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  2. Aelfattrum

    Gutenberg Urkundentinte G10 schwarz (iron gall)

    "US have a couple more options." was mentioned - what are the options for buying this one in the US?
  3. My Shaeffer Snorkel stopped drawing ink (or distilled water for cleaning) so I'm attempting to unscrew the section. I recall when Ron Zorn worked on it in 2019 he had me remove it in order to preserve the spring, IIRC. Unfortunately, I can't unscrew it this time. I read in one post here that hair dryer heat would help since Shaeffer would use a little adhesive, but since it's been opened fairly recently - would Ron have put adhesive on it, or is there likely some other issue? (I have an email into Mainstreet Pens, but I haven't heard from him yet.) I'd like to do what I can, pending commercial rescue. Thanks. Edited: I did try heat and removed the nib and section, so please disregard this request. I'm leaving it here to remind me that heat may also have loosened up what ever was preventing it from drawing. I can't say that it's actually working yet, but it does draw distilled water. Edit2: Pen is functioning.
  4. dmvara

    Montblanc Hemingway - over $3000?

    Well I got it. Hmm. I know this is an old pen, but I think there are some things that the seller should have been more upfront about. He told me it spent most of the time in the box and was hardly ever used. To me, that implies that it is pretty much flawless and I cannot honestly say I feel the same way. I don't know if I am being overly picky, but these things that I have pointed out I would have disclosed if I was selling it. True, it has no cracks or major flaws, but as a seller of a VERY EXPENSIVE pen you need to be honest. These characters flaws are enough to make me return it. And the nib also shows fading which you really cannot tell in the auction and again something that should have been disclosed. There is a also a small scratch on the clip. It's a matter of principal for me. If you tell me it was used and has some small flaws I can accept that. If you tell me otherwise, that does not settle well with me. I take pretty good care of my pens. They are not stored in glass cases, but then again I don't treat them like a $2 BIC. There is a difference. If you think I am off base please let me know. And I have a seller who can offer a new one for damn near close to what I paid for this one and that also doesn't make me feel good about this either. And even the orange barrel shows signs of minor wear, although it is difficult to see. I guess I am the type that if I am going to have a worn pen, I want to be the one who did it. LOL!! I know, I am a pain!
  5. I am in a similar boat, @Ben3000 ! Regret not buying the Rhodium trim. My Black resin Bamboo has a broken cap now. It had cracked a few years ago, dropping from my shirt pocket in a tarmac parking lot I'd applied some epoxy to glue the crack in place, and it has held up for 10 years. A piece fell off today. I think I can glue it back in place, so will try that. Have you had any luck finding replacement caps or barrels? Could we try writing to Pilot to ask for a replacement? I am even willing to live with a rhodium barrel frankenpen, but doubt if I'll live with another model....
  6. @Bo Bo Olson That's a beauty! Congratulations!
  7. I know next to nothing about US, papers. Little actually about English now more expensive papers. I can recognize a few names but can't say much. Then I can suggest Oxford Optic 90g (Made also in Germany and Spain) or it's = Clairefontaine Velote as good affordable paper. I've been using their spiral notebooks for years. Clairefontaine Tromphe 90g and Rhoda 80g are good slick papers. I have the new Rhoda 90g instead of the 80g. I was a little alter to the party; Cheaping Out in the wrong places. I did have other good papers but Clairefontaine Tromphe 90g and Rhoda 80g are very well known as must have papers. At various times Czechoslovakia made some very good fountain pens; so keep your eyes open at the flea markets. (Helps to learn about them before throwing money into the wishing well.) There is/was some info here on the com, but I had enough problem chasing the German ones.
  8. LizEF

    TAG Kyoto - kyo-no-oto adzukiiro

    I love your zen cityscape!! I like the ink color in the images that make it lean toward "brick red", but not so much the ones that show it leaning purplish. Regardless, thank you so much for another great review!
  9. shalitha33

    Parker Fountain ID Help

    Is this the imprint on your pen? also check the little dots and number at the end (if present). I have the following pen with similar but slightly different material but with a very different imprint (victory). Edit: now that I had another look, the patterns are very different, sorry.
  10. Just a short hello to everybody. After 46 years of writing with my lovely Meisterstück 149, I came across this nice little Masterpiece 142 and decided I should have it. Now I’m happy to have both, the biggest and the smallest “members of the 14* family”! 🙂
  11. como

    A 146 to start with I think

    One cannot just have one Montblanc. One has to have two (at least): one 146 and one 149 😀!
  12. I recommend contacting the purchasing department of an ink manufacturer who sells long cartridges and asking for contact info for their source. Pelikan, Jacques Herbin, and Waterman appear to use them. Here's the cheapest Amazon listing for long cartridges (with ink, that you'd have to empty): https://www.amazon.com/dp/B07PG959HP and here's a link to an even cheaper double-ended AliExpress cartridge that might work. I can't say I've ever seen either size for sale empty, and the long cartridges are pretty rare. Are converters really so awful?
  13. txomsy

    CP1 black finish question

    I always sorta heeded those words as wise. But thirty years using heavily an MB Slimline in matte black coating has convinced me that it needs not always be the case. Maybe the new ones are stronger. Problem is, it can take 30 years of use to verify
  14. namrehsnoom

    TAG Kyoto - kyo-no-oto adzukiiro

    TAG Kyoto – kyo-no-oto adzukiiro TAG is a stationary shop in Kyoto (Japan) that produces some interesting soft watercolour-style inks. With the kyo-no-oto series they produce a line of inks that replicates traditional Japanese dye colours. According to available only info, the manufacturing process of the kyo-no-oto inks follows traditional dying techniques dating back to the Heian era between the years 794 and 1185. The inks come in 40 ml bottles, packaged in luxurious thick paper with a texture that feels like heavy watercolour paper. In this review the spotlight shines on adzukiiro, a burgundy wine-red ink that really succeeds in its implementation of this fairly difficult colour. Often too red, too purple or too brown, but with adzukiiro the balance is just right - I like what I see! A fine ink for the autumn/winter season, and one that works well with all pens and nib sizes. I especially liked this ink in broad stubs, where the shading becomes truly beautiful … a really classy look. The ink is named after the colour of adzuki beans, which are the most important legume in Japan after the soy bean. Red-coloured adzuki beans were believed to have the effect of quelling negative vibes and bad luck, and were frequently used during ceremonial activities. The ink writes with good lubrication in my Safari test pens, not at all dry like some other kyo-no-oto inks. It easily handles the complete range of nib sizes, and manages to look well-saturated even with the finest nibs. Shading is subdued but definitely present, especially in the broader nibs. With wet pens and broad nibs, the dark parts look almost black, contrasting nicely with the burgundy lighter parts. The result just looks stunning! This is one ink that I will use primarily with very broad nibs. I’ve tested quite a number of TAG Kyoto inks to date, and most of them operate well above the average. With the kyo-iro and kyo-no-oto inks, TAG Kyoto has two well-performing ink families, that continue to impress me. Wonderful inks that totally fit my tastes. I’m really glad that I discovered them. To show you the impact of saturation on the ink’s look & feel on paper, I made some scribbles where I really saturated portions of a strip of 52 gsm Tomoe River paper with ink. This gives you a good idea of what the ink is capable of in terms of colour span. As you can see, adzukiiro has a medium colour range. The ink moves from a fairly light burgundy to a much darker – almost black – wine-red, while keeping a nice balance between these extremes. In writing, this translates to subtle shading which is aesthetically very pleasing. Shading keeps in the background with finer nibs (up to M-size). You really need broad and broader nibs to get the great-looking prominent shading that is – in my opinion – the selling point for this ink. The ink’s chromatography shows a wonderful complexity with different hues of blue, purple and red in the mix. The grey-blue dyes fix more readily to the paper, while the red dyes are much less water-resistant. The bottom part of the chromatography seems to indicate a small measure of water-resistance. But no… the water test clearly shows that what’s left on the paper is unreadable. Adzukiiro is not water-resistant at all. I’ve tested the ink on a wide variety of paper – from crappy Moleskine to high-end Tomoe River. On every small band of paper I show you: An ink swab, made with a cotton Q-tip 1-2-3 pass swab, to show increasing saturation An ink scribble made with an M-nib Lamy Safari The name of the paper used, written with an Esterbrook Estie with 1.1 stub nib A small text sample, written with a TWSBI VAC Mini with M-nib Source of the quote, with a B-nib Lamy Safari Drying times of the ink on the paper (with the M-nib Safari) This TAG Kyoto adzukiiro looks great on all my test papers. There is a tiny amount of feathering on the more absorbent papers, but you almost need a magnifying glass to notice it. See-trough and bleed-through are no issue – except with the Moleskine paper, but even here it is quite acceptable. Drying times vary widely with paper type: close to the 5-second mark with absorbent paper, close to the 15-20 second mark on paper with a harder surface. The ink looks great on both white and more yellow paper. Like many inks in this colour range, it’s difficult to capture adzukiiro’s true colour with a scan – it just looks too purple! For this reason, I decided to use photo’s of the writing samples – these best capture the ink’s natural colour. Below a more close-up photo of the ink. Just look at that beautiful shading in the word “Paperblanks” – black and dark burgundy from a 1.1 stub nib. This ink simply shines with extra-broad nibs! Writing with different nib sizes The picture below shows the effect of nib sizes on the writing. Kyo-no-oto adzukiiro can handle all nib sizes without a problem. With the EF nib, you still get a nicely saturated and lovely-looking line. For prominent shading you need the broader nibs though – B and above. Really worth it … adzukiiro looks at its best with these very broad nibs. Related inks To compare the wine-red adzukiiro with related inks, I use my nine-grid format with the currently reviewed ink at the center. This format shows the name of related inks, a saturation sample, a 1-2-3 swab and a water resistance test – all in a very compact format. This kyo-no-oto ink looks like a slightly more saturated version of Papier Plume Red Beans and Rice. Note that in this scan, both Super5 Australia Red and Diamine Merlot look too brown. In reality they are a much better match with adzukiiro … like I said before, these ink colours are devilishly difficult to capture with a scan. Inkxperiment – zen in the city With every review, I try to create an inkxperiment using only the ink I’m working on. Such a one-ink drawing is a great way to show off the colour-range nuances that are present in the ink. These inkxperiments are the favourite part of my reviews: always great fun and a good way to stretch my creativity and drawing skills. Modern life can get really hectic and stressful at times. I’ve just come to the end of such a period… we started this academic year at Leuven University in on-campus mode. After more than a full year of remote learning (a result of the covid19 virus), that meant there was quite a lot of IT-work to get our campuses ready for on-site mode… installing extra WiFi, CO2 sensors, … – as always – most of this last-minute 😉 At the end of such a busy work-day, I often take a walk at the nearby “Abdij van Park” … an oasis of zen, and an ideal environment to unwind. I tried to capture this zen-like moment in this inkxperiment… with the fisherman finding his place of quiet in the busy cityscape. I started with a quick outline sketch of the drawing I wanted to make. I used an A4 piece of 300 gsm rough watercolour paper, on which I drew a background with water diluted adzukiiro. For the city buildings, I used Q-tips and multiple water-ink ratios. The rest of the painting was drawn with an M- and B-nib Lamy Safari. For the darker subjects (train and electricity wires), I used an Esterbrook Estie with a 1.1 stub nib. Because adzukiiro scans badly, I used a photo to capture the true colours in this inkxperiment. The resulting drawing shows really well the colour-range nuances that can be achieved with this TAG Kyoto ink. I’m quite impressed with the broad tonal range that can be extracted from this one ink. A fine drawing ink! Conclusion TAG Kyoto kyo-no-oto adzukiiro is a well-executed wine-red burgundy ink. This one works with all nib sizes and with all types of paper. I especially liked this ink with super-broad nibs, where the shading becomes truly beautiful. Adzukiiro is also a great drawing ink, with a broad tonal range. Overall, another fine example of the craftsmanship of TAG Kyoto’s inkmasters. Technical test results on Rhodia N° 16 notepad paper, written with Lamy Safari, M-nib Back-side of writing samples on different paper types
  15. Paul-in-SF

    Help identifying Parker duofold model

    talc, I'll bet. 😉
  16. NoType

    Mont Blanc service charges

    Emver, thank you for taking this stand, and for taking the time to fully explain to us what transpired. Sometimes the right thing is neither easy nor convenient, but is always necessary. It is unconscionable that Francis and Gaye has adopted this obstinate posture; one can only hope someone at Montblanc has read your post and has begun a process of pressuring their dealers behind the scenes (e.g., a now-read-this memo) to refrain from surprising customers with last minute, previously undisclosed fees. Your tale is a cautionary one for future Francis and Gaye customers, who will benefit by following your strategem for requesting a written estimate — actually, it is of benefit to all.
  17. txomsy

    Making a stub nib less wide/ narrower

    Maybe late, but if you want a thinner stub/italic, I would go the other way, namely, starting from and F nib and eating out the tip. Dealing with the tipping is an issue as you will thinner it and reduce the life expectancy of the nib unless you are conservative. I did it with some cheap Noodler's F nibs, ground them to sharp italics, but they have to be handled with care or they will eat into the paper like razors. But if one wants line variation at those widths I fear that's the only way. And if there is any advice, work little by little and try continuously. It is slower, but otherwise it's too easy to overdo it.
  18. namrehsnoom


  19. bunnspecial

    Help identifying Parker duofold model

    If the sac has plenty of talk on it and fits the barrel properly, I've never had much trouble getting the pressure bar to just drop in without issues on the sac. The key I've found is just not to force it. I've seen some praise lever filler for its simplicity, but to be honest I find the button filler a superior design. It has fewer moving parts, and you don't have to worry about the pressure bar fouling on a screw in section.
  20. arcfide

    Too many pilot cartridges

    Wet, broad, juicy nib + lots and lots of writing. If NaNoWriMo isn't your thing, you could take up Morning Pages, and do the full 3 A4 Pages.
  21. lionelc

    Help identifying Parker duofold model

    true, it's an easier fix than a vacumatic - trickiest bits for the duofold seniors are getting the section out and replacing the pressure bar without fouling the sac.
  22. Emver

    Mont Blanc service charges

    Sorry CS388, I meant an agreed price of £68. The £85 figure was a typo and I have now corrected it. Thank you for your support, CS388 and others. I know that some people will read this thread and wonder why I'm going to all this trouble for the sake of £15. My answer is that the figure of £15 is not relevant. It is more important to me to make a stand against the practice of charging customers additional fees without making those fees absolutely clear to the customer in advance of accepting the work. It has at least taught me a useful lesson. Next time I will ask for a written estimate detailing all charges. And of course I will avoid Francis and Gaye in future.
  23. Although I found and bought a couple of Pelikan's five-packs of a long international royal blue to empty myself, I'd like to fill the other colors into cleaner empty "carts". I've searched threads here, eBay, and Amazon. (The search algorithms misunderstand the goal but wading through a bunch of results I see that this may never be possible...) I like my own bottled-ink choices. Just hope to use them with fewer refill breaks. Thanks, in advance...
  24. rickap

    Too many pilot cartridges

    Looks like it's time to starting writing a book (NaNoWriMo). Or perhaps you can take some to a meeting of the Seattle Pen club when they start meeting in person again. I'd start writing with them as I have the same problem but with bottled ink:).
  25. I think this is overthinking. @ASmugDill already gave you the simplest advice: try another ink. Noodler's inks have a reputation for both, saturation, wetness and permanence. You may find Noodler's Black or Heart of Darkness may provide the saturation you want. Other blacks also have a good reputation. The EFNIR ink reviews may guide you. There are plenty of blacks, and permanent blacks, out there. Then, as already mentioned, is paper: poor paper will make ink spread more and look lighter. Get a better one. Last you may want to look at the nib/feed, but for the cost, you may as well try an F nib and get done without any modifications. I put it last because that is the most delicate and difficult to get right.
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