I was delighted to be requested to do a products overview of the 11 new colours extra to Daniel Smith’s watercolour adhere array. As a qualified artist I uncover the sticks are an great complement to Daniel Smith’s tube watercolours. They are great for incorporating daring linear marks to compositions. In this report I will also share with you how I use Daniel Smith watercolour sticks in my get the job done.
Daniel Smith Watercolour Sticks are created employing the exact pigments as their Added Great Watercolour Paint Tubes. Equally formats are artist quality paint. The beauty of the sticks is that they are transportable generating them easy to use out of the studio. Utilised straight onto a surface or as a regular pan, indicates that they are functional much too.
Of the 11 new colours, all but two are rated as permanence I (Excellent) for lightfastness. Mayan Orange and Carmine, are rated as II (Quite Good).
Dry stick on dry paper
I 1st attempted the sticks dry, on dry paper. The marks surface broken, reminiscent of dry brush marks. The image earlier mentioned demonstrates vertical dry marks on Saunders Waterford tough watercolour paper. For comparison I have also shown two horizontal strokes on HP (sleek) paper. 50 % of each individual stroke has been painted above with a wet brush. Introducing drinking water with a brush disperses some of the pigment, but the preliminary dry marks really don’t commonly vanish.
Moist stick or moist paper
Next I employed a damp stick on dry paper. I apply drinking water to the adhere with a brush. The top strains (Mayan Orange) in this article were being applied soaked-on-dry. The line was drawn from still left to correct and the h2o has only affected the very first portion of the stroke.
The Prussian blue line was produced dry-on-damp. The roundish marks had been designed by stamping the finish of the adhere on moist paper.
Wet paper may well be soaked from a prior wash, or wetted specifically to use the sticks. If there is an fundamental wash that is wetted to use the adhere, the wetting and friction from drawing the adhere more than the paper may perhaps trigger some disruption of the underlying wash.
The two colors that I was presented from the ‘Luminescent’ selection – Pearlescent White and Iridescent Electric powered Blue – are shown used to moist black paper. The Pearlescent White has a slightly crumblier texture in comparison to the other adhere colours but this does not effect its general performance.
As very well as easy direct marks, additional randomised marks can be produced on moist paper.
In this article the initially (Olive Eco-friendly) line was manufactured by holding the adhere concerning thumb and the 1st two fingers. I then rolled the stick with my thumb as I drew the adhere across the paper.
When the stick has a flat stop, as when new, different width marks can be created by different the point of contact on the paper or the course of movement of the stick. In the second line (Carmine) I have transformed the angle of get hold of concerning the adhere and the paper as I moved the adhere across the paper.
The remaining line making use of the Spring Green stick mixes up both equally of these techniques.
Mixing it up
Of course you can mix the stick colours, and mixing dry and wet mark generating procedures offers textural variation. In the top row leftmost illustration I utilized a bit of Nickel Azo Yellow tube watercolour clean on a brush to wet some dry Prussian Blue marks to generate a environmentally friendly. In the 2nd example I applied a clean initially, then drew out color with the Prussian blue stick. The top rated correct instance has a blend of dry on dry marks, some subsequently wetted, and wet-on-wet.
Alongside regular watercolour
In this painting I have employed a highly granulating tube color – Hematite Genuine, together with Neutral Tint, Prussian Blue, Burnt Yellow Ochre and Olive Environmentally friendly watercolour sticks. The sky has been painted applying the Prussian Blue stick as a pan color, lifting color from the adhere with a soaked brush. I actually savored actively playing with these sticks and enjoy the way they raise the range of marks I can make in watercolour.
Linda Saul is effective in h2o-primarily based mixed media, working with an revolutionary, non-regular solution focusing on texture. She generally collages distinct paper surfaces, tearing back again and scratching the paper floor repeatedly manufacturing prosperous layered consequences. Her favourite topics are coastal, landscapes and city scenes such as development websites. Linda likes to use really granulating pigments in her landscape paintings and has created a workshop targeted on painting experimental landscapes with granulating watercolours.
She is an Affiliate of the Royal Watercolour Society and her function has been the topic of feature content in The Artist magazine (April 2021) and the American publication Watercolor Artist (Spring 2022).