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The complete presentation by George O'Hanlon, founder and director of Natural Pigments, on the best practices in painting given at the Figurative Art Convention & Expo (FACE) in Miami on Friday, November 10, 2017. The lecture is based on studies of the reaction of painting supports, oils and pigments to changes in the environment during the past hundred years making it possible to understand the behavior of paintings. Modern commercial oil paints present new issues to conservators as they observe defects in paint films caused by new pigments and additives used in their formulations.

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Posted in Paints By George O'Hanlon

Rublev Colours Flemish WhiteLead sulfate (British spelling, sulphate), formed the basis of a number of white pigments that were made on a large scale in the 19th century and 20th century and sold under a variety of names, such as "Patent White Lead," "Non-poisonous White Lead," "Sublimed White Lead," etc. Some of these pigments did not consist entirely of lead sulfate but contained other minerals, such as zinc oxide, barite (barium sulfate), magnesia (magnesium carbonate), etc., in varying quantities.

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Posted in Paints Pigments By George.O'Hsnlon

Lily, detailIt’s not possible to physically blend egg tempera paint once it’s been applied because reworking fresh paint dissolves and lifts underlying layers. Thus whatever tool is used to apply egg tempera leaves behind its mark: A brushstroke stays visibly a brushstroke, sponged on paint carries the imprint of the sponge. This “mark making” tendency means egg tempera is ideal for rendering fine details, crisp textural effects, and other linear elements. The challenge in tempera is to create smooth, mark-free transitions.

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Posted in Paints By Koo Schadler

Teresa Oaxaca has been making use of transparent pigments for about a year and a half now and a blog post of this nature has been on her to do list ever since. Seldom very popular (unless the paint tube is labeled the ever famous "transparent oxide yellow"), little known and less understood, most people question why someone would want to go to the trouble of producing let alone painting with a weak pigment. In the age of cadmiums and and other bright hi-keyed pigments, earth colors have at turns come into question. Why not mix down? Why settle for a lower chroma?

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Posted in Paints Pigments By Teresa Oaxaca

Syndics of the Drapers' GuildIt is an old saying that rules are meant to be broken. No one did this more successfully than Rembrandt. For instance, the rich red in the table cloth in the Syndics is obtained by glazing a translucent red over brown, instead of over a brighter red. Rules are meant to be broken, but it is necessary to know first what the rules are. Read more about these painting rules.

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Posted in Paints By George O'Hanlon

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

Michael Sweerts Self PortraitIt is no coincidence that the palette in the self-portrait by Michael Sweerts is practically identical to the palette described in detail by Roger de Piles in his 1684 book, Les Premiers Elémens de Peinture Pratique. Sweerts was a contemporary of de Piles, and it appears that his palette was laid out in the manner practiced throughout western Europe in the 17th century.

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Posted in Paints Pigments By George O'Hanlon

The Palette of Teresa Oaxaca

2/26/2016 6:00 AM

Teresa Oaxaca paletteI have been working with Rublev Colours Artist Oils for the past several years now. So much so that my palette is nearly entirely comprised of their colors, and for my students you can buy the colors on the palette that I use in my workshops. This is for students who wish to use my full or limited palette. The list of materials is an integral part of my working palette and it has been selected for fast drying time so that your progress in the workshop may run smoothly without the added difficulty of having to work over still wet or tacky paint. You will notice the large number of earth colors, umbers and lead pigments. The oils that bind these pigments and that will be used as a medium also exemplify quick drying times. 

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Posted in Paints By Teresa Oaxaca

The Palette of Katherine Stone

2/16/2016 1:00 PM

Kate Stone PaletteIf you’re interested in Rublev Colours Artist Oils or were thinking about buying my paint set, this video will acquaint you with how I prepare my palette. Many of the colours require some personalization before I use them. You'll see in the video.

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Posted in Paints By Katherine Stone

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