I’m not posting. I’m at work, and I’m working, of course. On a horror novel that’s eating my brain. But I thought you might be interested in the latest post by Copyranter, in which he turns his blazingly snarky spotlight on the banality of most book ads: Book Advertising. The Hackiest of the Hack. Rated PG-13 for adult language and situations, as well as insulting comments about women with cats (of which I have none). It’s a worthy topic, though.
The book ads I’ve worked on were less stupid than the example he shows, but certainly not what I’d call innovative.
I’m procrastinating on two (already overdue—why rush?) freelance projects by catching up on reading teh entire intarweb. It was thus that I saw Ampersand Duck’s two fascinating, awesome, very thoroughly illustrated posts about rebinding a beat-up Georgette Heyer novel: part 1, part 2. So. Very. Cool.
Mistress Duck lives in Canberra, Australia, so if my visitor logs are correct, most of us can’t go take a class with her teacher, who sounds like a treasure. But if you’re in New York, the Center for Book Arts offers tons of delicious-sounding classes. Those near Boston can go to the Massachusetts College of Art , and you Bay Areans can go to the San Francisco Center for the Book. I’m planning to take French at FIAF this fall, but maybe in the spring I’ll try to get into Bookbinding I.
Dudes! The Chicago Manual of Style, 15th Edition (CD-ROM) is in stock! This is huge!
I am a big fan of having all my reference books on the computer. It’s so much faster than thumbing through a big fat book, much as I enjoy looking at the big fat book in my leisure time.
Note also that CMS Online is about to launch, and you’ll get a free trial if you’re registered there already. This is not a useful format for me—I often cram in freelance work when I’m without an Internet connection, traveling or whatnot—but maybe it’s right for somebody out there.
Note today’s poem of the day over at the haiku site tinywords; it’s “fontographic,” as proprietor Dylan Tweney put it.
If you like haiku, you can subscribe to have each day’s poem texted to your cell phone. (Or, fine, to your e-mail account, you luddite.)
- font-ku coined by tinywords commenter A.J. Aldcroft
Résumé Font Offends Employer
More typography reportage from the Onion:
And you can bet this book’s design uses drop folios: 14-Word Diet Stretched To 200 Pages (January 21, 2004).
Over on the suddenly very posty YPG blog, Shirley Chan, a production coordinator handling reprints at Penguin, explains some of the challenges of her job.
I’d like to see more of this kind of thing. Unfortunately, the YPG blog does not seem to encourage discussion, but you’re welcome to discuss it here. . . .
Sorry, I’ve forgotten what train of linkage led me to it, but More or less via LiveClever, here are two articles by Mark Boulton that are kind of on what I was mumbling about to Michelle last week:
Semantic Typography: Bridging the XHTML gap
Designers, Engage Your Brain[s]
Another article worth checking out is his Web designer’s guide to print design.
How interesting it’s been checking out all the Web sites that have been linking in since I got Kottked a week ago, and how sad it’s been to see the line on my WordPress traffic graph slope back down toward its normal point of zero. But today, today, my obsessive checking-out of every site listed on my referrer page paid off: I discovered Dan Rhatigan’s Ultrasparky, which is just delicious.
Hours and hours of happy reading.
Here’s a little article that I must have read before—as I converted it from HTML to XHTML for John six or seven years ago—but had entirely forgotten. If you enjoy typographic trivia—and who doesn’t?—it may be just the lazy holiday afternoon silliness for you: Lost Things in the Garden of Type by John Tranter, 1997.
- I can never keep Janson, based on type cut by Nicholas Kis, and Jenson, based on Nicolas Jenson’s roman and Ludovico degli Arrighi’s italic, straight in my head, though I know that one is plain and straightforward, while the other is foofy. I’ve never designed a book in Janson (though I’ve handled it when setting other people’s designs), but I used Adobe Jenson Pro for the subtle jubilat redesign (to replace the PostScript version of Centaur MT, which is based on the same originals). It’s also the face I used for that grief book.
- I don’t think I’ve ever known until just now that Bell is totally unrelated to Bell Gothic and Bell Centennial. Not that I’ve ever tried to mix them, but I might have at some point. Phew!
Or so my class was informed by a very good copyediting instructor, who I’m sure meant no especial disrespect. On some other day, I’d like to address why an editor might get this impression, but for now I’d just like to note that apparently Princeton Architectural Press shares this unflattering view.
Continue reading “"Most Designers, Through No Fault of Their Own, Are Illiterate."”