Fonts Good For Quotes

[I]t was with a good end in mind – that of acquiring the knowledge of good and evil – that Eve allowed herself to be carried away and eat the forbidden fruit. But Adam was not moved by this desire for knowledge, but simply by greed: he ate it because he heard Eve say it tasted good.

It really is something ... that men disapprove even of our doing things that are patently good. Wouldn't it be possible for us just to banish these men from our lives, and escape their carping and jeering once and for all? Couldn't we live without them? Couldn't we earn our living and manage our affairs without help from them? Come on, let's wake up, and claim back our freedom, and the honour and dignity that they have usurped from us for so long. Do you think that if we really put our minds to it, we would be lacking the courage to defend ourselves, the strength to fend for ourselves, or the talents to earn our own living? Let's take our courage into our hands and do it, and then we can leave it up to them to mend their ways as much as they can: we shan't really care what the outcome is, just as long as we are no longer subjugated to them.

But I can think of nothing on earth so beautiful as the final haul on Halloween night, which, for me, was ten to fifteen pounds of candy, a riot of colored wrappers and hopeful fonts,snub-nosed chocolate bars and SweeTARTS, the seductive rattle of Jujyfruits and Good & Plenty and lollipopsticks all akimbo, the foli ends of mini LifeSavers packs twinkling like dimes, and a thick sugary perfume rising up from the pillowcase.

It's not the type of work you can put on a business card. I sometimes play the game with myself, though. What would I put on a business card? Jill Kismet, Exorcist. Maybe on a nice heavy cream-colored card stock, with a good font. Not pretentious, just something tasteful. Garamond, maybe, or Book Antiqua. In bold. Or one of those old-fashioned fonts, but no frilly Edwardian script. Of course, there's slogans to be taken into account. Jill Kismet, Dealer in Dark Things. Spiritual Exterminator. Slayer of Hell's Minions.

What on earth did you want with an early Christian sarcophagus, Elliot?" "To put myself in it, my dear fellow. It was of very good design, and I thought it would balance the font on the other side of the entrance, but those early Christians were stumpy little fellows and I shouldn't have fitted in. I wasn't going to lie there till the Last Trump with my knees doubled up to my chin like a foetus. Most uncomfortable.

What is art? Art is tar, rearranged. Art is tar on canvas or tar on tarp or tar on a naked body. Art is a bird chirping changed into something visual. Art is an image of a thousand beaks breaking into the office of a quack doctor. I know that doctor, and I've personally spoken to ten of those beaks. Art is rhythm, two hands clapping at a urinal while a third shakes off pee to the beat. Good art stays with you your whole life, especially if that good art is a tattoo. Good art is my name, written backwards, inked on your upper lip in a furry font. Art imitates life, just as life imitates Orafoura. Art can be anything from a Manet to a Monet to a painting of money to a missile. Art can save the world, or devastate it. (We could drop another big bomb on Japan, though I'm not advocating dumping Basquiat paintings on Hiroshima). Art rhymes with a bodily function, and everybody should let their creativity rip everywhere from the privacy of their bathrooms to small heated boxes with four of their closest friends. Art is thinking outside that box, and desperately trying to escape.

Most people font like holding on to anger. They feel it crushing and consuming them, so they let it go. They try to forget the ways they’ve been wronged. But some of us cannot forget and will never forgive. We keep our axes sharp, ready to grind. We hold pleas for mercy between our teeth like jawbreakers. They say a grudge is a heavy thing to carry. Good thing we’re extra strong.

Imagine you are a member of a tour visiting Greece. The group goes to the Parthenon. It is a bore. Few people even bother to look — it looked better in the brochure. So people take half a look, mostly take pictures, remark on serious erosion by acid rain. You are puzzled. Why should one of the glories and fonts of Western civilization, viewed under pleasant conditions — good weather, good hotel room, good food, good guide — be a bore? Now imagine under what set of circumstances a viewing of the Parthenon would not be a bore. For example, you are a NATO colonel defending Greece against a Soviet assault. You are in a bunker in downtown Athens, binoculars propped up on sandbags. It is dawn. A medium-range missile attack is under way. Half a million Greeks are dead. Two missiles bracket the Parthenon. The next will surely be a hit. Between columns of smoke, a ray of golden light catches the portico. Are you bored? Can you see the Parthenon? Explain.

La vérité ne fait pas tant de bien dans le monde que ses apparences y font de mal. "Truth does less good in the world than the appearance of truth does evil.

Helvetica. The font, I mean,” says Dad skittishly, nodding at the sign on the wall.“It’s a good . . . font.

Helvetica is good for typographers who do not know what to say.

In the words of John Fonte, “The new, transformed civic morality of the progressive narrative . . . divides Americans between dominant or ‘oppressor’ groups—whites, males, native-born, Christians, heterosexuals—and victim or ‘oppressed’ groups—racial, ethnic, and linguistic minorities; women; LGBT individuals, and ‘undocumented’ immigrants. Progressive politics doesn’t seek the national interest or the common good. Its purpose is to promote ‘marginalized’ or ‘oppressed’ groups against ‘dominant’ or ‘oppressor’ groups.”5 It is the old Marxist wine in new bottles, and the results are bound to be similar. Progressives

As a child I used to give away light like it was nothing. Those without it would fill themselves up with all that good energy like I was an eternal font. The purest light attracts the most impenetrable darkness.

I can’t help but think that we’re a part of something so much greater than this world–that we’re just pawns on the chessboard, soldiers in battle, but not just any battle. It’s a spiritual battle. One between good and evil, God and the devil, life and death.

SPEAKING OF COGNITIVE EASE “Let’s not dismiss their business plan just because the font makes it hard to read.” “We must be inclined to believe it because it has been repeated so often, but let’s think it through again.” “Familiarity breeds liking. This is a mere exposure effect.” “I’m in a very good mood today, and my System 2 is weaker than usual. I should be extra careful.

He trains hard, I can tell. That is not a body that you get from just diet and good genes. That’s a body you lift heavy iron for. Dark sweatpants hang off his slim waist, a perfectly dipped V dancing down his pelvis. There’s a tattoo going over that area too though, in big Old English font. My eyes dart to his left rib cage where a paragraph is inked in cursive. He also has two full sleeves of tattoos—no color, just grey and white—and what looks

It is said that when Martin Luther would slip into one of his darker places (which happened a lot, the dude was totally bipolar), he would comfort himself by saying, “Martin, be calm, you are baptized.” I suspect his comfort came not from recalling the moment of baptism itself, or in relying on baptism as a sort of magic charm, but in remembering what his baptism signified: his identity as a beloved child of God. Because ultimately, baptism is a naming. When Jesus emerged from the waters of the Jordan, a voice from heaven declared, “This is my Son, whom I love; with him I am well pleased.” Jesus did not begin to be loved at the moment of his baptism, nor did he cease to be loved when his baptism became a memory. Baptism simply named the reality of his existing and unending belovedness. As my friend Nadia puts it, “Identity. It’s always God’s first move.”9 So, too, it is with us. In baptism, we are identified as beloved children of God, and our adoption into the sprawling, beautiful, dysfunctional family of the church is celebrated by whoever happens to be standing on the shoreline with a hair dryer and deviled eggs. This is why the baptism font is typically located near the entrance of a church. The central aisle represents the Christian’s journey through life toward God, a journey that begins with baptism. The good news is you are a beloved child of God; the bad news is you don’t get to choose your siblings.

The CRT is really hard. But here’s the strange thing. Do you know the easiest way to raise people’s scores on the test? Make it just a little bit harder. The psychologists Adam Alter and Daniel Oppenheimer tried this a few years ago with a group of undergraduates at Princeton University. First they gave the CRT the normal way, and the students averaged 1.9 correct answers out of three. That’s pretty good, though it is well short of the 2.18 that MIT students averaged. Then Alter and Oppenheimer printed out the test questions in a font that was really hard to read—a 10 percent gray, 10-point italics Myriad Pro font—so that it looked like this: 1. A bat and a ball cost $1.10 in total. The bat costs $1.00 more than the ball. How much does the ball cost? The average score this time around? 2.45. Suddenly, the students were doing much better than their counterparts at MIT.

When ad legend Lee Clow took the imagery from George Orwell’s 1984 to create the most iconic TV commercial of all time, almost no one watching Apple’s Super Bowl ad understood all of the references. (They’d read the book in high school, but if you want to impact a hundred million beer-drinking sports fans, an assigned high school book is not a good place to start.) But the media-savvy talking heads instantly understood, and they took the bait and talked about it. And the nerds did, and they eagerly lined up to go first. The lesson: Apple’s ad team only needed a million people to care. And so they sent a signal to them, and ignored everyone else. It took thirty years for the idea to spread from the million to everyone, thirty years to build hundreds of billions of dollars of market cap. But it happened because of the brilliant use of semiotics, not technology. At every turn, Apple sent signals, and they sent them in just edgy enough words, fonts, and design that the right people heard the message.

Cassie,” I growl at the young brunette. “How’s the sobriety?” Alex brought the submissive to us. She’s an addict that he councils at Transcend. I don’t want to be mean to her right now, especially since my best friend brought her here, but I’m furious and she’s an outlet. She can’t strike back. “Ninety days sober,” she says with pride. “That’s awesome,” I say enthusiastically and smile at her. “I love how we have to give fuck ups a medal when they behave. I would think it should go to those who never fuck up. What’s the incentive to behave if all you have to do is get shit-faced and steal shit for years and then ninety days on the straight-and-narrow we have to pat you on the back for being a good girl,” I say in a saccharine voice. She gazes at me with huge, glassy brown eyes. I can see the tears forming. Cassie worries her full bottom lip between her teeth and tries not to blink. “But hey, what do I know. It just seems like the system is flawed. The good little boys and girls just don’t get the recognition that a crack-whore thief gets,” I shrug. Cassie blinks and the surface of her tears breaks and they finally slide down her cheeks in shame. “But go you!” I shout sarcastically. I give her a thumbs up and walk down the hall. “Cold… that was just cold, dude,” Alex chuckles at me. That was so bad that I have to laugh or I’d puke. I shake my head as my belly contracts from laughter. “Score on my newest asshattery?” I ask my partner in crime. If I didn’t have him I’d scream. I’ll owe Master Marcus forever. He stripped me bare until Font was naked in the impact room at Brownstone I trained in. Alex walked in and shook my hand- instant best friend. “Ah…” He taps his chin in thought and the bastard tucks his black hair behind his ear. I growl at him because he did it on purpose. He knows how much I miss the feel of my hair swinging at my jawline. Alex arches a perfect brow above his aqua eye and smirks. He runs his hands through his hair and groans in pleasure. “8.5. It was a decent attempt, but you pulled your hit. You’re too soft. I bet you were scared you’d make her relapse.” “Yeah,” I say bashfully. “Not happening, bud. I’m just that fucking good. I better go do some damage control. Don’t hurt any more subs. Pick on the big bastards. They may bite back, but their egos are delicate.

Several teams of German psychologists that have studied the RAT in recent years have come up with remarkable discoveries about cognitive ease. One of the teams raised two questions: Can people feel that a triad of words has a solution before they know what the solution is? How does mood influence performance in this task? To find out, they first made some of their subjects happy and others sad, by asking them to think for several minutes about happy or sad episodes in their lives. Then they presented these subjects with a series of triads, half of them linked (such as dive, light, rocket) and half unlinked (such as dream, ball, book), and instructed them to press one of two keys very quickly to indicate their guess about whether the triad was linked. The time allowed for this guess, 2 seconds, was much too short for the actual solution to come to anyone’s mind. The first surprise is that people’s guesses are much more accurate than they would be by chance. I find this astonishing. A sense of cognitive ease is apparently generated by a very faint signal from the associative machine, which “knows” that the three words are coherent (share an association) long before the association is retrieved. The role of cognitive ease in the judgment was confirmed experimentally by another German team: manipulations that increase cognitive ease (priming, a clear font, pre-exposing words) all increase the tendency to see the words as linked. Another remarkable discovery is the powerful effect of mood on this intuitive performance. The experimenters computed an “intuition index” to measure accuracy. They found that putting the participants in a good mood before the test by having them think happy thoughts more than doubled accuracy. An even more striking result is that unhappy subjects were completely incapable of performing the intuitive task accurately; their guesses were no better than random. Mood evidently affects the operation of System 1: when we are uncomfortable and unhappy, we lose touch with our intuition. These findings add to the growing evidence that good mood, intuition, creativity, gullibility, and increased reliance on System 1 form a cluster. At the other pole, sadness, vigilance, suspicion, an analytic approach, and increased effort also go together. A happy mood loosens the control of System 2 over performance: when in a good mood, people become more intuitive and more creative but also less vigilant and more prone to logical errors. Here again, as in the mere exposure effect, the connection makes biological sense. A good mood is a signal that things are generally going well, the environment is safe, and it is all right to let one’s guard down. A bad mood indicates that things are not going very well, there may be a threat, and vigilance is required. Cognitive ease is both a cause and a consequence of a pleasant feeling.

The saints of God have said and written many great and magnificent things. Yet all of these writings and teachings reach only to the extent that it can be granted to mere mortals to grasp the divine Word and its mysteries. In its own perfect and ultimate nature, it remains ever and wholly ineffable and incomprehensible. Every holy and inspired word proceeds from the illumination of this eternal Word. For this is the unique font and exemplar of all that is true, good, and holy. In it is all virtue, power, wisdom, and intelligence.

The unsuspicious testimony of Bishop Hay leaves no doubt on this point: "It" [the water kept in the baptismal font], says he, "is blessed on the eve of Pentecost, because it is the Holy Ghost who gives to the waters of baptism the power and efficacy of sanctifying our souls, and because the baptism of Christ is 'with the Holy Ghost, and with fire' (Matt. iii. 11). In blessing the waters, a LIGHTED TORCH is put into the font." Here, then, it is manifest that the baptismal regenerating water of Rome is consecrated just as the regenerating and purifying water of the Pagans was. Of what avail is it for Bishop Hay to say, with the view of sanctifying superstition and "making apostasy plausibly," that this is due "to represent the fire of Divine love, which is communicated to the soul by baptism, and the light of good example, which all who are baptised ought to give." This is the fair face put on the matter; but the fact still remains that while the Romish doctrine in regard to baptism is purely Pagan, in the ceremonies connected with the Papal baptism one of the essential rites of the ancient fire-worship is still practised at this day, just as it was practised by the worshippers of Bacchus, the Babylonian Messiah.

So on matters of faith," continued the Chinaman, the student of Confucius, "it is pride that causes error and discord among men. As with the sun, so it is with God. Each man wants to have a special God of his own, or at least a special God for his native land. Each nation wishes to confine in its own temples Him, whom the world cannot contain. "Can any temple compare with that which God Himself has built to unite all men in one faith and one religion? "All human temples are built on the model of this temple, which is God's own world. Every temple has its fonts, its vaulted roof, its lamps, its pictures or sculptures, its inscriptions, its books of the law, its offerings, its altars and its priests. But in what temple is there such a font as the ocean; such a vault as that of the heavens; such lamps as the sun, moon, and stars; or any figures to be compared with living, loving, mutually-helpful men? Where are there any records of God's goodness so easy to understand as the blessings which God has strewn abroad for man's happiness? Where is there any book of the law so clear to each man as that written in his heart? What sacrifices equal the self-denials which loving men and women make for one another? And what altar can be compared with the heart of a good man, on which God Himself accepts the sacrifice? "The higher a man's conception of God, the better will he know Him. And the better he knows God, the nearer will he draw to Him, imitating His goodness, His mercy, and His love of man. "Therefore, let him who sees the sun's whole light filling the world, refrain from blaming or despising the superstitious man, who in his own idol sees one ray of that same light. Let him not despise even the unbeliever who is blind and cannot see the sun at all." So spoke the Chinaman, the student of Confucius; and all who were present in the coffee-house were silent, and disputed no more as to whose faith was the best.

The tattoo says Shh in an italic font. She had it done years ago, to remind herself of the importance of secrets and the importance of keeping them.

The minute I dropped out I could stop taking the required classes that didn’t interest me, and begin dropping in on the ones that looked interesting. It wasn’t all romantic. I didn’t have a dorm room, so I slept on the floor in friends’ rooms, I returned coke bottles for the 5¢ deposits to buy food with, and I would walk the seven miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on. Let me give you one example: Reed College at that time offered perhaps the best calligraphy instruction in the country. Throughout the campus every poster, every label on every drawer, was beautifully hand calligraphed. Because I had dropped out and didn’t have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can’t capture, and I found it fascinating. None of this had even a hope of any practical application in my life. But ten years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it’s likely that no personal computer would have them. If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. Of course it was impossible to connect the dots looking forward when I was in college. But it was very, very clear looking backwards ten years later. Again, you can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something—your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life. The narrator of this story is Steve Jobs, the legendary CEO of Apple. The story was part of his famous Stanford commencement speech in 2005.[23] It’s a perfect illustration of how passion and purpose drive success, not the crossing of an imaginary finish line in the future. Forget the finish line. It doesn’t exist. Instead, look for passion and purpose directly in front of you. The dots will connect later, I promise—and so does Steve.

The problem with trying to be relevant is it makes us copy what culture is already doing. To be relevant, you have to copy what is cool. So we put our mouths on the tailpipe of secular culture in hopes we can recycle some of it and use it for ourselves. The problem with this is that it automatically puts us ten to fifteen years behind culture because rather than setting the precedent, we are copying their systems. This is where we get a huge section of Christian apparel and coffee mugs that simply copy secular logos. My favorite is the shirt with the words “Holy Spirit” printed in the same font and logo as Sprite. Or the one with “A bread crumb and a fish” instead of Abercrombie and Fitch. We call it redeeming, but it’s actually stealing. Making bad art is bad in and of itself, but if we are Christians, this takes on a whole other level of weight. Because we are called to mirror and reflect God, everything we do should give people a proper picture of who he is.

Caravaggio to another. I’m sure that’s crossed Ariosto’s mind, Coffin considered. Wonder if he’s more focused on retrieving this one, or if he thinks it’s gone forever, like the Palermo Adoration. Coffin scanned the interior as he took his first step inside. Three officers, one detective, one frantic priest, one missing altarpiece. Three flanking chapels on either side of the nave, each with a piece of art or relic as the focal point, chairs aligned in each, and empty prayer candles, one confessional booth, made of dark, oiled wood, much younger than the church itself, curtain in the front right corner must lead to offices, no holy water in the font, telephone beside the entrance, alarm keypad, motion sensors two feet off the ground along the periphery and across the altar, no locks on the ground-floor windows, not good,

Thanks to bad graphic design, some readers love only the electronic version of some books.

I was a font of useless information. The only thing that had ever rivaled my Chase obsession was my love of all things trivia. Trivial Pursuit games ended with me drinking the tears of my fellow players and leaving a trail of their bloodied hearts all over the board. After my grandparents left the Amish in Pennsylvania and moved out to California, one of the first things they bought was a TV. When I lived with them decades later, they still had that same television. The only program they ever watched was Jeopardy!, and I remember sitting on their uncomfortable couch in between them as they missed so many questions. My guess was that my love for weird cultural minutiae came from them. Alex Trebek was kind of my hero. So I tweeted out random facts. Which was better than having to hear Lexi say, “If you say one more thing about stoplight colors, I will slip arsenic into your orange juice.” Twitter was a good outlet for my useless knowledge. 

If someone grows up poor, in a family that struggles to make ends meet, that person might view wealth in a fantastical, idealistic way. If asked to design a logo for a financial institution, they might opt for a representation of money that matches those idealistic feelings, such as… gold, extravagant, glitzy, big! Conversely, if a person grows up well-off, where having lots of money is normal, then their design might be quieter and more corporate. The latter is more universally accepted as “good” design in most classrooms and design spaces. When thinking of how often a student is asked to design something and make it look “expensive,” or “cool” or “trendy,” it becomes clear how the cultural interpretation of those words will affect the fonts, colors, and symbols used to express those concepts.

Until that June day in 2004, PowerPoint had been the default tool for communication of ideas in many meetings at Amazon, just as it was and still is at many companies. Everybody knew its delights and perils. What could be more exhilarating than listening to a charismatic executive deliver a rousing presentation backed up by snappy phrases, dancing clip art, and cool slide transitions? So what if you couldn’t remember the details a few days later? And what could be worse than suffering through a badly organized presentation using a drab template and tons of text in a font too small to read? Or, worse still, squirming as a nervous presenter stumbled and faltered through slide after slide? The real risk with using PowerPoint in the manner we did, however, was the effect it could have on decision-making. A dynamic presenter could lead a group to approve a dismal idea. A poorly organized presentation could confuse people, produce discussion that was rambling and unfocused, and rob good ideas of the serious consideration they deserved. A boring presentation could numb the brain so completely that people tuned out or started checking their email, thereby missing the good idea lurking beneath the droning voice and uninspiring visuals

(I am an endless font of horrible knowledge at parties, but I try to wait until after the food has been cleared away.)

I did this partially because Matthew is the kind of person for whom the internet is simply a utility: a font of information and nothing more. He has the supernatural ability to look at his phone only when he needs to, and the idea of posting something about his life on the internet in a way that strangers can view is a concept he cannot grasp. So yes, I was partially trying to respect his privacy, but I was mostly trying to protect myself. From the judgment of others, which was primarily just a projection of my own self-judgment. There was a version of me that thought loving another person would somehow diminish the love I still felt for Aaron. A version of me that thought that if I was happy, I must not be sad anymore, and if I wasn’t sad anymore, then I guess I didn’t love Aaron as much as I said I did. Or maybe that my new happiness was ill-gotten, a well-made fake, something I swiped off the back of a truck when nobody was looking. This is what life looks like when you water the seeds of joy with guilt and shame. It feels as good as it sounds. When bad things happen to you—a death, an illness, a divorce, a job loss—you quickly go from being a person to being just a sad story. I know from experience that nobody wants to be a sad story, and that no matter what you’ve been through, your story is always so much more than just sad. And your happy stories are more than just happy. Obviously, everything is more complicated than it appears on Instagram. But it is incredibly difficult to live with complicated. It is even more difficult for other people to deal with complicated.

Balance praise and criticism Worry more about praise, less about criticism—but above all be sincere We learn more from our mistakes than our successes, more from criticism than from praise. Why, then, is it important to give more praise than criticism? Several reasons. First, it guides people in the right direction. It’s just as important to let people know what to do more of as what to do less of. Second, it encourages people to keep improving. In other words, the best praise does a lot more than just make people feel good. It can actually challenge them directly. Some professionals say you need to have a praise-to-criticism ratio of 3:1, 5:1, or even 7:1. Others advocate the “feedback sandwich”—opening and closing with praise, sticking some criticism in between. I think venture capitalist Ben Horowitz got it right when he called this approach the “shit sandwich.” Horowitz suggests that such a technique might work with less-experienced people, but I’ve found the average child sees through it just as clearly as an executive does. In other words, the notion of a “right” ratio between praise and criticism is dangerous, because it can lead you to say things that are unnatural, insincere, or just plain ridiculous. If you think that you must come up with, say, two good things for every bad thing you tell somebody, you’ll find yourself saying things like, “Wow, the font you chose for that presentation really blew me away. But the content bordered on the obvious.… Still, it really impresses me how neat your desk always is.” Patronizing or insincere praise like that will erode trust and hurt your relationships just as much as overly harsh criticism. In the case of criticism, most people are nervous about hurting someone’s feelings, so they often say nothing. In the case of praise, some people are eager to please those around them, so they always say something—sometimes inane things. Other people just aren’t in the habit of giving praise. If I’m not firing you, it means you’re doing fine. That’s not good enough.

I desire to write, be wildly in love, support my son to be who he is, keep my hair thick and shiny, get more tattoos, recite mantras, speak onstage, sleep in linen sheets, drive alone in the wide open spaces of New Mexico for hours, be flexible and productive, be alone at parties, be alone at home, be alone, be liked-loved-respected, keep a temple-tidy house, drive a reliable car, make millions of dollars and give lots away, meditate, get caught in thunderstorms, dance long and hard, wear cashmere, make things that make people want to make things of their own, sleep in, recycle, be One, seek approval, go to weddings (and funerals), order in, worship Rothko paintings, call my grandmother, free spiders, go back to India, stay up too late, get just the right font spacing, listen to Tibetan singing bowls on repeat for hours, watch three documentaries in a row, give all I have to give at any given moment to pretty much anybody, wear perfume every day of the week, shave my head, burn everything I’ve ever written, give insight, give money, give time, find my True Nature, and touch the face of God … Why do I desire what I desire? The answer is fast, clear, and simple: to feel good, of course.

As many scholars have noted, Gutenberg’s printing press was a classic combinatorial innovation, more bricolage than breakthrough. Each of the key elements that made it such a transformative machine—the movable type, the ink, the paper, and the press itself—had been developed separately well before Gutenberg printed his first Bible. Movable type, for instance, had been independently conceived by a Chinese blacksmith named Pi Sheng four centuries before. But the Chinese (and, subsequently, the Koreans) failed to adapt the technology for the mass production of texts, in large part because they imprinted the letterforms on the page by hand rubbing, which made the process only slightly more efficient than your average medieval scribe. Thanks to his training as a goldsmith, Gutenberg made some brilliant modifications to the metallurgy behind the movable type system, but without the press itself, his meticulous lead fonts would have been useless for creating mass-produced Bibles.

Real handwriting is amazing and beautiful and can communicate sincerity and (sometimes) urgency. Handwriting fonts tend to do the opposite. They are clearly, ironically pretending to be something “real.” There are a few good handwriting fonts, but the tell is when each letter is exactly the same every time. That is never the case with real handwriting.

Web Design - Give Your Brand Global Recognition Running a small business seems easy but actually, it is not. Surprised? Well, there’s a lot to look after and accomplish without violating the budget and resources. If you own a small business and planning to take it to new heights, you must begin with a professional web design company. Why? Because to let your audience know about your products and services, you got to make your online presence. To make a visible impact online, you need to give your organization a face, which is possible only with a well-designed website that’s professional yet user-friendly. When a website has to be designed, a number of factors are meant to be considered. Font, images, content, alignment, graphics, loading time and interface are the major factors to be careful about. What else? You need to ensure that your brand’s message is displayed the right way and at the right place. Call-to-action has to be there and the design must be in a way that attracts the audience. Want to know more? Length and number of pages also matter, as they play a great role in the presentation and are responsible to hold the audience. All this must be sounding like a lot of stuff and complicated but it is all easy with the right small business web design company by your side. It will understand your business, its needs, and goals for long-term and come with a website which is liked by the audience the moment they click it. All you need to be careful is finding the company that’s worth time and money you invest. The market is flooded with a number of web designers who boast a lot but are not worth what they say. Hiring the wrong designers may cause serious consequences for your website and eventually business. To stay away from coming across such ugly experiences, take enough time and settle for the best professionals. Check their previous work, feedback, price plan and expertise before finalizing anything. Keep this brief piece of information in mind and gift your small business the website it deserves. Good Luck!

And that's the challenge for all of us - to create warmth in a digital world. Not many people can do it. You see a lot of stuff that looks great but simply doesn't turn you on. It's like making a song on a synthesizer. To make a drum machine sound good is really difficult - you might as well play real drums. We're still analogue beings. Our brains and eyes are analogue.

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