Search

Cadmium Yellow Deep Hue – A rich, warm yellow with a golden glow. We’ve done it! Safe, Vibrant Cadmium Hue Watercolors! Our new formulas provide all the density and richness of classic cadmium colors. Our hues are virtually identical in color to their namesakes, but cleaner in mixtures and stronger in tints – you’ll find a little goes a long way. Working properties – staining power, semi-transparency and excellent light fastness – are also nearly identical to those of the low-soluble cadmium colors we previously offered.

Cadmium Yellow Light Hue is a clean lemon yellow, create fiery oranges by mixing with Opera Pink or remarkable granulating greens with Cobalt Teal Blue. We’ve done it! Safe, Vibrant Cadmium Hue Watercolors! Our new formulas provide all the density and richness of classic cadmium colors. Our hues are virtually identical in color to their namesakes, but cleaner in mixtures and stronger in tints – you’ll find a little goes a long way. Working properties – staining power, semi-transparency and excellent light fastness – are also nearly identical to those of the low-soluble cadmium colors we previously offered.

Cadmium Yellow Medium Hue, a mid- toned, slightly red yellow is perfect to add heat, energy and a focus in any painting. Mixed wet into wet with Cerulean Blue you will have a vast array of textured greens in various tones depending on the color balance and amounts of water, from dusky shadow greens to vibrant spring greens. It disperses beautifully in water for smooth, rich washes. We’ve done it! Safe, Vibrant Cadmium Hue Watercolors! Our new formulas provide all the density and richness of classic cadmium colors. Our hues are virtually identical in color to their namesakes, but cleaner in mixtures and stronger in tints – you’ll find a little goes a long way. Working properties – staining power, semi-transparency and excellent light fastness – are also nearly identical to those of the low-soluble cadmium colors we previously offered.

This slightly granular blue-violet is an intense, vibrant color with medium staining properties. A brushstroke of concentrated Carbazole Violet onto dry paper moves the pigment from black-violet to clear purple and can invent an iris petal with each stroke. Add Indigo to Carbazole Violet, along with Quinacridone Rose or Anthraquinoid Red. Blot, squeegee and incise damp passages to created veins, variegated passages and highlights.

Darker and more staining than Alizarin Crimson, and vastly superior in permanence, Carmine is also redder. This staining pigment, rich and intense, will retain its luminosity in dark passages, but will dilute to produce subtle tones without reducing its permanence. Darkest of the reds, Carmine will help you achieve clear neutrals when mixed with its complement, Phthalo Green.

The craggy peaks of the Cascade Mountains that divide lush, western Washington from the dry, high plains of the east, inspired this unique green. From damp evergreen forests, and alpine meadows to the drier, sunnier open forests, our Cascade Green showcases a million shades of green found in those environments becoming a versatile addition to our artist-preferred greens. As you brush it on, subtle variation from dark to light adds the illusion of depth. Straight from the tube, this rich, mid-range green is cool, dark and mossy. In washes, it has a stunning clarity. In any application, it has excellent lightfastness.

A superb mixing color. Think of Cerulean Blue as a cleaner, brighter and slightly warmer alternative to the Cerulean Blue Chromium we’ve always sold. A bit less green, it’s a truer blue that will be a versatile component of any palette.

Beautiful on its own, and especially so when mixed with a transparent pigment, this sky blue inorganic pigment is granular and medium-light in value. Highly permanent and extremely low-staining, Cerulean Blue creates exciting granulation and settling washes. A drop of Cerulean Blue into a damp wash such as Burnt Sienna creates a halo effect around the more dense Cerulean. This is especially effective when Quinacridone Gold or Quinacridone Burnt Orange are used in the moist underpainting. This technique is great for rendering lichen and Spanish Moss. Add Buff Titanium, Undersea Green and touches of Lunar Black – each a DANIEL SMITH exclusive – and the creative fun truly begins! For a misty landscape or that dusky quality on eggplant, grapes and plums, think Cerulean as a mixer.

Forbidden by purists, Chinese White is much more than a repair patch. This semi-transparent, pure white offers excellent permanency and a medium-high tinting strength. It’s great for lightening other colors. Drop and spatter Chinese White into a damp gray wash to describe the moist, mushy snowfalls of the Pacific Northwest’s coastal lowlands. Try a brushload of Chinese White where water’s edge meets snowbanks to indicate melting. For field flowers in spring meadows, a touch of Chinese White into Carbazole Violet helps create clover and other wildflowers. And, of course, you can always use it to paint details and highlights! If the paint works, use it.

This neutral, non-staining primary blue will subtly modify most pigments. Considered a mixing pigment, its’ semi-transparent nature can cast a giant reticulating shadow. An inorganic pigment, it is considered non-staining (or low-tinting) and ideal for glazing methods. Its ability to create soft edges, to lift and to mix readily makes Cobalt Blue a valuable contribution to watercolor palettes.

A brilliant purple with remarkable blue undertones and a granulating texture. Try mixing this bold color with Prussian Green for surprisingly soft blue hues. At full strength, this violet is dark enough for deep twilight shadows. Mix with water and a range of tones are revealed. A graceful addition to the watercolorists’ palette, this is the perfect purple for dynamic floral paintings.

An extraordinarily beautiful color for painting turquoise blue skies, a must-have for sunny Mediterranean skies and tropical seas! Mixing with this pigment helps make bright shadows – also use it to render the desired patina on a copper pot. As an inorganic pigment, it is considered non-staining (or low-tinting) and ideal for glazing methods. Cobalt Teal Blue’s ability to create soft edges, to lift and to mix readily make it a valuable contribution to watercolor palettes.

A predictable non-staining teal blue with muscle and the presence to stand alone, but when used in a glaze or wash it blends with incredible ease. Because of its slight granulation you can achieve multi-layers and tone on tone effects to delight and surprise with each addition or stroke.

Cobalt Violet embodies the softness of flower petals with its slightly granulating texture and lustrous finish. With a truly transparent quality, this light purple radiates in light washes. The delicate pigment comes alive at full strength and, because it is completely non-staining, highlights can be added, and strokes reworked. Cobalt Violet’s ability to create soft edges, to lift and to mix readily makes it a valuable contribution to watercolor palettes.

Deserves a place on every palette. A gorgeous forest green that is almost black in mass tone, it has great transparency, makes smooth, clean washes and lifts surprisingly well for a staining color. Made with a blend of three pigments, it joins our DANIEL SMITH family of impressively strong dark greens such as Jadeite Genuine and Perylene Green. Mix it with Pyrrol Orange to make a stellar redwood brown and Rhodonite Genuine for an interesting neutral blend.

At long last there exists a deep reddish-brown that reacts wonderfully to salt! These pigment qualities produce natural texture and invite applied texture techniques.

Extremely lightfast and non-staining, French Ochre is a delightfully warm color that embodies the feeling of autumn. Paint fields of wheat or add a soft glow to your evening sky. Mix French Ochre with Red Scarlet to achieve a melon hue. This is a superb watercolor when your painting requires subtle highlights.

This medium-to-dark warm, reddish-blue is highly lightfast and medium tinting strength. It’s sedimentary quality increases its versatility. Mixed with various portions of other blues, French Ultramarine is a wonderful sky pigment. Modify it with Quinacridone Gold for delightful greens that remain color-coordinated. Mix French Ultramarine with Quinacridone Burnt Orange and be rewarded with an amazing range of blue to brown grays. Mixed with either Quinacridone Rose or Pink, a range of purples result. For another important mix, see Hooker’s and Sap Green.

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.

PrimaTek Green Apatite Genuine Watercolor lets you create a beautiful range of greens – fresh yellow-green to deep olive – with a single tube. This sedimentary color is a dark, almost brown, olive green in mass tone. In washes, the brown settles out of a vivid natural green, creating memorable texture and contrast.

Green Gold’s bright yellow undertones shine in thin applications allowing for golden highlights with just a hint of green. Use in concentrated applications for wonderfully rich and transparent olive-green tones.

Kissed with a touch of orange, this is a pure chroma color with high-tinting, organic pigments. Hansa Yellow Deep is considered the ‘perfect yellow’, a fact which offers more control when mixing. Painters can admire the purity of this primary pigment and adjust its temperature while avoiding a gray from a hidden complement. Think of a yellow pepper.

Cleaner, more transparent and brighter in chroma than Cadmium Yellow Light, this is a high-tinting, organic pigment. Hansa Yellow is considered the ‘perfect yellow’, offering more control when mixing. Painters admire the purity of this primary pigment and ability to adjust its temperature while avoiding a gray from a hidden complement. Think of a yellow pepper.

Hansa Yellow Medium is a high-tinting, organic pigment. Considered the ‘perfect yellow’, Hansa Yellow Medium offers more control when mixing. Painters admire the purity of this primary pigment and adjust its temperature while avoiding a gray from a hidden complement. Think of a yellow pepper.

Hematite is ground from a heavy silvery-black mineral rich in iron. In a thick wash, the heavier iron particles settle, creating bold granulation, in a thin wash, it is a soft dove gray. Hematite mixes beautifully with other colors adding its granulation and slightly neutralizing the mixed in color. One way to use Hematite Genuine is, with single brushstrokes, sketching in branches from thick to thin, the beautiful granulation automatically providing the texture of bark. Hematite or the traditional Greek name, Bloodstone – when you paint, you can almost feel the pounding of the battle drums as ancient warriors covered their bodies with Hematite in the belief that they would be protected from mortal wounds. According to lore ad superstition, large surface deposits of Hematite mark the site of hard fought battles, where the blood of fallen soldiers flowed into the ground.

Low to medium-staining, Hooker’s Green is a warm, natural green. Useful in formulating greens of all sorts, this Irish shamrock green combined with French Ultramarine can resemble frothy waves or, in a more concentrated mixture, range from reflected forest light to deep, dusty evergreen blues.

Unlock a wealth of color with this princely pigment. Rich in texture, this highly saturated purple will granulate to reveal shades of plum and ultramarine. From the deepest purple, this semi-transparent and low-staining pigment continues to deliver as it is applied in ever more delicate washes to the palest lavender. Give a stand of garden Irises the royal treatment or kiss the sunset with the softest touch. This regal pigment is palette royalty.

This organic Vat pigment is a medium staining primary blue. Warmer than most blues, Indanthrone is clear with a delightful range from blue-black to stonewashed denim. Indanthrone Blue offers exciting new possibilities for Indigo skies, water and interesting shadows, as it can be successfully graded to achieve atmospheric and color perspective. DANIEL SMITH originals Anthraquinoid Red, Indian Yellow and Indanthrone Blue complete a transparent staining trio.

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.

Don’t let the old line: made from the urine of cows fed an exclusive diet of mango leaves deter you from adding Indian Yellow to your palette; DANIEL SMITH’s vat pigmented Indian Yellow is a new formula. This medium to high tinting yellow lends a rusty orange edge to undisturbed puddles, a curious property when painting ripe fruit and vegetation. Autumn leaves and floral close-ups make great study subjects as you explore this pure chroma, ever so slightly granular yellow. Indian Yellow wets well and flows evenly.