Daniel Smith Blacks, Whites, Grays Watercolor, 15ml
These vibrant watercolors span the color spectrum from the historical pigments originally used by Renaissance masters to natural earth tones and vibrant quinacridones. Excellent brushing properties make these paints desirable for any watercolor artist.
- Unique colors
- Outstanding color strength
Gray Titanium is a single pigment, mid-tone warm gray with slightly yellow undertones. Semi-transparent, granulating, non-staining and has excellent lightfastness.
The color and granulation make it wonderfully useful for dusty desert animals such as deer, elephants and tortoises, and for birds whose feathers offer good camouflage for blending into dry woodland, savanna and desert like the roadrunner and burrowing owl. In landscapes, granulating Gray Titanium is beautiful for trees and shrubs whose trunks, branches and twigs are light colored and textured. Urban landscapes benefit from Gray Titanium as well with light washes suggesting concrete structures. As a single pigment, Gray Titanium mixes wonderfully with other colors adding both warmth and softness due to its semi-transparent/semi-opaque characteristic.
Neutral Tint creates rich darks and neutrals with this unique, dark neutral pigment that when mixed with any watercolor pigment produces glowing, darker values of that color. A quick and reliable way to darken a color while retaining transparency. Produces gorgeous glowing darks rather than muddy colors. Tones down colors. Semi-transparent, non-granulating, low-staining with excellent lightfastness.
Graphite Gray exploration reveals some pigment properties beyond its obvious opacity. First, it 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. Opaque, non-granulating, low-staining with excellent lightfastness.
Joseph Z’s Neutral Grey is a rich black/gray, very dark in mass tone and because it has almost no color bias it mixes beautifully to tone down colors. Joseph Zbukvic describes his Neutral Grey as “…perfect for those strong, New York type cityscapes. When undiluted it is basically black and can provide powerful monolithic shapes without looking chalky. It gives a look of charcoal drawing or old-fashioned photographs.” Semi-transparent, granulating, low staining and has excellent lightfastness.
Joseph Z’s Cool Grey is very dark in mass tone with interesting, slightly green/violet tones, it mixes wonderfully with other colors toning them down and add a bit of lush coolness. “…I [Joseph Zbukvic] designed this grey to use for those frosty morning and rainy winter day paintings. It has a lovely greenish sediment which is perfect for low light, early morning light effects. I think this is a must for anyone painting winter scenes.” Semi-transparent, granulating, low staining and has excellent lightfastness.
Joseph Z’s Warm Grey is very dark in mass tone with the slightest pink undertone in light washes, it mixes beautifully with other colors, both toning down and adding a hint of warmth. Joseph Zbukvic says it's “…perfect for strong summer light when shadows have that rich warm glow. It’s particularly useful for painting late afternoon light effects with its pinkish glow when it’s diluted into lighter washes. It can capture that evening glow perfectly.” Semi-transparent, granulating, low staining and has excellent lightfastness.
Jane’s Grey is a unique color in the market. Most grays, whether Payne’s Gray, Neutral Tint or others, are made with a black pigment, and often phthalo blue is included. Artist Jane Blundell wanted a gray without the often-dulling effect of a black pigment, and without the staining effects of phthalo blue. She wanted a gray that was liftable and granulating to create the lovely look of stormy skies and softened shadows. It also works as a neutral tint, darkening colors without changing them. Using a gray that is made with palette colors maintains color harmony in an artwork. Many artists mix ultramarine blue and burnt sienna as they work, but no one was making this gorgeous mix as a convenience color, so she did to make it easy to create rich darks with ease. Initially she mixed it in individual pans and palettes but the demand from her students meant she started to make it in tubes. A few years ago, Jane asked DANIEL SMITH to make her Jane’s Grey easily available to artists everywhere. Semi-transparent, granulating, low staining with excellent lightfastness.
Alvaro’s Fresco Grey is a cool midnight in mass tone and a cooling mist in washes, it mixes well with other colors, toning them down and adding a touch of coolness. Alvaro Castagnet say’s Fresco Grey is “…magnetism, fury, energy…power. You know greys… create a feeling of danger, emotion, passion… mystery…evoke things that are unknown…darkness. I use these greys to create a painting that has a magnetism…energy, mystery, passion…something to discover, entering the unknown, darkness. Both of these colors have just this type of feel to me.”Semi-transparent, granulating, low staining and has excellent lightfastness.
Alvaro’s Caliente Grey “is a terrific hue, very powerful, excellent to create strong and warm paintings. In monochrome this wonderful Grey is perfect to achieve a powerful atmosphere with amazing glow. This color is also perfect to add dramatic highlights and shadows.” A smooth, warm velvety grey on its own, mixes wonderfully with other colors toning them down and adding warmth. Semi-transparent, non-granulating, low staining and has excellent lightfastness.
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, nightscapes, and for quickly darkening most other colors. Semi-transparent, non-granulating, low staining with excellent lightfastness.
Payne’s Gray is a cool, blue gray and perfect for painting wet skies. Use this pigment instead of Indigo, except where yellow is involved. Payne’s Gray helps create flat ocean waters and after-the-storm clouds and skies. Rocks and granite boulders, including their shadows, can be quickly rendered with light dilute washes or more concentrated brush loads. Semi-transparent, granulating, low staining with excellent lightfastness.
Lamp Black is the most intense black available, it is opaque and cool. 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. Opaque, non-granulating, high staining with excellent lightfastness.
Ivory Black is a warm, semi-transparent, leaning to an opaque pigment. Historically, this black was derived from burnt ivory from now-endangered species, thankfully, this is no longer the practice. An Ivory Black touched with yellow creates a blackened green excellent for backlit foliage. Think sumi and hand-painted stone lithographs. Can be used to darken transparent pigment. Semi-transparent, granulating, low staining with excellent lightfastness.
Lunar Black is 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. Transparent, granulating, low staining with excellent lightfastness.
Chinese White is much more than a repair patch. This semi-transparent, pure white offers excellent permanency and a medium-high tinting strength. It’s great for lightening other colors. Drop and spatter Chinese White into a damp gray wash to describe the moist, mushy snowfalls of the Pacific Northwest’s coastal lowlands. Try a brush load of Chinese White where water’s edge meets snowbanks to indicate melting. For field flowers in spring meadows, a touch of Chinese White into Carbazole Violet helps create clover and other wildflowers. And, of course, you can always use it to paint details and highlights! Semi-transparent, non-granulating, non-staining with excellent lightfastness.
Titanium White createx pastel shades with a creamy, semi-opaque/semi-transparent finish by mixing with your favorite watercolor pigments. Although not opaque enough for full coverage, this watercolor can be used straight from the tube to add highlights or as a light wash over other colors for a soft veil of light tone. Excellent lightfastness and a smooth finish are hallmarks of this useful pigment. Semi-transparent, non-granulating, non-staining with excellent lightfastness.