Michael Harding began making oil colours in 1982, his desire to reproduce the intensity of colour that artists would have worked with prior to the start of mass production in the 1840s. Since then, he has built up a range of 69 colours, some contemporary and some historical, based on research into the Old Masters and consultation with current artists. Handmade and matched by eye rather than machine, they are wholly unique, varying to the smallest degree between batches, and David Hockney, Howard Hodgkin, Chris Ofili and many more have waxed lyrical about their virtues. He uses only the finest of the finest pigments, including genuine Afghan lapis lazuli and real Chinese Vermilion, grinds in refined cold-pressed linseed oil (or occasionally safflower oil) to ensure the highest degree of permanence. He also refuses to use fillers, extenders and driers. Michael Harding Oil Paints bring you the rich history of this highest of art forms in a tube, proof positive of the central importance of materials. Responding to demand, he recently began to make a range of special mediums and varnishes to complement his colours.
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Introductory Set containing 6 colours in 40ml tubes
''Many people who are new to our products have requested that we suggest colours for them to try. We are happy to provide you with any of our More Info >>
The Michael Harding Plein Air "Painter" Set containing 10 colours in 40ml tubes.
An essential set from Michael Harding Artists Oil Colours for plein air painting. This set contains 10 of Michael More Info >>
Michael Harding's Oleo Impasto Medium (PM7) is a gel made from fumed silica and linseed oil which imparts great luminosity, particularly with transparent colours. You can add it with a brush or knife More Info >>
When mixed with oil paint, linseed oil will increase the gloss and transparency of the paint, and will thin the paint so that it flows more easily and does not hold brushmarks. It will also slow the More Info >>
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 More Info >>