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http://i900.photobucket.com/albums/ac209/jasonchickerson/20160830_0007.jpg Emeraude on Rhodia Dotpad no. 16. Title drawn with a 1.5mm Brause no. 180 nib and plenty of gum arabic. http://i900.photobucket.com/albums/ac209/jasonchickerson/20160830_0008.jpg http://i900.photobucket.com/albums/ac209/jasonchickerson/20160830_0011.jpg Undiluted (left) and diluted (50%, right) splotches. http://i900.photobucket.com/albums/ac209/jasonchickerson/20160828_0001-2.jpg http://i900.photobucket.com/albums/ac209/jasonchickerson/20160828_0001.jpg Peacock painted with Emeraude de Chivor, Sailor Souten, and a hint of J. Herbin Cacao du Brésil on Stillman & Birn Gamma Series paper. This is a review that I thought I had already done. When I set out to do it again, I realized why I never finished the first time round. Emeraude de Chivor is one difficult ink. It is oversaturated, much too wet, stains everything, and threatens to clog my pen. It also refuses to work with a dipped without plenty of gum arabic, which removes the sheen (but adds gloss). Is anyone actually writing with this ink? I'll admit Emeraude looks pretty good coming out of my wife's mint Kaweco Sport, but I won't be putting it in any of my pens any time soon. Too staining, too clogging, and it smears when dry a la Rouge Hematite. So what on earth could I ever use this for? Well, that peacock looks pretty nice, for one. I love the way three distinct colors can be gotten through dilution: gold/red/black when laid down really thick, a dark emerald green at full volume, a brilliant turquoise when diluted. And it looks great alongside the pink-sheening Souten. Looks like this one is permanently relegated to the art shelf. Now I just have to find some subject matter that requires a glittery teal...