are.na An Application by Charles Broskoski www.are.na Build ideas mindfully. Save content, create collections, and connect ideas with other people. ObsidianRoam ResearchWhat this site isOn Motivation thinkingnetworkshypermedianotetaking
On Motivation An Essay by Charles Broskoski www.are.na I’ve had this (semi-vague) idea that I want to write about what keeps us excited to work on Are.na, on the occasion of its 10th (yes 10th) birthday. While writing generally is a tricky process for me, this subject motivation is even trickier. In turning this subject around in my mind, and thinking about all the people and things that have been influential, I have some idea about what keeps us going. Nodal pointsInfinite varieties of contextsA lifelong projectGrowing in the correct way are.naThe slow blade penetrates the shield
Text for Proofing Fonts An Article by Jonathan Hoefler www.typography.com The pernicious issue with pangrams
The pernicious issue with pangrams The far more pernicious issue with pangrams, as a means for evaluating typefaces, is how poorly they portray what text actually looks like. Every language has a natural distribution of letters, from most to least common, English famously beginning with the E that accounts for one eighth of what we read, and ending with the Z that appears just once every 1,111 letters. Letter frequencies differ by language and by era — the J is ten times more popular in Dutch than English; biblical English unduly favors the H thanks to archaisms like thou and sayeth — but no language behaves the way pangrams do, with their forced distribution of exotics. Seven of the most visually awkward letters, the W, Y, V, K, X, J, and Z, are among the nine rarest in English, but pangrams force them into every sentence, guaranteeing that every paragraph will be riddled with holes. A typeface designer certainly can’t avoid accounting for these unruly characters, but there’s no reason that they should be disproportionately represented when evaluating how a typeface will perform. Embracing Asymmetrical Design typographylanguagedesign