Daniel Smith Extra Fine Watercolours 15ml Tubes

• Colour Code: 004
• Series: 1
• ATSM Lightfastness Rating: IV Fugitive (Not Rated by ATSM, based on DS independent testing)
• Transparency: Transparent
• Staining: Medium
• Granulation: No
• Pigment: PR83
• View colour video

A beautiful bluish-red pigment from the transparent staining family, Alizarin Crimson is listed on the basic palette of a vast majority of artists.

• Colour Code: 243
• Series: 2
• ATSM Lightfastness Rating: I - Excellent
• Transparency: Semi-Transparent
• Staining: Low Staining
• Granulation: No
• Pigment: PBr7, PB29, PBk6

Alvaro’s Caliente Grey, “is a terrific hue, very powerful, excellent to create strong and warm paintings.  In monochrome this wonderful Grey is perfect to achieve a powerful atmosphere with amazing glow. This color is also perfect to add dramatic highlights and shadows.”

• Colour Code: 242
• Series: 2
• ATSM Lightfastness Rating: I - Excellent
• Transparency: Semi-Transparent
• Staining: Low Staining
• Granulation: Granulating
• Pigment: PB29, PV15, PW6 

Alvaro’s Fresco Grey “A very powerful and true hue, with no artificial look to it. Passionate and mysterious, great to evoke distant elements of any kind even the unknown…I love the hue.”

• Colour Code: 163
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: No
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Amazonite
• View colour video

Daniel Smith has acquired a unique supply of the precious mineral Amazonite from Brazil. It's a strong pure colour that is completely transparent, non-staining and lifts easily for mazimum versatility. 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.

• Colour Code: 203
• Series: 4
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Amethyst
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"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.

• Colour Code: 005
• Series: 2
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Transparent
• Staining: Medium
• Granulation: No
• Pigment: PR177
• View colour video

Warm violet-red, this slightly granular, super-staining vat pigment is one of Daniel Smith's greatest creations. Anthraquinoid Red offers artists a vibrant, luminous pigment that retains its excellent permanency rating even in thin washes.

• Colour Code: 224
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Low Staining
• Granulation: No
• Pigment: PR168

Anthraquinoid Scarlet 15ml Tube - DANIEL SMITH Extra Fine Watercolor
A deep, transparent orange. In a wash, it’s a light peach tint and transparent at full strength, it moves to a deep, red-orange lipstick color with all the pigment strength, DANIEL SMITH paints are famous for. It’s absolutely beautiful!

• Colour Code: 006
• Series: 3
• ATSM Lightfastness Rating: II Very Good
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: No
• Pigment: PY40
• View colour video

The transparent non-staining properties of this cool yellow can effectively warm darker hues without affecting their transparency. Landscape artists rely on Aureolin to successfully glaze their watercolours. This pigment quality, along with the ability to lift and to create soft edges, makes Aureolin especially useful to portrait and floral painters as well.

• Colour Code: 234
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Low Staining
• Granulation: No
• Pigment: PY 83, PR 101, PV 19

Aussie Red Gold is the rich, golden color of ochre cliffs set aflame at sunset. This brilliant, reddish gold will add glowing light to Autumn leaves, late summer flowers and landscapes. Aussie Red Gold is transparent, non-granulating, low staining and performs wonderfully, you will love it on your palette!

• Colour Code: 215
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Medium
• Granulation: No
• Pigment: PY 151
• View colour video

DANIEL SMITH Azo Yellow Watercolor almost jumps off the paper, it's so brilliant, sunny and bright. The very essence of yellow, it's clear, powerful, vivid, semi-transparent, smooth and staining. Use this organic pigment to add light and sparkle to your paintings. It's also a versatile mixing colour.

• Colour Code: 154
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Opaque
• Staining: Low
• Granulation: No
• Pigment: PY 184
• View colour video

This semi-transparent Yellow Green appears opaque in mass, yet lifts cleanly. It is low staining, making it excellent in portrait mixtures for dark flesh tones. Use concentrated to diluted mixtures in florals and field flowers. This lemon yellow hue works well with purples and all the greens.

• Colour Code: 207
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Black Tourmaline
• View colour video

This intriguing new PrimaTek® colour is made from a semi-precious stone thought to bring luck, dispel negativity and promote clarity of purpose. In washes, especially on rough paper, it displays exciting granulation with delicate settling and a tracery of spidery runs. Intensely black in mass tone, it lets down to a beautiful pearl gray.

• Colour Code: 193
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Bloodstone
• View Colour Video

Bloodstone is legendary for its mystical, magical and medicinal properties. Sacred to Christians, who believe the dark red drops in this green jasper represent the blood of Christ. Our Bloodstone Genuine is part of our line of superb PrimaTek naturally pigmented watercolors. Its’ intense and velvety aubergine mass tone develops into a warm gray wash that lifts beautifully and provides immediate gratification when it comes to granulation, be it on hot- or cold-pressed paper. Bloodstone mixes very well with each of our more than 240 watercolors and is especially wonderful with transparent RhodoniteGenuine and Quinacridone Burnt Orange.

• Colour Code: 196
• Series: 4
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Blue Apatite
• View colour video

Gorgeous in colour, Blue Apatite is a striking mineral that is rarely used in jewelry due to its relative softness. As an artist's pigment, though, it's fantastic - a dense, rich midnight blue that granulates magnificently on cold- or hot-press papers. Within a wash, nuances of color are revealed, from inky near-black to rich Prussian-like blue. Create a stormy sky in one juicy stroke!

• Colour Code: 008
• Series: 2
• ATSM Lightfastness Rating: II Very Good (Not Rated by ATSM, based on DS independent testing)
• Transparency: Semi-Transparent
• Staining: Medium
• Granulation: No
• Pigment: PV32
• View colour video

A durable, staining azo pigment, Bordeaux is a velvety wine color. Its slightly granular, semi-transparent properties work well with blotting, misting and salt application techniques. Replace lifeless, muddy mixtures with this pigment!

• Colour Code: 199
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Bronzite
• View colour video

A warm honey-bronze colour with lustrous sparkle provided by very fine films of iron oxide.

• Colour Code: 009
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PW6:1
• View colour video

Spatter or drop a brushload of Buff Titanium into a moist wash and enjoy the pigment displacement. Unique to Daniel Smith, Buff Titanium resembles the ecru shades of sand and antique lace and simulates the porous texture of an eggshell. It is a most welcome neutral, with semi-transparent to opaque non-staining properties.

• Colour Code: 151
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PR 102
• View colour video

Prehistoric man used this strong, reddish-brown earth pigment to capture the earliest known images of deer, bison and human forms on cave walls. Mix with white for beautiful antique-rose tones.

• Colour Code: 147
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PY 43
• View colour video

A warm, glowing earth colour, suprisingly smooth in washes. In a light wash, the yellow is very clean, as sunny and subtle as morning light in a French vineyard. This natural ochre was mined from a deep vein that runs near the Loire River in western Burgandy. Since the mines were closed in 1970, we feel lucky to have found a supply of this unique pigment.

• Colour Code: 204
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Burnt Bronzite
• View colour video

Gorgeous Burnt Bronzite Genuine pushes the honey tone of Bronzite Genuine to a more coppery hue. Both deeper brown and more orange, it's ideal for portrait work as it easily produces a wide range of flesh tones. Like Bronzite Genuine, it gets a subtle lustrous sparkle from iron oxide.

• Colour Code: 010
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PBr7
• View colour video

This transparent to semi-transparent earth pigment, a grayed orange, combines with other hues without a loss of intensity or transparency. Subsequent layers (or glazes) do not sully or stain the other pigments these glazes contact.

• Colour Code: 230
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non Staining
• Granulation: Yes
• Pigment: PR101, PO48

A beautiful earthy color, Burnt Sienna Light is redder than our Burnt Sienna, more transparent and slightly less granulating. In very light washes, it makes a good, light flesh tone for portraits, and in darker washes, it is a rich red-brown.

• Colour Code: 162
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Low
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Burnt Tiger's Eye
• View colour video

This beautiful stone has been calcinated to change the iron oxide from cool to warm in hue. The result is striking and the granulating effect enhanced. While the Tiger's Eye Genuine is cool olive drab, Burnt Tiger's Eye Genuine is warm reddish-brown. In landscapes, it's an excellent, natural-looking complement to greens. It's also great for creating rich, warm flesh tones.

• Colour Code: 011
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PBr7
• View colour video

This rich dark brown earth pigment is popular with artists due to its semi-transparent or semi-opaque qualities. It is lightfast, low-staining, and can readily be lifted to vary its value in otherwise dark passages. Warm Burnt Umber with a little Alizarin Crimson or cool it with blue as your subject dictates.

• Colour Code: 170
• Series: 2
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Transparent 
• Staining: Low Staining
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• View colour video

• Colour Code: 220
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: No
• Pigment: PY 53, PO 73, PY 83
• View colour video

We've done it! Safe, Vibrant Cadmium Hue Watercolours! Our new formulas provide all the density and richness of classic cadmium colours. Our hues are virtually identical in colour 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 colours we previously offered. Cadmium Orange Hue - A deep, radiant orange that leans slightly towards red.

• Colour Code: 222
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: No
• Pigment: PY 53, PR 254
• View colour video

We've done it! Safe, Vibrant Cadmium Hue Watercolours! Our new formulas provide all the density and richness of classic cadmium colours. Our hues are virtually identical in colour 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 Red Medium Hue - A true stop sign red, an essential color for any palette.

• Colour Code: 219
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: No
• Pigment: PY 53, PR 254, PY 83
• View colour video

We've done it! Safe, Vibrant Cadmium Hue Watercolors! Our new formulas provide all the density and richness of classic cadmium colours. Our hues are virtually identical in colour 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 colours we previously offered.
Cadmium Red Scarlet Hue - A festive, versatile red with an orange cast.

• Colour Code: 221
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Opaque
• Staining: Low
• Granulation: Yes
• Pigment: PY 53, PY 83

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 Deep Hue - A rich, warm yellow with a golden glow.

• Colour Code: 192
• Series: 3
• ATSM Lightfastness Rating: II Very Good
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: No
• Pigment: PY 53, PY 138, PY 3
• View colour video

Cadmium Yellow Deep Hue - A rich, warm yellow with a golden glow.

• Colour Code: 184
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: No
• Pigment: PY 53, PY 151, PY 83
• View colour video

Cadmium Yellow Medium Hue is a rich, bright and intense alternative to Cadmium Yellow. Using a blend of pigments, our chemist has duplicated the brilliance and opacity of Cadmium Yellow with unsurpassed opacity, colour strength, durability and lightfastness. It disperses beautifully in water for smooth, rich washes.

• Colour Code: 019
• Series: 2
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Semi-Transparent
• Staining: Medium
• Granulation: No
• Pigment: PV23(RS)
• View colour video

This slightly granular blue-violet is an intense, vibrant colour with high-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.

• Colour Code: 020
• Series: 2
• ATSM Lightfastness Rating: II Very Good (Not Rated by ATSM, based on DS independent testing)
• Transparency: Semi-Transparent
• Staining: Staining
• Granulation: No
• Pigment: PR176
• View colour video

Equal in staining capacity to Alizarin Crimson, but vastly superior in permanence, Carmine is also redder.

• Colour Code: 142
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Medium
• Granulation: Yes
• Pigment: PBr 7, PB 15
• View colour video

The craggy peaks of the Cascade Mountains divide lush, damp western Washington from the dry high plains of the east. Conifer forests, rushing streams and alpine meadows showcase a million shades of greenàand inspired this versatile addition to our artist-preferred greens.

• Colour Code: 206
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PB 35 
• View colour video

A superb mixing colour. Think of it 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.

• Colour Code: 021
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PB36
• View colour video

Best 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.

• Colour Code: 023
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: No
• Pigment: PW4
• View colour video

Forbidden by purists, Chinese White is much more than a repair patch. This semi-opaque pure white offers excellent permanency and a medium-high tinting strength. It's great for lightening other colours.Employ 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.

• Colour Code: 024
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Opaque
• Staining: Low
• Granulation: Yes
• Pigment: PG17
• View colour video

This natural green provides landscape artists rest in a summer painting saturated with vibrant greens. Opaque and low-staining, Chromium Green Oxide mixes well to soften other colours.

• Colour Code: 025
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PB 28
• View colour video

A brilliant purple with remarkable blue undertones and a granulating texture. Try mixing this bold colour 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.

• Colour Code: 115
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PB 28, PV 19
• View colour video

A brilliant purple with remarkable blue undertones and a granulating texture. Try mixing this bold colour 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.

• Colour Code: 026
• Series: 3
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• Pigment; PG50
• View colour video

A mid-range green-yellow, useful for mixing middle value grays. Introduce non-staining complementary colours to warm or cool the mix.

• Colour Code: 027
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PG19
• View colour video

Cobalt Green Pale, a green-blue, is similar in application as Cobalt Green. All inorganic, they are considered transparent and non-staining (or low-tinting) pigments which are ideal for glazing methods. Their ability to create soft edges, to lift and to mix readily made Cobalts valuable contributions to watercolour palettes.

• Colour Code: 028
• Series: 2
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PG50
• View colour video

Extraordinarily beautiful colour for painting turquoise blue skies, a must have for sunny Mediterranean skies and Tropical seas! Mixing with this pigment helps make bright, transparent shadows, also use it to render the desired patina on a copper pot.

• Colour Code: 029
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PB36
• View colour video

A predictable staining teal blue with muscle and the presence to stand alone but when used in a glaze or wash it blends with incredible ease.

• Colour Code: 030
• Series: 3
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PV49
• View colour video

This pigment creates glowing shadows with interesting granulation. An inorganic pigment, it is considered transparent, non-staining (or low-tinting) and ideal for glazing methods. Cobalt Violet's ability to create soft edges, to lift and to mix readily makes it a valuable contribution to watercolor palettes.

• Colour Code: 031
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PV14
• View colour video

This pigment creates glowing shadows with interesting granulation. Cobalt Violet Deep is intense. This inorganic, transparent and low staining pigment is ideal for glazing methods. Its ability to create soft edges, to lift and to mix readily makes Cobalt Violet Deep a valuable contribution to watercolor palettes.

• Colour Code: 033
• Series: 1
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Semi-Transparent
• Staining: Medium
• Granulation: No
• Pigment: PR175
• View colour video

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.

• Colour Code: 210
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Low
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Diopside
• View colour video

Diopside Genuine is a rich gemstone green you'll reach for time and again. Also known as the Russian Emerald, he mineral is usually seen in fine jewellery. We are proud to be the first to offer it as a watercolour. Exquisite in hue, it brushes out evenly from deep bottle green through clear Kelly green to palest mint. The chromium rich stone from which it's ground is green with brownish inclusions. In washes hints of the brown mineral settle out, adding an earthy nuance perfect for landscape work.

• Colour Code: 137
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Opaque
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PR 101
• View colour video

Rich colour and opacity make English Red Earth a versatile pigment that offers a range of effects. At full strength this colour is similar to Burnt Sienna although it provides more coverage and dries with a slightly matte finish. Add water to create a warm pink-brown with soft granulation. Excellent light fastness makes for a reliable watercolour.

• Colour Code: 136
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PR 101
• View colour video

A transparent sun-baked brick red has a rose-blush undertone. This favorite among our earth pigments granulates for surprising texture and is non-staining so you can lift and move this color around your painting. A beautiful highlight for your deep crimson roses.

• Colour Code: 178
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PBr 6
• View colour video

DANIEL SMITH Enviro-Friendly Watercolours-the colours aren't green, but the process is! To make these paints, we use pigments from the earth's crust, obtained through a process known as Iron Oxide Recovery (IOR). This method removes coloured iron oxides that pollute mine water, cleaning the water so it can re-enter a receiving stream-and resulting in a cleaner natural environment. The recovered iron oxide is thoroughly washed, then used to create a trio of rich colours ranging in tone from a warm golden yellow to a deep red earth to a beautiful saturated dark brown with a bluish undertone.

• Colour Code: 177
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PBr 6
• View colour video

This versatile red-brown is deep brick at full strength. In lighter washes a warm and transparent earthy rose is revealed. A perfect brown-pink for portraiture - it's the natural looking red on cheeks and lips. Enviro-Friendly pigments are reclaimed and refined, giving you an earth-friendly option without sacrificing color quality.

• Colour Code: 176
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PBr 6
• View colour video

DANIEL SMITH Enviro-Friendly Watercolours-the colours aren't green, but the process is! To make these paints, we use pigments from the earth's crust, obtained through a process known as Iron Oxide Recovery (IOR). This method removes coloured iron oxides that pollute mine water, cleaning the water so it can re-enter a receiving stream-and resulting in a cleaner natural environment. The recovered iron oxide is thoroughly washed, then used to create a trio of rich colours ranging in tone from a warm golden yellow to a deep red earth to a beautiful saturated dark brown with a bluish undertone.

• Colour Code: 172
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-staining
• Granulation: Yes
• Pigment: PR 102

A wonderful brick red, the rich, ruddy color of an Irish Setter. Transparent, granulating and non-staining, it is beautiful in any strength and makes an exquisite range of skin tones.

• Colour Code: 134
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PY 43
• View colour video

Extremely lightfast and non-staining French Ochre is a delightfully warm colour 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 watercolour when your painting requires subtle highlights.

• Colour Code: 034
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Medium
• Granulation: Yes
• Pigment: PB29
• View colour video

This medium-to-dark warm reddish-blue is highly lightfast and of medium tinting strength. Its sedimentary quality increases its versatility.

• Colour Code: 169
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: No
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Fuchsite
• View colour video

Made from pure Fuchsite, a mineral with mica-like characteristics, this colour creates a luminous pearly green shimmer.

• Colour Code: 205
• Series: 4
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Low
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Garnet
• View colour video

Garnet Genuine Watercolor has all the warmth and allure of the January birthstone. Our newest PrimaTek® color is a gorgeous, warm reddish-orange with similar hue but more texture than Quinacridone Burnt Scarlet. Try mixing it with Cerulean Blue for beautiful mauves and grays. It reticulates wonderfully and creates unexpected surprises in washes.

• Colour Code: 121
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PBr 7
• View colour video

A cool, earthy neutral brown with a hint of green, German Greenish Raw Umber is a natural for landscapes of all kinds. Raw Umber with Greenish Tint from Germany is used to create this colour.

• Colour Code: 144
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PY 43
• View colour video

Found in iron deposits nearly worldwide, Goethite (Brown Ochre) is named after Johann Wolfgang Goethe, the German philosopher, poet and mineralogist.

• Colour Code: 038
• Series: 1
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Opaque
• Staining: Low
• Granulation: No
• Pigment: PBk10
• View colour video

Exploration of this colour reveals some surprising pigment properties beyond its obvious opacity. First, Graphite Gray disperses well and quickly in water so floating the dense pigment onto water or into a wet wash offers and interesting handling method. A dry brushstroke quickly followed by a wet brushstroke spreads some of the pigment leaving the texture look of the drybrush. Aged and weathered wood, fence posts and old buildings are fine candidates for this pigment and approach.

• Colour Code: 197
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Green Apatite
• View colour video

PrimaTek® Green Apatite Watercolour lets you create a beautiful range of greens-fresh yellow-green to deep olive-with a single tube. This sedimentary colour 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.

• Colour Code: 139
• Series: 2
• ATSM Lightfastness Rating: II Very Good
• Transparency: Transparent
• Staining: Medium
• Granulation: No
• Pigment: PY 150, PY 3, PG 36
• View colour video

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.

• Colour Code: 241
• Series: 1
• ATSM Lightfastness Rating: I - Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Granuating
• Pigment: PW6

Single pigment Gray Titanium is a mid-tone warm gray with slightly yellow undertones, and is semi-transparent, granulating, non-staining and has excellent lightfastness. The color and granulation make it wonderfully useful for dusty desert animals such as deer, elephants and tortoises, and for birds whose feathers offer good camouflage for blending into dry woodland, savanna and desert like the roadrunner and burrowing owl.  In landscapes, granulating Gray Titanium is beautiful for trees and shrubs whose trunks, branches and twigs are light colored and textured.  Urban landscapes benefit from Gray Titanium as well with light washes suggesting concrete structures.  As a single pigment, Gray Titanium mixes wonderfully with other colors adding both warmth and softness due to its semi-transparent/semi-opaque characteristic.

• Colour Code: 040
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: No
• Pigment: PY65
• View colour video

Kissed with a touch of orange, this is a pure chroma colour with high-tinting, semi-transparent 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.

• Colour Code: 041
• Series: 1
• ATSM Lightfastness Rating: II Very Good
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: No
• Pigment: PY3
• View colour video

Cleaner, more transparent and brighter in chroma than Cadmium Yellow Light, this is a high-tinting, semi-transparent 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.

• Colour Code: 039
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: No
• Pigment: PY97
• View colour video

Hansa Yellow Medium is a high-tinting, semi-transparent 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.

• Colour Code: 158
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Hematite
• View colour video

Hematite stones are crushed and milled to a fine pigment to create a dramatic reddish brown watercolour with maximum granulation. Add texture to your work with this genuine PrimaTek pigment. Perfect for rugged landscapes and the natural texture of wood, stones and brick. Hematite is ground from a heavy silvery-black mineral rich in iron. In a thick wash, the heavier particles settle, creating bold granulation. In a thin wash, it is a soft dove gray.

• Colour Code: 156
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Hematite
• View colour video

Hematite is ground from a heavy silvery-black mineral rich in iron. In a thick wash, the heavier particles settle, creating bold granulation. In a thin wash, it is a soft dove gray.

• Colour Code: 157
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Hematite
• View colour video

Hematite stones are milled to a fine pigment to create this stunning watercolour. Rich and shadowy violet washes are studded with a pattern of deep granulation. Bring excitement to neutral tones with this PrimaTek pigment—driftwood, tree bark, and rocky cliffs come alive with texture and drama. Be inspired by this rugged violet that stays true with excellent light fastness. Hematite is ground from a heavy silvery-black mineral rich in iron. In a thick wash, the heavier particles settle, creating bold granulation. In a thin wash, it is a soft dove gray.

• Colour Code: 042
• Series: 1
• ATSM Lightfastness Rating: II Very Good
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: No
• Pigment: PG36, PY3, PO48, PY150
• View colour video

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. Artist John Blockley adds India ink to his Hooker's mix!

• Colour Code: 174
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PB 29, PV 19
• View colour video

Unlock a wealth of colour 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.

• Colour Code: 043
• Series: 2
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Transparent
• Staining: Medium
• Granulation: No
• Pigment: PB60
• View colour video

This organic Vat pigment is a super-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 colour perspective.

• Colour Code: 044
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Opaque
• Staining: Medium
• Granulation: Yes
• Pigment: PR101
• View colour video

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.

• Colour Code: 045
• Series: 3
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Low
• Granulation: No
• Pigment: PY97, PY150
• View colour video

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.

• Colour Code: 046
• Series: 1
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Transparent
• Staining: Medium
• Granulation: No
• Pigment: PB60, PBk6
• View colour video

Used since the early Egyptian times, Indigo has been a very important colour in fabrics as well as art materials. Natural Indigo is a deep blue colourant 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.

• Colour Code: 218
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-transparent
• Staining: Medium Staining
• Granulation: No
• Pigment: PY139

Bold, bright and smooth, this stunning watercolor offers watercolorists a rich shade of yellow for captivating watercolors. So saturated that it is nearly orange at full strength, Isoindoline Yellow can be lightened with water for glowing, transparent washes. An even finish, and excellent light fastness, make this watercolor a pleasure to paint with. An excellent alternative to Cadmium Yellow Deep. Its warm, glowing, school bus yellow color and supremely smooth texture make it a palette essential. In light washes, it creates a soft, sunlit radiance.

• Colour Code: 047
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PBr7
• View colour video

This sienna is a natural orange-brown earth pigment imported from Italy. Use this and the 'limited edition' siennas with the same method and purpose as plain Burnt Sienna.

• Colour Code: 135
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PY 43
• View colour video

Experience the perfect combination of rustic colour and refined working properties with Italian Deep Ochre. This shade has a warm brown cast and is slightly darker than traditional yellow ochre. Transparency and delicate granulation are perfect for sun-baked landscapes and excellent light fastness keeps your work from fading.

• Colour Code: 122
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PR 101
• View colour video

Made from pigment mined and mixed in Italy, Italian Venetian Red is redder than most and smoulders with a warm intensity. 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 non-staining, lifts with some difficulty when dry, but leaves a special warm afterglow when blotted at the damp state.

• Colour Code: 048
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PBk9
• View colour video

A semi-transparent, warm opaque pigment. Historically, this black was derived from burnt ivory from now-endangered species. Thankfully, this is no longer the practice. An Ivory Black touched with yellow creates a blackened green excellent for backlit foliage. Think sumi and hand-painted stone lithographs. Can be used to darken transparent pigment.

• Colour Code: 195
• Series: 4
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Jadeite
• View colour video

This exceptionally beautiful PrimaTek® colour is made from the more strongly coloured 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 colour. Its luster is vitreous. From deep, dark-green mass tone to the palest wash, it creates all the exquisite shades we think of when we think of jade.

• Colour Code: 239
• Series: 2
• ATSM Lightfastness Rating: I - excellent
• Transparency: Opaque
• Staining: Low Staining
• Granulation: Yes
• Pigment: PB 29, PBr 7

Jane’s Grey is a unique color in the market. Most grays, whether Payne’s Gray, Neutral Tint or others, are made with a black pigment, and often phthalo blue is included. Artist Jane Blundell wanted a gray without the often-dulling effect of a black pigment, and without the staining effects of phthalo blue. She wanted a gray that was liftable and granulating to create the lovely look of stormy skies and softened shadows. It will also work as a neutral tint, darkening colors without changing them.  Using a gray that is made with palette colors maintains color harmony in an artwork. Many artists mix ultramarine blue and burnt sienna as they work, but no one was making this gorgeous mix as a convenience color, so she did to make it easy to create rich darks with ease. Initially she mixed it in individual pans and palettes but the demand from her students meant she started to make it in tubes. 

• Colour Code: 245
• Series: 2
• ATSM Lightfastness Rating: I - Excellent
• Transparency: Semi-Transparent
• Staining: Low Staining
• Granulation: Granulating
• Pigment: PB36, PV19, PBk6

“…I designed this grey to use for those frosty morning and rainy winter day paintings. It has a lovely greenish sediment which is perfect for low light, early morning light effects. I think this is a must for anyone painting winter scenes.”  -Joseph Zbukvic

• Colour Code: 244
• Series: 2
• ATSM Lightfastness Rating: I - Excellent
• Transparency: Semi-Transparent
• Staining: Loq Staining
• Granulation: Granulating
• Pigment: PB29, PBk9, PBk10

Joseph Z’s Neutral Grey, developed by Joseph Zbukvic, which he describes as; “…perfect for those strong, New York type cityscapes. When undiluted it is basically black and can provide powerful monolithic shapes without looking chalky.  It gives a look of charcoal drawing or old-fashioned photographs.”

• Colour Code: 246
• Series: 2
• ATSM Lightfastness Rating: I - Excellent
• Transparency: Semi-Transparent
• Staining: Low Staining
• Granulation: Granulating
• Pigment: PY43, PV19, PBk6

Joseph Z’s Warm Grey, developed by Joseph Zbukvic, which he describes as; “…perfect for strong summer light when shadows have that rich warm glow. It’s particularly useful for painting late afternoon light effects with its pinkish glow when it’s diluted into lighter washes. It can capture that evening glow perfectly.”

• Colour Code: 186
• Series: 4
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Kyanite
• View colour video

This exclusive DANIEL SMITH color is a stunner-a rich blue-gray with impressive granulation and dazzling, glittery sparkle. Its name comes from the Greek word kyanos meaning dark blue enamel. Thought to promote serenity, concentration and mental clarity, this shiny, translucent gemstone is used for jewelry and heat-resistant ceramics, and now for a watercolor that will add amazing texture and visual excitement to your work.

• Colour Code: 003
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Opaque
• Staining: Staining
• Granulation: No
• Pigment: PBk9
• View colour video

Opaque and cool. This is the most intense black available. It is a sooty by-product of burned mineral oil and tar. Lamp Black mixed with Burnt Sienna can add a trace of warmth to a passage. Think classic black velvet. Use to darken transparent pigment.

• Colour Code: 138
• Series: 5
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Lapis Lazuli
• View colour video

Mined in the mountains of South America, this gem-quality pigment is an opulent blue. There is not a hint of gray in this paint, with a classic, concentrated blue that is vibrant and light reflective (due to the irregular and angular shape of the pigment particles). A touch of golden pyrite as an inclusion adds a delightful shimmer. The result is an elegant, almost three-dimensional effect that is completely different from the predictable blue of synthetic ultramarine pigments. Our Genuine Lapis Lazuli is at least 80% pure gem pigment suspended in a natural binder.

• Colour Code: 232
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low Staining
• Granulation: Yes
• Pigment: PW 6, PV 15, PB 29

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.

• Colour Code: 165
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Low
• Granulation: No
• Pigment: PY 175
• View colour video

Lemon Yellow, a brilliant primary yellow, is the perfect pigment for mixing a range of hues when a clean yellow is necessary. This saturated, bright color adds life to your work at full strength and washes out to a sweet soft glow for a light and subtle statement. You'll enjoy the smooth handling properties and the durability of this extremely lightfast paint.

• Colour Code: 049
• Series: 1
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PBk11
• View colour video

Imagine a transparent black with an expansive value range and pigment particles that react like magnetic shavings attracting and repelling each other.Lunar Black is an inorganic neutral black watercolor pigment and a Daniel Smith exclusive. Think Black Magic-and re-think black.

• Colour Code: 183
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PB 15, PBk 11
• View colour video

The fabric of the night sky glides off the brush in this heavenly new 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 new watercolour is sure to entrance.

• Colour Code: 050
• Series: 1
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PBr11
• View colour video

A transparent, non-staining pigment that resembles Burnt Sienna in colour but separates dramatically. Lightfast and extremely versatile, Lunar Earth shares pigment properties with Lunar Black and creates similar amazing textures.

• Colour Code: 141
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PR 101
• View colour video

Add texture to you watercolour paintings with this rich burgundy watercolour.

• Colour Code: 182
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PV 15, PBk 11
• View colour video

Watch how this fascinating new semi-transparent watercolour with its broad range of texture, colour and value falls into unique forms across your paper. This paint creates a deep rich black or a wash of soft violet sky at twilight. With extreme granulation it's capable of creating a rugged weathered look of years gone by or capturing the delicacy of a new spring lavender flower. This versatile pigment will become a resourceful, inventive friend that you will revisit again and again.

• Colour Code: 051
• Series: 1
• ATSM Lightfastness Rating: II Very Good
• Transparency: Transparent
• Staining: Medium
• Granulation: Yes
• Pigment: PB15
• View colour video

This cool turquoise blue is ideal for creating form or indicating space. It is a medium-staining semiopaque pigment with wonderful granulating properties. A good substitute for Cerulean Blue, Manganese Blue Hue offers an additional advantage: it mixes well with other non-staining semiopaques to create a mottled texture in underlying colours.

• Colour Code: 054
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PY42
• View colour video

To avoid instant mud in your watercolours, select lightfast Mars Yellow. This semi-transparent brownish yellow is low-staining, an ideal substitute for more transparent, higher staining pigments such as New Gamboge or Yellow Ochre.

• Colour Code: 211
• Series: 3
• ATSM Lightfastness Rating:II Very Good 
• Transparency: Transparent
• Staining: Low
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Mayan Blue
• View colour video

Mayan Blue Genuine is one of Daniel Smiths new PrimaTek colours, 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 colour 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 favourite.

• Colour Code: 213
• Series: 3
• ATSM Lightfastness Rating: II Very Good
• Transparency: Semi-transparent
• Staining: Low Staining
• Granulation: No
• Pigment: PB82

Mayan Dark Blue is darker and warmer than Mayan Blue Genuine. Mix it with Mayan Orange to make a fantastic array of subtle grays and violets for colorful, complex shadows. Rich, bold colors adorned the murals and sculpture of the Mayan people. Even when exposed to centuries of severe heat and humidity, these colors have hardly faded over a thousand years. Now, using methods derived from ancient Mayan chemistry, these unique, metal-free pigments have been recreated using an eco-friendly process. Their versatility, durability and exquisite hues make them colors you’ll reach for again and again.

• Colour Code: 216
• Series: 3
• ATSM Lightfastness Rating: II Very Good
• Transparency: Semi-transparent
• Staining: Low Staining
• Granulation: No
• Pigment: PO N/A

Mayan Orange is hot and intense. Use it straight from the tube for a blazing red-orange. As you add water, the color remains strong and disperses very evenly. Rich, bold colors adorned the murals and sculpture of the Mayan people. Even when exposed to centuries of severe heat and humidity, these colors have hardly faded over a thousand years. Now, using methods derived from ancient Mayan chemistry, these unique, metal-free pigments have been recreated using an eco-friendly process. The colors are smooth, non-granulating and semi-transparent. Their versatility, durability and exquisite hues make them colors you’ll reach for again and again.

• Colour Code: 217
• Series: 3
• ATSM Lightfastness Rating: II Very Good
• Transparency: Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PR 287

Used to adorn the murals and sculptures of the Mayan people, this remarkable red has remained vibrant even when exposed to more than a thousand years of severe heat and humidity. Now using an eco-friendly process, with methods derived directly from the ancient Mayans, this unique, metal-free pigment is available to you. Its versatility, durability and exquisite hue will make it a color you'll reach for again and again.

• Colour Code: 214
• Series: 3
• ATSM Lightfastness Rating: II Very Good
• Transparency: Transparent
• Staining: Low Stain
• Granulation: Yes
• Pigment: PV58

Enjoy a saturated fuchsia with a rich tone and velvet finish. This stunning watercolor revives the bold color used by the ancient Mayan people to adorn their murals and sculpture. Now using an eco-friendly process, with methods derived directly from the ancient Mayans, this unique, metal-free pigment is available to you. Its versatility, durability and exquisite hue will make it a color you’ll reach for again and again.

• Colour Code: 212
• Series: 3
• ATSM Lightfastness Rating: II Very Good
• Transparency: Transparent
• Staining: Low Staining
• Granulation: No
• Pigment: PY223

Experience a saturated yellow with a rich history, you’ll love its transparency and smooth working properties. A natural looking yellow with a very slight green-brown cast – great for foliage highlights! This stunning watercolor revives the bold color used by the ancient Mayan people to adorn their murals and sculpture. Now using an eco-friendly process, with methods derived directly from the ancient Mayans, this unique, metal-free pigment is available to you. Its versatility, durability and exquisite hue will make it a color you’ll reach for again and again.

• Colour Code: 248
• Series: 2
• ATSM Lightfastness Rating: Excellent
• Transparency: Transparent
• Staining: Low
• Granulation: Granulating
• Pigment: PB27, PR101, PV23, PV19, PR177 , PY150, PR149

Made in collaboration with artist Laurin McCracken, this black is inspired by the work of 16th and 17th century Dutch painters. It is perfect for producing depth in dark backgrounds and neutral greys.

• Colour Code: 143
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Genuine Catlinite
• View colour video

American Pipestone is the stone that unified our people in a time of transition. This sacred mineral was the stone of choice for the legendary Sioux peace pipes. Traveling through Pipestone County, Minnesota, one can almost hear the murmurs of the past. The warm, muted tones of the pipestone foster an introspective creative flow.

• Colour Code: 056
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PBr7
• View colour video

Bring a natural glow to your palette with this stunning sienna earth tone. Subtle granulation and a delicate transparency make this watercolour especially useful for portraits and landscapes. This low staining pigment is very workable and has excellent lightfastness.

• Colour Code: 057
• Series: 2
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Transparent
• Staining: Low
• Granulation: Yes
• Pigment: PG18, PB29, PR177
• View colour video

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 colour. 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!

• Colour Code: 166
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: Yes
• PrimaTek Colour made with authentic mineral pigments
• Pigment: Natural Iron Oxides
• View colour video

Unlike the old world colour, DANIEL SMITH'S Mummy Bauxite is extremely lightfast, semi-transparent and low-staining. You get the tonal warmth and depth of traditional Mummy with the modern assurance that the colour is strong, stable and consistent.

• Colour Code: 059
• Series: 1
• ATSM Lightfastness Rating: I Excellent (Not Rated by ATSM, based on DS independent testing)
• Transparency: Semi-Transparent
• Staining: Low
• Granulation: No
• Pigment: PR171
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This new azo pigment falls between Permanent Violet and Manganese Violet on the color chart. It’s a lightfast, slightly granular deep brown-violet with a low staining property, these properties make Naphthamide Maroon a surprise substitute for earth pigments, especially umbers.

• Colour Code: 058
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: No
• Pigment: PW4, PY97, PR101
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This Cadmium Yellow Light with a touch of Venetian Red is made a neutral semi-opaque colour with the addition of zinc oxide. A few other uses for Naples Yellow would be straw grasses painted atop dry fence posts, flowers and stamens, and portraits.

• Colour Code: 229
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent Opaque
• Staining: Low Staining
• Granulation: No
• Pigment: PBk 6, PV 19, PB 15
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Create Rich Darks and Neutrals with this fabulous and unique, dark neutral pigment that when mixed with any watercolour pigment produces glowing, darker values of that colour.

• Colour Code: 060
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Low
• Granulation: No
• Pigment: PY97, PY110
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Unlike other brands, Daniel Smith New Gamboge is an excellent lightfast formulation. It's a transparent organic pigment from the yellow to orange zone of your colour wheel. More staining than Yellow Ochre and equal in tinting ability to Raw Sienna. It's a good substitute for those colors when transparency is desired while avoiding thick, muddy passages.

• Colour Code: 061
• Series: 2
• ATSM Lightfastness Rating: I Excellent
• Transparency: Transparent
• Staining: Low
• Granulation: No
• Pigment: PY150
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Use this colour where transparency and staining ability are desired. Try it along with or in place of Nickel Titanate Yellow and Naples Yellow.

• Colour Code: 062
• Series: 1
• ATSM Lightfastness Rating: I Excellent
• Transparency: Semi-Transparent
• Staining: Non-Staining
• Granulation: Yes
• Pigment: PY53
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This semi-transparent Yellow Green appears opaque in mass, yet lifts cleanly. It is low staining, making it excellent in portrait mixtures for dark flesh tones. Use concentrated to diluted mixtures in florals and field flowers. This lemon yellow hue works well with purples and all the greens.