Whether you are drawing professionally or sketching for fun, chances are you are using some kind of brush pen. Doesn’t matter if you are the partisan of Platinum, Pentel, Kuretake or else, I guess you would agree that it’s tough to beat them for convenience and practicality.Although I’ve tried many kinds of brush pens, I have the most experience with (and affection for) the Pentel Pocket Brush, probably because it was the first I ever bought. And because it uses the waterproof ink (which is not true for all the types and should always be checked if that quality is important for your kind of work). While Pentel Pocket Brush has always been dependable and great for broad strokes and loose sweeps of ink, I often found it too wet, requiring special attention when delicate lines were required. I inked several pages of the first book of JASON BRICE with it and liked the result, but the process was extremely demanding in treating fine details.One solution was to work on the bigger format. To have the liberty of stroke I wanted, my pages had to be really big which was fun to try, but impractical for working, scanning and transporting after all.
So I gradually relegated it to drawing dedications on the festivals, where it is very practical and gives expressive results.
The search for drier brush pen continued, but to no avail – most of them are pretty wet. Or (as is the case of ZIG Clean Color Brush Pen) have a more modest flow, but ink is not waterproof and falls apart under very first strokes of watercolor.
And then came AKASHIYA SUMIIRO.
The SUMIIRO part is important to retain as there are several others from the same THIN LINE series which are not waterproof. Discovered it on JETPENS and decided to give it a try, as several reviews mentioned it is drier than your usual brush pen. It arrived today and – voila – it really is! Finally I can have the convenience of a pocket brush with a drier line, easily achieved dry-brysh transitions and waterproof ink that can stand the watercolors completely.
Forgive the bizarre drawing, it was a stupid nothing started with a fountain pen and Platinum Carbon Black ink on a piece of Schoellershammer aquarelle paper lying around, just to get the flow going after refilling the pen. Picked it up and continued with AKASHIYA SUMIIRO, only to wash it with watercolors several minutes later. As you can see, not even a hint of bleeding – the ink held as good as the venerable Platinum Carbon Black.
Quelquepart au milieu d’aventure au sud de France, j’ai passé la matinée de jeudi en dessinant la chapelle de Notre Dame de Sept Fages, recemment en train de restoration grace à bons gens de coin. C’est toujours magique d’observer et essayer de transcrire sur papier, en ecoutant les oiseaux, profitant de la brise.
Et deux photos de “making-of” par Philippe Zytka :
Sketching at traditional folklore dance school – Platinum Century SF nib with Platinum Carbon Black ink, washed with De Atramentis GOLD and HAVANNA and just a touch of Rohner Klingner SEPIA, all in The Perfect Sketchbook.
I haven’t been toning with fountain pen inks for a long time and struggled a bit with overwhelming flow from aquabrushes. Guess I’m spoiled by working with traditional watercolors and natural hair brushes. But all in all it was fun to sketch again.
Ponovo smo bili u Prirodnjačkom muzeju, ovog puta “rogata” radionica. Kao i ranije, kada smo imali priliku da ZARONIMO U SVET MORA, a zatim ZARONIMO U SVET MORA PONOVO, u pitanju je inspirativna izložba, detaljna priča o eksponatima i crtajuća zabava na kraju. Sjajna inicijativa!
Continuing today with PAPER CIRCUS, I remembered the swatches I made recently on FABRIANO ARTISTICO 300GR GRANA FINA:
Not all the same pigments used as yesterday, but similar enough to see that it sits somewhere in the middle as a quality watercolor paper that behaves nicely and predictably.
So I decided to throw it to the mix and put it against LANAQUARELLE 300GR TORCHON. I was curious to test that paper specifically since last night it’s lighter textured sibling performed so well. First I drew on LANAQUARELLE; this texture feels very similar to the lighter one as it isn’t that much rougher after all. The only thing I noticed was that erasing the pencil after inking required a bit more effort, as the texture demands some insisting to clear every last bit. Painting, as was the case yesterday, is a joy on this paper.Drawing on FABRIANO ARTISTICO 300GR GRANA FINA is a bit easier – due to the slightly smoother surface pencil glides across and erasing the pencil is equally easier too. For inking I actually preferred LANAQUARELLE; felt more natural than somewhat “plasticky” feeling of nib on FABRIANO. Painting on it is nice – it is also a quality watercolor paper that behaves good.
But in the end I prefer LANAQUARELLE notably. Working on it is smooth and the way the paint sets is really appealing, spreading evenly without blotches all the while keeping beautiful powdery texture of granulating pigments. I deliberately rendered both sketches in same colors, to observe how the same pigments behave on each paper. While the soldiers give a similar impression, the wash behind them clearly tells the different story – the same LUNAR BLUE pigment sets much nicer on LANAQUARELLE, working that granulating magic impressively.
In the end, before I get to additionally try HAHNEMUHLE 300GR CEZANNE MATT, I’m chosing LANAQUARELLE from this whole bunch. I guess I’ll go after the cold pressed version, as the slightly smoother texture is preferred for drawing while the painting results are equally great on both.