A Japy by Any Other Name

This last week teachers were back at school getting ready for students. I spent today uncovering my classroom typewriters and diagnosing any problems that might have crept up from the heavy use last school year. It's a multi-day project and I hope to have all the machines ready for student use before the start of the school year; August 5th.

The start of a new school year is exciting and all, but a new typewriter is its own type of fun. This is the new typewriter:

The badge says AMC, but under the stolid grey facade is a French-made Japy. I saw this little machine on eBay for a pittance and thought I would snag it. It's in fair condition, but there is something odd going on with some of the key tops.

As you can see they look as if they are melting. Melting? Yes, melting. It's hot here, but not that hot. More on that later.

I'd never seen a Japy person. In the past I had vague ideas of owning a Script or one of the several other re-branded versions out there. I particularly like the Piccola which was a Swissa version of the licensed pattern from which my AMC is based; all of which come from the Patria.

The Patria can best be described as a faimily of typewriters. This design was adopted by several manufacturers across Europe. Japy was one of those manufacturers. Will Davis and Georg Sommeregger have spent considerable time covering the intricacies of the Patria/Swissa/Japy connection here and here.

This AMC/Japy arrived poorly packed and when I opened the case I was disheartened at the state of the carriage. It was stuck in a very unnatural position. I had the inkling that a jolt had caused the unsecured carriage to shift and then jump past the uppercase shift stop.

I tried moving one of the type bars up to the printing point and it aligned with the bottom of the platen. Curses! Undaunted, and with some brute force, I was able to push the carriage back down to a position that looked more normal. I then started looking for the shift stops. In short order I found them and saw that the screw and set nut were in an odd position. 

Loosening the set screw, the carriage dropped down to a normal height. When the carriage over-shifted it bumped past this stop and jammed itself. Luckily it was an easy fix but the type was massively out of alignment. The slow and steady task of dialing in the correct alignment for both uppercase and lowercase type began. Right now it's not perfect, but the carriage is advancing properly, the imprint is more aligned, and it seems as if no lasting damage was done.

Having completed the biggest task, I looked toward some smaller problems. While deep inside the machine I noticed two springs that were flapping around freely. You can probably guess that they are part of the carriage shift. When the shift key is depressed these springs give a little lift to the carriage. Their job is to lighten the load. 

I had a devil of a time finding where this tail of the spring went until I took this picture. That pivot point looked like it was just the location.

With a quick motion of a needle nose pliers I was able to place it back.

You could have knocked me over with a feather when it fit. The carriage was lightened significantly. I would just be worried about it coming undone again. Thinking on it I came to the conclusion that this spring–and its mate on the other side of the carriage–had jostled loose during shipping.

The fixes are holding, but what about the keys. Here's the picture again.

As to the key tops, that's a mystery. What would cause them to melt like that? The surface is not smooth. They feel rough and the inlaid plastic letters are starting to pop out. Is it be possible that the oils or chemistry of a person's skin could cause plastic to degrade like this? Part of me wants them to look pristine and brand new while a contradictory part wants them to stay just as they are.

As for dating this typewriter the AMC entry in the Typewriter Database doesn't have a sequence for Japy-made machines. If you look at the Japy numbers this serial falls nicely into the 1957-1958 sequence. Given the date on the back of the instruction booklet (1956) I feel pretty comfortable with the assignation.

Apart from the dodgy keys, I really like this little machine. Thankfully the shipping damage din't prove to be permanent. The next step is to clean it up and get it typing. Unfortunately I have quite a backlog here.

Get Ready

To whet your appetite for a flurry of new typewriters here is the instruction booklet for a little French chap.

Magic Margin Vlog: Episode 3

If you love typewriters and names and bald[ing] men this is the Magic Margin vlog for you!

Removing an Olympia Badge

No, the title of this post is not a metaphor. Although I am gifted in mystical arts of the metaphoric, what I am taking about is far more literal. I wanted to give you a few tips on removing this troublesome little piece of decorative metal.

Olympia badges on the 1950s varieties (SM-2, SM-3, SG-1, etc.) are high-quality aluminum castings that are adhered to the body of the typewriter by four sprue. Each of these four legs are placed in a corresponding hole and the ends deformed. The deformation holds the badge fast and makes for a very strong connection. Come to think of it I have never seen a badge-less Olympia. Quality German engineering.

Removing the badge is not for the faint of heart. You must drill out the deformed end of the sprue just enough to ease the badge from the mounting holes. To do this you need an electric drill and a steady hand.

I used an electric hand drill fitted with a bit only slightly larger than the sprue. Starting slowly, I drilled out the end taking care to only drill enough to get rid of the riveted end. In place of the rivet-like end you will se shiny, bare metal in a slight concavity. This concavity will play an important part in reassembly. 

After the drilling, I took a very thin bladed screw drive and carefully eased the badge out of the mounting holes. The aluminum badge can be bent easily, so make sure that you are prying up near a sprue.

There you go. Your Olympia cover is badge-less and ready for refinishing.

When you want to reinstall the badge, just fit it back together and put four small beads of JB Weld in the concavities made while drilling. After the JBWeld is cured, you can put the felt back and it should be as good as new. This process can also be done for the riveted badge from the back of the machine. 

Promises, Promises, Promises Fulfilled

I just finished typing a letter to Keith Sharon. If the name sounds familiar you might want to check out Mike Clemens' typosphere.net post about Keith and what he is trying to do. Click on this sentence to read it.

It was a few weeks ago that Keith asked me to write him a letter. I promised and put it off. I remembered my promise and was distracted by a new typewriter. I remembered my promise and finally sat down and penned a letter worthy of correspondence.  I even have photographic proof that this letter exists.

Keith is waiting for your letter. He want to hear about the weather, your favorite foods, or how you feel about the Angels. His address is in the photo above. So, off you go. Write a letter and make a new friend.

Oh That's Pink-lympia!

So, the painting is done and the color is striking. I like the color, but I might want to sand and do another coat on top of this one. There are a few sanding marks that made their way through the gloss and it's bothering me. Also, a small bubble has turned to a tiny chip that is causing me hours of lost sleep. 

This typewriter is destined for the classroom. The pink was a decision based on several requests from students. Obviously, original pink typewriters like models from Royal or Smith-Corona are too expensive for my budget, so I decided to turn this machine into a pink wonder. 

SM-9s are the perfect customizer's typewriter. The main body panel is one piece and you can remove it without tools. The only other piece of metal I removed was the back panel on the carriage and that came off with just a couple of screws. I left the rugged grey on the bottom because it looks good and goes with everything. In all, it looks pretty slick. The only odd thing is the ribbon color indicators. I was unable to pop them out again (I super-glued them in when I restored it last). The stencil indicator was the only one that came out, so I just painted over the others. I think it works because the tensioner indicator on the left is just a cutout too.

I have been getting better at painting typewriters, but I would really like to get one finished at a body shop. I have a feeling that the paint might be more durable and look a little nicer.

Regardless, I am proud of how it turned out and I know that there will be a line to use this one in the fall.

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?

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.

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.

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.

Underwood Portable: A Few More Pics

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

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:

Lee S.Burridge and the Underwood 3 Portable Typewriter

On This Day in Typewriter History: Honey, Lee Shrunk the Typewriter

Underwood 3 Portable Typewriter: Yet Another Centenary

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!

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.

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.

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.

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.

1. The original proposal sent to the nascent Typosphere: http://magicmargin.blogspot.com/2010/08/classroom-typewriter-project.html

2. The Hypothesis: http://magicmargin.blogspot.com/2010/08/hypothesis.html

3. The Process: http://magicmargin.blogspot.com/2010/08/process.html

4. Some results: http://magicmargin.blogspot.com/2010/09/results-of-weekly-typewriter-inventory.html

and http://magicmargin.blogspot.com/2010/09/weekly-typewriter-inventory-analysis.html andhttp://magicmargin.blogspot.com/2010/10/analysis-and-monks.html andhttp://magicmargin.blogspot.com/2010/12/young-truth.html

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. 

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!

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?