>I would appreciate any advice from anyone who has experience in
>> >this type of proofing, or am I concerned about nothing and should
>> >just proof the way I normally would (except for the backwards part
When I learned to read linotype slugs in the '60s, I learned to read them
upside down, left to right. I would compose handtype in the same manner
and found it easy to learn the shapes of the letters. Since I was
learning to read the characters backwards it was just as easy to learn
them upside down at the same time. The advantage was that the stem was
on the proper side of say a *b* to distinguish it from a *d*.
It seemed we always worked upside down because there were other benefits
to this method. When the handtype was being composed in the type stick
(whoa, I had forgotten that term until this topic came up) I would be
able to see the foundry marks on the baseline side of the characters and
tell not only if they were rightside-up but also if they were from the
same font. Each font has a unique notch on it and when all of the type
is composed, the notches will line up. Any mismatched characters will
stick out in the continuous notch-stripe. Come to think of it, I
actually did more distributing (setting the type back into the case) than
I did composing. This was the job (or punishment) of the appentice. But
checking the notch was important to make sure that the type was not mixed
into the wrong type case.
There is something missed in this day of just dragging the document to
the trash can or hitting the delete button. We just don't get to know
our type like we used to. There would always be that capital *W* with
the broken serif that you kept in the em compartment and hoped you
wouldn't have to use but always seemed to need anyway.
2 rules to success in life. 1. Don't tell people everything you know.