Continuing my report from Portland ...
First, a couple more neighborhood theaters I photographed on my bike ride Wednesday morning:
... and a sad, paralyzed Royal seen in an antique shop (no, not Vogue):
The gentleman at the Typing Station was working on some poetry and says he's a regular user.
Two typospherians in action:
Jennie gave us a very interesting impromptu tour of Oblation's papermaking and printing process. This machine (as I understood it) breaks up the hard, thick sheets of recycled cotton fibers.
A vat of cotton and water:
Some of the many molds used to create paper in various shapes:
The paper dries in this room for 24 hours:
This device makes polymer plates for letterpress printing. Their shapes can be designed digitally.
Time to print!
All the printing is done on vintage letterpress equipment.
Using a press requires good rhythm and careful fingers.
Owner Ron Rich started this business 26 years ago, when the now-prosperous Pearl District was just some empty warehouses.
And here's Ben, who restores the typewriters that the shop has been offering for a few years now. They sell about one a week and donate 10% of the proceeds to literacy programs. Ben is an artist trained in metalworking, and says he loves this work.
These bright-red beauties were powder-coated by an outside specialist.
The Hermes Ambassador sports a new platen from J. J. Short.
A letterpress-printed tag on a bright red Corona:
After we purchased some great paper goods, we had pizza and a typewriter show-and-tell. This is the Swiss Calanda that Nick just bought (information on Calandas on Georg Sommeregger's typewriters.ch). At first sight it's a conventional portable, but on a closer look you see that it has several idiosyncratic and clever ways of doing things.
The machine is remarkably flat, with a low-riding carriage.
The segment and type guide are a gorgeous, solid work of art. The entire typebar rests on a wide strip of felt.
The mainspring is located in the center of the typewriter and connects directly to the carriage without the need for any drawband.
Nick also brought his rare Continental 200, ca. 1940.
It strikes me as a machine inspired by the Hermes Baby, but much better built. As on some much bigger typewriters, only the central part of the carriage shifts, for a light and easy experience.
My Junior 58 enjoyed hanging out with the Conti 200.
Next: Ace Typewriter.