Took it with me to the car wash to blow out all the cobwebs using their air guns. (I’m really hoping for that new air compressor for Christmas.)
The ribbon reverse now works again (the switch is hiding just under the hood in the middle; the Super-Riter models put in a hole and added a lever on the front for easier access). I rewound half the ribbon to discover only a portion on the left was dried out after decades of disuse. I’ll have to see about potential re-hydration or complete replacement. Discovered that this is my first typewriter model to have a top, bottom, and middle ribbon setting for even wear across the ribbon.
The machine is now in good enough condition to use regularly, but will be nicer and much faster once it’s been fully cleaned, oiled, and adjusted. I’m hoping this will happen sometime this coming week.
Found an adjacent manual for it by way of the Super-Riter model which is very close in terms of features. Including mine, which is the third oldest in the list, there are only 9 of these models in the typewriter database while there are 26 of the Super-Riter. I’ll have to do some studying to see what the differences between this model, the Super-Riter, the No. 17, and the KMC were.
The KR key above the backspace is a “key release” mechanism which unjams multiple slugs so one doesn’t need to dirty their fingers on the slugs themselves. Features like this began showing up into the 1960s SCM machines of which I’ve got a few. This is my first Remington to have the feature.
Captured a quick typeface sample and identified the typeface as what appears to be the Remington #4 Elite typeface with No. 2 uncial numbers which feature some nice waviness, especially in the 2, 4, 5, and 7. Looks very similar to the face on my 1957 Remington Quiet-Riter.
For others in the future, I found the serial number on the Remington Standard underneath the carriage on the right rear portion of the body. It’s stamped into the frame right next to the rear metal wall of the back of the machine.
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.
The leather repair bag I picked up is similar to one that late century traveling repair people would have carried with them for on-site repairs and typewriter maintenance. It has a compartment in the bottom with space for three metal trays of replacement parts. It has a side pocket for manuals and any necessary service paperwork. The main compartment has a large open space for a variety of wrenches, screwdrivers, and various other tools for use on the job.
Until I create a dedicated space in the garage for typewriter repair, this bag makes an exceptionally convenient storage space for keeping all my typewriter related tools in one place. I particularly love the heavy leather and patina of it as a piece and it works reasonably well as a decorative item with the rest of the collection. Modern variations of this bag can be found at purveyors like Crawford Tool which cater to copier, fax, and electronics repair spaces. Sadly leather covered wood isn’t an option, but there are a variety of soft cover, hard cover, and even metal or military cases available, some with extensible handles and wheels.
The bag itself is in great condition given its age and general use. It certainly helps that it was incredibly well designed and made with some seriously sturdy materials. The thickness of the leather is truly astounding compared to any bag I’ve ever come across. There are one or two pieces of leather that need to be repaired or re-attached to the wooden internal frame and a button/snap that needs to be repaired. These should be easy fixes for a rainy day.
Because new stock isn’t much of a reality and I prefer to keep parts in situ on parts machines for use when needed, I haven’t been using the three metal parts containers as much as I might. Instead, I tend to use them as temporary receptacles of screws, nuts, and springs while I’m taking apart machines for restoration. This helps in keeping sections separate for easier re-assembly and having three means that I could be working on three disassembled machines at a time if I wish without getting parts from different machines confused.
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:
Below are some of the more specialty and harder-to-find typewriter tools I’ve acquired, most of which came with the repair bag.
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.
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.
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.
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.
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.
Fine Line Ribbon also has some excellent bulk offerings and an almost non-existent website. I thought I’d make a similar post with their current offerings so that those who have typewriter collections that go past 5 machines or who are scaffolding their way to opening typewriter repair shops might have an easier time of selecting and ordering the appropriate ribbon. 12-15 cents per yard of ribbon in bulk is so much better than paying almost a dollar per yard otherwise. It pays for itself pretty quickly.
They offer ribbon in both nylon and silk in partial and full reels. (Sorry, no cotton ribbon offerings at the moment.)
For silk, Fine Line Ribbon only offers black/red or black ribbon color options at $0.33 per yard. A full reel of silk is 545 yards.
For nylon, whose full reels are 660 yards, Fine Line Ribbon can ink in any of the following single color options or your choice of any two colors as a bichrome option:
They often have partial reels of most colors available. Black or Black/Red nylon is $0.12 per yard and other colors or color combinations are $0.15 per yard.
2405 N. Preston Street
Ennis, TX 75119 United States
theresa@finelineribbon.net
+1 (972) 875-8681
+1 (800) 527-0354
† At present, Fine Line Ribbon only offers pink as a standalone color and not as a bichrome option with other colors.
Typewriter ribbon unboxing! I bought a full reel of 660 yards of blue/green bichrome 1/2″ nylon typewriter ribbon from Fine Line Ribbon in Ennis, TX. It arrived yesterday, just in time for some use over the weekend. I’ve now got enough for more than 41 universal 2″ diameter (16 yard) spools, so I should be able to ribbon up my entire collection and have some left over.
I’ve definitely torn this machine down much further than any other I’ve worked on before, in some part because it required some extensive work, but also just for fun. I think after this I’m ready to completely disassemble an entire machine and rebuild it from scratch. Maybe on a Royal KMM or Royal X?
I’ve done enough work on this now that I can put it into my regular daily rotation. It’s sure to reveal a few additional small adjustments as I use it and there are one or two niggling things to tinker on while I wait for the new rubber parts to show up. I’ll also need to find an original metal pair of Royal standard ribbon spools. I suspect as the budget allows I’ll be replacing the platen on this shortly as well.
I’ve dubbed this machine “Slattery” in homage to John Slattery’s performance of the character “Roger Sterling” in Mad Men (AMC, 2007-2015). I’m sampling Scotches and bourbons to find an apropos pairing.
This typewriter (29 pounds) is the much bigger brother to my Henry Dreyfuss designed 1949 Royal Quiet De Luxe (16.8 pounds with the case, not pictured).
The Royal KMG, manufactured from 1949-1952, was known to have been used by writers including Saul Bellow, Edward Abbey, Joan Didion, Eliz Kazan, Arthur Miller, Fred Rogers, Rod Sterling, Carl Reiner, Grace Metalious, Wallace Stenger, John Ashbery, and George Sheehan.
If you’re restoring or repairing a Royal standard typewriter, I’ve started a YouTube playlist of videos, but it’s only got three videos with several more to come.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Good luck on your journey!
On Saturday, August 3rd, after a patience-trying wait, I picked up this lovely green 1958 Olympia SM3. It’s the first typewriter in my collection with both an exotic character set as well as a typeface that veers outside of the standard pica and elite typefaces.
It was a Facebook Marketplace purchase for a better-than-reasonable price. I had made a middling offer to someone out in Rancho Cucamonga not knowing what sort of condition the machine was in. I should have headed out the next day to pick it up from the seller, but with our respective schedules and the 45+ minute drive out, I opted to suggest a Saturday pickup. In the erstwhile, someone sniped it away from me with a significantly larger offer. And of course a day later, they’re on r/typewriters asking about what the typewriter was not realizing that it included some math and Greek characters. I watched and waited and stayed in contact with the seller for more than two weeks. As it turned out the bigger offer never materialized, so the seller told me to come out and pick it up for my original offer.
The seller was in her early 30’s with a relatively young family. She’d inherited the machine from her parents or in-laws who used it, but had kept it in an attic in Newport Beach for the past few decades. Apparently the original owner was a pharmacist, which may account in part for the custom Greek letters on the keyboard. Despite the intermediate inheritor, this has broadly been a one owner machine.
I tried to not show any shock at the non-standard typeface when I picked it up for what is assuredly below market value. I could easily have seen this going for $180-200 as a standard SM3 in unknown condition, but somewhere in the neighborhood of $300-400 with the non-standard typeset and the Congress typeface.
The machine had seen some reasonable use followed by neglect. The first thing I noticed was the damaged paint job on the case, which I’ll go into detail on below.
The usual bushings problem in Olympia SM3s was definitely present, but fortunately the seller hadn’t spent much time testing or tinkering with it to damage the paint job. I quickly swapped the compressed bushings out the day I brought it home.
The ribbon was mostly dried out and worn, but potentially serviceable, though I’ve opted to replace it entirely. One of the spools was an original metal and the other was a plastic replacement.
In addition to a carriage lock that wasn’t engaging properly, there were some issues with five of the custom keycaps.
Beyond this, the machine was generally in good condition. Despite some reasonable use, the paint finish is in great shape and only shows light wear on the front corners and the front edge of the hood. It definitely needed a good cleaning, oiling, and adjusting.
Richard Polt has posted a manual for the Olympia SM3 for those who’d like to see what originally came with the machine as well as its features.
I started the process of disassembling and cleaning the machine on Saturday, August 31st. I spent a portion of the day on Sunday finishing the cleaning and reassembling and adjusting the machine. Oiling the necessary parts as I reassembled made it far easier to limit the amount of oil I used for future maintenance.
I took some photos as work proceeded for those interested in that portion of the process.
My notes from mid-July were tremendously helpful in speeding this process along.
One of the most bothersome issues I encountered while cleaning it was that it was put up “wet” and stored for too long. The original owner had the all-too-common bad habit of erasing directly into the typewriter rather than moving the carriage to the side. This means that it had a fair amount of eraser crumbs stuck to the over-oiled carriage rails and other internals. Over decades of storage, this has heavily tarnished the carriage rails and required not only aggressive cleaning on some parts, but several rounds of metal polish to remove some of the tarnish. There are still some light stains on the internal “brights” which I’ve given up on after half a dozen attempts to minimize them. They’re now in much better condition, but not as perfect as I wish they might be.
The keyboard on this Olympia is a fairly standard U.S. based QWERTY keyboard meant for sale in America through The Inter-Continental Trading Corporation which originally imported Olympias into the Americas.
Of particular note on this machine, some of the standard keys have been swapped out with some custom math and Greek letter keys. These are the )/0, !/3/4, 1/4, 1/2, ,/, ./. which have been replaced respectively by )/ϒ, Ω/π, λ/∫, Δ/, , μ/.
I’ve already accidentally typed an upsilon instead of a zero at least once. It may take some work at the muscle memory to remember to use the capital “O” to make it as reflexive as doing an apostrophe-backspace-period to effect an exclamation point which this machine lacks in lieu of other glyphs.
While most of the keys have the appearance of being doubleshot plastic, the custom keys seem to have been manufactured differently. Perhaps they were etched out and then filled? In any case, the symbols on the custom keys were etched out and missing most of their original color making it difficult, but not impossible to know what they were. To quickly and easily restore them, I spent a couple of minutes with a Crayola crayon and the small gaps on the keys were filled in and looking nice and white again. This solution also has the benefit of being easily reversible from a restoration perspective.
Manufactured at the peak of typewriter functionality, this SM3 has just about all the niceties one could wish for. Compared to typewriters made since mid-century there isn’t anything really extraordinary about any of the features aside from their incredibly well designed and manufactured tolerances.
It does bear mentioning that while most other machines of this era were segment shift machines, this one is a carriage shift which can make using it for very long periods a bit more tiring. There are two manually adjustable spring mechanisms inside the machine to help alleviate some of this effect.
Of interest, in comparing this machine with my other 1958 SM3 which has a lower serial number, I noticed that the older SM3 has an additional scale on the back near the tab stops, but this one doesn’t. It’s likely a reasonable cost savings to have removed it which also frees the assembly line from needing to do another alignment procedure on them. From a functionality standpoint, it’s not a big loss as I tend to set my tabs from the front of the machine and can easily look down on the scale at the back of the paper table and align the tab stops with that scale anyway. The additional scale on the back would only have been useful for those who turned their machines around and set them from the back, but this would also need the scale to have been appropriately aligned to provide the precision in setting the correct stops.
This SM3 came with one of the traditional curved, space-aged wooden cases painted in silver that most SM3s shipped with. The inside was in relatively nice condition and only needed a quick vacuuming and some brushing to clean it out. It also came with the original key on a small keychain.
Apparently the environment it had been stored in was less than ideal, so the exterior paint has reacted and has a terribly rough texture now compared with its traditional smooth surface. I’m going to have to strip and repaint it I think. I’ve seen some hammered metal paint finishes which might come close to matching the original, but I might opt for something completely out of the ordinary as well.
The metal on the case fittings has rusted significantly. I should be able to clean up and polish most of the metal fittings fairly easily, though I probably won’t be able to get them back completely without replacing them altogether.
Based on the condition of the case’s feet, I’m guessing the owner used the typewriter inside the case for most of their work. I’m debating whether or not to replace the feet, but I’m leaning towards doing it because they’re in functional, but marginal condition.
I suppose if you were going to quit collecting Olympia SM3s after getting a particular machine, this would be pretty close to the perfect one. This shirt I got on the same day as the typewriter is obviously about Olympia SM3s, as who could ever quit collecting? or perhaps as Richard Polt is fond of saying, “investing”?
Full transparency, I’ve acquired five machines since I picked up this typewriter, but I’ve also washed that t-shirt 3 times since then. With the washings you almost can’t seen any of the original screen print, so I suppose the universe has spoken on that account in my favor.
The typeface on this SM3 is a somewhat uncommon (though not rare as some might contend) Congress Elite No. 84 at 11 pitch or 2.3m/m. (I’d suspect it’s probably rarer in the U.S. compared to Germany or the rest of Europe, but have no data beyond my limited colloquial experience to support this.)
A type sample from my machine with its custom typeset and a new ribbon appears below.
While I do like the difference in typeface, I’m not sure how much use this machine will get with my finely tuned and very similar 1958 SM3 which has an elite typeface I really love. There are still a few paces I want to put this typewriter through and one or two fine tuning adjustments I’ll likely make, but perhaps I may consider selling this?
It’s now in excellent condition and I may recover the original platen and rubber to enhance it even further. The issue may become how much to list it for as a potential sale? It has several uncommon features which may appeal to a serious collector who doesn’t clean and service their own machines, but who wants one of the most collectible machines out there with a few exotic features that is ready to type on from day one.
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.
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?
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.)
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.
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.
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?
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.
Some photos in the process of cleaning up the black wooden case of my 1949 Smith-Corona Clipper which are suggestive of methods one might attempt at restoring their own versions.
Not factory perfect, but certainly acceptable for another 75 years of happy use.
