By James Ward
We're surrounded through stationery: half-chewed Cristal Bics and bent paper clips, rubber bands to mess around with or ping, blunt pencils, rubbers and Tipp-ex are imperative components of our daily setting. lots in order that we by no means take into consideration the place they arrive from, why they're the way in which they're - or what tales they may need to inform. yet fortunately, James Ward does and he is the following to inform you all in regards to the mystery pull stationery exerts on our lives. in spite of everything, who continues to be unmoved through the sight of a pristine blu-tak slab, or the 1st unmarked sheet of a new notepad? And which of humanity's brightest principles did not commence lifestyles on a scrap of paper, a Post-it, or within the margins of a computing device? Exploring the tales at the back of those daily items, Ward unearths stories of invention - unintended and incredible - and sour competition. He additionally asks the questions you by no means suggestion you had: who's Mr Pritt? What does shatter-proof resistant suggest? what percentage pens does Argos use? And what does layout evolutions in table organisers suggest for society?This witty and pleasing e-book, jam-packed with attention-grabbing evidence, will swap how you examine your table, pencil case or stationery cabinet endlessly.
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Extra resources for Adventures in Stationery: A Journey Through Your Pencil Case
This pen had almost twice the ink capacity of the Duofold, and featured a barrel with alternating bands of light and dark celluloid through which the level of ink could be viewed. But it would be Parker’s next pen which would become their most successful. Launched in 1941, the name of the Parker 51 was both forward-looking (‘Ten years ahead’) and nostalgic (the pen had been developed in 1939, the fifty-first anniversary of the Parker Pen Company). Ten years earlier, Parker had launched their own quick-drying ink, Quink, but the company later developed an ink which dried even more quickly (‘Writes dry with wet ink’) and was available in a range of strong colours (‘India Black’, ‘Tunis Blue’, ‘China Red’ and ‘Pan American Green’).
Now – if a two-hundred-pound man should take a new ‘51’ Pen and boldly write with it for a few hours, it would break itself in to his hand in a decidedly masculine way. However, if a slip of a girl were to pick it up, she would be almost sure to break it in in a characteristically feminine way. It wouldn’t take much of a magnifying glass to reveal which was which. Designed by Marlin Baker, Gaylen Sayler and Milton Pickus under the direction of George’s son, Kenneth Parker, the streamlined body of the 51, resembling a rocket or bomber aircraft (the similarly named Mustang P-51 aircraft had no connection to the pen, although Parker would emphasise the resemblance between the two in their advertising), and its hooded nib meant the design became an instant classic, catching the eye of former Bauhaus teacher László Moholy-Nagy who described it as ‘one of the most successful designs of small utility objects in our period’ and praised it for being ‘light, handy, extremely well-shaped, unobtrusive and perfectly functional’.
Unfortunately for Lindstedt the pin had a design flaw; the head would come away from the nail when pressure was applied. This severely limited its commercial potential; it just wasn’t up to the job. When Arthur’s brother, Otto, took over the company, he asked his staff to solve the problem and it was this reworked pin design which Otto registered at the patent office in Berlin (patent number 154 957 70 E) on 8 January 1904. The pin made Lindstedt a fortune, with each worker at the Lindstedt factory producing thousands of pins each day for export all over Europe (Adam Smith would be proud).
Adventures in Stationery: A Journey Through Your Pencil Case by James Ward