Extra Fine Watercolor Tubes

The most vivid of all pinks, has long been requested by DANIEL SMITH customers. A primary magenta with a hint of fluorescent pink granulation producing some of the most brilliant glowing mixes you have ever seen. Try mixing Opera Pink with our New Gamboge for fiery oranges or with an Indanthrone Blue for stunning violets and glowing purples.

Quinacridone Pink is a precise, perfect low-staining pink. Try with Indigo for deep dusty purples, or Indanthrone Blue for rich, clear purples. Quinacridone Pink can be mixed with Quinacridone Sienna or Burnt Orange in dilute wash states to create flesh tones or convincing sunsets. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity.

Quinacridone Rose, with its red-violet color, lends itself to fabulous purples. Try with Indigo for deep dusty purples, or Indanthrone Blue for rich, clear purples. Quinacridone Rose can be mixed with Quinacridone Sienna or Burnt Orange in dilute wash states to create fleshtones or convincing sunsets. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity.

This deep red violet disperses evenly and moves from deep darks to clear, glowing washes. Like all Quinacridone, it is an extremely lightfast organic pigment. In terms of complementary couples Quinacridone Magenta works especially well with yellow greens. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity. When the last batch of single pigment Quinacridone Gold was produced (the manufacturer of PO 49 had stopped making this pigment and allowed us to purchase all their remaining available stock, which lasted 17 years), we developed this new blend of PO 48 and PY 150 pigments. As you can see by the blending comparison below, it’s a gorgeous match!

Living in a luxurious state between magenta and fuchsia, Pyrrol Crimson is a delicious red just begging to find its way into your rose garden. Moderately staining and semi-transparent, this pigment allows itself to be directed in a wash without running wild. It blends to an earthier rose when mixed with English Red Ochre and thins to a pale fuchsia rose when diluted.

A deep, reddish violet, Quin Violet disperses evenly with slight granulation and moves from deep darks to clear, glowing washes. Like all Quinacridones, it is an extremely lightfast organic pigment. In terms of complementary couples, Quinacridone Violet mixes best with a cleaner primary green. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity.

A deep, luscious, grape-juicy reddish-violet. The masstone is dark and intense, shifting in tints toward a rich red violet with a brownish-purple cast. Because of its relative neutrality, it’s a natural-looking choice for portrait, landscape or botanical work-imagine how good it looks with complementary greens. It also makes strong, interesting shadows.

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.

This exciting blend mixes Quinacridone Rose and Ultramarine Blue. The blue settles as the rose floats, creating a vibrant, dimensional purple. For those artist artists who always mix their own purples, this unique, otherwise unattainable separation is worth exploring. Juxtapose Rose of Ultramarine with pure Phthalo Blue for fun and effect.

Quinacridone Purple is a rich, powerful and juicy purple with a slight reddish cast. It’s non-granulating, so washes are smooth and controlled and it mixes beautifully. A luscious, versatile color. Quinacridone watercolors flow beautifully for extremely smooth washes, have incredible depth of color and can be lifted easily while still wet. They’re exceptionally strong yet transparent, ideal for glazing. Understandably, they’ve been very popular colors since their introduction – people just love them!

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.

Ultramarine Blue pigment is baked to create Ultramarine Violet. It is an excellent lightfast pigment that flows freely, leaving slight granulation in washes. Ultramarine Violet is also low-staining. Mist damp passages of either pigment for a delightful mottled effect.

Oh my goodness – it’s beautiful! exclaimed one of our testers, and it is. Amethyst Genuine is a rich, true purple – it’s almost black in masstone and capable of infinite gradation. Although it is a granulating color, it can also make lovely clear washes with just the barest hint of sparkle from the crushed gemstone.

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.

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.

Water frees this amazing three-pigment blend to perform miracles. Watch and wait as Anthraquinoid Red floats, Ultramarine Blue settles and Viridian grays the resulting violet color. Selectively blot and lift a surface wash to expose delicate blue-greens. A description of the fascinating light and dark washes can never match a personal experience! Use Moonglow in shadows and as a silhouette pigment and enjoy its reaction to salt application in background washes. Its neutral tinting property makes it effective with almost all the DANIEL SMITH watercolors. Try introducing the Luminescent Interference pigments to areas of wet, damp or dry Moonglow. Look to Undersea Green as a companion pigment. And try a Moonglow sky and long shadows on sunset snow scenes.

A smooth gray-mauve in light washes, Shadow Violet displays a fascinating granulation when used more thickly. Deep warm violet in mass tone, it reveals a slight orange glow in thin applications. Its transparency makes it a great choice for glazing and it’s ideal, of course, for conveying the subtleties of shadows.

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.

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.

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.

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.

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.

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.