Ghosts of Planner’s Past: Bullet Journalling

I’ve been putting off writing this post because of all the planning systems I discussed, this Bullet Journalling (BuJo) is such a big topic and the system that I’ve used the most and the longest, apart from GTD. This will be the last post in this series as I’m planning on starting another series of posts on a different “how I use my notebooks” kind of topic. The previous posts are here: Chronodex, Weekly Planners, Daily Planners, Filofax, GTD and Friends.

So, Bullet Journalling was started by Ryder Carroll as a very utilitarian, relatively simple, glorified to do list combined with a calendar and some forward planning. At first glance it looked like another GTD system, and it’s clear that they share a common ancestry. This is the first video that Ryder Carroll published on the topic. He’s using a Moleskine squared large notebook here (he’ll switch to a Leuchtturm once he hears about the brand from the Pen Addict podcast, and he’ll land a collaboration deal with them later on), and there are no Instagram worthy spreads, metaphysical musings on how BuJo can transform you into a more enlightened human being, or attempts to upsell anything. It’s like the early days of Moleskinerie and 43folders posts – a guy finds a way to manage his to do list that works for him, and may work for others and so he shares it. Ryder Carroll knows how to explain complex things succinctly and clearly, and the video is beautifully made. It gained a lot of traction at the time, although it’s clear that Carroll prefers that you don’t watch that version of the BuJo explanation.

This is version of bullet journalling is what I started using, and what I still sort of use to this day. Why sort of use? Well, because the basis of the system is a daily to do list with a monthly calendar (and a monthly review), an index and a set of “collections” which are basically project to do lists. I still use the daily to do list and “collection” lists, so I sort of bullet journal. But I also sort of don’t – because none of this is new or unique. To do lists with checkboxes written out on notebooks, with project lists alongside them? There’s a monster list of those. You can’t get a book deal and a stationery collaboration based on that, right?

The official Leuchtturm1917 Bullet Journal

Wrong. About a year passes from the original video, and Carroll signs a deal with Leuchtturm1917 and suddenly there’s an official Bullet Journal and a new video. Stuff gets added to the system. A future log. A whole set of new symbols instead of checkboxes. There’s an added aura of importance and self improvement sprinkled on top. This system will help you be a better person, not just a more productive one.

The included pamphlet – with a poem about BuJo no less – and sticker sheet

This is where the Bullet Journal system starts taking a problematic turn for me (and others, gathering by the comments to the videos). It starts becoming an Instagram thing. People spend hours making gorgeous, Instagram worthy monthly spreads. They spend money on templates, markers, stickers, and notebook bling for this. There’s an army of BuJo influencers. It’s no longer a “getting things done” system, it’s a “make pretty planner pages” system. Carroll inflates the system’s importance and “holistic” approach more and more. Out of curiosity I bought the second edition of the official Leuchtturm1917 Bullet Journal. My PTSD makes planning a real struggle now, and I was at the point where I was willing to try anything. Well, for quite a bit of money you get an overly thick notebook full of Leuchtturm paper, which is tolerably useful with fountain pens. Don’t expect Tomoe River levels of fountain pen friendliness, as there is spreading, and it doesn’t show off the full properties of all your cool inks. Then again, it’s not really meant for that. There’s also an added 12 (!) page manual about the system and a large sheet of planner stickers (and three ribbon bookmarks). There’s also stuff printed on the end papers that shows you how you can divide the dot grid page using the supplied markings. If you create tables often, I guess it’s useful. What I mostly feel using it is that it’s a lot.

Index page

Have you ever tried to write an essay using Microsoft Word? Have you ever been able to do that without futzing with the formatting, the alignment, the spacing, etc? Word is a program created with printing in mind, and it shows. Writing applications like Scrivener supply you with full screen blank canvases that contain zero formatting prompts because that’s how you get the actual writing done. What the Leuchtturm1917 Bullet Journal does is give you all the tools you need to distract yourself from actually planning your stuff as quickly and efficiently as possible so you can move on to get them done. It’s full of calls to design pages, and I had a hard time at first training my brain to ignore the noise that the notebook came with. Ignore the wide margins, the little division markings, the pages with titles, the stickers and the pamphlet.

Future log

But back to the Bullet Journal system itself: stripped of its self-importance and its need to preen for Likes and Favs, is it still useful as a planning system?

Let’s take a look at it part by part:

  • Index – I didn’t keep one. I think I might have tried this during the first month, but I gave up quickly on this. It’s too much hassle for very little gain. How many times a month do you actually need to find something in your notebook, and when do you not just flip through it? There were many GTD systems with indexes and indexing systems, and I never found the indexes useful.
  • Monthly log – I keep a version of this separately on a small “Rebel Plans” pad from the Well Appointed Desk. It contains a monthly calendar that’s shaped like a calendar (and not a list of days), with important days in the month circled in a different colour, with basic monthly goals and big monthly milestones/events marked on it. I keep it before my eyes constantly as I work, and so having it tucked away in a notebook doesn’t work for me. I also find listing on paper the events of the day for the entire month a waste of time. That’s what digital calendars are for, and they’re much better than paper ones for it.
  • Future log – a new invention made for the official bullet journal notebook. I tried using it and found it to be useless for me. If you want true long term goal tracking, I suggest you try the theme system journal or something of the kind.
  • Daily log – this is the heart of the system, and it works because it’s a to do list. See also my post about GTD. I fluctuate between using the dash-plus annotation system and simple checkboxes, but you can use whatever works for you, of course. The important part is, of course, defining your tasks properly – actionable, doable in a short amount of time, and something that you can and should be doing.
  • Reflections – these are just a rebranding of GTD reviews. These work well if you do them, but it’s been my experience that it’s very easy to stop doing them because who wants to review what you didn’t get to complete as planned?

So there’s good stuff in Bullet Journal if you are able to strip it down from its anxiety inducing beauty contest trends. The question is, will you be able to ignore all the Bullet Journal page design noise and make use of this as a pragmatic planning system, or will you get carried away and start decorating pages and comparing monthly spreads with people who do this for a living, as you buy yet another template and another BuJo perfect pen? I’ll leave you to answer that one for yourself.

Three ribbon bookmarks and divider markings closeup. You can also see the white margin all around the dot grid page.

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.

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.

Protesting
He was protesting too

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.

Coffee and cake.

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:

Work in progress

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.

The waterlily pond complete

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

Treasure hunters.

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

Sketchbook throw down.

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.

The exhibition

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.

Franklin Christoph x Stilo e Stile 03 Sparkling Rock

This review has been languishing in my drafts for the past two months, as life (and particularly work) has gotten so hectic. As I wrote the Franklin Christoph x Stilo e Stile 03 Sparkling Rock dry today, I thought that it was about time to finish this review and publish it.

The outer box

I don’t write much about packaging since I don’t care much for it, unless it is clearly overdone and something that unnecessarily added to the price. Franklin Christoph’s packaging is one of my favourites as the outer box is simple and elegant enough to be sent as a gift to someone, without being flashy. But what makes it even better is that many of their pens come with a pen pouch. These pouches are fantastic, and the one that I got features a velvety interior that protects the pens from scratches, and a grey, denim-y like external fabric that I really like.

Pen and pouch.

This collaboration between Franklin Christoph and Italian pen store Stilo e Stile is a model 3 pen with a gorgeous black, white and green resin with chatoyance, sparkle and a great deal of depth to it. Photos flatten it out and do it no justice. It’s a breathtaking material.

I purchased an extra-fine nibbed pen, and used it for writing and a bit of sketching using the Sailor Studio 224. The 224 grows a bit darker with time, but still features a lot shading and some gorgeous dual colouring. I was worried that it would be too light to be readable, but that was not the case.

Pen and Ink: Sailor Studio 224 ink sample written with the 03 Sparkling Rock

I have a few Franklin Christoph pens and I love the pens that they make, but this is the first Franklin Christoph pen that I have that has a pen clip. So while the model 03 is as well made and well balanced as the other Franklin Christoph’s I’ve tried, I did notice that the finial above the clip had a tendency to screw itself a bit loose sometimes. It never got to the point where it screwed off and got lost, and I doubt that it will, so it wasn’t really an issue, just something that I noticed. The clip is secured to the cap with a screw, and is robust and springy, and completely unaffected by the state of the finial.

Closeup on the finial and clip. My camera has issues with photographing the pen material.

This is the Sparkling Rock 03 as I used it, uncapped and unposted (you can technically post it, but I don’t see why as it’s long enough and clearly better balanced to be written unposted), and it is perfectly sized to be comfortable for long writing sessions. Unless you grip your pen with your fingers right on top of the nib, the two ridges in the end won’t bother you. I found them useful as they helped me position my hand better.

03 Sparkling Rock

The nib unit is a standard number 6 nib, and screws out easily, for both cleaning and swapping out. The pen itself, like all Franklin Christophes, is a cartridge-converter, and comes with a good quality converter.

Franklin-Christoph nib

This brings me to the reason for this review: in a pen market that features ever increasing limited-editions in ever increasing prices, Franklin Christoph offers a refreshing alternative. You can go to their website, find a variety of pen shapes in a variety of resins, know that you are getting a very good quality pen that will be a breeze to clean and maintain, and in many cases to convert to an eyedropper if you so please. And the prices aren’t eye watering. You can even splurge on an interesting nib grind, allow yourself to experiment a little, knowing that in the worst case you can easily swap out a nib on your own. It’s the ultimate fountain pen for those venturing out of the beginner pen group and wanting to experience something better, without paying gold nib prices or going the vintage route. It’s also very tempting to collect more and more of them, as you try out different shapes, sizes and resins, which explains why there are quite a few members in the 50th pen club (after buying 49 FCs you get the 50th, personalized, and for free).

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.

My watercolour palette for May 2023

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.

Direct to watercolour cup

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.

Failed sketch.

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