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Evolution of the Typewriter by Way of Suggestion
4? era? EVOLUTION OF THE TYPEWRITER BY C. V. ODEN AUTHOR OF "A TALK ON SALESMANSHIP" AND "TYPEWRITER COMMTiNTS AND COMPARISONS" "Some books are to be tasted, others to be swallowed, and some few to be chewed and digested." —Bacon. DEC 14 191-7 COPYRIGHT 1917 BY C. V. ODEN ©CI.A47i>^4 - FOREWORD The contents of this book give the steps in the evolution study, of the typewriter, and are the result of observation, and conviction. The purpose is to answer in as concise form as possible the many inquiries received with reference this book is to the history of the typewriter. However, the reason not to be considered in any sense a history, for that many typewriters have been invented and many mar- keted that are not mentioned. Those omitted have not, in prin- the author's judgment, contributed either mechanical type- ciples or educational assistance that would promote writer development. On the other hand, consideration is given some machines only because they have suggested principles or ideas that have served to assist other manu- the fact that they received more facturers ; and others, from or less recognition from the public. Practically unlimited numbers of patents have been issued on typewriters and accessories, but to enumerate them would require volumes, from which it would be diffi- cult to assort and assimilate information of value. The author gratefully acknowledges having drawn from many sources in the preparation of this work, prin- cipal among which are: Patent Records, Office Appliances, Typewriter Topics, Phonographic World, History of the Typewriter, the Franklin Institute, Mr. -
Inventor of the Remington Standard Typewriter CHRISTOPHER LATHAM SHOLES
Inventor of the Remington Standard Typewriter CHRISTOPHER LATHAM SHOLES My niece, seven years of age, picked up, an hour ago, a few acorns under an oak of October. From one of these nuts she has pulled away the cup. This cup, dipped in water and pressed upon paper, makes a dozen much better circles than Jessie could draw with either her pencil or pen. And why? Because now she has simply to press one ob- ject on another, an acorn cup on a bit of paper, to leave an impression. Without knowing it, she is a Printer. When her forbears long ago came to this art of printing they proved themselves to be human in skill and faculty, and gave token of an immeasurable advance beyond their lowly kindred of the forest and the glade. At first, in all likelihood, they imprinted upon mud and clay the outlines of nuts and leaves, feathers and shells, more in simple sport than from any other impulse. When the arts of making weapons and tools arose, we may be sure that swords and knives, arrow-heads and hammers, were bidden to impress their contours upon clay, wax, and other yielding surfaces. By and by stamps and brands for cattle and horses were produced, — a new step in the art of printing. More im- portant still was the carving of seals. These gradually be- came larger and more intricate, so as to set forth a tribal record, a deed of sale, a mortgage, or a military proclama- tion. The point to be remarked is that a printer, wholly devoid of skill, can impress a complicated outline from a crystal or a metal plate every whit as well as its carver or engraver. -
Mavis Beacon Teaches Typing Student Guide
® ACADEMIC EDITION STUDENT USER GUIDE © 2015 The Software MacKiev Company. All rights reserved. Portions © 1998-2011 Riverdeep Interactive Learning Limited and its licensors. Software MacKiev, the Software MacKiev logo, InstallMill and the InstallMill logo are trademarks of The Software MacKiev Company. Mavis Beacon, Mavis Beacon Teaches Typing and Broderbund are registered trademarks of HMH Consumer Company. Apple, Mac OS, Macintosh, Mac and the Mac logo, Bonjour, the Bonjour logo and the Bonjour symbol, iTunes and iCal are trademarks of Apple Inc., registered in the U.S. and other countries. QuickTime and the QuickTime logo are registered trademarks of Apple Inc., used under license therefrom. Microsoft and Word are registered trademarks of Microsoft Corporation in the United States and other countries. IBM is a trademark of International Business Machines Corporation, registered in the United States, other countries, or both. BitTorrent is a trademark of BitTorrent, Inc. WordPress is a registered trademark of the WordPress Foundation. BBC is a trademark of the British Broadcasting Corporation. The Weather Channel and weather.com are U.S. federally registered marks of The Weather Channel, Inc. The photo of August Dvorak is used with the permission of the PEMCO Webst Museum of History & Industry, Seattle. The media files (images) used in “A Brief History of Typing” chapter are taken from public domains, because either the copyright holder has released the image to the public domain, or the copyright has expired often because its first publication occurred prior to January 1, 1923. All other trademarks are the property of their respective owners. Mavis Beacon Teaches Typing Table of Contents Introduction . -
116 Spring 2017
ETCetera Journal of the Early Typewriter Collectors’ Association No. 116 • Spring 2017 Editor’s Notes 2 Restoring the Oldest Hammond 3 Eugene Cass with Hammond 6 The Bennington Typewriter 8 Restoring Caring for Coronas 10 Show and Tell 11 the Oldest Typewriter Letter Openers 12 Alpinas 16 Hammond New on the Shelf 18 Around the World 20 In IssueThis Letters 20 ETCetera No. 116 • Spring 2017 • 1 ETCetera Journal of the Early Typewriter Collectors’ Association No. 116 • Spring 2017 Editor’s Editor Richard Polt Notes 4745 Winton Rd. Cincinnati, OH 45232 USA 513.591.1226 welcome to another year of etcetera! to survive today—so that if a model’s [email protected] We continue to publish on good old-fash- serial numbers appear to have started at ioned paper, as befits our beloved devices 1000 and gone up to around 4000, there Secretary-Treasurer for affixing ink to said material. I’d like may be 30 in existence. But how reliable Herman Price to take this moment to thank the team is this rule? And with such a wide range that makes it possible: our indefatigable of rarity—from Holy Grail typewrit- Board of Directors columnists and historians, Robert Mes- ers like the Blick 1 that have never been Bert Kerschbaumer senger and Peter Weil; our financial and found to over three million manufac- Robert Messenger postal czar, Herman Price; our meticu- tured examples of the Underwood No. Richard Polt lous designer, Nick Tauriainen; our hard- 5—should we be using a logarithmic Peter Weil working translators, Lars Borrmann and scale, like the Richter scale for earth- Reinmar Wochinz Fransu Marín; our proofreader, Whitney quakes or decibels? In this scheme, a Carnahan — and of course, the many col- typewriter rated 1 would be ten times as Design lectors who contribute articles, photos, common as a 2. -
Etcetera Journal of the Early Typewriter Collectors’ Association No
ETCetera Journal of the Early Typewriter Collectors’ Association No. 110 • Fall 2015 In This Issue Editor’s Notes 2 Clark Electric 3 The National News 9 Typewriters Make News 10 Clark Evidence for 1st Portable 16 McLaughlin to Murray 18 From Our Members 22 Electric New on the Shelf 24 ETCetera No. 110 • Fall 2015 • 1 ETCetera Journal of the Early Typewriter Collectors’ Association Editor’s Notes No. 110 • Fall 2015 Editor sometimes treasures are right un- Crandall “stretched” Pratt’s typewheel Richard Polt der our noses. We just need to look in “into a sleeve which he himself was able 4745 Winton Rd. the right place. to patent on his own, thereby by-passing Cincinnati, OH 45232 USA Case in point: the 1960 R. C. Allen Pratt’s control” (p. 110). 513.591.1226 VisOmatic Electrite that I just added to Pratt’s historic device recently gave [email protected] my collection. It had been languishing Toronto collector Martin Howard a at a nearby antique mall for quite some “Wow moment” when he spotted it in a Secretary-Treasurer time, and I’d strolled through the build- display at the British Science Museum Herman Price ing repeatedly without spotting it. But in London. Neither he nor I had realized fellow Cincinnati typewriter lover Leigh that there was still an extant Pterotype, Board of Directors Whitaker looked in the right spot— although some ETCetera readers surely Bert Kerschbaumer tucked away far below my eye level—and knew of it. Robert Messenger shared some photos of the machine on Why is the Pterotype in England? Richard Polt Facebook. -
Specimens Characterised by Their Splendid Use of Ornaments, Borders, and Initial Capitals
VILLAGE vllg.com Marcin Typewriter FELICIANO / Marcin Typewriter ABOUT vllg.com Marcin Typewriter Marcin typewriter is the monospaced version of Marcin Antique, our contemporary interpretation page 1 of 3 of late nineteenth century’s French types produced by the Fonderie Gustave Mayeur in Paris. Based in Paris, the Mayeur type foundry was active in the late 19th and early 20th century. It published a remarkable collection of magnificent type specimens characterised by their splendid use of ornaments, borders, and initial capitals. Those publications contained a wide variety of typefaces for text and display use. The “Antiques” or grotesques providing the source material for Marcin Antique were among the styles showed in the 1894 and 1912 editions of the Spécimen-album de la fonderie Gve Mayeur, Allainguillaume&cie, succrs., both published in Paris. Instead of emphasising the more mechanical and technical aspects often associated with monospaced fonts, Marcin Typewriter takes its cue from Marcin Antique’s contrast and tone, and merely adapts FELICIANO / Marcin Typewriter ABOUT vllg.com page 2 of 3 them to the restrictions of monospaced typefaces. The resulting face looks neither too nostalgic nor too ‘tech’. Marcin Typewriter is suitable for a wide variety of uses and reads frictionlessly. It comes in six weights with matching italics. Except for the two lighter weights that were suppressed, those weights correspond with the weights in Marcin Antique. Top row: Marcin Antique / Bottom row: Marcin Typewriter The OpenType fonts include Latin Extended character sets, all the different styles of numerals, and—just like in Marcin Antique—alternate glyphs subtly alter the feel of the typeface. -
The Ingenious Pen: American Writing Implements from the Eighteenth
312 The American Archivist / Summer 1980 The Ingenious Pen: American Writing Implements Downloaded from http://meridian.allenpress.com/american-archivist/article-pdf/43/3/312/2746697/aarc_43_3_2052654603041853.pdf by guest on 28 September 2021 from the Eighteenth Century to the Twentieth MAYGENE DANIELS THE HISTORY OF MODERN AMERICAN WRITING IMPLEMENTS is not the story of indi- vidual inventors of genius struggling in laboratories to develop brilliant innova- tions in writing tools. It is instead the story of the slow evolution of practical means of solving age-old problems with the assistance of developing technology. Al- though each development built on its predecessors, several points in the contin- uum are milestones. These include Joseph Gillott's 1830 development of a mech- anized stamping press for steel pens; L. E. Waterman's discovery of an effective principle for fountain pens; the 1868 patent of Sholes, Glidden, and Soule for a practicable typewriter; and Georg and Ladislao Biro's development of the mod- ern ballpoint. Even the developers of the most successful writing implements re- main largely just names, rather than heroes of science and technology, while the instruments they developed have become integral parts of our daily lives. The Quill The quill pen was the primary writing instrument of the western world from the dark ages until the second third of the nineteenth century. It was the basic writing tool used in America for more than two centuries. The word pen itself is derived from the Latin penna, meaning feather. Quill pens were made of the primary feathers of common birds, most often of geese, but also of crows, swans, and others. -
From Gutenberg to Gigabytes: Writing Machines in Historical Perspective
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 1995 From Gutenberg to gigabytes: Writing machines in historical perspective Richard William Rawnsley Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Technical and Professional Writing Commons Recommended Citation Rawnsley, Richard William, "From Gutenberg to gigabytes: Writing machines in historical perspective" (1995). Theses Digitization Project. 1105. https://scholarworks.lib.csusb.edu/etd-project/1105 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. FROM GUTENBERG TO GIGABYTES: WRITING MACHINES IN HISTORICAL PERSPECTIVE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Richard William Rawnsley June 1995 FROM GUTENBERG TO GIGABYTES: WRITING MACHINES IN HISTORICAL PERSPECTIVE A Thesis Presented to the Faculty of California State University, San Bernardino Richard WiTliam Rawnsley June 1995 Approved by: ^ ^ ' If /9fS Edward M. White, Chair, English Dkte Milton Clark, English Carol Haviland, English ®1995 by Richard William Rawnsley ' abstract ■; : The computer is now a ubiquitous tool in all areas of busihess, government, and schools. With its phenomenal growth over the past twenty-five years there comes■a widespread interest in the computer as a tool for teaching writing. Because most composition computer research focuses primarily on the computer's future potential, little research is performed on the computer's close historical ties to mechanical writing machines. -
Etcetera No. 1, October 1987 —Richard Polt —Alan Seaver / Etcetera No
In this issue Editors’ Notes .......................................2 ETCetera The Cahill Electrical Typewriters .....3 Demystifying the McCool ....................9 Journal of the Back to Basics: A Platen Primer .....13 Ephemera: The Last Maskelynes ..... 14 Early Typewriter Tale of the Century ............................21 His Father’s Fault? ...........................23 Collectors’ Association The Oliver Woodstock ........................24 An Esperanto Typewriter? ...............26 Richard N. Current ...........................27 Brother JP-3 .......................................28 Letters and More ................................30 No. 100 -- December 2012 ETCetera Editors’ Notes Journal of the Early Typewriter Collectors’ Association December 2012 No. 100 Editor: Richard Polt 4745 Winton Rd. Cincinnati, OH 45232 t is with a mixture of honor, pride, 513-591-1226 arryl Rehr was the inaugural [email protected] and trepidation that I assume the Deditor of ETCetera and set a very Ihelm of this distinguished publication. high standard for 13 years, inspiring Secretary-Treasurer & Mailer: ETCetera is far and wide the inest pub- me and many other typewriter collec- Herman Price lication in its ield, thanks in no small tors. Chuck Dilts and Rich Cincotta part to the eforts and dedication of German translation: served as innovative and enthusiastic Norbert Schwarz my predecessors. With Richard’s exit, editors for the next ive years. I have he leaves the newsletter at the absolute Spanish translation: now had the privilege of editing this pinnacle of its existence. That’s a hard Fransu Marin´ magazine for seven years and of bring- act to follow. ©2012 ETCA. Published quarterly. ing it to its hundredth issue. It has My aim in the short term is to act Calendar year subscription: $35, been a great experience, but I am now as a steward for what Richard, Chuck, North America; $40 elsewhere.