Banana Munching Festoon

This pen and ink drawing, painted with Dr. Martin's watercolours on a watercolour block, was done as an experimental illustration. By that I mean that it appears to be part of a story but there was no story that went with it. At the time, I was considering illustrating children's stories but hadn't written much - hence the illustration without a story.

Doodles and Icons

While it is very rewarding to spend hours drawing or painting something suitable for framing, little compares to getting so lost in the doodle zone that you lose a sense of time or troubles. You are not self aware. You are not drawing to impress or please anyone else. In fact, you are not even drawing with intent to please yourself. The drawing just emerges while you observe.

It is similar to that feeling that you get reading a great story or watching a really compelling movie: you are transported to another world.

I don't recall where this doodle began - probably with the face - that is usually where I start. The starting place is always a self-aware decision. It is sometime after that as the drawing begins to take shape that you stop trying to draw and just draw. That is why doodling is somewhat therapeutic as a way to relax.

This sort of doodling is a faint echo of an even more significant form of artwork that transcends personal therapy: iconography. For monks who paint icons, the process of painting is a form of prayer as they paint, understanding that the finished icon will be a vehicle of prayer for others. I am not trained in the method of painting icons, but the general concept is one that we can embrace. Several years ago when I was drawing portraits for a living I took this concept to heart and adapted it for my work: while I was drawing the subjects portrait, I prayed for him/her. It transformed the way I thought about the subject and the process of producing a piece of artwork. It was no longer just a creative effort or a business transaction, but took on a sacramental significance.

Block Head

This is a concept drawing for a tactile sculpture that was designed for children.

Each mouth is a cavity, which contains objects that can be felt, such as marbles, feathers, water, et cetera.

Cross Apogee

INTRO. I am really reluctant to post anything at the Pub unless I can include photos and spend a couple of hours writing. As you can see that isn't working too well, since my posts are too few and far between. However, when I received this Cross Apogee from my daughter and son-in-law I knew it was time to get back on track and write about this outstanding pen.

APPEARANCE. This Apogee is the "Frosty Steel" finish and it glistens - catching and reflecting blue light at multiple tiny points across the barrel of the pen. I know we get pens primarily to write with but this one is pleasant just to look at. At first I thought the nib looked a bit small for the size of the pen but have since come to see it as corresponding well to the tapered opposite end. It is a very handsome pen.

NIB. My previous experience with Cross is that they are wet and wide writers. So, I ordered an XF nib expecting it to write like a fine nib, and I was not surprised. The nib is 18kt gold but still stiff. Not as stiff as an ATX steel nib but stiffer than you might think for an 18kt nib. Apart from that, it is an exceptionally smooth and consistent writer. So far, I am using Cross Blue ink, which I really like. With the XF nib, it is perfect for my very thin Clairefontaine paper: no bleed through. It writes on first contact every time - no flow issues whatsoever.

WEIGHT. On the top heavy side with the cap posted. But I prefer writing with the cap off, so that is not an issue for me. Without the cap it is a comfortable weight (sorry - no grams) - though heavier than a resin pen.

CLIP. The clip is really unusual. It is spring loaded and the end has to be depressed before you can put it in your breast pocket. It is a very stiff spring and requires quite a lot of pressure but it can be accomplished with one hand.

INK SUPPLY. This is strange: Cross does not supply converters with their fountain pens. You have to order it separately. Fortunately, I was aware of that and so I ordered it along with the pen. The converter is a well made screw-in converter. I like the fact that it screws in rather than the push-in style of most other converters. It is very secure.

CONCLUSION. I love this pen - can't put it down. It is so pleasant to write with. My only criticisms are that an 18kt nib ought to have more flex to it, and Cross ought to include the converter with the pen, like every other pen maker does. Cross seems to be kind of out of touch with their customer base. You can tell also by the way they write their pen descriptions. Whoever writes that stuff, obviously has know idea what pen enthusiasts care about. They write about the pens as though they are fashion statements rather than marvelous writing instruments - but I'm a guy and that's the way I think. Or, maybe they aren't that interested in pen enthusiasts. As the oldest pen manufacturer in the world, you would think they would have inky fingers - if you know what I mean. Not that it matters much how they advertise, the Apogee is a very fine pen!

UPDATE. Since writing this review, Cross recently redesigned their website, which finally includes pen specs and lists the "optional converter". Their website went from adequate to excellent.

Mr Zzyzx Presents: Zingot

My recent sleepless night allowed me to finally complete the illustration of "Zingot", an annoying character from my unfinished novel.

You can read about him in an excerpt from the novel posted previously in this blog: click on the "Chimera Crusade" label.

Man with Bowler

In my last post I promised - or at least implied - that I'd be writing soon about my latest graphics tablet digital artwork trials. Well, I must confess to yielding to the temptation of drawing with fountain pens and paper.

I have been listening to the audio book version of "The Invisible Wall" by Harry Bernstein, and his description of men wearing bowlers inspired me to draw this sketch. And, rather than turn on the computer, I just uncapped a few fountain pens and sat back in my comfy wing-backed chair and sketched the guy you see here above. He's mostly drawn after Bernstein's descriptions of his father.

I used a Pelikan M215 fine point and Namiki Falcon soft fine point for this sketch, with Noodler's Feather-X black ink. I really like the graphics tablet but it is not a sufficient substitute for a pen nib on quality paper.

Bird on the Wire

The Bird on the Wire [right] and The Telephone Pole [below] are large pen and ink drawings using Rapidograph drafting pens. The Bird on the Wire was drawn from a photograph that I took and the Telephone Pole was drawn from life. The drawings were then made into full size limited edition numbered prints of 100 each in 1984. I rediscovered these prints recently during a move. Of those not sold before they were stored, a few were damaged. So, the total number of salable prints is less than a hundred. I've offered these for sale on Ebay. They were designed to be a set but they can be purchased separately. Each is signed and numbered by the artist. The unframed black and white prints are presented on 17.5" X 22.5" heavy textured paper and are faithful to the original drawings. The Bird on the Wire is $35.00 and the Telephone Pole is $20.00. The set can be purchased for $50.00. Shipping is extra.