Originating from distant countries, some woods bear exotic names such as amaranth, bubinga or grenadill, which is a wood from Africa which is as well used for musical wind instruments. Stefan Fink's domestic woods certainly have beautiful names, too: Laburnum, furnet, and bog oak are selected because they show the necessary properties to become a Stefan Fink writing utensil. They have to be dense and finely pored, not too soft and above all dry. Fink is especially particular about the colour and appearance of the woods. Oftentimes it is a line in the figure, a nuance in the pattern which makes him decide whether to use a wood or not. Before manufacturing, the woods mature for up to seven years in his workshop where they are rearranged and turned regularly, like a good wine. Some of them have aged for hundreds of years already when they become selected by Fink. In fact, the mentioned bog oak had even rested for 3500 years in the beds of the river Elbe before it was roused from its slumber, retrieved from the mud; dark, mysterious and uniquely preserved. Maybe that is why Fink's writing utensils are so appealing to us: each of the woods has a story to tell.
Fink sets high value to an ecological innocuousness of the used woods as well as their legal origin.