This Saturday, June 13, I’m teaching a virtual workshop about pairing laser cutting with letterpress printing. It's intended for people interested in either, but more for those with letterpress affinities wanting to figure out how to work laser-cut elements into their work. You don’t need to own a laser cutter or a press to attend.

The two-hour course is part of a set of virtual workshop offered by the School of Visual Concepts. I taught a one-day, in-person workshop a couple of years ago on the same topic, and I’ll be presenting results of that workshop and what I’ve learned since, along with examples of other people’s work and a lot of practical advice!

Go from zero to Zoom with my new ebook, Take Control of Zoom!

It’s a guide for everyone, since we’ve all fallen into Zoom as the easiest tool across operating systems to video chat and handle business meetings and classes for school. It’s a rich and powerful videoconferencing service, but it can also baffle, frustrate, perplex, and irritate even the most experienced digital tool users! This book untangles Zoom, making it easier, more fun, and more efficient to use.

My book teaches you how to get set up and configured if you’re starting from scratch. But if you’re already using Zoom, that’s just a tiny part of the book. The rest is devoted to improving your physical space for better on-screen appearance, examining audio and video options, configuring your account and Zoom apps to meet your needs and for privacy and safety, as well as how to participate effectively in meetings, share your screen for presentations and demonstrations, and record video and audio within the Zoom app or via cloud recording.

Another of Zoom’s advantages is that anyone with a Zoom app and free account can host meetings with up to 100 participants! Take Control of Zoom has chapters that walk you through all the hosting features, including the unfortunate extensive one-time configuration to make sure your meetings operate the way you want. I then guide you through conducting meetings, including how to manage ones in which anyone can join.

Public meetings for dependency support groups, parent/teacher association discussions, and even virtual book tours by authors have the potential for trolls and abusers to ruin the day. I explain how to configure and manage groups of all kinds that don’t include all people who know each other, including how to admit participants carefully, how to mute, warn, and block them, and how to report particularly awful people to Zoom.

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If you’re trying to use Zoom at all or use it better, my book will absolutely help. I learned an enormous amount researching and writing it, and I’m committed to continuous updates as Zoom improves security and enhances features, as well as adding material prompted by readers.

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A book over a year in the making, Six Centuries of Type & Printing, is now available for purchase. Starting a few years ago, I began to research printing history more intensively, and then stepped it up alongside my project the Tiny Type Museum & Time Capsule. In collecting type and printing artifacts for these museum collections, I also gained terrific hands-on insight into key aspects of the development of the mass production of metal and wood type and advances in printing technology. This included previous visits to museums of printing and 国外ip地址伕理 (part of the Grabhorn Institute) in San Francisco last June.

I spent months writing this 64-page book, which starts well before Johannes Gutenberg in examining previous inventions of movable type and mass production of book pages, before diving deeply into how this member of a Mainz, Germany patrician family seemingly invented and pulled together a host of different techniques to create a consistent, reproducible process that was quickly copied and spread.

The book covers just under six centuries as the production of type evolves and presses speed up, including innovations like type-casting machines for individual pieces of type, hot-metal composition for book and newspaper typesetting, paper molds (“flongs”) to create full-page printing plates (“stereotypes”), offset lithography, phototypesetting, and finally our modern digital era.

The book recapitulates history in its manufacture. Written in a word processor and roughed out into pages in Adobe InDesign, the text was transmitted to Nick Gill at Effra Press in North Yorkshire, England, who used a Mac-to-Monotype bridge called the CompCAT. It allows previewing of composition on a Mac and then transmission through pneumatic tubing to trigger hot-metal type composition.

After traditional stages of galley proofs, the type made its way to London, where Phil Abel of Social Enterprise Printing paginated it and added zinc plates created from digital illustrations. More corrections followed, and then the book went on a high-speed Heidelberg letterpress. The endpapers were designed in Adobe Illustrator and produced as photopolymer plates printed by letterpress. From London, unbound pages went to Spinner Buchbinderei in Germany for hardcover binding, foil stamping, and slipcase creation.

The books recently arrived in Seattle, and copies ship immediately. We are taking all precautions in hand washing and handling in packing, and everyone in my household is well.

You can order the book in its letterpress edition, which includes the ebook version as well. You can also purchase the ebook separately.

Sometimes you have to shout into the darkness. Last week, after I tweeted a semi-joke about newly minted work-from-home telecommuters needing to find a freelance buddy for advice, I realized that I could something useful with myself during this period of anxiety and isolation.

So with the support of my publisher, Take Control Books (Joe and Morgen), and the input of tips all the way through chapter drafts from Take Control authors, TidBITS writers, and social media friends, colleagues, and acquaintances, I wrote a 66-page book that we’re giving away. You can ‎App Store 上的“秒连加速器-全球伕理IP神器”:2021-6-12 · ‎秒连IP全球伕理是一款免费的聚合全球动态IP、静态IP伕理软件，专业提供全球网路加速服务。 秒连加速器的实体机房虚拟IP伕理服务器遍布全球，覆盖200+内地不同省份城市地区的拨号转换器，专注全球伕理IP服务，完美解决方案保证IP服务稳定。无限流量，不限时长，稳定不掉线的全球纯净IP伕理 ... and the inevitably of a toddler dancing into view of a videoconference at 伕理ip加速软件.

(It’s totally free. We’re using the Take Control site to distribute it so people can choose to get updates if we revise the book, or never hear from us again after downloading.)

Take Control of Working from Home Temporarily attempts to give people who have never had to work consistently from home or set aside a place to work advice on getting started. How to set up and equip a space (both with stuff you have and things you could choose to purchase); setting boundaries with family and roommates; what collaborative, security, and videoconferencing software to use; giving yourself a break in the midst of chaos and a new working method; and, if you have kids, juggling the needs of children now at home for weeks or months with your work requirements.

I’m so grateful to Joe and Morgen for providing the editing, productive, and distribution resources, and the couple dozen people who gave their thoughts, which are incorporated in various ways throughout the book.

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A quick update on the latest in Glenn!

I launched the Tiny Typecast, interviews on location and remotely about how type, design, and printing’s past informs the present and guides the future. Subscribe via Apple Podcasts or your favorite podcasting app; if you can’t find a listing, paste this podcast URL in your app.

The topics will be wide-ranging, but I launch with an interview of the folks at Letterform Archive in San Francisco. It’s an incredible collection of graphic design history that’s in active use by modern-day designers as well as historians. I loved it and can’t wait to visit them in their upcoming new location. The second episode is a talk with Keith Houston, author of The Book, about the long-running success of the book format (the codex), and how little has changed, as well as our expectations of what a book is like.

My new book, Take Control of Home Security Cameras, is just out. It’s an ebook that’s part buying guide and part philosophy adviser. Many of us (including my family) have security cameras, but there are many choices you can make as to which camera or system meets your purpose (crime spotting or general monitoring?), security, privacy, and other needs.

The last 20 or so Tiny Type Museum & Time Capsules are available for sale. We’re about to ship the first 70-odd that were pre-ordered, and the next set will be ready for shipment by July. If you’ve been interested in getting one, the time is ripe, as they are slowly selling and the edition will be permanently sold out in just a few months.

You might have also caught that I wrote, hosted, and produced seven weeks of the Election Ride Home podcast, part of the Ride Home growing family of daily, brief summaries of different areas of interest. It was a hoot and exhausting and interesting, but I was acting as a sort of interim host between my friend Chris Higgins (who needed to step away for family reasons) and the network finding a new daily host. Give a listen to Jackson Bird’s 15-to-20 minute summary of everything you need to know about the election, every weekday.

In advance of the upcoming "Greatest of All Time" Jeopardy! death match between James Holzhauer, Ken Jennings, and Brad Rutter—respectively, the fastest top-money winner, the all-time regular play winner who also has played the most games, and the total cash winner across regular play and tournaments—I thought I'd collect my writing and podcasts about Jeopardy.

(Update: I am sure you know who won the tournament by the time you read this, whenever in the future that is. Motherboard asked me to write up before the fourth game an analysis of the first three and where the trend was heading. I put in a lot of the strategic and game-play issues folks don’t always think about when they consider Jeopardy.)

I taped my three episodes of the game in August 2012, and they aired that October. I won two and took home $30,398! It was very exciting! It remains a neat bond with other Jeopardy contestants and game-show players. In recent months, two long-time friends have appeared and a third is taping their episode(s) shortly!

• While Jeopardy doesn't post its episodes, you can see a little bit of me in this YouTube clip

• What's It Like To Be On Jeopardy for Boing Boing

• For the 国外ip地址伕理, I wrote a first person-account ahead of time that explained how one might cram for a show that covers all areas of knowledge

• Many players ignore the betting component of Jeopardy, and I wrote on that aspect for the Economist as well, speaking to a researcher who worked on IBM's Watson

• Arthur Chu won big, played the board in his own fashion, and wagered extremely well—and oddly earned the ire of some viewers. I 换ip软件_换ip地址_免费网络ip加速器_电脑手机换ip软件-智 ...:2021-6-11 · 网络ip加速器提供千万级网络动态ip地址资源，使您可众进行对百度、淘宝、京东网站进行信息采集,皆适用电脑换ip,手机换ip业务。电脑换ip软件、手机换ip软件当选智游伕理ip软件 for Boing Boing.

• My friends at The Incomparable interviewed me about my time on the show

• Jeopardy has a few peculiar rules when you wind up with $0 balance. I explained some of these in 2017 after an odd match with a winner in Final Jeopardy earning just $1!

• While Holzhauer was playing, I got together with two friends: an all-time Jeopardy winner, Tom Nissley, and Matthew Amster-Burton, who played in James's third match, to record a podcast about how Holzhauer might change the game forever

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Holzhauer is slightly favored by bookmakers, although they don't discount Rutter, who has racked up the most tournament wins and has beaten Jennings several times. Jennings is favored for third place because of Holzhauer's faster-paced game play in regular games and Rutter's head-to-head record against him already.

I had a terrible idea for a T-shirt and now it’s available.

The terms tracking and kerning are often interchanged by accident. Tracking generally refers to the overall spacing of a range of range. You select a range and apply tracking to spread out the spacing between letters and words or to tighten it up.

Kerning, a term from metal type days, refers to the fit between two adjacent characters. You kern in pairs, and you can kern a pair a letters and track the range of text they fall in as separate parameters. (A kern was originally an overhang extending beyond the body of a metal letter that would rest on the shoulder of the next letter or a “high” word space design to keep it from breaking off.)

Would some call me pedantic for explicating the difference? Absolutely. Enjoy!

As a freelancer, every year is a trek across unknown terrain. You enter a new country each January 1, hoping that the city below with sparkling lights is welcoming, that you can earn your keep as you travel towards what might be low foothills or forbidding mountains in the distance on your route to December 31, and that you don’t get lost on the journey.

Every year for me since I became a freelancer some time ago is such a trip. I’ve often remarked—sometimes hoping I was exaggerating—that at the beginning and end of any 18-month period of my adult working life, I’m deriving most of my income from different sources. At the end of 2024, this has once again turned out to be true!

In mid-2018, I started a daily contract writing gig for Fortune magazine, then in the middle of a major transition, between a sale by its founding publishing company and before it had been 伕理ip在网络隐私上的功效-云连伕理:今天 · 1.云连伕理换ip软件注册教程——电脑版本 2.怎么查看自己电脑的IP地址？3.云连伕理软件支持手机电脑一键换IP 4. HTTP 伕理服务器的四种架构 5.换IP软件的功能和原理 6.哪里有苹果手机换ip软件？. It was a terrific discipline, writing breaking news across a broad remit for three hours every weekday. One of my stories had a vast number of page views—I’m not authorized to share—because it was retweeted by Bernie Sanders and Alexandria Ocasio-Cortez.

By early 2024, however, it was clear that the assignment didn’t have much longer to go and the grind the work had gotten to me. I gave my editor word that I’d be departing (the gig lasted several more weeks for those who remained), as I’d already found a passion that I needed to pour my time and effort into.

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I conceived of the Tiny Type Museum & Time Capsule with my friend Anna Robinson. She had worked at Glowforge and was starting a certificate program in cabinetmaking and architectural woodworking, and we idly talked about a project we could collaborate on. With her insight and my realization that she could provide the skills I didn’t have, we embarked on making around 100 sets of type and printing artifacts—a sort of teaching collection, designed to last the ages (thus the “type capsule”) part of the name. I hired Anna to build the cases, though she’s been a close consultant and sounding board on other details.

A successful crowdfunding campaign across February 2024 allowed me to spend a large hunk of 2024 talking to letterpress printers, people who collect gear, type founders (those who cast type in metal), and a breed of journeying resellers, largely in the UK, but also one in Long Island. (These folks are constantly finding shops and individuals clearing out old type and letterpress printing equipment, and then use Instagram or word of mouth to find buyers. See Urbanfox Letterpress and Jeremy Winkworth Letterpress, for instance.)

Our poor postal carriers, who have delivered probably a literal ton of lead, cast iron, brass, and bronze to our front door due to the USPS’s excellent flat-rate Priority Mail service, the preferred method for shipping for letterpress folks. Across 2024, dozens of packages—thousands of items—have arrived for me to examine and catalog towards making 100-odd sets. I’ve posted pictures of many items I’ve acquired for the museums and larger pieces of type history I hope to use in a live presentation or pop-up museum in 2024 at this Flickr album.

The case includes a book (also available separately) that I wrote over the summer: Six Centuries of Type & Printing, which covers the history of printing types and presses from Gutenberg’s European invention of them through phototype, offset, and digital technologies. (I note in the book the important fact that Gutenberg didn’t invent printing: many examples pre-date him across Asia. But he appears to be the first person to create a method of consistent mass production of type that let to an explosion of printing.)

The book was set in hot-metal Monotype composition in the north of England by Nick Gill at Effra Press, and is about to be printed in London by Phil Abel, a partner in Social Enterprise Printing. Unbound pages will find their way to Spinner Bookbinderei in Germany, where it will be bound, then airfreighted to Seattle. Shockingly, this is the most sensible and affordable way to print this book! (I document part of why at the Tiny Type Blog that goes along with the museum progress.)

The museum costs roughly $1,000 plus shipping, and it’s been an incredible and rewarding surprise to see how many people find it compelling, even at that price. I didn’t set the cost arbitrarily—it’s been a hard but well fought budget battle to bring the handmade case and all the components in at a price that lets me pay myself for my labor at an okay hourly rate for the hundred of hours put into the project. I’ve sold 80 of the expected edition of about 100, I expect to sell out the edition by spring at the current pace and level of interest.

Journalism, Writing, and Books

Several publications I’d hoped to write more than one piece for had editors change after that first piece was submitted or after it ran. Other periodicals and sites I’ve written for across many years have changed editorial submission policies (typically focusing more on full-time staff) or reduced budgets. I am not pointing any fingers, as this is just the necessity of the still-changing advertising and subscription marketplace. My editors always look out for me and other freelancers.

However, I still filed somewhere in the multi-hundred story range in 2024, between the end of the Fortune stint, my ongoing work as the Q&A columnist for Macworld, and regular contributions to many other publications, like Fast Company and TidBITS. This year I also contributed to Smithsonian (technically in 2018, but it appeared in the issue with a January/February 2024 cover date), Increment, Atlas Obscura, the Economist, American History, and the KCET public-television web site. I also wrote quite a bit at Medium and ip伕理原理 about the history of printing, including a lot of forgotten events and unsung pieces of technology, like flong and stereotypes, technology used to speed up printing, and 网络加速|网络加速器|免费加速器|上网加速器-ZOL软件下载:2021-5-19 · 网络加速下载提供网络加速器,免费加速器,上网加速器等相关下载软件，网络加速用户热评软件排行，新鲜软件排行等向您推荐最受关注和最新的网络加速工具。更多网络加速尽在中关村在线下载频 … in New York City that delayed or canceled issues of hundreds of magazines. (ip伕理原理 has underwritten travel to events, research materials, and allowed me to focus on writing about type and printing history outside of main projects and paid assignments.)

You can see links to everything I’ve written at my Authory web site, which automatically collects articles as they are published, including my Best of 2024 list. In particular, my three favorite pieces in 2024 were:

• A story for Fast Company about the irresponsible sale of laser cutters and engravers with improper safeguards. Many online sites offer devices that could burn, blind, or even kill a user or someone standing nearby, and retailers aren’t taking heed. When I contacted several major retailers, they removed every item I sent them as examples. But thousands of similar models remain, even after that.

• A look at the Grabhorn Institute for Atlas Obscura. Grabhorn is a San Francisco nonprofit that preserves the working M&H Type foundry and the fine-art Arion Press, both founded in slightly different forms a century ago in that city. The foundry, in particular, went through multiple owners before the final one, who in the early 2000s put it and the press into the hands of the nonprofit to ensure their future.

• How representation of the scripts that make up languages help perpetuate their existence for Increment. This story had his genesis in a piece I wrote in 2016 that didn’t run in the publication it was intended to appear in, because a certain president won the election that week. It was bumped and ultimately never appeared. It ran in a different form in my letterpress-printed 全国动态IP伕理软件推荐，千万IP秒切换哪家最好 - 几何动态 ...:2021-6-3 · 软件介绍：几何动态IP是国内IP伕理软件中一款强大的游戏加速器工具，同时也是网络网游加速软件，提升速度 降低延迟，支持上千款游戏，也是一款国内IP地址转换软件，软件提供全国200+地区静态ip+动态ip地址，千万ip线路一键秒切换，让您的电脑或手机一秒切换ip，有效保护网络，高匿名IP有效 ... collection in 2017 (‎App Store 上的“秒连加速器-全球伕理IP神器”:2021-6-12 · ‎秒连IP全球伕理是一款免费的聚合全球动态IP、静态IP伕理软件，专业提供全球网路加速服务。 秒连加速器的实体机房虚拟IP伕理服务器遍布全球，覆盖200+内地不同省份城市地区的拨号转换器，专注全球伕理IP服务，完美解决方案保证IP服务稳定。无限流量，不限时长，稳定不掉线的全球纯净IP伕理 ... and in 芝麻游戏助手-游戏、模拟器专用单窗口单ip软件【官方网站】:2021-6-6 · 伕理ip ip伕理 http伕理 换ip ip在线伕理 动态vps 单窗口单ip 伕理ip软件 流星加速器 火标网 ZOL软件下载 非凡软件站 多特软件站 飞翔下载 好特下载 youxi.zhimaruanjian.com ucbug软件站 9553下载 绿色软件站 飞翔下载 好特下载 绿软基地 第九网站 天天下载). I took a fresh look at it and revamped it for Increment, refocused on more of the technical aspects, but not disregarding the hegemony of dominant cultures and conquering peoples killing the languages of those who “lost.”

An increasing part of my livelihood in 2024 interleaved with all the rest of this was an element that was significant in years past, and which ebbs and flows: Take Control Books. This 15-year-old e-publishing firm, founded by Adam and Tonya Engst of TidBITS, has been owned by Joe Kissell for a couple of years now. Joe was the best-selling Take Control author, so it was logical for the Engsts to sell to him when they were ready to move on. Joe needed since his purchase to migrate the back-end content system since it was becoming superannuated, and then the long-time (but very creaky) transaction-processing partner gave notice it was shutting down the service Take Control relied on (with plenty of notice). Joe did several yeomen’s worth of work particularly through the summer. The success of which I can testify about based on the number of copies of books I sold this year.

This year was one of revision, in which I updated several titles: Take Control of Your Apple ID (full of troubleshooting advice!), 国外ip地址伕理, Take Control of Wi-Fi Networking and Security, and my self-published Connect & Secure Your iPhone & iPad, which Take Control sells on my behalf. I also edited a couple of Take Control titles.

I’m currently working on a new book, tentatively titled Take Control of Your Home Security Cameras, a tome that is both a buyer’s guide and advice on securing your systems and considering your privacy, the privacy of others, and the impact of the surveillance state.

Podcasts

I had rebooted The New Disruptors podcast in 2018 after a modest Kickstarter helped me raise the fees necessary to cover equipment, hiring editing help, and other costs, and produced 13 episodes. I wasn’t able to rebuild the same scale of audience as in 2012–2014, even with many more people listening to podcasts, for a variety of reasons. I think a big one is that New Disruptors focused on how creators could chart their own independent course to make a partial or full-time living by working directly for their audience, subscribers, buyers, and patrons.

Since 2014, options have matured, and many people I spoke to in that time range now rely almost entirely on Kickstarter, Patreon, their own mailing lists, their own podcasts, Instagram-based sales (where you post pictures and people contact you!), and the emergence of very robust self-operated commerce sites. I use several of those methods to support my projects and independent writing. Squarespace’s ecommerce features have in particular been invaluable as part of that! A lot of podcasts now also occupy the mind space I did, making it harder to find guests who were willing to appear or that hadn’t appeared on numerous shows.

As a result, I wound down the podcast again in mid-2024, though may produce new episodes from time to time when I see new models or unique approaches emerge.

In 2024, I produced a new podcast for the Incomparable network of geeky podcasts with geeky podcast pals called Pants in the Boot. After traveling twice to England in the last couple of years, I enjoyed learning even more of the differences in language and culture. I decided to turn it into a thing, and each episode taps panelists from the US, Canada, and UK—and on the latest run, also from Australia. (I hope to expand in the future to other countries in which English is spoken widely.)

Each episode, we talk about a set of terms or concepts, like lemonade (surprisingly complicated), “public” school, or—yes—pants and underwear. It’s all in good fun, and I try to keep episodes short, typically 5 to 15 minutes, though some topics run longer.

I’ve got four episodes of another podcast recorded that I plan to call the Tiny Typecast, which will focus on the way in which the history of type, printing, and books informs us about the past and continues to shape us in the present. As soon as those are edited, I’ll get them posted, promote them, and start recording more.

I also was a substitute host and script-writer on a few occasions for Brian McCullough’s Techmeme Ride Home, a daily tech podcast that summarizes the news into about 15 minutes in time for everyone’s nightly commute. It’s a good challenge, and I appreciate someone giving me the helm of their ship and trusting I won’t smash it into the reefs! (Some episodes I wrote, recorded, and editing; for a couple, I wrote a chunk of the script while Brian was at a tech event that he was covering for the same day’s podcast.)

I did a one-off Jeopardy!-related podcast with Tom Nissley (an all-time winner) and Matthew Amster-Burton (a friend who was a fantastic contestant but an early victim of James Holzhauer) in which we discussed how James might change the game.

I expect to get back into more podcasting in 2024—I barely appeared on other people’s podcasts and turned down requests due to a lack of time. With my focus on the Tiny Type Museum project and Take Control Books writing, it was hard to find the time necessary to create anything on a regular basis.

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California passed a new employment law that was intended to be smart in intent, but is disastrous in effect. It was an attempt to make sure gig workers weren’t misclassified. That is, people who work for Uber, Amazon delivery, Grubhub, Instacart, and many others where the company doesn’t allow negotiation of fees, imposes strict conditions that must be met, and otherwise acts almost exactly like an employer—but doesn’t pay unemployment insurance and workers have none of the protections of employment. This is an issue that dates back decades, as companies tried to shift employees to independent contracting status in a lot of fields in which it was inappropriate; the gig economy accelerated it.

However, the California law also effectively outlaws independent professionals who provide services, though it carves out so many exemptions that it’s clearly serving special interests. It doesn’t accept that people who have a high degree of training and experience, who set fees or negotiate them, who “hire and fire” clients, who work at their own equipment in their own manner, and who have typically many clients aren’t really employees—they’re actually contractors. Writers, photographers, and illustrators in California are limited to 35 “submission” a year for any given company, which means that many publishers are severing relationships with all their California freelancers in the interest of not violating that law. In some cases, this reveals how firms are truly exploiting people—paying an effective pittance per hour and demanding employee-like conditions! But for most folks like me, we run our own businesses, and this would be unwarranted.

California was the first to pass this restrictive a law. It’s potentially unconstitutional, but certainly has emerged to be disruptive and unfair. A similar, worse law is under consideration in New Jersey and passed out of a NJ senate committee. My friend and colleague Jen A. Miller, who lives in New Jersey, has been helping to lead a fight against the bill there. New York is looking at such regulations, and other states, too.

If Washington state adopted such a law, it would be bad for me, worse for many others. That’s another reason why I’m trying to chart a different course forward.

My Particular Future

I confess that I head into 2024 invigorated and happy with what I accomplished in 2024, but also quite concerned about the future of freelance journalism and my career in it. I know that I’ll be writing, where I’m producing prose intended for people to read, until I expire on some far-off future date (apparently, this happens to everyone), but the ability for me to pursue reporting in the areas that I am knowledgeable about for fees that make sense given what I need to earn and my level of experience? That feels like a big unknown.

I will certainly be writing more books, maybe even some with a more mainstream appeal. I have an idea for a subscription-based “thing” service I’ll be talking more about by around February 2024. I have recurring gigs and relationships I’ll continue to work on. And I’ve enjoyed the heck out of my creative work in 2024.

I am trying and so far succeeding in approaching the end of 2024 with hope for 2024. That wasn’t true at the end of 2017 or 2018, when everything felt much more uncertain about my work, the economy—even my health! Contracting the flu Christmas Eve 2017 and a difficult aftermath through the first four months of 2018 took a chunk of my energy and earnings. Fortunately, 2024 hasn’t been like that at all.

I want to thank everyone who has been so supportive this year and every other. My goal with my writing is to cast some light on interesting dark areas, and I appreciate every opportunity to share my thrill in everything I learn.

Before you ask, no, I didn’t write that Economist article about letterpress, titled “How the world’s old printing presses are being brought back to life”! It’s a magnificent piece, focusing on The Type Archive in London, explaining how Monotype hot-metal composition works, and bringing in some excellent insights from Japan. It was written by a senior Economist editor, and it’s such a solid account of the subject and so good for a general audience without specialized design or letterpress knowledge. It’s even headed in hot-metal Albertus, a typeface I love dearly, and the history of which is well represented at the Type Archive.

I visited The Type Archive and the St Bride Printing Library in London in late 2017 and wrote a book called London Kerning that includes several of the people featured in the article: Sue Shaw, Bob Richardson, Duncan Avery, and Richard Ardagh. (The print run of the book is sold out, but the ebook remains available.) My book goes into great depth about the collections of both institutions, as well as working letterpress printers and type designers in (or formerly in) London. It includes a section on the Doves Type, created by Robert Green, who covered some of the historic Doves Press type noted in the Economist story from the Thames where one of its owners had thrown it.

I thought I’d use the Economist story as a jumping-off point to collect in one post all the articles I’ve written in the last decade about printing, type, and letterpress, past and present—and about its future.

Letterpress, past and present

• “How Letterpress Printing Came Back from the Dead” for ip伕理原理(2017). Letterpress looked like it was on its last legs, but a combination of a revival of craft interest coupled with the introduction of certain digital technology have helped give it new life.

• “Erik Spiekermann makes a deep impression by marrying new to old,” self-published at Medium (2017). The well-known, veteran designer and type guru developed a new system for what he calls “digital letterpress,” that combines the flexibility of digital design with the integrity and quality of letterpress printing.

• “Computers' unlikely mechanical antecedents” for the Economist (2011). A look at Monotype hot-metal composition at the C.C. Stern Type Foundry, a museum full of working hot-metal typesetting systems in Portland, Oregon.

• “ip伕理原理” for the Economist (2011). Apple offered partially letterpress-printed greeting cards for a while, sparking these thoughts about what modern folks expect when they see (and feel) letterpress printing.

• “A California Type Foundry Is Keeping Vintage Printing Alive” for Atlas Obscura (2024). The Grabhorn Institute in San Francisco preserves two working pieces of printing’s past: the M&H Type foundry and the Arion Press, which produces fine-art books.

• “Have press, will travel” for the Economist (2011). An itinerant printer took her van around the country to speak, print, and share.

printing history

• “When Typewriters Attacked,” a post for patrons at Patreon (2024). In October 1919, the typesetters, printers, and page feeders at most of New York City’s “job shops,” which handled magazine and miscellaneous business work, staged an “unscheduled vacation.” A form of wildcat strike, unauthorized by the local or international union, these printing folks wanted $50 a week for 44 hours of work. Hundreds of magazines were affected. Some hatched a plan: instead of typeset text, they would use…typewriters! This story has barely been told in the century since.

• “Flong Time, No See,” a post at Medium (2024). An unheralded bridge technology known as “flong,” a kind of papier-mâché, allowed faster printing of typeset pages. Flong disappeared along with relief printing, and it’s a critical but forgotten part of printing history.

• “Deckle detecting” for the Economist (2012). Why does Amazon warn its customers about rough edges on books?

• “Bogus! When Typesetters Were Paid To Set Copy That Was Thrown Away,” a public post at Patreon (2024). For a century, typesetting unions had deals with management that made it unappealing for businesses to try to hire out composition and bring it in for printing, particularly in newspapers. That practice let to a Supreme Court decision, odd rules, and a set of printers in New York with jobs guaranteed for life after a deal arose to end the practice forever.

• “The paper that poisoned its printers” for the Economist (2018). A newspaper entrepreneur figured out how to print a golden-hued portrait of Queen Victoria on her coronation in 1838, but its impact on the printers was largely ignored.

• “CAPITAL CRIMES, PART 1 : SHOUT, SHOUT, LET IT ALL OUT” for Meh.com (2017). I looked into the history of shouting in all capital letters, tracing it back so far to 1856.

国外ip地址伕理

• “The most-read man in the world” for the ip伕理原理 (2010). A paean to Matthew Carter on the award of a MacArthur Fellowship. His typefaces are among the most widely used in the digital world.

• “Aligning a Rocky Road,” a post at Medium (2024). Before the phototype and digital era, how did type foundries develop standards so that type could work together? They didn’t! Until the rise of mechanical typesetting provided the prod. By the late 19th century, three key components of type were finally largely agreed upon.

• “网络新时伕，伕理换ip软件的使用 - 伕理ip资讯 - IP精灵:2021-3-25 · 而且，免费伕理ip主要是来源于网上采集到的，伕理ip可用率非常低，严重影响工作效率，可用率不到百分之二十。 这样的有效率很难正常使用工作。 在当下的网络新时伕，效率是非常重要的，如果用到了劣质的伕理ip资源，导致把大量的时间都耗在了找ip众及测试ip上面，那么工作效果也不会理想。” for Wired (2017). Thomas Phinney found a profitable sideline (now his main occupation) in testifying about the validity of documents based on the characteristics of their printing and typefaces used. Many a plan has been foiled by fonts that postdate a document’s alleged point of execution.

• “True to type” for the Economist (2014). A breakthrough in Web type standards allows ready usage.

• “Over the rainbow” for the Economist (2013). Digital type goes all colorful.

• “That London Tube typeface? Look again,” a post at Medium (2018). An examination of all the different typefaces that have passed as the one that we think of as the London transportation system’s unique font.

• “Chromatic Type,” a post at Medium (2018). The past is full of color if you know where to look.

• “When newspaper compositors were sporting heroes” for the Economist (2018). People would pay to come to competitions at which typesetters would try to set text a character at a time as fast as possible.

• “A Collation of Facts Relative to Fast Typesetting,” a post at Patreon (2018). A modest book about typesetting races in the 1880s reveals a lot of useful insight into a pivotal period of printing history.

• “Collecting String,” a post for patrons at Patreon (2024). Typesetters were paid piecework by measuring pasted-together proofs.

On January 1, 2024, the 1923 song, “Yes! We Have No Bananas” entered the public domain after a long wait. Due to congressional maneuvering, Disney’s greed, and other factors, nothing “new” had entered the public domain between January 1, 1998, and January 1, 2024. Every year for the next several decades, another year of material published in the U.S. 95 years ago enters the public domain. I wrote a lengthy article in the Smithsonian magazine last December on the topic.

To celebrate the re-opening of the public domain, I had guests at our New Year’s Eve party sing, “Yes! We Have No Bananas” and then uploaded the performance on YouTube.

I literally titled the video, “Yes! We Have No Bananas, now in the public domain.”

A few days ago, I received this notice from YouTube.

Now, this wasn’t a takedown, in which the video was removed. It wasn’t a “strike,” or a violation of YouTube policies, which can add up eventually to a suspension or ban. Rather, it was a weird conditional claim of potential ownership that might lead to ads placed on the video from which I could potentially receive some income.

There was no way to respond to this that I could find. While entirely inaccurate, it didn’t seem to affect me, except that a third-party with no interest could potentially earn income from views of ads placed on my personally owned video that contained a performance of a public-domain composition.

I notified the usual suspects (Cory Doctorow, Mike Masnick, and the Duke Center for the Study of the Public Domain) on Twitter. Mike, who runs TechDirt, a site devoted to the examination of online freedom of expression and the expression of digital property rights, published an article examining some of the underlying issues.

I’m not sure if someone at YouTube read it or another process that was opaque to me was followed, but today I was informed that my long nightmare was over.

As they say, there’s always money in the “Yes! We Have No Bananas” stand. By which I mean, companies will always try to push copyright maximalism, the ownership of material that they don’t have rights to, because of the asymmetry in the cost of defending against the erosion of the public domain, fair use, and other aspects of public ownership and critical examination.