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Rich Littlestone

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Collaboration with Conway Stewart. CS provided blank barrels, nib, and section; all sterling. I did the engraving, made the clip from sheet silver and turned the Damascus finials. The pen is dual branded and backed by both Metalwrite (me) and Conway Stewart. This one is the RR3 LE18 model. The Damascus stock I used was made by Robert Eggerling.
Solid Damascus pen with a Parker Duofold Centennial nib and section. As you can see the snap-on cap has had the Damascus pattern twisted. Just playing around.
Classic straight line basketweave pattern with rose engine borders. Straight line engraving on the clips. Barrels and clip are sterling silver and the section is nickel silver. Damascus finals made from stock forged by Chris Marks.

Showing this just for fun - it's the first pen I ever made. Solid Damascus copy of a Parker Duofold International with all the same assembly details of the real thing. Steel was made by Robert Eggerling and the color comes from heat bluing. The rings are the same stuff just "blued" at a lower temperature. Parker clip, nib, and section.
Just sharing a particularly challenging straight line pattern.
The MetalWrite RR2. This one won the 2012 Pen World Readers' Choice award for Metal Mastery. Collaborative effort with Conway Stewart, unique guilloché pattern, sterling clip, barrels and Robert Eggerling Damascus. Stands are solid matching Damascus in the same pattern as the finials.
Composite photo of a custom pen I made for a client with a Conway Stewart base. Custom Damascus stoppers, hand made clip, one-of-kind guilloché pattern. Solid sterling except for the steel stoppers.

A prototype of a new LE I call the Slipstream. It has solid silver barrels, nickel silver section and threads, a coined logo on the top finial and a mother-of-pearl inlay on the bottom. The nib is a borrowed Bock nib in lieu of some custom nibs I have on order. The clip is as usual - handmade solid silver. A Parker Duofold Centennial section will fit this pen as well.
Mother-of-Pearl inlays in the barrel and in the cap and bottom of the barrel. The barrel inlay slots are just made by passing a square-end end mill diagonally through the barrel. There are three slots. The Mother-of-Pearl has to be quite thick in order to make this happen. Traditional guilloché technique is on the cap.
Another Mother-of-Pearl inlay design again accomplished by passing a square-end end mill diagonally across the barrel. Traditional guilloché on the cap and clip.
Black-lip Mother-of-Pearl inlays in the Slipstream design.

Mother-of-Pearl inlays everywhere. The process for making this pen was extensively described on the IAP forum under the "trying to be square" thread and subsequent postings. All the slots for the inlays were created by using a "sinker" EDM machine. Black-lip, gold-lip, and white Mother-of-Pearl inlays were placed in the slots. I call theis the Slipstream Geometric.
The Slipstream Wave. EDM was used again to make the pockets for the long, curved pearl inlays. The large diameter circular grooves between each inlay were simply milled by mounting the barrel on a rotary table. There are six inlays and grooves around the barrel. Traditional guilloché on the cap and clip.

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