Montblanc Fountain Pens And Nib Flexibility

[Tom Kellie]

Two Semi-Flex 3-42 G Nibs

Montblanc Fountain Pens and Nib Flexibility

~ When I joined Fountain Pen Network several years ago, it was with the specific intent of learning from others in the Montblanc Forum. Their years of experience, detailed understanding, and keenly honed appreciation of fine distinctions regarding subtleties was impressive. Knowing essentially nothing about the lore, development and mechanics of fountain pens, I was attracted to the active knowledge base present in the many threads in the Montblanc Forum. Since then I’ve greatly benefited from hundreds of insightful posts by those who know best.

Accordingly, there’s an aspect of fountain pens in general, and Montblanc pens in particular, which remains inchoate in my thinking, not because of the deficiencies of those who’ve discussed it, but my own lack of experience. It concerns nib flexibility, especially in Montblanc pens old and new.

I’ve read a number of relevant threads in the Montblanc Forum, as well as detailed explanatory essays by respected fountain pen and nib specialists. All of them enlarged my understanding, clearing up misconceptions, laying out the salient factors in considering nib flexibility. While from time to time there may be small differences in nomenclature from author to author, what I’ve read has been helpful, comprehensive and germane. Had I not joined FPN and read threads in the Montblanc Forum, my utter ignorance of nib flexibility realities would’ve remained substantial.

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There remain a number of points which are muddled in my thinking. I may very likely have misunderstood or altogether overlooked various considerations, resulting in needless confusion. In order to better grasp nib flexibility and Montblanc pens through the decades, I’ll restate below what I’ve gleaned from others, any glaring errors being solely my fault and responsibility, not theirs.

Whatever is far from accurate, misleading or incomplete will certainly be corrected by the resident experts who regularly post in the Montblanc Forum. My hope is that this post will not seem fatuous, but might instead inspire more posts describing and/or showing Montblanc nibs which have any degree of flexibility.

Why Flexibility?

When I was in junior high school teachers emphasized that fountain pen tines shouldn’t be pressed downward. The ostensible reason was that doing so might exceed the tensile strength of the metal and thus spring the nib beyond usability. A number of posts scattered here and there in the Montblanc Forum question the need for meddling with nibs which have already been crafted to write strokes of clarity and distinction. There doesn’t appear to be consensus on the value of flexible nibs, whether softer nibs, springy nibs or ultra-wet noodles. Many are understandably satisfied with the writing performance of the Montblanc nibs they have.

The advantages of flexible nibs emphasized in many posts are several, with increased individuality of handwriting being foremost. The expressive quality of decorative penmanship in past centuries shares certain visual qualities with the strokes, curves and lines from many flexible nibs. There’s charm and elegance in flowing lines of ink which ripple in and out of fullness despite originating from a single nib. The aesthetic value is considerable, which may nonetheless belie the months and years of disciplined practice needed to attain mastery of such handwriting. I’ve read several blunt warnings that mere possession of a flexible nib is no shortcut to quasi-Spencerian elegance.

Which Pens Might Have Flexible Nibs?

As far as non-Montblanc fountain pens, a number of posts recommend that those seeking dramatic line variation obtain and devote the time to mastering dip pens. For those less venturesome, a number of posts recommend such pens as Waterman 52, Namiki Falcon, Mabie Todd Swan and Simplo pens. In several posts respected authors strongly emphasized that used pens, especially more than half a century old, were the surest way for anyone to obtain and develop skills in using a flexible nib. Special praise was given to the Pelikan 400NN OF nib for versatility due to its exceptional flexibility.

Concerning Montblanc fountain pens, what I’ve read from more than two dozen authors has comprised a variety of older models, each with advocates noting the strengths of the pen models they’ve owned and used.

The most frequently mentioned Montblanc pen having nib flexibility were the 1950s celluloid 146 models, extolled for their line variation and smooth ink flow.

Other Montblanc models specifically mentioned for sometimes having nib flexibility were the following, which makes no claim to be definitive:

206, 214, 221, 234, 234½, 342, 14C 585, 742, and 1960s to early 1980s 146 and 149. Having never used any of these, they’re listed due to the positive comments of those who know them well.

I was surprised to see considerable caution expressed about seeking nib flexibility in fountain pens which weren’t explicitly designed for such functionality. Apparently in decades past there were factory-designed nibs which featured varying degrees of flexibility to accommodate variable writing styles. Several posts asserted that Montblanc was not one of the fountain pen manufacturers which did so. Therefore pushing a more recent Montblanc nib past its flexibility limit was a considerable risk for less experienced fountain pen writers.

What are the Relative Levels of Nib Flexibility?

In reading posts and essays about nib flexibility at times I felt uncertain about the nomenclature as different authors as well as different vendors sometimes used different descriptions. Just as fountain pen user nib preferences vary from individual to individual, there are similar but distinct approaches to expressing the relative levels of nib flexibility. Most descriptions are largely based on objective considerations with a few favoring sound but subjective impressions.

Mindful that there are well-established conventions, yet certain unsettled terminology, these appear to be the relative levels, without daring to suggest that they’re definitive:

• Very Flexible, or Wet Noodle

• Flexible

• Semi-Flex

• Limited or No Flexibility, or Nail

Yet if those are reasonably standard — and they may not be — where do these fit in?

• Springy or Bouncy

• Soft

A few authors proposed a distinction between manufacturer intended, designed-in genuine flexibility, and the more incidental springy or bouncy nibs which weren’t designed to be marketed as flexible but were, due to both design and metallurgical considerations.

Fully flexible nibs have been described as yielding line variation with minimal pressure. Semi-flex nibs, by contrast, yield less line variation despite greater pressure. Wet noodles have been characterized as being tough to handle as the slightest pressure from an inexperienced hand might result in a splattered mess. The nails generally yield reliable strokes with only limited line variation, if any.

How do Physical and Mechanical Factors Influence Nib Flexibility?

Nib flexibility is largely concerned with the degree of line variation and the amount of pressure placed by a hand on a nib.

Among others, these were cited as being possible factors in nib flexibility, with varying degrees of significance:

• 14K vs 18K Gold

• Mono-tone vs Bi-tone Nibs

• Alloy Metal Composition

• Nib Thickness

• Longer, Slender Tines

• Precious Metal Tempering

• Ink Feed Design

Unlike an italic nib which produces line variation with set directionality, a flexible nib is typically a round tip yielding narrow or broad strokes in any direction, up or down, back or forth.

There are two considerations with any given flexible nib — the tines bending up and down, and the tines spreading outward. Bending and spreading are separate actions which don’t require heavy hand pressure to occur in a flexible nib. The design physics is such that capillary action causes ink to flow without necessarily producing a wetter line.

When tines are forcibly separated under pressure it may yield a wetter line, but it isn’t genuine nib flexibility. The ‘give’ when excessive pressure is applied risks exceeding the tensile strength flexibility limit of a nib, which damages the tines, resulting in a sprung nib. Several authors explained that contemporary fountain pen makers feel that most customers learned to write with ballpoint pens, hence apply excessive pressure to fountain pens, as well as often not realizing the optimal position for holding a fountain pen. If that’s the case, then such fountain pen users might mistakenly suppose that greatly increased pressure on a nib might result in enhanced line variation. As a university undergraduate with Sheaffer entry-level fountain pens, I did just that.

There’s considerable risk in overstressing precious metal. For certain nibs, their design and composition tolerates a wide degree of flex. Other nibs are unable to retain their molecular tensile strength if subjected to medium to strong pressure. I read warnings to avoid purchasing a contemporary premium nib and then spring it to unusability with ill-considered excessive writing pressure.

A vintage or older flexible nib often has longer tines with sloping shoulders. It’s designed to maintain a satisfactory ink flow while a degree of flex is present. The tines of a flexible nib may touch at rest, unlike regular nibs which have a slight gap separating tines at rest.

The nearly unanimous conclusion of the authors I read was that contemporary Montblanc factory nibs were occasionally soft or bouncy, but not semi-flex or fully flexible. For that, they suggested consulting any of the internationally respected nibmeisters, or seriously considering pre-1955 Montblanc pens. As I was born in late 1953, it seems as though Montblanc pens from my birth era or before have the greatest possibility of having any flexibility.

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Who Has Fine Examples of Montblanc Fountain Pens with Any Flexibility?

Among my own Montblanc fountain pens, only the two 3-42 Gs, shown in the image at the top, have any degree of flexibility. Interestingly, they aren’t alone in producing attractive line variation as all three 149 OBBBs yield line variation with nearly any ink on any grade of paper.

Do you write with any Montblanc semi-flex or flex pens?

Please correct, amend or add to what I’ve written, as it’s no more than a summary of what I’ve read, rather than observations from experience.

If it’s comfortable and convenient, a photograph of a pen, or nib, or a handwriting sample might be useful in adding to the overall understanding of Montblanc nib flexibility.

Tom K.

[Pravda]

Tom Kellie,

 

Thank you so much for this wonderful and informative read. You have answered many questions I have had for nearly a decade or so, but it never crossed my mind (or know where) to inquire.

 

I am probably the last generation to use fountain pens in school, in my region at least. And as you mentioned, I remember being told not to apply pressure to the tines. In retrospect, I think because of our age teachers would assume that we wouldn't know what's an acceptable amount of pressure- so they prefer we not altogether.

 

When I got into fountain pens, all the pens I had- and later purchased from Montblanc- are modern hard nail nibs.

 

The closest to the above would be the Heritage 1912/1914/1906 series which would be described as soft (surely) and semi-flex (potentially). The 1914 because of its huge size has and endures the most give. Followed by the 1906 because of the thin metal. The 1912 I would say sits in the middle.

 

I personally don't apply pressure to any of my hard nail nibs. But I have seen people do it and claim that with time they eventually go soft. I have seen someone press on the middle of the nib forcing a Skeleton UNICEF to splay- I almost cringed.

 

If I am to be fortunate one day to acquire a vintage and experience soft nibs first hand I should only be so lucky.

 

Thank you again for sharing this with us.

[jagwap]

The closest to the above would be the Heritage 1912/1914/1906 series which would be described as soft (surely) and semi-flex (potentially). The 1914 because of its huge size has and endures the most give. Followed by the 1906 because of the thin metal. The 1912 I would say sits in the middle.

 

 

I am also interested it this, but your description confuses me? 1914 is the softest? Then 1906 or 1912?

 

Also, on the original posting: is 14K or 18K considered springier? 18K should be softer, but that isn't quite the same thing.

[siamackz]

The only MB in my collection with true flex is a 244 with the pointy start top

 

Ignore the excitement in picture below, but after some nib tuning for ink flow I was shocked by the unexpected flex this pen offers!

 

[Tom Kellie]

I am probably the last generation to use fountain pens in school, in my region at least. And as you mentioned, I remember being told not to apply pressure to the tines. In retrospect, I think because of our age teachers would assume that we wouldn't know what's an acceptable amount of pressure- so they prefer we not altogether.

 

When I got into fountain pens, all the pens I had- and later purchased from Montblanc- are modern hard nail nibs.

 

I personally don't apply pressure to any of my hard nail nibs. But I have seen people do it and claim that with time they eventually go soft. I have seen someone press on the middle of the nib forcing a Skeleton UNICEF to splay- I almost cringed.

 

 

~ Pravda:

 

Did your childhood education suggest how to hold a fountain pen?

When yours truly was taught penmanship, over two years, the finger grip and motion of fountain pen writing was demonstrated by graphics and by the teacher.

The son of a friend in Erfurt, Germany was recently taught likewise, using a child's fountain pen made by Lamy, standard for all pupils.

Accordingly, there's not excessive downward pressure on the nib to the paper, as the instruction emphasized a ‘flowing hand’ which glided across the paper surface.

Printed characters were taught likewise, but without the gliding motion.

When learning to use a brush pen to write 中文, i.e. written Chinese, the instruction from more than half a century ago remained useful.

Using Montblanc pens, whether contemporary of older, I've never had any cause to push down hard.

Therefore no ‘hidden springiness’ has been revealed...yet.

Through preparing this post, and reading the replies, my interest in experiencing a bouncier nib has increased.

What force must be required to spring a contemporary Montblanc nib is disturbing to imagine.

Thank you for telling about your experience.

Tom K.

[Pravda]

 

 

I am also interested it this, but your description confuses me? 1914 is the softest? Then 1906 or 1912?

 

Also, on the original posting: is 14K or 18K considered springier? 18K should be softer, but that isn't quite the same thing.

 

 

I admit what I said was confusing, it even confused me when I thought about it again. My apologies.

 

My observations for you to interpret as you see fit:

 

1914- Nib is huge and the pen is quite heavy. The heft of the pen itself puts pressure on the nib, along with a hand holding it, can almost effortlessly begin to spread the tines as you write. Should you increase pressure, the nib will take it easily.

 

1912- It is very soft but not bouncy. It has decent give when you press on it, but only up to a point where it says 'enough' and becomes quite rigid.

 

1906 F- feels less soft than the 1912 and more bouncy.

 

1906 BB- feels a lot more soft than 1912 and splays/bends easily. Here I suspect the thin metal/size of the nib along with the broad surface is what counteracts the rigidity of its F variation.

[Tom Kellie]

Also, on the original posting: is 14K or 18K considered springier? 18K should be softer, but that isn't quite the same thing.

 

~ jagwap:

 

I'm glad that you asked about this, as it was one of the thorniest, least clear aspects of nib flexibility.

Following are relevant links from older FPN threads, from a UC Berkeley economics professor, and from a respected nibmeister.

• https://www.fountainpennetwork.com/forum/topic/154215-differences-in-mb146-platinum-nibs-14k-vs-18k/

• https://www.fountainpennetwork.com/forum/topic/169378-14k-vs-18k-vp-nibs/

• https://www.fountainpennetwork.com/forum/topic/100094-14k-or-18k-nib/

• https://www.fountainpennetwork.com/forum/topic/291707-14k-nibs/

• http://faculty.haas.berkeley.edu/rjmorgan/openions/does_the_gold_content_in_nibs_matter.htm

• https://www.nibs.com/content/what-fountain-pen-nib

• http://www.richardspens.com/?page=ref/ttp/materials.htm

The wide range of replies provides various perspectives on the question.

One post assert that alloy composition is irrelevant whereas nib thickness is determinative. Other posts say the complete opposite.

The advantage of a 14K alloy nib is metal resilience, i.e. the molecular ability to return to the original configuration as opposed to rupturing molecular bonds resulting in a sprung nib.

An 18K alloy is more malleable, lacking the same proportion of strengthening metals to enable a largely gold-based nib to retain its original shape.

I'm still learning about this, hoping that more experienced members might post their insights about their springy, soft and flexible nibs.

Thank you for asking about this.

Tom K.

[Tom Kellie]

The only MB in my collection with true flex is a 244 with the pointy start top

 

Ignore the excitement in picture below, but after some nib tuning for ink flow I was shocked by the unexpected flex this pen offers!

 

~ siamackz:

 

The capital ‘F’ in “Flex” in your handwriting sample is dazzling!

The 244 is providing flex of high aesthetic quality.

Thank you so much for sharing the images.

BTW: I love your apt description — “pointy start top”. It sounds cool.

It's nice to see evidence of Montblanc nib flexibility.

Tom K.

[jagwap]

 

 

I admit what I said was confusing, it even confused me when I thought about it again. My apologies.

 

My observations for you to interpret as you see fit:

 

1914- Nib is huge and the pen is quite heavy. The heft of the pen itself puts pressure on the nib, along with a hand holding it, can almost effortlessly begin to spread the tines as you write. Should you increase pressure, the nib will take it easily.

 

1912- It is very soft but not bouncy. It has decent give when you press on it, but only up to a point where it says 'enough' and becomes quite rigid.

 

1906 F- feels less soft than the 1912 and more bouncy.

 

1906 BB- feels a lot more soft than 1912 and splays/bends easily. Here I suspect the thin metal/size of the nib along with the broad surface is what counteracts the rigidity of its F variation.

 

 

Great. Thanks for the clarification. I haven't tried the 1914, and when I saw one in Macau boutique for $40000HKD I decided that was a bit too much for a house bound pen, which is rather similar to my 1912.

 

However when I tried the 1906s, un-inked, they seemed slightly less... bouncy, than my 1912. But the ebonite limited edition, with a 18K probably B nib, seemed a little softer and was interesting. I'm resisting for now...

 

So perhaps I wasn't imagining it. Thanks.

[Tom Kellie]

~ It deserves mentioning that there are extensive insightful comments by FPN member Bo Bo Olson concerning flexible nibs.

He differentiates the varying degrees of flexibility with gentle good humor, tact, and meaningful examples.

For example, in discussing such Pelikan nibs as 100, 100N, 140 and 400NN, he discusses issues about which I've wondered.

https://www.fountainpennetwork.com/forum/topic/234654-pelikan-140-vs-400/

https://www.fountainpennetwork.com/forum/topic/309940-pelikan-140-vs-pelikan-400-400nn-nib/

There's such a wealth of commentary in older FPN posts concerning nib flexibility.

Tom K.

[Tom Kellie]

I admit what I said was confusing, it even confused me when I thought about it again. My apologies.

 

My observations for you to interpret as you see fit:

 

1914- Nib is huge and the pen is quite heavy. The heft of the pen itself puts pressure on the nib, along with a hand holding it, can almost effortlessly begin to spread the tines as you write. Should you increase pressure, the nib will take it easily.

 

1912- It is very soft but not bouncy. It has decent give when you press on it, but only up to a point where it says 'enough' and becomes quite rigid.

 

1906 F- feels less soft than the 1912 and more bouncy.

 

1906 BB- feels a lot more soft than 1912 and splays/bends easily. Here I suspect the thin metal/size of the nib along with the broad surface is what counteracts the rigidity of its F variation.

 

 

~ Pravda:

 

I've revisited this thread and your detailed comment in particular.

That all of your pen nibs are contemporary models is of special interest to me.

There are impressive examples of flex in Montblanc fountain pens from decades past.

What especially intrigues me are contemporary Montblanc nibs with a slight degree of softness.

Thank you so much for having carefully explained the above.

A wee touch of flex is a joy when writing or sketching.

Tom K.

[Tom Kellie]

~ The more I inquire about Montblanc flex nibs, the more I learn.

Thoughtful FPN members have directed me to Namiki and Visconti nibs with flex nibs.

It's also been pointed out to me that several Montblanc models more than half a century ago had a touch of pleasing flex.

I'm grateful to all who sent information about Montblanc flex nibs.

My thoughts now turn to contemporary Montblanc nibs which might be very slightly soft.

Tom K.

[Tom Kellie]

[zaddick]

 

 

Feeling coy are we today?