The Most Beautiful Typewriter

When the Olympia arrived in the mail, I immediately wanted one for myself. I began the process of looking for a light blue SM3. Surprisingly, I was able to to find one here in Phoenix in an identical color. It really is a very attractive typewriter. I thought this was, perhaps one of the most beautiful typewriters in the world. The color is blue like a summer sky. The chrome shines even on the grayest of days. The gentle lines are at once playful and very serious. It is a joy to look at.

The Most Beautiful Typewriter
Source: Machines of Loving Grace

But as lovely as the Olympia is, there's only one typewriter that I think truly deserves the moniker of "The Most Beautiful Typewriter" and that is the Olivetti Studio 42 designed in 1935. I know many will disagree with me. I would love to hear the disagreements.

I  do not have an Olivetti Studio 42, but I dream of owning one. If I found this machine (in good condition) I would stop collecting. It's that special.

To assist in proving that the Olivetti Studio 42 is "The Most Beautiful Typewriter" I will be using Dieter Rams' 10 Principles of Good Design. I really connect with Rams' aesthetic and think that the principles he created can really help prove my assertion.

Fig. 2
Source: Machines of Loving Grace

Good Design is Innovative. I cannot think of a typewriter made in the mid-30s that looks a beautiful as the OS42. The only exception is the Royal Deluxe of a similar vintage. While very nice looking, as you can see from the photo (labeled Fig. 2), the use of chrome on this machine is not subtle or discrete. The  Quiet (not DeLuxe) is further adorned with three vertical lines on the frame in front of the spacebar. While each of these machines are highly styled and modern (for their time) they are not as restrained as the Olivetti. There is chrome on the OS42, but it accents the curve of the ribbon cover and the frame of the gray insert.

Good design makes a product useful. There are no unnecessary buttons or levers on the OS42 This isn't unique to this Olivetti. It seems as if typewriters of this vintage are, usually, immune to the stupid gadgetry of typewriters in the 1960s.

Good design is aesthetic. The aesthetic quality of a device is integral to it's usefulness because people use these devices every day to shape their lives. If you use it every day, then it must be beautiful. The Olivetti Studio 42 is a beautiful machine.

Good design makes a product understandable. This is an attribute common to typewriters as a whole. There is (usually) no mystery in how to use the most basic functions of a typewriter; press a button and print out a letter. Where typewriters become incomprehensible is when features are hidden. A perfect example of this is the Remington Travel-Riter. The carriage locks with a small, almost completely unnoticeable lever on the right-hand side of the spool cover. If you were unaware of this stupid little button you would, perhaps, think that the machine is broken when, in fact, the designers were merely idiots. A carriage lock should be on the carriage. That would make sense. The OS42 makes sense.

Source: Machines of Loving Grace

Good design is unobtrusive. The Olivetti Studio 42 visually is an English butler; there when you need it. When you don't need it retreats into the background. It does not assault you with chrome or shiny paint. The SC Sterling of 1936 is a perfect example of shiny distracting paint. The OS42 is neutral and unostentatious.

Good design is honest. When style overrides design you get products that cannot live up to our physical expectations. The perfect illustrative would be the Underwood Deluxe. The influence of automobile styling instantaneously makes this typewriter seem outdated. This, however, was the goal of the American automobile industry in the 1950s; they wanted to

Source: Machines of Loving Grace

sell more cars year after year by making the previous year's style outdated and unfashionable. When you are inspired by this kind of mentality you get bulbous curves that serve no purpose but to appear as if they are designed. This Underwood is dishonest. It promises an experience of driving an automobile. Is typing like driving a car? No. It's typing. The Olivetti does not promise what it cannot keep. It's a sober typewriter and that's it. Curves are present where they are needed. when they are not, they are left off. Take, for example, the curved frame at the front of the machine. No one would want a sharp point near where your hands are working. So, the designers introduced a curve with a pleasant radius. There's no need for curves higher on the machine, so strait lines would be appropriate.

Source: Apple Computer

Good design is long-lasting. The Olivetti Studio 42 is the only typewriter that looks at-place in any decade. The design and taste of this machine transcends decades. In-fact this OS42 reminds me of a rather modern product; the iPad.

Good design is thorough down to the last detail. Who hasn't been annoyed by a poorly designed latch, catch, or lever. Nothing on the OS42 seems to be left to chance. Look at the red tabulator button. Genius!

Good design is environmentally friendly. If a product is meant to last decades rather than years it is innately friendly to the environment. When something is meant to be thrown away when it is no longer fashionable, that is poor design.

Just look at it. It's gorgeous. I hope you would agree with me that the Olivetti Studio 42 is "The Most Beautiful Typewriter." I would love to hear other opinions.

Student Typecasts Pt. IV

Juan had this to say about typewriters.

Last Day of Finals

As today is the last day of finals I have to start packing away the ribbons for the typewriters. If I leave them out they will, of course, dry out a little too much. Right now I have cobbled together enough spools and ribbons to serve all 10 of the machines in the room. I want to get new ribbons for all the machines sometime this break. It'll be a bit pricey, but I think it will make the machines more useable. I'm going to do a summary of the semeter in typewriting and detail some of my plans for the future of the project.

Even though the semester is ending, I'll still be thinking about typewriters (much to the chagrin of my family) and working on a few projects. I haven't forgot about the DCC (Digital Carbon Copy) Project yet, I need a few bits and pieces and I'll be able to work on that some more.

In the typosphere, Philly Type-In has quickly become the big typewriter story of the moment. I'm sure a similar yet Phoenix-themed version of this event would be popular in the valley. Perhaps one of our more mid-century venues would be perfect. Anyway, check out the video.

I have to agree with Mike. A device that has one funtion and does it well is a joyous thing.

Olivetti Ivrea

I make typewriters using my scowl!

I came across this interesting photo set of the Olivetti factory in Ivrea taken around 1970. I have no idea what they are making, I am sure that a typewriter is in there somewhere. The pictures are amazing and have a wonderfully grainy composition. The photos offer a glimpse behind the svelte lines and carefully crafted industrial design of Olivetti.

http://www.flickr.com/photos/jean-paul-margnac/321486277/in/set-72157594418644080/

I've never have used an Olivetti, but if I find one I'm sure that these pictures will come to mind.

Typecast From the Front Part III

Today, we have another typecast from Jonathan.

SCM Sterling 12

Olympia SM-3 Pic

Today I found a few moments to snap a picture of the blue Olympia. Our office is decorated in a very 50s style, so this typewriter looked right at home.

I went to the hardware store and bought some small rubber washers to replace the original squashed frame bushings. Such a small repair made the world of difference. I want to go through and clean all the eraser dust (there is enough in there to make a new eraser) and play around with the shift in hopes to make it lighter. It's a wonderful machine with a smooth action. I'm excited to see some reactions to it.

Typecast From the Front Part II

Yesterday Enrique shared his views. Richard commented that the spelling and typing were very good. I would have to agree. Today, we will be hearing from Zaul, also in my 5th period. I have gone ahead and enhanced the images using GIMP rather than wasting time rescanning each page. This sould be much more readable.

Royal Aristocrat