Today is part four of a multi-part series on the Stillman & Birn (S&B) smooth surface Zeta journals.
You can read part one here. This post deals with some mix-media approaches and some pros and cons I discovered about this paper.
You can read part two here. In this post I write a bit more about mixed media and look at how some of my favorite pens react to this paper.
You can read part three here. I deal mostly with how watercolor works on this surface.
In today’s post I show some additional examples and wrap up.
Summary (in case you are exhausted from wading through this four-part review)
If you’ve been reading along you’ll have seen a lot of sketches in different media from me in the book I purchased to test. I found that regardless of what medium I was working in this paper didn’t make my approaches easy. I won’t be purchasing these on a regular basis, there are too many other commercially available books available that contain paper I prefer working on. And I enjoy binding my own books with papers that I love to work on as well.
I really wanted to stick with the paper and give it a chance so I kept working on it and I did manage to get some pieces out on this paper that I’m quite fond of, but that still isn’t enough to have me rushing back to the store. I can work less hard and have more fun on other papers.
My four posts document how I found the paper for each of the media I tried. I have tried to be as specific as possible in the reactions of the paper to my methods so that you can decide whether the paper will work for the way you want to work.
If you work in pen and ink I think you may have a shot at enjoying this book.
What’s Left to Look At?
I haven’t been using a lot of dry media lately, but before I left this test journal I wanted to work with color pencil. I have a friend who works with graphite and she likes to work on this paper. There is a little bit of tooth to the paper so I felt things would go well.
My graphite tests didn’t extend to a sketch. I didn’t enjoy how the graphite felt against the paper. Often I work with smooth (plate) Bristol when using graphite so it wasn’t the smoothness of the Zeta that put me off.
If I hadn’t used up all the pages I might have tried charcoal pencil, or something very soft. But I’ll have to leave that for others to explore—I don’t use many soft media in my visual journals.
But I do enjoy sketching in color pencil and that’s what I did in the above example. With color pencil I found the paper less forgiving than something like Stonehenge for example. I found that using my lightest pressure to put in initial gesture lines the paper held on to the pigment so that working around it to deemphasize “errant” lines was more difficult on this paper.
I did find that texture of the paper, while smooth, also has a uniform tooth that helps you establish a clean line, see in particular the strokes in the blouse. And repeated layers of color can be built up as shown in the hair in particular.
If you like to use a variety of media but are working in a watercolor book that doesn’t do your color pencil technique justice you might enjoy this book for mixed media approaches.
I’ve already written a bit about doing mixed media work on this paper, and about using the Pentel Dye-based brush pen on it. I wanted to provide an additional example of both.
Please see the example at the left.
I enjoy working with the dye-based pen in my journal because I can wash out the ink for nice shading possibilities. On this paper I found that the ink quickly sunk into the paper and made ink dilution and movement more difficult than on other papers you’ve seen me use on the blog. (If you would like to see examples of this technique please look up Japanese Lined Journal in my category list. Or look at this series of portraits made on the Japanese Lined Paper. I’m sorry that’s one of the pre-2017 posts that doesn’t blow up images, but they are large enough that you’ll be able to see what’s going on.)
On the Zeta paper you have to drag the washes into place and fight against streakiness. Additionally when you go in to layer additional “glazes” of ink to increase contrast the paper quickly gives out and starts to rough up. Even when you wait for everything to completely dry this happens, and still contrast isn’t reached to the level you’ll see on the linked examples—on those examples please see in particular the portrait of Brian Cox and the last image in the post which is a portrait of Charles Dance. In both of those portraits I worked while early layers were still wet and the paper retained its smooth surface texture. It even continued to float the final ink layers I added for contrast.
Zeta’s inability to support gentle reworking (lifting and repainting in an area) is one of my main disappointments in this paper.
That characteristic of Zeta can be seen in the detail at the left, from today’s opening image.
In the eyelid and on the edge of the nose I have gently lifted color. A spotting effect has resulted. This is often the result of such techniques on any paper regardless of the gentleness of your technique. What is troubling on this paper is that this is actually roughed up, no longer smooth, and now unworkable in those areas. To be a useful wet media or watercolor paper I believe that there needs to be a sturdiness and stability in the paper that holds up to lifting and reworking.
In the above image I worked with a Parallel pen filled with a dye-based water-soluble ink that I could touch with a water brush and dilute and move about for shading. I used the dye-based Pentel Brush Pen to go in and state some areas of contrast BEFORE I wet the red ink, so there is some blending also of the black ink.
One thing that I found really unusual was the way the black ink which is usually so responsive to lifting sunk immediately into the paper. In most instances I had to pull ink directly off the ink brush.
On the brim of the hat worn by the man on the right I had wet the red ink and knew immediately I wouldn’t get the darkness and contrast I needed so I put down some black ink. One large stroke right and another to the left to shade that area with dilute black ink and the paper was done. If you feel this spread with your hand you can feel the uneven surface of the paper in all the shaded areas.
Since I like to work, add bits, and work again on paper Zeta is simply not a strong enough paper for my needs.
On a happier note, if you look at the detail image for the parallel pen sketch closely (click on any of the images to scroll through them in larger format) you will see in the ear at the center and the nose on the left the paper is of sufficient thickness to hold up to my misuse of the parallel pen—it’s not meant to be turned on its side so you can carve out shapes and create thin sketchy lines in this fashion.)
The only media I haven’t tried in this book is gouache. I have one pre-painted spread that I haven’t worked on yet. My foot and ankle injury has reduced my mobility and ability to sit up for long spells and sketch. I haven’t felt like squeezing gouache out tubes to do a full study.
Additionally the acrylic pre-painting on the page is more dull than on other papers I use—it has sunk in—so I wasn’t enthusiastic about it. But I will work on it in the future and you’ll see it here. I’ve no doubt the paper will stand up to gouache because it is so heavyweight. But that’s all I can say about that.
So what are you to make of such a mixed review, “gee it has heavyweight paper,” “Ah, the paper doesn’t stand up to gentle lifting,” and so on?
Some books contain paper that just doesn’t work for the way we want to work. In my case Zeta is one of those books. It may be that in my specifics you have realized that your approaches are so different that you think you’ll love this paper. It’s part of why I take the time to be specific.
If on the other hand you find that my work descriptions sound similar to your own I suggest you keep looking for another type of sketchbook. There isn’t a lot of fun to be had in this book.
On the plus side it’s well made, and the 8 x 10 inch size is my favorite size.
We can’t have everything we want. Sometimes we have to decide if there are enough characteristics of a paper that work for us that make the purchase worthwhile.
The book comes with a price tag of $26. I believe they are available universally. I purchased my test book at Wet Paint in St. Paul, MN because I like to support independent art supply stores. (I didn’t receive any sort of consideration, either monetary or in product, to write this review.)
What’s Coming Up?
Since I won’t be buying more Zeta journals what will I be using?
Well, in the summer I started testing a lot of papers for the Minnesota State Fair Journal. Also I have reviews coming up on several other commercially bound journals in December.
In the new year, as I am able to start binding again and finish the #2017BigBind (you can see some photos of the early stages on my Instagram account), I will be using some journals made specifically so I could test some new papers. I look forward to sharing what I discover with you.
Whether you bind your own journals or work in commercially bound journals I hope that you will continue to explore sketching with joy and enthusiasm, listening to your own process so that you can discover which paper and tools work the best for you.
In fact, you could do a Project Friday…well I’ll leave that for another day, just be sure to get out and sketch this weekend.