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 November 1, 2025
SWISS TYPE BEAUTY DESIGNERS LIKE JAN TSCHICHOLD were foundational to many of the Swiss design principles. This style evolved from Constructivist, De Stijl and Bauhaus design principles, particularly the ideas of grid systems, sans-serif type and minimalism. Emerging in Switzerland during the 1940s and 1950s, this typography, also known as the International Typographic Style, directly responded to the type chaos of Dada and the stylization of Art Deco. The Swiss style emphasized readability, visual harmony and universality. Clarity, objectivity and functionality were key components. Contributors included Max Miedinger, creator of the Helvetica typeface and Adrian Frutiger, creator of the Univers typeface, both in 1957. The Journey of Helvetica We all use Helvetica. In fact, some say it has been overused through modern years. Helvetica derives its powerful simplicity and display qualities from the 1896 typeface Akzidenz-Grotesk. “The design originates from Royal Grotesk light by Ferdinand Theinhardt who also supplied the regular, medium and bold weights. Throughout the years, Berthold has expanded this extremely popular and versatile family. AG Super was developed in 1968 by Günter Gerhard Lange and is an excellent choice for headlines. In 2001, Günter Gerhard Lange added more weights for Berthold including Super Italic and Extra Bold italic.”[1] “Helvetica is a twentieth-century Swiss revision of a late nineteenth­ century German Realist face. The first weights were drawn in 1956 by Max Miedinger, based on the Berthold Foundry’s old Odd-job Sans-serif, or Akzidenz Grotesk, as it is called in German. The heavy, unmodulated line and tiny aperture evoke an image of uncultivated strength, force and persistence. The very light weights issued in recent years have done much to reduce Helvetica’s coarseness but little to increase its readability.”[2]
By Carl Shank November 1, 2025
CONSTRUCTIVISM (1915-1934) Typography in Constructivism was a rational, disciplined and ideologically charged tool. It served society, especially early Russian forces, and reflected the spirit of the machine age. Constructivism redefined the role of art, design, and typography. Unlike Dadaism’s chaos and anti-art stance, constructivism type, favoring horizontal and vertical axes, creating a clean, mathematical visual language, was highly rational, utilitarian, and politically driven. ChatGPT notes that the movement’s legacy endures in its clarity, structure and purpose-driven design that define much of modern typographic practice. Constructivist movement produced strong, sans-serif (without feet) fonts like the typeface molot . Like Dadaism in some aspect, typography was bold, in-your-face, promoting Suprematism’s geometric abstraction and Futurism’s emphasis on dynamism.[1]
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