If this is your first visit, be sure to check out the FAQ by clicking the link above. You may have to register before you can post: click the register link above to proceed. To start viewing messages, select the forum that you want to visit from the selection below. |
|
|
Thread Tools | Display Modes |
#1
|
|||
|
|||
Noodler's Burgundy and other wine or red-hued inks...
[The following notes were posted at the Pentrace message board as part of a
discussion on Burgundy-coloured and red inks. It started as a comparison between Noodlers Burgundy and Skrip NOS Burgundy. I received many private e-mail comments, and some suggested I post the note here. After the fourth suggestion, I decided to do so. I hope it pleases.] ----- I have not been able to dip into or buy a bottle of Noodler's Beaver. Art Brown in NYC seems to have sold out early on, and has not yet received a new shipment of it. I bought bottles of the Burgundy (original formula), Nightshade, Tiananmen Red, and Red-Black. I also have a few bottles of Montblanc's Bordeaux. I have never tried the NOS skrip Burgundy. My impressions are as follow: (All, unless otherwise noted, refer to the respective ink in a medium-nibbed Pelikan 250) Nightshade is a saturated, dark-grape purple (I am not familiar with the poisonous plant that, I am told, lends its name to the ink); it has very little red in it. I find few--if any--highlights, and shading is, to my eyes, almost completely absent. An ink of very high contrast on any light-coloured paper, it establishes a really pleasant harmony with yellow legal-pad paper. I use it with finer nibs, which render it more transparent and subtle. But I can see people loving it for its nocturnal relentlessness, on broader nibs. It imposes a sumptuous, altisonant tone on the paper. Red-Black is a luscious, misterious, complex colour. Not a wine hue, more like a black with, expressive--I almost want to say passionate--dark-blood-red highlights. Its rich shading is wonderful and so is flow. You must wait for this ink to dry, in order to see its full potential. (By the way, the black content of this ink stays put after a water test, making the writing quite water resistant, even if the colour complexity is not waterproof.) Tiananmen Red is a saturated, chinese-lacquer type of red. Not a wine hue at all, but quite expressive nonetheless. It has enough light in it to be used as an eyecatching underliner, lending a merry elegance to something like Noodler's Red-Black. Especially beautiful on its own on off-white, aged-looking or beigish paper. Italics and Broads bring out soft, textured shadings, but it stands nicely on its own even with finer nibs, if here the shading becomes rather homogeneous. It is a definite, central red, with quite some texture and no orange in it. The first-stock Burgundy feels more like writing with a tawny port than with French wine. While there are obvious rust and terracotta hues under its blush surface, I have to struggle to find the purples. This ink is quite red for its name, and though it has a richer feel and higher, blunter contrast than the Montblanc Bordeaux, it is also less subtle. (I seem to be the only person on earth that reckons MB's watercolour-like, soft-grained, shady, soberly muted hue beautiful. Right out of a Chardin, or a Watteau). If you are after reminiscences of wine, I think the MB will speak louder to you. It actually becomes crisp when used with fine nibs, mellowing with broads or Italics, as it fills with plush mauve resonances, a certain gouache quality and a myriad of shades. It has an antique look, very sober and elegant, like vintage leather. If, on the other hand, you are after a crisper, more vibrant, ruddier, colour, then Noodler's youthful, assertive hue will work better for you. I love this ink with mediums, broads and Italics, since these, in different degrees bring out the rich, red-earth shadings. It definitely belongs in a more obvious palette than the MB; it also has greater saturation, hence the starker contrast. I would love to be able to see the NOS skrip Burgundy in a posted handwritten sample or, even better, try it myself. RA My impressions are as follow: (All, unless otherwise noted, refer to the respective ink in a medium-nibbed Pelikan 250) Nightshade is a saturated, dark-grape purple (I am not familiar with the poisonous plant that, I am told, lends its name to the ink); it has very little red in it. I find few--if any--highlights, and shading is, to my eyes, almost completely absent. An ink of very high contrast on any light-coloured paper, it establishes a really pleasant harmony with yellow legal-pad paper. I use it with finer nibs, which render it more transparent and subtle. But I can see people loving it for its nocturnal relentlessness, on broader nibs. It imposes a sumptuous, altisonant tone on the paper. Red-Black is a luscious, misterious, complex colour. Not a wine hue, more like a black with, expressive--I almost want to say passionate--dark-blood-red highlights. Its rich shading is wonderful and so is flow. You must wait for this ink to dry, in order to see its full potential. (By the way, the black content of this ink stays put after a water test, making the writing quite water resistant, even if the colour complexity is not waterproof.) Tiananmen Red is a saturated, chinese-lacquer type of red. Not a wine hue at all, but quite expressive nonetheless. It has enough light in it to be used as an eyecatching underliner, lending a merry elegance to something like Noodler's Red-Black. Especially beautiful on its own on off-white, aged-looking or beigish paper. Italics and Broads bring out soft, textured shadings, but it stands nicely on its own even with finer nibs, if here the shading becomes rather homogeneous. It is a definite, central red, with quite some texture and no orange in it. The first-stock Burgundy feels more like writing with a tawny port than with French wine. While there are obvious rust and terracotta hues under its blush surface, I have to struggle to find the purples. This ink is quite red for its name, and though it has a richer feel and higher, blunter contrast than the Montblanc Bordeaux, it is also less subtle. (I seem to be the only person on earth that reckons MB's watercolour-like, soft-grained, shady, soberly muted hue beautiful. Right out of a Chardin, or a Watteau). If you are after reminiscences of wine, I think the MB will speak louder to you. It actually becomes crisp when used with fine nibs, mellowing with broads or Italics, as it fills with plush mauve resonances, a certain gouache quality and a myriad of shades. It has an antique look, very sober and elegant, like vintage leather. If, on the other hand, you are after a crisper, more vibrant, ruddier, colour, then Noodler's youthful, assertive hue will work better for you. I love this ink with mediums, broads and Italics, since these, in different degrees bring out the rich, red-earth shadings. It definitely belongs in a more obvious palette than the MB; it also has greater saturation, hence the starker contrast. I would love to be able to see the NOS skrip Burgundy in a posted handwritten sample or, even better, try it myself. RA |
Ads |
#2
|
|||
|
|||
I accidentally an over-pasted article at the head of this thread.
Inexperience is unforgiving. My apologies. RA |
#3
|
|||
|
|||
Swisher has the Beaver, I ordered it today.
"Rara Avis" wrote in message ... [The following notes were posted at the Pentrace message board as part of a discussion on Burgundy-coloured and red inks. It started as a comparison between Noodlers Burgundy and Skrip NOS Burgundy. I received many private e-mail comments, and some suggested I post the note here. After the fourth suggestion, I decided to do so. I hope it pleases.] ----- I have not been able to dip into or buy a bottle of Noodler's Beaver. Art Brown in NYC seems to have sold out early on, and has not yet received a new shipment of it. I bought bottles of the Burgundy (original formula), Nightshade, Tiananmen Red, and Red-Black. I also have a few bottles of Montblanc's Bordeaux. I have never tried the NOS skrip Burgundy. My impressions are as follow: (All, unless otherwise noted, refer to the respective ink in a medium-nibbed Pelikan 250) Nightshade is a saturated, dark-grape purple (I am not familiar with the poisonous plant that, I am told, lends its name to the ink); it has very little red in it. I find few--if any--highlights, and shading is, to my eyes, almost completely absent. An ink of very high contrast on any light-coloured paper, it establishes a really pleasant harmony with yellow legal-pad paper. I use it with finer nibs, which render it more transparent and subtle. But I can see people loving it for its nocturnal relentlessness, on broader nibs. It imposes a sumptuous, altisonant tone on the paper. Red-Black is a luscious, misterious, complex colour. Not a wine hue, more like a black with, expressive--I almost want to say passionate--dark-blood-red highlights. Its rich shading is wonderful and so is flow. You must wait for this ink to dry, in order to see its full potential. (By the way, the black content of this ink stays put after a water test, making the writing quite water resistant, even if the colour complexity is not waterproof.) Tiananmen Red is a saturated, chinese-lacquer type of red. Not a wine hue at all, but quite expressive nonetheless. It has enough light in it to be used as an eyecatching underliner, lending a merry elegance to something like Noodler's Red-Black. Especially beautiful on its own on off-white, aged-looking or beigish paper. Italics and Broads bring out soft, textured shadings, but it stands nicely on its own even with finer nibs, if here the shading becomes rather homogeneous. It is a definite, central red, with quite some texture and no orange in it. The first-stock Burgundy feels more like writing with a tawny port than with French wine. While there are obvious rust and terracotta hues under its blush surface, I have to struggle to find the purples. This ink is quite red for its name, and though it has a richer feel and higher, blunter contrast than the Montblanc Bordeaux, it is also less subtle. (I seem to be the only person on earth that reckons MB's watercolour-like, soft-grained, shady, soberly muted hue beautiful. Right out of a Chardin, or a Watteau). If you are after reminiscences of wine, I think the MB will speak louder to you. It actually becomes crisp when used with fine nibs, mellowing with broads or Italics, as it fills with plush mauve resonances, a certain gouache quality and a myriad of shades. It has an antique look, very sober and elegant, like vintage leather. If, on the other hand, you are after a crisper, more vibrant, ruddier, colour, then Noodler's youthful, assertive hue will work better for you. I love this ink with mediums, broads and Italics, since these, in different degrees bring out the rich, red-earth shadings. It definitely belongs in a more obvious palette than the MB; it also has greater saturation, hence the starker contrast. I would love to be able to see the NOS skrip Burgundy in a posted handwritten sample or, even better, try it myself. RA My impressions are as follow: (All, unless otherwise noted, refer to the respective ink in a medium-nibbed Pelikan 250) Nightshade is a saturated, dark-grape purple (I am not familiar with the poisonous plant that, I am told, lends its name to the ink); it has very little red in it. I find few--if any--highlights, and shading is, to my eyes, almost completely absent. An ink of very high contrast on any light-coloured paper, it establishes a really pleasant harmony with yellow legal-pad paper. I use it with finer nibs, which render it more transparent and subtle. But I can see people loving it for its nocturnal relentlessness, on broader nibs. It imposes a sumptuous, altisonant tone on the paper. Red-Black is a luscious, misterious, complex colour. Not a wine hue, more like a black with, expressive--I almost want to say passionate--dark-blood-red highlights. Its rich shading is wonderful and so is flow. You must wait for this ink to dry, in order to see its full potential. (By the way, the black content of this ink stays put after a water test, making the writing quite water resistant, even if the colour complexity is not waterproof.) Tiananmen Red is a saturated, chinese-lacquer type of red. Not a wine hue at all, but quite expressive nonetheless. It has enough light in it to be used as an eyecatching underliner, lending a merry elegance to something like Noodler's Red-Black. Especially beautiful on its own on off-white, aged-looking or beigish paper. Italics and Broads bring out soft, textured shadings, but it stands nicely on its own even with finer nibs, if here the shading becomes rather homogeneous. It is a definite, central red, with quite some texture and no orange in it. The first-stock Burgundy feels more like writing with a tawny port than with French wine. While there are obvious rust and terracotta hues under its blush surface, I have to struggle to find the purples. This ink is quite red for its name, and though it has a richer feel and higher, blunter contrast than the Montblanc Bordeaux, it is also less subtle. (I seem to be the only person on earth that reckons MB's watercolour-like, soft-grained, shady, soberly muted hue beautiful. Right out of a Chardin, or a Watteau). If you are after reminiscences of wine, I think the MB will speak louder to you. It actually becomes crisp when used with fine nibs, mellowing with broads or Italics, as it fills with plush mauve resonances, a certain gouache quality and a myriad of shades. It has an antique look, very sober and elegant, like vintage leather. If, on the other hand, you are after a crisper, more vibrant, ruddier, colour, then Noodler's youthful, assertive hue will work better for you. I love this ink with mediums, broads and Italics, since these, in different degrees bring out the rich, red-earth shadings. It definitely belongs in a more obvious palette than the MB; it also has greater saturation, hence the starker contrast. I would love to be able to see the NOS skrip Burgundy in a posted handwritten sample or, even better, try it myself. RA |
Thread Tools | |
Display Modes | |
|
|