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  1. So I had replaced the nib on my Jinhao X750 about a month ago, and I want to switch it again. But no matter how I try, the nib and feed will not come out of the pen. I have soaked it in warm water and that didn't work either. Anyone have any suggestions? Thanks, FPN!
  2. I'm going to be buying a Pelikan M1000 in the next few days and was wondering what Nib size to order. I currently have an M805 with a B stub nib that I love. However, I had an M805 with an F nib that I preferred slightly more and my current daily driver is a Lamy 2000 with a M nib. Having used the B and F nibs on the M805 extensively, I'm leaning towards an F nib on the M1000 but I've also heard that you start to appreciate B nibs on fountain pens after writing with them for a while. Which nib size would be a good choice for everyday writing? I'm also debating between color choices and it's come down to either the new M1005 with grey stripes, the M1000 with green stripes, and the all black M1000. I'm leaning towards the all black M1000 due to the fact that I find it hard to see the ink level through the stripes of my M805 but I'd also like to have stripes because it's Pelikan's quintessential design. Is the ink window good enough to justify getting the all-black pelikan (I haven't seen much about the ink window) or should I go with the stripes and if so, which color? Thanks!
  3. JonnyTex

    King Of Pen Section Swap?

    I have an ebonite King of Pen I love. Anybody know if I could swap its section (the section, itself, is plastic) with a Pro Gear King of Pen? I'm thinking if I were to get another King of Pen down the road, I would probably want a Pro Gear since the ebonite model looks just about like the 1911 KOP. It seems logical to me that all the KOP sections would be identical (except for color, etc.) Thanks!
  4. I'm looking at https://rangapens.com/, and they offer a large variety of nibs in their handmade pens: Schmidt, Jowo, and Bock, steel & titanium. I'd hate to just guess and then have long round trips of shipping from US to India for swaps & service, so I wonder if anyone has some thoughts on: * How soft or springy do the various brands and materials tend to be in broad-point and medium-point? I don't write flexy-style, but I like a little bounce on the nib and paper. * Are there general trends of wetness vs dryness across the brands and materials? I know this depends a lot on tuning, maybe completely on tuning, but perhaps someone knows some general trends. * How buttery versus feedbacky do the various brands and materials tend to be (after tuning)? I'm ambivalent about this. Too much feedback can get tiring, too buttery can be annoying, too. * How easy is it to tune the nibs without dismounting them for these various brands and materials? * Any general differences in steel versus titanium in softness, feedbacky-ness, tunability? * I have a couple Goulet #6 broad-points, and I like them. Anyone know whether they are one of those brands? * Any comparisons in performance and feel to other nibs I am familiar with, i.e., Namiki #50, Montblanc 149, Visconti dreamtouch Palladium? (thinking out loud) these pens are so inexpensive that maybe I should just order three barrels each threaded for one of the three brands (I am pretty sure the three brands differ in threading, so the barrels would not be mutually compatible), then start experimenting with the nibs.
  5. Dr.X

    Winsor & Mason Dip Pen

    Hello from Boston. Does anyone happen to know anything about the company that manufactured Winsor & Mason gold dip nibs? I'm giving one away as a Christmas gift and would love to tell the recipient something beyond "it was probably manufactured between 1850 and 1900...". Many thanks. Nick
  6. KingRoach

    Waterman Model And Nib Removal

    Hi all. What precise model and year is this pen, and which direction should the feed be knocked out? I suppose you knock it from the back so it comes out from the nib-side? I'm asking because I have some unfinished business with this nib and I need to settle the score with it outside. Thanks in advance for your help. Best regards
  7. I recently purchased a Kaweco sport classic and have been using it with an included pack of cartridges (Kaweco Caramel brown) for the last week and a half with no issue. After finishing the last of the cartridges I inked the pen up with Diamine Asa Blue using the Kaweco piston converter but I found that the pen would get progressively drier as I wrote and would stop writing after a few pages, needing to have the feed re-primed to get back to writing. I tried flushing the pen and switching to Parker Quink but the problem only got worse so I decided to ditch the converter and refill a cartridge with Quick and have been writing with it all day without any issue so far. I'm wondering if the converter is the issue and how I can fix it? In case its relevant, the pen arrived with a bad case of baby's bottom but I was able to fix that with some micromesh and it is now one of my favorite writers. Edit: Forgot to mention that the feed slit isn't perfectly aligned with the nib slit. I tried to remove the nib and feed to fix that, but it won't budge.
  8. lmboyer

    To Stub Or Not To Stub

    I'm considering trying something new here but unsure whether it will really suit my liking or not. I am starting to look for the next addition to my collection and I'm looking for a new brand and a new writing experience (though hopefully one I like, not one that's just different). I'm wondering about stub nibs, knowing that they have quite a following in the FP world. I'm also looking at a few new brands I haven't tried yet (mainly Visconti but unfortunately their steel nibs as the gold/palladium are a bit out of my price range, so it would be the Rembrandt). One of my favorite pens so far is a Geha Oblique soft medium nib I have which is probably the closest I have to a stub/flex. I realize full well that the experience of a steel stub will be different than a gold semi-flex but I'm curious what you guys think - whether I should go for it and whether I will like it or if it will just feel kind of cheap. Alternatively I could also just go with a regular nib from one of these brands but at that point is it worth the cost if its just a steel nib? I do like the idea of a Visconti and even at the cheaper price point of the Rembrandt, the colors of the pen are gorgeous. One last notable thing - I underwrite and also rotate my paper such that when I write, my pen is perpendicular to the direction of my writing - there is almost no slant/angle to my writing. I feel like with a 1.5mm stub this would be very thick in all of my writing, especially if I am not writing very large, am I wrong? (Ultimately I realize that I won't know until I try it, but I want to see what some others with more knowledge/experience think) Thanks guys!
  9. What is the difference in writing experience between an M1000 nib, which is supposed to be semi-flex vs. using a M800/805 F ground to a cursive italic? i.e. in the line variation experience? I understand that the writing feel will be quite different on the semi-flex M1000 vs the soft rigid M800 nib. Also understand that the M1000 is heavier and thicker, so overall experience will be quite different. I don't own any italics or semi-flex, but in the distant future when I get to buy one of the above, I want to consider options. I tried a stub, and love it.
  10. essayfaire

    I Got Duofold Working!

    I finally succeeded in getting this inherited Duofold to work, decades after it came into my possession! I know a lot more now and had decided to give it another go now that I realize some pens don't twist to fill. This had been my grandfather's and did not come with a box nor instructions. I filled it with a lubricated ink (Monteverde) and it seems to have worked. Time will tell. I can't tell what size nib this is, but it seems to put down a fairly fine line. I'm pleased as punch!
  11. itskato

    Nakaya Nib Comparison

    So I was planning to buy a nakaya medium nib, then I saw this review https://www.youtube.com/watch?v=uQSfX91oAC4 by Mr. Brown. As you can see in the video the regular medium seems very dry and hard as a nail. Then I saw the soft medium, it seems like it is the nib I really want. A little bit flexible and pretty wet. But still I can't be so sure just from watching a video. So I'd like to ask anyone that has experienced it firsthand how the soft medium feel compared to the regular medium nakaya nib (is the medium really that dry? because I'm a little bit shocked at how dry and hard it is). My favorite kind of spring is the m200 fine steel nib. It is springy but not to springy. I don't like a nib that is too springy like the soft fine 14K platinum nib. Please share your experience on the nakaya soft medium and medium nib! It'd be much better if there is a comparison of those nakaya nibs to pelikan m200 fine nib and platinum soft fine nib. Thanks in advance! Edited: seems like I provided a wrong link to an anime video, I've corrected the youtube link
  12. Hi, last week a stunning Swan #2 tuned up nib arrived on a Swan L212/60 (late 1930s). It has a double pointed tipping: downside a F with good flex and on the top a real needlepoint! The L212 isn't restored yet, so I took a 6260 for a writing sample on A5 paper with 5mm squares: Some details of the nib and tipping: I haven't seen such a nib before, it seems to be a lucky find... Best Jens
  13. enchiridion

    Pearl's H.g.s. Century 18Cts Nib

    Does anybody have an idea who made a gold nib inscribed "Pearl's H.G.S. century 18cts"? the quality is good and it was found on a FAP Airmail fountain pen from the 1930s or 1940s. I cannot find a single reference. Even the FAP company seems very mysterious (some nice 1947 adverts survive).
  14. Credit given to David Armstrong from The Restorers Art Original article found here Copy of the catalogue found here Recently I came across a Victorian Era pen catalogue called the: "History of the invention and illustrated process of making Foley's diamond pointed gold pens" It starts off with a catalogue of the various products that the company offered, such as gold dip pens, and mechanical pencils, along with other bizarre combinations such as an instrument with a toothpick on one end and an ear spoon on the other. The main interest of the document, however, is that in the second half it details the history of the development of the Gold pen (or nib, as we would say these days), as well as the process in how these pens were made. After reading the catalogue myself, I along with David Armstrong and probably many other people as well, have concluded that the level of modern nib manufacturing is, though in my opinion, not exactly plagued by poor workmanship (a good nail nib is still a good nail nib), but has instead become complacent, perhaps unaware of the potential profits which could be obtained from the enthusiastic, albeit rather niche consumer group. (have a look at some of the prices that vintage flex fetches on eBay!) We have not really lost the technology or the method of producing flexible gold nibs. If you read the below copy-and-paste of the text, you can see that the only thing that was required to make the gold "flexible" was to hammer it; something that I believe with a little bit of will and determination we can replicate in a mechanical form, using machinery instead of a blacksmith, to make each one as precisely and accurately manufactured as the one before. "The nib of each Pen, as shown above, is hammered on a small anvil or stake, of curved surface, until the required spring or elasticity is secured, so that the nib of the Pen will bend almost double and again return to its proper position." Of course there are many things in the detailed process which can be automated due to our large advances in technology. For example, I believe that we have improved our tipping process, compared to when the Victorians were still figuring it out. Much of the tipping of the period was liable to falling out. In addition, we have automated much of the process of making nibs, the only part requiring human expertise being possibly the grinding, smoothing and inspecting, making the process faster and more consistent. I believe that if those high end companies, which probably have the money to invest in these sorts of things, decide to produce machinery which can hammer the nibs (tines), and strike upon the certain points with an exact pressure to produce the flexibility, then it is very possible that we will be able to produce modern flex nibs which will rival, or even better the flex nibs of the past. Here is a copy of the text which you may read at your own leisure. I have linked to the catalogue at the top of the post ( it's a big file so I recommend you look at it on a reasonably powerful device). (note that the use of the word "pens" is the Victorian equivalent of our "nibs", and the word "nibs" is the Victorian equivalent of our "tines") FORGE FOR MELTING THE GOLD. In this the Alloyed Gold is melted. It is fine Bar Gold (see page 43), and the quantity of alloy added is prepared with much care, and consists of pure Copper and Silver. A small quantity of each is added to the fine bar of gold. Pure Gold being too soft, the alloy is added to make it hard and durable and of a uniform elasticity. The alloyed gold is put into a sand crucible and placed in a charcoal fire, melted to a liquid and then poured into an iron ingot which produces a bar of the required width and thickness according to the size of Pen it is intended for, generally about half inch thick, 20 inches long, 1&1/2 inches in width (see E). After the bar is cooled it is removed from the ingot, the rough edge is filed smooth and hammered, and it is then ready for the ROLLING MILL, OR STOCK ROLLS. This machine rolls or stretches the bar of gold to perhaps ten times its original length, reducing it to a ribbon about 1/32 of an inch thick. Its width ought to be just enough to cut out two blank Pens. The machine is propelled by steam or hand power. It is complicated, very heavy, made and finished in the finest and most expensive manner, and regulated by two screws on each end. Each time the bar passes through the screws are turned down, until the required thickness is attained, and it is then ready for the BLANK PRESS AND DIE. After the bar of gold is rolled into a long thin ribbon, the blank Pen " C " is cut from it in two rows. One long strip or ribbon will cut from five hundred to a thousand blanks. The cutter is a lever press — with die set. The blank as it is cut drops through into a drawer underneath. This blank Pen is now ready for the BURRING MACHINE. This is used to mill out a recess across the point end of the blank "D" to receive the " Iridium " which is the celebrated Diamond Point of the Gold Pen. This done, the blank is now ready to have the Iridium set in, as is shown in the next Engraving. SELECTING AND PUTTING ON THE DIAMOND POINTS. This is done by placing a number of blanks in a row on a strip of wood made for that purpose. The diamond points being carefully selected, a small pencil brush is dipped into liquid borax and with it the points are picked up and set into the recess. The workman uses a microscope to enable him to place the points properly. When this is done, the " blank " is sent to the next man, who fixes the points permanently : SWEATING ON THE DIAMOND POINTS. A lot of blank Pens are placed in rows as above, on a flat piece of charcoal ; the blow pipe is then applied to the gas burner and a flame is directed steadily upon the point of the blank until the gold is thoroughly melted around the diamond or Iridium point. This is the " sweating" process (no solder being used) in making Foley's Pens. Hence it is that the points never come off. It requires much care and experience, for if the heat is applied a moment too long the whole Pen is melted and made useless. The point is now applied to the copper lathe (see 73) and brought to a square even face upon both sides and end. It is then ready for the blank rolls. The fine quality of Gold, over 16-karat fine, used in the manufacture of FOLEY'S Solid Gold Pens cannot be affected in the slightest degree by the strong acid with which most of the good inks are now made. Many of the Pens in the market at the present time are made of 10, 12 and 14-karat Gold and the points are put on with solder. The acid of the ink will turn the cheap Pens black and separate the points, which will soon fall off, and make the Pen worthless. Again, many Pens are made so light, being almost as thin as paper, that they soon wear out. A poorly made Gold Pen, no matter how cheap, is the most expensive in the end. THE BLANK ROLLS. With this machine the blank Pen is rolled down or stretched to the length shown above. This is done by placing the blank between the two rolls. The under roll has a recess in which the point is protected, and the pen is passed through the rolls several times until the required length is attained. The blank as shown above is now ready to have the Springiness or Elasticity hammered into it. HAMMERING TO PRODUCE THE SPRING OR ELASTICITY. The nib of each Pen, as shown above, is hammered on a small anvil or stake, of curved surface, until the required spring or elasticity is secured, so that the nib of the Pen will bend almost double and again return to its proper position. It is now in a rough and uneven shape and prepared for the second cut to give the Pen its proper form; by the SECOND CUTTING DIE AND PRESS. This operation takes off a narrow strip all around except at the point, and gives the Pen its proper even form in the flat state as above shown and it is then ready for the STAMPING PRESS. This is a screw press. The name stamp is set, and the pen, still flat, is placed on a hard steel plate with a guide to slide the pen into, so that every Pen is lettered uniformly and in exact position. Nearly one thousand Pens can be stamped in an hour. The Pen as above shown is now ready to have the sides raised up into shape, which is done in the RAISING UP MACHINE. This is a screw press of great power. With this, the Pen from its flat shape is bent into the round or partially cylindrical form. To insure perfect shape and per- manent set to the new curve, only a press of great power and dies of extreme exactness can be used successfully. This press is very heavy and complicated with many parts and very expensive fittings. The principal parts are the half round bed on which the flat Pen rests ; and the plunger, half round also, to fit exactly, which is struck down with great force by the action of the screw. This blow rounds the back and sides of the Pen. The plunger is brought up by an excentric and lever acting on two jaws, one on each side of the machine. This completes the perfect shape of the Pen as above shown in its well known form. This machine was invented by an ingenious Frenchman, John Countis, a machinist, while employed in Mr. Foley's factory. It is the most perfect and successful Raising Machine ever devised for Gold Pen making, and is capable of raising and shaping fifty Pens an hour. The next operation is to cut or divide the point in the Point, Cutting Lathe. CUTTING THE DIAMOND POINT. With this Point Cutting Lathe, after the Pen is carefully adjusted in a swing frame, the diamond or Iridium point is brought centrally upon the edge of a thin copper disk, about three inches in diameter, kept in rapid motion. The edge of the disk is charged with fine emeiy and oil. The Iridium is soon slit into two points, and thus is laid the foundation for the slit of the Pen. The Pen is next placed in a pen holder and passed over to the SLITTING LATHE. With this the slit is extended from the points to the full length of the nib. A very fine circular steel saw is used, and the skillful workman uses no guide. He simply places the Pen in a holder and with both hands and an experienced eye will slit, perfect and straight, one hundred Pens an hour. A fine hand-saw is used to perfect the end of the slit, which must end exactly perpendicular to both sides. This prevents the slit or Pen from cracking further up, and destroying the Pen. After slitting as above, the Pen is ready for BURNISHING THE NIBS. This is done with a hammer, burnisher and stake. Slitting the Pen removes more or less of the gold. The two edges must now be brought together again by hammering the outer edges of the nibs on the stake. The Pen is burnished on both sides to remove all unevenness ; and the nibs are set even by the fingers. After leaving the burnisher the Pen is ready to receive the most important part of its construction — from the GRINDING LATHE. This consists of one large and two or three smaller copper wheels and one tin slitter fitted on a steel spindle, running on true centers and finely finished. The tin slitter is charged with fine emery and oil. Now begins the most important work. After the Pen leaves the hand of the burnisher it goes at once into the hands of the GRINDER who should be not only an experienced workman and a good mechanic, but a man of intelligence, for he must understand thoroughly and practically what is necessary to finish a perfect Pen. The Grinder at once applies the Pen to the slitter so as to make the inside surfaces of the slit and points exactly flat, and set them easy together. Unless this is well understood by the workman and carefully done, a perfect writing Pen is impossible, for he will leave it with a crooked or an uneven slit. The great object in having the inside edges of the slit square and flat is to prevent the nibs from crossing or slipping by each other. The slit being made straight and perfect, the Pen is next fitted into the grinding holder, made of steel, with the diamond point alone projecting. It is then applied to the copper wheel (as shown in the cut which gives the exact operation), and the points are ground on the sides, back and end, while on the small copper wheels the face of the point is ground until the proper shape is secured. Here the skill and brains of the grinder are displayed, for if the correct shape is not given to the point it would be impossible to smooth and make it a good writing Pen. This is the most difficult part of Gold Pen making. A good workman cannot grind and smooth over two hundred good Pens in a week, though the men employed by the cheap manufactories claim to do as many in 7 or 8 hours. There are only a few excellent Pen grinders in the trade, and during the great demand for Gold Pens at the commencement of the war in 1861, and to 1865, the supply was not at ail equal to the demand. While grinding, the Pen is carefully examined with a strong lens, and finally fitted into a desk-holder and applied to paper and ink and thoroughly tested. Thus every defect is removed by the judgment and experience of the grinder. When that is done the Pen goes to THE POLISHING LATHE. This lathe consists of four wheels, two broad ones for polishing and rougeing the Pen on the back, and two very narrow ones for polishing the Pen on the inside. The wheels are covered with cloth of felt charged with rotten stone or tripoli ; and for the rougeing buckskin is used. The Pen is now " nibbed" on the inside of the nibs, with Scotch stone. This roughens the nibs so as to hold ink and prevent it from flowing too freely. This done the Pen goes again to the grinder — who re-adjusts and carefully examines it to see if any injury was done while in the hands of Polisher. The points are delicately touched up; the nibs carefully adjusted so that they will not cross or lap over; and the Pens are then placed in strong alcohol which removes the oil and other polishing materials and makes the Pen perfectly clean. After drying them in line box-wood sawdust, the Pens are put up in boxes and sent to the office, where the Manufacturer personally examines every Pen thoroughly, not only as to its writing qualities, but every part of the work and finish is carefully examined with the aid of a strong lens. If the slightest imperfection is discovered the Pen is returned to the Factory. The perfect Pens are finally counted and weighed and entered upon the stock book and are then ready for sale and delivery. [edited post to add pictures and to change some wording]
  15. Hi FPN, I have been lurking for quite a while but this is my first post on here. I currently own a TWSBI 580 and a Lamy Safari, both in extra-fine, I have been considering purchasing either an Edison collier or a Pelikan m400 pen. I like my nibs to draw quite thin lines having come from Uni-ball pens, and I do not have access to a local store that sells Pelikan pens, I was wondering if someone could provide writing samples for a Pelikan extra-fine nib so I can try to assess the line-width. Thank you for your time, ~Chris
  16. TravelCommons

    Pelikan Nib Repair In Chicago?

    I just received an M800 Fine from Cult Pens that has an awful rough spot. Before I go thru the hassle of sending back to the UK for an exchange, can anyone suggest a shop in the Chicago area that could fix the nib? I'd prefer to pay a nibmeister to smooth it out than trans Atlantic shipping. Thanks, Mark
  17. The grand experiment is on. I have an extra Skyline nib which is hard as a nail. I am recontouring the underside, much like how Waterman flex nibs are ground (thinner at the edge, full thickness at where the two tines meet). I just want to give this nib a small amount of flex. This is baby steps for me before I go more dramatic. The pen it will rest in, is going through the final stages of a restore (the shellac which holds the sac in place is drying). Previously there was no flex or line variation with this nib (as tested before the restore effort). Tomorrow I will post the results. The victim is a Skyline Standard in black.
  18. I am looking for a new nib for the muji fountain pen. This post yielded contradicting results on which nibs fit. So there is the Bock 180 and 076 are mentioned that fit. So which one is it? Moreover I am based in Europe and wonder where I can get nibs. Most suggestion - concretely Feanaaro suggested the FPR 5 - are based in the US. Which suppliers are based in Europe? I really love the Pilot preppy and wonder if the fit. Glad to hear any suggestions.
  19. Wemedge24

    Caran D'ache Ecridor Nib Removal

    Hi all, many years ago I gifted my father with a Caran d'Ache Ecridor, which he's probably never correctly cleaned. As expected, he's been experiencing many problems with the ink flow. He's now tasked me with fixing all his flow troubles. Anyway, I'd like to remove the nib (if possible) and thoroughly clean his pen but I've been unable to find any information regarding the removal of an Ecridor nib. Does anyone out there know how the nib is held in the feed? Is this a single unit that Caran d'Ache wants customers to replace as opposed to fix? If there are any workarounds I'd be very grateful to hear them. And if this topic has been explored already in some far-off corner of the FPN, please forgive me. I did some searching but couldn't find anything with an answer to my question. Thanks in advance for any Ecridor nib-removal advice!
  20. Hi, I got a beautiful Blue Moire Eversharp Skyline Standard. It came with a very stiff manifold nib in an ink-vue section. I hat stiff and love flex. So I have been looking at buying a replacement nib or another pen and then swapping nibs. But I have learned that the Standard Skyline came in at least two sizes. A smaller and a larger version. I have several of the skylines with the smaller nibs and they tend to have the eversharp imprinted on a curve with no other imprints. One of the smaller ones has the Eversharp at an angle. I have bought other skylines and individual nibs only to find they are the larger ones and will not work in this pen. Here is one thing I have not tried. Do the Demi size skylines have the same size as the smaller standard skylines? Also if anyone has a spare small nib or skyline laying around with some flex they they would be willing to sell, pls message me.
  21. I have been writing with fountain pens since elementary school. However, I did not start investing in gold nibs until the beginning of this year. In this particular post, as we are talking about the nib, I will be selectively focused on the broadness of the nib only. Since I am a college student, functionality always dictates my affection for any nib. As a result, none of my pens has a nib that is broader than a Pilot Custom 823 M. Currently, I have two Montblanc 146 pens, one in F and the other in EF; I have a Justus 95 in F, a Lamy 2000 in EF, a Pilot Custom 823 in M, a Pilot Falcon in EF, and a Sailor 1911L in MF. As you can see, reflected in my rather a small collection, finer nibs are truly special to me. They make it possible for me to write more information on a single page and draw clear graphs/chemical structures. It is also worth mentioning that on a practical standpoint, the nib has to be suitable for me to write rather fast - these fine nibs have all aligned this requirement quite well (except the Falcon EF since it is too soft and can, therefore, get scratchy during fast writing). Furthermore, even though these are rater fine nibs, they still allow my inks to show their color variations (I use Irushizuku inks, Montblanc ink, Kobe ink, and Kyoto ink). Since I never own any broader nibs, I am very curious about your thoughts. Do you think I should get a broader nib? Here are some pictures of my pens and the things I write for your reference.
  22. GlenV

    Waterman Nibs !

    Just an appreciation for the beautiful nibs made by Waterman, pretty, sensitive and durable, hats off to the ideal nibs. This one is from around 1940, but no better than ones from the teens. Pretty to look at and even better to use! Way to go Waterman
  23. Hi all, I am about to go after a Pelikan M800 with a Medium nib. Does anyone have some writing samples to show of the Medium nib (ideally compared with the Broad nib, in case you have both pens)? That would really help me move forward with this purchase.
  24. I've heard that Visconti are going to phase out the Dreamtouch Pd nibs...the relaunched watermark series and the Voyager 30 all have 18K nibs. Flipside? The newer nibs are insanely expensive. I queried getting one for my watermark to swap out the Pd nib, and they are EUR315+VAT for F, M and B and the EF and Stub will be EUR363+VAT I'm not sure whether they're just meant to replace the Pd nibs or are simply another tier up...Considering they're a good EUR125 (ex-VAT) more expensive than the Pd nib units, this could mean the refreshes of the HS series could go up by as much as US$200(!) Your thoughts?
  25. Hello again to all my FPN friends, I know anytime you use the word "best" for something as subjective as a fountain pen you'll get varied responses, but that's what I'm hoping for. Here's my question for you all: In your opinion, what is the best gold-nibbed Chinese pen (a Chinese branded pen, not just a pen made in China) available on the market today? Along with your recommendation, please explain why the nib feels great to you and what you like about both the pen and nib. What does the nib feel like on the paper? How much feedback? Including that information will help others decide whether the pen is a good choice for them. Thanks in advance for your contributions!





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