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  1. Just look at that electric blue effect with bleach! This was a throwaway exercise that just came good. I have a feeling that the culmination of this fountain pen ink arts project may well be something along these lines - simple imagery with a harmonious combo of chromatography, serendipity and alchemy, BUT before that possible eventuality there are quite a few more chapters to be explored and documented!
  2. And a very pretty Teal blue sheen exclusive from Papier und Stift it is too. And a fabulous name for an ink as well. And the first thing that strikes me about this ink colour is that it feels familiar. It is without doubt a very strong and pretty sheen turning that familiar metallic deep rose pink, but where have I seen it? Take away the gold shimmer and you have an ink base similar to the great and wonderful Emeraude de Chivor. And what's wrong with that? A stunning colour with a great tonal range and when used in a pen, hints of that sheen can easily be seen at the edges of the handwriting reflecting that deep metallic rose pink. It's very nice, but don't just take my word for it... go check it out! Tests conducted on Bockingford 200lb rough, Rhodia dot matrix and Tamoe River papers using a Laban Soprane fountain pen - and if anyone has any info about this pen, I'd be grateful for any background knowledge. A Night in Jodhpur is now available exclusively from Papier und Stift.
  3. I have been sent three – The Pebble Stationery Co Tomoe River 52gsm pocket notebook, the Made for Ink Pocket Junglist Special Edition 100gsm Fedrigoni Milk stock with Fluoro cover pocket notebook and one sent a long while ago, the Choosing Keeping Blue pocket book. But I’m also including the Seawhite A6 140gsm all-media cartridge paper sketchbook. Here are some of the images from the tests in the following order: Pebble Stationery Co Tomoe River, Made for Ink Junglist Special Edition, Choosing Keeping Blue and Seawhite. PEBBLE TOMOE RIVER – IDEAL FOR SHEEN AND SHIMMER INKS The Pebble Stationery Co Tomoe River 52gsm pocket notebook is 80 pages and measures 3.5 x 5.5 inches. It’s sewn stitched with a grey linen 350gsm cover and has rounded corners. It usually comes as a 2 pack. First impression are very good. It looks very smart and beautifully finished! This particular pocketbook came with a dot matrix and I liked it straight off because the dots were printed very lightly! They are after all supposed to be there as a guide NOT the main feature. For all of you who have bought into monster sheen and shimmers, Tomoe River is without doubt the best surface available and in my opinion, this book is ideal for the job! See images for proof of this. However! If you want to use this book for illustration and painting, then think again. Because the paper fibre is such a tight knit you will experience severe paper ruckles and very limited chromo effects. And don’t use anything other than a fountain pen nib or brush. A zebra G nib, for example will tear the surface the pieces! Another thing to remember is that 52gsm is incredibly thin and depending on the concentration of ink you apply, there will be show through and the reverse page will be unusable, BUT on the upside – you will be able to drool over the sheening and shimmer effects! And they are the best! At £12 for two you may think this expensive. I’d disagree. It’s a fantastic product! MADE FOR INK JUNGLIST – IDEAL FOR WRITING The Made for Ink Pocket Junglist Special Edition has a 300gsm cover with 52 internal pages of a smooth white 100gsm paper stock. This particular pocketbook is staple stitched and has a dot matrix page layout which for me is too heavily printed. Performance wise – some of the heavier sheening and shimmer inks do bleed through the paper, creating show through. But in general, most inks work well and you will be able to achieve reasonable sheen and shimmer effects. For chromo effects and illustration this pocketbook also works – not brilliant but better than the Pebble. I already use Rhodia dot matrix for handwriting tests and this is very similar. For handwriting and note making this book is ideal with no show through and at £4.65 who’s complaining? CHOOSING KEEPING BLUE – IDEAL FOR ART JOURNALING Next up is the Choosing Keeping Blue pocket notebook for which I posted a review some months back. Here’s the link. The cover is a soft leatherette blue with what I think is a 75gsm tight fibre cream paper stock inside. The 64 page hand made book has rounded corners with a red edging and is staple stitched. This has many of the qualities of Tomoe River paper. Good sheening and shimmer effects. NOT as good as Tomoe but certainly not disappointing. For painting and illustration, this isn’t bad either. This comes labelled as an old fashioned looking product and the cream paper does deliver this if that’s what you’re into. For painting and illustration I got some good results. Despite the cream stock, I liked this and for £5 what’s not to like. SEAWHITE A6 STARTER – IDEAL FOR FOUNTAIN PEN INK ART Last up is the Seawhite A6 starter sketchbook with a black cover and 40 pages of white 140gsm all media cartridge paper staple stitched together. For sheens and shimmers the cartridge paper will flatten the effects but for chromo effects painting and illustration this book is totally recommended and proven and at £1.05 for a book I think they’re amazing. Each pocketbook has it’s advantages and disadvantages so to get the best from ALL of your fountain pen inks you’ll need pocketbooks of various paper types and paper weights and the good news is that there’s a plethora of pocket notebooks on the market for you to try out. That said, do research your pocket notebooks before buying as some are not suitable for fountain pen inks as the papers they use are too absorbent.
  4. By employing water based techniques, one can achieve a convincing watercolour style painting by simply letting the inks do what they do. The demonstration below, has been created using one ink, Diamine Earl Grey. At first glance, one might assume that 3 or 4 colours have been employed. The wonderful thing is that this simple wet in wet technique is actually easier and quicker than watercolour painting! Without even touching upon the word ‘serendipity’ I think this may appeal to all amateur artists for this one reason alone. The sky and foregrounds have created themselves! What is also of interest is that all ink ranges are made differently. Each ink maker has their own recipes and processes. So, one range of inks may suit a particular subject matter better than another. Robert Oster Signature inks are ideal for bright conditions. KWZ inks are more suited to soft focus. Diamine are great for more graphic use. Noodler’s are more experimental and abstract but also check out: Vinta Inks, Troublemaker Inks and Sailor Ink Studio for more intense chromatic behaviours. For enthusiasts of art journaling, diary keeping and sketching, this simple and natural process enables a simple and seamless visual continuity and a medium continuity between image and the written word. Why not give it a go? Paper: Bockingford Watercolour Paper 200lb Rough Equipment: 2 x jars of water, Bottle of Diamine Earl Grey, Watercolour brush size 24, Watercolour brush size 5, Noodlers Nib Creeper pen. Instructions: Take swatch card measuring 70mm x 95mm and place in landscape position and wet 3/5 of surface with large brush With small brush add Diamine Earl Grey Turn card upside down and wet surface 2-3mm below the wetted area above Dip pen into ink and draw a line through the newly wetted area Dip pen into ink and repeat With the pen, add a couple of ink marks to the top area as this is now semi-wet, the spread will be less and the ink more intense Allow the chromatography to happen and enjoy watching the greys, purples, reds and turquoises slowly come out of the ink The finished, and dry, landscape created with serendipity. Totally non contrived and utterly beautiful. Works with most inks that display chromatic behaviours.
  5. NickiStew

    Diamine Inkvent Calendar

    SPOILER ALERT! If you do not want to see the colours before Advent, then please do not read this article and do not scroll down! Many congratulations to Diamine! A superb idea and what a fabulous gift too! Behind each of the 24 doors is a bottle of 7ml ink, while behind the 25th is a 30ml bottle. All the inks are brand new. Some are standard, while others sheen or shimmer - and some do both! Their names reflect the festive season, so once you've opened all your doors, you'll have a collection of inks called: Blue Peppermint, Candy Cane, Snow Storm, Polar Glow, Triple Chocolate, Ho Ho Ho, Mistletoe, Gold Star, Nutcracker, Winter Miracle, Elf, Noel, Mulled Wine, Jack Frost, Festive Cheer, Seasons Greetings, Poinsettia, Holly, Gingerbread, Midnight Hour, Fire Embers, Solstice, Roasted Chestnut, Purple Bow & Happy Holidays.
  6. Art today sadly seems to be more about plagarism, pastiche and poor rendering than creative exploration and expression! That is why fountain pen ink art is such a special medium. Here is my Major Arcana Tarot Deck created with Fountain Pen Ink, water and bleach with the minimal amount of computer assistance to set up the print artwork. Art from destruction and totally authentic utilising the natural chromatography, serendipity and alchemy inherent in this genre. Once these are back from the printers and photographed, I will post a more detailed account about the Personal Tarot project both here and on my blog. FOUNTAIN PEN INK BACKGROUNDS I. Diamine Oxblood II. FPUK Scribble Purple III. Noodler's Rome Burning IV. Parker Quink Black V. Diamine Seasons Greetings VI. Diamine Nutcracker VII. Robert Oster Australian Opal Mauve VIII. Diamine Winter Miracle IX. J. Herbin Emeraude de Chivor X. Diamine Golden Sands XI. Robert Oster River of Fire XII. Diamine Elf XIII. Diamine Solstice XIV. Waterman Green XV. Cult Pens Robert XVI. De Atramentis Ebony XVII. Diamine Purple Bow XVIII. Robert Oster Graphite XIX. Diamine A Night in Jodhpur XX. Waterman Purple XXI. Edelstein Olivine XXII. Diamine Happy Holidays
  7. NickiStew

    Lucy In The Sky With Diamine

    Even though I was a toddler at the time, the music of the Beatles has been an influence on my creative career. I still listen to their music and often refer to my copy of The Beatles Illustrated Lyrics by Alan Aldridge for both pleasure and inspiration. Sgt Pepper, Magical Mystery and Abbey Road are all regularly played in the studio, but it's the White Album that truly fascinates me and so the portrait shots that I chose to replicate of the Fab Four are from circa 1968 when the album was recorded. So what better way to pay homage than to take four of Liverpool's finest musicians and reimagine them with some of Liverpool's finest fountain pen ink?
  8. NickiStew

    Vinta Inks - Range Swatch Test

    A couple of months back, I swatch tested 100 samples from the Sailor Ink Studio range and four new colours from Troublemaker Inks. I was hugely impressed with all of the dramatic chromatic behaviours and their magical effects when used for watercolour painting. So, when Anja Gebler from Papier und Stift suggested that I swatch test Vinta Inks, how could I refuse? Like Troublemaker Inks, Vinta Inks are a small artisan ink manufacturer based in the Philippines. The range currently consists of twenty colours featuring eleven standard inks, 4 sheening inks and five shimmer inks.The inks are all named after people, places and events with further information on the Vinta Inks website. Gold Dust [Piloncitos 1521] - A deep brown earth ochre colour bleeding out browns, greys and feint green blues when dropped onto a wetted watercolour paper surface. A strong gold reaction with bleach. Gold shimmer dust and a strong sheen. Pastel Blue[Julio 1991] - A light blue/purple pastel colour bleeding out dusty pink, grey/blue and light cyan when dropped onto a wetted watercolour paper surface. A neon white reaction with bleach. Silver shimmer dust and a hint of sheen. Pastel Pink[Julia 1991] - A transluscent pink pastel colour bleeding out just a feint hint of cyan when dropped onto a wetted watercolour paper surface. A neon white reaction with bleach. Silver shimmer dust with no sheen. Pink Sands[santa Cruz 1983] - A vivid orange (no pink!) bleeding out yellow when dropped onto a wetted watercolour paper surface. A muted reaction with bleach. Gold shimmer dust with no sheen. Cosmic Blue[Kosmos 1955] - A deep blue bleeding out turquoise when dropped onto a wetted watercolour paper surface. No reaction with bleach. Gold shimmer dust and a strong red sheen. Deepwater Blue[Lucia 1952] - A fabulous blue grey bleeding out feint green blues, grey and pink when dropped onto a wetted watercolour paper surface. A strong white gold reaction with bleach. Hint of sheen. Visual similarities with inks in the Troublemaker and Sailor Ink Studio ranges. Bronze Yellow[La Paz 1985] - A lively hazelnut brown bleeding out yellow browns and feint green when dropped onto a wetted watercolour paper surface. A dull gold reaction with bleach. No sheen. Blue Floss[Perya 1820] - This appears to be a lighter version of Deepwater Blue bleeding out feint grey and green blue when dropped onto a wetted watercolour paper surface. A neon white gold reaction with bleach. No sheen. Visual similarities with inks in the Troublemaker and Sailor Ink Studio ranges. Aegean[Armada 1944] - A multi-tone dusty pink, blue and grey bleeding out green blue, grey and dusty pink when dropped onto a wetted watercolour paper surface. A strong white gold reaction with bleach. Hint of sheen. Visual similarities with inks in the Troublemaker and Sailor Ink Studio ranges. Sea Kelp[Leyte 1944] - A deep khaki green bleeding out browns, greens, yellow and cyan when dropped onto a wetted watercolour paper surface. A gold reaction with bleach. No sheen. Summer Green[Carnival 1908] - A blue green bleeding out browns, greens, and cyan when dropped onto a wetted watercolour paper surface. A gold reaction with bleach. Hint of sheen. Sunrise[Hanan 1964] - A translucent gold yellow bleeding out feint yellow and even a hint of green when dropped onto a wetted watercolour paper surface. A neon white gold reaction with bleach and a strong sheen. Emerald[Carlos 1960] - A dark emerald green bleeding out browns, greens, yellow and cyan when dropped onto a wetted watercolour paper surface. A negligible reaction with bleach. No sheen. Mermaid Green[sirena 1952] - A pastel grey brown bleeding out pink browns, greys and feint green blues when dropped onto a wetted watercolour paper surface. A strong white gold reaction with bleach. Hint of sheen. Violet[Maskara 1890] - A pastel violet bleeding out purples, pinks and turquoise when dropped onto a wetted watercolour paper surface. A strong white gold reaction with bleach. Hint of sheen. Vineyard[La Union 1971] - A deep rich maroon bleeding out pinks when dropped onto a wetted watercolour paper surface. A weak reaction with bleach. Azure[Maharlika 7107] - A deep blue bleeding out turquoise when dropped onto a wetted watercolour paper surface. No reaction with bleach. Strong red sheen. Teal[Andrada 1898] - A seriously dark teal bleeding out green and cyan when dropped onto a wetted watercolour paper surface. No reaction with bleach. Heavy black red sheen. Blue Blood[Dugong Bughaw 1521] - A deep blue bleeding out turquoise when dropped onto a wetted watercolour paper surface. No reaction with bleach. Heavy red blue black sheen. Sikatuna[sandugo 1565] - A deep rich red bleeding out vermilion and pinks when dropped onto a wetted watercolour paper surface. A weak reaction with bleach. Heavy black sheen. This is a compact and dynamic range of fountain pen inks with plenty of colour, variety and personality. Big sheens and subtle shimmers are underpinned with some wonderful chromatic revelations - with some inks demonstrating all three. There is something here for everyone. Tests conducted on Bockingford 200lb rough using a Noodler's Creeper fountain pen. As I only had 3ml samples, some of the shimmer ink tests are lacking a bit of shimmer dust. Just saying.
  9. NickiStew

    Diamine Exclusive - Manggis

    Introducing Manggis. A Diamine extreme sheen exclusive for Pen Gallery. To be honest, I really like this ink. It is extreme in tone ranging from near black to light pinks. I appreciate that most pen users won't ever experience this but the opportunities are there and the base colour together with the metallic green sheen is simply stunning! Available exclusively from Pen Gallery in Malaysia.
  10. NickiStew

    Bloody Brexit

    And yet another Diamine sheen exclusive with a topical name... Bloody Brexit. Whatever your political opinions may be, this is another heavy sheener for Seitz Kreuznach and their expanding collection of 'Bloody'inks! A deep rich blue serious sheening ink, that bleeds out bright turquoise with tiny hints of Royal blue when blended with water. When dry, the concentrated areas dry a heavy metal red. Check out that blot and the squiggles! Depending on your paper surface the ink writes a deep blue with hints of red sheen in evidence. I thought the abstract calligraphy title worked quite well - with messy, angry and frustrated lettering?
  11. I have just returned from 2 weeks cycling in the French Alps and when not on the bike enjoying the scenery, I had the opportunity to test out the new Troublemaker inks sent to me. These are proper duotone shading inks - each ink composed of 2 colours shading one into the other. The wonderful surprise for me is that this limited palette of Milky Ocean, Abalone, Petrichor and Kelp Tea gave me all the colours and tonal depth that I needed at the time. Milky Ocean- A Royal blue that when dropped onto a wetted watercolour paper bleeds out pink, blue and bright turquoise. No sheen in evidence. A strong white gold effect when subjected to bleach. Hints of Sailor 143? Abalone- A deep blue grey that when dropped onto a wetted watercolour paper bleeds out pink, dark blue, greys and green turquoise. No sheen in evidence. A strong white gold effect when subjected to bleach. Hints of Sailor 123 & 243? Petrichor- A deep grey that when dropped onto a wetted watercolour paper bleeds out pink, dark greys and green turquoise. No sheen in evidence. A strong white gold effect when subjected to bleach. Hints of KWZ Lux Grey? Kelp Tea- A deep olive that when dropped onto a wetted watercolour paper bleeds out ruts, browns and greens. No sheen in evidence. A strong white gold effect when subjected to bleach. I'm fully aware that the painting sketches displayed are not graphic representations in terms of colour but here's the point, if I wanted that, I might as well have taken a photograph and left it at that. It's the in-built chromatography of the inks that, for me, make the images. Simple, quick, unique and graphic. No overworking - just as it comes! Instant watercolours! When I set out on this project four years ago, to reimagine fountain pen inks as a creative medium, I had no idea where it would lead. To be able to use one pure and unique medium throughout a journal for both imagery and writing really is the dream come true. Simple, subtle and just beautiful to look at. Great colours. So, if you're looking for inks with great chromatic qualities and a good tonal range that you can write and illustrate a travel, art or diary journal with, these would appear to be made for the job. The sketch book used is a Hahnemühle ZigZag
  12. NickiStew

    Cult Pens Christine And Philip

    Cult Pens have 2 new extreme sheening inks to add to their collection - Christine and Philip. Appropriately named after the two leading lights at Diamine who have created them. When Maureen and Robert were released in 2018 I honestly thought that here are two extreme sheen inks that won't be bettered. Here we have a purple and deep teal, which appear to be the 'in' colours for 2019 but how do they fare? Philip (Purple) has no chromatic qualities and sheens a brown/gold. Christine (Teal) also shows limited chromatic qualities and sheens a deep red. As with Maureen and Robert they are both creative inks and look great when blended together both as pure inks and water blended. The sheens, in my opinion, are not as pretty as Maureen and Robert but in a very strong light that Philip gold sheen does liven up a little. I like Cult Pens Diamines a lot BUT my initial thoughts prevail. These do not have the WOW factor of Maureen and Robert, and in my opinion, these two inks are in a league of their own. Philip and Christine are like a little brother and sister and despite the lack of their bigger siblings WOW factor will still slot nicely into the family. And for the record, there are a lot of similar sheening inks to Philip and Christine out there - many of which appear on this blog! Just saying.
  13. This is the seventh part of my Sailor Ink Studio swatch tests. The swatch cards shown are part of a lovely range of Pinky Browns. Incredible chromatography! Tests on Bockingford Rough 200lb watercolour paper with handwriting using a Noodler's Creeper pen.
  14. This is the final part of my Sailor Ink Studio swatch tests. The swatch cards shown feature the blacks, olives and what can only be described as something magical and truly beautiful. Sailor 027 - A true black with just a hint of grey feathering at the edges when blended with water. A hint of activity in the less concentrated area when bleach is added. A great solid black when used for writing. Sailor 024 - A black with blue greys feathering at the edges when blended with water. A deep sheen in evidence. No reaction when bleach is added. Sailor 023 - A black with purple greys feathering at the edges when blended with water. A very limited reaction when bleach is added. Sailor 970 - A fabulous uneven olive green with plenty of bright yellow feathering out when water blended. A dull gold reaction to bleach. Sailor 670 - An uneven yellow ochre with plenty of bright yellow feathering out when water blended. A dull gold reaction to bleach. Sailor 370 - A khaki green with light yellow feathering out when water blended. A dull white gold reaction to bleach. Sailor 373 - A brown with hints of purple that blends with water and bleeds out greys, purples, pinks and greens. A neon gold effect when subjected to bleach. Sailor 123 - A blue purple that blends with water and bleeds out greys, purples, yellow and greens. A neon white effect when subjected to bleach. Sailor 162 - A blue green that blends with water and bleeds out greys, purples, and greens. A neon white effect when subjected to bleach. So what about that then? 100 Sailor Studio inks swatch tested and what an amazing range of chromatic behaviours to drool over. Simply stunning. I'm not not sure what else to say right now. Give me a couple of months to mull this experience over and I'll post my top 12 favourites. WOW! Please Note: From now onwards, all of my fountain pen ink swatch test reviews will be posted within Inky Thoughts. Following an insightful discussion with the moderators, it was agreed that as my investigations are experimental and tend to highlight the chromatic behaviours of fountain pen inks for potential artistic endeavours, this really is the most appropriate section for them within the FPN forum to post and discuss. Thanks.
  15. This is the tenth part of my Sailor Ink Studio swatch tests. The swatch cards shown are part of a lovely range of what I'm going to call Green. Sailor 160 - A light translucent green with a slight blue hue. Washes well with water with limited chromatography in evidence. Turning a neon white/blue when subjected to bleach. Sailor 767 - A rich mid grass green with yellows in evidence in the watery edge areas. A limited white/blue effect when subjected to bleach. Sailor 967 - A grubby mid grass green with yellows in evidence in the watery edge areas. A dull white/yellow effect when subjected to bleach. Sailor 960 - A deep green with a slight blue hue. Washes well with water with limited chromatography in evidence. Turning a dull white/blue when subjected to bleach. Sailor 760 - A mid green with a slight blue hue. Washes well with water with limited chromatography in evidence. Turning a neon white/blue when subjected to bleach. Sailor 460 - A translucent mid green with a slight blue hue. Washes well with water with limited chromatography in evidence. Turning a neon white/blue when subjected to bleach. Sailor 867 - A proper yellow green that blends easily with water and feathers out yellow at the edges. A sheen in evidence. A dull gold effect when subjected to bleach. Sailor 260 - A light yellow green that blends easily with water and feathers out yellow at the edges. A sheen in evidence. A white/blue effect when subjected to bleach. Sailor 167 - A translucent yellow green that blends easily with water and feathers out yellow at the edges. A neon white/blue effect when subjected to bleach. Please Note: From now onwards, all of my fountain pen ink swatch test reviews will be posted within Inky Thoughts. Following an insightful discussion with the moderators, it was agreed that as my investigations are experimental and tend to highlight the chromatic behaviours of fountain pen inks for potential artistic endeavours, this really is the most appropriate section for them within the FPN forum to post and discuss. Thanks.
  16. This is the ninth part of my Sailor Ink Studio swatch tests. The swatch cards shown are part of a lovely range of what I'm going to call the Grey Greens. The first is arguably more purple in origin but hey! And just check out that chromo in 762 and 462! Sailor 723 - What appears to be a deep muddy purple with green feathering at the outer edges when blended with water. A black sheen in evidence. A neon blue purple green effect when subjected to bleach. Sailor 762 - A deep grey with light greys, greens and purples feathering at the outer edges when blended with water. A neon blue green and gold effect when subjected to bleach. Sailor 462 - A mid grey with light greys, greens and purples bleeding at the outer edges when blended with water. A neon white blue when subjected to bleach. Sailor 964 - A heavy blue green that blends easily with water bleeding out feint blues at the edges. A dark feint sheen in evidence with a hint of white gold when subjected to bleach. Sailor 664 - A mid blue green that blends easily with water bleeding out feint blues at the edges. A very dark sheen in evidence with a white gold effect when subjected to bleach. Sailor 864 - A mid blue yellow green that blends easily with water feathering out feint blues at the edges. A very dark sheen in evidence with a white blue effect when subjected to bleach. Sailor 764 - A deep mid blue green that blends easily with water feathering out feint blues at the edges. A very dark sheen in evidence with a feint blue white effect when subjected to bleach. Sailor 464 - A mid to light blue green that blends easily with water feathering out feint blues at the edges. A very dark sheen in evidence with a feint blue white effect when subjected to bleach. Sailor 564 - A mid blue green that blends easily with water feathering out feint blues at the edges. A very dark sheen in evidence with a white effect when subjected to bleach. Please Note: From now onwards, all of my fountain pen ink swatch test reviews will be posted within Inky Thoughts. Following an insightful discussion with the moderators, it was agreed that as my investigations are experimental and tend to highlight the chromatic behaviours of fountain pen inks for potential artistic endeavours, this really is the most appropriate section for them within the FPN forum to post and discuss. Thanks.
  17. Close Hauled! Painted with Randall Blue Black Fountain Pen Ink using a KUM Memory Point 10 on Bockingford 140lb with line work using a Kaweco Stainless Steel Sport with an extra fine gold nib.
  18. This is the eighth part of my Sailor Ink Studio swatch tests. The swatch cards shown are part of a lovely range of Oranges and Pinks. These are bright! And I mean bright, with the first six colours revealing some striking chromatic behaviour I have not witnessed before. Sailor 230 - A heavy rich bright orange pink that creeps down the card when added to a wetted surface. A pronounced acid yellow is in evidence at the outer edges and in spite of the ink density, bleach works very well, turning neon white. Sailor 730 - A heavy rich bright orange pink that creeps down the card when added to a wetted surface and very similar to 230. An acid yellow is in evidence at the outer edges but due to the ink density the bleach has a negligible effect. Sailor 773 - A rich bright orange that easily blends with a wetted surface. An acid yellow with light pinks are in evidence at the outer edges and bleach works very well revealing a solid gold. Sailor 473 - A rich bright orange that easily blends with a wetted surface. An acid yellow with light oranges are in evidence at the outer edges and bleach works very well, turning neon white. Sailor 173 - This is the lighter version of the 773 and 473. It's very delicate blending easily with a wetted surface. An acid yellow with light pinks are in evidence at the outer edges and bleach works very well, turning neon white. Sailor 130 - A light dusty pink that easily blends with a wetted surface. An acid yellow is in evidence at the outer edges and bleach works very well revealing a neon white. Sailor 731 - A heavy bright pink that creeps down the card when added to a wetted surface. Light pinks in evidence at the outer edges and in spite of the ink density bleach still works turning neon gold. Sailor 431 - A medium bright pink that blends easily with a wetted surface. Light pinks in evidence at the outer edges and in spite of the ink density bleach still works turning neon gold. Sailor 131 - A light bright pink that blends easily with a wetted surface. Light pinks are in evidence at the outer edges and bleach works very well revealing a neon white. All tests on Bockingford Rough 200lb watercolour paper with handwriting using a Noodler's Creeper pen.
  19. As a keen sailor, there's nothing quite like getting stuck into a marine painting. I knew when Randall Blue Black was created that it would be a very good writing ink, but what I didn't appreciate at that time, was how special it is for marine painting too. My scenes from the East Coast of England were chosen to demonstrate the very subtle chromatography, the inherent serendipity and the depth of tonal range that Randall can offer. I used Bockingford 200lb rough watercolour paper as the surface with 4 synthetic brushes of various sizes for all the wash work and my Kaweco Steel Sport with an extra fine gold nib for the very dark detailed line work. For some of the highlight areas I have used diluted bleach and am delighted that those areas bleached out really clean AND... I have been able to go back in again and work over the top! From a purist point of view, I'm particularly pleased, because for some years now, I have been trying to find a natural and seamless progression for fountain pen inks to not just be used for handwriting but also as a credible painting and illustration medium too. To be able to emulate those far eastern art traditions where writing and imagery become a single harmonious art form - bonded together by the single medium. In a way, I'm taking the traditional India ink line and wash genre, which has been used in journal keeping for centuries, but instead of keeping it monochrome or using watercolour paints to add colour, I'm attempting to revolutionise the genre through utilising the serendipity and chromatic behaviours of coloured fountain pen inks which also keeps the genre pure. There's still a way to go but I'm now confident that the goal is achievable.
  20. Here we go then! The 10 Diamine Purples produced exclusively for the Fountain Pens UK Facebook Group. And what a selection to choose from. From red purples sheening green to blue purples sheening yellow. A wealth of chromatic behaviours on show too. The swabs were created on cartridge paper and the swatch tests on Bockingford watercolour paper. For the creatives amongst you, the bleach tests have also proved to be very exciting as the abstract alphabets demonstrate. So, ten fabulous purples to choose from. If you want to get involved and vote for your favourite colour sign up to Fountain Pens UK FB Group. You will also be able to name the ink and get hold of it ahead of general release! More images on website.
  21. NickiStew

    Diamine Smoke On The Water

    Diamine Smoke on the Water. Another German exclusive. A deep rich emerald green with fabulous chromatography and a gorgeous metallic pink sheen.
  22. This is the sixth part of my Sailor Ink Studio swatch tests. The swatch cards shown are part of a lovely range of reds and pinky purples. Once again, what is instantly striking is the dramatic chromatography.
  23. This is the fourth part of my Sailor Ink Studio swatch tests. The swatch cards shown are the second part of an extensive range of blues. These ones are what I'd call the pretty blues. And I think you can see why? Once again, what is instantly striking is the dramatic chromatography.
  24. This is the third part of my Sailor Ink Studio swatch tests. The swatch cards shown are the first part of an extensive range of blues. These ones are what I’d call the dusty marine blues. Any one of these inks or a combination of inks would be ideal to consider for marine painting? Once again, what is instantly striking is the dramatic chromatography.
  25. NickiStew

    A Four Ink Cockerel

    I painted this cockerell using four fountain inks and used him as subject matter because all the colours of his plumage and crop have had to be created/mixed i.e. none of the colours are straight from the bottle. The reason for me posting this is that fountain pen inks (and there are thousands available) are legal to use for art! Yes! They are NOT an offence, there is no need to cower in fear and they are amazingly versatile. More people should be made aware of this! If you'd like to view the time lapse video of this being painted click the link in my sign off below:





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