The Scrikss pen arrived on my doorstep from United Inkdom. It was not a manufacturer I was aware of before, and I have not uncovered much information beyond the basics about them subsequently. This may be because the company is Turkish and there is limited info in English. However, they are well-established (making pens since the 1960s), and the model 35 which I have tried out here is a decent pen. I was only able to find one UK stockist for the brand, but Andy’s Pens don’t carry this model at present. It’s therefore difficult to give an idea of what this pen costs. Similar models retail below £40 and my best guess would be that this model would set you back in the region of £35, if you can find it.
It’s a nice looking pen, elegant and understated. The titanium finish is a deep grey. The high shine makes it a little difficult to photograph. It can look almost black if it’s not in good bright light. The chrome trim and clip make a pleasant contrast to the dark grey body. It could easily be used in a work setting- it’s an unobtrusive pen, unlikely to offend even the most staid and unreasonable office colleague. It definitely looks like a more grown-up pen than a Lamy Safari or Al-Star. It’s slim and smooth, altogether more elegant. The pen also comes in a chrome finish, which I am sure would be equally sophisticated. While it does look good, it may be a little uninteresting for those of us who like a bright coloured pen or something a bit fancier. If you like to match an ink to the pen, Diamine Graphite might be a good bet here.
It’s a smooth writer for what I assume to be a steel nib (it’s certainly not gold) and pleasant to use. The nib does not indicate the width, but I’d put it at medium. I’ve had it inked with Organics Studio Walden Pond Blue and found it to be pretty reliable. It writes fairly wet, which works with a strong sheening ink like WPB. Although the cap can be posted, I didn’t like the feel of the pen when I did this. It felt slightly off balance, and like the cap was insecure posted. Objectively, it was perfectly securely placed, but it wasn’t comfortable for me this way. I almost always post my pens so this was a little unusual for me. Your mileage may vary.
My conclusions on this pen are that it is a nice, smooth writer with elegant looks at a reasonable price. However, it’s a little uninteresting to me and I think I’d neglect to use it if it were part of my collection. It’s just a little too business-like for my tastes. Perhaps I’ve been spoiled by the bright colours of Lamy Al-Stars and Faber-Castell Looms? That, however, may be a great recommendation for others! I’d be interested to see different models from this manufacturer though, and I hope that more UK stockists have a look at them.
I’ve said before, but traveller’s notebooks (TNs) continue to be extremely popular. They offer a degree of flexibility bound notebooks cannot. After some hesitation, I took the plunge and am currently using a personal size TN daily, and a passport size less frequently. I was excited to try out an A5 though. Start Bay, based on the South Devon coast, offered a sample of their A5 Navigator cover to United Inkdom for testing.
The Navigator is a large TN. It’s 160mm x 225mm x 25mm and so it comfortably accommodates several wide A5 (145mm x 210mm) notebooks. Start Bay themselves state that it will hold 4 notebooks (it has 4 elastics at the spine) but you could easily rig it up to hold more than that. If, for example, you were using slim notebooks like the Taroko ones I previously reviewed, you would want to add in a lot more than 4. (There are lots of YouTube tutorials to help you out if you’re not sure how to do this.) Its size is a huge plus point for me. You can fit a hardback notebook, like a Leuchtturm, in here with plenty of room to spare. This would be a useful way of managing a bullet journal with separate collections notebooks, for example.
The Navigator is made from hard-wearing full grain leather which will handle a potentially large amount of paper inside. The leather is 3mm in thickness and is stiffer than many TNs available. I currently have the slim Taroko notebook, a slim Filofax Flex notebook, and a heavier Midori MD Notebook – A5 Plain Paper. This combination leaves plenty of room (it only uses 3 of the 4 elastics). You could easily fit a Leuchtturm 1917 or even a Moleskine notebook (if you can bear Moleskine’s terrible paper) along with other items. However, it does make this a moderately heavy item to carry around. Mine currently weighs about 22oz/650g, without hardback notebooks in it.
The size is a big plus for this TN. The otherwise good Paper Republic cover was let down by its awkward size. By making the TN itself A5, Paper Republic have drastically restricted the availability of notebooks to go with it. Start Bay have avoided this important pitfall by making a cover into which A5 notebooks will fit. This is not only much more convenient, it also conforms to what people expect from a cover marketed as a standard size.
The Navigator is a classic, elegant design. The simplicity of the design means you could almost certainly use it in a work environment if you wanted to. They offer four colours of leather: original dark brown, mellow mid-brown, statement Sahara, and chic tan. They are also available etched with Paisley pattern.
The leather is full grain. It may include small “imperfections” and it will pick up scuffs and dents are you use it, but because the leather is good quality, this adds character rather than making it look scruffy. I think it will age well. It certainly feels like it will cope with being a bit bashed around in a bag. The thick, stiff leather makes me feel like I don’t have to be especially careful with it, the way I do with my softer leather TNs, where scuffs are more noticeable.
These covers are available from Start Bay for £48 (£58 for Paisley) which is very good value. These are high quality leather covers which will last. They are large enough to accommodate big notebooks and as many of them as any sensible person could need! Start Bay don’t try to trap you into a non-standard sized insert, so you can fill the cover with whatever notebook you’d like. They don’t even manufacture tehir own inserts (though you can buy some, like Rhodia and Clairefontaine, through their website. You can therefore manage the on-going value of your TN yourself.
The Diamine Shimmertastic inks range has recently been expanded with some new colours. As the marketplace for shimmer inks gets busier, these 8 new colours are a welcome addition. These are more unusual colours and shimmer pairings which, I think, will prove popular. Diamine kindly sent United Inkdom members samples of the new range to try out. Here’s my verdict in (approximately) spectrum order.
This is a particularly nice ink and a great addition to the Diamine Shimmertastic range. The base ink colour is a dark purple-black with blue tones. The shimmer is silver (it looks bluish to me but that might be a reflection of the ink itself).
This is the sort of ink that is practical as well as a little flashy. I’ve been using it in a Jinhao x750 and am enjoying the results. On the page, the ink is lovely. It’s nice and dark but with lots of character, and the shimmer works perfectly. Even in the fine nib of the Jinhao, the shimmer is set down evenly.
Clogging is a perennial fear in some quarters with shimmering inks. With these one from Diamine, I have found that if I leave the ink in the pen for several days without using it, I get hard starts. However, a few moments of work will get it going again. I’ve not experienced anything that could reasonably be called clogging.
This is a lovely, cheerful cobalt blue with a slight red sheen visible at the edges. The shimmer is golden which works perfectly.
I was really impressed with the colour of this ink, and would be tempted to get some even if it didn’t have the shimmer. It’s similar to Diamine Majestic Blue, but the latter is a little darker. The red sheen, which I hope is visible in the photo, is subtle but wonderful.
The Arctic Blue swab was the single most impressive of the Shimmertastic inks. This ink is a cooler-toned blue than Cobalt Jazz, with a more pronounced red sheen. As you can see, the sheen showed not only at the edges but across the middle of the swab. The shimmer is silver.
I’ve been using this ink in a Lamy Al-Star with a 1.1 stub nib. Again, it caused a few hard starts if left for several days, but no clogging. The 1.1 nib helped to show off the sheen and shimmer of this ink. It’s definitely one which benefits from a nib that puts down a lot of ink. When writing, some papers show up the red sheen particularly well (Tomoe River paper being the obvious candidate).
Spearmint Diva is a bright blue-green with silver sparkle. There’s a slight hint of dark red sheen at the edges too. It’s similar to another Diamine Shimmertastic: Tropical Glow. Spearmint Diva is more green than that though. It’s also similar to Diamine Marine, one of my favourite inks, though the latter does not have shimmer or any sheen.
It’s no secret that I’m a big fan of these blue-greens, teals, and peacock colours. Spearmint Diva is no exception.
This is a rich green ink with gold shimmer. Again, this ink has some sheen visible at the edges of the swab. I haven’t found that it shows up when writing, even with Tomoe River paper, but others may have more luck.
Diamine Shimmertastic range has another green ink with gold shimmer, Golden Oasis, but the new Golden Ivy is a darker ink.
Citrus Ice is a gorgeous, warm orange with silver shimmer. The combination of orange in silver is unexpectedly pretty.
Firefly is just gorgeous! It’s a saturated red with gold shimmer. It’s warm and rich, very slightly orange-toned.
Wine Divine is another lovely colour. It’s a dark, wine red (as you might expect) with gold shimmer. The ink itself is a lovely warm burgundy colour. Diamine already do a mean range of wine-coloured inks. My current favourite is Syrah, but there’s also Claret and Merlot. Wine Divine is a great addition to that cellar.
Pink is a colour you either love or you hate, it seems. I’m not fond. That said, this is probably the most tolerable pink ink I’ve seen. It’s a strong, saturated colour that’s on its way to red. The silver sparkle in it works well.
This is a lovely red-toned purple ink. It’s darker than I expected with a name like “orchid” but that might just be me! The silver shimmer definitely gives it a “frosted” look. The contrast of the warm ink colour and cool shimmer (as with some of the other Diamine Shimmertastic inks) works really well.
I can imagine this would be a popular festive ink for those wanting to avoid red, green, and gold.
Overall, these inks offer genuinely interesting additions to the Diamine Shimmertastic inks range. The variety and interesting sheening properties, combined with great value for money (a 50ml bottle costs £8.95), makes these a really good option for adding some sparkle to your writing.
Sparkling and shimmering inks are a Big Deal right now. It started with J. Herbin’s 1670 Anniversary ink, Haematite, which is a lovely, deep red with a subtle gold shimmer. Further Anniversary inks followed. Most notable of these was Emerald of Chivor, an amazing dark teal with red sheen and gold shimmer. Diamine brought out some of their own shimmering inks a few years after Herbin, some of which I reviewed here. Now de Atramentis are getting in on the act, with their own pearlescent inks.
So, if shimmer inks are a big deal, are we reaching saturation point? (Excuse the pun.) Well, de Atramentis have introduced a little innovation here. Herbin and Diamine have produced ink with a complimentary shimmer colour, but de Atramentis offer a choice of shimmer. Each of the ten ink colours in the pearlescent range is available with gold, silver, or copper shimmer.
The first thing that I noticed on making ink swabs was the sheer amount of shimmer particles in this ink. There is so much more than Herbin or Diamine inks. For many people, this will come as good news. This shimmer is not subtle!
A word on pen hygiene. Many people are reluctant to put shimmer inks in their pens for fear of clogging. I am not overly concerned about this, but I don’t tend to put this in my best pens. I have never had a problem with clogging in my Lamy Al-Stars though, even when I’ve left it in them unused for weeks. The significantly higher concentration of shimmer particles in these inks may make me a bit more reluctant to leave it in pens for a long time.
De Atramentis have kindly offered United Inkdomsome samples of these inks for review. Pure Pens carries some of the colours to buy.
The base ink here is a medium green which works well with all three of the pearlescent shimmers.
As you can see from the picture, the different coloured shimmer makes quite a difference to the look of the ink.
Heliogen Green Copper
The contrast of the warm copper and green is really lovely and quite unusual. The de Atramentis inks have a LOT of shimmer particles in them so the effect is easy to see, especially so with this combination. I am not sure this is something I would have bought had I not seen it in action first. However, having used it, I am pleasantly surprised at how well the combination works.
This is another lovely contrast of warm and cool. It is less strikingly unusual and could be compared it to Diamine’s Golden Oasis. Diamine’s offering uses a lighter coloured ink and has a more subtle shimmer, though.
Green and silver are a nice combination, and to my mind, a bit festive.
The base ink here is not accurately described as cyan, but is a lovely royal blue.
The Copper shimmer again proved to be a successful and surprising combination. The contrast between the blue and the orange copper is beautiful.
The blue and gold is beautiful too, and reminiscent of Ancient Egyptian art with its use of gold and lapis lazuli. A sort of Ink of the Pharaohs?
This was my favourite of the samples I tested.
The silver shimmer works really well with the blue ink. It looks like an icy pool in the swab sample. The colours compliment one another very well.
Like the green, the blue and silver combination really shows how much shimmer these inks have.
I expected to like the Brilliant Violet inks more than I actually did. I didn’t feel that any of the shimmer colours went well with the shade of ink.
Brilliant Violet Copper
The contrast between the purple ink and copper shimmer did not do it for me. Unlike the contrast with this shimmer and both the Green and Cyan ink, this created a bit of an odd ink that I can’t imagine ever wanting to use.
Brilliant Violet Gold
This is nicer than the Copper. Purple and gold are a classic pairing.
Brilliant Violet Silver
Purple and silver are also a good pairing, and I’m sure this ink will have some fans.
I only have a sample of Amber with Gold, so I can’t compare to the other shimmer colours, but it’s rather lovely. It looks very pale and transparent when the ink first goes down on the paper but it dries quickly to a lovely warm yellow. The gold shimmer with that shade is quite beautiful.
The Taroko A5 notebook is a great way to get a hold of some Tomoe River paper at a less-than-eye-watering price. For fountain pen enthusiasts, Tomoe River paper needs little introduction. It’s super lightweight but resists feathering and bleed-through like a much heavier paper. Through some paper alchemy, it’s also fantastic at showing off the sheen of inks.
The Taroko Design notebook uses this legendary paper. Bureau Direct were kind enough to send some of us United Inkdom reviewers a sample notebook to take for a test drive. The one I’m reviewing here is the A5 size with lined paper. It’s also available in traveler’s notebook sizes, with plain and dot grid paper.
The notebook is proper A5 proportions so will sit nicely with an A5 traveler’s notebook or alongside a Leuchtturm or other A5 notebook.
It contains 64 pages (32 sheets) of paper
It’s made with 62gms Tomoe River paper which is the slightly heavier of the two weights this paper is usually found in.
It’s staple bound
This isn’t a cheap notebook at £7.95 but the premium price is due to the premium paper. Tomoe River isn’t easy to get a hold of in Europe
The notebook isn’t much to look at from the outside. The lined version has a black cover (the dotted is brown and the plain blue). It’s a sugar (construction) paper cover which won’t take a lot of battering about. It’s clearly designed to be used with an additional cover. As it is, this won’t protect the insides from folding, tearing, spills or general bashing. It does keep the total weight and width down though.
I’d never normally choose lined paper if dot grid or even plain was available. The lines are never the right width! The Taroko lines are a comfortable 7mm apart. Were I to buy one, I’d still choose dot grid, but I found the lined to be surprisingly pleasant.
The real pleasure with Tomoe River paper is the writing experience. The paper is smooth and light. Fountain pen ink can take a little longer to dry on this paper so be prepared for that. But also be prepared to see your ink like you’ve never seen it before.
I can also say, as someone who harbours the guilty pleasure of writing with ballpoint pen on sugar paper, this notebook would also be fun with ordinary pens.
I dropped some ink on the notebook while writing this review, just to see how it handled it. 12 hours later (TWELVE HOURS) it’s still not quite dry. Of course, this isn’t the usual amount of ink a pen, even a wet pen, would put down. Left-handed writers might want to think twice about this paper.
I really like this notebook but with some caveats. It is an absolute pleasure to write on. However, at £7.95 it’s a bit pricey. I suspect this would make me hesitant to use it and it might sit around for rather a long time while I waited for the perfect use for it. The soft cover also means that it would be better used inside an additional cover to protect it. All that said, Tomoe River paper is unparalleled and this notebook is a great way to try it out without the exorbitant shipping costs that come with buying from abroad.
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.
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.
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 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.
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.
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.
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.
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).
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.
Iron Gall Inks
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 illustrated 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!
United Inkdom has received a number of Paper Republic Grand Voyager XL traveler’s notebooks for review. Paper Republic is an Austrian company, based in Vienna, founded in 2012 but their products are starting to make a splash further afield now. Their small team (only four people) have worked hard to produce a high quality product and to keep that quality high.
Traveler’s Notebooks (TNs) are enjoying huge popularity at the moment. Essentially, a TN is a cover (usually but not always leather) with vertical elastics to hold interchangeable notebooks in place, and a horizontal elastic closure. There are some standard sizes, but also a great deal variation, usually designed to house particular notebooks (such as A5 or Fieldnotes). I currently have a standard sized TN made by Ink Bandits on Etsy, and a smaller one which was a gift. The appeal of this system is its adaptability. Covers hold varying numbers of notebooks, but it would be reasonable to expect a cover to hold 3-5 without too much trouble. Some wider designs hold more, and of course it depends on the number of pages and paper weight of the notebooks. There are, of course, a huge variety in the inserts available. Etsy is a great source for these.
Paper Republic make two sizes of TN: the passport, the and the XL; and a phone case which doubles as a TN. I have road tested the XL, which they sent to me free in exchange for an impartial review.
Firstly, the cover. Mine is black leather with contrasting orange elastics (other colours of leather and elastic available). The leather is tanned in Tuscany (a very good pedigree), and is soft and flexible. As with all leathers, it will get scuffed with wear but in such a way as to add character rather than detract from its appearance. I’ve had mine in my bag getting bashed about for a week or so and it’s not looking worn. The covers retail at €60 from the manufacturer in Austria (with free shipping for orders over that amount), or £54 from Cult Pens.
The inserts are available from Paper Republic and Cult Pens, in plain, ruled, or grid, with 56 pages and 80 gsm white paper. They are available for 2 for 13 EUR (around £11.42 or $14.57 at today’s exchange rate) or £12 from Cult Pens. This is reasonably good value for money. The paper itself is ok (see ink test) but I’m not wildly excited about it. (There are also two types of undated planner insert but I could not determine from the Paper Republic website what, if any, differences there were between the two.)
You can see from the ink tests that the paper stands up to most inks with no feathering or bleed through, and very little shadowing.
(Pen test in order: Stabilo Boss highligher & pastel highlighter; Zebra Mildliner; Muji gel pen; Staedtler Triplus fineliner; Uni-ball Eye; Pentel Touch sign pen; Tombow Mono Twin; Tombow ABT; fountain pens with Diamine Tyrian Purple, Grape, Imperial Purple inks; flex nib fountain pen with Diamine Asa Blue ink.)
The biggest issue for me is the sizing. The XL is not actually A5. It’s close, but not close enough. A5 is a standard size: 145m x 210mm. The XL cover is 150mm x 210mm, so it’s a little wider than A5 as you would expect for a cover, though at only an additional 5mm, it’s not really wide enough to accommodate multiple A5 notebooks. That’s not necessarily a problem but the effect of the non-standard sizing is that much of the ability to customise the TN is lost.
The inserts, to fit the A5 cover, have to be much smaller than A5: only 135mm x 200mm. This makes more sense for the narrowness of the cover, but it also means that customers must either buy proprietary sized inserts from Paper Republic or trim down another notebook manually. You could, for example, trim down a large Moleskine Cahier to fit. However, these are expensive notebooks to cut up, and the paper is poorer quality than that of the Paper Republic inserts. You may, understandably, be reluctant to doing that though.
Despite the inconvenient proprietary sizing, this is a good TN. The leather is clearly high quality and has a lovely leather smell. The contrasting elastic colour gives the plain cover some character. I’d probably never have chosen orange but it’s really grown on me.
As I said before, I didn’t expect much from the tiny Pocket, but its unassuming plain cover hid some pretty impressive paper. The pages admirably handled everything I threw at it. The paper is pure white, unlined in the case of the Pocket, and noticeably thicker than most notebooks. It has a little texture to it, but not a huge amount. It might even handle a bit of watercolour.
Memo £4.50 (ruled)
This is a handy pocket notebook at 97mm x 159mm, 52 perforated pages, and stitched binding. It might make a good bullet journal if you find the much-loved Leuchtturm 1917 option too bulky to carry around.
I wasn’t especially happy with the lines, and this goes for all of the Silvine ruled notebooks reviewed here. For me, the bright blue jars with the red cover and stands very starkly against the white paper. I prefer something more subtle, but this is a design choice that’s central to the branding so I don’t see it changing any time soon. The line spacing is 7mm which isn’t little too wide. It does have the feel of an old fashioned notebook as a result of the blue lines, but I don’t think it looks good. I’d definitely use this notebook with plain paper, or a dot grid provided it wasn’t printed in the same blue as the lines, but unfortunately, Silvine currently only manufacture this size with ruled pages.
Note £6 (plain)
This is a great sized notebook (125mm x 190mm and 52 pages). This would be an ideal TN notebook due to the high quality of the paper, but isn’t the right size. I’d be keen to see it in Traveler’s Notebook proportions (in addition to the Note size rather than instead). This was my favourite notebook of those sent by Silvine. It’s a nice size, and the plain paper is beautifully smooth. I can see me buying more of these.
Exercise £7 (ruled)
This is another nice sized notebook (162mm x 230mm, 52 pages), intentionally reminiscent of school jotters. This too is a stitched binding with perforated pages, so it opens flat. This time, there is a red margin on the right. I quite like that, and think it might be nicer to have it paired with grey, or even red, line ruling. I just can’t get on board with that blue!
Project £14 (plain and squared)
This is a bigger book, slightly narrower and taller than A4 in size (200mm x 305mm) with plain and squared pages (squared recto and blank verso). It’s a multi-signature sewn binding with a spine, so is different from the other, single signature, notebooks made by Silvine. This allows more pages, and manages the weight of the increased size. It reminds me of softback version of school lab books. It’s a good size, and I can imagine that the squared and plain paper have many uses beyond drawing your Chemistry apparatus.
lovely paper that is a pleasure to write on (particularly the plain paper)
classic, old school look
handy range of sizes
manufactured to high standards in Yorkshire, not mass produced cheaply (though this may make it difficult to get and pricey for non-Europeans)
sewn binding lies flat
limited range of size-rule types mean you might not be able to get the ruling you want in the right size
bright blue lines are a bit of an acquired taste
non-standard sizes may not be convenient
no dot grid option
‘untidy’ finishing of sewing might annoy perfectionists
N.B. Silvine sent these samples in return for an unbiased review. Prices indicated were taken from the Silvine website and were correct at time of publishing. Other retailers may vary.
The manufacturer lent me a Kaweco Lilliput Fireblue fountain pen for an honest review. This is a pen I’d had my eye on for a while due to its unusual looks. I’m not a big fan of Kaweco’s more popular Sport pens- there’s something about the shape I’m just not fond of, but the sleek lines of the Lilliput are very appealing. I decided to do this a little differently, and take a leaf out of Scribble’s book, by writing my review by hand but my camera, unaccustomed to the bright light of sunshine we’re currently experiencing, couldn’t get a good shot of the text. Instead, I’ve had to capture it as a document, and the ink colour is all wrong! The review was written on the California State notebook reviewed here.
First off, the pen comes in a nice little tin. That said, you wouldn’t carry it around in this as there’s nothing to secure the pen inside. It’s pretty though.
As you can see, my writing is pretty scruffy here. I found the Lilliput difficult to hold comfortably and my writing suffered as a result. Fountain pens should be a pleasure to use and this just wasn’t. I can still feel a slight ache between my right thumb and index finger after 10 minutes or so of writing with it. My hands are about average size for a woman, I would say, so I think you might have to have very delicate hands to find this pen comfortable, assuming the weight of it didn’t bother you.
This is a really beautiful pen, and my crummy photographs don’t do it any justice, but I would caution you to try it before you buy. There’s no way I would be sending this loaner back to Kaweco if this were a standard sized pen! As it is, I know I’d never use it. I’d just gaze regretfully at it.
The lovely Stu over at Pocket Notebooks sent some United Inkdom members a bumper pack of small notebooks to review. I received a really nicely presented box containing 6 approx. A6 notebooks, and a tiny wee Silvine.
All of these notebooks should be able to handle fountain pens, so I decided to put the manufacturers’ claims to the test with a variety of pens and inks. I selected a variety of purple inks for no particular reason except I like purple. Here are the pens I used:
From bottom to top (the order used in the tests):
Stabilo Boss purple highlighter
Stabilo Boss pastel purple highlighter
Zebra Mildliner soft purple
Muji gel pen (0.5mm)
Staedtler Triplus Fineliner
Uni-ball Eye (fine)
Pentel Touch brush sign pen
Tombow Mono Twin
Tombow ABT (636 Imperial Purple)
Lamy Safari fountain pen, M nib with Pelikan Edelstein Amethyst ink
Faber-Castell Basic fountain pen, EF nib, with Diamine Grape ink
Pelikan P405 fountain pen, gold EF nib, with Diamine Imperial Purple ink
Vintage Waterman fountain pen, flexible italic nib, with Diamine Asa Blue ink
The Tombow Mono Twin is a permanent, solvent-based ink, which I expected to go through the paper. You would be hard pushed to find through which the Mono Twin wouldn’t bleed- what I was checking here was how well the notebooks stood up to potential feathering with this pen, so judge the results on that rather than bleed.
The vintage Waterman is a VERY wet writer, so this really tested how well the notebooks could deal with a lot of ink. The results were somewhat surprising.
This teeny-tiny notebook is on 110mm x 72mm and 40 pages in size, but is nonetheless an impressive piece of writing kit. They retail for £7.00 for 3 (approx. €8.25 or $9 US). The paper is plain, off-white, and the notebook has a sewn binding.
This unassuming wee notebook was one of the best at standing up to the rigours of the pen test.
None of the pens tested feathered at all, which was impressive. The Mono Twin did bleed through a little but there was no ghosting apart from that.
I’d definitely put Silvine notebooks on my To Buy List, but not this small. I’d be interested in an A5 notebook from this manufacturer if it had the same thick, off-white paper. The tiny pocket would get chewed up in my bag.
The California Back Pocket Journal
These notebooks are slightly smaller than A5 at 88mm x 133mm and have 48 sheets, and a sewn (pamphlet stitch) binding. They’re available in lined, blank (as here), dot grid, graph, or a mixture of plain, lined, and dot grid, and are 3 for £10.50. The paper is 105gsm HP paper which is incredibly smooth.
The paper feels lovely, and handled everything except the very wet vintage nib, which, as you can see, feathered terribly and bled through the page. The bleed through on this was even worse than that of the Mono Twin. This was by far the worst result for the Waterman, which is surprising when everything else fared so well. There was hardly even any ghosting.
The Waterman result aside, this is a nice little notebook.
Another California Back Pocket: Tomoe River Paper
This appears almost identical to the previous, except it contains glorious Japanese Tomoe River paper. This is ivory-coloured and very thin, but can take just about anything a fountain pen can throw at it. I used a Hobonichi diary last year which was made from Tomoe River paper and have been a big fan ever since. It’s definitely worth the hype. Three of the California notebooks retail at £14.
The test results for this notebook are not at all surprising: no bleed through except for a small amount with the Mono Twin; no feathering; some ghosting due to how thin the paper is. The latter will bother some people but I don’t mind it. Tomoe River paper is a pleasure to write on.
This is the same size as the California notebooks, but has a coated cover which is a little stronger. It consists of 44 sheets of environmentally-friendly and sustainable wheat straw paper. It feels a little like recycled paper, having more texture than the other papers reviewed here, but doesn’t have the drawbacks of feathering and bleeding usually associated with recycled paper. The paper is white with very subtle specks, and the notebook is staple-bound.
This is a nice notebook, but at £6 each, they’re pricey. For my money, I’d rather get a Tomoe River notebook for £4.67, though I appreciate the environmentally-sustainable way the Inky Fingers notebooks are made.
The lines are narrow at 6mm, which I like. The lines are made of micro-dots which is a nice detail.
Also available are a blank notebook, and a Currently Inked Log book for the same price.
Clairefontaine 1951 Retro Nova
French company Clairefontaine make a variety of notebooks and jotters, supplying a lot of French schoolchildren with their classroom needs. They’re a favourite manufacturer of mine because of their high-quality paper, wide range, and good prices.
The Retro Nova is marginally bigger than the previous notebooks at 88mm x 140mm with 64 smooth ivory pages, and a sewn binding. They are 3 for £8, which is a stone cold bargain. Each of the three has a different cover pattern too. The one pictured here is “novelle vague.”
The pen test showed just how good Clairefontaine paper is. There was no feathering, minimal ghosting, and only the infamous Mono Twin bled through.
Story Supply Co.
Beneath a plain exterior decorated only by the Story Supply co.’s cheerful, retro logo, lies a solid little notebook. It’s 90mm x 140mm, with 48 pages of staple-bound, off-white paper. I tested the lined notebook, which has 5mm spacing. This retails at 3 for £11.
I wasn’t familiar with this company before, and was pleasantly surprised by how well the paper dealt with all of the pens. There was no feathering, little ghosting, and only the Mono Twin bled through (though there were slight hints of almost-bleeding through from the Waterman).
I liked this notebook a lot, but if pushed would have to state a preference for the Clairefontaine above. The Story Supply Co. paper is not quite as good, and it’s an extra £1 per notebook, for an inferior binding.
This is a differently sized notebook at 100mm x 140mm, so it looks a bit squarer than the others. It has 56 pages of white, dot grid, 100gsm paper and is staple-bound. Interestingly, the ‘dots’ are tiny crosses. These cost £8 for 3.
The Darkstar handled most of the pens well but the Waterman and even the Pentel Touch (which is also a wet writer) both feathered slightly. The Mono Twin and the Waterman bled through the paper, though the ghosting wasn’t bad at all.
This was a really interesting set of notebooks and I’m very grateful for the chance to test them all. My favourites were the Clairefontaine and the California Tomoe River. The Clairefontaine is the ideal combination of high quality and good value. The Tomoe River is a higher price for a specialist product that some people (like me) will love but may find the ghosting and long ink-drying times a frustration.