Yom Kippur 2021

I had a strange Yom Kippur this year, as is to be expected. I decided to commemorate it in my sketchbook, this time using Faber Castel Albrecht Durer watercolour pencils in addition to my usual Schmincke and Daniel Smith watercolour mixture.

Drawn on a Stillman and Birn Alpha. Ink is Iroshizuku Ina Ho (lines), Robert Oster Fire and Ice (heading and text) and Sailor 123 (2021).

Carmel Market at Lockdown

Carmel Market, Tel Aviv, during the third lockdown.

This is the first time that I’ve used my new watercolour palette and I’m still figuring stuff out. I’m also using an 8’’x10’’ Stillman and Birn Alpha which is a large format that I’m still getting used to and isn’t the best for smooth washes. I’m embracing the patchiness here and letting the paint do its thing. More importantly, despite temptation I’m not making any adjustments to the new palette now, as I need more time with it.

Also, the Sailor Fude 55 degrees fountain pen is magic. I used one here with Noodler’s Lexington Grey.

OneWeek100People 2021: Day 5

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.

comfort pasta

Comfort Pasta Sketchbook Page

I think that there’s nothing better than plain pasta or pasta with a little cheese if you’re not feeling your best: it’s perhaps the ultimate comfort food.
I created this page as part of my Sketchbook Design course with Liz Steel, and this one is all about exploring how to use text as part of my page design. Gave Rohrer & Kilngner Helianthus ink a spin, which is also something that I decided to experiment with. Like many yellow/orange inks it tends to crystallize on the nib and feed, so I’m “sacrificing” a Pelikan Pelikano for the effort. Pelikanos are great beginners pens that don’t get much love in the community probably because they are less ubiqutous than Lamy Safaris and their standard nib offering is a Pelikan medium which is very wide. If you’re an artist I recommend purchasing one (with a converter), as they have less tendency to dry out (with permanent inks) than Lamy Safaris and they indestructible workhorses that have very smooth (and wide) nibs.

Drawing made with Schmincke watercolours on a Stillman & Birn Beta which I’m still on the fence about. It’s better than the Alpha for watercolour washes, but it’s still not great, and it’s not great for pen and ink or fineliners. Also the glue connecting the sections isn’t the best, as it needs forcing apart once you hit a new section, and oftentimes leaves an unseemly tear in the middle. The sketchbooks are good, I just wish that the sections were sewn together and that the paper would lean into being watercolour paper more – so that they would be perfect. However, changes like these would mean a price increase, which would make them unappealing, since a large part of the Stillman & Birn softcover sketchbook appeal is their price. In the end it’s a nice sketchbook that I don’t feel too precious about, which is the main point, and is why I’ll continue using it.

Sketchbook Design: My Tools

I’ve enrolled into Liz Steel’s Sketchbook Design online course, as I like the way Liz designs her notebook pages and I’ve taken an Urban Sketchers workshop (in Porto, 2018) which was excellent. Liz sent the first intro videos to the course to her newsletter subscribers, and so I decided to pick a sketchbook for the course (which starts on January 4th) and draw the tools that I plan on using in it.

The sketchbook that I chose is a Stillman and Birn Beta softcover A5 sketchbook, because it has watercolour friendly paper and I wanted to try that paper out. Here’s a sketch of my tools done with a Lamy Safari Petrol fine nib fountain pen and a Lamy Safari Dark Lilac medium nib fountain pen, both with Noodler’s Bulletproof Black.

I got carried away with the lines when drawing my palette, so I decided to roll with it and just use it to write down the paint details.

Here it is after applying watercolour:

It’s not perfect, but I like the way this page looks.

Here’s my Winsor & Newton Travel Watercolour box, filled with Schminke watercolours (some of them on their second or third refill from the tube). I love this paint box so much that I used my previous one until it fell to pieces. This is my new one, and it’s holding up well so far.

The fountain pens that I’ll be using: Lamy Safari Petrol F nib with Noodler’s Bulletproof Black, Lamy Safari Dark Lilac M nib with Noodler’s Bulletproof Black, Lamy Safari Charcoal EF nib with J. Herbin Bleu Pevench, Sailor Fude MF pen with Noodler’s Lexington Grey (Bulletproof ink).

My non fountain pens are my beloved Saedtler pigment liners in 0.3 and 0.7 and a Uni-ball Signo broad white.

The pencil I will use is a vintage Eagle Turquoise “Chemi Sealed” H drawing pencil. I just love everything about these pencils, and I really wish that they were still in production.

My brushes: a Raphael round travel brush, I’m not sure what size. There’s a good chance that I’ll replace it with a better round brush as the course progresses, as I’m not enamoured with it. The black brush in the middle is a Winsor & Newton Series 7 no 2 Kolinsky sable brush. The white and silver brush below is a Rosemary & Co R12 Sable/Nylon Dagger brush, and it’s a brush that I haven’t 100% mastered but that I’m growing to like with use.

That’s it for my tools at the moment. I’ll update this blog with my progress as the course takes place, and I’ll be sure to note if my tools change throughout.

Diamine Monboddo’s Hat Ink Review

Diamine Monboddo’s Hat intrigued me from the moment I heard the name and saw the colour, but I have too much ink already, so it took a while before I caved in and bought a small bottle of it, and then a while more before I had the chance to use it.

Ever since Lamy Dark Lilac made its appearance a few years ago all dark purple inks have been judged against it, perhaps unfairly. There is more than one shade of dark purple in the world, and in any case unless you’re really set on trying to replicate Dark Lilac’s hue there’s really no need to create that comparison. Let inks stand for themselves first, and then let people know how close they are to an ink they may own or look to purchase.

Diamine Monboddo’s Hat has a delightful name and was made in collaboration with the Fountain Pens UK Facebook group. Diamine’s collaborations have all been interesting so far, and this one isn’t different. Monboddo’s Hat is a reddish leaning deep purple with a green gold sheen that can easily be slipped into office use rotation without anybody noticing. I have used Tomoe River paper to bring out the most of its sheen and shading, but even here it’s not a wild ink.

It’s hard to get the lighter hue of the ink to show while writing, but I made a quick sketch which shows the colour variation Monboddo’s Hat has:

Use Tomoe River paper and tilt it a bit to see the greenish-gold sheen this ink provides.

You can see the sheen on the top row here. Looking at the writing without tilting the paper makes them just look like an almost black purple.

It was fun doodling around with this ink. Here’s a closeup on all that Monboddo’s Hat has to offer:

The sketch was done using a Nakaya fine elastic nib. Where I put less pressure and moved the nib faster you see the lighter shades of purple and less sheen:

I used a fine brush to draw this flower, and a drop of water to show that Monboddo’s Hat isn’t waterproof or water resistant (nor does it claim to be):

Sheen on display:

Regardless of if it’s a good substitute for Lamy Dark Lilac or not, Monboddo’s Hat is a wonderful ink that is worth buying. The shade is dark but still vibrant, the sheen adds interest and pizzaz, and it’s a lot of fun to draw with if you have that inclination. Being a Diamine ink it’s also affordable and easily obtainable, with the added plus of being part of a welcome collaboration between a very old brand and a very modern community.

Diamine Aurora Borealis Ink

Diamine Aurora Borealis fountain pen ink was created by Diamine in collaboration with the /r/fountainpens reddit community, who chose the colour. I love teal inks, but at first I thought that I had enough inks that are close enough in colour to skip this one. I have no recollection of how it landed in my basket during my last Cult Pens purchase 🙂

Beautifully designed label.

I don’t normally spend much time on the packaging, but Diamine’s 30ml plastic bottles are deep and wide enough to allow for filling even chunky pens, and their (relatively new) label design is splendid. This bottle is unique in that it has another label, crediting the /r/fountainpens community with selecting the ink colour:

Aurora Borealis is a dark teal with some red sheening, and a good amount of shading for such a saturated ink. It also dries surprising fast for such a saturated ink (although I wouldn’t call it a fast drying ink).

Swab on a col-o-ring card.

You can see a bit of the red sheen here, on the top of the “A” in aurora:

I a few inks that are in the region fo Diamine Aurora Borealis, but not many of them are swabbed. I will say that the ink is dark enough to be fine for office use, and that is still shows plenty of interest and character:

I tried it also on Paperblanks paper, and on Rhodia paper. In both cases the ink dried darker than it looked when I was writing with it, although the photos picked up less colour than it originally had. The best colour reproduction is in the final photos of Tomoe River Paper, further below. It is worth pointing out though that if you have a wet nib, you’re going to see darker results than you’d expect from the swabs.

Paperblanks

In any case Aurora Borealis came out much darker than it appears on Goulet Pens site, for instance, although not as dark as it appears here:

Rhodia

I gave the ink a spin on some (old) Tomoe River paper, and “opened” it up with some water and a fine brush. As is the case with most Diamine inks, Aurora Borealis isn’t waterproof or water resistant, and doesn’t market itself as such. It is, however, a lot of fun to draw with:

You can see red sheening on the happy little dormouse’s nose, as well as on the flowers. You can also see the shading in the flowers:

This is the best sample of all the properties of this ink: the relatively dark colour, the shading, and the slightly red sheen:

Diamine Aurora Borealis is fun dark teal ink that will likely appeal to anyone who likes teal/turquoise inks. It’s inexpensive and unassuming, and so you can take an interesting ink for a spin without spending Sailor or Iroshizuku money.

Cult Pens Iridescink by Diamine: Diamine Robert

When Cult Pens and Diamine came out with their first two “Iridescink” shimmering inks together they turned to the fountain pen community to name them, jokingly suggesting Robert and Maureen as possible names. The fountain pen community duly said “challenge accepted” and voted that the inks be called “Robert” and “Maureen”. I thought that this was a charming anecdote until I actually purchased three of the now four Cult Pens/Diamine Iridescink inks and realized that I with names like Robert, Maureen and Christine I would never be able to tell which ink is which.

This, of course, is a minor problem for an otherwise solid addition to the world of fountain pen inks. These inks are super sheening and generally well behaved, with a good solid base colour and an interesting sheen hue on top of it.

Robert, a purple ink with a green sheen (I will forever have to consult a guide when trying to remember which ink is called what), is one of the most attractive inks in the bunch. It features a reddish purple somewhat reminiscent of Diamine Amaranth, and a gorgeous green gold sheen.

On Rhodia paper with a Lamy fine nib you can see the green sheen on almost every downstroke. It’s also well featured in the swap I took in my Col-o-ring.

For the biggest sheen effect, of course there’s nothing like tomoe river paper. Here’s a quick sketch that I did on a Kanso Sasshi tomoe river booklet. As you can see the ink isn’t waterproof or water resistant (not that Cult Pens or Diamine claim that it is), and you can barely see the base colour in most places because of the heavy green sheen.

So why did I say that Diamine Robert is “generally well behaved” and not just “well behaved”? Because if you leave it unused in a pen for a day or two you may find that you need to “prime” the pen for a bit to get it to start to write. Once it gets going the ink flows well, but this is the sort of behaviour that makes me wary of using this ink in vintage pens. Your milage may vary, as ink flow changes with altitude and weather, but for now this gorgeous ink is relegated to “just” my modern pens. That’s more than good enough for me.

Diamine Earl Grey Review

Ever since I saw the first reviews of Diamine Earl Grey I have been fascinated by this ink, and only partly because I love, love, love tea. The colour seemed to have shading properties and tonal depths that were similar to the much coveted yet hard to obtain Sailor Studio 123. I had vowed to cut down on my ink purchases, but as I broke down and bought some Diamine Blue (i.e. Christmas) inks, I had to add a small bottle of Diamine Earl Grey to the cart.

Parker Vacumatic Major with an medium italic nib on a Rhodia No. 16 pad.

This ink is sheer magic. It is very legible (unlike many lighter grey inks), it shades like mad, and even on Rhodia paper you can see a bit of its tonal depth.

Shading on every single letter.

On Tomoe River paper the depth of its hidden tones really comes to light:

Drawn with the Parker Vacumatic and a W&N Series 7 #2 sable brush.

There’s blue, even slight hints of turquoise, green, yellow, shades of pink, and in the dark recesses hints of warm brown. It’s like the greys I often create on my watercolour palette: a mix of reds, greens and blues, with a dash of brown. The result is a rich, “living” grey that surprises you every time.

I’ll probably skip the Sailor 123 Studio Ink because the price plus shipping plus customs will make it painfully expensive. Now that I have Diamine Earl Grey I don’t feel like I’ve missed out.

Parker Quink Blue Black Ink Review

Parker Quink Blue Black is far from a new ink on the market: it’s been produced and in use for decades. So why bother to write a review about it now?now

Because Covid-19 happened, and it’s turned shipping and shopping into a challenge, and so I have found myself seriously contemplating a “desert island” kind of question:

If the only ink you can buy is ink commonly found in brick and mortar shops, which ink should you buy?

The obvious answer for me is anything Waterman, but specifically Waterman Blue Black, now renamed to “Waterman Mysterious Blue”. But Parker Quink Blue Black is just as readily available, and just as cheaply priced (more or less), and also a workhorse, utilitarian ink that packs a few surprises. So why is it not my go to ink? I’ll get to that near the end, I promise.

Two swabs of the same ink: how are they so different?

I took two swabs and writing samples of the Parker Quink Blue Black, mainly because I thought that the first swab didn’t show off the correct colour of the ink. The left hand writing sample was done with a dip pen, and the swab was done with a brush. The right side was done with Henry Simpole’s Jasmin pen and a Conway Stewart medium nib, with the swab being done with a q-tip. The right hand sample is truer to the colour of the ink, although you can get a more teal/turquoise colour out of the ink in certain nibs (as is true with Waterman Mysterious Blue). This changeability is part of the charm of blue-black inks.

It’s also worth noting that Parker Quink Blue Black both shades and has a red sheen, so it’s far from a bog standard, boring ink. Here’s an ink that can be fun at the same time as it makes you look serious.

Comparison swabs.

Waterman Mysterious Blue leans a bit more into the teal/turquoise side of things, but it doesn’t sheen as much as Parker Quink Blue Black. Here’s the ink on Paperblanks paper (I snagged a fountain pen friendly Paperblanks a few years back and have been using it to test inks ever since):

You can see the shading particularly in my swirls.

There’s a red sheen even on the Paperblanks paper, in every spot where the ink pooled (so the bottom half of these letters for instance):

If you can’t see the red sheen, look at the sample below.

And here it is on Tomoe River paper, showing off shading and sheen. The photo came out a shade lighter than in reality, but that was the only way that I could show some of that sheen off.

Parker Quink Blue Black is neither waterproof or water resistant, just like Waterman Mysterious Blue. Yet it takes a bit more time and effort to clean the Parker ink out of pens than the Waterman’s (my gold standard for easy cleaning ink). It’s vintage pen safe, and an excellent staple ink, available practically everywhere that sells stationery or art supplies. In times where shipping prices have skyrocketed and many places no longer offer shipping to all destinations, it’s good to know that there are still good, cheap and widely available ink options out there.

Stay safe and stay as much as possible at home.