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1 × R265.00
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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.
The most vivid of all pinks, has long been requested by DANIEL SMITH customers. A primary magenta with a hint of fluorescent pink granulation producing some of the most brilliant glowing mixes you have ever seen. Try mixing Opera Pink with our New Gamboge for fiery oranges or with an Indanthrone Blue for stunning violets and glowing purples.
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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.
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A deep, reddish violet, Quin Violet disperses evenly with slight granulation and moves from deep darks to clear, glowing washes. Like all Quinacridones, it is an extremely lightfast organic pigment. In terms of complementary couples, Quinacridone Violet mixes best with a cleaner primary green. Highly durable and extremely transparent, all the DANIEL SMITH Quinacridone colors excel in vivid clarity and intensity.
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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.
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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.
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Water frees this amazing three-pigment blend to perform miracles. Watch and wait as Anthraquinoid Red floats, Ultramarine Blue settles and Viridian grays the resulting violet color. Selectively blot and lift a surface wash to expose delicate blue-greens. A description of the fascinating light and dark washes can never match a personal experience! Use Moonglow in shadows and as a silhouette pigment and enjoy its reaction to salt application in background washes. Its neutral tinting property makes it effective with almost all the DANIEL SMITH watercolors. Try introducing the Luminescent Interference pigments to areas of wet, damp or dry Moonglow. Look to Undersea Green as a companion pigment. And try a Moonglow sky and long shadows on sunset snow scenes.
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Sodalite, with a distinctive deep blue color is one of the components of Lapis Lazuli and very rare. DANIEL SMITH Sodalite is the finest quality and deepest blue that comes from Greenland and the flanks of Italy’s Mt. Vesuvius. In watercolor, the inky color of this semi precious stone granulates as it dries, layering a blue-black textural surface on a smooth blue-gray undertone. Low staining, lightfast and semi-transparent, Sodalite creates a three-dimensional quality as it dries.
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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.
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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.
Ultramarine Blue and French Ultramarine both contain pigment PB29, but Ultramarine has a smaller pigment particle size and is slightly greener and cooler than French Ultramarine, which has a larger pigment particle size and is slightly redder and warmer.
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This medium-to-dark warm, reddish-blue is highly lightfast and medium tinting strength. It’s 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 Hooker’s and Sap Green.
Ultramarine Blue and French Ultramarine both contain pigment PB29, but Ultramarine has a smaller pigment particle size and is slightly greener and cooler than French Ultramarine, which has a larger pigment particle size and is slightly redder and warmer.
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This neutral, non-staining primary blue will subtly modify most pigments. Considered a mixing pigment, its’ semi-transparent nature can cast a giant reticulating shadow. An inorganic pigment, it is considered 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.
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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.
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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.
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A powerful blue with a slightly red undertone, this popular pigment is valued for its strength and economy – just a daub of paint can color a whole sky. A dash of blue gives a full range of value. Mix dark colors for shading and shadows by combining Phthalo Blue with Quinacridone Rose. Use Phthalo Blue’s transparent quality to create containers and water around stems.
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Float this color into a moist wash to add variety to shadows. DANIEL SMITH Prussian Blue is lightfast and transparent, with medium to high staining strength. It disperses and diffuses easily and evenly and can be considered interchangeable with the higher staining Phthalo Blue in application, although Prussian Blue is slightly greener.
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