Two white inks for two different jobs — the distinction that matters
White correction ink is one of the most used consumables in analogue manga production. Every inked page will have errors — lines that go wrong, panel borders that need adjusting, areas that need to be reclaimed from black. Deleter White inks are designed for this work. White No. 1 and White No. 2 serve different stages of the correction and detail workflow, and the critical distinction between them is waterproofness. White No. 1 is not waterproof when dry — you can work over it with limited pressure, but it is not a stable surface for further ink or media application. White No. 2 becomes waterproof when dry, making it the correct choice when the corrected area will be re-inked, drawn over, or scanned as part of a finished page. Using White No. 1 where White No. 2 is needed — and then inking over the dried white — risks the correction lifting or disturbing under subsequent mark-making.
White No. 1 — smooth, fluid, fine correction work
White No. 1 is a smoother, more fluid aqueous ink — easier to load onto a brush and easier to apply in controlled amounts for fine correction work. It is the correct starting ink for artists new to white correction work, and the better choice for delicate detail areas where a brush fully loaded with the thicker White No. 2 would be too heavy. Shake the bottle thoroughly before use — the pigment settles. Thin with a very small amount of water if the consistency seems too heavy for the application. White No. 1 is NOT waterproof when dry. Do not ink over dried White No. 1 linework — the correction will not hold cleanly under dip pen pressure. For any correction that will be re-inked, use White No. 2.
White No. 2 — thick, opaque, waterproof when dry
White No. 2 is thicker and more opaque than White No. 1 — it covers solid black areas more effectively and dries to a stable waterproof surface that can be re-inked without the correction lifting. This makes it the professional production standard for manga correction work where the corrected area needs to be re-drawn. The thick consistency means it works well applied with a small menso brush or a dip pen, laying down an even, dense white that fully obscures the ink beneath. It can also be mixed with a small amount of water to reduce viscosity for fine detail work, or used at full consistency for solid coverage of larger correction areas. Do not mix with other inks. Clean tools immediately with water after use.
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FREQUENTLY ASKED QUSTIONS (FAQ)
Do I need to shake it?
Yes, shake well before use to redistribute the heavy pigments.
Which should I buy — White No. 1 or White No. 2?
If you plan to re-ink over any corrected areas, buy White No. 2 — it is waterproof when dry and provides a stable surface for further dip pen work. If you are correcting areas that will not be re-inked, White No. 1 is easier to apply for fine detail corrections. When in doubt, White No. 2 is the more versatile of the two for production work.
Can I use these for white highlight effects, not just corrections?
Yes — both inks can be used for adding white detail work, highlights, and effects over black ink and screentone as well as for corrections. White No. 2 is better for this application as its waterproof finish means any subsequent media will not disturb the white marks.