Two Types Of Shading?

[Bluey]

Inky thought:

Are there 2 types of shading? -

 

1) 'traditional' shading which is is more commonly seen on non-absorbent paper such as Rhodia and Clairfontaine where the ink pools into lighter and darker areas.

[i don't have a picture of this type right now because I don't have any broader pens currently inked with shading inks]

 

 

2) shading due to differences in pen pressure applied to the page, and typically produced by soft nibs and pens with babys bottom(due to the tendency to press down more in some places to make full contact with the page).

Example showing the soft FA nib and the Lamy 2000 which has babys bottom. The shading is not because it has pooled as I'm using cheapo absorbent paper here

 

Or are types 1 and 2 essentially the same?

Edited October 7, 2017 by Bluey

[Drawing61]

You are right that the material used determines the look but shading is shading, a gradation from dark to light (or vice versa).

[Bluey]

I too would have thought that shading is shading, but most/many sources seem to allude to type 1 as being the only type.

 

a) taken from Goulet blog

"What is shading? It's a common (and often desired) aspect of fountain pen ink where there is pooling in certain parts of a letter when writing, so that the color and saturation of the ink appears different within a single letter or word."

http://blog.gouletpens.com/2015/05/brians-top-7-shading-inks.html

 

b ) Some random definitions from here:

https://www.fountainpennetwork.com/forum/topic/198306-glossary-of-ink-terms/

https://www.fountainpennetwork.com/forum/topic/96604-what-is-meant-by-shading/

 

 

c) taken from Richard Binder's site which appears to suggest that only type 1 is, but is somewhat borderline and general:

"Variation in color depth and saturation due to uneven application of ink to the paper as the pen moves more or less rapidly and in changing directions"

http://www.richardspens.com/ref/glossary/S.htm

 

 

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Also I would think that analysing it means that people(eg Moi!) who love shading can more easily achieve it by knowing what 'tools' to acquire, rather than relying on the properties of the ink (ie shading inks and saturated inks).

Edited October 7, 2017 by Bluey

[Drawing61]

Your point is very well taken. I think any artistic or intellectual endeavor that seeks answers to questions such as "what are the best shading inks" have to go through a labyrinth of experimentation. Goulet Inks are the gold standard of honesty but the onus is on us. Don't take any advertising claims for granted.

[Driften]

I think there is just one type of shading, but I think the real question is on an ink that does shade well what is the best pen setup to produce it. That could lead more into differences in pens like the OP suggested. I think a number of things have to line up to shade well including pen, ink and paper. A wet nib with a wet ink and all you get is highly saturated lines with no shading even if the ink could do it. I expect dry nib with a dry ink would also be a no go.

 

It seems like a balancing act to find the right combination.

[Bluey]

Your point is very well taken. I think any artistic or intellectual endeavor that seeks answers to questions such as "what are the best shading inks" have to go through a labyrinth of experimentation. Goulet Inks are the gold standard of honesty but the onus is on us. Don't take any advertising claims for granted.

Yeah I mean some of my inks shade marvelously in some pens and not in others. As Driften quite rightly points out, it's a balancing act between ink, pen, and paper. I'm seeking the formula that makes it more certain and less experiemental.

 

 

[LizEF]

This seems like semantics to me. Shading is caused when there's more ink in one part of a single stroke than in another part of a single stroke. Just because the "pool" soaks into the paper rather than drying on top of it doesn't mean there wasn't a "pool". Just because the pool was made by applying pressure rather than lifting the pen doesn't mean it's not a pool.

 

Just because the different definitions focus on the author's perceived most-common way of achieving shading doesn't mean the other ways aren't just as valid, nor that they don't follow the same principles: more ink = darker, less ink = lighter.

[Bluey]

This seems like semantics to me. Shading is caused when there's more ink in one part of a single stroke than in another part of a single stroke. Just because the "pool" soaks into the paper rather than drying on top of it doesn't mean there wasn't a "pool". Just because the pool was made by applying pressure rather than lifting the pen doesn't mean it's not a pool.

 

Just because the different definitions focus on the author's perceived most-common way of achieving shading doesn't mean the other ways aren't just as valid, nor that they don't follow the same principles: more ink = darker, less ink = lighter.

Thank you for your input.

Completely missing the point though, just because some people fail to read or understand anything after reading the title.

Edited October 9, 2017 by Bluey

[minddance]

I would see shadings as tonal variations. To me, there are 2 types:

 

1. Connected. smoothly gradated ; and

2. disjointed and dramatic (either light or dark, with no more tonal possibilities in between the two extremes).

 

 

For the smoothly gradated shadings, some disconnection might also occur, depending on paper, wetness of nib and writing style and pressure.

 

Some inks offer the possibility of this beautiful connection between the extreme ends of shades (impressive RANGE of tonal possibilities): Lie de the, edelstein smoky quartz, diamine chocolate brown, ancient copper, blood orange, rohrer and klingner blu mare, sepia, alt goldgrun, Iroshizuku Yu Yake. Jentle Oku Yama. Herbins in general have a high capability of connected and smoothly gradated variations. (Some reviewers may not consider these subtle variations as shadings, I really wonder what shadings are.) Paper and pens play an important role too. Lie de the in pelikan m1000 on absorbent paper will not give much variation, if at all.

 

While others offer only two shades, or 3 (lightest, dark, and darkest that might bring about sheen), limited range of tonal possibilities. These variations are 'terraced', either light or dark. In my limited experience, many Iroshizuku, Diamine Amaranth, Peach Haze (subtle), Wild strawberry (subtle), MAjestic purple and china blue in a dry nib. Personally, I think this type of shading distracts the writer and more so, the reader. But I am aware that some people chase it.

 

Of course, my observation could be caused by different nib width, smoothness and wetness in pens, or my writing style (print produces more disjointed, terraced shadings than script), and paper. YMMV.

 

Please correct me if your observations differ.

Edited October 10, 2017 by minddance

[Bluey]

Well, when I was mentioning about there being 2 types of shading that was mainly to set the stage for exploration into the ways/conditions for shading to occur, but you've added a new element.

 

That's quite an interesting observation re: the light/dark or vignette type shading. It could be because with some inks, the greater tonal range(vignette style) is due to them being more watery as opposed to more saturated inks(eg Iroshizuku) producing more dramatic light/dark shading. I suppose in this way it's the difference between a watercolour painting and oil paints.

 

It would be interesting to have a table of ink saturation, nib width, paper type, nib smoothness. nib softness, and presence of babys bottom or not and their effect on the page.

Edited October 11, 2017 by Bluey