Iron Gall Ink damage

Platinum Classic Iron Gall inks

I love ink. One of the main reasons I love fountain pens is that I have a virtually limitless selection of ink colours available to use with these pens. However, I also realise that practicality plays a part. Much as I like unusual, light coloured inks, I don’t use them as often as I use darker or stronger colours. I’m fortunate in that, as a PhD student and university teacher, what I can deem “practical” is much broader than people in many (perhaps most) other fields. I am always excited when I see new inks which combine interest with practicality though. I was therefore delighted to receive samples of Platinum Classics inks to review.

Citrus Black with the Lamy Charged Green Al-Star
Citrus Black with the Lamy Charged Green Al-Star

Platinum have recently released a set of six inks which have some interesting and unusual properties: the Classic blacks range. These inks are “made by a traditional Japanese method which only Platinum still use.” They are iron gall inks and so oxidise over time so the ink darkens. The change is visible initially, especially if you put a lot of ink down on the paper. As it dries, it darkens dramatically. This process of darkening continues less visibly over a longer period.

Platinum Classic inks
Platinum Classic ink swatches

Cult Pens, on e of my favourite source for all things stationery, sent United Inkdom some inks to test out for review. You can see the products here. There are six colours in the Platinum Classics ink range: Citrus Black, Cassis Black, Forest Black,Khaki Black, Lavender Black, and Sepia Black. They are available from Cult Pens for £21.99 per bottle.

Cassis Black

Cassis Black starts out, unsurprisingly enough, the colour of blackcurrant juice, a bright pink-red. It dries to a deep pinky red. I am not a fan of pink at all, but this colour has enough depth to appeal to me regardless. I can see a bottle of this becoming the only pink ink in my collection.

Cassis Black
Platinum Classic Cassis Black

Citrus Black

Citrus Black is an unusual colour, which reminds me slightly of J. Herbin Vert Olive. Unfortunately, I don’t have a bottle of Rohrer and Klinger Alt-Goldgrun which I think might be the closest comparison. Citrus Black starts off a bright yellow with green tones, and dries to a dark greenish gold. It’s one of the most dramatic of the colour changes because it starts off so light in colour. I’ve been getting more and more fond of these sorts of acid greens lately and I like Citrus Black a great deal.

Citrus Black
Citrus Black swatch

 

Forest Black

Forest Black is a dark, deep green which changes the least in the initial minutes of oxidation. It starts off dark and gets a little darker over time. There’s a depth to this colour, like all the Platinum Classics, which gives this colour a real richness. In a pen, especially with a fine or extra-fine nib, I think it would be difficult to distinguish this colour from black. That in itself might make it appealing.

Forest Black
Forest Black
Forest Black
Forest Black

Khaki Black

Khaki Black is a deep, rich warm brown (and not very khaki-like at all, in my opinion). It’s very deep and reminds me of leather- it looks like it should be warm and supple to the touch. I don’t have much need for brown inks, but this is lovely and, like the Cassis Black, I can see it becoming an exception to my (not at all strict) rules. The swatch below also shows the shading of this ink, where a single pass with the brush in the lower left is a much lighter colour.

Khaki Black
Khaki Black

Lavender Black

I suspect Lavender Black will be the general favourite of these inks. It’s a deep red-purple and reminds me of Diamine Tyrian Purple, but Lavender Black is richer and deeper. I think this will prove to be a popular addition to all those purplophiles’ collections (that’s totally a word).

Lavender Purple
Lavender Purple

Sepia Black

Sepia Black, like Forest Black, starts out dark and darkens further as it is exposed to the air. This is a very dark brown, almost black but it’s slightly cooler toned than Khaki Black, with the tiniest hint of green. The depth of colour, again, could tempt me to get some brown ink after all.

Sepia Black
Sepia Black

Iron Gall Inks

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Medieval manuscript
Iron gall ink damage to a medieval illuminated manuscript

As a historian, I find iron gall inks both fascinating, and worrying.

Historically, scribes made this ink by extracting tannic acid from oak galls (caused by gall wasp larvae on trees), mixing it with iron sulphate and binding it with gum arabic (there are variations on this recipe). The result was a very dark purple or brown ink which darkened over time as the iron oxidised. It was easy to make and water resistant so it became very popular in the Middle Ages. It was eventually replaced, after nearly 2000 years of use, in the twentieth century when other waterproof inks were developed.

Medieval and Renaissance iron gall inks sometimes damaged the paper on which they were used. This damage takes a long time to take effect, but has, in the worst cases, destroyed the manuscript. The acidity of the ink could eat through the paper and cause it to disintegrate. This is well illustrate in the image to the left, where the ink has eaten through the manuscript almost everywhere it was in contact with the paper or parchment.

Fortunately, modern iron gall inks are made to a different recipe and should not cause any damage to paper, or fountain pens. Modern manufacturers are aware of the potential pitfalls and have compensated, using different acids which are fully oxidised on contact with the air so they don’t damage the paper. That being said, Cult Pens recommends not leaving Platinum Classics inks in your fountain pens for extended periods of time so be aware. It’s better safe than sorry, especially with a beloved pen!

2017-05-06 10.02.45

KWZ ink: Azure #5, Green #3, Foggy Green, Blue-Black reviews

I delightedly receivved some samples of KWZ ink from the lovely people at Pure Pens as part of a meta-review for United Inkdom. KWZ inks are made by Chemistry PhD student Konrad Żurawski in Poland and come in a variety of colours and types, including iron gall and waterproof varieties. I’m reviewing some green and blues here. 

KWZ inks
KWZ blue and green inks

Azure #5

Azure #5 sample
Test of Azure #5 with glass dip pen

Azure #5 is surprisingly dark for the title “azure” but it’s a lovely, saturated dark royal blue. It reminds me of Diamine Majestic Blue but without the red sheen. It’s definitely a colour that you could use for more formal situations where a restrained, but still a little interesting, ink is called for. It’s a nice, wet ink, but I don’t see it replacing Majestic Blue for me.

KWZ Azure #5
KWZ Azure #5 swab on watercolour paper

Green #3

KWZ Green #3
KWZ Green #3

Again, this is a nice, solid dark-ish green without sheen. There’s some nice shading with it, and it’s free-flowing and wet. It’s not hugely exciting though. It’s a little darker and less blue-toned than Robert Oster Emerald, as you can (hopefully!) see from the side-by-side below.

KWZ Green #3
KWZ Green #3
Robert Oster Emerald ink
Robert Oster Emerald

 

 

 

 

 

 

 

 

Foggy Green

KWZ Foggy Green
KWZ Foggy Green

Foggy Green is a far more unusual ink than the previous two. It’s difficult to describe, and I suspect the pictures don’t convey how it really looks. Even the name doesn’t suggest, to me at least, the real colour. It’s a very dark green, with a grey rather than black tone. The written sample (using a glass dip pen) is very dark, but still definitely grey-green rather than black. The grey tone is more apparent in the swab below, and is what stops it seeming black.

KWZ Foggy Green
KWZ Foggy Green swab on watercolour paper
KWZ Foggy Green
KWZ Foggy Green: close up

Blue-Black

I’m not a blue-black fan. I’ve tried a few (Diamine Twilight, Pelikan Edelstein Tanzanite) but can’t quite get on board. I like my blacks to look like the staring void. I like my blues bright and interesting. Blue-blacks are the worst of both worlds. However, I was pleasantly surprised with KWZ Blue-Black.

KWZ Blue-Black
KWZ Blue-Black

Like Foggy Green, it’s a grey-toned colour, but very dark in the glass pen writing sample. The colour of the swab shows the lovely shading of this ink best.

KWZ Blue-Black
KWZ Blue-Black

My one concern about KWZ inks is the smell, though. Foggy Green and Blue-Black in particular smell very strongly. It disappears by the time the ink dries on the paper, but the wet ink reeks. Even just opening the sample bottles (which contain about 4ml of ink) releases a horrible chemical smell. It’s a strange, plasticy, synthetic smell that lingers for a few minutes after filling the pen. It’s off-putting, but at least it doesn’t last.

Rober Oster Emerald

Robert Oster Signature Inks Claret and Emerald review

There’s been some buzz around Robert Oster inks recently. Made in Australia, they’ve been difficult to find in Europe and North America until recently. In the UK, you can buy them from Izods Ink, who kindly sent samples for this and the other reviews for United Inkdom.

I received Claret and Emerald to review. I’ll confess that when I first received these ink samples, and did a quick swatch of each to get an idea of the colours, I was underwhelmed. Both of them seemed dull and lacking vibrancy. I had hoped that the Emerald would be a bright, dark green, and the Claret a rich red purple. The swatches showed an unexciting dark green, and a dark, greyish purple. Revisiting them a few days later, and creating new swatches, I find I’ve warmed to them a little.

Robert Oster Claret

Robert Oster Claret swatch
Robert Oster Claret swatch

Of the two, I was most keen to try Claret. I always like purples and dark reds, and I hope this would fall into both categories.

It’s dark indeed, and has some depth. I didn’t seem any shading when I tested it with a glass pen but you can see there’s quite significant variance in colour from the swatch. I bold- or stub-nibbed fountain pen might make this clearer.

Robert Oster Claret writing sample
Robert Oster Claret writing sample

 

 

 

 

 

Robert Oster Emerald

Emerald has really grown on me. Although I didn’t find it very exciting at first, on my second look at it, I appreciate the richness and jewel-tones of this ink. As you can see from the photo, there’s a huge variation in the colour: from bright green to almost black. As with the Claret, this wasn’t visible with the glass pen, but will be with a fountain pen using a broad or stub/italic nib. Anything which puts down a lot of ink should show this shading.

Robert Oster Emerald writing sample
Robert Oster Emerald writing sample

 

Verdict

These are nice inks, and have great shading potential. The Claret is a little unexciting, but the Emerald is lovely. I can see me using both, though I doubt I’d buy Claret as Diamine Grape and Tyrian Purple, and Pelikan Edelstein Amethyst cover all my dark purple needs. I don’t have anything quite like the Emerald though, so that’s one I’d consider. The other United Inkdom reviews show that the Robert Oster teal and turquoise inks are pretty special- and I am keen to try out Fire and Ice which looks pretty special.

 

[Please excuse the rather dark pictures. It’s been a very dark and gloomy weekend in Edinburgh and there’s just not been enough natural light to take good photos!]

Shimmertastic

Diamine Shimmertastic Inks review

I was excited to receive four bottles of Diamine’s new Shimmertastic inks to review. This is part of a meta-review from United Inkdom.

I was sent:

Swatches of four Diamine Shimmertastic inks
Shimmertastic Ink swatches
  • Golden Oasis
  • Tropical Glow
  • Blue Flame
  • Lilac Satin

I was particularly happy to get my hands on Tropical Glow, as I love teal and turquoise inks, and Golden Oasis as I am also very fond of this shade of green.

Golden Oasis

This is a mid-green with golden shimmer. It proved to be one of my favourites of this set. It’s a cheerful, leafy green which isn’t a million miles away from Diamine Meadow. The golden shimmer is subtle but visible. The particles are very fine and a gentle agitation is all that’s required to stir them up if the pen has been lying unused for a while.

Golden Oasis swatch
Golden Oasis swatch

It’s difficult to capture the sparkle of this ink with a camera, especially in Scotland in late December when there’s not a whole lot of natural light to reflect.

Gold particles visible
Gold particles visible
Golden Oasis on Tomoe River Paper
Golden Oasis on Tomoe River Paper from a Hobonichi Techo Cousin diary

 

Tropical Glow

This is a beautiful deep turquoise ink with silver sparkle. The ink alone is almost identical to Diamine Marine, my favourite every day ink. It’s brighter than Yama Dori and without the amazing sheen of that ink, but as a result is a more usable ink. The silver shimmer, like the gold, is fine but catches the light well.

Tropical Glow swatch
Tropical Glow swatch
Silver sparkle in Tropical Glow
Silver sparkle in Tropical Glow

 

Tropical Glow on Tomoe River Paper
Tropical Glow on Tomoe River Paper

 

Blue Flame

Blue Flame is a deep blue with gold shimmer with a hint of red sheen. I found it to show the shimmer the best of the four, perhaps because it is the darkest ink and contrasts the sparkle better.

Blue Flame swatch
Blue Flame swatch
Blue Flame with golden particles
This looks like a chunk of lapis lazuli
Blue Flame on Tomoe River Paper
Blue Flame on Tomoe River Paper

Lilac Satin

This is a light, bright purple with silver shimmer. I expected to like this more but perhaps it was just that it is too light for me. It is a colour lots of people will love though.

Lilac Satin swatch
Lilac Satin swatch
Silver sparkle in Lilac Satin
Silver sparkle in Lilac Satin
Lilac Satin on Tomoe River Paper
Lilac Satin on Tomoe River Paper

 

These are lovely inks and I will definitely be investigating some of the other colours in this range. They are not as spectacular as Herbin’s Anniversary inks but they are consequently more usable. They are affordable for everyday use and the sparkle is subtle enough to brighten up your writing without making it look like there was an explosion in a glitter factory. Only Blue Flame showed any sheet and the shading is minimal on all four.