Diamine Inkvent 2024 Day 2

This is the Diamine Inkvent 2024 day 2 door:

The door

Day 2’s ink is Diamine Wilted Rose, a standard ink in a dark dusty rose shade. I tested it using a Lamy fine nibbed fountain pen.

The Col-O-Ring swab

Diamine Wilted Rose has an interesting colour and a good amount of shading. It’s dark enough to be seen on both white and cream paper (and it would work particularly well on cream coloured paper). It’s well behaved though it’s a wet ink, so I would shy away from using it in wide nibs. I find the decision to include it in a Christmas themed product like the Inkvent calendar a bit peculiar, but Diamine have made stranger choices in the past.

Writing sample on Rhodia paper

As Diamine Wilted Rose is pretty similar to last year’s Diamine Masquerade (minus the shimmer), I decided to compare the two swabs. Wilted Rose is darker and redder than Masquerade, and more easily readable. It is also a wetter ink that shades a bit less than Masquerade as it’s more saturated.

Which one of these do you prefer? I like Masquerade’s colour more, but Wilted Rose is a more practical choice.

Diamine Masquerade and Wilted Rose comparison.

Today’s bear sketch features a charity collectible teddy bear that was originally part of a pair, but when I purchased him had been separated from his counterpart. Joshua has his paw in a sling, and has a lovely Dean’s Bears face. There’s something childish and innocent about him, which fits the charity he’s supporting very well.

You can see Diamine Wilted Rose’s shading well here, much better than in the writing sample, likely due to the Midori MD Cotton paper.

Sketching sample on Midori MD Cotton paper

Here’s Joshua from the Two’s Company Dean Rag Book company. He’s a British bear, and I bought him second hand in York from a store called Mary Shortle’s.

Joshua the bear

Diamine Wilted Rose scores relatively high on practicality, as it’s a standard ink that is readable. It’s not a perfectly practical ink, as it’s on the wet side and you can’t use this shade of ink for everything. It is a good ink for journaling and personal correspondence though, as it’s an interesting colour of ink with a good amount of shading. I wouldn’t hesitate to use in my vintage pens.

In terms of theming, I think that it likely adds variety and interest to this year’s Inkvent but it’s not a very “Christmasy” colour (nor does it have a very festive name). It’s a good addition to the Diamine lineup, and while I don’t see myself buying a full bottle as I don’t use pink very often in my pens, it is a much better purchasing choice than yesterday’s Baltic Breeze.

What do you think? Do you use pink inks in your pens often, and would you buy a bottle of Diamine Wilted Rose? Would you rename the ink to something more seasonally themed?

Diamine Inkvent 2024 Day 1

This is the Diamine Inkvent 2024 day 1 door:

The door

Day 1’s ink is Diamine Baltic Breeze a shimmer periwinkle blue ink:

The bottle

The sample came out a bit rough because I tried to use a dip pen for the first few lines of writing.

The Col-O-Ring sample

Diamine Baltic Breeze is a gorgeous dusty, purplish blue in with a good amount of shading and a copper shimmer that really makes the ink come to life. This is a wet ink that will sheen if used in wide nibs.

Writing sample on a Rhodia

On the Rhodia there was some feathering and a lot of show through and bleed through, but as I was using a wide 1.1 Monteverde nib, this is to be expected. On the Midori paper there was still some feathering, but you can also see the richness and depth of this ink.

Sketch on Midori MD Cotton

Here’s a closeup on the shading, shimmer and sheen of this ink, and you can also see where it feathered a bit.

Sketch close up

And here is the bear that I sketched, Topaz, made by Dean’s Bears and bought in York.

Diamine Baltic Breeze is a gorgeous ink that doesn’t score high on the practicality side. It’s a wet ink that is pretty saturated, so it takes a while to dry, and the shimmer, feathering and bleeding doesn’t help it in the every day use department. I won’t be getting a bottle of this, but I think that it’s a great ink for the calendar, as it fits thematically and is an attractive ink. Sometimes a sample is all that you need to enjoy an ink.

What do you think of Diamine Baltic Breeze? Do you see yourself buying a bottle?

Shana Tova and Quick Update

  • Shana Tova to all who celebrate the Jewish New Year. The passing year has been an extremely tough one on a personal and national level. I sincerely hope that the coming year will be better in every possible way, that the hostages will return and we will have some much needed peace in our region.
  • I’ve had a lot of the worst kind of upheaval at work during the past two weeks and so I haven’t been keeping up with all the comings and goings in the stationery-sphere. There has been drama of the ugly kind, which I don’t intend to get into. I will just say that this blog is LGBTQIA+ friendly (I am a member of the community myself), and anyone equating homosexuality to murder is both extremely wrong and very hateful person.
  • I have had to take a break in the SketchingNow Travel Sketching course but am now returning to it and will be making a post about the second week of classes (Shapes).
  • I will not be participating in Inktober this year. I just don’t have the time for it, and I want to focus on working through the Travel Sketching course instead, as I have some travel planned for later this month and I’m hoping to incorporate what I learned into my travels.

SketchingNow Travel Sketching: Lines

So I just finished the first week of Liz Steel’s SketchingNow Travel Sketching course. I wrote about my material list for this course here and about the beginning of the first week here.

Liz started the week by suggesting that we approach sketching while travelling using a 7 lines principle: sketch the scene in 7 lines, which you can then flesh out to a full sketch. While I managed to do this for the first three Eiffel Tower sketches, I started to struggle once we got to complex buildings like the Big Ben.

This went well – Eiffel Tower with 7 lines as a start.

Here’s my two initial attempts with 7 lines, and then where I moved to my usual approach, which is trying to break a scene down to simple shapes (square, circle, triangle, etc).

Where things went wrong.

I then sketched the next assigned subjects using my own approach:

At which point I realised several things:

  1. I wasn’t really learning anything new this way.
  2. I hadn’t given the new approach enough of a chance before giving up on it.
  3. The 7 lines rule isn’t rigid. It’s an artificial limitation that’s supposed to encourage observation and decision making up front, not to have me counting every pencil or pen mark.

So with that in mind, I made two decisions:

  1. I can use continuous/complex/compound lines as part of the 7 lines. Liz uses them herself, and as they are quick to sketch and require acute observation they remain in the spirit of the rule.
  2. I can use up to 10 lines if I felt that it was necessary to convey perspective or complicated shapes.

Then I went back and sketched the following using this approach:

These came out much better than in the first attempt.

Then I sketched two Melbourne scenes:

The Auction Rooms came out particularly effective- 7 lines allowed me to outline the main interest point of the scene (the roof line), and also to outline a car, so I have a feel for the scale of the buildings.

I then sketched two local scenes. The top left scene was of two little egrets waiting to be fed by the local fishmonger. I got the tree, the egrets, the buildings and with two extra lines, the windows.

The bottom sketch was of a heron on a boat in the river. I got the river, the boat, the heron, and the buildings behind the tree line. I would have been very comfortable finishing both sketches either on location or from reference photos with this strong starting point.

The final sketch was of a very complicated building in Paris. I added a few more lines just for reference for where the columns are. Like the rest of these sketches it’s not 100% accurate, and there are slightly wonky bits, but I’m looking for speed and to capture the essence of a scene when I’m travel sketching, not for photorealistic reproduction.

I really struggled with the 7 lines idea at first, but then I allowed myself a bit more freedom within this framework and I found it to be very useful and also an easy idea to carry around with me as I look for interesting things to sketch. If I can envision the scene in 7 lines and it looks interesting with just those lines, then it’s likely worth sketching.

Coming up next is shapes, where we start to work with colour. I’m curious to see what the results will be.

Sketching Now Travel Sketching: Eiffel Tower and Big Ben

So the first week of actual lessons in Liz Steel’s Sketching Now Travel Sketching course started and already there’s been a slight change of materials.

As this week will be entirely focused on line drawings, I’m switching to a non-watercolour sketchbook. For the first part of this week’s exercise, which includes working from reference photos, I’m using the Midori MD Cotton notebook in A4. It’s neither a proper sketchbook nor the A5 size format that Liz recommended, but as she also requested to upload as few photos as possible to this week’s gallery (and no more than 6) and as we have quite a bit of work to do, I decided to at least use a large notebook so I can fit more than one or two sketches on a page and thus avoid the need to stitch photos.

Eiffel Tower

We have several scenes we need to sketch as quickly as possible, starting with just 7 lines to define the scene. The 7 lines idea worked quite well with the Eiffel Tower but broke down completely for me once we got into a complex building like the Big Ben. That’s when I decided to just work with shapes and let the architecture details on the building help me determine its length and proportions.

Big Ben

Generic rules like “start with just 7 lines” are nice ideas on paper, but they oftentimes break down when we’re faced with reality. I think that the 7 lines idea would actually slow me down when sketching on location (it slowed me considerably while I was at home, and it failed completely with the Big Ben), but the basics of contour, shapes, perspective, proportion hints work no matter what.

I will try the 7 lines for the rest of the week, to see if it’s just a matter of practice, but I suspect that it isn’t.

Sketching Now Travel Sketching Course: Material List

I’ve started Liz Steel‘s Sketching Now Travel Sketching course this week, and so I’ll be posting about my progress throughout the course.

I travel a few times a year and while I already sketch during my travels, I want to improve my speed and gain enough confidence to sketch in less than ideal conditions. I rarely sketch standing up, and I don’t feel comfortable sketching while I’m waiting in line, for instance, and these are useful skills to have if you plan to sketch while on a trip that isn’t dedicated to sketching.

As usual with Liz Steel’s excellent courses, the first part is an introduction which includes an overview of the course, setting personal goals for the course, materials list/discussion and a review of where you are starting from.

I have decided to take a different approach to the materials requirements for this course. I have a pretty compact and set travel sketching set of materials, but I’m allowing myself to expand on it and change it a bit to experiment with some new techniques.

The first big change is the sketchbook I’m using. It’s a Hahnemühle A5 Watercolour Book, which includes 200gsm fine grain paper. I’ve never used it before, but as I regularly use the Stillman and Birn Alpha that Liz is using for the course and I’m not a huge fan of it, I decided to give this paper a spin instead. If it works it would be ideal for travel sketching, as it’s thin and lightweight, the paper takes watercolour washes much better than the Alpha, and I appreciate the elastic closure and hard covers. They are very convenient additions that should help me sketch while standing, and keep the sketches safe while I carry the notebook in my bag.

Hahnemühle A5 Watercolour Book

I’ve also changed my watercolour palette somewhat (it’s the bottom palette, not the top one). As I’m still not certain about it, I’m not fully documenting it at the moment. This course isn’t geared heavily towards watercolour, but I tend to like to sketch as quickly as possible on location when travelling, take a few reference photos and complete the sketch with watercolours later that evening.

The palette I’m using is the bottom one, with 24 colours, both Schmincke and Daniel Smith.

For the first time I’m adding watercolour pencils to my travel sketching kit. As Liz recommended I have a triad (yellow, red, blue), a green, a brown, a grey, a dark, and while she recommended having two lights, I have three. Why? Because having quickly available greens is very useful, the pink is useful for skin tones, and the ochre is too generally useful to be left out. All of these pencils are Faber-Castell Albrecht Durer.

Watercolour pencils.

Dry media is also more than double what I normally carry on me. Here the point is to experiment, and it’s very likely that I will say goodbye to several of these tools during the course. I normally use only Staedler Pigment Liners in 0.3, 0.5 and sometimes 0.8 when I sketch, but here I’ll be adding a Tomboq Fudenosuke brush pen to the mix, two fountain pens (a Lamy Safari and a Sailor Fude both with De Atramentis Document Black), three pencils (Faber Catelll 9000 2B, Rotring 600 0.7 and for the first time ever, Faber Castell 4B graphite aquarelle), an eraser and a pencil sharpener. I’ll also be using a medium waterbrush instead of my usual fine one.

Sketching media.

All of these tools will be carried in a Nock Co case, with the exception of the watercolour tin and rag, and a brush case.

Nock Co case, watercolour tin and rag.

I don’t think that I’ll be using these too much during this course, but these are my travel ready brushes. I keep them in a Ti2 design tube with glue tac at the bottom to prevent the brushes from moving. The brushes are Windsor Newton Series 7 numbers 4 and 7 and Rosemary & Co dagger brush 772.

Brushes

That’s the whole kit, and now it just remains to try it out and see what works and what doesn’t.

Protest sketch

Powerful speeches and half a million people at the main protest to return the hostages and for a better leadership this evening.

Bring them home now.

Sketched on location and watercolour added later as it was too dark to see colours properly.

Paris 2024 Breaking Sketch and Building New Palettes

I’ve been unhappy with my watercolour palette lately, and so I’ve been experimenting with new colours instead of some of the old ones. I usually swap out one colour at a time, try out the new colour for a while, and then either keep it or swap it out for something else. This time I’m doing my usual swap procedure, and also building a completely new palette on the side. The idea is to speed up the new colour discovery process, as there are 5-6 colours that I want to replace in my current palette, and that’s a lot.

The first colour to leave was Daniel Smith Cerulean Blue Chromium. I have too many similar blues and it’s slowing me down having to decide between them every time I need a blue. In its place I swapped Daniel Smith Rhodenite Genuine, which is a bright pink.

Samples of some of the colours I considered swapping in. Amethyst Genuine was a genuine disappointment – I don’t think I’ve seen such a bland, pale, washed out purple anywhere.

I then sketched one of the scenes from the 2024 Paris Olympics Breaking final, which I was going to see in person before I had to cancel my trip. Luckily my brother was there and sent me photos and videos, which I had fun sketching from. There was a lot of purple in this scene, so I had fun mixing Rhodenite with blues and purples on my palette.

Quick Paris Olympics Breaking sketch

The new palette is something I’m building in a Daniel Smith plastic paintbox. It’s not a box that I’d regularly use (it doesn’t have enough mixing space for me), but it’s useful for the testing I want to do.

This box came as part of a set of two, one of which had paints in it.

I then set up a legend in my sketchbook:

Next I broke ou the Alvaro Catagnet Daniel Smith Master Artist set and filled the pans with paint. I’ll give them 2-3 days to completely dry out before finishing the legend and trying them out. I would never have built a palette which is so heavily skewed towards reds, but this is part of the experiment – after a heavily blue skewed palette it’s time to try something new.

I can’t wait to give these new paints a try. I’ve worked with the Schmincke versions of Yellow Ochre (I no longer use it because of its opacity), Viridian (way to artificial a green for my tastes), Ultramarine Blue and Cobalt Blue, but it will be interesting to see Daniel Smith’s take on these colours.

Coffee cup sketch

I got a set of Bic Kids markers and decided to sketch today’s coffee with them. You don’t need expensive drawing supplies to draw, and not every sketch needs yo be perfect.