I had already used nib pens on Moleskine sketchbook paper. And it works better with fountain pens or fineliners. I have used other papers and the nib flows perfectly over them. On the other hand, the ink goes thought the paper. It had already spoiled some of my old drawings and I watched videos where it also happens. It is a 160 gsm paper. Surely I will be buying new sketchbooks soon.
I keep with some exercises from the book Rendering in Pen and Ink by Arthur L. Guptill with the same nib pen, the Gillott 404. In this case it has to be controlled the hand pressure and the length of the lines. The idea is to leave some lines unfinished. According to the book the drawing will be more realistically suggestive.
More exercises from the book Rendering in Pen and Ink by Arthur L. Guptill with the same nib pen, the Gillott 404. I love how the line width can be modified just by applying more or less hand pressure.
I bought the classic book on drawing Rendering in Pen and Ink by Arthur L. Guptill some weeks ago. This is one of the exercises. I used one of my nib pens, the Gillott 404. The goal is to learn to control the hand pressure for creating several line widths.
A new attempt with flowers. This time I have returned to my dip pen. I was experimenting how the pressure modifies the stroke width. I have employed the Gillott 404. The lines in the vase could be thinner. For the colors I have used watercolors.
More flowers. It is pen and ink this time. I used the fine liners. I copied the sketch from an instruction book by Giovanni Civardi that I bought months ago. I liked the composition. I have preferred to leave the pencil lines that I usually employ for defining the space in the paper. They give an unfinished aspect to the sketch.
This last Gillot 404 testing sketch is inspired by an original drawing by the French artist Maxime Lalanne (1827-1886). The drawing is included in the book La Hollande à vol d’oiseau (A bird’s-eye view of The Netherlands) with text by Henry Havard and edited by A. Quantin in Paris, 1882. The sketch shows the old city gate of Haarlem.
Charles D. Maginnis defines the original Lalanne drawing in his book Pen drawing, an illustrated treatise as «an excellent example of the Economy of Means carried to its extreme. Not a stroke could be spared, so direct and simple is it, and yet it is so complete and homogeneous that nothing could be added to make it more so.»
We are applying Linear Discriminant Analysis in our latest research. While I was studying the original Fisher‘s works, I learned that there is a stained glass window in the dinning hall of Caius College, in Cambridge, displaying a 7 x 7 Latin square in his honor.
In combinatorics and in experimental design, a Latin square is an n × n array filled with n different symbols, each occurring exactly once in each row and exactly once in each column.[1] Latin squares have many interesting properties but I have only used the pattern to define the color in each cell of a array drawn with the Perry 1141. I wanted to check if the Indian ink was really waterproof. And, obviously, it is.
On the other hand, I have also experimented with the Gillott 404. I have used an exercise from the book Rendering in Pen and Ink by Arthur L. Guptill. Really I have used this exercise because I do not own this book. Surely I will purchase it, I do only read excellent comments about it. Does anyone have any experience with this book?
Although the pen should always be drawn toward the draftsman when possible [2] I wanted to check the nib behavior in several orientations. The image below shows the results. It works with regular and uniform orientations but when the curves begin to come… The Moleskine sketchbook paper does not seem very adequate to be used with this nib either.
