Correction methods

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.

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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.

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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.

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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.

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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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