Thursday, March 20, 2014

One or two spaces after a period? How about three?

The number one myth I see repeated about sentence spacing is that wide spacing came from the typewriter, to make up for the monospaced fonts.  I've talked about it before.  But it seems like it really needs it's own dedicated article, and I think I have a more complete argument anyway.

There's basically two parts to this myth.  First, that monospaced fonts demand wider sentence spacing.  Second the statement or implication that wide sentence spacing was created just for the typewriter.

Let's start with the idea that monospaced fonts demand wider sentence spacing.  This is the hardest argument to make, being largely an aesthetic argument.  Still, there's always been a certain logic to visual design.
Growth (shrinkage) of letters from Times New Roman to Courier.

Most of the letters in a proportional font would have to grow significantly to match the size in a monospaced font.  And typically the space character must grow the most.  If we look at the New Times Roman font, we see that the two narrowest characters are the space and the period.  These two characters combined as they would between sentences take up less space than even a pair of "i"s or a pair of "l"s.  (And let me be clear that, contrary to another myth, modern fonts offer no "magic" that fixes sentence spacing; this is probably a topic for future blogging).  In New Times Roman it turns out the letter "n" is exactly the same size as the space and period combined.  The word "no" is twice as wide as the space between sentences.  The word "me" is even wider than that.
Comparison of sizes of various characters, Times New Roman on the left vs. Courier on the right.
But in a monospaced font, every character is the same size as the next.  If you used one period and one space between sentences in Courier (or any monospaced font), together they would be the twice the size of the letter "n" and the same size as the word "no".  In effect, with one space between sentences in both fonts, the monospaced font doubles the visual gap between sentences, relative to the other letters and words.  Or, it doubles the space relative to the letter "n".  Of course even the letter "n" grows going from New Times Roman to Courier, so in effect the sentence spacing in a monospaced font (with only one space) is even more than doubled compared to the proportional font.  The only logical argument you could make is that with those giant spaces and punctuation characters, you'd be better off reducing space between sentences, not increasing it.

But as I said, this is an aesthetic argument, so perhaps applying logic or math is just not relevant.  Fine.  The claim in this myth is that people looked at monospaced fonts, and said "this is unsightly, we must use more spaces".  If so, shouldn't there be a historical record of this?  If this myth is true then we would find narrow sentence spacing, and then the invention of the typewriter, followed by wider sentence spacing (two spaces) only on the typewriter.

And yet this is what printed text looked like before the typewriter:
From The Innocents Abroad, Mark Twain, printed in 1869.
First, lets get past one other part of this myth that sometimes crops up: the font is proportional.  There are those who are so confused on this issue that they believe that proportional fonts themselves are a modern, post-typewriter invention, but this is not true.  Proportional fonts have been the standard since movable type was invented in the 1450s.  And now look at the sentence spacing: it's very wide.  It's about three times as wide as the space between words, although you'll note that the word spacing varies a bit in order to make each line justify.  Nevertheless, wide sentence spacing existed before the typewriter.  But this was no isolated incident.  Almost everything printed in English used this same standardized spacing.  Here are more examples of sentence spacing, mostly taken from books about printing and typography:

Mechanik Exercises: Or the Doctrine of Handy-Works Applied to the Art of Printing, Joseph Moxon, 1683
New England Courant, December 11 1721, published by James and Ben Franklin (this was the second newspaper published in America, founded in August 1721).
Typographia, John Johnson, 1824
The Practice of Typography: Modern Methods of Book Composition, Theodore Low DeVinne, 1904
Modern Printing volume 2, John Southward, 1915
Note that the last two are actual descriptions of sentence spacing.  The 1904 quote is instructions for the Linotype, while the later 1915 book shows more traditional hand-compositing instructions (although this is a later edition of an 1898 volume, which I was unable to find).

Almost everything printed in English from the late 1500s until around 1950 used more space between sentences than between words in a sentence.  This wasn't some haphazard practice, it was very well-defined: every typography manual I've ever read up until the invention of the Linotype that describes sentence spacing says to use an em quad.  This is a spacing element in handset type that is as wide as the typeface is tall (including the minimal built-in line spacing).  As I mentioned with the illustrations above, the em quad is about three times as large as the spaces used between words in that era (modern fonts tend to use even narrower word spaces, closer to one quarter the size of the em quad).

One of the examples above is from Johnson's Typographia, an early seminal work in typography.  In addition the excerpt shown, it also says the "m-quadrat is the proper space after a full point when it terminates a sentence in a paragraph."  This exact same wording can be found in literally dozens of other books on typography in the nineteenth century, largely because copyright laws were less well-defined back then, and Johnson's Typographia was heavily plagiarized.  Of course Johnson didn't invent this standard.  Here's what a few other books on typography (that did not plagiarize Johnson) say on the subject:
"M-quadrats mostly begin paragraphs, by an indention of the first line ; one of them is likewise the proper space after a full-point, when it terminates a sentence in a paragraph." – Typographia, J. Southward, 1824
"The m-quadrat ... is used ... after full stops, to designate that the sentence is ended." – Universal Technological Dictionary, Volume 1, George Crabb, 1833
"An em quadrat [...] separates one sentence from another when the end is indicated by use of a period" – American Dictionary of Printing and Bookmaking, W. W. Pasko, 1894
On the other hand, there are some texts that don't describe the practice at all.  For example, Joseph Moxon's "Mechanick Exercises: Or, The Doctrine of Handy-works Applied to the Art of Printing" is one of the earliest known works about typography (1673).  He makes no mention at all of sentence spacing (although he uses wide spacing, as shown in one of the illustrations above.)  Several other books on typography gloss over this detail.  How could any comprehensive book on printing or typography skip over something so critical?

Take a look at this:
Enhanced image of the original copy of the Declaration of Independence, 1776.
That's a piece of the Declaration of Independence.  And it uses wide sentence spacing throughout.  But that's got nothing to do with the printing business, right?  Remember that in this era, every single document that was not printed on a printing press was handwritten.  And the standard practice in that era for handwriting was wide sentence spacing, just like the printing business.  (Note that it's unclear to me which came first, as I haven't researched handwriting practices in the 15th or 16th centuries.)  It was what everyone learned to do in school (if they learned to write).  Wide spacing was so ubiquitous in English, some authors felt it literally was not worth mentioning.

It was into this environment that the typewriter was born.  It began production in 1873, and by the mid 1880s began to become a fixture in modernized offices.  It was only natural that the same wide sentence spacing used everywhere else was also used on the typewriter, and that's exactly what was done.  And how much space did they use between sentences?  As I said, the em quad was about three times as big as typical word spaces back then, so naturally most people recommended three spaces between sentences, to replicate professional print quality.

Here's what some sources instructed in those early years.
"Properly divided sentences add considerably to the neatness of a document, and this may be done by spacing three times between each." – The Shorthand Review, Volume 3 No. 4, April 1891 
"... it is well to strike the space-key once after a comma, twice after a colon and semi-colon, and three times after the question mark and full point." – The Shorthand Review, Volume 5 No. 10, October 1893
"A full stop at the end of a sentence should be followed by three spaces, as also the note of interrogation and the note of admiration." – A Manual of the Typewriter: A Practical Guide to Commercial, Literary, Legal, Dramatic and All Classes of Typewriting Work, I. Pitman, 1893
"...and remember to space three times following each sentence." – Typewriting Instructor and Stenographer's Hand-book, Practical Textbook Company, 1892
And here's a typewriter sample from the Remington typewriter catalog in 1886 (those circles are a typewriter keyboard diagram, bleeding through from the reverse side of the page):

Remington Standard Typewriter, typewriter sample, 1886
Not all sources agreed though.  Both "Scott Browne's Typewriting Instructor" from 1882 (ish) and "How to Become Expert in Typing" (1890) stated that two spaces should be used.  There's hardly any mention of a disagreement.  In 1899, "Pitman's Journal of Commercial Education" (also known as the "Phonetic Journal") described an article in "The Gem" and notes it's disagreement on spacing with "Pitman's Typewriter Instructor".  And a year earlier, a letter was written to "The Phonographic Magazine" asking the following:
"Are there any stated rules for spacing after punctuation marks in typewriting?  I notice that some writers put a space after a comma, and two spaces after a period, while others do not put any extra space after a comma and only one space after a period.  Which is correct?"
The answer provided was the latter, one after a comma and two after a period.  But it's interesting that the writer had seen such diminishing space on the typewriter.  At any rate, over the next couple of decades, sources all converged on two spaces between sentences.  I've found no explicit statement on why this happened.  But it seems obvious that given the extra wide size of spaces and punctuation on these monospaced typewriters, three spaces just looked too big compared to printed text, and some minority even felt that two were too big.

This is the complete opposite of the modern mythology of sentence spacing.  Remember that the claim is typewriters demanded more space because of the wide and uneven letter spacing.  The myth is false—history shows that typewriters demanded less space than people were used to.

So to review what we've demonstrated here, wide spacing did not come from the typewriter, and the large spaces on the typewriter apparently demanded a change towards less, rather than more space between sentences.

In short, there is not one single shred of this typewriter myth that's true.  In my opinion, it's a great litmus test to see if anyone blabbing on about typography actually has any clue of what they're talking about.

So where did this myth come from?  I covered my hypothesis in a recent blog.  But that's just a bit of the history.  This myth is really about marketing.  It's about people (generally lazy editors) who want to make everyone change their spacing habits by pigeon-holing two-spacers as being old fashioned and clueless.  It seems to me we should be fighting fire with fire.  But that's a topic for another day.

Wednesday, January 29, 2014

That Slate Article

That Slate article by Farhad Manjoo is insanely popular.  It drives me nuts because it's all lies and distortions.  I didn't want to give his article any more attention than it already has, but apparently that approach was not working.

Here then is a list of many of the factual problems in this article:
"Who says two spaces is wrong?" they wanted to know. ... Typographers, that's who. The people who study and design the typewritten word decided long ago that we should use one space, not two, between sentences.
Not true.  As a group, typographers have come to no such conclusion.  Some people who call themselves typographers make this claim, but many do not.  There's no sort of typographers' convention or union or club where they all get together and decide these things.  There's no document, no vote, no scholarly paper or journal.  There is only Farhad Manjoo telling you so.
James Felici, author of the The Complete Manual of Typography, points out that the early history of type is one of inconsistent spacing.
Let's look at what Mr. Felici actually said in that article he linked to.  For starters he said this: "I am not a type historian".  OK, so not an authority on the subject.  He also says that the books he can find all seem to use wide sentence spacing.  That hardly sounds inconsistent.

In fact, if Mr. Felici were a type historian (and honestly he is somewhat, just not enough on this particular topic), he'd know that in fact from about 1650 to 1900 was a period of incredible consistency in type.   Almost every book in the english language was printed with an em space between sentences.  And every typography manual in that period that describes sentence spacing says to use an em space (or more accurately an em quad).

Hundreds of years ago some typesetters would end sentences with a double space, others would use a single space, and a few renegades would use three or four spaces.
Mr. Felici didn't say this so I assume that we're back to Mr. Manjoo speaking from his posterior.  In fact as I said, the em space was incredibly standard.  Further, no typographer at that time counted spaces one, two, three.   They measured the distance in ems and used whatever spacing elements (thin space, 5-per-em, 3-per-em, en space, em quad, hair space) were needed to make things fit.  Anyone who knows anything about typography should know this.
Inconsistency reigned in all facets of written communication; there were few conventions regarding spelling, punctuation, character design, and ways to add emphasis to type.
Typographers had plenty of options for adding emphasis to type, and they used them.  In fact one could argue that they had more control over spacing for emphasis than we have today.  As for standards and conventions, some details (but not sentence spacing) were a mess early on.  But by the 18th and 19th centuries, these details had been ironed out.  Much like today, there were certainly issues that were hotly debated.  Sentence spacing was not one of those issues though, so I'm not sure how any of this is relevant even if it were true.
But as typesetting became more widespread, its practitioners began to adopt best practices. Felici writes that typesetters in Europe began to settle on a single space around the early 20th century. America followed soon after.
Since it rests on a lie, this is a distortion.  It's not true that they "began to adopt best practices".  Best practices changed after being standard for over two hundred years.  If he had said it that way, you might ask the obvious question "what changed?".  What changed was industrialization, and widespread use of the Linotype, a machine that was severely limited in spacing capabilites compared to hand-set type.

I cover this in several other articles on this blog, but essentially we stopped using wide sentence spacing because it complicated the printing process (see these postings: "A River Runs Through It", and "The Cost of Printing Errors on the Linotype").
Every modern typographer agrees on the one-space rule.

This is an outright lie.  For one thing, he immediately mentions that the American Psychology Association thinks that two spaces are needed.  And then twists the story by saying that they prefer one space for published works, although I can find no evidence that this is the case.  He goes on to quote the Chicago Manual of Style.  That's interesting because on their website they say (in the first answer) "Some people, however—my colleagues included—prefer [two spaces]" Of course, Mr. Manjoo does not quote the Modern Language Association's answer, which says "As a practical matter, however, there is nothing wrong with using two spaces after concluding punctuation marks".

As I said earlier, there's no organization of typographers in which such a thing could be decided.  There's not even a clear definition of "typographer" with many apparently having applied this label to themselves (which may be part of the problem).
Most ordinary people would know the one-space rule, too, if it weren't for a quirk of history. In the middle of the last century, a now-outmoded technology—the manual typewriter—invaded the American workplace. To accommodate that machine's shortcomings, everyone began to type wrong. And even though we no longer use typewriters, we all still type like we do.
There's a significant problem here.  The typewriter was invented in 1873 (ish).  And yet wide sentence spacing was standard practice in English for hundreds of years before that.  And for another 80 years after its invention.  Wide spacing has literally nothing to do with the typewriter.  Also "everyone began to type wrong"?  How did people type before they had typewriters?  There was no such thing as typing.

If you don't believe me, you can just look at almost any old book before the invention of the typewriter.  Or you can listen to Mr. Felici, in the very same article that Mr. Manjoo references above, where he says "the use of double spaces (or other exaggerated spacing) after a period is a typographic convention with roots that far predate the typewriter."

Here's what actually happened: people used wide sentence spacing on the typewriter, because that's what they'd been seeing in print, and doing in handwriting, for longer than anyone alive could remember.

(By the way, the typewriter does play a real role in this myth.  The two space typewriter habit caused a real problem with later Linotype machines.  I blogged about this in "Two Spaces - an Old Typists' Habit?".)
Monospaced type gives you text that looks "loose" and uneven; there's a lot of white space between characters and words, so it's more difficult to spot the spaces between sentences immediately. Hence the adoption of the two-space rule—on a typewriter, an extra space after a sentence makes text easier to read.
As I already pointed out, this is not why they adopted the two space rule.  But I did hold back a little bit above, so that I could explain here that not only is he wrong about the adoption of the practice, he (and lots of other self-proclaimed typographers) have the story on the look of monospaced fonts 100% backwards.

Going from proportional to monospaced, most characters get wider.  But none more so than the space and period.  For proportional fonts, one space plus a period would be about the size of the letter "n" or maybe even a little smaller.  In a monospaced font, one space plus a period would be twice the size of the letter "n".  The only sensible conclusion is that monospaced fonts needed less space than the print industry.

Don't believe me?  Look at history.  Remember when I said they used wide spacing on the typewriter to match print?  They matched it literally.  The print industry's em quad was about three times as large as most word spaces, so on the typewriter initially most people used THREE spaces between sentences.  But because of the monospaced font, this made gaps that appeared much larger than what people were used to seeing in proportional fonts, so eventually people fell back to two spaces.  [Update: 3/20/2014, I added a new posting that goes into more detail on this.]
Besides, the argument in favor of two spaces isn't any less arbitrary.
That's only true if you don't bother to offer the arguments in favor of two spaces.

Here's what two spaces gives us: an unambiguous full stop.  The period means more than just the end of a sentence, it also is used in numbers and initials and abbreviations, and for other reasons.  This can cause confusion, e.g. "Who's going?" "You and I. Smith also."

Is that two people (You and Isabelle Smith) or three (you, me, and Smith)?

Of course since we read left-to-right, most of the issues of confusion aren't even technically ambiguous.  The grammar is obvious after you stop and analyze it.  But you shouldn't have to stop and analyze sentence structure, you should just read.  Wide sentence spacing avoids such issues.

As far as aesthetics, modern technology could give us a solution.  You could easily have a sentence spacing preference that adjusted the width of visible sentence spacing to the reader's aesthetic choice.  Except for one little catch.  Before a computer could do that (reliably) it'd have to know what a sentence is.  Which would be far easier with two spaces between sentences.  (Note that this blog implements this very feature.  The control is at the head of the right column).

So perhaps the best argument for TWO spaces between sentences is so that people like Mr. Manjoo could reliably and easily avoid looking at them.
Typing two spaces after a period is totally, completely, utterly, and inarguably wrong.
That's how his article opens.  If every single factual argument he offers is in fact not true, can we still believe his thesis?



Friday, January 3, 2014

Two Spaces - an Old Typists' Habit?

I've already thoroughly debunked the myth that wide sentence spacing comes from the typewriter.  But many myths contain a grain of truth.  One might guess that the typewriter was blamed for wide sentence spacing simply because the "habit" survived longer on the typewriter than it did in the print industry.  It turns out there's more to it than that.

If you don't want to read some of my other blog postings, let me bring you up to speed.  First came very wide sentence spacing, at least two or three hundred years of it, in almost every English language publication (and even hand-written letters) of the day.  Then, at almost the same time in history two machines were invented: the Linotype machine which revolutionized newspaper, magazine, and book printing; and the typewriter, which revolutionized professional correspondence and record keeping.  Initially both technologies continued to use wide sentence spacing.  But in time, various technical and cost-related issues with the Linotype lead to increasingly narrower sentence spacing.  By 1950 most professional publications no longer used extra space for sentences, but most typewritten communications still did.

That brings you up to speed on how we lost the extra space between sentences.  But it doesn't quite explain why there is so much vitriol now against extra space, particularly from editors who lead the charge in telling us that using two spaces is nothing but an old typists habit.

The Linotype saved time and money for a number of different reasons.  One of the more significant reasons was time saved in justifying text.  The Linotype introduced a little piece of hardware called a spaceband, a variable space that could be used between words.  As a line of text was being set, the Linotype operator could with a single lever resize all of the spacebands in the line to get automated and even justification.
Simulation of the operation of spacebands on the Linotype.  (In actual operation, this was all upside down.)

Initially, wide sentence spacing was maintained by adding an additional fixed space (usually an en space) next to the spaceband for sentences.  From a modern point of view one might wonder why they didn't simply "use two spaces", that is two spacebands between sentences.  This could have been because you'd end up with too much expansion between sentences, compared to the expansion between words, and it would have looked bad.  But there was actually a much more important reason.

You weren't allowed to put two spacebands next to each other.

It was physically possible.  But as any well-trained Linotype operator of that era new, this mistake could at best end up with a bad linecasting, with extra fins of metal sticking out where the two spacebands touched.  You might also end up squirting out a bit of hot metal during the casting.  And perhaps worst of all, it was possible to damage the spacebands by putting them next to each other.

This in itself almost seems like the smoking gun.  But Linotype operators were typesetters, not typists.  They still didn't have the "one space or two" mindset of a typist, but rather "how much space".  The Linotype had several different fixed spacing elements that could be combined much as with traditional hand-assembled type, and the typesetter would never place two spacebands together when more space was needed.  If wide sentence spacing was called for, an experienced operator would have no confusion with "two spaces" or putting two spacebands together.

The Linotype used a very different keyboard from a typewriter.  The metal lever on the left was used to place spacebands in the line of text.

This was the case for the first seventy years or so of Linotype operation.  But in the 1950s and 1960s another technology began to become popular, the teletypesetter perforator.  This was not exactly new technology, as the Monotype used something similar since the late 1800s.  But it was relatively new to the Linotype.  And it was introduced to set type faster, and more cheaply.

The teletypesetter separated the typesetting task from the actual running of the Linotype, by storing the typesetting information on perforated tape.  Another machine could then be attached to the Linotype, and replay these typesetting tapes to produce the castings of the lines of text.

One reason this saved time and money was that the Linotype wasn't limited by the speed of the operator.  One Linotype could be run continuously, setting the instructions produced by two or three operators simultaneously.  But another big advantage was that teletypesetters eventually replaced the traditional Linotype keyboard with a modified typewriter keyboard.  The intent was that typists, with a little training, could be used to set type, further saving money by using relatively unskilled labor.

A teletypesetter perforator, with a typewriter keyboard.  The gauges for justification are visible in the upper right.

As the typist typed, the teletypestter punched codes into a paper tape to identify the letters being entered.  When the typist pressed the spacebar, an instruction was added to the tape to use a spaceband.  The teletypesetter also had two gauges to guide the typist in basic typesetting.  They showed the operator the minimum and maximum width of the line, assuming the spacebands in the line were at their minimum or maximum widths.  Once a line of text was long enough for what ever width column was needed, the typist could tell from the gauges.  They'd press the carriage return, the appropriate instructions for a new line would go onto the perforated tape, and the gauges would reset to zero.

Of course, the problem with spacebands still existed, and we now see a very real problem with the typists' habit of pressing the spacebar twice between sentences.  If the typist made this mistake, at best, the error would have to be found and the line of text retyped.  At worst, the mistake might result in damage and repairs and downtime on the Linotype machine.  One can imagine an editor's blood boiling the umpteenth time they had to hear about a delay on the Linotype because a teletypesetter operator had made the dreaded mistake of pressing the spacebar twice.

“By far the biggest item of cost of operation is damage to matrices and spacebands, which to a very great extent is traceable to ignorance on the part of perforator operators of the limitations and performance of the Linotype.” –British Provincial Press Productivity Team, 1952

It's my belief that this is the real source of the myth of the typists' habit.  The two-space habit was a very real problem on a teletypesetter.  It also explains the editors' hatred of the habit, a hatred so strong and deep that it would be passed down to editors today.

The next step in technology was the introduction of computerized justification.  It was no longer necessary for the teletypesetter operators to justify the text.  They could make paper tape instructions with nothing but the plain text.  That tape was fed into a computer reader, which would calculate the justification and line breaks, and produce a new tape with all the needed Linotype instructions.  The software would never place two spacebands together.  This is the source behind the claim that this software would eliminate runs of multiple spaces.  This is true only where spaces really means spacebands.  Other spacing elements could still be combined for additional space, although nearly a century of cost-cutting had mostly eliminated the practice.

This became particularly ironic when the teletypesetter and justification software were transitioned from the Linotype to phototypesetting.  Phototypesetting equipment still had a variable space, and they still called it a spaceband, but the actual spaceband hardware itself no longer existed.  At this point the space and the spaceband were pretty much the same thing.  Even though the original technological reason for eliminating multiple spacebands had disappeared completely, the solution to the problem remained in place.

Modern software still has a notion of a variable space, although nobody calls them spacebands.  Software can also solve many of the other problems that lead to elimination of wide sentence spacing.  Rivers of whitespace can easily be avoided by spacing between letters, and adjusting where words wrap and break.  Yet despite all the power and possibilities of modern technology we are still overrun by worshippers of the Linotype voodoo cult, yelling at us about extra spaces for reasons they don't even remember.

I suppose eliminating spaces has become just another old habit that's too hard to break.


Tuesday, December 31, 2013

French Spacing

The term "French Spacing" is best avoided altogether.

Printing in English-speaking countries almost universally used very wide sentence spacing throughout the 18th and 19th centuries (and earlier also, although I haven't researched the 17th century as thoroughly). In France however, the common practice was to use standard word spacing between sentences.  Or at most, an en quad, half as much as the em quad used in English texts.  In my casual review of French texts from the 19th century, I find that the most typical space is word spacing, but upon close examination I see that it is often used inconsistently within a single text.  What I assume they did is attempt to have even spacing, but during justification, if the spacing couldn't be made perfectly even, they would prefer to add the extra space between sentences.  This is a perfectly reasonable approach.

English references on typography during the 19th century hardly mention this at all.  One reference that does is American Dictionary of printing and bookmaking," by Wesley Washington Pasko in 1894.  Even here though, in a long section on the differences between English and French printing, it makes absolutely no mention of sentence spacing.  It's only in the section on the em quadrat that he mentions this practice: "This quadrat is not used in France at the end of complete sentences, but the period is there followed by an en quadrat or by the space of the rest of the line."

Example of word-sized spacing between sentences in a French publication.  From "Essai sur la Typographie" (1854), Ambroise Firmin-Didot.

Notice that in that description, the term "French spacing" is not used at all.  Nor does it appear as an entry in Pasko's dictionary.  The same is true of John Southward's Dictionary of Typography and it's Accessory Arts.  There is no entry at all about "French spacing".  In fact the earliest reference I can find at all to this phrase is another Southward book, Modern Printing Volume 1, published in 1915 (I have not been able to see the 1899 edition of this book).  In this book, the index does in fact list "French spacing".  But when you refer to the page in question, that phrase is not used at all.  Again in the context of the em quad and it's use between sentences, Southward simply says "French book printing forms an exception to this."

It isn't until 1939 that I find this phrase used in a text. The Complete Desk Book, by Christopher Orlando Sylvester Mawson and John William Robson describes French versus American spacing:
"French spacing and American spacing refer to the amount of space between sentences. In the former only a spaceband follows the period. In the latter there is an en quad plus the spaceband."
Note that "spaceband" refers specifically to Linotype's automatically justifying space element, i.e. a word space.  The timing of this term appearing is interesting because in 1939 the transition to "French" spacing in America was in full swing, and would be mostly the norm in books, magazines, and newspapers within ten more years.  This makes sense when you think about it.  When wide sentence spacing was so ubiquitous in English language printing,  you'd hardly need a phrase to differentiate between different styles.  Only when both styles were common in our culture was it necessary to have phrases to describe one or the other.

And this sowed the seeds of confusion.

Fast forward thirty or more years, and people in America are so used to seeing "French" spacing that it no longer makes sense to refer to it as French.  And so, inevitably, the term flip-flopped, or at least it tried to.  The first chink in the armor that I can find is in 1977.  In "Don't Call It Cold Type" by Frank J. Romano, he describes French spacing as using a thin space after sentences in addition to the word space.  This would be slightly wider, although nowhere near as wide as was common in English texts.  This is almost factually correct, since the French would traditionally use a thin space before the period where English texts did not.  However it seemed that Mr. Romano meant that in English we use only a word space, where the French used a word space plus a thin space.

Mr. Romano accelerated things in 1984, in "The TypEncyclopedia".  Here his error is more explicit:
"Additional space at the ends of sentences is called French spacing, a very old practice, commonplace in books up through the nineteenth century."
He's completely reversed the meaning of French spacing, relative to English/American spacing.  Still, this was an isolated mistake.  It was repeated again in 1986 by Printing Abstracts, Volume 41:
"'French spacing' is the typographic equivalent of placing two spaces after end-of-sentence punctuation.  It adds to reader comprehension and legibility, but is currently somewhat out of vogue."
Another isolated event.  But in 1994, I find three separate references by different authors, all making this same error: "Glossary of Typesetting Terms," Richard Eckerseley; "The Best 1001 WordPerfect Tips Ever," Mary V. Campbell, and "Step-by-Step Graphics, Volume 10".  To be fair, the majority of references still get it right relative to the original meaning and history.  But after 1994, the floodgates seem to be open, and the reversed meaning appeared in numerous books.

This reversal was probably inevitable.  Americans tend to sneer at the French, and anything "French" besides French Fries tends to be frowned upon.  So how could standard practice here ever be described as "French".  It's culturally inconsistent.  Calling the more alien practice of wide sentence spacing "French" feels more correct.

So where does that leave us now?  Modern references are a complete mess, with many still describing the original meaning, while many others use the reversed definition.  It's difficult to tell who is "winning" at this point.

In my opinion, we should simply stop using the words "French" and "English" in describing spacing.  They were never really used at all during the period of time where the were descriptive of common practice.  And there's very little chance of successful communication when using them.  For "English spacing" (the original meaning), "wide sentence spacing" is a nice drop-in replacement.  There's no clear winner for "French spacing", although "narrow sentence spacing" isn't awful, but it doesn't really clarify that the sentence spacing matches the word spacing.  Another option is "word-spaced sentences".  Or just explain in a complete sentence that you mean that sentences do not have extra space.

Thursday, April 18, 2013

Spacing in Twitter (a small victory)

I tweeted this back in January to twitter's feature suggestions account:

Wide Spacer @WideSpacer 05 Jan 13
@features Please change the CSS for tweet text: set white-space to pre-wrap. With only 140 chars, if people use two spaces they mean it.
(The short answer is that sometime recently they have done exactly this.)

There was more going on than just the wishful thinking.  In fact many twitter clients, particularly those widely used on mobile platforms, already preserved both the spaces and the newlines in tweets.  So users of those clients could "format" their tweets with extra spaces and new-lines, and often did.  But on twitter.com, these formatting efforts were lost to HTML's default behavior of treating all new-lines as blank spaces, and of combining multiple spaces into a single space.

HTML doesn't do this because it hates spaces, or because it has taken sides in the debate on sentence spacing.  HTML was originally based on SGML, a markup language for adding meta information (like formatting instructions) to plain text.  In SGML's view of the world, spaces are not content.  They simply serve to separate words from each other.  One space does this just as well as ten spaces.  If there's any formatting to be done, that should be in a tag as meta information.

Of course HTML has never added any explicit formatting capability for sentence spacing (although there are plenty of workarounds, most of them cumbersome).  But HTML has always had a <pre> tag, which means the contents of the tag are pre-formatted, and no formatting should be done; the original spacing and new-lines should be displayed.

As the web progressed, and CSS became the standard way of doing things, a CSS property called "white-space" was added.  This property describes how spaces and new-lines should be interpreted.  The possible settings include "normal", which means the way HTML has always done things, and "pre" which means the text should behave just as it would inside a <pre> section.  It also includes the setting "pre-wrap" which is alot like "pre" except that lines are wrapped both as needed, and also on new-line characters.

The pre-wrap setting is perfect for twitter, where it will preserve the user's original spacing as much as possible, but still wrap lines as needed to fit into the available space.

(Also note that there's an obvious missing feature from "white-space": there is no setting which honors multiple spaces, but ignores new-lines.  This would be handy for people who have been writing HTML in some traditional editors where long lines that wrapped are inconvenient, e.g. the traditional UNIX "vi" visual editor.  They may want to preserve spacing but not the new-lines.)

A few weeks ago I began noticing that tweets on twitter.com were appearing showing user formatting.  A quick look showed that they had indeed changed their white-space property for tweet text to "pre-wrap".  So now tweeters can add their wide spacing and it will actually display properly for the majority of twitter users.

This also means the next time there's a twitter debate about sentence spacing, the monospacers won't be able to say "yeah but why doesn't your tweet have wide sentence spacing?"  Because now it will.

Thank you Twitter!




Monday, March 18, 2013

Type Was Made to Read

"Type," said the Foreman, "was made to read,
And that is a maxim it's well to heed,
For the printer frequently gets a start
With a Craze for 'beauty,' a bug for 'art,'
Which holds him fast in a fearful gripe
And keeps him trying mad stunts with type,
With seventeen fonts and seventy styles
And borders by thousands and rules by miles.

"Type," said the Foreman, "was made to read,
But the printer, oftentimes, in his greed
For novel features and 'class' and 'tone,'
Forgets this fact he has always known
And sends out work that is fine to see
And 'smart' and 'natty' as it can be,
A job with a swagger and high-bred look,
But hard to read as a Chinese book!

"Type," said the Foreman, "was made to read,
And that should serve as the printer's creed,
For work on the Linotype machine
Or hand-set jobs should be clear and clean,
Not ornamental, obscure, bizarre,
Composed of all of the fonts there are,
But simple, legible, quiet, plain,
A joy alike to the eye and brain!

For art in printing is not the way
Of wild extravagance, weird display,
But rather the unobtrusive thrall
Of type that gives you no shock at all,
But draws your eyes to the page with zest
And holds your mind to the thought expressed;
We must keep ourselves to this simple creed,
Type was made and is meant to READ


Berton Braley, Linotype Bulletin, March 1915

Friday, March 15, 2013

The Cost of Printing Errors on the Linotype

My central hypothesis on the demise of sentence spacing is that the Linotype was the major factor, due to the excessive cost of correcting errors (especially spacing errors), and because the apparent drop in quality with the Linotype could be alleviated with closer spacing.  My blog post "A River runs Through It" covers some of the quality issues.

The problem of expense comes into play in a few different ways, but the most significant was in error corrections, where you couldn't simply change out a letter or two.  You'd have to recreate the entire line from scratch in the best of cases.  In the worst cases, your correction affects spacing enough that the change affects other lines, and you have to recreate several lines from scratch, all for what might simply be the insertion of an extra space.

Anyway, I've come across a discussion of the Merganthaler Linotype machine in Hearings Before Subcommittee of House Committee of Appropriations (for an 1898 appropriations bill), which covers both the expense of errors and and the problems with quality.

Statement of Mr. Th. E. Benedict, Public Printer
  [...]
The Chairman. Let me ask you.  If you avail yourself of modern methods of composition, take for instance, the Merganthaler process?
Mr. Benedict. I can say this: I believe that the working force of the office, if the question were put to them, would say the present Public Printer has largerly added labor-saving machinery to the Goverment Printing Office.
Mr. Sayers. You have not gone to the full length that private institutions have done in the matter of labor saving machinery, have you?
Mr. Benedict. I have gone to the length I was able.  I have not been remiss in putting improved machines in the Government Printing Office which I thought would be useful and to the limit funds for such were available.
Mr. Sayers. I am not saying you have not done your full duty, but I am simply comparing the conditions of the Printing Office with private institutions?
Mr. Benedict. If it was a question as to whether the Merganthaler or Linotype was profitable to be used in the Government Printing Office, I have an opinion; but perhaps you do not care anything about that.
Mr. Stone. Do you use any of these machines?
Mr. Benedict. No; but I am very familiar with the machines.  I know there is a great humbug about the matter of profit of these machines as operated generally.  You need not put this down—I know the conditions under which they can be made profitable, and I know the conditions in many offices where they are unprofitable, and those are the conditions which would operate in the Government Printing Offices.  Outside of the Congressional Record we receive scarcely any copy which, when in type pages, is ready for the press.  Our page proofs are edited and reedited by you and other editors, and we reset the matter again, and when you have to reset a whole line or a page to correct an error of a letter or a word of the compositor or author, the work is very expensive, and such corrections with the Linotype machine are necessary, as it sets type on a slug, and to take one letter out you have to set every letter of the slug line, and to insert a long word or a few words you have to run over the whole sentence.
    If you have perfect copy, the Linotype machine is profitable, and if you do not have good copy it is not.  Under these conditions the typographic appearance of every daily newspaper in the country where such machines are used has been so lowered that they have ceased to be respected by persons of taste, and the typographical errors and lack of typographical taste are due to the use of the Linotype machine.
Mr. Sayers. Of course you could not use that for the Printing Office of the Government?
Mr. Benedict. I guarantee that in the average daily newspaper set by the Linotype machine you find from 10 to 20 errors to every one you find in the Record, and you would lose almost entirely the typographical style which makes the Record the most beautiful and perfect daily publicaion of the world, while produced under greater difficulties than are known in other daily offices.

Tell us how you really feel Mr. Benedict.

Granted this is just one point of view, it's still an interesting insider's view of the Linotype and its real world issues.  There are plenty of sources out there that more clearly describe the problems with the Linotype (in particular the rivers) as well as the cost of error correction.  I just liked this source for its directness.