PY 43. Fast drying, semi-transparent.French Yellow Ochre is a glowing natural yellow. Ochre, an iron oxide earth pigment, can be traced back to paintings from the Middle Stone Age. Landscapes painters and portrait painters alike will find uses for this soft, natural yellow pigment.

Colour: Michael Harding Titanium White No.1 (SO)Pigment Index: PW6OpaqueLightfastness: ExcellentPrice Series: 1The most brilliant white in the range - suitable for cool, opaque light hues.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.

PBk 9. Average Drying. Semi-Opaque. Excellent Lightfastness. High oil Content.

An impure amorphous Carbon in Calcium Phosphate, Ivory Black is no longer made from burning ivory scraps, but from charred animal bones. It is denser in shade and cooler than Lamp Black with stronger tint power. The most frequently used black in the range.

Michael Harding Oil Paints 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 Paints are of 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. Formulated to match N7 on the Munsell Value Scale. An opaque, soft grey with a warm undertone.

PBr 7. Very Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content.

One of the calcined Iron Oxide Earths, of such antiquity and usefulness it barely needs an introduction. It makes rich but subdued pinks, which reveal how transparent and warm are its undertones. Its tint power is noticeably stronger than the more opaque Earths.

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.

PR 101. Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content.

An Iron Oxide manufactured to such small pigment particle size that it shows, like its Yellow counterpart, almost lake-like characteristics. Terrific tint power which produces wonderful results in mixes with yellows, and which can give gravity to mid-red tones.

PY42. Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content.

This Iron Oxide has been used as a wood dye, its capacity to enrich the grain of hardwood made it a wonderful candidate for paintmaking. It has great warmth with gingery undertones quite different to those seen in the Indian Yellows. Because the pigment particles are very small, it could almost be mistaken for a lake. It has huge tint power which pulls whites and other yellows into a golden, rich Titianesque zone of warm low tones. Try it with Aureolin and the Earths.

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.

Michael Harding Non-Absorbent Acrylic Primer ensures a smooth paint surface and will provide a strong bond to the layers of paint applied, with just enough tooth so as not to be greasy in feel.

Application:

Michael Harding Refined Walnut Oil dries at the same rate as linseed oil, but it does not yellow as much. Michael Harding use it as the binder for their lead whites where the brightness of the colour demands the clearest possible oil binder, without compromise on production costs. Use it to thin whites and to bring out the brightness in other colours.The use of walnut oil in paint can be traced back even further than that of linseed. When 15th century artists began to add oil to their tempera colours it was walnut oil that seemed the obvious choice. Jan van Eyck in Flanders and Antonello da Messina in Italy both knew of its handling properties.

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

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.

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.

Dries to a completely transparent finish, as this is a primer with no pigment.

PY42. Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content.

A synthetic Iron Oxide in a beautifully rich shade, with very dense warm undertones. A good modelling pigment, which works well into yellow and red highlights.

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.

Colour: Michael Harding Vandyke BrownPigment Index: PBr8Semi TransparentLightfastness: ExcellentPrice Series: 1This dark brown is a solid alternative to blacks and is reminiscent of the backgrounds of Flemish portraits.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. Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content.

A version of Burnt Umber which has heavier and more greenish undertones than the Red variant. This is the colour in its presentation of the last two centuries, invaluable for underpainting and showing a range of sandy pinks in hues.

A high oil content paste, based on linseed stand oil and bleached beeswax. Increases body of oil colour, with satin-matt finish. Especially useful with opaque colours.

Michael Harding Refined Walnut Oil dries at the same rate as linseed oil, but it does not yellow as much. Michael Harding use it as the binder for their lead whites where the brightness of the colour demands the clearest possible oil binder, without compromise on production costs. Use it to thin whites and to bring out the brightness in other colours.The use of walnut oil in paint can be traced back even further than that of linseed. When 15th century artists began to add oil to their tempera colours it was walnut oil that seemed the obvious choice. Jan van Eyck in Flanders and Antonello da Messina in Italy both knew of its handling properties.

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.

PY 43. Fast drying, semi-transparent.French Yellow Ochre is a glowing natural yellow. Ochre, an iron oxide earth pigment, can be traced back to paintings from the Middle Stone Age. Landscapes painters and portrait painters alike will find uses for this soft, natural yellow pigment.