Earlier this week, I briefly reviewed J. Herbin’s Vert Olive, and today I’m doing the same for Lierre Sauvage (Wild Ivy).
For some reason, I always hesitate to use green, and then when I do, I always wonder why I don’t use it more often. I find myself drawn more to the olives than to the ‘grass’ greens, but nonetheless, I like Lierre Sauvage.
I didn’t notice any shading on either the Roadbook or the GraF it dot grid paper. Since I’m left-handed, I decided to try using my right hand for the second writing example, just to see if holding the nib at a different angle would make a difference. I didn’t seem to. I’m more heavy-handed with that hand, so the writing was darker over all, but still no shading. I do know that other’s have had shading with this ink (hence my experiment), so it was either the weather or my pen that made a difference.
This ink is very readable. Where Vert Olive would be too light for extensive writing, Lierre Sauvage is dark enough even for long correspondence.
It’s a good ink for drawing with black & white values (with green substituted for black, of course.) It’s not as good for more subtle shading. I had difficulty getting a range of value. I had to saturate with several layers to get a distinct difference–to the point where the paper was starting to pill. To get my lights I had to rely on hatching with the white of the paper showing through.
I’ll say that this ink is in the ‘wet’ range, with a nice flow that makes filling in spaces easy, and provides a nice writing experience. I know I’ll use it for drawing, because that’s mostly what I do with my fountain pens. However, if I were going to choose a green ink for writing, this is the one I’d pick.
I think I’m starting to go ‘green’!
Each Wednesday for 22 weeks, I’ll be sharing artwork that was done on paper from a Schut Papier sampler. I’ll be giving you a little information about each of the papers.
Schut Watercolor Paper, Medium Fine Grain/Cold-Pressed, 250 gm2/115 lbs
Acid-free, ph-Neutral. As you may have noticed, Schut has a variety of watercolor papers. This particular variety has no name beyond ‘Schut Watercolor Paper’ and the pad/block cover doesn’t give information on its composition. I wasn’t able to find further information that was in English, so I’m not sure if the paper is cotton, cellulose or something else. It is stiff, more like Schut’s Terschelling than their Noblesse, so I suspect cellulose.
Although the cover labels the paper medium fine grain, I found it rougher than most cold-pressed but not as rough as most papers labeled ‘rough’. Rough grain paper can be difficult to work with but satisfying once you get the hang of it. This might be a good paper for a someone unfamiliar with rough grain to start out with.
The outcome of my tests:
- The texture of the paper is rough enough that you can get *granulation, even with paints that don’t normally granulate.
- Washes moved well, but the color shift** is more dramatic, because of granulation.
- Paint lifts, but some granulation may remain.
- The paper is rough enough that masking tape and liquid frisket must be removed with care.
- No problem with backruns.
- Pencil marks wash into paint without smearing.
- Scraping works without excess fuzz or pills.
- You can gently fold the paper over until the edges meet. The paper ‘remembers’ the fold, but will straighten completely if weighted down.
- Folds crease cleanly without radiating or cracking.
- There was no dimpling, buckling or curling.
*Granulation–the speckled effect you get when watercolor pigments separate by weight. The heavier pigments settle into the indentations, the ‘tooth’ of the paper leaving darker spots. Some people love granulation and some people hate it.
**Color shift is the term used to describe the difference in a color when it is wet and when it has dried. Watercolor goes on darker and lightens as it dries.
|‘Buddies’ Done in my watercolor class taught by Kathy Delumpa Allegri
|I combined bits from several exercises for this painting. They all came from James TooGood’s ‘Incredible Light & Texture in Watercolor’
I decided I didn’t have enough GREEN in my mess of fountain pen inks so I bought some of J. Herbin’s Vert Olive, and Lierre Sauvage (to be reviewed later this week).
Since I hadn’t tried it before, I bought a 10 ml bottle, but it also comes in a 30 ml, which I’ll buy next time. It also come in cartridges designed for the J. Herbin roller ball pen.
Vert Olive is a light color, but it shades nicely. The scan of the writing example below came out a bit yellower than the true color, but it show the shading very well. This writing example above was written in a Clairefontaine Roadbook and the on below was done on Clairefontaine GraF it dot grid paper. The shading occurred more readily on the GraF it, so paper may make a big difference.
The drawing below was drawn and colored using only Vert Olive. The range of color comes from lightness of touch, plus the ink darkens quickly when you layer over previously applied color.
The weather here has been windy, and I’ve noticed that all my inks seem dryer than usual. Still both my Lierre Sauvage and Vert Empire seemed wetter, and I know the Vert Empire is ‘wet’, so I believe Vert Olive is middle of the road–neither a ‘wet’ or a ‘dry’ ink.
Personally, I like the color. You can often get an olive by mixing yellow and black, and it shows in Vert Olive. At its lightest, it is a yellowy green. When you go darker with it, you see the hints of black. I have no idea what colors J. Herbin actually used in the formulation, but they certainly convince my eye that both colors are here.