Birds at the Bronx Zoo

I met with my sketching group in the World of Birds exhibit at the Bronx Zoo. I was especially excited about this trip because I was going back to a Stillman and Birn Epsilon book that I'd only done two sketches in previously, so it was like starting a new book. For awhile I got sidetracked and worked in way too many sketchbooks simultaneously. Finally, I exerted my willpower and narrowed the field, so in the past couple of months, I finished off three of them by consolidating my efforts in one book at a time.

It's been especially hard to let go of the last one I finished --- a Stillman and Birn Alpha hardbound book that I really loved. I did a lot of experimenting and mixed media-growing in that book, and liked what was coming out of it. I wasn't sure where this new Epsilon book was heading. But then I thought about the fact that I treated the Alpha book like a playground. It did well with a mixed media approach and I enjoyed that, so it gave me the chance to grow in that direction. It wasn't long before I remembered how much I love the feel of pen and ink and dry media on this Epsilon surface. I expect that I'll be doing a lot of drawing in the near future!

In the meantime, I prepared about 10 two-page spreads with acrylic washes and borders to see how the paper would respond in comparison to the Alpha. To my surprise, it did just fine. I think I'll not only be able to use a similar approach in this Epsilon book, but I'll like it even more for my dry media.

This page was a bit problematic because I didn't dilute the acrylic paint enough on the background wash, and the transparent watercolor did not want to adhere to the shiny smooth acrylic surface. I fought with the acrylic/watercolor combination a bit on this sketch above. The sketch was done with Noodler's North African Violet ink in a Pilot Plumix italic calligraphy pen. That is a washable ink, and I let it wash into the watercolor at will, and wrote in the species names with the same pen/ink combination.

Breaking in Your Stillman and Birn Alpha, Gamma or Epsilon Hardbound Sketchbook So It Lies Flat

For all of you kindred spirits who share my infatuation with Stillman & Birn Alpha, Gamma or Epsilon  hardbound sketchbooks, I have some great information to share with you! I was talking on the phone last week with Stillman and Birn co-owner Michael Kalman, and he told me that their hardbound books have been designed to open completely flat, and they have a flexible binding! Yep, that's right!

In order to achieve this, you have to break in the book before you use it by opening to the center of the book and bending the pages and covers back 360 degrees so they touch. Then go through the book and do that throughout the book, gently bending the pages and covers back.  I know you're thinking the whole book will fall apart. That's what I thought, and I would never in a million years have done it if he hadn't told me. But when I got off the phone with him, I went straight to the new S&B sketchbook I was about to start, and did exactly what he said. My husband walked in and was horrified --- he thought I was destroying the book until I explained it to him.

After bending the pages and covers gently all the way back from the middle of the book, I did the same thing from the center of each signature (where the stitching is). Then I again started from the middle, working toward the front, opening every page spread that way; then I did the same from the middle toward the back. Don't use every ounce of brute strength that you have, because if you try hard enough to pull the book apart, you will probably be able to do that!  When I was finished going through the whole book twice like that, every single page spread laid down flat. No deep gutters to cross! It was a miracle. I am sooooo excited about this! It works. Try it.

The reason why you want to do this before working in an S&B book is because if you paint across the two page spreads like I do, adding that flexibility to the binding reveals more of the white paper in the gutter area. If I were to do it to my almost-completed Alpha book, I'd have a white vertical stripe down the center of nearly every painting I've done in that book. I have noticed while working through the book that as it has broken in a little bit by itself, some of that white in the middle has been revealed on some of the page spreads. Not only will the books lie much flatter by breaking them in ahead of time, but it will also stop those white center areas from appearing later on as the binding gives with use.

The S&B hardbound books apparently have a triple binding process that involves three different types of adhesion. It is this triple process that enables them to undergo bending the binding and page spreads back that way without damage to the spine, and keeping all the pages intact. This is such wonderful news for those of us who work across the two-page spreads; I had to share!

The Many Sides of Mr Lute

11x17" across a two page spread in a 8.5x11" Stillman & Birn Epsilon book
Noodler's Zhivago in a Lamy Safari B nib
Private Reserve Chocolat mixed 1:1 with Private Reserve Velvet Black in an 05 Platinum Preppy
Noodler's Wampum in an 05 Platinum Preppy
Cacao du Bresil in an 03 Platinum Preppy
Noodler's Midnight Blue in a 6mm Pilot Parallel

I found this porcelain lute player in a post holiday sale at Christmas Tree Shoppe one year. He makes an occasional appearance in my sketches and doodles. I thought several sketches of him on the page would present good drawing challenges and a unified theme. I jumped right in with ink, and a Niji Waterbrush was used to do the washes.

I love the blend of the Private Reserve Chocolat and Private Reserve Velvet Black. It tones down the red of the Chocolat washes just enough, and amplifies the value range. Furthermore, after sitting in a Preppy fountain pen for a few months without being used, it started up immediately when I turned it over to draw!

Soup 'N Sketch --- an illustrated recipe

11x17", across a two-page spread in a Stillman & Birn 8.5x11" Epsilon hardbound sketchbook
Pentel Pocket Brush Pen
Waterbrush filled with J. Herbin Gris Nuage
Noodler's Bulletproof Black in an Eversharp Symphony (fine nib) Flex pen
Watercolor (added later)

I decided that last night was "no excuses" night for sketching, even if it was rushed, so while making chicken soup for dinner, I stopped between bouts of chopping and dicing to do this recipe page of my ingredients. I used a black Pentel Pocket Brush Pen, and a waterbrush filled with J. Herbin's Gris Nuage, and did the sketches in monochrome. My intention was to leave it as a black and white sketch, but the longer I looked at it, the more it screamed, "COLOR ME!!!" I fought bravely against the color junkie within me, but in the end, I couldn't resist. While the soup simmered, I added the watercolor splashes.

The soup came out great. It's almost more stew than soup, but that's how we like our chicken soup around here. We had some with dinner, and I put a huge container of it into the freezer for some cold day when I don't feel like cooking.

I'm really loving working these big spreads. There's so much space to draw, write and play with design, and leftover areas for it to all be able to breathe a bit too.

Bits 'N Pieces

(Click image for a larger view of the sketch.)
A couple of weeks ago, my husband and I were out exploring at our place up in the Catskills. Buried under the leaves in the dirt, we found fragments of old cups and plates. They were so interesting, and some so beautiful, that I brought in some of the pieces to see if I could trace their origins. Today I pulled out one of the large plate pieces to sketch. I used Prismacolor pencils, which turned out to be a great choice in this 5.5x8.5" Stillman & Birn Epsilon book. The smooth surface proved perfect for colored pencil work.

Well, y'all know me by now, and it wasn't long before I was noticing that I had both old Berol Prismacolors and new Sanford Prismas. I had to do some color swatch tests too while I was at it to see if they were really the same. It turned out that of the ones I sampled, only the Marine Green was significantly different, with the Sanford having a more yellow-green appearance when compared to the more muted green of the Berol. I compared them dry as well as washed with a bit of Turpenoid on a Q tip.

The green ink is Noodler's Sequoia --- one of my favorites for ink and wash. "Bits 'N Pieces" was written with Noodler's Bulletproof Black in an Eversharp Symphony Flex fountain pen with a Fine nib.

Here's a photo of the piece of the plate, along with the sketch and some of the newer and older Prismacolors. (This one is also clickable to enlarge.)