MICHAEL HARDING ART MATERIALS - Jackson's Art Supplies

MICHAEL HARDING ART MATERIALS
INFO BROCHURE
2012:

Philosophy
My paints are made by hand, using techniques
which date back to the days of the Old Masters.
There is a very simple reason for this painstaking
process. As an artist and painter I wanted to
create colours that were true and vibrant, and
paint which was beautiful and durable.
The greater the pigment content of a paint the
greater the resistance it has to fading. Nearly all
manufacturers use various fillers to extend the
volume of the oil paint. It may increase profits but
it compromises on quality. I totally refuse to do
this. Why make something exceptional and then
dilute it?
I will not claim that my paints will turn you into a
great painter, but I can promise they will have a
profound effect on your work. Your colours will
be stronger and richer, and you will find the
texture of the paint incomparable. You will love
working with them.
Try them. You will be amazed!
History.
I started making oil colours back in 1982 while I
was studying Fine Art. I had always been inspired
by Rembrandt's paintings in the National Gallery
and I wanted to try and recreate his paint effects
and glorious colours in my own work.
Not surprisingly, after a number of aborted
attempts, I realised something was missing.
It wasn’t just his genius that I lacked but the
actual materials I was using. They would not
behave in the same way as the paint in his work,
and the colours had a totally different
appearance.
Info Brochure Michael Harding Art Materials
2012
My quest began. I was determined to get what I
needed - oil paint that was of the same quality and
consistency as that used by the Old Masters. After
a number of months doing intensive research I
turned my flat into a small oil paint factory.
There were various experiments before I hit on the
right consistency and then gradually the hard work
began to pay off, I produced my first paints and
suddenly found myself in business. Almost
immediately I started supplying the Royal College
of Art and the Victoria and Albert Museum. Word
spread and demand for my paint grew at an
alarming rate.
I still make my own paint and am still excited by
the process, the materials and the colours. Artists
now write to me from all over the world and we
discuss colours, techniques, problems and recipes.
That dialogue is very important to me. I have
deliberately added their comments and emails to
my site so that you can share their views, their
ideas and the valuable information that has been
generated. Their testimonials say more about my
paint than I ever could, and besides I’d rather you
heard it from "the horse’s mouth"!
Website
Please visit our website at
www.michaelharding.co.uk.
For more information about our oil paints and
their use. The website is a valuable source of
information for every oil painter.

Products
Oil Paints and Mediums
Month Day Year
Info Brochure Michael Harding Art Materials
2012
This range of artist oil paints is made with colour intensities that artists would have experienced prior
to the 1840’s. This was when the invention of the collapsible tube led to mass production and gradual
dilution of quality of the oil paint. Mass produced paints of today are pale imitations of the colours
that artist before the 1840’s were able to either make themselves or purchase from colourman.
The majority of artists who try my paints for the first time are shocked by the discovery that they had
previously been painting with muted colours with serious questions as to their permanence. I can say
with complete confidence that not only will an artist's work last longer but they will enjoy a much
greater empathy with their paint.
All colours are ground in a highest quality of oils. The majority in linseed oil, but for some I use
safflower or walnut oil.
I have taken the greatest care in selecting all the ingredients that I use. As an artist as well as a
colourman I care not only about the permanence but the beauty of the colours. My selection of the
finest pigments takes into account many aspects and the nature of colour. The result is a major
difference in the power and intensity of the oil colours, which will be guaranteed to be longer lasting
than other manufacturers’.
Thousands of artists have enjoyed my paints over the years. As requested by many to accompany the
range of oil colours with a similarly high quality range of mediums, I have developed six mediums and
two varnishes that are fully compatible with the paints and ensure their long-term stability.
Company Name Here

Oil Paints
SERIES 1
NO 101 Titanium White No.1 (Safflower Oil)
NO 102 Titanium White No.2 (Linseed Oil)
NO 103 Zinc White
NO 104 Foundation White
NO 105 Flake White 2 (Safflower Oil)
NO 106 Flake White 1 (Linseed Oil)
NO 107 Cremnitz White (Linseed Oil)
NO 108 Lemon Yellow
NO 109 Bright Yellow Lake
NO 110 Yellow lake
NO 112 Prussian Blue
NO 113 Ultramarine Blue
NO 114 Phthalocyanine Blue & Zinc White
NO 115 Terre Verte
NO 116 Bright Green Lake
NO 117 Unbleached Titanium Dioxide
NO 118 Yellow Ochre Deep
NO 119 Yellow Ochre
NO 120 Raw Sienna
NO 121 Raw Umber
NO 122 Venetian Red
NO 123 Indian Red
NO 124 Red Umber
NO 125 Burnt Sienna
NO 126 Burnt Umber
NO 127 Paynes Grey
NO 128 Lamp Black
NO 129 Ivory Black
NO 130 Titanium White No.3 (Linseed Oil)
NO 131 Cremnitz White No.3 (Linseed Oil)
SERIES 2
NO 201 Cremnitz White in Walnut Oil
NO 202 Yellow Lake Deep
NO 203 Indian Yellow
NO 204 Indian Yellow Red Shade
NO 205 Scarlet Lake
NO 207 Brilliant Pink
Info Brochure Michael Harding Art Materials
2012
NO 208 Ultramarine Violet
NO 209 Phthalocyanine Blue Lake
NO 210 Phthalocyanine Turquoise
NO 211 Kings Blue Light
NO 212 Kings Blue Deep
NO 213 Phthalocyanine Green Lake
NO 214 Phthalocyanine Green Yellow Shade
NO 215 Permanent Green Light
NO 216 Emerald Green
NO 217 Permanent Sap Green
NO 218 Naples Yellow
NO 219 Transparent Oxide Yellow
NO 220 Transparent Oxide Red
NO 222 Permanent Orange
SERIES 3
NO 301 Napthol Red
NO 302 Alizarin Crimson
NO 303 Magenta
NO 304 Manganese Violet
NO 305 Oxide of Chromium
SERIES 4
NO 401 Cadmium Yellow Lemon
NO 402 Cadmium Yellow
NO 403 Cadmium Golden Yellow
NO 404 Cadmium Yellow Deep
NO 406 Crimson Lake
SERIES 5
NO 501 Aureolin
NO 502 Cadmium Orange
NO 503 Cadmium Red Light
NO 504 Cadmium Red
NO 505 Cadmium Red Deep
NO 506 Cobalt Blue
NO 507 Cobalt Turquoise Deep
NO 508 Cobalt Green Deep
NO 511 Viridian
SERIES 6
NO 601 Cobalt Violet Light
NO 602 Cobalt Violet Dark
NO 603 Cerulean Blue
NO 605 Genuine Naples Yellow Light
NO 606 Genuine Naples Yellow Dark
SERIES 7
NO 701 Genuine Chinese Vermilion
NO 702 Lapis Lazuli (Afghan)

Mediums & Varnishes
Mediums
PM1 Oil Paint Medium
PM2 Dammar Glaze Medium
PM3 Resin Oil Wax Medium
PM4 Beeswax Paste
PM5 Oleo Resin Medium
PM6 Balsam-Resin Glaze Medium
Varnishes
V1 Dammar Varnish
V2 Matt Varnish
On Request
LO Linseed Oil
SO Safflower Oil
WO Walnut Oil
RT Double Rectified Turpentine
CB Canada Balsam
LT Larch Turpentine (Venice turpentine)
Sizes available
Paint Tubes
40ml (pack size 3)
60ml (pack size 3)
225ml (pack size 1)
All colours are available in all tube sizes, except:
Lead whites for E.U.: 250ml cartridge + gun
Tit.White No.3 : 225ml only
Paint Tins
250ml (on request)
1000ml
2500ml
All whites and blacks. Other colours on request.
Mediums
100ml glass jar (pack size: 3)
250ml tin bottle (pack size: 1)
1000ml tin bottle (pack size: 1)
Info Brochure Michael Harding Art Materials
2012

Lapis Lazuli
PLACE PHOTO HERE,
OTHERWISE DELETE BOX
Info Brochure Michael Harding Art Materials
2012
Michael Harding Handmade Oil Colours
Special Colours
There are a few special pigment colours in the range; an example is a genuine Afghan lapis lazuli.
The first and most noticeable thing about the lapis lazuli compared to the modern synthetic equivalent
ultramarine blue, is the considerably less tinting and covering power and its slightly dirtier colour, though
neither of these traits should be seen to detract from the natural beauty. If you are looking for a blue of
great sharpness with huge explosive possibilities and tinting ability that can almost poke your eye out, even
when intermixed with just about any colour, try phthalocyanine blue! Lapis is a different creature
altogether.
Combined with terre verte and some other earth colours it is at home, spread out as a wash drawn across a
landscape at horizon line, and it’s done, it almost paints itself. Alternately added as a toner to cool shadows
in portraits; the choices of course are yours and as I always say it’s you the artists who have to do the hard
part! When I first assessed the feel and nature of the pigment it was instantly clear it would have to be
dispersed with great care and very gently.
Last year we offered a Chilean Lapis Lazuli. The Chilean pigment is no longer available to us due to the
indefinite closure of the mine in the Andes. Michael has sourced a new supplier for this wonderful historic
pigment and managed to find a very good quality of the real Afghan lapis, at an affordable price. The Afghan
Lapis Lazuli oil paint has the same specifications as its Chilean version, only it displays a much brighter,
cleaner bleu that is less green. The genuine Lapis Lazuli (Afghan) is now the only lapis lazuli in the range, it is
in series 7.
For restorers, who would like the highest grade of Afghan Laps Lazuli made into paint, we do offer this
service on request. However this pigment quality remains very expensive and rare.
Genuine Chinese Vermilion
If I were to be asked of which pigment I was most proud, I think
this would be it.
Mercuric Sulphide Vermilion was used in China from early
times, and in Europe since the 8th century. With the
introduction of the Cadmium Reds, manufacturers considered
that they could offer these as cheaper alternatives for the
Vermilion, but I disagree. As the only colourman to make the
genuine article, with approximately 80% mercuric sulphide,
tested by London University as 99.9% pure, I can say that its
particularly tawny, even slightly fiery, deep red cannot be
reproduced by these substitutes, be it cadmiums or vermilion
hues.
As far as weight, colorific density and price go, it is in a class of
its own, but if you wish to explore a deceptively mild range of
deep warm mixes with earths, as well as some subtle high hues,
then this is an expense worth bearing.
Do bear in mind that Mercury compounds are not to be treated
as a joke, particularly in circumstances where children could
come into contact with them.

Lead Whites
Most of you already heard: The European artists paint sector is
struggling with health and safety regulations regarding Lead
white paints. One of the reasons for concern is the obligation to
store lead white paint into a container one can only open with
the help of a tool; this to discourage infants to access and eat the
substance.
To conform the regulations we will no longer offer lead white
paint in tubes for the EU region. Besides the 1Ltr and 2.5Ltr tins,
we will now also offer a 250ml Cartridge + gun (sold separately).
This system is similar to what is used in the printmaking industry
and has all the advantages of a tube (the paint will not skin
inside), it is child secure (because you need a tool to open it) and
there will be less waste of paint because of the pressure system
with the gun.
The paint in these cartridges and the tins will have absolutely the
same consistency as the one in tubes.
Info Brochure Michael Harding Art Materials
2012
And then there is REACH, another regulation from the EU, which makes importing the lead white pigment
extremely difficult. Since there are no European suppliers for this pigment left, we are forced to look further
afield. There are a handful of manufacturers left in the world, but given the imbalance in offer and demand,
their prices are extremely high. This is not even taken into account any carriage/import costs. Plus the fact
remains that according to REACH, we are not allowed to bring in more than 1000kg/year, which is not much
for this literally heavy pigment.
Michael Harding Art Materials considers the lead white paints and integral and necessary part of the range of
oil colours. We will do all we can to get the pigment delivered to our factory at the best price possible.
However this may take time, and a series-change will impose itself once we do.
Thank you for your patience.
The lead whites are: Foundation White – Flake White 1 and 2 – Cremnitz White 1, 2 and 3.
Titanium White No.3/Cremnitz White No.3
After some considerable deliberation on my part I have decided to add two special whites to my range of
Artists Oil colours. They are special in the way that they, unlike the other colours, will contain artificial driers.
Except for that they will be exactly the same formulation as their respective cousins Titanium White no.2 and
Cremnitz White in Linseed oil. The new colours will be available in either 225ml tubes or 250ml tins.
Although I frown upon the use of driers I have received litaraly thousands querries about the speed of drying
over the years and although I have always favoured the purist approach I feel that in some ways I must listen
to this request. The tubes or tins will be labelled accordingly so that the artist can decide to what extent this
concerns them and purchase accordingly.
All the other whites in the range will remain unchanged.

New Product !
Michael Harding’s Artist Oil Colours
Starter Set
Info Brochure Michael Harding Art Materials
2012
Many people who are new to our products have requested that we suggest colours for them to start out
with. So we are happy to introduce to you today, the launch of our starter set, which will be made
available at a vastly discounted price. These starter packs will give artists the opportunity to try a
selection of our colours. They are also the ideal gift at any occasion.
6 colours in 40ml
NO 102 Titanium White No.2
NO 113 Ultramarine blue
NO 205 Scarlet lake
NO 110 Yellow lake
NO 118 Yellow Ochre Deep
NO 126 Burnt Umber

Milliken Bros – Northern Ireland
Dear Michael,
Testimonials Retailers
Info Brochure Michael Harding Art Materials
2012
Since we began stocking your oil colours in October 1999 I have a few observations which I think
might be useful to share with you.
We currently supply many of the country's leading painters, Brian Ballard, Sean McSweeney, Basil
Blackshaw together with a host of emerging painters. All use your paint. What is interesting is that
despite the fact that the painters mentioned employ widely different methods and techniques in
their paintings all however express the same opinions when asked about the paint. All agree that
the consistency is perfect the control of the paint on the canvas is easier, impasto retains its
structure and of course the intensity of the colour is true.
We originally stocked Old Holland as our flagship paint however over the past year or so we have
scaled down our stock levels as we find that our customers prefer Michael Harding. When we first
introduced the range in our premises we quickly learnt that although it was used by a 'select few' it
was by no means widely known over here and we had to do a little marketing. Now however the
only paint we are asked for is Michael Harding. On reflection it is hardly surprising as practically all
our customers are professional artists and are quite strict about the materials they require.
I spoke to Colin Davidson the other day. He had just returned from Dublin after a sell-out
exhibition. He is a dedicated user of Michael Harding Oil Colours in fact he confided in me that he
would unable to produce the subtle nuances in his pictures with a lesser paint.
Pellegrini - Milano - Italy
Dear Michael,
Please send us as soon as possible some handmade colour charts.
By the way, one of our major customers has taken one of all your colours. He has been using on hie
palette Schmincke (Mussini), Blockx, Lukas, Rowney and Rembrandt. Today he has phoned saying
that “Harding’s colours have changed my life of painter. It seems that my paintings have a spot of
light on them. Terrific!” ...
Ciao!

Small shop stand: 40ml or 60ml
Width: 80 cm
Depth: 28 cm
Height: 127 cm
Max. load/shelf: 30 kg
Rack of 225ml tubes
Info Brochure Michael Harding Art Materials
2012
Shop Stands
40ml or 60ml tubes
A small shop stand will hold the full series of
40ml or 60ml tubes.
(15 tubes per rack - 5 racks per stand)
On the bottom shelf there is some space left
to store mediums or tins.
Or 1 rack of 10 225ml tubes can be added on
the bottom.
225ml tubes
A small shopstand will only hold half of the
225ml series.
(10 tubes per rack – 4 racks per stand)
Upon ordering the full range in 225ml, you
will receive two small shopstands, which you
can either display alongside each other or
stacked one on top of the other.
Or you can opt for 1 tall stand holding the
complete series in 225ml.
Tall shop stand : 225ml or mix 40ml+60ml
Width: 80 cm
Depth: 28 cm
Height: 223 cm
Max. load/shelf: 15 kg
Glass doors are no longer available

NEW NEW NEW NEW NEW
Puppy Stand
40 colours
40ml or 60ml tubes
To make Michael Harding Artist Oil Colours more
accessible to the independant retailer, we have
developed a puppy stand that holds 40 colours in
40ml or 60ml tubes. (10 tubes per rack).
The selection of colours is based on our best
sellers, although the retailers can make changes to
that selection if they wish.
Puppy shop stand: 40ml or 60ml
Width: 50 cm
Depth: 20 cm
Height: 76 cm
Max. load/shelf: 30kg
Info Brochure Michael Harding Art Materials
2012
SERIES 1
NO 101 Titanium White No.1 (Safflower Oil)
NO 102 Titanium White No.2 (Linseed Oil)
NO 103 Zinc White
NO 108 Lemon Yellow
NO 109 Bright Yellow Lake
NO 110 Yellow lake
NO 112 Prussian Blue
NO 113 Ultramarine Blue
NO 114 Phthalocyanine Blue & Zinc White
NO 115 Terre Verte
NO 116 Bright Green Lake
NO 117 Unbleached Titanium Dioxide
NO 119 Yellow Ochre
NO 120 Raw Sienna
NO 121 Raw Umber
NO 122 Venetian Red
NO 125 Burnt Sienna
NO 126 Burnt Umber
NO 127 Paynes Grey
NO 128 Lamp Black
NO 129 Ivory Black
SERIES 2
NO 203 Indian Yellow
NO 205 Scarlet Lake
NO 207 Brilliant Pink
NO 208 Ultramarine Violet
NO 209 Phthalocyanine Blue Lake
NO 210 Phthalocyanine Turquoise
NO 211 Kings Blue Light
NO 212 Kings Blue Deep
NO 217 Permanent Sap Green
NO 220 Transparent Oxide Red
SERIES 3
NO 302 Alizarin Crimson
NO 303 Magenta
SERIES 4
NO 401 Cadmium Yellow Lemon
NO 402 Cadmium Yellow
SERIES 5
NO 501 Aureolin
NO 504 Cadmium Red
NO 506 Cobalt Blue
SERIES 6
NO 605 Genuine Naples Yellow Light
SERIES 7
NO 702 Lapis Lazuli (Afghan)

Testimonials Artists
Paola Marinangeli, Arabian Horse Art – Rome Italy
My name is Paola Marinangeli and I am an artist specialised in horses and dogs. I have started very
recently to know and use your oil colours, my art material supplier (Ditta Poggi in Rome - Italy)
suggested me to try your brand saying ''these are the best oil colours in the world...''. Well I want
to tell you that my supplier was perfectly right, your range of oil colours is fantastic, exceptional
quality, exceptional mixing power, super light and consistent, a pleasure to use and a great source
of joy when realising that a painting is coming out even better than what's originally planned and
hoped, thanks also to your oil colours.
René T. – The Netherlands
I'am a Dutch painter and I always used your Cremnitz white. You may know the importance of this
white for some painters. I can't paint without it.
Rebecca Neef – Texas USA
Just wanted to add my voice to what must, by now, be a chorus of thanks to you for creating the
ultimate oil paint. I've been painting in oils for 3 decades, and never, NEVER, have I experienced
paint like yours. I can make it do anything I want. The consistency is silky without being too "oily. I
can lay down the thinnest of layers with no medium at all and still have total coverage with the
opaque colours, and the desired stained-glass look with the transparent ones. I can leave thick
impasto brush-strokes, which dry without wrinkling. The pigment load is the highest I have seen
(including paint lines that are more expensive), without the consistency becoming that of a paste.
The colour clarity is intense and miraculous. I suppose I am a passionate person. In this relatively
graceless age, when I find something being beautifully made, or a service painstakingly rendered, it
seems such a rare thing I feel I should make certain the craftsman or service-person knows their
excellence is noticed and appreciated. So often we just forget to say, "Thank You!"
Patrick John Mills – Canada
Info Brochure Michael Harding Art Materials
2012
Michael Harding is a British paint manufacture. His artist oil colours are without a doubt the best
artist oil paint in the world. These paints have changed my life. I cannot express just how amazing
the quality of these paints are... Imagine you have been driving an old junk yard automobile for
years... then suddenly someone hands you the keys to a red hot Ferrari... you find that you are
dancing with fire.

4.
PLACE PHOTO HERE,
Michael Harding Handmade Oil Colours
Mediums & Varnishes
OTHERWISE DELETE BOX
In formulating these special painting mediums and
varnishes, we looked at a number of factors:
1. Compatibility with Michael Harding’s Artist Oil Colours
2. Long term stability when added judiciously to Michael
Harding’s Artist Oil Colours
3. Use of high grade natural materials to ensure excellent
working properties.
Use & Storage
When oil colour is simply diluted with turpentine, it loses some of its body and also appears to become slightly
matt upon drying. If a small addition of paint medium is incorporated into the paint layer, and then it is diluted,
the paint film retains more of its original gloss and luster. This simple step helps avoid reliance upon varnishing:
in essence, the varnish constituent is then built into the paint film itself.
The paint mediums are prepared without drying agents (except for PM2), to compliment the working properties
of our oil colours, which are also prepared without use of drying agents. By adding only 10-20% paint medium to
oil colour, one can tweak the sheen of the paint film and help avoid loss of gloss within the paint film.
In this kind of ratio the normal drying rate of individual colours is preserved.
Info Brochure Michael Harding Art Materials
2012
If quicker-drying is required, we have prepared one medium, Dammar-Glaze Medium - PM2, which can be
introduced to speed the curing rate of the paint film, again when added in the ratio of 10-20% to oil colour. One
can also mix this medium 50:50 with all the other mediums to help speed drying times. Remember that overuse
of drying agents could cause problems over time in the dried paint film.
Final varnishes (V1 and V2) are best applied to thoroughly dried oil paint films. For example, a thinly painted
picture may take 6-12 months to “cure” enough to be varnished. Remember that any varnish application will
close the paint film, thereby stopping the paint layers from drying if not already dried out. Varnish is best
applied in dry conditions. Avoid damp/humid atmospheres, which may cause “blooming” or clouding in the
varnish film upon drying.
Sometimes oils and varnishes might separate on standing in the container, which can be simply shaken to
remedy this. It is also worth remembering that turpentine when exposed to direct sunlight in glass containers
can spoil and must be discarded; this is apparent when the turpentine goes very cloudy. Although we do sell
turpentine based products in glass they are generally for immediate use. Try and store these products in
darkness.

Mediums & Varnishes.
V1 – DAMMAR VARNISH
Creates a subtle gloss finish. Made from the best
quality dammar resin, dissolved in double rectified
maritime turpentine, then carefully filtered. Apply
as a final picture varnish to thoroughly dried oil
paint. (6 months min. If paint is very thick, allow
one year)
V2 – MATT VARNISH
Creates a permanent protective coating with matt
finish. The jar must be heated until the contents
goes clear before applying one thin coat. Dries
immediately. Apply as a final picture varnish to
thoroughly dried oil paint.
PM1 – OIL PAINT MEDIUM
A basic paint medium, designed to ease flow and
increase gloss, transparency, depth and beauty of
the pigment colour. Linseed stand oil based
medium that prevents "yellowing" of paint film.
Info Brochure Michael Harding Art Materials
2012
PM2 – DAMMAR GLAZE MEDIUM
A Traditional glaze medium, creates depth and
gloss to transparent colours. Speeds the drying
time of oil colours; use with slower-drying colours.
PM3 – RESIN OIL WAX MEDIUM
A soft painting paste, derived from bleached pure
beeswax, fused with dammar resin and linseed
stand oil. To create satin sheen and gentle impasto
to paint layers. When setting in the container
occurs, allow jar to stand in hot water and stir until
dissolved.
PM 4 – BEESWAX PASTE
A high oil content paste, based on linseed stand oil
and bleached beeswax. Increases body of oil
colour, with satin-matt finish. Especially useful
with opaque colours
PM5 – OLEO RESIN MEDIUM
Historic glaze medium based on light coloured
Canada Balsam, fused with dammar resin and
linseed stand oil. Provides increased gloss levels
and imparts depth to paint films.
PM6 – BALSAM-RESIN GLAZE MEDIUM
Historic paint medium, based on Austrian larch
turpentine (Venice turpentine), fused with dammar
resin and linseed stand oil. Can be added to oil
colours to enhance depth, gloss and lustre.
This is showroom packaging only. The mediums are not available in this container.

Info Brochure Michael Harding Art Materials
2012
Michael Harding Art Materials LLP
Michael Harding
Managing Director
36 Springvale Industrial Estate
Cwmbran, Gwent.
NP44 5BD
UK
www.michaelharding.co.uk
E: oilpaint@michaelharding.co.uk
P: +44(0)1633 484 700
F:+44(0)1633 484 477