Difference between revisions of "Mimeo"

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{{Chaz|file=DickSmithMimeo.jpeg|align=left|text=[[Dick Smith]] cranks a Gestetner at [[Windycon 29]] in 2002, long after mimeo had ceased to be [[fandom]]’s principal [[repro]] method.}} 
 
A '''mimeo''', short for '''mimeograph''', is a machine for printing with ink forced through a wax or plastic [[stencil]] cut with a [[typewriter]] or [[stylus]]. Used extensively for the production of [[fanzines]] throughout the early- to mid-20th century, '''mimeography''' was an art form that many [[fans]] gratefully gave up with the arrival of cheap [[photocopier|photocopying]] and [[offset printing]] beginning in the late '70s. Until that time, [[pubbing|fanpublishing]] was as much of a handicraft as it was a literary exercise.
 
A '''mimeo''', short for '''mimeograph''', is a machine for printing with ink forced through a wax or plastic [[stencil]] cut with a [[typewriter]] or [[stylus]]. Used extensively for the production of [[fanzines]] throughout the early- to mid-20th century, '''mimeography''' was an art form that many [[fans]] gratefully gave up with the arrival of cheap [[photocopier|photocopying]] and [[offset printing]] beginning in the late '70s. Until that time, [[pubbing|fanpublishing]] was as much of a handicraft as it was a literary exercise.
  
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Well-known mimeograph brands included '''A. B. Dick, Roneo''' and the highly sought-after [[Gestetner]].
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[[File:OttoPfeifer.jpeg|thumb|From ''[[Cry of the Nameless]]'' 111 (January 1958).]]
 
The last holdouts for [[repro]] by mimeo included [[Rich Lynch|Rich]] and [[Nicki Lynch]]'s ''[[Mimosa]]'', [[Dick Smith|Dick]] and [[Leah Zeldes Smith]]'s ''[[STET]]'' and the team-produced ''[[Science Fiction Five-Yearly]]''.  As of 2009, the mimeo machine at [[The Los Angeles Science Fantasy Society]] ([[LASFS]]) continued to be used to print the table of contents for the weekly ''[[APA-L]]'' and also to print last-minute submissions to that [[APA]].
 
The last holdouts for [[repro]] by mimeo included [[Rich Lynch|Rich]] and [[Nicki Lynch]]'s ''[[Mimosa]]'', [[Dick Smith|Dick]] and [[Leah Zeldes Smith]]'s ''[[STET]]'' and the team-produced ''[[Science Fiction Five-Yearly]]''.  As of 2009, the mimeo machine at [[The Los Angeles Science Fantasy Society]] ([[LASFS]]) continued to be used to print the table of contents for the weekly ''[[APA-L]]'' and also to print last-minute submissions to that [[APA]].
  
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A system of reproduction in which ink is forced thru a waxed-fibre [[stencil]]; the commonest kind of duplicator used in [[fandom]]. The name is applied to any gadget using the method described, even the flatbed models and the contraption [[Walt Willis]] rigged up to use with his printing press, which inked a linoleum block and pressed this against the stencil and paper. (Originally only the [[A. B. Dick]] rotary machines were "mimeographs", but their trademark appears to be public domain now.)  
 
A system of reproduction in which ink is forced thru a waxed-fibre [[stencil]]; the commonest kind of duplicator used in [[fandom]]. The name is applied to any gadget using the method described, even the flatbed models and the contraption [[Walt Willis]] rigged up to use with his printing press, which inked a linoleum block and pressed this against the stencil and paper. (Originally only the [[A. B. Dick]] rotary machines were "mimeographs", but their trademark appears to be public domain now.)  
 
 
  i hate you little mimograf  
 
  i hate you little mimograf  
 
  with gooey cylinder of ink  
 
  with gooey cylinder of ink  
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  and what is more i think  
 
  and what is more i think  
 
  you hate me, too...  
 
  you hate me, too...  
 
 
Tho not in the same league with the malignant [[hektograph]] as an instrument of torture, mimeos have attained notable heights of cruelty to struggling young fans, as [[Bob Briggs]] records in the verse above. The number of copies from mimeoing is limited only by the durability of the stencils (somewhere in the thousands; naturally [[fans]] don't run off anywhere near that many).  
 
Tho not in the same league with the malignant [[hektograph]] as an instrument of torture, mimeos have attained notable heights of cruelty to struggling young fans, as [[Bob Briggs]] records in the verse above. The number of copies from mimeoing is limited only by the durability of the stencils (somewhere in the thousands; naturally [[fans]] don't run off anywhere near that many).  
 
   
 
   
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[[File:WallyWeber.jpeg|thumb|left|From ''[[Cry of the Nameless]]'' 111 (January 1958).]]
 
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'''Mimeography''' [[Stencil]] duplication. The [[stencil]] is typed with [[typeribbon]] disengaged, cut with a [[stylus]] (smoothpointed piece of metal in a handle) and a rough celluloid sheet under the [[stencil]], or with a [[shading plate|shading screen]]. An ineffable blessing is [[obliterine]]. The number of copies from [[mimeoing]] is limited only by the durability of the [[stencils]], somewhere in the thousands; naturally [[fans]] don't run off nearly that many. [[Stencils]] can be saved and filed after use by blotting between newspapers, and rerun if necessary. Multicolor [[mimeoing]] requires different colored inks, a different pad for each, and a different [[stencil]] cut for each color. Each copy sheet is run thru the [[mimeo]] as many times as there are color to go on it, care being taken to get them all in the same position with regard to the paper.  
 
'''Mimeography''' [[Stencil]] duplication. The [[stencil]] is typed with [[typeribbon]] disengaged, cut with a [[stylus]] (smoothpointed piece of metal in a handle) and a rough celluloid sheet under the [[stencil]], or with a [[shading plate|shading screen]]. An ineffable blessing is [[obliterine]]. The number of copies from [[mimeoing]] is limited only by the durability of the [[stencils]], somewhere in the thousands; naturally [[fans]] don't run off nearly that many. [[Stencils]] can be saved and filed after use by blotting between newspapers, and rerun if necessary. Multicolor [[mimeoing]] requires different colored inks, a different pad for each, and a different [[stencil]] cut for each color. Each copy sheet is run thru the [[mimeo]] as many times as there are color to go on it, care being taken to get them all in the same position with regard to the paper.  

Revision as of 23:25, 6 March 2021

Dick Smith cranks a Gestetner at Windycon 29 in 2002, long after mimeo had ceased to be fandom’s principal repro method. Photo by Chaz Boston Baden, courtesy Hazel's Picture Gallery.

A mimeo, short for mimeograph, is a machine for printing with ink forced through a wax or plastic stencil cut with a typewriter or stylus. Used extensively for the production of fanzines throughout the early- to mid-20th century, mimeography was an art form that many fans gratefully gave up with the arrival of cheap photocopying and offset printing beginning in the late '70s. Until that time, fanpublishing was as much of a handicraft as it was a literary exercise.

Well-known mimeograph brands included A. B. Dick, Roneo and the highly sought-after Gestetner.

From Cry of the Nameless 111 (January 1958).

The last holdouts for repro by mimeo included Rich and Nicki Lynch's Mimosa, Dick and Leah Zeldes Smith's STET and the team-produced Science Fiction Five-Yearly. As of 2009, the mimeo machine at The Los Angeles Science Fantasy Society (LASFS) continued to be used to print the table of contents for the weekly APA-L and also to print last-minute submissions to that APA.

See also: Duplicating without Tears.

From Fancyclopedia 2, ca. 1959
A system of reproduction in which ink is forced thru a waxed-fibre stencil; the commonest kind of duplicator used in fandom. The name is applied to any gadget using the method described, even the flatbed models and the contraption Walt Willis rigged up to use with his printing press, which inked a linoleum block and pressed this against the stencil and paper. (Originally only the A. B. Dick rotary machines were "mimeographs", but their trademark appears to be public domain now.)
i hate you little mimograf 
with gooey cylinder of ink 
i hate you little mimograf 
and what is more i think 
you hate me, too... 

Tho not in the same league with the malignant hektograph as an instrument of torture, mimeos have attained notable heights of cruelty to struggling young fans, as Bob Briggs records in the verse above. The number of copies from mimeoing is limited only by the durability of the stencils (somewhere in the thousands; naturally fans don't run off anywhere near that many).

Multicolor mimeoing requires different colored inks, a different pad for each, and a different stencil cut for each color; and each copy sheet must be run — carefully positioned — thru the mimeo once for each color that's to go on it, so that multicolor mimeo work is attempted only rarely. But such folk as the Decker Dillies, Ted White, and Jean Young have produced notable mimeo color work. A special sort of mimeo multicolor work is Vicolor.

From Cry of the Nameless 111 (January 1958).
From Fancyclopedia 1, ca. 1944
Mimeography Stencil duplication. The stencil is typed with typeribbon disengaged, cut with a stylus (smoothpointed piece of metal in a handle) and a rough celluloid sheet under the stencil, or with a shading screen. An ineffable blessing is obliterine. The number of copies from mimeoing is limited only by the durability of the stencils, somewhere in the thousands; naturally fans don't run off nearly that many. Stencils can be saved and filed after use by blotting between newspapers, and rerun if necessary. Multicolor mimeoing requires different colored inks, a different pad for each, and a different stencil cut for each color. Each copy sheet is run thru the mimeo as many times as there are color to go on it, care being taken to get them all in the same position with regard to the paper.

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