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

PG7 & PBr7. Fast Drying. Semi-Opaque. Excellent Lightfastness. High Oil Content. Sap Green is a generic name for a rich deep green.

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

This beautifully golden paint makes bronze-like hues and works very well with the low Earths.

PO 73. Average Drying. Semi Opaque. Excellent Lightfastness. High Oil Content. High Tint Power.

This is a powerful, organic, fruity red-orange that has excellent lightfastness (was Orange Lake).

Colour: Michael Harding Italian Brown OchrePigment Index: PY42Semi TransparentLightfastness: ExcellentPrice Series: 2Italian Brown Ochre is an interesting natural earth with the most wonderful transparent under colour. Excellent for both portraits and landscapes.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 Transparent Oxide BrownPigment Index: PR101Semi OpaqueLightfastness: ExcellentPrice Series: 2This is a fantastic colour with a small pigment particle size, giving it a great clean transparency that is ideal for glazing.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.

PR 83. Slow Drying. Transparent. Good Lightfastness. High Oil Content. The oldest synthetic organic lake, introduced in 1868, and the only one of the coal-tar lake range to have survived in use until the present, the others having been found to be too impermanent for artistic use before the end of the 19th century. Itself a replacement for the somewhat unreliable organic Natural Madder (a dye made from a crushed plant root), Alizarin is frowned upon by certain Americans because its lightfastness (II-III on the ASTM scale), does not match that attained in the more recent organic pigments. But its clarity and subtly beautiful bluish undertones are unique, and, since its introduction, portraitists have greatly prized its range of cool, rather smoky hues, so well suited for rendering facial flesh.

PV16. Average Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content.

Manganese Ammonium Pyrophosphate, a heavy, bold Violet which was first made in Germany in 1868; one of the mid-19th century wave of synthetic inorganic metal salts which so changed the artist.

PG17. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

Another mid-19th century metallic oxide, with covering power but not much tinting strength. It is a heavy, vegetable green which can be surprisingly enlivened by adding yellows. Landscapists find that its range in mixes and hues makes it a staple green. It acts very well as a complementary to active red hues.

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.

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.

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.

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.

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.

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

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.

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.