DANIEL SMITH – SET 24 HALF PANS IN A METAL CASE

The sturdy, black Metal Box has the popular DANIEL SMITH logo in white on the top left side.  

DANIEL SMITH 24 Color Metal Box Half Pan Watercolor Set open showing the half pans and acetate map of the colors.

Waterproof acetate map of the colors, their properties and location in the box for the DANIEL SMITH 24 Color Metal Box Half Pan Watercolor Set.

12 Watercolors from the DANIEL SMITH 24 Color Metal Box Half Pan Watercolor Set painted out.

12 Watercolors from the DANIEL SMITH 24 Color Metal Box Half Pan Watercolor Set painted out.

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.

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

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.

• Pigment: PY 3 | Series: 1
• Lightfastness: II – Very Good
• Transparency: Semi-Transparent
• Staining: 2-Low Staining
• Granulation: Non-Granulating

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.

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

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.

• Pigment: PY 65 | Series: 1
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Staining: 2-Low Staining
• Granulation: Non-Granulating

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.

• Pigment: PR 255 | Series: 3
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Staining: 3-Medium Staining
• Granulation: Non-Granulating

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.

• Pigment: PR 177, PV 19, PR 149 | Series: 2
• Lightfastness: I – Excellent
• Transparency: Transparent
• Staining: 3-Medium Staining
• Granulation: Non-Granulating

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.

• Pigment: PV 19 | Series: 2
• Lightfastness: I – Excellent
• Transparency: Transparent
• Staining: 3-Medium Staining
• Granulation: Non-Granulating

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.

• Pigment: PB 29 | Series: 1
• Lightfastness: I – Excellent
• Transparency: Transparent
• Staining: 3-Medium Staining
• Granulation: Granulating

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.

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

Phthalo Blue (GS)

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.

• Pigment: PB 15:3 | Series: 1
• Lightfastness: I – Excellent
• Transparency: Transparent
• Staining: 4-High Staining
• Granulation: Non-Granulating

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.

• Pigment: PB 36 | Series: 3
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Staining: 1-Non-Staining
• Granulation: Granulating

Phthalo Green (BS)

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.

• Pigment: PG 7 | Series: 1
• Lightfastness: I – Excellent
• Transparency: Transparent
• Staining: 4-High Staining
• Granulation: Non-Granulating

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.

• Pigment: PO 48, PY 150, PG 7 | Series: 2
• Lightfastness: I – Excellent
• Transparency: Transparent
• Staining: 3-Medium Staining
• Granulation: Granulating

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.

• Pigment: PBk 31 | Series: 2
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Staining: 3-Medium Staining
• Granulation: Non-Granulating

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.

• Pigment: PB 29, PO 48, PY 150 | Series: 1
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Staining: 3-Medium Staining
• Granulation: Granulating

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.

• Pigment: PY 42 | Series: 1
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Staining: 1-Non-Staining
• Granulation: Non-Granulating

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!

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

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 masstone 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.

• Pigment: PY 43 | Series: 1
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Staining: 2-Low Staining
• Granulation: Granulating

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, earthlike mixtures common to landscapes. Handling tip: Hit it once and walk away.

• Pigment: PR 101 | Series: 1
• Lightfastness: I – Excellent
• Transparency: Opaque
• Staining: 3-Medium Staining
• Granulation: Granulating

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.

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

Burnt Sienna

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

Burnt Umber

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.

• Pigment: PBr 7 | Series: 1
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Staining: 2-Low Staining
• Granulation: Granulating

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.

• Pigment: PBr 7 | Series: 1
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Staining: 2-Low Staining
• Granulation: Granulating

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.

• Pigment: PB 29, PBr 7 | Series 2
• Lightfastness: I – Excellent
• Transparency: Semi-Transparent
• Staining: 2-Low Staining
• Granulation: Granulating

The DANIEL SMITH 24 Color HAND POURED Watercolor Half Pan Set in a Metal Box with BONUS FREE METAL BOX & 24 EMPTY HALF PANS will become your dependable collection of beautiful watercolors ready to capture any landscape; urban, suburban, mountain, field, forest, floral in Spring, Summer, Fall and Winter!

Total pieces: 1 Metal Box, 24 Filled Half Pans & BONUS 1 Metal Box & 24 empty Half Pans