Inasmuch as this blog was off-stage all that year, here’s the Christmas card that I printed at the National Print Museum in 2017. I was lucky enough that it was picked as the card that the Museum sent as their Christmas card that year.Continue reading “Christmas card 2017”
Inasmuch as the style guides and books on book design that list the pieces making up the front matter of a book do differ in how much wiggle room is allowed for the occurrence or even sequence of the items (unlike what I said previously), here’s three more lists, plus each book’s words about how fixed or flexible the list really is. Continue reading “Front matters, too”
Inasmuch as there was spare time before I got a turn on the press at the Introductory Letterpress Course at NCAD with Mary Plunkett to print my definition of tea, I also set these two lines from Hamlet:Continue reading “More ink in heaven and earth, Horatio”
Inasmuch as many style guides and books on book design include a list of their one, true sequence for the pieces making up the front matter of a book, it can be instructive to see how some of these sequences differ. Continue reading “Front matters”
Inasmuch as I tweeted that I have been involved in 21 sessions at XML Prague between 2009 and 2019:
I should provide some details… Continue reading “XML Prague and me”
Inasmuch as this site has been hacked then consequently disabled multiple times over the last two years, I’ve finally done something about it so that, hopefully, the site can now stay up.
I have managed to lose the graphics, the encoding of some of the old posts is messed up, and the default theme is downright ugly, but each of those is fixable. So join me as I strut and fret for another hour upon the stage.
Inasmuch as the Antenna House meetup is back this year at the XML Prague 2017 ‘Unconference Day‘ with twice as much time as last year plus I’m teaming up with Andrew Sales for a Schematron Users Meetup, that makes two sessions at the Unconference Day with which I’m involved. Continue reading “Two for XML Prague 2017”
Inasmuch as I have no affinity for it, I took until this year’s Christmas Card Workshop at the National Print Museum to first use big wooden type. Maybe I was over-compensating for previously ignoring the big type, but since the type was going to be big, I wanted it to be BIG:
The wooden type itself looks more interesting than its result:
Inasmuch as “Optical letter spacing for new printing systems” by David Kindersley (London: The Wynkyn de Worde Society, 1976, 2nd revised edition) was described as a significant book by the website from where I bought it, I was disappointed that, for all its significance, it reports only inconclusive, intermediate results of experiments on determining optical letter spacing. I was surprised, therefore, to see “but a method of proportionate letter-spacing by computer has been explained by David Kindersley” in “Methods of Book Design” (3rd Edition, Yale University Press, 1983) by Hugh Williamson. Maybe there’s something in it that others can see but I can’t.
Towards the end, it says “I would like to say that there has never been a moment like today where perfect spacing was more possible.” That statement from the second edition has probably been true for every year since the first, 1966 edition. However, we have computing power today that was undreamed of in either 1966 or 1976, so you’d think that by now we would have moved from optical letter spacing being ‘more possible’ to it being practical everywhere.