Artist Jeffrey Alan Love recently tweeted a sketch, simply captioned “illustrator’s funeral”. Leaning over an open casket, a mourner asks one final question of the deceased …
“What pen was that?”
Ah yes, the question, I know it well. Artists, particularly those with distinctive styles (such as none-more-black Love), must spend an unseemly amount of time fielding this one. The thing is, it’s not so much the corpse I relate to in this situation, but the inquisitor. I don’t know why, but I simply must know what tools people are using.
Years ago, I read an interview with cartoonist and illustrator Tom Gauld, in which he declared the Uniball Eye Micro his favourite pen. Jealous of his robots and monsters and jetpacks, I immediately bought one, certain that it would magically imbue me with his drawing skills and invention. And sure enough … well apparently pens don’t work like that.
Still, who am I to let the obvious realities of the universe get in my way? Years later, I still love reading about what’s in other people’s pencil cases, and picking these things up, hoping to immediately adopt some new technique or style.
And yes, dead or alive, I will pester people directly. What pen was that? Where can I get one? And what about that? What pen was that? Creatives have made themselves constantly botherable, the immediacy of social networks allowing me to tap them on the shoulder day or night with whatever inane question has popped into my head. What am I supposed to do, just leave it un-asked, let the curiosity fester in my mind? That can’t be healthy.
Yes, I’m aware that, as well as being bloody annoying, the question is also kind of incredibly insulting. The insinuation is that the credit for the work goes to the tool rather than the hand – “Wow, you’re so talented at choosing pens! They make such wonderful pictures while you hold them! Teach me where I might procure these mystical ink-wands!”
Maybe I would give it a rest if only they didn’t respond – but they always respond.Even when having their talents tacitly undermined, it turns out that people who love pens love talking about pens.
So now I have a big pot full of the accumulated preferences of strangers. Copic markers, Japanese brush pens, graphite sticks and obscure imported mechanical pencils of very particular pedigrees and girths. I’ve even developed a thing for expensive professional pencil sharpeners, as if they will somehow improve anything. And now I’ve started sketching on my iPad, I have a whole new line of enquiry. Yes, that’ll be me at the funeral, politely harassing the deceased’s family about Procreate brush settings.
And yet, as much as I leech other’s inventories, this obsession over the tools of others isn’t actually reflected in my own work. The more coveted and hard-to-get a pen is, the more likely it will stay in my pot, untouched and precious. Sure, the Gauld-approved Uniball still gets a lot of use – but mostly for writing shopping lists.
I suspect my own response to “what pen was that?” would be rather uninspiring. I invariably end up with whatever is in reach: one of the numerous almost-dry felt-tips scattered about the house; a shattered and blotchy kitchen-drawer Bic; that antique Argos pen that hibernates in the lining of my coat.
And of course – of course! – it doesn’t matter one jot. A pen, all you need is a pen. Find your own line. Whatever it takes to get the drawing from in here to out there, to make some marks and get ideas down onto … onto … um …
What paper is that?
Written for Creative Review.