Jackson's - Acrylic Colour Catalogue - 2016

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

Welcome to the Jackson's Acrylic Painting Catalogue.

Pure colour created with the finest pigments, versatility that is unparalleled; there's nothing quite like acrylics. Work with buttery heavy body paint which holds the imprint of your brush, or with an even spread of velvet-matt acrylic gouache. Perhaps you'll love the single cream consistency of fluid paint, or the dynamism of marker pens and sprays. Whatever your preference, there's so much you can do, and the availability of gels pastes and mediums further maximise the control you can have over the texture, sheen and drying times of your exquisite colours. Add this to a huge range of brushes and tools for making your mark and surfaces that range from ultra-modern aluminium panels to traditional gesso and imagine the possibilities. Work with your very favourite tried and tested materials, or dive into a world of experimentation and discovery.

Jackson's is the UK's leading art materials supplier, and it is our mission to help our customers realise their creative potential. We'll always provide you with the same friendly, personal service and expert advice, and never tire of prioritising the needs of our customers. We value your thoughts, so please let us know your suggestions relating to new products or ways of improving our service.

The newly relaunched jacksonsart.com is the home of every single product we sell, and is packed with information as well as the latest offers. Our blog jacksonsart.com/blog has everything from product reviews to interviews, and we're also on Facebook, Twitter, Instagram, YouTube, Pinterest and Google+, sharing hints and tips, customer comments and competitions, with the chance to win hundreds of pounds' worth of materials every month!

Want to get in touch? Please email us at [email protected].

The Jackson's Team

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Please note: Whilst prices are correct at the time of going to print they may be superceded by those in a later catalogue.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

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

C O N T E N T SColour Acrylic Painting / Acrylic Gouache / Acrylic Ink / Acrylic Spray / Acrylic Markers / Pens / Pencils / Charcoal / Drawing Accessories

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

Brushes Hog / Bristle / Sable / Synthetic / Sets

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

Glossary

4–45 66–87

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

ArtGrid App . . . . . . . . . . . . . . . . . . . . . 116Aprons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114Blades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Board Clips . . . . . . . . . . . . . . . . . . . . . .45Books . . . . . . . . . . . . . . . . . . . . . . . 122-123Box Easels . . . . . . . . . . . . . . . . . . . . . . . 121Brush Cases . . . . . . . . . . . . . . . . . . 106Brush Cleaner . . . . . . . . . . . . . . . 103Brush Sets . . . . . . . . . . . . . . . . .86-87Brush Washer . . . . . . . . . . . . . . . . . 114Canvas . . . . . . . . . . . . . . . . . . . . . . . . 52-57Canvas Carriers . . . . . . 113-114Canvas Pliers . . . . . . . . . . . . . . . . . 113

Cartridge Paper . . . . . . . . . . . . . . 65Charcoal . . . . . . . . . . . . . . . . . . . . . . . . . . 44Charcoal Pencils. . . . . . . . . . . . . 43Clutch Pencils . . . . . . . . . . . . . . . . . 43Colour Wheels . . . . . . . . . . . . . . . . 116Cutting Mats & Tools . . 109DVDs . . . . . . . . . . . . . . . . . . . . . . . . .124-125Easels . . . . . . . . . . . . . . . . . . . . . . . . 118-121Erasers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45Framing . . . . . . . . . . . . . . . . . . . . . . . . . . . 115French Curves . . . . . . . . . . . . . . . . 110Gels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94-96Gesso.. . . . . . . . . . . . . . . . . . . . . . . 101-102

Gesso Panels . . . . . . . . . . . . . 57, 61Gloves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114Graphite. . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Gift Vouchers . . . . . . . . . . . . . . . . 130Hand Cleaner. . . . . . . . . . . . . . . . . . 114Knives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Lamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117Leads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . 117Linen . . . . . . 48-49, 53, 58-59Mahl Sticks . . . . . . . . . . . . . . . . . . . . . 114Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . 64-65Palette Knives . . . . . . . . . . 112-113

Palettes . . . . . . . . . . . . . . . . . . 104-105Panels . . . . . . . . . . . . . . . . . . . . . . . . .58-63Pastes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97Pencil Extender . . . . . . . . . . . . . .45Pencils . . . . . . . . . . . . . . . . . . . . . . . 43-44Pens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Perspective Viewer . . . . . . . 116Polypropylene Bags . . . . . 108Portfolios . . . . . . . . . . . . . . . . . . . . . . . 107Pre-cut Mounts . . . . . . . . . . . . 108Primers . . . . . . . . . . . . . . . . . . . . 101-102Projectors . . . . . . . . . . . . . . . . . . . . . . . 116Roll Canvas . . . . . . . . . . . . . . . 48-49

Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Sharpeners . . . . . . . . . . . . . . . . . . . . . .45Stay Wet Palettes . . . . . . . . 105Stretcher Bars . . . . . . . . . 50-52Table Easels . . . . . . . . . . . . . . . . . . . 121Tapes . . . . . . . . . . . . . . . . . . . . . . . . . 110-111T-Square . . . . . . . . . . . . . . . . . . . . . . . . . . 110Varnishes . . . . . . . . . . . . . . . . 98-100Wooden Boxes . . . . . . . . . . . . . . . . 121

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

Ara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Alu-Pro . . . . . . . . . . . . . . . . . . . . . . . . 52-53 Albrecht . . . . . . . . . . . . . . . . . . . . 118-119Ampersand . . . . . . . . . . . . . . . . 60-61Aristo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Artfix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48Artograph . . . . . . . . . . . . . . . . . . . . . . . . 116Av Vallejo . . . . . . . . . . . . . 20-21, 31 . . . . 38, 91-92, 95-97, 99-101Belle Arti . . . . . . . . . . . . . . . . . . 48-49,. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53-54, 57Biyomap . . . . . . . . . . . . . . . . . . . . . . . . 107Breen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107Bristle Magic . . . . . . . . . . . . . . . . 103Canson . . . . . . . . . . . . . . . . . . . . . . . 64-65Caran d'Ache . . . . . . . . . . . . . . . . . . .45Claessens . . . . . . . . . . . . . . . . . . . . . . . . .49Clairefontaine . . . . . . . . . . . . . . . . .64Coates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Colour Wheel . . . . . . . . . . . . . . . . . . 116Conte a Paris . . . . . . . . . . . . . . . . . . 44

Crescent . . . . . . . . . . . . . . . . 108, 110Cretacolor . . . . . . . . . . . . . . . . 43-45Da Vinci . . . . . . . . . . . . . . . 73-74, 77. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79, 103Daler-Rowney . . . . . . . . . . . 15, 30.. 38, 44-45, 56, 64-65, 79 . . . . . . . 87, 93 96, 99, 101, 105Daylight . . . . . . . . . . . . . . . . . . . . 116-117Derivan . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Derwent . . . . . . . . . . . . . . . . . . . . . . . . . . . .45Escoda . . . . . . . . . . . . . . . . . 69-71, 78 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82, 86-87 Faber-Castell . . . . . 42-43, 45 Fabriano . . . . . . . . . . . . . . . . . . . 64-65 Fredrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64Gamblin . . . . . . . . . . . . . . . . . . . . . . . . . 102General Pencil Co. . . . . . . . . . 44Golden . . . . . . . . . . . . . . . . 6-11 , 90-91. . . . . . . . . . . . . . . . 94-95, 97-98, 101Hahnemuhle . . . . . . . . . . . 64, 105Handover . . . . . . . . . . . . . 72-73, 83

.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111 , 114Holbein . . . . . . . . . . . . . 103, 113-114Isabey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Jackson's . . . . . . . . . . . . 12, 44-45 . . 49-53, 55, 58, 62-63, 65,. . . 68, 75-76, 80 86, 90, 92 . . . . 95, 98 101, 105-106, 108.. . . . . . . . . . . . . . . . . . . . . . . . . . . .112, 114-121 Jakar . . .44-45, 109-111 , 120JAS . . . . . . . . . . . . . . . . . . 45, 104, 106.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112-114Koh-I-Noor . . 43, 45, 110-111Lascaux . . . . . . . . . 14, 27, 35, 91. . . . . . . . . . . . . . . . . . . . . . . . . . . 96, 100-103Liquitex. . . . . . . . . . . . . . . . . .18-19, 37 . . . . . . . . . . . 40-41, 78, 86, 92 98.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101-102 Logan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Lukas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 Mabef . . . . . . . . . . . . . . . .104, 117-119Magic Color. . . . . . . . . . . . . . . . . . . . . . 37

Manuscript . . . . . . . . . . . . . . . . . . . . . 110Mapac . . . . . . . . . . . . . . . . . . . . . 106-107Maped . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Masterson . . . . . . . . . . . . . . 105-106Micron . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Montana . . . . . . . . . . . . . . . . . . 39, 100 New Wave . . . . . . . . . . . . . . 104-105Nitram . . . . . . . . . . . . . . . . . . . . . . . . 44-45Norfolk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Old Holland . . . . . . . . . . . . . . . . 22-23Omega . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83Pentel . . . . . . . . . . . . . . . . . . . . . . . . . 42-43Pilot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Princeton . . . . . . . . . . . . . . . . . . 84-85Pro Arte . . . . . . 70, 81, 86, 106Raphael . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71RGM . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112-113Roberson . . . . . . . . . . . . . . . . . . . . . . . . . 101Rotring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Schmincke . . . . . . . . . . 16, 92-93.. . . . . . . . . . . . . . . . . . 99-100, 102-103

Sennelier . . . . . . . . . . . . . . . . . . . . . . . . . . 26Snowdon.. . . . . . . . . . . . . . . . . . . . . . . . . . 65Stil lman & Birn . . . . . . . . . . . . . . . 65Strathmore . . . . . . . . . . . . . . . . . . . . . . 65Talens . . . . . . . . . . . . . . . . . . . . . . . .24-25The Master's . . . . . . . . . . . . . . . . . 103Townhouse . . . . . . . . . . . . .124-125Turner . . . . . . . . . . . . . . . . . . . . . . . .32-34Uni Pin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Winsor & Newton . . . . . 13, 29.. . . . . . . . .44, 56-57, 72, 87, 93 . . . . . . 96-97, 99-102, 105, 114. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118-121Wolff 's . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Zecchi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104Zest-it . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

B R A N D I N D E X

46–65

88–125

126-129

C O L O U R

P h t h a l o B l u eP B 1 5 : 1

Every conceivable exquisite colour of the spectrum! Acrylic painters really have got the luck of the draw when it comes to filling their paintboxes. Not only are there hundreds of beautiful colours made by the world's finest paint experts, but there's also the choice of whether your idea would look best rendered in heavy body paint, fluid paint, acrylic spray paint, ink, acrylic gouache, markers or a mixture! What makes the very best acrylic paint is maximum pigment load combined with the finest polymer emulsions available. Whether you're painting a series of monochromes, or unable to resist the dynamism of powerful primaries, or pining for a rich earth palette, we're sure your version of irresistible colour is located within these pages.

C O N T E N T SAcrylic Paint

Acrylic Gouache

Acrylic Ink

Acrylic Spray

Acrylic Markers

6–31

31–35

36–38

39–40

41

Pens

Pencils

Charcoal

Drawing Accessories

42

43

44

45

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

A C R Y L I C C O L O U R

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

Extended pigment index P[0 1 ] : PY 3 PY 7 3 PBr7 PY42 P[0 2] : PR 206 PR 20 2 PR 12 2 PR 10 1 P G 36 P[0 3] : P V 19 PR 12 2 P W4 P V 2 3 P[0 4] : PR 12 2 P W6 P V 2 3 PBr7 P[05 ] : P W4 PB 15 :4 PY 150 PBr7 P[06] : P G 36 PR 10 1 PY 150 PBk7 P[07 ] : P G 1 7 PBk 9 PBr7 P G 36 PY42 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

G O L D E N H E A V Y B O D Y A C R Y L I C 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 eA G 6 0 � 7. 5 0 5 . 7 0A G 6 0 � 8 . 5 0 6 . 4 0A G 6 0 � 9 . 9 5 7. 5 0A G 6 0 � 1 0 . 9 5 8 . 3 0A G 6 0 � 1 1 . 5 0 8 . 7 0A G 6 0 � 1 3 . 5 0 1 0 . 2 0A G 6 0 � 1 4 . 7 5 1 1 . 1 0A G 6 0 � 1 6 . 2 5 1 2 . 2 0A G 6 0 � 1 7. 5 0 1 3 . 1 0

6 0 M L T U B E S This heavy body acrylic is the original paint range produced by the internationally reputable American paint maker.Golden Heavy Body is known for its exceptionally smooth, thick buttery consistency. It contains the largest assortment of unique pure pigments in a 100 percent acrylic emulsion vehicle available to the professional artist. These colours offer excellent permanency and lightfastness. There are no fillers, extenders, opacifiers, toners or dyes added.

Each colour is formulated differently depending on the nature of the pigment. Colours that tolerate high pigment loads dry to a more opaque, matte finish. Colours that are more reactive and do not accept high pigment loading dry to a glossy finish and tend to be more transparent.

Heavy Body colours contain no additives, such as matting agents, therefore the gloss of each colour will reflect the characteristics of each pigment in their purest form.

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 eA G 2 3 6 � 2 0 . 9 5 1 5 . 8 0A G 2 3 6 � 2 3 . 5 0 1 7. 7 0A G 2 3 6 � 2 5 . 9 5 1 9 . 5 0A G 2 3 6 � 2 7. 9 5 2 1 . 0 0A G 2 3 6 � 3 1 . 9 5 2 4 . 0 0A G 2 3 6 � 3 8 . 5 0 2 9 . 0 0A G 2 3 6 � 4 2 . 9 5 3 3 . 0 0A G 2 3 6 � 4 6 . 5 0 3 5 . 0 0A G 2 3 6 � 5 3 . 9 5 4 1 . 0 0

2 3 6 M L P O T 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 eA G 1 5 0 � 1 4 . 9 5 1 1 . 3 0A G 1 5 0 � 1 6 . 4 5 1 2 . 4 0A G 1 5 0 � 1 7. 9 5 1 3 . 5 0A G 1 5 0 � 1 9 . 9 5 1 5 . 0 0A G 1 5 0 � 2 3 . 5 0 1 7. 7 0A G 1 5 0 � 2 6 . 5 0 1 9 . 9 0A G 1 5 0 � 2 9 . 9 5 2 2 . 5 0A G 1 5 0 � 3 2 . 9 5 2 5 . 0 0A G 1 5 0 � 3 7. 9 5 2 8 . 5 0

1 5 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 eA G 4 7 3 � 3 2 . 9 5 2 4 . 5 0A G 4 7 3 � 4 0 . 9 5 3 1 . 0 0A G 4 7 3 � 4 3 . 9 5 3 3 . 0 0A G 4 7 3 � 4 8 . 9 5 3 7. 0 0A G 4 7 3 � 5 7. 9 5 4 3 . 0 0A G 4 7 3 � 6 6 . 9 5 5 0 . 0 0A G 4 7 3 � 7 5 . 9 5 5 7. 0 0A G 4 7 3 � 8 3 . 9 5 6 3 . 0 0A G 4 7 3 � 9 4 . 9 5 7 1 . 0 0

4 7 3 M L P O T S

C O L O U R S

1380 · Titanium White� P W6 � �

1415 · Zinc White� P W4 � �

13 75 · Titanite Yellow� PY5 3 � �

1135 · Pure Cad. Yellow Primrose� PY 3 5 � �

1180 · Hansa Yellow Light� PY 3 � �

1007 · Bismuth Vanadate Yellow� PY 18 4 � �

1120 · Pure Cad. Yellow Light� PY 3 5 � �

1530 · Primary Yellow� PY 3 PY 7 3 P W6 � �

1190 · Hansa Yellow Medium� PY 7 3 � �

119 1 · Hansa Yellow Opaque� PY 74 � �

1130 · Pure Cad.Yellow Medium� PY 3 5 � �

155 4 · Cad. Yellow Medium Hue� PY8 3 PY5 3 PY 3 � �

14 63 · Aureolin Hue� P[0 1 ] � �

12 25 · Nickel Azo Yellow� PY 150 � �

14 55 · Indian Yellow Hue� PY 7 3 PY 150 PR 206 � �

1301 · Quinacr. Nickel Azo Gold� P O 4 8 PY 150 � �

1280 · Quinacr. Burnt Orange� PR 206 � �

1110 · Pure Cadmium Yellow Dark� PY 3 5 � �

1147 · Dairylide Yellow� PY8 3 � �

1070 · Pure Cadmium Orange� P O20 � �

138 4 · Transp. Pyrrole Orange� P O7 1 �

14 03 · Vat Orange� P O 4 3 � �

12 76 · Pyrrole Orange � P O7 3 �

1090 · Pure Cadmium Red Light � PR 10 8 � �

12 79 · Pyrrole Red Light� PR 25 5 � �

1320 · Quinacridone Red Light� PR 207 � �

12 10 · Naphthol Red Light� PR 1 12 � �

12 7 7 · Pyrrole Red� PR 25 4 � �

1100 · Pure Cad. Red Medium� PR 10 8 � �

1552 · Cad. Red Medium Hue� PR 1 12 PR5 � �

1080 · Pure Cadmium Red Dark� PR 10 8 � �

12 78 · Pyrrole Red Dark� PR 26 4 �

1510 · Primary Magenta� P V 19 � �

1562 · Light Magenta� PR 1 12 P W6 PR 207 � �

12 20 · Naphthol Red Medium� PR5 � �

13 10 · Quinacridone Red� P V 19 � �

14 50 · Alizarin Crimson Hue� PR 12 2 PR 206 P G7 � �

1290 · Quinacridone Crimson� PR 206 PR 20 2 � �

1252 · Permanent Maroon� P[0 2] � �

1305 · Quinacridone Magenta� PR 12 2 � �

1570 · Medium Magenta � PR 12 2 P W6 � �

13 30 · Quinacridone Violet � P V 19 � �

1253 · Permanent Violet Dark� PB60 PR 12 2 � �

14 65 · Cobalt Violet Hue � P[0 3] � �

1572 · Medium Violet� P[0 4] � �

1568 · Light Violet� P W6 P V 2 3 � �

14 01 · Ultramarine Violet� P V 15 � �

1150 · Dioxazine Purple� P V 2 3 � �

14 67 · Smalt Hue � PB2 9 P V 2 3 PBk7 � �

14 00 · Ultramarine Blue� PB2 9 � �

1566 · Light Ultramarine Blue� PB2 9 P W6 � �

114 0 · Cobalt Blue� PB2 8 � �

1556 · Cobalt Blue Hue� PB2 9 PB 15 :4 P W6 � �

1050 · Cerulean Blue Chromium� PB 36:1 � �

1005 · Anthraquinone Blue� PB60 � �

14 60 · Prussian Blue Hue� PB 15:1 P V 2 3 PBk 9 � �

1260 · Phthalo Blue (Red Shade)� PB 15:1 � �

1255 · Phthalo Blue (Grn. Shade)� PB 15:4 � �

1500 · Primary Cyan� PB 15:4 P W6 � �

1051 · Cerulean Blue Deep� PB 36 � �

14 57 · Manganese Blue Hue� PB 15:4 P G7 P W4 � �

14 6 4 · Azurite Hue� P W4 PB 15 :1 PBr7 � �

1369 · Teal� P W6 PB 15 :4 P G7 � �

156 4 · Light Turquoise Phthalo� PB 15:4 P W6 P G7 � �

1390 · Turquoise Phthalo� PB 15:4 P G7 � �

114 4 · Cobalt Turquoise� PB 36 � �

12 70 · Phthalo Green (Bl. Shade)� P G7 � �

14 69 · Viridian Green Hue� P[05 ] � �

12 75 · Phthalo Green (Yell. Shade)� P G 36 � �

1250 · Permanent Green Light� PY 3 P G7 � �

1142 · Cobalt Green� P G 26 � �

14 5 4 · Hooker's Green Hue� PR 12 2 PY 150 PB 60 � �

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


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

1195 · Jenkin's Green� PBk 9 PY 150 P G 36 � �

14 61 · Sap Green Hue� P[06] � �

14 68 · Terre Verte Hue� P[07 ] � �

1061 · Chrom. Oxide Green Dark� P G 1 7 � �

1060 · Chromium Oxide Green� P G 1 7 � �

1558 · Light Green (Blue Shade)� P G7 P W6 PY 3 � �

1560 · Light Green (Yell. Shade)� PY 3 P W6 P G7 � �

1170 · Green Gold� PY 150 P G 36 PY 3 � �

13 70 · Titan Buff� P W6:1 � �

14 59 · Naples Yellow Hue� P W6 PY42 PY8 3 � �

14 07 · Yellow Ochre� PY4 3 � �

1410 · Yellow Oxide� PY42 � �

1386 · Transp. Yellow Iron Oxide� PY42 � �

13 4 0 · Raw Sienna� PY4 3 � �

1202 · Mars Yellow� PBr 6 � �

1385 · Transp. Red Iron Oxide� PR 10 1 � �

1360 · Red Oxide� PR 10 1 � �

14 05 · Violet Oxide� PR 10 1 � �

14 4 3 · Neutral Grey N3� P W6 PBk 9 PBr7 � �




14 47 · Neutral Grey N7� P W6 PBk 9 PBr7 � �


4 006 · Iridesc. Copper Light Fine� P[N A] �

4106 · Irid. Copper Light Coarse� P[N A] �

4 005 · Iridescent Copper Fine� P[N A] �

4105 · Iridescent Copper Coarse� P[N A] �

4 003 · Iridescent Bronze Fine� P G7 �

4 010 · Iridescent Gold Fine� P[N A] �

4110 · Iridescent Gold Coarse� P[N A]

4 015 · Iridescent Gold Deep Fine� P[N A] �

4 012 · Iridescent Bright Gold Fine� P[N A] �

4 020 · Iridescent Pearl Fine� P[N A] �

4120 · Iridescent Pearl Coarse� P[N A] �

4 025 · Iridescent Silver Fine� P[N A] �

4 028 · Irid. Stainless Steel Fine� P[N A] �

4 02 7 · Irid. Stain. Steel Coarse� P[N A] �

4 0 4 0 · Interference Gold Fine� P[N A] �

4 055 · Interference Orange Fine� P[N A] �

4 060 · Interference Red Fine� P[N A] �

4 070 · Interference Violet Fine� P[N A] �

4 030 · Interference Blue Fine� P[N A] �

4 050 · Interference Green Fine� P[N A] �

4 076 · Gold Mica Flake Small� P[N A]

4 078 · Gold Mica Flake Large� P[N A]

4 07 7 · Pearl Mica Flake Small� P[N A]

4 080 · Micaceous Iron Oxide� PR 10 1 �

4 075 · Black Mica Flake Small� P[N A]

4 082 · Coarse Alumina� P[N A]

M E T A L L I C C O L O U R S N O T A V A I L A B L E I N 6 0 M L O R 1 5 0 M L T U B E S

4 605 · Fluorescent Blue� P[N A]

4 615 · Fluorescent Chartreuse� P[N A]

4 620 · Fluorescent Green� P[N A]

4 625 · Fluorescent Magenta� P[N A]

4 630 · Fluorescent Orange� P[N A]

4 6 4 0 · Fluorescent Yell. Orange� P[N A]

4 6 4 5 · Fluorescent Pink� P[N A]

4 650 · Fluorescent Red� P[N A]

F L U O R E S C E N T C O L O U R S O N L Y A V A I L A B L E I N 4 7 3 M L T U B S

C U S T O M E R R E V I E W S Titanium White 'Smooth and lustrous with an oil-like feel.'

Zinc White'I like using as a glaze, using its transparent qualities.'

Hansa Yellow Light'Translucent when used thinly, great for using in mono printing.'

Hansa Yellow Medium'Very good, I like the Slow Drying Aspect.'

Indian Yellow Hue'Beautiful colour and paint has a good consistency.'

Naphthol Red Light'Brilliant for use in printing, lovely translucent colours very good quality.'

VanDyke Brown Hue'Lovely, versatile colour and smooth consistency.'

Alizarin Crimson Hue'Soft texture with intense colour.'

Raw Sienna'I like all the Golden Open acrylics they give me more time to work than standard acrylics.'

1020 · Burnt Sienna� PBr7 � �

10 4 0 · Carbon Black� PBk7 � �

1200 · Mars Black� PBk1 1 � �

14 42 · Neutral Grey N2� P W6 PBk 9 PBr7 � �

1010 · Bone Black� PBk 9 � �

1160 · Graphite Grey� PBk10 � �

124 0 · Payne's Grey� PB2 9 PBk7 � �

1350 · Raw Umber� PBr7 � �

138 3 · Transp. Brown Iron Oxide� PR 10 1 PBk7 � �

14 62 · Van Dyke Brown Hue � PR 10 1 PBk7 � �

1030 · Burnt Umber � PBr7 � �

1035 · Burnt Umber Light� PBr7 � �

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


G O L D E N F L U I D A C R Y L I C 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 eA G 3 0 � 5 . 9 5 4 . 5 0A G 3 0 � 6 . 5 0 4 . 9 0A G 3 0 � 6 . 7 5 5 . 1 0A G 3 0 � 6 . 9 5 5 . 3 0A G 3 0 � 7. 4 0 5 . 6 0A G 3 0 � 8 . 2 5 6 . 2 0A G 3 0 � 8 . 7 5 6 . 6 0A G 3 0 � 9 . 5 0 7. 2 0A G 3 0 � 1 0 . 5 0 7. 9 0

3 0 M L B O T T L E S Fluid Acrylic paints will easily pour, yet don’t be mistaken in thinking they are a thinned out version of Heavy Body Acrylics.These colours still offer maximum colour strength for artists who are keen to avoid retaining brush marks.

Fluid Acrylics are highly intense, permanent acrylic colours with a consistency similar to heavy cream. Produced from lightfast pigments, not dyes, they offer very strong colours with very thin consistencies. No fillers or extenders are added and the pigment load is comparable to Golden Heavy Body Acrylics.

Unlike mixtures of heavy-bodied paints and water which produce weak colour and films by dilution, Fluid Acrylics contain high pigment levels suspended in an acrylic polymer vehicle. The result offers fine dispersion, high tinting strength, durability, flexibility and good adhesion. Fluid Acrylics are ideal for spraying, brushing, staining, and can be mixed with other Golden Products.


2 3 6 M L B O T T L 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 eA G 1 1 9 � 1 2 . 9 5 9 . 4 0A G 1 1 9 � 1 3 . 9 5 1 0 . 1 0A G 1 1 9 � 1 4 . 9 5 1 0 . 8 0A G 1 1 9 � 1 6 . 2 5 1 1 . 7 0A G 1 1 9 � 1 9 . 9 5 1 4 . 4 0A G 1 1 9 � 2 2 . 5 0 1 6 . 2 0A G 1 1 9 � 2 4 . 9 5 1 8 . 0 0A G 1 1 9 � 2 7. 5 0 1 9 . 8 0A G 1 1 9 � 3 0 . 9 5 2 2 . 5 0

1 1 9 M L B O T T L 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 eA G 4 7 3 � 3 2 . 9 5 2 4 . 0 0A G 4 7 3 � 4 0 . 9 5 2 9 . 5 0A G 4 7 3 � 4 3 . 9 5 3 2 . 0 0A G 4 7 3 � 4 8 . 9 5 3 6 . 0 0A G 4 7 3 � 5 7. 9 5 4 2 . 0 0A G 4 7 3 � 6 6 . 9 5 4 9 . 0 0A G 4 7 3 � 7 5 . 9 5 5 5 . 0 0A G 4 7 3 � 8 3 . 9 5 6 1 . 0 0A G 4 7 3 � 9 4 . 9 5 6 9 . 0 0

4 7 3 M L B O T T L E S

C O L O U R S



2 180 · Hansa Yellow Light� PY 3 � �

242 2 · Primary Yellow� PY 3 PY 7 3 P W6 � �

2 190 · Hansa Yellow Medium� PY 7 3 � �

2 19 1 · Hansa Yellow Opaque� PY 74 � �

2428 · Cad. Yellow Medium Hue� PY8 3 PY5 3 PY 3 � �

2 2 25 · Nickel Azo Yellow� PY 150 � �


2301 · Quinacr. Nickel Azo Gold� P O 4 8 PY 150 � �

2 280 · Quinacr. Burnt Orange� PR 206 � �

2 147 · Dairylide Yellow� PY8 3 � �

238 4 · Transp. Pyrrole Orange� P O7 1 �

24 03 · Vat Orange� P O 4 3 � �

2 2 76 · Pyrrole Orange � P O7 3 �

2 2 79 · Pyrrole Red Light� PR 25 5 � �

2 2 10 · Naphthol Red Light� PR 1 12 � �

2 2 7 7 · Pyrrole Red� PR 25 4 � �

2425 · Cad. Red Medium Hue� PR 1 12 PR5 � �

242 1 · Primary Magenta� P V 19 � �

2 2 20 · Naphthol Red Medium� PR5 � �



2 290 · Quinacridone Crimson� PR 206 PR 20 2 � �


23 30 · Quinacridone Violet � P V 19 � �

2 253 · Permanent Violet Dark� PB60 PR 12 2 � �


2 150 · Dioxazine Purple� P V 2 3 � �


2 14 0 · Cobalt Blue� PB2 8 � �



24 39 · Prussian Blue Hue� PB 15:1 P V 2 3 Pbk 9 � �

2 260 · Phthalo Blue (Red Shade)� PB 15:1 � �

2 255 · Phthalo Blue (Grn. Shade)� PB 15:4 � �

2420 · Primary Cyan� PB 15:4 P W6 � �

2051 · Cerulean Blue Deep� PB 36:1 � �

24 3 7 · Manganese Blue Hue� PB 15:4 P G7 P W4 � �

2369 · Teal� P W6 PB 15 :4 P G7 � �

2390 · Turquoise Phthalo� PB 15:4 P G7 � �

2 14 4 · Cobalt Turquoise� PB 36 � �

2 2 70 · Phthalo Grn. (Blue Shade)� P G7 � �

24 4 3 · Viridian Green Hue� P[0 1 ] � �

2 2 75 · Phthalo Grn. (Yell. Shade)� P G 36 � �

2 250 · Permanent Green Light� PY 3 P G7 � �

2 195 · Jenkin's Green� PBk 9 PY 150 P G 36 � �

24 4 0 · Sap Green Hue� P[0 2] � �


2 170 · Green Gold� PY 150 P G 36 PY 3 � �

23 70 · Titan Buff� P W6:1 � �





23 4 0 · Raw Sienna� PY4 3 � �


2360 · Red Oxide� PR 10 1 � �

24 05 · Violet Oxide� PR 10 1 � �

24 52 · Iridesc. Copper Light Fine� P[N A] �


24 50 · Iridescent Bronze Fine� P G7 �

24 53 · Iridescent Gold Fine� P[N A] �

24 55 · Iridescent Gold Deep Fine� P[N A] �

24 5 4 · Iridesc. Bright Gold Fine� PY 150 PR 206 �

24 56 · Iridescent Pearl Fine� P[N A] �

24 57 · Iridescent Silver Fine� PBk7 �

24 58 · Irid. Stain. Steel Coarse� P[N A] �

24 67 · Interference Gold Fine� P[N A] �

24 68 · Interference Orange Fine� P[N A] �

24 69 · Interference Red Fine� P[N A] �

2470 · Interference Violet Fine� P[N A] �

24 65 · Interference Blue Fine� P[N A] �

24 66 · Interference Green Fine� P[N A] �





Extended pigment index P[0 1 ] : P W4 PB 15 :4 PY 150 PBr7 P[0 2] : PR 10 1 PY 150 P G 36 PBk7 P[N A] : not avai lable





2 24 0 · Payne's Grey� PB2 9 PBk7 � �


2035 · Burnt Umber Light� PBr7 � �

24 60 · Micaceous Iron Oxide� PR 10 1 � �S T R O N G L Y

P I G M E N T E D A N D A L W A Y S A P L E A S U R E

T O U S E

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


G O L D E N H I G H F L O W A C R Y L I C 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 eA G H 3 0 � 5 . 9 5 4 . 5 0A G H 3 0 � 6 . 5 0 4 . 9 0A G H 3 0 � 6 . 7 5 5 . 1 0A G H 3 0 � 6 . 9 5 5 . 2 0A G H 3 0 � 7. 4 0 5 . 6 0A G H 3 0 � 8 . 2 5 6 . 2 0A G H 3 0 � 8 . 7 5 6 . 6 0A G H 3 0 � 9 . 5 0 7. 1 0

3 0 M L B O T T L E S Golden High Flow is a range of acrylic paint designed for maximum versatility.Use it in your airbrush, your dip pen or with a paint brush. High flow is so useful for artists who need the thinnest consistency colour, but do not want to dilute their acrylic paint with water to the point where the stability of the colour is impaired. High flow uses very liquid binders which means that the paint is just as stable as any other.

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 eA G H 1 1 9 � 1 2 . 9 5 9 . 7 0A G H 1 1 9 � 1 3 . 9 5 1 0 . 4 0A G H 1 1 9 � 1 4 . 9 5 1 1 . 2 0A G H 1 1 9 � 1 6 . 2 5 1 2 . 1 0A G H 1 1 9 � 1 9 . 9 5 1 4 . 9 0A G H 1 1 9 � 2 2 . 5 0 1 6 . 8 0A G H 1 1 9 � 2 4 . 9 5 1 8 . 6 0A G H 1 1 9 � 2 7. 5 0 2 0 . 5 0

1 1 9 M L B O T T L E S

C O L O U R S

8530 · Hansa Yellow Medium� PY 7 3 �

8557 · Trans. Hansa Yellow Med.� PY 7 3 �

8534 · Nickel Azo Yellow� PY 150 �

8542 · Quin. / Nickel Azo Gold� P O 4 8 PY 150 �

8527 · Diarylide Yellow� PY8 3 �

8536 · Permanent Violet Dark� PB60 PR 12 2 �

8532 · Naphthol Red Light� PR 1 12 �

8558 · Trans. Naphthol Red Light� PR 1 12 �

8541 · Quinacridone Red� P V 19 �

8561 · Trans. Quinacridone Red� P V 19 �

8521 · Alizarin Crimson Hue� PR 12 2 PR 206 P G7 �

8550 · Turquois (Phthalo)� PB 15:4 P G7 �

8538 · Phthalo Green (B. Shade)� P G7 �

8560 · Trans. Phthalo Green (BS)� P G7 �

8556 · Trans. Dioxazine Purple� P V 2 3 �

8551 · Ultramarine Blue� PB2 9 �

8526 · Cerulean Blue Hue� P W6 PB 15 :1 P G7 �

8522 · Anthraq. Blue (Indigo)� PB60 �

8545 · Sap Green Hue� P[0 1 ] �

8528 · Green Gold� PY 150 P G 36 PY 3 �

8548 · Titan Buff� P W6 �

8552 · Yellow Oxide� PY42 �

8565 · Trans. Yellow Iron Oxide� PY42 �

8559 · Trans Phthalo Blue (GS)� PB 15:4 �

8547 · Teal� P W6 PB 15 :4 P G7 �

8563 · Trans. Red Iron Oxide� PR 10 1 �

8523 · Burnt Sienna� PBr7 �

8562 · Trans. Brown Iron Oxide� PR 10 1 PBk7 �

854 4 · Raw Umber� PBr7 �

8546 · Sepia� PR 10 1 PY 150 PBk7 �

8564 · Trans. Shading Grey� PBk7 �

8524 · Carbon Black� PBk7 �

8549 · Titanium White� P W6 �

857 1 · Iridescent Copper (Fine)� P[N A] �

8572 · Iridescent Gold (Fine)� P[N A] �

8574 · Iridescent Pearl (Fine)� P[N A] �

8566 · Fluorescent Blue� P[N A]

8567 · Fluorescent Chartreuse� P[N A]

8568 · Fluorescent Green� P[N A]

8569 · Fluorescent Orange� P[N A]

8529 · Hansa Yellow Light� PY 3 �

8539 · Pyrrole Orange� P O7 3

8540 · Quinacridone Magenta� PR 12 2 �

8537 · Phthalo Blue (G. Shade)� PB 15:4 �

8535 · Permanent Green Light� PY 3 PY 7 �

8543 · Raw Sienna� PY4 3 �

8533 · Neutral Grey� P W6 PBk 9 PBr7 �

8573 · Iridescent Silver (Fine)� P[N A] �

8570 · Fluorescent Pink� P[N A]

K E YSee previous page

Extended pigment index P[0 1 ] : P G 36 PR 10 1 PY 150 PBk7 P[N A] : not avai lable

C U S T O M E R R E V I E W S Carbon Black 'Just the stuff I've been looking for for so long. Just as fluid, black and opaque as solvent based inks in a marker, but doesn't bleed up through your paint if you need to paint over it.'

Titanium White'Useful for effects in conjunction with heavy body acrylic.'

'Love this paint, is great for blending.'

Sepia 'Bought it for using for watercolour effects & it granulates wonderfully.'

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


G O L D E N O P E N A C R Y L I C 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 eA G 6 0 � 7. 5 0 5 . 7 0A G 6 0 � 8 . 5 0 6 . 4 0A G 6 0 � 9 . 9 5 7. 5 0A G 6 0 � 1 0 . 9 5 8 . 3 0A G 6 0 � 1 1 . 5 0 8 . 7 0A G 6 0 � 1 3 . 5 0 1 0 . 2 0A G 6 0 � 1 4 . 7 5 1 1 . 1 0A G 6 0 � 1 6 . 2 5 1 2 . 2 0A G 6 0 � 1 7. 5 0 1 3 . 0 0

6 0 M L T U B E S Acrylic colour with an extended drying time, allowing you to work with your paint for longer. Golden Open Acrylics are truly unique.They are workable for a similar length of time as a professional Artist oil colour (up to 100 times the drying time of regular acrylic paint) with the added bonus of not having to use very abrasive and harmful solvents when working. You can blend, soften, shade, glaze and use fine detail with your Open acrylic colours without any danger of the paint drying too quickly.

Another advantage of this is minimising wasted paint on your palette. Colour mixes will remain wet without forming a skin on the top for longer.


2 3 6 M L P O T S

C O L O U R S





Extended pigment index P[0 1 ] : PY 3 PY 7 3 PBr7 PY42 P[0 2] : PR 206 PR 20 2 PR 12 2 PR 10 1 P G 36 P[0 3] : P W4 PB 15 :4 PY 150 PBr7 P[0 4] : PR 10 1 PY 150 P G 36 PBk7 P[05 ] : P G 1 7 PBk 9 PBr7 P G 36 PY42 P[N A] : not avai lable


7380 · Titanium White� P W6 · � �


7 135 · Pure Cad. Yellow Primrose� PY 3 5 � �

7 180 · Hansa Yellow Light� PY 3 � �

7007 · Bismuth Vanadate Yellow� PY 18 4 � �

7 190 · Hansa Yellow Medium� PY 7 3 � �

7 19 1 · Hansa Yellow Opaque� PY 74 � �

7 130 · Pure Cad. Yellow Medium� PY 3 5 � �

74 63 · Aureolin Hue� P[0 1 ] � �

72 25 · Nickel Azo Yellow� PY 150 � �


7301 · Quinacrid. Nickel Azo Gold� P O 4 8 PY 150 � �

7280 · Quinacrid. Burnt Orange� PR 206 � �

7 110 · Pure Cadmium Yellow Dark� PY 3 5 � �

7 147 · Diarylide Yellow� PY8 3 � �

7070 · Pure Cadmium Orange� P O20 � �

72 76 · Pyrrole Orange � P O7 3 �

7090 · Pure Cadmium Red Light � PR 10 8 � �

72 10 · Naphthol Red Light� PR 1 12 � �

72 7 7 · Pyrrole Red� PR 25 4 � �

7 100 · Pure Cad. Red Medium� PR 10 8 � �

7080 · Pure Cadmium Red Dark� PR 10 8 � �

72 78 · Pyrrole Red Dark� PR 26 4 �

72 20 · Naphthol Red Medium� PR5 � �




7252 · Permanent Maroon� P[0 2] � �


7253 · Permanent Violet Dark� PB60 PR 12 2 � �


7 150 · Dioxazine Purple� P V 2 3 � �


7566 · Light Ultramarine Blue� PB2 9 P W6 � �

7 14 0 · Cobalt Blue� PB2 8 � �



74 60 · Prussian Blue Hue� PB 15:1 P V 2 3 PBk 9 � �


7255 · Phthalo Blue (Grn. Shade)� PB 15:4 � �

74 57 · Manganese Blue Hue� PB 15:4 P G7 P W4 � �

7369 · Teal� P W6 PB 15 :4 P G7 � �

7 14 4 · Cobalt Turquoise� PB 36:1 � �

72 70 · Phthalo Grn. (Blue Shade)� P G7 � �

74 69 · Viridian Green Hue� P[0 3] � �

72 75 · Phthalo Grn. (Yell. Shade)� P G 36 � �

7250 · Permanent Green Light� PY 3 P G7 � �

7 142 · Cobalt Green� P G 26 � �

7 195 · Jenkin's Green� PBk 9 PY 150 P G 36 � �

74 61 · Sap Green Hue� P[0 4] � �

74 68 · Terre Verte Hue� P[05 ] � �

7061 Chrom. Oxide Green Dark� P G 1 7 P O20 � �


7 170 · Green Gold� PY 150 P G 36 PY 3 � �

73 70 · Titan Buff� P W6:1 � �





73 4 0 · Raw Sienna� PY4 3 � �

7202 · Mars Yellow� PBr 6 � �


7360 · Red Oxide� PR 10 1 � �

74 05 · Violet Oxide� PR 10 1 � �



74 8 1 · Iridescent Bronze Fine� P G7 �

74 8 4 · Iridescent Gold Fine� P[N A]

74 80 · Iridesc. Bright Gold Fine� P[N A] �

74 86 · Iridescent Pearl Fine� P[N A]

74 87 · Iridescent Silver Fine� P[N A] �




724 0 · Payne's Grey� PB2 9 PBk7 � �


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

High Flow Assor ted Set of 10Contains 10 x 30ml bot tles . Code: AGHF-0953RRP : £ 5 4.95Price: £ 41.00


Fluid Acr ylic Set of 10Contains 10 x 30ml bot tles . Code: AG300905RRP : £ 59.95Price: £ 45.00

Fluid Acr ylic Select Set of 8Contains 8 x 15ml bot tles .Code: AG300918RRP : £ 3 4.95Price: £26.50

Open Acr ylic Intro Traditional Set of 6Contains 6 x 2 2ml tubes .Code: AG0045RRP : £ 28.95Price: £2 1.50

Golden Acr ylic A-Z Box Set of 14Contains 14 samples . Code: AGSA Z14RRP : £ 3 4.95Price: £28.00

Golden Acr ylic A-Z Box Set of 30Contains 30 samples . Code: AGSA Z30RRP : £69.95Price: £56.00

Gel & Paste Intro Set of 6Contains 6 x 60ml tubs .Code: AG300945RRP : £ 26.95Price: £20.50

Open Acr ylic Intro Modern Set of 6Continas 6 x 2 2ml tubes .Code: AG004 4RRP : £ 28.95Price: £2 1.50

G O L D E N A C R Y L I C S E T S

Heav y Body Acr ylic Principal Set of 6 Contains 6 x 2 2ml tubes .Code: AGIS6RRP : £ 28.95Price: £2 1.00

Heav y Body Acr ylic Principal Set of 6 Contains 6 x 60ml tubes . Code: AGPS6RRP : £ 5 3.95Price: £ 39.00

Heav y Body Mixing Set of 8 Contains 8 x 60ml tubes .Code: AG300912RRP : £69.95Price: £56.00

Heav y Body Beguiling Iridescents Set of 3Contains 3 x 2 2ml tubes .Code: AG30P780RRP : £ 8.95Price: £7.90

Heav y Body Provocative Yellows Set of 3 Contains 3 x 2 2ml tubes .Code: AG30P760RRP : £ 8.95Price: £7.90

Heav y Body Divergent Reds Set of 3 Contains 3 x 2 2ml tubes .Code: AG30P7 70RRP : £ 8.95Price: £7.90

G O O D T E X T U R E S

A N D C O L O U R S



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

234 · Crimson� PR 1 12 PR 12 2 � �

240 · Ultramarine Violet Hue� PB2 9 PB 15 : 3 P W6 � �

261 · Cerulean Blue Genuine� PB 36 � �

278 · Hooker's Green� P G7 PBk7 � �

312 · Indian Red� PR 10 1 � �

220 · Cadmium Orange Genuine� P O20 � �

236 · Alizarin Crimson Hue� PR 1 12 PR 12 � �


260 · Cerulean Blue Hue� P[0 2] � �

286 · Yellow Ochre� PY42 � �


210 · Cadmium Yellow Pale Gen. � PY 3 5 � �

221 · Orange/Red� P O5 � �

237 · Magenta� PR 12 2 � �

243 · Phthalo Blue (Green Shade)� PB 15: 3 � �

270 · Turquoise� PB 15: 3 P G7 P W6 � �

290 · Raw Sienna� PBr7 � �

326 · Burnt Umber� PBr7 � �

211 · Lemon Yellow� PY 3 � �

223 · Cadmium Red Genuine� PR 10 8 � �

235 · Naphthol Red� PR 12 � �

249 · French Ultramarine Blue� PB2 9 � �

273 · Oxide of Chromium� P G 1 7 � �


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

214 · Cadmium Yellow Med. Hue� PY 7 3 � �

224 · Cadmium Red Hue� PR 1 12 � �

238 · Rose Madder Quinacridone� P V 19 � �

253 · Cobalt Blue Genuine� PB2 8 � �

272 · Emerald Green Hue� PY 3 P G7 � �

294 · Mars Brown� PR 10 1 � �

352 · Black� PBk1 1 PBk7 � �

213 · Cadmium Yellow Genuine� PY 3 5 � �

231 · Cadmium Red Deep Genuine� PR 10 8 � �

239 · Violet� P V 2 3 � �

252 · Cobalt Blue Hue� P[0 1 ] � �

274 · Phthalo Green� P G7 � �

296 · Venetian Red� PR 10 1 � �

Our stunning range of acrylics are a heavy/medium body paint that thins out beautifully and mixes well with other brands.These beautiful colours are formulated with the finest artist grade acrylic resin and the highest quality lightfast pigments. They offer incredible strength and intensity, with a consistency that's perfect for brushing out flat and retains its structure for impasto work. They can be mixed with any other brand of acrylic or acrylic medium, and can be applied to most grounds. An affordable acrylic suitable for professional painters and serious amateurs alike. "Great product, will use again" - Customer review.

201 · Titanium White� P W6 � � � � �

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

208 · Primrose Yellow� PY5 3 � �

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 eA J A 6 0 � - 3 . 9 0A J A 6 0 � - 4 . 3 0A J A 6 0 � - 6 . 9 0A J A 6 0 � - 9 . 5 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 eA J A 2 2 5 � - 1 0 . 4 0

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

Ar tists Acr ylic Set of 4 x 60ml TubesContains : 1 x Titanium White , 1 x Cadmium Yellow Hue, 1 x Orange Red, 1 x French Ultramarine.Code: AJASET 1Price: £14.60

Ar tists Acr ylic Set of 8 x 60ml TubesContains : 1 x Titanium White , 1 x Lemon Yellow,1 x Cadmium Red Hue,1 x A lizar in Cr imson Hue,1 x Cerulean Blue Hue,1 x Phthalo Green,1 x Yellow Ochre,1 x Burnt Umber. Code: AJASET2Price: £26.00





Extended pigment index P[0 1 ] : PB2 9 PB 15 : 3 P W6 PR 1 12 PR 12 2 P[0 2] : PB2 9 P W6 PB 15 : 3 PY 3 P[N A] : not avai lable


S E T 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 eA J A 2 5 0 � - 9 . 7 0A J A 2 5 0 � - 1 0 . 9 0A J A 2 5 0 � - 1 7. 0 0A J A 2 5 0 � - 2 4 . 5 0

2 5 0 M L P O T 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 eA J A 1 0 0 0 � - 2 7. 0 0

1 L P O T 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 eA J A 5 0 0 � - 1 8 . 0 0

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



W I N S O R & N E W T O N P R O F E S S I O N A L A C R Y L I C C O L O U R

025 · Bismuth Yellow� PY 18 4 � �

039 · Azo Yellow Deep� PY6 5 � � �

421 · Naphthol Red Light� PR 1 12 � � �

502 · Permanent Rose� P V 19 � � �

229 · Dioxazine Purple � P V 2 3 � � �

514 · Phthalo Blue (Red Shade)� PB 15:1 � � �

190 · Cobalt Turquoise � PB 3 6 � �

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

060 · Buff Titanium � P W6 PY42 PBk1 1 � � �

547 · Quinacridone Gold � PY 150 P O 4 9 � �

549 · Quinacridone Burnt Orange� PR 206 � �

292 · Graphite Grey� PBk10 � �

330 · Iridescent White � P[N A] � �

113 · Cadmium Yellow Light� PY 3 5 � �

089 · Cadmium Orange� P O20 � �

534 · Pyrrole Red� PR 25 4 � �

466 · Perm. Alizarin Crimson� PR 1 7 7 P V 2 3 � � �

672 · Ultramarine Violet� P V 15 � �

515 · Phthalo Blue (Green Shade)� PB 15: 3 � � �

526 · Phthalo Turquoise� PB 16 � �

311 · Hooker's Green� PY 1 10 P G 36 � � �

422 · Naples Yellow� PBr24 P W6 � � �

552 · Raw Sienna� PY42 PR 10 1 � � �

691 · Violet Iron Oxide� PR 10 1 � �

465 · Payne's Grey� PB2 9 PBk 9 � � �

617 · Silver� P[N A] � � �

439 · Nickel Yellow Azo� PY 150 � �

519 · Pyrrole Orange� P O7 3 � �

097 · Cadmium Red Deep� PR 10 8 � �

507 · Perylene Maroon� PR 1 79 � �

321 · Indanthrene Blue� PB60 �

137 · Cerulean Blue� PB 3 5 � � �

522 · Phthalo Green (Blue Shade)� P G7 � �

460 · Perylene Green� PBk3 1 � �

425 · Naples Yellow Deep� PBr24 � �

074 · Burnt Sienna� PR 10 1 � � �

557 · Raw Umber Light� PBr7 � �

331 · Ivory Black� PBk 9 � � � �

524 · Silver No.2� P[N A] � �

019 Azo Yellow Medium� PY 74 � � �

100 · Cadmium Red Light� PR 10 8 � �

548 · Quinacridone Red� PR 20 9 � �

550 · Quinacridone Violet� PR 12 2 � � �

664 · Ultramarine Blue� PB2 9 � � �

130 · Cerulean Blue Chromium� PB 3 6 � �

521 · Phthalo Green (Yell. Shade)� P G 36 � �

503 · Permanent Sap Green� P[0 1 ] � � �

74 4 · Yellow Ochre� PY4 3 � � �

537 · Potter's Pink� PR 2 3 3 � �

554 · Raw Umber� PBr7 � � �

386 · Mars Black� PBk1 1 � � � �

283 · Gold� 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 eAW 2 3 7 � 1 5 . 9 0 1 1 . 9 0

2 3 7 M L P O T S ( M A R K E D � O N L Y )

These acrylics are high quality, just like Winsor & Newton's other Professional colour ranges.The binder used is completely clear allowing no wet to dry colour shift. 86% of the range is made of single pigments. "I'm very 'pro' Winsor & Newton; their Professional Acrylic paints are just fabulous and handle beautifully, I found the colours stayed true as you mixed them" - Customer review.

346 · Lemon Yellow� PY 3 � � �

116 · Cadmium Yellow Medium� PY 3 5 � �

536 · Pyrrole Red Light� PR 25 5 � �

464 · Perylene Red� PR 1 4 9 � � �

545 · Quinacridone Magenta� P V 19 � � �

180 · Cobalt Blue Deep� PB7 3 �

139 · Cerulean Blue Hue� P W6 PB2 9 P G7 � � �

184 · Cobalt Green� P G50 � �

4 47 · Olive Green� P[0 2] � � �

737 · Yellow Iron Oxide� PY42 � �

362 Light Red� PR 10 2 � �

076 · Burnt Umber� PBr7 � � �

415 · Mixing White� P W6 � � � �

573 · Renaissance Gold � P[N A] � �

086 · Cadmium Lemon� PY 3 5 � �

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

099 · Cadmium Red Medium� PR 10 8 � �

423 · Naphthol Red Medium� PR 1 70 � � �

470 · Perylene Violet� P V 2 9 � �

178 · Cobalt Blue� PB2 8 � � �

191 · Cobalt Turquoise Light� P G50 �

185 · Cobalt Green Deep� P G 26 �

294 · Green Gold � PY 12 9 � �

285 · Gold Ochre� PY42 � �

560 · Red Iron Oxide� PR 10 1 � �

217 · Davy's Gray� PY42 PBk19 � � �

64 4 · Titanium White� P W6 � � � �

014 · Antique Gold� P[N A] � �

C O L O U R S

S E T S

Introductor y Set Contains 6 x 20ml tubes .Code: AWSET 1RRP : £ 2 1 .85Price: £18.20

Star ter SetContains 12 x 20ml tubes .Code: AWSET3RRP : £ 4 3.00Price: £35.00

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 eAW 6 0 � 7. 2 5 5 . 4 0AW 6 0 � 7. 6 5 5 . 7 0AW 6 0 � 1 0 . 0 0 7. 5 0AW 6 0 � 1 4 . 0 0 1 0 . 5 0AW 6 0 � 1 5 . 0 0 1 1 . 3 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 eAW 2 0 0 � 1 3 . 8 0 1 0 . 4 0AW 2 0 0 � 1 6 . 4 0 1 2 . 3 0AW 2 0 0 � 2 3 . 1 5 1 7. 3 0AW 2 0 0 � 2 6 . 4 0 1 9 . 7 0AW 2 0 0 � 2 8 . 0 0 2 1 . 0 0



Extended pigment index P[0 1 ] : PY8 3 PB 15 : 3 PBk 9 P[0 2] : PBk 9 PY 12 9 PY 13 9 P[N A] : not avai lable

S E T S



L A S C A U X A R T I S T A C R Y L I C 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 eA L 2 0 0 � 2 6 . 1 6 2 4 . 0 0A L 2 0 0 � 3 0 . 8 6 2 8 . 0 0A L 2 0 0 � 3 6 . 7 3 3 4 . 0 0A L 2 0 0 � 4 3 . 2 1 3 9 . 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 eA L 4 5 � 9 . 0 7 8 . 5 0A L 4 5 � 1 0 . 8 1 1 0 . 2 0A L 4 5 � 1 2 . 8 8 1 2 . 2 0A L 4 5 � 1 5 . 1 9 1 4 . 4 0

2 0 0 M L T U B E S4 5 M L T U B E SAn intensely pigmented range of acrylic colour, milled to mimic the body and texture of fine oils. With excellent lightfastness and resistance to aging, all 54 colours in the range dry to an equally satin surface with exceptional covering power. Does not shrink, yellow or crack, and is suitable for all painting techniques, due to a thick texture that takes well to thinning or mediums. Labels are hand-painted for easy reference to tube contents.

C O L O U R S




111 · Hansa Yellow� PY 3 � �

121 · Cadmium Orange Light� P O20 � �

192 · Tint White � P W6 P W5 � �

122 · Cadmium Orange Medium� P O20 � �


114 · Diarylide Yellow� PY 13 9 � �

124 · Cadmium Orange Deep� PR 10 8 � �



131 · Quinacridone Crimson� PR 20 2 P V 19 � �

133 · Quinacridone Rose Deep� PR 12 2 � �



129 · Cadmium Red Bordeaux� PR 10 8 � �

132 · Quinacridone Rose Light� P V 19 P W6 � �

134 · Quinacridone Magenta� PR 12 2 P W6 � �

136 · Dioxazine Violet Deep� P V 2 3 � �

142 · Ultramarine Blue� PB2 9 � �

14 4 · Cobalt Blue Cerulean� PB2 9 PB 15 : 3 P W6 � �

146 · Phthalo Blue Medium� PB 15:1 P W6 � �

135 · Dioxazine Violet Light� PR 12 2 P V 2 3 P W6 � �

141 · Indanthrone Blue� PB60 � �

143 · Cobalt Blue� PB2 8 � �

145 · Phthalo Blue Deep� PB 15:1 � �

147 · Phthalo Turquoise Blue� PB 15: 3 PY 3 P W6 � �

152 · Phthalo Green Deep� P G7 � �

154 · Phthalo Green Light� P G 36 P W6 � �

156 · Cadmium Green Medium� PY 3 5 P G7 � �

158 · Cadmium Green Yellow� PY 3 5 P G7 � �

151 · Phthalo Turquoise Green� P G6 P W 7 � �

153 · Phthalo Green Medium� PY5 3 P G7 � �

155 · Cadmium Green Deep� P G7 PY 74 PY 3 5 � �

157 · Cadmium Green Light� PY 3 5 P G7 � �

161 · Cobalt Nickel Green� P G50 � �

163 · Chrome Oxide Olive Green� P G 1 7 PY 3 � �

165 · Oxide Yellow� PY42 � �

167 · Oxide Red� PY 15 4 P O 36 PBk7 � �

17 1 · Transoxide Red� PR 10 1 � �

162 · Chrome Oxide Green� P G 1 7 � �

164 · Oxide Olive Brown� PY42 PBk1 1 � �

166 · Transoxide Yellow� PY42 � �

168 · Oxide Red Light� PR 10 1 � �

172 · Oxide Red Deep� PR 10 1 � �

174 · Oxide Brown Medium� PBr 6 � �

176 · Oxide Brown Deep� PBr 6 PBk 2 8 � �


184 · Grey� PBk7 P W6 � �

173 · Perylene Maroon� PY 1 79 � �

181 · Carbon Black� PBk7 � �

183 · Transoxide Black� PBk 2 8 � �

175 · Transoxide Brown� PR 10 1 PBk 2 8 � �





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




D A L E R - R O W N E Y C R Y L A A C R Y L I C 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 eA D 2 5 0 � 1 4 . 2 5 9 . 2 0A D 2 5 0 � 1 6 . 2 5 1 0 . 4 0A D 2 5 0 � 2 3 . 7 5 1 5 . 2 0A D 2 5 0 � 2 7. 0 0 1 7. 3 0

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

001 · Zinc White� P W5 � � �

637 · Nickel Titanate Yellow� PY5 3 � �

629 · Bismuth Yellow Vanadate� PY 18 4 � �

611 · Cadmium Yellow Pale� PY 3 5 � �

651 · Lemon Yellow� PY 3 5 � �

675 · Primary Yellow� PY 3 PY 74 � �

612 · Cadmium Yellow� PY 3 5 � � �

635 · Naples Yellow Hue (Mix.)� P W6 PY8 3 P O62 � �

67 1 · Permanent Yellow� PY 7 3 P O62 � �

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

643 · Indian Yellow Hue� PY 7 3 PR 206 � �

632 · Golden Yellow� PY 7 3 P O62 � �


686 · Benzimidazolone Orange� P O62 � �

522 · Perinone Orange� P O 4 3 � �

507 · Cadmium Scarlet� PR 10 8 P O20 � �

501 · Cadmium Red� PR 10 8 � � �

585 · Pyrrole Scarlet� PR 25 5 � �

588 · Vermilion Hue� PR 9 � �


528 · Quinacridone Yellow Red� PR 20 9 � �

508 · Carmine Hue� PR 1 70 � �

512 · Naphthol Crimson� PR5 � �


525 · Crimson Alizarin Hue� P V 19 PR 20 9 � � �

537 · Permanent Rose� P V 19 PR 12 2 � �

421 · Primary Magenta� P V 19 PR 12 2 � �


410 · Quinacridone Deep Purple� PR 12 2 � �

429 · Quinacridone Violet� P V 19 � �

432 · Quinacridone Maroon� PR 12 2 � �

406 · Cobalt Violet Hue� P W5 PR 12 2 P V 2 3 � �


430 · Permanent Violet� PR 12 2 P V 2 3 � �

408 · Deep Violet� P V 2 3 � � �

123 · Ultramarine� PB2 9 � � �

126 · Ultramarine Blue Grn. Shade� PB2 9 � �


139 · Phthalo Blue Red Shade� PB 15 � �

140 · Phthalo Blue Green Shade� PB 15 � �

120 · Primary Cyan� PB 15 P G7 � �

134 · Prussian Blue Hue� PB2 9 PB 15 PBk1 1 � �

127 · Indigo Hue� PB 15 P V 19 PBk7 � �

111 · Coeruleum� PB 3 5 � � �

160 · Cobalt Chromite Blue R. S.� PB 36 � �

161 · Cobalt Chromite Blue G. S.� PB 36 � �

121 · Manganese Blue Hue� P W5 PB 15 � �

106 · Azure Blue� PB 15 P G7 P W5 � �

153 · Cobalt Turquoise Hue� PB 15 P G7 P W5 � � �

323 · Cobalt Chromite Green� PB 36 � �

154 · Phthalo Turquoise� PB 15 P G7 � �


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

379 · Terre Verte Hue� P W6 P G7 PY 3 � �

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

37 1 · Rowney Emerald� P W6 P G7 PY 3 � �

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

368 · Pale Olive Green� P G7 PY 15 3 � �

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

308 · Bright Green� P G 36 PY 3 � �

024 · Buff Titanium� P W6 � � �

663 · Yellow Ochre� PY42 � � �

667 · Raw Sienna� PY42 PR 10 1 PBk 9 � �

641 · Golden Ochre� PY 15 3 PR 10 1 � �

578 · Flesh Tint� PY42 PR 10 1 P W6 � �

527 · Light Red Oxide� PR 10 1 � �

519 · Rich Transparent Red Oxide� PR 10 1 � �

221 · Burnt Sienna� P[0 1 ] � � �

583 · Venetian Red� PR 10 1 � �



264 · Vandyke Brown Hue� PR 10 1 PBk 9 � �


064 · Middle Grey� P W6 PBk7 PBr7 � �

065 · Payne's Grey� PB2 9 PBk1 1 � � �

034 · Ivory Black� PBk 9 � � �


036 · Mars Black� PBk1 1 � � �

009 · Titanium White� P W6 � � �

7 17 · Metallic White� P W6 � �

702 · Silver� P W6 PBk7 PB 15 � � �

703 · Pewter� P W6 PBk7 PB 15 � �

708 · Pale Gold� P W6 PR 10 1 PY8 3 � �

707 · Rich Gold� P[0 2] � �

704 · Bronze� PR 10 1 � �

230 · Copper� PR 10 1 P O 4 9 � �

7 16 · Metallic Black� P W6 PBk7 � �

C O L O U R S

Introduced in 1963 at the vanguard of artists' acrylics in Europe.Cryla features very heavy-bodied colour with a high load of permanent, lightfast pigment. Its buttery feel under the brush and knife is popular with artists wanting to achieve a wide variety of impasto effects.

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 eA D 7 5 � 7. 2 5 4 . 4 0A D 7 5 � 8 . 2 5 5 . 0 0A D 7 5 � 1 1 . 2 5 6 . 8 0A D 7 5 � 1 4 . 7 5 8 . 9 0

7 5 M L T U B E S


Extended pigment index P [0 1 ] : PR 10 1 PR 206 PBk 9 P[0 2] : P W6 PR 10 1 PY8 3 P O 4 9 P[N A] : not avai lable

T H I C K A N D

C R E A M Y L I K E O I L S




101 · Titanium White� P W6 � � � �

102 · Heavy Body White� P W6 � �

203 · Medieval Yellow� PY5 3 P W6 � �

204 · Titanium Yell. Green Shade� PY5 3 P G 19 � �


206 · Vanadium Yellow Light� PY 18 4 � �

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

208 · Titanium Yellow� PY5 3 PY 15 5 P W6 � �

209 · Brilliant Yellow� PY 15 4 � �

210 · Vanadium Yellow Deep� PY 18 4 � �

211 · Cadmium Yellow Medium� PY 3 5 � � �

212 · Indian Yellow� PY 1 10 PY 15 4 � � �

213 · Cadmium Yellow Deep� P O20 � �

214 · Cadmium Orange� P O20 � � �

215 · Brilliant orange� P O67 � �

216 · Translucent Orange� P O7 1 � �

317 · Cadmium Red Light� P O20 � � �

318 · Vermilion Red� PR 25 5 � � �

319 · Madder Brilliant� PR 20 9 � �

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

321 · Carmine� PR 25 4 PR 26 4 � � �

322 · Cadmium Red Deep� PR 10 8 � � �

323 · Ruby� PR 26 4 � �

324 · Alizarin Crimson Hue� PR 1 79 � � �

325 · Quinacridone Red� P V 19 � �

326 · Quinacridone Magenta� PR 12 2 � � �

327 · Magenta� PR 12 2 P W6 � �


329 · Blue Violet� P V 2 3 P V 19 P W6 � �

330 · Translucent Violet� P V 2 3 � � �

431 · Indigo� PB60 PV 19 PBk10 � � �

432 · Delft Blue� PB60 � �


434 · Cobalt Blue Deep� PB2 8 PB60 � �

435 · Cobalt Blue Light� PB2 8 � � �

436 · Royal Blue� PB2 8 P W6 � � �

437 · Oriental Blue� PB 15:1 P V 2 3 P W6 � �

438 · Phthalo Blue Red Shade� PB 15:6 PB 15 : 2 � �

439 · Phthalo Blue Cyan� PB 15: 3 � � �

4 40 · Prussian Blue� PB60 PB 15:1 PBk7 � � �

453 · Manganese Cerulean Blue� PB 15: 3 PB 16 P W6 � �

454 · Cerulean Blue� PB 15: 3 PB 16 P W6 � � �

455 · Phthalo Turquoise� PB 16 � �

456 · Cobalt Turquoise� P G50 � � �

457 · Aquamarine� PG36 PB 15:3 P W6 � � �

561 · Turmaline Green� P G 26 � �

562 · Chrom. Oxide Grn. Brilliant� P G 18 � �

563 · Phthalo Green Blue Shade� P G7 � � �

564 · Phthalo Green Yellow S.� P G 36 � �

566 · Olive Green� PY 18 4 P G7 PY42 � �

565 · Oriental Green� P G 19 � �

567 · Permanent Green Light� PY 18 4 P G7 � � �

568 · Vanadium Green� PY 18 4 P G 36 � �

569 · Yellowish Green� PY42 P G 36 PY 74 � �

570 · Sap Green� PB 60 PY 150 � � �

57 1 · Natural Green Earth� PBr7 � �

672 · Naples Yellow Light� PBr24 PY5 3 � �

673 · Naples Yellow Deep� PBr24 � � �

674 · Translucent Golden Yellow� PY 150 � �

675 · Light Ochre� PY42 � � �

676 · Iron Oxide Yellow� PY42 � �

67 7 · Raw Umber� PBr7 � �

678 · Sienna� PY42 PR 10 1 � � �

679 · Burnt Sienna� PR 10 1 � � �

680 · Red Iron Oxide� PR 10 1 � �

681 · Madder Brown� PR 206 � �

682 · Translucent Brown Oxide� PR 10 1 � �

683 · Brown Iron Oxide� PBr 6 � �

684 · Natural Burnt Umber� PBr7 � � �

685 · Vandyke Brown� PR 10 1 PBk7 � � �

786 · Ivory� PY42 P G 1 7 P W6 � � �

787 · Flesh Tint� P W6 PY 1 19 � �

788 · Pale Grey� PY42 P W6 PBk6 � �

789 · Neutral Grey� P G 1 7 � �

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

791 · Atrament Black� PBk3 1 � �

792 · Ivory Black� PBk 9 � �

793 · Black� PBk1 1 PBk7 � � �

895 · Silver� P[N A] � � �

896 · Classic Gold� P[N A] � � �

897 · Antique Gold� P[N A] � �

898 · Renaissance Gold� P[N A] � �

899 · Rose Gold� P[N A] � �

S C H M I N C K E P R I M A C R Y L A R T I S T S A C R Y L I C 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 eA S 6 0 � 7. 5 6 6 . 6 0A S 6 0 � 8 . 9 5 8 . 2 0A S 6 0 � 1 0 . 7 0 9 . 8 0A S 6 0 � 1 2 . 8 9 1 1 . 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 eA S 2 3 7 � 19.99 1 8 . 1 0A S 2 3 7 � 2 4 . 3 1 2 2 . 5 0A S 2 3 7 � 2 9 . 6 2 2 7. 0 0A S 2 3 7 � 3 6 . 0 2 3 2 . 0 0


C O L O U R S

High viscosity colour composed of top quality modern pigments. Particularly well loved for its exceptional Titanium White. whose high pigmentation, opacity and covering power enables incredibly brilliant mixtures. Very little colour shift between wet and dry, and with a high solid content that allows for elastic and contour-stable drying.







C A N ' T F I N D

B E T T E 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 eA S 4 74 � 2 9 . 6 2 2 6 . 5 0




A R A A R T I S T ' S A C R Y L I C 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 eA A 1 0 0 � 6 . 2 8 5 . 1 0A A 1 0 0 � 6 . 8 0 5 . 6 0A A 1 0 0 � 7. 5 6 6 . 2 0A A 1 0 0 � 1 0 . 2 1 8 . 3 0A A 1 0 0 � 1 1 . 7 1 9 . 5 0

1 0 0 M L B O T T L 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 eA A 1 5 0 � 8 . 1 7 6 . 7 0A A 1 5 0 � 8 . 8 6 7. 2 0A A 1 5 0 � 9 . 9 0 8 . 1 0A A 1 5 0 � 1 5 . 3 5 1 2 . 5 0A A 1 5 0 � 1 7. 74 1 4 . 4 0

1 5 0 M L B O T T L 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 eA A 5 0 0 � 1 6 . 8 4 1 3 . 7 0A A 5 0 0 � 1 8 . 2 6 1 4 . 8 0A A 5 0 0 � 2 0 . 7 6 1 6 . 9 0A A 5 0 0 � 4 0 . 1 8 3 3 . 0 0A A 5 0 0 � 4 6 . 5 6 3 8 . 0 0

5 0 0 M L B O T T L 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 eA A 2 � 6 6 . 1 8 5 4 . 0 0A A 2 � 7 1 . 2 1 5 8 . 0 0

2 . 5 L B O T T L 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 eA A 1 � 3 0 . 9 2 2 5 . 5 0A A 1 � 3 3 . 3 5 2 7. 5 0

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

ARA Acrylics are a very good quality range of mid-priced acrylic, ideal for serious artists needing to cover a large surface area – one reason why they are favoured by muralists.The fully lightfast pigments are bound in a 100% acrylic emulsion. They are formulated to give a smooth brushable colour with intensity and brilliance. The strong adhesion of an acrylic binder makes these colours suitable for many applications and surfaces. The metallic colours are particularly popular. Ara acrylics are produced in the paint factory of Old Holland Classic Colours. The paint is made according to Old Holland's own recipe in order to ensure the highest quality possible.

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 eA A 2 5 0 � 1 0 . 4 3 8 . 5 0A A 2 5 0 � 1 1 . 3 0 9 . 2 0A A 2 5 0 � 1 2 . 6 8 1 0 . 3 0A A 2 5 0 � 2 1 . 1 7 1 7. 1 0A A 2 5 0 � 2 4 . 5 4 1 9 . 9 0

2 5 0 M L B O T T L E S

175 · Brilliant Pink� P W6 PR 12 2 PR 1 12 � �

148 · Vermilion Extra� PR 25 5 � �

137 · Blood Red Lake� PR 25 5 � �



14 4 · Light Red Orange� PY8 3 PR 1 70 � �

176 · Napthol Red Medium� PR 1 70 � �

182 · Light Magenta� PR 12 2 P W6 � �

17 7 · Napthol Red Deep� PR 1 70 � �

163 · Alizarin Madder Lake Extra� PR 8 3 � �


029 · Quinacridone Rose Deep� P V 19 � �


030 · Quinacridone Purple� P V 19 � �

201 · Dioxazine Violet Purple� P V 2 3 � �

214 · Paynes Grey� PB2 9 PBk7 � �

208 · Violet Grey� P W6 PB2 9 PBk7 � �

037 · Ultramarine Blue Light� PB2 9 � �

24 4 · Ultramarine Blue Deep� PB2 9 � �

220 · Old Delft Blue (Pruss. Blue)� PB60 � �

251 · Brilliant Blue Light� P W6 PB2 9 PB 15 � �


049 · Phthalo Green Blue Shade� P G7 � �

253 · Kings Blue Deep� P W6 PB2 9 � �

259 · Blue Grey� P W6 PB2 9 PBk7 � �

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

039 · Cerulean Blue� PB 3 5 � �

035 · Phthalo Blue� PB 15 � �

27 1 · Permanent Green Deep� P[0 1 ] � �

048 · Phthalo Green Yellow Shade� P G 36 � �



361 · Warm Grey Light� P W6 PBr7 PBk7 � �

075 · Lamp Black� PBr7 � �

074 · Ivory Black Extra� PBk 9 � �

510 · Pearl Blue� P[N A] �

520 · Pearl Lilac� P[N A] �

500 · Pearl Green� P[N A] �



362 · Neutral Grey � P W6 PBr7 PBk7 � �

630 · Metallic White� P[N A] �

530 · Metallic Yellow Light� P[N A] �

255 · Silver� P[N A] �

370 · Mars Black� PBk1 1 PBk7 � �

115 · Flesh Tint Deep� P W6 PR 10 1 PR 1 12 � �

112 · Naples Yellow Reddish Extra� P W6 PY5 3 PR 18 8 � �

114 · Flesh Tint� P W 8 PY8 3 PR 1 70 � �

27 7 · Permanent Green Light� P W6 PY 7 3 P G7 � �

292 · Sap Green Lake Extra� PY 12 8 P G7 PY42 � �

313 · Naples Yellow Extra� P W6 PBr24 � �


319 · Yellow Ochre Extra� PY42 � �

301 · Hookers Grn. Lake Deep Ex.� P G8 � �

283 · Brilliant Yellow Green� P G7 PY 3 � �

334 · Transparent Red Oxide� PR 10 1 � �

063 · Mars Red Oxide� PR 10 1 � �

328 · Transparent Yellow Oxide� PR 10 1 � �

295 · Golden Green Lake� PY 12 9 � �

270 · Bronze� P[N A] �

550 · Metallic Red Light� P[N A] �

540 · Metallic Yellow Gold� P[N A] �

580 · Metallic Violet� P[N A] �

260 · Gold� P[N A] �

600 · Metallic Turquoise� P[N A] �

261 · Dark Gold� P[N A] �

620 · Metallic Black� P[N A] �

280 · Red Brown Bronze� P[N A] �

570 · Metallic Magenta� P[N A] �

560 · Metallic Red Dark� P[N A] �

590 · Metallic Blue� P[N A] �

290 · Red Bronze� P[N A] �

275 · Dark Bronze� P[N A] �

610 · Metallic Green� P[N A] �


125 · Indian Yellow Lake Extra� PY 126 � �

015 · Yellow Deep Azo� PY8 3 � �

006 · Off White� P W6 PY 16 4 PB 106 � �

004 · Opaque Titanium White� P W5 � � � �

010 · Lemon Yellow Azo� PY 3 � �

103 · Brilliant Yellow Light� P W6 PY5 3 P 06 1 � �

100 · Titanium Buff Light� P W6 PY42 � �


012 · Yellow Light Azo� PY 1 � �

142 · Cadmium Yellow Orange� P O20 � �

131 · Golden Orange Lake� P O51 � �


001 · Titanium White � P W6 � � � �

002 · Zinc White� P W4 � � � �

MORE COLOUR OPTIONS AVAIL ABLE ONLINE. . .





Extended pigment index P[0 1 ] : P W6 PY 7 3 P G7 PB2 9 P[N A] : not avai lable


G R E A T C O N S I S T E N C Y



L I Q U I T E X H E A V Y B O D Y A C R Y L I C 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 eA X 5 9 � 7. 0 0 5 . 1 0A X 5 9 � 7. 5 5 5 . 6 0A X 5 9 � 9 . 6 5 7. 2 0A X 5 9 � � 1 3 . 0 0 9 . 5 0

5 9 M L T U B E S

C O L O U R S

This Heavy Body paint's biggest strength is in its extended drying time, which allows for versatility in how you can move the paint around.Liquitex uses an exceptionally clear low-odour resin binder that allows colours to look their most vibrant with no colour shift from wet to dry.

"A lovely consistency and rich colour that doesn't diminish when watered down" - Customer review.

L I Q U I T E X S O F T B O D Y A C R Y L I C C O L O U R

Developed in 1955, Soft Body (previously 'Medium Viscosity') was Liquitex's first range of acrylic paints. The 53 colours available in the EU are extremely versatile thanks to a concentrated pigment load and smooth, filtered consistency. Colours retain little or no brush marks and are ideal for flat cover and fine detail.

300 · Deep Magenta� PR 12 2 P V 19 P W6 � �

114 · Quinacridone Magenta� PR 12 2 � � � �

118 · Quinacridone Blue Violet � P V 19 � �

116 · Alizarin Crimson Hue Perm.� PR 206 PR 20 2 � � � �

311 · Cadmium Red Deep Hue� PR 1 70 P V 19 � �

109 · Quinacridone Red-Orange� P[N A] � �

326 · Pyrrole Crimson� PR 26 4 �

110 · Quinacridone Crimson� P V 19 � �

112 · Quinacridone Red� PR 20 9 � � �

292 · Naphthol Crimson� PR 1 70 P V 19 � � � �


151 · Cadmium Red Medium Hue� PR 107 PY97 � � �


294 · Naphthol Red Light� PR 9 � � �

510 · Cadmium Red Light Hue� PR 9 PY 74 P W6 � �


323 · Pyrrole Orange� P O7 3 �

650 · Light Emerald Green� P G7 P U97 P W6 � �

312 · Permanent Light Green� P[06] � � � �

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

660 · Bright Aqua Green� P G7 PB 15 P W6 � �

450 · Emerald Green� P G7 PY97 P W6 � � �

315 · Sap Green Permanent� P[05 ] � � �

224 · Hooker's Green Hue� P G7 PY 1 10 � � �

350 · Green Deep Permanent� P G7 P W6 PY97 � �

398 · Viridian Hue Permanent� PBr7 P G7 � �

327 · Transparent Viridian Hue� P G7 � �

225 · Hooker's Green Deep Hue� PBk7 P G7 PY 74 � � �

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

317 · Phthalocyanine Green (BS)� P G7 � � � �

17 1 · Cobalt Green� P G50 � �

169 · Cobalt Turquoise� PB 36 � �

561 · Turquoise Deep� PB 15: 3 P G7 � �

172 · Cobalt Teal� P G50 � �

7 70 · Permanent Light Blue� PB 15 P G7 P W6 � � �

570 · Brilliant Blue� PB 15: 3 P G7 P W6 � � �

275 · Manganese Blue Hue� PB 15 P G7 P W6 � �

680 · Light Blue Violet� PB2 9 P W6 � � �

810 · Light Portrait Pink� PR 18 8 P O 36 P W6 � � �

500 · Medium Magenta� PR 12 2 P W6 � � �

115 · Deep Violet� PR 12 2 P V 19 � �


164 · Cerulean Blue� PB 36 � � � �

470 · Cerulean Blue Hue� P[0 4] � � �

170 · Cobalt Blue� PB2 8 � � � �

381 · Cobalt Blue Hue� PB2 9 P W6 � � �

320 · Prussian Blue Hue� P[0 3] � � �

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

380 · Ultramarine Blue (GS)� PB2 9 � � � �

314 · Phthalocyanine Blue (RS)� PB 15:6 � �

316 · Phthalo Blue (GS)� PB 15 � � � �

322 · Indanthrene Blue� PB60 � �

590 · Brilliant Purple� P V 2 3 P W6 � � �

391 · Prism Violet� P V 2 3 PR 12 2 � � �

186 · Dioxazine Purple� P V 2 3 P W6 � � � �


620 · Vivid Red Orange� P O7 3 PY 13 9 �

720 · Cadmium Orange Hue� P O 4 3 P W6 PY8 3 � � �

324 · Indian Yellow� PY 13 9 � �

414 · Yellow Orange Azo� PY8 3 � �

163 · Cadmium Yellow Deep Hue� PY8 3 PY 74 P W6 � � �

730 · Turner's Yellow� PY 3 PY42 � �

830 · Cadmium Yellow Med. Hue� PY97 PY8 3 P W6 � � �


412 · Yellow Medium Azo� PY 74 � �


159 · Cadmium Yellow Light Hue� PY 18 4 � � �

411 · Yellow Light Hansa� PY 3 � � �

430 · Transparent Mixing White� P W4 � � �

434 · Unbleached Titanium� P[0 2] � � � �

436 · Parchment� P[0 1 ] � � �

432 · Titanium White� P W6 � � � � �

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 eA X 1 3 8 � 1 2 . 5 0 9 . 4 0A X 1 3 8 � 1 3 . 8 0 1 0 . 3 0A X 1 3 8 � 1 8 . 2 0 1 3 . 6 0A X 1 3 8 � � 2 3 . 4 0 1 7. 5 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 eA X 2 0 0 � 1 8 . 7 5 1 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 eA X S 5 9 � 7. 0 0 5 . 6 0A X S 5 9 � 7. 5 5 6 . 1 0A X S 5 9 � 9 . 6 5 7. 8 0A X S 5 9 � � 1 3 . 0 0 1 0 . 4 0

5 9 M L T U B E S ( M A R K E D � O N L Y )





Extended pigment index P[0 1 ] : PBk7 P G7 P W6 PY42 P[0 2] : PY42 PR 10 1 PBk1 1 P[0 3] : PB 15 : 3 P V 2 3 PBk1 1 P[0 4] : PB2 9 P G7 P W6 PB 15 : 3 P[05 ] : PY 13 9 PB 15 : 3 PBk1 1 P[06] : P G7 PY97 P W6 P[07 ] : P G7 P W6 PY 3 PY97 P[N A] : not avai lable




S E T S

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


127 · Burnt Sienna� PBr7 � � � �

129 · Transparent Burnt Sienna� PR 10 1 � �

128 · Burnt Umber� PBr7 � � � �

130 · Transparent Burnt Umber� PY42 PR 10 1 PBk1 1 � �

331 · Raw Umber� PBr7 � � � �

330 · Raw Sienna� Pbr7 � � � �

332 · Transparent Raw Sienna� PY42 � �

601 · Naples Yellow Hue� PBr24 P W6 � �

416 · Yellow Oxide� PY42 � � � �

530 · Bronze Yellow� PY42 PR 10 1 PBk1 1 � �

840 · Brilliant Yellow Green� P[07 ] � � �

740 · Vivid Lime Green� PY97 P G7 P W6 � � �

325 · Green Gold� PY 12 9 �

335 · Red Oxide� PR 10 1 � �

333 · Transparent Raw Umber� PY42 PR 10 1 PBk1 1 � �

392 · Van Dyke Red� PBr25 �

24 4 · Ivory Black� PBk 9 � � � �

276 · Mars Black� PBk1 1 � � � �

310 · Payne's Gray� PB2 9 PBk 9 PY 15 � � �

599 · Neutral Grey / Mixing Grey� PBk 9 PBr7 P W6 �

238 · Iridescent White� P[N A] �

234 · Iridescent Bright Gold� P[N A] � �

235 · Iridescent Rich Gold� P[N A] �

237 · Iridescent Antique Gold� P[N A] �

236 · Iridescent Bright Silver� P [ N A ] � �

239 · Iridescent Rich Silver� P[N A] �

230 · Iridescent Rich Copper� P[N A] �

229 · Iridescent Rich Bronze� P[N A] �

Set of 6 x 59ml Tubes Heav y Body Acr ylic PaintsContains : Cadmium Yellow Medium, Naphthol Cr imson, Ultramarine Blue Phthalocyanine Green, Mars Black , Titanium White .Code: A XSETCL6RRP : £ 4 0.00Price: £29.50

Set of 12 x 59ml Tubes Heav y Body Acr ylic PaintsContains : Br il l iant Blue, Ivor y Black , Bronze Yellow, Phthalocyanine Blue, Cadmium Red Light Hue, Phthalocyanine Green, Cadmium Yellow Medium Hue, Quinacridone Ma genta , Dioxa zine Purple , Titanium White , Emerald Green.Code: A XSETCL12RRP : £74.00Price: £54.00

Cobalt Blue Hue'I'd never used Liquitex Heavy Body acrylics before, and so was keen to compare their Cobalt Blue Hue with W&N's pukka Cobalt Blue Artist's acrylic. The viscosity of both seems very similar as does their open time, and I've comfortably worked with both makes for around 30 minutes in a warmish room. One of the reasons I'd been using W&N is their lack of colour shift from wet to dry. I was pleasantly surprised to find Liquitex give them a good run for their money. To my eyes any colour/tonal shift was minimal. So how does Liquitex's 'hue' compare up to W&N's real thing? Extremely well. It was maybe very slightly warmer and a tad darker, but really very little in it. Given that this 'hue' version is substantially cheaper, a difference so slight is forgivable. Finally, the plastic tube makes dispensing the paint very easy - a small point maybe, but very welcome. Verdict? I'm a convert, and after comparable experiences over the past two months with other colours in their range I'm inclined to switch Liquitex.'

Ivory Black'Really love this product. Used to use it for painting as it is lovely and thick and holds its texture like oil paint (without the smell). Recently using it for screen printing, it stays soft long enough to do the prints (on a multitude of surfaces) and clean the screen but dries waterproof. Absolutely brilliant!'

Quinacridone Red Orange'The best quinacridone red I have found. It is not in any way orange.'

Burnt Sienna'A really good quality acrylic with lovely consistency and rich colour that doesn't diminish when watered down.'

Yellow Oxide'I like using this lighter version of yellow ochre.'

Cadmium Yellow Light'Nice colour, good for highlights.'

Viridian Hue'Not exactly same as the watercolour hue but extremely close as I know that it is not usually available in acrylic, nice rich colour, nice thick gorgeous paint'

Bright Aqua Green'Excellent coverage and depth of colour.'

Cerulean Blue'Very good quality paint, good buttery texture and good covering power, would buy again.'

Unbleached Titanium 'This is a great alternative to pure white and more mellow as a mixing agent.'



V A L L E J O A R T I S T A C R Y L I C 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 eAV 5 0 0 � 2 1 . 7 0 1 2 . 9 0AV 5 0 0 � 2 6 . 2 5 1 5 . 7 0AV 5 0 0 � 3 1 . 5 5 1 8 . 8 0AV 5 0 0 � 3 7. 6 0 2 2 . 5 0AV 5 0 0 � 4 5 . 6 0 2 7. 5 0AV 5 0 0 � 6 0 . 4 0 3 3 . 0 0

5 0 0 M L P O T S

Vallejo Artist Acrylic Paint is the world class range from Spanish paint makers Vallejo.The range contains one of the widest selections of pure pigments available for fine arts, in a dispersion of 100% acrylic resin. Single pigment colours guarantee colour luminosity as well as permanence and lightfastness. The heavy body consistency of Acrylic Artist Colour permits all techniques, from finest brush stroke to heaviest impasto. Colours dry rapidly to a matte finish with great flexibility.

303 · Titanium White Rutile� P W6 � �



411 · Hookers Green� PY42 P G7 � �

307 · Burnt Rose Dark� PBk1 1 PBr7 � �

705 · Antique Gold� PR 10 1 PBk7 � �

314 · Titanium White Anastase� P W6 � �

515 · Primrose Cadmium Yellow� PY 3 5 � �

401 · Hansa Yellow� PY 3 � �

505 · Titanium Yellow� PY5 3 � �

501 · Cadmium Lemon Yellow� PY 3 5 � �


417 · Naples Yellow Hue� P O20 P W6 PY42 � �

422 · Cobalt Yellow Hue� PY 3 PY42 � �

812 · Cobalt Yellow� PY4 0 � �

820 · Nickel Azo Yellow� PY 150 � �

315 · Unbleached Titanium� P W6 � �

316 · Flesh Tint� P W6 P O20 PR 10 8 � �

502 · Cadmuim Orange Light� P O20 � �

414 · Transparent Orange� PY8 3 � �


509 · Vermilion� PR 1 12 P W6 Y 3 � �


806 · Cadmium Red Light� P O20 � �

804 · Cadmium Vermilion� PR 10 8 � �

419 · Naphthol Red Light� PR 1 12 � �

402 · Naphthol Crimson� PR5 � �


607 Cadmium Red Deep� PR 10 8 � �

606 · Quinacridone Red Magenta� PR 12 2 � �

615 · Quinacridone Pale Red� P V 19 � �



802 · Cobalt Violet� P V 1 4 � �

403 · Permanent Violet� P V 2 3 PR 1 4 6 � �

814 · Cerulean Cobalt Blue� PB 3 5 � �

416 · Cyan Blue� P W6 PB 15 : 3 � �

421 · Cobalt Blue Hue� PB2 9 P W6 � �


603 · Cobalt Blue Deep� PB2 8 � �

404 · Phthalo Blue� PB 15: 3 � �

808 · Cobalt Blue Chrome� PB 36 � �


405 · Prussian Blue Hue� PB2 9 PB 15 : 3 PBk7 � �

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

426 · Teal� P W6 PB 15 : 3 P G7 � �

604 · Cobalt Turquoise� PB 3 5 PY 3 5 � �


409 · Permanent Green� PY 3 P G7 � �

415 · Emerald Green� PY 3 P G7 � �


516 · Cadmium Green� PY 3 5 P G7 � �


408 · Sap Green Hue� PY8 3 P G7 � �

423 · Olive Green� P G7 PY42 PR 10 1 � �

420 · Green Earth� P G 2 3 PBk1 1 � �

318 · Gold Ochre� PY42 PR 10 1 � �

317 · Yellow Ochre� PY4 3 � �

424 · Transoxide Yellow� PY42 � �

304 · Mars Yellow� PY42 � �

305 · Mars Orange� PY42 PR 10 1 � �

306 · Indian Red� PR 10 1 � �

425 · Transoxide Red� PR 10 1 � �


311 · Burnt Sienna� PBr7 PY42 PR 10 1 � �

312 · Mars Violet� PR 10 1 PBk1 1 � �



313 · Van Dyck Brown� PR 10 1 PY42 PBk1 1 � �

321 · Dark Grey� P W6 PBk 9 PBr7 � �

322 · Medium Grey� P W6 PBk 9 PBr7 � �

323 · Light Grey� P W6 PBk 9 PBr7 � �

412 · Payne's Grey� PB2 9 PY42 PBk1 1 � �

301 · Lamp Black� PBk7 � �

309 Mars Black� PBk1 1 � �

319 · Ivory Black� PBk 9 � �

701 · Silver� PBk7 � �

702 · Gold� P[N A] � �

703 · Bronze� PBk7 � �

704 · Copper� PR 10 1 � �

706 · Antique Silver� PBk7 � �

507 · Graphite� PBk10 � �

7 13 · Iridescent Red� PR 1 12 � �

7 14 · Iridescent Blue� PB 15: 3 � �

7 15 · Iridescent Green� P G7 � �

7 16 · Iridescent Violet� P V 2 3 � �

410 · Iridescent Medium� P[N A] � �

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 eAV 5 8 � 5 . 4 0 3 . 4 0AV 5 8 � 6 . 6 8 4 . 2 0AV 5 8 � 7. 9 4 5 . 0 0AV 5 8 � 1 0 . 0 3 6 . 0 0AV 5 8 � 1 1 . 1 3 6 . 7 0AV 5 8 � 1 6 . 4 3 9 . 2 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 eAV 2 0 0 � 1 0 . 1 5 6 . 1 0AV 2 0 0 � 1 2 . 1 2 7. 3 0AV 2 0 0 � 1 7. 4 4 1 0 . 4 0AV 2 0 0 � 2 1 . 2 9 1 2 . 7 0AV 2 0 0 � 2 6 . 0 8 1 5 . 6 0AV 2 0 0 � 3 4 . 8 1 1 9 . 7 0

2 0 0 M L T U B E S









C O L O U R S

823 · White� P W6 � �

804 · Orange� PY8 3 PR 1 12 � �

808 · Quinacridone Red� P V 19 � �

812 · Turquoise� PB 15: 3 P G7 � �

816 · Olive Green� P[N A] �

820 · Mahogany� PY8 3 PR 1 12 � �

801 · Process Yellow� PY 3 � �

805 · Scarlet Red� PR 1 12 � �

809 · Violet� P V 2 3 � �

813 · Chartreuse� PY 3 P G7 � �

817 · Ochre� PY42 � �

821 · Burnt Umber� PR 1 12 PY8 3 � �

802 · Dark Yellow� PY 3 PY8 3 �

806 · Process Magenta� PR 18 4 �

810 · Ultramarine Blue� PB 15: 3 P V 2 3 � �

814 · Brilliant Green� PY 3 P G7 � �

818 · Golden Brown� PY42 PR 10 1 � �

822 · Flesh Tint� P W6 PY 3 PR 10 1 � �

803 · Orange Yellow� PY8 3 � �

807 · Carmine Red� PR 1 4 6 �

811 · Process Cyan� PB 15: 3 � �

815 · Emerald� P G7 � �

819 · Burnt Orange� PY 3 PR 10 1 � �

824 · Black� PBk7 � �

V A L L E J O L I Q U I D A C R Y L I C C O L O U R

Highly concentrated colour, suitable for brush, pen, markers and airbrush.Paints dry waterproof and matt, allowing clean layers to be built up. Adheres well to difficult surfaces like metal, plastic and glass.

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 eAV L � 5 . 1 2 3 . 2 0

3 2 M L B O T T L E S


Extended pigment index P[N A] : not avai lableV A L L E J O S T U D I O A C R Y L I C C O L O U R

C O L O U R S

The same resin as used in AV Artist Acrylic, with many of the same pigments.A range of artist quality acrylics manufactured without toxic or heavy metal derivatives, making them a popular choice for schools and students. Most colours offer excellent opacity, featuring no fillers for great strength and chromatic purity.

11 · Titanium White Rutile� P W6 � �

1 · Cadmium Lemon Yellow (Hue)� PY 3 � �

22 · Cadmium Yellow Deep (Hue)� PY 3 PY8 3 � �

13 · Azo Yellow Orange� PY8 3 � �

21 · Naples Yellow (Hue)� PY8 3 P W6 PY42 � �

15 · Cadmium Orange (Hue)� P O5 � �

2 · Cadmium Red (Hue)� PR 1 12 � �

3 · Naphtol Crimson� PR 1 4 6 �

26 · Rose Madder (Hue)� PR5 P V 2 3 � �

23 · Magenta� PR 12 2 P W6 � �

14 · Permanent Violet� P V 2 3 � �


5 · Phthalo Blue� PB 15: 3 � �

25 · Cobalt Blue (Hue)� PB2 9 P W6 � �

24 · Primary Blue� P W6 PB 15 : 3 � �

9 · Mars Orange� PY42 PR 10 1 � �

10 · Mars Red� PR 10 1 � �

19 · Raw Sienna� PY42 PR 10 1 PBk7 � �

8 · Mars Yellow� PY42 � �


7 · Permanent Green� PY 3 P G7 � �

16 · Sap Green (Hue)� P G8 PY8 3 �

17 · Raw Umber (Hue)� PY42 PR 10 1 PBk7 � �

20 · Burnt Sienna (Hue)� PY42 PR 10 1 PBk7 � �

18 · Burnt Umber (Hue)� PY42 PR 10 1 PBk7 � �


938 · Gold� 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 eAV 5 8 � 4 . 5 4 2 . 8 0AV 5 8 � 6 . 1 0 3 . 7 0

5 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 eAV 2 0 0 � 9 . 8 6 6 . 0 0AV 2 0 0 � 1 0 . 8 8 6 . 6 0

2 0 0 M L B O T T L 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 eAV 1 � 3 2 . 2 3 1 8 . 5 0AV 1 � 4 0 . 5 6 1 8 . 6 0

1 L B O T T L 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 eAV 5 0 0 � 1 7. 1 2 9 . 9 0AV 5 0 0 � 2 2 . 7 6 1 4 . 5 0

5 0 0 M L B O T T L E S




602 · Zinc White� P W4 � � �

603 · Titanium White Ex. Opaque� P W6 � � �

604 · Mixed White� P W6 P W4 � �

605 · Old Holland Yellow Light� P W6 PY 18 4 � � �

606 · Titanium Buff Light� P W6 PY42 � �

607 · Titanium Buff Deep� P W6 PY42 PBr7 � � �

608 · Old Holland Yellow Medium� P W6 PY 18 4 � �

609 · Old Holland Yellow Deep� P W6 PY4 3 � �

610 · Brilliant Yellow Light� P W6 PY5 3 � �

611 · Brilliant Yellow� P W6 P W5 3 � �

612 · Brilliant Yellow Reddish� P W6 PY5 3 PR 18 8 � �

613 · Naples Yellow Reddish Extra� P W6 P O7 3 PY5 3 � �

614 · Flesh Tint� P W6 PR 12 2 PR 10 1 � �

615 · Indian Yellow Green Extra� PY 12 9 PY95 � �

616 · Nickel Azo Brown-Lemon� PY 150 � �

617 · Nickel Titanium Yellow� PY5 3 � �

618 · Bismuth Yellow Lemon� PY 18 4 � �

619 · Cadmium Yellow Lemon� PY 3 � � �

620 · Azo Yellow Lemon � PY 3 � �


622 · Indian Yellow Extra� PY 12 8 � �

623 · Bismuth Yellow Light� PY 18 4 � �

624 · Azo Yellow Light� PY 74 � �

625 · Cadmium Yellow Medium � PY 3 5 � � �

626 · Bismuth Yellow Medium� PY 18 4 � �

627 · Gamboge Extra� PY8 3 � � �

628 · Bismuth Yellow Deep� PY 18 4 � �

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

630 · Azo Yellow Deep� PY8 3 � �

631 · Indian Yellow-Orange Extra� PY 1 10 � �

632 · Indian Yellow-Brown Extra� PY95 PR 10 1 � �

633 · Old Holland Red-Gold� PY95 PR 1 7 7 � �

634 · Quinacridone Red-Orange� P O 4 3 � �

635 · Indian Orange Yellow Extra� PY95 PR 25 5 � �

636 · Indolinone Orange� P O6 1 � �

637 · Blood Red� P[N A] � � �

638 · Cadmium Yellow Orange� PR 10 8 � �

639 · Naphthol Red Orange� PR 8 3 PR 1 70 � �

640 · Cadmium Orange � PR 10 8 � �


642 · Naphthol Vermilion� PR 18 8 � �

643 · Pyrrole Vermilion� PR 25 5 � �

64 4 · Cadmium Red Light� PR 10 8 � � �



647 · Naphthol Red Light� PR 12 2 � �

648 · Naphthol Red Medium� PR 1 70 � �

649 · Pyrrole Red Deep� PR 25 4 � �

650 · Ruby Red� PR 20 9 � �

651 · Rose Dore Extra� PR 1 7 7 PBr2 3 PR 16 8 � �

652 · Alizarin Crimson Deep Extra� PR 26 4 P V 19 � � �

653 · Madder Crimson Extra� PR 1 7 7 � �

654 · Brilliant Pink� P W6 PR 1 12 PR 12 2 � � �

655 · Quinacridone Rose Light� P V 19 � �

656 · Quincridone Rose Deep� P V 19 � �

657 · Old Holland Magenta Light� P W6 PR 12 2 PR 20 9 � �

658 · Quinacridone Fuchsia� PR 12 2 � �

659 · Quinacridone Magenta� P[N A] � � �

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

661 · Cobalt Violet Light Extra� P V 2 3 PR 12 2 PB7 3 � �

662 · Quinacridone Purple� P V 19 � �

663 · Cobalt Violet Dark extra� PB7 3 P V 2 3 P V 19 � �

664 · Dioxazine Violet� P V 2 3 � � �


666 · Violet Grey� P W6 PB2 9 P V 2 3 � � �

667 · Neutral Tint� Pr259 PBr7 PB 15 � � �

668 · Payne's Grey� PB2 9 PBk7 � �

669 · Old Delft Blue Deep� PB60 � �

670 · Old Delft Blue� PB60 � �

67 1 · Ultramarine Blue Deep� PB2 9 � �


673 · French Ultramarine Extra� PB2 9 � � �

674 · King's Blue Deep� P W6 PB2 9 � �

675 · King's Blue Light� P W6 PB2 9 � �

676 · Cobalt Blue Deep� PB74 � �

67 7 · Cobalt Blue� PB2 8 � � �

678 · Phthalo Blue Red Shade� PB 15:6 � �

679 · Phthalo Blue� PB 15: 2 � � �

680 · Transparent Blue� PB 15:1 � �

681 · Prussian Blue Extra� PB 15: 2 P G7 PR 1 7 7 � �

682 · Indigo Extra� P[0 1 ] � � �

683 · Cyan Blue� P W4 PB 15 : 2 PB2 9 � �

684 · Blue Light� P W6 PB 15 : 2 � �

685 · Manganese Blue� PB 3 3 � � �

686 · Cerulean Blue� PB 3 5 � � �

687 · Blue Medium� P W6 PB2 9 PB 15 : 2 � �

688 · Blue-Grey� P W6 PB2 9 PBk7 � � �

689 · Cerulean Blue Deep � PB 36 � �

690 · Phthalo Blue Turquoise� PB 15:6 P G7 � �

O L D H O L L A N D N E W M A S T E R S C L A S S I C A C R Y L I C 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 eA H 6 0 � 6 . 8 8 6 . 2 0A H 6 0 � 9 . 2 8 8 . 3 0A H 6 0 � 1 1 . 5 4 1 0 . 4 0A H 6 0 � 1 2 . 2 4 1 0 . 9 0A H 6 0 � 1 4 . 2 0 1 2 . 7 0A H 6 0 � 1 5 . 6 1 1 4 . 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 eA H 2 5 0 � 2 0 . 4 7 1 8 . 5 0A H 2 5 0 � 2 4 . 5 5 2 2 . 5 0A H 2 5 0 � 3 0 . 5 5 2 7. 5 0A H 2 5 0 � 3 5 . 1 2 3 2 . 0 0A H 2 5 0 � 4 0 . 7 5 3 6 . 0 0


C O L O U R S

A huge range of colours, high doses of pigment and a patented binding system. This special formula means each paint displays the unique characteristics of its individual pigments. Colours dry to a satin gloss, are suitable for the full spectrum of acrylic techniques, and show little colour shift from wet to dry.





Extended pigment index P[0 1 ] : PB 15 : 2 PR 1 7 7 PBk7 P[N A] : not avai lable




691 · Phthalo Blue Green Shade� PB 16 � �

692 · Cobalt Blue Turquoise� PB 36 � �

693 · Cobalt Blue Turquoise Light� P G50 � �

694 · Phthalo Green Turquoise� P G7 PB 15 : 2 � �

695 · Phthalo Green Blue Shade� P G7 � � �

696 · Permanent Green Deep� P W6 P G7 PY 3 � �

697 · Phthalo Green Yellow Shade� P G 36 � �

698 · Emerald Green Extra� P W6 P G 36 � �

699 · Permanent Green Light� PY 3 P G7 P W6 � �


701 · Old Holland Green Light� PY 3 P G 36 � �

702 · Old Holland Yellow Green� P W6 PY 3 P G 36 � �

703 · Cinnabar Green Light Extra� PY 3 5 P G7 PB2 9 � �

704 · Old Holland Green Gold� PY 12 9 � �

705 · Old Holland Grn. Gold Deep� PY 12 9 P G 3 5 � �

706 · Sap Green Extra� PY 12 8 P G7 PY42 � � �

707 · Hooker's Green Deep Extra� PY42 P G7 PBk7 � �


709 · Green Earth� P G 2 3 � � �

7 10 · Green Umber� PBr7 P G7 � � �

7 11 · Olive Green� PY 74 PY8 3 PBk7 � �

7 12 · Naples Yellow Extra� P W6 PY42 � � �

7 13 · Naples Yellow Deep Extra� PBr24 � �

7 14 · Mars Yellow� PY42 � �

7 15 · Yellow Ochre Light� PY4 3 � � �

7 16 · Raw Sienna� PBr7 � � �

7 17 · Transparent Oxide Yellow� PB 42 � �

7 18 · Gold Ochre� PY42 P O6 1 � � �

7 19 · Transparent Oxide-Red� PR 10 1 � � �

720 · Mars Orange-Red� PR 10 1 � �

721 · Burnt Sienna� PBr7 � � �

722 · English Red (Mars) � PR 10 1 � �

723 · Flesh Ochre� PY42 PR 1 12 � � �

724 · Venetian Red (Mars) � PR 10 1 � �

725 · Caput Mortuum Viol. (Mars)� PR 10 1 � � �

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

727 · Sepia Extra� PBk7 PR 10 1 PBr7 � � �



730 · Old Holland Warm Grey� P W6 PBr7 PBk7 � � �

731 · Van Dyke Brown� PBk 9 PY42 PR 10 1 � �

732 · Old Holland Neutral Grey� P W6 PBr7 PBk7 � �

733 · Cold Grey� P W6 PB2 9 PBk7 � �


735 · Ivory Black Extra � PBk 9 � � �

736 · Carbon Black� PBk7 � � �

801 · Pearlescent White� P W6 � �

802 · Pearlescent Lemon� P W6 PY 74 � �

803 · Pearlescent Yellow� P W6 PY8 3 � �

804 · Pearlescent Orange� P W6 P O7 3 PY5 3 � �

805 · Pearlescent Vermilion� P W6 PR 1 70 � �

806 · Pearlescent Scarlet � P W6 PR 1 70 � �

807 · Pearlescent Crimson� P W6 PR 1 70 � �

808 · Pearlescent Magenta� P W6 P V 19 � �

809 · Pearlescent Purple� P W6 P V 19 � �

810 · Iridescent Violet� P W6 P V 2 3 � �

811 · Pearlescent Delft Blue� P W6 PB 60 � �

812 · Pearlescent Blue� P W6 PB 15 : 2 � �

813 · Pearlescent Turquoise� P W6 PB 16 � �

814 · Pearlescent Green� P W6 P G7 � �

815 · Pearlescent Jade� P W6 P G 36 � �

816 · Iridescent Black� P W6 PBk7 � �

817 · Interference Red� P W6 � �

818 · Interference Lilac� P W6 � �

819 · Interference Green� P W6 � �

821 · Metallic Aluminium� P[N A] � �

822 · Metallic Brass� P[N A] � �

823 · Metallic Bronze� P[N A] � �

824 · Metallic Copper� P[N A] � �

825 · Iridescent Pearl� P W6 � �

826 · Iridescent Silver� P W6 PBk7 � �

827 · Iridescent Pewter� P W6 PBk7 PB 15 : 2 � �

828 · Iridescent Bright Gold� P W6 � �

829 · Iridescent Royal Gold� P W6 � �

830 · Iridescent Bronze � P W6 � �

831 · Iridescent Light Copper� P W6 � �

832 · Iridescent Deep Copper� P W6 � �

New Masters Acr ylic Intro SetContains 6 x 60ml tubes .Code: AH6SETRRP : £ 4 5.90Price: £ 42.00


S E T S

T E X T U R E F L O W J U S T

R I G H T



T A L E N S A M S T E R D A M E X P E R T A C R Y L I C 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 eAT E 7 5 � 5 . 5 0 3 . 8 0AT E 7 5 � 6 . 5 0 3 . 9 0AT E 7 5 � 7. 5 0 4 . 9 0AT E 7 5 � 8 . 5 0 6 . 7 0

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 eAT E 4 0 0 � 1 3 . 9 0 1 2 . 1 0AT E 4 0 0 � 1 6 . 9 0 1 2 . 6 0AT E 4 0 0 � 1 9 . 9 6 1 6 . 3 0AT E 4 0 0 � 2 5 . 9 0 2 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 eAT E 1 5 0 � 8 . 9 0 6 . 3 0AT E 1 5 0 � 9 . 3 0 6 . 1 0AT E 1 5 0 � 1 1 . 9 0 7. 8 0AT E 1 5 0 � 1 6 . 3 0 1 0 . 8 0

1 5 0 M L T U B E S

105 · Titanium White � P W6 � � �

104 · Zinc White � P W 7 � � �

291 · Titanium Buff� P W6 PY42 PBk1 1 � �

290 · Titanium Buff Deep� P W6 PY42 PBk1 1 � � �

292 · Naples Yellow Red Light� P W6 PY42 P V 19 � �

217 · Perm. Lemon Yellow Light� PY 18 4 P W6 � �

207 · Cadmium Yellow Lemon � PY 3 5 � � �

254 · Permanent Lemon Yellow � PY 18 4 � � �

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

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

284 · Permanent Yellow Medium� PY 74 � � �

272 · Transparent Yellow Medium� PY 12 8 � �

242 · Aureoline� PY 74 P O7 3 P W6 � �

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

285 · Permanent Yellow Deep� PY 74 P O 4 3 � � �

218 · Transparent Orange� PY 12 8 PR 20 9 � �

266 · Permanent Orange� P O7 3 PY 74 � �

211 · Cadmium Orange� P 0 20 � � �

311 · Vermillion� P 07 3 � � �

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

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

315 · Pyrrole Red� PR 25 4 � � �

317 · Transparent Red Medium� PR 20 9 � �

306 · Cadmium Red Deep� PR 10 8 � � �

345 · Pyrrole Red Deep� PR 25 4 PR 26 4 � �

366 · Quinacridone Rose � P V 19 � � �

318 · Carmine� PR 26 4 � �

336 · Permanent Madder� PR 26 4 P V 2 3 � �

322 · Carmine Deep� PR 26 4 P V 2 3 � � �

363 · Quina. Rose Deep Opaque� P V 19 P W6 � � �

346 · Quina. Rose Light Opaque � P V 19 P W6 � �

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

532 · Mauve� P V 19 P V 2 3 P W6 � �

590 · Perm. Red Violet Opaque� P V 19 P V 2 3 P W6 � � �

589 · Permanent Violet Opaque� P V 19 P V 2 3 P W6 � �

581 · Perm. Blue Violet Opaque� P V 2 3 P V 19 P W6 � � �

568 · Permanent Blue Violet� P V 2 3 PR 12 2 � � �


518 · Cobalt Blue Deep Ultram.� PB2 9 PB 15 � �

516 · Cobalt Blue Light Ultra.� PB2 9 P W6 � �

533 · Indigo� PB2 9 PBk7 � � �


517 · King's Blue� PB2 9 PB 15 P W6 � � �

570 · Phthalo Blue� PB 15 � � �

521 · Indanthrene Blue Phthalo� PB 15 PB2 9 P W6 � � �

566 · Prussian Blue� PB 15 PBk1 1 � �

530 · Sèvres Blue� PB 15 P G7 P W6 � �

527 · Sky Blue� P W6 PB 15 � �

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

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

661 · Turquoise Green� P G7 PB 15 P W6 � � �

619 · Permanent Green Deep� P G7 PY 74 � � �

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

617 · Yellow Green� P G7 PY 74 � � �

219 · Green Yellow Light� PY 18 4 P W6 � �

620 · Olive Green� P G7 PR 10 1 � �


623 · Sap Green� P G7 PY42 PR 10 1 � � �

339 · Light Oxide Red� PR 10 1 � �

411 · Burnt Sienna� PR 10 1 � � �


234 · Raw Sienna� PY42 � �

265 · Transparent Oxide Yellow� PY42 � �

426 · Transparent Oxide Brown� PR 10 1 P G7 � �

408 · Raw Umber� PY42 PBk1 1 � �

409 · Burnt Umber� PR 10 1 PBk1 1 � � �

403 · Vandyke Brown� PBk1 1 PR 10 1 � � �

708 · Paynes Grey� P[0 1 ] � �

735 · Oxide Black� PBk1 1 � � �


C O L O U R S

A well-balanced range of 70 lightfast colours will remains bright for decades.Presented in transparent plastic tubes for ease of use in the studio and lightness when travelling. Alkali-resistant so suitable for wall paintings, extremely durable thanks to a 100% acrylic resin binder, and practically odourless.





Extended pigment index P[0 1 ] : PBk7 PB2 9 P V 19 P W6 P[N A] : not avai lable


W O N D E R F U L F O R

I M P A S T O



T A L E N S A M S T E R D A M S T A N D A R D A C R Y L I C 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 eATA 5 0 0 � 1 4 . 9 5 9 . 7 0

5 0 0 M L B O T T L 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 eATA 1 2 0 � 4 . 7 5 3 . 1 0

1 2 0 M L T U B E S Royal Talens' Amsterdam Acrylics are incredibly popular thanks to their quality and affordability.The 70 colour range offers a high degree of lightfastness. Pigments are bound in 100% acrylic resin. The paint is alkali resistant, making suitable for wall paintings. "I use this make a lot of the time, along with other acrylics and I love the texture and vibrancy of colours, as well as the cost". -Customer Review.

C O L O U R S

S E T S

104 · Zinc White� P W 7 � � �

275 · Primary Yellow� PY 3 PY 74 � � �

399 · Naphthol Red Deep� PR 1 12 PR 2 3 � �

568 · Permanent Blue Violet� P V 2 3 P V 19 � �

566 · Prussian Blue Phthalo� PB 15 PBk7 � � �

623 · Sap Green� P G7 PY42 PR 10 1 � � �


268 · Azo Yellow Light� PY 74 � � �

318 · Carmine� PR 2 3 � � �

507 · Utramarine Violet� P V 15 P W6 � � �

557 · Green Blue� PB 15 P G7 � � �

289 · Titanium Buff Light� P W6 PY42 � � �

272 · Transparent Yellow Medium� PY 12 8 � �

369 · Primary Magenta� P V 19 � � �

519 · Utramarine Violet Light� P W6 PB2 9 � � �

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

222 · Naples Yellow Light� P W6 PY42 � �

269 · Azo Yellow Medium� PY 74 � � �

348 · Permanent Red Purple� P V 19 � �

562 · Grey Blue� P W6 PB 15 PBk7 � � �

661 · Turquoise Green� P W6 P G7 PB 15 � � �

290 · Titanium Buff Deep� P W6 PR 10 1 PBk1 1 � � �

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

366 · Quinacridone Rose� P V 19 � � �

504 · Utramarine� PB2 9 � � �

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

282 · Naples Yellow Green� P W6 PY42 P G7 � �

253 · Gold Yellow� PY 74 P O 3 4 P W6 � �

316 · Venetian Rose� P W6 PR 1 12 PY42 � �

512 · Cobalt Blue Ultramarine� PB2 9 � � �

605 · Brilliant Green� P G7 PY 74 � �

223 · Naples Yellow Deep� P[0 1 ] � � �

276 · Azo Orange� P O 3 4 PY 74 � � �

330 · Persian Rose� P W6 P V 19 PR 10 1 � � �

572 · Primary Cyan� PB 15 P W6 � � �

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

292 · Naples Yellow Red Light� P W6 PY42 PR 10 1 � � �

311 · Vermilion� P O 3 4 PY 74 � � �

361 · Light Rose� P V 19 P W6 � �

570 · Phthalo Blue� PB 15 � � �

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

224 · Naples Yellow Red� P W6 PBr24 P O7 3 � �

398 · Naphthol Red Light� PR 1 12 PY 74 � � �

385 · Quinacridone Rose Light� P V 19 P W6 � � �

582 · Manganese Blue Phthalo� PB 15 P G7 � �

619 · Permanent Green Deep� P G7 PY 74 � �

274 · Nickel Titanium Yellow� PY 18 4 P W6 � � �

396 · Naphthol Red Medium� PR 1 12 � � �

57 7 · Permanent Red Violet Light� PR 12 2 P W6 � � �

517 · King's Blue� P W6 PB 15 � � �

621 · Olive Green Light� P G7 PY 74 PY42 � � �

243 · Greenish Yellow� PY 74 P G7 � � �

317 · Transparent Red Medium� PR 20 9 � �

567 · Permanent Red Violet� P V 19 P V 2 3 � �

564 · Brilliant Blue� PB 15 P G7 P W6 � � �

622 · Olive Green Deep� P G7 PY42 PR 10 1 � � �


231 · Gold Ochre� PR 10 1 PY 74 � �

234 · Raw Sienna� PY42 � �

411 · Burnt Sienna� PR 10 1 � � �

409 · Burnt Umber� PR 10 1 PBk1 1 � � �

403 · Vandyke Brown� PBk1 1 PR 10 1 � � �

7 18 · Warm Grey� P W6 PBk1 1 PR 10 1 � � �

7 10 · Neutral Grey� P W6 PBk7 PY42 � � �

702 · Lamp Black� PBk7 � � �


267 · Azo Yellow Lemon� PY 3 � � �

315 · Pyrrole Red� PR 25 4 � � �

34 4 · Caput Mortuum Violet� P V 19 PBk7 P W6 � �

551 · Sky Blue Light� P W6 PB 15 P G7 � � �

S U P E R I O R A C R Y L I C P A I N T S

Amsterdam Standard Acr ylic Set of 12Contains 12 x 20ml tubes .Code: ATAS002RRP : £ 18.65Price: £12.10

Amsterdam Standard Acr ylic Set of 24Contains 24 x 20ml tubes .Code: ATAS003RRP : £ 35.38Price: £23.00

Amsterdam Standard Acr ylic Set of 6Contains 6 x 20ml tubes .Code: ATAS001RRP : £ 10.9 4Price: £7.10


Extended pigment index P[0 1 ] : P W6 PBr24 PY 15 4 P[N A] : not avai lable



S E N N E L I E R A B S T R A C T A C R Y L I C 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 eA N A 1 2 0 � 3 . 9 5 2 . 8 0

1 2 0 M L P O U C H 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 eA N A 5 0 0 � 1 2 . 9 5 9 . 1 0

5 0 0 M L P O U C H E S ( M A R K E D � O N L Y )The first thing you will notice about Sennelier Abstract Acrylic is the unique packaging.These flexible pouches will be a revelation in your studio. Accidentally stand on them and paint will not explode all over your floor, plus air cannot get inside and so paint stays fresher for longer.

C O L O U R S

116 · Satin Titanium White� P W6 � � �

116B · High Gloss Titanium White� P W6 � �

136 · Satin Titanium Buff� P W6 PY42 PBk7 � �

545 · Satin Cad. Yellow Lemon H.� PY 3 � �

545B · H. G. Cad. Yell. Lemon H.� PY 3 � �

574 · Satin Primary Yellow� PY 74 � �

574B · High Gloss Primary Yellow� PY 74 � �

541 · Satin Cad. Yellow Med. Hue� PY 3 P W6 PY8 3 � �

543 · Satin Cad. Yellow Deep Hue� PY8 3 � �

615 · Satin Cad. Red Orange Hue� P O7 3 � �

674 · Satin Vermilion� PR 1 12 � �

613 · Satin Cad. Red Light Hue� PR 25 4 � �

686 · Satin Primary Red� P V 19 � �

686B · High Gloss Primary Red� P V 19 � �

606 · Satin Cad. Red Deep Hue� PR 1 70 � �

635 · Satin Carmine Red� PR 20 2 � �

658 Satin · Quinacridone Pink� P W6 PR 12 2 � �

67 1 · Satin Deep Magenta� PR 12 2 � �

67 1B · High Gloss Deep Magenta� PR 12 2 � �

921 · Satin Light Violet� P W6 P V 2 3 PB 15 � �

917 · Satin Purple� P V 2 3 � �

917B · High Gloss Purple� P V 2 3 � �

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

385 · Satin Primary Blue� PB 15 � �

385B · High Gloss Primary Blue� PB 15 � �

314 · Satin Ultramarine Blue� PB2 9 � �

314B · High Gloss Ultram. Blue� PB2 9 � �

320 · Satin Azure Blue� P W6 PB 15 P G7 � �

323 · Satin Cerulean Blue Hue� PB 15 P W6 P G7 � �

341 · Satin Turquoise� P W6 P G7 PB 15 : 3 � �

896 · Satin Phthalo Green� P G7 � �

896B · High Gloss Phthalo Green� P G7 � �

809 · Satin Hooker's Green� PY 1 4 P G7 PBk7 � �

811 · Satin Permanent Green Light� PY 74 PB 15 � �

87 1 · Satin Bright Yellow Green� PY 3 P G7 � �

214 · Satin Burnt Green Earth� PY42 PBk7 P G7 � �

252B · High Gloss Yellow Ochre� PY42 � �

252 · Satin Yellow Ochre� PY42 � �

567 · Satin Naples Yellow� P W6 PY 3 PY8 3 � �

250 · Satin Flesh Ochre� P W6 PY42 PR 1 12 � �

208 · Satin Raw Sienna� PY42 PR 10 1 PBk1 1 � �

211 · Satin Burnt Sienna� P[0 1 ] � �

211B · High Gloss Burnt Sienna� P[0 2] � �

205 · Satin Raw Umber� P[0 3] � �

202 · Satin Burnt Umber� P[0 4] � �

701 · Satin Neutral Grey� P W6 PBk7 � �

304 · Fluorescent Blue� P[N A] �

759 · Satin Mars Black� PBk1 1 � �

759B · High Gloss Mars Black� PBk1 1 � �

895 · Fluorescent Green� P[N A] �

648 · Fluorescent Orange� P[N A] �

654 · Fluorescent Pink� P[N A] �

604 · Fluorescent Red� P[N A] �

502 · Fluorescent Yellow� P[N A] �

070 · Iridescent Black� P[N A] � �

022 · Iridescent Bronze� P[N A] � �

036 · Iridescent Copper� P[N A] � �

028 · Iridescent Gold� P[N A] � �

020 · Iridescent Pearl� P[N A] � �

029 · Iridescent Silver� P[N A] � �

S E T S

Box Set of 5 ColoursContains 5 x 120ml pouches in a card presentation box . Colours included: Pr imar y Red, Pr imar y Yellow, Pr imar y Blue, Mars Black and Titanium White .Code: ANAS5RRP : £ 18.95Price: £13.30



Lightfastness � Fug it ive ( A ST M V I ) � Fair ( A ST M I I I ) � Good ( A ST M I I ) � E xcel lent ( A ST M I )


Extended pigment index P[0 1 ] : PY42 PR 10 1 PBk1 1 PBk7 P[0 2] : PY42 PR 10 1 PBk1 1 PBk7 P[0 3] : PY42 PBk7 PR 10 1 PY 1 4 P[0 4] : PR 10 1 PBk7 PY 1 4 PY42 P[N A] : not avai lable




50 highly pigmented colours, plus 8 luminous metallics. Displaying minimal colour shift, semi-gloss finish and a smooth texture, Lascaux Studio acrylics are highly versatile, suitable for all art and design purposes. The single series range and generous container size makes this a convenient range for those looking for consistency and value.

L A S C A U X S T U D I O A C R Y L I C C O L O U R


983 · Tint White� P W5 P W6 � �

911 · Naples Yellow� PY5 3 � �

912 · Lemon Yellow� PY 18 4 � � �

913 · Permanent Yellow Light� PY 74 P W6 � �

914 · Permanent Yellow Medium� PY8 3 P W6 � � �

915 · Permanent Yellow Deep� PY 13 9 P O7 3 � �

921 · Permanent Orange� P O7 3 PY 13 9 � �

922 · Vermilion� PR 9 PY8 3 P W6 � �

923 · Bright Red� PR 25 4 � � �

924 · Permanent Red Deep� PR 1 70 � �

925 · Carmine Red� PR 26 4 � � �

926 · Bordeaux Red� P[0 1 ] � �

930 · Magenta Deep� PR 12 2 PR 18 4 P W6 � �

931 · Magenta� PR 12 2 P W6 � �

932 · Purple Red� PR 12 2 P V 2 3 P W6 � � �

933 · Violet� P V 2 3 PR 12 2 P W6 � �

941 · Indigo� PB60 PBk1 1 � �

942 · Ultramarine deep� PB2 9 P W6 � � �

943 · Ultramarine Light� PB2 9 P W6 � �

94 4 · Cobalt Blue� PB 15:1 P W6 � � �

945 · Cerulean Blue� PB 15: 3 P W6 � �

946 · Turquoise Blue� PB 15: 3 P G7 P W6 � �

947 · Light Blue� PB2 9 P W6 � �

948 · Turquoise Blue Light� PB 15: 3 P W6 � �

950 · Emerald Green Deep� P G7 PB 15 :1 P W6 � �

951 · Emerald Green� P G7 P W6 � � �

952 · Chromium Oxide Green� P G 1 7 P G7 � �

953 · Permanent Green Deep� P G7 PY 3 P W6 � �

954 · Permanent Green Light� P G 36 P W 3 P W6 � �

955 · Olive Green� P G 26 PBr24 PBk 2 8 � �


957 · Burnt Umber� PY42 PBr 6 PBK1 1 � �


962 · Gold Ochre� PBr24 � �

963 · Burnt Siena� PY42 PR 10 1 � �

964 · English Red� PR 10 1 � � �

965 · Oxide Brown Light� PBr 6 � �

966 · Oxide Brown Deep� PBr 6 � �

97 1 · Anthracite� PBr 6 PBk1 1 P W6 � �


949 · Prussian Blue� PB 15: 3 PBk7 � � �


974 · Paynes Grey� PBk7 PB60 � �

97 7 · Neutral Grey Dark� PBk7 P W6 � �

978 · Neutral Grey Middle� PBk7 P W6 � �

979 · Neutral Grey Light� PBk7 P W6 � �

981 · Buff Titanium� P W6 PBr24 � �

984 · Cobalt Green Light� P G 26 P W6 � �

985 · Naples Rose� PR 9 P W6 � �

986 · Naples Orange� P O 3 4 P W6 � �

990 · Rich Pale Gold� P[N A] � � �

991 · Pale Gold� P[N A] � � �

992 · Deep Gold� P[N A] � � �

993 · English Green Gold� P[N A] � � �

994 · Copper� P[N A] � � �

995 · Aluminium� P[N A] � � �

996 · Britannia Silver� P[N A] � � �

997 · Stay Steel� P[N A] � � �

975 · Transparent Black� PBk 2 8 � � �

987 · Shell White� P W6 PBr24 � � �

988 · Crystal White� P W6 PB2 9 P V 2 3 � � �

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 eA L S 8 5 � 1 2 . 5 0 1 1 . 1 0

8 5 M L B O T T L 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 eA L S 2 5 0 � 1 8 . 5 5 1 5 . 7 0A L S 2 5 0 � 2 4 . 9 5 2 2 . 5 0

2 5 0 M L B O T T L E S


Extended pigment index P[0 1 ] : PR 18 4 PR 25 7 P V 2 3 P W6 P[N A] : not avai lable

T H E Y G O F R O M

S T R E N G T H T O

S T R E N G T H

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 eA L S 5 0 0 � 3 0 . 9 1 2 6 . 5 0A L S 5 0 0 � 3 0 . 9 1 2 6 . 5 0




L U K A S S T U D I O A C R Y L I C 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 eA K 7 5 � 2 . 9 5 2 . 7 0A K 7 5 � 4 . 8 0 4 . 4 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 eA K 2 5 0 � 6 . 5 0 5 . 9 0A K 2 5 0 � 9 . 6 0 8 . 7 0

7 5 M L T U B E S 2 5 0 M L B O T T L E S


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

626 · Cadmium Yellow Hue� PY 74 � � �

629 · Cadmium Orange Hue� PY 74 PR 1 12 � � �

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

666 · Alizarin Crimson� PR 1 4 6 PBk1 1 � � �

672 · Cadmium Red Light Hue� PY 74 PR 1 12 � � �

674 · Cadmium Red Deep Hue� PR 1 12 PR 12 2 � � �

686 · Vermilion� PR 1 12 � � �

661 · Carmine� PR 1 4 6 � � �

729 · Mauve� PR 1 4 6 P V 2 3 � � �

732 · Permanent Violet� P V 2 3 � � �

609 · Beige � P W6 PY42 � � �

649 · Rose� P W6 PR 1 12 PR 12 2 � �

730 · Lavender� P W6 P V 2 3 � �

621 · Pastel Yellow� P W6 PY 74 � �

622 · Flesh Colour� P W6 PY42 PR 1 12 � � �

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

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

734 · Prussian Blue� PB 15:1 PBk7 � � �

737 · Ultramarine� PB2 9 � �

745 · Phthalo Blue� PB 15:1 � � �

724 · Turquoise� P W6 PB 15 : 3 P G7 � � �

723 · Arctic� P[0 1 ] � �

762 · Mint� P W6 P G 1 7 � �

752 · Fern� P[0 2] � �

751 · Chrome Green Light� PY 3 P G7 � � �

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

765 · Sap Green� PY 3 PY8 3 P G7 � � �

754 · Viridian (Phthalo)� P G7 � �

758 · Green Earth� PY8 3 P G7 PBk1 1 � � �

624 · Indian Yellow� PY 74 PR 1 12 � � �

623 · Apricot� P W6 PY 74 PR 1 12 � �

721 · Cerulean Blue� P W6 PB 15 : 3 P G7 � � �

757 · Olive Green� P G 1 7 � � �

610 · Sand� P[0 3] � �

634 · Naples Yellow� P W6 PY 3 PY42 � � �

632 · Caramel� PY42 PBk1 1 � �


702 · Brown Ochre � P[0 4] � � �

639 · Raw Sienna� PY42 PR 10 1 � � �

709 · Burnt Sienna� P[05 ] � � �

655 · Terracotta� PR 10 1 PR 1 12 � �

7 11 · Burnt Umber� PR 10 1 PBk1 1 � � �

7 10 · Raw Umber� P[06] � � �

785 · Light Grey� P[07 ] � �

74 4 · Steel Blue� P[0 8] � �

722 · Indigo� P[0 9] � � �

784 · Payne's Grey� PR 1 4 6 P G7 PBk1 1 � � �

799 · Iron Oxide Black� PBk1 1 � � �

612 · Gold� P[N A] � � �

613 · Silver� P[N A] � � �

614 · Copper� P[N A] � � �

C O L O U R S

A great choice for students or users of large volumes of paint who don't wish to sacrifice refinement for price.Fantastic value and quality, professional levels of pigment loading at a student level price point. High colour intensity and lightfastness across all 62 shades, with a medium consistency that's easily manipulated for a wide range of applications. Dries to a flexible film that's glossy and opaque.

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 eA K 5 0 0 � 1 0 . 9 5 9 . 9 0A K 5 0 0 � 1 8 . 8 2 1 7. 0 0






Extended pigment index P[0 1 ] : P W6 PY42 P G7 PBk1 1 P[0 2] : P W6 PY42 / PY 74 P G7 PBk1 1 P [0 3] : P W6 PY42 PR 10 1 PBk1 1 P[0 4] : PY42 PR 10 1 PBk1 1 P[05 ] : PY42 PR 10 1 PBk1 1 P[06] : PY42 PR 10 1 PBk1 1 P[07 ] : P W6 PB 15 :1 P V 2 3 PBk7 P[0 8] : P W6 PB 15 :1 P V 2 3 PBk7 P[0 9] : P V 2 3 PB 15 :1 PBk7 P[N A] : not avai lable




W I N S O R & N E W T O N G A L E R I A A C R Y L I C 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 eAW G 6 0 � 3 . 9 5 3 . 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 eAW G 5 0 0 � 2 0 . 3 0 1 5 . 2 0

5 0 0 M L P O T 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 eAW G 2 5 0 � 1 1 . 7 0 8 . 8 0

2 5 0 M L P O T S ( M A R K E D � O N L Y ) Galeria Acrylic is a ‘high-end’ student paint, often mistaken for artist’s quality, used by many professional artists wanting to keep costs low without compromising quality.The 60 colours in the range offer a wide spectrum of pigment that demonstrate colour brilliance, strength, opacity and permanence. The paint retains brush strokes when used straight and dries to a satin finish.

C O L O U R S

S E T S

415 · Mixing White� P W6 � � �

64 4 · Titanium White� P W6 � � �

434 · Pale Lemon� P W6 PY 3 � �


114 · Cadmium Yellow Pale Hue� PY 3 PY 74 � � �

653 · Transparent Yellow� PY 150 PY 3 � �

120 · Cad. Yellow Medium Hue � PY 7 3 PY8 3 � � �

115 · Cadmium Yellow Deep Hue� PY6 5 � � �

257 · Flesh Tint� PY42 PR 10 1 P W6 �

090 · Cadmium Orange Hue� PY6 5 PR 9 � � �

682 · Vermilion Hue� PR 9 � � �

095 · Cadmium Red Hue� PR 1 12 � � �

203 · Crimson� PR 1 70 � � �

466 · Perm. Alizarin Crimson� PR 1 70 P V 19 � � �

502 · Permanent Rose� PR 12 2 P V 19 � � �

4 48 · Opera Rose� P[N A] � � �

488 · Permanent Magenta� PR 12 2 P V 19 � � �

075 · Burgundy� PR 1 70 P V 2 3 P W6 � � �

444 · Pale Violet� P W6 P V 2 3 � � �

728 · Winsor Violet� P V 2 3 � � �


4 46 · Powder Blue� P W6 PB2 9 P V 2 3 � � �

179 · Cobalt Blue Hue� PB2 9 PB 15 P W6 � � �

138 · Cerulean Blue Hue� P[0 1 ] � � �

706 · Winsor Blue� PB 15 PY 3 � � �

541 · Prussian Blue Hue� P[0 2] � � �

516 · Phthalo Blue� PB 15 P G7 � �

435 · Pale Olive� P[0 3] � � �

599 · Sap Green� P[0 4] � � �

4 47 · Olive Green� PR 10 1 PY42 P G7 � � �

311 · Hooker's Green� PB 15 PY8 3 � � �

483 · Permanent Green Light� PB 15 PY8 3 � � �

484 · Permanent Green Middle� PY 3 P W6 P G7 � � �

482 · Permanent Green Deep� PY 3 P G7 � � �

522 · Phthalo Green� P G7 � � �

232 · Deep Turquoise� P G7 PB 15 P W6 � � �

294 · Green Gold� PY 12 9 � �

060 · Buff Titanium� P[05 ] � � �

422 · Naples Yellow� P W6 PY42 � � �

74 4 · Yellow Ochre� PY42 P W6 PBk1 1 � � �

553 · Raw Sienna Opaque� PY42 PR 10 1 P W6 � �

552 · Raw Sienna� PY42 PR 10 1 PBk 9 � � �

074 · Burnt Sienna� P[06] � � �

07 7 · Burnt Sienna Opaque� PY42 PR 10 1 PBk 9 � �

437 · Pale Terracotta� P W6 PR 10 1 PY42 � �

564 · Red Ochre� PR 10 1 � �


438 · Pale Umber� P[07 ] � � �


676 · Vandyke Brown� PBr7 PBk 9 � � �

465 · Payne's Gray� PBk7 PBk 9 PB2 9 � � �



386 · Mars Black� PBk1 1 � � �

283 · Metallic Gold� P[N A] � � �


617 · Metallic Silver� PBk7 � � �

537 · Process Yellow� PY 74 � � �

533 · Process Magenta� P V 19 � � �

535 · Process Cyan� PB 15: 3 P W6 � � �

Galeria Acr ylic Set of 10 x 20ml TubesCode: AWGS20RRP : £ 2 1 .00Price: £16.30

Galeria Acr ylic Set of 10 x 60ml TubesCode: AWGS517RRP : £ 4 0.00Price: £30.00

Galeria Acr ylic Large Ar t Box SetContains : 12 x 2 1ml tubes , 2 pencils , 2 brushes , 1 plastic palet te , 2 palet te knifes , 1 rubber, 1 sharpener, 1 leaf let .Code: AWG2 192507RRP : £ 3 4.99Price: £26.00


Extended pigment index P [0 1 ] : PB 15 : 3 PBk1 1 P W6 P[0 2] : PB2 9 PB 15 : 3 PBk1 1 P[0 3] : P W6 P G7 PR 10 1 PY42 P[0 4] : PY 1 4 P G7 PBk7 P W6 P[05 ] : P W6 PY42 PR 10 1 PBk1 1 P[06] : PR 10 1 PY42 PBk1 1 P[07 ] : P W6 PY42 PR 10 1 PBk1 1 P[N A] : not avai lable







Extended pigment index P[0 1 ] : PB 15 : 3 P W5 PY 18 4 P[N A] : not avai lable


D A L E R - R O W N E Y S Y S T E M 3 O R I G I N A L A C R Y L I C C O L O U R

Popular student level acrylic, in two convenient thicknesses.Original System 3 paint has a soft body, suitable for covering large areas without visible brush strokes. Heavy Body System 3 is thicker, although not quite as stiff as other brands' Heavy Body paints. All are good value and available in a range of sizes to suit projects of all scales.

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 eAY 7 5 � 4 . 9 5 3 . 1 0

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 eAY 1 5 0 � 7. 5 0 4 . 6 0

1 5 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 eAY 2 5 0 � 1 0 . 9 5 6 . 8 0

2 5 0 M L P O T 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 eAY H B 1 5 0 � 7. 5 0 5 . 3 0

H E A V Y B O D Y 1 5 0 M L ( 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 eAY 5 0 0 � 1 7. 9 5 1 2 . 0 0

5 0 0 M L P O T S

C O L O U R S

651 · Lemon Yellow� PY 3 � � � �

511 · Cadmium Scarlet Hue� PR 9 PY8 3 � �

433 · Purple� P V 19 PR 12 2 � �

123 · Ultramarine� PB2 9 � � � �

361 · Phthalo Green� P G7 � � �

367 · Oxide of Chromium � P G 1 7 � �

667 · Raw Sienna � PY42 PR 10 1 PBk 9 � � �

040 · Process Black� PBk7 � � �

230 · Copper Imitation� P W6 PR 10 1 � �

653 · Fluorescent Orange� P[N A] � �

675 · Process Yellow� PY 74 PY 3 � � �

588 · Vermillion Hue� PR 9 � � �

404 · Silk Purple� P W6 PR 12 2 PB2 9 � �

110 · Cobalt Blue Hue� PB2 9 P W6 � � � �

335 · Emerald� PY 3 P G7 � � �

024 · Buff Titanium� P W6 � � �

221 · Burnt Sienna� PR 10 1 � � � �

006 · Zinc Mixing White� P W5 � � �

7 18 · Metallic Blue� P W6 PB 15 . 3 � �

54 4 · Fluorescent Red� P[N A] � �

620 · Cadmium Yellow Hue� PY 74 PY8 3 � � � �

503 · Cadmium Red Hue� PR 1 12 � � � �

418 · Velvet Purple� PR 12 2 P W6 P V 2 3 � �

112 · Coeruleum Blue Hue� P[0 1 ] � � �

355 · Leaf Green� PY 3 P G7 � � �

580 · Pink Blush� P W6 PR 10 1 � �

223 · Burnt Umber� PR 10 1 PBk7 � � �

009 · Titanium White� P W6 � � � �

7 19 · Metallic Green� P W6 P G7 � �

538 · Fluorescent Pink� P[N A] � �

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

504 · Cadmium Red Deep Hue� PR 1 12 PR 12 2 � � �

408 · Deep Violet� P V 2 3 � � �

114 · Wedgwood� P W6 PB2 9 PY42 � �

368 · Pale Olive Green� PY8 3 P G7 � � �

578 · Flesh Tint� P W5 PY42 PR 10 1 � � �


702 · Silver Hue� P W6 PBk7 � �

720 · Metallic Red� P W6 PR 1 12 � �

349 · Fluorescent Green� P[N A] � �

638 · Cadmium Orange Light Hue� PY8 3 P O7 3 � �

513 · Crimson� PR 12 2 PR5 � � � �

134 · Prussian Blue Hue� PB2 9 PB 15 PBk7 � � �

120 · Process Cyan� PB 15: 3 P G7 � � � �

375 · Sap Green� PY 74 P G7 PR 10 1 � � �

634 · Naples Yellow� P W6 PY8 3 P O62 � � �

065 · Payne's Grey� PB2 9 PBk1 1 � � �

708 · Pale Gold Hue� P W6 PR 10 1 � �

100 · Fluorescent Blue� P[N A] � �

619 · Cadmium Orange Hue� PY8 3 P O 3 4 � � �

412 · Process Magenta� P V 19 PR 12 2 � � � �

142 · Phthalo Blue� PB 15 � �

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

352 · Hooker's Green� P G7 PR 10 1 PY 7 3 � �

663 · Yellow Ochre� PY42 � � � �

036 · Mars Black� PBk1 1 � � � �

707 · Rich Gold Hue� P W6 PR 10 1 � �

681 · Fluorescent Yellow� P[N A] � �

S E T S

Star ter SetContains 6 x 2 2ml tubes .Code: AYSET 1RRP : £ 11 .95Price: £9.40

Introduction SetContains 10 x 2 2ml tubes .Code: AYSET2RRP : £ 17.95Price: £14.20

Process Set Contains 5 x 75ml tubes .Code: AYSET3RRP : £ 19.95Price: £15.60

Selection Set Contains 8 x 75ml tubes .Code: AYSET4RRP : £ 32 . 25Price: £25.50

Jumbo Process SetContains 5 x 150ml tubes .Code: AYSET 1509RRP : £ 32 .50Price: £26.50

Jumbo Selection Set Contains 8 x 150ml tubes .Code: AYJSETRRP : £ 49.50Price: £ 41.00

302 · Pistachio� P W6 PY 3 P G7 � �

078 · Warm Grey� P W6 PBr7 PK1 1 � �

S T U D E N T 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 eAY 2 2 5 0 � 5 9 . 9 5 5 3 . 0 0

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


A C R Y L I C G O U A C H E

V A L L E J O A C R Y L I C G O U A C H E

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 eA G V 3 5 � 2 . 8 8 2 . 3 0 A G V 3 5 � 2 . 8 8 2 . 3 0 A G V 3 5 � 3 . 5 3 2 . 8 0A G V 3 5 � 3 . 5 3 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 eA G V 2 0 0 � 1 0 . 5 1 6 . 6 0A G V 2 0 0 � 1 0 . 5 1 6 . 6 0A G V 2 0 0 � 1 1 . 0 0 6 . 9 0A G V 2 0 0 � 1 1 . 0 0 6 . 9 0

3 5 M L B O T T L E S 2 0 0 M L B O T T L E S


Extended pigment index P [0 1 ] : P W6 PY8 3 P O7 3 PY 3 P[0 2] : P O7 3 PR 25 4 PY8 3 P[0 3] : P W6 P W6 PY8 3 P O7 3 PR 25 4 PR 1 79 P[N A] : not avai lable

C O L O U R S

123 · Bronze� PBk7 � �

121 · Silver� PBk7 � �

125 · Yellow Fluorescent� P[N A] �

127 · Red Fluorescent� P[N A] �

128 · Blue Fluorescent� PB 15 � �


021 · Cadmium Lemon Yellow� PY 3 5 PY 3 �

022 · Cadmium Gold Yellow� PY 3 P 8 3 � �

031 · Cadmium Yellow Dark� PY8 3 P O7 3 P W6 � �

032 · Cadmium Orange� P[0 2] � �

015 · Carnation Pink� P[0 3] � �

033 · Cadmium Orange Light� PR 25 4 P O7 3 PY8 3 � �

039 · Cadmium Light Red� PY8 3 PR 1 12 � �

041 · Cadmium Vermilion� PR 25 4 PR 1 79 P O7 3 � �

042 · Cadmium Red� PR 25 4 PR 1 79 � �


045 · Magenta (Primary)� PR 12 2 P W6 � �

051 · Rose Red� PR 1 12 P W6 � �

052 · Dark Rose Red� PR 1 4 6 P W6 � �

049 · Red Violet� P V 19 P W6 � �

057 · Blue Violet� P V 2 3 PB 15 : 3 PR 1 4 6 � �

059 · Prussian Blue Hue� PB 15:0 P W6 PBk1 1 � �

061 · Royal Blue� P W6 PB 15 :0 P V 2 3 � �

062 · Dark Blue� P W6 PB 15 :0 � �

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

066 · Ultramarine Blue� PB2 9 P W6 � �

064 · Turquoise� P W6 PB 15 : 3 P G7

07 1 · Viridian� P W6 P G7 PB 15 : 3 � �

072 · Yellow Green� PY 3 P G7 � �

074 · Emerald Green� PY 3 P W6 P G7 � �

075 · Permanent Green� PY 3 P G7 PY8 3 � �

07 7 · Olive Green� PY42 PR 10 1 P G7 � �

012 · Yellow Ocre Light� P O7 3 PY42 P G7 � �

085 · Ocre� PY42 PR 10 1 � �

086 · Golden Ocre� PY42 PR 10 1 � �

083 · Light Brown� PY42 PR 10 1 PBk1 1 � �

087 · Mars Red� PR 10 1 � �

081 · Mars Violet� PBk1 1 PR 10 1 � �

091 · Burnt Sienna� PY42 PR 10 1 PBk1 1 � �

092 · Burnt Umber� PY42 PR 10 1 PBk1 1 � �

095 · Mars Black� PBk7 � �

001 · Grey N.1� PBk1 1 P W6 � �

002 · Grey N.2� P W6 PBk1 1 � �

003 · Grey N.3� P W6 PBk1 1 � �

006 · Grey N.6� P W6 PBk1 1 � �

115 · Gold� PR 10 1 � �

17 1 · Copper� PR 10 1 � �

A matt, opaque acrylic with excellent covering power.Ideal for both fine art and graphic use, its creamy texture allows the creation of a totally flat finish with no visible brush marks. Colours are intermixable within the range and with mediums, can be used on plastics and metals, and dry to a waterproof film.



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

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 eAT N 4 0 � 4 . 9 5 3 . 4 0

4 0 M L T U B E S ( M A R K E D � O N L Y )This is a fluid matt acrylic ideal for illustrative painting and design work. They have a huge range of colours.Watermixable yet water resistant when dry. One of our customers said, "they go on to the surface with a very nice consistency, excellent coverage, vibrant strong colours without a hint of chalkiness".

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 eAT N 2 0 � 2 . 6 5 1 . 8 0AT N 2 0 � 3 . 8 5 2 . 7 0

2 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 eAT N 1 0 0 � 1 0 . 4 0 7. 2 0






Extended pigment index P [0 1 ] : PB2 9 PB 15 PY 3 P G7 P[0 2] : PB2 9 PB 15 PY 3 P G7 P[0 3] : PB 15 PY 3 P G 36 P G7 P[0 4] : PR 9 PR 10 1 P W6 P O 4 3 P[05 ] : PY 7 3 PY5 5 PY 1 70 P W6 P[06] : PR 10 1 P W6 PBk7 PY42 P[07 ] : PR 10 1 P W6 PBk7 PY42 P[0 8] : PR 10 1 P W6 PBk7 PY42 P[0 9] : PR 1 70 P W6 PBk7 P V 2 3 P[10] : P W6 PB 15 PBk7 P V 2 3 P[1 1 ] : P W6 PY42 PY 74 PBk7 P[12] : P W6 PR 9 PR 25 4 PBk7 P[13] : P W6 PR 12 2 PR 25 4 PBk7 P[1 4] : P W6 PY 74 PR 10 1 PBk7 P[15 ] : P W6 PY42 PR 10 1 PBk7 P[16] : PY42 PBk7 P W6 PR 10 1 P[1 7 ] : PY42 PBk7 P W6 PBr1 1 P [18] : PR 1 4 PR 10 1 PBk7 PBr1 1 P [19] : PY5 5 PB 15 PR 25 4 PBk7 P[20] : P W6 PY 74 PR 10 1 PBk7 P[2 1 ] : PBk7 PB2 9 P W6 PB 15 P[2 2] : PBk7 PB2 9 P W6 PB 15 P[2 3] : P W6 PB 15 PBk7 PB2 9 P[24] : P W6 PB 15 P V 2 3 PBk7 P[25 ] : P V 2 3 PR 12 2 P W6 PR 10 1 P[26] : P W6 P V 2 3 PR 12 2 PBk7 P[2 7 ] : PY42 P V 2 3 PR 12 2 P W6 P[2 8] : P W6 PR 12 2 PBk7 PR 25 4 P[N A] : not avai lable


001 · White� P W6 � � � �

014 · Permanent Orange� PY 1 70 P O 4 3 � � �

114 · Vermillion Hue� P O 16 � �

123 · Rose Pink� P W6 � �

000 · Mixing White� P W4 � � �

020 · Permanent Scarlet� PR 9 � � �

022 · Carmine� PR 2 3 8 � �

023 · Rose� P V 19 � �

010 · Permanent Lemon� PY 3 � � �

021 · Permanent Red� PR 1 70 � � �

161 · Magenta� PR 8 8 � � �

061 · Red Violet� � � �

054 · Prussian Blue Hue� PB 15 PB2 9 PBk7 � � �

041 · Permanent Yellow Green� PY 74 P G7 � � �

165 · Mixing Violet� P W6 PR 12 2 P V 2 3 � �

011 · Permanent Yellow� PY 74 � � �

122 · Currant Red� PR 1 70 PR 2 3 8 � �

164 · Mixing Magenta� P W6 PR 12 2 � �

012 · Permanent Yellow Deep� PY5 5 PY 1 70 � � �

028 · Chinese Red� PR 9 PR 1 70 PR 10 1 � �

025 · Pink� P W6 � �

060 · Lilac� P V 2 3 PR 12 2 P W6 � � �

013 · Permanent Yellow Orange� PY 1 70 � � �

031 · Naples Yellow� PY5 3 PY42 � � �

029 · Poppy Red� PR 9 PR 1 70 � �

024 · Opera Red� PR 9 P W6 � �

062 · Violet� P V 2 3 � � �

153 · Ultramarine Light� PB 15 PB2 9 P W6 � � �

045 · Deep Green� PY5 5 PB 15 � � �

163 · Deep Purple� PR 8 8 � � �

O R I G I N A L C O L O U R S

063 · Blue Violet� � � �

051 · Sky Blue� PY 3 PB 15 P W6 � � �

142 · Ivy Green� P[0 3] � � �

040 · Emerald Green� PY 3 P G7 P W6 � � �

055 · Turquoise Blue� PY 3 PB 15 P W6 � � �

132 · Mustard� PY 74 PY 1 70 P G8 � � �

131 · Raw Sienna� PBr1 1 PY42 � � �

036 · Raw Umber� PBk7 PBr1 1 P W6 � � �

003 · Neutral Grey 7� PBk7 P W6 � � �

154 · Night Blue� P[0 1 ] � � �

156 · Marine Blue� PB 15 P G7 � �

04 4 · Permanent Green Deep� PY 3 PB 15 � � �

140 · Fresh Green � PY 74 P G7 � �

152 · Blue Compose� PB 15 P W6 � � �

136 · Maize Yellow� P W6 PY 1 70 � �

033 · Venetian Red� P[0 4] � � �

035 · Sepia� PBk7 PR 10 1 PBr1 1 � � �


155 · Spring Blue� PB 15 P G7 PB2 9 P W6 � �

043 · Permanent Green Middle� PY 3 PB 15 � � �

150 · Horizon Blue� P W6 PB 15 P G7 � �

135 · Ivory Yellow� P W6 PY42 � �

162 · Aubergine� PR 1 4 PR 8 8 � � �

034 · Burnt Sienna� PR 10 1 PBr1 1 � � �


050 · Peacock Blue� PB 15 PY 3 P W6 � � �

147 · Spring Green� PB 15 PY 3 � �

14 4 · Beryl Green� PB 15 P W6 P G7 � �

056 · Light Blue� P V 2 3 PB2 9 P W6 � � �

030 · Jaune Brilliant� PY 1 70 P W6 P O 4 3 � � �

121 · Crimson� PR 1 4 � � �

009 · Jet Black� PBk1 � � � �

026 · Coral Red� PR 9 P W6 � � �

052 · Cobalt Blue Hue� PB2 9 P W6 � � �

143 · Cyprus� P[0 2] � � �

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

141 · Aqua Green� P G7 P W6 PB 15 � � �

151 · Aqua Blue� PB 15 PY 3 � � �

133 · Apricot� PR 10 1 P W6 PY42 � �

038 · Chocolate� PR 1 4 PBk7 PR 10 1 � � �


047 · Viridian Hue� PB 15 PY 3 � � �

046 · Olive Green� PY5 5 PR 9 PB 15 � � �

134 · Dandelion� PY5 5 PY 1 70 P G7 � �


037 · Burnt Umber� PBk7 PR 10 1 PBr1 1 � � �


P A S T E L C O L O U R S

17 1 · Pastel Enamel � P[05 ] � �

174 · Pastel Sand� P[06] � �

17 7 · Pastel Blue� P W6 P G7 P B 15 : 3 � �

180 · Pastel Lemon� P W6 PY 74 � �

182 · Pastel Rose� P W6 PR5 � �

184 · Pastel Olive� P W6 P G7 PY42 � �

172 · Pastel Peach� PY 1 70 P W6 P O 4 3 � �

175 · Pastel Lime� PY 3 P W6 P G7 � �

178 · Pastel Lavender� P W6 PB 15 :1 P V 2 3 � �

181 · Pastel Orange� P W6 PY 1 70 P O7 3 � �

183 · Pastel Green� P W6 P G7 PY 3 � �

185 · Pastel Marine� P W6 PB2 9 � �

173 · Pastel Pink� P W6 PR 9 � �

176 · Pastel Emerald� PY 3 P W6 P G7 � �

179 · Pastel Lilac� P W6 PR 12 2 P V 2 3 � �

191 · Greyish Red� PR 9 P W6 PBk7 � �

192 · Greyish Beige� P[07 ] � �

193 · Greyish Brown� P[0 8] � �

194 · Greyish Green� P W6 PBk7 P G7 PY42 � �

195 · Greyish Blue� P W6 PBk7 PB 15 :1 � �

196 · Greyish Purple� P[0 9] � �

G R E Y I S H C O L O U R S



P E A R L C O L O U R S

405 · Coloiur Pearl Yellow� PY8 3 � �

090 · Pearl White� P[N A] � �

410 · Colour Pearl Magenta� PR5 � �

094 · Pearl Green� P[N A] � �

414 · Colour Pearl Mint� P G7 PB 15 � �

419 · Colour Pearl Indigo� PB 15 P V 2 3 � �

406 · Colour Pearl Pink� PR 12 2 � �

091 · Pearl Red� P[N A] � �

411 · Colour Pearl Lime� PY 3 P G7 � �

095 · Pearl Yellow� P[N A] � �

415 · Colour Pearl Aqua� PB 15 � �

420 · Colour Pearl Lilac� PR 2 3 � �

408 · Colour Pearl Orange� PR 9 PY 3 � �

092 · Pearl Lilac� P[N A] � �

412 · Colour Pearl Emerald� PY 3 P G7 � �

401 · Colour Pearl White� P[N A] � �

416 · Colour Pearl Turquoise� PB 15 P G7 � �

421 · Colour Pearl Violet� P V 2 3 PR 12 2 � �

409 · Colour Pearl Red� PR 9 � �

093 · Pearl Blue� P[N A] � �

413 · Colour Pearl Green� P G7 � �

404 · Colour Pearl Lemon� PY 3 PY 74 � �

418 · Colour Pearl Marine� PB2 9 � �

422 · Colour Pearl Black� PBk7 � �

M E T A L L I C C O L O U R S

070 · Metallic Gold Light� P[N A] � �

072 · Metallic Silver� P[N A] � �

074 · Metallic Bronze� P[N A] � �

076 · Metallic Antique Gold� P[N A] � �

07 7 · Metallic Antique Bronze� P[N A] � �

078 · Metallic Antique Silver� P[N A] � �

07 1 · Metallic Gold Deep� P[N A] � �

073 · Metallic Gold Orange� P[N A] � �


L A M E ' C O L O U R S

226 · Lame' Blue Diamond� P[N A] � �

221 · Lame' Clear Opal � P[N A] � �

228 · Lame' Lime Emerald� P[N A] � �

224 · Lame' Green Emerald� P[N A] � �

230 · Lame' Marine Sapphire� P[N A] � �

232 · Lame' Gold� P[N A] � �

227 · Lame' Purple Peridot� P[N A] � �

222 · Lame' Clear Diamond� P[N A] � �

229 · Lame' Orange Crystal� P[N A] � �

225 · Lame' Pink Coral� P[N A] � �

231 · Lame' Black Diamond� P[N A] � �

233 · Lame' Silver� P[N A] � �

J A P A N E S Q U E C O L O U R S

333 · Japanesque Deep Beige� P[1 7 ] � �

300 · Japanesque White Gohun� P W 18 � �

345 · Japanesque Grayish Green� P W6 PY 74 P G7 PBk7 � �

321 · Japanesque Yellow Red� PR 25 4 PR 10 1 � �

373 · Japanesque Black Gold� P[N A] � �

334 · Japanesque Yellow Brown� PY42 PBr1 1 � �

301 · Japanesque White� P W6 � �

346 · Japanesque Deep Green� PY42 PB 15 PR 10 1 � �

322 · Japanesque Red� PR 1 4 PR 1 70 � �

335 · Japanesque Brown� PBk7 PBr1 1 � �

302 · Japanesque Gray� P[10] � �

347 · Japanesque Dark Green� P[19] � �

323 · Japanesque Red Purple� P V 2 3 PR 1 4 � �

336 · Japanesque Greyish Brown� PBk7 PBr1 1 PR 10 1 � �

303 · Japanesque Blue Grey� PBk7 PB2 9 P W6 � �

348 · Japanesque Black Green� PBk7 PY 3 PB 15 � �

324 · Japanesque Deep Red� PR 1 4 PR 12 2 � �

337 · Japanesque Burnt Umber� PBk7 PBr1 1 PR 10 1 � �

306 · Japanesque Blue Black� PBk7 PB 15 P V 2 3 � �

349 · Japanesque Dark Yellow� P[20] � �

325 · Japanesque Pale Pink� PR 10 1 P W6 � �

338 · Japanesque Dark Brown� PBk7 Pr10 1 � �

307 · Japanesque Red Black� PBk7 PR 10 1 � �

350 · Japanesque Pale Blue� PB 15 PY42 P W6 � �

326 · Japanesque Deep Pink� PR 1 4 P W6 PR 10 1 � �

339 · Japanesque Red Brown� P[18] � �

308 · Japanesque Dark Grey� PBk7 � �

351 · Japanesque Light Blue� P[2 1 ] � �

327 · Japanesque Red Brown� PR 25 4 P W6 PR 10 1 � �

340 · Japanesque Pale Green� PY42 P W6 P G7 � �

310 · Japanesque Pale Yellow� PY42 PY 3 P W6 � �

352 · Japanesque Blue� P[2 2] � �

328 · Japan. Strawberry Red� P W6 PR 2 3 8 � �

341 · Japanesque Light Green� PY42 PY 3 P W6 P G7 � �

311 · Japanesque Enamel� P[1 1 ] � �

353 · Japanesque Dark Blue� PB2 9 PB 15 PY 3 P G7 � �

329 · Japanesque Grayish Red� P[13] � �

342 · Japanesque Yellow Green� PB 15 PY42 PY 74 � �

312 · Japanesque Deep Yellow� PY42 PY 74 PR 10 1 � �

354 · Japanesque Deep Blue� P[2 3] � �

330 · Japanesque Grayish Beige� P[1 4] � �

356 · Japanesque Black Blue� PB 15 PBk7 PY 3 � �

357 · Japanesque Sky Blue� P[24] � �

359 · Japanesque Pale Lilac� PR 10 1 P V 2 3 P W6 � �

360 · Japanesque Lilac� P[25 ] � �

361 · Japanesque Violet� P[26] � �

362 · Japanesque Deep Purple� P[2 7 ] � �

363 · Japanesque Black Purple� PBk 9 P V 2 3 PR 12 2 � �

364 · Japanesque Grayish Purple� P[2 8] � �

370 · Japanesque Blue Gold� P[N A] � �

37 1 · Japanesque Red Gold� P[N A] � �

375 · Japanesque Blue Bronze� P[N A] � �

376 · Japanesque Copper� P[N A] � �

37 7 · Japanesque Red Bronze� P[N A] � �

380 · Japanesque Silver� P[N A] � �

381 · Japanesque Black Silver� P[N A] � �

390 · Japanesque Iridescent I� P[N A] � �

391 · Japanesque Iridescent II� P[N A] � �

392 · Japanesque Iridescent III� P[N A] � �

393 · Japanesque Iridescent IV� P[N A] � �

343 · Japanesque Green Light� P G7 PY 74 PBk7 � �

331 · Japanesque Ivory Yellow� P[15 ] � �

316 · Japanesque Strong Orange� PY42 PY 1 70 P O7 3 � �

332 · Japanesque Beige� P[16] � �

299 · Japanesque P. White Gohun� P W 18 � �

34 4 · Japanesque Olive Green� PB 15 PY42 PR 10 1 � �

320 · Japanesque Scarlet� P[12] � �

355 · Japanesque Prussian Blue� PBk 9 P V 2 3 PB2 9 � �

372 · Japanesque Green Gold� P[N A] � �



Turner Acr ylic Gouache Set of 36Contains 36 x 20ml tubes . Code: ATN2036CRRP : £99.85Price: £69.00

Turner Acr ylic Gouache Set of 12Contains 12 x 20ml tubes . Code: ATN2012CRRP : £ 3 1 .50Price: £22.00

Turner Acr ylic Gouache Tenmyouya's Collaboration Set of 12Contains 12 x 20ml tubes . Code: ATNJ12TRRP : £ 16.4 5Price: £11.30

Turner Acr ylic Gouache Set of 18Contains 18 x 20ml tubes . Code: ATN2018CRRP : £ 49. 25Price: £35.00

Turner Acr ylic Gouache Japanesque Colours Set of 45Contains 4 5 x 20ml tubes . Code: ATN2045CRRP : £ 130. 20Price: £90.00

Turner Acr ylic Gouache Travel and Storage Set of 12Contains 12 x 1 1ml tubes , 2 x 20 ml Titanium White , 1 x palet te , 1 x color mixing guide, 4 x high qualit y Japanese brushes , 1 x 25cm ruler. Code: ATN13SRD8RRP : £ 38.30Price: £26.00

Turner Acr ylic Gouache Prime Travel and Storage Set of 1229 x 13 .6 x 3 .4 cm. Contains 12 x 1 1ml tubes , 2 x 20 ml Titanium White , 1 x 25cm ruler, 2 x palet te , 1 x mini cloth , 3 x brushes .Code: ATN13PMB4RRP : £ 3 4. 20Price: £23.00

Turner Acr ylic Gouache Set of 24Contains 24 x 20ml tubes . Code: ATN2024CRRP : £6 4.30Price: £ 45.00

Turner Acr ylic Gouache Japanesque Colours Set of 12Contains 12 x 20ml tubes . Code: ATN2012CJRRP : £ 3 1 .50Price: £2 1.15

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

T H E B E S T

C O L O U R S T E X T U R E

A N DP R I C E S



L A S C A U X A C R Y L I C G O U A C H E

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 eA L G 2 5 0 � 1 8 . 5 5 1 8 . 0 0

2 5 0 M L B O T T L E S An acrylic-modified tempera paint that dries to a velvety, elastic finish. Composed of pure, lightfast pigments, this range of 34 colours offers excellent covering power and a smooth consistency. Can be layered without re-activating lower applications. Remains intense even when heavily diluted and shows little colour shift from wet to dry. Suitable for use as a primer.

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 eA L G 8 5 � 9 . 3 6 9 . 2 0

8 5 M L B O T T L E S



C O L O U R S

327 · White� P W6 � �

306 · Carmine Red� PR 18 4 � �


317 · Emerald Green� P G7 � �

322 · English Red� PR 10 1 � �

330 · Gold� P[N A] � �

301 · Lemon Yellow� PY 3 PY 1 1 1 P W6 � �

307 · Bordeaux Red� PR 12 � �

312 · Cobalt Blue� PB2 9 P W6 � �

318 · Brillant Green� PY 3 PY 1 1 1 P G7 P W6 � �

323 · Light Brown� PBr 6 � �

302 · Golden Yellow� PY8 3 PY 74 P W6 � �

328 · Purple Red� PR 12 2 P V 2 3 � �

313 · Prussian Blue� PB 15: 3 � �

319 · Green Yellow� PY 3 P G7 P W6 � �

324 · Deep Brown� PBr 6 � �

303 · Orange� PY8 3 P O7 3 P W6 � �

308 · Rose� PR 1 4 6 P W6 � �

314 · Light Blue� PB2 9 P W6 � �


325 · Light Grey� PBk7 P W6 � �

304 · Vermilion� PY8 3 PR 9 P W6 � �

309 · Magenta� PR 12 2 P W6 � �

315 · Turquoise Blue� PB 15: 3 P G7 P W6 � �

329 · Beige� PBr 6 P W6 � �

326 · Black� PBk7 P W6 � �

331 · Silver� P[N A] � �


30999 · Process Magenta� PR 12 2 � �

31399 · Process Blue� PB 15: 3 � �

305 · Bright Red� PR 1 12 � �

310 · Red Violet� P V 2 3 PR 12 2 � �

316 · Veronese Green� P G 36 P W6 � �


S E T S

Lascaux Acr ylic Gouache Set of 12 x 30ml BottlesCode: ALSET33 10RRP : £ 58.3 4Price: £55.00

Lascaux Acr ylic Gouache Set of 12 x 85ml BottlesCode: ALSET3320RRP : £92 .30Price: £86.00

U P T O T H E U S U A L G O O D

L A S C A U X S T A N D A R D


S C H M I N C K E A E R O C O L O R F I N E S T A C R Y L I C I N K

I N K S

Incredibly fluid acrylic, fine enough to use with dip pens and brushes.Ready to use straight from the bottle, and with an accompanying range of mediums for airbrush art work. AERO COLOR is nearly odourless and dries to a water-resistant finish.

Set of 5 x 28ml BottlesCode: ASAS5RRP : £ 3 4.03Price: £24.50

Basic Set of 9 x 28ml BottlesCode: ASAS9RRP : £ 57.4 6Price: £51.00

Plastic Case Set of 37 x 28ml Bottles & AerocleanCode: ASAS37RRP : £ 267.3 1Price: £234.00

S E T S

C O L O U R S

100 Transparent White� · P W6 � � �

101 · Supra White� P W6 � � � �

200 · Titanium Yellow G. S.� PY 3 P G 36 � �


202 · Primary Yellow� PY 74 � � � �

203 · Indian Yellow� PY8 3 � � �

20 4 · Cadmium Orange Hue� PY 74 P O 4 3 � � �

205 · Red Orange� P O 4 3 � �

300 · Scarlet� PR 1 12 � � �

301 · Red Madder Dark� PR 1 79 � � �

302 · Carmine� PR 1 70 � � �

306 · Brilliant Red� PR 25 4 � � �

304 · Primary Magenta� PR 12 2 � � � �

305 · Violet� P V 2 3 � �

400 · Indigo� P[0 1 ] � �

401 · Prussian Blue� P V 2 3 P G7 � �

402 · Ultramarine� PB 15:1 P V 2 3 � � �

403 · Sapphire Blue� PB 15:1 � � �


405 · Primary Blue Cyan� PB 15: 3 P G 36 � � � �

406 · Turquoise Blue� PB 16 � �


501 · Brilliant Green� P G 36 PY 74 � � �

502 · Permanent Green� P G 36 PY 74 � � �

503 · Olive Green� PY8 3 P O5 P G7 � � �

504 · Chrom. Oxide Green Brill.� P G7 PBr25 � �

505 · Olive Brown� P G7 PBr25 � �

600 · Gold Ochre� PY8 3 P V 2 3 � � �

601 · Sienna� PY 3 PBr25 � � �

602 · Brown Brazil� PY8 3 P V 2 3 � � �

603 · Sepia� PBr25 P G7 PBk7 � � �

604 · Burnt Sienna� PBr25 � � �

605 · Flesh Tint� P W6 P O 3 4 PBr25 � �

700 · Pale Grey� P W6 PBk7 � �

701 · Neutral Grey� P[0 2] � � �

702 · Black� PBk7 � � � �

900 · Aero Shine Silver� P[N A] �

901 · Aero Shine Gold� P[N A] �

902 · Aero Shine Blue� P[N A] �

909 · Aero Vision Silver Violet� P[N A] �

910 · Aero Vision Gold Red� P[N A] �

911 · Aero Vision Space� P[N A] �

903 · Aero Metallic Red� P[N A] �

904 · Aero Metallic Blue� P[N A] �

905 · Aero Metallic Green� P[N A] �

906 · Aero Metallic Brilliant Silver� P[N A] �

907 · Aero Metallic Dark Ice� P[N A] �

908 · Aero Metallic Dark Copper� P[N A] �

909 · Aero Vision Silver Violet� P[N A] �

915 · Aero Metallic Brilliant Gold� P[N A] �

921 · Aero Pearl Neptune Blue� P[N A] �

911 · Aero Vision Space� P[N A] �

917 · Aero Metallic Bright Maroon� P[N A] �

923 · Aero Pearl Dark Hole Black� P[N A] �

913 · Aero Shine Violet� P[N A] �

919 · Aero Pearl Nugget Gold� P[N A] �

910 · Aero Vision Gold Red� P[N A] �

916 · Aero Metallic Brill. Bronze� P[N A] �

922 · Aero Pearl Emerald Green� P[N A] �

912 · Aero Shine Red� P[N A] �

918 · Aero Pearl Galaxy Silver� P[N A] �

914 · Aero Shine Turquoise� P[N A] �

920 · Aero Pearl Ruby Red� P[N A] �

B R I L L I A N T I N K

G R E A T 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 eA S A 2 5 0 � 2 5 . 2 2 2 2 . 5 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 eA S A 1 � 7 0 . 6 1 6 2 . 0 0

1 L B O T T L 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 eA S A 2 8 � 7. 1 0 6 . 3 0A S A 2 8 � 9 . 1 0 7. 9 0A S A 2 8 � 1 8 . 6 0 1 6 . 1 0

2 8 M L D R O P B O T T L E S

K E YPr ice bands no . � - �


Extended pigment index P [0 1 ] : PR 12 2 PB 15 :1 P G 36 PBk7 P[0 2] : PY 74 PR 12 2 PB 15 : 3 P[N A] : not avai lable



I N K S

M A G I C C O L O R A C R Y L I C I N K

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 eAT M C � 4 . 2 5 3 . 9 0

2 8 M L D R O P B O T T L E S Speedry's Magic Ink is a reliable and popular acrylic ink.Its fluid consistency and brilliant colour make it versatile and perfect for use with brushes, in airbrushes and in technical pens with no worry of it clogging. It is extremely lightfast and quick drying.

C O L O U R S

114 · Quinacridone Magenta�

130 · Transparent Burnt Umber�

159 · Cadmium Yellow Light Hue�

470 · Cerulean Blue Hue�

599 · Neutral Grey 5�

292 · Naphthol Crimson�

333 · Transparent Raw Umber�

740 · Vivid Lime Green�

320 · Prussian Blue Hue�

432 · Titanium White�

321 · Pyrrol Red�

332 · Transparent Raw Sienna�

315 · Sap Green Permanent�

316 · Phthalo Blue (Green Shade)�

234 · Iridescent Bright Gold�

620 · Vivid Red Orange�

414 · Yellow Orange Azo�

319 · Phthalo Green (Yell. Shade)�

115 · Deep Violet�

230 · Iridescent Rich Copper�

335 · Red Oxide�

416 · Yellow Oxide �

317 · Phthalo Green (Blue Shade)�

186 · Dioxazine Purple�

236 · Iridescent Bright Silver�

129 · Transparent Burnt Sienna�

412 · Yellow Medium Azo�

561 · Turquoise Deep�

337 · Carbon Black� �

229 · Iridescent Rich Bronze�

C O L O U R S

S E T S

Ar tist Ink Set of 8 x 28ml BottlesColours : 800, 900, 120, 200, 300, 4 00, 5 30 & 620. Colours may var y.Code: ATMC8RRP : £ 27.60Price: £24.50

Essential Set of 6 x 30ml BottlesColours : 292 , 412 , 3 16, 3 37, 4 32 & 3 3 3. Colours may var y.Code: AL XSETERRP : £ 29.00Price: £2 1.00

Metallic Set of 6 x 30ml BottlesColours : 23 4, 2 29, 230, 236, 3 37 & 4 32 . Colours may var y.Code: AL XSETMRRP : £ 29.00Price: £2 1.00

L I Q U I T E X A C R Y L I C I N K

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 eA L X 3 0 � 5 . 2 5 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 eA L X 1 5 0 � 1 5 . 0 0 1 0 . 8 0

3 0 M L D R O P B O T T L E S 1 5 0 M L D R O P B O T T L E S ( M A R K E D � O N L Y ) Liquitex ink has very quickly gained a reputation for being a superior brand of acrylic ink. It is made from super fine pigments and state of the art acrylic emulsion. It is quick drying and non clogging making it so versatile, for uses from airbrush to stamping.

800 · Lunar White� �

310 · Asian Lime� �

510 · Aqua Blue� �

630 · Flesh� �

900 · Quasar Black� �

340 · Chiffon Green� �

520 · Lagoon Blue� �

700 · Earth Brown� �

100 · Astral Yellow� �

360 · French Chartreuse� �

530 · Process Cyan� �

720 · Sepia Brown� �

120 · Process Yellow� �

390 · Grecian Olive� �

600 · Solar Scarlet� �

730 · Golden Sand� �

200 · Omega Orange� �

400 · Delta Violet� �

610 · Mars Red� �

7 70 · Rust� �

300 · Gamma Green� �

500 · Cobalt Blue� �

620 · Process Magenta� �

920 · Warm Grey� �

S E T S



I N K S

D A L E R - R O W N E Y F W A C R Y L I C I N K

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 eA F W 3 0 � 5 . 7 5 5 . 6 0

2 9 . 5 M L D R O P B O T T L E SFW Inks are a popular range of pigmented water resistant ink.Each of the 30 colours has impressive colour strength and fluidity. Dilute gentle watercolour-like washes are also achievable.

S E T S

C O L O U R S

F W Acr ylic Ink Primar y Colour Set of 6 x 29.5ml BottlesContains colours : 651 , 412 , 120, 251 , 3 35 & 567. Code: AF WSETPCRRP : £ 29.95Price: £23.00

F W Acr ylic Ink Shimmering Set of 6 x 29.5 BottlesContains colours : 7 1 1 , 7 13 , 7 14, 709, 4 5 4 & 028. Code: AF WSETSHRRP : £ 29.95Price: £23.00

F W Acr ylic Ink Pearlescent Set of 6 x 29.5ml BottlesContains colours : 124, 032 , 1 18 , 125, 1 12 & 1 16. Code: AFRSET6RRP : £ 29.95Price: £23.00

651 · Lemon Yellow� PY 3 � �

412 · Process Magenta� P V 19 � �

145 · Turquoise� PB 15 PY 3 � �

578 · Flesh Tint� P[0 2] � �

251 · Sepia� PBk7 PR 1 12 PY 1 :1 � �

607 · Brilliant Yellow� PY 3 � �

709 · Shimmering Gold� P W6 � �

454 · Velvet Violet� P W6 P V 2 3 � �

675 · Process Yellow� PY 3 PY 74 � �

437 · Purple Lake� P V 2 3 PR 12 2 � �

151 · Marine Blue� P G7 PB 15 � �

663 · Yellow Ochre� PBk7 PY 1 :1 � �

053 · Cool Grey� PBk7 � �

513 · Crimson� PR5 PR 12 2 � �

643 · Indian Yellow� PY 1 :1 � �

134 · Prussian Blue� P G7 PBk7 PB 15 � �

375 · Sap Green� P[0 1 ] � �

667 · Raw Sienna� P[0 3] � �

028 · Black (India)� PBk7 � �

326 · Dark Green� P G 36 � �

687 · Flame Orange� PY 1 :1 PR 9 � �

119 · Rowney Blue� PB 15 � �

363 · Olive Green� PY 3 P Bk7 P G 30 � �

222 · Antelope Brown� PBk7 PR 1 12 PY 1 :1 � �

011 · White� P W6 � �

7 11 · Shimmering Blue� P W6 � �

567 · Scarlet� PR 1 12 � �

127 · Indigo� PB 15 PR 12 2 PBk7 � �

335 · Emerald Green� PY 3 P G 36 � �

554 · Red Earth� P[0 4] � �

701 · Gold (Imitation)� P W6 PR 10 1 � �

7 13 · Shimmering Red� P W6 � �

P126 · Pearl Autumn Gold� P[N A]

P032 · Pearlescent Black� P[N A]

P127 · Dutch Blue� P[N A]

P125 · Pearl White Pearl� P[N A]

P128 · Pearl Genesis Green� P[N A]

P129 · Pearl Silver Moss� P[N A]

P121 · Pearl Sun Orange� P[N A]

P116 · Pearl Moon Violet� P[N A]

P113 · Pearl Hot Cool Yellow� P[N A]

P130 · Pearl Sky Blue� P[N A]

P124 · Pearl Waterfall Green� P[N A]

P120 · Pearl Sundown Magenta� P[N A]

P117 · Mazuma Gold� P[N A]

P112 · Pearl Galactic Blue� P[N A]

P123 · Pearl Volcano Red � P[N A]

P119 · Pearl Silver Pearl � P[N A]

P115 · Pearl Macaw Green � P[N A]

P111 · Pearl Birdwing Copper� P[N A]

P122 · Pearl Sun-Up Blue� P[N A]

P118 · Pearl Platinum Pink� P[N A]

P114 · Pearl Hot Mama Red� P[N A]

517 · Flame Red� PR 1 12 PY 1 :1 � �

120 · Process Cyan� PB 15 P W6 � �

348 · Light Green� PY 3 P G7 P G 36 � �

223 · Burnt Umber� PBk7 PR 1 12 PY 1 :1 � �

065 · Payne's Grey� PBk7 � �

P110 · Pearl Bell Bronze� P[N A]

7 14 · Shimmering Green� P W6 � �





Extended pigment index P [0 1 ] : PY 3 P G7 P G 36 P[0 2] : PR 1 12 PY 3 PBk7 P[0 3] : PY 3 PR 1 12 PBk7 P[0 4] : P V 3 PY 3 PR 1 12 PBk7 P[05 ] : PY42 P G7 PR 1 12 PY8 3 P[06] : P G7 PR 1 12 PY8 3 P W6 PY42 P[07 ] : P G7 PR 1 12 PY8 3 P W6 PY42 PBk7 P[0 8] : P G7 PY8 3 PR 1 12 PBk7 P W6 P[N A] : not avai lable

V A L L E J O A C R Y L I C A R T I S T I N KAV Artist inks are a high quality acrylic ink made with permanent pigments and acrylic resin binder.

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 eAVA 3 0 � 5 . 3 0 3 . 3 0

3 0 M L D R O P B O T T L E S



003 · Orange� PY8 3 PR 1 12 � �

004 · Red� PR 1 12 � �

007 · Violet� P V 2 3 � �

013 · Dark Green� P W6 PBk7 PY42 � �

017 · Umber� P[07 ] � �

008 · Prussian Blue� PB 15: 3 PBk7 P W6 � �

014 · Olive Green� P W6 PBk7 PY42 � �

018 · Sepia� P[0 8] � �

009 · Process Blue� PB 15: 3 � �

015 · Indian Yellow� P[05 ] � �

019 · Black� PBk7 � �

010 · Light Blue� PB 15: 3 P W6 � �

016 · Raw Sienna� P[06] � �

020 · Silver� P[N A] �

005 · Carmine Red� PR 1 12 PY8 3 PBk7 � �

011 · Turquoise� PB 15: 3 P G7 � �

023 · Copper� P[N A] �

021 · Antique Silver� P[N A] �

006 · Process Magenta� PR 18 4 � �

012 · Green� PY42 PY 3 PY8 3 � �

024 · Pearl Black� PBk7 � �

022 · Gold� P[N A] �


M O N T A N A G O L D A C R Y L I C S P R A Y

A C R Y L I C S P R A Y P A I N T

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 eA M N � 7. 5 0 5 . 5 0

4 0 0 M L C A N S Superior quality NC-Acrylic lacquer - the perfect tool for creative work.A reliable spray paint that's famous for its high covering properties and accurate low pressure system. A huge palette in cans that can be modified with a range of caps, and applied to canvas, wood, concrete, metal, glass or even flexible surfaces. (UK only).

C O L O U R S

GLOSS

CL ASSIC LINECL 2 100 · Shrimp Past.CL 2 120 · ShrimpCL 2 130 · Shrimp DarkCL4300 · Louie LilacCL5200 · Denim LightCL52 10 · DenimCL5220 · D. Stonew.CL6300 · Poison Past.CL63 10 · Poison LightCL6320 · PoisonCL6330 · Poison DarkCL6340 · Olive Green

CL6 410 · Manila Gr. Old CL6400 · M. Lt. Old

CL6420 · M. Dark OldCL8300 · Sand OldCL8 3 10 · Hazelnut CL8320 · Chestnut

FLUORESCENTF 1000 · Yellow F2000 · P. OrangeF3000 · Fire Red F4000 · Tl. PinkF5000 · Flame Blue F6000 · Acid Green

G1000 · VanillaG1010 · Easter YellowG1020 · CitrusG1030 · BananaG10 4 0 · AsiaG1050 · Curry

G1000 · Magic White

G1060 · Mustard

G62 70 · ReefG1100 · ButtaG1080 · Everglade

G14 4 0 · Coffee

G1230 · Yolk

G1110 · Brimstone

G124 0 · Golden Yellow

G1120 · Banana Joe

G14 50 · Hot Chocolate

G1130 · Pepp. Mild

G1470 · Palish Brown

114 0 · Pepperoni Hot

G1250 · Terra

G2000 · White Orange

G1170 · Nato

G1260 · Mushroom

G1180 · MIlitary Green

G1150 · Reed

G14 00 · BoneG1410 · LatteG1420 · Cappuccino

G1200 · Pudding

G2080 · Pure OrangeG2090 · Red OrangeG2095 · Blood OrangeG3000 · Lychee

G2010 · Orange IceG2020 · Cream OrangeG2030 · Blast Orange

G20 4 0 · ScampiG2050 · OranginaG2060 · CapriG2070 · Orange

G14 30 · Make Up

G12 10 · Yell. Submar.G12 20 · Yellow Cab

G5030 · BermudaG3010 · Bazooka Joe

G4130 · Teen Spirit

G3020 · Strawberry

G3050 · Brick

G3030 · Raspberry G3040 · Ketchup

G4180 · Welsh's

G3060 · Royal Red

G4190 · Cassis

G3070 · Purple Red

G5000 · Flipper

G3080 · Black RedG3085 · Vampirella

G5010 · Fresh Blue

G4000 · BabyskinG4 010 · Mortadella

G5020 · Baby Blue

G4 020 · Dusty Pink

G4200 · Crocus

G4 030 · AncienG Pink

G42 10 · Viola

G4040 · Powder Pink

G42 20 · Sweet Dream

G4100 · White Lilac

G4230 · Valerie

G3 100 · Frozen Straw.

G424 0 · Lakers

G4110 · Light Lilac

G4250 · Deep Purple

G3 110 · Frozen Raspb.

G4260 · Black Purple

G3 130 · Pink PinkG3 150 · Cherry Bloss.

G4160 · GonzoG4150 · Lavender

G4170 · Blue VelvetG6050 · Greenery

G5050 · Sky BlueG5060 · Blue Magic

G6060 · Fern Green

G5075 · Signal Blue

G6070 · Smar. Green

G5080 · Ultramarine

G6080 · Jungle Green

G5085 · Blue Note

G6090 · Deep Forrest

G5090 · Nautilus

G6100 · Liberty

G5110 · Himalaya

G6120 · Malach. Light

G5120 · Mt. Everest

G6130 · Malachite

G514 0 · Mt. Fuji

G6150 · Malach. Dark

G5150 · Fjord

G6160 · Pine

G5160 · Deep Sea

G6200 · Venice

G5100 · Polar Blue

G62 10 · Cool Candy

G5105 · Summit

G6230 · Pool

G5170 · Navy

G6250 · Dolphins

G6000 · Venom

G6260 · Aqua

G6010 · Linden Green

G6030 · LimeG6020 · Green Apple

G5040 · Light Blue

G6040 · Lawn Green

G8 14 5 · Anthracite

G7000 · PebbleG7010 · Marble

G8 150 · Concrete

G7020 · Wall

G8 170 · Lip

G7030 · Iron Curtain

G8 175 · Paris

G7050 · Roof

G8 180 · Brain

G7060 · Gravel

G8 190 · Flesh

G7070 · S. Gealth

G8085 · Aubergine

G7090 · Coke

G9000 · Mystic Black

G8000 · ElmG8010 · Sahara Yellow G8020 · Sahara Beige

METALLICM1000 · Silv. ChromeM1100 · Outline SilverM2000 · Cop. ChromeM3000 · Gold Chrome

G8040 · Duck Season G8070 · Sal

G6280 · Petrol

G8080 · Apricot

G8090 · NougatG8 100 · Orange Brown

G8 115 · Wine RedG8 110 · Rusto Coat

G8 120 · Cacao

POWER

P 3000 · Magenta P 2000 · CyanP 1000 · Yellow

SHOCK

S 8020 · Brown Dark

S 1000 · Yellow Light

S9000 · Black

S 1010 · Yellow

S9 100 · White

S2000 · Orange Light

S9 110 · White Cream

S2010 · Orange

S9 120 · White Pure

S2020 · Orange DarkS 3000 · Red

S 4000 · Pink Light S 3020 · Kent Bld. Red

S 4 010 · Pink S 42 20 · Lilac S5000 · Blue Light S5010 · BlueS5020 · Blue Dark S6000 · Green LightS6010 · Green

S 8000 · Brown LightS6020 · Green Dark

S8010 · Brown

A C C E S S O R I E S

Skinny Cap White/Grey Code: AMMCAP 196157RRP : £0.50Price: £0.45

Fat Cap White/PinkCode: AMMCAP 1962 18RRP : £0.50Price: £0.45

Skinny Cap Black /BlackCode: AMMCAP 156793RRP : £0.50Price: £0.45

Outline Cap Grey/Black Code: AMMCAP 196102RRP : £0.50Price: £0.45

Fat Cap NY White/Black Code: AMMCAP 1567 79RRP : £0.50Price: £0.45

Calligraphy Cap White/Black Code: AMMCAP 195907RRP : £0.50Price: £0.45

Level 4 Medium Fat Light Cap Code: AMMCAP291524RRP : £0.50Price: £0.45

Level 6 Ex tra Fat Dark green CapCode: AMMCAP291562RRP : £0.50Price: £0.45

Needle Cap Red/TransparentCode: AMMCAP 196119RRP : £0.50Price: £0.45

Latex Gloves M Box of 100. Code: AMM50226953RRP : £ 15.95Price: £12.30

Pack of 6 Level Caps Code: AMMCAPPACKRRP : £ 3. 20Price: £2.80

Magnetic Can Silencer Code: AMM155307RRP : £ 3.95Price: £3.10


L I Q U I T E X P R O F E S S I O N A L S P R A Y P A I N T

A C R Y L I C S P R A Y P A I N T

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 eA Q X C � 8 . 3 0 7. 2 0A Q X C � 1 0 . 4 0 9 . 0 0

4 0 0 M L C A N SA low-odour waterbased acrylic spray.Whilst wet the paints can be cleaned up with water, once dry they become permanent. For indoor and out door use on a wide range of substrates. (UK only).


C O L O U R S

0159 · Cad. Yellow Light Hue�

6830 · Cad. Yell. Medium Hue 6�

5159 · Cad. Yellow Light Hue 5�


0430 · Transparent Mix. White�



5830 · Cad. Yell. Medium Hue 5�

0830 · Cad. Yellow Medium Hue�

0163 · Cad. Yellow Deep Hue�

5163 · Cad. Yellow Deep Hue 5�


6720 · Cadmium Orange Hue 6�


0720 · Cadmium Orange Hue �

6510 · Cadmium Red Light Hue 6�

0311 · Cadmium Red Deep Hue�

5311 · Cadmium Red Deep Hue 5�

5151 · Cad. Red Medium Hue 5�

0151 · Cadmium Red Medium Hue�

0510 · Cadmium Red Light Hue�


0500 · Medium Magenta �


6114 · Quinacridone Magenta 6�

0790 · Light Violet �

0590 · Brilliant Purple�

5186 · Dioxazine Purple 5�


3381 · Cobalt Blue Hue 3�

0381 · Cobalt Blue Hue�



0434 · Unbleached Titanium�


6320 · Prussian Blue Hue 6�



5316 · Phthalo Blue 5 R.S. �

6316 · Phthalo Blue 6 R.S. �

7316 · Phthalo Blue 7 R.S.�


0316 · Phthalo Blue G.S. �

0570 · Brilliant Blue�

6470 · Cerulean Blue Hue 6�

0470 · Cerulean Blue Hue �

0176 · Turquoise�

0317 · Phthalo Green B.S.�

6317 · Phthalo Green 6 B.S.�

5317 · Phthalo Green 5 B.S. �

0450 · Emerald Green�

0350 · Green Deep Permanent�

6166 · Chromium Oxide Green 6�

0166 · Chromium Oxide Green�

0315 · Sap Green Permanent�

0224 · Hooker's Grn. Hue Perm.�

0398 · Viridian Hue Permanent�

5398 · Viridian Hue Permanent 5�

7398 · Viridian Hue Permanent 7�

7317 · Phthalo Green 7 B.S. �

0740 · Vivid Lime Green �

0840 · Brilliant Yellow Green�


1830 · Cad. Yellow Medium Hue 1�


0530 · Bronze Yellow�

0416 · Yellow Oxide�

0601 · Naples Yellow Hue�

0110 · Quinacridone Crimson�

5330 · Raw Sienna 5�





0330 · Raw Sienna�

0127 · Burnt Sienna�

5127 · Burnt Sienna 5�

6128 · Burnt Umber 6�

0128 · Burnt Umber�

0331 · Raw Umber �

6331 · Raw Umber 6�

7331 · Raw Umber 7�

7 128 · Burnt Umber 7�

7 127 · Burnt Sienna 7�

7330 · Raw Sienna 7�

0260 · Transparent Black�





0436 · Parchment �

0337 · Carbon Black�

0239 · Iridescent Rich Silver�

0237 · Iridescent Antique Gold�

0983 · Fluorescent Red�

0982 · Fluorescent Orange�

0981 · Fluorescent Yellow �

0985 · Fluorescent Green�

0984 · Fluorescent Blue �

P I G M E N T

B A S E D

FOR

MU

LA


L I Q U I T E X P R O F E S S I O N A L P A I N T M A R K E R S

A C R Y L I C M A R K E 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 eA X M F � 4 . 0 0 3 . 3 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 eA X M W � 7. 2 5 5 . 9 0

S I N G L E M A R K E R S 2 M M F I N E C H I S E L S I N G L E M A R K E R S 1 5 M M W I D E C H I S E L Lightfast and permanent, offering a huge selection of brilliant colours in two replaceable nib sizes.Colours are identical to Liquitex's other paint formats, allowing seamless transitions from brush to marker. Dries to a satin finish, suitable for indoor and outdoor use.


S E T S A N D N I B S

Set of 6 x 2mm Nib MarkersCode: A XMS0002RRP : £ 2 1 .99Price: £17.90

Set of 6 x 15mm Nib MarkersCode: A XMS0001RRP : £ 39.99Price: £33.00

Set of 4 Replacement Nibs Contains : 2 x 2mm chisel nibs , 2 x 2mm bullet nibs .Code: A XMS0004RRP : £ 4.50Price: £3.70

Set of 3 x 15mm Replacement NibsCode: A XMS0003RRP : £ 4.50Price: £3.70

C O L O U R S


159 · Cadmium Yellow Light Hue�


830 · Cad. Yellow Medium Hue�

163 · Cadmium Yellow Deep Hue�

720 · Cadmium Orange Hue�

510 · Cadmium Red Light Hue�

151 · Cadmium Red Medium Hue�

311 · Cadmium Red Deep Hue�

110 · Quinacridone Crimson�

810 · Light Portrait Pink�

500 · Medium Magenta�

790 · Light Violet�

590 · Brilliant Purple�


680 · Light Blue Violet�

381 · Cobalt Blue Hue�

316 · Phthalocyanine Blue�


470 · Cerulean Blue Hue�

570 · Brilliant Blue�

7 70 · Light Blue Permanent�

169 · Cobalt Turquoise Hue�

660 · Bright Aqua Green�

317 · Phthalocyanine Green B.S.�

450 · Emerald Green�

224 · Hooker's Grn. Hue Perman.�

312 · Light Green Permanent�

740 · Vivid Lime Green�

601 · Naples Yellow Hue�

416 · Yellow Oxide�

530 · Bronze Yellow�

330 · Raw Sienna�

127 · Burnt Sienna�

331 · Raw Umber�

128 · Burnt Umber�

434 · Unbleached Titanium�

436 · Parchment�

5998 · Neutral Gray 8�



337 · Carbon Black�

239 · Iridescent Rich Silver�

237 · Iridescent Antique Gold�

987 · Fluorescent Pink�

983 · Fluorescent Red�

982 · Fluorescent Orange�

981 · Fluorescent Yellow�

985 · Fluorescent Green�

984 · Fluorescent Blue�


D R A W I N G P E N S

Aristo MG1 Technical Pen Set 0.18 , 0. 25, 0.35mm pens and 23ml black ink . Code: GCMSET 1RRP : £ 4 3.96 Price: £35.00

O r d e r C o d e T i p S i z e m m £ R R P £ P r i c eG M G 1 3 0 . 1 3 2 1 . 5 0 1 8 . 0 0G M G 1 8 0 . 1 8 2 1 . 5 0 1 8 . 0 0G M G 2 5 0 . 2 5 2 1 . 5 0 1 8 . 0 0G M G 3 5 0 . 3 5 2 1 . 5 0 1 8 . 0 0G M G 5 0 0 . 5 0 2 1 . 5 0 1 8 . 0 0

Aristo MG1 Technical Drawing PenHigh precision technical pens with an easy f i l l ing and handling system. Their chromium plated pen tips with air t ight clips are easily interchangeable .

Pentel Pigment Brush PenFeatures a sof t nylon brush tip that creates l ines of dif ferent widths . Superb for i l lustration work . Waterproof & l ight resistant . Includes 2 black pigment ink car tr idges .Code: GPP3RRP : £ 14.06Price: £12.70

4 x Pentel Ink Car tridgesSuitable for Pentel Brush Pen GPP 3.Code: GPP3RRRP : £ 5.93Price: £5.40

O r d e r C o d e T i p S i z e £ R R P £ P r i c eG P L 0 5 0 . 0 5 2 . 3 5 2 . 0 0G P L1 0 0 . 1 0 2 . 3 5 2 . 0 0G P L 2 0 0 . 2 0 2 . 3 5 2 . 0 0G P L 3 0 0 . 3 0 2 . 3 5 2 . 0 0G P L 4 0 0 . 4 0 2 . 3 5 2 . 0 0

Aristo Geo College Pigment LinerFibre t ip with waterproof, l ight fast pigment ink .

O r d e r C o d e T i p S i z e £ R R P £ P r i c eG S P M B K 0 0 5 0 . 2 2 . 4 6 2 . 4 0G S P M B K 0 4 0 . 4 2 . 4 6 2 . 4 0G S P M B K 0 1 0 . 2 5 2 . 4 6 2 . 4 0G S P M B K 0 2 0 . 3 2 . 4 6 2 . 4 0G S P M B K 0 3 0 . 3 5 2 . 4 6 2 . 4 0G S P M B K 0 5 0 . 4 5 2 . 4 6 2 . 4 0

Sakura Pigma Micron Drawing PensThese pens are ideal for any application requir ing precision and permanance, such as papercraf ts , journals , i l lustration, craf ts .

O r d e r C o d e T i p S i z e m m £ R R P £ P r i c eR O T R 0 1 0 0 . 1 0 3 7. 1 0 3 7. 0 0R O T R 0 1 3 0 . 1 3 3 7. 1 0 3 7. 0 0R O T R 0 2 5 0 . 2 5 3 2 . 1 0 3 2 . 0 0R O T R 0 3 0 0 . 3 0 2 8 . 6 0 2 8 . 5 0R O T R 0 3 5 0 . 3 5 2 8 . 6 0 2 8 . 5 0R O T R 0 5 0 0 . 5 0 2 8 . 6 0 2 8 . 5 0R O T R 0 7 0 0 . 7 0 2 8 . 6 0 2 8 . 5 0

Rotring Rapidograph Technical Precision PenThe Rapidograph uses Rotr ing 's unique capil lar y car tr idge.

P E N S

O r d e r C o d e T i p S i z e C o l o u r £ R R P £ P r i c eP I T T S B K S u p e r F i n e B l a c k 2 . 4 5 2 . 2 0P I T T S S P S u p e r F i n e S e p i a 2 . 4 5 2 . 2 0P I T T S S A S u p e r F i n e S a n g u i n e 2 . 4 5 2 . 2 0P I T T F B K F i n e B l a c k 2 . 4 5 2 . 2 0P I T T F S P F i n e S e p i a 2 . 4 5 2 . 2 0P I T T F S A F i n e S a n g u i n e 2 . 4 5 2 . 2 0P I T T M B K M e d i u m B l a c k 2 . 4 5 2 . 2 0P I T T M S P M e d i u m S e p i a 2 . 4 5 2 . 2 0P I T T M S A M e d i u m S a n g u i n e 2 . 4 5 2 . 2 0P I T T B B K B r u s h B l a c k 2 . 4 5 2 . 2 0P I T T B S P B r u s h S e p i a 2 . 4 5 2 . 2 0P I T T B S A B r u s h S a n g u i n e 2 . 4 5 2 . 2 0

Faber Castell Pitt Ar tists PensIndian ink , l ight fast and permanent . Tips : brush, medium, f ine and super-f ine .

Faber Castell Ecco Pigment PensWith pigmented ink , waterproof and l ight fast . Ideal for writ ing , drawing and sketching .

O r d e r C o d e T i p S i z e m m £ R R P £ P r i c eG E F 1 0 . 1 2 . 6 0 2 . 2 0G E F 3 0 . 3 2 . 6 0 2 . 2 0G E F 5 0 . 5 2 . 6 0 2 . 2 0G E F 7 0 . 7 2 . 6 0 2 . 2 0

Uni Pin Sketching Pen Water-resistant and l ight fast pigment inks .

O r d e r C o d e T i p S i z e m m £ R R P £ P r i c eG U P I N 3 1 5 0 . 0 5 2 . 2 0 2 . 1 0G U P I N 3 0 0 0 . 1 2 . 2 0 2 . 1 0G U P I N 3 0 3 0 . 2 2 . 2 0 2 . 1 0G U P I N 3 0 6 0 . 3 2 . 2 0 2 . 1 0G U P I N 3 0 9 0 . 5 2 . 2 0 2 . 1 0G U P I N 3 1 2 0 . 8 2 . 2 0 2 . 1 0

Pilot Drawing PensFibre t ip pen with water-resistant , fast dr ying pigment ink . Ideal for sketching or for use as a technical pen.

O r d e r C o d e T i p S i z e £ R R P £ P r i c eG P I L O T B 1 0 . 1 3 . 3 2 2 . 9 0G P I L O T B 2 0 . 2 3 . 3 2 2 . 9 0G P I L O T B 3 0 . 3 3 . 3 2 2 . 9 0G P I L O T B 5 0 . 5 3 . 3 2 2 . 9 0G P I L O T B 8 0 . 8 3 . 3 2 2 . 9 0

Aristo Technical Pen Ink23ml bot tles of fast dr ying , highly opaque, adhesive, and waterproof technical pen ink .O r d e r C o d e C o l o u r £ R R P £ P r i c eG M K 1 7 B l a c k 4 . 7 5 4 . 2 0G M K 0 3 R e d 4 . 7 5 4 . 2 0G M K 1 4 B r o w n 4 . 7 5 4 . 2 0G M K 0 5 Ye l l o w 4 . 7 5 4 . 2 0G M K 1 8 W h i t e 4 . 7 5 4 . 2 0G M K 0 7 G r e e n 4 . 7 5 4 . 2 0G M K 0 9 B l u e 4 . 7 5 4 . 2 0

O r d e r C o d e C o l o u r £ R R P £ P r i c eP I T T S E T B K B l a c k 9 . 4 9 8 . 1 0P I T T S E T S P S e p i a 9 . 4 9 8 . 1 0P I T T S E T S A S a n g u i n e 9 . 4 9 8 . 1 0

Faber Castell Pitt Ar tists Pen SetsIndian ink , l ight fast and permanent . Each set of 4 contains one of each tip : brush, medium, f ine and super f ine .

Aristo Pigment Liner Wallet SetContains nib sizes 0.1 , 0.3 and 0.05Code: GPLSETRRP : £6.95 Price: £5.90Aristo Pigment Liner School Set Nib sizes 0.3 , 0.5 , 0.7, 0.05. 0.5mm mechanical pencil , leads and an eraser.Code: GM80087RRP : £ 12 .95 Price: £11.80

O r d e r C o d e T i p S i z e m m £ R R P £ P r i c eG M 0 1 3 0 . 1 3 1 2 . 9 5 1 0 . 8 0G M 0 1 8 0 . 1 8 1 2 . 9 5 1 0 . 8 0G M 0 2 5 0 . 2 5 1 2 . 9 5 1 0 . 8 0G M 0 3 5 0 . 3 5 1 2 . 9 5 1 0 . 8 0G M 0 5 0 0 . 5 0 1 2 . 9 5 1 0 . 8 0

Aristo MG1 Technical Drawing Pen NibsInterchangable nib unit for Ar isto MG1 Technical Pens .

Aristo Technical Pen Cleaning Fluid 100ml bot tle of cleaning f luid for technical pens .Code: GCMCLRRP : £7. 25 Price: £5.80

Pilot Parallel Lettering Pen Calligraphy pen with t wo widths of stroke and graduated ink .

O r d e r C o d e T i p S i z e m m £ R R P £ P r i c eG P P 1 5 1 . 5 1 2 . 4 9 1 1 . 3 0G P P 2 4 2 . 4 1 2 . 4 9 1 1 . 3 0G P P 3 8 3 . 8 1 2 . 4 9 1 1 . 3 0G P P 6 0 6 . 0 1 2 . 4 9 1 1 . 3 0

P E N S


G R A P H I T E 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


D R A W I N G A C C E S S O R I E S

D R A W I N G A C C E S S O R I E S

Faber-Castell Perfection Eraser Pencils Pack of 2 Suitable for all graphite, coloured pencils and charcoal .Code: AF5698RRP : £ 3.50Price: £3.00

Faber-Castell Pencil with Eraser and Sharpener I t sharpens, writes and erases all in one.Code: GFC182997Price: £3.20

JAS Chinese Painting Bamboo Dip Pen A bamboo dip pen with a f lat ended nib. This product is ideal for Chinese painting , calligraphy and ink drawing .Code: BC806Price: £ 4.10

JAS Board Clips x 4Code: ADC4Price: £2.00

JAS Double Pencil SharpenerCode: A5014Price: £0.70

JAS Single Pencil SharpenerCode: A5013Price: £0.40

Faber-Castell Erasing /Sharpening KnifeFor sharpening scraping back colour and sgraf f ito ef fects .Code: AFSB1Price: £14.90

Der went Pencil Burnisher A hard colourless pencil which when used over layers of pigment provides a r ich polished f inish.Code: GD6010RRP : £ 1 .90Price: £1.60

Roberson Silver Point Drawing Wire HolderDouble-ended, for holding dif ferent gauges of metal drawing wire.Code: GSP01100Price: £17.00

Koh-I-Noor Ruling Pen For Drawing Black Handle This pen can be used for drawing f ine precise l ines with either paint , ink or masking f luid .Code: GK AC0653 RRP : £ 3.00Price: £2.30

Der went XL Graphite & Charcoal Grippers Developed especially for Der went X L Blocks . Code: GDX 2302025Price: £3.10

Jakar Domed Double SharpenerCode : A507 1RRP : £ 2 .99Price: £2.70

Jakar Electric Pencil SharpenerSuitable for graphite pencils .Code: A5151RRP : £ 4 0.00Price: £36.00

Jackson's Putty Rubber White Harmless to all dedicated drawing or tracing paper. Easily kneadable . Code: APRJPrice: £0.60

Cretacolor Small Eraser Designed for work with graphite pencils .Code: ACSSRRP : £0.85Price: £0.80Cretacolor Large EraserCode: ACSLRRP : £ 1 .75Price: £1.60

Winsor & New ton Grif f in Eraser Finest qualit y sof t , non-smear eraser. Code: A575RRP : £ 2 .00Price: £1.90

Nitram Sharpening Bloc for Charcoal & Pastel Ideal for shaping & sharpening charcoal & other drawing media .Code: GNTBLC RRP : £ 12 .95Price: £11.10

Aristo Dusting Brush 23cm. Dusting brush for ar tists , i l lustrators and designers .Code: AFDB2RRP : £ 11 .95Price: £9.60

JAS Pencil Ex tender CapProtects fra gile pencil points .Code: APE XCPrice: £0.70

JAS Economy Wooden Pencil Ex tender Allows pencil stumps to be held comfor tably, so you can use ever y last bit of lead.Code: APE XEPrice: £1.00

JAS Pencil Ex tender Allows pencil stumps to be held comfor tably, so you can use ever y last bit of lead.Code: APE XPrice: £3.40

Der went Blender The Blender pencil is a sof t colourless pencil made from the binder used for coloured pencils . Code: GD6003RPP : £ 1 .90Price: £1.60

Supergrip Drawing Board Clip Large Code: ACLC74 Price: £1.20

Aluminium Push Pins Single pin 1 /2 in .Code: ADAPP Price: £0.20

Caran d' Ache Triangular Eraser Per fect for both technical and ar tistic use.Code: GACETRIRRP : £ 1 .99Price: £1.80

Koh-I-Noor White Oblong Plastic Eraser A 30mm plastic rubber for erasing graphite l ines and pastel traces .Code: GK AC47 7080RRP : £0. 24Price: £0.15

Daler-Rowney Mystic Eraser MediumRemoves pencil marks and dir t without dama ging the paper sur face.Code: GADMMRRP : £ 2 .30Price: £1.50

Koh-I-Noor Big Sof t Elephant Eraser 6891Code: GK AC6891RRP : £ 12 .12Price: £6.20

Jakar Plastic Eraser Code: A5334RRP : £0.70Price: £0.65

JAS Sof t Sketching EraserIdeal for retouching or erasing graphite and pastel drawings .Code: AS20Price: £0.85

D R A W I N G

T O O L S

S U R F A C E

We understand that the surface you paint on is as important as the colours that you choose to work with. The texture of a linen surface will lend a traditional looking aesthetic to your work, while a smooth gesso or state of the art aluminium panel is perfect for moving paint across the surface, creating exciting and dynamic effects. You might consider the vibrant spring of a stretched canvas as absolutely essential, or find that a flat panel is your support of choice. Over the next few pages you'll find surfaces to suit painting approaches of every kind. Inspiring work always starts with a well crafted surface.

C O N T E N T SCanvas Rolls

Stretcher Bars

Stretched Canvas

48–49

50–52

53–57

Panels

Acrylic Pads & Paper

Cartridge Pads & Paper

58–63

64

65


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 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


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


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


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 / 1O.7O Z


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 / 1 0 . 2 O Z




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

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 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




3MM SPACE

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.

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 .



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

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 p a c k o f 3




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.

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 .

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



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

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.

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

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 .

p a c k o f 2



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 7mm 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



P A I N T I N G P A N E L S

C U S T O M E R R E V I E W S'These Panels are Excellent ! They are the best you can get for the price, and I have tried quite a few. I love them and will order many more of them !

'This is an ideal combination of materials for painting on. Very satisfactory.'

'These Panels are the best you can get for the price! I will use them exclusively for my plein air sketches now.'

'Great product.'

'These have a good surface for general use and landscapes.'

'These are a fantastic product. Linen is, without doubt, the best surface to paint on but can be expensive. I like to frame my paintings and this can be tricky with a stretched linen. These boards are a perfect solution. They come in a variety of surfaces and can be obtained with a white primer or a natural finish. The MDF board ensures they do not bend and the painting surface is excellent. When you also consider the great price, then you cannot argue against this product. I would recommend any painter to order one and give them a go - you may well never go back to stretched canvas or linen.'

'These have a good surface for general use and landscapes.'

'Again an excellent support for oil paint (and acrylic). The smoothness and durability of linen supported on board. Would very much like to see a thicker board though that doesn't bow. Plywood is the answer. Linen on plywood for about the same price would be wonderful -- please take note, jackson's, linen on plywood please.'

'I love these.The board has a lovely 'dry' surface perfect for oils and a nice grippy surface. The board itself is the strongest that I have ever come across and is perfectly rigid. A superb buy.'

'A really nice surface and a strong board. Will buy again.'

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

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





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

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.

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 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 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

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 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 .

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 D 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 A 3 5 7 5 x 7 2 . 8 9 2 . 7 0C A M A 3 8 1 0 8 x 1 0 6 . 2 5 5 . 8 0C A M A 3 1 1 1 4 1 1 x 1 4 9 . 0 5 8 . 4 0C A M A 3 1 2 1 6 1 2 x 1 6 1 1 . 7 5 1 0 . 9 0C A M A 3 1 6 2 0 1 6 x 2 0 1 7. 1 5 1 5 . 8 0

A Q U A 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 tex tured clay sur face l ike a f ine paper. Per fect for watercolours and gouache, but also ideal for acr ylics .

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



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.

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 .




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

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


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


A C R Y L I C P A D S & P A P E R

A C R Y L I C P A D S G U M M E D P A D S A N D P A P E R

Winsor & New ton Galeria Pad 300gsmThoroughly sized, canvas tex tured. Acid free and mould-made. Can be pr imed for oil painting .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 A7 5 x 7 1 5 5 . 2 5 4 . 3 0C G A 1 0 7 x 1 0 1 5 7. 5 0 6 . 0 0C G A 1 4 1 0 x 1 4 1 5 1 2 . 2 5 9 . 9 0C G A 1 6 1 2 X 1 6 1 5 1 4 . 5 0 1 1 . 6 0C G A 2 0 1 6 x 2 0 1 5 2 1 . 8 5 1 7. 5 0

Clairefontaine Acr ylic Blocks 360gsmAcid-free NOT sur face. Ideal for acr ylics and gouache. Remove sheets from block when dr y.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 B A 9 9 . 5 x 1 2 1 0 1 4 . 2 8 1 1 . 7 0C B A 1 2 1 2 x 1 6 1 0 1 9 . 2 0 1 5 . 9 0C B A 1 6 1 4 x 1 9 1 0 2 5 . 2 0 2 1 . 0 0

Hahnemuhle Acr ylic Paint Board Block 450gsm Robust , ideal for both thick paint and g la zing . F inely tex tured sur face. Br ight white .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 4 A 2 4 2 4 x 3 2 1 0 1 0 . 8 0 9 . 3 0C 4 A 3 0 3 0 x 4 0 1 0 1 5 . 4 0 1 3 . 2 0C 4 A 3 6 3 6 x 4 8 1 0 2 1 . 4 0 1 8 . 3 0C 4 A 4 2 4 2 x 5 6 1 0 2 9 . 2 0 2 5 . 0 0C 4 A 5 0 5 0 x 6 4 1 0 3 8 . 6 0 3 3 . 0 0

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 Acr ylic/Oil 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 290gsm.Uncoated, 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 System 3 Acr ylic Pad 230gsmLinen tex tured sur face, suitable for a ll acr ylics . 20 sheets , acid-free .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 Y PA 5 A 5 2 0 5 . 2 5 4 . 3 0C Y PA 4 A 4 2 0 1 1 . 2 5 9 . 1 0C Y PA 3 A 3 2 0 1 8 . 7 5 1 5 . 1 0C Y PA 2 A 2 2 0 2 5 . 0 0 2 0 . 0 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

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

Clairefontaine Acr ylic Paper 360gsmGummed pad, 10 sheets , for a ll acr ylic techniques . Sealed NOT sur face, acid-free .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 PA A 4 A 4 1 0 7. 5 1 6 . 0 5C PA A 3 A 3 1 0 1 3 . 6 0 1 0 . 9 5

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

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

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

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

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 A 1 1 0 0 3 0 . 1 2 2 7. 0 0

Nor folk 150gsm Car tridge PaperWoodfree, acid free, white mat t sur face. "A good paper to make a sketchbook out of " - (Customer review).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 c m 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

C A R T R I D G E P A D S

K E YSee previous pageDaler-Rowney Heav y weight Pad

2 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 . 8 0P D 2 2 0 A 4 A 4 2 5 8 . 0 0 6 . 3 0P D 2 2 0 A 3 A 3 2 5 1 2 . 2 5 9 . 6 0P D 2 2 0 A 2 A 2 2 5 2 0 . 2 5 1 5 . 9 0

B R U S H E S

As an acrylic painter you can choose to work with so many different types of acrylic paint, and your choice of brush needs to be the ideal match. A solid hog will leave an imprint in heavy body paint, while a delicate sable will help apply beautiful transparent washes with a paint of lower viscosity such as fluid or acrylic ink. But the greatest variety lies with the synthetic brushes, which vary with the amount of spring and liquid holding capacity. Look out too for our exciting painting tools that allow you to sculpt your colour. Whatever your mark, we've got the brush!

C O N T E N T SHog Brushes

Sable Brushes

Synthetic Brushes

68–73

74

75–85

Priming Brushes

Brush Sets

83

86–87


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

D A L E R - R O W N E Y C R Y L A S Y N T H E T I C

Synthetic bristle suited to both heavy body paints and fluid applications. Natural-look synthetic fibres offer good, even performance and strong levels of durability. Brushes hold their spring and come to a fine edge or point every time.

R O U N D S E R I E S C 1 0 ( S H O R T H A N D L E ) �

B D 1 0 0 0 1 2 3 4 5 6 8 1 0 1 2 1 4 1 6 1 8Ø m m 1 . 5 1 . 7 2 . 1 2 . 5 2 . 9 3 . 6 4 . 4 5 . 4 6 . 5 7. 3 8 . 2 9 . 2 9 . 7£ R R P 3 . 9 5 4 . 2 5 4 . 7 5 4 . 9 6 5 . 5 0 6 . 2 5 7. 7 5 1 1 . 2 5 1 3 . 2 5 1 4 . 7 5 1 6 . 7 5 1 9 . 5 0 2 2 . 0 0£ P r i c e 2 . 8 0 3 . 0 0 3 . 4 0 3 . 5 0 3 . 9 0 4 . 4 0 5 . 5 0 7. 9 0 9 . 3 0 1 0 . 4 0 1 1 . 8 0 1 3 . 7 0 1 5 . 4 0

R O U N D S E R I E S C 2 0 ( L O N G H A N D L E ) �

B D 2 0 0 1 6 8 1 0 1 2Ø m m 2 . 5 3 . 8 7. 2 9 . 1 1 1 1 1£ R R P 5 . 2 5 6 . 0 0 8 . 5 0 1 0 . 0 0 1 2 . 7 5 1 6 . 0 0£ P r i c e 3 . 7 0 4 . 2 0 6 . 0 0 7. 0 0 9 . 0 0 1 1 . 2 0

F L A T S E R I E S C 2 5 ( L O N G H A N D L E ) �

B D 2 5 1 2 4 6 8 1 0 1 2Ø m m 5 . 2 7 1 1 1 3 1 5 2 0 2 4£ R R P 5 . 7 5 7. 0 0 7. 7 5 8 . 5 0 1 0 . 7 5 1 3 . 2 5 1 6 . 0 0£ P r i c e 4 . 1 0 4 . 9 0 5 . 5 0 6 . 0 0 7. 6 0 9 . 3 0 1 1 . 2 0

F I L B E R T S E R I E S C 3 0 ( L O N G H A N D L E )

B D 3 0 0 2 4 6 8 1 0 1 2Ø m m 4 . 9 6 . 8 1 1 1 3 1 4 2 0 2 4 £ R R P 6 . 0 0 6 . 5 0 7. 7 5 8 . 5 0 1 0 . 2 5 1 2 . 2 5 1 4 . 7 5£ P r i c e 4 . 2 0 4 . 6 0 5 . 5 0 6 . 0 0 7. 2 0 8 . 6 0 1 0 . 4 0

B R I G H T S E R I E S C 3 5 ( L O N G H A N D L E ) �

B D 3 5 1 2 4 6 8 1 0 1 2Ø m m 5 . 1 7. 1 1 1 1 3 1 4 2 0 2 4£ R R P 6 . 0 0 6 . 5 0 7. 7 5 8 . 0 0 1 0 . 2 5 1 2 . 2 5 1 4 . 7 5£ P r i c e 4 . 2 0 4 . 6 0 5 . 5 0 5 . 7 0 7. 2 0 8 . 6 0 1 0 . 4 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

Winsor & New ton Azanta Black Brush Set of 5Contains 2 shor t f lat / br ights (sizes 2 and 8), 1 size 4 f lat and f i lber t plus 1 size 6 round.Code: BWABS5RRP : £9.99Price: £7.50

Winsor & New ton Galeria Acr ylic Brush Set of 4Code: BWGRS 4RRP : £ 26.99Price: £20.20

Daler-Rowney System 3 Acr ylic Wallet Set 301Contains 1 x round 2 , 1 x spot ter 10/0 and 1 x f i lber t 1 .Code: BDSS301RRP : £ 8.90Price: £8.10

Daler-Rowney System 3 Acr ylic Wallet Set 501Contains 1 x round 4, 1 x round 0, 1 x fan 4, 1 x f lat 8 and 1 x br ight 8 .Code: BDSS501RRP : £ 16.4 5Price: £14.90

Winsor & New ton Foundation Acr ylic SetContains SH f lat sizes 4, 10 & 14.Code: BWF002RRP : £ 3.99Price: £3.20

Winsor & New ton Galeria Acr ylic Brush Set of 3Code: BWGRS3RRP : £ 24.99Price: £18.70

Daler-Rowney System 3 Acr ylic Wallet Set 302Contains 1 x round 8 , 1 x f i lber t 10 and 1 x br ight 12 .Code: BDSS302RRP : £ 2 1 .10Price: £19.00

Winsor & New ton Foundation Acr ylic Brush SetContains 1 x round, 1 x f lat and 1 x f i lber t .Code: BWF005RRP : £ 3.99Price: £3.20

Winsor & New ton Azanta Black Brush Set of 3Contains a round size 12 , F i lber t size 12 and Flat size 12 .Code: BWABS3RRP : £ 11 .99Price: £9.00

Winsor & New ton Galeria Acr ylic Brush Set of 5Code: BWGRS5RRP : £ 38.99Price: £29.00

Daler-Rowney System 3 Acr ylic Wallet Set 300Contains 1 x round 4, 1 x rhor t f lat 1 /2 " and 1 x f i lber t 8 .Code: BDSS300RRP : £ 8.90Price: £8.10

Daler-Rowney System 3 Acr ylic Wallet Set 402Contains 1 x round 6, 1 x br ight 10, 1 x f lat 2 and 1 x f iber t 8 .Code: BDSS402RRP : £ 15.4 0Price: £13.90

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 E T S

Winsor & New ton Foundation Acr ylic Brush SetLong handle synthetic brushes , 2 x Round, 2 x f lat and 2 x f i lber t .Code: BWF008RRP : £6.99Price: £5.60

Daler-Rowney System 3 Acr ylic Brush Set 400Shor t handle synthetic brushes , 2 x round, 1 x f lat and 1 x f i lber t .Code: BDSS 400RRP : £ 10.50Price: £9.50

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

S T U D I O

It's no secret that the scope for experimentation and exploration of visual language in acrylic paint is unrivalled thanks to the availability of gels, pastes and mediums that can be added to modify your colour. Add grit, viscosity, iridescence, fluidity or make it stringy...there are too many possibilities to list here but we hope you enjoy considering the options and trying them out! Also in this section you'll find all the necessary extras to ensure you're as well equipped as you need to be for your next painting session. Sturdy easels for your workspace, brush cleaners that will help your brush keep its condition for longer, and invaluable palette knives for laying the colour on thick or keeping your colour mixes clean and vibrant.

C O N T E N T SMediums

Palettes

Storage

Mount Boards

Mount Cutters

Accessories

90–103

104–105

106–107

109

110

111–114

Framing

Studio Equipment

Easels

Books

DVDs

115

116–117

118–121

122–123

124–125


M E D I U M S

Jackson's Acr ylic Fluid Medium GlossQuick dr ying , f lexible and U V resistant . Use to thin paint for g loss , f low and transparency.O r d e r C o d e S i z e £ R R P £ P r i c eA J M 5 0 0 0 0 7 5 0 0 m l - 9 . 7 0

Jackson's Acr ylic Flow MediumCreates watercolour- l ike f low when used with water. Reduces brush marks , especially on absorbent grounds .O r d e r C o d e S i z e £ R R P £ P r i c eA J M 5 0 0 0 0 6 5 0 0 m l - 9 . 7 0

Jackson's Acr ylic Fluid Medium MatteQuick dr ying , f lexible and U V resistant . Use to thin paint for increased f low and transparency.O r d e r C o d e S i z e £ R R P £ P r i c eA J M 5 0 0 0 0 8 5 0 0 m l - 9 . 7 0

Golden Fluid Matte MediumFor ex tending and decreasing g loss without loosing f i lm integrit 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 2 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 5 2 0 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 3 5 2 0 9 4 6 9 4 6 m l 3 2 . 9 5 2 5 . 0 0A G 3 5 2 0 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

Golden Matte MediumA medium for decreasing g loss that can also be used as a pr imer.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 3 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 5 3 0 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 3 5 3 0 9 4 6 9 4 6 m l 3 2 . 9 5 2 5 . 0 0A G 3 5 3 0 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

Golden GAC 100A universal acr ylic polymer for ex tending colour. Ideal for ar tists formulating their own paints .O r d e r C o d e S i z e £ R R P £ P r i c eA G 1 0 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 1 0 0 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 1 0 0 9 4 6 9 4 6 m l 3 2 . 9 5 2 5 . 0 0A G 1 0 0 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

Golden GAC 200Increases f i lm hardness and reduces tack . Adheres well to non porous sur faces .

O r d e r C o d e S i z e £ R R P £ P r i c eA G 2 0 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 2 0 0 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 2 0 0 9 4 6 9 4 6 m l 3 2 . 9 5 2 5 . 0 0A G 2 0 0 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

Golden GAC 400For sti f fening fabrics . Use as a rabbit skin g lue alternative on raw canvas or l inen.O r d e r C o d e S i z e £ R R P £ P r i c eA G 4 0 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 4 0 0 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 4 0 0 9 4 6 9 4 6 m l 3 2 . 9 5 2 5 . 0 0A G 4 0 0 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

Golden GAC 500Increases self levell ing , f i lm hardness and reducing tack .

O r d e r C o d e S i z e £ R R P £ P r i c eA G 5 0 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 5 0 0 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 5 0 0 9 4 6 9 4 6 m l 3 2 . 9 5 2 5 . 0 0A G 5 0 0 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

Golden GAC 700Dries to a clear, high g loss f i lm, with moderate hardness and exceptional transparency.O r d e r C o d e S i z e £ R R P £ P r i c eA G 7 0 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 7 0 0 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 7 0 0 9 4 6 9 4 6 m l 3 2 . 9 5 2 5 . 0 0A G 7 0 0 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

Golden GAC 800Reduces cra zing in poured applications and increases g loss .O r d e r C o d e S i z e £ R R P £ P r i c eA G 8 0 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 8 0 0 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 8 0 0 9 4 6 9 4 6 m l 3 2 . 9 5 2 5 . 0 0A G 8 0 0 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

Golden GAC 900For mixing with colour to create a heatset fabric paint .O r d e r C o d e S i z e £ R R P £ P r i c eA G 9 0 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 9 0 0 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 9 0 0 9 4 6 9 4 6 m l 3 2 . 9 5 2 5 . 0 0A G 9 0 0 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

Golden Polymer Medium GlossFor creating g la zes and ex tending colours without loosing f i lm integrit 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 1 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 5 1 0 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 3 5 1 0 9 4 6 9 4 6 m l 3 2 . 9 5 2 5 . 0 0A G 3 5 1 0 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

M E D I U M S

M A D E A B I G

D I F F E R E N C E T O T H E

F L O W O F T H E P A I N T

Jackson's Tex tile MediumGives excellent adhesion and f lexibil i t y. A lso suitable for painting or pr inting onto fabric .

O r d e r C o d e S i z e £ R R P £ P r i c eA J M 5 0 0 0 1 1 5 0 0 m l - 9 . 7 0


M E D I U M S

Vallejo Crackle Medium Use with Crackle Base or bet ween t wo layers of acr ylic paint for a crackled ef fect .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 1 6 0 2 0 0 2 0 0 m l 1 0 . 9 0 7. 0 0AV V 1 6 0 5 0 0 5 0 0 m l 2 1 . 8 5 1 4 . 0 0

Vallejo Fluid Medium GlossLoosens paint and increases br il l iance and transparency. Dr ies quickly and f lexibly.O r d e r C o d e S i z e £ R R P £ P r i c eAV V4 7 5 6 0 6 0 m l 3 . 7 8 2 . 5 0AV V4 7 5 5 0 0 5 0 0 m l 1 5 . 8 7 1 0 . 2 0AV V4 7 5 5 L 5 L 1 0 8 . 5 5 7 0 . 0 0

Vallejo Acr ylic Flow Ex tender Fluid Medium which increases f low and reduces brush marks . Ideal for washes .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 1 6 5 5 0 0 5 0 0 m l 1 5 . 8 7 1 0 . 2 0

Lascaux Acr ylic Medium GlossImproves adhesion on non-porous suppor ts , streng thens binder content of dilute colours .O r d e r C o d e S i z e £ R R P £ P r i c eA L M 2 5 0 2 0 3 1 2 5 0 m l 1 8 . 1 6 1 5 . 3 0A L M 1 L 2 0 3 1 1 L 4 4 . 7 1 3 8 . 0 0

Lascaux Acr ylic Medium MatteSuitable for pr iming but not top coats as not scratch resistant . Creates mat t g la zes .O r d e r C o d e S i z e £ R R P £ P r i c eA L M 2 5 0 2 0 3 2 2 5 0 m l 1 8 . 1 6 1 5 . 3 0A L M 1 L 2 0 3 2 1 L 4 4 . 8 0 3 8 . 0 0

Lascaux Acr ylic Medium Satin MatteDoesn't a lter g loss or intensit y, so ideal for g la zing and sealing . O r d e r C o d e S i z e £ R R P £ P r i c eA L M 2 5 0 2 0 3 3 2 5 0 m l 1 8 . 1 6 1 5 . 3 0A L M 1 L 2 0 3 3 1 L 4 4 . 8 0 3 8 . 0 0

Golden Acr ylic Glazing Liquid GlossSlow dr ying medium for var ious g la zing and decorative f inishes .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 7 2 0 2 3 6 2 3 6 m l 1 0 . 5 0 7. 9 0A G 3 7 2 0 4 7 3 4 7 3 m l 1 5 . 2 5 1 1 . 4 0A G 3 7 2 0 9 4 6 9 4 6 m l 2 4 . 9 5 1 8 . 6 0A G 3 7 2 0 3 7 8 3 . 7 8 L 6 3 . 9 5 4 8 . 0 0

Golden Acr ylic Glazing Liquid SatinSlow dr ying medium for var ious g la zing and decorative f inishes .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 7 2 1 2 3 6 2 3 6 m l 1 0 . 5 0 7. 9 0A G 3 7 2 1 4 7 3 4 7 3 m l 1 5 . 2 5 1 1 . 4 0A G 3 7 2 1 9 4 6 9 4 6 m l 2 4 . 9 5 1 8 . 6 0A G 3 7 2 1 3 7 8 3 . 7 8 L 6 3 . 9 5 4 8 . 0 0

Golden Silk Screen MediumFor mixing with colour to produce a paint suitable for si lkscreen pr inting on paper.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 6 9 0 2 3 6 2 3 6 m l 1 0 . 5 0 7. 9 0A G 3 6 9 0 4 7 3 4 7 3 m l 1 5 . 2 5 1 1 . 4 0A G 3 6 9 0 9 4 6 9 4 6 m l 2 4 . 9 5 1 8 . 6 0A G 3 6 9 0 3 7 8 3 . 7 8 L 6 3 . 9 5 4 8 . 0 0

Golden Silk Screen Fabric GelFor mixing with colour to produce a paint suitable to silkscreen onto fabric . Iron f ixable .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 6 9 5 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 6 9 5 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 3 6 9 5 9 4 6 9 4 6 m l 3 2 . 9 5 2 5 . 0 0A G 3 6 9 5 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

Golden Airbrush Transparent Ex tenderUseful for increasing the transparency of a irbrush colours .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 3 7 1 1 9 1 1 9 m l 8 . 7 5 6 . 6 0A G 3 5 3 74 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 3 5 3 7 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

Golden Acr ylic Flow ReleaseReduces brush marks and increases paint f low for staining ef fects .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 9 0 1 1 9 1 1 9 m l 9 . 9 5 7. 5 0A G 3 5 9 0 2 3 6 2 3 6 m l 1 4 . 9 5 1 1 . 2 0

Golden RetarderIncreases dr ying time of acr ylic paint . Reduces skinning on the palet te .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 8 0 1 1 9 1 1 9 m l 9 . 9 5 7. 5 0A G 3 5 8 0 2 3 6 2 3 6 m l 1 4 . 9 5 1 1 . 2 0A G 3 5 8 0 4 7 3 4 7 3 m l 2 6 . 2 5 1 9 . 6 0A G 3 5 8 0 9 4 6 9 4 6 m l 3 9 . 9 5 3 0 . 0 0A G 3 5 8 0 3 7 8 3 . 7 8 L 1 1 4 . 9 5 8 6 . 0 0

Golden Airbrush MediumUse for thinning f luid colours to create an a irbrush colour. O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 3 5 1 1 9 1 1 9 m l 8 . 7 5 6 . 6 0A G 3 5 3 5 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 5 3 5 4 7 3 4 7 3 m l 2 3 . 5 0 1 7. 5 0A G 3 5 3 5 9 4 6 9 4 6 m l 3 2 . 9 5 2 5 . 0 0A G 3 5 3 5 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0

M E D I U M S


M E D I U M S

M E D I U M S

Liquitex Pouring Medium Add to create high-gloss wet- look puddles without cracking or a lter ing transparency.O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 0 3 2 0 0 2 3 7m l 1 2 . 5 0 9 . 3 0A X 3 9 0 3 2 1 0 9 4 6 m l 3 1 . 0 0 2 3 . 0 0

Liquitex Fluid Airbrush MediumThins acr ylic colour for a irbrush application. S tar t with 50% mix with paint .O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 0 1 0 1 0 2 3 7m l 1 2 . 5 0 9 . 3 0

Liquitex Fluid Medium MattIncreases transparency and f low with a non-ref lective mat t f inish . E x tends colour. O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 0 1 0 9 0 2 3 7m l 1 2 . 7 5 9 . 5 0A X 3 9 0 1 1 1 0 9 4 6 m l 3 1 . 0 0 2 3 . 0 0

Liquitex Fabric MediumAdd 1 :1 to Sof t Body paint . Enhances workabil i t y and controls bleeding of thinned colour. O r d e r C o d e S i z e £ R R P £ P r i c eA X 1 2 1 0 1 1 8 m l 8 . 0 0 6 . 0 0

Liquitex Flow AidDilute 1 : 20 with water then add to paint . Increases f luidit y, creates watercolour consistency.O r d e r C o d e S i z e £ R R P £ P r i c eA X 1 1 8 FA 1 1 8 m l 8 . 0 0 6 . 0 0

Vallejo Acr ylic Pearlescent Iridescent MediumUse alone for a pearl- l ike sheen, or combine with other paints for t wo-tone ef fects .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 1 5 8 5 0 0 5 0 0 m l 2 0 . 4 6 1 3 . 1 0

Vallejo Studio Acr ylic PolymerPigment-free acr ylic polymer. Useful for ex tending colour.O r d e r C o d e S i z e £ R R P £ P r i c eAV 5 0 0 2 7 5 0 0 m l 9 . 9 4 5 . 8 0

Vallejo Acr ylic Silk Screen & Tex tile Medium Allows acr ylic to be f ixed to tex tiles . Mix up to 50% by volume with acr ylic paints .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 0 8 1 5 0 0 5 0 0 m l 1 5 . 8 7 1 0 . 2 0

Vallejo Crackle BaseTransparent sealer for a ll sur faces , developed for use with AV Crackle Medium.O r d e r C o d e S i z e £ R R P £ P r i c eAV V 1 6 1 2 0 0 2 0 0 m l 1 0 . 9 0 7. 0 0AV V 1 6 1 5 0 0 5 0 0 m l 2 1 . 8 5 1 4 . 0 0AV V 1 6 1 5 L 5 L 1 4 5 . 5 0 9 3 . 0 0

Vallejo Fluid Medium MattQuick dr ying . Decreases g loss , augments f low and transparency.O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 4 5 6 0 6 0 m l 3 . 7 8 2 . 5 0AV V 5 4 5 5 0 0 5 0 0 m l 1 5 . 8 7 1 0 . 2 0AV V 5 4 5 5 L 5 L 1 0 8 . 5 5 7 0 . 0 0

Vallejo Acr ylic Thinner MediumDilutes acr ylic without loss of adhesion. Preferable to water for washes and details .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 2 4 5 0 0 5 0 0 m l 1 4 . 8 2 9 . 5 0

Jackson's Acr ylic Retarder MediumIncreases dr ying time. Can be applied onto a sur face or mixed on the palet te .O r d e r C o d e S i z e £ R R P £ P r i c eA J M 5 0 0 0 1 0 5 0 0 m l - 9 . 1 0

Vallejo Acr ylic RetarderAdd ma x . 10% to colour to increase open time and reduce skinning on palet te .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 2 7 0 5 8 5 8 m l 5 . 0 1 3 . 3 0AV V 2 7 0 5 0 0 5 0 0 m l 1 4 . 8 2 9 . 5 0

Liquitex Slow Dr y RetarderIncreases open time, reduces skinning on palet te . A llows for thorough blending work .O r d e r C o d e S i z e £ R R P £ P r i c eA X 1 1 7 0 1 1 8 m l 8 . 0 0 6 . 0 0

Schmincke Aero Airbrush Retarder Prolongs dr ying of Aero Colour paints . Mix at 1 :1 ratio . A lso reduces nozzle residue.O r d e r C o d e S i z e £ R R P £ P r i c eA S M 0 7 0 2 3 2 8 m l 6 . 6 5 5 . 9 0A S M 0 7 0 2 6 1 2 5 m l 1 2 . 9 4 1 1 . 4 0

Liquitex Palette Wetting Spray Bottle Fluid acr ylic resin , slows dr ying of colours . Keeps palet te fresh, improves colour blending .O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 9 0 1 1 1 1 2 3 7m l 1 2 . 7 5 1 0 . 7 0


M E D I U M S

M E D I U M S

Winsor & New ton Acr ylic Flow Improver Pre-mix with water then add to colour to increase f low and slow dr ying . No wet-dr y colour shif t .O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 0 3 0 9 3 7 1 2 5 m l 7. 5 5 6 . 3 0AW 3 0 4 0 9 3 7 2 5 0 m l 1 2 . 5 0 1 0 . 3 0

Winsor & New ton Acr ylic Gloss MediumIncreases g loss with no colour shif t from wet to dr y.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 3 5 2 5 0 m l 1 2 . 5 0 1 0 . 3 0AW 3 0 5 0 9 3 5 5 0 0 m l 2 0 . 0 0 1 6 . 7 0

Winsor & New ton Acr ylic Slow Dr ying Medium Mix 1 :1 with paint to double dr ying time. A llows for ex tended blending and manipulation.O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 0 3 0 9 3 2 1 2 5 m l 7. 5 5 6 . 3 0AW 3 0 4 0 9 3 2 2 5 0 m l 1 2 . 5 0 1 0 . 3 0

Daler-Rowney Decoupage Medium Formerly Craf t Seal - versatile , clear g loss adhesive medium and f inal water-resistant sealer.O r d e r C o d e S i z e £ R R P £ P r i c eA D M 5 0 2 6 7 5 m l 5 . 7 5 4 . 4 0

Daler-Rowney Glaze Medium Gloss Translucent white cream, increases f low and transparency for f ine g la zes . Dr ies slowly to g loss .O r d e r C o d e S i z e £ R R P £ P r i c eA D M 1 1 9 7 5 m l 5 . 7 5 4 . 4 0A D M 0 1 9 2 5 0 m l 1 0 . 5 0 8 . 0 0

Daler-Rowney Inter ference Medium Use straight from tube for shimmer y, pearlescent ef fects . Most str iking when used on dark grounds .O r d e r C o d e S i z e C o l o u r £ P r i c eA D M 7 0 9 7 5 m l G o l d 5 . 9 0A D M 7 1 0 7 5 m l V i o l e t 5 . 9 0A D M 7 1 1 7 5 m l B l u e 5 . 9 0A D M 7 1 2 7 5 m l C o p p e r 5 . 9 0A D M 7 1 3 7 5 m l R e d 5 . 9 0A D M 7 1 4 7 5 m l G r e e n s 5 . 9 0

Daler-Rowney Glaze Medium Matt Translucent white cream, increases f low and transparency for f ine g la zes . Dr ies eg gshell mat t .O r d e r C o d e S i z e £ R R P £ P r i c eA D M 1 1 4 7 5 m l 5 . 7 5 4 . 4 0A D M 0 1 4 2 5 0 m l 1 0 . 5 0 8 . 0 0

Daler-Rowney Flow Enhancer Add directly to colour in small quantit ies to reduce viscosit y and enhance f low.O r d e r C o d e S i z e £ R R P £ P r i c eA D M 0 0 8 7 5 m l 6 . 5 0 5 . 0 0

Daler-Rowney Pearlescent Tinting Medium Gives a shimmering pearlescent metall ic lustre when mixed with pure acr ylic colour.O r d e r C o d e S i z e £ R R P £ P r i c eA D M 1 1 8 7 5 m l 5 . 7 5 4 . 4 0

Winsor & New ton Acr ylic Matt Medium Reduces g loss with no loss of colour depth.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 3 6 2 5 0 m l 1 2 . 5 0 1 0 . 3 0AW 3 0 5 0 9 3 6 5 0 0 m l 2 0 . 0 0 1 6 . 7 0

Winsor & New ton Acr ylic Glazing Medium Gives ma ximum gloss , transparency, levell ing and f low. Mix with colour at any ratio .O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 0 3 0 9 3 4 1 2 5 m l 7. 5 5 6 . 3 0AW 3 0 4 0 9 3 4 2 5 0 m l 1 2 . 5 0 1 0 . 3 0AW 3 0 5 0 9 3 4 5 0 0 m l 2 0 . 0 0 1 6 . 7 0

Schmincke Aero Tex Tex tile Medium Mix equal par ts with Schmincke Aero Colour for tex tile a irbrush colour. Iron reverse to f ix .O r d e r C o d e S i z e £ R R P £ P r i c eA S M 0 3 0 2 3 2 8 m l 6 . 6 5 5 . 9 0

Schmincke Aero Metallic Medium Blend custom metall ic a irbrush shades with this highly-concentrated acr ylic medium. O r d e r C o d e S i z e £ R R P £ P r i c eA S M 0 8 0 2 3 2 8 m l 9 . 0 5 8 . 0 0

Schmincke Aero Thinning Medium Improves adhesive qualit ies of a irbrush colour, increases water resistance of f i lms .O r d e r C o d e S i z e £ R R P £ P r i c eA S M 0 2 0 2 6 1 2 5 m l 1 2 . 9 4 1 1 . 4 0


O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 0 1 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 0 1 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 0 1 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 0 1 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Sof t Gel GlossDries clear and can be used as an isolation coat before a f inal varnish is applied .

Golden Sof t Gel MatteLike all of the sof t gels can be mixed with small amounts of colour to produce br il l iant g la zes .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 0 1 3 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 0 1 3 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 0 1 3 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 0 1 3 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Sof t Gel Semi-GlossLike all of the sof t gel range makes an excellent g lue for colla ge.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 0 1 7 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 0 1 74 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 0 1 7 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 0 1 7 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Regular Gel GlossIs the consistency of Heav y Body colour making it ideal for ex tending colours .


Golden Regular Gel MatteLike all of the gels can be used for impasto g la zing techniques and for controll ing f inish.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 0 3 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 0 3 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 0 3 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 0 3 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Regular Gel Semi-GlossIs the same as the other regular gels but dr ies to a satin f inish .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 0 4 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 0 4 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 0 4 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 0 4 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Heav y Gel GlossIs of a much thicker consistency than Heav y Body colours .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 0 5 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 0 5 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 0 5 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 0 5 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Heav y Gel MatteLike all of the heav y gels wil l hold peaks when being used as an impasto medium.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 0 6 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 0 6 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 0 6 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 0 6 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Heav y Gel Semi-GlossAs with all of the gels can be mixed with colour or used independently.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 0 7 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 0 7 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 0 7 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 0 7 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Ex tra Heav y Gel GlossLends well with colour and is excellent for building sur face and tex ture .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 0 8 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 0 8 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 0 8 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 0 8 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Ex tra Heav y Gel MatteIs the thickest consistency of gel that wil l dr y to a translucent f inish .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 0 9 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 0 9 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 0 9 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 0 9 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Ex tra Heav y Gel Semi-GlossE xcellent for impasto techniques and will hold peaks .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 1 0 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 1 0 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 1 0 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 1 0 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden High Solid Gel GlossHas a high acr ylic to water ratio which means there is l i t t le shrinka ge as it dr ies .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 1 2 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 1 2 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 1 2 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 1 2 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

G E L M E D I U M S

G E L M E D I U M S

Golden High Solid Gel MatteHas a high acr ylic to water ratio which means there is l i t t le shrinka ge as it dr ies .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 1 3 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 1 0A G 3 1 3 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 7. 7 0A G 3 1 3 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 6 . 0 0A G 3 1 3 0 3 7 8 3 . 7 8 L 9 8 . 9 5 7 2 . 0 0



Golden Self Levelling Clear GelThe thinnest gel which can be poured. Produces an even f i lm with excellent clar it y.

Golden Clear Tar GelA unique gel with a tar l ike consistency high g loss . Ideal for pouring .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 3 3 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 3 3 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 3 3 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 3 3 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Coarse Pumice GelLike all of the pumice range can be mixed with colour or used independently.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 2 0 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 2 0 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 2 0 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 2 0 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Coarse Pumice Gel FineCreates a hard, tex tured f i lm. To increase f lexibil i t y, mix in other Golden Gels or mediums.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 1 9 5 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 1 9 5 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 1 9 5 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 1 9 5 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Coarse Pumice Gel Ex tra CoarseCreates a hard, roughly tex tured f i lm. To increase f lexibil i t y, add Golden Gels or mediums.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 2 0 5 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 2 0 5 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 2 0 5 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 2 0 5 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Clear Granular GelCreates a hard, grainy tex tured f i lm. To increase f lexibil i t y, add Golden Gels or mediums.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 2 1 5 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 2 1 5 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 2 1 5 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 2 1 5 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

G E L M E D I U M S

G E L M E D I U M S

Jackson's Acr ylic Heav y Gel Medium GlossE xcellent U V resistance. Dr ies transparent . Can be used for g la zing or increasing body.O r d e r C o d e S i z e £ R R P £ P r i c eA J M 5 0 0 0 0 2 5 0 0 m l - 1 1 . 8 0

Jackson's Acr ylic GelTransparent gel for use with acr ylic colour, to increase viscosit y and transparency.O r d e r C o d e S i z e £ R R P £ P r i c eA J M 5 0 0 0 0 1 5 0 0 m l - 1 0 . 2 0

Jackson's Acr ylic Ex tra Heav y Gel Gloss MediumE x tremely High viscosit y. Dr ies translucent and g lossy. E xcellent U V resistance.O r d e r C o d e S i z e £ R R P £ P r i c eA J M 5 0 0 0 0 4 5 0 0 m l - 1 3 . 3 0

Jackson's Acr ylic Heav y Gel Medium MattE xcellent U V resistance. Dr ies transparent . Can be used for g la zing or increasing body.O r d e r C o d e S i z e £ R R P £ P r i c eA J M 5 0 0 0 0 3 5 0 0 m l - 1 1 . 8 0

Jackson's Ex tra Heav y Gel Matt Matt MediumE x tremely high viscosit y. Dr ies translucent and mat t . E xcellent U V resistance.O r d e r C o d e S i z e £ R R P £ P r i c eA J M 5 0 0 0 0 5 5 0 0 m l - 1 3 . 3 0

Vallejo Heav y Gel Medium MattIncreases volume and transparency, dr ies mat t . Lends additional protection to sur faces .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 9 2 2 5 0 2 5 0 m l 1 0 . 9 1 7. 0 0AV V 5 9 2 5 0 0 5 0 0 m l 1 9 . 3 4 1 2 . 4 0AV V 5 9 2 2 5 0 0 2 . 5 L 6 6 . 2 0 4 3 . 0 0

Vallejo Heav y Gel Medium GlossIncreases volume, g loss and transparency. Lends additional protection to sur faces .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 9 1 2 5 0 2 5 0 m l 1 0 . 9 1 7. 0 0AV V 5 9 1 5 0 0 5 0 0 m l 1 9 . 3 4 1 2 . 4 0AV V 5 9 1 2 5 0 0 2 . 5 L 6 6 . 2 0 4 3 . 0 0

Vallejo Heav y Ex tra Heav y Gel GlossE x tremely viscous acr ylic gel . Dr ies transparent and g lossy.O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 3 5 5 0 0 5 0 0 m l 2 1 . 8 5 1 4 . 0 0AV V 5 3 5 2 5 0 0 2 . 5 L 7 3 . 6 5 4 8 . 0 0

Silk Screen MediumFor mixing with colour to produce a paint suitable for si lkscreen pr inting on paper.O r d e r C o d e S i z e £ R R P £ O u r P r i c eA G 3 6 9 0 2 3 6 2 3 6 m l 1 0 . 5 0 7. 9 0A G 3 6 9 0 4 7 3 4 7 3 m l 1 5 . 2 5 1 1 . 4 0A G 3 6 9 0 9 4 6 9 4 6 m l 2 4 . 9 5 1 8 . 6 0A G 3 6 9 0 3 7 8 3 . 7 8 L 6 3 . 9 5 4 8 . 0 0

Silk Screen Fabric GelFor mixing with colour to produce a paint suitable to silkscreen onto fabric . Iron f ixable .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 6 9 5 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 6 9 5 4 7 3 4 7 3 m l - 1 7. 5 0A G 3 6 9 5 9 4 6 9 4 6 m l - 2 5 . 0 0A G 3 6 9 5 3 7 8 3 . 7 8 L 8 7. 9 5 6 6 . 0 0


G E L M E D I U M S

G E L M E D I U M S

Winsor & New ton Acr ylic Gel Medium MattMaintains thickness of colour, good brush stroke retention. Decreases g loss of f inish.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 1 5 2 3 7m l 1 2 . 5 0 1 0 . 3 0AW 3 0 5 0 9 1 5 4 74 m l 2 0 . 0 0 1 6 . 7 0

Daler-Rowney Impasto Gel Medium GlossCost-ef fective impasto covera ge. Retains brush and knife tex tures , slows dr ying , adds g loss .O r d e r C o d e S i z e £ R R P £ P r i c eA D M 5 0 1 5 7 5 m l 5 . 7 5 4 . 4 0A D M 0 0 1 5 5 0 0 m l 1 9 . 5 0 1 4 . 9 0

Daler-Rowney Impasto Gel Medium Matt Cost-ef fective impasto covera ge. Retains brush and knife tex tures , dr ies to eg gshell mat t .O r d e r C o d e S i z e £ R R P £ P r i c eA D M 1 1 6 7 5 m l 5 . 7 5 4 . 4 0A D M 0 1 6 5 0 0 m l 1 9 . 5 0 1 4 . 9 0

Winsor & New ton Acr ylic Gel Medium GlossIncreases transparency, depth & g loss , maintains thickness , good brush stroke retention.O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 0 2 0 9 1 4 6 0 m l 4 . 9 5 4 . 2 0AW 3 0 4 0 9 1 4 2 3 7m l 1 2 . 5 0 1 0 . 3 0AW 3 0 5 0 9 1 4 4 74 m l 2 0 . 0 0 1 6 . 7 0

Lascaux Screen Printing Paste Enables one to work in silkscreen technique as par t of a 100% water-based system. I t a lso can be used as a retarder in 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 4 9 5 0 0 m l 2 0 . 9 0 1 7. 6 0A L M 1 L 2 0 4 9 1 L 2 9 . 3 4 2 5 . 0 0A L M 5 L 2 0 4 9 5 L 1 1 1 . 0 6 9 4 . 0 0

Vallejo Acr ylic Gel Medium Contains the same resin as AV Ar tists' Acr ylic . Maintains body whilst increasing transparency.O r d e r C o d e S i z e £ R R P £ P r i c eAV V 1 9 0 5 8 5 8 m l 5 . 0 5 3 . 3 0AV V 1 9 0 5 0 0 5 0 0 m l 1 6 . 8 5 1 0 . 8 0 AV V 1 9 0 5 L 5 L 1 2 2 . 0 0 7 8 . 0 0

Daler-Rowney Slow Dr ying Gel Mix with acr ylic colour to slow dr ying times , for an ex tended workable per iod.O r d e r C o d e S i z e £ R R P £ P r i c eA D M 0 0 9 7 5 m l 5 . 7 5 4 . 4 0

Daler-Rowney Acr ylic Printing Medium for Screen Printing Slows down the dr ying of acr ylic colour on the screen and reduces the r isk of screen blocking , making it easier to wash out . O r d e r C o d e S i z e £ R R P £ P r i c eR D P M 1 1 L 1 4 . 9 9 1 5 . 7 0R D P M 5 5 L 2 9 . 9 9 5 3 . 0 0

Daler-Rowney Tex tile Printing Medium for Screen Printing Tex tile Pr inting Medium has been developed for screen pr inting on fabrics .O r d e r C o d e S i z e £ R R P £ P r i c eR D T P M 8 2 2 7m l 1 0 . 5 0 9 . 5 0R D T P M 5 5 L 7 9 . 9 6 7 2 . 0 0

Liquitex Matt Medium GelHeav y body, mat te f inish. Dr ies translucent . E x tends and increases transparency.O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 0 2 0 9 0 2 3 7m l 1 2 . 7 5 9 . 5 0

Liquitex Gloss Gel Heav y body, g loss f inish. Dr ies translucent to clear. E x tends and increases transparency.O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 0 2 0 4 0 2 3 7m l 1 2 . 7 5 9 . 5 0

Liquitex Super Heav y Gel Medium Matt E x tremely thick , ex tra-heav y body. Creates high sur face dra g , dr ies translucent .O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 4 0 0 3 6 2 3 7m l 1 2 . 7 5 9 . 5 0A X 3 9 4 0 0 3 7 4 7 3 m l 2 1 . 0 0 1 5 . 6 0A X 3 9 4 0 0 3 8 9 4 6 m l 3 1 . 0 0 2 3 . 0 0

Liquitex Super Heav y Gel Medium Gloss E x tremely thick , ex tra-heav y body. Creates high sur face dra g , dr ies clear to translucent .O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 4 0 0 3 2 2 3 7m l 1 2 . 7 5 9 . 5 0A X 3 9 4 0 0 3 3 4 7 3 m l 2 1 . 0 0 1 5 . 6 0A X 3 9 4 0 0 3 4 9 4 6 m l 3 1 . 0 0 2 3 . 0 0

Liquitex Ultra Matt Gel Add 50% to double paint volume without loss of colour position. Heav y body, mat te f inish.O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 9 0 2 1 4 0 2 3 7m l 1 2 . 7 5 1 0 . 7 0

Liquitex Liquithick Thickening Gel Add sparingly for a range of v iscosities , from encaustic- l ike impasto to sculptural sti f fness . O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 0 3 1 6 0 2 3 7m l 1 2 . 5 0 9 . 3 0

Liquitex String Gel Self levell ing with syrupy, honey-like consistency. Dr ip or pour to create str ings of colour.O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 0 3 1 8 0 2 3 7m l 1 2 . 5 0 9 . 3 0


A C R Y L I C P A S T E S

A C R Y L I C P A S T E S

Liquitex Modeling Paste E x tra heav y body marble paste . S tone f inish, for tex tural forms and thickening paint .O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 0 3 0 1 0 2 3 7m l 1 2 . 7 5 9 . 5 0A X 3 9 0 3 0 3 0 9 4 6 m l 3 1 . 0 0 2 3 . 0 0

Golden Molding PasteDesigned to produce highly tex tured sur faces without the r isk of cracking .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 7 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 5 7 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 5 7 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 5 7 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Vallejo Red Oxide PasteDense paste with red iron oxide. Dr ies stone-hard, retains tex tural marks .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 8 9 2 0 0 2 0 0 m l 1 0 . 9 0 7. 0 0AV V 5 8 9 5 0 0 5 0 0 m l 1 9 . 3 4 1 2 . 4 0

Vallejo Acr ylic Mica Flake Gel MediumPaste with natural mica , dr ies to a rough grey with silver highlights .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 7 9 2 0 0 2 0 0 m l 1 3 . 4 3 8 . 6 0AV V 5 7 9 5 0 0 5 0 0 m l 2 1 . 8 5 1 4 . 0 0

Vallejo Acr ylic Coarse Pumice Paste Medium Builds sur face tex ture and ex tra high peaks . Mix with gel for f lexibil i t y.O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 9 9 2 0 0 2 0 0 m l 8 . 6 1 5 . 5 0AV V 5 9 9 5 0 0 5 0 0 m l 1 7. 8 1 1 1 . 4 0

Vallejo Sandy PasteMedium viscosit y sand-based paste . Mix with acr ylic gel for pastel ground.O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 9 3 2 0 0 2 0 0 m l 1 0 . 9 0 7. 0 0AV V 5 9 3 5 0 0 5 0 0 m l 1 9 . 3 4 1 2 . 4 0

Vallejo White Pumice PasteHigh densit y paste of f ine natural pumice stone and titanium white .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 9 8 2 0 0 2 0 0 m l 8 . 6 1 5 . 5 0AV V 5 9 8 5 0 0 5 0 0 m l 1 7. 8 1 1 1 . 4 0

Vallejo Modeling PasteFlexible paste with marble dust . Mat t and opaque for volume and structure .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 1 8 0 5 8 5 8 m l 5 . 3 6 3 . 5 0AV V 1 8 0 2 0 0 2 0 0 m l 8 . 6 1 5 . 5 0AV V 1 8 0 5 0 0 5 0 0 m l 1 7. 8 1 1 1 . 4 0AV V 1 8 0 5 L 5 L 1 2 5 . 6 5 8 1 . 0 0

Vallejo Acr ylic Black Lava Paste Medium Gr it t y black paste with natural stone, for tex ture and structure .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 9 4 2 0 0 2 0 0 m l 1 0 . 9 0 7. 0 0AV V 5 9 4 5 0 0 5 0 0 m l 1 9 . 3 4 1 2 . 4 0

Golden Ex tra Heav y Gel/Molding Paste Mix of gel and paste for thickening and building . Satin , semi-opaque.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 1 1 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 1 1 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 1 1 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 1 1 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Coarse Molding Paste Toothy, f lexible , warm white . Translucent to 1 /8". Accepts wet & dr y media .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 7 2 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 5 7 2 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 5 7 2 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0

Winsor & New ton Acr ylic Modelling PasteFlexible , l ight weight . Increases body, car vable when dr y. Mat t f inish .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 1 7 2 3 7m l 1 2 . 5 0 1 0 . 3 0AW 3 0 5 0 9 1 7 4 74 m l 2 0 . 0 0 1 6 . 7 0

Golden Fibre Paste Creates look of handmade paper, of f-white , ver y absorbent when dr y.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 2 4 0 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 2 4 0 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 2 4 0 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 2 4 0 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Hard Molding Paste For creating durable smooth or tex tured sur faces . Can be car ved. Opaque.O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 7 1 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 5 7 1 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 5 7 1 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 5 7 1 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Light Molding PasteCan be used to create ex treme tex ture without excessive weight .O r d e r C o d e S i z e £ R R P £ P r i c eA G 3 5 7 5 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 5 7 5 4 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 5 7 5 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 5 7 5 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0

Golden Crackle PasteCracks as it dr ies creating random sur face tex tured ef fects .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 7 2 3 6 2 3 6 m l 1 3 . 9 5 1 0 . 4 0A G 3 5 5 74 7 3 4 7 3 m l 2 4 . 5 0 1 8 . 3 0A G 3 5 5 7 9 4 6 9 4 6 m l 3 5 . 9 5 2 7. 0 0A G 3 5 5 7 3 7 8 3 . 7 8 L 9 8 . 9 5 74 . 0 0


Golden Polymer Varnish Gloss Dries to a protective, f lexible , dust resistant sur face on acr ylic paint .O r d e r C o d e S i z e £ R R P £ P r i c eA G 7 7 1 0 1 1 9 1 1 9 m l 9 . 9 5 7. 5 0A G 7 7 1 0 2 3 6 2 3 6 m l 1 5 . 9 5 1 1 . 9 0A G 7 7 1 0 4 7 3 4 7 3 m l 2 9 . 9 5 2 2 . 5 0A G 7 7 1 0 9 4 6 9 4 6 m l 4 5 . 9 5 3 5 . 0 0A G 7 7 1 0 3 7 8 3 . 7 8 L 1 3 4 . 9 5 1 0 1 . 0 0

V A R N I S H E S

Golden Polymer Varnish Matte Dries to a protective, f lexible , dust resistant sur face on acr ylic paint .O r d e r C o d e S i z e £ R R P £ P r i c eA G 7 7 2 0 1 1 9 1 1 9 m l 9 . 9 5 7. 5 0A G 7 7 2 0 2 3 6 2 3 6 m l 1 5 . 9 5 1 1 . 9 0A G 7 7 2 0 4 7 3 4 7 3 m l 2 9 . 9 5 2 2 . 5 0A G 7 7 2 0 9 4 6 9 4 6 m l 4 5 . 9 5 3 5 . 0 0A G 7 7 2 0 3 7 8 3 . 7 8 L 1 3 4 . 9 5 1 0 1 . 0 0

Liquitex Satin VarnishLow viscosit y, non-yellowing , archival . Hard and f lexible . Not removable .O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 0 5 1 1 0 2 3 7m l 1 2 . 7 5 9 . 5 0A X 3 9 0 5 1 2 0 9 4 6 m l 3 1 . 0 0 2 3 . 0 0

Jackson's Acr ylic Polymer Varnish Gloss with UV stabilisersPermanent , f lexible , dust-resistant U V protection. Apply to fully dr y paint for clearest f inish .O r d e r C o d e S i z e £ R R P £ P r i c eM J P G 1 1 L - 1 3 . 6 0

Jackson's Acr ylic Polymer Varnish Matte with UV stabilisersPermanent , f lexible , dust-resistant U V protection. Apply to fully dr y paint for clearest f inish .O r d e r C o d e S i z e £ R R P £ P r i c eM J P M 1 1 L - 1 4 . 5 0

Liquitex Fluid Gloss Medium / VarnishAll-purpose ex tender, binder, ground, g lue and sealant . Water soluble , non removable .O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 0 1 0 4 0 2 3 7m l 1 2 . 7 5 9 . 5 0A X 5 0 1 6 4 7 3 4 7 3 m l 2 1 . 0 0 1 5 . 6 0A X 3 9 0 1 0 6 0 9 4 6 m l 3 1 . 0 0 2 3 . 0 0

Liquitex Soluvar Varnish Gloss 237ml Final 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 £ P r i c eAW 3 9 2 5 0 5 0 2 3 7m l 1 2 . 7 5 1 0 . 7 0

Liquitex High Gloss Rigid Varnish For inf lexible suppor ts such as wood or ceramic. Hardwearing protection from abrasion.O r d e r C o d e S i z e £ R R P £ P r i c eA X 6 0 1 0 1 1 8 m l 8 . 0 0 6 . 0 0

Liquitex Soluvar Varnish Matt 237ml Final 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 £ P r i c eAW 3 9 2 5 0 7 0 2 3 7m l 1 2 . 7 5 1 0 . 7 0

Liquitex Matte VarnishLow viscosit y, non-yellowing , archival . Hard and f lexible . Not removable .O r d e r C o d e S i z e £ R R P £ P r i c eA X 3 9 0 5 0 1 0 2 3 7m l 1 2 . 7 5 9 . 5 0A X 3 9 0 5 0 3 0 9 4 6 m l 3 1 . 0 0 2 3 . 0 0

V A R N I S H E S

Golden Polymer Varnish Gloss SatinWaterborne, f lexible , removable with ammonia . Contains Ultraviolet Light S tabil isers .O r d e r C o d e S i z e £ R R P £ P r i c eA G 7 7 1 5 1 1 9 1 1 9 m l 9 . 9 5 7. 5 0A G 7 7 1 5 2 3 6 2 3 6 m l 1 5 . 9 5 1 1 . 9 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 1 5 9 4 6 9 4 6 m l 4 5 . 9 5 3 5 . 0 0A G 7 7 1 5 3 7 8 3 . 7 8 L 1 3 4 . 9 5 1 0 1 . 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

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

L E A V E S A

N I C E C L E A R S H I N Y F I N I S H


V A R N I S H E S

Vallejo Acr ylic Quick Dr ying Gloss VarnishPermanent . Recommends 2 coats , min 4 hours apar t . Dilutable with water, U V resistant .O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 1 7 5 0 0 5 0 0 m l 1 6 . 3 3 1 0 . 5 0

V A R N I S H E S

Lascaux Transparent Varnish Gloss Dries to a hard f i lm - use on r ig id suppor ts or as f inal varnish. Mixes well with colour.O r d e r C o d e S i z e £ R R P £ P r i c eA L M 1 L 2 0 6 0 1 L 4 4 . 8 0 3 8 . 0 0

Lascaux Transparent Varnish Semi Gloss Rigid varnish, can also be used as a medium to improve hardness , a sealer for wood or a ground.O r d e r C o d e S i z e £ R R P £ P r i c eA L M 1 L 2 0 6 4 1 L 4 4 . 8 0 3 8 . 0 0

Lascaux Transparent UV Protect Varnish Gloss Signif icant U V protection. Several coats may be necessar y. Inef fective i f used as a medium.O r d e r C o d e S i z e £ R R P £ P r i c eA L M 1 L 2 0 6 2 1 L 5 1 . 3 7 4 4 . 0 0

Lascaux Transparent UV Protect Varnish Matte Signif icant U V protection. Several coats may be necessar y. Inef fective i f used as a medium.O r d e r C o d e S i z e £ R R P £ P r i c eA L M 1 L 2 0 6 3 1 L 5 1 . 3 7 4 4 . 0 0

Lascaux Transparent Varnish Matte Rigid varnish, can also be used as a medium to improve hardness , a sealer for wood or a ground.O r d e r C o d e S i z e £ R R P £ P r i c eA L M 1 L 2 0 6 1 1 L 4 4 . 8 0 3 8 . 0 0

Lascaux Transparent UV Protect Varnish Semi Gloss Signif icant U V protection. Several coats may be necessar y. Inef fective i f used as a medium.O r d e r C o d e S i z e £ R R P £ P r i c eA L M 1 L 2 0 6 5 1 L 5 1 . 3 7 4 4 . 0 0

Winsor & New ton Acr ylic Varnish RemoverFor use on W& N's removable varnishes , enables cleaning and revarnishing .O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 0 3 0 9 3 3 1 2 5 m l 7. 5 5 6 . 3 0

Winsor & New ton Acr ylic Gloss UV Varnish Removable U V-resistant varnish. Quick dr ying , not for use as a medium.O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 0 3 0 9 2 9 1 2 5 m l 7. 5 5 6 . 3 0AW 3 0 4 0 9 2 9 2 3 7m l 1 2 . 5 0 1 0 . 3 0AW 3 0 5 0 9 2 9 4 74 m l 2 0 . 0 0 1 6 . 7 0

Winsor & New ton Acr ylic Satin UV Varnish Removable U V-resistant varnish. Quick dr ying , not for use as a medium.O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 0 3 0 9 3 1 1 2 5 m l 7. 5 5 6 . 3 0AW 3 0 4 0 9 3 1 2 3 7m l 1 2 . 5 0 1 0 . 3 0AW 3 0 5 0 9 3 1 4 74 m l 2 0 . 0 0 1 6 . 7 0

Winsor & New ton Acr ylic Matt UV VarnishRemovable U V-resistant varnish. Quick dr ying , not for use as a medium.O r d e r C o d e S i z e £ R R P £ P r i c eAW 3 0 3 0 9 3 0 1 2 5 m l 7. 5 5 6 . 3 0AW 3 0 4 0 9 3 0 2 3 7m l 1 2 . 5 0 1 0 . 3 0AW 3 0 5 0 9 3 0 4 74 m l 2 0 . 0 0 1 6 . 7 0

Daler-Rowney Acr ylic Medium Soluble Gloss Varnish Protects works from pollutants and dir t , provides barr ier f i lm that can be removed i f required.O r d e r C o d e S i z e £ R R P £ P r i c eA D 7 0 0 4 7 5 m l 6 . 5 0 5 . 0 0A D 3 0 0 4 3 0 0 m l 2 0 . 0 0 1 5 . 3 0

Daler-Rowney Acr ylic Medium Soluble Matt Varnish Protects works from pollutants and dir t , provides barr ier f i lm that can be removed i f required.O r d e r C o d e S i z e £ R R P £ P r i c eA D 7 0 0 7 7 5 m l 6 . 5 0 5 . 0 0A D 3 0 0 7 3 0 0 m l 2 0 . 0 0 1 5 . 3 0

Schmincke Aero Final Lacquer Varnish Gloss Water-based lacquer for use with airbrushes . F lexible , scratch-proof f inish . Solvent-free .O r d e r C o d e S i z e £ R R P £ P r i c eA S M 1 0 0 2 6 1 2 5 m l 1 2 . 9 4 1 1 . 4 0

Schmincke Aero Final Lacquer Varnish Matt Water-based lacquer for use with airbrushes . F lexible , scratch-proof f inish . Solvent-free .O r d e r C o d e S i z e £ R R P £ P r i c eA S M 1 1 0 2 6 1 2 5 m l 1 2 . 9 4 1 1 . 4 0

Schmincke Aero Final Lacquer Varnish Sof t-Touch Water-based lacquer for use with airbrushes . F lexible , scratch-proof f inish . Solvent-free .O r d e r C o d e S i z e £ R R P £ P r i c eA S M 1 2 0 2 6 1 2 5 m l 1 2 . 9 4 1 1 . 4 0

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

Lascaux UV Protect Matt Spray Can Archival U V protection. Suitable for a ll f ine ar t media , including inkjet pr ints and photos . (UK only).O r d e r C o d e S i z e £ R R P £ P r i c eA L M 4 0 0 2 0 7 3 4 0 0 m l 2 4 . 7 5 2 1 . 0 0

Schmincke Acr ylic Matt Varnish Spray Can Non-yellowing , a ge-resistant f inal varnish. For acr ylic , pr ints & photos . Removable . (UK only) .O r d e r C o d e S i z e £ R R P £ P r i c eW S A 5 8 4 3 0 0 m l 1 3 . 5 1 1 3 . 1 0

Lascaux UV Protect Semi Matt Spray Can Archival U V protection. Suitable for a ll f ine ar t media , including inkjet pr ints and photos . (UK only).O r d e r C o d e S i z e £ R R P £ P r i c eA L M 4 0 0 2 0 74 4 0 0 m l 2 4 . 7 5 2 1 . 0 0

V A R N I S H E S

V A R N I S H E S

Lascaux UV Protect Gloss Spray Can Archival U V protection. Suitable for a ll f ine ar t media , including inkjet pr ints and photos . (UK only).O r d e r C o d e S i z e £ R R P £ P r i c eA L M 4 0 0 2 0 7 2 4 0 0 m l 2 4 . 7 5 2 1 . 0 0

Winsor & New tont Picture Varnish SprayA superior qualit y U V resistant ar tists’ g loss varnish removable with ar tists’ white spir it or disti l led turpentine. Quick dr ying . (UK only).O r d e r C o d e F i n i s h S i z e £ R R P £ P r i c eM V 3 9 8 1 M a t t 1 5 0 m l 7. 5 5 6 . 2 0M V 3 9 8 2 G l o s s 1 5 0 m l 7. 5 5 6 . 2 0M V 3 9 8 4 S a t i n 1 5 0 m l 7. 5 5 6 . 2 0M V 2 9 8 1 M a t t 4 0 0 m l 1 3 . 5 0 1 1 . 0 0M V 2 9 8 2 G l o s s 4 0 0 m l 1 3 . 5 0 1 1 . 0 0M V 2 9 8 4 S a t i n 4 0 0 m l 1 3 . 5 0 1 1 . 0 0

Winsor & New tont General Purpose Spray Craf t VarnishesCan be used to protect all dr y acr ylic and oil paintings . Quick dr ying . Non-yellowing . (UK only).O r d e r C o d e F i n i s h S i z e £ R R P £ P r i c eM V 3 9 8 9 M a t t 1 5 0 m l 7. 5 5 6 . 2 0M V 3 9 8 8 G l o s s 1 5 0 m l 7. 5 5 6 . 2 0M V 2 9 8 9 M a t t 4 0 0 m l 1 3 . 5 0 1 1 . 0 0M V 2 9 8 8 G l o s s 4 0 0 m l 1 3 . 5 0 1 1 . 0 0

Montana Tech Spray VarnishHigh-covering acid-free and quick-dr ying acr ylic lacquer. For inter ior and ex ter ior use. (UK only).O r d e r C o d e F i n i s h S i z e £ R R P £ P r i c eA M N T 1 0 0 0 G l o s s 4 0 0 m l 8 . 5 0 7. 3 0A M N T 1 0 1 0 M a t t 4 0 0 m l 8 . 5 0 7. 3 0

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

Vallejo Acr ylic Aerosol Spray Varnish Matt Tolune-free and ozone fr iendly. Useful for quick and easy protection. Mat te f inish . (UK only).O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 3 1 4 0 0 4 0 0 m l 1 6 . 5 1 1 0 . 6 0

Vallejo Acr ylic Aerosol Spray Varnish SatinTolune-free and ozone fr iendly. Useful for quick and easy protection. Satin f inish . (UK only).O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 3 2 4 0 0 4 0 0 m l 1 6 . 5 1 1 0 . 6 0

Liquitex Professional Spray Varnish Gloss Waterbased Low Odour Aerosol varnish for inter ior or ex ter ior use. E xcellent levell ing , non-yellowing . Permanent . (UK only).O r d e r C o d e S i z e £ R R P £ P r i c eA Q X C 0 0 1 0 4 0 0 m l 1 1 . 9 9 9 . 4 0

Liquitex Professional Spray Varnish Satin Waterbased Low Odour Aerosol varnish for inter ior or ex ter ior use. E xcellent levell ing , non-yellowing . Permanent . (UK only).O r d e r C o d e S i z e £ R R P £ P r i c eA Q X C 0 0 3 0 4 0 0 m l 1 1 . 9 9 9 . 4 0

Liquitex Professional Spray Varnish Matt Waterbased Low Odour Aerosol varnish for inter ior or ex ter ior use. E xcellent levell ing , non-yellowing . Permanent . (UK only).O r d e r C o d e S i z e £ R R P £ P r i c eA Q X C 0 0 2 0 4 0 0 m l 1 1 . 9 9 9 . 4 0

Vallejo Acr ylic Aerosol Spray Varnish Gloss Tolune-free and ozone fr iendly. Useful for quick and easy protection. Gloss f inish. (UK only).O r d e r C o d e S i z e £ R R P £ P r i c eAV V 5 3 0 4 0 0 4 0 0 m l 1 6 . 5 5 1 0 . 6 0

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

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

A C R Y L I C B A S E D P R I M E R S

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

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

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

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

G R E A T Q U A L I T Y

P R O D U C T

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

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

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 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

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

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 8 . 0 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

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

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


P R I M E R S & A D D I T I V E

A C R Y L I C B A S E D P R I M E R S & S I Z E S

Golden Silver Point GroundApply thin applications for a f lexible , toothy ground, suitable for work with metal st yli .O r d e r C o d e S i z e £ R R P £ P r i c eA G 2 9 3 5 5 8 5 2 3 6 m l 1 5 . 9 5 1 1 . 9 0

Schmincke Aero Ground Primer Improves adhesion of a irbrush colour to plastic and metal . Sand f inely af ter application.O r d e r C o d e S i z e £ R R P £ P r i c eA S M 0 1 0 2 6 1 2 5 m l 1 2 . 9 4 1 1 . 4 0

Derivan Matisse Dr y Medium Black Flakes Glossy hexa gonal polyester f lakes . Best used as a f inal f inish or mixed with g loss mediums.O r d e r C o d e S i z e £ R R P £ P r i c eM D V 5 0 B K F 4 0 m l 6 . 9 0 5 . 5 0

Derivan Matisse Dr y Medium Crushed Garnet A deep red transparent gemstone. Gla ze for deeper colour, use with g loss mediums for clar it y.O r d e r C o d e S i z e £ R R P £ P r i c eM D V 5 0 C R G 4 0 m l 4 . 2 0 3 . 4 0

Derivan Matisse Dr y Medium Ferrous Powder For creating ma gnetic coatings or rust ef fects . Heav y, can cause sa g ging in large quantit ies .O r d e r C o d e S i z e £ R R P £ P r i c eM D V 5 0 F P 4 0 m l 6 . 9 0 5 . 5 0

Derivan Matisse Dr y Medium Calcined Bauxite A hard mineral with a range of ear thy colours . Best used with generous amounts of gel medium.O r d e r C o d e S i z e £ R R P £ P r i c eM D V 5 0 C B 4 0 m l 4 . 2 0 3 . 4 0

D R Y T E X T U R E P O W D E R S T O A D D T O A C R Y L I C G E L S

D R YT E X T U R E

P O W D E R S

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 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 £ 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

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 . 5 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

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

Schmincke Aero Lack Sealing Coat For pr iming leather and sealing shiny sur faces . Watersoluble and elastic .O r d e r C o d e S i z e £ R R P £ P r i c eA S M 0 4 0 2 6 1 2 5 m l 1 2 . 9 4 1 1 . 4 0A S M 0 4 0 2 7 2 5 0 m l 1 8 . 9 4 1 6 . 7 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


B R U S H C L E A N E R S

Zest-It Acr ylic Brush Cleaner and ReviverFor removing acr ylic paint from brushes , canvas and paper. Rinse brushes 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 eM Z A B C 1 2 5 1 2 5 m l - 5 . 9 0M Z A B C 2 5 0 2 5 0 m l - 8 . 1 0M Z A B C 5 0 0 5 0 0 m l - 1 2 . 5 0M Z A B C 1 0 0 0 1 L - 2 0 . 5 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

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 . 85g 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

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

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 5 . 9 5 4 . 9 0

B R U S H C L E A N E R S

Lascaux Brush CleanerA concentrated water based brush cleaner that works well when diluted 1 :1 with water, amking it ver y economical . I t is biologically degradable and is solvent free .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 2 5 0 2 0 8 0 2 5 0 m l 1 1 . 7 1 9 . 9 0A L M 1 L 2 0 8 0 1 L 3 0 . 74 2 6 . 0 0

Ar tisan Non-Toxic Concentrated Brush CleanerRemoves 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 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 Airbrush ReviverIdeal for cleaning & releasing airbrushes clog ged with waterbased media . Use as soak .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 A I R W R 1 2 5 1 2 5 m l - 5 . 6 0M Z A I R W R 5 0 0 5 0 0 m l - 1 1 . 3 0M Z A I R W R 1 1 L - 1 7. 7 0

Zest-It Airbrush Cleaner Spray through airbrush bet ween colours for clean paint changes .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 A I R W C 1 2 5 1 2 5 m l - 5 . 3 0M Z A I R W C 2 5 0 2 5 0 m l - 6 . 9 0M Z A I R W C 5 0 0 5 0 0 m l - 1 0 . 5 0M Z A I R W C 1 1 L - 1 6 . 1 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

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

Schmincke Aero Airbrush Rapid Cleaner Removes even dr ied on airbrush colour. Contains tenside.O r d e r C o d e S i z e £ R R P £ P r i c eA S M 0 6 0 2 6 1 2 5 m l 7. 9 2 7. 0 0

Colour ful Ar ts Brush Cleaner & Preser ver Removes all k inds of dr ied-on paint and varnishes from even the f inest sable . O r d e r C o d e S i z e £ R R P £ P r i c eA C B C 3 0 3 0 g 6 . 8 5 6 . 2 0


P A L E T T E S

A C R Y L I C 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 Palette 56.5 x 4 5.4 x 0.5cm.Code: APNW 101RRP : £ 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 Palette 12 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

A C R Y L I C P A L E T T E S

13

16 17

14 15

19 20 21

18

22 23 24

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


B R U S H C A S E S

B R U S H C A S E S

1 2

4

10 11 12

5 6

3

8 9

K E Y* A r t mater ia ls not included .

C A S E S

7

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

11. Mapac Brush Case * 37 x 38cm open. Code: ABCS RRP : £ 13 .95Price: £11.20


P O R T F O L I O S A N D C A R R I E R S

P O R T F O L I O S A N D C A R R I E R S

Clairefontaine Green Marbled Ar t FolderGreen Marbled Ar t Folder with ties . The per fect size for imperial watercolour paper.

O r d e r C o d e S i z e £ R R P £ P r i c eD C A FA 3 + A 3 + 8 . 9 5 8 . 1 0D C A FA 2 + A 2 + 1 4 . 9 5 1 3 . 5 0D C A FA 1 + A 1 + 4 1 . 9 5 3 8 . 0 0D C A F 6 1 6 1 x 7 6 c m 2 6 . 9 5 2 4 . 5 0

Mapac Ar tsafe PresentersGood qualit y presentation folder. 20 clear sleeves , so wil l hold up to 4 0 pa ges .

O r d e r C o d e S i z e £ R R P £ P r i c eD M A S A 5 A 5 3 . 8 0 3 . 1 0D M A S A 4 A 4 4 . 4 5 3 . 6 0D M A S A 3 A 3 8 . 7 0 7. 0 0

Mapac Poly-CarrierVer y economical way to carr y and store work . Card inser t for r ig idit y.

O r d e r C o d e S i z e £ R R P £ P r i c eD P O L A 4 A 4 1 . 5 0 1 . 2 0D P O L A 3 A 3 2 . 7 5 2 . 2 0D P O L A 2 A 2 3 . 1 5 2 . 5 0D P O L A 1 A 1 5 . 8 5 4 . 7 0

Mapac Ar t Storage Bag A durable , l ight weight ba g a main lockable compar tment , a second outer compar tment and side pockets .

O r d e r C o d e S i z e c m £ R R P £ P r i c eD A S B 4 0 x 3 2 x 1 5 4 9 . 2 5 4 0 . 0 0

Por tfolio Sleeves 140 MicronPVC, l ight 'orange peel ' tex ture to reduce g lare . Welded holes .

O r d e r C o d e S i z e Q u a n t i t y £ P r i c eD P S A 4 A 4 S i n g l e 0 . 5 0D P S A 3 A 3 S i n g l e 0 . 9 0D P S A 2 A 2 S i n g l e 1 . 5 0D P S A 1 A 1 S i n g l e 2 . 8 0D P S A 4 1 0 A 4 1 0 4 . 5 0D P S A 3 1 0 A 3 1 0 7. 9 0D P S A 2 1 0 A 2 1 0 1 2 . 8 0D P S A 1 1 0 A 1 1 0 2 4 . 5 0D P S A 4 2 0 A 4 2 0 8 . 3 0D P S A 3 2 0 A 3 2 0 1 4 . 7 0D P S A 2 2 0 A 2 2 0 2 4 . 0 0D P S A 1 2 0 A 1 2 0 4 6 . 0 0

Biyomap Reusable Ar twork Shipping and Storage BagBiyomap products come with a green label denoting the fact that they are made of 50% recycled material and can, in turn, be entirely recycled.

O r d e r C o d e S i z e c m £ R R P £ P r i c eD B B 4 0 5 0 4 0 x 5 0 9 . 3 9 8 . 6 0D B B 5 0 6 0 5 0 x 6 0 1 0 . 1 4 9 . 3 0D B B 6 0 7 0 6 0 x 7 0 1 1 . 6 2 1 0 . 6 0 D B B 7 0 9 0 7 0 x 9 0 1 4 . 7 1 1 3 . 4 0D B B 9 0 1 1 0 9 0 x 1 1 0 1 6 . 5 6 1 5 . 1 0D B B 1 1 0 1 3 0 1 1 0 x 1 3 0 1 8 . 1 7 1 6 . 6 0D B B 1 3 0 1 6 0 1 3 0 x 1 6 0 2 0 . 0 2 1 8 . 3 0D B B 1 4 0 1 6 0 1 4 0 x 1 6 0 2 1 . 7 5 1 9 . 8 0D B B 1 6 0 2 1 0 1 6 0 x 2 1 0 2 7. 8 1 2 5 . 5 0D B B 2 1 0 2 1 0 2 1 0 x 2 1 0 3 2 . 3 8 2 9 . 5 0

Mapac Academy Por tfolioThis l ight weight por t folio comes with a carr ying handle , a shoulder strap, plus a r ing binder mechanism for por t folio sleeves .

O r d e r C o d e S i z e £ R R P £ P r i c eD P B A C A 4 A 4 1 2 . 4 4 1 0 . 2 0D P B A C A 3 A 3 1 7. 3 3 1 1 . 8 0D P B A C A 2 A 2 2 6 . 7 8 1 9 . 4 0D P B A C A 1 A 1 3 7. 8 0 2 7. 0 0

Breen Smar t Bag Ar twork Storage & ProtectionBreen Smar t Ba gs are the new alternative to protecting your ar t . This strong ar t ba g of fers a reusable solution to packing , stor ing and transpor ting ar t works and frames .

O r d e r C o d e S i z e c m £ R R P £ P r i c eD B S B 4 0 3 5 x 4 0 - 9 . 4 0D B S B 6 0 5 0 x 6 0 - 1 0 . 9 0D B S B 9 2 7 0 x 9 2 - 2 4 . 0 0D B S B 9 2 S 9 2 x 9 2 - 2 8 . 5 0D B S B 1 1 2 8 6 x 1 1 2 - 3 1 . 0 0D B S B 1 1 2 S 1 1 2 x 1 1 2 - 3 3 . 0 0D B S B 1 3 2 1 0 0 x 1 3 2 - 3 5 . 0 0D B S B 1 6 0 1 3 2 x 1 6 0 - 4 8 . 0 0D B S B 1 5 0 1 4 5 x 1 5 0 - 5 4 . 0 0D B S B 2 0 0 1 4 5 x 2 0 0 - 6 5 . 0 0

S T O R A G E

T R A V E L

Mapac Sketch Bag Fits A 3. Contains a free ground mat in a removable pouch and a removable pouch for paints . The ba g also had a large pocket for brushes and an internal zip pocket .

O r d e r C o d e S i z e c m £ R R P £ P r i c eD A S S 4 5 x 3 5 x 1 0 3 2 . 6 5 2 6 . 5 0


M O U N T B O A R D

J A C K S O N ' S W H I T E C O R E M O U N T B O A R D

6 0 X 8 0 C M S H E E T SGreat value ISO 9706 compliant white core mountboard.Made with purified cellulose and faced with high purity cellulose paper. The adhesive used is waterbased, solvent-free and neutral pH. 1.4mm thick (1400 micron).

3MM SPACE 1.5 MM SPACE

1.5 MM SPACE

C O L O U R S1001 · Extra White1002 · Polar White

102 7 · Felt Grey102 1 · Pistachio

1012 · Ultra White1013 · Porcelain

100 4 · Off White1005 · Soft White

1030 · Buff1010 · Cream1025 · Cape Cod

1003 · Antique White1009 · Black

1014 · Chamois1011 · Bisquit 1026 · Pearl

O r d e r C o d e S i z e c m Q u a n t i t y £ P r i c eM B P W 6 0 x 8 0 S i n g l e 2 . 8 0

C O L O U R S1001 · Extra White 1002 · Polar White 100 4 · Off White 1005 · Soft White �1003 · Antique White �

B A C K I N G B O A R D S A N D P R E S E N T A T I O N2 MM SPACE

MDF Backing Board2 .5mm sturdy backing board, non-archival with acid content .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 eM B G C 8 1 0 8 x 1 0 S i n g l e 0 . 5 0M B G C A 4 A 4 S i n g l e 0 . 6 0M B G C 1 0 1 2 1 0 x 1 2 S i n g l e 0 . 7 0M B G C 1 1 1 4 1 1 x 1 4 S i n g l e 0 . 9 0M B G C 1 2 1 6 1 2 x 1 6 S i n g l e 1 . 2 0M B G C 1 6 2 0 1 6 x 2 0 S i n g l e 1 . 9 0M B G C 2 0 2 4 2 0 x 2 4 S i n g l e 2 . 6 0M B G C 2 0 3 0 2 0 x 3 0 S i n g l e 4 . 0 0M B G C 2 4 2 8 2 4 x 2 8 S i n g l e 4 . 4 0

Styrene Acr ylic Glass1 . 2mm shat ter resistant with U V stabil izers .1.5 MM SPACE

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 eM S A G 8 1 0 8 x 1 0 S i n g l e 1 . 1 0M S A G A 4 A 4 S i n g l e 1 . 2 0M S A G 1 0 1 2 1 0 x 1 2 S i n g l e 1 . 5 0M S A G 1 1 1 4 1 1 x 1 4 S i n g l e 1 . 7 0M S A G 1 6 2 0 1 6 x 2 0 S i n g l e 3 . 9 0M S A G 2 0 3 0 2 0 x 3 0 S i n g l e 8 . 7 0M S A G 2 4 3 6 2 4 x 3 6 S i n g l e 1 0 . 0 0

1.5 MM SPACE1.5 MM SPACE

Foam Board - 3mm3mm acid free l ight weight backing board. 1.5 MM SPACE

O r d e r C o d e S i z e Q u a n t i t y £ P r i c eM F B 3 A 4 A 4 S i n g l e 0 . 6 5M F B 3 A 3 A 3 S i n g l e 1 . 3 0M F B 3 A 2 A 2 S i n g l e 2 . 4 0M F B 3 2 0 3 0 2 0 x 3 0 S i n g l e 2 . 9 0M F B A 1 A 1 S i n g l e 4 . 4 0


Foam Board - 5mm5mm acid free l ight weight backing board. 1.5 MM SPACE

O r d e r C o d e S i z e Q u a n t i t y £ P r i c eM F B 5 A 4 A 4 S i n g l e 0 . 7 5M F B 5 A 3 A 3 S i n g l e 1 . 4 0M F B 5 A 2 A 2 S i n g l e 2 . 4 0M F B 5 2 0 3 0 2 0 x 3 0 S i n g l e 3 . 1 0M F B 5 A 1 A 1 S i n g l e 4 . 5 0

1.5 MM SPACE

Polypropylene BagsA great way to protect or display your work . Packs of 100 are available on our website .1.5 MM SPACE

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 eM P B A 5 A 5 1 0 0 . 8 5M P B 8 1 0 8 x 1 0 1 0 1 . 4 0M P B 1 0 1 2 1 0 x 1 2 1 0 1 . 8 0M P B 1 1 1 4 1 1 x 1 4 1 0 1 . 9 0M P B 1 2 1 6 1 2 x 1 6 1 0 2 . 2 0M P B 1 4 1 8 1 4 x 1 8 1 0 2 . 4 0M P B 1 6 2 0 1 6 x 2 0 1 0 3 . 2 0M P B 2 0 2 4 2 0 x 2 4 1 0 3 . 4 0


Crescent Black Foam Board - 5mmA light weight , reliably r ig id , ultra-smooth board. Can be used for exhibits , signa ge, photo mounting , screenprinting , framing etc .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 eP C C E 4 0 4 A 4 S i n g l e 0 . 9 0P C C E 4 0 6 A 3 S i n g l e 1 . 6 0P C C E 4 1 0 A 2 S i n g l e 3 . 0 0P C C E 4 6 4 1 9 . 5 x 2 7. 5 S i n g l e 3 . 6 0P C C E 4 1 8 A 1 S i n g l e 5 . 4 0


Crescent Ultra Black MounboardBlack core mountboard adds a r ich , dramatic touch to framing presentations . Smooth on both sides .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 ePCPB60083 A 3 S i n g l e 1 . 1 0PCPB60086 2 0 x 2 8 S i n g l e 2 . 7 0

Grey Board - 2mmAn inexpensive board for mounting non-conser vation work . A lso a useful non-conser vation backing board.1.5 MM SPACE

O r d e r C o d e S i z e c m Q u a n t i t y £ P r i c eM B P G B 6 0 x 8 0 S i n g l e 1 . 8 0M B P G B / 2 0 6 0 x 8 0 2 0 3 0 . 0 0


J A C K S O N ' S P R E - C U T M O U N T S

White core pre-cut mounts at an incredible price.These ISO 9706 compliant pre-cut mounts are made with purified cellulose and faced with high purity cellulose paper. The adhesive used is waterbased, solvent-free and neutral pH. 1.4mm thick (1400 micron). Poly-bagged, available in five colours as singles or boxes of 25 (available online).

3MM SPACEP R E - C U T M O U N T S1.5 MM SPACE

1.5 MM SPACE

3MM SPACE

O r d e r C o d e O u t e r S i z e c m A p e r t u r e c m £ P r i c eM P P 2 4 2 4 x 3 0 1 5 x 2 0 1 . 6 0M P P 3 0 3 0 x 4 0 2 0 x 3 0 1 . 9 0M P P 4 0 4 0 x 5 0 2 8 x 3 5 3 . 0 0

O r d e r C o d e O u t e r S i z e i n A p e r t u r e i n £ P r i c eM P P 3 1 1 2 x 1 6 7. 6 5 x 1 1 . 0 6 1 . 8 0M P P 3 5 1 4 x 1 8 9 . 4 5 x 1 3 . 3 9 2 . 3 0

P R E - C U T M O U N T S ( C O L O U R S M A R K E D � O N L Y )1.5 MM SPACE

1.5 MM SPACE


M O U N T C U T T E R S

M O U N T C U T T E R S1.5 MM SPACE

1.5 MM SPACE

Logan Compact Elite Mount CutterVersatile , por table 32in (8 1cm) capacit y deluxe mat cut ter comes with bevel and straight cut ting heads for professional results . Includes instructional DV D.Code: ML350-1RRP : £ 238.15Price: £189.00

1.5 MM SPACE

1.5 MM SPACE

Logan Compact Classic Mount CutterVersatile , por table 32in (8 1cm) capacit y mat cut ter provides af fordable and professional results . Includes instructional DV D.Code: ML301SRRP : £ 188.00Price: £150.00

1.5 MM SPACE

1.5 MM SPACE

2000 Logan Hand Mount Cutter This push st yle , hand held mount cut ter is ideal for l ight usa ge and is retractable . Use a gainst straight edge or use the adapt-a-rule for the per fect bevel edge. Contains f ive blades .Code: ML2000RRP : £ 4 0.06Price: £32.00

1.5 MM SPACE

1.5 MM SPACE

1.5 MM SPACE

1.5 MM SPACE

450 Logan Intermediate Mount Cutter 4 0in mount cut ting system capable of cut ting large 32 x 4 0in sheets of mount board.Code: ML450RRP : £ 388.59Price: £294.00

1.5 MM SPACE

201 Logan Oval / Circle CutterPatented 3-step mechanism is fast , por table , ver y easy to use, and costs hundreds less than comparable oval cut ters . Includes creative mat ting instructions and f ive ex tra blades . Code: ML201RRP : £91 .4 6Price: £73.00

1.5 MM SPACE

524 & 540 Adapt-A-Rule 61cmAt tach your Logan Mat Cut ter (2000, 3000 or 4 000), S traight Cut ter or Glass Cut ter and enjoy straighter, faster, more accurate cuts . They are ruled and come with a non-slip rubberized base. Code: ML524RRP : £ 41 .3 1Price: £33.00524 & 540 Adapt-A-Rule 101cmCode: ML540RRP : £70.15Price: £56.00

1.5 MM SPACE

1.5 MM SPACE

4000 Logan Hand Mount Cutter This pull st yle , hand held mount cut ter is ideal for medium usa ge. Use a gainst straight edge or use the adapt-a-rule for the per fect bevel edge. Includes marking bar. Contains f ive blades .Code: ML4000RRP : £6 1 .36Price: £ 49.00

1.5 MM SPACE

1.5 MM SPACE

424 Logan Team System 24in Team SystemThis practical combo system includes a 24in or 4 0in straight edge and a Logan 2000 Handheld Mat Cut ter for accurate, high qualit y mat cut ting . Code: ML424RRP : £73.91Price: £59.0040" Team SystemCode: ML4 40RRP : £98.99Price: £79.00

1.5 MM SPACE

1.5 MM SPACE

Jakar Economy Mountcutter 45 & 90 DegreesThe Jakar Mountcut ter cuts both 4 5 & 90 degrees and f its in the groove of the Jakar Special ruler.Code: MJC5RRP : £ 13 .90Price: £10.80

1.5 MM SPACE

1.5 MM SPACE

Jakar Special Ruler 60cmCode: MJR60 RRP : £ 13 .74Price: £11.30

Jakar Mount Cutter Kit 40cm Cuts 4 5 & 90 degrees . A great value economy mount cut ter from Jakar with a 4 0cm acr ylic ruler.Code: A7380 RRP : £ 2 1 .99Price: £18.00

Maped Mount Cutter 80cmCuts 4 5 & 90 degrees . A mount cut ter that is easy to use for both r ight and lef t handed people . Code: MMC2 RRP : £92 .95Price: £82.00

1.5 MM SPACE

Maped Mount Cutter 60cmCuts 4 5 degrees . A mount cut ter that is easy to use for both r ight and lef t handed people . Consistently accurate .Code: MMC3 RRP : £76. 25Price: £69.00

1.5 MM SPACE

1.5 MM SPACE

Maped 45 Degrees Mat Cutter Without Ruler Includes 4 blades .Code: MMC45 RRP : £ 39.95Price: £36.00Maped 90 Degrees Mat Cutter Without Ruler Includes 4 blades .Code: MMC90RRP : £ 39.95Price: £36.00

1.5 MM SPACE

A4 Cutting MatCode: ACMA4 Price: £2.90A3 Cutting MatCode: ACMA3 Price: £5.60A 2 Cutting MatCode: ACMA 2 Price: £10.80

A5 Cutting Mat with Knife & BladesCode: A7316 Price: £5.001.5 MM SPACE

P R O D U C T S


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

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

C U T T I N G & M E A S U R I N G

Metal Ruler 60cmCode: ASR24Price: £ 4.00Metal Ruler 100cmCode: ASR100Price: £5.70

Metal Ruler 30cmCode: ASR12Price: £2.80

T A P E S

Crescent Document Repair Tape 25mm x 30m.Code: FTGD8910Price: £22.00

Crescent White Frame Sealing Tape 30mm x 25.5m.Code: FTGBB1510W Price: £12.60

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 25.5mCode: FTGBB1510BRRP : £ 15.3 1Price: £12.60

1.5 MM SPACE

Archival Hinging Tape 25mm x 50m.Code: MT949Price: £10.80

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

Super Sticky Foam Tape 20mm x 10m.Code: MT 124Price: £ 4.00

Gummed Brown Paper Tapes1 in .Code: ATGS100Price: £2.30

Crescent Linen Hinging Tape26mm x 4 6m.Code: FTBR0501RRP : £ 25.90Price: £23.50

Double Side Tape 1/2inCode: ATDS1/2Price: £1.10Double Side Tape 1inCode: ATDS1Price: £2.60Double Side Tape 2inCode: ATDS2Price: £ 4.30

Low Tack Masking Tape 1inCode: ATMLT 1Price: £1.50Low Tack Masking Tape 2inCode: ATMLT2Price: £2.90

Wooden Rule With Handle Grip 100cmCode: WRULEPrice: £ 4.50


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

T A P E S

K N I V E S A N D B L A D E S

S C I S S O R S

K N I V E S , S C I S S O R S & T A P 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

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

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

Sekisui Smooth Framing Tape 25mm Code: MTSEK 25Price: £2.30Sekisui Smooth Framing Tape 50mmCode: MTSEK50Price: £ 4.50Sekisui Smooth Framing Tape 75mmCode: MTSEK 75Price: £6.90

Easy Mask Painting Tapes 50.8mm Code: E ASY2Price: £3.45Easy Mask Painting Tapes 95.25mmCode: E ASY3Price: £2.45

Handover Double Sided Tapes 25.4mm Code: DOUB1Price: £1.30Handover Double Sided Tapes 12.7mm Code: DOUB3Price: £0.80

Scotch Magic Tape 19mm Code: MT 19Price: £ 4.00

Framing Tape 25mm.Code: MTF25Price: £2.00Framing Tape 38mm.Code: MTF38Price: £3.00Framing Tape 50mm.Code: MTF50Price: £ 4.00


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

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.

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.

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


02 06

13 15

09 10 11 12

16 17 23 24

26 27 29 30 31 32

34 36

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04 06 08 10 1211

S H A P E S

01 02 03 04 05 06

07 08 09 10 11 12

S H A P E S


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 : £ 208.3 1Price: £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

4 inch Shor t Pile Radiator Roller RefillCode: SS 4Price: £1.10

RTF Granville 4 inch Radiator RollersCode: RH4Price: £1.10

1 .5 x 4 inches Radiator Roller Refill FoamCode: 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

Plastic Paint Kettle5L with metal handle .Code: PPK5Price: £2.00

JAS Brush Pot & Reser voir 6in diameter.Code: ABPRPrice: £2.50

JAS Plastic Brush Washer with Palette Cover 25 x 15 x 10.5 cm.Code: ABW25Price: £ 4.80

JAS Plastic Brush Holder 14.5 x 10cm.Code: ABW 14Price: £2.20

Winsor & New ton Ar tgaurd Barrier Cream 250mlCode: AWAG250RRP : £ 8.85Price: £7.40

Latex Gloves x 100Code: ALG100Price: £5.10

Tube-Wringer Plastic Tube SqueezerCode: AT W202NRRP : £ 14.35Price: £12.10

Jackson's Wooden Paint Stirring Sticks Pack of 50.Code: ACCPSPrice: £1.80

JAS Chinese Painting Natural Ink Stone 12 x 6cm.Code: WCHST 12 16Price: £3.20

2 Piece Wooden Mahl StickWith Ball and Leather.Code: MAHLW4Price: £15.003 Piece Wooden Mahl StickCode: MAHLW3Price: £17.80

Jackson's Adjustable Canvas Ar tists ApronCode: AJA A AGPrice: £20.00

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

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


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


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: £735.00

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

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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9. View finder Transparent Plastic 8 x 5in .Code: AVFRRP : £ 8.6 4Price: £7.90

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 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


E A S E L S

H - F R A M E

E A S E L S

H - F R A M E E A S E L S

1 2 3 4

2. Mabef M/07 Studio EaselHeight : 28 4 cm.Code: EM07RRP : £ 270.00Price: £183.00

3. Mabef M/10 Studio EaselHeight : 236cm.Code: EM10RRP : £ 205.00Price: £139.00

4. Mabef M/09 Studio EaselHeight : 236cm.Code: EM09RRP : £ 2 20.00Price: £149.00

1. Albrecht P fennig H-frame Folding EaselHeight : 300cm.Code: E A ABPRRP : £ 195.00Price: £157.00

5. Mabef M/08 Studio EaselHeight : 24 6cm.Code: EM08RRP : £ 195.00Price: £132.00

7. Jackson'sH-frame EaselHeight : 172cm.Code: EJ017Price: £107.00

5 6 7 8

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

10. Winsor & New ton Shannon H-frame EaselHeight : 13 4 cm.Code: EW 130RRP : £ 265.00Price: £14 4.00

11. Mabef M33 Florentine EaselHeight : 236cm.Code: EM33RRP : £ 235.00Price: £160.00

12. Albrecht Studio Easel Height : 195.5 - 320cm.Code: E A ABSRRP : £ 289. 20Price: £274.00

6. Mabef Studio Easel Oiled BeechwoodHeight : 300cm.Code: EM18RRP : £ 495.00Price: £335.00

9 10 11 12


E A S E L S

A - F R A M E

E A S E L S

A - F R A M E & S T U D I O E A S E L S

13

13. Mabef M/11 Studio EaselHeight : 24 6cm.Code: EM11RRP : £ 155.00Price: £105.00

14. Albrecht Mast Folding EaselHeight : 2 10cm.Code: E A ABMRRP : £ 20 4.85Price: £162.00

14

15. Albrecht Lyra Display EaselHeight : 175cm.Code: E A ABLRRP : £ 126.00Price: £113.00

15 16

16. Jackson's Academy A-frame EaselHeight : 168cm.Code: EJ001Price: £75.00

17. Winsor & New ton Mersey A-frame EaselHeight : 124 cm.Code: EW 128RRP : £ 170.00Price: £101.00

18. Mabef M25 Studio Easel Height : 2 23cmCode: EM25RRP : £ 180.00Price: £120.00

1817 19

19. Winsor & New ton Thames Radial Easel Height : 182cm.Code: EW 13 1RRP : £ 2 25.00Price: £116.00

20. Jackson's Donkey EaselHeight : 95cm.Code: EJ02 1Price: £127.00

20

22 23 24

22. Jackson's Large Radial Easel with Centre TiltingHeight : 180cm.Code: EJ022Price: £91.00

23. Mabef Work StationHeight : 185cm.Code: EM30RRP : £950.00Price: £645.00

24. Mabef M46 Double Sided Easel Oiled Height : 150-2 28cm.Code: EM46RRP : £ 515.00Price: £340.00

2 1. Jackson's Radial EaselHeight : 14 8cm.Code: EJ002Price: £94.00

21


E A S E L S

F I E L D & D I S P L A Y E A S E L S

1 32

1. Winsor & New ton Tilting EaselHeight : 12 2cm.Code: EW 119RRP : £93.00Price: £58.00

6. Jackson's French Style Box EaselHeight : 180cm.Code: EJ019Price: £102.00

3. Jackson's Half Box EaselHeight : 180cm. Code: EJ014Price: £92.00

4. Jackson's Small Sketching EaselHeight : 91cm.Code: EJ012Price: £28.00

5. Jackson's Blue Box Metal Sketching EaselHeight : 180cm.Code: EC650Price: £32.00

10. Jackson's A-frame Display EaselHeight : 180cm.Code: EJ011Price: £15.00

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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

2. Winsor & New ton Dar t Sketching EaselHeight : 168cm.Code: EW 124RRP : £ 5 4.00Price: £26.00

9. Winsor & New ton Bristol Alumium EaselHeight : 17 7cm.Code: EW2 10RRP : £90.00Price: £56.00

11. Jackson's Display EaselHeight : 56cm.Code: EJ018Price: £6.70

12. Jakar Aluminium Table Display EaselHeight : 4 5cm.Code: EJTARRP : £ 28.59Price: £23.50

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E A S E L S & S T O R A G E

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17. Jackson's Wentwor th Box EaselSize: 4 0 x 30 x 10cm.Code: EJ016Price: £52.00

20. Jackson's Wooden Storage Box Size: 36 x 13 x 13cm. *Code: EJWB149Price: £24.50

15. Jackson's Table EaselHeight : 75cm.Code: EJ004Price: £2 1.50

16. Jackson's Tripod Table EaselHeight : 4 6cm.Code: EJ015Price: £8.30

14. Winsor & New ton Tay Table EaselHeight : 60cm.Code: EW 123RRP : £65.00Price: £26.00

24. Wooden 3 Drawer ChestSize: 4 0 x 26 x 8cm.Code: AC3DRPrice: £39.00

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13. Winsor & New ton Kent Frame Table EaselHeight : 91cm.Code: EW226RRP : £ 3 3.00Price: £25.00

22. Jackson's Wooden Utility Storage BoxSize: 32 x 17 x 4 cm. Code: EJWB146Price: £10.30

2 1. Jackson's Empty Wooden Box 2 Thick Foam SheetSize: 35 x 12 x 3cm. Code: EW 100Price: £11.60

T A B L E E A S E L S & S T O R A G E

T A B L E

E A S E L S

12. Jackson's Small Box EaselSize: 26 x 39 x 13cm.Code: EJ006Price: £26.00

23. Mabef Ar tist Box Size: 36 x 25 x 8cm.Code: EM101RRP : £ 109.95Price: £75.00

19. Mabef Ar tist BoxSize: 30 x 20 x 3cm.Code: EM100RRP : £92 .95Price: £63.00


B O O K S

1 . Painting Acr ylic Landscapes the Easy Way by Terr y HarrisonCode: BKS304RRP : £ 12 .99 Price: £10.30

8. Compendium of Acr ylic Painting Techniques by Gill BarronCode: BKS356RRP : £ 12 .99Price: £10.30

7. Vibrant Acr ylics by Hashim Akib Code: BKS325RRP : £ 12 .99Price: £10.30

5. Acr ylics Unleashed by Glyn Macey Code: BKS340RRP : £ 14.99Price: £11.90

12. Turner in Acr ylics by Noel Gregor y Code: BKS258RRP : £9.99Price: £7.90

1 2 3

4 5 6

7 8 9

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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. Colour Mixing Bible by Ian Sidaway Code: BKD156RRP : £ 12 .99 Price: £10.30

4. Incredible Acr ylics by Jean-Paul Van Box te Code: BKS179RRP : £ 14.99Price: £11.90

11. Wendys Top Tips for Acr ylic Ar tists by Wendy Jelber t Code: BKS274RRP : £9.99Price: £7.90

9. Lakes, Rivers & Streams in Acr ylicby Paul AppsCode: BKS404RRP : £ 10.99Price: £8.70

2. Acr ylic Il luminations by Nancy Reyner Code: BKS350RRP : £ 19.99Price: £15.90

6. The Acr ylic Flower Painters A to Z by Lexi SundellCode: BKS68RRP : £ 12 .99Price: £10.30

10. New Acr ylics Essential SourceBook by Rheni TauchidCode: BKG106RRP : £ 17.99Price: £14.30


B O O K S

20. Complete Guide to Painting in Acr ylics by Lorena Kloosterboer Code: BKS395RRP : £ 15.99Price: £12.70

16. Flowers in Acr ylics by Tim Fisher Code: BKS176RRP : £ 8.99Price: £7.10

22. Painting With Acr ylics by Ian Coleman Code: BK W57RRP : £ 18.99Price: £15.10

17. Creative Acr ylic Landscapes by Wendy Jelber t Code: BKS153RRP : £9.99Price: £7.90

23. Sea & Sky in Acr ylicsby Dave White Code: BKS407RRP : £ 12 .99Price: £10.30

24. Rethinking Acr ylic by Patti Brady Code: BKD27 1RRP : £ 19.99Price: £15.90

14. Acr ylic Painting Step-by-Step by D. Hyde, W. Jelber t and C. Massey Code: BKS150RRP : £ 12 .99Price: £10.30

18. All About Acr ylics by Oliver Lohr, Kristina Schaper and Ute Zander Code: BKS27 7RRP : £ 14.99Price: £11.90

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16 17 18

19 20 21

22 23 24

B O O K S

2 1. Ar t from Intuition by D. NimmerCode: BKG86RRP : £ 16.99 Price: £13.50

13. Acr ylic Revolution by Nancy ReynerCode: BKD2 18RRP : £ 19.99Price: £15.90

15. Painting Abstracts by Rolina Van VlietCode: BKS119RRP : £ 12 .99Price: £10.30

19. Terr ys Top Tips for Acr ylic Ar tists by Terr y HarrisonCode: BKS197RRP : £9.99Price: £7.90


D V D S

1 . Acr ylic Landscapes With The Wow Factor by Lynda ApplebyCode: V TH53RRP : £ 27.95 Price: £26.00

7. Painting From Life In Acr ylics by Mitch WaiteCode: VAP85DRRP : £ 35.75 Price: £35.00

2. Coastal Adventures in Acr ylic by Adebanji AladeCode: V TH32RRP : £ 27.95 Price: £26.00

8. Acr ylic Materials And Techniques For Expressive Painting by Merle RosenCode: VDC10RRP : £ 19.99 Price: £18.00

3. Acr ylic Painting Color Techniques by Patti MollicaCode: VDC29RRP : £ 19.99 Price: £18.00

9. Dynamic Acr ylics by Soraya FrenchCode: V TH18RRP : £ 27.95 Price: £26.00

4. Acr ylic Painting Techniques Exploring Sur faces by Chris CozenCode: VDC38RRP : £ 19.99 Price: £18.00

10. Acr ylic Painting Value Techniques by Patti MollicaCode: VDC32RRP : £ 19.99 Price: £18.00

5. Acr ylic Unleashed Painting a Snow y Landscape by Julie Gilber t PollardCode: VDC35RRP : £ 19.99 Price: £18.00

11. Revealing the Secrets of Acr ylics by Soraya FrenchCode: V TH45RRP : £ 27.95 Price: £26.00

6. Capturing Light In Acr ylic by John HammondCode: VAP48DRRP : £ 28.55 Price: £27.50

12. Acr ylics the Watercolor Way by Stephen Quiller Code: VDC01RRP : £ 19.99 Price: £18.00

1 2 3

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N O T EOver 200 DVDs available on our website.We of fer an ex tensive range of DV Ds that show today 's leading ar t ists demonstrat ing their working methods .


D V D S

13. Acr ylic Painting Brushwork Techniques by Patti MollicaCode: VDC27RRP : £ 19.99 Price: £18.00

19. Landscape Painting Techniques for Success Color by Ian Rober tsCode: VDC25RRP : £ 19.99Price: £18.00

14. Acr ylic Painting Techniques Creative Tex tures by Chris CozenCode: VDC39RRP : £ 19.99 Price: £18.00

20. Drawing Basics How to See How to Draw by Claudia NiceCode: VDC18RRP : £ 16.99Price: £15.30

15. Understanding Value in Skin Tones by Sharon SprungCode: VDC02RRP : £ 19.99Price: £18.00

2 1. Negative Painting Techniques Simplif ying Color by Linda KempCode: VDC33RRP : £ 16.99Price: £15.30

22. Acr ylic Unleashed Painting a Color ful Landscape by Julie Gilber t PollardCode: VDC36RRP : £ 19.99Price: £18.00

17. Basic Color Mixing Techniques by Mark MenendezCode: VDC28RRP : £ 16.99 Price: £15.30

23. Top 15 Acr ylic Painting Star ters by Chris CozenCode: VDC37RRP : £ 19.99 Price: £18.00

18. Painting Techniques of the Masters by Mark MenendezCode: VDC3 1RRP : £ 16.99Price: £15.30

24. Landscape Painting Techniques for Success Design by Ian Rober tsCode: VDC26RRP : £ 19.99 Price: £18.00

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D V D S

16. The Ar t Of Mar y Fedden by Mar y FeddenCode: VAP40DRRP : £ 28.55 Price: £27.50


Acrylic Gesso A primer which dries with a coarser texture (or 'tooth') than regular acrylic primer. Acrylic gesso can be sanded down if desired. It is made from a mixture of chalk and pigment (usually titanium white), bound in a 100% acrylic emulsion binder. It can be used as a ground for both acrylic and oil painting.

Acrylic Ink High-fluidity acrylic colour, made from pigment suspended in an acrylic based vehicle. It is usually sold in glass bottles, often with a pipette. Acrylic ink can be used in stamping, pen and wash, airbrush and drawing and painting. It is not re-wettable and is permanent and non-clogging.

Acrylic Painting A stack of paper that has been specially prepared for acrylic painting (usually be being sprayed with acrylic primer), Block and glue bound on all 4 sides. A gap in the glue will be found on the corner or part of a side of the block, so that when

the painting is finished and dry the top sheet can be separated drom the block by running a clean palette knife around the underside of the sheet. A block is a light weight support for acrylic painting that will not buckle during the painting process as the glue binding will keep the sheets taut and flat.

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.

Binder In acrylic painting, the binder is an acrylic polymer which pigment particles are suspended in ot make paint. The binder is also known as the vehicle or emulsion.

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.

Canvas Board Canvas glued on to a 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.

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 can refer to the ratio of pigment to /Saturation to binder or the natural characteristics of the pigment, and is descriptive of how vibrant / brilliant / clean the

colour appears.

Complementary Also known as secondary colours. They can be found directly opposite one another on a colour wheel. Because theyColours 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.

Cotton Duck A heavy plain woven fabric that is a popular material for artist canvas as it is relatively low cost in comparison to linen. Cotton duck is most commonly available in 10oz or 12oz weights.

Crackle Paste When applied to a rigid support with a thickness of at least 3-4 mm, crackle paste will form cracks as it dries, which gives work an aged appearance. It can be applied on its own or mixed with colour. The thicker the application the deeper the cracks. When dry, oil or acrylic paint can also be applied over the top of the paste.

Curing Another word for 'drying'. Acrylic paints dry when all the water found in the paint has evaporated, leaving the dried paint (pigment mixed into acrylic polymer). Curing times will vary across brands so it is worth checking the manufacturer's information if this is of particular concern.

Dry Brush The application of paint with very little water content in it using a dry brush. Applying paint in this way is also knownTechnique as scumbling. The results can have a powdery appearance.

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.

Emulsion Another word for the binder of acrylic paint. The emulsion is made from an acrylic polymer into which pigment is dispersed to make acrylic paint.

Ferrule The metal 'collar' into which the hairs of a brush are bound.

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.

Flow Release Reduces visible brushmarks and increases the fluidity of acrylic paint. The go-to medium if you want to create stains/Flow Medium and washes on a porous surface. Flow medium and flow release will make paint more fluid without undermining the

structure of the paint in the way that simply diluting with large quanitites of water might. We advise diluting flow medium with water to minimise the risk of mediums clogging up your brushes.

Fluid Acrylic Fluid acrylic is made of pigment suspended in a polymer emulsion with a more fluid consistency than heavy body acrylic. It is not diluted with water and colours will be as stable and luminous as the equivalent in a heavy body range. Fluid acrylic is easily thinned for spraying as well as suitable for brushing and staining and can be modified with acrylic mediums.

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.

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Gel Acrylic gels are available in a range of consistencies and sheen. They are effectively acrylic paint without the pigment and can be used to increase transparency, extend colour and increase viscosity of paint. They can also be applied on their own to create transparent impasto effects on your surface. Gels tend to retard the drying time of paint and can also be used as a water, chemical and UV resistant adhesive in collage.

Glaze An application of transparent colour over already dry paint. In acrylic painting all clear acrylic mediums can be used to increase the transparency, flow and suitability of your colour mixes for glazing techniques.

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 to use that will increase gloss is a mixture of linseed oil and retouching varnish, diluted with solvent.

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.

Heavy Body Heavy body acrylic paint has a buttery consistency. When used straight from the pot or tube impasto effects can be achieved and brush marks will retain in the paint. The consistency and characteristics can be manipulated with the use of acrylic mediums.

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. Mixing with 'hue' colours may result in noticeably different results to the mixes achieved with the genuine versions of the same colours.

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.

Interference Intereference colour paint is dual-colour and possesses reflective properties and visible interplay with light. The result of this is that a certain colour will appear at a certain angle, and its complementary will appear at another angle. This causes a shimmering quality. Interference colours are very transparent and work well in glazing techniques.

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.

Iridescent Iridescent colours have a pearlescent or metallic like quality. The finest metal coated mica particles give th paint its unique metallic sheen.

Lightfastness Refers to the stability of a pigment when exposed to prolonged periods of ultra violet, found in natural sunlight. It/Permanence 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.

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.

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 apparance of a paint when it is squeezed from a tube into a condensed 'blob'.

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.

Mica Flake The word 'Mica' derives from latin and literally translates as 'crumb'. Mica flakes are crumbs of tiny metal particles that are used in iridescent paints and mediums. Mica flakes of all different degrees of coarseness are used in acrylic paints and mediums.

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.

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.

Mottler A wide flat brush that can evenly apply paint or varnish.

Moulding Paste Moulding (or molding) paste is a white opaque acrylic paste that can be used to build surface layers and create texture on a painting surface. It can be tinted with acrylic colour or applied on its own, left to dry and then painted afterwards. It dries hard yet flexible.

Open Acrylic Open acrylics are slow drying acrylic paints which allow for painting approaches that were previously only possible in oil paint.

Open Time The length of time in which it is possible for a brush to move applied paint around on a surface before it dries.

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Palette 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).

Paste A thick, white opaque medium that can be tinted with acrylic colour or used on its own on to a support to build up texture and impasto marks. There are a number of different acrylic pastes available with a variety of consistencies and textures/characteristics.

Permanence Permanence takes into consideration all factors that may influence the stability and appearance of pigments, including exposure to UV rays, humidity, 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 (which only considers UV), so it's worth double checking if this is of particular concern.

Pigment Pigments don't just give paint its colour. They will also alter how the paint behaves as you work. Tinting strength, opacity, granulation and other handling properties are all a result of the pigments used in a paint, and when different brands produce even the most familiar colours to numerous varying recipes, it's best not to rely on titles alone. Pigment numbers are grouped into 9 categories, each prefixed with a code that will help you. decode how your colours are made. These codes are PR, PO, PY, PG, PB, PV, PBr, PBk and PW, and refer to red, orange, yellow, green, blue, violet, brown, black and white respectively. Some pigments will crop up again and again across a colour chart; PBr7 represents the natural iron oxide used to produce raw and burnt umbers and siennas. Others will appear in variations, either denoted by a colon and a secondary figure such as PW6:1 for buff titanium derived from PW6 titanium white, or listed in brackets after as in PV23 (RS), a Red Shade of the Dioxazine Violet pigment. It can be useful to look at the paints you use most often and make a list of your preferred pigments, especially when considering purchasing from new brands. Whilst there are plenty of good reasons for a manufacturer to mix pigments, painters will often prefer to use colours with one pigment when possible. Single pigment paints are more predictable in mixes and tints, whereas a paint made from multiple colour components might create unexpected combinations on your palette. Still, mixes can be beneficial. They are commonly used in the production of hues, convenient replacements for dangerous or expensive pigments and are often the only form in which defunct historical colours can be found.

Pigment Load Pigment load refers to the ratio of pigment to binder in a 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.

Polymer Medium Extends colour and increases transparency and gloss as well as increasing film integrity. It is particularly useful in making acrylic glazes.

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 dry fully before the actual painting process begins. Acrylic primer is made from calcium carbonate suspended in an acrylic binder. It can be applied directly to a support without the need for a prior application application of size. To create a very smooth surface apply 2- 3 coats and allow to dry fully and lightly sand between applications. Gesso is a more absorbent variety of primer. The first gessos were made with rabbit skin glue and whiting and applied to the support warm, then once dry ready to be used as a surface for oil painting. Today acrylic based gessos are also available and do not need to be heated for application. Multiple coats of gesso will increase the absobency, 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.

Printmaking Acrylic printmaking inks will dry more quickly than oil based inks, which can work to both one's advantage as well asin Acrylic disadvantage. Acrylic paint can be used in relief and screen printing with the aid of special printmakng mediums

without these the paint may dry too quickly and will not have the best consistency for successful printmaking.

Pumice Gel Pumice gel is available in a variety of textures, from fine to extra coarse. When dry this opaque white gel dries to a concrete like surface, mottled with craters, just like pumice stone. The fine pumice gel is particularly useful as a drawing ground. As with other white opaque acrylic mediums, pumice gel can be tinted with acrylic colour or applied on its own.

Retarder A clear acrylic medium that will slow the drying time of acrylic paint.

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. A projector can also be used to scale up or down without the need for a grid.

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.

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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.

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 more shiny than others, where the degrees of absorbency of the surface vary and so colours sink in to the surface to varying degrees.

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.

Spray Acrylic Spray paint enables you to apply acrylic colour in thin and even layers. As the paint is dispersed in tiny droplets it tends to dry more quickly than if applied with a brush (within minutes). Colours are easy to blend with one another. Professional acrylic sprays will have low pressure handling, this means that the artist has a greater degree of control over the paint application.

Stay Wet Palette Stay wet palettes are usually made of plastic and are lined with a sheet of paper that feels a bit like greaseproof paper, which helps keep the paint wet for longer. Keeping the lid on the palette will also reduce the amount of air getting to the paint to help keep it wet for longer. Refill packs of the paper to line the palette are available.

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 will assemble to make a frame onto 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 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.

Tar Gel A colourless and clear gel that when poured has a stringy consistency. Tar gel is great for pouring over a surface as it will continuously flow, and you can control the thickness of application by how you pour. The gel can be applied clear or can be coloured with fluid acrylic paint.

Tinting Strength The power of a colour over another colour when mixed together.

Tooth Tooth in acrylic painting usually refers to how coarse a surface feels when dry. Often used to describe the surface quality of gesso, primer and acrylic pastes and mediums.

Transparency The measure of how much light is able to pass through an applied paint and interact with the surface beneath. Transparent paints appear

/Opacity more luminous on a white support because they allow a larger proportion of light to hit the surface they're lying on, like a filter placed over a light bulb. Opaque paints block this reflection from occurring, and can be used to cover lower 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.

Under Tone The appearance of a paint when it is spread across a surface in a thin film.

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 for Acrylic Acrylic varnishes offer a protective coating to a finished painting, keeping it safe from dust and surface damage (scratches etc.). Some varnishes also have UV light resistors which will prevent colour fade. We recommend applying an isolation coat over your painting prior to varnishing - a soft gloss gel medium would be ideal for this. This will allow for the varnish to be removed in future, if necessary, with no damage risk to the painting itself. Always ensure that you varnish work in a dust and dirt free environment, and remove any dust or dirt from the surface of your work prior to varnishing. Varnish can be applied with a spray or a brush.

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.

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. This is particularly worth noting if you are working with a linen that was not purchased from an art supplier.

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.


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Acrylic Catalogue 2016

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Jackson's - Acrylic Colour Catalogue - 2016