Search results for 'red'

Casein-based paint for Gilders, Framers and Decorators. Adheres to most rigid surfaces including furniture, also used as a base coat when gilding on frames. Once dry can be burnished to a soft sheen. Water resistant & non fading. Matt / Satin finish. Learn More

A ready made Rabbit Skin Glue size. Stand in warm water to liquefy. Learn More

Printing inks can be made by mixing powdered pigments with copperplate oil. Pour small quantity of oil into well of dry pigment and grind with glass muller untill smooth. Thin oil is then added until mixture has consistency of double cream. Thin, Medium or Thick. Learn More

A natural bone ash primer for paper and card for silverpoint drawing, tinted to a traditional off white or sanguine finish. Learn More

Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and water wash up. Prices arranged by volume and series: Volume : Series 1 > Series 2 > Series 3 30ml : £6.80 > £7.80 > £11.60 250ml : £18.00 > £27.60 > £57.30 500ml : £31.80 > £49.30 > £103.90 1L : £58.40 > £89.50 > £194.20 5L : £238.80 > £347.90 > — Learn More

Unlike other commercially available oil paints, Roberson Artists' Oil Colours do not contain any fillers, extenders or stabilisers. Each paint consists solely of high-quality pigment that has been ground into cold pressed linseed oil, resulting in a highly pigmented paint. This strength of colour presents the possibility of greater economy of use and a less homogenised texture between each tube, instead allowing the unique qualities of each individual pigment to reveal themselves. By limiting our range to 59 shades, we dispense with colours that can be easily mixed, creating a focussed palette of intense, lightfast paints that offer limitless combinations. 

Available in 40ml and 225ml tubes

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5 Litre containers are not available in the shop, but only as a special order through the website or over the telephone. Prices arranged by volume and series: Volume : Series 1 > Series 2 > Series 3 30ml : £6.80 > £7.80 > £11.60 250ml : £18.00 > £27.60 > £57.30 500ml : £31.80 > £49.30 > £103.90 1L : £58.40 > £89.50 > £194.20 5L : £238.80 > £347.90 > — Learn More

Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and water wash up. Prices arranged by volume and series: Volume : Series 1 > Series 2 > Series 3 30ml : £6.80 > £7.80 > £11.60 250ml : £18.00 > £27.60 > £57.30 500ml : £31.80 > £49.30 > £103.90 1L : £58.40 > £89.50 > £194.20 5L : £238.80 > £347.90 > — Learn More

Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and water wash up. Prices arranged by volume and series: Volume : Series 1 > Series 2 > Series 3 30ml : £6.80 > £7.80 > £11.60 250ml : £18.00 > £27.60 > £57.30 500ml : £31.80 > £49.30 > £103.90 1L : £58.40 > £89.50 > £194.20 5L : £238.80 > £347.90 > — Learn More

Unlike other commercially available oil paints, Roberson Artists' Oil Colours do not contain any fillers, extenders or stabilisers. Each paint consists solely of high-quality pigment that has been ground into cold pressed linseed oil, resulting in a highly pigmented paint. This strength of colour presents the possibility of greater economy of use and a less homogenised texture between each tube, instead allowing the unique qualities of each individual pigment to reveal themselves. By limiting our range to 59 shades, we dispense with colours that can be easily mixed, creating a focussed palette of intense, lightfast paints that offer limitless combinations.

Available in 40ml and 225ml tubes

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A remarkable gilding paint that contains its own red primer and film of lustrous gold, premixed into a single liquid. It flows easily onto the surface with no brush marks, forming a beautiful, lustrous finish. It is so controllable that it can be used with a striping brush or ruling pen for fine lines and scrolls. Liquid Leaf can be used on wood, metal, glass, ceramics, papier-mache and cardboard. It can also be used as an ink. One colour of Liquid Leaf can be used over another once dry. For air brushing all colours can be thinned with the Brush Bath. This easy-to-control one-step paint gives a brilliant sheen without brassiness, a permanent finish more closely resembling traditional leafing. A 30ml bottle will cover approximately 2sq/m.

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Roberson Liquid Metal 1Ltr. Roberson Liquid Metals have a rich deep colour, ideal for a wide range of applications including plaster, wood, paper & canvas. The Liquid Metal range does not tarnish and does not need to be varnished. All colours are intermixable and wash up with water. Prices arranged by volume and series: Volume : Series 1 > Series 2 > Series 3 30ml : £6.80 > £7.80 > £11.60 250ml : £18.00 > £27.60 > £57.30 500ml : £31.80 > £49.30 > £103.90 1L : £58.40 > £89.50 > £194.20 5L : £238.80 > £347.90 > — Learn More

Linseed Oil is derived from flax seeds, and appears on our shelves in many guises: Cold Pressed, Refined, Stand Oil, and as a key ingredient in many mediums. It has been appreciated for its drying properties since the Medieval period, and has become the most popular oil used in painting today due to the strong, flexible and glossy film that it creates.

Stand Oil is paler and more viscous than other Linseed Oils, having been heated and kept at temperature to provoke a molecular change. It is not suitable for grinding colours, but it is a very versatile ingredient that can be thinned with turpentine to create a glazing medium or be included in a varnish. Stand Oil is notable for its ability to smooth out brush strokes to create an enamel-like surface.

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Made with new improved brown interlocking tapered filaments, these brushes have an excellent shape retention and firm texture. Good spring. Gold colour ferrule with bottle green handle. Learn More

(Copolymer emulsion) add to pigment to make acrylics. May also be added to prepared acrylic colours to extent them and increase gloss. Learn More

Brush Bath is a paint thinner and solvent especially formulated for the thinning or cleaning of Liquid Leaf. For spray application, use 15-20% Brush Bath with Liquid Leaf. For cleaning, apply to a soft cloth and wipe affected area. For thinning, mix a small amount of Brush Bath with Liquid Leaf, stirring or shaking container until desired consitency. To clean brushes, pour Brush Bath into a small container and let brushes soak.

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Treasure Gold is a metallic wax which is unparalleled in restoring gold lead and the finishing touches for antiquing. Blend any of the colours together for just the right shade. Apply with the fingers or a cloth and buff lightly. The metal lustre won't fade or tarnish. It is ready to be polished in ten minutes. Treasure Gold is highly concentrated and is to be used sparingly. A 25g jar will cover approximately 2sq/m. Learn More

Roberson Bushey books are available in two landscape sizes (11.3 x 18 cm and 18 x 23 cm), each one of which has a perforated and a non perforated version. 60 sheets / 120 pages Thread Bound Fedrigoni Arena Natural White Paper 100gsm Acid Free. Alkaline buffered, archival quality. Learn More

Slightly less refined than rectified spirit of turpentine. Often preferred as constituent of painting mediums. Learn More

Poppy Oil is a slightly later addition to the artist's cabinet than Linseed Oil and Walnut Oil. It is generally used as a binder for pale colours, where the warmth of Linseed Oil is not desired. It provides a matte finish and dries very slowly, so we would not advise using it in conjunction with slow-drying pigments or in underpaintings. A paint film produced by Poppy Oil is weaker and softer than that created by Linseed Oil. This is because it contains a smaller percentage of linolenic acid than Linseed Oil; this substance imparts both strength and yellowness to an oil.  

Although some of these properties can be perceived as drawbacks, paints made with Poppy Oil generally obtain a "short" or buttery texture without the addition of waxes or other additives, which can be an advantage for certain colours that produce poor consistencies in Linseed oil alone. Sometimes, the addition of a small quantity of Poppy Oil when grinding a tricky or "stringy" pigment in Cold Pressed Linseed Oil can introduce some of benefits of Poppy Oil, without transmitting its negative characteristics.

Paints made with Poppy Oil are particularly suited to "alla prima" working methods, where paint is applied spontaneously. When working in successive layers, Poppy Oil would only be appropriate for the final stages of a painting.

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Roberson extra fine Liquid Metal Inks for calligaphy and drawing. Apply with dip pen or brush, can be thinned with water if required and will not tarnish. Not suitable for fountain pens or technical drawing pens. Waterproof. Learn More

Linseed Oil is derived from flax seeds, and appears on our shelves in many guises: Cold Pressed, Refined, Stand Oil, and as a key ingredient in many mediums. It has been appreciated for its drying properties since the Medieval period, and has become the most popular oil used in painting today due to the strong, flexible and glossy film that it creates. Cold Pressed Linseed Oil is ideal for the grinding of pigment to make oil paints. The process of producing Cold Pressed Linseed Oil results in a lower yield, but the resultant oil is of a superior quality to oil that has been extracted by other methods, creating a paint film that is more resistant to embrittlement on aging. Its yellow colour is caused by the high concentration of linolenic acid, the presence of which provides durability to the paint film. The amount of oil that each pigment requires can vary enormously. Alizarin Crimson, for example, requires a high percentage of oil compared to most other colours. We would always recommend mulling the pigment and oil together thoroughly to create a "short" or buttery paste, with evenly dispersed, well-coated pigment particles. This process contributes to the strength and flexibility of the paint film, and prevents the inclusion of excess oil. Origin: USA Learn More

Made with new improved brown interlocking tapered filaments, these brushes have an excellent shape retention and firm texture. Good spring. Gold colour ferrule with bottle green handle. Learn More

Roberson's Traditional Oil Primer is made in small batches using the highest quality materials. Can be used on canvas or wood. Two to three coats will produce a slippery surface to enable oil colour to be moved around. Canvas should be sized before oil primer is applied using Roberson's Prepared Rabin Skin Glue. Touch dry in approx. 6h. hard dry in 24h. Paint may set in tin, shake tin and stir well before use, dilute with white spirit if desired. Prior to painting , primed canvases should be kept in daylight conditions to prevent over yellowing. Clean brushes in White Spirit. Learn More

L.Cornelissen & Son's Professional Gilders Cushions are handmade in London, using the highest quality materials. Soft, buffed suede nap goatskin stretched over a sturdy mahogany veneer panel, secured with brass tacks and some fitted with a genuine parchment windsheild. Learn More

When Roberson Florentine Medium is mixed with oil colour, it is possible to paint freely on textile fabrics, which will stand up to subsequent hand-washing with soap and water. It may also be used when painting with oils on unprepared paper. Learn More

Safflower Oil is light-coloured, making it suitable for grinding pale pigments. It is still sometimes used as a binder for commercially available paints, although due to its very slow drying time it is best reserved for the final layers of a painting. Compared to Linseed oil, Safflower Oil will give a matte finish.

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