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Create pastel shades with a creamy, semi-opaque/semi-transparent finish by mixing Titanium White with your favorite watercolor pigments. Although not opaque enough for full coverage, this watercolor can be used str...

This beautiful watercolor is a cool blue gray. Highly lightfast and mildly staining, Payne’s Gray is perfect for painting wet skies. Use this pigment instead of Indigo, except where yellow is involved. Payne’s ...

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

Our Yellow Ochre works especially well with other transparent pigments. Try mixing transparent, medium-tinting Yellow Ochre with equally transparent, medium-tinting Viridian. Somewhat neutral, Yellow Ochre reacts...

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, transpare...

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 t...

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...

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. Quinacridone...

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 t...

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 wit...

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...

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. Subseq...

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...

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 Scarle...

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 Quinac...

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. ...

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 bl...

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 Bu...

Bloodstone is legendary for its mystical, magical and medicinal properties. Sacred to Christians, who believe the dark red drops in this green jasper represent the blood of Christ. Our Bloodstone Genuine is part ...

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 p...

DANIEL SMITH’s Sap Green is wonderful – the hue we love with the permanency we need. This non-fugitive formulation creates deep forest shadow-green mixed with French Ultramarine and mossy golden-greens and green-b...

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 garde...

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...

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 concen...

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, sunnie...

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...

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 creat...

We bring you an unusually beautiful Serpentine pigment from the land down under. This Australian green-color serpentine is of a variety called Stichtite. A soft stone used cross-culturally for carving amulets use...

Float this color into a moist wash to add variety to shadows. DANIEL SMITH Prussian Blue is lightfast and transparent, with medium to high staining strength. It disperses and diffuses easily and evenly and can be...

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 b...

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 desi...

A superb mixing color. Think of Cerulean Blue as a cleaner, brighter and slightly warmer alternative to the Cerulean Blue Chromium we’ve always sold. A bit less green, it’s a truer blue that will be a versatile c...

DANIEL SMITH has acquired a unique supply of the precious mineral Amazonite from Brazil. It’s a strong pure color that is completely transparent, non-staining and lifts easily for mazimum versatility. Gorgeous by...

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 pa...

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...

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. SKU: 284600077 P...

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 surf...

Lapis Lazuli has been prized for its beauty, its mystical properties, and its perfection as a pigment. Ancient civilizations believed that the veins of glittering pyrite found in the lapis were actual gold, drivin...

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 gent...

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 possibil...

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, a...

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 ...

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 ma...

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 uniqu...

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-s...