PY35. Fast Drying. Semi-Opaque. Excellent lightfastness. Low Oil Content.

Cadmium Sulphide, with, as its name suggests, a greeny, tangy, sulphurous edge to it which does not run through mixes with quite the same strength as an Arylide lake. An inorganic pigment which lightens and increases the opacity of warm mixes without overthrowing them. The Cadmium range of pigments was introduced into production 1840-1890, as soon as costs permitted, and has proved the most artistically reliable of all the metal compounds discovered in the 19th century.

PY35. Fast Drying. Opaque. Excellent Lightfastness. Low Oil Content.

A unique shade of Cadmium Sulphide which bridges the yellow/orange frontier with a pigment that seems destined to be mixed with the earths, ochres and mid-reds, and which infuses these with a glow more palpable than that of the organic lake yellows.

PY35. Fast Drying. Opaque. Excellent Lightfastness. Low Oil Content.

A warmer version still of Cadmium Yellow Golden, giving a transitional colour more powerful than those obtained by mixing Cadmium Reds and Cadmium Yellows. Often used to warm the mid-tones and lights of some flesh painting.

PR 149 Average Drying. Transparent. Excellent Lightfastness. High Oil Content. Average Tint Power

This is an organic lake which has to be used thinly, or at least with regard to its very high oil content, which forms a slick surface when dry. A very fast drier, makes a great range of strawberry pinks, but I am presently researching a substitute which will upgrade its lightfastness, particularly when it is dispersed in hues.

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.

PB28. Very Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content.

Introduced at about the same time as Ultramarine, Cobalt Aluminate is a synthetic inorganic spinel (i.e. a very high-fired metal compound). It is a more greenish blue than the latter, with a heavier, more mineral appearance when neat. The hues formed from it are correspondingly heavier and greyer. But it has a certain downright shade which the cheaper Ultramarine cannot quite match. The paint film when dry is quite soft.

PG19. Fast Drying. Semi-Opaque. Excellent Lightfastness. Low Oil Content.

A heavy, dense blue-green, with low tint power, introduced, with so many inorganic metallic pigments, 1830-40. It is a compound of Cobalt and Zinc Oxides, with grey-blue undertones which do not overturn mixes and form interesting effects when combined with the Yellow Lakes.

Colour: Michael Harding ViridianPigment Index: PG18Semi OpaqueLightfastness: ExcellentPrice Series: 5Landscapists and some portraitists still prefer this colour to the strong power of the Phthalo Greens. An interesting range of blue-greys are produced when combined with reds.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.

PV14. Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content.

First made from the rare ore of Cobalt Phosphate in the mid-19th century, this is now a synthetic inorganic pigment, of which the lighter shade is closer to the original, natural version. It has a very delicate shade of violet which appears quite opaque in mass-tone, but which quickly becomes transparent when applied thinly, and when glazed over a white ground, gives a very interesting range of bluish pinks. The hues are equally restrained.

PV14. Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content.

This shade of Cobalt Phosphate was only obtainable when the natural ore was superseded by more refined processes of manufacture. It has a heavier, richer appearance than its lighter counterpart, but its comparatively weak tint power means that it will not unduly push mixes towards a deeper bluish result. Interesting effects when glazed over with yellow lake colours.

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.

Colour Information:PW6/PW4, Series 1, Opaque, Lightfastness +++Rembrandt Oil Colours have an intense luminosity and depth due to the very fine grinding process, along with the highest possible concentration of pigments. Colours have the maximum degree of lightfastness and durability throughout the range.The range of Rembrandt oil paint consists of 120 colours with a balanced distribution between opaque and transparent colours. It also includes some specialised colours such as genuine cadmiums and shiny metallics. Each colour has a smooth, buttery texture and a rich intensity. Tubes are available in 40ml, 60ml, and 150ml.

Zinc White (Linseed Oil) - Colour Information:PW4, Series 1, Semi Opaque, Lightfastness +++Rembrandt Oil Colours have an intense luminosity and depth due to the very fine grinding process, along with the highest possible concentration of pigments. Colours have the maximum degree of lightfastness and durability throughout the range. The range of Rembrandt oil paint consists of 120 colours with a balanced distribution between opaque and transparent colours. It also includes some specialised colours such as genuine cadmiums and shiny metallics. Each colour has a smooth, buttery texture and a rich intensity. Tubes are available in 40ml, 60ml, and 150ml.

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat

Sublime brilliance and intensely deep colours

Optimal colour strength due to the highest possible concentration of pigments and very fine grinding

Highest degree of lightfastness

Very pure colours and greatest durability of the paint coat