|Colour Index||PBk 6, PB 15.3, Pv 19|
|Opacity Covering and Tint Power||High|
|Conforms to||ASTM D-4236|
My deep, rich Indigo is both organic and inorganic: it is transparent, has an average drying time along with excellent lightfastness and high tint power.
An outcry from artists for Indigo has been amassing for years. Finding and securing an Indigo pigment that meets my high standards is essential to me before I consider making an oil paint colour. After careful testing of various Indigo pigments to find which one can meet my colour standard, I have finally found one that I like.
Nocturne painters will be especially pleased as my new Indigo is what you have been waiting for! Artists who like painting anything from, sultry skies to more conservative painters looking for ways to enhance greys and shadows, my Indigo is a paint you should explore. My very rich, deep, dark Indigo has an uncompromising quality and consistency along with all the hallmark characteristics of a Michael Harding product. It is truly delicious, beautiful, and inky.
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Indigo is a deep, rich, dark blue that is almost black in mass tone but can be mixed with either mediums or white to create a light nuanced sky blue. It is a transparent colour that looks inky to the eye. Artists have been looking for a lightfast alternative to traditional fugitive Indigo with increasing fervour for years. Because of this, Michael Harding has spent a lot of time sourcing and testing Indigo alternatives to find a paint that meets his high standards.
This Indigo paint has been designed with nocturne painters in mind but it will also appeal to those wanting to depict sultry skies and artists who want to add depth to shadows and greys.
It is made using a small amount of Lamp Black, PBk 6, an opaque, heavily staining black that has a very slight warmth. The inclusion of this helps create the darker tones and soften the lighter tints. The blue colour comes in the main from PB15.3 Phthalocyanine Blue BGS a dark intense blue, with a greenish shade. The Phthalocyanine Blue gives it it’s strong tinting abilities, as well as meaning it has the highest chroma when moderately mixed with medium, the slightly green undertones are visible in the slight turquoise look of the glazes. The final addition of PV19, Quinacridone Rose, a dark valued intense violet red pigment that can shift to blue in undertone, helps add further depth to the Indigo and a slight coolness to its blue hues.
The Indigo out the tube was buttery, retaining brush marks and was slightly thicker than the other two having a shorter tail off. While it is a transparent paint, when used thickly it was almost impossible to see the sharpie lines beneath the paint. Even when mixed with some medium it was still fairly hard to see through. The glazes brought out a deep nocturnal blue that had a slight turquoise tinge. Used in a very light glaze it was pleasingly moody. In tints, it was very strong with the Phthalocyanine Blue coming through to produce a strong but softened light blue.
Author – Tegen Hager-Suart