Why We Need More Than A Spell Checker

Carl Shank • March 25, 2023

Why we need more than a spellchecker. Spell checkers are great. They help us in busy offices doing busy tasks everyday. EXCEPT they cannot correct errors of statement or errors of typography. Grant Weisbrot of New York City has noted that "it is impossible to efficiently proofread without a knowledge of typesetting and printing procedures." ("The Typographic Eye: Proofreading," Electronic Publishing, May 13, 1994) He gives some examples of errors of statements — spelling when letters are missing, like "he" for "the;" spelling in a piece published in Britain, like "color" for "colour;" using a correctly spelled word in a wrong way, like 20 carat gold (carat is a diamond weight, karat is an alloy of gold, caret is an insertion mark, and carrot is a vegetable); awkward sentence structure, incorrect or inconsistent capitalization; and errors of fact, like the kangaroos of Tibet.


Then there are errors of typography, like primes (' ") for apostrophes or quotes (See Below), or quotes used for inch marks, double-hyphens (--) for an em-dash (—), fractional mistakes (See my Blog on Fractions), kerning that is on or off, word spacing that is inconsistent, unbalanced centered copy, allowing widows, orphans, ladders or rivers (See Below), wrong sized bullets, subscript or superscript failures (NIKE (TM) instead of NIKE™), two spaces after a sentence ending instead of just one space (a common typist mistake), asterisks to represent bullets, using the letter "l" for the number 1, capital O for the digit 0, and misnumbered pages.


Interestingly, the ancient Koreans were known for the quality of their proofreading work. If a novice made one typo, they lost a finger. The second typo caused the loss of a hand! In 1539, France required printers to hire proofreaders or to be fined and held liable for damages due to typographical errors. Today, we just add a "not responsible for typographical errors" to ordinary newspapers and mailers. We have grown sloppy, uncaring, and typographically ignorant—sad to say. Frank Romano in a March 1993 Electronic Publishing article, "The History of the Typo," says that "today artificial intelligence and fuzzy logic are being used to electronically generate typographical errors without human involvement."


Weisbrot notes that "a proofreader must correct the proof and enhance the typography without ever making changes in the text or specifications; editors usually frown on a proofreader's pretensions to improve the language, but it is rare for a designer to complain if the layout is typographically improved." I have included a Sample below of a typical proofreader's remarks on a submission.


In saying all of this, I read a letter submitted to the Typographical Journal of 1894 of the desperate conditions of a friend of a newspaper comp. She notes — "I do believe that the morning newspaper, set by weary, sweating, half-blinded, nerve exhausted humans, who are driven to the saloon to recuperate by temporary exhilaration, and to early graves by soul and body enervating toil in unwholesome, ill-ventilated, stinking, over-heated composing rooms, a greater curse to humanity than the much dreaded machine [the coming Linotype machine] can ever be. May the morning newspaper set by human hands soon die, I say." (Alexander Lawson, Thoughts on the Typo Workplace, Electronic Publishing, January 7, 1994) We have come a long way from those days, but I wonder what we have given up for speed and so-called efficiency.

Successful Layout & Design

By Carl Shank December 17, 2025
Nothing New Under The Sun: A Look at Current Typographic Trends As a typographic historian of sorts, and owner of CARE Typography, a small design studio focusing on reviving historic and often missed typefaces, I read a number of type reports and books. Of special interest is the newsletter from the Monotype corporation highlighting trends and faces for today. (See https://bit.ly/3Y1R1BV ) A couple of statements in their latest reports by Phil Garnham, Creative Type Director, at Monotype got me thinking about culturally laced typographic styles and faces that have graced our historic type landscapes. He notes a “new universal style emerging: flat design in modern online brands, almost reverting to the minimalist style of five years past. Many companies are going for clean geometric style with type.” This is hardly a new concept or trend. A deeper dive into the history of type design over the centuries helps us understand what may be happening. In the history of typography, on which I have written (See H. Carl Shank, Typographical Beauty Through the Ages: A Christian Perspective, Lulu.com, 2025), the visual dissonance of the Dadaist movement in type was replaced by the order of Constructivism and its functional accessible design principles. Art Deco gave way to Swiss type beauty with its readability and visual harmony in the faces of Helvetica and Univers. Grunge and Psychedelic type by Wes Wilson gave way to the sans serifs used universally today. Hippie children of the 60s grew up to be corporate CEOs of the 80s and 90s, shedding their anti-establishment and even destructive behaviors for the boardroom and nice houses with ordered yards and gardens. This has been the story of all cultural movements, including typographic movements. They reflected their cultural morés of the times, but the bold, audacious, violent, raucous types always gave way to what we internally want and desire — a return to simplicity, functionality and order and type viability. From a theological viewpoint, the thought provoking words of the writer of Ecclesiastes of the Bible apply here — “What has been is what will be, and what has been done is what will be done, and there is nothing new under the sun. Is there a thing of which it is said, “See, this is new”? It has been already in the ages before us.” (Ecclesiastes 1:9, 10) “Customers are seeking affinity with brands that seek justice in our world, and that goes beyond a brand’s mission. People want to see brands actively involved in solving societal problems.” The issues of climate change, diversity movements, equity and inclusion initiatives are seemingly new but typographically rehearse type’s movements from Gutenberg to today. Calligraphers and typographers have been dealing with cultural changes and shifts for ages. I applaud what Monotype and others are seeking to do with variable fonts and digital type, but I would historically caution us in the business not to place too much excitement and hubris after cultural trends. Carl Shank CARE Typography December 2025
By Carl Shank December 10, 2025
AI & Typography: A Christian-Theistic Present Look Monotype Corporation recently released their 2025 Report concerning Artificial Intelligence and Typography called Re-Vision (See https://bit.ly/4aEUePf ). This eReport looks at the various typographical, social and cultural issues surrounding AI and how it affects and impacts the craft and science of typography. A selected summary of the Report is available below.
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