Tagged: fountain pens

 

The above 4 pages are drawn from the incredible show of WW II posters at the Art Institute of Chicago titled “Windows on the War” which features Soviet TASS posters. I purchased the book and drew from the reproductions therein because the policy at the AIC was No Sketching in the gallery. Having walked in without noticing the sign I managed to get in a few drawings before the guard came over and stopped me.

I rarely draw plants but after an illustration assignment this summer and some visits to the exquisite Chicago Botanic Gardens I’m looking to knock out some more of these. I’ll see if I can sneak a nude into a secluded part of the gardens for some plein aire cheesecake. The botanicals are draw with Pitt Artist Pens and try as I might I managed only to kill the dazzling sense of luminescence and glare. This post has quite a jump in imagery going from a peaceful intimate scene with my girlfriend, to the savage images from WWII TASS posters to cafe dwellers combing thru their computer screens, an infant, a commuter with focus wedged between the pages of a book, and drawings of models and plants with a glimpse of their reproductive organs.

     

After drawing in the larger ledger books I feel a bit cramped at times in books under 8 1/2″ x 11 but I have enjoyed this weird bird of a book, a Veterinarian’s Daily Record. The blue pages have their own set of peculiarities and the pages in general don’t really register the addition of a white grease pencil but I like the way it takes the FC Pitt Pens and the 2 fountain pen inks I’m making the most use of lately. Those inks, Noodler’s Kingfisher Blue and Platinum Carbon have great character on this stock. The Quo Vadis I just finished drawing in had a warm and beautiful ivory color and a creamier surface. The Vet’s ledger has more of an oatmeal tint and is coarser in texture but both ledgers prevent bled-thru nicely and the rougher tooth of the Vet. Daily Rec. gives a nice grainy effect when the ink is dragged across the page.

Getting caught up on posting drawings from the last 4 months. Most of these were drawn at the Palette & Chisel in Chicago, however, the drawings on toned paper of Amanda were drawn at Trapeze studios in Seattle. All drawn with the usual suspects, India ink, Pitt Artist Brush Pens, fountain pens, China Marker for the white highlights. The pink drawing of Jessie is done in Iroshizuku Yama Budo fountain ink. The toned paper is from a recycled, acid free sketch book by Utrecht. And the drawings in the date book are Clairefontain paper in a Quo Vadis planner.

I renewed an interest in fountain pens perhaps a year and a half ago and have been drawing with them about 50% of the time. My first flirtation with them some 25 years ago was discouraging because I didn’t understand their mechanics, and improper care, combined with the wrong ink, bollocksed up a few pens. After trashing a semi-expensive Pelikan I moved on. But I always thought they had an elegance to them and had seen fountain pen script that produced an interesting line. Capable of lines both thicker and thinner than ballpoint, they also produced a wetter, thinner flow that could vary in tonal density from the start to the finish of a line or flourish. There was a noticeable “pooling” of pigment when the speed of the pen stroke slowed significantly or as the nib would come to a full stop. And while they seldom had the flexibility of the tines in a dip pen such as a Copperplate nib, some of the stub nibs had directional variance in line width and by virtue of an ink reservoir called a cartridge or a converter, the fountain pen had the distinct advantage of not being tethered to a bottle of ink. As you may have gathered at this website, I like to draw on buses.

Since it is also evident that I like to draw in previously used ledger books, I was always encountering numbers and script done in various medium. After looking at what was evidently fountain pen ink, I decided to give it another go. One frequent visitor to BND, who had been complimentary in past viewings expressed unvarnished disdain for my use of the fountain pen. Apparently tormented as a youth in school by the required tool, they had no love for the boring line produced by this writing instrument. I’ll note here that I got similar responses 35 years ago when I traded in my pencils and charcoal for a ballpoint. And having tried all the beasts on the shelves in art & craft & writing stores I often found myself struggling with an instrument I hadn’t mastered or by it’s very nature was ill suited to sketchbooks and ledger books. Often, that was the point. To see what would come of a new tool and to take some of the control and predictable flourish away from my hand. So just as I contend there are no bad poses, I don’t like blame coming to exclusive rest with the materials. Attributes can be found in unsuspecting places if you’re alert, no? A ballpoint that bled like a stuck pig and would most likely find itself in a waste basket, gave me a wide and juicy line as distinct from the brittle line produced by the well behaved accountants’ Bic fine point.

The very watery nature that is integral with fountain ink allows me to dab it while still wet and stamp ambient marks and smear the ink to get swaths and hazes that expand the vocabulary of the tool’s signature.

 

Returned from touring the eastern side of the Hudson River Valley. Went out to Stockbridge, Mass. again to give a workshop at the Norman Rockwell Museum, where I copied the saddle shoes above,  and managed a side trip to see Frederick Edwin Church’s estate near Hudson, NY called, Olana. Head swelling view from the property. Took a tour of the way ornate mansion  and saw a few sweet little paintings he did amoungst all the Orientalistic foo faw.

Knocked out the landscape in the middle and had to head down state about 2 hours to see a friend before it got dark. The day was spectacular and I lament that I didn’t have the time to make a drawing of the view from all sides of the mansion. Churh wrote that, “about an hour south of Hudson lies the center of the world, and I own it”.

Trekked my way to the Southwest corner of Michigan for an overnight right on the beach of Lake Michigan’s southeastern corner. Then shot out to the west coast to do workshops and demos in Portland, Eugene, and Seattle. Ran around a bit to much to spend the time encamped with sketchbook in front of any one of a gazillion scenic wonders.

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