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Iroshizuku Kon-Peki (Deep Cerulean Blue)


white_lotus
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Well, my guess is nearly everyone has heard of Pilot Iroshizuku line of inks, if they have not had the good fortune to actually use them. Visvamitra did a review of all of those inks not so long ago. I've had this ink for some time but only recently worked through a review. Kon-peki is a fairly bright cerulean, or sky, blue. It is not light, but it is lighter in value than Asa-gao and Tsuki-yo. Some people might call this color a turquoise. I don't think it falls quite in that range, but I could understand the comparison.

 

When I used a wetter/wider nib, I got a deeper, richer color. So this is something to consider.

 

These inks come in both 50 ml and 15 ml bottles, and there are three bottle sets of the smaller size. Kon-peki is paired with Momiji (pink/bright red) and Yu-jake (orange) in a set.

 

fpn_1481816931__dscn1663.jpg

 

fpn_1481817212__dscn1664.jpg

 

fpn_1481817245__dscn1668.jpg

 

Not advertised as water resistant, so no surprise that it isn't. I've seen much worse though.

fpn_1481817286__dscn1681.jpg

 

This is a single dye ink.

fpn_1481817321__dscn1670.jpg

 

btw, dcwaites has posted a recipe for a faux PPS using Iroshizuku inks:

1 part Kon-peki

3 parts Asa-gao

0.1 part (or less) take-sumi.

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  • Bo Bo Olson

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Great review, as usual! This is an ink I expected to be as spectacular as Asa Gao, but was overshadowed by Ama Iro. It has slowly grown on me, as shown here there are great variations with different nibs and paper, after migrating poor Kon Peki on three or four pens I think it's finally found a home with an EF FC Ambition, even if inks tend to evaporate a lot on that pen, compare the first F and the final ones.

 

fpn_1481916813__img_20161216_133157.jpg

"The trouble with the world is that the stupid are cocksure and the intelligent are full of doubt."

 

B. Russell

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Thanks for the nice review. Wetness and/or nib width sure do play a big role here. Glad you stressed that!

 

Mike

Life is too short to drink bad wine (Goethe)

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Thanks for the review. I keep meaning to try the sample I have of it but something always seems to get in the way. In particular, I want to compare it to Ama-Iro, which I rather liked, and some other inks in that color family.

Ruth Morrisson aka inkstainedruth

"It's very nice, but frankly, when I signed that list for a P-51, what I had in mind was a fountain pen."

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  • 3 months later...

I am currently writing with kon-Peki and just love it. (M800 fine nib) I'm in sales and use it for business correspondence. It's just enough different from the basic blue or blue black inks to stand out. It behaves beautifully and dries pretty quickly. Having used private reserve and 4001 previously I am totally sold on Iroshizuku inks. (They weren't bad inks... this is better tho)

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  • 4 years later...

I'm new to Japanese inks because they are over my price limit, and Kon-Peki E-29 came in at GvFC level; well over my limit.

(Before Amazon started air freighting Japanese inks to Germany, they were going for E70 a bottle...now E-22-29.)

 

But shoveling  money over my shoulder on LE 200 Petrol....swung the shovel the second time for Kon-Peki.

 

Paper Clairefontaine Triomphe.

 

I did not get the color Senzen showed in his EF's, but I was using fatter nibs, which should lay more ink....should.

 

In my Lamy '50-60's sub-brand Artis Ballit, a medium-small (then a popular size in Germany) regular flex F.  (Japanese soft...the other two 200's nibs are also.)  It had shading, which I was looking for. It wrote with a nice clean line having looked at it with my 1 1/2"(7cm) thick honking big magnifying glass. A somewhat dark blue....a solid color and some shading, some letters not every letter in a word.

 

I do not know how wet the nibs of the Artis pens are reputed to be.

But it was Lamy, designed for Lamy ink, which is near to Pelikan in dryness.

So I could be doing apples and pears. I don't know how wet or dry Pilot pens write, just that they are narrow nibbed.

 

In a wet nib B, of a Pelikan 200 it was a much brighter shade of blue than the F nib, shaded still a bit; not as much as the '50's F nib.

UNFORTUNATELY, there was a slight woolly line. Vintage, semi-vintage and the 200's tend to write with a nice clean line.

 

I just changed  nibs down from B to a Pelikan 200's M.

Like watching our passed Sandy1's nib width magic on different good papers. On Just... Clairefontaine Triomphe.

It looks like three different inks.

 

F is somewhat dark as a nice blue, with minor shading, that shows because it writes darker, so the lighter shading is subtle and viable.

 

B was 'cheerful' bright, some shading and a slight woolly line.:(

Near Senzen's color but darker because the line is much thicker.

 

I had expected M to be in-between and it defiantly wasn't....is much paler than B much less F, light blue heading towards turquoise. Shading has to be looked for because of the light color but is there and it writes with a nice clean line.

 

This ink dances to a western '50's F.

 

If wanting a light blue, the M.....unexpected, & if I want near that shade I do have turquoises, that take the wonder of what ink is this out of the question.

 

B was a major disappointment due to the woolly line...color was nice enough; but fails because it's  B nib is too wet for the ink and gives a slight wooly line.....of course if you don't own a honking Big Magnifying Glass this won't bother you .

 

I'll use up the ink in the now M nibbed pen, but will stick to vintage F or 200's  F or (Japanese M) for this ink.

 

I am OCD against woolly lines and feathering. So the wet Pelikan B got down graded like any ink that  makes a woolly line of better paper.

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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I use it in my 823 with a medium nib and the combo is so perfect - it writes wonderfully and the shading is just so beautiful! Really once you find the right pen for it, it's an amazing ink!

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I love Kon-peki.  It's such a beautiful blue.  And IMO is better behaved than the darker Asa-Gao (which I tried early on but found to be drippy: write a page and watch a blob of ink drop roll down the nib; write another page and the same thing happened...).  

Ruth Morrisson aka inkstainedruth

"It's very nice, but frankly, when I signed that list for a P-51, what I had in mind was a fountain pen."

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2 hours ago, EmJ said:

823 with a medium nib. B)

Vintage and semi-vintage Western F is what I thought when I inked up that old German regular flex F.

 

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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The thing with Kon Peki is that it can be fiendishly difficult to capture the colour, many cameras veer into purple when it's clearly a greenish blue; and it can produce dramatically different hues depending on the pen. From left to right this is the same ink in an EF Studio, an M Carène and an M Metropolitan:

 

spacer.png

"The trouble with the world is that the stupid are cocksure and the intelligent are full of doubt."

 

B. Russell

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That is the three colors  I got with three different nibs....on a single paper Clairefontaine Triomphe.

Having read Sandy1 for a decade or so, could have expected that on different papers not all on one.

 

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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