Okay Typosphere, Who else is using their typewriter to converse with others via web and Webmention?

As I was scrolling along yesterday, a post about the lovely Professional Elite typeface popped up in my feed on Reddit. It linked back to Tom Fasano’s website, so I read the original there. I noticed a syndication icon at the bottom and stopped dead in my tracks! Had I run into a fully featured IndieWeb website in the wild?!?

I peeked at the code and saw a Webmention endpoint hiding in there and nearly fell over. Webmention is a web standard that allows any website to talk directly to any other website as if they were social media peers on the same platform. 

I immediately fired up my new-to-me 1959 Olympia SM3 which also has a Professional Elite No. 41 typeface to dash off a note to Tom and his typewriter. I posted it to my website as a typecast reply. But most importantly, my website sent a webmention (think @mention/notification) to Tom that I had replied to his post. Voila! My reply was in his comments section just moments later, as if by magic.  I’ve only done this a few times as there aren’t many typewriter collector/typecasting bloggers out there who’ve added the technology to their sites yet, but this certainly opens up a new space for typewriter social networking by way of the web rather than just via post.

The careful observer will also notice that because Tom syndicated his original post to Reddit and included a syndication link, he’s getting replies from Reddit back into his website via Webmention using a service called Brid.gy. So if you want to type up a reply to his post, or even this one, and post it to the Reddit thread you can participate that way (if your website doesn’t have the capability yet.)

Who else in the typosphere has a website that supports webmention? Let’s start a chat.

Angle on a typewriter keyboard with glass tombstone keys. In the front, we're focused on the @ key.
A new use for your typewriter’s @ key: to send @mentions by typewriter on the web!

If you’d like to go deeper into the subject of Webmention, try this article in A List Apart: “Webmentions: Enabling Better Communication on the Internet“.

A visit to Helmut Schulze at Rees Electronics/Star Typewriter

Usually I’m so busy chatting and marveling when I visit Helmut that I totally forget to take a few photos. Fortunately someone stopped in for some ribbon on a Hermes yesterday, so I took a moment to document some of the density of typewriters in Helmut’s spectacular typewriter shop. I only got photos of about half of the space, but tried to cover all the various refurbished machines ready for sale. Generally not pictured are the client machines for repair.

If you’re looking for a really great refurbished machine, then this is the place to stop in and try out almost anything ever manufactured.

I have to admit, even for an experienced collector, this shop is overwhelming, so perhaps do yourself the favor of browsing what he’s got listed online to make a shopping list before you go! Without some prep you could easily spend a week here and not see everything much less try out a tiny fraction of what’s on offer.

Helmut Schuze on the phone in the front of his typewriter shop literally stuffed with machines and typewriter paraphernalia.

Glass display cases with antique typewriters

Four display cases of typewriters with a row of seven typewriters in cases lined up on the floor in front of them. On top of the row are a handful of typewriters standing on their backs as well.

A display case with a dozen portable typewriters in various shapes and colors.

A bookcase crammed floor to ceiling with typewriters, and decorative items including book bags with typewriters printed on them.

a 4 foot by 5 foot corner of a typewriter shop with shelving absolutely jam-packed with portable typewriters. More typewriters are stacked on the floor in front of them.

Even more shelves jam-packed with typewriters. They just don't end in this shop.

Typewriters standing on their "backs" on a shelf and packed in like sardines up to the ceiling.

A filing cabinet in the background completely surrounded in the background, middleground, and foreground by hundreds of portable typewriter cases.

A back corner of a typewriter shop with portable typewriter cases stacked literally from the floor to the ceiling. On the floor in front of them is a box with about 6 ultra-portables in cases all standing on their backs.

Wedge-shaped wordprocessors jammed into shelving in the foreground with manual portable typewriters on shelving in the background.

Several dozens of parts typewriters packed into shelves in a dark corner of a typewriter shop.

A corner of a typewriter shop with more than 36 portable typewriter cases stacked up and filling the entire frame.The front door of Star Typewriter featuring a poster from the movie  Ready, Willing and Able (1937) in which dancers perform on a massive typewriter whose keys are the "dance floor".

Metal case with the business directory of an office building. Rees Electronics/Star Typewriter appears at the bottom.

What words could we use to better describe the soul of a typewriter?

Hot take: Is it just me or has the word “snappy” ceased having meaning within the typosphere?

I’ve heard “snappy” applied to the best typewriters, the worst typewriters, and nearly everything in between. While almost everyone uses it with a positive connotation, the noise of the depth and breadth of machines it’s used to describe has drowned out any signal of actual meaning for me. 

I hear someone say that a “typewriter is snappy”, and it translates to me as the tautology that a “typewriter is typewriter-y”. Yet I know the difference between the action of an Olympia SM3 versus an Olivetti Lettera 32 are as markedly different from each other as a Remington Quiet-Riter is from an Olympia SG1. Even a freshly cleaned, oiled, and properly adjusted Royal KMG with a brand new platen is dramatically different from that same machine just out of a barn after 77 years of dust collection, cobweb accumulation, and abject neglect. Yet I know people who would call both of them snappy without a moment’s hesitation.

I get the feeling that many are attempting to use the word to describe the “action of the machine” rather than just the noise it makes or the “voice” it presents. One might say some sound flat and tin-y while others are solid and sonorous. One might describe a typewriter with a new platen as having the velvety sweetness of a romantic crooner. These words all get at something. They strive to touch the soul of the machine and how it functions. Snappy as an adjective to describe a typewriter has lost touch with the soul of typewriters. We need some new words!

What other words could we use to better describe the “action” of a typewriter’s key levers and typebar assemblies? Words that give more depth and actual meaning to the joy of typing on the wealth of machines that one might run across in the wild?

If you were to put these new words onto the perpendicular axes of speed (fast versus slow) and a measure like key travel distance (deep versus shallow) where would they sit? Are there other axes we should consider plotting the “soul of a typewriter” on to better situate descriptive words of typewriters, their condition, qualities, and how well they work?  Maybe we include an axis of “press” from soft to firm? How might we verbally quantify the touch and feel of the keys and how they respond to the variety of typists? How might we better capture the engineering of a machine and how well it has been maintained? There are miles of distance between the performance of a Hermes 3000 and the typewriter-like simulacra known as the Maplefield Classic Portable Manual Typewriter. We need some words to help convey this to someone who lacks the personal experience.

I’ve got some ideas already, but I thought it would be more interesting to put the idea out to the creativity of the community to see how far we might expand the universe of the idea first.

What better words could we be using to expand the experience of the space?

Cook Books Published as Recipe Cards

What I wouldn’t give to have some popular cookbooks like Rombauer’s The Joy of Cooking, Bittman’s How to Cook Everything, Better Homes & Gardens’ New Cook Book, Brown’s Good Eats, America’s Test Kitchen books, or Christopher Kimball’s Milk Street published as recipe cards in 4 x 6 inch index card format. 

While their book formats are lovely and lend themselves to lean back aspirational food content, they’re not so great in an actual kitchen. If all the content was on the front of the card, perhaps with those aspirational photos on the back, and a reasonable tabbed index and packaged for sale in a nice cardboard card index box , I’m sure my kitchen life would be far better. 

Can one of the recipe giants produce something as functional for use in the kitchen as their recipes? 

If they wanted to go crazy, they could also: 

  • offer a deluxe wooden card index with a thin, angled notch on the top to hold the recipe as an easy display while cooking;
  • print the cards in high quality in such a manner as to make them liquid/splash proof or alternately include a reusable plastic sleeve or two for covering the cards while in use in the kitchen;
  • add all their “methods” information on individual cards  in a separate section;
  • number them to allow for cross-indexing them to related recipes or methods (color or textual effects like bold, italics, underlining could also be used to cross-reference these)

Some quick examples in the space:

Other than these and some magazines that occasionally publish one or two recipe cards, is anyone in the food space already doing this at a bigger scale anymore?

Royal Standard Typewriter Collection

I’m slowly closing in on a completist collection of Royal standard typewriters. 

Here’s most of my collection so far. Only a few major must haves left, but also still a few to finish refurbishing. Seven are fully refurbished, though two still need some small tweaks; all type but two need some reasonable work, and the rest need a full clean/oil/adjust.

A wire metal shelving unite on concrete in front of a grassy yard with some bushes and flowers in the background. On the 5 shelves are a collection of Royal Standard typewriters with three on each shelf except the top which only has two.

From bottom to top, left to right: 1935 H (with 5 key decimal tabulator), 1935 KH, 1936 KHM; 1945 KMM, 1946 KMM-18 (with a 10-key decimal tabulator), 1950 KMG-P; 1950 KMG-E, 1955 HHE, 1954 HHS (pica double gothic); 1957 FPP (cameo pink smooth), 1961 FPE (sandstone), 1959 FPP (sea blue smooth); 1960 FPE (light green smooth), 1961 FPS-18 (clarion double gothic, pearl light gray smooth).

Anyone with a nice Royal 10, please inquire within.

Two new additions to the Royal FP collection this year give me most of the major colors. Anyone want to join me for a type in? 

A dining room table with two rows of Royal FP standard typewriters set up for use. In the background are two different bookcases and a library card catalog with a flower arrangement next to a black typewriter

Overhead view of five Royal FP standard typewriters in pink, yellow, green, blue, and a pearl-gray.

Groups, Fields, and Galois: Part 1 | UCLA Extension

Dr. Michael Miller, a retired researcher at RAND, has been teaching upper level undergraduate/graduate level math courses for fun at UCLA Extension for over 50 years. This fall he’ll be introducing the areas of groups, fields, and Galois theory from abstract algebra to those interested in abstract math: Groups, Fields, and Galois: Part 1. His intention is to do a follow-on class on Galois theory in the Winter which will use this class as a foundation. If you’re in the Los Angeles area his class starts on September 22, 2026 at UCLA on Tuesday nights from 7-10PM. Register here: https://www.uclaextension.edu/sciences-math/math-statistics/course/groups-fields-and-galois-part-1-math-9001

His courses are thorough and rigorous, but geared toward lifelong learners and beginners in abstract mathematics to allow people better entry points into higher level mathematics. His classes are interesting and relatively informal, and most students who take one usually stay on for future courses. The vast majority of students in the class (from 16-90+ years old) take his classes for fun and regular exposure to mathematical thought, though there is an option to take it for a grade if you like. There are generally no prerequisites for his classes, and he makes an effort to meet the students at their current level of sophistication. For this particular class, if you’ve got some experience in high school algebra and know some preliminaries about mathematical proofs you’ll be ready to dive in.

There are regular commuters joining from as far out as Irvine, Ventura County and even Riverside. Most in the class are dedicated hobbyist and professional mathematicians, engineers, physicists, and others from all walks of life (I’ve seen actors, directors, doctors, artists, poets, retirees, and even house-husbands in his classes.)

If you’re unsure of what you’re getting into, I recommend visiting on the first class to consider joining us for the Fall quarter. Sadly, this is an in-person course. There isn’t an option to take this remotely or via streaming, and he doesn’t typically record his lectures. I hope to see all the Southern California math fans next month!

Course Description

Group theory is recognized as one of the great unifying mathematical disciplines, with far-reaching applications in virtually all scientific (and many non-scientific) fields. This course, the first of a two-quarter sequence that concludes in Winter 2027 with a course on fields and Galois Theory, is geared toward developing the tools of group theory needed to establish the Abel-Ruffini theorem on the insolvability by radicals of the general polynomial of degree five or greater. Results established along this journey will also be applied toward addressing the three classical ruler and compass construction problems of antiquity: trisecting the angle, duplication of the cube, and squaring the circle, as well as Gauss’ surprising characterization of constructible regular polygons.
September 22 – December 1
Tuesday 7:00PM – 10:00PM PT
REG# 410697
Fee: $450.00

Recommended textbook: TBD 

Dr. Miller provides enough background and thorough notes that if you’re taking notes on his lectures, you typically won’t need a textbook.

If you’ve never joined the class before (Dr. Miller has been teaching these for 53 years and some of us have been with him for nearly that long; I’m starting into my 20th year personally), I’ve written up some tips and hints.

A Stopgap Repair Solution for Impatient New Olympia SM3 Typewriter Owners

You just picked up a dusty, but somewhat functional Olympia SM3 and you know that you need to replace the rubber body bushings to prevent your carriage from hitting the body panels and scratching the paint job. The problem is that you’ve got a lovely new-to-you typewriter in front of you, and you don’t have the patience to not type on it until you’ve done this easy repair. 

I’ve never seen it mentioned anywhere, but I’ve got a quick, temporary solution that’ll get you typing in just a few minutes. (Incidentally squished, old rubber bushings is the number one issue with vintage Olympia SM3s, and if you’ve not come across it, I’ve written out the details for a permanent repair/replacement solution.)

One can remove the two front smashed bushings near the space bar on either side and pair/stack them up with the two smashed bushings in the rear. It may take a bit of removing some of the “proud” protrusions to smooth the bushing pairings, but it’ll work. In my case, I used an X-acto knife (though a pair of scissors might also suffice) to slim down portions of the bushings that were sticking out. This also helped to keep the bushing combination from being too tall and not allowing me to get the shoulder bolt back into the machine. 

Close up of the left rear of the bottom of an Olympia SM3 typewriter featuring a stacked pair of black rubber bushings in the corner of the machine.

The one issue you may encounter with this solution is potentially while typing with the shift lock engaged. This is because the front bushings help provide the proper clearance for the space bar while the shift lock is enabled. Typically one doesn’t type in all caps, so you might not notice this subtle issue at all.

Another possible solution depending on your particular machine is to swap the front bushings with the back ones as the rear ones typically carry more weight and are more squished than those in the front. Your mileage may vary based on your particular machine.

If nothing else, hopefully either the swap or the stack hack will help get you typing right away while you wait to pick up some replacement bushings from the local hardware store.

Good luck and happy typing.

Clack! Analog Attitude for the Digital Age – Vol. 1 – Summer 2026

Yesterday at the QWERTY Typewriter Festival in Carson, CA, Bryan Mahoney of The Typin’ Pint released Issue 01 of his new zine Clack! 

Bryan Mahoney and his wife at a booth selling the first issue of Clack! Over their heads is a large sign that says "Newsstand" and the front of the stand is festooned with issue No. 1

I’ve just finished reading it this morning (from cover to cover, though I admit I haven’t finished the crossword yet) and it is truly fantastic! There’s so much to love inside its pages. My favorite parts were the poem (who doesn’t love a good clown story?!), numbers 9 and 11 of Tom Hanks’ “Eleven Reasons to Use a Typewriter” and  Sarah Everett‘s essay about Barbie typewriters which has the cleverest of titles.  

It’s so jam-packed with typewriter-y and analog goodness that the editor didn’t have the space to include a table of contents, so for those who need one, I’ve  typewritten one which I’m including below.

Typewritten index card with page numbers and contents next to a small sticker.

The limited zine release has 500 numbered copies. Brian got the first two copies, Tom Hanks snagged numbers 3, 4, and 5. First in line, I managed to get issue number 6. I saw Michael Hanttula swipe number 7, and Lyn, who had just purchased a lovely duo-toned gray Royal Royalite typewriter moments before, got number 8. Which number(s) will you collect?

Because there really ought to be an issue number 2 and 3, I’m already brainstorming things that I might type up for them. And if somehow that doesn’t happen, then they’ll just have to go into my own zine…

Close up of the front cover of Clack! Issue No. 1

Jose Siri gets Shohei Ohtani out while using an Index Card in an MLB Baseball Game

Shohei Ohtani, a designated hitter and pitcher for the Los Angeles Dodgers, is one of the biggest superstars in baseball right now. If you’re Jose Siri on the Los Angeles Angels, you know that to get Ohtani out, you’re going to need some serious notes on an index card to score the out. The problem is, what do you do when the hit happens on the first pitch, and you’re not quite ready?

My screen captures from the Angels at Dodgers’ baseball game at UNIQLO Field in Los Angeles on Sunday, June 7, 2026 at the bottom of the first inning. Pitcher Jose Soriano faces batter Shohei Ohtani who, on the first pitch, flies out (F8) to Jose Siri in center field.  Siri has all the data and skill he needs.

Only in LA?!?

That looks like a 4×6 inch index card right?

Siri in the Angels' red away uniform with an index card in his right hand tracks a fly ball to center field.
On why an index card is an important piece of baseball equipment

Siri with an index card in his right hand raises his glove in his left hand for a one-handed catch in center field

The blur of a ball is seen just above Siri's glove in center field
Solid one-handed catch because he’s got his scouting data on a card in his other hand.
With the ball safely in his left handed glove, Siri brings the index card in his right hand up to his face.
How do you throw the baseball back when your right hand is occupied?

Siri transfers the index card to his mouth so he can throw the ball back with his right hand.

With a white index card in his mouth, Siri winds up to throw the ball back to the infield.

Close up of Siri with a white index card in his mouth as he stands in center field during a game at Dodger Stadium

Close up of Siri wearing sunglasses and a white index card in his mouth. His right arm is swung across his chest after having just thrown a fly ball back to the infield.

Siri with his index card back in hand returns to his position in center field

While he's got it out, Siri studies the white index card as he's walking back to his position for the next batter.
I’ve got the card out, I may as well study for the next batter.
Siri standing back in center field with his right hand in his glove in ready position for the next batter.
Siri back in ready position. He won’t be “caught out” for the next batter.

The Royal KMG Standard Typewriters of It’s a Mad, Mad, Mad, Mad World

The Stanley Kramer comedy classic film It’s a Mad, Mad, Mad, Mad World (United Artists, 1963) has a handful of Royal KMG typewriters featured in the office settings at police stations throughout the film. The KMG was Royal’s top-of-the-line office standard machine and was manufactured from 1949 to 1952 before being replaced by the Royal HH (1952 to 1957) and the Royal FP (1957to 1962). By the time the film premiered in November of 1963, the newest desktop manual would have been the Royal Empress (1962-1966).

The featured Royal KMG of the film sits in the center of Capt. T. G. Culpeper’s (portrayed by Spencer Tracy) squad room and another appears in the background there.

A switchboard operator with a headset in a police department office. In the background is a secretary at a gray Royal KMG typewriter on a small typewriter desk. On the wall behind them is a map charting the chase route of the people chasing the missing money. In the back corner in front of the map is another Royal KMG.

The switchboard operator at her board in the foreground as Culpepper's secretary types on a Royal KMG  just behind her at a small typing table next to her tanker desk.

A sargent in a white uniform leans over a tanker desk to talk to the secretary outside of Captain Cullpepper's office. The secretary is facing away from him working at her Royal KMG typewriter

Spencer Tracy in a 3/4 shot wearing a black suit and tie and a fedora while he's on the phone. Just in front of him is a secretary's Royal KMG typewriter. Another typewriter sits on a desk in the far background.

Spencer Tracy on the telephone next to his secretary at her Royal KMG typewriter. Between them in the background is a map tracing the route of the bank robber.

Spencer Tracy walking out of the Detective's Division. In the background are another officer and a Royal KMG typewriter.

Tracy pointing across the room in the foreground as his secretary types on a standard Royal KMG.

A police station bullpen with five officers gathered around a desk as one radios out orders. On the right hand side just behind them on a desk we see the left side of a Royal KMG typewriter

Another Royal KMG appears in the sheriff’s office of Crockett Country with the Sheriff portrayed by well known character actor Andy Devine.

Andy Devine as the old sheriff with bushy gray eyebrows and a reddish face is on a black rotary desk phone in his office as a closely cropped deputy sits behind him at a desk where we see the left side of a gray Royal KMG typewriter in the background.

 

Of tangential note, comedian and writer Carl Reiner, who portrays the tower controller at Rancho Conejo at which Mickey Rooney and Buddy Hackett attempt to land their airplane, is known to have have used a Royal KMG, though one doesn’t appear in any of his scenes in the air traffic control tower.

FAQ: How do you use your typewriters?

The question “How do you use your typewriter(s)?” pops up for me fairly frequently. Often it’s collectors who love the machines and only think of using them for writing the “Great American Novel”. However there are a variety of tasks one could use them for besides conversation pieces or functional art in the home.

Below are some various recent uses I’ve made of my typewriter collection:

  • I’ve got writing projects sitting in two different machines.
  • I use one on my primary desk and another on the table behind it for typing up notes on index cards, recipes, my commonplace “book”, letters, and other personal correspondence.
  • I use a few of my portables on the porch in the mornings/evenings for journaling.
  • One machine in the hallway is for burning ideas, jokes, poetry and an occasional bit of typewriter art.
  • I often have one in the trunk of the car for typing on the go or the impromptu busking session.
  • One machine near the kitchen is always gamed up for adding to the ever-growing shopping list.
  • I’ll often get one out for scoring baseball games. (See also other baseball scoring experiments.)
  • Participating in One Typed Page and One Typed Quote
  • Typing up notes in zoom calls. I’ve got a camera mount over a Royal KMG that has its own Zoom account so people can watch the notes typed in real time.
  • Labels for folders, index card dividers, and sticky labels.
  • Addressing envelopes.
  • Writing out checks.
  • Typecasting
  • Hiding a flask or two of bourbon (large standards, and especially the Fold-A-Matic Remingtons are great for this)
  • Supplementing the nose of my bourbon and whisky collection.

At the end of the day though, unless you’re Paul Sheldon, typewriters are unitaskers and are designed to do one thing well: put text on paper. All the rest are just variations on the theme. 😁🤪☠️

Looking for other ideas? I’ve indexed a number of times people have asked this question and some of the answers I’ve run across.

Looking for the opposite of this list? Try: How do you use your typewriter? [Wrong Answers Only Edition] This is where you’ll find the quirky off-label use cases like “boat anchor”, “doorstop”, “paper weight”, etc. that the non-typewriter afficionados will be sure to appreciate throwing about. 

Most Collected Typewriters on the Typewriter Database

In reflecting on my own typewriter collection, I thought I’d look through it to see how some of the models I gravitate toward compare to those others are collecting. As a potential proxy for this, I took a look at the most popularly collected typewriter models according to the Typewriter Database and compiled a list of the top fifty, which appears below. (Numbers in parenthesis are the number of examples in the database.) 

Naturally the data isn’t perfect and some of the numbers broadly track the manufacturing numbers of some of the most widely made models across the 20th century, particularly models which, though they changed in style and design over time, kept the same model name for decades. Despite this, the list of the top 50 doesn’t seem too far off of what one might expect. 

Which models would you have expected to see more of? Which less? Does your taste in machines track the most “popular” by this measure? How does this list compared to the Rarity vs. Desirability list from ETC Magazine with respect to your collection? What other measures or benchmarks might one consider in collecting?

Have you uploaded all of your own examples to the Typewriter Database to help “even out” the data? Even if you don’t add them all, which favorites will you add to help your “favorite team” move up the rankings?

1. Royal Quiet De Luxe (610)
2. Smith-Corona Sterling (400)
3. Olympia SM3 (381)
4. Hermes 3000 (363)
5. Olympia SM9 (340)
6. Underwood 5 (304)
7. Olivetti Lettera 32 (262)
8. Corona 3 (252)
9. Smith-Corona Silent (246)
10. Remington Portable (244)
11. Olivetti Lettera 22 (241)
12. Royal P (240)
13. Hermes Baby (227)
14. Royal 10 (225)
15. Smith-Corona Skyriter (213)
16. Smith-Corona Silent Super (211)
17. Underwood Universal (175)
18. Royal KMM (163)
19. Remington Quiet-Riter (150)
20. Corona 4 (143)
21. Smith-Corona Standard (140)
22. Olivetti Studio 44 (139)
23. Olympia SM4 (137)
24. Underwood Portable 4 bank (136)
25. Royal O (136)
26. Hermes Rocket (134)
27. Olympia SM7 (129)
28. Underwood Portable 3 bank (118)
29. Smith-Corona Clipper (116)
30. Smith-Corona Classic 12 (115)
31. Royal Futura 800 (114)
32. Olympia SG1 (113)
33. Hermes 2000 (112)
34. Groma Kolibri (112)
35. Royal HH (106)
36. Royal Arrow (105)
37. Underwood Champion (103)
38. Remington Deluxe Model 5 (99)
39. Continental Standard (94)
40. Remington Noiseless 7 (93)
41. Olympia SM2 (92)
42. Olympia SG3 (91)
43. Oliver 9 (87)
44. Underwood 6 (86)
45. Royal KMG (86)
46. Remington Portable 5 (85)
47. Royal Aristocrat (84)
48. Olympia SF (83)
49. Smith-Corona Galaxie Twelve (81)
50. Remington Portable 3 (80)

Typewriter Plates for Collectors?

Lately I’ve been talking to a few people about book plates for book collectors who occasionally loan out their books. After the owner has died, these also become a part of the material culture and are used as provenance for future book collectors, librarians, and researchers.

These discussions have overlapped in some recent typosphere events including Sarah Everett asking for photos of repair shop labels, Lucas Dul having printed some repair shop stickers for Typewriter Chicago, and Richard Polt announcing that he’s slimming down his typewriter collection. I’m also reminded of property tags that have popped up on some of my typewriters which came out of governmental entities, banks, and other businesses as well as the custom legends, often seen in the shift keys, of glass typewriter keys to advertise dealers and repair shops.

 
 
 
 
 
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It all prompts the question: Has anyone ever made their own permanent labels, stickers, or permanent property tags for their own typewriter collection?  They could be both cool and decorative like bookplates, identify ownership, show provenance for future collectors. They could be simple like some of the old bank property numbers, or more ornate like the refurbishment water slide decals some rebuilders used in the mid-century [1]. They could also be as basic as some of the stickers typewriter repair and sales shops used to advertise their presence. In some sense, I’m also reminded of the inscriptions and seals seen on Japanese Ukiyo-e woodblock prints.

View of a silver property tag found underneath the hood of a 1961 Royal FP typewriter indicating it's property of the Bank of Commerce in Idaho Falls.

One could include their name, acquisition date, model name (if it’s not obvious on the machine, I’m looking at you Olympia), decorative image, “ex collectione” (a la ex libris), and a personal serial number or collection number. What else might one include? Naturally one would like to have them be durable enough that they could withstand future cleanings, dips, or encounters with solvents and degreasers.

Obviously one would want these to be lovely and tasteful so as not to overwhelm a machine, potentially leave space for others in the future, and be somewhat more permanent than other tags one might have on their machines for identification. They could also be done and hidden inside body panels like some shops did for labels they used for dating clean, oil, and adjustments. Obviously one would like something better than messily hand-carving their name and social security number into the body of a machine like I’ve seen done with a variety of machines, or which Tom Hanks has done with sharpie on the hoods of typewriters he’s donated away from his collection.

One could fashion a simple metal plate to affix to their machines in the same way that Olympia added their own manufacturer’s plates? These machines also often have some blank space on them where collectors could add their own plates, stickers, or logos. Where would you have such a plate made?

Rear of a green crinkle painted Olympia SG1.  The bottom of the machine has a panel with a metal Olympia manufacturer's plate showing the company name, place of manufacture, and location of the dealer ship in New York. On either side is a wide rectangle where other identifiers could be similarly placed.

Many collectors put a lot of work and time into maintaining or restoring typewriters in their collection. Why not show off some of this work and help to memorialize it for future generations? I recently came across a Marshall Plan sticker on a Royal KMG in the Typewriter Database that certainly helps to show it’s history, why not add others?  A variety of tags, stickers, labels, and miscellanea have added to the patina and history of these machines, why not add your “stamp” as well? 

How would you design a custom typewriter plate to represent yourself and your collection? What would you make it out of to give it some longevity? Would you put it on the outside to show it off or hide it inside?

How else might you create some more permanent provenance for the machines you care for to pass along to future generations?

Book Club: Yuval Noah Harari’s Nexus: A Brief History of Information Networks from the Stone Age to AI

Coming up for the next few weeks, the Dan Allosso Book Club will focus on Harari, Yuval Noah. Nexus: A Brief History of Information Networks from the Stone Age to AI. New York: Random House, 2024.

The first session will be on Saturday, March 14, 2026, and will recur weekly from 8:00 AM – 10:00 Pacific. Our meetings are welcoming and casual conversations over Zoom with the optional beverage of your choice. We’ll cover chapters 1-4 in Part I in the first meeting.

To join and get access to the Zoom links and the shared Obsidian vault we use for notes and community communication, ping Dan Allosso with your email address.

Happy reading!