Michael Kalman – Analog Artist Digital World

I spent three days at the Namta Art Materials World International Conference and Trade Show at the Orange County Convention Center. The floor was never really packed, but there was a constant flurry of activity at the Stillman & Birn booth. The line of quality sketchbooks were introduced at last year’s conference and they must have made an impression. The sketchbooks cost a bit more, but people are realizing that artists are willing to pay more for the quality. Paper matters, feel the difference. When Michael Kalman showed a colleague one of the early sketchbook, he was told, “You hit a home run with the paper.”

A person stopping by the Stillman & Birn booth said, “This is the year of the sketchbook, I half expect the easel manufacturers to introduce a new line of sketchbooks.” This year, Strathmore and Canson both introduced new lines of quality hardbound sketchbooks. These new line of sketchbooks are scheduled to hit stores in July. I went to the Strathmore booth and thumbed through the prototype sketchbooks. A sales manager explained the different lines, paper weights and page surfaces. What really mattered to me wasn’t the numbers or convoluted naming conventions, I wanted to see how the paper held up to lines and washes. I already know that the Stillman & Birn books make my work sing so I’ve developed product loyalty.

Jason Das, an Urban Sketcher from Brooklyn NY was flown to the Convention by Stillman & Birn so he could work the floor looking for sponsors for the Urban Sketching Symposium in July. Jason stopped by the booth and I got a chance to flip through his most recent sketchbook. I get a visceral thrill from seeing artists sketchbooks. There is no pretense of existential artistic concepts, just raw sincere observation. Another artist named Donald Owen Colley was working at the Faber Castell booth. He uses Faber Castell Pitt brush pens to do his drawings in old ledgers. The book he was drawing in was from the 1860s. The pens are good for putting down warm and cool gray tones. I picked up a few Pitt pens and immediately started playing with them. The bold blacks in this sketch were put down with a black Pitt pen. Owen was hit by a car as he was walking in the International Drive area. Florida almost killed him. There were artists painting and sketching in many of the booths. I felt like a kid in a toy store.

Namta, the Art Materials World International Conference and Trade Show was held right here in Orlando at the Convention Center. I was invited by Michael Kalman to use their line of premium sketchbooks and explain to prospective distributors how I liked using them. Stillman & Birn, based in New Jersey, produces
premium quality sketchbooks. Their sturdy binding and wide range of
paper weights make them ideal for urban sketching with dry and wet
media. Michael is the nephew of Philip Birn (1911 – 2004), a highly admired
Viennese bookbinder who brought his Old World craftsmanship to New York
City in the 1950s. From his plant at 270 Lafayette Street, Birn
pioneered the concept of the black hardbound sketchbook, which he
marketed throughout North America, Europe and Australia. Michael and business partner Oscar Hernandez relaunched the
Stillman & Birn brand in December of 2010.

I’ve been having a blast test driving these sketchbooks. The paper is thick and rich and accepts watercolor washes on both sides of the pages. Michael explained that a sizing is applied inside the paper as it is made and also on the surface of the sheet. This lets the transparent watercolor washes glow like I’ve never seen before. The books come in five varieties, Alpha, Beta, Gama, Delta and Epsilon. The sketchbook that I take everywhere with me now is the Alpha hardbound sketchbook. It measures 5 1/2 by 8 1/2 inches and I suspect it will always be in my bag from now on. The paper is 100 lbs or 150 GSM and it has a subtle texture that I like.

The sketch above was done in a new line of sketchbooks that was introduced at the trade show. It is a hardbound Delta series with 180 lb, 270 GSM paper. I’ve never seen a hardbound sketchbook with such a heavy weight, cold press paper. The book is 8 1/4 by 11 3/4 inches, which opens up as a huge spread. This thick paper doesn’t buckle at all with heavy water color washes. The sketchbook is a prototype and the actual sketchbooks will be in stores later this year. At this conference I got to sketch and talk about art with fellow artists and distributors, which made it a pretty sweet gig. It felt good knowing that the sketchbooks that were stuffed full of my sketches, helped sell the product.