Welcome, or welcome back, to my Stanford Pen Studio (SPS) series. If you haven’t seen my previous posts, I suggest you check them out to see the amazing work the SPS collective produces. This entry is spotlighting Zelna le Roux who you can find on Instagram
SPS Series Posts: SPS Overview | Brandon Lodewyk | Carla Nel | Di Möhr | Hanna Farmer | Kseniia Nel | Lana Le Roux | Lisa Strachan | Val Myburgh | Yulia Glas | Zelna le Roux | Initial Wrap-Up
I’m still trying to determine what pen(s) I want to get with Zelna’s art. I was fortunate enough to see her Zebra pen at the DC Pen Show, and it was INCREDIBLY tempting. While Zelna specializes in oil paint, she works in various media, producing beautiful works with amazing richness and warmth.
How did you learn about Stanford Pen Studio?
I remember the first I heard about painting on pens, I thought, “gosh that sounds like a mad idea.” I heard about [SPS] from a fellow artist in our village of Stanford.
I can understand thinking art on pens is mad. I’m guessing any artist, except for perhaps a miniaturist, would think working on such a tiny canvas is insane. Even the miniaturist would probably balk at working on a cylindrical canvas. And yet, Zelna, like other SPS artists, has tackled that challenge head-on and makes it look easy.
How long did it take you to decide to work with them?
Once I got introduced to Di and Dave, I had a try at my first pen right away. Di kindly encouraged me to try again after my first pen was rejected. That’s when I decided to go with the style of realistic art that I specialize in in the normal painting world. I haven’t looked back since.
Am I alone in wondering what that first pen looked like? I have to say, though, that Zelna knocked it out of the part with her second pen. The horses are beautifully complemented by the borders.
How do you feel about creating art on pens? And what was your first thought when you learned about it?
The thought of miniaturizing and condensing a painting of any subject matter to such a minute scale was quite frankly, daunting. I worried about it quite a bit; would I be able to do it? I spent a lot of time researching miniatures and concluded that whilst the scale may be entirely unfamiliar, my process would stay the same.
No matter the ground or size or subject, I start with the first layer, then darks, mediums, and lights. The best part is the highlights and when you get that feeling of its completeness when it’s done.
Zelna’s research definitely paid off. She clearly has developed an excellent grasp of working in miniature, producing fantastically detailed works of art.
What do you consider the hardest part of working on pens?
Practically, I struggle to see, even with my specialized magnifying lens set. I really have to concentrate on my breathing to control the brush well. One gets used to the awkward angles of working on a cylindrical shape, even your sometimes not-so-great posture while you work…
But, every new pen you start is a brand new painting. It’s important. Someone is going to hopefully pay top dollar for it. The uniqueness of non-repetitive work challenges the upstairs faculties! I am humbled and grateful every time Di, Dave, and Lana finish a pen with my artwork. Only then is it complete. Until I see the finished product, I hold my breath. Once it has the stamp of approval from Di and Dave, and only then, do I relax and let go.
I can appreciate both the physical and mental obstacles of working on such a small canvas, and am all the more thankful that there are artists, like Zelna, willing to take on those challenges.
Zelna’s description of working on pens is reminiscent of my thoughts of art in general. I sometimes refer to art as horcruxes since artists put part of their heart and soul into the work they create, living on forever in their work.
Has pen work affected your non-pen art in any way?
Yes it has, It has taught me to appreciate the large canvases I work on. It takes longer to paint a pen than a canvas in many cases. But more than the physical work aspect, it has opened my mind to what is possible. You really have to think about composition with the pens — when it works, the visual effect of the completed pen is pleasing and effortless.
I aim to create that same flow in my paintings these days. The pen work is like a mini snapshot of what a large work could be — so most definitely, the pen work with its associated feedback from SPS and the persons who see it and comment on it, has realigned my intentions and aspirations with my conventional paintings.
I love Zelna’s description of pen work as “a mini snapshot of what a large work could be.” It makes me want a matching set, pen and canvas. No, matching set isn’t quite right, coordinating set, perhaps. An interpretation of the pen onto canvas, or vice versa.
What is your favorite part of working with Stanford Pen Studio?
Gosh, hands down the people. Di, Dave and Lana genuinely know how to make you feel welcome and valued. If you ever need friendly and encouraging upliftment as an artist — work with Stanford Pen Studio.
They make just enough fuss over your artwork to keep the inner artist happy and confident. They say just enough to encourage a better result if you’re a bit off your game, and they are always, always gracious and kind.
They run a tight ship though, you never have to wonder about schedules, commissions, and what follows. They inspire me to try to work as hard as they do. That however is a tall order and a tough act to follow.. They work really hard and it shows in the integrity and quality of their craft.
It’s wonderful to know that SPS has created such an excellent environment for their partner artists. These pens truly are a collaboration. While the art is the star of the finished pen, it would not exist without the canvas (the base pen) and the time and encouragement of Di, Dave, and Lana behind the scenes.
Has your work on pens turned you into a pen person?
I own one fountain pen, you know, of the ordinary variety. It’s a vintage Sheaffer I bought online, out of curiosity one day. I was pleasantly surprised at how lovely it talks to paper. Can I write beautifully with amazing inks on special paper? Not yet. But ask me again in about two years.
I feel the pen bug is nibbling because I find myself looking at pens more and more. My interest has been piqued. It’s a matter of time before I start collecting. For now, I’m savouring the prospect and drawing it out a bit, like choosing something special. My first collector’s pen is going to be a good one.
Vintage Sheaffers can be lovely. I have one, and it’s one of my favorite writers, although I don’t use it as much as I should.
Zelna, I wish you luck in finding your first collector’s piece. May your descent down the pen rabbit hold be gentle and enjoyable, as opposed to a head-first plummet into the unknown!
Only Zelna’s horse-themed knife and pen set is currently available for purchase, but I look forward to seeing what she’ll produce next!
I appreciate Zelna taking the time to answer these questions. Looking through her work has given me some serious ideas for what I’d like from her… as soon as I save up some money. *grin*
What do you think of Zelna’s work? Do you own any of the pens she has helped create? If not, would you be interested in one? Let me know in the comments! I’d love to hear from you.
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