This weekend my fountain pen-related activities have included a typical mix of journaling, letter-writing, cleaning four pens that were empty or near empty, inking some others and a little nib tinkering. I unzipped a case of 24 lesser-used pens and pulled out a steel nibbed Parker Sonnet to help it write a bit wetter. This proved quite satisfying and I filled it with Quink blue black and added it to my currently inked.
Whilst looking through those 24 pens, I came across my Hero 912. This is not a particularly heralded model but has sentimental value as it was a gift from our cousins in China, on a holiday there in December 2017. I included a picture of it in my post of 14 December 2017, Travelling with ink, China 2017. Part 1: Meeting the Heroes. I do not know where they bought the pen: probably a department store in Shantou, their nearest big city and I suspect that it may have been the largest, most statesman-like and expensive of the pens available. It is always touching to receive a fountain pen as a gift, particularly if the givers are not particularly fountain pen people.
This particular trip to China, with its sensory overload of wonderful people, places, landscapes and impressions, catching up with as many friends and relatives as possible in a few crammed weeks, was later overshadowed for me by being hospitalised in Guilin with what I later discovered to be sciatica – a rather disabling bout of back pain radiating into the leg. Still, it was a memorable experience, I was very well looked after and where else could you get an MRI scan immediately and for £20?
I mention all this as I had not given the Hero the attention it deserved at the time. It is not a very common pen. There do not seem to be many mentions of it online, apart from me.
It is metal pen, with a glossy black lacquer finish and silver coloured fittings at both ends. The cap pulls off and looks, from the shape of the barrel, as though it is meant to be posted. It will post but makes the pen very back heavy and overly long.
The nib is stainless steel, bi-colour and rather small for the size of the pen. The nib grade was not shown but I would call it a fine. It was smooth, with the tines and tipping material nicely level but very firm and with a rather dry flow.
Under the barrel, removed by metal-to-metal threads, there is a collar to fit a standard international cartridge but a Hero branded, plastic slide converter was included.
The pen weighs a fairly substantial 41g capped, or 24.5g uncapped. The cap alone weighs 16.5g. Capped, the pen measures around 142m. Uncapped it is 118mm, and a massive 168mm if you dare to post it.
There is a white plastic inner cap. The cap is quite tight to pull off and so you would probably not want to use this for intermittent note taking. I find it reasonably comfortable to hold, with a tapering grip section (also lacquered metal) and a minimal step from section to barrel.
However I found the length at less than 12cm, to be a bit on the short side, unless holding the pen very low near the nib. Posting the metal cap is not ideal. Fortunately an easy solution lies in posting a light weight cap from another pen, to give you extra length without adding much weight or upsetting the balance. I found that a Lamy Safari cap posts quite well.
The other issue for me, had been the dry nib. Today, after my recent success with the Parker Sonnet, I had a go at opening up the gap between the tines just a little to get the ink flowing, to write darker and with better lubrication. Before doing this I examined the nib under my x7 loupe and could see that, whilst there was a little gap between the tines at the breather hole, the tines were pretty tight at the tipping. This might suit someone with a heavy touch who writes in the under-writer style. However I am the opposite, mostly using an over-writer style and without using pressure.
Fortunately, this is not too hard to fix, with a little patience and the minimum of tools. One way to make the nib wetter in seconds, advocated by an old SBRE Brown video, is to bend the nib upwards very slightly as this will also have the effect of opening the tine gap a little. But a preferable way, I think, is to separate the tines without bending them upwards, if you can, by using brass shims to floss the tine gap.
With a little trial and error, this is done by starting with a very thin grade of brass shim and inserting a corner of the sheet into the breather hole, and then drawing it downwards and out through the tip. As it loosens, you may work the brass back and forth a little, up and down though the nib slit. The brass shim can also be inserted between the tines from the tipping end. Once you feel that it can move freely between the tines, you may stop or repeat with a slightly thicker grade if you want to go further. It is a good idea to stop frequently, blow away any metal residue or rinse in water and examine the results under the loupe again and test the writing experience with a dip in the ink.
I did not go too far with this nib but just got the barest glimpse of daylight between the tines at the tipping material, which means that I can lay down ink without pressing down on the nib. You do not want to go too far with this, as it is harder to undo an overly wet nib.
I am pleased that the pen is now more usable, as a result of a little nib wrangling and the application of a handy Lamy Safari cap on the back. It now writes well with a smooth, fine line and joins my pen cups, newly inked with a cartridge of Kaweco royal blue. Given the right paper (something fairly smooth like Basildon Bond letter writing paper) this can be used and enjoyed as well as being a fond reminder of the kind and generous cousins in China.