There’s no miscellany post this weekend, but by way of compensation I might point you towards tomorrow’s episode of BBC Radio 4’s Word of Mouth programme, to be broadcast at 4pm here in the UK. In it I’ll be talking with the estimable Michael Rosen about punctuation, ancient Greece, medieval manuscripts, Winston Churchill and more — it was great fun to record the episode, and I hope it’ll be fun to listen to as well.
It’s January, 1776. You’re a printer in Delaware, one of thirteen restive American colonies chafing against British rule. The Continental Congress, the colonies’ nascent collective government, has recently passed an act creating its own currency and you’ve been tasked with creating Delaware’s issue of banknotes.1 This is your response:
Publication of The Book is still a few months away (if you haven’t circled August 23 on your calendar with a fat red marker pen, I urge you to do so right now), but I thought it might be nice to take a closer look at the book itself, both inside and out.
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.
Last time round, inspired by Marcin Wichary’s tweet, I wrote a short post about the curious case of the character ‘⋮’, which was present on some of the earliest typewriter keyboards but that mysteriously disappeared from later machines. The comments came in thick and fast, and reader Thomas A. Fine was moved to carry out his own investigation into the life and death of the elusive vertical ellipsis.