The Creation of "Two Birds Meeting in the Night"

One of my earliest large drawings and I think possibly the first one that I used color on was "Two Birds Passing in the Night." It depicts two birds against a black background with little white stars, their bodies are separated by a small mountain, but they have a red string of fate connecting them even as they stare away from each other. At the time of creation, I was feeling rather romantically lonely and I wondered if there really was anyone out in the world for me. I drew "Two Birds Passing in the Night" with the hope that there was, and I just couldn't see who they were yet.


I also drew it as a scene from one of my all time favorite memories. In 2013 I traveled to Japan for the second time, and during that trip I visited Nagano prefecture where I stayed at a hostel in Hakuba, Japan. Hakuba is in the Japanese Alps and even though it's rather south still, it gets a lot of snow during the winter. When I arrived in January there was about 3 feet of beautiful pure white snow blanketing all the little homes, stores, rice fields, and mountain forests. It was cold and the air was thick with the special kind of soft silence that only a snowy landscape produces. 

One night in Hakuba, I went to a local hot spring down the road from my hostel. There I was lucky enough to find that they also had an outdoor hot spring area. It was rather late at night and so for most of my time there I was the only person in the outdoor bath. While soaking in the hot water I filled my lungs with the chilly air and watched the steam rise into the sky in lazy billows, obscuring the bright countryside stars. 

There's not many times in life when we really focus on relaxing and letting go of all our worries. At the time of this trip I was still studying at Mount Holyoke College and was very stressed about virtually everything. There wasn't really anything I couldn't find to be stressed about. But this one night in Japan was the greatest break I could have from that stress. In the hot water, surrounded by rocks, snow, and steam, my worries didn't matter. 

So later in 2016, when I was stressed about other things and worried about never finding someone that I would love and who would love me back, I created "Two Birds Passing in the Night" using my memory of a time when I felt extremely relaxed as a backdrop for the scene. Even now when I look at it, I still feel the warm steam and winter air on my face and hear the snowy silence. This is a piece that depicts a relaxed confidence in the unknown future, not the anxious worry that I felt.

Fast forward to December 2017 when finally I met someone amazing and wonderful. We started officially dating in January and as part of wanting to celebrate her for Valentine's Day, I drew "Two Birds Meeting in the Night" where the two birds from the scene in "Two Birds Passing in the Night" have finally found each other.


I used three different inks to create each of these pictures. In "Passing," I used Parker Qink Black Ink, J. Herbin's Rouge Hematite, and J. Herbin's Emerald of Chivor on Rhodia paper using my Lamy Safari with an F nib. In "Meeting" I used Sailor Kiwa-Guro, J. Herbin's Rouge Hematite, and Bung Box First Love Sapphire on Borden & Riley Paris Paper for Pens using multiple pens and nibs.

I had gotten First Love Sapphire a long time ago in a bunch of sample inks, but I really wanted to use it on a very meaningful picture and just never had that opportunity until now. It is a gorgeous stunning bright blue with a gradient that gives it depth like a Sapphire. It is lovely and sincere.


I almost used another Bung Box color for the red since I do have a sample of Lycoris Red, but the symbolism of Lycoris is very bad there for what I was drawing. And since the red just wasn't the exact bold shade that I was looking for, I ended up back with J. Herbin's Rouge Hematite which contains extra passion in that it is sparkly! 

In the original "Passing" I cut my drawing out from the Rhodia paper and placed it on top of some archival black paper. In "Meeting" I decided to experiment with drawing in by hand the entire black background instead, similar to what I did on a much smaller scale in "Wilting is Inevitable." To avoid big obvious blocks, I just created small lines of black that radiated out from the central image. This also added the effect of adding more movement to the image, like ripples. To change the imagery from winter to spring, I also used various forms of flowers as stars instead of just little dots which could be co-interpreted as snowflakes. 


Whatever the future holds for us, I am extremely happy to have found my love and had a reason to create "Two Birds Meeting in the Night." And while I'm happy to find the confidently hopeful "Two Birds Passing in the Night" a new home, I will not be selling "Two Birds Meeting in the Night." 


Bungu Box Kaoru


On my third visit to Japan in December 2017, I made a very special stop on my last day in Tokyo before flying home. I had long heard about the amazing Bung Box ink colors and really wanted to go visit a Bung Box store myself. So with several hours left to go to the airport, I took myself over to Omotesando (left my luggage in a train station locker) where one of the two stores are located.

The Omotesando store is very cute and small, just one little main room and a small back room. When I walked in the owner, Kaoru, was the one in the store that day. At the till there is a display case where she had some Bung Box original fountain pens on display. My favorites were the mother-of-pearl adorned black TWSBI Ecos. They were insanely gorgeous and I really debated getting one, but I was there on a mission: ink.


On the wall to the right was a full display of all other manners of Bung Box items including their inks. As I browsed I chatted with Kaoru about getting into fountain pens and how I'd heard of her inks as well as learned from her about her inspiration for her ink colors and how she'd originally gotten into fountain pens. Then she showed me that I could actually try out all of her inks at a little desk that she had by the window!

All the inks were loaded up in order in mostly Jinhaos. Next to them she had a binder with examples of all inks in both normal scribbles and cute little drawings, labeled in English and Japanese. And on top of all that she had a Pilot branded paper pad that I could try them out on (didn't bring a pad of Borden & Riley with me). 


I tried out a bunch of different colors, mostly ones that looked interesting and that I heard about on r/fountainpens, and then ones that I thought would fit for some colored drawings that I was planning (will post a separate review about them and the drawings I made) using a color palette inspired by Itaya Hazan's glazes.

I was a little surprised to find that a few of the inks that I was interested in were apparently out of stock for the time and possibly for several months. I'm conversationally fluent in Japanese, but wouldn't consider myself perfectly fluent, so from what I understood it just sometimes ended up being months between productions for Bung Box inks through Sailor and sometimes that means short term shortages of colors. 


I really did have an interesting conversation spanning many different topics with Kaoru. One of the coolest pieces of information I found out was that she's considering opening a store in the US!! Seems she'd really love a shop in New York, but we'll see where she's able to end up. We also talked about the US fountain pen shows and I really hope that she'll make an appearance at one eventually. 

Finally I picked out my favorite inks; Ebisu Gold (Yebis Gold), Bungubox 88, Omaezaki Sora (Sky), and Mother. So, so sadly, I found out that Ebisu Gold was one of the out of stock inks. Crushed, I returned to the samples to find something slightly similar that she did have in stock, and decided upon Soleil which works great as a bright accent addition to my other chosen inks, but it just wasn't the same. Ebisu Gold has a perfect, subdued golden color that works fantastic as an outlining color for my birds and as a fill color. It works perfectly with Omaezaki Sora, Mother, and Bungubox 88 to create a lovely gentle feel that really is similar to the palette of Itaya Hazan. To my extreme surprise, Kaoru very generously pulled out her last bottle that she was using for the testers, and poured me a little sample! I was and still am extremely grateful to have been provided the colors to create exactly the beautiful drawings I was envisioning!


The other inks that I loved but didn't want to buy at the moment included The Ink of the Witch, Kabayaki, and First Love Sapphire (although I have a sample of that at home). I think there were a few more too, but those are just the specific ones that I remember loving. Hopefully one day I'll have the budget for more!

I left Bung Box and Japan later that day, extremely satisfied with my trip there and excited for the pictures that I would soon get started drawing! Still not completely confident in using colors in my art, but I really felt that I could do some great work with these colors from Kaoru at Bung Box. If you've been following me on Instagram you'll have already seen these pictures, but I'll also make a post about them here soon.


My Dreams of Itaya Hazan

As many of you know, I went for a two week trip to Japan in December 2017. This was my 3rd trip to Japan and definitely won't be my last. On this trip I visited Tokyo, Kyoto, Kagoshima, and Yamanashi prefectures. I saw a lot of wonderful things, I went to so many hot springs and bath houses, I walked 80 miles total (destroying my brand new shoes), road on a Japanese Kiso horse at the base of Mt. Fuji (in Yamanashi), and ate as much delicious food as I could. In addition to making a special ink trip in Tokyo to Bungubox in Shibuya which I'll write about in a separate post, I also visited a bookseller in Kyoto and discovered an incredible new art inspiration.

I finally arrived in Kyoto on the 4th day of my trip. I had already walked way more than I was used to in Portland, and I now think my brand new shoes were actually the wrong size too, so my feet REALLY hurt. There's a lot of sights to see in Kyoto, but for the first day there I was definitely not interested in anything farther than about 500 feet. So instead of going to one of the ancient temples in the area, the Gion district and trying to spot a Maiko, or the art museum where they were holding an exhibition of one of my favorite mangas of all time (Glass Mask), I just hobbled down the street of my hostel to find food and see what else was nearby. There was a new bookstore that I wandered into, but they didn't really have anything that interested me, but then there was a used bookstore too. 

Inside the used bookstore I went, and of course the wonderful smell of old books filled my soul with happiness. I've always had a dream of being able to read Harry Potter in Japanese, so that was one of my goals of this Japan trip, find a used copy of Harry Potter in Japanese (which I did!), but in talking with the shopkeeper (who was very helpful in recommending me books to practice reading Japanese with) she also showed me the art section as well. I'm not really sure how exactly I found this book here amidst all the hundreds of others, but in this dimly lit section of the shop, one of the books I pulled off the shelf stopped me instantly. 


It was a museum art book about Japanese ceramic artist, Itaya Hazan.

The reason why his art stopped me instantly was because of the similarities between his works and mine that I didn't expect to find in Japan. It's not just the way he designs birds and plants, but also his exploration of occupied and negative space, light and dark, and his general arrangement that made me feel this was a kindred artistic spirit. 

Itaya Hazan lived from 1872-1963, meaning he experienced both World War I and World War II, although he never traveled to Europe and he was in his 70's during WWII. But when I realized this, I had to just stop and consider what that must have been like for a moment. News would have traveled very differently then, I'm not sure what the coverage of WWI was like in Japan at the time, which also then leads me to remember that he was born only about 20 years after Japan first opened to the West (1853)! He was born just 3 years after the end of the Boshin War (a major Japanese civil war 1868-1869) and was 5 years old at the time of the Satsuma Rebellion (1877). This was a Japan in the midst of an extreme period of change in almost every way. And not only was this a time of intense social change and cultural exchange, but also massive industrial change as Japan moved from small scale, largely anonymous artisan potters to mass produced ceramics, and then also to famous well-known and collected artisan potters.

So here comes along Itaya during this chaotic time, and at age 17 entered what is now known as the Tokyo University of the Arts. Initially he studied as a sculptor under Koun Takamura and Tenshin Okakura and became a sculptor teacher at the Ishikawa Prefectural Industrial School which closed only a few short years later, in 1898 when he was 26 years old. From this point on until his death at age 91 he switched from sculpture to ceramics. During this time he was influenced by multiple cultures and design traditions inside and outside of Japan. He has different periods of exploration that can both be separated out and eventually merge inseparably incorporating influences from India, China, and Europe, both ancient and modern. 

Much of what he's now left behind has ended up not being ceramics, but the sketches of designs he was practicing to eventually use on an object, and sketches of objects that he imagined one day realizing. 

In the process of learning more about where Itaya found the inspiration for his designs, I learned even more about the history of Indian textiles in particular in Edo and Meiji era Japan. Itaya studied many of his vine motifs from a book called Hikone Sarasa, which is a look at Indian textile patterns that were very popular from the early 17th century on in Japan. Apparently the designs were so popular that several instruction manuals were produced around this time. Considering Japan's isolationist policy at this time, original Indian designs were extremely limited, so Japanese artists created lots of their own inspired patterns and imitations, and the designs also gained special sophistication status from their inclusion in small parts of Japanese Tea Ceremony and other aspects of high class lifestyles. 

Lots of articles I read about him focus on Itaya's incorporation and fascination with European Art Nouveau, but personally I really am more interested in his incorporation of Indian styles, the way he transforms plants into patterns, and his use of negative and occupied space and natural symbolism. He also has done things that I've considered, but never tried, such as showing plants with serious flaws like eaten or crumbling leaves, and birds with legs. 

So inspired by Itaya, I ended up taking a special trip in Tokyo to visit the Idemitsu Museum of Art. Sazo Idemitsu was a long time friend and collector of Itaya's and the museum has one of the largest collections of his works and sketches today. Unfortunately the show that was going on at the time had nothing to do with Itaya, but in the special permanent ceramics fragments section I was able to find some shattered pieces of Itaya's works and see them in person. It was a really special moment to glance around and immediately recognize a shard of one of his pieces. 


In a fine art world obsessed with paintings, it's frankly been very difficult to find named and revered artists with any similarities to my own work. I'm really grateful to have stumbled upon Itaya Hazan and I am looking forward to learning even more about him, studying his style, and thinking of him as inspiration in my future works. Already his color palette was the inspiration for the colors I picked from Bungu Box for two of my most recent colored works. Without finding Itaya I would have had a much more difficult time figuring out a palette that matched my style. Who knows, maybe he'll inspire me to put legs on my birds.

Further reading:

Baseline Insomnia Show

My time is up later this evening, but this first little show of mine at the Baseline Insomnia has been a fantastic experience. I had a lot of fun putting up my art and arranging it all in a narrative as well as creating the cards to go along with the images. Throughout the month I had to restock my enamel pins multiple times and I'm really finally almost out! Also almost out of coloring books too now, and Undisturbed went to a new home! 

I'm going to donate some of these unsold framed pieces to auctions supporting local organizations I really care about, but the rest I'll be moving into the online shop here and on Etsy. 

If you have any other places that you think I should contact about showing my art, let me know

So what's next for me? Definitely going to make more pins and more original art! Get ready for another pin Kickstarter, hopefully I'll open that up sometime in April so that the pins can all be ready for shipping out by early June. 

Would love to get into laser cutting wood projects, but currently the nearby options don't seem to make that economically feasible. If anyone's got access to a laser cutter and would like to chat also would really look forward to that email.

And finally thank you so much to everyone who's liked my work while it was up at Insomnia! Unfortunately they have a policy that I can't show again there for another year, but hopefully I'll find another space again soon. It really has been a very fun month and I'm really happy that I finally got my art into the world.



I don't consider myself to be very good with color, especially when it comes to my drawings. The style of my art started as translations of henna from skin to paper. Unless you add glitter, the most color variation you're going to get with henna would be by doing different dying times to get various shades of orange, red, and brown. I only cared about the lines since I was just practicing on paper until I could save up to buy some real henna, so for me at least, I have always only imagined my drawings in black and white.

"Red" in progress.

"Red" in progress.

Well, it might be more accurate to say I only see my works in terms of opaque (positive) space and blank (negative) space, and color is kind of like a semi-transparent space to me. Color attracts our eyes like blank space does, but I have to actively put it down like I do for opaque space. We don't really look at black, opaque lines, we look at the blank spaces they sculpt on the paper. But colors can't shape blank areas the same as black lines do because color gets seen. Not only that, but black lines will push our eyes to notice the color areas too in a way that blank white areas can't. I think of it in terms of color cones in the eyes being stimulated. White (aka a reflection of all light wavelengths) stimulates the most and black (aka an absorption of all light wavelengths with Vantablack at the absolute bottom) stimulates none. Color stimulates in between there.

But there's a lot of super lovely colored inks out there, so I've been trying to understand color more to try and be able to add it to what I do. This is part of what led me to my most recent completed drawing, "Red." I created the drawing in black and grey, trying to imagine filling in color in the central birds later. I have a lot of different ink colors available to me right now, but what I really didn't want to have happen is to put in a color that wouldn't do anything for the drawing that black couldn't do. I also didn't want to put in color that would change the "direction" of the drawing or of course the feeling it represents as well. So what color to choose?

The background bird in "Red."

The background bird in "Red."

Humans have three different photoreceptor cones to see red, blue, and green wavelengths. The red and green cones are clustered in our most sensitive spot, the macula, and blue cones are around the edge. Over 60% of our cones are red, only about 30% are green, and less than 10% are blue. It ends up that we're fairly sensitive to blue despite having so few cones and their location, and in general it seems America's favorite colors are blues and greens, but I think probably because of how many cones we have for it, red really ends up demanding attention.

Red pushes out other colors in a way that blue and green cannot, no matter how vivid. Blue and green make great background colors, but red is only second to white in grabbing our attention. Culturally, red carries a lot of meaning as well. To most of the world red is an auspicious color, a lucky color. Red is vivacious, red is confident, red is passionate.

The top of the main bird in "Red."

The top of the main bird in "Red."

So for this picture, with one bird flying proud and the other falling to the ground behind it all against a backdrop of a moon, two clouds, and a rumbling black sky, red came out the winner. I think the other colors I have right now, sapphire blue, teal greens, yellows, and purples, would all have struggled to get noticed in the way that red easily achieves. They also might've made the scene more romantic or sad when it's more about moving confidently beyond past failure. 

For the birds outlines and black pieces I used Sailor Kiwa-Guro black ink, but for the background I used J. Herbin Stormy Grey and J. Herbin Rouge Hematite. Both of the J. Herbin's have gold sparkles when tilted in the right light as you can see in many of these images. Their colors come out very strong and don't have any trouble with feathering or bleed-through on my Borden & Riley paper.

"Red" in full.

"Red" in full.

Part of the other reason why I prefer not using color is because I think of color as "helpers." They help sort through the chaos that I create and give other brains a leg up in understanding what's going on in the picture. I like the cold silence. When every line is the same color, the background isn't a repeating pattern, and large areas of negative space are hard to come by then our eyes have a hard time sorting out where everything goes and making sense of all the lines let alone any meaning that the picture might have. I like making people struggle. But I also realize that even with "helpers" people who are new to my style especially still have a hard time seeing what's going on, so I figure it's not so bad to let up a little bit here and there.

I had almost entirely sworn off of using color in my art, but I think I'm finally starting to understand how to use it effectively. We'll see though. What do you think? How do you approach color?

"Red" was drawn on Borden & Riley Paris Paper for Pens. It is 14x17in. I used a Lamy Safari F with Sailor Kiwaguro for the black lines on the birds, J. Herbin Stormy Grey for the background, and J. Herbin Rouge Hematite for the red on the birds which was applied using a Pilot Metropolitan (F). J Herbin inks show up on Borden & Riley paper closer to the colors that they do on Rhodia than on Tomoe River, but they still look great. Gold shimmer is clearly present with these two inks and there was only one spot of almost bleed-through and extremely minimal feathering (and zero fibers stuck in my nibs!). Crushed copper on dyed purple Indian cotton acid-free paper background.

Ink Review: Black Swan in Australian Roses

Noodler's Black Swan in Australian Roses has long been an ink that I've wanted to try out in my art. It has an incredibly poetic name and the color is a dusky rosy-purple-red similar to a dark Merlot. Honestly, it even smells a little like wine. When I've seen other people write calligraphy with it, I've always admired how striking of a gradient it shows. But I've had inks before that don't work as nicely in drawing as they do in writing, so I was a bit worried that it wouldn't live up to my hopes for it and had to purchase a test sample before committing to a whole bottle.

I ordered my sample from Vanness Pens Shop. After it arrived, I tested it out on a small piece of paper first. Passing the initial test, I took the dive and decided to use it on my most recent large piece, "Wilting is Inevitable, Blooming is Not." Using an ink with the word "Rose" in it also seemed appropriate for this piece.

"Wilting is Inevitable" has taken me months to finish. There is so much ink on this picture already just with the black Sailor Kiwa-Guro ink that I have managed to push my Borden & Riley Paris Paper for Pens to the limit and it's beginning to warp on me (but no bleedthrough). I've long since lost count of exactly how many hours I've worked on "Wilting is Inevitable," but I estimate it had been about 12 before I added Australian Roses. Applying the color added another 2 hours giving me a very rough estimate of ~14 hours of work on this piece.

The Australian Roses ink is a very dark color. When I first started applying it I thought it would actually be too dark and nearly indistinguishable from the black, especially in small spaces. However as it dried it quickly lightened up significantly as you can see a little bit in this video below. As it really soaked into the paper, it also ended up blending together very easily in spots where I had to apply many strokes of color. I can still see a little bit of my strokes, but not very much which is really nice and not easy to find with a non-black ink. Also when used as lines it ends up much lighter and pinker, giving some sections a great shading effect.

Overall I'm extremely pleased with Black Swan in Australian Roses. The shading I was looking for really came out, it's blending together in thick areas, and the color is fantastic.

I think for "Wilting is Inevitable, Blooming is Not" the color accent choice of Black Swan in Australian Roses was perfect. The scene itself is very dark, set at night, and there is some cautious conflict brewing between the three birds in the center of the scene. The Merlot color and shading of Australian Roses adds to the broodiness of the scene without making it sleepy. Will definitely be using this again and would recommend it to other fountain pen artists.


Thank you so much for reading my review and enjoying my art! If you want a piece for yourself, I'd love to create something just for you! Just back my new Kickstarter and we'll get creating together. :)

Borden & Riley #234 Paris Paper for Pens Review

A few weeks ago I was in Northeast Portland for a business meeting. Upon the completion of the meeting I was driving home when a small art shop caught my eye. It was the Artist & Craftsman Supply store, a Pacific Northwest employee-owned chain. The insides were packed from floor to ceiling with supplies of all kinds. I saw an entire room of birch boards that I'd love to draw on, but my mission for the day was to inspect their paper stock. Tomoe River is fantastic in so many ways, but it can be extremely difficult to work with. I wanted something else.

Strolling down the paper aisle I tested nearly every paper there, searching for one that seemed smooth enough for my beloved fountain pens. They have a wide variety of papers including many I had never seen before, but one stood out in the touch-test; Borden & Riley's #234 Paris Paper for Pens

The paper is 108lb, acid-free, pure white, and comes in a variety of sizes and two binding styles (spiral and glue). I was delighted to see that they also came in very large sizes that I couldn't find for other papers such as Rhodia, TR, or Fabriano. I've been wanting to do larger drawings so I picked up the 14"x17" pad. 


I took my new huge pad home and excitedly got to drawing. For my first drawing I decided to just go all out and test a bunch of different inks on it. I used J Herbin Stormy Grey, J Herbin Rouge Hematite, Iroshizuku Yamabudo, and Kyo-Iro Moonlight. When it comes to color this paper has been very similar to Rhodia. So some sheen and shimmer from my J Herbin 1670 inks, but nothing like Tomoe River. The paper dried all my inks very quickly and had zero bleedthrough. It does have enough ghosting that I wouldn't use the other side, but it's fairly minimal (and I never use the reverse sides anyways).

"Moeru" (2017)

"Moeru" (2017)

The best part? No smearing! Well, almost none. It really does dry so quickly that it's very easy to avoid smearing at all, unlike with Tomoe River which will smear at the mere whisper of moisture. There's also no fibers that get stuck in my nibs no matter what size I use or how saturated the area I'm working on. 

The worst part? There is a very tiny issue with feathering. Every line has tiny little deviations. They're almost completely unnoticeable, but I do notice them. Some inks do better than others, only Pilot Black in my EF Pilot Penmanship pen has been close to what I might call "bad." I can't really use my Pilot EF nibs on this paper anyways, just because that level of detail doesn't work with how big of a drawing I'm doing, but it's still a little annoying. I actually think with the thicker lines it gives them a kind of softness that I like, so ultimately it's not a deal breaker by any means for me with this paper.

A close-up of Kyo-Iro Moonlight in "Moeru."

A close-up of Kyo-Iro Moonlight in "Moeru."

Ultimately I liked this paper so much I went out and bought a 9"x12" pad as well. 

Who is this paper best for? Not so much the writers among us. But I would definitely recommend this to fountain pen artists, especially American ones frustrated by the European paper sizes of virtually all other regularly recommended fountain pen paper. More sizes, less smearing, great color, very smooth drawing experience, and lovely heavy weight. 

And here are the rest of the drawings I've done on Borden & Riley paper so far. Enjoy! And let me know if you have any other suggestions of paper for me to try. 

Now in Perks of Art!

So happy to have been accepted for a space in Perks of Art, a fantastic little art space in downtown Hillsboro with delicious coffee and wine too. This is my first step into showing my art outside of Instagram/the internet. I have more framed pieces than I can store on my own walls right now so hopefully I'll be finding more spots to put up my art soon! 


Pilot Penmanship Ergo Grip EF Review

I drew my latest picture, "Milky Way" using the Pilot Penmanship EF and the accompanying Pilot black ink cartridge. (I did have a spare Con-50 that I could have used, but I wanted to try out the cartridge.) I am not sure why I bought this pen, to be quite honest. I'm pretty sure I just saw that it was an EF Pilot and was like, "Hey, that is something I want to try and for a super cheap price. Let's buy it!"

In any case, it's been a pretty good purchase so far. The body design is super strange compared to all of my other pens. Because of the way it tapers at the end it looks much longer and thinner than it actually is where you grip it. It is very, very light and comfortable for long use. Obviously it isn't that beautiful, but that wasn't why I bought it anyways.

The Pilot EF nib has not disappointed at all. It writes very smoothly and is soooooo thin! I haven't been able to draw lines this thin since I was using disposable Faber-Castell pens. It's nice to be able to have that as an option even if my style recently has been moving away from thin lines. Here is a comparison of this pen next to my Pilot Kakuno F (same as a Pilot Metro F) and Lamy Safari EF. All in all, if you're looking for a super fine nib and don't care care about fancy aesthetics, I would recommend this pen.  

And if you want to see the pen in action, here's a short video from the making of "Milky Way."

Welcome to Abelard Lines

Hello everyone,

Welcome to my new website. At least for now this site is for my artwork under "Abelard Lines." The name comes from Peter Abelard, a medieval philosopher that I took a liking to while listening to Peter Adamson's podcast, History of Philosophy Without Any Gaps. On this website I hope to keep a catalog of all my works and let you know about any news concerning my artwork!