http://www.misterart.com/drawing-illustration/pens/lettering-calligraphy-pens/cartridge-pens/manuscript-scribe-series-calligraphy-pen-and-pen-set.html?utm_source=Pronto&utm_medium=datafeed&utm_term=37811&utm_campaign=ProntoProducts

On close inspection, one can see the nicely broad, yet slightly rounded nibs that can prevent catching or tearing of the paper.  

One readily available bamboo pen made to a certain standard is the Taiwanese type distributed by Japanese art supplier, Yasutomo. It comes in several sizes, and each version is double ended. The flaring end is carved rather near the joint for a stable writing nib, and the tapering end is carved rather away from the joint for a flexible drawing nib, it seems to me. Cheaper versions are sold by Hobby Lobby of a thicker, spongier variety of cane, which some may prefer. For use in practicing ancient Egyptian characters, I nip the end with sharp scissors at a ten degree angle so that the nib is between two and three mm wide, then polish a bit with fine sandpaper or sanding sponge, depending on the texture of the cane. For Egyptian, you want a broad edge tool that does not snag the writing support, as papyrus can have some stray fibers that are easily navigated with practice and an appropriately smoothed nib. So, writing with a Chinese style drawing pen that rather resembles a tool once used for Demotic, anyway, has a fairly natural feel, and is of use to a beginner before eventually graduating to a more authentic feeling sort of rendering reed, like the Javanese grass used by some serious Arabic calligraphers. Sea rush is not native to the United States, but stalks of it can be obtained via the KingTutShop in Egypt.

http://www.misterart.com/drawing-illustration/pens/lettering-calligraphy-pens/dip-pens/yasutomo-bamboo-sketch-pens.html

http://www.amazon.com/Yasutomo-Bamboo-Sketch-Pens-1-586/dp/B004BN7HPS/ref=pd_sbs_op_4

In heuristic matters, authentic research can make good use of convenient adaptations as long as they are accurately labeled. Principled scholarship in Egyptian calligraphy, as a blend of Fine Arts with Art History instruction, should investigate original forms, tools, and work models, as well as explore constructive use of available materials. In order to attain to a proud looking semi-cursive handwriting, it will be necessary to work through present habits and terms, but we must ultimately refuse to be satisfied with oversimplified constructs that raise obstacles to clarity in that they must eventually be discarded in a responsible discussion. Like a shaman, we need to make use of conscientious simplifications, and leave aside what might be described as academic superstition or, as Fischer said, "sure handed circumvention". Thus, we may carefully and accurately describe the ancient equipment of Dynastic scribes while experimenting productively with a Tibetan style pen of mantis cane, cartridge pens with metal nibs, and contemporary chisel pointed felt markers.

More details at

 http://www.flickr.com/photos/sonofthemummy/6991703476
 

The velvety feel of these is great, as well as the ergonomic shape, and the ability to vary line width by the way you hold the pencil.  

The essential feature of chirography is that it be legible. If we wish to move toward calligraphy, though, the first thing we have to do is to adopt a tool that will give us immediate power over line width. Once the metal nib was adopted in England, this was done by varying the pressure upon the point. With time, it was forgotten that the original way was to use a flathead tool. Thus, when it was rediscovered, it was dubbed the Automatic Pen, because it required not a graded bearing to vary the line, but a skill in employing the italic nib. Anyway, some artists find the bamboo pen remarkably acommodating, as its natural elasticity is a great asset, as well as its ability to be customized with a pen knife or even scissors:

http://www.misterart.com/drawing-illustration/pens/lettering-calligraphy-pens/dip-pens/yasutomo-bamboo-sketch-pens.html

Hunches over a page of art paper and seems to be applying himself.



Approaches from behind.  

Oh, look, it's budding tribal art
Some coffee club calligraphy
The spirit of the scribe returns
In poems prayers and proverbs penned
With bamboo bond and bokuju
In smart expressive Egypt script


Are you holding up two fingers behind my Head?


To suggest that you are listening with the ears of Set?