FPN's PEN ART GALLERY

[flummoxed]

SNAK, I'm envious of your pens and admire your work too.

Here is today's work to catch up on the backlog, a study of George Cruikshank's "The Streets of London: Morning" etching from 1836. This is with the same pen, Gama Skyline, with Schmidt No.5 with Sheaffer Skrip Brown in Moleskine.

 

https://www.instagram.com/p/BLTYQUbhZIE/

Edited October 8, 2016 by flummoxed

[parkerwasmyfirstlove]

So cool drawings everyone, unfortunately, I'm busy with a commission, so I threw in a

Quickie:

TWSBI ECO EF - Waterman absolute brown

Delta dolcevita federico media bamboo (F) - Iroshizuku chiku-rin

Bexlex Prometheus (f) - Sailor doujo

A little bit of help from the Karismacolour

Seawhite of Brightton sketchbook

#inktober

I used an already teabag stained page and drew over it.

Edited October 8, 2016 by parkerwasmyfirstlove

[pictogramax]

Great artwork lately by everyone!

 

SNAK, I see you have been going at it with vintage nibs in TWSBIEs. Does those no4 nibs with their feeds fit as they are or you had to work on it additionally?

 

Just plug them in? Or some drilling, sanding or whatever is needed?

 

Thanks!

[Tas]

 

 

Cor !

[SNAK]

@SNAK

 

oo man, look very nice and artistic on Hot Press paper, I like it

Thank you Wolf! But I got carried away with this one, because playing too much with details makes me forget about the overall picture. Happens all the time in life too unfortunately...

 

SNAK, I'm envious of your pens and admire your work too.

 

Here is today's work to catch up on the backlog, a study of George Cruikshank's "The Streets of London: Morning" etching from 1836. This is with the same pen, Gama Skyline, with Schmidt No.5 with Sheaffer Skrip Brown in Moleskine.

 

 

https://www.instagram.com/p/BLTYQUbhZIE/

Thanks flummoxed, I really enjoy looking at your study of various masters' works. I think I should try doing that too, there must be a lot that can be learned about doing a whole scene in just lines. Where do you source the original plates photos? Do you have a collection of art history books?

 

So cool drawings everyone, unfortunately, I'm busy with a commission, so I threw in a

Quickie:

TWSBI ECO EF - Waterman absolute brown

Delta dolcevita federico media bamboo (F) - Iroshizuku chiku-rin

Bexlex Prometheus (f) - Sailor doujo

A little bit of help from the Karismacolour

Seawhite of Brightton sketchbook

#inktober

I used an already teabag stained page and drew over it.

 

Parkerwasmyfirstlove, Oh oh oh, your quickie is such a goodie!!! I absolutely love it! The colours, arrangement, mood, and the photo!

[SNAK]

Great artwork lately by everyone!

 

SNAK, I see you have been going at it with vintage nibs in TWSBIEs. Does those no4 nibs with their feeds fit as they are or you had to work on it additionally?

 

Just plug them in? Or some drilling, sanding or whatever is needed?

 

Thanks!

 

It's great to see you on this thread again. Any chance of seeing your amazing artwork? I am a big fan or yours!

 

As for my Franken TWSBI pens, I have two lots of vintage pens that will fit (1) TWSBI 580, Classic, Eco, Vac Mini, and Mini, and (2) TWSBI Vac 700 and Micarta.

 

(1) size pens all use the modern #5 size nibs that has roughly 5mm diameter feed. For this purpose the vintage Waterman's Ideal #2, and Mabie Todd Swan #2 nibs are relatively easier to find, I think. I replace the plastic TWSBI feed and use ebonite feed (Guru Flex feed with 28mm long/5.1mm diameter ) from Fountainpenrevolution.

Here is a post of mine from a while ago about this size TWSBI nib swapping.

 

(2) size pens use modern #6 size nibs that has about 6mm diameter feed. For this the vintage Waterman's Idea #4, and Mabie Todd Swan #4, as well as Wahl #5 nibs work for me. I have a couple of vintage ebonite feeds that I use for these nibs with TWSBI pens, but the original TWSBI plastic feed fits and works okay too, although if I need really wet flexed line I need to prime the feed before I start, if I use the plastic feed. I have a suspicion that Fountainpenrevoloution's 6.3mm/35mm ebonite Flex feed might work with modification like shortening it. I haven't bought the 6.3mm FPR feeds yet so I need to do some experiments soon.

I showed some of the vintage nibs and TWSBI plastic feed matched up on this post recently.

 

I am not good with power tools so drilling, sanding, etc is always my last resort and I try to avoid them. My vintage nibs were collected over some years and some of them came in pens in great condition, some were parts pen, and some nibs were purchased loose from specialty nib sellers (that is after I knew I am after Waterman #2 and #4, and Swan #2 and #4 sizes). A lot of the "Fine" nibs from these makers were quite flexible so check the amount of tipping material left and in some cases you can tell the likelihood of flexibility in the nib by looking at the shape of the nib.

 

Of course you can just replace the stock TWSBI nibs with FPR "Flex" nibs and I have tried that before too. But my preference is vintage super fine and super flexy nibs for drawing so I tend to go with that.

 

I hope this helps, but if you have any questions or would like me to clarify something, just ask away!! We're all here to help each other, right?

[SNAK]

Oh and this is mine from today. I reworked the rainbow lorikeet with colour this time.

 

 

 

Watercolour, Gouache and Waterproof ink

Pen: TWSBI Vac 700 Amber with vintage 14K Waterman's Ideal #4 nib with Platinum Pigment Brun Sepia ink.

Paper: Bockingford 300gsm Cold Press watercolour paper made into A5 size sketchbook

[flummoxed]

Thank you Wolf! But I got carried away with this one, because playing too much with details makes me forget about the overall picture. Happens all the time in life too unfortunately...

 

Thanks flummoxed, I really enjoy looking at your study of various masters' works. I think I should try doing that too, there must be a lot that can be learned about doing a whole scene in just lines. Where do you source the original plates photos? Do you have a collection of art history books?

 

 

Parkerwasmyfirstlove, Oh oh oh, your quickie is such a goodie!!! I absolutely love it! The colours, arrangement, mood, and the photo!

 

Yes, I'm slowly building a small collection of such books. I scrounge around second hand bookstores, wait for discount sales on Amazon and Flipkart, and buy whenever I travel to Europe.

[SNAK]

flummoxed, I tried my hand at copying a (part of ) plate by Bloemaert's Het Tekenboek today. I learned that copying is harder than doing your own thing!! Much much harder. But I plan to work on doing them further. My source is the full 120 plates of the Het Tekenboek at the British Museum website. I also found a few free online source for Jombert's Methode pour apprendre le dessein (1755) so I downloaded the best image quality version and will work from Jombert's plates too in the future.

 

I only started drawing on my own just over a year ago so I am still learning lots and experimenting. I still don't know what I'm doing but it sure is fun doing it! (most of the time)

 

Copy after Bloemaert's "Studies of ears and eye and several faces" - Plate 3 of Het Tekenboek

Pen: Platinum "Moomin" Preppy 0.2 with Platinum Carbon Black ink

Paper: Fabriano Accademia drawing paper 200gsm, made into a 20cm x 25cm (8"x10") sketchbook

Original plate is here if you are interested:

http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?assetId=1013205001&objectId=3051523&partId=1

Edited October 14, 2016 by SNAK

[pictogramax]

SNAK, thanks a lot for the details, I read with pleasure about your adventures with nib swapping! As for a chance to see some of my work, I just posted some rumblings about finding a paper that will work great for inking with fountain pens (PIlot CH 91 Soft Fine and Platinum 3776 Soft Fine in my case) but also for intense watercoloring on top of that... You might want to take a look here: http://www.pictogramax.com/paper-circus/ Thanks again & best regards!

http://www.pictogramax.com/wp-content/uploads/2016/10/PICTOGRAMAX-2016-PAPER-CIRCUS-02-HAHNEMUHLE-TRIO.jpg

 

 

[flummoxed]

 

flummoxed, I tried my hand at copying a (part of ) plate by Bloemaert's Het Tekenboek today. I learned that copying is harder than doing your own thing!! Much much harder. But I plan to work on doing them further. My source is the full 120 plates of the Het Tekenboek at the British Museum website. I also found a few free online source for Jombert's Methode pour apprendre le dessein (1755) so I downloaded the best image quality version and will work from Jombert's plates too in the future.

 

I only started drawing on my own just over a year ago so I am still learning lots and experimenting. I still don't know what I'm doing but it sure is fun doing it! (most of the time)

 

SNAK, those are some really clean lines! Thank you for the reference, I might find some for the next sketch there.

 

 

Here is my entry, I decided to try the Rotring Isograph pen and I definitely like the dip pen combination or the fountain pen better. This is a study of Ed Hopper's illustration for Bruce's “What Trivial Doubts Can Do To You” published in Every Week in 1917.

 

Also, crossposted on my Instagram at: https://www.instagram.com/flumm0x3d/

[Tas]

This thread is really coming to life . . .

[flummoxed]

@[member='SNAK'], I signed up with the British Museum's website and was able to access a few very high resolution images. One of these weekends, I plan to use a Zebra G in one of my larger Indian ebonites or one of the smaller ones like the Gillot/Hunt to do a full rendering of the images.

 

I find it really challenging to draw from memory or create ideas on my own, I feel happier doing copies and studies.

[SNAK]

SNAK, thanks a lot for the details, I read with pleasure about your adventures with nib swapping! As for a chance to see some of my work, I just posted some rumblings about finding a paper that will work great for inking with fountain pens (PIlot CH 91 Soft Fine and Platinum 3776 Soft Fine in my case) but also for intense watercoloring on top of that... You might want to take a look here: http://www.pictogramax.com/paper-circus/ Thanks again & best regards!

http://www.pictogramax.com/wp-content/uploads/2016/10/PICTOGRAMAX-2016-PAPER-CIRCUS-02-HAHNEMUHLE-TRIO.jpg

 

 

 

 

Pictogramax, wonderful artwork!! I enjoy seeing your characters.

 

I read your paper circus article with great interest. Choosing paper that can handle water well, can provide my preferred texture and can deal with needlepoint nib has been tricky for me too. Plus here in Australia, paper choice is limited than in Europe or in the US. I have done my own paper circus in a smaller scale and made sketchbooks from various watercolour and drawing papers for my ink, graphite, charcoal, and watercolour experiments. I think I have settled on a few but I am still constantly looking.

 

For drawing with ink I almost always use very fine fountain pen nibs so I want to balance water-friendliness of some textured or heavily sized paper, and the abrasive nature of such paper on nibs. Some paper feels almost like fine sandpaper or mylar sheet on the nib and I am sure the nib's tipping will be sanded away over a fairly short period of time. So I need to be aware of that and choose my tools carefully (near disposable dip nib or Preppy, easily replaceable modern fountain pen nib, or hard to replace vintage gold flex nib) and balance the preferred line character I want to achieve and the tools fit for the job.

 

I am also coming back more to the good old Platinum pigment inks (Black and Sepia) from De Atramentis Document inks, especially if I am using super sharp dip pen nibs that can actually slice the micro paper fibre on the surface of paper. De Atramentis Document inks are lovely in their wet flow, but because of this sometimes the super fine ink line can look a bit feathered or ink line not as crisp as I like on certain paper and sharp nib combination. Platinum Pigment inks are less wet, may need more pen maintenance, but for super crisp lines in just black or reddish brown, they are still my favourites. I do however very much appreciate the mixablity of De Atramentis Doc inks. I am happy to have both brands (and others) in my stash.

 

I am having good ole fun playing around with art materials and tools. It is almost as much fun to collect them as to actually be making some drawing/painting! Gawking at artwork by talented people rank very high up there in my favourite things to do list.

Edited October 22, 2016 by SNAK

[SNAK]

 

SNAK, those are some really clean lines! Thank you for the reference, I might find some for the next sketch there.

 

 

Here is my entry, I decided to try the  Rotring Isograph pen and I definitely like the dip pen combination or the fountain pen better. This is a study of Ed Hopper's illustration for Bruce's “What Trivial Doubts Can Do To You” published in Every Week in 1917.

 

Also, crossposted on my Instagram at: https://www.instagram.com/flumm0x3d/

Thanks for your kind words flummoxed! When I did that copy work I did a rough pencil underdrawing using sight-size method first, then went over with ink, then erased the pencil lines. I will need to train my eyes to see the original and then put it down in ink directly, but will need more practice. How do you do your studies of plates when you have them in front of you? Do you print out the plate image, or work from screen?

I think your Ed Hopper study has fantastic loose and free line. What was it about the Isograph pen that you didn't like? Ink flow? Line quality? 

 

This thread is really coming to life . . .   :wub:

Hey Tas, why do we not see any of your recent works here?  ;) I am sure you have something up your sleeve, stashed away. I would love to see more of your wonderfully atmospheric drawing/sketch, please? 

I still have a few to do before Inktober is over so I am hoping I can get a couple more done over the weekend. But the weather is nice and we tend to go out and spend the weekend outside so it's kind of hard to try to focus on drawing. Maybe I should try my hand at urban sketching and take my gear out.  :happyberet:

 

@[member='SNAK'], I signed up with the British Museum's website and was able to access a few very high resolution images. One of these weekends, I plan to use a Zebra G in one of my larger Indian ebonites or one of the smaller ones like the Gillot/Hunt to do a full rendering of the images.

 

I find it really challenging to draw from memory or create ideas on my own, I feel happier doing copies and studies.

I look forward to seeing your dip pen work, flummoxed. 

To me doing copies and studies is super hard because I feel almost as if I have someone staring at me from the side while I do them. But when I finished one, I realised that by doing the copy, I learnt why the original artist placed a certain line there, and the effect it has on the overall picture. So in a way, the original artist is actually there, teaching you along the way, the importance of each line being placed. I see the value in doing the copies (that was the traditional way, wasn't it) so I mean to continue. 

[Tas]

Hey Tas, why do we not see any of your recent works here? I am sure you have something up your sleeve, stashed away. I would love to see more of your wonderfully atmospheric drawing/sketch, please?

I still have a few to do before Inktober is over so I am hoping I can get a couple more done over the weekend. But the weather is nice and we tend to go out and spend the weekend outside so it's kind of hard to try to focus on drawing. Maybe I should try my hand at urban sketching and take my gear out.

 

 

 

 

I can be shy sometimes and like you, really enjoy looking at other's work almost as much as producing my own.

 

I went to the Royal Academy's Abstract Expressionism exhibition with my wife as part of our twenty year anniversary on Thursday.

 

Wow ! Some rooms left me stone cold whilst others made me stop in my tracks, stand, stare and smile ! Incredible how, just like music, a few scribbled lines can change one's mood.

 

My fave was actually a tiny photograph in the corner of a room from Harry Callaghan - I stood for at least five minutes and re visited it twice.

 

http://www.taskyprianou.com/fpn_harry_callaghan_detroit_wires.jpg

 

Freshly inspired I will endeavour to show more of my scribbles. Thanks for your encouragement.

[wolf73]

Helloo ink artist, you have a good work, enjoy to watch your drawings.

 

I had a lot of duties, but I still found time for this boxy swan.

 

King regards and good rest of the day !

 

 

 

 

pen - Rotring Art pen

 

Rotring Artpen ink

 

paper - Fabriano 160g/m2 - A3

Edited October 22, 2016 by wolf73

[Tas]

Helloo ink artist, you have a good work, enjoy to watch your drawings.

 

I had a lot of duties, but I still found time for this boxy swan.

 

King regards and good rest of the day !

 

 

 

 

pen - Rotring Art pen

 

Rotring Artpen ink

 

paper - Fabriano 160g/m2 - A3

[flummoxed]

Thanks for your kind words flummoxed! When I did that copy work I did a rough pencil underdrawing using sight-size method first, then went over with ink, then erased the pencil lines. I will need to train my eyes to see the original and then put it down in ink directly, but will need more practice. How do you do your studies of plates when you have them in front of you? Do you print out the plate image, or work from screen?

I think your Ed Hopper study has fantastic loose and free line. What was it about the Isograph pen that you didn't like? Ink flow? Line quality? 

 

I look forward to seeing your dip pen work, flummoxed. 

To me doing copies and studies is super hard because I feel almost as if I have someone staring at me from the side while I do them. But when I finished one, I realised that by doing the copy, I learnt why the original artist placed a certain line there, and the effect it has on the overall picture. So in a way, the original artist is actually there, teaching you along the way, the importance of each line being placed. I see the value in doing the copies (that was the traditional way, wasn't it) so I mean to continue. 

@[member='SNAK'], I started out by trying ink/pen and then realized a pencil outline, guides will help me. So now I have those pencil guidelines before I work on a study. Sometimes I only work on a portion of it as well to ensure that I understand how the artist depicted a certain emotion, gesture, etc. I am still not capable of replicating as well as I'd like to. But I see what you mean by the artist teaching us about the importance of lines.

 

Helloo ink artist, you have a good work, enjoy to watch your drawings.

 

I had a lot of duties, but I still found time for this boxy swan.

 

King regards and good rest of the day !

 

 

 

 

 pen - Rotring Art pen

 

 Rotring Artpen ink

 

paper - Fabriano 160g/m2 - A3

@[member='wolf73'], that looks lovely! I'm guessing that was from memory or your own rendition. I'd love to be able to do something like that.

 

 

 

I can be shy sometimes  :unsure:  and like you, really enjoy looking at other's work almost as much as producing my own.

 

I went to the Royal Academy's Abstract Expressionism  exhibition with my wife as part of our twenty year anniversary on Thursday.

 

Wow ! Some rooms left me stone cold whilst others made me stop in my tracks, stand, stare and smile ! Incredible how, just like music, a few scribbled lines can change one's mood.  :wub:

 

My fave was actually a tiny photograph in the corner of a room from Harry Callaghan - I stood for at least five minutes and re visited it twice.

 

Freshly inspired I will endeavour to show more of my scribbles. Thanks for your encouragement.

@[member='Tas'], Please do share, we'd love to see your work and congratulations on the anniversary!

[flummoxed]

Here the latest piece, it is from Punch in 1856, this is titled 'The patent anti-garotte overcoat'. Their take on how the man is using his wife's crinoline as protective gear against street crime of garotting. I unfortunately wasn't able to find the name of hte artist.

 

 

Pen: Rotring Isograph .1

Ink: Bril Black

Paper: Moleskine Journal

 

Cross-posted at: https://www.instagram.com/p/BLwfksKBj4W/