The Meisterstück 149 Calligraphy Appreciation Thread

[ak47]

Thanks fpupulin. Let s go searching a sister of my 149c.... maybe a solitaire 146c. 

[SpecTP]

21 hours ago, fpupulin said:

Everyone on this forum already knows that the Montblanc 149 Calligraphy is a very special pen for me. Since she entered the house, more than two and a half years ago, she has really put aside many pens that do not have, in my opinion, the same ductility and has ended up being the darling always in use, perhaps with five or six other pens, the one that never fails. She has her own dedicated desk pen holder, and it must have been months that I haven't used its cap: simply, she is always there ready to write, and she always writes and does it well.

 

The only flaw of my 149 Calligraphy is that she has become too precious to me. For me she is such a trustworthy and so useful pen that I am worried that something might happen to her: accidents, you know, are unpredictable. I know that here and there people keep saying that the 149 Calligraphy continues in production, but I think that's not true. No shop has been accepting pre-orders for this pen for more than half a year now, the few that were online have long since disappeared, and the very few that still remain on eBay command prices that seem difficult to digest. In December the new 149 of the "Expression nib" series is expected to be released, with the curved or fude de mannen nib type, which will definitively sanction the retirement age for the first of the series, the vedette of our story, with her flexible nib.

 

So, thanks to the concern, thanks to the rarity, thanks to a really good offer found quite by chance from a dealer I've known for fifteen years, I couldn't resist, and I bought my second 149 Calligraphy. A couple of days ago I finally tried the nib, to compare it with the only other 149 Calligraphy that I have experience.

 

I used a nice sheet of laid paper that I had bought in Milan and a splendid Blue Greek ink that Montblanc produced in a limited edition at the time of the launch of its Homer pen (Homer) and that a dear friend recently gave me. The two pens write in an almost identical way, perhaps with a slight margin of greater narrowness in the stroke of Number 2, but little thing. Both nibs are wonderfully flexible and springy.

 

I am very happy with her. I cleaned Number 2, washed her thoroughly, and put her away. She is not a pen that I intend to use for the moment. She is a precious reserve, which I now know writes just as well as her sister Number 1. Who knows, sometimes if I would like writing something calligraphic in two colors I can briefly put her to work, but for now, with her beautiful calligraphic sticker still intact, she will remain at rest: she's a nice security.

 

 

 

I don't know which is more amazing.. your writing or you managing to find another 149C.

[fpupulin]

With my 149 Calligraphy, I usually write cursive English using a x-height of 7 to 10 mm, with a “sweet spot” at 8 mm.

With this height of the row, the nib of the Calligraphy does it best, in my opinion, showing subtle variations in stroke widths and allowing a kind of elegant cursive where the shadows of the letters are clearly visible but still light enough to retain a general lightness in the text. I would use the following text as an example of the kind of lightness I am speaking about. From the top, you have an almost engrossed script, then a cursive with medium shadows, and on the bottom the same cursive but with light shadows. All the texts - minus the title -were written with my 149 Calligraphy and MB Black Permanent ink.

 

 

The latter style is the more difficult to obtain when writing with a small-sized character, because below a certain height of the script, it is more difficult for the nib to show those subtle differences in stroke widths that are requested for a “light cursive”, which still exhibits shadows.

Now, an obvious - albeit often forgotten - part of the equation is given by the paper. There are paper that are so “dry” that they seem to suck out the ink from the pen, in a way that makes it impossibile to lay down a bold stroke of a certain length without railroading. These kinds of paper are specially apt, in my opinion, to write elegant cursive in a small size, with a reduced x-height, as they allow such fine strokes that they may contrasted with those that receive a very light pressure.

A few days ago I bought a couple of sheets of a paper that I suppose is intended for watercolor, with a well-marked but still fine grain, made by a Spanish paper mill called Guarro Casas. I cut the sheets (one us 240 gsm, the other 350 g) into four leaves of smaller size, and I had a few strips of paper left after the cut. I used them to try a few lines of small size cursive, with x-height of 3.5 and 3.0 mm, and I found the results quite remarkable (as to behavior of pen and paper). I used Montblanc Homer Greek Blue ink, which I like very much, but is not specially intended for Calligraphy.

 

You can write in such small size, and still retain shadows, that I decided trying to write an envelope (it will contain a “Christmas letter” to my first nephew, Adriano), with the text in 3.0 and 2.5 mm x-heigths. I used an envelope from Cartiera Amalfitana, which is as dry as the Guarro paper but with a finer texture. I was convinced that only with a dip pen you would be able to decently write an address on an envelope, but I was wrong…

 

The 149 Calligraphy is really a great pen!

[Carrau]

Thank you Franco, not only for your beautiful demonstrations, but also for sharing your invaluable insights into the papers and proper selection for satisfying writing.  We appreciate your seemingly boundless generosity, and rejoice that you derive such enjoyment from your 149C.

[a student]

On 11/7/2022 at 5:50 AM, fpupulin said:

 

 

So, thanks to the concern, thanks to the rarity, thanks to a really good offer found quite by chance from a dealer I've known for fifteen years, I couldn't resist, and I bought my second 149 Calligraphy. A couple of days ago I finally tried the nib, to compare it with the only other 149 Calligraphy that I have experience.

 

I used a nice sheet of laid paper that I had bought in Milan and a splendid Blue Greek ink that Montblanc produced in a limited edition at the time of the launch of its Homer pen (Homer) and that a dear friend recently gave me. The two pens write in an almost identical way, perhaps with a slight margin of greater narrowness in the stroke of Number 2, but little thing. Both nibs are wonderfully flexible and springy.

 

I am very happy with her. I cleaned Number 2, washed her thoroughly, and put her away. She is not a pen that I intend to use for the moment. She is a precious reserve, which I now know writes just as well as her sister Number 1. Who knows, sometimes if I would like writing something calligraphic in two colors I can briefly put her to work, but for now, with her beautiful calligraphic sticker still intact, she will remain at rest: she's a nice security.

 

 

 

 

Of course I duly follow this thread and greatly appreciate your writing, truly past compare! Hence truly delighted to learn that you managed to secure "insurance". Congratulations on the acquisition and now much looking forward to your opinion on the MB fude de mannen  nib as and when one is produced

 

Thank you again for your many delightful contributions

[fpupulin]

On 11/18/2022 at 11:35 PM, a student said:

 

Of course I duly follow this thread and greatly appreciate your writing, truly past compare! Hence truly delighted to learn that you managed to secure "insurance". Congratulations on the acquisition and now much looking forward to your opinion on the MB fude de mannen  nib as and when one is produced

 

Thank you again for your many delightful contributions

 

I too, like you, eagerly await the release of the new 149 of the Expression Nib series. Apparently, it will be a pen with a curved nib, or what is otherwise called fude de mannen. If so, I'm not sure I'll buy it.

 

I had a couple of fude de mannen pens in my hands, cheap but I would say perfectly functional, with nibs with an inclination of 40 and 55 degrees (both Sailor). I found them amusing and curious pens, more I would say for sketching and drawing than for writing (at least Western-style writing), and I gave them to my nephews, who are graphic designers and have used them. If I wanted to play with a fude de mannen from time to time again, I think I'd buy a Sailor with a 40-degree nib again, which costs about ten dollars.

 

In my case, it didn't seem like a type of pen that facilitated my daily writing, and I honestly found it unsuitable for most of the calligraphic styles that I like best.

 

Of Montblanc's creations, I find the music nib of the 149 custom almost irresistible, both in the calligraphic and signature versions, but the pen is beyond my possibilities and my intentions. I didn't buy, at the time, the Expressive Nib that Montblanc produced for Schimpf, a flexible italic, and I later regretted it, but even that pen required a premium, probably entirely legitimate, but really a bit steep for me.

 

The flexible version of the 149 Calligraphy is, in my view, a small masterpiece, not only for its calligraphic skills, but for its extreme ductility which makes it a perfect everyday pen, but capable of truly special things when they are requested. I value my Calligraphy very much (my two Calligraphy, plural), and treat them like a real treasure.

 

 

[a student]

@fpupulin Many thanks for sharing your experience with the Sailor fude de mannen nibs, and for your thoughts on the MB Music nib.

 

I had picked up a 149 on sale at an airport MB boutique and that naturally comes with a M nib. I have a good mind to request a change to a O3B nib and that comes free of additional expense, but I have no previous experience with that nib.

 

Any thoughts on an O3B?

Edited November 21, 2022 by a student
correction

[fpupulin]

10 hours ago, a student said:

@fpupulin Many thanks for sharing your experience with the Sailor fude de mannen nibs, and for your thoughts on the MB Music nib.

 

I had picked up a 149 on sale at an airport MB boutique and that naturally comes with a M nib. I have a good mind to request a change to a O3B nib and that comes free of additional expense, but I have no previous experience with that nib.

 

Any thoughts on an O3B?

 

No, my friend, I have no experience with a O3B Meisterstück nib. From what I saw in the net, and in this forum, it is a monster of a nib, and it is aesthetically gorgeous. I confess you that I have not seen many who are able to master that kind of nib to make it not only extraordinary, but even simply useful.

 

My experience with Montblanc oblique nibs is limited to a 149 OM, which I owned some years ago. I was never really able to write with that nib. The fault was obviously not of the nib, but mine, as I probably grip the pen in a position that is incompatible with that kind of oblique cut. I always was desperately looking for a narrow sweet spot that allowed me to write, not in any special and sophisticated way, but just writing... Obviously, the page of our forum are plenty of users who have had very different experiences, so please take my note just as a personal warning. If you never had a chance to try a modern oblique, stiff nib, it may be worthy having a test in a MB boutique, just to check that the this kind of design fits your writing style. 

 

Secondly, a student, I would suggest you to make your mind clear about what are you searching for in a 149 nib. If it is a "wow effect", I guess a O3B is quite perfect. Would you search for a nib that made your daily handwriting more "personal" and interesting, it could be the right choice. If you are looking for line variation, I would say that an oblique nib is not the best candidate. In my experience - and I noted the same in many posts from other users -, a straight cut nib offers, at the same tip width, much more variation than an oblique cut. It is my understanding that a 3B is not more offered as an option in Montblanc catalogue, but I own a 149 with a BB nib and - at least for my abilities - this is the upper size of a nib tip that allows me to stil write in a "normal" way. My nib is from the Eighties, and it is distinctly stubbish, but I understand that the kind of tipping Montblanc offers in this nib size has not changed so much over time.

 

[fpupulin]

 

I continue with another post out of the main topic of this thread, just to add a bit more information for a student.

 

[a student]

@fpupulin Many many thanks for your comprehensive explanation of what a BB might be expected to achieve (the writing samples are most helpful in this regard), and for clarifying what may the "limitations" of an oblique cut. Your post also made me reflect on just what I am looking for first and foremost in a MB nib. And I think the answer that suggests itself is indeed line variation. 

 

It may well be that BB is all I need to express line variation. The fact that you manage calligraphy with a BB is most interesting indeed! I very much doubt if I could come up with that (too ambitious), and simple variation would be my aim.

[fpupulin]

32 minutes ago, a student said:

@fpupulin Many many thanks for your comprehensive explanation of what a BB might be expected to achieve (the writing samples are most helpful in this regard), and for clarifying what may the "limitations" of an oblique cut. Your post also made me reflect on just what I am looking for first and foremost in a MB nib. And I think the answer that suggests itself is indeed line variation. 

 

It may well be that BB is all I need to express line variation. The fact that you manage calligraphy with a BB is most interesting indeed! I very much doubt if I could come up with that (too ambitious), and simple variation would be my aim.

 

 

Unfortunately, I have no oblique nibs to offer you a direct comparison.

[a student]

On 11/22/2022 at 1:06 AM, fpupulin said:

 

 

Unfortunately, I have no oblique nibs to offer you a direct comparison.

 Marvellous display of calligraphic writing with a BB MB nib! Thank you

[Tasmith]

On 11/17/2022 at 9:45 PM, fpupulin said:

With my 149 Calligraphy, I usually write cursive English using a x-height of 7 to 10 mm, with a “sweet spot” at 8 mm.

With this height of the row, the nib of the Calligraphy does it best, in my opinion, showing subtle variations in stroke widths and allowing a kind of elegant cursive where the shadows of the letters are clearly visible but still light enough to retain a general lightness in the text. I would use the following text as an example of the kind of lightness I am speaking about. From the top, you have an almost engrossed script, then a cursive with medium shadows, and on the bottom the same cursive but with light shadows. All the texts - minus the title -were written with my 149 Calligraphy and MB Black Permanent ink.

 

 

The latter style is the more difficult to obtain when writing with a small-sized character, because below a certain height of the script, it is more difficult for the nib to show those subtle differences in stroke widths that are requested for a “light cursive”, which still exhibits shadows.

Now, an obvious - albeit often forgotten - part of the equation is given by the paper. There are paper that are so “dry” that they seem to suck out the ink from the pen, in a way that makes it impossibile to lay down a bold stroke of a certain length without railroading. These kinds of paper are specially apt, in my opinion, to write elegant cursive in a small size, with a reduced x-height, as they allow such fine strokes that they may contrasted with those that receive a very light pressure.

A few days ago I bought a couple of sheets of a paper that I suppose is intended for watercolor, with a well-marked but still fine grain, made by a Spanish paper mill called Guarro Casas. I cut the sheets (one us 240 gsm, the other 350 g) into four leaves of smaller size, and I had a few strips of paper left after the cut. I used them to try a few lines of small size cursive, with x-height of 3.5 and 3.0 mm, and I found the results quite remarkable (as to behavior of pen and paper). I used Montblanc Homer Greek Blue ink, which I like very much, but is not specially intended for Calligraphy.

 

You can write in such small size, and still retain shadows, that I decided trying to write an envelope (it will contain a “Christmas letter” to my first nephew, Adriano), with the text in 3.0 and 2.5 mm x-heigths. I used an envelope from Cartiera Amalfitana, which is as dry as the Guarro paper but with a finer texture. I was convinced that only with a dip pen you would be able to decently write an address on an envelope, but I was wrong…

 

The 149 Calligraphy is really a great pen!

Beautiful and inspirational!

 

[Centurion]

On 11/21/2022 at 4:22 AM, a student said:

I had picked up a 149 on sale at an airport MB boutique and that naturally comes with a M nib. I have a good mind to request a change to a O3B nib and that comes free of additional expense, but I have no previous experience with that nib.

 

Any thoughts on an O3B?

Some people write/hold a pen that's naturally suited to an oblique nib, according to a couple of nibmeisters I've talked to. One nibmesiter initially suspected that I wrote that way, but after observing me to casually write it was concluded that I'm not naturally suited to an oblique nib. I got the O3B anyway because it's extreme and a specialized nib. I wanted an out of the ordinary nib. If you hold it at the correct angle for the sweet spot it's great, but once you're not holding at the correct angle (a narrow range of angles), it'll suddenly become scratchy. It's kind of binary like that. I haven't gotten to the point where I automatically and quickly adjust the way I hold the pen, but I think in time I would . . .  sort of like how I automatically rotate a wooden pencil for even wear when writing.

 

What intrigues you about the O3B? 

[a student]

@Centurion Thank you for sharing your experience with the O3B nib.

 

As I had mentioned in my earlier post, my interest was, after some reflection, in line variation primarily. Do share samples of your writing with O3B if convenient

[fpupulin]

Just found among my things a pack of old, fine "air-mail" paper. Many of us would perhaps remember when, long before the massive advent of electronic mail, we were used to write on this light and thin paper when our letters had to "fly" on an airplane, together with the companion envelopes - also thin and light - with blue and red margins.

 

By the way, it is fantastic paper, crisp and dry, that only allows - of course - writing on one side of the sheet. 

 

[N1003U]

3 hours ago, fpupulin said:

Just found among my things a pack of old, fine "air-mail" paper. Many of us would perhaps remember when, long before the massive advent of electronic mail, we were used to write on this light and thin paper when our letters had to "fly" on an airplane, together with the companion envelopes - also thin and light - with blue and red margins.

 

By the way, it is fantastic paper, crisp and dry, that only allows - of course - writing on one side of the sheet. 

 

Yes, in those days a standard letter in the US was 1oz/30g, while an air-mail letter was much more expensive, _and_ limited to 0.5oz./15g. Light paper was in that sense very important.

[fpupulin]

In addition to trying, not always successfully, to copy or imitate some calligraphic styles already largely canonized, it's fun from time to time to jot down a few lines in an improvised script, as an example of modern but very personal calligraphy.

 

 

MB Homer Greek Blue ink.

[como]

@fpupulin This is wonderful! And also a wonderful idea: to learn from the existing scripts and add your own style/personality!! Your exercises look graceful and playful at the same time👍! Thank you very much for showing us! Arco looks very much at home in that ceramic tray 🙂

[fpupulin]

On 12/6/2022 at 3:31 AM, como said:

@fpupulin This is wonderful! And also a wonderful idea: to learn from the existing scripts and add your own style/personality!! Your exercises look graceful and playful at the same time👍! Thank you very much for showing us! Arco looks very much at home in that ceramic tray 🙂

 

Thanks, my friend. Between ourselves, Arco looks fine everywhere, but the profile of the 149, even without the flamboyance of Omas celluloid, is certainly one of my favorite pen shapes!