[Iridescent Antique Bronze]

[Raw Umber]

[Jane s Grey]

[Quinophthalone Yellow]

[Kingman Green Turquoise Genuine]

[Sedona Genuine]

[Hansa Yellow Deep]

[Iridescent Antique Copper]

[Deep Sap Green]

[Kyanite Genuine]

[Monte Amiata Natural Sienna]

[Moonglow]

[Permanent Green Light]

[Rose Madder Permanent]

[Spring green]

[Cerulean Blue]

[Alvaro s Caliente Grey]

[Iridescent Sunstone]

[Iridescent Ruby]

[Iridescent Topaz]

[Bronzite Genuine]

[Lunar Earth]

[Transparent Yellow Oxide]

[Viridian]

[Lunar Black]

[Iridescent Sapphire]

[Yellow Ochre]

[Chrome Titanate Yellow]

[Phthalo Blue GS]

[Enviro-Friendly Red Iron Oxide]

[Indigo]

[Iridescent Jade]

[Sicklerite Genuine]

[Amethyst Genuine]

[Manganese Blue Hue]

[Cadmium Red Medium Hue]

[Duochrome Mauve]

[Permanent Violet]

[Carmine]

[Joseph Z s Neutral Grey]

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 will also work 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. Now available as part of our Signature Series, Jane’s Grey is semi-transparent, granulating, low staining and has excellent lightfastness.