Bye bye, black turtle!

Letting one of my Nakayas go...

The internet! It has made my pen collection larger and more diverse than it would ever have been without. In fact, without the internet I may never have encountered the kinds of pens I'm really into and not started accumulating any at all. You see things, you want to have them (happens to me all the time anyway), it's a curse as well as a blessing. A few days ago, however, someone posted a pen for sale which I've wanted for quite a long time - and wanted to trade for something I, incidentally, had and would not miss too much!

I like my Nakayas, but they will be here for a long time (or so I hope). I'll always be able to get a new one and there are others to play with. But getting one of those grail pens by trade, that opportunity wouldn't occur all the time.

Enough text - here's the pen which is getting a new home soon. The pictures are not of the usual quality because I only had access to a phone camera, but it should give an impression.

Nakaya Portable Writer tame-sukashi "Black Turtle"

It's a Portable Writer with a tame-sukashi design which is called the "Black Turtle". I love tame-sukashi, the subtlety of it and how you still can perceive a shimmer when moving the pen in the hand. This was my first tame-sukashi pen (I have now two left) and has become my least favorite one, mainly because of the clip. It pains me to admit it but I haven't written with that one for at least a year.

Nakaya Portable Writer tame-sukashi "Black Turtle"

The Montblanc Agatha Christie I'll be getting in return (plus something extra which I'll put to good use as well) is my first and probably only pen of that kind. It was issued years before I had an intense interest in fountain pens so of course I missed it and prices have skyrocketed since then. So I've watched it from afar... until lately.

Thank you, Internet! Offline, finding an opportunity like that would've been much more unlikely.

Agatha is currently inked with Iroshizuku yu-yake, her broad nib being a smooth and luscious writer. No pictures just yet because I'm redecorating my photo space this weekend - and not willing to ruin the experience with phone pictures again - but soon. (I also haven't forgotten about the pictures of the Pelikan Sunlight!)

Have you ever traded pens or something else? What was it? Are you still happy with it?

Pelikan Sunlight on its way!

As I've been quite busy for the last week and didn't manage to take some more pictures for the blog, I just quickly want to share that my Pelikan M1000 Sunlight is on its way and I'll probably receive it within the week. Looking forward to that one a lot!

In the meantime there's another picture of the Pelikan Moonlight and the Namiki Yukari Nightline Moonlight to enjoy. Love sparkly, shimmery Raden.

Pelikan M1000 Moonlight and Namiki Yukari Moonlight Raden fountain pens.

To think of spring

Christmas is over for a while now, and though the calendar tells us winter has only just begun I personally don't feel the need for any more snow and ice, both of which we've had rather a lot lately (comparably, of course. I don't mind if any Canadian or Scandinavian readers are laughing now. :D)

We're not really used to snow in this part of the country where winter usually means rain and, in short, a few more months of autumn, so when it snows it's usually something exciting (especially for children and car drivers) but when you've had it for a week you can't help but long for spring. It's like that for me anyway.
Leaving the house for work early in the morning, listening to the sound of snow under my feet while watching the slowly falling flakes in the orange light of the street lamps on my way to the train station: those are my favourite snow moments.

During the long wait for the spring I like to look at Namiki's Yukari "Yozakura" pen which depicts cherry blossoms as well as single flower petals in stunning purple, lilac, green and yellow hues of abalone shell. It's like watching the blossoms tumbling to the ground on a gust of wind.

Namiki Yukari Yozakura Raden.

This is just a glimpse as I'm still trying to create the right light for the Raden inlays to show their full beauty. Until I've succeeded this might give a small impression - and maybe makes you think of spring as well.

Do you also wish for the winter to end already or are is it your favourite time of the year? What sort of weather are you usually having in January?

A large canvas: Danitrio Genkai in Seirei-Nuri Urushi

This is one of my two Genkai pens and one of the three largest ones I own, the other one being a Sailor Susutake. These are large pens, probably made with the thought of a generous canvas for maki-e artwork in mind (which is as amazing as it is out of reach).

Danitrio Genkai in Seirei-Nuri

Seirei-Nuri is a technique which is, as far as I know, supposed to mimick the pattern of a dragonfly's wings. I sometimes can't help thinking "giraffe" when looking at this pen, it definitely looks like something that could occur in nature.  Every pen is made by hand, the pattern being unique to each.

Danitrio Genkai in Seirei-Nuri

Under the golden web, the distinct color gradient of tame-nuri Urushi is just visible. The golden web is made first by a sort of dipping technique, then sprinkled with gold dust. The red lacquer is applied over it but polished so the gold will show again in the end.
Like many Urushi surfaces this one will look very different depending on the lighting, from dark crimson to nearly orange in bright sunlight.

Danitrio Genkai in Seirei-Nuri

When I handed the pen to my Mum she suspected it to be a pen case. She was in for a surprise!

Montblanc Meisterstück 149, Danitrio Genkai, Pelikan M1000.

I said it was big, right? But that doesn't mean much when you don't have anything to compare it to, so here's the Genkai next to a Montblanc Meisterstück 149 and a Pelikan M1000.

Danitrio Genkai in Seirei-Nuri

I love how the pattern flows around the edges.

Danitrio Genkai in Seirei-Nuri

A pen as large as this needs an extra large nib - and so it got one. This one's a beautiful factory broad stub, not exactly flexible but soft and yielding, a reliable and very wet writer. It fills with an eyedropper and has an additional shutoff valve to prevent it from leaking when not in use, which works remarkably well.

A glimpse of Seirei-Nuri

... done on a Danitrio Genkai. Definitely one of my most eye-catching pens, for the size as well as for the striking pattern. More to come.

A Danitrio Genkai in seirei-nuri Urushi amidst Nakayas.

Happy 2013 everyone!

Fountain Pen Doodling

When I used to think about drawing, a lot of things came to mind with which to do it. Graphite, charcoal, pastels, maybe even a fineliner or a biro.

During the last weeks this view has shifted a bit. I still love pencils and especially my Derwent Inktense pencils and blocks (especially the blocks are awesome, the colours seem to explode once touched by water - if you like watercolour pencils you should definitely try those), but then I started to doodle with my fountain pens and I'm really enjoying this rather a lot.

For writing I love broad nibs, but I have a couple of fine ones too and they always come in handy on occasions like these - even better if they're flexible.

If wishes were fishes... we'd all cast nets.

The above was done with a Waterman Ideal and Diamine Majestic Blue ink (though that one's far from ideal because it doesn't flow well enough - and while drawing, a hard starting pen is even more annoying than while writing) on a Midori Traveler's Notebook sketchbook refill. I bought that refill before it crossed my mind I would really fill a lot of pages with drawings and I certainly won't buy one of those again for the paper is a major letdown in my opinion. It's supposed to take ink and watercolour well but there is a lot of bleed through with either of them and also feathering when using the smallest amount of flex.
(That iris is actually circular, by the way. It just looks odd on the picture. Someone needs to whip my shooting perspective into line.)

I want a strange doll for Christmas.

This one was done with a fine-nibbed Pelikan M800 and Montblanc Midnight Blue on cartridge paper, which also shows a little bleed-through on ink heavy spots like the pupil but is okay overall. Being not really my cup of tea for writing - too boring -, I like Midnight Blue quite a lot for sketches, it's a nice colour and doesn't smudge when dry. It's also a bit more water resistant than most inks though it still will wash out quite much when washed over with a wet paintbrush.

Do you know a truly waterproof fountain pen ink? This never really mattered to me before so I hardly know anything about them. The only ink that really took well to being painted over with watercolours was india ink, but that means a dip pen. Meh.

Pelikan M1000 Moonlight - The one that shines in the dark

Mystery Pen Unveiled

There are surfaces which love light, drink it, bathe in it while back in the shade they look subdued and dark. This also goes for pen's surfaces. Dark tame-nuri or tame-midori is an example, it can look almost black except when hit by a ray of sunlight (or a studio flash).

But then there's also those which start to shine when the light gets dim, like this Danitrio Mae West kawari-nuri which doesn't unfold its full charm in the sunlight.

Raden is another example, too much light and it looks dull. Put a Raden pen in a dimly lit spot and it will sparkle in the darkness like the neon lights of a nightly city.

Pelikan M1000 Moonlight and Namiki Yukari Nightline Moonlight

That the Mystery Pen was a Raden pen was easily discernible. Raden is a Japanese technique where pieces of abalone shell - beautiful colourful mother of pearl from Sea snails -, is attached to a surface with clear Urushi lacquer. It's often used in combination with maki-e and is a traditional Japanese art form. What makes the mystery pen all the more interesting is that it is a German pen, a Pelikan, to be accurate.

Pelikan M1000 Moonlight

The artwork, for which Pelikan employed a Japenese artist, Mr. Norio Matsuda, is done on the body of a Souverän M1000 as a limited edition from 2011. Raden work requires a lot of experience and patience. It's flawless. Mainly abalone pieces with a blue or green shimmer were picked to give an impression of cool moonlight, though their spectrum will also include a fair portion of purple depending on the viewing angle.

Pelikan M1000 Moonlight

Pelikan M1000 Moonlight

I posted this picture already but I'll have to show it again because it shows the abalone's lovely surface so clearly. Look at those ripples, like waves in a grotto or under a strange moon. The abalone stripes, though, are perfectly straight. It's all optics.

Pelikan M1000 Moonlight

The great thing about this pen is that it can always be your daily writer no matter what nib you feel like using. As with all Souveräns, you can always switch the nib yourself quickly and easily. This one is a BB nib, ground to cursive italic by John Sorowka.

I felt that it was time to do a review of this pen, not only because I like it so much but also because there's not a whole lot of info around about this pen since so few pieces were made and the owners seem to prefer to keep quiet about it.

To see such large pieces of Raden on a pen seems to be relatively rare. More frequently what seems like a large pieces is many minute Raden fragments put together mosaic style. When I get to it I'll show some more examples of how it can be used. It's a fascinating topic. I don't know if I will ever feel old enough to wear pearls, but mother of pearl on pens... or the pearl on the Montblanc Greta Garbo ... that's another story altogether.

Nakayas nearly always lighten up my mood...

... which is why I need these pictures on a cold, grey and dark winter's morning like this one. The deep and vibrant colours, the wet-look glossy surface. Maybe you'll enjoy it as well, whatever the weather.

Danitrios, Nakayas and a Platinum Izumo.

Danitrios and Nakayas (and a savage dragon).

Oh noes it's broken! Nakaya Negoro

Occasionally - in fact, sometimes I think it's more often than not - it's not perfection that turns a nice thing into a great thing but the carefully placed imperfections in it. I've heard that Arabian carpet weavers purposefully put some mistakes into their work because they believe no human is able - and allowed - to claim perfection.

(I think this isn't a bad approach at all, though I'm not sharing the religious background. Why not carefully put a few mistakes into your letter, your painting, your crafting project? That would take so much pressure away.)

Nakaya Negoro shiro-tame nuri

With this pen, Nakaya has gone a deliberate step farther and added not only imperfections but downright destructed elements to their work of art. Flawless planes of amber-coloured lacquer are broken here and there where the surface appears to have cracked, jagged outlines exposing the dull ebonite underneath. 

This doesn't only look cool - to me anyway - but also feels interesting to the touch. It becomes apparent how thick the lacquer layer - or in fact, the many layers - on the ebonite corpus actually is, that it really is thinner at the gripping section, that most of the lacquer seems to be very light with only a slight touch of a dark varnish over it.

Nakaya Negoro shiro-tame nuri

This model is the mid-sized Portable Writer. The Negoro design is often done on a Piccolo, which I was a bit ambivalent about because, though I do like the Piccolo, I sometimes catch myself thinking "Hey, a bunch of money and all I'm going to get is such a small pen?". (Yes, that's irrational, absolutely! But well, at the moment that I decided to take the plunge on a Negoro and found out that nibs.com had one on a Portable size, I didn't take too long to make up my mind.)

Nakaya Negoro shiro-tame nuri

Love these cracks. They seem to enhance the glossy surface rather than destroy it. 

Nakaya Negoro shiro-tame nuri

The only thing I am a little ambivalent about on this pen - and this may come as a surprise - is the clip. I'm having a love/hate-relationship to clips, because despite I hardly ever clip the pens to anything and especially the Nakaya clips are not really beautiful to my eye, I appreciate their stopping the pen from rolling around. Yes, Nakaya do roll stoppers, but they're definitely not my cup of tea.

On the Negoro, I decided to go for the clip. That skilfully placed crack near the clip band.

 Nakaya Negoro shiro-tame nuri and Montblanc 149 

I also decided I'm going to do more size comparisons in the future because I always find them extremely helpful myself when reading about pens I don't know about. Here's next to a Montblanc 149, the Montblanc is a little fatter - though this Portable is actually quite a lot fatter than my other Nakayas, their sizes always varying a bit because they are hand turned - but else there's not much difference here. The Nakaya is a little lighter than the Montblanc when capped but a little heavier when uncapped. The cap doesn't post.

 The nib is a plain gold 0.9 mm stub done by John Mottishaw. Like all my pens I've got from him so far it works flawlessly, juicy and smooth, and this width is my favourite. I already have a cursive italic from him in the same size, I'll compare them some time.

Like all Nakayas, it's a c/c filler. Currently inked with Sailor Jentle Rikyu Cha (I have to write more about this ink sometime. This ink...! When I tried it first I thought "uh, mud". But it's so much more than that. There's green in it, olive, brown shading... I'll show you.)

Which pen is this?

A snapshot I'd like to share. It's a lovely, large pen - and not what it seems!

Disclosure of the mystery and more pictures next week.

Looking at the file names won't help. ;)

Edit: The mystery is now unveiled. ;) More pictures and info on the pen can be found here.

Ink Paper Water

Pen & Brush Doodles

A quick drawing with Diamine Ancient Copper and Diamine Midnight to illustrate how fountain pen ink behaves when diluted with water. The colours love to mix and create interesting patterns. A bit of their vibrancy is lost when dried but there's still a fair amount of colour left.

Quick sketch with fountain pen ink and water

Some colours dissolve easier than others, the Midnight, which is a very dark blue, washes away to almost nothing even though I used a flex pen and some pressure, whereas the outline of the left thigh in Ancient Copper is still clearly visible under the generous wash of water that went over it.
Also the colours don't become permanent like watercolour so they're harder to layer. Still, to sketch, then use a bit of water and bam! Clouds of colour exploding, that's really neat.

There are watercolour pencils and even ink pencils which are designed for a similar purpose but can't quite deliver the same effect. They have other advantages however, like easier layering.

Here's fountain pen ink next to a Faber-Castell ArtGrip watercolour pencil and a Derwent Inktense ink pencil. I tried to put roughly the same amount of pigment on the paper with the two pencils, even taking the lighter colour into account the watercolour pencil is very pale when washed over with water, the Inktense pencil releases its pigments somewhat more readily but in this respect they're both absolutely no match for the fountain pen ink. It seems like you could do a light wash over half the page with the amount of colour provided by that tiny doodle.

The weirdo - Stipula Saturno

It's hard to imagine a world without a ballpoint pen. It's a world where there are pencils - traditional and mechanical ones - and fountain pens. If you want your writing to last there's not much of a choice.

Consequently there was a lot more to choose from in terms of fountain pens a mere 100 years back, especially there were many more inexpensive models since everybody needed a fountain pen. There were flexible nibs and a wide range of filling systems - eyedropper, piston fillers and especially a range of filling systems with a rubber sac inside the pen's barrel and some means to compress the sac and suck ink into the pen upon releasing the pressure. Today these filling systems have almost disappeared except for some nostalgic editions - like the Stipula Saturno.

Stipula Saturno Crescent Filler

The Crescent filler is one of those long gone filling systems. Before I got the pen I wondered how it would be operated. Would you pull the crescent out, or twist it some way? In reality it's really simple. The ring that goes around the barrel has a gap in it. To fill it, you move the gap underneath the crescent, then press down on it and it will compress the sac. After filling you can turn the ring back into a position where it blocks any movement of the crescent so the pen cannot empty itself accidentally in your purse.

Besides being easy to handle it's also very decorative. Since the pen itself is not a fatty it will still fit in most pen pouches despite the filler crescent on the barrel.

Stipula Saturno Crescent Filler

The Saturno is about the length of a Pelikan M1000, but somewhat slimmer and lighter. It's ebonite, which is no less than fitting for a nostalgia pen. I'm not really a huge fan of ebonite (except when covered with Urushi), but I readily admit it can look gorgeous and the smell, which I'm not a fan of, luckily has already evaporated. It has its disadvantages though, the main one being that colour and luster fade over time, as can already be seen on this one right behind the cap threads.

The Saturnos have been sold out for a while. They came in brown, blue-green and black-yellow and probably some other shades I don't know about. Black-yellow is relatively easy to come by but I had to look for a while to find one in a colour I like better - I got this one from a fellow FPN member in the US. The blue-green is gorgeous. I have a thing for colours which are in-between, this one can't decide between the deep Sea and a dark forest.

Stipula Saturno Crescent Filler

Stipula Saturno Crescent Filler

The nib is a very pretty 0.9 stub, worked on by Greg Minuskin - which is funny, despite I wouldn't send a pen to the US for nibmeister services this is my second Minuskin nib already. I'm not sorry, I like the nice, lush ink flow his nibs usually have - as does this one.

Writing home for Christmas

And it's that time of the year coming up again.

As may be obvious, I love beautiful things and sometimes I will grab them despite I can't put them to any immediate use. Blank cards are an example - Crown Mill does them, Zerkall, Amalfi and many more. They are lovely thick paper with matching envelopes, often lined with tissue paper, making a delicious rustling sound to the touch. So two to three dozen cards have accumulated here and, unlike writing paper, they hardly ever get any use.

Writing a letter is one thing, but a card will run out of space at the moment you've discovered you do indeed have something to say. On the other hand I feel that for the shortest of short notes, like "Happy Birthday" or "Merry Christmas", an unprinted card is oddly out of place.

Diamine Ancient Copper plus some water. Shades like heaven.

Still the idea to decorate my own cards didn't occur to me until a few weeks ago when I was looking at a few hideously expensive minimalist christmas cards online.
For as long as I can remember the urge to draw and paint something has raised its tousled head within me every once in a while, usually getting whacked on said head by me and, over time, disappearing again - but this time I gave it a go. I used fountain pens with different inks and nib sizes and a crappy discarded make-up brush (I've discarded that one for good now so it's not depicted ;)).

As any fountain pen user probably knows, non-waterproof ink and water gives a huge bang which cannot be heard but seen. The ink will spread on the paper in an uncontrollable but very charming way. Up to now, every ink I tried has looked fantastic though they do lose some vibrancy when dried.

Hand decorated Christmas card on Roessler Büttenpapier (moulded paper) cardstock: Diamine Ancient Copper, Montblanc Ink of Joy, Diamine Ochre

The really cool thing is that you don't have to be "artsy" to pull this off, for which I am living proof. Everyone is familiar with the shape of an angel or a christmas tree. You don't even need to master symmetry because you can decide to only sketch one side of the motif and that will work just as well.

The card above was the first one I made, in retrospect I think I overdid it a little with the brush but well, I still like it and for sure it's better paper than most ready made cards you can buy. For colouring I used almost 100% Diamine Ancient Copper plus a little Montblanc Ink of Joy for the halo and Diamine Ochre for the writing.

Hand decorated Christmas card on Zerkall Büttenpapier (moulded paper) cardstock: Diamine Sherwood Green, J. Herbin 1670 Rouge Hématite.

 Hand decorated Christmas card on Zerkall Büttenpapier (moulded paper) cardstock: Diamine Sherwood Green, J. Herbin 1670 Rouge Hématite.  

Besides helping me to get along with my Christmas mail, the making of these cards also gave the part of me that wants to draw and paint the opportunity to build up a toehold and take a good look around, so there's some chance you'll be seeing more of that in time, with fountain pens and without.

Amalfi Paper

The review I just couldn't put up any longer.

(also starring a Pen of the Year 2008)

As announced in my post about my leather journals I need to show you one of my favourite papers: cotton paper from one of the oldest papermills in Europe, located in Amalfi, Italy, right at the shores of the Mediterranean Sea.

Amalfi paper: A notebook, cards, writing paper.

The picture above shows three different kinds of Amalfi paper I have hoarded: the A4-sized 80-90 g/sqm writing paper, a few somewhat heavier folded cards and a little notebook, again with somewhat heavier paper.

One of the most prominent features about this paper is, while all of the edges are deckled, one of them is very rough and looks a bit like cloth or a tissue paper that has been torn apart. It's incredibly soft to the touch.

Cards made of Amalfi paper with a Pen of the Year 2008 on top. Look at the paper's lovely edges.

Yes, I know, this picture reminds of the ad for the Pen of the Year 2008 - but the pen just looks awesome on this delicious paper.

How the paper reacts to fountain pen ink can vary. Whereas the writing paper is very well coated and resistant to bleed through and feathering even with the wettest nibs, some of the card stock can be prone to feathering. For online shopping I can recommend La Scuderia del Duca in Amalfi, they are quick and all the paper and cards I got from there were perfectly well behaved. Especially the ink jet paper is a good deal if you want to make your own notebooks.

The paper is 100% cotton and like all cotton papers I've tried up to date it will soak up a bit more ink than smooth papers, thus making your lines appear thinner. The textured surface might also make your hairlines look a bit shaky, as you can see in the picture below.

Writing Sample on Amalfi paper, done with a semi-flex Swan 3161 and Montblanc Ink of Joy

This surely is the diva kind of paper, but I just love the look of ink on cotton paper - if the pens decide to write on it. Not all of them do, they will start with a nice lush ink flow but within a few lines the flow will cease and there will be skipping. From my personal experience Pelikan and Nakaya nibs will handle the paper very well, Montblanc nibs will provide varying results and Danitrios nearly always fail on it. So if you want to write a nice long letter on Amalfi paper with your favorite pen it's a good idea to try first if the pen will do the job on this paper.
Each sheet is watermarked, even the cards, though the watermarks can vary. This is the watermark on my writing paper. As you can see the paper is taking the ink well even on the watermark.

Amalfi paper watermark.

It's also great for watercolour or water-ink-painting. Not sure if it's the cotton or the surface texture, in any case the colours will appear more vibrant than on other papers I've tried.

Poems by Hilde Domin ("Einhorn") and Rainer Maria Rilke ("Herbsttag").

Time for Orange - again! Montblanc Ink of Joy

(also starring a Mabie Todd Swan 3161)

My passion for orange ink doesn't end with Iroshizuku yu-yake! There are so many great orange inks out there and I only know a fraction of them. One of those is Montblanc's "Ink of Joy", one of last year's limited edition inks. It was part of a trio of inks, the other two being "ink of friendship" - I believe it was blue - and "ink of love" (red, of course).

Montblanc "Ink of Joy" in a Mabie Todd Swan with semi-flex nib.

Compared to yu-yake, this is more of a pure, textmarker-y orange. It lacks the burnt aspect of yu-yake and also doesn't shade as much, but the colour is very nice and full of sunlight - which can't go wrong now that the days grow shorter and darker.

Like yu-yake this ink needs some flow and/or a broad tip to show its full beauty and remain legible, the "ink of joy" even more so because the flow seems to be a little hesitant. It's also a really nice match with the semi-flex nib, at least in my opinion - if it weren't for the penmanship, which of course could be better. I feel I still haven't had the famous light bulb moment when it comes to using a flex nib, it's still a bit of a struggle.

Montblanc "Ink of Joy" in a Mabie Todd Swan with semi-flex nib.

The text is from a beautiful and sad poem by Erich Fried, called "Das Schwere" ("heaviness", literally translated) which is all about endings, losses and autumn as the time "between harvest and death". It sounds more depressing than it is, really, but I guess it could use some orange ink to lighten it up and keep in mind that, one more time, spring will come again.

Montblanc Ink of Joy (top) and Iroshizuku yu-yake (bottom)

Here's a quick comparison between "Ink of Joy" and "yu-yake". It's not awfully valid since nib width and flow properties of the used pens are so different but you can see the "burnt" aspect and more red pigments in "yu-yake" whereas the "Ink of Joy" is brighter and more vibrant.

For paper I've used a Rhodia dot pad which is one of the nicest paper for writing with a fountain pen because it is very smooth and tolerates almost any degree of ink flow without feathering or bleed-through. The only paper I've tried that's even better in this respect is Amalfi paper - a review is coming soon.
Rhodia is a french company who buy their paper from Clairefontaine and their properties are pretty similar, however Clairefontaine doesn't do the dot grid yet. I adore the dots, they are unobtrusive but still offer some guidance. After I've revamped my handwriting I've been unable to write in straight lines on blank paper for a long time and it's still not perfect, though much better now, so the dot grid grew on me.

For the sake of completeness I'd like to add that not every fountain pen user is a fan of Rhodia/Clairfontaine paper because some pens won't write well on it. This is mostly due to its smoothness: ink will only flow from the nib onto the paper if capillary action is permitted. If the nib tip isn't shaped 100% right and the paper - like CF/Rhodia - doesn't provide a lot of upright micro fibers to meet the nib half way skipping and hard starting can be the consequence. If your pen is one of those candidates, a little tweaking by an experienced nibmeister can probably help. (My limited experience: If a nib is really well ground and set it will write on nearly anything, but it wouldn't be realistic to expect this of any pen. There are divas among them, as are among us. :-D)

The most curvy - Danitrio Mae West II

Mae is here!

You could see Kevin's picture of this beauty here a little while ago when it hadn't arrived with me yet. Now I've had it for about two weeks - and also had one week off work, thus plenty of time to take pictures - but I wasn't satisfied enough with the pictures to show them. I'm still not, not really, but still I want to show this pen now.

Danitrio Mae West in kawari-nuri "rose gold" - Even the top of the section is decorated.

Kevin encouraged me to look at the finish in different lightings because it would make the pen's colours vary pretty much. The difference can already be seen by comparing the photos above and below this paragraph, and it is a lot more pronounced when comparing artificial light to daylight where it will look more red-and-yellow.

According to Danitrio, kawari-nuri is a really elastic term which covers all sorts of free-style lacquer work. If anyone happens to know the specific term for this kind of finish I'd be happy to be informed!

 Danitrio Mae West in kawari-nuri "rose gold" - On the ends of cap and barrel, the pencil strokes form small spirals. 

When I unpacked "Mae" it was evening, the light was dim and warm and  I was - as expected - absolutely smitten by it: The pen's surface dark gold, seemingly three dimensional, the fine golden brush strokes catching the light. Look at the cap in the picture above and you'll see how some of the golden areas reflect the light more than others. As I take the pen up in my hand the reflections will wander, highlight here and there.

Danitrio Mae West in kawari-nuri "rose gold"

In addition to the amazing lacquer finish "Mae" also has a rather unique silhouette. No straight lines here, every surface curved, tapered. The pen is the classic oversize length which it shares with a Montblanc 149, Pelikan M1000 or Visconti Homo Sapiens OS, but it's breaking those boundaries in width. Especially the cap is quite a lot fatter.
The surface, besides being gorgeous, is not as mirror-y glossy as in my other Urushi pens. There are spots where small irregularities can be seen and felt, betraying what's going on under the surface, that those vivid brush strokes indeed have formed a relief before being covered by transparent lacquer.

 Danitrio Mae West in kawari-nuri "rose gold" - red or golden? I couldn't say. 

The nib is the usual smaller Danitrio nib which my Takumi and Octagon share. It comes in a variety of sizes, both stiff and flexible. It's the least spectacular thing about the pen, in fact it needs some tweaking, but that lead to me taking the leap and exchanging the nib on my own (I'm still kind of holding my breath). The nibs pulled quite easily, resetting took a few tries, not because it was hard to get nib and feed back in but because fractions of millimeters mean a lot to how the ink flow will behave. I'm satisfied with the results. Mae still has a flexible stub nib, but one tweaked by John Sorowka.
(There's only one occasion I got more ink on my fingers: When I wanted to eyedropper fill a pen and overestimated its ink capacity. Of course if you were sensible and patient you would flush the pen with water first.)

 Danitrio Mae West in kawari-nuri "rose gold" - Writing sample with flexible stub nib and  Diamine "Ancient Copper" 

I like to match pen and ink colour wise and Ancient Copper seems like the perfect choice here.

Danitrio's flexible nibs are, unlike some other so-called modern day nibs, truly very flexible, so much so that sometimes the feed will just give up on providing the necessary ink flow. On these occasion capillary action between the tines will break, leading to "railroading" clearly visible in the lower part of writing sample (which I made happen for you for totally scientific purposes of course).

Like most other aspects of fountain pen writing this is highly dependent on the nib/paper/ink combination. With this ink railroading happens on Rhodia paper more frequently than on the Clairfontaine Triomphe. With another ink it might be quite different, still I doubt the nib could provide flex for pages on end like a vintage flex pen. Still those Danitrio nibs have a wonderfully soft feel to them and also, due to the yielding tines, seem to me more forgiving in terms of writing angles than other stubs and italics.