The Reform Calligraphy Pen And The Market

[Maurizio]

https://www.fountainpennetwork.com/forum/index.php/topic/281465-excellent-reform-calligraphy-pen-nos/

 

I hope I'm not violating any FPN rules. Above is a link to a post I made in December with some photos about a now discontinued German Reform calligraphy pen - a piston filler no less.

 

I'm reposting it on this forum for my essential point in the post. The Reform pen is an example, along with the now discontinued English Osmiroid fountain pen of the prevalence of almost "garden variety" calligraphy fountain pens in the worldwide market only as recently as perhaps 30 years ago. The market demand then was such that companies stepped in to fill that demand and there were several brands of italic calligraphy fountain pens available.

 

My point is that a market has re-emerged for decent calligraphy fountain pens with perhaps a greater interest than 30 years ago. But, there are not yet enough companies producing pens to meet that market demand, at least not yet, and we in the worldwide fountain pen community should perhaps push a little more or shout a little louder to try to spur new companies to meet the market demand.

 

Any would be entrepreneurs or pen companies with plans to expand there lines - can you hear this?

 

I'd like other enthusiasts to weigh in here and opine.

Edited March 14, 2015 by Maurizio

[dms525]

Hi, Maurizio.

 

Since you started the earlier topic, I have been exploring (with money) the fountain pens that can be had with factory italic nibs, especially those that are both affordable and sturdy enough to be an EDC. I have not bought every single candidate. The Italix is notably absent from my survey. I have also acquired another Reform FP. It appears to be the same as the "Calligraph" model, but does not have the script on the barrel. It came as a set with one pen and 4 italic nibs designated "F, M, BB and B3." The F nib may be the same as the 0.8mm Reform italic nib. It's lovely.

 

Of pens that are of more current production, I have so far been most impressed with the Pilot 78G, fitted with either a B or a BB nib. These are a step up in apparent quality from the Manuscript pens. There is a small number of US-based vendors whose prices vary from $12 to $23 for this pen. One can swap these gold-coated steel nibs among several of the less expensive Pilot models, but they are not meant to be swapped like the Osmiroid and Reform nibs. More like the Lamy Safari nibs.

 

I think the Lamy Safari with the 1.5mm nib is a good pen for learning. As my italic technique has improved, the Lamy 1.1mm nib seems better than it did originally. Lamy does also make a 1.9mm nib for the Safari.

 

If you want a current production FP with an easy to swap range of italic nibs, the best I have actually used is the Kaweco Sport. Kaweco sells a set of one pen and 4 nibs (1.1, 1.5, 1.9 and 2.3mm) for $70-80. I really like how this pen writes. It is, of course, a "pocket pen." That may be a positive attribute for some situations but not attractive to the broader range of users, I would guess.

 

For a roughly similar price, you can get a TWSBI. I think the switch to JoWo nibs was an improvement. I rather like the 1.1mm and 1.5mm JoWo #6 italic nibs. But one TWSBI 580 + 3 additional nibs is already around $125.

 

In my mind, the next step up would include Franklin-Christoph and Edison pens, again with easily changed steel JoWo #6 factory italics. For a bit more, you can get one custom-ground by Michael Masuyama from F-C. The F-C, JoWo-made, 1.9mm "music nib" is really very nice and crisp yet very smooth.

 

Beyond these, there is a major increase in price to get a factory italic nib, for example on Aurora Optima or 88 pens. There is obviously a smaller market for pens that retail for $600 and up.

 

I have the impression that the "sweet spot" for an italic pen and set of 4 -6 nibs would be in the $15-25 range to appeal to students and those who want to "dip their toes" into the calligraphic seas. I have hopes that a substantial market will (re-) emerge in time, but I am not sure it has done so yet. So, to get some one to undertake development of the product, you would need to find a real entrepreneur who has a limber enough operation to do it. Off the top of my head, I can think of 4 candidates.

 

I hope my rambling "travelogue" is helpful. I certainly share your wish that an affordable, high quality italic set were available. The niche filled in the 1960's and 1970's by Osmiroid, Platignum and Reform seems currently vacant.

 

David

[brunico]

there were several brands of italic calligraphy fountain pens available.

 

My point is that a market has re-emerged for decent calligraphy fountain pens with perhaps a greater interest than 30 years ago. But, there are not yet enough companies producing pens to meet that market demand, at least not yet, and we in the worldwide fountain pen community should perhaps push a little more or shout a little louder to try to spur new companies to meet the market demand.

 

I remember walking into a shop and getting a Waterman from the less expensive end of the range with a pretty crisp italic nib - I agree I couldn't do that now. And Osmiroid was still around.

 

I'm not convinced the market has come back, though. What I do see is that many pen manufacturers seem to reserve italic nibs for their higher-priced offerings and market them as signature nibs - as if they were fit only for people who had money to burn and had an insecurity about the size of their signatures. Even so, Lamy - and now Twsbi - have taken up the slack for general-purpose italic nibs for the more frugal among us, and, at least in the UK, things like Rotring ArtPens are readily available in art shops. And we now have the Pilot Parallel.

 

FPN is hardly representative of fountain pen users, of course, but what I see on this forum is an interest not in italic nibs but in "line variation," "stubbish qualities" and so on. I think more people want something that will differentiate their newly-acquired fountain pens from the rollerballs they've been using than want something that specifically makes diagonal strokes hairlines, for instance. They're not interested in italic nibs, because they want something that is "smooth," and forgiving of a pen hold where you can see the angle change from letter to letter. Hence a lot of the demand for springy nibs, I guess.

 

As my italic technique has improved, the Lamy 1.1mm nib seems better than it did originally.

 

It's not the sharpest tool in the box, but it's OK, isn't it? I sometimes see complaints that the Lamy 1.1 isn't crisp, but then I see writing that completely obscures any difference in stroke width, so this might be the reason for the dissatisfaction. I've even seen people write with the 1.5 in such a way that it looks just like a normal broad.

[Randal6393]

The crispness of the italic nib is only one factor in line variation. The tendency of the ink to spread and the tendency of the paper to control the ink's flow also makes a difference. My favorite Noodler inks are a lot easier to use in winter, with the cooler temperatures, than in the summer. So many factors go into getting line variation. And I haven't even mentioned flex of the nib.

 

To my mind, if one wants line variation, the first step is to study lettering and learn to properly use a broad-edged pen. Most American cursive isn't really set up to use a broad-edged pen, any line variation comes from the (to me) much more difficult flex nib. And only a small number of those seeking "snazzy handwriting" are willing to put in the study and practice necessary to change their hand. For those that are, the rewards are great.

 

Enjoy,

[Maurizio]

David I enjoyed your survey, not rambling at all; in fact I think you have the nub of an article for "Stylus" or "Writing Matters" magazine.

 

I havn't tried a Pilot 78G; I love Pilots generally; I have all 4 sizes of the parallels. The big one, 6.0, is really fun. So, I'm going to have to get a 78G double broad if that's available.

 

I have a Lamy Safari 1.5mm; a nice crisp line, but I wish it was available in a 2.3 - 2.4. I have all the Rotring Art pen sizes, but while they're good practice pens, the line they lay is not quite crisp enough. I also have the Kaweco set with all 4 nibs; the pen flows nicely, but again, to my taste, the line is just not quite sharp enough.

 

My 3 best calligraphy fountain pens are my Osmiroid (for which I've been able to procure 2 extra nib units), my Reform 2.3mm, and my Manuscript with the broadest nib (about a 2.1mm I estimate). I havn't yet bought the new Manuscript Master Italic pen. It comes stock with a 1.1mm nib; too small for my taste. I'm going to find out if it will take the older nib unit; if so I'll get one.

 

I think you are correct that the "sweet spot" in the market is at the $15. - $25 price (I'd bump that to $30.). At this price a student, a hobbyist, a casual user, or a curious person could get a pen and start playing around and perhaps thereby become a dedicated italic enthusiast.

 

Maybe you and Brunico are right, that the market is not quite ready yet. From my observation, looking at calligraphy suppliers such as John Neal (www.JohnNealBooks.com) and Paper & Ink Arts (www.PaperInkArts.com) as well as Scribbler's in the U.K., it seems to me that these business have grown a bit over the last 4 -5 years. I know that Paper & Ink Arts moved to a bigger physical facility & I've seen John Neal go from sending a black & white paper catalog to a glossy color catalog.

 

Calligraphy fountain pens are available to those with the time and interest to look. What I'm lamenting is the fact that these pens are not more widely available in art supply and stationary stores so that more students, curious, and initially casual users don't get the opportunity to try such a pen. I think if calligraphy fountain pens were more widely and easily available, the demand for them would also grow. Yes this is a chicken and egg issue. I believe however that there's a lot of "latent demand" which would become actual if more people saw such pens at a retail store without having to seek them out.

[brunico]

Maybe you and Brunico are right, that the market is not quite ready yet.

 

Then again, I popped into the London Graphic Centre yesterday and saw a calligraphy set I'd never seen before, the My.Pen Nicewriter by Herlitz. From what I could make out through the packaging, the pens themselves seem much better quality than the cheaper Manuscript ones, though not as sturdy as Lamy.

 

I can't remember going into an art store in the UK, though, that didn't have at least one italic fountain pen. It is, however, almost always easier to find italic pens in art stores than in stationery stores, and even than in a lot of dedicated pen shops.

 

The 78g BB nib is just a gold-coloured version of the Plumix BB, by the way. Yes, you can get a Plumix BB and even sets of EF, F, M, B and BB, but because of Pilot's apathetic distribution, you might have to buy from the other side of the world.

[dms525]

Re. Pilot Pens with italic nibs: The Pilot 78G with a BB nib is available on ebay from Speerbob and from terim. You can also get on from Teri Morris on her (drool-worthy) web site, Peyton Street Pens - New Old Stock Writing Instruments. The 78G with a B nib (about 1.0mm, I'd estimate) can be had for a better price through isellpens.com. Better prices can also be found through some Asian vendors.

 

I have read several times that the Pilot 78G was never meant for the US market. I have not seen anything definitive indicating whether or not they are still being manufactured.

 

I have never seen the Plumix with any but the Fine italic nib. This is narrower than the 78G B nib. I understand the Plumix and 78G nibs are entirely interchangeable.

 

The Pilot Prera with a "CM" (calligraphy medium) nib can be bought from amazon.com for just over our consensual "sweet spot." I have read that the Prera nib cannot be as easily swapped to a Plumix or 78G. I have a couple Preras due for delivery next Tuesday.

 

Re. the market for italic pens: The stores that specialize in calligraphy supplies and related are oriented towards "artists." And professional calligraphers use dip pens predominantly, if not exclusively.

 

My personal corner of the italic evangelism world is focused on low-hanging fruit. During the previous renaissance of interest in italic calligraphy, in the 1950's to 1970's, the leading proponent on the west coast of the US was Lloyd Reynolds, a professor at Reed College in Portland, Oregon. I am an alumnus of Reed and did take Reynolds' Art History course but not his Calligraphy courses. After Reynolds retired, Calligraphy continued to be taught by Fr. Robert Palladino for just a few years. Then, it was discontinued. After a 35 year hiatus, how important italic calligraphy had been to the culture of Reed College was rediscovered by the Director and Curator of the campus art gallery. She and her staff have re-initiated a Scriptorium, providing calligraphy instruction on an informal (not for academic credit) basis to students, faculty and alumni. About six months ago, the powers that be at Reed decided to actively support the re-growth of calligraphy instruction and to raise funds to establish an endowment to support this activity.

 

Currently, a Scriptorium meets for 2 hours one evening per week. Instruction is by Greg MacNaughton, the Cooley Gallery's education director. He has received ongoing advice and support from several professional calligraphers and calligraphy teachers, all former students or colleagues of Lloyd Reynolds. Dip pens are used in the Scriptorium, but the Reed Calligraphy tradition included students using italic script as their everyday handwriting. In those days, Osmiroid and Platignum pens were sold in the College bookstore. Just this year, the bookstore has started to carry Sheaffer calligraphy sets. I find these quite unsatisfactory. Much of my exploration of inexpensive italic pens has been for the purpose of identifying candidates to recommend that the Reed College bookstore stock. There is also a plan for the Scriptorium to provide fountain pens to participating students, hoping to foster the use of italic handwriting among the Reed student body.

 

You can learn more about "The Calligraphy Initiative" and the Calligraphy Heritage of Reed College by visiting the reed.edu web site and searching for "calligraphy" or "lloyd reynolds."

 

Happy writing!

 

David

 

Disclosures:

I have no affiliation with any of the vendors of writing supplies mentioned.

 

I am an alumnus of Reed College and a supporter of the Calligraphy Initiative.

 

The aforementioned Director and Curator of the Douglas Cooley Memorial Art Gallery of Reed College is my daughter-in-law. I am proud beyond reason that she credits me with making her aware of just how important Lloyd Reynolds and Italic Calligraphy had been to the culture and the public image of Reed College in the 1950-1980 era.

[brunico]

The 78G with a B nib (about 1.0mm, I'd estimate) [...] I have never seen the Plumix with any but the Fine italic nib. [...] I understand the Plumix and 78G nibs are entirely interchangeable. [...] I have read that the Prera nib cannot be as easily swapped to a Plumix or 78G.

 

The Plumix is seen with the M nib - I think you mean - 95% of the time, and the smaller Pluminix with the M nib exclusively. Though Pilot says the BB is 1.0mm and the B 0.7mm, they measure nibs (if any manufacturer actually does) somewhat differently. The BB is probably close to the Lamy 1.5, judging by this comparison I dashed off for another thread (I think I was resting the paper on a chair arm, at least that's my excuse for the malformed arches). The B is broader than the Lamy 1.1 and the M narrower. Prera nibs work the same way as the others, so all are easily swapped.

 

[dms525]

 

The Plumix is seen with the M nib - I think you mean - 95% of the time, and the smaller Pluminix with the M nib exclusively. Though Pilot says the BB is 1.0mm and the B 0.7mm, they measure nibs (if any manufacturer actually does) somewhat differently. The BB is probably close to the Lamy 1.5, judging by this comparison I dashed off for another thread (I think I was resting the paper on a chair arm, at least that's my excuse for the malformed arches). The B is broader than the Lamy 1.1 and the M narrower. Prera nibs work the same way as the others, so all are easily swapped.

 

 

I meant Fine nib on the Plumix, but you are correct. I just looked, and it is labeled "<M>." My error did not take into account the difference in Japanese and European nib width standards. Thanks for the correction.

 

I will post some comments on the Prera once I have had a chance to pilot it (pun intended).

 

David

Edited March 15, 2015 by dms525

[Maurizio]

In those days, Osmiroid and Platignum pens were sold in the College bookstore.

 

That's what I'm talking about! That enough people - students, art dabblers, curious and others - were interested in italic calligraphy that calligraphy fountain pens were more widely available, on campus and at stationary and pen stores.

 

My very first italic book which I still use, was & is Lloyd Reynolds' "Italic Calligraphy & Handwritting - Exercises and Text". I first bought it more than 20 years ago while still a law student. It sat on my shelf for more than 15 years because it seemed Olympian and unapproachable. Then one day I just said to myself I'm going to really try to learn what this book has to teach. I read through it multiple times. I learned to internalize the shape of the italic letter forms from Lloyd Reynolds. This book is still in print and almost incredibly bargain-priced at something like $6.95.

 

I don't know now whether the facts are true or not (I recently saw something somewhere which seemed to contradict the story); but there was a story floating around that Steve Jobs took at least one calligraphy course from Reynolds while at Reed College before becoming a total dropout and starting a little company called Apple and the reason that Apple from its beginning was sensitive to and implemented the use of beautiful fonts for the first time in the heretofore graphically ugly digital sphere was because of the love of letters awakened in Jobs by Reynolds at Reed.

 

The next and still very useful book which I think is the single best modern book from which to learn the italic hand is Eleanor Winters' "Calligraphy in 10 Easy Lessons"; this book is still very reasonably priced.

 

I do have dip nibs, Brause, and several nib holders, and if I can dedicate a few hours to practice, I set up to practice with dip nibs on good paper and a slanted drawing board. Nothing beats nice sharp dip nibs for making italic letters. But fountain pens make practicing italics much easier & convenient when I've got a half hour. Take out a nice pad of Clairfontaine or Rhodia and my Osmiroid and I can at least write a deliberate "quick brown fox" and an alphabet chain.

 

As someone who now enjoys italic letters and would like to see the enjoyment of the practice of italics spread, it's just disappointing that calligraphy fountain pens are not more widely available as they used to be. I do believe there's a "latent" market for them, as yet untapped. It remains for an existing company to see it, or for a new entrepreneur to serve it.

[dms525]

Maurizio,

 

The Steve Jobs "story floating around" was started by Steve Jobs. It's cited in Isaacson's biography of Jobs and can be seen and heard direct from Steve Jobs in videos of the Stanford commencement speech he gave in 2005. Here's a link: Steve Jobs Stanford Commencement Speech 2005 - YouTube

 

David

[ehemem]

By the time Steve Jobs was at Reed, Reynolds was already retired. Robert Palladino was already teaching the calligraphy and paleography class. Reynolds continued to teach a class through the Portland Art Museum School, but I have no idea if Jobs had any direct contact with him.

[Maurizio]

By the time Steve Jobs was at Reed, Reynolds was already retired. Robert Palladino was already teaching the calligraphy and paleography class. Reynolds continued to teach a class through the Portland Art Museum School, but I have no idea if Jobs had any direct contact with him.

I knew I had seen or heard something like that somewhere perhaps here on the FPN.

 

So did Jobs take classes with Palladino and mis-remember, or is it possible Jobs took one of those "casual" classes with Reynolds? Seems likely it was the latter then.

 

Whatever are the precise facts, it seems clear that Lloyd Reynolds through some kind of contact with Jobs had an influence on him an thereby the wider world by means of Apple's at-the-time novel emphasis on graphics and the beauty of good digital fonts. Didn't Jobs also hire German calligrapher Herman Zapf after which the standard issue Apple font "Zapf Chancery" and the ubiquitous "Zapf Dingbats" were named to help with the digitization of fonts?

 

 

 

 

"Calligraphy is the most intimate, personal, spontaneous form of expression. But the lifelong satisfaction is in the discipline, the constant practice, the repetition of exercises, the perfection of a skill and in the challenge of measuring one's work against the great historic forms. Anyone who is fascinated by and practices calligraphy will never be bored with life"

 

Herman Zapf

Edited March 16, 2015 by Maurizio

[dms525]

In Isaacson's biography of Jobs, it is stated that Jobs "dropped in" on a calligraphy course at Reed. There is no mention of who the instructor was. However, LIoyd Reynolds retired from Reed in 1969. Robert Palladino taught calligraphy at Reed for the following 15 years, which included the time Jobs was at Reed.

 

Looking at the relationship from the other side, I would bet that, if Lloyd Reynolds or Robert Palladino were asked which of their students they had the greatest influence on, or of which were they most proud, Steve Jobs wouldn't be mentioned. Of course, I could be wrong. I will be having dinner with Robert Palladino June 12. If I remember to ask him about Steve Jobs, I will report his response.

 

David

[ehemem]

Jobs, to the best of my knowledge, never mentioned either Palladino's or Reynolds' name. And I think it would be a stretch of the imagination to say that he took a calligraphy class. He was an enrolled student for 1 semester, but hung around campus for a while, and may have dropped in on Palladino's calligraphy and paleography class with who knows how much frequency or actual hands on practice. I know of no indication that Jobs had any contact or interaction with Reynolds. Palladino has stated that Jobs was in contact with him when Jobs was developing typography for Apple, and he may have recommended Zapf since I seem to remember that Palladino and Zapf had something of a correspondence at one time.

 

David, I think it is a great idea to ask Palladino about all of this. Hope you have a good dinner...

Edited March 17, 2015 by ehemem

[dms525]

 

 

Written freehand (without guidelines) on Tomoe River Paper with a Pelikan M620 Stockholm fitted with a 14Kt B nib ground to a 0.8mm cursive italic by Richard Binder. Pelikan 4001 Black ink.

 

David

[Maurizio]

Oh boy, now he brought out the big guns.

 

Very nice David, an italic hand you should be proud of. Again, it looks like a page out of Fred Eager's book "The Italic Way To Beautiful Handwriting" and doubly impressive that you executed it without guidelines. I'm sure your correspondents enjoy getting letters and notes from you. You yourself stand as an exemplar of the cursive italic hand.

 

Without wanting to seem churlish, I have to mildly and politely disagree with you about "the best italic pens". I do agree with you that for your purposes (or what I assume to be your purposes), for what Eager in his book calls the "cursive style of italic writing", it is best to have a good (expensive) pen with a nib ground to a user's liking. It's not necessary for someone to start practicing a cursive italic style this way, but if the italic student progresses and wants to integrate that cursive style into daily use it would certainly be best to eventually get a well-made, optimally functional and well-tuned pen. And, I would add, someone who devotes the time to practice and develop a beautiful cursive italic hand as you have deserves to have the pleasures of using that hand through the use of a beautiful, well-made and well tuned pen.

 

But where I disagree is in the practice and execution of the formal italic style. Besides its inherent aesthetic beauty and the "spiritual" satisfactions of the practice - working with a calm mind, with perhaps nice music, the striving to achieve a relaxed, flowing technique - one of its virtues as a hobby or avocation is that it's relatively inexpensive. Dip nibs are relatively cheap, $2.00 - $4.25, a nib holder can be had for $5.00 or less, ink for about the same or a little more, paper for perhaps $10.00, so for about $25.00 one can start the practice of formal italic calligraphy. Of course as with any other hobby it's easy to spend more, and with a deeper involvement the student can evolve into an artisan and spend more on a slant board, a lightbox, more expensive papers, but, until someone designs a fountain pen which can use dip nips, the writing tools for italic calligraphy - nibs & holders - remain inexpensive. Even the excellent, but not-quite-as-good-as-dip nibs Pilot Parallel Pens are only about $12.00 - $13.00 each.

 

As you noted above, the "sweet spot" in the italic fountain pen market is around $15. - $25. My best italic fountain pens now, my old English Osmiroid, my old German Reform, and, (somewhat) my current English Manuscript all sold at around that sweet spot. I never had the pleasure of using a Platignum pen and I'd love to hear from anyone who has. I started this thread because I think it's unfortunate that there are not more "entry level" italic fountain pens available in the market as there used to be. These pens often served as a gateway to interest in formal italic calligraphy; and they still serve as great practice pens and as sometime alternative means to execute the italic hand (see Ken Fraser's rendering of a Shakespearean sonnet with a moder Manuscript pen on the "edged pen" calligraphy forum). I wish some enterprising person would see this, or some existing pen company would and decide to extend their pen lines into this, as I see it, burgeoning, or latent market.

 

By the way, I have a beautiful Aurora Talentum fp. in black with gold trim; it's a nice pen I use in my daily rotation. I can buy from Aurora an italic nib for this, but its cost is around $225. I refuse on principle to pay that much to draw an italic line when I can buy a German Brause dip nip for $2.15, or a Japanese Tachigawa chrome-plated nib for about $4.25. Pelikan now makes an italic nib also for its M200 pen, but again I think it's overpriced. I had a Pelikan M120 with a very nice italic nib which I found in a dusty corner at a shop about 10 years ago; unfortunately my eye for damage was not as sharp then and the section was cracked. I think that Pelikan 120 also sold for a reasonable price. It's no longer available. That's another example of the greater availability of italic nibs a few decades ago.

 

 

Please do report on your dinner with Mr. Palladino and any interaction with Jobs. I, and I'm sure many others here, look forward to that report.

Edited March 18, 2015 by Maurizio

[dms525]

Maurizio, I haven't quite finished my second mug of coffee, but I cannot see where we disagree, even mildly. I would never recommend that some one interested in beginning to learn italic calligraphy go right out and spend hundreds of dollars on a pen. It is neither necessary nor prudent.

 

Re. your Talentum: See my PM

 

David