Go from zero to Zoom with my new ebook, Take Control of Zoom!

It’s a guide for everyone, since we’ve all fallen into Zoom as the easiest tool across operating systems to video chat and handle business meetings and classes for school. It’s a rich and powerful videoconferencing service, but it can also baffle, frustrate, perplex, and irritate even the most experienced digital tool users! This book untangles Zoom, making it easier, more fun, and more efficient to use.

My book teaches you how to get set up and configured if you’re starting from scratch. But if you’re already using Zoom, that’s just a tiny part of the book. The rest is devoted to improving your physical space for better on-screen appearance, examining audio and video options, configuring your account and Zoom apps to meet your needs and for privacy and safety, as well as how to participate effectively in meetings, share your screen for presentations and demonstrations, and record video and audio within the Zoom app or via cloud recording.

Another of Zoom’s advantages is that anyone with a Zoom app and free account can host meetings with up to 100 participants! Take Control of Zoom has chapters that walk you through all the hosting features, including the unfortunate extensive one-time configuration to make sure your meetings operate the way you want. I then guide you through conducting meetings, including how to manage ones in which anyone can join.

Public meetings for dependency support groups, parent/teacher association discussions, and even virtual book tours by authors have the potential for trolls and abusers to ruin the day. I explain how to configure and manage groups of all kinds that don’t include all people who know each other, including how to admit participants carefully, how to mute, warn, and block them, and how to report particularly awful people to Zoom.

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If you’re trying to use Zoom at all or use it better, my book will absolutely help. I learned an enormous amount researching and writing it, and I’m committed to continuous updates as Zoom improves security and enhances features, as well as adding material prompted by readers.



A book over a year in the making, Six Centuries of Type & Printing, is now available for purchase. Starting a few years ago, I began to research printing history more intensively, and then stepped it up alongside my project the Tiny Type Museum & Time Capsule. In collecting type and printing artifacts for these museum collections, I also gained terrific hands-on insight into key aspects of the development of the mass production of metal and wood type and advances in printing technology. This included previous visits to museums of printing and 国外ip地址代理 (part of the Grabhorn Institute) in San Francisco last June.

Six Centuries of Type & Printing (letterpress and ebook editions)
from 131.50
Add To Cart

I spent months writing this 64-page book, which starts well before Johannes Gutenberg in examining previous inventions of movable type and mass production of book pages, before diving deeply into how this member of a Mainz, Germany patrician family seemingly invented and pulled together a host of different techniques to create a consistent, reproducible process that was quickly copied and spread.

The book covers just under six centuries as the production of type evolves and presses speed up, including innovations like type-casting machines for individual pieces of type, hot-metal composition for book and newspaper typesetting, paper molds (“flongs”) to create full-page printing plates (“stereotypes”), offset lithography, phototypesetting, and finally our modern digital era.

The book recapitulates history in its manufacture. Written in a word processor and roughed out into pages in Adobe InDesign, the text was transmitted to Nick Gill at Effra Press in North Yorkshire, England, who used a Mac-to-Monotype bridge called the CompCAT. It allows previewing of composition on a Mac and then transmission through pneumatic tubing to trigger hot-metal type composition.

After traditional stages of galley proofs, the type made its way to London, where Phil Abel of Social Enterprise Printing paginated it and added zinc plates created from digital illustrations. More corrections followed, and then the book went on a high-speed Heidelberg letterpress. The endpapers were designed in Adobe Illustrator and produced as photopolymer plates printed by letterpress. From London, unbound pages went to Spinner Buchbinderei in Germany for hardcover binding, foil stamping, and slipcase creation.

The books recently arrived in Seattle, and copies ship immediately. We are taking all precautions in hand washing and handling in packing, and everyone in my household is well.

You can order the book in its letterpress edition, which includes the ebook version as well. You can also purchase the ebook separately.


Sometimes you have to shout into the darkness. Last week, after I tweeted a semi-joke about newly minted work-from-home telecommuters needing to find a freelance buddy for advice, I realized that I could something useful with myself during this period of anxiety and isolation.

So with the support of my publisher, Take Control Books (Joe and Morgen), and the input of tips all the way through chapter drafts from Take Control authors, TidBITS writers, and social media friends, colleagues, and acquaintances, I wrote a 66-page book that we’re giving away. You can ‎App Store 上的“秒连加速器-全球代理IP神器”:2021-6-12 · ‎秒连IP全球代理是一款免费的聚合全球动态IP、静态IP代理软件,专业提供全球网路加速服务。 秒连加速器的实体机房虚拟IP代理服务器遍布全球,覆盖200+内地不同省份城市地区的拨号转换器,专注全球代理IP服务,完美解决方案保证IP服务稳定。无限流量,不限时长,稳定不掉线的全球纯净IP代理 ... and the inevitably of a toddler dancing into view of a videoconference at 代理ip加速软件.

(It’s totally free. We’re using the Take Control site to distribute it so people can choose to get updates if we revise the book, or never hear from us again after downloading.)

Take Control of Working from Home Temporarily attempts to give people who have never had to work consistently from home or set aside a place to work advice on getting started. How to set up and equip a space (both with stuff you have and things you could choose to purchase); setting boundaries with family and roommates; what collaborative, security, and videoconferencing software to use; giving yourself a break in the midst of chaos and a new working method; and, if you have kids, juggling the needs of children now at home for weeks or months with your work requirements.

I’m so grateful to Joe and Morgen for providing the editing, productive, and distribution resources, and the couple dozen people who gave their thoughts, which are incorporated in various ways throughout the book.

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A quick update on the latest in Glenn!

I launched the Tiny Typecast, interviews on location and remotely about how type, design, and printing’s past informs the present and guides the future. Subscribe via Apple Podcasts or your favorite podcasting app; if you can’t find a listing, paste this podcast URL in your app.

The topics will be wide-ranging, but I launch with an interview of the folks at Letterform Archive in San Francisco. It’s an incredible collection of graphic design history that’s in active use by modern-day designers as well as historians. I loved it and can’t wait to visit them in their upcoming new location. The second episode is a talk with Keith Houston, author of The Book, about the long-running success of the book format (the codex), and how little has changed, as well as our expectations of what a book is like.

My new book, Take Control of Home Security Cameras, is just out. It’s an ebook that’s part buying guide and part philosophy adviser. Many of us (including my family) have security cameras, but there are many choices you can make as to which camera or system meets your purpose (crime spotting or general monitoring?), security, privacy, and other needs.

The last 20 or so Tiny Type Museum & Time Capsules are available for sale. We’re about to ship the first 70-odd that were pre-ordered, and the next set will be ready for shipment by July. If you’ve been interested in getting one, the time is ripe, as they are slowly selling and the edition will be permanently sold out in just a few months.


You might have also caught that I wrote, hosted, and produced seven weeks of the Election Ride Home podcast, part of the Ride Home growing family of daily, brief summaries of different areas of interest. It was a hoot and exhausting and interesting, but I was acting as a sort of interim host between my friend Chris Higgins (who needed to step away for family reasons) and the network finding a new daily host. Give a listen to Jackson Bird’s 15-to-20 minute summary of everything you need to know about the election, every weekday.

Letterpress, TYPE, and Printing Articles

Before you ask, no, I didn’t write that Economist article about letterpress, titled “How the world’s old printing presses are being brought back to life”! It’s a magnificent piece, focusing on The Type Archive in London, explaining how Monotype hot-metal composition works, and bringing in some excellent insights from Japan. It was written by a senior Economist editor, and it’s such a solid account of the subject and so good for a general audience without specialized design or letterpress knowledge. It’s even headed in hot-metal Albertus, a typeface I love dearly, and the history of which is well represented at the Type Archive.

Toshi Omagari holding an Albertus Monotype Super Caster matrix at The Type Archive in 2017.

Toshi Omagari holding an Albertus Monotype Super Caster matrix at The Type Archive in 2017.

I visited The Type Archive and the St Bride Printing Library in London in late 2017 and wrote a book called London Kerning that includes several of the people featured in the article: Sue Shaw, Bob Richardson, Duncan Avery, and Richard Ardagh. (The print run of the book is sold out, but the ebook remains available.) My book goes into great depth about the collections of both institutions, as well as working letterpress printers and type designers in (or formerly in) London. It includes a section on the Doves Type, created by Robert Green, who covered some of the historic Doves Press type noted in the Economist story from the Thames where one of its owners had thrown it.

I thought I’d use the Economist story as a jumping-off point to collect in one post all the articles I’ve written in the last decade about printing, type, and letterpress, past and present—and about its future.

Letterpress, past and present


Chris Chen, a board member of the C.C. Stern Type Foundry, one of the folks who helped create the institution. Here, he’s demonstrating Monotype composition casting.

  • How Letterpress Printing Came Back from the Dead” for ip代理原理(2017). Letterpress looked like it was on its last legs, but a combination of a revival of craft interest coupled with the introduction of certain digital technology have helped give it new life.

  • Erik Spiekermann makes a deep impression by marrying new to old,” self-published at Medium (2017). The well-known, veteran designer and type guru developed a new system for what he calls “digital letterpress,” that combines the flexibility of digital design with the integrity and quality of letterpress printing.

  • Computers' unlikely mechanical antecedents” for the Economist (2011). A look at Monotype hot-metal composition at the C.C. Stern Type Foundry, a museum full of working hot-metal typesetting systems in Portland, Oregon.

  • ip代理原理” for the Economist (2011). Apple offered partially letterpress-printed greeting cards for a while, sparking these thoughts about what modern folks expect when they see (and feel) letterpress printing.

  • A California Type Foundry Is Keeping Vintage Printing Alive” for Atlas Obscura (2019). The Grabhorn Institute in San Francisco preserves two working pieces of printing’s past: the M&H Type foundry and the Arion Press, which produces fine-art books.

  • Have press, will travel” for the Economist (2011). An itinerant printer took her van around the country to speak, print, and share.

printing history

Typesetting  The Literary Digest  by typewriter during the 1919 wildcat strike.

Typesetting The Literary Digest by typewriter during the 1919 wildcat strike.

  • When Typewriters Attacked,” a post for patrons at Patreon (2019). In October 1919, the typesetters, printers, and page feeders at most of New York City’s “job shops,” which handled magazine and miscellaneous business work, staged an “unscheduled vacation.” A form of wildcat strike, unauthorized by the local or international union, these printing folks wanted $50 a week for 44 hours of work. Hundreds of magazines were affected. Some hatched a plan: instead of typeset text, they would use…typewriters! This story has barely been told in the century since.

  • Flong Time, No See,” a post at Medium (2019). An unheralded bridge technology known as “flong,” a kind of papier-mâché, allowed faster printing of typeset pages. Flong disappeared along with relief printing, and it’s a critical but forgotten part of printing history.

  • Deckle detecting” for the Economist (2012). Why does Amazon warn its customers about rough edges on books?

  • Bogus! When Typesetters Were Paid To Set Copy That Was Thrown Away,” a public post at Patreon (2019). For a century, typesetting unions had deals with management that made it unappealing for businesses to try to hire out composition and bring it in for printing, particularly in newspapers. That practice let to a Supreme Court decision, odd rules, and a set of printers in New York with jobs guaranteed for life after a deal arose to end the practice forever.

  • The paper that poisoned its printers” for the Economist (2018). A newspaper entrepreneur figured out how to print a golden-hued portrait of Queen Victoria on her coronation in 1838, but its impact on the printers was largely ignored.

  • CAPITAL CRIMES, PART 1 : SHOUT, SHOUT, LET IT ALL OUT” for Meh.com (2017). I looked into the history of shouting in all capital letters, tracing it back so far to 1856.


That's Bananas©

On January 1, 2019, the 1923 song, “Yes! We Have No Bananas” entered the public domain after a long wait. Due to congressional maneuvering, Disney’s greed, and other factors, nothing “new” had entered the public domain between January 1, 1998, and January 1, 2019. Every year for the next several decades, another year of material published in the U.S. 95 years ago enters the public domain. I wrote a lengthy article in the Smithsonian magazine last December on the topic.

To celebrate the re-opening of the public domain, I had guests at our New Year’s Eve party sing, “Yes! We Have No Bananas” and then uploaded the performance on YouTube.

I literally titled the video, “Yes! We Have No Bananas, now in the public domain.”

A few days ago, I received this notice from YouTube.

Screenshot 2019-11-13 10.57.24.png

Now, this wasn’t a takedown, in which the video was removed. It wasn’t a “strike,” or a violation of YouTube policies, which can add up eventually to a suspension or ban. Rather, it was a weird conditional claim of potential ownership that might lead to ads placed on the video from which I could potentially receive some income.

There was no way to respond to this that I could find. While entirely inaccurate, it didn’t seem to affect me, except that a third-party with no interest could potentially earn income from views of ads placed on my personally owned video that contained a performance of a public-domain composition.

I notified the usual suspects (Cory Doctorow, Mike Masnick, and the Duke Center for the Study of the Public Domain) on Twitter. Mike, who runs TechDirt, a site devoted to the examination of online freedom of expression and the expression of digital property rights, published an article examining some of the underlying issues.

I’m not sure if someone at YouTube read it or another process that was opaque to me was followed, but today I was informed that my long nightmare was over.


As they say, there’s always money in the “Yes! We Have No Bananas” stand. By which I mean, companies will always try to push copyright maximalism, the ownership of material that they don’t have rights to, because of the asymmetry in the cost of defending against the erosion of the public domain, fair use, and other aspects of public ownership and critical examination.