Daniel Smith Watercolour Paints

Share Alvaro’s palette with this unique collection of 10 colours! The set consists of 5ml tubes of Ultramarine Blue, Cobalt Blue, Yellow Ochre, Hansa Yellow Deep, Pyrrol Red, Deep Scarlet, Mayan Orange, Viridian and Neutral Tint - plus Burnt Sienna Light, a colour created especially for Alvaro by Daniel Smith and only available in this set.

"DANIEL SMITH colors offer deep chromatic intensity, the colours are luminous, have good sedimentary trait, great for creating paintings that make an expressionistic, gutsy statement!… They suit my passion to the ‘T’!"

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A beautiful bluish-red pigment from the transparent 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 colours resembling everything from Burnt Sienna and Umber to Payne's Gray, while Alizarin Crimson with French Ultramarine creates an intense purple.

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“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 colour is also perfect to add dramatic highlights and shadows.”

Alvaro’s Caliente Grey, a smooth, warm velvety grey on its own, mixes wonderfully with other colours toning them down and adding warmth

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“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 Grey is a cool midnight in mass tone and a cooling mist in washes, it mixes well with other colours, toning them down and adding a touch of coolness

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The transparent non-staining properties of this cool yellow can effectively warm darker hues without affecting their transparency. Landscape artists rely on Aureolin to successfully glaze their watercolours. 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.

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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.

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This rich dark brown earth pigment is popular with artists due to its semi-transparent 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.

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We’ve done it! Safe, Vibrant Cadmium Hue Watercolours! Our new formulas provide all the density and richness of classic cadmium colours. Our hues are virtually identical in colour 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 colours we previously offered. Cadmium Red Medium Hue - A true stop sign red, an essential colour for any palette.

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We've done it! Safe, Vibrant Cadmium Hue Watercolors! Our new formulas provide all the density and richness of classic cadmium colours. Our hues are virtually identical in colour 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 colours we previously offered. Cadmium Red Scarlet Hue - A festive, versatile red with an orange cast.

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We've done it! Safe, Vibrant Cadmium Hue Watercolours! Our new formulas provide all the density and richness of classic cadmium colours. Our hues are virtually identical in colour 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 colours we previously offered. Cadmium Yellow Deep Hue - A rich, warm yellow with a golden glow.

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Cadmium Yellow Medium Hue is a rich, bright and intense alternative to Cadmium Yellow. Using a blend of pigments, our chemist has duplicated the brilliance and opacity of Cadmium Yellow with unsurpassed opacity, colour strength, durability and lightfastness. It disperses beautifully in water for smooth, rich washes.

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This slightly granular blue-violet is an intense, vibrant colour with high-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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Equal in staining capacity to Alizarin Crimson, but vastly superior in permanence, Carmine is also redder. This transparent 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.

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A superb mixing colour. 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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This neutral, non-staining primary blue will subtly modify most pigments. Considered a "mixing pigment", its transparent nature can cast a giant reticulating shadow. An inorganic pigment, it is considered non-staining (and 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 watercolour palettes

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A brilliant purple with remarkable blue undertones and a granulating texture. Try mixing this bold colour with Prussian Green for surprisingly soft blue hues. At full strength, Cobalt Blue Violet is dark enough for deep twilight shadows. Mix with water and a range of tones are revealed. A graceful addition to the watercolourists' palette, this is the perfect purple for dynamic floral painting.

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An extraordinary pastel grayed turquoise. Use this pigment to attain bright, transparent shadows. Also use it to render the desired patina on the copper pot. An inorganic pigment, it is considered transparent and non-staining (and low-tinting) and ideal for glazing methods. Cobalt Teal Blue softens edges, lifts and mixes readily, making it a valuable contribution to the watercolour palette.

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A predictable 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 its slight granulation you can use Cobalt Turquoise to achieve multi-layers and tone on tone effects to delight and surprise with each addition or stroke.

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At long last there exists a deep reddish-brown that reacts wonderfully to salt! The pigment qualities of Deep Scarlet produce natural texture and invite applied texture techniques.

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Daniel Smith LUMINESCENT watercolours can be used alone or mixed into standard colours to create subtle effects of light and colour. Duochrome colours like Duochrome Blue Pearl reflect light and provide a fascinating sense of depth, along with a distinctive sheen and colour that changes with the angles of reflection and observation.

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Southwest Duochrome Colours - Capture the vast spectrum of changing light and colours found in the buttes, canyons and deserts of the Southwest. Here is the pure verdigris green Duochrome Desert Bronze. Intermixed with other colours or used on its own, it'll bring the excitement of a mountain road trip to your paintings.

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Daniel Smith LUMINESCENT watercolours can be used alone or mixed into standard colours to create subtle effects of light and colour. Duochrome colours like Duochrome Violet Pearl, reflect light and provide a fascinating sense of depth, along with a distinctive sheen and colour that changes with the angles of reflection and observation.

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Extremely lightfast and non-staining French Ochre is a delightfully warm colour 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 watercolour when your painting requires subtle highlights.

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This medium-to-dark warm reddish-blue is highly lightfast and of medium tinting strength. Its sedimentary quality increases its versatility. Mixed with various proportions of other blues, French Ultramarine is a wonderful sky pigment. Modify it with Quinacridone Gold for delightful greens that remain colour-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.

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

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Kissed with a touch of orange, this is a pure chroma colour from a high-tinting, semi-transparent organic pigment. Hansa Yellow Deep is considered the 'perfect yellow', a fact which provides 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.

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Cleaner, more transparent and brighter in chroma than Cadmium Yellow Light, this is a high-tinting, semi-transparent organic pigment. Hansa Yellow Light 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.

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This organic Vat pigment is a super-staining primary blue. Warmer than most blues, Indanthrone Blue 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 colour perspective.

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Our LUMINESCENT watercolours, unlike anything ever seen in watercolour, simulate the glitter of a watery surface or the lustre of mother-of-pearl. They're made from mica pigment, thin transparent particles coated with highly reflective metal oxides. When applied, they create a sense of depth and a sheen that changes with the angle of reflection and observation, sometimes reflecting their complementary colours. The Iridescent colours, like Iridescent Goldstone, reflect light, have stronger colour and are semi-transparent.

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“…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

Joseph Z’s Cool Grey is very dark in mass tone with interesting, slightly green/violet tones, it mixes wonderfully with other colours toning them down and add a bit of lush coolness.

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“…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.”

Joseph Z’s Neutral Grey is a rich black/grey, very dark in mass tone and because it has almost no color bias it mixes beautifully to tone down colours.

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Developed by Joseph Zbukvic, he describes it 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.”

Joseph Z’s Warm Grey is very dark in mass tone with the slightest pink undertone in light washes, it mixes beautifully with other colours, both toning down and adding a hint of warmth.

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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 colour 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.

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This cool turquoise blue is ideal for creating form or indicating space. It is a medium-staining semi opaque pigment with wonderful granulating properties. A good substitute for Cerulean Blue, Manganese Blue Hue offers an additional advantage: it mixes well with other non-staining semi opaques to create a mottled texture in underlying colours. 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 colour we adore-Manganese Blue Hue.

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Mayan Orange is hot and intense. Use it straight from the tube for a blazing red-orange. As you add water, the colour remains strong and disperses very evenly. Rich, bold colours adorned the murals and sculpture of the Mayan people. Even when exposed to centuries of severe heat and humidity, these colours 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 colours are smooth, non-granulating and semi-transparent. Their versatility, durability and exquisite hues make them colours you'll reach for again and again.

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Water frees this amazing three-pigment blend to perform miracles. Watch and wait as Anthraquinoid Red floats, Ultramarine Blue settles and Viridian greys the resulting violet colour. 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 watercolours. 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.

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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 colour. Excellent Light Fastness. Low staining and none granulating and semi transparent.

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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.

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

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Saturated and leaning toward yellow, Permanent Orange resembles Cadmium Orange and is equally lightfast, semi-transparent and low staining. It's a truly "sunkist" pigment.

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If you want to add atmospheric or emotional punch to your work, then squeeze some semi-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 colour 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 colours, takes to synthetic and natural DANIEL SMITH watercolour brushes, and works well on all supports-"a very cool colour," allowed one of our more pernickety artist/testers.

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Perylene Red is medium staining and semi-transparent. It creates vivid, dark washes with a clean brilliant orange hue. 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.

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For cool, clean staining shadows and reflected light on windows. Super staining, super transparent Phthalo Blue (Green Shade) is a popular pure chroma organic pigment. Mix with Hansa Yellow for luminous greens.

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This DANIEL SMITH exclusive is a favourite 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 floral. Use Phthalo Turquoise alongside purples, or to paint a lake in summer.

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

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

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Add Quinacridone Burnt Orange to French Ultramarine sky washes to gray the blue mix and render a full value scale. Use Quinacridone Burnt Orange to modify Sap Green in landscapes to achieve rich, mossy greens which coordinate land with sky. Highly durable and extremely transparent, all the Quinacridone colours excel in vivid clarity and intensity.

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Everyone's favourite, Quinacridone Gold replaces Raw Sienna and adds versatility with its glazing and mixing capabilities. It is an excellent low-staining golden yellow pigment which can enhance any mixture. Try glazing an old "failure" with Quinacridone Gold to begin a rescue operation. Highly durable and extremely transparent, all the Quinacridone colours excel in vivid clarity and intensity.

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This deep red violet disperses evenly with slight granulation and moves from deep darks to clear, glowing washes.Like all Quinacridones, it is an extremely lightfast organic pigment. In terms of complementary couples, Quinacridone Magenta works especially well with yellow greens. Highly durable and extremely transparent, all the Quinacridone colours excel in vivid clarity and intensity.

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This familiar rich dark brown earth pigment is semi-transparent, with medium tinting strength. An extremely permanent inorganic colour, Raw Umber mixes well with sedimentary Cobalt Blue or Cobalt Violet for granular middle-value greys which evoke mood, lend depth of field and create form or spaces.

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Low staining and lightfast, this 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 ploughed fields and farm subjects. Fence posts are fun to paint, as are bulrushes. Try each wet into wet.

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Create pastel shades with a creamy, semi-opaque finish by mixing Titanium White with your favourite watercolour pigments. Although not opaque enough for full coverage, this watercolour can be used straight from the tube to add highlights or as a light wash over other colours for a soft veil of light tone. Excellent lightfastness and a smooth finish are hallmarks of this useful pigment.

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This highly transparent burnt orange loves to mingle with 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 Transparent Red Oxide over French Ochre for a warm fireside glow or layer it over itself for a rich and glowing red ochre which has no equal.

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Ultramarine Blue plots cooler and bluer than the more saturated French Ultramarine. Temperature aside, both blues have equal permanence, light fastness and semi-transparency. Ultramarine Blue is slightly less granular in concentrated washes. For less saturation, sedimentation and cost, use Ultramarine Blue straight, for vibrant crayon-like colour or mixed with a cool red for dark, effective neutrals.

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An artisan's favourite, 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, Undersea Green will remind you of warm sea kelp. Apply with Moonglow, Ultramarines and Quinacridone mixtures to colour-coordinate and lend atmosphere to various passages. Undersea Green is beautiful touched damp or dry brushed with Interference Gold. Use Undersea Green in autumn leaf paintings.

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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 colour of cornflowers and create surprising effects in a wash. Dilute it to the palest baby blue. Enjoy every nuance of this wonderful new semi-transparent watercolour.

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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 floral work. It is the secret hidden ingredient in Moonglow. Viridian can quickly modify reds, but in combination with the Quinacridones, its versatility has multiplied.

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While its mixing uses are limited, Yellow Ochre works well with 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. Yellow Ochres tend to be opaque or whitened in other brands - DANIEL SMITH Yellow Ochre is the best!

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