Even in his boyhood, it was a pleasure to Franklin "to see good workmen handle their tools," and he tells in his autobiography how much this feeling for tools meant to him throughout his life.[i-164] His flair for invention, though founded on this same "handiness," was not always directed toward the production of tools; but in the two fields of "philosophical" experimentation and the printing trade, his dexterity and cleverness in making needful instruments and devices were invaluable. Partly because of the fact that printers' supplies must be imported from England, and partly because of his natural tool-mindedness, Franklin manufactured more of his own supplies than any other American commercial printer before or since. He cast type, made paper molds, mixed inks, made contributions to press building, did engraving, forwarded experiments in stereotyping, and worked at logotypy. Long after he had retired from the printing business. Franklin continued to influence developments in that field. It is a common saying among printers that one never forgets the smell of printer's ink. Franklin kept touch with his former business through various partnerships, through correspondence with printer friends, through the establishment of a private press in his home at Passy during his ambassadorship to France, and through his personal supervision of the education of his grandson in "the art preservative of arts." "I am too old to follow printing again myself," he wrote to a friend, "but, loving the business, I have brought up my grandson Benjamin to it, and have built and furnished a printing-house for him, which he now manages under my eye."[i-165] As to just how adept Franklin was on the distinctively aesthetic side of printing, critics must differ. It has been customary to assume that the output of his shop was far superior to that of the several other printing houses in the colonies.[i-166] Such broad generalizations are misleading, however; and it is certainly possible to find Parks and even Bradford imprints which compare favorably enough with some of Franklin's. In typography, the phase of printing which affords the widest aesthetic scope, Franklin was by no means a genius. William Parks, of Annapolis and later of Williamsburg, was at least Franklin's peer during the seventeen-thirties and 'forties in the artistic arrangement of type; and William Goddard, who practiced the art a little later in several of the colonies, was his superior. Yet Franklin was an outstanding printer in a region blessed with few good presses. The difference between him and most of the other colonial printers may be stated thus: Franklin maintained a high average of workmanlike (though not inspired) performance, while his contemporaries were inclined to be slovenly, inaccurate, and generally careless.