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Titanium White No. 1 (Safflower Oil) is one of those colors you quickly learn to appreciate. The hue is clear and cool and blends harmoniously into sophisticated color combinations. Depending on how it’s applied, the paint provides good coverage and allows for both subtle transitions and well-defined areas. When mixed, it remains stable and influences other colors in a controlled manner without overpowering them or making them appear dull. It has proven particularly effective in mixed media and layered techniques. A paint for artists who work thoughtfully and value depth, durability, and expressiveness.
Michael Harding oil paints are traditionally handmade in England by the artist of the same name. They are vegan formulated, particularly environmentally friendly and are characterized by a high pigment concentration and a pleasant buttery consistency.
The paints can be applied smoothly, offer controlled flow properties and are suitable for glazing and impasto painting methods. The majority of the shades are rubbed with linseed oil, selected white shades are produced with safflower or walnut oil in order to achieve optimum color properties.
Please note that the colors displayed on your screen may vary depending on the screen resolution and color reproduction. It can therefore not be guaranteed that the shades of the colors appear exactly as shown online.
Michael Harding oil paints are traditionally handcrafted in England by the artist of the same name and stand for conscious, responsible oil painting. The pigment is at the heart of every paint: high-purity artist pigments are processed in exceptionally high concentrations so that the color character, depth and luminosity remain unaltered.
Michael Harding attaches great importance to environmental compatibility and material honesty. The oil paints are formulated vegan and do not contain any unnecessary fillers, waxes or animal ingredients. The majority of the paints are rubbed with cold-pressed linseed oil – a classic, natural binder that ensures stability, durability and balanced drying behavior. Selected white shades are a deliberate exception: Titanium White (101) is produced with safflower oil, Cremnitz White (307) with walnut oil, in order to optimally support the respective color properties.
The pleasant buttery consistency of the paints is particularly appreciated. They are smooth to work with, can be drawn out in a controlled manner or used as a paste and react sensitively to the respective pigment. Each color has its own flow and drying behavior – exactly as specified by the pigment used.
Michael Harding oil paints are suitable for glazing and opaque painting methods, for fine layering as well as for expressive, impasto techniques. They impress with their high lightfastness, intense color strength and long-lasting, stable results.
These paints are aimed at artists who value quality, sustainability and conscious working – with materials that are honest, responsible and allow artistic freedom.
Working with oil paints requires patience, the building up of layers, and deliberate choices. Depending on the technique, paints can be applied as thin glazes, opaque layers, or thick, impasto strokes. It is important to take into account the properties of the pigments used, as well as their drying characteristics.
When working in several layers, the classic principle of “fat over lean” applies. Lower layers of paint should be thinner and less oily, while subsequent layers may have a higher oil content. In this way, the tension ratio within the paint structure remains stable and cracking is avoided.
It is advisable to allow sufficient time between individual coats of paint. Thin glazes can be reworked after a few days, depending on the pigment and environment, while opaque or pasty layers require considerably more time. The underlying layer should be dry on the surface and no longer sticky before the next layer is applied.
Suitable painting media can be used to specifically influence flow behavior, transparency and open time. Solvent-free or mildly formulated media are particularly suitable for pleasant, health-conscious work in the studio.
It can take several weeks to months for an oil painting to dry completely, depending on the thickness of the layer, pigment and oil content. Varnishes should only be applied after complete curing in order to achieve an even and long-lasting result.
Sealing is not absolutely necessary for oil paintings, but can be useful to protect the surface and unify the color effect. Whether and when an oil painting is sealed depends on the technique, layer structure and desired surface effect.
No final sealant should be applied during the painting phase. Oil paints need time to cure completely. Sealing too early can disrupt the drying process and lead to tension or clouding in the long term.
As a temporary solution, a retouching varnish can be used if necessary. It is suitable for temporarily enhancing the color saturation of dull areas and provides light protection, but can still be removed. It should be used sparingly and only after the paint layer has dried on the surface.
A final varnish should not be applied until the oil painting has dried completely. Depending on the thickness of the layers, the pigments, and the oil content, this can take anywhere from several months to a year. The varnish protects against dust, dirt, and UV rays and ensures a uniform finish.
A conscious decision for or against sealing supports the longevity of the artwork and preserves the original color effect for many years.
Oil paintings are long-lasting if they are treated and cared for properly. To protect the surface, finished works should be protected from direct sunlight, high humidity and strong temperature fluctuations.
A soft, dry cloth is usually sufficient for cleaning to carefully remove dust. Damp cloths, cleaning agents or chemical substances should be avoided as they can damage the paint layer or any varnish applied.
Hanging the artwork in a framed or protected way helps to preserve it in the long term. If necessary or if you are unsure, we recommend consulting a specialist in restoration or conservation.
Careful care preserves the color effect and quality of the oil painting for many years.
| Color Index | PW 6 |
| Pigment type | Inorganic |
| Drying speed | Very slow |
| Transparency | Very opaque |
| Light fastness | Excellent |
| Oil content | Very low |
| Color intensity | High |
| Toxicity | non-toxic |
| ASTM D-4236 | ✔ |
| Color temperature | cool/cold |
| Ⓥ Vegan | ✔ |
Michael Harding Art Formulas Ltd
UNIT K Springvale Industrial Estate
Cwmbran NP44 5BE
UK Colour Mill
Tel. +44(0)1633484700
Elfen und Helden
Angela Bailey
Sylvester-Jordan-Str. 4
35039 Marburg
Deutschland
Artists’ colors and painting media are intended exclusively for the intended use. Keep out of the reach of children and not suitable for consumption.
Avoid contact with eyes and mucous membranes. In case of skin contact, clean hands thoroughly. Ensure adequate ventilation.
Information on toxicity and safety standards (ASTM D-4236) can be found in the respective product information.
| Weight | 0,15 kg |
|---|---|
| Dimensions | 12 × 3 × 3 cm |
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incl. 19% VAT
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Lieferzeit: 3-5 Werktage
Produkt enthält: 0,04 l
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498,75 € / l
incl. 19% VAT
zzgl. Versandkosten
Lieferzeit: 3-5 Werktage
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387,50 € / l
incl. 19% VAT
zzgl. Versandkosten
Lieferzeit: 3-5 Werktage
Produkt enthält: 0,04 l
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