PY3 & PG7. Average Drying. Transparent. Very Good Lightfastness. High Oil Content.

A blend of the organic pigments Arylide Yellow and Phthalo Green to fill the gap previously occupied by the Lead Chromate Greens, long discontinued by manufacturers because of their tendencies to darken or react with other paints. This paint differs from them not only in being a permanent Lake, but also in sheer power. A fruity, shouty, tropical green with exotic undertones, it almost fluoresces on its own, and cuts right into mixes to reveal light sappy yellows.

PR 101. Very Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil content.

Formerly a natural Iron Oxide, this is now manufactured to greater standards of purity. A heavy red, which yields fruity fleshy hues, and makes tones of great sonority when mixed with the Yellow Lakes.

PBr 7. Very Fast Drying. Transparent. Excellent lightfastness. Average oil Content.

This pigment had lighter and redder characteristics than those it assumed when manufacture in bladders, and then tubes, began a century later. Raw Umber is calcined to make this pigment, and the extent of Manganese Dioxide mixed with the Iron Oxide determines the range of undertones; here much warmer than is usual.

Colour: Michael Harding Vine BlackPigment Index: PBk11Semi TransparentLightfastness: ExcellentPrice Series: 1Another useful alternative to the existing blacks with a cool, almost slightly yellow undertone when thinned.Michael Harding Oil Colours are among the finest oil paints available to artists today. The colours have a high load of top quality pigments, ground in refined cold-pressed linseed oil. They are completely free of fillers, extenders, or driers, resulting in pure, rich, and vibrant colours that are lightfast and buttery.First manufactured in 1982, Michael Harding Artists' Oil Colours are exceptional quality and are made by hand. They are very popular with some of the world's finest artists, including David Hockney, Chris Ofili, and the late Sir Howard Hodgkin.pdf=michaelhardincacc.pdf Michael Harding Oil Colour Chart.

PY1.1. Slow Drying. Transparent. Very Good Lightfastness. High Oil Content.

A much warmer version of PY.1, Arylide Yellow G, exhibiting beautiful yet subtle bronze-gold undertones in complex mixes, and which has the high tint power to let these influence even the heaviest combinations of earths.

PY83 & PR101. Fast Drying. Transparent. Very Good Lightfastness. High Oil Content.

Same as Indian Yellow but with the addition of an Iron Oxide pigment used in wood dyes, which gives a very rich, beautiful, gingery red shade to the blend, as well as greatly accelerating the drying speed, to the point that this paint can be used as a drying agent in mixes with others.

PR 170. Average Drying. Semi-Opaque. Excellent Lightfastness. High oil Content.

An organic red, Naphthol Red F5RK, which though a lake dye, has a strength appropriate to a granular pigment. It is a strong, slightly bluish red which in small additions can noticeably cut through mixes to yield low, smouldering scarlet undertones. Its hues are strong and cool, almost lipsticky.

PB 15.3 & PG7 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

Another blend to supplement the sea-green range, this is a powerful mixer which discloses airy undertones when hued further, and which landscapists find indispensable. The addition of Titanium White and Phthalocyanine Green to the blue hue give it very strong covering power which holds out over large areas of application.

PB29 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

A deeper version of the blend above, useful for such features as architectural modelling in backgrounds.

PY3 & PG36 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

PY3 & PG7 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

Another blend of organic lake colours ( Arylide yellow and Phthalo Green) with the two whites to give a safe and permanent substitute for the original Emerald Green, the notorious Copper Aceto-Arsenite, a brilliant green introduced circa 1810 and long since abandoned as being impermanent, highly reactive with other pigments and highly poisonous. Some artists detest this uniquely strident colour, others love its acerbic tang, which invites an almost Fauve series of related mixes.

PBr24. Fast Drying. Semi-Opaque. Excellent Lightfastness. Low Oil Content.

This is Titanium Antinomy Chromiumoxide, a synthetic inorganic compound which makes a good mid-range substitute Naples Yellow, works very well with the low Earths.

Michael Harding paints are made by hand, using techniques which date back to the days of the Old Masters. Harding will not claim that his paints will turn you into a great painter, but he does promise they will have a profound effect on your work. Your colors will be stronger and richer, and you will find the texture of the paint incomparable. You will love working with them.

Colour: Michael Harding Alizarin ClaretPigment Index: PR177Transparency: TransparentLightfastness: ExcellentPrice Series: 3Perfect for portraitures, landscapes and non-figurative works due to its versatility and beauty.Michael Harding Oil Colours are among the finest oil paints available to artists today. Michael Harding's colours have a high load of top quality pigments, ground in refined cold-pressed linseed oil. They are completely free of fillers, extenders, or driers, resulting in pure, rich, and vibrant colours that are lightfast and buttery.First manufactured in 1982, Michael Harding Artists' Oil Colours are exceptional quality and are made by hand. They are very popular with some of the world's finest artists, including David Hockney, Chris Ofili, and the late Sir Howard Hodgkin.pdf=michaelhardincacc.pdf Michael Harding Oil Colour Chart.

Michael Harding paints are made by hand, using techniques which date back to the days of the Old Masters. Harding will not claim that his paints will turn you into a great painter, but he does promise they will have a profound effect on your work. Your colors will be stronger and richer, and you will find the texture of the paint incomparable. You will love working with them.

Colour: Michael Harding Deep Purple (Dioxazine)Pigment Index: PV23Transparency: TransparentLightfastness: ExcellentPrice Series: 2Deep Purple has tremendous use in all aspects of painting and when combined with whites it produces remarkable shades.Michael Harding Oil Colours are among the finest oil paints available to artists today. Michael Harding's colours have a high load of top quality pigments, ground in refined cold-pressed linseed oil. They are completely free of fillers, extenders, or driers, resulting in pure, rich, and vibrant colours that are lightfast and buttery.First manufactured in 1982, Michael Harding Artists' Oil Colours are exceptional quality and are made by hand. They are very popular with some of the world's finest artists, including David Hockney, Chris Ofili, and the late Sir Howard Hodgkin.pdf=michaelhardincacc.pdf Michael Harding Oil Colour Chart.

Colour: Michael Harding Crimson LakePigment Index: PR149Transparency: TransparentLightfastness: GoodPrice Series: 4This warm red has a very unique nature and produces interesting shades of pink when mixed with or glazed over whites.Michael Harding Oil Colours are among the finest oil paints available to artists today. Michael Harding's colours have a high load of top quality pigments, ground in refined cold-pressed linseed oil. They are completely free of fillers, extenders, or driers, resulting in pure, rich, and vibrant colours that are lightfast and buttery.First manufactured in 1982, Michael Harding Artists' Oil Colours are exceptional quality and are made by hand. They are very popular with some of the world's finest artists, including David Hockney, Chris Ofili, and the late Sir Howard Hodgkin.pdf=michaelhardincacc.pdf Michael Harding Oil Colour Chart.

Colour: Michael Harding Green GoldPigment Index: PY129TransparentLightfastness: ExcellentPrice Series: 4Green Gold is an unusual, lustrous and honeyed colour which is a delicate balance of several tones: gold, green, and brown.Michael Harding Oil Colours are among the finest oil paints available to artists today. Michael Harding's colours have a high load of top quality pigments, ground in refined cold-pressed linseed oil. They are completely free of fillers, extenders, or driers, resulting in pure, rich, and vibrant colours that are lightfast and buttery.First manufactured in 1982, Michael Harding Artists' Oil Colours are exceptional quality and are made by hand. They are very popular with some of the world's finest artists, including David Hockney, Chris Ofili, and the late Sir Howard Hodgkin.pdf=michaelhardincacc.pdf Michael Harding Oil Colour Chart.

Michael Harding paints are made by hand, using techniques which date back to the days of the Old Masters. Harding will not claim that his paints will turn you into a great painter, but he does promise they will have a profound effect on your work. Your colors will be stronger and richer, and you will find the texture of the paint incomparable. You will love working with them.

PR 108. Fast Drying. Opaque. Excellent Lightfastness. Low Oil content.

A crisp, zingy red with the usual Cadmium characteristics, high tint power and opacity, and which can present warm, almost fiery hues when mixed with a more transparent White, such as Zinc.

PR108. Fast Drying. Opaque. Excellent Lightfastness. Low Oil Content.

The deepest of the Cadmium range, this red has distinct bluish undertones which become very salient in some very purplish hues.

PG50. Average Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content. A Cobalt Titanate compound made into a spinel by being cooked at high temperature. An unintense blue green which nevertheless is valuable in influencing low hues and blacks. Little tint power in higher keyed mixes.

PB29, Average Drying, Semi Transparant, Low Oil Content, Average Tint Power, Non-Toxic There are a few special pigment colours in the range; an example is a genuine Afghan lapis lazuli. The first and most noticeable thing about the lapis lazuli compared to the modern synthetic equivalent ultramarine blue, is the considerably less tinting and covering power and its slightly dirtier colour, though neither of these traits should be seen to detract from the natural beauty.

PY3 (but soon to be changed). Slow Drying. Transparent. Very Good Lightfastness. High Oil content.

An Arylide organic lake pigment, of itself very fat and transparent, but which has an enormous tint power, shooting right through mixes with a pervasive range of bottle green undertones. Beginners should handle it with care when adding it to other paints. It can heighten the Phthalo lakes without making them opaque, and when it is made itself opaque with the addition of white the results are almost luminous.

PB15.3 & PW4. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.