DANIEL SMITH

A true, pure medium-staining red. Drop Naples Yellow into Quinacridone Red and create a peach, or paint dry brushstrokes onto apples. 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!

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.

The ultimate low-staining glazing pigment, finer than any Burnt Sienna. For the traditional and purist watercolor painter, Quinacridone Sienna divides yellows from reds, falling on the orange line. Its place on the color chart makes Quinacridone Sienna a complement-free pigment, easy to modify without revealing a hidden gray. Quinacridone Sienna works especially well in damp underpaintings overpainted with full-bodied pigments such as Indigo or Payne’s Gray. The fine clear Quinacridone particles collect and retreat, giving way to compressed pools surrounded by the premixed grays. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity.

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.

Used since prehistoric times, an extremely permanent inorganic earth pigment of low intensity but medium-high tinting strength. Balance the transparent intensity of Quinacridone Gold, Burnt Orange and Burnt Scarlet with the earthiness of Raw Sienna. Try a moist Raw Sienna wash touched or spattered with Lunar Earth or Lunar Black creates unique texture effects.

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.

Made from jewelry-quality stone, this versatile rose pink is wonderful for portraits and landscapes. Used wet into wet, it creates a soft, transparent glow, without granulation. At full value, it is more intense but still transparent, low-staining and non-granulating.

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.

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.

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.

Low staining and lightfast, this semi-transparent black-brown is a palette basic. From its rich, deep state in concentrated strokes, Sepia can dilute to a subtle mushroom hue. Enjoy this transition in washes from near to far or from shadow to light in plowed fields and farm subjects. Fence posts – the wet, West Coast kind – are fun to paint, as are bulrushes and cattails. Try each wet into wet.

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.

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.

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.

Create pastel shades with a creamy, semi-opaque/semi-transparent finish by mixing Titanium White with your favorite watercolor pigments. Although not opaque enough for full coverage, this watercolor can be used straight from the tube to add highlights or as a light wash over other colors for a soft veil of light tone. Excellent lightfastness and a smooth finish are hallmarks of this useful pigment.

A fully transparent, non-staining, rich, vivid brown. Elemental and versatile, its granulating properties when blended with Permanent Green changes a sprout to a mature green of tenure and complexity. Used in a low ratio of paint to water in a wash, Transparent Brown Oxide becomes almost peach and can be used as a glaze with a remarkable effect adding shadows rich in depth and mystery.

This clear, dark, red-leaning orange thins into perfectly smooth washes. The color is vivid and warm, lovely used on its own, and great in mixes. Try it with granulating greens or blues to create exquisite earth colors and shadow-grays that are both textural and warm.

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.

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.

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.