The Art of Doing Science and Engineering: Learning to Learn A Book by Richard Hamming www.amazon.com The Art of Doing Science and Engineering is the full expression of what "You and Your Research" outlined. It's a book about thinking; more specifically, a style of thinking by which great ideas are conceived. Gifts of knowledge to humanityHamming-greatnessIt cannot be taught in wordsPreparing for problemsStudent's future, not teacher's past+33 More You and Your ResearchChance favors the prepared mindSerendipity learningscienceengineeringdiscovery
You and Your Research A Speech by Richard Hamming www.cs.virginia.edu This talk centered on Hamming's observations and research on the question "Why do so few scientists make significant contributions and so many are forgotten in the long run?" Important problemsOpen doors, open mindsInverting the problemIntellectual investment is like compound interestGreat people can tolerate ambiguity+2 More The Art of Doing Science and Engineering: Learning to Learn researchdiscoverycreativitylearning
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