I have been tinkering with blending my own inks lately with quite pleasing results.
Its funny how one thing leads to another. Things started when I was impressed by a lovely writing sample on Instagram from a TWSBI Diamond 580 with a 1.1 stub nib and a grey ink. I got out my own TWSBI with a 1.1 stub and inked it with the closest equivalent ink that I had, being Montblanc Oyster Grey. However, aside from not having such accomplished handwriting, the ink didn’t appeal to me and almost instantly I wanted to flush it out.
I happened to have a Pineider Travelling Inkwell to hand, in which I had put the last one or two mililitres from a bottle of Conway Stewart Tavy. It occurred to me to flush the Oyster Grey into this and mix them together.
I posted a review of the Pineider Travelling Inkwell in December 2018 and commented that one of the advantages is that you can combine inks in it without contaminating a whole bottle. Also if you flush your pen into this, you may create something useful and also avoid wasting ink. It is a win win situation. You can happily clean out a pen, put it away and not feel guilty about wasting half a converter of good ink.
So, I flushed the Oyster Grey into the inkwell with the existing Tavy and shook up the contents. I then refilled the TWSBI from this new brew and found that I had a pleasant blue black.
Recently I have been enjoying the new Cross Bailey Light fountain pen. I was so pleased with my first one of these, in grey, that I went back to buy another and picked up the turquoise version. I had envisaged it filled with a matching turquoise or teal ink.
I filled the pen with Robert Oster Signature Aqua. However there was something about the combination of this ink and the colour of the pen that made me a bit queasy. Perhaps it was too matchy matchy, or maybe the clash of not-quite-matching colours was jarring.
So, I decided to flush the Aqua into the inkwell of Tavy and Oyster Grey, shook it around and then immediately refilled the Cross pen. This produced a much darker teal ink, easier on the eye than the neat Aqua. I temporarily named this TavOyAq.
This fill was rather shortlived though, as a few days later, I decided to flush out a few more pens. One was a Wing Sung 601 clear demonstrator, which had been inked for months with Graf von Faber-Castell Garnet Red, but little used and still contained a good quantity of ink. I also had a couple of pens in the pen cup with the residue of a standard international cartridge, one of blue ink and one of black.
The temptation to live dangerously got the better of me and I flushed the Garnet Red, the anonymous blue and black, all into my travelling inkwell.
Miraculously, this gave rise to a very dark blue black which I liked very much. The black ink had been minimal, otherwise this would have overpowered everything else. The bright aqua was well subdued. There was no trace of the red. But I had half expected to get a dark brown and was delighted to find that I had a blue black instead. It was so dark as to be almost like an iron gall, registrar’s ink. I do not have a name for this six ink blend. The best I can suggest is dark inky blue-black.
I immediately filled my Cross pen back up again with the new brew. I have been using this mix happily for a week at work now and still have about 3 ml left, probably enough for another 4 – 5 fills for a Cross converter. It flows and shades well and seems well behaved.
It is a bit of a gamble, I know. You need to decide when to stop. You could go too far and blow it all, in an ugly mess. There is a risk that the inks will be incompatible and congeal into something horrible. The smarter thing to do would be to leave the ink overnight or longer in the inkwell, checking it once in a while for any signs of solidifying, before putting the mix in your pen. However I was too excited and impatient for this approach and also figured that the Cross Bailey Light was an inexpensive and simple pen on which to experiment. If anything went wrong, I could flush it out and leave the nib section to soak. This pen is also ideally suited for use with the Pineider Travelling Inkwell, having just the sort of section that the inkwell likes, namely fairly wide, smooth, tapering and not faceted.
Of course I have not been at all scientific about measurements and keeping records. I have some samples from looking back at my Leuchtturm notebook which gets used for tinkering with pens and inks. But as for quantities, I do not have any precise details of the amounts or proportions that went into my mix.
It is satisfying to create a unique and very limited edition blend of ink, especially if the colour is pleasing. Everyone’s creations will be different.
To summarise, the advantages of the Pineider Inkwell are, being able to use your last 1ml of ink; providing a receptacle for emptying pens of unwanted ink; avoiding waste; and potentially coming up with some new and satisfying inky blends. The moral of the tale is that you do not need to be overly cautious about fears of incompatible inks having a bad reaction. Perhaps some do but I have been ok in my limited experience so far and this is something that you can try out on your cheap pens first. Happy mixing!
2 thoughts on “The slops bucket experiment.”
Very much enjoyed reading this piece. I have been mixing inks made by different manufacturers and as I lean towards more ‘watery’ colours I even add water (have tried both tap and distilled) and have been doing so for years without any adverse effect to my writing instruments. Looking forward to more ink related pieces. Good luck.
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Thank you. I have not tried the effects of adding water. At the time of this post I had made a pleasing blue-black. I have since pushed my luck too far and turned it into an almost black, aubergine colour so I should have stopped with that batch while I was ahead.