Currently Browsing: Faber-Castell Pitt Artist’s Brush Pen 13 articles


Journal Size Matters

See the full post for details.

A 9 x 12 inch page spread in my Fabriano Venezia in-studio journal. (Note that I frequently get interrupted or write so quickly I misspell—that's "rockford" with a d.)

Project Friday: Working with Tombow Markers (Or Other Markers)

See the full post for details.


New Birds at the Pet Store

See the full post to read details about this sketch and see close up images.


Practice Before Bed

Just a need to draw something.

Choosing a Pen for Writing (and Sketching) in Your Visual Journal

In this post I take a look at the pens I use and which papers I use them on, and why.


Backgrounds and What Goes on Top


Left: A mixed-media page spread (the journal is turned so the head and tail of the book are at the right and left, making the image 8 x 13 inches). Read below for more details about this spread. Click on the image to view an enlargement. When you do you'll also be able to see the lovely texture of the Gutenberg paper.

I’ve been showing you backgrounds I’ve made while I’ve been recovering from a nasty summer cold. Today I’ve posted a spread with background decoration that was actually used for journaling already. It represents the return of my ability to concentrate, a happy day.

Here’s a Breakdown of What I Did
1. I started this page spread with flat brush strokes of Turquoise FW Acrylic ink around all the edges. Then I took a soft sumi brush and trailed Indigo FW Acrylic ink through the still wet strokes. And while things were still wet I spritzed everything with clean water to spread color even more. I let it sit for a couple weeks because I had a cold and because I wasn’t on this page spread yet.


While We Are on the Topic of Backgrounds…

Above: journal page spread where rubberstamped text forms the background. Click on the image to view an enlargement, and read below for more details. I'm still fighting a cold and suffering from Fair Withdrawal. I am aching to sketch something, anything, including two not-too-attractive pears (I like pears with a little more variety and oddness […]


Being Happy with the Little Bits—or Keep on Pushing to See Where It Goes: Part Four


Above: The entire page spread showing the fourth (left) and third (right) sketches in this series. Originally the previous page spread was still wet and I worked on the brush-only-sketch on the right while holding up the previous page to allow for drying. The black ink notes relate to the fourth sketch on the left. Click on the image to view an enlargement.

This is part four of a four-part series of posts, begun on Monday, June 15.

After completing three quick sketches (two with brush pen, one painted directly with a brush and gouache) I still wasn’t satisfied with what I was getting but was so intrigued by the reactions of the Lukas gouache that I wanted to push forward and see what else I could make happen. This is what it means in part to enjoy and savor the “little bits.” You are so encouraged by your observations and experiments that you keep on pushing forward, moving forward with more experiments.

With that in mind I looked down at my tray on which my materials and tools rested, and saw two Neoart watersoluble wax pastels.

I decided that I would draw and lay in color with these crayons first and then add the gouache on top of the crayon, dissolving the crayon strokes as desired.


Being Happy with the Little Bits—or Keep on Pushing to See Where It Goes: Part Two


Above: the second quick portrait sketch during my evening practice session. This one is still with the Faber Castell Pitt Artists Brush Pen and Lukas gouache washes (and flicks). There is a bit of text that was stuck on this page when I got here, “I think so, but let us try to keep to a chronological order.” That’s interesting because of what happens on the next pages, but that’s for a later post. (8 x 8 inch journal with Folio paper [a printmaking paper, not a watercolor paper] for pages.) Click on the image to view an enlargement.

Yesterday I started writing about a series of portrait sketches I made from a 19th century photograph. I made the series one evening recently, one after the other, with a break at one point to talk to Dick, who had just come home and was making dinner for himself. I thought it would be good to have a short break and have a chat. It would let paint dry, and give me a moment to rethink my approach.

Here are some additional reasons to push ahead and practice with a quick succession of drawings of the same thing/person/animal:


Scarcity—A Corollary to Journaling Superstition 4: Perfect Pages


Above: a page spread I did in my now infamous odiferous journal! This was one of 14 page spreads done in a day just to get the hell out of that smelly book. People will recall I love the paper I made the book out of (Velin Arches) and so it was important to me that I not simply waste the paper but actually use it to some purpose. This is a study for a dog series I’m doing. Faber Castell Pitt Artists Brush Pen (dark gray) and Schmincke Gouache. Click on the image for an enlargement.

Before I leave “Journal Superstition 4: Perfect Pages” behind and continue with the series I want to stress an important point that catches people and is related to #4. It’s the idea of scarcity. I see a lot of students and friends get hung up on this all the time. It can come in many forms. Three common statements relating to this issue are:

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