August 8, 2016 @ 5:55 pm | Filed under: Art, Paper & Desk
So this is not a great photo but the sight of all these books spread out on the bed delighted me. And also caused me not a small amount of chagrin—mainly that toppled stack of half-filled notebooks on the far right. This is the past two years in paper: August 2014-2016. I hadn’t realized how many sketchbooks I have filled since I started my daily drawing project two years ago this month!
The top two rows are my notebooks, about which I’ve written much in the past. They contain a hodgepodge of notes, task lists, doodles, and sketches. I used to always use small, lined spirals like the red one leaning against the stack on the right, but a couple of years ago I shifted to the black steno books up top because I like gridded paper better. Then I switched to Moleskine’s Cahier size with the kraft covers—and those are perfect little everyday scribble books, in my opinion. There are three completely filled ones in this photo (one has a gray cover, second row) plus the one I use for all our family medical notes. There’s another gray one in the only-partially-filled stack—I used about a third of it on sketches and notes at the Brave Writer Retreat last month.
The four skinny books in row two are Midori Travelers Notebook inserts. When my pal Kristen gave me a Midori last fall, I abandoned the Moleskines (for the most part—I do grab them occasionally, as with the Bravewriter one). On the bottom left is my current Midori insert. I remain as fervently in love with my TN as ever, although I have scaled down the number and type of inserts I tote around in it. Right now I just have the gridded catch-all (collaged cover, pulled out of the cover for this photo) and a zipper pouch containing washi samples, stamps, and ephemera.
The lower two rows are my sketchbooks—although as I said, the notebooks are also crammed with drawings. In fact, I find I often prefer sketching on gridded notebook paper—I feel freer, less fussy, less concerned with getting things right. The stakes are somehow lower.
But I do love working on good sketchbook paper. The blue Canson Mixed Media books are probably my favorite type—I have learned that I prefer spiral bound sketchbooks, and I like paper with a little bit of tooth. The smaller yellow Strathmore books are also great. In fact, their paper quality is probably better and the smaller size is good for carrying around. I have completely filled two of each, and I’m working simultaneously in the ones on the bottom row. Not really any rhyme or reason to which one I pick up on a given day. Whatever’s closest to hand, usually.
The black Moleskine sketchbooks on the bottom left see a lot less use. The horizontal one contains watercolor paper and is quite lovely, but I mostly only use it for color charts. (A semi-obsession.) The vertical one is Moleskine’s standard sketchbook and it took me about twenty pages to realize I kind of hate the paper. Too smooth. I like texture and skritch. I was excited to discover I have a preference! It’s too bad, because I love the compactness of that book. It would be much easier to carry around than the Canson or Strathmore spirals.
I’ve realized, though, that I don’t—at this stage, at least—do a lot of sketching or painting out in the world. When I do, it’s in one of my grid notebooks. I like the real sketchbooks for working at my desk, on my bed, or on the kitchen table. I have another big one with watercolor paper that isn’t in this photo. It doesn’t have much inside it just yet—mainly just the paintings I did at Jane LaFazio’s watercolor workshop last spring.
Middle right of the photo: my little stack of planners. Wild Simplicity Daybook, Hobonichi Cousin, Hobo Weeks. The Daybook is for homeschooling notes; the Cousin is my current bullet journal/daily calendar/scrapbook; the slender Weeks is my go-everywhere appointment book. I’ve done plenty of chattering about them before so I won’t elaborate here.
And then there’s the pile of Incompletes. I thrive on change, what can I say? Some of those books were begun for specific projects—many have to do with grants I worked on this past year. I’ll fill up the extra pages with sketches and doodles. Eventually.
2015, Year of Paper
Unearthed: the Notebooks
It started, I think, with my commitment to a daily sketching habit in the fall of 2014. By last January, the habit was firmly established, and I only missed a handful of days all year. January is also when I started taking “kourses” at Sketchbook Skool—which exposed me to not just the lessons and work of accomplished artists, but also to their media of choice. Which is to say: they have firm opinions about pens, making them my kind of people.
Putting pen to paper in my sketchbook reminded me how much I love that feeling. Now, I have never enjoyed doing large amounts of handwriting—I can’t write my books longhand, for example. My wrist aches after a couple of pages. But I love penmanship: other people’s, mainly. My handwriting is changeable and seldom neat. I never managed to commit to one way of shaping letters, so I wind up with different kinds of I and r and k all in one line. Last night I was numbering pages in a new bullet journal and realized that some of my 4s were the pointy kind and some were not. Happens all the time. I like change, y’all.
Anyway—I can’t write volumes by hand all at once, but I adore the feeling of a good pen on the right kind of paper. Experimenting with various pens (Pigma Micron, Le Pen, Pilot Metropolitan, Lamy Joy with 1.1 nib) reminded me how much I love analogue notetaking. So while I still find apps like Workflowy useful for tracking particular kinds of tasks, in the past few months I have shifted almost entirely to written notekeeping.
Notes on paper
Bullet journaling works very well for me. I’ve always kept a notebook as an idea and memory catch-all: phone call records, tasks completed, shopping lists, story ideas, doodles—it all winds up in the notebook in a giant jumble. Adding a bullet-journal-style index and page numbers was a revelation: now I can have my hodgepodge but find things later. Perfect.
For the first part of this year I used kraft-brown Moleskine Cahiers. They’re just the right size for tucking in my bag, they’re sturdy enough to handle the beating I give them, and they fill up in a month or two which means the continual fresh start I love. Then, in August, a glorious friend surprised me with a Midori Traveler’s Notebook. It was love at first sniff. I mean, I. JUST. ADORE. THIS. THING.
A traveler’s notebook, if you don’t know, involves a cover (usually leather, sometimes cloth or vinyl) that has a sturdy elastic cord or two strung through the spine. You slip a paper notebook under the cord to hold it in place. Then you can use additional bands to hold other inserts—various types of notebooks, folders, calendars, even plastic credit-card sleeves or zipper pouches.
My Midori set-up
After playing with my Midori for a month or two, I settled into the configuration that works best for me: a weekly calendar insert, a grid notebook, and a kraft folder that holds stickers, postage stamps, notepaper, and such. I keep a monthly calendar, too, but I don’t need to carry the whole year around with me so I have begun photocopying (and shrinking a bit) the current month and clipping that to my weekly page.
The blank grid insert is my bullet journal/idea repository/casual sketchbook, replacing the Moleskine Cahier. I number the pages and use the first page as an index, just as before. I like big fat checkboxes for my task lists, which I fill in with Prismacolor pencil as tasks are completed. Color is my happy place. 🙂 I also like to paste in ephemera and sometimes embellish with stamps, doodles, or washi tape. Basically, these inserts become collages of all the things that occupy my days and my mind. I seem to do a fair amount of sketching in them, too, even though I have an actual sketchbook for that purpose—I work in the real sketchbook daily but the TN grid insert is a low-pressure place to experiment, and I always have it with me.
Thanks to Lesley Austin’s beautiful Wild Simplicity Daybook designs, I discovered that a week-on-two-pages spread is an excellent space for me to do some chronicling. I’ve posted before about how I use the Daybook for recording homeschooling and housekeeping notes. I really like having a separate space (and such a beautiful one) for those things. I wear so many hats, and I need ways to keep my roles sorted. The Daybook (visible under my Midori in a photo above), like all of Lesley’s paper goods, conveys a sense of peace and serenity, and so it has become a really nourishing space for me to jot down my notes about what the kids read, did, said. I always feel so happy when I open that book.
Taking a cue from that experience, I decided to try the Midori week-on-two-pages for my TN. The version I selected (Refill #19) has the week in seven horizontal boxes on the left page, and a grid page for notes on the right. I use Google Calendar for our family appointments and schedules, so a couple of times a week I open G-Cal and add any new appointments to the Midori insert. At the end of each day, I create an entry on the weekly calendar page, filling it with notes about what happened that day. It isn’t a to-do list, it’s more like a diary. Not what needs to be done (that’s what the bullet journal is for), but what I actually did. The facing page fills up with quotes, ephemera, drawings, and notes on things I’ve read or watched.
Since these pages serve as a kind of journal, I like to decorate them with washi, drawings, and watercolors. I wind up doing the ornamenting mostly on weekends. Often, I’ll start the week with two or three colors of washi in front of me, and that will set the tone for my week. This daily decorating is relaxing, it takes only moments, and I enjoy paging back through previous weeks.
So those are the two main TN inserts I carry around: the weekly calendar for journaling (more or less), and the grid notebook (Refill #2) for everything else. Those two inserts plus the kraft folder (Refill #20) make the Midori as fat as I like it to get. I could easily come up with uses for half a dozen more inserts (the TN’s capacity for letting you compartmentalize is its genius), but I found that I really prefer a non-chunky Midori.
However! I did decide to devote a single insert to all medical and health-insurance-related notes, and this has been one of my best moves ever. Instead of having those notes intermingled with everything else, they live in their own space now, with a list of phone numbers on the first page. I can tuck THAT insert into the Midori when we’re heading to an appointment. It’s perfect.
NEED MOAR PAPER
All this notebooking served to increase the satisfaction I was finding in putting pen to paper. And I found I was thinking about handwriting a lot. My little goddaughter sent me a thank-you note, and her mother’s handwriting on the envelope—the gorgeous, familiar handwriting that graced pages and pages of letters in the years after college when Krissy and I wrote to each other constantly—gave me a little jolt of joy and nostalgia. I hadn’t seen her writing in a while, and I missed it. I told her (via text, naturally) how happy I’d been to see her writing, and she said the same thing had happened to her when she saw my writing on the package I’d sent her daughter.
Shortly after that, I read that Atlantic article that was making the rounds about how the ballpoint pen killed cursive. Fascinating stuff, but the bit that grabbed me was this: “In his history of handwriting, The Missing Ink, the author Philip Hensher recalls the moment he realized that he had no idea what his good friend’s handwriting looked like. ‘It never struck me as strange before… We could have gone on like this forever, hardly noticing that we had no need of handwriting anymore.'”
He had no idea what his good friend’s handwriting looked like. I miss handwriting, I thought. The distinct and beloved scripts of my old friends flashed before my eyes. I’d know those hands anywhere, could pick them out of any penmanship lineup. My kids probably won’t experience that. Jane has friends on the other side of the country she talks to via electronic means every single day, but they probably don’t know each other’s handwriting. I have plenty of friends myself whose writing I’ve never seen. If we met after 1995, chances are I’ve seen your handwriting seldom or never. (Tanita! What’s your writing like?)
Channeling my inner Jane Austen
The handwriting epiphany spurred me to the next phase of my analogue journey: I started writing letters again. Like, by hand. I have penpals in Denmark, France, Austria, and England, as well as various friends across the U.S.
I’m amused and a little baffled that for so many years I thought of letters owing replies as a kind of guilt-ridden chore—I always took forever to answer, always had them nagging in the back of my mind. Because the truth is: snail mail is the cheapest fun around. Sure, they’re slower to write than email; slower to arrive than a Facebook message. But that’s part of the charm: the slowing down, the taking time. Just as many of us have (re)discovered the joys of slow reading in the past couple of years, I have found satisfaction in…what to call it? Not slow writing, really, because part of the point is that instead of waiting months or even (gulp) years to answer a letter, I now try to reply within three weeks; I guess what I’m enjoying isn’t about speed (or lack of it) after all. It’s about a tactile experience. The skritch of a fountain pen on flecked paper. The careful selection of stamps. The smoothing-out of a bit of washi tape across a seal. The rustle of envelopes as they slide into the box, slumbering before their journey to places I’ll never go.
And best of all: the incoming letters. Foreign stamps, unfamiliar scripts, universal experiences. Beautifully decorated, many of them—it’s like getting mail from Griffin and Sabine. This one written at a café in Vienna; that one at a Starbucks in Portland. Kaleidoscopic glimpses of a life gradually resolving into a picture. We talk about things we could easily tell via email, but we’ve decided to let these stories take the scenic route. Some of them never arrive, or show up months later, ragged and stained. This only makes us love them more.
I’m writing to say I’ll write soon
A piece of the experience that affords me much merriment is the impulse, whenever a letter arrives, to hurry to Facebook and ping the friend who sent it. “Got your letter! Will reply soon,” I’ll write, and “Yay, can’t wait!” she’ll ping back. Never mind that the letter asks questions which could be more immediately answered via any of a dozen digital platforms. The answers will keep. Come Saturday afternoon, I’ll settle in with my cocoa, my envelopes, my wonderful new pink Lamy Safari that I got for my birthday. Which paper—the whimsical or the lovely? The fern stamps, or the Ingrid Bergmans? I’m almost out of globals, and the post office won’t have the new ones for a while. But have you seen them, the moons? I’m already imagining them on dark blue envelopes…
Our digital and analogue worlds will forever be intertwined, I believe. We’ll snap photos of our beautiful incoming mail to share on Instagram, hashtagged so our kindred spirits can find and enjoy it. We’ll trade addresses on Facebook. We’ll email to find out if that letter ever arrived. We’ll scour Etsy for traveler’s notebook inserts and stock up on ink at Goulet Pens. We’ll sign up for swaps on websites, and then anxiously check tracking to see when packages might arrive. We’ll reblog Tumblr articles about clever ways to hack a bullet journal. We’ll watch Youtube videos about how to set up a Midori and we’ll tap the heart button a zillion times during an unboxing on Periscope. We’ll link to photos of new USPS stamp releases in our blog posts. 😉
My blog, though, is perhaps the thing that suffered this past year as my attention shifted to paper and ink. I found that when I had a few quiet moments, I was more apt to want to spend them sketching or writing a letter than blogging. After ten years of a steady blog habit, that was a bit of a surprise. In January, this blog will be eleven years old. I’ve successfully figured out how to integrate my analogue and digital calendar-keeping and task-tracking, but it did take a little while for the pieces to settle into place. I expect the same will happen with blogging.
Happy New Year, friends!
The younger kids and I have started spending the hour after dinner having family art time at the kitchen table. They mostly paint while I practice sketching, or Huck grabs markers and continues his mission to saturate every page of his beloved Angry Birds coloring book. I’ve taken to jotting down the funny things they say in my sketchbook alongside my (mostly very bad) drawings of them at work. A few choice Huck remarks from last night:
“When I was one—I mean zero—I swallowed paint. It tasted really good, like marshmallows.”
Rilla: “I know three people named Kelly.”
Huck: “I know Kelley Jones*. He likes jelly.”
*They’ve never actually met, but he’s seen Kelley’s name when he calls Scott to talk about the project they’re working on. I’m unclear on whether he does, in fact, like jelly.
“I bet all the kids with this coloring book are doing this with their moms right now, too.”
(Yes, I melted.)
About once a week I bring my fountain pens to the kitchen tape for refilling. My reason for making this rather quick, benign chore a public affair is to take advantage of the great parenting truism: If you do it, they will copy. Huck isn’t the kind of kid who would be too keen on formal handwriting practice (does that kind of kid even exist?), but if I get busy with some nifty writing utensil, he’s at my side in a flash, begging for a turn.
Fountain pens are awesome enough, but dip pens? There’s nothing better. A bottle of ink, a nib with just the right amount of skritch…there’s a happy kid. I didn’t suggest the alphabet practice; he filled up the page as he chose.
That’s my beloved metal brush pen he’s holding, the $1.49 treasure acquired during my surprise trip to the art supply store on Mother’s Day. (The plastic Speedball pen holder was another buck fifty. We live large.)
(That’s an Amazon link to show you what it looks like, but as you can see, you’re much better off buying local for this one. That’s some markup, eh?)
I tumbled to the metal brush pen (aka my new best friend) in Jonathan Twingley’s rather amazing class at Sketchbook Skool. It was swoon at first site. You get a broad line from the flat nib, or you can turn it on its side for a fine line. It’s on the messy side—likes to spatter ink if you change direction midstroke—but for me that’s part of the appeal. I use it when I’m in the mood for rough, bold lines and a bit of ink spray. Jonathan Twingley likes to fill pages and pages with large drawings and then cut out selected images and collage them together into a new piece of art—really quite magical to behold him at work.
And this post offers a quite detailed look at what a steel brush nib can do.
We also have a pair of glass dip pens that my parents gave me years ago with more typical pointed nibs. You can see Huck’s page of orange squiggles on the table. I know somewhere in my archives I’ve talked about the magical powers of colored chalk and a little slate, or a whiteboard and dry erase markers, for transforming otherwise dull writing into fun. Dip pens are the same principle times a hundred.