– The Pentalic paper produces even washes (refer B and C) as opposed to the Moleskine which does show the brush strokes. I could go into a lot of detail comparing each test but here are a few important points I did these tests using Ultramarine Blue to see what textures would be achieved through the pigment granulation, and also with Quinacridone Rose which is a staining colour with more of a tendency for backruns (cauliflower effects). Trying to achieve soft edge over a single stroke by using a clean damp brush. Some water drops splashed over a wash similar to B.į. A number of varied strokes overlapping each other.ĭ. I was not trying to get an perfect wash but rather wanted to see what happened to the bead at the end of each stroke.Ĭ. Four strokes laid over each other – not a zigzag motion which is what I would do to create a even wash. Pre-wetting the square and dropping colour in through a single stroke on the top edge.ī. So let’s have a look at the tests I did to explore the characteristics of the paper:Ī. I also like patchy washes and textured passages to suggest details without having to draw them. I am used to working with paper that has a reasonable amount of external sizing which enables me to manipulate the pigments in the water on the surface, and create edges through my varied brushstrokes. Sizing is the coating that is put either on the surface of the paper (external sizing) or internally to prevent the water being immediately absorbed into the fibres. So what am I talking about in terms of paper, and why did I have so much trouble?īasically I believe it is the sizing on the paper that caused my main problems. I don’t fit into any of those three categories, so that is why I found paper challenging! As I mentioned in my Norfolk Island posts (in particular this one), I initially thought it was a big disaster to take an untested sketchbook away with me! However my determination to work out a way to use the paper to suit my approach certainly paid off, and I now have a sketchbook full of sketches that I love. The paper is perfect for people who want to achieve uniform washes, who don’t work too wet, and who are happy to wait between passages. Interestingly this grain had less of an impact than expected and I didn’t really notice it while I was working. The current Moleskine paper has a similar difference and strong grain. There is a noticeable difference between the two sides of the paper and one side has quite a strong mechanical grain. The book opens flat and the stitching appears solid, although there is a gap between the signatures which is a little larger than ideal and there was some glue showing. If you don’t like the way the Moleskine paper buckles then you’ll really appreciate the extra thickness of this paper. The paper is thicker than the Moleskine (300gsm vs 200gsm) with few pages (only 48 pages vs 72 pages) and it is a fraction whiter. Neither of these two additions were any use to me, but they’re a nice touch. The book is approximately the same A5 landscape size as the Moleskine Large Watercolour Notebook, but with a nice blue colour (I am a blue girl, if you haven’t already noticed!) and a long cloth bookmark and a pen holder. The quality is excellent and there are a lot of nice features. In summary this is a beautiful sketchbook and I highly recommend it! I also wanted to compare it with the Moleskine paper which is what I normally use.īut first, I thought it would be useful to do a quick overview of the Pentalic Aqua Journal sketchbook. Whether well-built or waterproof, compact or comfortable, Pentalic products are sourced with high quality, acid-free materials that are sturdy enough to last for generations.Before I put my Norfolk Island sketchbooks away in my bookcase ( will there be room?), I wanted to do some more controlled tests on the Pentalic paper to check my on-location assessment of how it worked. Many of our employees are artists and writers who understand how small design features improve the usability of everything we manufacture. With products that are designed to be rugged, economical and practical, images and words can be materialized on the page, in any environment, with any artistic medium. The versatile properties of Pentalic products have a long history of meeting the demands of professional artists, casual writers, sketchers, illustrators and painters. This is why we design products that unleash a creator’s unseen potential whenever and wherever they feel inspiration. There always remains one frontier or mystery inside you. Pentalic believes that inspiration and creation are boundless artistic expression cannot be assigned to the fixed positions of a home, office, school or studio. Your personality and dreams cannot be boxed in or defined by anyone but you.
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