At Daniel Smith, we've always enjoyed our association with Jan Hart. First as a customer and later as a workshop instructor, she has been a big fan of Daniel Smith watercolors and has shared her enthusiasm about them with many a student.
This summer, a member of our staff took one of Jan's workshops in Espanola, New Mexico and was so enthralled that she asked Jan to write an article including her favorite color mixtures and answering the questions students most frequently ask. An expert at color blending and creating atmospheric effects, Jan is an inspiring teacher and a great guide to the marvels of the Southwest.
This set brings together the twenty colors Jan uses in her demonstrative painting"Last Light".
Set includes 15ml tubes each of the following colors:
- Alizarin Crimson - A beautiful bluish-red pigment from the transparent staining family, Alizarin Crimson is listed on the basic palette of a vast majority of artists.
- Cerulean Blue - A superb mixing color. Think of it 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.
- Burnt Sienna - This transparent to semi-transparent earth pigment, a grayed orange, 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.
- Ultramarine Turquoise - Semi-transparent Ultramarine Turquoise is the granular, low-staining "cousin" of Phthalo Turquoise. Use it when less stain and more granulation is desired, and consider it for an interesting, non-traditional glaze.
- Naphthamide Maroon - This new azo pigment falls between Permanent Violet and Manganese Violet on the color chart. it's a lightfast, slightly granular deep brown-violet with a low staining property. Its semi-transparent property makes Naphthamide Maroon a surprise substitute for earth pigments, especially umbers.
- New Gamboge - Unlike other brands, Daniel Smith New Gamboge is an excellent lightfast formulation. it's a transparent organic pigment from the yellow to orange zone of your color wheel. More staining than Yellow Ochre and equal in tinting ability to Raw Sienna. it's a good substitute for those colors when transparency is desired while avoiding thick, muddy passages.
- Venetian Red - An earthy red-brown with opaque, sedimentary properties, Venetian Red is great for fall paintings and applications similar to Indian Red. Drop Venetian Red into a wet Lunar Earth wash for exciting results. Venetian Red is medium staining, lifts with some difficulty when dry, but leaves a special warm afterglow when blotted at the damp state.
- Rose Madder Genuine - Transparent and non-staining, but impermanent, Rose Madder Genuine is used most often as a subtle pale pink glazing pigment and considered essential by many portrait artists. Thin films or extremely dilute washes of Rose Madder Genuine cast a warm glow over a landscape or capture sunrise or sunset on calm waters. Its non-staining property can create beautiful lost and found edges in florals. Rose Madder Genuine, Aureolin and Cobalt Blue are a popular non-staining transparent triad which mix to create neutral hues.
- Aureolin (Cobalt Yellow) - 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 watercolors. 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.
- Buff Titanium - Spatter or drop a brush load of Buff Titanium into a moist wash and enjoy the pigment displacement. 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 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.
- Cobalt Blue - 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.
- Lunar Earth - A transparent, non-staining pigment that resembles Burnt Sienna in color but separates dramatically. Lightfast and extremely versatile, Lunar Earth shares pigment properties with Lunar Black and creates similar amazing textures. Explore their radical reticulating qualities separately, then try painting Lunar Earth into a wet Lunar Black wash. An instant beach-sand and pebbles-magically appears.
- Cobalt Violet - This pigment creates glowing shadows with interesting granulation. An inorganic pigment, it is considered transparent, non-staining (or low-tinting) and ideal for glazing methods. Cobalt Violet's ability to create soft edges, to lift and to mix readily makes it a valuable contribution to watercolor palettes.
- Transparent Red Oxide - A highly transparent burnt orange loves to mingle with the 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 it over the French Ochre for a warm fireside glow or layer it over itself for a rich and glowing red ochre that has no equal.
- Ultramarine Blue - Ultramarine Blue plots cooler and bluer than the more saturated French Ultramarine. Temperature aside, both blues have equal permanence, lightfastness 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 color or mixed with a cool red for dark, effective neutrals.Alizarin Crimson
- Nickel Azo - Use this color where transparency and staining ability are desired. Try it along with or in place of Nickel Titanate Yellow and Naples Yellow.
- Quinacridone Pink - Quinacridone Pink is a precise perfect low-staining pink. Try with Indigo for deep dusty purples, or Indanthrone Blue for rich, clear purples. Quinacridone Pink can be mixed with Quinacridone Sienna or Burnt Orange in dilute wash states to create flesh tones or convincing sunsets.
- Quinacridone Magenta - This deep red violet disperses evenly with slight granulation and moves from deep darks to clear, glowing washes. Like all Quinacridone, it is an extremely lightfast organic pigment. In terms of complementary couples Quinacridone Magenta works especially well with yellow greens.
- 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. Try glazing an old "failure" with Quinacridone Gold to begin a rescue operation.
- Quinacridone Burnt Orange - Add 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 that coordinate land with sky.
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