DANIEL SMITH Watercolor Sticks

Daniel Smith Watercolor Stick Alizarin Crimson

Series: Stick

Staining: 3 Medium Staining

Pigment(s):PR83

Opacity: Transparent

Granulation: Non-Granulating

Lightfastness: ASTM IV, Fugitive

Color Name: Aureolin (Cobalt Yellow)

Series: Stick

Staining: 1 Non Staining

Pigment(s):PY40

Opacity: Transparent

Granulation: Non-Granulating

Lightfastness: ASTM II, Very Good

Color Name: Bismuth Vanadate Yellow

Series: Stick

Staining: 2 Low Staining

Pigment(s):PY184

Opacity: Opaque

Lightfastness: ASTM I, Excellent

This opaque yellow, leaning slightly 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.

Color Name: Buff Titanium

Series: Stick

Staining: 1 Non Staining

Pigment(s):PW6:1

Granulation: Granulating

Opacity: Semi_Transparent

Lightfastness: ASTM I, Excellent

Spatter or drop a brush load 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.

Color Name: Burnt Sienna

Series: Stick

Staining: 1 Non Staining

Pigment(s):PBr7

Granulation: Granulating

Opacity: Semi-Transparent

Lightfastness: ASTM I, Excellent

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.

Color Name: Burnt Umber

Series: Stick

Staining: 2 Low Staining

Pigment(s):PBr7

Granulation: Granulating

Opacity: Semi-Transparent

Lightfastness: ASTM I, Excellent

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.

Color Name: Burnt Yellow Ochre

Series: 2

Staining: Low Staining

Pigment(s): PR102

Granulating: Yes

Opacity: Transparent

Lightfastness: Excellent

Color Name: Carbazole Violet

Series: Stick

Staining: 3 Medium Staining

Pigment(s): PV23(RS)

Granulation: Non-Granulating

Opacity: Semi-Transparent

Lightfastness: ASTM I, Excellent

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.

Color Name: Carmine

Series: 2

Staining: High Staining

Pigment(s): PR176

Granulating: No

Opacity: Semi-Transparent

Lightfastness: Very Good

Color Name: Cerulean Blue Chromium

Series: Stick

Staining: 2 Low Staining

Pigment(s):PB36

Granulation: Granulating

Opacity: Semi-Transparent

Lightfastness: ASTM I, Excellent

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 denser 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.

Color Name: Cobalt Blue

Series: Stick

Staining: 2 Low Staining

Pigment(s):PB28

Granulation: Granulating

Opacity: Semi-Transparent

Lightfastness: ASTM I, Excellent

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 transparent, 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.

Color Name: Cobalt Teal Blue

Series: Stick

Staining: 1 Non Staining

Pigment(s):PG50

Granulation: Granulating

Opacity: Semi-Transparent

Lightfastness: ASTM I, Excellent

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, transparent shadows, also use it to render the desired patina on a copper pot.

An inorganic pigment, it is considered transparent 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.

Color Name: French Ultramarine Blue

Series: Stick

Staining: 3 Medium Staining

Pigment(s):PB29

Granulation: Granulating

Opacity: Transparent

Lightfastness: ASTM I, Excellent

This medium-to-dark warm, reddish-blue is highly lightfast and medium tinting strength. Its 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 Hookers and Sap Green.

Color Name: Graphite Gray

Series: Stick

Staining: 2 Low Staining

Pigment(s):PBk10

Granulation: Non-Granulating

Opacity: Opaque

Lightfastness: ASTM I, Excellent

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 an 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.

Color Name: Hansa Yellow Deep

Series: Stick

Staining: 2 Low Staining

Pigment(s):PY65

Granulation: Non-Granulating

Opacity: Semi-Transparent

Lightfastness: ASTM I, Excellent

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.

Color Name: Hansa Yellow Light

Series: Stick

Staining: 2 Low Staining

Pigment(s):PY3

Granulation: Non-Granulating

Opacity: Semi-Transparent

Lightfastness: ASTM II, Very Good

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.

Color Name: Hansa Yellow Medium

Series: Stick

Staining: 2 Low Staining

Pigment(s):PY97

Granulation: Non-Granulating

Opacity: Semi-Transparent

Lightfastness: ASTM I, Excellent

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.

Color Name: Hematite Genuine

Series:  Stick

Staining: 2 Low Staining

Pigment(s):Genuine Hematite

Granulation: Granulating

Opacity: Semi-Transparent

Lightfastness: ASTM I, Excellent

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. 

Color Name: Imperial Purple

Series: Stick

Staining: 2 Low Staining

Pigment(s):PB29, PV19

Granulation: Granulating

Opacity: Semi-Transparent

Lightfastness: ASTM I, Excellent

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.

Color Name: Indanthrone Blue

Series: Stick

Staining: 3 Medium Staining

Pigment(s):PB60

Granulation: Non-Granulating

Opacity: Transparent

Lightfastness: ASTM I, Excellent

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.

Color Name: Iridescent Electric Blue

Series: 1

Staining: Non Staining

Pigment(s): PW20, PW6

Granulating: Yes

Opacity: Transparent

Lightfastness: Excellent

Color Name: Ivory Black

Series: 1

Staining: Low Staining

Pigment(s): PBk9

Granulating: Yes

Opacity: Semi-Transparent

Lightfastness: Excellent

Color Name: Lamp Black

Series: Stick

Staining: 4 High Staining

Pigment(s):PBk6

Granulation: Non-Granulating

Opacity: Opaque

Lightfastness: ASTM I, Excellent

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.

Color Name: Lavender

Series: 2

Staining: Low Staining

Pigment(s): PW6, PV15, PB29

Granulating: Yes

Opacity: Semi-Transparent

Lightfastness: Excellent

Color Name: Lunar Black

Series: Stick

Staining: 2 Low Staining

Pigment(s):PBk11

Granulation: Granulating

Opacity: Transparent

Lightfastness: ASTM I, Excellent

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.