Search results for 'Inks drawing'

Our oldest recipe, this high-quality Oak Gall Ink was used by monasteries and the crown in medieval Britain. Initially a medium blue-grey, it darkens to a rich, matte black, slightly warmer in tone than our other Oak Gall Inks. When diluted, beautiful warm red undertones are revealed as a result of the presence of wine within the mixture.

Not suitable for fountain pens. Learn More

Formulated to the exact recipe used by Isaac Newton, this ink is completely permanant, as his surving writings attest. Although composed of very similar ingredients to our Jane Austen Ink, we consider Newton's recipe to be superior, as Austen's has browned slightly over time. Initially a medium blue-grey, it darkens to a rich, matte back, which is slightly warmer in tone than our regular Oak Gall Ink. It is made in small batches and blended to give the required consistency and strength, and is fully waterproof in 5-7 days. Permanent and lightfast, it has been steeped for several weeks and left to ‘mature’ for several more in the bottle. When used on animal skins such as vellum, the acids in the Oak Gall Ink react with collagen, effectively ‘etching’ itself into the surface, hence its permanence. 

Not suitable for fountain pens. Learn More

This ink is made to the recipe that Jane Austen used to draft her novels. Austen's maid took this formula from Martha Lloyd's book, ‘The House Keeper’. She used good-quality English oak galls, but poorer quality beer than Isaac Newton, and added a little sugar. Her recipe is less stable and turns ‘antique brown’ over a long period of time, while Sir Isaac Newton's remains black. Initially a medium blue-grey, it darkens to a rich matte back, slightly warmer in tone than our regular Oak Gall Ink. It is made in small batches and blended to give the required consistency and strength, and is fully waterproof in 5-7 days. Permanent and lightfast, it has been steeped for several weeks and left to ‘mature’ for several more in the bottle. When used on animal skins such as vellum, the acids in the Oak Gall Ink react with collagen, effectively ‘etching’ itself into the surface, hence its permanence. 

 

Not suitable for fountain pens. Learn More

Japanese Coloured Sumi Ink. These coloured sumi inks create vivid shades that can be mixed and used with black sumi stick inks. It is recommended that they be ground using a white grinding stone as opposed to the traditional grey stone. Learn More

The Rohrer & Klingner Traditional Ink range provides 18 colours of high luminance and brilliance, suitable for use with dip pens, brushes, fountain pens, and even airbrush devices. They can be used to produce crisp edges or more painterly washes. They have an acrylic resin base, with a high pigment content, and are completely intermixable. They can also be used in conjunction with Rohrer & Klingner's Drawing and Calligraphy range, to create an even more extensive range of tones. Learn More

Thick, black ink for use wih dip pen, reed pen or bush. Learn More

Pale gold, rich pale gold and copper. Non waterproof. Learn More

Rohrer & Klingner Antique Ink Cleaner for writing instruments 250ml Learn More

Square cut pens with smooth action and large ink reservoir. Ideal for creating double edged borders around book covers, artwork or picture mounts. Learn More

Square cut pens with smooth action and large ink reservoir. Ideal for creating posters and large lettering. Learn More

Brilliant and mainly opaque colours specially developed for use in calligraphy. Superfine pigments. Ideal for making inks. Non waterproof. Learn More

Grind with water to make ink using ink stone. Learn More

Japanese Black Grinding Stone Learn More

Higgins Pen Cleaning Fluid 73ml. Immerse nibs in solution to remove dried indian ink. Learn More