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1 × R265.00
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1 × R265.00
Subtotal: R530.00
Watercolour just got even more lekkerer! Daniel Smith Watercolour Sticks are like the boet of traditional watercolours – the same top-notch quality, just in a stick that lets you draw, shade, and paint like a champ. No fillers, no wax, just pure, professional pigment and gum arabic that activates faster than a braai fire with a wet brush. It’s basically a watercolour pan in your hand, minus the schlep. Whether you’re in the studio, out in the wild, or just messing around with colours for fun, these sticks bring the vibes. With 62 bold shades to choose from, your palette is sorted.
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.
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This opaque yellow, leaning slight 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.
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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.
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The transparent non-staining properties of this cool yellow can effectively warm darker hues without affecting their transparency. Landscape artists often rely on Aureolin to successfully glaze their watercolors or as a light wash in underpainting, to add the appreance of sunshine. 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.
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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.
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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.
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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 and non granulation is desired while avoiding thick, muddy passages.
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This unforgettable semi-transparent/semi-opaque orange is a smooth, saturated and pure addition to the watercolorist’s palette. Capture the glory of a summer garden or the magic of a tropical sunset with this dynamic and versatile hue.
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Mayan Orange is hot and intense. Use it straight from the tube for a blazing red-orange. As you add water, the color remains strong and disperses very evenly. Rich, bold colors adorned the murals and sculpture of the Mayan people. Even when exposed to centuries of severe heat and humidity, these colors have hardly faded over a thousand years. Now, using methods derived from ancient Mayan chemistry, these unique, metal-free pigments have been recreated using an eco-friendly process. The colors are smooth, non-granulating and semi-transparent. Their versatility, durability and exquisite hues make them colors you’ll reach for again and again.
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This low-staining deep orange is sometimes called Scarlet Lake or Rose Carthame. Oranges can be very difficult to work with, but this one excels in handling and is a good option over Cadmium Orange.
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A treat for the eyes of both painter and viewer, this intense Quinacridone color is a clear red tinged with pink and orange. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity.
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This fire engine red is cleaner than Cadmium or Permanent Red. It is a modern synthetic-organic pigment. While close in value to its cousins the Perylenes, it disperses more evenly and is less granular.
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A true, pure medium-staining red. Drop Naples Yellow into Quinacridone Red and create a peach, or paint dry brushstrokes onto apples. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity.
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Alizarin Crimson is the oldest synthetic deep red-crimson pigment. It is a lake pigment which when applied in strength and kept from the direct sunlight will last for many decades. Alizarin is a treat to paint with, just the sheer joy of the depth and uniqueness of color is invigorating. A beautiful bluish-red pigment from the staining family, Alizarin Crimson is listed on the basic palette of a vast majority of artists. Intense and dark in value, Alizarin Crimson mixes cleanly with most pigments to create dark mixtures and warm neutrals. A combination of Aureolin (Cobalt Yellow) and French Ultramarine with Alizarin renders a surprising range of other colors resembling everything from Burnt Sienna and Umber to Payne’s Gray, while Alizarin Crimson with French Ultramarine creates an intense purple.
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Darker and more staining than Alizarin Crimson, and vastly superior in permanence, Carmine is also redder. This staining pigment, rich and intense, will retain its luminosity in dark passages, but will dilute to produce subtle tones without reducing its permanence. Darkest of the reds, Carmine will help you achieve clear neutrals when mixed with its complement, Phthalo Green.
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