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D-17 Long Midori

The 17mm barrel is heavy and fits firmly in the hand, giving the fountain pen a sense of stability.

Base color is the “Midori” inspired by the color of evergreen leaves. It was difficult to create the beautiful green because the blue-kind color development is difficult.
The green color creates glossy and brilliant finish.

*Only the cigar model is available. Not be manufactured as a ballpoint pen.

D-17 Long Kikyo

The 17mm barrel is heavy and fits firmly in the hand, giving the fountain pen a sense of stability.
The color is the “Blue” which was made after many trials and errors.
It was really difficult to create the satisfying blue because there is quite few has blue color in nature.
The wonderful blue color “Kikyo” that was named after the bellflowers, creates shining glossy and brilliant finish.

*Only the cigar model is available. Not be manufactured as a ballpoint pen.

D-17 Long AraiShu

The 17mm barrel is heavy and fits firmly in the hand, giving the fountain pen a sense of stability.

The color “AraiShu” is a different kind and quaint brighter vermilion from “Shu (vermilion)”.
“AraiShu” means a light vermilion color because the color becomes lighter after washing the dyed cloth.
The color can be said close to orange red. The color range is wide, from a vermilion like reddish color to a salmon pink kind of color are called “AraiShu”.
It is one of the colors that became popular in the late Edo period with the revival of Yamato-e.

*Only the cigar model is available. Not be manufactured as a ballpoint pen.

D-17 Long ShuNurihanashi

The 17mm barrel is heavy and fits firmly in the hand, giving the fountain pen a sense of stability.
The most traditional color of urushi, “Shu(vermilion)” is used and made it matte finish.
“NuriHanashi (unpolished)” is the technique without polishing after painting.
It requires very high level techniques because there are no post processes.

*Only the cigar model is available. Not be manufactured as a ballpoint pen.

Ryogiri Kuro-tame（Web-exclusive model)

It is designed with the image of the logs for a log house.

The combination of shuai urushi lacquer that is mixed with a black color and shu(vermilion) base color created a finish that exudes an atmosphere of elegance.

Ryogiri Aka-tame (Web-exclusive model)

It is designed with the image of the logs for a log house.

The combination of shuai urushi lacquer and shu(vermilion) base color created a finish that is very deep and beautiful red.

Ryogiri Heki-tame (Web-exclusive model)

It is designed with the image of the logs for a log house.

Heki-iro is a middle color between blue and green.

Ryogiri Toki-tame (Web-exclusive model)

It is designed with the image of the logs for a log house.

The combination of the pinkish base color inspired by the Japanese traditional color “toki-iro” and the upper lacquer, shuai urushi create very soft a bright finish.
“Tamenuri” has the characteristics of translucent amber color like being sucked in, so you can clearly see how the lacquer has accumulated.

Ryogiri KuroRoiro (Web-exclusive model）

It is designed with the image of the logs for a log house.

The very traditional color of urushi, “Kuro-roiro(Black)” is used and it shines glossy and deeply.
Roiro is one of the color names for black, and means the deep and beautiful wet like black color of a black lacquer. The color name comes from Roiro-nuri, which is one of the lacquer coating techniques.

Ryogiri Shu (Web-exclusive model)

It is designed with the image of the logs for a log house.

The most traditional color of urushi, “Shu(vermilion)” is used and it shines beautifully and brilliantly.
Vermilion is a slightly yellowish red color that is said to a symbol of an amulet or eternal youth and long life, and has been used in palaces, shrines and temples since ancient times as a traditional color in China and Japan.
The color is created with a cinnabar (also known as red mercury sulfide) as a raw material, which is a red clay powder containing sulfur and mercury.