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Pif - Camlin 22 ( Eye Dropper )
old4570 posted a topic in Pay It Forward, Loaner Programs & Group Buys
The Story : To buy one Camlin 22 Eye Dropper FP is either un economical , or simply not possible ... So I had to buy 5 .. They are all the same , but the blue ( Thats Blue ) one is going to a new home ... That pay it forward thing ... I don't care where in the world you are , but this will be lucky DIP .. ( Random post number drawn ) I will pay postage : YOUR COST WILL = NOTHING ! , ZIP . NADA , ZILCH , BUBCUS ..... YOU Have until the 10th Of May Australia Time ( That would be 9th of May USA time ) to put your hand up ( Make a post clearly stating your intentions ) On the 10 ( AUS ) I will draw a winner and then PM them for their snail mail ... By Friday the pen should be on its way to it's new home ... -
Tsuyu Kusa was my first expensive ink, and while I liked it, it seemed a little underwhelming; all that changed with a wet Sailor Pro Gear in medium, if I had to choose just one ink, this would be it. Row 1 of the other colours: Chiku Rin, Vert Empire, Verde Muschiato, Ina Ho, Inti, Lie de Thé, Yama Guri, Perle Noire. Row 2: Ama Iro, Kon Peki, Équinoxe 6, Souten, Asa Gao, Myosotis, Ajisai, Verdigris. Row 3: Mandarin, Fuyu Gaki, Orange Indien, Ancient Copper, Rouge Hematite, Diamine Poppy Red, Perle Noire. Souten comes close but is a tad more green, on a dry medium Metropolitan; on a wetter pen it comes out a lot closer to Kon Peki.
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Robert Oster Signature - Blue Night Robert Oster is an Australian ink maker that is well-known for its unique range of colours. On his website, he describes our shared love quite eloquently: "Robert Oster Signature originates from one of the most famous wine producing regions of the world, the Coonawarra district of South Australia, an idyllic setting with great influence on the senses. There is my inspiration. It's a joy to share it with you." Well, we are certainly fortunate to have inspiring ink makers like Robert Oster to satiate our thirst for glorious inks. In this review, the spotlight is centered on Blue Night. Catherine from Sakura provided me with a sample of this ink to play around with - much appreciated! This particular incarnation of a Robert Oster ink is a glorious dark blue. Definitely not a blue-black, but also definitely leaning to the dark side of the blue spectrum. The name "Blue Night" is well-deserved in this case. The ink provides good contrast with the paper, which is good. It also wrote pleasantly with good lubrication and a decent wet feeling, even with finer nibs. Blue Night shows nice and aesthetically pleasing shading, especially in broader nibs. With finer nibs, the shading is barely visible though. Personally, I found the expressive shading that this ink displays very pleasing to the eye. Well executed.To show you the impact of saturation on the ink's look & feel on paper, I made some scribbles where I really saturated portions of the paper with ink. This gives you a good idea of what the ink is capable of in terms of colour range. Like most Robert Oster inks, Blue Night has zero water resistance. Short exposures to water completely obliterate the text, leaving next to nothing on the page. As the chromatography shows, only some purplish residue remains on the paper. This residue runs all over the place, meaning that there remains insufficient detail to reconstruct your writing. Smudge resistance is acceptable - there is quite some smearing, but the text itself remains totally readable. I've tested the ink on a wide variety of paper - from crappy Moleskine to high-end Tomoe River. On every small band of paper I show you:An ink swab, made with a cotton Q-tip1-2-3 pass swab, to show increasing saturationAn ink scribble made with an M-nib fountain penThe name of the paper used, written with a B-nibA small text sample, written with an M-nibDrying times of the ink on the paper (with the M-nib)Blue Night behaved impeccably on most paper types, with no visible feathering. Only with lower quality paper (like Moleskine and HP printing paper) there appears some minor feathering. The colour looks great across the different paper types, which I also appreciate. The ink dries quite quickly within the 5-10 second range. I also show the back-side of the different paper types at the end of the review. No troubles there, except with the Moleskine paper, which shows significant bleed-through. The GvFC paper also shows a bit of bleed-through. All in all, a well-behaving ink. Inkxperiment – Blue Night CityscapeAs a personal experiment, I try to produce interesting drawings using only the ink I'm reviewing. I find this to be a fun extension of the hobby, and have found these single-ink drawings a nice challenge. For this drawing I used 90 gsm sketch paper. This time, I had a very limited amount of ink available, so the drawing was made using the same Q-tip cotton swabs I used for the writing samples. The night sky background was created by colouring the page with the Q-tip, and then using lots of water to wash out the ink. This brings forth the purple components in the ink, resulting in a glowing late-evening sky. The cityscape itself was drawn with undiluted Blue Night ink, rubbed on with a Q-tip swab. For the details, I used my Lamy Safari fountain pen to scribble in the building details on the drawing. I'm pleased with the results I obtained with this ink. The end result also gives you a good idea of the colour span that Blue Night is capable of in a more artistic setting. ConclusionRobert Oster Blue Night is a gorgeous dark blue ink, that manages to look good on all of my test papers. The ink shows some prominent but still subtle shading, that is very pleasing to the eye. I really like this ink for writing. A pity that it has zero water resistance. This Blue Night ink is also great for drawing, looking quite beautiful. All in all, I'm quite taken by this creation from the Australian ink maker. I'm seriously considering getting a full bottle of Blue Night - even though my rational self keeps saying that I already have enough inks in my collection ;-) Technical test results on Rhodia N° 16 notepad paper, written with Lamy Safari, M-nib Back-side of writing samples on different paper types
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This modest general writing Pelikan was hiding in my wife's desk since, I guess, the 90s. He has a transparent blue body and takes cartridge ink. The steel nib is very rigid but also very smooth and the writing experience is comparable to an M150. Googling turned up nothing. Does anyone know the name of this model?
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L'Artisan Pastellier Callifolio - Equinoxe(6) L'Artisan Pastellier is a small company in southern France that specialises in natural pigments, and offers customers authentic and reliable products in beautiful colours based on mineral or vegetable pigments. In a collaboration with Loic Rainouard from Styloplume.net, the chemist Didier Boinnard from L'Artisan Pastellier created the line of Callifolio fountain pen inks. These pastel-coloured inks are traditionally crafted, and can be freely mixed and matched. Overall these inks are only moderately saturated, and have low water-resistance. The inks were specifically designed to work well with all types of paper, and all types of fountain pens. Being pastel-tinted, these inks have a watercolour-like appearance, and are not only fine inks for journaling, but are also really excellent inks for doodling & drawing. I only recently discovered them, and they are already the inks I gravitate towards for personal journaling. In this review I focus on Equinoxe(6), one of the many blue inks in the Callifolio line. Equinoxe(6) is best described as a dark teal, heavy in the dark blue component. It's a well-saturated blue ink, with lots of character and with quite a broad colour range. This ink is equally suitable for both writing and drawing. I quite enjoyed drafting the review for this ink. For a Callifolio ink, Equinoxe(6) is surprisingly well saturated, and lays down quite a wet line. As such, the ink provides excellent contrast with the paper - even with an EF nib, your writing stands out on the page. Because of the initial wetness, you have to be careful not to smudge your writing - this definitely is not an ink for lefties. The ink looks good on both white and more yellowish paper. Shading is present in all nib sizes, even the finer ones. It is really pronounced when using broader nibs - I would have preferred a bit more subdued shading, but as always such preferences are highly personal. To show you the impact of saturation on the ink's look & feel on paper, I made some scribbles where I fully saturated portions of the paper with ink. This gives you a good idea of what the ink is capable of in terms of colour range. Equinoxe(6) is capable of a broad range of teal shades - you might also notice a reddish sheen in places of high saturation. On the smudge test – rubbing text with a moist Q-tip cotton swab – Equinoxe(6) shows its greatest weakness. This ink smudges easily and in a very noticeable way. As such you need to take extra care while writing. Water resistance is generally low. A prolonged soak in water completely obliterates your writing, leaving only some undecipherable traces. With running tap water, the result is better: most of the colour drains away with the water, but a faint blue-grey residue remains that can be deciphered with some patience. Overall, not a good ink if water proofness is high on your list. I've tested the ink on a wide variety of paper - from crappy Moleskine to high-end Tomoe River. For the Callifolio reviews, I'm using a format that shows you the ink's appearance and behaviour on the different paper types. On every small band of paper I show you:An ink swab, made with a cotton Q-tip1-2-3 pass swab, to show increasing saturationAn ink scribble made with an M-nib Safari fountain penThe name of the paper used, written with a B-nibA small text sample, written with the M-nibDrying times of the ink on the paper (with the M-nib)Equinoxe(6) behaved perfectly on all paper types, with no apparent feathering even on the lower quality papers in my test set. Drying times are quite reasonable in the 10-15 second range, even lower on some of the more absorbent papers. The ink looks fabulous no matter what type of paper you are using - this really is an ink that is at home with all combinations of pen and paper. Impressive! I also show the back-side of the different paper types, in the same order. The ink behaved very good with almost all paper types. Only with the Moleskine and Graf von Faber-Castell paper there is noticeable bleed-through, which means you cannot use the backside of the paper. All in all a really well-behaving ink. Inkxperiment – mathematical universeI've recently started to experiment with ink drawings, keeping things simple and more-or-less abstract. I find it to be a fun extension of the hobby, and have found single-ink drawings a nice challenge. It also gives you an idea of what the ink is capable of in a more artistic setting. This drawing was done on OCM cotton paper. For the background I rolled up a kitchen-roll sheet, dipped it in ink, and used this as a stamp. The abstract spiky figure was drawn in with a B-nib fountain pen. I added the shading and mathematical symbols with a Q-tip dipped in Equinoxe(6). The end result gives you a good idea of the colour span that Equinoxe(6) is capable of. ConclusionCallifolio Equionoxe(6) from L'Artisan Pastellier is a lovely dark teal, that is equally at home with both writing and drawing. The ink has excellent contrast with the paper, and works well with all nib sizes and paper types. Just be aware that this ink smudges easily, so take extra care while writing or drawing. Personally, I really enjoyed this Callifolio ink, and I especially appreciate the consistent look it presents irrespective of nib and paper. Technical test results on Rhodia N° 16 notepad paper, written with Lamy Safari, M-nib Back-side of writing samples on different paper types
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Hi guys, this is my first time doing ink review. Van Gogh Deep Blue is a LE from Nagasawa Kobe, I purchased it directly from Nagasawa Kobe on rakuten, but there are other global distributors around on the Internet. The first thing that pops to my eyes is the box. If you're familiar with Sailor inks, then you know they all have the same size paper box and the same round glass bottle.Well, at least before they double their price. Anyway I was really enthralled by the Van Gogh painting , the deep blue uniform on the box. What's more, since Nagasawa Kobe didn't follow Sailor and increased their price, too, $20 w.o shipping fees for 50ml LE ink seems economical to some extent. The ink is on the wet side. It's so wet that the sheen seems uniformly spread across the lines and curves, and I'm glad that the sheen has a low contrast compare with the 'base' color. otherwise it would be too eye searing to use. It seems to lean towards black, but make no mistake it's a true deep dark blue. I believe it's suitable for some serious purposes, but it could be 'too serious' for personal journals.
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http://i900.photobucket.com/albums/ac209/jasonchickerson/_FUJ0110.jpg http://i900.photobucket.com/albums/ac209/jasonchickerson/_FUJ0109.jpg Written review on Rhodia dotpad #16 http://i900.photobucket.com/albums/ac209/jasonchickerson/_FUJ0103-Edit.jpg Desiderata Mercury Flex Pen, Zebra G nib, OCM Pure Cotton Paper http://i900.photobucket.com/albums/ac209/jasonchickerson/_FUJ0111.jpg Sakura Koi Water Brush, Strathmore Watercolor Paper http://i900.photobucket.com/albums/ac209/jasonchickerson/_FUJ0113.jpg Souten is my newest ink purchase. I bought it because I lack a blue light enough to use in pointed pen calligraphy that still reads blue when a lot of ink is laid down. This one does, and it works really well for this purpose. As an ink for everyday writing, I'm not quite so impressed. Like most Sailor inks I've tried, Souten is on the wet side. It's not extremely lubricating, though, and I find my pens write with a bit more feedback than I'd prefer. One area where Souten really shines is dry time. I did the test three times just to make sure. This ink dries on non-absorbent papers like Rhodia in under 5 seconds! For comparison (sorry, I don't have access to any comparable blue hues at the moment), Herbin's Bleu Nuit dried in 12 seconds (very respectable) and Shin-kai dried in 16 seconds (average). Reasonable care was taken to ensure color accuracy, etc.
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Birmingham Cathedral Of Learning Panther Blue - Compact Review
Jan2016 posted a topic in Ink Reviews
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I'm not sure this one will have many fans. And I'm not sure how often I'll use it. But it's not without its charm. On Rhodia and Life:
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Ink Shoot-Out : Iroshizuku Tsuki-Yo Vs Callifolio Oconto
namrehsnoom posted a topic in Ink Comparisons
Ink Shoot-Out : iroshizuku tsuki-yo vs Callifolio Oconto Over the past few years I've acquired a taste for dusty, murky and quirky inks - perfect for personal journaling, but not always suited for a more formal setting. Blue-blacks are a staple for use at the office, and always a safe choice. But when you want something a bit more daring, you just might reach for blue inks with a little bit of a green undertone. Two inks in this category are Pilot iroshizuku tsuki-yo and L'Artisan Pastellier Callifolio Oconto. Tsuki-yo is my go-to ink in this category, but recently I noticed that Oconto is another player on this field. Time do to a detailed comparison, and find out which of these inks I like the most. Enter... the Ink Shoot-Out. A brutal fight spanning five rounds, where heavyweight inks do battle to determine who is the winner. In the left corner - the Japanese king of the ring: Pilot iroshizuku tsuki-yo. In the right corner, the challenger from southern France, L'Artisan Pastellier Callifolio Oconto. Which champion will remain standing at the end of the fight ? Let's find out... Round 1 - First Impressions Both inks certainly are attractive liquids, that are quite a home in a more formal business setting. Both are also just slightly off-blue, with a tiny bit of a green undertone. In writing, they look quite similar, but there are some differences:Tsuki-yo is a bit greener than Oconto, which is quite evident in swabs, but less so in normal writing.Oconto is definitely less lubricated than the Japanese ink, it writes a bit on the dry side with noticeable feeback from the paper.Tsuki-yo is a bit more saturated than the French ink. This is also most apparent in the swabs.On first impression I preferred the slightly less green appearance of Callifolio Oconto. On the other hand, the Japanese ink clearly is the better writer with superior lubrication and saturation. In a sense - I was torn between the two, and found myself wishing for the best aspects of the two: the colour of Oconto, and the lubrication/saturation of tsuki-yo. As such, this round ends in a draw. No clear winner emerges. Round 2 - Writing Sample The writing sample was done on Rhodia N°16 Notepad with 80 gsm paper. Both inks behaved flawlessly, with no feathering and no show-through or bleed-through. Iroshizuku tsuki-yo wrote like a dream, with very good ink flow and lubrication, and leaving a well saturated line. In contrast, Callifolio Oconto is much less lubricated, and feels much drier. This is especially noticeable with the EF nib. The Callifolio ink needs broader nibs for a satisfying writing experience. Colourwise both inks look very similar in writing, although there is definitely more of a green undertone in the iroshizuku ink. Both inks also shade nicely, without too much contrast between light and dark parts. This aesthetically pleasing shading gives more character to your writing. For this round, the focus is on writing, and here the Japanese ink clearly has the upper hand, with undeniably superior flow, lubrication and saturation. A solid win for Pilot iroshizuku tsuki-yo. Round 3 - Pen on Paper This round allows the batlling inks to show how they behave on a range of fine writing papers. From top to bottom, we have : FantasticPaper, Life Noble, Tomoe River and Original Crown Mill cotton paper. All scribbling and writing was done with a Lamy Safari M-nib.Both champions did well, with no show-through nor bleed-through. But this round is not about technicalities, it is about aesthetics and beauty. Are the fighters able to make the paper shine ? For this judge, the choice is clear. Tsuki-yo has a very consistent look and feel across the paper types. In comparison, Oconto looks much more washed-out and undersaturated. I really like how tsuki-yo makes the most of the paper, and manages to look good no matter which paper you use. Callifolio Oconto tries its best, but cannot compete. Being much less saturated, it has trouble to make the paper shine. So for this round, tsuki-yo clearly has the upper hand and is granted the victory. Round 4 - Ink Properties Both inks have drying times at around the 10 second mark on the Rhodia paper. But at this point, the similarity ends. On the smudge test, where a moist Q-tip cotton swab is drawn across the text lines, the Japanese ink clearly shows its lack of water resistance with significant smudging of the text. This gets confirmed in the droplet test. I dripped water onto the grid and let it sit there for 15 minutes, after which I removed the water with a paper kitchen towel. With iroshizuku, a blue mess results, with barely reconstructible writing. Oconto on the other hand shows itself to be a very water-resistant ink ! This is an ink you can take down the trenches. The Japanese opponent is completely obliterated (figuratively speaking, but also quite literally). The chromatography shows that tsuki-yo leaves a bluish residue that is almost indistinguishable from the smudges that detach from the paper. Oconto on the other hand leaves a firm blue fingerprint of your text - only the more greenish undertones of the inks get flushed away when coming into contact with water. For this round, the Callifolio ink is clearly the superior, and delivers a resounding knock-out to its Japanese opponent. The crowds are cheering! Round 5 - The Fun Factor Welcome to the final round. Here I give you a purely personal impression of both inks, where I judge which of them I like most when doing some fun stuff like doodling and drawing. Both inks do well, and allow for some nice effects when using a water brush. I really enjoyed using them.For drawing, iroshizuku tsuki-yo has the advantage though. For one, the more greenish undertones make it the more interesting ink for drawing. And its low water resistance makes it a really great ink when used with a water brush to obtain watercolour-like effects. Callifolio Oconto also looks good, but for drawing, its strong water resistance is more a drawback than an advantage. This is of course a purely personal judgement, but for this round the Japanese ink gets the judge's favour, and is granted victory. The Verdict Both inks are beautiful, slightly off-blue inks that are a great choice for a more formal setting. I love them both. But counting the points, the story is clear: iroshizuku tsuki-yo wins three rounds, while its French opponent manages only one win. This fight clearly has a definite winner : iroshizuku tsuki-yo remains the king of the ring !- 20 replies
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Hello again to all my FP friends, [This review has been sitting on my desk for months and I finally got around to posting it. Stay tuned for a comparison of Diamine Cornflower and Penbbs #116 Cornflower.] Diamine needs no introduction on this board. Suffice it to say that they have been making inks for over a century and produce many, many beautiful hues, a lot of which are prone to feathering and bleed through on everyday office paper. This ink up for review is from Diamine’s Flower Series. It is named after the cornflower (centaurea cyanus) which can be various shades of blue or lavender. I’ve never seen the flower in person, but by just comparing with various photographs online, the ink looks like a pretty good match to the flower. Diamine Cornflower is a deep and very saturated blue with a dash of purple. This ink dries quickly on absorbent paper, but has an average dry time on nicer papers. Sheening is nice and shading possible with wet nibs on good paper. It can be quite a stunning color with the write combination. Unfortunately, this ink’s downfall as a daily work ink is its tendency to feather and bleed through. Although feathering with finer nibs wasn’t too bad on copy paper, even the Japanese fine nib produced noticeable bleed. Water resistance is passible; a dark purplish line remains legible. This is a lovely vibrant color that reminds me of a dark counterpart to Noodler’s Baystate Blue. The color is also standard enough that it could be used in most professional environments. They only thing that keeps me from buying a bottle is that the feathering and bleed through make it impossible to use on any paper I would run into outside the house. However, if you like saturated, slightly purplish dark blues and mostly use good paper, then this is not an ink you’ll want to miss. *A special thanks to lapis for sending a sample of this ink to me! Pens used (in order): 1. Pilot 78G Fine 2. Lamy Safari Broad 3. Pilot Plumix Italic 4. Noodler’s Nib Creaper Flex 5. Hero 5028 1.9mm Stub Swab Paper Towel Drop 80gsm Rhodia Tomoe River *Many thanks to Lord Epic for kindly sending me some of this paper! Check out that subtle sheen! 70gms Deli Copy Paper Moleskine Water Resistance Comparison (More blues to be added later) Thanks for reading! SDG
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Initial impression. This is a really cool ink! My test pen is my favorite Omas. A Ludovico Einaudi Signature Paragon with a broad nib. The ink is a highly saturated dark metallic blue on Rhodia paper but doesnt seem to dry out very fast. Ebonite feeds actually turn an iridescent red after a short time in air! The feed regulator fins turn red while the lower portions remain a metallic blue. Its a very unique effect. The pen kept writing though after being uncapped for a few minutes. The color of the metallic at the bottom of the jar looks a lot like Diamine Tropical Glow but the base ink is much darker blue so on paper they are very different inks. Its a silver tone and not gold. I have a good amount of Diamine inks from the shimmering collection but none are like this one for saturation and color variation. If you wait for a minute with the pen uncapped, the first letter written has an awesome red sheen and then the rest of the writing fades into a gradient metallic blue with red edges. With the broad nib I saw some shading as well. Its not a very wet nib but does flow pretty good so the shading and color could be a mechanism of the feed on this pen. A wet nib might not have the safe effect. In any event, it looks great with a fair flowing broad nib. It ran great and didnt clog the feed. There was no dried ink left on the nib. Seems like a well behaved ink despite the saturation and shimmering effect. The flow on paper is very nice and fluid. It never dried out, with reasonable time un capped, on the pen even with the high saturation. Overall a very interesting and well writing ink. I highly recommend picking up a bottle. I think it has unseated Blue Lightning as my favorite shimmering ink! Theres more depth to the Arctic Blue and its very different from the other inks I have had. I can see this one being restocked as I quickly run out! I hope the pictures convey what Im trying to describe.
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Here we have the third of my reviews of the new standard line KWZ inks. These inks are apparently designed for those who like sheen. I typically don't care whether an ink sheens or not as the papers I use typically won't show sheen anyway. So I'm looking for good flow, easy writing without problems (skips, hard starts, nudging the converter to get good flow), saturation and/or shading. Since these are standard inks, I don't expect much color or value shift in an ink after it has dried, at least not in a closed notebook. In nearly all these criteria these inks are successful. I had the best experience of the three inks with this one, but must admit I used a Pelikan instead of an Edison pen. All my pens are wet writers. But the issue of nib dryout was common with these inks, though less so with this ink. Perhaps it was the ink, perhaps it was the pen. But for the brief times I leave a pen uncapped during writing I typically do not have this problem with any ink I use. Maybe you won't have this problem. Once writing, the inks flow well and continue to do so. I did not experience any hard starts following uncapping a pen, though I admit I keep few pens inked, and cannot comment on what happens if the pen is left unused for a week. This ink leans the greenest between it and Baltic Memories, at least I think that's true. The ink seems a bit lighter in value than the Baltic Memories ink, but I did not compare them with the same nibs. It is a single dye ink, and seems to clean out of the pen quite well compared with its level of saturation. Depending on the paper there is some shading. Nothing dramatic but enough to generate a bit of interest. A lot of sheen on Tomoe River paper and some of Rhodia. This was from a fine nib, so wider nibs will give more dramatic results. Both this ink and Baltic Memories are much greener than any of the Azure colors in the standard KWZ line. So if you like that, you're happy, if not, you might be making a sour face. I think it's great the KWZ is broadening the color range of their blues. The name and the label are awesome, and I hope this is a trend that will continue. And ink worthy of your consideration, especially if you like sheen. Pen: Pelikan M205 (F-steel) Papers: MvL=Mohawk via Linen, TR=Tomoe River, Hij=Hammermill 28 lb inkjet, Rhodia=Rhodia 90g ivory. Camera: iPhone 7 using Camera+ app The images were fairly decent, but the FPN uploader seems to modify the images making the ink appear darker and with less range than in reality. As always with ink reviews, you may want to order a sample prior to diving in on a full bottle. FPN has done a number on this image. The original while a bit darker has a white paper. Here it is grayish. And much darker; it makes the ink look near black and it definitely is not. Again considerably darker than it should be, and should be greener. Due to the flow enhancers the ink spreads to the verso of absorbent papers. Not waterproof and only water resistant to the extent that the ink penetrates the paper. But the ink isn't advertised as being waterproof.
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I have been endlessly searching for the perfect blurple ink.I want an ink that when dry looks blue but is also purplish. I live in an area where there are sadly no pen stores that sell fountain pen ink. I have tried relying on samples shown online but when I receive an ink it is either too blue or too purple. The closest to what I want is Private Reserve Tanzanite. Tanzanite is a shade or two too purple. Does anyone have any suggestions of an ink that is slightly more blue, barely more blue, than Tanzanite? Inks that I am looking at online are: J. Herbin Eclat de Saphir(seems too blue in some pictures and too purple in others) De Atramentis Sapphire(seems close but maybe slightly too blue) Diamine Imperial Blue(same problem as with pictures of Eclat de Saphir) Diamine Sapphire Blue(seems too blue in pictures that I have found) Of course screen color calibration could show the wrong color as my screen has been off with the inks that I have tried which all looked perfect until I got them and used them. I have tried Private Reserve Cosmic Cobalt(too blue) and Private Reserve Electric DC Blue(too blue), Pilot Iroshizuku Asa-Gao(once again too blue), Private Reserve Tanzanite(close but slightly too purple). Thank you in advance.
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I initially thought this ink leaned towards the purple but see now that it dries to a deep navy / blue-black. It's a very well-behaved ink, and I've since loaded it into a piston-filler (Lamy 2000), run through it, and had it clean out entirely with around 10 flushes, so -- as good as any of the easiest-cleaning inks (for me, anyway). I ran through the testing rubric on Tomoe River Paper, so it gives great line definition and nice, true color -- but dry times are off the chart. Regular paper offers an under-ten-second dry time with a European medium nib (Kaweco medium tested). If you like the color -- or are, like me, forever in search of more blue-blacks -- it's a great everyday ink: almost black in a bold nib, true navy in a fine-medium, and a steely-gray-blue in an extra-fine, and office-friendly in all three. On TRP: And on my everyday office paper, Staples' Sustainable Earth (bamboo) paper: On fancy-shmancy letterhead paper (unsure of bond designation, but like the vast majority of mass-market consumer products it probably wouldn't mean anything anyway - in any case, this is a custom letterhead from Crane's): And on a piece of paper I pulled out of the laser printer: All told, it's a very versatile ink - works well on any paper provided you choose an appropriate nib and has nice variation in color with different nib sizes; I'll be putting it into the rotation, as it has all the right qualities and it actually adds something to my blue-black collection... [edit: to repost pictures, as I believe I musta bunged it up somehow]
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