Rose Madder Permanent – DANIEL SMITH Rose Madder Permanent is a modern, lightfast formulation of the traditional color giving artists a rose watercolor with similar properties. This warm, rose pink has an ever-so-slight hint of brown making it slightly less vivid than the pink Quinacridones, and a more natural blush, perfect for portraits.
Quinacridone Lilac – DANIEL SMITH Quinacridone Lilac lies between Quinacridone Rose and Quinacridone Magenta within the DANIEL SMITH Quinacridone color family. This new, vivid pink with the slightest blue tone, is a must have for florals, and like all DS Quinacridone colors, Quinacridone Lilac excels in vivid clarity and intensity.
Wisteria– DANIEL SMITH Wisteria, like the blooms of its namesake flowering vine, is a delicate, red leaning lavender. Similar in color to Ultramarine Red but with different properties, this non-granulating and non-staining color paints smoothly and lifts easily. Wonderful for painting orchids and other florals.
Lavender – DANIEL SMITH Lavender is a beautiful periwinkle blue, and quite different from our other blues. This semi-transparent lavender blue has beautiful granulation, and lifts easily. In addition to being an excellent floral color, our Lavender suggests certain shades of faded denim.
Aussie Red Gold – DANIEL SMITH Aussie Red Gold is the rich, golden color of ochre cliffs set aflame at sunset. This brilliant, reddish gold will add glowing light to Autumn leaves, late summer flowers and landscapes. Aussie Red Gold is transparent, non-granulating, low staining and performs wonderfully, you will love it on your palette!
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.
Burnt Sienna Light – A beautiful earthy color, DANIEL SMITH Burnt Sienna Light is redder than our Burnt Sienna, more transparent and slightly less granulating. In very light washes, it makes a good, light flesh tone for portraits, and in darker washes, it is a rich red-brown.
Payne’s Blue-Gray – DANIEL SMITH Payne’s Blue Gray is similar to our bluer Indigo, but like our original Payne’s Gray, it is semi-transparent rather than transparent. Inky blue and non-granulating Payne’s Blue Gray is perfect for painting dark, stormy skies, night scapes, and for quickly darkening most other colors.