Description
Daniel Smith 12 Colour Hand Poured Half Pan Set in a METAL BOX
The 12 DANIEL SMITH Extra Fine Watercolors in the set are:Â
- Buff Titanium
- Hansa Yellow Light
- Hansa Yellow Medium
- Hansa Yellow Deep
- Pyrrol Scarlet
- Quinacridone Rose
- Cerulean Blue, Chromium
- Ultramarine Blue
- Sap Green
- Yellow Ochre
- Burnt Sienna
- Raw Umber
Vegan selection: Daniel Smith ExtraFine Watercolour is made using a synthetic binder. The only animal-derived ingredient is the pigment PBk 9. PBk 9 is found in the following watercolours only: Sepia, Ivory Black, Joseph Z’s Neutral Grey and Payne’s Gray. Today as in 1993 when Daniel Smith watercolours were first developed, these watercolours are ‘formulated to meet and exceed the highest industry standards for the manufacture of artist’s paints’, and every batch made is tested and analysed for its performance qualities. Deatails of the particular pigments are as follows:
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.
- Pigment: PW 6:1 | Series: 1
- Lightfastness: I – Excellent
- Transparency: Semi-Transparent
- Staining: 1-Non-Staining
- Granulation: Granulating
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.
- Pigment: PY 3 | Series: 1
- Lightfastness: II – Very Good
- Transparency: Semi-Transparent
- Staining: 2-Low Staining
- Granulation: Non-Granulating
Hansa Yellow Medium is a high-tinting, organic pigment. Considered the ‘perfect yellow’, 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.
- Pigment: PY 97 | Series: 2
- Lightfastness: I – Excellent
- Transparency: Semi-Transparent
- Staining: 2-Low Staining
- Granulation: Non-Granulating
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.
- Pigment: PY 65 | Series: 1
- Lightfastness: I – Excellent
- Transparency: Semi-Transparent
- Staining: 2-Low Staining
- Granulation: Non-Granulating
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.
- Pigment: PR 255 | Series: 3
- Lightfastness: I – Excellent
- Transparency: Semi-Transparent
- Staining: 3-Medium Staining
- Granulation: Non-Granulating
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.
- Pigment: PV 19 | Series: 2
- Lightfastness: I – Excellent
- Transparency: Transparent
- Staining: 3-Medium Staining
- Granulation: Non-Granulating
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.
- Pigment: PB 36 | Series: 2
- Lightfastness: I – Excellent
- Transparency: Semi-Transparent
- Staining: 2-Low Staining
- Granulation: Granulating
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.
- Pigment: PB 29 | Series: 1
- Lightfastness: I – Excellent
- Transparency: Transparent
- Staining: 3-Medium Staining
- Granulation: Granulating
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.
- Pigment: PO 48, PY 150, PG 7 | Series: 2
- Lightfastness: I – Excellent
- Transparency: Transparent
- Staining: 3-Medium Staining
- Granulation: Granulating
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!
- Pigment: PY 43 | Series: 1
- Lightfastness: I – Excellent
- Transparency: Transparent
- Staining: 1-Non-Staining
- Granulation: Granulating
This transparent to semi-transparent, rich earth pigment is a traditional palette staple for many landscape painters. Our Burnt Sienna combines with other hues without a loss of intensity or transparency. Subsequent layers (or glazes) do not sully or stain the other pigments these glazes contact.
- Pigment: PBr 7 | Series: 1
- Lightfastness: I – Excellent
- Transparency: Semi-Transparent
- Staining: 1-Non-Staining
- Granulation: Granulating
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.
- Pigment: PBr 7 | Series: 1
- Lightfastness: I – Excellent
- Transparency: Semi-Transparent
- Staining: 2-Low Staining
- Granulation: Granulating
