This place is a message A Fragment en.wikipedia.org This place is a message... and part of a system of messages... pay attention to it! Sending this message was important to us. We considered ourselves to be a powerful culture. This place is not a place of honor... no highly esteemed deed is commemorated here... nothing valued is here. What is here was dangerous and repulsive to us. This message is a warning about danger. The danger is in a particular location... it increases towards a center... the center of danger is here... of a particular size and shape, and below us. The danger is still present, in your time, as it was in ours. The danger is to the body, and it can kill. The form of the danger is an emanation of energy. The danger is unleashed only if you substantially disturb this place physically. This place is best shunned and left uninhabited. timedeathdangerhorror
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