Daniel Smith “Separating” Colors — The Pigments That Paint Themselves
Daniel Smith’s separating watercolors are among the most unique paints available. Instead of drying into a flat color, they split into multiple pigments, creating granulation, texture, and natural color variation. In this guide I’ll explain how separating colors work, compare my favorites, and show which paints belong on every landscape artist’s palette.
Watercolor is supposed to be unpredictable. That’s half the fun, right? But some paints take “unpredictable” and crank it up to Carol Carter-level juicy washes—the kind of paint that splits apart on the paper, charts its own path, and does whatever it wants while you sit there pretending you planned the whole thing.
Welcome to the wonderfully chaotic world of Daniel Smith’s separating colors, the mischievous siblings of the watercolor family. These colors don’t just mix on the paper—they split into their component pigments like a middle-school science experiment gone beautifully right.
If you’ve ever looked at a swatch and thought, “Why does this purple have 17 other colors inside it?”—you’ve already met a separating pigment.
Below is my expanded reference sheet (aka: proof that art supplies are enabling my poor financial decisions). Let’s break down what these paints do, why they matter, and how to use them without losing your sanity.
So… what exactly is a “separating” watercolor?
Separating paints are mixtures of two or more pigments that lift apart as they dry. The heavier particles settle into the paper, while the lighter or more transparent pigments float around and create dreamy transitions—kind of like what happens when you drop cream into coffee, but prettier and less likely to stain your shirt.
Daniel Smith is famous for these paints. Famous. As in:
If granulation is the cult, separating colors are the high priests.
They create:
- Natural texture without effort
- Soft-to-crunchy transitions you didn’t have to paint manually
- Atmospheric depth with zero layering
- Instant drama when you’re too tired to actually try (thank you, Moonglow)
Carol Carter uses wet-into-wet like a magician, but separating pigments give the rest of us mere mortals a fighting chance at similar glow and complexity.
A Tour of the Daniel Smith Separating Collection
(Swatch sheet at bottom, with pigment codes included for fellow paint nerds.)
Imperial Purple (PV19, PB29)
The drama queen of violets.
You put down a wash and suddenly Ultramarine is sinking into the paper like it owes someone money while Quin Red floats to the top and glows like neon. This paint practically landscapes itself.
Rose of Ultramarine (PV19, PB29)
This one behaves like Imperial Purple’s slightly more stable sibling—but still unpredictable enough that it should come with a warning label. The soft pink edges combined with rough blue granulation make instant florals, shadows, atmospheric perspective—whatever you want, really.
Undersea Green (PO48, PB29, PY150)
The swamp monster of the palette—and I say that lovingly.
This paint does everything you want a natural green to do: split into gold, teal, blue, moss, and a hint of murky bog-water mystery. Perfect for landscapes, forests, and anything that needs a gritty, earthy punch.
Shadow Violet (PB29, PO73, PB15)
Shadow Violet is what happens when you mix three pigments who don’t get along and make them share a tiny watercolor pan. The result? Gorgeous complexity. It’s moody, mysterious, and uncontrollable in the best possible way.
Moonglow (PG18, PB29, PR177)
Ah yes… the king. The legend. The paint that artists buy before they even buy Ultramarine Blue. Moonglow divides beautifully into red, blue, and greenish-teal. It’s the perfect “I want a stormy sky but I’m already tired” color.
Cascade Green (PB15, PBr7)
Cascade Green is the outdoorsy cousin who always looks good without trying. It splits into bright phthalo green and earthy raw sienna, creating instant forest texture. Basically: if Bob Ross painted with Daniel Smith, he’d use this.
How to Use Separating Colors Without Losing Your Mind
They work best when:
✔ You use lots of water
✔ You let the pigments move freely
✔ You avoid over-brushing
✔ You embrace the chaos (seriously, don’t fight it)
Some of the best effects come from:
- Wet-into-wet washes
- Tilted paper
- Spritzing with water
- Softening edges and letting gravity do the heavy lifting
- Oversized mop brushes (aka “The Carol Carter Method”)
If you try to control them too much, they punish you. Let them roam wild and you’ll look like a genius.
Pigment Notes (for fellow watercolor nerds/scientists)
Imperial Purple: PV19 Quinacridone Red + PB29 Ultramarine Blue
Rose of Ultramarine: PV19 Quin Red + PB29 Ultramarine
Undersea Green: PO48 Quin Gold + PB29 Ultramarine + PY150 Azo Yellow
Shadow Violet: PO73 Pyrrole Orange + PB29 Ultramarine + PB15 Phthalo Blue
Moonglow: PG18 Viridian + PB29 Ultramarine + PR177 Anthraquinone Red
Cascade Green: PB15 Phthalo Blue + PBr7 Raw Sienna
Now you know exactly which pigments are betraying each other in your wash.
Learn more about ALL these colors on my YouTube Channel- search Ryan Fox Watercolor
Purchase Daniel Smith Separating Colors
Cascade Green
Undersea Green
Rose of Ultramarine
Imperial Purple
Shadow Violet
Moonglow
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Ryan Fox AWS, NWS, TWSA
Ryan Fox Painting
(919) 645-834