Michael Harding produces handmade paint using age old techniques. These processes create premium oil paint colours that are true, vibrant and durable. 60ml & 225ml sizes available as well as 40ml in selected ranges. Use the filters above or search function at the top of the page to quickly find the paint you want. All colours in stock.
£24.96 £18.72PR 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.
£24.96 £18.72PV16. 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
£17.47 £13.10PBr24. Fast Drying. Semi-Opaque. Excellent Lightfastness. Low Oil Content.
Made with Titanium Antinomy Chromiumoxide, a synthetic inorganic compound which makes a good mid-range substitute Naples Yellow. A beautifully golden paint which makes bronze-like hues and works very well with the low Earths.
£24.96 £18.72PR 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 fiery 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.
Neutral Grey from Michael Harding is now available from Art Req.
£24.96 £18.72PG17. 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 - Pale Violet (series 2)
In stock now for immediate dispatch.
£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.
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. This paint 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 fulfils the same role in providing reflex tones for portraiture and figure painting.
£17.47 £13.10PO 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.
£17.47 £13.10PG7 & PBr7. Fast Drying. Semi-Opaque. Excellent Lightfastness. High Oil Content.
Sap Green is a generic name for a rich deep green.
£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
£17.47 £13.10PB15.3 Fast Drying. Transparent. Excellent Lightfastness. High Oil Content.
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. This paint will blow any mix apart; 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.
£17.47 £13.10PG7. Fast Drying. Transparent. Excellent Lightfastness. High Oil Content.
Polychloro Copper Phthalocyanine probably ties with Phthalo Blue as the strongest pigment in the range. 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.
£17.47 £13.10PG36. 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.
£17.47 £13.10PB 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.
£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.
Organic, Colour Index PY 150, PR 209, PV19, Drying Speed: Average, Opacity Covering and Tint Power: High, Lightfastness: Excellent, Oil Content: High, Toxic No.
Conforms to ASTM D-4236
It is perfect for artists who like either glazing or being adventurous with colour.
Quinacridone Gold from Michael Harding. Available in 60mp and 225ml.
£24.96 £18.72PV 19. Average Drying. Transparent. Excellent Lightfastness. High Oil Content.
An absolutely beautiful warm red with a very unique nature when mixed with or glazed over whites it produces a truly shocking shade of pink.
£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.
Colour index number Nr 9. Average speed drying, and non-toxic, high oil content.
Rose Madder is a traditional lake pigment, extracted from the common madder plant Rubia Tinctorum. The Egyptians are credited with developing several techniques to produce a lake pigment. During the 17th century British army red coats were made with a shade of madder! This is the lovely claret colour favoured for portraits throughout time.
£17.47 £13.10PR 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.
£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.
Very fast drier. Pr 101
This is a fantastic colour with an incredibly small pigment particle size which in turn gives it great clean transparency ideal for glazing with.
£17.47 £13.10PR 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.
£17.47 £13.10PY42. Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content.
This Iron Oxide 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.
£11.23 £8.42PB29 Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content.
An obviously beautiful mid blue.
£17.47 £13.10PV15. 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 high-keyed, rather fluffy mauve which landscapists have found apposite for the brighter tones of clear skies and for the modelling of sunlit clouds.
£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.
£47.42 £35.57PG18. Very Fast Drying. Semi-Opaque. Excellent Lightfastness. High Oil Content.
This fast drier is a valued support colour used for influencing 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.
£17.47 £13.10PW 6, PW 4 & PY 42. Average Drying. Opawue. Excellent Lightfastness. Linseed Oil. Very Low Oil Content. Conforms to ASTM D-4236
Warm Light Yellow is prefect for artists seeking a white with a tinge of yellow. Perfect for mixing colours and can be used in portraits, landscapes and non-figurative works. The consistency is gorgeous with easy brush stroke coverage and luminous opacity in a soft beautiful light.
£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.
£17.47 £13.10PY1.1. 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.
£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 £8.42 - Sold Out
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.