The First One Hundred
No. 1
Ziricote in near-black tones, so deep the wood almost reads as ebony until light catches its faint striping. Polished steel fittings and a gold nib give it a sharp, formal contrast.
This one plays a quiet trick on the eye. From a distance the barrel looks solid black, almost lacquered, but tilt it under light and Ziricote's natural striping surfaces, thin veins of brown moving through the dark. The polished steel section, threaded and visibly hand-fitted, cuts a cool line against all that warmth underneath. A gold nib closes the contrast: cold metal, dark wood, warm gold tip. It's a pen that photographs like a monolith and writes like something considerably more alive.
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Material, surface and intention.
This one plays a quiet trick on the eye. From a distance the barrel looks solid black, almost lacquered, but tilt it under light and Ziricote's natural striping surfaces, thin veins of brown moving through the dark. The polished steel section, threaded and visibly hand-fitted, cuts a cool line against all that warmth underneath. A gold nib closes the contrast: cold metal, dark wood, warm gold tip. It's a pen that photographs like a monolith and writes like something considerably more alive.