coloured top quality Chungking bristle. A full-bodied, filbert bristle brush used traditionally for decorative painting, but now popular with fine artists. It tapers to a soft, rounded tip and provides excellent control, for a bristle brush.

E S C O D A N A T U R A L H O G ( L O N G H A N D L E _

H O G B R U S H E S



H A N D O V E R S T U D I O H O G ( L O N G H A N D L E )

An extremely popular artist quality brush. The concept is simple a long lasting, natural hog brush, perfect for oil painters of all levels.Often reviewed favourably with comments such as "brushes are very good, amazing value at this price".

R O U N D S E R I E S 3 1 6 �

B 3 1 6 0 2 4 6 8 1 0 1 2Ø m m 1 . 5 2 4 6 7 9 1 2 . 5£ R R P - - - - - - -£ P r i c e 1 . 2 0 1 . 3 0 1 . 6 0 2 . 1 0 2 . 7 0 2 . 9 0 3 . 7 0

L O N G F L A T S E R I E S 3 1 5 A �

B 3 1 5 A 0 2 4 6 8 1 0 1 2Ø m m 2 . 5 4 5 1 0 1 2 1 8 2 3£ R R P - - - - - - -£ P r i c e 1 . 2 0 1 . 3 0 1 . 6 0 2 . 1 0 2 . 7 0 2 . 9 0 3 . 7 0

F I L B E R T S E R I E S 3 1 4 �

B 3 1 4 0 2 4 6 8 1 0 1 2Ø m m 3 . 5 4 8 1 0 1 3 1 7 2 0£ R R P - - - - - - -£ P r i c e 1 . 2 0 1 . 3 0 1 . 6 0 2 . 1 0 2 . 7 0 2 . 9 0 3 . 7 0

F L A T S E R I E S 3 1 5 �

B 3 1 5 0 2 4 6 8 1 0 1 2Ø m m 2 . 5 4 5 1 0 1 2 1 8 2 3£ R R P - - - - - - -£ P r i c e 1 . 2 0 1 . 3 0 1 . 6 0 2 . 1 0 2 . 7 0 2 . 9 0 3 . 7 0

W I N S O R & N E W T O N A R T I S T S ' H O G ( L O N G H A N D L E )

Winsor's Artists' Hog brushes are the finest hog brushes in their range. Chungking hog hair is used for its resilience, and will keep its shape for longer. The natural curve of the bristle is utilised to ensure no loss of natural spring.

L O N G F L A T �

B W H L F 2 4 6 8 1 0 1 2Ø m m 6 1 0 1 3 1 6 2 0 2 4£ R R P 8 . 9 5 9 . 8 5 1 1 . 7 0 1 4 . 3 0 1 8 . 3 0 2 2 . 1 5£ P r i c e 6 . 7 0 7. 3 0 8 . 7 0 1 0 . 6 0 1 3 . 6 0 1 6 . 4 0

F A N �

B W H F 6Ø m m 5£ R R P 1 1 . 7 0£ P r i c e 8 . 7 0


B W H S F 2 4 6 8 1 0 1 2Ø m m 6 9 . 5 1 3 1 6 2 0 2 5£ R R P 8 . 9 5 9 . 8 5 1 1 . 7 0 1 4 . 3 0 1 8 . 3 0 2 2 . 1 5£ P r i c e 6 . 7 0 7. 3 0 8 . 7 0 1 0 . 6 0 1 3 . 6 0 1 6 . 4 0

F I L B E R T �

B W H F B 2 4 6 8 1 0 1 2Ø m m 6 9 1 2 1 5 2 0 2 4£ R R P 8 . 9 5 9 . 8 5 1 1 . 7 0 1 4 . 3 0 1 8 . 3 0 2 2 . 1 5£ P r i c e 6 . 7 0 7. 3 0 8 . 7 0 1 0 . 6 0 1 3 . 6 0 1 6 . 4 0

S H O R T F I L B E R T �

B W H S F B 2 4 6 8 1 0 1 2Ø m m 6 9 . 5 1 3 1 6 2 0 2 5 £ R R P 8 . 9 5 9 . 8 5 1 1 . 7 0 1 4 . 3 0 1 8 . 3 0 2 2 . 1 5£ P r i c e 6 . 7 0 7. 3 0 8 . 7 0 1 0 . 6 0 1 3 . 6 0 1 6 . 4 0

R O U N D �

B W H R 2 4 6Ø m m 6 9 1 2£ R R P 8 . 9 5 9 . 8 5 1 1 . 7 0£ P r i c e 6 . 7 0 7. 3 0 8 . 7 0

H O G B R U S H E S



Enduring elasticity, springiness and longevity.Da Vinci developed a new manufacturing method for these brushes, allowing them to efficilently produce interlocked brushes that are affordable and reliable.

D A V I N C I M A E S T R O 2 B R I S T L E ( L O N G H A N D L E )

B R I G H T S S E R I E S 5 1 2 3 �

B 5 1 2 3 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 6 2 0 2 4 3 0Ø m m 3 . 7 5 7 8 . 5 1 1 1 3 1 4 . 5 1 7 1 8 . 5 2 0 2 3 2 4 . 5 3 2 . 5 3 8 . 5 4 9 5 7£ R R P 3 . 4 1 3 . 6 3 4 . 2 7 4 . 9 1 5 . 1 7 6 . 1 9 6 . 4 0 6 . 5 8 8 . 2 0 9 . 4 1 1 1 . 7 1 1 2 . 3 9 2 3 . 5 2 3 3 . 4 6 5 2 . 0 7 6 2 . 0 0£ P r i c e 3 . 1 0 3 . 3 0 3 . 9 0 4 . 5 0 4 . 7 0 5 . 6 0 5 . 8 0 6 . 0 0 7. 4 0 8 . 5 0 1 0 . 6 0 1 1 . 2 0 2 1 . 5 0 3 0 . 0 0 4 7. 0 0 5 6 . 0 0

F I L B E R T S E R I E S 5 4 2 3 �

B 5 4 2 3 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 6 2 0Ø m m 3 5 7 8 . 5 1 1 1 3 1 4 . 5 1 7. 5 1 8 . 5 2 0 2 2 . 5 2 4 3 2 3 8£ R R P 5 . 2 3 5 . 7 8 6 . 0 8 6 . 5 8 7. 2 9 7. 74 8 . 2 5 8 . 7 5 9 . 4 1 1 1 . 1 7 1 2 . 4 5 1 5 . 8 0 3 3 . 0 4 4 9 . 8 0£ P r i c e 4 . 8 0 5 . 2 0 5 . 5 0 6 . 0 0 6 . 6 0 7. 0 0 7. 4 0 7. 9 0 8 . 5 0 1 0 . 0 0 1 1 . 2 0 1 4 . 2 0 2 9 . 5 0 4 5 . 0 0

R O U N D S E R I E S 5 7 2 3 �

B 5 7 2 3 1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 6 2 0Ø m m 2 . 0 5 2 . 6 3 . 6 4 . 7 5 . 7 6 . 9 7. 3 8 . 2 9 . 2 9 . 7 1 2 1 3 . 2 1 7. 3 1 9 . 7£ R R P 3 . 7 2 3 . 9 3 4 . 6 3 5 . 3 9 5 . 5 3 6 . 6 4 7. 2 4 7. 8 4 8 . 5 9 1 1 . 2 5 1 2 . 2 1 1 5 . 74 3 0 . 8 8 4 3 . 5 7£ P r i c e 3 . 4 0 3 . 6 0 4 . 2 0 4 . 9 0 5 . 0 0 6 . 0 0 6 . 5 0 7. 1 0 7. 7 0 1 0 . 1 0 1 1 . 1 0 1 4 . 1 0 2 7. 5 0 3 9 . 0 0

F L A T S E R I E S 7 0 5 5 �

B 7 0 5 5 2 5 3 0 4 0 5 0 6 0 8 0 1 0 0Ø m m 2 5 3 0 4 0 5 0 6 0 8 0 1 0 0£ R R P 9 . 4 6 1 0 . 6 7 1 1 . 4 6 1 4 . 3 0 1 6 . 6 4 1 9 . 2 7 2 7. 4 7£ P r i c e 8 . 4 0 9 . 5 0 1 0 . 2 0 1 2 . 8 0 1 4 . 9 0 1 7. 3 0 2 5 . 0 0

Extra-sturdy Chinese Chungking bristle in a rust-proof ferrule. Complements the Maestro 2 range perfectly.

D A V I N C I A R T I S T H O G F L A T ( L O N G H A N D L E )

A classic brush shape in natural hog and wood.The ever-popular scenic fitch features a long handle and sturdy bristle. Both shapes hold a large amount of paint.

H A N D O V E R S C E N I C F I T C H E S ( L O N G H A N D L E )

R O U N D S E R I E S 3 6 6 �

B H 3 6 6 1 4 1 6Ø m m 1 8 2 2£ R R P - -£ P r i c e 5 . 6 0 9 . 2 0

F L A T S E R I E S 3 6 7 �

B H 3 6 7 1 4 1 6Ø m m 2 5 2 2 £ R R P - -£ P r i c e 5 . 6 0 9 . 2 0

H O G & B R I S T L E B R U S H E S


D A V I N C I B L A C K S A B L E ( L O N G H A N D L E )

The characteristics of Black Sable are a cross between red sable and hog.The hairs will not leave an imprint in the paint but do have a stiffness that allows for heavier body paint applications. Ideal for blending techniques.

R O U N D S E R I E S 1 6 4 0 �

B 1 6 4 0 0 0 0 0 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8Ø m m 0 . 9 0 . 9 0 . 9 1 . 1 1 . 3 1 . 7 2 . 0 5 2 . 6 2 . 8 5 3 . 6 4 . 4 5 . 3 5 . 7 6 . 5 6 . 9 7. 3 8 . 2 9 . 2£ R R P 4 . 5 2 4 . 5 2 4 . 5 2 4 . 5 2 4 . 6 7 5 . 2 3 6 . 5 4 7. 1 5 7. 4 0 8 . 4 4 1 0 . 1 5 1 4 . 4 8 1 7. 3 6 2 1 . 4 9 2 3 . 8 8 2 9 . 6 3 3 3 . 9 9 3 5 . 1 9£ P r i c e 4 . 2 0 4 . 2 0 4 . 2 0 4 . 2 0 4 . 3 0 4 . 8 0 6 . 0 0 6 . 5 0 6 . 7 0 7. 6 0 9 . 1 0 1 3 . 0 0 1 5 . 4 0 1 9 . 2 0 2 1 . 5 0 2 6 . 5 0 3 0 . 0 0 3 2 . 0 0

B R I G H T S E R I E S 1 8 4 0 �

B 1 8 4 0 0 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8 3 0Ø m m 2 . 2 2 . 3 2 . 7 3 4 . 5 6 . 5 8 . 5 1 0 . 5 1 2 1 5 1 7. 5 1 9 . 5 2 3 2 4 . 5 2 5 . 5 2 9 3 1 3 3 . 5£ R R P 4 . 8 2 4 . 8 2 4 . 8 2 4 . 9 7 5 . 6 7 6 . 4 4 7. 2 3 8 . 1 9 9 . 4 0 1 0 . 8 9 1 3 . 2 9 1 7. 6 6 2 1 . 4 9 2 3 . 0 4 2 6 . 6 9 3 2 . 2 0 3 7. 9 4 4 1 . 8 4£ P r i c e 4 . 3 0 4 . 3 0 4 . 3 0 4 . 5 0 5 . 1 0 5 . 8 0 6 . 5 0 7. 3 0 8 . 4 0 9 . 7 0 1 1 . 9 0 1 5 . 7 0 1 9 . 2 0 2 0 . 5 0 2 4 . 0 0 2 9 . 0 0 3 4 . 0 0 3 8 . 0 0

F I L B E R T S E R I E S 1 8 4 5 �

B 1 8 4 5 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8 3 0Ø m m 2 2 . 2 2 . 9 4 . 8 6 8 . 3 9 . 6 1 1 1 4 . 6 1 6 . 5 1 8 . 5 2 3 2 5 2 6 2 8 3 0 3 3£ R R P 7. 1 5 7. 1 5 7. 1 5 8 . 1 9 8 . 9 1 1 1 . 8 5 1 4 . 3 0 1 6 . 4 6 2 1 . 4 9 2 4 . 1 2 3 1 . 1 2 3 6 . 7 5 4 5 . 4 3 5 9 . 7 3 6 7. 9 9 7 5 . 2 9 8 8 . 5 8£ P r i c e 6 . 4 0 6 . 4 0 6 . 4 0 7. 4 0 8 . 0 0 1 0 . 6 0 1 2 . 8 0 1 4 . 7 0 1 9 . 2 0 2 1 . 5 0 2 8 . 0 0 3 3 . 0 0 4 1 . 0 0 5 4 . 0 0 6 1 . 0 0 6 7. 0 0 7 9 . 0 0

D A V I N C I K O L I N S K Y R E D S A B L E ( L O N G H A N D L E )

Da Vinci Red Sable brushes are one of a kind for oil and acrylic painters. With this brush you are painting with the softest, high quality hair, which offers longevity and an even application. Perfect for glazing and detail.

R O U N D S E R I E S 1 6 1 0 �

B 1 6 1 0 0 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8Ø m m 0 . 9 0 . 9 1 . 1 1 . 3 1 . 7 2 . 0 5 2 . 6 2 . 8 5 3 . 6 4 . 4 5 . 3 5 . 7 6 . 5 6 . 9 7. 3 8 . 2 8 . 9£ R R P 4 . 4 8 4 . 4 8 4 . 6 2 4 . 6 2 5 . 4 8 6 . 6 8 7. 6 5 9 . 0 5 1 0 . 6 1 1 7. 3 0 2 4 . 4 2 3 2 . 9 8 3 9 . 2 0 5 6 . 5 0 5 9 . 2 5 8 2 . 4 7 1 1 2 . 5 2£ P r i c e 4 . 1 0 4 . 1 0 4 . 2 0 4 . 2 0 5 . 0 0 6 . 1 0 6 . 9 0 8 . 1 0 9 . 5 0 1 5 . 4 0 2 2 . 0 0 2 9 . 5 0 3 5 . 0 0 5 1 . 0 0 5 3 . 0 0 74 . 0 0 1 0 0 . 0 0

B R I G H T S E R I E S 1 8 1 0 �

B 1 8 1 0 0 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8 3 0Ø m m 2 . 2 2 . 3 2 . 4 3 4 . 5 6 . 5 8 . 5 1 0 . 5 1 2 1 5 1 7. 5 2 0 2 3 . 5 2 5 2 6 2 9 . 5 3 1 . 5 3 4£ R R P 5 . 0 3 5 . 0 3 5 . 0 3 5 . 1 2 6 . 0 3 8 . 0 4 1 0 . 0 1 1 2 . 2 7 1 6 . 1 6 2 3 . 8 2 3 0 . 6 4 4 0 . 1 0 5 4 . 1 0 7 0 . 0 2 7 9 . 9 6 9 1 . 4 5 1 4 8 . 4 3 1 8 1 . 9 4£ P r i c e 4 . 5 0 4 . 5 0 4 . 5 0 4 . 6 0 5 . 4 0 7. 2 0 8 . 9 0 1 1 . 0 0 1 4 . 4 0 2 1 . 5 0 2 7. 5 0 3 6 . 0 0 4 8 . 0 0 6 2 . 0 0 7 1 . 0 0 8 2 . 0 0 1 3 2 . 0 0 1 6 1 . 0 0

L I N E R S E R I E S 1 2 1 0 �

B 1 2 1 0 5 / 0 0 2 4 6 8Ø m m 0 . 7 3 0 . 9 1 . 1 1 . 7 2 . 0 5 2 . 6£ R R P 7. 4 5 7. 4 5 7. 7 3 8 . 3 0 9 . 7 0 1 3 . 3 5£ P r i c e 6 . 7 0 6 . 7 0 6 . 9 0 7. 4 0 8 . 6 0 1 1 . 9 0

F I L B E R T S E R I E S 1 8 1 5 �

B 1 8 1 5 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6Ø m m 2 . 3 2 . 7 3 4 . 5 6 . 5 8 . 5 1 0 . 5 1 2 1 5 1 7. 5 1 9 . 5 2 3 2 4 . 5 2 5 . 5 2 9£ R R P 7. 1 5 7. 1 5 8 . 0 0 8 . 6 5 1 1 . 6 6 1 5 . 4 9 2 0 . 1 1 2 6 . 0 9 4 3 . 4 5 5 5 . 9 0 6 9 . 1 9 8 1 . 9 9 8 6 . 1 8 1 0 2 . 9 4 1 4 3 . 6 4£ P r i c e 6 . 4 0 6 . 4 0 7. 2 0 7. 8 0 1 0 . 3 0 1 3 . 8 0 1 7. 9 0 2 3 . 5 0 3 9 . 0 0 5 0 . 0 0 6 2 . 0 0 7 3 . 0 0 7 7. 0 0 9 3 . 0 0 1 2 8 . 0 0


S A B L E B R U S H E S



J A C K S O N ' S W H I T E S Y N T H E T I C M O T T L E R ( S H O R T H A N D L E )

Our Mottler brush is a super soft, springy synthetic hair brush for broad washes and chunky marks.The 7mm deep ferrule provides a densely packed brush head for a uniform brush stroke.

B 2 1 3 3 5 0 7 5 1 0 0Ø m m 5 0 7 5 1 0 0£ R R P - - -£ P r i c e 5 . 9 0 9 . 6 0 1 2 . 3 0

M O T T L E R S E R I E S 2 1 3 3 �

J A C K S O N ' S A K O Y A S Y N T H E T I C

Our Akoya brushes are made of semi matte synthetic hair which has micro-craters which help the brush retain liquid and replicate the performance of natural hair.They're a real hit among the artists we serve. We've been told, "these synthetic brushes are perfect. They're springy and keep their shape very well indeed".


B 3 6 5 0 2 4 6 8 1 0 1 2Ø m m 4 6 9 1 2 1 4 1 9 2 4£ R R P - - - - - - -£ P r i c e 3 . 6 0 4 . 3 0 5 . 2 0 6 . 5 0 9 . 5 0 1 2 . 8 0 1 7. 0 0


B 3 6 4 0 2 4 6 8 1 0 1 2Ø m m 4 6 9 1 2 1 4 1 9 2 4£ R R P - - - - - - -£ P r i c e 3 . 3 0 3 . 8 0 5 . 0 0 6 . 2 0 8 . 5 0 1 1 . 2 0 1 4 . 6 0


B 3 6 3 0 2 4 6 8 1 0 1 2Ø m m 2 3 . 5 5 . 5 7 9 1 0 1 2£ R R P - - - - - - -£ P r i c e 3 . 0 0 3 . 6 0 4 . 9 0 6 . 5 0 9 . 0 0 1 1 . 7 0 1 4 . 4 0

B 3 6 6 1 1 / 2 2Ø m m 2 5 . 4 3 8 5 0£ R R P - - -£ P r i c e 1 2 . 5 0 1 7. 6 0 2 6 . 0 0


Bright'These Akoya brushes are wonderful with water soluble oils. I use the Holbein Aqua Duos and Jacksons own brand. You need brushes that have all the qualities of a good hog but can take being used in water as well. These synthetic bristle brushes are perfect. They're springy and keep their shape very well indeed.' 'I am using Akoya brushes with Holbein duo aqua oils and am really impressed with the quality. They are neither too firm nor too soft, hold the paint well, and much easier to use than any other brush I have tried so far.'

C U S T O M E R R E V I E W SFilbert'I've given up with small bristle brushes. These do the job very well and keep their shape a lot longer.' 'Lovely brushes. I've been using them for a while now. They are still as good as new with plenty of spring and keep their shape well'. 'Just beautiful quality'.

S Y N T H E T I C B R U S H E S



J A C K S O N ' S S H I N K U S Y N T H E T I C

Our Shinku brushes have a deep red glossy hair that posseses a good spring. It's the perfect brush for dynamic acrylic painting.One happy artist told us the Shinku is "an excellent brush, which creates the finest, detailed and smoothest brush marks". These brushes are made to ensure no hairs are lost while painting.


B 3 74 0 2 4 6 8 1 0 1 2Ø m m 4 6 1 0 1 2 1 5 1 9 2 4£ R R P - - - - - - -£ P r i c e 3 . 3 0 3 . 8 0 4 . 7 0 6 . 2 0 8 . 3 0 1 0 . 8 0 1 4 . 1 0


B 3 7 5 0 2 4 6 8 1 0 1 2Ø m m 4 6 1 0 1 1 1 4 1 8 2 2£ R R P - - - - - - -£ P r i c e 3 . 5 0 4 . 0 0 5 . 1 0 6 . 7 0 9 . 6 0 1 2 . 4 0 1 6 . 6 0


B 3 7 3 0 2 4 6 8 1 0 1 2Ø m m 2 . 5 3 . 5 5 7 9 1 0 1 2£ R R P - - - - - - -£ P r i c e 3 . 0 0 3 . 6 0 4 . 8 0 6 . 5 0 8 . 9 0 1 1 . 3 0 1 4 . 1 0

B 3 7 6 1 1 / 2 2Ø m m 2 5 . 4 3 8 5 0£ R R P - - -£ P r i c e 1 0 . 8 0 1 4 . 6 0 2 1 . 0 0


L O N G F L A T S E R I E S 6 5 8 2 �

B 6 5 8 2 2 / 0 0 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0Ø m m 3 5 7 9 1 1 1 4 1 9 2 3 2 8 3 3 3 9 4 8£ R R P 5 . 7 0 6 . 0 5 6 . 5 5 7. 4 0 8 . 6 5 1 1 . 7 0 1 5 . 3 0 1 9 . 4 0 2 6 . 4 0 3 2 . 9 5 4 0 . 2 0 4 9 . 7 5£ P r i c e 4 . 3 0 4 . 6 0 5 . 0 0 5 . 6 0 6 . 5 0 8 . 8 0 1 1 . 5 0 1 4 . 6 0 1 9 . 8 0 2 5 . 0 0 3 1 . 0 0 3 8 . 0 0

I S A B E Y I S A C R Y L ( L O N G H A N D L E )

These brushes not only perform well, but they look beautiful too.Isacryl is the leading synthetic hair brush by the French brush maker. The hairs are relatively stiff and long-lasting. They work wonderfully with both oils and acrylic. Among our many 5 star reviews is the comment "Very nice brush. Has held its shape well".

R O U N D S E R I E S 6 5 1 2 �

F I L B E R T S E R I E S 6 5 7 2 �

B 6 5 7 2 2 / 0 0 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0Ø m m 3 5 7 9 1 1 1 4 1 9 2 3 2 8 3 3 3 9 4 8£ R R P 5 . 7 5 6 . 5 5 6 . 7 0 7. 9 5 9 . 4 0 1 2 . 9 5 1 4 . 9 5 1 8 . 9 5 2 5 . 7 5 3 2 . 2 5 3 9 . 2 5 4 8 . 5 0£ P r i c e 4 . 4 0 5 . 0 0 5 . 1 0 6 . 0 0 7. 1 0 9 . 8 0 1 1 . 3 0 1 4 . 3 0 1 9 . 4 0 2 4 . 5 0 2 9 . 5 0 3 7. 0 0

B R I G H T S E R I E S 6 5 6 2 �

B 6 5 6 2 2 / 0 0 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0Ø m m 3 5 7 9 1 1 1 4 1 9 2 3 2 8 3 3 3 9 4 8£ R R P 5 . 0 0 5 . 3 0 5 . 4 0 6 . 4 5 7. 6 0 1 0 . 2 5 1 3 . 4 0 1 6 . 9 5 2 2 . 9 5 2 8 . 7 5 3 4 . 9 5 4 3 . 4 5£ P r i c e 3 . 8 0 4 . 0 0 4 . 1 0 4 . 9 0 5 . 7 0 7. 7 0 1 0 . 1 0 1 2 . 8 0 1 7. 3 0 2 2 . 0 0 2 6 . 5 0 3 3 . 0 0

B 6 5 1 2 2 / 0 0 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0Ø m m 1 . 5 2 . 5 4 6 8 1 0 1 1 1 3 . 5 1 5 1 7 1 8 2 0£ R R P 5 . 5 5 5 . 7 0 5 . 8 5 6 . 6 5 8 . 8 5 1 2 . 1 0 1 4 . 4 0 1 6 . 3 5 2 2 . 1 5 2 7. 5 0 3 2 . 2 5 3 8 . 2 5£ P r i c e 4 . 2 0 4 . 3 0 4 . 4 0 5 . 0 0 6 . 7 0 9 . 1 0 1 0 . 8 0 1 2 . 3 0 1 6 . 7 0 2 1 . 0 0 2 4 . 5 0 2 9 . 0 0




As close to a painting knife as a brush can be.Designed to be used with the many texture gels and pastes now available, Da Vinci's Impasto range handles thicker applications of paint with ease.

Extremely resistant synthetic fibres, especially designed for impasto painting.Top-Acryl brushes are constructed in a manner that mimics interlocking hair, and have long anthracite esagonal handles for extra comfort.

D A V I N C I I M P A S T O

F L A T S E R I E S 7 1 0 5 ( L O N G H A N D L E ) �

B 7 1 0 5 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8 3 0Ø m m 5 6 8 1 0 1 1 1 2 1 4 1 6 1 9 2 0 2 1 2 3 2 5 2 8 3 0£ R R P 3 . 5 7 3 . 8 2 4 . 3 7 5 . 0 8 5 . 7 8 6 . 5 4 7. 9 0 9 . 0 4 1 1 . 5 5 1 2 . 8 1 1 4 . 8 4 1 7. 7 8 2 0 . 0 5 2 2 . 0 2 2 3 . 1 0£ P r i c e 3 . 2 0 3 . 4 0 3 . 9 0 4 . 5 0 5 . 1 0 5 . 8 0 7. 0 0 8 . 0 0 1 0 . 5 0 1 1 . 7 0 1 3 . 5 0 1 6 . 2 0 1 8 . 1 0 1 9 . 5 0 2 1 . 0 0


B 7 7 0 5 1 2 4 6 8 1 0 1 2Ø m m 2 3 4 5 6 7 9£ R R P 3 . 3 2 3 . 5 7 4 . 2 7 4 . 9 8 6 . 5 4 7. 9 8 9 . 5 5£ P r i c e 3 . 0 0 3 . 3 0 3 . 9 0 4 . 5 0 5 . 9 0 7. 2 0 8 . 7 0

M O T T L E R S E R I E S 5 0 2 5 ( S H O R T H A N D L E ) �

B 5 0 2 5 2 0 3 0 4 0 5 0 6 0 8 0 1 5 0 2 0 0Ø m m 5 3 0 4 0 5 0 6 0 8 0 1 5 0 2 0 0£ R R P 9 . 5 5 1 0 . 7 5 1 3 . 0 5 1 7. 0 0 2 0 . 9 5 2 7. 4 7 9 8 . 1 5 1 1 3 . 7 2£ P r i c e 8 . 5 0 9 . 5 0 1 1 . 6 0 1 5 . 2 0 1 8 . 7 0 2 4 . 0 0 8 8 . 0 0 1 0 1 . 0 0

D A V I N C I T O P - A C R Y L ( L O N G H A N D L E )

F I L B E R T S E R I E S 7 4 8 5 �

B V 74 8 5 6 8 1 0 1 2 1 4 1 6 2 0 2 4 3 0 3 5 4 0 5 0Ø m m 8 9 . 5 1 1 . 5 1 2 . 5 1 4 1 6 2 0 2 3 3 0 3 9 4 6 5 9£ R R P 6 . 4 9 7. 7 0 9 . 3 5 1 0 . 7 5 1 2 . 8 1 1 3 . 5 9 2 0 . 1 1 2 3 . 8 8 3 2 . 0 8 5 1 . 3 5 6 2 . 2 4 8 2 . 4 7£ P r i c e 5 . 8 0 6 . 9 0 8 . 4 0 9 . 6 0 1 1 . 5 0 1 2 . 1 0 1 8 . 0 0 2 1 . 5 0 2 9 . 0 0 4 6 . 0 0 5 6 . 0 0 7 5 . 0 0

R O U N D S E R I E S 7 7 8 5 �

B V 7 7 8 5 1 2 4 6 8 1 0 1 2 1 6 2 0 2 4 2 8 3 5 5 0Ø m m 2 . 2 2 . 5 2 . 8 5 3 . 9 5 . 3 6 . 5 7. 3 8 . 2 9 . 7 1 1 . 2 1 2 . 8 1 5 . 6 1 9 . 7£ R R P 4 . 0 6 4 . 3 7 5 . 1 2 5 . 9 7 7. 8 9 9 . 5 0 1 1 . 4 7 1 3 . 8 9 1 5 . 2 6 2 0 . 5 9 2 5 . 74 3 5 . 8 5 4 6 . 0 8£ P r i c e 3 . 6 0 3 . 9 0 4 . 6 0 5 . 3 0 7. 0 0 8 . 5 0 1 0 . 3 0 1 2 . 6 0 1 3 . 6 0 1 8 . 4 0 2 3 . 5 0 3 2 . 0 0 4 1 . 0 0

F L A T S E R I E S 7 1 8 5 �

B V 7 1 8 5 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6 2 8 3 0 3 5 4 0Ø m m 3 . 6 4 . 4 6 . 4 8 . 2 9 . 4 1 1 . 5 1 2 . 5 1 4 1 6 1 9 2 0 . 5 2 2 2 3 2 6 2 8 3 0 3 9 4 6£ R R P 3 . 9 7 4 . 3 7 4 . 7 3 5 . 3 3 6 . 1 9 6 . 9 9 7. 9 5 9 . 5 5 1 0 . 8 6 1 3 . 6 5 1 5 . 5 0 1 8 . 0 1 2 1 . 9 1 2 3 . 8 2 2 6 . 9 3 2 8 . 0 7 3 8 . 7 8 5 2 . 6 1£ P r i c e 3 . 5 0 3 . 9 0 4 . 2 0 4 . 8 0 5 . 5 0 6 . 2 0 7. 1 0 8 . 5 0 9 . 7 0 1 2 . 2 0 1 3 . 8 0 1 6 . 2 0 1 9 . 7 0 2 1 . 5 0 2 4 . 5 0 2 6 . 0 0 3 5 . 0 0 4 8 . 0 0




E S C O D A M O D E R N I S T A T A D A M I S Y N T H E T I C ( L O N G H A N D L E )

Modernista Tadami brushes by Escoda are a synthetic imitation of Mongoose hair. As a result they demonstrate excellent spring and control while maintaining a competitive price. More spring than sable and softer than hog. A beautiful brush with stylish black tip.

R O U N D S E R I E S 4 0 7 5 �

B 4 0 7 5 2 / 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2Ø m m 0 . 8 0 . 9 5 1 . 4 3 2 . 0 2 2 . 8 2 3 . 6 4 . 4 5 . 7 6 . 9 8 . 2 9 . 7 1 2 1 4 . 1 1 5 . 6£ R R P 4 . 9 8 5 . 2 7 5 . 5 6 6 . 9 1 7. 6 4 8 . 6 8 1 0 . 2 6 1 3 . 2 0 1 7. 3 2 2 1 . 5 8 2 8 . 6 3 3 8 . 2 4 5 0 . 3 4 6 1 . 6 6£ P r i c e 4 . 1 0 4 . 4 0 4 . 6 0 5 . 7 0 6 . 3 0 7. 1 0 8 . 4 0 1 0 . 8 0 1 4 . 2 0 1 7. 7 0 2 3 . 5 0 3 2 . 0 0 4 2 . 0 0 5 1 . 0 0

B R I G H T S E R I E S 4 0 5 0 �

B 4 0 5 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4Ø m m 1 . 1 1 . 6 6 2 . 4 5 3 . 8 7 4 . 8 1 6 . 1 8 9 . 0 4 1 1 . 5 6 1 3 . 9 1 7. 1 1 9 . 7 2 2 . 3 2 4£ R R P 4 . 8 1 5 . 2 0 6 . 1 9 6 . 8 1 7. 7 8 8 . 8 7 1 0 . 7 6 1 2 . 8 0 1 5 . 4 4 2 0 . 5 8 2 4 . 6 8 3 2 . 9 5 3 9 . 0 9 4 4 . 9 7£ P r i c e 4 . 0 0 4 . 3 0 5 . 1 0 5 . 6 0 6 . 4 0 7. 3 0 8 . 8 0 1 0 . 5 0 1 2 . 7 0 1 6 . 9 0 2 0 . 5 0 2 7. 0 0 3 2 . 0 0 3 7. 0 0

F I L B E R T S E R I E S 4 0 6 0 �

B 4 0 6 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4Ø m m 1 . 1 1 . 6 6 2 . 4 5 3 . 8 7 4 . 8 1 6 . 1 8 9 . 0 4 1 1 . 5 6 1 3 . 9 1 7. 1 1 9 . 7 2 2 . 3 2 4£ R R P 4 . 9 4 5 . 3 8 6 . 4 3 7. 1 6 8 . 2 4 9 . 5 1 1 1 . 7 3 1 5 . 2 9 1 6 . 7 0 2 1 . 7 8 2 7. 5 3 3 4 . 8 9 4 0 . 7 7 4 8 . 0 5£ P r i c e 4 . 1 0 4 . 4 0 5 . 3 0 5 . 9 0 6 . 8 0 7. 8 0 9 . 6 0 1 2 . 5 0 1 3 . 7 0 1 7. 8 0 2 2 . 5 0 2 9 . 0 0 3 4 . 0 0 4 0 . 0 0

L I Q U I T E X F R E E S T Y L E B R U S H E S

Liquitex Freestyle brushes, designed by artists for artists.Large, comfortable non-slip matte finished handles have been paired with top-of-the-line synthetic bristle heads; resulting in artist quality brushes that offer excellent durability in large scaled applications that require rugged tools.

P A D D L E B R U S H ( S H O R T H A N D L E ) �

B Q 0 1 0 0 1 0 2 0 3 0 4Ø m m 2 5 . 4 5 0 . 8 7 6 . 2 1 0 1 . 6£ R R P 7. 5 5 1 3 . 5 0 1 9 . 5 0 2 4 . 5 0£ P r i c e 5 . 6 0 1 0 . 0 0 1 4 . 5 0 1 8 . 2 0

B R O A D F L A T ( L O N G H A N D L E ) �

B Q 0 0 8 0 1 0 2 0 3 0 4Ø m m 2 5 . 4 5 0 . 8 7 6 . 2 1 0 1 . 6£ R R P 1 0 . 4 0 1 7. 0 0 2 3 . 5 0 2 9 . 0 0£ P r i c e 7. 7 0 1 2 . 6 0 1 7. 4 0 2 1 . 5 0


B Q 0 0 1 0 2 0 4 0 6 0 8 1 0 1 2Ø m m - - - - - -£ R R P 7. 5 5 8 . 0 0 8 . 3 5 8 . 8 5 9 . 9 0 1 0 . 9 0£ P r i c e 5 . 6 0 6 . 0 0 6 . 2 0 6 . 6 0 7. 4 0 8 . 1 0


B Q 0 0 2 0 2 0 4 0 6 0 8 1 0 1 2Ø m m - - - - - -£ R R P 7. 5 5 8 . 0 0 8 . 3 5 8 . 8 5 9 . 9 0 1 0 . 9 0£ P r i c e 5 . 6 0 6 . 0 0 6 . 2 0 6 . 6 0 7. 4 0 8 . 1 0


B Q 0 0 4 0 2 0 4 0 6 0 8 1 0 1 2Ø m m - - - - - -£ R R P 7. 5 5 8 . 0 0 8 . 3 5 8 . 8 5 9 . 9 0 1 0 . 9 0£ P r i c e 5 . 6 0 6 . 0 0 6 . 2 0 6 . 6 0 7. 4 0 8 . 1 0




D A V I N C I N O V A G O L D E N S Y N T H E T I C ( L O N G H A N D L E )

Nova painting brushes are made from golden synthetic fibres, bound in long green polished handles. They are known to have excellent spring and elasticity, and are incredibly robust. Very popular among acrylic painters but also suited for oils too.

R O U N D S E R I E S 1 6 7 0 �

B V 1 6 7 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 4 2 6 2 8Ø m m 1 . 1 1 . 5 1 . 7 2 . 0 5 2 . 6 2 . 8 5 3 . 6 3 . 9 4 . 5 5 . 3 5 . 7 6 . 5 7. 3 8 . 2 9 . 5£ R R P 2 . 7 2 2 . 7 2 2 . 7 7 3 . 1 1 3 . 3 2 3 . 7 1 4 . 1 7 4 . 4 3 6 . 2 4 6 . 8 8 9 . 3 0 9 . 9 9 1 1 . 5 6 1 2 . 7 5 1 4 . 0 0£ P r i c e 2 . 4 0 2 . 4 0 2 . 5 0 2 . 8 0 3 . 0 0 3 . 3 0 3 . 7 0 3 . 9 0 5 . 5 0 6 . 1 0 8 . 2 0 8 . 8 0 1 1 . 3 0 1 1 . 2 0 1 2 . 4 0

B R I G H T S E R I E S 1 8 7 0 �

B V 1 8 7 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 4 2 6 3 5Ø m m 3 . 1 3 . 2 4 . 1 5 . 2 7 9 9 . 5 1 1 1 5 1 7 1 9 . 5 2 2 . 5 2 6 . 5 2 7. 8 4 0£ R R P 2 . 6 1 2 . 6 1 2 . 7 7 3 . 3 6 3 . 6 7 4 . 3 7 5 . 2 8 6 . 7 3 8 . 8 3 1 0 . 2 6 1 4 . 0 0 1 7. 0 0 2 1 . 4 9 2 4 . 4 8 3 5 . 3 1£ P r i c e 2 . 3 0 2 . 3 0 2 . 5 0 3 . 0 0 3 . 3 0 3 . 9 0 4 . 7 0 6 . 0 0 7. 8 0 9 . 1 0 1 2 . 4 0 1 5 . 0 0 1 9 . 0 0 2 2 . 0 0 3 2 . 0 0

F I L B E R T S E R I E S 1 8 7 5 �

B V 1 8 7 5 0 1 2 4 6 8 1 0 1 2 1 4 1 6 2 0Ø m m 3 3 4 5 6 . 5 8 9 1 0 . 5 1 4 1 6 . 5 2 1£ R R P 3 . 1 1 3 . 1 1 3 . 2 7 4 . 0 2 5 . 0 3 6 . 0 3 7. 4 0 9 . 0 0 1 0 . 7 1 1 2 . 5 1 1 9 . 8 1£ P r i c e 2 . 9 0 2 . 9 0 3 . 0 0 3 . 7 0 4 . 6 0 5 . 5 0 6 . 8 0 8 . 2 0 9 . 8 0 1 1 . 5 0 1 7. 7 0

W I N S O R & N E W T O N M O N A R C H S Y N T H E T I C M O N G O O S E ( L O N G H A N D L E )

Stiffer than sable but softer than hog, Monarch Synthetic Mongoose is a great choice for subtle blending and fine detail work. More durable than natural hair, the range has been designed for a springiness that makes it better for moving heavy bodied oil colour than traditional sables.

R O U N D �

B W M R 2 / 0 0 2 4 6 8 1 0 1 2 1 4Ø m m - - - - - - - - -£ R R P 7. 5 5 8 . 1 5 8 . 9 5 9 . 8 5 1 1 . 7 0 1 4 . 3 0 1 8 . 3 0 2 2 . 1 5 2 3 . 3 5£ P r i c e 5 . 6 0 6 . 1 0 6 . 7 0 7. 3 0 8 . 7 0 1 0 . 6 0 1 3 . 6 0 1 6 . 4 0 1 7. 3 0

F I L B E R T �

B W M F B 0 2 4 6 8 1 0 1 2 1 4Ø m m - - - - - - - -£ R R P 8 . 1 5 8 . 9 5 9 . 8 5 1 1 . 7 0 1 4 . 3 0 1 8 . 3 0 2 2 . 1 5 2 3 . 3 5£ P r i c e 6 . 1 0 6 . 7 0 7. 3 0 8 . 7 0 1 0 . 6 0 1 3 . 6 0 1 6 . 4 0 1 7. 3 0

L O N G F L A T �

B W M F L 0 2 4 6 8 1 4Ø m m - - - - - -£ R R P 8 . 1 5 8 . 9 5 9 . 8 5 1 1 . 7 0 1 4 . 3 0 2 3 . 3 5£ P r i c e 6 . 1 0 6 . 7 0 7. 3 0 8 . 7 0 1 0 . 6 0 1 7. 3 0

B R I G H T �

B W M B 0 2 4 6 8 1 0 1 2 1 4Ø m m - - - - - - - -£ R R P 8 . 1 5 8 . 9 5 9 . 8 5 1 1 . 7 0 1 4 . 3 0 1 8 . 3 0 2 2 . 1 5 2 3 . 3 5£ P r i c e 6 . 1 0 6 . 7 0 7. 3 0 8 . 7 0 1 0 . 6 0 1 3 . 6 0 1 6 . 4 0 1 7. 3 0

W I D E F L A T G L A Z I N G �

B W M G 1Ø m m 2 5 . 4£ R R P 1 8 . 3 0£ P r i c e 1 3 . 6 0




J A C K S O N ' S P R O C R Y L S Y N T H E T I C

The hairs used for our Procryl brushes are finer than many other synthetic brushes, which allows for a greater liquid holding capacity.These brushes are a favourite among the artists we serve and are consistently rated 5 stars online. One loyal customer said: "Love these great for oils as well as acrylics nice and firm".


B 5 5 5 4 0 1 2 4 6 8 1 0 1 2Ø m m 2 . 5 3 4 6 8 1 1 1 3 1 4£ R R P - - - - - - - -£ P r i c e 3 . 5 0 3 . 6 0 3 . 9 0 5 . 4 0 9 . 3 0 1 0 . 8 0 1 4 . 0 0 1 6 . 3 0

L O N G F L A T S E R I E S 5 5 5 2 ( L O N G H A N D L E ) �

B 5 5 5 2 0 1 2 3 4 6 8 1 0 1 2Ø m m 4 5 6 7 1 0 1 2 1 6 1 9 2 4£ R R P - - - - - - - - -£ P r i c e 3 . 9 0 4 . 1 0 4 . 3 0 4 . 7 0 5 . 2 0 6 . 3 0 7. 6 0 1 0 . 4 0 1 2 . 2 0

F I L B E R T S E R I E S 5 5 5 3 ( L O N G H A N D L E ) �

B 5 5 5 3 0 1 2 3 4 6 8 1 0 1 2Ø m m 3 5 6 7 9 1 2 1 5 1 9 2 3£ R R P - - - - - - - - -£ P r i c e 4 . 0 0 4 . 2 0 4 . 4 0 5 . 2 0 5 . 9 0 6 . 9 0 8 . 7 0 1 1 . 6 0 1 6 . 3 0

B R I G H T S E R I E S 5 5 5 1 ( L O N G H A N D L E ) �

B 5 5 5 1 0 1 2 3 4 6 8 1 0 1 2Ø m m 4 5 6 7 1 0 1 2 1 6 1 9 2 4£ R R P - - - - - - - - -£ P r i c e 3 . 9 0 4 . 1 0 4 . 3 0 4 . 7 0 5 . 2 0 6 . 3 0 7. 6 0 1 0 . 0 0 1 2 . 0 0

B 5 5 5 6 1 1 / 2 2 3Ø m m 2 5 . 4 3 8 5 0 7 6 . 2£ R R P - - - -£ P r i c e 1 0 . 5 0 1 6 . 8 0 2 4 . 5 0 4 2 . 0 0

M O T T L E R S E R I E S 5 5 5 6 ( S H O R T H A N D L E ) �

Bright'I'm an oil painter, and I used a Jackson's Procryl brush today for the first time. I use sfumato technique a lot in my work, and I found this brush very responsive and capable of blending to a very high standard, easily. The bristles are soft, springy. The edge holds it's tight shape while loaded with paint, producing a clean, chiseled edge where necessary. The attractive matt handle felt great in my hand. I have been converted to the Procryl range, they are such a joy to use. Thank you Jacksons!'.

C U S T O M E R R E V I E W SRound'Superb! I use these for smooth flat oil colour applications where i don't want brush marks. They're not stiff enough to push around thick paint, but for soft paint and washes they are unmatched by any brush I've tried so far. They are truly beautiful brushes.' 'Good substitute for traditional hog. Good results with Artisan oils.'

FilbertVery good brush for oils and acrylics. Have used them before and will use them again.'

Long Flat'The brush is good it cleans well as well as painting beautifully'.

'These brushes hold there shape very well and you can tell they are well made '.




P R O A R T E S T E R L I N G A C R Y L I X ( L O N G H A N D L E )

Pro Arte are known to make excellent synthetic brushes for watercolour and acrylic painting. The Sterling Acrylix is their finest made range.They have a distinctive silver handle and snow white silky hair with real spring. These brushes are well suited for both oil and acrylic painting and have a very loyal artist following.

L O N G F L A T �

B P 2 0 1 L F 0 2 4 6 8 1 0 1 2Ø m m 2 . 9 0 4 . 8 8 . 7 1 0 . 6 1 5 . 5 1 9 -£ R R P 4 . 9 0 5 . 4 5 6 . 7 0 7. 9 6 9 . 9 5 1 2 . 1 6 1 5 . 3 0£ P r i c e 4 . 0 0 4 . 4 0 5 . 4 0 6 . 4 0 8 . 0 0 9 . 8 0 1 2 . 3 0

R O U N D �

B P 2 0 1 R 0 2 4 6 8 1 0 1 2Ø m m 1 . 9 2 . 9 0 8 . 7 1 0 . 6 1 5 . 5 1 0 1 2£ R R P 4 . 9 0 5 . 4 5 6 . 7 0 7. 9 6 9 . 9 5 1 2 . 1 6 1 5 . 3 0£ P r i c e 4 . 0 0 4 . 4 0 5 . 4 0 6 . 4 0 8 . 0 0 9 . 8 0 1 2 . 3 0

F I L B E R T �

B P 2 0 1 F B 0 2 4 6 8 1 0 1 2Ø m m 2 . 6 0 4 . 4 0 8 . 5 1 1 1 4 . 7 1 8 . 4 2 3 . 3 £ R R P 4 . 9 0 5 . 4 5 6 . 7 0 7. 9 6 9 . 9 5 1 2 . 1 6 1 5 . 3 0£ P r i c e 4 . 0 0 4 . 4 0 5 . 4 0 6 . 4 0 8 . 0 0 9 . 8 0 1 2 . 3 0

P R O A R T E A C R Y L I X ( S H O R T H A N D L E )

This is a range of brushes with a loyal following. A head of deep red hair with good spring will keep their shape for longer than most brushes and they are perfect for painting very fine detail.One artist said: "Never used synthetic brushes before but these are excellent…keep their shape extremely well".

F I L B E R T S E R I E S 2 0 5 �

B P 2 0 5 0 2 4 6 8 1 0Ø m m 4 5 6 9 1 1 1 5£ R R P 4 . 1 5 5 . 1 5 5 . 7 5 7. 8 0 9 . 9 5 1 1 . 2 0£ P r i c e 3 . 4 0 4 . 2 0 4 . 6 0 6 . 3 0 8 . 0 0 9 . 9 0

R I G G E R S E R I E S 2 0 3 �

B P 2 0 3 0 1 2 3 4 6Ø m m 2 2 2 2 . 5 3 4 . 5£ R R P 3 . 6 0 3 . 8 0 4 . 1 0 4 . 4 0 4 . 9 0 6 . 6 5£ P r i c e 2 . 9 0 3 . 1 0 3 . 3 0 3 . 6 0 4 . 0 0 5 . 4 0

F L A T S E R I E S 2 0 4 �

B P 2 0 4 1 / 8 3 / 1 6 1 / 4 3 / 8 1 / 2 5 / 8 3 / 4 1Ø m m 3 4 . 5 6 9 . 5 1 2 . 5 1 6 1 9 2 5£ R R P 3 . 9 5 4 . 7 5 5 . 5 6 7. 5 5 9 . 7 0 1 1 . 5 6 1 3 . 3 0 1 7. 9 5£ P r i c e 3 . 2 0 3 . 9 0 4 . 5 0 6 . 1 0 7. 8 0 9 . 3 0 1 0 . 7 0 1 4 . 4 0


B P 2 0 1 S F 0 2 4 6 8 1 0 1 2Ø m m 3 . 3 4 . 9 - 1 1 . 5 1 5 1 9 -£ R R P 4 . 9 0 5 . 4 5 6 . 7 0 7. 9 6 9 . 9 5 1 2 . 3 5 1 5 . 3 0£ P r i c e 4 . 0 0 4 . 4 0 5 . 4 0 6 . 4 0 8 . 0 0 9 . 8 0 1 2 . 3 0

R O U N D S E R I E S 2 0 2 �

B P 2 0 2 3 / 0 2 / 0 0 1 2 3 4 5 6 7 8 1 0 1 2 1 4 1 6Ø m m 1 . 5 1 . 5 2 2 2 . 5 2 . 5 3 3 . 5 4 5 5 . 5 7 9 1 0 1 2£ R R P 2 . 8 6 3 . 1 6 3 . 3 0 3 . 7 0 3 . 8 5 4 . 0 6 4 . 6 0 5 . 4 5 6 . 4 6 7. 9 6 9 . 1 6 1 0 . 5 5 1 2 . 3 0 1 3 . 2 0 1 5 . 5 0£ P r i c e 2 . 3 0 2 . 6 0 2 . 7 0 3 . 0 0 3 . 1 0 3 . 3 0 3 . 7 0 4 . 4 0 5 . 2 0 6 . 4 0 7. 4 0 8 . 5 0 9 . 9 0 1 0 . 6 0 1 2 . 5 0




E S C O D A M A R F I L C H E N G D U S Y N T H E T I C ( L O N G H A N D L E )

The imitation of natural bristle is one of the latest fashions in synthetics. This fibre's thickness mimics natural hog for brushstroke that's both soft and tough, with the extra durability and uniformity of a synthetic hair.

F L A T S E R I E S 4 4 5 0 �

B E 4 4 5 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6Ø m m 1 . 1 1 . 6 6 2 . 4 5 3 . 8 7 4 . 8 1 6 . 1 8 . 0 9 . 0 4 1 1 . 5 6 1 3 . 9 1 7. 1 1 9 . 7 2 2 . 3 2 4 . 0 2 6 . 5 1£ R R P 4 . 3 1 4 . 4 8 5 . 1 3 5 . 6 5 6 . 0 4 6 . 5 2 7. 0 3 7. 8 5 8 . 4 9 1 1 . 0 9 1 3 . 5 7 1 5 . 6 5 1 8 . 0 5 2 0 . 9 7 2 1 . 6 6£ P r i c e 3 . 8 0 3 . 9 0 4 . 5 0 4 . 9 0 5 . 2 0 5 . 7 0 6 . 1 0 6 . 8 0 7. 4 0 9 . 6 0 1 1 . 7 0 1 3 . 5 0 1 5 . 6 0 1 8 . 1 0 1 8 . 7 0

F I L B E R T S E R I E S 4 4 6 0 �

B E 4 4 6 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4 2 6Ø m m 1 . 1 1 . 6 6 2 . 4 5 3 . 8 7 4 . 8 1 6 . 1 8 . 0 9 . 0 4 1 1 . 5 6 1 3 . 9 1 7. 1 1 9 . 7 2 2 . 3 2 4 . 0 2 6 . 5 1£ R R P 4 . 7 7 5 . 1 7 6 . 0 9 6 . 3 4 7. 0 3 7. 5 3 8 . 5 7 9 . 1 1 9 . 8 1 1 2 . 5 6 1 5 . 4 1 1 8 . 6 1 2 0 . 3 2 2 2 . 6 3 2 2 . 5 1£ P r i c e 4 . 2 0 4 . 5 0 5 . 3 0 5 . 5 0 6 . 1 0 6 . 5 0 7. 4 0 7. 9 0 8 . 5 0 1 0 . 9 0 1 3 . 3 0 1 6 . 1 0 1 7. 5 0 1 9 . 5 0 1 9 . 4 0

R O U N D S E R I E S 4 4 7 5 �

B E 4 4 7 5 3 / 0 2 / 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2Ø m m 0 . 5 0 . 8 0 . 9 5 1 . 4 3 2 . 0 2 2 . 8 2 3 . 6 4 . 4 5 . 7 6 . 9 8 . 2 9 . 7 1 2 . 0 1 4 . 1 1 5 . 6£ R R P 4 . 7 3 4 . 7 5 5 . 0 1 5 . 1 5 6 . 0 7 6 . 3 3 6 . 7 2 7. 5 8 8 . 2 0 9 . 3 2 1 0 . 2 9 1 3 . 2 0 1 6 . 5 4 2 0 . 1 3 2 4 . 5 4£ P r i c e 4 . 1 0 4 . 1 0 4 . 4 0 4 . 5 0 5 . 3 0 5 . 5 0 5 . 8 0 6 . 6 0 7. 1 0 8 . 1 0 8 . 9 0 1 1 . 4 0 1 4 . 3 0 1 7. 4 0 2 1 . 5 0

E S C O D A P R I M E R A T E I J I N R E D S Y N T H E T I C ( L O N G H A N D L E )

A synthetic hair that's popular for its elasticity, spring and durability.More spring than sable and softer than hog. Finer filaments sacrifice liquid holding for great control. F I L B E R T S E R I E S 4 1 6 0 �

B 4 1 6 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4Ø m m 1 . 1 1 . 6 6 2 . 4 5 3 . 8 7 4 . 8 1 6 . 1 8 . 0 9 . 0 4 1 1 . 5 6 1 3 . 9 1 7. 1 1 9 . 7 2 2 . 3 2 4 . 0£ R R P 4 . 8 3 5 . 0 8 5 . 8 2 6 . 1 6 6 . 8 7 7. 3 1 8 . 6 0 9 . 6 9 1 0 . 7 6 1 3 . 6 9 1 6 . 0 1 1 9 . 2 8 2 1 . 5 6 2 4 . 3 7£ P r i c e 4 . 0 0 4 . 2 0 4 . 8 0 5 . 1 0 5 . 7 0 6 . 0 0 7. 1 0 8 . 0 0 8 . 8 0 1 1 . 2 0 1 3 . 1 0 1 5 . 8 0 1 7. 7 0 2 0 . 0 0

F L A T S E R I E S 4 1 5 0 �

B 4 1 5 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2 2 4Ø m m 1 . 1 1 . 6 6 2 . 4 5 3 . 8 7 4 . 8 1 6 . 1 8 . 0 9 . 0 4 1 1 . 5 6 1 3 . 9 1 7. 1 1 9 . 7 2 2 . 3 2 4 . 0£ R R P 4 . 3 7 4 . 5 2 5 . 1 4 5 . 4 6 6 . 0 6 6 . 4 5 7. 1 6 8 . 2 5 9 . 3 3 1 1 . 8 5 1 4 . 3 3 1 6 . 9 7 1 9 . 5 5 2 3 . 0 7£ P r i c e 3 . 6 0 £ 3 . 7 0 4 . 3 0 4 . 5 0 5 . 0 0 5 . 3 0 5 . 9 0 6 . 8 0 7. 7 0 9 . 7 0 1 1 . 8 0 1 3 . 9 0 1 6 . 0 0 1 8 . 9 0

R O U N D S E R I E S 4 1 7 5 �

B 4 1 7 5 2 / 0 0 1 2 4 6 8 1 0 1 2 1 4 1 6 1 8 2 0 2 2Ø m m 0 . 8 0 . 9 5 1 . 4 3 2 . 0 2 2 . 8 2 3 . 6 4 . 4 5 . 7 6 . 9 8 . 2 9 . 7 1 2 . 0 1 4 . 1 1 5 . 6£ R R P 4 . 4 9 4 . 6 2 4 . 8 6 5 . 5 9 5 . 9 2 6 . 5 7 7. 2 0 8 . 1 3 9 . 6 1 1 0 . 9 0 1 4 . 4 6 1 8 . 0 9 2 2 . 1 1 2 6 . 7 5£ P r i c e 3 . 7 0 3 . 8 0 4 . 0 0 4 . 6 0 4 . 9 0 5 . 4 0 5 . 9 0 6 . 7 0 7. 9 0 9 . 0 0 1 1 . 9 0 1 4 . 8 0 1 8 . 1 0 2 2 . 0 0

Round 'A very small 0 suitable for minataur ex and fine detail.'

'Good brush for thin oil, fairly soft, quite easy (but requires light touch) to paint without leaving the brush marks, springy enough for good control. The point is sharp and the hairs stay together, good for not making mess when painting fine details. Tried three of these and they are the same quality, just bigger or smaller. '

C U S T O M E R R E V I E W SFilbert'Wonderful brushes, stiff enough to keep their shape but soft enough to glide the paint on. Excellent product!!'

'These are wonderful brushes and by far the best I've ever used. They are fully vegan brushes in the synthetic range but the quality is lovely. I've only started using them and they are more than I would normally pay for brushes, being a student I can't afford a great deal, but I feel they are definitely worth paying more for. '




P R I M I N G B R U S H E S

P R I M I N G

B R U S H E S

P R I M I N G B R U S H E S

Omega Series 40 �Italian made 100% bristle f lat brush. Nickel plated ferrule . Wooden handle . Brush thickness : 6mm.

O r d e r C o d e S i z e m m £ R R P £ O u r P r i c eO M S 4 0 0 2 0 2 0 - 2 . 5 0O M S 4 0 0 3 0 3 0 - 2 . 8 0O M S 4 0 0 4 0 4 0 - 3 . 4 0O M S 4 0 0 5 0 5 0 - 3 . 9 0O M S 4 0 0 6 0 6 0 - 4 . 9 0O M S 4 0 0 7 0 7 0 - 5 . 3 0

Omega Series 43 �Italian made 100% bristle f lat brush. S tainless steel ferrule . Wooden handle . Brush thickness : 15mm.

O r d e r C o d e S i z e m m £ R R P £ O u r P r i c eO M S 4 3 0 2 0 2 0 - 2 . 1 0O M S 4 3 0 3 0 3 0 - 2 . 4 0O M S 4 3 0 4 0 4 0 - 3 . 0 0O M S 4 3 0 5 0 5 0 - 3 . 5 . 0O M S 4 3 0 6 0 6 0 - 4 . 3 0O M S 4 3 0 7 0 7 0 - 5 . 6 0O M S 4 3 0 8 0 8 0 - 8 . 4 0O M S 4 3 1 0 0 1 0 0 - 1 0 . 2 0

Omega Series 55 Svizzera �Italian made 100% bristle f lat brush. S tainless steel ferrule . Wooden handle . Brush thickness : 25-30mm.

O r d e r C o d e S i z e m m £ R R P £ O u r P r i c eO M S 5 5 1 5 4 8 - 7. 0 0O M S 5 5 2 5 7 - 8 . 6 0O M S 5 5 2 5 6 8 - 1 1 . 8 0O M S 5 5 3 7 6 - 1 3 . 7 0

Omega Series 461 Red Silk �Italian made 100% polyester f lat brush. S tainless steel ferrule . Wooden handle . Brush thickness : 15mm.

O r d e r C o d e S i z e m m £ R R P £ O u r P r i c eO M S 4 6 1 3 0 3 0 - 2 . 4 0O M S 4 6 1 4 0 4 0 - 3 . 0 0O M S 4 6 1 5 0 5 0 - 3 . 8 0O M S 4 6 1 6 0 6 0 - 4 . 4 0O M S 4 6 1 7 0 7 0 - 5 . 3 0

Omega Series 56 Oval Varnish �Pure black br istle , varnished wood, stainless steel ferrule . Professional qualit y.

O r d e r C o d e S i z e m m £ R R P £ O u r P r i c eO M 5 6 / 0 1 5 3 8 - 7. 8 0O M 5 6 / 0 2 0 5 0 - 9 . 9 0O M 5 6 / 0 2 5 6 4 - 1 3 . 5 0O M 5 6 / 0 3 0 7 5 - 1 5 . 6 0

Omega Series 1048 Hog Spalter �Pure black br istle , natural wood, stainless steel ferrule . Professional qualit y.

O r d e r C o d e S i z e m m £ R R P £ O u r P r i c e1 0 4 8 / 1 2 0 1 1 4 . 3 - 1 0 . 2 01 0 4 8 / 1 8 0 1 7 7. 8 - 1 6 . 0 0

Handover Thin Lily Varnish Brushes �Natural chungking br istle , single-thickness f lat square edge, mat t varnished handle .

O r d e r C o d e S i z e m m £ R R P £ O u r P r i c e8 1 4 6 / 0 0 9 1 8 . 8 - 4 . 9 08 1 4 6 / 0 1 2 2 4 . 6 - 5 . 1 08 1 4 6 / 0 1 5 3 1 . 3 - 5 . 4 08 1 4 6 / 0 1 8 3 7. 4 - 6 . 1 08 1 4 6 / 0 2 1 4 4 - 6 . 7 08 1 4 6 / 0 2 4 5 0 - 7. 7 08 1 4 6 / 0 2 7 5 6 . 6 - 8 . 9 08 1 4 6 / 0 3 0 6 2 . 6 - 1 0 . 0 0

Handover Thick Lily Varnish Brushes �Natural chungking br istle , tr iple-thickness f lat square edge, mat t varnished handle .

O r d e r C o d e S i z e m m £ R R P £ O u r P r i c e8 3 4 8 / 0 1 2 2 4 . 6 - 5 . 2 08 3 4 8 / 0 1 8 3 7. 4 - 6 . 9 08 3 4 8 / 0 2 4 5 0 - 8 . 8 08 3 4 8 / 0 3 0 6 3 . 1 - 1 2 . 0 08 3 4 8 / 0 3 6 7 6 - 1 6 . 5 08 3 4 8 / 0 4 8 1 0 0 . 8 - 2 8 . 0 0

Borciani e Bonazzi Series 780 Oval Varnish � Pure white br istle , varnished wood. Ideal for a ll paints , well-suited for corners or rounded sur faces .

O r d e r C o d e S i z e m m £ R R P £ O u r P r i c eB B G 7 8 0 2 4 3 - 1 . 6 5B B G 7 8 0 4 4 3 - 2 . 0 0B B G 7 8 0 6 4 5 - 2 . 4 0B B G 7 8 0 8 5 3 - 2 . 9 5B B G 7 8 0 1 0 5 3 - 3 . 4 0B B G 7 8 0 1 2 6 1 - 4 . 3 5B B G 7 8 0 1 4 6 8 - 6 . 1 5B B G 7 8 0 1 6 6 8 - 8 . 5 0B B G 7 8 0 1 8 74 - 1 1 . 3 5

Economy Priming Brush �Great value 100% bristle f lat brush. Wooden handle .

O r d e r C o d e S i z e m m £ R R P £ O u r P r i c eB E P 1 3 - 0 . 3 0B E P 1 2 5 - 0 . 4 5B E P 5 3 8 - 0 . 5 5B E P 2 5 0 - 0 . 6 5B E P 2 5 6 4 - 0 . 7 5B E P 3 7 6 - 0 . 8 5B E P 4 1 0 0 - 1 . 2 0

Omega Series 103 1N Large Bristle �Special f lat brush. 9mm thick . 100% bristle . S tainless steel ferrule – Natural wooden handle . Professional qualit y.

O r d e r C o d e S i z e m m £ R R P £ O u r P r i c eO M S 1 0 3 1 N 0 3 0 3 0 - 2 . 8 0O M S 1 0 3 1 N 0 5 0 5 0 - 5 . 8 0O M S 1 0 3 1 N 0 8 0 8 0 - 7. 1 0O M S 1 0 3 1 N 1 0 0 1 0 0 - 9 . 6 0O M S 1 0 3 1 N 1 2 0 1 2 0 - 1 1 . 4 0O M S 1 0 3 1 N 1 5 0 1 5 0 - 1 5 . 0 0O M S 1 0 3 1 N 1 8 0 1 8 0 - 2 7. 0 0

Thin Flat Bristle Brush �Good brush for pr iming and applying large bold strokes .

O r d e r C o d e S i z e m m £ R R P £ O u r P r i c eB H 1 2 5 1 2 5 - 2 . 2 0B H 1 2 5 1 . 5 3 8 - 2 . 8 0B H 1 2 5 2 5 1 - 3 . 3 0B H 1 2 5 2 . 5 6 3 - 4 . 2 0B H 1 2 5 3 7 6 - 4 . 6 0



P R I N C E T O N C A T A L Y S T P O L Y T I P S Y N T H E T I C B R I S T L E ( L O N G H A N D L E )

Catalyst Polytip is the ultimate synthetic hog! As stiff as hog and just as responsive, each individual hair is split into 2-3 flags to imitate the structure of natural hog. Liquid holding capacity and blending ability are maximised, and the synthetic material allows for excellent form even when wet for extended periods of time.

F L A T �

B P R 6 4 0 0 F 0 2 0 4 0 6 1 0 1 2 1 6 2 0Ø m m 6 . 2 5 1 0 . 1 4 1 2 . 4 3 2 0 . 6 1 2 5 . 8 9 3 5 . 4 1 4 7. 4£ R R P 6 . 9 5 7. 9 5 9 . 9 5 1 8 . 9 5 2 1 . 9 5 3 2 . 9 5 4 3 . 9 5£ P r i c e 5 . 6 0 6 . 4 0 8 . 0 0 1 5 . 2 0 1 7. 6 0 2 6 . 5 0 3 6 . 0 0

3.5MM SPACEB R I G H T �

B P R 6 4 0 0 B 0 2 0 4 0 6 0 8 1 0 1 2Ø m m 6 . 4 1 0 . 2 1 2 . 5 1 6 2 0 . 6 2 6 . 1£ R R P 6 . 9 5 7. 9 5 9 . 9 5 1 2 . 9 5 1 8 . 9 5 2 1 . 9 5£ P r i c e 5 . 6 0 6 . 4 0 8 . 0 0 1 0 . 4 0 1 5 . 2 0 1 7. 6 0

F I L B E R T �

B P R 6 4 0 0 F B 0 2 0 4 0 8 1 0 1 2 1 6 2 0Ø m m 6 . 0 1 1 0 . 2 2 1 5 . 1 2 0 . 0 1 2 5 . 1 2 3 7. 7 7 4 7. 2 4£ R R P 6 . 9 5 8 . 9 5 1 3 . 9 5 1 8 . 9 5 2 3 . 9 5 3 4 . 9 5 4 9 . 9 5£ P r i c e 5 . 6 0 7. 2 0 1 1 . 2 0 1 5 . 2 0 1 9 . 2 0 2 8 . 0 0 4 0 . 0 0

S H O R T F I L B E R T �

B P R 6 4 0 0 S F B 0 4 0 8 1 2Ø m m 1 0 . 2 2 1 5 . 8 9 2 5 . 3 6£ R R P 8 . 9 5 1 3 . 9 5 2 3 . 9 5£ P r i c e 7. 2 0 1 1 . 2 0 1 9 . 2 0

R O U N D �

B P R 6 4 0 0 R 2 / 0 0 2 0 4 0 6 0 8 1 0Ø m m 3 . 4 4 . 0 4 5 . 9 3 7. 5 1 9 . 4 6 1 1 . 74£ R R P 4 . 9 5 6 . 9 5 7. 9 5 9 . 9 5 1 2 . 9 5 1 8 . 9 5£ P r i c e 4 . 0 0 5 . 6 0 6 . 4 0 8 . 0 0 1 0 . 4 0 1 5 . 2 0

E G B E R T �

B P R 6 4 0 0 E G 0 6 1 2Ø m m 1 2 . 0 8 2 4 . 5 7£ R R P 1 2 . 9 5 2 9 . 9 5£ P r i c e 1 0 . 4 0 2 4 . 0 0

A N G L E B R I G H T �

B P R 6 4 0 0 A B 0 3 0 6 1 2Ø m m 7. 8 7 1 2 . 6 1 2 6 . 1 7£ R R P 7. 9 5 9 . 9 5 2 3 . 9 5£ P r i c e 6 . 4 0 8 . 0 0 1 9 . 2 0

F A N �

B P R 6 4 0 0 F N 0 3 0 6Ø m m 9 . 3 1 1 . 0 8£ R R P 9 . 9 5 1 2 . 9 5£ P r i c e 8 . 0 0 1 0 . 4 0

P R I N C E T O N C A T A L Y S T B L A D E S ( L O N G H A N D L E )

The painting accessory that falls somewhere between a brush and a palette knife.Crafted from flexible silicone and available in 6 versatile shapes, the blades can be removed from their handles for easy cleaning.

B L A D E N O . 1 �

B P R C G R 1 5 3 0 5 0Ø m m 1 5 3 0 5 0£ R R P 8 . 9 5 9 . 9 5 1 2 . 9 5£ P r i c e 7. 2 0 8 . 0 0 1 0 . 4 0

B L A D E N O . 2 �

B P R C B 1 5 3 0 5 0Ø m m 1 5 3 0 5 0£ R R P 8 . 9 5 9 . 9 5 1 2 . 9 5£ P r i c e 7. 2 0 8 . 0 0 1 0 . 4 0

B L A D E N O . 3 �

B P R C G N 1 5 3 0 5 0Ø m m 1 5 3 0 5 0£ R R P 8 . 9 5 9 . 9 5 1 2 . 9 5£ P r i c e 7. 2 0 8 . 0 0 1 0 . 4 0

B L A D E N O . 4 �

B P R C Y 1 5 3 0 5 0Ø m m 1 5 3 0 5 0£ R R P 8 . 9 5 9 . 9 5 1 2 . 9 5£ P r i c e 7. 2 0 8 . 0 0 1 0 . 4 0

B L A D E N O . 5 �

B P R C R 1 5 3 0 5 0Ø m m 1 5 3 0 5 0£ R R P 8 . 9 5 9 . 9 5 1 2 . 9 5£ P r i c e 7. 2 0 8 . 0 0 1 0 . 4 0

B L A D E N O . 6 �

B P R C W 1 5 3 0 5 0Ø m m 1 5 3 0 5 0£ R R P 8 . 9 5 9 . 9 5 1 2 . 9 5£ P r i c e 7. 2 0 8 . 0 0 1 0 . 4 0




Delicate versions of the Catalyst Blade range.In 6 familiar shapes, all offering a different painting experience to both brush and palette knife. A great way to introduce yourself to the Catalyst range.

A stiff nylon addition to the Catalyst range.Firmer than the Wedge range, these versatile tools are easily cleaned and suitable for practically all painting and sculpted media.

The flexibility of Catalyst Blades in a responsive hand-held form.Expand the scope of your mark-making with these innovative silicone tools. Can be used with anything from paint to clay, with two workable edges for extra versatility.

� P R I N C E T O N C A T A L Y S T C O N T O U R

� P R I N C E T O N C A T A L Y S T M I N I B L A D E

� P R I N C E T O N C A T A L Y S T W E D G E

Code: BPRCM1RRP : £7.14Price: £5.80



Code:BPRCM4 RRP : £7.14Price: £5.80


Code: BPRCY W5RRP : £6.95Price: £5.60

Code: BPRCGW 1RRP : £6.95Price: £5.60

Code: BPRCBW2RRP : £6.95Price: £5.60

Code: BPRCGW3RRP : £6.95Price: £5.60

Code: BPRCW W6RRP : £6.95Price: £5.60

Code: BPRCC61RRP : £ 4.96Price: £ 4.00



Code: BPRCC82 RRP : £ 4.96Price: £ 4.00




Code: BPRCC2 1RRP : £ 4.96Price: £ 4.00








B R U S H S E T S

Escoda Brush Antonio Lopez Set 1Rustico genuine mongoose brushes , 3 x round.Code: BES8602 1RRP : £ 5 4.42Price: £ 47.00

Winsor & New ton Ar tists' Hog Set of 3Includes sizes 2 ,4,6.Code: BWHS3RRP : £ 3 4.99Price: £26.00

Winsor & New ton Ar tists' Hog Set of 4Includes sizes : 2 , 4, 6, 8 .Code: BWHS 4RRP : £ 29.99Price: £22.50

Escoda Signature Guillermo Muñoz Vera 1 Set Contains 3 x Escoda Primera (sizes 1 , 2 and 4).Code: BES86061RRP : £ 16.37Price: £14.10

Escoda Brush Antonio Lopez Set 2Clasico chungking hog brushes , 2 x br ight and 1 x round.Code: BES86022RRP : £ 2 1 .98Price: £18.90

Escoda Brush Guillermo Muñoz Vera Set 1Primera Teij in synthetic brushes , 3 x round.Code: BES86061RRP : £ 16.37Price: £14.10

Pro Ar te Ivor y Synthetic Brush SetLong handle synthetic brushes , 2 x round and 3 x f lat .Code: BPAV201RRP : £ 14.95Price: £12.00

Pro Ar te Hog Brush SetLong handle hog brushes , 2 x round and 3 x f lat .Code: BPAVBRRP : £9.95Price: £8.00

Liquitex Freestyle Brush SetLong handle synthetic brushes , 1 x round, 1 x f lat , 1 x br ight and 1 x f i lber t .Code: BQ01201RRP : £ 27.00Price: £20.00

Jackson's Black Hog 7 Brush SetLong handle brushes , 3 x round, 2 x f lat and 2 x f i lber t .Code: BJSET009Price: £39.00

Jackson's Black Hog 4 Brush SetLong handle brushes , 2 x round and 2 x f lat .Code: BJSET016Price: £15.00

Jackson's Shiro Hog 7 Brush SetLong handle hog brushes , 3 x round, 2 x br ight and 2 x f i lber t .Code: BJSET011Price: £39.00

Jackson's Shiro Hog 5 Brush SetLong handle hog brushes , 1 x round, 2 x br ight and 2 x f i lber t .Code: BJSET018Price: £15.00

Pro Ar te Hog Series A Brush SetLong handle hog brushes , 1 x round and 4 x shor t f lat .Code: BPW 7ARRP : £ 16.50Price: £13.20

Jackson's Shinku Synthetic 9 Brush SetLong handle synthetic brushes , 4 x round, 3 x br ight and 2 x f i lber t .Code: BJSET012Price: £ 39.00

Jackson's Shinku Synthetic 4 Brush SetLong handle synthetic brushes , 2 x round, 1 x br ight and 1 x f i lber t .Code: BJSET019Price: £15.00

Pro Ar te Hog Series B Brush SetLong handle hog brushes , 1 x round and 4 x shor t f lat .Code: BPW 7BRRP : £ 12 .95Price: £10.40

Jackson's Akoya Synthetic 4 Brush SetLong handle synthetic brushes , 2 x round, 1 x br ight and 1 x f i lber t .Code: BJSET017Price: £15.00

Jackson's Akoya Synthetic 6 Brush SetLong handle synthetic brushes , 2 x round, 2 x br ight and 2 x f i lber t .Code: BJSET010Price: £39.00

B R U S H S E T S


B R U S H S E T S

S E T S

Winsor & New ton Foundation Oil Brush Set of 3 Contains 1 x round size 4, 1 x f lat 8 and 1 x f i lber t 6.Code: BWF02 1RRP : £ 3.99Price: £3.20

Winsor Ar tist Oil Brush Wallet setVer y S tif f. Long handle .Code: BWAOWRRP : £ 3 4.99Price: £27.00

Winsor & New ton Ar tisan Set of 5 Contains 1 x f i lber t size 4, 1 x round size 6, 1 x shor t f lat size 8 , 1 x f lat size 8 , 1 x fan size 1 .Code: BWAS1RRP : £ 14.99Price: £11.70

Winsor & New ton Winton Oil Brush Set of 3 Contains 1 x round size 4, 1 x f i lber size 6 and 1 x f lat size 8 .Code: BW WS3RRP : £ 16.99Price: £12.80

Winsor & New ton Winton Oil Brush Set of 4 Contains 1 x round size 3 , 1 x f i lber t size 2 , 1 x f lat size 4, 1 x shor t f lat br ight size 6.Code: BW WS 4RRP : £ 28.99Price: £2 1.50

Daler-Rowney Georgian Oil Wallet Set 4001 x round size 2 , 1 x f i lber t size 4, 1 x shor t f lat size 4, 1 x long f lat size 8 .Code: BDGES 400RRP : £ 12 .95Price: £11.70

Daler-Rowney Georgian Oil Wallet Set 301Contains 1 x round size 2 , 1 x r ig ger size 5/0, 1 x br ight size 2 .Code: BDGES301RRP : £ 15.00Price: £13.50

Daler-Rowney Georgian Oil Wallet Set 500Contains 1 x round size 2 , 1 x f i lber t size 2 , 1 x shor t f lat size 2 , 1 x long f lat size 4, 1 x fan size 2 .Code: BDGES500RRP : £ 14.00Price: £12.70

Daler-Rowney Georgian Oil Wallet Set 401Contains 1 x round size 0, 1 x f i lber t size 2 , 1 x shor t f lat size 6, 1 x long f lat size 4.Code: BDGES 401RRP : £ 15.4 0Price: £13.90

Daler-Rowney Georgian Oil Wallet Set 402Contains 1 x round size 4, 1 x round size 8 , 1 x shor t f i lber t size 6, 1 x fan size 4.Code: BDGES 402RRP : £ 15.4 0Price: £13.90

Daler-Rowney Georgian Oil Wallet Set 501Contains 1 x r ig ger size 2 , 1 x br ight size 4, 1 x f i lber t size 2 , 1 x shor t f lat size 6, 1 x long f lat size 8 .Code: BDGES501RRP : £ 2 1 .35Price: £19.30

Winsor & New ton Foundation Oil Brush Set of 6Continas 2 x round sizes 3 and 6, 1 x f i lber t size 10, 1 x f i lber t size 14, 1 x f lat size 3 , 1 x f lat size 6.Code: BWF026RRP : £6.99Price: £5.60

B R U S H S E T S

Michael Richardson Plein Air Star ter SetCan be used with oil and acr ylic .Code: BMRSSPrice: £25.50

Escoda Wooden Box Clasico Hog Brush SetClasico chungking hog brushes , 6 x f i lber t .Code: BRESET2RRP : £ 100. 24Price: £78.00

Michael Richardson Plein Air Master SetCan be used with oil and acr ylic .Code: BMRMSPrice: £74.50

Winsor & New ton Winton Oil Brush Set of 5 Contains 1 x round size 3 , 1 x f i lber t size 2 , 1 x f lat size 4, 1 x shor t f lat br ight size 6, 1 x fan size 4.Code: BW WS5RRP : £ 24.99Price: £18.70

Daler-Rowney Georgian Oil Wallet Set 300Contains 1 x round size 4, 1 x round size 8 , 1 x shor t f lat size 6.Code: BDGES300RRP : £ 11 .00Price: £10.00

Winsor & New ton Azanta Black Brush Set of 4Contains 3 rounds (sizes 2 , 6 and 8) and a shor t f lat size 6.Code: BWABS 4RRP : £ 8.50Price: £6.40

S T U D I O

Allow your painting experience to go further. Whether you're looking to change the way your paint handles with a glazing or drying medium, to move beyond brushes and sculpt thick impasto marks with a palette knife, or to get outdoors with the liberating portability of a sketching easel, this section has you covered. With a whole host of other essential studio products inside,this section has all the extras you'll need to enhance your painting and have you ready for your next big idea.

C O N T E N T SMediums

Palette Knives

Accessories

Framing

Palettes

Composition Tools

88–99

100–101

102–104

105

106–107

108

Studio Equipment

Storage

Easels

Books

DVDs

109

110–111

112–119

120–121

122–123


P A I N T I N G O I L S


Gamblin Poppy OilSlows dr ying time. Ideal for painters using ' wet into wet ' techniques .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM G B O P 2 3 7 2 3 7m l - 1 7. 2 0

Roberson Alkali Refined Linseed OilIncreases g loss , reduces consistency and slows dr ying .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R L 2 5 0 2 5 0 m l - 8 . 3 0M R L 5 0 0 5 0 0 m l - 1 4 . 6 0M R L1 1 L - 2 6 . 0 0M R L 5 5 L - 9 0 . 0 0

Zest-It Linseed Stand OilTo use with oil colour to improve the consistency and f low of oil paint .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM Z L S O 1 2 5 1 2 5 m l - 5 . 5 0M Z L S O 2 5 0 2 5 0 m l - 7. 8 0M Z L S O 5 0 0 5 0 0 m l - 1 2 . 2 0M Z L S O 1 0 0 0 1 L - 1 9 . 6 0

Roberson Cold Pressed Linseed OilIncreases g loss and transparency and reduces brushmarks . Slightly yellow oil .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R C 6 0 6 0 m l - 4 . 7 0M R C 2 5 0 2 5 0 m l - 1 0 . 8 0M R C 5 0 0 5 0 0 m l - 1 7. 1 0M R C 1 0 0 0 1 L - 2 7. 5 0

Pip Seymour Cold Pressed Linseed OilIdeal for hand-making oil colours . O r d e r C o d e S i z e £ R R P £ O u r P r i c eM P S F L A X 2 5 0 2 5 0 m l - 8 . 8 0M P S F L A X 1 0 0 0 1 L - 2 2 . 5 0

Pip Seymour Refined Linseed OilUnbleached ref ined l inseed oil . Best qualit y heat-expressed l inseed oil .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM P S R E F L 2 5 0 2 5 0 m l - 7. 8 0M P S R E F L1 0 0 0 1 L - 1 2 . 4 0

Winsor & New ton Refined Linseed OilSlow dr ying , low viscosit y, pale . Reduces consistency, adds g loss & transparency.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W 2 9 5 6 7 5 m l 4 . 9 5 4 . 1 0M W 4 0 9 5 2 5 0 m l 9 . 8 5 8 . 0 0M W 5 0 9 5 5 0 0 m l 1 7. 6 5 1 4 . 3 0M W R L1 0 0 0 1 L 3 1 . 0 0 2 5 . 5 0

Jackson's Refined Linseed OilIncreases g loss , thins paint and slows dr ying time. Add to painting mediums to increase ' fat '.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM J L 6 0 6 0 m l - 3 . 0 0M J L 5 0 0 5 0 0 m l - 9 . 5 0M J L1 0 0 0 1 L - 1 5 . 2 0

Zest-It Cold Pressed Linseed OilI t enhances the f low and reduces brush marks .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM Z C P L O 1 2 5 1 2 5 m l - 6 . 4 0M Z C P L O 2 5 0 2 5 0 m l - 9 . 4 0M Z C P L O 5 0 0 5 0 0 m l - 1 5 . 0 0M Z C P L O 1 0 0 0 1 L - 2 5 . 5 0

Roberson Linseed Stand OilPaler, more viscous oil than ref ined l inseed oil . Slows dr ying . Gives tough elastic f inish .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R S 2 5 0 2 5 0 m l - 1 0 . 2 0M R S 5 0 0 5 0 0 m l - 1 4 . 7 0M R S 1 1 L - 2 2 . 5 0

Roberson Refined Saf f lower OilPale alkali ref ined oil favoured for use with whites and blues . O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R S O 6 0 6 0 m l - 4 . 7 0M R S O 2 5 0 2 5 0 m l - 1 1 . 0 0M R S O 5 0 0 5 0 0 m l - 1 8 . 9 0

Gamblin Cold Pressed Linseed Oil Pressed from f la x seed, without heat or chemicals . Increases yellowing over t ime.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM G B O L C 1 1 8 1 1 8 m l - 9 . 6 0

Gamblin Linseed Stand OilHigh viscosit y, moderately dr y. Heav y, creates enamel-l ike f inish .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM G B O L S 2 3 7 2 3 7m l - 9 . 6 0

Gamblin Refined Linseed OilPressed from American f la x seeds . L ight and pure . Use to thin or mix mediums.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM G B O L R 1 1 8 1 1 8 m l - 6 . 2 0


O I L P A I N T I N G


M E D I U M S

Roberson Walnut OilDarker than l inseed, increases f low and br ightness . May yellow over t ime.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R W O 6 0 6 0 m l - 6 . 2 0M R W O 2 5 0 2 5 0 m l - 1 4 . 0 0

Winsor & New ton Ar tist Saf f lower OilImproves f low, increases g loss and transparency. Ideal for white & pale colours .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W O S F 7 5 7 5 m l 6 . 7 5 5 . 5 0

Winsor & New ton Linseed Stand OilPale , v iscous oil . Slows dr ying , g ives tough enamel f inish with no brush marks .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W O L S 7 5 7 5 m l 6 . 7 5 5 . 5 0

Winsor & New ton Dr ying Linseed OilPromotes fastest dr ying rate , increases g loss , transparency and f low.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W O L D 7 5 7 5 m l 6 . 7 5 5 . 5 0

Winsor & New ton Cold-Pressed Linseed OilSlightly yellow, dr ies quicker than ref ined l inseed. Improves f low, ideal binder.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W O L C P 7 5 7 5 m l 6 . 7 5 5 . 5 0

Daler-Rowney Purif ied Linseed OilThins colour and slows dr ying . Gives high g loss . Mix with turps for versatile medium.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM D 7 0 1 4 7 5 m l 4 . 8 5 4 . 4 0M D 1 7 0 4 1 7 5 m l 8 . 0 0 7. 3 0M D 3 0 0 4 3 0 0 m l 1 2 . 7 5 1 1 . 5 0

Daler-Rowney Purif ied Poppy OilClear oil to mix and reduce l ight colours . Less inclined to yellow than l inseed.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM D 7 0 1 7 7 5 m l 6 . 7 5 4 . 9 0

Winsor & New ton Liquin OriginalA semi g loss medium. Speeds dr ying , improves f low, reduces brush strokes .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM L Q 7 5 7 5 m l 6 . 7 5 5 . 5 0M L Q 2 5 0 2 5 0 m l 1 2 . 5 0 1 0 . 2 0M L Q 5 0 0 5 0 0 m l 2 2 . 5 0 1 8 . 3 0M L Q 1 1 L 3 6 . 0 0 2 9 . 5 0M L Q 2 5 0 0 2 . 5 L 7 8 . 0 0 6 4 . 0 0

Winsor & New ton Liquin Fine DetailQuick dr ying , g loss medium ideal for f ine details , g la zing & blending .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W D 7 5 7 5 m l 6 . 7 5 5 . 5 0M W D 2 5 0 2 5 0 m l 1 2 . 5 0 1 0 . 2 0M W D 5 0 0 5 0 0 m l 2 2 . 5 0 1 8 . 3 0

Winsor & New ton Ar tists' Painting MediumSlow dr ying g loss medium, ideal for f ine work , blending , g la zing and oil ing out .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W M 7 5 7 5 m l 6 . 7 5 5 . 7 0M W M 2 5 0 2 5 0 m l 1 2 . 5 0 1 0 . 2 0M W M 5 0 0 5 0 0 m l 2 2 . 5 0 1 8 . 3 0

Winsor & New ton Liquin Light GelSpeeds dr ying , gel tex ture that thins on brushing . Suitable for g la zing .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W G 7 5 7 5 m l 6 . 7 5 5 . 5 0M W G 2 5 0 2 5 0 m l 1 2 . 5 0 1 0 . 2 0M W G 5 0 0 5 0 m l 2 2 . 5 0 1 8 . 3 0

Winsor & New ton Liquin OleopastoA quick dr ying impasto medium, semi-mat t for oil and impasto colours .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W L O 2 0 0 2 0 0 m l 1 9 . 2 5 1 5 . 6 0

Winsor & New ton Liquin ImpastoA quick dr ying , which thickens slowly & ex tends tube colour.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W O 6 0 6 0 m l 8 . 8 5 7. 2 0M W O 2 0 0 2 0 0 m l 1 9 . 2 5 1 5 . 6 0

Sennelier Oil Paint Binding MediumThick . Non-yellowing oil for gr inding oil colour. Ready-to-use, widely compatible .O r d e r C o d e S i z e £ R R P £ O u r P r i c eO T P 3 0 1 2 0 2 0 0 m l 1 8 . 9 5 1 6 . 3 0O T P 3 0 1 2 1 1 0 0 0 m l 3 8 . 9 5 3 4 . 0 0


M E D I U M S

Gamblin Sof t Gel Oil Painting MediumIncreases transparency and f low, impar ts a smooth, si lk y feel . O r d e r C o d e S i z e £ R R P £ O u r P r i c eM G B N M 1 1 8 1 1 8 m l - 8 . 3 0M G B N M 2 3 7 2 3 7m l - 1 2 . 4 0

Jackson's Wet in Wet Fast Dr y Oil Painting MediumIncreases dr ying time, lets paint be moved around, ink-like in consistency, without muddying .O r d e r C o d e S i z e £ R R P £ O u r P r i c eO J M W W 2 5 0 2 5 0 m l - 1 0 . 2 0O J M W W 5 0 0 1 L - 1 7. 5 0

Michael Harding Balsam Resin Glaze MediumL arch turpentine fused with dammar resin and l inseed stand oil .O r d e r C o d e S i z e £ R R P £ O u r P r i c eO M P M 6 1 0 0 1 0 0 m l 1 9 . 2 0 1 6 . 0 0O M P M 6 2 5 0 2 5 0 m l 3 9 . 0 0 3 3 . 0 0O M P M 6 1 0 0 0 1 L 7 0 . 8 0 5 9 . 0 0

Michael Harding Oil Painting MediumIncreases g loss , transparency and depth of pigment colour.O r d e r C o d e S i z e £ R R P £ O u r P r i c eO M P M 1 1 0 0 1 0 0 m l 7. 5 0 6 . 3 0O M P M 1 2 5 0 2 5 0 m l 1 2 . 6 0 1 0 . 5 0O M P M 1 1 0 0 0 1 L 3 2 . 4 0 2 7. 0 0

Jackson's Glaze MediumIdeal for thin g la zes , and smooth brush work . Increases translucency & f low.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM J G M 6 0 6 0 m l - 3 . 0 0M J G M 5 0 0 5 0 0 m l - 1 1 . 6 0M J G M 1 0 0 0 1 L - 1 7. 1 0

Jackson's Fast Dr ying Oil Painting MediumImproves f low & transparency for g la zes , detail work & smooth brushwork .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM J M 6 0 6 0 m l - 3 . 0 0M J M 5 0 0 5 0 0 m l - 9 . 8 0M J M 1 0 0 0 1 L - 1 2 . 5 0M J M 2 5 0 0 2 . 5 L - 2 6 . 5 0

Michael Harding Oleo Resin MediumCanada balsam, dammar resin , l inseed, turpentine. Increases g loss and depth.O r d e r C o d e S i z e £ R R P £ O u r P r i c eO M P M 5 1 0 0 1 0 0 m l 1 9 . 8 0 1 6 . 5 0O M P M 5 2 5 0 2 5 0 m l 4 3 . 8 0 3 7. 0 0O M P M 5 1 0 0 0 1 L 7 3 . 2 0 6 1 . 0 0

Michael Harding Damar Glaze MediumMastic , l inseed, turpentine, cobalt . Speeds dr ying , adds g loss and depth.O r d e r C o d e S i z e £ R R P £ O u r P r i c eO M P M 2 1 0 0 1 0 0 m l 8 . 4 0 7. 0 0O M P M 2 2 5 0 2 5 0 m l 1 5 . 0 0 1 2 . 5 0O M P M 2 1 0 0 0 1 L 3 6 . 6 0 3 1 . 0 0

Michael Harding Resin Oil Wa x MediumBleached beeswa x , dammar, l inseed, turpentine. For impasto ef fects and satin sheen.O r d e r C o d e S i z e £ R R P £ O u r P r i c eO M P M 3 1 0 0 1 0 0 m l 8 . 4 0 7. 0 0O M P M 3 2 5 0 2 5 0 m l 1 6 . 5 0 1 3 . 8 0O M P M 3 1 0 0 0 1 L 3 7. 2 0 3 1 . 0 0

Gamblin Cold Wa x Oil Painting MediumWith pure beeswa x . Knife consistency, increases mat te in paint & other mediums.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM G B C W 4 7 3 4 7 3 m l - 1 8 . 0 0

Jackson's Alkyd Oil MediumThixotropic , free-f lowing alk yd medium for thinning colour. Wil l not increase g loss .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM S F 2 5 0 2 5 0 m l - 1 3 . 3 0M S F 1 0 0 0 1 L - 3 2 . 0 0

Gamblin Galkyd MediumThins , increases transparency and g loss . Higher propor tions level brush strokes .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM G B G 1 1 8 1 1 8 m l - 8 . 3 0M G B G 2 3 7 2 3 7m l - 1 2 . 4 0M G B G 4 7 3 4 7 3 m l - 2 0 . 0 0

Jackson's Gloss Gel MediumS ynthetic resin medium. Accelerates dr ying whilst adding g loss and ex tending colour.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM S G 2 5 0 2 5 0 m l - 1 2 . 8 0M S G 1 0 0 0 1 L - 3 2 . 0 0

M E D I U M S

Cornelissen Larch Venice TurpentineSlow dr ying , thixotropic balsam for mediums/varnishes . O r d e r C o d e S i z e £ R R P £ O u r P r i c eM LV T 6 0 6 0 m l - 1 0 . 7 0M LV T 2 5 0 2 5 0 m l - 3 3 . 0 0M LV T 5 0 0 5 0 0 m l - 5 6 . 0 0M LV T 1 0 0 0 1 L - 9 8 . 0 0

Gamblin Galkyd Lite MediumThins , increases transparency and g loss . Used in moderation, wil l retain brushstrokes .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM G B G L1 1 8 1 1 8 m l - 8 . 3 0M G B G L 2 3 7 2 3 7m l - 1 2 . 4 0M G B G L 4 7 3 4 7 3 m l - 2 0 . 0 0

Gamblin Galkyd Gel MediumHolds thick , sharp brushmarks , dr ies quickly. Adds transparency and creates impasto.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM G B G G 1 5 0 1 5 0 m l - 1 4 . 4 0


M E D I U M S

Zest-It Clear Painting MediumI t enhances f low and reduces paint consistency.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM Z C M 5 0 5 0 m l - 5 . 0 0M Z C M 1 2 5 1 2 5 m l - 7. 2 0M Z C M 2 5 0 2 5 0 m l - 1 0 . 5 0M Z C M 5 0 0 5 0 0 m l - 1 6 . 6 0M Z C M 1 1 L - 2 7. 5 0

Roberson Glaze MediumImprove f low and translucency. For thin g la zes and smooth brushwork .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R G 6 0 6 0 m l - 5 . 9 0M R G 2 5 0 2 5 0 m l - 1 1 . 8 0M R G 5 0 0 5 0 0 m l - 2 1 . 0 0M R G 1 1 L - 3 8 . 0 0

Pip Seymour Stand OilElastic , heav y bodied stand oil . Add 10-20% to impar t g loss and f lexibil i t y.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM P S S TA N 2 5 0 2 5 0 m l - 9 . 5 0M P S S TA N 1 0 0 0 1 L - 2 4 . 5 0

Pip Seymour Beeswa x Impasto MediumBleached beeswa x and stand oil . Adds body and slows tack . Apply to 2-3mm ma x .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM P S B E E 5 0 0 2 5 0 m l - 3 4 . 0 0M P S B E E 1 0 0 0 1 L - 4 8 . 0 0

Pip Seymour Alkyd Resin Glaze MediumLow viscosit y. Add 10-30% to to increase dr ying time, g loss and depth.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM P S A L K R 1 0 0 1 0 0 m l - 4 . 4 0M P S A L K R 2 5 0 2 5 0 m l - 8 . 2 0M P S A L K R 1 0 0 0 1 L - 2 4 . 5 0

Pip Seymour Fast Dr ying Oil GlazeS tand oil , dammar and dr iers . Add 10-20% to speed dr ying , add depth & g loss .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM P S O I L G L1 0 0 1 0 0 m l - 4 . 5 0M P S O I L G L 2 5 0 2 5 0 m l - 7. 5 0M P S O I L G L1 0 0 0 1 L - 2 1 . 5 0

Roberson Eliza Turck's Florentine MediumAllows washable oil painting on fabric , and on unprepared sur faces . O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R T F 6 0 6 0 m l - 6 . 4 0M R T F 2 5 0 2 5 0 m l - 1 3 . 6 0

Roberson Maroger MediumMix 1 :1 with colour for added br il l iance and workabil i t y. Useful for wet- in-wet .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R M 3 8 3 8 m l - 9 . 8 0M R M 1 2 0 1 2 0 m l - 1 9 . 9 0

Roberson Oil Medium Impasto Hard EdgeBlend of wa xes & mineral spir it . Crack-resistant , retains knife and brush marks .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R I H 6 0 6 0 m l - 8 . 1 0M R I H 1 2 0 1 2 0 m l - 1 2 . 7 0M R I H 2 5 0 2 5 0 m l - 8 . 1 0

Zest-It Lean Painting MediumBlend of Zest- it and stand oil , g ives stable foundation for ear ly layers of paint .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM Z L P M 1 2 5 1 2 5 m l - 6 . 9 0M Z L P M 2 5 0 2 5 0 m l - 1 0 . 4 0

Zest-It Glazing Medium LightBlend of Zest- it , stand oil and Damar. Use to thin transparent oils for g la zing .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM Z G M L1 2 5 1 2 5 m l - 7. 7 0M Z G M L 2 5 0 2 5 0 m l - 1 1 . 7 0M Z C M 5 0 0 5 0 0 m l - 1 6 . 6 0

Daler-Rowney Painting Medium S tand oil , white spir it & oil of spike lavender. Tough, elastic , good for g la zing .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM D 7 7 0 0 7 5 m l 6 . 7 5 6 . 1 0

Daler-Rowney Alkyd Flow Medium Slightly thinner than l iquin or a lk yds . Reduces dr ying time, increases f low.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM D 4 0 0 7 1 7 5 m l 6 . 7 5 6 . 1 0M D 7 0 2 2 1 7 5 m l 1 3 . 0 0 1 1 . 7 0

Roberson Glaze Medium MattMix with tube oils or pigment to improve f low and translucency. With dr iers .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R G M 6 0 6 0 m l - 6 . 2 0M R G M 2 5 0 2 5 0 m l - 1 3 . 6 0M R G M 5 0 0 5 0 0 m l - 2 3 . 0 0M R G M 1 1 L - 4 2 . 0 0

Gamblin Solvent Free Gel Oil Painting MediumHolds brush marks , fast dr ying , adds g loss . Non-toxic , add no more than 25% .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM G B S F G 1 5 0 1 5 0 m l - 1 4 . 4 0

M E D I U M S


M E D I U M S

M E D I U M S

Schmincke Mussini Thinning Oil MediumIdeal for lean painting and for creating thin grounds . Retains f i lm integrit y.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM S M 1 6 0 6 0 m l 8 . 2 6 6 . 8 0

Schmincke Mussini Slow Dr y Oil MediumReduces speed of dr ying , a llowing for ex tended working . Ideal for wet in wet .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM S M 2 6 0 6 0 m l 8 . 2 6 6 . 8 0

Schmincke Mussini Fast Dr y Gloss Oil MediumIncreases g loss , ef fect of depth in colour, and dr ying speed. Use sparingly.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM S M 3 6 0 6 0 m l 8 . 2 6 6 . 8 0

Winsor & New ton Ar tist Japan Gold SizeDark , thin l iquid , quick dr ying adhesive for g ilding . Can be used as varnish.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W J G S 7 5 7 5 m l 6 . 7 5 5 . 5 0

Winsor & New ton Ar tist Thickened Linseed OilS yrupy, dr ies quicker and darker than stand oil . Improves f low & g loss .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W O LT 7 5 7 5 m l 6 . 7 5 5 . 5 0

Schmincke Mussini Oil MediumMakes any oil colour watersoluble . Mix 1 : 2 with paint . Adds g loss , transparency.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM S M W 6 0 6 0 m l 8 . 2 6 6 . 8 0M S M W 2 0 0 2 0 0 m l 1 6 . 6 8 1 3 . 7 0

Winsor & New ton Blending & Glazing MediumSlows dr ying and improves f low. For blending , g la zing , antiquing and staining .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W B G 7 5 7 5 m l 6 . 7 5 5 . 5 0

Schmincke Mussini Water-Mixable Oil Medium W GelMakes any oil colour water-mixable . Increases g loss and transparency.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM S M W G 3 5 3 5 m l 7. 1 0 5 . 8 0M S M W G 1 2 0 1 2 0 m l 1 4 . 74 1 2 . 1 0

Winsor & New ton Dr ying Poppy OilA fast-dr ying , pale oil which is well suited for whites and pale colours .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W D P O 7 5 7 5 m l 6 . 7 5 5 . 5 0

Lukas Alkyd Mediums 4For mixing alk yd oil colour, and improving adhesion of neat colour. Insoluble in turps .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM K O 1 2 5 4 1 2 5 m l 9 . 8 0 8 . 9 0M K O 1 0 0 0 4 1 L 3 1 . 6 5 2 8 . 5 0

Lukas Alkyd Mediums 5Painting but ter - for thick impasto with elasticit y. Quick dr ying , no shrinking /cracking .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM K O 3 7 5 3 7m l 4 . 4 5 4 . 1 0M K O 2 0 0 5 2 0 0 m l 8 . 9 0 8 . 1 0M K O 7 5 0 5 7 5 0 m l 2 3 . 7 5 2 1 . 5 0

Lukas Alkyd Mediums 1Clear, quick-dr y medium. Accelerates dr ying time, increaess g loss and translucency.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM K O 5 0 1 5 0 m l 7. 3 5 6 . 7 0M K O 1 2 5 1 1 2 5 m l 9 . 8 5 8 . 9 0M K O 1 0 0 0 1 1 L 3 5 . 6 0 3 3 . 0 0

Le Franc & Bourgeois Flemish Siccative MediumCopal gum, l inseed, solvent . Per fect for g la zing . Quick set ting (2h).O r d e r C o d e S i z e £ R R P £ O u r P r i c eM L F S 7 5 7 5 m l - 6 . 2 0M L F S 2 5 0 2 5 0 m l - 1 5 . 2 0

Roberson SiccativeCobalt naphtenate/white spir it . Add sparingly to oil colours to speed dr ying .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R C C 6 0 6 0 m l - 5 . 6 0M R C C 2 5 0 2 5 0 m l - 1 1 . 2 0M R C C 1 1 L - 2 9 . 5 0

Cornelissen Beeswa x Natural PelletsConveniently sized grains , ready for paint and medium production.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM B W 2 5 0 2 5 0 g - 8 . 6 0M B W 5 0 0 5 0 0 g - 1 3 . 4 0M B W 1 1 K g - 2 3 . 5 0

Roberson CRP Cleansing Reviving & Preser ving MediumWa x emulsion. Gently cleanses dir t from paint & polish without need for soap. O r d e r C o d e S i z e £ R R P £ O u r P r i c eM C R P 1 2 0 1 2 0 m l - 9 . 0 0M C R P 5 0 0 5 0 0 m l - 2 0 . 5 0


W A T E R - M I X A B L E M E D I U M S

Winsor & New ton Ar tisan ThinnerWatermixable medium. Keeps Ar tisan open longer than water. Low odour.O r d e r C o d e S i z e £ R R P £ O u r P r i c eO AT 7 5 7 5 m l 5 . 7 5 5 . 0 0O AT 5 2 5 0 m l 9 . 8 5 8 . 3 0

Winsor & New ton Ar tisan Saf f lower Oil Watermixable medium. Slow dr ying , pale , adds g loss & transparency. O r d e r C o d e S i z e £ R R P £ O u r P r i c eO A S F 7 5 7 5 m l 5 . 7 5 5 . 0 0O A S F 5 2 5 0 m l 9 . 8 5 8 . 3 0

Winsor & New ton Ar tisan Fast Dr ying Medium Watermixable medium. Speeds dr ying by ~50% . Thins , increases g loss . Build in layers .O r d e r C o d e S i z e £ R R P £ O u r P r i c eO A F D 7 5 7 5 m l 5 . 7 5 5 . 0 0O A F D 5 2 5 0 m l 9 . 8 5 8 . 3 0

Winsor & New ton Ar tisan Impasto MediumWatermixable medium. Maintains tube consistency, speeds dr ying by 50% .O r d e r C o d e S i z e £ R R P £ O u r P r i c eO A I M 6 0 6 0 m l 4 . 4 5 3 . 9 0

Winsor & New ton Ar tisan Stand Oil Watermixable medium. Durable , slow dr ying , pale , f lexible , with excellent levell ing . O r d e r C o d e S i z e £ R R P £ O u r P r i c eO A S O 7 5 7 5 m l 5 . 7 5 5 . 0 0O A S O 5 2 5 0 m l 9 . 8 5 8 . 3 0

Winsor & New ton Ar tisan Painting MediumWatermixable medium. Thins colour, good for f ine detail and oil ing out .O r d e r C o d e S i z e £ R R P £ O u r P r i c eO A P M 7 5 7 5 m l 5 . 7 5 5 . 0 0O A P M 5 2 5 0 m l 9 . 8 5 8 . 3 0

Winsor & New ton Ar tisan Linseed Oil Watermixable medium. Main binder in Ar tisan colours , thins paint well .O r d e r C o d e S i z e £ R R P £ O u r P r i c eO A L O 7 5 7 5 m l 5 . 7 5 5 . 0 0O A L O 5 2 5 0 m l 9 . 8 5 8 . 3 0

W A T E R - M I X A B L E O I L M E D I U M S

Winsor & New ton Ar tisan Satin VarnishFor paintings made with Ar tisan. Non-yellowing , f inal varnish.O r d e r C o d e S i z e £ R R P £ O u r P r i c eO A S V 7 5 7 5 m l 5 . 7 5 5 . 0 0O A S V 5 2 5 0 m l 9 . 8 5 8 . 3 0

Winsor & New ton Ar tisan Gloss VarnishFor paintings made with Ar tisan. Non-yellowing , f inal varnish.O r d e r C o d e S i z e £ R R P £ O u r P r i c eO A G V 7 5 7 5 m l 5 . 7 5 5 . 0 0O A G V 5 2 5 0 m l 9 . 8 5 8 . 3 0

Talens Cobra Water Mixable Oil Painting MediumWatermixable . Increases g loss / transparency, makes strokes run slightly, yellows .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM C R 9 1 0 7 5 7 5 m l 4 . 9 9 3 . 7 0M C R 9 1 2 5 0 2 5 0 m l 1 4 . 9 5 1 1 . 1 0

Talens Cobra Water Mixable Oil Glazing Medium Watermixable , increases f low, makes strokes run slightly. Yellows a l i t t le .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM C R 9 2 0 7 5 7 5 m l 6 . 5 0 4 . 9 0M C R 9 2 2 5 0 2 5 0 m l 1 7. 9 5 1 3 . 3 0

Talens Cobra Water Mixable Oil Painting Paste Medium Watermixable . Increases transparency, no ef fect on dr ying time or g loss . Yellows .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM C R 8 7 0 6 0 6 0 m l 8 . 5 0 6 . 3 0M C R 8 7 2 0 0 2 0 0 m l 1 6 . 0 0 1 1 . 9 0

Holbein Duo-Aqua Linseed OilWatermixable medium. Enhances transparency and g loss , slows dr ying , watersoluble .O r d e r C o d e S i z e £ R R P £ O u r P r i c eO D U L 5 5 5 5 m l 6 . 9 3 5 . 1 0O D U L 2 0 0 2 0 0 m l 1 9 . 2 3 1 4 . 1 0

Holbein Duo-Aqua Quick Dr ying LiquidWatermixable medium. Enhances transparency and g loss , accelerates dr ying . Add <50% .O r d e r C o d e S i z e £ R R P £ O u r P r i c eO D U Q 5 5 5 5 m l 1 1 . 3 3 8 . 3 0O D U Q 2 0 0 2 0 0 m l 3 2 . 0 2 2 3 . 5 0

Holbein Duo-Aqua Painting Oil MediumWatermixable medium. Enhances transparency and g loss , great for detail . Fast dr ying .O r d e r C o d e S i z e £ R R P £ O u r P r i c eO D U O M 5 5 5 5 m l 1 1 . 5 8 5 . 1 0O D U O M 2 0 0 2 0 0 m l 3 3 . 4 1 1 4 . 1 0

Holbein Duo-Aqua Quick Dr ying Medium MattWatermixable medium. Aqueous paste g ives translucent , mat te f inish and speeds dr ying .O r d e r C o d e S i z e £ R R P £ O u r P r i c eO D U M 5 5 5 5 m l 1 3 . 6 0 1 0 . 0 0O D U M 1 1 0 1 1 0 m l 2 6 . 6 3 1 9 . 5 0


P R I M E R S

P R I M E R S

Golden Acr ylic GessoA white f lexible l iquid ground that seals , protects , and g ives ' tooth' to substrates .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 5 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 5 5 0 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 3 5 5 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 5 5 0 3 7 8 3 . 7 8 L 8 3 . 5 0 6 3 . 0 0

Golden Acr ylic Black GessoA black f lexible l iquid ground that seals , protects and g ives ' tooth' to substrates .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 6 0 2 3 6 2 3 6 m l 1 4 . 9 5 1 1 . 2 0A G 3 5 6 0 4 7 3 4 7 3 m l 2 5 . 5 0 1 9 . 0 0A G 3 5 6 0 9 4 6 9 4 6 m l 3 8 . 9 5 2 9 . 0 0A G 3 5 6 0 3 7 8 3 . 7 8 L 1 1 4 . 9 5 8 6 . 0 0

Jackson's Acr ylic PrimerAcr ylic pr imer for both oil & acr ylic painting . High opacit y, intense white and f lexible .O r d e r C o d e S i z e £ R R P £ P r i c eA J A P 2 5 0 2 5 0 m l - 8 . 6 0A J A P 1 0 0 0 1 L - 1 7. 8 0A J A P P 1 1 L ( p o u c h ) - 1 7. 8 0A J A P 2 5 0 0 2 . 5 L - 3 4 . 0 0

Lascaux Acr ylic PrimerA semi-absorbent pr imer for canvas , oil , acr ylic , water and tempera painting .O r d e r C o d e S i z e £ R R P £ P r i c eA L M 5 0 0 2 0 1 0 5 0 0 m l 2 3 . 9 5 2 0 . 5 0A L M 1 L 2 0 1 0 1 L 3 8 . 1 8 3 2 . 0 0A L M 5 L 2 0 1 0 5 L 1 5 3 . 3 4 1 2 9 . 0 0

Winsor & New ton Oil Painting Primer Ready-to-use, non-yellowing . Can be applied directly to metal or porous sur faces .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W L P 5 0 0 5 0 0 m l 2 2 . 5 0 1 8 . 8 0M W 0 P 1 1 L 3 6 . 0 0 2 9 . 5 0

Roberson Acr ylic PrimerAcr ylic pr imer for both oil & acr ylic .O r d e r C o d e S i z e £ R R P £ P r i c eA A P 5 0 0 5 0 0 m l - 1 2 . 3 0A A P 1 0 0 0 1 L - 2 2 . 5 0A A P 2 5 0 0 2 . 5 L - 4 5 . 0 0A A P 5 0 0 0 5 L - 8 0 . 0 0

Jackson's Acr ylic GessoA primer of high opacit y and an intense white with a good ' tooth'. Suitable for most sur faces .O r d e r C o d e S i z e £ R R P £ P r i c eA J G 2 5 0 2 5 0 m l - 9 . 2 0A J G 1 0 0 0 1 L - 1 8 . 6 0A J A G P 1 1 L ( p o u c h ) - 1 8 . 5 0A J G 2 5 0 0 2 . 5 L - 3 7. 0 0

Lascaux UNI-Primer Semi-absorbant , suitable for a ll media especially in g la zes . F lexible , toothy, pure mat t white .O r d e r C o d e S i z e £ R R P £ P r i c eA L M 5 0 0 2 0 1 1 5 0 0 m l 2 6 . 3 0 2 2 . 5 0A L M 1 L 2 0 1 1 1 L 4 2 . 1 4 3 6 . 0 0A L M 5 L 2 0 1 1 5 L 1 6 7. 6 6 1 4 1 . 0 0

Golden Sandable Hard GessoHigh solids content , use on r ig id suppor ts only. Apply over regular gesso.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 5 1 2 3 6 2 3 6 m l 1 4 . 9 5 1 1 . 2 0A G 3 5 5 1 4 7 3 4 7 3 m l 2 5 . 5 0 1 9 . 0 0A G 3 5 5 1 9 4 6 9 4 6 m l 3 8 . 9 5 2 9 . 0 0A G 3 5 5 1 3 7 8 3 . 7 8 L 1 1 4 . 9 5 8 6 . 0 0

Golden Absorbent Ground White Colour Creates a porous , paper- l ike ground. Apply on pre-pr imed sur faces , due to its fra gil i t y.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 5 5 2 3 6 2 3 6 m l 1 4 . 9 5 1 1 . 2 0A G 3 5 5 5 4 7 3 4 7 3 m l 2 5 . 5 0 1 9 . 0 0A G 3 5 5 5 9 4 6 9 4 6 m l 3 8 . 9 5 2 9 . 0 0A G 3 5 5 5 3 7 8 3 . 7 8 L 1 1 4 . 9 5 8 6 . 0 0

Jackson's Thixotropic Alkyd Oil PrimerOne coat multi-purpose pr imer, quick-dr ying , gesso-lke f inish. For a ll oi l painting .O r d e r C o d e S i z e £ R R P £ O u r P r i c eA J A O P 2 5 0 2 5 0 m l - 8 . 6 0A J A O P 1 0 0 0 1 L - 2 1 . 5 0A J A O P 2 5 0 0 2 L - 4 4 . 0 0

Roberson Oil PrimerUse af ter size for f lexible , crack-resistant one-coat covera ge on canvas or wood.O r d e r C o d e S i z e £ R R P £ P r i c eA O P 5 0 0 5 0 0 m l - 1 1 . 8 0A O P 1 0 0 0 1 L - 2 2 . 5 0A O P 2 5 0 0 2 . 5 L - 4 8 . 0 0

Winsor & New ton Clear Acr ylic Gesso A clear f lexible ground suitable for acr ylic , oi l and a lk yd painting .O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 0 4 0 8 5 9 2 3 7m l 9 . 8 5 8 . 3 0AW 3 0 5 0 9 1 9 4 74 m l 1 8 . 7 5 1 5 . 7 0AW 3 0 5 4 9 1 9 9 4 6 m l 2 4 . 9 5 2 1 . 0 0

Winsor & New ton White Acr ylic GessoAn opaque f lexible ground suitable for acr ylic , oi l and alk yd painting .O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 0 4 0 9 2 0 2 3 7m l 9 . 8 5 8 . 3 0AW 3 0 5 0 9 2 0 4 74 m l 1 8 . 7 5 1 5 . 7 0AW 3 0 5 4 9 2 0 9 4 6 m l 2 4 . 9 5 2 1 . 0 0

Vallejo Acr ylic GessoA ready to use, high qualit y Liquid ground of acr ylic resin and Titanium Dioxide.O r d e r C o d e S i z e £ R R P £ P r i c eAV G 7 5 0 7 5 0 m l 2 2 . 3 2 1 2 . 7 0AV G 2 5 0 0 2 . 5 L 5 8 . 4 2 3 4 . 0 0AV G 3 5 0 0 3 . 5 L 7 5 . 8 1 4 4 . 0 0AV G 5 0 0 0 5 L 1 0 1 . 0 8 5 5 . 0 0

Lascaux Gesso Classic acr ylic gesso, Toothy, semi-absorbent , pure mat t white . Suitable for a ll media .O r d e r C o d e S i z e £ R R P £ P r i c eA L M 5 0 0 2 0 2 0 5 0 0 m l 2 3 . 9 5 2 0 . 5 0A L M 1 L 2 0 2 0 1 L 3 8 . 1 8 3 2 . 0 0A L M 5 L 2 0 2 0 5 L 1 5 3 . 3 4 1 2 9 . 0 0


P R I M E R S

P R I M E R S

Lascaux Hydro-Sealer For sealing & consolidating porous sur faces for painting . Dilute with water.O r d e r C o d e S i z e £ R R P £ O u r P r i c eA L M H S 1 0 0 0 1 L 4 4 . 8 0 4 0 . 0 0

Lascaux Acr ylic SizingThis clear sizing provides a bet ter reception for the pr iming coat and reduces "bleed through".O r d e r C o d e S i z e £ R R P £ P r i c eA L M 5 0 0 2 0 0 5 5 0 0 m l 2 0 . 9 0 1 7. 5 0A L M 1 L 2 0 0 5 1 L 2 9 . 3 4 2 5 . 0 0A L M 5 L 2 0 0 5 5 L 1 1 1 . 0 6 9 3 . 0 0

Cornelissen Rabbit Skin GlueUse under oil pr imers . Soak overnight , 13 par ts water : 1 g lue. Heat in double boiler.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R S G 5 0 0 5 0 0 g - 1 0 . 6 0M R S G 1 1 K g - 1 7. 4 0

Handover WhitingFine ground calcium carbonate for use in making gesso and traditional paints .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W 2 . 5 2 . 5 k g - 4 . 3 0

Cornelissen Marble Dusts Medium Grain 16 mesh. Impar ts tex ture to mediums and grounds .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM M B D 1 1 k g - 4 . 7 0M M B D 2 5 2 . 5 k g - 6 . 0 0M M B D 5 5 k g - 8 . 3 0

Cornelissen Marble Dusts Fine Grain100 mesh. Impar ts tex ture to mediums, can be used as a pigment .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM M B D 1 F 1 k g - 4 . 7 0M M B D 2 5 F 2 . 5 k g - 6 . 0 0M M B D 5 F 5 k g - 8 . 3 0

Daler-Rowney Black Gesso Primer Quick-dr ying mat t black , with a slight tooth. Apply several coats i f using with oil colour.O r d e r C o d e S i z e £ R R P £ P r i c eA D 2 0 1 3 2 5 0 m l 1 0 . 5 0 9 . 8 0A D 5 0 1 3 5 0 0 m l 1 6 . 0 0 1 2 . 2 0A D 0 0 1 3 1 L 2 4 . 5 0 1 7. 7 0

Daler-Rowney Acr ylic GessoDries quickly to produce a mat t white sur face, with a slight tooth.O r d e r C o d e S i z e £ R R P £ P r i c eA D 2 0 0 6 2 5 0 m l 1 0 . 5 0 9 . 8 0A D 5 0 0 6 5 0 0 m l 1 6 . 0 0 1 2 . 2 0A D 1 0 0 6 1 L 2 4 . 5 0 1 8 . 7 0

Gamblin PVA SizeA contemporar y alternative to rabbit skin g lue for sizing Linen and canvas fabric suppor ts . Neutral pH and does not yellow, a lso retains its f lexibil i t y and does not emit harmful volati les .O r d e r C o d e S i z e £ R R P £ P r i c eA G B P 2 3 7 2 3 7m l 1 0 . 9 4 8 . 3 0

Lineco White Neutral PH PVA AdhesiveAcid-free, formulated for use with preser vation materials . Fast set ting size .O r d e r C o d e S i z e £ R R P £ O u r P r i c eA P 9 0 1 1 0 0 8 2 3 7m l 9 . 0 0 8 . 6 0A L 9 0 1 1 0 3 2 9 4 6 m l 2 9 . 5 8 2 8 . 5 0A L 9 0 1 1 1 2 8 3 . 7 9 L 7 6 . 3 6 7 3 . 0 0

Roberson Prepared Rabbit Skin Glue Ready for use in sizing canvas , l inen and board. S tand in warm water to l iquef y.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM P R S G 5 0 0 5 0 0 m l - 1 2 . 0 0M P R S G 1 0 0 0 1 L - 1 9 . 6 0M P R S G 2 5 0 0 2 . 5 L - 3 8 . 0 0M P R S G 5 0 0 0 5 L - 5 4 . 0 0

Handover Rabbit Skin GlueUse under oil pr imers . Soak overnight , 13 par ts water : 1 g lue . Heat in double boiler.O r d e r C o d e S i z e £ R R P £ O u r P r i c eR S G 5 0 0 5 0 0 g - 6 . 7 0R S G 1 0 0 0 1 k g - 1 0 . 4 0

Liquitex White Acr ylic GessoUsed to prepare painting sur faces for acr ylic and oil paint .O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 9 0 4 0 1 0 1 1 8 m l 8 . 0 0 6 . 7 0AW 3 9 0 4 0 2 0 2 3 7m l 1 2 . 5 0 1 0 . 5 0AW 3 9 0 4 0 3 0 4 7 3 m l 1 7. 0 0 1 4 . 2 0AW 3 9 0 4 0 4 0 9 4 6 m l 2 7. 0 0 2 2 . 5 0AW 3 9 0 4 0 5 0 1 . 8 9 L 4 9 . 0 0 4 1 . 0 0AW 3 9 0 4 0 6 0 3 . 7 9 L 8 5 . 0 0 7 1 . 0 0

Liquitex Coloured Gesso Primer Neutral Grey Flexible , toothy neutral grey acr ylic gesso. Can be fur ther t inted or thinned.O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 9 2 0 5 9 9 2 3 7m l 1 2 . 5 0 1 0 . 5 0

Liquitex Clear GessoA ver y clear size and ground that keeps your working sur face visible .O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 9 4 0 0 5 1 1 1 8 m l 8 . 0 0 6 . 7 0AW 3 9 4 0 0 5 2 2 3 7m l 1 2 . 5 0 1 0 . 5 0AW 3 9 4 0 0 5 3 4 7 3 m l 1 7. 0 0 1 4 . 2 0AW 3 9 4 0 0 5 4 9 4 6 m l 2 7. 0 0 2 2 . 5 0

Liquitex Super Heav y Gesso PrimerImpasto-st yle acr ylic gesso, for thick sculptural applications . Toothy, opaque, can be tinted.O r d e r C o d e S i z e £ R R P £ O u r P r i c eAW 3 9 0 4 0 7 0 2 3 7m l 1 2 . 5 0 1 0 . 5 0AW 3 9 0 4 0 8 0 9 4 6 m l 2 7. 0 0 2 2 . 5 0


S O L V E N T S

S O L V E N T S

Winsor & New ton English Distilled TurpentineEssential oil with the strongest thinning and brush cleaning power.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W 2 9 6 5 7 5 m l 4 . 9 5 4 . 1 0M W 4 0 9 6 2 5 0 m l 8 . 8 5 7. 2 0M W 0 5 0 9 5 0 0 m l 1 5 . 0 0 1 2 . 2 0M W 4 6 9 5 1 L 2 7. 5 0 2 2 . 5 0

Winsor & New ton SansodorFor increasing blending time, thinnning oil colour and cleaning brushes .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W S 7 5 7 5 m l 4 . 9 5 4 . 1 0M W S 2 5 0 2 5 0 m l 8 . 8 5 7. 2 0M W S 5 0 0 5 0 0 m l 1 5 . 0 0 1 2 . 2 0M W S 1 0 0 0 1 L 2 7. 5 0 2 2 . 5 0M W S 2 5 0 0 2 . 5 L 6 0 . 0 0 4 9 . 0 0

Roberson Rectif ied Spirit of TurpentineVolatile colourles l iquid , greater wet ting powers than white spir it . Use as thinner.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R R S T 2 5 0 2 5 0 m l - 1 6 . 4 0M R R S T 5 0 0 5 0 0 m l - 2 4 . 0 0M R R S T 1 1 L - 3 9 . 0 0M R R S T 5 5 L - 1 5 4 . 0 0

Pip Seymour Shellsol TUse to dilute oil colours , paint mediums and varnishes .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM P S S H E L 2 5 0 2 5 0 m l - 6 . 9 0M P S S H EL1 0 0 0 1 L - 1 7. 4 0

Gamblin GamsolFor thinning oil colours , modif ying painting mediums and cleaning .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM G B M S 1 1 8 1 1 8 m l - 5 . 5 0M G B M S 4 7 3 4 7 3 m l - 1 0 . 3 0M G B M S 9 4 6 9 4 6 m l - 1 5 . 8 0

O r d e r C o d e S i z e £ R R P £ O u r P r i c eM Z S 1 2 5 1 2 5 m l - 5 . 4 0M Z S 2 5 0 2 5 0 m l - 7. 7 0M Z S 5 0 0 5 0 0 m l - 1 1 . 6 0M Z S 1 1 L - 1 8 . 2 0M Z S 2 2 . 5 L - 4 5 . 0 0

Zest-it SolventNo odour , stronger than the Zest- I t Oil Paint Dilutant and Brush Cleaner.

Jackson's English Distilled TurpentineFor diluting oil and alk yd colour, making oil painting mediums and cleaning brushes .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM J T 6 0 6 0 m l - 3 . 0 0M J T 5 0 0 5 0 0 m l - 1 3 . 9 0M J T 1 0 0 0 1 L - 2 0 . 5 0M J T 2 5 0 0 2 . 5 L - 4 1 . 0 0

Jackson's Low Odour SolventFor diluting oil and alk yd colour, making oil painting mediums and cleaning brushes .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM J S 6 0 6 0 m l - 3 . 0 0M J S 5 0 0 5 0 0 m l - 8 . 5 0M J S 1 0 0 0 1 L - 1 1 . 1 0M J S 2 5 0 0 2 . 5 L - 2 1 . 5 0

Daler-Rowney Low Odour Thinner Alternative to turps , ideal for conf ined spaces or sensitive noses .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM D 1 1 4 0 7 7 5 m l 4 . 8 5 4 . 4 0M D 1 1 4 1 7 1 7 5 m l 8 . 0 0 7. 3 0M D 3 0 0 2 4 3 0 0 m l 1 2 . 7 5 1 1 . 5 0

Daler-Rowney TurpentineDilutes oil colour for thin , quick-dr ying washes in ear ly painting sta ges . O r d e r C o d e S i z e £ R R P £ O u r P r i c eM D 7 0 1 6 7 5 m l 4 . 8 5 4 . 4 0M D 1 7 0 1 1 7 5 m l 8 . 0 0 7. 3 0M D 3 0 0 1 3 0 0 m l 1 2 . 7 5 1 1 . 5 0

Pip Seymour Seville Citrus TurpentineTurpentine from orange peel , fresh citrus odour. Colourless , used to dilute colour.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM P S C I T 1 2 5 1 2 5 m l - 1 1 . 8 0M P S C I T 1 0 0 0 1 L - 4 4 . 0 0

Roberson Oil of Spike LavenderSimilar to turpentine, but with slower evaporation. Improves levell ing . O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R S L 6 0 6 0 m l - 1 4 . 5 0M R S L 2 5 0 2 5 0 m l - 4 5 . 0 0

Jackson's Pure TurnpentineFor diluting oil and alk yd colour, making oil painting mediums and cleaning brushes .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM J P T 6 0 6 0 m l - 3 . 0 0M J P T 5 0 0 5 0 0 m l - 1 1 . 6 0M J P T 1 0 0 0 1 L - 1 8 . 4 0M J P T 2 5 0 0 2 . 5 L - 4 1 . 0 0

Jackson's Shellsol TOdourless mineral solvent . Popular turpentine alternative . Evaporates in 6-8 hrs .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM J S H L 5 0 0 5 0 0 m l - 4 . 2 0M J S H L1 0 0 0 1 L - 6 . 8 0M J S H L 2 5 0 0 2 . 5 L - 1 5 . 2 0


B R U S H C L E A N E R S

B R U S H C L E A N E R S

Escoda Olive Oil Brush SoapA popular 100% natural soap from Escoda made of 82% ex tra virg in olive oil . Made in Spain using a centuries old method. Will remove all pigments including those with high tinting proper ties .O r d e r C o d e S i z e £ R R P £ O u r P r i c eA B 1 0 0 1 0 0 g 8 . 1 6 7. 1 0

Da Vinci Professional Brush SoapA gentle soap with conditioners that wil l prolong brush l i fe as well as keep hair supple . Made with pure vegetable oils , with a citrus scent . 85 comes in a t in .O r d e r C o d e S i z e £ R R P £ O u r P r i c eA D T4 4 3 3 8 5 g 1 1 . 2 3 1 0 . 3 0A D 4 4 3 3 1 0 0 g 2 . 7 7 2 . 9 0

Turpenoid Brush Cleaner & DilutantA non-toxic brush cleaner & brush conditioner. O r d e r C o d e S i z e £ R R P £ O u r P r i c eM T T 1 1 8 1 1 8 m l 6 . 5 9 5 . 3 0M T T 2 3 6 2 3 6 m l 9 . 7 9 7. 6 0M T T4 7 3 4 7 3 m l 1 4 . 9 9 1 1 . 6 0M T T 9 4 6 9 4 6 m l 2 4 . 5 9 1 8 . 9 0

O r d e r C o d e S i z e £ R R P £ O u r P r i c eM Z 1 2 5 1 2 5 m l - 5 . 2 0M Z 2 5 0 2 5 0 m l - 7. 6 0M Z 5 0 0 5 0 0 m l - 1 1 . 4 0M Z 1 1 L - 1 7. 6 0M Z 2 2 . 5 L - 4 3 . 0 0

Zest-it Oil Paint Dilutant & Cleaner An environmentally fr iendly alternative to turps and white spir it with a pleasant citrus smell .

Bar toline Brush RestorerQuick , ef fective removal of hardened paint and varnish from brushes and other tools .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM B R 5 0 0 5 0 0 m l - 2 . 7 0

Bar toline Brush CleanerCleans oil -based paint from brushes and rollers . Quick and ef fective, r inse with water.O r d e r C o d e S i z e £ R R P £ O u r P r i c eP B B C 5 0 0 5 0 0 m l - 1 . 9 5

Daler-Rowney Water Washable Oil Brush Cleaner Solvent-free, low odour and water-washable , for oil paint clean-up.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM D 1 1 4 2 5 2 5 0 m l 6 . 5 0 5 . 9 0

Winsor & New ton Brush CleanerWater-miscible solvent , removes dr ied oil , a lk yd and acr ylic from brushes .O r d e r C o d e S i z e £ R R P £ O u r P r i c eAW 3 0 3 9 74 0 2 5 0 m l 6 . 0 0 5 . 0 0

Ar tisan Non-Toxic Concentrated Brush CleanerUse neat for stubborn stains . A lso suitable for hands - non irr itant / a l lerg ic .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM A B C 8 2 2 7m l 9 . 5 8 7. 7 0M A B C 1 6 4 5 4 m l 1 6 . 7 8 1 3 . 5 0M A B C 1 4 . 5 L 4 6 . 5 8 3 8 . 0 0

Zest-It WashawayUse with water to clean oil -based substances from brushes , knives , palet tes . O r d e r C o d e S i z e £ R R P £ O u r P r i c eM Z 1 2 5 WA 1 2 5 m l - 5 . 3 0M Z 2 5 0 WA 2 5 0 m l - 7. 6 0M Z 5 0 0 WA 5 0 0 m l - 1 1 . 4 0M Z 1 0 0 0 WA 1 L - 1 7. 7 0

Bristle Magic Brush Cleaner & ReconditionerRemoves even dr ied on oil and acr ylic paint - let brushes soak then r inse with soap.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM B M 1 0 0 1 0 0 m l 3 . 5 0 3 . 2 0M B M 2 5 0 2 5 0 m l 7. 5 0 6 . 8 0M B M 5 0 0 5 0 0 m l 1 0 . 5 0 9 . 5 0M B M 1 0 0 0 1 L 1 7. 9 5 1 6 . 2 0M B M 2 5 0 0 2 . 5 L 3 7. 9 5 3 5 . 0 0

Holbein Duo-Aqua Brush CleanerNo harsh smell . For cleaning of a ll media . Dr y brushes thoroughly af ter use.O r d e r C o d e S i z e £ R R P £ O u r P r i c eO D U B 3 0 0 2 0 0 m l 7. 6 2 5 . 6 0

The Masters Brush Cleaner & Preser verThe Master 's Brush cleaner wil l condition brush hair as well as salva ge the most caked up brushes . Use af ter each painting session to prolong brush l i fespan. O r d e r C o d e S i z e £ R R P £ O u r P r i c eA M S 3 3 0 m l 5 . 9 5 5 . 1 0A M S 7 7 5 m l 1 1 . 9 5 1 1 . 4 0A M S 9 4 0 9 4 0 m l 3 9 . 9 5 3 8 . 0 0

The Masters Hand SoapRemoves oil , acr ylic , stains , grease, inks and more. Non-abrasive, contains no lanolin .O r d e r C o d e S i z e £ R R P £ O u r P r i c eA M S 4 1 2 7g 4 . 9 0 6 . 2 0


V A R N I S H E S

Golden Archival MSA Varnish MatteTough, level , U V- and blemish-resistant , inter ior & ex ter ior use. Remove with turps .O r d e r C o d e S i z e £ R R P £ P r i c eA G 7 74 0 1 1 9 1 1 9 m l 1 1 . 9 5 8 . 9 0A G 7 74 0 2 3 6 2 3 6 m l 2 0 . 5 0 1 5 . 3 0A G 7 74 0 9 4 6 9 4 6 m l 5 4 . 9 5 4 1 . 0 0

Golden Archival MSA Varnish SatinTough, level , U V- and blemish-resistant , inter ior & ex ter ior use. Remove with turps .O r d e r C o d e S i z e £ R R P £ P r i c eA G 7 7 3 5 1 1 9 1 1 9 m l 1 1 . 9 5 8 . 9 0A G 7 7 3 5 2 3 6 2 3 6 m l 2 0 . 5 0 1 5 . 3 0A G 7 7 3 5 9 4 6 9 4 6 m l 5 4 . 9 5 4 1 . 0 0

V A R N I S H F O R O I L P A I N T I N G S

Jackson's Picture Varnish MattGives tough protection without g loss .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM J V M 5 0 0 5 0 0 m l - 1 0 . 2 0M J V M 1 0 0 0 1 L - 1 4 . 5 0

Jackson's Picture Varnish GlossDries quickly to a clear non-yellowing , non-blooming high g loss f i lm.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM J V G 5 0 0 5 0 0 m l - 9 . 1 0M J V G 1 0 0 0 1 L - 1 3 . 6 0

Zest-It Damar Varnishes Retouching Dries to hard, clear, f lexible f i lm. Removable with Zest- it dilutant .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM Z R 5 0 5 0 m l - 5 . 3 0M Z R 1 2 5 1 2 5 m l - 7. 3 0M Z R 2 5 0 2 5 0 m l - 1 0 . 5 0M Z R 5 0 0 5 0 0 m l - 1 6 . 9 0M Z R 1 1 L - 3 1 . 0 0

Zest-It Damar Varnishes PictureProtects dr y oil paintings from atmospheric weathering , dr ies to g loss f inish.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM Z D P V 1 2 5 1 2 5 m l - 7. 8 0M Z D P V 2 5 0 2 5 0 m l - 1 1 . 4 0M Z D P V 5 0 0 5 0 0 m l - 1 8 . 5 0M Z D P V 1 0 0 0 1 L - 3 2 . 0 0

Golden Archival MSA Varnish GlossTough, level , U V- and blemish-resistant , inter ior & ex ter ior use. Remove with turps .O r d e r C o d e S i z e £ R R P £ P r i c eA G 7 7 3 0 1 1 9 1 1 9 m l 1 1 . 9 5 8 . 9 0A G 7 7 3 0 2 3 6 2 3 6 m l 2 0 . 5 0 1 5 . 3 0A G 7 7 1 5 4 7 3 4 7 3 m l 2 9 . 9 5 2 2 . 5 0A G 7 7 3 0 9 4 6 9 4 6 m l 5 4 . 9 5 4 1 . 0 0

Roberson Matt Picture VarnishClear, tough protection without g loss . O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R M V 6 0 6 0 m l - 5 . 6 0M R M V 2 5 0 2 5 0 m l - 1 0 . 1 0M R M V 5 0 0 5 0 0 m l - 1 7. 7 0M R M V 1 0 0 0 1 L - 3 1 . 0 0

Roberson Gloss Picture VarnishDries to a clear non-yellowing , non-blooming high g loss f i lm.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R G V 6 0 6 0 m l - 5 . 6 0M R G V 2 5 0 2 5 0 m l - 1 0 . 1 0M R G V 5 0 0 5 0 0 m l - 1 7. 7 0M R G V 1 0 0 0 1 L - 3 1 . 0 0

Roberson Oil Retouching Varnish Damar resin/white spir it . Rectif ies dull areas caused by sinking of paint .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R R V 6 0 6 0 m l - 5 . 2 0M R R V 2 5 0 2 5 0 m l - 9 . 9 0M R R V 5 0 0 5 0 0 m l - 1 7. 1 0M R R V 1 1 L - 2 9 . 5 0

Michael Harding Dammar VarnishFinal picture varnish. Subtle g loss f inish. Use over opaque/semi-opaque colour.O r d e r C o d e S i z e £ R R P £ O u r P r i c eO M V 1 1 0 0 1 0 0 m l 9 . 6 0 8 . 0 0O M V 1 2 5 0 2 5 0 m l 1 5 . 3 0 1 2 . 8 0O M V 1 1 0 0 0 1 L 3 5 . 7 0 3 0 . 0 0

Roberson Beeswa x Picture Varnish Final picture varnish, suitable for oil and acr ylic . O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R B V 6 0 6 0 m l - 7. 2 0M R B V 1 2 0 1 2 0 m l - 9 . 8 0M R B V 2 5 0 2 5 0 m l - 1 4 . 3 0M R B V 5 0 0 5 0 0 m l - 2 2 . 0 0

Liquitex Soluvar Varnish GlossFinal varnish - low viscosit y, self leveling and f lexible . Thin or remove with turps . O r d e r C o d e S i z e £ R R P £ O u r P r i c eAW 3 9 2 5 0 5 0 2 3 7 m l 1 2 . 7 5 1 0 . 7 0

Liquitex Soluvar Varnish MattFinal varnish - low viscosit y, self leveling and f lexible . Thin or remove with turps . O r d e r C o d e S i z e £ R R P £ O u r P r i c eAW 3 9 2 5 0 7 0 2 3 7 m l 1 2 . 7 5 1 0 . 7 0

Roberson Dammar VarnishDries hard and clear. Apply thinly for a low g loss . Less prone to blooming than mastic varnish.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM R D M 6 0 6 0 m l - 5 . 9 0M R D M 2 5 0 2 5 0 m l - 1 3 . 7 0M R D M 5 0 0 5 0 0 m l - 2 5 . 0 0M R D M 1 0 0 0 1 L - 4 4 . 0 0

Michael Harding Matt VarnishFinal picture varnish. Creates a permanent protective coating , mat t f inish .O r d e r C o d e S i z e £ R R P £ O u r P r i c eO M V 2 1 0 0 1 0 0 m l 9 . 9 0 8 . 3 0O M V 2 2 5 0 2 5 0 m l 1 5 . 9 0 1 3 . 3 0O M V 2 1 0 0 0 1 L 3 7. 8 0 3 2 . 0 0


Winsor & New ton Ar tists' Matt VarnishU V resistant removable with Ar tists' White Spir it or Disti l led Turpentine.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM V 7 5 M 7 5 m l 6 . 7 5 5 . 5 0M V 2 5 0 M 2 5 0 m l 1 2 . 5 0 1 0 . 2 0M V 5 0 0 M 5 0 0 m l 2 2 . 5 0 1 8 . 3 0

Winsor & New ton Retouching VarnishU V resistant g loss varnish for temporar y protection to recently completed oil paintings .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W R V 7 5 7 5 m l 6 . 7 5 5 . 5 0M W R V 2 5 0 2 5 0 m l 1 2 . 5 0 1 0 . 2 0M W R V 5 0 0 5 0 0 m l 2 2 . 5 0 1 8 . 3 0

Winsor & New ton Ar tists' Gloss VarnishU V resistant ar tists’ g loss varnish removable with Ar tists’ White Spir it or Disti l led Turpentine.O r d e r C o d e S i z e £ R R P £ O u r P r i c eM V 7 5 G 7 5 m l 6 . 7 5 5 . 5 0M V 2 5 0 G 2 5 0 m l 1 2 . 5 0 1 0 . 2 0M V 5 0 0 G 5 0 0 m l 2 2 . 5 0 1 8 . 3 0

Winsor & New ton Ar tists' Satin VarnishU V resistant ar tists’ satin varnish removable with Ar tists’ White Spir it or Disti l led Turpentine.O r d e r C o d e S i z e £ R R P £ O u r P r i c eAW 3 0 3 9 7 3 7 2 5 0 m l 1 2 . 5 0 1 0 . 5 0

Winsor & New ton Ar tists' Picture Varnish Spray MattA f inal clear, with a mat t f inish for oil , a lk yd, and acr ylics paintings . (UK only).O r d e r C o d e S i z e £ R R P £ O u r P r i c eM V 3 9 8 1 1 5 0 m l 7. 5 5 6 . 2 0M V 2 9 8 1 4 0 0 m l 1 3 . 5 0 1 1 . 0 0

Winsor & New ton Professional Picture Varnish Spray GlossA f inal clear, with a g loss f inish for oil , a lk yd, and acr ylic paintings . (UK only).O r d e r C o d e S i z e £ R R P £ O u r P r i c eM V 3 9 8 2 1 5 0 m l 7. 5 5 6 . 2 0M V 2 9 8 2 4 0 0 m l 1 3 . 5 0 1 1 . 0 0

Winsor & New ton Ar tist Dammar VarnishPale yellow, dr ies to a high g loss . Darkens with a ge - remove with disti l led turps .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W D V 7 5 7 5 m l 6 . 7 5 5 . 7 0

Winsor & New ton Retouching Spray Varnish Suitable for recently f inished oil paintings - not f inal . Removable . (UK only).O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W R V S 1 5 0 1 5 0 m l 7. 5 5 6 . 2 0M W R V S 4 0 0 4 0 0 m l 1 3 . 5 0 1 1 . 0 0

Winsor & New ton Professional Varnish Spray DammarTraditional general varnish with high g loss f inish, for oil , a lk yd and acr ylic works . (UK only).O r d e r C o d e S i z e £ R R P £ O u r P r i c eM W 3 9 8 5 1 5 0 m l 7. 5 5 6 . 2 0M W 2 9 8 5 4 0 0 m l 1 3 . 5 0 1 1 . 0 0

Winsor & New ton Professional Picture Varnish Spray SatinFinal , clear, non-yellowing varnish for oil , a lk yd and acr ylic paintings . (UK only).O r d e r C o d e S i z e £ R R P £ O u r P r i c eM V 3 9 8 4 1 5 0 m l 7. 5 5 6 . 2 0M V 2 9 8 4 4 0 0 m l 1 3 . 5 0 1 1 . 0 0

V A R N I S H E S

Golden Archival Aerosol Varnish 400mlArchival aerosol MSA varnish with U V LS provides a f inish layer for f ine ar t works . (UK only).O r d e r C o d e F i n i s h £ R R P £ P r i c eA G 7 7 3 3 G l o s s 2 3 . 9 5 1 7. 9 0A G 7 7 3 8 S a t i n 2 3 . 9 5 1 7. 9 0A G 7 74 8 M a t t e 2 3 . 9 5 1 7. 9 0

V A R N I S H F O R O I L P A I N T I N G S

Gamblin Gamvar Picture VarnishWater-clear, semi-g loss f inish. Remove with Gamsol . Enhances saturation and protects .O r d e r C o d e S i z e £ R R P £ O u r P r i c eM G B V 1 1 8 1 1 8 m l - 1 0 . 5 0M G B V 2 3 7 2 3 7m l - 1 6 . 9 0

Royal Talens Varnish Gloss Spray CanFinal varnish for oil paintings . Apply when totally dr y (~1 year). Non-yellowing . (UK only)O r d e r C o d e S i z e £ R R P £ O u r P r i c eM V 0 0 0 2 4 0 0 m l 1 2 . 5 0 8 . 8 0

Royal Talens Varnish Matt Spray CanFinal varnish for oil paintings . Apply when totally dr y (~1 year). Non-yellowing . (UK only).O r d e r C o d e S i z e £ R R P £ O u r P r i c eM V 0 0 0 3 4 0 0 m l 1 2 . 5 0 8 . 8 0

Royal Talens Retouching Varnish Spray CanRevives sunken areas , provides temporar y protection to semi-dr y work . (UK only)O r d e r C o d e S i z e £ R R P £ O u r P r i c eM V 0 0 0 4 4 0 0 m l 1 2 . 5 0 8 . 8 0

Lefranc and Bourgeois Ex tra Fine Retouching Oil Varnish SprayRetouching varnish is used to eliminate sinking , essential when retouching old paint and also as a temporar y varnish. (UK only). O r d e r C o d e S i z e £ R R P £ O u r P r i c eM L F V4 0 0 4 0 0 m l - 1 2 . 3 0

1 0 0 J A C K S O N ' S A R T S U P P L I E S · O I L 2 0 1 6

P A L E T T E K N I V E S

J A C K S O N ' S C A R B O N S T E E L P A L E T T E K N I V E S

01 02 03 04 05 06

07 08 09 10 11 12

P A L E T T E K N I F E S E T S

RGM Wooden Grip Set 6 pallete knives .Code: RPKSET2RRP : £ 20.95Price: £18.90

RGM Solid Stainless Steel Palette Knife SetSet of 3 knives .Code: RPKSSET3RRP : £ 2 2 .96Price: £18.60

JAS Economy Palette Knives SetEconomy set of 12 .Code: PK T 1Price: £14.80

JAS Assor ted Palette Knives Set Economy set of 5 .Code: REKSET 1Price: £8.70

RGM Solid Stainless Steel Palette Knife SetSet of 6 knives .Code: RPKSSET6RRP : £ 4 4.95Price: £37.00

RGM Pro Rubber Grip Set Set of 6 knives .Code: RPKSET 1RRP : £ 28.50Price: £26.00

These incredibly durable Jackson's palette knives have polished carbon steel blades and elegant dark wood handles.

The 12 shapes offer a wide range of mark-making potential.

A P K J 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1 1 2£ P r i c e 4 . 5 0 4 . 5 0 5 . 5 0 5 . 3 0 5 . 7 0 5 . 5 0 5 . 6 0 5 . 3 0 4 . 4 0 4 . 8 0 4 . 8 0 5 . 7 0


J A C K S O N ' S R U B B E R G R I P P A L E T T E K N I F E

Comfortable rubber handles provide excellent grip for even the messiest painters!

A range of 20 favourite shapes, all with soft-touch rubber handles. Ideal for those looking for a little more comfort, or for those who find wood too slippery when wet.

02 06

13 15

09 10 11 12

16 17 23 24

26 27 29 30 31 32

34 36

O r d e r C o d e £ R R P £ O u r P r i c eA P K S G - 2 . 8 0


J A C K S O N ' S E X T R A L A R G E P A L E T T E K N I V E S

Large scale palette knives, in sizes that allow for broad gestures and deep marks. Shaped handles give excellent grip.

04 06 08 10 1211

O r d e r C o d e £ R R P £ O u r P r i c eA P K X L- - 5 . 0 0


S H A P E S

S H A P E S

S H A P E S

1 0 1O R D E R N O W · 0 2 0 7 2 5 4 0 0 7 7 · J A C K S O N S A R T . C O M

C A N V A S P R E P A R A T I O N

R G M P A L E T T E K N I V E S

A selection of 42 shapes with polished stainless steel blades, rounded natural bubinga wood handles and brass ferrule.

S H A P E S

O r d e r C o d e £ R R P £ O u r P r i c eR P K 4 . 2 5 3 . 9 0


98 103 105 107 109

111 115 112 116 10

1 3 4 5 6 31

13 20 22 23 30 44

33 40 41 42 43 61

45 50 51 53 54 96

62 63 80 81 82 110

MORE OPTIONS AVAIL ABLE ONLINE. . .

P A L E T T E

K N I V E S

C A N V A S A C C E S S O R I E S

JAS Cast Canvas PliersCode: A34Price: £13.40

JAS Chrome Alloy Canvas PliersCode: A33Price: £13.80

JAS High Quality 120mm Canvas PliersCode: A40Price: £32.00

Holbein Molybdenum 115mm Canvas PliersCode: A36RRP : £ 196.86Price: £107.00

JAS High Quality Heav y Duty Canvas Pliers 125mmCode: AC209124Price: £102.00

JAS High Quality 65mm Canvas PliersCode: AC209Price: £ 40.00

Rapid Staple RemoverCode: CARR3RRP : £ 13 . 26Price: £11.90

Rapid R64E Light Duty Plastic Staple GunCode: CAR64RRP : £ 35.70Price: £33.00

Rapid R34 Heav y Duty Metal Staple GunCode: CAR34RRP : £ 4 5.18Price: £ 41.00

Rapid Staples 2000 x 6mmCode: CST6Price: £5.00

Rapid Staples 2000 x 10mmCode: CST 10Price: £5.80

Rapid Staples 2000 x 8mmCode: CST8Price: £6.40

JAS Canvas Carrier Holds 2 canvases .Code: A38Price: £9.80

JAS Canvas Separating Clips x 4Code: A39Price: £5.00


Loxley Ar t WipesCleans oil & acr ylic from hands and accessories .Code: APW50RRP : £ 5.95Price: £5.70

JAS Aluminium Brush Washer 10cm diameter.Code: AMBWPrice: £ 4.60

JAS Metal Mahl StickCode: AMSTPrice: £10.90

JAS Deluxe Brush Washer 15cm diameter.Code: AMBWDPrice: £24.50

4 inch Shor t Pile Radiator Roller RefillCode: SS 4Price: £1.10

RTF Granville 4 inch Radiator RollersCode: RH4Price: £1.10

4 inch Foam Radiator Roller RefillCode: FR4Price: £1.10

A C C E S S O R I E S

C A N V A S & P A I N T I N G A C C E S S O R I E S

JAS Dippers + Lid Single 1 .5in diameter.Code: A ADSLPrice: £1.70

JAS Dippers + Lid Double 1 .5in diameter.Code: A ADDLPrice: £ 3.90

Ar tist Dippers Double 1 .5 1 .5in diameter.Code: A ADDPrice: £2.40

JAS Ar tist Dippers Single 1 .5in diameter.Code: A ADSPrice: £1.60

JAS Single Ar tists Signwriters Dipper 2 .3/8in diameter.Code: A ADSXPrice: £1.90

JAS Ultimate Steel Brush Washers10 x 15cm & 7.3 x 8 .3cm.Code: ABWB01Price: £2 1.50JAS Ultimate Steel Brush Washers7.3 x 8 .3cm.Code: ABWB13Price: £11.50

Latex Gloves x 100Code: ALG100Price: £5.10

Jackson's Adjustable Canvas Ar tists ApronCode: AJA A AGPrice: £20.00

JAS Shor t Blade Paint ScraperCode: ASK01Price: £7.90

Holbein Long Blade Paint ScraperCode: HPK 2RRP : £ 51 .79Price: £ 40.00

P A I N T I N G

& S T U D I O

T O O L S

JAS Large Wooden Canvas Carrier 4 x 70cm high.Code: AW50Price: £15.10

JAS Medium Wooden Canvas Carrier 2 x 70cm high.Code: AW51Price: £12.30JAS Medium Wooden Adjustable Canvas Carrier 2 x 70cm high.Code: AW52Price: £14.80


C U T T I N G & M E A S U R I N G

R U L E R S

Jakar Metal Edge Ruler Acr ylic Cutting Ruler 30cmCode: A3063Price: £3.60Jakar Metal Edge Ruler Acr ylic Cutting Ruler 60cmCode: A3064Price: £7.20

Cutting Ruler with Plastic Handle 100cm Code: A3028Price: £20.00

Cutting Ruler with Plastic Handle 60cmCode: A3027Price: £14.00

Jakar Metal Safety Ruler 30cm Code: A3025 Price: £3.90

Koh-I-Noor Plastic Flexi French Cur ve 50cmCode: GK ACFC50Price: £3.40

Jakar Metal T-Square 60cm Code: A3091Price: £16.20

Wooden Rule With Handle Grip 100cmCode: WRULEPrice: £ 4.50

Manuscript Calligraphy Ruler 15.875cmCode: GMC360Price: £2.40

Jakar Set of Three French Cur vesCode: A 2303Price: £2.70

Koh-I-Noor Set Of Three French Cur ves BrownCode: GK ACFCBPrice: £2.30

Flexible Cur ve Ruler 40cmCode: FLE X400Price: £3.10Flexible Cur ve Ruler 50cmCode: FLE X500Price: £ 4.10Flexible Cur ve Ruler 60cmCode: FLE X600Price: £5.40

Flexible Cur ve Ruler 30cmCode: FLE X300Price: £2.70

T A P E S

1.5 MM SPACE

Archival Hinging Tape 25mm x 50m.Code: MT949Price: £10.80

Double Side Tape 1/2inCode: ATDS1/2Price: £1.10Double Side Tape 1inCode: ATDS1Price: £2.60Double Side Tape 2inCode: ATDS2Price: £ 4.30

Acid Free Gum Paper Tape 48mm x 50m 4 8mm x 50m.Code: MTPHD19 Price: £7.60

Neutral White Paper Tape 25mm x 66m.Code: MTPH7 Price: £10.80

Crescent White Frame Sealing Tape 30mm x 25.5m.Code: FTGBB1510W Price: £12.60

Super Sticky Foam Tape 20mm x 10m.Code: MT 124Price: £ 4.00

Low Tack Masking Tape 1inCode: ATMLT 1Price: £1.50Low Tack Masking Tape 2inCode: ATMLT2Price: £2.90

Wig gins Gumstrip Butter fly Tape 36mm 1 .5in .Code: MT W 1.5RRP : £ 3. 20Price: £2.60

Crescent Brown Frame Sealing Tape 30mm x 25.5m.Code: FTGBB1510BRRP : £ 15.3 1Price: £12.60

Gummed Brown Paper Tapes1 in .Code: ATGS100Price: £2.30

Crescent Linen Hinging Tape26mm x 4 6m.Code: FTBR0501RRP : £ 25.90Price: £23.50

Metal Ruler 60cmCode: ASR24Price: £ 4.00Metal Ruler 100cmCode: ASR100Price: £5.70

Metal Ruler 30cmCode: ASR12Price: £2.80

Crescent Document Repair Tape 25mm x 30m.Code: FTGD8910Price: £22.50


Masking Tape 1"Code: ATPM1Price: £1.10Masking Tape 2"Code: ATPM2Price: £2.20Masking Tape 3"Code: ATPM3Price: £ 3.30

Masking Tape 3/4"Code: ATPM0.75Price: £0.70

T A P E S

K N I V E S , S C I S S O R S & T A P E S

K N I V E S A N D B L A D E S

Snap Knife 9mmRetractable , locking handle , includes 1 blade.Code: AKS9Price: £0.60

Jakar Fixed Blade Precision Knife Includes 10 blades .Code: A7360Price: £2.70

20 x Jakar Fixed Precision Knife BladesSuitable for A7360.Code: A7360BPrice: £1.70

Jakar Rubber Grip Snap Knife 18mmRetractable , locking handle , includes 1 blade.Code: A7340 Price: £2.70

Snap Knife 18mmRetractable , locking handle , includes 1 blade.Code: AKS18 Price: £0.75

Craf t KnifeIncludes 1 blade.Code: AKC1Price: £1.50

5 x Jakar Craf t Knife Fine Point BladesSuitable for A KC 1 , A73 3 3.Code: A734 4BPrice: £1.60

Jakar Craf t KnifeIncludes 1 blade.Code: A7333Price: £2.70

Jakar Craf t Knife SetIncludes handle and 6 assor ted blade shapes .Code: A7338Price: £3.40

Jakar Swivel Blade Precision KnifeIncludes 3 blades .Code: A7320Price: £2.70

5 x Jakar Swivel Precision Knife BladesSuitable for A7320.Code: A7320BPrice: £1.40

Scalpel Handle S tainless steel , t ype # 3 handle . Blade not included.Code: AKSCHPrice: £3.30

10 x Snap Blades 18mmSuitable for A KS 18 & A73 4 0.Code: AKS18BPrice: £2.00

Jakar Rotar y Cutter Includes 1 x 28mm blade.Code: A7336Price: £3.60

2 x Jakar Rotar y Cutter Blades Suitable for A73 36.Code: A7345BPrice: £2.70

Jakar Utility KnifeRetractable , locking handle , includes 1 blade.Code: A7335Price: £ 3.60

5 x Jakar Utility Knife BladesSuitable for A73 35. Code: A7343BPrice: £1.30

Swann Mor ton Scalpel Handle S tainless steel , t ype # 3 handle . Blade not included.Code: SW0933Price: £5.30

10 x Snap Blades 9mmSuitable for A KS9.Code: AKS9BPrice: £2.10

Jakar Heav y Duty 11mm Craf t Knife SetIncludes handle and 5 assor ted blade shapes .Code: A7313Price: £3.90 5 x Craf t Knife Blades

Type ASuitable for A KC 1 , A73 3 3.Code: 7A5Price: £1.90

5 x Craf t Knife BladesType BSuitable for A KC 1 , A73 3 3.Code: 7B5Price: £2.40

5 x Scalpel BladesType 10Suitable for A KSCH and SW093 3.Code: AKSC105Price: £0.90

5 x Scalpel BladesType 10ASuitable for A KSCH and SW093 3.Code: AKSC10A5Price: £1.00

Sekisui Smooth Framing Tape 25mmCode: MTSEK 25Price: £2.30Sekisui Smooth Framing Tape 50mmCode: MTSEK50Price: £ 4.50Sekisui Smooth Framing Tape 75mmCode: MTSEK 75Price: £6.90

Easy Mask Painting Tapes 50.8mmCode: E ASY2Price: £3.45Easy Mask Painting Tapes 95.25mmCode: E ASY3Price: £2.45

Handover Double Sided Tapes 25.4mmCode: DOUB1Price: £1.30Handover Double Sided Tapes 12.7mmCode: DOUB3Price: £0.80

Scotch Magic Tape 19mmCode: MT 19Price: £ 4.00

Draper Chrome Plated Steel Scissors 155mmCode: DSCIS155Price: £16.00

Draper 3 Piece Scissor Set 190mmCode: DSCISETPrice: £10.50

Jakar Stainless Steel Scissors 21cmCode: ACJ7053Price: £2.30

Koh-I-Noor Stainless Steel Scissors 205mmCode: GK ACSC20Price: £3.40Koh-I-Noor Stainless Steel Scissors 165mm Code: GK ACSC16Price: £2.90

S C I S S O R S

RTF Granville Standard Stainless Steel Paperhanging Shears with Plastic Handle 25.4cm Code: SHE ARS2Price: £3.10

Jakar Stainless Steel Pinking Shear Scissors 23cmCode: ACJ7356Price: £9.90

Framing Tape 25mm.Code: MTF25Price: £2.00Framing Tape 38mm.Code: MTF38Price: £3.00Framing Tape 50mm.Code: MTF50Price: £ 4.00


F R A M E B U I L D E RM E A S U R E · S T Y L E · F R A M E

F R A M I N G

J A C K S O N ' S O N L I N E F R A M E B U I L D E R

Easily order your custom made bespoke frames online.A huge choice of self assembly mouldings, available for works on canvas, board or paper. The finished or coloured frames are ready to use and the natural wooden frames can be stained, painted, waxed or varnished in order to show your work at its very best.

To use our online frame builder simply

www.jacksonsart.com/diy_frame.php

J A C K S O N ' S R E A D Y M A D E I N L A Y F R A M E S

These beautiful ready-made frames are constructed from tulipwood.The frames are available in two depths, one for standard and another for deep canvases.

Pale olive in colour, these frames can be left unfinished or coated in clear or lime wax. The tulipwood frames stain black easily and can be painted white or washed in a light colour.

All frames are supplied constructed, pre-drilled and counter sunk. Each one comes with D-rings, cord and screws to secure a canvas.

M E A S U R E A N D E N T E R T H E O U T E R D I M E N S I O N S O F Y O U R A R T W O R K

C H O O S E T H E S T Y L E A N D C O L O U R O F Y O U R F R A M E M O U L D I N G

P R E V I E W Y O U R F R A M E D A R T W O R K A N D A D D T O B A S K E T

O r d e r C o d e S i z e c m £ P r i c eF R M I S 3 0 3 0 3 0 x 3 0 2 5 . 5 0F R M I S 3 0 4 0 3 0 x 4 0 2 7. 5 0F R M I S 4 0 4 0 4 0 x 4 0 3 2 . 0 0F R M I S 4 0 5 0 4 0 x 5 0 3 8 . 0 0F R M I S 5 0 5 0 5 0 x 5 0 4 3 . 0 0F R M I S 5 0 6 0 5 0 x 6 0 4 5 . 0 0

S T A N D A R D I N L A Y F R A M E R E B A T E D E P T H 2 3 M M D E E P I N L A Y F R A M E R E B A T E D E P T H 4 3 M M

O r d e r C o d e S i z e c m £ P r i c eF R M I D 3 0 3 0 3 0 x 3 0 2 5 . 5 0F R M I D 3 0 4 0 3 0 x 4 0 2 7. 5 0F R M I D 4 0 4 0 4 0 x 4 0 3 2 . 0 0F R M I D 4 0 5 0 4 0 x 5 0 3 8 . 0 0F R M I D 5 0 5 0 5 0 x 5 0 4 3 . 0 0F R M I D 5 0 6 0 5 0 x 6 0 4 5 . 0 0


P A L E T T E S

O I L P A L E T T E S

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4. New Wave Expressionist Wooden Palette51 .9 x 4 0.3 x 0.5cm. Code: APNW201RRP : £ 49.96Price: £ 40.00

2. Zecchi Balanced Wooden Palette 55cm x 4 0cm. Code: PZT4190RRP : £96.00 Price: £88.00

6. New Wave Wooden Palette Posh Table Top 4 0 x 50cm.Code: APNW501RRP : £ 47.95 Price: £39.00

5. New Wave Highland Wooden Palette 4 0 x 28cm.Code: APNW301RRP : £ 4 4.95 Price: £36.00

3. New Wave Grand View Confidant Wooden PaletteCode: APNW 10156.5 x 4 5.4 x 0.5cm.RRP : £ 59.95Price: £ 48.00

1 . Mabef Bat Wooden Palette 35 x 50cm x 0.37cm.Code: MBAT42RRP : £ 15.50Price: £11.50

7. Mabef Oval Wooden Palette 20 x 30 x 0.37cm. Code: MO2030RRP : £6. 25Price: £ 4.70

8. Mabef Rectangle Wooden Palette 30 x 4 5 x 0.37cm.Code: MR3045RRP : £9.50Price: £7.10

10. Pebeo Oval Palette 18 x 2 2cm.Code: MP380000RRP : £ 1 .50Price: £1.20

12. Mabef Oval Wooden Palette 35 x 4 5 x 0.37cm.Code: MO3545RRP : £ 10.50Price: £7.80

11 . JAS Rectangular Wooden Palette12 x 8in .Code: AWP9Price: £ 4.60

9. Melamine Style Palette 13 .5 x 9.5in .Code: AMP9Price: £8.70


P A L E T T E S

O I L P A L E T T E S

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17. JAS Transparent Acr ylic Rectangular Palette30 x 4 0 x 0.3cm.Code: APP33040Price: £11.10

13. New Wave Avant-Garde Palette Neutral Grey4 0.4 x 51 .9cm.Code: APNW604RRP : £ 49.96Price: £ 40.00

15. New Wave Avant-Garde Grand View Neutral Grey4 5.4 x 56.5cm.Code: APNW601RRP : £ 59.95Price: £ 48.00

14. New Wave Avant-Garde Grand View Neutral Grey28 x 4 0cm.Code: APNW605RRP : £ 4 4.95Price: £36.00

18. Masterson Sta-Wet Super Pro Palette 4 0 x 30cm.Code: APM069RRP : £ 42 .95Price: £ 40.00

16. JAS Transparent Acr ylic Kydney Palette25 x 4 3 x 0.3cm.Code: APP32543Price: £10.30

19. Masterson Ar tist Palette Seal Holds up to 16 x 12in .Code: APM075RRP : £ 29.95Price: £28.00

20. Hahnemuhle Tear Of f Palette 24 x 35cm, 30 sheets .Code: CHPBRRP : £ 8.4 0Price: £7.20

2 1. New Wave Easy Lif t Plastic Palette27.9 x 4 0.6 x 0.3cm.Code: APNW303RRP : £ 18.95Price: £15.20

22. Daler-Rowney A3 Tear-Of f Palette4 0 sheets .Code: APTA3RRP : £ 15.76Price: £14.70

23. Winsor & New ton A4 Tear Of f Palette1 /2 x 8in , 50 sheets .Code: AW TMRRP : £ 8.35Price: £7.00

24. New Wave Grey Pad Palette 27.9 x 4 0.6 x 0.6cm.Code: APNW402RRP : £ 14.95Price: £12.00


C O M P O S I T I O N T O O L S

1 . Ar tograph Super Prism Table Top ProjectorCode: LDSPRRP : £ 415.00Price: £ 33 1.00

2. Ar tograph Tracer ProjectorCode: LDT 1RRP : £93.00Price: £70.00

3. Ar tograph Inspire800 LED Ar t ProjectorCode: L AIL APRRP : £750.00Price: £549.00

8. View Catcher90 x 90mm.Code: ACW 7001RRP : £6.00Price: £ 4.70

12. Grey Scale & Value Finder 4 x 6in .Code: ACW3505RRP : £ 3.47Price: £2.20

10. Personal Mixing Guide1 1 .5 x 1 1 .5in .Code: ACW5324RRP : £ 14.39Price: £9.80

5. Ar tograph Light Tracer II Light Box 12 x 18in .Code: LLT2RRP : £ 105.00Price: £90.00

11. Pocket 5 inch Colour WheelCode: ACW3501RRP : £ 4.4 3Price: £3.10

4. Daylight Wafer A4 Light PadCode: LD3540RRP : £ 100.00Price: £81.00

9. View finder Transparent Plastic 8 x 5in .Code: AVFRRP : £ 8.6 4Price: £7.90

7. Jackson's Ar tgrid Tablet AppAvailable only on the App S tore for iPad or on Google Play for Android tablets .

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6. Jackson's View finderCode: ACJVFPrice: £5.00

C O M P O S I T I O N T O O L S

T O O L S


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9. Mabef Beech Print Rack Heigh: 103cm.Code: EM40RRP : £ 2 15.00Price: £150.00

10. Mabef Beech Print RackHeight : 8 4 cm.Code: EM38RRP : £ 105.00Price: £76.00

11. Jackson's Academy Print Rack Height : 7 7cm.Code: EJ005Price: £36.00

12. Fome A1 / A 2 Metal Print RackHeight : 85cm.Code: EGA1RRP : £ 139.95Price: £12 1.00

1. Daylight Lighting Foldi Led Black Por table LampHeight : 23 .3cm. Code: LD45001RRP : £62 .00Price: £51.00

2. Daylight Lighting Ar tists Easel LampShade leng th 4 6cm. Code: LD33900RRP : £ 14 3.00Price: £118.00

3. Daylight Lighting Triple Bright LampHeight : 98cm.Code: LD32500RRP : £ 150.00Price: £110.00

4. Daylight Lighting Twist Por table LampHeight : 30.5cm.Code: LD33700RRP : £69.00Price: £57.00

5. Daylight Lighting Floor Standing Craf t LampHeight : 1 12cm.Code: L23030RRP : £ 150.00Price: £124.00

6. Daylight Lighting Ultra Slim Magnif ying LampHeight : 95cm.Code: LD22020RRP : £ 24 0.00Price: £200.00

7. Daylight Lighting Easel LampHeight : 50cm.Code: LEL1RRP : £90.00Price: £70.00

8. Daylight Lighting Ar tist Studio LampHeight : 2 . 2m. Code: LD3 1375RRP : £ 125.00Price: £102.00

S T U D I O E Q U I P M E N T

S T U D I O E Q U I P M E N T

S T U D I O

L I G H T I N G


B R U S H C A S E S

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B R U S H C A S E S

C A S E S

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11. Mapac Brush Case * 37 x 38cm open. Code: ABCS RRP : £ 13 .95Price: £11.20

6. Jackson's Blake Brush & Pencil Roll * 15.5cm x 30cm closed. Code: AJBL AKEBPrice: £11.50

10. Global Leather Shor t Brush Case * 1 1 x 2 . 25in .Code: GGMBH11RRP : £ 16. 24Price: £15.60

2. Masterson Sta-New Brush Holder * Holds up to 10 brushes .Code: ABM100 RRP : £ 41 .99Price: £39.00

3. Fraser-Price Real Leather Brush Case * 30.5 x 5 x 4.7cm.Code: ACLBCPrice: £30.00

9. Pro Ar te Shor t Handle Brush Case * 1 1 x 16in . Code: APBCSRRP : £ 10.96Price: £8.60

12. Mapac Brush Case 2 1 Brush Pockets * 4 0 x 38cm open. Code: ABEC RRP : £ 13 .95Price: £11.20

1. Jackson's Small Brush Easel Case * 3 4 x 18cm. Code: AJBCSPrice: £6.10

5. JAS Canvas 24 Brush Roll * 57 x 30cm. Code: A723 12Price: £3.30

4. JAS Wooden Brush Box 10.5 x 4 x 1 . 25in . Sliding l id .Code: ABB01Price: £7.50

7. JAS Canvas Brush Roll * 16 x 2 1 .5in .Code: A7 1722 Price: £2.30

8. JAS Plastic Brush Box Code: ACJBBPrice: £2.50


A R T S T O R A G E

5. Jackson's Table Box EaselSize: 4 0 x 30 x 14 cm.Code: EJWB3072Price: £24.00

7. Jackson's Wentwor th Box Easel * Size: 4 0 x 30 x 10cm.Code: EJ016Price: £52.00

9. Ar tBin Essentials Two Tray * Size: 3 4 x 2 1 x 19cm.Code: AB8627RRP : £ 16.95Price: £16.30

8. Jackson's Large Box EaselSize: 3 3 x 4 3 x 10cm.Code: EJ007Price: £34.00

12. Jackson's Small Box EaselSize: 26 x 39 x 13cm.Code: EJ006Price: £26.00

2. Mabef Ar tist BoxSize: 30 x 20 x 3cm.Code: EM100RRP : £92 .95Price: £63.00

4. Mabef Ar tist Box Size: 4 6 x 36cm.Code: EM103RRP : £ 124.95Price: £85.00

3. Mabef Ar tist Box Size: 36 x 25 x 8cm.Code: EM101RRP : £ 109.95Price: £75.00

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11. Jackson's Wooden Utility Storage BoxSize: 32 x 17 x 4 cm. Code: EJWB146Price: £10.30

A R T S T O R A G E

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10. Jackson's Wooden 3 Drawer ChestSize: 4 0 x 26 x 8cm.Code: AC3DRPrice: £39.00

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6. Jackson's Empty Wooden Box 2 Thick Foam Sheet35 x 12 x 3cm. Code: EW 100Price: £11.60

1. Jackson's Wooden Storage Box *Size: 36 x 13 x 13cm. Code: EJWB149Price: £24.50


E A S E L S

2. Mabef M/07 Studio EaselHeight : 28 4 cm.Code: EM07RRP : £ 270.00Price: £183.00

4. Mabef M33 Florentine EaselHeight : 236cm.Code: EM33RRP : £ 235.00Price: £160.00

3. Mabef M/10 Studio EaselHeight : 236cm.Code: EM10RRP : £ 205.00Price: £139.00

1. Albrecht P fennig H-frame Folding EaselHeight : 300cm.Code: E A ABPRRP : £ 195.00Price: £157.00

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E A S E L S

H - F R A M E E A S E L S

5. Mabef M02-c Studio Pedal & Remote Operated * Height : 205 - 390cm.Code: EM02RRRP : £ 2 ,375.00Price: £1,479.00

6. Mabef M/02 Standard Easel * Height : 205 - 390cm.Code: EM02RRP : £ 1 ,125.00Price: £701.00

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E A S E L S

10. Jackson'sH-frame EaselHeight : 172cm.Code: EJ017Price: £107.00

7. Jackson's Watercolour Easel Height : 206cm.Code: EJ009Price: £123.00

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8. Winsor & New ton Hamilton Studio EaselHeight : 235cm. Code: EW205RRP : £ 3 15.00Price: £142.00

9. Winsor & New ton Welland H-frame EaselHeight : 129cm.Code: EW2 19RRP : £ 300.00Price: £185.00

11. Winsor & New ton Shannon H-frame EaselHeight : 13 4 cm.Code: EW 130RRP : £ 265.00Price: £14 4.00

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12. Albrecht Studio Easel Height : 195.5 - 320cm.Code: E A ABSPrice: £274.00

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E A S E L S

4. Mabef Studio Easel Oiled BeechwoodHeight : 300cm.Code: EM18RRP : £ 495.00Price: £335.00

5. Mabef Roma Studio EaselHeight : 300cm.Code: EM06RRP : £ 390.00Price: £264.00

6. Mabef Roma Grande Studio Easel Height : 300cm.Code: EM04RRP : £ 885.00Price: £558.00

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7. Studio Easel Ayrshire Height : 2 15cm.Code: EC697RRP : £ 2 15.00Price: £206.00

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4. Mabef M/09 Studio EaselHeight : 236cm.Code: EM09RRP : £ 2 20.00Price: £149.00

5. Mabef M/08 Studio EaselHeight : 24 6cm.Code: EM08RRP : £ 195.00Price: £132.00

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11 . Winsor & New ton Mersey A-frame EaselHeight : 124 cm.Code: EW 128RRP : £ 170.00Price: £101.00

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S T U D I O E A S E L S

E A S E L S

E A S E L S

9. Albrecht Lyra Display EaselHeight : 175cm.Code: E A ABLRRP : £ 126.00Price: £113.00

7. Albrecht Mast Folding EaselHeight : 2 10cm.Code: E A ABMRRP : £ 20 4.85Price: £162.00

8. Jackson's A-frame EaselHeight : 168cm.Code: EJ001Price: £75.00

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10. Mabef M/11 Studio EaselHeight : 24 6cm.Code: EM11RRP : £ 155.00Price: £105.00

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12. Mabef M25 Studio Easel Height : 2 23cm.Code: EM25RRP : £ 180.00Price: £120.00

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E A S E L S

S T U D I O E A S E L S

1 . Jackson's Radial EaselHeight : 14 8cm.Code: EJ002Price: £94.00

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2. Winsor & New ton Thames Radial Easel Height : 182cm.Code: EW 13 1RRP : £ 2 25.00Price: £116.00

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3. Jackson's Donkey EaselHeight : 95cm.Code: EJ02 1Price: £127.00

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4. Jackson's Large Radial Easel with Centre TiltingHeight : 180cm.Code: EJ022Price: £91.00

5. Mabef Work Station * Height : 185cm.Code: EM30RRP : £950.00Price: £645.00

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6. Mabef M46 Double Sided Easel Oiled * Height : 150 - 2 28cm.Code: EM46RRP : £ 515.00Price: £338.00

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S T U D I O

E A S E L S

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7. Winsor & New ton Trent Metal Sketching EaselHeight : 190cm.Code: EW 126RRP : £ 82 .00Price: £63.00

8. Winsor & New ton Severn Sketching EaselHeight : 200cm.Code: EW 125RRP : £ 155.00Price: £68.00

9. Winsor & New ton Dar t Sketching EaselHeight : 168cm.Code: EW 124RRP : £ 5 4.00Price: £26.00

10. Winsor & New ton Bristol Alumium EaselHeight : 17 7cm.Code: EW2 10RRP : £90.00Price: £56.00

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E A S E L S

F I E L D E A S E L S

F I E L D

E A S E L S

11 . Jackson's Small Sketching EaselHeight : 91cm.Code: EJ012Price: £28.00

12. Jackson's Blue Box Metal Sketching EaselHeight : 180cm.Code: EC650Price: £32.00

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E A S E L S

F I E L D & T A B L E E A S E L S

5. Jakar Aluminium Table EaselHeight : 4 5cm.Code: EJTARRP : £ 28.59Price: £23.50

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4. Jackson's Display EaselHeight : 56cm.Code: EJ018Price: £6.70

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2. Jackson's French Style Box EaselHeight : 180cm.Code: EJ019Price: £102.00

1. Jackson's Half Box EaselHeight : 180cm. Code: EJ014Price: £92.00

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6. Winsor & New ton Medway Box Table EaselHeight : 62 . 2cm.Code: EW225RRP : £ 42 .00Price: £26.00

3. Winsor & New ton Tilting EaselHeight : 12 2cm.Code: EW 119RRP : £93.00Price: £58.00

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E A S E L S

T A B L E E A S E L S

10. Jackson's Book Stand Table EaselHeight : 4 6cm.Code: EJ003Price: £22.00

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11. Winsor & New ton Arun Box EaselHeight : 6 4 cm.Code: EW201RRP : £ 110.00Price: £57.00

9. Jackson's Tripod Table EaselHeight : 4 6cm.Code: EJ015Price: £8.30

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12. Mabef M3 1 Table EaselHeight : 8 4 - 105cm.Code: EM3 1RRP : £98.95Price: £65.00

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8. Winsor & New ton Kent Frame Table EaselHeight : 91cm.Code: EW226RRP : £ 3 3.00Price: £25.00

7. Jackson's Table EaselHeight : 75cm.Code: EJ004Price: £2 1.50

T A B L E

E A S E L S


B O O K S

9. Oil Painting Step-by-Step by N. Gregor y, J. Hor ton, R. Lang and M. SandersCode: BKS305RRP : £ 12 .99 Price: £10.30

4. Colour Mixing Bible by Ian Sidaway Code: BKD156RRP : £ 12 .99 Price: £10.30

11. Alla Prima: A Contemporar y Guide to Traditional Direct Painting by Al Gur yCode: BKG83RRP : £ 19.99 Price: £15.90

12. How to Paint Like the Old Masters by Joseph Sheppard Code: BKG55RRP : £ 16.99 Price: £13.50

2. The Encyclopedia of Oil Painting Techniques by Jeremy Galton Code: BKS56RRP : £ 12 .99Price: £10.30

1. Complete Oil Painter The Essential Reference Source for Ar tists by B. GorsCode: BKS396RRP : £ 12 .99 Price: £10.30

7. Painting with Oils by David HowellCode: BK W56RRP : £ 14.99 Price: £11.90

10. Expressive Oil Painting An Open Air Approach to Creative Landscapes by George AllenCode: BKD3 16RRP : £ 17.99 Price: £14.30

5. Painting Landscapes in Oils by Rober t BrindleyCode: BK W37RRP : £ 16.99 Price: £13.50

6.Painting Still Life in Oils by Adele Wagstaf fCode: BK W38RRP : £ 16.99 Price: £13.50

8. Painting Light in Oils by P. Wileman and M. AllsopCode: BK A050RRP : £ 18.99Price: £15.10

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N O T EOver 1000 books available on our website.W hatever the media , technique or subject , we have the ideal instructional ar t book on our website .

1.5 MM SPACE

3. Por trait Painting Atelier by Suzanne BrookerCode: BKG93RRP : £ 24.99 Price: £22.50


B O O K S

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Alkali Refined The process of removing impurities in order to reduce the yellowing that occurs naturally over time in some drying oils, such as linseed oil.

Alkyd A synthetic resin that is sometimes used as a binder in order to speed up drying times. Although it is faster drying than other natural resins and oils used in oil paint, it is unable to hold as much pigment and so paints may appear less saturated. Alkyd resin is also used in fast drying painting mediums. It increases transparency of colour and has a very slight tendency to yellow over time.

Alla Prima A painting approach that involves completing a painting in one session.

ASTM ASTM is the International Standard for testing and material qualities. On the labels of oil paints the ASTM rating will refer to the permanence of colours.

Bain Marie A double boiler used to gently heat rabbit skin granules, making a liquid that can be used as a size in the preparation of raw canvas for oil painting.

Beeswax A popular medium among artists who like to paint more gesturally or with impasto colour. It is a mixture of linseed stand oil and bleached beeswax paste. It thickens oil colour and dries with a semi-matte sheen. Beeswax is particularly effective when mixed with semi-opaque and opaque colours.

Binder/Vehicle The liquid that pigment is milled into in order to make paint. In oil paints the binder can be a drying oil such as linseed, poppy, walnut or safflower, or it could also be an alkyd or natural resin.

Black The debate is never ending as to whether a painter should use black on their palette, however should you decide to do so here is a quick overview on the most common blacks available in oil paint ranges.

Lamp Black - also known as carbon black. It is made by burning tar, creosote, naphthalene or other petroleum products. It is one of the slowest drying pigments in oil and should not be used in underpainting. When mixed with light colours it gives a cool blue tint. The drying time of lamp black can be reduced by adding umber or a drier to the paint.

Mars Black - made from inorganic synthetic iron oxide. It is relatively fast drying and non toxic. It is safe to paint over so can be used in underpainting. It is dense and opaque with a warmish brown undertone.

Ivory Black - made from inorganic synthetic carbon black and calcium phosphate. Bone black was invented by the Romans for use as an everyday black, and Ivory black was considered a higher quality version of bone black, made with the charred remains of ivory. It is a deep velvety semi-transparent black that was often used by Rembrandt. It is very slow drying and should not be used in underpainting.

Vine Black - an opaque blue black with a high tinting strength. It is less pure than lamp black, has a lower tinting strength but is very lightfast and slow drying.

Perylene black - a strong black pigment with a green undertone. Mixed with lighter colours it will give a green/blue tint. It is slow drying and transparent.

Bloom Patches of cloudy areas that can appear on the surface of varnished paintings if they have been kept in damp conditions. It occurs when moisture is trapped underneath the surface of the varnish or when the painting that has been varnished has not fully dried.

Oil Painting Block Sheets of oil painting paper that are bound on all 4 sides to prevent warping of the surface during the painting process. There is usually a gap in the binding on one corner or a section of one side of the block which allows you to slice off the top sheet after the painting has dried with a palette knife. Oil painting paper usually has a subtle linen like texture.

Canvas Board Canvas glued on to hard board (thin MDF or compressed board). A rigid surface for oil and acrylic painting. Canvas board usually has shear edges (i.e. the canvas does not wrap around to the back).

Canvas Pads A pad of unstretched, primed canvas sheets glued at one side ready for oil painting.

Canvas Panel A piece of board or wooden panel on to which a piece of primed canvas has been glued to the front and wrapped around to the back.

Canvas Pliers A tool which helps to stretch canvas tightly around a frame in order to make a satisfactory surface on which to paint. Canvas is usually fixed to the frame using staples on the reverse of the frame, or tacks on the side of the frame.

Canvas Sheets Sheets of rectangular or square pieces of primed canvas that can be glued to a board to make a panel, or painted on as they are.

Chiaroscuro A term to describe a painting that has dramatic contrasts between light and dark. Caravaggio was the master exemplar of Chiaroscuro paintings.

Colour Shaper A tool with a silicon or rubber tip and a wooden handle similar to a paint brush. Colour shapers can be used to draw into wet paint and create lines and textures.

Colour Strength Another term used to define colour strength is saturation. Colour strength refers to how bold the colour appears. /Saturation Pigment particles vary in size and characteristics. Some pigments have the ability to mix at a greater ratio with the

linseed oil binder without imparing the structure of the paint. The result of this typically is that the colour strength is greater. Some pigment particles also appear more vibrant than others and so may have a greater strength than another colour even if the pigment to oil ratio is the same.

Complementary Also known as secondary colours. They can be found directly opposite one another on a colour wheel. Because they Colours are diametrically opposed they cause the appearance of one another to intensify when painted unmixed side by side.

When mixed together they are capable of producing neutral greys.

Composition The arrangement of shapes, colours and lines across your picture surface, sometimes referred to as a design.

Copal A natural resin that can be used to make varnishes for oil painting. It can also be used as an oil paint binder.

Cotton Duck A heavy plain woven fabric that is a popular material for artist's canvas as it is relatively low cost in comparison to linen. Because the threads that are used in the production of cotton duck are shorter the fabric is weaker than linen and is therefore not recommended for large canvases (anything over 1.5m) as it is more likely to slacken over time. Cotton duck is most commonly available in 10oz or 12oz weights.

Craquelure Tiny cracks found on the surface of very old oil paintings. These are caused over time by the contracting and expanding of the surface of the paint caused by changes in humidity and temperature. Treatments are available to replicate this effect artificially on new paintings.

Crazing Very fine cracks that appear on the surface of a varnished painting caused by the layer of varnish drying at different rates (usually because of unequal application).

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Curing Refers to the manner in which oil paints react with air (oxidise) in order to dry. The top layer of the paint will dry first as it is exposed to a larger amount of air (when this has dried the painting is 'touch dry'), but the paint beneath the surface will take longer to fully dry and harden. A fully cured painting is one that is completely dry throughout all the layers of paint that have been applied to the support.

Damar/Gum Damar Damar is sometimes spelt Dammar and is a natural resin, used in traditional oil painting varnishes, glazes and sometimes as a paint binder. Dammar varnish is made by dissolving the resin in turpentine. It is thought to provide a deeper, more lustrous finish, as well as being less likely to yellow with time and having more stability than alkyd resin. To make Damar Varnish yourself, mix one part damar crystals to one part turpentine by wrapping the crystals in cheesecloth or muslin and suspending in a jar filled with the solvent. Leave the jar like this for 2-3 days, stirring every now and then. When the crystals have all fully dissolved you will have your damar concentrate. To make picture varnish with this mix one part of the concentrate to one part turpentine. For retouching varnish mix one part concentrate to 3 parts solvent. To make the varnish dry matte you can dilute some beeswax into the damar concentrate formula.

Drier A liquid additive added to speed up drying. The traditional drier is cobalt or manganese, but alkyd resin is often used as a drier in oil painting. Also known as siccative.

Drying Oils Drying Oils refer to any oil that will harden over time, and can therefore be used as a binder or medium in oil painting. Examples of drying oils include linseed, walnut, poppy, safflower. Non drying oils include Olive and Almond.

Drying Time Drying time can refer to the amount of time it takes for a painting to be surface dry, and the amount of time it can take for a painting to be fully dry (also known as curing time).

Easel Wooden or aluminium support which holds your support in place as you paint on it. H or A Frame easels are designed for indoor painting, are sturdier and can hold larger supports. They are usually less compact and more difficult to move around. Radial easels are also for indoor painting but tend to hold a smaller size of support. They are more compact and easier to stack. For outdoor painting tripod field easels are available in wood and metal. These are lightweight, compact and easy to carry.

English Distilled A solvent made from the gum resin extracted from pine trees. Distillation removes more of the impurities in the/Turpentine turpentine, and makes it a suitable component for oil painting mediums and varnishes. Lower grade turpentines are

better suited for brush cleaning than in painting mediums.

Fat Over Lean Refers to advice for ensuring the stability of your finshed painting. Layers of paint with a higher oil content (i.e. more fat) must be applied over layers with a lower oil content (i.e. lean), when the layers underneath are not fully cured. Oil slows down the drying process and so it is important to ensure that your initial layers of paint dry before the layers over the top. If this does not happen then cracks will form on the surface of your painting as the paint underneath will continue to contract as it cures. If the initial layers of paint on your support are fully cured then you will not need to abide by the Fat over Lean rule to ensure a stable painting.

Ferrule The metal 'collar' into which the hairs of a brush are bound.

Film The dry outer layer of an application of paint. If the paint has too little binder then the paint might be described as having 'a weak paint film'.

Flag In brush making terminology, the flag refers to the natural split found in hog hairs. This improves the liquid holding capacity of the brush.

Flat Colour A uniform application of paint, i.e. without any texture or undulation in tone.

Fugitive Colour Fugitive colour refers to pigment that may fade or discolour when exposed to environmental conditions such as sunlight, heat or water. Fugitive colours will be indicated with a low lightfastness or permanence rating.

Gesso Traditionally gesso is a mixture of rabbit skin glue, whiting and water to make an absorbent and flexible primer for canvases and panels. Nowadays acrylic gessos are also available for oil and acrylic painting. Multiple layers of gesso will increase the absorbency of the surface, making it ideal for fluid washes as well as impasto marks.

Glass Muller A glass muller is used for the slow and gradual process of dispersing pigment evenly into a drying oil in order to make oil paint. The heavy glass muller is moved in a circular or figure-8 motion over a paste made of oil and pigment than has been roughly mixed together with a palette knife on a glass slab. The muller helps to further the process of dispersion and create a paint with an even consistency.

Glaze An application of transparent colour which has been thinned with a medium, usually consisting of retouching varnish, turpentine and linseed or stand oil. Multiple layers of glazes form depth in your paint surface.

Gloss A surface that is shiny when dry is said to be gloss. Some oil paints appear more gloss than others depending on the size of pigment particles and their concentration in the oil binder. Gloss can be increased by using a medium when painting (most mediums, with the exception of those designed to thicken paint, such as beeswax, appear gloss when dry). A popular oil painting medium which increases gloss is a mixture of linseed oil and retouching varnish, diluted with solvent.

Grisaille A monochromatic painting approach, using one colour plus white. Grisaille is sometimes used in underpainting to establish the tonal range of the composition. When dry the artist can then apply transparent glazes over the top to introduce colour to the composition.

Ground A term often used to describe a prepared surface ready for oil painting. The word 'ground' could refer to anything from a primed piece of canvas to an aluminium sheet.

Hog Hair Brushes The most popular type of brush for oil painting. Hog hair can vary in coarseness. A stiff hog hair will leave an imprint in oil paint that has been applied directly from the tube, or has been thickened. Some of the finer hog hairs will leave a less prominent imprint and can be used for all kinds of brush marks, from glazes and washes to thick impasto marks. The majority of hog hair is white although the very popular Jackson's black hog offers a finer variety of hog hair. The most popular variety of white hog hair for brushes is called Chungking (hair from the hogs raised in the Chinese City of Chungking). This hair is excellent for brushes because it is known to have long deep flags (this means each hair is split at the end) which increases the brush's liquid holding capacity.

Hue A hue is the actual appearance of a colour, i.e. you might describe a river to have a greenish brown hue. But it is also put at the end of the name of colours found in paint ranges where the colour is made from a mixture of pigments that have been combined to replicate a genuine pigment. Paint makers will do this to offer a less expensive alternative to the genuine pigment. When 'Hue' colours are mixed with other colours the results may differ from those that result when mixing with the genuine pigment.

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G L O S S A R Y C O N T I N U E D


Impasto A term to describe paint that has been applied thickly to a support. Oil paint applied straight from a tube in impasto marks will take a very long time to dry. The drying time can be reduced by combining the paint with a thickening medium such as beeswax or an alkyd impasto alternative.

Imprimatura In italian 'imprimatura' means 'the first layer'. In oil painting it refers to a thin transparent layer of colour that is laid on to a ground evenly in order to colour it. The layer is thinned with solvent or with a fast drying medium. It is then left to dry before the actual painting of the picture begins. Many artists will leave patches of the imprimatura layer showing through in their work. It is an alternative preparation to a tinted or coloured ground, where the primer is mixed with a colour prior to application to a support.

Interlocking Interlocking describes the way the hairs are arranged in a good brush. The hairs are interlocked in the ferrule so that as they protrude out from the ferrule the natural curve of each hair helps to form a brush head shape that will maximise the liquid holding capacity of the brush, as well as keep a fine point or sharp square or curved edge.

Lightfastness Lightfastness refers to the stability of a pigment when exposed to prolonged periods of ultra violet, found in natural/Permanence sunlight. It is measured using the Blue Wool Scale in the UK, and ASTM in America. Permanence takes into

consideration the effects of other elements on the stability and appearance of pigments, including humidity, light, heat, water, acidity, alkali levels etc. The permanence of a paint will be indicated on the label using a rating system determined by the manufacturer and explained in the manufacturer's colour chart or on their website. Some manufacturers say permanence when they mean lightfastness, so it's worth double checking if this is of particular concern.

Linen A natural fabric made from long threads woven together which is stronger and more elastic than cotton duck. It is usually darker than cotton duck and can be stretched on a frame, glued on to a board or panel or painted on unstretched. Linen needs to be sized with rabbit skin glue or an acrylic substitute prior to painting with oils. Linens are available in a range of weights (the heavier the weight the tougher the fabric will be) as well as a range of weaves, from fine to coarse. Which you choose will impact on the overall look of your painting.

Linseed Oil A popular and traditional oil made from seeds of flax plant, used to make mediums for oil painting. Linseed oil increases gloss and transparency and dries solidly throughout the oil film, making it very stable and permanent. It is ideal for underpainting / initial layers in a painting as it is comparatively fast drying (3-5 days) to other oils. Linseed oil is very pale light yellow in colour and may have a slight colour influence on whites/pale colours. Mix with solvents in equal measure (or more oil than solvent depending on your preference) to make a versatile oil painting medium which flows and dries gloss. 'Refined Linseed Oil' has been alkali refined. This means that impurities have been removed to minimise the yellowing of the oil over time. Cold Pressed Linseed Oil was traditionally used in the making of oil paint because its acid content helped with the wetting of pigments, although today there is little difference between wetting capacity of Cold Pressed Linseed Oil and Refined Linseed oil. Cold Pressed linseed oil contains more impurities than refined linseed oil and is a little darker in colour.

Liquin An alkyd resin based oil painting medium manufactured by Winsor and Newton. It speeds up the drying time of oils, and increases gloss and transparency. There are a number of varieties of Liquin. Liquin Impasto and Oleopasto will thicken paint, original will marginally reduce the body of oil paint, and Light Gel and Fine Detail will make the oil paint noticeably more fluid in consistency.

Mahl Stick A stick made from wood or aluminium with a leather bound cushion at one end. A mahl stick is designed to keep your hand steady when painting intricate passages. Rest the stick against one edge of your canvas and hold in place while resting your painting hand against the stick in the position you want to paint in. A mahl stick is helpful in ensuring that you do not smudge drying paint as you work.

Mass Tone The appearance of the colour of the paint as it comes from the tube. Contrasts with the Under tone of a colour.

Medium An additive that is mixed with paint in order to extend the colour or alter some of its properties such as consistency, texture, transparency and drying time.

Milling or Mulling Milling is the process of dispersing the pigments into the binder (in oil painting this is usually linseed oil, but could also be safflower, poppy or walnut oil). It is usually done with a glass muller on a slab, or with a three drum milling machine.

Monochrome The use of only one colour in a painting, which is likely to appear in a range of differing tonal values.

Motif A feature within a composition or design.

Mottler A wide flat brush that can evenly apply paint or varnish.

Oil of Spike Oil of Spike Lavender possesses similar properties to turpentine but with a slower rate of evaporation. It improvesLavender the levelling quality of brush marks. It has a pleasant odour and is less toxic than White Spirit and Turpentine. Only

small quantities are required when used as a painting medium.

Oil Paint Oil paint is made of a drying oil (linseed, walnut, poppy or safflower) and pigment. Some pigments will form paint that isComposition stringy, and so some manufacturers will add a little wax (around 2%) or zinc to reduce the stringiness. Pigments differ

in their absorbency. The more absorbent pigments can make up to 80% of the composition of a tube of oil paint, but less absorbent pigments may only make up to around 60% of the oil paint's composition. The process of making oil paint involves slowing milling the pigment into the oil using a glass muller on a slab or in a three drum milling machine. This slow and gradual process disperses the pigment evenly into its binder, creating smooth and buttery oil paint. The finest quality paints are usually referred to as professional grade and have the greatest pigment to binder ratio. The ratio as well as the colour strength reduces with the quality of the paint. Student quality paints will have the lowest ratio of pigment to binder out of all the paints we sell, however they are likely to also be the most affordable.

Oil Sticks Also known as pigment sticks, oil sticks are made of artist's quality oil colour blended with wax, this allows you to draw with oil colour and is a really versatile and exciting way of applying colour. Oil sticks can be used on their own to make bold, crayon-like marks and can also be thinned down with solvents to create washes and stains, just like conventional oil colour. Oil sticks contain more wax than oil paints to help them retain a solid cylindrical shape.

Oiling Out Oiling out is the process of unifying the sheen on a completed and dry oil painting prior to varnishing it. It involves applying a thin and even layer of oil across the whole of the picture surface by dipping a clean, lint free rag in linseed oil and gently rubbing it over the surface in a circular motion.

Oxidation Oxidation is the process that occurs when oil paint dries. With watercolour paint, the water evaporates causing the paint to solidify. Oil in oil paint does not evaporate as the paint dries. Instead it reacts with the air causing the oil itself to solidify on to the support. The higher the oil content of the paint the more gloss the paint will appear when dry.

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G L O S S A R Y

G L O S S A R Y C O N T I N U E DPalette Can refer to a surface on to which you mix your colours, or the selection of colours an artist has chosen for their

painting, e.g. 'the painting had a palette of mauves and greens'. Oil painting palettes are usually made from wood or plastic. They come in a variety of shapes and sizes. Some are designed to be held as the artist is painting and will have a thumb hole, others are designed to be placed on a table. Oil painting palettes should not be absorbent as otherwise they will stain. An unoiled wooden palette should therefore be oiled or varnished prior to use.

Palette Knife Palette Knives are also known as painting knives and are used by oil painters to mix colour and apply paint to a support. They are usually made from plastic or forged stainless steel. They are easy to wipe clean with a rag which means it is easy to keep colour mixes clean as well. As a painting tool it is ideal for impasto technique and also for applying colour in a flat and uniform layer.

Panel A rigid support for oil painting. Made from wood, compressed card or aluminium. Some panels are lined with primed canvas. A panel is ready for oil painting when it has been sized with rabbit skin glue or acrylic size and primed with an acrylic or oil based primer (see 'Primer' for more information on priming).

Pigment The source of colour within paint. Pigments are either naturally sourced from the earth or synthetically composed. Pigments are ground into fine particles and then milled into the paint vehicle (linseed, poppy, walnut or safflower oil in the case of oil paint) slowly and gradually until a smooth and buttery oil paint is formed. Pigments all have varying degrees of absorbency and some will take more oil than others, influencing the sheen of the paint when dry. Pigments are also of differing particle size and have their own sets of characteristics which will influence the overall behaviour of the paint.

Plein Air To paint out of doors in front of the subject. Famous artists who painted en plein air include Pisarro and Renoir.

Pochade A pochade box will open up to hold a small painting panel in place, and can also transport tubes of oil paint, medium, brushes and a palette. They are most commonly used for painting en plein air. The pochade box will usually have space for carrying wet panels in them without smudging one another, and will fix on to a tripod to position at the right height for painting.

Poppy Oil A clear oil medium to mix with and reduce light colours. Less inclined to yellow than Linseed Oil, but slower drying. Poppy oil enhances gloss and flow, but too high a proportion prevents the colour from thorough drying. It should only be used for the final layers of a painting, and only in moderation (i.e. mixed with solvents).

Primary Colours The traditional primary colours for painting are Red, Yellow and Blue. They are used because they can produce the largest range of colours around the spectrum. Other triads, such as Cyan, Yellow and Magenta are also used, producing gamuts of different intensities. A split primary palette will include warm and cool versions of each colour.

Primer A primer is a coating of paint that is applied on to a support and is allowed to fully dry before the actual painting process begins. Oil paint can be applied on to acrylic primer or oil primer. Acrylic primer is made from calcium carbonate (whiting) suspended in an acrylic binder. Oil Primer is made from alkyd resin and calcium carbonate powder. Acrylic primer can be applied directly to a support but oil primer should be applied to a surface that has been sized with rabbit skin glue or acrylic size. To create a very smooth surface on to which oil paint will move around freely, apply 2- 3 coats and allow to dry fully and lightly sand between applications. Gesso is a more absorbent variety of primer. Traditionally it is made with rabbit skin glue and whiting and is applied to the support warm. Today acrylic based gessoes are also available and do not need to be heated for application. Multiple coats of gesso will increase the absorbency, and light sanding between layers will optimise the smoothness.

Priming Brush Usually a flat wide brush, made with synthetic or hog hair. For an even application, load the brush and apply whilst holding it at around 45 degrees to the support. Brush the primer on in all directions to make the coverage even. Allow each layer to dry fully before applying the next layer.

Rabbit Skin Glue A glue size made from rabbit skin. It is applied to supports made from natural fibres to protect them from the corrosive qualities of drying oils. Rabbit skin glue usually comes in bags of dried granules, which are best melted in a bain marie (double boiler). Use a relatively soft haired brush to apply this very fluid, warm (and smelly!) substance to the canvas, working it into the grain and allowing the glue to laminate the threads. It should not be applied so thickly that a layer of the glue is noticeable. Rabbit skin glue is also available as a jelly like substance which thins out on heating. As well as forming a barrier between the oil and natural fibre of the canvas the glue will also cause the canvas to shrink slightly, thus tightening the canvas to the frame and increasing the tension or 'spring'. Rabbit skin glue is slightly hygroscopic, this means it does absorb water in humid conditions and when it does this it will swell. Repeated swelling and contracting caused by the natural changes of humidity in the air will, over time, cause a finished painting to crack. A number of non-hygroscopic acrylic mediums (AV, Jackson's, Golden) have been developed and many artists prefer to size their canvases with these alternatives because they believe their work will not deteriorate over time. Once a canvas has been sized it can be primed with oil primer.

Resin Based Oil Resin based paints such as those manufactured by Schmincke benefit from the luminosity and colour brilliance that dammar resin brings out

Paints of pigment. Resin based paints dry more evenly throughout the paint film than regular paints. This is because microscopic evaporation pores enable oxygen to penetrate more effectively into the inner layers of applied paint. Because the paint is more able to dry evenly throughout it is less likely to crack or wrinkle. In the Middle Ages paints were known to be made with European resins such as Mastic and Copal. Natural Resin based paints were also used in Byzantine art in the first centuries A.D.

Sable Brushes Made from the hair of male Siberian weasels, sable hair offers high liquid holding capacity and resilience when cared for. Sable brushes are used by some oil painters for fine detail and thin applications of paint such as glazes.

Safflower Oil A pale coloured alkali refined oil with little tendency to yellow. Favoured for use with whites and blues.

Sansodor A petroleum based mineral spirit solvent that has had harmful aromatic solvents found in its hydrocarbons removed. Sansodor evaporates slowly, increasing blending time. It is suitable for thinning oil colours and cleaning brushes.Use in a well-ventilated area.

Scaling Up/Down The process of transfering a composition from one surface to another. To scale up is to transfer and enlarge the image, and to scale down is to transfer and reduce the image. To do this a grid is placed over the top of the original composition. the same number of squares are drawn on to the surface you are transferring to. The artist will then carefully match the drawing in each square to the original. Transfering an image in a similar way without the use of a grid can be done by using a projector.

Scumbling Applying opaque or semi opaque colour over the top of already painted areas, in a 'broken brushmark', i.e., the scumbled mark will be uneven and only cover some of layer of paint underneath. Scumbling will add depth and texture to your painting.


Sfumato Painting thin glazes to give a misty effect to areas of a painting. For example sfumato might help to push some mountains on the horizon in a landscape painting further into the distance.

Siccative A liquid which speeds up the drying of oil paint. The traditional drier is cobalt or manganese, but alkyd resin is often used as a drier in oil painting. Also known as a drier.

Sight-size To paint or draw at the exact scale that you see the subject. Holding a pencil or paintbrush up at arms length against the subject helps to establish at what size you actually see the elements of your composition, and compare lengths and sizes with one another.

Single Pigment Artist and Professional grade oil colours will have a larger proportion of single pigment colours in their ranges. SingleColours pigment colours are easier to mix as a combination of too many pigments will achieve muddy or dull hues.Sinking in When oil colour is absorbed by the surface it has been painted on to and the colours appear less saturated than when

they were first applied. This can sometimes cause some areas of the painting to appear duller than others. Sinking in might occur if the sizing or priming of the support is uneven or inadequate.

Size The glue like substance used to protect the natural fibres of a support from the corrosive qualities of the drying oils used in oil paint. For more information see 'Rabbit Skin Glue'.

Sketch A sketch is the initial visual manifestation of an idea for a work of art. Can be executed in any drawing or paint media, including oils.

Snap/Spring The speed at which the hairs of a brush will 'snap' back into place if held away from its natural position from the ferrule. Many artists look for good snap in their brushes as it means the brush will make sharper, more vibrant looking brush marks.

Solvent A solvent dilutes and thins paint, and can be used to clean painting tools. Solvent that can be used in painting mediums include turpentine and Zest-It. These have fewer impurities and are less abrasive. Less refined solvents such as white spirit can be used for cleaning brushes but are too abrasive to be used as a painting medium. Note that solvent does not extend colour, it only dilutes it, and too much in proportion to your oil colour may weaken the structure of the paint you are working with (in other words, there is not enough binder holding the pigments in place and so the colour could wear off the surface over time). In order to avoid this, mix in a drying oil with your solvent and paint to extend colour and increase transparency.

Staining Capacity Staining refers to the inability of a pigment to be lifted from the support once applied. Smaller pigment particles tend to have a greater staining capacity as they more easily penetrate the fibres of the canvas or panel before the oil colour has fully cured.

Stand Oil A paler, more viscous oil than refined linseed oil which slows drying. Stand oil give a tough elastic finish. It can be mixed with turps or white spirit to help colour flow and reduce brush marks. It is made by heating without air at very high temperatures. This partly polymerises the oil, making it thicker in consistency yet maintaining a smoothness that allows it to level brush marks. It is an ideal component in a glaze medium. Its viscosity means one can use it to paint using impasto techniques knowing that the paint will not wrinkle. It yellows less than refined linseed oil and is also slower drying.

Stretched A piece of linen, hessian or cotton duck that has been tightly wrapped around a frame made of wood or aluminium and/Unstretched fixed at the back.Sizing and priming the stretched canvas will increase the tension in the stretch. Canvas This creates a vibrant, drum like surface to paint on. Stretched linen and cotton duck canvases can be bought ready

made. They are available unprimed or primed with acrylic or oil primer. Unstretched canvas can be purchased from and by the roll, ready to be stretched on to a frame at home or worked on unstretched.

Stretcher Bars Stretcher bars assemble to make a frame on to which canvas can be stretched over. They are available in pairs and made of wood or aluminium.

Support A general term for a surface ready to be painted on. A support can be anything from a canvas to a wooden panel.

Synthetic Brushes Synthetic oil painting brushes replicate the characteristics of traditional, natural hair oil painting brushes. They are known to be resilient and easier to clean (as the hairs are less absorbent than natural hair). Not all synthetic hair is the same and so characteristics vary across brands.

Tacks Tacks are a similar shape to drawing pins and are made of metal, and are used to fix canvas to the sides of a stretcher bar. Staples are generally considered to be more successful at keeping canvas fixed to the stretcher, but tacks are often still used to add a traditional aesthetic to the overall look of the support.

Tinting Strength The power of a colour over another colour when mixed together.

Transparency The measure of how much light is able to pass through an applied paint and interact with the surface beneath. /Opacity Transparent paints appear more luminous on a white support because they allow a larger proportion of light to hit the

surface they're applied to, as with a filter placed over a light bulb. Opaque paints block this reflection from occurring, and can be used to cover preceeding layers of colour. Transparent paints are better suited to glazing techniques, though these can still be achieved with opaque colours if diluted sufficiently or mixed with a suitable medium.

Turpentine Turpentine is a solvent made from the exatracted gum resin of pine trees. Turpentine's slow evaporation rate creates a gradual drying time, which again, allows for a more lustrous finish to dried colour that has been mixed with turps. Turpentine may suffer some discolouration if exposed to air over a prolonged period of time, so always worth keeping the lid on tight when not in use. There are a number of different turpentines available, for more information see Pure Turpentine, English Distilled Turpentine, Rectified Spirit of Turpentine and Larch Venice Turpentine.

Pure Turpentine Pure Turpentine can be used to thin out solvent based varnishes or oil painting mediums by mixing with drying oil. On its own it can be used to clean painting equipment. It will not dry out the natural moisture of your brush hairs as much as white spirit, however prolonged exposure of brush hairs to any solvent will accelerate the deterioration of the quality of the hair and cause them to become brittle and break more easily. To make your own varnish you can simply suspend damar resin crystals wrapped in a lint free cloth into a jar of pure turpentine until the crystals have dissolved.

English Distilled A fast evaporating, highly refined distillate sourced from the gum of pine trees. English Distilled turpentine is suitableTurpentine for removing turpentine based varnishes, such as Dammar. The bottle should be kept tightly closed and away from

light to prevent oxidation and discolouration and should not be used if it has thickened. It can be mixed with refined or cold pressed Linseed oil, or stand oil, to make a professional painter's medium. Add siccative to speed drying, and a small quantity of retouching varnish to increase gloss or create a glaze medium.

Rectified Spirit A volatile colourless liquid distilled from pine sap. It has greater wetting powers than white spirit and is used to thinof Turpentine oil paint. A slow drying thixotropic balsam for use in mediums and varnishes. Larch Venice Turpentine is madeLarch Venice from the pureresin of the Austrian Larch tree which has been purified and slightly heated when decanted. Turpentine It can be diluted with turpentine or placed in a warm water bath to obtain a fluid consistency.


G L O S S A R Y


Under Tone The bias of a colour when applied across a surface in a thin film , e.g. Ultramarine blue is said to have a reddish-blue undertone. Contrasts with the Mass tone of a colour.

Underpainting The initial layer of painting, usually executed in a minimal number of colours to establish areas of tone and 'map out' the composition on to the support.

Value This term means 'tone' in visual art. 'The value of the object' is a description of how light or dark the object is. The lightest value is white and the darkest value is black.

Varnish Varnish is a clear layer that is applied to a finished painting in order to protect it from dirt, dust, grease and UV rays.Retouching Varnish It is also sometimes used in oil painting mediums, for example in glazes. Solvent based varnishes are made up of resin/Picture Varnish and solvent. The resin provides the stable, solid, fast drying and glossy component of the varnish, and the solvent

the liquid vehicle. The solvent will evaporate over time leaving the resin to oxidise and solidify when exposed to the air. There are 2 main types of solvent varnish, picture varnish and retouching varnish. Picture varnish has a greater resin to turpentine ratio than retouching varnish, allowing it to form a more solid, continuous layer of resin over a finished work. An even layer of picture varnish will not allow water or other liquids to permeate through it in either direction. Because retouching varnish has more solvent in it, it forms a less solid layer when dry which will allow liquids to permeate through it. As a result the painting does not need to be fully dry before application. It is used as a temporary protection layer for a painting prior to the application of a final picture varnish, as well as in oil painting mediums to increase gloss and speed up drying times.

Varnishing Brush A varnishing brush should be kept in good condition and have clean, soft hairs. A square ended brush will make it easier to achieve an even application. A synthetic mottler is a good choice of brush for applying varnish. Several thin layers are better than one thick one. Lean your painting image side down against a wall during the drying process to ensure that dust does not settle on the surface.

Velatura Applying a glaze with a semi-opaque paint. The trace of the painting underneath will show through the layer of velatura.

Walnut Oil A very pale yellow brown oil. Walnut oil offers excellent resistance to yellowing and cracking and yellows less than linseed oil over time. Walnut oil also works as an effective brush cleaner that helps retain moisture in brush hairs. It dries faster than safflower and poppy oils but has just as little influence when mixed with pale colours.

Watermixable Oils Oil paints than have been modified to allow them to be thinned and washed with water. Ideal for those who wish to avoid having to work with solvents.

Weave The weave of a canvas can be completely smooth or very prominent, depending on how it was made. It will have an effect on how your painting looks. Artists who like to explore textures in their work might prefer a coarser weave, whereas artists who paint very fine detail may prefer a finer grain. The set of threads that are aligned lengthways in fabric is known as the warp, and the weft is the set of threads that weave in and out of the warp. In painting it is important that the warp and weft are similar so that when the canvas is stretched it will do so uniformly, without inconsistencies such as wrinkling.

Wedges Wedges are supplied with ready made canvases and stretcher bars and provide a way of making your canvas even more tightly stretched. Simply insert the wedges into the corners of the frame of your stretched canvas and gently tap in with a hammer. The wedges will push the stretcher bars outwards and keep them in place. If the same amount of pressure is put on each wedge then the canvas will remain square. By pushing the bars outwards you will be tightening the tension of the canvas stretched on the other side of the frame.

White Here is a brief overview of the most common whites in oil painting. Titanium White – the most popular white used in oil painting. It is brightest and most opaque white. Flake White – Genuine flake white is now only available to professional picture restorers, however Flake White Hue (titanium based, lead free substitute) is made by a number of oil paint manufacturers. It is a warm white which is fast drying, stiff in consistency and completely opaque. It dries with a very flexible and durable paint film. Its low tinting strength makes it very well suited to mixing with other colours. Traditionally was often the favoured white to use as a primer. Zinc White – The most transparent white. Use for tints and glazes. Stiff in consistency. Cremnitz white – Now only available to professional picture restorers but once popular among painters. A thick, granular pure lead white. It doesn't have any zinc in it as Flake white does which means it has a very stringy consistency. It is warm and slightly yellow with a degree of transparency. Mixing White – A mixture of titanium and zinc, which means it is more transparent than regular Titanium and with less tinting strength.

White Spirit White Spirit is a paraffin derived, clear solvent which can be used to wash away and thin oil paint and oil painting tools. It is more abrasive than turpentine and should not be used in painting mediums.

Zest It A lower toxicty, non-flammable, environmentally friendly alternative to traditional solvents such as white spirit or turpentine.


G L O S S A R Y


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