On Line Channels

Fellow stylophiles Dan and Eric of FPGeeks have reported the final release of a maki-e Pelikan pen based on the Souverän M1000 model. Well, Eric and Dan reported on the release in the US market as this pen had been in the Japanese market since October. But there are more differences other than the release date. The price in Japan is JPY 210000, tax included, whereas in the US it is about USD 1000 more—USD 3638 (MSRP).

The Japanese brochure of the Pelikan Sunlight in raden costume.

The maki-e Pelikan on display at a stationery shop in Kawasaki, Japan. The picture was taken on November 10th (2012).

It is very hard to understand these variations. It really looks like some –if not all— pen brands had not understood the idea of globalization or, even worse, they wanted a globalized world in just one direction—for them to sell their good anywhere without obstacles but not for the buyer to choose the most convenient conditions.

The medium nib is the only one available on this pen. 300 units were released worldwide. This unit is number 284.

On line mechanisms allow for a quick transmission of information away from the official channels as well as for electronic commerce. Is this so hard to understand?

Pilot Bamboo – Unknown blue ink

Bruno Taut
Madrid, November 30th, 2012
etiquetas: Japón, Estados Unidos, Mercado, Pelikan, metabitácora

Networking

A pen show is always an overwhelming experience. There are too many pens on display and too little money. On top of that, a pen show is a meeting point where a number of stylophiles congregate. It is easy -and convenient too!- to talk and to exchange information and experiences. Those are, in fact, the basic elements of a pen show—the commercial and the social.

However, not all pen shows cater the social aspect in the same way. The raison d’être of a any such event is obviously the commercial, and its success is based upon the arithmetic of the trade. The social aspect is, therefore, too often overseen by the organizers.

Vymars's table.

The De Leo and Gargioulo's tables.

Such is the case, in my opinion, of the Madrid Pen Show. This year, the change in the venue roughly doubled the available space, but it seems that only traders could benefit from this. Most of them could display more pens, and they were more comfortable behind their tables. But we visitors felt there was not much more space to move around than on previous years. On Saturday, the big day of the event, the lounge was truly crowded. I should also note that this year there were more cafes and restaurants around the hotel, but many of us thought they were too far away.

Sarj Minhas's table.

Toys from the Attic.

It is my contention that the social networking associated to these events does generate economic benefits that would cover for the cost of devoting some specific space to this more relaxed activity.

This year, the bare figures of the Madrid Pen Show –on its ninth edition— matched almost exactly those of the past year—45 traders from eight different countries, and about 800 visitors. Given the condition of the Spanish economy, the Madrid Pen Show was a big success.

Pilot Elite, pocket pen, posting nib – Pilot Blue

Bruno Taut
Madrid, November 29th, 2012
labels: evento, Madrid, mercado

Reissue

I have already spoken about Ban-ei pens and the team of four experienced craftsmen –Sakai Eisuke (酒井栄助), Kabutogi Ginjirô (兜木銀次郎), Takahashi Kichitaro (高橋吉太郎), and Tsuchida Shuichi (土田修一)—who silently manufactured them in the 1970s and 1980s. Silently, I said, because they did not sign their pens. The story continued in the mid 1990s when Danitrio commissioned these old artisans and their successors to recreate their old works. This time, though, under less anonymous conditions.

復刻手造万年筆, reissued hand-made fountain pen. A 14 K gold nib by Kabutogi Toshiya.

These new pens –the Danitrio Ban-ei series of pens— had some minor variations with respect to the original models. The most obvious are the signs stating the serial number and the name of the leader. On his side, the new nibmeister –Kabutogi Toshiya (兜木利弥), son of the venerable Kabutogi Ginjirô—made clear that this pen was a reissue of the original. That is, in fact, what can be read on the nib: 復刻手造万年筆 (fukkoku tezuku(ri) mannenhitsu), reissued hand-made fountain pen. Other Danitrio Ban-ei pens do not carry this engraving.

The eyedropper balance pen in red urushi. The brand Ban-ei (挽栄) is engraved on the central ring.

This nib corresponds to a balance pen in red urushi. It is an eyedropper pen with shut-off valve. Danitrio produced 150 units of this pen. These are its dimensions:

Diameter: 16 mm.
Length closed: 145 mm.
Length open: 126 mm.
Dry weight: 21.4 g.
Ink deposit: ~ 2.5 ml.

Pilot Custom Heritage 91, SFM nib – Diamine Teal

Bruno Taut
Madrid, November 24th, 2012
etiquetas: Ban-ei, Danitrio, nibmeister Kabutogi

Size 80

For some reason, vintage Sailor pens are really hard to find in the market. And that is strange given the fact that Sailor Pen Company in now over 100 years old and that it became successful soon after it begun its operations. Successful, though, does not really imply being large, and in fact Sailor remains as the smaller among the big three Japanese pen companies.

The overall length of this ebonite eyedropper is 160 mm.

The immediate consequence is that per-war Sailor pens are valued rarities. That is the case of this eyedropper made of ebonite (hard rubber). Being Japanese, it implements the corresponding shut-off valve operated from the tail. But the most impressive detail is the size 80 nib in 14 K gold.

On this picture, the tail is slightly unscrewed. Therefore, the connection between the ink deposit and the feed is open.

The old log of the company, engraved on the clip.

The overall condition of this pen is very good despite its age. It dates back from around 1930.

The size 80 nib in 14 K gold. The exposed part of the nib is almost 30 mm. long. The engraving reads "14 CRT. GOLD / (Sailor logo) / REGISTERED / PATENT.OFFICE / -80- ".

Sailor manufactured an even larger nib at the time. It was labeled as 200 and is a holy grail among Sailor’s pens.

My thanks to Mr. Sunami.

Pilot Elite pocket pen, posting nib – Pilot Blue

Bruno Taut
Shinjuku, November 6th, 2012
labels: Sailor, plumín

Reminder

Long time ago, at the beginning of this blog, I wrote a text vindicating the role of the nib –and of the feed—over the rest of the pen. A fountain pen, I wrote in Spanish, was a system to control the flow of a fluid on its way between a deposit and the paper. And therefore, materials, colors, filling systems, shapes are secondary as long as they created no problem in the act of writing.

However, current commercial trends seem to be focused on these secondary elements, and pen companies indeed charge a lot for those. Precious resins, colorful celluloid, exotic lacquers, intricate ornaments, rare wood, new materials, … revival of pneumatic filling systems, pistons, plungers, eyedroppers… The business of new fountain pens is no longer based on the utility or on the need to write. Fountain pens are a commodity, a symbol of status, a sign of snobbism. And craving over need determines what we, users and collectors, end up buying.

But some people do not want to forget that fountain pens are writing tools. And that is why people like Yamada or Nagahara and those many masters in adjusting a nib are so necessary.

Pilot Elite pocket pen, posting nib – Pilot Blue

Bruno Taut
Shinjuku, November 9th, 2012
labels: plumín, Mercado, estilofilia, Yamada, Sailor

Autumn in Madrid

IX Madrid Pen Show. November 16-18th, 2012. NH-Eurobuilding Hotel (Padre Damián, 23. 28036 Madrid).

Entry fee, EUR 3 per day. Voided with the invitation shown on this link. Carry one copy per person per day.
Opening hours for visitors: Friday: 11:00-20:00
                                            Saturday: 10:00-20:00
                                            Sunday: 10:00-14:30

The Madrid Pen Show is one of the big trading events in Europe. On the last edition about 50 traders and 1000 visitors gathered to discuss and learn about pens, and to trade them too! This year, the event will take place at a much larger venue –roughly twice the space of that in previous years—at the NH Eurobuilding Hotel. However, the organizers say the number of traders will not change by much. The primary consequence will be a more relaxing atmosphere in less crowded lounges. And, hopefully, more pens.

Pilot Petit-1 – Diamine Teal

Bruno Taut
Shinjuku, October 24th, 2012
labels: Madrid, evento, mercado

Fude Matsuri

Nibmeister Yamada is already well known to the readers of these pages. His innovative approach to nibs and his impressive skills to manipulate them are always sources of amazement.

At the last Fuente meeting in Tokyo (October 27 and 28) he showed the latest modifications he had made for some friends. It was indeed a festival of fude nibs. First, he showed a Visconti Opera, a Twsbi Diamond 540, and a Twsbi Micarta 805 with their nibs modified.

The Visconti Opera with its 14 K gold nib.

The Twsbi Diamond 540's steel nib.

The steel nib of a Twsbi Micarta 805.

All three modified nibs together for comparison.

Later, on the spot, he modified the generic nib of a Lapita Lemon—a mostly uneventful pen sold together with the now discontinued magazine Lapita in 2005.

The Lapita Lemon pen...

...and the writing test with orange ink.

And the very rigid nibs became something more exciting. Hats off, please.

Pilot Custom Heritage 91, SFM nib – Diamine Teal

Bruno Taut
Yokohama, November 3rd, 2012
labels: plumín, Yamada, evento, Visconti, Twsbi, Lapita

Chromatography

The trick is simple and well known—lay an ink drop on a piece of kitchen (or blotting) paper, add a bit of water, and the ink will spread through the paper fibers and will show the different dyes composing that particular ink.

This is an easy test to check if two inks are the same or not. Well, the negative results will be final while the positive one should be subject to more analysis. In other words, two inks with different dyes will certainly be different, but two inks showing the same dyes might still be different as there are some other factors that could affect the final color and performance.

Given the doubts I had about how Iroshizuku Take-sumi and Pilot Black compared I performed, by suggestion of FPGeeks Forum member FP_GaF, a chromatographic analysis. The results are clear—both inks are different. The Iroshizuku Take-sumi has a blue-violet component that is absent from the regular black ink. On its side, the Pilot Black is more homogeneous, showing basically a grey dye, albeit with a small presence of a green-brownish component.

Two sets of chromograms on two different types os paper. Iroshizuku Take-sumi ink is the one on the left hand side, and the regular Pilot Black in on the right. Take-sumi ink has a bluish violet dye that is not present on the regular Black ink. On its side, this cheaper ink has, over the domininant grey color, a brownish green dye.

However, the final results of these two inks when used with a fountain pen —which is what we love to do— are really similar, as was shown on the previous chronicle. And the question on the price difference remains appropriate.

Pilot Elite pocket pen, posting nib – Pilot Blue

Bruno Taut
Yokohama, October 31st, 2012
labels: Pilot, tinta

Inks and Marketing

What does it take to upgrade a regular ink to the category of fancy perfume-like essence?

Maybe a nice package makes the metamorphosis, for this seems the trick played by Pilot. The newly released Iroshizuku ink by the name of Take-sumi is, to my eyes, remarkably similar to the regular black ink of Pilot. The problem is the price difference: JPY 31.5/ml for the fancy Iroshizuku, and JPY 14.0/ml for the boring black.

Scanned picture. As usual, the color rendition depends heavily on the screen calibration and on the light under which the image is seen.

Photography of the same piece of paper shown above.

Is the bottle really that expensive?

Pilot Custom Heritage 91, SFM nib – Diamine Teal

Bruno Taut
Yokohama, October 31th, 2012
labels: Pilot, tinta, mercado

November Inks in October

The announcement (::1::, ::2::, ::3::) was that the last three colors of the Iroshizuku line of Pilot inks were seeing the market this coming month of November. Well, it is not yet November, but the inks are already available in the shops in Japan.

Take-sumi (竹炭): bamboo charcoal. A black ink.
Ama-iro (天色): sky color. A light blue.
Shin-kai (深海): deep sea. A dark blue.

The last three inks on a see of Iroshizuku.

Apparently, the Iroshizuku line of inks in now complete. Is this all given its success? Is this all given the much wider selection of colors of other manufacturers?

Sailor pocket pen, 14 K nib – Wagner 2008 ink

Bruno Taut
Yokohama, October 26th, 2012
labels: Pilot, tinta, Mercado, Japón

On Modern Capless

There are three models of Pilot Capless currently available in the market. Or, at least, in Japan, as the distribution of Pilot pens overseas follows some strange patterns. These three models are named as Capless (or Vanishing Point in the North American market), Décimo, and Fermo.

From top to bottom, Fermo in black, Décimo in burgundy, and regular Capless (Vanishing Point) in green with golden trim.

How do they compare? Beyond the pictures, these are some hard facts:

The regular Capless model comes in both golden and silver trims (plus the newer matte black finish), as well as with steel (JPY 10000) and 18 K gold nibs (JPY 15000). As was reported previously on these Chronicles, golden trimmed nibs in steel or in gold need to be adapted to operate correctly in Décimo and Fermo pens.

The regular Capless (gold trimmed) is now in the middle, with the Fermo on the left, and the Décimo on the right.

The Fermo, as opposed to the Capless and the Décimo, is very symmetric on the mouth. This design, combined with the small portion of the nib sticking out of the pen body, does not allow for a high grip despite the high position of its center of mass.

The basic differences are clear. The Décimo is slimmer than the others –in fact, it looks much slimmer than what the bare numbers say—, and the twist-operated Fermo is the heaviest of the lot. However, the main difference lies in the position of the center of mass—roughly the same for Décimo and Capless, but much higher up for the already heavier Fermo. This feature might make the Fermo more apt for those with big hands or those who grab their pens high up.

Pilot Elite pocket pen, posting nib – Pilot Blue

Bruno Taut
Yokohama, October 21st, 2012
labels: Pilot, Capless

South African

This text is the final result of a collaboration of stylophiles in several countries: Eduardo Alcalde, Elena Kouvaris, Kostas Kouvaris, and myself, Bruno Taut.

To any reader of these Chronicles the story is already well known, almost trite. Sometime in the late 1950s or early 1960s some Platinum pens, barely disguising their Japanese origin, were sold in Europe under the name of some local company—Presidente in Spain and Joker in Italy (most likely) were reported on these texts. Were those the only cases? Not at all.

The Hifra 4421, open. The text on the barrel reads "'HIFRA' / TRADE (FH logo) MARK / REG 85809 / 4421".

Hifra is a rather obscure pen brand. Not much is known and the few questions on its origin published in Internet fora produced assorted answers including Spain and Israel. However, South Africa seems to be the source of most Hifra pens for sale online. Some quotes in South African texts (Teachers and memories; The training of a good stenographer, on p. 18 of the document) also point out at pens of this brand as common domestic objects for some time. Therefore, in absence of definitive proofs of its origin, I will settle on the idea that Hifra was a South African pen brand.

Hifra 4421 (top) and Platinum Honest (bottom), disassembled. The engraving on the Hifra's nib reads "HIGHGRADE / SUPERIOR / IDEAL / PEN".

Detail of section and nib of the Hifra 4421. The Platinum logo can be seen on the cap jewel.

But, were Hifra pens made in South Africa? Some of the models, as seen online, have a very different origin—they are Platinum pens and were made in Japan.

Such is the case of Hifra’s model 4421. It is in fact a Platinum Honest with aerometric filling system and steel nib, albeit with some minor variations with the original Japanese pen. The cap on the South African pen keeps the Platinum globle logo (SN stands for Shun-ichi Nakata, founder of Platinum in 1919). The barrel is engraved with the name Hifra and with a variation of the globe logo: instead of S and N, the letters encircled are now F and H. The nib and the feed are identical to those of some Platinum and Presidente models.

From top left to bottom right, Presidente, Hifra 4421 and Platinum Honest. All are aerometric fillers. The size and position of the Platinum logos are different in all these three pens, but their internal structures are the same.

These are the Hifra 4421 dimensions:
Diameter: 10.5 mm.
Length closed: 135 mm.
Length open: 122 mm.
Length posted: 150 mm.
Weight (dry): 15.1 g.

Nothing is really known about these Platinum in disguise. Platinum exported pens to some South American markets in the late 1940s, but those were, in essence, copies of the Wahl-Eversharp model Skyline. President, was, on the other hand, the name Platinum used for its export models thus avoiding confusion with English brand Platignum. But that is basically all we know.

The search for more missing Platinum continues.

Pilot E, manifold nib, quarter-switch filler – Pilot Blue-black

EA, EK, KK, BT
October 2012
labels: Sudáfrica, Hifra, Presidente, Joker, Platinum

Itoya 2012

Itoya is one of the big stationery shops in Tokyo. Its two buildings in Ginza are a Mecca for any lover of stationery goods, including fountain pens, visiting this city.

Itoya's building in 1909

Itoya has recently –opening this past October 3rd—reorganized its sections. Fountain pens are now located on the backstreet building, named K. Itoya 1904 after the foundation of the company in 1904 by Katsutaro Ito, and occupies the first two floors. On the ground floor we see the Montblanc counter, always separated from the rest of pens by imposition of the company, and most pens in price ranges medium and low. The second floor is dedicated to maki-e and urushi fountain pens and to the technical service.

The K.Itoya 1904 building is clearly marked as the fountain pen building, although only two of the seven floors are in fact devoted to these tools.

View of the second floor, dedicated mostly to fountain pens decorated in maki-e and urushi.

This investment in the new organization and this larger space dedicated to sophisticated pens can only mean that the profits derived from upscale writing tools in increasing in the total balance of the company. And foreign visitors might have played an important role in this as there is now a native English-speaker salesman.

Pilot E, manifold nib – Pilot blue-black

Bruno Taut
Shinjuku, October 12th, 2012
Etiquetas: Tokyo, mercado, Japón, papelería, Itoya