I’ve been working on these for about a month, writing them down in my Field Notes notebook, and have had a lot of fun with the form. The typesetting was also fun; I initially set it in Freight Text but then, after designing the cover, switched to Futura to match.

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1. I’ve always seen the browser as a printing press.
2. Because of that, I’ve always seen myself as a publisher first and then everything else second.

This, particularly the second point. I’ve seen myself as a publisher for a long time now as well, with all the books and language charts and magazines and even the art. And the web makes publishing so, so easy. It’s magical. Instant worldwide distribution. (Well, instant for the digital things I make.)

His first point has stuck with me as well — I’ve tended to think of my site mostly as a place to publish PDFs and EPUBs and images and other files I’ve made, but I like the idea of the web as the actual delivery mechanism, for more than just blog posts. This isn’t a new idea, of course; it’s just something I haven’t been thinking about as much till now. I’m looking over the type of things I’ve made — books, languages charts, etc. — and thinking what it would be like if the end product were a web page instead of a PDF or an EPUB. And of course nowadays I’m using HTML/CSS as the source for all three main formats for books (web, EPUB, PDF), so it doesn’t necessarily have to be either/or.

Anyway, nothing specific in mind yet. We’ll see what comes of it.

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Making-of notes

• It’s set in LfA Aluminia, a resurrected version of Electra. I enjoyed this article about the making of the typeface.
• Chrome still has the bizarre copy-paste issue in macOS Preview, so I used Firefox. But Firefox doesn’t yet support hyphenate-limit-chars, sadly. I decided not to stress about it.
• It’s left-justified since browser justification still isn’t great and I didn’t want to spend eons fine-tuning the spacing. I did, however, tweak word-spacing to eliminate hyphens at the ends of pages and most widows and orphans (though I wasn’t fully strict here). Also manually inserted ­ to insert hyphens as needed (mostly in the Greek names — and I probably got some of those wrong but I did try my best) and turned off ligatures that crossed hyphenation breaks (“ff”).
• I used Paged.js, which generally worked well. Whenever I made changes, though, reloading the page and finding my place again (usually by cmd+f with some string of text) started getting laborious. Thinking about either building a Firefox extension that maintains scroll position even on hard refresh or building an Electron app that does the same.
• Not sure yet if I’m going to continue on with typesetting the rest of the Lives, but hopefully I do.

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Colophon: I made these with JavaScript/Node, generating SVGs that I then converted into PDFs with Inkscape.

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This time the chart doesn’t have a specific year baked in, so it’s reusable. (And there’s a variation for leap years.) It’s freely available as PDFs in both portrait and landscape. Currently just letter size, though maybe someday I’ll start including A4 and other sizes.

Colophon: I made these charts with HTML (it’s just a table), CSS, JavaScript (on page rather than via Node), and Firefox. The font is Avenir Next.

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Why would you use this? No idea. I haven’t been able to come up with any good use cases for it, but the itch needed to be scratched so here we are.

Sidenote: I made the original lined/grid paper with PlotDevice but decided to use SVG instead this time, converting the files to PDF with Inkscape.

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After what feels like a long absence from bookmaking, I’ve gotten back into it and have a new release: Historia Calamitatum, available as a PDF.

The book is a medieval autobiography by Peter Abélard, a Catholic philosopher who lived in the eleventh and twelfth centuries in France.

Some notes on the making, for those who like that sort of thing:

• I used paged.js for the typesetting, so I was editing HTML and CSS files instead of wrangling InDesign or Affinity Publisher or LaTeX. It’s a different workflow, to be sure (lots of reloading in Chrome and then finding my spot again), but overall I love having the source files be plain text.
• The line-breaking algorithm isn’t as nice as InDesign’s. Had to finagle the word-spacing and letter-spacing properties a bit to fix some more egregious spots. (At the same time, I wasn’t fixated on making the spacing perfect. Nor did I fix the hyphenation stacks, because they don’t bother me. I’m clearly becoming a bit more relaxed about typesetting rules as I get older.)
• For the typeface I went with IM Fell DW Pica, which is no doubt anachronistic but I like the feeling it gives the book.
• I proofed the PDFs in the Documents app on my iPad. Much nicer than printing the whole thing out (which I used to do, years ago).
• I made the cover using Cirque with textures applied in Affinity Photo.

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Back in 2017 I did end up re-architecting Press to use Low Ink as an intermediate page description language. In the process, Low Ink changed from a JSON-based idea to this:

:page 11x8.5in
:bleedbox x=0.125in y=0.125in w=5.75in h=8.75in
:fontmap family=helv weight=regular style=normal standard=Helvetica
:yinvert
:push
:translate x=72 y=72

# ascender
:push
:translate x=0 y=1040
:strokecolor hex=#999
:linewidth 0.25pt
:line x1=0 y1=0 x2=1080 y2=0
:stroke
:push
:fillcolor hex=#999
:font family=helv size=14pt
:text x=1085 y=-3 text="ascender"
:pop
:pop

# filled glyph
:push
:translate x=1320 y=240
:fillcolor hex=#000
:moveto x=0 y=0
:pathto x=400 y=300 cx1=120 cy1=300 cx2=140 cy2=300
:pathto x=320 y=200 cx1=540 cy1=300 cx2=320 cy2=180
:lineto x=350 y=350
:lineto x=450 y=250
:lineto x=150 y=0
:moveto x=200 y=200
:lineto x=200 y=250
:lineto x=250 y=250
:lineto x=250 y=200
:lineto x=200 y=200
:fill
:pop

It was intended to be a fairly low-level wrapper on the PDF format, with the idea being that other libraries/apps would provide more ergonomic abstractions on top of it.

I initially used Python because Press started out as a library, but with the pivot to a compiler model, I think Go or Rust would probably end up being a better choice (Rust would make integrating HarfBuzz a bit easier, at any rate).

Potential improvements

To my 2021 eyes, the language design isn’t particularly elegant. I like that the parameters are named (clarity), but for most of the commands there aren’t actually that many parameters, because many of the settings that would normally be parameters are separate commands. For parameters that are clearly unambiguous, the names hamper readability. For example, I think something like this might be better:

:line 0,0 to 1080,0
:fillcolor #345

I’ve also thought that push and pop could potentially be clearer as curly braces, and that the initial colons aren’t really necessary:

{
  translate 0,1040
  strokecolor #999
  linewidth 0.25pt
  line 0,0 to 1080,0
  stroke

  {
    fillcolor #999
    font 14pt helv
    text 1085,-3 "ascender"
  }
}

The future

My initial reason for building Press was to have an easy, programmable cross-platform way to create language chart PDFs (so I could move away from PlotDevice/DrawBot), and what I’ve realized (acknowledging that I haven’t really been making language charts in recent years) is that there are some other, better options now.

One that seems decent is SVG, converted to PDF by way of Inkscape. Initial tests here seem like it would probably work fine.

Another promising option that I admittedly haven’t looked into very much yet is Paged.js. HTML and CSS are already great for declarative typesetting, and the more I’ve thought about programmatic typesetting, the more this model seems to be the future I’d want to work with (and not just because of parity with web, though that makes it much more compelling).

tl;dr I don’t see myself continuing on with Press, so we may as well call a mortem on it.

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