I don’t use pink ink. My favourite ink colours are turquoise, teal, blue black, royal blue, and purple. I enjoy brown and green inks every once in a while. Black and grey inks are a staple in my collection. But pink ink? It’s a combination of two things that I don’t like: light coloured inks that are difficult to read, and inks on the red/yellow area of the colour wheel.
Sailor designed an ink bottle that has little chance of tipping over and spilling, and the box it comes in is beautifully designed, but… If you use oversized nibs, you are going to have a serious problem filling your pen, even with Sailor’s nifty little inkwell in ink bottle trick.
You see, inside the bottle Sailor places a little plastic inkwell. You fill your pen by turning the bottle upside down, and then the right way up. This forces ink into the plastic inkwell, and allows you to fill your pen even when the ink level in the bottle drops with use.
How is the ink itself? It’s darker than I thought, yet it isn’t a very saturated ink. There’s a bit of shading, and I think that’s part of what makes this ink readable. Take a look:
This was drawn and written with a Pilot Metropolitan cursive italic medium on tomoe river paper. Sakura Mori is definitely a usable ink, in that it can be more or less clearly read (I wouldn’t use it on tinted paper), but it’s also definitely not for standard office use. It is a fun and cheerful colour, and I was surprised by how much I enjoyed using it.
Will I buy 10 more bottles of various shades of pink? Not likely. I am glad, however, that I gave this ink a try. It put a smile on my face, and after all, that’s what this hobby is all about.
Every once in a while Franklin Christoph comes out with a batch of their pens in “Antique Glass”, a clear acrylic with a bit of a green tint to it that makes it look like an old coke bottle. The material is both minimalist and beautiful. It allows you to show off the ink that you’re using while still having a pen that has more character than a run-of-the-mill demonstrator. Franklin Christoph’s pens and the nibs that they use are excellent and very well priced. The result is that these limited runs having a waiting list (from which a 100 names are drawn), and there’s a good chance that you won’t be able to even get on that. I had to wait for two years until I was able to purchase mine.
The wait is worth it though.
The Franklin Christoph Model 66 is a long and sleek pen that can’t be posted. The pen is light but still substantial, because of the extra acrylic in the finial. I was worried at first that it would be top heavy, but the Model 66 is perfectly balanced, and one of my favourite pens for long writing sessions.
The Model 66 is a demonstrator pen that is built to be eye-droppered. Yes, you can use the supplied converter or cartridges, but what’s the point of having a pen that looks like this if not to eye dropper it? Franklin Christoph even supply the requisite o-rings and silicone grease, making it super easy to transform it into an eye dropper.
The pen body is made of smooth acrylic on the outside, but is pebble textured on the inside. The result shows off the ink colour and the pen colour even more, but it also means that staining inks have even more surface area to stain. I decided early on to use only turquoise, teal, blue and green inks in this pen, as even if they stained the pen it would work well with its “natural hue”.
You can see the greenish “antique glass” tint best in the cap.
In terms of design, this is a desk pen and is designed as one, so it has one flat side which keeps it from rolling off the table even though it’s a clipless pen.
There’s a wide variety of Jowo nibs that you can order with your pen, and I decided to pay a little extra for a Mike Masuyama medium italic nib. The nib is buttery smooth, and the feed keeps up with flow. This italic isn’t super sharp, which is a plus for me, and together with the large ink capacity that an eye-dropper pen offers, it’s writing heaven.
The Franklin Christoph Model 66 Antique Glass with a Mike Masuyama medium italic (what a mouthful) is build to show off interesting inks. Although I would never use shimmering inks in it, it’s great for inks that shade or sheen. And Robert Oster is the king of sheening inks.
The River of Fire is a dark teal ink that has significant red sheen and a good amount of shading.
As usual with inks of this kind, the paper and nib affect how much sheen or shading you see. This nib is perfect for that, and the paper I used here is Tomoe River Paper, which brings out the best in every ink.
You can see a bit of the properties of the ink here, particularly the shading, but this ink really does have a lot of sheen. It’s just difficult to photograph, so you can only see a bit of the golden red that happens where the ink pools.
This is such a pretty ink. Look how much variation and interest it offers:
So, if you can get on one of the Franklin Christoph antique glass waiting lists, I highly recommend it. As for the Robert Oster River of Fire, I think that it’s a gorgeous ink, but it’s not unique enough in Robert Oster’s large ink offering. If you have something in the turquoise or teal shade in their lineup, then there’s probably no need to buy the River of Fire. If yo don’t then I recommend this ink since it’s wild and yet dark enough to “pass” in an office setting.
I’ve been eyeing the Lamy Studio for years now, but until now I haven’t purchased one because I found the available colours kind of boring and drab. Then they came out with the Terracotta limited edition, and I decided to give it a go.
The Lamy Studio Terracotta is a full metal bodied pen, and so it has some heft to it, although it’s nothing close to the weight of a Karas Kustoms Ink. Even if you have a small hand, the weight of this pen shouldn’t be an issue.
The colour of the pen is vibrant, and the matt finish on the pen practically glows in the light.
This fountain pen is famous for its propeller-like clip design, and it’s nice and functional but not something you notice after a little while. The Lamy 2000 and the Lamy Safari have much more striking designs.
The Lamy Studio uses the same nib units that the Lamy Safari uses, and the same converters too. The pen arrives in a beautiful, super sized box that makes for great gift packaging, complete with an ink cartridge and a converter.
The main issue with this pen is its grip. As you can see from the photos, it’s a shiny, slippery metal grip. That’s a problem, especially if you tend to sweat, or if you use hand cream. It’s not that the pen slipped when I wrote with it, but as my fingers had no real purchase on the grip, the pen felt insecure in my hand. Like it was going to fly out of my grip at any moment. That doesn’t make for an enjoyable writing experience.
As I was taking photos to try and get the colour of this pen, it rolled away (uncapped) and fell to the floor. The nib got slightly dinged, but I straightened it pretty easily. Even if it would have been badly damaged it would have been no big deal as I have plenty of Lamy Safari nibs to choose from to replace this one. That’s a big plus for this pen, since if you’ve invested in a few Safari or AL-Star or Vista Lamy fountain pens, you can swap the nibs around very easily.
I filled the Lamy Studio Terracotta with the Diamine Terracotta 150th Anniversary ink, and they go fabulously together. The Diamine Terracotta (and the Diamine Safari) are my favourites of the Diamine 150th anniversary inks, as it’s such a unique colour, with some nice shading, but it isn’t super saturated. This means that it can be used safely with vintage fountain pens, and that it can add a little va-va-voom to your office work without drawing too much attention to itself. It almost looks like a boring brown, but it very much isn’t. I love that in an ink.
A close up on the shading, that goes from a lighter reddish brown to a darker reddish brown on the ends of downstrokes even in a fine nib pen.
So, what’s the verdict? If the Lamy Studio had a different grip then it would be a five star pen. As it is, I don’t recommend it. The Diamine Terracotta though is an ink worth having, especially if you’re just starting out with exploring brown ink, or if you want an interesting ink to use in vintage fountain pens.
Back in the (not so good) old days, Tomoe River Paper was an exotic kind of paper available only in bulk order from Japan, or through various indie creators that advertised mostly on the Fountain Pen Network. The magical paper that made all your inks shine (not literally, this was in the pre-sparkle days of ink, when shading is all we dared dream of in an ink) was very hard to obtain, and very expensive.
It was at that time, in 2013, when I was looking for reasonable priced Tomoe River Paper notebooks that could be shipped to Tel Aviv, that I ran into Paper For Fountain Pens, through the Fountain Pen Network. Since I just received my latest three-pack of notebooks from Jay at PaperForFountainPens.com, I decided that now would be as good a time as any for a review.
The notebooks that I ordered are the larger, 374 pages (187 sheets), ones, which are available only around this time of year. The regular notebooks have 320 pages, but are otherwise identical. Jay uses 52 gsm Tomoe River Paper for the notebooks, which are 4 3/4 x 8 3/8 inch page size; 5 1/4 x 8 1/2 inch cover size.
The notebooks used to be shipped with a paper cover, now they arrived vacuum packed as well, to protect them from the elements, and in a heavy duty box that prevents them from getting damaged by the postal services of the world.
Tomoe River Paper is much easier to find now and these notebooks aren’t cheap, as you are paying for the binding. The covers are very durable, made from a material that (with the binding) makes the whole notebook look and feel like a vintage hardcover book. It has that solid, over-engineered feel to it, and is very pleasant to use and hold.
The notebook isn’t inconveniently thick, even with the larger page count.
There are no frills to this notebook, just blank end papers, no elastic closure or bookmark, nothing but the paper and the covers. The pages lie flat, and the binding is extremely durable (I page a lot, a lot in my Paper for Fountain Pens notebook and not a page has wavered in my years of using it).
I’ve used the slimmer version of this notebook as a research notebook for my novel and it has held up well through years of use. I do, however, only keep it on my desk. Travelling with such fragile paper in a notebook with no elastic closure is a recipe for disaster, so if you do intent to use one of these beauties as your everyday carry notebook or journal, I highly recommend placing it in some kind of protective cover that you can zip up.
This notebook is slightly thicker than the Baron Fig Confidant and Moleskine large notebook, is about as wide as the Moleskine, but a tad taller.
You can see the difference in sizes with the notebooks stacked up. The Paper for Fountain Pens notebooks have thicker and heavier covers than the Moleskine and Baron Fig ones, but the lightweight paper in them keeps them from being overly heavy to carry around.
All in all I recommend these notebooks, with one caveat: they may intimidate you to a point where you won’t use them. There’s something about their book-like format that makes you feel that you can only write the next Booker prize winning novel in them. Notebooks should be used and not stacked and stared at, so if this one will scare you off, pick a more humble notebook instead. Otherwise, buy a three-pack of these — it’ll come out cheaper (particularly with shipping), and there’s an excellent chance that they’ll become your new favourite.
I wrote the first few chapters of my first novel longhand, with fountain pen on loose sheets of A4 tomoe river paper. As I realized that I would have to type everything into Scrivener before I could even start editing, the lazy programmer within me balked. It was fine doing this with quick drafts, but writing an entire novel longhand was not for me.
I still use pen, pencil and paper a lot in my writing though. I use a fountain pen (anything that doesn’t have a flex or novelty nib will do — from extra-fine to 1.1mm stubs) and loose sheets of A4 and A5 tomoe river paper to work on my outlines, for quick drafts, to test plot options out, or when I’m really, really stuck in my writing. A Field Notes Byline is constantly under my keyboard, horizontally. Yes, I know that the lines don’t go that way, but I ignore them. The form factor is perfect for that, and the ruling is pale enough for me to easily ignore it. I use a Blackwing 16.2 or 24 with it, to quickly capture any ideas that may come up during my writing, to remind myself where I was going with an idea or what I need to fix a previous place, to brainstorm names, etc. It serves as a scratch pad that allows me to maintain my writing flow and still remember things along the way.
So, even if you do all your writing using Ulysses or Scrivener (hopefully not Word), I recommend that you incorporate some analogue tools in your process. You’re bound to find them useful, particularly when you’re stuck or you’ve dug yourself into a hole.
Though I’m a fan of the colour blue, I tend to shy away from blue inks, since they tend to be boring. That’s why I wouldn’t have splurged on a (pretty expensive) bottle of Pilot Iroshizuku Asa Gao myself – I got it as a gift with a pen purchase a few years ago.
Online pictures of this ink tend to give it a more purplish tint than it actually has. In reality it’s a slightly dark cobalt blue. It scanned a bit lighter than it looks like on the page:
Here it is in natural light, for a bit of reference (this is bit darker than it actually is):
This is the pen I used for this review, a medium nib Pelikan M620 Place de la Concorde:
There’s some red sheen to it, but you’ll probably only see it on Tomoe River Paper, and then only if you look closely. The shading is a little less subtle, but not by much. You’ll see a bit of it using medium nibs and broader, again, particularly on Tomoe River Paper. It’s a “dirty little secret” ink – the kind that looks pedestrian to all but the knowledgable observer. A fun way to put a zing into office work, as it is totally appropriate for office writing.
As usual with Pilot Iroshizuku inks, the bottle and packaging is gorgeous, the ink is well behaved enough for vintage pens, and it cleans out pretty easily without staining. A good choice for a demonstrator pen, if you’re looking for something that will fly under the radar.