Up to -46%

Michael Harding Artists' Oil Colours

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". More

~~£ 7.56~~
from £ 6.29

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Description

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good lightfastness very good lightfastness

very good lightfastness excellent lightfastness

excellent lightfastness adequate lightfastness

adequate lightfastness Series Price series

Up to -27%

101

Series 1

Titanium White (Safflower Oil)

Up to -27%

102

Series 1

Titanium White (Linseed Oil)

-19%

130

Series 1

Titanium White 3 (Linseed Oil)

Up to -27%

137

Series 1

Warm White

Up to -27%

103

Series 1

Zinc White

Up to -20%

226

Series 2

Warm Yellow

Up to -27%

117

Series 1

Unbleached Titanium Oxide

Up to -24%

512

Series 5

Light Yellow

Up to -24%

514

Series 5

Lead Tin Lemon Yellow

Up to -27%

108

Series 1

Lemon Yellow

Up to -28%

605

Series 6

Naples Yellow Light

Up to -24%

401

Series 4

Cadmium Yellow Lemon

Up to -27%

109

Series 1

Bright Yellow Lake

Up to -24%

501

Series 5

Aureolin

Up to -28%

606

Series 6

Naples Yellow Deep

Up to -24%

410

Series 4

Green Gold

Up to -27%

110

Series 1

Yellow Lake

Up to -24%

402

Series 4

Cadmium Yellow

Up to -20%

203

Series 2

Indian Yellow

Up to -20%

218

Series 2

Naples Yellow

Up to -20%

202

Series 2

Yellow Lake Deep

Up to -24%

404

Series 4

Cadmium Yellow Deep

Up to -24%

403

Series 4

Cadmium Golden Yellow

Up to -20%

204

Series 2

Indian Yellow (Red Shade)

Up to -24%

502

Series 5

Cadmium Orange

Up to -20%

222

Series 2

Permanent Orange

Up to -21%

301

Series 3

Napthol Red

Up to -20%

205

Series 2

Scarlet Lake

Up to -24%

503

Series 5

Cadmium Red Light

Up to -31%

701

Series 7

Genuine Chinese Vermilion

Up to -24%

406

Series 4

Crimson Lake

Up to -24%

505

Series 5

Cadmium Red Deep

Up to -24%

504

Series 5

Cadmium Red

Up to -21%

302

Series 3

Alizarin Crimson

Up to -21%

311

Series 3

Quinacridone Rose

Up to -20%

220

Series 2

Transparent Oxide Red

Up to -21%

310

Series 3

Alizarin Claret

Up to -27%

122

Series 1

Venetian Red

Up to -27%

123

Series 1

Indian Red

Up to -46%

515

Series 6

Rose Madder

Up to -20%

207

Series 2

Brilliant Pink

Up to -21%

303

Series 3

Magenta

Up to -28%

601

Series 6

Cobalt Violet Light

Up to -21%

309

Series 3

Amethyst

Up to -21%

304

Series 3

Mangnanese Violet

Up to -28%

602

Series 6

Cobalt Violet Dark

Up to -20%

208

Series 2

Ultramarine Violet

Up to -21%

312

Series 3

Deep Violet

Up to -20%

227

Series 2

Pale Violet

Up to -20%

211

Series 2

Kings Blue Light

Up to -20%

212

Series 2

Kings Blue Deep

Up to -27%

114

Series 1

Phthalo Blue & Zinc

Up to -31%

702

Series 7

Lapis Lazuli

Up to -28%

603

Series 6

Cerulean Blue

Up to -24%

506

Series 5

Cobalt Blue

Up to -27%

113

Series 1

Ultramarine Blue

Up to -20%

209

Series 2

Phthalo Blue Lake

Up to -27%

112

Series 1

Prussian Blue

Up to -24%

513

Series 5

Cobalt Teal

Up to -20%

210

Series 2

Phthalo Turquoise

Up to -27%

116

Series 1

Bright Green Lake

Up to -20%

215

Series 2

Permanent Green Light

Up to -20%

216

Series 2

Emerald Green

Up to -24%

508

Series 5

Cobalt Green Deep

Up to -24%

511

Series 5

Viridian

Up to -27%

115

Series 1

Terre Verte

Up to -21%

305

Series 3

Oxide of Chromium

Up to -20%

213

Series 2

Phthalo Green

Up to -20%

214

Series 2

Phthalo Green (Yellow Shade)

Up to -20%

217

Series 2

Permanent Sap Green

Up to -24%

507

Series 5

Cobalt Turquoise Deep

Up to -27%

132

Series 1

Italian Green Umber

Up to -20%

219

Series 2

Transparent Oxide Yellow

Up to -27%

133

Series 1

French Yellow Ochre

Up to -27%

119

Series 1

Yellow Ochre

Up to -20%

223

Series 2

Italian Brown Ochre

Up to -27%

118

Series 1

Yellow Ochre Deep

Up to -27%

120

Series 1

Raw Sienna

Up to -20%

224

Series 2

Transparent Brown Oxide

Up to -27%

125

Series 1

Burnt Sienna

Up to -27%

124

Series 1

Red Umber

Up to -27%

126

Series 1

Burnt Umber

Up to -27%

121

Series 1

Raw Umber

Up to -27%

134

Series 1

Van Dyck Brown

Up to -27%

136

Series 1

Neutral Grey

Up to -27%

135

Series 1

Vine Black

Up to -27%

127

Series 1

Payne's Grey

Up to -27%

129

Series 1

Ivory Black

Up to -27%

128

Series 1

Lamp Black

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.

Michael Harding Artists' 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 various sizes.

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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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