Rona2: VSW Minerve France, 2

Same process as the sketch yesterday.

When I realized Evalyn Baker had taken photos of the alleyway
from both sides, I had to finish the other side too!

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Rona2: VSW Minerve France, 1


It usually starts with a sketch.


Then shadows.

I wanted to capture the dark that the leafy canopy created.
I used DeAtramentis Document Urban Grey ink for the grisaille work
so it would not move when I added watercolor.

I swear it has a gritty feel to it as well, and this was on hotpress paper!


Watercolors added.

Lots of Primateks for the gritty textures.
My only regret is drawing the few stones on the walkway.

Loving the virtual sketch-walk of Minerve; this image from Evalyn Baker
The “alleyway” seemed both cheery and moody at the same time.

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Inky Thots: Robert Oster Midnight Sapphire


Robert Oster Midnight Sapphire might need to be renamed Blueberry,
though it is a moody deep blue-purple perfect for skies!
My blueberries ere built of of layers of darker color
and a little linework at the end while the paper was still damp.

Remember that others review these inks just for writing;
I am also interested in how they are used for ink-painting!

Properties of  Robert Oster Midnight Sapphire:

This ink is well-behaved (so far all Robert Oster non-shimmery inks are well behaved).
It does not feather on any of the papers I normally use, including Post-its.  I consider it a medium ink, neither wet nor dry, and it evaporates quickly with a wet nib.
It has never smeared on me during a sketch.  It has a red sheen if applied thickly on smooth paper like the Hahnemühle Nostalgie Sketchbook, above. When hit with water it moves easily with no resistance or ghosting.  It is not water resistant.
I have said it is unpredictable to work with,m and that is in a painting because
it separates and has a mind of its own, and that is a good thing if you are
willing to work with this beautiful ink!  Moody broody colors, as you can see!

*Above, watercolors, from Daniel Smith and Sennelier.*

The paper towel test
shows how many colors
lay within the blueberry-colored ink! When the edge
is touched with water it
moves easily into violet to turquoise. Looking at watercolor comparisons,
I offer Daniel Smith’s Dioxazine Purple, Imperial Purple, Phthalo Blue,
and Cinerous Blue. The pigments fall into
in the following Munsell ranges: PV19, PV23, PV29,
PB 15:3, and PB36.


*For more info on the munsell system, go to this page.  Knowing the pigments can
help you not to duplicate watercolors made of the same pigments.*


On smooth Hahnemühle Nostalgie Sketchbook paper I sketched my
Mom’s large Chinese container using a TWSBI Eco with a fine nib,
then touched the lines with a smaller Pentel Aquash waterbrush.
A small brush doesn’t lay down as much water so the lines might show a bit more;
seems tame here… but wait, as water brings the colors!  


In an inky sketch of
windmills in a foggy morning.  I started with a horizon line… then before I got too far in my sketch I pulled ink down for the water, and up for the sky (wet area above shows the distance of the pull.)
I wish I’d done this when I had just my horizon line in place, but it still worked.
The image was a foggy grey day across a body of water.

Over the dried ink wash I moved across the horizon line, adding lines for the various windmills and trees and such.  I used two colors, the Robert Oster Midnight Sapphire, and then to warm the banks and wooden structures, Robert Oster Aussie Brown ink.
It is risky laying in two lines of colored inks — I suggest trying it on a test area
so you can see how dark it is getting and how saturated.  A little ink goes LONG way.


Also on Hahnemühle Nostalgie Sketchbook, a fast sketch using
the Duke Fude pen, laying on lots of ink and moving it fast;
more water around the sliver of the moon.  Thankfully this time the ink cooperated!

RO is experimenting and testing lightfast properties…
MOST water soluble ink companies do not pay attention to these things
because most artists who use ink are making prints of their work.

His inks are non-toxic.  I have more Robert Oster inks
than any other brand. Why?  Because no other brand
has the spectacular mix of pigments within a color,
which gives even his simplest inks such beauty to with which to sketch and paint that it is a shame to waste them on writing!

His bottles are not the most beautiful, but I am happy
they are environmentally friendly bottles, created
from recycled chemical waste! This matters to me;
I started with fountain pens to stop the plastic pen trash.
I can get the fattest pen into them to refill on the go.
Yes, they are a bit tippy.  I don’t care.
His inks make up for all that.

Robert Oster does not use boxes.  As mine all go into the trash, I am happy not to cut down a tree for a box around a bottle!

I bought  Robert Oster Midnight Sapphire ink at Vanness;
click here to see my Robert Oster inks.

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Rona2: Cat Play

I don’t know what we’d do without the cats…
Mitchell and I each bring different things to the play.

I build forts;
Mitchell does Willie Mays.

Crinkly paper that comes in Chewy boxes, and the Give a Crap boxes,
with an old chair that sat in rain for too long and
was a jungle gym for the siblings when they first came to us.
These forts have to be changed every few days or they get bored.
These guys LOVE change, more to explore.

“Willie Mays” is a story for another time.


This old mouse was retired when Jai and Kamala and Sammy died.
A well loved mouser whose legs are unraveling,
memories of many amazing playful nights, attached to the end of a stick.

©D. Katie Powell.
My images/blog posts may be reposted; please link back  to dkatiepowellart.

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Process Ink Painting, Tips

For Maureen!!

I haven’t time to do a video but I decided to publish this now and not wait…
more tips for painting with ink.

Above, I simple use a Pentel Aquash waterbrush filled with water,
and touched the Robert Oster Emerald ink on the top or undersides of
my TWSBI Eco 1.1, then ran it along the DRY paper edge (#1) and
then pulled it down without squeezing and it naturally dilutes with water.
Then before it was completely dry, I went back in with much more ink on my brush
and created the reflection of the trees in the lake.

After that was dry, I sketched the trees…
Note that the ink will go through watercolor paper much faster than watercolors,
so I sketched several layers keep it from going through.
Finally, I touched my waterbrush with a bit more ink on the tips
and filled in select areas of the front trees.

This took about 15 minutes without drying times, and woudl be a good practice.
A very very fast little sketch, used by me to test inks.


This is a totally different protocol.  The paper was wet for the diluted lighter wash.
WET, as in, wet it once then came back and wet it again just before I started.
I touched the Pentel Aquash waterbrush to my Platignum pen to pick up Robert Oster Green Lime ink, and created the lightest value of the green. 

I let that dry, then added the darkest “wash” on dry paper (#1).
Just like with watercolors, I play around and get to know the inks I am painting with… Are they waterproof?  resistant?  fully soluble? 
It is important because you want to know what flexibility you have!
In this case, Green Lime ink is extremely soluble… This means that I can fully erase a line, which becomes important a bit later as I changed my  sketch.

In #2 I added Fineline Masking Fluid to save the pale areas of the cut lime.
Let it thoroughly dry!  I was happy happy when I found out
it works just as well (so far) for inks as it does for watercolors!

#3 shows the third value of the same ink, and now this takes a bit of practice to get just the right amount of ink (very little) on your brush and move it so that you have the  right color all around the drawing.  Soluble ink works best for this.

After drying I removed the masking fluid…

I needed to change the
shape of the cut lime
(I’d started with one idea then changed it) and this is where soluble inks rule… #4-#5 I was able to go over the old ink,
add to the line of my
new dark Green Lime ink.
Big tip:  If you decide to move inks, go over the entire area instead of touching up, or it will bloom (see deliberate bloom right) instead of blending.  Inks are very different than watercolors!

I let that area dry.

I then came back and added line details using my pen in #6.
If you want your ink lines a bit soft let the paper be just damp —
If sharp, then dry.  I wanted these sharp.

This sketch took longer, needed planning, needs a bit more practice.
About a half hour not including drying time.


This was a buildup of several layers of inks over a drawing with watercolor pencil.
I started with the lightest on wet paper, let dry, then began adding layers while squeezing the waterbrush.  Practice — the amount of squeeze (adding water) and the amount of ink you pick up off the tip of your pen determines the value of the ink.

Lamy Vista with Robert Oster African Gold ink and a Pentel Aquash waterbrush.

I have a lot more info on inks here!
I am back to building and adding
to these pages regularly again…

I love Pentel Aquash waterbrushes, and buy them in the packs from Amazon.
They keep their points longer than others I’ve tried,
and the plastic screw mechanism doesn’t disintegrate quickly.
I use them for diluted ink washes, but LOVE that I don’t have to have an
open container of water in bed with me at night!

BTW, inks are harder to tame than watercolors!

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Rona2: AOC


I only wish I could do her justice… not quite right!

For those of you who don’t think women go through this; it is true.
The harassment started for me USC School of Architecture with SOME not all my design professors. As a young architect it happened weekly, at IBM, in boardrooms, on construction sites. Being strong, being good, having opinions no differently than a man
got me labeled and sometimes the labels were exactly this. The culture was pervasive.
I also will tip my head to the men who pushed back with me and did NOT do this… managers who stood behind me, men who told someone to shut up. There were a couple
in each situation. But more stayed silent and in doing so nodded approval,
and one of them was the man I was living with, who soon got the toss.

Image based on THE video.

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Rona2: Purple Watercolors

Yesterday I played with  MGraham Ultramarine Violet (left)
and Daniel Smith Cobalt Blue Violet (right) here.

Today I am showing you my mainstream (not small manufacturers) purples,
and talking about why I choose certain paints as KEEPERS
Keepers have a permanent place in my main travel palette or a secondary palette.

Some paints are effected by climate (MGraham/honey base) and I live in a wet cool climate, so consider that when someone else has a great experience with a paint.


MGraham Ultramarine Violet is never going to be a keeper.
Ultramarine is a lovely transparent pigment so I am flummoxed as to
why this paint is so clay-like in texture.  I’ve used it with both little water and
lots of water (wash) and it really doesn’t get better.

KEEPER: Daniel Smith Cobalt Blue Violet is much more lively and transparent!
It is a good violet and I will keep it in rotation in my travel palette.

Both Daniel Smith Lavender and Daniel Smith Wisteria are pastels and
herein is a lesson in good paintmaking — These pigments make for an opaque paint yet Daniel Smith gives them vibrancy and life, so KEEPERS!  These both live in my
Victorian palette and I do reach for them, but in limited situations.

KEEPER: Daniel Smith Imperial Violet is one of my favorite purples.
Lively color for a deep purple, and I love the slight color separation into blues and pinks.
This one is in my regular travel palette and is not in rotation.  FAVORITE!

Holbein Permanent Violet I consider a good student grade paint.
I recommend it as such, not an as artist pigment.  Why?  It took a LOT of paint for me to get the deep wash you see here — twice as much as Imperial Violet — but at least I could get a deep wash!  Student grade paints are such a disappointment when you are starting out because one thinks it is technique, not paint, that causes poor washes!


Da Vinci Mauve and Da Vinci Permanent Magenta are both rich pigmented colors,
but they feel a little flat to me (of course neither are favorite colors anyway.)
I keep them in a DaVinci Travel palette but can’t recommend them.

 DS Primatek are all KEEPERS!  I love them — I use them for so many effects.
I tend to use Purpurite much more often than Amethyst but enjoy them both.
I also have a travel palette of only Primateks…

KEEPER: Holbein Bright Violet is a great pigmented color, closer to magenta…
It has a place in my palette when I want this color — it is lovely and creamy smooth!

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Rona2: Delphiniums


Cynthia let me use her images of delphiniums with which to work;
In the true theme of an art journal I was playing with paint
and direct watercolor versus pen and ink and watercolor.


Trying MGraham Ultramarine Violet, the prettiest color!  MGraham never really dries;
when I try to create a wash I get gloopy thick paint and clay-like color… not what I want.

Of course, I am only a few years into watercolors so this could be my poor technique.

I like direct watercolor but it doesn’t thrill me —
and I don’t think it is because I’m not adept.  Will talk more about this, below.


AAAAH, linework!  Tracey calls my linework sexy —
I certainly find it to be joyous to do and maybe that joy transfers to the viewer!
I like to work in watercolor pencil under linework sometimes and
this one I did just for the fun of it… I love pencil lines as well!


I moved to Daniel Smith Cobalt Blue Violet and even at it thickest it is not dull or gloppy.

As I moved out to the lighter colors I began mixing a bit of
Daniel Smith Imperial Violet into the mix to change the hue slightly;
That is why you see those touches of pink!

The centers are done with Daniel Smith Lavender,
an unusual color for me to own but I use it when I am painting Victorian houses!

Next post I will talk
about my purple watercolors… Follow!

And I think I need to paint these again in the electric delphinium blue color!

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Rona2: Rancho Gordo Midnight Black Beans


So yummy we bought several bags of Midnight Black Beans!
Black beans are a favorite — they have a different taste than Pintos
and we use them in much the same way.

The first time I had black beans was in a bean soup with sherry and they were yummy,
but I prefer them in a simpler hearty Mexican dish.

I cooked them with the same basic soffritto of chopped celery, carrots, and
sauteed purple onion, but added a can of diced tomatoes with jalapenos.


We served them simple on the side with 4 oz pan-fried sliced steak, avocado,
and tried Massa Organics California Whole Grain Brown Rice.
*It is a slightly sweet/nutty brown rice.  We ended up ordering a couple of bags.*
We piled these into soft warmed tortillas served on the side with a little
hot organic salsa and what a filling tasty meal!

Leftovers the next day went into larger burritos!.

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Marianne’s Gift Inks


I am so behind on posts!!

Marianne sent me several samples….
All are beautiful (Marianne has amazingly grat  ink taste) but

I am in love with a few that I have on my to-buy list… 
I am starting to play with them!


Must have both of these soon!

You saw 3Oysters GoGung ink, bottom above, here!
This is a mysterious smokey then surprisingly bright ink… Totally love it!

I love grey inks, and the 3oysters Giwa (top) is a wonderful
delicious grey-green with  little sheen!  Must have!



The KWZ Grey Lux is so close to Birmingham’s old Slag Grey (no longer made) and it is gorgeous!  I like KWZ inks and this is on my list when my Slag Grey runs out.

Kyo-no-oto 08 Urahairo will be the ink that I buy instead of Troublemaker’s inks.
I wanted to try a few of the Troublemaker’s inks but am sadly giving up
as I don’t want to be part of the crazed rush for a bottle of ink!
This ink is a beautiful sea glass green and obtainable!

Buddha is sporting fresh ink colors today.

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Inky Thots: Diamine Festive Cheer

From their website:

“Manufacturers since 1864,
Diamine Inks relocated to this
state of the art factory in Liverpool in 1925, where they successfully carried on using the traditional methods and
formulas for ink production.
Over the years the company
has changed hands and are
now located close to the world
famous Aintree Race Course.”

Liverpool, home to the
Beatles and Diamine!

Diamine Festive Cheer Ink was one of the Advent Calendar inks that Diamine
decided to produce as an everyday ink.  I bought it for the bottle…
So many people had loved these inks and this ink was a big hit.

Properties of Diamine Festive Cheer Ink:

It is advertised as a sheening ink but I found the red sheen hard to produce on either Hahnemühle Nostalgie paper (latter) or Fabriano watercolor paper, above.
(Photographed in different lights to show the sheen.)
It has no real shading properties, and is a solid dark blue, and other than the
minimal red sheen might make a good work ink.

 Diamine Festive Cheer Ink
is well behaved and dries extremely fast, which is good info for lefties.  It
writes crisp on all my every day papers, though it feathers a bit
on Post-its.  I consider it on the dry side; I tested it in with a dip pen. Completely water-soluble.  The brush moves the color easily, and when scrubbed / rewet it shows its base color, which is in the Indanthrone blue family, below, only moving slightly toward Ultramarine, never making it to that clear blue.

*Above, watercolors from Daniel Smith.*

The color matches the watercolor pigments, above, with and their Munsell ranges:
Indanthrone (PB60), and Ultramarine (PB29).
*For more info on the munsell system, go to this page.  Knowing the pigments can help you not to duplicate watercolors made of the same pigments.*

I was unable to find out if the inks are lightfast, and have not performed my own tests.
Most artists who use ink are making prints of their work —
But ink-painting is becoming more popular so maybe it is time!

This lovely ink bottle drawn on Hahnemühle Nostalgie paper shows off the ranges…
The piece was drawn with a Platinum Carbon Pen, then painted using water to dilute and push the inks.  I find this ink not a great ink with which to paint.
Bottom line, for me, as an ink-painter and loving inks that produce vivid colors,
I was disappointed in the ink.  I can imagine it used for a business ink as the sheen factor in a medium nib (the size of my dip pen nib) is minimal.

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Rona2: VSW Azile France


Loving the virtual sketch-walk of Languedoc, with this image from Annette Morris…
Late at night, I should have gotten a thinner pen,
as this one is a bit thick for the level of detail I inked under the watercolor.
It began to feel like a zentangle when I got into the stonework!


Color added, many of the pigments are Daniel Smith Primateks.

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Rona2: Portland is Under Seige


I’m not saying the Portland Police haven’t done their share of violent things,
but what is happening now in Portland is frightening.
The President has send the federal forces in to take over our city,
so he can teach people how to do this right.


Violence has escalated, not from the peaceful protesters, but from outside agitators
and now the feds are stepping into the streets to go after citizens.
Tear gas nightly, abductions, and I am afraid of where this will take us.

All state representatives are asking the President to remove his army.

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Rona2: Dandelion, Make a Wish!

I’ve always loved dandelions…

I confess to stealing this idea of a
dandelion in Gold Dust Piloncitos 1521
from my Aussie friend Shilo McClean.
I hadn’t thought of how lovely it might
look with the gold as the wish-do-dahs,
on the green/apricot base, but it is stunning!

The thing with shimmer inks is
they are hard to image… to get the
brilliant gold you have to move the
camera around with the flash, below,
though in reality they are easy
to see.  The problem with images is
that they are NOT reality,
just another representation.

I had dregs in the sample vial, which were quite grey.
I gave another go at a dandelion image using the dregs as the background,
and then dipped into
the full bottle ink for
the gold with my dip pen.
Also makes an interesting sketch, but the apricot-green base color in the ink
(very top image) is more striking, I think!
The shimmer of this ink
sits on top of the sample
vial, which is also
different from other inks!

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Tools: Mitchell’s Glitter Inks, 3

So I gave you a little taste of Mitchell’s glittery
collection here, with the help of Yamantaka!
Part 2, we looked at the warm shimmers in our collection

Now for the cool inks!

Diamine Shimmer-tastic Lilac Satin ink has won the contest for most beautiful shimmer purple that we own —  Diamine Shimmer-tastic Frosted Orchid ink came in second.
Until I swatched them all I really did not see the difference online.
Lilac Satin has the prettiest base ink, clear beautiful, and a great shimmer!
I’m afraid Diamine Purple Pizzazz really hasn’t got much Pizzazz!  Meh!

I owned PenBBS #103 Hyacinth Macaw ink — even though I am not a shimmer gurl
I had to have it because it is a Macaw Ink!  (Yes I am that easy!)
It is gorgeous, and made me want to try other Pen BBS inks.

We bought a bottle of Diamine Shimmer-tastic Cobalt Jazz ink after loving a sample
of a mislabeled ink…  You can see how close it is to the PenBBS Macaw ink,
though I think the Macaw has a deeper base color.
Diamine Shimmer-tastic Shimmering Seas ink has a nice bit of shimmer
but we found the base ink color blah…

Robert Oster Shake & Shimmer Blue Moon ink is stunning,
both in the phthalo-blue under ink and the shimmer!
J.Herbin Kyanite du Nepal ink has that lovely under base note, and is a touch greener.
It is the most shimmery of the J.Herbin inks we sampled, but still, not as
stunning as Blue Moon… whatever causes the shimmer is nicer in Blue Moon.

J.Herbin 1670 Bleu Ocean ink did not get love from us as
the base ink is fairly dull, and there was little shimmer.
I am surprised at how disappointed I was in the J.Herbin inks,
because I have some lovely bright inks from them and they make great inks
— but not so much the shimmers!

Finally, the greens.  All of the greens we sampled were lovely, and three have already become bottles in our collection because they are such gorgeous inks.

I bought Vinta Inks Collection Gold Dust Piloncitos 1521 Ink…
I love “off” colors (posting soon), and this ink created some beautiful images in tests,
and I am looking forward to the bottle when it arrives.
It is a mysterious green with bronze overtones of shimmer.

Robert Oster Shake & Shimmer Peppermint Candy ink has a teal green base ink and the loveliest green shimmer — Wow!  I love the green shimmer, instead of gold or silver.

Diamine Shimmer-tastic Golden Oasis (Green) ink shocks because the name implies
it is gold!  I know an oasis is usually a fecund place in a desert but really,
they must attach GREEN in their name!  This is a knock -your-socks off cheery green
base with a gold shimmer, and it is Mitchell’s favorite ink…
Diamine Shimmer-tastic Magical Forest ink should get more love — it is a beautiful emerald green base with a silver-green shimmer… but didn’t make the get-a-bottle-cut!

About the quality and clog-ability of these inks…

All of these inks are fairly well behaved with the understanding that
they have a boatload of particles in them.  They do not bleed more than other inks,
most dry a bit slower but not so that you’d notice when writing.

With ALL the shimmer inks the pens have to be “flossed” more often.
You can buy brass sheets from Goulet, but what I love best is
the sheet of plastic that comes with the Pilot Parallel pen!

Running the plastic sheet under the tines every so often moves stuck glitter
and we’ve had no reason to clean but one pen, which was left sitting nib down.
Lay pen on their sides or tip up!

Glitter and the environment…

It matters — glitter harms people during manufacturing and
is terrible for the various water creatures.  It is a plastic material!
What I’ve found so far: Robert Oster and Diamine do not use glitter, but a mineral.
When I review other brands I will check to see what they use…
It is more difficult to get info on the other brands but I have emails out to their sites.

What are your favorite glitter inks?

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Tools: Mitchell’s Glitter Inks, 2

So I gave you a little taste of Mitchell glittery
collection here, with the help of Yamantaka!

Now I’ll show you our favorites!

I bought a few bottles of inkmasters we know, so we trusted the ink quality,
and some samples for his last birthday, with some fat nibbed pens.
Before glitter inks he liked like fine nibs (I have 15 fine nibs no one wants to use now!)


We both use our shimmery inks in B or 1.5 or 1.9 stub nibs,
and have not had clogging unless we stored them nib down.
Crystal Castle O’Neals is the queen of glitter and suggested
we store the nib up or on their side, and we’ve not had issues since.
I also like to sue a dip pen with the many colors we own;
all the lettering was with a dip pen.


Diamine Shimmer-tastic Moon Dust ink came at the suggestion of Crystal,
and I can never have too much silver or grey ink…
You can see the comparison to Robert Oster Shake & Shimmer Sterling Silver ink
(link to my Inkt Thots review).
Sterling appears to have a cool base, whereas Moon Dust seems to be a warmer grey base.

Both are lovely silvers… and we have them both inked up!

All three of these golds are gorgeous and different.
Robert Oster Shake & Shimmer Aussie Liquid Gold has a clear bright yellow base with a white shimmer that is so different from any other shimmer ink we own, whereas Robert Oster Shake & Shimmer Heart of Gold leans into a dark slightly green-gold.
The latter packs an intense shimmer like none I’ve seen.
Diamine Shimmer-tastic Golden Sands ink is a very toasty gold, leaning orange-red, or for those who are familiar with pigments, it is a companion to Quinacridone Gold!

Robert Oster Glistening Orange Rumble ink looks almost like two inks —
the top shimmer ink has a glilstening white shimmer that sometimes has
a purpley overcast on top of a clear orange base.  Every time I use it I am surprised.

We both preferred Organics Studio
Elements Cysteine Brown Shimmer ink over J.Herbin 1670 Caroube de Chypre ink,
which was not very sparkly!
The Cysteine also has a beautiful strong
brown base, and I find a lot of brown inks
are washed out, but this one is strong!
I have the Cysteine in my wish list to purchase…

We have a bottle of the very beautiful
and festive Robert Oster Shake & Shimmer
Red Gold
ink, and I’m glad we went with
Robert Oster before we sampled.
Again, intense gold shimmer flakes on
a clear red base.  The J.Herbin 1670 Rouge Hematite ink shows nearly the same base,
but is lacking the gold levels.

Stay tuned for part 3, here, tomorrow!

 

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Tools: Mitchell’s Glitter Inks, 1


Mitchell fell in love with glitterinks,
starting with Robert Oster’s Sterling Silver


I made him a long visual record of what he has because it was getting confusing…

“i think you did this all wrong”

Yaman checked it all out as we need his approval,
and made some adjustments in setting it up for the surprise.  He is a primo helpercat!

Below you can see the inks he has right now, mostly samples, and soon I will do a mini review of them… I think a few will be come drawing inks for me too!

“there, much better…”


Stay tuned for part 2, here, tomorrow!

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Four Glitter Inks


We bought two bottles and a couple of shimmery ink samples!
I don’t buy samples often — tiny plastic thangs —
but will when I have never tried an ink company.

Gorgeous!

Robert Oster has to very different golds (gads the man makes lovely inks!)
Robert Oster Shake & Shimmer Aussie Liquid Gold ink,
and Robert Oster Shake & Shimmer Heart of Gold ink.

Tried Vinta Inks Collection Gold Dust Piloncitos 1521 Ink, and it is beautiful;
Organics Studio Elements Cysteine Brown Shimmer ink is lovely too!

Mitchell may make me a convert!

PS I may be going back to my Inky Thot reviews…
life kinda got in the way!  Three of these would be on that list!

To hear about classes, follow me on Facebook
or check out my new, improved dkatiepowellart.com

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