It has been a habit of mine since I was 18, to keep a diary. For the last few years my preferred format has been an A5 book, with a page a day. A daily ritual is to write this, using a fountain pen, typically straight after breakfast, recounting the events of the previous day. This little ten minute appointment for myself, is really valuable.
However it is not always easy to find a suitable diary. Last year I used one from Rymans but was disappointed to discover that the line spacing had been reduced to 6.5mm in 2018, from 7.91mm in 2017. Also, with the new diaries sometimes sealed in clingfilm, you do not have an opportunity to see what the line spacing will be before buying. For 2019, with Rymans’ diaries still being sold in clingfilm, I looked eslewhere. In WHSmith, there were A5 page a day diaries but the line spacing looked far too narrow for my liking.
And then in Paperchase, I found a few 2019 diaries left on the shelf, in A5 page a day format. The cover with its pattern of blue and yellow flowers and rainbows of blue, yellow and light green was not my ideal, but was undeniably cheery. The price was £14.00 but turned out to be reduced in a sale, to £9.75. I was set up for the year.
Happily, the line spacing is a wonderfully generous 8.4mm per row (10 rows = 84mm) which suits me fine. This give 21 rows per page. The book feels nice in the hand, with a sort of linen cover. I am not sure whether it really is linen, but it feels pleasantly textured and grippy. The covers are flexible but protective. It is well bound, with stitched binding, dark blue endpapers and one blue ribbon page marker.
It turns out that it is not quite a day to a page. On Saturdays and Sundays you get only half a page. Thus, for two out of every seven days the description ‘Day to a Page’ is untrue and misleading. It is almost as if Paperchase is saying ‘What you do in your leisure time is of no consequence.’ However, I forgive them on this occasion as the book is so nicely made plus it was generously discounted in the sale.
The real joy is the paper: 100gsm off-white paper that my fountain pens love. It is smooth, but if examined under a loupe, there is some texture there which gives purchase to well polished nibs and provides a lovely feedback. I have been using the diary with a Parker Reflex (pictured), medium nib and Conway Stewart Tavy blue black ink. This inexpensive pen is a light weight and effortless writer. The writing experience of this combination of pen, ink and paper is such a joy, that it is a great way to start the day.
It is almost embarrassing to be posting a new pen review, quite so early into the new year and so recently after totting up how many pens I acquired last year. But hey ho. This is not even my first pen purchase of the year. I purchased a Kaweco Dia2 from a friend at the London Pen Club on Saturday, as I like mine so much and wanted another for my Kaweco extra fine nib.
Today I received the new PenBBS 355. I first came to hear of this, at the same pen club meet just last Saturday and ordered one from Ebay seller Ross Cooper, (Rossco pens) of Bristol. Coming from the UK there was no long wait for the pen to arrive.
Meanwhile I had watched a few YouTube reviews, particularly about the intriguing filling system. Put very simply, you push a plunger down and then draw it back up again to fill the pen. It is the perfect pen for someone who wants a huge ink capacity, and/or who finds a typical twist converter too easy.
First impressions were favourable. It is a very clear acrylic demonstrator, feeling solid, a decent size and with a screw cap. There is an attractive clear finial at each end, rather like on the Opus 88 demonstrator, but smaller.
There is no inner cap but instead the cap is molded so as to seal off the nib when the cap is screwed on fully, with a ledge which meets the rim of the section precisely.
The metal clip is an attractive shape and usefully tight but flexible. There is a broad shiny cap ring, with the brand name PenBBS at the front and the model number 355 on the back.
The nib is a steel bi-colour design with some gold colour plating over most of the exposed part. Through the clear grip section, you can see just how much of the nib lies beneath the grip. I checked my nib with a loupe and was pleased to find that the tines appeared level, the tipping symmetrical and the nib slit slightly tapering from breather hole to tip, just as it should. Mine has Fine nib but a Medium is also available.
The pen is about 147mm long when capped and 130mm uncapped, which happens to be my ideal pen length (anything more is a bonus).
Now to that filling system. I had been rehearsing this in my head for a couple of days whilst waiting for the pen to arrive. The pen is not called a Bulkfiller officially but appears to be similar to the esteemed Belgian Conid system (although I have never owned one). The idea is that it has a plunger, filling the barrel with ink, rather like a piston filler but without needing so much space for a piston mechanism and thus leaving more room for ink.
The pen comes with no filling instructions or papers. Here, in simple steps is what you do:
Unscrew the blind cap (about five twists, anti-clockwise);
Pull up the piston rod, to meet the plunger;
Continue turning the shaft anti-clockwise, gently, for about three twists, to screw it into the plunger; screw it in only loosely;
Push the plunger down; this might be quite stiff the first time, as the plunger will have “clicked” onto the black end piece.
Draw back the plunger, filling with ink; click the plunger back on to the end piece. (On a YouTube video, the reviewer’s pen made quite an audible click but mine has very little resistance);
Now turn the shaft clockwise, (disengaging the piston rod from the plunger) and then push the rod back down to its resting position;
Finally screw the blind cap back down again (about five twists clockwise).
There are variants on this if you wish to draw ink up and down more than once, or if you wish to release some ink before you finish. I have not yet experimented with this.
A little word of caution: do not screw the rod into the plunger too tightly or else you may find that it will not unscrew again when you want to push the rod back down and instead, the whole plunger rotates inside the barrel. Needless to say, this happened to me at my first attempt (luckily without ink) and I had to remove the plunger mechanism in order to unscrew the rod. To do this you will need a wrench to fit the flat sides of the end piece. No, the TWSBI wrench does not quite fit. I ended up using a ridiculously large adjustable wrench to grip the end piece, whilst carefully rotating the barrel. It then came out quite easily and is a fairly simple mechanism.
The nib writes smoothly and is fairly firm but having a little line variation. But the Fine nib is perhaps closer to a western extra fine. With its voluminous ink capacity I can see one fill lasting many months, so chose your ink with care.
Update, 11 January 2019.
In the caption to one of the photos above, I said that unlike the TWSBI Vac 700, the shaft does not seal off the ink supply to the feed, once screwed down. I think I may have been wrong on this. Having inked the pen, it does appear on closer inspection that the end of the shaft does form a plug, in a clear acrylic ring at the bottom end of the ink reservoir. When inked, you can see that the ink does not swill around below a certain point. This is quite a useful feature, as it should reduce the chances of “burping” or blobbing or of ink leakage from pressure changes when flying. It would mean that you need to unscrew the blind cap a little and raise the metal rod, to refill the feed from time to time.As I said, the pen came with no instructions and so it is a case of finding out for yourself.
It is that time of year again, when we reflect on the year that has passed; the highs and lows, the lessons learned and the resolutions for the future. This is now my third such annual round-up on this blog.
My enthusiasm for fountain pens, inks and journals has continued unabated. Depending upon your point of view, this could be seen as an unhealthy obsession or on the other hand, a harmless source of joy and relaxation. The discussion of whether a fountain pen addiction is a blessing or a curse is one for another day.
I continued to keep a simple database of my pen acquisitions – whether they were purchases or gifts. A brief review of this today tells me that I have acquired 61 fountain pens over the year with a total spend of around £3,300. Some of you may be comparing this now with your own tally and finding my figure either shockingly high or low depending upon your own budgets and sense of proportion. Happily, in my experience the fountain pen community is not judgmental and we take people as we find them.
As in previous years, the number of pens incoming, is inflated by quite a large number of inexpensive pens, which you might class as school pens. For example, I was so pleased when some clear plastic demonstrator cartridge-converter pens re-appeared in our local Tesco supermarket after a two year absence, that I bought one of each of the four colours, in blue, black, red and green. They are only £2.00 each but write very well with a smooth, fine line. They are undeniably cheap and plasticky and yet I am capable of getting almost as much pleasure from these as one of my high end pens. “I know it’s crazy, but it’s true.” (Arthur’s Theme).
Also, some of my pen purchases were gifts for others. So impressed was I with the Italix Captain’s Commission, that my wife and I bought two more during the year, as gifts for friends. My pen tally includes five pens bought as gifts.
The list included eight pens given to me by friends or family and which are therefore of special importance to me. These included a new Pelikan M120 in green and black, kindly sent by a fellow blogger in Sweden and some pre-owned Pilots and a Montblanc from another generous reader of my blog.
Browsing in pen shops is a regular habit of mine, in particular our local John Lewis department store or Rymans, Paperchase and WH Smith for more workaday pens. Occasionally when in central London I take a look at the fountain pen departments of Selfridges or Harrods. If visiting other towns and cities here and abroad, it is great to seek out the pen shop if there is one. In the summer we took a holiday in Italy. The pen shop in Verona (called Manella) where I bought an Aurora Ipsilon, was a delight.
In Cardiff recently, I was pleased to find not only a John Lewis but also a branch of The Pen Shop and an independent stationer called Pen & Paper which was a treasure trove of fountain pens not commonly found in bricks and mortar shops. They had a good selection of Visconti pens including the range of Visconti Van Goghs.
As in previous years, the London Pen Show in early October is a highlight of the year. I bought five pens and met lots of friends there. It can be a bit of a frenzy with so much to see and it is good to take some breaks from going around the tables, to catch up with friends and compare notes on our respective purchases. At the end of a pen show, it can be shocking to add up what you have spent in total. A pen which looked way over budget at the beginning of a pen show, could have been purchased after all, if you had not bought all the others which added up to a similar amount! Much the same thinking can be applied to the year-end count-up.
This year, as well as the London show, I also attended the Cambridge Pen Show in March, for the first time. I had a very memorable and enjoyable day, travelling out to Cambridge on the train from London, making some purchases and making some new friends from the online pen community. Sadly it may also be the last time as I have heard that it is being disbanded next year and that instead there will be an extra show in London.
The London UK Pen Club.
I was first invited to come along to the London UK Fountain Pen Club, by Marisa whom I met at the London Pelikan Hub in September 2017. I have since been to almost all of their monthly meet ups. We meet at Bierschenke, a German restaurant and beer hall near Liverpool Street Station to talk pens and enjoy food and drink and each other’s company. Typically we will have around a dozen people who all bring along some pens for others to try. These might be currently available pens, or obscure limited editions or vintage pens and with a host of different nibs, filling systems and characteristics. There are pens for all tastes, whether your preference is for colourful pens in exotic materials or minimalist, understated functional designs. We try them out in our own journals and note any particular inks or pens that we like. It can be very useful to try pens and hear other people’s opinions on them, before committing to a purchase. There is a vast amount of knowledge and experience in the room.
The online community.
There is a vast friendly community of fountain pen users and enthusiasts out there, from the thousands who use FPN, to bloggers and instagrammers. I have enjoyed keeping up this blog and following a number of others, as well as interacting daily with enthusiasts on Instagram, here and abroad.
The successes and failures.
Looking at my list of pens acquired this year, there have been a few which turned out to be less successful. A vintage Sheaffer with a tubular nib wrote dry despite my efforts at flossing and adjusting the nib. It could benefit from some expert help. The Pilot Falcon with soft fine nib was interesting but ultimately not suited to my lefty overwriter style of writing and I passed it on to my neice who writes beautifully with it. I bought a Lamy Dialog 3, which is also unsuited to my writing style, since the pocket clip only caters for people who hold the pen symmetrically and not for those who rotate it one way or the other. It is a pity as I like the look, the weight and the retractable nib. The Lamy gold nib is also very pleasant. I can still write with it if I hold it underwriter style, but it has sat unused since I cleaned it and put it away, in favour of many other easier pens.
My Aurora Ipsilon suffered from a leaky converter, but I was pleased to find that Parker cartridges fit. I have not warmed to the pen as I usually do. Perhaps it is the fine feedbacky nib. Perhaps it just needs more getting used to, but it has been cast aside in favour of other pens which require less effort to like. Finally, the Lamy CP1 is a design classic and impressive for containing a Safari sized nib and cartridge or converter inside such a slim body, but in use it us just too skinny for me to hold comfortably.
The favourite pens of 2018.
On the other hand there have been far more pens that I have really enjoyed. I list just a few of my year’s favourites below:-
Faber Castell Loom, shiny gun-metal version: This has been my EDC pen for the whole year with a superb steel nib, comfortable handling (when posted) and used with a box of Cobalt blue cartridges.
Lamy Studio, brushed metal version with black grip: Another inexpensive pen but a comfortable and reliable work horse which has served me well as a work pen. Unfortunately it did roll off the table once but I was able to replace the nib from a spare Safari.
Pineider Avatar: This brand was new to me this year and I loved the look and the writing experience of theLipstick Red version, with its long elegant steel nib.
Wing Sung 601: These are inexpensive steel nib versions modelled on the Parker 51 and offer great looks, comfortable handling and a large ink capacity from the push-button filler. I have one which is still on its first fill from six months ago. I have since bought a couple of the 601A versions, which are the same but with a tubular nib like a vintage Sheaffer Triumph.
Parker Duofold International, Big Red. Medium nib, 18k gold: This pen needs little introduction. I got mine at a great price in a John Lewis sale and after a little wearing in, the pen writes superbly for me and looks and feels great in the hand. Previously I had a Kaweco Dia 2, which was similarly styled. I realise now that one of the reasons why I liked the Kaweco so much was that it looked a bit like the Duofold, when the cap was posted. I have since bought a previously owned Duofold in black from a friend who found the nib too firm for his liking.
Opus 88, clear demonstrator, eye-dropper pen: This was one of my purchases at the London pen show and has one of the smoothest broad steel nibs that I have ever used. It holds a massive 3ml of ink and is large and chunky but very comfortable.
Delta Fantasia Vintage, limited edition in dark green celluloid, Medium steel nib: This was another buy at the London pen show and also my most costly single pen of the year at £230.00. The celluloid body is wonderful to hold and to look at. As I write this I am itching to re-ink it with Graf von Faber-Castell Moss Green ink.
Cross Townsend, quartz blue: Another well known pen. I reviewed it not long ago here and am enjoying the writing experience, with Montblanc Royal blue. I have tried a number of Cross pens over the years, including the Apogee, Aventura, Bailey, Calais and Century II but find this Townsend to be the best of these.
Waterman Carene, Marine Amber, 18k gold inlaid nib (Medium): This was my final pen purchase of the year and probably the best. It is supremely comfortable. It looks stunning and it writes like a dream. I now have to think very carefully if buying another pen, “Will it be better than my Carene?” If only I had found it in January!
Apart from the buying, the researching of pens online and in shops, the pen shows and club meets and the social media rabbit hole, what this hobby is all about is the enjoyment of owning, using and caring for fountain pens. Not necessarily expensive ones but pens which write nicely. Every pen is different. And they behave differently depending upon the inks and paper used. Currently, I have 26 fountain pens inked, which I feel is a bit too many even for me. Part of me craves the simplicity of having just one pen. But I also enjoy the variety of having several to chose from. As in previous years I will aim (again!) to cut back on the buying.
At the end of the day, I am thankful to have a hobby that has given and continues to give me so much pleasure, enjoyment and relaxation and friends to enjoy it with. Thanks for reading and best wishes for the New Year.
I am pushing out this “first impressions” review with unseemly haste, as the pen has been with me for only half a day. However I saw that there had been some speculation and eager anticipation on Fountain Pen Network about this new model, although the thread Platinum Procyon New Modeldigresses into discussions of Platinum nibs generally and people’s differing experiences with the gold nib of the Platinum 3776.
I first learned of the Procyon while browsing on Cult Pens’ web site a few nights ago and was intrigued by the promotional video, showing the pen sucking up the last drops from an ink bottle, by means of the newly designed feed. And how nice to have a promotional video at all! The pen also benefits from Platinum’s slip and seal inner cap, which supposedly prevents ink drying out for up to 2 years. Also it boasts a steel nib offering flexible writing like a gold nib. With Cult Pens currently offering 10% off, and a free Platinum Preppy thrown in, it seemed worth a go.
The pen arrived in a plain black cardboard box and separate lid, with a foam insert, and protected by a cardboard outer sleeve. The pen was in a polythene sheath. Also in the box were a sample set of three Platinum coloured ink cartridges, in Gold Ochre, Aqua Emerald and Dark Violet, plus one blue one and a fold out Instruction Manual. The box seems perfectly sensible and proportionate at this price point.
Construction and appearance.
The Procyon, or PNS 5000 as it is also called, is an aluminium pen, feeling solid but not overly heavy. The finish is matte, not glossy and feels pleasantly smooth and yet is not slippery. It has a screw cap (which is to be applauded) and despite the rather large area of screw threads on the section, the cap is removed in less than one full turn.
It is available in a choice of five colours. I chose Citron Yellow but the others are Deep Sea, Porcelain White, Turquoise Blue and Persimmon Orange.
The metal pocket clip is springy and moderately firm, and quite easy to use albeit not giving great security. There is a shiny cap ring, which is not sharp to the touch and the cap has the name PROCYON on the front, below the clip and PLATINUM, MADE IN JAPAN on the reverse.
The cap closes to be almost flush with the barrel, but is just slightly wider. This is achieved by having a small step down from barrel to section and to the shiny plated cap threads. The step and the threads are a bit sharp and uncomfortable and so you will probably want to find a grip which is either above or below the threads. Personally, I like to post the pen and hold it higher up so that my thumb is on the barrel. It is therefore important for me that the barrel material is not slippery (which this is not) in order to be able to anchor the pen with my thumb and keep the pen at the same angle.
The section is of a smokey grey translucent plastic, with a small lip at the nib end.
Unscrewing the barrel, with durable metal threads on both barrel and section, there is a generously long housing for the cartridge or else for a Platinum converter (not included but £4.99 from Cult Pens).
The cap can be posted, deeply and securely and being aluminium does not upset the balance.
Nib and Feed.
At first glance, the nib looks rather like those on the Lamy Safari and AL-Star. I chose a Medium. It does offer a little bit of flex but this is not very pronounced and it is not what I would describe as a flex nib. It does however have a pleasing softness or bounce, whereas Lamy steel nibs tend to be on the firm side. There is no breather hole on the nib, which features just the P for Platinum and M for medium.
The black plastic feed does not have any fins but does have a noticeable inlet, about half way up the nib. This is the breather hole which is also used to fill the pen from a bottle and so the nib needs only to be dipped in the ink sufficiently to cover the hole. This means less mess when filling and also that you can still fill the pen when the bottle has only a puddle of ink left, by tilting the bottle and positioning the feed in the ink, as in the promotional video.
I first tried the nib dipped in Pelikan Edelstein Smoky Quartz and was immediately impressed with its smoothness, good flow and some pleasant shading. For those who worried that the nib might be scratchy or dry I can say that my nib wrote smoothly and well, straight out of the box, with no skipping and was adequately wet. Of course I have only this one pen to go on and YMMV.
After trying the pen for a while on one dip of ink, I inserted one of the three coloured cartridges and went for the Gold Ochre, which is a nice autumnal dark orange.
This is a cartridge-converter pen, taking either Platinum’s proprietary cartridges or else the Platinum converter. It is slightly disappointing that a converter is not included at this price, particular as the ability to draw up the last dregs from a bottle is a feature of this pen. I do already have a converter from my Platinum Century 3776, which I might put to use once I have used up the cartridges. Another option is to recycle the old cartridges and syringe-fill them with ink of your choice.
Sizes and weights.
Closed, the pen is reasonably large and at 140mm is about the same length as a Lamy Studio and a bit wider. However, uncapped it is a bit on the short side at 118mm but posts well, to give a length of 155mm. It weighs 24g, which is quite a nice happy medium, neither too heavy nor too light.
Likes and dislikes.
It is exciting to try a completely new design, from a respected and long-established Japanese pen maker. With the proviso that my pen is only hours old, I venture the following:
The uncomfortable step and threads, which mean that you may want to adjust your grip to work around these;
I am still coming to terms with the colour I chose, which is a sort of pastel lemon, giving the impression of an old and rather faded hi-viz jacket, but it is unusual and distinctive.
Smooth and effortless writing;
Comfortable weight and balance;
That feed! I am looking forward to experimenting with near empty ink bottles.
It is early days but overall I am pleased with the pen, particularly how nicely it writes. Having a screw cap and a slightly softer nib plus the innovative feed feature lift it above the Lamy AL-Star, although it costs about twice as much as an AL-Star in the UK. It represents a step up from the entry level pens and a welcome change from the usual offerings of the big brands here. As to value, it is priced a little higher than a Cross Bailey or Parker Urban, which are metal and lacquer steel nib pens. For the writing experience that I have seen so far, (and my nib was perfect, out of the box) I think it is a good new option.
For a London based fountain pen addict, the annual London Pen Show is probably the biggest date in the calendar, for meeting dealers, fellow enthusiasts and some pen shopping. I had been looking forward to it for months.
It is sensible to have some sort of plan or list if you intend to buy something, as the day can be intense. I didn’t do this. I had only a vague idea, perhaps to look at some vintage Parker pens, a Duofold such as a Standard or a Senior, a bit larger than the Junior that I picked up at the Cambridge pen show in March. I was also interested to look at a Big Red, a proper vintage one, having bought a modern Duofold International just the week before. But mostly I came with an open mind and was not looking for anything in particular to buy.
I arrived at the Holiday Inn just after 9.00am, to discover that even the “early bird” admission did not start until 9.30am and that the regular admission was from 10.30am. I headed over to the lounge and met Penultimate Dave from our pen club, who showed me his latest acquisitions.
We paid the extra for early admission and enjoyed the relative quiet of the halls before they got crowded.
Throughout the day, I was to run into numerous other regular members of our London fountain pen club and a few others from further afield, such as Jon, Vijay and Mateusz and so it was a very social occasion. Every time I came out of the halls for a break, there would be a different group of friends to join in the coffee lounge, chatting over their purchases.
In the course of the day, I was to buy five new pens, none of them Parkers, as it turned out. Here is a brief summary.
Delta Fantasia Vintage.
My first stop was the enticing table of Stefano and his wife, of Stilograph Corsani. I had heard great reports of his Delta Fantasia Vintage, his collaboration with Delta to produce a small number of beautiful, traditional looking cartridge-converter fountain pens in celluloid, with steel nibs. My friend Jon has one in turquoise which looks stunning in photographs. I had looked at them online and pondered on ordering one unseen. And then suddenly, here they were in front of me on the table, in the range of five colours. They are limited editions, with only 25 made in each colour.
In my wish list, I had thought of choosing the burgundy version. However, in the flesh, albeit under the artificial lighting of the hotel passageway, it was the dark green which most appealed to me. The celluloid has a most luxurious, distinctive feel. Stefano assured me that it is a pen which is meant to be used and that you will not harm the pen by posting the cap if you wish. I was smitten by the patterns in the dark green celluloid, where beautiful parabolas appear as the barrel tapers, yet the pen appears almost black if you revolve it a little. It felt extremely smooth and comfortable in the hand. The nib is firm but very smooth.
My friend Anthony had brought his 6 year old daughter along, who decided that my pen looked like snake skin. I cannot top that. Coincidentally Anthony had just had the pleasure of hiring Jon’s turquoise version, under Jon’s recently launched online Pensharing scheme.
Opus 88 Demonstrator.
My next stop was to see John Hall of Write Here. I am yet to visit his shop in Shrewsbury but have spoken to him several times at pen shows. I was aware that he sells Opus 88 eyedropper pens, from Taiwan but which tend to sell out quickly and take a while to come back in stock. I had tried one at our pen club (Penultimate Dave again) who had bought one and bought two more to ink in different colours. He tends to prefer broad nibs and this makes sense with such a large pen with a voluminous ink capacity.
John Hall had brought just a couple of these along (and this is the real benefit of the early admission) and so I was able to handle one and clinch my purchase of it, beating the crowds.
Like Dave, I opted for a broad nib. I have been using it with Graf von Faber-Castell Cobalt blue, thinking that I want to have an ink that I will not get bored with! I can honestly say that the pen is a joy. It is big, wide and long. The cap does not post but it is very long already at 137mm and the nib is quite possibly the smoothest I have ever used. The great thing is that you can write on ridged paper (white laid writing paper for example) and the large nib will ride over the bumps like a beach buggy over sand dunes.
Wancher Crystal flat top.
My next purchase was at John Twiss’ table, where he had some of his hand-turned fountain pen creations in beautiful colours and some other exotic wares, such as a red urushi Danitrio Bamboo Tamenuri. I witnessed in awe as Dave decided upon and bought that stunning pen, in the same time as it took me to chose one of John’s more accessible £30.00 Wancher Crystal flat-top eyedropper/cartridge converter pens, in a mix of blue and clear plastic of some sort, with a nice size 6 steel nib. I have two of these from John already, but with the bullet shaped ends and so this is essentially the same pen, with all the same great features (sprung inner cap, demonstrator barrel, optional eyedropper or cartridge/converter filling) which I love. They are to my mind extremely good value. Somehow, the large comfortable proportions seem automatically to improve my handwriting.
TWSBI Diamond 580 AL R, with 1.1mm stub nib.
This year, Martin Roberts of The Writing Desk was back at the London Pen Show. I had bought my very first TWSBI from him at the same event 4 years ago, a Vac 700, which remains one my most fun pens! I have since gone on to add a Diamond 580, an Eco, and a Classic to my TWSBI line-up, all of which have performed well. This year, the novelty was the TWSBI Go, in grey or sapphire, with a quick and easy push button sprung filling mechanism. However, I let that one go (no pun intended) and instead asked for the new AL-R version Diamond 580 piston filler, with a 1.1mm stub nib. I had not tried this nib before but thought it a good option for the large capacity pen.
At home I have also inked this one with the GvF-C Cobalt Blue and am enjoying the stub nib a lot. I am finding it more like a crisp italic nib, a little sharp at the edges but if you hold it right at the sweet spot and keep to that grip, it is smooth and gives a gorgeous amount of line variation, with no effort.
Leonado Officina Italia, Momento Zero Collection
My last purchase of the day, on that fatal “just one more lap” of the halls was this beautiful resin pen with steel nib, from the table of iZods Ink (Roy). He had a selection of colours on display. Prices were displayed for both the celluloid and the resin models. At first I picked up one of resin ones, so impressed by the beautiful finish that I thought it must be one of the pricey celluloid models. When Roy told me that it was the resin pen (and accordingly a very reasonable £135.00) it was irresistible and the only decision remaining was whether to go for dark red marbled or dark blue marbled finish. Both looked stunningly attractive and resistance was futile. I would have been very happy with either but went for the dark red.
At home I filled it with Conway Stewart Tavy, my faithful favourite for an attractive blue black which flows well. With cap posted, it is a sizeable but comfortable and well balanced pen. I have since enjoyed watching Emy’s review of it on Youtube and his film of visiting the founder, Salvatore at his factory in Italy.
Apart from these five lovely pens, I bought an A4 Leuchtturm journal and two bottles of ink, (or three if you count the bottle of Delta black that was included inside the gift box of my Fantasia Vintage). I chose the Pure Pens Cadwaladr red (recommended by Anthony) and a bottle of Mont Blanc Royal Blue, that will perhaps be used to feed my thirsty Opus in the winter months ahead.
If this all sounds like pen-saturation, well yes it was. I vowed that I did not need to buy any more fountain pens for the foreseeable future. And that decision served me well, for almost nine full days until I happened to come across a solid brass pen, a Monograph Mgcc 099 sold at the Barbican Centre gift shop in the City of London while there to see a Richard Thompson concert last week. So, never say never.
This iconic beauty had been on my wish list for six months, although I was not actively looking for one and was deterred by the price. Then my interest was reawakened recently on reading “A day with a Duofold” on Anthony’s blog “UK fountain pens.” I was particularly interested in his comments on the similarity between the Duofold International and the Kaweco Dia2, as the latter is one of my most comfortable pens.
I could not believe my luck when browsing in John Lewis’ pen department, in London’s Oxford Street. A new Duofold, in Big Red colours, was reduced to less than half price to clear. A black model with gold furniture was still at full price.
It was not clear to me at the time, whether it was a Centennial or an International since there was nothing to compare it with. In fact I had forgotten again which was which. (The Centennial is the bigger of the two versions). There was no help from the packaging. I was amused to notice that where the words “Duofold Red FP” had been written on the outer box, someone had crossed out “Red” and written “Orange”. Bless.
Notwithstanding this question, I decided to snap it up. I had looked at the nib with my loupe and the indications were that it would be smooth and reasonably wet. This was confirmed when I dipped it, but a dipped nib is not representative of how a pen will write when filled normally. I could not wait to get it home and try it out.
Appearance and design
This is an acrylic pen, not very much changed in overall appearance since it was introduced in 1921, although there have been many changes, such as to the finial, the cap bands, the nib scroll work and the barrel text. The shape and proportions are as classic as they come. The cap has a black crown to it with an inset metal finial bearing the name Duofold and the shape of an ace of spades in fancy scroll work. Then there is the classic 1920’s Parker arrow clip. The current model Duofold has a single, wide cap band with the Parker name and logo.
The cap screws off in just over two full rotations. The threads have a reassuring grip at the end and so there is no worry of the cap coming lose. The barrel is of the same orange acrylic, reminiscent of the red lacquer original of the twenties, then made of a supposedly indestructible material called Permanite. A nice feature, dating from the original is the engraved text on the barrel, now reading DUOFOLD Geo. S. Parker, Fountain pen, and in a little banner, Parker Pen . There is a black grip section and black end cap, although only for decoration, this now being a cartridge-converter pen.
Unscrewing the barrel, I was pleased to spot what appears to be a serial number, 16210079, FRANCE on the metal holder for the converter. I believe this pen to be the 2016 edition. Apart from this number, I have not found the usual Parker date code anywhere.
My pen came with a medium nib, in 18k gold with bi-colour finish. The text says Duofold, Parker 18k 750. The tines looked to be very nicely set up. It has a huge blob of tipping material, particularly for a medium nib and so looked to be built to last. The plastic feed has an unusually slim profile and is smooth, with no fins visible.
The pen was supplied with a very superior, Parker branded converter with a smoked grey ink reservoir, knurled black plastic turning knob and knurled metal collar. The plunger had a nice tight feel to it and the black plunger has a red O ring in it. I have not had any leaks from it.
Weights and measurements
When I got home, I looked at the specifications given for the Centennial and the International, on The Writing Desk web site. This is how I found out that my pen is the International. It is 132mm long capped, 124.5mm uncapped, and has a barrel diameter of 11.8mm. Posted, it is 164.6mm. The visible part of the nib is 20mm long. It weighs around 23g of which about 8g is the cap.
Personally, I find it just a little too short to use unposted. Also, if I do hold it unposted, it means that I hold it around the section which is a bit too narrow. So instead, I post the cap and then hold it a bit higher up, around the cap threads, with the section resting on my second finger. This, I find comfortable for longer writing sessions and is how I use my Kaweco Dia2. Incidentally, to those who say that the nib of the Dia2 is disproportionately small, the Duofold might be what you are looking for!
Although the Duofold’s cap does post securely, it only just covers the black end piece and ring. It does not go on very deeply. It does leave the pen looking rather long and if you were to hold it lower down than I do, you would probably find it too unbalanced and top heavy.
Writing performance and conclusions
There was no way I was going home without this. In use, I filled it the first couple of times with Parker Quink blue-black, which flowed well. I know that people say that when filling a pen, you should turn the the piston back a little at the end to release a drop of ink back into the bottle, and then wind it up again so that you do not have a saturated feed. I tend not to bother. However with this pen, you will get a very saturated feed and it does then write very wet for the first couple of pages. In fact, this has suited my purposes well because the nib was otherwise a bit skippy at first. I remember the advice that I read on buying my Pelikan M800, that you do need to let it wear in, by using it for a few weeks or a month to get rid of any “baby’s bottom”. It is already improving and the nib is now settling down nicely.
I now have it inked with Conway Stewart Tavy, by Diamine and rather prefer this darker blue-black to the Parker version.
I am very much enjoying the pen. Although smooth, it has a distinctive feedback which can be heard on my Leuchtturm paper. It is very firm with very little flex. I have had several hour-long sessions, filling pages with it just for the pleasure of feeling and watching the words go down on the page in glistening new ink.
I have also enjoyed looking at the old advertisements for the 1920’s Duofolds. You can spend an entertaining evening Googling “Parker Duofold Advertisements.” I also learned that it was the most expensive pen of its day, at $7.00 back then. So confident were Parker of their nib (the tip of which involved over twenty separate operations) that they offered the pen with a 25 year guarantee. The tip was supposedly three times harder than the usual, and three times more expensive, so that you could lend the pen without any qualms. I lap up all this stuff. (As a ten year old, I once wrote off to Parker, to ask for some more information about the Leonardo da Vinci Vitruvian man image that they were using in their magazine advertisements for the Parker Jotter at the time. But enough about me). Here is the pen again.
Whilst at Victoria Station recently, with ten minutes to spare before my train was due to leave, I popped in to WH Smiths to have a browse around their stationery section. There I made the happy discovery that they sell Faber-Castell fountain pens.
I bought a Faber-Castell Loom earlier this year and have been using it as my every day carry. It is my most successful of the Faber-Castells that I have tried. I found the Emotion too short for me and too heavy; the Ambition (black resin version) also too short and too slippery, or too back-heavy if posted. However, their steel nibs had all been excellent. Even on their £5.00 plastic school pens, the nibs were very enjoyable.
I spotted a pen which looked similar to my Loom, but with a slightly different shaped cap and which had a shiny, black carbon-fibre look to the barrel. Also, the long, cylindrical section was of grippy black rubber. There was even a smoky grey ink window. I now know this to be the Faber-Castell Basic, black carbon version.
I asked to have a look at it and was immediately impressed by the length of the pen when uncapped, (about 134mm) which was considerably longer than my Loom, which I took out of my pocket, to compare. The familiar stainless steel nib looked in good shape and I decided to buy it. The sales assistant apologised that it did not have a cartridge with it but that did not bother me. A new Faber-Castell, like my Loom but longer! What could possibly go wrong?
Later inspecting my purchase, I unscrewed the barrel and found a spent blue cartridge inserted in the pen. Either someone had been testing the pen rather too extensively in the store, or it had had a previous owner and was a return. Never mind, the nib looked promising and I was not bothered about having to clean it first.
At home that evening, I flushed the pen. I planned to fill it with Graf von Faber-Castell Garnet Red. It is important to remove all traces of blue ink from the nib and feed first, otherwise you lose that lovely deep orangey-red colour in the Garnet, and instead it turns to a burgundy. (Ask me how I know this).
So after flushing the section several times I unscrewed the nib and feed unit from the section and patiently left it to soak in a jar of water overnight.
The next day, when screwing the nib unit back into the grip, (having carefully flushed it again, dried it and applied a little silicone grease on the threads) I realised that I had forgotten what it was supposed to look like. Or rather, I did not realise that I had forgotten and went on screwing it in, expecting to get the unit to fit flush into the grip, right up to the start of the nib, like the Loom. (DO NOT DO THIS!) Needless to say, it did not want to go in any further.
Next I got out a standard international converter. None was supplied with the pen, but I had a few different brands. The first I tried, did not grip onto the coupling at all. The next one, (actually a screw-fit converter, from a Conklin Duragraph) gripped nicely so I gleefully filled it with my Garnet Red ink.
Next, on trying to replace the barrel, I found that it was a very tight fit over the converter, although it did just fit, so I screwed the barrel into place. (DO NOT DO THIS EITHER!) I then tried unscrewing the barrel again and was alarmed to find that, in unscrewing the barrel, the metal collar of the converter had unscrewed and was now firmly wedged inside the barrel.
The only way to retrieve this was to offer the converter back into the barrel (losing the ink first), screw it back into its collar, and pull. This operation, thankfully, was a success. I also learned how to disassemble, clean and re-grease a Conklin Duragraph converter in the process.
I found a different converter to use, this time checking not only that it would grip on the coupling, but also that the barrel would fit over it without touching the sides, before filling. I inserted a Kaweco converter (not the mini one but from a Dia 2) which worked fine.
So I filled the pen, replaced the barrel and thought that all would be well. However, the next discovery was that the cap had become an uncomfortably snug fit, when capping and uncapping the pen. Closer inspection revealed the apparent cause of this to be that the rubber grip had several stress cracks at the nib end and the rubber had actually flared out very slightly and was rubbing on the inside of the cap. This probably happened when I had been trying to screw the nib unit too deeply into the grip.
I think the Basic will be great pen, once I have obtained a replacement rubber grip. However it is not fool proof. I have since enjoyed watching old reviews of the pen by Stephen Brown and Brian Goulet who both spoke very highly of it. As a veteran of over 200 pen purchases, I had become sloppy and made a series of mistakes. Did you spot them all?
Notes to self:-
Do not rush a fountain pen purchase, if you have a train to catch;
Inspect the pen properly before purchase, including under the barrel;
Before removing a nib, perhaps take a photo as a record of how it looked before;
Do not use force when screwing a nib and feed back into a section;
Before filling a converter, (if it did not come with the pen) check that the barrel will fit over it.
If the barrel is going to be a tight fit over the converter, use a converter that fits properly.
You are only as good as your last pen purchase.
I hope that Faber-Castell will not mind sending me a replacement rubber grip and I can then start to use and enjoy the pen, with a fresh start.
One of my favourite pen purchases of 2018, has undoubtedly been the Pineider Avatar, in Lipstick Red from Harrods last May. At the time I bought it, I was vaguely aware of the rather similar Visconti Rembrandt but had never owned or handled one.
The pens share a number of similarities. They are both Italian, both from Florence, both I think designed by Dante del Vecchio (but while at different companies), both are resin bodied, steel nibbed, cartridge-converter fountain pens at what you might say, is the “entry level” for the luxury pen market. I recently heard someone describe the Ferrari California as entry level, so it is all relative. They both feature magnetic, pull off caps, and weighty, shiny, plated grip sections.
I looked at the Pineider Avatar in my post Pineider Avatar fountain pen review. At the time, newly besotted with the Avatar I commented that compared to the Rembrandt, I rather preferred the Avatar’s overall flair.
Four months on, I am still besotted with the Avatar. However I was curious to learn more about the Rembrandt and after watching a few reviews, I succumbed to the temptation to buy one. I felt that it would be sufficiently similar to the Avatar for me to enjoy it for all the same reasons whilst being sufficiently different to make it a worthwhile purchase. What finally tipped me over the edge was a range of new colours, including the Twilight (which I chose) with swirls of purple and glimpses of pink and white like you see when you examine the brush strokes of an oil painting up close. I also blame the magnifying viewer which you can move with your mouse over different areas of the pen, as you deliberate feebly on whether to “Add to basket.” I opted for the Medium nib.
When the Rembrandt arrived, my first impression was that the purple colours did not seem quite so spectacularly vivid in real life. But the pen felt very solid and well made.
It may be helpful to identify a few differences between the Avatar and the Rembrandt, for anyone considering whether to buy one, or both.
The Avatar came in an impressive and unusual gift box, shaped like a writing desk with a fold down top, in dark green faux leather with a padded creamy interior and a set of Pineider stationery inside. The Rembrandt came in a nice, perfectly acceptable but unexciting lidded cardboard box with padded cushion pen rest.
Construction and appearance.
The Rembrandt has the familiar Visconti pocket clip modelled on the Ponte Vecchio, the arched bridge over the River Arno in Florence. It is a hinged clip but needs to be pinched and lifted to slide over a pocket. It has VISCONTI, laser-etched on both sides, not the fancy enamel of loftier versions. The finial has the Visconti “my pen” system whereby you can replace the metal button held in place by a magnet, with a jeweled finial or a pair of initials.
The cap band is smooth and well finished and says VISCONTI on the front and MADE IN ITALY in smaller letters on the back.
The barrel of the Rembrandt is cylindrical, without any tapering until the torpedo-like rounding off at the end, with a shiny, plated metal nose cone, for decoration and to stand on in the pen cup, which is a nice touch.
The magnetic force holding the cap on, is stronger on the Rembrandt and more typical of the effort needed to remove most pull-off caps. It feels reassuringly firm. It is also fun that, with the cap resting on your desk, you can offer the pen slowly into it with one hand and watch the cap leap back on. (I rest my case: it’s worth it just for that).
The plated metal grip section has a slightly raised area just before the nib, to stop your finger sliding onto the nib or feed.
The barrel of the Rembrandt has metal threads inside, to screw onto the metal threads of the section. The Avatar lacks metal threads here.
The Avatar’s finish is of a most gorgeous, deep red, (like cherry flavour cough sweets called “Tunes”) and has light and dark tones like velvet. The clip is a slender, sprung quill shape, easier to slide onto fabric than the Rembrandt (although I carry them in leather pen cases). The Avatar’s barrel also tapers towards to the foot and then rounds off, with no metal furniture added.
This is where the real difference lies. The nib of the Rembrandt is much smaller than the Avatar’s, best shown in a photograph. On my pen, it was smooth but slightly dry. Fortunately, I was able to adjust it to open up the tines just ever so slightly and this made a great improvement to ink flow and lubrication which are now ideal for my preferences.
The Rembrandt’s nib is very good but lacks those long sweeping curves of the Avatar which give it slightly more flex and line width variation and which make the Avatar such a joy to use.
Weights and measurements (approximate),
Weight, total (capped or posted)
Weight, cap only
As can be seen, the Avatar is longer when uncapped. However, I still prefer to use them both with caps posted, holding them at the barrel rather than around the metal section. This avoids both the potential issues of slippery sections or of the pens becoming back heavy due to posting and I find them both perfectly comfortable posted. Neither of them has any cap threads, but there is a slight step on the Avatar. The Rembrandt is smoother to hold.
Both pens write wonderfully, with good ink flow, smooth and well lubricated for effortless writing. The Avatar feels the more expressive, simply because of the longer nib.
Cost and value.
Prices may vary depending where you look but I paid £148.00 for the Avatar and £125.00 for the Rembrandt. I felt that these prices were fair.
So which is better? Which should you buy? I am delighted with them both. Most people, I think, would be happy to own either one of them. It is only when you have used them both that you notice little advantages in one over the other but they are like brothers from different mothers. If pushed I would say that the Rembrandt feels stronger, heavier, more substantial and robust, whilst the Avatar is prettier, longer, more delicate and has a more enjoyable nib. Perversely, I would conclude that the Rembrandt is the better pen but go and buy the Avatar. It’s beautiful. Here is my favourite nib pic again if you are still not convinced.
It has been hot and sunny in London this weekend but the cool morning air reminds me of my school days and the start of a new autumn term after those long summer holidays.
In Rymans’ Back to School special offers, I spotted this Stabilo fountain pen, called the EASYbuddy, reduced from £14.99 to £5.99. It comes in a blister pack. There were two other colour options available apart from this two-tone blue version, namely purple and pink, or black and hi-viz yellow.
I was very pleased to see that it had such a long body. It measures about 135mm when uncapped which is longer than a Lamy Safari and appreciably longer than a similar looking Bic Easy-clic.
It is made of a very tough-looking plastic, with a snap on cap and an ergonomic rubberised section, which is rounded and tapering but with three facets to aid correct grip. (That is, assuming you wish to grip the pen symmetrically and not with the nib rotated either to the left or right in relation to the paper).
The cap pulls off with a firm click, secured by a three small raised edges at the top of the section, (farthest from the nib) which are not obtrusive when the pen is in use. Unlike some pens that I have used, the cap does not need a huge effort to be removed but is firm enough to give reassurance that it will not slip off accidentally. The cap does not post.
The pocket clip is of moulded plastic, a continuation of the cap material and springy enough to clip onto a thick pocket or bag. The Stabilo swan logo is on the finial.
Removed, the cap does feel very strong and well made. It is a double thickness, having differing colours inside and out. It can be squeezed a little but feels as though it would need a lot of effort to break it accidentally while fiddling with it.
The nib is stainless steel medium, with an iridium tip but no breather hole. Mine was nicely aligned and wrote well from the start. It is fairly firm but with just a little give, to allow some line width variation.
The barrel has two long transparent plastic viewing windows, one on each side, when the barrel is screwed on. It is pleasing that the threads are made such that the barrel comes to rest in this symmetrical position.
It takes a standard international cartridge with room for a spare which is a very useful feature. I immediately tried mine out with the one royal blue cartridge supplied. It began to write almost instantly. However I noticed the ink seemed to feather out on Leuchtturm notebook paper (not usually susceptible to feathering) if I held the pen and allowed the nib to linger in one spot. But this was not a problem in ordinary writing. It is the fault of the runny ink and can easily be rectified by trying another ink next time.
Holding the pen, you do feel strongly urged to hold it with thumb and forefinger on the facets either side of the centre line and with the pen resting on your second finger. The rubberised grip means that once held in position, it is not very easy to make small adjustments to the angle of the pen to find a sweet spot, as the rubber prevents the pen from being slipped around in your hand.
At this time of year, there must be lot of competition with the likes of the Lamy, Faber Castell Grip and Pelikan vying for a slice of the school market for entry level pens. This one certainly feels very durable and well made. Mine writes well and with a change of ink will be even better. At full price it would be a tougher choice but while available at the sale price, it makes a great value, robust pen to carry around.
In June of last year, I stumbled across the new Kaweco Perkeo fountain pen, in Paperchase in St Peter Port, Guernsey. I bought one in each of the two available colours. My subsequent blog posts about them (A peek at the Perkeo and Kaweco Perkeo, a brief update.) attracted more views than any of my other posts, (after being mentioned on FPN) and so there has evidently been much interest in this model.
For almost a year, it seemed that only those two colours (Old Chambray and Cotton Candy) were stocked in the shops, although two more colour combinations were available online. But in May 2018 I first spotted the “Indian Summer” version, again at a branch of Paperchase (this time, in London’s Brent Cross shopping centre) and bought one on the spot. This is the mustard coloured barrel with the black cap. However it also differed from my previous two models, in having a black nib (or rather a stealthy gun-metal blue-black) in a Fine.
I have heard it said that Kaweco’s nibs are not always correctly aligned out of the box, but mine was perfect with an ideal flow and I really enjoy its smooth, fine line. Admittedly, the mustard colour is unusual but actually I rather like it. I have been using it with black ink cartridges, of the sort that you buy in a bag of thirty and the pen loves them!
And then just a month ago, I found the fourth colour also in a Paperchase, (Swiss Cottage, London branch), the aptly named “Bad Taste” which has a black barrel and a bubble-gum pink cap. Again, this came with a black nib in a Fine. This one seems to write a little broader than the Indian Summer nib but again, flow was good and it needed no adjustment.
Quality wise, there was some issue with my Perkeo Bad Taste, in that the inner cap has a slight obstruction. It will still snap on and off, but there is a distinct resistance to overcome, before you reach the second ridge for the cap to click onto. I pondered whether to exchange it but haven’t bothered and it might improve with use.
Looking back at my previous Perkeo posts, I mentioned the three facets on the grip section. In fact they no longer bother me at all as I always grip the pen around the coloured ring, with the section resting on my second finger. I hold my pens quite high up from the nib, which I suppose is why I like longer pens, or pens that can be used with caps posted. In the case of the Perkeo, it is about 128mm long unposted and long enough to use that way, although the cap will post securely if you want extra length and weight.
I also mentioned that the nib and feed can be pulled out (they are friction fit) from the section. However, I since learned that whilst there is no obvious flat edge requiring you to realign them when replacing them in the section, I believe that there is a flat step right at the far end once you have pushed the feed almost all the way back, so that it may not be possible to push the feed in fully unless the feed is aligned symmetrically with the grip facets. Sorry about that.
I have been lucky that all four of my Perkeos write very nicely. They are great for not drying out. The inner cap does a good job at avoiding hard starts. My first two Perkeos have remained inked pretty much constantly since I bought them in June 2017. I have kept one of them at work and it is an easy pen to grab for a quick signature or for making notes. For blue ink, I mostly used it with Kaweco’s own royal blue cartridges which are excellent.
The fact that I have now acquired all four colour options is the best testament I can provide of my enjoyment of this pen. It is great value and a good alternative to the similarly priced Lamy Safari.