While watching Wedding Crashers (2005, New Line), I noticed that John Beckwith (portrayed by Owen Wilson) and Jeremy Grey (Vince Vaughn) both have multiple card indexes in their offices in the movie.
One can’t help but wondering if their work leverages one of the variety of card index filing systems? Were they commonplacers? Zettelkasten users? Were they maintaining them as basic databases? Monster rolodexes? There are definitely a lot of them around.
It’s obvious that Jeremy actively uses his as in the opening scenes, his card index is on the credenza behind him and later in the movie it has moved.
Vince Vaughn obviously explaining the most important points of knowledge management in the office: a zettelkasten (or card index), bubblegum, and plenty of bourbon.On a side desk in his office Jeremy Gray has a 3×5″ and a 4×6″ card index near all of his most important reference volumes.Along with shelves full of reference books, John Beckwith has a huge collection of card index boxes of various sizes including 3 3×5″ boxes, 3 4×6″ boxes, and even one 5×8″ box.
A Zettelkasten for Wedding Crashers
Of course, the real aficionado of Wedding Crashers will suspect that at least one of Jeremy’s card indexes is full of weddings they’ve crashed, related research, and maybe women he’s encountered. Maybe names and legends of the people they’re pretending to be (“We lost a lot of good men out there.” “Guess who’s a broken man?”) Naturally there would also be a huge section with the numbered rules of wedding crashing as handed down by pioneer Chazz Rheinhold.
To be clear, I know what this is. (It’s a typewriter I’m most of the way through cleaning and restoring.)
Just for fun for the regulars and the collectors, let’s see who can come closest to a make, model and year for this lovely machine I recently acquired for restoration. Please, no more than two guesses per player.
I regularly see writers (or their friends or significant others considering buying them presents) interested in purchasing their first typewriter as a (distraction-free) writing tool. Naturally, unless they grew up with them or have other direct experience, the primary questions are: how much are they?, which ones are the better professional tools?, and where can they get them?
Having written up some suggestions in the past as well as a bit about the state of the current typewriter market, I thought I’d put the two together for future queries as the broad advice doesn’t change very much. This article might also be generally useful for anyone considering their first typewriter, or even getting into typewriter collecting in general.
This won’t cover any of the electric typebar typewriters or the later wedge typewriters, thermal typewriters, or electronic word processors which are similar, but potentially different beasts and markets.
In the Typewriter Market Condition is King
When it comes to manual typewriters, condition is king and a big determinant of the overall price. Sadly this fact is wholly unknown by the vast majority of people selling the typewriter they found in grandma’s attic. Knowing this fact will arm you for a much better purchasing experience as well as when it comes down to actually using them.
Sure there are a small handful of very popular portable typewriters like the Hermes 3000 or the Olympia SM3 which can go for a few hundred dollars even in bad condition, but for the most part a reasonably solid typewriter can be had for $10-75.
Too many people will also use the useless word “rare” to describe their typewriter for sale. This really only applies to some of the earliest typewriters from before 1920 which broadly aren’t as available now. Almost everything made from the 1930s on was mass produced in the hundreds of thousands or even millions, so applying the word rare is silly. Some colors or typefaces may be uncommon, but they are not rare and it usually doesn’t take too long to find multiple versions of the same thing for sale. None of the recommendations suggested here would ever be considered rare or even uncommon by any standard.
Balance of Budget, Time, and Facility with Cleaning machines
Your first typewriter is sure to be the balance of several variables including your particular budget, the amount of time you want to invest finding and then potentially fixing up your machine, and the facility you may have (or not) for cleaning and potentially repairing your typewriter yourself. Self-repair is certainly doable and there are significant resources for helping out the novice, but it does take some time, patience, and a few tools.
Budget Range
I’ll split the typewriter space up into the budget ranges based on what the buyer may have for potentially spending on a typewriter. This is NOT a split of historical budget ranges indicating the quality of the typewriters themselves. For example, in its day, an Olympia SG3 would have been at the higher end of the typewriter market while the highly mass produced Brother JP-1 typewriters would have been considered budget models by comparison. Today, with careful shopping, you could foreseeably purchase both in equivalent condition for the same $25, though to the user, the Olympia SG3 will obviously be more performant particularly for longer typing sessions.
Low budget is $10-75. For this range, one can get a typewriter that is generally functional, but which assuredly needs to be cleaned, properly lubricated, and possibly adjusted. (Remember: lesser condition usually means lower price.) To stay within this range, you’re going to need to be both willing and able to do some basic cleaning and potentially minor repairs yourself.
This isn’t to say that you wouldn’t stumble across a near mint Olympia SM3 that you can pick up at a yard sale for $15 and it needs no work at all, but it won’t be an every day occurrence. You’ll likely need to invest some reasonable time in searching for such a thing.
Medium budget might be $76-349. In this range you should be able to acquire a reasonable machine which you might then take to a local repair shop to get a reasonable servicing and repair or adjust any issues your “new-to-you” typewriter may have. This range should cover the cost of the machine as well as the servicing in most cases. Most repair shops charge in the $40-75/hour range and can do some miracles in just a few hours.
High budget is generally in the $350-600 range and for this amount you should be receiving a vintage machine in good to excellent cosmetic condition which has been thoroughly cleaned, oiled, and adjusted. It should function as well as it possibly can for regular daily use.
It’s quite likely that you’ll currently find some solid value in this range as some repair shops will be selling machines like the Hermes 3000 in excellent shape while online auctions for them in dreadful shape are almost as expensive.
Beyond the high range, you’re going to be looking at more exotic machines which are much less common, which have had higher levels of restoration work (usually all the rubber replaced and the platens recovered), or which have less common typefaces (script, Vogue, Techno, Gothic, etc.). As this tends to be more rarified space of collectors or those with very specific tastes, I won’t delve deeper here.
Typewriter Recommendations
In another article, I’ve gone deeper into the difference between standard typewriters, portable typewriters, and ultraportable typewriters. In this section, I’ll focus primarily on recommendations for writers who are looking for one (or maybe two) high quality typewriters for regular (daily or weekly) and heavy (several hours a day) use. This means these machines will tend toward the higher end of quality and manufacturing in the middle of the 20th century at the peak of typewriter engineering and manufacturing from the 1930s into the 1970s.
While some of these recommendations may be useful to collectors, there is such a much wider space of collectible typewriters and reasons for collecting them, that such an analysis is a much bigger topic. For those just dipping their feet into the world of collecting, I’ll recommend Richard Polt’s excellent book The Typewriter Revolution (Countryman Press, 2015).
Standard Typewriters
If you’re a serious writer, you’re sure to find a smoother and better experience with a standard typewriter, but they’re slightly larger and heavier (~30 pounds vs. ~15-22 pounds) than the portables. The benefit is that they almost always have the broadest range of features that a writer will ever need. These are usually the ones I recommend if you’re typing for several hours on end and have a dedicated space for your writing. Standards aren’t as popular with most collectors, so they also tend to be less expensive as a general rule.
I personally really love my fully restored Royal KMG, Royal HH, and Royal FP, as well as my Olympia SG3, my Remington Standard, Remington Super-Riter, and Remington 17 which are all rock solid writing machines. I’m still on the hunt for an Olympia SG1, which many collectors consider to be one of the best typewriters ever manufactured.
Here are some of the other more common standards for serious writers to consider by a knowledgeable restorer:
Portable Typewriters
I’d generally endorse most of the advice on the lighter, portable models you’ll find in the following resources. They are geared specifically toward writers, and all three have lots experience and reasonable bona fides to make such recommendations.
In this space, you may want to take some care for the particular models you consider as not all of them will have features like a tabulator (tab stops) to make indenting text easier, especially if you’re a screenwriter or playwright who needs this sort of functionality every few lines. (A tab button on the keyboard is a solid enough indicator that a machine has this functionality.)
Among the most commonly recommended portable typewriters are the Olympia SM2, SM3, and SM4 (all very similar, but slightly different in their tabulator functionality or lack thereof in the case of the SM2), Hermes 3000, Olympia SM7, Olympia SM9, the Smith-Corona Super and Smith-Corona Silent Super (5 Series machines), the Adler Tippa and Tippa S, the Royal Quiet De Luxe, and the Remington Quiet-Riter.
Ultraportable typewriters
While these can be interesting and pretty as well as easy to carry, most serious writers are not going to love typing on them for extended periods. They might be a nice secondary machine for traveling around and getting something done, but I wouldn’t recommend one as a first or second machine for most writers.
Where to buy a typewriter?
Repair shops
Your very best bet for a first typewriter (and even subsequent ones) is to go to a repair shop that also sells machines. Doing this will give you the chance to put your hands on them, try them out, ask lots of questions, then buy your favorite from a variety of machines. Your shopping time is worth money and productivity, so buy something you like out of the gate and you’ll save a lot in the long run. You’ll probably be happier and better off in the long run with something in the $200-600 range serviced from a repair shop. It will also give you something you can start using right away to get work done rather than faffing about with cleaning or potential small repairs, which can take up valuable time for the new and uninitiated.
There are a variety of online shops, many associated with repair shops, as well as individual sellers and antique stores that sell typewriters on independent websites. These can be particularly good as they’ll often have a level of expertise and experience in cleaning, repairing, restoring, and shipping typewriters.
I personally don’t have direct experience with any that I would specifically recommend, but they’re definitely out there and are usually marked by providing an abundance of photos and useful information about their wares.
Online Auctions and Sales Sites
An important caveat: The vast majority of sellers in the typewriter market with machines in the $40-300 range have exactly as much knowledge about them as you probably do (which for the non-collector/non-repair shop audience is to say little to none), so be incredibly wary of accepting claims that “it works” without video and photographic proof. Most are pricing their less-than-stellar typewriters based on the higher prices repair shops are selling their best serviced machines for. Don’t fall victim to this ubiquitous ruse because the seller doesn’t know better.
In this segment of the market you’ll find a huge range of potential sellers from some incredibly professional typewriter repair and restoration specialists who deal primarily online to clearing house thrift stores all the way down to typewriter flippers (those who buy a dusty, half-functioning typewriter at a yard sale for $5 and then list it on Etsy for a 1000% markup without doing any additional work) who use AI to write flashy, nostalgic descriptions of typewriters that bear no resemblance of the particular machine they’re selling and then to your neighborhood gadfly trying to sell grandma’s vintage 1950’s Smith-Corona Silent as a $3,000 antique because he “knows what he’s got” yet somehow misstates the date of manufacture as well as the model. (And if you happen to be reading this Marvin, no typewriter on the planet has the serial number H123456L, that’s the setting indicator for the touch control functionality.)
This means you might spend some time checking out how specialized the particular seller is in typewriters by looking at their past sales. Do they only sell typewriters, do they sell lots of things, or are they new accounts with only one item? The best ones will have lots of good photos of machines and cases from a variety of angles including close ups of the typeslugs, typesamples of the machine’s output, and even video of the machine in use. Serious typewriter sales people will list the serial numbers and the dates of manufacture, though many less serious sellers and “typewriter flippers” will have posted their machines to an online forum to crowdsource this information which they wouldn’t otherwise have.
This segment most deserves the warning: caveat emptor (buyer beware). If someone is selling a $500 machine that “works” without any proof and who says it “just needs new ribbon” (a simple purchase of $10 or less) hopefully shouldn’t be fooling anyone but themselves, yet I know it happens.
Facebook Marketplace is almost always local individuals, but can also include some pro shops from time to time. Prices can often be 2-3x what they ought to be, but you can visit machines in person, try them out, and negotiate things down based on the actual condition.
Craigslist.com is a reasonable space and often very much like Facebook Marketplace with a poorer UI.
eBay is an online auction space where some very professional repair people auction off their work along with thrift stores, antique stores, and the general public. It requires a bit of due diligence to suss out what’s being offered and the condition, but usually doesn’t allow the ability to actually test out the machine and see the exact condition first hand. There is a bit of protection if the shipped product doesn’t live up to the hype. Be careful of inexpensive “buy now” listings with exorbitant shipping prices in the $100+ range.
Etsy can have some excellent listings from a range of sellers, but it also tends toward the more expensive pricing end of the spectrum for what you end up receiving. Again, you can’t try before you buy here.
Offerup is a broad platform similar to Marketplace and Craigslist with some reasonable listings. Sadly some of the listings can be old and out of date or the seller is no longer paying attention to their account.
ShopGoodwill.com is a platform run by Goodwill that usually has a wide variety of dozens of machines every day from across the country. In addition to not being able to try before you buy, it can be very hit or miss to attempt to judge a machine’s condition solely on just a few photos. The level of expertise on typewriters is generally abysmally low here, so the level of detail about the machines for the non-expert is equally low and the packaging and shipment can be a problem in 10-20% of orders. This being said, one can get some excellent deals on standards on a regular basis in the $10-30 range and portables in the $30-60 range, particularly if you purchase from a local Goodwill that will allow the arrangement of an in-person pick up. This gets around $20-50 shipping fees and the potentiality of damage in shipping. Some of the higher end portables like the Olympia SM3 will go for $120 in unknown condition while the Hermes 3000 can go for $250 or more. At these rates, you’re far more likely to get better value by buying at a local repair shop.
Surely there are many other online options not listed here. I’m sure people will mention a few with caveats and reviews in the comments.
Yard Sales & Estate Sales
You can find some really great machines at yard sales and estate sales, but the trade off is the time and effort you need to invest in searching for them, particularly if you have an idea of something specific you’re looking for. Here you’re trading the cheapness of a working $10-20 machine for a lot of searching time. Naturally this option probably isn’t the best one to take if you’re getting a typewriter as a gift for someone’s birthday this weekend. You’ll want to plan ahead and give yourself several weeks or months to hunt around for the right thing.
Sometimes sellers will think their machines are more valuable, but usually the $50-100+ machines can be negotiated down to a more reasonable $5-25 range. Usually if it’s out, it’s something they want to sell or get rid of.
With this route you can also directly put your hands on machines and at least test things out pretty thoroughly before committing to buying. If something is dirty or broken, you’ll see that pretty quickly compared to attempting to buy something poorly listed online. Be sure to bring your own paper and maybe even ribbon for testing if this is what you’re shopping for.
Thrift Stores and Antique Stores
These can be a great source for inexpensive and functional machines. Depending on the outlet, Antique stores will have a somewhat larger markup and won’t negotiate down as much as they ought to.
Type-ins
While in person type-ins aren’t terribly frequent, they can be great places to meet other typewriter afficionados and get the chance to try out others’ machines to see what sort of typewriter feels best to you. It’s not uncommon for participants to buy, sell, and trade typewriters at these events.
Typewriter Service
Beyond the basic regular maintenance of keeping dust out of your machine and occasionally changing your ribbon, you may require the service of a professional shop for your initial purchase. This can be a relatively quick and inexpensive way to bring a machine up to fighting shape after decades of dusty disuse. It also does a lot more to support the broader art and craft of repair and the typewriter community.
If you’re handy and have even a bit of a mechanical bent, you can take advantage of a wide variety of online repair manuals [1][2] and cleaning advice, repair resources and advice including a huge number of YouTube tutorials for almost every typewriter out there. Doing this can be incredibly cost effective, but it always helps to have a relationship with your local shop for potential repair parts or maybe even a loaner if you need one.
If nothing else, it can also be inspiring as writer (or if you’re giving it as a gift) for the new typewriter’s owner to have an idea of other writers who have used that machine in the past.
As an example, I find it inspiring that the Royal KMG I use regularly was manufactured from 1949-1952, and was known to have also been used by writers including Saul Bellow, Edward Abbey, Joan Didion, Elia Kazan, Arthur Miller, Mister Rogers, Rod Sterling, Carl Reiner, Grace Metalious, Wallace Stenger, John Ashbery, and George Sheehan.
For the first time buyer, particularly with time constraints, it may seem like shipping a great looking machine is an excellent idea for the pittance of $20-40. Poor packaging of typewriters by untrained or ill-educated online shops is one of the leading deaths of typewriters. Even reasonably well packed machines can be dramatically damaged in shipment, so unless you’re purchasing from a shop that has lots of experience in shipping typewriters, save the money and hassle and buy something locally that you can pick up.
If you want to go deeper into the world of typewriters, collecting, using, repairing or even talking about them, I keep a list of useful typewriter resources.
Questions?
Hopefully this has been a reasonably thorough precis of all the things I wish I had known before buying my first typewriter and encapsulates a lot of basic typewriter knowledge I’ve accumulated throughout the first fifty machines spanning my typewriter collection. If you have additional questions, feel free to ask below.
In the meanwhile, just jump in and start looking around. Good luck and happy hunting!
2 blocks West of Lake Avenue, which has both East and Westbound exits off of the 210 Freeway.
We’ll be meeting upstairs on the second floor. Parking available behind the bookstore as well as on surrounding streets. There is a handicapped accessible ramp (from the parking lot in rear) and entrance(s) with an elevator to the second floor as well.
What is a Type-in?
Type-ins are community-based, family friendly events at which typewriter enthusiasts share their love for the analog art of putting ink onto paper with mechanical marvels of the late 19th through 20th centuries. To do this they bring one or more manual typewriters and their knowledge and love of the machines to share with the community. New friends share stories, history, repair tips, working methods, and other typewriterly ephemera. Typists of all ages and levels of ability are welcome.
Typewriters optional
We definitely encourage those without their own machines to attend. With some luck and the kindness of new friends, you should be able to try out a variety of machines which are present in an effort to decide what styles and feel you might consider for purchasing one of your own one day. (Please kindly ask the owners’ permission before trying a machine out.) If you’ve got multiple typewriters, feel free to bring an extra for a friend.
“Like a jam session for people who like typewriters. You had unions do sit-ins and hippies do be-ins, so I thought, ‘We’ll do a type-in.’”
—Michael McGettigan, 56, bike shop owner who coined the phrase
Activities during the afternoon
Basic typewriter demonstrations covering: use, maintenance, and repair; how to find/buy typewriters, how to date the year of manufacture of your machine, etc.
Type up a message about how much your Mother means to you (May 11th is Mother’s Day)
Speed typing contest
Writing! (naturally)
poetry competition
letter and postcard writing; bring some stationery/envelopes/stamps to write letters to friends & loved ones
Typing prompts for those who need inspiration for writing
Typewriter Art – composing visual pictures using ink on paper
Cadavre Exquis – a dedicated typewriter with paper is set up for participants to compose and write a group story, each taking turns throughout the event at writing one sentence at a time.
Impromptu lightning talks of 3-5 minutes on topics like “how to buy a typewriter”, “how to get into home typewriter repair”, “how to work a typewriter into your daily writing routine”, “how to join the Typosphere” etc.
Participants are encouraged to type up their experiences of the event for posting to their personal websites (aka the Typosphere).
Meet new pen pals to start exchanging letters via typewriter and post
Selfies with the typewriter mural on the front of the bookstore.
Typewriter repair advice: Have a broken machine and not sure what’s wrong? Get some advice from the community.
Bring and share your own ideas… What do you use your typewriter for?
Vroman’s Bookstore
Vroman’s Bookstore is a Pasadena institution and SoCal’s oldest indie bookstore since 1894 (almost as old as the invention of the typewriter itself!) While you’re visiting, be sure to check out not only their book selection, but their gifts and cards; the wide array of notebooks, stationery items and their fantastic fountain pen counter; and their children’s section. Downstairs stop by their and their excellent wine bar or Tepito Coffee Shop which will be open for snacks and beverages throughout the day.
Looking for Typewriter-related books while you’re there? Ask for some of the following:
The Typewriter Revolution: A Typist’s Companion for the 21st Century by Richard Polt (Countryman Press, 2015)
Uncommon Type: Some Stories by Tom Hanks (Knopf, 2017)
Typewriter Beach: A Novel by Meg Waite Clayton (Harper, July 2025)
Yankees, Typewriters, Scandals, and Cooperstown: A Baseball Memoir by Bill Madden (Triumph, April 2025)
Olivetti by Allie Millington (Feiwel & Friends, 2024)
Click, Clack, Moo: Cows That Type by Doreen Cronin (Simon & Schuster, 2003) as well as other follow up books in the series
Who’s ready for a type-in?!?
RSVP & Questions
Our meeting space, which is frequently used for author talks and book signings, should be adequate, but please RSVP (with your expected number of typewriters) so we can plan for the appropriate amount of tables and chairs.
Questions? Media queries? Contact: ChrisAldrich@jhu.edu
Within the typewriter space there are three broad categories of typewriters primarily based on size:
Standard (or office or desktop) typewriters were designed and meant for use in a stationary location, most often an office where they would be used for 8 hours a day (or more), every day of the work week. These typewriters, often tipping the scales at 25-40 pounds each, were made to take the heavy abuse of a daily typing and could be “pounded out” for 3-4 years before they were often given overhauls or remanufactured.
Portable typewriters were designed for greater portability and began appearing in the 1920s and in much greater numbers into the 1970s and early 1980s. Their sales were geared toward people who needed greater portability or who didn’t need a machine out on a daily basis the way in which businesses did. They were most often sold in small rectangular cases to aid in their portability as well as storability in cars, trains, airplanes, or even one’s closet when they weren’t in use. They often ranged from 15-25 pounds including their case. Most of these machines were sold to individual users for occasional rather than daily typing, and they often had a broader range of styling and colors throughout the years to appeal to the individual buyers.
Ultraportable typewriters were designed for the typist or writer constantly on the go. They typically had a low profile, were lightweight (under 15 pounds with their cases), and obviously easy to carry around on a regular basis. These machines generally didn’t have all of the frills or features of their larger counterparts but obviously got the job done well enough. Traveling journalists were originally one of the primary audiences here.
Which is better?
The “best” typewriter is going to be a highly personal choice. It will be based in part on a wide variety of factors and variables including:
the condition (does it function? how does it function? how clean is it? have parts been replaced, repaired, or restored? is it serviced? is it well adjusted?);
what your preference is in terms of functionality (do you need tabs? bichrome ribbon? card fingers? typeface? other?);
your personal touch preference (how it feels to you when you type on it, how you enjoy and appreciate it);
the price;
your personal aesthetic (do you like older machines, newer machines, something with a pop of color versus industrial office drab, crinkle paint versus flat, metal versus plastic, and a slew of other design sensibilities, etc.)
how are you using your typewriters? Are you actively using them to write, collecting them, displaying them, or a combination of all of these?
Beyond these variables the three broad categories of typewriters will differentiate themselves along the lines of size, portability, and design, and manufacturing quality, functionality, and durability.
Size, Portability, and Design
Obviously the smaller and lighter a machine is, the easier it is to carry. The ultraportables and portables will win out here. They’re designed to be moved around easily: pop it out, write, put it away when you’re done. Collectors love them because you can store or display them easily on shelves or stack them up in closets or other storage spaces. You can keep several dozen machines on a shelving unit or tuck them away under a bed or behind a couch.
Standard machines are moveable, but require some additional reasonable effort. It’s more bothersome to pick up a Royal HH, especially with a wide carriage, and move it across the house from your office to your living room or out onto the porch. It’s equally as bothersome to swap one standard from a display shelf with another so you can use it. This doesn’t mean that it can’t be done, but you’re not as likely to want to do it every day. With standards you plan to actively use on a regular basis, you’re going to want a permanent desk or typewriter stand to keep it on. If you’re storing or displaying standards, they require dusting maintenance or covers and take up much more space as they aren’t easily stackable. Standards tend to be deeper and require a larger shelf if you’re going to display them that way. (Be sure to measure as most standard bookshelves aren’t deep enough for most typewriters if that’s how you intend to display them.)
If you’re a day-to-day typist with only one or two typewriters, these problems aren’t terribly bad. If you’re a collector with 5-10 machines these considerations start to become more bothersome. Once you’ve got more than 25 machines in your collection, you’re going to want to start making different choices and plans about storage and display versus use.
When it comes to design, there are a lot more choices of body styles, colors, materials, and variety in the portable and ultraportable space. Even if the internals of a portable were relatively stable, the body styles and shapes changed every year or two. By comparison, the standard typewriters meant for office use tended to have more limited color palates (if you could call industrial blacks, grays, and browns a palate) and body stylings.
As an example, in the Royal line of standard typewriters, almost nothing changed functionality-wise from the Royal Ten through the H (and related KH, KHM, and KHT variants), KMM, KMG, HH, FP, Empress, and 440. This covers from about 1912 to 1968 with the same internal mechanics. It was just small changes in the body styles which moved very slowly and were generally only offered in one or two colors until the more colorful options on the Royal FP were introduced in the very late 1950s.
Manufacturing, Quality, Functionality, and Durability
The level of manufacturing and quality when it comes to typewriter categories is a much more subtle subject as it’s not as immediately seen as the size and portability factors.
Because of their use cases, standard machines were built with more solid materials using higher manufacturing tolerances and usually better quality steel (or other materials). They were designed to be pounded on every day for 8 or more hours a day for years at a time. While some portables may have been used this way, most weren’t and surely almost no ultraportables were. Most of the serious abuse that smaller and lighter machines took was generally to their cases in being moved around as well as to the various body panels from being put into and out of their cases. (Smith-Corona portables are notorious for scratches on the rear panels from the rear metal cleat in their cases and some of the Remingtons’ front “chins” from the late 40s case designs.)
Standards use in business also meant that the alignments and visual outputs were held to higher standards than their lighter counterparts which were more often used for personal correspondence or draft quality work. This required better tolerances to allow for the abuse versus the expected type quality and alignment. The quality differences are less apparent on some of the 1950 American made Smith-Corona 5 series or the incredibly well engineered German Olympias and Swiss Hermes portables of the 1950s and 1960s.
The quality issue becomes rapidly more apparent into the 1970s and 1980s when cheaper materials and plastic were being used in portable typewriter manufacture as machines were being mass produced by only a few companies and primarily only out of Japan. These quality issues are now at their zenith in the new millennium with cheap typewriters made by the Shanghai Weilv Mechanism Company in China. Their new typewriter offerings under a variety of brand names including Rover, Royal Epoch, We R Memory Keepers, Royal Classic, and The Oliver Typewriter Company are widely known in the typewriter community for their dreadful quality control, cheap plastic, and both poor and unserviceable type alignment issues.
Because they had additional interior space and engineering capacity, standards also have better adjustment points for accommodating a variety of touch needs for the end user. At the time, most standards were generally serviced in-house by travelling repair people who had the ability to help typists adjust the machines to their particular touch needs. I’ve yet to run across a portable Smith-Corona whose primary touch control actually effectuated any difference at all, though they do have a variety of other more subtle/hidden touch controls which require advanced knowledge of the machines.
From a functionality perspective also differentiated across their use cases, most standard typewriters came with the full component of features offered in typewriters of their respective times. As an example, standards almost always came with tabulators and easier exchangeability of platens. Portable models often used tabulators as an additional mark up feature that cost more if you wanted them and platens were not easily swapped except on the highest end models and generally not until later into the 1950s. Here the range of subtle feature differences seen on the Smith-Corona 5 series portables is illustrative with the Clipper at the low end followed by the Sterling, the Silent, and the Silent Super at the highest end with the most features. On the German Olympias, the primary differentiating feature between the SM2, SM3, and SM4 is tabulator functionality and how easy it is to use if it’s available. Other features like bichrome ribbon, sturdier paper bales, paper table alignment features were considered optional on some portables and wholly missing on ultraportables which may have left them out completely. If you’re looking for a machine that has everything, usually a standard typewriter is your go-to choice. One of the few options on standard machines was a decimal tabulator for aligning accounting-based work.
While it may not have been as obvious in the midcentury, there are very subtle functionalities that standard typewriters offer to modern users who are looking for distraction-free writing affordances. While all typewriters have a greater level of distraction-free affordances in comparison to computers, standards offer two additional ones which may be wholly overlooked. As they’re less portable, they usually require a dedicated space for use which tends to call out to (or alternately guilt) the writer to sit down and concentrate on writing. The other is that the standard’s significantly larger size takes up a larger amount of area in your field of view while sitting at it. This tends to cut down on other visual distractions to the writer while sitting at the machine and working. Less distraction helps the concentration and, ideally, your ultimate output.
Finally, it bears a moment to look at typewriter serviceability. This is especially important now as the once ubiquitous typewriter repair shop doesn’t exist and aficionados and hobbyists do a lot of home repair. Since standard office machines saw near-constant use, their size made them much easier to get into and service, particularly by traveling repair technicians. Portables and ultraportables are much smaller and far more compact which requires more work and effort to open up and service when things go wrong or need repair. This size difference also means requiring a lot more patience and care as well as possibly smaller and/or different tools when doing service work on portables and ultraportables.
Hopefully this covers most of the finer points in choosing between the three broad types of typewriters for both the novice typist as well as the more practiced hands. If you’ve got questions or have noticed other subtleties in the differences between the three, I’d love to hear them.
I’ve been in conversation with a local bookstore in Pasadena to help host a type-in in Southern California. We’re making plans for Saturday afternoon on May 10th from 1:00 PM onward.
So mark your calendars, limber your fingers, and start tuning up your favorite typewriter(s)! More details and specifics to come shortly.
If you’re nearby and can spare some time to help volunteer, drop me a line.
I’m not out to shame people for their purchases, just to caution uninitiated typewriter purchasers and budding collectors who aren’t carefully watching the market.
Olympia SM3s are well-touted and excellent typewriters. They’ve recently been selling on ShopGoodwill in unknown condition for $120-150 based only on photos.
Earlier today, an Olympia SM3 sold for $334! So what gives? Why did this go for over twice as much as the average? To the uninitiated, the seasoned collector can look at this machine carefully and realize that even without seeing a type sample or a close up photo of the slugs that this machine is quietly hiding a script typeface of some kind. This means that two bidders would have paid an almost $200 premium for a script typeface, and one of them managed to snipe it for $1 with minutes left. Generally I see script machines going for $100-150 over similar machines without script.
Sadly, the high price on this machine earlier in the day may have suckered others into thinking these machines are significantly more valuable as it seems two other Olympia SM3s right after it both went for:
$202.03 https://shopgoodwill.com/item/222707079
$202.03 https://shopgoodwill.com/item/222546519
And they were bid over 200 by the same two people while the “smarter” money stopped with bids at $137 on both.
Of course, neither of these later two machines have a script face, but at least two bidders were potentially reeled in by the much higher sales price of the script machine earlier in the day. This means that they’ve overpaid at least $50 above market for each, possibly thinking that they may have gotten a great deal. Sadly they didn’t, they just overpaid the market average. The person who was sniped on both managed to save themselves $100+ today because I imagine they’ll be able to get equivalent machines in the coming month for closer to under $150.
Incidentally another later Olympia portable (usually in the $75-120 range) earlier in the day went for a more reasonable $232 with a stated/photographed cursive typeface. This one was a stronger deal in the current market as they only paid about $110 above average for that machine to get the script typeface. The tough part is that because the description stated “cursive”, they didn’t have the benefit of possibly picking up a script machine with less competition.
While this is an interesting microcosm example of the current (overheated?) typewriter market (at least in the US), I hope all the buyers of these machines enjoy their purchases. If they’re your first Olympias, and they need some work to get back to fighting shape, I’ve put together a guide.
Fortunately, before I had started I was aware of a possibly little known feature called the Fold-A-Matic. I came across the idea of the Fold-A-Matic while looking at other Remington Standards and Super-Riters on the TypewriterDatabase. This led me to a photo of James Groom‘s typewriter and a post by Ted Munk which had a diagram from a Remington repair manual. The fun of the feature is that by loosening a few screws, removing a few others, the entirety of the back end of the typewriter including the carriage folds open allowing easy access to almost all the parts of the typewriter. This means it’s far easier to clean, oil, and adjust almost everything on the machine.
Typewriter manual page from a 1960s Remington 19 typewriter.
So instead of spending a day and a half cleaning out a typewriter, I managed to do it in about half a day.
Since I didn’t come across any great photos of the machine opened up, I thought I’d document some of that process along the way.
From the Remington Standard Typewriter Repair section of AMES Basic Training Manual for Standard Typewriters by Murray Harris (January, 1968) https://typewriterdatabase.com/1968-Ames_Standard_SVC.remington-repair.manual
To begin, one needs to loosen the screws that hold the top of the left and right body panels onto the typewriter. They can then be leaned out and quickly removed.
Next one removes the two screws (the rear ones labeled B in Monk’s diagram) on either side that hold the rear cover in place. It too pivots on a small piece of metal at the bottom so it can be easily lifted off and removed.
Next one can remove two screws in the carriage area (labeled A in Monk’s diagram), the other two “B” screws and the “C” screws on either side. Finally, one then loosens the two “D” screws at the back rear corners of the typewriters. It’s important that these should only be loosened a few turns as they’re used as a pivot to hold the rear of the typewriter in place. They could certainly be completely removed, but it takes some work to get everything aligned and back together again.
Now you can fold down the entirety of the rear of the typewriter, thereby opening it up for cleaning and adjustment. Of course, not everything is accessible in this configuration, but by removing the ribbon hood or flipping the machine over, the majority of the typewriter components are readily reached. This procedure takes just a minute compared to about 10-20 minutes of work to get other machines apart into a somewhat similar state. You save this time again on the other end when putting things back together. The other benefit is that so much of the machine can be easily reached and adjusted that less tweaking is required along the way. It cut my cleaning process roughly in half.
Missing/Broken Screws
One of the issues my particular model has is that the rear cover didn’t seem to have any means of holding it on. There were holes in the left and right side, but there didn’t appear to be any way for them to be used to hold the rear cover onto the machine. While cleaning, I discovered both of the screw heads (shoulder bolts, in fact) had been shorn off. Fortunately the screws were long enough that they exited the opposite side of their mounts, so I was able to easily remove them. I’ll have to find some replacement screws.
Historical Servicing
Given the age of the machine, the small chips and dings in the paint or the wear on some of the crinkle paint, it was reasonably well-used and likely cleaned and adjusted several times. It’s been a while since the last cleaning as some of the eraser bits inside the machine have stained some of the shiny steel. But I’ll note that the amount of oil used in the last service was very light at best. There were several patches of grease used on the mechanics on the sides as well as the axel of the mainspring and in the bearing assembly for the shift mechanism. I photographed these as evidence of how this model was serviced at some point in its prior life.
Additional points
After winding through some of the ribbon, I’ve found a usable patch. I’m curious to see if the dried out parts will absorb some moisture to be usable again. We’ll see what happens, otherwise, I’m sitting on a nice mountain of new ribbon to respool onto this machine.
After cleaning, I’m noticing that the speed of the machine has picked up a bit. I’ll give it a few days of use to see how things proceed, but I suspect that it could be faster. If it doesn’t improve, I may give it a few additional drops of oil in places, a process which dramatically helped out my Royal HH a week after cleaning it out. Pending this, I also ought to take a closer look at the touch control set up functionality.
The platen on this machine has a bit of play left, but not much. It’ll probably go another few years before it’s completely rock hard. At least I don’t need to have it recovered soon.
Cleaning and adjusting got rid of the residual grinding on the carriage I was experiencing a few days ago.
In the cleaning process, I noticed that one of the poor design choices is that the panels on the carriage don’t remove as easily as they do on other machines.
I notice on the paper fingers there are separately a small hole on the left for drawing straight lines using a pen or pencil and a small triangle on the right for similar usage.
As I’ve done on some past machines, I treated the crinkle paint with WD-40 after cleaning it off. The difference is quite dramatic, though even the before and after photos don’t really do the process justice.
As ever, there are still a handful of small issues with this machine that I hope to address in the coming weeks as I use it. I like it quite a lot, and it reminds me of it’s much smaller brother, a 1957 Remington Quiet-Riter, but with some finer features. I hope to pull it out and do a direct comparison in the next few days. We’ll see how it grows on me as a machine, but at the moment, I still like my Royal KMG and HH a bit better for day-to-day use.
Spent an hour or two on the 1956 Remington Standard today and got most of the big mechanical and adjustment issues out of the way. There’s still a hint of grinding on the carriage at the return, but I suspect it will be an easy repair as I begin to dismantle the machine for a thorough cleaning. I also got some of the bulk dust and dirt off of the exterior for the pending overhaul. It looks like this 32.4 pound beast is going to come roaring back to life.
The ribbon reverse now works again (the switch is hiding just under the hood in the middle; the Super-Riter models put in a hole and added a lever on the front for easier access). I rewound half the ribbon to discover only a portion on the left was dried out after decades of disuse. I’ll have to see about potential re-hydration or complete replacement. Discovered that this is my first typewriter model to have a top, bottom, and middle ribbon setting for even wear across the ribbon.
The machine is now in good enough condition to use regularly, but will be nicer and much faster once it’s been fully cleaned, oiled, and adjusted. I’m hoping this will happen sometime this coming week.
Found an adjacent manual for it by way of the Super-Riter model which is very close in terms of features. Including mine, which is the third oldest in the list, there are only 9 of these models in the typewriter database while there are 26 of the Super-Riter. I’ll have to do some studying to see what the differences between this model, the Super-Riter, the No. 17, and the KMC were.
The KR key above the backspace is a “key release” mechanism which unjams multiple slugs so one doesn’t need to dirty their fingers on the slugs themselves. Features like this began showing up into the 1960s SCM machines of which I’ve got a few. This is my first Remington to have the feature.
Captured a quick typeface sample and identified the typeface as what appears to be the Remington #4 Elite typeface with No. 2 uncial numbers which feature some nice waviness, especially in the 2, 4, 5, and 7. Looks very similar to the face on my 1957 Remington Quiet-Riter.
For others in the future, I found the serial number on the Remington Standard underneath the carriage on the right rear portion of the body. It’s stamped into the frame right next to the rear metal wall of the back of the machine.
I’ve been wrenching on enough typewriters, that it was time to up my game again and add some new typewriter tools to the proverbial tool bag. In fact it was also time for an actual tool bag! So back on August 16th, I added a portable repair person’s leather bag and some new typewriter repair tools to my collection. For those interested in improving their skills and typewriter tools, I am documenting some of these new typewriter repair and maintenance tools. If you’re getting into the space, I highly recommend you slowly build your toolbox with items only as you need them.
With some of the harder-to-find tools, do take care as they can often be dramatically overpriced in online auctions. The more cost-conscious should be on the look out for bundles of tools which are usually much less expensive than purchasing them one at a time. Additionally if you search around a bit you might find local collectives of typewriter enthusiasts who share or loan out tools.
Save the containers of solvents and the bottles of cleaning agents, all of the items which appear on this table fit comfortably into the black leather tool carrying case.
Papa’s Got a Brand New Bag
The leather repair bag I picked up is similar to one that late century traveling repair people would have carried with them for on-site repairs and typewriter maintenance. It has a compartment in the bottom with space for three metal trays of replacement parts. It has a side pocket for manuals and any necessary service paperwork. The main compartment has a large open space for a variety of wrenches, screwdrivers, and various other tools for use on the job.
Until I create a dedicated space in the garage for typewriter repair, this bag makes an exceptionally convenient storage space for keeping all my typewriter related tools in one place. I particularly love the heavy leather and patina of it as a piece and it works reasonably well as a decorative item with the rest of the collection. Modern variations of this bag can be found at purveyors like Crawford Tool which cater to copier, fax, and electronics repair spaces. Sadly leather covered wood isn’t an option, but there are a variety of soft cover, hard cover, and even metal or military cases available, some with extensible handles and wheels.
The bag itself is in great condition given its age and general use. It certainly helps that it was incredibly well designed and made with some seriously sturdy materials. The thickness of the leather is truly astounding compared to any bag I’ve ever come across. There are one or two pieces of leather that need to be repaired or re-attached to the wooden internal frame and a button/snap that needs to be repaired. These should be easy fixes for a rainy day.
Because new stock isn’t much of a reality and I prefer to keep parts in situ on parts machines for use when needed, I haven’t been using the three metal parts containers as much as I might. Instead, I tend to use them as temporary receptacles of screws, nuts, and springs while I’m taking apart machines for restoration. This helps in keeping sections separate for easier re-assembly and having three means that I could be working on three disassembled machines at a time if I wish without getting parts from different machines confused.
Along with the bag I acquired wide variety of wrenches, screwdrivers, tweezers, and some new specialty typewriter repair tools. The specialty tools tend to the higher end of typewriter repair and adjustment that most hobbyists can manage without, but which can be useful from time to time.
Below are some of the new (and other recent) acquisitions:
Typewriter Manuals
The Manual Typewriter Repair Bible (wirebound; digital) – While there are a lot of great repair manuals out there, many specializing in one or more very specific models or series, this is probably the general repair manual you’d want in a pinch. The fact that it’s wirebound means that you can easily have it out on the bench for reference without worrying about the binding closing and losing the page you’re working on at a given moment.
Typewriter Cleaning Tools
Nylon, Brass and Steel brushes – these are good for a variety of purposes. The nylon brush is great for general cleaning an maintenance. The brass brush in combination with mineral spirits is perfect for cleaning type slugs which have heavy dirt, ribbon, and grime build-up and won’t damage the slugs. The steel brushes can be good for more aggressive cleaning of various rusted parts as necessary. Some care should be exercised though to ensure that the typebars aren’t so vigorously scrubbed that they are accidentally bent.
Chip brush – this type of soft bristled paint brush is excellent for handling dust, cobwebs, and other large debris when doing the first round of cleaning a typewriter. They’re also nice for regular weekly dusting of machines around the house.
Soft bristle fingernail brush – these have been excellent soft bristle brushes for use in cleaning typewriter external panels in conjunction with scrubbing bubbles or Simple Green cleaners. Their small size is particularly nice for getting into some of the smaller spaces that my bigger brush might miss. They’re also useful for getting the grease and grime underneath your fingernails after a day of wrenching on typewriters.
Libman curved hand brush – this has been excellent for scrubbing the exterior body panels of typewriters, particularly those with crinkle paint. The bristles are firm enough to scrub and get into small spaces without damaging the paint and stand up to some repeated use.
Cotton cleaning rags – these are excellent for a variety of cleaning uses, they’re fairly ubiquitous at hardware stores (especially the paint section), and definitely beat Q-tips for ease of use as well as cost.
General Typewriter Tools
4 pair of precision AA tweezers – these needle tipped tweezers are excellent for holding onto small pieces including small nuts or washers which sometimes need delicate handling while screwing screws into them. They can also be used for type slug soldering if necessary.
Needle nose pliers, duckbill pliers, and general purpose pliers – the bag came with duplicates of some of the sort I’d already had.
Screwdrivers – the bag came with a plethora of variously sized screwdrivers (mostly flathead), but I find they’re not as useful as some of my smaller precision screwdrivers which I use more frequently.
Jensen 8 piece open end ignition wrench set (with 7/32, 15/64, 1/4, 9/32, 5/16, 11/32, 3/8, and 7/16 wrenches) for handling a variety of small nuts.
Specialty Typewriter Tools
Below are some of the more specialty and harder-to-find typewriter tools I’ve acquired, most of which came with the repair bag.
Two T-bar benders/link benders/type bar twisters – These thin bars with slots in the bottom and a T-bar at the top are used for bending or twisting a variety of typewriter parts which may need to be gently formed (typewriter repair-speak for bent).
Royal S-39 Ribbon Vibrator Arm Bender – This thin metal tool has two small slots cut into it for forming the Ribbon Vibrator Arms on Royals, but can be useful for forming a variety of thin metal parts. (see p. 360 of The Manual Typewriter Repair Bible)
Eyelet tool for putting small metal eyelets into typewriter ribbon. Generally I use this for Smith-Corona and other typewriters whose auto-reverse ribbon mechanisms are actuated by the metal gromets placed into the ends of typewriter ribbon spools. I picked this up when I switched from using pre-spooled ribbon to buying bulk ribbon and spooling it by hand.
I primarily use these to clean out the internals of most of my machines. Obviously care should be used to protect paint, plastic, and non-metal portions from these caustic solvents.
In cases where spattering or soaking issues may occur, I’ll use vaseline or other grease to cover up painted surfaces or decals so they’re not damaged, or I’ll cover things up (like keyboards with plastic or glass keys with paper legends) with thicker towels for brief exposures where soaking through isn’t a big concern. In some quick cases, like the painted logos on segments, I’ll just cover them with small pieces of packing tape which are easily removable without causing damage.
To help cut down on excessive use of these caustic chemicals, I make use of small plastic oilers with a long thin spouts to better limit and control the amounts of solvent I’m using. These are also useful for more accurately dispensing solvents onto small and specific parts.
Remember that these solvents should only be used in very well ventilated spaces and away from open flames or sparks which can easily ignite them and cause fires. Repeated exposure to the fumes of these materials can damage your lungs.
Mineral spirits
Lacquer Thinner
Acetone
PB B’laster – this is great, but has a more pungent, lingering smell than some of the other solvents
Cleaners
Scrubbing Bubbles – this is great for typewriter exteriors including crinkle paint and plastic of most sorts
Simple Green – a great cleaner and degreaser for removing decades of dirt, grime, and nicotine from the metal exterior of a wide variety of machines
Oil
Premium Sewing Machine Oil – this is great in sparing quantities for typewriter carriages and linkages which require lubrication. The pull-out extended spout is excellent for accessing the hard-to-reach interior parts of typewriters, particularly if they’re fully assembled.
Rem Oil – This aerosol-based oil is excellent for cleaning, lubricating, and providing corrosion protection for difficult to reach typewriter internals, particularly when you don’t have need to strip an entire machine down.
As ever, following up oil applications with compressed air can assist in thinning down oil on parts so that over-oiling and dramatic oil build-up doesn’t occur.
WD-40
Most will know of the regular caveats and admonitions about not using WD-40 to lubricate a typewriter, especially the segment. (Hint, it’s for Water Displacement—thus the abbreviation WD—and isn’t a lubricant.) However, WD-40 does work pretty well on crinkle paint finishes to provide both some protection as well as shine.
The clean front panel of a 1950 Royal KMG in gray frieze paint contrasted with the dust covers one of which is covered in 70 years of dust, dirt, tar, and hair and the other cleaned and sparkling after a treatment with WD-40.
Future
I’m still on the lookout for some keyring pliers for both round and tombstone keys as well as a variety of peening wrenches, but my general need for these has been relatively low for most of the work I’ve done thus far. It’s also a somewhat larger investment, but I really want a nice air compressor for more easily cleaning out machines. I’m also curious to do some research on durometer gauges for testing platen hardness and creating some guidelines about when to replace hardened platens. I’d love guidance on anyone who has researched this area before.
I’m also hovering on the border of doing professional typewriter repair part time on the side. I only have so much space to store repaired and restored machines of my own, and I feel guilty about restored machines sitting around unused. But I also enjoy tearing them down, repairing them, and restoring them back to their former glory. Why not turn my hobby into a part time gig for helping out others and carrying along the craft of typewriter maintenance, repair and restoration? It would also allow me the ability to work on a broader variety of machines.
What typewriter tools are in your collection, and, most importantly, how are you using them?
I always love hearing ideas, tips, and suggestions for making the work of typewriter maintenance and repair easier and more accessible for the home mechanic.
Editor’s note: This is another article in a recuring series of typewriter articles about typewriter use, collecting, repair, restoration, and maintenance. If the subject is of interest, feel free to delve into more of that collection.
In an homage to The Da Vinci Code (2006), in season nine of The Office in episode twelve “Customer Loyalty”, Jim Halpert uses a mid-1950s Royal Quiet De Luxe typewriter to forge a letter from Robert Dunder which sends Dwight Schrute on a faux quest for the holy grail in what Jim calls “The Dunder Code”.
I’ve yet to find a bulk dealer in typewriter ribbon that has a significant website with listings of their offerings and options. (Let’s hear it for analog!) Baco Ribbon certainly didn’t, so I called a few times and made some orders and pieced together most of what Baco Ribbon & Supply Co. offers.
Fine Line Ribbon also has some excellent bulk offerings and an almost non-existent website. I thought I’d make a similar post with their current offerings so that those who have typewriter collections that go past 5 machines or who are scaffolding their way to opening typewriter repair shops might have an easier time of selecting and ordering the appropriate ribbon. 12-15 cents per yard of ribbon in bulk is so much better than paying almost a dollar per yard otherwise. It pays for itself pretty quickly.
They offer ribbon in both nylon and silk in partial and full reels. (Sorry, no cotton ribbon offerings at the moment.)
Silk Typewriter Ribbon
For silk, Fine Line Ribbon only offers black/red or black ribbon color options at $0.33 per yard. A full reel of silk is 545 yards.
Nylon Typewriter Ribbon
For nylon, whose full reels are 660 yards, Fine Line Ribbon can ink in any of the following single color options or your choice of any two colors as a bichrome option:
Black
Blue
Brown
Green
Orange
Pink†
Purple
Red
They often have partial reels of most colors available. Black or Black/Red nylon is $0.12 per yard and other colors or color combinations are $0.15 per yard.
If you’re working at getting the little ones started into typewriters (or just starting out yourself), Mr. Rogers covers some of the basics in episode 1083 of Mister Rogers’ Neighborhood from February 25, 1970.
“I was very much interested in letters.”
—Fred Rogers
While he used a Futura in the show, his personal typewriters included a 1930’s Royal portable (possibly a Model O?) and a Royal KMG, which can be visited at the Fred Rogers Institute by joining the 143 Club.
I spent some time this past week and over the weekend beginning restoration on my 1950 Royal KMG (Keyset Magic Grey) and getting it back “on [its] feet”.
fixed the grinding carriage
formed the bent rear tabulator enclosure
stripped down the body and did a full flush/cleaning on interior
light oiling
repaired disconnected typebars Q and @ by shifting the fulcrum pivot wire
repaired issues with the shift keys
formed the bar on shift assembly to improve the shift response which was abominably slow even after cleaning
fixed tab set/clear issues
tightened the loose mainspring for better typing tension/response
got the type “on feet” and made an adjustment to the motion
replaced ribbon
adjusted the typing line
scrubbed and shined the exterior
light polish and cleaning of typebars
polished the brights and the glass tombstone keys (wish I had keyring pliers for doing a full job on this)
removed the keyrings on two keys which desperately needed cleaning and adjustment
ordered new rubber feet and rubber compression fittings which should arrive later this week
I’ve definitely torn this machine down much further than any other I’ve worked on before, in some part because it required some extensive work, but also just for fun. I think after this I’m ready to completely disassemble an entire machine and rebuild it from scratch. Maybe on a Royal KMM or Royal X?
I’ve done enough work on this now that I can put it into my regular daily rotation. It’s sure to reveal a few additional small adjustments as I use it and there are one or two niggling things to tinker on while I wait for the new rubber parts to show up. I’ll also need to find an original metal pair of Royal standard ribbon spools. I suspect as the budget allows I’ll be replacing the platen on this shortly as well.
I’ve dubbed this machine “Slattery” in homage to John Slattery’s performance of the character “Roger Sterling” in Mad Men (AMC, 2007-2015). I’m sampling Scotches and bourbons to find an apropos pairing.
This typewriter (29 pounds) is the much bigger brother to my Henry Dreyfuss designed 1949 Royal Quiet De Luxe (16.8 pounds with the case, not pictured).
The Royal KMG, manufactured from 1949-1952, was known to have been used by writers including Saul Bellow, Edward Abbey, Joan Didion, Elia Kazan, Arthur Miller, Fred Rogers, Rod Sterling, Carl Reiner, Grace Metalious, Wallace Stenger, John Ashbery, and George Sheehan.
If you’re restoring or repairing a Royal standard typewriter, I’ve started a YouTube playlist of videos, but it’s only got three videos with several more to come.
