Liquitex is a professional quality acrylic colour that is the favourite of many artists. Why not give it a try yourself with this sample set of two 22ml tubes of Liquitex Acrylic Heavy Body colour. Add this sample pack to any order for free. One per customer, while stocks last. As this sample is meant to be added to an order, it will incur standard carriage charges if ordered alone.
Click on the link or image above to go to the sample on the Jackson’s website.
New Arches paper for Oil is coming to Jackson’s very soon!
We have tried it and it’s really nice!
Arches paper for Oil - Sample made using Sennelier Alizarin Blue Lake oil colour, Jackson's Procryl brush and Zest-it clear oil painting medium
The new Arches Huile paper looks and feels like traditional Arches Aquarelle paper but has a high-tech oil barrier that allows you to paint with oil colour and solvents. The solvents absorb evenly while allowing the paint to sit on the surface. Arches Oil Paper has a tough surface that can take scrubbing with stiff bristle brushes, as well as lifting out highlights with solvents and a rag.
This paper is ready to use without preparation, can be cut or torn to size and is flexible like watercolour paper so can be rolled when the painting is dry. It is a lightweight alternative to a canvas surface and is great for oil sketches.
*Mould-made
*300gsm (140lb)
*100% rag (cotton)
*Neutral pH, acid free
*Watermarked
*4 deckle edges
*Imperial size 22×30 inches (76x56cm)
*Not surface texture (cold pressed)
*Safe to use with oil colour without priming the paper
*Can be used safely with acrylic and watercolour paint as well.
Arches paper for Oil - close-up picture of the Not (cold pressed) texture
What happens if you use oil paint on unprimed regular paper:
1. Oil oxides the paper and will cause it to deteriorate over time- it is a conservation issue.
2. Oil soaks in and leaves a ring of ugly oil around the paint, like crisps do on a napkin. (painters who like their oil paint dry will sometimes squeeze paint out onto a kitchen roll (paper towel) and leave it to soak off some of the oil)
3. It soaks deeply in the paper fibres and becomes dull as much of the oil and colour is now under the surface.
4. Oil soaked off can leave the pigment under-bound so it may flake off later.
So- you can prime regular paper (on both sides so that it lies flat again, after curling with the damp) 2 or 3 coats. Or you can use this lovely new Arches for Oil paper!
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Sample painted on Arches paper for Oil shows the oil paint smoothly applied with medium, dry brushed to leave some paper sparkle and thickly applied for impasto texture. The highlight was able to be lifted out with solvent.
Click on the links or images above to go to the paper on the Jackson’s website.
AV Premium Airbrush Paint at Jackson’s Art Supplies. This enamel-like paint is a very durable exterior grade, especially for superior adhesion to metals and you can apply it with a brush, too.
Click on the link above or the image to go to the paints on the Jackson’s Art Supplies website.
AV PREMIUM is a safe water-based, non toxic and highly versatile airbrush ready paint, suitable for all surfaces, but especially formulated for superior adhesion to metals, fibreglass, polyethylene, clear Lexan polycarbonate, slot car and RC bodies, and all tuning and automotive applications.
On some of these surfaces we recommend a basecoat of the Polyurethane Primer (62.601) for best results. Premium colours are flexible and exceptionally durable and permit prolonged exposure to weather without fading or losing their brilliance.
Premium colours have been formulated with micronized, permanent pigments and an extremely resistant, exterior grade hybrid resin-polyurethane base, which withstands impacts, resists chipping and cracking, as well as direct exposure to heat and outdoor elements without cracking or fading, and is fuel residue proof up to a least 35% Nitro.
AV Premium colours have superior flow, they are self-levelling and brush on with exceptional ease. For
airbrushing, the colours can be used directly from the bottle when using a nozzle size 0,3. For the metallic colours some dilution might be necessary, and for smaller nozzles (O.2mm or less) the use of the Reducer (62.068) may be required. The recommended compressor setting is 30-60psi (2-4 bar).
The range consists of 20 bright opaque colours, 23 dazzling metallics and fluorescents, and 9 shimmering transparent Candy Colours. All colours are as suitable for detail work as for covering large surfaces and can be applied by brush as well as by airbrush.
The range is complete with 8 auxiliary products including the Transparent Basecoat and the Reducer, Primer, Varnishes and Drying Retarder. For a automotive refinishing and as an extra protective final coating, we recommend a catalyzed urethane clear varnish (spray can or airbrush).
All colours are available in 60 ml. and 200 ml. in a plastic bottles with a flip-top cap.
Click here for a printable colour chart and leaflet on AV Premium.
We have been able to get the last few tubes of
Flake White Oil Colour from Sennelier.
Some oil painters rely on lead white and are having increasing difficulty in finding it.
Click here to go to the Flake White on the Jackson’s website.
A lovely customer from Australia sent us these pictures of artwork done using Unison Pastels. Pastel Paintings done by Rudy Rencoret. Thanks Rudy 
click on the images for larger pictures.
A Busy Day in Valparaiso, by Rudy Rencoret using Unison soft pastels
RMS Titanic Leaving Southampton a Century Ago, by Rudy Rencoret using Unison soft pastels
The Majestic Victoria Falls, by Rudy Rencoret using Unison soft pastels
Pebeo Porcelaine paints, markers and outliners make designing your own ceramics a breeze! Porcelaine 150 is available in: 45 colours in 45ml bottles including 10 Shimmer colours, 10 Cloisonné Outliner colours in 20 ml tubes; 9 colours in fine tip markers and 9 colours in bullet tip markers.
We stock all the Porcelaine paints at Jackson’s.
Porcelaine 150 can be applied to all bases that are able to withstand a temperature of 150°C (300°F), such as porcelain, china, glazed earthenware, terracotta, metal, enameled sheet steel, copper and glass. The choice of base enables numerous effects to be produced and experiments to be made with the transparency and intensity of the colours. Porcelaine 150 makes professional enameling available to all, with a new generation of 46 colours, glazed by simply baking at 150°C (300°F) in any domestic oven. In bottle, tube and marker, which can be mixed together, deep and glossy, transparent or opaque, with a superb enameled appearance after baking.
Apply with brush, sponge, or stencil.
Download a PDF of more detailed information.
The Wit and Whistle blog has a great mug painting tutorial here.
Click on the links or images to go to the Porcelaine paints on the Jackson’s website.
The Guest Artist section is a place for artists to talk about their work, techniques and materials. I am sure that one artist explaining how they solved a problem will help other artists and I hope that a community evolves where artists will assist each other with their artistic dilemmas, share ideas and technical information as well as make connections and give each other friendly support.
To join the conversation please add your comment below. It will be great to have some interaction!
Here today to share his art with us is Peter Reeds, who paints in Chatham, UK. Thanks Peter!
JA: Please tell us a little about yourself.
PR: I am an established artist, living in Rochester with a studio in Chatham. I studied Fine art at the Medway College of Art, which is now the University for the Creative Arts, from 1964 to 1968. I began my professional life as a portrait painter but went on to gather life experience through further study and various other careers as I believe that in order to be artist you should live life holistically. I returned to painting a few years ago, with a broader and more experienced understanding of life, which I believe, has helped me grow as an artist.
Peter Reeds at work in the studio
JA: What materials and techniques did you use in making the art work you are showing here?
PR: Acrylic on canvas is my preferred medium and although I miss the smell of oils I like the versatility of acrylics. I can either attack the canvas with vigour, really working the paint or I can gently caress the canvas, exploring all the colours, tints and tones with my palette. Colour is extremely important in my work, I really enjoy using its magic to draw in the eye of the beholder creating illusions of depth, space, warmth and texture.
JA: What challenges (if any) did you face in making this work and can you give other artists any tips for solving similar problems?
PR: When producing the nudes the most obvious challenge is to capture or reflect the subtle nuances in skin, hair, lips and eye tones that differ from person to person as well as just in one person. As acrylics dry a lot quicker than oils you don’t have the same time as with oils so speed is most important which suits me perfectly as I have little patience and enjoy the excitement of seeing the painting appear quickly.
From the start I like to totally take over the whole of the canvas very quickly by drawing and filling the shapes with rough colours and tones. As I develop the painting I am continually correcting the drawing and building up the depth of paint. My training was, I am pleased to say, very traditional and over the years I have developed the confidence to break many of the rules that I learned as a student, things such as never using black and standardising texture over the whole painting.
Laura, acrylic painting by Peter Reeds
JA: Please tell us something about the idea behind the work you are showing here.
PR: These paintings are from a series of nudes that I developed, striving to make the nude more interesting as a painting. There are many beautiful life paintings out there but I feel that many of them are just very high quality exam pieces. I decided that to help me add that something special that I was looking for I would use square canvases which I have never used before and I hoped that the challenge of fitting a nude into a square would help and it did. I had to search for views that would fit into a square and I am quite excited with the results.
Zara's Hair, acrylic painting by Peter Reeds
JA: How does this work relate to your artistic practice, how you approach art over-all?
PR: I love people; without them we would not have much to paint as even landscapes don’t really exist without people to discover them. If I am doing portraits I like to get to know my subject – this is important if you want to capture who they really are, otherwise you are merely capturing an impression of them which may not be strictly true. I work mostly from photographs now as I discovered that long term posing produces unnatural strains. I take all my own photos, which is important as I need to have been to the places or spent time with the people and recorded that perfect moment that encompasses the essence of the subject.
I try not to think too much whilst painting; once I have the basis of the painting I like it to evolve more with feeling than intellect.
JA: Do you have any art advice you would like to share?
PR: Live and fully involve yourself in your surroundings, take every experience as a learning opportunity and use it to inform and shape the art that you do. Try not to stick to the same style or subject matter, explore different things that look difficult but interesting, if you relax and enjoy then your own signature style will come through and prevail. Paint for yourself primarily and try not to worry about perfection and as you will never complete a piece – know when to stop.
JA: What is your favourite art material?
PR: I use Jackson’s and Golden heavy-body acrylics as they are so flexible. They can be used in many ways – from watercolour style to thick impasto.
Peter Reeds is a subject in this portrait of artists
project by Rikard Osterlund: There is a Storm Coming
Marabu make quality craft paints for painting glass, ceramics, cards, silk & textiles and for marbling.
We have the new updated range of Marabu products now in stock at Jackson’s.
Marabu craft paints
Download a pattern from Marabu for painting on glass.
Click on the links or images to go to the Marabu craft paints on the Jackson’s website.
Experience the colours of India!
Jackson’s Art Supplies and the manufacturers of our Eco handmade paper in India would like to invite you on a painting holiday of a lifetime. Capture the crystal clear light of the Himalayan foothills, re-create dazzling colours of the Leh festival, sketch the serene beauty of the Taj Mahal…this will truly be an amazing trip.
The proposed dates for this year’s painting holiday are the 24th June – 5th July. Highlights of the trip include:
- The famous Hemis festival at Leh which celebrates the anniversary of the birth of Guru Padmasambhava with traditional masked dances and music
- Visiting the breathtakingly tranquil and beautiful ancient Buddist Alchi monastery, at an altitude of 3100 metres on the bank of the river Indus
- Camel rides across the Hunder Desert
- An opportunity to be inspired by one of the seven wonders of the world, the Taj Mahal
View the full itinerary of the trip here.
This is an opportunity that any artist who is passionate about the vibrancy of colour and pattern cannot afford to miss! Please email Lisa at Jackson’s if you wish to find out more or if you would like to register your interest in this or future painting trips to India with Jackson’s.
This luxury Holiday is £1890 + plane ticket and includes:
1) Hotel accommodation: on twin sharing basis
Hotel Druk – Leh
Camps in Nubra & Pangong
Ulley Resort – Ulley Tokpo
The Ashtan Sarovar Portico – Delhi
Howard Sarovar Portico – Agra
Sarovar Portico Jaipur – Jaipur
2) All meals @ Leh and Ladhak
3) Complimentary Breakfast at the hotels in Delhi, Agra and Jaipur.
4) All local transportation
a) Local Transport by SUV’s – Each SUV will accommodate only 4 people + 1 driver
b) Luxury coach with Air-conditioning with a seating capacity of 27 people for transport in Delhi, Agra and Jaipur.
5) We will provide various artist’s pads for the visitors to use in the workshops. (paints and other accessories to be bought by the visitor)
6) A tutor for the art workshop.
Exclusions :
1) Air tickets, approx £680
2) The price excludes: extra local excursions and guided tours, travel insurance, visas, single supplements (if applicable) and items of a personal nature, such as laundry, drinks, etc.
3) Single person supplement £720
Made in the UK, famous throughout the world – Unison handmade soft pastels are a delight to use and a favourite of many professional pastel artists. In their subtlety and intensity of colour, their fluency and responsiveness to touch and their delicacy and robustness, Unison Colour Soft Pastels aspire to perfection. They are available in over 300 shades and using hand rolling rather than extrusion to shape the pastels gives Unison pastels a unique texture, delivering a consistency of response across the colour spectrum that is unmatched.
Click on the link or image to go to the pastels offer on the Jackson’s website.
Unison handmade soft pastels
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