Each package contains pure Earth & Mineral Pigment.

Available in 85g and 450g sizes.
Need more? Contact us for larger bulk quantities.

Each colour is naturally different in density, texture, tinting strength, absorbency, and volume, so the same weight can look quite different from one pigment to another.

Screens display colour differently, so the pigment you receive may vary slightly from what you see on your computer, tablet, or phone. Product images are best used as a guide rather than an exact colour guarantee.

For full colour-specific information, see the individual pigment details in our Pigment Guide.

Use these pigments to make your own watercolours, gouache, oil paints, pastels, tempera, printmaking inks, modelling clay, encaustics, natural plasters, and more.

Mixing your paint

Pigment needs a binder to adhere properly to a surface. Water can disperse the colour, but on its own it isn’t a lasting binder — once dry, unbound pigment may simply dust away.

Choose the binder that suits the type of paint you’re making, then add it gradually until you reach the consistency you want.

There isn’t one universal pigment-to-binder ratio. Every pigment absorbs liquid differently because of liquid absorption, volume, tinting strength, and granulation, so some colours will need considerably more binder than others.

For recipes and step-by-step tutorials, visit this Resources page.

Working safely

Please take care when handling any dry pigment. Even natural, non-toxic dust shouldn’t be inhaled.

Work gently to avoid creating airborne dust, use good ventilation, and wear appropriate respiratory protection when needed — particularly when working with larger amounts, mixing quickly, or if you have respiratory sensitivities.

Take extra care with very fine pigments, which can become airborne more easily.

FAQs:

• Are these pigments archival and lightfast? Earth and mineral pigments are known for their exceptional permanence and lightfastness and contain no fillers, stabilizers, solvents, or preservatives. Properly stored dry earth pigments can remain stable for thousands of years without fading or degrading. Exact characteristics vary by pigment, so check the individual pigment information for colour-specific details.
  
• Do I need to wear a mask when mixing powders? No matter what kind of dust you’re working with, you don’t want to inhale large amounts of it. When mixing small amounts, scoop and stir gently to avoid creating unnecessary pigment dust. If you’re working with larger quantities, mixing quickly, have respiratory sensitivities, or simply prefer the extra protection, wear a mask.
  
• Can I mix the pigments with water? Water can help disperse pigment, but it isn’t a lasting binder on its own. Use an appropriate binder for the type of paint you’re making so the colour adheres properly once dry.
  
• How much binder should I add? There’s no single ratio. Each pigment has its own absorbency, density, particle size, texture, and tinting strength. Start with less binder and add it a little at a time until you reach the consistency you want.
  
• Can I use these pigments to colour concrete, cement, mortar, plaster, stucco, or grout? Yes — many earth and mineral pigments, including iron oxide pigments, are traditionally used to colour concrete, cement, mortar, lime plaster, stucco, grout, masonry, and other building materials. Because cement and lime are highly alkaline, suitability can vary by pigment, so check the individual pigment information and test a small batch first. They can also be used for cast concrete, planters, countertops, pavers, architectural finishes, and natural plasters.
  
• Can I use these pigments with wax or encaustics? Yes. Earth and mineral pigments are commonly used with wax and encaustic techniques. Depending on the colour, they are colour-stable at temperatures ranging from approximately 170°C to 595°C. Check the individual pigment information for colour-specific details.
  
• Can I use them in modelling clay? Yes. Pure Earth & Mineral Pigments can be used to colour modelling clay.
  
• Are these pigments cosmetic grade? No. These pigments are not certified cosmetic grade and shouldn’t be confused with pigments specifically certified for cosmetic or face-paint use.
  
• Why mix your own paint instead of buying it pre-made? Mixing your own gives you control over the pigment, binder, texture, strength, and consistency of your paint. It also means there’s no need for the preservatives and stabilizers often required to keep liquid paint shelf-stable. Natural pigments bring their own depth, luminosity, texture, and variation — and you decide how the finished paint feels and behaves.
  
• Why can pigments look so different from one colour to another? Every pigment has a different density and particle structure. Some are naturally light and voluminous; others are much denser. Those differences also affect texture, absorbency, tinting strength, granulation, and how much binder each pigment needs, which is why equal package weights can look noticeably different in volume.
  
• Does Titanium White contain titanium dioxide? Yes. Our Titanium White is made from titanium dioxide (TiO₂) derived from rutile, a naturally occurring mineral found in metamorphic and igneous rock. Titanium dioxide is different from metallic titanium (Ti); although both can originate from the same mineral deposits, metallic titanium is a separate material and is not part of this pigment. Titanium White provides the opacity and refractive qualities artists expect from a strong white pigment. As with any fine dry pigment, handle it gently, avoid inhaling the dust, and use good ventilation and appropriate respiratory protection when needed. Once the pigment is mixed into a liquid binder, airborne pigment dust is no longer the same concern.
  
• What makes Ultramarine Blue and Ultramarine Purple different from the other pigments? Unlike the naturally coloured earth pigments, their vibrant colour is created through a controlled firing process. Each is made from approximately 90% natural earthen clay and 10% manufactured mineral components, which are heated to develop their distinctive blue and purple colour. Historically, intense natural blues often came from precious stones such as lapis lazuli; these ultramarines offer an alternative without relying on those increasingly limited natural sources.