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  1. Hi, Got this pen today with a splayed nib that I'm trying to fix. It had what seemed some kind of crystal (it seemed clear, glass-like) stuck between the tines. After a bit of coaxing with a brass shim, I was able to remove most of it: And after a bit more, I was finally able to remove it completely. Whatever that thing was, it was as big as the space between the tines. Closing the tines has been quite a challenge and I'm stuck at this point after trying a few things, such as crossing the tines over and pressing them to overlap with my nails and then lying the nib on one side on a piece of hardwood, crossing over the tines and pressing with another piece of wood. This is as much as I've been able to close these darn tines: Any ideas? Thanks! Alex
  2. alexwi

    st dupont fidelio 08.jpg

    From the album: Alex's images


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  3. alexwi

    st dupont fidelio 04.jpg

    From the album: Alex's images


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    • x
  4. Hi Everyone, I always use fpnibs.com as my source for JoWo nibs which they custom grind to whatever I want, but they don't offer Bock nibs. Is there anyone out that that not only sells Bock nibs but will also custom grind them for you? Thanks!
  5. Hi I recently bought a used montblanc limited edition (4810 pieces) 149 by andree putman, which is basically a classic 149 with a special case, I sent it to get serviced. I contacted My Jewlery Repair (montblanc's authorized repair) if i can swap the nib of a regular 149 to the calligraphy flex nib & they said they could. My question is, since its a limited edition set will I totally ruin the pen's value if i would eventually sell it or it will upgrade the pen/set? I've attached stock images of the set, Thank You
  6. Easigraf

    Lamy Lx Questions

    Hi, I have just received a Lamy Lx Palladium (I got on sale). I have noticed a couple of mishaps. Firstly, I noticed that there is a loose bottom finial- creating a rattling sound. I was able to use my finger to tighten it (in comparison to another one, it is not fully tightened- as seen in the photo by referencing the ‘Germany’ imprinting). However, it came loose again. Since tightening it again, it hasn’t. Is there any way that I can fix this, to prevent it loosening long term? I believe there is a hex thread in the bottom finial? A question about the nib. I noticed a grey streak on the right tine. I originally thought that it must be some sort of factory residue. I cleaned it and inked it up, however, have realised that it is still there. Could this be a spot on the nib where PVD coating is missing? Input on this would be great. And finally, a question about the feed. When capped, the feed remains black, though when uncapped, it fades to a greyish white colour. Is this normal, as I haven’t been able to find any information on this? Not sure if any of these issues or questions have to do with a slight problem I ran into. When loading a cartridge into my pen, after cleaning with a bulb syringe (with basically distilled water), and drying off, the ink just would not flow to the nib properly, as only faint grey lines came out (even after writing for a while). I tried everything to promote the ink to saturate the feed, including putting the pen upside down, gently squeezing the cartridge and writing with it. When cleaning it out, a faint pink colour came out? Anyway, I have since combatted this by using bottled ink (Pilot Iroshizuku), so as to saturate the nib and feed initially, and since I haven’t had any flow issues. Thank you in advance!
  7. Hi FPN, I have a Lamy Lx and have noticed that the nib <M> is particularly scratchy, and I am a beginner and have had it for just 4 days. In comparison to another Lx, mine is really scratchy to the point where it picks up fibres on the tip of the nib, and feels like it is dragging along the paper on some strokes (it sounds like a pencil, very much so! I notice that a downwards, upwards and right to left strokes are alright, but a left to right stroke is very scratchy. It is also scratchy for a left to right diagonal stroke. This leads me to believed that it is a misaligned nib, though I don’t know how to fix that (and what the left to right stroke being scratchy means [i.e, left tine backwards, towards, etc.] Another thing to note is that when comparing mine to another Lx, the space in between the tines on mine is smaller than that of the other one. I have sent Lamy a support message, I hope that they respond. Is it worth trying to fix it myself, as it will end my warranty (I believe). Perhaps the warranty will allow me to get a completely new nib (pen can’t be returned as it was a sale item)? Any advice on this would be greatly appreciated!
  8. Hello everyone, I recently bought a vintage Pelikan 100N and the pen writes really wet and smooth. It has a full flex nib. But I have a problem, the tip of the pen is unfortunately not springy enough and the tip is not thin enough. Even when I don't apply any pressure it writes like a medium. My question to you is, can the nib be thinned with a nibmeister? Can it be converted to F or EF nib? Thank you very much in advance.
  9. I just purchased 2 Platignum Silverline pens off the internet. Both are in excellent shape. One pen has a broad italic, and the other one has an oblique italic for a left hand people. They both work fine. I am absolutely impressed by the broad italic and how well it writes, and the beautiful Thick and thins it produces. My question concerns whether the nibs can be removed. It almost appears that these nibs are permanently attached to the pen. I have tried to unscrew the nibs, But I have not been able to get them out. I am not using very much strength because I dont want to break anything. Can anyone tell me if these particular pens have removable nibs, or are the nibs meant to be permanently attached? I would like to search for some other nibs to use with these pens, But maybe that is not possible. Im including a couple photos.
  10. Hi all, I am finishing my repair of a Balance Vac, and I am trying to set the nib and feed, and they will not seat in the section far enough in! I have never had this problem before. I have attempted to reseat it about 5 times. Every time I find myself exerting more force than I believe is a proper amount and so I back off, say a few chosen words, scratch my head, knock it back out, and figure out what the hell is wrong. I have looked inside the section, I do not see any old nib edge marks to see where it was seated before (this is my fault for not doing this when I took it apart). I have rotated where I attempt to place the nib and feed when inserting it...the only other thing I can THINK of is to set the section in the freezer or fridge (for a brief few minutes) to get it to shrink and therefore expand the size of the section hole, but that is just pure speculation as I try to figure out how to get this darn thing back in. It is the nib and feed that came/original with the pen, so it's not that I am trying to replace these parts. I am out of ideas. Any suggestions?
  11. It is common among the community to say that gold nibs are not better than steel nibs. I disagree since most gold nibs are hand polished and tested one by one while steel nibs are mass produced in automated processes. So, in order for a steel nib to compete against a gold nib, it would need to be hand polished, hand finished and hand tested. Currently the only steel nibs that I am aware that are hand made are the Kaweco Premium Steel nibs (which cost $50 USD), , the steel nib of a Hero 40 years reform and opening special edition 英雄钢笔1978改革开放40 and Edison Pens. Maybe Faber-Castell steel nibs are also hand polished given their quality. But most steel nibs are not: Pelikan, Aurora, Lamy, etc. So, the question is what brands do you know that offer hand polished, hand finished steel nibs? Since today it was a cleaning day, I share a picture of a clogged feed and how I left it.
  12. copenhagenwriter

    Montblanc 146 splayed nib? Easy fix?

    I’m considering buying a pen with the pictures nib. But as is obvious it is splayed. I know that from pictures alone it’s difficult to assess the problem. From your experience- does this look like something that could be fixed? And is it a diy-fix or something that would require a professional? kind regards thomas
  13. Hi, I recently purchased the stainless steel version of the Lamy 2000 fountain pen and I have a question regarding a possible defect in the pen. The version of the pen that I purchased has metal finger tabs extending from the O-ring between the piece of the pen attaching to the nib and the piece constituting the main body of the pen. Previously, I had owned the fiber-glass version of the Lamy 2000, and the finger tabs, if I recall correctly, were located to 9 and 3 o'clock on the pen. I.e., when looking directly at the nib, the finger tabs were on a line parallel with the nib. On my new stainless steel Lamy 2000, however, the finger tabs are askew, at roughly 10 o'clock and 4 o'clock, i.e. on a line diagonal to the nib. Is this a possible defect to the pen, or is it a normal design feature? Thanks in advance for your responses. [PS: I sent a similar inquiry to Lamy, but am posting the question here in the interests of thoroughness/getting an independent opinion.]
  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. Dear fellow FPNers, I have recently acquired 2 vintage Onoto plunger fillers, a model 3000 with a No.3/ST nib, and a model 6000 with a No.3 nib. Could someone please let me know if the nibs And what does the "ST" on the No 3/ST stand are interchangeable? for? I look forward to your feedback Thanks in advance!
  16. Dear fellow FPNers, I have recently acquired 2 vintage Onoto plunger fillers, a model 3000 with a No.3/ST nib, and a model 6000 with a No.3 nib. Could someone please let me know if the nibs are interchangeable? And what does the "ST" on the No 3/ST stand for? I look forward to your feedback Thanks in advance! Best, J
  17. gringomckinley

    Sonnet Nib And Feeds Replaceable?

    I own two Parker Sonnets, bought them in an online auction together. I do not care for the nib and feed, they always start off dry, scratchy, and often skip. I was wondering if there were parts, doesn't have to be Parker, I could buy separately to swap out? I have no issues making these Frankenpens as long as they work how I like. I live in South America so shipping them to the US or Europe to get nib work done would be pretty costly and the postal system here isn't that reliable. Any suggestions would be great.
  18. Version 1.1

    923 downloads

    High resolution nib width measurement chart, from 0.1 mm to 2.0 mm stroke width, both horizontal and vertical. Width increments in 0.05 mm from 0.1 mm to 0.5 mm, thereafter increments of 0.1 mm. Includes comment fields etc. Requires printing at 100% and a minimum print resolution of 4000 dpi, on high quality laser or inkjet paper. Inkjet paper is preferred.
  19. Still my favourite pen after 25 years. It is tiny but I like it. (Not that I do not like to try my hand on an 149) But after so many years, I am still not sure (probably yes for this MB pen) what it usually means when you see 14k on the nib and wonder if it is only the very tip of it is made of 14k gold or the whole metal bit of the nib... Do you guys also have MB hommage a Mozart like in other variation of colour, materials etc.?
  20. I have two 146’s. One pen is older and has the nib holes 180 degrees apart and the other is a more modern Bordeaux 146 with nib holes offset. I have tools for the older 146 but not for the newer nib hole 146’s. I really did not want to pay $40 $50 dollars for another tool. I read that the MAJOHN P136 was the size of a 146 and saw they had a take down tool. Per the instructions it looked like it would work on the nib assembly of a newer 146 Montblanc. So I decided to try an experiment and purchased this tool for $10 and free shipping. I purchased it Jan 30 and it arrived to me in Texas on Saturday Feb 11 Well it worked like a charm on the piston and more importantly on the nib assembly. I hate adding eBay links because in time they are no good for future searches but I thought I had to tell y’all to take advantage of this while you can. Someone else sells the same tools but it’s listed for “Montblanc use” and they want $20 for the tool and $20 for shipping. Hope this helps someone, it did me. Cheers,Ozzy https://www.ebay.com/itm/394315658418?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=OSSpmWOnTcO&sssrc=2047675&ssuid=bZUb89HITrK&var=662832818694&widget_ver=artemis&media=COPY
  21. Joe Penmanship

    Nib Finish Deterioration

    I have a Montegrappa Fortuna Skull that I purchased in 2013. It has been a reasonably good pen, performance-wise. Not the greatest. Not the worst. The important note is that I have not used it much (since it is not the greatest performer) and it has remained happily capped and in a secure box most of its life. In fact, I only remember inking it two times (with normal standard inks that everyone uses, nothing weird, alien or BSB) and have only written with it probably a total of two-hours during its cushy little life. And I have cleaned it carefully and properly, as I clean all of my pens after some period of use. It has never been dropped. I have never lent it to someone else. I haven't stirred my coffee with it. Bottom-line, this pen has been treated like a princess (pencess?). So I went to visit this Fortuna this morning since I haven't caressed it for awhile. And upon removal of the cap, I see that the black finish on the nib has somewhat deteriorated - bits of silver shining through the black here and there. I rub the nib and no more comes off -- so it doesn't seem to be just flaking away. It just seems to have dissolved away into space. And it is now an ugly nib. I have a note into the store that I bought it from -- haven't heard back, yet. But has anyone else had this issue with Montegrappa Fortuna Skulls? Is this a known issue that in someone's similar experience the manufacturer or place of purchase might be willing to rectify? I did a search on the forums here, but did not uncover anything. I attached a photo. Cheers! Joe
  22. I recently spent a few hours working on my good ole' ebonite Noodlers Konrad. I hadn't used this pen for quite a while and wanted to spice things up a bit. The changes I made (and highly recommend) are as follows: 1) the "easy my flex" mod, were you grind a portion off the sides of the nib as seen in the picture. 2) I doubled the depth/width of the feed channel, which managed to eliminate almost all railroading except on very aggressive downstrokes. and 3) I reground the tip to an XXXF needlepoint. I don't know how to measure the actual degree of fineness I achieved with this grind, but ill tell you it is so sharp that I may just use it to sew some new underpants. I don't by any means consider myself an experienced nib-alter-er-er, but it wasn't too difficult to shave the sides and smooth the tip with 8000, 12000 and 16000 grit polishing sandpaper. Anyways, here are some pictures of my work (and first attempt calligraphy); please comment if you have any questions, suggestions or have tried the same thing during your nib-related adventures. Enjoy.
  23. Theroc

    14Kt Gold Nibs from PenBBS

    The PenBBS store on Etsy is offering a few 14kt Gold nibs in RF, REF, No.4 and N.15 calligraphy. $115 each. Only a handful left. They look impressive and I am severely tempted.
  24. So I bought two flexible nib factory feeds for an FA-nibbed Custom 743 I got recently and the immediate thing I noticed is that, even after using considerable force to move the nib in, and making sure it was aligned exactly with the grooves cut into it, the nib sits about 1 mm further from the housing/grip than it did previously, and I'm not willing to use more force to insert it as I'm worried about cracking the grip. Is this a common issue with these feeds and will it be fine to continue using the pen as I normally would under these circumstances?
  25. In the recent times of King's Charles III ascension to the throne I have noticed the fountain pen nib he uses is very dominating - it looks really great on paper. However, I am not sure if this is just Montblanc conforming slightly differently to the other more 'standard' brands of Fountain Pen. For example, a M nib or OM feels more like a Broad etc. Are we able to tell from this image of the pen the nib? I think I can see a slightly different nib end here suggesting perhaps Oblique but wanted to see what you guys think? To me, the sidestrokes seem thinner than the downstrokes, no? I can confirm an OB is far too thick so I'm not sure if it's just a Medium or Oblique Medium?





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