New & exclusive to Wet Paint in the Minneapolis/St. Paul area, Michael Harding Oils are made by hand, using techniques dating back to the Old Masters. Experience stronger, richer color that’s full of pigment but free of fillers & driers. This paint is a pleasure to work with; the texture & handling characteristics are incomparable. Try the color that David Hockney says is “The first quality oil paint. Excellent!”
As an artist and a painter, Michael strives to create colors that are true, vibrant and pure. The greater the pigment load, the greater the resistance to fading. Michael Harding colors are made without fillers or extenders. All colors, except as indicated, are ground in a grade of refined cold pressed linseed oil chosen for its neutral acidity.
Color shown here and on the store pages is for reference only.
Included in the color chart below are Michael's notes on each color. Here is Michael's description of various details addressed in each note:
This section gives assessments for certain determinable characteristics of all the
colours presently in my range, as well as a few informal remarks on their qualities and
idiosynchrasies when used. Following the pattern already laid out on all my tube and can
labels, and on my more recent colour charts, I give:
The Colour Index Number: This is an international system for classifying and
identifying pigments solely by their (often very complex) chemical formulae( e.g P(igment)
R(ed) 106, Mercuric Sulphide known as Genuine Vermilion). The use of vague traditional
or invented colour names is thus clarifi ed, and so, in theory at least, is the vexed matter
of what pigments manufacturers actually put into their paints. If a colourman is honest,
each constituent pigment in a paint can be specifi ed precisely, and the practice of secretly
adulterating or even completely substituting cheaper alternatives is made impossible.
Assuming, that is, the colourman is honest…I can certainly state that there are no secret
additions to any of the paints in my range. What you read as the C.I number on the label is
what you get.
Estimated Relative Drying Speed: Bearing in mind that all drying speeds will be
affected by temperature, humidity and light levels, these give a broad calibration of
comparative speeds, from the Very Fast, such as the Umbers, many of which, if used neat,
will be touch dry within a hot summer day, to the Very Slow, which in unmixed state, might
take up to a week.
Transparency: This characterizes the ability of a given paint to cover over the substrate
onto which it is painted. At the extreme of opacity there are the Cadmiums, at that of
transparency, the Indian Yellows. Transparency should not be confused with sheer strength
of colour, or tinctorial/ tint power, as it is revealed in mixes. Some transparent paints, e.g.
the Phthalo Lakes, are ferociously strong when mixed with sturdily opaque ones.
Lightfastness: This gives some indication of the resistance of a pigment to fading when
exposed to very high light levels. Though the commonly used numerical system for this is
the scale devised by the American Society of Testing and Manufactures (ASTM I-V), in
practice the fade resistance of pigments is greatly affected by their concentration, or lack of
it, in paint mixes. Thus an excellently lightfast pigment (ASTM I), if dispersed in a paint
by addition of fi llers, will in consequence show increased tendency to fade. As I have said
before, there are no fi llers added to the pigments in my paint range.
Oil Content: This indicates broadly how much oil has to be ground in with the dry
pigment or the lake dye in order to make it into a workable paint. A paint with high oil
content will generally, but with exceptions, dry to a glossier surface; that with a low oil
content will be leaner.
Toxicity: This should be taken seriously if you want a long and healthy relationship with
my paints.
COLOR
MICHAEL HARDING ARTIST OIL COLOUR 40ML AUREOLIN Michael Harding notes:Aureolin (Cobalt Yellow)
PY40. Average Drying. Transparent. Excellent Lightfastness.
Average Oil Content.
A transparent straw-ochre yellow with strange yet rich greenish
undertones. It was produced in the 1850’s as an inorganic replacement
for the venerable but unreliable organic yellow gum known as
Gamboge. In glazes and thinned layers it displays a Renaissance-like
range of muted golds which, over whites, can be quite fi ery, but in or
over deeper layers, exhibit a mustardy, heavier patina.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML BRIGHT YELLOW LAKE Michael Harding notes: Bright Yellow Lake.
PY3 (but soon to be changed). Slow Drying. Transparent. Very
Good Lightfastness. High Oil content.
At present I am working on a re-specifying of the pigment of this
paint in order to upgrade its permanence. But the characteristics will
remain the same: 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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML CADMIUM YELLOW Michael Harding notes: Cadmium 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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML CADMIUM YELLOW DEEP Michael Harding notes: Cadmium Yellow Deep.
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 fl esh painting.
MICHAEL HARDING ARTIST OIL COLOUR 40ML CADMIUM GOLD YELLOW Michael Harding notes: Cadmium Yellow Golden.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML CADMIUM YELLOW LEMON Michael Harding notes: Cadmium Yellow Lemon.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML GENUINE NAPLES YELLOW DARK Michael Harding notes: Genuine Naples Yellow Dark.
PY41. Very Fast Drying. Opaque. Excellent Lightfastness. Very
Low Oil Content. TOXIC.
This is a darker counterpart of the two Lead Antinomiates, which is
closer to the shade offered by makers in more recent times, before all
of them except me decided to replace the genuine pigment with not
very accurate substitute blends. A classic shade, good for low flesh
undertones.
MICHAEL HARDING ARTIST OIL COLOUR 40ML GENUINE NAPLES YELLOW LIGHT Michael Harding notes: Genuine Naples Yellow Light.
PY41. Very Fast Drying. Opaque. Excellent Lightfastness. Very
Low Oil Content. TOXIC.
Lead Antinomiate, in natural versions, seems to have been used as a
pigment since the 5th century B.C, and has been manufactured since
the 1400’s, being one of the most relied-upon colours, and in constant
demand. I am now the only colourman left making the genuine
article, as opposed to the unsatisfactory blends which have been
offered as substitutes. I continue to do so because its vivid, dense, almost
primrose yellow cannot be mimicked, as portraitists and figure
painters will attest. It is more powerful and yet more muted than its
equivalents among the Cadmium range. Its handling characteristics
are incomparable. Because it tends to react with steel rollers, to this
day it is still ground with stone.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML INDIAN YELLOW Michael Harding notes: Indian Yellow.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML INDIAN YELLOW RED SHADE Michael Harding notes: Indian Yellow Red Shade.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML LEMON YELLOW Michael Harding notes: Lemon Yellow.
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. Often considered
to be obsolete, I am probably the only colourman to make it. 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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML YELLOW LAKE DEEP Michael Harding notes: Yellow Lake Deep.
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 infl uence even the heaviest combinations
of earths.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML YELLOW LAKE Michael Harding notes: Yellow Lake.
PY1. Slow Drying. Transparent. Very Good Lightfastness. High
Oil Content.
One of the oldest established organic lakes, Arylide Yellow G, this
is a warmer version of Bright Yellow Lake, with similar properties.
Deceptively transparent but with strong tint power, it runs through
mixes with a milder and more golden range of undertones.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML ALIZARIN CRIMSON Michael Harding notes: Alizarin Crimson.
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 fl esh. So I continue to make
this paint, and since I do not let it down with any more powder than
is necessary to stabilize the lake component, I can claim that its permanency
has been optimalized.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML BRILLIANT PINK Michael Harding notes: Brilliant Pink. PW4, PW6 & PR209. Average Drying. Opaque. Excellent Lightfastness.
Low Oil Content.
After tremendous harassment from customers, I blended this colour
to satisfy their craving for a cheeky, fruity (dare one say girly?)
luminous pink, which has intense presence notwithstanding the Zinc
White constituent. Yes, I can confi rm that women and colour-field
painters love it, and some even use it in fl esh passages. But I think it
could well be characterized as “decorative”. The complementary vibrations
it sets up with the greens, particularly Emerald Green, have
to be witnessed to be believed. It forms a lean surface, and since the
red is supplied by Quinacridone, a very permanent organic pigment,
the undertones are bluish yet warm, which are disclosed in further
hues and mixes.
MICHAEL HARDING ARTIST OIL COLOUR 40ML CADMIUM ORANGE Michael Harding notes: Cadmium Orange.
PO 20. Fast Drying. Opaque. Excellent Lightfastness. Low Oil
Content.
A strong, in-your-face deep orange that has high tint power and opacity,
yielding surprisingly pinky hues in mixes with Titanium Whites.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML CADMIUM RED Michael Harding notes: Cadmium Red.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML CADMIUM RED DEEP Michael Harding notes: Cadmium Red Deep.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML CADMIUM RED LIGHT Michael Harding notes: Cadmium Red Light.
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 fi ery hues
when mixed with a more transparent White, such as Zinc.
MICHAEL HARDING ARTIST OIL COLOUR 40ML CHINESE VERMILLION Michael Harding notes: Genuine Chinese Vermilion.
PR 106. Average Drying. Very Opaque. Excellent Lightfastness.
Very Low Oil Content. TOXIC.
If I were to be asked of which pigment I was most proud, I think this
would be it. Mercuric Sulphide Vermilion was used in China from
early times, and in Europe since the 8th century. With the introduction
of the Cadmium Reds manufacturers considered that they could
offer these as cheaper alternatives, but I disagree. As the only colourman
to make the genuine article, as opposed to the rather obvious
approximations that are blends, I can say that its particularly tawny,
even slightly fi ery, deep red cannot be reproduced by these substitutes.
As far as weight, colorifi c density and price go, it is in a class
of its own, but if you wish to explore a deceptively mild range of
deep warm mixes with earths, as well as some subtle high hues, then
this is an expense worth bearing. Do bear in mind that Mercury compounds
are not to be treated as a joke, particularly in circumstances
where children could come into contact with them.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML MAGENTA Michael Harding notes: Magenta.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML NAPHTHOL RED Michael Harding notes: Naphthol Red.
PR 188. Average Drying. Semi-Opaque. Excellent Lightfastness.
High Oil Content.
A well-established organic pigment, Naphthol Red HF3S, which can
be used transparently or opaquely according to choice. In unmixed
state it is a pure and slightly fi ery red with high tint power, and a
range of yellowy-orange undertones, which become very noticeable
in hues, which produce much brighter and warmer pinks than are attainable
with the Cadmium Reds. When mixed with Zinc White these
can appear almost fluorescent.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML CRIMSON LAKE Michael Harding notes: Crimson Lake. PR 149. Average Drying. Transparent. Excellent Lightfastness. High Oil Content. Average Tinting Power. Non-Toxic.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML PERMANENT ORANGE Michael Harding notes: PO 73. Average Drying. Semi-Opaque. Excellent Lightfastness. High Oil Content. HighTinting Power. Non-Toxic.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML SCARLET LAKE Michael Harding notes: Scarlet Lake.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML VIOLET DARK Michael Harding notes: Cobalt Violet Dark.
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 refi ned 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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML VIOLET LIGHT Michael Harding notes: Cobalt Violet Light.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML MANGANESE VIOLET Michael Harding notes: Manganese Violet.
PV16. Average Drying. Semi-Opaque. Excellent Lightfastness.
Average Oil Content.
Manganese Ammonium Pyrophosphate, a heavy, bold Violet which
was fi rst made in Germany in 1868; one of the mid-19th century
wave of synthetic inorganic metal salts which so changed the artist’s
palette. It has very mild reddish overtones which do not cut through
mixes, and which some fi nd useful when making refl ex or shadowy
greys. Its average tint power allows it to be added without greatly
lowering the tonality of the result.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML ULTRAMARINE VIOLET Michael Harding notes: Ultramarine Violet.
PV15. Average Drying. Transparent. Excellent Lightfastness.
Average Oil Content.
A variant of Ultramarine pigment, achieved when slightly altering the
manufacture of the blue shade, Sodium Sulphosilicate, by heating it
with Chloride. The result is a weaker, more violet pigment which has
low tint power and a degree of transparency that lends itself to being
exploited in glazes or thin bodycolour. In hues it becomes a highkeyed,
rather fl uffy mauve which landscapists have found apposite
for the brighter tones of clear skies and for the modelling of sunlit
clouds.
MICHAEL HARDING ARTIST OIL COLOUR 40ML CERULEAN BLUE Michael Harding notes: Cerulean Blue.
PB36. Average Drying. Opaque. Excellent Lightfastness. Low Oil
Content.
Cobaltous Stannate was introduced in 1870 under the name “Coeruleum”,
i.e sky-blue, in imitation of a Roman pigment of that name. It
is a subtle greyish turquoise which some discerning painters value for
its rather mild hues, apposite for landscape and seascape.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML COBALT BLUE Michael Harding notes: Cobalt Blue.
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-fi red 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 fi lm
when dry is quite soft.
MICHAEL HARDING ARTIST OIL COLOUR 40ML COBALT TURQUOISE DEEP Michael Harding notes: Cobalt Turquoise Deep.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML KINGS BLUE DEEP Michael Harding notes: Kings Blue Deep.
PB29 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness.
Low Oil Content,
A deeper version of the other blend, useful for such features as architectural
modelling in backgrounds.
MICHAEL HARDING ARTIST OIL COLOUR 40ML KINGS BLUE LIGHT Michael Harding notes: Kings Blue Light.
PB29 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness.
Low Oil Content.
This name was given by English manufacturers to Smalt, a Cobalt
based pigment which was used in the 16th-17th centuries as a cheaper
alternative to Lapis Lazuli. Unfortunately Smalt was very prone
to fade into a light grey, as some Veronese skies demonstrate. But
the introduction of Ultramarine made it obsolete, and so I can offer
a completely reliable substitute blend which evokes the aerial effects
of the great Venetian decorators.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML PHTHALOCYANINE BLUE LAKE Michael Harding notes: Phthalocyanine Blue Lake.
PB15.3 Fast Drying. Transparent. Excellent Lightfastness. High
Oil Content.
A Chlorinated Copper invented in 1935, this was one of the first
synthetic organic pigments to be accepted as reliably permanent. It
is sometimes seen as a modern replacement for Prussian blue, but its
unmixed colour is slightly more cyan, and in hues it exhibits a unique
range of throbbing, intense, greenish blues which are quite distinct
from the latter. Having the most powerful tint power of any colour in
my range, this paint will blow any mix apart; if you wish to avoid doing
so, add it in tiny quantities and with caution! Its ferrous content
makes it a great drier, and like Prussian Blue it shows a tendency to
bronze on drying.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML PRUSSIAN BLUE Michael Harding notes: Prussian blue.
PB27. Very Fast Drying. Transparent. Very Good Lightfastness.
High Oil Content.
Ferri-ammonium Ferrocyanide, discovered in Berlin in 1704 and introduced
through the early 18th century, was one of the fi rst synthetic
inorganic pigments and also one of the most controversial. The earlier
and less purifi ed versions had a mixed reputation; they were said
to fade in hues, or even to migrate or leech through succeeding paint
layers. But modern standards of washing have dispensed with the
tendency to fade, and the migratory properties ascribed to this colour
are no longer reported: I suspect that this was the result of poor
stabilizing. At any rate, Prussian Blue, like Alizarin, is one of those
colours some painters fi nd essential. Its inky depth when unmixed
is belied by a range of uniquely intense blues resulting from hues,
particularly with Zinc White. On its own and in more concentrated
mixes it exhibits a slight bronzy sheen which can be used almost
like a complementary glaze. Its tint power is frightening, beginners
beware!
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML PHTHALOCYANINE BLUE/ZINC WHITE Michael Harding notes: Phthalocyanine Blue and Zinc White.
PB15.3 & PW4. Average Drying. Opaque. Excellent Lightfastness.
Low Oil content.
I devised this blend as a replacement for Manganese Blue, a compound
introduced in the 1950’s but now no longer manufactured.
This is far more intense than Manganese, with a vivid, almost luminous
appearance, which recalls the rich Lapis skies of Veronese and
other Venetian painters. The phenomenal tint power of the Phthalo
component means that it can be hued much more, with little loss of
brightness. A mixture of organic and inorganic pigments, it demonstrates
just what can be attained with modern pigment strengths.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML PHTHALOCYANINE TURQUOISE Michael Harding notes: Phthalocyanine Turquoise.
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 fi nd 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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML ULTRAMARINE BLUE Michael Harding notes: Ultramarine Blue.
PB29 Fast Drying. Transparent. Excellent Lightfastness. Average
Oil Content.
An obviously beautiful mid blue. The discovery in the 1820’s, of a
Sodium Sulphosilicate compound, which had appeared as a mysterious
blue deposit on soda-ash furnaces, was a liberating moment for
financially challenged artists everywhere. Up to then the only available
version of this compound was the often unobtainable Lapis
Lazuli ore, mined in Persia and China, a pigment so horrendously
expensive that it was frequently included as part of an artist’s commission
fee. Ultramarine has a high tint power which produces strong
reddish blue hues, and makes wonderful violets with Magenta and
the Red Lake colours. It is useful in greens and greys. The only
chemical weakness is a recorded sensitivity to atmospherically borne
acids, which can bleach it out. One of the more diffi cult paints to
make, as it forms an intractable runny syrup when fi rst ground into
oil, which has to be stabilized with fi ller.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML BRIGHT GREEN LAKE Michael Harding notes: Bright Green Lake.
PY3 & PG7. Average Drying. Transparent. Very Good Lightfastness.
High Oil Content.
I made this blend of the organic pigments Arylide Yellow and Phthalo
Green to fi ll 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 fl uoresces on
its own, and cuts right into mixes to reveal light sappy yellows.
MICHAEL HARDING ARTIST OIL COLOUR 40ML PHTHALOCYANINE GREEN LAKE Michael Harding notes: Phthalocyanine Green Lake.
PG7. Fast Drying. Transparent. Excellent Lightfastness. High Oil
Content.
Polychloro Copper Phthalocyanine probably ties with Phthalo Blue
as the strongest pigment in the range. Atomic tint power, add it with
great care! Ferocious acidy blue-green hues and blue undertones
which come to prominence in mixes with yellows. In common with
the Blue it displays, on drying and when used virtually unmixed, a
certain tendency to show surface bronzing.
MICHAEL HARDING ARTIST OIL COLOUR 40ML COBALT GREEN DEEP Michael Harding notes: Cobalt Green Deep.
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, but described to me by one artist as the one colour that
captures the foliage of English landscape.
MICHAEL HARDING ARTIST OIL COLOUR 40ML EMERALD GREEN Michael Harding notes: Emerald Green.
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! My blend has none of these disadvantages. Some artists
detest this uniquely strident colour, others love its acerbic tang, which
invites an almost Fauve series of related mixes.
MICHAEL HARDING ARTIST OIL COLOUR 40ML OXIDE OF CHROMIUM Michael Harding notes: Oxide of Chromium.
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 fi nd 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 ARTIST OIL COLOUR 40ML PERMANENT GREEN LIGHT Michael Harding notes: Permanent Green Light.
PY3 & PG36 & PW4 & PW6. Average Drying. Opaque. Excellent
Lightfastness. Low Oil Content.
Permanent or “ Victoria” Green was the generic name given by 19th
century English Manufacturers to a mid green, slightly bluish in undertones,
made from a variety of blends. My own recipe combines Arylide
Yellow and Yellow Shade Phthalo Green to give a very rich, earthy
hue in Zinc and Titanium Whites. Much stronger than Terre Verte, it
sometimes fulfi ls the same role in providing refl ex tones for portraiture
and fi gure painting.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML PERMANENT SAP GREEN Michael Harding notes: Permanent Sap Green.
PG7 & PBr7. Fast Drying. Semi-Opaque. Excellent Lightfastness.
High Oil Content.
Sap Green is a generic name for a rich deep green. Colourmen successively
changed its composition through a variety of natural organic
lakes, often unstable. Some years ago I made use of Hooker’s Green,
an organic synthetic pigment, before I replaced it, for the sake of
greater permanence, with this blend of Phthalo Green and Burnt Umber.
This green has an exceptionally rich,earthy, mossy range of yellow
undertones which suggest all kinds of vegetation and undergrowth.
MICHAEL HARDING ARTIST OIL COLOUR 40ML PHTHALOCYANINE GREEN YELLOW Michael Harding notes: Phthalocyanine Green Yellow Shade.
PG36. Fast Drying. Transparent. Excellent Lightfastness. High
Oil Content.
A variant of the Phthalo Green compound with a greater range of gingery
yellow undertones which are immediately apparent in hues. This
is due to increased numbers of Chlorine and Bromine atoms. The
tint power is less than that of straight Phthalo Green but the range of
clean, beautiful, pine greens obtainable from it is quite unique.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML TERRE VERTE Michael Harding notes: Terre Verte.
PG23. Fast Drying. Transparent. Excellent Drying. Average Oil
Content.
Green Earth, a complex of Ferrous Silicates in Aluminium and Magnesium
clays, is one of the few naturally-occurring inorganic pigments
still to be offered by colourmen. It has a very soft texture with
very low tint power, beloved of portraitists who use it as a glaze over
Alizarin Crimson hues. Some makers add other pigments in order to
give it a spuriously enhanced tint power which annuls these qualities.
I do not.
MICHAEL HARDING ARTIST OIL COLOUR 40ML VIRIDIAN Michael Harding notes: Viridian.
PG18. Very Fast Drying. Semi-Opaque. Excellent Lightfastness.
High Oil Content.
As one of the fastest driers in the range this hydrated variant of Chromium
Hydroxide, introduced in the mid 19th century, is a valued
support colour used for infl uencing greys in underpainting. The vivid
blue undertones apparent in thin layers are soon eclipsed in thicker
applications. Landscapists and some portraitists still prefer it to the
more brutal power of the Phthalo Greens. When combined with reds
an interesting range of blue-greys results.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML BURNT SIENNA Michael Harding notes: Burnt Sienna.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML BURNT UMBER Michael Harding notes: Burnt Umber.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML INDIAN RED Michael Harding notes: Indian Red.
PR 101. Very Fast Drying. Semi-Opaque. Excellent Lightfastness.
Average Oil Content.
A deeper and cooler shade of synthetic Iron Oxide with great colorific density and which makes hues with conspicuously purplish
undertones, and which some painters value for rendering flesh tones
in interior light.
MICHAEL HARDING ARTIST OIL COLOUR 40ML NAPLES YELLOW Michael Harding notes: Naples Yellow.
PBr24. Fast Drying. Semi-Opaque. Excellent Lightfastness. Low
Oil Content.
This is Titanium Antinomy Chromiumoxide, a synthetic inorganic
compound which I used to make a good mid-range substitute Naples
Yellow whilst I was seeking out a source of genuine Lead Antinomiate.
Now that I have one, it seems that many artists wish me to
retain this beautifully golden paint which makes bronze-like hues and
works very well with the low Earths.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML RAW SIENNA Michael Harding notes: Raw Sienna.
PBr 7. Very Fast Drying. Semi-Opaque. Excellent Lightfastness.
Average Oil Content.
Used as a ground tone and for underpainting since the 17th century,
this is one of the indispensable Earth Iron Oxides, and apart from
Terre Verte, the only naturally occurring clay I still source for my
paints. As the name suggests, the best grades come from central Italy,
where I derive my own supply.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML RAW UMBER Michael Harding notes: Raw Umber.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML RED UMBER Michael Harding notes: Red Umber.
PBr 7. Very Fast Drying. Transparent. Excellent lightfastness.
Average oil Content.
I decided to make this variant shade of Burnt Umber as a result of
my observations of 16th-17th painting, which suggested that 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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML TRANSPARENT OXIDE RED Michael Harding notes: Transparent Oxide Red.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML TRANSPARENT OXIDE YELLOW Michael Harding notes: Transparent Oxide Yellow.
PY42. Very Fast Drying. Transparent. Excellent Lightfastness.
Average Oil Content.
This Iron Oxide has been used as a wood dye, and I realized that 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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML UNBLEACHED TITANIUM DIOXIDE Michael Harding notes: Unbleached Titanium Dioxide.
PW6.1. Fast Drying. Opaque. Excellent Lightfastness. Low Oil
Content.
Before Titanium Dioxide is refi ned to make it white it contains a measure
of Iron Oxide, which gives it a subtle linen or limewash pinkybrown
shade. As well as making it a good drier, such a presence makes
this paint an ideal ground or underpainting colour, with good texture
and a lean surface. Some painters use it as a mixing agent in flesh
painting.
MICHAEL HARDING ARTIST OIL COLOUR 40ML VENETIAN RED Michael Harding notes: Venetian Red.
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 fl eshy hues, and
makes tones of great sonority when mixed with the Yellow Lakes.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML YELLOW OCHRE Michael Harding notes: Yellow Ochre.
PY42. Very Fast Drying. Opaque. Excellent Lightfastness. Average
Oil Content.
A higher-keyed and more greeny-gold shade of manufactured Iron
Oxide. It hues well to yield mustardy yellows quite close to Genuine
Naples Yellow Dark.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML YELLOW OCHRE DEEP Michael Harding notes: Yellow Ochre Deep.
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.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML IVORY BLACK Michael Harding notes: Ivory Black.
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 ARTIST OIL COLOUR 40ML / 225ML LAMP BLACK Michael Harding notes: Lamp Black.
PBk 6. Average drying. Opaque. Excellent Lightfastness. High
Oil Content.
So named because it was originally derived from the soot of oil
lamps, this is pure Carbon, and probably the fi rst pigment our ancestors
ever used to decorate their caves. A soft, slightly warm shade of
black whose lean surface gives it a greyish aspect. Probably not the
best choice for unmixed underpainting on account of its tendency
to move whilst drying, but this can be remedied with the addition of
good drying Earths.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML PAYNES GREY Michael Harding notes: Paynes Grey.
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.
MICHAEL HARDING ARTIST OIL COLOUR 225ML CREMNITZ WHITE 1 Michael Harding notes: Cremnitz White. (Linseed Oil Bound)
PW1. Fast Drying. Slightly Transparent. Lightfastness Excellent.Very Low Oil Content. TOXIC.
Pure Lead Carbonate in a binder which makes a heavy, tactile white
with a very robust surface. So called because it was originally
made in the Bohemian town of Kormeriz, called Cremnitz under
the Hapsburgs. The ideal white for furrowed, granular or impasto
mark-making. Sometimes called a “silver white” as a description of
its mild luminosity, when used unmixed it tends to dry with a slight
expression of oil to the surface, giving it a warmer, parchment-like
effect. A wonderful all round mixer for middle-value hues, which
supports colours without annulling them.
MICHAEL HARDING ARTIST OIL COLOUR 225ML CREMNITZ WHITE 2 WITH WALNUT OIL Michael Harding notes: PW1. Average Drying. Slightly Transparent. Lightfastness Excellent. Very Low Oil Content. TOXIC 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; from that time on it was widely used by just about all the great artists, being more a question of who did not use it rather than who did.
I thought it would be interesting to bring back this oil as a binder for lead white. It survived as the binder for the white made by French colourmen selling to the Impressionists, but it seems to have fallen out of use by the end of the 19th century. I believe the reason for this was its expense. Even today it costs about 3 times the price of linseed oil. But since lead paint needs little oil, the increased cost is less evident. Some accounts I have read speak of its tendency to go rancid, but I suspect this is less of a reason for its demise and more an offered excuse to drop it in favour of other, cheaper oils. Upon researching this matter I can find no evidence of the oil spoiling in any way, particularly while incorporated into the form of an oil paint.
There was in fact good reason why walnut oil was preferred as a binder for whites: it has the reputation for yellowing slightly less than linseed, and so paler and cooler colours bound with it underwent less change in drying. The film of dry walnut-bound paint is not quite as strong as that bound with linseed, but it is stronger than that of poppyseed oil, and this permits walnut-bound paint to be overpainted in a way which would risk later cracking if poppyseed oil had been used. Walnut oil dries at a rate comparable to linseed. I have read accounts of how it was particularly useful for the very detailed manipulation demanded by work such as portraiture. I suppose the works of the 15th century masters cited above demonstrate just how refined its handling could be. It is the feel of this paint under the brush, I think, which constitutes the most compelling argument for its revival.
MICHAEL HARDING ARTIST OIL COLOUR 225ML CREMNITZ WHITE 3 WITH DRIERS Michael Harding notes: PW1.Fast Drying. Slightly transparant. Lightfastness Excellent. Very Low Oil content. TOXIC. After some considerable deliberation on my part I have decided to add a special white to my range of Artists Oil colours. Cremnitz white No.3 is special in the way that it, unlike the other colours, will contain artificial driers. Except for that it will be exactly the same formulation as its respective cousin Cremnitz White in Linseed oil. This colour will ONLY be available in 250ml cartridges for Europe and 225ml tubes for the US/Canada and Australia.
Although I frown upon the use of driers I have received litaraly thousands querries about the speed of drying over the years and although I have always favoured the purist approach I feel that in some ways I must listen to this request. The tubes or tins will be labelled accordingly so that the artist can decide to what extent this concerns them and purchase accordingly. All the other whites in the range will remain unchanged.
MICHAEL HARDING ARTIST OIL COLOUR 225ML FLAKE WHITE 1 WITH LINSEED OIL Michael Harding notes: PW1& PW4. Average Drying. Slightly Transparent. Lightfastness Excellent. Very Low Oil Content. Average Tint power, TOXIC. This is a blend, in Linseed oil binder, of 67% Lead Carbonate with 33% Zinc Oxide, which is added to increase the brilliance of the Lead White, as well as to mop up the surface oil which, on its own, it tends to exude on drying. The fine handling qualities of Lead White are also supplemented by the way in which the Zinc White constituent retains the brightness of a colour with which Flake White is mixed, preventing the hue from appearing excessively chalky. Since French colourmen began to add Zinc White to Lead in the later 19th century, this has become the most widely used of the Lead Whites today, whose strong paint film makes it suitable for use throughout a painting, in varying thicknesses, and in dilutions with turpentine.
MICHAEL HARDING ARTIST OIL COLOUR 225ML FLAKE WHITE 2 WITH SAFFLOWER OIL Michael Harding notes: PW 1 Lead Carbonate, PW 4 Zinc Oxide ground in safflower oil. Average Drying, Slightly Transparent, Excellent Lightfastness, Very low Oil content, Average Tint Power. TOXIC. Bound with safflower oil, this colour is considered the most brillant and the most white of my range of oil colours.
MICHAEL HARDING ARTIST OIL COLOUR 225ML FOUNDATION WHITE (PRIMER ALTERNATIVE) Michael Harding notes: PW6 & PW1. Dries in 2-3 days. Very Opaque. Lightfastness Excellent. Very Low Oil Content. Average tint power. TOXIC.I was asked by a well-known artist to create a very lean, robust, fast-drying white which did not rely on extenders and siccatives for its qualities. So I made this 50/50 blend of Titanium and Lead Whites bound with linseed oil which combines a measure of the virtues of each. Its sizing alone can function as a priming on a surface.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML TITANIUM WHITE 1 WITH SAFFLOWER OIL Michael Harding notes: PW 6 Titanium Dioxide. PW4 Zinc Oxide. Very slow Dryer, Very Opaque, Excellent Lightfastness, High Tint Power, Non-toxic. Titanium White No. 1 bound with the less yellowing Poppyseed
oil, has now been discontinued. Recent sharp rises in the bulk price of
this oil prevent me from offering this paint at a realistic price. But I
have begun manufacturing as an acceptable substitute: Titanium White No. 1 bound with the less yellowing Poppyseed oil, has now been discontinued. Recent sharp rises in the bulk price of
this oil prevent me from offering this paint at a realistic price. But I
have begun manufacturing as an acceptable substitute:
Titanium White ( Saffl ower Bound).
PW6. Slow Drying. Very Opaque. Lightfastness Excellent. Low
Oil Content.
Safflower oil dries to a more robust fi lm than Poppyseed, which means
that this paint can be overpainted with less risk of later cracking
than the latter. It yellows comparably to Poppyseed, and handles in a
similar way. This is the most brilliant White in my range, suitable for
cool, opaque light hues, and generally as a highly keyed mixer.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML TITANIUM WHITE 2 Michael Harding notes: Titanium White No. 2.
PW6& PW4. Average Drying. Very Opaque. Lightfastness
Excellent. Low Oil Content.
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 fi lm when dry.
MICHAEL HARDING ARTIST OIL COLOUR 225ML TITANIUM WHITE 3 WITH DRIERS Michael Harding notes: PW6. Fast Drying. Very Opaque. Lightfastness Excellent. Low Oil Content After some considerable deliberation on my part I have decided to add this special white to my range of Artists Oil colours. 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. This colour will ONLY be available in 225ml tubes. Although I frown upon the use of driers I have received litaraly thousands querries about the speed of drying over the years and although I have always favoured the purist approach I feel that in some ways I must listen to this request. The tubes or tins will be labelled accordingly so that the artist can decide to what extent this concerns them and purchase accordingly. All the other whites in the range will remain unchanged.
MICHAEL HARDING ARTIST OIL COLOUR 40ML / 225ML ZINC WHITE Michael Harding notes: Zinc White.
PW4. Slow Drying. Slightly Transparent. Lightfastness Excellent.
Low Oil Content.
Perhaps the most under-appreciated of the Whites, Zinc Oxide was
fi rst used in 18th century France, and its early misuse as a canvas
primer seems to have frightened artists away from examining its
unique qualities. It has a cool transparency and a subtle power enabling
one to create slightly hued mixes which retain their chromatic
intensity and brightness, unlike those made by the blasting strength
of the Titanium Whites. The softness of its surface when dry is not a
disadvantage when it is used in this way, as the better drying paints
will strengthen the mix.
Mediums
MICHAEL HARDING MEDIUMS: In formulating his special painting mediums Michael Harding considered their compatibility with Michael Harding’s Artist Oil Colours, their long term stability, and the use of high grade natural materials to ensure excellent working properties.
A soft painting paste, derived from bleached pure beeswax, fused with dammar resin and linseed stand oil. To create satin sheen and gentle impasto to paint layers. When setting in the container occurs, allow jar to stand in hot water and stir until dissolved.
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.
Historic glaze medium based on light coloured Canada Balsam, fused with dammar resin and linseed stand oil. Provides increased gloss levels and imparts depth to paint films.
Historic paint medium, based on Austrian larch turpentine (Venice turpentine), fused with dammar resin and linseed stand oil. Can be added to oil colours to enhance depth, gloss and lustre.
New & exclusive to Wet Paint in the Minneapolis/St. Paul area, Michael Harding Oils are made by hand, using techniques dating back to the Old Masters. Experience stronger, richer color that’s full of pigment but free of fillers & driers. This paint is a pleasure to work with; the texture & handling characteristics are incomparable. Try the color that David Hockney says is “The first quality oil paint. Excellent!”
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