Jonathan McNicol clearly does not have enough to do. To stay out of trouble, he’s started typesetting a free Greybean edition of James Joyce’s Ulysses, pages of which he expects to be posting daily until some time in October.
My former colleague Lawrence Levi, of Looker and The Breadline, reports that “the new Star Trek movie‘s final credit . . . is for FONT CONSULTANT. Yup. He’s Richard Massey, . . . who was part of the initial design team of Cabinet magazine.” Lawrence then directs our attention to “an outraged design blogger, the only person who seems to have noticed this quirky credit”: Blogging via Typewriter.
I know nothing whatsoever about the man, but it’s funny if it’s true.
Since 2002, I have been editor for our local historical society’s 20-page quarterly. When I first started, I did it in an old version of WordPerfect and (you’ll laugh) actually cut and pasted together the booklet and took it to our local printer.
Then I got slightly more high tech and started producing PDFs from the WordPerfect files.
The next thing was a switch to the Atlantis program, which produces .rtf files, from which I made PDFs to send to our local printer.
So, I still have all the old .wpd and .rtf files.
The historical society is now interested in taking the old issues, indexing them, and publishing the old issues in books (putting several together per volume) or perhaps just putting the old issues online.
However, there is not much of a budget for new software. The new software would need to do indexing and be able to handle endnotes and read the old files.
As a side issue — I am also looking into producing Large Print versions of documents. It seems that there are all sorts of standards that different organizations have for producing large print books. Do you have any advice for what standard to use, and how to handle graphics for large print books (obviously the graphics need to be bigger, but I don’t know how much).
Pinch, a design office in Portland, Oregon, have* shared a summary of their typographic standards for Hawthorne Books, a literary press also in Portland. And while I very much like the house design they’ve come up with, I have a few quibbles with their write-up of same.
Pages are expensive, and here is where working with smaller press runs is helpful. Random House, for example, would have a big problem with running this little content on a two-page spread, because they are budgeting their books to the fraction of a penny—a meaningful amount when you’re printing a half-million copies. At 5,000 copies? Not so much, and frankly, this material—dedication, acknowledgements, epigrams—is important to the writer. To isolate it, to give it the weight it deserves, is again a function of respect to both writer and reader.
Now, I’ve never worked for Random House, but we had some pretty big print runs on some of the things I worked on at St. Martin’s. And I can tell you that the default front-matter pagination was just as airy and light as what’s shown in the Hawthorne spreads. Continue reading “Pinch on pages”
How do you pick your fonts? It’s easy! Just look at type samples and find one that catches your eye. Throw that one out.
All this month, Tom Christensen of the always interesting Right Reading has been guest-blogging over at ForeWord magazine. For his final post, he offers “a simplified speed course in making books that readers will want to pick up”: “Book Design Primer.”
It’s very basic, as advertised, but he mentions a way of using the golden section that I’d never considered, so you, too, may learn something.
And, speaking of parodies, did anybody else just get this e-mail from FontLab?
This is so wonderfully geeky I can barely stand it:
Last week I mentioned the atomic pen, which scientists used to construct some awfully tiny letters one atom at a time. These are small letters indeed: measuring two nanometers in height, they’re about 1/40000 the thickness of a human hair, which surely gives their inventor sufficient authority to issue the casual throwdown that “it’s not possible to write any smaller than this.” But it is, of course, and the technique for doing so has been known to typefounders for more than five hundred years.
They say that imitation is the sincerest form of flattery, so I should feel jazzed that a person I used to work with, who at that time did not know InDesign from Address Book, is still using my files as templates for new books today in his busy freelance design business. Being a spiteful, negative, unforgiving person, however, I instead find it just kind of disgusting. Because even though this person is apparently now making a nontrivial chunk of his income by designing and typesetting books (and perhaps double-billing for it, too), he clearly still doesn’t know typography from a hole in the ground.
Continue reading “Flattery Will Get You Nowhere”
I spent most of last week TypeCon, where I took three classes and attended about half of the presentations. The highlights were, hands down, the day I spent making mudpies at Hal Leader’s aptly named Paradise Press and Erik Spiekermann’s obscenity-laced presentation on opening night (big, big crush).
Overall, I think this was my favorite TypeCon of the four I’ve been to, but few of the conference sessions I attended stand out, so mostly I must have liked it because of my trip to Paradise. Hal’s just such a sweet guy, and he’s so enthusiastic about letterpress, and I love the smell of inky machinery, and I love doing meditative handwork like picking letters out of trays and building them into lines of text. The best TypeCon ever? Would be spending four days just doing that. I’d probably need a wheelchair afterward, though—it killed my feet to stand all day, and the next morning I discovered that I had a major sore spot way deep in my left shoulder from holding a composing stick full of lead all day.
Newsflash: Lead is heavy.