A semi-flex nib, due to it's ease of tine bend and spread is a wet nib....so a wet ink would be a bit too much.
Clairefontaine ... Triomphe? In there are other Clairefontaine papers....I like the 90g Veloute` spiral notebook....it's affordable good paper.
Triomphe was not as slick as I expected...neither was the Rhodia new 90g. Could be I was using better papers so the jump wasn't so extreme.
That Pelikan inks 'drag' is a new one to me...................but I don't hang out with the Waterman is dry ink crowd of supersaturated ink users.
I chase shading inks, so I guess they would now be called dragging inks, besides wishy-washy, by them that chase boring vivid wet supersaturated inks.
(That or very many have nothing but butter smooth nibs...that are butter smooth only with a wet ink. and not with a dry ink.................humm, sounds like a nib problem not an ink problem. Of course I don't have that....I only have a couple -4-5 butter smooth nibs, most of mine are all 'good and smooth' the level under butter smooth.. .....outside the mandatory toothy pens one has to have...some two or three.... , which can be made less toothy by wet supersaturated inks. Toothy is like writing with a pencil....not scratchy.)
Well I do strive to use 90g/24 pound or heavier paper, so when I edit on my common 80g/20 pound, I'm not expecting anything.....much less, much. It's 80g and won't shade. ...(I don't stick my good paper in my printer!!!!)
I don't expect the world when it's laser-ink jet..........in to do ink jet that paper has had a major compromise. Strive to get laser only and at or heavier than 90g/24 pounds.
Pelikan 4001 inks will shade on good paper....in regular flex M&F nibs.....EF is too narrow and as mentioned semi-flex can be too wet.............though Pelikan 4001 and Clairefontaine Triomphe should be a good enough match to shade a semi-flex on. As long as you are not too heavy handed and are maxing the nib out to 3 X a light down stroke.
As noobie to semi-flex most are Ham Fisted coming from nails and ball points. I was (use of a fountain pen in B&W TV days did not make up for 40 years of plowing a ball point through the south forty with out the mule.)
Took me some three months to lighten my Hand so my nib wasn't maxed all the time.
A maxed nib will limit shading because of the amount of ink laid.
Do read Richard Binder's fine article on metal fatigue. After that I strive to never max a nib...outside of testing. I have a 100n superflex, first stage, Easy Full Flex that will do a tine spread of 5 X a light down stroke. I strive to only go 4 X with it as a max. I don't want to spring the nib.
Regular flex (200/120/100/150, -'82-97 400's) Semi-flex and Maxi-semi-flex (for simplicity's sake '50-65) are a 3 X tine spread set.
Don't push them to more in you risk springing your nib.................much of what you see on YouTube or Ebay, is done with now sprung nibs.
I consider a semi-flex nibbed pen to be a flair pen, one gets that old fashioned fountain pen flair with out doing anything. Normal writing pressure will make the first letter of a word wider, one might get an end letter that thins.
I think trying for fancy is hard in semi-flex, and one should have a stiff Italic Calligraphy book, to learn to draw letters should you want to add a nice decender at the end of a paragraph. To do fancy often is a lot of hard work in semi-flex..........................there are dip pens that do the real job and cheap.
Maxi is easier when you finally luck into one..... but first stage of superflex Easy Full Flex can be had in an Ahab Mod..........and is much more 'fun' than pushing a semi-flex too far. That is a good cheap way to get a pen that does Copperplate and Spenserian or other fat letter writing. Easy Full Flex, the first stage of superflex does fancy real easy. The Ahab mod is that Pilot mod of half moons ground into the nib.
Do not worry about maxi-semi-flex right now....when you have a hand full of semi-flex you might have one. The only company that differentiates between semi-flex and maxi is Osmia. The nib with the small diamond with the number in it are semi-flex....those with the Big Diamond and Supra or just Supra, are the maxi-semi-flex.
1922 Osmia is founded, it don't have an office supply House attached to their pen making like Soennecken, MB, Pelikan and later Geha. So were always broke. 1932 Degussa takes over their nib factory due to debt. Degussa is the main, gold and silver maker in Germany. Everyone bought their gold and silver from them.
Everyone made nibs for others, MB did for Pelikan in 1930. Osmia did for many....there were some 120 pen makers.....some only screwed the parts together....put in the rubber sacs....and so on. Rupp was a nib maker only, started in 1922 in the Pen Capitol of the World, Heidelberg.
Deguss are making two different gold nibs for Osmia A semi-flex and a maxi.
In outside of Osmia, I guess that 1 in 5 vintage semi-flex nibs are maxi-semi-flex with no markings to that.
It came to me, that all the nib makers bought their gold ribbon band wheels from Degussa, and it could well be that they would ship off their done and waiting roll of Supra level gold, instead of making them wait while they ran up another wheel of semi-flex gold ribbon.
For me, that explains the 1 in 5 maxi occurrence out side of Osmia....and with Osmia, the gold nib is as good as the steel.
Yes, if lucky there are gold nibs just as good as good steel ones.
Degussa made nibs for Geha, Soennecken at the end. Bock did too, started '38.
I have an Ibis, a 500 and a 400nn in maxi-semi-flex gold nibs. I lucked into them...along with maxi nibs from MB, Geha, Reform and a few others...Those are pure luck, in they are not marked,
I have some 5 maxi-semi-flex in Osmia/O-F-C pens and three out of five I think are steel, but they are 'marked' in they are the Supra nibs. I've 4-5 small diamond regular flex also in gold and steel.
I have some 16 maxi-semi-flex.....some 28 or so semi-flex. If I take away the Osmia Supra nib.....I WAG 1 in 5 is a maxi.
Edited by Bo Bo Olson, 01 March 2019 - 11:38.