All these colors are incredibly deep and rich. Each and every one of them is beautiful in its own ways.
Here is a short review of the different colors with the official name they bear:
1. Pearl Grey: Incredibly rich and undervalued in its beauty. It's hard to photograph. Longish swirls of pearlescent swirls suffuse the material. As opposed to the pearlescent flakes in the royale blue, the scarlet, and the saft green, these are more spirally formed currents of pearlescence.
2. Scarlet red. A deep and subdued red, a little like burgundy. However, when light hits the pen, it turns into glowing embers.
3. royale blue. Probably the best known and most frequent color of all. I love its deep blue
4. Saft Green. Very olive-like and yet not boring at all. I have to think of the color of autumn leaves just before they start losing their greenness. This celluloid is a bit lighter than Omas' Autumn Green (used e.g. in the Ogiva).
5. The Arco Brown. This is probably Omas' signature color, and still in production with the new Paragon series. It looks like wood polished to the highest degree of shine. It is almost a surreal beautification of wood. I'd argue that wood could never be so rich in shades and tone. The contours of the wood pattern are extremely sharp.
6. The Arco Green. Just like the Arco Brown but very cool. Three main shades are visible: a dark green (almost black), a silverish dusty powderlike pattern, and specks of forest green colors. This is a great variation of the standard Brown Arco and it is also very catching because you won't see those all too often.
7. Saffron Blue. I've already discussed this color in my Paragon review. Of all the seven standard celluloid colors it is the most unusual one. My girlfriend said it looked like vomit, I think it looks really beautiful, like some sort of bizarre marble. As you can see from our diametrical viewpoints, it was indeed Omas' most controversial celluloid color.
All these pens look very subdued in the dark. In low light, many of the them appear to be almost black. If there is lighting they change dramatically and betray their true richness. I love that the celluloid is able to produce so many different tones depending on the light.
The Arcos (the green and the brown one) are almost like glass. Their surface is so shiny, and the Arco facets are like pieces of incredibly delicate metal foils cut in a wood-grain pattern. Mind you, there is no metal in there. It is all nitrocellulose. All colors take you in as you will always discover a new detail in the shading or the pearlescent flakes or swirls.
I love this set and each of these pens is in my regular rotation. They don't come cheap but I think they are worth every penny that I paid for them. Five of them have fine nibs, one has a medium nib, and one has a debbified medium stub.
I also got an Omas Galileo Galilei, which is a Paragon in the wild celluloid pattern (black celluloid with veins of white pervading it). The pen's nib needs to be reset as the little sheath that holds the nib and feed in place was broken and came out in crumbles. If it comes back from its cure with John Mottishaw, I'll post better pics. This celluloid is beautiful and looks dramatic. The choice of colors is simple: black and white (those nitpickers and sticklers for precision will of course point out that black and white are not colors in the truest sense of the word). Anyway, this simplicity of color choice is coupled with the breath-taking pattern: it looks like lodes of white gold embedded in charcoal (if this makes any sense).
The Paragon is by far my most favorite pen! Now I only need to get one in Titanium and the Extra Lucens! But for now my pen money is depleted and I shall abstain (at least for the time being!).
Edited by dupontfan, 05 October 2007 - 01:20.