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This rule appears to confuse so many artists or ignored completely by others. Perhaps a better way to express the rule "always paint fat on lean" is always paint a slower drying paint film over a faster drying film. Think in terms of the last applied paint film being more flexible than the paint film underneath. Another way to clarify this rule is to think of adding a little more oil in the last application of paint than was included in the paint layer just covered, or not to dilute with solvent the last applied layer anymore than the previous one was thinned.

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Posted in The Director's Blog Paints By George O'Hanlon

A whitish surface appearance on oil paintings is a phenomenon of modern oil paintings. While such hazes have traditionally been described by painters as blooming or blanching, nomenclature has not yet caught up with the different causes. Other terms currently used are: efflorescence, exudation, fatty acid deposit or migration, saponification, crystallization, chalking, mold, and ghost images.

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Posted in The Director's Blog Paints By George O'Hanlon

Rublev Colours Artist Oils 50ml tubesRublev Colours lead whites are made with basic lead carbonate (made according to modern processes) ground in oil without additives (such as stearates, a common pigment stabilizer found in all other commercial brands) to alter the characteristics of the pigment. As a result you get a higher pigment volume concentration (PVC) than other brands of lead white (flake white). This means most brands of flake white in oversized tubes do not weigh nearly as much as Rublev Colours lead white in our standard 50 milliliter tube. Yet, Rublev Colours Lead White is not overly stiff and mixes well with all other oil colors.

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Posted in The Director's Blog Paints By George O'Hanlon

17th Century Flesh Tone Palette

6/18/2014 10:00 PM

Roger de PilesIn the 17th century, Roger de Piles described in precise detail the flesh tone palette used by nearly every artist of that time in his seminal treatise, Les Élémens de Peinture Pratique. This painting manual influenced artists for several hundred years and established the current practice of setting a limited palette and a rational approach to painting portraits among the greatest artists of that period. In this article, we translate chapter four from the original 1684 French manual and explain how contemporary artists can set the limited 17th century palette for flesh tones using Rublev Colours® Artists’ Oils.

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Posted in The Director's Blog Paints Pigments By George O'Hanlon

Ceracolors--Water-soluble wax paintIt’s not often that a brand-new fine art medium comes along. Ceracolors is a new artist-grade paint made from quality pigments in a water-soluble wax binder. Although made from wax, Ceracolors are not encaustic paints in that they do not require heat, solvents or mediums.

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Posted in The Director's Blog Paints By George O'Hanlon

Resins and Balsams

2/7/2014 10:00 PM

The word resin when used in its most specific sense is a hydrocarbon secretion of many plants, particularly coniferous trees. The resin produced by these plants is a viscous liquid, composed mainly of volatile terpenes. Oleoresins are naturally occurring mixtures of oil and resin. Other resinous products in their natural condition are a mixture of gum or mucilaginous substances and are known as "gum resins." Mastic gum is a good example of a gum resin.

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Posted in The Director's Blog Mediums Varnish By George O'Hanlon

Oleogel Road Test

10/8/2013 12:00 PM

The Artist's Magazine October 2013Oleogel was featured in Rob Anderson's Road Test column in the October 2013 issue of The Artist's Magazine. Rob writes about Oleogel: “What exactly does adding Oleogel to paint do? Oleogel maintains the body of the paint—say goodbye, in other words, to drippy paint—at the same time it increases the paint’s transparency. The medium is versatile enough that it can be used for a thick impasto and also for glazing. The fact that this medium is this versatile is something I’ve never seen before. In my experience, a medium typically is only good for one thing, either glazing or helping to extend and thicken the paint, but not both. All in all, I had a very positive experience using Oleogel. The increase in fluidity and simultaneous control were wonderful surprises. I plan on continuing to use the medium, making it a part of my painting process.”

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Posted in The Director's Blog Mediums By George O'Hanlon

We just returned from the 14th Annual Art of the Portrait Conference in Philadelphia last week excited from interest shown by hundreds of artists in Rublev Colours Artists Oils. These artists displayed intense enthusiasm for learning about traditional colors and how they can be used in contemporary portrait painting.

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Posted in The Director's Blog By George O'Hanlon

Tread Softly by Julio Reyes (detail)Natural Pigments congratulates Julio Reyes upon winning the Draper Grand Prize at the 2012 International Portrait Competition for his painting, Tread Softly. The finalists in the competition were announced at The Art of the Portrait conference Gala Banquet on Saturday, May 26, 2012 at the Sheraton Philadelphia Downtown Hotel.

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Posted in The Director's Blog Mediums Paints By George O'Hanlon

The recent shortage of lead white (flake white) oil paint by many artists’ material companies has created a panic among many artists. Understandably so, because lead white is the most useful color on the artist’ palette for oil painting and many artists are absolutely dependent upon a steady supply. Much wild speculation has become rampant about this situation, so we want to help dispel the growing number of myths surrounding lead white. Here is the situation regarding lead white oil paint.

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Posted in The Director's Blog Paints Pigments By George O'Hanlon

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