Welcome.

All about, the everything of us.

Who? What? Where? When? How? Why? But most importantly, do we serve breakfast? Here are the answers to the questions you have never had until now. Unless you are here on purpose, in which case, we have those answers too.

Let’s get straight into it.

Who are you?

Based in Sydney, we are Bondi Road Art Supplies – we have your art, craft and design materials and supplies. We’ve been at the same location, with the same owners since 1969.

Do you serve breakfast?

No. More so materials for visual works. Less so food.

I want to come visit. When can I?

We are open on Mondays, Tuesdays, Wednesdays and Thursdays 9am/5pm and Saturdays 10am/4pm. We are closed on Fridays and Sundays.

I’d like to talk to you.

That’s not actually a question, but we’d like to hear from you – 0293873746 from anywhere in Australia during our opening hours.

Can I email you?

We are a little old school with the whole email thing and don’t use it enough at the moment to do it justice for our standards to you, so for now, no email. The best way for a quick response is the phone – 0293873746.

Where are you again?

179 Bondi Road, Bondi, NSW, Australia, 2026.

Oh yeah, sorry, didn’t remember.

No worries. On Bondi Road, about half way between Bondi Beach and Bondi Junction, near the petrol station. Here is a map we made earlier.

Parking for my vehicular automobile?

There are a couple of spots out the front, a bunch more down the road, across the road and there is always parking available in a number of nearby streets.

Buses?
Yep – the 333, 380, 381 and 382 all go right past!

Gift vouchers?

Pick your amount.

Anything else?

Nup. Come visit soon!

Also, buy some stuff. Like…

Pigment

pigment

Our very own artist pigments – over 120 standard and unique colour blends available in 50ml, 100ml, 270ml, 500ml and larger.

Our pigment blends have been used in the restoration of the ceiling of the Sydney Town Hall and in the construction of the new wing (Kaldor Gallery) at the Art Gallery of New South Wales.

Stretched By Hand

stretchedbyhand

With your choice of linens and cotton and in almost any size, we create beautiful, handmade, stretched canvases.

We also re-stretch canvases.

Your work, with a touch of our love.

Canvas

canvas

One of Sydney’s largest and most comprehensive range of quality pre-stretched canvases and linens.

  • Metre – smooth, rough, oil-primed, acrylic-primed – width up to 3m.
  • Boards – canvas and linen up to 24 inches x 36 inches.
  • Ready-made canvases – multiple sizes, mostly 10 ounce cotton and linen.
  • Panels / Round Panels.

The word canvas is derived from the 13th century Anglo-French canevaz and the Old French canevas. Both may be derivatives of the Vulgar Latin cannapaceus for “made of hemp,” originating from the Greek κάνναβις (cannabis). One of the earliest surviving oils on canvas is a French Madonna with angels from around 1410 in the Gemäldegalerie, Berlin.

Stretcher Bar

stretcherbar

  • Lightweight (8 inches to 120 inches) – 19cm profile.
  • Heavyweight (12 inches to 84 inches) – 32cm profile.

Used to construct a wooden stretcher frame to mount canvas.

Can also be used as poor substitute for a bat in sports that require them.

Brush

brush

  • Watercolour.
  • Oil / Acrylic.
  • Fan.
  • Bristle.
  • Hake.
  • Tacklon.
  • Nylon.
  • Sable.
  • Squirrel.
  • Calligraphy.
  • Sign writing.
  • Liner.
  • Mop.
  • Spotter.
  • Sets.
  • Holders and wallets.

Ideal for application of material, such as paint.

Brushes are also ideal for removal of material for teeth, floors, shoe-polish, curling, nails, milk-churn, vacuum-cleaner, archaeology, lavatory, clothes, car-wash, gun-barrel, wire, typewriter eraser, dandy for horse grooming, dishwashing, beekeeper’s, bench-grinder, rotary, flue, chimney, bottle and broom (long-handled brush). Alas, we don’t sell these types of brushes.

Paint

From the amazing handprint

The key is striking a personal balance between practical experience and abstract rules, which every student can achieve by studying and painting with the following in mind:

• color is fundamentally a subjective experience that differs considerably from one person to the next;

• color theory rules consist of limited preconceptions based on past experience with specific artistic media, not predictive rules based on abstract scientific principles;

• experience with materials the ultimate standard of best painting practice and the preconceptions you have about how materials behave;

• color theory principles are useful when they accurately summarize your painting and color experience;

• always consider color theory guidance when you are confused by a basic painting problem or design difficulty;

• avoid the empty intellectual game of talking about color theory separate from a specific design or painting problem in relation to a specific design or painting; and

• keep your eyes always open to the effects your materials create, so that theory does not become a limitation to your artistic growth.

Eventually, accumulated experience makes futher experience easier to acquire and understand, and makes theory less of an issue. Intimate knowledge of your paints, supports and technique is the key to effective color control. It is always more difficult to look at the actual behavior of the paints you use than to memorize the simplifed rules of “color theory.” But experience, not memorization, is where learning actually takes place.

paint

  • Acrylic.
  • Watercolour.
  • Gouache.
  • Oils.
  • Oil sticks.
  • Water soluble oils.
  • Alkyd oil (white).
  • Face and body.
  • Childrens.
  • Stamps.

Cave paintings drawn with red or yellow ochre, hematite, manganese oxide, and charcoal may have been made by early Homo sapiens as long as 40,000 years ago. In 2011, South African archaeologists reported finding a 100,000 year old human-made ochre-based mixture which may have been used like paint.

* Answers: 1 = A. 2 = B. Question? Printmaking.

Paper

paper

  • Visual diaries and journals.
  • Drawing and sketching pads – assorted qualities, weights and sizes.
  • Watercolour sheets – 185gsm, 300gsm, 640gsm.
  • Watercolour pads.
  • Sheet and pads for acrylic and oil painting.
  • Cotton print making.
  • Rolls for watercolour and drawing.
  • Cards and envelopes.
  • Individual sheets and packs of coloured for various purposes.
  • Japanese printed and rice.
  • Tissue.

Produced by pressing together moist fibres (typically cellulose pulp derived from wood, rags or grasses) and drying them into flexible sheets, paper, and the pulp papermaking process, was said to be developed in China during the early 2nd century AD by the Han court eunuch Cai Lun, although the earliest archaeological fragments of paper derive from the 2nd century BC in China.

Easel, Box, Table

easel

  • Studio easels.
  • Table easels.
  • Childrens easels.
  • Toolboxes.
  • Table top drafting tables.

Handmade in Australia from solid pine.

Easel is an old Germani synonym for donkey (compare similar semantics). In various languages, its equivalent is the only word for both animal and apparatus, such as Esel in Afrikaans and earlier ezel in Dutch (the easel generally in full schildersezel, ‘painter’s donkey’), themselves derived from Latin Asinus (hence ass). However, in other languages the two words are not related, for example Danish word is staffeli and donkey is æsel.

Balsa

balsa

  • Sheets.
  • Dowels and sticks.
  • Packs.

Ochroma pyramidale, commonly known as the balsa tree (also O. lagopus), is a species of flowering plant in the mallow family, Malvaceae. Balsa trees are native to southern Brazil and Bolivia north to southern Mexico. It grows extremely rapidly, up to 30 m in 10–15 years and trees frequently do not live beyond 30 to 40 years. The speed of growth accounts for the lightness of the wood; balsa wood has a lower density than cork.

Clay

clay

  • Paper (terracotta and white).
  • Air-drying.
  • Polymer.
  • Modelling.
  • Plasticine.
  • Tools.
  • Sponges – sea and cosmetic.

Associated with the Jomon culture, some of the earliest pottery sherds have been from central Honshu, Japan – the deposits from which they were recovered have been radiocarbon dated to around 14000BC.

Pastel

pastel

  • Crayons.
  • Soft.
  • Water-soluble.
  • Oil.
  • Pencils.

The word “crayon” dates to 1644, coming from (chalk) and the Latin word creta (Earth).

Pencil

pencil

  • Graphite.
  • Solid graphite.
  • Charcoal.
  • Carbon.
  • Coloured.
  • Grease.
  • Watercolour.
  • Pastel.
  • Case / wrap.

Around 1560, an Italian couple named Simonio and Lyndiana Bernacotti made what are likely the first blueprints for the modern, wood-encased carpentry pencil. Their version was a flat, oval, more compact type of pencil. Their concept involved the hollowing out of a stick of juniper wood. Shortly thereafter, a superior technique was discovered: two wooden halves were carved, a graphite stick inserted, and the halves then glued together—essentially the same method in use to this day.

Ink

ink

  • Pigmented.
  • Calligraphy.
  • Acrylic.

Ink can be a complex medium, composed of solvents, pigments, dyes, resins, lubricants, solubilisers, surfactants, particulate matter, fluorescers, and other materials.

Pen

pen

  • Pigmented.
  • Paint.
  • Gold and silver.
  • Copic markers.
  • Brush markers.
  • Overhead projector.
  • Calligraphy.
  • Bamboo ink.
  • Glass.
  • Chalk.
  • Holders and nibs.

Ancient Indians were the first to use the pen. According to ancient text the earliest of pens made in India used bird feathers, bamboo sticks, etc. The old literature of Puranas, Ramayana and Mahabharta used this kind of pen roughly 500 BC. Ancient Egyptians had developed writing on papyrus scrolls when scribes used thin reed brushes or reed pens from the Juncus maritimus or sea rush. In his book A History of Writing, Steven Roger Fischer suggests that on the basis of finds at Saqqara, the reed pen might well have been used for writing on parchment as long ago as the First Dynasty or about 3000 BC. Reed pens continued to be used until the Middle Ages although they were slowly replaced by quills from about the 7th century. The reed pen, generally made from bamboo, is still used in some parts of Pakistan by young students and is used to write on small boards made of timber.

Medium

medium

  • Acrylic.
  • Oil.
  • Watercolor.
  • Gesso.
  • Spray – matte, gloss and satin varnishes for oils, acrylics, drawings and pastels.
  • Speciality.

Did you know that linseed oil is obtained from the dried ripe seeds of the flax plant and classical world painters used materials like egg, wax, honey, or bitumen as binders to mix with pigment in order to hold the pigment particles together in the formation of paint.

You did? Go you!

Graphite

graphite

  • Pencils.
  • Water soluble graphite sticks.
  • Woodless.
  • Powder.
  • Sets.

Invented by Nicolas-Jacques Conté in the 1700’s, the graphite that is used in pencils is most commonly a mix of powdered graphite and clay. Low-quality amorphous graphite is used and around 4% of the 1.1 million tonnes of natural graphite produced in 2011 was used to make pencils.

Plaster

plaster

  • Plaster bandages.
  • Pottery plaster.

A large gypsum deposit at Montmartre in Paris led gypsum plaster to be commonly known as…

Charcoal

charcoal

  • Willow.
  • Compressed.
  • Powder.
  • Pencils.
  • Sets.

Usually produced by slow pyrolysis (the heating of wood or other substances in the absence of oxygen), charcoal is the dark grey residue consisting of carbon, and any remaining ash, obtained by removing water and other volatile constituents from animal and vegetation substances.

Metal

metal

  • Armature wire.
  • Metal sheeting for embossing – gold, silver and copper.

While it makes up about 8% by weight of the Earth’s solid surface, aluminium metal is so chemically reactive that native specimens are rare; instead, it is found combined in over 270 different minerals.

Guilding

guilding

  • Dutch metal (transfer and loose) – gold and silver.
  • 23 carat gold leaf, silver leaf.
  • Gold size.
  • Japan gold size.

A gilded object is described as “gilt”. Do not confuse with the other spelling.

Plastic

plastic

  • Polypropylene.

Modern supported Ziegler-Natta catalysts developed for the polymerization of propylene and other 1-alkenes to isotactic polymers usually use TiCl4 as an active ingredient and MgCl2 as a support. The catalysts also contain organic modifiers, either aromatic acid esters and diesters or ethers. These catalysts are activated with special cocatalysts containing an organoaluminum compound such as Al(C2H5)3 and the second type of a modifier. The catalysts are differentiated depending on the procedure used for fashioning catalyst particles from MgCl2 and depending on the type of organic modifiers employed during catalyst preparation and use in polymerization reactions. Two most important technological characteristics of all the supported catalysts are high productivity and a high fraction of the crystalline isotactic polymer they produce at 70–80 °C under standard polymerization conditions. Commercial synthesis of isotactic polypropylene is usually carried out either in the medium of liquid propylene or in gas-phase reactors.

Honestly, we don’t exactly understand what all of this means.

Wax

wax

  • Beeswax.
  • Bleached beeswax.
  • Paraffin.
  • Shellac.

All waxes are organic compounds, both synthetic and naturally occurring.

Glitter

glitter

  • Paints.
  • Loose.
  • Pigments.

An assortment of very small (roughly 1 mm²) pieces of copolymer plastics, aluminium foil, titanium dioxide, iron oxides, bismuth oxychloride or other materials painted in metallic, neon and iridescent colours to reflect light in a sparkling spectrum.

It is not to be confused with confetti, which contains larger pieces, and should also not be confused with sequins, which are larger yet.

Adhesive

adhesive

  • Glue – Water based PVA, UHU glues, Elmers, Crafters Pick, Zap-A-Gap, acid free glues, super glues, rubber cement, glue sticks, balsa wood glues, Japanese rice glue.
  • Tapes – double sided, acid free, masking, cloth.
  • Spray.

The oldest known adhesive, dated to approximately 200,000 BC, is from spear stone flakes glued to a wood with birch-bark-tar, which was found in central Italy. The use of compound glues to haft stone spears into wood dates back to approximately 70,000 BC. Evidence for this has been found in Sibudu Cave, South Africa and the compound glues used were made from plant gum and red ochre. The Tyrolean Iceman had weapons fixed together with the aid of birch-bark-tar glue.

Palette

palette

  • Plastic.
  • Wooden.
  • Ceramic.
  • Disposable.
  • Palette knives.

In the original sense of the word – a rigid, flat surface on which a painter arranges and mixes paints.

From the original, literal sense came a figurative sense by extension, referring to a selection of colours, as used in a specific art object or in a group of works comprising a visual style.

We bring the former, you bring the latter.

Eraser

eraser

  • High polymer.
  • Gum.
  • Kneadable.
  • Rubber (genuine).

Before rubber erasers, tablets of rubber or wax were used to erase lead or charcoal marks from paper. Bits of rough stone such as sandstone or pumice were used to remove small errors from parchment or papyrus documents written in ink. Crustless bread was used as an eraser in the past; a Meiji-era Tokyo student said: “Bread erasers were used in place of rubber erasers, and so they would give them to us with no restriction on amount. So we thought nothing of taking these and eating a firm part to at least slightly satisfy our hunger.”

Portfolio

portfolio

  • With and without carry sleeves.
  • With and without ring binders.
  • Carrying cases.
  • Sizes from A4 to A1.

Briefcases are descendants of the limp satchel used in the fourteenth century for carrying money and valuables. It was called a “budget”, derived from the Latin word “bulga” or Irish word “bolg”, both meaning leather bag.

Printmaking

printmaking

  • Lino squares.
  • Vinyl squares.
  • Etching needles.
  • Styluses.
  • Lino and wood cutting tools.
  • Easy carve printing blocks.
  • Plastic etching / zinc plates.
  • Silk screens.
  • Squeegees.
  • Screen printing paint.
  • Stencil paper for silk screens.

Match these 2 printmaking techniques:

1 – Relief.

2 – Stencil.

to their descriptions:

A – Where ink is applied to the original surface of the matrix – techniques include: woodcut or woodblock as the Asian forms are usually known, wood engraving, linocut and metalcut.

B – Where ink or paint is pressed through a prepared screen – includes: screenprinting and pochoir.

Answers? Paint.

Technical

technical

  • Ruler – Stainless, non-slip safety with fingerguard, plastic, wooden, t-square, triangle and flat scale, flexible curves, set squares, adjustable set squares, rolling, templates and architectural templates.
  • Paper – Foamcore, screen board, box board, drafting film, butter paper tracing paper, graph paper and pads, bond, bank and bleedproof pads and a large selection of drawing and pastel papers.
  • Pen – Rotring and drafting pens.
  • Pencils – Mechanical, clutch and a large selection of leads.

People who communicate with technical drawings, (those who design and those who are tradespeople), may use technical standards that define practical symbols, perspectives, units of measurement, notation systems, visual styles, or layout conventions. These enable a drafter to communicate more concisely by using a commonly-understood convention. Together, such conventions constitute a visual language, and help to ensure that the drawing is unambiguous and relatively easy to understand. This need for unambiguous communication in the preparation of a functional document distinguishes technical drawing from the expressive drawing of the visual arts. Artistic drawings are subjectively interpreted; their meanings are multiply determined. Technical drawings are understood to have one intended meaning.

Blade

blade

  • Scissors.
  • Stanley knives.
  • Snap blades.
  • Mount board cutters.
  • Precision cutters.
  • Pencil sharpeners.

It is most likely that scissors were invented around 1500 BC in ancient Egypt. The earliest known scissors appeared in Mesopotamia 3,000 to 4,000 years ago. These were of the ‘spring scissor’ type comprising two bronze blades connected at the handles by a thin, flexible strip of curved bronze which served to hold the blades in alignment, to allow them to be squeezed together, and to pull them apart when released.

Panel

panel

  • Wooden
  • Canvas

The technique of panel construction and preparation is known to us through Cennino Cennini’s The Craftsman’s Handbook (Il libro dell’ arte) published in 1390, and other sources. It changed little over the centuries. It was a laborious and painstaking process:

  1. A carpenter would construct a solid wood piece the size of the panel needed. Usually a radial cut piece was preferred (across rather than along the length of the tree; the opposite of most timber cuts), with the outer sapwood excluded. In Italy it was usually seasoned poplar, willow or linden. It would be planed and sanded and if needed, joined with other pieces to obtain the desired size and shape.
  2. The wood would be coated with a mixture of animal-skin glues and resin and covered with linen (the mixture and linen combination was known as a “size”); this might be done by a specialist, or in the artist’s studio.
  3. Once the size had dried, layer upon layer of gesso would be applied, each layer sanded down before the next applied, sometimes as many as 15 layers, before a smooth hard surface emerged, not unlike ivory. This stage was not necessarily done after the 16th century, or darker grounds were used.

Book

book

  • Art.
  • Children.
  • Colouring in.

Words and pictures. Pictures and words.

Craft

craft

  • Embellishments.
  • Felt.
  • Feathers.
  • Foam.
  • Glitter.
  • Paper / Board.
  • Pipe Cleaners / Chenille Stems.
  • Polystyrene.
  • Pom poms.
  • Ribbon.
  • Stencils.
  • Wood.
  • Scenery, grasses and people.
  • Kites.
  • Specialty.

***

With thanks to Unsplash and Wikipedia.