As I’ve recently overhauled my sketching tools and have grown to like my new setup, I’ve decided to document my current sketching kit, as a reference to myself and others.
First up are my pen and pencil cases, the Nock Co Sinclair and Tallulah. I used to use the Sinclair as my main sketching case because:
It can hold much, much more than three pens. Much more. Mine had four Staedtler Fineliners, two or three Japanese brush pens, a white gel ink pen, five Faber Castell Pitt brush pens, a mechanical pencil, an eraser, a woodcase pencil, a sharpener, a waterbrush, and a folded paper towel square.
It has two zippers, which means that you can sneak in extra large pens, like the Sailor Fude ones, or full length pencils, and still zip the case around them.
The Sinclair is no longer my main case and I now use it to store a more extensive selection of sketching tools (mostly Faber Castell Pitt brush pens). The reason is that it can hold so many pens that I was tempted to fill it to the brim and bring all those pens with me. As I decided that to gain speed I needed to pair down my sketching tools and expand my watercolour palette, I replaced the Sinclair with the much slimmer Tallulah.
The Tallulah is marketed as a two pen case. Oh, Brad. I have four Staedtler Fineliners, a Uni-ball Signo Broad white gel ink pen, a woodcased pencil, three (!) Sailor Fude fountain pens and a waterbrush. If the Tallulah had two zippers instead of one I could have closed the case. As it is, I keep it open and propped up in my sketching bag, as sort of a pen organizer. If I need the Tallulah to close, I can pare down my pens to one or two Sailor Fude pens, lose the waterbrush (if I keep two Sailor Fude’s in my kit), and replace the woodcased pencil with a mechanical one, or lose the pencil entirely as I generally work directly in pen and watercolour these days.
The Tallulah is so slim and light that it really works with my low profile sketch kit. It’s actually the anchor around which I built my new kit, with the other two being the Stillman and Birn Alpha sketchbook that I’m using, and my Schmincke watercolour tin.
If you are an artist looking for a storage solution for your pens and pencils, I highly recommend giving the Nock Co Sinclair and Tallulah a try. They are handsome workhorses that can take a beating (especially the zippers) and can hold many more pens than you would normally imagine.
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.
If you follow any makers on YouTube you probably saw this ugly yet somehow charming little mechanical pencil in action. The Paper Mate SharpWriter is a strange beast, full of surprises. It’s a mechanical pencil with a twist mechanism in the tip instead of a click mechanism under the cap, it actually has a serviceable eraser, and it’s non-refillable. It’s as if Paper Mate saw the “Think Different” ad and said, “yes, but how can we apply that to a mechanical pencil?”
First of all, you can buy the Paper Mate SharpWriter in many different widths, as long as they’re all 0.7mm. This has the added value of saving Paper Mate the need to indicate the lead width on the pencil, because there’s only one width to rule them all. I can’t honestly fault them for that. It’s a pencil that’s meant for students and bills itself as having less lead breakage, and so 0.7mm is the way to go.
There are some interesting things going on with the business side of this pencil. First and foremost, that’s where the lead propelling mechanism is, which caught me by surprise. It’s a twist mechanism, and it’s pretty sophisticated as it allows you to easily extend and retract the lead to suit your needs. The second part is the “lead cushioning mechanism” which means that the lead springs up and down as you right, preventing you from breaking it if you exert too much pressure. It works, but I’m not a fan as it makes me feel as if the lead is broken inside and I have to extend it to get rid of the small broken piece and reach the “real” lead left inside. It’s going to take some time for me to get used to it.
The eraser is downright phenomenal, as it actually erases things quite well, and doesn’t tear into the page. The lead itself is a solid HB 0.7mm lead that is smooth and on the slightly darker side of HB.
The Paper Mate SharpWriter isn’t a pretty of fancy mechanical pencil, but it’s comfortable to hold, lightweight, and has a playful colour scheme that recalls a woodcase pencil. And like a woodcase pencil, it’s disposable, which is where my only real beef with this pencil lies. Yes, this is a student pencil, and so it’s likely to get lost or somehow broken (it’s far from flimsy, but where there’s a will, there’s a way), and if the pencil won’t be lost, the leads will, and yet… The last thing the world needs is more plastic waste.
So, do I recommend the Paper Mate SharpWriter? No, and not because there’s anything wrong with the pencil, it’s just that there’s very little justification for a disposable mechanical pencil when there are cheap, good and even great refillable options to be had in the market.
But I do understand the makers who have fallen for this ugly duckling.
Black erasers have become more common in recent years, with the Boxy perhaps being the most well known of the bunch. I have a few that I use regularly, and a few that just lounge in my stationery drawers waiting to be used. As I’m streamlining my sketching kit and the boxy is now the eraser I carry in it, I decided to test it out against the competition, starting with other black erasers.
In terms of price they’re all around the same price range with the Muji eraser being the cheapest of the bunch, and the dust catch and boxy being on the more expensive side of things.
I took out my Baron Fig Confidant, since I do all my pencil tests on it, and scribbled in it in a variety of pencils and even using a Caran d’Ache red blue pencil, though I don’t expect regular erasers to do well with coloured pencils.
The pencils that I used were the Blackwing 811 (a darker, softer pencil), a Viarco 3500 No. 2 (a standard HB pencil) and a vintage Eagle “Chemi-Sealed” Turquoise H pencil. These seemed like a fairly representative bunch of general writing pencils, at least in terms of graphite behaviour. Though I did later check them for art use, these erasers are meant to be used when writing more than when drawing.
I did a single eraser pass on the left hand side of the page, and on the right side I split each scribble into two and tried to erase it completely (leaving an untouched graphite barrier in between each side).
Then I tried to erase the coloured pencil, which I wasn’t expecting much success in, and here are the results:
A closeup on the one pass side. You’d normally not erase this way, but it does give a good indication of how good the eraser is going to be:
A closeup on the H pencil one pass attempt. I deliberately pressed down on the H pencil, because from my experience H pencils are easy to erase when you apply little or no pressure to them, but they’re pretty tenacious if you apply normal or strong pressure on them.
Here’s the split scribble test above and the H scribble test below:
Finally the Caran d’Ache red/blue eraser test:
At this point I was ready to give the victory to the Boxy, with the Mono Dust Catch a pretty close second, the Staedler Rasoplast in third place and the Muji eraser trailing behind. The Boxy and the Dust Catch also had the easiest “eraser crumbs” to clean (long threads of the stuff, easily brushed aside), and the Muji had the smallest and the worst. None of the erasers damaged the paper, which perhaps isn’t surprising considering that they’re all pretty soft.
I’d also point out that none of these erasers are what I’d call “best”. They’re good erasers, but even the boxy left graphite ghosts behind. There are better erasers on the market, but these in general behaved better than average (even the Muji), and the Boxy and Dust Catch are pretty good. They held up well even against the Caran d’Ache red/blue pencil, which surprised me.
Even though these aren’t “art” erasers, I decide to try to draw some doodles in pencils, ink them with a fine liner and check how much ink each of these erasers lifted.
Here’s the inking. You can see the pencil marks beneath, and I waited for the ink to completely dry before trying to erase the underdrawing.
The results were “ravishing” as to be expected:
You can look at the closeup below and see just how much ink was lifted. These are all terrible for art use, which again, isn’t surprising. I drew an ink line for reference under these, just so you can see how much ink was lifted. Also the top line of left hand dude’s sleeve wasn’t erased so you can compare that too:
The Muji erased faired the best at this part of the test, although I still wouldn’t recommend using it to erase underdrawings.
Of the four erasers that I tested, the Boxy and Dust Catch are the best, and of these two the Boxy is the one I would choose, because of its compact size and its slightly better performance. None of these erasers are terrible, but if you’re investing in a good box eraser (and you should) the Boxy is definitely one to consider.
And why are these black? Presumably to not show dirt, though I find that both frivolous and counterproductive. If the eraser shows dirt, then you know that may need to clean it on a bit of scrap paper before using it, so that it won’t transfer that dirt onto your clean paper. However, I suspect that the real reason is that black erasers just look cool, and the rest is just plain marketing.
I was going to write a blog post reviewing the Viarco 3500, and so I started writing a page of notes in my usual pencil review notebook (the Baron Fig Confidant). Once I started writing I realized two things:
The Viarco 3500 is a good looking but boring pencil. It’s an HB/No. 2 pencil that’s slightly gritty, slightly dark and soft and not much different than other branded pencils of its kind, like the Ticonderoga or the Palomino Golden Bear.
I wanted to reflect about the difficulties of drawing.
So here’s my page of notes on the Viarco turned into reflections on the drawing process:
This isn’t a “woe is me” post. It’s a “embrace the suck and take courage” post. Perspective is HARD. But it’s worth learning. And learning again. And learning again. And boy is it worth practicing. Why? Because while nobody is born knowing how to draw in perfect perspective, practically everybody can tell when the perspective is “off”. You can tell yourself that it’s an “aesthetic choice,” however, I do believe that you are cheating yourself out of something when you don’t even try to get the basics down. I know, I tried to do that for literally years. I have good enough hand-eye coordination that I could cheat some people some of the time. Then I tried learning it from books. I drew the boxes, the shaded ball, the room with the door and window, and I told myself that since I copied them so well, I now “knew perspective”. Hah. The minute a teacher sat me down and told me to draw the corner of a room, a still life of some boxes and a vase, and an old shoe the truth was all too apparent. I didn’t grok the principles behind those boxes and skylines and spheres and so I couldn’t extrapolate from them to the real world. I now have 11 plus years of knowing groking those principles and I still tell you that it’s hard.
You can cheat, and I did and sometime do cheat, the eye with colour and crosshatching, but it doesn’t take an art critic to point out that something is “off” in the drawing. The same goes for poor composition choices, muddy pigment mixtures, colours that unintentionally clash and cause unease. These are all very technical skills that require a good amount of studying and a great amount of practice to master. It doesn’t help that most of them are difficult to learn from books and tutorials and are still best taught in a live art class. It’s also frustrating that you usually work and work and work with little or no progress for some time and then suddenly your hand and eye and mind click and you jump forward a level or two. It’s so easy to give up before that. I have several times in the past. Then I found a new teacher and I got back to the grind.
Why do it? You don’t have to. Instagram and Facebook likes are independent of your drawing skills, and more related to tags, followers and how colourful and eye catching your work is. If you’re doing it for that, then there’s no point in doing it. But mastering the basics allows you to advance all your drawing skills at once, with great leaps and bounds. Every breakthrough I had with the basics allowed me to draw better, faster, with more confidence and to tackle subjects and locations that I otherwise would have avoided.
So, the Viarco 3500… It’s a good looking pencil to have around. Perspective, colour theory and composition? If you have any interest in drawing I highly recommend investing in mastering them.
When I was in London last year I picked up a few stationery items from Muji, most of them pencils that I hadn’t seen at Muji’s before. One of these items was a six pack of 2B natural wood-cased pencils. They looked gorgeous, they were very fairly priced, and 2B wood-cased pencils are my go to sketching tool (unless I think that there’s a chance that I may want to watercolour over the sketch, in which case it’s H for the win). If you have any interest in sketching, the 2B pencil is your best friend.
I don’t know what kind of wood the Muji natural wood-cased pencils are made of, but whatever it is it has a beautiful grain, it sharpens very well, and it smells lovely (though I doubt that it’s cedar). The pencils aren’t lacquered, but they do have a satiny finish that makes them lovely to hold and use, and like other Muji products, they have no logo on them, just the 2B grade boldly stamped in black foil.
Because of the natural finish and the woodgrain each pencil is unique and distinct, which is a nice bonus to natural pencils. They have no attached eraser, which is standard for sketching pencils.
They sharpen really well, whether using a knife or a sharpener. They don’t hold a point for long, but if you’re using them for sketching, you can just use a knife sharpened pencil and rotate the pencil to get much longer use out of it. The graphite doesn’t crumble or break easily, and it’s got a standard 2B darkness and point retention.
The Muji 2B natural wood-cased pencil writes a smooth, dark line that doesn’t smudge (unless you’re very determined), erases well and has the shading range that I expect from a 2B pencil (this shading range is what makes the 2B pencil the “goldilocks” sketching pencil grade). These are totally going into my sketching kit, and if I ever get a chance I’ll be buying at least another six pack again. I “chew” through 2B pencils at a terrifying rate, so these will come in handy. They are an absolute joy to use.
Yesterday was International Dog Day and so I decided to draw my friend’s rescue puppy. Nobody wanted this fellow because he’s blind in one eye, and it’s their loss because he’s a delightful scamp and a 14/10 dog. I’m so glad that he got a forever home.
So a few years back I was at the main branch of a local art supply change while they were getting rid of a large amount of inventory by slashing down its prices. I was there to stock up on art supplies, and most of the sale inventory consisted of poorly made knock-off pens and no-name novelty print pencils, so I skipped the sale baskets and made a beeline for the tills. As I was standing in line my eye caught a small basket in the corner of the nearest sale table. It looked like it was full of Faber-Castell 9000 pencils offered at a 10th of the price of a Faber-Castell 9000. I left the line and went to investigate.
Now my go to pencil for sketching is the Faber-Castell 9000, and although they are excellent pencils, they are not cheap, and I use to go through quite a lot of them. Here I was offered a pencil that looked like a Faber-Castell 9000, was made by Faber-Castell, at a “practically free” price. I couldn’t test them, as they were all unsharpened, but I dug in and grabbed a few of the weird assortment of harnessed on offer: 2B, HB and 4H.
They were Faber-Castell Regent 1250 pencils made in Brazil, and what little I could find about them was people saying that they don’t compare to 9000s. I of course planned to add them into my rotation, which is why I almost immediately lost them. This happens quite often with pencils in my house, since my cat loves to steal them and play with them, so I usually hide the good ones and let him play with ones that I care less about. The result is that when it comes time to looking for a certain pencil I only have a vague idea about the various areas it can be in.
Now that I’ve found them, to the review:
The Faber-Castell Regent 1250 are Brazilian made pencils that look like twins of the Faber-Castell 9000, minus the grey band on the tip. They don’t seem to be widely available outside Brazil, which is both frustrating and understandable. The Regent 1250 poses a risk to the 9000 sales: it’s a much cheaper counterpart that offers graphite performance that’s on par with the 9000. Artists aren’t usually swimming in money, and if FC made the 1250 widely available my guess is that their 9000 sales would take a significant hit.
The Regent 1250’s body is where is where it falls short of the 9000, though I sincerely believe that not enough to justify the reviews that it has gotten so far. The 1250 is cheap and offered in Brazil because it’s made of abundant cheap Brazilian wood. The result is a pencil with a woodcase that doesn’t sharpen as nicely or easily as a 9000, and that has a somewhat rougher finish when it comes to the lacquering.
The wood is not terrible, and it doesn’t chip and break in large chunks. You just have to put a little more elbow grease when sharpening with a sharpener. If you sharpen with a knife you probably won’t feel the difference at all. The lacquer isn’t pretty: you can see pits and bumps in it, though they are not deep enough for you to actually feel them. The wood on the pencil isn’t consistent in its looks or particularly attractive.
These pencils only look premium from a distance. Up close they look battered and bruised. However, these are meant to be artist tools not museum pieces, and what’s most important about them is their graphite. Everything else has to be good enough, and so far it’s been good enough.
I doubt that if I saw two sketches, one made with 9000s and one made with 1250s, that I could tell the two apart. The graphite looks and behaves practically the same, both in drawing and erasing.
It’s so tempting to look down at these pencils as cheap trash, but look what you can create with them:
The graphite is smooth, the pencils hold a point for a long, long time, and they’re a joy to use, especially since I don’t have to feel so precious about them.
If anything I wish I could have purchased a wider range of Regent 1250, but seeing how they work I doubt that FC would ever widely offer them outside Brazil, as they would cannibalize the sales of their 9000.
It’s frustrating knowing that a company has the ability to offer a good product for artists at a non-premium price and chooses not to. I understand the market forces at play, but I still find them annoying. And to all those who had a chance to use a 1250 and looked down on it: don’t judge a pencil by its lacquer.
Since I’ve been working from home I’ve had more time to dig into my stationery and art supply stash and add new things into my rotation. My favourite lead holder is a vintage Eagle Turquoise Prestomatic 3377, which is all metal and a little on the heavy side, but it’s a fabulous sketching tool. If I want to carry something lighter around I fall back to the all time classic Staedtler Mars technico.
I use these lead holders as sketching tools, and so they normally hold B or 2B leads from Staedler, Mitsubishi, or Caran d’Ache. Good quality leads aren’t cheap, so I expect any lead holder I use to protect them sufficiently well, as well as provide a solid grip that works in many drawing angles. Any added bells and whistles, like clips, a lead sharpener or a built in eraser, are just not things that I’ll use, so I don’t take them into account when I decide whether to purchase a lead holder or not.
The Caran d’Ache Fixpencil is not a new lead holder on the market, but it is a new lead holder for me. Something about its price range and design made me think that it’s a lead holder for people who like to write with lead holders, not so much for people who like to sketch with them. Lead holders ordinarily have a very functional, “tool-like” vibe to them, and not a lot of polish. Contrary to that, the Caran d’Ache Fixpencil is a sleek and polished thing of beauty.
Having used the Caran d’Ache 849 I was worried that the Fixpencil would have the same slippery texture, with a grip that isn’t up to the task. If I’m drawing with a lead holder, then I’m working fast and loose, and the last thing I want to worry about is the holder flying out of my hands. Unlike other lead holders, the Fixpencil doesn’t have a knurled or striated grip, but rather uses a sandpaper like texture on its grip section instead. As I shift my drawing angle a lot, I find that texture really unpleasant. I also wonder how superficial it is, and whether it will wear down to sleekness after a relatively short time.
The Fixpencil is a thing of beauty, with the same minimal branding as the 849, and the same clip and body design. Apart from the clip, there are no bells and whistles here, but that doesn’t detract from the holder. It comes with a B Caran d’Ache technograph lead, which is excellent.
I watched an live streamed concert from Ronnie Scott’s Jazz Club in London, and sketched the singer using the Fixpencil and a Leuchtturm1917 Sketchbook and it worked well. I would never use it as my main lead holder, as I don’t like the grip, but your milage may vary, especially if you plan to write and not sketch with it.
If you’re just starting your sketching journey I’d recommend the Staedtler Mars technico line, whether vintage or new. They are ugly ducklings, but they are great, relatively cheap workhorses. I’d recommend trying the Fixpencil before you buy it, as you may find its grip section as unpleasant as I found it, or it may be one of your favourite tools.
I was searching for a craft knife when I stumbled upon this cool pencil just lying around, being beautiful but of no use to anybody:
I’m pretty sure that I bought it somewhere in London, perhaps in the London Graphic Centre or in stationery section of Foyles, but in any case it isn’t new.
It’s an unlacquered woodcase pencil with a chequered print, a B grade core and it appears to be a Tombow Ki-Monogatari, part of their eco pencil range.
It has a silky smooth finish, and it’s one of the most attractive woodcase pencils I own. The wood is not cedar, but by the way it sharpens and feels it’s high quality stuff.
You can see the grain of the wood very nicely here:
And also come through the chequered pattern:
It sharpens like a dream, with a perfectly centred core and no splinters or chunks falling out. High quality wood, high quality design, so what about the core?
This is a Tombow pencil and one of the things that Tombow do exceedingly well is make woodcase pencils. Drawing with this pencil is a dream – it glides on the page, there’s no “grit” to the core, it offers a good range of shading for a B grade, it doesn’t smudge and it keeps a point really, really well. This is a grade A drawing pencil.
I found this pencil by accident, totally forgetting that I ever bought it. I have cool stuff, so why don’t I use it?
I have no idea what the actual model of the pencil is, I’m just guessing that it’s a Ki-Monogatari, which means that this isn’t a “you should buy it” review. It’s a “go open you stationery drawer(s) and see what cool stuff you find there” post. Treat yourself to the stuff you already own.
I was organizing some things around the house when I found a brown paper bag with the Muji logo on it, and in it was some washi tape and three wooden writing instruments: two mechanical pencils and a pen. There appears to be an advantage to being a forgetful unpacker, as I get to enjoy a little trip to a London based Muji store while I’m stuck at home in quarantine times.
Here are the three writing companions:
I was drawn to them because they were wood encased, and they had that very sleek, minimalist Muji design. They weren’t expensive, so even though I’m generally not a ballpoint fan and the mini mechanical pencil looked more like a novelty piece than an actual writing implement, I bought all three.
And promptly forgot about them.
Well now I’m giving them a spin, and I can’t help but be intrigued the most by the least practical of the bunch: the wooden mini mechanical pencil. It’s a 0.5 point pencil, which is pretty bog standard for mechanical pencils, but here’s where the standard ends and you venture into the wild world of Muji industrial design. The pencil is very, very, very, very thin and also very, very light. It makes all other pencils, mechanical or not, look like veritable giants around it. It is 0.6 cm wide, which is tiny, and it feels like a delicate little twig that will snap at any minute, making it quite the adventure to write with. You get a little thrill when you pick it up and scribble with it: will it break? will it survive to write another day?
Your own mini “Survivor” in pencil form.
The design of the cap and clip area are both peculiar and handsome. There’s a combination of matt and shiny aluminum parts that make a striking statement, especially on an otherwise minimalistic pencil body. There’s no branding anywhere, and no indication of the lead size that this pencil takes (though that isn’t hard to guess). If the metal bands serve a practical purpose I can’t think what it is. They seem a bit blingy at first for such an understated pencil, but I think that they do add to the design.
The pencil tip is very short and stubby, which adds to the kawaii of the pencil and yet keeps the tip visible. Which would be important if you could actually do any kind of writing or drawing with this pencil, but it’s just too thin to be used for anything but a sentence or two once in a while when you have no other choice. It’s like trying to write with a pen refill without the pen body: not something you would ever do unless it was an emergency and it was the only option you had.
All in all this pencil feels like a designer or a maker got a challenge to “make the smallest usable mechanical pencil possible, something nice that we can use in a Filofax ad”.
Now we’re back to normal pencil size world, and it’s time to take a look at the Muji Wooden Mechanical Pencil. It’s also a 0.5 pencil, and it has a very Muji/IKEA sort of look to it. It would definitely feel at home in an IKEA ad for a desk.
The wooden barrel is the highlight of this pencil, and since there aren’t many wooden mechanical pencils around and this was an inexpensive purchase I would recommend splurging for one if you have room on your desk.
I say “on your desk” because while the wooden pencil body is good looking and feels great in the hand, it is uncoated. This means that it will pick up dirt and dings from being carried around in a case, a bag or a pocket. Even on your desk it’s likely to become sullied with use, although I have had luck with using erasers to clean soiled wooden pencil bodies before.
The pencil is slightly shorter than a standard mechanical pencil, and it’s a very light pencil, but it’s absolutely usable, unlike its mini counterpart.
The Muji Wooden Ballpoint Pen is probably the one that I’ll use the most of all the bunch. It’s a 0.5mm needlepoint ballpoint that writes with a really fine, clean line. The refill, like the pen, is completely unbranded, but I’m pretty sure that it’s made by a large manufacturer like Uni-ball or Pentel. The only ballpoint pen that I have that writes remotely like this is the Traveler’s Company ballpoint, and this pen is more comfortable to hold and use.
The design aesthetic is the same as the mechanical pencil, very Muji/IKEA modern and minimalist. Like the mechanical pencil the wooden body makes for a lightweight pen that feels lovely to hold but is liable to easily get dinged and dirty.
The pen is on the thinner and shorter side when compared to other pens, so it isn’t the greatest for longer writing sessions. It is still a great pen for the price, as it’s solidly built with a good click mechanism and no wiggle in the tip or rattling while you write. Of the three I’d recommend this the most, as a general pen to keep in handy for those times that call for a ballpoint.
I’m drawing a lot of maps and schematics lately for a D&D game that I’m running so I’m using a slew of mechanical pencils for the occasion. Here’s the normal sized Muji wooden mechanical pencil at work on a Baron Fig Confidant: