The New Disruptors Bonus Episode with Lucy Bellwood

My dear friend Lucy Bellwood passed through town last weekend, and stayed with my family as the start of her book tour for 100 Demon Dialogues, a set of cartoons in which she engages with her inner critic, who appears in the form of a smack-talking demon. She’s a talented illustrator and writer, and the book is full of tension and embrace: she doesn’t cast her demon out, but helps him understand her better. You can order a copy of the book via her site or ask your local bookstore to carry it. (You can also order a plush version of the demon, as I did.)

She asked me to have a conversation about creativity and our latest projects in front of a live audience at Brick & Mortar Books in Redmond. (Which, by the way, I highly recommend: the store opened last year, has great selections, and a terrific proprietor and staff.) I recorded our non-demonic dialogue, and produced a special episode of The New Disruptors podcast, which I retired in 2014. (You can subscribe via a podcast app to the feed.)

I started a crowdfunding campaign to bring back The New Disruptors for a new season of at least 12 episodes, and I’m halfway through the fundraising period—and over 55% of the way to the goal. If you’d like to hear more new episodes, please back the campaign. At $25 and above, you get insider rewards; at $100, your name will be read on the air and you’ll get an exclusive enamel pin!

Letterpress Books Available (Limited)

Folks, last year I printed by letterpress a 64-page book that contained six reported articles on typography, printing, and language I’d written in the previous couple of years. This was part of my design residency at the School of Visual Concepts. Every page in the book was painstakingly printed by hand. You can watch a time-lapse video of me printing.

To fund the costs of this project, I ran a Kickstarter campaign that offered a numbered edition of 100 copies to backers. It was a great reciprocity: the project I wanted to create would produce books that funded the project! That edition was bound by Jules Faye, and I’ve just finished sending out the edition of 100 to those backers.

I have a limited number of additional copies of this book that are essentially identical, and will be marked as author’s proofs in the colophon instead of being given a number. I’m happy to sign and inscribe them as you like. Find out more about buying a copy via this link. Some photos below.

In this book, you’ll learn about the history of intentionally blank pages, Google’s effort to create a font that includes all the scripts of all the world’s languages, when people starting SHOUTING IN CAPITAL LETTERS, whether the Internet will kill off curly quotes, the difference between slanted and italic type, and how a Web site planned to archive itself for 10,000 years microscopically. 

You can also read more about the process of making the book. An ebook edition with four additional articles is also available, including how letterpress came back from the dead.

You can also purchase a single chapter of the book in letterpress form: chapter 2, “CAPITAL CRIMES,” about the use of shouting with uppercase. This chapter is bound with a mylar cover and comes with a small note that explains how it was made.

The Latest Glenn: Articles and Podcasts

I’ve published a number of interesting articles recently and had a spate of podcast appearances. Here’s a short summary. (You can also use my Authory page to see recent articles and search on the full text, and sign up to be notified about new articles.)

Articles

  • A Landslide of Classic Art Is About to Enter the Public Domain” (the Atlantic): An amazing day is coming. January 1, 2019, for the first time since 1998, a huge number of books, films, and other works will escape U.S. copyright law. Due to a number of quirks and changes in U.S. copyright law, every year for decades, a swath of history gets brushed into the public domain at last.
  • How Facebook Devalued The Birthday” (Fast Company): What was once a private celebration has become public currency. What have we lost in the process? After this ran, a lot of resonance from people who told me they felt the same way.
  • John Henry was a type-setting man: When newspaper compositors were sporting heroes” (the Economist): In the 19th century, crowds cheered and bet on competitions to see who could set metal type fastest.
  • The Visual History of Type review (my Patreon): This remarkable book is big in every way—not just in weight and dimensions, but in scope and quality. While this article is available to everyone, I write exclusive and exclusive-for-patrons-first articles, along with other benefits, for people who contribute $1 a month or more. Read more here.
  • NASA’s On-Again, Off-Again Satellite” (Air & Space): Amateur astronomers never know what signals they might pick up. You could call this a SADellite story: the IMAGE orbiter mentioned stopped broadcasting in a way NASA could pick up, for the most part. So far, no luck in making contact again after early March.
  • Why is the American sheriff such a polarising figure? (the Economist): A historical look at why sovereign citizens, white supremacists, and militia members, as well as more mainstream right-wing figures, all think the county sheriff has more power than the federal government.
  • Why was this season’s flu so deadly? (the Economist): Many factors, but primarily, a more virulent strain, and one that the vaccine didn't target as well as usual.
  • It’s COBOL all the way down (Increment): The COBOL programming language is often described as something from the distant past, but it still powers most of the world’s financial transactions. Billions of lines of COBOL code aren't being replaced, need maintenance, and programmers keep retiring—or passing away.

Podcasts

  • I talk Frankenstein with John McCoy on Sophomore Lit. I relied on the great book, The New Annotated Frankenstein, which encompasses aspects of the two major editions of the Mary Shelley book (1818 and 1831), parts of the original draft that survive, and a significant marked-up copy of the 1818 edition she gave to a friend that reflected some changes in direction realized in the 1831 release.
  • Quinn Rose had me on her podcast about musicals, Corner of the Sky, to let me talk, rage, blather, and sing (sometimes in German) about The Threepenny Opera, one of my favorite pieces of theatre of any kind.
  • I appear on Download, a tech podcast, in an episode called, “Put the Toothpaste Back in the Cat,” which maybe you don’t want to know what that means.
  • Holy cats, we’ve made 400 episodes of the Incomparable, and I’m about the #10 all-time guest by appearances (but #1 in your hearts). Here’s “Snellology,” our 400th episode.
  • I acted as scorekeeper (and put in some bon mots or mal mots) for the Emerald City Comic-Con live taping of Inconceivable!, a game show by Dan Moren.

 

A bunch of books by Glenn

I wrote and produced three books in the last year, and I thought it might be a good idea to highlight that they’re all immediately available as ebooks, and two of them in print editions.


London Kerning cover.png

My latest, London Kerning, I’ve written oodles about: it’s a journey into England’s typographic and printing past told through current collections in hard-to-visit archives in London, and through contemporary type designers and letterpress printers there. The second printing just arrived from the printer, and you can purchase either an ebook or a print copy—or both!


Too Fine Cover for ebook 1000px.jpg

Last year, I produced a letterpress edition of Not To Put Too Fine a Point on It, a collection of my reporting stories on intersections of printing, type, and language. While that edition of 100 sold out, I will have some author’s proofs available later in spring. But you can purchase an expanded ebook edition, with 10 reported stories, including an account of making the letterpress book, right now!


NetSec iOS 11 cover w800.png

For those concerned about or interested in keeping their iPhone or iPad safe, last October I published the latest extensive update to Networking, Privacy, and Security in iOS 11, which offers exactly what is on the label. Detailed, illustrated, step-by-step instructions as well as insight into how to secure your device, keep your data private, and connect to networks and peripherals. Get the ebook immediately. You can also purchase a print-on-demand copy.

London Kerning now available!

If you recall that last November, I went to London for a week and researched the heck out of 19th and 20th century printing history, visited archives and museums, and met with a bunch of people to write a book? The ebook version of London Kerning: Typographic Perambulations around a City That Remembers is now out! You can purchase a copy for $5. It’s 76 pages long and heavily illustrated with photographs I took along the way.

The print edition started shipping in early March, and almost immediately sold out, but you can order copies from a second printing that ships in early April 2018. Order the print book here.

You can read more about the book, download an excerpt, or read the introduction

And see two sample page spreads from the book below.

Chromatic Type

I've posted my first patron-exclusive item at Patreon, where you can help directly support by work by pledging as little as $1 a month (you cancel at any time). Here's the start of the post:

When we think of the past, we often imagine it in black and white. Seeing early color photos or ones that have been realistically colored often jars the way we perceive historic events. The same is true with type and printed works of the past. We think of 19th century and earlier letterpress-printed works as being largely in a single color, and that color is black, sometimes with accents in a second color. Occasionally we’ll see a fancy example of multi-colored printing, but it stands out from that period. Any full-color images typically would have been printed by lithography and added later (“tipped in”) on blank pages reserved for the purposes.

Chromatic specimens.png

But type could be parti-colored! (I’m sneaking in a favorite word, somewhat out of fashion: parti-colored means having or being made from two or more colors.) Printers relied on chromatic type, which was designed as sets of interlocking pieces for each letter or character. Each set could be printed separately in a unique color. When all the overlapping pieces of letters combined in a final print, you had the individual colors plus additional colors created by overprinting.

In a world of largely black-only printing with splashes of color, chromatic type could look spectacular.

Read the rest on Patreon!

Relaunching a Patreon campaign to write and talk about type, printing, language, and a lot more

I spent a good portion of 2017 writing about type, typography, printing, letterpress, design, and language, and how they all interact. I’d like to write more about this in the coming years, and I can do so with your support. I’ve relaunched a Patreon campaign focused entirely on these topics, so I can write a combination of work that’s either exclusively for patrons or that patrons get first access to. Beyond writing and photographic essays, this may include a podcast, audio and video interviews, and books, depending on the level of support I’m able to achieve.

There’s a limited amount I can find a home for in fee-paying publications, and in my research, travel, and practical work last year, I uncovered hundreds of stories past and present that I’d like to tell and have piled virtually and physically around me. This research also led me to an idea to produce a video explaining six centuries of printing, and for three books beyond the two type-related recent ones I’ve written and produced. (London Kerning, the latest, will be out in an ebook version next week if all continues to go well, and then in print about a month later. You can pre-order or back at a Patreon level that includes it.)

This last year, I honed my letterpress printing skills and printed a book on a letterpress, wrote dozens of articles about the history of printing and related current topics—like “font detectives,” who testify about forgeries in civil cases and criminal trials—and traveled to the Hamilton Wood Type & Printing Museum in Wisconsin, as well as to London, where I visited the printing library and archives at the St Bride Foundation and The Type Archive, both remarkable collections that are unfortunately barely open to the public.

You can support my Patreon campaign at all sorts of levels, starting at $1. (If you read about the Patreon kerfuffle around fees last year, the company walked this entirely back and returned to its previous sensible system, which I was glad to hear.)

Visit the Patreon campaign, and you can read more about my intent, what I plan to write with your support, and the kinds of rewards available. You’ll also find links to a number of stories I wrote about type and the like in 2017.

Thanks very much for your support, as always!