A pencil is a little wonder-wand: a stick of wood that traces the tiniest motions of your hand as it moves across a surface. I am using one now, making weird little loops and slashes to write these words. As a tool, it is admirably sensitive. The lines it makes can be fat or thin, screams or whispers, blocks of concrete or blades of grass, all depending on changes of pressure so subtle that we would hardly notice them in any other context. (The difference in force between a bold line and nothing at all would hardly tip a domino.) And while a pencil is sophisticated enough to track every gradation of the human hand, it is also simple enough for a toddler to use.
Such radical simplicity is surprisingly complicated to produce. Since 1889, the General Pencil Company has been converting huge quantities of raw materials (wax, paint, cedar planks, graphite) into products you can find, neatly boxed and labeled, in art and office-supply stores across the nation: watercolor pencils, editing pencils, sticks of charcoal, pastel chalks. Even as other factories have chased higher profit margins overseas, General Pencil has stayed put, cranking out thousands upon thousands of writing instruments in the middle of Jersey City.
Extrusions of graphite are collected for recycling.
Packing graphite, which is the consistency of sand, is used to distribute the oven’s heat evenly around the graphite cores. Afterward, the packing material will be poured out and recycled.
Graphite cores cooling after being dipped in heated wax.
These graphite cores were heated in an oven to remove moisture and harden the material.
After being heated, graphite cores are placed in perforated cans and dipped in hot wax.
The pastel cores are fragile and must be carefully placed by hand into the cedar slats.
The employee seen here has worked at General Pencil for 47 years. The mixer behind him handles pastels and charcoals.
Pastel extrusions, used for colored pencils, are laid by hand onto grooved wooden boards, where they will dry before being placed in pencil slats. The extruding machine that produced them usually handles a single color each week, after which it is scrubbed clean to prepare it for the next.
A lead layer drops graphite cores into pre-glued slats.
Another layer of wood fully encases the pencil’s core. The resulting “sandwich” is clamped together to bond and dry.
This sandwich still needs to be shaped. A woodworking machine will cut the individual pencils into their desired shape — round, hexagonal or otherwise.
Editing pencils are sharpened at each end: One makes red marks, the other blue. The trays seen here will be turned upside down and dunked in blue paint by a dipper machine, marking the blue half.
Ferrules — the metal bands that cinch around the bases of erasers — are loaded onto a conveyor and sent to a tipping machine.
The tipping machine adds metal ferrules and erasers.
After receiving a coating of paint, pencils are returned by conveyor for another layer. Most pencils receive four coats of paint.
On some pencils, a capper installs smooth metal caps — no eraser.
Pencils are sharpened by rolling them across a high-speed sanding belt.
Christopher Payne is a photographer who specializes in architecture and American industry. Sam Anderson is a staff writer at The New York Times Magazine.
