Discover The Subtle Art Of Derwent XL Graphitint: Creating ‘Windswept Trees’
In this blog post, we dive into the dynamic and expressive world of Derwent Graphitint XL Blocks, exploring their unique properties through a creative project inspired by windswept trees. Perfect for capturing the mood and movement of nature, these muted yet richly pigmented blocks are ideal for adding subtle color and texture to your graphite drawings.
Join us as we experiment with techniques like powder blending, mark-making, and layering to bring a windswept treescape to life. From testing the materials to embracing the creative process—mistakes and all—this project offers an opportunity to refine your skills while crafting an evocative, textured landscape. Whether you’re new to Graphitint or looking to expand your artistic repertoire, this tutorial is designed to inspire and guide your journey.
Materials Needed For This Tutorial:

Derwent Graphitint XL Blocks (Tin of 6)
Seawhite All Media Heavyweight Cartridge paper 300gsm A2
Derwent Graphite pencils 2B & 6B
Sharpener / craft knife for sharpening according to your preference
Craft knife for scraping the blocks to make powder
Hard and soft erasers
Mechanical eraser such as Tombow of precise erasing
Mechanical pencil 0.7 2B
Synthetic brush
Kitchen roll
What are Derwent Graphitint XL Blocks?
Derwent XL Graphitint Blocks combine the brand’s popular water-soluble Graphitint formula into a chunky stick. Graphitint XL Blocks are are available individually or in a set. Each block is the equivalent to eight standard pencils. Used dry these blocks combine the beauty of graphite with subtle colour. Activate them easily with the sweep of a wet brush to transform your marks into rich, deep washes.

Introduction
The objective of this project is to explore the properties of Derwent Graphitint XL Blocks. Working from a reference photo I wanted to create a loose, dynamic drawing of a group of windswept trees. I wasn’t after realism, so the subtle colours of the blocks suited the style. Before starting a new project I always like to test the materials. I want to know how they behave and what works best. What kinds of marks can I make with the blocks – how easy is it to cut into with an eraser? How does the paper handle the graphite, what texture does it have? Road testing the materials beforehand also gives an opportunity to warm up and relax before starting the actual drawing.
I regard each new work I do as a learning experience, to explore technique and to improve skills. I want to push myself, try new approaches and always strive to improve and create something new. In this tutorial you will learn different ways to manipulate the material, for example making a powder with which to ‘paint’ soft tones. Remember that making ‘mistakes’ is all part of the creative process – it won’t always work out the way you want it to.
The road test

Before I began the drawing proper, I took each of the six blocks and tested the colours to see how they smudged into the paper, to see if I could produce soft tints, and also how easy/difficult it might be to ‘cut in’ with an eraser. I find the Graphitint blocks are capable of really subtle or very strong marks. The colours are muted which I find really enhances a graphite drawing with subtle areas of colour. I love the understated effects of the blue, green and browns in landscape – basic, yet most effective.
Step 1

Using a photo as a basic reference, I loosely sketched in the main tree shapes as outlines. I then drew two horizontals with a 2B pencil: one for the horizon line, the other to suggest the foreground.
Step 2

Next I am concerned with what’s behind the trees. The intention is to get a band of faint green for the distance, some brown and red brown in the foreground at the base of the picture, then a band soft blue sky right at the top.
To keep things soft and light I scraped the green block, letting the powder fall on the flat paper (working flat keeps the powder and dust in place while I work it). I used a finger to gently work it into the paper. The Seawhite All-Media heavyweight cartridge is ideal and robust for this type of work.
Step 3

I repeated the process for the undergrowth with the Burnt Umber. Creating a soft, irregular blend where the green meets the brown.
Step 4



I wanted the trees to be the main thing, so I didn’t want the sky to be too strong. So I scraped some blue powder onto the top edge of the picture, then used a softish synthetic brush to ‘paint’ with the colour. This gave a really subtle finish.

I used a putty rubber to soften off as appropriate.
Step 5

I build up layers from the ‘back’ of the picture, taking the light washes through the tree outline because the trees will be darker in tone and will cover over these light washes.
Step 6

At these early stages I like to keep things nice and flexible. So I tend to move around the picture doing a bit of drawing, then using an eraser to cut back in and to make some marks suggesting undergrowth, developing a bit of solidity in the trees and so on.
Step 7

This overhead shot clearly shows my set up and development of the drawing. Although not finished, it has a balance, the positioning of the elements is what I wanted. I can still easily make changes if needed. My intention is to keep everything working like this until I feel the drawing works. I don’t want to overwork it.
Step 8

Having first used natural graphite to develop the tree trunks, I felt this was too stark so started to work some of the Raw Umber block into this to give a warmer feel. At the same time I am conscious of trying to get the base of the trees looking as though they are growing out of the undergrowth.
The halfway stage

Step 9

The trees were roughly shaded in with pencil, here I am applying some direct colour and softly working it into the texture.

Using a blender for more precise branch work (Pic 15). Continue working around the drawing, to keep it all balanced.


Use combinations of blender, brush or fingers to manipulate the surface and create solidity, form and texture.
Step 10

Having built up plenty of interest and explored different mark-making in the trees and undergrowth, I took a pencil to add definition and detail for branches and small twigs, also texture of the bark, and making suggestions for tufts of grass.
Step 11

Continue the drawing, stopping for a break and reflecting on your progress. The main thing is not to overwork it, it’s always best to leave one or two elements just at the suggestion stage rather that overstating things.
The final work & my conclusion

I was quite happy to ‘rest’ the drawing at this stage, having felt I had achieved a good response to the original image. The blocks are very satisfying to work with, the muted colours work well with graphite. They suit a more expressive style, but can easily be used to add precise subtle colour using the powder technique, to a tighter drawing. I find them very economical in use – they are very good value.
My top tips
- Depending on pressure and the grade, graphite can be shiny or matt. In this project I have used a craft knife to scrape the block to make a dust which I then blended and shaped with my fingers, or used a brush. This is very matt – if I then draw heavily over this with a pencil it will make shiny marks.
- There is a ‘coating’ on a new block of graphite, so if used on its side it may not give a consistent mark and may skip over the surface. I usually lightly sand a side to make it more effective at applying a consistent layer.
- When drawing the more detailed branches take care about smudging the drawing. Use a piece of copier paper to rest your hand on.
- When working in graphite, it is equally important to be able to take it off as well as apply it – practise on a spare piece of paper. I find the Graphitint Blocks are very well pigmented, and can stain the paper if pushed in too aggressively, it’s best to build up strength of colour in stages until you are completely sure.
- Fixing the drawing: If you want to keep on working into the drawing (removing and manipulating the graphite), then don’t apply fixative or it will be impossible to use an eraser effectively. Protect the delicate surface between sessions by taping a sheet of tracing paper to the drawing. Fix if needed at the end.
If you have enjoyed this article you might be interested in my tutorial ‘Exploring Graphite Landscapes with Derwent XL Graphite Blocks‘

Really enjoyed this- thank you. I find it much easier to follow this format than watching a video as I get left behind!!