Michael Harding | Artists' Oil Colours — individual

4 Review(s)

These handmade oil colours are considered the best in the world. They are made from only the very best raw materials, have a high pigment concentration and mix perfectly. More

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120 colours

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Michael Harding Oil Paint Medium PM1

£ 8.00

Michael Harding Dammar Glaze Medium PM2

£ 8.95

Michael Harding Resin Oil Wax Medium PM3

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Click on the color to see more:

101

Series 1

Titanium white n° 1 (safflower oil)

102

Series 1

Titanium white n° 2 (linseed oil)

130

Series 1

Titanium white n° 3 (linseed oil)

137

Series 1

Warm white

226

Series 2

Warm yellow

249

Series 2

Warm yellow

108

Series 1

Lemon Yellow

110

Series 1

Yellow lake

401

Series 4

Cadmium yellow lemon

236

Series 2

Yellow benzimidazolone

109

Series 1

Bright yellow lake

402

Series 4

Cadmium yellow

248

Series 2

Citron

501

Series 5

Cobalt yellow (Aureolin)

404

Series 4

Cadmium yellow deep

403

Series 4

Cadmium golden yellow

202

Series 2

Yellow lake deep

203

Series 2

Indian yellow

204

Series 2

Indian yellow (red shade)

411

Series 4

Quinacridone gold

502

Series 5

Cadmium orange

222

Series 2

Permanent orange

246

Series 2

Brilliant orange

234

Series 2

Orange benzimidazolone

245

Series 2

Orange sunset

503

Series 5

Cadmium red light

230

Series 2

Pyrrole red

319

Series 3

Rose doré

504

Series 5

Cadmium red

205

Series 2

Scarlet lake

301

Series 3

Napthol red

701

Series 7

Genuine Chinese vermilion

505

Series 5

Cadmium red deep

302

Series 3

Alizarin crimson

310

Series 3

Alizarin claret

406

Series 4

Crimson lake

608

Series 6

Rose madder

303

Series 3

Magenta

317

Series 3

Madder brown

207

Series 2

Brilliant pink

247

Series 2

Opera rose

321

Series 3

Quinacridone coral

311

Series 3

Quinacridone rose

322

Series 3

Quinacridone violet

601

Series 6

Cobalt violet light

233

Series 2

Ultramarine pink

309

Series 3

Amethyst

602

Series 6

Cobalt violet dark

254

Series 2

Rose blush

314

Series 3

Perylene violet

304

Series 3

Mangnanese violet

242

Series 2

Wisteria

243

Series 2

Lavender

241

Series 2

Belladonna

208

Series 2

Ultramarine violet

312

Series 3

Deep violet

112

Series 1

Prussian blue

228

Series 2

Indigo

209

Series 2

Phthalo blue lake

113

Series 1

Ultramarine blue

231

Series 2

Phthalocyanine blue red shade

702

Series 7

Lapis lazuli

313

Series 3

Indanthrone blue

506

Series 5

Cobalt blue

603

Series 6

Cerulean blue

227

Series 2

Pale violet

212

Series 2

Kings blue deep

211

Series 2

Kings blue light

318

Series 3

Blue verditer

114

Series 1

Phthalo blue & titanium white

240

Series 2

Vivid blue

516

Series 5

Cobalt teal blue shade

513

Series 5

Cobalt teal

210

Series 2

Phthalo turquoise

229

Series 2

Caribbean turquoise

507

Series 5

Cobalt turquoise deep

511

Series 5

Viridian

217

Series 2

Permanent sap green

508

Series 5

Cobalt green deep

412

Series 4

Cadmium green

116

Series 1

Bright green lake

214

Series 2

Phthalo green (yellow shade)

213

Series 2

Phthalo green

215

Series 2

Permanent green light

251

Series 2

Aqua green

216

Series 2

Emerald green

115

Series 1

Terre verte

132

Series 1

Italian green umber

410

Series 4

Green gold

237

Series 2

Olive green

239

Series 2

Moss green

305

Series 3

Chromeoxide green

238

Series 2

Hookers green

117

Series 1

Unbleached titanium oxide

235

Series 2

Turners yellow

218

Series 2

Naples yellow

118

Series 1

Yellow ochre deep

119

Series 1

Yellow ochre

219

Series 2

Transparent oxide yellow

133

Series 1

French yellow ochre

244

Series 2

New gamboge

120

Series 1

Raw Sienna

223

Series 2

Italian brown ochre

125

Series 1

Burnt Sienna

138

Series 1

Herculane red

122

Series 1

Venetian red

123

Series 1

Indian red

220

Series 2

Transparent oxide red

124

Series 1

Red umber

121

Series 1

Raw umber

126

Series 1

Burnt umber

224

Series 2

Transparent brown oxide

232

Series 2

Permanent brown

134

Series 1

van Dyck brown

140

Series 1

Neutral grey N7

136

Series 1

Neutral grey N5

139

Series 1

Neutral tint

127

Series 1

Payne's grey

135

Series 1

Vine black

128

Series 1

Lamp black

129

Series 1

Ivory black

Key to symbols

opaque

semi-transparent

transparent semi-opaque

semi-opaque transparent

transparent maximum lightfastness

maximum lightfastness very good lightfastness

very good lightfastness excellent lightfastness

excellent lightfastness Series Price series

Michael Harding Artists' Oil Colours are manufactured to the very highest standards. They have a high pigment concentration and mix perfectly. The consistency is better described as "silky" rather than "oily".

Only the very best raw materials are used, and the handmade production of Michael Harding Artists' Oil Colours provides artists with a first-class result with every brush stroke.

These oil colours are unrivalled, making them very popular with artists such as David Hockney, Sir Howard Hodgkin and Chris Ofili. These artists give testimony to Michael Harding's claim: 'I only want to make the world's greatest oil paints.I cannot afford to compromise.'

Michael Harding Artists' Oil Colours are available in numerrouss colours in various sizes.

N.B. Please click on the required shade below to see prices and add to your basket.

Price per item.

Review this product

14.09.2018

LEWIS

Not for me, I still prefer the backing of a resourceful proper Manufacturer - I experimented - cautiously! - with Michael Harding oils years ago and I didn't like them. The little flakes in the tube are simply oil paint skin formed in production process or later on, inside the tube. This is a pain! It is not easy to capture those flakes, and straining tube paint is not an easy job, and defeats the purpose of having paint in tubes, which is supposed to be practical and save time.
Michael Harding, even now, is a relatively small manufacturer, and inconsistencies such as the example of the dried oil skin flakes inside the tube, are more likely to happen in small manufacturing operations. This is where I prefer the backing of a larger manufacturer, with much better resources, labs and so on. In 20 years or so using Winsor & Newton, LeFranc & Bourgeois, Royal Talens, Sennelier and such, I have never encountered a fault like the flakes in tubes. Larger manufacturers have standard, very strict industrial quality control procedures, and the reliability is just there. I never found a tube with faulty paint in any of them, the colours are always consistent, the oil paste is always the same quality and viscosity, etc. I like this reliable standard, it meets expectations all the time, every time.
Then we have the prices and the heavy metal toxic/poisonous and in some cases carcinogenic pigments used in some of Michael Harding oils. The common excuse that artists are supposed to be careful, does not wash because careful or not, when it is time to clean your brushes, the toxic waste has to go somewhere, and in most studios, a lot of that toxicity goes down the drains into the waterways. Let's face it... In the 21st Century, it is possible to produce top of the range colours using safer pigments. This brand is another case of hype and clever marketing by trying to persuade artists that only genuine toxic pigments will produce the right colours and therefore professional results. I do not subscribe to any of what I explained above.
Prices are also too high, and the main reason is because the prices have to match the hype, so they are inflated. Pigment and oil bought industrially in bulk are relatively cheap to buy and even the added extra of saying that MH are handmade oil colours is at best an overstatement and at worst, a misrepresentation of sorts. MH paints produced on this scale have to be mixed in mechanical vats to wet the pigments, and then the mixes have to be put through triple roll mill machines to grind the pigment into the oil and obtain an oil colour, as we all know it.
Save yourself some hard earned cash, don't buy into the excessive hype; there is plenty of excellent oil colour, artist grade paint out there, better than Michael Harding, more reliable in my view, colour matched, batch after batch after batch; and at a far better and more realistic price.

30.03.2016

Susan

not all good - The pigments in some of these paints are excellent.
There's problems with some batches of Titanium White. The large tubes with code 02 15 have flakes in them which appear towards the end of the tubes. I've been told by Michael Harding that the tubes have been withdrawn but GreatArt have still supplied them. I have since contacted GreatArt about this and they are aware of problem.

25.03.2015

Jacky

Quality Oil Pigments, with wonderful colours - I switched to Micheal Hardy paints 2 years ago after starting painting only six months previously. It became apparent very quickly that cheaper paints were like painting with butter that slipped around on the canvas. The colours are so good with Micheal Hardy paints that I find I use less paint and waste less paint too.
They mix beautifully and the tones are not harsh unlike the cheaper paints I started out with! I love the warmth of the brown umbers, The vibrancy of the orange and lemon yellow.
I paint local seaside scenes mixing lots of blue/greens and stormy purples. The rich tones of the pigments in the cobalt blue and aquamarine blue combining with the cad yellow and the beautiful turquoise tones give me all the range of sea and skies I want. I am now selling paintings, prints and cards! I am sure the comments I get about my colourful pictures is in part down to the wonderful Micheal Harding paint I use. I would recommend them to anyone beginner or experienced. I liken it to learning a musical instrument. It is not good if the instrument makes a horrid noise however well you play it!

31.05.2014

Alison

Wonderful Oil Colours - I'm now a total convert from W&N Artist's range to Michael Harding's Oil Colours; the look, colour and flow of the Harding paints mean that they are in a league of their own. My particular favourites include the unique Red Umber (redder than Burnt Umber, so great for warm shades when mixed with Ultramarine Blue and Black), Cobalt Green Deep (I modify this colour for my landscapes: from bluish greys to rich, warm greens), Ultramarine Blue (its pigment has great luminosity and depth), Scarlet Lake (a great all-round red and can be used for the pinks in botanical subjects), Permanent Orange (the best orange I've tried - not too fiery, a good replacement for Cadmium Orange), Raw Umber (Harding's version is the most saturated I've come across with the most greenish undertones) and Burnt Sienna (leaning more towards red than orange, its great for toning down the colours in landscape painting and for producing flesh tones). All the information the artist requires, including the pigment's code, transparency, chemical formula, tint strength and oil content, is provided on the paint-tube. Moreover, for handmade oil colours, its amazing that Michael Harding offers such competitive prices.

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