Tiny Voices, Part IV

Spring is now well under way in north Texas. The House Sparrows have fledged their first brood of chicks for the year. And most of our winter population of waterfowl have quietly departed for their summer homes to the north. But life (in all its glory) goes on and new plants, insects, and birds are appearing each and every day.

the G. Lalo paper handles a wide variety of media -- including pencil, inks, and watercolors -- with ease

Quietest and (in our neighborhood) rarest is the solitary pair of Killdeer that have taken up residence along the gravely shoreline at the south end of the main pond and in the freshly mowed, adjacent field. I for one am hoping they'll establish a nest (and that the mowers leave them alone!) It would certainly be a delight to add a sketch of one of their long-legged balls of fluff.

remarkably little buckling is experienced when working with wet media

Flocks of Cowbirds have also arrived and, as I watch them forage their way across the fields, I can't help wondering if they time their arrival to coincide with the lawn mowers. Of course, a lot of folks are critical of Cowbirds because of their predatory laying. But it's the way Nature planned it. And, since I have seen no evidence to indicate that the hatchlings threaten their nest mates, I personally take no exception.

WIP, 1st State - graphite and pen & ink

WIP, 2nd State

As the first signs of new foliage appeared on our trees this spring, House Sparrows took up residence in  every nook and cranny of our carport's metal framework. Sitting in my studio after the first brood hatched, I was treated to a chorus each time one of the parents arrived with a fresh, juicy grub or caterpillar for their forever-hungry young. But now the first brood of spring has fledged and most of the Sparrows have given way to a new (and equally vociferous) group of Common Starlings -- who have shown up in small flocks and by ones and twos rather than the massive flocks that wow us with their aerial dances in autumn.

binding & cover material are quite rugged but a leatherette slip cover 

is also available if added protection (or a little color) is desired

Tech Note --
This week I'm playing with mixed media in the Exacompta Sketch Book from Exaclare -- certainly one of the most unique, eye-catching sketchbook/journals I've come across due to its marvelous G. Lalo Verge de France laid paper (which is manufactured at the Schut Mill in the Netherlands) and the fact that the paper edges have been "silvered" to protect against both moisture and atmospheric contaminants. Unfortunately, the Sketch Book is not currently offered in the U.S. but I have been informed by Karen Doherty (Exaclare's Vice President for Marketing) that it may be reintroduced. (I for one certainly hope so, as I know of no other sketchbook marketed in this country that is constructed with laid drawing paper.)

  the beautiful "silvering" may be unique in sketchbooks 

(I've never encountered it before)

Tricks of the Trade -- How to Fill A Lever-Filler Pen (Completely)

fountain pens that lack a means of viewing the ink reservoir can leave you wondering about your ink supply 

Many of us have "discovered" the very affordable NOS Eversharp Symphony fountain pens (and their delightful 14k flex nibs) that have recently become available. But several questions have come up in some of the online chat rooms: how does one go about properly filling a lever-filler? How can one determine if it is full (since the pens' reservoirs lack clear inspection windows)? What is the ink capacity of the sac? And how can users carry extra ink (without making a mess) when journaling afield?

Well, not knowing the answer to any of those questions, I thought I'd try to learn the answers and share my findings with you.

Goulet Pen Company sampler ink vials

The last question (how to carry extra ink afield) was the first one answered  -- thanks to the folks at Goulet Pen Company. It turns out Goulet Pens routinely ships ink samples to their customers using self-sealing vials. These vials have an inverted cone base (which facilitates getting just about every drop out) and are calibrated in milliliters (with a 6 milliliter capacity). Goulet Pens ships these ink-filled vials in a zip-lock snack bag for added safety and I do the same when I carry one or more on sketchcrawls. However, I have yet to experience a leak of any kind from one of these vials. A pack of 10 empty sample vials (with blank stick-on labels) will cost you the princely sum of $2.95 plus shipping, or you can order a few ink samples and just rinse out the vials when they're empty.

being a visual person, I find a how-to video much more useful than step-by-step text

Maximum fill of the lever-filler was achieved through trial and error, but the method that I've found works best for me is as follows --

1. Raise the filler lever till it is perpendicular to the pen barrel.
2. Insert the nib into the ink bottle until it is completely submerged.
3. While keeping the nib completely submerged, slowly lower the filler lever back to the barrel.
4. Keep the nib submerged in the ink for a full 10-count. (This may sound like a long time to wait for filling to be completed but I actually got this time recommendation from a vintage Sheaffer instructional film.)
5. Remove the pen from the ink bottle and carefully wipe down the nib and feed with a clean, absorbent rag.
6. Holding the pen horizontally, gently shake it. (I do this over a sink, just in case.) If you feel or hear a sloshing move on to step 7. If there's no sloshing you're full.
7. Holding the pen with the nib up, SLOWLY pull the filler lever out again. You should observe air bubbles being blown out the nib's breather hole as remaining air is expelled from the sac. If ink appears around the base of the feed (where it meets the barrel/section) pause a moment and let it settle back into the sac. (My personal experience is that the Symphony's sac is only half filled by steps 1-6 and I gradually raise the filler lever back up to the full perpendicular position during step 7.)
8. Reinsert the nib into the ink bottle and repeat steps 3 through 5.
9. Your lever-filler pen is now completely full!

what you're watching for during the 2nd filling

3.5ml of ink -- enough for 5-7 days of everyday use

Sac capacity -- using the calibrations on the Goulet Pens ink vial I determined the sac capacity of my Eversharp Symphony to be a very respectable 1.5 milliliters -- about 1.5 times that of my TWSBI Mini and about three times the capacity of the average fountain pen converter unit. Not bad!

J. Herbin Bleu Pervenche on Rhodia vellum paper -- yummy! 

Cautionary note: You may wish to avoid squeezing every last drop into your pens (especially on cool days) as you may risk a situation in which the heat from your hands (or your chest if you carry your pen in a shirt pocket) causes the ink to expand and escape from the filled-to-the-brim pen.

Happy sketching!

Spring Wildflowers of the Lone Star State (Exaclair, Part 2)

suitably attired in my Hawaiian wildflower camo shirt

Despite the ongoing drought in Texas we managed to get enough rain in March and early April to bring out some of our colorful spring florals. Combine that with sunrise by 7ish each morning and temperatures in the 60s-80s range most days and you can probably understand why I'm thrilled to answer the siren song of the sketching muse every day now. 

On top of all that we celebrated Earth Day this past week and the materials from Exaclair have been pleading for my attention. (I know, it's a tough job but someone's gotta do it. Right?)

cream colored Clairefontaine paper

My first outing was with an orange Rhodia Webnotebook, kit bag, and camp stool. My intention was to do some pen & ink work. (This was, after all, satiny-smooth Clairefontaine -- THE fountain pen-friendly paper, yes?) But as soon as I began my preliminary underdrawing I discovered that this paper loves graphite too. It responded to the slightest variations in pressure and easily captured the pencil's full tonal range -- from subtle nuance to bold statement -- without the need for excessive pressure.

Limestone Gaura (Gaura calcicola)

cream colored Clairefontaine paper

I am a colorist by inclination, and generally prefer to work on a scale that fills both hands. But the intimate 3.5"x5.5" scale of the Webnotebook and the graphite-friendly surface of its paper mean that one need never miss a spontaneous opportunity. Every serendipitous surprise can be captured with ease. 

Verbena bipinnatifida

watercolor and graphite on white Clairefontaine

On a personal level, the larger size of the 148mm x 210mm cloth-bound Clairefontaine sketchbook is even more comfortable to work in for longer periods than the pocket-sized journals. And, while the 90g paper weight may be less than optimal for use with watercolor, it does handle modest washes without incurring problematic buckling. 

graphite on white Exacompta laid paper

Prior to the arrive of the sampler package from Karen Doherty at Exaclair, USA, in New York, I don't believe I had even read anything about the Exacompta product line. So, I was particularly surprised by the 148mm x 210mm Sketch Book, by the attention to detail (The paper's edges have been sealed with a silvery metallic coating to protect against moisture and airborne contaminants.), and by the classic laid pattern of the paper. 

in addition to our native irises, some popular garden varieties have gone feral

ink and watercolor on white Exacompta paper

Note for readers who may be unfamiliar with paper terminology: laid papers show the "chain" pattern of the screen they were manufactured on when held up to a light source, while wove papers (such as Clairefontaine) have a more uniform -- even smooth -- surface caused by the random interlocking or "weaving" of the paper fibers. 

watercolor and graphite on white Exacompta paper

Like the paper found in the Rhodia and Clairfonetaine journals, the Exacompta paper is both graphite- and ink-freindly. However, the Exacompta paper is heavier weight and handles watercolor washes without raising buckling/cockling issues. The surface texture is slightly toothier than that of Clairefontaine paper but without making wear on delicate nibs a cause for concern. 

watercolor and ink on ivory G. Lalo laid card

And then there's G. Lalo note cards. G. Lalo is without doubt one of the premiere stationary companies in the world but to suggest that this outstanding paper is "just" for letter and note writing is, I think, unnecessarily restrictive. The weight, surface texture, and sizing make this paper an equally beautiful choice for pen & ink drawings and watercolor painting. (In fact, the Lalo laid surface pattern make it unique among watercolor papers since most are wove rather than laid.) 

Kate and her sketch buddy

In Part 3 of the Exaclair series I'll delve more into the papers, structures, inks, and tools -- and share a few images too. Hope to see you there.

Cheers!

Tricks of the Trade: Pen Fix•ations

A sampling of my pens -- some smooth as glass, some... not so much

I own several fountain pens, in part because I am fascinated by their history and technology, but primarily because I enjoy using them in my correspondence and my sketchbook -- when they're working properly.

If you own fountain pens and are like me you have some pens that write like a dream, smooth as butter. But you may also have one or two pens that feel more like a dull chisel trying to gouge its way into your paper rather than a buttery-smooth instrument of joy and delight. (And you have my heart-felt sympathy if your first and only experience with a fountain pen to date has left you thinking, "This is a piece of junk!")

Of course, I know there are pen masters out there who can smooth out our recalcitrant nibs for us. But, unfortunately, my pockets aren't deep enough to warrant spending much to get a $10, $50, or even $100 pen to "play nice." But, when the folks at FPGeeks teamed up with Brian Gray (of Edison Pen Co. fame) to offer a FREE online seminar on nib tuning and smoothing entitled Tweaks for Geeks.... Well, this was one opportunity that didn't have to knock twice.

Richard Binder's freebie blotter paper (with the vintage pen art) is the perfect size to pop into a Rhodia webnotebook 

OK, a quick qualifier: I said the workshop was free and watching Brian (either live on Saturday, or via YouTube now) is, indeed, completely free. If you want to participate hands on in the workshop you'll need a few items (and, of course, the FPGeeks/Brian Gray crew provide a free list in PDF form for your convenience). But if, like me, you don't possess the items you'll either want to watch the video first and decide whether or not to purchase the tools later, or you can simply follow the link Azizah, Stephen, Dan, and Eric have provided to Richard Binder's online store where for just $21 (plus $8 for Priority Mail service) you receive a complete Student Kit (including two practice pens) and 4 Tri-Grit Buff Sticks. These last two pieces are a brilliant addition as they free you up to learn from your mistakes (and isn't that the best way?) without risking that vintage heirloom you inherited from your father or grandfather.

The workshop itself runs 1 hour and 18 minutes and is divided into two parts: the first 15 minutes is a general introduction; and the remaining hour and 3 minutes is dedicated to testing the pen, checking/adjusting tine alignment, and nib smoothing. (Note: Brian highly recommends that ALL work on nibs be done in that order as most nib issues will, in fact, turn out to be tine alignment issues.)

one of my smooth-writing seminar souvenirs

By the time the workshop was over I'd checked all of my pens (over a dozen), smoothed out a few rough spots, and even had two new smooth-writing pens to give to my kids for their sketch kits. And the great news is that FPGeeks intend to add additional workshops covering other aspects of pen repair and enhancement in future. So, if you enjoy their first workshop, stay tuned for more fun soon!

Parting note: since I had several optical loupes on hand already, I opted not to purchase a new one for the workshop. If you already have one and you have a source of LOTS of light in your work area you'll probably manage fine. But, after watching the demonstration of Brian's preferred illuminated loupe and struggling with lighting issues in my work space, I'll be adding that item to my tool kit before the next workshop. It's pretty clear after the first seminar that the loupe is the tool I'll be using most often and, in my mind, the few extra dollars spent are a worthwhile investment to avoid eye strain.  

Little Texas 02 - May Street

the street lamp is of a style installed by the city in 1927-28

A few weeks ago -- after a visit to my daughter's pediatrician for a periodic checkup -- we decided to take advantage of the delightful spring weather to do a bit of exploring. What we discovered was Fort Worth's Historic Southside District and a sleepy little neighborhood along May Street between Cannon and Leuda Streets.

sketching the Maxwell-Liston House from freshly-paved May Street

This weekend -- during the 39th International Sketchcrawl, and while most sketchers in town were busy drawing downtown -- we decided to spend a little quality time less than a mile (but, in some ways, more than a century) away. The weather was perfect and, probably because May Street only recently reopened after undergoing a complete resurfacing, there was absolutely no street traffic to contend with.

to get a sense of the view at twilight from the open turret visit the B&B's website

The first structure we sketched (and the one that first caught our eye) turned out to be the youngest building in the group -- Saint Paul Lutheran Church, which was built in 1919 and served the German-speaking congregation until they outgrew the premises in the early 1950s. It now serves as the offices of the Heise Law Firm.

sketching St. Paul

Our second structure was the Maxwell-Liston House, which is better known today as the Mattie May Inn B&B. Built in 1904 by local contractor, Charles Maxwell, the turreted Queen Anne-style house was sold to James Liston in 1907. Sadly, Mr. Liston, who owned two saloons in the notorious Hell's Half Acre, was shot and killed during a robbery on the back porch in 1917. (Legend, we were told, has it that the house is even haunted by Mr. Liston's ghost!) 

And the subject of our final sketches of the day was the Center for the Healing Arts, a gorgeous Stick-style house built in 1905 by William Monnig (founder of the Monnig Department Store chain).

My thanks to Martin Dahl, Christopher Heise, and the folks at Historic Fort Worth, Inc. for their assistance with historical details.

Tricks of the Trade -- Posting the Mini

what a delightful pairing!

As many TWSBI fans already know the Diamond Mini is the first pen from the popular Taiwanese manufacturing firm that was specifically designed to be posted. What you may not know, however, is that the Mini's threading system also allows for comfortable posting whether you use the pen in the upright position or the inverted position. Here's how it works.

First, while holding the pen, imagine a longitudinal line running from the nib to the filler knob.

When you intend to work with the pen in the upright position, begin the posting process with the clip placed to your LEFT of the imaginary longitudinal line. Thread the cap on till it is snuggly seated against the O-ring. (This will lock the clip up and away from the soft web of your hand.)

If you wish to achieve a finer line by working with the nib inverted, begin with the pen/nib in the upright position and the clip to your RIGHT of the imaginary longitudinal line. As described above, thread the cap on till it is snuggly seated against the O-ring. Now invert the pen and begin writing, drawing, or journaling.

Conclusion: the folks at TWSBI are engineering geniuses for producing such a marvelously versatile writing instrument, and financial wizards for offering it at such an affordable price.

____________________________________________________________________

Some parting thoughts --

1. "Flexing Your Muscle"

TWSBI's Diamond Mini is a delightful writing and sketching tool and the JoWo nib is smooth as silk -- in both the upright and inverted positions. So, what else could one ask for?

Well, some have said that a variable, more expressive line might be a nice option. And nib meister, Pendleton Brown, has been nice enough to develop his "Pendleton Point Bad Boy with Angel Wings Hot-Tip Butter-line Stub" and several other mod options.

I recently has the opportunity to "test drive" a 1.5mm stub that he had added both smoothness and flex to. The new nib units for the Mini weren't out yet and the 580 hadn't started shipping yet, so Pendleton was kind enough to loan me a 540 unit (which threads onto the Mini's barrel perfectly but is too large to fit under the cap) and the test results were quite enjoyable.

So, if you think you'd like to add even more smoothness and/or semi-flex to your 530, 540, Mini, 580, Vac700, or Micarta, check out Pendleton's site, drop him a line, or pop by his table at just about any upcoming pen show. You'll find that he's full of all sorts of fascinating information (that he freely shares with others) and a pleasure to visit with.

______________________

2. "When Is Red Not?"

the Mini's facets can make sunlight sparkle

Recently Larry Marshall and I have been discussing Saffron ink (from Caran d'Ache) on Cathy Johnson's AJW FB page. During the discussion Larry suggested that Saffron is a red ink and that it might be problematic as a drawing ink for architectural studies and urban sketchers. Well, as can be seen in the photos (and videos) above, Larry was right -- sort of.

It turns out that Saffron ink is very much like its floral namesake; in concentrated form it has a decidedly red appearance (and a beautiful translucent red appearance, I would add, when loaded aboard a TWSBI clear Mini). But, in its original state as a flower petal or when applied as a written or drawn line on paper, it takes on an equally beautiful but more distinctly orange hue.

As for its usefulness as a color for architectural renderings? Well, I recall that my alma matter (California College of Arts & Crafts) used a rendering of the school's Queen Anne-style administration building and towering redwood tree (in red ink) on their stationary for years. So I did a little test of my own to see how the Saffron would do. The results might not be for everyone. (Then, what is?) But for some it could certainly offer a warm and interesting alternative to the standard black.

(the pocket-sized Rhodia is great for jotting down notes and capturing a spontaneous "visual") 

What alternate colors work for you?

Cherry Blossoms, Workshops... and Free Kit!

sakura in bloom

One of the first signs of the pending arrival of spring each year are colorful blossoms of wildflowers, gardens, and fruit-baring trees -- followed by a flurry of workshops and sketching events as artists everywhere rush to shed winter-wear and begin another season of art-making outdoors.

this spiffy little carrying case clips onto a belt loop or D-ring,  has a waterproof center pocket for your pens & pencils, and a clear outside pocket just the right size for your "artistic license"

As in past years I'll be leading a series of local, regional, and national place-based workshops (some on nature journaling, some on travel journaling) and hope to see some of your smiling faces among the participants. And again this year I am fortunate to have the material support of some really remarkable art material manufacturers and distributers.

6 Microns in assorted sizes, 1 Pigma Brush, and 1 Pigma Graphic pen -- a perfect selection for your everyday carry!

In fact, thanks to the generosity of the folks at Sakura of America, two participants will be selected at random during one of my upcoming workshops -- with one receiving a Sakura Koi 12-color Pocket Field Sketch Box with two Sakura water brushes and a really nifty carrying case, and the second winner receiving an 8-pen Pigma set and Sakura pen case.

Stay tuned for more details soon.