Shopping from My Stationery Stash: Brush Pens and Lead Holder

I went “shopping” in my stationery and art supply stash again, and this time used a Hahnemule Cappuccino sketchbook, a uni-ball sign pen, a Faber Castell PITT artist brush pen in light green (171), a Tombow ABT water based dual brush pen (I only used the brush side not the felt tip pen side) in light grey (cool grey 3 – N75), and a Caran d’Ache + Alfredo Haberli Fixpencil with a blue 2mm lead.

I used them all to draw the protest scene from this Saturday, using a photo I took during the protests. It was intensely hot and humid, and I went to the protests right after running a Dungeon World game at a small local tabletop roleplaying convention. With no art supplies on me, the best I could do was try and capture the scene to sketch later. When I was pulling things out to try out with this sketch, I decided to veer away from my comfort zone: I used tinted paper, a sign pen, mixed media, and an unusual colour. I like the result – for a quick sketch it captures the energy of the moment well.

I like the Hahnemule Cappuccino sketchbook. The paper is smooth but has a touch of grain to it that makes it work for pencils as well. It’s way too thin for wet media, but works great for brush pens, pencils, markers, etc.

My main sketching tool was the Uni Sign Pen. This is the first time I’ve used a sign pen for “serious” sketching, as I normally only use them for illustrations that I gift to friends’ kids. I like it – it has relatively little line variation, but on the other hand offers more control, and a good bold line. If you are dipping your toes into brush pens for sketching for the first time, this might be a good place to start to get a feel for the kind of thick lines these kinds of pens create.

The Faber-Castell PITT brush pen is a classic, one that I’ve used many times before in sketches. I’d love to say that they don’t disappoint, but like most soft and medium soft brush pens, the tip doesn’t last for long. They do come in lots of great colours and if you cap them they last much more than many other markers and brush pens in the market. They’re also waterproof, which is a bonus if you’re mixing them with wet media.

The Tombow dual brush pen is completely new to me, and I liked it enough to want to add it to my current sketching setup. It works well for quick shading (and shading and colour make sketches pop).

The Caran d’Ache + Alfredo Haberli Fixpencil… This is something that I want to properly review sometime in the future, so it’s been waiting on my desk for a while. For now I’ll just say that it did the job, although I have other pens and pencils that would have done the job better.

I also sketched our friend Joe during our weekly Zoom meeting, also on the Hahnemule Cappuccino and using the Uni Sign Pen. This was a very quick sketch, done it 2-3 minutes, and the sign pen does well with expressive lines.

Now go rummage in your stationery/art supply stash and find something new to play with. It’s guaranteed to make you smile.

Majohn Q1 Bent Nib Fude Fountain Pen Review

First thing’s first: if you are looking for a writing pen, then the Majohn Q1 mini fountain pen is likely not for you. While you can purchase it with an extra-fine, fine or medium nib, it’s weird body shape would likely make it uncomfortable for long writing session, and as it’s an eyedropper filler, it’s designed to have a giant ink capacity, normally suitable for long writing sessions.

If, on the other hand, you are looking for a fountain pen to sketch with, the Majohn Q1 may be a very worthy addition to your kit.

The box. I love the “Feel the temperature of writing!” inscription on it.

I purchased the Majohn Q1 bent nib fountain pen after seeing Paul Heaston use it in one of his sketches. “What is THAT?!” I asked, and immediately set out on getting one. This weird looking fountain pen reminded me of the Tombow Egg pen (google it. I’ll wait), which I always wanted and never got because I couldn’t afford one at the time. The Majohn Q1 appears to have almost the exact same design as the Tombow Egg, with a few minor details in the trim and molding of the grip section. I purchased mine on Amazon for $22.

What’s in the box: fountain pen with bent nib installed, eyedropper, and a spare medium nib.

The box the Majohn Q1 arrives in is good looking enough to gift someone. Inside there’s the pen with the Fude/bent nib installed, a spare medium nib (the bent nib is an “aftermarket” installation) and a glass eyedropper that you can use to fill the pen with. The pen itself comes installed with an o-ring so that it can safely be eyedroppered. I filled mine with De Atramentis Black Document ink, which is waterproof when dry.

I filled the pen only to 3/4 and still it holds a tremendous amount of ink, especially for such a small pen.

Now the Majohn Q1 is a very small pen, that holds a very, very large amount of ink. That’s why I was interested in it, as I thought that it would be a perfect fountain pen to add to my urban sketching kit. I currently use a Sailor Fude DE Mannen fountain pen for my urban sketching, and it’s a favourite among urban sketchers for the expressive, painterly lines it creates. It is, however, very long and pretty unwieldy: difficult to pack, and sometimes awkward to hold. Here are the Majohn Q1, a Lamy AL Star and a Sailor Fude pen laid next to each other, for size comparison:

As you can see, the Majohn Q1 is pocket pen sized in length, and very, very wide. It can’t be used unposted, as is to be expected with pocket pens, but once it’s posted, it just becomes an extra wide standard length fountain pen:

The point of this pen is the bent/Fude nib, so here it is, in all the different line widths it can create:

And here’s the Sailor Fude for comparison:

The Majohn Q1 offers much more line width control and consistency than the Sailor Fude, but you sacrifice some of the painterly quality and dynamism of the Sailor Fude to achieve that control.

The Majohn, like the Sailor, isn’t perfect in terms of gripping experience. While it’s much easier to grip the Majohn in a variety of different angles to get a variety of different lines, there’s a pretty pronounced step between the pen body and the grip section that can be uncomfortable if that’s where your fingers naturally land on. For me, I grasp the pen either closer to the nib, or not on the section at all but rather on the pen body. I’d recommend trying it out first, but for $22, it might be worth it just to buy the pen and try it out for a while.

Here’s a sketch of a friend’s border collies sketched with the Majohn. As you can see, it’s relatively easy to get both a good level of control with this pen, a lot of line variation, and some of that painterly quality to the line that makes it more interesting and expressive.

Majohn Q1 bent nib, De Atramentis Document Ink Black, Moleskine Pocket Watercolour notebook.

Here’s the complete sketch, just for fun:

If you’re at all interested in fountain pen sketching, and especially if you are an urban sketcher, I recommend giving the Majohn Q1 bent nib fountain pen a try. It’s easier to control and to transport that a Sailor Fude, and holds a much larger ink capacity, which is great for long sketching sessions or when you need to block out a large section with ink. For such a low price you get quite a lot, and the learning curve is much less steep than with a Sailor Fude DE Mannen fountain pen. I don’t do calligraphy, but I assume that it could be worth a try for calligraphy as well, especially if you are looking for a travel friendly solution. And who knows, maybe you’ll get to feel the temperature of writing while using it…

Pro Democracy Protests Week 28

Brown Paper Bag Sketch

This is a 5 minute sketch of Belle, the Australian sheepdog. It was done with a Sailor Fude 40 degree fountain pen and Graf Von Faber-Castell carbon black ink on a paper bag that held my sandwich.

Black Labrador Retriever Sketch

This one belongs to a former colleague

At today’s pro democracy protest

10 minute sketch using a Staedtler 0.8 fineliner, Faber Castell Pitt brush pens and a pocket watercolour Moleskine notebook.

Urban Sketchers Sketchwalk to Gan Meir

I went to a very special Urban Sketchers sketchwalk and drink and draw today. The event celebrated the end of a special sketch swap between a group of sketchers in Barcelona and in Tel Aviv, and there were sketchers there from all over the world (Spain, the Netherlands, Canada, India, etc). We met at Gan Meir in central Tel Aviv for a sketchwalk followed by a drink and draw at the top of Libling house. It was hot, it was humid, and I needed a break by the time I got to the garden, so I went to the nearby Stephan Austrian Bakery for a cold coffee and a Sachertorte, a rare but much needed treat.

A lot of people came in to pick up an ice cream cone, including this little fellow:

For some reason he didn’t get any ice cream.

I then went back to the garden and started sketching the waterlily pool:

There was a group of ping pong players nearby, and I got hit by balls several times. I was also visited by several curious children. It’s all part of the Urban Sketching charm.

I then saw a group of kids with a metal detector, searching for treasure in the sand, so I sketched them quickly:

This was our sketchbook throw down, and I loved seeing all the different styles and sketch subjects together,

We then went to Leibling House nearby, and there saw some of the sketch swap participants’ work. We had a party on the roof, and I got to talk to sketchers from all over the world, and see so many different sketching styles.

I had to leave early, but I did get to check out Leibling House and see their Frankfurt Kitchen, which is pretty amazing:

Actual storage space, proper sinks for washing dishes and room to dry the dishes.

Storage space for dry goods, and foldable iron board. Perfect use of space.

What struck me most is how the sketchers from abroad saw and sketched the same tired old local monuments and tourist attractions. Through their work I got to see them with new eyes, and it made me want to visit them and try to sketch them myself. I also got to see Leibling House for the first time, and I plan on returning to it in the future, as it’s a wonderful museum and exhibition space.

Belle the Aussie

Trying out a new sketching setup so I decided to sketch Belle. She’s a young Australian Shepherd that belongs to a colleague and regularly comes to the office.

My Current Palette

So after writing this post about the physical side of building a new watercolour paint box, here is my updated palette. I’m using a new Moleskine Portrait Watercolour Sketchbook as my sketchbook of choice for the watercolour part of Liz Steel’s teacup course (that starts today), and so I used the first page to create an index for my current palette.

Every watercolourist’s palette is unique and full of choices that reflect their subject matter preference, the place they live in, and various personal idiosyncrasies. Please don’t copy anyones palette as-is (including mine), but rather understand the artist’s choices and tailor your palette choices to your own needs. To this end, I will explain some of the choices behind my paletter.

There are 24 half-pans in my palette, and 23 unique colours. Daniel Smith Hansa Yellow Medium now appears twice in my palette, once for mixing and once for using as an unmixed mid warm yellow. Yellow paints get dirty if you even look at them, and they are difficult to clean after a dab of this or that paint made its way to them. Of the three yellows in my palette I use DS Hansa Yellow Medium the most for mixing, which is why I opted to have a second half-pan of it this time (it’s a new change that I’m trying out).

Of the 23 paints, 15 are Schmincke Horadam and the rest are Daniel Smith. I’m pointing this out so that you feel comfortable mixing between paint manufacturers on your palette. This can be done so long as you are using the same grade of paint in each maker (artist grade, for example).

There are some classic examples of watercolour palette building in this palette and some that are a bit off. There are warm and cold sets of yellow (Hansa Yellow Medium, Lemon Yellow), red (Quin. Rose and Alizarin Crimson) and blue (French Ultramarine and Cobalt Blue deep), and there’s a rather standard set of earth tones (Pyrol Oxide, Monte Amiata Natural Sienna, Van Dyke Brown and Burnt Umber) but there’s some weird stuff too. I’ll be focusing mostly on the weird stuff.

There are three greens in my palette. I sketch mostly landscapes and having premixed greens saves a LOT of time. Of the three greens I use Sap Green the most, either by itself or lightening it with yellow or darkening it with blue. It also has a brightness and vivacity that you cannot obtain by mixing your own green. The two other greens are opaque (which means they don’t mix well), and cover two very common and difficult to mix green shades. Schmincke Tundra green is part of their super-granulating series, and has some pink undertones to it. It also covers a wide variety of olive coloured local plants. The Cobalt Green Dark is a brand new addition to the palette, replacing Schmincke’s forest green. This paint works as an “artificial” green, for things like benches and fences that were painted green, and a greyish-green for the many greyish-green local plants.

Then there are some “magic” paints. Schmincke Glacier Green is on the palette as a cool “glass” and sea blue, and it’s super-granulating and dual pigmented. You can see the pigment party going on with it in my swatch of this colour.
Liz Steel has influenced me to add an orange and a turquoise to the palette. They bring joy to the painting, the turquoise is useful as “glass” and “windows” when I want something brighter than the Glacier Green and the orange paint is much brighter and more alive than any mixed orange that I could ever hope to create. It’s useful to add a splash of colour to a painting, to help focus the eye in a certain area. The two Daniel Smith blues on my paletter are also Liz Steel inspired, and at least one of them may be on its way out due to low use.

Paynes Grey Bluish is one of my most heavily used pigments, as part of sky and sea scenes, denim jeans, as a shadow colour, for asphalt and to darken other mixes. A must have for me.

The two violets on the palette are also personal choices, though the Tundra Violet will likely be replaced with something else in the near future. Purples are very difficult to mix without getting muddy not registering as purple, which is why the Cobalt Violet Hue paint on my palette. The super-granulating Tundra Violet is much less useful, and may find its way out my palette.

I hope this gave you some insight as how to think about the pigment choices that you make for your palette. Again – create your own palette and don’t just force yourself to use a copy of someone else’s

Teacup Sketching: On Failures

The wonderful Liz Steel is starting a new teacup sketching course, and I decided to enrol to it. I don’t have many teacups, but I do love the ones that I have, and I think that they are interesting objects to sketch. As Liz points out, many teacups and coffee mugs have vivid memories tied to them, and they oftentimes have interesting shapes, colours and patterns. I was also looking for a way to kickstart my sketching again, and as this is a short course (just 4 weeks) I thought that this was a good place to start.

As is customary in Liz’s courses, I created a “pre course” sketch: a teacup sketch to demonstrate where I’m starting from. I started with a pencil sketch and then worked over it with a Staedtler pigment liner only to have the whole thing ruined when I used a new eraser that was too aggressive for the paper. You don’t often get to see failures on display, so I’m attaching the photo of my failed first attempt so that we can all learn from my mistake.

I then decided to risk going directly to watercolour. The teacup I sketched was both complex in terms of shape and pattern, so going this route was not something I would have chosen if not for my initial failure. The result came out better than I expected. It’s far from perfect but it’s not terrible. A start that I can improve upon, at the very least.

Here is my failure sketch. You can see the mess of the paper. But if you don’t experiment and try new things, you don’t know what works and what doesn’t. That eraser is relegated to non-watercolour paper from now on, and it was a lesson worth learning on a sketch of this kind and not on something more precious.

Don’t be afraid to try stuff out. It’s worth it even if the result isn’t what you’d term a success.

Writing at Large

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