Potter’s Pink

November 23, 2025

In the late 18th century, an unknown potter invented a colorant that later became known as Potter’s Pink. The pigment is produced by calcining tin oxide together with various other oxides at high temperatures. The result is a muted, reddish-pink pigment with low tinting strength. The pigment particles are coarse and irregular, which gives the watercolor a strong granulation. It is also relatively opaque and highly durable.

Originally, the pigment was used as a ceramic glaze — hence the name. It was introduced as a watercolor by Winsor & Newton in the mid-19th century, at a time when it was the only pink pigment available to artists. Today, there are many pink pigments to choose from, which raises the question of whether Potter’s Pink is still necessary. The color has several drawbacks: it is weak in tinting strength, it granulates so strongly that it can sometimes be troublesome, and its tone is so muted that one might question the relevance of the word “Pink” in its name.

There are not many manufacturers that offer Potter’s Pink. Among the well-known brands are:

Daniel Smith
Maimeri
Michael Harding
Roman Szmal
Schmincke
Winsor & Newton Professional
Kremer
Natural Pigments Rublev

It is also not very common as a component in mixed pigments, although Schmincke does offer several colors in which Potter’s Pink is included.

Personally, I have a somewhat ambivalent relationship with Potter’s Pink. I enjoy granulating colors, but the combination of low color intensity and a slightly “muddy” tone makes it less attractive as a standalone color. On its own, Potter’s Pink is rarely particularly appealing.

However, it can be quite useful as an ingredient when creating granulation effects together with non-granulating colors. For this reason, despite its shortcomings, it remains a useful color — just not on its own. It needs a partner to truly shine.

There are not many granulating red watercolors, which makes Potter’s Pink a valuable option for those who appreciate granulation. It does not shift the hue much when mixed with other reds — it is already weak and reddish in character. The result is a subtle red with a pronounced granulation.

Of course, it can be mixed with almost any color for similar effects. Its subdued and light tone has very little impact on the hue of other pigments. When used in this way, however, it is important that it appears in all mixtures throughout a painting, otherwise the overall color harmony may suffer.

Potter’s Pink is therefore not a color intended to dominate a painting. Instead, it is an excellent team player that, in combination with other pigments, can produce subtle, texture-rich effects.

Color Index: PR233
Lightfastness: Very good
Transparency: Semi-opaque
Staining: None
Granulation: Extremely high