Extra Fine™ Watercolors

Extra Fine™ Watercolor Stories

COLOR STORIES
in brief

Discover our world of pigments and

how to incorporate each of their unique
characteristics
1 into your art.
 Alizarin Crimson
Alizarin Crimson is the oldest synthetic deep red-crimson pigment. It is a lake pigment which when
applied in strength and kept from the direct sunlight will last for many decades. Alizarin is a treat to
paint with, just the sheer joy of the depth and uniqueness of color is invigorating. A beautiful bluish-
red pigment from the staining family, Alizarin Crimson is listed on the basic palette of a vast majority
of artists. Intense and dark in value, Alizarin Crimson mixes cleanly with most pigments to create
dark mixtures and warm neutrals. A combination of Aureolin (Cobalt Yellow) and French Ultramarine
with Alizarin renders a surprising range of other colors resembling everything from Burnt Sienna and
Umber to Payne’s Gray, while Alizarin Crimson with French Ultramarine creates an intense purple.

Alvaro’s Caliente Grey

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
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Grey is semi-transparent, non-granulating, low staining and has excellent lightfastness.

Alvaro’s Fresco Grey

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.

Amazonite Genuine
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 maximum versatility.
Gorgeous by itself, Amazonite Genuine is an especially beautiful mixer with reds making gorgeous
violets! Natural Amazonite Genuine provides all the magic of the hills and forests of Brazil. This lovely
teal shade of feldspar microcline, a precious mineral, was named for the Amazon River and was used
in ancient times as war paint by fierce female warriors. In addition, legends state that when you wear
a piece of Amazonite you will harmonize your soul and be attuned to the spiritual dimension. Small
carvings of Amazonite were tucked into a baby’s bunting to sooth and pacify. A shared piece of this
lovely teal mineral was believed to enhance and further unite the union of soul mates.

Amethyst Genuine
Oh my goodness - it’s beautiful! exclaimed one of our testers, and it is. Amethyst Genuine is a
rich, true purple - it’s almost black in masstone and capable of infinite gradation. Although it is a
granulating color, it can also make lovely clear washes with just the barest hint of sparkle from the
crushed gemstone.

Anthraquinoid Red
Warm violet-red, this slightly granular, super-staining vat pigment is one of DANIEL SMITH’s greatest
creations. Anthraquinoid Red is bold and dashing. Deep and cool enough for a variation on shadow
tones, this impressive red-violet has an amazing range. Mix with water to achieve a whisper of cool red
perfect for rosy skies and blushing cheeks. A transparent color, Anthraquinoid Red glazes beautifully
for added richness and depth. Anthraquinoid Red offers artists a vibrant, luminous pigment that
retains its excellent permanency rating even in thin washes.
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 Anthraquinoid Scarlet
A deep, transparent orange. In a wash, it’s a light peach tint and transparent at full strength, it moves
to a deep, red-orange lipstick color with all the pigment strength, DANIEL SMITH paints are famous
for. It’s absolutely beautiful!

Aureolin - Cobalt Yellow

The transparent non-staining properties of this cool yellow can effectively warm darker hues
without affecting their transparency. Landscape artists often rely on Aureolin to successfully
glaze their watercolors or as a light wash in underpainting, to add the apperance of sunshine. This
pigment quality, along with the ability to lift and to create soft edges, makes Aureolin especially
useful to portrait and floral painters as well.

Aussie Red Gold

DANIEL SMITH Aussie Red Gold is the rich, golden color of ochre cliffs set aflame at sunset.
This brilliant, reddish gold will add glowing light to Autumn leaves, late summer flowers and
landscapes. Australian Red Gold is transparent, non- granulating, low staining and performs
wonderfully, you will love it on your palette!

Azo Yellow
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DANIEL SMITH Azo Yellow Watercolor almost jumps off the paper, it’s so brilliant, sunny and bright.
The very essence of yellow, it’s clear, powerful, vivid, semi- transparent, smooth and staining. Use this
organic pigment to add light and sparkle to your paintings. It’s also a versatile mixing color.

Bismuth Vanadate Yellow

This opaque yellow, leaning slight towards green, appears opaque in mass tone, yet lifts cleanly. It is
low staining, making it excellent in portrait mixtures for dark flesh tones. Use concentrated to diluted
mixtures in florals and field flowers. Its lemon yellow hue works well with purples and all the greens.

Black Tourmaline Genuine

Can be as dark as night or as pale as a wispy fog. This intriguing PrimaTek color is made from a semi-
precious stone thought to bring luck, dispel negativity and promote clarity of purpose. In washes,
especially on rough paper, it displays exciting granulation with delicate settling and a tracery of
spidery runs. Intensely black in mass tone, it lets down to a beautiful, warm pearl gray.

Bloodstone Genuine
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 of our line of superb PrimaTek naturally pigmented watercolors. Its’ intense and
velvety aubergine mass tone develops into a warm gray wash that lifts beautifully and provides
immediate gratification when it comes to granulation, be it on hot- or cold-pressed paper.
Bloodstone mixes very well with each of our more than 240 watercolors and is especially wonderful
with transparent RhodoniteGenuine and Quinacridone Burnt Orange.

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!

Bordeaux
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.

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 Bronzite Genuine
A warm honey-bronze color with lustrous sparkle provided by very fine films of iron oxide. The
fibrous, fairly fragile Bronzite stone from Brazil is occasionally used in jewelry but excels as a
watercolor pigment. It’s a warm golden-brown in mass-tone - somewhere between ochre and
sienna, but distinctly different - that lets down into pale washes of soft, always warm, sandy beige. In
a wash on cold press or rough paper, the brown settles out of this intriguing special-effect color.

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.

Burgundy Red Ochre

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.
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Burgundy Yellow Ochre

A warm, glowing earth color, surprisingly 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.

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.

Burnt Sienna
This transparent to semi-transparent, rich earth pigment is a traditional palette staple for many land-
scape painters. Our Burnt Sienna combines with other hues without a loss of intensity or transparen-
cy. Subsequent layers (or glazes) do not sully or stain the other pigments these glazes contact.

Burnt Sienna Light

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.

Burnt Tiger’s Eye Genuine

This beautiful stone has been calcinated to change the iron oxide from cool to warm in hue. The
result is striking and the granulating effect enhanced. While the Tiger’s Eye Genuine is cool olive
drab, Burnt Tiger’s Eye Genuine is warm reddish-brown. In landscapes, it’s an excellent, natural-
looking complement to greens. It’s also great for creating rich, warm flesh tones.

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.

Burnt Yellow Ochre

Burnt Yellow Ochre is a beautiful, versatile earth color with the ruddy warmth of redwood, ancient
pottery or a sunset-lit peublo. Falling between yellow ochre and burnt sienna, it is a wonderful
portrait color. Light, transparent washes create a range of glowing skin tones. On cold pressed or
4 rough paper, it settles and granulates nicely.
 Cadmium Orange Hue
Cadmium Orange Hue - A deep, radiant orange that leans slightly towards red. We’ve done it! Safe,
Vibrant Cadmium Hue Watercolors! Our new formulas provide all the density and richness of classic
cadmium colors. Our hues are virtually identical in color to their namesakes, but cleaner in mixtures
and stronger in tints - you’ll find a little goes a long way. Working properties - staining power,
semi- transparency and excellent light fastness - are also nearly identical to those of the low-soluble
cadmium colors we previously offered.

Cadmium Red Medium Hue

Cadmium Red Medium Hue - A true stop sign red, an essential color for any palette. We’ve done
it! Safe, Vibrant Cadmium Hue Watercolors! Our new formulas provide all the density and richness
of classic cadmium colors. Our hues are virtually identical in color to their namesakes, but cleaner
in mixtures and stronger in tints - you’ll find a little goes a long way. Working properties - staining
power, semi- transparency and excellent light fastness - are also nearly identical to those of the low-
soluble cadmium colors we previously offered.

Cadmium Red Scarlet Hue

Cadmium Red Scarlet Hue - A festive, versatile red with an orange cast. We’ve done it! Safe, Vibrant
Cadmium Hue Watercolors! Our new formulas provide all the density and richness of classic
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cadmium colors. Our hues are virtually identical in color to their namesakes, but cleaner in mixtures
and stronger in tints - you’ll find a little goes a long way. Working properties - staining power, semi-
opaque and excellent light fastness - are also nearly identical to those of the low-soluble cadmium
colors we previously offered.

Cadmium Yellow Deep Hue

Cadmium Yellow Deep Hue - A rich, warm yellow with a golden glow. We’ve done it! Safe, Vibrant
Cadmium Hue Watercolors! Our new formulas provide all the density and richness of classic
cadmium colors. Our hues are virtually identical in color to their namesakes, but cleaner in mixtures
and stronger in tints - you’ll find a little goes a long way. Working properties - staining power, semi-
transparency and excellent light fastness - are also nearly identical to those of the low-soluble
cadmium colors we previously offered.

Cadmium Yellow Light Hue

Cadmium Yellow Light Hue is a clean lemon yellow, create fiery oranges by mixing with Opera Pink
or remarkable granulating greens with Cobalt Teal Blue. We’ve done it! Safe, Vibrant Cadmium Hue
Watercolors! Our new formulas provide all the density and richness of classic cadmium colors. Our
hues are virtually identical in color to their namesakes, but cleaner in mixtures and stronger in tints
- you’ll find a little goes a long way. Working properties - staining power, semi- transparency and
excellent light fastness - are also nearly identical to those of the low-soluble cadmium colors we
previously offered.

Cadmium Yellow Medium Hue

Cadmium Yellow Medium Hue, a mid- toned, slightly red yellow is perfect to add heat, energy and
a focus in any painting. Mixed wet into wet with Cerulean Blue you will have a vast array of textured
greens in various tones depending on the color balance and amounts of water, from dusky shadow
greens to vibrant spring greens. It disperses beautifully in water for smooth, rich washes. We’ve done
it! Safe, Vibrant Cadmium Hue Watercolors! Our new formulas provide all the density and richness
of classic cadmium colors. Our hues are virtually identical in color to their namesakes, but cleaner in
mixtures and stronger in tints - you’ll find a little goes a long way. Working properties - staining power,
semi-transparency and excellent light fastness - are also nearly identical to those of the low-soluble
cadmium colors we previously offered.

Carbazole Violet
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.
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 Carmine
Darker and more staining than Alizarin Crimson, and vastly superior in permanence, Carmine is also
redder. This staining pigment, rich and intense, will retain its luminosity in dark passages, but will
dilute to produce subtle tones without reducing its permanence. Darkest of the reds, Carmine will
help you achieve clear neutrals when mixed with its complement, Phthalo Green.

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.

Cerulean Blue
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 component of any palette.
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Cerulean Blue Chromium

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.

Chinese White
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 and spatter Chinese White into a damp gray wash to describe the moist, mushy
snowfalls of the Pacific Northwest’s coastal lowlands. Try a brushload of Chinese White where
water’s edge meets snowbanks to indicate melting. For field flowers in spring meadows, a touch of
Chinese White into Carbazole Violet helps create clover and other wildflowers. And, of course, you can
always use it to paint details and highlights! If the paint works, use it.

Chromium Green Oxide

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.

Cobalt Blue
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.

Cobalt Blue Violet

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.

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 Cobalt Green
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.

Cobalt Green Pale

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.

Cobalt Teal Blue

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. An inorganic pigment, it is considered and non-
staining (or low-tinting) and ideal for glazing methods. Cobalt Teal Blue’s ability to create soft edges, to
lift and to mix readily make it a valuable contribution to watercolor palettes.
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Cobalt Turquoise
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.

Cobalt Violet
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.

Cobalt Violet Deep

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.

Deep Sap Green

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.

Deep Scarlet
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.

Diopside Genuine
Diopside Genuine is a rich gemstone green you’ll reach for time and again. Also known as the
Russian Emerald, the mineral is usually seen in fine jewelry. We are proud to be the first to offer
it as a watercolor. Exquisite in hue, it brushes out evenly from deep bottle green through clear
Kelly green to palest mint. The chromium rich stone from which its ground is green with brownish
inclusions. In washes hints of the brown mineral settle out, adding an earthy nuance perfect for
landscape work.

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 English Red Earth
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.

English Red Ochre

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.

Enviro-Friendly Red Iron Oxide

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
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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.

Enviro-Friendly Yellow Iron Oxide

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.

Enviro-Friendy Brown Iron Oxide

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.

Fired Gold Ochre

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.

French Ochre
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.

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 French Ultramarine
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.

Fuchsite Genuine
Made from pure Fuchsite, a mineral with mica-like characteristics, this color creates a luminous
pearly green shimmer. Soft, subtle with a pearly green shimmer, Fuchsite PrimaTek watercolor is
luminous and elegant. Made from pure Fuchsite, a Russian mineral, this transparent mineral color is
great for layering delicate green to add luster and dimension to your paintings. Try glazing this over
a stronger green to soften and enhance foliage or add it one subtle layer at a time to cool your study
with a unique glow and non-traditional hue.

Garnet Genuine
Garnet Genuine Watercolor has all the warmth and allure of the January birthstone. This PrimaTek
color is a gorgeous, warm, reddish-orange, similar in hue to Quinacridone Burnt Scarlet, but with
more granular texture. Try mixing it with Cerulean Blue for beautiful mauves and grays. It reticulates
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wonderfully and creates unexpected surprises in washes.

German Greenish Raw Umber

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.

Goethite - Brown Ochre

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 mass-tone
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.

Graphite Gray
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 dry-brush. 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.

Gray Titanium
Single pigment Gray Titanium is a mid-tone warm gray with slightly yellow undertones,
and is semi-transparent, granulating, non-staining and has excellent lightfastness. The color and
granulation make it wonderfully useful for dusty desert animals such as deer, elephants and
tortoises, and for birds whose feathers offer good camouflage for blending into dry woodland,
savanna and desert like the roadrunner and burrowing owl. In landscapes, granulating Gray
Titanium is beautiful for trees and shrubs whose trunks, branches and twigs are light colored
and textured. Urban landscapes benefit from Gray Titanium as well with light washes suggesting
concrete structures. As a single pigment, Gray Titanium mixes wonderfully with other colors adding
both warmth and softness due to its semi-transparent/semi-opaque characteristic.

Green Apatite Genuine

PrimaTek Green Apatite Genuine Watercolor lets you create a beautiful range of greens - fresh
yellow-green to deep olive - with a single tube. This sedimentary color is a dark, almost brown, olive
green in mass tone. In washes, the brown settles out of a vivid natural green, creating memorable
9 texture and contrast.
 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.

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.

Hansa Yellow Light

Cleaner, more transparent and brighter in chroma than Cadmium Yellow Light, this is a high-tinting,
organic pigment. Hansa Yellow is considered the ‘perfect yellow’, offering more control when mixing.
Painters admire the purity of this primary pigment and ability to adjust its temperature while
avoiding a gray from a hidden complement. Think of a yellow pepper.

Hansa Yellow Medium

Hansa Yellow Medium is a high-tinting, organic pigment. Considered the ‘perfect yellow’,
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Hansa Yellow Medium offers more control when mixing. Painters admire the purity of this primary
pigment and adjust its temperature while avoiding a gray from a hidden complement. Think of a
yellow pepper.

Hematite Burnt Scarlet Genuine

Hematite stones are crushed and milled to a fine pigment to create a dramatic reddish brown
watercolor with maximum granulation. Add texture to your work with this genuine PrimaTek pigment.
Perfect for rugged landscapes and the natural texture of wood, stones and brick. Hematite is ground
from a heavy silvery-black mineral rich in iron. In a thick wash, the heavier particles settle, creating
bold granulation. In a thin wash, it is a rich sienna. Hematite Burnt Scarlet mixes wonderfully with
other colors both neutralizing the color and adding beautiful granulation. Hematite or the traditional
Greek name, Bloodstone - when you paint, you can almost feel the pounding of the battle drums as
ancient warriors covered their bodies with Hematite in the belief that they would be protected from
mortal wounds. According to lore and superstition, large surface deposits of Hematite mark the site of
hard fought battles, where the blood of fallen soldiers flowed into the ground.

Hematite Genuine
Hematite is ground from a heavy silvery-black mineral rich in iron. In a thick wash, the heavier
iron particles settle, creating bold granulation, in a thin wash, it is a soft dove gray. Hematite mixes
beautifully with other colors adding its granulation and slightly neutralizing the mixed in color. One
way to use Hematite Genuine is, with single brushstrokes, sketching in branches from thick to thin,
the beautiful granulation automatically providing the texture of bark. Hematite or the traditional
Greek name, Bloodstone - when you paint, you can almost feel the pounding of the battle drums as
ancient warriors covered their bodies with Hematite in the belief that they would be protected from
mortal wounds. According to lore ad superstition, large surface deposits of Hematite mark the site of
hard fought battles, where the blood of fallen soldiers flowed into the ground.

Hematite Violet Genuine

Hematite stones are milled to a fine pigment to create this stunning watercolor. Rich and shadowy
violet washes are studded with a pattern of deep granulation. Bring excitement to neutral tones with
this PrimaTek pigment - driftwood, tree bark, and rocky cliffs come alive with texture and drama.
Be inspired by this rugged violet that stays true with excellent light fastness. Hematite is ground
from a heavy silvery-black mineral rich in iron. In a thick wash, the heavier particles settle, creating
bold granulation. In a thin wash, it is a beautiful reddish, violet gray, thick or thin, Hematite Violet
mixes wonderfully with other colors. Hematite or the traditional Greek name, Bloodstone - when you
paint, you can almost feel the pounding of the battle drums as ancient warriors covered their bodies
with Hematite in the belief that they would be protected from mortal wounds. According to lore
and superstition, large surface deposits of Hematite mark the site of hard fought battles, where the
blood of fallen soldiers flowed into the ground.
10
 Hooker’s Green
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!

Imperial Purple
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.

Indanthrone Blue
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.
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Indian Red
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,
earth-like mixtures common to landscapes. Handling tip: Hit it once and walk away.

Indian Yellow
Don’t let the old line: made from the urine of cows fed an exclusive diet of mango leaves deter you
from adding Indian Yellow to your palette; DANIEL SMITH’s vat pigmented Indian Yellow is a new
formula. This medium to high tinting yellow lends a rusty orange edge to undisturbed puddles, a
curious property when painting ripe fruit and vegetation. Autumn leaves and floral close-ups make
great study subjects as you explore this pure chroma, ever so slightly granular yellow. Indian Yellow
wets well and flows evenly.

Indigo
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 Egyptian 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.

Isoindoline Yellow
Bold, bright and smooth, this stunning watercolor offers watercolorists a rich shade of yellow for
captivating watercolors. So saturated that it is nearly orange at full strength, Isoindoline Yellow can
be lightened with water for glowing, transparent washes. An even finish, and excellent light fastness,
make this watercolor a pleasure to paint with. An excellent alternative to Cadmium Yellow Deep. Its
warm, glowing, school bus yellow color and supremely smooth texture make it a palette essential. In
light washes, it creates a soft, sunlit radiance.

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 Italian Burnt Sienna
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.

Italian Deep Ochre

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.

Italian Venetian Red

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
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some difficulty when dry, but leaves a special warm afterglow when blotted at the damp state.

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.

Jadeite Genuine
This exceptionally beautiful PrimaTek color is made from the more strongly colored of the two
minerals known as jade - the other is Nephrite. Used for eons in China and Central America, this
gemstone now becomes a spectacular artist’s color. From deep, dark-green mass tone to the palest
wash, it creates all the exquisite shades we think of when we think of jade.

Jane’s Grey
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.

Joseph Z’s Cool Grey

“...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.

12
 Joseph Z’s Neutral Grey
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.

Joseph Z’s Warm Grey

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.
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Kingman Green Turquoise Genuine

Natural Kingman Green Turquoise Genuine captures the magic and mystery of the ancient
Southwest in a subtle greenish turquoise. It is mined near Kingman, Arizona, which lies along a
Native American trade route.

Kyanite Genuine
This exclusive DANIEL SMITH color is a stunner - a rich blue-gray with impressive granulation and
dazzling, glittery sparkle. Its name comes from the Greek word ‘kyanos’ meaning dark blue enamel.
Thought to promote serenity, concentration and mental clarity, this shiny, translucent gemstone is
used for jewelry and heat-resistant ceramics, and now for a watercolor that will add amazing texture
and visual excitement to your work.

Lamp Black
Opaque and cool. This is the most intense black available. It is a sooty by-product of burned mineral
oil and tar. Lamp Black mixed with Burnt Sienna can add a trace of warmth to a passage. Think
classic black velvet. Use to darken transparent pigments.

Lapis Lazuli Genuine

Lapis Lazuli has been prized for its beauty, its mystical properties, and its perfection as a pigment.
Ancient civilizations believed that the veins of glittering pyrite found in the lapis were actual gold,
driving up its value. The stone’s expense today, as in the ancient world, results from its hardness,
which makes extraction difficult. Mined in the mountains of South America, this gem-quality
pigment is a subtle blue- grey, with a classic color that is light reflective (due to the irregular and
angular shape of the pigment particles). Our Genuine Lapis Lazuli is at least 80% pure gem pigment
suspended in a natural binder.

Lavender
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.

Lemon Yellow
Lemon Yellow, a brilliant primary yellow, is the perfect pigment for mixing a range of hues when
a clean yellow is necessary. This saturated, bright color adds life to your work at full strength and
washes out to a sweet soft glow for a light and subtle statement. You’ll enjoy the smooth handling
properties and the durability of this extremely lightfast paint.

13
 Lunar Black
Imagine a transparent black with an expansive value range and pigment particles that react like
magnetic shavings attracting and repelling each other. Unique pigment properties make Lunar
Black a radically reticulating color. When dry, a Lunar Black wash resembles a marbled moonscape.
This mottled stony texture can be successfully glazed. You can even gently paint into a wet-to-damp
Lunar Black, dropping into the watery pigment, virtually any combination of favorites. Lunar Black is
a wonderful mixer adding exciting black granulation to the mix! Lunar Black is an inorganic neutral
black watercolor pigment and a DANIEL SMITH exclusive. Think Black Magic-and re-think black.

Lunar Blue
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.

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
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magically appears.

Lunar Red Rock

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.

Lunar Violet
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.

Manganese Blue Hue

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.

Mars Yellow
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.

Mayan Blue Genuine

Mayan Blue Genuine is one of our PrimaTek colors, this gorgeous green-tinged indigo nearly defies
description. Long ago, it adorned the murals and sculpture of the Mayan people and was featured
in their rites and rituals. Despite exposure to severe heat and humidity, the color has hardly faded
over a thousand years. Now, using methods derived from ancient Mayan chemistry, this unique,
metal-free pigment has been recreated using an eco-friendly process. Its versatility, durability and
exquisite hue will make it an instant favorite.
14
 Mayan Dark Blue
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.

Mayan Orange
Mayan Orange is hot and intense. Use it straight from the tube for a blazing red- orange. As you add
water, the color remains strong and disperses very evenly. 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.
The colors are smooth, non-granulating and semi-transparent. Their versatility, durability and
exquisite hues make them colors you’ll reach for again and again.

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
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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.

Mayan Violet
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.

Mayan Yellow
Experience a saturated yellow with a rich history, you’ll love its transparency and smooth working
properties. A natural looking yellow with a very slight green-brown cast - great for foliage highlights!
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.

McCracken Black
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. 

Minnesota Pipestone Genuine

A warm, soft, earthy pink, Minnesota Pipestone is semi-transparent to semi-opaque, and
granulates beautifully in washes. It is as permanent as the rock from which it is made. Our
Minnesota Pipestone is created from pipestone in exactly the same shade as the stone that the
Plains Indians revered and reserved for the making of their pipes. Milled in small batches, it honors
history and lives up to contemporary expectations. The combination of our historic pipestone with
modern synthetics is spellbinding. American Pipestone is the stone that unified our people in a
time of transition. This sacred mineral was the stone of choice for the legendary Sioux peace pipes.
Traveling through Pipestone County, Minnesota, one can almost hear the murmurs of the past. The
15 warm, muted tones of the pipestone foster an introspective creative flow.
 Monte Amiata Natural Sienna
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.

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.

Mummy Bauxite (Natural Iron Oxides)

A warm cinnamon color that granulates to resemble rusted iron, DANIEL SMITH Mummy Bauxite
combines powerful color with visual texture. Mummy was a very popular organic pigment in the 18th
and 19th centuries, rumored to have been made from ground Egyptian mummies. The mineral’s
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name comes from Les Beaux in southern France, where it was first identified in the 19th century.
Our sources bring us Mummy Bauxite from Chitinskaya Province. Unlike the old world color, DANIEL
SMITH’S Mummy Bauxite is extremely lightfast, and low-staining. You get the tonal warmth and depth
of traditional Mummy with the modern assurance that the color is strong, stable and consistent.

Naphthamide Maroon
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.

Naples Yellow
Naples Yellow will make you think of late Summer with its sunflowers, wheat fields and sunny,
dry landscapes. This dusty yellow with a touch of Venetian Red is made a neutral semi-opaque
with the addition of zinc oxide. More ideas for Naples Yellow would be dry yellow grasses easily
brushstroked over painted fences and barns, the zinc oxide opacity aiding the Naples Yellow to
show over darker colors.

Neutral Tint
Create Rich Darks and Neutrals with this fabulous and unique, dark neutral pigment that when
mixed with any watercolor pigment produces glowing, darker values of that color. “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 in one easy
step, and this is the perfect solution! DANIEL SMITH’s new Neutral Tint is just what we have been
hoping for “ - Theresa Goesling and Cindy Briggs. Features and Benefits: Quick and reliable way to
darken a color while retaining transparency. Produces gorgeous glowing darks rather than muddy
colors. Tones down colors.

New Gamboge
Unlike other brands, DANIEL SMITH New Gamboge is an excellent lightfast formulation. It’s a
transparent organic pigment from the yellow to orange zone of your color wheel. More staining than
Yellow Ochre and equal in tinting ability to Raw Sienna. It’s a good substitute for those colors when
transparency and non granulation is desired while avoiding thick, muddy passages.

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!
16
 Nickel Titanate Yellow
This semi-transparent to semi-opaque yellow, leaning slightly towards green, appears opaque in
mass, yet lifts cleanly. It is low staining, making it excellent in portrait mixtures for dark flesh tones.
Use concentrated to diluted mixtures in florals and field flowers. This lemon yellow hue works well
with purples and all the greens.

Olive Green
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.

Opera-Pink
The most vivid of all pinks, has long been requested by DANIEL SMITH customers. A primary
magenta with a hint of fluorescent pink granulation producing some of the most brilliant glowing
mixes you have ever seen. Try mixing Opera Pink with our New Gamboge for fiery oranges or with
an Indanthrone Blue for stunning violets and glowing purples.

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

Payne’s Blue Gray

DANIEL SMITH Payne’s Blue Gray is similar to our bluer Indigo, but like our original Payne’s Gray, it
is semi-transparent rather than transparent. Inky blue and non- granulating Payne’s Blue Gray is
perfect for painting dark, stormy skies, night scapes, and for quickly darkening most other colors.

Payne’s Gray
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 Gray helps create flat ocean waters and after-the-storm clouds and skies. Rocks and granite
boulders, including their shadows, can be quickly rendered with light dilute washes or more
concentrated brushloads.

Perinone Orange
Perinone Orange, with its vast range from vivid intensity to pale, transparent, fleshy washes, is a
clear, clean vat pigment. From carrots to soft gladiola and azalea petals, this pure chroma orange
is a treat for the eye and a dream to handle. Use in place of Cadmiums when mixing and revel in its
glowing transparency. Play with salt texture and lift and squeegee techniques.

Permanent Alizarin Crimson

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

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.

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.
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 Permanent Green Light
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.

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

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.

Permanent Red Deep

A deep, rich red, this lightfast pigment diffuses well with water, a treat when painting wet into wet or
damp passages. The fuzzy edges this technique produces brings field poppies to mind.
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Permanent Violet
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.

Permanent Yellow Deep

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

Perylene Green
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.

Perylene Maroon
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.

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

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

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 Perylene Violet
A deep, luscious, grape-juicy reddish-violet. The mass-tone 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.

Phthalo Blue Green Shade

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.

Phthalo Blue Red Shade

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.

Phthalo Blue Turquoise

Phthalo Blue Turquoise is a stunning color and will take your breath away! This color is perfect
for tropical seas and the deeper turquoise water off white sand beaches and so much more. The
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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, Quinacridone Rose
resulting in a neutral violet and Pyrrol Scarlet for a fabulous gray. Phthalo Blue Turquoise is not
quite as staining as the other Phthalo colors, so it is considered medium staining, and like our other
Phthalo colors it is non-granulating and has excellent lightfastness.

Phthalo Green Blue Shade

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.

Phthalo Green Yellow Shade

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.

Phthalo Turquoise
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.

Phthalo Yellow Green

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

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

Pompeii Red
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
19 earthen color. Mixed with Carmine, a lovely vermilion with a slight pink undertone is produced.
 Potter’s Pink - Pinkcolor
Potter’s Pink is the lightfast pink that was used in English watercolor painting of the 18th and 19th
centuries. Also used in ceramic glazes, it is romantic rose pink, delicate and neutral - a beautiful
counterpoint for brighter, more saturated colors.

Prussian Blue
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 considered interchangeable with the higher staining Phthalo Blue in application,
although Prussian Blue is slightly greener.

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

Purpurite Genuine
Officially discovered in 1905 and named for the Latin word purpura, meaning purple, Purpurite
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Genuine is an intensely lavender violet that paints smoothly and easily, and has beautiful
granulation. It is semi-transparent with low staining levels, so it offers great versatile in use and
technique. Purpurite Genuine is a mineral with a naturally occurring, low luster, silky sub-metallic
sheen. This unique characteristic allows your painting to take on additional dimension as the light
interacts with your washes and glazes. Enjoy adding this natural mineral pigment to your palette.
You’ll love the richness of this unique and rare purple color!

Pyrrol Crimson
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.

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

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

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.

Quinacridone Burnt Orange

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.

Quinacridone Burnt Scarlet

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
20 extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity.
 Quinacridone Coral
A treat for the eyes of both painter and viewer, this intense Quinacridone color is a clear red
tinged with pink and orange. Highly durable and extremely transparent, all the DANIEL SMITH
Quinacridone colors excel in vivid clarity and intensity.

Quinacridone Deep Gold

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.

Quinacridone Fuchsia
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
Extra Fine™ Watercolor Stories

Quinacridone colors excel in vivid clarity and intensity.

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.

Quinacridone Lilac
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.

Quinacridone Magenta
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.

Quinacridone Pink
Quinacridone Pink is a precise, perfect low-staining pink. Try with Indigo for deep dusty purples, or
Indanthrone Blue for rich, clear purples. Quinacridone Pink can be mixed with Quinacridone Sienna
or Burnt Orange in dilute wash states to create flesh tones or convincing sunsets. Highly durable and
extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity.

Quinacridone Purple
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!

Quinacridone Red
A true, pure medium-staining red. Drop Naples Yellow into Quinacridone Red and create a peach, or
paint dry brushstrokes onto apples. Highly durable and extremely transparent, all the DANIEL SMITH
Quinacridone colors excel in vivid clarity and intensity.
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 Quinacridone Rose
Quinacridone Rose, with its red-violet color, lends itself to fabulous purples. Try with Indigo for
deep dusty purples, or Indanthrone Blue for rich, clear purples. Quinacridone Rose can be mixed
with Quinacridone Sienna or Burnt Orange in dilute wash states to create fleshtones or convincing
sunsets. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel
in vivid clarity and intensity.

Quinacridone Sienna
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.

Quinacridone Violet
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.
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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.

Quinophthalone Yellow
A clean, bright yellow. Because it’s low staining, you can paint with it full strength and pull the color
back to almost paper white.

Rare Green Earth

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.

Raw Sienna
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.

Raw Sienna Light

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.

Raw Umber
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.

Raw Umber Violet

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.

Red Fuchsite Genuine

The mountains of Brazil yield a beloved and treasured gemstone. Paint this soft, reddish dusky rose
and watch as the mineral iridescent sheen rises to the surface of your brushstroke. This color, from our
22 PrimaTek line of authentic mineral pigments, gives new definition to skies, botanicals and reflections.
 Red Jasper Genuine
A lovely pinkish, cool brown in light washes and a medium reddish maroon in mass tone, think red
cedar bark, our Red Jasper Genuine is granulating, semi-transparent, non-staining and has excellent
lightfastness. Red Jasper Genuine is a wonderful color for landscapes, birds like the male common
chaffinch and reddish egret, as well as animals who have a medium to light reddish coat like the
red panda. The mineral for our Red Jasper Genuine comes from India’s Gwalior region and is colored
a rich red from iron. Historically it was often carved as amulets, vases and other decorative items.
India’s red jasper was one of stones used to beautifully embellish the Taj Mahal with other semi-
precious stones that were carved and inlaid into the white marble in curvilinear flower forms. The
flowers formed from red jasper are a vivid red and contrast beautifully with the green jade stems
and leaves against the white marble. Spiritually, red jasper is associated with the base or root chakra
and helps to ground and energize/heal the body and provide balance and protection.

Rhodonite Genuine
Made from jewelry-quality stone, this versatile rose pink is wonderful for portraits and landscapes.
Used wet into wet, it creates a soft, transparent glow, without granulation. At full value, it is more
intense but still transparent, low-staining and non-granulating.

Rich Green Gold

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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.

Roasted French Ochre

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.

Rose Madder Permanent

DANIEL SMITH Rose Madder Permanent is a modern, lightfast formulation of the traditional color
giving artists a rose watercolor with similar properties. This warm, rose pink has an ever-so-slight
hint of brown making it slightly less vivid than the pink Quinacridones, and a more natural blush,
perfect for portraits.

Rose of Ultramarine
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.

Sap Green
DANIEL SMITH’s Sap Green is wonderful - the hue we love with the permanency we need. This non-
fugitive formulation creates deep forest shadow-green mixed with French Ultramarine and mossy
golden-greens and green-browns when mixed with Burnt Sienna or Quinacridone Sienna or Burnt
Orange. Sap Green mixes well with most pigments and leaves a stained residue when lifted. In the
French Ultramarine or Quinacridone mixtures mentioned above, squeegee or knife areas to reveal
the Sap Green stain and to create blades of spring-shiny grasses within deeper or mossy passages.

23
 Sedona Genuine (Natural Iron Oxide)
For millennia, Sedona has ignited the imagination of every creative spirit fortunate enough to feel its
dazzle. Tufts of sagebrush punctuate the ancient sea of sand in quiet counterpoint to the soaring red
rock sentinels. With color purity cast from a desert crucible, red spires burst on a field of pure cerulean
sky, humbling the observer in absolute wonder. This ethereal red connects us to the people who were
first mesmerized by the region 11,000 years ago. After our latest trip to the Southwest, we knew we had
to create paint from Sedona’s rocks. Made with authentic rock from the Arizona desert, this timeless
color-lightfast, richly pigmented and absolutely permanent-ties your work to the work of countless
generations of southwestern artisans in a way that demands to be experienced. We went straight to
the source for our newest, yet oldest, mineral pigment. We can now share the enchantment of the
stone with you. Capture the awe, the intensity and the magic of Sedona.

Sepia
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.

Serpentine Genuine
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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 used to ward off harm, our newest PrimaTek has no comparison in any known paint palette.
This surprising, semi-transparent paint is a good green that develops granulation with specks of
burnt scarlet - a great addition to your landscape and floral palette.

Shadow Violet
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.

Sicklerite Genuine
A wonderful neutral, cocoa brown. Named for the mineral collectors who discovered it in San Diego
County in 1912, Sicklerite Genuine displays beautiful granulation and lets down from a dark chocolate
brown to a soft cafe au lait. A true neutral, it tones down bright colors, creating color harmony with
seductive texture. Try mixing it with French Ultramarine for an atmospheric blue-gray or Sleeping
Beauty Turquoise Genuine for a soft ocean green.

Sleeping Beauty Turquoise Genuine

A unique and vibrant blue, the gemstone comes from Sleeping Beauty Mountain in Arizona where
we found a deposit that lives up to our high expectations. It is lightfast and permanent, with none
of the transient color fade that plagues most turquoise. Turquoise has a unique porous nature that
produces granular washes. Juicy washes flow from the brush and drybrush work has the intense
texture found only in a mineral pigment. Traditional mineral pigments often have a muted feel
and our unique Turquoise Genuine has a true brilliance. We use the highest grade mineral that
is found closest to the earth’s surface, where environmental factors have enhanced the structure
to gemstone quality and deepened the tonal richness to a remarkable blue. Historic references of
Turquoise date back as far as Egypt’s first dynasty. Turquoise from the American Southwest has
been unearthed in Aztec ruins and Persian turquoise was used as trading currency.

Sodalite Genuine
Sodalite, with a distinctive deep blue color is one of the components of Lapis Lazuli and very rare.
DANIEL SMITH Sodalite is the finest quality and deepest blue that comes from Greenland and the
flanks of Italy’s Mt. Vesuvius. In watercolor, the inky color of this semi precious stone granulates as it
dries, layering a blue-black textural surface on a smooth blue-gray undertone. Low staining, lightfast
and semi- transparent, Sodalite creates a three-dimensional quality as it dries.

24
 Spring Green
A lovely clear, bright green. Combining two yellow pigments and one green pigment, it is semi-
transparent 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.

Sugilite Genuine
A beautiful granulating pigment from South Africa, Sugilite is another standout in our line of PrimaTek
colors. First found in 1944 and named for its Japanese discoverer, the rare opaque mineral ranges
from grayish lavender to pink to deep purple. Transparent as a watercolor pigment, it combines subtle
fuchsia pink and warm gray in a single strongly textural color. In a wash, the gray settles with a slight
graphite-like sheen, while the pink rises to resemble the color in an overcast dawn sky. It’s a great
complement to golds, oranges and greens, including Quinacridone Gold and Sap Green.

Terre Ercolano
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.
Extra Fine™ Watercolor Stories

Terre Verte
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.

Tiger’s Eye Genuine

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

Titanium White
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 straight from the tube to add highlights or as a light wash over other colors for a soft veil
of light tone. Excellent lightfastness and a smooth finish are hallmarks of this useful pigment.

Transparent Brown Oxide

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.

Transparent Pyrrol Orange

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

Transparent Red Oxide

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.
25
 Transparent Yellow Oxide
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.

Ultramarine Blue
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 Red
To create this color, Ultramarine Blue pigment is baked. An excellent lightfast pigment that flows
freely, leaving slight granulation in washes. Ultramarine Red is considered non-staining, unusual for
a red. Mist damp passages of either pigment for a delightful mottled effect.

Ultramarine Turquoise
Transparent Ultramarine Turquoise is the granular, low-staining cousin of Phthalo Turquoise.
Extra Fine™ Watercolor Stories

Use it when less stain and more granulation is desired, and consider it for an interesting, non-
traditional glaze.

Ultramarine Violet
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.

Undersea Green
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.

Van Dyck Brown

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.

Venetian Red
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.

Verditer Blue
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.

Verona Gold Ochre

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

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 Viridian
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.

Wisteria
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.

Yavapai Genuine (Natural Iron Oxides)

Apache legend speaks of a single dove that left the edge of the original well and saw the world.
When the great floods came, this dove led the first woman to the safety of the Yavapai. Today,
the enfolding security of the Yavapai stone provides a sentimental glimpse through time. The
endurance of the stone symbolizes the endurance of the human spirit. The warm, reddish,
yellow-brown color, similar to a sienna, remains unchanged. Made from Arizona rock, Yavapai
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Genuine is transparent with a surprisingly smooth texture in washes. This legendary pigment
can link your palette to the indomitable past and the bright possibilities of the future. We’ve
captured the strength of the Yavapai in an historic mineral pigment that exemplifies the
perpetual energy of art.

Yellow Ochre
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 beautifully with Cerulean Blue when spattered into the damp paint.
While traditionally Yellow Ochres tend to be opaque or whitened in other brands, our DANIEL
SMITH Yellow Ochre is transparent, a property beloved by watercolorists!

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

27 DANIEL SMITH Luminscent Watercolors

 LUMINESCENT SERIES
Why Luminescent Watercolors?
Nature has optical surprises in the colors that you see in birds’ feathers, insects, fish, and seashells,
many flowers also have a pearly, dewy sheen to them. Consider the iridescence of a snail’s trail
or a silvery spider’s web. Other things that also have a sparkle, or glow depending on the light, a
silvery or golden moon, clouds aglow at sunset, rainbows, the sparkle of snow and ice, and glint of
water reflections. DANIEL SMITH Luminescent watercolors, unlike anything ever seen in watercolor,
simulate the luster of a bird’s feather, the iridescence a butterfly or insect, the luminous quality
of flowers and leaves. Don’t forget the sheen of metals like pewter, copper, silver, and gold. There
are also mythic subjects that are often thought of as having a special iridescence to them such as
fairies, dragons, mermaids and other fantasy figures. DANIEL SMITH Luminescent Watercolors add
that touch of special color found in nature that regular colors cannot match. They are made from
mica pigment, thin transparent particles coated with highly reflective metal oxides. Luminescent
Watercolors show best as glazes over darker colors and are excellent mixed with other colors adding
a bit of their luminescent glow. Duochrome Watercolors, part of the DANIEL SMITH Luminescent
Watercolors collection, alternate between two distinct colors depending on the reflective light.
Interference Watercolors, part of the DANIEL SMITH Luminescent Watercolors collection, refract
light, causing light to scatter. Iridescent watercolors, part of the DANIEL SMITH Luminescent
Watercolors collection, reflect light, causing it to scatter, and their transparent quality adds a
Extra Fine™ Watercolor Stories

fascinating sense of depth to your work. All the DANIEL SMITH Luminous watercolors mix well with
other colors and lend their luminosity in proportion to the mix. Mixing our Luminous watercolors
with other colors is an ideal way to use them!

Duochrome Adobe
Duochrome Adobe shifts between saturated copper and a brilliant red metallic.

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

Duochrome Arctic Fire

Duochrome Arctic Fire shows its colors best over black paper or darker watercolor; it shifts from
reflective green to violet.

Duochrome Autumn Mystery

Duochrome Autumn Mystery is an earthy russet that shifts to a vibrant copper metallic.

Duochrome Blue Pearl

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

Duochrome Cabo Blue

Duochrome Cabo Blue adds a third reflective color shifting from blue to metallic gold, then finishing
with a shimmering metallic blue.

Duochrome Cactus Flower

Duochrome Cactus Flower shifts between an earthy sienna and a sparkling metallic violet.

Duochrome Desert Bronze

Duochrome Desert Bronze shifts between an earthy terra cotta and a brilliant metallic jade.

Duochrome Emerald
Our Duochrome Emerald is the slightly reflective green of tender new shoots or buds in the Spring.
Many living things have a slightly luminous quality to them that cannot quite be painted in regular
watercolors. Duochrome Emerald shifts between two different shades of green—a lovely emerald
and a very slightly reflective green- gold.

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 Duochrome Green Pearl
Duochrome Green Pearl shifts between shimmering sea green and reflective metallic silver.

Duochrome Hibiscus
Duochrome Hibiscus shifts between red violet and a shimmering iridescent blue violet.

Duochrome Lapis Sunlight

Duochrome Lapis Sunlight shows its colors best over black paper or darker watercolor; it shifts from
reflective green to blue.

Duochrome Mauve
Duochrome Mauve shifts between pale pinkish-purple and brilliant sparkling sapphire.

Duochrome Oceanic
Duochrome Oceanic shifts between a subtle green gold and a brilliant metallic gold sparkle.

Duochrome Saguaro Green

Extra Fine™ Watercolor Stories

Duochrome Saguaro Green shifts between rich copper and brilliant metallic green-gold.

Duochrome Tropic Sunrise

Duochrome Tropic Sunrise shows its colors best over black paper or darker watercolor; it shifts from
reflective green to red.

Duochrome Turquoise
Duochrome Turquoise shifts between a vibrant Caribbean blue and a sparkling sea green.

Duochrome Violet Fantasy

Duochrome Violet Fantasy shows its colors best over black paper or darker watercolor; it shifts from
reflective violet to green.

Duochrome Violet Pearl

Duochrome Violet Pearl shifts between shimmering soft lavender and reflective cool silver.

Interference Blue
Interference Blue is a transparent and glimmering cool blue when glazed over dark colors or
painted directly onto black paper, and when painted on white paper, Interference pigments display
a subtle sheen.

Interference Copper
Interference Copper is a transparent and sparkling soft copper when glazed over dark colors or
painted directly onto black paper, and when painted on white paper, Interference pigments display
a subtle sheen.

Interference Gold
Interference Gold is a twinkling and transparent warm gold when glazed over dark colors or
painted directly onto black paper, and when painted on white paper, Interference pigments display
a subtle sheen.

Interference Green
Interference Green is a glimmering and transparent emerald when glazed over dark colors or
painted directly onto black paper, and when painted on white paper, Interference pigments display
a subtle sheen.

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 Interference Lilac
Interference Lilac glows with a transparent shine of violet when glazed over dark colors or painted
directly onto black paper, and when painted on white paper, Interference pigments display a
subtle sheen.

Interference Red
Interference Red sparkles with a light red shimmer when glazed over dark colors or painted directly
onto black paper, and when painted on white paper, Interference pigments display a subtle sheen.

Interference Silver
Interference Silver shines with an icy veil of transparent silver when glazed over dark colors or
painted directly onto black paper, and when painted on white paper, Interference pigments display
a subtle sheen.

Iridescent Antique Bronze

Iridescent Antique Bronze is among the darkest luminescent colors with its’ warm metallic
bronze sheen.

Iridescent Antique Copper

Extra Fine™ Watercolor Stories

Iridescent Antique Copper is a burnished cinnamon tone with a dark, saturated quality.

Iridescent Antique Gold

Iridescent Antique Gold has a deep shine without the bright, brassy quality found in some metallic
gold watercolors.

Iridescent Antique Silver

Iridescent Antique Silver is a pewter shade that is deeper in tone than other metallic silver watercolors.

Iridescent Aztec Gold

Iridescent Aztec Gold is a warm, reddish shade midway between traditional copper and gold hues.

Iridescent Blue Silver

Iridescent Blue Silver is a rich metallic steel tone.

Iridescent Bronze
Iridescent Bronze is highly reflective with a warm bronze sheen.

Iridescent Copper
Iridescent Copper is the bright and reflective color of a newly minted penny.

Iridescent Electric Blue

Iridescent Electric Blue is our most bright, vibrant Luminescent - it is the color of sun striking the
blue tones of peacock feathers.

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

Iridescent Gold
Iridescent Gold is the quintessential gold shade – bright, reflective and regal.

Iridescent Goldstone
Iridescent Goldstone is a rich gold with a slight reddish undertone.
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 Iridescent Jade
Iridescent Jade is a shimmering soft green with a golden metallic surface.

Iridescent Moonstone
Iridescent Moonstone reflects in shades white and deep silver—a perfect choice for fish scales or
moonlit water. Iridescent Moonstone shows up as a silvery-gray on white, but when applied over
black becomes a glowing silver-white - like the reflection of the moon on a night-darkened sea.

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

Iridescent Russet
Iridescent Russet is a highly saturated burnt bronze with remarkable granulating qualities.
Iridescent colors reflect light and their semi-transparent quality adds a fascinating sense of depth to
your work.

Iridescent Sapphire
Extra Fine™ Watercolor Stories

Iridescent Sapphire is a shadowy neutral from one angle that bursts into a brilliant metallic violet
when the light hits it from another.

Iridescent Scarab Red

Iridescent Scarab Red is a complex burgundy with a delicate surface sparkle of blue-green pigment.

Iridescent Sunstone
Iridescent Sunstone is a soft metallic pink with a glimmering gold surface.

Iridescent Topaz
Iridescent Topaz is a pale yellow-gold with just the slightest hint of a green undertone.

Pearlescent Shimmer
Pearlescent colors give white paper a pearl-like luster. Use Pearlescent Shimmer as a glaze for a
snow-like glimmer or mix with other colors to add sparkle and shine.

Pearlescent White
Pearlescent colors give white paper a pearl-like luster. Use Pearlescent White as a slightly opaque
glimmering glaze or combine with other colors to create sparkling pastel tones

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