In the introduction to his history-of-punctuation blog Shady Characters, he recounts his unlikely source of inspiration in Eric Gill's : "my interest was piqued by the unusual character resembling a reversed capital ‘P’ — ‘¶’ — which peppered the text at apparently random intervals." This little-discussed mark, called a pilcrow, led Houston to ask the sort of questions that drive his project: "How did the pilcrow’s curious reverse-P form come about?
These were announced in the October 1958 issue of .
In 1986, the Monotype Type Drawing Office created semi bold, bold and extra bold weights for the family and re-released the Joanna designs as some of its first digital fonts.
As for ☞, that little hand, Houston tells us its proper name: manicule, "taken," naturally enough, "from the Latin , or 'little hand.'" With earliest use found in the Domesday Book of 1086, the manicule, "a mark that readers drew to call out points of interest," enjoyed great prevalence until the fifteenth-century printing press came along, when, "with printed versions of the symbol—and of other reference marks such as * and †—now available to writers, 'authorized' notes began to spring up in the margins, encroaching upon the space once available to the reader." Houston's work on the history of punctuation has now taken the form of a book: But you can still read a wealth of his scholarship on the pilcrow, octothorpe, the manicule, and other symbols both current and forgotten, on his blog, all clearly organized on its table of contents.
Who could turn down that good day's reading‽ via The New Yorker Related Content: Cormac Mc Carthy’s Three Punctuation Rules, and How They All Go Back to James Joyce Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on literature, film, cities, Asia, and aesthetics.
I read Gill’s Essay from cover to cover, then I immediately read it again.
It’s short, (133 pages, plus an introduction and afterword) but quite enjoyable.He’s at work on a book about Los Angeles, A Los Angeles Primer.If Eric Gill’s Joanna® typeface, were a film when it was first designed, it would have been a 16mm, black and white product with scratchy sound.The newest iteration of the Joanna design, Joanna Nova, was drawn by Monotype Studio designer Ben Jones.The new family is based extensively on Gill’s Joanna, but brings the slab serif typeface into the 21st century.As part of his study, he drew the Emrys typeface, which won two awards in the Granshan competition of 2011.Later that same year, Jones joined Monotype, where he works as a font engineer and type designer.It was drawn by Gill and first manufactured as fonts of handset metal type by the Caslon foundry in 1931.One of Joanna’s first uses was in Gill's own book, , which illuminated the designer's thoughts on typography, typesetting and page design.Every glyph was redrawn using a variety of reference sources, including Gill’s original sketches and the copper patterns used in Joanna’s initial production.Born in the United Kingdom, Jones spent his formative years in Switzerland before returning to England to study typography at the University of Reading in 2000.