Watercolor

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.

Phthalo Green Yellow Shade is a bottle green. In concentrated to diluted states, it is transparent and super-staining. Organic and absolutely lightfast, most artists find this color indispensable. The slightly bluish Phthalo Green BS can be readily modified with yellows and reds. Phthalo Green YS is a warmer basic green. Each creates luminous, effective darks or clean glazes.

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.

DANIEL SMITH’s Sap Green is wonderful – the hue we love with the permanency we need. This non-fugitive formulation creates deep forest shadow-green mixed with French Ultramarine and mossy golden-greens and green-browns when mixed with Burnt Sienna or Quinacridone Sienna or Burnt Orange. Sap Green mixes well with most pigments and leaves a stained residue when lifted. In the French Ultramarine or Quinacridone mixtures mentioned above, squeegee or knife areas to reveal the Sap Green stain and to create blades of spring-shiny grasses within deeper or mossy passages.

The hue we love with the permanency we need. This non-fugitive formulation creates deep forest shadow-green mixed with French Ultramarine and mossy golden-greens and green-browns when mixed with Burnt Sienna or Quinacridone Sienna or Burnt Orange. Sap Green mixes well with most pigments and leaves a stained residue when lifted. In the French Ultramarine or Quinacridone mixtures mentioned above, squeegee or knife areas to reveal the Sap Green stain and to create blades of spring-shiny grasses within deeper or mossy passages.

We bring you an unusually beautiful Serpentine pigment from the land down under. This Australian green-color serpentine is of a variety called Stichtite. A soft stone used cross-culturally for carving amulets used to ward off harm, our newest PrimaTek has no comparison in any known paint palette. This surprising, semi-transparent paint is a good green that develops granulation with specks of burnt scarlet – a great addition to your landscape and floral palette.

We bring you an unusually beautiful Serpentine pigment from the land down under. This Australian green-color serpentine is of a variety called Stichtite. A soft stone used cross-culturally for carving amulets used to ward off harm, our newest PrimaTek has no comparison in any known paint palette. This surprising, semi-transparent paint is a good green that develops granulation with specks of burnt scarlet – a great addition to your landscape and floral palette.

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.

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.

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.

If you want to add atmospheric or emotional punch to your work, then squeeze some transparent Perylene Green onto your palette. It exhibits an almost black mass tone that spreads to a beautiful blue/green wash without producing mud – a color perfect for delineating shadows or creating moody landscapes, ominous horizons and stormy seas. A medium-staining pigment with intensity and softness, Perylene Green is highly soluble and easy to use. It glazes under or over other colors ~a very cool color~ allowed one of our more demanding artist/testers.

If you want to add atmospheric or emotional punch to your work, then squeeze some transparent Perylene Green onto your palette. It exhibits an almost black mass tone that spreads to a beautiful blue/green wash without producing mud – a color perfect for delineating shadows or creating moody landscapes, ominous horizons and stormy seas. A medium-staining pigment with intensity and softness, Perylene Green is highly soluble and easy to use. It glazes under or over other colors ~a very cool color~ allowed one of our more demanding artist/testers.

An artist’s favorite, this exciting medium to high staining green blends French Ultramarine with Quinacridone Gold. The inorganic, sedimentary French Ultramarine settles and granulates while the organic, transparent Quinacridone Gold floats into a golden halo. Concentrated, this will remind you of warm sea kelp. Apply with Moonglow, Ultramarines and Quinacridone mixtures to color-coordinate and lend atmosphere to various passages. Undersea Green is beautiful touched damp or drybrushed with Interference Gold. Use Undersea green into autumn leaf paintings.

An artist’s favorite, this exciting medium to high staining green blends French Ultramarine with Quinacridone Gold. The inorganic, sedimentary French Ultramarine settles and granulates while the organic, transparent Quinacridone Gold floats into a golden halo. Concentrated, this will remind you of warm sea kelp. Apply with Moonglow, Ultramarines and Quinacridone mixtures to color-coordinate and lend atmosphere to various passages. Undersea Green is beautiful touched damp or drybrushed with Interference Gold. Use Undersea green into autumn leaf paintings.

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.

Amazingly compatible with earth pigments and Quinacridones alike, this is a warm mossy green. It is richer and warmer than the original brighter Green Gold, and has an inviting glow. Explore fruits and vegetables, leaves and landscapes, substituting Rich Green Gold for other greens in familiar mixtures. Low-staining and lightfast, Rich Green Gold lifts with ease from either a concentrated or dilute wash and from either damp or dry work. Try it as a glaze for a real treat.

Nickel Azo Yellow in mass tone resembles Yellow Ochre, and when thinned in washes, becomes a brilliant, glowing yellow. This transparent yellow is perfect for Autumn leaves from the duller, ochre older leaves to the brilliant yellow of sunlit leaves against the deep blue Autumnal sky!

A warm honey-bronze color with lustrous sparkle provided by very fine films of iron oxide. The fibrous, fairly fragile Bronzite stone from Brazil is occasionally used in jewelry but excels as a watercolor pigment. It’s a warm golden-brown in mass tone – somewhere between ochre and sienna, but distinctly different – that lets down into pale washes of soft, always warm, sandy beige. In a wash on cold press or rough paper, the brown settles out of this intriguing special-effect color.

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.

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, DANIEL SMITH Yellow Ochre is transparent, a property beloved by watercolorists!