Inspiration from the Masters

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.

 

If at first you don’t succeed...

Not surprisingly, after a number of failed attempts, I realised something was missing. It wasn’t just Rembrandts genius that I lacked, but also the actual materials he had used; My original materials would not behave in the same way as the paint used in his work, and the colours had a totally different appearance.

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 mill.

 

Michael Harding raw pigment

Hitting Our Stride

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 a mindblowing rate.

Now

My paints are available in 225ml, 60ml and 40ml tubes all over the world. If you are new to the collection then the Introductory Set of oil paints and a colour chart would be a great purchase to get you started. The high pigment content of my oil paints means that they are more resistant to fading and have a fantastically rich colour.

 

Other Art Materials

I also have a range of mediums; Turpentine for thinning and speeding up drying time, oils for increasing flow and slowing drying time, beeswax paste for increased body and a satin matt look, glazes for added lustre and gloss, varnishes for the finishing touch and much more to explore.

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I continue to 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 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!