In 1919, Syunichi Nakata, a collector of imported fountain pens, opened a small fountain pen shop in Okayama, Japan. His shop became very successful in a short period.

In 1924, he moved to downtown Tokyo, adjacent to several pen manufacturers, and officially named his company Nakaya Seisakusho. The company exceeded earlier success and grew to nearly 80 employees. Later in 1924, Nakata changed the company name to the Platinum Pen Company. Platinum initially sold pens via mail order to office workers and teachers in small villages throughout Japan. Soon, they were exporting to Singapore, Hong Kong, and Java.

During the mid-1930s, Nakata organized a group of commissioned Maki-E artists in order to create pens. Leading this group of artists was Rosui-Gyokusendou-Ohara, who many regarded as the top Maki-E artists of the period. Platinum produced a variety of Maki-E pens, including lacquer carving, pearl inlay and pens with the Kanshitu-rough volcanic-type surface. Some of these designs were enhanced by gold coins.

Platinum launched the first water-based ballpoint pen in 1948. The 50s, saw the adoption of Injection molding technology. By this time as well, Platinum's fountain pens were Japan's number-one export. In 1957, Platinum first manufactured fountain pens that accommodated ink cartridges.

In 1966, Toshihiro Nakata developed a roller ball known as the Auto Pen. By 1980, Platinum sold more than 1 billion of these pens. During the 1960s and 1970s, Platinum manufactured leather pens called Amazonas, which were covered in snake, lizard, shark, crocodile and Surinam toad skin.

In 1978, Platinum introduced its longest-lasting model to date, the 3776 fountain pen. Platinum named it in reverence to Mt. Fuji, which is 3776 meters tall. And in 1981, the New York Modern Museum of Art displayed Platinum's Z pen. The company has continued to grow from there.

Maki-e - atime honored art form using Japanese lacquer which dates back to the 6th century.

The first maki-e master artist to come up with the idea of painting onto a fountain pen was Kurato Terui, who passed away July 1999 (photo on top left).
Katsuhiko Terui continues in the tradtion of his late father. Mr. Terui is a senior professor of Maki-e art (pictured on top right).

Every Maki-e artist is considered a national treasure and is licensed and accredited by the Japanese Government.

The two top Maki-e artists in Japan are: Katsuhiko Terui, professor of the craft and Hideaki Sone, first class lacquer ware artist. Both reside in Aizu, Japan (300 miles north of Tokyo) in the Fukushima-ken province. Platinum pen commissions both for all maki-e fountain pen art work.

Tools of the Trade
Various materials are used in the creation of maki-e. Powdered white gold, rose gold, and yellow gold. Flakes of pure gold, abalone shells, mother of pearl are also used. Fine sheets of gold, silver, and platinum are used as an inlay.
Brushes are used to apply the Urushi lacquer and designs. Brushes are made from mouse, rabbit, and human hair (female only). The brushes are very expensive - ranging in price from $80.00 to $500.00 each.

Step 1
Mr. Sone sketches final artwork on a delicate piece of paper which is the exact circumference of the pen barrel. Then places hundreds of tiny holes outlining the design to make the pattern.

Mr. Sone then wraps the paper around the barrel with a steady hand, holding the paper as snug as possible. The paper is sprinkled with white powder and then a brush is used to force the powder through the holes in the paper to make the outline.

Step 2

Mr. Sone outlines the design on the barrel with urushi lacquer. Next he takes a fine brush and lightly dusts the outline with pure gold dust.

Step 3
Sone brushes excess gold powder off of the pen barrel. When step number three is completed the barrel is put away in a special drying bin for three to five days. Once the pen dries, the process begins all over for each color. Then once all colors and or inlays have been applied The pen is coated numerous times with urushi lacquer. Each process requires three to five days of drying. Many hours are consumed in the production of the artwork. The special drying compartment is built with a wood called hinoke which is similar to cedar.