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1. TYPEWRITER AND TYPEWRITING IDENTIFICATION

2. FUNDAMENTALS OF TYPEWRITING IDENTIFICATION Table of contents 01 Lesson 9.1 IDENTIFICATION AND EXAMINATION OF TYPEWRITTEN QUESTIONED DOCUMENTS 03 Lesson 9.3 EVOLUTION OF TYPEWRITERS 02 Lesson 9.2

3. TYPES OF TYPEWRITERS Table of contents 04 Lesson 9.4 IDENTIFICATION OF TYPEWRITER BY THE DEFECTS OF THE STROKE 06 Lesson 9.6 CLASSIFICATION OF TYPE WRITERS BASED ON LETTER DESIGNS 05 Lesson 9.5

4. DEFECTS OF THE CHARACTER Table of contents 07 Lesson 9.7 TYPEWRITING STANDARDS OR EXEMPLARS 08 Lesson 9.8

5. Lesson 9.1 01 FUNDAMENTALS OF TYPEWRITING IDENTIFICATION

6. Typewriter is a writing machine with keyboard for reproducing letters, figures, symbols, and other resembling printed ones, can reproduce printed characters on papers, can produce printed letters and figures on paper, as speedier and more legible substitute for handwriting. Typewriter defined

7. Alignment - defects include characters which write improperly in the following respects: A twisted letter, horizontal mal-alignment, vertical mal-alignment, and character "off-its-feet.“ Alignment Defect - include characters which are improperly in the following respects: A twisted letter, horizontal mal-alignment, vertical mal-alignment, and a character special adjustment to the types block. Carbon Impression - Any typewriting which is placed on the paper by the action of the type faces striking thought carbon paper is classed as a carbon impression. Character - in connection with typewriting identification, the term character is used to include letters, symbols, numerals, or points of punctuation. Clogged (Dirty) Typefaces - becomes dirty and ink, particularly in enclosed letters such as o, e, p, and g. SIGNIFICANT TERMS

8. Defects - describes any abnormality or maladjustment in a typewriter which is reflected in its works and which leads to its individualization or identification. Natural Variations - these are normal or usual deviations found between repeated specimens of any individuals handwriting or in the product of any typewriters. Off-Its-Feet - the condition of a typeface printing heavier on one side or corner than over the remainder of its outline. Permanent Defect - any identifying characteristics of a typewriter which cannot be corrected by simply cleaning the typeface or replacing the ribbon is classified as permanent defect. Platen - the cylinder which serve as backing of the paper and which absorbs the blow on the type face is known as platen. Proportional Spacing Typewriting - modern form of typewriting which resembles printing in that all the horizontal space as they do with the conventional typewriter. Rebound - a defect which a character prints a double impression with the lighter one slightly offset to the right or left. SIGNIFICANT TERMS

9. Ribbon Impressions - typewriting which is made directly through a cloth ribbon is called ribbon impression. Ribbon Condition - typewriter ribbons gradually deteriorate with use and the degree of determination is a measure of the ribbon condition. Transitory Defect - any identifying typewriter characteristics which can be eliminated by cleaning the machine or replacing the ribbon is described as transitory defects. Clogged type is the most common defects in this class. Twisted Letter - each letter and character is designed to print a certain fixed angle to the baseline, due to wear, and damage to the type bars and the type block, some letters become twisted so that they lean to right or left of their correct slant. Type Face - the printing surface of the type block is known as type face, with most modern typewriter this block is attached at the end of movable arm or type bar which propels the type face against the ribbon and paper to make the typewriter impression Type Face Defects - any peculiarity of typewriting caused by actual damage to the type face metal is known as type face defect. SIGNIFICANT TERMS

10. Lesson 9.2 02 EVOLUTION OF TYPEWRITERS

11. Typewriter • A machine designed to print or impress type characters on paper, as a speedier and more legible substitute for handwriting. • Is a hand-operated character printer for printing written messages one character at a time. • Characters are produced when the typist presses a key that strikes a ribbon to transfer ink or carbon impressions onto the paper. Although almost entirely replaced by computers, typewriters are still used in circumstances of criminal activity.

12. Mechanical Electromechanical

13. 1. Henry Mill • The first patent however was granted by Queen Anne of England in 1714 for a machine designed to reproduce a letter of the alphabet. Evolution of typewriters 2. In 1829, William Austin Burt invented the TYPOGRAPHER.

14. 3. Xavier Progin • he was a French patent inventor for a typing machine that embodied for the first time one of the principles employed in modern typewriters in 1833. • the use for each letter or symbol of separate typebars, actuated with separate keys. Evolution of typewriters 4. Charles Grover Thurber • In 1843, an American inventor of a typewriter which prints through a metal ring that revolved horizontally above the plate. • The machine was operated by revolving the wheel until the correct letter was centered over the printing position of the platen, and then striking the key.

15. 5. Alfred Ely Beach • In 1856, an American inventor the modern typewriter in the arrangement of its keys and typebars, but embossed its letters on a narrow paper strip instead of a sheet. Evolution of typewriters 6. Samuel W. Francis • In 1856, an American inventor, and patented by him a circular arrangement of typebars, a moving paper holder, a bell that to signal the end of a line, an inked ribbon. • The keyboard arrangement of Francis' machine resembled the black and white keys of a piano.

16. 7. Christopher Latham Sholes • He was the first practical typewriter begun in 1866 and was patented in 1868. • He developed the first practical typewriter in cooperation with two mechanics, Carlos Gliden and Samuel Soule. Evolution of typewriters 8. Christopher Latham Sholes • In 1874, he entered an agreement with Eliphalet Remington and Sons, Gunsmiths, & Sewing Machines Manufacturers, the company produced the Remington Model I.

17. 9. 4 years later, Remington Model Il was introduced having both the lower and upper case of the alphabet. Evolution of typewriters 10. Mark Twain (Samuel Clemens) • The first to buy a typewriter and the first to submit a typewritten manuscript to a publisher.

18. 11. George Bernard Shaw • he recognized the importance of typewriter when he became the first playwright to use it as a stage prop in Canada in 1897. Evolution of typewriters 12. Thomas Edison • He visits Sholes to see his machine, he forecasted that typewriters would one day be operated by electricity.

19. 13. Soon afterwards, Edison built such typewriter. He used a series of magnet, which made the machine cumbersome and too expensive to be marketed. 14. James F. Smathers • The first practical electric typewriter was invented in 1914 at Kansas City. Evolution of typewriters 15. In 1933, the International Business Machines, Inc. (IBM), introduced the first commercially successful electric typewriter in the business world.

20. 16. The latest development in electric typewriter is one which not only eliminates type bars and movable carriages but can use six interchangeable type of type faces. Evolution of typewriters 17. The first basic change in typewriting appeared in 1961. Despite of the revolutionary advances in typewriting capabilities, one essential element has remained unchanged since the first Remington. The keyboard arrangement, nicknamed QWERTY for the top line of letters, was designed to make it easier for salesmen to use the machine. 18. A much more efficient arrangement was devised in 1936 by August Dvorak. The process of changing over the DVORAK seemed so difficult that it was never even begun.

21. Lesson 9.3 03 IDENTIFICATION AND EXAMINATION OF TYPEWRITTEN QUESTIONED DOCUMENTS

22. WILLIAM E. HAGAN In 1894, he made the first comment on typewriting examination. He wrote that all typewriter machines even when using the same kind of type become more or less peculiar by use as to the work done by them. These peculilarities positively connect them with the printing done by the machine DANIEL E. AMES This exposition of the principle s of typewriting identification was followed in 1900 by AMES who wrote that the identity writing by different operators as well as that done on different machines can be done with considerable degree - Different operators have their own peculiar methods which differ widely in the location of date, address, margins, punctuation, spacing. signing as well as impressions from touch In several articles written between1901 to 1907, ALBERT OSBORNE , the forensic document examiner of the early 20th century, defined the principles of typewriting identification used today. He called it THE LANDMARKS IN TYPEWRITING IDENTIFICATION Albert Osborn

23. Albert Osborn

24. THE LANDMARKS IN TYPEWRITING IDENTIFICATION The type faces used by the different type writer manufacturer can be differentiated on the basis of design and have dating significance.

25. THE LANDMARKS IN TYPEWRITING IDENTIFICATION 2. Through usage, typewriters develop individuality which can serve to identify the typewriting of a particular typewriter.

26. THE LANDMARKS IN TYPEWRITING IDENTIFICATION 3.The gradual development of typewriting individuality plus ribbon condition and typeface. Cleanliness can be used to date a document of fix it written a period of time.

27. THE LANDMARKS IN TYPEWRITING IDENTIFICATION 4.Horizontal and vertical alignment, tilting characters, lack of uniformity of impression (off-footedness); type-face score, breadths, defects and deformities all serve to identify the type writing of a particular machine

28. THE LANDMARKS IN TYPEWRITING IDENTIFICATION 5. Peculiar habits of striking the type writer keys, spacing, arrangement, punctuation, mistakes, corrections, can be used to identify a typist or differentiate typists. 6.A sheet of paper cannot be reinserted in a typewriter in exact register with previous typing done on the sheet of paper.

29. Lesson 9.4 04 TYPES OF TYPEWRITERS

30. Conventional Typewriters Using Type Bars Pica Type- 10 letter/inch - has big prints and can type 10 characters to an inch and 85 characters on a sheet of paper. Elite Type- 12 letter/inch - type of typewriter that can type 12 characters to an inch and 102 characters on one whole sheet of paper. 6 letter/inch Albert Osborn

31. Teletype machine Special typewriters- 14-16 letter/inch Albert Osborn

32. B. Typewriter Using Single Element or Ball All typewriter machine capable of typing 10 or 12 character per inch. Changing the horizontal spacing is done easily by the flip of a switch.

33. C. Typewriter Using Print Wheel (Electronic Typewriter) This is a typewriter equipped with a disc type device called a print wheel. This contains all characters represented on the keyboard. This machine has the capability of typing 10, 12 and 15 letters per inch

34. Lesson 9.5 05 CLASSIFICATION OF TYPE WRITERS BASED ON LETTER DESIGNS

35. w-1 central joining is below the top of the sides. central peak is the same height as the top of the outside stroke and is capped by serif. w-3 A. The small "w" depending on the presence or absence of the central serif, height of central peak and design of the two diagonals. same with w-1 but has no central serif. w-2 low center but the two Central diagonals join the sides well above the base of the letter. w-4

36. B. Crossbar of small letter "t" cross bar is either longer on the right or on the left side and or equidistant on each side. The curved lower extension of the "t" is either turn upward at a point the left of, to the right of, or about even with the right terminus of the crossbar of the "t". C. The small letter "g" upper oval is either much smaller or the same and/or different or the same in shape than the lower oval. Upper and lower ovals are either very closely spaced or not. D. Small letter "r" right arm is either long with very small curve at its end or a long right arm with full curve at the end and/or the right arm is short with its curve moderate to full. E. Small letter "y" -has three distinctive designs: lower stroke has a broad turn which forms a very shallow trough. lower stroke has a deep full curve which clearly curves right ward. lower stroke turns sharply upward like forming a narrow trough.

37. F. Small letter " i " has two distinctive designs: Center of the dot is aligned with the central line of the vertical staff. Center of the dot is set off to the left of the central line of the vertical staff. G. Upper and Lower Strokes of Capital Letter "E“ - maybe equal or the bottom stroke maybe longer than the upper stroke. The serif is either be vertical or oblique. The small" e“ may have its straight stroke either horizontal or oblique. H. Figure "7" - horizontal stroke is either straight or curve. I. Figure"5" - horizontal stroke is either straight or slightly or fully curved. J. The comma “," - tail may extend to the left of the dot or only very slightly to the left of the dot. K. Parentheses-may vary in curvature.

38. Take Note: Two typewritten documents are said to be typed from one and the same typewriter if they agree in type face style, design, spacing. alignment and three or four Scars or damaged type faces.

39. Lesson 9.6 06 IDENTIFICATION OF TYPEWRITER BY THE DEFECTS OF THE STROKE

40. Each typewriter has its own individual characteristics that enable one to differentiate the typed characters from a similar machine of the same. Typewriter of the same make and model but of different age have differences attributed to wear.

41. 1. A typewriter coming out fresh from the factory has already some defects which give its some personality. Whenever the quality of the manufacture, a typewriter is never absolutely perfect. 2. Later, through faults of the typist and also by wear, the typewriter will acquire a stronger individuality by new defects which become more and more prominent and in time, progressively overcome the initial ones. WHAT TO CONSIDER?

42. 1. First, it will show the actual state of the typewriter and consequently that the aspect of the stroke is not immutable but evolves progressively. So that a good identification needs the comparison of document from sufficiently adjacent period. 1st 2. The health of a typewriter tends to change and the defect become more numerous and characteristics . 2nd 3. It will show that the expert does not see the defects of the typewriter right away but only its translation on the paper by a writing anomaly of which he must appreciate the cause. 3rd 4th 4 . Lastly, it will explain the certain anomalies are not even ascribable to an organic cause of the type writer but to a phenomenon outside it. For example, an error of manipulation by the typist may give some anomalies of the stroke and have no connection with the mechanism of the typewriter itself. Others are due to a temporary sickness such as a torn ribbon which will give an incomplete impression of the character or dust which may choke the mechanism of the stroke. It is only the permanent faults which permit of a positive identification. The defects of typewriter maybe compared to ailment or sickness and congenital deformation while its translations on the paper be compared to symptoms of the defects. This comparison has the advantage of sorting out the exact conditions of the control of questioned typewriter documents as follows:

43. Lesson 9.7 07 DEFECTS OF THE CHARACTER

44. a. The character may show distortion its engraving "break which is shown by an alteration of the design. Exceptionally, it means defect of manufacture. Most often, the break occurs when the machine is working. The metal is locally damaged by the continued striking of the letter against hard surfaces and according to the general direction of the striking will dented or deviated. In the first case the altered sign will print an incomplete design with broken or interrupted lines, in the second case prints a deformed sign. The predominant cause of the defect that corresponding bars strikes the back of the first and crashes on it. b. Twist the printing surface which comes the course of manufacturing. Irregular tempering gives an abnormal contraction the metal for the bearing of the character again the plated and gives a local impression more intense and more heavily inked. c. Misalignment of the two signs engraved on the same character so that they are not set exactly one under the other. This defect may be due to a bad engraving of the mold.

45. Positioning of the Character on the Type-bar A. bad position of the bar on the plate of the soldering apparatus, results in a bad portioning of the character. It will be bent forward, backward or sideways. B. Sometimes solder fails in the course of typing. The character turns over the slides along its support. The changes of alignment become greater and greater growing in frequency in proportion with the collar of the solder. This defect is detected in the writing by the fact that the top and the bottom of the letter are not printed with the same intensity and mostly, the vertical misalignment has a tendency to vary at each stroke and becomes so important that often a part of both signs of the deficient characters are impressed the same time. Defects the Type-bar - The deformations of a type-bar modify the position of the character in connection with the platen and alter the originally correct writing.

46. Defects the Type-bar - The deformations of a type-bar modify the position of the character in connection with the platen and alter the originally correct writing. a. Any error of place position of the bar in the basket gives an incline to its head and to the character. b. The type-bars are outer sinuous. Under the effect of an intensive working, the bends are modified so that the type-bar elongates or shorten and its head inclines forward or backward. This deformation causes a misalignment of the character and no longer allows a uniform impression of its surface. c. Twist of the type- bars caused by mistakes of the typist. In depressing, by error, two neighboring keys, two corresponding bars are moved towards the type-bar guide 1. each bar undergoes the lateral strike of the other and bends along its longitudinal axis. One error in manipulation does not great damage but its repetition certainly develops the defect. The type-bar thus bent no long offers perfectly vertical surface to the axis of the platen and the character strikes the paper more less off its feet.

47. Defects of the Ring - On a worn typewriter it is not exceptional to find that the more active type-bars have depressed the metal of the ring at their point of contact. It no longer has any effect on the type- bars corresponding to the depression, no longer stops them their travel and does not send them back to their original position. These bars strike directly at the platen, stoop their momentarily and fall back by their own weight giving by this very slow motion a vibration to the character in the vicinity of the platen. At this time the escapement has already moved and the character gives two impressions instead one. The second impression. displaced in connection with the first and much paler seems to be its shadow. The name given itis veiled stroke"

48. Disorder of the Type bar guide -If the position of the type bar guide modified for some reason, the result is complete disorder of the writing A guide moved to the right will raise all signs on the right of the keyboard and will lower all the signs on the left. If is moved to the left, it will cause the opposite effect. Alteration of the Platen - The rubber of the platen gets old and hardens, the surface formally smooth becomes more irregular and rough and does not offer anymore intimate contact with all surface of the sign. The writing becomes inconsistent and the same sign will print itself partially or entirely and with greater intensity and more intensively on the right or the left, on the bottom or the top General Wear of a Typewriter- The typebars are subjected to a lateral play particularly felt at the top. This gives poor accuracy at the point of impact of the character. The same signs print themselves on the right or on the left of their theoretical point of impact.  

49. TYPEFACE MISALIGNMENTS - synonymous to alignment defects:   1. Vertical Misalignment -A character printing above or below its proper position. Possible causes are: a. character soldered too high or too low on the typebar; b. an unsoldered character; c. a typebar having lost its correct curvature; d. a type bar having an oval of axis bearing; e. misalignment of the typebar guide to the right or to the left; and f. disorder of the capital letter shift lock.

50. 2. Lateral or Horizontal Misalignment- An alignment defect in which the character prints the right or left of its proper position known as horizontal alignment. 3. Oblique Misalignment- The character leans towards the right or towards the left.  

51. Lesson 9.8 08 TYPEWRITING STANDARDS OR EXEMPLARS

52. Study of the questioned document by the investigator; Procurement of the regular course of business typewriting; Preparation of exemplar typewriting by the suspected writer; Preparation of typewriting exemplar by the investigator on suspected typewriter, and The procurement of the suspected typewriter itself by the investigator. 1 TYPEWRITING STANDARDS OR EXEMPLARS -the procurement of typewriting exemplars are grouped as follows: 2 3 4 5

53. OBTAINING KNOWN TYPEWRITTEN EXEMPLARS - Properly prepared known typewriting samples not only facilitate the examination in the laboratory but they aid immeasurably in the demonstration in the court room. HOW TO OBTAIN EXEMPLARS OF TYPEWRITING? 1. If the typewriter ribbon is obviously new, remove it from the typewriter and send it to the laboratory with the typewriting exemplars prepared from another ribbon. (the text of the material in question may still be discernible of the ribbon) 2. Use paper of about the same size as the questioned material, type out a full word for word copy of the message in question, typographical errors, using as nearly as possible the same degree of touch as that used in typing the questioned material.

54. 3. After placing the typewriter in a stencil position or removing the cloth ribbon, obtain samples of each character on the keyboard by typing through carbon paper which has been inserted carbon side down over a piece of white bond paper. 4. Make certain that each specimen contain the make, model and serial number of the typewriter from which it was produced as well as the date and initials of the officer. 5. Typewriter specimens should be taken from suspected typewriter/s. It is usually not necessary to forward the typewriter to the laboratory if complete known exemplars are obtained. 6. If possible, after a typewritten exemplar is obtained from a suspected typewriter, the investigation should insure that the typewriter is kept in its current condition. 7. With evidence thus obtained from typewritten documents, the laboratory experts position to lend valuable assistance to the solution and subsequent prosecution of many cases.

55. Prototype Format of 1 Typewriting identification Camara, Espiritu, Pacatang , Aripal and Associates Forensic and Criminalistics Consultancy Sta Cruz, Manila Fax: [phone] E-mail Address: cepaa.forensi_cc.com Mobile Phone No.: 09367824719 TYPEWRITING IDENTIFICATION FINDINGS DESCRIPTION: COMPARISON STANDARD QUESTIONED TYPEFACE: [ ] ELITE [ ] ELITE [ ] PICA [ ] PICA PITCH: [ ] 10 [ ] 10 [ ] 12 [ ] 12   STANDARD QUESTIONED BLOCK SCALE: BLOCK NO. BLOCK NO. 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 ALIGNMENT: LOWER ELEVATION LOWER ELEVATION 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 HIGHER ELEVATION HIGHER ELEVATION 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 STRAIGHT DIRECTION STRAIGHT DIRECTION 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10

56. STANDARD QUESTIONED TILTING: AWKWARD BLOCK NO. AWKWARD BLOCK NO. 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 VERTICAL BLOCK NO. VERTICAL BLOCK NO. 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 SLANTING BLOCK NO. SLANTING BLOCK NO. 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10   STANDARD QUESTIONED SPACING: [ ] SINGLE [ ] SINGLE [ ] DOUBLE [ ] DOUBLE [ ] OTHER: [ ] OTHER: __________ __________  PRINT EMPHASIS: [ ] DARK [ ] DARK [ ] HEAVY [ ] HEAVY [ ] LIGHT [ ] LIGHT [ ] SCARRED [ ] SCARRED OTHER DESTINCTIVE PRINT EMPHASIS: OPINION: RICHARD T. CAMARA, Ph.D. Registered Criminologist PRC License No. PTR No. Issued at _________ Valid until ________  

57. Camara, Espiritu, Pacatang , Aripal and Associates Forensic and CriminalistiCs Consultancy Sta Cruz, Manila Fax: [phone] E-mail Address: cepaa.forensic_CC.com Mobile Phone No.: 09367824719 PRINT IDENTIFICATION OF ONE AND THE SAME TYPEWRITER  I. PHOTOGRAPHY [ ] PHOTOGRAPHY |PHOTO-MICROGRAPHY [ ] PHOTO-MACROGRAPHY [ ] SUPPLEMENTAL LENS [ ] WIDE ANGLE LENS PHOTOGRAPHY PHOTOGRAPHY II. FOCAL DISTANCE: [ ] FAR [ ] CLOSER [ ] CLOSED-UP  III. FOCAL OPENING: [ ] FULL [ ] MEDIUM [ ] MINIMUM IV. LIGHT CONDITION: [ ] SUPPLEMENTAL LIGHT [ ] NATURAL LIGHT V. EXPOSURE: [ ] SLOW [ ] MEDIUM [ ] FAST [ ] AUTOMATIC       VI. FILM DEVELOPING : [ ] UNDER DEVELOPED [ ] OVER DEVELOPED [ ] BLURRED [ ] CLEAR   VII. PHOTO-PAPER DEVELOPING: [ ] CLEAR [ ] BLURRED   VIII. ILLUSTRATIVE CHART COMPARISON: [ ] SIMILARITY [ ]DIFFERENCE   IX. DRAFT EXAMINATION REPORT:  

58. Thank you!

59. Each typewriter has its own individual characteristics that enable one to differentiate the typed characters from a similar machine of the same. Typewriter of the same make and model but of different age have differences attributed to wear.

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