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Michael Harding
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Message
Posted
I've just bought my first tube of Michael Harding oil paints, as recommended by the pro in the Cass Art shop (Phthalo Blue Lake). I was looking for a high chroma paint for skies when painting snow scenes. They tend (snow scenes) to have a lot of shadow blue which sometimes weakens the intensity of the sky. I've tried using less blue in the shadow snow but the move towards grey doesn't look as good. I quite like lavender, though, and may go down that route. So, any thoughts on this paint and this particular hue as a base colour for the sky? I was thinking of mixing phthalo, cobalt and ultramarine with varying amounts of titanium white and even a touch of cerulean blue near the horizon.
Bri
Posted
Well, if you have all those colours, mix 'em and find out. The advantage of a pthalo blue is that it's much cheaper than, say cerulean or cobalt..... which is not especially aesthetically-based information, but even so: I find it helpful....
Though all of Michael Harding's colours are a bit pricier than many rivals' paints, they're also vastly stronger and go much further. His cobalt blue is the best I've found to date - other makers' cobalts are pallid and grey by comparison. The pthalo blue lake is a transparent colour, of course, but even so very powerful and you would have to be very careful of it in skies - which isn't to say don't use it; I think it could give you a few problems in a snow scene - it's strong but cold: and many painters like to introduce warmer elements in their snow scenes. It would be interesting to get Alan Bickley's opinion on this, since I would regard him as a colourist; certainly more so than I am.
But in short - Michael Harding's oil paints are some of the best out there. As to what would be the best base colour for a sky, or anything else - so much depends on your personal vision; what works for me may be hopeless for you, and vice-versa. And as the sky is different every day - I wouldn't want to venture an opinion on the best way to capture it.
Posted
Well if I was sat in my studio with all these colours to hand, answering this question would be a lot simpler. But as I don't have Phthalo B/L I cant have a go at experimenting.
You however Brian do!, so as Robert has said, give it a go. Yes, it will be an extremely powerful colour, but I like powerful colours, only I paint in a more impressionistic style than you, and I can get away with it. So be cautious but don't be afraid to make a statement! it can lift a painting by giving it that wow factor.
With snow scenes, I generally (not always) combine warm colour with cool, Alizarin Crimson is a useful addition I find.
My e-newsletter demo on painting snow, which will be featured next month will show this quite clearly, even gorgeous pinks have been included. I've called it 'How to pick out colour in a winter snow scene'.
So not a lot of help Brian, but the fun of painting has got to include experimenting with colour - just go for it!
Posted
Great reply, Robert, and one that makes perfect sense to me. The guy in the shop said that once I'd used these paints I'd struggle to go back to my regulars. Not sure about that but your point about the cobalt blue is particularly pertinent, because my current cobalt is weak and greyish, I find (Pebeo).
I have a mixture in my paint box of Windsor and Newton Artist's, D & R Georgian, Pebeo and a couple of Bob Ross landscape oils. Some are better than others but I find the W & N and Georgian are my mainstays. So, the sojourn into the realms of Harding are quite exciting for me as I dip my toes in the expensive side.
I will report back when I've experimented, and I have just the painting in mind to revise. It's currently hanging/drying on my kitchen-diner wall. I want a blue that zaps you in the eye. Here we go.
Thanks again
Bri
Edited
by Beemax
Posted
Thanks, Alan, for the very helpful comments and suggestions. The expensive ranges certainly curl the hair when it comes to price but nothing ventured. It's certainly good to get some feedback from someone who actively uses these paints. I'll keep your tips on file for the future and will endeavour to experiment with the various colours and possibilities.
I've used a few colours in the past, such as cad red and yellow for snow, even using a dot of burnt sienna and pinks in one of my snow scenes of Tarn Hows.
I'm looking forward the your e-newsletter next month to see where you take your colours.
I really do appreciate the reply btw, so thanks again.
Bri
Posted
I can endorse the sentiment about Michael Harding colours having used a number of them including his Cobalt Violet Light which, although expensive, is useful in mixes for snow shadows. I avoid greys in shadows for snow and look for cool blues and shades of violet, even using a pink flesh tone (W&N Artists) on occasion...it sometimes also gets used in skies but NEVER in portrait or figure work!
Posted
Thank you very much, Stub (Peter) for the endorsement.
I've been looking at them for what seems like an age but was always put off by the price.
However, it came recommended from the art pro in the shop and he's always been very helpful
and generous with his advice. I much prefer the cool blues, sometimes leaning towards blue violet,
and I don't mind lavender, even though it tends to have more red in the mix. I found my current blues
were competing with the sky, and try as I might I ended up with an indifferent sky colour. So, I'll see what
occurs but I'm encouraged by the replies so far. Thanks for that.
Bri
Posted
I also use Harding's Kings Blue Light and find it useful in skies. I believe it is a mix of Ultramarine Blue (PB29) and Titanium White (PW6, PW4) so it is possible to mix a similar colour. I also use Harding's Warm White which I find very useful as I subscribe to the view that there are very few true whites in nature and it comes in very well for clouds and snow scenes. It is a mix of Titanium White and a yellow (PY42) close to Ochre or Raw Sienna so can also be mixed closely if desired. Personally I save time on mixing and use the Harding colours for their quality, and they are often in mixes anyway.
Posted
Thanks, Stub, for the info'.
I have now used my new tube of Harding's phthalo blue lake on a snow scene and the sky is now definitely blue! I used a mix of phthalo, ultramarine, and titanium white and I'm much happier with the result. Although a number of people are doubtful about the use of cerulean blue in skies, I find a touch for the horizon line works a treat when mixed with titanium white and the other mix.
I'll keep this thread close to hand as a reference.
Thanks again
Bri