Montegrappa Extra Otto Shiny Lines: Review Of A Christmas Pen

[hoppenstedt]

Thank you for your very kind replies to my presentation!!

This is really a special kind of forum for a special kind of pen.

Makes a lot of fun!!

[a student]

On 12/31/2018 at 9:59 AM, fpupulin said:

As some of the users already know, I can consider myself a "supporter" of the Montegrappa Extra, a pen that I own in various declinations of celluloid and in various grades of nibs. Extra 1930, its progenitor Extra, the forerunner Historia and the forefather of all of them, the splendid Classica invented in 1999, are in my opinion among the most classic of contemporary fountain pens, of any brand. In another topic, some time ago, I retraced the stages and the improvements that led from the original Classic up to Extra 1930, a pen that is genuinely difficult to match and improve. For those interested in a broadest discussion about the Extra "dynasty", please check the aforementioned post, which can be found here here: https://www.fountainpennetwork.com/forum/topic/341048-a-montegrappa-classica-a-medieval-fantasy-and-some-thoughts-on-the-classica-lineage/?hl=%2Bmontegrappa+%2Bclassica.

For the purposes of today's presentation, it is sufficient to reiterate that the stylistic details of Extra 1930 summarize the very essence of Montegrappa, what an employee of the Bassano company once defined as "the DNA of Montegrappa": silver, celluloid, the Palladian fret Greek engraved on the ring and the large nib, the “ruzzolina” clip and the perfect curvilinear and tapered shape, with the truncated ends, at the same time a historical, vintage and refined contemporary image. It is no coincidence that Extra has been around, practically unchanged, for eighteen years, and Ebay auctions are a confirmation that the success of this pen shows no signs of diminishing. Long live to you, Montegrappa Extra!

When, in 2014, Montegrappa announced the release of an octagonal version of his Extra, a limited edition of 888 pieces in two rather new monochromatic celluloids, I confess that they stimulated my curiosity. Had the designers of Bassano managed to introduce a new element in the rich history of Extra, in line for style and quality with the now classic beauty of their Extra 1930? The answer was a round "yes", and with Extra Otto it was love at first sight.

Extra Otto was initially offered in only two types of celluloid, both in shades of blacks, grays and whites: Zebra, with a motif of irregular bars transversal to the body of the pen, and Shiny Lines, with an intricate design of lines parallel to the body, somehow similar to the famous Arco celluloid by Omas. During the last year, Montegrappa added to the Otto line two further celluloids, Lapis (rust and blue) and an iridescent blue called Butterfly.

Since the debut of Extra Otto, my model of choice has been Shiny Lines and since then I have obsessively desired this pen, but its price tag kept it firmly out of my reach. This Christmas, with the sweet complicity of my dear wife, Shiny Lines has materialized for me under the tree ...

 

 

 

In these last days I did nothing but play with my Extra Otto, and I thought to share my joy with you presenting a review of this extraordinary pen.

So let me start the review in the most traditional way, starting with the pen packaging. The Extra Otto box honors an expensive limited edition pen. It is doubtless a premium box, with a pearl gray cardboard sleeve through which you can see a heavy cardboard box in the same color, on one side of which an adhesive label indicates the model, the type of celluloid, the gradation of the nib, and the limitation number: in my case, Shiny Lines, Stub, 018/888.

 

 

Inside the cardboard box, which bears the inscription "Montegrappa" in dark gray color on the lid, is the pen box itself. It is a box in solid and veined wood, of a light tobacco color, with a pair of elegant spherical hinges on one side. The lid is kept closed by a pair of thin magnets sunk into the thickness of the wood so as to remain level. The size of the box is the same as that of the Extra 1930, spacious enough to accommodate the pen, a bottle of ink, the instruction manual, the warranty (credit card type), a small certificate with the limitation number, an anti-tarnishing cloth to clean the silver parts, and a suede mat to place the pen. With respect to the old box of Extra 1930, the imitation leather that tended to crumble over time, has been replaced with suede interiors, probably more durable and more pleasant to the touch. The pen itself is contained in a transparent plastic bag with the Montegrappa logo (which I removed to shoot the photography).

And now, the pen. As its name Otto says, the body of the pen is octagonal. The octagonal section is not new to Montegrappa, but rather represents a classic style of the Bassano house, a geometric shape already introduced at least since the 30s of the last century. If you are interested in an in-depth historical review of the octagonal lines of Montegrappa, you can consult the excellent work by Jar at this web address on fountainpennetwork: https://www.fountainpennetwork.com/forum/topic/223854-modern-montegrappa-regular-edition-pens/, or the personal page by Jar dedicated to the theme: http://montegrappa-history.com

 

Among the modern pens, Reminiscence, Elegance, Privilege and Privilege Deco in the silver models, and Symphony, Harmony, Emblema, Piccola and Micra in the models in celluloid and in resin, present the body with eight facets. With the exception of Piccola, however, the body of these pens is essentially rectangular in the sense of length, while Otto adopts the curvilinear and tapered form of Extra and applies to it the octagonal section, certainly more difficult to be perfectly and consistently lathed.

 

 

The result is visually magnificent. In the specific case of Shiny Lines, this celluloid behaves like the Arco di Omas. The celluloid layers run more or less parallel on six of the eight facets, producing an impression of iridescent and luminous lines, superimposed one on the other in a subtle geometric pattern. The lines are thinner on the facet cut perpendicular to the direction of the celluloid layers, wider where the cut in the material is tilted.

 

 

 

On two of the facets, those cut longitudinally with respect to the direction of the celluloid layers, a typical marbled or moiré pattern is produced, reminiscent of that of Damascus fabric or steel. In my pen, as in all the others I've seen in person, one of these damask facets is aligned with the nib, so that the bright-line effect is visible on the sides of the pen.

 

 

 

 

 

Shiny Lines is essentially a gray celluloid, but with a blue-green tinge that becomes more clearly visible when placed next to a really neutral black or gray, as can be observed in some of the photographs illustrating this topic.

 

 

 

In this particular nuance, the color of Shiny Lines is quite rare in the world of fountain pens, and one more reason to treasure this creation of Montegrappa. In the past, the company of Bassano had used the same celluloid in his pen The Beauty Book for men, but cut transversely to the length of the pen, so as to obtain a texture of brilliant "rings" around the stem and the hood. The longitudinal cut is technically more difficult due to the difficulty in maintaining the line of the cut parallel to the direction of the celluloid layers, above all where the body and the hood curve. In my pen number 018 the brilliant lines are almost perfectly parallel, but I have seen numerous pens in the same configuration with the lines crooked and sometimes with an opposite twist along the hood, the body and the bottom.

 

In order to obtain the alignment of the facets, Montegrappa has adopted a single-starting thread on the body, so that in any way the cap is screwed, the texture of the celluloid on the different facets of the pen is always aligned. It is a very successful detail, which avoids screwing and unscrewing the cap until you find the correct alignment. In my pen, the hexagonal geometry of the filler cone is perfectly aligned when completely screwed in, but not so much the celluloid lines, which seems to have been taken from a distinct piece of the rod.

The hexagonal ring in solid silver of the cap is a small masterpiece. In this model Montegrappa has replaced the classical motif of the Greek Palladian with its new motif called "filigree", also based on the octagonal motif. The engraved areas, finely knurled, create an extraordinary contrast of light with flush areas, giving the ring a great three-dimensionality and multiplying its reflective effect. Combined with the elegance of the celluloid, the octagonal ring gives Montegrappa Otto a very refined look, in a configuration I would define that of an "evening" pen.

 

 

For Extra Otto a new clip was also adopted, previously presented on Extra Contempo, a porcelain pen that never hit the market due to the fragility of the material. The new solid silver clip is, in my opinion, among the most beautiful ever produced by any brand. It is a rectangle slightly tapered in the center, with a longitudinal rib not sharpened to increase its stiffness, excised at one end to accommodate the classic spherical “ruzzolina” of the Bassanese house. Probably to avoid the effect of silver tarnishing in an area difficult to reach, the lower surface of the clip is enamelled in red. Practically invisible at a superficial observations, it is nonetheless a beautiful detail that adds another touch of refinement to a pen that is a class act.

 

 

 

A silver plate is inserted on the flat bottom of the filling cone, engraved with the limitation number and the proud "Made in Italy" inscription.

 

 

Finally, the nib. Like all Extras, Otto also mounts a nib No. 8, which visually gives the pen the impression of a certain royalty. The nib is in 18 carat gold with a completely rhodium finish. My nib is nominally a stub, very well finished and with a width of 1.1 mm. The side edges of the nib are, however, quite neat, and in this sense my nib is more like a rather crisp italic than a real stub. The legitimate stub of my Extra 1930 in black bamboo celluloid has much more rounded edges and is comparatively more elastic. Because of its characteristics, which almost approach those of a "formal Italic", the nib of my Otto presents a great variation between the vertical and horizontal strokes, which gives it definite calligraphic qualities. Without being absolutely rigid, it is not a nib in any way flexible and it is only slightly elastic. Since I own it, I'm using it to study carolina and cancelleresca letterings, for which it seems to me perfectly suited.

 

 

 

Before concluding, I would like to show you again some more photos, with my Extra Otto "in color", supported on a Quaderno Venezia of Fabriano, a beautiful notebook made of 200 g / m2 Accademia paper, recently imported in Costa Rica, a comparison with another grey celluloid by Montegrappa (a Classica), and a shot of the pen "in real life", with some notes on a Moleskine notebook in a leather cover, and its dedicated pen holder in the background.

 

 

 

 

 

In conclusion, and I am sure that readers will have already guessed that for my enthusiastic comments, I believe that Extra Otto represents an exceptional pen of Montegrappa. Not only the model is inspired by the sinuous lines, the vintage charm and the aura that surrounds the now traditional top model of the Bassano house, Extra 1930, but reinterprets its motifs with great stylistic choices of design and materials.

 

Producing a sister with the same visual value and refinement to accompany Extra 1930 was not an easy task, but the Montegrappa designers were fully successful in revisiting the tradition of the octagonal shape and modernizing it with metal parts expressly designed for this pen. The result is at the same time a traditional pen, which follows a line inaugurated twenty years ago, and a very modern pen, made with unique materials and with an original design. I do not know if the new releases in Lapis and Butterfly celluloids are also limited editions, but certainly I am proud that my pen is one of only 888 in the world and I predict that it will become a modern classic of fountain pens art.

 

Personally, I count it among my most beautiful and successful pens.

 

 

 

 

 

Thanks for reading.

 

I discovered this thread rather late. Thank you indeed for a most enticing review of a fine pen with examples of its exquisite nib in full flow. And many thanks also to all the others who have generously shared their own experiences. I should clarify that I am coming from a modest place: I have only one Montegrappa, a black and silver Extra 1930 with a medium nib. (My only problem with that pen, which I like very much, is that the it dries up if not used for say a week or so.)

 

I got interested in Shiny Lines couple of years back when I chanced upon it in a Lausanne hotel boutique. But, thinking, perhaps correctly, that it may be priced higher given the nature of the shop, I thought I would eventually pick it up from a regular pen shop- (the box was different from the one in your review though the pen and nib were identical - image of box attached). As for getting the pen, that is yet to happen!

 

In my internet searches, I chanced upon an image of a shiny lines close look alike Montegrappa pen, and was curious if you given your knowledge of Montegrappa, would have an idea, just which specific Extra might this be (images?/?? from internet attached)

 

Many thanks

 

.

[Uncial]

That is the Shiny Lines model, but specifically it is the engraved image of the Holy Spirit from a stained glass window in Rome on the nib.

[MoriartyR]

I believe it is the Extra 1930 Shiny Lines Dove model, which was a limited edition of 80 from 2018, I think. The interesting things about this pen were the celluloid section instead of silver, and the nib design which was originally used on a pen for the 1998 Vatican celebration of the holy spirit and is based on a stained glass window in St Peter’s Basilica.

 

The label on the box pictured doesn’t match this pen - it is from an Extra Otto Shiny Lines (the one with 8 facets) and that is a limited edition of 888. But the Otto Shiny Lines comes with a large, square presentation box with space for an ink bottle, and the Extra Dove model came with a smaller, rectangular box.

 

[a student]

54 minutes ago, MoriartyR said:

.... The label on the box pictured doesn’t match this pen - it is from an Extra Otto Shiny Lines (the one with 8 facets) and that is a limited edition of 888. But the Otto Shiny Lines comes with a large, square presentation box with space for an ink bottle...

 

Many thanks for that clarification. You are right: the box pictured is of the model I saw in Lausanne. Is there any difference between the Extra Otto Shiny Lines that is the "the one with 8 facets", and the Otto Shiny Lines?

[a student]

1 hour ago, Uncial said:

That is the Shiny Lines model, but specifically it is the engraved image of the Holy Spirit from a stained glass window in Rome on the nib.

Many thanks. I guess this model is no longer available!

[MoriartyR]

7 minutes ago, newstudent said:

Many thanks for that clarification. You are right: the box pictured is of the model I saw in Lausanne. Is there any difference between the Extra Otto Shiny Lines that is the "the one with 8 facets", and the Otto Shiny Lines?

No, I just saved myself typing Extra again. Otto is Italian for the number 8 and it is the version with 8 facets.

[a student]

1 hour ago, MoriartyR said:

No, I just saved myself typing Extra again. Otto is Italian for the number 8 and it is the version with 8 facets.

 

Thanks. That helps!

[fpupulin]

Effectively, the pen you saw is a limited edition released by Montegrappa in 2018 and limited to 80 pens, which adopted a nib created twenty years earlier for their "Tertio Millennio Adveniente" pen, issued to take part to the celebratation of the Catholic Jubilee of 2000. The motif of the dove on the nib, from which the name of the LE of 2018, was originally a representation of the Holy Spirit, to whom person Pope John Paul II in his Apostolic Letter Tertio Millennio Adveniente expressly dedicated a year of meditation in 1998, in preparation for the celebration of the third Christian millennium.

 

As MoriartyR noted, this was one of the first Extras by Montegrappa using a section made of celluloid (as the original Classicas). The cap of the pen, however, is much less streamlined than regular Extras and Extras 1930, so diverging from the typical and recognizable profile of this Montegrappa classic.

 

In that same 2018, if I well remember, Montegrappa also released another limited edition Extra (round body) in Shiny Lines celluloid (with limitation number at 50 pens), called "Art Deco". The motifs on the nib and the cap ring were different from those of the "Dove", both inspired to some Art Deco decorative pattern, and the section was in sterling silver, but the shape of cap of the "Art Deco" was more true to the design of the original Extra.

[a student]

2 hours ago, fpupulin said:

Effectively, the pen you saw is a limited edition released by Montegrappa in 2018 and limited to 80 pens, which adopted a nib created twenty years earlier for their "Tertio Millennio Adveniente" pen, issued to take part to the celebratation of the Catholic Jubilee of 2000. The motif of the dove on the nib, from which the name of the LE of 2018, was originally a representation of the Holy Spirit, to whom person Pope John Paul II in his Apostolic Letter Tertio Millennio Adveniente expressly dedicated a year of meditation in 1998, in preparation for the celebration of the third Christian millennium.

 

As MoriartyR noted, this was one of the first Extras by Montegrappa using a section made of celluloid (as the original Classicas). The cap of the pen, however, is much less streamlined than regular Extras and Extras 1930, so diverging from the typical and recognizable profile of this Montegrappa classic.

 

In that same 2018, if I well remember, Montegrappa also released another limited edition Extra (round body) in Shiny Lines celluloid (with limitation number at 50 pens), called "Art Deco". The motifs on the nib and the cap ring were different from those of the "Dove", both inspired to some Art Deco decorative pattern, and the section was in sterling silver, but the shape of cap of the "Art Deco" was more true to the design of the original Extra.

 

Thank you so much for sharing your knowledge; reliably resourceful as always! Incidentally, I did spot the Art Deco model on nibs.com at a good price but shown as "not in stock" (and one can surmise: unlikely to be in stock in the future)