I haven’t posted a Moleskine limited edition review in a while, mostly because I stopped journaling when my mother was diagnosed with a new kind of cancer in the beginning of the year. Once I realized that I had cancer I chose the nicest Moleskine limited edition that I could see, grabbed a Kara’s Kustoms Render K and started writing.
This is the notebook I chose:
The Moleskine “I am New York” is the second of the “I am” series that I’ve tried out (the first being “I am London” which I bought in the Moleskine Covent Garden store). There’s another notebook which I haven’t been able to purchase, the “I am Milan” one. In any case the cover design on these notebooks is stunning, with a vibrant illustration of an iconic architectural aspect of the city they represent. In the case of New York, it’s Brooklyn Bridge.
The covers are made of fabric, which Moleskine has excelled at in recent years. This one is no different – the cover is very well made.
Here’s a look at the cloth covers without the yellow paper band. You can see how well the elastic band’s colour and the ribbon bookmark fit with the design even though lavender may not have been the most obvious choice.
Here’s the back cover and ribbon:
Here’s the front endpaper. It features the New York Times, a take away coffee and a bagel on a brown paper bag. Remember the bagel, we’ll be returning to that later on.
The back endpaper features a very imaginative summer scene in a city park, with various denizens of the city enjoying a lounge on the park lawn.
The Moleskine “I am New York” comes with a lovely postcard in the notebook’s back pocket, with a drawing by Carlo Stanga(who also illustrated the front cover) titled: “Where Fifth Ave Starts”.
It’s a functional postcard, but I’d just hang it as a small work of art in my cubicle or on my fridge.
The B-side of the paper band has a bagels recipe (remember the bagel from the front endpaper?). I haven’t tried it but it’s well drawn and a cute addition to this already great notebook.
I’m going to be using the Moleskine “I am New York” as my daily journal through these next few tough months, and I can’t think of a better notebook for the job. It’s a beautiful notebook that makes me smile whenever I pick it up.
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.
I bought this notebook in 2019, when I was last in London. Silvine is a well known UK notebook brand, and ever since I read about them in Roald Dahl’s work I have been looking to try them out.
The Silvine Memo Book is a 159x95mm feint ruled staple bound notebook with zero frills. The cover is made of construction paper, thinner than the standard Field Notes one. The corners aren’t rounded, and there’s no printing on the inside of the cover. The front cover is a big believer in the “says what it does on the tin” school of thought: it’s a British made memo book by Silvine.
The back cover has an ugly barcode and ref printed on it, and it really would have looked better with that barcode printed on the inside. Then again, this notebook is not about looks.
The grey ruling is 7mm wide, with margins left on the top and bottom of the page. It’s a bit wide for the format, but I’m guessing that they took their standard ruling and applied it indiscriminately to all their notebooks. The paper is where the Silvine Memo Book surprisingly shines.
The paper is smooth and coated, which means long drying times (though still shorter than Rhodia or Moleskine paper), but it’s also fountain pen friendly. The ink doesn’t feather or spread, and while there is some ghosting, unless you use stub nibs with dark inks the other side of the paper will still be usable. Very juicy nibs cause a small amount of bleed through, and the Sharpie, as usual is a mess, but otherwise Silvine have created a paper that can handle pretty well everything you throw at it.
The format of this notebook means that its place is on a desk, where you can use it to jot down a quick note with whatever is lying around. It’s not built for pocket carry (in terms of size or construction), and I would have liked the ruling to be 6mm or even 5 mm at this size, but as it is I don’t regret buying the Silvine Memo Book, if only for nostalgic value. It reminds me of Dahl’s short stories, and I like that it’s doing its own thing and not trying to be a Field Notes clone. If you’re in the UK, I’d have one or two of these lying around, just for the paper inside.
I am a huge fan of the Uni-ball Signo line, and the Signo RT 0.5 is my favourite gel pen body and my favourite gel ink refill (UMR-85N). In second place is the Uni-ball Signo DX (UMR-1 refill) and its less common brother: the Uni-ball Signo Needle, which is basically a Signo DX with a needle tip instead of a cone tip.
Like the Uni-ball Signo DX the Uni-ball Signo Needle isn’t as commonly found in the wild of stationery stores as the Pilot G2 or Pilot Hi-Tech-C. It does, however, come in a wide variety of colours, and unlike the Pilot G2 doesn’t blob and smear like crazy. It also has a needle tip that doesn’t wither the moment you look at it, unlike the Pilot Hi-Tech-C. It’s a workhorse needle tip gel pen with an excellent refill that doesn’t dry out even after spending years on your desk, and allows you to use it without worrying about babying its fragile needle tip.
I love the Pilot Hi-Tec-C but I’m well aware that I have thrown more of them away than I have been able to use (the tip bends, the ink dries up and the pen no longer writes, there are “bubbles” in the refills of the even more delicate multi-pen variants of this pen). I’ve yet to have thrown a Uni-ball Signo pen away, needle point pens included. The magic happens in the tip design, which isn’t a two part deal like in the Hi-Tech-C but rather is a DX tip that has been shaped into a needle point, as if someone had taken it between two fingers and squeezed it to form a needle tip. The result is a tip that is stronger with no weak points that are prone to bending.
You can see the difference between the Signo Needle tip on the top, and Signo DX tip in my Spoke pen on the bottom. It’s basically the same tip just tapered more acutely.
In terms of refills, the Signo Needle uses a UMR-1ND refill, which is the same as the Signo DX’s UMR-1 refill just with a different tip attached. This means that there are very few machined pens on the market that will fit the UMR-1ND refill because of the way the front of the refill is designed. However…
The Signo Needle refill does fit the Spoke pen! This is a fun bonus of them having the same refill design as the DX (minus the tip). So now not only can you have a reliable needle point gel ink pen with a variety of refills, it will also fit one of the best machined pens on the market (at least in my opinion).
I will point out that there is a tiny gap between the pen tip and the grip if you do use a UMR-1ND refill in the Spoke pen, however, the refill doesn’t wiggle in the pen and the gap doesn’t extend into the pen body – it’s just an aesthetic thing.
Here’s a writing sample with the Signo Needle 0.38. As you can see the lines are crisp and consistent even though I’ve had some of these pens lying around my desk for years. They are a tiny bit wider than the Hi-Tech-C 0.38 lines (just as the Signo DX 0.38 lines are wider than the Hi-Tech-C but thinner than the Pilot G2 0.38).
If you’re looking for a needle tip gel ink pen and are tired of throwing out broken Hi-Tech-Cs (or don’t like their somewhat spartan pen body), give the Signo Needle 0.38 a chance. It may be slightly more expensive than a Hi-Tech-C, but it will ultimately turn out to be cheaper because you’ll have a pen that you can actually use from start to finish.
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.
Schmincke recently came out with a new series of limited edition Horadam (artist grade) watercolour paints that are super-granulating.Granulation in watercolour is the an affect that is created when the pigments in the paint separate and settle in a diffused patten on the paper, oftentimes allowing other pigments that they are mixed with to show through. In my everyday watercolour palette Schmincke’s Ultramarine Finest (494) is a prime example of a granulating paint that I use both for its effect as an individual paint and when mixed with various browns and greens. The new 900 limited edition series of Horadam watercolours that Schmincke has issued is composed of 25 paints that are divided into five sets: Galaxy, Glacier, Deep Sea, Forest and Tundra. I decided to purchase all five sets out of curiosity, since limited editions in artist grade watercolours aren’t common, I already use Schmincke almost exclusively, and I’ve been embracing granulation more lately in my work.
The paints can be purchased in individual 15ml tubes (which is a lot of watercolour paint), in fancy wooden boxed sets of 15ml tubes and in cardboard boxes of 5ml tubes, which is what was available at my local art supply shop and what suited me to buy anyway. 15ml of watercolour paint is a commitment, and artist grade watercolour in general and Schmincke in particular aren’t cheap. The paints aren’t sold in half pans, which I would have preferred over the tubes, and which means that you are going to need empty pans or a palette to use them.
The Galaxy set includes Galaxy Pink, Violet, Blue, Brown and Black. There are some naming peculariaries in this entire series of paints, such as the fact that the paints are super-granulating but the set is called: Supergranulation on the box, and Super Granulation by the dealers. In any case, like all the colours in this set the paints in the Galaxy set have good lightfastness. They are all non-staining (which means that they can easily be lifted off the paper), the Violet and Blue are semi transparent, the Pink and Brown and Black are semi-opaque. This is the most vibrant of the sets, but don’t believe the photos on the package or in the various marketing materials, none of the colours in any of these sets really pops or is as vibrant as they appear to be. All these colours tend towards naturalistic, landscape painting tones.
The colours in the Forest Set are: Olive, Green, Blue, Brown and Grey. They are all extremely lightfast, the Olive and the Brown are semi transparent, the Blue and the Grey are semi opaque and the Green is opaque. I have no idea why the Forest Brown (944) is called Forest Brown as it’s not a brown at all, it’s more of a greyish green. Forest Blue is also a misnomer, as it’s also a green, this time one that looks like it was mixed with indigo. This is the most monotone of the sets, though if you are focused on landscapes, there are some interesting greens here.
The Glacier set boasts the best paint in the series in my opinion, the Glacier Green which is just a delicious paint to have on your palette – a phenomenal and unique green with pronounced brown undertones. I can’t wait to use it in my work, and I’ll be buying a 15ml tube of this. The rest of the colours in this set are Glacier Blue, Turquoise, Brown and Black. Despite what the marketing material may say, there is very little difference between the various blacks in these sets, and if I could I would have skipped all of them and used the Forest Grey and the Tundra Violet instead. All the colours in this set rate in the 4-5 star lightfastness range and all apart from the Brown (which is semi-staining) are non-staining. The Blue is semi-transparent, the Turquoise, Green and Black are semi-opaque and the Brown is opaque.
The Deep Sea set features the following colours: Violet, Indigo, Blue, Green and Black. The Green here is a misnomer, as it’s also a blue (with only the slightest green tinge) and the violet is greyish and flat compared to the Glaxy Violet (and in any case if you’re looking for a vibrant violet look elsewhere in Schmincke’s lineup). This is probably the most redundant set of the five, and you can pretty much skip the colours here without missing on much. Indigo, Blue and Green are semi-transparent, Violet and Black are semi-opaque. Lightfastness is very good to excellent and non of these are staining.
The Tundra set contains Orange, Pink, Violet, Blue and Green. Tundra Violet is another misnomer as the paint is practically black with a tinge of purple. This is the most staining set (Violet and Green are staining, the rest are semi-staining), but also a pretty mixable one. Orange, Blue and Pink are transparent, Violet is semi-transparent and only Green is opaque. It’s also one of the most compelling greens in the set, with it’s olive like tones and its pinkish undertones it’s both unique and generally useful for landscapes.
Schmincke aren’t selling these in pans, which is pretty inconvenient if you just want to swap one or two of these into your existing palette.
I first saw these paints on Schmincke’s Instagram and then on the Jackson’sArt blog. In both the paints are much more vibrant and with much more pronounced granulating, to the point of almost marbling, than what I got when I first created a the above reference drawing. I had a feeling that this was somewhat due to the extreme closeups that they took, and likely also the paper that they used.
In any case, since I and many others also use Stillman and Birn Alpha paper for watercolours, I decided to try and create a painting using these paints exclusively. In the end I also added Schmincke Indian Yellow (220) for the signs, but I didn’t mix it with anything else. As you can see, the granulation is still pretty pronounced throughout, but the colours, with the exception of the Glacier Blue aren’t exactly vibrant or saturated.
I then decided to break out the good paper, and tested the paints on 100% cotton 300gsm cold pressed rough watercolour paper. Here you can see the granulation at its best, and yes, as promised it is pronounced in all of these paints. Yet as I suspected the choice of paper does nothing to make these paints more vibrant, which means that I certainly won’t be using them to replace large swaths of my current palette or recommending that you use them exclusively (especially since there are no yellows here and the red selection is pretty poor).
Here are the paints all labeled (I got the Deep Sea Black and Green swabs out of order).
Here’s a very quick sketch with these paints on the cold press paper. They are built for washes and wet on wet work, and so relish this paper.
And here they are on Stillmand and Birn Beta paper, which is better watercolour paper than the Alpha but still not good watercolour paper. You still get much of their effect here, especially if you don’t much around too much with the paint. These aren’t the best for mixing on the palette but do work well with layering and working wet on wet on the page. If you like to put down paint in washes and see what it does, these paints are for you. If you like to work in a more controlled fashion, you likely aren’t a fan of granulating watercolours anyway.
You can see the granulation here, and some of the best colours in this set at work (Tundra Orange, Glacier Green, Tundra Violet, Forest Green, Tundra Green and Glacier Brown).
Again you can see the granulation at work and how the effect lets the whiteness of the page show through, bringing light to a dark patch.
So, would I recommend all 25 paints? Of course not. Of the paints in these sets here are the ones that seem worthwhile:
963 Glacier Green (the best of the bunch!)
983 Tundra Violet (a great replacement for black in your palette, if you have it)
952 Deep Sea Indigo (bonus points for a transparent indigo with reddish purple undertones!)
964 Glacier Brown (the best brown of the bunch and the most saturated of them, with dark black green undertones)
942 Forest Green (a saturated green in a natural but not easy to mix colour with reddish undertones)
985 Tundra Green (a natural greyish yellow green that is not easy to mix and has brown undertones)
981 Tundra Orange (because this is a transparent paint in a colour that is rarely otherwise granulating, with pinkish undertones and a good generally useful hue that will work well in mixing).
If you’re looking to buy sets, the Tundra set and the Glacier set are the best in my opinion, but it depends on what colours you use most often in your palette.
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.
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.
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.
This is the second of the two Moleskine Sakura Peanuts limited edition notebooks, the pink version. To read about the white version click here.
The first three photos of this edition came out wonky, particularly the first one. I’m still waiting on a better light so that I can take better photos, but for now just look at the photo of the cover without the band to see this notebook’s true colour.
You can see how well Moleskine can design things when it tries, as the bellyband Sakura leaves align exactly with the print on the cover. This too is a fabric covered notebook with no 3D effect and a shiny, silky texture to the fabric. Moleskine seems to be letting the vibrant (ignore the colour in the photo below) pink of the cover to do the heavy lifting here, and I don’t think that’s warranted.
The back cover is a repeat of the white version back cover. The paper is 70gsm, but that’s not listed on the bellyband. It does state that it is acid-free and 240 pages, so I have no idea why the paper weight isn’t listed here but is listed on Moleskine’s site.
The spine is also plain, which is a shame. A nice Snoopy print on it would have made it much more appealing.
So here we have the front cover, minus the bellyband, and in its true colour. I find this cover aggravating. Unlike the white version of this notebook there is no unifying colour scheme between Snoopy and the falling Sakura petals. Snoopy’s white fur doesn’t count here when he’s hugging a bright red heart, and not a pink one. Here there is no excuse for Woodstock not being on the cover (Snoopy’s heart already breaks the pink and white colour scheme). There’s also no real design here: there’s a bunch of falling petals and a Snoopy stuck on top.
Incidentally you can see how well the fabric is attached to the covers by taking a look at this back cover. The notebook got dinged in shipping, which caused the cover to crinkle (bottom right corner of the photo). The fabric is still firmly attached, with no air bubbles or separation between it and the boards below. Impressive.
If the front and back endpapers of the pink edition would have been different from the white edition then this would have redeemed this notebook in my eyes. As it is they are exactly the same as their white counterpart, and as in the front cover the disconnect between the Sakura petals and the Peanuts characters is jarring.
That white page on the left of the back endpapers is just tragic.
I like the choice of pink in the ribbon and elastic, as it’s more vibrant and pops off the page.
The B-side is a repeat of the white version. Again the theme of Sakura and Peanuts is side by side, with no real connection between them.
And the same rather depressing sticker selection as an added bonus to this edition. Rarely ahve stickers made me sad, but here they have.
The Moleskine Sakura Peanuts pink limited edition notebook makes me angry. This edition is a clear, phoned in, money grab. People pay a premium for Moleskine’s design, and this notebook wasn’t designed. It was cobbled together from a bunch of unrelated images, with no effort made to meld the two themes, to do something creative with them, or to even give the notebook user the feeling that someone put time and attention into this edition. Its highlight is the fabric on the cover, which is something that Moleskine nailed a few years ago. This edition will sell out, and I will use these notebooks, but I hope that this is not going to be the direction Moleskine chooses for its limited editions in the future.