Derwent Aquatone Sticks

Derwent’s water-soluble pencils are an essential part of Barry Freeman’s sketching armoury and, he enthuses, many different effects can be achieved with them

There are many water-soluble pencils and crayons on the market today and each have their own specific qualities. While they will never be able to compete with the beauty of pure watercolour, they are, nevertheless, a very good medium in their own right. They can be used for final paintings but generally are more suitable as a sketching medium.

Opposite: Still Life with Broken Vase, Derwent Aquatone sticks on Fabriano 140lb (300gsm), 10 x 9in (25.5 x 23cm). This set-up is entirely imaginary. I was interested in a colour scheme that consisted of oranges, reds and blues. The background colour, a pale mustard, tied in well with everything else, especially the blue cloth. Although a fairly conventional still life, it is more of an exercise in colour harmonies. I dampened the paper slightly first then laid down the first washes and, when all was dry, enhanced the colours and finally added pen to sharpen the image.

Top right: Early Morning, Earnley, Derwent Aquatone sticks on Fabriano 140lb (300gsm), 7 x 93⁄4in (18 x 25cm). In this painting I was concerned with light and atmosphere.

The original sketch was quickly drawn in the early morning, with the barns and surrounding bushes all in silhouette. In the bottom lefthand corner a soft shadow is cast across the stubble field, which helps the composition by forming a strong base to the picture. The darks were made with a mixture of black, ultramarine, burnt sienna and Naples yellow

Bottom right: Parasols, Paphos, Derwent Aquatone sticks on Fabriano 140lb (300gsm), 9 x 9 3⁄4in (23 x 25cm). This study of beach umbrellas near a windsurfing centre is a simple yet interesting composition, and one that is under consideration for an oil painting. The cast shadows and board walk all help stabilise the foreground in the same way as the shadow in Early Morning, Earnley (above). In the original sketch there were two figures under the awning. I left them out here but may put them back if I decide to paint it in oils. The painting could work either way. Pen was added to sharpen the image, but readers will know how the light in the Mediterranean is much sharper than that found in the English landscape

Versatile

Derwent’s water-soluble Aquatone sticks are a lot softer and not as waxy as similar brands. Also, being slightly opaque, they would probably be compatible with gouache, soft or oil pastels. They come in a range of 24 colours, which is enough to produce satisfactory results. Although there is no grey range of tints there is a black and a white – the white would be useful if working on a tinted ground.

These sticks can be used on all paper surfaces, including mountboard and the cheaper papers such as pastels and heavier cartridge paper. Aquatone sticks can be useddry as well as with water but this is notanywhere near as successful.

application

There are various ways to use them and much of the application will come down to personal preference. One method is to damp the paper first then draw directly into the wet paper; the paint can then be moved around with a dry brush or even a finger. This method has a more abstract feel, but is also a very liberating and a fun way of working with them. Another is to scrape off small pieces of crayons into a plastic palette and then proceed to mix them together with brush and water.

For the illustrations here, bar one, I used the crayons as watercolour sticks: I took a wet brush directly to the crayon and either used it as pure colour on the paper or in mixes. The procedure

Top left: Landscape at St Vaast, Derwent Aquatone sticks on heavyweight grey paper, 8 x 12in (20.5 x 25.5cm). The area surrounding St Vaast on the Cotentin Peninsular near Cherbourg has some beautiful scenery, especially the

Saire Valley, which is a boon for the landscape painter. Here the light is from behind, which puts the farm buildings and the large group of trees to the left in silhouette. The ruts and fields in the foreground lead the eye up to the building and on to the distant hills. The colour scheme is muted and the idea was to try to capture the late afternoon light. The white crayon was used in mixes for some opaque passages, mainly in the foreground. I was not sure whether to use pen but after looking at the picture for a while decided that some pen would enhance it. Pen should be used judiciously because rather than help, it could have an adverse effect if it is overdone

Bottom left: Beach at Son Bou, Derwent Aquatone sticks on off-white 200 gsm cartridge paper, 113⁄4 x 14in (30 x 35.5cm). This is the only illustration where the crayons were used without the addition of water. After various aborted efforts, I discovered the best way to work dry is to use them with only a light pressure and gradually achieve the desired effect by gently overlaying colours. Some of the paper colour was left untouched for lighter areas. While the crayons are certainly at their best when made soluble, the dry effect still has a certain charm

for painting with Aquatone crayons is exactly the same as with a pan of watercolour and techniques such as wetin-wet, wet-on dry, layering, masking fluid, splattering, etc, can all be used. Once the end of the crayon has been softened with water it will stay moist for quite a while, so try not to let the tips touch each other.

Once the paint has dried on the paper it can be softened with a brush and clean water, then removed with a paper towel. In this respect Aquatone sticks are easier to use than pure watercolour because dry watercolour paint can be difficult to shift.

The illustrations here were painted and drawn on watercolour paper, pastel paper and cartridge paper. All were taken from sketches. I stopped working from photos about eight years ago and now prefer to rely solely on direct observation. If you cannot sketch on site, photos are the only option, but always use them carefully and do not slavishly copy because your painting will end up looking like a photograph.

Derwent’s Aquatone sticks are an invaluable addition to any sketching kit and, as the illustrations show, many different effects can be achieved with a little practice. Experiment with other media, different papers, mountboard etc – if you keep an open mind, anything is possible.

This article originally appeared in the January 2013 issue of The Artist magazine. Visit www.painters-online. co.uk for further information about the magazine.’

Above: Morning, Ixia, Derwent Aquatone sticks, 61⁄2 x 10in (16.5 x 25.5cm). Again the theme is light. I love painting in the early morning as the light tends to be softer and cooler than the evening, when the light is warmer. Midday light can be quite harsh. The colour scheme is made up of blue-greys and neutral greys. The strongest colour is the blue of the railings on the wall in the foreground. Even the shadows of the trees are softer by comparison. Naples yellow was used extensively in the mixes as it has quite a calming effect on other colours; it is a colour I use a lot in oils. A little Naples yellow added to white makes a much softer tone – overuse of white tends to make tones chalky