It seems the more interested I become in fountain pens, the fewer there are to be had, the dearer they become, and the supply of ink seems to literally dry up. I remember when I could go to my nearby art supply shop and peruse a variety of fountain pens and inks. Today, when I ask for ink they show me an Epson cartridge. And Pens? It's like they hardly know what I'm talking about. And Ink? They have two brands, each with a couple of variations of black. It's the same at the stationary shops. Inks are limited to Parker black or blue-black, and remarkably, Sheaffer's black. At the pen specialty store I admired the sample of Sheaffer's turquoise. I like the way painterly way the the dried pigment changes density and tone at the edge of the ink mark. I chose it; out of stock.
It all seems strange to see so little available.
Paper’s a problem too. I’ve found so few papers that take ink well. My moleskins are all a disappointment, a waste of money. They bleed awfully. Moleskin’s email address for comments on quality isn’t valid.
Most commercial notebooks are semi-blotters or close to newsprint. The French Rhodia and Clairefontaine papers are too slick, glossy and slippery for my taste. I’d like a somewhat matte surface, but quality papers are becoming scarcer, I see.
Not to paint a totally horrible picture altogether; I am delighted to have found a wonderful Sheaffer Sovereign fountain pen with a FF3 nib. It’s real flex, a never-used Fine Flex Snorkel. It's my dream pen. If I were to part with all my other pens I wouldn’t mind, because this pen delivers a delicious line, far finer than my new Extra Fine Pelikan, with a spread wider then my Pelikan BB. My older Pelikan 120s deliver a delicate line from the old gold plated steel EF nibs, and they do offer some flex, but not like this Sheaffer.
So, I’ll wait for some Sheaffer turquoise ink to appear on the shelves and in the meantime, see if I can find satisfactory paper for my new acquisition.
I think the Japanese make some papers I will like.
