Inks

Jackman's Black Indian Ink. Pigmented, high quality black ink.

Assortment of 10 x 30ml Shellac Based Inks from Kremer. Rich, lustrous colours. Can be thinned with water or Kremer Ink Diluter (180240). Beautiful, strong colours.

Lemon Yellow Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Assortment of 10 x 100ml Shellac Based Inks from Kremer. Rich, lustrous colours. Can be thinned with water or Kremer Ink Diluter (180240). Beautiful, strong colours.

Yellow Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Yellow Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Yellow Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Scarlet Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Scarlet Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Red Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Red Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Ruby Red Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Ruby Red Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Blue-Violet Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Blue-Violet Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Blue Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Blue Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Green-Bluish Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Green-Bluish Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Green-Yellowish Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Black Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Black Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Blue-Black Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Violet Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Blue-Black Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Violet Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

White Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. This ink settles and requires vigorous stirring or shaking to disperse. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications.

White Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. This ink settles and requires vigorous stirring or shaking to disperse. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications.

Solvent for shellac inks. Good for cleaning brushes and dip pens when used with the shellac inks.

A diluent for the shellac inks. Can also be used to bind small amounts of dry pigment.

A diluent for the shellac inks. Can also be used to bind small amounts of dry pigment.

Deep Black Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Deep Black Shellac Ink from Kremer. Strong, highly pigmented traditional shellac ink. Most inks use dyes as colorants, which makes them very thin and not very lightfast. Kremer use pigments in a rich shellac base, which makes their inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-colour like effects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use.

Series 7, Concentrated, Fluid Acrylic from Golden. Interference Gold (Fine).

Series 7, Concentrated, Fluid Acrylic from Golden. Interference Gold (Fine).

Series 7, Concentrated, Fluid Acrylic from Golden. Iridescent Bright Gold (Fine).

Series 7, Concentrated, Fluid Acrylic from Golden. Iridescent Bronze (Fine).

Series 7, Concentrated, Fluid Acrylic from Golden. Iridescent Gold Deep (Fine).

Series 7, Concentrated, Fluid Acrylic from Golden. A modern version of historical Alizarin Crimson, which was a substitute for Rose Madder, a dye use for the British Red Coats. Our mix of quinacridone and phthalo make this exceptionally lightfast and strong tinting, with a deep reddish brown undertone like the historical color.

Series 7, Concentrated, Fluid Acrylic from Golden. The color of night sky or shadows, very dark, reddish, semi-opaque blue with strong tinting, also known as Indanthrone. A versatile alternative to Ultramarine yet not as overpowering as Phthalo.

Series 1, Concentrated, Fluid Acrylic from Golden.

Series 1, Concentrated, Fluid Acrylic from Golden.

Series 1, Concentrated, Fluid Acrylic from Golden. Additional heating, or firing of the natural earth pigment creates the darker variation of a classic Sienna earth colour.

Series 1, Concentrated, Fluid Acrylic from Golden.

Series 1, Concentrated, Fluid Acrylic from Golden.

Series 1, Concentrated, Fluid Acrylic from Golden.

Series 1, Concentrated, Fluid Acrylic from Golden.

Series 1, Concentrated, Fluid Acrylic from Golden.

Series 1, Concentrated, Fluid Acrylic from Golden.

Series 1, Concentrated, Fluid Acrylic from Golden. Produced with soot from burning gas the dark and fine particle size makes this our darkest most neutral black.

Series 1, Concentrated, Fluid Acrylic from Golden.

Series 1, Concentrated, Fluid Acrylic from Golden.

Series 3, Concentrated, Fluid Acrylic from Golden.

Series 3, Concentrated, Fluid Acrylic from Golden. Cerulean Blue Hue, High Flow.

Series 3, Concentrated, Fluid Acrylic from Golden.

Series 6, Concentrated, Fluid Acrylic from Golden.

Series 6, Concentrated, Fluid Acrylic from Golden.

Series 6, Concentrated, Fluid Acrylic from Golden. On the border of our orange colours, Diarylide Yellow is based on dichlorobenzidine pigment, which offers excellent opacity, lightfastness and durability.

Series 6, Concentrated, Fluid Acrylic from Golden.

Series 7, Concentrated, Fluid Acrylic from Golden. A mixture of green and yellow prized for its warm jewel tones and glazing. This is among the most popular colours in the GOLDEN palette.

Series 5, Concentrated, Fluid Acrylic from Golden. A very bright orange-ish, semi-transparent red, is a synthetic pigment with good lightfastness. It is a good choice as an alternative to Cadmium Red Light.

Series 1, Concentrated, Fluid Acrylic from Golden. The middle value of our Neutral Grays, precisely matched to Munsell Gray for artists exploring values.

Series 6, Concentrated, Fluid Acrylic from Golden. 'The "Azo" (aye - zoe) is short for Azomethine, Nickel Azo pigment produces a transparent, brownish yellow at full strength but with enormous range. Excellent for creating rich amber glazes or extending further for high-pitched yellows. Tint with white for a bright, sunshine yellow.

Series 4, Concentrated, Fluid Acrylic from Golden.

Series 4, Concentrated, Fluid Acrylic from Golden. A semi-opaque mixture of Hansa Yellow and Phthalo green, this colour is a versatile medium to dark green

Series 4, Concentrated, Fluid Acrylic from Golden.

Series 4, Concentrated, Fluid Acrylic from Golden.

Series 4, Concentrated, Fluid Acrylic from Golden.

Series 7, Concentrated, Fluid Acrylic from Golden. This mixture of Anthraquinone Blue and Quinacridone Magenta is a very deep reddish violet with the best qualities of these two pigments.

Series 4, Concentrated, Fluid Acrylic from Golden. The greenish variation on this very powerful tinting versatile blue. When used thickly it is dark and opaque, but phthalo extends beautifully for glazes.

Series 4, Concentrated, Fluid Acrylic from Golden. Phthalocyanine is among the strongest tinting pigments available, while semi-opaque in masstone or full strength, it makes very transparent glazes.

Series 8, Concentrated, Fluid Acrylic from Golden.

Series 8, Concentrated, Fluid Acrylic from Golden.

Series 8, Concentrated, Fluid Acrylic from Golden. A deeper orange with Vermillion qualities, Pyrrole has very good lightfast qualities even in tints and glazes.

Series 8, Concentrated, Fluid Acrylic from Golden.

Series 7, Concentrated, Fluid Acrylic from Golden. A transparent "quin," this single pigment colour is a terrific start for brilliant reds and pinks as well as fiery glazes that are exactly what one associates with magenta.

Series 6, Concentrated, Fluid Acrylic from Golden. Using a warmer variation of the pigment in our Quinacridone Violet, this red reveals more magenta in tints and is, like all our "Quins" an excellent glazing color.

Series 1, Concentrated, Fluid Acrylic from Golden. Natural Iron-Oxide is the basis for this single-pigment colour, named after the region in Italy where it was first mined. Raw Sienna retains more of its yellowish colour because is created prior to the heating process that creates "burnt" sienna.

Series 1, Concentrated, Fluid Acrylic from Golden. Umber is essentially clay, and this variation on the PBr7 pigment is the lighter (un-burnt) version of this classic earth tone that originated in the Umbria region of Italy.

Series 4. Concentrated, Fluid Acrylic from Golden. Originally made with Buckthorn berries native to the near east, but cultivated in Europe since Roman times. The ripe berries make a pink dye, while the unripe berries produce a yellow juice or sap used as a dye and to make a yellow Sap Green pigment. Our blend is a more lightfast version of this historical colour.

Series 2, Concentrated, Fluid Acrylic from Golden.

Series 2, Concentrated, Fluid Acrylic from Golden.

Series 2, Concentrated, Fluid Acrylic from Golden.

Series 2, Concentrated, Fluid Acrylic from Golden. Sepia ink was commonly used in Greco-Roman civilization. Named after the rich brown pigment derived from the ink sac of the common cuttlefish Sepia, our High Flow Sepia is a lightfast mixture of modern pigments.

Series 2, Concentrated, Fluid Acrylic from Golden. 

Series 2, Concentrated, Fluid Acrylic from Golden.

Series 2, Concentrated, Fluid Acrylic from Golden.

Series 3, Concentrated, Fluid Acrylic from Golden. A mixture of Phthalo Blue and Green with Titanium White for a strong tinting, opaque, Teal.

Series 1, Concentrated, Fluid Acrylic from Golden. A natural buff Titanium Dioxide pigment, offering very opaque coverage and warm tinting.

Series 1, Concentrated, Fluid Acrylic from Golden. Our most opaque white, made with Titanium Dioxide, this is an essential white for most painters.

Series 4, Concentrated, Fluid Acrylic from Golden.A more blue Turquoise that is a very strong tinting colour that reveals cool gem tones in glazing

Series 2, Concentrated, Fluid Acrylic from Golden. Historically a very expensive ground lazurite pigment, synthetic pigment has been used since the 1830's making it one of the most popular and affordable blues, Yves Klein blue is mostly Ultramarine.

Series 1, Concentrated, Fluid Acrylic from Golden. Part of the earth tone family, Yellow Oxide's is slightly more opaque than it's neighbours (Yellow Ochre) and less red, but with similar lightfastness and durability.

Series 3, Concentrated, Fluid Acrylic from Golden. Bright and lightfast medium yellow.

Series 3, Concentrated, Fluid Acrylic from Golden. Lightfast, light yellow.

Series 3, Concentrated, Fluid Acrylic from Golden. Transparent variation of Benz Yellow Medium.