A couple of months back, I swatch tested 100 samples from the Sailor Ink Studio range and four new colours from Troublemaker Inks. I was hugely impressed with all of the dramatic chromatic behaviours and their magical effects when used for watercolour painting. So, when Anja Gebler from Papier und Stift suggested that I swatch test Vinta Inks, how could I refuse?
Like Troublemaker Inks, Vinta Inks are a small artisan ink manufacturer based in the Philippines. The range currently consists of twenty colours featuring eleven standard inks, 4 sheening inks and five shimmer inks.The inks are all named after people, places and events with further information on the Vinta Inks website.
Gold Dust [Piloncitos 1521] – A deep brown earth ochre colour bleeding out browns, greys and feint green blues when dropped onto a wetted watercolour paper surface. A strong gold reaction with bleach. Gold shimmer dust and a strong sheen.
Pastel Blue [Julio 1991] – A light blue/purple pastel colour bleeding out dusty pink, grey/blue and light cyan when dropped onto a wetted watercolour paper surface. A neon white reaction with bleach. Silver shimmer dust and a hint of sheen.
Pastel Pink [Julia 1991] – A transluscent pink pastel colour bleeding out just a feint hint of cyan when dropped onto a wetted watercolour paper surface. A neon white reaction with bleach. Silver shimmer dust with no sheen.
Pink Sands [Santa Cruz 1983] – A vivid orange (no pink!) bleeding out yellow when dropped onto a wetted watercolour paper surface. A muted reaction with bleach. Gold shimmer dust with no sheen.
Cosmic Blue [Kosmos 1955] – A deep blue bleeding out turquoise when dropped onto a wetted watercolour paper surface. No reaction with bleach. Gold shimmer dust and a strong red sheen.
Deepwater Blue [Lucia 1952] – A fabulous blue grey bleeding out feint green blues, grey and pink when dropped onto a wetted watercolour paper surface. A strong white gold reaction with bleach. Hint of sheen. Visual similarities with inks in the Troublemaker and Sailor Ink Studio ranges.
Bronze Yellow [La Paz 1985] – A lively hazelnut brown bleeding out yellow browns and feint green when dropped onto a wetted watercolour paper surface. A dull gold reaction with bleach. No sheen.
Blue Floss [Perya 1820] – This appears to be a lighter version of Deepwater Blue bleeding out feint grey and green blue when dropped onto a wetted watercolour paper surface. A neon white gold reaction with bleach. No sheen. Visual similarities with inks in the Troublemaker and Sailor Ink Studio ranges.
Aegean [Armada 1944] – A multi-tone dusty pink, blue and grey bleeding out green blue, grey and dusty pink when dropped onto a wetted watercolour paper surface. A strong white gold reaction with bleach. Hint of sheen. Visual similarities with inks in the Troublemaker and Sailor Ink Studio ranges.
Sea Kelp [Leyte 1944] – A deep khaki green bleeding out browns, greens, yellow and cyan when dropped onto a wetted watercolour paper surface. A gold reaction with bleach. No sheen.
Summer Green [Carnival 1908] – A blue green bleeding out browns, greens, and cyan when dropped onto a wetted watercolour paper surface. A gold reaction with bleach. Hint of sheen.
Sunrise [Hanan 1964] – A translucent gold yellow bleeding out feint yellow and even a hint of green when dropped onto a wetted watercolour paper surface. A neon white gold reaction with bleach and a strong sheen.
Emerald [Carlos 1960] – A dark emerald green bleeding out browns, greens, yellow and cyan when dropped onto a wetted watercolour paper surface. A negligible reaction with bleach. No sheen.
Mermaid Green [Sirena 1952] – A pastel grey brown bleeding out pink browns, greys and feint green blues when dropped onto a wetted watercolour paper surface. A strong white gold reaction with bleach. Hint of sheen.
Violet [Maskara 1890] – A pastel violet bleeding out purples, pinks and turquoise when dropped onto a wetted watercolour paper surface. A strong white gold reaction with bleach. Hint of sheen.
Vineyard [La Union 1971] – A deep rich maroon bleeding out pinks when dropped onto a wetted watercolour paper surface. A weak reaction with bleach.
Azure [Maharlika 7107] – A deep blue bleeding out turquoise when dropped onto a wetted watercolour paper surface. No reaction with bleach. Strong red sheen.
Teal [Andrada 1898] – A seriously dark teal bleeding out green and cyan when dropped onto a wetted watercolour paper surface. No reaction with bleach. Heavy black red sheen.
Blue Blood [Dugong Bughaw 1521] – A deep blue bleeding out turquoise when dropped onto a wetted watercolour paper surface. No reaction with bleach. Heavy red blue black sheen.
Sikatuna [Sandugo 1565] – A deep rich red bleeding out vermilion and pinks when dropped onto a wetted watercolour paper surface. A weak reaction with bleach. Heavy black sheen.
This is a compact and dynamic range of fountain pen inks with plenty of colour, variety and personality. Big sheens and subtle shimmers are underpinned with some wonderful chromatic revelations – with some inks demonstrating all three. There is something here for everyone.
Tests conducted on Bockingford 200lb rough using a Noodler’s Creeper fountain pen. As I only had 3ml samples, some of the shimmer ink tests are lacking a bit of shimmer dust. Just saying.
Vinta Inks are available in Europe from Papier und Stift.
HEY! If you’re interested to know more about how to use fountain pen inks in more creative ways – whether it’s simply to observe their chromatic behaviours, or, to recreate one of my swatch cards, or, to learn how to use them in watercolour painting, illustration and calligraphy, why not check out my online course or, even better, sign up for a workshop?
FOUNTAIN PEN INK ART 