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Teranishi Guitar – Gentle Green Teranishi Chemical Industries was founded during the Taisho period in 1918, and got quite some fame as one of the earlier ink producers in Japan. The Taisho period is often remembered as a romantic period. For their 105th anniversary, the company introduced some stylish retro-inks hinting at this exciting start-up period. The inks come in stylish – almost art deco – boxes, containing a nice-looking 40ml bottle of ink. I discovered the Teranishi inks in 2022, so it’s time to do the reviews. These inks are well saturated, but at the same time manage to look muted and toned-down. This combination works quite well, and I’m becoming very fond of this brand. In this review, the spotlight shines on Gentle Green, a wonderfully complex blue-green, that leans towards teal territory without quite getting there. A type of colour that’s easy to mess up, but Teranishi’s ink creators know their craft and succeeded in producing a lovely mix. Well done! Gentle Green writes wet and well saturated. It also has a trick up its sleeve: the ink writes quite blue, but turns to a soft green while drying – a really cool effect. It’s also a heavy sheener, showing a reddish-purple sheen on the right kind of paper. This ink can handle all types of nib – from EF to ultra-broad – and looks great on both white and cream paper. A great writing ink, that I enjoyed using. To illustrate the colour span of this Teranishi ink, I did a swab on 52 gsm Tomoe River paper, where I really saturated portions of the paper with ink. Gentle Green has a medium colour span, without too much contrast between the light and darker parts. This translates to aesthetically pleasing shading. The more saturated parts of your writing will also show a red-purple sheen on the right kind of paper, making your writing look extra interesting. Wet pens will push the colour towards the more saturated part of the spectrum, resulting in a fairly dark green look. But even in this case, there’s still some shading left. A beautiful ink on paper! On the smudge test – rubbing text with a moist Q-tip cotton swab – a lot of the dyes get displaced, but the text itself remains quite readable. Water resistance turned out to be good enough. Most of the colour dissipates, but a light blue residue of your writing survives, even after 30 seconds under running tap water. That’s better than most non-waterproof inks. This is also evident from the chromatography that shows light-blue dyes clinging to the paper at the bottom part. I’ve tested the ink on a wide variety of paper – from crappy Moleskine to high-end Tomoe River. On each scrap of paper I show you: An ink swab, made with a cotton Q-tip 1-2-3 pass swab, to show increasing saturation An ink scribble made with a Lamy Safari M-nib fountain pen The name of the paper used, written with a Lamy Safari B-nib A small text sample, written with the Lamy Safari M-nib Source of the quote, written with a wet Pelikan M101N with F-nib Drying times of the ink on the paper (with the M-nib Safari) Because this is my first review of 2023, you also get a new set of quotes. This time they originate from Jim Butcher's "Dresden Files" - well-written stories of a wizard in present-day Chicago. I you enjoy fantasy writing with a good dose of humour, these books come highly recommended. The multi-paper writing test shows that Teranishi Gentle Green interacts well with all paper types. It can even handle crappy paper like Moleskine with only barely visible feathering, which is quite a feat. On low quality paper you get some bleed-through, but nothing too excessive. This is an ink that handles paper very well. The ink shows a muted blue-leaning green on most papers, except the high-sheen kind. On high-sheen paper, the ink looks much more blue (see e.g. Kobeha GRAPHILO and the Tomoe River 52 and 68 gsm paper). Drying times are all over the place – below 10 seconds on absorbent paper to very high on high-sheen paper. Because scans don't always capture an ink's colour and contrast with good precision, I also add a photo to give you an alternative look on this Teranishi ink. In this case, both scan & photo capture the ink well. The scan seems to give the best colour indication. Writing with different nib sizes The picture below shows the effect of nib sizes on the writing (written on Rhodia N°16 80 gsm paper). All samples were written with a Lamy Safari. I also added a couple of visiting pens: a wet Pelikan M101N Grey-Blue with F-nib, and my very wet-writing Yard-o-Led Viceroy Standard Victorian with an F-nib. As you can see, Gentle Green can handle all nib sizes with ease, showing great-looking shading in them all. Related inks To compare Teranishi Gentle Green with related inks, I use my nine-grid format with the currently reviewed ink at the center. This format shows the name of related inks, a saturation sample, a 1-2-3 swab and a water resistance test – all in a very compact format. Gentle Green shares a large part of its DNA with TACCIA sabimidori – the same colour shift from blue to green during writing, the same high sheen characteristics. But the TACCIA ink is definitely more blue-leaning. Both are great looking inks! Inkxperiment – Little Red Riding Hood As a personal challenge, I try to create interesting drawings using only the ink I’m reviewing. For me, that’s where the fun starts: experimenting with the ink to see how it behaves in a more artistic context. I love doing these little drawings – always good for a fun couple of hours. Inspiration for this drawing comes from the Brothers Grimm tale of “Little Red Riding Hood”. I recently saw the "Brothers Grimm" movie – on Netflix, I think – and thought that this specific fairy tale would make a nice subject for an inkxperiment. The drawing shows the little girl on her way to grandmother’s cottage, deep in the woods. And boy, is she scared – what with all these stories of a giant wolf lurking around in the dark forest. If you can’t believe your eyes when seeing the drawing, you’re not alone. I couldn’t believe that all these colours were hiding within this single ink. Amazing! I started with an A4 piece of HP photo paper. I taped out the tree trunks and squares with washi tape, and then applied water-diluted ink to the photo paper through a paper towel. The towel apparently absorbed most of the blue dyes, with green and yellow components settling on the photo paper. This created a very interesting looking background. I then removed the washi tape, and used a plastic card dipped in pure ink to draw the tree trunks and branches. The washi tape left some glue residue on the photo paper, which creates a sparkling effect in the tree trunks. I then used a dip pen to draw in the little girl and cottage, and coloured the square background with a Q-tip dipped in pure ink (which reacted blue with the photo paper). The end result is a very colourful little painting – quite nice, and not at all what I expected when starting with this inkxperiment. By the way. If – as I expect – you were looking for the big bad wolf … it’s not in the painting 😉. But just the feeling that it must be there somewhere is making you anxious. Which was also the purpose of the story: scaring little children, so they don’t go playing alone in the woods. Inkxpired – computational art I love experimenting with pen/ink/paper, and have added another layer as part of the hobby. I’m exploring computational art, inspired by the ink drawings I do during ink reviews. Another fun offshoot of the hobby… and all that starting with a few drops of dye-coloured water on paper. I started by abstracting the inkxperiment drawing a lot, using a filter that removed most of the background, and using earthy brown tones to emphasize the dark forest. Next, I coloured the little girl red because – well – it’s Little Red Riding Hood. Finally, I used a mosaic overlay, and removed some of the squares. I quite like the end result, which keeps only the essential parts of the story, without too much clutter. Conclusion Teranishi Gentle Green is a great ink. Period. A wonderfully complex blue-green that combines good saturation with muted and toned-down looks. And on top of that it can handle all combinations of pen-nib-paper without any problems. And if you like to draw with ink, you’re in for a treat – this is some seriously good stuff! Highly recommended. Technical test results on Rhodia N° 16 notepad paper, written with Lamy Safari, M-nib Backside of writing samples on different paper types

➤ Please take a moment to adjust your gear to accurately depict the Grey Scale below. As the patches are neutral Grey, that is what you should see. - Mac : http://www.computer-darkroom.com/colorsync-display/colorsync_1.htm - Wintel PC : At the operating system level, associate colour profile 'sRGB IEC61966-2.1' with your monitor, then deploy Calibrise http://www.calibrize.com/ http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/27ddb717.jpg ➤ As Photo*ucket lost the basic functionality to display linked files as required, and includes advertising with linked images, I've embedded the HiRes images. I apologise should that choice slow your display times. ≀∰≀ Fidelity One may compare the appearance of ink I used to the depiction on the Organics Studio site: organicsstudio dot com Figure 1. Swabs & Swatch Paper: HPJ1124. http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK251_zps1bfc52ae.jpg Figure 2. NIB-ism Paper: HPJ1124. Depicts nibs' line-width and pens' relative wetness. Distance between feint vertical pencil lines is 25mm. http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK253_zpsca5b94a1.jpg L ➠ R: Estie, 45, 1745, ATX, P99, Prelude. WRITTEN SAMPLES - Moby Dick Ruling: 8mm. Figure 3. Paper: HPJ1124. http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK254_zpsa2f2c4d1.jpg Figure 4. Paper: Rhodia. http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK255_zps50b01760.jpg Figure 5. Paper: G Lalo. http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK256A_zpsecb409ed.jpg Figure 6. Paper: Royal. http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK260_zps4f400667.jpg Figure 7. Paper: Staples. http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK258_zpsca8535e9.jpg OTHER STUFF Figure 8. Smear/Dry Times & Wet Tests. http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK252_zps23b05a4b.jpg Figure 9. Bleed- Show-Through on Staples. (Reverse of Figure 7.) http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK259_zps2b3eecc5.jpg Hi-Res Scans Originals are 30x60mm Estie on HPJ1124: http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK261_zps10492aca.jpg 1745 on Rhodia: http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK262_zps1ccc8746.jpg ATX on G Lalo: http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK264_zpsbdc730a5.jpg Prelude on Royal: http://i783.photobucket.com/albums/yy116/Sandy1-1/FPN_2013/Ink%20Review%20-%20Organics%20Studio%20Walt%20Whitman/INK265_zpsc422e2bf.jpg GENERAL DESCRIPTION Type: Dye-based fountain pen ink.Presentation: Bottle.Availability: Available when Topic posted.As this is a 'Special Edition' ink, duration of availability is open to speculation.Daily writer? Doubtful.A go-to ink? When the time has come to write outside the box. USE Business: (From the office of Ms Blue-Black.) N.B. As Green ink may be used by [financial] Auditors, I suggest that those who work with records which may be included in an Audit should not use Green ink for business. Too far away from the customary Blue through Black hues to suit routine business correspondence. Yet when run at a low value from a wet pen, (such as the P99), OSWW can slip in the side door to deal with non-routine matters in a calm affirming manner; might suit mediators, ombudsmen, hostage negotiators, etc.For personal work product, we have a pleasant writing experience. For extensive use of very narrow nibs on copy/print papers, I'd choose one less rigid than the Posting nib on the Estie; a Platinum Carbon Pen with its Asian EF nib was so much more comfy.To achieve high readability suitable for ploughing through tomes, the line seems to need a bit of heft, which may be achieved by using nibs somewhat wider/wet than usual. That might take a bit of wrangling by those who use both sides of 'lowest bidder' papers, but if one is set on using this ink, such effort should be rewarded.Use as an alt/aux ink is rather limited, though will certainly do the necessary if colour-coding of one's work is needed, indicating anomalous/outlier entries on forms, and mark-up / annotation of work done in Blue.As Green is an affirming hue, OSWW should not be used for error correction.Not enough zap for grading, even for those who do not use a Red-centric ink for that task - dust off the Lamy Green instead.Illustrations / Graphics: An interesting and useful pick for charts & graphs in both area & line formats.For lines & labels one needs to keep the value a bit high to keep the hue evident, yet keep the line sufficiently saturated to suppress shading a bit.As a watercolour there's potential for variable hue washes, but it will take one far more brush-savvy than I to give form to that thought. Some dye will come adrift when overworking with water or wet media, though I found the remnant hue a bit odd.Students: As for business use above, getting the 'right' appearance for general notes could take a wee bit of effort, so OSWW could be most useful as an alt/aux ink, and a very good candidate for condensed study notes. (Not as mood enhancing as a Turquoise, but miles ahead of Black.)As usual, a light hand is advantageous when using both sides of cheap & nasty paper.Personal: I am still recovering from being traumatised by Lamy Green. My path back included Caran d'Ache Amazon, MB Jonathan Swift & Sailor Jentle Epinard, and it seems that OSWW is another step in the right direction.For 'personal' personal writing, OSWW is a departure from my usual Turquoise through Blue-Black inks, so seems to be an 'on purpose' ink in my array. There is considerable malleability, so one is able to fine tune the appearance to suit whatever that purpose might be.For pro forma personal business writing, I'd rather use whatever default Blue is to hand. Predominantly in the United Kingdom, use of Green ink to write public figures or members of the fourth estate has the connotation that the author might've been sectioned or is mad as a box of frogs. As such, OSWW may be a good pick when/if responding to the next dunning letter.While it is early days for this ink, I am most comfortable running it slightly dark, but not so dark as a Green-Black - I do like the hue.There is the temptation to use shaped or flexi nibs, though at this time a ~0.6mm Stub seems to be enough. For short notes and greeting card enclosures, the wider nibs promise great swathes of subtlety, if not for writing, then ornamental flourishes perhaps. *reaches for the 2.4 Parallel pen* PHYSICAL PERFORMANCE & CHARACTERISTICS Flow Rate: Slightly wet.Nib Dry-Out: Not seenStart-Up: Immediate.With confidence.Lubricity: Just a bit high.Nib Creep: Not seen.Staining (pen): Not seen after three days.Clogging: Not seen.Seems unlikely.Bleed- Show-Through: Staples: See Figure 9.HPJ1124: A few freckles from the P99.All other pen+paper combos used are greenlighted for two-sided use. Feathering / Wooly Line: Not seen on papers used.Aroma: Slightly sharp on my slightly sharp nose.Not noticed whilst writing.Hand oil sensitivity: Not evident.Clean-Up (pen): Prompt and thorough with plain water.For recently charged pens, the use of my easy-going DIY pen cleaning solution of 0.5% ammonia+surfactant did not release any visible residue after my fussy water-only cleansing regimen.Mixing/Blending: No stated prohibitions.Archival: Not claimed. THE LOOK Presence: An invitation to breathe easy.Saturation: Moderate.A well-inked line is easily achieved.Shading Potential: Most definitely.Slightly understated.Line quality: Very good for a simple aniline dye-based ink.There seemed to be instances of line-width variation (spread) greater than usual, so those with a heavy hand or using a flexi nib should watch for that.Variability: Pen+nib combos used:Higher than expected.Papers used:Higher than expected.Malleability: High.We have another ink that responds to changes of both pen and paper, and has the roomy performance envelope to enable such manipulation with low risk exposure to a flawed result.The wily practitioner is likely to choose paper before pen. Paper will determine the perceived hue of the ink, which is quite sensitive to the base-tint of the paper when the ink does not fully dye the paper surface; and to establish the simultaneous contrast between paper and ink.Also consider the nature of the light source for viewing - warm light sources accent the Green aspect of OSWW. PAPERS Lovely papers: Neutral whites.Trip-wire Papers: ☠ Dirty whites.Those loaded to the gunnels with optical brightening agents.Copy/Printer Paper: Quite compatible.Those who prefer a rather saturated line should not be overly concerned about bleed-through on 'lowest-bidder' papers, though you won't know til you give it a go.Tinted Papers: I prefer the native hue of the ink, so much prefer neutral white papers.The warmer papers, even the Natural White of the G Lalo, will certainly accent the Green aspect of the ink by adding warmth to its native hue when translucent, and/or by simultaneous contrast.The Buff-Chamois papers could be quite interesting.Is high-end paper 'worth it'? Very much a matter of preference over performance.Those who wish to explore the full range of this ink should bring some high-end [coated] papers to the party. ETC. Majik: While this one can be conjured, I just don't see Majik.Billets Doux? Not from yours truly.Personal Pen & Paper Pick: Prelude on Royal. The factory Stub is of middling width and slightly dry, which generates moderate line width variation along with subtle shading, which combine to yield a line of subtle complexity, but not so much so that it would slow reading. (In my case that is moot: my handwriting alone is enough to slow reading to a crawl.)The Royal is quite absorbent, which off-sets the dryness of the pen and holds the shading in check. The paper is a stark White so the native hue of the ink is clearly portrayed. Also, not seen on your display, is the soft hand of the paper, which adds an engaging tactile aspect.Yickity Yackity: It seems I have rather a lot to say about this ink - perhaps I really am getting along much better with Green inks.Ah kushbaby, is it time to turn over another new leaf?= ==== = NUTS BOLTS & BOILERPLATE Pens - Written Samples: A. Esterbrook J + 9550 steel XF Posting nib. B. Parker 45 + steel F nib. C. Reform 1745 + duo-tone steel nib. D. Cross ATX + steel M nib. E. Pelikan P99 Technix (Blue) + steel B nib. F. Sheaffer Prelude + factory stock steel Stub nib. - Lines & labels: OMAS Turquoise from a Pilot Penmanship + EF. Papers: HPJ1124: Hewlett-Packard laser copy/print, 24lb.Rhodia: satin finish vellum, 80gsm.G. Lalo Verge de France: natural white, laid, 100gsm.Royal: 25% cotton, laser/inkjet copy/print, 'letterhead', 90gsm.Staples: house brand multi-use copy/print, USD4/ream, bears FSC logo, 20lb.Imaging An Epson V600 scanner was used with the bundled Epson s/w at factory default settings to produce low-loss jpg files.No post-capture manipulation of scanner output was done, other than dumb-down by Epson, Photobouquet, IP.Board s/w, and your viewing gear.Other Inks This Review uses the same Written Sample format, atrocious handwriting and some pen+paper combos common to most of my previous Reviews of Green inks. Consequently, ad hoc comparisons through manipulation of browser windows is supported. Should that functionality not meet your requirements, I welcome your PM requesting a specific comparison. Additional scans may be produced, but the likelihood of additional inky work is quite low. Fine Print ◊ The accuracy and relevance of this Review depends in great part upon consistency and reliability of matériel used. ◊ Ink does not require labelling/notice to indicate (changes in) formulation, non-hazardous ingredients, batch ID, date of manufacture, etc. ◊ As always YMMV, due to differences in materials, manner of working, environment, etc. ◊ Also, I entrust readers to separate opinion from fact; to evaluate inferences and conclusions as to their merit; and to be amused by whatever tickles your fancy. -30- Tags: Fountain Pen Ink Review Sandy1 2013 Green Grey-Green