DANIEL SMITH

Amazingly compatible with earth pigments and Quinacridones alike, this is a warm mossy green. It is richer and warmer than the original brighter Green Gold, and has an inviting glow. Explore fruits and vegetables, leaves and landscapes, substituting Rich Green Gold for other greens in familiar mixtures. Low-staining and lightfast, Rich Green Gold lifts with ease from either a concentrated or dilute wash and from either damp or dry work. Try it as a glaze for a real treat. 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.

Nickel Azo Yellow in mass tone resembles Yellow Ochre, and when thinned in washes, becomes a brillant, glowing yellow. This transparent yellow is perfect for Autumn leaves from the duller, ochre older leaves to the brillant yellow of sunlit leaves against the deep blue Autumnal sky! 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.

Pigment mined near this ancient northern Italian city gives Verona Gold Ochre its name, it has an unusual, delicate clarity for an earth color. 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.

Extremely lightfast and non-staining, French Ochre is a delightfully warm color 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 watercolor when your painting requires subtle 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 Raw Sienna Light has more golden yellow tones than our Raw Sienna. This Sienna is a granulating color too, but a bit smoother in washes and is non-staining rather than low staining. Washes suggest sunny wheat fields, dried savannah grasses and other sunbaked landscapes. 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 warm, glowing earth color, 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 Burgundy, since the mines were closed in 1970, we feel lucky to have found a supply of this unique pigment. 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.

To avoid instant mud in your watercolors, select lightfast Mars Yellow. This 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. Color-coordinate paintings using Mars Yellow with a Violet for subtle, muted warm grays. 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.

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

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. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity. When the last batch of single pigment Quinacridone Gold was produced (the manufacturer of PO 49 had stopped making this pigment and allowed us to purchase all their remaining available stock, which lasted 17 years), we developed this new blend of PO 48 and PY 150 pigments. As you can see by the blending comparison below, it’s a gorgeous match!

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. 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.

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

Our Enviro-Friendly Yellow Iron Oxide is a deep, rich ochre. DANIEL SMITH Enviro-Friendly Watercolors-the colors 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 colored 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 colors ranging in tone from a warm golden yellow to a deep red earth to a beautiful saturated dark brown with a bluish undertone. 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.

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 color 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 colors derived from the earth, it is lightfast and permanent – a lasting connection to the planet and the creative forces of nature. 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 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. Quinacridones are the brightest, boldest colors 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 renowned DANIEL SMITH Quinacridone 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.

Experience the perfect combination of rustic color 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. 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 transparent, non-staining pigment that resembles Burnt Sienna in color 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. 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 Roasted French Ochre Watercolor is a strong, natural orange-brown perfect for landscapes and portraiture. If you’re already a fan of our French Ochre, you’ll love this versatile, palette-friendly variation. 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 Roasted French Ochre Watercolor is a strong, natural orange-brown perfect for landscapes and portraiture. If you’re already a fan of our French Ochre, you’ll love this versatile, palette-friendly variation. 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.

Prehistoric man used this strong, rich, 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. 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.

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. 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 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. 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 sienna is a natural orange-brown earth pigment imported from Italy. Use this with the same method and purpose as plain Burnt Sienna. Many artists prefer Italian Burnt Sienna over others, perhaps the subtle 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. 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 Quinacridone Burnt Orange is a brilliant, smoldering orange/sienna color. Add to French Ultramarine and create dramatic sky washes with a gray-blue mix that renders 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 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.

The ultimate low-staining glazing pigment, finer than any Burnt Sienna. For the traditional and purist watercolor painter, Quinacridone Sienna divides yellows from reds, falling on the orange line. Its place on the color chart makes Quinacridone Sienna a complement-free pigment, easy to modify without revealing a hidden gray. Quinacridone Sienna works especially well in damp underpaintings overpainted with full-bodied pigments such as Indigo or Payne’s Gray. The fine clear Quinacridone particles collect and retreat, giving way to compressed pools surrounded by the premixed grays. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity. 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 dramatic rusty red/orange – the charismatic color of autumn’s falling leaves. Made from earth that has been heated to attain a burnt color, this granulating watercolor 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 color. Mixed with Carmine, a lovely vermilion with a slight pink undertone is produced. 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.

Highly saturated and bold, Terre Ercolano is a natural brick red that brings an earthy sensibility to your watercolor 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. 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.

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 leaning towards opaque with 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. 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.

Rich color and opacity make English Red Earth a versatile pigment that offers a range of effects. At full strength this color 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 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.

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 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.

Perylene Maroon is a super staining dark red-brown. Our exciting 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. 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.

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. 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 new azo pigment falls between Permanent Violet and Manganese Violet on the color chart. It’s a lightfast, slightly granular deep brown-violet with a low staining property, these properties make Naphthamide Maroon a surprise substitute for earth pigments, especially umbers. 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.

Add texture to your watercolor paintings with this rich burgundy watercolor. 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 color with a deeper shade of reticulated pattern. 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 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 color. 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.

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 medium staining, transparent Permanent Brown. 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. As a single pigment, Gray Titanium mixes wonderfully with other colors, adding both warmth and softness due to its semi-transparent/semi-opaque characteristic. Gray Titanium both lightens and neutralizes the colors it’s mixed with. You can see the lightening and neutralizing in this mixing grid painted with Gray Titanium and the DANIEL SMITH Essentials 5 ml Watercolor Set. The Essentials Set is a split primary with two sets of primary colors, a cool triad (Hansa Yellow Light, Quinacridone Rose, and French Ultramarine) and a warm triad (New Gamboge, Pyrrol Scarlet, and Phthalo Blue (Green Shade). Below is the diagram showing what colors are mixed with what. The rectangles that show “+GT” are the two-color mix plus the addition of Gray Titanium. This shows the softening of the mixed color, which you can compare to the straight two-color mixes. For example, compare rectangle NG + HYL [New Gamboge mixed with Hansa Yellow Light] to rectangle HYL + NG + GT which has Gray Titanium mixed in. So how does our Gray Titanium compare with our Buff Titanium? Both colors are unique to DANIEL SMITH and are made with slightly different versions of PW 6 (Buff Titanium is PW 6:1). They both have the same properties – granulating, semi-transparent, non-staining and excellent lightfastness. Both have a creaminess quality, but Gray Titanium granulates with gray, and Buff Titanium granulates with a light tan or buff.

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 medium staining, transparent Permanent Brown. 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 blend of Raw Umber with Quinacridone Violet, creating a semi-tranparent, medium to high tinting pigment with a beautiful deep burgundy-brown color. 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 fully transparent, non-staining, rich, vivid brown. Elemental and versatile, its granulating properties when blended with Permanent Green changes a sprout to a mature green of tenure and complexity. Used in a low ratio of paint to water in a wash, Transparent Brown Oxide becomes almost peach and can be used as a glaze with a remarkable effect adding shadows rich in depth and mystery. 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 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. 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 wonderful brick red, the rich, ruddy color of an Irish Setter. Transparent, granulating and non-staining, it is beautiful in any strength and makes an exquisite range of skin tones. 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 beautiful earthy color, DANIEL SMITH Burnt Sienna Light is redder than our Burnt Sienna, more transparent and slightly less granulating. In very light washes, it makes a good, light flesh tone for portraits, and in darker washes, it is a rich red-brown. 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 versatile red-brown is deep brick at full strength. In lighter washes a warm and transparent earthy rose is revealed. A perfect brown-pink for portraiture – it’s the natural looking red on cheeks and lips. DANIEL SMITH Enviro-Friendly Watercolors-the colors 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 colored 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 colors ranging in tone from a warm golden yellow to a deep red earth to a beautiful saturated dark brown with a bluish undertone. Enviro-Friendly pigments are reclaimed and refined, giving you an earth-friendly option without sacrificing color quality. 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 transparent to semi-transparent, rich earth pigment is a traditional palette staple for many landscape painters. Our Burnt Sienna 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. 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 transparent sun-baked brick red with a rose-blush undertone. This favorite among our earth pigments granulates for surprising texture and is non-staining so you can lift and move this color around your painting. A beautiful highlight for your deep crimson roses. 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 rich dark brown earth pigment is popular with artists due to its semi- 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. 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.

At full strength, the deep umber of our Enviro-Friendly Brown Iron Oxide 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 color quality. DANIEL SMITH Enviro-Friendly Watercolors-the colors 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 colored 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 colors ranging in tone from a warm golden yellow to a deep red earth to a beautiful saturated dark brown with a bluish undertone. 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 familiar rich dark brown earth pigment is semi-transparent with medium tinting strength. An extremely permanent inorganic color, it mixes well with sedimentary Cobalt Blue or Cobalt Violet for granular middle-value grays that evoke mood, lend depth of field and create form or spaces. 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 staining and lightfast, this semi-transparent black-brown is a palette basic. From its rich, deep state in concentrated strokes, Sepia can dilute to a subtle mushroom hue. Enjoy this transition in washes from near to far or from shadow to light in plowed fields and farm subjects. Fence posts – the wet, West Coast kind – are fun to paint, as are bulrushes and cattails. Try each wet into wet. 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, 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. 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.

Watch how this fascinating watercolor with its broad range of texture, color 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. 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.

When mixed with any other color, Neutral Tint produces glowing darker values of that color. Our chemist developed this perfect, neutral gray – neither warm nor cool – that quickly and reliably tones down colors and mixes rich, luminous darks. Since its development in 2012, artists have found Neutral Tint to be an essential addition to their palettes for expanding their range of colors. Features: Quickly darken a color while keeping its transparency without getting muddy Reliably tone down colors Make lovely, colorful shadows Perfect for working with a limited palette – it’s the complement to any color Easily expand your palette when space is limited during travel sketching and plein air painting Works well on its own for quick value sketches “As professional teaching artists, we asked if DANIEL SMITH could develop a new dark watercolor pigment, so that seasoned watercolorists, as well as beginners, could easily mix visually pleasing, colorful, clean darks. We wanted to make it easier for our students to keep away from making muddy darks with one easy step, and this is the perfect solution! Neutral Tint can also diffuse a color to help to neutralize the pigment. Just add a small amount to any DANIEL SMITH watercolor and before your eyes you will see the hue become toned down. You can create crystal clear, glowing watercolor paintings!” – Theresa Goesling and Cindy Briggs

Exploration of this color 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 watercolor, a synthetic graphite pigment, namely Graphite Gray, seems surprisingly natural. 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.

“Joseph Z’s Neutral Grey, developed by Joseph Zbukvic, which he describes as; “…perfect for those strong, New York type cityscapes. When undiluted it is basically black and can provide powerful monolithic shapes without looking chalky. It gives a look of charcoal drawing or old-fashioned photographs.” Part of our Signature Series, Joseph Z’s Neutral Grey is a rich black/gray, very dark in mass tone and because it has almost no color bias it mixes beautifully to tone down colors. Joseph Z’s Neutral Grey is semi-transparent, granulating, low staining and 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.

““…I designed this grey to use for those frosty morning and rainy winter day paintings. It has a lovely greenish sediment which is perfect for low light, early morning light effects. I think this is a must for anyone painting winter scenes.” -Joseph Zbukvic Part of our Signature Series, Joseph Z’s Cool Grey is very dark in mass tone with interesting, slightly green/violet tones, it mixes wonderfully with other colors toning them down and add a bit of lush coolness. Joseph Z’s Cool Grey is semi-transparent, granulating, low staining and 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.

“Joseph Z’s Warm Grey, developed by Joseph Zbukvic, which he describes as; “…perfect for strong summer light when shadows have that rich warm glow. It’s particularly useful for painting late afternoon light effects with its pinkish glow when it’s diluted into lighter washes. It can capture that evening glow perfectly.” Part of our Signature Series, Joseph Z’s Warm Grey is very dark in mass tone with the slightest pink undertone in light washes, it mixes beautifully with other colors, both toning down and adding a hint of warmth. Joseph Z’s Warm Grey is semi-transparent, granulating, low staining and 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.

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

“Alvaro’s Fresco Grey “A very powerful and true hue, with no artificial look to it. Passionate and mysterious, great to evoke distant elements of any kind even the unknown…I love the hue.” Alvaro’s Fresco and Caliente Greys, as he describes them, are about; “…magnetism, fury, energy…power. You know greys… create a feeling of danger, emotion, passion… mystery…evoke things that are unknown…darkness. I use these greys to create a painting that has a magnetism…energy, mystery, passion…something to discover, entering the unknown, darkness. Both of these colors have just this type of feel to me.” -Alvaro Castagnet Part of our Signature Series, Alvaro’s Fresco Grey, a cool midnight in mass tone and a cooling mist in washes, it mixes well with other colors, toning them down and adding a touch of coolness. Alvaro’s Fresco Grey is semi-transparent, granulating, low staining and 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.

Alvaro’s Caliente Grey, “is a terrific hue, very powerful, excellent to create strong and warm paintings. In monochrome this wonderful Grey is perfect to achieve a powerful atmosphere with amazing glow. This color is also perfect to add dramatic highlights and shadows.” Alvaro’s Caliente and Fresco Greys, as he describes them, are about; “…magnetism, fury, energy…power. You know greys… create a feeling of danger, emotion, passion… mystery…evoke things that are unknown…darkness. I use these greys to create a painting that has a magnetism…energy, mystery, passion…something to discover, entering the unknown, darkness. Both of these colors have just this type of feel to me.” -Alvaro Castagnet Part of our Signature Series, Alvaro’s Caliente Grey, a smooth, warm velvety grey on its own, mixes wonderfully with other colors toning them down and adding warmth. Alvaro’s Caliente Grey is semi-transparent, non-granulating, low staining and 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.

McCracken Black is a versatile black; it can produce a range of neutral grays that is ideal for creating a realistic look to metal objects and a remarkable depth in a dark background that is inspired by the Dutch painters of the 16th and 17th century. Master Artist Laurin McCracken worked with DANIEL SMITH Chemists to develop a black that is neutral, not blue or brown. One to which he can add small amounts of color to make it warm or cool so that it can change and enhance the feel of a painting when desired. It has a degree of transparency as he often paints with a very dark background over an underpainting. McCracken Black is a complex black, with slight granularity so the that the smooth surfaces of metal, like polished silver, in a still life can appear as realistic as possible. 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.

Payne’s Blue Gray is a rich blue gray that is excellent for adding visual weight to other colors for shading. An outstanding color for night skies and urban landscapes. 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.