DANIEL SMITH

DANIEL SMITH Quinacridone Lilac lies between Quinacridone Rose and Quinacridone Magenta within the DANIEL SMITH Quinacridone color family. This new, vivid pink with the slightest blue tone, is a must have for florals, and like all our Quinacridone colors, Quinacridone Lilac excels in vivid clarity and intensity. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

This deep red violet disperses evenly and moves from deep darks to clear, glowing washes. Like all Quinacridone, it is an extremely lightfast organic pigment. In terms of complementary couples Quinacridone Magenta works especially well with yellow greens. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A necessary watercolor for painters who embrace color – 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 watercolor is sure to become a staple on your palette. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Enjoy a saturated fuchsia with a rich tone and velvet finish. This stunning watercolor revives the bold color used by the ancient Mayan people to adorn their murals and sculpture. Now using an eco-friendly process, with methods derived directly from the ancient Mayans, this unique, metal-free pigment is available to you. Its versatility, durability and exquisite hue will make it a color you’ll reach for again and again. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A durable, staining azo pigment, Bordeaux is a velvety wine color. Its slightly granular, semi-transparent properties work well with blotting, misting and salt application techniques. Replace lifeless, muddy mixtures with this pigment! 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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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 color. Use Permanent Violet in velvety purple washes of subjects such as pansies and other flowers. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A deep, reddish violet, Quin Violet disperses evenly with slight granulation and moves from deep darks to clear, glowing washes. Like all Quinacridones, it is an extremely lightfast organic pigment. In terms of complementary couples, Quinacridone Violet mixes best with a cleaner primary green. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Cobalt Violet embodies the softness of flower petals with its slightly granulating texture and lustrous finish. With a truly transparent quality, this light purple radiates in light washes. The delicate pigment comes alive at full strength and, because it is completely non-staining, highlights can be added and strokes reworked. Cobalt Violet’s ability to create soft edges, to lift and to mix readily makes it a valuable contribution to watercolor palettes. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Cobalt Violet Deep is a charming purple that brings texture to your painting with its granulating properties. Mix a wet wash and you will see beautifully subtle granulation. At full strength this useful color is rich and bold with a velvet finish. Explore a full range of tone in your painting – light lavender to an intense royal violet will fill your landscape. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Unlock a wealth of color with this princely pigment. Rich in texture, this highly saturated purple will granulate to reveal shades of plum and ultramarine. From the deepest purple, this semi-transparent and low-staining pigment continues to deliver as it is applied in ever more delicate washes to the palest lavender. Give a stand of garden Irises the royal treatment, or kiss the sunset with the softest touch. This regal pigment is palette royalty. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Quinacridone Purple is a rich, powerful and juicy purple with a slight reddish cast. It’s non-granulating, so washes are smooth and controlled and it mixes beautifully. A luscious, versatile color. Quinacridone watercolors flow beautifully for extremely smooth washes, have incredible depth of color and can be lifted easily while still wet. They’re exceptionally strong yet transparent, ideal for glazing. Understandably, they’ve been very popular colors since their introduction – people just love them! Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

This slightly granular blue-violet is an intense, vibrant color with medium staining properties. A brushstroke of concentrated Carbazole Violet onto dry paper moves the pigment from black-violet to clear purple, and can invent an iris petal with each stroke. Add Indigo to Carbazole Violet, along with Quinacridone Rose or Anthraquinoid Red. Blot, squeegee and incise damp passages to created veins, variegated passages and highlights. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

DANIEL SMITH Wisteria, like the blooms of its namesake flowering vine, is a delicate, red leaning lavender. Similar in color to Ultramarine Red but with different properties, this non-granulating and non-staining color paints smoothly and lifts easily. Wonderful for painting orchids and other florals. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A brilliant purple with remarkable blue undertones and a granulating texture. Try mixing this bold color with Prussian Green for surprisingly soft blue hues. At full strength, this violet is dark enough for deep twilight shadows. Mix with water and a range of tones are revealed. A graceful addition to the watercolorists’ palette, this is the perfect purple for dynamic floral paintings. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Water frees this amazing three-pigment blend to perform miracles. Watch and wait as Anthraquinoid Red floats, Ultramarine Blue settles and Viridian grays the resulting violet color. Selectively blot and lift a surface wash to expose delicate blue-greens. A description of the fascinating light and dark washes can never match a personal experience! Use Moonglow in shadows and as a silhouette pigment and enjoy its reaction to salt application in background washes. Its neutral tinting property makes it effective with almost all the DANIEL SMITH watercolors. Try introducing the Luminescent Interference pigments to areas of wet, damp or dry Moonglow. Look to Undersea Green as a companion pigment. And try a Moonglow sky and long shadows on sunset snow scenes. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A smooth gray-mauve in light washes, Shadow Violet displays a fascinating granulation when used more thickly. Deep warm violet in mass tone, it reveals a slight orange glow in thin applications. Its transparency makes it a great choice for glazing and it’s ideal, of course, for conveying the subtleties of shadows. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Our DANIEL SMITH Indigo formula mixes Indanthrone Blue with Lamp Black for an extremely lightfast, intense dark that closely matches true Indigo. Transparent, yet high in tinting strength, this Indigo leaves a gentle faded blue denim stain when blotted from a damp state paint. Blueberries, blackberries and plums are a few subjects to play with using this technique. Use Indigo wherever dusty purples are desired. Indigo evokes a feeling of atmospheric depth used for expressive, moody skies. Try flowing short strokes of Indigo into water, add touches of Sepia and Quinacridone Burnt Orange to create branches and birch trees. Historically Indigo, used since the early Egyption times, has been a very important blue dye in fabrics as well as art materials, though not lightfast like DANIEL SMITH’s Indigo Watercolor. Natural Indigo is a deep blue colorant named anil. It is obtained from the sprigs of the indigofera plant. In the late 1600’s, the major source of indigo was the French West Indies, where large crops of indigofera was grown and harvested just before the plant bloomed. Once picked, the plant was processed in vats where it was water filtered, then dried into cakes for export. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Mayan Dark Blue is darker and warmer than Mayan Blue Genuine. Mix it with Mayan Orange to make a fantastic array of subtle grays and violets for colorful, complex shadows. Rich, bold colors adorned the murals and sculpture of the Mayan people. Even when exposed to centuries of severe heat and humidity, these colors have hardly faded over a thousand years. Now, using methods derived from ancient Mayan chemistry, these unique, metal-free pigments have been recreated using an eco-friendly process. Their versatility, durability and exquisite hues make them colors you’ll reach for again and again. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

This organic Vat pigment is a medium staining primary blue. Warmer than most blues, Indanthrone is clear with a delightful range from blue-black to stonewashed denim. Indanthrone Blue offers exciting new possibilities for Indigo skies, water and interesting shadows, as it can be successfully graded to achieve atmospheric and color perspective. DANIEL SMITH originals Anthraquinoid Red, Indian Yellow and Indanthrone Blue complete a transparent staining trio. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Ultramarine Blue plots cooler and bluer than the more saturated French Ultramarine. Temperature aside, both blues have equal permanence, lightfastness and transparency. Ultramarine Blue is slightly less granular in concentrated washes. For less saturation, sedimentation and cost, use Ultramarine Blue straight, for vibrant crayon-like color or mixed with a cool red for dark, effective neutrals. Ultramarine Blue and French Ultramarine both contain pigment PB29, but Ultramarine has a smaller pigment particle size and is slightly greener and cooler than French Ultramarine, which has a larger pigment particle size and is slightly redder and warmer. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

This medium-to-dark warm, reddish-blue is highly lightfast and medium tinting strength. It’s sedimentary quality increases its versatility. Mixed with various portions of other blues, French Ultramarine is a wonderful sky pigment. Modify it with Quinacridone Gold for delightful greens that remain color-coordinated. Mix French Ultramarine with Quinacridone Burnt Orange and be rewarded with an amazing range of blue to brown grays. Mixed with either Quinacridone Rose or Pink, a range of purples result. For another important mix, see Hooker’s and Sap Green. Ultramarine Blue and French Ultramarine both contain pigment PB29, but Ultramarine has a smaller pigment particle size and is slightly greener and cooler than French Ultramarine, which has a larger pigment particle size and is slightly redder and warmer. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

This neutral, non-staining primary blue will subtly modify most pigments. Considered a mixing pigment, its’ semi-transparent nature can cast a giant reticulating shadow. An inorganic pigment, it is considered non-staining (or low-tinting) and ideal for glazing methods. Its ability to create soft edges, to lift and to mix readily makes Cobalt Blue a valuable contribution to watercolor palettes. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A true blue, a blue’s blue. Verditer Blue is an historical pigment with a place on every palette. Begin with a dark application, a deep azure lake, and watch how this slightly granulating paint travels quickly in water. Fade to the color of cornflowers and create surprising effects in a wash. Dilute it to the palest baby blue. Enjoy every nuance of this wonderful, semi-transparent watercolor. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

DANIEL SMITH Lavender is a beautiful periwinkle blue, and quite different from our other blues. This semi-transparent lavender blue has beautiful granulation, and lifts easily. In addition to being an excellent floral color, our Lavender suggests certain shades of faded denim. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A powerful blue with a slightly red undertone, this popular pigment is valued for its strength and economy – just a daub of paint can color a whole sky. A dash of blue gives a full range of value. Mix dark colors for shading and shadows by combining Phthalo Blue with Quinacridone Rose. Use Phthalo Blue’s transparent quality to create containers and water around stems. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Beautiful on its own, and especially so when mixed with a transparent pigment, this sky blue inorganic pigment is granular and medium-light in value. Highly permanent and extremely low-staining, Cerulean Blue creates exciting granulation and settling washes. A drop of Cerulean Blue into a damp wash such as Burnt Sienna creates a halo effect around the more dense Cerulean. This is especially effective when Quinacridone Gold or Quinacridone Burnt Orange are used in the moist underpainting. This technique is great for rendering lichen and Spanish Moss. Add Buff Titanium, Undersea Green and touches of Lunar Black – each a DANIEL SMITH exclusive – and the creative fun truly begins! For a misty landscape or that dusky quality on eggplant, grapes and plums, think Cerulean as a mixer. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Beautiful on its own, and especially so when mixed with a transparent pigment, this sky blue inorganic pigment is granular and medium-light in value. Highly permanent and extremely low-staining, Cerulean Blue creates exciting granulation and settling washes. A drop of Cerulean Blue into a damp wash such as Burnt Sienna creates a halo effect around the more dense Cerulean. This is especially effective when Quinacridone Gold or Quinacridone Burnt Orange are used in the moist underpainting. This technique is great for rendering lichen and Spanish Moss. Add Buff Titanium, Undersea Green and touches of Lunar Black – each a DANIEL SMITH exclusive – and the creative fun truly begins! For a misty landscape or that dusky quality on eggplant, grapes and plums, think Cerulean as a mixer. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

This cool turquoise blue is ideal for creating form or indicating space. It is a medium-staining, transparent pigment with wonderful granulating properties. A good substitute for Cerulean Blue, Manganese Blue Hue offers an additional advantage: it mixes well with non-staining, semi-opaques to create a mottled texture in underlying colors. Note: true Manganese Blue, discontinued from product lines due to environmental concerns and toxic by-product, has been replaced in the DANIEL SMITH line with a formulation which closely resembles it. The result is a safe, high quality lightfast pigment with the color we adore – Manganese Blue Hue. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Phthalo Blue Turquoise is a stunning color and will take your breath away! This color is perfect for tropical seas and the deep water beside white sand beaches. The highly transparent, warm blue is positioned chromatically on the DANIEL SMITH color chart after Manganese Blue Hue and before Cobalt Teal Blue. Phthalo Blue Turquoise mixes beautifully with other colors – try mixing it with New Gamboge for a beautiful natural green, or with Quinacridone Rose for a neutral violet or Pyrrol Scarlet for a fabulous gray. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

An extraordinarily beautiful color for painting turquoise blue skies, a must-have for sunny Mediterranean skies and tropical seas! Mixing with this pigment helps make bright shadows – also use it to render the desired patina on a copper pot. As an inorganic pigment, it is considered non-staining (or low-tinting) and ideal for glazing methods. Cobalt Teal Blue’s ability to create soft edges, to lift and to mix readily make it a valuable contribution to watercolor palettes. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A predictable non-staining teal blue with muscle and the presence to stand alone, but when used in a glaze or wash it blends with incredible ease. Because of it’s slight granulation you can achieve multi-layers and tone on tone effects to delight and surprise with each addition or stroke. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

The fabric of the night sky glides off the brush in this heavenly shade. Granulating lunar black floats above a phthalo undertone, perfect for capturing a moonlit sky. Inky as midnight, or diffused as the moon on water, semi-transparent Lunar Blue lifts beautifully, leaving behind a mere shadow of itself. This moody watercolor is sure to delight. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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 watercolor palettes. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Seldom used at full tube strength, this transparent, non-staining pigment is an excellent glazing pigment and a portrait painter’s essential. It’s a cool blue-green useful in mixing without staining other pigment particles and for soft edges in florals. It is the secret hidden ingredient in Moonglow. Viridian can quickly modify reds, and in combination with the Quinacridones, its versatility has multiplied. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Phthalo Green (Blue Shade) is a black-green. Concentrated to diluted states, it is a transparent and super staining green. Organic and absolutely lightfast, most artists find this color indispensable. The slightly bluish shade can be readily modified with yellows and reds. Creates luminous, effective darks or clean glazes. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

The craggy peaks of the Cascade Mountains that divide lush, western Washington from the dry, high plains of the east, inspired this unique green. From damp evergreen forests, and alpine meadows to the drier, sunnier open forests, our Cascade Green showcases a million shades of green found in those environments becoming a versatile addition to our artist-preferred greens. As you brush it on, subtle variation from dark to light adds the illusion of depth. Straight from the tube, this rich, mid-range green is cool, dark and mossy. In washes, it has a stunning clarity. In any application, it has excellent lightfastness. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A mid-range green-yellow, useful for mixing middle value grays. Introduce non-staining complementary colors to warm or cool the mix. An inorganic pigment, it is considered non-staining (or low-tinting) and ideal for glazing methods. Its ability to create soft edges, to lift and to mix readily makes Cobalt Green a valuable contribution to watercolor palettes. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A lovely clear, bright green. Combining two yellow pigments and one green pigment, it is semi-tranparent and reveals a very slight granulation in washes. Enjoy its fresh, punchy quality straight from the tube or mix it with Pyrrol Orange or another bright orange to create a wide variety of landscape-friendly, natural greens and rusty oranges. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

This organic pigment, 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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A bright, beautiful lime green with the power and tinting strength that’s characteristic of all phthalo pigments. Made from Phthalocyanine Green (yellow shade) and Arylide Yellow. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Permanent Green, an organic, 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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Phthalo Green Yellow Shade is a bottle green. In concentrated to diluted states, it is transparent and super-staining. Organic and absolutely lightfast, most artists find this color indispensable. The slightly bluish Phthalo Green BS can be readily modified with yellows and reds. Phthalo Green YS is a warmer basic green. Each creates luminous, effective darks or clean glazes. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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! Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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 colors. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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 colors. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

Deserves a place on every palette. A gorgeous forest green that is almost black in mass tone, it has great transparency, makes smooth, clean washes and lifts surprisingly well for a staining color. Made with a blend of three pigments, it joins our DANIEL SMITH family of impressively strong dark greens such as Jadeite Genuine and Perylene Green. Mix it with Pyrrol Orange to make a stellar redwood brown and Rhodonite Genuine for an interesting neutral blend. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

If you want to add atmospheric or emotional punch to your work, then squeeze some transparent Perylene Green onto your palette. It exhibits an almost black mass tone that spreads to a beautiful blue/green wash without producing mud – a color perfect for delineating shadows or creating moody landscapes, ominous horizons and stormy seas. A medium-staining pigment with intensity and softness, Perylene Green is highly soluble and easy to use. It glazes under or over other colors ~a very cool color~ allowed one of our more demanding artist/testers. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A medium gray-green in mass tone and in washes, with the slightest hint of blue, it suggests the hue of distant evergreens. It’s good for atmospheric shadows too. Try mixing Rare Green Earth with Rhodonite Genuine to make luscious, reticulating soft purples. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A medium gray-green in mass tone and in washes, with the slightest hint of blue, it suggests the hue of distant evergreens. It’s good for atmospheric shadows too. Try mixing Rare Green Earth with Rhodonite Genuine to make luscious, reticulating soft purples. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

An artist’s favorite, this exciting medium to high staining green blends French Ultramarine with Quinacridone Gold. The inorganic, sedimentary French Ultramarine settles and granulates while the organic, transparent Quinacridone Gold floats into a golden halo. Concentrated, this will remind you of warm sea kelp. Apply with Moonglow, Ultramarines and Quinacridone mixtures to color-coordinate and lend atmosphere to various passages. Undersea Green is beautiful touched damp or drybrushed with Interference Gold. Use Undersea green into autumn leaf paintings. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

A rich, warm brown-green that is semi transparent to 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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.

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. Starting with 10 parts water to 1 part paint (by weight) in the palette, our chemist paints the top half of the swatch uniformly with a round brush to show the paint’s color and characteristics. For the bottom half, he dips a ¾” flat brush into the paint well just once, then applies the color in stripes until the brush is dry, which shows the color’s tone and behavior through a wash. We use these swatches for color matching during the manufacturing process.