Correction methods
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According to the standards taught in secretarial schools in the
mid-1900s, a business letter was supposed to have no mistakes and no
visible corrections. Accuracy was, therefore, prized as much as
speed. Indeed, typing speeds, as scored in proficiency tests and
typewriting speed competitions, included a deduction of ten words
for every mistake that was made.
Corrections were, of course, necessary, and a variety of methods and
technologies were used.
The traditional method involved the use of a special typewriter
eraser. The typewriter eraser was made of fairly hard, stiff rubber,
containing abrasive material. It was in the shape of a thin, flat
disk, approx. 2 inches (50 mm) in diameter by 1/8 inch (3 mm) thick
allowing for the erasure of individual typed letters. |
Business letters were typed on heavyweight, high-rag-content bond
paper, not merely to provide a luxurious appearance, but also to
stand up to erasure. Typewriter erasers were equipped with a brush
for brushing away eraser crumbs and paper dust, and using the brush
properly was an important element of typewriting skill, because if
erasure detritus fell into the typewriter, a very small buildup
could cause the type bars to jam in their narrow supporting grooves.
Erasing a set of carbon copies was particularly difficult, and
called for the use of a device called an eraser shield to prevent
the pressure of erasure on the upper copies from producing carbon
smudges on the lower copies.
Paper companies produced a special form of typewriter paper called
erasable bond (for example, Eaton's Corrasable Bond). This
incorporated a thin layer of material that prevented ink from
penetrating and was relatively soft and easy to remove from the
page. An ordinary soft pencil eraser could quickly produce perfect
erasures on this kind of paper. However, the same characteristics
that made the paper erasable made the characters subject to smudging
due to ordinary friction and deliberate alteration after the fact,
making it unacceptable for business correspondence, contracts, or
any archival use.
In the fifties and sixties, correction fluid made its appearance,
under brand names such as Liquid Paper, Wite-Out and Tipp-Ex. This
was a kind of opaque white fast-drying paint which produced a fresh
white surface onto which a correction could be re-typed. However,
when held to the light, the covered-up characters were visible, as
was the patch of dry correction fluid (which was never perfectly
flat, and never a perfect match for the color, texture, and luster
of the surrounding paper). The standard trick for solving this
problem was Photocopying the corrected page, but this was possible
only with high quality photocopiers, and was not practical with
color letterheads. (However, high quality typists were smart enough
to place the color letterhead stock in the copier, and photocopy the
corrected typed-text-only-on-plain-paper document onto the color
letterhead!)
Dry correction products (such as correction paper) under brand names
such as Ko-Rec-Type were introduced in the seventies and functioned
like white carbon paper. A strip of the product was placed over the
letters needing correction, and the incorrect letters were retyped,
causing the black character to be over struck with a white overcoat.
Similar material was soon incorporated in carbon-film electric
typewriter ribbons; like the traditional two-color black-and-red
inked ribbon common on manual typewriters, a black/white correcting
ribbon became commonplace on electric typewriters.
The pinnacle of this kind of technology was the IBM Correcting
Selectric. This machine, and similar products, incorporated a
black/white ribbon and a character memory. With a single keystroke,
the typewriter was capable of automatically reversing and over
striking the previous few characters with white cover-up. More
modern typewriters have a similar feature, but use clear plastic
film onto which ink is taken up and removed from the page. |
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