Making a Reed Calligraphy Pen (Qalam) — The Oldest Writing Tool

Choose a straight section of dried reed (Arundo donax) or bamboo between 8mm and 12mm in outer diameter — this determines the maximum nib width. The reed must be fully dried (at least 6 months after cutting, ideally 1 year) — green or semi-dried reed is too soft and will crush rather than cut cleanly. Arundo donax grows wild in Mediterranean climates, river banks, and wetlands; it is the same reed used historically from ancient Egypt through the Islamic Golden Age. Bamboo is an excellent alternative available worldwide. Cut a straight section approximately 20-25cm long — this is a comfortable pen length. If the reed has nodes (the solid joints), position one node 5-8cm from the writing end — it acts as a natural ink reservoir wall.

Using a sharp knife on a cutting mat, cut the writing end of the reed at an oblique angle of approximately 45-60 degrees from the central axis. This creates an oval opening that exposes the hollow interior. The cut should be clean and smooth — a dull knife will crush the reed fibres. The length of this oblique cut determines the nib flexibility: a longer cut (more oblique) produces a more flexible nib, while a shorter cut produces a stiffer, more controlled nib. For your first pen, aim for a cut approximately 2-3cm long. If using bamboo, the walls are thicker and harder than Arundo donax, so the cut requires more force — always cut away from your body.

Reed and bamboo have soft pith (spongy tissue) inside the hollow stem. Use the tip of your knife to scrape out the pith from the interior of the cut end, creating a clean, hollow channel approximately 3-5cm deep. This hollow acts as an ink reservoir — ink fills this space and feeds to the nib tip by gravity and capillary action. Leave the walls of the reed intact and do not scrape them thin. If your reed section includes a node, the node acts as a natural barrier that prevents ink from running all the way up the pen — this is ideal. If there is no node, the ink reservoir is limited by how much ink surface tension holds inside the channel.

The writing edge (nib) is the flat front face of the reed where it meets the paper. Place the reed on the cutting mat with the opening facing up. Make a clean, perpendicular cut straight across the tip of the oblique cut to create a flat writing edge. The width of this flat edge is your nib width — typically 2-5mm for broad calligraphy. For Arabic calligraphy (which traditionally uses the qalam), the nib is often cut at a slight angle from left to right rather than perfectly perpendicular — this facilitates the characteristic thick-thin strokes of Arabic script. For Western calligraphy, a perpendicular cut works well. The cut must be perfectly clean and sharp — any roughness on the writing edge will cause ink to spread unevenly and make scratchy marks.

This is the most critical step. Place the nib on the cutting mat with the flat writing edge facing down. Position your knife blade at the centre of the nib, aligned with the length of the pen. Press down firmly and split the nib approximately 8-15mm up from the writing edge. This split is essential — it creates two tines that flex slightly under writing pressure, and more importantly, it creates a capillary channel that draws ink from the reservoir to the paper. Without the slit, ink will not flow. The slit must be centred precisely — an off-centre slit makes one tine wider than the other, producing uneven strokes. The slit should be clean with no lateral cracks — if the reed splits sideways, start with a new piece.

Inspect the nib closely. The two tines should be symmetrical, and the writing edge should be perfectly flat and smooth. If there are any rough fibres, gently sand the writing edge on fine sandpaper (400-600 grit), placed flat on a hard surface — draw the nib across the sandpaper in the writing direction (away from you) a few times. You can also refine the nib angle by trimming tiny slivers off one side or the other with the knife. Some calligraphers round the sharp corners of the nib very slightly to prevent them from catching on the paper. Test the nib by looking at it from the side — the two tines should be level (one should not be higher than the other), and from the front, the writing edge should be a clean straight line.

Dip the nib into ink so the reservoir fills partially — ink should enter the hollow channel and wet the slit. Touch the nib to the paper and draw a stroke. The ink should flow smoothly from the slit to the paper in a controlled line the width of your nib. If ink does not flow: the slit may be too tight (extend it a few mm longer) or the nib edge may be too rough (sand it smooth). If ink floods out in a blob: the slit may be too wide or too long — make a new pen with a shorter slit. If the pen scratches and catches on the paper: the nib edge has rough spots or sharp corners — sand them smooth. A well-made reed pen produces a distinctive soft, slightly textured line quality that is different from a metal nib — the reed compresses slightly on the paper, giving a warm, organic character to the writing. This quality is why many calligraphers prefer reed pens for certain scripts.

Reed nibs wear down with use — the soft plant material gradually erodes against the paper. This is normal and expected. When the nib becomes rounded and the lines lose their crispness (typically after 30-60 minutes of writing), re-cut the nib: trim a thin slice off the writing edge to expose a fresh, sharp edge. Each re-cut shortens the nib by 0.5-1mm, and you can re-cut many times before the oblique cut is exhausted. Eventually, you will need to reshape the oblique cut and slit from scratch, which shortens the pen by 2-3cm. A 20cm pen can last through many sessions of use and re-cutting. Store reed pens in a dry place — moisture causes the reed to soften and swell. If a pen dries out and becomes brittle after long storage, soak the nib end in water for a few minutes before use to restore some flexibility.