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Michael Harding Interview: Exclusive Oil Paint Demonstrations at our Stores

by Cass Art
Michael Harding Interview: Exclusive Oil Paint Demonstrations at our Stores

It was whilst studying Fine Art at the Epsom School of Art & Design that Michael Harding discovered his passion for creating oil paints. Sparked by a curiosity to understand how Rembrandt achieved such a rich consistency in his whites, it could be said that his experiments just kept coming.

Years later, Michael Harding is a renowned innovator in the world of oil paint; he is one of the few manufacturers to make his paints by hand using traditional techniques. The ambition to create materials that are true and vibrant, and producing paint that is durable and favoured by many artists worldwide, has contributed to his resounding success.

Coinciding with the release of Michael Harding’s new addition Amethyst, we warmly welcome Michael to our shops this February, where he will be taking us through his new colour and showing us how to make the most of his oil paints. You'll have a chance to meet him, wherever your local Cass Art shop is! Michael will be visiting the Cass Art Glasgow shop on Saturday 7th February from 2pm. He'll then be at our Islington Flagship on Sunday 8th February from noon, and then at our Cass Art Kingston shop on the same day from 3.30pm. Later on Saturday 14th February he'll be visiting Cass Art Bristol from 2pm.

We spoke to Michael beforehand for a sneak preview of what will be happening in store.

Michael Harding white oil paint

How did you develop your processes to find the right consistency and aesthetic look? 

I was driven by my own particular quest - to understand what enabled Rembrandt to make his whites have such a beautiful sloppy goopy nature. So, the first colour I made was Titanium White with linseed oil and my finished product looked great, until it dried as a very yellow white. I realised that due to its natural colour, the oil tended to come to the surface producing this yellow colour, a problem that was alleviated by adding zinc white. I was in my early twenties and had a wonderful naivety. Things would go wrong, but I learnt quickly and soon found making paint a wonderful and experiential process. 

It has to be said that your range of oil paint is now extensive, with more and more new colours – what prompted you to expand on the original colours available?

After many years of being asked for numerous additional colours I decided that the time was right to add new and exciting oil paints to my range. Customer demand primarily drove the desire to create my new colours.  Also, my love for some colours which I privately had my eye on for many years like Rose Madder, a wonderfully romantic deep red familiar for centuries to the old masters, spurred me on to make them. Finally, some of my new colours are historically valuable to artists and are important to my range in providing artists with both the historic tones of the Old Masters and the new colours of our ever changing world.

The craft of paint making seems like a combination of science, cookery and wizardry – is this at all similar to what developing the new colours has been like?

Sometimes it seems a mystery to me I seem to just put the ingredients together in a way that appeals to me. The result comes out in a way that everyone tells me is wonderful, beautiful. I really enjoy formulating and mixing ingredients to create something of great value to the artist’s eye. Finally the way in which I formulate and make my colours is that I want them to “leap” out to the artist and scream “paint with me!”

It’s been said by many artists who use your materials that there’s no need to include a medium as the paints are so perfect already. Can you tell us about the mediums available in the Cass Art rangeand what elements they bring to working with the paint?

I always tell artists if they can already achieve with the paint what is in their minds eye then there is no need to add a medium. That said, a medium should only be added to assist in a handling quality or to obtain a surface which cannot be achieved with paint alone. I feel often artists mistakenly assume that adding a medium is like adding a magic ingredient which will have magical results which is not the case.

Beeswax paste is added to a paint to give it body and increase the impasto brush stroke.

Dammar varnish is applied at least 6 months after a painting is totally dry and gives the painting a moist, glowing appearance enhancing the colours and at the same time providing a protective coat against atmospheric dirt.

Oil Paint Medium (PM1) is added to the paint to increase its flow and translucency. It will naturally thin the colour making it more transparent for the artist who desires more translucency in their paintings.

Michael Harding mediums

Do you still paint yourself?
 

Yes…Shh.

What are you most proud of through the last few decades of paint-making?

I am a person who always looks ahead. I look at what I want to achieve next more than I look at what I have achieved. I love what I do and I am one of the lucky few that can say that. I just love oil paint!

Feeling inspired?

Michael Harding will be giving in-store demonstrations at Cass Art this February, in our Islington, Kingston, Glasgow and Bristol shops. Click here to find out the exact dates and times. The demonstrations are free so drop by at any time during the session. 

Get 10% off if you spend £100 on Michael Harding oil paint, including his new colour Amethyst, until Sunday 8th February. The offer will also be honoured at the in-store demonstrations.