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

10 x 40ml tubes in the following colours:1 x Titanium White No. 2 (PW6 & PW4, Average Drying Speed, Opaque, Excellent Lightfastness, Low Oil Content)1 x Yellow Lake (PY 74, Slow Drying Speed, Transparent, High Tint, Excellent Lightfastness, High Oil Content)1 x Cadmium Red (PR 108, Fast Drying Speed, Opaque, High Tint, Excellent Lightfastness, Low Oil Content)1 x Alizarin Claret (PR 177 Anthranaquinone, Slow Drying Speed, Transparent, High Tint, Good Lightfastness, High Oil Content)1 x Ultramarine Blue (PB 29, Average Drying Speed, Transparent, Average Tint Power, Excellent Lightfastness, Average Oil Content)1 x Cobalt Blue (PB 28, Very Fast Drying Speed, Semi-Opaque, Excellent Lightfastness, Average Oil Content)1 x Terre Verte (PG 23, Reasonably Fast Drying Speed, Low Tint Power, Opaque Yet Transparent, Excellent Lightfastness, Average-High Oil Content)1 x Burnt Umber (PBr 6, Fast Drying Speed, Semi-Opaque, Excellent Lightfastness, Average Oil Content)1 x Yellow Ochre (PY 42, Fast Drying Speed, Opaque/Semi Transparent, Excellent Lightfastness, Average Oil Content)1 x Unbleached Titanium Dioxide (PW 6.1, Fast Drying Speed, Opaque, Excellent Lightfastness, Low Oil Content)

We are happy to introduce the new Michael Harding Starter Set, available at a vastly discounted price. These starter packs give artists the opportunity to try a selection of Michael Harding colours. They are also an ideal gift! The Starter Set contains 6 colours in 40ml tubes: 102 - Titanium White No.2 113 - Ultramarine Blue 205 - Scarlet Lake 110 - Yellow Lake 118 - Yellow Ochre Deep 126 - Burnt Umber

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

Cadmium Sulphide, but with a greater degree of calcination than that used for the Cadmium Lemon Yellow, producing a very dense and lean mid-shade warm yellow which is virtually indispensable as a foundation colour for warm mixes of all kinds.

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

A cooler, plummier red in the Cadmium range which yields maroon hues and which can be used to make heavy, greenish blacks when added to the Phthalocyanine Green Lakes, to which it is approximately complimentary.

PY83. Average Drying. Transparent. Very Good Lightfastness. High Oil Content.

Diarylide Yellow HR, a synthetic organic lake which replaces the very organic, legendary, but long obsolete euxanthic acid (made by warming the urine of Indian cows fed on mango leaves). The modern organic equivalent matches the beauty of the colour used for centuries in Mughal miniatures, but has greater tint power and reliability. If brushed thinly over hued backgrounds it presents a uniquely vibrant warm mustard yellow.

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

Cadmium Sulphide, but with a greater degree of calcination than that used for the Cadmium Lemon Yellow, producing a very dense and lean mid-shade warm yellow which is virtually indispensable as a foundation colour for warm mixes of all kinds.

PB29 Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content. An obviously beautiful mid blue.

PR 122. Average Drying. Transparent. Excellent Lightfastness. High Oil Content.

Quinacridone Y, a very lightfast organic pigment, with strong bluish overtones which shine through if it is used as a glaze. When made into hues it presents a wonderful range of decadent, strong cool pinks which evoke rich satins. When added 50/50 to Ultramarine the results are a spectacular range of violets, which, when hued themselves, have an almost stain-glass quality. In mixes with yellow lakes the results are ranges of diaphanous, ambivalent pinks marvellous in certain flesh painting.

PW6& PW4. Average Drying. Very Opaque. Lightfastness Excellent. Very Low Oil Content. High tintpower. Non-toxic

This paint is bound with Linseed Oil and contains a 25% addition of Zinc Oxide White in order to avert the tendency of pure Titanium Dioxide pigment to express or exude oil to the surface whilst drying, which then causes a more pronounced appearance of yellowing. Zinc Oxide incorporates this free oil more effectively, as well as adding a cooler brightness to the white. If you want a strong mixer which tends to lighten hues conspicuously, as well as making the Cadmiums rather chalky in appearance, then this is it. The handling qualities are not overly subtle, but this is the white most suitable for a bright and largely cool palette. It forms a strong film when dry.

Series: 1

PB29 Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content. An obviously beautiful mid blue.

Colour: Michael Harding Cobalt TealPigment Index: PG50Transparency: OpaqueLightfastness: ExcellentPrice Series: 5This vivid inorganic colour is great for landscape, portrait and non figurative painters thanks to its excellent handling and coverage. 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.

PBr 7.Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content.

One of the fundamental Earths used as an Imprimitura pigment to draught out compositions on a Raw Sienna ground, as many Rubens sketches evidence. Depending on the degree of transparency, it can exhibit red or greenish undertones.

PW6& PW4. Average Drying. Very Opaque. Lightfastness Excellent. Very Low Oil Content. High tintpower. Non-toxic

This paint is bound with Linseed Oil and contains a 25% addition of Zinc Oxide White in order to avert the tendency of pure Titanium Dioxide pigment to express or exude oil to the surface whilst drying, which then causes a more pronounced appearance of yellowing. Zinc Oxide incorporates this free oil more effectively, as well as adding a cooler brightness to the white. If you want a strong mixer which tends to lighten hues conspicuously, as well as making the Cadmiums rather chalky in appearance, then this is it. The handling qualities are not overly subtle, but this is the white most suitable for a bright and largely cool palette. It forms a strong film when dry.

Colour: Michael Harding Warm White (Lead White Alternative)Pigment Index: PY42 PW6OpaqueLightfastness: ExcellentPrice Series: 1This warm and opaque white is excellent for artists who want a lead like paint. Great mixing colour. 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.

PBR 7. Quick drying, ground in linseed oil.Italian Green Umber is a deep, earthy green that is both warm and semi-transparent. This product is the dream of the plein air painter as it is perfect for capturing the rich, natural greens in any landscape.

PW6. Fast Drying. Very Opaque. Lightfastness Excellent. Low Oil Content

Titanium White No.3 is special in the way that it, unlike the other colours, will contain artificial driers. Except for that this colour will be exactly the same formulation as its respective cousin Titanium White no.2 in Linseed oil

6 x 40ml tubes of the following colours:1 x Warm White (PW 6, PW 4 & PY 42, Average Drying Speed, Excellent Lightfastness, Opaque/High Tint Power, Low Oil Content)1 x Yellow Lake (PY 74, Slow Drying Speed, Transparent, High Tint Power, Excellent Lightfastness, High Oil Content)1 x Brilliant Pink (PW 4, PW 6 & PR 209, Average Drying Speed, Opaque, High Tint Power, Excellent Lightfastness, Low Oil Content)1 x Bright Green Lake (PY 74 & PG 7, Average Drying Speed. Transparent, Excellent Lightfastness, High Oil Content)1 x Cobalt Teal (PB 36, Average Drying Speed, Opaque, Excellent Lightfastness, Low Oil Content)1 x Phthalo Blue and Titanium White (PB15.3 & PW6, Average Drying Speed, Opaque, Excellent Lightfastness, Low Oil Content)

PBk 9 & PB 29 & PY 42. Average Drying. Semi-Opaque. Excellent Lightfastness. High Oil Content.

A blend of Ivory Black, Ultramarine and Iron Oxide Yellow, which gives a markedly cool black substitute. The blue undertones are similar to but much milder than those of Prussian Blue. Some painters prefer this blend for its restrained tint power, and use it in cool reflex tones in flesh painting.

PY31. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content. TOXIC.

Sometimes known as Barium Yellow, this is Barium Chromate, introduced into painting after the Lead Chromates, circa 1820. Unlike them, it has proved to be permanent and non-reactive. By itself a sick looking, acidy yellow with weirdly green overtones, its low tint power facilitates mixes with Magenta and the cooler reds, producing beautifully modulated greys sought in certain passages of flesh painting.

Series: 1

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

Colour: Michael Harding AmethystPigment Index: PR122 PB29 PV23Transparency: TransparentLightfastness: ExcellentPrice Series: 3Amethyst is a mixture of three well known colours that come together to create an extraordinary shade of violet.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.

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.

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.