Daniel Smith Extra Fine Watercolour Sticks

Sap Green

DANIEL SMITH’s Sap Green is a top-quality hue that combines the vibrancy we desire with the permanence we need. Its non-fugitive formula
yields a rich, forest-shadow green that blends seamlessly with French Ultramarine, and produces mossy, golden, or brownish greens when mixed with Burnt Sienna, Quinacridone Sienna, or Burnt Orange. Sap Green meshes well with most pigments and tends to leave a stained residue when lifted. When combined with French Ultramarine or Quinacridone mixtures, use a squeegee or knife to reveal the Sap Green stain and create blades of shiny spring grass within
darker or mossy areas.

• PO 48, PY 150, PG 7 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Granulating
• Staining: 3-Medium Staining

Quinacridone Coral

This striking Quinacridone hue delights both painter and viewer with its vivid redness accented by pink and orange. Known for its
durability and exceptional transparency, all DANIEL SMITH Quinacridone colours stand out for their bright clarity and intense pigmentation.

• PR 209 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 2-Low Staining

French Ultramarine

This medium-to-dark, warm reddish-blue pigment is highly lightfast and has moderate tinting strength. Its sedimentary nature enhances
its versatility. When combined with other blues in various proportions, French Ultramarine makes an excellent sky colour. Add Quinacridone Gold to create beautiful greens that stay coordinated in hue. By mixing French Ultramarine with Quinacridone Burnt Orange, you can produce a broad spectrum of blue-to-brown grays. Combining it with Quinacridone Rose or Pink yields a variety of purples. For additional colour mixes, refer to Hooker’s Green and Sap Green.

• PB 29 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Granulating
• Staining: 3-Medium Staining

Burnt Umber

This deep, dark brown earth pigment is favoured by artists for its semi-opaque to opaque nature. It is lightfast, low-staining, and easy to lift, allowing for value adjustments in dark areas. Warm Burnt Umber can be mixed with a small amount of Alizarin Crimson, or cooled with blue, depending
on your subject.

• PBr 7 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: 2-Low Staining

Quinacridone Burnt Orange

Add French Ultramarine to produce dramatic sky washes with a gray-blue hue, capturing the full value scale. Use Quinacridone Burnt Orange to
adjust Sap Green in landscapes, resulting in lush, mossy greens that blend well with the land and sky. These Quinacridone colours are highly durable and transparent, offering vivid clarity and intensity. DANIEL SMITH Quinacridone Burnt Orange is a striking, smouldering orange/sienna shade. Incorporate it with French Ultramarine for dramatic sky effects, and use it to modify Sap
Green to create rich, mossy greens in landscapes that harmonize with the surroundings. Known for durability and transparency, Quinacridone colours stand out in vividness and intensity.

• PO 48 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Granulating
• Staining: 2-Low Staining

Hansa Yellow Medium

Hansa Yellow Medium is a vibrant, organic pigment often called the ‘perfect yellow’ because it offers greater control in mixing. Painters value its purity as a primary colour and can modify its warmth without introducing unwanted gray from a hidden complementary hue. Picture a yellow
pepper when thinking of its hue.

• PY 97 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Non-Granulating
• Staining: 2-Low Staining

Phthalo Green (Blue Shade)

Phthalo Green Blue Shade is a black-green hue. When diluted, it becomes a transparent, highly staining green. Organic and completely lightfast, this colour is essential for many artists. Its slightly bluish tone can be easily adjusted with yellows and reds. It produces luminous, vibrant darks or clear glazes.

• PG 7 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 4-High Staining

Cobalt Blue (PB28)

This rich earth pigment, ranging from transparent to semi-transparent, is a classic choice for many landscape painters. Burnt Sienna mixes seamlessly with other colours without diminishing their vibrancy or transparency. Later layers or glazes won't stain or muddy the underlying pigments.

• PB 28 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: 2-Low Staining

Burnt Sienna

This rich earth pigment, ranging from transparent to semi-transparent, is a classic choice for landscape artists. Burnt Sienna combines well with other colours without diminishing in brightness or clarity. Additional layers or glazes do not muddy or stain underlying pigments.

• PBr 7 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: 1-Non-Staining

Permanent Alizarin Crimson

Permanent Alizarin Crimson combines pigment blends to offer an exceptionally durable red that retains the authentic Alizarin Crimson look and versatility. Similar to traditional Alizarin, it is vibrant, moderately staining, and highly transparent, with the key benefit of long-lasting colour. Whether you apply it boldly or as a subtle wash, we're confident you'll appreciate this stunning shade.

• PR 177, PV 19, PR 149 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 3-Medium Staining

New Gamboge

DANIEL SMITH New Gamboge stands out as a highly lightfast option compared to other brands. It is a transparent organic pigment located in the yellow to orange range of the colour wheel. It stains more than Yellow Ochre and has a similar tinting strength to Raw Sienna. This makes it an
excellent substitute when transparency and non-granulation are needed, helping to prevent thick, muddy areas.

• PY 97, PY 110 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 2-Low Staining

Quinacridone Gold

Everyone's favourite, Quinacridone Gold, replaces Raw Sienna and offers greater versatility through glazing and mixing. It is a superb, low-staining, golden-yellow pigment that can enrich any blend. Very durable and highly transparent, all DANIEL SMITH Quinacridone colours stand out for their vivid clarity and intensity.

• PO 48, PY 150 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Granulating
• Staining: 2-Low Staining

Lunar Black

Imagine a transparent black with a broad value range and pigment particles that resemble magnetic shavings, attracting or repelling each
other. These unique qualities make Lunar Black a highly reticulating colour. When dry, a Lunar Black wash appears like a marbled moonscape, producing a mottled, stony texture that can be glazed effectively. You can also softly paint into wet or damp Lunar Black, blending watery pigment with your favourite shades. As an inorganic, neutral black watercolour pigment exclusive to Daniel Smith, Lunar Black is akin to Black Magic—transforming your perception of
black.

• PBk11 | Series: Stick
• ASTM Lightfastness Rating: Excellent
• Transparency: Transparent
• Granulating: Yes
• Staining: Low

Quinacridone Violet

Quin Violet is a rich, deep reddish violet that disperses evenly with slight granulation, transitioning smoothly from dark shades to bright, glowing washes. Like all Quinacridones, it is highly lightfast as an organic pigment. When mixing with complementary colours, Quinacridone Violet pairs best with a cleaner primary green. Known for durability and transparency, all DANIEL SMITH Quinacridone colours provide vivid clarity and intense colour.

• PV 19 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 4-High Staining

Quinacridone Burnt Scarlet

This dark red-brown hue, slightly sedimentary-rich, can lighten, brighten, and remove mud browns from your paintings. Pair with Quinacridone Coral for branch and blossom scenes. Discover the range of red shades! Known for its high durability and exceptional transparency, DANIEL SMITH Quinacridone colours deliver vivid clarity and intense colour.

• PR 206 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 2-Low Staining

Undersea Green

This favourite among artists is an exciting green that ranges from medium to high in staining. It combines French Ultramarine, which granulates and settles, with Quinacridone Gold, which appears transparent and organic, creating a golden halo. When concentrated, it evokes warm sea kelp. Use it alongside Moonglow, Ultramarines, and Quinacridone mixes to coordinate colours and add atmosphere to different passages. Undersea Green is beautifully
enhanced with a damp or dry brush of Interference Gold. It works wonderfully for autumn leaf paintings.

• PB 29, PO 48, PY 150 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: 3-Medium Staining

Phthalo Blue (Green Shade)

For vivid staining shadows and reflected light on windows, pure-chroma Phthalo Blue, a popular organic pigment, is ideal. Mix it with Hansa Yellow to create luminous greens.

• PB 15 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 4-High Staining

Yellow Ochre

Although its mixing capabilities are somewhat limited, Yellow Ochre pairs well with transparent pigments. For example, blend medium-tinting, transparent Yellow Ochre with equally transparent Viridian. It also reacts beautifully with Cerulean Blue when splattered into damp paint,
producing a somewhat neutral tone. In many brands, Yellow Ochres tend to be opaque or whitened, but Daniel Smith's Yellow Ochre remains transparent—a quality highly valued by watercolourists.

• PY 43 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Granulating
• Staining: 1-Non-Staining

Aureolin (Cobalt Yellow)

The transparent, non-staining qualities of these cool yellows effectively warm darker shades while maintaining their transparency. Landscape
artists frequently use Aureolin to glaze watercolours or as a light wash in underpainting to evoke sunshine. Its high quality and ability to lift and soften edges make Aureolin particularly valuable to portrait and floral painters.

• PY 40 | Series: Stick
• Lightfastness: II – Very Good
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 1-Non-Staining

Quinacridone Red

A genuine, pure medium-staining red. Mix Naples Yellow with Quinacridone Red for a peach hue, or use dry brushstrokes on apples. All DANIEL SMITH Quinacridone colours are highly durable, very transparent, and known for their vivid clarity and intensity.

• PV 19 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 3-Medium Staining

Carbazole Violet

This slightly granular blue-violet is a vivid, intense colour with moderate staining. Applying a stroke of concentrated Carbazole Violet onto dry paper shifts the pigment from black-violet to a clear purple, allowing each stroke to resemble an iris petal. Combine Indigo with Carbazole Violet and add Quinacridone Rose or Anthraquinone Red. Use blotting, squeegeeing, and incising on damp areas to form veins, varied textures, and
highlights.

• PV 23(RS) | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Non-Granulating
• Staining: 3 Medium Staining

Cerulean Blue Chromium

This inorganic sky-blue pigment is beautiful on its own, especially when mixed with a transparent pigment. It has a granular, medium-light tone, is highly permanent, and very low in staining. Cerulean Blue produces interesting granulation and settling washes. Adding a drop of Cerulean
Blue to a damp wash, as with Burnt Sienna, creates a halo effect around the denser colour—particularly effective when combined with Quinacridone Gold or Quinacridone Burnt Orange in the underpainting. This technique works well for depicting lichen and Spanish Moss. Enhancing with Buff Titanium, Undersea Green, and touches of Lunar Black—each exclusive to DANIEL SMITH—kicks the creative process into high gear! Use Cerulean as a mixer for misty landscapes or to achieve a dusky tone on eggplant, grapes, and plums.

• PB 36 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: 2-Low Staining

Quinacridone Sienna

The ultimate low-staining glazing pigment, finer than any Burnt Sienna. For traditional and purist watercolour artists, Quinacridone Sienna is positioned between yellow and red, leaning towards orange on the colour spectrum. Its placement makes Quinacridone Sienna a complement-free pigment, easy to modify without creating an unintended gray tone. It performs exceptionally well over damp underpaintings, especially when layered with rich
pigments like Indigo or Payne’s Gray. The tiny, transparent Quinacridone particles gather and fade, forming pools surrounded by pre-mixed grays. Durable and highly transparent, all DANIEL SMITH Quinacridone colours are celebrated for their vivid clarity and intensity.

• PO 48, PY 150, PR 209 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Granulating
• Staining: 2-Low Staining

Raw Sienna

Used since prehistoric times, this inorganic earth pigment is highly durable, with low intensity but medium-high tinting strength. Achieve a balanced look by combining the transparent qualities of Quinacridone Gold, Burnt Orange, and Burnt Scarlet with the earthy tone of Raw Sienna. For
interesting textures, apply a moist Raw Sienna wash and lightly touch or splatter it with Lunar Earth or Lunar Black to create distinctive effects.

• PBr 7 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: 2-Low Staining

Nickel Azo Yellow

Use this colour when transparency and staining effects are needed. You can try it alongside Nickel Titanate Yellow or Naples Yellow, or instead of them. Nickel Azo Yellow, at full strength, resembles Yellow Ochre and, when diluted in washes, produces a vivid, luminous yellow. This transparent yellow is ideal for depicting Autumn leaves, from the muted, ochre-toned older leaves to the bright yellow of sunlit foliage against the rich blue Autumn sky!

• PY 150 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 2-Low Staining

Phthalo Green (Yellow Shade)

Phthalo Green Yellow Shade is a bottle green that remains transparent and highly staining, from concentrated to diluted. It is organic, completely lightfast, and essential for many artists. The slightly bluish Phthalo Green BS can easily be adjusted with yellows and reds. Meanwhile,
Phthalo Green YS is a warmer, basic green. Both hues produce vibrant, effective darks or clear glazes.

• PG 36 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 4-High Staining

Buff Titanium

Apply a splash or drop of Buff Titanium into a wet wash to see the pigment move. This technique is especially useful for creating clouds in the sky. Unique to DANIEL SMITH, Buff Titanium resembles sandstone or antique lace, mimicking the porous texture of an eggshell. It serves as a
versatile neutral with semi-transparent to opaque qualities and non-staining features. Mix Buff Titanium with Quinacridone Rose or Perinone Orange to create gentle hues and matte textures, perfect for delicate flower petals. Combine it
with Indigo or Van Dyke Brown to produce slate-colored shadows and soft feather effects. Use as a glaze over a dried landscape to evoke a misty, atmospheric ambiance.

• PW 6:1 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: 1-Non-Staining

Rich Green Gold

This warm mossy green pairs beautifully with earth pigments and Quinacridones. It's richer and warmer than Green Gold, offering a bright, inviting glow. Use it to depict fruits, vegetables, leaves, and landscapes, substituting Rich Green Gold in your usual green mixtures. It is low-staining and lightfast, easily lifting from both concentrated and diluted washes, whether damp or dry. For a special effect, try applying it as a glaze.

• PY 129 | Series: Stick
• Lightfastness: I – Excellent
• Transparency:
  Semi-Transparent
• Granulation:
  Non-Granulating
• Staining: 2-Low Staining

Lamp Black

Opaque and cool, this is the deepest black you can find. It originates from a sooty residue of burned mineral oil and tar. Combining Lamp Black with Burnt Sienna can introduce a subtle warmth to your artwork. Imagine classic black velvet. It’s ideal for darkening transparent pigments.

• PBk 6 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Opaque
• Granulation: Non-Granulating
• Staining: 4-High Staining

Titanium White

Mixing Titanium White with your favourite watercolours produces soft pastel shades with a creamy, semi-opaque finish, making highlights and light washes easier for your artistic effects. You can create pastel tones with a creamy, semi-opaque or semi-transparent look by combining
Titanium White with your preferred watercolour pigments. While not completely opaque for full coverage, this pigment can be used directly from the tube to add highlights or as a light wash over other colours, creating a gentle veil of light tone. Known for excellent lightfastness and a smooth finish, it's a versatile choice for artists.

• PW 6 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Non-Granulating
• Staining: 1-Non-Staining

Graphite Gray

Discovering this colour uncovers unexpected pigment qualities beyond its seeming opacity. Graphite Gray disperses efficiently and swiftly in water, making it ideal for floating onto water surfaces or into wet washes. For an interesting technique, apply a dry brush stroke and quickly
follow with a wet stroke to spread the pigment, creating a dry-brush texture. This method works well on aged or weathered wood, fence posts, and old buildings. Try this: overlay a value sketch with a light glaze. Since graphite pencil is completely suitable for watercolour, using a synthetic graphite pigment like Graphite Gray feels quite natural.

• PBk 10 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Opaque
• Granulation: Non-Granulating
• Staining: 2-Low Staining

Cobalt Teal Blue

Stunning turquoise blue is ideal for painting skies and seas, perfect for sunny Mediterranean and tropical scenes. Mixing this pigment helps produce vibrant shadows and a beautiful patina on copper objects. As an inorganic pigment, it is semi-transparent, low-tinting, and great for glazing techniques. Cobalt Teal Blue's ability to create soft edges, lift, and blend easily makes it a valuable addition to the watercolour palette. This deep orange, also known as Scarlet Lake or Rose Carthame, is semi-transparent and low-staining. While oranges are typically tricky to work with, this one is easier to handle and a better choice than Cadmium Orange.

• PG 50 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: 1-Non-Staining

Moonglow

Water allows this superb three-pigment blend to reveal its full potential. Observe as Anthraquinoid Red appears to float, Ultramarine Blue settles, and Viridian mutes the violet hue that forms. Lightly blot and lift a surface wash to reveal subtle blue-greens beneath. Describing these
light-and-dark washes can never fully capture the personal experience! Use Moonglow in shadow areas and as a silhouette pigment, and enjoy how it reacts to salt in background washes. Its neutral tinting makes it compatible with
nearly all Daniel Smith watercolours. Consider adding Luminescent Interference pigments into moist, damp, or dry areas of Moonglow. Pair it with Undersea Green as a complementary pigment. Also, try a Moonglow sky with long shadows in sunset snow scenes.

• PG 18, PB 29, PR 177 | Series: Stick
• ASTM Lightfastness Rating: 1 Excellent
• Transparency: Transparent
• Granulating: Granulating
• Staining: Low

Sodalite Genuine

Sodalite, known for its striking deep blue hue, is a rare mineral that forms part of Lapis Lazuli. DANIEL SMITH Sodalite is the highest quality, exhibiting the most intense blue, sourced from Greenland and the slopes of Italy’s Mt. Vesuvius. When used in watercolour, its inky colour granulates as it dries, forming a textured blue-black surface layered over a smooth blue-gray base. It is low-staining, lightfast, and semi-transparent, giving it a three-dimensional appearance as it dries.

• N/A | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: 2-Low Staining

Serpentine Genuine

Discover a stunning Serpentine pigment from Australia. This green serpentine, a type of Stichtite, is a soft stone historically used across
cultures for carving protective amulets. The latest PrimaTek paint features a unique, semi-transparent green that creates a beautiful granulation effect with hints of burnt scarlet. It offers an unparalleled addition to your landscape
and floral colour palettes.

• N/A | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: 1-Non-Staining

Piemontite Genuine

Piemontite Genuine, sourced from scarlet streaked mineral deposits in Italy's hills, is a rich and adaptable PrimaTek® watercolour. Its deepest tone is a deep amethyst, which, when thinned with water, creates beautiful violet-brown granulation with a hint of carmine. It is ideal for enhancing shadows or capturing the textured surfaces of autumn leaves.

• N/A | Series: Stick
• ASTM Lightfastness Rating: Excellent
• Transparency: Semi-transparent
• Granulating: Granulating
• Staining: Low

Hematite Genuine

Hematite is a dense, silvery-black mineral rich in iron. In thick applications, its heavier particles settle, producing distinct granulation; in thinner layers, it shows as a soft dove gray. Hematite
harmonizes with other colours, adding granulation and slightly toning down the hue. You can use Hematite Genuine to sketch branches of varying thicknesses in a single stroke, with natural granulation that resembles bark texture. Traditionally called Bloodstone, Hematite evokes images of ancient warriors
coating themselves with it, believing it provided protection. Folklore claims large Hematite deposits mark battle sites where fallen soldiers' blood seeped into the ground.

• N/A | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: 2-Low Staining

Ultramarine Blue

Ultramarine Blue appears cooler and bluer than the more saturated French Ultramarine. Aside from temperature differences, both colours share similar permanence, lightfastness, and transparency. Ultramarine Blue is marginally less granular in concentrated washes. For softer saturation, sedimentation, and cost efficiency, use Ultramarine Blue directly to achieve a
vivid, crayon-like hue or combine it with a cool red to create dark, effective neutrals.

• PB 29 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Granulating
• Staining: 3-Medium Staining

Alizarin Crimson

Alizarin Crimson is the oldest synthetic deep red-crimson pigment. It is a lake pigment that, when applied in strength and kept out of direct sunlight, will last for many decades. Alizarin is a treat to paint with; the sheer joy of its depth and uniqueness is invigorating. A beautiful bluish-red pigment from the staining family, Alizarin Crimson, is included in the basic palettes of most 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), French Ultramarine, and Alizarin yields a surprising range of colours, resembling everything from Burnt Sienna and Umber to Payne’s Gray. At the same time, Alizarin Crimson with French Ultramarine creates an intense purple.

• PR 83 | Series: Stick
• Lightfastness: IV – Fugitive
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 3-Medium Staining

Imperial Purple

Discover a rich palette with this regal pigment. It's lush, highly pigmented purple granulates, showing hints of plum and ultramarine. Starting from the deepest purple, this semi-transparent, low-staining colour performs beautifully in subtle washes, from intense to pale lavender. Ideal for granting garden Irises a majestic look or capturing a gentle sunset glow, this noble hue truly reigns supreme on the palette.

• PB 29, PV 19 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: 2-Low Staining

Organic Vermilion

This deep orange, often referred to as Scarlet Lake or Rose Carthame, is low-staining. Oranges can be challenging to work with, but this one performs well and is a great alternative to Cadmium Orange.

• PR 188 | Series: Stick
• Lightfastness: II – Very Good
• Transparency: Semi-Transparent
• Granulation: Non-Granulating
• Staining: 2-Low Staining

Opera Pink

DANIEL SMITH customers have long requested the most vivid pink of all. 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.

• PR 122 | Series: Stick
• ASTM Lightfastness Rating: Fugitive
• Granulating: Yes
• Staining: Non-staining
• Transparency: Transparent

Bismuth Vanadate Yellow

This opaque yellow, which leans slightly towards green, appears solid in mass tone but lifts cleanly. It stains minimally, making it ideal for portrait mixes with dark flesh tones. Use it in concentrated or diluted form for floral and field-flower compositions. Its lemon-yellow shade pairs beautifully with purples and greens.

• PY 184 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Opaque
• Granulation: Non-Granulating
• Staining: 2-Low Staining

Indanthrone Blue

This organic Vat pigment is a primary blue that provides moderate staining. Warmer than typical blues, Indanthrone appears clear with a beautiful spectrum from blue-black to stonewashed denim. It opens up new creative opportunities for depicting Indigo skies, water, and shadows, as it
can be expertly graded for atmospheric and colour perspective. The DANIEL SMITH line also includes Anthraquinoid Red and Indian Yellow, forming a trio of transparent, staining pigments.

• PB 60 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 3-Medium Staining

Pyrrol Red

This fire engine red is cleaner than Cadmium or Permanent Red, as it is a modern synthetic organic pigment. Although similar in value to
its Perylene cousins, it disperses more uniformly and is less granular.

• PR 254 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Opaque
• Granulation: Non-Granulating
• Staining: 3 Medium Staining

Permanent Green Light

This organic pigment, known for its strong staining properties, produces a clear, vibrant mixture. The use of Phthalo Green Blue Shade and Hansa Yellow Light in this formulation ensures excellent lightfastness. For striking visual contrasts, juxtapose Permanent Green Light with Quinacridone Violet, or blend them to create an intriguing neutral gray.

• PY 3, PG 7 | Series: Stick
• Lightfastness: II – Very Good
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 2-Low Staining

Hansa Yellow Deep

Kissed with a touch of orange, this is a pure chroma colour with high-tinting, organic pigments. Hansa Yellow Deep is considered the
‘perfect yellow’, offering greater 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.

• PY 65 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Non-Granulating
• Staining: 2-Low Staining

Phthalo Blue (Red Shade)

A strong blue hue with a subtle red undertone, this popular pigment is appreciated for its intensity and affordability—just a small amount
of paint can colour an entire sky. Adding bluer provides a full spectrum of shades. To create shading and shadows, mix Phthalo Blue with Quinacridone Rose. Utilize the transparent nature of Phthalo Blue to depict containers and water
surrounding stems.

• PB 15 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 4-High Staining

Pyrrol Orange

This memorable semi-transparent orange is a smooth, vibrant, and pure shade that enriches the watercolour palette. Evoke the beauty of a
summer garden or the enchantment of a tropical sunset with this lively and adaptable colour.

• PO 73 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Granulation: Non-Granulating
• Staining: 3-Medium Staining

Hansa Yellow Light

Hansa Yellow is a vibrant, high-tinting organic pigment that is cleaner, more transparent, and brighter in chroma than Cadmium Yellow Light.
Often called the ‘perfect yellow,’ it provides greater control during mixing. Artists appreciate its purity as a primary colour and its ability to change in temperature without turning grey when combined with a complementary hue. Imagine the colour of a yellow pepper.

• PY 3 | Series: Stick
• Lightfastness: II – Very Good
• Transparency: Semi-Transparent
• Granulation: Non-Granulating
• Staining: 2-Low Staining

Phthalo Turquoise

This DANIEL SMITH exclusive is popular with artists. It transitions smoothly from a deep, dark turquoise to a delicate robin’s egg blue in a single stroke, creating a striking shift from ground level to sky in garden floral scenes. Use this pigment with purples or to depict a summer lake.

• PB 15, PG 36 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Non-Granulating
• Staining: 4-High Staining

Lavender

DANIEL SMITH Lavender is a stunning periwinkle blue that stands apart from our other blues. Its semi-transparent lavender blue features lovely granulation and blends smoothly. Besides being perfect for floral designs, lavender also evokes shades of faded denim.

• PW6, PV15, PB29| Series: Stick
• Lightfastness: I - Excellent
• Transparency: Semi-Transparent
• Granulation: Granulating
• Staining: Low Staining

Iridescent Electric Blue

Iridescent Electric Blue is our brightest, most vibrant Luminescent – it is the colour of the sun striking the blue tones of peacock feathers.  Iridescent watercolours, part of the DANIEL SMITH Luminescent Watercolours collection, reflect light, causing it to scatter, and their transparent quality adds a fascinating sense of depth to your work.

• PW 20, PW 6 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Granulating
• Staining: 1-Non-Staining

Pearlescent White

Pearlescent colours give white paper a lustrous, pearl-like shine. Use Pearlescent White as a semi-opaque, shimmering glaze, or mix it with
other hues to achieve sparkling pastel shades. DANIEL SMITH Luminescent Watercolours introduce unique, nature-inspired colours that traditional colours can't replicate. Made from mica pigments—tiny transparent particles with
reflective metal oxide coatings—they work best as glazes over darker colours and blend well with other shades to produce a gentle, luminous glow.

• PW 20, PW 6 | Series: Stick
• Lightfastness: I – Excellent
• Transparency: Transparent
• Granulation: Granulating
• Staining: 1-Non-Staining

Neutral Tint

Create rich darks and neutrals with this unique dark-neutral pigment. When mixed with any watercolour, it produces vibrant, darker shades of that colour. As professional teaching artists, we asked DANIEL SMITH to develop a new dark watercolour pigment so both experienced artists and beginners could easily achieve beautiful, clean darks. The goal was to help students avoid
muddy darks in just one step, and this pigment is the ideal solution! DANIEL SMITH's new Neutral Tint is exactly what we've hoped for,

• PBk6, PV19, PB15 | Series: Stick
• ASTM Lightfastness: Excellent
• Staining: Low-Staining
• Granulating: No
• Transparency: Semi-Transparent

Burnt Yellow Ochre

Burnt Yellow Ochre is a rich, versatile earth tone
reminiscent of redwood, ancient pottery, or sunset-lit pueblos. Situated between yellow ochre and burnt sienna, it works well for portraiture. When applied in light, transparent washes, it produces a variety of luminous skin
tones. On cold-pressed or rough paper, it granulates and settles beautifully.

• PY 43 | Series: Stick
• ASTM Lightfastness Rating: Excellent
• Transparency: Transparent
• Granulating: Yes
• Staining: Low

Spring Green

A vibrant, transparent, bright green. Mixing two yellow pigments with one green pigment creates a semi-transparent wash with subtle granulation. You can enjoy its fresh, lively hue straight from the tube, or blend it with Pyrrol Orange or other bright oranges to create a range of natural greens and rustic oranges suitable for landscape art.

• PY 53, PG 36, PY 151 | Series: Stick
• Lightfastness: Excellent
• Transparency: Semi-Transparent
• Granulating: Non-Gratulation
• Staining: Low-Staining

Olive Green

Olive Green is a deep, warm brown-green that is semi-opaque and produces minimal staining. It adds a subtle granulation effect, creating highly realistic greens. Use it to depict lush, wet grasslands and to add depth and variety to tree lines with its natural appearance.

• PY97 PB29 PBr7 | Series: Stick
• ASTM Lightfastness Rating: 1 Excellent
• Transparency: Semi-transparent
• Granulating: Yes
• Staining: Low

Mayan Orange

Mayan Orange is vibrant and intense. Apply it directly from the tube for a fiery red-orange. Adding water keeps the colour strong and spreads evenly. The Mayan people used rich, bold colours on their murals and sculptures, which have scarcely faded despite centuries of exposure to heat and humidity. Today, these colours are recreated using ancient Mayan chemistry techniques in an eco-friendly way. They are smooth, semi-transparent, and non-granulating. Their durability, versatility, and stunning hues make them a favourite for repeated use.

• PO N/A | Series: Stick
• Lightfastness: 2 – Very Good
• Transparency: Semi-Transparent
• Granulation: Non-Granulating
• Staining: Low Staining

Prussian Blue

Float this colour 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.

• PB27 | Series: Stick
• ASTM Lightfastness Rating: Excellent
• Transparency: Transparent
• Granulating: Yes
• Staining: Medium

Ivory Black

A semi-transparent, warm, opaque pigment. Historically, this black was made from burnt ivory of an endangered species, but this practice is
no longer used. When combined with yellow, Ivory Black produces a blackened green ideal for backlit foliage, reminiscent of sumi ink and hand-painted stone lithographs. It can also darken transparent pigments.

• PBk9 | Series: Stick
• ASTM Lightfastness Rating: Excellent
• Transparency: Semi-transparent
• Granulating: Yes
• Staining: Low

Carmine

This semi-transparent, rich, and intense staining pigment maintains its brightness in dark areas while becoming more muted to create subtle shades without sacrificing its lasting quality. Explore the Range of Reds! Carmine, the deepest red, can help you create neutral tones when combined with its complement, Phthalo Green.

• PR 176 | Series: Stick
• ASTM Lightfastness Rating: Very Good
• Transparency: Semi-transparent
• Granulating: No
• Staining: Staining