Tag: typewriter repair

Typewriter Walking and Singing: Improving Typewriter Performance with Mats, Pads, Rubber Feet, Felt, Recovered Platens, and More

The Walking Typewriter

It’s a very common complaint/worry/issue when people new to the typewriter world get their first machine and realize that as they’re typing, their typewriter slowly moves or “walks” across the work surface upon which they’re typing. It’s often easy enough to just move it back to center and continue on, but when you’re composing something and you’re in the zone, it’s an added niggling distraction that many who use typewriters were hoping to get away from in the first place. Often this issue is worse with some of the later model electrics (I’m looking at you Smith-Corona Electras) which have a motorized auto return function which in combination with carriage inertia can cause one’s typewriter almost to jump across a desk. It might also be an issue if you’re using a 40 pound standard machine on a writing drawer on your mid-century tanker desk and the machine tips off onto the floor, though I’ve yet to hear someone complain of this problem.

So we’re presented with the question of how to remedy this typewriter “walking” issue? Fortunately there are a handful of common and inexpensive remedies.

New Rubber Feet

The primary reason we see this walking issue now and it wasn’t seen in the past is that the rubber feet of vintage and antique typewriters have hardened over time. As a result, the feet on the typewriter don’t have the grippy-ness they originally did.  Their almost plastic-like current form allows the machine to slide across the table with the force applied to the typewriter as one types as well as the use of the return lever to reset the carriage at the end of a line.  This makes for an easy fix by replacing the rubber feet on one’s typewriter.

Comparison photo of the old rubber spacers and feet with new ones which are shinier and about an 1/8 of an inch thicker.
Old feet and spacers versus new feet and spacers.

Because the original manufacturers aren’t making new stock any more, replacement can take many forms which are outlined below.

Rubber replacements

There are a handful of repair companies and hobbyists who have created molds and pour new rubber feet for a variety of makes and models. These are generally excellent and will give your machine another half century or more additional life. Prices for replacements can often be found in the $15-50 range.

3-D printed replacements

With the advent of small and inexpensive 3-D printers, many hobbyists will replace their old, hardened, and cracked or disintegrating rubber feet with newly printed ones. While these often provide a lot more grip than the ones they’re replacing, they may not be quite as solid as rubber replacements. Prices for replacements can often be found in the $20-60 range.

Hardware store

Depending on the shape and size of your typewriter feet, you may find  that the local hardware store might have rubber pieces designed for other uses which will work with your particular machine. This option often relies on some research, hunting around, and sometimes some craftiness to get the pieces made for a different application to work with your typewriter. While it may only be an option in 5-10% of cases, its usually fairly inexpensive in comparison to other options. 

In addition to the above, I’ve seen people use self-adhesive rubberized sheets cut to size and attached to the old feet.

Mats & Pads

Often less expensive than new rubber feet are any number of mats and pads, usually meant for other purposes, but which can be repurposed for use with your typewriter.

Machine Pads

In the mid-century several companies made machine pads specifically for typewriters and other machines. While some vintage or new old stock (NOS) versions may still be available for sale online or in antique stores, they’re often in mediocre shape at best as age and exposure will have either worn them down or stiffened them up. The completist collector may look for and attempt to use these, but newer alternate versions are likely of much higher quality.

A beige-ish dirty rectangular machine pad with an Unda Wunda red label in the center.
An original Unda-Wunda machine pad aged past its useful life.

Commercial Typewriter Pads 

A few small typewriter repair companies and hobbyists make small typewriter pads out of carpeting with rubberized backing which will dramatically cut down on the dance your typewriter tries to clack out on your desktop. These options often run in the $20-40 range.

Examples:

Wool Ironing Mats, Felt Pads, and Carpet Pads

There are a variety of additional pads that can be used to help keep your typewriter in place. These include pads and mats made out of wool, felt, or even carpet. Ideally you’ll want something in the 1/4 – 1/2 inch thickness range and large enough to cover the footprint of your specific typewriter. 

A gray felted wool mat underneath a gray friezed bodied Royal KMG typewriter all sitting on a library card catalog.

Because they were designed for ironing, some wool mats can be found in sizes larger than the typical typewriter. While some might eschew these larger sizes, they can come in handy for larger footprint standard typewriters. Additionally, these wider mats can be used to create a larger footprint around your typewriter which can help serve as a reminder not to place your favorite beverage next to your machine and accidentally have the carriage tip it over onto your desk either as you type or when your execute a return after ill-advisedly placing your glass right next to your carriage.

A gray bodied Olympia SM3 with it's carriage to the far right on a felted wool typing mat. A crystal glass sits just to the right side out of reach of the carriage.

On smooth surfaces, these mats can not only reduce walking, but for heavier standard machines, they can also be useful for more easily moving typewriters around if you’re switching between the typewriter and your laptop computer. 

I’ve personally got 4 or 5 of the Zomoneti Wool pads around the house and love them. They were recommended to me by Gerren Balch of The HotRod Typewriter Co., an experienced typewriter mechanic who may be better known for his hot rod paint jobs on typewriter bodies. He told me he’s also got several including one he uses to prevent machines in his shop from being scratched up as he’s flipping them around and wrenching on them. He loves the fact that they’ll also soak up liquids as he’s degreasing them to help prevent mess. You’ll see them regularly in his YouTube videos.

A local carpet store might give or sell you a square sample of carpet that would suffice as a pad and in combination with some shelf liner (see below), you’ll have roughly the same functionality in a DIY product that will work as well as a more expensive commercial option. Most might opt for a low pile carpet for this application, but, given the wide variety of types and colors, who would fault you for using an orange shag carpet to match up with your avocado green 1960 Aztec 500?

Another potential inexpensive method is to use oversized mouse pads if you can find them. I’ve also heard people upcycle items like computer notebook cases.

Examples:

Yoga Mats

Another off-label mat that works well for typewriters are the thin, non-slip yoga mats. These come in a variety of colors and materials and work very well for keeping your typewriter in one place. Because of their size and material, they’re usually very easy to cut down from one long roll into several individual mats.

They’re often recommended by typewriter collector and restorer James Grooms who features them in many of his typewriter galleries on the typewriter database. He also suggests picking them up at thrift stores for pennies on the dollar.

Be aware that thicker and spongier yoga mats exist and will work with typewriters, but colloquially I’ve heard that most prefer the thinner ones.

Drawer and Shelf Liner

Thin rubber mats that are sold as drawer or shelf liner or non-slip rug or carpet padding  can be cut down from larger sizes and repurposed as typewriter mats to prevent them from slipping around during use.

The drawback here is that some of them can be easily discolored in short spans of time. In my experience, some can also fuse with varnished wood surfaces, particularly when used with heavier standard typewriters, so keep this in mind, particularly if you’re using them on vintage furniture as display pieces when you’re not typing on them. 

Large 8x10 foot anti-slip rug mat laid out on a living room floor for cutting up.
Cutting down an 8×10 foot non-slip pad will make lots of typewriter mats. This sort of shelf liner is great for stopping movement, but won’t do much for sound.

Some people will use these in combination with other carpet or wool mats mentioned above for a prettier but still practical and economical result.

Custom Typewriter Mats

Naturally one could use the examples above to custom make their own typewriter mats. I was always impressed at Tom Hanks’ ingenious custom typewriter covers/mats which served not only to prevent his machines from walking, but also doubled as covers to keep the dust out while simultaneously looking very sharp on a machine being displayed on a shelf, in a book case, or even sitting on your office’s credenza or library card catalog. 

A green typewriter cover being used as a mat underneath a metallic green Voss typewriter

The “Singing” Typewriter

There’s another frequently mentioned down side of typewriters that users and their families aren’t big fans of: the noise. 

While a typewriter is always going to make some sound, there are a variety of things one can do to minimize it. Before we delve into some of the potential solutions, let’s discuss a few of the reasons why your vintage or antique typewriter can be louder than it was right out of the factory.

The Noise Sources

The Ring and Cylinder and the Platen

First, the majority of the classic clacking sound you hear from typewriters is a result of the metal typebars hammering against the ring (or anvil) on the front of the segment just below the typing point. On older typewriters, you can often see the wear of the metal from years of this action occurring millions of times. This wear can also be an indicator of how heavily a typewriter was used in its lifetime.

Basket of a typewriter featuring the segment and typebars. Just above the segment we see the metal "ring" which has small wear marks in the metal from the typebars worn into it.
Based on the metal wear pattern you can almost guess which keys were hit the most frequently on this nearly 100 year old typewriter.

While the majority of the typebar’s momentum is absorbed by the ring, some of the energy is reserved for the typebar to flex slightly and the slug to continue travelling forward where it’s meant to just “kiss” the ribbon and press the ribbon against the paper and then the rubbery-ness of platen absorbs the remainder of the blow. On a well-adjusted typewriter, with the typebar pressed fully forward, it should still be far enough from the platen to allow a sheet of paper to be easily slid between the slug and a backing sheet. 

Depending on the rubber and manufacturing processes used, the average life of the rubber on a platen is somewhere around 30-40 years. Of course on most vintage or older typewriters, the platen which was originally specified somewhere between a durometer rating of a soft, but supple 85 and 92 is now as hard as a rock. As a result, when the slug strikes it, it’s going to be far louder than it would be for a new platen. This also means that for new typewriters manufactured in the 1980s or even typewriters from the 40s and 50s that had their platens replaced as late as the 1980s are pretty much guaranteed to have hardened platens. The end result is more noise.

As platens age, they also shrink which generally means the finely tuned ring and cylinder adjustment done at the factory (or by your local typewriter repair person) is going to be off. This generally means that the slug doesn’t hit the platen as it was meant to which also means that you’ll often see some of the smaller characters like underlines, commas, and periods piercing through your paper as you type. Age and poor alignment means that instead of the type slug kissing the ribbon it smashes the ribbon, blasts through the paper, and clangs against the hardened platen.

Felt and foam padding

To assist in dampening sound both within the typewriter as well as transference to the surroundings, many typewriters from the 1930s onward had sections of industrial padding, felt, or foam glued into the main body panels. Some of the older padding as seen in the 5 Series Smith-Corona portables holds up relatively well while the foam in machines like the Royal FP and the Futura 800 or even the IBM Selectrics has disintegrated into dust and can make a terrible mess as well as be difficult to clean out. On some machines it has picked up a dreadful smell and needs to be replaced.

Gromets and Rubber Washers

 Another, albeit smaller, source of noise in typewriters is the movement and potential rattling of metal body pieces. As a result, you’ll often see small rubber grommets on body panels (common in some of the later Remington Standards) or thin rubber gaskets between the screws and body panels (this is very common on late 1950s Smith-Coronas). Many 60s and 70s typewriters with plastic or thin metal hoods will be held in place by a post which inserts into rubber grommets on either side of the ribbon cups. This makes them easier to take off and replace, but also prevents vibrations from transferring.

Close up of a small gray rubber grommet in the frame of a Brother Charger 11 with the hood removed. Next to the typewriter, one can see the hood upside down with the pin that engages the grommet
The gray rubber grommet that holds the hood onto a Brother Charger 11

Desk Surfaces and Reflected Noise

Of course all these sources of noise are frequently not only heard directly from their source, but the energy of the sound waves is bounced off of the hard desk and writing surfaces upon which one’s typewriter is placed for use.  In contemporaneous typewriter usage at mid-century, most were situated on wooden or rubber-like linoleum-covered tanker desks which don’t exist in modern office spaces anymore. This means that your bare metal, glass, or other hard surfaced-desk is reflecting all of the noise from the typewriter right back up at you and amplifying the noise the machine is making.

The Noise Solutions

Now that we’ve looked at most of the noise sources associated with a typewriter, let’s look at some various means of minimizing them.

The quickest, easiest, and one of the least expensive noise dampening solutions is to use a typewriter mat of one of the sorts described in the section on “walking typewriters”. Felted wool and yoga mats are considered the best. In addition to helping keep typewriters in one place, they can help to absorb quite a lot of the sound as well as prevent reflection of the sound off of the desktop. Their diverse functionality and the ability to accessorize a desk and a typewriter make them incredibly useful accessories.

Colloquially, I’ve heard people say that this sound dampening method is even better than replacing the internal felt or foam on the internal body panels, which is another relatively inexpensive method of sound dampening. 

Using 3-5mm felt from your local hobby store is a simple replacement for old felt and foam which can frequently hold unpleasant smells. Others frequently suggest Ethylene-vinyl acetate foam sometimes more commonly called EVA foam which is used in a variety of common applications from shoes, athletic equipment, yoga mats, toys, packaging, furniture, seating, and even cosplay costumes. Others may also suggest materials like neoprene which is commonly used to make wet suits. Most all of these are relatively easy to find in a variety of fabric, foam, and hobby stores as well as online stores. One can use paper patterns cut out to follow the form of the typewriter panels and then trace the pattern onto the material and then cut it out. A variety of glues like rubber cement can be easily used to secure this new noise dampening material.

For rubber grommets and washers, these can often be replaced by a quick trip to the hardware store and browsing through the hardware or plumbing sections. Online purveyors like Grainger and McMaster-Carr often have huge selections which will allow one a lot more flexibility to more closely specify sizes and thicknesses. Many hardware stores will also have grab-bag choices that include a variety of sizes of rubber parts so that you can easily pick and choose the appropriate size parts for your particular typewriter.

Finally, another very good means of minimizing the noise of your typewriter is to re-cover the platen. Going from a rock hard platen back into a lower durometer rating will help to quiet your machine and give it a more lux typing feel at the same time. Few people do it because it can run about $100 plus shipping, but it really improves your typing experience and is well worth the effort. Because the companies that do this work also do rollers, be sure to spend the few extra dollars to resurface your carriage rollers to have better grip when threading your paper. 

Several companies offer platen re-covering and related services including:

  • J.J. Short Associates, Inc. for Typewriter Platens, Feed Rollers, Bail Rollers, Finger Rollers, and Power Rollers. A platen and feed rollers can run about $100-120 plus shipping, but call or email them for a quote for your specific machine(s)
  • Bob Marshall at Typewriter Muse in Riverside, CA 
  • AKB Longs in the Netherlands. Send an email to rollen@akblongs.nl Prices are about 40€ + VAT for portable platens + shipping both ways
  • Alessio Vescovo in Italy

Remember that if you have your platen re-covered you will want to properly re-adjust your typewriter to get the proper ring and cylinder adjustment done after platen installation. Your local repair shop can handle this for your, or you can attempt it at home. This adjustment will improve not only the noise but the imprint of the letters on your page as well as the longevity of your platen.

Other ideas?

Do you have other options that have worked for you? Have you custom made your own anti-walking and noise cancelling accessories for your typewriter? Be sure to share examples or companies with usable solutions in the the comments below.

The Uses and Subtleties of the Line Indicator on a Typewriter

The Useful Line Indicator

Diagram of the parts of a carriage on a Smith-Corona 5 series typewriter from 1951. Parts include the left and right paper fingers, the paper bail, the ribbon vibrator, and the line indicator

The metal bar often with either grooves or embossed with white lines or in later century models the clear plastic Perspex card guides often with pre-printed white or red lines and/or hash marks on either side of the a typing point are called the line indicator. The “line” it suggests is the potential or actual line of type across the page and is often called the typing line. If it’s properly adjusted it should be set to the base line of the characters you’re typing and also fit the characters either between them or point at the center of the characters. This way if you remove a page and then need to type on it again, you can very precisely level and align the typing line and the characters themselves so that no one will know the page was typed in one or multiple passes. It’s also useful if you accidentally use the permanent variable in the platen and shift the regularity of your lines, then you can properly re-align them and continue typing.

Careful use of the line indicator and the character spacing hash marks also allows one to very precisely align pre-printed forms for filling in data either on blank lines or within pre-printed boxes. As an example, you can find a well-aligned version of a baseball scorecard I typed back in March. It relies on using the correct pitch typewriter and aligning the home plate in the top center of the scorecard carefully designed by Lou Spirito. If you compare them, my alignment is more careful than Tom Hanks’ “this is maybe close enough” alignment, which can show how useful the line indicator can be for professional looking typed documents.

The line indicator on a Royal FP with an index card in the carriage. There are four sets of three Hs typed across the index card's width with the feet of the letters all sitting precisely on the top red line of the card.
With a well-aligned line indicator, one can place text exactly on a line over the width of a paper. One of these sets of HHHs were added after the page had been removed. Can you tell which one?
Close up of the very short line indicator, typing point, and card fingers on a Corona Flat top typewriter.
The miniscule line indicator is combined with index card fingers on the 1930s Corona Standard.

 

The character spacing on the line indicator rule can allow one to also guestimate where they need to either end a word or hyphenate it when they hear the bell at the end of the line. Later machines often had 5-10 spaces on their line indicators to allow just this sort of guestimate as this was often the number of spaces available before hitting the right margin after the bell. 

Close up of the typing point of a Royal KMG. We can see the line indicator with about 8 characters' worth of measurement on each side. Some of the hash marks are covered up by the card fingers which are in the up position on either side. We can see both a Phillips head screw and a hex nut holding the line indicator on and by which the adjustments to the typing line could be made for alignment purposes.
Line Indicator and paper bail rule on a 1950 Royal KMG

 

On some models, the line indicator may have a V-shaped groove or small hole cut into it just below the top of the typing line. This is meant to allow the operator to insert a pencil or pen into that space and then using the carriage release to draw a straight horizontal line across the page. Doing the same thing, but with the platen knobs will allow one to create vertical lines on their pages quickly.

Angle on the typing point and typing rule just in front of the platen on the Orga Privat 5 typewriter. The shape of the metal is almost suggestive of a Nazi Eagle on this 1930s German typewriter. On the top of the ruler "wings" are matching small v-shaped notches.
You can easily see the two v-grooves in the line indicator for making horizontal or vertical lines in this New Orga (Privat 5) typewriter.
Close up of the typing point on an Olympia SM3. On either side we see plastic Perspex card guides with white gradations indicating the type size and the typing line. Just above these is the rule on the paper bail and somewhat out of focus in the background is an additional rule on the back of the paper table.
Note the oval holes in the Perspex to allow inserting the tip of a writing instrument to create either vertical or horizontal lines on a page in this Olympia SM3.

 

On old typewriters with poor or hardened rubber on the platen and rollers, which can allow the paper to slip a bit, or be inserted at a slight angle or on typewriters which don’t have paper guides, one can also use the line indicator to ensure the paper is level when inserted.

As a subtle paper and type alignment hint, most pica and elite machines will lay down type at six lines per inch, so one can use this fact along with the line setting of the carriage return to align the start of their page on either the fourth or the seventh single spaced line to give the page either a 1/2 inch or 1 inch top margin respectively. 

Typewriter Rule Registration and Alignment

If you’re repairing or restoring a typewriter you generally want to properly register all the various typing rules on the machine so that they line up with each other. This can include rules on the back of the machine, the paper table, the front of the carriage, the line indicator, and the paper bail. Often one may be a permanent placement and not have adjustment capability in which case the others are aligned to it. Most of the rest of the rules will have oval screw holes which allow them to be shifted left/right to line them up and then screws to tighten them down. Alignment can be effectuated by putting a sheet of paper into the machine squarely and then using both edges of the paper to line up the same markings across all the rules.

The line indicator is one of the few rules that can also be adjusted up/down so that you can type out a line of HHHs or NNNs and adjust both sides so that you can level the line indicator to the baseline of the characters typed across the page to have everything level. It’s this careful alignment in the shop which will allow the professional typist to turn out the best quality material, particularly when it comes to typing out pre-printed forms.

Close up of the typing point and line indicator of a Remington Standard typewriter. This line is fairly wide and shows at least 14 hash marks on each side.
Notice that the carriage rule shows 60 (out of a total of 140) while the paper bail rule reads 12. These rules are properly aligned, but the 0 on the paper bail rule corresponds to the center with 70 marks on either side for more easily centering text when necessary.
A view onto the left side of the carriage of a brown crinkle painted Royal HH featuring the left side of the line indicator and just below that the ruler along the bottom of the carriage. For comparison we can also see the ruler on the paper bail and a partial ruler on the back of the paper table.
The Royal HH has so many rules… but is still easy and joyful to use.

 

Older machines, particularly ones with manually set tab stops in the back of the machine to allow for accurately setting tabs, will have one or more rules hiding on the back of the machine. Be sure to account for these and adjust them properly as well.

The rear rule and the manual tab sets on the back of a gray 1958 Olympia SM3
Notice the oval slotted holes for attaching the screws on the tab rule on the back of this 1958 Olympia SM3. It takes some care to think about properly aligning this rule with the various versions on the front of the machine. Possibly because of the extra alignment work and materials involved in providing this rule and the fact that users probably didn’t actively use it, Olympia quit including it on models in late 1958.

 

Be aware that on some machines the design might sometimes allow two rules to coincide. As an example, the line indicator rule and the carriage ruler on the Underwood Touch Master 5 are the same rule.

Close up of the typing point of a 1966 Underwood Touch-Master Five standard typewriter spooled up with a black and red bichrome tatty ribbon. The basket is a bit on the dusty and dirty side.
The Underwood Touch Master 5 line indicator serves double duty as a carriage rule.

 

Hopefully now that you know about the subtle art of the line indicator and how it’s used, you’ll be able to better adjust your own typewriter and turn out more sophisticated looking pages.

Typewriter Repair Costs and Valuation: Professional Shops versus Collectors versus First Time Buyers

I often see people asking questions about the value of vintage typewriters. Questions like: 

  • Is it really worth $550 to buy a clean, oiled, and adjusted typewriter from a repair shop?
  • What about the cheap typewriters I see for $20-50 on Facebook Marketplace? Are they any “good”?
  • What’s with the dramatic difference in prices? Am I being tricked?

For the sake of clarity, I’ll be addressing the majority of the typewriter sales in the secondary market which are broadly the most common typewriters made for the commercial market after about 1925. Most of these were manufactured in the realm of hundreds of thousands to several millions each and are thus decidedly not rare.  

Within this market, the savvy consumer knows that the condition of the machine is generally the biggest driver of the sales price. Sadly the majority of machines you see for sale are in poor to absolutely dreadful condition, but are priced as if they are cleaned, oiled, and well-adjusted right out of a professional typewriter shop. If you watch patiently, you’ll notice these so-called “rare” machines never sell. If you’re buying, you should ask yourself the following: Is the exterior of the machine in good cosmetic condition with clear and intact decals?  Is the interior clean and free from excess dust, oil and other residue which can affect performance? Does the machine function as well as one could expect or almost as good as if it just came off the factory floor? Is the type properly aligned on the page? Does it make clear, bright imprints for all characters? Do all the buttons, levers, and adjustment points work as expected? Does the escapement work across the length of the platen? Will paper feed through properly? Are the rollers round, even, and grippy? Does it have its original metal spools? Does it have new or even usable ribbon? All of these cosmetic and functional factors effect the ultimate sales prices in the market.

The truth is that the vast majority of typewriters on the broad online marketplace don’t fit many of these criteria. Most are barely capable of any of these. A large number are dusty “barn” machines that have been sitting around for decades and barely befitting the name typewriter. Far too many have “sticky” keys or other mechanical problems. Many have broken or disconnected drawbands. Others suffer from a broad array of other repairable and even non-repairable maladies. 

Having purchased around 50+ machines from a variety of online shops and thrift stores for $9-150, I have never gotten what one might call a “perfect machine” as one would expect recently serviced from a professional typewriter repair shop. Only a handful required an adjustment or two and a solid cleaning and new ribbon to be close to perfect. 

I’ve recently been to a handful of type-ins now, and I can attest that most people who have their own typewriters are amateurs who at best have dusted off the exterior of their machines and are charitably limping (a base level of typing) along as best as they can with what they have. While this is certainly fine and potentially acceptable to some, it’s definitely not the lush level of a well-adjusted machine.  If you want to be a good steward of your typewriter and plan on using it extensively or even professionally as an author, it is definitely worth the time and attention to have at least one solid machine in your arsenal. If you have the funds, definitely replace the rubber feet and re-cover the platen on at least one machine to enjoy pure typewriting nirvana.

Meme image of Ferris Bueller in a men's room with the caption: A typewriter with a re-covered platen. It is so choice. If you have the means, I highly recommend picking one up.

One will regularly see posts of unknowledgeable sellers who insist they “know what they’ve got” offering dirty and disgusting typewriters for $500 or dramatically more. Most of the typewriter collecting community see these typewriters for sale and have a good laugh knowing that the seller is comparing their machine to an immaculate version of their typewriter that has been lovingly restored. 

A Typewriter Repair Cost Thought Experiment

As a thought experiment based on several years of collecting and restoring/repairing typewriters, I decided it might be useful to create a ballpark representative graph of what the typewriter cost space looks like to have and use a great functioning typewriter.  To do this I’m going to look at the raw base costs of what it takes to have a professionally adjusted and cleaned typewriter serviced by three different personas in the space. I’ll look at the seasoned professional with 9 months to many years on the job in a typewriter shop, the avid typewriter collector with between 15 and 50 or more typewriters in their collection  the majority of which they’ve self-serviced, and the beginner to novice typist who is potentially buying their first, second or maybe third typewriter and who may likely never go beyond that number.

A naked Royal Quiet De Luxe sitting on a towel on a wooden table for repair surrounded with typewriter tools, cleaning supplies, and the disassembled portions of the typewriter body and carriage.
The repair layout of a collector with a wide variety of tools

The primary variables we’ll be looking at will be time, experience, and general costs. We’ll also look at tools and their availability, the cost of the machine itself, replacement parts, and the cost per hour of labor. I’ll be ignoring the cost of storage space and other miscellaneous overhead costs of actually running a business which a repair shop might require, but that an amateur is only tangentially responsible for by using space in their home. We’ll try to keep as many of the variables constant across the spectrum for a reasonably useful comparison of cost and time for these personas. 

Tools

The availability and cost of various tools will be a factor and vary dramatically across the three categories. If the beginner doesn’t already have them, they’ll want at least a minimum of a couple of screwdrivers, an adjustable wrench, some canned air, a toothbrush, and some mineral spirits for about $100. A collector will have all of these as well as a dedicated air compressor, a full set of screwdrivers, wrenches, and several basic pliers, a variety of brushes (nylon, brass, and steel), some oilers, spring (push and pull) tools, and possibly even more for an investment of $300 or more. Finally the pro will have all of the above in addition to a wide variety of specialty tools for less common repair and adjustment needs. Many of these are not easily accessible and many are no longer manufactured. This will include a wide variety of custom pliers, benders, and potentially even a dunk tank for cleaning typewriters. This equipment will often require an investment of one or several thousands of dollars. Because this larger investment is depreciated out over the span of years and used on hundreds of machines, I’ll set the tool price per typewriter for the professional at $5, the collector at $20 and $90 for the beginner. 

A large table covered with a repair bag and a wide variety of typewriter repair tools and solvents.
A collector’s toolset including some custom and hard-to-find pliers and benders.

Typewriter

Next is the actual cost of the physical typewriter itself. Whether it’s a Smith-Corona Corsair from the late 60s, a Smith-Corona Silent from the 50s, a 1930s Royal P, or an Olympia SM3 from the 50s, even a dirty, disused, old typewriter is going to cost something. I’ll consider what we’re buying as a baseline run-of-the-mill machine of the type you’ll find at almost any thrift store that is in desperate need of a cleaning and which may have a few sticky keys, has it’s fair share of eraser shavings and cobwebs inside, needs a couple of small adjustments and perhaps one repair or replacement part that doesn’t include replacing rubber feet or a platen.  As most beginners don’t know the market well, they’re highly likely to pay in the $50-150 range for such a machine while the savvier collector will end up in the $20-75 range. The pro shop will quite often acquire their machines as donations or bulk pick ups for $5-20 each and the cost of gas to get them depending on what sorts of makes and models we’re looking at. As an anecdotal bit of data, one professional restorer recently told me he wouldn’t go over about $60 to buy a garden variety Olympia SM3 which most collectors would probably be on the hook for about $120.

View from the back of a Remington Standard with the Fold-A-Matic rear panel opened revealing lots of eraser bits spread over the internals.
Three cheers for eraser crumbs!

Repair and Replacement Parts

Pro shops are often much better off than the other two categories as they often have a dozen or more parts machines which they cannibalize to repair machines. They may also have custom suppliers of screws and springs which dramatically reduce the cost of researching and buying from places like McMaster-Carr, Fastenal, or your local hardware store. We’ll place their replacement part cost at about $5. Collectors may have parts machines, but are also likely to have friends, acquaintances or sources parting out machines inexpensively for around $15. The beginner will struggle to find repair parts and would potentially pay in the range of $40  for the same pieces. 

Cost per hour for cleaning and repair

Professional repair rates in the United States are currently in the $40-75 per hour range, but for our back-of-the-envelope calculation, let’s stay with the more conservative $40/hour rate. The collector doesn’t have the same level of knowledge as a pro, but isn’t dreadful and knows where to look for what they need, so we’ll give them a $30/hour rate for work. Finally we’ll pay the wholly inexperienced novice the United States minimum wage of $20/hour. This is sure to save them a lot of money compared to the pro, but it’s also going to take the novice a huge amount of research work and tinkering to come close to the proficiency of the pro, so perforce, it will take them far longer to come to having a machine as nice at the end of the process. I would expect the experienced collector to slowly come close to the level of quality turned out by the professional, but this is going to exist on a scale based on level of experience. 

  Professional Collector Amateur
Reticent amateur
typewriter $30.00 $90.00 $120.00 $120.00
tool cost $5.00 $20.00 $90.00 $90.00
cleaning time $320.00 $480.00 $2,240.00 $3,360.00
repair parts $5.00 $15.00 $40.00 $40.00
totals $360.00 $605.00 $2,490.00 $3,610.00

A graph of typewriter repair graphing experience against time and cost

As a result of the ballpark numbers above, I’m going to graph a few points for the various levels admitting that there is generally going to be some variance around the values. This variance increases as we move from the professional level (small variance) to the collector and then onto the novice (a much larger variance). Because the experience and ability of the beginner is so large, I’m going to plot two points for them to emphasize this variability. We can now take some of our rough numbers and plot the cost values against the amount of time it would likely take each of these levels to put out a single, clean, repaired and reasonably well-adjusted typewriter, keeping in mind that the level of the beginner will almost always lag behind the capabilities of the advanced collector or pro.

Graph of cost (y-axis) against time in days (x-axis). We see three lines for the pro ($375 for 1 day), the collector ($605 for 2 days), and two values for the novice ($2490 for 14 days and $3600 for 21 days)
The purple $375 data point is for the professional repair shop, the orange $605 is for the collector, and the two red values at $2,490 and $3,600 are for the wide ranges of the beginners.

A professional shop with only one trained repair person will likely repair, clean, oil, and adjust a single machine in about 5-8 hours while the collector can likely do the same in about two days of full time work on average. The beginner, presuming they are mildly mechanically inclined and willing to try will take two to three weeks of full time work to pull off the same level of quality. This generally presumes the typewriter is not in horrible shape to begin with and doesn’t have complicated issues like subtle escapement problems.

Analysis and Conclusions

This graph, while it has some obvious variability given some very conservative numbers, will give the beginner at least some idea of not only the time, but the cost associated with buying and self-repairing/restoring a typewriter to the level that a professional shop would. Here I should say that we’re explicitly not including the costs of any new rubber feet, rollers, or a recovered platen which would potentially add a couple of hundred dollars to the overall base-level costs. Despite the availability of online advice and fora, the beginner often isn’t aware of the hidden costs of tools, materials, time, knowledge and effort involved to bring their machine close to its original condition. Typically they’re usually looking for the bare minimum to get a machine working and not to get it working to its peak capabilities the way a professional shop would.

If you’re a professional writer interested in getting straight to work on a professional level machine, it’s incredibly easy to see from this chart that you shouldn’t waste the time, effort, or expense of trying to buy a $20 typewriter (or worse, overspending on a $300 dirty typewriter) to clean up for yourself and your daily work.  It’s a definite no-brainer to check out your local shop and buy a machine for $400-600. It’s even a no-brainer if you have to drive several hours to a distant shop to do the same. You could probably even fly and come out ahead. There is certainly a similar calculus if you’re a first time buyer in the market for a gift for a significant other or even a young child’s birthday or holiday present. Is it worth the supposed “savings” to buy a cheap machine and then spend the time and energy to bring it back to life? You definitely don’t want a gifted machine in poor shape to become someone else’s white elephant when they realize it needs some serious repair or cleaning work. Worse might be to spend a few hundred dollars on a machine in mediocre condition and then need to spend another $500-$750 on it at a repair shop to get it into the same condition you could have just paid for $500 upfront.

Further, you’ll notice that professional typewriter shops are not making a huge profit margin for their time and experience, even at the comparatively much higher levels of paid labor. (Remember we also didn’t factor in any overhead, retirement funds, health care, insurance, regulatory compliance, etc.)

Now the question becomes a bit harder to answer if you’re an inveterate tinkerer who wants to have a typewriter or twenty. If you’ve already got a nice toolchest and some garage space, perhaps the cost of doing your own machines is worth the trouble? Do you have the mechanical chops to begin with? Do you enjoy the research and digging required to puzzle out the repairs and adjustments of your new-to-you typewriter? Is it worth the hobby time as an “investment” in yourself and your mental health? Would you be acquiring lots of machines? Or do you just want three? What level of repair work are you willing to add to the mix of your sort of typewriter collection? How sustainable is that level over time and across the number of machines? 

Obviously the more machines you collect and repair, the more valuable it becomes to invest in the knowledge, manuals, tools, and materials to do the work. Once you’re into it at the level of 50 machines with the majority of them in solid repair status, you’re beginning to hit the levels of a professional repair person. This also presumes that as you’re progressing, you’re also spending the time and effort to collect (buy) the uncommon tools of the trade as well as repair manuals to be able to more efficiently do your work. If the fun of repair becomes drudgery and “work”, then perhaps it’s time to invest into your local repair shop’s future? Doing this can help ensure the ensuing generations can still appreciate and use these machines.

If you’re both a collector and an active writer, are you properly balancing your priorities of writing and tinkering? Is the tinkering beginning to stand in the way of your productivity as a writer? Are you using the excuse of perfecting small adjustments on your typewriter to actively miss your deadlines?

What about the more expensive Hermes 3000s and Olympia SM3s of the world? In the realm of dirty, used typewriters there are some shining pricing exceptions that will provide even more exceptional value. For the past year or so the popularity and reputation of the Hermes 3000 and the Olympia SM3 have put their prices much higher than a lot of the rest of the market. As a result, an un-serviced Hermes 3000 can start at $250 and the Olympia SM3 can start at $120 even for the experienced collector. (Yes, you can get lucky and find these at garage sales, but that takes additional time and effort which isn’t included in our cost evaluation chart.) Despite this premium, professional shops are still selling these cleaned, oiled, and adjusted in the range of $500-550. This makes them exceptionally great values from repair shops for budding authors and professional writers. It also makes them larger risks for beginners who may need to spend even more attempting to clean and repair them if they’ve got significant damage.

A green crinkle painted Olympia SM3 with chrome highlights, green plastic keys, and a greenish-brown space bar sits on a sun dappled table next to a small potted plant. Off to the side are a small notebook, mechanical pencil and green coffee mug creating a very cozy morning atmosphere.

At the end of the day, there’s a huge gulf between the experience of typing on the dirty typewriter from Joe’s grandmother’s attic that you (over) paid $200 for and the clean-as-a-whistle well-adjusted typewriter that you smartly acquired from an experienced vintage typewriter repair shop for around $500. If you’re buying a machine for regular writing use, you’ll know and appreciate the difference. Of course if you just need something as a bit of decor, then do what you will and go on about life, but at least you’ll have a bit of an idea of what you’re missing out on. If you choose not to miss out, you’ll have a much better idea of what sort of work you might be in for and what the trade-offs are to get the sort of machine you’d like to ultimately have.

Acquired RIDGID 6 Gal. 150 PSI Portable Electric Pancake Air Compressor (The Home Depot)
Support small framing, roofing, blowing and other general inflation tasks.
Picked up for some work related to the Eaton Fire recovery, but it also means I’ve upped my game on tools for typewriter repair.

First Time Typewriter Purchases with Specific Recommendations for Writers

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. If, as a beginner, you think that cleaning and repairing your own machine is the best use of your time, go for it, but you may be opening up a can of worms that’s really not worth it. 

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.

For longer writing sessions, one of the additional subtle reasons to use a standard machine is that its larger size will take up more of your field of view. This can tend to help hold your attention for longer periods of time and aid in reducing distractions, which is often one of the reasons writers prefer composing on typewriters over computers.

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.

Typewriters you assuredly don’t want

Many newcomers will ask if a particular typewriter is a “bad” one or is generally known to have problems (aka a “lemon”).  This is usually folly as most typewriters built into the 1980s were generally solid and not just meant to last, but were built to be repaired. Naturally the ones built of steel in the 50s-60s will be the most sturdy and the aesthetics will vary dramatically over the decades.

The one major caveat you’ll hear from almost any typewriter enthusiast and collector is to warn people against purchasing one of the brand new Shanghai Weilv Mechanism Company typewriters which variously go under the names: Rover, the Royal Epoch, We R Memory Keepers, Royal Classic, Maplefield, and The Oliver Typewriter Company. I’ve written about these manual typewriters elsewhere and included some reviews and things to know about and be wary of if you’re planning on buying something new instead of something either vintage or antique (over 100 years old). Professional writers will abhor these machines.

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.

Here, Richard Polt has done some excellent work at aggregating a huge number of  typewriter repair shops arranged by country and location. 

Online Shops

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” or “it just needs a new ribbon” 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.

Close up of a naked 1952 Royal Quiet De Luxe typewriter seen from an oblique view.

Other Inspiration and Information

If you’ve got a favorite 20th century author of which you’re enamored and can’t make up your mind about a particular machine, perhaps you might consider a similar typewriter make and model to the one that person wrote with? Richard Polt keeps a long list of writers, authors, and poets along with the typewriters they were historically known to have used along with photographs. 

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. 

Most typewriters aren’t sold with their original manuals, and if this is your case, then you might try checking out Dr. Polt’s site to see if yours is available. 

Beyond this, Just My Typewriter has a few short videos that’ll give you a crash course on Typewriter 101. This includes some short videos on buying them (what to check for), using them, and even cleaning them. I’ve also compiled a list of some period typewriter usage and typewriter maintenance films to level up your typewriter “game”.

A Note about Shipping Typewriters

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!

Standard Typewriters versus Portable Typewriters and Ultraportable Typewriters

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.

Using the Fold-A-Matic feature of the Remington Standard to Clean, Oil, and Adjust

Today I spent a few hours cleaning, oiling, and adjusting my new (to me) Remington Standard typewriter.

Remington Fold-A-Matic

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. 

Simple conceptual diagram of the Remington Fold-A-Matic from a typewriter manual selling the benefits of the functionality. Featured is a diagram of red removeable panels followed by a diagram of the blocky typewriter being folded open.
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. 

Technical diagram of the rear section of a Remington standard typewriter with indicators of which screws to remove to utilize the Fold-A-Matic functionality of the typewriter
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. 

Remington Standard viewed from above with all it's body panels removed along with several screws removed to allow the Fold-A-Matic functionality to open the rear/carriage of the unit for servicing.

Side view of the Remington Fold-A-Matic in action.

View from the back of a Remington Standard with the Fold-A-Matic rear panel opened revealing lots of eraser bits spread over the internals.

View from the back of an opened Remington Standard typewriter with Fold-A-Matic functionality. We see the carriage in the foreground, but we can see into the body of the typewriter's internals.

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.

A hand holding a broken bolt next to the panel hole and typewriter frame into which it would have been screwed.

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.

Mechanics on the left side of a Remington Standard typewriter with the side panel removed. Several of the pivot points have brown grease caked up on them.

Right side view of the Remington Standard typewriter with the panel removed showing the mechanics of the ribbon selection system. The main pivot has brown grease caked on it.

An old splotch of grease on the mainspring of a Remington Standard typewriter

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. 

The right ribbon cup of a Remington Standard typewriter stained red from years of bichrome ribbon use.

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 type basket of a Remington Standard typewriter

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.

Comparing the left and right body panels of a gray crinkle painted Remington Standard typewriter. The left is dull and dirty and the right has been cleaned and treated with WD-40 and sparkles in the sunlight

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.

Typewriter Tools Upgrade

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.

View down from above a table full of typewriter repair and maintenance 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.

A black leather repair case sits on a table next to a copy of the Typewriter Repair Bible. Various card catalogs, a book case and several typewriters can be seen in the background.

The scuffed, but still very solid and functional leather repair person's bag with brass fittings and latches. The initials E L are embossed onto the front flap.

Three thin metal containers for replacement parts can be slid into a small pocket on the side of the repair bag.

View into the bottom section of a leather repair bag showing a wooden sided compartment.

The side pocket of the leather repair bag is just perfect for the Manual Typewriter Repair Bible along with any paperwork a repair person needs.

Repair bag in front of which sits three thin metal trays. One of the trays is open showing a variety of small compartments for typewriter repair parts.

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.

New Tools

Since I wrote about a variety of some of the pictured spring hooks, oilers, and pouches from Crawford back in early August, I won’t cover those again, but I’m leaving a link to that post for those who may benefit from them. 

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)
  • Keylever benders/typebar rollers – these are useful for adjusting typebars with respect to type alignment. 
  • 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.

Focus on a pouch of typewriter tools featuring pockets for a variety of screwdrivers, some hemostat, a pair of wire cutters and some plastic brushes. A portion of the table of typewriter repair tools featuring four pair of pliers, some spring hooks, a plastic packet of small c-wrenches, some cotton wiping cloths, a pair of typebar pliers and two T-benders Focus on three black pouches of tools with screwdrivers, hemostats, plastic brushes, a variety of metal tweezers, an adjustable wrench, a bar bender, several tooth brushes and a large red plastic pouch full of a variety of increasingly larger screwdrivers. In the back corner is a copy of the 400+ page The Manual Typewriter Repair Bible

Solvents, Cleaners, and Oil

I’ve written a bit in the past about some of the products and methods for cleaning and oiling typewriters. Below is a list of the solvents, cleaners and oils I use in my typewriter repair and maintenance practice.

A table top arrayed with

Solvents

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.

Learning Typewriter Maintenance and Repair

So you want to be a typewriter mechanic? 

As some typewriter collectors have realized there is a typewriter revolution going on out there. This means that there’s a growing need for people who can clean, maintain, repair, and restore typewriters. If this sounds like something you’re interested in doing, there are a huge number of resources out there that you can tap into to figure out how to do all of this work on your own. 

I’ve been wrenching on my own typewriters for several years and gotten deeper into the hobby over the past six months, so I thought I’d do a brain dump and outline some of the basic resources for those who are interested either in fixing up their own machines or potentially considering starting a repair shop.

Crash course on typewriter maintenance and repair

A list of resources and references for the budding typewriter repair person. There is a lot here that I’ve compiled and consumed, so don’t be overwhelmed. Half the battle is figuring out where to find all these things, so if nothing else, this should shave off a month or two of reading and researching.

Basic Introductory Material

Get a notebook and be ready to take some notes so you’ll remember where you found the random information you’re bound to pick up over time and are able to occasionally review it.

First watch this video on how a mechanical typewriter works. While it’s specific to the early Underwoods, the general mechanisms on almost all other typewriters are broadly similar.

Work your way through Sarah Everett’s excellent Typewriter 101 videos (at least the first five).

Read Richard Polt’s book which is a great overview to the general space:  

Polt, Richard. The Typewriter Revolution: A Typist’s Companion for the 21st Century. 1st ed. Woodstock, VT: Countryman Press, 2015.

Next watch the documentary California Typewriter (Gravitas Pictures, 2016). It has some interesting subtle material hiding within it, but it will give you a good idea of where you’re headed off to. [YouTube copy; Archive.org copy]

Get a machine (or four) you can practice on. Get a flat head screwdriver and maybe a small adjustable wrench. Buy some mineral spirits and a small headed toothbrush and clean out your first machine. Buy some light sewing machine oil and try oiling it. Search YouTube for videos about how to repair anything that may be wrong with it. Usually 98% of the issues with most typewriters these days is that they need to be cleaned out.

Repair Manuals

Create an account on The Typewriter Database which will give you some additional access to catalogs, manuals, and dealer catalogs beyond what is available without an account.

If you intend to buy a bunch of these, you can get a discount by being a member of Ted Munk’s Patreon site. His personal website also has a plethora of ephemera that is often useful.

Richard Polt’s list of free service manuals and books also includes some correspondence course typewriter repair classes which are meant for the self-taught. Most typewriters are very similar so picking a good generic text that covers the basics is the best place to start before branching out to specific repair manuals for particular models.

Tools

In rough order of increasing complexity:

Tools can be expensive, so start out small with just a few things and expand as you need them. You’ll be amazed at what you can accomplish with a single thin bladed flathead screwdriver, an adjustable wrench, a rag, a bottle of Simple Green cleaning solution, and a bottle of isopropyl alcohol. Most people probably already have these tools at home.

Videos

Subscribe to and become acquainted with YouTube channels like the following:

While watching a variety of videos is great, as you’re doing specific repairs search YouTube and you’re likely to find full demos of the repairs you’re doing yourself. This is where having a solid knowledge of typewriter parts and terminology can be useful. Almost every typewriter manual ever written has a diagram with the parts labeled. Hints for a Happy Typewriter has a pretty good set of typewriter terms to get you started.

I’ve compiled a playlist of videos for repair of an Olympia SM3 which, while specific to the SM3, is a an excellent outline/overview of how to disassemble a portable typewriter, where many of the adjustment points are as well as an outline of the order to do them in.

United States Navy Training Films

If you’re not a good typist or don’t have experience in the area, try out some of the following short films which will also provide some useful historical perspective:

The good news is that historically very few typewriter mechanics were also touch typists, but you should still be able to hunt and peck and understand the needs of your customers.

Internships & Apprenticeships

If you have the time and flexibility try arranging an internship or apprenticeship with a local typewriter repair shop. Meet your local repair people even if you can’t spend the time on an internship. You’ll learn a lot and create relationships with businesses who will more easily swap/supply you with machines they’re parting out or access to tools which may otherwise be difficult to source.

If you’re all-in, maybe you might try the Philly Typewriter Trade School?

Visiting type-ins can be a great way to meet people and discuss typewriter repair as well as see tools and other machines on your journey.

Podcasts

Some useful Bibliography

Good luck on your journey!

I started the process of cleaning my green 1958 Olympia SM3 to bring it back up to speed. Things are generally moving apace although the mixture of eraser shavings and old oil has tarnished the carriage rails. Spent some time with some metal polish trying to bring them back to their old glory. Should be able to finish flushing out tomorrow and getting it back together and properly adjusted.

Here’s a bit of a time lapse of the work:

More progress on the 1931 New Orga (Privat 5): he types! I found some compatible spools and ribbon. Given the Orga typewriter from the movie, I thought this Willy Wonka quote was apropos both as the first type sample and as encouragement for the remainder of the restoration mountain ahead.

View on the top of a 1931 Orga Privat 5 with a typed index card. The card reads: If you want to view paradise, simply look around and view it. Anything you want to, do it! Want to change the world? There's nothing to it. --Willy Wonka, Willy Wonka and the Chocolate Factory (Paramount Pictures, 1971)

Repairing the Drawband on an Orga Privat 5 Typewriter

The Orga Privat 5‘s mainspring and drawband assembly is very similar to that of the Smith-Corona 5 series, but is imminently more accessible and easier to attach. You can see and access all the major parts for basic repair without removing anything.

Rear of an Orga Privat 5 typewriter featuring a hand at the left side holding the drawstring where it needs to be attached to the carriage. On the other side the string is attached to the mainspring wheel which has a thin silver knurled ratchet system attached to it.

The mainspring here seems to be fine. The catgut-type drawstring seemed long enough to work, though it seemed a tad damaged from having been pinched into the mainspring hub assembly. I tried looping a slipknot to attach it at the metal tab/channel on the right side of the carriage (left when looking from the back). However when adding tension to the mainspring, the drawstring predictably broke about halfway through.

I’ll need to get some fishing line to completely replace the drawband and get this working again.

Looking from the back, the silver knurled wheel on the right can be turned clockwise to tension the mainspring and there’s a silver thumb lever right next to it that can be used to slowly let off tension when necessary. I recommend using either rubber gloves or some similar scheme to protect your fingers against the thin knurled wheel which gets tougher to turn/tighten as you progress. 

On colloquial advice for degreasing, cleaning, and oiling manual typewriters

Let’s think about a few of the factors at play when it comes to cleaning and oiling advice for typewriters. Two major factors at play are knowledge (and its dispersal) and the availability of materials and tools.

Most typists are hobbyists coming to the space with little to no knowledge. Often they’re further hampered by the fact that they don’t have the original manual for their machine and so can’t look up the original equipment manufacturer’s recommendations even if they existed in the original manual. Hint: few manuals gave good advice about this other than to wipe them down weekly and not to let eraser cast-offs go into the machine—anyone who’s had a few typewriters knows how that advice went over historically. Other manuals will recommend regular or annual servicing by technicians who aren’t as ubiquitous as they were back in the day. 

Perhaps we ought to harken back to early World War II when typewriter manufacture ceased the first time, typewriter donations to the war effort went up thereby making them more valuable on the domestic front, and the typewriter repair workforce went off to the front? The U.S. Government made a concerted effort to help preserve and protect the machines in circulation with both the War Department making and circulating films and the Treasury Department publishing manuals like Typewriter Care (1945).

When modern typists do get information, it’s often colloquial and under-informed or it’s based on someone’s everyday experience elsewhere or grounded in some small amount of common sense. Many times its outright bad. This is why so many people will turn to everyday household items like rubbing alcohol, cotton swabs, gun oil, sewing machine oil, 3-and-1 oil, and WD-40 to clean and lubricate their machines. These items have been used for these purposes in other arenas and they’re often readily available in the average users’ homes. This readiness to hand will almost always beat a trip to a specialized store to purchase custom solvents, oils, and/or appropriate cleaning tools and dispensers with which they have less first-hand knowledge.

Worse, solid cleaning and lubricating advice by modern day typewriter repair people isn’t easily found or uncovered. (Though it does happen sometimes.) Even if it were, they’d all have a variety of suggestions and practices which were individualized based on their own experience and training as well as the time period in which they learned and practiced it. There are a few good ones on YouTube, but broadly they’re not recognized by a more mainstream public. The few in the type-o-sphere who are better known also have a variety of techniques and methods, and frequently have more custom tools and dispensers at hand than the average home mechanic/typist. 

We also don’t have books like Hints for a Happy Typewriter (Bryan Kravitz, 1983), which dispenses some relatively useful advice to the average home typist when manual typewriters were still in use, but about to wane with the increasing ubiquity of electric machines, and the advent of word processors and computers. Even in this brief primer, some of the suggestions would seem quaint for the current home typist-mechanic who now ought to have more knowledge at their disposal and may not be able to rely on a local repair shop being just around the corner.

A search for “how to clean a typewriter” unearths a variety of really good resources in the top 10 hits including the typosphere’s Richard Polt‘s excellent advice. Yet somehow people want to ask on Reddit  everyday without searching either the internet or the Reddit sub itself because advice from complete strangers with no bona-fides is somehow really valuable in a field of practice which hasn’t advanced a lot in the last 50 years.

Many years have passed since the Original Equipment Manufacturers (OEM) made these machines, and during that time, materials for cleaning and servicing them have shifted and changed. In some cases they don’t exist anymore, or have changed and become better.

As an example, in the early years, typewriter manufacturers including this Underwood manual from 1920 recommend using gasoline to clean one’s type slugs.  This was common practice until Stoddard’s formula (aka Varsol) was invented in 1924 for safer use in dry cleaning. Surely no one is using gasoline anymore despite the ubiquity of gasoline in our environment. It’s highly flammable, it’s difficult to dispense, and it smells dreadful. Surely it had gone out of vogue by the time of the OPEC oil embargo in 1973.

gif of Will Farrell with a moustache and 70s panache as Ron Burgundy saying: "Brian, I'm gonna be honest with you, that smells like pure gasoline."

Later on people used Roytype Typewriter Type Cleaner in 2 ounce bottles which was touted as “non inflammable”! I’m sure that 2 ounces of Roytype cleaner was priced higher than a gallon of mineral spirits today. If you’re a purist, perhaps you’re buying new original stock (NOS) online, but at a crazy mark up?

Another bygone example comes from Kravitz’s 1983 home handbook mentioned above which, in addition to alcohol, recommends the use of trichloroethane as a solvent for cleaning type slugs and internals. Trichloroethane manufacture and use has almost completely disappeared since 1996, when it was identified by the Montreal Protocol as a contributor to ozone depletion.

When mineral spirits, lacquer thinner, and other industrial solvents are reasonably available, they’re often in large cans and require transfer into smaller bottles with custom tips for more easily dispensing into typewriters. Taking the time to do this with a good brass-bristled brush is additional work when compared to the alcohol and Q-tips or extra toothbrushes that most people already have at home.  

Then most of the common advice about these more caustic degreasers includes the fact that they shouldn’t be put on platens, plastic, paint, decals, or other surfaces which can cause them to dissolve, melt, or otherwise damage them. How many home mechanics are going to remove the requisite typewriter body pieces to properly clean their machines when most are afraid of taking off even the most easily removed screws on body panels? Fear of destroying the exterior of their machines is demotivating. It’s even more demotivating when you take it all off, clean it out, put it back together only to realize the next day your keys are still sticky and need an additional treatment (or two).  Was blowing the solvents and dissolved dirt and oil out with compressed air really that necessary? (Yes) Why didn’t anyone tell me I should wait a half a day or more to make sure it would really be fully cleaned out?

And of course, after all that, you mean to tell me that Duane of Phoenix Typewriter has been using lacquer thinner to clean platens and rollers for over 40 years… 

Storage and usage conditions also need to be taken into account, both for the products as well as for the typewriters themselves. 

Many solvents are not only toxic, but highly flammable. In the case of most (and especially substances like gasoline and naphtha, which is literally used as lighter fluid) care needs to be taken to prevent potential fires as well as having proper ventilation.

On the typewriter side, their frequency of use and the conditions in which they’re stored are going to vary widely from the person who has one on display for infrequent use to the collector who has hundreds which are also in infrequent use to typists who have one or more in regular use, but who also aren’t using them with the frequency of a transcriptionist from the 1950s who typed for eight hours a day.

For the uninitiated, Mineral spirits (US) or White spirit (UK), also known as mineral turpentine, turpentine substitute, petroleum spirits, solvent naphtha (petroleum), varsol, Stoddard solvent, or, generically, “paint thinner”, is a petroleum-derived clear, transparent liquid used as a common organic solvent especially in painting. Just the number of names and varieties of mineral spirit become off-putting to most typists. Which one is the “right” one? (In daily practice, really any of them for sale at the local hardware, paint, or art supply stores will work.) Add this to recommendations of other types of automotive degreasers (like carburetor cleaners, engine degreasers, etc.) which come under the brand names of a huge variety of companies all of which have different ingredients and you’re asking for a mess, particularly when these enter the colloquial advice space. And how many are regularly warning their users that some of these degreasers stink to high heaven in comparison to mineral spirits? 

Screencapture from the film Apocalypse Now featuring a shirtless man with a calvary-style military hat squatting down on a beach while two soldiers work in front of him. He is literally surrounded by the yellow fog of war. The meme image is surrounded with the words: I love the smell of lacquer thinner in the morning.

Naturally the underwhelming advice to try isopropyl or rubbing alcohol and Q-Tips seems lovely and expedient. No serious typewriter mechanic would recommend rubbing alcohol of any sort because it contains water and is more likely to cause subsequent rusting to typewriter internals. Even industrial grade isopropyl will have a water in it as well as keytones and acetones which, again, will tend to strip paint and melt plastic. It doesn’t help that isopropyl isn’t the greatest degreaser, though with some mechanical friction, it will certainly help clean up and wash some material out when it’s the only thing available. The better advice is to use one of the family of mineral spirits. 

Some materials may be used more frequently by some typists solely because of their alternate uses in the home/garage and thus ease of accessibility. Susan, who likes working on her ’65 Corvette on weekends, may be more likely to have carburetor cleaner out in the garage, so naturally that’s what she’ll want to use to degrease the internals of her typewriter. Meanwhile, her husband Bob who loves his matte Batman-blue fingernail polish is more likely to use his nail-polish remover (aka Acetone) to clean off his type slugs on a weekly basis. Once they’ve appreciated having done this, they’re far more likely to recommend these methods to others. Perhaps if their 10 year old son Jimmy was consulted, he’d recommend the expedience of his Silly Putty for typeface cleaning because he knows it’s a reasonable facsimile of Eberhardt Faber’s Star type cleaner from the 1940s. (And it can be fun to play with when the muse isn’t visiting your typewriter desk.)

Now, the worst of the problem is that most of the sources of misinformation spread are typewriter fora on the internet. Every day someone shows up on one of the common typewriter spaces on Reddit or Facebook asking how to fix and or clean a typewriter. (No one thinks to search these spaces to see the answer from the day before.) The answer they get will naturally default to the lowest common denominator because professional typewriter repair people and mechanics are almost never the ones showing up to answer the question. They’re going to get the same regurgitated colloquial and anecdotal advice everyone else got or used. It will continue to spread on this way until someone aggregates actual advice from trained typewriter repair people. If only we had a solid wiki for documenting, footnoting, and referencing all this sort of advice?  Fortunately most of the colloquial advice is close enough, easy enough, and works relatively well. 

Even if typists were advised to use WD-40, things wouldn’t be horribly bad as long as they were daily typists who protected their machines against dirt and dust and had them serviced occasionally.  WD-40 has been and can be used as a form of degreaser and lubricant for some applications and as long as it isn’t set to dry out and freeze up in combination with dust and dirt most typewriters might fair well enough with it. The bigger problem is when one uses it temporarily and then leaves their typewriter to sit for months or years at a time at which point the isoparaffin, dust, and dirt are going to have solidified and frozen the machine up again, potentially worse than before. I shudder to think of the number of perfectly good dirty typewriters people have thrown out over issues like this. (Hopefully only marginally more than those who disposed of machines because they accidentally had them on the stencil setting.)

Certainly typewriter shops love buying these “damaged” machines for pennies on the dollar, spending a few minutes dousing them with mineral spirits, blowing them out and marking them up hundreds of dollars. (At least this is better than the bottom feeders buying them from Goodwill and marking them up significantly without any repair work at all.)

Oiling Typewriters

When it comes to oiling advice all the same factors about knowledge and materials come into play. What should be oiled and what shouldn’t? What types of oil should I use? 3 in 1 oil, silicone sprays, mineral oils, gun oils (like Rem Oil), sewing machine oil, or other forms of light machine oil? Most people are sure to have one or more of these available at home already, but they’re also likely to have it in larger quantities either in liquid form or in spray can form which means they’re going to dramatically over-oil their machines.

Generally, over-oiling isn’t a problem when the machine is in regular daily use and some level of service is given to it every few years. It will get flushed out and re-applied frequently enough not to be an issue.

Meme gif from Coming To America in which three party-goers with too much Soul Glo product in their hair get up and walk away from a couch to reveal the Soul Glo absorbed into the couch and is now dripping down it. The caption at the bottom reads: Don't over-oil and walk away.

But are all modern typewriter users using their machines every day like they were in the past? When a machine sits on a shelf for too long, this oil is going to pick up particulate matter and tend to gum itself up again. As a result, collectors with large collections are probably well-advised to stay away from heavily oiling their machines in much the same way that they don’t want to leave ribbons on their unused machines as they’re prone to dry out over time or leave their paper release levers engaged which is prone to flattening out your platen and rubber paper rollers over time. (You’re guilt of these, I know you are. Go ahead and fix it now on those dozens of typewriters sitting idle in your collection.)

Here the best general advice is to provide very light machine oil in very small quantities and placed in targeted areas including the carriage rails, ball bearings, and, when necessary, on type bar linkages. 

What you don’t want to end up with a decade hence is “Frozen Facit Syndrome”, a description common to old Facit typewriters which frequently have a frozen escapement mechanism because, as is sometimes colloquially stated, “someone at Facit thought it would be fun to use cod grease”.

Oiling the segment can be the most problematic as most typewriter segments were machined with incredibly close tolerances for movement against them. Any sort of oil (and especially WD-40) will tend to not only dry out over time, but because the segment is the most exposed internal part of the typewriter, it will gather more dust and dirt than other parts. The close tolerances then close up with gunk and the type bars have more friction eventually causing them to freeze up.

Where to from here?

Colloquial advice is sure to continue apace online. How, then to keep it reasonably solid?

Perhaps we might design a questionnaire to send to typewriter repair shops to see what the state of the art was? Then future hobbyists and typewriter repair schools will have better resources for teaching the cleaning and maintenance portions of their curricula.

Maybe someone will aggregate all the cleaning product recommendations and order them from least abrasive to most, from least toxic to most? This would allow the novice to start simple and increase the power as necessary or appropriate. 

Maybe a more comprehensive wiki like The Typewriter Wiki will fill the space for long term advice with proper referencing and supporting materials?

References

Maintenance of Office Machines. 16 mm. Vol. MN-1513. United States Navy Training Film, 1943. https://www.youtube.com/watch?v=ocdxgkxKAKo.

Hausrath, Alfred H., and Eugene L. Dahl. Typewriter Care. Edited by Walter K.M. Slavik. Federal Work Improvement Program United States Civil Service Commission and Government Division, U.S. Treasury Department, 1945. http://archive.org/details/twcare-1945.

Munk, Theodore. “The Typewriter Database,” 2012. https://typewriterdatabase.com/.

Pearce, H. G. Complete Instructions: How to Repair, Rebuild, and Adjust Underwood Typewriters With Handy Reference for Locating Trouble Quickly. Bridgeport, CT: Typewriter Mechanics Publishing Co., 1920. https://johnesimmons.com/Typewriter/Articles/Manualpdf/Underwood_Repair_Manual.pdf.

Polt, Richard. “The Classic Typewriter Page : All About Typewriters,” 2009. https://site.xavier.edu/polt/typewriters/index.html.