|
Art materials
Contact
Custom Services
Gift vouchers
HOME
LINKS
Mailing list
New in store
Specials and news
Services
--------------------
Search for you item
--------------------
Stretching quote:
--------------------Please click on logos below
--------------------
OIL PAINTING CLASSES
with Celia Gullett
--------------------
 --------------------
Susan Harrison-Tustain
--------------------
| |
[ Art Materials ] [ Archival ] [ Artisan ] [ Art Spectrum ] [ Blockx ] [ Charvin ExtraFine ] [ Charvin Fine ] [ Classico ] [ Daler Rowney ] [ Gamblin ] [ Georgian ] [ Griffin Alkyd ] [ Langridge ] [ Lefranc ] [ Louvre ] [ Lukas ] [ Maimeri Puro ] [ Michael Harding ] [ Old Holland ] [ Rembrandt ] [ Sennelier ] [ Schmincke Mussini ] [ Schmincke Norma ] [ Williamsburg ] [ Winsor&Newton ]
| |
40ml |
120ml |
500ml |
1 LTR |
4 LTR |
|
Series 1 |
$13.95 |
$29.35 |
$85.96 |
$154.72 |
$464.17 |
|
Series 2 |
$19.80 |
$41.60 |
$121.83 |
$219.29 |
$657.88 |
|
Series 3 |
$24.20 |
$54.45 |
$159.54 |
$287.17 |
$861.51 |
|
Series 4 |
$33.00 |
$74.25 |
$217.55 |
$391.59 |
$1,174.78 |
|
Series 5 |
$40.70 |
$91.60 |
$268.31 |
$482.97 |
$1,448.90 |
|
Series 6 |
$44.00 |
$99.00 |
$290.07 |
$522.13 |
$1,566.38 |
|
Series 7 |
$77.00 |
$77.00 |
$507.62 |
$913.72 |
|
Colour chart below |
Langridge Professional Oil Colour is a
high performance professional artists’ grade oil paint developed to
excel in saturation of colour and physical handling qualities. Hand-made
at our Melbourne factory, they look and feel different because they are
different.
Our paint is made by triple-roll mill in batches no larger than 20
litres, which allows us total control throughout production. Multiple
passes of the paint through the mill creates a paint with the strongest
‘colour-development’ possible. The paints are repeatedly run on the
triple roll mill at ever finer grinds to fully disperse the individual
particles of pigment in the lowest possible quantity of drying oil
ensuring the most pure, bright and saturated artists' paints available.
Inorganic colours are passed through the mill a minimum of 3 times,
organic colours are passed through the mill up to 7 times before we
consider them ready. We grind our paints more times than other
manufacturers, because we do not use additives, such as stearates or
waxes that, whilst making paint easier to grind, reduce pigment loading
and the structural integrity of the paint. Langridge oil paints are
highly intense, enabling artists to extend the paint, if desired, and to
facilitate exceptional clean mixes when blended together.
All our colours are made without modifiers, opacifiers, fillers and
anything that may interfere with the clarity and true brightness of the
pigment. Langridge oil paints include a stabilizer of fumed silica that
has been added in extremely minimal quantities and does not diminish the
individual effects of pigments in oil. Its inclusion in the formulation
is to prevent over-hardening of certain colours such as the cadmiums or
excessive oil/pigment separation in-tube over extended periods of
storage.
Adulterants and modifiers are well known by conservation scientists to
dramatically weaken the paint film’s integrity. Artists can be confident
that Langridge Professional Oil Colours will age with the minimum
possible alteration in colour, flexibilty or adhesion.
Because the colours have not been adulterated the true individual nature
of each pigment has not been masked. Some colours, such as the oxides
will be soft and brush out easily whilst modern organic phthalos will be
stiff. Other colours may be buttery, slippery, sticky or clotted.
The resulting range of paints has the fullest chromatic strength,
intense tinting power, excellent lightfastness qualities and extremely
clean colour-mixing potential on the palette.
|
Manufactured in the Langridge factory
they are painstakingly blended, mixed and triple-roll milled to obtain a
paint with the highest pigment loading and strongest colour development.
Prior to running through the triple-roll mill, the pigment is fully
dispersed with the oil into a stable paste, known as the 'millbase'. The
material is mixed in planetary or high-speed mixers for extended times
to ensure the pigments are well coated in the oil. The millbase is then
left to rest for a period of time to allow for the incorporation of more
pigment often not attainable in the initial dispersing process.
Artists oil colours are made primarily of two components:
1. Pigment. These are fine particles of colour. In themselves they have
no way of holding onto a surface and must be bound in a vehicle.
2. Oil. Drying oils are the vehicle or binder that hold the pigment
together to make the paint and allow it to stick to the surface. |
The relationship between pigment and oil is critical. Enough oil must be
available within the paint to properly coat and bind the pigment
particles. Too much oil will lead to low colour strength, excessive
yellowing and livering of the paint film. Most artist's paint on the
market is made with many modifiers to make it easier for the
manufacturer to produce. Strength of colour is reduced and long term
stability can be compromised as modifiers are introduced to the basic
structure.
For every one percent of pigment that is added to the formula it is
considerably much harder to fully disperse as there is less oil to coat
it. At Langridge, as we attempted to raise the pigment loading to the
levels we knew were achievable but not attempted by our competitors we
had to find our own methods of increasing the pigment to create a paint
with the strongest and most intense colour available in the world.
We introduced production processes that have further increased the
pigment load and improved the paints' rich texture. In certain colours,
essential with many of the synthetic organic pigments, the incorporation
of high performance dispersing aids have been used in the lowest
possible dosage to help the take-up of higher pigment loadings and
better full dispersion within the finished paint.
This dedication to the true qualites of oil paint, allied to historical
understanding and contemporary innovation, we believe, makes Langridge
Professional Oil Colours the finest, most unique oil paints available in
the world today.
|
Oil mediums are used for changing the
consistency of the paint, rendering it more convenient for brushing or
applying, or more suitable for the artists' particular technique, which
may require paint that is thicker or thinner, faster or slower drying,
more transparent or opaque. Glazes are added to paint to create thin,
but permanent, veils of paint. The resin content creates optical depth
similar to a colour varnish.
Underpainting
Medium
Lean medium to be used for the 'first-sketch' in painting. Low
oil content for rapid drying, minimising chances of cracking
when overpainting with full strength colours. Stand Oil base
ensures non-yellowing of artwork. (Stand Oil, Linseed Oil, Gum
Turpentine, Cobalt Driers)
|
 |
Painting Medium
Free-flowing medium for oils that improves paint handling.
Quickly dries to a tack but remains fresh so that it may still
be painted into. Perfect for wet on wet technique. Stand Oil
base ensures non-yellowing of artwork. Pale colours stay bright
while deep tones are enriched. (Stand Oil, Linseed Oil, Gum
Turpentine, Cobalt Driers)
|
 |
Glaze Medium
A resin rich oil medium that gives oil colours increased
translucency. Perfect for the creation of optical depth and soft
suffusions of colour. Used for traditional thin glazes and fine
detail work. Stand Oil base ensures non-yellowing. (Stand Oil,
Damar Resin, Gum Turpentine, Cobalt Driers)
|
 |
Matte Medium
A matte version of Langridge Painting Medium for adding fluidity
and improve paint handling. It quickly dries to a tack but
remains fresh so that it may still be painted into. Stand Oil
base ensures non-yellowing of artwork. Caution should be used
when painting with deep tones as the matting agent raises the
tonal values slightly. (Stand Oil, Linseed Oil, Gum Turpentine,
Matting Silica, Cobalt Driers)
|
 |
|
|
Oil mediums are used for changing the
consistency of the paint, rendering it more convenient for
brushing or applying, or more suitable for the artists'
particular technique, which may require paint that is thicker or
thinner, faster or slower drying, more transparent or opaque.
Glazes are added to paint to create thin, but permanent, veils
of paint. The resin content creates optical depth similar to a
colour varnish.
|
Wax Painting Paste
Wax medium with a thick, buttery
consistency. Highly stable impasto medium for
extending oil colours whilst keeping a strong
bodied brush or palette knife stroke. Stand Oil
base ensures non-yellowing of artwork. (Stand
Oil, Microcrystalline Wax, Damar Resin, Gum
Turpentine)
|
|
Impasto Medium
Wax medium with a thick, buttery consistency.
Highly stable impasto medium for extending oil
colours whilst keeping a strong bodied brush or
palette knife stroke. Stand Oil base ensures
non-yellowing of artwork. (Stand Oil,
Microcrystalline Wax, Damar Resin, Gum
Turpentine)
|
|
 |
|
Oleogel
Low-toxicity solvent (odourless) based flow medium.
Non-yellowing medium added to oil paints to improve
paint handling and promote the brushing out of colours.
Constructed as an alternative to traditional turpentine
based painting mediums for artists concerned about
exposure to harmful solvents. Stand Oil base ensures
non-yellowing of artwork. (Stand Oil, Linseed Oil, Low
Toxic Solvent, Cobalt Driers) |
|
|
Oil Glazing Gel
A fast drying medium that gives a lasting
brilliance to oils. Soft gel consistency designed for
more robust glazing and as such is not designed as an
impasto medium. Extends colours whilst holding brush
marks. (Linseed Oil, Odourless Solvent, Fume Silica,
Driers)
|
 |
|
|
Oil mediums are used for changing the
consistency of the paint, rendering it more convenient for
brushing or applying, or more suitable for the artists'
particular technique, which may require paint that is thicker or
thinner, faster or slower drying, more transparent or opaque.
Glazes are added to paint to create thin, but permanent, veils
of paint. The resin content creates optical depth similar to a
colour varnish.
Low Toxic
Paint Medium
Lean medium to be used for the 'first-sketch' in
painting. Low oil content for rapid drying, minimising
chances of cracking when overpainting with full strength
colours. Stand Oil base ensures non-yellowing of
artwork. (Stand Oil, Linseed Oil, Gum Turpentine, Cobalt
Driers)
|
|
Low Toxic
Gel Medium
Free-flowing medium for oils that improves paint
handling. Quickly dries to a tack but remains fresh so
that it may still be painted into. Perfect for wet on
wet technique. Stand Oil base ensures non-yellowing of
artwork. Pale colours stay bright while deep tones are
enriched. (Stand Oil, Linseed Oil, Gum Turpentine,
Cobalt Driers)
|
|
|
|
Drying oils act as agglomorating binders for
artists’ oil paint and provide body to the brushstroke as the
colours are spread out. Selection of the appropriate oil can
alter the working quality of the paint. Performance differences
include paste consistency, texture, effect on paint shades,
desired drying time and mechanical strength of the paint film.
Oils dry by absorbing oxygen, turning into a solid, non-reversable
film. Full film drying takes up to six months.
Cold Pressed Linseed Oil
Golden coloured oil used as a traditional binder for
grinding oil colours. When used to mill oil colours or
mixed with prepared colours removes the pronounced
‘suede’ effect. Has increased wetting power and imparts
flexibility to paint films. Use sparingly as a medium as
linseed has a tendency to yellow with age.
|
 |
Cold Pressed Safflower Oil
Pale’ slow drying oil used preferred for preparing
delicate colours, particularly whites and blues where
the yellowing of linseed oil is more noticeable. Added
to prepared oil colours for a longer working time due to
its’ slow drying nature. Safflower oil dries to a softer
film than Linseed.
|
 |
Cold Pressed Walnut Oil
Natural drying oil used as a traditional binder for
grinding oil colours.
Alternative to Linseed Oil with similar drying rates and
properties.
Has a long and distinguished history of use by Flemish
renaissance artists.
Recently added to our lists. Similar tendency to yellow
with age as Linseed. |
 |
Refined
Linseed Oil
Highest quality Dutch linseed oil used as a medium for
oil colours. Increases gloss and transparency. Adds a
soft, ‘slippery’ quality when added to oil paints. Most
economic of all artists’ drying oils. Use sparingly as a
medium as linseed has a tendency to yellow with age.
|
 |
Stand Oil
(40 Poise)
Non-yellowing oil for use in all oil mediums. Thick and
honey-like oil, it will give enamel-like qualities to
paint. Too thick to use straight, it should be diluted
with solvent. Slow drying to allow al la prima painting.
Reduces brush marks. Dries to a tough flexible film.
Recommended for the home manufacture of oil mediums.
|
.jpg) |
|
Oil Primer
A traditional linseed oil based oil primer. Produces a high quality
white surface with good tooth and flexibility for oil painting. Reduces
sinking in of colours and imparts good luminosity. Must be used on a
pre-sized support (ie. rabbit skin glue or archival PVA on canvas or
panel).
Acrylic Primer (Premium Grade)
A superior high resin, low chalk content primer with excellent hiding
power due to high Titanium White loading. Suitable for oils and
acrylics. Can be applied to a wide range of surfaces including raw
canvas, wood and paper. No prior sizing needed. A permanently flexible
and non-yellowing ground.
|
|
Solvents dissolve and mix with oils and resins
to reduce the viscosity of paints and varnish. They also also
used for the removal of oils, paint and varnishes. Solvents for
artists materials must not react chemically with the materials
with which they are mixed, must not have a destructive action on
the underpainting and should evaporate completely, leaving no
residue.
Low Toxic
Solvent (Odourless)
Completely odourless iso-paraffinic solvent. Permissible
Exposure Level is at least 3 times higher than
alternative traditional solvents. Ideal turpentine
replacement for artists concerned about exposure to
harmful solvents. Will not dissolve Damar Resin
|
 |
Distilled
Gum Turpentine
Natural diluent and solvent for oil colours and
varnishes. Distilled from the resin of tapped Gum Thus
Pine. Greater wetting power than other solvents. Has a
pleasant pine odour.
|
 |
Artists’
White Spirit
Economical all purpose solvent. Ideal for cleaning
brushes as it has a strong detergent action. If used
heavily it will matt oil paint. Has a distinctive
petroleum smell.
|
 |
|
|
A varnish is used to protect the finished
artwork. Picture varnishes perform the following functions:
- Be fully removable without disturbing the oil paint film
underneath.
- Be resistant to moisture and general pollutants.
- Create a complete film of even reflective quality.
It is the varnishes’ function to prevent dirt reaching the paint
surface. It is much easier to remove a dirty varnish and replace
that than to remove dirt from the oil painting itself,
potentially damaging the paint-film.
|
Isolating
Medium
Non-reversable, oil-based medium formulated to even-out
the reflective finish of the painting prior to
varnishing. Dries to a non-yellowing, gloss finish so
that the consequent application of a gloss, satin or
matt picture varnish can be achieved more easily. Not to
be used as a final varnish. (Stand Oil, Distilled Gum
Turpentine, Cobalt Driers)
|
 |
|
Retouch
Varnish
Temporary varnish for paintings six months or younger.
Revives dull areas caused by sinking in of paint. Helps
adhesion of subsequent paint layers. Laropal K80 Ketone
resin based synthetic varnish. Dries to a satin finish.
Remove with Artists White Spirit. (Ketone Resin, Artists
White Spirit)
|
 |
|
Damar
Varnish
Used both as a final varnish and as a constituent of
artists’ oil and egg tempera mediums. Dries hard and
clear. Highest quality resin clarified before
filtration. Dries to a satin-gloss finish. Remove with
Turpentine. (Damar Resin, Gum Turpentine)
|
 |
|
Gloss
Varnish
Laropal K80 Ketone Resin based synthetic varnish. Final
varnish for the protection of oil and acrylic paintings.
Unifies painting with an even optical reflection.
Non-yellowing and bloom resistant. Dries to a gloss
finish. Remove with Artists White Spirit. (Ketone Resin,
Artists White Spirit)
|
 |
|
Satin
Varnish
Laropal K80 Ketone Resin based synthetic varnish. Final
varnish for the protection of oil and acrylic paintings.
Unifies painting with an even optical reflection.
Non-yellowing and bloom resistant. Dries to a satin
finish. Remove with Artists White Spirit. (Ketone Resin,
Artists White Spirit)
|
 |
|
Matte
Varnish
Laropal K80 Ketone Resin based synthetic varnish. Final
varnish for the protection of oil and acrylic paintings.
Unifies painting with an even optical reflection.
Non-yellowing and bloom resistant. Dries to a matt
finish. Remove with Artists White Spirit. (Ketone Resin,
Artists White Spirit)
|
 |
|
Wax Varnish
For oil and acrylic painting. Apply with a clean cloth
and polish to desired finish. Dries naturally to a matt
reflection but may be buffed to a satin finish if
required. Remove with Gum Turpentine. (Microcrystalline
Wax, Odourless Solvent)
|
|
|
|
Oil painting additives are used for altering
the characteristics of paint such as speed of drying or
reflective quality. In themselves, they have no binding quality
and are to be added to paint or mediums for permanent films.
Matting
Agent
Paste of matting silica wetted in Low Toxic Solvent. Add
in small quantities to oil paints and mediums to reduce
reflective quality and to matt-out surafces if desired.
|
 |
Cobalt
Driers
Siccative made with cobalt octoate. Acts as a surface
drier for all oil colours and mediums. To be used
sparingly as its overuse will destroy paint films.
|
 |
Calcium
Driers
Siccative made with calcium octoate. Acts as a
through-film drier for all oil colours and mediums. To
be used sparingly as its overuse will destroy paint
films.
|
 |
|
|
|
|
