Ohashido (II)

As I had said before, Ôhashidô pens, as of now, implement Sailor nibs of sizes medium and big (in Sailor terms). These nibs are engraved in origin, at the Sailor's plant in Kure (Hiroshima), with the Ôhashidô imprint. In fact, Ôhashidô occasionally implements nibs that are not available on regular Sailor pens—big size nibs made of 14 K gold, and nibs labeled as S –soft– as opposed to the omnipresent H –hard– nibs.

An Ôhashidô nib labeled as S, soft, that in actual terms is very rigid.

There are, usually, two other elements carrying some form of identification on Ôhashidô pens—the clip and the cap band. If present, as there are Ôhashidô pens without those features, they carry the inscription “JSU”, for “Japan Sendai Uehara” on the clip, or "OHASHIDO SINCE 1912 JSU" on the cap band.

However, all those signs might not be there, or there might be some others—such is the lack of system in the production of Ôhashidô pens.

Two examples of these pens I am showing today—one with very typical features; the other, right the opposite.

Exhibit one. Note the engraved clip: "JSU".

The first one is a pen finished in unpolished urushi. The clip is also engraved with the usual imprint: "JSU". The nib is large and carries the usual inscription “SPECIALITY / ÔHASIDÔ / SINCE 1912 / J.S.U / 21 K”, although without any statement about the nib point. The differences between "Ôhashidô" and "Ôhasidô" are the result of the lack of consistency among Japanese on how to transliterate Japanese names.

“SPECIALITY / ÔHASIDÔ / SINCE 1912 / J.S.U / 21 K”

The second pen has none of those usual identifications—the nib has no engraving save a hidden JIS mark and and manufacturing date, and there is no clip. But the barrel is engraved: “OHASHIDO / SINCE1912 J.S.U”. These two details are very unusual. As the nib itself is—it is certainly a Sailor, but a very soft one. It is a medium size made of 14 K gold (according to Mr. Uehara), and the nib point is M.

Exhibit two.

Unusual engraved body: "OHASHIDO / SINCE1912 J.S.U”.

Unusual plain nib, save for the JIS mark and the manufacturing date.

Interesting pens, but the lack of systems in the production process is a problem if the potential customer were looking for a defined –and unnamed- model. But this might be part of the success recipe of Ôhashidô's.

Iwase Seisakusho prototype – Takeda Jimuki Hisoku

Bruno Taut
Bunkyo, February 5th 2019
etiquetas: Sailor, Ohashido

Capless in 1966

The following advertisement (thanks, Kamisama) is from 1966:

It shows five different Capless models from three different generations: 1963, 1964, and 1965. The problem is that each of these generations of Capless used a different type of nib, and those types are not compatible. In other words, Pilot had to produce all three of them to satisfy the offer they had generated.

From left to right, models CS-100RW and C-100RW from 1965; C-200SW and C-300GW from 1964; and C-600MW from 1963.

These are the nib nits of the previous models--different year models use different nibs, and they are not exchangeable across model years.

The contrast with the current situation is startling: three different Capless models with just one type of nib unit that fits all of them!

From top to bottom, models Fermo, Décimo and (regular) Capless. All three of them use the same nib unit (although occasional incompatibilities have existed).

This example shows the crisis Pilot was experimenting during the 1960s. Another example of this inefficiency was the multiplicity of filling systems and cartridges Pilot manufactured at the time, as could be seen on a previous Chronicle.

The situation came to an end by 1969. A reorganization in the production and management, and the launching of some very successful model, resulted in a more powerful company.

Iwase Seisakusho prototype – Takeda Jimuki Hisoku

Bruno Taut
Chuo, January 22th, 2012
etiquetas: Capless, Pilot

The IG Effect

Some of you might have seen that I have joined the ranks of Instagram (IG). That happened last October. Since then, I have published over 30 posts –30 pics-- with irregular reactions, and I have learned a couple of things.

IG creates a totally new context with new rules. Leigh Reyes made some very interesting remarks on her end-of-the-year recap, and I recommend reading them. I am more naïve, and more illiterate in all things Internet, but I cannot help offering my own observations.

With IG, the already volatile Internet is even more so. On one hand, the contents are not indexed and it is not possible to perform any real search within the IG world. Then comes the very short time during which contents are really active—that is, appearing on the feeds of other users.

My most successful post on IG.

The effect of this strategy, as Leigh Reyes pointed out, is that when we play the IG game we all become brands. The obvious consequence is the need to be present on the feeds and to be liked by others. To satisfy those we need to publish often even if we might publish essentially the same thing. And that because that is what the IG algorithm prioritizes.

Some more random posts of mine.

The lifetime of a post is about 48 hours. After that, it just rests confined to the list of your own posts. Therefore, it is not surprising that IG glorifies the image over the texts. Actually, it despises the texts—everything must be fast and easy to consume, and you consume all that on the go. So, the text editor is awful and the options for making later amendments, limited. But it does not matter—live fast, die young, leave a beautiful corpse...

Instagram works well for advertisement, but not for the calm consumption of information. In more than one sense, IG is incompatible with the slow life of a fountain pen. Incompatible with the way of the pen, the mannenhitsu-dô, 万年筆道.

Pilot Petit-1, 1st generation – Pilot Brown

Bruno Taut
Chuo, Janaury 25th 2019
Etiquetas: redes sociales, metabitácora