TIPS 2019. Again a Stationery Fair

This past weekend, the second edition of the Tokyo International Pen Show (TIPS) took place in the Ward of Taito in Tokyo. I attended it and these are my reflections.

The plain figures are very clear and straight-forward: about 2000 visitors, 1200 on the first day; about 200 foreigners; 86 tables with 71 traders. This means a big success and a significant improvement over the results of 2018: 1600 visitors and 50 traders.

People and inks. Are those the argument of TIPS?

My criticism this year is, in essence, the same as on 2018——this event was not a pen show, this was a stationery salon (like some others in Tokyo: Bungujoshi, Kamihaku, and Inkunuma (::1::, ::2::)) where you could find some fountain pens. Vintage pens, on their side, were limited to four or five tables——Wagner group, Seoul Pen Show, Andre Mora, Stylus Aurea, and Pen Land/Komehyo. And not even the parallel Wagner meeting on Sunday at a different venue, could correct this deficiency.

The table of the Seoul Pen Show with some vintage pens.

However, this didn't mean that there were no fountain pens. Many of the traders were well established stationers from all over Japan who have their own special pen models and inks, mostly made by Sailor. This was the case of BunguBox, Kingdom Note, Nagasawa, Ei-Publishing Co. (Shumi-no Bungubako)… And in fact there is a demand for all those somehow different pens—if only because of their colorful decoration.

This prevalent presence of Sailor –even if indirect-- made Leigh Reyes say that this was the pen show of Sailor. The presence of the other two big companies was marginal.

Sailor inks, Sailor pens. Kingdom Note.

The international presence was more important this year: Franklin-Christoph, Schon, Yaching Style, Armando Simoni Club, Andre Mora, Stylus Aurea, Aesthetic Bay... But they accounted to just about 10% of the traders.

Aesthetic Bay, from Singapore.

Franklin-Christoph, from USA.

All in all, the most interesting aspect of the show was, as is often the case, the community of users. On this edition, and much to my surprise, the number of visitors coming from overseas was particularly big. Organizers speak of 10% of the attendees being foreigners. That means about 200 people. I don't know how they came with this number, but I am afraid they considered any long term resident in Japan as foreign visitor. Anyway, this edition attracted visitors from Australia, Hong Kong, Taiwan, Thailand, Philippines, Singapore, United States, Canada, France, Italy, Spain... This fact is indeed remarkable and contributed to provide a cosmopolitan air to an otherwise very parochial show.

An active and enthusiastic group of foreign visitors.

TIPS is not a pen show, and TIPS is barely international. But 2000 visitors move a lot of money and are a powerful argument not to change the business model.

At the end, the stationery market is a lot more important and lucrative than that of fountain pens.

Paper, paper, paper...

NOTE: TIPS 2020 will take place on November 7th and 8th in Hamamatsucho area in Tokyo.


My thanks a Inktraveler for several of the pictures here included.

Parker 51 Demi 1948 – Kobe Nagasawa Bokko

Bruno Taut
Nakano, October 8th 2019
etiquetas: mercado, evento, Sailor, Tokyo, papelería

Cheap Tools

When the service is free you are the product. Or a tool in the hands of others.

The Pelikan Hub, 2019 edition, is over and it is time to think what that event is and what it means.

I am not particularly interested on Pelikan and on the endless rehash of models this company practices nowadays. I also tend to look at these promotional events from a healthy distance. But on this occasion the local pen community made it more appealing. And last week I attended my first Pelikan Hub. That was in Tokyo.

So, what are these events?

In May each year since 2014, Pelikan open a call to pen aficionados for them to meet on a day in September. Then, Pelikan chooses a hub master –the organizer of each event in every city--, prints some promotional material like leaflets and banners, provides some inkwells and... Well, that is all.

The rest is up to the local hub master and to the attendees. In Tokyo, we paid to rent the space. And at the event, we received the promotional material, which includes an inkwell (Star Ruby this year), and spoke about pens –not only Pelikan--, and about inks. And at the same time we mention the meeting on social media and other means of online communication.

So, we become the tools of advertisement for Pelikan. And almost for free—what is the actual cost of the whole operation for Pelikan? How much is that cost per person attending the hubs? How much does an inkwell cost to Pelikan?

Some Pelikan, and some non-Pelikan pens. But the main character is Bokumondoh...

We attendees became tools, very inexpensive tools. And we even pay to meet! In the old Spanish expression, “encima de burros, apaleados”.

The good part? Meeting other pen aficionados. But we do not need Pelikan to do so.

Pilot Vpen – Bril Turquoise Blue

Bruno Taut
Kunitachi, September 27th 2019
etiquetas: redes sociales, Pelikan, Tokyo

Japanese Eyedropper Today (II). Opus 88 Koloro

In 2016, Eboya stopped the production of Japanese eyedropper pens. These pens were always more expensive that the equivalent versions with cartridge/converter or with button filler systems—the Japanese eyedroppers were between JPY 59000 and JPY 83000, plus taxes. But despite these prices, these pens were the cheapest eyedropper in the market. The next step was –still is— the size 50 Namiki Urushi at JPY 148000.

An old Eboya with Japanese Eyedropper.

On this scenario, the Opus 88 Koloro made its appearance in 2017.

The Opus 88 Koloro in its package.

The company Opus 88 –Jin Gi industrial Company— has been in the market since 1977. But from 1988 on its main business  was the production of OEM pens for other companies, Danitrio and Taccia among them. In the local market of Taiwan, Opus 88 sold some over-run of those OEM pens under its own brand.

Then, the Koloro model showed up in the foreign market in 2017. Its combination of an affordable price –in the range of EUR 100-- and an unusual filling system called the attention of many in the West. As I explained in the previous text, it is not that the Japanese eyedropper system was new at all, but its availability was very limited and expensive.

Nowadays, the Koloro is a family of pens that come in two nib sizes—size 5 and size 6, both by JoWo. The nibs are made of steel –no gold option--, and the feeds are made of plastic. The nib size conditions the overall dimensions of the pen. But in all cases, the filling system is the Japanese eyedropper.

Opus 88 Koloro. Made in the Republic of China. German nib (JoWo). Plastic feed.

Opus 88 could make these pens even more attractive by using in-house nibs or, at lest, nibs locally made. The implementation of ebonite feeds –and there are makers producing them-- would also increase the appeal of the pen. However, these two drawbacks are common to many pen companies.

The Koloro with an ebonite feed by Flexible Nib Factory.

These are the dimensions of the Opus 88 Koloro demonstrator of size 6:

Length closed: 148 mm
Length open: 136 mm
Length posted: this pen does not post.
Diamter: 16.4 nn
Weight: 30 g (inked)
Ink deposit: about 3 ml

In conclusion, this pen is an attractive product –well made, affordable, original— that fills a gap in the pen scene. And that is more than most other companies offer nowadays.

Parker 51 (Inky.Rock's) – De Atramentis Beethoven

Bruno Taut
Nakano, September 2019
etiquetas: soluciones técnicas, Eboya, Opus 88, mercado, JoWo, Taiwan

Japanese Eyedropper Today (I)

The so-called Japanese eyedropper system –inki-dome shiki (インキ止め式) in Japanese— was in fact invented by Onoto in the beginning of the 20th century. Those Onoto reached Japan imported by Maruzen and the system –an eyedropper with a shut-off valve— clicked among the locals. The final result was that this system was copied and reproduced by most Japanese pen makers along its history up to today.

An Onoto with the shut-off valve system. Not yet a Japanese eyedropper, I guess.

A Japanese Swan (Nobuo Ito's Swan) with the Japanese eyedropper system.

The inki-dome, however, fell out of favor by the late 1950s when Platinum introduced the ink cartridge and most other makers followed the example. Only minor makers –I am thinking of Sakai Eisuke's operations— kept the system alive till the 1980s.

A Sakai Eisuke's pen made in collaboration with Kabutogi Ginjiro (::1::). Possibly from the 1960s.

In 1985, Pilot commissioned lathe master Sakai the creation of a prototype based on the style of the Pilot pens from the early 1930s, The result was what later became the Pilot (and Namiki) size 50 Urushi, and it implements the Japanese eyedropper system.

The Pilot Urushi in size 50--a modern Japanese eyedropper. This pen is incorrectly named by many as Namiki Emperor, but the Emperor model is decorated with maki-e techniques according to the Namiki catalog.

But who else followed? Not much.

Eboya used the system for some years (::2::, ::3::), but its production relied in the know-how of lathe master Kanesaki Noritoshi. Eboya's boss, Mr. Endo, has announced the new production of Eboya pens with this system, but there are no final dates for their release.

An old Eboya (2013) from the Kanesaki time. It implements the Japanese eyedropper system. At that time, the brand name was still Nebotek.

More recently, as of 2018, the sort-lived Iwase Seisakusho also marketed some pens with the Japanese eyedropper system. These were either old incomplete pen bodies by Ishi Shoten (owner of the brand Yotsubishi) or new pen bodies made by lathe master Momose. But Iwase Seisakusho had a very brief life and very few units of it made to the market.

An Iwase Seisakusho based on a body by Momose Yasuaki.

From California, Danitrio makes some models with Japanese eyedropper. These are usually expensive models with urushi or maki-e decoration.

Some Danitrio pens as exposed at Itoya Ginza (Tokyo) in 2010. Photo courtesy of Moskva.

Finally, a surprising actor is the Taiwanese brand Opus 88 (Jin Gi Industrial Co.). But these Japanese eyedroppers deserve a Chronicle on their own.

The Opus 88 Koloro. A surprising new actor in the Japanese eyedropper business.

Opus 88 Koloro – De Atramentis Beethoven

Bruno Taut
Nakano, September 12th 2019
etiquetas: soluciones técnicas, Pilot, Eboya, Danitrio, Iwase Seisakusho, Opus 88, mercado, Onoto, Japón, mercado, Kanesaki, Sakai Eisuke, Momose Yasuaki

Heisei vs. Reiwa

These two pens are 30 years apart—the 30 years Emperor Akihito occupied the Japanese throne.

Two commemorative pens by Pilot.

In 1989, at the death of Emperor Hirohito, the Showa era reached to an end and started a new one—the Heisei period. And to celebrate this new era Pilot released the “Heisei pen”--a flat-top based in the Pilot 70th anniversary (1988) decorated with maki-e. It was a limited edition of 1000 units.

The Heisei pen, 1989.

Kyusai Yoshida. Kokkokai.

The nibs of these two pens: Heisei nib on top, Reiwa on bottom. But the later is not specific to the Reiwa pen.

This “Heisei pen” was made of plastic, but its decoration –a male and a female phoenices— was signed by its creator Kyusai Yoshida. The nib –an 18 K unit of size 10-- displays a specific decoration for the occasion. On the book Fountain Pens of Japan, the authors mention that the nib was engraved with the words “for strong progress”, but that is not what we see on this particular pen.

Thirty years later, in 2019, Emperor Akihito abdicated and his son Naruhito reached the throne—the new era Reiwa started. And Pilot repeated the operation—a commemorative pen.

The Reiwa pen, 2019.

This limited edition –800 units-- is a torpedo based on the Custom 742, but with an internal core made of brass. The nib is a bicolor made of 18 K gold with the same decoration as any other size 10 by Pilot (Maki-e Zodiac collection, Ishime series, Hannya series, etc.)

The Kokkokai as the collective author of the decoration on the Reiwa pen.

The whole package of the Reiwa pen. JPY 150,000, plus taxes.

The maki-e decoration is now a single phoenix and is signed collectively by the whole group of Pilot maki-e artisans, the Kokkokai. The price, JPY 150000, plus tax.

Two pens, 30 years apart. One with a fully signed decoration, and plastic body; the other, heftier with a brass core, and a simpler decoration. They are not so different to some of the regular models present in Pilot's and Namiki's catalogs, but limited editions sell very well.

My thanks to Mr. Hoshino.

Parker 51 aerometric (Inky.Rocks') – De Atramentis Beethoven

Bruno Taut
Nakano, September 6th 2019
etiquetas: Pilot, Japón, mercado, maki-e

Pelikan in Japan (III)

Some weeks ago I spoke about how a fountain pen should perform correctly regardless of the script and that Japan was not such a special place (see ::1::).

Well... today I might be saying the opposite, but just regarding Japan as a special and sometimes strange market.

Story goes that after Pelikan had phased out the 400NN model in 1965, repeated requests from Japanese retailers made Pelikan to reconsider its decision. However, instead of putting its machinery to work, Pelikan outsourced the production of models 120 and 400NN to another company—Merz & Krell. And the 400NN M&K was made again between 1973 and 1978. The 120 M&K had a slightly shorter life: between 1973 and 1977.

Anyway, this story is well known (see some sources of information at the end fof this text), and nothing truly new can I offer save a group picture of the four variations of the model 400NN made by Merz & Krell: black, black striped, tortoise brown striped and green striped.

The number and color of the four variations is well known, but the complete picture of set is rare.

These pens and their origin on the demands of Japanese retailer pose some interesting questions:

– That important was the Japanese market for Pelikan at the time?

– Are Pelikan nibs so well suited to write in Japanese?

– And conversely, do we really need specialized nibs to write in Japanese? (::2::, ::3::, ::4::)

The black and the black striped versions of the 400NN M&K, side by side.

Notes: Some sites with more complete information on the Pelikan 400NN Merz & Krell:

-- The Pelikan's Perch: https://thepelikansperch.com/2014/10/05/merz-krell-who-were-they/

-- Pelikan Collectibles: https://www.pelikan-collectibles.com/en/Pelikan/Models/Revised-Piston-Fillers/400NN-Basis/index.html

-- Pens and Sensibility: several posts (::5::, ::6::, ::7::).

-- Tony Rex's thread on FP Geeks Forum offered additional information on how to disassemble the piston of this pen: https://fpgeeks.com/forum/showthread.php/7349-Merz-and-Krell-Pelikan-400NN

-- Ruettinger Web: http://www.ruettinger-web.de/e-pelikan-modell-400.html

Ohashido BCHR, music nib – Bril Turquoise Blue

Bruno Taut
Nakano, September 3rd 2019
etiquetas: Pelikan, Japón, mercado

Kubo's Pens

Kubo Kohei stands nowadays as the sole maker of nibs in Japan not associated with a pen maker. And this in itself is an interesting fact that deserves a separate reflection. But today I want to speak about some of the operations in which nibmeister Kubo has participated.

As of today, other that the nibs one could order directly from him, it is possible to find Kubo nibs on pens Tohma, made by Toma Kiyotaka of Pen Cluster, and on some models by Iwase Seisakusho, albeit its activity seems currently suspended.

A Model N by Iwase Seisakusho with a nib by nibmeister Kubo.

But nibmeister Kubo has a long history in the pen industry in Japan. Two brands associated with Kubo were Nobel –or Nobel's, as he likes to call it-- and Elliott.

The Elliott company was founded by former worker of SSS Uesugi Yoshizaku around 1936 or 1937 in the Kita Ward in Tokyo. Around 1960, Kubo's uncle bought the company and Kubo Kohei started working on it. The engagement with this brand lasted until around 1980.

An Elliott ad in the 1950s.

On top, a pre-Kubo Elliott pen from 1950s. Bottom, an Elliott pen that looks like a Nobel pen.

In parallel, at least during the late 1960s and 1970s, Kubo Kohei also worked on his own brand Nobel. For those pens, he used injected plastic for the bodies and adopted Platinum cartridges and converters as filling mechanisms, as was the common practice among small companies of the moment.

Two Nobel pens: the "Super Gold" model on top; and a pocket pen. Both were made by Kubo Kohei. They use Platinum cartridges.

Kubo's music nibs for his Nobel pens (::1::, ::2::). NK stands for "Nobel Kubo".

So these are some of the nibs and pens made by nibmeister Kubo. However, they are not easy to find in the market.


My thanks to Mr. Kanesaki, Mr. Sugimonto and Mr. Sunami.

Note (Sept 1st, 2019): I have changed some of the original pics form some others with better quality.

Pilot Custom 74 – Wagner 2008 (Sailor)

Bruno Taut
Nakano, August 30th 2019
etiquetas: Nobel, Elliott, Nobel, Tohma Pens, Iwase Seisakusho, nibmeister Kubo Kohei