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  • Norwich Art Supplies | Michael Harding Oils
    60ml PR 170 Average drying Semi opaque Excellent lightfastness High oil content High tint power Scarlet Lake 60ml 15 16 Cadmium Red Deep 60ml PR 108 Fast drying Opaque Excellent lightfastness Low oil content Average tint power Cadmium Red Deep 60ml 41 30 Crimson Lake 60ml PR 149 Average drying Transparent Excellent lightfastness High oil content Average tint power Crimson Lake 60ml 35 06 Alizarin Crimson 60ml PR 83 Slow drying Transparent Good lightfastness High oil content Average tint power Alizarin Crimson 60ml 21 38 Magenta 60ml PR 122 Average drying Transparent Excellent lightfastness High oil content Average tint power Magenta 60ml 21 38 Brilliant Pink 60ml PW 4 PW 6 PR 209 Average drying Opaque Excellent lightfastness Low oil content Average tint power Brilliant Pink 60ml 15 16 Naphthol Red 60ml PR 188 Average drying Semi opaque Excellent lightfastness High oil content High tint power Naphthol Red 60ml 21 38 Genuine Chinese Vermilion 40ml OUT OF STOCK pending search for new pigment source by Michael PR 106 Average drying Very opaque Excellent lightfastness Very low oil content Average tint power Toxic Cobalt Violet Light 60ml PV 14 Fast drying Semi opaque Excellent lightfastness Average oil content Average tint power Cobalt Violet Light 60ml 65 55 Cobalt Violet Dark 60ml PV 14 Fast drying Semi opaque Excellent lightfastness Average oil content Average tint power Cobalt Violet Dark 60ml 65 55 Manganese Violet 60ml PV 16 Average drying Semi opaque Excellent lightfastness Average oil content Average tint power Manganese Violet 60ml 21 38 Ultramarine Violet 60ml PV 15 Average drying Transparent Excellent lightfastness Average oil content Average tint power Ultramarine Violet 60ml 15 16 Prussian Blue 60ml PB 27 Very fast drying Transparent Very good lightfastness High oil content High tint power Prussian Blue 60ml 9 68 Phthalocyanine Blue Lake 60ml PB 15 3 Fast drying Transparent Excellent lightfastness High oil content High tint power Phthalocyanine Blue Lake 60ml 15 16 Ultramarine Blue 60ml PB 29 Average drying Transparent Excellent lightfastness Average oil content Average tint power Ultramarine Blue 60ml 9 68 Cobalt Blue 60ml PB 28 Very fast drying Semi opaque Excellent lightfastness Low oil content Average tint power Cobalt Blue 60ml 41 30 Cerulean Blue 60ml PB 36 Average drying Opaque Excellent lightfastness Low oil content Average tint power Cerulean Blue 60ml 65 55 Phthalocyanine Blue and Zinc White 60ml PB 15 3 PW 4 Average drying Slightly transparent Excellent lightfastness Low oil content Average tint power Phthalocyanine Blue and Zinc White 60ml 9 68 Phthalocyanine Turquoise 60ml PB 15 3 PG 7 PW 4 PW 6 Average drying Opaque Excellent lightfastness Low oil content Average tint power Phthalocyanine Turquoise 60ml 15 16 Kings Blue Light 60ml PB 29 PW 4 PW 6 Average drying Opaque Excellent lightfastness Low oil content Average tint power Kings Blue Light 60ml 15 16 Kings Blue Deep 60ml PB 29 PW 4 PW 6 Average drying Opaque Excellent lightfastness Low oil content Average tint power Kings Blue Deep 60ml 15 16 Cobalt Turquoise

    Original URL path: http://www.norwichartsupplies.co.uk/index.asp?pageid=535819 (2016-04-26)
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  • Norwich Art Supplies | Schmincke MUSSINI
    Cadmium red light 35ml 37 74 Vermilion red tone 35ml Brilliant opaque red bluer than scarlet yellower than carmine Vermilion red tone 35ml 14 10 Cadmium red middle 35ml Rich opaque red with high tinting power Darker and bluer than light cadmium red Cadmium red middle 35ml 41 00 Cadmium red tone 35ml Imitation of cadmium red middle with organic pigments High tinting power opaque cadmium free Cadmium red tone 35ml 37 74 Cadmium red deep 35ml Very deep red with a blue tinge High opacity and tinting power Cadmium red deep 35ml 37 74 Madder root tone 35ml Finely translucent dark brownish red Comparable with very red mahogany Madder root tone 35ml 14 10 Florentine red 35ml A translucent cold dark red with a slight brown tint Florentine red is based on the old Florentine colour which was obtained from Brazil wood and was similar in colour Florentine red 35ml 14 10 Translucent red oxide 35ml Warm finely translucent reddish brown commonly used today to imitate burnt Sienna Translucent red oxide 35ml 14 10 Madder lake brilliant 35ml Translucent very bright deep red Madder lake brilliant 35ml 18 77 Alizarin madder lake 35ml Cold rich dark red produces good glaze effects Translucent Alizarin madder lake 35ml 18 77 Madder lake dark 35ml Brilliant dark red with a blue tinge Lighter than alizarin madder lake produces a good glaze effect Translucent Madder lake dark 35ml 18 77 Carmine 35ml A standard tone designation derived directly from the Latin name for the cocchineal louse Brilliant red with blue tinge semi translucent Carmine 35ml 18 77 Translucent magenta 35ml Corresponds to the basic colour magenta in subtractive colour mixture produces a very good glaze effect Produces brilliant translucent violet shades when mixed with translucent cyan Translucent magenta 35ml 18 77 Caesar purple 35ml Finely translucent colour bluer than magenta In ancient times purple was obtained by means of a complicated process from the gland of a snail and was much sought after as a particularly valuable dye for artistsâ colours Caesar purple 35ml 14 10 Cobalt violet 35ml Very pure violet with a reddish tinge Semi opaque Cobalt violet 35ml 54 98 Translucent violet 35ml Very finely translucent brilliant bluish violet with particularly high tinting power Translucent violet 35ml 14 10 Byzantine blue 35ml Dark black blue which retains its blue character Often appears in Byzantine frescos In former times it was obtained primarily from azurite and a small fraction of coal Composition of modern light fast pigments Opaque Byzantine blue 35ml 14 10 Indigo tone 35ml Imitation of indigo with very high tinting power and improved light fastness Also comparable to midnight blue on account of its depth of colour Semi opaque Indigo tone 35ml 8 54 Indigo 35ml Deep blue with very high tinting power This colour used to be obtained from the indigo plant or woad today indigo is produced by synthetic means Opaque Indigo 35ml 11 04 Delft blue 35ml Finely translucent dark blue shade with a red tinge Delft blue 35ml 14 10 Ultramarine blue deep 35ml Finely translucent very pure blue with a red tinge In the Middle Ages ultramarine was obtained from the semi precious stone lapis lazuli Produced by synthetic means since the beginning of the 19th century Ultramarine blue deep 35ml 11 04 Ultramarine blue light 35ml Lighter than dark ultramarine and with a slightly less pronounced red tinge Translucent Ultramarine blue light 35ml 11 04 Cobalt blue deep 35ml Semi opaque blue with a subtle red tinge Genuine cobalt blue was discovered in the 18th century and was first used in colouring at the beginning of the 19th century The colour of a radiant blue sky Cobalt blue deep 35ml 37 74 Cobalt blue light 35ml Semi opaque clear blue with a slight red tinge Cobalt blue light 35ml 31 62 Cobalt blue tone 35ml Imitation of deep cobalt blue with ultramarine Opaque with high tinting power slightly greener and duller Cobalt blue tone 35ml 8 54 Translucent Oriental blue 35ml Finely translucent brilliant deep blue the phthalocyanine pigment with the most pronounced red tint These pigments were discovered in the 1920s and are now one of the most important and most stable organic pigments Translucent Oriental blue 35ml 14 10 Prussian Paris blue 35ml Traditional colour Black blue with very high tinting power Its real shade is only revealed in glazes Has a tendency towards bronzing on account of its high pigmentation Semi translucent Prussian Paris blue 35ml 8 54 Royal blue light 35ml The classical royal blue was introduced under King Louis XIV of France based on a cobalt pigment The kingâ s blue was light corresponding roughly to a green tinged sky blue similar to our royal blue light Opaque Royal blue light 35ml 11 04 Royal blue deep 35ml Deep royal blue is a brilliant medium blue produced with ultramarine Opaque Royal blue deep 35ml 18 77 Cobalt cerulean blue 35ml Semi opaque cobalt blue shade with a greenish tendency Cobalt cerulean blue 35ml 54 98 Translucent cyan 35ml Corresponds to the basic colour cyan in the subtractive colour mixture very good glaze effect Produces brilliant translucent violet shades when mixed with magenta and brilliant semi translucent green shades when mixed with lemon yellow Translucent cyan 35ml 14 10 Manganese cerulean blue 35ml Brilliant semi translucent blue with a turquoise tinge An imitation of toxic manganese blue using the non toxic organic phthalocyanine pigments Manganese cerulean blue 35ml 31 62 Translucent turquoise 35ml Very finely translucent brilliant turquoise blue the phthalocyanine pigment with the most pronounced green tinge Translucent turquoise 35ml 14 10 Cobalt turquoise 35ml Opaque highly light fast turquoise with high tinting power and extreme brilliance of colour Cobalt turquoise 35ml 41 00 Chrome green tone deep 35ml Opaque deep and pure bluish green with very high tinting power Formerly produced from chrome yellow and Berlin blue now imitated with non toxic pigments Chrome green tone deep 35ml 14 10 Turmaline green 35ml Dark rich bluish

    Original URL path: http://www.norwichartsupplies.co.uk/index.asp?pageid=535822 (2016-04-26)
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  • Norwich Art Supplies | "Charles" Oil Colours
    Yellow Pale Genuine 60ml Cadmium Yellow Pale Genuine 60ml 8 00 Lemon Yellow 60ml Lemon Yellow 60ml 4 10 Cadmium Yellow Hue 60ml Cadmium Yellow Hue 60ml 4 10 Cadmium Yellow Genuine 60ml Cadmium Yellow Genuine 60ml 8 00 Deep Yellow 60ml Deep Yellow 60ml 4 10 Cadmium Yellow Deep Genuine 60ml Cadmium Yellow Deep Genuine 60ml 8 00 Indian Yellow Hue 60ml Indian Yellow Hue 60ml 5 40 Orange 60ml Orange 60ml 4 10 Naples Yellow 60ml Naples Yellow 60ml 5 40 Flesh Tint 60ml Flesh Tint 60ml 4 10 Light Red 60ml Light Red 60ml 4 10 Cadmium Red Genuine 60ml Cadmium Red Genuine 60ml 9 60 Permanent Red 60ml Permanent Red 60ml 5 40 Scarlet 60ml Scarlet 60ml 4 10 Deep Red 60ml Deep Red 60ml 4 10 Crimson 60ml Crimson 60ml 8 00 Alizarin Crimson 60ml Alizarin Crimson 60ml 5 40 Rose Madder Quinacridone 60ml Rose Madder Quinacridone 60ml 8 00 Magenta 60ml Magenta 60ml 5 40 Violet 60ml Violet 60ml 4 10 Phthalo Blue 60ml Phthalo Blue 60ml 4 10 French Ultramarine Blue 60ml French Ultramarine Blue 60ml 4 10 Cobalt Blue Hue 60ml Cobalt Blue Hue 60ml 4 10 Cerulean Blue Hue 60ml Cerulean Blue Hue 60ml 4 10 Prussian Blue 60ml Prussian Blue 60ml 4 10 Light Green 60ml Light Green 60ml 4 10 Emerald Green 60ml Emerald Green 60ml 4 10 Opaque Oxide of Chromium 60ml Opaque Oxide of Chromium 60ml 8 00 Phthalo Green 60ml Phthalo Green 60ml 4 10 Terre Verte 60ml Terre Verte 60ml 4 10 Sap Green 60ml Sap Green 60ml 4 10 Viridian Green 60ml Viridian Green 60ml 4 10 Yellow Ochre 60ml Yellow Ochre 60ml 4 10 Raw Sienna 60ml Raw Sienna 60ml 4 10 Burnt Sienna 60ml Burnt Sienna 60ml 4 10 Indian Red 60ml

    Original URL path: http://www.norwichartsupplies.co.uk/index.asp?pageid=535820 (2016-04-26)
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  • Norwich Art Supplies | Paper Glossary
    to protect the paper from the effects of acidity due to atmospheric pollution Waterleaf paper Completely un sized paper Surface sized Starch or Gelatine is added to the surface of the paper often called Tub sized It reduces the absorbency of the paper Internal or Engine sized Size is added at the pulp stage Better papers use a synthetic size called alkyl ketone dimer which is pH neutral Deckle Edge The natural rough edge found on handmade and mould made papers Weight Weight or thickness usually measured in grammes per square metre g s m The older imperial measure refers to the weight in pounds of a ream 500 sheets of paper measuring 22 x 30 Woodpulp Cheaper paper can be produced by breaking down wood but the pulp contains a substance called Lignin which is acidic Woodfree paper is made from woodpulp which has had the Lignin removed Hand Made paper Each sheet is individually made by dipping a mould into a vat of pulp Mould Made paper Paper made on a slowly revolving cylinder mould The fibres are distributed randomly on the sheet Machine Made paper Made on a fast running Fourdrinier machine usually woodpulp papers They have short fibres and strong directional pattern so are relatively weak used for newsprint and cheap books etc Hot Pressed H P A hard smooth surfaced paper especially good for precise detailed work Cold Pressed NOT Slightly textured surface NOT simply stands for not hot pressed Rough A strongly textured paper Tooth The peaks and troughs in the surface of the paper a rough paper would be described as having a strong tooth Textured Velvet and Satin These are the words used to describe printing papers NOT HP and Rough are used to describe watercolour papers Textured Rough Velvet Not Satin

    Original URL path: http://www.norwichartsupplies.co.uk/paperglossary.asp (2016-04-26)
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  • Norwich Art Supplies | Watercolour Brushes
    Schmincke MUSSINI Sennelier Egg Tempera Printmaking Inks Easels da Vinci Brushes Schmincke Horadam Gouache Etching Presses Terms Conditions Contact Us You are here Painting Brushes da Vinci Brushes Watercolour Brushes Watercolour Brushes Da Vinci are the only brushmaker that still buys whole Kolinsky sable tails and dresses them in house They combine an ultra modern production facility with traditional techniques Some of their brushmakers are fourth generation craftsmen We offer

    Original URL path: http://www.norwichartsupplies.co.uk/watercolourbrushes.asp (2016-04-26)
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  • Norwich Art Supplies | Speciality Brushes
    duster Size 6 9 23 Series 450 Gilder s duster Size 12 Gilder s duster oval shaped black goat hair in red coloured natural quills on plainwood handles Series 450 Gilder s duster Size 12 17 46 Series 710 Mops Size 4 Mops oval shaped pure blue squirrel hair in green coloured natural quills Series 710 Mops Size 4 27 72 Series 710 Mops Size 10 Mops oval shaped pure blue squirrel hair in green coloured natural quills Series 710 Mops Size 10 55 62 Series 2491 Flogger 40mm Flogger pure grey Chinese bristles plainwood handle rust proof steel ferrule The Calcutta bristles have superior elasticity due to their length and composition making it easy to create the fine check grain effects in faux bois such as mahogany walnut or rosewood Series 2491 Flogger 40mm 21 12 Series 2491 Flogger 70mm Flogger pure grey Chinese bristles plainwood handle rust proof steel ferrule The Calcutta bristles have superior elasticity due to their length and composition making it easy to create the fine check grain effects in faux bois such as mahogany walnut or rosewood Series 2491 Flogger 70mm 29 58 Series 96 Badger softener bright 70mm Pure badger hair fastened to plastic plate The slightly wavy character of the badger hair favours the most gentle resistance which is essential for faux finishes Series 96 Badger softener bright 70mm 106 80 Series 2466 Pencil overgrainer 50mm Pencil or pipe overgrainer light bristles short plainwood handle rust proof steel ferrule Series 2466 Pencil overgrainer 50mm 23 58 Series 2466 Pencil overgrainer 80mm Pencil or pipe overgrainer light bristles short plainwood handle rust proof steel ferrule Series 2466 Pencil overgrainer 80mm 36 18 Series 2466 Pencil overgrainer 100mm Pencil or pipe overgrainer light bristles short plainwood handle rust proof steel ferrule Series 2466 Pencil

    Original URL path: http://www.norwichartsupplies.co.uk/specialitybrushes.asp (2016-04-26)
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  • Norwich Art Supplies | Contact Us
    Other Stuff Painting Ancillaries Easels Portfolios Drawing Pastels Print Making Miscellaneous Shop on line Michael Harding Oils Charles Oil Colours R F Encaustics Schmincke MUSSINI Sennelier Egg Tempera Printmaking Inks Easels da Vinci Brushes Schmincke Horadam Gouache Etching Presses Terms

    Original URL path: http://www.norwichartsupplies.co.uk/feedback.asp?intent=send&chk=ctrb (2016-04-26)
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  • Norwich Art Supplies | Sable Rounds
    pointedly shaped with short black polished esagonal handles Two millimetres longer in visible hair length than Series 10 Series 10 Size 10 0 Series 10 Size 10 0 7 70 Series 10 Size 5 0 Series 10 Size 5 0 7 70 Series 10 Size 4 0 Series 10 Size 4 0 7 70 Series 10 Size 3 0 Series 10 Size 3 0 6 82 Series 10 Size 2 0 Series 10 Size 2 0 6 82 Series 10 Size 0 Series 10 Size 0 6 82 Series 10 Size 1 Series 10 Size 1 7 38 Series 10 Size 2 Series 10 Size 2 8 40 Series 10 Size 3 Series 10 Size 3 9 80 Series 10 Size 4 Series 10 Size 4 11 10 Series 10 Size 5 Series 10 Size 5 13 68 Series 10 Size 6 Series 10 Size 6 17 88 Series 10 Size 7 Series 10 Size 7 21 66 Series 10 Size 8 Series 10 Size 8 31 74 Series 10 Size 9 Series 10 Size 9 46 62 Series 10 Size 10 Series 10 Size 10 57 66 Series 10 Size 12 Series 10 Size 12 85 08 Series 10 Size 14 Series 10 Size 14 107 40 Series 10 Size 16 Series 10 Size 16 131 40 Series 10 Size 18 Series 10 Size 18 161 40 Series 10 Size 20 Series 10 Size 20 203 40 Series 10 Size 22 Series 10 Size 22 229 20 Series 10 Size 24 Series 10 Size 24 267 00 Series 10 Size 26 Series 10 Size 26 305 40 Series 10 Size 28 Series 10 Size 28 344 40 Series 10 Size 30 Series 10 Size 30 417 60 Series 10 Size 36 Series 10 Size 36 617 40 Series 35

    Original URL path: http://www.norwichartsupplies.co.uk/series10.asp (2016-04-26)
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