It’s the insane, glow in the dark Blackwing, and I managed to snag a box!
OK, enough with the hype. Plenty of other reviewers have given this limited edition pencil a spin, but my experiences and thoughts about “The Library Pencil” seem to be different enough to warrant a few quick words about the Blackwing 811.
First of all, the pencil is attractive. It’s darker than a banker’s lamp (I have one, so I checked), and the gradient is very well done. This could have looked cheap and tacky but it doesn’t. I would have liked a darker ferrule and I think that the pink eraser is ugly, but even so it’s a pretty attractive pencil.
The lighter part of the gradient disappears for the most part on the first sharpening, so that’s a shame. The coating on the pencil is grippier than the coating on the Blacking 54, 56, 24, 725 and 530 (and lacquered pencils in general), but less grippy and gritty than the coating on the Blacking 4. It has a matte feel.
It’s got a “firm” core, which means it has the Blacking 602. I absolutely hate that Blackwing doesn’t write its firmness on the barrel, or use “standard” hardness ratings, or makes it easy to see what the core grade is on the box or on their site. That’s like buying a fountain pen and not knowing whether you’ll get a fine or a broad. It’s bad enough that manufacturers play fast and loose with pencil grades within the standard 10H-10B range. Having a company invent its own grade and not even have it make sense, and then not even make it visible is a big no-no in my book.
Here’s a sketch of my banker’s lamp (which is a bit wonky after my cat dropped a giant pile of books on it) done with the Blackwing 211. I’d say it’s a B or a 2B, depending on the maker, but in no way is it a pencil that I’d call “firm”. It’s great for quick sketches, but I wouldn’t recommend it for under-drawings.
A quick sketch on location of the Eurovision 2019 Tel Aviv Euro Village as it was filling up.
Leuchtturm1917 Sketchbook, Super5 0.7 fountain pen and Rohrer and Klingner Lotte ink.
Leuchtturm1917 Sketchbook, Tombow Mono 100 2B and Pentel Color Eno 0.7
Since I work in watercolour which is notoriously not great for correcting and changing your mind mid painting, when there’s a face that I know that I’ll want to explore I usually create a “construction” sketch which I transfer to paper several times. I can then paint the portrait in different tones, or focus on a certain aspect that interests me, or take it to really wild places without spending too much time on the technicalities of the preliminary sketch.
I start the “construction” sketch on newsprint paper. It’s much more detailed and “searching” than it needs to be, but that doesn’t matter much. Ultimately only the lines that will help me construct the face and note where the major light and dark transitions are will remain. I draw this with a Faber Castell 9000 2B or 3B pencil that’s sharpened with a pocket knife to allow me to use it without having to pause for sharpening. Newsprint paper is pretty transparent and also generally too fragile for regular erasers, so I use a kneaded eraser to lift off unnecessary lines, or simply ignore them.
Once I’m done with that, I flip the page to the other side and scribble on it with a Faber Castell 9000 6B or Palomino Blackwing MMX. These are again sharpened with a pocket knife, and the point is to get as much coverage as possible. If I’m doing a lot of transfers then I might have to repeat this process, adding more graphite to the back of the sketch.
I then transfer the most important lines in my sketch on to a piece of watercolour paper. This is done by placing the newsprint paper with the sketch over the watercolour paper and going over the lines in the sketch with a 2H pencil (I use a Faber Castell 9000 2H, but this isn’t that important). The pencil needs to be a hard pencil for the lines to transfer to the paper below, but it can’t be too hard or too sharp or it will rip the newsprint paper. It’s also important to put just enough pressure when you’re tracing so the graphite on the underside of the sketch transfers to the paper, but not too much to bruise the watercolour paper. Using a 300 gsm watercolour paper helps protect it, but it’s mostly a matter of practice. When you’re done you get something like this:
The lines are pretty faint, which is great when working with watercolour, because they don’t distract too much from the figure once you start working.
I created about five watercolour portraits of Dame Judi Dench from this sketch so far, and there’s a good chance that I’ll go explore her some more in the future.
I’ll upload a coloured version later on, but for now this line art was created with a Pentel Pocket Brush Pen on a Field Notes Signature sketchbook.