The Lost Art of Creating a Fanzine with a Spirit Duplicator скачать в хорошем качестве

The Lost Art of Creating a Fanzine with a Spirit Duplicator

The Lost Art of Producing a Fanzine with a Spirit Duplicator In this video Ogar Plinkelton demonstrates the use of a Spirit Duplicator. Whenever a new printing technology comes along, it usually is first used for the printing of religious dogma, pornography, and science fiction. The spirit duplicating process was no exception. Invented in 1923, the relatively inexpensive and simple printing process was a natural choice of religious zealots, novice pornographers, and amateur writers for use in creating their own magazines. In celebration of these amateur writers and publishers Plinkelton is launching his own fanzine titled ANALOGOUS. In this video he shows the creative process and the Spirit Duplicator printing of the first page of ANALOGOUS. Ogar Plinkelton’s latest book “The Spirit Duplicator and Other Shorts” is now available on Amazon. Meet Bob Peatrowsky Bob Peatrowsky produced multiple fanzines during the 1950’s. Peatrowsky was a car salesman from Norfolk, Nebraska. The father of seven children, he worked at a local car dealership by day and was a prolific sci-fi fanzine producer by night. His first was titled “MOTE”, of which he published nine editions. His second was titled, “CONFAB”, and finally “HOO AND HAW”. He also was a frequent contributor to SAPS (Spectator Amateur Press Society). Peatrowsky’s mastery of the spirit duplicator was astounding. Laying out each page of each edition took careful planning. A manual typewriter is not forgiving. Getting it correct the first time was essential as typing the text and drawing the illustrations onto the ditto masters was a tedious task that required hours of work. Changing things around meant starting over and making new masters. Peatrowsky usually justified both the left and right margins of his text. This necessitated the counting and laying out of the number of words and spaces of each line of text before typing to assure that the last letter of every line ended up exactly at the beginning of the right margin. Peatrowsky often used multiple colors in his illustrations as well. This added even more complexity in preparing the ditto masters as each color had to be added one at a time to the master. Considering the inherent limitations of spirit duplicating, Peatrowsky’s publications are truly great pieces of American Folk Art. The late writer and television and movie producer Harlan Ellison called Peatrowsky one of the true craftsman of the field. Here is a link to a pdf file of one of Peatrowsky’s issues of “MOTE” from 1953 https://drive.google.com/file/d/1-Biq...