Talks and Strokes: Stories of Collectors and Lovers of Writing Instruments
Thomas Ang
A collection of interviews dedicated to the role of pens in the daily lives of collectors, stylophiles and users. The central theme of the interviews is how and to what extent pens have improved or even changed our lives.
The interviews are curated by Letizia Iacopini
Thomas Ang, 34, originally from Singapore but now a longtime Londoner, is a young professional pianist who plays at the Royal Opera House in London, and also writes music, makes recordings, and even conducts sometimes. But he is also one of the new wave of nib specialists that can be met at pen shows around the world. He has specialized in nib grinding out of passion and personal curiosity but does not like to be called a “nibmeister”, because he believes that this qualification is “exaggerated” for the activity he carries out.
When did your interest in fountain pens begin?
I have always written with a fountain pen and have always had an interest in calligraphy. For a long time I used dip pens with a metal nib and practiced for fun. However, my real encounter with the fountain pen occurred thanks to a calligraphy manual entitled “Masterclass - Calligraphy set” which was marketed with a fountain pen with interchangeable writing units to be used depending on the style you wanted to practice.
A fundamental role in the flourishing of my real passion was then played by the group of fountain pen enthusiasts “UK pen Group”. The group organized meetings in London before Covid. The meetings, the exchange of information, the sharing of interests literally got me hooked.
What was your first fountain pen?
I have very small handwriting and I have always needed very fine nibs to write well. My first real fountain pen was a Pilot Metropolitan with an F nib, a real “nail” to write with. From there I then moved on to a Namiki Falcon, always preferring Japanese pens because European products do not usually offer a sufficiently thin line for my habits. My first vintage pen was a Mabie Todd Swan which I bought just before I graduated.
So, we can say that your activity as a “nib grinder” derived from the desire to have very thin tips for your personal use?
To tell the truth, at the start, I didn't even know what the expression “nib grinding” meant. I discovered it by chance by browsing through the Fountain Pen Network forum. At the time, talking about my tiny handwriting and how I wanted to look for extra fine nibs, someone suggested I should turn to a nib grinder.
Thus, I became curious and the topic interested me a lot. I started looking for information online and reading up on what this practice was and how it worked. Eventually someone mentioned that, in the UK, I could look to John Sorowka for help!
I also saw some very strange things, including some posts that suggested cutting a nib with nail clippers to obtain an Italic and then making it smooth using micromesh.
In essence, I quickly understood the fundamental principles of nib grinding and decided to experiment.
Did you start working on your nibs?
Once I understood the concept that to have very fine points it was necessary to reduce the surface that touches the paper, I started practicing using knife-sharpening stones.
I simply had to learn to manage the pressure and the angle to obtain the result I needed.
As a musician, constant practice is part of my natural process. So I did nothing but apply the same principles to practice on nibs.
In order not to risk throwing away precious nibs, I bought 20 Jinhao pens and started working on my stone. I destroyed 4 or 5 nibs before obtaining a satisfactory result. And then, remaining faithful to the principle of practice, repetition and consistency, I gradually perfected the process.
The first time I saw you work, we were at the Istanbul Pen show in 2023 and you were using a Dremel.
Yes, I had selected a series of tools suited to my needs. In the apartment where I live I don't have much space so I looked for tools that were not bulky and the Dremel was quite small. Over time, however, I realized that it was also too powerful.
I needed something more "gentle" and so I switched to a “nail drill”, the same thing used for manicures. It does the same job, but is smaller and more portable, and you can buy cutting discs and polishing wheels as needed.
It has been also very important for me to get in touch with other nib specialists, including in particular Anabelle Hiller and Jose' Munuera. I learned a lot from Jose'; he showed me the tools he uses and how he uses them. Even though I do a different type of work than him, because I don’t do welding or stacking and I only work on nib grinds, the exchange of information and comparison with Jose’ has been very significant for my experience. The nicest aspect is however that we have become good friends, too.
How much time do you spend on pens and nib work?
Actually there are two different areas, one is the nib grinding work and the other is the time I spend on journaling. As a nib grinder I don’t do a huge amount of work, I go through a few nibs a week, usually less than 10. At present I also get nibs from dealers who want to improve the performance of the pens they sell.
I do go to pen shows because I like to meet people and I often meet up with lots of people in London. I like to do nib work on site, when people come to visit me or ask to meet me in the city. The other aspect of my relationship with nibs is journaling. I journal on a regular basis, because I love writing, doing calligraphy exercises, trying out inks and drawing. I fill the pages with all sorts of things, leaving as little space as possible. It is a time that I dedicate to myself and to the pleasure of doing things in which I can express a part of myself and my creativity.
How many pens do you have?
I would count about 40-50 that I use regularly (on rotation), and a few more that I keep in a special case. However, no pen is too precious not to be used! But also, when dealing with nib grinds, usually Bock or JoWo units, I keep several pens “nibless”: Leonardos, Franklin-Christophs, custom pens, etc. This way, I can choose which pen to use and with which nib. I'm very organized because I have little space and I have to optimize it. Then I have many, many, definitely too many inks! I simply can’t resist hunting for exclusives!
Do you also use vintage pens?
I discovered vintage pens on eBay, which is a risky way to spend money if you are new to the hobby, like I was! But things are much easier now thanks to John Rabbett's Pensharing site. This platform offers the possibility of using pens on loan for a defined period and is therefore an excellent opportunity to try out nibs of all kinds, from the most common and less demanding to flexible vintage nibs. Without a doubt, for those who love calligraphy, flexibility is essential and vintage nibs offer very high quality performance in this sense.
What are your plans for the future?
I want to continue learning and improving my nib work technique and I am also curious to see how others, the great craftspeople, work. I plan to go to the pen show in Tokyo to see Nagahara work and then also to Taiwan where there is a huge pen community. It is something that fascinates me deeply. I know about ten nib professionals and none of us work the same way.
Each one has their own technique, a personal and unique approach to the nib. I still consider myself an apprentice, because I know that I still have a lot to learn, but I also know that with practice and perseverance you get great results. Drawing inspiration from the work of the great masters I can certainly learn a lot. I like to improve myself and never take anything for granted.
LETIZIA IACOPINI
Letizia Iacopini was among the founders of the "Accademia Italiana della Penna Stilografica" pen collectors' club in 1990, marking the first organization of its kind in Italy. For three decades, she has worked with collectors worldwide, offering consultancy, and evaluations for both complete collections and single pens. She consistently delights us with her reviews, essays, and publications on the history of the Italian fountain pen.