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Rohrer & Klingner Sepia



Sandy1

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➤ Please take a moment to adjust your gear to accurately depict the Grey Scale below. As the patches are neutral Grey, that is what you should see.
▪ Mac http://www.computer-darkroom.com/colorsync-display/colorsync_1.htm
▪ Wintel PC http://www.calibrize.com/
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/27ddb717.jpg

 

➤ As Photo*ucket has lost the functionality to display linked files as required and includes advertising with linked images, I've embedded the HiRes images. I apologise should that choice slow your display times.

+||+

Fidelity

Figure 1.
Swabs & Swatch
Paper: HPJ1124.
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK195_zpsb58959e8.jpg

Figure 2.
NIB-ism
Paper: HPJ1124.
Depicts nibs' line-width and pens' relative wetness.
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK197_zps35c59070.jpg
L → R: Somiko, P99, C74, 45, Phileas, Prelude.

WRITTEN SAMPLES - Moby Dick
Ruling: 8mm.

Figure 3.
Paper: HPJ1124.
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK203_zps7b560d07.jpg
Paper: Rhodia.
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK202_zps05424258.jpg

Figure 5.
Paper: G Lalo.
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK200_zps9c2c1ee9.jpg

Figure 6.
Paper: Royal.
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK201_zps54172b9e.jpg

Figure 7.
Paper: Staples.
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK198_zps7f0c8ebc.jpg

OTHER STUFF

Figure 8.
Smear/Dry Times & Wet Tests.*
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK196_zps838349ce.jpg


___ ___
* The Review by Member Signum1 shows far less water resistance. https://www.fountainpennetwork.com/forum/index.php/topic/133288-rohrer-klingner-sepia/?p=1319016

 

Figure 9.
Bleed - Show-Though on Staples.
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK199_zps15d07d4a.jpg
Hi-Res Scans:

Somiko on HPJ1124
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK204_zpsacbaea01.jpg

C74 on Rhodia
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK205_zps8f2c66ce.jpg
45 on G Lalo
http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK206_zpse9e18fa9.jpg

Prelude on Royal

http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20RK%20Sepia%202/INK207_zps93e4f604.jpg

GENERAL DESCRIPTION

Type:

  • Dye-based fountain pen ink.

Presentation:

  • Bottle.

Availability:

  • Available when Topic posted.

Daily writer?

  • Possible.

A go-to ink?

  • When a high performance Grey-Brown is desired.

USE

Business:
(From the office of Ms Blue-Black.)

  • Not enough oomph for business correspondence: the low chroma Brown has neither gravitas nor animation, and might be considered indecisive.
  • The strong performance profile of R&KS allows it to be paired with wet pens on copy/print papers to give a darker value, hence taking on the role of a soft alternative to Black.
  • For personal work product, the modest degree of lubricity might not provide the most enjoyable writing experience for those who prefer narrow nibs and use toothy copy/print papers. Adopting a light hand, then choosing a pen with a smooth well-aligned nib and a slightly wet nib+feed should make the writing experience more than acceptable.
  • Unlikely to be mimicked by BPs RBs or other writing implements. R&KS can whisper 'fountain pen' quite loudly, so one's work is unlikely to be mistaken for that of another author. As such, it may do quite nicely for initialing & signing [internal] documents, and in situations where colour-coding is used.
  • As for readability, the ink definitely needs to be run dark enough to suppress the shading. Even then the uniqueness of the colour may be rather distracting. (?)
  • As an alt/aux ink it will handle mark-up & annotation of material in hues other than Black; and line quality across a range of papers supports marginalia from hair's-breadth nibs.

Illustrations / Graphics:

  • For charts & graphs it would be a good pick as an alternate to neutral Grey or Black.
  • Line quality is very high, so it is a fine choice when narrow taut lines are required.
  • As a watercolour, there is considerable potential for blocking-out areas to be overworked with wet media, and for foundation lines. Some dye does come adrift when wet, but that could be easily removed with a wet sponge to leave a clear remnant line.

Students:

  • As for business use above, I'd have reservations about adopting this as a daily writer, yet the performance profile certainly supports oft-mentioned student requirements for water resistance and good performance on cheap & nasty papers.
  • Not sufficiently dynamic for written assignments, and is outside the Blue and Black inks usually prescribed.

Personal:

  • Oh yes . . .
  • As much as I have a penchant for pale translucent inks, R&KS is still very much an 'on purpose' ink.
  • When I do choose this one, it takes a while to finalise my selection of pen & paper to generate the desired appearance. My choices are quite varied: from wet pens on absorbent papers that suppress the shading and give oodles of heft that anchors the words to the page, to an ephemeral flowing appearance to give what's written the appearance of shadows cast on the page.
  • This ink itself is unlikely to hold the reader, so I either make the letter brief or have something exceptional which I choose to understate.
  • I prefer paper formats less than A4 / Letter - likely due to their more personal non-business format, though a few lines on an A4 is fine too. A few times I've used oversize sheets tightly folded to ensconce the few words within.

PHYSICAL PERFORMANCE & CHARACTERISTICS

Flow Rate:

  • Middling.

Nib Dry-Out:

  • Not seen.

Start-Up:

  • Immediate.
  • With confidence.

Lubricity:

  • Just enough.
  • Not dissimilar to iron-gall inks.

Nib Creepies:

  • Not seen.

Staining (pen):

  • Not seen.

Clogging:

  • Not seen.
  • Seems unlikely.

Bleed- Show-Through:

  • A few freckles on the Staples.
  • All other pen+paper combos were greenlighted for two-sided use.

Feathering / Wooly Line:

  • Not seen.

Aroma:

  • Industrial, but still inky.
  • Not noticed whilst writing.

Hand Oil Sensitivity:

  • Not seen.

Clean-Up (pen):

  • Prompt & thorough with plain water.
  • For recently charged pens, the use of a DIY pen cleaning solution of dilute ammonia+surfactant did not release any visible residue after my fussy water-only cleansing regimen.

Blending: :excl:

  • R&K suggests caution when/if blending with Sepia:

"Zur Erzeugung neuer Farbtöne können die Tinten untereinander gemischt werden. Lediglich der Farbton Sepia sollte für Mischungen nur genommen werden, wenn diese sofort verarbeitet und der Füller (falls ein solcher eingesetzt worden ist) anschließend gereinigt wird.

You can mix different [R&K] inks together to create new tones or shades. The color Sepia should be used exclusively for blending, if this is used immediately. Consequently, the fountain pen (provided one is used) must be cleaned right after use."

Archival:

  • Not claimed.

THE LOOK

Presence:

  • Elusive.
  • More in common with drawing than writing.

 

Saturation:

  • Low.
  • A well-inked line is well within range.

Shading Potential:

  • High.
  • Can be suppressed or encouraged.
  • Even narrow nibs can give shading. :)

Variability:

  • Pen+nib combos used:
    • Higher than expected.
  • Papers used:
    • Higher than expected.

Malleability:

  • High.
  • The responsiveness of R&K Sepia can make achieving the desired appearance a bit tricky, yet the very generous performance envelope makes it unlikely that one will run aground during an inky adventure.
  • The choice of paper should take into account the translucency of the ink, as it is quite certain that when the ink is at higher values the base-tint of the paper will be added to the perceived hue of the ink.

PAPERS

Lovely Papers:

  • White.
  • Those with a minimum of optical brightening agents.

Trip-Wire Papers:

  • Dirty whites.
  • Those warmer than Natural White.

Copy / Print Papers:

  • More than just compatible.
  • While the writing experience can be rather austere, for a simple dye-based ink the results are impressive.

Tinted Papers:

  • Iffy, and very dependent on the ink's value and % coverage.
  • I tried a few warm tints to achieve a somewhat 'antique' appearance, but they were not for me, so I held at Natural White, foregoing even the Rhodia 'R' Ivory.
  • The very pale Powder Blue of olde tyme airmail papers held no attraction.
  • Slightly cool papers, such as G Lalo Velin de France or MT Exquisit, gave interesting results, but I think that had more to do with their characteristics other than base tint.

Is high-end paper 'worth it'?

  • Definitely.
  • If one chooses to explore the full range of this ink, then high-end papers are not to be missed.

ETC.

Majik:

  • More than just likely, and it will be subtle.

Billet Doux?

  • Rarely, but possible. (!)

Personal Pen & Paper Pick:

  • The P99 on HPJ1124.
  • The narrow nib gives a generous amount of shading and a low amount of coverage, and is just wet enough to keep what's written settled on the paper.
  • As ever, the HPJ1124 does what it does best - lets the ink+pen take the lead.

Yickity Yackity:

  • Certainly not one of the eye catching 'wow' inks, yet it may appeal to those with a desire for something quite different. After one finds the handle of R&KS, it may be hard to let go.
  • Ah kushbaby, too subtle for you?

== == ==

NUTS BOLTS & BOILERPLATE

Pens:
- Written Samples:
A. Sailor Somiko + TIGP F nib.
B. Pelikan P99 + steel F nib.
C. Pilot Custom 74 + 14K SFM nib.
D. Parker 45 + g-p steel M nib.
E. Waterman Phileas + steel B nib.
F. Sheaffer Prelude + factory stock steel B stub nib.
- Lines & labels: Pilot kiri-same from Pilot 'Lady' + H882 g-p steel F nib.

Papers:

  • HPJ1124: Hewlett-Packard laser copy/print, 24lb.
  • Rhodia: satin finish vellum, 80gsm.
  • G. Lalo Verge de France: natural white, laid, 100gsm.
  • Royal: 25% cotton, laser/inkjet copy/print, 'letterhead', 90gsm.
  • Staples: house brand multi-use copy/print, USD4/ream, bears FSC logo, 20lb.

Other Inks

  • This Review uses the same Written Sample format, atrocious handwriting and some pen+paper combos common to most of my previous Reviews of Brown inks. Consequently, ad hoc comparisons through manipulation of browser windows is supported.
  • Should that functionality not meet your requirements, I welcome your PM requesting a specific comparison. Additional scans may be produced, but the likelihood of additional inky work is quite low.

Imaging

  • An Epson V600 scanner was used with the bundled Epson s/w at factory default settings to produce low-loss jpg files.
  • No post-capture manipulation of scanner output was done, other than dumb-down by Epson, Photobouquet, IP.Board s/w, and your viewing gear.

Fine Print
◊ The accuracy and relevance of this Review depends in great part upon consistency and reliability of matériel used.
◊ Ink does not require a label/notice to indicate (changes in) formulation, non-hazardous ingredients, batch ID, date of manufacture, etc.
◊ As always YMMV, due to differences in materials, manner of working, environment, meteor showers, etc.
◊ Also, I entrust readers to separate opinion from fact; to evaluate inferences and conclusions as to their merit; and to be amused by whatever tickles your fancy.


-30-

Tags: Fountain Pen Ink Review Sandy1 Rohrer & Klingner Sepia R&K Brown 2013

Edited by Sandy1

The only time you have too much fuel is when you're on fire.

 

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thank you for the comprehensive review, it looks greenish gray or more gray than brown on my monitor.

---

I'm a work in progress..

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http://imageshack.us/a/img545/2800/jfcp.jpg

 

(TWSBI 540 - 1.1 Stub ..... Rohrer & Klingner Sepia)

 

Hi,

 

Many thanks for your kind words, and for adding a sample in your exceptionally fair hand. :)

 

The saturation of an ink can be awkward to describe, as it is relative to 'all' other inks. As such, I let the Written Samples speak with the loudest voice.

 

Bye,

S1

The only time you have too much fuel is when you're on fire.

 

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thank you for the comprehensive review, it looks greenish gray or more gray than brown on my monitor.

 

You're welcome!

 

http://imageshack.us/a/img191/8766/jdw5.jpg

 

(TWSBI 540 - 1.1 Stub ..... Rohrer & Klingner Sepia)

 

:lticaptd:

 

Let the hair splitting begin! I told you it is 'elusive'.

 

But really, I knew this would be a tricky one to scan, so went to a friend with far greater experience to do some scans using more advanced hardware & software. The colour achieved with my gear was determined to be as accurate as is practical, considering the downstream vagaries involved, though his scans captured a bit more subtlety.

 

As I wish the Written Samples to support comparison amongst the inks I've reviewed, I decided to use the scans I produced.

 

Bye,

S1

 

__ __

For your amusement: http://www.xrite.com/online-color-test-challenge

Edited by Sandy1

The only time you have too much fuel is when you're on fire.

 

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S1,

 

Thanks for another thoughtful review. I thoroughly enjoy your efforts. If you recall you helped me overcome some of the difficulties I was having with my Snorkel and your impressions of this ink make me think that this one may be just the ticket for that bad boy.

 

Keep up the good work,

 

JasCas

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raging.dragon

I've used this ink a bit and it's one of my favourites for a couple pens which have very wet M nibs. From these pens the ink shades decently while still laying down a reasonably dark line. I also see this ink as grey-brown, I haven't noticed a green tint to it; however, it definetly lacks the reddish tint I see in most brown inks. I've also found that natural white papers are a good match for this ink, with bright white and off white (cream, ivory, etc.) papers being OK.

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it's a lovely ink, and one i use almost exclusively on one of my two agatha christies (the other one is on a dose of diamine oxblood). see here:

 

http://farm4.staticflickr.com/3679/10066278515_fe77736389_c.jpg

Check out my blog and my pens

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The Good Captain

To me, this is the proper colour of sepia. I do have the ink but haven't put it in a pen yet. Some day.

The Good Captain

"Meddler's 'Salamander' - almost as good as the real thing!"

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S1,

 

Thanks for another thoughtful review. I thoroughly enjoy your efforts. If you recall you helped me overcome some of the difficulties I was having with my Snorkel and your impressions of this ink make me think that this one may be just the ticket for that bad boy.

 

Keep up the good work,

 

JasCas

 

Hi,

 

You're welcome!

 

I'm glad you enjoy the Reviews. This one did take a bit of extra effort - R&KS is certainly not a bog standard Blue. As ever, I hope the Replies will add considerable scope & depth.

 

I think you're right about this ink being a good candidate for pairing with the Snorkie, especially as you find the Waverley nib too 'fast', and don't use it as a daily writer. Let us know how it goes.

 

I do intend to add more IRs to the 134 posted to date.

 

Bye,

S1

Edited by Sandy1

The only time you have too much fuel is when you're on fire.

 

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Thank you for the excellent review of one of my most favorite inks. It reminds me of the ink used in vintage letters (17th - 19th century), or at least what that ink looks like now after all of these years.

 

I find it looks best (to my eye) when written with a wet pen, allowing the beautiful shading its full advantage. In a dry pen, it looks like the cleaning rinse from a pen previously filled with black.

As a note - I used R&K Sepia in an ink mix which included another R&K and a bulletproof Noodler's ink without any problem.

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Thanks for the wonderful and thorough review Sandy. This is one of my favorites due in part to it's subtle and ephemeral nature. Jared, I would love to see that blend sometime.

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http://imageshack.us/a/img854/4186/lp0j.jpg

 

(TWSBI 540 - 1.1 Stub ..... Rohrer & Klingner Sepia)

 

 

Hi,

 

I think we all see colour in a somewhat different manner, so some 'wobble' is to be expected. That variance increases as the ink-on-paper original makes its way to your display.

 

I do not pretend that the scans are 'perfect', but am confident that they are fit for purpose. And we have the luxury to have numerous descriptions & depictions of an ink, which seem to be necessary to encompass an ink so elusive as R&KS.

 

Bye,

S1

The only time you have too much fuel is when you're on fire.

 

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it's a lovely ink, and one i use almost exclusively on one of my two agatha christies (the other one is on a dose of diamine oxblood). see here:

 

http://farm4.staticflickr.com/3679/10066278515_fe77736389_c.jpg

 

Hi,

 

Thanks for letting us know your opinion of R&KS, your choice of pen/s, and gifting us with another written sample and the eye candy.

 

Wheee!

 

Bye,

S1

Edited by Sandy1

The only time you have too much fuel is when you're on fire.

 

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To me, this is the proper colour of sepia. I do have the ink but haven't put it in a pen yet. Some day.

 

 

Hi,

 

My sense of Sepia would be a bit warmer than R&KS, but not by all that much.

 

We have Member dcpritch to thank for his astounding two-part 'Sepia Toned Ink Comparison - 32 Inks' which depicts a vast range of those inks that might be considered Sepia, and some that might not. Fortunately R&KS was included in that work. Part One : https://www.fountainpennetwork.com/forum/index.php/topic/209494-sepia-toned-ink-comparison-32-inks/?p=2176436

 

I look forward to reading of your experience with R&KS after 'some day' appears on your calendar. (Tomorrow?)

 

Bye,

S1

Edited by Sandy1

The only time you have too much fuel is when you're on fire.

 

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Thank you for the excellent review of one of my most favorite inks. It reminds me of the ink used in vintage letters (17th - 19th century), or at least what that ink looks like now after all of these years.

 

I find it looks best (to my eye) when written with a wet pen, allowing the beautiful shading its full advantage. In a dry pen, it looks like the cleaning rinse from a pen previously filled with black.

As a note - I used R&K Sepia in an ink mix which included another R&K and a bulletproof Noodler's ink without any problem.

Hi,

 

Many thanks for sharing your opinion & experience with this ink, including success blending with a Noodler's bulletproof ink.

 

My first impressions of this ink certainly had me intrigued, and there was no question that it wasn't a 'simple' predictable ink.

 

I agree there is a somewhat 'antique' aspect to the ink, attributable to the very low chroma, somewhat akin to the appearance of classic Blue-Black inks, and even two other R&K inks: Alt Bordeaux & Scabiosa.

 

I don't anticipate that all so many people share my penchant for pale translucent inks, so may well choose the appearance you achieve from rather wet pens. Yet I don't like to run it so dark that the hue becomes submerged.

 

Bye,

S1

The only time you have too much fuel is when you're on fire.

 

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Thanks for the wonderful and thorough review Sandy. This is one of my favorites due in part to it's subtle and ephemeral nature. Jared, I would love to see that blend sometime.

 

Hi,

 

You're welcome! I'm flattered you think so highly of the Review.

 

Thanks for letting me know there's at least one other Member who also goes in for 'subtle and ephemeral'! :)

 

Bye,

S1

The only time you have too much fuel is when you're on fire.

 

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I was happy with a score of 23 considering my age...see better than average.

Sepia may have been this gray back then....but because of browned photos from big old box cameras, my view is a bit browner.

Got the ink, but not in a pen. Fro two days I had only two pens loaded with ESSR, now have two of the four :yikes: with MB Sepia. Which is somewhat browner.

 

I'd be more tempted to put this in my small gray/grayed ink section.

German vintage '50-70 semi-flex stubs and those in oblique give the real thing in On Demand line variation. Modern Oblique is a waste of money for a shadow of line variation. Being too lazy to Hunt for affordable vintage oblique pens, lets you 'hunt' for line variation instead of having it.

RIP...200's once great nib, now a double ball.:crybaby::wallbash:

 

The cheapest lessons are from those who learned expensive lessons. Ignorance is best for learning expensive lessons.

 

 

 

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