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Not To Put Too Fine a Point on It
If you’re interested in type, printing, and language and where they intersect, you’ll enjoy this book of ten researched and reported articles written in 2016 and 2017. It looks into the origin of CAPITAL LETTERS used for SHOUTING, why we type > to indicate a quoted part of reply, the resurgence of letterpress through digital assistance, Walt Whitman’s 1889 poem “A Font of Type,” a web site archiving itself for 10,000 years, and the surprising origin of “this page intentionally left blank”—and more!
Chapters
Nothing Is The earliest uses of marking a page as intentionally leaving something out.
CAPITAL Why we SHOUT with UPPERCASE.
The Ten-Millennium A web site plans for the far future.
The Quibble with Online Will the Internet kill off curly quotes?
Look Slanting type is like stealing sheep.
Noto Google builds a massive typeface to represent all the languages of the world.
You Can’t Quote Me on It! Email and forums ape an ancient textual device in marking quotations.
A Font of Walt Whitman was a printer, and this poem has deep roots in his background.
What a While letterpress seemed destined for the junk heap, it's making a surprising comeback.
A Crank Turns a Your author spent hundreds of hours walking a carriage on a press back and forth and thinking about what it meant.
Chapters
Nothing Is The earliest uses of marking a page as intentionally leaving something out.
CAPITAL Why we SHOUT with UPPERCASE.
The Ten-Millennium A web site plans for the far future.
The Quibble with Online Will the Internet kill off curly quotes?
Look Slanting type is like stealing sheep.
Noto Google builds a massive typeface to represent all the languages of the world.
You Can’t Quote Me on It! Email and forums ape an ancient textual device in marking quotations.
A Font of Walt Whitman was a printer, and this poem has deep roots in his background.
What a While letterpress seemed destined for the junk heap, it's making a surprising comeback.
A Crank Turns a Your author spent hundreds of hours walking a carriage on a press back and forth and thinking about what it meant.
116 pages, Kindle Edition
Published November 22, 2017
7 people want to read
About the author
Glenn Fleishman
80 books226 followersI started writing as a child and never stopped. I’ve always been interested in what makes things tick and how to explain that. That led to a career as a technology journalist and how-to article and book author. I’ve written dozens of books over my career in some combination of the two.
In the 2010s, I started publish a series of book that combined printing and type history and technology in a variety of ways. These titles include Not To Put Too Fine a Point on It, a collection of essays and reporting; London Kerning, a look at two magnificent London printing collections and the city’s typographical history; Six Centuries of Type & Printing; and How Comics Were Made, a heavily visual history of the production and reproduction of newspaper comics from the 1890s to the present.
I live in Seattle, Washington, with my family, and drink very little coffee.
In the 2010s, I started publish a series of book that combined printing and type history and technology in a variety of ways. These titles include Not To Put Too Fine a Point on It, a collection of essays and reporting; London Kerning, a look at two magnificent London printing collections and the city’s typographical history; Six Centuries of Type & Printing; and How Comics Were Made, a heavily visual history of the production and reproduction of newspaper comics from the 1890s to the present.
I live in Seattle, Washington, with my family, and drink very little coffee.
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