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  1. I’m seeking vac fillers which have 1.5mm stub or italic nibs (do they exist?) and/or 1.5mm stub or italic nibs which fit TWSBI GO and/or SWIPE vac fillers. Do these exist? (They need not be from TWSBI — I enjoy Frankenpenning.) Also, what chance is there of anyone being able to persuades TWSBI to resume making their 1.5 mm stub nib? Oh — by the way — what does TWSBI stand for, anyway? I assume that it abbreviates something, and that it may be abbreviating something in Chinese. I don’t know much Chinese, but I do know that a word which sounds like “bee” Is the Chinese word for a pen or pencil, So I wouldn’t be surprised to find that the company name is short for something Chinese.
  2. OldTravelingShoe

    20220703_094021.jpg

    From the album: OldTravelingShoe's Random Pics of Fountain Pens

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  3. OldTravelingShoe

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    From the album: OldTravelingShoe's Random Pics of Fountain Pens

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  4. OldTravelingShoe

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    From the album: OldTravelingShoe's Random Pics of Fountain Pens

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  5. OldTravelingShoe

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    From the album: OldTravelingShoe's Random Pics of Fountain Pens

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  6. OldTravelingShoe

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    From the album: OldTravelingShoe's Random Pics of Fountain Pens

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  7. Wow...it's been a whole season plus since I've posted any reviews. Best to get back at it then!
  8. I never used flex, broad, BB, stub, oblique or italic nibs in any pens so far. And I want to try out. I want to select a pen model that is relatively inexpensive that will fit these nib types. I will keep my options restricted to nib manufacturers in India or nibs that are available for purchase in India. Just to clear my confusion around nib size, and nib width - I understand that the size (with numbers like #5, #6) refers to the dimensions of the nib. And if I understand correctly there is no uniform size comparison and it varies between pens. Correct me if I am wrong. The only comprehensive nib catalogue that I got hold of was from Kanwrite. If we look at Kanwrite nib catalogue, the stub, italic and oblique options are available only for large (#35) nibs. Is it the case that smaller nibs (#4, #5) do not come with stub/oblique/italic options for width? Is it the case with all nib manufacturers? If anybody has a catalogue that visually shows different Indian nibs, please share with me. It seems like there are 2 options to explore different nibs: Get a fountain pen that can fit # 35 size nib. Fit and try each nib one at a time. When wanting to write with a different type of nib, change the nib. The problem is that each time I will be changing the nib and I am not very confident whether I will fit them correctly etc. Get multiple fountain pens that are pre-fitted with each type of nib that I want to explore (eg. B, BB, sharp stub, oblique etc). If nibs are pre-fitted they can be tested beforehand and it is easier for me to deal with. But, it comes at the disadvantage of having to buy multiple fountain pens just for the sake of exploring nibs.Is it a good idea to buy relatively inexpensive pens (eg. Camlin 36 or Camlin Elegante or Click Aristocrat) and fit the different nib types from Kanwrite in separate pens to try them out? Thanks in advance..
  9. Hi, I've been looking for a second Swan eye dropper and so this one made it's way from England. It is a 3202 MED with stub nib made ca. 1915 to 1920 with an original leather pouch. I think it was good luck to find such a nice pen... Some photos, the Swan as it came, not much to do for restauration, needs some reallignment of the tines. Best wishes Jens
  10. cullercoats

    Pilot Stub Nibs

    Hello everyone. Can you help me? I have a Pilot 912 with a music nib. I am tempted to buy another with a stub nib. What is the difference between the Pilot #10 stub nib on the 912 and 742 and the #15 stub on the 743? Has anybody compared the two? I should be only too pleased to benefit from your experience. Thank you Adrian
  11. Hi, I restored a vintage Mabie Todd Swan L212/52 in lapis lazuli colored celluloid made ca. 1936. This one has a longer section and a flatter turning knop than my L212/60, so I suspect it to be an early version... It's nib is a medium stub with nice flex. A turned up nib. Best Jens
  12. 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!
  13. This is a Parker 75 medium stub ciselé of around 1968-1971. Writing sample: The line thickness it produces is about 0.9 mm in width. This width is comfortable for writing characters of medium size (see also the writing comparison). The pen’s triangular section is thin, but it is very comfortable to hold. The pen as a whole is on the smaller side, but the nib is big. Since the pen is of some vintage it is a stub proper rather than cursive italic, i.e. the tipping is noticeably thick with the writing edge noticeably but not drastically rounded (see schematic). The side edges are not rounded so as to be visible with the naked eye; the Artpen is also like that whereas the bottom of the Dostoevsky’s tipping has no corners but only smooth curves. It will not tear paper however. All three pens are extremely forgiving with the Artpen being the one most able to be held entirely carefree as if it did not have a broad edge. The 75’s stub nib does not like very much smooth paper, either of the good (Rhodia) or of the cheaper (many modern notepads) variety. On Rhodia the 75 stub flies off the paper surface, often leaving no ink behind. Skipping on downstrokes is usual when writing at my usual speed, which is rather fast. By comparison, the Artpen iceskates on Rhodia leaving a thin film on ink behind and the Dostoevsky swims in its own ink. On school notebooks and on paper with cotton content the stub 75 performs consistently without problems and is definitely wet (the Dostoevsky and the Duofold are wetter, as can be seen on the comparison sheet). Some closeups of the nib: The pen feels light but with a perceptible substance in the hand. Overall, this is a gorgeous pen allowing some very expressive writing.
  14. I've only been using round nibs, and principally write cursive (right handed) during the course of a workday, which is not a lot of writing. I've been thinking about getting a stub or a cursive italic for my next pen - love the line variation. My handwriting is not great, and am a little hesitant about getting a sharp edged, not forgiving nib. So thinking of a (Italic) Stub or Cursive Italic, both of which, according to Richard Binder's essays on nibs, are supposed to be smoother and easier to use than a pure Italic nib. I don't want to spend a lot of money getting a custom nib at this point until I am sure this will work for me. Thinking of getting a Pelikan M805 / M800 or Montblanc 146 as my next pen (when I can reward myself and justify it ) I read in several threads that Pelikan used to sell Broad Italic nibs as an option from the factory, but may no longer do so. Someone posted a link from Cult Pens which is selling an M800 with a Broad Italic. - I write with a Medium Pelikan M605, and the line is just thick enough to suit my lettering. Will a Broad Italic Pelikan be too wide for medium sized cursive handwriting? - Is the Pelikan Broad Italic as smooth and easy to write with as a round nib? I am no calligrapher, and need a tolerant nib. - Does the MB 146 come with a CI or Stub? I'm going to buy used, so maybe the question is moot. Thanks!
  15. "Stub" nibs seem always (**) to be ground flat not only on the bottom and end, making the angle that contacts the paper and gives directional line variation, but also on the top which never (*) contacts paper. When customizing an ordinary ball-tipped nib to make a stub, why go through the extra step of grinding off the top? I know it is not necessary for writing to flatten the top/back of a round nib, nor of a CI: I have a cursive-italic nib, customized from a broad, that is an EF for writing upside-down, rather the opposite of flat. Yes, I know that a "stub" and a "cursive italic" are distinguished categories. If the distinction is relevant to my question, please elaborate on how. Otherwise not. And I also know that the "angle" I referred to above is eased or rounded on a stub nib. If that is relevant to my question, please elaborate on how. Otherwise not. I would rather not hear a bunch of guesswork answers. Those I can make up for myself. Please wait for someone who actually knows. Would it not be both less work to leave the backside of a stub round, and slightly beneficial in providing a (vey slight) extra bit of ink buffering very near the point of delivery? Why is it done? Thanks. (*) "never" in its regular use a a stub nib. The possibilities for using the reverse of a nib are interesting. That's a different set of questions I am not asking now. I just want to know why stubs have those possibilities ground off. (**) "seem always" because every stub nib I have examined, and every close-up photo of a stub nib I have seen, and the instructions I have read for grinding a stub, all show this feature. But I have not done a survey. If there are some stubs that do not have the back ground off, please show a picture. In any case my question remains for those that are ground off: Why? Thank you!
  16. Some people can wield a big, fat stub and get amazing results. Not me. I'm a sloppy writer and still learning basic penmanship. I rotate my pens and stubs don't like that. I write fast, and stubs don't always forgive me for it. Just for fun, I made a quick comparison of the stubs that I have in my collection at the moment. ^---normal writing speed at left, slow in the middle, fast at right The TWSBI 1.1 stub I've personally got three of those, in two pens: the Eco and the Go. One is nice (in the Eco), one is okay (in the Go), one is sharp, scratchy, dry, unusable and out of rotation. They're the only ones in this comparison that have a small amount of bounce and they're not very sensitive to rotation (which is good news for me). They're dry-ish when writing at speed, as can be seen in the writing sample. In terms of line thickness, both their vertical and their horizontal strokes are the widest of the 1.1 nibs in this comparison. Crispness is OK but not exceptional. No hard starts (good). No railroads (good). Pens: TWSBI Eco with 1:1 mixture of J. Herbin Rouge Caroubier and Diamine Sunshine Yellow and TWSBI Go with Noodler's Burgundy. Verdict: a nice, all-round, rather forgiving stub. The Lamy 1.1 italic Lamy offers cheap 1.1, 1.5 and 1.9 replacement nibs that you can slide on to your Safaris and such. I can't even wield a 1.5 (see below under Kaweco) and therefore a 1.9 is way out of my league, so I bought the 1.1. This nib, which is an italic, offers you a hard deal: absolutely wonderful crispness at the cost of rotation sensitivity and scratchiness. I love the look of the text on paper, it's so nice, so crisp, so disctinctive... But with my unsteady hand, I can only use it with pleasure when writing slow. At normal writing speeds, I can tolerate it. When writing fast, it feels like an abomination. This nib could be a true gift to people who have a steady hand and good penmanship. No hard starts (good). No railroads (good). Pen: Lamy ABC with Lamy Blue ink, but it will also fit the Safari and some other Lamy pens (and supposedly even a Platinum Preppy!) Verdict: amazing crispness at the cost of forgiveness... Choose, because you can't have your cake and eat it too. Kaweco #2 1.1 stub One of the many charms of the Kaweco family is that the Liliput, the Sport, the Dia2 and the Special all sport the same #2 screw-in nib/feed collar, so instead of buying a dedicated pen for each nib size you can buy one nice pen and swab nibs in under 60 seconds. I'm not exaggerating: pull out the converter, unscrew the nib/feed collar, screw in the new one, pop in the converter, prime the feed and you're off to the races. Among other models I have a Dia2, which in my opinion is one of the best modern pens being sold today around its price point, and I've got several nibs to use with it, including the 1.1 stub. Its line width is slightly less than that of the TWSBI 1.1, in both directions. It's also slightly more crisp than the TWSBI, which I like, especially since this crispness does not come at the expense of smoothness or rotation sensitivity. Compared to the Lamy, the downstroke is slightly wider and the sidestroke slightly more thin. This is a nib that offers both smoothness and good crispness (though nothing near the exceptional crispness of the Lamy). In fact, it's smoothness is incredible and needs to be felt to be believed. Performance is flawless: it always starts, it doesn't railroad. The TWSBI stub seems to offer more shading, though. Pen: Kaweco Dia2 GT with Iroshizuku Shin-Kai. Verdict: an amazingly smooth and forgiving stub without sacrificing too much crispness, solid performance, a good mix of qualities and clearly a notch above the TWSBI. Kaweco #2 1.5 stub This stub matches the smoothness of its smaller cousin, but that's where the similarities end. Perhaps it's me; perhaps I'm not ready to play with the grown-ups yet. After all, I also couldn't really befriend the Pineider La Grande Bellezo stub, nor the Leonardo 1.5 stub. To me, 1.5 feels as wide as the Grand Canyon and I really struggle to get something nice out of it. This Kaweco 1.5 is no exception to that, despite its amazing smoothness. Personal shortcomings aside, I do notice less crispness in the lines (the worst of this sample) and it's a severe hard-starter. To be specific, after capping the pen and putting it away, it doesn't write when you want to continue, especially on smooth paper. Not just on downstrokes either, it just doesn't write at all after a pauze and takes quite some effort to get going again. In terms of line width, this stub is wide enough to make standard line spacing in a notebook too small (in this case an Oxford 90 g/m^2 notebook with 8 mm line spacing). This is one big nib and it requires lots of space - that's how it was designed, so no criticism there. Pen: Kaweco Dia2 GT with Iroshizuku Shin-Kai. Verdict: very smooth and forgiving stub, but at the expense of crispness (at least when writing at normal and fast speeds). Obnoxious hard-starter, prefers rough paper. Should not be confined to the limitations of ordinary notebooks - this nib really wants to do calligraphy. The outsider: 1948 Onoto 5601 with #3 ST nib I added this Onoto for the sake of reference and comparison, not as a contender. This is a wonderful, narrow stub and they just don't seem to make 'em like that anymore. This is one of the few stubs that make me forget about the pen so that i can just focus on writing. Ink: J. Herbin Lierre Sauvage, Summary: Those who can handle the Lamy 1.1 italic will be highly rewarded by its amazing crispness. As an all-round, forgiving, wonderfully smooth steel stub that does not sacrifice much in terms of crispness, Kaweco's 1.1 is a thing of beauty and as such is the overall "winner". The TWSBI 1.1 is a solid all-round stub that lacks some of the finesse and smoothness of the Kaweco 1.1. The Kaweco 1.5 might be the ticket for those who require a really smooth nib for calligraphy purposes. (When I find the ultimate stub for me, I'll let you know. At the moment the chase seems to be even better than the catch.) EDIT: corrected the text about the Lamy 1.1, which is an italic.
  17. NJEF

    Twsbi 1.1Mm Stub Or Medium Nib?

    Hi. I'm planning on buying myself a Twsbi Eco just after Christmas, and I'm torn between which nib to get - A stub or a medium. Typically I write quite quickly, and reasonably small with a medium nib, but I really love the look of writing with a stub. There is a photograph of my handwriting written with a Waterman Gentleman with an 18k gold Medium nib, inked with Waterman Black ink. What do you think? Thanks!
  18. Calligraphy lovers rejoice! Today Shanghai Jingdian started offering sets of five italic nib units that will screw into Delike pens and a few models of Moonman pens. These are currently in their Taobao store, but keep your eyes peeled for them to start showing up on eBay soon. http://m.tb.cn/h.37htpcP?sm=9758e2
  19. I am considering getting Lamy 2000 EF from "nibsmith" and getting it ground to left foot oblique in stub. Any idea what kind of line width and variation it would result in? My intention is to achieve a fine stub, similar to the 'Fine' stub of Pilot Plumix / Pluminix pen, which is quite fine, probably 0.5mm. It is fine enough for normal daily use and faster writing but still gives a character to the writing.
  20. I first heard about Leonardo Officina Italiana pens from an Instagram posting by Glenn Marcus. His pen looked gorgeous, and he spoke very highly of it. Looking into this “new” company, I find it has been around for several decades, but, while they have made pens for a number of other well-known Italian pen companies, they only recently began making pens with their own branding. They call the first of their models “Momento Zero,” meaning for them “a new beginning.” Given the recent demise of several highly esteemed Italian pen makers and the rumored distress of some others, it is wonderful to see new Italian pen makers appearing, especially ones producing writing instruments of such high quality. But I’m getting ahead of myself. Leonardo Officina Italiana is making two lines of Momento Zero pens. One line has resin bodies, captive converter inking systems and steel nibs. It is priced in what I would regard as the middle range for a pen with these features. The other line is produced in very limited numbers. It has bodies either of celluloid or ebonite, a true piston filling system and 14 Ct gold nibs. It is priced in the lower range of top quality Italian pens - still rather expensive. The pen I chose was the Ebonite model. This was a limited edition of 10 pens. I found one at Stilograph Corsani in Rome. I had a lovely email exchange with the owner, Stefano Senatore. He had one ebonite pen left, but I wanted one with an italic nib. Stefano determined that he could obtain one from the manufacturer, but it would be outside of the limited edition. It would be numbered “00/10.” That was fine with me. The pen arrived today, and I inked it with OMAS sepia. General appearance/aesthetics The pen is made of a dark, reddish “Rosewood” ebonite. both the cap and barrel have a subtle taper. The ends of both the cap and barrel have slight points. There are two thin gold cap bands, another band between the barrel and the section and another between the barrel and the piston cap. Size/Ergonomics The Momento Zero is about the length of a Pelikan M800 or an old-style OMAS Paragon. Its barrel is significantly bigger around than the Paragon and just a bit bigger than the M800. There is a slight step off to the section, so the sections diameter is probably about 14 mm (my estimate). The ebonite pen is quite light, and it feels well balanced both posted and un-posted. Left to right: Leonardo Officina Italiana, OMAS Paragon, Pelikan M620, Pelikan M800 The gold clip has a roller at the end. It goes into and out of a dress shirt pocket smoothly and seems to keep securely in the pocket. Piston/filling The pen fills with 4 turns of the piston. The piston turns smoothly with a solid, positive feel. I have not measured the ink capacity. Stefano told me that the piston mechanism was modeled after the one used by OMAS. The nib, feed and writing experience The nib is a 14Ct gold, “semi-flexible” stub. I believe I read somewhere that the stub was 1.3 mm. However, it writes a line that is 0.8 mm wide. This is well within the practical range for my everyday italic handwriting. The nib is buttery smooth, but, with smooth Rhodia R paper and OMAS ink, it has very respectable thick/thin line variation. Together with the pen’s excellent balance, this makes for a very comfortable, fluid writing experience. When I looked at the feed, I remarked that it appeared identical to that on my OMAS pens. The nib itself is about the size of a vintage Paragon or 360 nib. Its shape is a bit different, with more flare in the shoulders. Top to bottom: OMAS Ogiva, Leonardo Officina Italiana, OMAS Paragon, OMAS old-style Milord General quality/fit and finish The fit and finish of this pen is flawless. It impresses me as being of very high quality but in no way flashy. This is clearly a pen to use, not one to merely display. That suits me fine! As a rather unique and certainly unanticipated bonus, the pen came with a little package of the swarf from it's turning. A cute touch! Last, a writing sample - my "thank you" note to Sr. Senatore. Happy writing! David
  21. Hey Everyone, I've just sent back my Franklin-Christoph medium S.I.G grind in order to exchange for a broad Masuyama italic. Don't get me wrong: the SIG nib was great to write with and I liked it very much; but, since you can't buy Masuyama grinds separately like you can a sig, I've opted for the CI. I'm also interested in learning an italic handwriting script some time, so this makes sense long-term. Now, however, I'm hearing that Masuyama italic grinds are dry writers. One post I've come across was particularly bothersome in that the OP said their f-c Masuyama italic required loads of pressure to write with until they eventually sent it back for a flow adjustment. Moreover, the nib wasn't said to be defective by the F-C team, they just tuned it to what they'd call "wet". I'd imagine that an italic tuned on the drier side would maximize line variation and the integrity of the cross-stroke-- are there any other practical reasons for a CI to write dry? I'm particularly interested in hearing from those who regularly write with any form of italic or own steel F-C Masuyama italics. Have yours been dry compared to others? Do they write under their own weight? Having said all that, I'm really not too fond of nibs that are very dry, especially if they're broad. On the other hand, perhaps I should leave this to the expert Mr. Masuyama -- it is, after all, my first hand-ground cursive italic. Sorry for the long post and thanks in advance.
  22. Hello, Can anyone please advise from experience if the Montegrappa Exta 1930 Broad nib is stubbish? I am aware that their medium nib runs slightly narrow, but I don't want a greater line width if it is devoid of character. Any advice or writing samples would be much appreciated
  23. This one is a Milord Vision in green with a factory stub nib. Its my only Omas with a stub. I was always under the impression that their broad nib was considered a stub but this one is very different. I picked it up secondhand but the nib profile appears to be factory stub along with the engraving on the nib. I cant confirm or deny if someone besides Omas had worked on the nib but it looks and writes like it was ground by a drunken baby. It railroads at the drop of a hat and the grind on the bottom of the nib is super uneven and grainy. I can see the unevenness by eye. I cant believe this nib ever wrote well and whoever worked it must have been late to a lunch date. I did some work to it tonight and heat set the feed. Its ridiculously wet and there was a good gap from feed to nib when I received the pen. It still throws down so much ink that it will not completely dry on paper after a good amount of time though. I cant get a sheet of paper between nib and feed after heat setting so the gap is right but its still crazy wet. The tine spacing looks pretty even so its not like theyre spread out too far or anything. This one is kind of a mess! The rest of the pen looks great but the nib and feed is just ridiculous. The QC seal says the nib was originally in fine so I assume it was sent back for a nib exchange to a stub. God I hope this nib was not ground by Omas. Its just all kinds of screwed up. I worked on it for a while with a 10x loop but Im going to need to continue with a proper microscope to get it right. Im planning to sort it out next week. The problems with this nib/feed are new to me though so it should be interesting. Usually a heat set has sorted the super wet condition in the past but not this one. Its going to be a challenge! My other Omas Vision is super wet as well in medium so maybe this is a factory tune but its just silly wet. None of my other Milords are like this and that includes the wet rosewood/ebony models. Theyre wet but reasonable. Also even the clip tightness is different. I dare you to get a sheet of graphene between the clip and cap on this pen! Going to need to adjust that as well. Totally different than all of my other Omas pens. Im really baffled by all this. This pen was one of the last Omas made as well as my factory tuned Paragon Ludovico Einaudi Signature. The Signature Paragon is perfect. I mean really, its the best pen I have! This Milord though is 180 degrees out. Omas must have been an interesting place to be during the last days. All I can say is that I sincerely hope the nibsmith who built my Signature Paragon has picked up a great job at Montegrappa or the like. That one is an artist whos talents should not be wasted!
  24. slurry

    Converting A Vp Stub To Fine

    Hi All, Any suggestions on modifying a VP stub nib to fine/extra fine. I have successfully transformed a few standard medium nibs to a very smooth fine using a 4K, 8K and 10K honing stones, but the VP stub is a bit nonstandard. Any suggestions, tips, guides, examples etc... are greatly appreciated. Thanks in advance, .
  25. Woweeeeee... Too bad it shot past my self imposed limit of £150 + S&H. All things considered the price it eventually went for wasn't so bad but too much for me atm. To be honest, I already have one 51 with a factory original 1.1-1.2 mm stub (juicy but would like it to be more crisp). It was just that that nib was... so achingly clean and shaped so nicely. I can almost see it leaving behind a beautiful wide, wet but crisp line with amazing line variation. Oh well, the hunt is still on, just lovely to see an outstanding specimen like that.





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