Andre Torrez has a cute and simple recipe for making your shell prompt into a hamburger (or other whimsical emoji character). Just type
export PS1="\w 🍔 "
into the terminal to try it out. Apparently some Macs ship with an Emoji font installed; if you need one, you can get a free, excellent one from the Unicode Fonts for Ancient Scripts page, by downloading the Symbola font (.ZIP file) and installing it with your font manager.
To make the change permanent, you need to add a line to .profile, .bash_profile or .bashrc (depending on your *nix flavor). There are lots of other ways to customize your prompt enumerated in the article, too.
happy notes* / april 2013 / put a burger in your shell
Darren sez, "Rising up in time for Halloween and el Dia de los Muertos, Póstumo is a deck of zombie playing cards by Colombian artist Obsidian Abnormal and American scallywag Darren J. Gendron. The deck features gruesome zombie art, one-eyed jacks, suicidal kings, and fun twists on the normal suits - human hearts, zombie-killing clubs and brains. So many brains."
Love the detail on these -- replacing the suits was a moment of genius. The face cards are AMAZING.
We remixed the suits into spades, clubs, hearts and brains, taking literal representations of each. Spades are now actual shovels, while clubs are shown as bats and other blunt objects. Hearts take on a fleshy connotation. Diamonds are replaced by the most valuable thing to a zombie - BRAINS.
The font is specially designed for Póstumo by Obsidian, creating a distressed and fleshed interpretation of Garamond. The final versions of each card have up to 10 different illustrations of brains, clubs, spades or hearts.
Póstumo - The Deck of the Dead
On the LJ Vintage Ads group, the always-reliable Man Writing Slash has assembled a collection of some of the finest illustrated peanut butter ads this writer has had the pleasure of seeing. It's a slice of idealized simulacrum straight from the collective unconscious of the American appetite.
Peanut Butter, food of the gods
A page on the Distributed Proofreaders project advises people who are trying to find typos in scanned and OCR'ed texts to try DPCustomMono, a font specifically designed to make it easy to catch common OCR errors. Distributed Proofreaders are volunteers who check out a page or more of scanned text from the Project Gutenberg archives and check it for typos, improving the quality of the text. DPCustomMono's characters are designed to maximize the difference between ones, lower-case ells, and upper-case eyes, as well as other lookalike glyphs.
Proofreading Font Comparison
(via Making Light)
Adobe's Paul D. Hunt announces the company's latest open-source typeface. This one's for coders and anyone else who loves legible monospaced figures—and who hates getting confused between l, 1 and I.
To my eye, many existing monospaced font suffer from one of three problems. The first problem that I often notice is that, many monospaced fonts force lowercase letters with a very large x-height into a single width, resulting in overly condensed letter forms which result in words and text with a monotonous rhythm, which quickly becomes tedious for human eyes to process. The second problem is somewhat the opposite of the first: many monospaced fonts have lowercase letters that leave too much space in between letters, causing words and strings to not hold together. Lastly, there is a category of monospaced fonts whose details I find to be too fussy to really work well in coding applications where a programmer doesn’t want to be distracted by such things.
Download the family at SourceForge. Previously.
Designer/woodworker/hand-drawn typographer Scotty Albrecht has several lovely new pieces hanging in a group show at Parlor Gallery in Asbury, New Jersey. We have two of Scotty's pieces in our home, including the wood heart/hands seen here, and they're truly beautiful and inspiring in person. The show, titled "We Find Our Way," runs until October 15 and you can view it online as well. "We Find Our Way"
Advertising supplements were a lot more fun to look at in 1880. Submitted as evidence: this issue of the Philadelphia Grocer.
If you have a thing for typography
Typography enthusiasts "moved by Dr Fabiola Gianotti's incredibly strange choice of font in announcing the recent results of Cern's ATLAS collaboration" are petitioning Microsoft to rename Comic Sans to "Comic Cerns." Cosmic Sans might work, too!
Do you love nameless, creeping horrors in the deep? Unnaturally! Do you love fonts? Of course, you do. Thomas Phinney, a veteran type designer, is attempting an unholy union of the two by resurrecting the moldering corpse of three typefaces: Columbus, Columbus Initials, and American Italic. Columbus was used for all the Call of Cthulhu role-playing game, in which Phinney played a hand (severed?), designing clues for "Masks of Nyarlathotep."
Back the project on Kickstarter for Phinney to create Cristoforo, modern renditions of these three fonts. Pledges at all but the lowest level come with licenses to use the fonts. Phinney's original work is terrific, and I have no doubt that he'll bring a sensitive hand to re-creating these classic faces.
Anniina ("Scholar, Writer, Mother, Dreamer. Editor of Luminarium, an online library for English Literature of the Middle Ages and Renaissance") produced these delicious-looking and awfully lovely illuminated initial cookies:
I wanted to share with you some Medieval manuscript cookies I made for my friend and colleague, Risa Bear, creator of Renascence Editions. I chose historiated initials from several manuscripts, printed them on edible paper with edible ink, attached them to square cookies and gave them gold edges. Who says love of literature and art can't fill a belly?!
Medieval Illuminated Initial Cookies
(via Making Light)
Bibliodyssey has curated a beautiful collection of letterheads from 19th century and early 20th century architectural and industrial firms, doing a lot of cleanup and posting the hi-rez images to Flickr. The originals are from Columbia University's Biggert Collection.
The images in this post all come from Columbia University's very large assortment of commercial stationery (featuring architectural illustrations): the Biggert Collection.
The vast majority of the images below have been cropped, cleaned and variously doctored for display purposes, with an intent towards highlighting the range of letterform/font and design layouts. The underlying documents are invoices (most), letters, postcards, shipping records and related business and advertising letterhead ephemera from the mid-1800s to the 1930s.
Architectural Stationery Vignettes
In this video, Videocrab demonstrates a very odd typographical Easter-egg embedded in Google Chat. I have no idea if this is real or shooped, but it's cute nevertheless.
2012-04-06_21-10-36_872 (Thanks, Fipi Lele!)
The limited edition "Scrabble Typography Edition" stores away in a handsome set of replica type-drawers and features tiles whose letters appear in a variety of fonts. However, there are no kerning options, nor can you choose which font your tiles will be, which probably makes this game pure torture for type-nerds, but is likely pleasing to people whose reaction to desktop publishing was "Cool! I can make the world's most precisely snipped ransom notes now!"
Scrabble Typography Edition - Winning Solutions, Inc.
This 1977 CB radio ad has it all, from the heavy metal concept album lettering to the lens-flares on every surface -- even a halo for the holy gizmo itself.
1977 CW McCall Midland CB Radio
Dan Sayers ("I am not a type designer") decided to explore "generative" type-design by seeing what happened when he "averaged out" a large number of fonts. Once he got his teeth into the problem, he realized that "averaging out" is a complicated idea when it comes to shapes, and came up with a pretty elegant way of handling the problem, which, in turn, yielded a rather lovely face: Avería, "the average font."
Avería – The Average Font
Then it occurred to me: since my aim was to average a large number of fonts,
perhaps it would be best to use a very simple process, and hope the results
averaged out well over a large number of fonts. So, how about splitting each
letter perimeter into lots of (say, 500) equally-spaced points, and just average
between the corresponding positions of each, on each letter? It would be necessary to match up the points so
they were about the same location in each letter, and then the process would be
Having found a simple process to use, I was ready to start. And after about a month of
part-time slaving away (sheer fun! Better than any computer game) – in the
process of which I learned lots about bezier curves and font metrics – I had a
result. I call it Avería – which is a Spanish word related to the root of the
word ‘average’. It actually means mechanical breakdown or damage. This seemed curiously fitting, and I was
assured by a Spanish friend-of-a-friend that “Avería is an incredibly beautiful
word regardless of its meaning”. So that's nice.