Part IV of Stillman and Birn Alpha Review --- Road Trip!

To read this review from the beginning (Part I), click here.

Finally the time had come to take the Alpha sketchbook on the road and answer questions that come into play in a real sketching situation. The questions I wanted to be able to answer by the end of the day were:

1. Was this particular book a good size to hold while sketching standing up or sitting down, in terms of size and weight?
2. Did it stay open pretty well, or did I have to wrestle with the pages as I sketched?
3. Is the gutter in the center of the book too deep to comfortably work across two-page spreads?
4. Did the pages buckle as I painted on top of the prepared surface?
5. Is the result of doing prepared pages before going out sketching worth the time invested, or the expense of a book constructed well enough to handle that process?

I went with my sketching group to Adams Fairacre Farms. They recently opened a huge, new store in Wappinger, New York, complete with a greenhouse, gift shop, prepared foods section, seating area to eat, and full service grocery store. I asked the manager if it would be okay for us to spend the day sketching there, and she was very welcoming! Five of us assembled there at 10am to sketch. The holiday displays were stunning, food was delicious, and we got to do grocery and gift shopping too.

I started out in the greenhouse, where the splash of color of the poinsettias would surely satisfy the color junkie within me. Standing up as I sketched in my initial lines, I found this size book very comfortable to hold. No backache! Also, the pages were flexible and light enough so that they didn't do battle with me in trying to keep the book open. However, I wasn't expecting the book to be quite so cooperative. In anticipation of battle, I had cut a piece of coroplast (nearly weightless, corrugated plastic) to the size of the open sketchbook, and stuck it in my messenger bag along with two large metal binder clips. Since I had that with me and it is such a convenience, after awhile I pulled it out and clipped the open sketchbook to the board.

 

The book was small enough for me to also hold my tiny watercolor set in my left hand, while holding the book on my left arm, and my right hand could wield the waterbrush. Still no backache! This answered my big question about whether or not I could comfortably paint standing up with this book. No problem at all.

That inner color junkie still wasn't fulfilled, so I went into the adjoining store and set a small three-legged stool in front of this incredible poinsettia tree display. (See below. The arch beyond the tree leads into the garden center/greenhouse.)

Although I hadn't planned on having enough space to set out a stool and actually be comfortable, there were some open areas around the store that made it easy to do so, and I had a pack stool in my car. I was definitely getting a good feel for this setup by now. With two watercolors done, there was no page wrinkling. I suspect that the small bit of acrylic on the paper helped to minimize additional buckling.

It was noon and time for the group to assemble in the eating area for lunch. I managed to get in a rough pen and ink sketch while chatting with the other artists. I found myself wishing that the book didn't have as deep a gutter. This was more of an issue in drawing, and especially writing, than it was in painting. Drawing across the gutter wasn't a smooth ride, but it wasn't as bad as using a spiral either. Writing text across it wasn't going to happen without planning for the breaks between words to fall in the center. Still, the cohesiveness of the two page spread is way better than with a wirebound or spiral bound book. IMPORTANT NOTE: Since doing this review, I learned from the company that you can break in the book before you start working on it, so that the pages will lie completely flat. I did a blog post about it, which you can see by clicking here. There is no gutter problem at all with this book if you follow that breaking-in procedure! (Not currently recommended for the 4x6" books, but you can do it with all their other hardbound sizes.)

After lunch, I went to the gift area, where there was a lot of open space and large displays of decorated Christmas trees, holiday lights, and even Santa flying a chopper suspended from the ceiling. Not only was the scene utterly captivating for somebody who likes lights and sparkly stuff like Yours Truly, but by sheer coincidence I'd arrived at a page with a border that had red, green and gold.

By this time, I'd answered the questions that were on my list for the day. To recap:

1. Was this particular book a good size to hold while sketching standing up or sitting down, in terms of size and weight? The size was easy to hold, small enough that I could still hold my tiny watercolor set, and light enough so that I didn't get a backache. However, I really would like to work larger, mostly because I like these prepared borders on the pages, and they eat up a lot of my available painting space. The larger book (8.5x11") might be too large or heavy for this particular situation though, and there is no size in between. I'd have to go out with the larger book and give it a try sketching on location to know if that would be doable for me.
2. Did it stay open pretty well, or did I have to wrestle with the pages as I sketched? The book stayed open fairly well. I still had to hold open the pages, since they don't open completely flat like a Moleskine, but I didn't find it nearly as cumbersome as the very slightly larger Fabriano Venezia, which has stiff, heavy pages that require serious wrestling talent. It was made even easier by clipping the book to my open coroplast support, with very little additional weight. 
3. Is the gutter in the center of the book too deep to comfortably work across two-page spreads? It wasn't so awkward for painting, but was more so for drawing, and quite awkward for writing across the center. Still, way better than a spiral or wirebound book, in terms of wanting the two halves to feel like a whole in the end. IMPORTANT NOTE: Since doing this review, I learned from the company that you can break in the book before you start working on it, so that the pages will lie completely flat. I did a blog post about it, which you can see by clicking here.
4. Did the pages buckle as I painted on top of the prepared surface? No!
5. Is the result of doing prepared pages before going out sketching worth the time invested, or the expense of a book constructed well enough to handle that process? I am loving the finished pages with the borders and prepared surfaces, and I think they definitely enhance the sketches and contribute to my art form. In terms of the expense of a book that can take that amount of media without falling apart, it's well worth it to me. They are a collection of my artwork when finished, as well as a life journal, and I want them to last forever. So far, I'm a happy camper.

To see Part V of this review, which covers working on the plain white paper in wet and dry media, click here.

Part III Stillman and Birn Alpha Review and Creating a Font

To read this review starting with Part I, click here.

Somebody wrote to me yesterday and asked, "Isn't part of the pleasure the feel of the paper itself?  Wouldn't gessoing it, or adding any other sort of prep to it ruin that?"

It's a really great question! Yes, the feel of the paper is important to me, and in fact, most of my sketchbooks to date have been done with traditional sketching media directly on the paper. I will definitely be including that kind of work in a future installment of this review. Perhaps I should have done that first, since that's how most folks use a sketchbook! But I am really eager to branch out into different types of page layouts and materials, so my current need is to find a sketchbook that can not only work for traditional dry sketching media and watercolor, but for other types of page preparation as well --- acrylic, pastel ground, collage, etc.

As for the preparation of the surface ruining the feel of the paper, it really depends on how much is applied. A very light coating of acrylic or acrylic ink, heavily diluted with water so that its only use is to lightly tint the page, has surprisingly little effect on the paper. The more pigment and medium you add, the greater the change, and of course gesso would totally transform the surface. When I did the watercolor over the shimmery iridescent acrylic, I purposely selected a heavily painted page to test the limits of the combination of materials, even though most of the time I'll be working on a surface with so little acrylic on it, if any, that it won't matter.

I do plan to also review the book with examples of various types of pencils, inks, watercolor, and ink and wash over just the plain paper, since I'll be working that way as well. Issues such as paper smoothness/tooth and transparency do become much more significant then.

In my previous journals over the past six months or so, and in this one so far, I'd mostly used a writing font that had been sent to me by a calligrapher friend. It was a really nice tall, informal font that was quick to write. I found it pretty ideal for my journal writing to accompany the sketches. But one thing I found out is that it didn't photograph very well. It was a very thin, monoline font, and was sometimes difficult to read when photographed and posted. I also wanted a font that was more personalized, so I spent a few days developing Jamie's Journaling Font! I wanted the font to be clean and easy to read, with bolder lines, few flourishes, and no serifs. I'm sure that I'll make a couple of changes to it; I still need to make some decisions regarding the upper case Y and lower case r and d. Other changes will probably evolve too as I use it. My plan is to use it while I do this experimental journal, so that it will be flowing better by the time I move to a larger one. Here is the unveiling of my new font!

The letters are rounder and bolder. It seems to work well with both italic and round nibs, and with or without a slant. I can't wait to try my flex nibs with it, but haven't had a chance to do so yet.

I wrote out the font with various pens and inks on a page that had been previously prepared and then coated with Matte Medium. Using a template, I drew the lines for the writing with pencil. I learned two things while doing this page:

1. Pencil lines over Matte Medium are almost impossible to erase. I gave up and decided to leave the lines on the page. But much more importantly
2. The Matte Medium will destroy my fountain pen nibs! It was like writing on sandpaper. Just the other day, I took a scratchy-writing fountain pen and dragged it across a piece of very find sandpaper in a few different directions to see if it would improve the nib, and I totally ruined the pen. Matte Medium puts a lot of tooth on the paper, much like a very fine sandpaper. So please, folks, do not use fountain pens over Matte Medium!

I started wondering what would happen to the stitching and binding with all these extra layers of medium on the pages. The paper itself handles it great, but by thickening so many pages with extra mediums, paint, collage, etc., I knew pretty soon the book would not be able to close completely, or might die in trying!  I thought it would be wise to start removing some pages to allow extra room in the book. I'd already prepared pages beyond the center of the first signature, so I went to the center spread of each remaining signature, where the stitching can be seen, and carefully removed the middle two-page spread from each. I'll see as I go through the book if I need to do more than that or not.

After all this testing in the studio, I was really eager to take the book out on the road and apply all of this to a real sketching situation. Experimentation in the studio is one thing, but working out on location is quite another. Other issues come into play, which I'll be discussing in tomorrow's post. Click here to go to Part IV.

Part II of Stillman and Birn Alpha Hardbound Sketchbook Testing and Review

To see Part I of this review, click here. Each image in the post below can be clicked to enlarge it.

Since I was having difficulty getting the watercolor to take on the page prepared with a fairly heavy layer of acrylic (See the Part I link above), I wondered if the paper would hold up to using other grounds that might be more successful for my application. I thought perhaps adding Golden Absorbent Ground to my paint would help. This kind of experimentation can become a long, convoluted path to a solution, so I decided to attempt to find a more direct approach to my destination by calling Mike Townsend at Golden Paints tech support. I'm so glad I did that!

"Right thinking, wrong product!" Mike said. He suggested I try their Matte Medium mixed into the paint or over top of my prepared surface instead, explaining that it would give additional tooth for the watercolor to hold, while remaining transparent on my prepared pages.

I was delighted to hear that advice because

1. I already have several bottles of it, and
2. Golden Matte Medium happens to be one of my favorite products on the face of the earth.

When I first was advised to use it for something, I loved it so much that I started putting it on everything. I probably would have used it for a dessert topping if it were edible! I was more than happy to try it in my sketchbook.

I tried using it a few different ways. On the page below, I mixed Golden Iridescent Bright Gold Fluid Acrylic with water and Golden Matte Medium. I dried it with a hair dryer, and then the image was painted with watercolor and the writing done. The Alpha paper dried almost completely flat with the hair dryer, so painting on it was not a problem.

The additional tooth provided by the Matte Medium definitely allowed more pigment to go down on the page. This wasn't a great choice of things to paint to showcase that, but you can see that I was able to get plenty of red paint down on that little bottle, and the fountain pen still wrote just fine on the surface. However, Matte Medium is called that for a reason, and I lost the glossy sheen that I was so attracted to. The gold no longer shimmered through the watercolor, and it looked like I'd painted over a yellow page, not gold. (It's hard to see those kinds of differences in a photo, so you'll just have to take my word for it, or better yet, give it a try!)

I wanted to see better comparisons of watercolor on the paper with and without the Matte Medium coating. I painted the page below with Golden Fluid Acrylic Iridescent Pearl (a pretty substantial covering of it), dried it with a hair dryer, sponge painted the border, dried that, then applied Golden Matte Medium diluted about 4:1 with water (80% Matte Medium), and coated only the right side of the page with it.

 

The first thing I noticed is that the iridescence is all but gone on the Matte Medium-coated right side, even though in a photo they both look the same. The right side pretty much just looks like just white paper, but the left side glistens.

I then painted watercolor samples on each side, using the same colors and same brushes, so I could assess the differences. It will definitely take some practice to work well on these surfaces, but as I worked down the pages, doing one color at a time on each page, then going to the next color, it was possible to get a much more even and complete coat of paint on the side with the Matte Medium. That's a good thing......sometimes. But I'd lost the iridescence in the process, so unless I was working on a base of colored paint, I may as well have painted on the white paper surface without any acrylic, and made it a lot easier for myself! This would be good to use over a colored acrylic ground though.

The left side, which had the iridescent glossy surface, did not take the watercolor paint as well for sure. However, the open areas where there is less paint allow the shimmer to show through the watercolor, and I get the beautiful glimmery background. That's a good thing too!

Doing this direct comparison helped me learn what I can expect using either a Matte-Medium coated or uncoated surface. Watercolor is unpredictable enough without adding more unknown variables to the process! If you want as much shimmer as possible, don't coat the surface. If you're not using iridescent paint, Matte Medium will help watercolor paint adhere to the surface.

But wait! Isn't this supposed to be a sketchbook review, not a discussion of paint products and process? So, why am I even calling this "Part II of Stillman and Birn Alpha Hardbound Sketchbook Testing and Review"?  Well, I'm learning that a sketchbook that meets all your needs is, in a way, invisible. It's like painting on a canvas or linen that's prepared exactly the way you like it. You can then paint without thinking about your surface. There is enough to concentrate on with just painting! What I haven't had to say is a testament to the non-issues I've had with this book. I haven't needed two extra hands to hold the book open while I work. I haven't had a wet binding fall apart on me. I haven't had pages pill and prevent me from writing, or tear out of the book. I haven't encountered extra layers of paint and medium being too much for the stitching to hold the pages together. As far as the Alpha hardbound sketchbook is concerned, I have been able to do everything I've wanted to do. Detailing these processes says everything about the book's capabilities and what it can handle. I haven't yet tried anything that it can't do.There are now over 20 two-page spreads of acrylic page preparations done in this book, with most of them already covered with additional mediums of one kind or another, and the book is holding up great.

Some folks wrote to me or posted questions that I thought would be worth including here. Feel free to email/post any additional questions you might have, and I'll include them in tomorrow's post --- hopefully with answers!
Q: Where can I find the Stillman & Birn sketchbooks?
A: Here is a link to a page on their website that lists stores and online venues that carry their books.

Q: Did you have any bleed through to the following pages? I am just about ready for a new sketchbook and am thinking about the Alpha. I do pen and ink with watercolor washes.
A:  I've never had bleed-through in this book with any of my ink/watercolor testing, which has been pretty extensive. I'm quite sure you'd be safe with the Alpha!

Q: What is the difference between the Noodler's Zhivago and Noodler's Sequoia ink that you've used in the page of ink samples posted yesterday?
A: I can see that they look nearly identical in that image! They are both nice, fairly neutralized greens in wash. When writing with the Zhivago, the ink is so dark that it appears black. When used with water as a wash, the black lines wash very little, and the green washes a lot. So the effect is that it blossoms with color, yet leaves behind crisp lines. The Sequoia ink is a dark green, but not so dark that it ever looks black. The color washes a bit more, and it doesn't leave such edgy lines behind. Even though the wash colors might appear similar in the image, the effects of the two inks are actually quite different.

Q: It looks like Noodler's Bulletproof Black (in that same image) washes and isn't so "bulletproof"! What's up with that?
A: The Noodler's Bulletproof inks vary in their water resistance depending on what paper you use. That Bulletproof Black bonds with the cellulose fibers of the paper, so it depends on how much fiber the ink reaches, sizing of the paper, thickness of the ink layer, etc. For more information on that and other black inks that are declared water resistant/waterproof, you can check this post.

There will be another review installment tomorrow, when I'll discuss some alterations I made to the book, the designing of a journaling font for writing, more about the effects of Matte Medium, and page transparency.

To read Part III of this review, click here.

Stillman and Birn Alpha Hardbound Sketchbook Testing and Review Part I

 Click here to skip to Part II, if you've already read Part I.

Having recently completed a journal, I've been dealing with the issue of "What Will I Do Next?" In order to make that determination, I started experimenting with the kind of work I want to do in an assortment of sketchbooks, to determine which one(s) will give me what I want. Of course there is always the Make Your Own option, but I'd much rather be sketching than making sketchbooks, if I can find something that works for me.

I decided that I don't want to give up the ability to work across two page spreads, so that immediately eliminated all spiral books. Working across the two pages enables me to sketch twice the size of the book, eliminating half the weight and not having to carry such a large book when I go out on location. Plus, when I'm done with a sketchbook, I like having the book as a hardcover volume of my life that can sit on a shelf and look like a book. A bunch of spiral sketchpads don't convey the message that this is an art journal as opposed to a sketchpad, and should be treated with a little respect!

Stillman & Birn is a relatively new sketchbook company that just started turning out books in February, but already the high quality of their paper and durability of their books are making them a favorite choice among art journal aficionados. I decided to test the limits of a Stillman and Birn Alpha hardbound sketchbook to see if it would perform well enough to serve my needs. I had previously reviewed the S&B Beta Wirebound Sketchbook. Had that been available as a hardbound book I could have stopped right there, but it's only made in wirebound form. I also did a lot of multi-media work in a Stillman and Birn Delta book (all my zoo sketches, for example), which is the same paper as the Beta but ivory-colored, and also available only as wirebound.  I really need a stitchbound, hardcover book at this time.

The Alpha was the natural next choice, since I want a bright white paper in a hardcover book that can handle some wet media. The Fabriano Venezia book that I just completed has great paper, but it was such a struggle to keep it open when working that I'd rather find an alternative. I want to work much larger now, but for test purposes, I selected a 5.5x8.5" Alpha book to run my tests in the studio and take for test drives out sketching on location.

Having made the hardbound book decision, the time had come to start throwing assorted media at it, and see how it holds up. There were many questions to consider, among them:

• How will the paper withstand spraying water, brushing on and scrubbing acrylics and inks (sometimes multiple times), and drying with a hair dryer?
• Will the cover and stitching hold up as I go through the book?
• Will the paper dry flat?
• How will the transparency of the paper be affected?
• Will fountain pens still take to the surface after other media is applied, or will the paper pill too much for smooth application?
• How will watercolor, gouache, colored pencil, brush pens, flex pens, Cretacolor leads, ink and wash, and pastel react to this paper with and without prepared surfaces of other media?
• Can the binding and stitching handle removal of the center spread of each signature to give some room for collage work and extra media on the pages?

So far, I've been preparing pages in advance with Golden Fluid Acrylics, F&W Acrylic Inks, and various acrylic mediums, then testing other mediums over the top. In many instances, this practice has become as much or more of a test of how various media react than of the paper itself, but that's only because the paper has been able to handle it! I prepared about 10 page spreads at a time, drying each one thoroughly with a hair dryer before proceeding to the next. Then I'd set the journal under a very heavy coffee table-type book overnight. The pages did flatten completely. Score two big points!

I had a ton of trouble photographing these pages. Clearly there is a scanner somewhere in my future. The background above looks green on my computer, but it's actually yellow, and I have not been able to adjust it to resemble the actual page, no matter how hard I've tried. The page was brushed yellow acrylic paint diluted with water, then blotted with a paper towel to give a mottled surface, and dried with a hair dryer. The red border was then painted on, dried with the hair dryer, and the striping and curly corners added with a Krylon 18K Gold Leafing Pen. (I love that thing!) Sometimes I just can't help myself. In my representational artwork, I never get to play with gold, glittery stuff and very highly saturated color, so I truly enjoy going a bit over the top in my art journals.

Once that preparation of the page was finished, I pulled out my new Sheaffer 100 pen, filled with the new formulation of Noodler's #41 Brown (2012), to see if it would take well enough to the surface. This was dependent on whether or not the paper held up to the abuse I'd already heaped upon it, and also whether this particular pen with this exact ink would adhere to the acrylic-primed surface. Well, no problems on any counts! The paper was still perfectly intact, the pen glided over the surface, and the ink laid down quickly and without skipping. Then I painted the barrel of the pen with watercolor, and that also took without problems.

Encouraged by that first success, I decided to see how my other fountain pens and favorite inks would perform on a similarly-prepared surface. This time, I got some sparkle into the paper itself by using a Golden Fluid Acrylic Gold paint, heavily diluted with some medium and lots of water, and dried with a hair dryer. The blue border was then sponge-painted on.

I tested the following pens on the page:

• Noodler's Flex Pen
• Eversharp Symphony Flex Pen Fine nib
• Eversharp Symphony Flex Pen Broad nib
• Pilot Plumix
• Sheaffer 100 Fine nib
• Kaweco Ice Extra Fine nib
• Sheaffer VFM
• Lamy Safari with Broad nib
• Lamy Safari Medium Nib
• Lamy Safari Extra Fine nib
• Lamy Safari Fine nib 
• Platinum Preppy 0.5 nib (medium)
• Platinum Preppy 0.3 nib (fine)

And the following inks:

• Noodler's Bulletproof Black
• Caran d'Ache Grand Canyon
• Noodler's Midnight Blue
• Noodler's Tiananmen
• Noodler's Kung Te-Cheng
• Platinum Carbon Black
• J. Herbin Poussiere de Lune
• Noodler's La Reine Mauve
• Aurora Black
• Noodler's Passternak
• Private Reserve Velvet Black
• J. Herbin Cacao du Bresil
• Noodler's Sequoia
• Noodler's Purple Wampum
• Private Reserve Chocolat mixed with Private Reserve Black Velvet ("Chocolat Velvet")
• Noodler's Zhivago
• Noodler's Black Swan in Australian Roses
• Noodler's #41 Brown (old version)
• Noodler's Lexington Gray
• Noodler's Mata Haris Cordial
• Noodler's Mandalay Maroon

I also washed a bit of each ink with a clean waterbrush to see if the ink would wash well or (if bulletproof) if it would stay put even with the light acrylic coating on the pages.

The paper held up so well to the complete wetting, drying, and flattening that not one pen skipped on the paper. The inks washed or didn't wash the same as they would or wouldn't on any other surface. So, pen and ink over a page prepared with diluted acrylic is definitely a winning combination on this paper. Once the page was done, I added the gold borders with the Krylon 18K pen. 'Just couldn't help myself!

The time had come to do some testing with watercolors over acrylic --- a dubious-sounding combination. To make it even more challenging, I decided to do the test on a page that was pretty heavily coated with glimmery Golden Fluid Iridescent Pearl. The acrylic was much less diluted than the previous pages I'd tested.

The apple on the upper left was painted with a waterbrush (the kind with the water in the barrel of the brush). The apple on the lower right was painted with a traditional brush, allowing me to get a higher concentration of paint on the brush. The paper was definitely sealed by the acrylic this time, so I struggled with color lifting when I'd go in to get more paint down. This made it a challenge to get dark values. On the other hand, lifting color when you wanted to was a walk in the park! The paper itself behaved perfectly. It handled all the layers of media flawlessly. Although I was disappointed in how the acrylic and watercolor interacted while I was painting, when I looked at it the next day, I loved the effect! You can't see it much in the photo, but because the prepared page is iridescent acrylic, and the watercolor is transparent, the glistening shows through the color and the apples sparkle in the light! It's so cool!

The next day, I put in a call to Golden Acrylics tech guru, Mike Townsend, to find out if there is a better way to get watercolor to take on an acrylic-coated surface. I'll tell y'all about our chat and show results from applying his suggestions tomorrow. Stay tuned! Click here to go to Part II.

Rain, Rain

 

It was pouring rain on Tuesday night and Wednesday. Rainy days are the perfect times to pull out those little antique shop items, paint flowers, clean the studio, or make some progress on a large painting. Since I was waiting for company to arrive, the little antique shop items won out. I picked up these three charming, cobalt blue vases over the summer and have been looking forward to their sketchbook debut ever since! Although they are actually blue, I didn't happen to have a blue pen inked up at the time, so these were sketched with Noodler's Purple Wampum, one of my favorite washable inks. I used a waterbrush over the ink lines to create the washes.

This was done in a 6x9" Fabriano Venezia journal across the two page spread. I only have two pages left in this journal --- the first and the last. Finishing up those pages will close a pretty big chapter in my life, since I started this book on February 1, 2011. I left the first page blank to title it when I was done. It's time for me to start thinking of a title!

Four Sketches of the Hudson River

Click image for a larger view.

I have a large oil painting commission to do of a scene along the Hudson. The other day, I grabbed my sketchbook and watercolors and headed down to the location to do some preliminary sketches to discuss with the client, before proceeding on the large piece. It was freezing cold along the river early in the morning, but I know from experience that the light on the cliffs of the Palisades leaves early. By the time the sun is well overhead, they are all in shadow. I bundled up with my warmest coat, hat, scarf and mittens, and worked as fast as I could! Word from the client: "I love them all!" So, I'll be combining some elements for the final painting.

I taped off the rectangles to do the sketches while I was out on location. That kept my borders clean. I already knew what the dimensions of the large painting would be, so I stuck to those proportions. Once I got home, I drew in the borders around each sketch with a calligraphy pen, and used acrylic paints on the outside border, mixing colors to match the inside border's ink color. When finished, I painted a layer of Golden Interference Gold Fluid Acrylic, diluted with gloss medium, over the outer brown border. Although it doesn't show in the photo, there is a beautifully subtle gold sheen on the outside edge of the page.

How to Become a Better Painter

I think this one is self-explanatory!

Golden Iridescent and Interference Acrylics

 

As I said a few days ago, I've been playing with some shimmery colors lately and test driving how I can use them most effectively. I did this chart to see what would happen layering assorted Golden Interference colors over some of the Golden Iridescents. I also made one row black, and left one the white of the paper, to see the color shift from light to dark (which is way more dramatic than I thought it would be!) There's some glare on the page, but I used this photo because it's when the light hits that you can see some additional effects. As you can see, the interference colors on black are really beautiful! Now I'll have to explore using these with other dark colors too.

The Wedding Day

My sister made these charming favors herself for her wedding guests. There was one at each place setting, with delicious chocolates and almonds inside. She let me bring home all the empty pots that guests left on the tables, so I can use them to hold paint and water in the studio! I really like having this memory of her special day, and every time I fill up a little pot with water, I think of her.

After the luncheon reception, my husband and I were able to go for a four mile walk on the beach and catch the sunset over the Gulf, before meeting up with everybody for a late dinner. There were tons of shells, and I collected an assortment to sketch in our hotel room. These are a few of the ones we picked up that day.

Traveling to Florida

 

My sister got married last weekend in Florida, so my husband and I flew down for the wedding. I didn't get much of a chance to sketch this trip, but managed a few pages. This one was on the way down, when I grabbed a few minutes while waiting for the bus to take us to the airport, and again in the waiting area before boarding the plane. We took off 20 minutes early, so that waiting period was a lot shorter than I thought it would be!

Some pretty cool Daniel Smith watercolors

 

I received a Daniel Smith catalog in the mail the other day, and inside was a card with five colors that had interesting properties. The colors were:

• Quinacridone Purple
• Iridescent Gold
• Duochrome Desert Bronze
• Pearlescent White
• Interference Lilac

It's especially interesting to see how the Duochrome Desert Bronze and Interference Lilac shift color as the light changes. I've been experimenting with colors with different shimmering properties lately, so these were right up my alley! Although the Quinacridone Purple has no sparkle to it, the strength of the color is enough by itself! I used the purple and gold to make the page border. You can see a bit of the sparkle where there's some glare on the page. I like having reference pages like this in my journal so that I can always refer back to see what a color looks like that I test drove.

A Special Gift

This statue has waited a long time to make it into my sketchbook! I really enjoyed using a monochromatic approach. It seemed to suit the subject and my mood at the time!

Kaaterskill High Peak from Across the Beaver Pond

This is my second-to-last sketch in my sketchbook for the Sketchbook Project 2012. It's a view from across the beaver pond behind my house, with Kaaterskill High Peak in the background, and the fall foliage reflecting in the water. There is a high bank there, shaped like a peninsula, with a beautiful grove of pine trees. Walking on the several inches of pine needles that have been accumulating for who knows how many hundreds of years, and smelling the pine smell, is really a magical experience.  This was painted on location with gouache. It is 7x10" across the two page spread in the sketchbook. I didn't date stamp or write on this entry yet, but I'll do so before sending in the book. All sketchbooks for this project will go on a world tour, and then be housed permanently in the Brooklyn Art Library in New York City.

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.

Review of Some Waterproof Black Inks

Those of us who use inks in our journals need to know which ones will be waterproof for use with watercolors, or dissolve with a brush for ink and wash techniques. This post will examine some of the black inks that I like to use with watercolors, which claim to be waterproof. That's actually a relative term, because much depends on the amount of ink applied, as well as the sizing of the paper it's applied to. I'll be discussing:

• Noodler's Bulletproof Black in a Noodler's Flex pen
• Platinum Carbon Black in a Platinum Preppy 03 (fine)
• Noodler's Lexington Gray in a Lamy Safari F
• Uniball Vision Black

These are all fountain pen inks, except for the Uniball Vision. That's a rollerball pen available in most office supply stores. I'm including it here because there are times when it's just not convenient to travel with fountain pens, and that's been my main waterproof pen in those instances.

Although Lexington Gray is not quite as dark as black, I often prefer it to black when working with watercolor. Black can be a bit overpowering at times, and the Lexington Gray takes the edge off. Because I use it so much, I wanted to include it in the tests.

Like with the browns, I tested the inks on three different papers, to take the sizing variations into account.

The samples above were done on an Ampad Quad Ruled book. You can click to enlarge the image. I dried all the samples with a hair dryer, then ran a clean waterbrush over them several times. They all sat tight. Good news! Then I went to sized paper.

The swatches above were done in a Stillman & Birn Epsilon book made specifically for ink, then dried with a hair dryer, and washed over on the right sides with a clean waterbrush. Pens write like a dream on this surface, and the sizing lets the ink sit up on top of the page in the most beautiful way! But that same sizing enabled the Noodler's Bulletproof Black to move around a lot more than the other black inks shown.

Above are the same four inks, this time in a Stillman & Birn Alpha book. Results are about the same as with their Epsilon book, which isn't surprising as it's probably a similar sizing process.

Each ink definitely has its own character, and how waterproof it proves to be is just one of the factors when selecting an ink.

Noodler's Bulletproof Black was the darkest of the fountain pen blacks in this test. It also runs extremely well in my pens, never clogging and rarely even needing any kind of "jump start" after sitting for long periods of time. It continues to be my favorite of the true black inks.

Platinum Carbon Black was the most waterproof of the two true black fountain pen inks. That is my choice for use with watercolor if I want a true black ink, and plan to use it on paper that would cause the Noodlers to run. But it does clog up some of my pens. I've found it works well in the Platinum Preppy I used on this test, needing just an occasional nudge to get it going again, but it didn't perform well in my Noodler's Flex pen over time. I had to switch that pen over to the Noodler's Bulletproof Black, and it works great with the other ink. So, if you use this ink, you'll have to be a bit particular about which pen it resides in.


Noodler's Lexington Gray is almost dark enough to pass for black, and often that's exactly what I want. At times when black would be overly contrasty, heavy, or draw too much attention to itself, the Lexington Gray is the perfect solution. It has great waterproofing characteristics and good flow in all of my pens. I love it to bits! In fact, if I had to choose only one fountain pen ink to own, I think this would be it. I get lots of use out of this ink for all purposes from check writing to journal writing to ink and watercolor.

The Uniball Vision Black rollerball pen was not only the darkest of them all, but the most waterproof as well. Before I started using fountain pens, this was all I used. I bought them by the case and they went everywhere with me. I still take them along on trips when I need to fly somewhere, and keep one in the bottom of my purse, where I don't have to worry about leakage. So, why not just use that? Well, you fountain pen aficionados will totally understand.....It's a tactile thing. I just love the flow of the ink out of a fountain pen nib, the variations in the line with the speed, and the varieties of italic nibs or flex nibs that make writing or drawing with fountain pens so very enjoyable.

So, which one to choose? I say get them all! I use all of them all the time, and I'd rather not give any of them up. Each one has pluses and minuses, and each fulfills a need in my sketching kit. My main sketching bag has about 15 pens in it with various inks. These four are always in there, and often in more than one pen!

What if you were stranded somewhere without a sketchbook?

Here's a sketchbook that can be made on the fly with a single sheet of paper, no matter where you are! (You may have to pause the video if I'm flipping the pages too fast.) Instructions for making it are in Alisa Golden's book, Making Handmade Books. It's a little tricky to get the hang of it, but I made a few with scrap paper, and now I'm sure I can do it on the fly with whatever is at hand! A much larger book can be made by simply increasing the size of the sheet of paper. (This one was made with a piece of copy paper.)

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.)

Breaking Out the Candles

I know I promised some comparisons of black inks, but I've faced some unforeseen circumstances with this snowstorm in the Northeastern US. The images of the results from those tests are on my desktop computer, so I'll have to wait until our house has power back before I can post them. We really got pounded!

I did the sketch above when I pulled out the candles today. You can click to read the text; it should enlarge enough to be fairly easy to read.

I test drove some new things in this sketch, like the new Noodler's #41 Brown (2012) that I reviewed the other day. In using it with watercolors, it didn't run at all on this Stillman & Birn Alpha paper, even though on the test I was able to get it to move a bit with hard scrubbing.

I also used one of my new Eversharp Symphony flex pens (this one with a B nib). After much practice by candlelight last night, I was finally able to better understand how to use these things. The title "Breaking Out the Candles" was written with that pen, using Noodler's Midnight ink.

I also have to say, this Stillman and Birn Alpha book totally rocks! I will give more of a full scale review once I've done some more work in it. Initially I thought the paper wasn't opaque enough for me, but today I realized the silver lining of that feature; I can slip a piece of lined paper behind the sketch to keep my writing straight! I'm also loving this 8.5x11" size. Usually I'm sketching out on location and don't want to bring along such a large book, but having that 11x17" space to spread out across two pages is a wonderful thing. It opens fairly flat, so it's quite easy to work across the gutter, which can be a challenge in some stitchbound/hardbound sketchbooks.

The journal writing on the page was done with Noodler's Kung Te-Cheng, one of my favorite writing inks, and it's completely waterproof to boot.

Review of the New 2012 Noodlers #41 Brown Ink

As many of you may know, Nathan (owner of Noodler's Ink Company) has been unable to continue making his popular #41 Brown. Artists, calligraphers, and fountain pen aficionados have all been wondering how they're going to continue to satisfy their addictions for a favorite color. Nathan reformulated the ink with different ingredients, and it is now available, bottled as Noodlers #41 (2012). I just received a sample of it, and did some comparisons with the new and old #41s on different types of papers.

It would certainly have been more scientific to test them in the same type of pen, but all my pens were inked up already. I had my old #41 in a Lamy Safari with an Extra Fine nib. The new Noodlers #41 went into a Sheaffer 100 with a Fine nib. Still, I think I found out everything I need to know except for how the new one will do on lightfastness tests, and that will take awhile.

Let's take a look at the images, and I'll explain some of the things I did. You should be able to click them to view larger sizes. Since inks react differently on different papers, I tested them on three different types of paper today. This first test was done on an Ampad Quad Ruled Steno Book. I dried the page with a hair dryer on high heat, then scrubbed the left side of the cross-hatched section of each sample with a clean waterbrush. (That's the kind of brush that has the water right in the barrel of the brush.)

As you can see above, the new formulation hardly bled at all, even when scrubbing with the wet brush. The old formulation displayed the one characteristic that has always bugged me about this ink, and ran enough to easily contaminate watercolors used in conjunction with an ink drawing. Before I started jumping for joy and thinking I'd finally found a true waterproof brown ink to use with watercolors, I figured I'd better test drive it on some paper I might actually use for journal art.

Below are samples of #41 New and #41 Old in a Stillman and Birn Epsilon book, made specifically for pen and ink. I let both samples sit for a few minutes, then scrubbed with the waterbrush on the left side of the crosshatched sections. Then I dried them with a hair dryer on high heat, let it cool, and tested the waterbrush on the right sides of the samples. As you can see below, both the old and new versions ran on this sized paper with the wet brush. However, the new #41 bled much less than it's older counterpart.Plus, the color that did wash out was much more neutral, rather than the more orange hue from the old version.

I don't usually scrub so hard when working with watercolor over ink. Generally it's just one or two passes with the brush. I decided to try on one more paper and see what happened with just a single pass over the dried ink with the brush, as well as with scrubbing. For this I used a Stillman and Birn Alpha book, to see how they would act on a slightly more textured, sized paper. The ink was dried with a hair dryer before using a wet brush on it. I ran the wet brush down the left side of each of the crosshatched sections and also the more densely colored squares. Then I scrubbed with it on the right sides of each.

Again, the new Noodler's #41 Brown outperformed the old. In fact, the single pass with the waterbrush on the crosshatched sample of the new ink didn't bleed at all. Are the two inks exactly the same color? No. When viewed side by side, you can see differences, but you probably wouldn't notice those color shifts without the direct comparison.

In closing, congratulations to Nathan for not only formulating a replacement, but for improving upon the original as well! I think I see a bottle of the new #41 in my near future. (Anybody interested in a swap for a bottle of the old, now unavailable #41 ink? ;) )

Tomorrow: Some comparisons of "waterproof" blacks!

Eleven More Lightfastness Results Revealed

These are the last sheets of my lightfastness tests for now. I'll be putting these back into the window to see how they fare over the next six months, and will give you an update then. I'll also be setting up testing for an additional 30 or so colors, which I will add to the window next week. Pretty soon, I won't be able to see out of my window! LOL I should have some preliminary results from those in a month or so. It amazes me that fountain pen ink can begin to fade in such a short time, but it does!

Here is the list for the colors tested in this post.

• Noodler's Brown #41 (old version)
• Noodler's Golden Brown
• Diamine Chocolate Brown
• Diamine Saddle Brown
• Caran D'Ache Grand Canyon
• Noodler's Brown
• J. Herbin Eclat de Saphir (#1 on second test sheet)
• Diamine Marine (#2 on second test sheet)
• Diamine Majestic Purple (#3 on second test sheet)
• Noodler's Navajo Turquoise (#4 on second test sheet)
• Noodler's Black Swan in English Roses (#5 on second test sheet)

You can click the images to see larger versions. The left sides were exposed to sunlight in my window since last April. The right sides were kept inside a box in a cabinet.

 

I was surprised that the browns above didn't fade and/or shift more than they did. However, they all changed enough to avoid awarding gold stars to any of them. I still plan to use my favorites (like Caran D'Ache Grand Canyon) in my sketchbooks.

But check these out! J. Herbin Eclat de Saphir (#1), Diamine Marine (#2), and Diamine Majestic Purple (#3) vanished so quickly that they should be in a magic show!

It is worth noting that the sheets on the right, which were kept in darkness, have had no problem with retaining vivid colors, so please don't get nervous if you've been using these inks inside a book. They should be absolutely fine! These tests only reveal what happens when an ink is exposed to sunlight. If the inks you've used are not exposed to light, then these results are irrelevant.

If you'd like to see the previous lightfastness tests, click here. You'll always be able to find them easily by clicking on the "Lightfastness Tests" category on the left sidebar.

I have a bunch of wonderful new pens and new inks to review coming up in the next few days, along with a new drawing project I'm starting. So much to sketch, so much to sketch with, so much to photograph and share, and so little time!

Lightfastness Results of Fifteen More Ink Samples

As promised, here are the results of my lightfastness testing to date of the following inks:

• Noodler's Bulletproof Black
• Parker Quink Black
• Private Reserve Gray Flannel
• Diamine Graphite
• Diamine Grey
• Noodler's Lexington Gray
• J. Herbin Gris Nuage
• Iroshizuku Kiri-same
• Omas Grey
• Iroshizuku Fuyu-syogen
• Iroshizuku Yama-guri
• J. Herbin Cacao du Brasil
• Diamine Damson
• Caran D'Ache Storm
• J. Herbin Poussiere de Lune

The left halves of these test sheets were in my south-facing studio window since April. The right halves were kept in a closed box in a cabinet.  It is worth noting that the sheets on the right, which were kept in darkness, have had no problem with retaining vivid colors, so please don't get nervous if you've been using these inks inside a book. They should be absolutely fine! These tests only reveal what happens when an ink is exposed to sunlight. If the inks you've used are not exposed to light, then these results are irrelevant.


Test sheet 2:

Test sheet 3:

You can click them to see larger, clearer images. I'm sorry that I'm not a better photographer, but even so, individual results are pretty clear. Most colors experienced fading, color shifting or both, but I feel the following inks had very little, if any, change:

• Noodler's Bulletproof Black
• Diamine Gray
• J. Herbin Gris Nuage

Noodler's Bulletproof Black and J. Herbin Gris Nuage are both real workhorses for me, so I was delighted to see them perform so well. Some inks had so little change that I wouldn't worry at all about using them, though I still wouldn't be comfortable with exposure to UV light:

• Omas Grey
• J. Herbin Cacao du Brasil
• J. Herbin Poussiere de Lune

I found it interesting that so many of the greenish grays lost some of their blue component, resulting in a yellowish-olive/umber tone, like Parker Quink Black, Private Reserve Gray Flannel, and Noodler's Lexington Gray. Diamine Graphite turned from a greenish gray to a more neutral gray. Iroshizuku Yama-guri (one of my personal favorite inks)  lost some of the cool color, transitioning to a much pinker color, whereas Diamine Damson lost some of its rosy glow and turned to a bluer, cooler violet. And who would have guessed that Caran D'Ache Storm would bleach out to pale orange?

Stay tuned for more lightfastness results tomorrow on 11 additional colors. To see previous lightfastness test results, click here. You'll always be able to find them easily by clicking "Lightfastness tests" on the left sidebar.

More Ink Lightfastness Test Results

A sheet of sample swabs of various popular fountain pen inks has been in my studio window since March 10. The samples I tested in that round are:

• Noodler's Kiowa Pecan
• Noodler's Nightshade
• Private Reserve Chocolat
• Private Reserve Avocado
• Private Reserve Velvet Black
• Noodler's Whaleman's Sepia
• Noodler's Kung Te-Cheng
• Noodler's Baystate Blue
• J. Herbin Rouge Hematite
• Diamine Red Dragon
• Noodler's Sequoia
• Noodler's Navy
• Noodler's Walnut

One month later, I posted the changes that occurred in that short time period. Today I took down the sheets and photographed them again. It's seven and a half months that they've been in the window, and a couple of the results I  found surprising. Here's what the sheets look like now:

You can click that image to see a larger version. The left side was in my south-facing studio window. The right side was kept inside a box in a cabinet, to avoid light exposure completely. The biggest surprise was that Noodler's Baystate Blue completely disappeared! Well, okay, there are a few greenish bits barely visible here and there, but I'll bet within a month, those will be gone too.

The other big surprise is actually a good thing; Noodler's Kung Te-Cheng, one of my favorite inks to work with, has stayed exactly the same as far as I can tell. That doesn't mean I'd do fine art with it to hang on my wall, but it does mean I feel totally comfortable with using it in my sketchbooks and for other purposes too. All the rest of these colors either faded dramatically, had large color shifts, or both.

It's a well known fact that fountain pen inks should not be used for fine art. They are dye-based, rather than being pigment-based like paints, and those dyes are fugitive and not meant to withstand the long term effects of ultraviolet light. Still, some hold up much better than others. Even for use in my sketchbooks, I like to know where they stand. It is worth noting that the sheets on the right, which were kept in darkness, have had no problem with retaining vivid colors, so please don't get nervous if you've been using these inks inside a book. They should be absolutely fine! These tests only reveal what happens when an ink is exposed to sunlight. If the inks you've used are not exposed to light, then these results are irrelevant.

In April, I started another round of tests with 26 more colors. It's hard to find the time to post them all at once, so I will be posting those results tomorrow and the next day. Tomorrow I'll be posting the results of::

• Noodler's Bulletproof Black
• Parker Quink Black
• Private Reserve Gray Flannel
• Diamine Graphite
• Diamine Grey
• Noodler's Lexington Gray
• J. Herbin Gris Nuage
• Iroshizuku Kiri-same
• Omas Grey
• Iroshizuku Fuyu-syogen
• Iroshizuku Yama-guri
• J. Herbin Cacao du Brasil
• Diamine Damson
• Caran D'Ache Storm
• J. Herbin Poussiere de Lune

On Thursday I will share results from testing these colors:

• Noodler's Brown #41 (old version)
• Noodler's Golden Brown
• Diamine Chocolate Brown
• Diamine Saddle Brown
• Caran D'Ache Grand Canyon
• Noodler's Brown
• J. Herbin Eclat de Saphir
• Diamine Marine
• Diamine Majestic Purple
• Noodler's Navajo Turquoise
• Noodler's Black Swan in English Roses

Sketching the Lynx at the Newburgh NY Waterfront

Today I went to sketch with my friend Virginia along the Hudson River at the Newburgh Waterfront. My plan was to sketch the cafes along the boardwalk and views of the Hudson Highlands. I was pleasantly surprised to find this gorgeous ship, Lynx, docked there to model for me. The angle of the masts is really striking. As usual, I didn't remember to get a photo while at my sketching location, but I got this one later from closer to my car, so the angle is a bit different. Still, you can get an idea of the beautiful scene there. I thought probably nobody would believe the angle of the masts without a photo! It's amazing how slanted they are.

The sketch of the ship and docks was done directly with ink and a black Sakura brush pen. Then I used Noodler's Lexington Gray in a Lami Safari "F" for the rigging, and a Platinum Preppy 0.5 filled with J. Herbin Gris Nuage for the mountains in the background. Even when working in monochrome, it's nice to have some value options at your disposal! I was especially glad to have the Gris Nuage along for those soft mountains in the distance, made even softer today by the atmospheric conditions. Using the light gray ink for the mountains allowed the ship stand out in the foreground, while providing a nice backdrop shape.

Finders Keepers

Every so often, I find a little something special when out walking. These glass bottles and turkey feather I found while walking the dog. The bottles will make nice wildflower vases come spring. The wide-mouthed one will serve as a brush holder in the meantime. I have an old pitcher that I've been filling with turkey feathers whenever I find a nice one. This particular feather is very downy --- as if it belonged to a young bird.

These were all painted with watercolors and Escoda round sable brushes sizes 10 and 2.  The writing was done with Noodler's La Reine Mauve (in their "Eternal Inks") line, using a Platinum Preppy eyedropper-converted fountain pen. 

My new watercolor palette and layout

I got this beautiful, new Schminke watercolor palette! It folds up nice and small, and is pretty easy to travel with. I decided that I wanted a setup with more colors that was still easy to cart around. It's a little larger than the palette I was using before, and I had to make a new sketchboard to accommodate the extra width. It came as a three row palette, but my husband trimmed a bit off the metal plate base so I could slide it up and squeeze in an additional row of half pans.

I also changed my color layout. It looks a little haphazard, but there is a method to my madness! In the top two rows, I put the opaque colors on the left, the transparents in the middle, and the earth colors over to the right. It's really helped to avoid mistakes between colors that look similar in the pans, but have completely different properties. The bottom row contains seasonal colors that will rotate, or exotic hues that I only use occasionally, colors I'm test driving, or colors that are easily mistaken for something else. (Quinacridone Gold is in that row because when it was in the yellow row, it looked so similar to Winsor Newton Raw Umber in the pans that I kept diving into it at the worst possible moments!)

The painted color chart was done so that I'd be able to remember what was in the set in terms of both color and brand. Some colors are completely different in different brands. That seems to be especially true with Raw Sienna and Raw Umber! I realized that if I wanted my mixes to be consistent, I'd have to be consistent in brands too, or at least test drive mixes in advance when trying new brands, so I can avoid some surprises when out painting on location.

Study of an Old Maple Tree Trunk

This was done out in my yard, using a 6B pencil in my Fabriano Venezia book. This old Maple has so much character from every angle. I did another drawing of it on Stonehenge, using a light and a dark on a colored ground. You can see that on this post on my Hudson Valley Painter website. Yesterday, I did yet another sketch of it from a different angle in watercolor. I'll be posting that one tomorrow on http://hudsonvalleypainter.com.