I came across a post last July on Emojipedia, in which Keith Broni noted that Twitter, or X, had redesigned its PISTOL emoji. PISTOL had always been controversial: most online platforms started off with PISTOLs drawn as realistic firearms, but, over the course of the mid-2010s, most of them moved to toylike renderings of water pistols instead. Twitter had followed suit.
On Tuesday the 14th of May I’ll be taking part in an event at the St Bride Foundation in London called “Collections and Collaborations”. It’s a showcase for a set of posters inspired by St Bride and its collections, and I was lucky enough to be paired with the talented Tom Etherington, a book designer at Penguin, to help produce one of those posters.
In 2011, Apple became the first big tech company in the West to visibly embrace emoji. The detailed, glossy symbols that appeared that year on the iPhone’s on-screen keyboard were a far cry from Shigetaka Kurita’s lo-fi efforts and they went on to become the de facto standard for modern emoji design. But though Apple holds the emoji 👑, it was Gmail, Google’s email service, that had first dragged emoji out of Japan and onto the world stage. And drag it had to, for emoji did not come quietly.
As we saw in part 1, emoji did not arise in a vacuum. In designing his suite of icons, Shigetaka Kurita selected subjects that would be both recognisable and useful in the context of NTT DOCOMO’s new mobile internet service. Smiling faces (😊) and broken hearts (💔) conveyed emotion; trains (🚆) and planes (✈️) called up ticket booking services; videogame controllers (🎮) denoted mobile games; and so on. But the way in which emoji were and are presented — embedded among our letters and words while simultaneously being distinct from them — has always been as important as their content. In this respect, emoji owe as much to ancient scrolls, medieval books and typewriters as they do to pagers and mobile phones.
It’s publication week for The Book here in the UK, and so things are a little busy. For the third part of my “Booking It” series, then, on the arts and crafts that go into bookmaking, I’m cheating a little and republishing a post from November 2012, when I visited Robert Smail’s Printing Works in the Scottish borders. I hope you enjoy it!