Dip Pens Part 1: Some Basics

It’s been a while since I used my dip pens, and since I had a project in mind for them, I thought I’d document parts of it here.

I was looking to draw a map, part of a series of maps for a D&D game. Since I was trying to get a certain look to these maps, I pulled out a mapping nib and a mapping nib holder, and some Sennelier Sepia ink.

The ink is shellac based and meant to be used in dip pens only. If you use it in a fountain pen it will destroy it upon first use. You only need to see how sticky these inks are once to understand that, but most of them helpfully provide warnings on the bottle.

The nib is a Leonardt 801 mapping nib, made in England by the British company Manuscript and purchased, together with the mapping nib holder at Cornelissen & Son in London. They have the largest and best variety of dip nib supplies that I’ve ever seen, and are used by many illustrators and cartoonists. The beauty of dip nibs, however, is that they’re pretty easily and cheaply obtainable. Speedball sells a kit that includes a wide variety of nibs, including a mapping nib, and two holders (a standard one and a mapping one, known as a crow quill).

What’s the deal with a mapping nib? It’s a small, round nib with an end that’s actually a cylinder, and you pop it onto the little peg at the top of the holder. Mapping nibs allow for very thin lines, and yet also a good line variety as the tines are sensitive to pressure.

If you’ve used a fountain pen before and then try to use a dip pen, you’ll likely be surprised by several things. The first is that most dip pen nibs, and mapping nibs in particular, are very sensitive to pressure. The slightest push down will give you more line variation that you’ll get from even the most flexible of flexible fountain pens. The second is that there’s no tipping material. That means more feedback from the page, and that you need to be aware of the directionality of the nib if you don’t want it to snag and spray ink everywhere. This is also why the paper you want to use will be smooth. Smooth surface cartridge paper is your friend.

India ink (the shellac based ink used for dip pens) lays on top of the paper and retains a level of gloss and a dimensionality that you just don’t get with fountain pen paper. You can feel the ink lines with your fingers once the ink dries. The ink dries quickly, and is sticky and staining when wet, so beware of nice clothes and wash your hands well once you’re done.

You can see the line variation and shiny properties of the ink.

The nib itself needs to be prepared before you use it for the first time. New nibs are coated in oil and sometimes with wax before being packaged. This prevents them from rusting, and helps them not stick to each other too much as they’re being packaged. If you use a new nib without preparing it, you’ll be disappointed. It will carry little to no ink, and you’ll find yourself dipping the nib again and again. The map above was made with 4-5 dips only, using a new nib, but one that I prepared.

How do you prepare a dip nib? The simplest and safest way (no, don’t take a lighter to it) is as follows: gently clean the nib with water and dish soap (you can use a soft toothbrush if you want, but it doesn’t really require scrubbing) and then put it in cup with boiling water for 1-2 minutes. Then fish the nib out and dry it very, very, very well with a paper towel. You don’t want to air dry the nib at any point or it will rust.

You can see that the ink is raised above the paper and retains its shininess

You can use fountain pen ink with dip pens, but I don’t recommend it. Fountain pen ink is thin and water based, so it doesn’t cling to the nib like India inks. You’ll be dipping a lot more often, and your results won’t be as good. If you plan on using a dip pen to test out fountain pen inks, know that your test will only show the colour properties of the ink but not its flow (wet/dry). Also don’t use a mapping nib for that – mapping nibs are best used for small sketches, maps, things that require very thin lines and some line variation.

When I work with a dipping nib I keep the nib constantly wet with ink (not water!), and immediately when I’m done I either wash the ink from the nib and dry it very well, or I wipe the ink off with a cotton rag if I just plan to take a short break. Ink left to dry on the nib may clog it (particularly with mapping nibs), and soaking a nib in water will cause it to rust.

You may find dip nibs in flea markets for very cheap, usually in a pile in a little box. Check if they aren’t rusted (don’t buy rusted nibs), and then clean them as you would a new nib (water, soap, heat).

I’ll be going over various kinds of India inks and various kinds of nibs in future posts, but in the meanwhile if there’s anything that interests you in dip nibs let me know in the comments.

Inktober Day 10: Sunrise of the Independence Garden

Had an unusual start to the day, with an early morning walk before my usual morning run. I’m embracing the spirit of experimentation with these, so this one was sketched using diluted Sennelier shellac based ink (non fountain pen friendly) in waterbrushes, paired with a fine nibbed TWSBI ECO filled with J. Herbin Emerald of Chivor, and a Diplomat Aero with a fine nib filled with Colorverse Golden Record. The Midori MD Cotton paper does not take nicely to any amount of moisture and there was bleed through (and of course see through) to the other side of the page, but in general it held up much better than I expected.

Independence Garden at Sunrise. Playing about with various kinds of inks.

Here are all the tools used for this quick sketch:

From left to right: waterbrush filled with blue in, waterbrush filled with sepia ink, TWSBI ECO, Diplomat Aero and a waterbrush filled with water.

And here’s the complete page:

Ink Wash Sketches

Inspired by Gabi Campanario I’ve taken some waterbrushes and filled them with diluted shellac based ink from Sennelier. At first I only had Burnt Sienna ink that I bought years ago from Cornelissen and Son (one of my favourite art supply shops in London), but I purchased a bottle of Prussian Blue and Cobalt Blue to add to it. The bottles have pipettes which make using them to fill a waterbrush convenient, unless the brush has a valve on the body, in which case you’ll need to dip it inside the bottle, and you’ll have issues filling it fully.

Here are some sketches done with the Burnt Sienna. The first one was done with a fountain pen and a single waterbrush filled with pretty diluted Burnt Sienna and was drawn on a Stillman and Birn Pocket Alpha. This was when I discovered that the ink dried lighter than I thought, and that layering it on this paper isn’t really an option. I didn’t get enough of a gradient, and it didn’t take long for the paper to start to disintegrate from the ink. Note also that the ink dries fast, and getting perfect washes with a waterbrush is practically impossible, even in such a small format. But I liked the result enough to experiment with it some more.

First try with ink in a waterbrush.

I then filled another waterbrush with a much less diluted Burn Sienna and water solution. Here’s the same Stillman and Birn Pocket notebook but a sketch with a little more gradient because I used two different ink/water ratios. I like the result better, especially on the trunk.

Second try, more contrast.

Then I got the Sennelier Prussian Blue that I ordered, and I filled two brushes with it, one diluted with water at about a 50/50 ratio, and another practically undiluted. I had enough of the Alpha paper, so I switched to 300 gsm cold press watercolour paper from Clairefontaine. Here’s the sketch, done with a Staedtler 0.1 pigment liner (I didn’t want the lines to distract from the wash):

Sketch done with Staedtler pigment liner of a fisherman in the sea.

And here is the result with the ink washes applied:

Result with ink wash.

I used the dark blue for the shadows on the rocks, and this time I could actually work with the ink (due to the quality of the paper) and blend between the Burnt Sienna and the Prussian Blue.

I loved this result enough to give these ink washes more tries. I will say that there have been some issues with them so far:

  • Many of my waterbrushes (most of my Pentel ones) didn’t allow the ink to flow to the brush bristles.
  • Some of my brushes leaked, and so I won’t be carrying them around in my bag without a ziploc bag to protect my bag contents from them.
  • The Cobalt Blue ink that I bought contains copper. It came with a warning label, and I’m not going to use it before I make sure I have a leak proof brush for it.
  • The behaviour of the ink is entirely dependent on the quality of the paper, more than any medium I’ve used before (including watercolour).
  • Waterbrush bristles deteriorate pretty quickly, and make fine detail work and brush control more difficult.

All that being said, I enjoyed using them enough in my sketches to continue using them for a while, and I recommend giving shellac (calligraphy) ink in a waterbrush a spin.

PS – these inks are NOT FOUNTAIN PEN FRIENDLY!
If you put them in your fountain pen they will ruin it.