Watercolor Half Pans

Yellow Ochre works especially well with other transparent pigments. Try mixing transparent, medium-tinting Yellow Ochre with equally transparent, medium-tinting Viridian. Somewhat neutral, Yellow Ochre reacts beautifully with Cerulean Blue when spattered into the damp paint. While traditionally Yellow Ochres tend to be opaque or whitened in other brands, our DANIEL SMITH Yellow Ochre is transparent, a property beloved by watercolorists!

Bring a natural glow to your palette with this stunning sienna earth tone. Subtle granulation and delicate transparency make this watercolor especially useful for portraits and landscapes. This low staining pigment is very workable and has excellent lightfastness.

Found in iron deposits nearly worldwide, Goethite (Brown Ochre) is named after Johann Wolfgang Goethe, the German philosopher, poet and mineralogist. Our unusually pure pigment is mined in Russia, south of Moscow. Rich and warm, DANIEL SMITH Goethite is a dark tea color in masstone and washes out to a rich, warm tan. In washes, it displays intriguing granulation, with pools of light and dark in every brushstroke. Like all colors derived from the earth, it is lightfast and permanent – a lasting connection to the planet and the creative forces of nature.

Artists choose Indian Red for architectural renderings, old brick and other subjects where a flat (matte) granular surface is desired. The opacity and density intrinsic to Indian Red make this grayed earth brown a useful asset. One coat of this low-intensity pigment covers even a highly saturated passage. Yellow Ochre, Cerulean Blue and Indian Red form an opaque triad, producing grayed, earthlike mixtures common to landscapes. Handling tip: Hit it once and walk away.

An earthy red-brown with opaque, sedimentary properties, Venetian Red is great for fall paintings and applications similar to Indian Red. Drop Venetian Red into a wet Lunar Earth wash for exciting results. Venetian Red is medium staining, lifts with some difficulty when dry, but leaves a special warm afterglow when blotted at the damp state.

DANIEL SMITH Quinacridone Burnt Orange is a brilliant, smoldering orange/sienna color. Add to French Ultramarine and create dramatic sky washes with a gray-blue mix that renders a full value scale. Use Quinacridone Burnt Orange to modify Sap Green in landscapes to achieve rich, mossy greens that coordinate land with sky. Highly durable and extremely transparent, all the Quinacridone colors excel in vivid clarity and intensity.

Everyone’s favorite, Quinacridone Gold replaces Raw Sienna and adds versatility with its glazing and mixing capabilities. It is an excellent low-staining golden yellow pigment that can enhance any mixture. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity.

A highly transparent burnt orange loves to mingle with the lamp black, settling in beneath it, mixing with it to create tones of cinnamon and tobacco. Fire seems to dance on the walls as its peach undertones nestle in with the black. Incredibly warm and non-staining, you can create stunning effects. Glaze it over the French Ochre for a warm fireside glow or layer it over itself for a rich and glowing red ochre that has no equal.

This transparent to semi-transparent, rich earth pigment is a traditional palette staple for many landscape painters. Our Burnt Sienna combines with other hues without a loss of intensity or transparency. Subsequent layers (or glazes) do not sully or stain the other pigments these glazes contact.

This rich dark brown earth pigment is popular with artists due to its semi- or semi-opaque qualities. It is lightfast, low-staining, and can readily be lifted to vary its value in otherwise dark passages. Warm Burnt Umber with a little Alizarin Crimson or cool it with blue as your subject dictates.

This familiar rich dark brown earth pigment is semi-transparent with medium tinting strength. An extremely permanent inorganic color, it mixes well with sedimentary Cobalt Blue or Cobalt Violet for granular middle-value grays that evoke mood, lend depth of field and create form or spaces.

Jane’s Grey is a unique color in the market. Most grays, whether Payne’s Gray, Neutral Tint or others, are made with a black pigment, and often phthalo blue is included. Artist Jane Blundell wanted a gray without the often-dulling effect of a black pigment, and without the staining effects of phthalo blue. She wanted a gray that was liftable and granulating to create the lovely look of stormy skies and softened shadows. It will also work as a neutral tint, darkening colors without changing them. Using a gray that is made with palette colors maintains color harmony in an artwork. Many artists mix ultramarine blue and burnt sienna as they work, but no one was making this gorgeous mix as a convenience color, so she did to make it easy to create rich darks with ease.

DANIEL SMITH Payne’s Blue Gray is similar to the bluer Indigo, and like the original Payne’s Gray, it is semi-transparent rather than transparent. Inky blue and non-granulating Payne’s Blue Gray is perfect for painting dark, stormy skies, nightscapes, and for quickly darkening most other colors.

Imagine a transparent black with an expansive value range and pigment particles that react like magnetic shavings attracting and repelling each other. Unique pigment properties make Lunar Black a radically reticulating color. When dry, a Lunar Black wash resembles a marbled moonscape. This mottled stony texture can be successfully glazed. You can even gently paint into a wet-to-damp Lunar Black, dropping into the watery pigment, virtually any combination of favorites. Lunar Black is a wonderful mixer adding exciting black granulation to the mix! Lunar Black is an inorganic neutral black watercolor pigment and a DANIEL SMITH exclusive. Think Black Magic-and re-think black.