Today is national pencil day, which is just an excuse to showcase my latest vintage pencil finds from visiting a very old local stationery shop. Oftentimes shops like these still have new old stock of vintage pencils, and in my case I’m usually looking for local Jerusalem Pencils, but I often find other interesting things along the way.
In this case I got a very large haul of Eberhard Faber Mongol #2 pencils, which I think are really good looking in terms of typography and ferrule design. Most of them are unsharpened, which is a bonus treat, although as usual with vintage pencils time has rendered their erasers unusable.
The real find for me were some very old Jerusalem Pencils (based on the logo), in this case coloured pencils (black and red). These are very waxy with relatively little pigment, but I don’t intend to draw with them anyway, and it just tickles me that didn’t translate “sunset” to “שקיעה” (or sunset in Hebrew) but rather chose to transliterate it, to give the pencil a more cosmopolitan feel.
Carpenter pencils are something I rarely find in stationery stores but do sometimes find in flea markets. In this case I lucked on three perfect Jerusalem Pencils Carpenter 199 pencils.
Even rarer for me are these Jerusalem Pencils Office 46 red and blue dual pencils. One of them is badly warped and another is slightly warped, but they still have their handsome imprint with an art deco-y font.
These are more modern, as they have the Pan Art imprint, which means that they were likely made after Jerusalem Pencils was forced to rebrand itself after its bankruptcy. They’re charcoal pencils, and it will be interesting to give them a spin. I love the font selection here as there’s a lovely flow to it.
These are the last Jerusalem Pencils of the bunch, Pan Art coloured pencils from the 1000 and the Al Greco 6000 line. These are quite modern but I still haven’t seen them too often so I added them to the pencil pile.
Here’s a pencil that I’m pretty sure was made by Jerusalem Pencils, but there’s no telling it if was under that name or Pan Art. It was sharpened at both ends so you can just make out that it’s an HB pencil, and enough of the imprint is left to know that it was made in Israel and is called Oriole.
And here we enter the realms of the unknown pencil brand, where I just bought pencils for their imprint and style, such as this Patented Drawing “Liberty” pencil:
Which was made by the Pai-Tai Industrial Co LTD.
These Student 101 pencils from a Croatian company called TOZ Penkala (thank you to a penaddict slack user for helping me with this):
These L&C Hardtmuth Studio 941 7 and 18 pencils that just have the best imprint font and logo:
These Marco 4100 coloured pencils which I bought for the Comic Sans “Superb Writer” imprint, it made me laugh.
And these random pencils all bought for their imprints: Springer, Factis “Eraser Pencil” 3012, and Warm Heart Color Pencils.
Of all of these I’ll probably only be using the Mongols, but I find having the others fun, and I may be able to swap a few of them for some other vintage pencils that I can enjoy.
Schmincke recently came out with a new series of limited edition Horadam (artist grade) watercolour paints that are super-granulating.Granulation in watercolour is the an affect that is created when the pigments in the paint separate and settle in a diffused patten on the paper, oftentimes allowing other pigments that they are mixed with to show through. In my everyday watercolour palette Schmincke’s Ultramarine Finest (494) is a prime example of a granulating paint that I use both for its effect as an individual paint and when mixed with various browns and greens. The new 900 limited edition series of Horadam watercolours that Schmincke has issued is composed of 25 paints that are divided into five sets: Galaxy, Glacier, Deep Sea, Forest and Tundra. I decided to purchase all five sets out of curiosity, since limited editions in artist grade watercolours aren’t common, I already use Schmincke almost exclusively, and I’ve been embracing granulation more lately in my work.
The paints can be purchased in individual 15ml tubes (which is a lot of watercolour paint), in fancy wooden boxed sets of 15ml tubes and in cardboard boxes of 5ml tubes, which is what was available at my local art supply shop and what suited me to buy anyway. 15ml of watercolour paint is a commitment, and artist grade watercolour in general and Schmincke in particular aren’t cheap. The paints aren’t sold in half pans, which I would have preferred over the tubes, and which means that you are going to need empty pans or a palette to use them.
The Galaxy set includes Galaxy Pink, Violet, Blue, Brown and Black. There are some naming peculariaries in this entire series of paints, such as the fact that the paints are super-granulating but the set is called: Supergranulation on the box, and Super Granulation by the dealers. In any case, like all the colours in this set the paints in the Galaxy set have good lightfastness. They are all non-staining (which means that they can easily be lifted off the paper), the Violet and Blue are semi transparent, the Pink and Brown and Black are semi-opaque. This is the most vibrant of the sets, but don’t believe the photos on the package or in the various marketing materials, none of the colours in any of these sets really pops or is as vibrant as they appear to be. All these colours tend towards naturalistic, landscape painting tones.
The colours in the Forest Set are: Olive, Green, Blue, Brown and Grey. They are all extremely lightfast, the Olive and the Brown are semi transparent, the Blue and the Grey are semi opaque and the Green is opaque. I have no idea why the Forest Brown (944) is called Forest Brown as it’s not a brown at all, it’s more of a greyish green. Forest Blue is also a misnomer, as it’s also a green, this time one that looks like it was mixed with indigo. This is the most monotone of the sets, though if you are focused on landscapes, there are some interesting greens here.
The Glacier set boasts the best paint in the series in my opinion, the Glacier Green which is just a delicious paint to have on your palette – a phenomenal and unique green with pronounced brown undertones. I can’t wait to use it in my work, and I’ll be buying a 15ml tube of this. The rest of the colours in this set are Glacier Blue, Turquoise, Brown and Black. Despite what the marketing material may say, there is very little difference between the various blacks in these sets, and if I could I would have skipped all of them and used the Forest Grey and the Tundra Violet instead. All the colours in this set rate in the 4-5 star lightfastness range and all apart from the Brown (which is semi-staining) are non-staining. The Blue is semi-transparent, the Turquoise, Green and Black are semi-opaque and the Brown is opaque.
The Deep Sea set features the following colours: Violet, Indigo, Blue, Green and Black. The Green here is a misnomer, as it’s also a blue (with only the slightest green tinge) and the violet is greyish and flat compared to the Glaxy Violet (and in any case if you’re looking for a vibrant violet look elsewhere in Schmincke’s lineup). This is probably the most redundant set of the five, and you can pretty much skip the colours here without missing on much. Indigo, Blue and Green are semi-transparent, Violet and Black are semi-opaque. Lightfastness is very good to excellent and non of these are staining.
The Tundra set contains Orange, Pink, Violet, Blue and Green. Tundra Violet is another misnomer as the paint is practically black with a tinge of purple. This is the most staining set (Violet and Green are staining, the rest are semi-staining), but also a pretty mixable one. Orange, Blue and Pink are transparent, Violet is semi-transparent and only Green is opaque. It’s also one of the most compelling greens in the set, with it’s olive like tones and its pinkish undertones it’s both unique and generally useful for landscapes.
Schmincke aren’t selling these in pans, which is pretty inconvenient if you just want to swap one or two of these into your existing palette.
I first saw these paints on Schmincke’s Instagram and then on the Jackson’sArt blog. In both the paints are much more vibrant and with much more pronounced granulating, to the point of almost marbling, than what I got when I first created a the above reference drawing. I had a feeling that this was somewhat due to the extreme closeups that they took, and likely also the paper that they used.
In any case, since I and many others also use Stillman and Birn Alpha paper for watercolours, I decided to try and create a painting using these paints exclusively. In the end I also added Schmincke Indian Yellow (220) for the signs, but I didn’t mix it with anything else. As you can see, the granulation is still pretty pronounced throughout, but the colours, with the exception of the Glacier Blue aren’t exactly vibrant or saturated.
I then decided to break out the good paper, and tested the paints on 100% cotton 300gsm cold pressed rough watercolour paper. Here you can see the granulation at its best, and yes, as promised it is pronounced in all of these paints. Yet as I suspected the choice of paper does nothing to make these paints more vibrant, which means that I certainly won’t be using them to replace large swaths of my current palette or recommending that you use them exclusively (especially since there are no yellows here and the red selection is pretty poor).
Here are the paints all labeled (I got the Deep Sea Black and Green swabs out of order).
Here’s a very quick sketch with these paints on the cold press paper. They are built for washes and wet on wet work, and so relish this paper.
And here they are on Stillmand and Birn Beta paper, which is better watercolour paper than the Alpha but still not good watercolour paper. You still get much of their effect here, especially if you don’t much around too much with the paint. These aren’t the best for mixing on the palette but do work well with layering and working wet on wet on the page. If you like to put down paint in washes and see what it does, these paints are for you. If you like to work in a more controlled fashion, you likely aren’t a fan of granulating watercolours anyway.
You can see the granulation here, and some of the best colours in this set at work (Tundra Orange, Glacier Green, Tundra Violet, Forest Green, Tundra Green and Glacier Brown).
Again you can see the granulation at work and how the effect lets the whiteness of the page show through, bringing light to a dark patch.
So, would I recommend all 25 paints? Of course not. Of the paints in these sets here are the ones that seem worthwhile:
963 Glacier Green (the best of the bunch!)
983 Tundra Violet (a great replacement for black in your palette, if you have it)
952 Deep Sea Indigo (bonus points for a transparent indigo with reddish purple undertones!)
964 Glacier Brown (the best brown of the bunch and the most saturated of them, with dark black green undertones)
942 Forest Green (a saturated green in a natural but not easy to mix colour with reddish undertones)
985 Tundra Green (a natural greyish yellow green that is not easy to mix and has brown undertones)
981 Tundra Orange (because this is a transparent paint in a colour that is rarely otherwise granulating, with pinkish undertones and a good generally useful hue that will work well in mixing).
If you’re looking to buy sets, the Tundra set and the Glacier set are the best in my opinion, but it depends on what colours you use most often in your palette.
A drawing of a decrepit, old building in central Tel Aviv. Painted only using the new Schmincke super-granulating watercolours (Galaxy, Glacier, Deep Sea, Forest and Tundra). The only exception is the yellow, which doesn’t exist in this range.
My review of these colours will probably be up this weekend.
I met with friends for a meal for the first time in a little over a year and it was glorious. We were all vaccinated, and so we could sit down and talk over food and drinks in Tel Aviv that was starting to get back to normal. There are still plenty of signs that Covid is still with us: we were masked at first as was the staff, the first place we chose to go to had closed down and due to the new occupancy rules it was difficult to find a place that could seat us. None of that mattered as we sat down and talked and laughed for hours. I hadn’t realized how much I missed meeting people face to face until I finally had a chance to do so. As I was waiting for everyone to arrive I sat on a bench and drew the first thing that I saw in the dusky evening. In the end I ran out of time and light, but I decided to leave the drawing as is and not fix it at home. A true Urban Sketch that will forever capture the moment for me.
Day five of the One Week 100 People challenge, the final day of the challenge. I made it, using only pen and ink, and focusing on portraits the whole way through! It was tough but rewarding, and if I’d change one thing about it is get a better ink than Platinum Carbon. It kept drying up on me, and for the last four drawings I switched to a Lamy Safari fine with Noodler’s Black. That also wasn’t ideal, but it was better than the Platinum. I really want to test out the De Atramentis Document inks, but with shipping rates and reliability being what they are I’m stuck with three equally poor alternatives: Noodler’s Black, Platinum Carbon Ink and Rohrer and Klingner SketchINK. They all dry up in the nib and are hard starters, and the best of the bunch in terms of flow (Noodler’s) is the least waterproof of them all.
Anyway, I really recommend the One Week 100 People Challenge to anyone who wants to improve their people drawing skills, and I plan on doing it again next year.
Day four of the One Week 100 People challenge, and the one I struggled with most so far. Started really late and when I was tired, and barely got the daily twenty drawings in. Also first smudge of the challenge (no 70), but it’s something that looks relatively fixable. I’m gaining confidence, speed and a better insight to human faces daily with this challenge, so although it’s tasking, I intend on finishing it on time.
Day three of the One Week 100 People challenge. It appears that the street photographers aren’t exactly catering to sketchers, or they’d take more profile pictures than they currently do 🙂 I’m getting into a pretty good rhythm, and more importantly I’m getting better at figuring out where to start each portrait. Many start with a general outline, others start with the hair, or the nose->eyes->lips. Every day it gets a little easier to draw people, and though 20 people a day is still far from easy, I do feel like I’m getting the most out of this challenge this year because of my choice to work directly in pen and with no shading or paint.
Day two of the One Week 100 People challenge and today was more challenging than yesterday, mainly because I started late and had trouble finding decent photographs. Photographers apparently love photographing blurry people, masked people, people with their backs to them, other photographers (while they are taking photographs and their face is half covered by the camera), or people from a large distance. Some of them also love photoshopping their subjects to death, so I’m now able to find a half decent subject only every five or six photographs. Thankfully the pool is huge and varied, with people in all ages and from all over the world, so while things are slowing down a bit, I’m still grateful for the the opportunity to enjoy the work published in this wonderful group. Even if I can’t use all of the photos there, I am thoroughly enjoying perusing through all of them.
I’m doing the One Week 100 People challenge again this year (I skipped it last year but I have done it before). It’s a challenge that I find difficult but very rewarding, and this year perhaps more so than in the past. I’ve decided to work from Flickr photos, to challenge myself to draw every clear face that I see in the photo pool that I’m using, to work fast and directly in pen and ink. I’m also not hiding behind watercolour at the moment, but we’ll see for how long my resolve holds. These all took a minute or two each, and were drawn with a TWSBI Vac 700 with an EF nib and Platinum Carbon ink on a Stillman and Birn pocket softcover Alpha. There’s some feathering and spread with this ink, which I’m not enjoying, so I may switch to Staedtler Pigment Liner pens later this week.
In early January we had a bout of very foggy days and I took photos of various city scenes in the lockdown and the fog thinking that I’d later draw them. I thought that drawing fog in watercolour would be pretty straightforward, because what is easier than just drawing wet on wet and letting the watercolour do its thing? But after looking more closely at the photos I realized that fog isn’t just grey sky melting into the landscape, it’s also a muting of colours, a flattening of the landscape, the lack of shadow. In the end I drew two small landscapes, one urban and one of the park, and although they were challenging I enjoyed drawing them enough to want to have the same experience with the text. The grey writing in Hebrew in the bottom right corner is a line out of a well known rock song that embodies a lot of the spirit of Tel Aviv. It was written using Diamine Silver Fox on a semi-wet background, to facilitate ink spread.
These drawing also showcase a shift I have made in my palette and my mixing over the past few weeks. Once things settle down I’ll probably post about my new palette.