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Support Induced Discoloration (SID)Support Induced Discoloration (SID) occurs when paint changes color due to pulling up water-soluble substances from the substrate. As the paint dries these particles remain in the paint, discoloring it. Read how to avoid discoloration of paint on wood supports.

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Posted in Supports By George O'Hanlon

Tempera is a method of painting with pigments dispersed in a binder that is miscible with water. Although the term is typically associated with egg yolk as the binder, it is also applied to paints made with casein, gum or animal collagen (hide glue). The method was known from the classical world, and was the principal medium used for panel painting and illuminated manuscripts in the Byzantine world and Medieval and Early Renaissance Europe. This article examines the type of supports used today for tempera and the best practice of preparing them for tempera painting using a new ground, Tempera Ground, made by Natural Pigments.

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Posted in Grounds Supports By George O'Hanlon

Cracks caused by poking canvasFor over a hundred years, most of the causes of cracking have been explored: humidity and temperature, expansion and contraction, stress, and paint embrittlement. The symptoms were obvious—cracking and paint loss—but the causes were not clearly understood. In 1982, Marion Mecklenburg and other scientists at the Smithsonian Institute, reported the first systematic explanation of painting mechanics, and especially that of canvas paintings

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Posted in Supports By George O'Hanlon

Sizing Paper and Gelatin Sizing

6/10/2013 12:14 AM

European PapermakingUnsized paper is called “waterleaf” paper. It is usually composed of cellulose fibers that are hydrophilic, meaning they ‘love water.’ This is an advantageous quality while paper is being made, but can lead to unfortunate consequences once the paper is made. The extreme porosity of an untreated sheet of paper means that printing or drawing inks and water-based paints will soak into the paper spreading quickly and randomly. This is called ‘bleedthrough.’ Sizing retards some of paper’s absorbency.

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Posted in Sizes - Adhesives Supports By George O'Hanlon

Paint Glossary

6/10/2013 12:05 AM

GlossaryThe meaning of terms used in fine art painting.

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Posted in Grounds Mediums Paints Pigments Supports Varnish By George O'Hanlon

Beginning with this installment, this series of articles discusses the technique of making icons in abundant detail from obtaining the wood for the painting panel to putting on the final picture varnish or olipha of icons. A guide to the properties of wood and how to select the optimal wood for painting panels. This is the first in a series of articles on painting icons; beginning with the selection of the panel, preparing it for painting and the painting technique. Although this series of articles applies specifically to the preparing and painting of icons, it has wider application for preparing solid wood panels for painting.

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Posted in Paints Supports By George O'Hanlon

Wood Panel Cross SectionPart one on preparing wood panels for painting with the application of chalk grounds, and fifth in our technical series on painting icons, this article discusses the history and materials used in the preparation of wood panels for tempera painting — size, pavoloka and gesso — since the earliest period of Christian art until today. While the series specifically applies to making icon boards and preparing them for painting egg tempera icons, it has application to preparing wood panels for painting in any medium on chalk grounds.

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Posted in Grounds Sizes - Adhesives Supports By George O'Hanlon

Third in our technical series on painting icons, this article discusses the different types of braces found in Russian icons since the 12th century and their use in icons panels from the past to today. This series of articles has special application to the painting of icons, but has broad application to preparing wood panels for painting.

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Posted in Supports By George O'Hanlon

Making Joined Icon Panels

6/9/2013 12:38 AM

Second in our technical series on painting icons, this article discusses the technique of making joined icons panels from several boards in detail from wood structure to joinery. Although this article applies specifically to icon boards, it has wider application to making solid wood panels for painting.

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Posted in Supports By Louisa N

Fourth in our technical series on painting icons, this article discusses the kovcheg or ark — a recess in the surface of Russian icons — since the 10th century and their use in icons panels from the past to today.

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Posted in Supports By Louisa N

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