Drawing
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Speedball Drawing and Lettering Storage Set
Hone your drawing and lettering skills with this set, which includes a hard plastic case to keep the tips and holders safe.
This set includes: 3 nib holders (1 standard, 1 oblique and 1 nib holder), 6 wide edge nibs (2 round, 2 square and 2 flat italic nibs). 6 flexible tip nibs (1 Hunt No. 56 school nib, 1 Hunt No. 99 drawing nib, 1 Hunt No. 100 artist nib, 1 Hunt No. 102 crow-shaped nib, 1 Hunt No. 512 nib with bowl tip and 1 Hunt No. 513 EF ball nib with bowl tip) and 1 storage case.
Set N.5 Speedball Artists
For calligraphy, writing and ornament: excellent for Roman text, alphabets, ornamental work or fine lettering, sign making, sketches, cartoons and maps. Triple Reservoir Tips: Designed to allow for greater ink capacity and extended, smooth, uninterrupted ink flow.
Flexible Tips – Provides the maximum amount of control
Quality Handmade Nibs and Pen Tips: Contains (3) B style nibs (B1, B3, B5), (3) C type nibs (C0, C2, C4) and (3) pen nibs (no. 56 , No. 102, No. 513EF).
Includes two sleeves: (1) standard holder and (1) Crowquill boom holder.
Sketching set Rembrandt
Sketching Set Lyra Metal box.
Includes: 1 White OIL pencil, 1 Sanguina DRY pencil, 1 Sanguina OIL pencil, 1 Sepia DRY pencil, 1 Sepia OIL pencil, 1 Dark Sepia OIL pencil, 1 Dark Sepia DRY pencil, 1 2B Charcoal Pencil, 1 HB Charcoal Pencil, 1 Charcoal Pencil H, 1 Charcoal 3B pencil, 1 Charcoal 2B pencil, 1 Charcoal B pencil, 1 Charcoal HB pencil, 1 Charcoal H pencil, 1 Charcoal Extra Black 2B pencil, 1 Charcoal Extra Black HB pencil, 1 Charcoal Extra Black H pencil, Square Pastel : 1 White, 1 Light yellow ocher, 1 Indian yellow, 1 Natural sienna, 1 Golden ocher, 1 Dark natural sienna, 1 Neutral gray, 1 Warm gray, 1 Cold gray 3, 1 Cold gray 4, 1 Payne Gray 1 Black, 1 7x14mm square pastel, HB extra black charcoal pencil, 1 7x14mm square pastel, 2B Charcoal Pencil, 1 blender, 1 moldable eraser, 1 pencil sharpener Art. L2051350
Sketching set Rembrandt 6 und
Lápiz carbón extra dark Rembrandt
Lápiz Carbón Extra Dark para bocetos y dibujos, disponible en gradaciones 2B, HB and H.
Carbon Extra dark. Se aconseja para proporcionar una intensidad excepcional al dibujo, para definir volúmenes y zonas de oscuro profundo. Combinado con el lápiz blanco, oil o dry, se obtiene como resultado un claroscuro profundo en marcado contraste con las iluminaciones. Es un instrumento de dibujo mixto, que combina materia seca y materia grasa, natural y sintética, en una dosificación equilibrada para obtener el negro más enérgico, fuerte y potente disponible entre los instrumentos de dibujo.
El trazo, extraordinariamente definido, cubre la superficie del soporte de forma homogénea. La presión sobre la hoja de papel determina la intensidad del trazo y el lustre natural del instrumento, que emerge sobre todo en los fondos amplios. Carbón Extra Dark es totalmente cubriente, sobre cualquier tipo de papel; no difumina fácilmente, puede superponerse y es parcialmente soluble con agua o disolventes gracias a su naturaleza mixta. Se afila con sacapuntas de boca grande o con cuchilla.
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Lápiz carbón Rembrandt
Lápiz Carbón para bocetos y dibujos, disponible en gradaciones 3B, 2B, B, HB and H.
Obtenido de la perfecta combinación de polvo de carboncillo, grafito, aceites y ceras, Carbón es el instrumento adecuado para dibujos y composiciones que requieran una particular intensidad de trazo. El trazo, pastoso y pleno, permite obtener tonos oscuros aterciopelados y contrastes muy definidos.
Con respecto al carboncillo, que es completamente mate, el lápiz Carbón deja un signo negro de opacidad media; al aumentar la presión sobre la hoja de papel, el trazo adquiere más cuerpo y expresa un brillo natural. El aglomerante natural garantiza una perfecta fijación de los pigmentos sobre el papel.
El lápiz Carbón es parcialmente difuminable, se extiende si se arrastra, pero el difuminado es corto, con degradación rápida. Es un instrumento con el cual se pueden unir fácilmente, dentro del mismo dibujo, un detalle realizado con trazo negro nítido y limpio, de mayor o menor espesor según el ángulo de inclinación del lápiz, y un área indefinida, parcialmente difuminada, que se deja a la imaginación. Se borra con goma moldeable, en función de la intensidad del trazo
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Lápiz charcoal Rembrandt
Lápiz carboncillo para bocetos y dibujos, disponible en gradaciones 2B, HB and H.
El carboncillo es el instrumento de dibujo más antiguo: utilizado ya en la prehistoria. El tono negro mate y la facilidad con que se transmite al soporte dependen de la duración del proceso de carbonización y de la cuidadosa selección de la materia antes de la pulverización.
El lápiz carboncillo se utiliza a menudo para realizar esbozos, bocetos y dibujos elaborados que requieran una ejecución rápida. El trazo fluido, natural y suave permite realizar calibradas transiciones de tonalidad. El difuminado se obtiene con facilidad frotando el dibujo directamente con los dedos o con un difumino adecuado. La característica volatilidad del trazo requiere una fijación inmediata incluso en las gradaciones más duras, y por supuesto en las más blandas. Se aconseja afilar con cuchilla o papel de lija, y evitar el sacapuntas por la naturaleza frágil de la mina. El cuerpo redondo, en madera de cedro mexicano natural lacado en negro mate y resistente, protege la mina de 5 mm de diámetro.
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Rembrandt sepia pencil
Sepia pencil for sketches and drawings, available in DRY and OIL versions in light and dark tones.
DRY: Clays and iron oxides of different shades agglomerated with a mixture of binders of plant origin. Sepia light, slightly darker than sanguine, a perfect third way, a very intense tone that, while still being reddish, is perfect for creating shadows in combination with the sanguine pencil. The 5 mm lead is rich in pigment, fragile due to its purity, perfectly blendable, from full to saturated and glazed tone. dark sepia It has a warm, vaguely reddish brown tone, more similar to the mummy color. It is advisable to use fixative spray.
OIL: The same pigments used in the dry version, the same concentration, a binder based on minimal vegetable oils and waxes, constitute a product with which completely different strokes are obtained. Full, full-bodied and defined line; It supports superimposition and can be mixed in the different tones, calibrating the pressure of the tip on the sheet of paper. Perfect instruments for rough sketches and sketches that are distinguished by their cleanliness and intensity. The line adheres perfectly to the support and covers it completely; difficult to erase.
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Rembrandt sanguine pencil
Sanguine pencil for sketches and drawings, available in DRY and OIL versions.
DRY: Composition based on iron oxides and clays joined with gum arabic and binders of natural origin, it traces a characteristic reddish color similar to blood on the paper. It is used in artistic drawing to create works and sketches. The quality is based on the concentration of the pigment and the perfect balance between it and the binder: allowing a dosage of the line that, from fine and clean, becomes intense and rich. The medium tone, luminous, not orange, takes up the color used by Leonardo and Michelangelo.
OIL: Unlike the DRY version, the generosity of the line is obtained with the mixture of oils that determine a dense and full-bodied paste that leaves a compact, soft and powerful line on the paper, giving rise to an obvious contrast between it and the tone. warm from the sanguine. Applied on satin or fine grain paper, it leaves pasty, homogeneous and intense strokes.
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Rembrandt white pastel pencil
White pencil for sketches and drawings, available in DRY and OIL versions. Ideal for contrasting the lines and softening the brightest strokes and, thus, determining the three-dimensional relief effect of the image, its depth and making the volumes emerge.
DRY: compact and resistant, it provides generous performance on paper, allowing soft blurs and well-defined highlights. Dry white allows quick and suggestive interventions even with oil-based, black or colored pencils on white fine-grained semi-rough paper, if used to give light. It is recommended to use a fixative once you finish using it.
OIL: It has a docile, dense and pasty lead. Great covering capacity. On a rough surface, the line alternates full and empty, with a greasy tempera effect. Difficult to erase due to the abundance of pigment.
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