Difference between revisions of "Materials"
|Line 19:||Line 19:|
== Celluloid ==
== Celluloid ==
== Plastic resin ==
== Plastic resin ==
Revision as of 15:40, 1 June 2019
The fountain pen history cannot be separated from an analysis of the main materials that were used in their construction over the more than 100 years of life of this object. The materials in fact were an element of innovation and distinction, both technically and stylistically, and also today manufacturers seek to market their models enhancing the preciousness (real or perceived) of the materials used to build them.
Nowadays technology evolution allows to use for fountain pen production a variety of materials, some of which, such as stone and wood, are certainly not suited to such an object. Once the choice was dictated by precise technical or economic reasons, only later stylistic aspects became important. Today however the use of the more esoteric materials seems dictated by the logic of a market aimed only to exclusive objects creation, that often are completely unusable (and therefore of questionable value) or towards the pursuit of an originality without any practical use, which often leads to results between vulgarity and insignificance.
We will examine here only the materials traditionally used in the construction of the pen body (and cap), leaving out those used for other parts, such as decorations or nibs. Regarding the nibs we need only to say that if at fountain pens dawn they were made out of gold for technical reasons (the resistance to corrosion from inks, particularly aggressive in that era), in the mid '30s the choice of this material was only for commercial reasons, given that the use of stainless steel would have allowed (and in many cases did, as for the Esterbrook and Japanese shiro nibs) a gold substitution without any technical problem.
In the following are listed, in approximate historical order of use, the descriptions of the main materials used for the realization of fountain pens; some of which (such as metal and plastic resin) must be regarded as generic indication rather than a precise specification.
The Ebonite (often called hard rubber or also vulcanite in some old advertisements) is a material invented in 1843 and produced by a rubber vulcanization process in which the natural rubber is mixed with a variable percentage (from 20 to 50%) of sulfur, and hardened by keeping it at high temperature for a prolonged time (a few hours around 150°C). Hard rubber is generally produced in sheets, bars or slabs, which must be subsequently processed; in fact, it is not possible to make it with a mould.
Ebonite is a hard and brittle material, very resistant to corrosion by acids, and softens when heated. It is an excellent electrical insulator. It is easy to process and has been used both for the construction of objects and as an electrical insulator (use that still holds today). It owes its name because it was initially used as a substitute for ebony. Its chemical resistance characteristics have seen it used for many years as an insulator, coating for corrosion-prone parts and as a battery case for cars.
Ebonite is the first material used for the production of fountain pens, in use since the first examples produced at the end of 1800. If even some objects considered as "precursors" of the fountain pen were made of metal, the first fountain pens were born substantially as a result of the invention of this material, which with its characteristics of ease of use, chemical inertia (and consequent resistance to corrosion), proved to be optimal for the construction of that "reservoir" of ink that was in fact the main component of the first fountain pens, and this also thanks to its characteristics of thermal insulation, which avoid the transmission of heat from the hand to the air of the reservoir, with a consequent increase in pressure and loss of ink.
The material, however, suffers from high mechanical fragility, which makes the ebonite pens not very resistant to shocks and falls, in this case the chemical neutrality proves a defect as it makes it almost impossible to glue pieces of ebonite together in a resistant manner. Furthermore, with exposure to light, humidity and heat, the sulphur present in the material tends to oxidise, and to emerge on the surface, colouring it with a sort of dark brown opaque film that removes the lustre of the original polish. This patina is an indication of the age of a pen, and even if today there are products that can reverse the process and bring the material back to its original shine, the opportunity for such an operation is questioned by those who do not consider it respectful of the state of the pen.
In addition to mechanical fragility, the other fundamental defect of ebonite, at least from the point of view of fountain pen manufacturers, is the substantial impossibility of colouring. For this reason, for a long time, the two ways of enriching the aesthetic aspect of pens were chiselling, to which ebonite lends itself with relative ease, and coating with machined metal skeletons. In the first case we have what is called in jargon Black Chased Hard Rubber (BCHR), in the second case the countless variations of the coatings.
The natural color of ebonite is black, the only other colors that can be obtained with relative ease are orange, thanks to the use of cinnabar, or dark red (with the use of hematite). This has given rise to several processes, from the classic red hard rubber, to the various combinations of red and black ebonite (Mottled, Rippled, etc..) up to the production, carried out essentially by the Waterman in its obstinacy not to abandon this material, of colours such as green, blue, yellow and pink. But in the end none of these colours could compete with the brilliance offered by the new materials, and in particular by the celluloid, and ebonite has been progressively abandoned as a material used for the body of the pen, remaining however used until today in the production of the feeds.
To be done
We call in a generic way plastic resin the plurality of materials characterized by injection mold processing (some of which, historically used for fountain pens, have been reported in the side table). In fact also more traditional materials such as celluloid or galalith are plastic resins, but we will discuss briefly in this section only these new ones that could processed by injection mold, that were used in fountain pen productions from the 40s until around the 60s.
The pen that more than any other is considered the prototype of plastic resins fountain pens, is the famous Parker 51, created in 1939, but marketed extensively only since 1941. The body of the pen, so as the section and the shell that protects the hooded nib was realized in "Lucite".
But Parker was not the first manufacturer to use these new materials, well before the official launch of 51, in 1939, Waterman launched the Hundred Year model, also produced with the same material, Lucite, which was probably the first major model produced in plastic resin. Another great success plastic resin model was the Eversharp Skyline, made in polystyrene. Since the '50s, most manufacturers began to abandon celluloid, which until then was the dominant material, to switch to the use of different kind of plastic resins.
When plastic resins entered the market, they showed considerable advantages, first of which was the ease of the their processing. Parts which could be made with injection molded plastic favored the industrialization of the production at much lower prices. Furthermore, these new plastics were also much more resistant to the corrosive agents; in fact one of the reasons for which the Parker 51 resorted to Lucite was the need to resist the corrosive effects of a new fast drying ink, introduced together with the pen.
The plastic resins main disadvantage, at least at the time of their introduction, was the impossibility to produce them in anything but some solid colors. But this turned out to be a minor problem, because in the same period the stylistic trends, even for the birth of these new materials, began to be oriented towards a modernist and minimalist style, so colorful celluloid models began to be seen as a bit antiquated.
Furthermore some plastics could lend to the creation of mixed materials of considerable interest. Among them probably the most interesting was the Makrolon (the name used by Bayer) version introduced in 1966 by Lamy for his famous Lamy 2000 model, a mixed fiber glass polycarbonate with high mechanical strength, and a particular black/gray color coming from the weaving of the glass fibers.
Nowadays almost all pens are made in some kind of plastic resin, more or less shiny or resistant depending on the implementation. The evolution of technology also allows the creation of colorful plastics, whose brilliance and variety of colors has little to envy to celluloid. However, all of these are fully automated industrial productions, with a very low production cost, regardless of how someone can call them "precious". The celluloid long production times and the impossibility to process it by injection mold, made it a much more expensive material, and this is also why there was a return to it in recent years, as a distinctive feature of some luxury pens.
- the technical and historical data on the single material has been written using as starting point their respective Wikipedia page, adding considerations specific to their use in fountain pen production.
- see the italian and english entries of Wikipedia, which, however, present some discrepancies, in particular on the attribution of the invention to O. Meyer and T. Hancock for the first and Charles Goodyear for the second.
- the ebonite one, still beeing much more commonly called hard rubber as ebonite was a trade name.
- see this discussion.
- see this discussion.
- for more technical details you can refer to this article.
- even if some Tibaldi models in coloured ebonite are known.
- even if today this happens only for the most valuable pens, since this material cannot be moulded.