Journal Editing

I was just talking about how I have to edit, and
here is a journal entry which I can’t post… with a
quickie sketch of a polychrome chair I am working on this weekend.
This sketch is in Robert Oster Charcoal ink, really a dark purple-grey.

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Creating Journal Pages

I am writing more in my journal,
so it has become less of a strict art journal and back to my
everything journal but with watercolors throughout!
From college forward, I wrote and sketched all the time.
First in my cheap Chinese red and kraft-paper lined journals,
then later in my perfect Okina or Cadic journals (above, and it has pockets too!)
Architectural design ideas, classes, my zen studies, all things of interest,
and angry rants about baaaad boyfriends!

For the first years as I learned about watercolors,
my watercolor journals were all about the images.
Now I am comfortable with watercolor and with ink painting,
and am again using my art journal as my writing journal —
I want everything in one place, somewhat chronologically.

It changed what I feel I can share…
I have to make decisions about sharing everything —
which I would do if I was not still doing business with clients who may find me here…
It is always in thee back of my mind, not when I am writing —
I write everything I want to write — but when I think about sharing —
especially when some of my issues may be client issues!

It is hard for me to do a flip-through now!


One of the things I find myself doing these days is creating “blank” pages
from doodles or bits of a virtual sketchwalk or a lovely memory and
going back and picking them when I am ready to write.
This means the journal is not linear… exactly.  But is is within a few weeks.

I have questions:

Is a true time line important to you?
Are you meticulous about the date/time stamp?


Do many of your use your art in a writing journals,
(Hobonichi or Travelers, and so art goes over the dot or graph grids)
or write in your blank art journals,
(Hahnemühle or blank Archer & Olive)?
Or, do you keep a separate writing journal?

Is it a secret?  Like a diary?
Does it have a lock?  Do you hide it?

How would you feel if a family member or close friend read it?


Would a workshop on this be helpful to you?
Formats or layouts in blank journals?

How to get going?
How not to feel like a failure if you don’t write daily?

Issues around journaling itself?
How to grease the writing wheel… be ready to go when the mood strikes?
What to write about?

I would love your feedback!

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SoCS: Leaves

I  journal and do morning stream of consciousness exercises, and
I’m again participating in Linda Hill’s Stream of Consciousness Saturday
I write to a timer, 15-20 minutes, no editing except spelling, and of course I add my art!
You can do it too!

The Friday prompt for Stream of Consciousness Saturday is “leaves.” Write about the first thing that comes to mind when you think of the word “leaves.”


Hard physical labor and little catch up sleep leaves me with nothing to say.

Seriously.  I can’t form a thought not a coherent thought!

I tried, and thought looking for leaves I’ve painted might summon a topic slant but nope.

The image I painted is from Sharukh Bamboat, and seeing it reminded me
of the joy of many people I’ve met though blogging.

 

For the rules, go to Linda’s blog;  feel free to join the fun!

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Pilot Iroshizuku Bottles


Pilot Iroshizuku are the most beautiful bottles of any ink I’ve seen…
Not as inventive as Akkerman, but stunning…
Think Tiffany!  To see the ink sloshing in them is exciting!

And btw, the inks are beautiful.  But more on that later!

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VSW: Cathédrale de la Sainte Trinité, Paris

The very modern Cathédrale de la Sainte Trinité, from a Google image
on Virtual Sketchwalk (yes I wish I was in Paris!)
Designed by architect Jean-Michel Wilmotte.

I love greys; few are what I call a straight grey, neither blue nor brown.
This sketch is in Robert Oster Charcoal ink, really a dark purple,
though you can see why it is thought to be grey in the deep tones and writing,
whereas Robert Oster Graphite ink goes into warm green!

Painting with inks is challenging because, unlike watercolors, they tend to bloom easily.
The tree “blooms” were caused by me dropping inks over almost dry ink.
But the bloom in the temple tops just happened as it dried.
I am going to keep trying, seeing if I can
catch a technique whereby I can control the blooms.

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Inks in Depth: Birmingham Allegheny Observatory Celestial Blue

 I like what Birmingham says on their website:
We started Birmingham Pen Co. in 2012
in the Southside of Pittsburgh, Pennsylvania,
with the doors of our first retail shop opening
to the public in 2016. The region of Pittsburgh
where we began once called “Little Birmingham”
due to the area’s prolific manufacturing industry
in the early 1900’s. The Birmingham moniker
was derived from Birmingham, UK –
a manufacturing hub that specialized in,
among other things, pen and nib
manufacturing with thousands of
craftspeople employed in the industry.
We chose the name Birmingham Pen Company
to share this little known piece of history and
continue in the traditions behind the name.”

Birmingham also turns their own pens,
which I’ve noticed often sell out as fast as they make them!
*I am currently in line for the
“Model-A Demonstrator Fountain Pen, Violet Beauregarde,” hint hint!*
A small family business started by the brothers, Nick and Josh,
Dad is the chief pen machinist, and Mom does one of the coolest things about Birmingham, which is their amazing historic names!

This brings us to one of the prettiest dark blue inks,
Birmingham Allegheny Observatory Celestial Blue.
It is named after the Allegheny Observatory, opened in 1912.
Designed by Thorsten E. Billquist in the Classical Revival Style,
it is part of the University of Pittsburgh campus, and is now on the
National Register of Historic Places.

Properties of Birmingham Allegheny Observatory Celestial Blue ink:

Celestial Blue is a well behaved ink
which dries relatively quickly.  It feathers slightly on Post-its, but not in my Hahnemühle Nostalgie journal even with a wet writer, right, nor on watercolor paper, above. When I scrubbed it, it seemed to be water resistant, and further test sketches in my journals show it to leave a good imprint of water resistant ink lines when the waterbrush moves the color, easily.

*Above, watercolors from Daniel Smith.*

When painting, it first goes on the paper with a hyacinth blue cast, then deepens.
Looking at watercolor comparisons, the colors fall in the Indigo to Indanthrone range.
It is closer to Indigo but has a bit of that brighter Indanthrone blue.
In watercolors that puts the pigments in the following Munsell ranges:
PB 15:3/PBk7/PV17 and PB60.
*For more info go to this page.*
It has no sheen that I could produce, and is not a strong shader, so I don’t consider this a complex ink color.  Above you can see the pretty blue that pulls out of the dark writing ink.

MOST water soluble ink companies do not pay attention to lightfast qualities and Birmingham is no different.  Most artists who use ink are making prints of their work —
But ink-painting is becoming more interesting so maybe it is time!


I drew the Allegheny Observatory on my test page with a
FPR Muft pen with a 1.0 stub nib (below on cold press watercolor paper,
and touched the lines with water using a Pentel Aquash waterbrush.
This was a 30 minute sketch with water movement…
The lines stay slightly visible but also release ink; which means slight water resistance.
I did not add linework in, but left some lines untouched.


I’m committed to drawing every bottle too;
Birmingham’s are nothing special but they are glass, and functional, even in the small sizes.  I like glass bottles; they feel like they will last longer.
In my Hahnemühle Nostalgie journal, with the pen that is currently hosting it!


You can see the water resistant properties best in this posie,
as the lines of the ink stayed even after being hit with water.
They were not scrubbed, but the waterbrush was run repeatedly across
them lightly to move the ink where I wanted it to go.

Disclosure, I bought my own inks from Birmingham.

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Inky Blue Posie


My inky posie is in Birmingham Allegheny Observatory Celestial Blue ink.
This layered so nicely.  I used 2-3 layers, which often doesn’t work,
but maybe thoroughly drying in between helps —
Or the slight water resistance in the ink.
I won’t be sketching in color other than linework in this ink
because I didn’t know the lines would stay and I didn’t like the sloppy colored lines
I added at the base to bring in the dark ones.  Instead I will dip my brush tip in the ink.

Ink painting is a huge experiment for me!

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