The Lego set came out well:
I somehow managed to not review my favourite pigment/fine liner, despite it being one of the sketching tools that I use the most. While I know that the pigment liner from Sakura is more popular is stationery blogger circles, and Copic is thought to be the elite offering (it sure is in terms of price), Staedler’s pigment liners have been my go to pigment liners since I was a teenager, and they have always been the ones I compare all others to.
All pigment liners are expensive to purchase here, and Staedler is no different, which means that I always stock up on them when I go to Cass Art in London. This 6 pen set is always on sale, and you get a useful selection of pen widths. However, if you are just starting out, don’t buy a set – buy a 0.3 and a 0.5 and if you want to splurge add the 0.1 and the 0.8.
Whether you use Staedler pigment liners or ones from another brand (Sakura, Faber Castell, Copic, Uni-ball, etc), the 0.3 or 0.5 will likely be your base, bread and butter pen. I generally use the 0.3, unless I’m feeling shaky, I’m in a hurry and want to churn out sketches/illustrations, or I want to go for a dramatic effect, in which case I go for the 0.5 or the 0.8. The 0.1 is a pen that I use for the opposite effect – when I plan to use watercolour or an ink wash and I want the colour or wash to take precedent. The 0.05 is a pen that I used to use when I was younger and drew comics (it’s excellent for fine details), but I hardly ever reach for it now, unless it’s to work in small format with a colour wash of some sort following. It’s a fragile pen, so if you tend to lean on your pens, this one is not for you. How can you tell if you put a lot of pressure on your pens? Write a page with a gel ink pen and check the back of the page. Does it feel like braille lettering? Does your wrist hurt? Then you’re putting to much pressure to use this pen without ruining the tip, and you may have issues with the 0.1 tip as well. I used to write like that and it took some practice for me to be able to use these ultra fine tipped pens.
So, why do I love the Staedtler pigment liner so much?
- It puts down a consistent, black line. This seems obvious, but I’ve tried more than one pigment liner that puts down a dark grey or washed out black line and it’s always disappointing.
- It’s a rock solid pen that won’t dry out, and has a robust tip. I’ve had terrible luck with Faber Castel and other makers where a capped (mind you, capped) pigment liner stopped writing reliably after a month or two. This has never happened with my Staedler’s, and I’ve had some for years.
- The pen body. This is what makes the Staedler’s the best of the best in my personal opinion.
So, what makes the Staedler pen body so great? It’s a whole lot of small things that just add up. It’s light weight but doesn’t feel flimsy, and it has a matte finish with a subtle lined texture all around, so its easy to grip. It’s also a bit wider than many of its competitors, and unlike many of them, it has the pen width clearly marked on both the pen body and the pen cap. It also doesn’t have any sharp edges, which you’d think would be an obvious in pen design, but sadly isn’t. Finally, it caps and posts and uncaps with a solid click, and without having to apply a lot of pressure. You know the pen is capped and the pen is uncapped when you need it. And if you so care to uncap it with one hand, you can.
Here’s the 0.1 Staedtler in action. There’s a photo of the sketch I made after applying an ink wash (Sennelier Burn Sienna India Ink diluted in water and applied with a brush pen), and one of the same sketch after I applied blue watercolour.
During a private tour of Nazareth last year (a present from my wonderful family in between chemo treatments), I met the guide’s young boy. His father told me that he wanted to be a clothing designer when he grew up, so I broke out my sketching kit and gave him every Staedler pigment liner that I had on me. His eyes lit up once his father explained what these pens were. If you have a budding artist, designer, sketcher, doodler in your life and you’re wondering which gift to give them, two or three Staedler pigment liners will always be welcome.
There’s been a dearth of new posts this week because I just started a new job, and while it has been great so far, I still haven’t adjusted to it. After being a recluse (out of necessity) for the past year or so, it was a bit of a shock to the system to meet so many new people face to face. I’m not sure yet how my posting schedule or content will change in the coming days and weeks, but I’m hoping that it won’t change too much.
I’ve started the SketchingNow Watercolour course, and I’ve done the first week of classes. This week is all about washes, so I created a grid of all the colours in my palette, showing how each one looks as a watery wash, a juicy wash and a pasty wash (what Mark Taro Holmes terms tea, milk and honey). This was a lot of work, but it did give me a better feel for the potential of the paints in my palette.
There was also an exercise that involved sketching vegetables with a set of juicy washes. Here’s the sketch in progress:
And after it was done:
This was a pretty simple exercise, but nevertheless a lot of fun.
My reading has been quite eclectic lately. I finished reading “Our Country Friends” by Gary Shteyngart and it turned me off the Tournament of Books list for this year. I’ve got very little patience for the plights of unlikable privileged characters that potter about a story with zero plot except having sex or trying to have sex with each other, and whining about their lives all the time.
I’ve read “Drive” by James S.A.Corey , the first short story in “The Expanse”. It’s completely skippable, so don’t feel the need to read it if you want to get into the series. Also, please don’t start “The Expanse” from this story – it may be chronologically first, but it’s their worst piece of writing so far.
I’ve started reading Ali Smith’s “Companion Piece,” which is a companion piece to her fantastic seasonal quartet of novels. I like her writing so much that I bothered to get a signed hardcover of this book. So far it’s shaping up as an interesting read.
Finally, I’ve plunged back into Henry IIIV’s England with “The Mirror and the Light” by Hillary Mantel. Her writing is mesmerizing and she really brings Cromwell, his peers, family, rivals and the entire period to life.
I’m experimenting with various kinds of new sketchbooks and sketching materials (as well as pens and ink) and I have thoughts about them. I just need to find some time to organize them into something coherent and write it all down. Meanwhile, here’s a quick sketch that I did on a paper bag during a zoom call, using a new brush pen that I’m trying out.
Have a great week!
Quick sketch with watercolour pencils and watercolours.
It was Independence day here today, so I took the opportunity to visit the Independence Garden and sketch for a while.
Decided to get some colour in today, by hook or by crook, and so there’s some watercolour, as well as some work with waterproof and non-waterproof fountain pen inks.
As a bonus for being so patient with my slow progress, you get a process video for one of today’s sketches 🙂
Today was all about live sketching of very fast moving people. I learned that I am very out of practice, and that I need to work looser than I normally would have. My hands were also not in the best shape, but I did get some nice poses and more sketches done than yesterday.
Drawn with a Lamy Safari fine nibbed pen with De w Document Ink Urban Grey, Schmincke and Daniel Smith watercolours on a Stillman and Birn 5.5” x 8.5 ” Alpha.
Day 1 of the OneWeek100People challenge. I’m drawing from Flickr photos, challenging myself to draw whichever people I see in those photos, and this time also work in colour from time to time. I’m not going to get 100 people in 5 days (my hands really hurt today, so I only drew five), but I am going to draw 100 people.
Drawn with a Lamy Safari fine nibbed pen with De Atramentis Document Ink Urban Grey, Schmincke and Daniel Smith watercolours on a Stillman and Birn 5.5” x 8.5 ” Alpha.
Sketched this spread despite my hands killing me throughout the sketch. I still have poor control over the brush but I sketched it despite that because I really missed drawing. So glad that I got it done.
Here are some process photos: