£11.23 £8.42PY3 & PG7. Average Drying. Transparent. Very Good Lightfastness. High Oil Content.
This blend of the organic pigments Arylide Yellow and Phthalo Green to fill 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 fluoresces on its own, and cuts right into mixes to reveal light sappy yellows.
£11.23 £8.42Slow Drying. Transparent. Very Good Lightfastness. High Oil content.
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.
£11.23 £8.42PBr 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.
£11.23 £8.42PBr 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.
Colour index number Py 43, being an iron based inorganic earth pigment; its drying speed is of course fast and can be described as a semitransparent oil paint.
Ochre is a common pigment choice for artists dating back to the Middle Stone Age. Ochre is a natural earth pigment containing hydrated iron oxide. This Ochre pigment is from the oldest source in France and ground in linseed oil. French Yellow Ochre offers earth properties providing the artist with a glowing natural yellow.
£11.23 £8.42PR 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.
Colour index number Pbr 7. It is a natural earth from Italy. Italian Green Umber dries very quickly.
The romantic, earthy colour is ground in linseed oil. It is an inorganic pigment especially chosen for its deep green warm semitransparent undertone. It is ideal for Plein Air painters to create rich earthy greens for their landscapes. Portrait artists will appreciate the paints’ ability to help an artist achieve many effects, for example shadows. The handling of the oil paint is smooth and consistent.
£11.23 £8.42PBk 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.
£11.23 £8.42PBk 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 first 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.
£11.23 £8.42PY31. 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.
Neutral Grey from Michael Harding is now available from Art Req.
£11.23 £8.42PBk 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.
£11.23 £8.42PB15.3 & PW4. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.
This blend was devised as a replacement for Manganese Blue, a compound introduced in the 1950
£11.23 £8.42PB27. Very Fast Drying. Transparent. Very Good Lightfastness. High Oil Content.
Prussian Blue, like Alizarin, is one of those colours some painters find 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.
£11.23 £8.42PBr 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.
£11.23 £8.42PBr 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.
£11.23 £8.42PBr 7. Very Fast Drying. Transparent. Excellent lightfastness. Average oil Content.
Variant shade of Burnt Umber inspired as a result of bservations 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.
£11.23 £8.42PG23. 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 Michael Harding does not.
£11.23 £8.42PW 6 Titanium Dioxide. PW4 Zinc Oxide. Very slow Dryer, Very Opaque, Excellent Lightfastness, High Tint Power, Non-toxic.
bound with with Safflower oil.
Safflower oil dries to a robust film, which means that this paint can be overpainted with a low risk of later cracking. It yellows comparably less to linseed oil, and handles in a similar way. This is the most brilliant non-toxic White in the Michael Harding range, suitable for cool, opaque light hues, and generally as a highly keyed mixer
£11.23 £8.42PW6& 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.
£33.07 £24.80PW6. Fast Drying. Very Opaque. Lightfastness Excellent. Low Oil Content
Titanium White No.3 is special in the way that it, unlike the other colours, contains artificial driers. Except for that this colour is exactly the same formulation as its respective cousin Titanium White no.2 in Linseed oil. This colour is ONLY available in 225ml tubes.
£11.23 £8.42PB29 Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content.
An obviously beautiful mid blue.
£11.23 £8.42PW6.1. Fast Drying. Opaque. Excellent Lightfastness. Low Oil Content.
Before Titanium Dioxide is refined to make it white it contains a measure of Iron Oxide, which gives it a subtle linen or limewash pinky-brown 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.
This semi-transparent dark brown is a very good alternative to blacks made from natural earths and iron oxides. Reminiscent of the backgrounds of Flemish portraits, it has a fast drying time.
£11.23 £8.42PR 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 fleshy hues, and makes tones of great sonority when mixed with the Yellow Lakes.
A fast dryer PBk 11
A useful alternative to the existing blacks with a cool almost slightly yellow undertone when thinned.
£11.23 £8.42PW 6, PW 4 & PY 42. Average Drying. Opaque. Excellent Lightfastness. Linseed Oil. Oil Content Low. Conforms to ASTM D-4236.
Warm White is perfect for artists who want a lead like paint without the lead content. This warm white is very opaque, has outstanding brushing qualities and mixes well with every colour on the artist’s palette.
£11.23 £8.42PY74. 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.
£11.23 £8.42PY42. Very Fast Drying. Semi-Transparent. 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.
£11.23 £8.42PY42. 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.
£11.23 £8.42PW4. Slow Drying. Slightly Transparent. Lightfastness Excellent. Very Low Oil Content, Average Tint power. Non-toxic
Perhaps the most under-appreciated of the Whites, Zinc Oxide was first 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.