PRODUCT KNOWLEDGE MANUAL THE COMPANY 1

CONTENTS

CONTENTS

THE COMPANY

GENERAL PRODUCT KNOWLEDGE

FABER-CASTELL PRODUCT KNOWLEDGE

THE GOOD SALESPERSON FOREWORD

FOREWORD

You can only give good advice to convey the most important others, if you are well informed ground rules for successful cus- yourself. This adage sounds as tomer relationship management simple as it is truthful. to sales pro- fessionals as well as entry-level employees. This is why FABER-CASTELL has been publishing a Product The FABER-CASTELL Prod- Knowledge Manual for a num- uct Knowledge Manual is avail- ber of years, in order to impart able in printed format, bound the required product knowledge in a folder, as well as in a Power- to interested sales staff. Point presentation format and as PDF files on CD-ROM. In this new revised edition, the The FABER-CASTELL Prod- fundamental information has uct Knowledge Manual can be been summarised in the GEN- looked up in the internet-address ERAL PRODUCT KNOWL- www.Faber-Castell.com/Ser- EDGE section. Product-specific vice. information, in conjunction with selling propositions and argu- The FABER-CASTELL Mar- ments that can be incorporated keting Team always welcomes in the sales dialogue, make up suggestions for improvement the FABER-CASTELL PROD- and related propositions. Please UCT KNOWLEDGE section. contact the Marketing Services department at FABER-CASTELL Due to repeated request, an headquarters in Stein (+49-911- additional chapter entitled “Ge- 99 65-480), if you believe that neral selling performance – you are able make a constructive THE GOOD SALESPER- contribution. SON” has been added to FABER-CASTELL’s The FABER-CASTELL Mar- Product Knowledge. keting Team wishes you much This chapter is success with FABER-CASTELL ideally suited to Product Knowledge Manual.

PRODUCT KNOWLEDGE MANUAL 1 THE COMPANY

THE COMPANY

1.1 The history of the FABER-CASTELL company

1.2 Our quality speaks for itself – in one universal language

1.3 Wood from our own pine plantations

1.4 An internationally binding Social Charter

1.5 The quality hallmarks of our brand

1.6 Success through products with the “Point of Difference”

1.7 The FABER-CASTELL brand image

1.8 Strategic alignment of the FABER-CASTELL product range 1.1 THE COMPANY The history of the FABER-CASTELL company

THE HISTORY OF THE FABER-CASTELL COMPANY

The 1st Generation – The 3rd Generation – von Faber takes over the Stein Establishment of the Georg Leonhard Faber pencil factory. Having gained business by Kaspar Faber (*1788–†1839) valuable experience in compa- (*1730 –†1784) nies producing writing instru- 1810–1839 ments in Paris and London, the Georg Leonhard Faber leads the 22 year old completely over- pencil business through difficult hauls and repositions the pater- political and economic times, nal business. Driven by strong vision and an iron will, he moves the business forward. His stated goal: “… to rise to pre- mier position by making the best products in the world …”.

He develops the modern quality pencil, sets down the lengths and different grades of hardness 1761–1784 that remain valid today, and for In 1761, the cabinet-maker Kas- however, he is unable to avert a the first time produces a hexag- par Faber commences produc- strong decline in production and onal-section pencil. He labels tion of his first pencils in Stein the resultant threat to the com- his pencils “A. W. Faber” – the and sells them at the Nuremberg pany’s viability. world’s first brand pencil is market. The year 1761 thus for- born. mally becomes the business The 4th Generation – establishment date. Lothar von Faber Lothar von Faber is the first (*1817–†1896) pencil manufacturer to travel to The 2nd Generation – the major European countries Anton Wilhelm Faber and subsequently returns with a (*1758–†1810) full order book. His sights set on the substantial global markets, 1784 –1810 he is also drawn to the “New Named after Kaspar’s son World”. Anton Wilhelm, the 2nd genera- tion business name is “A. W. In 1849, he founds his first FABER”. Anton Wilhelm ex- branch in New York, followed pands the small craftsman’s by subsidiaries in London workshop. He acquires addi- (1851) and Paris (1855) as well tional real estate, enlarges the 1839–1896 as agencies in Vienna (1872) pencil production – the company Following the death of his father and St. Petersburg (1874). grows. Georg Leonhard in 1839, Lothar 1.1 THE COMPANY The history of the FABER-CASTELL company

largest manufacturing facili- Germany’s first nursery schools. ties of slide rules worldwide. Furthermore and among other things, Lothar von Faber finan- ces the construction of compa- ny-owned flats, schools and a church. In 1867, Napoleon III dispatches an expert delegation to Stein to study Lothar von Faber’s exemplary social ame- nities.

As a result of successful sales On account of his immense eco- via an international sales & dis- nomic and social contribution, tribution organisation built up Lothar von Faber is accorded In 1856, through the acquisition successfully by Lothar von Fa- numerous honours: In 1861 he of a graphite deposit of unprece- ber in only some decades, the is raised to peerage and in 1881 dented quality in Siberia, he product range not only gains to hereditary baronial peerage; secures the best graphite avail- global significance – the “A. W. in 1865 he is appointed lifetime, able at the time for the company. Faber” brand is from now on and in 1891 hereditary, “Impe- Once again, a new and improved frequently replicated. With his rial Councillor to the Bavari- pencil quality standard has been petition “for legislation to pro- an Crown”. achieved. tect trade marks” in 1874, Lo- thar von Faber paves the way The 5th Generation – for the Trademarks Act in Ger- Wilhelm von Faber many. (*1851–†1893)

Lothar von Faber also made a name for himself as co-founder of the Bavarian Trade Muse- um (1869) – these days known as the Bavarian State Office of Commerce, the Nuremberg Union Bank (1871) and the Nuremberg Life Insurance Company (1884) – nowadays the Nuremberg Insurance Group. 1877–1893 The company’s history also Lothar von Faber’s only child, The Geroldsgrün branch factory shows Lothar von Faber to be an Wilhelm, is actively involved in in Upper Franconia is founded exceptionally public-spirited the company from 1873 and in in 1861 to mark the centenary entrepreneur. For instance, in 1877 becomes designated suc- celebrations. Originally set up 1844 he sets up one of the first cessor. Wilhelm, who has an as a slate board factory, it later health insurance schemes and more artistic disposition, loses progresses to become one of the in 1851 establishes one of his two sons Lothar and Alfred 1.1 THE COMPANY The history of the FABER-CASTELL company

Wilhelm at the early ages of future generations would always In 1905, Count Alexander laun- three and four years. Wilhelm, have to integrate the name ches the famous green “CAS- who suffered greatly from the “Faber” into the new family TELL” pencil range. death of his sons, also dies pre- name. Thus the new family line maturely in 1893 at the age of of “Count and Countess von just 42 years. He leaves behind a Faber-Castell” comes into The new product logo of the wife and three daughters. As a being by allowance of the “Tournament of the jousting result, his father Lothar von Bavarian King as well as the Pencil Knights” is introduced Faber must once more manage new company name “FABER- as a sign of a new high quality the company until his death CASTELL”. beating all competition. These in 1896. His widow, Baroness knights are once more integral Ottilie von Faber, then inherits In 1900 Count Alexander Graf to the trademark today. the “A. W. Faber” company and von Faber-Castell joins the man- manages the company until the agement. At the end of Word War I the turn of the century. FABER-CASTELL corpora- In 1903, the foundation stone of tion in the US is expropriated The 6th Generation – the large “New Castle” is laid in and sold at auction. Similarly, Alexander Graf von the sales & distribution com- Faber-Castell panies in London, Paris and (*1866–†1928) St. Petersburg are lost.

In the 20’s, Count Alexander commissions the construction of new manufacturing facilities of substantial proportion at the Stein factory. The three- storey, light-filled manufactur- accordance with plans drafted ing complex becomes a modern, by Theodor von Kramer (Direc- exemplary production facility. tor of the Bavarian Trade Museum) – today it embodies a unique monument to Histori- 1900–1928 cism and German Art Nouveau. In 1898, Wilhelm von Faber’s It is built opposite the factory eldest daughter and eventual site and is connected to the heiress, Baroness Ottilie von smaller old castle by a tower. Faber (*1877–1944), marries The original construction of the Count Alexander zu Castell- “Old Castle”, a Renaissance Rüdenhausen, who is descended style villa that had undergone from one of Germany’s oldest miscellaneous renovations, was noble families. Prior to his commissioned in 1845 by death, Lothar had prepared a Lothar von Faber to the Archi- testamentary disposition, by tect to the Royal Court of means of which he ensured that Bavaria, Friedrich Bürklein. 1.1 THE COMPANY The history of the FABER-CASTELL company

The 7th Generation – corporation, which had been The 8th Generation – Roland Graf von Faber- expropriated in Word War I. Anton Wolfgang Graf Castell (*1905–†1978) von Faber-Castell (*1941) In 1960, a sales & distribution company is once again estab- lished in France.

In 1961, FABER-CASTELL celebrates the company’s 200th anniversary with over 2,000 staff and guests.

In 1962, production facilities are set up in Australia (Sydney) 1928–1978 and Austria (Engelhartszell). since 1978 Following the death of Count Following the death of his father Alexander in 1928, his son Count Roland, Anton Wolfgang Roland takes over the company Graf von Faber-Castell takes management. over the helm at the company in 1978. In 1931/32, FABER-CASTELL acquires the “Johann Faber” That same year FABER- pencil factory – an enterprise CASTELL commences the pro- founded by Lothar von Faber’s duction of wood-cased decora- brother Johann in Nuremberg in In 1965, a manufacturing plant tive cosmetic pencils (Private 1879. Thus FABER-CASTELL for wood-cased pencils is Label) in Stein. simultaneously acquires an launched in Argentina. At the interest in its “Lapis Johann same time, a ballpoint pen In 1978, sales & distribution Faber” subsidiary in Sao Carlos, factory is established in Peru. companies are set up in Hong Brazil. Kong and Malaysia. In 1967, Count Roland succeeds 1955 sees the setting up of the in re-acquiring the majority In 1980, subsidiaries are found- manufacture of wood-cased shareholding in the “Lapis ed in the United Kingdom and pencils in Ireland, where ball- Johann Faber” pencil factory in South Africa. In 1980, the point pens are also produced at a Sao Carlos, Brazil, which had world’s largest contemporary later stage. This commitment by been expropriated during World rubber eraser factory is founded FABER-CASTELL is designed War II. This company is the in Malaysia. to maintain its competitiveness largest colour pencil factory in in the European Free Trade the world today. Association (EFTA) countries. A sales & distribution company In 1957, the company acquires a is founded in Japan (Tokyo) in minority shareholding (25%) 1977. in the FABER-CASTELL US 1.1 THE COMPANY The history of the FABER-CASTELL company

In the mid-80’s, a globally 1993 sees the initial implemen- tion lines to manufacture wax unprecedented reafforestation tation stage of a strategic “re- crayons and markers for school project for wood pencil slats alignment” for the FABER- and office. is established in South eastern CASTELL group of companies. Brazil (2,500 km from the rain- The main focus is on a com- forest). pletely revised brand image and visual appearance which is launched on a global scale and provides the FABER- CASTELL brand with adequate brand value and appeal. Like- wise, the newly designed pro- duct range is clearly structured In 1998, FABER-CASTELL according to five core compe- builds a production site for wood tence areas. pencil slats in Costa Rica – In 1990, FABER-CASTELL sets using FSC (Forest Stewardship up a production site for wood- In 1994 Count von Faber-Castell Council) certified gmelina wood. cased pencils in Indonesia. reacquires the US trademark Production of wood-cased pen- rights that had been forfeited cils commences in 2002. Throughout the 90’s, the Stein during World War I. and Geroldsgrün factories are In 1999, FABER-CASTELL modernised and restructured as In 1996, a new FABER-CAS- purchases the US company state-of-the-art line production TELL sales & distribution com- “Creativity for Kids” in Cleve- facilities. At the same time, the pany is established in New Jer- land (Ohio), the US market company embarks on a new sey. Also in 1996, a logistics leader in Creative Sets. design of the manufacturing centre for sales & distribution areas, featuring a unique colour in Eastern European countries In March 2000, FABER-CAS- concept. is established in the Czech TELL and the IG Metall trade Republic. union jointly sign a comprehen- sive and internationally binding In 1997, FABER-CASTELL “Social Charter”, which com- acquires a majority interest in plies with the guidelines of the the “Technacril” company in International Labour Organisa- Columbia, which produces tech- tion (ILO). nical drawing instruments and operates a sales & distribution In 2001, a production and pack- organisation for FABER-CAS- aging centre is built in China In 1992 FABER-CASTELL sets TELL products. (Canton), making it the 15th pro- new global benchmarks in duction facility of the FABER- pencil lacquering methods by Another sales & distribution CASTELL group. introducing its environmentally company is founded in India friendly water-based paint (Mumbai) in 1997, followed a In November 2002, FABER- technology for wood-cased year later by a plant in Goa, ini- CASTELL opens a new factory pencil production in Germany. tially producing erasers and sub- in Malaysia and erects the sequently expanding its produc- world’s largest pencil (19.75 m). 1.2 THE COMPANY Our quality speaks for itself – in one universal language

OUR QUALITY SPEAKS FOR ITSELF – IN ONE UNIVERSAL LANGUAGE

FABER-CASTELL is recog- On a global scale, FABER- The internationalisation of FA- nised as one of the world’s lead- CASTELL employs about 5,500 BER-CASTELL began as far ing manufacturers and distribu- employees in 15 production back as 1849, when the first tors of premium products for facilities and 18 sales & distri- overseas branch was founded in writing, drawing & painting and bution companies. Approxima- the US (New York). Soon after, creative designing – the brand tely 2,800 of them are employed further sales & distribution name has a global reputation. In with the Brazilian FABER- companies and factories were the core area of wood-cased CASTELL company in Sao established, resulting in today’s pencils, the FABER-CASTELL Carlos/Sao Paulo (including 500 presence in a total of 19 coun- group of companies is the world’s employees in the reafforestation tries around the globe. By virtue major manufacturer with a project in the Prata region in the of those early worldwide pro- capacity in excess of 1.8 billion federal state of Minas Gerais). duction and marketing activi- black-lead and colour pencils FABER-CASTELL Brazil is the ties, FABER-CASTELL consi- annually, with the production of largest colour pencil factory in ders itself an international group colour pencils being dominant. the world. of companies with German roots.

COMPANY MALAYSIA COMPANY SAO CARLOS/BRAZIL COMPANY II SAO CARLOS/BRAZIL

COMPANY INDIA COMPANY INDONESIA COMPANY CHINA 1.3 THE COMPANY Wood from our own pine plantations

WOOD FROM OUR OWN PINE PLANTATIONS

The Forest Stewardship Council (FSC) has given the forest stands in Prata its select environmental seal of approval for “environ- mentally responsible, socially beneficial and economically viable management of forests”.

The “Chain of Custody” certifi- cation (C.O.C.) further warrants Every hour FABER-CASTELL that the origin of the wood can grows 20 cubic metres of tim- be tracked and traced right from ber. How do we do it? the harvesting of the tree to the packaging of the pencils. In the Brazilian state of Minas Gerais, near Prata, FABER- The use of environmentally sus- CASTELL maintains its own tainable resources is just one pine plantations covering an aspect of our commitment to a area of 10,000 hectares – 2,500 better quality of life. In the con- km from the Amazon rain- text of an “integrated product forests. policy” (IPP) the entire lifecycle of our products is subjected to Continuous reafforestation of critical analyses, in order to the harvested tree rows creates reduce energy requirements to a a closed ecological cycle: 1 mil- minimum in the long term and lion Caribbean Pine seedlings to conserve the environment are replanted each year. through a sustainable approach.

These environmentally sustain- This includes the selection of able resources provide the raw materials and production source material for our black- processes, packaging and trans- lead pencils and colour pencils: port, right through to product FABER-CASTELL Brazil – the utilisation and disposal. As largest wood pencil factory in such, FABER-CASTELL is the the world with just under 2,900 only company to consistently employees – produces 1.5 bil- use environmentally friendly lion wood-cased pencils annual- water-based paint in its Euro- ly in this manner. pean pencil production. 1.3 THE COMPANY Wood from our own pine plantations

Our commitment is not limited The objective is to protect the to our own operations. FABER- natural flora and fauna in the CASTELL is actively contribut- Prata region and to foster aware- ing to nature conservation in ness in order to motivate our Brazil through its involvement employees as well as the local in the Arboris, Animalis and residents to make a personal ECOmmunity environmental commitment to nature and the projects. environment. 1.4 THE COMPANY An internationally binding Social Charter

AN INTERNATIONALLY BINDING SOCIAL CHARTER

In signing the “FABER- Its scope and internationally CASTELL employees world- CASTELL Social Charter”, the binding nature make this Social wide. Chairman of the Managing Charter one of the first volun- Board, Anton W. Graf von Faber- tary agreements of its kind. It Castell, wrote a new chapter in guarantees employment and la- the company’s longstanding tra- bour conditions as required by dition of social responsibility the International Labour Orga- and accountability. nisation (ILO) to all FABER-

No forced or compulsory labour

No child labour

Payment of minimum wages

No excessive working hours

Equal opportunity and equality for all employees

Respect for the freedom of SIGNING OF THE SOCIAL CHARTER BY FABER-CASTELL AND IG METALL association and of the right to ON 3 MARCH 2000 collective bargaining

Safe working environment, job security and decent pay

Clearly defined employment conditions 1.5 THE COMPANY The quality hallmarks of our brand

THE QUALITY HALLMARKS OF OUR BRAND

We have designed the brand The same high level is valid for FABER-CASTELL as a quality all media and measures of brand hallmark for products in the management. field of writing, drawing and creative colouring which distin- Our products accompany the guishes themselves by: consumer on his/her path from childhood to becoming an artist, from being a student to becom- • Competence and ing a member of the board – and tradition from one generation to another. • High quality • Progressive • Environmental consciousness

THE PENCIL EXTENDER 1.6 THE COMPANY Success through products with the “Point of Difference”

SUCCESS THROUGH PRODUCTS WITH THE “POINT OF DIFFERENCE”

In addition to functionality and FABER-CASTELL has always aesthetics, there are added con- defined innovation as a prob- venience benefits that make our lem-solving process that is dis- products unique: The built-in cernible and appreciated by the sharpener in the pencil extender end consumer while also adding – the “Refilling Station” for value to the product. fluorescent highlighters – the breaking resistance of the wood The famous “Point of Differ- pencil leads. The high colour ence” in all product categories brilliance and light-fastness of will therefore remain the great our artists’ pens also meet the challenge for FABER-CASTELL. most stringent requirements. 1.7 THE COMPANY The FABER-CASTELL brand image

THE FABER-CASTELL BRAND IMAGE

The classic dark-green company The knights theme dates back to colour with the gold brand logo an old advertising poster de- and the red colour for the signed at the turn of the century. “Playing & Learning” field of It symbolises the brand’s vir- competence respectively the tues, which correspond to those blue colour for the product line of the knights: Strength, asser- The FABER-CASTELL brand Creative Studio. tiveness, nobility of mind, fight- image is essentially defined by ing spirit, continuity and the the following elements: The so-called “stage” setting, preservation of traditions. consisting of a rectangular The unmistakable brand logo frame which is set below the The consistent application of consisting of these three ele- logo on main title pages and the corporate design contributes ments: FABER-CASTELL let- packagings and that may con- to its certain recognition and tering, the “jousting knights” tain text as well as images. contributes to the strengthening and the subtitle “since 1761”, of the brand FABER-CASTELL the year of the company’s foun- The uniform typography and the mainly in international markets. dation. high quality and precision of the (product) illustrations explain the high demands of the brand. 1.8 THE COMPANY Strategic alignment of the FABER-CASTELL product range

STRATEGIC ALIGNMENT OF THE FABER-CASTELL PRODUCT RANGE

PLAYING & LEARNING ART & GRAPHIC PREMIUM

GENERAL WRITING MARKING

FABER-CASTELL develops, fined and core competence are- ducts included in its merchan- produces, markets and distri- as tailored to specific target dise range. Through all its pro- butes high-quality writing, groups. This is based on the duct areas, FABER-CASTELL drawing, colouring and creative objective to attain the “Best of desires to be people’s compan- design products in clearly de- its Class” rating for all the pro- ion for life. GENERAL PRODUCT KNOWLEDGE 2

2 MERCHANDISE KNOWLEDGE

MERCHANDISE KNOWLEDGE

2.1 A brief journey through the history of writing instruments

2.2 Graphite pencils (lead pencils)

2.3 Colour pencils

2.4 Artists’ colour pencils

2.5 Crayons

2.6 Artists’ crayons

2.7 Charcoal

2.8 Mechanical pencils

2.9 Leads

2.10 Paste-ink pens

2.11 Liquid-ink pens

2.12 Markers and highlighters

2.13 Paint markers

2.14 Technical drawing instruments

2.15 Erasers

2.16 Sharpeners 2.1 MERCHANDISE KNOWLEDGE A brief journey through the history of writing instruments

A BRIEF JOURNEY THROUGH THE HISTORY OF WRITING INSTRUMENTS

About 50,000 to 60,000 years rushes whose end pieces were B.C., the stone hand axe would chewed to shape them into a have been the first tool to be brush. Later a thin piece of bam- used by humans in attempting to boo with a sharpened pointy tip scratch patterns into stone. Many was used. It was the birth hour such scrapers and gravers/burins of the first fountain pen. 16th century by the introduction have been found in caves in of the lead-pencil writing. Southern France and Spain. From the period of the Roman Empire to the modern era the The beginning of the 19th cen- For thousands of years, pictures most important writing im- tury at last saw the successful remained the only mode of com- plement was the quill, manufacture of steel nibs, which munication. Gradually, iconogra- which needed to be equalled or surpassed the quill’s phic writing underwent greater dipped in ink. The writing quality and were not stylisation and developed into quill was an obli- subject to the same wear. pictograms, a type of symbolic quely cut, sturdy writing that could be drawn goose feather that The steel nibs were placed in quickly, of which the cuneiform had to be repea- wooden holders, but the disad- script of the Sumerians or the tedly trimmed, vantage was that an ink reser- hieroglyphs of the Egyptians are because wri- voir needed to be carried along prime examples. ting would at all times. It was therefore not wear it down surprising that innumerable at- Writing was nonetheless a costly quickly. tempts were made to append an and time-consuming matter per- ink reservoir to the actual nib formed by well paid fulltime A veritable holder, which was achieved in scribes, who etched their glyphs quill indus- the middle of the 19th century with gravers or burins made try devel- by a number of German, Eng- from bone or metal into wax- oped over lish and American inventors. coated wooden slats or moist the centu- clay tablets. ries. At the However, the first and truly beginning of useful solution was offered by Growing demand for written the 19th century, appro- L. E. Waterman in 1884, when records lead to the desire for ximately 50 million he integrated an ink feed more practical writing instru- quills were used up mechanism between the tank ments. each year in Germany and the nib which ensured that alone. the tank would release only as The invention of ink and the use much ink as was needed at a of papyrus as a writing surface In addition to writ- given time, while the same represented a great leap forward. ing in ink, a new amount of air was fed back into The “writing instruments” used writing technique was estab- the tank. at the time consisted of thin lished from the middle of the 2.1 MERCHANDISE KNOWLEDGE A brief journey through the history of writing instruments

we now share our lives with the computer whose word-process- ing programs are constantly being refined. Today, comput- ers write when and what we speak to them and independent- ly translate into various lan- FOUNTAIN PEN, LUDWIG II, KING OF BAVARIA guages.

Competition to the fountain pen In recent times, digital handheld arrived in the 1930’s with the writing implements have arrived invention of the ballpoint pen, on the market that transfer the whose real breakthrough how- writing motion to the computer ever only came about in the and convert it to written text by 1950’s. Because it had the registering the movements in advantage of being able to write relation to coordinates on the for a very long time without writing surface. The only thing constantly needing refilling, still left to do for a human is to coupled with the fact that it was actually think about what to leak-proof and that its ink-paste write in the first place. dried quickly once applied to paper, it soon became the pre- ferred writing instrument world- wide. Moreover, with a ball- point pen it was relatively easy to fill in duplicate and triplicate forms.

In our era, the ballpoint pen was followed by the ink roller, which is structurally similar to the ballpoint pen but uses liquid ink rather than viscous ink-paste and thus allows for a smooth and flowing writing action.

Followed by the invention of the typewriter that allowed us to put easily legible and standardised writing on paper at high speed, 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

GRAPHITE PENCILS (LEAD PENCILS)

HISTORICAL “mantle” in order to be able to the “lead pencils” to “graphite OVERVIEW hold the pencil properly and not pencils”, but the term “lead pen- stain one’s fingers. The “lead cil” had become so entrenched The “silver pencil” made from pencil” was born. The first in the general vernacular that it lead and tin, as used by Albrecht wood casings with the leads still retains its original name Dürer in the 15th century, can glued inside their core were today. be regarded as the pencil’s pre- being manufactured by joiners cursor. and cabinet-makers. From these The gradual shortage of English beginnings, the craft of the pen- graphite from Borrowdale led to The origin of the wood-cased cil-maker evolved to become attempts to reduce the required pencil as we know it today dates increasingly specialised through- quantity by mixing it with addi- back to the year 1565, when a out the 18th century. tives of other materials. In 1794, greyish black shiny substance the Frenchman Nicholas-Jaques THE “WORLD’S OLDEST was discovered in Borrowdale, PENCIL” FROM THE Conté discovered almost at the in the Cumbrian Hills in Eng- 17TH CENTURY same time as the Austrian Josef land, and described as follows: Hardmuth, that by mixing gra- “It feels greasy and leaves stains phite with clay it was possible on one’s fingers”, but it was to produce leads with different “ideal for writing and drawing”. degrees of hardness, which would accommodate a variety It was initially thought that the In 1789 the German-Swedish of applications and also pre- newly discovered substance was chemist Karl Wilhelm Scheele serve the graphite deposits. a type of lead ore, as it closely was able to prove that the new resembled that familiar material writing medium had nothing at In 1839 Lothar von Faber suc- in its appearance and properties. all to do with lead, but that it ceeded in significantly improv- was crystallised carbon. ing the graphite-clay mixing 10 years after Scheele’s disco- process. It was at that time that very, the mineralogist Abraham the hardness grade scale was Gottlob Werner named this mo- established, and it remains valid dified carbon “graphite” (from today. (>Degree of hardness) the Greek word “graphos” = to write). Graphite is non-toxic, can be extracted through mining processes, is easily crushed, re- latively soft and leaves a black In order to be able to use the mark when used for drawing extracted “lead” for writing pur- and sketching. poses, it first had to be cut into narrow, rectangular rods that Following Scheele’s discovery, were encased in a wooden an attempt was made to rename 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

The Castell 9000 Although the pencil’s technical Since 1905 the green Castell design is quite straightforward, 9000 has been synonymous with most people have no idea how pencil quality throughout the the lead ends up inside the world. It has been produced by wood. The explanation for this the billions and succeeded in is surprisingly simple, as the outclassing all its competitors. wooden barrel actually consists Artists and writers such as of two parts (slats), i.e. an upper Beuys, Böll, Fellini, Kishon, part (upper slat) and a lower part Solschenitzyn and even Prince (bottom slat) embedding the Charles continue to be passion- lead. ate about the “green classic”. Today, pencils are lacquered In 1905, Alexander Graf von with non-toxic paint lacquers. Faber-Castell invented the “Cas- FABER-CASTELL was the tell 9000”. It is said that the for- first manufacturer to develop a mer cavalry captain à la suite water-based paint technology chose his regiment’s colour process that does not pollute when deciding on a green tone the environment. (>Water-based for the new pencil. What is cer- paint) tain, however, is that the success of the green “Castell 9000” laid Functional principle of the the foundation for the colour pencil green gradually developing into During writing, the graphite of the company colour for the the pencil lead abrades on the FABER-CASTELL brand. rough paper surface and adheres to it. The coarser the paper, the more lead grains are abraded. PENCIL PRODUCTION Therefore, a coarse paper ge- nerally requires a harder lead Technical design quality, whereas a softer lead The design of a pencil is tre- quality is suitable for smooth mendously simple and we all paper. are familiar with it: A pencil lead (>Leads) is cased in wood, THE CASTELL 9000 – CONCEIVABLY which is either left unfinished or THE WORLD’S MOST FAMOUS PENCIL. ITS UNMATCHED QUALITY AND THE elaborately lacquered. The qua- FACT THAT IT IS AVAILABLE IN 16 DEGREES OF HARDNESS HAVE MADE lity of a pencil is determined by IT THE ABSOLUTE FAVOURITE FOR the wood used (>Wood) and the ALL PENCIL-WRITING PROFESSIONALS AND ENTHUSIASTS. quality of the lead. 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

The more pointed the lead, the finer the line. With increasing writing duration, the tip gets blunter and wider and thus the line becomes broader. The pen- cil must be resharpened.

Wood and slats The highest quality of wood for pencils and colour pencils is produced by the Californian cedar and the Brazilian pine that are cultivated in FABER- CASTELL’s own plantations. Cedar wood is almost knot-free, long-fibred and characterised by a consistent growth pattern due to minimal seasonal varia- tions in California. It can there- fore be easily and cleanly sharp- ened, which is a very important aspect for a quality pencil.

Nowadays, pencils are no longer manufactured individually but by means of a process utilising specially prefabricated slats that yield up to ten pencils in one working cycle. The standard dimensions of a slat are 72 x 184 x 4 mm.

The individual production stages The diagrammatic view demon- strates the main stages of pencil manufacture. 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

THE INDIVIDUAL PRODUCTION STAGES

SOFT AND DENSE WOOD IS STORED, SEASONED AND CUT INTO “SLATS”.

A GROOVE IS CARVED OUT OF THE UPPER AND BOTTOM SLAT TO ACCOMMODATE THE LEAD.

A SPECIAL LEAD GLUE IS INJECTED INTO THE GROOVE.

THE SEPARATELY PRODUCED LEADS (SEE “LEADS” CHAPTER) ARE PLACED IN THE BOTTOM SLAT. THEREAFTER, BINDING GLUE IS APPLIED TO THE UN- OCCUPIED SURFACES OF THE UPPER AND BOTTOM SLATS.

THE UPPER SLAT IS PLACED ONTO THE BOTTOM SLAT. 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

HEAT AND PRESSURE ARE NOW APPLIED SIMULTANEOUSLY TO THIS “SANDWICH”, UNTIL THE GLUE HAS SET.

A ROUTER BIT IS USED TO CUT THE ONE HALF OF THE PENCIL PROFILE AT THE UPPER SLAT.

A SECOND ROUTER BIT IS USED TO CUT THE OTHER HALF OF THE PENCIL PROFILE AT THE BOTTOM SLAT. SUBSEQUENTLY, THE “SANDWICH” DISINTE- GRATES INTO THE INDIVIDUAL NON-FINISHED PENCILS.

THE PENCILS ARE REPEATEDLY PASSED THROUGH A LACQUER BATH IN A CONTINUOUS LOOP. SEVERAL COATS OF LACQUER ARE APPLIED IN ORDER TO ACHIEVE A LASTING VARNISH. 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

HOT-FOIL STAMPING WITH BRAND NAME, GRADE OF HARDNESS AND EAN CODE.

THE PENCIL IS INITIALLY DIPPED INTO A PAINT BASIN TO A SPECIFIED DEPTH. 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

IN THE FOLLOWING STEP, THE PENCIL IS RETRACTED FROM THE BASIN.

THEREAFTER, THE PENCIL IS DIPPED INTO A DIFFERENT PAINT BASIN, AGAIN TO A SPECIFIED DEPTH.

IN THE FINAL STEP, THE PENCIL IS RETRACTED FROM THE BASIN. THE DIFFERENT DIPPING DEPTHS IN THE TWO PAINT BASINS ALLOW FOR THE CONTROL OF THE PENCIL’S DISTINCTIVE DESIGN ELEMENTS. THE DIPPING PROCESS HAS NO EFFECT ON THE PENCIL’S FUNC- TION, BUT ONLY SERVES TO ACHIEVE ITS CHARACTERISTIC APPEARANCE.

THE PENCIL IS SHARPENED. 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

QUALITY CONTROL BREAKING TEST

QUALITY CONTROL SHARPENING TEST

QUALITY CONTROL CLASSIFICATION

PACKAGING 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

THE “SECURAL” letter it is possible to define var- PROCESS ious degrees of hardness. For (SV BONDING) instance, a 6H lead is harder than a 4H. In past pencil manufacture pro- cesses, the two slats were only FABER-CASTELL employs the These designations are most spot-glued. It was thus possible Secural process for all its wood- likely derived from English ex- at times for the lead to slip out cased pencils and in most cases pressions. Thus, B designated of the wooden barrel. marks them with the “SV” Black and H meant Hard, while (= “Secural” process) stamp. the added number indicated increasing blackness or hard- ness. F may have stood for Firm DEGREES OF or Fine Point. HARDNESS The classification of degrees of By varying the mixing ratio of hardness has never been unam- graphite to clay in the lead biguously standardised interna- manufacture, pencil makers can tionally, which is why the exact adjust the hardness degree of a designation still depends on WOODEN LEAD GLUE BARREL pencil lead. The more clay ver- each manufacturer. sus graphite is introduced into With the introduction of a new the mixture, the “harder” the For example, FABER-CASTELL patented manufacturing process writing action of the pencil will supplies its famous classic, the in the 60’s, FABER-CASTELL become. Castell 9000, in 16 degrees of succeeded in firmly bonding the hardness. lead along its entire length to its wooden casing. That process The more precise a drawing is was called the “Secural” process intended to turn out, the harder (SV derived from the Latin the pencil ought to be. Soft pen- word “secura” = secure/safe). cils are preferred in the creative and artistic This measure prevents the lead domain. slipping out of the wooden bar- rel and significantly enhances The identification of a lead’s the breaking resistance of the degree of hardness is expressed lead, e.g. when dropping the in letters and numbers. Gener- pencil. In addition, it facilitates ally, the harder leads are the sharpening of the pencil and labelled with the letter H and the increases the breaking resist- softer ones with the letter B. By ance of the tip. placing a number in front of the 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

The ideal writing pencil (e.g. in CROSS-SECTIONAL It allows for a more comfortable the office) has a medium degree PROFILE grasping of the pencil during of hardness (so-called “HB”), use and also prevents the pencil while the school student’s pencil Wood-cased pencils are pro- from rolling off the desk. has a B hardness degree. duced and supplied worldwide in predominantly three profiles. Triangular profile FABER-CASTELL applies the During normal writing following designations: Round profile posture, the pencil is B = Black This shape is used principally in held by the thumb, H = Hard offices for shorthand, as the index and middle HB = Hard Black = medium round pencil is easily rotated in fingers. A trian- hard the hand, thus preventing a sin- gular profile pencil provides a F = Firm gle-sided blunting of larger area of contact for each of the lead and reduc- the three fingers. This conforms Degrees of hardness alternati- ing the frequency to human ergonomics and there- vely expressed in numbers: of resharpening. fore results in a writing action 1 2 2 1/2 3 4 that is less tiring. Furthermore, (2B) (B) (HB) (H) (2H) Owing to the easier rotatability such a pencil does not easily roll of the round profile, the pencil off the desk. requires a firmer grip. Corres- THE CIRCLE “TOUCH- pondingly, the hand will tire ear- ES” THE CORNER POINTS OF THE TRI- lier after extended use. ANGLE PROFILE. IT CAN THEREFORE BE SHARPENED WITH- Hexagonal profile OUT DIFFICULTY. The hexagonal pro- file is currently In recent times, the triangular the most used profile has been recommended shape for stan- for writing novices. As the trian- dard school and gular profile pencil has a round, office application. conical shape near the tip, it can

Graphite

Clay/graphite mixing ratio Clay 16 degrees of hardness (from hard to soft) 6H 5H 4H 3H 2H H F HB B 2B 3B 4B 5B 6B 7B 8B 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

be easily sharpened with a nor- thus the more exquisite the pen- pencil lacquering methods by mal pencil sharpener. cil’s appearance becomes. (For introducing its water-based example, the Castell 9000 pen- paint technology. cil by FABER-CASTELL has LACQUERING six lacquer coats; Polychromos In water-based paint technology, (“POLISHING”) and Albrecht Dürer Artists’ the chromophoric pigments are colour pencils have up to eight dispersed in water. This means The lacquering of the pencil is lacquer coats.) that, unlike in the case of ace- designed to protect it from get- tone-based lacquer, no harmful ting dirty or stained (e.g. through As children in particular tend to vapours are released during the perspiration from the writer’s put pencils in their mouths, all drying process. hand). But hygienic reasons also lacquers used by FABER- play a role: Ten times as many CASTELL are absolutely safe germs will accumulate on an toxicologically. All wood-cased unlacquered as on a lacquered pencils made by FABER- pencil. CASTELL comply with the purity stipulations of the Euro- During the lacquering process pean standard EN 71-3 of 1988, the pencils are passed through a the so-called toys standard. lacquer bath in a continuous loop. This process is repeated Two different types of lacquer several times. In order to are commonly used: acetone- achieve a lasting lacquering fin- based and water-based lacquer. However, water-based paint ish, several colour lacquer coats The consumer is unable to visu- requires heat for the drying and finally up to three clear lac- ally distinguish the type of lac- process and thus necessitates quer coats are applied. The fol- quer used. Durability as well as greater energy expenditure lowing general rule applies: brilliance and lustre are identi- when compared to acetone- The more lacquer coats are cal for both types. based lacquer. applied to the pencil, the more brilliant the lacquer colour and Water-based paint Dermatological studies show In 1992, FABER-CASTELL that users of these pencils are was the first manufacturer to not exposed to any health risks, venture into water-based paint e.g. skin irritations. technology. In using this process, FABER-CASTELL has Knobbed soft-grip technology replaced conventional acetone- From a technical point of view, based lacquers with environ- the knobbed soft-grip technolo- mentally friendly water emul- gy developed by FABER- sions. FABER-CASTELL has CASTELL represents a raised set new global benchmarks in (“convex”) structure composed 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

of “small prominent dots” made of water-based lacquer.

These raised dots are positioned at the low- er segment of the pen- cil and thus func- tion as a “anti-slip The pencils are checked after the European standard EN 71-3 device” in order to ensure a each production stage, e.g. for of 1988 (toys standard). secure and non-slip grip. breaking strength, sharpenabili- ty and hot-foil stamping. Any By virtue of the composition pencil failing these controls is and purity of the lacquers used QUALITY CONTROL rejected. in their manufacture, waste from pencils and colour pencils Extensive and strict controls does not present any hazard in ensure that only absolutely flaw- ENVIRONMENT AND land-fill disposal or waste incin- less pencils find their way to the WASTE DISPOSAL eration. consumer. The pencil is one of the most Generally, each production stage environmentally friendly writ- is followed by a visual inspec- ing instruments ever made. FABER-CASTELL IS A MEMBER OF B.A.U.M., tion, ensuring that leads and/or THE NATIONAL GERMAN WORKING PARTY FOR pencils that fail this control The lead consists of graphite ENVIRONMENTAL AWARENESS IN MANA- stage are rejected. and clay, both totally safe natu- GEMENT. ral materials. The leads are first monitored for Long before environmental con- diameter consistency immedi- The company uses wood, a siderations attracted much spe- ately after undergoing the com- renewable resource, as casings cial public attention, FABER- pression stage. Following the for its leads. FABER-CASTELL CASTELL was looking at ways firing process, they are checked was the first manufacturer in to preserve wood as a valuable for breaking resistance and Germany to lacquer its pencils resource. diameter consistency. After the with environmentally friendly lead has been impregnated, it is water-based paint. A number of years ago, an checked for breaking resistance, extensive reafforestation project stroke quality, grade of hard- All wood-cased pencils supplied was launched in Brazil with the ness, straightness and uniform by FABER-CASTELL comply aim of safeguarding the compa- diameter and length. with the purity stipulations of ny’s supply of consistently high- 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

quality wood without destroying VARIOUS SCOPES OF APPLICATION FOR the local forest resources. WOOD-CASED PENCILS

Scope of application User Pencil type

Writing All Standard pencils (2H, H, HB, B, 2B) Learning how to write Children Jumbo pencils, Triangular pencils Sketching Artists, Designers All pencils and colour pencils Watercolour painting Children, Artists, Designers Watercolour pencils with water-soluble colour leads Currently, more than 2.5 million Mixing paints Artists, Designers Artists’ pens (e.g. Polychromos) tree seedlings are planted each with colour leads for generating special effects by overlayering year. (read more about this topic the colours in Chapter 1.4 “Wood from our Marking Office employees and Fluorescent colour pencils own pine plantations”) school & university students Technical drawing School & university students Standard pencils (HB–6H) Architects, Designers Shorthand Office employees Round pencils (HB–2H) Writing in/under water Divers Standard pencils Determination of e.g. suppliers to the A standard 4H pencil; lacquer hardness automotive industry the lacquer is scratched super- ficially for the purpose of deter- mining its hardness Wood marking Joiners & cabinet-makers Special (flat) carpenter’s pencils and the furniture industry with a broad, oval lead; often used as a substitute ruler Stuffing one’s pipe Otto von Bismarck A particularly long FABER- and others CASTELL pencil used by Bismarck not only for writing but also for stuffing his pipe Drawing with compasses School & university students Some compasses will accept a standard pencil; However, precision compasses predominantly work with pencil leads Writing on smooth surfaces All Glass markers Indelible writing Office employees Indelible colour pencils Make-up and fancy dress Children Cosmetic pencils made of der- matologically tested materials 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

WHAT MAKES A The lead must be firmly bonded “natural” origin. Moreover, GOOD PENCIL? to the wood in order to prevent it wood is a renewable natural from slipping out of the wood resource. A pencil’s quality is influ- casing and to avoid tip breakage • A pencil writes in/under water, enced by diverse factors: (e.g. during sharpening). in a vacuum and “upside down”. The wood used in manu- Owing to a lacquering process • Pencil writing is absolutely facture should be as knot- involving several coats, the lac- non-toxic, because all ingredi- free, long-fibred and uni- quer coverage is particularly ents used in manufacture con- formly grown as possible good and uniform. This also sist of entirely safe substances in order to ensure easy reduces the occurrence of pres- (clay, graphite, wood, water- and neat sharpening of the sure marks and indentations. based lacquer). manufactured pencil. • Pencils can even be used on In addition to the above quality extremely cold and hot days, A consistently uniform attributes, an attractive design as the lead does not react to graphite/clay mixing ratio (lacquering, hot-foil stamping, temperature fluctuations. guarantees the user the end trim) also contributes to • Pencils are always “ready-to- same degree of hardness enhancing the writing pleasure. write” and can even be sharp- for subsequent purchases. ened with a knife. • Pencil quality has always been The availability of a pen- ADVANTAGES OF THE consistently good over the cil in a variety of degrees PENCIL years. (e.g. degrees of hard- of hardness ensures con- ness). sistent quality for varying Despite the introduction of ink types of applications. writing instruments, traditional lead-pencil writing has lost The ingredients of the lead none of its fascination. This is are crushed, finely ground and not least due to the many advan- blended for a long period of time, tages of pencil writing: resulting in an even lead stroke without scratching. Additionally, • A pencil stroke is erasable and the lead stroke should provide thus correctable. good coverage and, depending on • Pencil writing is environmen- paper quality and writing pres- tally friendly, since all materi- sure, should be easy to erase. als used in manufacture are of 2.2 MERCHANDISE KNOWLEDGE Graphite pencils (lead pencils)

THE PERFECT PENCIL

A disadvantage of the pencil, particularly when used on the move or away from the desk, is the fact that it needs to be peri- odically resharpened in order to write accurately. After all, a suitable sharpener is not always within reach.

As the leading manufacturer worldwide, FABER-CASTELL has come up with the perfect solution for the transportable pencil problem: A pencil with integrated sharpener, eraser and clip, that is as easily carried around as a ballpoint pen or fountain pen and can be reshar- pened quickly and anywhere.

FABER-CASTELL’s perfect pencil concept is available in various price categories. 2.3 MERCHANDISE KNOWLEDGE Colour pencils

COLOUR PENCILS

HISTORICAL COMPARISON OVERVIEW WITH PENCILS

While the graphite or “lead” Technical design pencil’s history can be traced The design structure of colour quite easily, there exists only lit- pencils is identical to that of tle historical material on the his- pencils, and they are manufac- tory of colour pencils. Even tured accordingly. Their differ- though a writing utensil cata- ence lies in the composition and logue from 1820 provides one of diameter of the lead. the first references to a red wood-cased pencil, the signifi- Functional principle cantly longer history of creative Colour pencils function just like colour work suggests that colour pencils. However, they are usual- pencils must have been in exis- ly not erasable or water-soluble. A FABER-CASTELL CATALOGUE FROM 1883. tence long before then. FABER-CASTELL has devel- So-called “porte-crayons” – oped solutions for manufactur- wooden barrels with an ing erasable and water-soluble adjustable ring retaining the colour pencils. lead within the barrel – were used for both pencil and colour Unlike pencil leads, colour pen- pencil leads. For this reason, we cil leads do not undergo a firing may assume that the develop- process but are dried only, as the ment of wood-cased colour pen- sensitive colour pigments would cils was occurring in parallel to not be able to withstand the the development of wood-cased high temperatures of the firing pencils. process.

As early as in the 19th century, The individual production the FABER-CASTELL product stages range included wood-cased The diagrammatic view demon- colour pencils. In an 1881 cata- strates the main stages of pencil logue wood-cased colour pen- manufacture. cils are listed in a range of 52 different colours. 2.3 MERCHANDISE KNOWLEDGE Colour pencils

THE INDIVIDUAL PRODUCTION STAGES

SOFT AND DENSE WOOD IS STORED, SEASONED AND CUT INTO “SLATS”.

A GROOVE IS CARVED OUT OF THE UPPER AND BOTTOM SLAT TO ACCOMMODATE THE LEAD.

A SPECIAL LEAD GLUE IS INJECTED INTO THE GROOVE.

THE SEPARATELY PRODUCED LEADS (SEE “LEADS” CHAPTER) ARE PLACED IN THE BOTTOM SLAT. THEREAFTER, BINDING GLUE IS APPLIED TO THE UN- OCCUPIED SURFACES OF THE UPPER AND BOTTOM SLATS.

THE UPPER SLAT IS PLACED ONTO THE BOTTOM SLAT. 2.3 MERCHANDISE KNOWLEDGE Colour pencils

HEAT AND PRESSURE ARE NOW APPLIED SIMULTANEOUSLY TO THIS “SANDWICH”, UNTIL THE GLUE HAS SET.

A ROUTER BIT IS USED TO CUT THE ONE HALF OF THE PENCIL PROFILE AT THE UPPER SLAT.

A SECOND ROUTER BIT IS USED TO CUT THE OTHER HALF OF THE PENCIL PROFILE AT THE BOTTOM SLAT. SUBSEQUENTLY, THE “SANDWICH” DISINTE- GRATES INTO THE INDIVIDUAL NON-FINISHED PENCILS.

THE PENCILS ARE REPEATEDLY PASSED THROUGH A LACQUER BATH IN A CONTINUOUS LOOP. SEVERAL COATS OF LACQUER ARE APPLIED IN ORDER TO ACHIEVE A LASTING VARNISH. 2.3 MERCHANDISE KNOWLEDGE Colour pencils

HOT-FOIL STAMPING WITH BRAND NAME, COLOUR NO. AND EAN CODE.

THE PENCIL IS SHARPENED. 2.3 MERCHANDISE KNOWLEDGE Colour pencils

QUALITY CONTROL BREAKING TEST

QUALITY CONTROL SHARPENING TEST

QUALITY CONTROL CLASSIFICATION

PACKAGING 2.3 MERCHANDISE KNOWLEDGE Colour pencils

THE “SECURAL” breaking off during use. PROCESS (SV BONDING) Therefore, colour pencils are sharpened to a short tapered By virtue of its composition and point. From a geometrical point due to the lack of a firing Pencil tip process, a colour pencil lead is When looking at a sharpened substantially softer than a pencil pencil, we see a long tapered tip. lead. That is also why colour The tip can be used for writing pencil leads have a larger diam- or drawing fine lines for quite of view, the short tip is stronger eter than pencil leads. (pencil some time, until it becomes than the longer tip. On the other lead diameter 2.0 –2.8 mm; blunt and requires resharpening. hand, it requires more frequent colour pencil lead diameter resharpening. 3.0 – 3.3 mm)

WATER SOLUBILITY (WATERCOLOUR Being substantially softer, a co- PENCILS) lour pencil lead must be sharp- ened differently from a pencil Water-soluble colour pencils lead. The tip of a brand new (watercolour pencils) expand colour pencil initially appears to the spectrum of creative possi- be just like a pencil tip. Only a bilities and are thus increasingly closer inspection reveals a small popular. Water solubility is WOODEN LEAD GLUE BARREL additional tip. This is designed achieved by impregnating the to prevent the lead from break- leads with an “emulsifier” For the purpose of enhancing ing while the product is being (= water-soluble, wax-like sub- breaking resistance, firm bond- delivered to the customer. (Is stance) instead of wax or grease. ing of the colour pencil lead to used by FABER-CASTELL for the wood is even more impor- the Polychromos and Albrecht tant than in pencil manufactur- Dürer artists’ pens.) ing. Besides, this is the only way to prevent the lead from slipping out of the wood casing and to avoid tip breakage.

Cross-sectional profile Just like wood-cased pencils, wood-cased colour pencils are Some colour pencil leads (e.g. One way of working with these available in round, hexagonal and pastel pencils) are so soft that a water-soluble colour pencils is triangular profiles. (>Pencils) long tapered tip would keep to apply water to the painting 2.3 MERCHANDISE KNOWLEDGE Colour pencils

surface prior to colouring with These colourants are toxicologi- the watercolour pencil, or alter- cally safe. natively to put one’s sketch to paper and then dissolve and Note: wet-blend them with a brush. To ensure the unerasability of these pencils, a minimum writ- By selecting different paper ing pressure of 300 g is required grades, the watercolour pencils’ (ascertained average writing degree of solubility can be con- pressure approx. 350 g). trolled in considerable detail. While the structure of a painting PENCILS FOR SPECIAL Grease pencils is more or less distinctly pre- PURPOSES Colour pigments are the chro- served when working on very mophoric components in grease smooth paper, it is easily fully Document lead pencils leads. Binding agents give shape dissolved and transformed into These pencils are also and strength to the lead. In this an aquarelle look and texture known under their former instance, a grease/wax mixture when painting on rough, coarse- designation of Copying is used. Kaolin is predominantly grained paper. Pencils. However, their used as a filler for colour leads. original application pur- The mode of applying the pose, the preparation of Glass marking pencils colour onto the paper can also copies, has lost its role in The grease leads in glass influence the solubility. The today’s era of the laser marking pencils facilitate more pressure is exerted on the copier. the lettering/marking of watercolour pencil the deeper all smooth surfaces such the pigments are pressed into Today, these pencils are as glass, plastic, metal, the surface of the paper, which valued principally for their leather etc. results in a reduced water solu- indelible stroke. They rep- bility of the paint strokes. resent an environmentally Glass marking pencils compatible alternative (re- strokes are water and tem- The gentler the paint application duction of plastic waste) to perature resistant up to and the more water is used, the indelible ink writing in- 450° C for black leads, up sooner an aquarelle-like look struments. 1000° C for white and red and texture is achieved. leads. The basis for the superior light- Please note! fastness and unerasability of Water solubility does not mean these pencils, and thus their that the pencil should be dipped indelible strokes on paper, are in water. That would result in high-grade colour pigments and the lead swelling up and the water-soluble dyes that enhance wood being destroyed. deep penetration into the paper. 2.3 MERCHANDISE KNOWLEDGE Colour pencils

WHAT MAKES A GOOD The number of colours offered COLOUR PENCIL? increases commensurate with the consumers’ demands made A wood-cased colour pencil’s on the pencil, i.e. the colour quality is influenced by diverse range is widest for artists’ prod- factors: ucts. (120 colours available)

The wood used in manufacture Owing to a lacquering process should be as knot-free, long- involving several coats, the lac- fibred and uniformly grown as quer coverage is particularly possible in order to ensure easy good and uniform. This also and neat sharpening of the man- reduces the occurrence of pres- ufactured pencil. sure marks and indentations.

The uniform and even router cutting of the slats ensures that the good quality of the wood is preserved in the ultimate manu- factured pencil.

The colours in artists’ products do not only need to provide good coverage, but they must also be highly lightfast in order not to fade when exposed to the effects of sunlight.

The ingredients of the lead are crushed, finely ground and blended for a long period of time, resulting in an even lead stroke without scratching.

The lead must be firmly bonded to the wood in order to prevent the lead slipping out of the wood casing and to avoid tip breakage (e.g. during sharpening). 2.4 MERCHANDISE KNOWLEDGE Artists’ colour pencils

ARTISTS’ COLOUR PENCILS

HISTORICAL Lothar’s successor, Alexander SPECIAL REQUIRE- OVERVIEW Graf von Faber-Castell, not only MENTS FOR ARTISTS’ continued the successful pro- COLOUR PENCILS Throughout the course of the duct lines, he also substantially company’s 240 year history, expanded the range of products. Light-fastness FABER-CASTELL artists’ co- The Polychromos colour pencils Works of art are valuable pieces lour pencils and crayons have in particular, brought onto the that are one of a kind and should gained an outstanding reputa- market in the early 20th century, be preserved at their original tion. The pencils even won were to become a classic. degree of quality for as long as awards as far back as last centu- possible. ry’s World Expos. The high quality standard of all our products continues to live The colours do not only need to up to today’s exacting artistic provide good coverage, but they demands. That very quality must also be highly lightfast in received praise from renowned order not to fade when exposed artists like Kaulbach, Vincent to the effects of natural light van Gogh and Wilhelm Busch. (sun).

Therefore, FABER-CASTELL insists on using selected natural ingredients in the manufacture of its artists’ colour pencils – especially high grade colour pigments of the highest purity

POLYCHROMOS COLOUR PENCIL and light-fastness. PACKAGING FROM 1908.

FABER-CASTELL was the The manufacture of artists’ first producer in the world to products played a very impor- label light-fastness ratings of its tant role at FABER-CASTELL pencils with specific asterisks: as early as in the 19th century. Lothar von Faber continuously *** Greatest light-fastness expanded the product line at the (= no change after sun time. The advantage of colour exposure) pencils was that they could ** Very good light-fastness easily be sharpened, in contrast (= little change after sun to the colour pastels popular exposure) back then. They were also more * Moderate light-fastness suitable for fine and delicate (Caution: definite change work. after sun exposure) 2.4 MERCHANDISE KNOWLEDGE Artists’ colour pencils

This division into various cate- gories is a classification initia- tive by FABER-CASTELL and to date there is no international- ly standardised equivalent. 2.5 MERCHANDISE KNOWLEDGE Crayons

CRAYONS

HISTORICAL PRODUCT OVERVIEW STREET MARKING OVERVIEW CRAYONS Crayons are supplied in tin As far back as antiquity, wax – cases, carry cases and in indi- Blackboard chalk and street particularly coloured beeswax – vidual colours. For better han- marking crayons consist pre- was used as a painting medium. dling and protection against dominantly of natural calcium In his works dating back almost colour-staining, special crayon sulphate or calcium carbonate 2000 years, the Roman writer Plinius praised the eminent wax art of the Greeks which was later adopted by the Romans as portrait art.

Earthy shades such as sepia, red chalk, umber and manganese brown were already known to the old masters in the middle ages.

holders or paper wrappers, card- and water. Small portions of board sleeves, plastic film-wrap colour pigments are used as or sliders can be used. colourants. Large proportions of filler are used to make the Artists’ crayons in particular are crayons compact and to provide also supplied in wood-cased a certain binding agent function. pencil format. Whether the Street marking crayons are “classic” crayon format of the offered principally in a large pencil variant is used depends diameter cylindrical or rectan- on a variety of factors. (Soiling/ gular format. staining of the hands, stroke width etc.) WAX CRAYONS

Wax crayons are wax-based

A 1900 FABER-CASTELL CATALOGUE pencils, generally have a round WITH ARTISTS’ CRAYONS AND GRAPHITE CRAYONS shape and are suitable for paint- ing and wax techniques.

Wax crayons consist of natural and/or synthetic waxes, inorganic 2.5 MERCHANDISE KNOWLEDGE Crayons

fillers (e.g. talcum), organic and colour painting, when the wax represented on the paper, the inorganic pigments as well as painting is thinned or brush- structure graphically visualised. emulsifying agents in the case painted with turpentine. By (“Frottage” is derived from the of water-paintable crayons. using this technique, it is possi- French word “frotter” = to rub.) ble to create soft bleeds and blurred margins.

With the wax rinse technique the drawing paper is first coated with a totally opaque colour (or

aquarelle wax) before drawing FROTTAGE the motif over it with a water- resistant wax crayon. During the “Encaustic” is a technique They are manufactured in either subsequent rinsing process with where wax is melted and a pressing process or a casting water, the colour shade is com- applied to the paper while it is process (cast crayons). pletely retained underneath the still hot. Pictures are created by wax. the fusing of the various There are two types of wax colours. (The term “encaustic” crayons, water-resistant and In “Sgraffito” (scratching tech- is derived from Greek and water-paintable. nique) several wax layers (from means “to burn in”, “to heat light to dark) are superimposed. with fire” or “to subject to fire”.) Wax crayons are suitable for a The individual layers can then wide variety of techniques such be made visible again or Wax crayons can be virtually as “Sgraffito”, “Encaustic” or removed by “scratching” with a stored forever, have a vigorous “Ironing Technique”, “Wiping scraper or a sharp pencil. (The colour stroke quality and adhere Technique” and “Fabric Pain- term is derived from Italian: to almost all surfaces (with the ting”. sgraffiare = to scratch / to scrape.) The wash or bleed technique results in soft, delicate shades “Frottage” is an abrasion tech- and hues akin to those in water- nique. The surface texture is

WASH TECHNIQUE SGRAFFITO ENCAUSTIC 2.5 MERCHANDISE KNOWLEDGE Crayons

exception of very smooth sur- pencils). In these crayons the faces, such as glass, plastic, grease/wax mixture functions as CDs etc.) the binding agent. They are

Incidentally, wax crayons are used when first learning how to write: The “classical” (water- resistant) wax crayons are used preferably used for smooth sur- for handwriting exercises during faces like glass, plastic, leather writing lessons, because the etc. They are highly light-fast uniquely solid wax compound and heat-resistant (the colour does not soften when held in white up to 1,000° C). Their one’s hand. The handwriting strokes are water-resistant. exercises relax the hand muscles and the schoolchild gradually acquires a sense of shapes and a feel for writing.

MARKING CRAYONS

Two different types of marking crayons are commonly used:

On one hand, marking crayons that are composed and manufac- tured in the same way as colour pencil leads and impregnated with grease/wax. They are par- ticularly suited for marking cardboard, paper, wood, metal as well as all rough surfaces.

On the other hand, wax marking crayons that are manufactured like grease leads (glass marking 2.6 MERCHANDISE KNOWLEDGE Artist’s crayons

ARTIST’S CRAYONS

The product range and applica- It is difficult to subdivide cray- The degrees of hardness are tion areas of artists’ crayons are ons into separate categories. We subdivided into uniform and virtually unlimited. The same can roughly divide artists’ consistent increments. Graphite applies to the crayons’ composi- crayons into graphite crayons, crayons are extremely light-fast tion and manufacture. pastel crayons, so-called mono- and ageing resistant. chrome crayons and special The most important ingredients crayons like oil and aquarelle of artists’ crayons are the colour crayons. GRAPHITE PURE pigments, as their remarkable colour purity ensures the co- Pencil-shaped graphite crayons lours’ light-fastness, which is of GRAPHITE CRAYONS are called Graphite Pure. Gra- great significance to artists. In phite Pure pencils consist of a addition, artists’ crayons consist Like pencil leads, these crayons solid, thick lead and are not of special binding agents and consist of a graphite/clay mix wood-cased. fillers. and are available in several degrees of hardness. The surface of Graphite Pure High-quality crayons are char- has a synthetic coating to pro- acterised by very finely ground Quick sketches and studies are tect the hands against staining. raw materials and consistent the main application areas of particle size. graphite crayons. Due to their large diameter, they provide a lush, rigorous stroke. If the graphite crayon has no wrap- ping or casing, its entire length can be used to lay down the colour on large surfaces.

Graphite crayons can be sharp- ened with sharpeners or emery boards.

Graphite crayons are also fre- quently ground to a powder. This powder is suited for smudging. By using the smudging tech- nique it is possible to achieve various outcomes, depending on the degree of hardness. The soft- er the crayon, the more easily it can be smudged. 2.6 MERCHANDISE KNOWLEDGE Artist’s crayons

By variably exerting light or Unlike colour pencils that vigorous pressure when drawing adhere to just about all types of it is possible to create diverse paper, they require a drawing grey shades, which is ideal for background of a certain rough- high-contrast drawing, writing ness. Pastel crayons are there- and sketching. fore mainly used for surface- covering painting on soft, fine- Graphite Pure can be sharpened grained or velvety velour paper with a conventional pencil shar- or on heavy paper with a coarse- pener. grained surface.

It is also possible to draw on PASTEL CRAYONS stone or asphalt. This attribute extends the pastel crayons’ Pastel crayons have been used as application options when com- a drawing medium since the pared with other products, e.g. 15th century. The term “pastel” colour pencils. is derived from the Italian word “pasta” (dough), because in the Pastel crayons are available in past pigments used to be knead- rectangular or cylindrical for- ed into a dough with the aid of a Their pigment content is very mat. The degrees of hardness on binding agent. high when compared to other offer range between the softer painting crayons. Only very and harder end of the scale, Pastel crayons consist essential- small amounts of wax, grease or according to the manufacturer. ly of organic and inorganic fine- oil are used, if any. That is why ly pulverised pigments, inorgan- pastel crayons smudge easily ic fillers (such as clay, calci- and must ultimately always be um carbonate, pumice powder, fixed with lacquer. (The wax quartz powder, kaolin) as well content ensures the adhesion of as small quantities of binding the colour on the background.) agents (e.g. cellulose derivates). It can be reduced to a minimum The ingredients are kneaded only on very coarse-grained sur- together and pressed into the faces. particular shape. Pastel crayons without lubricat- Pastel crayons are dried, as the ing or binding agents can be sensitive colour pigments would ground to a fine powder and are otherwise become charred due suited for the same techniques to the intense heat generated as graphite crayons. They can be during the firing process. painted together with oils. 2.6 MERCHANDISE KNOWLEDGE Artist’s crayons

PASTEL PENCILS style and the size of the motif. earth/soil. In contrast to pastel Pastel pencils are designed as a crayons, they now contain inor- Pencil-shaped pastel crayons are supplement for particularly ganic pigments (metallic oxides). called pastel pencils. The crayon detailed work. The wood casing is pressed into a lead shape and protects the fingers against There are two types of crayons, subsequently dried. Pastel pen- staining. fired and unfired. Fired crayons cils are ideal for detail, fine are harder and more brittle. The lines and hatching. colour pigments are not easily MONOCHROME rubbed into the paper and must Just like pastel crayons, they CRAYONS AND PENCILS therefore be fixed. On the other smudge easily and must be hand, special binding agents fixed. The term “monochrome” means provide the unfired crayons with “non-colour” painting. It in- a soft and ductile consistency. The decision whether to use cludes all important colours and The pigments are thus rubbed pastel crayons in their tradition- shades for working in the con- into the paper, however, fixing al crayon or wood-cased pencil trast areas light-dark or black- should be dispensed with. Many form depends on the artist’s white. colour shades are available for both the fired (colour shade Monochrome crayons include variant with a rougher charac- red chalk, sepia, umber and man- ter) and the unfired (original ganese brown crayons or even colour shade) versions. white and also black crayons. These crayons are either grease- free or grease-based. Grease- free crayons can be wiped or smudged relatively easily and are wet-paintable. The colour is deposited rather loosely on the Monochrome crayons are essen- drawing surface and should tially designed like pastel always be fixed. crayons. They are particularly rich in light-fast pigments and Grease-based crayons have a have few binding agents. stronger paper adhesion due to their oil and wax based binding The colour range is limited to agent. They have a ductile earthy tones and shades. Origi- stroke with a satin-finish sur- nally the colours were made face. They are also more diffi- from earth colours: White was cult to wipe or smudge, only blended from limestone, black partially erasable but do not from charcoal and brown from necessarily have to be fixed. 2.6 MERCHANDISE KNOWLEDGE Artist’s crayons

FABER-CASTELL pencils are studies. There are various gra- The relatively ductile stroke can distinguishable as grease-free or duations, from English Red to be water-painted, wiped, smud- grease-based by virtue of their the violet-like Red Brown. The ged or brightened with plasticine. design: Grease-free pencils have red chalk colour does not exist an end trim and grease-based as such. OIL CRAYONS pencils have an end cap. The basis for red chalk is a fine Oil crayons consist of inorganic The decision whether to use clay that contains iron oxide and and/or organic pigments, fatty monochrome crayons in their is processed into leads after acid derivates, oils and waxes as traditional crayon or wood- being pulverised. well as fillers. cased pencil form depends on the artist’s style and the size of Sepia the motif. Monochrome pencils Sepia was originally are designed as a supplement a liquid drawing co- for particularly detailed work. lour. Today, this dark The wood casing protects the brown colour is fingers against staining. made from synthetic dyes. Sepia colour Red chalk shades are mostly Red chalk can be described as used for portrait and the classical drawing material. nude studies as well as landscapes.

White crayons White crayons are irreplace- able for work- ing on tinted or black paper Oil crayons adhere to almost all as well as for surfaces, even smooth ones. No brightening red fixing is required. They are chalk motifs and water-resistant, paintable with charcoal draw- turpentine or benzene but not ings. water-paintable. They can be partially smudged when dry. Black crayons The colours provide good cover- A common shade is a deep and Black crayons age, are deep and rich and have rich adobe colour hue, particu- are available in a very soft, intensive and larly used for nude drawings and various degrees smooth colour stroke quality portraits as well as for body of hardness. with lustreless to matt or satin- 2.6 MERCHANDISE KNOWLEDGE Artist’s crayons

finish glossy surfaces. Oil cray- AQUARELLE CRAYONS ons are difficult to correct and are not erasable. Aquarelle crayons essentially consist of organic and inorganic Oil crayons are suitable for a finely pulverised pigments, wide variety of techniques such inorganic fillers (such as clay, as the Encaustic or ironing tech- calcium carbonate, kaolin) and nique (paint-spreading tech- in some instances lubricating nique using heat) or the scrap- and emulsifying agents. ing (sgraffito) technique (colour layers can be placed on top of The properties of aquarelle each other and can be removed crayons are in many ways simi- later). lar to those of oil or wax crayons. Unlike the latter they Oil crayons should not be sub- are water-paintable, easier to jected to higher temperatures correct and easier to remove (approx. 50° C), as they become from smooth surfaces. soft when heated due to their high wax content. 2.7 MERCHANDISE KNOWLEDGE Charcoal

CHARCOAL

DRAWING CHARCOAL charcoal is the darkest, deepest removed with an eraser brush or black ever made by man. plasticine. Drawing charcoal is made syn- thetically from a fine mixture of It is used for working on large carbon black (soot), charcoal areas. Charcoal lines are easily and clay with an admixture wiped or smudged with a finger, of binding agents. Depending stump (estompe), brush or cloth. on the mix of these compo- It can only be removed with nents, degrees of hardness from plasticine. Fixing is unavoid- “extra soft” to “extra hard” are able! achieved. These various degrees of hardness allow finely nuan- Drawing charcoal is available in ced graduations from the bright- two versions: Round rod-shaped est grey to the darkest black. drawing charcoal is very well suited for working on large areas, while charcoal pencils with an additional wood-casing are particularly suited for fine, detailed work.

NATURAL WOOD- CHARCOAL STICKS Wood-charcoal sticks are partic- Wood-charcoal sticks are one of ularly suited for studying pur- humanity’s oldest drawing me- poses, sketches and are often diums. It is made from soft and, used for preparatory drawings in to the extent possible, resin-free oil painting because of the ease wood (e.g. lime-tree wood, with which they are removed. hazelnut wood or birchwood For this purpose the charcoal on rods). The twigs and branches the canvass is tap-dusted with a are heated under the exclusion cloth. Hardly any perceptible of air, until they are thoroughly patterns remain. carbonised. Wood-charcoal has Drawing charcoal is pressed a bluish stroke that is easily Natural wood-charcoal sticks into the relevant shape and wiped and corrected. are available as round rods in fired. It is characterised by a diameters of approx. 3 to 14 mm soft stroke and a lush, rich glid- The extremely brittle material for large-surface work or in ing action on paper. An out- adheres only lightly to paper. wood-cased pencil form for standing feature of drawing Therefore the lines can easily be fine, detailed work. 2.8 MERCHANDISE KNOWLEDGE Mechanical pencils

MECHANICAL PENCILS

Mechanical pencils are defined good quality result as the pencil weight now causes it to as pencils holding a lead inside can no longer be held properly. drop down out of or into a barrel by means of a clamping the pencil, depending on mechanism. Releasing the clam- FABER-CASTELL had already whether the tip is point- ping mechanism by pressing or solved this problem in the 40’s ing up or down. twisting the pencil results in the with the introduction of the so- lead dropping or being trans- called TK clutch pencils, which Releasing the push- ported towards the tip. used leads of a similar thick- button reclamps the lead. ness to conventional wood-cased pencils. (Incidentally, the TK The barrels of propelling trademark registered by FABER- pencils made by German CASTELL represents the Ger- manufacturers contain man initials for the main user predominantly recyclable groups of technicians [Tech- plastics and metals. It is niker] and artists [Künstler].) not customary to use PVC. TK CLUTCH PENCIL ADVERTISING POSTER FROM THE 60’S In the 60’s a new manufacturing process made it possible to The thicker leads of most clutch Depending on the thickness of develop the extremely fine, yet pencils have the same composi- the lead or the release mode of break-resistant, polymer leads tion as those of wood-cased the clamping mechanism, me- that resulted in the introduction pencils and colour pencils, but chanical pencils are divided into of fine-point pencils. are somewhat shorter. clutch pencils, fine-point pen- cils and propelling pencils. Special sharpeners have been CLUTCH PENCILS developed for sharpening the leads of clutch pencils. Some HISTORICAL Functional principle and pencil models are equipped with OVERVIEW technical design a small sharpener integrated in A lead is housed inside a syn- the push-button. A pencil has the disadvantage thetic barrel and is retained by a that its length continues to clamping chuck. Advantages of the clutch decrease with increasing use. pencil When working on high-quality By pressing the push-button, the In comparison with a wood- drawings, it thus becomes in- clamping chuck is opened and cased pencil that is sharpened creasingly difficult to achieve a releases the lead. The lead’s own and becomes ever shorter, a 2.8 MERCHANDISE KNOWLEDGE Mechanical pencils

clutch pencil retains a consistent Extremely fine and compara- push-button is pulled off length and is always comfort- tively break-resistant special the upper end of the pen- able when held in one’s hand. leads, so-called polymer leads, cil and the opening of are used in fine-lead pencils. the lead sleeve can The lead can be worn down sub- The barrel of the pencil contains be cleaned from stantially further than a pencil a storage tube for refill leads, the tip with the and is thus almost completely which can usually be filled at cleaning needle. utilised. the upper end. It is recommend- ed not to load the pencil with Many fine-lead pencils have an Clutch pencils are mechanically more than three refill leads, as eraser (replacements can usually simple and therefore very robust. the leads may otherwise get be purchased) at the upper end, jammed and fail to slide into the which is either firmly attached lead slide mechanism. to the push- FINE-LEAD PENCILS button or Fine-lead pencils are available pencil top or The design structure of fine- for lead diameters of 0.35 mm, screwed in lead pencils is similar to that of 0.5 mm, 0.7 mm and 1.00 mm. and out like a clutch pencils. They also feature They are colour-coded in accor- lipstick. a clamping chuck which retains dance with the DIN 6775 stan- the lead. dard. Yellow stands for a line Market research has shown that width of 0.35 mm, brown for 0.5 many people do not like to write However, in addition to the mm, blue for 0.7 mm and with a fine-lead pencil, because clamping mechanism they also orange for 1.00 mm. the most common lead diameter have a spring-loaded push me- of 0.5 mm tends to break very chanism. When pressing the Lead diameters and lengths are easily. FABER-CASTELL there- push-button, not only is the lead designated by DIN ISO 9177-2. fore introduced the 0.7 mm lead released but it is simultaneously for breakproof writing and res- advanced a short distance. This After some time, lead residues timulated the sales of fine-point mechanism is called a feed may collect in the clamping pencils. In many writing pen- mechanism. In some models the chuck and block the feed mech- cils, the lead is also cushioned feed mechanism is activated anism. Therefore many models in order to reduce the breakage automatically, when the pencil are equipped with a cleaning risk. is lifted off the paper. (>Lead needle, which is usually at- slide mechanism) tached at the push-button. The 2.8 MERCHANDISE KNOWLEDGE Mechanical pencils

Fine-lead pencils are available “pocket-safe” transport of the These pencils are prima- with different lead holder types: pencil. rily designed for writing and sketching. They are Fixed lead slide mechanism not suitable for technical The lead tube is in a fixed drawing. mounting. Prior to drawing or writing the lead must be The lead sleeve in a advanced through the lead slide-back lead slide me- sleeve by pressing the push-but- chanism system can also ton once. This provides a writ- be resiliently mounted. ing output of about 2 metres This is called “Cushion without the need to re-activate Point”. the push-button. Automatic feed mech- These pencils are particularly anism suitable for technical drawing Slide-back lead slide With this function the with rulers, templates and sten- mechanism push-button needs to be cils. In this system the lead tube is pressed only once and mounted resiliently (“sliding the lead is automatically pipe”). This makes writing more advanced. comfortable and the lead more breakproof. Because of the The light pressure exert- slide-back action of the lead ed on the lead by the tube during writing, this system virtue of the writing provides a longer writing output action causes it to move within without the need to re-activate the lead sleeve and slide a little the push-button when compared towards the tip, so that there is with the fixed lead slide mecha- always a small amount of lead nism. protruding from the lead sleeve Fixed and retractable lead and available for writing. slide mechanism This lead slide mechanism sys- The advantages of the auto- tem is functionally identical to matic feed mechanism include the fixed lead slide mechanism comfortable handling and the but has the advantage that the fact that the lead hardly ever sleeve can be fully inserted into breaks, thus reducing lead the barrel by simultaneously wastage. pressing the push button and pushing the sleeve onto the paper. This system ensures a 2.8 MERCHANDISE KNOWLEDGE Mechanical pencils

The advantages of the polymer lead (with a lead diam- MULTIFUNCTION fine-lead pencil eter of 1.4 mm). WRITING In comparison with a wood-cased INSTRUMENTS pencil that is sharpened and The fine-point pencil lead hold- becomes ever shorter, a fine-lead er has the capacity to hold up to Historical overview pencil retains a consistent length 5 polymer fine-point leads (1 in The pencil is ideally suited for and is always comfortable when the lead sleeve, 4 in the lead sketching and writing. However, held in one’s hand. tube). As with the regular where the written text has to be retractable pencil, it is better not indelible or carbon copies need In comparison with clutch pen- to charge this type of pencil to be filled in, the ballpoint pen cils, fine-lead pencils do not with more than 3 refill leads. is the instrument of choice. need to be sharpened and thus That way, they cannot get maintain a consistent line width wedged or jammed. As is to be expected, prolific during writing and drawing. writers in particular demand a pen that combines the features of several systems. The idea of PROPELLING the multifunction pen was born. PENCILS The multi-colour ballpoint pen There are two types of pro- became popular back in the 60’s pelling pencils. The first type is and offered a selection of four the classical retractable pencil, different colour refills within where the pressure on the mech- one pen. The 4-colour pens anism is exerted by a rotational remained relatively popular for motion. several years but have gradually disappeared from the market. The other type is equipped with a continuously adjustable rota- Today, the multifunction pen tional mechanism, which is acti- remains in demand, in particular vated to retract or advance the for two of its applications – the lead by twisting the barrel coun- pencil and the ballpoint pen. terclockwise or clockwise. In recent times, the market has The lead used is either a thicker, been increasingly offering mul- “conventional” pencil lead or a tifunction pens that go beyond incorporating a pencil and a ballpoint pen, by additionally including a marker (Tri-Pen) or IT-stylus to safely write on touch- screens of handheld computers. 2.8 MERCHANDISE KNOWLEDGE Mechanical pencils

Functional principle and technical design Inside the barrel of the multifunc- tion pen are a ballpoint pen lead and a scaled-down version of a retractable pencil mechanism.

Multifunction pens incorporate different mechanisms for prese- lecting the desired writing sys- tem – this is primarily done by twisting the lower section against the barrel.

The rotational motion is con- verted to a lifting motion and thus pushes either the ballpoint pen lead or the pencil mecha- nism towards the tip.

Just like with a regular re- tractable pencil, a push-button ink-paste, the writing length of at the upper end of the multi- multifunction pen leads is short- function pen activates the for- er than with conventional large- ward feed of the lead by a capacity leads. It is recommend- defined length. ed to advise customers of this aspect or even offer a spare The fine-lead pencil lead holder refill at the time of purchase. has the capacity for up to 5 (1 in the lead sleeve, 4 in the lead The lead tube is resiliently tube) polymer fine-lead leads. mounted (“Cushion Point”) and As with the regular retractable thus provides a comfortable pencil, it is better not to charge writing action. An exchangeable this type of pencil with more eraser is located under the push- than 3 refill leads. That way, button. they cannot get wedged or jammed. The thickness of polymer leads in multifunction pens is current- Owing to the smaller lead size ly limited to 0.5 mm and 0.7 and resultant lower supply of mm in many cases. 2.9 MERCHANDISE KNOWLEDGE Leads

LEADS

PENCIL LEADS

Composition Pencil leads consist of the fol- lowing basic ingredients: • Graphite • Clay • Grease/wax impregnation

Graphite is the colourant ingre- dient of the lead. Graphite pro- vides the blackness. Clay acts as the binding agent, giving the lead shape and strength follow- ing the firing process. The Further processing includes drying process, the raw leads grease/wax impregnation gives homogenising the material in are fired for one hour at 900° C. the lead additional strength, In the final finishing step the gliding quality and blackness, now porous leads are soaked in while improving adhesion to the a grease/wax bath. That is how writing surface. the leads obtain their specific writing quality. Manufacture The two basic materials graphite Degrees of hardness and clay must be cleaned of any The lead’s hardness is deter- impurities prior to processing. mined by the mixing ratio of mixers or kneaders. The mixed graphite and clay. material is subsequently pressed into lead strands. Following the The greater the graphite content, the softer and blacker the lead. The greater the clay content, the harder (less black) the lead.

The origin of the lead’s hardness designations with specific let- ters cannot be determined with absolute certainty. The actual Finely ground graphite and custom of grading pencils in purified clay are mixed in accor- order to identify the blackness dance with precisely specified, of the stroke probably originat- designated formulas. ed in France. 2.9 MERCHANDISE KNOWLEDGE Leads

These designations are most like- ly derived from English expres- sions. Thus, B designated Black and H meant Hard, while the added number indicated increas- ing blackness or hardness. F may have stood for Firm or Fine Point.

The classification of degrees of hardness has never been unam- biguously standardised interna- tionally, which is why the exact designation still depends on each manufacturer.

Generally, the harder leads are labelled with the letter H and the softer ones with the letter B. By placing a number in front of the letter it is possible to define var- “dual” system, i.e. the hardness cil lead with the same breaking ious degrees of hardness. For degree designation is made up strength. The polymer skeleton instance, a 6H lead is harder of letters and numbers) results from the heating of plas- than a 4H. FABER-CASTELL tics or of the wood ingredient supplies its famous classic, the 1 2 2 1/2 3 4 lignin. Castell 9000, in 16 degrees of (2B) (B) (HB) (H) (2H) hardness. The raw leads are impregna- ted with a grease/wax mixture, The more precise a drawing is POLYMER LEADS just like conventional intended to turn out, the harder pencil leads. the pencil ought to be. Just like the leads of wood- cased pencils, fine-point pencil Heavy metals such as Hardness designations: leads contain graphite as the lead, cadmium and B = Black colourant ingredient. chrome are not used. H = Hard HB = Hard Black = medium Rather than clay (as in pencils) The leads of fine- hard the binding agent is a carbon point pencils are F = Firm skeleton (“polymer skeleton”), available in diameters which renders the leads more of 0.35 mm, 0.5 mm, Degrees of hardness alternative- elastic. Therefore, a lead can be 0.7 mm, 1.0 mm and ly expressed in numbers: (as a substantially thinner than a pen- 1.4 mm. 2.9 MERCHANDISE KNOWLEDGE Leads

The advantages of The filler used is predominantly Like other colour leads they are polymer leads kaolin (porcelain clay), a miner- not fired and therefore do not Compared with pencil leads, al named after the Kaolin moun- reach the high breaking strength polymer leads are more break- tain in China. values of the polymer fine-lead proof and can therefore be made leads. significantly thinner. Sharpe- The impregnating agents do not ning is thus no longer necessary. only increase the strength and gliding quality of the lead, but Polymer leads provide very also ensure a uniform stroke good coverage and produce dark laydown during writing and black, lush lines of uniform drawing. width. Leads with a water-resistant Their stroke is soft and easily stroke contain grease/wax mix- erasable. tures as impregnating agents.

Wax emulsifier and/or surfac- COLOUR LEADS tants are used to render leads water-paintable. Emulsifiers are Composition substances that make the mixing Colour leads consist of of ingredients such as water and • Colour pigments oil possible in the first place. They are usually available in • Impregnating agents Natural emulsifying agents in- three standard colours (red, (greases, waxes) clude lecithin and emulsifiers blue, green) and in 0.5 mm lead • Binding agents made up of fatty acids. stroke width. • Fillers Unlike pencil leads, colour pen- A special quality attribute cil leads are not fired but dried ENVIRONMENT AND of colour leads is the only, as the sensitive pigments WASTE DISPOSAL light-fastness of the ap- would be destroyed by the plied colour. Their light- intense temperatures generated German manufacturers of pen- fastness is primarily de- during the firing process. cils and colour pencils do not termined by the quality of use toxicologically dangerous the colour pigments. heavy metals or heavy metal POLYMER compounds in their products. Binding agents give shape COLOUR LEADS Such heavy metals or heavy and strength to the lead. metal compounds could only They are predominantly Polymer colour leads are also find their way into those prod- cellulose derivates similar made from polymeric synthe- ucts as pigment impurities or to wallpaper paste. tics. through mineral raw materials. 2.9 MERCHANDISE KNOWLEDGE Leads

There would only be trace con- centrations of these substances, well below the prescribed ambi- ent standard. The use and waste disposal of wood-cased pencils is unproblematic as they are made of innocuous raw materi- als. 2.10 MERCHANDISE KNOWLEDGE Paste-ink pens

PASTE-INK PENS

Liquid-ink writing instruments BALLPOINT PENS It was only in 1938 that the are defined as pens, where the Hungarian Biró succeeded in writing fluid is transported via a Historical overview manufacturing a suitable oil- feeder system to the tip and sub- Even before the turn of the 20th based paste and register a patent sequently deposited onto the century several ideas had for the ballpoint pen we know writing surface. cropped up on how to simplify today. and decrease the cost of the unwieldy fountain pen by using In 1946, the ballpoint pen set off a ballpoint tip. In 1910, Michael on its victory tour around the Baura from Munich obtained world from South America, the earliest ballpoint pen patent where Biró had emigrated for for his “writing instrument with political reasons. Today, far a rolling tip”. However, the more than a billion ballpoint inventors at that time were not pens are manufactured each able to come up with a solution year. of the main problem, namely producing an appropriate ink. Functional principle

BALLPOINT PENS Ballpoint pens are available as ADVERTISING POSTER FROM THE 50’S disposable (ballpoint stick pens) utensils and as classical ball- The different types of liquid point pens with refills. writing media include highly viscous pastes, inks of lower At the lower end of the lead, a viscosity and gels. ball is set in rotary motion through the writing movement. An ink feeder is either an absorptive reservoir or a storage receptacle with a pressure-com- pensating regulator.

These writing instruments also differ from each other in their writing tips: The tips are either equipped with a metal ball or a fibre or metal-clad plastic tip. 2.10 MERCHANDISE KNOWLEDGE Paste-ink pens

In doing so, it takes up paste ball through overpressure. Various international standards from the lead and deposits it These leads can be used for provide the basis for testing the onto the paper. writing in space or under water, indelible writing qualities of and even for overhead writing. pastes and inks. (Ballpoint pen Technical design paste: ISO 127 57-2, Ballpoint The barrels of ballpoint pens are The design of ballpoint pens pen liquid ink: ISO 14145-2) made of either metal or plastic allows them to be used with and usually contain a replace- strong writing pressure and able lead. The lead tubes are makes them ideal for filling in made of plastic (mostly trans- carbon copy forms. parent or coloured polypropy- lene) or brass (or nickel silver). Ballpoint pen ink pastes The multi-coloured ballpoint In order to comply with these At the tip the ball rolls inside a pen ink pastes are highly vis- standards, the paste or ink must ball socket and is supplied with cous (thick like honey) solu- demonstrate unerasability, etha- the ink-paste via minuscule tions. They consist of synthetic nol resistance, hydrochloric acid grooves (so-called paste chan- dyestuffs, synthetic resins and resistance, ammonia resistance, nels). As the ball provides clo- organic solvents (e.g. phenoxy bleaching resistance, water re- sure of the lead at the tip, no cap ethanol and propandiol). sistance and light-fastness with- or other device is required to in prescribed test parameters as prevent the lead from drying well as guarantee a certain writ- out. Ballpoint pens are ready to TECHNICAL REQUIRE- ing behaviour. Only then can a write immediately after placing MENTS FOR PASTE paste or ink be called indelible them on the paper. INKS AND LIQUID INKS (“document-proof ”).

Ball and ball socket are ar- Indelible writing For the purpose of achieving ranged in a highly precise fash- The paste must be indelible this indelible writing status, cer- ion. Variations in the diameter (safe for archiving and forgery- tain highly resistant colourants of the ball must be less than a proof) if the ballpoint pen is to (colour pigments or dyestuffs) hundredth of a millimetre. be used in the various areas of can be admixed to the paste. official documentation and The lead is sealed at the upper (cash) accounting. The indelible Refill leads bearing the ISO end in order to prevent the paste writing requirements also in- logo thus possess a high writing from leaking. clude light-fastness, so that legi- quality and are suitable for bility can be ensured in the long indelible writing purposes. Special leads exist, where the term. ink paste is pressed against the Water resistance Lines are water-resistant if they remain visually close to un- changed and are not perceptibly 2.10 MERCHANDISE KNOWLEDGE Paste-ink pens

dissolved after applying a water • Ballpoint pens can be used and ink rollers. The secret of gel droplet. with strong writing pressure, ink pens lies in their advanta- making them suitable for fill- geous and special writing quali- ing in carbon copy forms. ties: gel is a particular writing • The stroke of a ballpoint pen medium that combines the is in most cases indelible, i.e. advantages of ballpoint pen ink it cannot be erased. pastes and roller ball inks. • Ballpoint pens boast a very long writing length. During writing, the ball is set in rotary motion in the tip, just as with ballpoint pens. The rotating GEL INK PENS ball takes up gel from the lead tube and deposits it onto the The water resistance of the paste Historical overview paper. or ink is achieved by the use of Although the “ballpoint pen water-resistant pigments or the with gel ink” technology dates A prerequisite for the gel ink addition of fixing resins. back to 1993, it did not for a pen’s mode of operation is the long time play a significant role fact that the writing gels liquefy ISO 12757-2 standard provides in the international market. (= decreased viscosity) under the basis for testing the water the influence of mechanical resistance of pastes and ISO However, consumers gradually force, e.g. the ball’s rotational 14145-2 for inks. Refill leads discovered the benefits of gel motion during writing, and bearing the ISO logo are ink pens, i.e. a pleasantly fluid “resolidify” after the cessation endorsed for indelible writing. writing action and substantial of the mechanical force. coverage even on dark paper. (Thixotropy: derived from the The advantages of the This, however, only applies to Greek “thixomai” = I will touch, ballpoint pen certain colours. Gel ink pens and “tropé” = change, metamor- • The ballpoint pen retains a made it possible to write in gold phosis) consistent length and is thus and silver. always comfortable when held Particularly attractive for the in one’s hand. Functional principle user are the metallic gels that • Ballpoint pens do not need to From a technical point of view, are especially suited for strik- be sharpened and thus maintain gel ink pens can be classified as ingly effectual writing on dark a consistent line width during a step between ballpoint pens paper. writing. 2.10 MERCHANDISE KNOWLEDGE Paste-ink pens

Technical design ink pens. It contains a “TC” Some gel ink pens have a spe- The mechanical de- (tungsten carbide) ball and pro- cial feature that prevents stain- sign of gel ink pens is vides a pleasantly smooth writ- ing one’s clothes when placing very similar to a ball- ing action. As with ballpoint the pen inside a pocket. The point pen. pens, the diameter of the ball retractable system responsible affects the stroke width and for moving the lead back into The gel is generally writing action. the barrel is actuated by lifting located inside a cylin- the clip slightly to insert the pen drical, mostly trans- Gel ink pens are available as into one’s pocket. parent plastic tube (the disposable pens as well as with lead), which is also refills. Advantages of the gel ink pen frequently housed in a Gel ink pens are available in transparent casing. There are “cap-less” pens with a many diverse colours. Most retractable system like that of colours can be written on dark The lead is sealed ballpoint pens, or pens with or even on very light-coloured towards the upper end clip-on caps. surfaces. Some colours are also by means of a silicon indelible. “piston-plug”. This piston plug sits direct- Gel ink pens provide a smooth ly on top of the gel and and pleasant writing action. moves down along the refill towards the tip at The gel does not run or spread the same pace as the even on absorptive paper. gel in front of it gets used up. The ink level is easily monitored through a transparent barrel and Thanks to the high viscosity of lead tube. the gel, there is no need for a compensating regulator to Most gel ink pens are refillable ensure that the ball receives the and thus represent a reusable correct quantity of gel at any writing utensil for environmen- given time. tally aware purchasers!

Systems derived (with minor modifications) from the roller technology are preferred for use as the tip for gel ink pens. The roller tip is made of metal and able to withstand extreme loads, just like with standard ballpoint 2.10 MERCHANDISE KNOWLEDGE Paste-ink pens

COMPARISON OF Writing length of a ballpoint pen GEL INK PENS WITH BALLPOINT PENS

When compared with ballpoint pens, it can happen that gel ink pens do not immediately start to write and that they have to be “brought back to life” by a few vigorous strokes.

Due to their usually greater ball approx. 10,000 metres diameter, gel ink pens deposit more gel on paper than ballpoint Writing length of a gel ink pen pens lay down paste, which is why they need to be refilled much sooner.

The writing length of gel ink pens is therefore significantly shorter than that of ballpoint pens. (Ballpoint pens approx. 10,000 metres, gel ink pens approx. 600 to 1,300 metres depending on the ball diameter). approx. 600 to 1,300 metres It is recommended to advise customers of this aspect or even offer a spare refill at the time of purchase. 2.11 MERCHANDISE KNOWLEDGE Liquid-ink pens

LIQUID-INK PENS

Liquid-ink based writing instru- It becomes apparent that the all types of fibre pens, from ments use two different types of fluid in the tube with the smaller children’s products to fibre pens ink feed systems: The absorptive diameter rises higher than in the for artists, right through to reservoir or storage system and tube with the larger diameter. marking pens and text high- the direct filling system, the lat- lighters. ter also known as the “free-ink- system” or “direct-ink-system”. Pen tips in absorptive reservoir systems Various alternative designs are ABSORPTIVE used in the tips of absorptive RESERVOIR SYSTEM reservoir systems.

Functional principle and The stroke width of the pen is technical design of the barrel determined by the thickness and In an absorptive reservoir sys- shaping of the wick. Fibre pens tem, the barrel cavity is filled An absorptive reservoir made of differ in their scope of applica- with an absorptive storage space synthetic fibres consists of a tion and resultant writing tips. (a “sponge”-like reservoir) con- tube system storing the writing Generally, for marking and taining the ink. Attached to this fluid. During the writing painting purposes one uses reservoir is a connecting wick, process, ink is continuously fed wider tips than with products through which the ink is con- to the paper and since the nar- intended for writing. veyed to the pen’s tip. rower cavities in the tip cause a greater capillary effect than The fibre tip: the larger ones inside For longer line widths of more the absorptive reser- than 0.5 mm the conventional voir, there is a “suc- fibre tip is used. This is made of tion effect” towards adhesive-bonded fibres shaped the tip. into a tip. Fibre tips are mainly used in markers and felt-tip pens Thus, upon coming into contact for children. The basis for the function of the with the paper the ink is con- absorptive reservoir system is stantly redrawn, which explains The extruded synthetic tip: the behaviour of fluids in nar- why the ink flow of a fibre pen Where finer line widths of row tubes, which is called the is almost never interrupted – upwards of approximately 0.1 capillary effect. even though the fibre tip is mm are desired, the convention- briskly moved along the ab- al fibre tip cannot be used. Finer This physical effect can be visu- sorbent paper. fibre tips would break off or alised by immersing tubes of kink during use. That is why an varying diameter in a basin Liquid-ink writing instruments extruded synthetic tip is used, filled with a coloured liquid. with reservoir systems include reinforced by a metal collar. 2.11 MERCHANDISE KNOWLEDGE Liquid-ink pens

(e.g. the tip of the FABER- FIBRE PENS CASTELL Finepen 1511) Historical overview The roller tip: The first Japanese-made fibre From a technical point of view, pens came onto the market in it is the same tip as that of a the late 50’s/early 60’s. ballpoint pen. It is used with ink rollers. Several centuries ago, there were Japanese writing utensils Today, the quick drying-out of made of a bamboo tube contain- the uncapped fibre tip is pre- ing a fibrous wick, which fed vented by adding glycols, as ink to the writing tip. rapid and triumphant success they regulate the moisture con- around the world to the extent tent in the tip by absorbing The invention of the fibre pen that today we could not imagine moisture from the ambient air. was clearly influenced by the schools, nursery schools and notion of connecting the brush children’s rooms without them. directly with an ink reservoir in order to avoid constantly dip- New variants of writing tips also ping it into the writing fluid. meant an increased acceptance of this system in the office and To this end, the brush tip fibres home environment. needed to be joined together and consolidated in a fibre tip, as Functional principle otherwise the ink flow to the tip The tip of a fibre pen basically could not be assured (capillary works like a wick immersed in a effect). sponge-like reservoir.

Thanks to its smooth gliding In order to prevent drying out action on paper as well as the during periods of non-use, fibre rich colour and luminous lustre pens and felt-tip pens are sealed of its ink, the fibre pen enjoyed with a cap. 2.11 MERCHANDISE KNOWLEDGE Liquid-ink pens

DIRECT FILLING tages of the absorptive reservoir COMPARISON OF INKS SYSTEM system is the fact that continu- WITH GELS ous writing becomes compro- Functional principle and mised in the course of its pro- In conventional fountain pen or technical design gressive depletion, as the ink ink roller inks, the dyes that This system incorporates an ink requires increasingly more time make up the ink colour are feed mechanism, similar to that to accumulate in the tip. entirely dissolved in a liquid. of fountain pens, which ensures that the ball receives as much Ink fill quantity: Therefore the ink has a very low ink as is needed for writing at a In direct filling systems the viscosity and penetrates paper given time, by allowing the entire ink fill quantity is usable, quickly and easily, which in the same amount of air back into the while a reservoir system only case of some paper categories tank as the amount of ink utilises 80%. may result in the ink smudging released. The frequently clearly or permeating the paper. visible lamellae of the ink feed Ink level monitoring: mechanism virtually double up In most direct filling systems it is as a buffer system, where the possible to monitor the ink level ink can accumulate when not through a level viewing window. required at the tip. Reservoir systems do not allow any monitoring of the ink level.

COMPARISON OF THE Leaking of the cartridge ABSORPTIVE RESER- due to pressure differences: VOIR SYSTEM WITH Direct filling systems are never THE DIRECT FILLING completely filled, which is why, SYSTEM unlike in absorptive reservoir Unlike ink, most gel types con- systems, there is the possibility tain pigments. (These are small Ink flow: for both ink and air to expand coloured “granules”.) The direct filling system en- during changes in pressure (e.g. sures a generally constant ink on an airplane) or temperature Due to their coarseness, pig- flow throughout the entire writ- without leaking at the pen’s tip. ments do not penetrate paper so ing length. One of the disadvan- easily and thus remain predomi- 2.11 MERCHANDISE KNOWLEDGE Liquid-ink pens

nantly on the paper surface. by consumers due to their provides an agreeable writing Smudging and/or permeating of smooth sliding writing action. action. the gel is thus generally not an issue. Functional principle and As the ink roller can dry out technical design quickly, it is necessary to always Furthermore, pigments have the From a technical point of view, recap it during non-use periods advantage of not colour-fading the ink roller combines the or to equip it with a cartridge- as readily as dyes when exposed advantages of the ballpoint pen retracting mechanism that also to UV light – for the most part, and fountain pen. The roller tip seals the tip. they are more light-resistant. is made of metal and able to withstand extreme loads, thus In addition, ink roller cartridges Moreover, gels can also be lus- allowing intense writing pres- have a considerably shorter wri- trous, fluorescent or indelible. sure e.g. for carbon copies. At ting length than, for instance, the same time, the even ink flow ballpoint pens. Due to their higher viscosity gels have a stronger propensity It is recommended to advise for drop formation (blots or customers of this aspect or even blobs) than inks. offer a spare refill at the time of purchase. The metallic ingredients of the metallic colour gels tend to sed- iment, i.e. they accumulate after extended “tip down” storage, resulting in a non-homogenous colour release.

INK ROLLERS

Historical overview The ink roller was invented in Japan in the early 80’s and was soon enthusiastically accepted 2.12 MERCHANDISE KNOWLEDGE Markers and highlighters

MARKERS AND HIGHLIGHTERS

DRY MARKERS various application purposes. ments are dispersed (pigmented The “Marker & Highlighter” inks). Dry markers look like colour was born. pencils and are designed in the The filling quantity is up to same way. As the name indicates, this pro- approx. 7 g for some models. duct is better suited for marking However, the leads contain lu- rather than writing. At present, markers are avail- minous pigments, thus ensuring able with 3 different ink types: a particularly strong emphasis Functional principle and • Markers with xylene/toluene- of the highlighted text. technical design based inks Liquid markers work according • Markers with alcohol-based Dry markers are sharpened just to the same physical principles inks like normal colour pencils. as felt-tip pens. • Markers with water-based inks. For liquid markers, manufactur- ers also utilise the physical Markers with xylene/toluene- behaviour of fluids in narrow based inks are principally used tubes, the capillary effect, by for outdoor application purposes, using a tip composed of a large i.e. wherever weather-resistance number of polyamide or poly- is paramount. However, the ester fibres and thus creating drawback of these inks is that the thousands of capillary channels. two solvents xylene and toluene present a severe odour nuisance The casings and caps are made and are detrimental to people’s LIQUID MARKERS of aluminium or plastics (PP health. For this reason, alcohol- and PS). based inks are also increasingly Historical overview used for this application purpose, As the felt-tip pen gained more The ink reservoir consists of a as they are almost odour-neutral and more acceptance, an in- capillary reservoir (polypropy- and less harmful. creasing number of specialised lene fibres, polyester fibres or product variants became part of cellulose acetate). The safest markers are those the commercial assortment. with water-based inks, and they Plastics such as polyethylene or are also almost odour-neutral. The consumer realised that fibre polyester are used as materials pens could be conveniently used for the tip. The tips of markers are fre- to mark text passages in all quently designed in such a way kinds of publications. The ink is water-based or based that it is possible to create on organic solvents. In both sys- strokes of different width, de- The tip design and inks of the tems, either colourants are dis- pending on which side of the tip fibre pens were then adapted to solved (dyestuff inks) or pig- is used. 2.12 MERCHANDISE KNOWLEDGE Markers and highlighters

TEXT HIGHLIGHTERS After uncapping, the Textliner is Textliner must be replaced with inserted into specially designed a new one. These are markers for brightly ink-pot. The content (30 ml) is highlighting text passages. They sufficient for at least 8 refills. can be universally used on all OHP MARKERS different types of paper. Originally developed for writing The FABER-CASTELL Text- on overhead transparencies, liner 48 offers a particularly OHP markers (FABER-CAS- environmentally friendly refill- TELL Multimark) are enjoying ing system that assists in signif- increasing popularity as a pen for icantly reducing plastics waste writing on all smooth surfaces. in large organisations. The millions of CDs that are burnt and need to be labelled For the refill process, too, the have especially boosted the capillary effect is utilised. The demand for this type of pens. ink automatically rises from the ink-pot through the capillaries of the tip into the Textliner and can be used again soon after- wards. Overfilling the Textliner is not possible as it only accepts as much ink as has been deplet- ed from its reservoir.

This procedure can be repeated about eight times before the 2.12 MERCHANDISE KNOWLEDGE Markers and highlighters

A special feature of the FABER- become water-resistant after WHITEBOARD CASTELL Multimark is the drying are used as binding MARKERS green eraser at the top of the pen agents. which erases anything that has Whiteboard mark- been written with it. Water-based inks require the ers are used on spe- admixture of preservatives in cially coated white order to prevent the growth of boards or sheeting micro-organisms. that can be wiped clean again with a For the purpose of distinguish- dry cloth. ing between the two types, per- manent pens have a black barrel The most common- and non-permanent pens a grey ly used inks today barrel. are alcohol-based. The two different types of ink In addition, there are non-permanent (can be FLIPCHART are also inks with a wiped off with water) and per- MARKERS more intensive o- manent (water-resistant). dour, that are made These markers are with esters (e.g. The non-permanent inks are used for large-scale butyl acetate) and water-based, while the perma- writing on flipcharts. ketones. As of re- nent type is alcohol-based. The The leading German cent, water has also been used as non-permanent inks are not as manufacturers ex- a solvent. Pigments are used as lightfast and therefore not suited clusively use water- colourants. Water-based inks are for long-term documentation. based inks. Both preserved in order to prevent They can be wiped off with a dyestuffs and pig- micro-organisms from taking moist cloth. ments are used as hold. Synthetic resins that be- colourants. come water-resistant after dry- Permanent, alcohol-based inks ing are used as binding agents. are more wipe-resistant. In re- cent times, permanent water- Water-based inks do not pene- based inks have also been intro- trate through the paper, unlike duced. Synthetic resins that alcohol-based inks! 2.13 MERCHANDISE KNOWLEDGE Paint markers

PAINT MARKERS

Paint markers are drying process, the applied Valve system handling suited for water-re- paint becomes a wipe-resistant Shake marker with cap closed sistant writing, paint- and water-resistant or perma- prior to use, open cap, pump and ing and marking on nent adhesion on many dark, begin to write on an absorbent nearly all materials. transparent or smooth back- surface to prevent blotting. grounds like paper, cardboard, Write until the tip is empty, They are predomi- papermaché, wood, glass, stone, prior to renewed pumping. nantly used in the ceramics, plaster/gypsum, can- private domain (hob- dles, metal, plastics, synthetics, Environment and by, greeting & con- cork and rubber. Paint markers waste disposal gratulatory cards are also heat-resistant. They The waste disposal of empty etc.), but also in in- provide very substantial cover- paint markers should occur as dustry and in storage age due to their high pigment with other hazardous waste or management (mark- content. The appearance of the by returning them to the manu- ing on dark back- writing is characterised by sharp facturer. In most cases, it is just grounds). outlines, and the light-fastness about impossible to remove is very good. Paint markers are stains on textiles. Essential low in odour. ingredients Presentation, packaging Paint markers contain The ink consists of large, Paint markers are available in a water-resistant ink densely grouped pigment parti- many colours as well as metallic with a high pigment cles designed to achieve good colours and white, in different content that provides coverage. Paint markers can sizes and barrel diameters, with a lacquer-like cover- therefore not be based on the different tips (fine, medium, age. Metal powders capillary effect principle. Paint wide, calligraphy tips) for creat- are used as pigments markers contain their ink direct- ing various stroke widths. They to create gold and ly inside the barrel and the ink are available as disposable items silver shades. Further flow is regulated via a valve as well as with a refill cartridge components are water system. system. With many paint mark- or organic solvents ers, foil seals guarantee the as well as binding The paint is applied directly unused condition of the product. agents. with the marker. No brushes or In many cases the writing tips similar utensils are required. are replaceable, even in dispos- Properties, quality attributes Valve system: Pressure on the able markers. Paint applications of paint tip opens a valve and releases markers dry quickly. The drying ink from the tank (these models times depend on the quantity of do not have an ink reservoir) to applied paint, the surface and the tip, which is thus soaked the solvent contained in the from the inside through to the paint marker ink. Following the outside. 2.14 MERCHANDISE KNOWLEDGE Technical drawing instruments

TECHNICAL DRAWING INSTRUMENTS

Technical drawing is also the ruler (4), which has a mil- referred to as the “language of limetre scale. sight”. Language is our most important means of commu- On a drawing board (5) the (1) nication, but not always the ruler ensures parallel guidance. most suitable when precise fac- tual situations need to be For drawing lines at certain (3) expressed. angles set squares (6) are used.

(2) They are commonly available Technical drawing represents a with 45° and 60°/30° angles. “language” that can be learnt to illustrate objects, functions or A goniometer (7) should be arrangements unambiguously part of the basic equipment for and clearly. On the basis of drawing any type of angle. those drawings, the object can (5) be reproduced at any time or For drawing in exercise books, tools be produced for manufac- so-called geometry set squares turing the object. (8) of various designs and sizes are available. (6) Admittedly, in the computer era, technical drawing does not play Circles, curves and segmen- the same role as in the past. tations are carried out with a

(7) However, the rules for putting solidly built pair of compasses technical drawings on paper (9). continue to apply today. Ink drawing pens (10) serve to (4) (8) Paper (1) is the receiving medi- further develop and refine the um for a sketch or a drawing. pencil draft.

The most important tool is the For drawing repetitive shapes pencil or fine-lead pencil (2) in templates and stencils (11) are its various forms and grades of used. hardness. It is used to prepare the drawing. INK DRAWING PENS (9) (10) The eraser (3) is used to delete (erase) what has been drawn. Instruments for technical draw- ing and associated fields of The linear guidance of the pen- activity include ink drawing cil is attained with the help of pens, technical liner pens, draw- (11) 2.14 MERCHANDISE KNOWLEDGE Technical drawing instruments

ing inks, fine-lead pencils and It was only in the 17th century Functional principle and clutch pencils, (special) erasers, that the first slate-pencil-like technical design drawing boards, drawing tem- shanks with attached steel nibs These precision drawing uten- plates and set squares. appeared, to be later replaced by sils have a relatively complex the ruling pen for technical design due to their various Historical overview drawing. However, working applications. Drawing ink and associated with this drawing instrument writing utensils are ancient tools had considerable disadvantages, They essentially consist of plas- of humans for drawing or writ- especially for the inexperienced. tics like PP, PE, ABS and POM. ing. Drawing ink was invented in ancient China as long as The by no means straightfor- The drawing tip casing, adjusting 5,000 years ago. It consisted of ward instilling of drops of ink filament wire, wire weight and oil, soot, glue and various tinc- between the tongues of the nib other parts critical for function tures, but their exact composi- had to be frequently repeated and precision are made of metal. tion was a strictly guarded during the drawing process. secret. Ink drawing pens are available The development of tubular with a refill reservoir or dispos- The Chinese also invented the writing instruments began in the able refill cartridges. brush as a writing and drawing 30’s. The first stylographic ink utensil. In our part of the world, pen with a tubular system was Drawing inks ensure that draw- following numerous develop- launched under the name of ink ings can be archived for long mental stages, the so-called biro. The system was continually periods. In the case of water- “writing tube” (reed quill) was improved. Further developments based drawing ink, the light- used until the early middle ages, and technical improvements fastness required for archival a thin bamboo tube fashioned in eventually made it possible to purposes is assured by appropri- the shape of the later feather fill the pen with drawing ink for ate pigments. (black: Carbon quills and split at the tip. technical drawing purposes. black)

The ink’s adhesion to paper and foil/film is effected by shellac or synthetic binding agents. In addition, partly modified, low- viscosity gelatine is used to sta- bilise the pigments. The solvent used is water, to which polyhy- dric alcohols are added to ensure the ink drawing pen’s functional readiness. Phenol is one of the substances used to preserve drawing inks. 2.14 MERCHANDISE KNOWLEDGE Technical drawing instruments

TECHNICAL LINER Soon after the war the idea was Drawing boards must be tor- PENS thus born to develop a lighter sion-proof and dimensionally drawing board (A4) made of stable in order to guarantee pre- Technical liner pens are avail- densified particle board, which cise drawings. able for various line widths. The allowed the paper to be fastened composition of technical liner by a wooden strip with clamping They essentially consist of plas- pens is similar to that of the screws instead of adhesive tics (PS, PAN, POM, PA and Fineliner and its inks. strips. others). Fittings and clamping components are also made of Advances in plastics engineer- plastic. ing were accompanied by con- tinuing developments of this The drawing surface is light- principle, until the relatively coloured, scratch-proof and primitive wooden board was resistant against compass punc- transformed into a plastic ver- tures. Guide grooves and rails sion which did away with most on all four sides enable the pre- DRAWING BOARDS of the board’s drawbacks for the cise sliding of the parallel draft- DIN A4 and DIN A3 formats. ing arm with a single-handed The classical drawing base for lock and release mechanism for all types of technical drawings use during drawing. was the wooden drawing board in various standard formats. Good sliding action between board and drafting arm ensure A T-square was used as an aid effortless handling and posi- when drawing on these boards. tioning. Adhesive strips were mainly used to fix the drawing paper on Most drawing boards are made the board. Some manifest flaws of impact-resistant plastic and of this utensil, which was con- are resistant against compass sidered old-fashioned by many, punctures. were always considered to be a nuisance, particularly for train- Functional principle and The board size is designed in ing purposes: technical design such a way that even untrimmed Drawing boards allow the fixing DIN formats can be used with- • Unwieldiness and heavy of paper in such a way that it out any problems. weight during transport does not slip. Parallel sliding • Method of fixing the drawing rulers as well as drafting heads A releasable sheet tensioning paper with adjustable angles facilitate rail and a sheet clamp facilitate • Transport of the awkwardly the precise drawing of parallel the easy insertion and removal shaped and bulky T-square lines and angled lines. of drawing paper while ensuring 2.14 MERCHANDISE KNOWLEDGE Technical drawing instruments

a secure and damage-free fit of Important quality attributes in- Compass head the paper. clude: The compass head allows the user to control the movement of The dual guide design achieves the compass legs in a precise a smooth, even gliding of the manner. Different design mod- parallel ruler. Non-slip rubber els are available. The most com- feet ensure firm positioning on mon ones are: the work surface. • Friction head system (standard) • Spring-bow head system COMPASSES (conventional)

Compasses have been known Explanatory notes regarding since antiquity as instruments DIN standards for the accurate drawing of cir- DIN standard 58502 distin- cles. They consist of two articu- guishes between 2 series of lated legs of equal length which drawing & drafting instruments: allow them to be spread open at various angles. The opening Series “S” standard drawing width determines the radius of instruments for school use the circle to be drawn. • Extension neck diameter of 3.5 mm Functional principle Standard drawing instruments Generally, one leg is equipped are designed in accordance with with a steel needle to be posi- school purpose requirements in tioned on the centre point, while relation to performance, quality the other leg accommodates • Precise leg action free from and durability. They differ from either an obliquely sharpened play precision drawing instruments pencil lead or a technical draw- • Smooth mechanism of the in their simpler construction. ing pen (attached via an adapter). hinged legs • Securely clamped lead and Most compasses are made of needle metal (die-cast aluminium). To • Surface protection against guarantee performance capabili- corrosion ty and durability, the surfaces • Specially designed acces- are varnished, nickel-plated or sories for functionally appro- chrome-plated. Glass fibre rein- priate use forced plastics are increasingly used for the manufacture of smaller parts. 2.14 MERCHANDISE KNOWLEDGE Technical drawing instruments

Series “P” precision drawing TEMPLATES & Their special properties are: instruments for professional STENCILS, RULERS, • high-contrast use SET SQUARES • fast-drying • Extension neck diameter of • water-resistant 4.0 mm (11.5 mm neck length) Templates & stencils, rulers, set • erasure-proof against lead • Extension neck diameter ex- squares are made from plastics, pencil erasers (free of abrasive ception: 3.5 mm (8.5 mm metals or wood. material) neck length) • lightfast Precision drawing instruments • can be used in reprography are designed in accordance with the most stringent requirements In addition to the above, colour in relation to performance, qual- inks and foil inks as well as ity and durability and are thus Templates etching inks for uncoated glass- predominantly suited for profes- are used to clear foils are available. sional applications. achieve the posi- tionally faithful and The use of the extension bar undistorted transfer of DRAWING SURFACE extends the operational radius graphic characters and sym- MEDIA (PAPER, FOIL by up to approx. 150 mm. The bols onto a surface, usually ETC.) extension bar can be attached to with the aid of a technical draw- all compasses with an extension ing pen. They are generally Drawing paper neck diameter of 4 mm. made of PMMA, PP, PS and cel- The principal components of lulose compounds. drawing paper are cellulose with Compass needles additives such as glue, fillers Depending on the size of the In addition to rulers and set and dyestuffs as well as water. compass, thickness of the leg squares, there are trim rulers de- profiles and type of bushing, the signed with steel edges. Drawing foil (polyester film) needle diameters Drawing foils generally consist range from 1 to 2 of a glass-clear polyester carrier mm. Irrespective DRAWING INK film, an adhesion promoter, a of the thickness, lacquer/pigment coating and a there are essen- Drawing inks are available in var- lacquer topcoat. tially four model ious compositions adapted to the types. respective drawing surface media (paper, foil etc.). The principal WRITING STENCILS Compass leads components are: water, carbon With oblique or black and shellac. For technical Writing stencils are important round tip; 20 mm drawing purposes, black drawing implements for writing and let- long; Grade of inks are predominantly used. tering on technical drawings in hardness: 2H particular. The graphic charac- 2.14 MERCHANDISE KNOWLEDGE Technical drawing instruments

ters must have a high Change template from one line degree of precision to the other, turn over. and cleanness. Inter- national cooperation The slot width and paper clear- is on the increase in ance of writing stencils is all areas of the econo- always designed to adapt to spe- my. Companies are cific writing instruments. increasingly collabo- rating in various Most of the supply of writing countries on the same stencils is designed for the dif- Colour Stroke width projects. Therefore, ferent line widths of technical purple 0.13 technical drawings drawing instruments. red 0.18 must be exchanged white 0.25 between organisa- Standards yellow 0.35 tions, as well as en- The accuracy of fit, regardless brown 0.5 larged or reduced in of the brand, between template blue 0.7 size. Based on these and technical drawing pen is orange 1.0 requirements, an in- regulated by standards: green 1.4 ternationally stan- grey 2.0 dardised lettering type has been DIN 6775 introduced. (The line width Drawing tip casings for techni- DIN 6778 always corresponds to one tenth cal drawing instruments, meas- Writing stencils and drawing of the letter height.) The lettering urements/dimensions, labelling. templates, measurements/dimen- DIN standard 6776 and the inter- This DIN standard also includes sions, labelling. national ISO 3098 standard are the colour-codes for technical identical these days. drawing pens: Drawing templates Drawing templates include fre- Functional principle and quently required symbols and technical design signs from all areas of construc- Move the template parallel to tion and drawing technology. the backrest or leading edge. Complicated symbols are dis- Guide the ink drawing pen to sected into sequential single ele- the edge profiles of the tem- ments on the template and are plate. equipped with auxiliary lines for exact positioning. Align and superimpose the let- ter, that precedes the next letter During drawing the symbol ele- to be written, on top of the last ments are reassembled by paral- written letter. lel shifting. 2.14 MERCHANDISE KNOWLEDGE Technical drawing instruments

Design and function larger than the drawing format, Drawing templates are generally the objects must be represented designed for two types of writ- at a reduced size in a correspon- ing instruments. ding ratio.

1. Clutch pencil (lead pencil), Testing under polar and tro- fine-lead pencil for prepara- pical conditions verified that tory drawing, the template FABER-CASTELL architect & must be placed flat. engineer scales withstand even extreme heat and cold without 2. Technical drawing pen for dimensional variations. final drawings. The required paper clearance is due to the Functional examples: turning of the template on the If the 10 cm long edge of an knobbed side (only possible object is to be drawn at a 1:2 with symbols that can be rep- scale, the required line length is resented homologously). marked with the number 10 on the 1: 2 scale of the architect Set squares scale, which corresponds at this Different designs of set squares reduction ratio to a drawing are available for geometrical length of 5 cm (10 divided by 2). and technical drawing. The size of the set squares is expressed in Triangular architect & engineer cm (mm) as the hypotenuse scales are available in a variety length for right-angled squares of division combinations that and as the length of the long leg meet the requirements of all for acute angle squares. professional fields.

ARCHITECT & ENGINEER SCALES

Architect & engineer scales are part of the indispensable equip- ment for technical drawing.

Architect & engineer scales facil- itate the true-to-scale transfer of the dimensions of the object to be represented on the drawing paper. As the original items are mostly 2.15 MERCHANDISE KNOWLEDGE Erasers

ERASERS

HISTORICAL FUNCTIONAL so-called plantation rubber is OVERVIEW PRINCIPLE extracted in large plantations in a way that ensures the economi- The “first” eraser was most During the erasing motion, small cal use of resources. probably used by an Italian particles (so-called “crumbs” or painter who advised his students shavings) are abraded and fill in the 16th century to wipe out up (“saturate”) with graphite, pencil strokes with bread. Then thus effecting the cleaning RED ERASER FOR PENCILS in 1770 the British naturalist process. Each erasing motion AND COLOUR PENCILS Priestly pointed out that rubber generates additional crumbs that (caoutchouc) cubes were ideally detach the preceding ones and These trees are grown as a suited for erasing. reinforce the cleaning action. renewable resource in large rub- ber plantations and regularly pruned for seven years, so that NATURAL RUBBER they can be used as mature trees ERASERS for rubber extraction for a peri- od of 13 years. After a total of Material composition 20 years, the “old trees” are The principal component of the processed as timber for the fur- natural rubber eraser are: niture industry.

• Natural rubber The major producing countries • Factice in the East Asia region are • Sulphur Indonesia, Malaysia, Thailand • Quartz powder and and Sri Lanka. • Fillers He thus called this substance “Indian Rubber”. Although the Natural rubber “rubber” came from America, it “Caoutchouc” is an Indian word was customary at the time to which translates as “weeping label everything coming from tree”. The eraser’s principal in-

America as Indian and this in- gredient was originally ex- WHITE ERASER FOR PENCILS accurate name remains with us tracted from the latex milk (sap) today. of a tropical tree (Hevea brasi- The rubber milk, which is called liensis) of the Amazon region as latex, is extracted by cutting V- Rubber is still being referred to so-called “wild caoutchouc”. shaped grooves into the bark of as Indian Rubber, however, the the tree. The latex milk is exud- term has somewhat more credi- Since the end of the 19th cen- ed in drops and collected in bility now, as the rubber comes tury, this Brazilian tree has also receptacles attached to the tree from East Asia. been cultivated in Asia, where trunks. The yield is collected 2.15 MERCHANDISE KNOWLEDGE Erasers

daily. The latex milk consists of into an elastic material that is to the rubber, enabling the eras- one third of rubber, in which fat rubber. Through this process, er to scrape off a thin paper droplets deposit like cream at also known as vulcanisation, the layer. the top and separate from the rubber is changed from a plastic latex serum. to an elastic state. How to erase correctly When cleaning large areas of Composition of latex Quartz powder graphite, particularly several 65–70 % water and other fillers such as chalk lines of writing or areas filled 25–30 % natural rubber and pumice powder, depending with strokes, even the best eras- 1–2 % protein on the eraser’s application pur- er may begin to “smudge”. This 1 % minerals pose. is due to the fact that an attempt was made to clean too fast and Colour the eraser particles had to of the eraser is determined by absorb too much graphite. various colourants. Lithopone is COMBINATION ERASER FOR PENCILS, COLOUR PENCILS AND INK used for white erasers, while red The eraser can fulfil its task erasers contain Chinese vermil- only when the erasing motions The viscous rubber mass is ion or iron oxide and antimony are done in a way that there is a sheeted out with great quantities red (antimony (V) sulphide). balanced proportion between of water, cleaned and pressed Additionally, ultramarine blue, the graphite-free and graphite- into large bales. The drying zinc white (crude zinc oxide) containing areas. The eraser process of the latex crêpes is and many others are used. must not be “oversaturated”! also accelerated by heat (open fire). This results in a darker The eraser’s hardness is deter- Erasing parallel to the stroke: colouring of the rubber mass. mined by the mixing ratio of the The area becomes unclean and various raw materials. A high the erasing process is needlessly Factice factice content makes for soft delayed! Factice is a whitish-yellow sub- erasers, while hard erasers con- stance extracted from rape-seed tain a high proportion of sulphur Erasing obliquely to the stroke: oil. Factice is the most impor- and filler. By employing this “piecemeal” tant ingredient of the eraser, as erasing mode a rapid and it is the substance that absorbs Soft erasers are used where the impeccable cleaning result is the graphite (i.e. it is the erasing colour mark to be erased achieved! material). adheres only to the paper sur- face (pencil and colour pencil Sulphur strokes). Hard erasers are used By admixing sulphur and heat- to remove strokes that have pen- ing the mixture under pressure etrated further into the paper. In to 140–160° C, the kneadable this case an abrasive medium and sticky rubber mass turns (e.g. quartz powder) is admixed INCORRECT 2.15 MERCHANDISE KNOWLEDGE Erasers

cing paper and removes minor rust stains; e.g. on cars and in the home.

ERASER FOR THE TECHNICAL OFFICE; FOR CORRECTING PENCIL LINES, PAR- TICULARLY FOR CLEANING UP DRAW- INGS; INK LINES ARE NOT BRIGHTENED. STEEL ERASERS (ERASING CORRECT KNIVES)

SYNTHETIC ERASERS COMBINATION ERASER FOR CORRECT- For precise, de- ING INK AND PENCIL LINES; SOLVENTS ENCAPSULATED IN THE ERASER DE- tailed correcting, TACH THE INK FROM THE DRAWING So-called plasticizers are ad- SURFACE. THE REMOVED INK IS particularly in mixed to the synthetic base ROLLED INTO THE ABRASION DUST. the technical and material and thus provides these The advantage of synthetic era- graphic sector. erasers with their erasing quali- sers is the large crumbly abra- ty and rubber-like elasticity. sion which does not tend to adhere to the drawing surface ERASER With products containing plasti- (paper), unlike the dust-like PENCILS cizers there is a possibility of abrasion of natural rubber. plasticizer migration. These wood-cas- The strokes to be erased are ed pencils are This means: Through the direct “rolled up” into the abrasion 175 mm long and contact of these products with without damaging the writing or contain a round other synthetics, the plasticizer drawing surface, and they are eraser lead. A most practical is transferred to them. easily removed afterwards. application purpose is the pin- point accuracy erasure of type- To rule out this undesired effect, FIBRE GLASS ERASER written script. FABER-CASTELL synthetic TWIST PEN erasers are sealed inside a cello- phane wrapping. Contains glass fibres as an era- sing medium. Erases ink on tra- Synthetic erasers are encased in a sleeve, so that they can be held more easily during use.

ERASER FOR CORRECTING ON INK NATURAL RUBBER ERASERS: AND OVERHEAD TRANSPARENCIES COMBINATION ERASER FOR PENCILS, COLOUR PENCILS AND INK 2.16 MERCHANDISE KNOWLEDGE Sharpeners

SHARPENERS

Since pencil leads and colour receptacle for shavings and lead SHARPENERS FOR pencil leads will wear in the dust. Due to their larger shape, PENCILS AND course of being used and their they have the added advantage COLOUR PENCILS radius will thus steadily increase, of being especially comfortable they need to be constantly re- when held in one’s hand. Pencil tip sharpened to ensure precise When looking at a sharpened drawing or legible writing. Sharpening machines pencil, we see a long tapered tip. Sharpening machines are ideal- The tip can be used for writing Specialised sharpeners exist for ly suited for conveniently sharp- or drawing fine lines for quite the various types of pencils and ening larger quantities of wood- some time, until it becomes leads, from the plain manual cased pencils Most have ad- blunt and requires resharpening. sharpener (with or without sha- justable settings for different vings receptacle) to sophisticat- sharpening requirements. The ed sharpening machines. pencil is held and inserted into the sharpener by means of a Manual sharpeners chuck mechanism; the actual They are used for sharpening sharpening action is achieved by Being substantially softer, a wood-cased pencils and colour manually rotating the handle. colour pencil lead must be pencils. Manual sharpeners are Many sharpening machines are sharpened differently from a made of plastic or light metal equipped with a handscrew (harder) pencil lead. The tip of a (magnesium) and are dimen- clamp which makes it possible brand new colour pencil initially sioned to adapt to the miscella- to attach them to a desk. appears to be just like a pencil neous diameters and pencil pro- tip. Only a closer inspection files. The problem-free use of pen- reveals a small additional tip. cils and leads depends to a cer- This is designed to prevent the tain extent on the quality of the lead from breaking while the sharpener. For example, softer product is being delivered to the pencils and leads should be customer. (Is used by FABER- shaped into a somewhat blun- CASTELL for the Polychromos ter tip. and Albrecht Dürer artists’ pens.) Blunted cutters and knives (manual sharpeners) wear out after a while and must be re- Tub sharpeners placed without undue delay. (= manual sharpeners with a shavings receptacle) Tub sharpeners have proven very useful as appliances com- Some colour pencil leads (e.g. bining a sharpener with a small pastel pencils) are so soft that a 2.16 MERCHANDISE KNOWLEDGE Sharpeners

long conical tip would keep SHARPENERS breaking off during use. FOR LEADS Therefore, colour pencils are sharpened to a short conical tip. • Emery boards for universal sharpening (blunt, pointy, wedge-shaped) as well as for various lead diameters.

From a geometrical point of view, the short tip is stronger than the longer tip. In practice, however, this means more fre- • Lead sharpe- quent resharpening. ners for leads up to Ø 2 mm • Single hole sharpeners • Lead sharpeners for leads up for pencils to Ø 2 mm and 3.15 mm, as well as with • Dual hole sharpen- receptacle ers for normal strength and • Lead sharpen- thick pen- ers for clutch pencils up to a cils; up to Ø barrel diameter of 8.4 mm and 10 mm dual hole 2 mm leads; Sharpening se- sharpeners for colour pencils lectable for and special pencils blunt or pointy tip • Sharpening machine for pen- cils up to Ø 12 mm sharpen- ing, selectable from blunt to pointy tip A. W. Faber-Castell • Vertrieb GmbH • 90546 Stein • Germany Phone: +49-911-9965-0 • Fax: +49-911-9965-760 Internet: www.faber-castell.com • E-Mail: [email protected] FABER-CASTELL PRODUCT KNOWLEDGE 3 THE GOOD SALESPERSON 4

THE GOOD SALESPERSON 4.0 THE GOOD SALESPERSON

THE GOOD SALESPERSON IN THE RETAIL TRADE 4.1 THE GOOD SALESPERSON

SHOPPING IN GERMANY

Shopping is a far cry from the much-vaunted exhilarating shopping experience!

Unfortunately and all too often shopping continues to be a stressful experience!

The papers and magazines are awash with articles about the German “service wasteland”.

Increasingly, customers base their pur- chase decisions solely on price criteria. 4.2 THE GOOD SALESPERSON

THE TRADE IS FACING A DIFFICULT SITUATION

Profit margins are falling, while costs are on the rise.

Consumers demand an increasingly higher standard of product range and service.

However, the trade’s performance ability is weakened by cost savings. 4.3 THE GOOD SALESPERSON

THE TRADE OF THE FUTURE NEEDS … …good salespeople

THE TRADE OF THE FUTURE NEEDS: Brands and products enabling it to achieve the required margins and to get the edge on competitors.

A fundamentally new mindset in relation to customer service and quality of salesmanship.

Salespeople who are capable of selling products in accordance with strategic requirements. 4.4 THE GOOD SALESPERSON

ONLY 25% OF CUSTOMERS CHANGE …

… because the product range does not appeal to them.

However, 75% of customers changed their place of purchase because they were not happy with the service.

51% of customers were dissatisfied with the salesperson’s product knowledge. 4.5 THE GOOD SALESPERSON

THE ONLY INCONVENIENCE IS THE CUSTOMER! Preconceived ideas:

Customers never turn up when you need them. Customers never show up in sequence, but always at the same time. Customers know everything better. Customers never have time. Customers touch everything. Customers don’t know what they want. Customers treat salespeople like servants. Customers always want to haggle. Customers are not loyal. Customers are ungrateful. Customers are the only reason for the trade to exist! 4.6 THE GOOD SALESPERSON

WHO IS A GOOD SALESPERSON?

Not the one who sells a lot, but the one who sells the right stuff!

The salesperson who engenders a bond between regular customers and the store.

The salesperson who is able to provide assistance even in problematic cases and stays in control. 4.7 THE GOOD SALESPERSON

WHAT MAKES A GOOD SALESPERSON?

Enjoying one’s occupation. Interest in human interaction. Interest in the customers’ wishes. She/he loves his/her products. She/he to work prepared. She/he has sound arguments to put forward. She/he is self-confident without being arrogant. She/he has a good general education. She/he is well informed about the world and current affairs. She/he is polite without being servile. She/he knows the competition. She/he admits to making mistakes. She/he takes steps to further his/her knowledge and skills. 4.8 THE GOOD SALESPERSON

THE GOOD SALESPERSON OF TODAY IS A CONSULTING MANAGER

The salesperson of today is no longer the “snake oil salesman” of yesteryear who sold anything to everyone at any price.

She/he is the customer’s “consulting partner”, who assists the customer in reaching satisfactory outcomes. 4.9 THE GOOD SALESPERSON

SUCCESSFUL SELLING CAN BE LEARNED

It’s just like in sports: Learning by watching how successful people do it and following certain rules will lead to a better outcome and advancement to the professional league. 4.10 THE GOOD SALESPERSON

THE OBJECTIVE OF EVERY SALES TALK …

… must be for the customer to even- tually regard the merchandise as more desirable than his/her money!

That is why a good salesperson must not only be of benefit to the purchaser (problem solving!), but must also rouse the customer’s emotions. Pleasure and enjoyment are frequent and legitimate reasons to purchase. 4.11 THE GOOD SALESPERSON

THE GREETING

The first six seconds of their initial encounter will decide whether two people take a liking to each other or not.

Greet your customer by name, if known to you.

Look the customer in the eyes and smile! 4.12 THE GOOD SALESPERSON

THE GOOD SALESPERSON KNOWS …

…that she/he never serves a particular customer in isolation, even if she/he deals with only one person at that moment.

THAT PERSON HAS: a partner relatives acquaintances work colleagues 4.13 THE GOOD SALESPERSON

THE GOOD SALESPERSON DOESN’T JUST START TALKING AWAY!

The good salesperson doesn’t just start talking away, but listens attentively to what his/her customer has to say.

She/he explains to the customer step by step, why a particular product is exactly the one to match the customer’s expectations – just as a lawyer develops his/her arguments in the course of addressing the court. 4.14 THE GOOD SALESPERSON

THE GOOD SALESPERSON

“You see, as the customer, you are looking for … That is why I recommend for you to…”

The good salesperson must convert the product’s advantages to customer- specific benefits.

The customer’s wishes and the sales- person’s arguments must interlock like a rack and pinion in the customer’s mind. That is how the customer is guided to the right decision by way of his own wishes. 4.15 THE GOOD SALESPERSON

PHRASES THAT ARE NO LONGER UTTERED BY THE GOOD SALESPERSON

I don’t know.

I can’t tell you.

I don’t know when.

My colleague deals with that.

That’s useless.

I’m on my break. 4.16 THE GOOD SALESPERSON

THE GOOD SALESPERSON HAS A STRATEGY This means that she/he first works out which product to present first and which items provide upward and downward evasive action with regard to pricing. It is sometimes better to introduce the product that one really wants to sell … a little later in the process. 4.17 THE GOOD SALESPERSON

THE GOOD SALESPERSON SETS PERSONAL TARGETS Setting targets is one of the secret recipes of success for many outstanding salespeople.

THE GOOD SALESPERSON SETS PERSONAL TARGETS … Today I shall sell the… This week I shall be selling… This month I will sell all those products that have been on the shelf for more than … 4.18 THE GOOD SALESPERSON

THE GOOD SALESPERSON’S INDIVIDUAL TASTE TAKES A LOW PROFILE…

She/he accepts that others have differ- ent experiences and priorities.

She/he won’t get upset when others don’t share his/her views.

She/he tries to convince by presenting sound arguments. 4.19 THE GOOD SALESPERSON

THE GOOD SALESPERSON ALWAYS MAKES POSITIVE STATEMENTS! She/he doesn’t say:“This item has a lengthy delivery dead- line…”

She/he says: “There is such a great demand for this product that the manufacturer needs four weeks to supply the product at the usual quality standard.” 4.20 THE GOOD SALESPERSON

THE GOOD SALESPERSON MAINTAINS A CUSTOMER FILE AND USES IT! Customer file

NAME

ADDRESS

TELEPHONE (OFFICE HOURS)

DATE OF BIRTH

REMARKS

DATE OF PURCHASE

PURCHASE ITEM 4.21 THE GOOD SALESPERSON

THE SALESPERSON’S DEADLY SINS PART 1

Ignoring the customer, when she/he enters the store. Not listening to what the customer wants. Pursuing other activities during the sales talk. Being arrogant and pretending to know better. Making false statements about the product. Being unfamiliar with the store. Only letting one’s own taste prevail. Shouting for one’s colleague for everyone in the shop to hear. Fouling one’s own nest. 4.22 THE GOOD SALESPERSON

THE SALESPERSON’S DEADLY SINS PART 2

Arguing with the customer. Referring the customer elsewhere. Showing the customer too many items. Addressing the customer by the wrong name. Not knowing which products are on display. Not knowing the prices. Allowing one’s stress to have a bearing on the customer. Rushing past the customer without looking at him/her. Not realising when the customer wishes to make the purchase. 4.23 THE GOOD SALESPERSON

THE SALESPERSON’S DEADLY SINS PART 3

Rushing the customer from one shelf to the next. Not asking the customer whether she/he requi- res product accessories (ink, paper, batteries etc.). Badmouthing the competition. Making disparaging remarks about particular product makes. Forgetting about repairs. Lying to the customer. Not letting the customer touch anything. Claiming that the customer can’t afford the item. Saying “It’s knock-off time”. 4.24 THE GOOD SALESPERSON

THE LORD FORGIVETH! THE CUSTOMER NEVER DOES! APPENDIX 5