(This is something I contributed to Pencil Week on Pen Paper Ink Letter.)
Stormy Night in Borrowdale
The legend holds that in the early 1560s (1564?), a large tree – possibly an oak – was uprooted in a storm. Either a traveler or a shepherd or a random passerby notices chunks of a black substance hanging from the upturned roots. Graphite was first believed to be a type of black lead. It was referred to as wadd, black lead and plumbago, from the Latin, meaning “that which acts like lead.” Its existence was well-known throughout Europe at the end of the sixteenth century, and folks with needs for portable and/or erasable writing or drawing equipment were seeking plumbago by 1610 in London.
It was not until the chemical composition of graphite was uncovered in 1779 by K. W. Steele that A. G. Werner suggested the name by which we now know this magical substance: Graphite, from the Greek graphein, meaning “to write.” Graphite is a type of carbon, located molecularly between coal and diamonds. Because of this molecular structure, it works well as a lubricant. Because it is carbon, graphite marks do not fade or react with paper. As such, barring an assault with eraser-bearing enemies, pencil marks really are forever. Sharpie, for instance, fades on plant stakes. Pencil never fails me (General’s Kimberly 9XXB, as it were).
Early Pencils/Graphite Doohickies
In the beginning, graphite was used to mark sheep. But then artists and individuals who did fieldwork requiring note-making on the go started to use it to make more sophisticated marks than merely putting a dark smudge on wool. Chunks of pure graphite were used at first. These were sawed into sticks and wrapped in sheepskin, later in coiled string. Small pieces of graphite were even inserted into hollow ends of reeds and twigs.
The earliest wooden pencils were made from pure chunks of graphite, sawed to fit into grooved pieces of wood. This pure graphite from the famed mine in Borrowdale is still considered to be the largest and best deposit of graphite ever discovered. These pencils had leads with a square cross-section because that was the shape into which they could easily and reliably be cut. When one sharpened these pencils, the lead could be fashioned into a round shape with relative ease. Generally, the lead did not go all of the way through the pencil, since the last few inches were unlikely to be used.
By 1726, small pieces of graphite which would otherwise be wasted were ground into powder with a mortar. The impurities were removed by sifting, and the powder was mixed with sulfur. This was melted, and workers would knead this mixture on boards, like bread. When it was cooled, it was sawed into cakes which were then in turn cut into square pencil leads. Outside of England, where the Borrowdale mine is located, pencil makers in countries like France and Germany were almost always reliant on the use of binders to form graphite composites from the inferior graphite available. Other binders used in this way included gum, shellac, wax and insinglass (fish bladder goo). These binders produced scratchy pencils that did not leave a dark mark. German pencils were notorious for containing enough sulfur that the cores would become soft and would produce a brimstone-like smell when held up to a flame.
The mine at Borrowdale was guarded and protected by the Crown, and men worked under loaded guns. The graphite unearthed there was used to make crucibles for manufacturing cannonballs, among other things, in addition to pencil leads. Because of the mine’s bounty, there were no major efforts in England to make pencils in the composite manner used by the rest of Europe until it became clear that the mine was becoming empty.
In 1793, England and France were at war. France could not get pencils made with pure Borrowdale graphite or even the inferior – but still usable – composite German pencils. The Minister of War wanted to find someone who could produce superior pencils for the nation’s needs – someone who could do it in France. Nicolas-Jacques Conte’ was born in Normandy in 1775. He was a portrait painter before the revolution and worked as an inventor and engineer after that. He wore an eye patch because of an injury resulting from a hydrogen gas explosion, when he was working on balloons for use in war. He answered the War Minister’s call and, in a matter of days in 1794, he came up with the idea to mix powdered graphite with potter’s clay as binder. The paste was put into molds and dried. When dry, the leads were packed in charcoal and baked at extremely high temperatures. Conte’ patented this process in 1795, and the modern pencil lead was born. These leads were brittle and could not be sawed, as the soft sulfur composites and pure graphite could be. So the shape of the wooden barrel was changed, to account for a deeper slot into which the square lead would be laid. By the mid-nineteenth century, the Conte’ method was widespread in Europe.
Graphite Pencils in America
Legend has it that the first American pencils were made by a young woman in Massachusetts (Medford or Danvers, or somewhere else). She took pieces of Borrowdale graphite, mixed it with gum arabic and stuffed the mixture into a hollow twig (the tree species varies according to which version of the legend one accepts). Perhaps the first large-scale pencil manufacturer was William Monroe, a cabinet maker in Roxbury, Massachusetts. There is evidence that he attempted to master the Conte’ process.
There was also Joseph Dixon. Yes, that Dixon. He branched out from crucibles and made stove polish and pencils from graphite. He quit making pencils for a time when merchants in Boston told him that he’d have to use fake foreign labels to make his pencils marketable. He did teach the basics of pencil making to John Thoreau (father of the famous Henry David/David Henry) before that, however. Because Dixon might have known about the Conte’ process, John Thoreau might have also. But in the 1820s, there is no real evidence to suggest that the Conte’ process was known in America.
In 1821, John Thoreau’s brother-in-law Charles Dunbar found a deposit of graphite in Bristol, New Hampshire. He partnered with Cyrus Stowe of Concord to mine this excellent graphite. However, they mistakenly only took out a seven-year lease. They enlisted the help of John Thoreau because they had to tear out as much graphite in seven years as they could. Both dropped out soon after, and John founded John Thoreau and Company. John Thoreau’s pencils were made with a composite of ground graphite, glue, bayberry wax and spermaceti. Because of his superior graphite, he was able to sell his pencils without a foreign label and received notice from the MA Agricultural Society in 1824. Still, they were inferior to French or German pencils made with the Conte’ process.
Henry David Thoreau did know something about pencils. In order to pay for his education, he went to New York City with his father in 1834 to sell pencils. Henry David Thoreau was looking for work after quitting teaching over disputes over beating the students. He wanted to make a better pencil. He researched pencils at Harvard’s library. Walter Harding, in The Days of Henry Thoreau, claims that Thoreau discovered the Conte’ process in an encyclopedia, in a library at Harvard. However, Henry Petroski (who literally wrote the book on pencils) maintains that there could not have been such an encyclopedia at the time and that Thoreau likely connected graphite and clay crucibles and got the idea to mix graphite with powdered clay. No matter which explanation is true, Thoreau experimented and mastered the Conte’ process, but he was still not satisfied because his pencils were still gritty. So he went about inventing a new machine for pulverizing the graphite wherein the finest particles rise on air currents are are collected in a box above the chamber of river stones which do the grinding. The rest remained to be reground.
Thoreau dreamed of a seemless pencil (one made without any cuts in the wood running parallel to the barrel) and even invented a machine which could bore a hole into a piece of wood through which a core could be inserted. Like Conte’, Thoreau discovered that he could produce different and consistent grades of leads by varying the graphite and clay mixture. Thoreau and Co. produced four different grades of pencil. Thoreau and Co. pencils were recognized as the finest American pencils in their heyday. Eventually, however, it came to an end. Smith & McDougal bought the superior graphite produced by Thoreau’s machine for electrotyping, which was all kept secret until the Thoreaus stopped making pencils altogether in 1853.
More on the Evolution of Pencil Anatomy
We have mostly looked at the evolution of the graphite core of the pencil, which does indeed account for most developments in pencildom. But certainly some other points merit a mention.
Pencil leads were still square as late 1830, when German pencil makers (possibly French or English) started to extrude the leads through a round die. Round leads did not become the norm until the mid 1870s. Modern pencil leads are boiled in wax, so that it coats every bit of graphite with this lubricant. The result is smoother writing and – often – less smearing. We even have pencils today which use something other than clay as a binder, such as extruded plastic pencils (Empire in the 1980s, the new Staedtler Wopex).
Some of the first wood-cased pencils were made of juniper species, and they resembled modern carpenter pencils. Because of the grain and balance of strength and softness, Easter Red Cedar was used in pencils until the early 20th century. The wood became so scarce that pencil companies would go around buying up cedar fence posts, replacing these fences with metal ones. Red Cedar was replaced by Incense Cedar, a Western species. Adjustment was slow to the new wood because, despite its name, it does not exude the strong aroma of Red Cedar. Incense cedar was often dyed red and perfumed, in an effort to make the transition smoother. Today, Incense Cedar is the wood of choice for the best pencils. Other species, such as basswood, jelutong and various pine trees, are used by different manufacturers in different countries.
At first, pencils were made individually, with a groove being cut to accept the core, and then another piece of wood was attached to match the shape cut out. Modern pencils are made from slats, which are pieces of wood into which grooves are cut to accept the leads. Glue is put into these grooves, and the leads are dropped into them. Then, an identical slat is glued on top of the slat containing the cores, and the sandwich is compressed until the glue dries. These are cut by precise machines into the round, hexagonal or even triangular pencils we are used to today.
Hymen Lippman is credited as being the first person to attach an eraser to pencils, in 1858. These were inserted into the non-business-end of the pencil and required sharpening just like the writing/drawing end. Eventually, erasers began to be attached by metal ferrules, which are crimped or glued onto the pencil and hold the eraser at the other end. During WWII, metal ferrules were banned in the United States, resulting in the use of plastic ferrules. Dixon Ticonderoga used a green plastic ferrule with two yellow stripes painted onto it, resulting in the color scheme of their iconic pencil today.
Teachers and other folks who fretted over children were resistant to the attachment of erasers to pencils, worried that the practice would encourage carelessness. Learning to write in the early and mid-1980s, we did not have erasers on our pencils. Still, most pencils sold in the United States do have attached erasers, while “art pencils” and pencils made in or for Europe usually do not.
While the use of two different grading systems in the world today can result in some confusion, a quick explanation of how these grades work makes them easy to understand and utilize. Pencils in the United States are generally graded from #1 to #4, with #1 being the softest and #4 being the hardest. Several manufacturers even produce a fractional pencil between #2 and #3, such as 2 ½, 2.5, etc.
In the rest of the world (and in American “art” pencils), there is a more sophisticated system by which manufacturers grade pencils. At the far end, there is the H range, which stands for Hard. The higher the number in front of the H, the harder the lead. At the other end of the spectrum, there is the B range. B stands for Black, and the higher the number preceding the B, the softer and darker the pencil mark. In the middle stands HB, which generally corresponds with the #2 pencil in America. In some systems, there is another pencil, F (for Fine) between H and HB, which is also a 2 ½ in American pencils.
There is No Number Two
We all remember being required to use number two pencils for exams, but here’s the problem: there is no such thing. Manufacturers have different interpretations of different grades. Some contain different binders, different wax, no wax, extra carbon, etc. Even #2 Dixon Ticonderogas are different, depending on whether they were made in Mexico or China. (If you’re going to take exams in pencil, get yourself some Musgrave or General’s test scoring pencils!) Grades even vary by market or culture. For instance, German pencils run on the hard side, while Japanese pencils are generally softer and darker than pencils made in Europe or the US.
The modern pencil still does what it did 450 years ago: it makes marks. It has also undoubtedly left its mark on human civilization and various cultures. How many poems, philosophical theories, scientific insights or humorous characters might have gone unrecorded, were it not for the portable writing technology embodied by the pencil? Certainly, there are ballpoint pens and smartphones, but pencils were the first truly portable aids to memory and thought exploration. I carry one wherever I go, though never in the same pocket as my fancy phone.
The Pencil: A History of Design and Circumstance (Henry Petroski)
The Days of Henry Thoreau: A Biography (Walter Harding)
Join us now on Facebook! This is different than the “group.” We’re moving on up to a page, wherein Comrades can receive updates, and there will be a “wall” on which anyone can post.
With a nod to our friends at Field Notes.
R. Buckminster Fuller is famous the world over for his geodesic dome designs and for his unrelenting questioning that makes him sound more like a philosopher than anything else. When he summed up his search for what one might call “truth,” he uses the metaphor of the pencil.
“Buckminster Fuller never gave up his searh to find ‘Nature’s pencil.’ Like so many geniuses, he was constantly searching for the essence of how things worked best. And when he found such solutions in Nature, he applied them to his projects. Thus, we have his most famous invention – the geodesic dome – modeled after structures found in Nature.
Still, the question continues to be in the quest. Fuller and many others constantly seek the next evolution of ideas, and the really cleaver people always look to Nature first. Were all humans to do that, we would realize that there are enough resources to go around, and what we need to do is be very careful in using exactly enough. Not too much and not too little.
Nature’s pencil is such a sustainable model. She writes and draws with a precision and exactness that humans have difficulty understanding or modeling. Still, people like Bucky and many of today’s great minds continue to search because they know that the search is as important as reaching the goal.” (More.)
This resonates with me, personally, since one of my grad schools was where Professor Fuller taught and worked from 1959 to 1970. He’s still a legend around those parts.
As promised, here is the pencil trivia question for the RAD & HUNGRY Colombia pack give away. This contest is open to anyone with a mailing address, the world over (with thanks to R&H). I was very tempted to include something from literature as the trivia question. But. Well. I can’t resist a good television character with a love of pencils and flannel.
The show ran during the previous decade on a national American network, possibly in other countries. It’s set in a small town. The character in question is usually found with flannel, a ball cap and a pencil. He will give you coffee if you ask for it. He is curmudgeonly and enjoys stick-shifts. He is a good guy and seems to hate razors.
Who is the character (his name)?
The contest will close at 11:59pm Eastern US Standard Time on this Wednesday, December 8th. To enter, please use the CONTACT FORM (CLICK) to send your name, email address and your one guess. All correct Comrades will have their names written down and put into a black backpack. One person who is not me will draw one paper, and the winner will be announced Thursday. Hen at RAD & HUNGRY is kind enough to handle the shipping of this awesome and exciting pack!
Karen was kind enough to send us a nice package of goodies to review this fall, and it’s time we publish some more reviews! I thought we’d go with a pad I’ve been especially enjoying: the Dot Pad — especially after the announcement of the Dot Webbie, which might be one of the greatest notebooks available.
Cover Material: Coated cardstock.
Paper: 80 g acid-free; light lilac grid with 5mm intervals between dots.
Size: Assorted; 6 ” x 8 ¼ ” as tested.
Page Count: 80.
Unique Characteristics: Foldable cover; dot=grid.
As you can guess, the Dot Pad has dots in place of the squared lines regular Rhodia paper has. While this might seem like a small deal at first, I think this means several things. First, this paper photocopies better. Second, one can more easily ignore the dots, easier than ignoring purple lines, anyway. Third — and most important to pencil users — it makes what you write or draw easier to see! I have long loved Rhodia pads, but I have usually felt compelled to use a dark/soft pencil because the graph lines are a little heavy. It never bothered me enough to steer me away from Rhodia pads — to be sure — but the Dot Pad is still refreshing and, well, fun. While I appreciate the orange of Rhodia pads, I like the departure for black, and I really like the graphic/logo work for the Dot Pad.
As as always the case with Rhodia, the construction and design are both solid. The way the cover folds over and the extra cardboard backing are just intelligent and functional. Period. The paper is smooth and wonderful. While Rhodia paper usually wins praise from Comrades who love fountain pens, the pads are also excellent for graphite. (It’s no accident that the first post on Pencil Talk was about Rhodia pads.) Smearability on Rhodia paper has never been a problem for me at all. What’s more, strangely, the Dot Pad seems somehow extraordinarily smear-resistant. Ghosting is not an issue with a Rhodia pad because of the construction of the pad itself. I mean, I suppose one could write on the back. But it would be pretty difficult, at least if you have meaty hands like I do.
Another thing I always like about Rhodia pads are that they are easy to find in person and relatively inexpensive. I’m willing to bet that if you live in even a medium-sized city, you can find them at an art shop or even Target. I can walk to several shops from my office in midtown Baltimore and find them, for instance (though none of these locations sell the pencils).
I’ve been using this particular pad as a bedside reading notebook, and I definitely plan to get more when I fill this one up. Right now, it’s recording all the pencil mentions in For Whom the Bell Tolls.
You are visiting a Civil War battlefield in the United States. You are at the visitor’s center, run — most likely — by the National Park Service or the local historical society or some other group interested in preserving the past or, at least, educating the public about it. You see those replica musket balls, tiny metal carbines, maybe a Lincoln hat and beard. Perhaps you even see some replica dip pens. Do you see….pencils? Maybe the souvenir kind, but do you see them with the historical replicas? Do pencils have the “stature,” to be learned about? Rarely. Maybe this is because pencils really haven’t changed that much in the last 150 years, not so much that a lot of folks feel they are worth mentioning. Or maybe pencils are not as interesting as guns and bone-saws?
These replicas do feature some pretty, well, inaccurate information with them. For one, this is not the same cedar that colonial pencils would have been made of, not to mention that they would be far less precisely constructed. From the manufacturer’s site:
“Our Colonial Cedar Pencils (1004) are a set of five round, natural 7-inch cedar pencils without erasers similar to those used in England and imported to the American colonies during the 18th century. Pencils of this nature would have had to be sharpened by whittling or cutting one end with a knife. No pencil sharpeners for those colonists! Pencils are neatly wrapped in a parchment history sheet.”
Nonetheless, I was tickled enough to grab a pack for myself/the site and for my baby daughter’s growing collection/arsenal of pencils. I haven’t sharpened them yet, but I’m getting severely tempted — with a knife, of course.
Loose Arrows has a great post about preferring thick pencils and thick leads. Personally, I enjoy them as well and have found a fat ole’ learner’s pencil to be just the thing for days of really sore hands and/or really big notes.
“I’ve become a big fan of jumbo pencils with triangular cross sections. I’m not sure whether it’s because they remind me of wankel rotary engines, or because I have long fingers and do a lot of writing. I’m particularly impressed with the Staedtler Norris Triplus Jumbo in bumblebee plumage. It has great balance, nice grip, and best of all, the 4mm HB lead puts down a line as dark and dense as antimatter.”
(Images, Loose Arrows.)
It’s that time of the NaNoWriMo cycle: half-way! That means that we’re all either:
I missed a few days this weekend due to just being plain tired. My daughter turned seven months old yesterday(!). While babies are cute and plain joy, they’re not advantageous for your sleep. Plus, well, my hand hurts! Writing this by hand has been both refreshing and painful. It’s been refreshing because I can type several times faster than I can write by hand, no matter what kind of pencil I use. Slowing down helps me stay in control and not let everything go too much on autopilot. I’m a little over 18,000 words as of last night, which is a little behind. One of my writing buddies and blog pals (Gary!) is kicking my butt!
How are other folks faring? I thought I’d do a post about pencils (which ones I’ve been enjoying the most, etc.) and all that, but that might have to wait for later in the week, so that I can do some catching up. If you wanna be writing “buddies” on NaNo, search for me under jfgphd (so many consonants)!
Comrade Brian sent this very cool dispatch from Portland (OR):
“I checked a book out from the Library called The Boy Mechanic: 200 Classic Things to Build, which is a neat little book that collects a bunch of old D.I.Y. projects from old Popular Mechanics articles, and this little blurb about a sharpener that collects the its own debris made me think of you, and your recent posting on Pencil Revolution. I made a scan of the article for you. I don’t know how practical such a device would actually be, but it’s fun to think that someone tried solving your dilemma.”
With some very nice wood (read: red cedar!) and an attractive handle, this could be a great device to keep on your desk, to sharpen the dulled-but-exposed lead in your pencils.
Today we are reviewing General’s Semi-Hex, the flagship pencil from one of the last American pencil companies, based in Jersey City, New Jersey. For some reason, we’ve never actually reviewed anything from General’s. We’ll, hopefully, follow up with the Cedar Pointe in the near future. To cut to the chase, there’s not much about the Semi-Hex that I don’t like, and its American heritage is a nice bonus. I’ve even been putting it through the paces for NaNoWriMo, and it’s a champ of a pencil.
Material: Premium Incense Cedar.
Shape: Hexagonal, with slightly rounded corners.
Finish: Yellow gloss with green foil details.
Ferrule: Aluminium — gold with black painted band.
Eraser: Pink rubber (?).
Core: Ceramic/graphite composite. Available in B, HB, F, H and 2H. (We tested the HB.)
Markings: Bonded — USA SINCE 1889 — GENERAL’S SEMI-HEX — 498-2/HB — SOFT.
Availability: From General’s and Pencils.Com — and select online retailers. (I’ve never seen them in person myself.)
The first thing you notice when you order (or buy in person) a dozen Semi-Hex pencils is the green cardboard box with retro graphics. While some companies do still use cardboard boxes from time to time (I have some by Dixon, Mirado, even recent ones), what you usually find is a blister pack. That’s not necessarily bad, especially if you like to see the pencils to pick the batch you like best. But, still, the old-timey American box makes me feel like these are pencils with work to do! And, with NaNoWriMo under way, they are!
The pencil’s appearance reminds me of the USA made Dixon Ticonderoga (pictured above with a Semi-Hex), being yellow with green foil lettering. Even some of the old grade markings look the same. I should probably look up to see which came first, but perhaps some Comrade who is generous with her or his time might do so?
The finish is solid, evenly applied and…modestly glossy. I like that these are sold unsharpened, and they don’t have that annoying paint overhang that Mirados always seem to have, and even a lot of recent Dixons. The wood is incredibly nice and very fragrant. If I’m not mistaken, all of General’s pencils are cedar, even their budget lines. This is the flagship pencil in the “school pencil” range, or, more accurately, the “writing” pencil range (although I suppose some people might write with the Kimberly; I do sometimes). If you enjoy the Cedar Pointe (and I sure do), this pencil is even, well, nicer. I would go so far as to say that this is the nicest yellow, eraser-capped pencil I have ever used.
However, if there’s one thing I don’t like about this pencil, it’s that it’s kind of boring to look at. The ferrules are well-attached, and the lettering is top-notch. But I wince at yellow pencils sometimes, even ones I enjoy like the Dixon and classic Mirado. If General’s Pencil Company decided to get funky and make this in a black finish like the Dixon Black (especially the USA made one with the matte finish) well, heck, I’d be in love. The stripe on the ferrule is badly done on most of the pencils in my dozen, but it’s not a huge deal. The eraser, a pink rubber (?) ender is really very effective. It’s a darker color than Dixons or Pink Pearls and feels somewhere between the two, and it erases as well as either of them.
But! This pencil has one thing that redeems its somewhat boring appearance: the lead! This is one smooth-writing, dark pencil. For this level of darkness and smoothness, the point retention is actually pretty good (between an HB Dixon and HB Palomino, but closer to the Dixon). I have yet to break one in any sharpener or on any page, or even in my pocket or bag. I did chop an eraser in half slamming my pencil box closed, but I glued it back together with clear tacky glue — why not? Or course, darkness here comes with increased ghosting, but it’s nothing terrible. Smearability, at this darkness, is actually pretty impressive, as I’ve found with other of General’s products.
Now. The name. As the name states, this is a rounded hexagonal pencil (think half-rounds, for my fellow musicians). Sounds good. Is it? Yes. Are most other hexagonal pencils rounded? Pretty much. The shape is not noticeably rounder than a Dixon, Cedar Point, Palomino, etc. But it is comfortable. Maybe this was a bigger deal when this pencil was first introduced? I do have some vintage pencils with edges so sharp that my poor middle finger hurts looking at them. It is a big deal if you write a lot. Maybe I’m holding my pencil wrongly (wait, I definitely do), but sharp-edge pencils like the Faber-Castell 9000 just hurt after a few pages, even at softer grades. And this is coming from someone with woolly hands full of calluses from music and camping and cooking. While the Semi-Hex shape is not exactly unique these days, it’s certainly comfortable.
In conclusion, this is not just a great American pencil. Heck, with so few left, that’s not a hard pair of shoes to fill. This is a fantastic pencil. It’s well-made, not prohibitively expensive (I paid $4 for a dozen), and with really just a great lead. Frankly, it’s everything you wish a Dixon Ticonderoga could be. (Here’s a nudge to Pencils.Com to carry more grades, and also thanks that they are one of the few places you can even get the Semi-Hex at all.)
A few weeks ago, Mr. Lee at Daycraft sent us a box of samples. Daycraft is a leading Hong Kong brand of planners and diaries:
Daycraft diaries, notebooks and planners are designed in Hong Kong and manufactured in Dongguan, China by Tai Shing Diary.
Tai Sing Diary was established in 1988 and has over the years won a well-deserved reputation for getting things right. (more)
I was immediately struck by two things, which where somewhat related. First, these notebooks are sort of small. By no means is that a bad thing (and they do make larger books also). Being used to Moleskines, I didn’t expect the scale with the detail that Daycraft books have. What I mean is that these are just really carefully designed and carefully made books! See the photo below showing the size, compared to a Field Notes book, which is very pocket-friendly. But they have all the symmetry and care we find on larger, much more expensive notebooks.
Cover Material: “Fine Italian PU” — Human-Made, flexible material.
Paper: 100g cream-colored paper with 6.5mm lines in grey ink.
Page Count: 120.
Unique Characteristics: Beautiful design and construction; colors end-papers and page edges.
Availability: For now, mainly Asia. You can get them online with international shipping here.
The book in question today is the Signature Notebook. These come in two sizes (A5 and A6 — we were sent the smaller size) and have a softly textured cover. It looks and feels like soft leather, but it’s some kind of human-made material. Aside from leather issues (if you have them that is), this means that the softness does not preclude durability, the way that soft leathers often (not always) do. The bookmarks, end-papers and edges of the pages have colors that coordinate with the covers. In our case, we have the brown cover and red-orange accents. The effect is striking, while still being nicely low-key.
The cover is completely flexible. The binding is sewn, with a satin bookmark. The paper is cream-colored 100g, lined paper, with 6.5mm lines printed in about the same grey as Moleskine lines. The cover is slightly rounded at the corners, but the papers are not rounded at all. Because of the generous over-hang, this is not an issue. The entire book is very light-weight and flexible. At A6 size (a little larger than a small Moleskine), it’s not exactly pocket-sized. But it could fit into a jacket pocket, purse or bag easily. I carry mine in the pocket of my puffy vest with no problems, especially since the book is so light. Once you get past the first page, the book lies flatly on the desk or table, and the binding feels very very secure.
We promised Mr. Lee a pencil-specific review, and this book is a treat for pencil lovers. The paper looks a lot like the color of Moleskine paper: cream with grey lines. It’s much more stiff and at least twice as thick, however. While soft pencils prone to ghosting (Palominos, Faber-Castell 9000 4B, Blackwings, soft General’s Pencil Co., etc.) do ghost, they do not ghost with the intensity that they do on thin paper. Daycraft’s paper has a texture which is very nice for graphite, having much more tooth than Moleskine paper but slightly less than Field Notes. It doesn’t wear your point away, but it doesn’t shy away from taking some of that graphite off and keeping it to make marks, either. Smearability is about average, which accounts for the majority of papers I ever use. The lines are definitely not dark enough to distract you when you write in graphite (which I’ve noticed can be a problem with some papers lately), and they are nicely-spaced for using wooden pencils.
This is a notebook that surprises you with its price tag, especially considering the design and quality upgrade over Moleskines and some other books. Frankly, this notebook (and the other items they were kind enough to send us which we’ll write more about in the future) puts to bed the stupid supposition (don’t laugh; people claim it all the time) that quality goods cannot be made in China.
While it’s disappointing to see some companies move production overseas (I’m thinking of Dixon and it’s serious American heritage), Asian production does not mean a lack of quality any more than American production necessarily means that something is better made. There are better made than a lot of American and European notebooks I’ve used and seem more carefully assembled than any Moleskine I’ve bought in the last three or four years.
Unfortunately, Daycraft does not currently have an American distributor, but you can purchase from an Australian dealer that will ship worldwide. It’s worth it.