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Daniel Smith Extra Fine Watercolours Colour Information

DANIEL SMITH currently offers 249 different watercolours, with more in the works every year. The sheer range of possibility they offer is endless and unparalleled in the industry. Our amazing selection spans the spectrum from the historical, to our natural earth and PrimaTek colors, to our Quinacridones, the brightest and boldest colors modern technology has to offer.

PrimaTek

Certain colours have captured the imagination of artists for hundreds or even thousands of years. Daniel Smith's exclusive PrimaTek® Colours are made from naturally occouring pigments, reviving a tradition of making paints the way the ancient Egyptions, Mayans and other early cultures did. to find these rare pigments, Daniel Smith's mineralogist circles the globe, going to some of the most remote areas of the world. their diversity is amazing, from the subtle earth tones of Hermatite, Zoisite, Tiger's Eye and Sedona to the exquisite jewel shades of Rhodonite, Amazonite and Lapis Lazuli Geniune. As you Paint with these colours, we know you'll experience something new in your watercolour mixtures and paintings.

Colour
Information
Properties

Buff Titanium
284 600 009

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.

Pre-mix Buff Titanium with Quinacridone Rose or Perinone Orange for subtle hues and matte surfaces ideal for the velvety petals of your favorite flowers. Mix with Indigo or Van Dyke Brown to create slate-coloured shadows and soft feathers. Glaze a dried landscape with a misty, atmospheric mood.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

(PW6:1)


Nickel Titanate Yellow

284 600 062  

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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

(PY53) 


Bismuth Vanadate Yellow

284 600 154

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.

ASTM Lightfastness Rating: Excellent

Transparency: Opaque

Granulating: No

Staining: Low

(PY184) 


Hansa Yellow Light

284 600 041

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.

ASTM Lightfastness Rating: Very Good

Transparency: Semi-transparent

Granulating: No

Staining: Low

(PY3)


Cadmium Yellow Light Hue

284 600 192

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

ASTM Lightfastness Rating: Very Good

Transparency: Semi-Transparent

Staining: Low Staining

Granulating: No

( PY53 PY138 PY3)


Cadmium Yellow Medium Hue

284 600 184

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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Staining: Low

Granulating: No

(PY53 PY151 PY83)


Aureolin - Cobalt Yellow

284 600 006

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.

ASTM Lightfastness Rating: Very Good

Transparency: Semi-transparent

Granulating: No

Staining: Non-staining

(PY40)

Lemon Yellow

284 600 165

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 colour 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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Staining: Low

Granulating: Yes

(PY175)

Hansa Yellow Medium

284 600 039

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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: No

Staining: Low

(PY97)

Naples Yellow

284 600 058

Consider non-staining lightfast Naples Yellow a bonus pigment. A true butter colour, this Cadmium Yellow Light with a touch of Venetian Red is made a neutral semi-opaque colour with the addition of zinc oxide. Straw grasses painted atop dry fence posts, flowers and stamens, and portraits are a few of its valuable applications.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: No

Staining: Non-staining

(PW4 PY35 PR101)

Indian Yellow

284 600 045

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.

This medium to high tinting yellow lends a rusty orange edge to undisturbed puddles, a curious property when painting ripe fruit and vegetation. Autumn leaves and floral close-ups make great study subjects as you explore this pure chroma, slightly granular yellow. Indian Yellow wets well and flows evenly.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Low

(PY108)

Hansa Yellow Deep

284 600 040

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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Low

 (PY65) 

New Gamboge

284 600 060

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 colours when transparency is desired while avoiding thick, muddy passages.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Low

 (PY97)

Permanent Yellow Deep

284 600 133

Mixing beautifully with other colours, Permanent Yellow Deep yields a bright tangerine hue when used at full-strength and light washes are a soft peach. A warm and golden tone makes this yellow ideal for the fiery orange-yellows of a fall landscape.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: No

Staining: Low

(PY110) 

 

 

 

 

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Colour
Information
Properties

Pyrrol Orange

284 600 126

This unforgettable semi-transparent orange is a smooth, saturated and pure addition to the watercolourist's palette. Capture the glory of a summer garden or the magic of a tropical sunset with this dynamic and versatile hue.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: No

Staining: Medium

(PO73) 

Permanent Orange

284 600 071

Saturated and leaning toward yellow, Permanent Orange resembles Cadmium Orange and is equally lightfast, semi-transparent and low staining. Our Permanent Orange with its' juicy, bold orange colour will add brilliancy to your florals, sunsets, sun-drenched and tropical landscapes!

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: No

Staining: Low

(PO62) 

Perinone Orange

284 600 066

Perinone Orange, with its vast range from vivid intensity to pale, transparent fleshy washes, is a clear, clean vat pigment. From carrots to soft gladiola and azalea petals, this pure chroma orange is a treat for the eye and a dream to handle.

Use in place of Cadmiums when mixing and revel in its glowing transparency. Play with salt texture and lift and squeegee techniques.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Staining

(PO43)


Transparent Pyrrol Orange

284 600 187
This clear, dark, red-leaning orange thins into perfectly smooth washes. The colour is vivid and warm, lovely used on its own, and great in mixes. Try it with granulating greens or blues to create exquisite earth colours and shadow-grays that are both textural and warm.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Staining: Low Staining

Granulating: No

(PO 71) 

Organic Vermilion

284 600 064
This semi-transparent low-staining deep orange is sometimes called Scarlet Lake or Rose Carthame. Oranges can be very difficult to work with, but this one excels in handling and is a good option over Cadmium Orange.

ASTM Lightfastness Rating: Very Good - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Low

(PR188) 

Quinacridone Coral
284 600 088
A treat for the eyes of both painter and viewer, this intense Quinacridone colour is a clear red tinged with pink and orange. Highly durable and extremely transparent, all the Quinacridone colours excel in vivid clarity and intensity.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Low

(PR209) 

Pyrrol Scarlet

284 600 085
Permanent, semi-transparent and medium staining, this fire engine red is cleaner than Cadmium or Permanent Red. It is a modern synthetic-organic pigment. While close in value to its Perylene cousin, it disperses more evenly and is less granular.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Medium

(PR255)

Perylene Scarlet

284 600 076
Perylene Scarlet is medium staining and semi-transparent. It creates vivid, dark washes with a clean brilliant orange hue. This sedimentary pigment offers an additional health plus, as it is made from a metal-free red. Clean, modern pigments such as this will make accidental mud-making a thing of the past.

ASTM Lightfastness Rating: Very Good - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: Yes

Staining: Medium

(PR149) 

Pyrrol Red

284 600 084

This fire engine red is cleaner than Cadmium or Permanent Red. It is a modern synthetic-organic pigment. While close in value to its cousins the Perylenes, it disperses more evenly and is less granular.

ASTM Lightfastness Rating:Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-Transparent

Granulating: No

Staining: Medium

(PR254)


Perylene Red

284 600 075
Perylene Red is medium staining and semi-transparent. It creates vivid, dark washes with a clean brilliant orange hue. This sedimentary pigment offers an additional health plus, as it is made from a metal-free red. Clean modern pigments such as this will put accidental mud-making in the past.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Medium

(PR178)

Permanent Red

284 600 072
This red diffuses well with water - a treat when painting wet into wet or damp passages. The fussy edges this technique produces brings field poppies to mind.

ASTM Lightfastness Rating: Very Good - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Staining

(PR170 F3RK-70)


Permanent Red Deep

284 600 069

Semi-transparent, lightfast and permanent, this pigment diffuses well with water, a treat when painting wet into wet or damp passages. The fuzzy edges this technique produces brings field poppies to mind.

ASTM Lightfastness Rating: Very Good - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Medium

(PR170 F5RK) 

Quinacridone Red

284 600 091
 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 Quinacridone colours excel in vivid clarity and intensity.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: No

Staining: Medium

 (PV19) 

Anthraquinoid Red

284 600 005

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.

Indanthrone Blue, Indian Yellow and Anthraquinoid Red comprise a transparent, super-staining triad.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Medium

(PR177) 

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Colour
Information
Properties

Alizarin Crimson

284 600 004

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

Intense and dark in value, Alizarin Crimson mixes cleanly with most pigments to create dark mixtures and warm neutrals. A combination of Aureolin (Cobalt Yellow) and French Ultramarine with Alizarin renders a surprising range of other colours resembling everything from Burnt Sienna and Umber to Payne's Gray, while Alizarin Crimson with French Ultramarine creates an intense purple.

ASTM Lightfastness Rating: Fugitive - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Medium

(PR83)

Permanent Alizarin Crimson

284 600 185

Permanent Alizarin Crimson, developed with our customers, blends pigments to produce an exceptionally lightfast red with true Alizarin Crimson character and versatility. Like classic Alizarin, it is vibrant, non-granulating, medium staining and very transparent, with the undeniable advantage of permanence. Try a rich and bold application or a blush of crimson colour in a light wash, we know you'll love this beautiful shade.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Staining: Medium

Granulating: No

(PR177 PV19 PR149) 

Rhodonite Genuine

284 600 167
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.
 

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Staining: Low

Granulating: No

PrimaTek Colour


Carmine

284 600 020

Equal in staining capacity to Alizarin Crimson, but vastly superior in permanence, Carmine is also redder. This transparent staining pigment, rich and intense, will retain its luminosity in dark passages, but will dilute to produce subtle tones without reducing its permanence.

Darkest of the reds, carmine will help you achieve clear neutrals when mixed with its complement, Phthalo Green.

ASTM Lightfastness Rating: Very Good - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Tranparency: Semi-transparent

Staining: Staining

Granulating: No

(PR176) 

Rose Madder Genuine

284 600 100

Transparent and non-staining, but impermanent, Rose Madder Genuine is used most often as a subtle pale pink glazing pigment and considered essential by many portrait artists.

Thin films or extremely dilute washes of Rose Madder Genuine cast a warm glow over a landscape or capture sunrise or sunset on calm waters. Its non-staining property can create beautiful lost and found edges in florals.

Rose Madder Genuine, Aureolin and Cobalt Blue are a popular non-staining transparent triad which mix to create neutral hues.

ASTM Lightfastness Rating: Fugitive - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: Yes

Staining: Low

(NR9) 

Opera-Pink

284 600 198
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.

ASTM Lightfastness Rating: Very Good - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Low

(PR188) 

Potter's Pink

284 600 148
Potter's Pink is the lightfast pink that was used in English watercolour painting of the 18th and 19th centuries. Also used in ceramic glazes, it is romantic rose pink, delicate and neutral - a beautiful counterpoint for brighter, more saturated colours. We've recently found a new batch of the pigment, chrome aluminum stannate, which is stronger in hue and tinting strength.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PR233)

Quinacridone Pink

284 600 095

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 Quinacridone colours excel in vivid clarity and intensity.

ASTM Lightfastness Rating: Very Good - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Low

(PV42) 

Quinacridone Rose

284 600 092

Quinacridone Rose, with its red-violet colour, 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 Quinacridone colours excel in vivid clarity and intensity.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: No

Staining: Medium

(PV19) 


Quinacridone Magenta
284 600 090

This deep red violet disperses evenly with slight granulation 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 Quinacridone colours excel in vivid clarity and intensity.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Medium

(PR202)


Pyrrol Crimson

284 600 127
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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: No

Staining: Medium

(PR264)

Quinacridone Fuchsia

284 600 132

A necessary watercolour for painters who embrace colour - a brilliant, slightly violet, red. Never bashful, Quinacridone Fuchsia remains strong even when mixed with water. Your light washes will be bold and, at full strength, few paints can compare to the uncompromising richness of Quinacridone Fuchsia. Completely transparent and satiny smooth, this radiant watercolour is sure to become a staple on your palette.

Highly durable and extremely transparent, all the Quinacridone colours excel in vivid clarity and intensity.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: No

Staining: Medium

(PR202) 

Bordeaux

284 600 008

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

Try painting a scattering of cranberries with Bordeaux mixed with small touches of Anthraquinoid Red or French Ultramarine. Blot highlights and when dry, add details such as blossoms or stem ends of berries. Then add a connective shadow.

ASTM Lightfastness Rating: Very Good - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Medium

(PV32)

Quinacridone Violet

284 600 094

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 Quinacridone colours excel in vivid clarity and intensity.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: No

Staining: Staining

(PV19) 

 

 

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Colour
Information
Properties

Permanent Violet

284 600 073

The soft handling ability or even dispersion of this lightfast, semi-transparent pigment helps make this a fine pre-mixed violet. The rich medium to high staining pigment shows strong reddish-violet colour although it contains more of its complement.

Use Permanent Violet in velvety purple washes of subjects such as pansies and other flowers.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Medium

(PR88) 

Perylene Violet

284 600 201
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.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: No

Staining: Medium

(PV29) 

Cobalt Violet

284 600 030

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 watercolour palettes.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

(PV49)

Cobalt Violet Deep

284 600 031

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 watercolour palettes.

ASTM Lightfastness Rating:Excellent

Transparency: Transparent

Granulating: Yes

Staining: Low

(PV14)

Ultramarine Red

284 600 107

To create this colour, Ultramarine Blue pigment is "baked". An excellent lightfast pigment that flows freely, leaving slight granulation in washes. Ultramarine Red is considered non-staining, unusual for a red.

Mist damp passages of either pigment for a delightful mottled effect.

ASTM Lightfastness Rating:Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PV15) 

Rose of Ultramarine

284 600 101

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.

ASTM Lightfastness Rating: Very Good

Transparency: Semi-transparent

Granulating: Yes

Staining: Medium

(PB29 PV19) 


Imperial Purple

284 600 174
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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Staining: Low

Granulating: Yes

(PB29 PV19)

Ultramarine Violet

284 600 108

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.

ASTM Lightfastness Rating: Excellent.

Transparency: Transparent

Granulating: Yes

Staining: Low

(PV15) 

Amethyst Genuine

284 600 203
"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 colour, it can also make lovely clear washes.

Lightfastness: Excellent

Staining: Low

Granulating: Yes

Transparency: Semi-transparent

PrimaTek Colour


Carbazole Violet

284 600 019

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.

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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Tranparency: Semi-transparent

Staining: Medium

Granulating: No

(PV23 RS)

Sugilite Genuine

284 600 200

A beautiful granulating pigment from South Africa, is another standout PrimaTek® colours. First found in 1944 and named for its Japanese discoverer, the rare opaque mineral ranges from grayish lavendar to pink to deep purple. As a watercolour pigment, it combines subtle fuchsia pink and warm gray in a single strongly textural colour. In a wash, the gray settles with a slight graphite-like sheen, while the pink rises to resemble the colour in an overcast dawn sky. It's a great complement to golds, oranges and greens, including Quinacridone Gold and Sap Green.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Staining: Low

Granulating: Yes

PrimaTek Colour

Moonglow

284 600 057

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!

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 watercolours. 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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: Yes

Staining: Low

(PG18 PB29 PR177)

Shadow Violet

284 600 188
A smooth gray-mauve in light washes, 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.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Staining: Non-staining

Granulating: Yes

(PO73 PB29 PG18) 

Cobalt Blue Violet

284 600 115

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 watercolourists' palette, this is the perfect purple for dynamic floral paintings.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PV19 PB28)

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Colour
Information
Properties

Kyanite Genuine

284 600 186
This exclusive DANIEL SMITH colour 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 watercolour that will add amazing texture and visual excitement to your work.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Staining: Non-staining

Granulating: Yes

PrimaTek Colour

Indanthrone Blue

284 600 043

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.

Daniel Smith originals Anthraquinoid Red, Indian Yellow and Indanthrone Blue complete a transparent staining trio.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Medium

(PB60) 

Indigo

284 600 046

Used since the early Egyption 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. 

Our 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. For a special treat, try this with Indigo and Cote d'Azur Violet.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Medium

(PB60 PBk6) 

Sodalite Genuine

284 600 179
Sodalite, with a distinctive deep blue colour 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 watercolour, the inky colour 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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Staining: Low

Granulating: Yes

PrimaTek Colour

Lapis Lazuli Genuine 

284 600 138
Lapis lazuli has been prized for its beauty, its mystical properties, and its perfection as a pigment. Ancient civilizations believed that the veins of glittering pyrite found in the lapis were actual gold, driving up its value. The stone's expense today, as in the ancient world, results from its hardness, which makes extraction difficult.

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.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

PrimaTek Colour

Smalt Genuine

284 600 202
A fascinating historic blue that was popular from the Egyptian dynasties through the Renaissance. The pigment is a finely ground potassium glass, coloured blue by cobalt oxide. The name comes from the mineral Smaltite, primary source of the cobalt component in medieval Europe. Since Smalt is a glass, it's beautifully transparent. Grayer than Cobalt Blue, and with lower hiding power, it's great for skies and for glazing over strong colours to cool them down. Smalt Genuine holds its hue even when mixed with large quantities of water, and also mixes cleanly with other colours.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-Staining


Verditer Blue

284 600 173
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 colour of cornflowers and create surprising effects in a wash. Dilute it to the palest baby blue. Enjoy every nuance of this wonderful new semi-transparent watercolour.
 

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Staining: Low

Granulating: Yes

(PB28 PB36 PW4)

Cobalt Blue

284 600 025
This neutral, non-staining primary blue will subtly modify most pigments. Considered a "mixing pigment", its transparent nature can cast a giant reticulating shadow. An inorganic pigment, it is considered transparent, 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 watercolour palettes.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PB28)

Ultramarine Blue

284 600 106

Ultramarine Blue plots cooler and bluer than the more saturated French Ultramarine. Temperature aside, both blues have equal permanence, lightfastness and semi-transparency.

Ultramarine Blue is slightly less granular in concentrated washes. For less saturation, sedimentation and cost, use Ultramarine Blue straight, for vibrant crayon-like colour or mixed with a cool red for dark, effective neutrals.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-Transparent

Granulating: Yes

Staining: Medium

(PB29) 

French Ultramarine

284 600 034

This medium-to-dark warm reddish-blue is highly lightfast and of medium tinting strength. Its 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 colour-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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Medium

(PB29) 

Phthalo Blue RS

284 600 077
A powerful blue with a slightly red undertone, this popular pigment is valued for its strength and economy—just a daub of paint can colour a whole sky. A dash of blue gives a full range of value. Mix dark colours for shading and shadows by combining Phthalo Blue with Quinacridone Rose. Use Phthalo Blue's transparent quality to create containers and water around stems.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: No

Staining: Staining

(PB15) 

Phthalo Blue GS

284 600 077
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.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: No

Staining: Staining

(PB15) 

Prussian Blue

284 600 082
Float this colour 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.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Medium

(PB27)

Cerulean Blue Chromium

284 600 021

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. 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.

ASTM Lightfastness Rating: Excellent

Tranparency: Semi-transparent

Granulating: Yes

Staining: Low

(PB36) 

 

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Colour
Information
Properties

Manganese Blue Hue

284 600 051

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.

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 colour we adore-Manganese Blue Hue.

ASTM Lightfastness Rating: Very Good

Transparency: Transparent

Granulating: Yes

Staining: Medium

(PB15)

Sleeping Beauty Turquoise Genuine

284 600 150

A unique and vibrant blue, it comes from Sleeping Beauty Mountain in Arizona where we found a deposit that lives up to our high expectations. It is lightfast and permanent, with none of the transient colour fade that plagues most turquiose.

Turquoise has a unique porous nature that produces granular washes. Juicy washes flow from the brush and drybrush work has the intense texture found only in a mineral pigment. Traditional mineral pigments have a muted feel, our unique Turquoise Genuine has a true brilliance. We use the highest grade mineral that is found closest to the earth's surface, where environmental factors have enhanced the structure to gemstone quality and deepened the tonal richness to a remarkable blue. 

Historic references of Turquoise date back as far as Egypt's first dynasty. Turquoise from the American Southwest has been unearthed in Aztec ruins and Persian turquoise was used as trading currency.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining


Cobalt Teal Blue
284 600 028

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.

An inorganic pigment, it is considered transparent and 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 watercolour palettes.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

(PG50) 


Phthalo Turquoise

284 600 080

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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Staining

(PB15 PG36)


Ultramarine Turquoise

284 600 105
Semi-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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PB29 PG7)


Blue Apatite Genuine

284 600 196

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 colour are revealed, from inky near-black to rich Prussian-like blue. Create a stormy sky in one juicy stroke!

ASTM Lightfastness Rating: Excellent

Granulating: Yes

Staining: Non-staining

Tranparency: Transparent

PrimaTek Colour


Lunar Blue

284 600 183
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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Staining: Low

Granulating: Yes

(PBk11 PB15) 

Amazonite Genuine
284 600 163

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.

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.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: No

Staining: Medium

PrimaTek Colour


Cobalt Turquoise

284 600 029

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.

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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

(PB36) 

Cobalt Green Pale

284 600 027
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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

(PG19) 


Fuchsite Genuine

284 600 169

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

Soft, subtle with a pearly green shimmer, Fuchsite PrimaTek® watercolour is luminous and elegant. Made from pure Fuchsite, a Russian mineral with mica-like characteristics, this transparent mineral colour is great for layering delicate green to add luster and dimension to your paintings.

Try glazing this over a stronger green to soften and enhance foliage or add it one subtle layer at a time to cool your study with a unique glow and non-traditional hue.

ASTM Lightfastness Rating: Excellent

Granulating: No

Staining: Non-Staining

Transparency: Transparent

PrimaTek Colour

Viridian

284 600 112
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, but in combination with the Quinacridones, its versatility has multiplied.
 

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PG18) 

Phthalo Green BS

284 600 078
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 colour indispensable. The slightly bluish shade can be readily modified with yellows and reds.Creates luminous, effective darks or clean glazes.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: No

Staining: Staining

(PG7) 


Prussian Green

284 600 128
A dark, slightly turquoise blue-green, this innovative colour is deep and concentrated, making it an ideal choice when maximum colour strength is required. Rich forest shadows benefit from its depth of colour and complex granulation. Mix with Yellow Ochre to produce a natural looking green for stalks, reeds and leaves.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Medium

(PB27 PY35) 

 

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Colour
Information
Properties

Terre Verte

284 600 104

Terre Verte, roughly translated as "green earth", is a classic green that has been used by artists since antiquity. Transparent and non-staining, Terre Verte is a lightfast formulation of Viridian and Raw Umber.

Use with Undersea Green and Raw Umber Violet for natural-looking landscapes. Terre Verte is a slightly granular earthy green, leaning toward teal. Easy to handle, easy to look at.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PG18 PBr7) 

Rich Green Gold

284 600 099

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 it replaces, 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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Low

(PY129) 


Cascade Green

284 600 142

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.

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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Medium

(PBr7 PB15) 


Jadeite Genuine

284 600 195
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.

ASTM Lightfastness Rating: Excellent

Granulating: Yes

Staining: Non-Staining

Transparency: Semi-transparent

PrimaTek


Phthalo Green YS

284 600 079
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 colour 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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Staining

(PG36) 

Hooker's Green

284 600 042
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!

ASTM Lightfastness Rating: Very Good - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Low

(PG36 PY3 PO49)

Cobalt Green

284 600 026

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

An inorganic pigment, it is considered transparent, non-staining (or low-tinting) and ideal for glazing methods. Its ability to create soft edges, to lift and to mix readily makes Cobalt Green a valuable contribution to watercolour palettes.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PG50) 

Permanent Green

284 600 070

Permanent Green, an organic, semi-transparent pigment with high-staining properties yields very clean, vibrant mixtures. The Phthalo Green Blue Shade and Hansa Yellow Light used in its formulation gives it excellent lightfastness.

Juxtapose Permanent Green with Cobalt Violet for intense visual complements. Or mix for an interesting neutral gray.

ASTM Lightfastness Rating: Very Good

Transparency: Semi-transparent

Granulating: No

Staining: Medium

(PY3 PG7) 

Permanent Green Light

284 600 067

This organic semi-transparent pigments, with high-staining properties, yields a very clean, vibrant mixture. The Phthalo Green Blue Shade and Hansa Yellow Light used in this formulation gives it excellent lightfastness.

Juxtapose Permanent Green Light with Quinacridone Violet for intense visual complements, or mix for an interesting neutral gray.

ASTM Lightfastness Rating: Very Good

Transparency: Semi-transparent

Granulating: No

Staining: Low

(PY3 PG7)

Green Apatite Genuine

284 600 197
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.

ASTM Lightfastness Rating: Excellent

Granulating: Yes

Staining: Low-staining

Transparency: Semi-Transparent

PrimaTek Colour

Perylene Green

284 600 194

If you want to add atmospheric or emotional punch to your work, then squeeze some semi-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 colour 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 colours, takes to synthetic and natural DANIEL SMITH watercolour brushes, and works well on all supports-"a very cool colour," allowed one of our more persnickety artist/testers.

ASTM Lightfastness Rating: Excellent

Granulating: No

Staining: Medium staining

Transparency: Semi-transparent

(PBk31)


Serpentine Genuine

284 600 190

We bring you an unusually beautiful Serpentine pigment from the land down under. This Australian green-colour 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 granulating with specks of burnt scarlet-a great addition to your landscape and floral palette.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-Transparent

Staining: Non-staining

Granulating: Yes

PrimaTek Colour

Sap Green

284 600 102

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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: Yes

Staining: Medium

(PO49 PG7)

Phthalo Yellow Green

284 600 124
A bright, beautiful lime green with power and tinting strength characteristic of all phthalo pigments. Made from Phthalocyanine Green (yellow shade) and Arylide Yellow.

ASTM Lightfastness Rating: Very Good

Transparency: Semi-transparent

Granulating: No

Staining: Medium

(PY3 PG36)

Green Gold

284 600 139
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.

ASTM Lightfastness Rating: Very Good

Transparency: Transparent

Granulating: No

Staining: Medium

(PY150 PY3 PG36)

 

 

 

 

 

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Colour
Information
Properties

Rich Green Gold

284 600 099

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 it replaces, 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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Low

(PY129) 

Chromium Green Oxide

284 600 024
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.

ASTM Lightfastness Rating: Excellent

Transparency: Opaque

Granulating: Yes

Staining: Low

(PG17) 

Rare Green Earth

284 600 181
A Dark Green in mass tone and in washes. With the slightest hint of blue, it suggests, in washes, the hue of distant evergreens. It's good for atmospheric shadows too. Try mixing Rare Green Earth with Rhodonite to make luscious, reticulating grapy purples.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Staining: Non-Staining

Granulating: Yes

(PG 23) 

Undersea Green

284 600 109

An artisan'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 colour-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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: Yes

Staining: Medium

(PB29 PO49) 

Zoisite Genuine

284 600 180
You must try Zoisite to appreciate its unique colour and characteristics. Zoisite, a mineral from Austria discovered in 1804, is a lush primal green with a dark - almost black - bottle green granulating surface. With minimal paint to water, the effect is a gray-green with a micro-dotted surface. With maximum paint to water, the surface fractures to a faux leather look with a distinct three-dimensional effect. Play with the ratios and be fascinated by the amount of interest Zoisite can add to your painting.
 

ASTM Lightfastness Rating: Excellent

Granulating: Yes

Staining: Low Staining

Transparency: Semi-transparent

PrimaTek Colour

Olive Green

284 600 063
A rich, warm brown-green that is semi-opaque and low-staining. Olive Green lends a slight granulation and makes very convincing greens. Explore rich, wet grasslands and add density and variation to tree lines with this natural-looking green.

ASTM Lightfastness Rating: Very Good

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PY53 PB29 PBr7)

Nickel Azo Yellow

284 600 061
Use this colour where transparency and staining ability are desired. Try it along with or in place of Nickel Titanate Yellow and Naples Yellow.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Low

(PY150) 

Verona Gold Ochre

284 600 123
Pigment mined near this ancient northern Italian city gives Verona Gold Ochre unusual warmth and clarity for an earth colour.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PY43) 

Bronzite Genuine

284 600 199
A warm honey-bronze colour 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 watercolour pigment. It's a warm golden-brown in masstone - 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 colour.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Staining: Non-Staining

Granulating: Yes

PrimaTek Colour


French Ochre

284 600 134
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.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PY43) 

Burgundy Yellow Ochre

284 600 147
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.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PY43)

Yellow Ochre

284 600 114
While its mixing uses are limited, Yellow Ochre works well with 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. Yellow Ochres tend to be opaque or whitened in other brands-Daniel Smith Yellow Ochre is the best!

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PY43)

Mars Yellow

284 600 054

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.

A wash of Mars Yellow adds gentle granulation to passages. Colour-coordinate paintings using both Mars Yellow and Mars Violet, and mix them for subtle, muted warm grays.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

(PY42)

Raw Sienna

284 600 096

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 semi-transparent Raw Sienna. Also, a moist Raw Sienna wash touched or spattered with Lunar Earth or Lunar Black creates unique texture effects.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PBr7)

 

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Colour
Information
Properties

Transparent Yellow Oxide

284 600 131
Make a bold statement with an earth tone yellow that radiates warmth. In washes and glazes this amber-hued pigment gives a golden glow to your paintings. Complete transparency gives your glazes crystalline clarity and mixtures remain clean and vibrant. Add character to you work with its moderate granulation and permanence with its excellent light fastness.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PY42) 

Quinacridone Gold

284 600 089

Everyone's favorite, Quinacridone Gold replaces Raw Sienna and adds versatility with its glazing and mixing capabilities. It is an excellent low-staining golden yellow pigment that can enhance any mixture.

Try glazing an old "failure" with Quinacridone Gold to begin a rescue operation. Highly durable and extremely transparent, all the Quinacridone colours excel in vivid clarity and intensity.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: Yes

Staining: Low

(PO49) 


Goethite - Brown Ochre

284 600 144

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

Our unusually pure pigment is mined in Russia, south of Moscow. Rich and warm, DANIEL SMITH Goethite is a dark tea colour in masstone and washes out to a rich, warm tan. In washes, it displays intriguing granulation, with pools of light and dark in every brushstroke. Like all colours derived from the earth, it is lightfast and permanentàa lasting connection to the planet and the creative forces of nature.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PY43)

Italian Deep Ochre

284 600 135
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.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PY43) 

Enviro-Friendly Yellow Iron Oxide

284 600 176
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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-Transparent

Staining: Non-Staining

Granulating: Yes

(PBr 6)

Lunar Earth

284 600 050

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.

Explore their radical reticulating qualities separately, then try painting Lunar Earth into a wet Lunar Black wash. An instant beach-sand and pebbles-magically appears.

For a special effect, treat yourself to one of the Daniel Smith Metallic Watercolour powders. While your paint is wet, use a cotton ball to lightly dust the fine powdered metallic pigment over the damp surface.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PBr11)

Italian Burnt Sienna

284 600 047

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.

Many artists prefer Italian Burnt Sienna over others. Perhaps the subtle semi-transparent quality of Italian Burnt Sienna more closely matches the brown and earth tones of our Pacific Northwest. Balance a super-opaque such as Indian Red or Cadmium against super transparent Quinacridone Gold or Burnt Orange, then incorporate Italian Burnt Sienna to unify fall landscapes or close-up leaf studies, as well as to render weathered slate and old brick.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

(PBr7) 

Quinacridone Burnt Orange

284 600 086

Add to French Ultramarine sky washes to gray the blue mix and render a full value scale. Use Quinacridone Burnt Orange to modify Sap Green in landscapes to achieve rich, mossy greens that coordinate land with sky.

Highly durable and extremely transparent, all the Quinacridone colours excel in vivid clarity and intensity.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: Yes

Staining: Low

(PO48) 

Quinacridone Sienna

284 600 093

The ultimate low-staining glazing pigment, certainly finer than any Burnt Sienna. For the traditional and purist watercolour painter, Quinacridone Sienna divides yellows from reds, falling on the orange line. Its place on the colour 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 Quinacridone colours excel in vivid clarity and intensity.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: Yes

Staining: Low

(PO49 PR209)


Quinacridone Deep Gold

284 600 152

Quinacridones are the brightest, boldest colours modern technology can offer. Carefully selected pigments, ground to optimize their specific qualities, are blended with the finest imported Gum Arabic, put in tubes and labeled by hand.

Transparency and intensity are the hallmarks of our reknowned Quinacridone colours. Quinacridone Deep Gold is more orange than Quinacridone Gold, and more yellow than Quinacridone Burnt Orange. It's an incredibly ruddy golden-orange, a vibrant and exciting alternative to Burnt Sienna.

Lightfastness: Excellent

Staining: Low

Granulating: No

Transparency: Transparent

(PO48 PY150) 

Pompeii Red

284 600 116
A dramatic rusty red-orange – the charismatic colour of autumn's falling leaves. Made from earth that has been heated to attain a burnt colour, this granulating watercolour adds texture and gives a glow of natural warmth. Soft folds of fabric, or the slopes of distant sunlight hills, benefit from Pompeii Red's earthen colour. Mixed with Carmine, a lovely vermillion with a slight pink undertone is produced.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PBr7)


Monte Amiata Natural Sienna

284 600 056
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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: Yes

Staining: Low

(PBr7) 

Sedona Genuine (Natural Iron Oxide)

284 600 145

For millennia, Sedona has ignited the imagination of every creative spirit fortunate enough to feel its dazzle. Tufts of sagebrush punctuate the ancient sea of sand in quiet counterpoint to the soaring red rock sentinels. With colour purity cast from a desert crucible, red spires burst on a field of pure cerulean sky, humbling the observer in absolute wonder. This ethereal red connects us to the people who were first mesmerized by the region 11,000 years ago.

After our latest trip to the Southwest, we knew we had to create paint from Sedona's rocks. Made with authentic rock from the Arizona desert, this timeless colour-lightfast, richly pigmented and absolutely permanent-ties your work to the work of countless generations of southwestern artisans in a way that demands to be experienced. We went straight to the source for our newest, yet oldest, mineral pigment. We can now share the enchantment of the stone with you. Capture the awe, the intensity and the magic of Sedona.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

PrimaTek Colour

Terre Ercolano

284 600 117
Highly saturated and bold, Terre Ercolano is a natural brick red that brings an earthy sensibility to your watercolour paintings. Capture the vibrant tones of a red desert with rugged granulation or create a warm, ruddy wash with this versatile shade. This semi-transparent pigment has excellent lightfastness. 

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PBr7 PR101) 

Minnesota Pipestone Genuine

284 600 143

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.

Our Minnesota Pipestone is created from pipestone of exactly the same shade as the stone that the Plains Indians revered and reserved for the making of their pipes. Milled in small batches, it honors history and lives up to contemporary expectations. A warm, soft, earthy pink, Minnesota Pipestone is semi-opaque and granulates beautifully in washes. It is as permanent as the rock from which it is made. The combination of our historic pipestone with modern synthetics is spellbinding.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

PrimaTek Coloue

Italian Venetian Red

284 600 122
Made from pigment mined and mixed in Italy, Italian Venetian Red is redder than most and smolders 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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

(PR101) 

Hematite Burnt Scarlet Genuine

284 600 158

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.

Hematite or the traditional Greek name, Bloodstone - when you paint, you can almost feel the pounding of the battle drums as ancient warriors covered their bodies with Hematite in the belief that they would be protected from mortal wounds. According to lore ad superstition, large surface deposits of Hematite mark the site of hard fought battles, where the blood of fallen soldiers flowed into the ground.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

PrimaTek Colour

Red Fuchsite Genuine

284 600 189
The mountains of Brazil yield a beloved and treasured gemstone. Paint this soft, reddish dusky rose and watch as the mineral iridescent sheen rises to the surface of your brushstroke. This colour, from our PrimaTek line of authentic mineral pigments, gives new definition to skies, botanicals and reflections.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Staining: Non-staining

Granulating: Yes

PrimaTek Colour

Perylene Maroon

284 600 074

In the mid-yellow to red zone of the colour wheel is this exciting find, Perylene Maroon is a semi-transparent super staining dark red-brown.

Perylene Maroon allows glowing washes that can emanate from a saturated source emerging into sunlight patches. As with other staining pigments, create organic textures with salt application and lift pigment for highlights. Its semi-transparency makes Perylene Maroon special for browns.

  • ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.
  • Transparency: Semi-Transparent
  • Granulating: No
  • Staining: Medium

Burgundy Red Ochre

284 600 151
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.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PR102) 

Deep Scarlet

284 600 033
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.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Medium

(PR175)

Quinacridone Burnt Scarlet

284 600 087

This slightly sedimentary rich dark red-brown could lighten, brighten and eliminate mud browns in all your paintings. Use with Quinacridone Coral for branch and blossom paintings.

Highly durable and extremely transparent, all the Quinacridone colours excel in vivid clarity and intensity.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Low

(PR206)

Naphthamide Maroon

284 600 059
This new azo pigment falls between Permanent Violet and Manganese Violet on the colour chart. It's a lightfast, slightly granular deep brown-violet with a low staining property. Its semi-transparent property makes Naphthamide Maroon a surprise substitute for earth pigments, especially umbers.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Semi-transparent

Granulating: No

Staining: Low

(PR171)

Piemontite Genuine

284 600 191
Ground from a scarlet-streaked mineral from the hills of Italy, Piemontite Genuine is a rich, versatile new PrimaTek® watercolour. A deep amethyst is the darkest value of this semi-transparent watercolour; adding water produces lovely violet-brown granulation with a carmine tone. Perfect for adding interest to shadows or painting the mottled surfaces of autumn leaves.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Staining: Low

Granulating: Yes

PrimaTek Colour

Hematite Violet Genuine

284 600 157

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.

Hematite or the traditional Greek name, Bloodstone - when you paint, you can almost feel the pounding of the battle drums as ancient warriors covered their bodies with Hematite in the belief that they would be protected from mortal wounds. According to lore ad superstition, large surface deposits of Hematite mark the site of hard fought battles, where the blood of fallen soldiers flowed into the ground.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

PrimaTek Colour

English Red Earth

284 600 137
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.

ASTM Lightfastness Rating: Excellent

Transparency: Opaque

Granulating: Yes

Staining: Non-staining

(PR101) 

Burnt Bronzite Genuine

284 600 204
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.

Lightfastness: Excellent

Staining: Non-Staining

Granulating: Yes

Transparency: Transparent

PrimaTek Colour

Venetian Red

284 600 111

An earthy red-brown with opaque, sedimentary properties, Venetian Red is great for fall paintings and applications similar to Indian Red.

Drop Venetian Red into a wet Lunar Earth wash for exciting results. Venetian Red is medium staining, lifts with some difficulty when dry, but leaves a special warm afterglow when blotted at the damp state.

ASTM Lightfastness Rating: Excellent.

Transparency: Opaque

Granulating: Yes

Staining: Medium

(PR101)

 

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Colour
Information
Properties

Anthraquinoid Red

284 600 005

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.

Indanthrone Blue, Indian Yellow and Anthraquinoid Red comprise a transparent, super-staining triad.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Medium

(PR177) 

Mummy Bauxite (Natural Iron Oxides)

284 600 166

A warm cinnamon colour that granulates to resemble rusted iron, DANIEL SMITH Mummy Bauxite combines powerful colour with visual texture. Mummy was a very popular organic pigment in the 18th and 19th centuries, rumored to have been made from ground Egyptian mummies. The mineral's name comes from Les Beaux in southern France, where it was first identified in the 19th century. Our sources bring us Mummy Bauxite from Chitinskaya Province.

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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Staining: Low-staining

Granulating: Yes

PrimaTek Colour


Indian Red

284 600 044

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.

Yellow Ochre, Cerulean Blue and Indian Red form an opaque triad, producing grayed earthlike mixtures common to landscapes. Handling tip: Hit it once and walk away.

ASTM Lightfastness Rating: Excellent

Transparency: Opaque

Granulating: Yes

Staining: Medium

(PR101)

Raw Umber Violet

284 600 098

This Daniel Smith exclusive is a blend of Raw Umber with Quinacridone Violet, creating a semi-transparent medium to high tinting pigment with a beautiful deep burgundy-brown colour.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PBr7 PV19)

Lunar Red Rock

284 600 141
Add texture to you watercolour paintings with this rich burgundy watercolour. Lunar Red Rock is a lovely violet-red that granulates and travels in the wet areas of your painting. Add more water for maximum granulation and watch as the pigment settles into your paper leaving a light wash of colour with a deeper shade of reticulated pattern.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PR101) 

Hematite Genuine

284 600 156

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.

Hematite or the traditional Greek name, Bloodstone - when you paint, you can almost feel the pounding of the battle drums as ancient warriors covered their bodies with Hematite in the belief that they would be protected from mortal wounds. According to lore ad superstition, large surface deposits of Hematite mark the site of hard fought battles, where the blood of fallen soldiers flowed into the ground.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

PrimaTek Colour

German Greenish Raw Umber

284 600 121
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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

(PBr7)

Tiger's Eye Genuine

284 600 161

Tiger's Eye Genuine is made from the brownish-gold stone with rippling bands of light that remind you of cat's eyes. The gemstone, a member of the quartz family, is geolically stained with dark iron oxide creating the distinctive bands and markings called the chatoyant effect. The combination of quartz and iron oxide produces a remarkable paint that is very transparent and non-staining. as well as strongly coloured and granulating. The colour is olive drab with undertones of cool ash brown. With great textural effects combined with versatile colour, this will quickly become a staple of your palette.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Staining: Low-staining

Granulating: Yes

PrimaTek

Burnt Tiger's Eye Genuine

284 600 162
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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Staining: Low-staining

Granulating: Yes

PrimaTek Colour

English Red Ochre

284 600 136
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 colour around your painting. A beautiful highlight for your deep crimson roses.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PR101) 

Burnt Sienna

284 600 010
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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-Transparent

Granulating: Yes

Staining: Non-staining

(PBr7)

Permanent Brown

284 600 068
Imagine a rich and warm dark that can be textured with salt, squeegeed to reveal a warm residue stain and still have enough body to render glowing cedar bark in one stroke. That sums up high-staining, transparent Permanent Brown.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: No

Staining: Medium

(PBr25) 

Transparent Red Oxide

284 600 130
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.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Non-staining

(PR101)

Transparent Brown Oxide

284 600 129
A fully transparent non-staining rich brown completes our trio in celebration to the bamboo. Elemental and versatile it's 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.

ASTM Lightfastness Rating: Excellent

Tranpsarency: Transparent

Granulating: Yes

Staining: Non-staining

(PR101) 

 

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Colour
Information
Properties

Enviro-Friendy Brown Iron Oxide

284 600 178
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. 

At full strength this deep umber is useful for warm shadows and dark values. Mixed with water, a brilliant granulating wash displays warm cinnamon tones with a darker pattern of granulation. Enviro-Friendly pigments are reclaimed and refined, giving you an earth-friendly option without sacrificing colour quality.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-Transparent

Staining: Non-Staining

Granulating: Yes

(PBr 6) 

Burnt Umber

284 600 011

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.

ASTM Lightfastness Rating:Excellent

Transparency: Semi-Transparent

Granulating: Yes

Staining: Low

(PBr7)

Sepia

284 600 103

Low staining and lightfast, this 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.

ASTM Lightfastness Rating: Excellent

Transparency: Transparent

Granulating: Yes

Staining: Low

(PBr7 PBk9)


Van Dyck Brown

284 600 110
A deep, dark, lightfast mix of siennas and umbers, Van Dyck Brown has a special reticulating property ideal for texturing a wash. Moderate staining and semi-transparent, it works well in place of Sepia.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Non-staining

(Blend of PBr7) 

Raw Umber

284 600 097
This familiar rich dark brown earth pigment is semi-transparent, with medium tinting strength. An extremely permanent inorganic colour, 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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PBr7)

Bloodstone Genuine

284 600 193

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, Bloodstone comes from our line of superb PrimaTek® naturally pigmented watercolours.

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 200 watercolours and is especially wonderful with transparent Rhodonite Genuine and Quinacridone Burnt Orange.

ASTM Lightfastness Rating: Excellent

Granulating: Yes

Staining: Non-staining

Tranparency: Transparent

PrimaTek Colour

Lunar Violet

284 600 182
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.
 

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Staining: Low

Granulating: Yes

(PV15 PBk11) 

Graphite Gray

284 600 038

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.

Try this: Overpaint a value sketch with a light glaze. As graphite pencil is entirely acceptable in watercolour, a synthetic graphite pigment, namely Graphite Gray, seems surprisingly natural.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Opaque

Granulating: No

Staining: Low

(PBk10) 


Payne's Gray

284 600 065

This pre-mixed pigment is a semi-transparent blue gray. Highly lightfast and mildly staining, Payne's Gray is a cool dream in a wet sky.

Use this pigment instead of Indigo, except where yellow is involved. Payne's Gray helps create flat ocean waters and "after the storm" clouds and skies. Rocks and granite boulders, including their shadows, can be quickly rendered with light dilute washes or more concentrated brushloads.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PB29 PBk9 PY42)

Lamp Black

284 600 003
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.

ASTM Lightfastness Rating: Excellent

Transparency: Opaque

Granulating: No

Staining: Staining

(PBk6)

Ivory Black

284 600 048
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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: Yes

Staining: Low

(PBk9)

Lunar Black
284 600 049

Imagine a transparent black with an expansive value range and pigment particles that react like magnetic shavings attracting and repelling each other.

Unique pigment properties make Lunar Black a radically reticulating colour. When dry, a Lunar Black wash resembles a marbled moonscape. This mottled stony texture can be successfully glazed. You can even gently paint into a wet to damp Lunar Black, dropping in watery pigment-virtually any combination of favorites.

Lunar Black is an inorganic neutral black watercolour pigment and a Daniel Smith exclusive. Think Black Magic-and re-think black.

ASTM Lightfastness Rating: Excellent - Not yet rated by ASTM - Rating based on Daniel Smith's independent testing.

Transparency: Transparent

Granulating: Yes

Staining: Low


Chinese White

284 600 023

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.

Drop and spatter Chinese White into a damp gray wash to describe the moist, mushy snowfalls of the Pacific Northwest's coastal lowlands. I also 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.

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: No

Staining: Non-staining

(PW4)

Titanium White

284 600 118

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

ASTM Lightfastness Rating: Excellent

Transparency: Semi-transparent

Granulating: No

Staining: Non-staining

(PW6)

 

 

 

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