Experimenting with Daniel Smith Granulating Paints
Granulating pigments have fascinated me with my journey into abstraction. Daniel Smith paints have a fantastic listing of granulating pigments. I've been using this as my chart reference and slowly been testing and researching each of the pigments. As you will notice below, I have first done one circle of an individual color. The next step is mixing that color with other granulating pigments: the test color gets painted first (juicy onto dry paper) and a second pigment is applied over top (juicy pigment). I'm using Arteza Mixed Media pad 9x12" 110 gm weight. Once I see how the combinations react, which ones are exciting, or appeal to me, I complete 2 abstracts using just those colors. Techniques vary from doing wet on wet, wet on dry, dry brush, using pipettes of water for rivulets, and water spray bottles. Occasionally I will supplement the abstract paintings with inks, acrylic pens, or water color pencils.
Granulating Colors
Following are the colors that have been part of my granulating mixing research. Because there are 129 different colors, I've broken them into separate pages as well as this long page with all of the colors.
For a faster view of each color select below:
Green Pigments
Blue Pigments
Purple Pigments
Red Pigments
Orange Pigments
Yellow Pigments
This warm earth tone is transparent and a moderate granulating pigment.
This yellow oxide mixes so well with other granulating pigments adding a rich glow, especially the mixture with Quinacridone Gold.
The first abstract explores the combination of yellow oxide with similar hues.
The second abstract reveals a dynamic duo of the yellow with greens.
DS Quin Gold granulates very little, but when mixed with other Daniel Smith granulating pigments, wonderful things happen.
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DS Quin Gold was painted as the bottom pigment for each mix and a second granulating color painted over it. Check out the DS Sicklerite and DS Bloodstone Genuine mixtures! Amazing!
a 9x12 abstract painting using Daniel Smith Quinacridone Gold and other pigments from the mixing page. The granulation shows so clearly.
Daniel Smith's Quinacridone Gold is such a bold color that creates drama on it's own. But look at the granulation when other pigments are added to this 9x12 abstract.
This is such a soft ochre color with low granulation, but it has the strength to stand up with much stronger granulating hues. #danielsmith #danielsmithwatercolors #danielsmithartistsmaterials
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Such a soft color and with its low granulation, it adds subtlety rather than bold surprises.
I've used this pigment straight from the tube and then water blended it with Perylene Scarlet, another DS granulating pigment. The ochre is strong enough to hold its own with strong colors.
So soft, but backs up the stronger colors.
DS French Ochre has slight granulation
DS French Ochre mixed with other granulating colors
DS French Ochre is to the left of the painting along with other granulating colors
DS French Ochre mixed with other colors to create abstracts
This classic yellow is so adaptable from having a lovely light tone to the deep rich colors.
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DS Yellow Ochre interacts wonderfully with some other DS pigments. My favorites are Lunar Violet, Hematite Genuine, and Manganese Blue Hue. The bottom row got a bit messy. Yikes!
This 9x12 abstract features yellow ochre and DS Manganese Blue Hue. Beautiful granulation.
This 9x12 abstract features Yellow Ochre and other mix pigments.
Daniel Smith's Mars Yellow is such a warm glowing granulating pigment.
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Mixing DS Mars Yellow with other granulating pigments shows the golden warmth showing under the other colors.
9x12 abstract painting using DS Mars Yellow and other pigments from the mixes.
A 9x12 abstract using DS Mars Yellow and other granulating pigments.
This light yellow granulates well with other DS granulating pigments.
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My favorite mixes are this yellow with Lunar Blue, Lunar Earth and Undersea Green.
A good color for prairie grasses and grains.
Some of this yellow is straight from the tube, while other values are much lighter.
This is my favorite DS granulating pigment of the yellows and will be my go-to. It slides and slips so smoothly and helps rivelets form and the heavier pigments to drop into the paper's teeth.
This color shines through with a golden light tone when used with other pigments.
This 9x12 is one of my favorites because of the slip and slide of this natural sienna. Look at how much granulation there is and the many rivelets!
This 9x12 painting gives you an idea of how to use this color for the dried grasses of early spring.
This is the lightest shade of yellow that I have of Daniel Smith's granulating pigments. It reminds me of sunshine.
This light pigment can be seen glowing through under the heavier pigments. Just like a touch of sunshine.
This 9x12 painting shows how intense you can get this color by using it straight from the tube. It has created lovely granulation at the bottom of the painting.
This is the lightest of the Daniel Smith granulating yellows and it reminds me of sunshine.
This deep yellow color is so much fun to use as it shimmers and slides with water.
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DS Iridescent Aztec Gold mixed incredibly with every DS granulating pigment I tried. It's definitely a must have for special effects.
I used the Iridescent Aztec Gold straight from the tube and then spread it with my palette knife. Adding the blues and lots of water created this dramatic effect.
The slippery, shimmery Aztec gold led me to slide and dance in this 9x12 painting.
This is one of the low or soft granulating pigments that you can use if you are not wanting too much drama.
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Most of the granulating pigment mixtures are soft, with the exception of Lunar Blue and Lunar Violet which are high granulations.
I've used the DS Italian Deep Ochre straight out of the tube for a different effect.
The Italian Deep Ochre is so soft and is a great contrast for stronger pigments.
Brown Pigments
Grey Pigments
Black Pigments
White Pigments
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