Lunar Earth

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 appear. 

Permanent Red

A stop sign red, this red diffuses well with water - a treat when painting wet into wet or damp passages. The fussy edges this technique produces brings field poppies to mind.

Ivory Black

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

Quinacridone Gold

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.

Pyrrol Scarlet

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

Cascade Green

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.

Moonglow

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.

Mayan Red

Mayan Red is both fascinating and distinctive. The range of color it produces is truly remarkable, from a natural strong red, to a clear intense rose, to sublime smooth pinks. Used to adorn the murals and sculptures of the Mayan people, this remarkable red has remained vibrant even when exposed to more than a thousand years of severe heat and humidity. Now using an eco-friendly process, with methods derived directly from the ancient Mayans, this unique, metal-free pigment is available to you. Its versatility, durability and exquisite hue will make it a color you’ll reach for again and again. 

Iridescent Garnet

Iridescent Garnet is a rose colored metallic that creates a dynamic pink reflection even in light washes.

Iridescent Jade

Iridescent Jade is a shimmering soft green with a golden metallic surface.

Iridescent Ruby

Iridescent Ruby is a sweet and soft metallic pink - try this color on bird’s wings or flower petals for subtle shine. 

Duochrome Aquamarine

Duochrome Aquamarine shifts between a soft blue-green and a shimmering iridescent blue.

Duochrome Blue Pearl

Duochrome Blue Pearl shifts between a shimmering sky blue and a reflective cool silver. 

Hansa Yellow Deep

Kissed with a touch of orange, this is a pure chroma color with high-tinting, organic pigments. Hansa Yellow Deep is considered the ‘perfect yellow’, a fact which offers more control when mixing. Painters can admire the purity of this primary pigment and adjust its temperature while avoiding a gray from a hidden complement. Think of a yellow pepper. 

Nickel Azo Yellow

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

Green Gold

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.

Burnt Umber

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. 

Permanent Green

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. 

Permanent Brown

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.

Burnt Bronzite Genuine

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

Buff Titanium

Spatter or drop a brushload of Buff Titanium into a moist wash and enjoy the pigment displacement, it is especially effective used that way to make clouds in the sky. Unique to DANIEL SMITH, Buff Titanium resembles the ecru shades of sand and antique lace and simulates the porous texture of an eggshell. It is a most welcome neutral, with its’ semi-transparent to opaque, non-staining properties. Pre-mix Buff Titanium with Quinacridone Rose or Perinone Orange for subtle hues and matte surfaces ideal for the velvety petals of your favorite flowers. Mix with Indigo or Van Dyke Brown to create slate-colored shadows and soft feathers. Glaze a dried landscape with a misty, atmospheric mood.

Blue Apatite Genuine

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