The interrobang on 99% Invisible

Long-time readers will remember that 99% Invisible, the wide-ranging podcast hosted by Roman Mars and produced in beautiful, downtown Oakland, California, featured an episode on the octothorpe back in December 2014. It’s a great listen: 99PI producer Avery Trufelman managed to track down Doug Kerr and Lorne As­plund, two of the engineers at Bell Labs who were instrumental in placing the ‘#’ on the then-new telephone keypad and later christening it as the “octothorpe”, to get the story behind the mark’s rebirth in the computer age.

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Miscellany № 81: Toward a Taxonomy of the Interrobang

Remember the interrobang‽ Of course you do! That’s the kind of rhetorical question for which the interrobang is perfectly suited. I’ve been thinking about Martin K. Speckter’s punctuation mark of late for a couple of reasons: first, a Google alert turned up an obituary of a Minnesotan poet named J. Otis Powell‽. I hadn’t known of Powell‽ previously — I’d have loved to have been able to ask him about his surname! — but Minnpost explains his unusual name as follows:

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№ ⸮ ‽ ℔ ⁊ ⸿  — or, a cavalcade of characters

At the heart of Shady Characters’ recent redesign are the text and display typefaces of Satyr and Faunus, both designed by Sindre Bremnes of Norway’s Monokrom type studio. Shady Characters, of course, is all about unusual marks of punctuation, and I was glad to see that both typefaces came complete with a handy selection of special characters. Even so, there were a few marks missing: the interrobang for one; the numero symbol I use in many post titles for another. As I chatted to Frode Helland of Monokrom about the minutiae of web fonts, though, he suggested that he and Sindre might be able to add some new characters to help Shady Characters live up to its name.

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Miscellany № 68: new year, new interrobang

Things have been quiet lately on the interrobang front. Well, no longer. Take a look at this:

That is an interrobang and a half, I’m sure you’ll agree.

So, some context. Pearson is a global publishing and education company with fingers in many pies — schools, higher education, professional development, and traditional publishing via imprints such as Addison Wesley and Shady Characters’s own Penguin Books — that until recently possessed only the blandest of corporate logos. In 2015, however, they decided to come up with a new identity. As Brand New reported, quoting from the press release that accompanied the rebranding exercise:

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