The Meisterstück 149 Calligraphy Appreciation Thread

[fpupulin]

Dearest @invisuu, I really enjoyed your post, not only for the splendid Engrossed calligraphy you created with your 149 Calligraphy, but also for the underlying question.

 

Can a nib improve significantly with time and use, become more refined in its response, become more elastic and flexible, or is its improved performance merely the product of greater familiarity with the pen, a more suitable ink, or improved calligraphic "ability"? For a long time, @invisuu, I've been asking myself the same question, because I, too, had the feeling that my 149 Calligraphy nib was improving with use.

 

Today, however, I remembered that perhaps I had the tools in my hands to at least partially answer—certainly not scientifically, but not entirely based on mere impression—this interesting question.

 

I've used my 149 Calligraphy every day for almost six years. My hand has, in a certain sense, developed an osmosis with the pen. It knows its strengths and weaknesses and, above all, its potential. I've used it with a wide variety of different inks, some with excellent results, others less so, but all acceptable for writing and, I'd say, for writing well. In short, the fact that the 149 Calligraphy behaves "as it should" in my hand doesn't surprise me, but it's certainly possible that it's not just the familiarity between the two that makes the 149 Calligraphy—for me—an exceptional pen. It's possible that it has become so with use.

 

But, and here we come to the central point of my answer, I own another 149 Calligraphy, practically new, which I used only once four or five years ago just to test that the nib.

 

So today, I used both pens—one used for six years, the other now for the second time in its life—on the same sheet of paper (Fabriano Ingres 90 gsm), with the same ink, not particularly renowned for its fluidity, Diamine Golden Brown. I see, in the result, that the ink already in the barrel of the first 149 is more saturated, or more slightly oxidized, than the one recently loaded into the second 149. But, ink color aside, it seems to me that—essentially—the two pens respond to my hand identically, regardless of their "writing age."

 

I'll leave it to you, @invisuu, and the other forum readers, to judge the result, but based on what I see and feel when writing, what makes the difference is not a noticeable improvement in the pen, but a better education of the hand.

 

 

[Scribs]

Interesting @fpupulin thank you for sharing the results of your experiment! The question of whether pens improve greatly with use and age reminds me a lot of what is widely considered to be fact among classical string players, namely that the older the instrument gets, and the more it is played, the better it becomes as time passes. New violins definitely sound much different to matured instruments. 

 

However, based on your experience, it would seem the same can't be applied to pens. Which I have to confess I find a bit of a shame. I think I will continue to use mine and hope there could be subtle changes taking place. I know that some staunchly disagree (Richard Binder amongst others I believe, if memory serves correct).

[invisuu]

@fpupulin very happy to hear your thoughts and intriguing findings. Thank you. We're not scientific, but it's this contrast to my profession that makes it appealing as a hobby.

 

@Scribs the fact the pen doesn't change with time, which is fpupulin's observation, is probably not a bad thing. This means viscoplastic work on the metal (nib) is stable and not progressing. In fracture mechanics, writing with a nib is basically loading a crack, if according to Paris' law we would be adding viscoplastic work, the crack propagation would start. In simple terms, the nib would get softer with use, but also would break after "some time". 

From this point of view, it's good news that it's the user that is getting better with the nib, rather than nib becoming softer.

[fpupulin]

Oh no, @Scribs, I don't think a nib is a completely inert and insensitive object either.
 

If you look carefully at the writing produced by the two pens, you'll notice that the thin strokes of Calligraphy 1 are slightly broader than those of Calligraphy 2. I assume this is the result of six years of work and the wear and tear of the iridium coating the tip.
 

You'll also notice that the upper curves of the letters are rounder in Calligraphy 1 than in the Calligraphy 2 example. Since I tend to rotate the pen to the right, the nib "naturally" tends to form a sharp edge at the end of the ascending curves, but I believe that, even in this case, the iridium tip has "deformed" just enough, over so many years of constant use, to allow the nib to adapt to the movement of my hand.

So yes, ultimately, a nib is an almost living object in our hands!

[DimitriDiak]

Wonderful discussion here once again, and a joy as always to follow along!

 

I also believe that a well designed and manufactured nib should not mechanically change over time give that it is used in a healthy and respectful manner.

 

In contrast, I’ve also seen some nibs that appear worn from years of heavy, burdensome use, almost as if the life has been drawn out of them, responding in a dull, limp manner.

 

Under the right conditions however the gold nib itself stays stable, but the tipping does wear, paper slowly dulls the edge, increasing the contact area and softening the feedback, which is why I find that a light “re-sharpening” is required and can bring it back where it suits my taste.  For me this tactile experience is very important.  If the nib were actually getting softer, you’d be entering (as correctly stated above) fatigue territory “Paris’ law”, which would eventually lead to failure.  

 

So what improves over time is mostly the match between your hand and the pen, with a bit of surface-level tuning at the tip.  It’s the gradual elimination of mismatch between tool, surface, and intent.

[fpupulin]

On 4/7/2026 at 12:31 PM, DimitriDiak said:

It’s the gradual elimination of mismatch between tool, surface, and intent.

 

 

@DimitriDiak, I will certainly use your expression as the better description I ever knew of the mutual adaptation, of engagement, and finally of a perfect marriage, between hand and pen. Thank you!

[fpupulin]

For several years, I had a beautiful Omas Lucens, from the late 1930s, with a splendid Omas EXTRA nib, but it always gave me writing problems. The nib would sometimes write barely, sometimes almost normally, and then, suddenly, it would leave a large, impossible-to-disguise ink stain.
Looking at the pen from the side, it was clear to me that the space between the "belly" of the nib and the back of the feeder was too wide, but no matter how hard I tried (with due care) to slightly curve the tip of the nib downward, due to its highly convex shape, this was impossible, unless I seriously risked bending the tip.
A few days ago, a very dear pen pal, with whom I was chatting about vintage Omas pens, came to my rescue, suggesting that I try not to modify the nib, but rather the feeder. Since it's made of ebonite, he recommended boiling a little water and immersing the nib and feeder (without touching the celluloid barrel) for 40-50 seconds to soften the ebonite. Then, with the back of the nib resting on a firm, non-abrasive surface, press the feeder, "curving" it toward the nib.

I repeated the same method twice, and now the nib and feeder actually adhere to each other. The nib's behavior has changed significantly.

 

What does all this have to do with the pages dedicated to the 149 Calligraphy?

It's to show you how a "sacred monster" of fountain pen history now works: an Omas Lucens in the senior size, with one of the finest nibs ever produced, an Omas Extra extra-fine. And to show you how, next to this writing monster, the 149 Calligraphy competes on a level that isn't equal, but I'd even say superior. Please note the two lines written in brown ink (Diamine Golden Brown), both with the 149, and notice how this splendid nib effortlessly allows you to switch from a classic copperplate to an engrossed one. I can't with the Omas, or perhaps because I don't have the same confidence as my 149 Calligraphy, I can't yet.

 

 

The text on the lower sheet, and that at the bottom of the foreground sheet, were written with the EXTRA nib of the Omas Lucens.

The upper lines of the of the foreground sheet are those written the 149 Calligraphy.

[como]

12 hours ago, fpupulin said:

For several years, I had a beautiful Omas Lucens, from the late 1930s, with a splendid Omas EXTRA nib, but it always gave me writing problems. The nib would sometimes write barely, sometimes almost normally, and then, suddenly, it would leave a large, impossible-to-disguise ink stain.
Looking at the pen from the side, it was clear to me that the space between the "belly" of the nib and the back of the feeder was too wide, but no matter how hard I tried (with due care) to slightly curve the tip of the nib downward, due to its highly convex shape, this was impossible, unless I seriously risked bending the tip.
A few days ago, a very dear pen pal, with whom I was chatting about vintage Omas pens, came to my rescue, suggesting that I try not to modify the nib, but rather the feeder. Since it's made of ebonite, he recommended boiling a little water and immersing the nib and feeder (without touching the celluloid barrel) for 40-50 seconds to soften the ebonite. Then, with the back of the nib resting on a firm, non-abrasive surface, press the feeder, "curving" it toward the nib.

I repeated the same method twice, and now the nib and feeder actually adhere to each other. The nib's behavior has changed significantly.

 

What does all this have to do with the pages dedicated to the 149 Calligraphy?

It's to show you how a "sacred monster" of fountain pen history now works: an Omas Lucens in the senior size, with one of the finest nibs ever produced, an Omas Extra extra-fine. And to show you how, next to this writing monster, the 149 Calligraphy competes on a level that isn't equal, but I'd even say superior. Please note the two lines written in brown ink (Diamine Golden Brown), both with the 149, and notice how this splendid nib effortlessly allows you to switch from a classic copperplate to an engrossed one. I can't with the Omas, or perhaps because I don't have the same confidence as my 149 Calligraphy, I can't yet.

 

 

The text on the lower sheet, and that at the bottom of the foreground sheet, were written with the EXTRA nib of the Omas Lucens.

The upper lines of the of the foreground sheet are those written the 149 Calligraphy.

@fpupulin Fantastic fix for the vintage Lucens feed! Perhaps with time, your Lucens nib can show you that it flexes more than you allowed it? Here is my vintage Extra Lucens with the drop shaped breather hole. It flexes rather well, I would say! 

[fpupulin]

I'm sure it will! @como. I guess my hesitation, for now, is still due to the "huge ink stain complex" that has plagued this nib for many years, ha ha ha!

By the way, your Extra Lucens is beautiful, and your Extra Lucens bi-colored nib is both a superb nib and an excellent writer.

 

Could you imagine if the recently re-re-re-surrected OMAS would have made new pens inspired in the Lucens and the Extra Lucens models instead that in the Paragon? What a boom!

[como]

2 hours ago, fpupulin said:

I'm sure it will! @como. I guess my hesitation, for now, is still due to the "huge ink stain complex" that has plagued this nib for many years, ha ha ha!

By the way, your Extra Lucens is beautiful, and your Extra Lucens bi-colored nib is both a superb nib and an excellent writer.

 

Could you imagine if the recently re-re-re-surrected OMAS would have made new pens inspired in the Lucens and the Extra Lucens models instead that in the Paragon? What a boom!

Well, @fpupulin Franco, I am not sure if you have the patience to read this 14 pages long story of the latest Omas resurrection. Long story short, the Malaguti Omas pen is over €2000 with the same vintage Omas Extra nib, and Malaguti Omas ended up merging with Zhang Omas. I think I prefer the 149 Calligraphy Flex and the vintage Omas pens.

[fpupulin]

Here we are, with a little more confidence, and a little more pressure. The results are improving, and the skill of the two pens is getting closer.

 

 

As for the umpteenth Omas/Lazarus saga, my friend @como, what can I say? I've followed it from the beginning, and for the first five minutes, with the Simoni heirs involved, I thought it might be true. But as the Italian poet Ugo Foscolo wrote, Anche la Speme, ultima Dea, fugge i sepolcri ("Even Hope, the last Goddess, flees the tombs")...

[ak47]

52 minutes ago, fpupulin said:

Eccoci qui, con un po' più di fiducia e un po' più di pressione. I risultati stanno migliorando, e l'abilità delle due penne si sta avvicinando.

 

 

Per quanto riguarda l'ennesima saga Omas/Lazarus, il mio amico @como, cosa posso dire? L'ho seguito dall'inizio, e per i primi cinque minuti, con gli eredi Simoni coinvolti, ho pensato che potesse essere vero. Ma come scrisse il poeta italiano Ugo Foscolo, Anche la Speme, ultima Dea, fugge i sepolcri ("Anche la speranza, l'ultima dea, fugge dalle tombe")...

I agree,  sadly. 

[Seney724]

1 hour ago, fpupulin said:

Here we are, with a little more confidence, and a little more pressure. The results are improving, and the skill of the two pens is getting closer.

 

 

As for the umpteenth Omas/Lazarus saga, my friend @como, what can I say? I've followed it from the beginning, and for the first five minutes, with the Simoni heirs involved, I thought it might be true. But as the Italian poet Ugo Foscolo wrote, Anche la Speme, ultima Dea, fugge i sepolcri ("Even Hope, the last Goddess, flees the tombs")...

We all recall the lovely essay "Orchids and Omas" you wrote for the Simoni heirs last June, promoting the Extra nib they were employing on their 150625 fountain pen @ 3,250 Euro.

It is a shame that they betrayed your trust.

[como]

1 hour ago, Seney724 said:

We all recall the lovely essay "Orchids and Omas" you wrote for the Simoni heirs last June, promoting the Extra nib they were employing on their 150625 fountain pen @ 3,250 Euro.

It is a shame that they betrayed your trust.

😢 I agree with @Seney724 that they don't deserve your praise. And €3000 EUR - "You can't be serious!!"

[fpupulin]

@ak47, @Seney724, @como, like many Italian pen enthusiasts, I too felt orphaned when Omas closed its doors. All the subsequent rebirths, re-rebirths, and resurrections left me completely indifferent. But the last one, with the Simoni mother and son, those of the true family, like the true Omas, had me hoping for a miracle.
I don't want to start a sterile polemic here, but the first pen of the new adventure, in dark titanium, with an extraordinary Extra Lucens nib, was, in my opinion, beautiful. Expensive? Too much for my finances, as I wrote at the time. But who am I to say whether it was more expensive or less valuable or less beautiful than many of the pens Montblanc releases every year?
Of course, one should assume that miracles last; otherwise, it's more likely they're sleight of hand.
And one should assume that I'm already old enough to distinguish one from the other. But it was so nice to feel like I was no longer an orphan...

 

And now, back to the 149 Calligraphy!

[Seney724]

10 hours ago, fpupulin said:

@ak47, @Seney724, @como, like many Italian pen enthusiasts, I too felt orphaned when Omas closed its doors. All the subsequent rebirths, re-rebirths, and resurrections left me completely indifferent. But the last one, with the Simoni mother and son, those of the true family, like the true Omas, had me hoping for a miracle.
I don't want to start a sterile polemic here, but the first pen of the new adventure, in dark titanium, with an extraordinary Extra Lucens nib, was, in my opinion, beautiful. Expensive? Too much for my finances, as I wrote at the time. But who am I to say whether it was more expensive or less valuable or less beautiful than many of the pens Montblanc releases every year?
Of course, one should assume that miracles last; otherwise, it's more likely they're sleight of hand.
And one should assume that I'm already old enough to distinguish one from the other. But it was so nice to feel like I was no longer an orphan...

 

And now, back to the 149 Calligraphy!

Well said @fpupulin!