Monday, July 1, 2013

The Last Word on Justification

So, I thought that this post would have been over some time ago, but as I dug further and further into the topic, I could see that there was more than I could have ever imagined. We have all drooled over the Varityper at one point or another. That's a shame because I know– from my vast experience and rugged good looks– that drool really falls short as an ink substitute. Drool'n aside, the idea of cold typesetting typewriters really heats up by typeshuttle. Mostly because of justification which I have mentioned here.  The Varityper later became the Coxshead DSJ an example of which Richard recently acquired in an antique shop. A more drool-worthy machine never existed. I, however, will confine myself to a drier, lesser history of the justified typewritten page.

Let's start, again, with the snippet from Popular Science that started my interest in this topic. I posted it some months back. It details a new device that can be added to a typewriter to make it a justification-capable machine. The article–if you could even call it that–does not list an inventor or a date of invention. Without either it would be a slow drudgery to look through thousands of patents trying to find the responsible inventor. 


So, that's what I did. Not, first, without doing a little Shelrock Holmes routine on the advertisement. There are always a few clues that can lead you to an answer.

Since the snippet came from a 1940s edition of PopSci, I decided to hazard a guess that the "new" invention was probably not more than ten years old at that time. Since the machine was from the 40s and the photo had a 40s look (being a 150–or so–screen halftone engraving) I decided to start in the decade from 1939 to 1949. I read the passage over a few times to get a general idea of what mechanical attributes I should be looking for in my patent searches. The one section that stood out read:


I looked for any patent that clearly had a knob/dial somewhere in the vicinity of the escapement and a pointer/indicator on the carriage.


Going to Google Patent, I was able to find two patents from the era covering a device that uses a knob and a pointer. One was from an Andras Goy and the other from an Oliver O. Martin. Martin also had an earlier 1920s patent for the same type of invention.


Mr. Goy's invention features a knob, but the knob is mounted to the front of the frame and from there links to a device on the carriage of the machine that alters the movement of the escapement. There was a dial and an indicator, but the placement make me feel like the Goy method wasn't the one featured in the article. Also, the machine would need to be completely heavily modified to accommodate a forward facing knob. Goy does not mention that this would be a simple or reversible modification.


Oliver Martin's justification system, however, looks more appropriate for a modification of a current typewriter. Martin describes this within the patent. "It is the object of my invention to provide a device which may be readily attached to or embodied in commercially well known typewriters without interfering with or changing the general combinations and features thereof..."



The above device was patented in 1920. Martin also patented a newer version in 1945 and that patent was issued in 1948. My feeling is that it is Martin's later patent that is mentioned in the Popular Science article.

Martin's second patent for a justifying attachment describes his invention thus: "It is the object of this invention to provide a simple inexpensive and conveniently operable justifying mechanism which may be attached to various types of typewriters or which may be built into such typewriters to form permanent part thereof." This alone was pretty convincing, but it was the illustration from Figure 5 that sealed the deal for me.


You can clearly see a knob that it attached through a linkage to the escapement disk. This knob adjusts the size of each space to affect the kind of movement needed to make the justifying technique possible. I guess Martin's our man. 

Even with the discovery of who probably invented the justifying technique detailed in the Popular Science blurb, I started to think about this problem. It's interesting that even with these three innovative solutions to proportional spacing no major manufacturers made full justification a feature or even attempted to find their own solution. Perhaps the technology was too complicated. Maybe the market wouldn't support the additional cost of a complicated escapement. In reality, I think these innovations and attachments were a solution looking for a problem.

I have written quite a few pages on a typewriter and–excepting novelty–I haven't had much a need for a justified page. I also don't believe that this was an expected feature of the hand-typed letter. The uneven right margin was de rigueur and the quality of a typist was how even she (and the occasional he) was able to make the margin without the aid of a justifying mechanism. Good margins are addressed in the Smith-Corona Tips to Typists booklet scanned by Richard Polt (http://site.xavier.edu/polt/tipstotypists.pdf).


In this instance the uneven right margin was equated with hand-typed. A letter would be conspicuous with even right and left margins. So it came to be unnecessary for this feature. I know that my life is not incomplete at the possibility of uneven right margins. I can continue on and manufacturers didn't invest the time, money, or manpower devising a means to even both margins. 

However, the technical problems of justification even plagued Vannevar Bush, the technological visionary who presaged hypertext and the power of relational searches. 


In a patent filed in 1942, Bush described a technique for justifying the text of a typewriter using the benefit of stored memory and relays. The inputting of text, calculation of required spacing, and the composing were done by different components of the larger system. In fact, the solution was to have two typewriters one to encode and the other to decode. Think of two modified Fridens connected to a memory unit. That's the kind of solution Bush was envisioning.

You can see the influence of the coming digital revolution in his solution.


The patent illustration isn't so much a picture of mechanical devices, but a flowchart. Flowcharts are the way of the future. Bush also detailed how the typewriter should have a type of digital relay system to record keystrokes.


Which isn't too far off from the USB typewriter designed by Jack Zylkin. 


But it wasn't until the computer that a consumer would be able to justify the left and right margins on-the fly. Isn't progress wonderful?

Wednesday, June 26, 2013

Magic Margin Vlog: Episode 2

In this episode of Magic Margin I wax on nostalgia. What is it? What nostalgic thoughts do I have lurking in my subconscious? Watch to find out.


Sunday, June 23, 2013

Typewriter Day 2013

I spent my typewriter day prepping and painting the shell of an SM-9 a color so outrageous that Krylon's description of "watermelon" does not do it justice.


Wednesday, June 19, 2013

Magic Margin Vlog: Episode 1




More to come. I am not sure if this will be a thing or not. Just trying something else. Any kind comments will be welcomed.

Saturday, June 15, 2013

Underwood Portable: A Few More Pics

Busy and busier. I thought you all might like a few pics of the Underwood mid-restoration.





Monday, June 10, 2013

Small, Charming. and Very Friendly

You have probably read about Richard's large find; a Coxhead DSJ. If you haven't seen it just imagine a typewriter that looks like it might actually eat you. That's the Coxhead DSJ. The typewriter that came to me in the post a few days bears no resemblance to a carnivorous typer. This little machine is the antithesis of large, ugly, and frightening.


The Underwood Standard Portable 3-bank typewriter is small, charming, and very friendly. Robert Messenger has combed over the history of this small wonder and you can glean all the historical bits you could ever imagine in these few pages:


So, what can I  add to the discussion of this typewriter? This example is in fair shape. I haven't cleaned it yet, but apart from the scratches on the front of the frame everything seems to be in order. I might not have to do any major mechanical repairs. All the renovation might just be cosmetic. I have tackled one small job; ribbon spool knobs.

They sit atop the ribbon spools and act as a shiny beacon becoming all who catch a glimpse to dash themselves against the keys. Think of the siren song from The Odyssey but less mythical. It's an over-the-top reaction that would completely natural if the knobs weren't so tarnished and rusty.

Dauntless, I took out some Mother's Magnesium and Aluminum Polish and started giving these things the Magic Margin treatment.


To the left is the remaining unpolished knob. The rust and tarnish is pretty ugly and hardly the finish you would want to see on a beautiful typewriter like this. When polished you get what you see on the right. Bright and beautiful. I like to create a pad of polishing cloth and move the piece. In this case I quickly rubbed it back and forth keeping in mind that the surface isn't flat. About 15 minutes for both the knobs got the job done.

Was it easy? The polishing was easy. These little knobs are ridiculously tiny. I had a devil of a time holding them, but that was the only hard thing about it. I think that this tiny change made a significant difference.

I have a few more steps to finish up on this machine and it will be ready for a typecast!

Thursday, June 6, 2013

It's a Shame

It's 1934 and Clarence H. Bills is set to task by Royal to create a new "mask" for a portable typewriter. Bills, inspired by the daring industrial design of Sakhnoffsky and Earl, creates this striking face:


I don't know about you, but I think this in gloss black which chrome accents would be offensive, entirely vulgar, and absolutely something I would want. It's a shame that the design was shelved and  never came to market.

Friday, May 31, 2013

November 1957

More Royal News. I shared the edition from November 1956 a couple of weeks ago and now here's  another one from a year later. Please enjoy the typewriter-y goodness.

Tuesday, May 28, 2013

USB Typewriter: The Final Chapter

After what seems like weeks of false starts and broken deadlines I can say:


Can't you feel the full promise of the digital revolution?


It has been difficult reconciling my excitement over working on this project and the vague shadow of apprehension that haunted me at various points along the line. The apprehension did not come from a fear of knowledge. I knew what I was doing and I had confidence in my ability as a maker. I was worried for something else. Perhaps I was worried about the typewriter's soul. Perhaps I was worried for my own. Regardless I decided that converting this typewriter wasn't a good thing to do.


The promises I made earlier did not come to pass. I said that this USB typewriter would be in the beautiful Underwood that I have been showing off for weeks. No Underwood. The plan that I made for my version of the USB typewriter was far too complex and diverged from Jack's well thought out plan too much. I didn't heed the advice of minds more experienced as my own. The mounting bar was a beautiful execution, but it altered the feel of the typewriter so fundamentally that it couldn't stay. And from there I didn't have the heart to subject that poor little portable to any more humiliation. That is what the Triumph is for.


It was languishing on the shelf. The H is still missing from the ribbon cover and I thought making some room for another typewriter would be a good idea. The sensor bar was a good fit and I was able to transfer all the parts and components to the Triumph. It ended up coming together in a few hours. 

I had to foreshorten a spring so that the sensor bar's added weight would allow the ribbon vibrator to return to its normal position. Apart from that, there was little to do to get it into a working state.

There are still things that need to be done on this USB Typewriter; the carriage return, the backspacer, and the tabulator all need to be arranged. I will, however, not do them. I have lost the taste for digital-enabled typewriters. The whole enterprise felt cheap and tawdry to me. I was grafting a computer onto a manual typewriter by hook or by crook. By doing this I subtly supported the idea that a device is not a device unless it is accompanied by a computer. That did not sit well with me. 

Now, my newly-found distaste for typewriter-cum-computer hybrids does not reflect on Jack Zylkin's design or execution. The kit was top-notch. I enjoyed putting it together. The concept is mature and works well. As I mentioned earlier, my apprehension was over the larger question of should this be done? And the larger question: To what ends?

For me, I like to keep my analog free of digital influences.

Sunday, May 19, 2013

A Welcome and A Remington


So, I imagine that some of you visiting today are new to my blog. Welcome. I hope that you enjoy yourself while you are here. The first part of this post is for the newcomers. It introduces the idea behind this blog and what I do with typewriters in school. The second part is about a new typewriter in my collection.

The CTP in a Nutshell

The original concept behind The Classroom Typewriter Project was to have students write without distraction. Computers have become distracting devices the divert our attention from quiet inspiration and real reflection. The typewriter is still the perfect machine for getting ideas neatly presented on paper. Moreover, the typewriter requires the author to be aware of GUMS (grammar, usage, mechanics, and spelling) because a typewriter has a way of making your literary missteps very public.

To bring you up to speed on what has happened I have aggregated some of the older posts from this blog. These will be helpful in understanding the goals and what I wanted to do.

A New Acquisition

At $45 it was one of the more expensive Goodwill purchases I have ever made, but if you look at the following pictures you can see why I caved.


Now, the result shown here is less a product of the patented (not really) Magic Margin treatment and more a product of chance. I lucked out with a nice machine.


There are a few warts, but nothing that is too terrible.


An unusual key is always a nice addition. This one is called an obelus and is not always a mathematical sign. It can be a mark that signifies that some text is corrupted or spurious. The obelus can also be used for some fractional indications. 


The serial points this machine to the end of production year 1924. Earlier this afternoon I created a Typewriter Database entry for this typewriter and you can find it at: http://typewriterdatabase.com/1924-remington-portable.1298.typewriter If you haven't been participating in the TWD, go now. You are missing a great collector's tool.

How does it write? The platen is standard; hard. So, the entire feel of the typewriter is slightly off, but from what I have experienced so far, I have to say it's nice. Good feel. having the type bars so high up makes for a fairly light touch with a resounding whack.

Typewriter Story On NBC Tonight...This Feels Familiar

I got an email from Michelle from NBC a few minutes ago. It seems like the typewriter story about some of the Arizona Typosphere is going to air tonight. If you have a TV, tune in. I'll post a link as soon as it is available on their website. 


Friday, May 17, 2013

It Doesn't Feel Like the End

...of the semester. It's the end of the semester. I didn't mean to alarm you. Magic Margin is going to be around for a while.

The typewriters have been silent for the past week. The last official journal was last Friday and since then the machines have been "cooling down."


Most of these typers are rugged little beasts. The constant use is starting to show in some of them and I have already started with the reconditioning of a few. This work will continue the work over the summer. By fall we should have a fully-working arsenal again.

The other great thing is that my annus horriblis is nearly over. Yearbook is done. Prom is done. The final edition of the newspaper is done. It's all done!


I have been going 80 MPH all semester and now it's almost 0 MPH. It feels good to breathe. Now, on to the next round of projects!

Tuesday, May 14, 2013

Feeling a Little Blue with Scheidegger

As hard as I am on Adler machines from the 1970s, I seem to have an awful lot of them. They pop up everywhere, especially in the form of this stained beast.

 

OK, I know that it's really a Triumph Gabrielle/Adler in Scheidegger's clothes. Certainly, Mr. Scheidegger had interesting taste. The blue is certainly blue. The yellowed and aged keys really set off the stains. What about the Brand Schiedegger?

 Robert Messenger asked the question "Who is Willy Scheidegger?" and was unable to get anything beyond some basic information. All I know is that Willy Scheidegger ran a number of typing schools that had the dubious honor of requiring pupils to purchase their private-label machines to complete the course.


Maybe I'll give Willy the benefit of the doubt. The machines that were comissioned were quality typewriters. A Triumph Gabrielle (of any vintage) or Princess 300 aren't exactly a Rover 5000, but requiring students to buy your machines...well I think it's dodgy.

We can make you a star...typer!

Almost as dodgy, say, as the cleanliness of this typewriter. Those stains look pretty shocking. You know what's more shocking? I don't think it's staining from smoke or sun. I think it's bromine.

Yuck.

Yup, that cancer-causing flame-retardant bromine. I draw your attention to an open-source project called Retr0brite. I heard about Retr0brite a year or so ago and I was waiting for a chance to give it a go.

Retr0brite uses some commonly available chemistry to remove the staining from older ABS plastics. Looking over the entire body I can't find a mark indicating what type of plastic was used for the body, but it has the feel of ABS. You know, that slightly hollow, light feel. My suspicions were raised because of the general irregular pattern of staining. Some parts are ugly yellow and others are nicely blue and my gut says that it's flame retardant making things look crummy.

Contract? Serial?

So, my plan is to mix up a little Retr0brite and see if the sad stains can be lifted away.


Of course, it's not like I don't have a few other projects on the bench. Why not add one more?


Wednesday, May 8, 2013

Wild Hearts Can Be Tamed

Just take a thoroughbred name, like Mustang, have Litton's contract-man Nakajima slap together something that is almost a typewriter and you have this:


Green. Avocado green. Why would a Mustang be green? If you ever see a green wild horse, run away quickly because the zombie apocalypse is upon us.

While I have my reservations about these mass-produced-same-as-all-the-rest-why-even-call-it-a-Mustang typewriters, my students have a different opinion. It has been so popular that I have had to recondition it a little bit. Nothing major, mind you, but the rubber grommets that hold the ribbon cover on have disintegrated. Every tap of the keys is followed by the clank of the ribbon cover.



Instead of a hinged ribbon cover, this machine uses a compression fit that requires grommets. I turned to a grommet selection sold by Harbor Freight.


$5.99 for a varied selection. I used the 5/16" ones for this machine. The Brother Valiant in my private collection also needed the grommets replaced. The size; 5/16". This same size also fit the Webster in the CTP. 5/16" must be a popular size grommet in Japan. The grommet fits snugly and drastically improves the machine's sound.


As for this typewriter...the touch is insipid, but can be snappy on the return. Bonus points to Litton for making the shell out of metal although I think that has more to do with the time period and less with Litton's desire to create a quality product.

Royal typewriters form this period always make me sad. There was no desire to create a quality product that would last a lifetime. Gross margins and volume were the designers of this typewriter. Litton wanted to leverage brands and make money. That always sits poorly with me. Craftsmen are craftsmen because they create art. This typewriter was made with monotony. It's a shame because I have a very high regard for Brother's machines and they're mass-produced six ways from Sunday. Oh well, I'll have to reconcile my hypocrisy.

I think this pony looks more like a turtle.

Note to page view essayists: I will be sending out your posters this weekend!


Sunday, May 5, 2013

Typewriter Story on NBC Tonight...Probably

Michelle Melnick form NBC called me today with some good news. If NBC Nightly News isn't shortened because of a hockey game, then her story about typewriters should air tonight. I know she filmed my class, but she was also at MTE (Mesa Typewriter Exchange) and spent some time with Bill. If you happen to be near a TV check it out.

Tough break. When it's typewriters vs. bomb-sniffing dogs the bomb-sniffing dogs will always get the airtime. 

Thursday, May 2, 2013

A Taste of the Typosphere's Future


As I go along I have been sipping from the Future of the Typosphere essays as one would drink a fine cordial. Every new thing I read makes me feel that the Typosphere is one of the most learned and thoughtful groups on the internet.

Saturday, April 27, 2013

10 or X or What?

I have a Royal desktop standard machine with single glass sides from 1927. It's a beautiful machine and I am really proud to own it, but I have a problem.


I don't know what to call this model. Is it a Royal 10? Should we designate that it's a single beveled window rather than the dual window? Royal 10 Single Window?


Should I follow the convention and use the letter prefix from the serial number? In this case it is X-1089085, so this would be a Royal X.


Or maybe 1927 Royal Standard? What do you, the Typosphere, think?

Thursday, April 25, 2013

Angering the Typewriters

So after lofty promises and Greek-drama-sized hubris, the USB typewriter project has come to a halt. The mounting point I imagined just won't work and I am starting to question the wisdom of using my Underwood. Mostly because the rear feet are too squished and are providing almost no clearance for the sensor bar. 

While the mount point I picked was beautiful and it made some sense, I was unprepared for how much it would affect the feel of the movement. Stopping the intermediate linkage even a few millimeters made the whole machine unresponsive. I am beginning to see why the ribbon vibrator bar was a wise choice on Jack's part. The vibrator bar is a piece that interacts with every key bar, yet has movement so as to prevent any major alteration to the feel of the typewriter.

You win some and then you loose some.

I guess that the Ancient Ones of the Typosphere looked unfavorable on my enterprise. Yet, like Herbert West I shall reanimate this idea.

Monday, April 22, 2013

For Nick and All Typospherians

15 March 2020 Update: I think this link went dead. I have adjusted it.

Nick emailed me and asked if I would be willing to scan the instruction sheet for a Royal Portable Model O. Happy to help the Typosphere. I scanned it and made two versions. The first version is for printing on 11x17" paper and folding to your heart's desire. The second is for on-line viewing.




I've also run off a few copies and folded them for you. They are for sale (via this blog) for $1 including postage.


Saturday, April 20, 2013

Typewriter Hacks

When I think of typewriter hacks I think of:


or:


But folks of the digital world that are hooking up typewriters to computers. I haven't decided whether it's a silly idea, as expressed by Strikethru, or something fun as Robert has described. That vacillation hasn't stopped me from giving the USB typewriter kit by Jack Zylkin a go. A few days ago I posted the main board assembled, soldered, and tested. I have a few other pieces to assemble, but my big hang-up was the location of the sensor bar.

As Jack shows on his Instructables page, the sensor bar is attached to the ribbon vibrator cross-member. The reason why he chose this location makes sense. Each key top linkage arm touches this bar and there is a significant amount of play in the trip point. In other words, this is a pretty good place to put a part like this. However, I did not like this location.



The fact I would be mounting something to a moving part made me nervous. I know that most of these typewriter USB conversions use this cross-member, I thought there are plenty of places under the machine to mount a new cross-bar and mount the sensors to that place. This is the location I thought wold be ideal:



So, I went to she shop and started to craft this of aluminum:




And then covered it with Gorilla Tape.

Unfortunately, I didn't take step-by-step photos, but I think you can get an idea of how I crafted it. The curved edge approaches the secondary linkage segment behind the key tops. These small linkages descend only slightly and the clearance is small, but it's enough to make contact with the metal fingers and short to ground. I wanted to mount the sensor bar on the inside of this support bar, but I think the clearance just isn't there.

The great thing about Jack's kit is that's open. You can make the decisions for yourself and go wherever the wind might take you. I decided to make a new crossbar tof my own design that honored my aesthetic sensibilities. You, could do something entirely different.

I am still working on my USB Typewriter. I'll probably be finished with it today, but in the interim I found these two videos on Vimeo featuring a typewriter hack using car door lock actuators and then a profile of the guy who made the USB Typewriter kit.

Before you get too comfortable watching the videos, I want to remind you that today is the deadline for your the prompted questions: Where is the typosphere going? You can find out about the assignment and the reward for those that complete the challenge at this link:
http://www.magicmargin.net/2013/04/magic-margin-at-100000.html


Automatic Typewriter from Harvey Moon on Vimeo.
 
Handmade Portraits: USB Typewriter from Etsy on Vimeo.

Wednesday, April 17, 2013

Deadline Ahead

 
The deadline for the Magic Margin 100,000 Page View Contest is days away. If you want to be one of the lucky few to receive a coveted limited-run Magic Margin poster, respond to the prompt in the post lined below.

http://www.magicmargin.net/2013/04/magic-margin-at-100000.html

Monday, April 15, 2013

It Came in the Post



Soldered by yours truly. This is the first step in a larger project. This project has derailed the Underwood Universal restoration, but I think what's coming will more than make up for it.

Saturday, April 13, 2013

November 1956

I found this interesting document and thought I would share it with the Typosphere. Royal's human resources department published this monthly magazine for the benefit of its workforce. While typewriters are present, this magazine primarily lets us have a glimpse inside the everyday life at a major typewriter manufacturer during the 1950s. 

The people who worked at Royal were not typewriter users like us. They worked for Royal and were probably loyal to their employer, but typewriters were not the cultural artifacts they are today.  No doubt, they would thing that owning more than one typewriter was just plain unusual.

Typewriters were devices intended to do a job. So, within these pages you'll see no mention of the power of unplugging from the digital hegemony or any of the usual tropes of the Typosphere. Instead you'll find celebrations of birthdays, information on major medical plans, and pictures of employee barbecues. You might even see the odd typewriter here-and-there. 



Friday, April 12, 2013

Handy for Mistakes






I was able to find a small stash of these around the house and I would love to make them available to anyone who would want one.  New old stock ready and able to fix whatever typing problems you have. 



Ko-Rec-Type

Monday, April 8, 2013

Magic Margin at 100,000

It's with some pride that I to announce that Magic Margin's 100,000th page views. It's an occasion for me to pause and reflect on what has happened over the past few years. This site–and to a greater extent the Typosphere –has blossomed and become something far more rich, interesting, and vibrant than I could ever have imagined.

In the Typosphere there are people making new parts for their typewriter by using 3D printing technologies. There are people writing novels and poems and essays using a typewriters. There are people creating typewriter art, starting typewriter businesses, and spreading the typewriter good word to all points on the globe. There are movies and books and blogs all about typewriters
.


To share in the joy of the 100,000th page view and the vibrancy of the Typosphere, I have created a Magic Margin poster based on my logo by Nicole Ray. These 11"x17" posters are a very limited run; only 5 have been made and I want to give them away to the Typosphere.

As eager as I am to give things away to my friends, I ask for something in return. I want your thoughts and brainstorms. I want your prognostications and auguries. In the form of an essay, please.

As much as the insurrection has ignited the imagination of the world, I am curious if we can keep the revolution going? Can we create a permanent revolution in The Typosphere? What are the next steps the Typosphere should take to continue the momentum?
Responses don't need to be essays. My inner teacher took over. Your response can take the form of a blog post, a typecast, a vlog, typed essay, or any other creative genre. There is no minimum requirement as to length. Responses that answer the prompt will curry more favor with me, but that is not guaranteed. If you plan on responding via a blog or web site, write a comment to this post with a URL pointing to your project. Offline responses can be emailed to ryan@magicmargin.net for consideration. I, of course, will accept something in the mail.

Every entry will be given two scores. One score is based on the Holistic 6-Traits (http://www.azed.gov/wp-content/uploads/PDF/HOLISTICRUBRICBASEDON6TRAITS.pdf) and will garner a number from 1 to 6. The rubric is comprehensive and my evaluation will be equally precise. The second score will also range from 1 to 6; one being "meh" and 6 being "wow." Added together these two scores will be the final valuation. I will then rank the scores of all responses lowest to highest. The top 5 will get public praise and a poster. The remainders will also get something, but not nearly as awesome as the poster. In the event there is a tie, Mrs. Magic Margin (an exceptionally gifted Advanced Placement teacher) will break the tie.

All responses to the Magic Margin 100,000 Page View Celebration Contest must be submitted no later than 20th of April.