Watercolors (also aquarelles) are water-soluble pigments of mineral and/or synthetic origin. Watercolor paints are characterized by transparency, clarity and purity, characteristics that make them different from other watercolor paints such as gouache and more.
DANIEL SMITH Indigo formula mixes Indanthrone Blue with Lamp Black for an extremely lightfast, intense dark that closely matches true Indigo. Transparent, yet high in tinting strength, this Indigo leaves a gentle faded blue denim stain when blotted from a damp state paint. Blueberries, blackberries and plums are a few subjects to play with using this technique. Use Indigo wherever dusty purples are desired. Indigo evokes a feeling of atmospheric depth used for expressive, moody skies.
DANIEL SMITH Indigo formula mixes Indanthrone Blue with Lamp Black for an extremely lightfast, intense dark that closely matches true Indigo. Transparent, yet high in tinting strength, this Indigo leaves a gentle faded blue denim stain when blotted from a damp state paint. Blueberries, blackberries and plums are a few subjects to play with using this technique. Use Indigo wherever dusty purples are desired. Indigo evokes a feeling of atmospheric depth used for expressive, moody skies. Try flowing short strokes of Indigo into water, add touches of Sepia and Quinacridone Burnt Orange to create branches and birch trees. Historically Indigo, used since the early Egyptian times, has been a very important blue dye in fabrics as well as art materials, though not lightfast like DANIEL SMITH’s Indigo Watercolor. Natural Indigo is a deep blue colorant named anil. It is obtained from the sprigs of the indigofera plant. In the late 1600’s, the major source of indigo was the French West Indies, where large crops of indigofera was grown and harvested just before the plant bloomed. Once picked, the plant was processed in vats where it was water filtered, then dried into cakes for export.
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.
Sodalite, with a distinctive deep blue color is one of the components of Lapis Lazuli and very rare. DANIEL SMITH Sodalite is the finest quality and deepest blue that comes from Greenland and the flanks of Italy’s Mt. Vesuvius. In watercolor, the inky color of this semi-precious stone granulates as it dries, layering a blue-black textural surface on a smooth blue-gray undertone. Low staining, lightfast and semi-transparent, Sodalite creates a three-dimensional quality as it dries.
Sodalite, with a distinctive deep blue color is one of the components of Lapis Lazuli and very rare. DANIEL SMITH Sodalite is the finest quality and deepest blue that comes from Greenland and the flanks of Italy’s Mt. Vesuvius. In watercolor, the inky color of this semi precious stone granulates as it dries, layering a blue-black textural surface on a smooth blue-gray undertone. Low staining, lightfast and semi-tranparent, Sodalite creates a three-dimensional quality as it dries.
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.
Ultramarine Blue plots cooler and bluer than the more saturated French Ultramarine. Temperature aside, both blues have equal permanence, lightfastness and transparency. Ultramarine Blue is slightly less granular in concentrated washes. For less saturation, sedimentation and cost, use Ultramarine Blue straight, for vibrant crayon-like color or mixed with a cool red for dark, effective neutrals.
Ultramarine Blue plots cooler and bluer than the more saturated French Ultramarine. Temperature aside, both blues have equal permanence, lightfastness and transparency. Ultramarine Blue is slightly less granular in concentrated washes. For less saturation, sedimentation and cost, use Ultramarine Blue straight, for vibrant crayon-like color or mixed with a cool red for dark, effective neutrals.
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.
For cool, clean staining shadows and reflected light on windows, super staining, super transparent Phthalo Blue Green Shade is a popular pure chroma organic pigment. Mix with Hansa Yellow for luminous greens.
For cool, clean staining shadows and reflected light on windows, super staining, super transparent Phthalo Blue is a popular pure chroma organic pigment. Mix with Hansa Yellow for luminous greens.
DANIEL SMITH Lavender is a beautiful periwinkle blue, and quite different from our other blues. This semi-transparent lavender blue has beautiful granulation, and lifts easily. In addition to being an excellent floral color, our Lavender suggests certain shades of faded denim.
DANIEL SMITH Lavender is a beautiful periwinkle blue, and quite different from other blues. This semi-transparent lavender blue has beautiful granulation, and lifts easily. In addition to being an excellent floral color, Lavender suggests certain shades of faded denim.
A true blue, a blue’s blue. Verditer Blue is an historical pigment with a place on every palette. Begin with a dark application, a deep azure lake, and watch how this slightly granulating paint travels quickly in water. Fade to the color of cornflowers and create surprising effects in a wash. Dilute it to the palest baby blue. Enjoy every nuance of this wonderful, semi-transparent watercolor.
A powerful blue with a slightly red undertone, this popular pigment is valued for its strength and economy – just a daub of paint can color a whole sky. A dash of blue gives a full range of value. Mix dark colors for shading and shadows by combining Phthalo Blue with Quinacridone Rose. Use Phthalo Blue’s transparent quality to create containers and water around stems.
Float this color into a moist wash to add variety to shadows. DANIEL SMITH Prussian Blue is lightfast and transparent, with medium to high staining strength. It disperses and diffuses easily and evenly and can be considered interchangeable with the higher staining Phthalo Blue in application, although Prussian Blue is slightly greener.
Mayan Blue Genuine is one of the PrimaTek colors, this gorgeous green-tinged indigo nearly defies description. Long ago, it adorned the murals and sculpture of the Mayan people and was featured in their rites and rituals. Despite exposure to severe heat and humidity, the color has hardly faded over a thousand years. Now, using methods derived from ancient Mayan chemistry, this unique, metal-free pigment has been recreated using an eco-friendly process. Its versatility, durability and exquisite hue will make it an instant favorite.
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.
A superb mixing color. Think of Cerulean Blue as a cleaner, brighter, and slightly warmer alternative to the Cerulean Blue Chromium. 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.
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.
This cool turquoise blue is ideal for creating form or indicating space. It is a medium-staining, transparent pigment with wonderful granulating properties. A good substitute for Cerulean Blue, Manganese Blue Hue offers an additional advantage: it mixes well with non-staining, semi-opaques to create a mottled texture in underlying colors. Note: true Manganese Blue, discontinued from product lines due to environmental concerns and toxic by-product, has been replaced in the DANIEL SMITH line with a formulation which closely resembles it. The result is a safe, high quality lightfast pigment with the color we adore – Manganese Blue Hue.
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.
This DANIEL SMITH exclusive is a favorite of artists. It moves from a deep dark turquoise to a thin film of robin’s egg blue in a single wash, making a remarkable transition from ground level to sky areas of garden florals. Use this pigment alongside purples, or to paint a lake in summer.
Transparent Ultramarine Turquoise is the granular, low-staining cousin of Phthalo Turquoise. Use it when less stain and more granulation is desired, and consider it for an interesting, non-traditional glaze.
Phthalo Green Blue Shade is a black-green. Concentrated to diluted states, it is a transparent and super staining green. Organic and absolutely lightfast, most artists find this color indispensable. The slightly bluish shade can be readily modified with yellows and reds. Creates luminous, effective darks or clean glazes.
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.
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 it’s slight granulation you can achieve multi-layers and tone on tone effects to delight and surprise with each addition or stroke.
DANIEL SMITH has acquired a unique supply of the precious mineral Amazonite from Brazil. It’s a strong pure color that is completely transparent, non-staining and lifts easily for maximum versatility. Gorgeous by itself, Amazonite Genuine is an especially beautiful mixer with reds making gorgeous violets! Natural Amazonite Genuine provides all the magic of the hills and forests of Brazil. This lovely teal shade of feldspar microcline, a precious mineral, was named for the Amazon River and was used in ancient times as war paint by fierce female warriors. In addition, legends state that when you wear a piece of Amazonite you will harmonize your soul and be attuned to the spiritual dimension. Small carvings of Amazonite were tucked into a baby’s bunting to sooth and pacify. A shared piece of this lovely teal mineral was believed to enhance and further unite the union of soul mates.
The fabric of the night sky glides off the brush in this heavenly shade. Granulating lunar black floats above a phthalo undertone, perfect for capturing a moonlit sky. Inky as midnight, or diffused as the moon on water, semi-transparent Lunar Blue lifts beautifully, leaving behind a mere shadow of itself. This moody watercolor is sure to delight.
The fabric of the night sky glides off the brush in this heavenly shade. Granulating lunar black floats above a phthalo undertone, perfect for capturing a moonlit sky. Inky as midnight, or diffused as the moon on water, semi-transparent Lunar Blue lifts beautifully, leaving behind a mere shadow of itself. This moody watercolor is sure to delight.
Seldom used at full tube strength, this transparent, non-staining pigment is an excellent glazing pigment and a portrait painter’s essential. It’s a cool blue-green useful in mixing without staining other pigment particles and for soft edges in florals. It is the secret hidden ingredient in Moonglow. Viridian can quickly modify reds, and in combination with the Quinacridones, its versatility has multiplied.
Phthalo Green (Blue Shade) is a black-green. Concentrated to diluted states, it is a transparent and super staining green. Organic and absolutely lightfast, most artists find this color indispensable. The slightly bluish shade can be readily modified with yellows and reds. Creates luminous, effective darks or clean glazes.
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.
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.
This exceptionally beautiful PrimaTek color is made from the more strongly colored of the two minerals known as jade – the other is Nephrite. Used for eons in China and Central America, this gemstone now becomes a spectacular artist’s color. From deep, dark-green mass tone to the palest wash, it creates all the exquisite shades we think of when we think of jade.
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.
DANIEL SMITH Raw Sienna Light has more golden yellow tones than our Raw Sienna. This Sienna is a granulating color too, but a bit smoother in washes and is non-staining rather than low staining. Washes suggest sunny wheat fields, dried savannah grasses and other sunbaked landscapes.
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!