Showing posts with label Montblanc. Show all posts
Showing posts with label Montblanc. Show all posts

13 February 2012

Profit Realo

Pen review: Sailor Profit Realo with a Cross-music nib.

To a certain extent, this review has already been written and published on these chronicles. The two most distinctive elements of this pen were analyzed, or deconstructed, and put in the context of the current catalog of Sailor pens: Are this nib and this filling system worth the price we would have to pay for them?


I should start this review by saying that this pen is a frankenpen. This combination of nib, a specialty nib by Nagahara, and filling system is not included in the catalog of the brand—specialty nibs are associated to cartridge-converter pens. But this frankenpen allows us to cover several elements that are to be found on a number of Sailor pens.

This Sailor is the regular Realo model and NOT the limited edition from 2006 based on the King of Pen model. Regular Realo pens implement the senior nib size in 21 K gold. Smaller nibs are the junior size –in 14 and 21 K gold--, and bigger, the King of Pen nibs in 21 K gold.


1. Appearance and design. (7.0/10)
This model, the Profit, it a cigar type pen à la Montblanc. Being a Realo implies its filling system was a piston, and its barrel has an ink window. Its very obvious design, the window is framed by two golden rings, is not the most charming one—it makes me miss the more subtle appearance of original Realo made for the 95th anniversary (2006). The ink deposit is on the small size.

The decorative elements on this pen are golden, and this seems to be the only option for Realo models.


2. Construction and quality. (9.0/10)
Very good quality. The plastic material –that precious resin of some other manufacturers—is resistant to scratches. Posted, the cap fits well on the barrel and does not leave any mark. The piston action is very smooth and requires little effort. So far, this has not compromised its seal.



3. Weight and dimensions. (9.0/10)
As I mentioned on the introduction, the regular size Realo is based on the senior size in Sailor’s line of pens. This means that all senior size nibs fit in this pen’s section.

This is a well balanced pen, especially if unposted. These are the dimensions:

Diameter: 16 mm.
Length closed: 142 mm.
Length open: 122 mm.
Length posted: 157 mm.
Weight: 22.0 g.
Ink deposit: 1.0 ml.
Balance open: center of masses at 67 mm to the tip (55%-45%).
Balance posted: center of masses at 89 mm to the tip (57%-43%).

The feed is made of plastic.

4. Nib and writing performance. (9.5/10)
Sailor’s specialty nibs are indeed unique. This Cross-music is the result of overlapping two nibs. The four tines and two slits ensure a juicy and constant flow of ink. There exists a further sophistication for this (and the rest of specialty nibs)—the implementation of an overfeed, by the name of “emperor”, to make sure that the high demand of ink of this nib is met. The emperor has a hefty price—JPY 10,000 to add to the already high price of these nibs.

The 21 K gold nib. The tip is certainly big, but it is also very carefully cut.

The nib point is cut to provide a very broad horizontal line and a fine vertical one. But that is not all—increasing the angle between pen and paper the line becomes thin in all directions.

This nib performs its duty wonderfully (and therefore, there is barely any need of any overfeed), but at a high cost in material, labor and money. Much simpler fude nibs do a very similar job at a lower cost.


5. Filling system and maintenance. (7.0/10)
Sailor Realos are piston fillers, and that attracts the attention of a number of pen aficionados. However, this pen’s ink capacity –1.0 ml— is smaller than that of a Sailor converter (1.2 ml). In a sense, this pen embodies the contradictions of those who demand sophisticated filling systems regardless the ink capacity. Needless to say, Sailor Realos are not the only example of this.

Maintenance wise, any piston filler is a bit more complex than most other systems. Disassembling the piston requires some tools and not all stylophiles have them at hand or are inclined to tinker with their beloved pens.

Nib and feed, though can easily be removed from the section. Cleaning them is so an easy process.

On this picture, the piston can be seen through the window.

6. Cost and value. (6.0/10)
This is an expensive pen. Cross-music nibs are associated to pens whose price is around JPY 50000, and Realos have a tag of JPY 30000. Exchanging the nibs and selling that complete pen we did not want (a cartridge-converter pen with a regular fine or medium nib) helps to lower the price, but by not much. However, this two-fold nib is unique and provides a wonderful writing experience.


7. Conclusion. (47.5/60=79/100)
Expensive pen with a unique nib and a small self-filling ink deposit. Other Sailor pens provide similar features at lower prices by simplifying the nib or the filling system.

No company nowadays compete with Sailor in the market of innovative and complex nibs. Montblanc pens, the obvious model for the Profit, are not cheap either, but Montblanc’s nibs are nowhere near the beautiful sophistication of this Cross-music.


(Sailor Profit Realo – Athena Sepia)

Bruno Taut
February 9th, 2012
[labels: Sailor, soluciones técnicas, plumín, Montblanc]

10 February 2012

At the Museum (II)

(As seen at the Kanagawa Prefectural Museum of Modern Literature).


The pens I am showing today belonged to INOUE Yasushi (井上, 1907 – 1991). These are two Montblanc 146 from different times. The band aid on one of them shows that the writer really worked with it and that he was not concerned about the looks of the pen. I also had the chance to test this pen’s writing –really smooth, probably after years of use. It is probably a B point, which contradicts the idea of Japanese needing fine points to write very complex ideograms.


Inoue, like many other Japanese, preferred German brands over the rest, Japanese or not. This exhibit in Yokohama indeed showed that.

(Sailor Profit Realo – Athena Sepia)

Bruno Taut
February 7th, 2012
[labels: Montblanc, estilofilia, Japón]

28 November 2011

Matching (XI). Unas Reflexiones

I.
Tanto definir lo que es una copia como poder distinguirla del original son tareas arduas. Así lo demuestran tanto los procesos legales como los esfuerzos académicos de estudio de las cuestiones relacionadas con la propiedad intelectual. Y al mismo tiempo, las conclusiones –legales y académicas— son a menudo contradictorias, lo que en nada ayuda a resolver estas cuestiones.


Este bolso, ¿es una copia o es un "homenaje" a una marca francesa? No lleva ni marca ni logotipo reconocible.

II.
Algunos, ingenuamente, asumen que algo que se parezca al original no llega a ser copia si no lleva la marca del mismo. Nada más alejado de la realidad: hay multitud de casos en los que esos productos que no llevan la marca son confiscados y destruidos por las autoridades. Y ese fue el caso, años atrás, de las Inoxcrom, Sailor, Pilot, etc. de inquietante parecido con las supuestas obras maestras de Montblanc.


En otros casos, la copia lleva todos los logotipos y los nombres del original, pero el juez ha dictaminado (según Antena 3, España, 21 de septiembre de 2011) que nadie en su sano juicio consideraría ese producto como original y que, en consecuencia, no había ni engaño ni delito.

Es decir, que los criterios legales son, cuando menos, confusos y hasta contradictorios. Siempre nos queda el recurso de caer en el positivismo legal de que es copia todo aquello que el juez decida como tal. Pero los criterios aplicados y las sentencias dictadas, tan contradictorias, ofrecen pocas pistas fiables de antemano.

Si además ampliamos nuestro horizonte y miramos lo que sucede en otros países, todo se hace todavía más complicado. Lo que en Gran Bretaña era copia, en Japón era legítimo. A. A. Waterman en Estados Unidos; Swan, Sailor o Pilot en Japón; Inoxcrom, Apolón en España…. todas ellas han copiado modelos, tecnologías y nombres de marcas de éxito. Y es que es la copia, más que el producto original, lo que predomina en el mercado.

Inoxcrom 55 frente a Parker 21. ¿Copia u homenaje?

III.
Tanto el modelo copiado como las razones para la copia han cambiado a lo largo de la historia. Una de las razones era la de adquirir una tecnología. De hecho, todas las revoluciones industriales, salvo la británica, se hicieron con la copia de tecnologías y de productos ya desarrollados en otros países. Luego, las barreras legales, arancelarias y judiciales, han hecho el resto, aunque a veces, como sucedió con la industria estilográfica española, no fuera suficiente para garantizar su éxito. Y así, Inoxcrom copió la Parker 21 con su modelo 55; y Apolón copió la Sheaffer con plumín Triumph. Hoy en día varias compañías chinas
Rainbow, Hero— insisten en copiar viejos modelos de Parker.

Copia de la Sheaffer Balance bajo el nombre de Hawaiian.

Otras copias buscan más la asociación con una imagen de éxito que les proporcione unos beneficios económicos inmediatos. Es el caso de la Hawaiian Balance en celuloide o de la multitud de copias chinas de las Montblanc modernas. O de las numerosas copias de las viejas Duofold de los años 20.

Copia china de una Montblanc Starwalker.

Claro que si la pluma original pierde su función inicial de escribir, hacer la copia resulta más sencillo: basta con simular el aspecto exterior porque el hecho de escribir con ella es muy secundario.

Sailor Profit. ¿Copia u homenaje a la Meisterstück de Montblanc? En este caso, la copia supera al original.

IV.
En última instancia, nada está claro en este mundo de las copias. Y a falta de una decisión judicial, nuestras circunstancias personales inclinarán la balanza hacia un lado o hacia otro. Tengamos también en cuenta que las legislaciones y los criterios de los jueces son muchas veces contradictorios.


La paradoja última es que la copia es muchas veces mejor que el original.


(Sailor Ballerie – Sailor Miruai)

Bruno Taut
13 de noviembre de 2011
[etiquetas: mercado, Montblanc, Parker, Hawaiian, Inoxcrom, Apolón, Sailor, Pilot, Swan Japan, A. D. Waterman, Rainbow, Hero]

08 January 2011

Matching (VI)

The controversy is always there: Is that pen original or a copy of another? Which company did father that idea? Sometimes, the answers are clear…

In the history of Spanish fountain pens, that sad history of multiple frustrations, Inoxcrom is the most successful brand. It is still alive, albeit amid harsh financial conditions.

This brand started its activities in 1942 producing nibs for other manufacturers. Then the company continued by assembling pens with parts from other companies. Finally, in 1955, Inoxcrom released the model 55. Even though some of the models marketed in 1950s and 1960s were copies of the Parker 51/21, Inoxcrom also managed to create some original products like the model 77 and the rare luxury 88.

Inoxcrom Caravel II.

In the nineties, the model to copy changed. Now Parker had lost some of its past luster and the successful icon was Montblanc.

The Caravel was the Inoxcrom copy á la Meisterstück. It was a cartridge/converter black torpedo with a smooth steel nib.


In fountain pen fora in Spanish there exists the argument that this pen was a good quality copy and Montblanc demanded to stop its production under the threat of legal actions. A couple of pinches of salt can be added to this argument. First is the fact that Inoxcrom released two Caravel models. The initial Caravel dates back from the early 1990s and has a two-toned nib and a screw-on cap. In 1995, the Caravel II appeared: smaller than its predecessor, single-toned gold coated steel nib, and a slip cap.

So, would anyone release a second black torpedo under those legal threats?

Pilot Custom 74 (on top) compared to an Inoxcrom Caravel II.

The second point is the proliferation of torpedo-shaped pens all over and, in particular, in Japan. And those Japanese copies are really good quality pens!

Sure Montblanc might be acting against these Japanese companies, but the production of Pilot Custom, Platinum 3776 and Sailor Profit/1911 has not stopped in the last thirty years or so… Cannot Montblanc reach that far?

(Inoxcrom Caravel II – Waterman Havana)

Bruno Taut
(In exile, January 6th, 2011)
[labels: Montblanc, Inoxcrom, Japón, España, Pilot, Platinum, Sailor]

03 September 2010

Counterfeit

The debate is always open: how far can anyone go in copying things? Where do we set the line between inspiration and counterfeiting? Is it honest to buy a counterfeited good?

My previous chronicle spoke about the Platinum Knock 18, the capless pen manufactured by Platinum in 1965. As I said, Pilot’s threats of legal actions made Platinum to discontinue this model.

Is this a counterfeit? Platinum's Knock 18 (1965).

But, was Pilot the inventor of this push-pull system? Pilot certainly filed some patents in the US for a “Retractable Nib Fountain Pen” in 1964 and in later years.

The "Retractable Nib Fountain Pen" patent by Pilot in 1964 (published in 1966).

However, about twenty years before, some Grover C. Smith had already patented a similar invention:

A capless-like patent from 1944, published in 1946.

So, can we say Pilot was completely original in its creation? No, definitely not. Was Pilot the most successful? Yes, certainly.

I do not have the answers to the questions I asked in the beginning of this text. But by now I know that there are very few original ideas in the world of fountain pens. Accepting some copies as legitimate but not others is at anybody’s discretion.

Montblanc and non Montblanc torpedo pens.

Would we like to see copies of the Pilot Capless in the market? Do we enjoy torpedo-like pens not made by Montblanc? And what about Chinese-made copies of well-known pens?

A China-made Montblanc. Does anybody ever think this is a real Montblanc?

We should not forget that plagiarism is accepted when it becomes assassination.

With thanks to Grafopasión forum member Estilográficas.

(Platinum 3776 music nib – Sailor Red Brown)

Bruno Taut
Inagi, September 2, 2010
[labels: Pilot, Platinum, Montblanc, fora]

06 August 2010

Copy

All three big Japanese pen companies have torpedo-like models on their catalogs. Pilot calls them Custom –74, 742, 743, 823,…—; Platinum, either 3776 —the altitude of Mount Fuji— or President; Sailor, Profit in Japan and 1911 overseas. Of course, we all think of Montblanc and it seems that the German brand is not very happy about these copies. Rumors say that there were a number of legal actions against them.

Several torpedo pens, including a French Bayard, and a Japanese Tombow.

The usual explanation goes by saying that Japanese express their admiration by copying. However, I find this explanation hard to swallow.

Some Pilot models. From left to right, Custom Sterling (1976), Custom 743 (2009), Super 100 (late 1950s or early 1960s), Custom 742 (2009), Super 200 (1960).

The Montblanc Meisterstück was created in the late 1940s and early 1950s. During the 1960s and 1970s, Japanese companies did not copy them. Pilot’s Custom models or equivalent (the Super series) could be equally boring in looks, but they were also different.

The Pilot 65 released on the occasion of the 65th anniversary of the company (1983).

Actually, only in the 1980s modern torpedo pens were marketed. It was on 1983 when Pilot created the limited edition Pilot 65 on the occasion of their 65th anniversary. With some minor variations, that model is nowadays the Custom 74.

Montblanc Meisterstück 147, Pilot Custom 74, Sailor Profit, Platinum 3776.

My conclusion is that this copying strategy obeys to marketing arguments: Give ’em what they want! And the general public still thinks of Montblanc when fountain pens are in the conversation.

From top to bottom, Sailor's Junior 21 K gold nib, Montblanc's 14 K gold nib in a 144, Platinum's music nib, Pilot's falcon nib in size 15. All of them in boring-looking torpedo style pens.

Luckily enough, Japanese nibs are a lot more exciting than their boring Montblanc counterparts of these days.

(Platinum 3776 Music nib – Sailor Red Brown)

Bruno Taut
Inagi, August 6 2010
[labels: Japón, Pilot, Sailor, Platinum, Bayard, Tombow, Montblanc]