7x7

tsugite: software that generates traditional Japanese joinery (previously) that can be 3D printed or precision cut

prince albert in a can: a collection of fish tin labels from a digital museum dedicated to the Portuguese canning industry 

cosmic nature: artist Yayoi Kusama exhibits at New York’s Botanical Garden  

tune-dex: the real-fake book of jazz standards, essential to musicians in the 1970s 

dingbat: thirty select works of Mid-Century Modern print for inspiration 

beer is proof god loves us and wants us to be happy: brew theorems post US National New Beers’ Eve ahead of the anniversary of rescinding parts of the Volstead Act that allowed for consumption of higher proof beer 

ukiyo-e: the unintentional ASMR of a master printmaker at work

an elaborate hoax

The fictive archipelago shaped like a semi-colon and full of puns related to printing and fonts, the Guardian featured a seven-page supplement (see also) celebrating a decade of independence for the nation of San Serriffe, discussing the island’s history, economy and tourism with in-depth articles. Originally it was to be positioned in the Atlantic neighbouring Tenerife but a tragic airline disaster a few days prior prompted the newspaper’s editorial board to move it to the Indian Ocean, near the Seychelles. In an era before desktop publishing and the wide adoption of home computers, the terminology of typefaces was specialists’ jargon and most readers would have missed the jokes.

open-apple q

We don’t quite know what to make of this keyboard with keys resized to approximate the frequency of their use in a given lexicon (see also) that touts itself as an innovation rather than perhaps a physical manifestation of predictive text or an homage to a type-setters’ box. What do you think? As much as I aspire, I’ve never been the fluid touch-typist that I would like to be and code-switching between keyboard layouts regularly can be distressing enough on its own without the taxing dexterity of having to dodge commoner letters.

hypodermic

Via Duck Soup, in a fascinating parallel analysis of the vetting process (though the stakes are much lower) that underpins which emojis enter into common parlance and how they are rendered across platforms (see previously) and approval of new vaccines and other medical interventions, though the correspondence is of course heavily weighted against the former with science and evidence-based research, taste, lobbying, politics and shifting cultural norms play a part in both, which can in usual cases take years. The original syringe and needle emoji dates back to 1999, adopted as a Unicode standard in 2010, and was meant to encourage blood donation in Japan, later used a shorthand to urge people to get tested for communicable diseases, retaining the drops of blood throughout most iterations and incarnations. Now, however, the emoji is being modified slightly to remove those drops of blood (a separate drop of blood emoji was approved in 2019 to represent both donation drives and mensuration and 🅰️, 🆎, 🅱️ and 🅾️ already refer to blood types) across most platforms—like what immunologists hope for adapting existing vaccines to combat new variants as they arise in an expedited fashion since the template is already established, and communicate vaccination status and acceptance and support. It may seem trivial but the ability to signal is immensely important and a lot of people have a lot invested the success of the campaign that these symbols represent.

🗻

Via Spoon & Tamago, we learn that graphic designer Kenya Hara and Nippon Design Centre studios have released over two-hundred-fifty pictograms reflecting Japanese culture and lifestyle in support of the eventual return of tourism free for all to use. We especially liked the icons for sumo wrestling (相撲) and udon (wheat flour noodles, うどん) Some are even animated to convey the ritual relaxation of bathing at an onsen (see previously). Much more to explore at the links above and at the Experience Japan project website.

optimisation of manual labour

Eighteen types of elemental motions to study the economy of movement and exertion in the workplace as with a flow-chart, therblig units are intended as controls for eliminating unneeded steps. Created by industrial psychologists Lillian Moller Gilbreth and Frank Bunker Gilbreth (as near reversals of their surname), they first appeared in a 1915 trade paper article as “the elements of a cycle of decisions and motions” the scheme famously and indelibly suggesting that it be common protocol that a surgeon is handed their implements and that various checklist are put in place. Purposefully, the last step prior to execution is the admonition “to think” (not depicted as a diagrammatic symbol) rather than the first.

guillemets

Used in a number of orthographies around the world instead of or in combination with quotation marks, the term is a diminutive of Guillaume (William) after the pioneering sixteenth century French printer and font-founder Guillaume Le Bé—France being the primary place where they are employed, though the nested quotes are used elsewhere and in other ways, including in Japan and China where « » sets off the title of a book or album, in Portuguese and Swiss German (called Möwchen, little Sea Gulls) to indicated a reported quotation within a quotation, and inwardly pointing » « to bracket off direct speech. In Quebec, a singular right pointing guillemet itératif is used as a ditto mark.

don’t @ me

While the earliest known attested use is to be found in a fourteenth century translation of a Greek chronicle with the at symbol substituted for the α of amen for unknown reasons and in commerce as a glyph representing the unit of volume and mass the arroba on the Iberian Peninsula—about two stone or twelve kilograms before signifying a going rate, despite its inclusion on most Western keyboards, it remained something of a mystery until the widespread use of the internet and social media. Traditions outside of English general ledger accounting (and in reality everyone prior to email) perceived the rather useless upper carriage key as something twee mentioned in a typo—as in Afrikaans, Dutch, Finnish, German, Macedonian and Polish where it’s a tail of a pig, puppy, cat or monkey. Astutely in Norwegian, Welsh, Korean, Esperanto, Italian, Hungarian, Ukrainian and Belarusian it is the word for snail, whereas in Catalan, Hebrew, Swedish and Slovak it is the word for a pastry roll. Though informal stylings probably prevail, in the Kazakh language, @ is officially called айқұлақ—that is, the Moon’s Ear.

👁️‍🗨️

Via Waxy, we are referred to an expansive and growing and searchable collection of graphic design related items, materials and resources organised from and available at the Internet Archives (previously) by curator Valery Marier. Categories include font specimens, annuals, style guides, book jackets, infographics, data visualisations, various advertising ephemera and vintage branding devices. 

 

 

 

8x8

testi stampati: the riotous typographical illustratrations of Lorenzo Petrantoni  

painterly realism: Nathan Shipley trained a neural network to turn portraiture into convincingly true-to-life photographs 

civilian climate corps: a vision of how putting people to work on conservation projects can help save both the environment and the economy  

narratology: a purportedly exhaustive list of dramatic situations—see also here and here  

stonx: a long thread explaining the GameStop short-squeeze—via Miss Cellania  

paradoxical undressing: National Geographic forwards a new theory to account for the Dyatlov Pass Incident (previously) of 1959  

butler in a box: before digital assistants there was domestic aid in the late 1980s 

will success spoil rock hunter: Art of the Title looks at the opening montage of the 1957 CinemaScope classic

тысячи

First articulated out the Cyrillic script (see previously) in the Bulgarian Empire in the tenth century following a long established Greek, Ionian convention to differentiate numerals from letters when context was not exactly clear with spacers, dots and a diacritic over the glyphs called a titlo ҃ or as a prefix signalling a long string of numbers to follow ҂, like a tilde or macron. Still sometimes seen in Slavonic Church publications and in old monuments and coinage, the system was in use until the civil reforms (see also) of Peter the Great in the early seventeen hundreds when Hindu-Arabic representations were introduced and because of this centuries-long custom continued well into the early modern era, elaborate signs were developed to express powers of magnitude and in terms of both a long and short scale (lesser and greater count multiplier) for accounting and scientific purposes. Align with the Greek (rather than alphabetically), one through ten, correspond with the Cyrillic letters: А, В, Г, Д, Е, Ѕ, З, И, Ѳ and І. The pictured powers of ten using the older alpha form, with the Myriad (Тьма) encircled    ⃝   either ten-thousand or a million and Many Myriad   ꙲   either one billion or 10⁵⁰.

monogrammed

The comprehensive rebranding—new uniforms, colour scheme, packaging, signage plus digital assets and merchandising (see also here and here) returning to the fast food franchise’s corporate branding circulated and experimented with from 1969 through 1999. Especially brilliant is the letterform, a double-struck B and K in a bun for Burger King by Jones Knowles Ritchey.  The mascot and monarch are not featured in this new roll-out but we are assured that he has not abdicated or been otherwise dethroned.

7x7

forty winks: this Pokémon Gengar sleeping companion 

flair: the outsized legacy of a 1950 graphic design magazine  

per my previous tweet: Trump silent on continued damage and defacement of federal monuments 

nangajo: ushering in the Year of the Metal Ox with this blended Japanese New Year’s tradition—previously  

👍: anti-social media removes ‘like’ feature (see also) from public-facing sites—via Slashdot

r/obscuremedia: enjoy this soothing VHS tape from 1984 “Escape to Nature’s Beauty” 

witchfinder general: King James’ other book—Demonology

schrifterlaß

On this day in 1941 in a directive circulated by head of the party chancellery and private secretary to Adolf Hitler, Martin Bormann settled the long-standing Fraktur-Antiqua Dispute (see previously) by declaring the former “undesirable” and the latter Latin script influenced by printing and automation to be in align with the ideals of Nazism. Although a typographical debate in the nineteenth and early twentieth centuries, the blackletter and calligraphic typefaces coexisted. Originally seen as un-German when the Antiqua font came in after the 1806 dissolution of the Holy Roman Empire and scholastically used for parsing Germanic tradition and terminology from foreign influences, supporters and proponents on both sides extolled the virtues of their preferred over the alternative, citing one was better for compact printing, higher legibility—did not contribute to myopia and blindness, more universal, less ornamental, and so on. Eventually these arguments began to carry ideological and political weight, with the Führer denouncing its continued use in 1934 in a speech before the Reichtag: “Your alleged Gothic internalisation does not find a place in this age of iron and steel, glass and concrete—of womanly beauty and manly strength—of headraised high with defiance…” The probable motivation for this edict was for ease in distributing propaganda material to countries being occupied and attacked in a typeface that the besieged were familiar with.

sōsaku kanji kontesuto

Language Log shares some of the top entrants for this eleventh annual Kanji Creation Contest submitted from the general public and school age participants during this past year. Many of these modified character forms—absolutely brilliant in their subtle transformation to imbue them with more meaning—are of course informed by the year’s course of events, like the overall winner, a reworking of the standard glyph 座 (za—to sit). 

With social distancing in mind, the 人 elements are spaced further apart. Similarly, for 会 (kai—to meet), the bottom supporter has been replaced with a Z for Zoom. See more at the link up top, including some non-pandemic-related words that could be classified as sniglets—words (see also here and here) and symbols to convey concepts that ought to already exist yet don’t, leaving a lexical gap for the filling.

‽

Via ibidem, we are directed towards a modest proposal from Fast Company contributing correspondent Dylan Mulvaney suggesting that a mostly forgotten punctuation mark, the interrobang (see previously here and here), that had its moment in the mid-60s to early 70s might be enlisted as we go boldly, flummoxed into 2021 and might be due for a revival. What do you think? A well-placed Madison Avenue adman called Martin Speckter who represented some of the biggest corporations at the time also happened to be the editor of a trade paper called TYPEtalks and proposed in a March 1962 magazine article entitled “Making a New Point—Or How About That…” his pitch for a new punctuation mark, arguably the first in centuries, his versatile, emotive interrobang. What do you think? There’s quite a bit to be said for consistency for adoption and though added to typewriters back then and included in Unicode today so it’s at one’s disposal, but there’s also a bit of a touch of trying too hard to it.

♃

Though we told that the astrological sign for the planet Jupiter is supposed to symbolise his thunderbolt or eagle, I’ve always thought it was a stylised number four for the fourth heavenly body in the firmament and just today learned that—unconnectedly—that in the subtractive notation for Roman numerals IV (four) is also an abbreviation for IVPITTER. To avoid blasphemy in inscriptions, it is postulated that the convention of additive notation (IIII) is used instead and preserved on most modern clock and watch faces and dedication, though by no means is this universal. The value 499, for instance, occurs as either ID, XDIX, VDIV, LDVLIV or CDXCIX and sometimes the Latin numerological terms—99 as undecentum—that is, one from a hundred or IC, set the standard.

vèvè

Either derived from a common cosmogram or schema representing the constellations or from the Nsibidi syllabary used by some peoples of West and Central Africa taken to the Americas by enslaved diaspora (or a bit of both), the religious symbols used in voodoo ceremonies and rituals is comparable to our extensive vernacular of signs and sigils employed in demonology and serve a similar purpose—which makes the later magicking seem like fanboy appropriation. Described as a beacon, vèvès represent astral forces and compel the loa, lwa—that is the intermediary or medium—to do the bidding of the summoner, provided adequate sacrifice is offered. As with creating a mandala, the symbol is drawn on the flood with a mixture of sand and ash.

8x8

сара́тов-2:some urban spelunking leads to a Soviet computer graveyard (previously) with some early machines thought lost to the ages 

indented writing: this case of an invisible will recalls some more recent forensic intervention to retrieve the words of a blind novelist 

parallel dimensions: one-hundred twenty-five artists render different computer-generated environments on one basic template of a character walking towards a mountain  

starfleet bold extended: the typography created for Star Trek: The Motion Picture (see previously, premiering on this day in 1979)

 ♚: the real-life Queen’s Gambit in Georgian chess champion Nona Gaprindashvili  

the panoply of digital phrenology: the coming subprime attention crisis and the bursting of the ad-serving bubble  

petroglyphs: more on the amazing expanse of pre-Columbian art discovered in the Amazon 

κουμπωμένο με κουμπιά: exploring an abandoned factory in Patisia Greece

alfabeti shqip

With the conclusion of the Congress of Manastir—now called Bitola, on this day in 1908 academicians from around the country met and achieved their goal of standardising the national language and script for the native population and the diaspora aboard and in neighbouring Kosovo and North Macedonia—who commemorate this Dita e Alfabetit—whereas prior to the democratic, deliberative and well-considered process the language was expressed in no fewer than six distinct scripts that drew from Greek, Cyrillic, Ottoman and Arabic. There was great potential for confusion between rho and pi, aitch and kha. The outcome was a variant of the Latin alphabet (see also) with thirty-six letters to best represent the phonology of Albanian with diagraphs including dh, gj and nj.