Mark Thomas discusses lessons learned in moving ALPSP’s face-to-face workshops into an online offerings.
Last week the UK government COVID held a press briefing in an attempt to get the country behind new travel and social restrictions. What lessons can we learn from this bad example of how not to present evidence to support our positions?
Beloved by Stanley Kubrick, hated by Nazis — a look at Futura, the font of the future.
Uncertain times call for distressed typography.
Few scholarly publishers make effective use of identity management, but we should — and now is a good time to consider a comprehensive identity strategy.
Typography is storytelling, and can be used to reveal truths or create myths. Learn more on how this works from Sarah Hyndman.
A short video about the words we use for counting and how biology influences both language and math.
Complex datasets can be difficult to visualize. Here, the position of each card in a deck of 52 is shown during shuffling.
Publishing as we know it is being redefined to include other forms of content that are part of the scholar’s workflow.
If a picture is worth a thousand words, the folks at textBOX can help publishers present that descriptive text (“alt-text”) to the online world, meeting key accessibility and discoverability demands.
Experimentation is key in supporting open access monographs. We’ve done the research and now it’s time to build a better user experience.
Publishing has always been an information technology business. Why then, is our industry often accused of being slow to adopt technology? Do we struggle to integrate new ideas into our systems and workflows more than we should? How can make the best use of new technology innovation without being overwhelmed?
A look back at a glorious Apple promotional video from 1987, as the company predicted a rosy future while just on the edge of its darkest period.
In our day to day lives as publishers, we too often lose track of the long term. A University of Oxford plan provides a stellar example of how to think about the far future.
How do you authenticate a piece of art when the artist is mysteriously anonymous?